[crowd clamoring]
[reporter 1] You have to ask yourself the question,
why John Lennon's death is being felt so widely, so deeply?
And now we will have ten minutes of silent prayer to pray,
as Yoko Ono has asked,
- for John Lennon's soul. - [announcer 1] Ladies and gentlemen,
please turn off all radios.
Please stop any sale or vending of any merchandise.
Meditate in your quiet way.
We start now.
May we all pray. Thank you.
[officer 1] Gotta get out of the street.
[narrator] On the 8th of December, 1980,
John Lennon was murdered outside his home in New York City.
All right, everybody on the other side of the street. Come on.
[narrator] Incredibly, for a crime of this magnitude,
the case never went to trial.
[reporter 2] Jury selection was supposed to begin today,
but once inside the courtroom, it was clear there would be no jury trial.
[narrator] So, the facts of what happened
have never been publicly established.
You see, the whole world knows who John Lennon was.
And now we're trying to get our grips--
We're trying to get a picture of his alleged killer.
[narrator] And where there's darkness,
conspiracy theories have grown.
[reporter 3] These FBI files clearly reveal
Lennon was considered a political threat.
Steps were taken on the highest level to do something about the Lennon problem.
[narrator] Now, after 40 years,
witnesses speak for the very first time.
Time's passed. Put it on the record.
I don't know. Once and done.
[narrator] Ultimately, it's a journey into the mind of a murderer.
In the case of the assassination of a musical genius,
and one of the most outspoken peace campaigners the world has ever seen.
Nobody's ever given peace a complete chance.
Gandhi tried it and Martin Luther King tried it,
but they were shot.
[Sutherland] In the late 1970s, John Lennon retreated from the public eye.
He was living on the seventh floor of the Dakota building
on the edge of New York's Central Park,
where he shut himself away with his wife, Yoko Ono, and young son, Sean.
A producer for RKO Radio, Laurie Kaye,
flies to New York on the 8th of December, 1980,
for her dream gig: An interview with John Lennon.
Which was the ultimate for me because John was my-- my idol, my icon.
[Kaye] I had always been a Beatles fan, so I was so excited.
John had literally been out of the business for five years,
but he hadn't done any interviews.
He basically had completely vanished.
[Kaye] The assistants let us in.
[Lennon] I'm sorry I'm late.
I-I always expect her to buzz me, but she kept, uh--
[Kaye] He came in and sat down.
Yoko was in a separate chair.
[Ono] No, no, no, no-- Because they were just waiting, you know.
[Sutherland] This is his last ever interview.
[Lennon] What is it? Oh, it's a microphone.
- Okay, let me get relaxed. - [Ono] Just like this.
[Lennon] Hello. Hello. Testing. Testing.
- Are we on? - [Ono] We're on.
We're on, dear. [chuckles]
[Lennon] Okay, whenever you're ready, yeah.
[Kaye] How do you feel about, after five years of silence,
baring yourselves to people?
[Lennon] I'm saying, "Here I am now. How are you?
How is your relationship going?
Did you get through it all?
Wasn't the '70s a drag, you know? Here we are.
Well, let's try and make the '80s good, you know?"
It was amazing talking to him about his whole political stance.
[Lennon] People have the power.
They have the power to make and create the society they want.
And I think it's time for a change.
We think we're broken up into these fragmented pieces:
countries, sexes, races.
It's a joke.
Imagining no countries, imagining no religion.
Just imagine it.
Would it be so terrible?
He was so excited about his return to music.
You could see it in his eyes what it meant to him.
[Lennon] Any artist or poet's role is to try and express what we all feel.
That's the job.
Not as a preacher, not as a leader, but as a reflection of us all.
And I consider that my work won't be finished until I'm dead and buried.
And I hope that's a long, long time.
[Sutherland] While John's interviewed in the Dakota building,
a group of fans have gathered on the street below.
Keeping an eye on them is concierge Jay Hastings.
[interviewer] Why have you never spoken about it before?
Until now.
I just didn't want any trouble.
[interviewer] But now?
Time's passed. Put it on the record.
I don't know. Once and done.
[Hastings] Being a concierge?
Mostly just a security job,
but no gun, no Mace, nothing like that.
Just a panic button on the desk in case there was a problem.
There was always, you know,
people out on the street, yelling through the gate.
It would just echo into the courtyard.
"Hey, John," you know, or whatever.
He's not here. [chuckles] Nobody's-- Nobody home. Out.
