All language subtitles for Wire In The Blood - 3x01 - Redemptionالحلقة الاولي

This way, guv.

The night watchman heard a noise
about 2:30,

went to check it out and found him.

Any sign of anyone else?

Some old toys. Bits and pieces.

It looks like kids
have been here before.

What about needles, foil,

- anything like that?
- Nothing.

Could be a suicide, maybe.

Yeah. Could be.

Right, I want this
whole place checked out.

- Tony Hill.
- Tony, It's Carol.

Something
I need you to take a look at.

Where are you? It's
the middle of the night.

What did you say?

- Is it raining where you are?
- No. Why?

Nothing. I'll be right there.

No obvious external
injuries or contusions.

From the dilation here...

I'd say we're looking
at a metabolic sedative.

- Could it be a suicide?
- It's possible.

Post-mortem lividity seems
consistent with the position,

so... well, either he sat
here himself and waited to die

or someone placed him
here very soon after death.

- Can you give me a time?
- Early hours of this morning.

Are you sure the
watchman didn't touch him?

No.

He looks almost peaceful.

Yeah.

So why am I scared?

It's too quiet, Carol.

Tell me what you're seeing.

There's nothing casual
or random or careless here.

This is a stage.

He's central to it,
and we're the audience.

We were meant to find him.

And now that we have,
we've completed the circuit.

The connection.

What you were feeling, the thing
that scared you, is manipulation.

- Someone wanted us to see this.
- Who?

Maybe him.

OK, you can take him now.

Can you let me know as soon as
you're sure of the cause of death.

What happened to you?

Do you get days when you feel
the sky's falling on your head?

- Yeah, all the time.
- Bit like that.

- Know a good builder?
- Sorry?

Oi! Get off!

Shit! Leave her. She's a copper.

- All done?
- Not exactly.

Looks like a pinhole leak. Could
have been going on for months.

Don't! You'll make it worse!

Tony Hill.

Can't someone else cover it?

Ask Sam if she'll do it.

Thanks. What?!

Joist damage?
They're just wet!

Yeah, but you got
electrics under there, mate.

Tony Hill. What is it?

...junction boxes,
you're talking about...

How are you?

How do I look?

Like you've been hit by a car.

You say all the right things.

I'm fine. Just a bit
woozy, that's all.

Do something for me?

Yeah.

Paula said she'd see to Nelson.

Tell her the cat
litter's under the sink.

Yeah, no problem.

Tony...

Kevin should have ID and
postmortem results back by now.

Can you get a copy
of the file for me?

You're supposed to be
taking it easy, Carol.

It's the case, or daytime TV.

- They said at the desk...
- Dr Hill?

Tony, yes.

I'm ACC Eden. I'm in charge now.

I hear you help us
out from time to time,

with profiling and so forth.

When I can, yes.

Well, I just wanted to say hello.

Welcome you to the team.

His name is Corran... Lyle.

He's 10 years old. He was reported

missing five days ago,

he was only reported as a runaway,

so he wasn't flaged in the system.

How come?

He'd taken a gym bag,
clothes, personal stuff.

It looked like he
knew what he was doing.

So he runs away from home,
he's out there for five days

- and in the end he can't take it any more?
- Yeah.

Except Forensics now say

the body was definitely
moved after death.

Now, if he did kill himself, and
someone knew about it and moved him...

maybe tried to hide
what had happened...

The positioning of the
body was very deliberate.

Almost ritualistic.

So in your opinion this is murder?

Yes, in my opinion.

Very good, then.

Kevin...

Nice job at the briefing.

How do you feel about being
first up to the crease on this?

Fine. Thanks, sir.

Good.
While Carol's out of the picture,

I want you to take
the lead on this,

show us what you're capable of.

Spread your wings a little.

We need some idea

of how Corran might have been
feeling before he disappeared.

He seemed fine.

School was going well.

His last report was much better.

He was falling behind.

His teacher,
Mrs. Kinsella,

we went in to talk to her.

But he'd really picked up recently.

I can't think why
he'd want to run away.

Tell me about that, when
you realised he'd run off.

He didn't come home
after school.

We rang everyone.

He wasn't with any of his friends.

And then we...

we went to look in his room.

And he'd...

he'd taken stuff...

toys...

and clothes, too...

changes of clothes...

and that's when I knew he'd gone.

Do you have any idea why
he'd think of running away?

No. None at all.

There.

What?

There. He's lying.

Ask again, Paula.

You can't think of anything?

Any reason at all?

No, no. Of course not.

Vernon needs to X-ray the body.

You want to know why Corran run away?

That's left tibia.

That's right radius.

And that's the parietal bone,

consistent with a blow
to the side of the head.

The wrist and the leg
are greenstick fractures.

Going back how far?

Seven years, five and three.
There's also some recent bruising.

Let me guess. Five days old.

- Yeah.
- We need to split them up.

She won't talk with
him next to her.

Go slowly, let her
fill in the gaps.

- What about him?
- Be direct, aggressive.

No problem. You wanna sit in?

What, and stop you
spreading your wings?

No, I though I'll take
a look at the house.

Do you think he... killed himself?

We're not sure.

