- [Stella] I've been brought in from the Metropolitan Police, to lead a review into the investigation of the murder of Alice Monroe.

He had things entirely under his control.

Which leads me to think that this was not his first murder.

- Go back to your review, Stella.

I don't want the two murders linked.

- Failure to see that crimes are linked is the thing that will allow the killer to strike again.

(woman screaming) - Do you think her hair's been clipped?

- Where?

- There.

- [Stella] This is the third murder in 3 months, Jim.

If we don't stop him, he will kill again.

- Excuse me, is this your purse?

- Oh, um, thank you so much.

- [Stella] There's been a shooting.

(gun firing) The detective we saw near the Falls Road on Sunday night.

- [Man] James Olsen is a married man, Stella.

- You were a married man when you spent a night in my bed.

He clearly has a victim type.

They are not victims of chance.

They are victims of choice.

It's possible that he's out there stalking his next victim now.

(woman screaming) - There's someone to see you, ma'am.

Rose Stagg, a friend of Professor Reed Smith.

- I spent years interviewing the victims of rape.

I don't think anyone ever felt worse after talking to me about their experiences.

(man grunting) - I have something terrible to confess.

I've been having an affair.

- I called you to say it's over.

- It won't be over until I stop you.

- You had your chance, now it's too late.

- We have an e-fit from Rose Stagg.

- Could he really look that?

- Ma'am, Annie Brawley has regained consciousness.

- [Stella] Now let's try something different.

If you were on the other side of your bedroom, standing by the window, what would you have seen?

- Me on the bed.

Him behind me.

I was on my side at first.

Tied up.

- What else?

Can you see him clearly?

- No.

- It's okay.

Let's take a step back.

Earlier that night you had dinner with your brother.

Do you remember what Joe had to eat?

Do you remember what you ordered?

(Annie crying) - What are you doing?

Once upon a time, this worked for me.

You snap the band on your wrist when your thoughts and feelings overwhelm you.

(pensive music) (rubber band snapping) (untuned piano notes of music) - Is that mine?

- Yes.

It's been brushed for prints.

They only found yours.

You'll see some of the pages are dusty.

Some people find writing useful.

Putting down thoughts, whatever they may be.

Reading the entries you made might help.

- I'm sorry.

I want to remember, I really do.

- I know.

(pensive music) - [Annie] My diary was in a drawer in my bedroom.

- [Stella] Yes.

- He was waiting for me in my bedroom.

- If he was wearing gloves, he could've read it and not left any prints.

- Yes.

- Do you think that he read it?

- Yes.

- I know it's hard for everyone because I look the same.

The same as I did before.

But I'm not the same.

(phone buzzing) (phone beeping) - Hello.

(garbled talking) Hello?

(garbled talking) Hang on.

Hang on, I've got a bad signal.

Hello.

- Daddy.

- Livy.

- Daddy.

- Can you hear me?

- [Livy] Yes.

- Are you okay?

- Yes.

- It's the middle of the night.

Why aren't you asleep?

- [Livy] I can't sleep.

- Why darlin'?

- [Livy] I'm really worried Daddy.

- What about?

- [Livy] My dolls, I left them behind, all of them.

When Mummy, me and Liam left Scotland.

- What did you leave behind?

- [Livy] All of my dollies.

- Where did you leave them?

- [Livy] In the bath I think.

Haven't you seen them?

- No.

- [Livy] Haven't you had a bath in all that time?

- It hasn't been that long.

- [Livy] Nearly a whole week.

- We have a shower downstairs.

- [Livy] The thing is, I really need them.

Can you bring them when you come home?

- I'm not sure when that's gonna be, darlin'.

- [Livy] Why?

- It was Mummy decided to go home, not me.

- [Livy] I need them Daddy, I really do.

Please, Daddy, please.

(pensive music) (distant dog barking) (key rattling) (pensive music) (water running) - Oh Jesus!

Oh, don't you announce yourself?

- I thought that I was expected.

- I wasn't sure that you'd come.

- Nice shoes.

- Is that why I'm here?

To amuse you?

