All language subtitles for John.Lennon.Murder.Without.A.Trial.S01E01.720p.ATVP.WEBRip.x264-GalaxyTV.Sdh

[crowd clamoring]

[reporter 1] You have to
ask yourself the question,

why John Lennon's death is
being felt so widely, so deeply?

And now we will have ten minutes
of silent prayer to pray,

as Yoko Ono has asked,

- for John Lennon's soul.
- [announcer 1] Ladies and gentlemen,

please turn off all radios.

Please stop any sale or
vending of any merchandise.

Meditate in your quiet way.

We start now.

May we all pray. Thank you.

[officer 1] Gotta get
out of the street.

[narrator] On the 8th
of December, 1980,

John Lennon was murdered outside
his home in New York City.

All right, everybody on the other
side of the street. Come on.

[narrator] Incredibly, for
a crime of this magnitude,

the case never went to trial.

[reporter 2] Jury selection
was supposed to begin today,

but once inside the courtroom, it was
clear there would be no jury trial.

[narrator] So, the
facts of what happened

have never been
publicly established.

You see, the whole world
knows who John Lennon was.

And now we're trying
to get our grips...

We're trying to get a picture
of his alleged killer.

[narrator] And where
there's darkness,

conspiracy theories have grown.

[reporter 3] These FBI
files clearly reveal

Lennon was considered
a political threat.

Steps were taken on the highest level to
do something about the Lennon problem.

[narrator] Now, after 40 years,

witnesses speak for
the very first time.

Time's passed. Put
it on the record.

I don't know. Once and done.

[narrator] Ultimately, it's a
journey into the mind of a murderer.

In the case of the assassination
of a musical genius,

and one of the most outspoken peace
campaigners the world has ever seen.

Nobody's ever given
peace a complete chance.

Gandhi tried it and Martin
Luther King tried it,

but they were shot.

[Sutherland] In the late 1970s, John
Lennon retreated from the public eye.

He was living on the seventh
floor of the Dakota building

on the edge of New
York's Central Park,

where he shut himself away with his
wife, Yoko Ono, and young son, Sean.

A producer for RKO
Radio, Laurie Kaye,

flies to New York on the
8th of December, 1980,

for her dream gig: An
interview with John Lennon.

Which was the ultimate for me because
John was my... my idol, my icon.

[Kaye] I had always been a
Beatles fan, so I was so excited.

John had literally been out of
the business for five years,

but he hadn't done
any interviews.

He basically had
completely vanished.

[Kaye] The assistants let us in.

[Lennon] I'm sorry I'm late.

I-I always expect her to
buzz me, but she kept, uh...

[Kaye] He came in and sat down.

Yoko was in a separate chair.

[Ono] No, no, no, no... Because
they were just waiting, you know.

[Sutherland] This is
his last ever interview.

[Lennon] What is it?
Oh, it's a microphone.

- Okay, let me get relaxed.
- [Ono] Just like this.

[Lennon] Hello. Hello.
Testing. Testing.

- Are we on?
- [Ono] We're on.

We're on, dear. [chuckles]

[Lennon] Okay, whenever
you're ready, yeah.

[Kaye] How do you feel about,
after five years of silence,

baring yourselves to people?

[Lennon] I'm saying, "Here
I am now. How are you?

How is your relationship going?

Did you get through it all?

Wasn't the '70s a drag,
you know? Here we are.

Well, let's try and make
the '80s good, you know?"

It was amazing talking to him
about his whole political stance.

[Lennon] People have the power.

They have the power to make and
create the society they want.

And I think it's
time for a change.

We think we're broken up
into these fragmented pieces:

countries, sexes, races.

It's a joke.

Imagining no countries,
imagining no religion.

Just imagine it.

Would it be so terrible?

He was so excited about
his return to music.

You could see it in his
eyes what it meant to him.

[Lennon] Any artist or poet's role is
to try and express what we all feel.

That's the job.

Not as a preacher, not as a leader,
but as a reflection of us all.