Might he have
thought of doing that?

It doesn't really matter, does it?

He ran away.

And that's why he's dead.

If he'd stayed at home
he'd have been safe.

Would he?

Really?

So, what do you take
if you're running away?

Things that mean something.

Important things.

Because you're upset
and you're running.

You want to get away and you
want to take comfort with you.

There are some things about
Corran's death we're not clear on.

Some injuries.

What did that bastard do to him?

That's not quite what I meant.

Corran broke his arm,
didn't he, Mr. Lyle?

What?

When he was seven!

He fell off a climbing frame.
But that was three years ago.

And how did he break
it the second time?

Did he fall down the stairs?

He caught it in the car door.

What do you mean by that?

I mean, was...

was home really safe for Corran?

Stop it.

I need to know the truth.

Stop it!

I'm telling you the truth.

All of it?

What do you want from me?

That it's my fault?

I'm his mother. He runs away
from home. It must be my fault?

That's not what I meant.
I just want the truth.

Because he didn't feel safe!

What do you know?

I'm his mother!

I looked after him.

I kept him safe!

Mrs. Lyle, please... sit down.

No! You don't understand!

You took clothes as well. Sensible.

You obviously thought it through.
Not an impulse at the moment, I think.

You'd thought about it.
Planned it, maybe.

Did you lie in bed
and think about it?

Did you think about what you'd take?

Did you go to sleep and dream
of escaping to somewhere else?

To somewhere safe?

He killed him.

You're saying your
husband killed Corran?

Yes.

So did I.

Cos if I'd done something...

he might be all right!

We've got him! Wife
beater, child abuser, and...

his wife's prepared to say so.

Stephen Lyle was a child
beater,
plain and simple.

You don't take care with
painkillers or sedatives, do you?

You'd lash out with a boot
and a fist.

So you didn't kill him.

- Have you fixed it?
- No chance, mate.

Close the shop. I'm going to have
to strip the plumbing out too.

I'm afraid your phone's
going to be off for a while.

Your neighbour's complained. I don't
know what you're going to do about that.

Is this insurance or cash?

You just can't keep away, can you?

I've got no water for coffee.

You know I can't
think without coffee.

They're questioning the father.

Wrong guy?

Yeah, it's the wrong guy.

It's the body placement.

It's ritualistic. Yeah...

But why?

Either the killer's
proud of what they've done

and what to draw attention to
it by objectifying the victim.

Or they're identifying with
the victim subjectively and want

to leave them properly honoured.

Which do we have here?

Tony...

Did the ceiling
really fall in on your head?

I'm lucky to be alive.

Good night, Tony.

Good night, Carol.

Children, back to your
classrooms now. Quickly.

Get away from the
windows. Move! immediately!

- Again?
- Yes.

It's public this time. Full view.

That's an escalation.

The victim didn't
go to school here.

You're not killing at the scene,
are you? That happens somewhere else.

Somewhere private.

This is when you let us know
what you've done.

You said escalation.
He's getting more confident?

Well, perhaps.

But the factory
was already confident.

Everything about
it's calm and precise.

The first time you kill, it's
exciting, it's dynamic, it's...

a culmination of fantasy
and expectation.

But it didn't feel like that.

It didn't feel...

like a first time.

- He's done this before?
- Perhaps.

Maybe he started somewhere else.

Or maybe he's been here all along

and only now showing us
what he is.

You're sure he's not
a pupil of this school?

They've never seen him before.

So what's he doing here?

The discovery earlier this morning
of the body of Liam Fletcher

in the playground of
St Peter's Middle School

has sent further shock
waves through Bradfield.

Yeah, that's right, pretty boy.

Don't go out alone.

Are you going to go on a date
with your imaginary friend?

Did Liam take anything
with him when he went.

Clothes or anything?

Yes...

Julie, when's your
dad gonna be home?

He's not.

They're divorced.

Can you tell me,

was Liam acting strange
before he disappeared at all?

Strange? How?

Depressed, maybe.

Different. Anything like that.

- Maybe a little.
- No!

He was fine!

He was just fine.

You know that.

Julie, would it be OK if
you showed me Liam's room?

OK.

Won't be a second.

- You're not a police, will no?
- No.

- Are you a counsellor?
- Psychologist, yes.

Am I supposed to talk to you
about... what I'm feeling?

If you want. Sometimes that helps.

But if you don't want...

- Are you going to catch his killer?
- I'm going to try.

That's not good enough.

I'm gonna try.

Do you know why Liam ran away?

That looks expensive.

- Dunno.
- Yes. It's radio-controlled.

So?

When did your dad leave?

Three years ago.

So who gave Liam the Ferrari?

How do you know somebody did?

- He could have saved up.
- Not taken out of the box? No.

Who gave him these?

- Jack.
- Yeah.

Mum's boyfriend?

Since when?

A year.

Yeah, lots of presents.

Do you get presents?

When did you start thinking
about this sort of thing?

- A while ago.
- When your dad left?

Yeah.

Do you believe in God?

- I believe in the power of faith.
- That's not the same.

You should read that.
It's not too late.

OK.

- Can I have a look?
- Yeah, sure.

These are good.

Thanks.