- I always thought of him as stalking victims, calculating the risks, planning it all out.

Very controlled, calm.

Cold-blooded.

The killing of Joe was different.

It was impulsive, bloody, hot-blooded.

If we didn't know it then we certainly know it now, that he's driven by huge amounts of rage.

- So we have an eye witness who can't quite bring herself to recall the face, masked or unmasked, of the man who did all this.

- It's a question of unlocking her.

She's traumatized, grief-stricken.

She just needs more time, more professional help.

- It's been 10 days, Stella.

We're running out of time.

- And money.

I had these drawn up for the policing executive tomorrow.

Emergency funding, to support the investigation.

- 1.8 million.

- Perhaps you can take a look at the figures on the way home.

(distant dog barking) (gate squeaking) - We need to make some kind of announcement soon.

Indicate some kind of progress, allay fears.

Some good news.

- I know.

- Where's your car?

I'll walk you.

- In those shoes?

I'm fine.

- Is this your car?

- It is and I'd like him to get off it.

- What are you doing here?

- I want all of you to move away from my car.

- What's the difference between James Olsen and a black cab?

A black cab can take five in the back.

(men chuckling) - What's your name?

- What's that got to do with you, Little Bo Peep who's lost her sheep.

Don't come back here again.

Do you hear me?

You're not welcome.

(car engine starting) (distant sirens blaring) (door lock clicking) (packaging tape tearing) (distant street chatter) (pensive music) (birds chirping) - Mummy.

Mummy.

I've made you a cup of tea.

- You know you're not supposed to boil the kettle.

- I haven't.

- Mmm, it's lovely.

- When Daddy's back I'll make him one too but with sugar.

(gulls squawking outside) (people clamoring outside) - Detective Superintendent.

Detective Superintendent Gibson, would you like to make a comment on the piece in today's "Belfast Chronicle?"

Are the reports that the surviving victim is helping police with their inquiries true?

- They are.

- Are you prepared to meet Mrs. Olsen face to face to discuss your alleged affair with her husband?

- I almost didn't recognize you.

- Really?

- Why are you wearing that?

- Same reason you're wearing that.

- Yours is a Met uniform.

- I'm a Met officer.

At least I was the last time I checked.

Thought I should look as unfeminine as possible, given this morning's "Chronicle."

- It hasn't worked.

Just to warn you, Monroe's spoiling for a fight.

A strong possibility he'll push for a 28 day review into the progress of the taskforce.

- You're joking?

- What, you think you're above those procedures?

- Who would do it?

- Well, we'd find someone.

- What do you want?

- A cappuccino.

- Two regular cappuccinos please.

(milk frothing) Sally.

Sally!

Sally, did you not hear me calling you?

- I'm late for work.

- What's wrong?

- What's wrong?

- I don't understand.

- Don't you?

- No.

- I know everything.

- What are you talking about?

- Paul confessed, Katie, there's no need to cover for him.

- Confessed to what?

- Your affair, your 3 month under age affair.

- What?

- In my house, under my roof, in my bed, for all I know, while my children were sleeping.

- What did he say about us?

- Us?

Jesus.

- Whatever he's told you, he's lying.

- Why would he lie about something like that?

- I don't know.

- Just leave my family alone.

- There's been no affair.

What happened is he attacked me.

- What?

- That night you left us alone in the study.

I'd come over to listen to music.

He took the opportunity to attack me.

Pin me to the floor, climb on top of me.

- Enough!

- You have no idea who he is or what he's like.

Ask him about the lock of hair.

- What's going on?

- Bitch.

(egg sizzling) (phone buzzing) (phone beeping) - [Voicemail] You have one new message.

- [Sally] I just bumped into your girlfriend.

You need to get your story straight.

According to her there's been no affair, just some kind of sexual assault.

Paul, what did you do to her?

Did you rape her?

In your study, while the kids were sleeping?

She seems to think she knows you better than I do.

I don't know, maybe she does.

This is all so humiliating.

I want you to just stay away Paul, okay?

From me, from the kids.

Just, I want.

