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The Carpenter Who Dismembered: Her Torso in a Dutch Canal · True Nightmare Stories

• 0:03
  Speaker 1: A woman's torso was found sealed inside a bag and
• 0:06
  Speaker 1: a Dutch canal in May of nineteen ninety. No head,
• 0:10
  Speaker 1: no hands, no identity. For eleven years she lay buried
• 0:14
  Speaker 1: under a name that wasn't hers, in a country she
• 0:16
  Speaker 1: hadn't chosen, while the man who put her there went
• 0:19
  Speaker 1: on living, working, moving, meeting new women. What found him
• 0:23
  Speaker 1: in the end wasn't a witness or confession. It was
• 0:26
  Speaker 1: a drawing. There is something about this case that has
• 0:29
  Speaker 1: stayed with me in a way I can't entirely account for.
• 0:32
  Speaker 1: The violence is part of it, but what truly unsettled
• 0:35
  Speaker 1: me was how long the world looked straight at this
• 0:38
  Speaker 1: man and saw nothing wrong. Her name was Melissa Halstead
• 0:41
  Speaker 1: and she was thirty two years old when she was killed.
• 0:44
  Speaker 1: She had grown up in Ohio, trained as a photographer,
• 0:47
  Speaker 1: and arrived in London in the mid nineteen eighties with
• 0:50
  Speaker 1: a camera and the particular kind of restless curiosity that
• 0:53
  Speaker 1: takes a person across an ocean alone. She met John
• 0:56
  Speaker 1: Patrick Sweeney in London in nineteen eighty six. Within months
• 1:00
  Speaker 1: she had moved in with him. Sweeney was a carpenter
• 1:02
  Speaker 1: from Kirkdale, Liverpool, large, physically powerful, and by every account
• 1:07
  Speaker 1: from people who knew him, capable of an extraordinary warmth.
• 1:10
  Speaker 1: When he chose to project it. He used several names,
• 1:14
  Speaker 1: Joe Scouse, Scouse, Joe Michael, Joe Johnson. The name switching
• 1:19
  Speaker 1: was not quirky, it was operational. He had teenage convictions
• 1:23
  Speaker 1: for violence, including an incident involving an axe, and two
• 1:27
  Speaker 1: failed marriages marked by documented brutality, one involving a wardrobe,
• 1:32
  Speaker 1: an axe and a knife, and a wife who fled
• 1:35
  Speaker 1: before he could use them. Melissa did not know any
• 1:37
  Speaker 1: of that when she met him, or perhaps she learned
• 1:40
  Speaker 1: it slowly, the way people do when they are already
• 1:43
  Speaker 1: inside something they cannot yet name. By nineteen eighty seven,
• 1:47
  Speaker 1: she and Sweeney were living in London and the violence
• 1:49
  Speaker 1: was already visible to authorities. Police records from that year
• 1:52
  Speaker 1: so he was fined for two assaults on her, a chair, throne,
• 1:56
  Speaker 1: punches landed. The paper trail existed. It did not stop anything.
• 2:00
  Speaker 1: They moved to Vienna. There, Sweeney attacked Melissa with a
• 2:04
  Speaker 1: hammer and fractured her skull. He was arrested, jailed, and
• 2:08
  Speaker 1: miles sitting in a cell in Austria, he began to
• 2:11
  Speaker 1: draw the sketches he produced during that imprisonment would later
• 2:14
  Speaker 1: become evidence in a murder trial. At the time, they
• 2:17
  Speaker 1: were dismissed as the hobby of a man waiting at
• 2:19
  Speaker 1: a sentence. Melissa, from her hospital bed, petitioned the Austrian
• 2:23
  Speaker 1: judge for clemency on his behalf. He was released and
• 2:26
  Speaker 1: expelled from Austria. She left with him. They moved to Amsterdam.
• 2:31
  Speaker 1: On November twod nineteen eighty nine, Melissa called her mother
• 2:35
  Speaker 1: in Ohio and left a voicemail. The message was brief
• 2:38
  Speaker 1: and warm. She said, Hi, Mom, it's Melissa. Take care
• 2:42
  Speaker 1: of yourself, good Bye. I love you. It was the
• 2:46
  Speaker 1: last time her mother heard her voice. By the end
• 2:48
  Speaker 1: of April nineteen ninety, Melissa was dead. On May third,
• 2:52
  Speaker 1: nineteen ninety, a passer by near the Vestisential Canal and
• 2:55
  Speaker 1: Rotterdam noticed a bag partly submerged at the water's edge.