[Sutherland] Also working at the Dakota that evening is porter Joe Many.
[Many] There were people hanging around already.
Groupies cluttering the front of the building.
These people knew if you hung around long enough,
you could probably get their routine of when they would go out
for a walk or they would go out for breakfast or lunch,
or getting in a car to go to the studio.
[Sutherland] One of those gathered outside the Dakota
catches Joe's eye that afternoon.
He was a roly-poly, dumpy kind of guy.
He wasn't hovering with the rest of them, you know.
He was-- They were hovering, and he was, like, behind them, kind of.
You know, like, listening.
And I asked him, "What are you doing here?"
And he said he wanted to get John's autograph.
And for some reason, I remember he said he didn't really
even like the music, but he was a collector
and he collected things like-- I-I thought I remembered him
saying he collected butterflies or something weird like that.
[Lennon] Wh-When's this gonna be on or whatever?
- I like to listen to these, if I-- - [Kaye] We'll send you a copy.
[Lennon] Oh, yeah-- It's never the-- I like to listen to it.
Yoko got a call and said to John, "Gee, we've got to go."
[Lennon stammers] What'd she sign?
- I don't see it. - [Ono] "To whom" is to you.
[Lennon] I'll go over it in ballpoint as well.
And then between the two,
you'll have the impression, and then you can--
Yoko, I'm doing it here right now.
[Kaye] This amazing couple.
I felt like I had really made a connection.
[Lennon] Oh, it's a pleasure. I-- You know-- [stammers]
I'm a fan of people too, you know. [chuckles]
[chattering]
[Kaye] Their evening was going to be spent in the studio.
[Kaye] We all left the building together.
There were definitely more people in front of the Dakota--
Beatles, John Lennon's fans-- than there had been when we arrived.
[people clamoring]
We all walked out,
and this rather irritating guy came up to me
and started saying, "Did you talk to him?
Did you get his autograph?
Did you talk to him? Did you get his autograph?"
We thought the guy would leave. He didn't.
John and Yoko got into the limo. They drove off.
This guy came up to me again.
"Well? Well? Well? What did he say? What did he say?"
I just turned and walked away.
[Sutherland] John and Yoko are heading to the recording studio
to finish work on a new single with producer Jack Douglas.
[Douglas] We were working on this record.
We were having a great time.
He was back in it completely, you know.
He was like-- His confidence level was way off the charts.
[videographer] Let's do a zoom, Bob.
- [Bob] Yeah. - Where is it?
[Bob] The front one is focus, the back is to zoom,
- or these two buttons up here. - Oh.
About movies.
A great movie is one that makes you want to make a movie.
I wish I'd made that.
Shit, I'd go right out and make it.
If I hear a great record, I mean, I want to make it.
I'll make one like that.
- Thirty-one and 32, right? - Yeah.
Take 'em and put 'em through the gates and send a key off of, uh--
Once we got rolling, his creative juices were really--
You could feel it.
Okay.
[Douglas] Everything was going right.
I mean, he was on top of the world.
[Sutherland] John's happy home life,
especially his role as father to young son, Sean,
has inspired him to make music again.
On that TV screen right there, over that screen was a picture of Sean.
So that when you were looking up at the speakers, there he was.
[Lennon] We had his picture up there all the time,
so he was looking at me all the time.
[Douglas] Everything was about Sean.
He says, "I can't stop."
He says, "I feel like I'm on a roll and I just don't want to stop."
[Lennon] Because I hadn't been in the studio for five years,
so he's used to me being around all the time.
Then one day he just sat up and said,
"You know what I want to be when I grow up?"
And I said, "No, what's that?"
He looked me right in the eye and said, "Just a daddy."
I don't know whether it's, uh, 'cause he was born on the same day as me.
So we're almost like twins.
If I'm feeling depressed, he starts getting that way.
So now I have a sort of more reason to stay healthy and bright.
Being with Sean, and suddenly I got the songs.
I'm not trying to compete with my old self.
Paul and I turned out a lot of songs those days,
but then it got to be sort of not the pleasure that it was.
And I'm trying to go back and enjoy it.
People are always thinking in terms of, "John and Yoko just got together,
then the Beatles split."
And we've been together longer than the Beatles.
[Douglas] That night, we finished mixing, and the heavy lifting was done.
We knew we were there.
And the-- Uh, you know, the last I saw of him
was getting in the elevator on the tenth floor.
As the elevator door was closing,
he was standing right in front of me with this big smile.
