Lines of Enquiry

In this episode of Lines of Enquiry: Case Notes, Nules Ní Chléirigh, creator and host of Ireland Crimes and Mysteries, returns for another conversation with John Sweetman.This time, they look further back into Ireland’s criminal history, discussing Maamtrasna and the murder at Shandy Hall. They explore wrongful convictions, language barriers at trial and the lack of forensic science during these times, and how these stories live on generations later.Turning to more recent investigations, John and Nules discuss the challenges of revisiting unsolved murders and disappearances, including Raonaid Murray, Jo Jo Dullard and Deirdre Jacob. They reflect on the limits of searches, the potential of advances in forensic techniques, and why a lack of public updates does not necessarily mean an investigation has stopped.They also discuss how speaking with families can reveal a person beyond the headlines, sharing interests, ambitions and everyday details that help ensure a victim’s life is not defined solely by their death.If you’d like to get in touch, email [email protected] and follow @linesofenquirypodcast on Instagram.

We have reached the end of Season 4 of Lines of Enquiry. While the team are planning, researching, writing and recording Season 5, John is sitting down with a series of guests for Lines of Enquiry: Case Notes.In this episode, John is joined by Paul Curran, a retired Detective Sergeant with An Garda Síochána.Paul spent over 27 years working in major crime scene investigation, specialising in Garda photography, aerial and drone photography, and facial identification using EvoFIT.In this conversation, Paul reflects on the role of photography in serious investigations, from documenting crime scenes and post-mortems to capturing fragile evidence such as fingerprints in blood or dust. He explains why crime scene photography is not about recreating what happened, but carefully recording a scene as it was found.Paul also speaks about the development of forensic photography over his career, from darkrooms and film to digital photography, video walkthroughs, aerial photography and the use of EvoFIT in facial identification.Throughout the episode, he reflects on the responsibility of documenting some of the most serious crime scenes, and the role that careful, accurate photography can play in helping victims and their families.

In the summer of 2024 social workers from Tusla were trying to establish the whereabouts of an eight-year-old boy, named Kyran Durnin. They had concerns about his welfare, and where he might be living.  In July, a child was brought to meet them, and they were told it was Kyran. A second meeting followed in early August, and again the social workers were told the child was Kyran.Then, weeks later, Kyran and his mother Dayla were reported missing. As Gardaí begin investigating, they obtained family photographs of Kyran and showed them to the officials who attended those meetings. Social workers realise the boy in the photographs is not the child they met.   Soon, detectives realise they can find no trace of Kyran in recent months, or even years. Eventually gardai will tell the public they believe Kyran to be “missing, presumed dead”.This week we look at the still unresolved case of the missing Kyran Durnin, an ongoing investigation which has now for two years been trying to establish where Kyran is, and what may have happened to him. Alongside the garda investigation, there have been serious questions raised about how a child could disappear from the view of all public authorities for so long without anyone realising he was gone.This episode is not an attempt to solve an active case from the outside. It is an examination of the verified timeline and the gaps within it, that allowed Kyran to vanish.Presented by John Sweetman  Created by Darren Cleary  Written by Darren Cleary  Script Edited by Siobhan Walsh, Sam Hobson and Eoin Brennan  Produced by Sam Hobson  Senior Producer by Siobhan Walsh  Executive Produced by Eoin Brennan  Executive Produced by Ruth Fitzsimons  Sound Design and Editing by Neil Kavanagh  Audio Editing Support by Ed Smith  Marketing Support by Laura Bracken and Róisín Reilly  Social Media Support by Mark Hayes and Robyn Ree  Artwork and Graphics by Eric Rowntree

In the aftermath of the 1988 shooting at Sligo Hospital, Gardaí were drawn into a dramatic confrontation that saw a car plunge into the murky waters of Donegal Bay.As the investigation moved towards trial, the case became about more than the tragic death of Anne and Annie Gillespie. It exposed the limits of the justice system. In court, questions arose over mental health and responsibility, with consequences that would haunt the Gillespie family for decades. Presented by John Sweetman  Created by Darren Cleary  Written by Anna Priestland  Script Edited by Siobhan Walsh, Sam Hobson and Eoin Brennan  Produced by Sam Hobson  Senior Producer by Siobhan Walsh  Executive Produced by Eoin Brennan  Executive Produced by Ruth Fitzsimons  Sound Design and Editing by Neil Kavanagh  Audio Editing Support by Ed Smith  Marketing Support by Laura Bracken and Róisín Reilly  Social Media Support by Mark Hayes and Robyn Ree  Artwork and Graphics by Eric Rowntree

In County Donegal in 1988, 18-year-old Anne Gillespie was looking forward to a future beyond her hometown of Ballybofey. Despite her close friendships and a tight bond with her mother Annie, after Anne sat her leaving cert she had started to dream of a life of her own. But not everyone in her life was happy when Anne started to grow more independent - and soon she and her mother would find themselves targeted by a man consumed by rage, jealousy and obsession.Presented by John SweetmanCreated by Darren ClearyWritten by Anna PriestlandScript Edited by Siobhan Walsh, Sam Hobson and Eoin BrennanProduced by Sam HobsonSenior Produced by Siobhan WalshExecutive Produced by Eoin BrennanExecutive Produced by Ruth FitzsimonsSound Design and Editing by Neil KavanaghAudio Editing Support by Ed SmithMarketing Support by Laura Bracken and Róisín ReillySocial Media Support by Mark Hayes and Robyn ReeArtwork and Graphics by Eric Rowntree