They're all kind of
warm places, aren't they?

Yeah. I was trying to
draw somewhere safe.

That's where he is.

He's safe there.

I thought he should be happy.

Get given anything he wanted.

I thought...

We need Vernon to check

Liam's body for
evidence of sexual abuse.

- The boyfriend.
- You're kidding.

Did the mother know?

At some level, yeah.

That's why she was so
adamant everything was fine.

Yes, she realized
something was wrong.

If not, it's her fault he ran
off and that he's dead now.

That's what Mrs. Lyle said, that
she killed Corran, it was her fault.

Exactly.

Vernon's report on
the body, you were right.

Let's see how he takes having his
DNA matched.

Mr. Tavener, our pathologist,

found evidence of sexual
abuse to Liam Fletcher.

Would you be prepared
to provide a DNA sample?

He admits child abuse only.

How do we make him
talk about the killing?

We don't. He didn't do it. Sorry.

Helped drive him from home,

but no more a killer
than Corran's dad.

This isn't family members.

It's a serial killer MO

and the guy you after is
preying on abused kids,

not abusing them
in the first place.

We should check out
who else is out there.

- Runaways, you mean?
- Yeah.

It's these children
who were on the system,

just not flagged up as abductions.

You think could be others.

Do it.

You like your books, don't you?

What are you reading there?

It's Heinrich on the
psycho-sexual urge.

That's Stockford on
serial killers and cannibals.

And this is Green's
case histories on...

child abduction.

Tony Hill.

Only if there's coffee.

They all went missing
within the time frame?

Yes.

There's another one but he's
been gone for a couple of months.

Not him, then. Our man's faster.

They run away.
He finds them, takes them.

A few days, three,
four, then they're dead.

You need to treat all
these as potential victims.

OK.

What happens in those
three or four days?

Not what you're thinking.
Which is strange itselves.

In child abductions by
other than a family member,

overwhelmingly
there is a sexual component.

Not here.

What's that?

Corran Lyle drew it.
It was on his wall.

- Denny's Garden.
- Yeah. Mean anything to you?

No. Maybe a friend's house.

I can check it out.

He had cars and bikes on his
wall. And this. It doesn't fit.

We've got one body in a factory,
another in a school playground.

Neither location is
linked to the victim.

The factory's closed,
and it's the wrong school.

Nothing fits.

The locations don't link to
the victim, but to the killer.

Can I help you?

Oh, I'm just having a
look around, you know.

See what's going on.

- Yes?
- There's a man here, Michael.

I'm sorry,
but I'm going to have to ask you to leave.

We are not open to the public.

- How come?
- Everybody's

welcome in God's house.

But this is a group
for young people.

My name is Michael
Stocks. You are...?

Hill, Tony Hill.
A friend of Julie Fletcher's.

I'm sorry. I didn't
realise. Come to my office.

What happened with Liam
was terrible.

We've been praying
with Julie, of course.

Yes.

You a friend of the family?

Actually, I'm a psychologist.

Oh. I see.

And you've been... helping Julie?

I hope so.

She's been with us for
just over a year now.

She's very deep-thinking.

And with a lot on
her mind, I'm afraid.

What about her brother?

To be honest, I never
really saw that much of Liam.

He didn't really seem to... engage.

Well, he's at peace now.

That's what Julie told me.

We aim to provide a safe haven
for children.

We want them to realise that

that God's the one person
they can always rely on,

no matter what's going wrong.

My regret, of course,
is that we failed Liam.

Usually we wait for
children to come to us, but

but with Liam I can't help thinking

we waited too long.

Did you know Corran Lyle?

The other boy? The one
they found before Liam?

- That's right.
- No, I'm afraid not.

I read about it in the papers.

So many troubled souls, Tony.

You must know that
from your work too.

- Indeed.
- Well, come back any time.

Thanks.

This is preliminary, because we
still only have conjectural links

between victims and circumstance.

But even from first principles

we see the choice of
victim isn't random...

that he's deliberately
targeting these boys.

Also, he's getting away with it.

So either he's overpowering
them swiftly and effectively,

or he's presenting
as trustworthy enough

to go with him.

So, a mature man,

early 40s perhaps, maybe older.

Intelligent.
In a professional career.

Calm, capable, manually dextrous.

Scenes of crime indicate
precision and order.

He was abused as a child,

probably by his father, or
possibly by another family member.

He's targeting boys of
similar abusive backgrounds

and of a similar age to
him when he was abused.

So why is he keeping them
alive if not to abuse them?

Clearly, he feels close to them.

He has a connection to them.

Keeping them alive
prolongs that connection.

- What?
- He's not picking them up randomly.

He's choosing them because
of what's happened to them.

Motive, not method.

That means he got
close enough to them

to learn about their
family background.

The connection
pre-dates the abduction.

He knows them.

Has to.

Matthew?

Matthew?

Matthew?

- How did he get in?
- We don't know.

No sign of a forced entry.

- This is Matthew's room?
- Yes.

When did he disappear?

Seven years ago.

When she came in, she
thought it was him,

come home somehow.

This is it. This is
what we're missing.

He's showing us the past.

He's showing us something
about previous crimes.