(phone beeping off) (pensive music) (knocking on door) - Yeah.

- Marian Kay is in the conference room, ma'am.

- Thanks.

- I was thinking that I should go back into uniform.

- Really?

- If you can spare me.

- I can't.

- Thank you ma'am.

- Tell me why.

- I've often wondered why you took me off the street in the first place.

- Why do you think?

- Because I was, um, struggling to deal with what had happened.

Because I couldn't stop myself from shaking.

- I don't go around rescuing patrol cops who are disturbed by they've seen.

I don't think so.

It was totally selfish.

I was new.

I wanted someone by my side, someone I felt I could trust.

I was impressed by your honesty at the scene.

- I think I've learned a lot.

I think I could put it to good use on the street.

- Cheating death, fighting for truth and justice.

- Something like that, yeah.

- I'll think about it.

- Thank you ma'am.

(birds chirping) (pensive music) - [Stella] Sorry, I've nothing new to tell you.

How is your father bearing up?

- That's what everyone always asks me first.

How is Daddy?

It really pisses me off.

All the cards, all the lessons of condolence.

They were all addressed to Dad.

- Yes, of course, sorry.

(sighing) How are you?

- It's the right first question.

I know it is.

Fathers aren't supposed to bury their daughters.

- But?

- But I can't remember a time in my life when Sarah wasn't there.

(gulls calling) (boat motor rumbling) There are so many if-onlys.

If only she hadn't turned the police away.

If only the locksmith had changed the back door straight away.

If only I had just made her come and stay with us.

I just wish I could think about something else.

For five minutes even.

But there is so much stuff all the time, in the papers, on the television.

And it is always Alice's picture.

It's never Sarah.

Today's paper even got her age wrong.

- It's just to do with Alice's name I think.

The Monroe connection, the fund that's been set up.

- I worry because there's a number of victims.

Sarah's lost her identity a bit.

- Not for me.

(birds chirping) (pensive music) (knuckles rapping) - Yeah.

- Rose Stagg has cried off, pressure of work.

- All right.

(automated voice announcing trains) - Rose, I really need to see you today.

- I'm sorry, I've so much work on.

- The interview you gave was informal.

I took notes but I really need to get every last bit of information from you if I can.

Recorded, videoed, transcribed.

- I know.

As I told you, when I met Peter I already had a boyfriend.

- [Stella] Yes.

- The boyfriend was Tom who became my husband.

- [Stella] I presumed that.

And you never told him what happened?

- No.

I had bruises all over my neck.

Really bad headaches.

My voice was hoarse so I simply stopped seeing him.

- Rose, I understand it will be a difficult conversation.

But there are bigger issues.

- I know.

- [Stella] Hello?

- I'm here.

- [Stella] sTalk to him tonight.

Come and see me tomorrow.

- I can come in at noon.

- [Stella] I'll see you then.

(train whirring) He's written and he's phoned.

He derives pleasure it seems, from involving himself in the investigation.

And for that reason I'd like to maintain the 24/7 monitoring of my old private phone in the hope that maybe he will call that number again.

Um, what kind of response to the composite likeness?

- The Rose Stagg e-fit?

Good.

The fact it's from 8 or 9 years ago has caused a bit of confusion.

Could he now be fat?

Could he now be bald?

- No, he's definitely not fat.

- Do you think that looks like me?

- A wee bit maybe.

- May I?

- Go ahead.

- What about now?

- A bit more now.

- You think it's safe for me to go back to Belfast?

- I don't think you've got anything to worry about.

- Do you live in the city?

- I do, South Belfast.

Two streets away from one of the girls that died.

- Do you live alone?

- Yeah.

What about you?

- No.

No, I'm traveling back to my wife and two kids.

- Oh.

- The only possible excuse for a grown man to be traveling with four dollies in his bag.

You're blonde.

All the other girls have been dark, haven't they?

- Actually I'm not.

- Not what?

- Blonde.

- What do you mean?

- I was dark until all this started happening.

- You're kidding.

- There, proof.

- I never would've guessed.

