As Gibson takes control of the hunt for the serial killer striking against women in Belfast, the realisation that his perfect kill is tainted pushes Spector into looking for his next victim.
Gibson takes control of the serial killer case and while bringing Burns up to speed with her investigation they are interrupted by a phonecall reporting the fatal shooting of an officer. As Burns leaves, he instructs Gibson to get herself a firearm: the danger of policing in Northern Ireland suddenly hits home.
As Gibson and the investigative team are running through what they know so far about the killer of Fiona Gallagher, Alice Monroe and Sarah Kay, Spector is examining the house of a potential victim.
At the police station, Gibson informs Burns about her night with Olson. Forced to stand by her, Burns joins Gibson at a press conference where she announces the hunt for the serial killer. As Spector watches the news report of the press conference, he comes eye-to-eye with Gibson for the first time.
Later on, the Spectors are visiting Sally Ann’s parents at their farmhouse located outside the city, where Spector discovers an abandoned, derelict building. He decides to return to the site: it is clear he has found himself the perfect lair and starts to move his secret possessions out of the loft at home to keep here.
As he returns to his car to collect some final possessions, the radio news announces that Sarah Kay was pregnant at the time of her death. This news shakes Spector to his core, and he sits staring at the mannequin, its blank stare mirrored in Spector’s eyes.
Compelled to erase his mistakes with Sarah Kay, Spector’s darkest desires are directed at Annie Brawley. As he stands just inches from her, unseen in the shadows, he knows he has selected the next perfect victim.
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