All language subtitles for the.fall.2e04.bdrip.x264-archivist

You went to the police, Rose.

Maybe it was some other girl
that you were seeing,

There was no other girl.

Our prime suspect, Paul Spector.

We need to find him, put him under surveillance

and hope that he leads us to Rose
before it's too late.

So, just to be clear, you were with Paul Spector
from 9:30 that night

- till after three the following morning?
- Yes.

We've found something.
It's not the phone. It's a phone case.

- Oh, God, what am I doing?
- Going with the flow.

- Are you pleased with me?
- Not particularly.

- I'm protecting you-
- I don't need your protection.

- Slop.
- Please. Please, Stella.

- Have you had a good evening?
- Yes, thanks.

- You?
- It's been fun.

Ripped by mstoll

Rick...I need a new laptop.

- Where's yours?
- In an evidence bag.

- What?
- Long story.

How do I log in on this?

Thanks.

Ma'am?

One second.

That car you saw, up on the hill...

with the changed plates...

It was stolen from here.

That was the morning after the phone call

and close to where the cover
of Roses phone was found.

And there is the Goodall Farm.

We should get a helicopter up, Ged.

One with thermal imaging.

Looking particularly for remote outbuildings,

anything that can be a potential hiding place.

Anywhere he could be keeping Rose Stagg
or Rose Stagg's remains.

Yes, ma'am.

♪ Comes the time

♪ My love recedes

♪ My heart is draped in widow's weeds

♪ Then you came in from the garden

♪ In the evening, wet from the rain

♪ And it begins again

I need to talk to you about last night.

I have something to show you.

Come round.

This is taken from the CCTV camera

on the corridor of my hotel.

That's my room at 22:14.

Who is it?

I believe it's Paul Spector.

And that's me...

entering my room just after eleven.

Are you telling me he was in there with you?

Been in there for 45 minutes.

It gets better.

That's you arriving...just after eleven.

He was in there with both of us?

And that's him leaving.

Note the time.

- Where the hell was he?
- There's only one place he could have been.

In there.

That's where we had our...misunderstanding.

Oh, God.

And then we were there.

I suppose, when I was cleaning your face,
he slipped away.

So he heard me.

Oh, forget your private embarrassment
for a minute.

You were talking about Father...
whatever he calls himself.

And I'm pretty sure
that you referred to Spector by name.

- Are you certain?
- Not certain.

But if you did...

he knows that we're onto him.

Stand by from 5.

That's the Benedetto girl
leaving 16 Edson Avenue,

with an unknown female, similar age.

Control. Benedetto girl
leaving 16 Edson Avenue,

with unknown female, similar age.

Oh, I'm so not up for this.
I've had, like, two hours' sleep.

- Same.
- How come?

- I had dinner with Paul-
- Really?

- Yes.
- And?

- It was amazing.
- What happened?

- We talked.
- What happened after?

- I came home.
- Why? Did he go home to his wife?

- Hold you, he's left his wife.
- Yeah, sure.

That was us last night.

- I don't see his wife anywhere.
- My God! Let me see!

Katie, you recorded him.

- Were you doing the same?
- Maybe.

What if he recorded you?

- I don't think he's like that.
- Oh, no, of course not.

Let me see.

I suppose, in his mind, that must be me.

Which makes that thing...him.

He also read my dream diary.

What?

I keep a journal.

He left an entry for me.

Does your journal contain procedural stuff?

I've trained myself
to wake up and write down dreams,

passing thoughts.

I did it first as an investigative thing,
but now I can't stop doing it.

It's not procedural.

It's personal.

And now it's lost to me.

Seized as evidence.

Our modern life is such an unholy mix of...

...voyeurism and exhibitionism.

People perpetually broadcasting

their internal and external selves.

My diary is private.

It is not intended for publication.

Do you think if I hadn't turned up last night
he would have...

- Do you think he was planning to attack you?
- ls that how you see yourself?

As my protector?

I came hereto apologise.

No...

...there's no need.

I nearly made the same mistake as you
last night

You did?

We all have physical, emotional needs
that can only be met”.

“By interaction with another person.

