Browse content similar to Episode 1. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
# Sun is shining The weather is sweet, yeah | 0:00:15 | 0:00:20 | |
# Makes you want to move Those dancing feet | 0:00:20 | 0:00:25 | |
# To the rescue, here I am... # | 0:00:25 | 0:00:29 | |
Oh, man. | 0:00:31 | 0:00:34 | |
# As the morning gathers a rainbow... # | 0:00:34 | 0:00:37 | |
I'm sorry sir, time's up. | 0:00:41 | 0:00:42 | |
If she was your goat, she would have gone to you. | 0:00:42 | 0:00:45 | |
This goat remains unclaimed. | 0:00:45 | 0:00:47 | |
Fidel? | 0:00:48 | 0:00:50 | |
Yes, sir. | 0:00:50 | 0:00:52 | |
Goats aren't obedient. | 0:00:52 | 0:00:54 | |
They don't come when called. You do know that, don't you? | 0:00:54 | 0:00:58 | |
Got him chief. | 0:01:30 | 0:01:32 | |
Ah, Dwayne, well done! | 0:01:32 | 0:01:34 | |
Oh, you can't put me in here! | 0:01:37 | 0:01:39 | |
Why, you want to go in there? | 0:01:39 | 0:01:42 | |
Maybe you should stop stealing yachts. | 0:01:43 | 0:01:46 | |
Lily, I'm going to knock off early if that's OK? | 0:01:50 | 0:01:54 | |
Sure thing, sir. Have a nice evening. | 0:01:54 | 0:01:58 | |
Night, Chief. | 0:01:58 | 0:02:00 | |
MUSIC AND CHATTER | 0:02:14 | 0:02:18 | |
GUNSHOT | 0:03:00 | 0:03:02 | |
ALARM WAILS | 0:03:03 | 0:03:05 | |
PHONE RINGS | 0:03:08 | 0:03:11 | |
Honore Police Station. | 0:03:11 | 0:03:13 | |
OK and what time was this? | 0:03:16 | 0:03:17 | |
PHONE RINGTONE: "I Shot The Sheriff" | 0:03:17 | 0:03:19 | |
-OK. We'll send someone over right away. -Hello? | 0:03:19 | 0:03:22 | |
Erm...Dwayne? | 0:03:22 | 0:03:26 | |
-You know Lord Salcombe's place? -Mmm-hm. | 0:03:26 | 0:03:29 | |
Well, his panic room's gone into lock down. | 0:03:29 | 0:03:31 | |
Apparently, we've got the codes to open it in our safe. | 0:03:31 | 0:03:34 | |
-Shall I go and... -'That's a very good shot. | 0:03:34 | 0:03:36 | |
-'Beautiful cover drive...' -Dwayne? | 0:03:36 | 0:03:39 | |
-Oh, for heaven's sake. I'll do it! -Uh? | 0:03:39 | 0:03:42 | |
We've got a problem. | 0:03:58 | 0:03:59 | |
We were having a party. Then from nowhere the alarm started blaring. | 0:04:03 | 0:04:07 | |
Someone is locked in the panic room. | 0:04:07 | 0:04:08 | |
-Where are Lord and Lady Salcombe? -No-one's seen them since the alarm went off. | 0:04:08 | 0:04:13 | |
I think you should know. Just before the alarm, there was a gunshot. Everybody heard it. | 0:04:14 | 0:04:20 | |
Everybody out and don't touch anything. | 0:04:25 | 0:04:28 | |
Sortez la! Allez! | 0:04:28 | 0:04:30 | |
What's going on? | 0:04:30 | 0:04:31 | |
There was a gunshot and the panic room has been locked down. | 0:04:31 | 0:04:36 | |
Who's in there? | 0:04:36 | 0:04:37 | |
No! | 0:04:40 | 0:04:42 | |
-Is it James? -No! | 0:04:42 | 0:04:43 | |
Is my husband in there? | 0:04:43 | 0:04:45 | |
What on earth would I be doing in there? | 0:04:45 | 0:04:47 | |
Lawrence, call an ambulance. Now! | 0:04:47 | 0:04:49 | |
-Allez la! -Pas de probleme. | 0:04:49 | 0:04:52 | |
It's Charlie Hulme. | 0:04:55 | 0:04:57 | |
I've just been informed the airline have lost my luggage. | 0:05:37 | 0:05:40 | |
I'm sorry to hear that, Sir. | 0:05:40 | 0:05:42 | |
If you could just point me in the direction of the lost luggage desk? | 0:05:42 | 0:05:45 | |
Ah. Thank you. | 0:05:45 | 0:05:46 | |
We don't need outside help. | 0:05:53 | 0:05:55 | |
Charlie Hulme was a British cop. | 0:05:55 | 0:05:58 | |
They want a British cop to lead the case. | 0:05:58 | 0:06:00 | |
What time do you open in the morning? | 0:06:00 | 0:06:02 | |
0600 hours, Sir. | 0:06:02 | 0:06:04 | |
Then I'll call you at 06.01. | 0:06:04 | 0:06:07 | |
Thank you very much... Daphne. | 0:06:07 | 0:06:09 | |
Oh, Christ. | 0:06:22 | 0:06:24 | |
Ah! Hey, my monitor's playing up. | 0:06:31 | 0:06:33 | |
The crime scene's been cleared and all the evidence bagged and sent to the lab. | 0:06:33 | 0:06:37 | |
So when will we get an autopsy report? | 0:06:37 | 0:06:41 | |
OK, thanks. Report's on its way. | 0:06:41 | 0:06:44 | |
This guy they're sending from London. | 0:06:46 | 0:06:49 | |
He'll be good, won't he? | 0:06:49 | 0:06:52 | |
-Who knows? -They won't just send any old... | 0:06:52 | 0:06:54 | |
GOAT BLEETS | 0:06:54 | 0:06:55 | |
I better feed the goat. | 0:06:57 | 0:06:59 | |
The chief's monitor still works though, doesn't it? | 0:06:59 | 0:07:02 | |
Sure, why? | 0:07:02 | 0:07:03 | |
Saint-Marie was colonised by the French, | 0:07:06 | 0:07:09 | |
who lost it to the British, who lost it to the Dutch. | 0:07:09 | 0:07:13 | |
The Dutch lost it back to the French. | 0:07:13 | 0:07:17 | |
The French then handed it back to the British in the mid-'70s. | 0:07:17 | 0:07:21 | |
So, about 30 per cent of the population is still French. | 0:07:21 | 0:07:25 | |
French. Great. | 0:07:25 | 0:07:27 | |
Just when I thought it couldn't get any worse. | 0:07:27 | 0:07:29 | |
LOUD CHATTER | 0:07:49 | 0:07:53 | |
Welcome to Honore Station! | 0:08:11 | 0:08:13 | |
I got to go, the Commissioner's here. | 0:08:13 | 0:08:16 | |
Sir. | 0:08:17 | 0:08:20 | |
So, team, Dwayne, Fidel, | 0:08:20 | 0:08:22 | |
this is Detective Inspector Richard Poole from the Met in London. | 0:08:22 | 0:08:27 | |
Thank you, I'll take over from here. | 0:08:27 | 0:08:31 | |
Right then, I want everything you've got | 0:08:31 | 0:08:33 | |
on DI Hulme's death on my desk immediately. | 0:08:33 | 0:08:36 | |
And if you could get on to IT | 0:08:36 | 0:08:39 | |
to sort out the log in details for my PC. | 0:08:39 | 0:08:41 | |
It's imperative I get on the network ASAP. | 0:08:41 | 0:08:43 | |
(Pen-pusher.) | 0:08:43 | 0:08:46 | |
(This is not going to go well.) | 0:08:46 | 0:08:50 | |
Sorry my monitor won't turn on. | 0:08:50 | 0:08:51 | |
-Ah, this heat! -Then take your jacket off. | 0:08:56 | 0:09:00 | |
DI Hulme's been dead 48 hours, is this all you've got? | 0:09:00 | 0:09:04 | |
Where's the Forensics Report. Ballistics? DNA? | 0:09:04 | 0:09:08 | |
-We'll have them soon. -Who's this? | 0:09:08 | 0:09:10 | |
Everybody in that photograph was on the guest list for the party, apart from that woman. | 0:09:10 | 0:09:14 | |
And neither Lord or Lady Salcombe | 0:09:14 | 0:09:17 | |
or any of their guests knew who she was or what she was doing there. | 0:09:17 | 0:09:20 | |
-Statements? -In the file. | 0:09:20 | 0:09:22 | |
