"this way,ma'am" "The night watchman heard a noise at about 2:30." "Went to check it out and found him." "Any sign of anyone else?" "There's some old toys." "It looks like kids have been in here before." "What about needles, foil, anything like that?" "No, nothing." " What about needles, foil, anything like that?" " No, nothing." "Could be a suicide, maybe." "Could be a suicide, maybe." "Yeah, it could be." "Right, I want this whole place checked out." "Tony Hill." "Tony, it's Carol." "I've got something I need you to 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." "Postmortem 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." "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." "And 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 the circuit, the connection." "See, what you were feeling, the thing that scared you, is manipulation." "Someone wanted us to see this." "who?" "Maybe him." "Okay, you can take him now." "an you let me know as soon as you're sure of a cause of death?" "What happened to you?" "Do you have days when it feels like the sky's falling on your head?" "Yeah, all the time." "It's a bit like that." " Don't happen to know a good builder, do you?" " sorry?" "Oi!" "Get off!" "Off me!" "Shit, leave her." "She's a copper!" "Looks like a pinhole leak to start with." "Could have been going on for months." "Oh, don't do that." "That'd just makes it worse!" "Tony Hill?" "Can't someone else cover for her?" "Ask Sam if she'll do it." "Thanks." "Joists, damn it." "They're just wet." "Yeah, but you got electrics under there, mate." "Tony Hill!" "What is it?" "How are you?" "How do I look?" "Like you've been hit by a car." "You say all the right things." "I'm fine, I'm really just a bit woozy, that's all." "Do something for me?" "Yeah?" "Paula said she'd look after Nelson." "Can you tell her the kitty litter's under the sink?" "Yeah, no problem." "Tony," "Kevin should have I.D. and postmortem results 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." "His name is Corran ..." "Lyle." "He's ten years old, and he was reported missing five days ago." "He was only reported as a runaway, so he wasn't flagged in the system." "How come?" "Well, he'd taken a gym bag, clothes, some 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 anymore?" "Yeah, except that Forensics now say the body was definitely moved after death." "Now, if he did kill himself, then 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?" "Uh, fine." "Thanks, sir." "Good." "Now, whilst 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 went much better." "He was falling behind." "His teacher was concerned." "We went in to talk to her." "But it had really picked up recently" "I can't think why he'd want to run away." "Tell me about that, when you realized he'd run off." "He didn't come home after school." "We rang everyone." "he wasn't with any of his friends." "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?" "Now 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." "That's the 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 years, and three." "There's also some recent bruising." "Let me guess -- five days old." "Yeah." "You need to split them up." "She's not going to say anything with him sitting next to her." "Go slowly, and let her fill in the gaps." "What about him?" "Be direct and aggressive." "Not a problem." "Do you want to sit in?" "I wouldn't want to get in the way of you spreading your wings, Kevin." "I thought I'd take a look at the house." "Do you think he, uh ... killed himself?" "We're not sure." "Might he have thought of doing that?" "Doesn't really matter, does it?" "He ran away, and that's why he's dead." "If he'd have 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 that we're not clear about." "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." "Yeah, 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 only want 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'm trying to find 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!" "He took clothes as well." "Sensible." "He'd obviously thought it through, not a spur of the moment thing." "You 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." "Cause if I'd done something ... he might be all right." "We've got him!" "Wife beater and child abuser, and his wife's prepared to say so." "They're questioning the father." "Oh ... wrong guy?" "Yeah, it's the wrong guy." "t's the body placement." "It's ritualistic." "Yeah." "But why?" "Either the killer's proud of what they've done and wants to draw attention to it, in which case they're objectifying the victim ... or they're identifying with the victim subjectively and want to leave them properly honored." "Hmm?" "Which do we have here?" "Tony?" "Mm-hmm." "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 window." "Move!" "Nick!" "Quick!" "Quickly!" "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 it was an escalation." "He's getting more confident?" "Well, perhaps." "But the factory was already confident." "Everything about it was calm and precise." "See, the first time you kill, it's exciting, it's dynamic, it's a culmination of