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MUSIC PLAYS | 0:00:02 | 0:00:04 | |
I really should be going soon, Juliet will start to worry. | 0:00:07 | 0:00:09 | |
-And how long has she got to go? -Two weeks. -Ah. | 0:00:09 | 0:00:12 | |
You know, my mother said first babies are always late. | 0:00:12 | 0:00:15 | |
We'll see. | 0:00:15 | 0:00:16 | |
How's things going with your new step daddy? | 0:00:17 | 0:00:20 | |
-Not funny, Dwayne. They're just friends. -Yeah, right! | 0:00:20 | 0:00:23 | |
-Dwayne, no! -One more. | 0:00:26 | 0:00:29 | |
I'm in trouble. | 0:00:29 | 0:00:30 | |
Right, 15 across, "Essence of Eastern book, | 0:00:45 | 0:00:49 | |
"about Greek character?" | 0:00:49 | 0:00:52 | |
Any ideas? | 0:00:52 | 0:00:53 | |
No, me neither. | 0:00:57 | 0:00:58 | |
Bonsoir. | 0:01:15 | 0:01:16 | |
Hi. | 0:01:16 | 0:01:18 | |
Where are you from? What do you do? | 0:01:18 | 0:01:21 | |
How about you first? | 0:01:21 | 0:01:23 | |
HE LAUGHS | 0:01:23 | 0:01:25 | |
You'll never guess. | 0:01:25 | 0:01:27 | |
Hmm, I thought maybe a postman? | 0:01:27 | 0:01:30 | |
THEY LAUGH | 0:01:30 | 0:01:32 | |
-This is me. -Oh, nice. | 0:01:33 | 0:01:35 | |
Thank you for walking me home. | 0:01:35 | 0:01:38 | |
DOG BARKS | 0:01:38 | 0:01:39 | |
You want to come in for coffee? | 0:01:43 | 0:01:45 | |
You're late. | 0:01:59 | 0:02:01 | |
And good morning to you, too. | 0:02:01 | 0:02:04 | |
Well, that's not fair. | 0:02:04 | 0:02:05 | |
-Excuse me? -I agreed to do small talk, particularly in the mornings, | 0:02:05 | 0:02:08 | |
but that doesn't mean I can't point out when you're late. | 0:02:08 | 0:02:11 | |
I'm late because there's been a murder. | 0:02:11 | 0:02:14 | |
Up in the hills. | 0:02:14 | 0:02:16 | |
-So, what do we know? -Not much. | 0:02:16 | 0:02:18 | |
Nadia Selim, 30 years old. | 0:02:18 | 0:02:19 | |
Lived at this address for a little under two years. | 0:02:19 | 0:02:22 | |
DOG BARKS | 0:02:22 | 0:02:25 | |
Quiet, Harry! Quiet! These are friends. | 0:02:25 | 0:02:27 | |
Sorry, he's Nadia's dog and he's very distressed. Come here. | 0:02:27 | 0:02:30 | |
And, er, you are? | 0:02:30 | 0:02:32 | |
Georgie Westcott, I live across there. | 0:02:32 | 0:02:34 | |
-You're the lady who made the call? -Yes. | 0:02:34 | 0:02:38 | |
Well, erm, Nadia and I travel in to work together, every morning. | 0:02:38 | 0:02:42 | |
But this morning she was late, which isn't like her, erm, | 0:02:42 | 0:02:45 | |
and I rang, and... | 0:02:45 | 0:02:47 | |
when there was no answer, | 0:02:47 | 0:02:49 | |
I used my spare key and went in, and...that's when I found her. | 0:02:49 | 0:02:54 | |
Hey, I've found the bedroom. | 0:03:08 | 0:03:11 | |
You know, where the body is? | 0:03:11 | 0:03:14 | |
You're worried the furniture's not straight? | 0:03:15 | 0:03:18 | |
Yeah. | 0:03:20 | 0:03:21 | |
Your neighbour's late for picking you up. | 0:03:23 | 0:03:26 | |
Do you really use your spare key to enter her house? | 0:03:26 | 0:03:30 | |
Why would she have coins stuffed in her mouth? | 0:03:30 | 0:03:33 | |
-Sir? -That's interesting. | 0:03:34 | 0:03:37 | |
I've got a body up here and somebody has stuffed coins in her mouth. | 0:03:37 | 0:03:42 | |
What have you got that's SO interesting? | 0:03:42 | 0:03:45 | |
Dwayne's police shield. | 0:03:47 | 0:03:49 | |
Dwayne's outside. | 0:04:51 | 0:04:53 | |
Sir, the medics want to know about moving the body. | 0:05:00 | 0:05:03 | |
I'll, erm, go and talk to them, Fidel. | 0:05:03 | 0:05:05 | |
-Photograph the scene for me, if you would. -Yes sir. | 0:05:05 | 0:05:08 | |
Can you tell us how your shield ended up at a murder scene? | 0:05:08 | 0:05:11 | |