Is it always this hot? | 0:09:22 | 0:09:23 | |
No. | 0:09:23 | 0:09:25 | |
Sometimes it's a lot hotter. | 0:09:25 | 0:09:27 | |
Look, I'll be honest with you. | 0:09:34 | 0:09:36 | |
This, whole Caribbean thing, I mean I'm sure it's very nice, but erm... | 0:09:36 | 0:09:40 | |
Well it's not really my idea of, er... | 0:09:40 | 0:09:42 | |
So, as soon as I've solved this case and I've got my luggage, I'm on the next plane home. | 0:09:44 | 0:09:49 | |
I can't think why they sent me. | 0:09:49 | 0:09:51 | |
-Sorry, where is here? -I thought you might like to see where you're staying before we go up to the house. | 0:09:51 | 0:09:56 | |
This is where we put the foreign officers. Like you and Charlie Hulme. | 0:09:56 | 0:10:02 | |
This is Charlie's old house? | 0:10:02 | 0:10:04 | |
You can freshen up and I'll pick you up in an hour. | 0:10:04 | 0:10:07 | |
Christ! | 0:11:12 | 0:11:15 | |
No, no, it's terrible, the airline have lost my luggage, | 0:11:33 | 0:11:37 | |
it's about 400 degrees in the shade, and they've put me up in some kind of shack. | 0:11:37 | 0:11:43 | |
Oh, right, yes, of course, er... | 0:11:43 | 0:11:46 | |
I think I've got three case files in my in tray that should be in my pending tray | 0:11:46 | 0:11:50 | |
and, erm, there's a case file in my pending tray I should have swept to my out tray, or my in tray? | 0:11:50 | 0:11:55 | |
It's no longer pending, is the point, sir. Thank you. | 0:11:55 | 0:11:59 | |
Sorry it's in such a mess, you know. | 0:11:59 | 0:12:02 | |
It seemed like quite a rush to get me out here. | 0:12:02 | 0:12:05 | |
Yep, yep, that's everything. | 0:12:05 | 0:12:08 | |
Oh, although I did leave a tangerine in the top left0hand drawer of my desk, if you, er... | 0:12:08 | 0:12:14 | |
That's very kind, yeah, top left-hand... Thank you. | 0:12:14 | 0:12:17 | |
-CAR HORN BEEPS -Oh, er, yeah, here's my car. | 0:12:17 | 0:12:21 | |
Yeah, no, er, I think they're very pleased to have me here, if I'm honest. | 0:12:22 | 0:12:27 | |
The welcome's been very, er... | 0:12:27 | 0:12:30 | |
Yeah, you know, and the accommodation is very... Ah! | 0:12:30 | 0:12:34 | |
A bloody splinter! | 0:12:34 | 0:12:35 | |
Oh, God! Yeah, no, no, it's fine, it's fine. | 0:12:35 | 0:12:39 | |
Yeah, it does, it does a little bit. Yeah, yeah. Well, thank you for sending me, sir. | 0:12:39 | 0:12:44 | |
Yeah OK, yeah, er, sorry, gotta go. Yeah, bye. | 0:12:44 | 0:12:49 | |
-CAR HORN BEEPS -All right! I'm coming. | 0:12:56 | 0:12:58 | |
So how did a British policeman get mixed up with an aristocrat? | 0:13:36 | 0:13:39 | |
-I don't know. -Then what was he like? | 0:13:39 | 0:13:42 | |
Who, Charlie? Fun. Not your typical Englishman. | 0:13:42 | 0:13:47 | |
-Charismatic, you know? -What do you mean by a typical Englishman? | 0:13:47 | 0:13:51 | |
-Detective Inspector Richard Poole, Metropolitan Police. -Oh, yes, come in. | 0:13:51 | 0:13:55 | |
-Thank you. -Well, I was out here serving drinks to the guests. | 0:13:58 | 0:14:01 | |
It had just gone eight o'clock. | 0:14:01 | 0:14:03 | |
Then there was a gunshot from the study. | 0:14:05 | 0:14:08 | |
-And the alarms went off. -So what did you do then? | 0:14:10 | 0:14:13 | |
Well, I waited for the police to arrive. | 0:14:13 | 0:14:17 | |
Did you see this woman that night? | 0:14:18 | 0:14:21 | |
No. | 0:14:23 | 0:14:25 | |
Come on, Darleen, you've got to have something on him. | 0:14:29 | 0:14:34 | |
Because you've read his file! | 0:14:34 | 0:14:36 | |
There's got to be some dirt. | 0:14:36 | 0:14:38 | |
I'll take you to the Bay Cove. | 0:14:39 | 0:14:43 | |
So that's it?! OK, bye. | 0:14:43 | 0:14:45 | |
-His department threw a party for him when he left. -Oh, so he's popular. | 0:14:48 | 0:14:51 | |
No, they threw the party after he'd gone. | 0:14:51 | 0:14:56 | |
-What's that? -It's a laser tape measure. | 0:15:04 | 0:15:08 | |
Accurate to a millimetre, over 150 metres. | 0:15:08 | 0:15:11 | |
We do have tape measures on Saint-Marie, you know. | 0:15:11 | 0:15:13 | |
Not like this you don't, Sergeant Thomson. | 0:15:13 | 0:15:17 | |
Now, when DI Hulme's body was found, he was holding a book. | 0:15:17 | 0:15:20 | |
A travel guide to Europe. Why? | 0:15:20 | 0:15:24 | |
-And this is the vase, then, that was found smashed on the night? -Mm-hmm. | 0:15:24 | 0:15:29 | |
-When the room was locked down, could anyone else have got in? -No. | 0:15:29 | 0:15:32 | |
Not until I entered the code, and it can only be opened from the outside. | 0:15:32 | 0:15:38 | |
-Death was instantaneous? -He was killed by a .22 bullet. | 0:15:40 | 0:15:43 | |
Shot up through the throat and straight into his skull. | 0:15:43 | 0:15:46 | |
It could almost be suicide, couldn't it, but for two things. | 0:15:46 | 0:15:49 | |
One, gunshot and then alarm. How did Charlie shoot himself and then shut down a heavy steel door? | 0:15:49 | 0:15:54 | |
And secondly, if it was suicide, why didn't we find a pistol? | 0:15:54 | 0:15:58 | |
Then, if it was murder... | 0:15:58 | 0:16:00 | |
How did the murderer kill DI Hulme and then escape from a locked steel room? | 0:16:00 | 0:16:03 | |
James Lavender. How do you do? | 0:16:03 | 0:16:05 | |
Can you tell me exactly where you were standing when the gun went off? | 0:16:05 | 0:16:09 | |
-Fortunately for me, when the gun went off, I was down here on my beach. -Oh, I see. | 0:16:09 | 0:16:13 | |
Your beach? Little proprietorial, aren't we? | 0:16:13 | 0:16:16 | |
Well, I do own it. | 0:16:16 | 0:16:18 | |
Right, and what were you doing down here? | 0:16:18 | 0:16:21 | |
I was down here for a touch of privacy with a special friend. | 0:16:21 | 0:16:27 | |
-A special friend who wasn't necessarily your wife? -Which was rather the problem. | 0:16:27 | 0:16:32 | |
James? | 0:16:32 | 0:16:35 | |
My wife Sarah spotted us. | 0:16:35 | 0:16:37 | |
The argument was quick, wordless. Ended with a large glass of wine all over her dress. | 0:16:39 | 0:16:44 | |
That means you were at the party when the gun went off? | 0:16:44 | 0:16:47 | |
No, I came back down here. But my friend had gone. | 0:16:47 | 0:16:50 | |
And how well do you know the deceased? | 0:16:50 | 0:16:53 | |
Not at all. Maybe Sarah invited her. | 0:16:53 | 0:16:56 | |
Sorry do we have to, er... | 0:16:57 | 0:16:59 | |
-And do you own a .22 pistol? -No, I don't know the first thing about guns. | 0:16:59 | 0:17:03 | |