And I consider that my work won't be
finished until I'm dead and buried.

And I hope that's
a long, long time.

[Sutherland] While John's
interviewed in the Dakota building,

a group of fans have
gathered on the street below.

Keeping an eye on them is
concierge Jay Hastings.

[interviewer] Why have you
never spoken about it before?

Until now.

I just didn't want any trouble.

[interviewer] But now?

Time's passed. Put
it on the record.

I don't know. Once and done.

[Hastings] Being a concierge?

Mostly just a security job,

but no gun, no Mace,
nothing like that.

Just a panic button on the desk
in case there was a problem.

There was always, you know,

people out on the street,
yelling through the gate.

It would just echo
into the courtyard.

"Hey, John," you
know, or whatever.

He's not here. [chuckles]
Nobody's... Nobody home. Out.

[Sutherland] Also working at the
Dakota that evening is porter Joe Many.

[Many] There were people
hanging around already.

Groupies cluttering the
front of the building.

These people knew if you
hung around long enough,

you could probably get their
routine of when they would go out

for a walk or they would go
out for breakfast or lunch,

or getting in a car
to go to the studio.

[Sutherland] One of those
gathered outside the Dakota

catches Joe's eye
that afternoon.

He was a roly-poly,
dumpy kind of guy.

He wasn't hovering with
the rest of them, you know.

He was... They were hovering, and
he was, like, behind them, kind of.

You know, like, listening.

And I asked him, "What
are you doing here?"

And he said he wanted
to get John's autograph.

And for some reason, I remember
he said he didn't really

even like the music,
but he was a collector

and he collected things like...
I-I thought I remembered him

saying he collected butterflies
or something weird like that.

[Lennon] Wh-When's this
gonna be on or whatever?

- I like to listen to these, if I...
- [Kaye] We'll send you a copy.

[Lennon] Oh, yeah... It's never
the... I like to listen to it.

Yoko got a call and said to
John, "Gee, we've got to go."

[Lennon stammers]
What'd she sign?

- I don't see it.
- [Ono] "To whom" is to you.

[Lennon] I'll go over
it in ballpoint as well.

And then between the two,

you'll have the impression,
and then you can...

Yoko, I'm doing
it here right now.

[Kaye] This amazing couple.

I felt like I had really
made a connection.

[Lennon] Oh, it's a pleasure.
I... You know... [stammers]

I'm a fan of people too,
you know. [chuckles]

[chattering]

[Kaye] Their evening was going
to be spent in the studio.

[Kaye] We all left
the building together.

There were definitely more
people in front of the Dakota...

Beatles, John Lennon's fans... than
there had been when we arrived.

[people clamoring]

We all walked out,

and this rather irritating
guy came up to me

and started saying,
"Did you talk to him?

Did you get his autograph?

Did you talk to him? Did
you get his autograph?"

We thought the guy
would leave. He didn't.

John and Yoko got into
the limo. They drove off.

This guy came up to me again.

"Well? Well? Well? What did
he say? What did he say?"

I just turned and walked away.

[Sutherland] John and Yoko are
heading to the recording studio

to finish work on a new single
with producer Jack Douglas.

[Douglas] We were
working on this record.

We were having a great time.

He was back in it
completely, you know.

He was like... His confidence
level was way off the charts.

[videographer] Let's
do a zoom, Bob.

- [Bob] Yeah.
- Where is it?

[Bob] The front one is
focus, the back is to zoom,

- or these two buttons up here.
- Oh.

About movies.

A great movie is one that
makes you want to make a movie.

I wish I'd made that.

Shit, I'd go right
out and make it.

If I hear a great record,
I mean, I want to make it.

I'll make one like that.

- Thirty-one and 32, right?
- Yeah.

Take 'em and put 'em through the
gates and send a key off of, uh...

Once we got rolling, his
creative juices were really...

You could feel it.

Okay.

[Douglas] Everything
was going right.

I mean, he was on
top of the world.