I only met her last night. | 0:05:11 | 0:05:14 | |
So what happened? | 0:05:14 | 0:05:15 | |
When we finished last night, we all went for a drink. | 0:05:15 | 0:05:18 | |
-"We all" being...? -Me, Fidel and Camille. | 0:05:18 | 0:05:21 | |
I see. | 0:05:21 | 0:05:23 | |
You didn't invite anyone else? | 0:05:23 | 0:05:24 | |
No. | 0:05:24 | 0:05:25 | |
Or think to invite anyone else? | 0:05:25 | 0:05:27 | |
Never mind. Carry on. | 0:05:31 | 0:05:32 | |
We had something to eat, a few beers, some rum. | 0:05:32 | 0:05:36 | |
Then I met her, Nadia, outside the bar. | 0:05:36 | 0:05:39 | |
Bonsoir. | 0:05:42 | 0:05:44 | |
We talked, sort of hit it off, you know. She said she wanted to go for a walk. | 0:05:44 | 0:05:49 | |
She was very pretty. In the end, I walked her all the way home. | 0:05:49 | 0:05:54 | |
-What time was this? -About ten. -You want to come in for coffee? | 0:05:54 | 0:05:57 | |
That, erm, mark on your neck, how did you get it? | 0:05:57 | 0:06:01 | |
We were messing around. | 0:06:01 | 0:06:03 | |
She asked me to teach her some self-defence moves. | 0:06:03 | 0:06:06 | |
-You mean, you slept with her? -No! | 0:06:06 | 0:06:08 | |
Like I said, I was showing her some moves. | 0:06:08 | 0:06:11 | |
She said she was nervous about walking home alone. | 0:06:11 | 0:06:14 | |
OK... | 0:06:16 | 0:06:18 | |
..we had a bit of a cuddle. | 0:06:19 | 0:06:20 | |
-Just a cuddle? -Yes. | 0:06:20 | 0:06:23 | |
And after your "cuddle"? | 0:06:23 | 0:06:24 | |
I left just after midnight. | 0:06:24 | 0:06:27 | |
You didn't see anyone on the way home? | 0:06:27 | 0:06:29 | |
No. | 0:06:29 | 0:06:31 | |
And when you left, the victim was alive and well? | 0:06:31 | 0:06:33 | |
-Yes. -What kind of question is that?! | 0:06:33 | 0:06:35 | |
The kind you ask a witness in a murder enquiry. | 0:06:35 | 0:06:38 | |
-No, this is Dwayne. -He's still a witness. | 0:06:38 | 0:06:41 | |
-You just asked him if he killed her! -No, I didn't. | 0:06:41 | 0:06:44 | |
-You asked if she was still alive when he left! -Look, it's OK. | 0:06:44 | 0:06:47 | |
I know you have to ask me this stuff. | 0:06:47 | 0:06:50 | |
It's procedure, right? | 0:06:50 | 0:06:52 | |
I've got photos, sir. | 0:06:52 | 0:06:54 | |
Thank you, Fidel. Right, I want door-to-door enquiries, | 0:06:54 | 0:06:58 | |
start taking statements from all the neighbours. | 0:06:58 | 0:07:00 | |
Anyone who knew her, | 0:07:00 | 0:07:01 | |
-particularly if anyone saw her or anyone else last night. -Yes, sir. | 0:07:01 | 0:07:05 | |
-Not you, Dwayne. -Chief? | 0:07:05 | 0:07:07 | |
You're a witness, possibly the last person to see the victim alive. | 0:07:07 | 0:07:10 | |
I can't have you asking people questions. | 0:07:10 | 0:07:12 | |
-Why not? -Because if he asks them whether they saw the victim with anyone last night | 0:07:12 | 0:07:17 | |
and they say, "Yes, Officer, with you," | 0:07:17 | 0:07:19 | |
it muddies the water just a little, don't you think? | 0:07:19 | 0:07:21 | |
Go back to the station and write up your statement. | 0:07:21 | 0:07:24 | |
Yes, Chief. | 0:07:25 | 0:07:27 | |
-What? -Fidel, go and start talking to the neighbours. | 0:07:30 | 0:07:34 | |
Please tell me you don't believe Dwayne is involved in this! | 0:07:38 | 0:07:41 | |
-He's the last person to see her alive. -Apart from the killer! | 0:07:41 | 0:07:44 | |
-He has a scratch mark on his neck he admits came from the victim. -He explained that. | 0:07:44 | 0:07:48 | |
-I'm doing things by the book, Camille. -I don't care about your book! | 0:07:48 | 0:07:51 | |
I want to know if you think Dwayne killed this girl, yes or no? | 0:07:51 | 0:07:54 | |