Wouldn't know one end from another. | 0:17:03 | 0:17:05 | |
But you've really dressed for the Caribbean, haven't you? | 0:17:05 | 0:17:08 | |
Yeah. Having heard the gunshot, what did you do next? | 0:17:08 | 0:17:11 | |
Well, then the alarms went off. I didn't know what was going on, so I hid. | 0:17:11 | 0:17:17 | |
Until I saw the police arrive. | 0:17:17 | 0:17:19 | |
I see the safe was open. How many people know the combination to open it? | 0:17:24 | 0:17:28 | |
Well, I do, of course. And my wife. | 0:17:28 | 0:17:31 | |
-That's it? Just the two of you? -Yeah. | 0:17:31 | 0:17:33 | |
-Well, did you open it that night? -No. | 0:17:33 | 0:17:35 | |
-Or give DI Hulme the combination? -No. | 0:17:35 | 0:17:38 | |
Then your wife must have opened it. | 0:17:38 | 0:17:41 | |
You'll have to ask her yourself, won't you? | 0:17:41 | 0:17:43 | |
My, my dress was ruined. I was humiliated. | 0:17:43 | 0:17:46 | |
I came back to the house. | 0:17:46 | 0:17:48 | |
So this is where I was when the alarm went off. | 0:17:48 | 0:17:52 | |
-And what did you do next? -I came in here to get dressed. | 0:17:52 | 0:17:57 | |
-Did you invite DI Hulme to the party? -No. Didn't my husband? | 0:17:57 | 0:18:01 | |
He says he didn't. | 0:18:01 | 0:18:03 | |
-On the day of the party, did you open the safe? -No. | 0:18:04 | 0:18:08 | |
-Or give DI Hulme the combination so he could open it? -No. | 0:18:08 | 0:18:12 | |
She's lying, isn't she? | 0:18:16 | 0:18:18 | |
One of them must have opened the safe, but why? | 0:18:18 | 0:18:21 | |
We've got a British policeman murdered in a rich man's panic room | 0:18:21 | 0:18:24 | |
with an old book clutched in his hands. | 0:18:24 | 0:18:26 | |
A safe that's open and a vase that's smashed. | 0:18:26 | 0:18:30 | |
As for suspects, there are only two people without an alibi. | 0:18:30 | 0:18:35 | |
James, because he was down on his beach alone, and Sarah, because she was taking a shower. | 0:18:35 | 0:18:39 | |
Not that any of this matters. | 0:18:39 | 0:18:41 | |
It doesn't get us any closer to understanding the how. | 0:18:41 | 0:18:44 | |
How did the murderer kill Hulme and escape from a locked room? It's impossible. | 0:18:44 | 0:18:48 | |
Right, I need to see the pieces from the vase | 0:18:48 | 0:18:51 | |
-and the book Charlie was holding, but first I need to see the body. -That won't be possible. | 0:18:51 | 0:18:56 | |
-What won't? Seeing the body? -No, none of it. | 0:18:56 | 0:18:59 | |
The book, the body, the vase - none of it is here. | 0:18:59 | 0:19:02 | |
-What are you saying? -It's in Basse-Terre. -Fine, we'll get sandwiches on the way. | 0:19:02 | 0:19:05 | |
-Basse-Terre, Guadeloupe. -Fine. | 0:19:05 | 0:19:09 | |
Which is a completely different island. | 0:19:09 | 0:19:12 | |
-What? -We don't have forensic labs and DNA analysis and ballistics here. | 0:19:14 | 0:19:19 | |
We are just a small island, so I bag the evidence from the murder | 0:19:19 | 0:19:23 | |
-and it all gets flown to Guadeloupe. -Then how are we supposed to solve this case? | 0:19:23 | 0:19:27 | |
-We'll get their reports. -When? | 0:19:27 | 0:19:30 | |
Arrange for the vase and the book to be sent here by tomorrow. | 0:19:30 | 0:19:33 | |
-Can you manage that? -Of course, sir. | 0:19:33 | 0:19:36 | |
-How do you get anything done on this island? -Beats me. | 0:19:51 | 0:19:55 | |
It's a wonder how we get out of bed in the morning. | 0:19:55 | 0:19:58 | |
How are we supposed to find this mystery woman, | 0:19:58 | 0:20:02 | |
when all we've got is a photograph of the back of her head? | 0:20:02 | 0:20:07 | |
I remember when Charlie Hulme first got here, | 0:20:07 | 0:20:10 | |
trying to reorganise the whole filing system. | 0:20:10 | 0:20:12 | |
-Yes, I remember that. -He had that whole alphabetical thing going on, | 0:20:12 | 0:20:16 | |
would have taken us months if I hadn't talked him out of it. | 0:20:16 | 0:20:19 | |
-I'll try in there. -OK. | 0:20:19 | 0:20:21 | |
Lily, how are you getting on with the... | 0:20:21 | 0:20:25 | |
But why does he want us to do... | 0:20:25 | 0:20:26 | |
But that's just a waste of our time. | 0:20:28 | 0:20:30 | |
I'll get Fidel on it. OK? | 0:20:32 | 0:20:33 | |
No luck. | 0:20:33 | 0:20:35 | |
He wants the smashed vase and the book brought back from Guadeloupe. | 0:20:35 | 0:20:38 | |
But why? They'll have only just got there. | 0:20:38 | 0:20:40 | |
Maybe he wants to colour-code them! | 0:20:40 | 0:20:43 | |
Hello? | 0:21:24 | 0:21:26 | |
Who are you? | 0:21:26 | 0:21:28 | |
I'm Detective Inspector Richard Pool of the Metropolitan Police. | 0:21:28 | 0:21:33 | |
Who are you? | 0:21:33 | 0:21:34 | |
I, erm... I am Mr Hulme's cleaner. | 0:21:34 | 0:21:38 | |
You're his cleaner? | 0:21:39 | 0:21:41 | |
Well, I won't get in your way. You've got your work cut out. | 0:21:42 | 0:21:46 | |
Thank you, sir. | 0:21:48 | 0:21:49 | |
-So, are you a friend of Charlie's? -Something like that. | 0:21:51 | 0:21:58 | |
You're from England, right? | 0:21:58 | 0:22:00 | |
-Ah, you can tell, can you? -Yeah. | 0:22:00 | 0:22:04 | |
Erm, what are you doing here? Is it a holiday, sir? | 0:22:04 | 0:22:08 | |
You haven't heard, have you? | 0:22:10 | 0:22:11 | |
Heard what? | 0:22:12 | 0:22:14 | |
SHE SOBS | 0:22:15 | 0:22:17 | |
And he was such a nice man. | 0:22:27 | 0:22:30 | |
-So full of life, not your typical... -Yes, I've heard, yeah. | 0:22:30 | 0:22:34 | |
But who would kill him? | 0:22:34 | 0:22:37 | |
We're pursuing a number of lines of inquiries. | 0:22:37 | 0:22:40 | |
-Are you, are you staying here, sir? -Er, yes, apparently so. | 0:22:43 | 0:22:48 | |
-And will you be here long? -I hope not. | 0:22:48 | 0:22:52 | |
Oh, do you need a cleaner? | 0:22:52 | 0:22:54 | |
Or laundry? I could always send any of your suits... | 0:22:55 | 0:22:59 | |
No, it's fine, really, don't worry. | 0:22:59 | 0:23:01 | |
I'll just, erm, borrow the odd item from Mr Hulme. | 0:23:01 | 0:23:05 | |
-They're not all clean. -Oh, please! | 0:23:05 | 0:23:07 | |
You know I never thought I'd get fed up going from bar to bar talking to women. | 0:23:14 | 0:23:18 | |
-Know what I'm wondering? -What? | 0:23:18 | 0:23:20 | |
-Maybe he'll stay. -Who? | 0:23:20 | 0:23:23 | |
-The new chief. -Hey, hey. | 0:23:23 | 0:23:27 | |