[Sutherland] John's
happy home life,

especially his role as
father to young son, Sean,

has inspired him to
make music again.

On that TV screen right there, over
that screen was a picture of Sean.

So that when you were looking up
at the speakers, there he was.

[Lennon] We had his picture
up there all the time,

so he was looking
at me all the time.

[Douglas] Everything
was about Sean.

He says, "I can't stop."

He says, "I feel like I'm on a roll
and I just don't want to stop."

[Lennon] Because I hadn't been
in the studio for five years,

so he's used to me being
around all the time.

Then one day he just
sat up and said,

"You know what I want
to be when I grow up?"

And I said, "No, what's that?"

He looked me right in the
eye and said, "Just a daddy."

I don't know whether it's, uh, 'cause
he was born on the same day as me.

So we're almost like twins.

If I'm feeling depressed,
he starts getting that way.

So now I have a sort of more
reason to stay healthy and bright.

Being with Sean, and
suddenly I got the songs.

I'm not trying to
compete with my old self.

Paul and I turned out a
lot of songs those days,

but then it got to be sort of
not the pleasure that it was.

And I'm trying to go
back and enjoy it.

People are always thinking in terms
of, "John and Yoko just got together,

then the Beatles split."

And we've been together
longer than the Beatles.

[Douglas] That night, we finished
mixing, and the heavy lifting was done.

We knew we were there.

And the... Uh, you know,
the last I saw of him

was getting in the elevator
on the tenth floor.

As the elevator
door was closing,

he was standing right in front
of me with this big smile.

He was so happy about
how everything was going.

It had been a glorious day.

And he just said to me,

"I'll see you in the morning,
9:00 a.m." Happy as a lark.

[Many] This guy was there by
the entrance into the building.

And I asked him, I said,
"Why are you still here?"

He said, "Oh, I want to
get Yoko's autograph."

And then I went back downstairs.

[Sutherland] A limousine takes John
and Yoko back home to the Dakota.

New York cab driver Richard Peterson is
taking a fare to the same destination.

[Peterson] I picked
up these two guys.

Chatter, chatter,
chatter in the back seat.

They say we don't
listen, but we do listen.

Cabbies, we-we hear
everything goes on back there.

They were going to a
party at the Dakota.

[sirens wailing]

[Peterson] We get up there.

I pulled up behind a limo.

Yoko gets out

and walks towards the Dakota
building ahead of John.

[Hastings] Was getting close
to... Gonna go off duty.

And I heard boom... You
know, car door slam... Boom.

Oh, John Lennon must be coming out next,
and I had never seen him in person.

[fans cheering]

It was sort of like, "Oh, John Lennon."
You know, I can say I saw John Lennon.

And you could hear him coming
'cause he walked briskly.

You know, you could
hear the... [knocking]

That's when I saw him.

I saw the guy.

Lennon was walking
in, and this kid says,

"John Lennon," and he had...
He was standing there.

Heavyset, chunky guy.

I'm looking at him, looking
through the front...

front... front...
front window of my cab.

I'm looking at him
shoot... shoot him.

[gunshots]

- [Sutherland] Five shots.
- [gunshots]

This guy just shot John Lennon.

[fans cheering]

Runs past me. He
goes, "I'm shot."

He had blood coming out
of his mouth already

and just collapsed on the floor.

I half rolled him to his back
and took his glasses off,

put 'em on the desk.

And Yoko was screaming, you know,
"Get an ambulance, get an ambulance,

get an ambulance," you know.

So I ran out into
the front office.

Jay was standing there, full of
blood, and didn't say anything to me.

So I walked past the desk,

and... [clears throat] ...John
was laying straight out like that.

[sighs, breathes shakily]

[swallows, exhales sharply]

[sniffs] Still, no
movement, nothing.

[sniffs] And Yoko had
his head in her lap.

[sobs]

[Peterson] He shot him.

I thought they were
making a movie.

That's what I thought.

I thought they were
making a movie,

but I didn't see no lights
or cameras or anything.

So, I just realized, "Hey,
this ain't no movie."