• 2:59
  Speaker 1: Inside was a woman's torso, bound and wrapped. The head
• 3:03
  Speaker 1: was not there, neither were the hands. Rotterdam police opened
• 3:07
  Speaker 1: an investigation into an unidentified woman, and, finding no leads,
• 3:11
  Speaker 1: eventually closed it. The torso was interred in Rotterdam under
• 3:15
  Speaker 1: a name that was not hers. Here is the detail
• 3:17
  Speaker 1: that matters, and that no one connected. For over a decade,
• 3:21
  Speaker 1: Melissa's family had reported her missing to police in Amsterdam.
• 3:24
  Speaker 1: Amsterdam and Rotterdam, though separated by roughly seventy kilometers, operated
• 3:29
  Speaker 1: under entirely different police districts. The missing woman in Amsterdam
• 3:33
  Speaker 1: and the unidentified Torso and Rotterdam were never linked. They
• 3:37
  Speaker 1: were two separate files in two separate cities, and the
• 3:40
  Speaker 1: man responsible had already left the Netherlands. He returned to
• 3:43
  Speaker 1: London and found another woman to live with. Her name
• 3:47
  Speaker 1: was Delia Balma Delia Bauma met John Sweeney in Camden
• 3:50
  Speaker 1: in nineteen ninety one. She was a nurse forty years old,
• 3:54
  Speaker 1: practical by training and by nature. She noticed he was large,
• 3:58
  Speaker 1: physically powerful, and unusually charming. She did not notice, not
• 4:03
  Speaker 1: at first, the way he watched doors. For three years,
• 4:06
  Speaker 1: the relationship held a shape that felt almost ordinary. Then
• 4:10
  Speaker 1: sometime in the spring of nineteen ninety four, that shape
• 4:13
  Speaker 1: collapsed entirely. Sweeney tied her to a bed, He held
• 4:17
  Speaker 1: a gun, he held a knife, and then, in the
• 4:20
  Speaker 1: particular silence of a room where someone is completely controlled
• 4:24
  Speaker 1: by someone else, he started talking. He told her he
• 4:27
  Speaker 1: had killed Melissa Houstead. He told her he had killed
• 4:30
  Speaker 1: two German women in Amsterdam as well. He said he
• 4:33
  Speaker 1: had sat with the bodies for three days before dismembering them.
• 4:36
  Speaker 1: He described where the pieces went. He was not confessing
• 4:39
  Speaker 1: out of guilt. He was demonstrating what he was capable of.
• 4:42
  Speaker 1: Delias survived that night. She carried what he told her
• 4:46
  Speaker 1: out of that room and into a police station. The
• 4:48
  Speaker 1: rational explanation stopped working here. Officers listened to her account.
• 4:53
  Speaker 1: They looked at her. They told her Sweeney had probably
• 4:56
  Speaker 1: just been trying to frighten her. They did not act
• 4:58
  Speaker 1: on the confession, she reported. They did not investigate the
• 5:01
  Speaker 1: name Melissa Halstad. Somewhere in Rotterdam, a torso and a
• 5:05
  Speaker 1: bag had been buried four years earlier under a nameless headstone.
• 5:10
  Speaker 1: The two cases sat in separate countries, in separate filing systems,
• 5:14
  Speaker 1: and no one connected them. There was something else behind
• 5:17
  Speaker 1: the bath panel in Delia's flat. Police found a bag
• 5:21
  Speaker 1: inside tarpauling, masking tape, gloves, masks, rope. Detective Inspector Steve Smith,
• 5:28
  Speaker 1: who would later lead the cold case inquiry, described it
• 5:31
  Speaker 1: as a killer's kit bag. It had been placed there
• 5:34
  Speaker 1: before the attack. Sweeney had not brought it that night
• 5:37
  Speaker 1: in a rush. He had prepared it in advance and
• 5:40
  Speaker 1: hidden it inside her home in the wall behind where
• 5:43
  Speaker 1: she bathed. Officers logged it, they did not pursue what
• 5:46
  Speaker 1: it meant. On December twenty second, nineteen ninety four, Sweeney
• 5:50
  Speaker 1: found Dahlia outside her flat. He had an axe, He
• 5:53
  Speaker 1: had a knife. He severed her left little finger. He
• 5:56
  Speaker 1: stabbed her twice, once through the breast and into the lung,
• 6:01
  Speaker 1: once through the thigh. He broke both her arms. He
• 6:04
  Speaker 1: punctured her lung. A neighbor intervened. Dearly required nineteen units
• 6:09
  Speaker 1: of blood to survive. Sweeney fled the country. He was
• 6:13
  Speaker 1: gone for approximately six years. He re entered the United
• 6:17
  Speaker 1: Kingdom under aliases Joe Scouse, Scouse, Joe Michael, Joe Johnson
• 6:22
  Speaker 1: and worked on building sites across London. He was large,
• 6:26
  Speaker 1: strong and skilled at the skies. He moved through the
• 6:29
  Speaker 1: city's construction workforce as if he had never left. The
• 6:32
  Speaker 1: people working beside him did not know his name, not
• 6:35
  Speaker 1: his real one. Somewhere in that period he met Paula Fields.