Our new boss, he's many things. And I could probably draw up a long list, but he's no chief, OK? | 0:23:27 | 0:23:34 | |
No! You lost my suitcase, so you can find my suitcase. | 0:24:00 | 0:24:06 | |
What do you mean you've got no record of it? I filled in the form and gave it to Daphne. | 0:24:06 | 0:24:10 | |
Daphne! She was standing by the lost luggage counter when I lost my... | 0:24:10 | 0:24:15 | |
I'll ring you back. | 0:24:15 | 0:24:17 | |
Shoo! | 0:24:20 | 0:24:21 | |
HE SNIFFS | 0:24:45 | 0:24:47 | |
Where can I get a .22 calibre gun and some blank rounds? | 0:25:07 | 0:25:10 | |
-Best if I don't ask? -It's always best if you don't ask. | 0:25:13 | 0:25:18 | |
So the book and vase have arrived from Guadeloupe. | 0:25:18 | 0:25:21 | |
-Hey, Smithy! -Well, done, Lily. Good work. | 0:25:21 | 0:25:24 | |
-So this is it? The book Charlie was holding when he was shot. -Mm-hmm. | 0:25:24 | 0:25:28 | |
What's so special about it? | 0:25:28 | 0:25:30 | |
Ah! And now the pieces from the smashed vase. | 0:25:31 | 0:25:35 | |
-Yeah, yes, this is all good. I should be able to... -There are still two more bags, sir. | 0:25:35 | 0:25:39 | |
-Even so, a bit of glue and, er... -OK, the gun is sorted. | 0:25:39 | 0:25:44 | |
Well, when you get it, bring it straight to James Lavender's house. | 0:25:44 | 0:25:49 | |
-Lily and I are going there now. -We are? Why? | 0:25:49 | 0:25:51 | |
Because it turns out Lady Salcombe's been lying to us. | 0:25:51 | 0:25:54 | |
Good morning, Lady Salcombe. | 0:26:13 | 0:26:15 | |
Please, call me Sarah. | 0:26:15 | 0:26:17 | |
Then tell me, Sarah, why did you lie to me? | 0:26:17 | 0:26:20 | |
-I'm sorry? -You knew Charlie Hulme. | 0:26:20 | 0:26:22 | |
-No, I didn't! -You'd been to his house before, hadn't you? | 0:26:22 | 0:26:25 | |
I smelled a perfume on one of his towels, a perfume I'd only smelled once before in your dressing room. | 0:26:25 | 0:26:30 | |
You shot Charlie Hulme. | 0:26:32 | 0:26:33 | |
-What? No! -In the Panic Room that night... -No I didn't. -Then you went for a shower, | 0:26:33 | 0:26:37 | |
-washing off evidence. -I didn't kill Charlie! -You did, Sarah, in cold blood! | 0:26:37 | 0:26:41 | |
-You put a gun to his throat and pulled the trigger. -No, I didn't kill him, I loved him! | 0:26:41 | 0:26:46 | |
I'd always worried that James would find out about Charlie and me, | 0:26:46 | 0:26:51 | |
but when I saw him shot dead... | 0:26:51 | 0:26:53 | |
You think James killed him? | 0:26:53 | 0:26:57 | |
-Charlie was investigating my husband. -Why? | 0:26:57 | 0:26:59 | |
-He said he didn't dare tell me, my life would be in danger. -It was you. | 0:26:59 | 0:27:04 | |
You gave Charlie the combination to the safe, didn't you? | 0:27:04 | 0:27:08 | |
Charlie said, there was a book in the safe | 0:27:08 | 0:27:12 | |
and that if he could just get a hold of it, | 0:27:12 | 0:27:14 | |
he would be able to put my husband in prison. | 0:27:14 | 0:27:16 | |
We've seen it, it's just a guidebook. What's so special about it? | 0:27:16 | 0:27:20 | |
Apologies for interrupting. Your colleagues say they're ready. | 0:27:20 | 0:27:24 | |
-Dwayne. Psst! Dwayne. So, who is your prime suspect? -Sorry? | 0:27:24 | 0:27:30 | |
Well, we're having a little sweepstake, so, you know, a nod in the right direction? | 0:27:30 | 0:27:35 | |
It's a bit of a mystery so far. | 0:27:35 | 0:27:38 | |
We're thinking of fitting up one of the staff. | 0:27:38 | 0:27:41 | |
Listen, when I'm dressed like this, don't mess with me, OK? | 0:27:43 | 0:27:46 | |
-OK, Dwayne and Fidel, are you in position. -Yep. | 0:27:53 | 0:27:56 | |
-Are you sure these are blanks? -Yes. | 0:27:59 | 0:28:02 | |
-Did either of you hear that? -You fired that gun yet? | 0:28:08 | 0:28:11 | |
The Detective Inspector's going to fire again. | 0:28:13 | 0:28:16 | |
-You hear that? -No, nothing. | 0:28:20 | 0:28:24 | |
This is a .22 pistol. The same calibre as the gun that killed Charlie Hulme, | 0:28:26 | 0:28:31 | |
so if Dwayne and Fidel can't hear me firing on a day like today, | 0:28:31 | 0:28:34 | |
-what did the guests hear on the night of the party? -The gunshot that killed Charlie Hulme. -No. | 0:28:34 | 0:28:39 | |
Any gunshot they heard must have come from a larger calibre gun. A louder gun. | 0:28:39 | 0:28:44 | |
Ah! Well, if it's a louder gun you're looking for? | 0:28:44 | 0:28:46 | |
-You said you didn't own a gun. -No, I said I didn't own a .22 pistol. | 0:28:46 | 0:28:50 | |
But if it's a large gun you're after... Darling? | 0:28:50 | 0:28:53 | |
What large gun? | 0:28:53 | 0:28:54 | |
It was my father's, his service revolver. It's been here for years. | 0:28:54 | 0:28:59 | |
It's gone. | 0:29:08 | 0:29:11 | |
There's a box of bullets, but the gun's disappeared. | 0:29:11 | 0:29:15 | |
.38 calibre, Smith Wesson rounds. | 0:29:15 | 0:29:18 | |
Yup, it's a loud gun. And now it's missing. | 0:29:18 | 0:29:23 | |
-Who knew it was kept there? -Me, of course. And...and James. | 0:29:23 | 0:29:28 | |
-Anyone else? -No. | 0:29:28 | 0:29:31 | |
So once again, it's either James or Sarah, | 0:29:31 | 0:29:35 | |
and I don't peg Sarah as a murderer. | 0:29:35 | 0:29:37 | |
Are you saying women don't kill people? | 0:29:37 | 0:29:40 | |
Sir, she doesn't have an alibi for the time of the murder. | 0:29:40 | 0:29:44 | |
She was having an affair with the deceased. | 0:29:44 | 0:29:46 | |
She owns a gun she didn't tell us about, which now has gone missing. | 0:29:46 | 0:29:50 | |
Oh, and she turns up at the scene of the murder having showered and washed her hair?! | 0:29:50 | 0:29:54 | |
-Well, that at least is understandable. -What? | 0:29:54 | 0:29:57 | |
The shower, this unremitting heat. I mean, how many showers do you have a day? | 0:29:57 | 0:30:00 | |
What's in this book worth dying for? | 0:30:07 | 0:30:10 | |
If we could just prove the service revolver was fired that night... | 0:30:12 | 0:30:17 | |
All right, sir? | 0:30:20 | 0:30:22 | |
Yeah. It'd mean that Charlie could have been killed | 0:30:22 | 0:30:25 | |
before 8pm with a quiet .22 pistol, | 0:30:25 | 0:30:27 | |
and the service revolver was only fired at 8pm to establish an apparent time of death. | 0:30:27 | 0:30:32 | |
You need a break. | 0:30:32 | 0:30:33 | |
Let's go for a walk. | 0:30:34 | 0:30:36 | |
Where? | 0:30:36 | 0:30:38 | |
So, tell me, what's London like? | 0:30:41 | 0:30:45 | |