But the guy was still
standing there with a gun.

Calm as a cucumber,
calm as a cucumber.

- [people clamoring]
- [sirens wailing]

[Sutherland] Unusually, the
gunman remains at the scene,

and the first responder
is Peter Cullen.

[Cullen] We got the call
of possible shots fired.

When we pulled up opposite the Dakota,
somebody came running over to me.

He was running away
from the building.

And he says, "Officer, be careful.
There's a guy shooting a gun."

I says, "Oh,
Christ, here we go."

Your whole life goes in front of
you for that couple of seconds.

I looked around. I
saw everybody froze.

It was like a picture.

The only p-person I knew there
was the doorman, and I said,

"What the hell's going on here?"
He pointed, "He just shot Lennon."

- [sirens wailing]
- [radio chatter]

[Sutherland] Next on the scene
is Officer Herb Frauenberger.

We pulled in on the west side.

So in effect, what we
had was, we had two cars

on either side of the arch with
the headlights on the arch.

The other unit has a guy
pinned against the wall.

[Cullen] We put the cuffs
on. And it was strange.

He didn't fight us at all.

There was no resistance
there at all.

He actually apologized to us.

He said, "Gee, I'm sorry I gave you
guys, uh, uh... I ruined your night."

And I says, "You got
to be kidding me."

I says, "You know, you just
ruined your whole life.

What the hell was going
through your mind?"

Somebody is yelling, "There's
a guy shot back here.

There's a guy shot back here." So
we go in and... guns out, of course.

And the first thing I see is
a man laying on the floor.

I don't know if he's alive
or dead. He's not moving.

So, I said, "Well,
maybe he's got a pulse."

So I turned his head
just a little bit

so I could put my hand and
try to feel for his pulse,

and he had a very faint pulse.

Somebody in back of me that was,
you know... had responded said,

"That's John Lennon."
And then it hit me.

I said, "Holy smokes,
this is John Lennon."

By this time there
was a crowd forming,

and we carried him outside,
put him in our car and just...

"Let's get him the
hell out of here."

[siren wailing]

[Frauenberger] We radio
ahead to the hospital,

but we never mention it's
Lennon because reporters

monitoring all these
police radios...

We don't want a
circus down there.

[Sutherland] John is taken
to the Roosevelt Hospital,

one of the best trauma
units in Manhattan.

[staff clamoring]

[nurse] We knew he was shot.

We knew he was
bleeding terribly.

John Lennon was always
my favorite Beatle.

And I just thought that it was
so tragic, that was the only time

in my life I got to meet him.

[doctor] I go running down
there. I say, "What's going on?"

They say, "We have
a gunshot wound."

[stammers] We descend on him.

We're working on him,
getting IV started,

pumping his heart and,
um... into a rhythm.

They got a tube in him.
They're breathing for him.

And, um, all of a
sudden, someone says,

"Hey... [stammers] ...that
looks like John Lennon."

Oh, I said, "Nah... [chuckles,
stutters] it can't be, no."

And they start going through his
clothes, and, uh, there's his wallet.

There's some, uh,
pictures of him and, uh,

Sean and Yoko and a white
Rolls in the background.

And... And it's like, my God,
that... that is John Lennon.

[Sutherland] While doctors
are still working on Lennon,

the news of his shooting
is starting to break.

We have a rather startling
story that just came in here.

A man who has been tentatively
identified as John Lennon,

the former Beatle, has been
shot on Central Park West,

outside the Dakota
where John Lennon lives.

Police rushed him to
Roosevelt Hospital.

If we get any more information
tonight, you'll hear about it here.

We are trying to
reach the police,

the hospital, his wife, Yoko
Ono, to get... [stammers]

their comment tonight, and
wanting to find out more details

on just what is going on.

[Sutherland] Newsrooms try
to keep pace with the story,

but the true scale of Lennon's
injuries are all too apparent

to the medics working on him.

Really, there was, uh...
Your hands are on the heart

and you're... and you're squeezing
it, uh, as if it... [stammers]

were trying to do it itself.

