- [Paul] You went to the police, Rose.

- Maybe it was some other girl that you were seeing.

- [Paul] There was no other girl.

(Rose screaming and crying) - 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 found something, it's not the phone, it's the 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.

- Stop.

- Please, please Stella.

- Have you had a good evening?

- Yes, thanks.

- You?

- [Paul] It's been fun.

(camera clicking) (intense suspenseful music) (camera clicking) (intense suspenseful music) (phone ringing) (footsteps pattering) (keyboard clacking) - Rick, I need a new laptop.

- Where's yours?

- In an evidence bag.

- What?

- Long story.

- How do I log in on this?

(keyboard clacking) Thanks.

(keyboard clacking) (indistinct chattering) - [Ged] Ma'am?

- One second.

(phone ringing) - That car you saw, up on the hill, with the changed plates that was stolen from here, that was the morning after the phone call and close to where the cover of Rose's 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 could be a potential hiding place.

Anyway, he could be keeping Rose Stagg or Rose Stagg's remains.

- Yes, ma'am.

(intense suspenseful music) (footsteps fading) (paper rustling) (car honking) ♪ Comes a time ♪ My love receives ♪ My heart is draped ♪ In widows deep ♪ Then you came in from the garden ♪ ♪ In the evening left from the rain ♪ ♪ And it begins again (door knocks) (door opening) (door closes) - I need to talk to you about last night.

- I have something to show you.

Come on in.

(phone ringing) (indistinct chattering) This is taken from the CCTV camera on the corridor of my hotel.

That's my room at 22:14.

- [Jim] Who is it?

- I believe it's Paul Spector.

(phone ringing) And that's me entering my room just after 11.

- You telling me he was in there with you?

(phone ringing) - Been in there for 45 minutes.

It gets better, that's you arriving, just after 11.

- He was in there with both of us?

- And that's him leaving.

Note the time.

- Where the hell was he?

- Well, there's only one place he could've been.

There.

That's where we had our misunderstanding.

- Oh God.

- And then we were there.

I suppose when I was cleaning your face, is when 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 on to him.

- Standby from five, that's the Benedetto girl leaving 16 Edson Avenue with an unknown female, similar age.

- [Control] Control Benedetto girl leaving 16 Edson Avenue with an unknown female, similar age.

- [Daisy] Oh, I'm so not up for this, I've had like two hour sleep.

- [Katie] 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?

- I told you he's left his wife.

- Yeah, sure.

(dog barking) - That was us last night.

I don't see his wife anywhere.

- Oh my God, let me see.

Katie, you recorded him.

- Well, you're doing the same.

- Maybe?

- What if he recorded you?

- I don't think he's like that.

- Oh no, course not.

(girls laughing) - 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.

(phone ringing) - 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.

How 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?

- Is that how you see yourself?

As my protector?

- I came here to apologize.

- No.

(phone ringing) There's no need.

(phone ringing) I nearly made the same mistake as you last night.

- You did?

(phone ringing) 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.

(soft music) (keyboard clacking) (soft music) - Why can't you marry your daddy?

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

- Yes.

- Do you want them marry daddy?

- Can I?

- He's already married to me.

He's taken.

- But, if you don't want him.

- Someday when you're older like mummy, you can marry a nice man like daddy.

(somber music) - X-ray 1, that's the target's wife arriving home with the two children.

- [Control] Control from X-ray 1, target's wife arriving home with her two children.

(camera clicking) (dramatic music) - Looks like Spector's qualifications as a counselor are for real.

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

- Two main things to follow up on.

Spector been counseling a married couple, James and Elizabeth Tyler.

Their son died of meningitis, 10 years old.

James Tyler, Jimmy, is well known to us.

It 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 a prison on license.

Anything like that will put them back inside.

Spector was persuasive.

Liz made the call.

- She's not a women's refuge and bangor somewhere.

- Is James back in prison?

- Out on bail, tagged with curfew conditions.