• 6:39
  Speaker 1: Paula was thirty one from Liverpool and living in circumstances
• 6:43
  Speaker 1: that made her easy to isolate. She was drug dependent.
• 6:46
  Speaker 1: She worked as a prostitute in London. She had met
• 6:49
  Speaker 1: Sweeney some time around the year two thousand. In December
• 6:52
  Speaker 1: of that year, she was killed. On February nineteenth, two
• 6:55
  Speaker 1: thousand one, two boys near Regent's Canal in London spotted
• 6:59
  Speaker 1: a bag in the wall. Police recovered it. Then they
• 7:02
  Speaker 1: recovered five more hold alls from the same canal. Paula
• 7:05
  Speaker 1: Field's remains had been distributed across all six Her head,
• 7:09
  Speaker 1: hands and feet had been removed. DNA confirmed her identity.
• 7:14
  Speaker 1: The pattern was not coincidental, it was methodical. Sweeney was
• 7:18
  Speaker 1: arrested in two thousand one on a building site on
• 7:21
  Speaker 1: Fleet Street. An armed team took him. He was carrying
• 7:24
  Speaker 1: a gun and a knife. The two thousand two trial
• 7:27
  Speaker 1: at the Old Bailey addressed the attack on dili Obama.
• 7:30
  Speaker 1: He was convicted on four counts attempted murder, false imprisonment
• 7:34
  Speaker 1: and firearms offenses. He received four life sentences. He was
• 7:38
  Speaker 1: in prison and that is when the drawing surfaced. During
• 7:42
  Speaker 1: the investigation, police seized more than three hundred artworks and
• 7:46
  Speaker 1: poems from Sweeney's property. The volume alone was unusual, but
• 7:50
  Speaker 1: it was what the works depicted and what had been
• 7:52
  Speaker 1: done to them that changed everything. One sketch showed a
• 7:56
  Speaker 1: woman's body in a fetal position, headless, handless, inside a bag.
• 8:01
  Speaker 1: The posture and the containment matched exactly how Melissa Halstead's
• 8:04
  Speaker 1: torso had been found in the Vestasingle Canal in May
• 8:08
  Speaker 1: of nineteen ninety. Sweeney had been in Vienna when that
• 8:11
  Speaker 1: torso was discovered. He had been in a cell. He
• 8:14
  Speaker 1: had drawn this from memory. A second sketch showed a
• 8:17
  Speaker 1: female figure dismembered into sections, each section separated, each placed
• 8:22
  Speaker 1: in a distinct container. The distribution matched the pattern of
• 8:25
  Speaker 1: paula Field's remains across six holdles in Regent's Canal. There
• 8:29
  Speaker 1: was a third piece, a drawing labeled the Scalp Hunter
• 8:33
  Speaker 1: a man an axe, a blonde scalp hanging from his belt,
• 8:37
  Speaker 1: written beneath an inscription, may you die in pain. The
• 8:42
  Speaker 1: name attributed to that wish was Delia's. And then the
• 8:45
  Speaker 1: laboratory received one specific sketch for analysis. Under ordinary light,
• 8:50
  Speaker 1: it appeared to be a woman playing a one man band.
• 8:53
  Speaker 1: Under scientific lighting, with a correction, fluid chemically lifted a
• 8:57
  Speaker 1: hidden inscription appeared in the white space, ripped Melissa Halstead.