Trick is...to ask someone appropriate
to meet them.

Why can't you marry your daddy?

Do you mean, why can't little girls
marry their daddies?

Yes.

- Do you want to marry Daddy?
- Can I?

He's already married, to me.

He's taken.

But...if you don't want him...

Some day, when you're older, like Mummy,
you can marry a nice man like Daddy.

X-ray 1. Thais the target's wife
arriving home with the two children.

Control. From X-ray 1.

Target's wife arriving home
with the two children.

Looks like Spector's qualifications
as a counsellor are for real.

They were checked out when he was first
employed by the local authority.

Two main things to follow up on.

Spector had been counselling
a married couple - James and Elizabeth Tyler.

Their son died of meningitis. Ten years old.

James Tyler...Jimmy...

is well known to us.

Seems that James,
following the death of his son,

became a bit free with his fists,
as far as Liz was concerned.

Spector advised Liz to report him
to the Domestic Violence Unit.

She was reluctant.

James was out of prison on licence.
Anything like that would put him back inside-.

Spector was persuasive.

Liz made the call.

She's now in a women's refuge
in Bangor somewhere.

Is James back in prison?

Out on bail. Tagged with curfew conditions.

Pay her a visit.
Don't lei anyone else see that address.

No, ma'am.

Spector had a run-in with James Tyler

about an unscheduled house call
he made on Liz when she was home alone'

Chandler and his boss had occasion
to reprimand Spector.

This was on the day of the Joe Brawley murder.

Spector behaved bizarrely - walked out.
Never came back. Disappeared.

- Behaved bizarrely?
- Yes.

How?

How?

- That's what I said.
- That's what I said.

- What?
- What?

- What are you doing?
- I'm doing what he did.

What are you doing?

I see. Mirroring.

Spector's still registered
as a freelance bereavement counsellor.

So...that would be Fine Art.

Would it?

Yes, it would.

Rick...

The Alice Monroe Fund sent a bereavement
counsellor to talk to Annie Brawley.

Do we have his or her name on file?

I don't seem to have that information-.

I know the Fund found someone
accredited and approved.

- Who's guarding Annie today?
- Hagstrom?

Can you get her on me phone?

- Are you finished?
- Yes.

Here...

- Go play?
- Mm-hm.

Go on, then.

- The hairdressers just arrived.
- What hairdresser?

Oh, that's something her therapist
organised for Annie.

Which therapist?

The new one. Mr Spector,
the bereavement counsellor.

How many times has he been in to see her?

Once...but a second appointment
is arranged for this afternoon.

- When?
- Just over half an hour.

I'm On my way.

Don’t allow Spector to see her
under any circumstances.

This is Paul Spector. Leave a message.

Oh, God, Paul, why is your phone always off?

I need to speak to you.

- Gibson.
- Control, ma'am.

We have surveillance at the hospital in place,
all entrances covered,

and we'll let you know when anyone
has eyes on the target.

Very good.

There's something I need you to do.

X-ray 1. That's the target's wife
coming out of the house with the children.

Control. Can signs, stand by.

From X-ray 1 . Target's wife
coming out of the house with children.

Vehicle moving city-wards.

From Control.
Target's wife heading city-wards in Volvo.

All call signs respond.

From Delta. I have. Following.

Control Delia has.

- ls it looking OK?
- It is.

But I'm going to have to ask you
to stop for the day'

I haven't finished.

We'll call to reschedule.

Thank you.

- Annie, I have to move you out of this room.
- Why?

I don't have time to explain.

From 8. That's the target crossing reception.

Relax. It'll be OK.

From 8. The target is ascending now.

I repeat - ascending now.

Ma'am, the target is ascending in the lift.

- OK.
- What's happening?

- Please tell me what's going on.
- Shh.

Mr Spector.

PC Hagstrom. We met before.

Oh, yes.

I think you were due to have
another counselling session with Annie today.

- Where is she?
- I'm afraid she's having some more treatment.

- What sort of treatment?
- For her throat, I think. Her voice box.

She didn't seem to have any trouble
with her voice when she was talking to me.

When I first met her, she couldn't speak at all.

When will I be able to see her again?