You bring him here. Why?

Because you know this place.
You've been here before.

You carry him.

No drag marks on the floor.

You're gentle with him.

This is a very special moment
for you, isn't it?

Because this is when you show
us all what you've accomplished.

Yes, you carry him carefully and...

gently.

You place him here.

Here.

Legs out...

Hands on the floor...

And this is what we find.
What we we're supposed to find.

But we're not seeing what
you're telling us, are we?

What are we not seeing?

It's what the victim was seeing.

Yes.

What are you showing me?

You can't be here!

This is for the children!

You found him, didn't you?

My name's Tony Hill.

I'm working with the police.

You're not from the newspapers?

No.

My name's Tony.

What's yours?

Henry.

This is where the
little boy was hurt.

I know.

And I'm trying to
find out who did it.

Can I ask you something?

Promise you're not from the news?

I promise.

When you first saw the little boy,

did you move the roundabout?

I told him.

It's too early for you to be here.

School's not for an hour yet.

And he didn't answer?

No.

Because he had his back to you?

That's right.

That's all right. It doesn't matter.

Henry, can you show me where
he was when you first saw him?

- Just like this?
- Yeah.

Someone's hurt him.

I know. I'm sorry.

Henry,
don't let anyone touch this watch.

Don't let anyone near it.

All right?

It's really important.

Have you been in here
since the police left?

No. I couldn't.

- What are you looking for?
- Not sure.

Who was he
the little boy who was here?

We don't know his name yet.

Sorry.

When Matthew went missing,
did he take anything?

Some clothes, his
Walkman, some tapes.

And some stickers, you know,
the ones they used to swap...

he took them.

- Like these?
- They weren't there.

Are you sure?

Of course. I know
everything in this room.

How are these here?

Please...

Nobody will tell me.

It's just... all
these years, and...

I haven't known.

Mrs. Collier, Matthew
didn't run away from you.

He was murdered.

I'm very sorry.

Thank you.

This is Timothy Mason.

Disappeared five years back.

His father used to be on the
catering staff at St Peter's.

There's your match
for the playground.

We've got the factory too.

Andy Warwick went
missing four years ago.

His father was a brickie, but

his mother worked at the
factory's shipping office.

In which case,
was the mother abusing him?

Yeah.

They've moved away and we
haven't been able to trace them yet.

So we don't know
anything more about him.

He liked to play with toy soldiers.

We've had Forensics go over
the items at the crime scenes.

It appears you were right.

They're not contemporary.
Someone's

been placing them
there deliberately.

We're being shown
what we didn't see before.

We didn't see it seven years ago.
So,

now he's making us look.

Corran Lyle, Liam Fletcher and...

- Daniel Raymond?
- Confirmed this morning.

Three victims, all
killed with sedatives.

All positioned deliberately

in locations that had
nothing to do with them.

Andy Warwick, Timothy Mason,
Matthew Beaumont.

Three missing boys,
presumed to have run away

between five and seven years ago.

In each of these earlier cases,

we find a similar pattern.

Abusive home. A child disappears,

some piece of evidence comes to light
that points to them running away.

A bag found in the train
station, that kind of thing.

But actually they were abducted.

And killed.

The killer's placing
the new victims

in locations specific
to old murders.

How can you be sure the
original children were killed?

Because he's not touch and go.

He's acquisitive.

He's a collector.

The items he's placing
near the new victims

are relics from the old
killings.

He'll have kept their clothes,

their personal effects.
Everything they took with them.

No sign of forced entry at
the Beaumont house, right?

Right.

Because he had a key.

Which he took from Matthew when he
killed him, and kept for seven years.

And I don't think it
will have stopped there.

What do you mean?

He perceives relationships
with the children

before and after death. I think

it's high likely that
he kept the bodies.

You're kidding.

They were never found.
He's still got them.

It's all part of the same pattern.

We just don't have how it fits yet.

We must look into the past

as well as into
the current killings

and ask why he shifted MO.

Find where he started and
what links these children -

and we find him.

First you keep them. Now...

you let them go.

You kill them and you let them go.

You make 'em look like they're calm.

At peace.

You use sedatives to kill
them. This isn't right.

Where's the... aggression?

Where's the need?

What are you doing?

What's your name?

Andrew.

Well, I'm Tony, Andrew, and...

I'm trying to work something out.

Is Corran in here, too?

No. He's not ill. He's...

Look. Andrew.

What do you see here?

It's a garden.

It's a garden with children.

Exactly.

But what does it mean?
What does it express?

It looks happy.

But why a group of children?

Maybe they're friends.

Everybody wants friends.

Companions.

Trust.

What does the fence mean?

So that no-one else is allowed in?

Security.

Just you and the friends you trust.

So the fence means
that this is a safe place.

You'd trust someone in the garden,
because they're your friend.

We don't talk to strangers,
but they wouldn't be a stranger.

This isn't right.

This isn't a picture drawn
by a ten-year-old boy.

Conceptually, it's enclosing,
it's familial, it's feminine.

Julie.

Julie Fletcher.

But why?

Thanks, Andrew.

These are runaways
from the past ten years,

which match the criteria
for potential victims.