You just keep pumping it.

A-And the hope was
that something would...

[stammers] You get some
flicker of-of life.

And unfortunately, it
was just not enough.

I think total time was about 45
minutes before it became, you know,

futile and, um...
[stammers]...we just...

[stammers] we called it...
[stammers] ...and stopped.

[Kammerer] You could've
heard a pin drop.

You still want to do
more, but now, you know,

you stop and there really is...
There's nothing to say, really.

Unfortunately, it's
just very, very quiet.

And when he had called
it and it was over,

and we walked out of that room,
the Muzak was playing "Imagine."

[Kammerer] That was
everybody's "Oh, shit" moment.

Maybe if I had done this or done
that... You feel like you failed.

[fan] Bless. God bless you.

God bless you.

I was working, and
my wife came up.

She was pale, and she said,
"I have to talk to you."

And she said that
John's been shot.

Immediately, we got in a cab and
the cab driver had a radio on,

and that's all they
were talking about.

[reporter 4] Again, John Lennon, the
former Beatle, has been shot twice

in the back, is now in a
New York City hospital.

There is no report
yet on his condition.

[Sutherland] Record producer
Jack Douglas and his wife arrive

at the hospital and
are refused entry.

My name is Jack Douglas.
I was just with him.

Go on, mister. We know all
this, but you have to move away.

We can't. Is Yoko
here? Is Fred here?

[officer 2] She's
here. Yoko is here.

Would somebody please tell
them that Jack is here?

Would you please tell Yoko
that Jack is here, please?

I thought h-he was shot
but, you know, alive.

That... You know, that's
all I could hope for.

- Please tell someone I'm here.
- He is the closest to them.

He just left me five minutes
ago before he went home.

This is his best friend.
This is her best friend.

She needs somebody right now.

Would you please tell
her that Jack is here?

[Sutherland] The medical
staff now have the job

of telling Yoko
about John's death.

[Kammerer] She knelt down,
and I knelt down next to her.

She had her arms around me, and I
kept reiterating he wasn't in pain.

He was not scared.

Then Yoko said, "I
have to get home.

I have to see my son."

She did not want him to hear it on
the radio or TV or anything else.

[Frauenberger] Of course, the
front was all mobbed with 'em.

You know, reporters.

So, I said, "Well, tell the
chauffeur to come around 59th Street

and we'll run you
out the side door."

So that's what we did.

Put her in the car, and she
was going back to the Dakota.

[Douglas] Well, we stayed there until
they announced that he'd passed.

But, uh...

it, uh... it was, uh,
just fucking terrible.

Uh...

- [whistle blows]
- [crowd cheering]

[commentator 1]
Third down, rather.

[Sutherland] The news of Lennon's
death is impossible to contain,

and it's the commentators
of Monday Night Football

who find themselves
deliberating off air

whether they should
tell the nation.

[commentator 2] I can't
see this game situation

allowing for that news flash.

- Can you?
- [commentator 1] Absolutely. I can see it.

- [commentator 2] You... You can?
- [commentator 1] You betcha.

You... We've gotta do it.
We know it. We gotta do it.

- [commentator 2] All right.
- [commentator 1] I don't... Hang on.

- This is a tragic moment...
- [commentator 2] All right.

[commentator 1] ...and this is
gonna shake up the whole world.

[commentator 2] All
right. I will get it in.

[crowd cheering]

[commentator 2] An
unspeakable tragedy,

confirmed to us by ABC
News in New York City.

John Lennon, shot outside
of his apartment building,

rushed to Roosevelt
Hospital, dead on arrival.

Hard to go back to the
game after that news flash.

[commentator 1] Indeed, it
is. Three seconds remain.

[Frauenberger] So how did
Monday Night Football find out?

Well, when we brought Lennon in,
there was a guy on a stretcher there.

He was a producer, I believe,
for one of the news companies.

And he was on a motorcycle,
and he got hit by a cab.