• 9:01
  Speaker 1: He had written her name and covered it. He had
• 9:04
  Speaker 1: carried that image, with her name buried underneath it, through
• 9:07
  Speaker 1: prison and through years of movement across Europe. It was
• 9:11
  Speaker 1: not grief, It was not guilt. It was something closer
• 9:14
  Speaker 1: to possession, the act of keeping a secret inside a secret,
• 9:18
  Speaker 1: in plain sight for years. There is no version of
• 9:21
  Speaker 1: this story where everything makes sense. There was also a
• 9:24
  Speaker 1: poem written on a lottery card. The handwriting was his.
• 9:28
  Speaker 1: The words read, poor old Melissa chopped her up in bits,
• 9:32
  Speaker 1: food to feed the fish. Amsterdam was the pits. He
• 9:34
  Speaker 1: had ridden a rhyme about her. He had kept it.
• 9:37
  Speaker 1: D I. Steve Smith, working the cold case, built the
• 9:41
  Speaker 1: first joint British Dutch Europel murder inquiry. The Rotterdam torso,
• 9:45
  Speaker 1: unidentified for over a decade, was matched through DNA. Melissa Halstead,
• 9:50
  Speaker 1: the American photographer from Ohio, who had left a voicemail
• 9:53
  Speaker 1: for her mother on November Tewod nineteen eighty nine and
• 9:57
  Speaker 1: then disappeared, was finally named. Her body had been in
• 10:01
  Speaker 1: Rotterdam the whole time, interred under no name, while her
• 10:04
  Speaker 1: family in the United States had been searching. The Amsterdam
• 10:08
  Speaker 1: Missing Persons Report and the Rotterdam Torso inquiry had never
• 10:12
  Speaker 1: been linked. They belonged to different police districts in different cities,
• 10:16
  Speaker 1: and no one had bridged them. Sweeney had counted on
• 10:20
  Speaker 1: exactly that. The prosecution at the twenty eleven Old Bailey
• 10:23
  Speaker 1: trial built its case on what lawyers call similar fact evidence.
• 10:27
  Speaker 1: There was no direct forensic connection placing Sweeney at the
• 10:30
  Speaker 1: moment of Melissa's death. The exact cause of her death
• 10:33
  Speaker 1: remains unknown. How her body traveled from Amsterdam to Rotterdam,
• 10:38
  Speaker 1: whether by train, by coach by some other means, has
• 10:41
  Speaker 1: never been confirmed. What the prosecution had was pattern. What
• 10:45
  Speaker 1: they had was art. The sketches depicting Nlissa's disposal and
• 10:49
  Speaker 1: Paula's dismemberment were entered as evidence. The hidden inscription under
• 10:53
  Speaker 1: correction fluid was entered as evidence, The lottery card poem
• 10:57
  Speaker 1: was entered as evidence, Deely as testimony, the hostage confession,
• 11:01
  Speaker 1: the kit bag the December attack was entered as evidence,
• 11:05
  Speaker 1: and three hundred pieces of artwork collected across years formed
• 11:09
  Speaker 1: a body of documentation that Sweeney had created himself, apparently
• 11:13
  Speaker 1: unable to stop recording what he had done. On April fourth,
• 11:16
  Speaker 1: two thousand and eleven, John Patrick Sweeney, aged fifty four,
• 11:21
  Speaker 1: was convicted at the Old Bailey on two counts of
• 11:23
  Speaker 1: murder and one count of perverting the course of justice.
• 11:26
  Speaker 1: He received a whole life order. He will never be released,
• 11:30
  Speaker 1: but the conviction resolved only two names. Sweeney confessed to Delia,
• 11:35
  Speaker 1: while holding her at gunpoint, that he had killed two
• 11:38
  Speaker 1: German women in Amsterdam in addition to Melissa. Those women
• 11:41
  Speaker 1: have never been identified. Two unidentified women appear in his artwork.
• 11:46
  Speaker 1: Investigators believe the images may reference additional victims. The women
• 11:50
  Speaker 1: have never been traced. The total number of people John
• 11:53
  Speaker 1: Sweeney killed is not known. What is known is that
• 11:55
  Speaker 1: he documented them over three hundred pieces, poems, sketches, hidden inscriptions,
• 12:02
  Speaker 1: a private archive of what he had done, kept close, revised, concealed,
• 12:07
  Speaker 1: carried across borders. It is not clear whether the archive
• 12:10
  Speaker 1: was a compulsion or a precaution, or something else entirely,
• 12:14
  Speaker 1: something that does not have a clinical name for the
• 12:17
  Speaker 1: relationship between a man and the record of the people
• 12:20
  Speaker 1: he destroyed. The drawing called the Scalp Hunter was not abstract.