Based purely on my knowledge of Dwayne | 0:07:54 | 0:07:57 | |
and the fact everything points to this being premeditated, | 0:07:57 | 0:07:59 | |
while Dwayne met her hours before she was killed, | 0:07:59 | 0:08:02 | |
making it difficult to corroborate premeditation, I'd say that, on balance, it's unlikely. | 0:08:02 | 0:08:07 | |
Was that yes or no? | 0:08:07 | 0:08:09 | |
-No! -Good! -Although, that doesn't mean he didn't do it. | 0:08:09 | 0:08:12 | |
Look, we owe it to the victim to conduct a thorough investigation. | 0:08:12 | 0:08:17 | |
-Why are you so grumpy? -I'm not grumpy. | 0:08:17 | 0:08:19 | |
-Yes, you are. -I'm doing my job. | 0:08:19 | 0:08:20 | |
-Then stop talking about Dwayne and find the killer. -There's a connection. | 0:08:20 | 0:08:24 | |
Dwayne left his badge behind, so he must have been in uniform, right? | 0:08:24 | 0:08:28 | |
-Yes. -OK. So you're a girl in a bar, fine. | 0:08:28 | 0:08:30 | |
So you invite a policeman back to your house, fine. | 0:08:30 | 0:08:33 | |
But then you're killed the moment he leaves? It's connected. It has to be. | 0:08:33 | 0:08:37 | |
OK, erm, but why? | 0:08:37 | 0:08:39 | |
At risk of being called grumpy again, that's what I intend to find out! | 0:08:39 | 0:08:43 | |
-All right? -Morning, sir. | 0:08:46 | 0:08:48 | |
Is that right, someone was killed down there last night? | 0:08:48 | 0:08:51 | |
-Yes, do you live here? -Me? | 0:08:51 | 0:08:53 | |
Oh, no, no. I was just passing, I saw all the commotion. | 0:08:53 | 0:08:56 | |
-I heard it was a young woman? -If you'll excuse me. | 0:08:56 | 0:08:59 | |
-Burglar, was it? -I'm sorry, I can't discuss that with you. | 0:08:59 | 0:09:02 | |
This is about last night, isn't it? | 0:09:13 | 0:09:15 | |
-What? -Why you're being so grumpy. | 0:09:15 | 0:09:18 | |
-Don't know what you mean. -Because we all went for a drink... | 0:09:18 | 0:09:21 | |
-No, no, no, not "we all", just you three. -I knew that's what it was. | 0:09:21 | 0:09:24 | |
-OK, look... -Discovering the words "we all" doesn't seem to include me... | 0:09:24 | 0:09:28 | |
a little bit chastening, that's all. | 0:09:28 | 0:09:30 | |
How can it include you? You never come out for a drink! | 0:09:30 | 0:09:33 | |
-You never ask me. -Oh no, no, no, no. | 0:09:33 | 0:09:35 | |
We stopped asking, it's different. | 0:09:35 | 0:09:37 | |
And you tell me, who's more rude - the person who stops asking, | 0:09:37 | 0:09:41 | |
or the person who never once said yes? | 0:09:41 | 0:09:44 | |
OK, I'm sorry I snapped. You're just so... | 0:10:07 | 0:10:10 | |
"So" what? | 0:10:10 | 0:10:11 | |
-..English. -And you're very French. | 0:10:11 | 0:10:13 | |
Now can we please get on with the task in hand? | 0:10:13 | 0:10:15 | |
Why did the killer fill her mouth with money? | 0:10:18 | 0:10:22 | |
Repaying a debt? | 0:10:24 | 0:10:26 | |
Looks like asphyxiation. No other sign of trauma, as far as I can see. | 0:10:26 | 0:10:31 | |
It doesn't make sense. | 0:10:31 | 0:10:33 | |
-Hmm? -Are you even listening to me? | 0:10:33 | 0:10:36 | |
Why are these drawers sticking out? | 0:10:36 | 0:10:38 | |
OK, so she's murdered, coins symbolically placed into her mouth, | 0:10:54 | 0:10:59 | |
but you're still on the furniture, aren't you? | 0:10:59 | 0:11:02 | |
"Nadia Selim, Finance Director, JIT Shipping." | 0:11:03 | 0:11:06 | |
-You ever heard of JIT Shipping? -No. | 0:11:06 | 0:11:08 | |
So, go on, then. What's so interesting about the furniture? | 0:11:08 | 0:11:12 | |
I think that after Nadia was killed, the house was searched, thoroughly. | 0:11:12 | 0:11:16 | |
This cushion was unzipped, | 0:11:16 | 0:11:19 | |