He was so happy about how everything was going.
It had been a glorious day.
And he just said to me,
"I'll see you in the morning, 9:00 a.m." Happy as a lark.
[Many] This guy was there by the entrance into the building.
And I asked him, I said, "Why are you still here?"
He said, "Oh, I want to get Yoko's autograph."
And then I went back downstairs.
[Sutherland] A limousine takes John and Yoko back home to the Dakota.
New York cab driver Richard Peterson is taking a fare to the same destination.
[Peterson] I picked up these two guys.
Chatter, chatter, chatter in the back seat.
They say we don't listen, but we do listen.
Cabbies, we-we hear everything goes on back there.
They were going to a party at the Dakota.
[sirens wailing]
[Peterson] We get up there.
I pulled up behind a limo.
Yoko gets out
and walks towards the Dakota building ahead of John.
[Hastings] Was getting close to-- Gonna go off duty.
And I heard boom-- You know, car door slam-- Boom.
Oh, John Lennon must be coming out next, and I had never seen him in person.
[fans cheering]
It was sort of like, "Oh, John Lennon." You know, I can say I saw John Lennon.
And you could hear him coming 'cause he walked briskly.
You know, you could hear the-- [knocking]
That's when I saw him.
I saw the guy.
Lennon was walking in, and this kid says,
"John Lennon," and he had-- He was standing there.
Heavyset, chunky guy.
I'm looking at him, looking through the front--
front-- front-- front window of my cab.
I'm looking at him shoot-- shoot him.
[gunshots]
- [Sutherland] Five shots. - [gunshots]
This guy just shot John Lennon.
[fans cheering]
Runs past me. He goes, "I'm shot."
He had blood coming out of his mouth already
and just collapsed on the floor.
I half rolled him to his back and took his glasses off,
put 'em on the desk.
And Yoko was screaming, you know, "Get an ambulance, get an ambulance,
get an ambulance," you know.
So I ran out into the front office.
Jay was standing there, full of blood, and didn't say anything to me.
So I walked past the desk,
and... [clears throat] ...John was laying straight out like that.
[sighs, breathes shakily]
[swallows, exhales sharply]
[sniffs] Still, no movement, nothing.
[sniffs] And Yoko had his head in her lap.
[sobs]
[Peterson] He shot him.
I thought they were making a movie.
That's what I thought.
I thought they were making a movie,
but I didn't see no lights or cameras or anything.
So, I just realized, "Hey, this ain't no movie."
But the guy was still standing there with a gun.
Calm as a cucumber, calm as a cucumber.
- [people clamoring] - [sirens wailing]
[Sutherland] Unusually, the gunman remains at the scene,
and the first responder is Peter Cullen.
[Cullen] We got the call of possible shots fired.
When we pulled up opposite the Dakota, somebody came running over to me.
He was running away from the building.
And he says, "Officer, be careful. There's a guy shooting a gun."
I says, "Oh, Christ, here we go."
Your whole life goes in front of you for that couple of seconds.
I looked around. I saw everybody froze.
It was like a picture.
The only p-person I knew there was the doorman, and I said,
"What the hell's going on here?" He pointed, "He just shot Lennon."
- [sirens wailing] - [radio chatter]
[Sutherland] Next on the scene is Officer Herb Frauenberger.
We pulled in on the west side.
So in effect, what we had was, we had two cars
on either side of the arch with the headlights on the arch.
The other unit has a guy pinned against the wall.
[Cullen] We put the cuffs on. And it was strange.
He didn't fight us at all.
There was no resistance there at all.
He actually apologized to us.
He said, "Gee, I'm sorry I gave you guys, uh, uh-- I ruined your night."
And I says, "You got to be kidding me."
I says, "You know, you just ruined your whole life.
What the hell was going through your mind?"
Somebody is yelling, "There's a guy shot back here.
There's a guy shot back here." So we go in and-- guns out, of course.
And the first thing I see is a man laying on the floor.
I don't know if he's alive or dead. He's not moving.
So, I said, "Well, maybe he's got a pulse."
So I turned his head just a little bit
so I could put my hand and try to feel for his pulse,
and he had a very faint pulse.
Somebody in back of me that was, you know-- had responded said,
"That's John Lennon." And then it hit me.
I said, "Holy smokes, this is John Lennon."
By this time there was a crowd forming,
and we carried him outside, put him in our car and just--
"Let's get him the hell out of here."