• 12:24
  Speaker 1: The man in it holds an axe, the scalp on
• 12:27
  Speaker 1: his belt is blonde. Sweeney titled it himself. He chose
• 12:31
  Speaker 1: that image for himself, and he kept it. And when
• 12:34
  Speaker 1: police found it among the three hundred, it was sitting
• 12:37
  Speaker 1: with the others, like any piece of work a man
• 12:39
  Speaker 1: might leave behind. Some questions the evidence cannot answer. Why
• 12:43
  Speaker 1: did he keep everything? Why did he write her name
• 12:46
  Speaker 1: and then cover it instead of never writing it at all.
• 12:49
  Speaker 1: What is the relationship between a man who dismembers the
• 12:52
  Speaker 1: people he kills and then draws them, names them, poems them,
• 12:56
  Speaker 1: hides them in white space under correction fluid? What is
• 12:59
  Speaker 1: the relationship between that compulsion and what we mean when
• 13:02
  Speaker 1: we say someone committed a crime? The Leah Balma survived.
• 13:06
  Speaker 1: She testified the case was built in significant part on
• 13:10
  Speaker 1: what she carried out of that room in nineteen ninety four,
• 13:13
  Speaker 1: what the police dismissed as a man trying to frighten her,
• 13:17
  Speaker 1: what it actually was. Melissa Halstead's head and hands have
• 13:20
  Speaker 1: never been recovered. The verdict came on April fourth, twenty eleven.
• 13:25
  Speaker 1: John Patrick Sweeney, fifty four years old, stood at the
• 13:28
  Speaker 1: Old Bailey and heard the word twice guilty of murdering
• 13:31
  Speaker 1: Melissa Halstead guilty of murdering Paula Field's The judge handed
• 13:35
  Speaker 1: down a whole life order, meaning Sweeney would die in prison,
• 13:39
  Speaker 1: never eligible for release, never walking free under any condition.
• 13:44
  Speaker 1: It was the harshest sentence English law allows. But a
• 13:47
  Speaker 1: whole life order does not recover ahead. It does not
• 13:50
  Speaker 1: recover two hands. Melissa Halstead's remains were buried in Rotterdam
• 13:54
  Speaker 1: years before anyone knew her name, a torso in a bag,
• 13:58
  Speaker 1: interred as an unknown woman while her mother in Ohio
• 14:01
  Speaker 1: waited for a phone call. It would never come. After
• 14:03
  Speaker 1: the DNA ad dedimanation, her family finally knew where she was.
• 14:08
  Speaker 1: They also knew that part of her the part that
• 14:10
  Speaker 1: would have confirmed her face, that would have given her
• 14:13
  Speaker 1: finger prints, had never been found. As of the trial date,
• 14:16
  Speaker 1: it still had not been. The canal had kept what
• 14:19
  Speaker 1: it was given. There is something specific about that absence
• 14:22
  Speaker 1: that resists closure in a way that a verdict cannot touch.
• 14:25
  Speaker 1: Paula Fields's family learned the same arithmetic. Her head, her hands,
• 14:30
  Speaker 1: her feet removed with the same methodical precision Sweeney had
• 14:34
  Speaker 1: practiced years earlier in Amsterdam. The holdels recovered from Regent's
• 14:38
  Speaker 1: canal gave them enough for identification, enough for a grave,
• 14:42
  Speaker 1: but not enough for wholeness. Two women, two sets of
• 14:45
  Speaker 1: unrecovered remains, the same signature applied across a decade. Then
• 14:51
  Speaker 1: there is the question that the whole life order leaves
• 14:53
  Speaker 1: entirely unanswered. Sweeney told Delia Boma, while she was tied
• 14:57
  Speaker 1: to his bed, that he had killed Melissa and two
• 15:00
  Speaker 1: German women in Amsterdam. He described sitting with the bodies
• 15:03
  Speaker 1: for three days. He described the dismemberment, He described the canal.
• 15:08
  Speaker 1: When detectives eventually examined the more than three hundred artworks
• 15:11
  Speaker 1: seized from his property, they found two women they could
• 15:14
  Speaker 1: not place, faces drawn with the same strange intimacy as
• 15:18
  Speaker 1: the sketches of Melissa and Paula, women who appeared in
• 15:21
  Speaker 1: his private world, but matched no missing persons report that
• 15:25
  Speaker 1: investigators could confirm those two women have never been identified.