fantasy and expectation, you see." "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; he's only now showing us what he is." "You're sure he's not a pupil at this school?" "They've never seen him before." "So what's he doing here?" "Did Liam take anything with him when he went?" "Clothes or anything?" "Yes." "Julie, when is your dad going to be home?" "He's not." "They're divorced." "Can you tell me, was, um, 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 okay if you showed me Liam's room?" "Okay." "Won't be a second." "You're a counselor?" "Psychologist, yeah." "Am I supposed to talk to you about what I'm feeling?" "If you want." "Sometimes that helps." "Not if you don't want." "You going to catch who killed him?" "I'm going to try." "That's not good enough." "I'm going to try." "Do you know why Liam ran away?" "That looks expensive." "I don't know." "Yes, radio control." "So?" "So, when did your dad leave?" "Three years ago." "So who gave Liam the Ferrari?" "how do you know someone gave him?" "He could have saved up." "Not taken it out of the box?" "No." "Who gave him these?" "Jack." "Mum's boyfriend?" "Since when?" "A year?" "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." "Okay." "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 now." "So he should be happy." "God've given anything he wanted, I thought ..." "You need to get Vernon to check Liam's body for evidence of sexual abuse." "The boyfriend." "You're kidding." "Did the mother know?" "Well, at some level, yeah." "That's why she's so adamant that everything was fine." "She admits something's wrong, then it's her fault Liam ran away and he's dead now." "That's what Mrs. Lyle said." "She said she killed Corran; it was her fault." "Exactly." "Mr. Tavener, our pathologist has provided us with evidence of sexual abuse to Liam Fletcher." "Would you be prepared to provide a DNA sample?" "He's holding his hands up to child abuse, but how do we get him to talk about the killing?" "You don't." "He didn't do it, sorry." "Helped drive him away from home, sure, but he isn't the killer no more than Corran Lyle's father." "his isn't family members; this is a serial killer M.O. and the guy you're after is preying on abused children," "They all went missing within the time frame." "Yeah." "There's another one, but he's been gone for a couple of months." "Not him, then." "It's happening faster than that." "They run away, he finds them, he takes them." "A few days -- three, four maybe -- then they're dead." "You need to treat all these as potential victims." "Okay." "What happens in those three or four days?" "Not what you're thinking." "Which is strange in itself." "Child abductions not carried out by 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 and stuff on his wall and this -- it doesn't fit." "Tony, we've got one body in a factory, another in a school playground." "And neither location is linked to the victim." "Factory's closed, and it's the wrong school." "Nothing fits." "The locations don't link to the victim." "They link to the killer." "Can I help you?" "Oh, I'm just having a look around--you know, see what was going on." "Yes?" "There's a man here, Michael." "My name's Michael Stocks." "You are ..." "I'm a friend of Julie Fletcher's." "Oh, I'm sorry." "I didn't realize." "Come to my office." "What happened with Liam was terrible." "We've been praying with Julie, of course." "Oh, yeah." "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 him." "He never really seemed 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 realize 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 until children are ready to come to us, but with Liam, I can't help thinking we waited too long." "This is preliminary because we still only have conjectural links between victims and circumstance." "But even from first principles, it's clear that 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 that they go with him." "So a mature man. early 40s, perhaps, maybe older." "Intelligent." "In a professional career." "Calm, capable, manually dexterous." "The scenes of crime indicate precision and order." "e was abused as a child, probably by his father, possibly by another family member." "The victims he's targeting are boys of similar abusive backgrounds and of similar ages to his age when he was abused" "Why is he keeping them alive if not to abuse them?" "Well, clearly, he feels close to them." "Has a connection to them." "Keeping them alive prolongs that connection" "What?" "He's not picking them up randomly at train stations." "He's choosing them because of what's happened to them-motive not method." "And that means he got close enough to them to learn about their family background." "The connection predates the abduction." "He knows them." "Has to." "Matthew?" "Matthew?" "How did he get in?" "We don't know." "There's no sign of forced entry." "This is Matthew's room?" "Yes." "When did he disappear?" "Uh, 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." "There's no drag marks on the floor." "You're gentle with him." "This is a very special moment for you, isn't it?" "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." "This