I'm not sure.

A hairdresser was booked to see Annie today.

She's been cancelled, too.

- By phone?
- Yeah.

But you let me come all the way in here
before turning me away?

We...tried your phone
but we couldn't get through.

Actually, let me check.
What number do we have for you?

It's OK.

- Yes?
- It's Control, ma'am.

The target's wife is approaching the hospital.

- She's coming here?
- Entering by the main entrance, ma'am.

OK.

I was due to see Mr Spector,
but is he the target?

It's Hagstrom. All clear.

Right.

Paul. Paul!

- What are you doing here?
- I wanted to see you.

- How did you know I'd be here?
- I opened a letter, addressed to you,

- confirming your appointment.
- You're opening my letters?

- Your phone's never on.
- H's broken.

We need to talk, Paul.

Olivia misses you. Liam needs a father.

Paul?

- Paul?
- OK.

What?

Let's...

- Where are the kids?
- At a party.

Have you got your car?

OK. Let's go.

From 8. That's the target and wife
walking to the pedestrian exit.

From 7. I have.

Control. Target and wife walking towards...

- Gibson.
- It's Ferrington.

- Responding to an emergency call, ma'am.
- Yes?

A body has been found. A female-.

- Where?
- The Belfast Hills. Divis.

In woodland.

- Are you at the scene?
- On our way.

What else do we know?

The body's face-down, young -
late 20s, early 30s, possibly.

Dark hair.

Cause of death?

There's talk of a ligature.

The SIO at the scene
thought you should be informed, ma'am.

In any serious crime enquiry,

there are always people who become
of interest to the investigation team'

Most of them are eventually ruled out.

One such person is your therapist.

I really liked him.

Tell me why.

He made me feel better about myself.

In what way "better"?

I know it was only the once...

"but he was the most helpful anyone's been.

Why...do you think?

He just seemed...

He just listened.

He was almost like a mirror.
He seemed to reflect me back somehow.

He wasn't judgmental.

I see.

Annie...

...you must not discuss this...

...talk about him...

...with anyone.

Not family or friends.

No-one.

- You're scaring me.
- Don't be scared.

We will protect you...properly from now on.

Move you somewhere secure.

Now I need to go.

But I will be in touch very soon.

My God.

He was there. I remember him.

Where?

In the! bar.

The night I lost my driver's licence.

He's the man that attacked me.

We just want to ask you
a few questions.

About James?

In part, about James.

It's lovely here.

I know.

I can't believe it.

I have the room at the top, at the front,
looking out at the sea.

Does anyone else know I'm here?

We're being very careful.

He has people.

People that watch out for him.

He has eyes and ears.

From Bravo. Target and wife travelling south
on M1, heading towards Lisburn. Following.

From Delta. I have reflective on car.

Target's wife driving.

From Control. Target and wife
travelling south on M1 towards Lisburn.

All call signs respond.

- Bums,
- We have him, Jim.

- We have him.
- Where is he?

Travelling in a car with his wife.

We mustn't Jose him, Stella,
under no circumstances.

If we're letting him run in the hope
he leads us to Rose, we must not lose him.

They've found another body.
Have you heard?

- Female?
- Yes.

I'm on my way.

And so it was Paul Spector who suggested you
call the police about your husband's behaviour?

He said I had a right to feel safe
in my own home.

I see.

I told him I started it with James.

I provoked him.

But Paul said the fault
was always with the abuser.

Not the abused.

Did he put pressure on you to make that call?

No.

Not really.

He called at your house unannounced?

Just the once.

Why would he do that?

We'd missed some sessions.

He was worried.

What happened during that visit?

We talked.

I showed him my son's room.

Why?

At first...

...after I lost Daniel,
I wasn't able to go in there.

But then I did.

I wanted Paul to see it.

What happened in Daniel's bedroom?

Was there physical contact between you?

I asked him to hold me.

Did he?

Yes.

Did anything happen
more than Paul Spector holding you?

No.

No.

I wanted it to.

But, no.

- Have you seen her?
- No, ma'am.

- They find the body?
- Yes, ma'am.

Take me up to the scene.