- As we know, offenders tend to commit crimes in areas that they're familiar with.

The first kill usually takes place closest to that anchor point, near a residence or a place of work.

- If we look at the spatial relationships between the crime scenes, it suggests the offender lives in the university quarter or Raven Hill, traveling to and from the crime scenes on foot.

- That would make the attack on Annie in the Shankhill an aberration of sorts.

- Presumably he somehow identified her as a potential victim.

Young, dark, attractive, educated.

He disregarded the fact that she lived outside his natural territory.

And then he got into difficulties as a result.

- We know that he fled on foot.

But he didn't run back towards the university quarter.

He ran out east towards the City Airport.

That's a distance of three miles.

Why?

- [Danielle] Perhaps he has a place out there somewhere.

A lock-up or a storage unit or somewhere he changes or keeps a vehicle.

- Trawl of the CCTV cameras along his route from the Shankhill out towards the airport has offered up these images.

- No clear view of his face.

The possibility he has a beard.

- I'm getting some video stills produced.

- He anticipated that we would use human scent dogs and he crossed a stretch of water.

I believe he took the murder weapon with him.

The search for that weapon is still ongoing.

- Truth is we're pretty much running out of time on the search for the weapon.

We've searched miles of the roadway on the route we think he took, right up to the water's edge where the scent dogs lost him.

We've run a line across from that point to where we think he emerged.

We're searching both sides of that line but the water visibility is nil.

Weeds, refuse, my divers can only work by touch.

There's deep mud too.

Basically we've run out of time and money.

(mouse clicking) (pensive music) - It's been 10 days now and there's been some speculation that the killer has stayed true to his word.

That he's gone away.

That he's stopped.

I don't believe that it works that way.

Remember that there is a cycle that he goes through.

After an attack there's a cooling off period.

But then the deviant fantasies start to kick in.

And the pressure starts to build.

Remember it's an addiction.

He takes his fantasies and he turns them into reality.

It makes him feel superior to the rest of us mere mortals.

As such, in his own mind, he feels he has the right to decide who lives and who dies.

In order to do the terrible things that he does, the killer dehumanizes his victims.

Let's do the opposite.

Let's keep them alive.

For us, for their families, friends, work colleagues.

For the public.

Let's keep them alive until this man is caught.

(rain splattering) (tense music) (door clicking) - Jesus!

God, you frightened me.

How did you get in?

- Your side door was unlocked.

- What are you doing here?

- Why did you say those things to Sally Ann?

- What things?

- Things about me, you and me.

- What things?

- You know what things.

I told you to stay away.

- I have.

How was I supposed to know she'd be there.

- Why are you trying to make trouble for me?

Sally Ann now thinks that I attacked you that night in the study.

- You did.

- She thinks I raped you.

- She thinks we've been having an affair for months.

Where did she get that idea?

- I don't know.

- Yes you do, you told her.

- Why would I do that?

- I've been asking myself the same thing.

- And?

- Katie, are you okay?

- Yeah, this is Paul.

- Oh.

- I'll be up in a minute.

- You sure?

- Yes, I'm sure.

Why are you staring at her?

- I'm not.

- She's not your type.

- I don't have a type.

- Liar.

- I'm not lying.

- Dark haired, beautiful.

- Katie.

- Why would you lie to your wife?

What are you covering up?

- You're playing a dangerous game.

I came here to tell you to stay away from my wife and my children.

- The police officer on the television said the killer clipped a lock of hair from each of the victims.

You had a lock of hair in your study.

- I explained that.

It was my mother's hair.

I saw the footage of you at the park.

The Botanic Gardens.

- We go there all the time.

It's Olivia's favorite place.

- It's also where Sara Kay went to meet her sister every Saturday lunch time.

- What are you saying?

- You said it, not me.

There's a strangler on the prowl.

- And you think it's me?

- Sally Ann called me that night to babysit because she couldn't get a hold of you at work.

But then you came home in the middle of the night with a cut on your face.

You were all weird.

- If you think I'm a killer, why aren't you scared?

- I am scared.

- Are you?

- Yes.