is what 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." "Have you been in here since the police left?" "No, I couldn't." "What are you looking for?" "I'm not sure." "Who was he, the little boy who was here?" "Oh, we don't know his name yet." "Sorry." "When Matthew went missing, did he take anything with him?" "eah, some clothes, his walkman, and some tapes, and he was into collecting those stickers- -the ones they used to swap, you know" "and he took them." "Like these?" "They weren't there." "Are you sure?" "Yeah, 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." "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 Warick, 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." "Child disappears -- some piece of evidence comes to light that points to them running away." "Bag in a train station, that kind of thing." "While actually, they were abducted." "And killed." "The killer's placing the new victims in locations specific to old murders." "he's acquisitive.He's a collector." "The items he's placing near the new victims are relics he's kept from the old killings." "They've kept their clothes, their personal effects, everything they took with them" "No sign of forced entry in the Matthew Beaumont house, right?" "Right." "Because he had a key." "Which he took from Matthew when he killed him and kept these past seven years, yeah." "And I don't think it will have stopped there." "What do you mean?" "He perceives relationships with these children before and after death." "I think it's highly likely that he will have kept the body." "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." "You've got to look into the past just as hard as you're looking into these current killings." "Find out why he shifted M.O., find out where he started and find out 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 them look like they're calm." "At peace." "You use sedatives to kill them." "This isn't right." "Where is the aggression?" "Where is the need?" "What are you doing?" "What's your name?" "Andrew." "Well, I'm Tony, Andrew, and I'm ..." "I'm trying to work something out." "Is Corran in here, too?" "Oh, 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?" "Hmm?" "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 your friends you trust." "So the fence means that this is a safe place." "So trust someone in the garden because they're your friend." "We don't talk to strangers, but they wouldn't be a stranger." "No, this isn't right" "This isn't the picture drawn by a 10-year-old boy." "Conceptually, it's inclosing." "It's familial, it's feminine." "Julie." "Julie Fletcher." "But why " "Thanks, Andrew." "Hello, Julie." "Can you tell me what this is?" "Okay." "This is a web site for Collingwood Community Circle." "which is Julie Fletcher's church group." "Now, most of the web site is Christian propaganda, but a couple of layers down, and you get this " " Denny's Garden." "That's a peer-moderated chat room, so kids with problems talk to other kids with problems so they don't feel alone--that kind of deal." "This is where they felt safe; this is 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 first set up that was last summer." "The killer's only started using it as a hunting ground recently." "Recently enough for the latest three victims." "Yeah, but not the earlier ones." "So they must have used a different channel" "Okay, what next?" "Can you get me in the chat rooms?" "Can you get me in the chat rooms?" "Not just the main area -- the person-to-person conversations as well." "With a court order, we can get a direct feed from the ISP service" "And I need a laptop with that setup on it." "Why?" "If the killer's in there, I want to be able to spot them." "Julie, it's late." "Just wanted to talk to someone." "You can always talk to me; you know that." "That's what I'm here for" "But it's cold with the heating off and I'm supposed to lock up." "I'll 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." "And then he showed me my picture" "the one of the garden" "Only it wasn't mine." "One of the other boys had copied it." "It felt like ... maybe ... if I had taken better care of Liam, it would never have happened." "Shh!" "It's okay." "It's okay, 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." "You'd 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 th-think so." "Here." "This access is a direct feed from the ISP." "We can get into any of the rooms, including private conversations, whenever we want." "Okay, show me." "There you go." "What are they talking about?" "Uh, favorite 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." "There's something you need to see." "This is a 999 call that came in late last night." "He's taken her in his car." "I saw them." "Who has he taken?" "Julie." "Julie who?" "Do you know her full name?" "I think he's hurting her." "Who's taken her?" "Michael, in his car." "I have to go." "ulie Fletcher and Michael Stocks?" "We've checked her house." "She's fine." "But she did go out last night and didn't come home until late." "Late 30s, early 40s, professional." "And familiar." "Someone a child would trust." "Like a