If Dr. Hill's right, and they were

actually abducted and killed,

then we've got at least
another six likely victims.

Six more?

That's nine children before

he starts leaving the
bodies for us to find.

How the hell's this been happening?

Well,
there are a lot of runaway children, sir.

Most of the kids on
the street come down

to mental illness or
abusive backgrounds.

Our killer knows that.

Then why change MO?

They're getting away with it.

Why change MO?

Hello, Julie.

Can you tell me what this is?

OK. This is the website for
Collingwood Community Circle.

Julie Fletcher's church group.

Most of the website is
Christian propaganda,

but a couple of layers down,
and you get this.

Dennis Garden. It's a
peer-moderated chat room.

Kids with problems talk
to other kids with problem,

so they don't feel alone.

This is where they felt safe,

where they trusted someone.

He's not targeting
runaway children.

He's making them run.

Michael Stocks asked
Julie to design the logo

when the site was
set up last summer.

So the killer's only
started using it recently.

Well, recently enough for
the latest three victims.

Yeah. But not the earlier ones.

They must have used
a different channel.

OK. What next?

Can you get me in the chat rooms?

Not just the main area,
but the person-to-person

conversations, as well.

We can get a direct feed
from the ISP's servers.

Then I need a laptop
with that set up on it.

- Why?
- If the killer's in there,

I want to be able to spot them.

"Tuff Cat:> Is anyone there?"

"Dorian:> Yes. I'm here."

Julie. It's late.

I just wanted to talk to someone.

You can always talk
to me. You know that.

It's what I'm here for.

But it's cold with
the heating off, and...

I'm supposed to lock up.

Tell you what. Why
don't you come back

to my place and we
can talk about it?

Anne, we were just leaving.

- Will you lock up for me?
- Yes, of course.

Excellent.

Then he showed me my picture...

...the one of the garden.

Only it wasn't mine.

One of the other
boys had copied it.

And it felt like...

maybe if I'd taken
better care of Liam,

- it would never have happened.
- It's OK.

It's OK.

Julie.

These are awful
things to be feeling.

What happened to Liam was
nothing to do with you.

You have to know that.

It was just a terrible,

terrible thing.

Sometimes life is very cruel...

and strange.

But God can help us understand,

if we have enough faith.

I...

...I don't think I
have enough faith.

Then I'll help you.

Would you like that?

For me to help you?

Come...

Sometimes it's necessary
to take a big step...

...in order to show our faith.

Sometimes it's necessary...

...to be naked

in front of God.

Do you understand?

I...

I don't know.

I think so.

Here.

This accesses the direct feed
from the ISP.

We can get into any
of the rooms, including

private conversations who you want.

- Show me.
- There you go.

What are they talking about?

Favourite bands.

Who's cute and who's not.

Don't die of boredom.

I'll try not to, thanks.

Let us know if you spot anything.

Here's something for you to see.

This is a 999 call that
came in late last night.

- He's taken her in his car.
- Who has he taken?

- Julie.
- Julie? Do you know her full name?

- I think he's hurting her.
- Who's taken her?

Michael. In his car. I have to go.

- Julie Fletcher and Michael Stocks?
- He took her. She's fine.

But she went out last night
and didn't come home till late.

Late 30s, early 40s,

- professional.
- And familiar.

Someone a child would trust.

Like a schoolteacher.
Police officer...

a priest. Shit!

Alex!

ALEX! Get down here!

Neil's got news of all
tonight's football...

Alex. Get down the shop
and get me some fags.

But dad, I'll be late for school.

It'll only take you ten minutes.

Dad, it's the third time this
week. Miss Jennings say...

Do as you're told, will you?!

It's not just that
the MO's shifted.

Mannie's back.

Is he the killer?

I don't think so. Are serial
killers into Go-Karting?

Not that I'd noticed, no.

You're an important police officer,
so you should know.

I think Mannie's sane.

There's a pattern in
distribution as well.

Look.

Our three new
victims were all found

on locations that tie
in to past crimes. Right?

- Yeah.
- That's one pattern.

These are their homes. Huge spread.

Totally different pattern.

That makes sense. He's
selecting through the internet,

so the catchment can
be anything he likes.

Now, look. These are
the homes of the children

we have in the frame for
the original killings.

See? Much tighter-packed, all
clustered in this area here.

When he started out, this
was the hunting ground,

so that has to mean something.

Hang on.

We've got a new one.

Three patterns.

Why does he keep shifting?

What's the link here?

Clearly,
it's not a classical progression.

The net will have distorted that.

- Are they talking yet?
- No.

Just watching.

Here we go.

It's got to be opportunity.
He's spread the hunting ground.

So the first pattern's
where we should be looking.

- Tony?
- Hang on.

Just a moment!

- He's gone.
- What's the verdict?

Not sure.

Not there for long enough.

Michael Stocks? I have a
warrant for your arrest.

I'm sorry.
There must be some kind of mistake.

Sarge!

Mind if we take a look
at your computer?

You have no right to ask
me these kind of questions.

We have a spiritual duty
to the members of our church

which you obviously
don't understand.

And this spiritual duty involves
them being naked before God?

There are different kinds
of nakedness.