Oh, er... | 0:30:47 | 0:30:48 | |
Noisy, a mess. | 0:30:48 | 0:30:50 | |
Like being in a bar fight mostly, but, er... | 0:30:50 | 0:30:53 | |
You love it. | 0:30:53 | 0:30:54 | |
The only place I'd live. | 0:30:54 | 0:30:56 | |
What's a typical London experience? | 0:30:58 | 0:31:00 | |
Hmm? Something that fills you with joy. | 0:31:00 | 0:31:02 | |
Tell me... | 0:31:04 | 0:31:06 | |
Er, so... | 0:31:08 | 0:31:09 | |
Walking into my local, the White Hart. | 0:31:11 | 0:31:14 | |
It's snowing, bitterly cold outside, | 0:31:14 | 0:31:18 | |
but there's a fire roaring in the grate, | 0:31:18 | 0:31:20 | |
the windows misty with condensation. | 0:31:20 | 0:31:23 | |
And I've got a beer in my hand, sitting in the snug, | 0:31:23 | 0:31:27 | |
in the chair that I sit in... | 0:31:27 | 0:31:31 | |
And that first sip. | 0:31:31 | 0:31:32 | |
Alone? | 0:31:32 | 0:31:33 | |
Yes, but that feeling. | 0:31:36 | 0:31:38 | |
You know of, er...belonging, knowing who you are. | 0:31:38 | 0:31:41 | |
Whatever this is, it's not that. | 0:31:45 | 0:31:47 | |
OK, so I'll see you tomorrow, shall I? | 0:31:56 | 0:31:59 | |
Yes, yes. Good idea. Yeah. | 0:32:01 | 0:32:03 | |
And, thanks again. | 0:32:06 | 0:32:07 | |
Good night. | 0:32:07 | 0:32:09 | |
Yeah, good work. | 0:32:09 | 0:32:11 | |
Er, you've been fantastic. | 0:32:13 | 0:32:15 | |
Oh, right! Yes, of course. Er... | 0:32:30 | 0:32:33 | |
It's the bins. | 0:32:33 | 0:32:36 | |
Have the bin men been yet? | 0:32:36 | 0:32:37 | |
I wondered if you could go next door | 0:32:37 | 0:32:39 | |
and just push my bins back onto the driveway, | 0:32:39 | 0:32:42 | |
you know, where they normally live. | 0:32:42 | 0:32:44 | |
Oh! Oh, well, if you're at work then, yeah... | 0:32:44 | 0:32:47 | |
No, no, no, no, I quite understand. | 0:32:47 | 0:32:49 | |
Although if your wife's at home, maybe she could... | 0:32:49 | 0:32:52 | |
No, no. Yeah, of course. Yeah, that would be... | 0:32:52 | 0:32:54 | |
No, no, the bins can just stay there, on the street, until you get home. | 0:32:54 | 0:32:58 | |
Well, that's very kind of you, Jeremy. Thank you. | 0:32:58 | 0:33:00 | |
Give my regards to Eileen... Elaine! | 0:33:00 | 0:33:02 | |
Yeah. Er... | 0:33:02 | 0:33:04 | |
And, um, the girls. | 0:33:04 | 0:33:06 | |
Yeah, and don't worry about my bins next week. | 0:33:06 | 0:33:09 | |
Yeah, fingers crossed, I'll be home by then. Thank you. | 0:33:09 | 0:33:12 | |
Oh, come on! | 0:35:00 | 0:35:01 | |
So, that's a date. | 0:35:12 | 0:35:14 | |
See you in the pool at my friend's mansion in the hills. | 0:35:14 | 0:35:18 | |
OK, then. | 0:35:18 | 0:35:20 | |
Bye. | 0:35:20 | 0:35:21 | |
Bye-bye. | 0:35:21 | 0:35:24 | |
Who was that? | 0:35:26 | 0:35:29 | |
A friend. | 0:35:29 | 0:35:30 | |
I've never seen her before. | 0:35:30 | 0:35:32 | |
She's a tourist. | 0:35:32 | 0:35:33 | |
I've been showing her around the island. | 0:35:33 | 0:35:35 | |
Is the inspector in yet? | 0:35:35 | 0:35:37 | |
No, he found a key. | 0:35:37 | 0:35:39 | |
Looks like it's for a safety deposit box. | 0:35:39 | 0:35:41 | |
Him and Lily have gone to the bank to check it out. | 0:35:41 | 0:35:44 | |
Just knock on the door when you want to be let out. | 0:35:45 | 0:35:48 | |
So, Charlie's a policeman abroad. | 0:35:51 | 0:35:53 | |
It's not necessarily suspicious for him to have a safety deposit box. | 0:35:53 | 0:35:56 | |
On the other hand... | 0:35:56 | 0:35:59 | |
Blank. | 0:36:06 | 0:36:09 | |
Cash, forged passports. | 0:36:12 | 0:36:15 | |
Human trafficking - it's got to be. | 0:36:15 | 0:36:17 | |
Up through the Caribbean, and into the States. | 0:36:17 | 0:36:20 | |
It's a multi-million dollar trade | 0:36:20 | 0:36:22 | |
and it absolutely relies on corrupt officials. | 0:36:22 | 0:36:24 | |
But how does all this tie in with James Lavender? | 0:36:24 | 0:36:28 | |
Oh, well. That, sir, is easy. | 0:36:28 | 0:36:29 | |
How come? | 0:36:29 | 0:36:31 | |
Because that is James Lavender's boat. | 0:36:31 | 0:36:34 | |
We found these in Charlie Hulme's safety deposit box. | 0:36:36 | 0:36:39 | |
I want them logged and fingerprinted ASAP. | 0:36:39 | 0:36:41 | |
-Yes. The airport - they've found your luggage. -Not now. | 0:36:41 | 0:36:44 | |
Dwayne - Lily's getting a warrant to search James's house and yacht. | 0:36:44 | 0:36:48 | |
I need you to give me a lift to the harbour, if you would. | 0:36:48 | 0:36:51 | |
You do have another car, don't you? | 0:36:51 | 0:36:54 | |
It's not just... | 0:36:54 | 0:36:55 | |
It's just the one car, isn't it? | 0:36:56 | 0:36:59 | |
What do you do in emergencies? | 0:36:59 | 0:37:01 | |
I thought you'd never ask. | 0:37:01 | 0:37:03 | |
There she is, over there. | 0:37:30 | 0:37:32 | |
How are we going to get to it? | 0:37:32 | 0:37:35 | |
No, no. Um... | 0:37:38 | 0:37:39 | |
We haven't got a search warrant. | 0:37:39 | 0:37:41 | |
We have now. | 0:37:51 | 0:37:52 | |
Locked. | 0:38:01 | 0:38:02 | |
Hey, look what I've found! | 0:38:13 | 0:38:15 | |
You all right there, sir? | 0:38:31 | 0:38:33 | |
-People smuggling. -Told you. | 0:38:38 | 0:38:40 | |
-Hang on! You're Charlie's cleaner! -He didn't have a cleaner. | 0:38:42 | 0:38:46 | |
She was in my house! | 0:38:46 | 0:38:47 | |
-Dressed like that? -No, dressed as a cleaner! | 0:38:47 | 0:38:50 | |
Now what?! | 0:38:54 | 0:38:55 | |
There you are! | 0:39:25 | 0:39:26 | |
Remind me to tell you the story of the tortoise and the hare sometime. | 0:39:30 | 0:39:35 | |
What were you doing on James Lavender's boat? | 0:39:55 | 0:39:58 | |
OK. What's your relationship with James Lavender? | 0:39:59 | 0:40:02 | |
What were you doing at Charlie's pretending to be a cleaner? | 0:40:02 | 0:40:05 | |
Hang on! | 0:40:07 | 0:40:08 | |
This is you. | 0:40:14 | 0:40:16 | |
You were at the party that night. Why? | 0:40:16 | 0:40:20 | |
Is this a formal interview? | 0:40:20 | 0:40:21 | |
-No, of course not. -Then why are you talking to me? | 0:40:23 | 0:40:26 | |
No. Of course. | 0:40:28 | 0:40:30 | |
I'll arrange for a duty solicitor to visit you immediately. | 0:40:30 | 0:40:33 | |
SHE LAUGHS | 0:40:33 | 0:40:35 | |
What's so funny? | 0:40:36 | 0:40:39 | |
Oh, no... It's just... | 0:40:39 | 0:40:41 | |
It's 100 degrees in here and you're standing there in a suit and tie | 0:40:41 | 0:40:45 | |