schoolteacher, police officer." "Or priest -- shit!" "Alex!" "Alex, get down here!" "Neal's got news of all tonight's football, and he becomes a punch bag for a ..." "Alex, get down to the shop and get me some fags will you?" "But, Dad, I'll be late." "Go on, You can spend the rest." "It'll only take you ten minutes." "It'll be the third time this week, and Mrs. Jennings said " "Do as you're told, will ya?" "!" "Look.Our three new victims were all found on locations that tied them in with past crimes." "Right?" "Yep." "That's one pattern." "These are their homes." "See, huge spread, totally different pattern." "That makes sense; he's selecting through the Internet, so the catchment could be anything he likes" "Now, look." "These are the homes of the children we have in frame for the original killings." "See?" "Much tighter packs, clustered in this area here." "When he started out, this was the hunting grounds." "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." "Is he talking yet?" "No." "Just watching." "Here we go." "It's got to be opportunity." "He's spread the hunting ground, so the first pattern is 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 mistake." "Sarge." "Mind if we take a look at your computer?" "You have no right to ask me these kinds 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." "Oh, 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 any sense." "The development should be circular or radial or spiral, right?" "Yeah, but our killer's not opportunistic." "His victims are selected and they're exclusive to a specific group, so the standard progressive patterns won't apply." "You say he's selecting them, 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 victim's 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, it ..." "Tony?" "Please don't do it." "I don't believe this." "I saw it happen." "Got the whole process." "Sympathy to elicit information, then a gradual alliance to the target, then inducement to run away, and then agreed meeting " "What?" "We, uh, we don't have it." "Tuff Cat logged off at that point." "Says, "got to go.E-mail me where and when."" "So check their e-mails." "We can't." "It's on a separate system and we don't know the addresses." "Well, 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 pedophile, and we have him in custody." "And that's enough?" "Your victims so far have all been boys." "The connection between the victims isn't Stocks, it's his web site." "Which the killer is using -- his web name is Dorian and I have just watched him take another victim." "Paula." "Mm-hmm." "Who's Colin Weyland?" "Don't know." "Why?" "Michael Stocks seems to have a lot of files in his name." "How can you be sure that this person you've seen is really the killer?" "Believe me, I know." "Well, I can't work with that." "You're going to ignore this, are you?" "Come in!" "What is it?" "Sir, Michael Stocks' real name is Colin Weyland." "He moved here from London three years ago." "Said he was working in a city project for disadvantaged kids." "Actually, he was inside for indecent exposure" "How long?" "Fourteen 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 just out of crab cakes, but chef does a world-renowned meatballs and rice." "It's going to be good to be out of here." "Actually, you're lucky to be here." "I used to work over at St. Mary's." "The food there was much worse." "Now, if you'd hurt yourself two streets over, you'd have ended up there." "You all right?" "Tony Hill." "Look." "Listen, mark these roads, okay?" "Wait." "Wait, excuse me" "Sorry, what was that?" "Rochester Street." "Rochester Street." "Cardigan Street." "Cardigan Street." "Where is Cardigan?" "Yeah." "Lime Avenue." "Got it." "And Gerard Street." "Yes, I see it." "Good fit." "What is it?" "It's the hospital catchment area." "He was finding them through their medical records." "That's how he knew about their abuse." "He's a doctor." "I need the medical records for the first victims." "Quickly." "This doesn't make sense." "These are Matthew Beaumont's records." "He's never been to hospital except once with food poisoning." "There's no hospital records on this one either." "Can't be wrong." "Can't be." "What GP have we got?" "Weaving, Thomas Weaving" "this one,too" "Weaving, Weaving, Weaving" "He's a doctor." "All the children would recognize him, trust him, and he knew what was happening to them." "We've got addresses -- home and the surgery." "All right, two teams and armed support." "I have a warrant for the arrest of Dr. Thomas Weaving." "Where is he?" "Dr. Weaving?" "You must have made 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 eighteen months ago, he had another one and died." "And right now we've got something else to worry about." "Alex Fowles -- absent from school today, never came home" "Two girls from his class were bunking off when they saw him go into an Internet place this morning." "Got 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 judgment isn't always any good." "No." "Your judgment was fine." "You said a doctor." "It fit perfectly." "Weaving fitted the profile perfectly." "Except for being eighteen months dead." "No, wait." "He