Nakedness can be innocent.

I'm sure.

And the hidden
cameras in the corners?

How long have you been having
sex with Julie Fletcher?

I would never hurt a child.
Ask anyone.

Ask Julie.

This doesn't make sense.

The development should be circular,
radial or spiral. Al right?

Yeah. But our killer's
not opportunistic.

His victims are selected,

and are exclusive to a specific group.

The standard progressive
patterns won't apply.

What you say he's
selective. But he can't

have known all those
children personally.

Forget that, Carol. Just
tell me what you see.

Clustered. The original victims
are all in a particular area.

Defined by?

Nothing. It's random.

No. The victims aren't random.

The killer isn't random.
Ergo, the area isn't random.

Look again.

I don't see it. I'm afraid.

I've been staring
at it for so long...

Tony?

- "Dorian:> u ever feel like running away?"
- "Tuff Cat:> All the time"

"Dorian:> me 2. let's do
it. let's go together."

"Tuff Cat:> I'm scared though!"

"Dorian:> I'm scared too."

"Dorian:> but I kno if I stay
the theyll hurt me again."

"Dorian:> just like you. if
we go together we can be safe."

"Dorian:> we can be safe and no
one will evert hurt us again."

Please, don't do it.

"Tuff Cat:> Okay"

- I don't believe this.
- I saw it happen.

We've got the whole process:
sympathy to elicit information,

then inducement to run
away, and an agreed meeting -

What?!

We er... we don't have it.

Tuff Cat logged off at
that point. Says here...

"Got to go. Email
me where and when."

So check their emails.

We can't.

It's on a separate system.
We don't know the addresses.

Then this goes nowhere.
Michael Stocks is in custody.

Michael Stocks is not the killer.

He's linked to all three victims,
he's a paedophile

and we have him in custody.

And that's enough?

Michael Stocks' interest
is in underage girls.

Your victims so far
have all been boys.

The connection between the
victims is Stocks' website -

which the killer is using.
His web name is Dorian

and I have just watched
him take another victim.

Paula?

Who's Colin Weyland?

Dunno. Why?

Stocks seems to have a lot of files
in his name.

How can you really be sure

this person you've
seen is the killer?

- I know.
- I can't work with that.

You're gonna ignore this?

Come in!

- What is it?
- Sir,

Michael Stocks's real
name is Colin Weyland.

He moved here from
London three years ago.

Said he was working in a
project for disadvantaged kids.

Actually, he was inside
for indecent exposure.

- How long?
- 14 months. I checked.

It puts him out of the frame for at
least two of the earlier killings.

Lunchtime!

I'll have the crab cakes
and the light Zinfandel,

We're out of crab cakes.

But Chef does a world-renowned
meatballs and rice.

- It's gonna be good to be out of here.
- Actually,

You're lucky to be here. I
used to work at St Mary's.

The food there was much worse.

If you'd hurt yourself two streets
over, you'd have ended up there.

Are you all right?

- Tony Hill.
- Look, listen.

Mark these roads, OK?

Wait.

Wait. Excuse me.

- Sorry. What was that?
- Rochester Street.

Cardigan Street.

Where's Cardigan Street?

Lime Avenue.

Got it.

Gerard Street.

Yeah, I see it. Good fit.

- What is it?
- The hospital catchment area.

He found them through
medical records.

That's how he knew about
their abuse. He's a doctor.

I need the medical records
for the first victims.

Quickly.

Dad!?

Dad?

This doesn't make sense.

These are Matthew
Beaumont's records.

He's never been to
hospital, except once

- with food poisoning.
- No records on this one either.

We can't be wrong. We can't be.

Wait. What GP have you got?

Weaving. Thomas Weaving.

This one too.

Weaving. Weaving. Weaving.

He's a doctor.

All the children would
recognise him, trust him.

And he knew what was
happening to them.

We've got addresses.
Home and a surgery.

All right. Two teams,

and armed support.

...in the grounds near the house.

I have a warrant for the
arrest of Dr. Thomas Weaving.

Where is he?

Entering property!

Upstairs!

Entering upper-floor bedroom.

Dr. Weaving? It must be a mistake.

Where is he?

Control, this is Alpha
Lead. There's no-one here.

The place is empty.
I repeat. The premises are empty.

He's dead.

Weaving can't be our guy.

He suffered a stroke
three years ago

and had to give up his practice.

About 18 months ago, he
had another one and died.

Right now we've got
something else to worry about.

Alex Fowles. Absent from school
today, and never came home.

Two girls from his class saw him go
into an internet place this morning.

- You got a time on that?
- Yeah. It fits the exchange.

Shit! We saw him.

We saw him do it.

I know.

There's a reason
they take you off active duty.

It's because your judgement
isn't good.

No.

Your judgement was fine.

You said a doctor.
That fitted perfectly.

Weaving fitted the
profile perfectly.

Except for being 18 months dead.

No. Wait.

He fitted perfectly.
Weaving was the killer.

Was.

And then he died and the MO shifted.

He's not the killer any more.

The cases weren't in the papers.

- It can't be a copycat.
- No, it's far too close for that.

- What is this?
- The MO changes.

Is that way what he
was doing is sanctified.