talking about duty solicitors! | 0:40:45 | 0:40:48 | |
I'm a British policeman. | 0:40:48 | 0:40:49 | |
No?! You're kidding me! | 0:40:49 | 0:40:51 | |
You're there because I found you on a boat that's been used for people smuggling. | 0:40:51 | 0:40:56 | |
Give me my phone call. | 0:40:59 | 0:41:03 | |
Fidel, our friend wants her one phone call. | 0:41:03 | 0:41:05 | |
Yes, sir! | 0:41:05 | 0:41:06 | |
-Right, Lily, I think it's time to put the squeeze on James Lavender. -Yes, sir! | 0:41:06 | 0:41:11 | |
I'm not leaving until we've got it all. | 0:41:15 | 0:41:17 | |
How the people smuggling works, who that woman is in the cells... | 0:41:17 | 0:41:21 | |
Oh, and what Charlie was doing in the Panic Room when he was killed. | 0:41:21 | 0:41:25 | |
Why he was killed, why he was holding the book, | 0:41:25 | 0:41:27 | |
and how, finally, how Charlie was murdered. | 0:41:27 | 0:41:33 | |
Oh, no! | 0:41:36 | 0:41:37 | |
Dead. He must have shot himself. | 0:41:45 | 0:41:48 | |
It's a .22 pistol, isn't it? | 0:41:48 | 0:41:50 | |
Just like the one that killed Charlie Hulme. | 0:41:50 | 0:41:53 | |
This isn't a suicide, sir. | 0:41:53 | 0:41:56 | |
This is a confession. | 0:41:56 | 0:41:58 | |
James killed Charlie. | 0:41:58 | 0:41:59 | |
But someone warned him, didn't they? | 0:41:59 | 0:42:02 | |
Her one phone call. | 0:42:04 | 0:42:05 | |
OK, so who did you phone? | 0:42:06 | 0:42:09 | |
You are in so much trouble. | 0:42:11 | 0:42:13 | |
Sir, there's been a breakout. | 0:42:21 | 0:42:23 | |
I'm ringing the coastguard and Interpol. | 0:42:23 | 0:42:25 | |
We need to alert the airport. | 0:42:25 | 0:42:27 | |
How did she escape from a cell?! | 0:42:27 | 0:42:28 | |
Detective Inspector. | 0:42:28 | 0:42:31 | |
Can I introduce you to Detective Sergeant Camille Bordey? | 0:42:31 | 0:42:34 | |
Born in Sainte-Marie, trained in Paris, | 0:42:34 | 0:42:37 | |
but for the last two years has been working undercover on Guadeloupe. | 0:42:37 | 0:42:41 | |
Making the case against James Lavender. | 0:42:41 | 0:42:43 | |
And she's back on the island. | 0:42:43 | 0:42:44 | |
I'm days away from an arrest, so I'd appreciate if you'd... | 0:42:44 | 0:42:47 | |
There's an undercover officer working on the same case, and you didn't tell me? | 0:42:47 | 0:42:51 | |
We couldn't. Camille thinks a corrupt officer is helping Lavender. We couldn't take the risk. | 0:42:51 | 0:42:56 | |
It won't be me, will it?! I've been in Croydon for the last 13 years! | 0:42:56 | 0:43:00 | |
And if you're looking for your corrupt copper, | 0:43:01 | 0:43:04 | |
it was Charlie Hulme. | 0:43:04 | 0:43:06 | |
How do you know that? | 0:43:06 | 0:43:07 | |
I've got evidence linking him to trafficking and James's yacht. | 0:43:07 | 0:43:10 | |
Charlie was clearly James's right-hand man. | 0:43:10 | 0:43:14 | |
-We need to arrest James Lavender right now. -Small problem. | 0:43:14 | 0:43:17 | |
Don't tell me, there is some form we have to fill in first in triplicate? | 0:43:17 | 0:43:21 | |
James Lavender's dead. | 0:43:23 | 0:43:24 | |
Looks like suicide. Either way, as far as this case goes, | 0:43:24 | 0:43:29 | |
Charlie Hulme's a dead end, and now so too is James Lavender. | 0:43:29 | 0:43:33 | |
This place! | 0:43:42 | 0:43:44 | |
Sir, look, if James killed Charlie and then killed himself, | 0:43:44 | 0:43:47 | |
I can take over from here and finish the paperwork. | 0:43:47 | 0:43:50 | |
You could be on the next plane out of here. | 0:43:50 | 0:43:52 | |
Don't, I'm imagining it now. | 0:43:52 | 0:43:54 | |
Walking out at Heathrow, being cold... | 0:43:54 | 0:43:58 | |
Finally being cold again! | 0:43:58 | 0:44:01 | |
-I never thought I'd miss it. -Miss what? | 0:44:01 | 0:44:03 | |
Drizzle. That feeling on your face. Like a wet flannel. | 0:44:03 | 0:44:07 | |
Oh, England. | 0:44:07 | 0:44:08 | |
Problem is, we may know what happened, | 0:44:08 | 0:44:11 | |
but we still don't really know how it happened. | 0:44:11 | 0:44:13 | |
How was Charlie killed from inside a locked panic room? | 0:44:13 | 0:44:17 | |
I need you to stay here and conclude the interviews. | 0:44:17 | 0:44:19 | |
Fidel, you're with me. | 0:44:19 | 0:44:21 | |
Yes, sir! | 0:44:21 | 0:44:23 | |
I don't believe it! | 0:44:28 | 0:44:30 | |
How long? | 0:44:30 | 0:44:31 | |
You do not ever want to know how long! | 0:44:31 | 0:44:34 | |
OK, that seems about right. | 0:44:34 | 0:44:36 | |
This wasn't knocked over. Look, here and here. | 0:44:36 | 0:44:41 | |
It was shot from slightly above and angling downwards. | 0:44:41 | 0:44:45 | |
Now, if you go over towards the desk... | 0:44:45 | 0:44:49 | |
Let's say you're James. | 0:44:49 | 0:44:50 | |
You think James shot Charlie? | 0:44:50 | 0:44:52 | |
At this stage, all I know is that somebody shot this vase. | 0:44:52 | 0:44:55 | |
But, with a .22 bullet or a .38? That's the question. | 0:44:55 | 0:44:59 | |
The whole case rather depends on us finding the answer. | 0:44:59 | 0:45:03 | |
So, if you just hold that absolutely still, | 0:45:03 | 0:45:05 | |
let's find out where the bullet went. | 0:45:05 | 0:45:07 | |
You need to watch out for snakes, sir. They can be in the trees sometimes too. | 0:45:29 | 0:45:34 | |
Oh, God! | 0:45:41 | 0:45:43 | |
I thought you were a... Where have you been? | 0:45:44 | 0:45:48 | |
I figured the tortoise would get there a whole lot quicker with a metal detector. | 0:45:48 | 0:45:53 | |
DETECTOR CRACKLES | 0:45:55 | 0:46:00 | |
DETECTOR BEEPS LOUDLY | 0:46:02 | 0:46:04 | |
Finally, proof! | 0:46:25 | 0:46:27 | |
The bullet that shot the vase on the night of the murder was a .38, | 0:46:27 | 0:46:31 | |
fired by a bloody loud service revolver. | 0:46:31 | 0:46:36 | |
PHONE RINGS | 0:46:36 | 0:46:38 | |
Oh, no, not again! | 0:46:38 | 0:46:40 | |
Yes, what? Sorry? | 0:46:40 | 0:46:43 | |
No, no, no, start again. | 0:46:43 | 0:46:45 | |
My luggage. | 0:46:45 | 0:46:46 | |
What do you mean it's still in Heathrow? | 0:46:46 | 0:46:49 | |
You lost it in Sainte-Marie! | 0:46:49 | 0:46:51 | |
Eh? Oh! | 0:46:52 | 0:46:54 | |
Oh, I see. | 0:46:55 | 0:46:57 | |
No, sorry. Just keep it in Heathrow, please, and I'll be back...soon. | 0:46:59 | 0:47:04 | |
In fact, I'll be on the next plane out of here! | 0:47:04 | 0:47:07 | |
Are you OK, sir? | 0:47:09 | 0:47:10 | |
They never put my luggage on the plane! | 0:47:10 | 0:47:14 | |