- Pay her a visit.

Don't let anyone else see the 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.

Tyler and his boss had a case to reprimand Spector.

This was on the day of the Joe Brawley murder.

- Spector behaved bizarrely, walked out, never came back, disappeared.

- Behaved bizarrely?

- [Glen] 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 is still registered as a freelance bereavement counselor.

- So, that would be fine art, would it?

- Yes, it was.

(phone ringing) (footsteps pattering) (indistinct chattering) Rick, tell Alice Monroe Fund sent a bereavement counselor to talk Annie Brawley.

- Right.

- Do we have his or her name on file?

(paper rustling) (indistinct chattering) - 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 the phone?

- Are you finished?

- Yes.

- Here, go play.

(footsteps fading) (footsteps pattering) - [Hagstrom] The hairdresser's just arrived.

- What hairdresser?

- [Hagstrom] Oh, that's something her therapist organized for Annie.

- [Stella] Which therapist?

- The new one.

Mr. Spector, the bereavement counselor.

(intense music) - How many times has he been in to see her.

- [Hagstrom] Once.

But a second appointment is arranged for this afternoon.

- When?

- [Hagstrom] Just over half an hour.

- I'm on my way.

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

(suspenseful music) - [Voicemail] This is Paul Spector, leave a message.

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

I need to speak to you.

(intense music) (phone ringing) (suspenseful music continues) - Gibson.

- [Control] Control ma'am, we have surveillance at the hospital in place.

We have all entrances covered and we'll let you know as soon as anyone has eyes on the target.

- [Stella] 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] Control, call sign standby.

From X-Ray 1, target's wife leaving the house with children.

- Vehicle moving city wards - [Control] From control, target's wife heading city wards in Volvo, all call signs respond.

- [Call Sign] From Delta, I am following.

- [Control] Control delta has.

- Is it looking okay?

- It is.

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

- [Hairdresser] I haven't finished.

- We'll call for a reschedule.

Thank you .

Honey, I have to move you out of this room.

- Why?

- I don't have time to explain.

(dramatic music) - From eight, that's the target crossing reception.

- Relax, it'll be okay.

(indistinct chattering) - From eight, the target is ascending now.

I repeat, ascending now.

(indistinct chattering) (cellphone ringing) - [Control] Ma'am, the target is ascending in the lift.

- Okay.

- What's happening?

(dramatic music) Please tell me what's going on?

- Mr. Spector, PC Hagstrom, we met before.

- Oh yes.

- I think you were due to have another counseling 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 canceled 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 okay.

(suspenseful ominous music) (cellphone rings) - Yes.

- [Control] It's control, ma'am, the target's wife is approaching the hospital.

- She's coming here.

- [Control] Entering by the main entrance, ma'am.

- Okay.

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

(door knocks) - [Hagstrom] It's Hagstrom, all clear.

(door opening) - All right.

(indistinct chattering) - Paul.

Paul.

(indistinct chattering) - 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 now?

- Your phone is never on.

- It's broken.

- [Sally] We need to talk, Paul.

Olivia misses you, Liam needs a father.

(suspenseful ominous music) Paul.

Paul?

- Okay.

- What?

- Let's... Where are the kids?

- At a party.

- Have you got your car?

Okay, let's go.

- [Call Sign] From eight that's the target on the way, walking to the pedestrian exit.

- [Control] From seven I have... Control, target and wife walking towards pedestrian exit.

- Gibson.

- It's Ferrington, responding to an emergency call, ma'am.

- [Stella] Yes.

- [Ferrington] A body has been found, a female.

- Where?

- [Ferrington] In the Belfast Hills, Divis, in Woodland.

(siren wailing) - Are you at the scene?

- [Ferrington] On our way.

- What else do we know?

- [Ferrington] The body's face down, young, late 20s, early 30s, possibly, dark hair.

- Cause of death?

- [Ferrington] There's talk of a ligature.

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

(dramatic music) - In any serious crime inquiry, 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 some how.