fitted perfectly." "Weaving was the killer." "Was." "And then he died and the M.O. shifted." "He's not the killer anymore." "Well, the cases weren't in the papers." "It can't be a copycat" "No, it's too close for that." "That's far too close." "What is this?" "The M.O. changes that way, what he was doing is sanctified." "Tony, slow down." "magine for a moment you loved me." "Yeah?" "You idolize 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, was only good enough for a monster." "But what if I'm not a monster?" "What if I'm still perfect?" "And 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." "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'll have to make her lead us to it." "How?" "She keeps them 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." "She's on." "Where?" "There." "She's not Dorian anymore." "New name for a new victim." "Remember, not too fast and not too accurate." "Your name's Kieran." "You're ten years old." "Okay, I'm in." "Just sit tight; she'll come to you." "Okay, type ... type ... 'Do you ever get lonely?" "'" ""Sometimes."" "Me too." "What do you do when you're lonely?" ""Talk to someone, right now."" "But what if there isn't anyone?" ""God hears you."" "All right, we're moving on." "Sanctification through doing God's work." "Even the web site's a religious group." "Yeah, they're trying for identification by association." "We can use this" "Type, uh ..." ""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."" "But what do you think happens after?" ""I think afterwards, you're safe." "Jesus gathers you in his shining hands and you're at peace."" "Wait, wait." "She's asking if we're still here." "Wait, uh ... 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 was 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?" "It's 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." "She would have seen the chat group in action" "And that gave her the idea to use the net as a hunting ground -- maybe she works there." "It'll not be central, though." "She'scontinuing her husband's work so there's no room for pride in her own life, so it will be peripheral, it'll be 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 of times a week." "I don't know where she lives." "Elizabeth deals with her." "Kevin, if you arrest her, she'll never tell where Alex Fowles is." "She doesn't take them home." "She takes them to a place Weaving found, because she would never presume to alter a part of his work." "Now, the computer is a tool -- Yeah, Tony." "Listen to me, Kevin." "The computer is a tool of that works, so she would still have it there as well." "You're looking at complete compartmentalization here." "Domestic normality at home, the victims elsewhere" "Somewhere anonymous and secure that her husband found ten years ago." "You just bring her in, I promise, she'll never tell you where she's keeping Alex Fowles." "So, what do we do?" "Base, this is Victor 2." "No movement." "Still no sign." "Base from Victor 2, heads up." "We have a green Escort van coming in." "Yeah, I see her." "Is that her?" "I think .... yeah." "That's her." "She's in." "All right, sit tight and do nothing." "Copy." "So she was online twenty minutes ago." "So that would put the room in about a 10-mile radius of here." "When does she get to work?" "She's always early." "All groups and base, she's moving." "Tail her rear 4 and 5 on lead -- 3, hang back." "Do not take any risks." "Log in as Tuff Cat." "She's with us." "It's dark." "Tell someone I'm here" "Elizabeth." "What is it?" "Something weird's going on." "Look." "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?" "I think 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." ""Make some noise"." "Maybe someone will hear him." "Base from Echo 1, we have her." "Echo 3 in pursuit -- over." "Echo 2 in pursuit." "Moving on from Community Centre, over." "Echo 1 in pursuit" "Bravo, all units waiting further order -- over." "Proceeding to city exit" "Echo 3, suspect's leaving city, down coast road -- over." "Echo 2 following." "Echo 3 in hot pursuit -- over." "Coming to a halt at the Chancery Industrial Estates." "Pick her up again when she comes out" "Waiting further instructions." "She's not coming out." "What?" "This is where she's keeping him." "Follow her in." "Repeat -- follow her in." "Echo 3, suspect's headed into the Industrial Estates -- over." "Suspect up the county road, turning east on the east side." "Bravo ARU, still in position, approaching north side of estate -- over." "Roger, Echo 3 " " Echo 2 to Echo 1 and 3, we're coming up the east side of the foundry, into the sides, have lost visual of suspect - over." "Echo 1, lost visual." "Echo 3, lost visual." "Repeat, no visual." "Can anyone see another way out?" "Come on." "Where is she?" "Shit!" "Shit!" "Shit!" "There, the garage." "All groups move to the garages." "Repeat -- move to the garages!" "She's in the garages!" "Police, don't move!" "Let me help him." "It's okay, you're safe." "Stop it!" "Leave him alone!" "You're safe, okay?" "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." "Yeah." "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."