So of course, he's got
hold of one of the cops.

And when the cops told him, the
next thing you know, ABC News knew.

And then, of course, you
know... then everybody knew.

[person 1] One, two. One,
two. Check, check, check.

- [person 2] You got to read the headline.
- [person 1] Check, one, two. Test, test.

We have this just in from United
Press International tonight.

Former Beatle, John
Lennon, is dead.

He was killed tonight in
his Manhattan apartment.

He was shot... [stammers]
reportedly three times.

Critically wounded, he was
taken to Roosevelt Hospital,

but he died there.

[Sutherland] Within minutes,
hundreds and then thousands

gather outside the
Dakota building.

[officer 3 through bullhorn] Everybody
move back. Get off the street.

[officer 4] Get off the street.

[sobs] He's not dead.

They're just saying that. [sobs]

[interviewer] You know the
doctor just announced it?

Yes, but I don't care.

They're just saying that
to get people to leave.

He's not dead. John
Lennon can't be dead.

[sobbing]

[officer 4] All right, fall
back. Off the street...

[Douglas] The thing that
drove me completely crazy

for years was the fact that
normally, I went home with him.

So how many times do you replay
being in the limo with him,

him getting out, m-me
spotting this nutcase,

tackling him, and, uh,
the world being different?

So you replay that too many times
and you start to go pretty crazy.

[people singing "Give
Peace A Chance"]

[reporter 5] Back at the Dakota,
fans were mourning in the street.

[reporter 6] Nobody
could remember such grief

and shock for the death of
a singer and songwriter.

John Lennon and the Beatles
had been a very special part

of a whole generation's life.

[singing "Give Peace
A Chance" continues]

I don't know where else to go. I...
I don't... I just need to be here.

I don't know how to explain.

I just had to come down and, um...
and believe that it really happened.

That, like, someone would actually
shoot John Lennon, you know.

He was... He was a genius.

[singing "Give Peace
A Chance" continues]

John, in his life,
has given more love

than most men and women
on the face of this earth.

We're here to prove that love is
not dead, even though John is.

[fan 2] Even though he's dead,
his spirit still lives on.

And... And his spirit lives in us
and all the people that lived here.

[Sutherland] Similar
outpourings of mass public grief

are seen across the world.

[reporter 7] There's been reaction
on both sides of the Atlantic

to the murder earlier this morning
of a former Beatle, John Lennon.

He was shot dead outside
his home in New York.

Liverpool, England, was a
special place to be today.

[reporter 8] Under a winter
sun, in Liverpool's main square,

they came by the thousands.

Doctors treated 110 people, most
of them overcome by exhaustion.

These were working people,

the kind of people John
Lennon grew up with.

The kind of person he once was.

[Sutherland] The press are
dogged in their determination

to hear from Lennon's
former bandmates.

Uh, I was very shocked, you
know. It's terrible news.

When did you... How did
you find out about it?

I got a phone call this morning.

- From whom?
- Uh, from a friend of mine.

Are you planning to go
over for the funeral?

I don't know yet.

Drag, isn't it?

Okay. Cheers. Bye-bye.
Good night, guys.

Thank you. Go. Bye-bye.

[Sutherland] After the initial
shock of Lennon's murder,

attention soon turns to the
suspect, now under police arrest.

[reporter 9] ...that
robbery was not the motive.

Could you speculate
further on that situation?

[interviewee] I... I couldn't get any,
uh... any... any more specific than that.

However, robbery does not
appear to be the motive.

[reporter 9] Was there any problem
in the arrest of this person?

[interviewee] None
that I'm aware of.

[Sutherland] Detective Ron Hoffman is
put in charge of the investigation.

[journalist 1] Do you have
any idea what happened to him?

He was leaving his apartment...
He was leaving, uh,

a limousine in front of
the... arriving at home,

and he was shot from behind in
the vestibule of his apartment.

- [journalist 2] Talk louder, please.
- No I... No idea why?

- No... No altercation?
- Not at this time.