He wasn't judgemental.

- I see.

(breaths deeply) Annie, you must not discuss this.

Talk about him with anyone.

Not family or friends.

No one.

- You're scaring me.

- [Stella] 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.

- Oh my God.

He was there, I remember him.

- [Stella] Where?

(breathes heavily) - In that bar, the night I lost my driver's license.

He's the man that attacked me.

(suspenseful music) (car door closes) (indistinct chattering) (seagulls squawking) - [Gail] We just wanna 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.

His eyes and ears.

- [Bravo] From Bravo, target and wife traveling South on M1 heading towards Lisburn, following.

- [Delta] From Delta, I have reflective on car, target's wife driving.

- [Control] From Control, target and wife traveling South on M1 towards Lisburn, all call signs respond.

- [Jim] Burns.

- We have him, Jim.

We have him.

- [Jim] Where is he?

- Traveling in a car with his wife.

- [Jim] We mustn't lose 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 found another body, have you heard?

- [Jim] Female?

- Yes, I'm on my way.

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

- 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.

(footsteps pattering) - 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.

(indistinct chattering) - Did he?

- Yes.

- Did anything happen more than Paul Spector holding you?

- No.

I wanted it too.

But no.

(car engine roaring) (indistinct chattering) (birds chirping) (car door closes) (siren wailing) - Have you seen her?

- No, ma'am.

(siren wailing) - They find the body?

- Yes, ma'am.

(breathes deeply) - Take me up to the scene.

(birds chirping) - I would like to take your statement.

(birds chirping) (helicopter engine roaring) (birds chirping) (leaves rustling) (helicopter engine roaring) (birds chirping) (cellphone ringing) - Gibson.

- [Jim] 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.

- [Jim] Keep me informed.

- Yes, sir.

(leaves rustling) Who's been in there already, apart from the first officers?

- The force medical officer has been in, to confirm death.

- Who's the senior investigator officer?

- He is, Ma'am.

(birds chirping) - Told you were on your way, Ma'am.

DS Tom Anderson, I've ordered emergency lighting and a scene tent.

Can't see any tire marks but we've establish a common approach path that I think avoids the most likely entry exit routes used by the victim or the offender.

- It was you who thought of my missing person?

- Yes ma'am.

- What state of dress or undresses is she in?

- She's dressed.

- Tom Anderson.

- Yes, ma'am.

(birds chirping) (motorbike engine roaring) (birds chirping) (indistinct chattering) (leaves rustling) (indistinct chattering) - Are you sure you alright to do this.

- Yeah, I am.

- [Tom] Wear the safe suit ma'am.

- Thank you.

(birds chirping) (paper rustling) (ominous music) Hairs the right color and length.

(camera flickering) Considerable lividity in her lower limbs.

(birds chirping) Rigor mortis has passed, probably more than 36 hours since she died.

(camera flickering) - Okay lets turn her.

- Right, one, two, three.

(camera clicking) (birds chirping) - Is it her?

Is it rose?

- I can't tell there is too much mud.

- I don't think it is.

- Check the pockets.

- Wait, Rose had a difficult first delivery.

She had a midline longitudinal Cesarean.

(birds chirping) - It's not her.

- [Stella] Are you sure?

- It's not Rose.

(birds chirping) She was hanging.

And the ligature gave way.

(leaves rustling) (birds chirping) Always look up at a crime scene.

(birds chirping) (metal clanking) (man groaning) (door knocking) (breathes heavily) (door opens) - James Tyler.

DC Glen Martin, DC Gail McNally.

Can we have a quick word?

(indistinct chattering) Its okay I call you Jimmy?

We just wanna get your side of things.

(water rushing) Got an account in your own words on what happened the day after Paul Spector called here to see Liz.

- 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 know I have friends, they will look out for me.

- It's all yours.

- Its good to have imagined.

- Oh yeah, I have a favor to ask.

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

No next of kin to inform.