• 15:29
  Speaker 1: No charges were ever brought beyond Melissa and Paula, not
• 15:33
  Speaker 1: because detectives dismissed the possibility of other victims. They did not,
• 15:37
  Speaker 1: but because a confession given while holding a woman at
• 15:40
  Speaker 1: gunpoint and artwork that functions as a private lexicon do
• 15:44
  Speaker 1: not by themselves constitute the evidence a court requires the
• 15:47
  Speaker 1: standard of proof does not bend for what seems obvious.
• 15:50
  Speaker 1: Sweeney was never asked in court to account for those
• 15:53
  Speaker 1: two faces. Something I find genuinely difficult to move past
• 15:57
  Speaker 1: after spending time with this case is that the artworking
• 15:59
  Speaker 1: goes exists, over three hundred pieces, poems, drawings, a man
• 16:04
  Speaker 1: with an axe and a blonde scalp on his belt,
• 16:06
  Speaker 1: the confession hidden under correction fluid. He kept all of it.
• 16:10
  Speaker 1: He carried it with him across aliases, across cities, across years.
• 16:15
  Speaker 1: Whatever that represents compulsion, pride, something that has no clean name.
• 16:20
  Speaker 1: It means that somewhere in that archive the answer to
• 16:23
  Speaker 1: who those two women were may already exist. It is
• 16:26
  Speaker 1: just that no one has been able to read it yet.
• 16:29
  Speaker 1: Diviabalma survived. That fact deserves its own sentence. She survived
• 16:34
  Speaker 1: the axe and the knife, and the two broken arms,
• 16:37
  Speaker 1: and the punctured long and nineteen units of blood transfused
• 16:40
  Speaker 1: into her body on a December night in nineteen ninety four.
• 16:43
  Speaker 1: She survived the years Sweeney spent free. She survived giving
• 16:47
  Speaker 1: testimony about what he whispered to her while she was restrained.
• 16:51
  Speaker 1: The confessions she had carried alone for years before anyone
• 16:54
  Speaker 1: believed they mattered. The conviction in twenty eleven was also hers.
• 16:59
  Speaker 1: The kit bag that all officers failed to recognize. In
• 17:01
  Speaker 1: nineteen ninety four, the tarpaulin, the masking tape, the rope
• 17:05
  Speaker 1: hidden behind her bath panel was eventually understood for what
• 17:09
  Speaker 1: it was. A preparation, not a precaution, not a precaution.
• 17:13
  Speaker 1: D I. Steve Smith, who spent years rebuilding this case
• 17:16
  Speaker 1: from a Rotterdam torso in a nae no one had matched,
• 17:19
  Speaker 1: called it a killer's kit bag. He was right, but
• 17:22
  Speaker 1: that recognition came seventeen years after the bag was first found,
• 17:26
  Speaker 1: and seventeen years after a neighbor intervened on a street
• 17:29
  Speaker 1: instead of a detective. Melissa's last voicemail to her mother
• 17:33
  Speaker 1: ended with the words take care of yourself, goodbye, I
• 17:37
  Speaker 1: love you. She left that message on November two, nineteen
• 17:41
  Speaker 1: eighty nine. She was dead before the spring ended. Her
• 17:44
  Speaker 1: mother heard that message and did not know it was
• 17:47
  Speaker 1: the last one. She could not have known. That is
• 17:50
  Speaker 1: the particular weight of it, not that the goodbye was withheld,
• 17:53
  Speaker 1: but that it was given in a voice that still
• 17:55
  Speaker 1: expected another call to follow. The message arrived. It always
• 17:59
  Speaker 1: arrived until the one that didn't. Sweeney sits in a
• 18:03
  Speaker 1: cell somewhere in England with a whole life order attached
• 18:06
  Speaker 1: to his name. The two women in his drawings remain untraced.
• 18:09
  Speaker 1: The canals have not given everything back. And somewhere in
• 18:13
  Speaker 1: three hundred pieces of artwork in a private language, built
• 18:16
  Speaker 1: from correction fluid and the lottery cards and pencil lines,
• 18:20
  Speaker 1: there may be names that no one has learned to read.
• 18:23
  Speaker 1: Yet that archive is not closed, It is waiting. This
• 18:27
  Speaker 1: show is made by Obamedia