Yep. | 0:47:15 | 0:47:16 | |
Yes, of course! | 0:47:18 | 0:47:19 | |
Oh! | 0:47:19 | 0:47:20 | |
It's the heat. It's finally got the better of him. | 0:47:20 | 0:47:23 | |
You fire the gun... | 0:47:23 | 0:47:24 | |
-Should I call for an ambulance? -Yes, you do! | 0:47:24 | 0:47:27 | |
Of course! Thank you, Fidel! | 0:47:27 | 0:47:29 | |
Yes, OK, so the phone call and then... | 0:47:29 | 0:47:34 | |
Into the sea with you. | 0:47:34 | 0:47:35 | |
Brilliant, brilliant. | 0:47:35 | 0:47:38 | |
Leaving the murderer free to... | 0:47:38 | 0:47:40 | |
commit murder. | 0:47:40 | 0:47:42 | |
Er, just loosen your tie a moment there, sir. | 0:47:42 | 0:47:46 | |
It's very, very simple. | 0:47:46 | 0:47:47 | |
Call the ambulance. | 0:47:47 | 0:47:49 | |
No, call the Commissioner. He needs to be here for the arrest. | 0:47:49 | 0:47:52 | |
You said it. Get the Commissioner here as soon as possible. | 0:47:52 | 0:47:55 | |
But why kill him in the first place, that's the question? | 0:47:55 | 0:47:58 | |
But then, if the bullet's not the bullet... | 0:47:58 | 0:48:01 | |
What if...? | 0:48:01 | 0:48:03 | |
Yes! | 0:48:07 | 0:48:09 | |
-How many fingers am I holding up? -James Lavender had a mobile phone on him when he died. Get it! | 0:48:09 | 0:48:13 | |
I'm also going to need the .22 pistol he was holding when we found his body. | 0:48:13 | 0:48:19 | |
While you're getting them, you and me are going to have a little chat. | 0:48:19 | 0:48:23 | |
You know, I should have realised the lessons of my luggage sooner. | 0:48:30 | 0:48:34 | |
Your luggage? | 0:48:34 | 0:48:35 | |
My case was never loaded onto the plane at Heathrow. | 0:48:35 | 0:48:38 | |
So, when the hold was opened in Sainte-Marie, | 0:48:38 | 0:48:40 | |
it appeared to have disappeared, | 0:48:40 | 0:48:42 | |
whereas in reality, it was never in there in the first place. | 0:48:42 | 0:48:45 | |
-How does that help? -When the panic room was opened, | 0:48:45 | 0:48:48 | |
we thought the killer had disappeared, but in reality, the murderer was never in there. | 0:48:48 | 0:48:53 | |
Please just tell me who killed Charlie. | 0:48:53 | 0:48:56 | |
When Charlie investigated your husband, he set in motion a chain of events | 0:48:56 | 0:49:01 | |
that led to his murder and your husband's. | 0:49:01 | 0:49:04 | |
On the night of the party, James found Charlie in the panic room, and realised he had to kill him. | 0:49:04 | 0:49:09 | |
The only problem being, James doesn't know his way round a gun, | 0:49:11 | 0:49:14 | |
as he told us, so he only managed to shoot the vase. | 0:49:14 | 0:49:18 | |
At which point, Charlie does the only logical thing, | 0:49:18 | 0:49:21 | |
and locks himself safely inside the panic room. | 0:49:21 | 0:49:25 | |
Now, James has just tried to kill a policeman, so what does he do? | 0:49:25 | 0:49:29 | |
He goes back to his beach, | 0:49:30 | 0:49:33 | |
where he disposed of the service revolver | 0:49:33 | 0:49:36 | |
before making a call. | 0:49:36 | 0:49:39 | |
In fact, he must have made a phone call. | 0:49:39 | 0:49:41 | |
He didn't kill Charlie Hulme, so who did he get to do it? | 0:49:41 | 0:49:44 | |
You can't be sure it wasn't James. | 0:49:44 | 0:49:46 | |
I can! | 0:49:46 | 0:49:47 | |
James only managed to shoot a vase using your service revolver. | 0:49:47 | 0:49:51 | |
The only gunshot that was heard on the night. | 0:49:51 | 0:49:54 | |
Don't you see what this means? | 0:49:54 | 0:49:56 | |
We have no way of knowing when Charlie was killed, | 0:49:56 | 0:49:59 | |
because nobody heard the .22 gunshot that killed him. | 0:49:59 | 0:50:04 | |
He could have been killed at any time on the night of the murder. | 0:50:04 | 0:50:08 | |
-So, are you saying he was killed before the panic room was shut down? -Haven't you worked it out yet? -No. | 0:50:08 | 0:50:13 | |
I know who the murderer is. | 0:50:13 | 0:50:16 | |
And so do you, Sergeant Thompson, because it's you. | 0:50:16 | 0:50:18 | |
You murdered Charlie Hulme. | 0:50:21 | 0:50:24 | |
-Are you insane? -No. Dwayne? | 0:50:24 | 0:50:27 | |
You quickly realised killing Charlie only bought you time, | 0:50:27 | 0:50:30 | |
isn't that right? | 0:50:30 | 0:50:32 | |
'How did the murderer kill Charlie and escape from a locked steel room?' | 0:50:32 | 0:50:36 | |
What you needed next was a sacrificial lamb, | 0:50:36 | 0:50:38 | |
so you put a safety deposit key in my room, | 0:50:38 | 0:50:40 | |
knowing that I'd find it the next time I showered. | 0:50:40 | 0:50:43 | |
I mean, how many showers do you have a day? | 0:50:43 | 0:50:46 | |
Because once I had the key, | 0:50:46 | 0:50:49 | |
you could lead me to the safety deposit box, | 0:50:49 | 0:50:51 | |
with all the evidence you'd planted to create links | 0:50:51 | 0:50:54 | |
between Charlie Hulme, human trafficking and James Lavender, | 0:50:54 | 0:50:57 | |
who you killed before picking up the warrant for us to search his yacht. | 0:50:57 | 0:51:02 | |
Sir! This is all lies! | 0:51:12 | 0:51:14 | |
Can you prove any of this? | 0:51:14 | 0:51:16 | |
Charlie was found shot dead inside a locked panic room, | 0:51:16 | 0:51:19 | |
on his own, no gun nearby. | 0:51:19 | 0:51:21 | |
If you think about it, as he's the only person inside, | 0:51:21 | 0:51:24 | |
he must have been alive when the room was locked down. | 0:51:24 | 0:51:27 | |
Who else could have shut the door apart from him? | 0:51:27 | 0:51:30 | |
He was the only person found in there. | 0:51:30 | 0:51:32 | |
And if he was alive when he locked the room down... | 0:51:32 | 0:51:35 | |
'So, everybody out and don't touch anything.' | 0:51:35 | 0:51:38 | |
..he must also have been alive when Sergeant Thompson opened it up. | 0:51:38 | 0:51:42 | |
SILENCED GUNSHOT | 0:51:42 | 0:51:45 | |
Even if he was dead within seconds of her arriving on the scene. | 0:51:47 | 0:51:50 | |
You see, this wasn't an impossible murder. | 0:51:50 | 0:51:53 | |
It merely happened after the police arrived. | 0:51:53 | 0:51:56 | |
Isn't that so, Sergeant? | 0:51:56 | 0:51:58 | |
Now, I wonder who James rang that night, | 0:51:58 | 0:52:01 | |
having just attempted to murder a British policeman? | 0:52:01 | 0:52:04 | |
Ah, well now, here we are. | 0:52:04 | 0:52:07 | |
Because if he rang you, Sergeant, | 0:52:07 | 0:52:09 | |