- Tony, slow down.
- Imagine for a moment.

You love me. Yeah?

You idolise me.

When you marry me, you
believe your life is complete.

But then you discover
I'm not what you thought.

I'm different. You
discover the things I do.

How do you cope with
that? Do you tell someone?

What does that make you?

Someone who married a monster,

who was only good
enough for a monster.

But what if I'm not a monster?

What if I'm still perfect?

Then so are you.

And if I'm still perfect,

then what I'm doing
must be perfect as well.

It must have purpose and reason.

It must be a good work.
It must be sanctified.

- It's his wife?
- Yeah.

- She knew. She helped him.
- Yes.

You justify what I do, you believe.

You're a team.

And then the stroke.

I'm ill.

You have to tend
to me, care for me.

Your other life just
slips away for a time.

When I die, you are devastated.

You retreat.

Silence and solitude and
only the memories for company.

You're on the edge of a void.

But then you remember work.

The great good work
we did together.

What better way to honour my memory

than to continue it?

To honour my memory and
to confirm my intentions.

The public placing of
the bodies was defiance.

She's determined to show she

isn't ashamed because
this isn't a crime.

The references to the original
victims demonstrate the same idea,

except they also show her devotion.

That she's following
exactly in his footsteps.

She's continuing
the work. Do you see?

I see she's insane.

Oh, yes, very much so.

That's why the shift in MO.

Yes.

And that's why I wasn't
able to profile her properly.

You see, Weaving, he was...

...he was predatory.

With him, it was
almost certainly sexual.

Abused at the age of his victims.

Selecting from children
who reminded him of himself.

Goodness knows what
he did with them.

Specially given that
he kept the bodies.

Are you sure of that?

I'm absolutely sure.

She's different.

She's resolutely ignoring
Weaving's actual motivations

in favour of her own construct,

which rewrites the history as one in
which they're saving these children,

freeing them from their lives.

That's why she places the
bodies so reverentially.

That's why she kills
them with painkillers.

She's not interested
in keeping hold of them

because she doesn't
have the same notion over

the relationship with
them that Weaving had.

Well, she's clearly moved house.

She's using the internet.
How do we find her?

It's Weaving's wife.

- His wife?!
- You're looking

for an isolated, secure room

not too far from
Weaving's old house.

She'll still be using it.

A needle in a haystack.

Normally, yes. So we have
to make her lead us to it.

How?

She keeps 'em alive for a few days.

And I bet during that
time she stays online,

looking for her next victim.

That's going to be me.

It won't be long now.

Coffee.

See what you can do, will you?

Tony?

- Tony, do you want anything?
- She's on.

Where?

- There.
- She's not Dorian any more.

New name for a new victim.

Remember, not to fast
and not too accurate.

Your name's Kieran.

You're ten years old.

OK. I'm in.

Just sit tight. She'll come to you.

OK. Type...

Type...

"Do you ever get lonely?"

"Sometimes."

"Me too. What do you
do when you're lonely?"

"Talk to someone. Like now."

"But what if there isn't anyone?"

- "God hears you."
- All right, now we're moving on

sanctification through God's work.

The website's a religious group.

Yeah. The time of
identification by association.

We can use this. Type...

"Sometimes I pray."

"But I don't think God hears me."

"If you pray hard enough, he does."

"And anyway, I hear you."

That's good.

"Do you ever think about dying?"

"Yeah."

"Me too."

"Doesn't that make you scared?"

"No."

"But it would hurt, wouldn't it?"

"I don't think it hurts at all."

"What do you think happens after?"

"I think afterwards
you're safe."

"Jesus gathers you in his shining
hands and you're at peace."

"Timmy:> Are you still there?"

Wait. Wait.

She's asking if we're still here.

Wait...

Read that last section back.

"I think afterwards you
are safe."

"Jesus gathers you in his shining
hands and you're at peace."

"Suffer the little
children to come unto me."

There's rays of light
coming out of his palms.

She's written,
"Are you still here?"

Put I've got to go and log off.

What is it?

The church hall -

the Collingwood Church
Hall, there's a mural there.

She's just described it.

She's been there. She
has physically been there.

And saw the chat group in action.

And that gave her the idea
to use the net as a hunting ground.

Maybe she works there.

May not be central, though. She's

continuing her husband's work,

so there's no for
pride in her own life.

So it'd be peripheral,
self-effacing, quiet.

Happy to do a... menial job.

Would she still have
contact with the place?

I don't see why not. I think
she thinks God will protect her.

Look. All we need to know is

whether someone
answering that description

attends or has attended
your church group.

If this is so important
to your investigation,

then perhaps some kind
of accommodation...

A deal, you mean?

No.

Then I don't see
how my client can help you.

Anne.

Anne Shankley.

She cleans for us a
couple times a week.

I don't know where she lives.
Elizabeth deals with all that.

Track down this Elizabeth
and get an address.

Do it quietly.

Kevin If you arrest her,
she'll never tell you where Alex is.

She doesn't take them home.

She takes them to a
place Weaving found,

because she would
never, ever presume

to alter a part of his work.

The computer is a tool
Listen to me, Kevin.