(Helicopter approaching}

- Gibson.
- It's me.

We have permission
to go into the Spector house.

Intrusive surveillance.
Are you at the scene?

- Is it Rose Stagg?
- I don't know yet.

- Keep me informed.
- Yes, sir.

Who's been in there
apart from the first officers?

The Force Medical Officer's been in
to confirm death.

- Who's Senior Investigating Officer?
- He is, ma'am.

I was told you were on your way, ma'am.

DS Tom Anderson.

I've ordered emergency lighting
and a scene tent.

Can't see any tyre marks,
but we've established a common approach path

that I think avoids the most likely entry/exit
routes used by the victim and/or the offender.

- It was you who thought of my missing person?
- Yes, ma'am.

What state of dress or undress is she in?

She's dressed.

- Tom Anderson?
- Yes, ma'am.

- Are you sure you're all right to do this?
- Yeah, I am.

- Here's a suit for you, ma'am.
- Thank you.

- [Camera clicking)
- Hair's the right colour...and length.

Considerable lividity in her lower limbs.

Rigor mortis has passed.
Probably more than 36 hours since she died.

OK, let's turn her.

Right. One, two, three.

- Is it her? ls it Rose?
- I can't tell. There's too much blood.

I don't think it is.

Check her pockets.

Wait.

Rose had a difficult first delivery.

She had a midline longitudinal Caesarean.

- It's not her.
- Are you sure?

It's not Rose.

She was hanging.

And the ligature gave way.

Always look up at a crime scene.

James Tyler?
DC Glen Martin. DC Gail McNally.

Can we have a quick word?

Is it OK I call you Jimmy?

We just want to get your side of things.

Get an account in your own words
of what happened

the day after Paul Spector called here
to see Liz.

- Have you spoken to Liz?
- We haven't.

- Do you know where she is? Do you?
- Honestly, we have no idea.

How did you find out Paul Spector
had been here? Did Liz tell you?

- I heard.
- From...?

Do you know who I am?

Yes, I know who you are.

Then you'll know I have friends...
that look out for me.

- It's all yours.
- It's good to have met you.

I uh...have a favour to ask.

- Go ahead.
- Well, she's unidentified as yet.

No next of kin to inform.

Perhaps I can use her for 12 hours.

Explain.

- That man's not right.
- Why do you say that?

I have a reputation
and the fucking wherewithal to back it up.

That piece of shit faces up to me
in a fucking bath towel, not a flicker of fear?

- Maybe you should sit down, Mr Tyler.
- Maybe you should suck this.

- Jimmy, you're on police bail. Be sensible.
- Fuck you.

So, by your own admission,
you attempted to intimidate Paul Spector,

- threatened him with violence?
- He came here, to this house,

when he knew I wasn't here.

They went upstairs to look at my boy's room.

For all I know, he fucked her on my boy's bed.

My understanding is that the relationship
between Paul Spector and your wife

was purely professional.

So you have talked to Liz, then?

- Huh?
- Take a step back.

I've lost my boy.
I won't lose my wife, too.

Doesn't she have some say in the matter?
She's not a possession.

That's not helpful. Calm down, Jimmy.

Especially not because of
that Jew boy piece of shit.

Using threatening, violent words
is an arrestable offence.

Then arrest me.

Go on. Fucking try it.

- Fucking arrest me!
- Step back, please.

Get your fucking hands off me!
Get off me!

- Get the fuck out of my house! Huh?
- Go. Go.

Get out! Get the fuck out!

- What was that?
- I was backing you up.

You were treating me like a damsel in distress.
I don't need protection.

- I can look after myself.
- Hit him with your handbag?

Why don't you come join the rest of us
in the 21st century?

I knuckle in. It's what I do - with any partner.

Yeah? Well, in future, knuckle out.

Fucking peelers!

What is it? ls it Rose?
Have you found her?

No. But I do need to talk to you.

- How many dolls do you have?
- 20 dolls.

20 dolls. Wow, that's a lot.

- Can you show me one?
- Yes.

Do you want to go to your room
and get one? OK?

It's easier with Cody.

He's too young to appreciate
how worried I am.