[siren wailing]
[Frauenberger] We radio ahead to the hospital,
but we never mention it's Lennon because reporters
monitoring all these police radios--
We don't want a circus down there.
[Sutherland] John is taken to the Roosevelt Hospital,
one of the best trauma units in Manhattan.
[staff clamoring]
[nurse] We knew he was shot.
We knew he was bleeding terribly.
John Lennon was always my favorite Beatle.
And I just thought that it was so tragic, that was the only time
in my life I got to meet him.
[doctor] I go running down there. I say, "What's going on?"
They say, "We have a gunshot wound."
[stammers] We descend on him.
We're working on him, getting IV started,
pumping his heart and, um-- into a rhythm.
They got a tube in him. They're breathing for him.
And, um, all of a sudden, someone says,
"Hey... [stammers] ...that looks like John Lennon."
Oh, I said, "Nah... [chuckles, stutters] ...it can't be, no."
And they start going through his clothes, and, uh, there's his wallet.
There's some, uh, pictures of him and, uh,
Sean and Yoko and a white Rolls in the background.
And-- And it's like, my God, that-- that is John Lennon.
[Sutherland] While doctors are still working on Lennon,
the news of his shooting is starting to break.
We have a rather startling story that just came in here.
A man who has been tentatively identified as John Lennon,
the former Beatle, has been shot on Central Park West,
outside the Dakota where John Lennon lives.
Police rushed him to Roosevelt Hospital.
If we get any more information tonight, you'll hear about it here.
We are trying to reach the police,
the hospital, his wife, Yoko Ono, to get... [stammers]
...their comment tonight, and wanting to find out more details
on just what is going on.
[Sutherland] Newsrooms try to keep pace with the story,
but the true scale of Lennon's injuries are all too apparent
to the medics working on him.
Really, there was, uh-- Your hands are on the heart
and you're-- and you're squeezing it, uh, as if it... [stammers]
...were trying to do it itself.
You just keep pumping it.
A-And the hope was that something would--
[stammers] You get some flicker of-of life.
And unfortunately, it was just not enough.
I think total time was about 45 minutes before it became, you know,
futile and, um... [stammers] ...we just--
[stammers] we called it... [stammers] ...and stopped.
[Kammerer] You could've heard a pin drop.
You still want to do more, but now, you know,
you stop and there really is-- There's nothing to say, really.
Unfortunately, it's just very, very quiet.
And when he had called it and it was over,
and we walked out of that room, the Muzak was playing "Imagine."
[Kammerer] That was everybody's "Oh, shit" moment.
Maybe if I had done this or done that-- You feel like you failed.
[fan] Bless. God bless you.
God bless you.
I was working, and my wife came up.
She was pale, and she said, "I have to talk to you."
And she said that John's been shot.
Immediately, we got in a cab and the cab driver had a radio on,
and that's all they were talking about.
[reporter 4] Again, John Lennon, the former Beatle, has been shot twice
in the back, is now in a New York City hospital.
There is no report yet on his condition.
[Sutherland] Record producer Jack Douglas and his wife arrive
at the hospital and are refused entry.
My name is Jack Douglas. I was just with him.
Go on, mister. We know all this, but you have to move away.
We can't. Is Yoko here? Is Fred here?
[officer 2] She's here. Yoko is here.
Would somebody please tell them that Jack is here?
Would you please tell Yoko that Jack is here, please?
I thought h-he was shot but, you know, alive.
That-- You know, that's all I could hope for.
- Please tell someone I'm here. - He is the closest to them.
He just left me five minutes ago before he went home.
This is his best friend. This is her best friend.
She needs somebody right now.
Would you please tell her that Jack is here?
[Sutherland] The medical staff now have the job
of telling Yoko about John's death.
[Kammerer] She knelt down, and I knelt down next to her.
She had her arms around me, and I kept reiterating he wasn't in pain.
He was not scared.
Then Yoko said, "I have to get home.
I have to see my son."
She did not want him to hear it on the radio or TV or anything else.
[Frauenberger] Of course, the front was all mobbed with 'em.
You know, reporters.
So, I said, "Well, tell the chauffeur to come around 59th Street
and we'll run you out the side door."
So that's what we did.
Put her in the car, and she was going back to the Dakota.
[Douglas] Well, we stayed there until they announced that he'd passed.
But, uh...
it, uh-- it was, uh, just fucking terrible.
Uh...
- [whistle blows] - [crowd cheering]
[commentator 1] Third down, rather.