Perhaps I can use it for 12 hours.

- Explain.

- [Jimmy] That man's not right.

- Why do you say that?

- I have a reputation, and wherewithal to back it up.

Faces up to me in a towel, not a flicker of fear?

- 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.

- My understanding is that the relationship between Paul Spector and your wife was purely professional.

- So you have talked to Liz, then.

- I need you to take a step back sir.

- I've lost my boy.

I won't lose my wife too.

- Does 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.

- Use threatening violent words is an arrestable offense.

- Then arrest me.

Go on, arrest me.

- Step back, please.. - Get of me.

Get out of my house.

- Go, go.

- Get out.

(door opens) (dog barking) - What was that?

- I was backing you up.

- No, you're 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, is what I do with any partner.

- Yeah, well in future, knuckle out.

(dog barking) (car door closes) (car engine starts) (doorbell rings) (birds chirping) (door opening) - What is it?

Is it rose, have you found her?

- No, but I do need to talk to you.

(door closes) How many dolls do you have?

- 20 dolls.

- 20 dolls.

Wow, that's a lot.

Can you show me one?

- Yes.

Go into your room and get one.

Okay.

- It's easier with Cody.

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

But with Nancy, she just misses her mother and I find it really hard lying to her.

- [Stella] Yes.

I have nothing new to report Tom.

But we all are following some very promising lines of inquiry.

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.

- Okay.

- 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.

(somber piano music) (birds chirping) (somber music) - [Steve] Hey, you two, look who's here.

- [Sally] Hello darling.

- [Olivia] Daddy.

- [Peter] Hey.

- [Control] All right, stranger?

- [Bravo] From Bravo, that's the target and his wife entering 217, Leftfield Road.

Door closed.

(somber music) - [Stella] Where are you now Glen?

- [Glen] Am with the Covert Operations Unit, ma'am.

Two minutes away from Spector house.

- [Stella] He's with his wife and children in Lisburn.

That's 20 minutes away.

- [Glen] Right.

- [Stella] We have no idea how long they're intending to stay.

- [Glen] Understood.

- [Stella] I will be with control.

(car engine roaring) - [X-Ray 1] From 1 that's technical unit arriving at the target's house.

- [Control] From X-ray one, that the technical unit arriving at the target house.

Controls to Bravo, please update.

- [Bravo] From bravo, target and family still in situ 217, Leftfield Road.

- [Control] Control to Bravo, wait out.

- [Bravo] Copy.

(suspenseful ominous music) (metal clanging) (door opens) (ominous music) (camera flickering) - How are we doing?

- Technical unit has entered the target's house.

(ominous music) (camera flickering) (ominous music continues) (indistinct chattering) (ominous music) - How's that ma'am?

- That works.

(door opening) (ominous music) [Man] I'll take a power feed from the loft.

(camera flickering) (ominous music) (wood creaking) (ominous music continues) (paper rustling) - We can now go live to the scene to hear from the police officer in charge.

- We can confirm about the body of a white woman in early 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.

- [Man] Are you linking this death to the recent murders?

- [Woman] How long has she been dead?

- [Tom] That's all I can say right now, thank you.

- [Man] If it's not Rose Stagg, why was Superintendent Gibson here earlier?

- That's all I can say right now, thank you.

- So no suggestion that the police are treating the death as suspicious, despite speculation.

- It's the original drawing, ma'am, that we listed from the indentations, on the Ian Kay letter.

- We're there on an intelligence-gathering mission.

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

Take pictures.

- Stay still.

- Oh.

(coughs) - [Sally] Will we go home and get into our jammies?

- [Steve] All right, guys.

- [Sally] See you, Steve.

- [Steve] See you.

- [Bravo] From Bravo targets family on the move leaving 217, Leftfield Road.

- [Control] Control from Bravo target on the move.

- [Bravo] Bravo target approaching Volvo, from golf leaving from rear of Leftfield Road.