The computer is a
tool of that work,

so she'll still have
it there as well.

You're looking at complete
compartmentalisation here.

Domestic normality at home,
the victims elsewhere.

Somewhere anonymous
and secure that

her husband found ten years ago.

If you just bring her in, she'll
never tell you she's keeping Alex.

So what do we do?

So it's no big deal, right?

Is this dangerous?

- No, of course not.
- Yes.

We'll be right outside.
We'll be watching.

But, yes, it's dangerous.

And you don't have to do it.

- But it would work better if I did?
- Yeah.

No big deal, huh?

Julie,
there's a little boy. His name's Alex.

You don't know him, but maybe
you've talked to him on the website.

Goes by the name of Tuff Cat.

He's in a lot of trouble, Julie,
and we're trying to get to him.

And you can help us do that.

- Like Liam?
- Yes.

Victor Two to Base. You copy. Over.

Base, this is Victor Two.
No movement.

Still no sign.

Base from Victor Two, heads up,

we have a green
Escort van coming in.

Yeah, I see it. Is that her?

I think...

Yeah. That's Anne.

Suspect's pulled over
to the side of the road.

Maintaining visual of suspect.
Over.

Echo Two, standing by.

She's in.

All right. Sit tight and do nothing.

Copy.

If she was online 20 minutes ago...

That would put the room in about...

a ten-mile radius of here.

When does she get to work?

She's always early.

All groups from base, she's moving.

Tail her in. Four and
Five lead, Three hang back.

Do not take any risks.

Echo Two in pursuit.

Echo Three by Collingwood
Community Centre. Over.

Echo Two to Echo Three,
roger. Echo One in position.

Log in as Tuff Cat.

"Tuff Cat:> Is anyone there?
Please"

"Julie2:> Tuff Cat this is Julie2"

"Julie2:> what's up?"

She's with us.

"It's dark."

"Tell someone I'm here."

"Tuff Cat:> It's dark.
Tell someone I'm here."

- Elizabeth?
- What is it?

Something weird's going on.

Look.

- "Julie2:> where are you?"
- Where are you?

"I don't know."

"It's dark."

"She brought me here."

"Please. Tell someone."

I think it's the kid from the news.

Are you sure?

He's trapped somewhere.

How come he's in
the chat room, then?

There must be a
computer where he is.

Wait. I'll get him.

"Julie2:> Make - some - noise."

Maybe someone will hear him.

"Julie2:> She's gone.

Base from Echo One. We have her.

Echo Three in pursuit. Over.

Echo Two in pursuit, leaving
community centre. Over.

Echo One, in pursuit.

All units now awaiting
further orders. Over.

Suspect leaving the city
down Coast Road. Over.

Echo Two following.

The Chancery Industrial Estate,
coming to a halt. Over.

Pick her up when she comes out.

Waiting further
instruction. ARU in position.

- She's not coming out.
- What?

This is where she's keeping him.

Follow her in.
Repeat, follow her in!

Echo Three. Suspect
turning into the

Chancery Industrial Estate.
Over.

Suspect at the foundry road,

turning east on
the east side. Over.

Echo One, with support vehicles.

Bravo ARU, still in position.

Approaching north
side of estate. Over.

Roger, Echo Three.
Echo Two to Echo One and Three.

Coming up the east
side of the foundry.

E2 in sight. Have lost visual.

- Lost suspect. Over.
- Echo One, lost visual.

Echo Three, lost visual.

Can anyone see another way out?

Come on!

Where is she?

Shit! Shit!

Shit!

Echo Two, still nothing.

Lost sight of suspect.
Over.

There. The garage.

All groups move to the garages!

Repeat, move to the garages!

She's in the garages!

Armed police! Don't move!

Armed police! Don't move!

Let me help him.

We're the police. It's OK.
You're safe.

What are you doing? Stop it!
Leave him alone!

He needs me. He needs my help!

They all need my help.

I look after them.
I keep them safe.

You.

You understood the work.

You saw what we were
doing and you understood.

Yes.

Wait! Wait, please.

Who will look after them now?

I will. I'll look after them.

No-one's cross with you.
This wasn't your fault.

You didn't do anything wrong, Alex.

Him.

And him.

Hard luck.

Very nice.

So a tart was murdered.

It's not as if there's a shortage.

He was castrated.

Half his skull had been crushed
with a blow from a heavy object.

She was still alive
when they opened her up.

- You...
- No, Carol, no!

...have no idea
what Tony Hill is like.

Don't let him see how you feel.

I can't believe this, Dr. Hill.

Michael has done something
amazing with his life,

and you'd sabotage that
out of professional envy.

You did this.

Couldn't face knowing
he was better than you!

Carol, you have to look at it.

This violence, this butchery,

he's doing it to blind us,
to make us look away.

To hide what he's really up to.

- Thanks.
- Carol.

- We should talk about it.
- You said I wanted to forget.

I'm going to have
to try a bit harder.

Yes,
but then you made me help you remember.

You planned all this.

You knew what he was going to do,
and you said nothing.

All this from a second-rate lecturer

who gets his rocks off
on other men's murders,

but who's never had the
bottle to go there himself.

ITFC Subtitles