- You think I'm gonna strangle you?

- Yes.

- Then your little friend upstairs.

Do you really think the killer would identify himself so easily?

Grow up Katie.

I'm just a husband, a father.

A man with a profession to protect.

Keep your crazy theories to yourself and stay away from my family.

(door clicking shut) (rain splattering) (car engine whirring) (indistinct chatter on police radio) (water sloshing) (door closing) (pensive music) - [Voicemail] You have reached the offices of the Alice Monroe Fund.

Please leave a message after the tone.

(beeping) - I'm Paul Specter.

(people talking) - We're finished here ma'am.

- Can you give me a couple more hours?

- I don't know ma'am.

- We'll find the money.

(tense music) (door creaking) (crying softly) (door creaking) (pensive music) - I'm hungry.

- You ate at Grandma's.

- That was ages ago.

- [Sally] I'll make you some warm milk, okay.

Livy, 10 minutes 'til bedtime.

Brush your teeth.

- [Paul] Dear Olivia, I'm sending this letter to you all the way from Scotland via pixie post.

I looked all day and all night but I couldn't find your dollies anywhere.

It makes me think you took them with you when you left.

Are you sure you checked your suitcase carefully?

Have another look.

Check the front pocket.

I will see you very soon.

I love you best in the whole wide world.

Daddy.

P.S.

The pixies prefer letters they deliver to be kept a secret.

(pensive music) (people talking) (engine whirring) - [Christine] Is this true?

- Well it's in the paper, it must be.

Why do you want to know?

- I did the autopsy on James Olson.

- I know, you showed me the pictures.

- I had no idea that you had a personal relationship with him when I did that.

There were scratches on his back, consistent with marks left by fingernails.

Fresh marks.

The most obvious explanation was sex.

And that suggestion was put to his wife and she said she was not responsible.

- I see.

And at no point did DCI Eastwood suggest that visiting you in your hotel room was part of Olson's timeline.

So the marks went unaccounted for in my report.

- I'm surprised by that.

- By what?

- By Eastwood withholding that.

- You didn't ask him to?

- No.

- So was it you, who made those marks?

They don't feel sharp.

- No.

Not any more.

(tense music) - [Christine] How did you come to meet him?

- I saw him on the street at a crime scene.

I thought I would be in Belfast for a week, maybe two.

I didn't think he'd be shot the next night.

I'm sorry he's dead, I really am.

But it was one night.

It didn't mean anything.

(knocking on window) - Excuse me ma'am, the divers might've found something.

(tense music) - Mummy, Mummy.

I need the bathroom.

- What?

- I need to do a wee.

- Ask Daddy.

- Where is he?

- I'm so tired, sweetheart.

- Who are you?

- Shh, don't wake Mummy.

(indistinct chatter on police radio) (distant siren blaring) (pensive music) (jet whirring) - [Girl] Are you a friend of Mummy's or Daddy's?

- Your mummy.

- What's your name?

- Peter.

Peter Piper.

Peter Piper picked a peck of pickled peppers.

A peck of pickled peppers Peter Piper picked.

If Peter Piper picked a peck of pickled peppers where's the peck of pickled peppers that Peter Piper picked?

It's called a tongue twister.

You try it.

- Peter Piper picked a- - Peck of pickled peppers.

- The pickled peppers that Peter Piper picked.

- Do it again but do it faster.

- Peter Piper picked a peck of pick.

Where's the pickled peppers that Peter Piper picked?

That's really good, just not too loud.

We don't want to wake Mummy.

- Where are you sleeping?

- I'll find somewhere.

Where's your room?

- I'll show you.

(tense music) - Where's Mummy sleeping?

- In there.

- Mm, that's nice.

I'm sorry.

- Me too.

(Rose gasping) (tense music) I want you to come with me now.

I wanna talk to you.

I don't wanna have to hurt you, Rose.

I don't wanna have to hurt your beautiful family.

But I will.

I will if you scream or cry out when I release you.

Do you understand?

Okay.

One, two, three.

(Rose gasping) - Peter?

(pensive music)