But with Nancy, it's uh...

She just misses her mother.

And I find it really hard lying to her.

Yes.

I have nothing new to report, Tom.

But we are following
some very promising lines of enquiry.

So, if you do see something on the news
that looks like it could be Rose...

...rest assured that it isn't...

...it isn't her.

OK.

It's an attempt to provoke the man
we believe is holding Rose into action.

When we do find her,
you'll be the first to know.

So you haven't given up hope?

Good God, no.

Never.

Hey, you two, look who's here.

Hello, darling.

- Daddy!
- Hey.

All right, stranger?

From Bravo. That's the target and his wife
entering 217 Leftfield Road.

Door closed.

- Where are you now, Glen?
with the Covert Operations Unit, ma'am.

Two minutes away from Spector's house.

He's with his wife and children in Lisburn.
That's 20 minutes away.

Right.

We have no idea
how long they're intending to stay.

- Understood.
- I'll be with Control.

From 1. That's the Technical Unit
arriving at the target's house.

Control. From X-ray 1.

That's the Technical Unit
arriving at the target's house.

Control to Bravo. Please update.

From Bravo.
Target and family still in situ.

217 Leftfield Road.

Control to Bravo. Wait out.

Copy.

How are we doing?

Technical Unit has entered target's house.

(Low chatter}

- How's that, ma'am?
- That works.

I'll take a power feed from the loft.

We can now go live to the scene
to hear from the police officer in charge.

We can confirm that the body of a white woman

in her late 20s, early 30s,

was found earlier today
by a young couple out walking.

We can offer no more information
until the remains have been identified.

- Are you linking this death to...
- How long has she been dead?

That's all I can say right now.

If it's not Rose Stagg,
why was Superintendent Gibson here?

That's all I can say right now.

So no suggestion that the police
are treating the death as suspicious,

despite speculation...

It's the original drawing, ma'am.

That we lifted from the indentations
on the Ian Kay letter.

We're there on
an intelligence-gathering mission.

We don't have a warrant to search for evidence.

Take pictures.

Aarghh!

- Stay still.
- Oh, fuck.

What the fuck?

Will we go home and get into our jammies?

- All right, guys.
- See you, Steve.

- See you.
- From Bravo.

Target's family on the move.

Leaving 217 Leftfield Road.

Control. From Bravo. Target on the move.

Bravo, Target approaching Volvo.

From Golf. Leaving from rear of Leftfield Road.

Bravo. Vehicle heading south on Leftfield Road.
Family on board.

From Golf. I have.

- We have a problem.
- What?

- We've a collapsed ceiling.
- What ceiling?

Above the main bedroom.

- How bad?
- Destroyed.

Shit.

From Golf. Target's car joining the A1.

- Is there a water tank in the loft?
- Yes, ma'am.

- Shit.
- Joining the A1, heading towards Belfast.

Make it look like a flood. And get out.

- The Spector's are heading home, ma'am.
- Shit. Fuck.

- What are you up to?
- Fuck all.

Mr Big Dick not online?

Not yet. And don't call him that.

Why?

It's not about that.

He means everything to me.

What is that?

Daddy, what's happening?

Don't touch that.

Stay outside. OK? Don't come in.

Paul? What is it?

What's happened?

Come here, darling. Liam, come here.

It's the main tank. It's flooded.

Why? Why would the tank flood?

- Must be a faulty stopcock.
- What about all my things?

It's mainly our bedroom.

- I want to see.
- You can't, darlin'. It's not safe.

- What are we gonna do?
- You should go to your mum's.

I don't want to go to Grandma's.

I want to stay with you.

- I'll gel onto the landlord. We'll gel it sorted.
- Oh, God, Paul.

At least it's not unsanitary water.

I'll son it. I promise.

From X-ray 1.

Target and wife and children returning to car.

It's gonna be all right. OK? I promise.

Everything's gonna be all right.

I'll see you again really soon.

We'll always be together.

Come here.

From X-ray 1. The target is not on board.

The target not on board.

Control. From X-ray 1.
Target not on board.

Repeat, target not on board.

Target's wife heading city-wards in Volvo.