[Sutherland] The news of Lennon's death is impossible to contain,
and it's the commentators of Monday Night Football
who find themselves deliberating off air
whether they should tell the nation.
[commentator 2] I can't see this game situation
allowing for that news flash.
- Can you? - [commentator 1] Absolutely. I can see it.
- [commentator 2] You-- You can? - [commentator 1] You betcha.
You-- We've gotta do it. We know it. We gotta do it.
- [commentator 2] All right. - [commentator 1] I don't-- Hang on.
- This is a tragic moment... - [commentator 2] All right.
[commentator 1] ...and this is gonna shake up the whole world.
[commentator 2] All right. I will get it in.
[crowd cheering]
[commentator 2] An unspeakable tragedy,
confirmed to us by ABC News in New York City.
John Lennon, shot outside of his apartment building,
rushed to Roosevelt Hospital, dead on arrival.
Hard to go back to the game after that news flash.
[commentator 1] Indeed, it is. Three seconds remain.
[Frauenberger] So how did Monday Night Football find out?
Well, when we brought Lennon in, there was a guy on a stretcher there.
He was a producer, I believe, for one of the news companies.
And he was on a motorcycle, and he got hit by a cab.
So of course, he's got hold of one of the cops.
And when the cops told him, the next thing you know, ABC News knew.
And then, of course, you know-- then everybody knew.
[person 1] One, two. One, two. Check, check, check.
- [person 2] You got to read the headline. - [person 1] Check, one, two. Test, test.
We have this just in from United Press International tonight.
Former Beatle, John Lennon, is dead.
He was killed tonight in his Manhattan apartment.
He was shot... [stammers] ...reportedly three times.
Critically wounded, he was taken to Roosevelt Hospital,
but he died there.
[Sutherland] Within minutes, hundreds and then thousands
gather outside the Dakota building.
[officer 3 through bullhorn] Everybody move back. Get off the street.
[officer 4] Get off the street.
[sobs] He's not dead.
They're just saying that. [sobs]
[interviewer] You know the doctor just announced it?
Yes, but I don't care.
They're just saying that to get people to leave.
He's not dead. John Lennon can't be dead.
[sobbing]
[officer 4] All right, fall back. Off the street...
[Douglas] The thing that drove me completely crazy
for years was the fact that normally, I went home with him.
So how many times do you replay being in the limo with him,
him getting out, m-me spotting this nutcase,
tackling him, and, uh, the world being different?
So you replay that too many times and you start to go pretty crazy.
[people singing "Give Peace A Chance"]
[reporter 5] Back at the Dakota, fans were mourning in the street.
[reporter 6] Nobody could remember such grief
and shock for the death of a singer and songwriter.
John Lennon and the Beatles had been a very special part
of a whole generation's life.
[singing "Give Peace A Chance" continues]
I don't know where else to go. I-- I don't-- I just need to be here.
I don't know how to explain.
I just had to come down and, um-- and believe that it really happened.
That, like, someone would actually shoot John Lennon, you know.
He was-- He was a genius.
[singing "Give Peace A Chance" continues]
John, in his life, has given more love
than most men and women on the face of this earth.
We're here to prove that love is not dead, even though John is.
[fan 2] Even though he's dead, his spirit still lives on.
And-- And his spirit lives in us and all the people that lived here.
[Sutherland] Similar outpourings of mass public grief
are seen across the world.
[reporter 7] There's been reaction on both sides of the Atlantic
to the murder earlier this morning of a former Beatle, John Lennon.
He was shot dead outside his home in New York.
Liverpool, England, was a special place to be today.
[reporter 8] Under a winter sun, in Liverpool's main square,
they came by the thousands.
Doctors treated 110 people, most of them overcome by exhaustion.
These were working people,
the kind of people John Lennon grew up with.
The kind of person he once was.
[Sutherland] The press are dogged in their determination
to hear from Lennon's former bandmates.
Uh, I was very shocked, you know. It's terrible news.
When did you-- How did you find out about it?
I got a phone call this morning.
- From whom? - Uh, from a friend of mine.
Are you planning to go over for the funeral?
I don't know yet.
Drag, isn't it?
Okay. Cheers. Bye-bye. Good night, guys.
Thank you. Go. Bye-bye.
[Sutherland] After the initial shock of Lennon's murder,
attention soon turns to the suspect, now under police arrest.
[reporter 9] ...that robbery was not the motive.
Could you speculate further on that situation?