that's going to be pretty incriminating, don't you think? | 0:52:09 | 0:52:12 | |
HER PHONE RINGS | 0:52:13 | 0:52:15 | |
Hello? | 0:52:29 | 0:52:30 | |
Why did he ring you, if not to say | 0:52:30 | 0:52:32 | |
that Charlie was going to take you both down, unless you took him out? | 0:52:32 | 0:52:36 | |
Why would I kill Charlie Hulme? | 0:52:39 | 0:52:41 | |
Are you saying women don't kill people? | 0:52:41 | 0:52:44 | |
Because of the book he held, which he'd got from the safe, | 0:52:44 | 0:52:47 | |
and which was about to put you and James in prison. | 0:52:47 | 0:52:50 | |
The book he was holding was a travel guide. | 0:52:50 | 0:52:52 | |
-But was it, sir? -Yes, it was. | 0:52:52 | 0:52:54 | |
And yet, with this case, nothing has been as it seems. | 0:52:54 | 0:52:57 | |
The gun heard on the night wasn't the gun that killed Charlie. | 0:52:57 | 0:53:00 | |
The bullet that was fired wasn't the bullet that killed Charlie. | 0:53:00 | 0:53:05 | |
So this is what I thought. | 0:53:05 | 0:53:06 | |
What if the book Charlie was holding wasn't the book Charlie was holding? | 0:53:06 | 0:53:10 | |
It's Charlie Hulme. | 0:53:10 | 0:53:12 | |
Imagine the book WAS incriminating, and you're Lily. | 0:53:12 | 0:53:15 | |
What do you do? Well, you clear the crime scene, standard procedure, | 0:53:15 | 0:53:18 | |
but then what? | 0:53:18 | 0:53:19 | |
Call an ambulance. Now! | 0:53:19 | 0:53:22 | |
Everyone's seen the book in his hand. You can't remove it, so you swap it, | 0:53:22 | 0:53:27 | |
for any book on these shelves that looks the same. | 0:53:27 | 0:53:30 | |
The innocent book going into Charlie's hands, | 0:53:30 | 0:53:34 | |
and the incriminating book going back on the shelves, | 0:53:34 | 0:53:37 | |
concealed amongst all these others. | 0:53:37 | 0:53:40 | |
Hidden in plain view, as it were. | 0:53:40 | 0:53:42 | |
And what's more, I reckon I can do this in one. | 0:53:42 | 0:53:46 | |
Oh. Charlie Hulme's blood on this. | 0:53:52 | 0:53:54 | |
You see? | 0:53:54 | 0:53:55 | |
Everything you'd need to prove James's involvement in human trafficking. | 0:53:55 | 0:54:01 | |
Money, dates, cargoes... | 0:54:01 | 0:54:02 | |
How did you just do that? | 0:54:02 | 0:54:04 | |
This is the only one with no writing down the spine. | 0:54:04 | 0:54:07 | |
I imagine you were planning to come back some time and retrieve it. | 0:54:07 | 0:54:11 | |
Oh, your name's in here. | 0:54:11 | 0:54:14 | |
All the way through, in fact. | 0:54:14 | 0:54:16 | |
And, er, here's a fingerprint in Charlie Hulme's blood. | 0:54:16 | 0:54:19 | |
I mean, logically, if you think about it, | 0:54:19 | 0:54:21 | |
that's going to be quite hard to explain if it turns out to be yours. | 0:54:21 | 0:54:25 | |
You know, I have to take my hat off to you. | 0:54:27 | 0:54:29 | |
You had me pointing this way and that. | 0:54:29 | 0:54:31 | |
And there were times, I must confess, when you were... | 0:54:31 | 0:54:36 | |
dazzling. | 0:54:36 | 0:54:37 | |
You killed two people? | 0:54:37 | 0:54:39 | |
Why? | 0:54:39 | 0:54:40 | |
Do you know how many times I've been passed over? | 0:54:43 | 0:54:46 | |
Someone sent from London to do a job I should be doing! | 0:54:46 | 0:54:50 | |
Charlie Hulme, and now him! | 0:54:50 | 0:54:52 | |
So, if I'm not good enough, | 0:54:52 | 0:54:54 | |
why not take the money instead, and a lot of it? | 0:54:54 | 0:54:58 | |
Enough to get away from this. Away from you! | 0:54:58 | 0:55:02 | |
There's a whole world out there, you know, Fidel. | 0:55:02 | 0:55:05 | |
I don't think you'll ever leave this island again. | 0:55:05 | 0:55:08 | |
Dwayne, Fidel... | 0:55:08 | 0:55:10 | |
If you would. | 0:55:10 | 0:55:11 | |
Sure thing, Chief. | 0:55:11 | 0:55:13 | |
Ay, yai yai! | 0:55:44 | 0:55:46 | |
What if I'd trodden on you? | 0:55:46 | 0:55:48 | |
There's no point looking at me like that, I'm off. | 0:55:52 | 0:55:54 | |
It isn't a stitch up. | 0:56:07 | 0:56:09 | |
Really?! So my super in London arranges for me to be posted here, | 0:56:09 | 0:56:12 | |
you agree to it, and it's not a stitch up? | 0:56:12 | 0:56:15 | |
Of course not. It's just a sensible re-allocation of resources. | 0:56:15 | 0:56:19 | |
Look, I'm sure the Caribbean's great - beach holidays and snorkelling, | 0:56:19 | 0:56:23 | |
but I can't work here, let alone live here! | 0:56:23 | 0:56:25 | |
Has anyone noticed, there's a tree growing in my front room! | 0:56:25 | 0:56:28 | |
I've got no luggage. | 0:56:31 | 0:56:32 | |
Ah! | 0:56:32 | 0:56:34 | |
What? | 0:56:35 | 0:56:37 | |
You know how your luggage was left at Heathrow? | 0:56:37 | 0:56:40 | |
Your suitcase, Chief. | 0:56:43 | 0:56:45 | |
Anything else? | 0:56:45 | 0:56:47 | |
Any other bombshells I should know about? | 0:56:47 | 0:56:49 | |
Of course not, no! | 0:56:49 | 0:56:51 | |
Well, maybe one. | 0:56:51 | 0:56:54 | |
No! | 0:56:57 | 0:56:59 | |
Tell me about it. | 0:56:59 | 0:57:00 | |
You're undercover! | 0:57:00 | 0:57:02 | |
You blew that when you arrested me, remember? | 0:57:02 | 0:57:04 | |
No-one knows you're a copper! | 0:57:04 | 0:57:06 | |
-I do! -What? | 0:57:06 | 0:57:08 | |
If a crook like Marlon knows, then everyone in the underworld will know by breakfast. | 0:57:08 | 0:57:12 | |
-I'm not a crook! -ALL: Yes, you are! | 0:57:12 | 0:57:14 | |
-Can't you go back to Guadeloupe? -Can't you go back to London? | 0:57:14 | 0:57:19 | |
-I'm trying. -Try harder! | 0:57:19 | 0:57:20 | |
-I can't work with her! -I can't work with him! | 0:57:20 | 0:57:23 | |
The paperwork is done, you're both staying! | 0:57:23 | 0:57:25 | |
So, as Commissioner, I'm very pleased to say, | 0:57:25 | 0:57:29 | |
on behalf of the Royal Sainte-Marie Police Force, | 0:57:29 | 0:57:32 | |
welcome to paradise. | 0:57:32 | 0:57:34 | |
Don't worry, we'll look after her. | 0:57:47 | 0:57:49 | |
In the event of Lisa's death, do you inherit her fortune? | 0:57:49 | 0:57:53 | |
-Who'd kill a bride? -One of this lot! | 0:57:53 | 0:57:56 | |
Surely you're not saying that any of us are under suspicion? | 0:57:56 | 0:57:59 | |
I'm a police officer, and I want a cup of tea. | 0:57:59 | 0:58:01 | |
-You like them? -Very much. | 0:58:03 | 0:58:05 | |
I've got a date. | 0:58:05 | 0:58:07 | |
You're coming with us. | 0:58:07 | 0:58:08 | |
Subtitles by Red Bee Media Ltd | 0:58:20 | 0:58:23 | |
E-mail [email protected] | 0:58:23 | 0:58:26 |