From Control.
Target's wife heading city-wards in Volvo.

From Golf. I have.

Control. Golf has.

Target returning to house.

Control. Target returning to house.

Door closed.

- Every possible exit is covered?
- Yes, ma'am.

- From X-ray 1. Target put to bed.
- Right.

Do you know a detective called Tom Anderson?

Yeah.

Detective Sergeant. West Belfast.
Young, charismatic.

Good-looking.

I met him at a crime scene.

He was wearing a full forensic mask.

What about him?

I thought he might make
a useful addition to our team.

I'll look into it.

You do that.

- Long day?
- Mm.

Do we know anything more
about our Jane Doe?

No external signs of a struggle.

You're thinking suicide?

There were some bruises
at the injection sites.

I'll do an internal examination in the morning
when we get the toxicology reports.

God.

Why hang yourself
when an overdose will do, hm?

So we think this is Spector?

Yeah. Seems likely, sir. Yes.

What a monumental cock-up.

"PB. Aged 10."

There's no suggestion these children
are at risk from their father-.

We checked social services and their school.

No cause for concern as far as anyone's aware.

Nothing...

must happen to those children.

Above all else.

Why didn't you call earlier?

I've been busy.

How are you?

Where are you? is that your study?

Have you moved back home?

No. I haven't moved back home.

I've really missed you.

Have you?

I think about you all the time.

Every minute of every day.

- Is it painful?
- Yes.

Good.

Why good?

Because other people's pain...
gives me pleasure.

Even mine?

Especially yours.

Don't say that.

Right. I'm gonna get changed.

You look ready for sleep.

Mm.

There's something I want you to do for me.

What?

I need you to go to my hotel room.

I just don't know how to get you in.

- That's easy.
- Is it?

I have a key.

How?

I got one cut.

Why?

I don't know, I just did.

Then maybe you are ready to take the next step.

More than ready.

I don't mean that.

Then what?

Are you ready to embrace the darkness?

I'd do anything for you.

Look.

I filled it out for all the murders.

Saying you were with me every time-.

I've researched it.

It's really believable.

There's a lot of sex.

I told you already, it's not about sex.

It's about deciding
the essential nature of the world-.

Is the world a place of pain and suffering,

of grief and despair...

or is it a place full of joy...

...all sweetness and light?

- I don't know.
- Oh, I think you do.

Your father was decapitated
in a motorcycle accident.

Or have you forgotten?

No, I haven't forgotten.

It's OK.
My mother killed herself when I was seven.

Left me alone and unwanted.

There's suffering all around us.

Why not take some pleasure from it?

I don't know how to get pleasure from suffering.

Yes, you do.

Take your sexy friend, Daisy.

You think she's sexy?

How would you feel if suddenly...

she began to fail...

...fail her exams...fail with boys?

Or if she suddenly lost her good looks.

How?

She got fat.

Or a madman threw acid in her face.

A random, motiveless attack.

That would be too much.

Would it?

Why should she have it all?

Why should she be the one that's clever,
and sexy and popular?

Why should she be the one
with parents who adore her?

Happiness in others...

is an affront to our own pain and misery, Katie.

If other people's happiness pains us,

then why not reduce that happiness?

Nurture your envy, Katie, your anger.

It's the way forward.

What is it you want me to do?

- Gibson.
- It's Tom Anderson, ma'am.

Thank you for making
that statement to the press.

Did it help?

I'm not sure yet.

Well, I thought you should know
we've identified the victim from her prints.

Marina McPherson.
A string of drug convictions.

Strong indications she took her own life.

Phone records show a number of phone calls
to a suicide helpline

over the last six months or so.

- Anything else?
- Yeah.

There's a letter to her mother.
More or less a suicide note.

What did she say?

"I know you were home, Mum.

You must have heard me ceiling you.

Why didn't you answer the door?

I know I've been bad
but I am still your daughter.

I! you'd answered the door to me, who knows?

But now it's too late.

I can't find my place in life.

It's killing me inside."

You there, ma'am?

Yeah, I'm here.

Keep me posted.

Good night.

What on earth are you doing?

Wondering where Rose is.

Ripped by mstoll