[interviewee] I-- I couldn't get any, uh-- any-- any more specific than that.
However, robbery does not appear to be the motive.
[reporter 9] Was there any problem in the arrest of this person?
[interviewee] None that I'm aware of.
[Sutherland] Detective Ron Hoffman is put in charge of the investigation.
[journalist 1] Do you have any idea what happened to him?
He was leaving his apartment-- He was leaving, uh,
a limousine in front of the-- arriving at home,
and he was shot from behind in the vestibule of his apartment.
- [journalist 2] Talk louder, please. - No I-- No idea why?
- No-- No altercation? - Not at this time.
[Hoffman] We never use that term, "the lead detective."
You hear that on TV all the time.
We just referred to me as the guy that caught the case.
And if it goes bad, it's my fault. [chuckles]
[journalist 3] There was the talk of a second suspect.
- Is that-- Is there anything to that? - I don't know. I--
You said a young boy. Well, how young?
You-- You're badgering me. I don't really know.
- I'm sorry. We're just-- - I don't know. A young male, around 20.
I saw him for a couple seconds.
I knew, uh, immediately that was gonna be a giant case,
and there was no room for errors on our part.
[Hoffman] The perpetrator, he was placed under arrest
and taken to the precinct to be processed.
[reporters clamoring]
It was as busy as I've ever seen it.
And the telephone started ringing.
I mean... [stammers] ...I was getting calls from all over the world.
[Hoffman] The pressure on me was much thicker than normal.
- Much thicker. - [journalist 4] Chief, chief.
Chief, chief. Chief.
[Frauenberger] The detectives were upstairs interrogating him,
trying to find out what was going through his head.
He's not in a cell.
He's in, like, an office, a detective's office.
He's sitting down, and there's three or four guys talking to him.
They saw that he wasn't a violent-type person.
If you looked at this guy, you would say, "This guy, shoot somebody?
Never." Looked like a nerdy college kid.
[chuckles] And they're trying to get as much information from him as they can,
kind of playing him a little bit.
Trying to befriend him a little bit, so that he opens up a little bit more.
That's kind of the idea. You know.
[Hoffman] Automatically, when somebody is arrested,
we call the Bureau of Criminal Identification.
Try and get his record.
His rap sheet, they call it.
We'd knew nothing of this man's background.
I had nothing to go on. Nothing.
He was a nonentity.
He came here with no criminal record, no record of anything.
[Sutherland] As news spreads, witnesses start coming forward.
Taxi driver, Mark Snyder, arrives at the station.
I knew I had this guy in my cab the day the news broke.
Kept asking about John Lennon.
I figured he might have been the guy that did it.
I went into the police precinct where they were holding him.
I told them the whole story.
[Snyder] I was working the night shift.
I was driving my cab into the city, north on 8th Avenue.
I see somebody hail me.
Looks like he was carrying a duffel bag and he looked like he was from the army.
The first thing he said to me was, "I'm a producer for the Rolling Stones.
I'm telling you that I just got back from a recording session with the Beatles.
They all got back together again." Oh, what am I going to say to that?
"Yeah, sure. Yeah."
I asked him, "Can you remember any of the new songs?"
And he got angry, you know. [stammers] "I'm not going to tell you.
Forget it."
He was flipping through this book madly, and it was a notebook.
And I looked in the rearview mirror and there was nothing but empty pages.
He said, "Drop me off here." So I turned, dropped him off.
He walked over to the car on the driver's side first.
Rolled down the window.
He paid me whatever it was.
And he said, "My name is Mark David Chapman.
You'll remember my name."
[Sutherland] It's clear to the investigating team
that they're dealing with an extraordinary case.
And for the detectives, things just don't add up.
[Frauenberger] One of the unusual things was when he was apprehended,
he was reading a book called Catcher in the Rye.
[Hoffman] He stood there and he wanted to get caught.
He could have walked away and into the streets of Manhattan.
I'd still be looking for him.
Was he alone?
Was somebody working behind the lines with him?
When somebody kills somebody... [stammers] ...you always have a reason.
What was his reason?
[reporter 10] FBI files clearly reveal Lennon was considered a political threat.
[Lennon] I'd open the door and there'd be guys standing
on the other side of the street.
I'd get in the car, and they'd be following me.
Suddenly I realized this was serious, you know.
They were coming for me.
We're here to bring the boys home. Let's not forget the machines.
Steps were taken on the highest level to do something about the Lennon problem.