- [Bravo] Bravo vehicle heading south on Leftfield Road, family on board.

- [Golf] From golf I have... - We have a problem.

- What?

- We have a collapsed ceiling?

- What ceiling?

- Above the main bedroom.

- How bad?

- Destroyed.

- [Bravo] Target's car joining the A1.

- Is there a water tank in the loft?

- Yes, ma'am.

- [Control] Control joining the A1, heading towards Belfast.

- Make it look like a flood and get out.

- [Control] Looks like the Spector's are heading home, ma'am.

- [Katie] What are you up to?

- [Daisy] Mr Big's not online?

- [Katie] Not yet.

And don't call him that.

- [Daisy] Why?

- It's not about that.

He means everything to me.

(door opening) - What is that?

- Daddy what's happening?

- Don't touch that.

Stay outside, okay?

Don't come in.

(water rushing) (door opening) (water rushing) (door closing) (water rushing) (metal clanking) - [Sally] Paul, what is it?

What's happened?

(siren wailing) Come here, darling.

Liam, come here.

(door opening) - It's the main tank, it's flooded.

- 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 darling, it's not safe.

- What are we gonna do?

- You should go to your mom's.

- I don't wanna go to grandma's, I wanna save a few.

- I'll get onto the landlord, we'll gel it sorted.

- Oh, God, Paul.

- At least it's not unsanitary water.

I'd sort I promise.

- [X-Ray 1] From X-ray one target and wife and children returning to car.

- It's gonna be all right.

Okay, I promise.

Everything is gonna be all right.

I'll see you again really soon.

We'll always be together.

(siren wailing) (dramatic music) - [X-Ray 1] From X-ray one the target is not onboard, the target is not onboard.

- [Control] Control from X-ray one target not on board.

Repeat target not on board.

- [X-Ray 1] Target's wife heading city-wards in Volvo.

- [Control] From control target's wife, heading city-wards in Volvo.

- [Golf] From Golf I have.

- [Control] Control golf has.

- [X-Ray 1] Target returning to house.

- [Control] Control, target returning to house.

- [X-Ray 1] Door closed.

(suspenseful music) - Every possible exit is covered?

- Yes, ma'am.

- [X-Ray 1] From X-ray one, target put to bed.

- Right.

(indistinct chattering) - [Stella] Do you know a detective called Tom Anderson?

- [Mathew] 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.

(footsteps fading) (indistinct chattering) (dramatic music) (car engine roaring) (car door opening) (car door closing) (keys jingling) (door buzzing) Long day.

Do we know anything more about our Jane Doe?

- No external signs of a struggle.

- You're thinking suicide?

- There was some bruises at the injection sites.

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

- God, why hang yourself when an overdose will do?

- [Jim] So we think this has Spector?

- [Glen] Yeah, seems like likely, sir.

Yes.

- [Jim] What a monumental cock-up.

P-B-H-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.

(footsteps fading) (phone ringing) - 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.

- [Paul] Have you?

- I think about you all the time.

Every minute of every day.

- Is it painful?

- [Katie] Yes.

- Good.

- Why good.

- Because other people's pain gives me pleasure.

- [Katie] Even mine?

- Especially yours.

- Don't say that.

- Right, I'm gonna get changed.

You look ready for sleep.

(door opening) - [Paul] 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.

- [Paul] 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 or 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.

- Its okay.

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?

- [Paul] She got fat.

(Katie laughs) 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?

(dramatic music) (phone ringing) - Gibson.

- [Tom] It's Tom Anderson, ma'am.

- Thank you for making that statement to the press.

- [Tom] Did it help?

- I'm not sure yet.

- [Tom] Well, I thought he 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?

- [Tom] Yeah, there's a letter to her mother.

More or less a suicide note.

- What did she say?

- [Tom] I know you were home, mum.

You must have heard me calling you why didn't you answer the door?

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

If 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.

(footsteps approaching) - What on earth are you doing?

- Wondering where Rose is.

(upbeat music)