[Hoffman] We never use that
term, "the lead detective."

You hear that on
TV all the time.

We just referred to me as
the guy that caught the case.

And if it goes bad, it's
my fault. [chuckles]

[journalist 3] There was the
talk of a second suspect.

- Is that... Is there anything to that?
- I don't know. I...

You said a young
boy. Well, how young?

You... You're badgering
me. I don't really know.

- I'm sorry. We're just...
- I don't know. A young male, around 20.

I saw him for a couple seconds.

I knew, uh, immediately that
was gonna be a giant case,

and there was no room
for errors on our part.

[Hoffman] The perpetrator,
he was placed under arrest

and taken to the
precinct to be processed.

[reporters clamoring]

It was as busy as
I've ever seen it.

And the telephone
started ringing.

I mean... [stammers] ...I was getting
calls from all over the world.

[Hoffman] The pressure on me
was much thicker than normal.

- Much thicker.
- [journalist 4] Chief, chief.

Chief, chief. Chief.

[Frauenberger] The detectives
were upstairs interrogating him,

trying to find out what
was going through his head.

He's not in a cell.

He's in, like, an office,
a detective's office.

He's sitting down, and there's
three or four guys talking to him.

They saw that he wasn't
a violent-type person.

If you looked at this guy, you would
say, "This guy, shoot somebody?

Never." Looked like
a nerdy college kid.

[chuckles] And they're trying to get as
much information from him as they can,

kind of playing
him a little bit.

Trying to befriend him a little bit,
so that he opens up a little bit more.

That's kind of the
idea. You know.

[Hoffman] Automatically,
when somebody is arrested,

we call the Bureau of
Criminal Identification.

Try and get his record.

His rap sheet, they call it.

We'd knew nothing of
this man's background.

I had nothing to go on. Nothing.

He was a nonentity.

He came here with no criminal
record, no record of anything.

[Sutherland] As news spreads,
witnesses start coming forward.

Taxi driver, Mark Snyder,
arrives at the station.

I knew I had this guy in my
cab the day the news broke.

Kept asking about John Lennon.

I figured he might have
been the guy that did it.

I went into the police precinct
where they were holding him.

I told them the whole story.

[Snyder] I was working
the night shift.

I was driving my cab into the
city, north on 8th Avenue.

I see somebody hail me.

Looks like he was carrying a duffel bag
and he looked like he was from the army.

The first thing he said to me was,
"I'm a producer for the Rolling Stones.

I'm telling you that I just got back from
a recording session with the Beatles.

They all got back together again."
Oh, what am I going to say to that?

"Yeah, sure. Yeah."

I asked him, "Can you remember
any of the new songs?"

And he got angry, you know.
[stammers] "I'm not going to tell you.

Forget it."

He was flipping through this book
madly, and it was a notebook.

And I looked in the rearview mirror
and there was nothing but empty pages.

He said, "Drop me off here."
So I turned, dropped him off.

He walked over to the car
on the driver's side first.

Rolled down the window.

He paid me whatever it was.

And he said, "My name
is Mark David Chapman.

You'll remember my name."

[Sutherland] It's clear
to the investigating team

that they're dealing with
an extraordinary case.

And for the detectives,
things just don't add up.

[Frauenberger] One of the unusual
things was when he was apprehended,

he was reading a book
called Catcher in the Rye.

[Hoffman] He stood there
and he wanted to get caught.

He could have walked away and
into the streets of Manhattan.

I'd still be looking for him.

Was he alone?

Was somebody working
behind the lines with him?

When somebody kills somebody...
[stammers] ...you always have a reason.

What was his reason?

[reporter 10] FBI files clearly reveal
Lennon was considered a political threat.

[Lennon] I'd open the door
and there'd be guys standing

on the other side of the street.

I'd get in the car, and
they'd be following me.

Suddenly I realized this
was serious, you know.

They were coming for me.

We're here to bring the boys home.
Let's not forget the machines.

Steps were taken on the highest level to
do something about the Lennon problem.