this cover wasn't straight, | 0:11:19 | 0:11:22 | |
the corner of this carpet's folded over, | 0:11:22 | 0:11:25 | |
the books aren't quite flat against the shelves. | 0:11:25 | 0:11:31 | |
Everything's been checked and put back, | 0:11:31 | 0:11:33 | |
done so you almost wouldn't notice, | 0:11:33 | 0:11:35 | |
unless you knew what you were looking for. | 0:11:35 | 0:11:37 | |
OK. So the killer was looking for something, that's good. | 0:11:37 | 0:11:40 | |
No, it's not good. It's illogical. | 0:11:40 | 0:11:45 | |
The smashed glass, the lamp knocked over, suggest she was in her bed. | 0:11:45 | 0:11:48 | |
She lashed out, but she was suffocated before she could do anything. | 0:11:48 | 0:11:52 | |
What's illogical about that? | 0:11:52 | 0:11:54 | |
Well, she was killed first, then the house was searched. | 0:11:54 | 0:11:56 | |
Why not keep your victim alive, | 0:11:56 | 0:11:58 | |
so she can tell you where to find what you're looking for? | 0:11:58 | 0:12:01 | |
As I said, it's illogical. | 0:12:01 | 0:12:03 | |
So what did Nadia have in her house that was worth killing over? | 0:12:03 | 0:12:07 | |
And did the killer find it? | 0:12:07 | 0:12:10 | |
Were any of these windows open? | 0:12:10 | 0:12:12 | |
No. | 0:12:12 | 0:12:13 | |
-Or have they been forced in any way? -Not as far as we can see. | 0:12:13 | 0:12:16 | |
No sign of a break-in, either. | 0:12:16 | 0:12:17 | |
So how did the killer get in? | 0:12:17 | 0:12:19 | |
Maybe the victim opened the door? But why would she? It was past midnight. | 0:12:19 | 0:12:23 | |
The neighbour had a key. | 0:12:25 | 0:12:27 | |
DOG GROWLS | 0:12:53 | 0:12:55 | |
(Shh, good boy.) | 0:12:55 | 0:12:57 | |
Questions? | 0:13:09 | 0:13:11 | |
Any order. | 0:13:11 | 0:13:12 | |
Do we really believe the neighbour let herself in | 0:13:12 | 0:13:15 | |
-just because the victim was late for work? -Agreed. | 0:13:15 | 0:13:19 | |
How did the killer get inside without breaking any locks? | 0:13:19 | 0:13:23 | |
Why did he fill the victim's mouth with coins? | 0:13:23 | 0:13:26 | |
What was he looking for when he searched the house? | 0:13:26 | 0:13:28 | |
Why did he kill her before he started looking? | 0:13:28 | 0:13:31 | |
And, having killed her, did he find what he was looking for? | 0:13:31 | 0:13:34 | |
And is her death in any way linked to her taking home a policeman? | 0:13:34 | 0:13:37 | |
Ah, Fidel. What did the neighbours say? | 0:13:39 | 0:13:41 | |
Not very much. It seems the victim kept herself to herself, didn't really socialise. | 0:13:41 | 0:13:46 | |
-And last night? -Two of them heard her dog barking around ten. | 0:13:46 | 0:13:49 | |
-That must have been her and Dwayne arriving at the house. -But no-one saw or heard anything suspicious. | 0:13:49 | 0:13:54 | |
Those that knew her say she was a nice lady, and they can't think why anyone would want to harm her. | 0:13:54 | 0:13:59 | |
Yet someone did. | 0:13:59 | 0:14:01 | |
Where next? | 0:14:02 | 0:14:03 | |
I'm Jon Taylor, I own the company. | 0:14:10 | 0:14:15 | |
Thank you for seeing us. | 0:14:15 | 0:14:16 | |
No, anything that can help catch Nadia's killer. | 0:14:16 | 0:14:18 | |
I couldn't believe it when I heard. | 0:14:18 | 0:14:20 | |
-It's hit everybody here very hard. -Of course. | 0:14:20 | 0:14:23 | |
What line of business are you in, Mr Taylor? | 0:14:23 | 0:14:26 | |
Import, export. | 0:14:26 | 0:14:28 | |
-Throughout the Caribbean, USA and Europe. -What sort of goods? | 0:14:28 | 0:14:31 | |
Well, whatever I can make a profit on. | 0:14:31 | 0:14:33 | |
I understand Nadia was your finance director? | 0:14:33 | 0:14:36 | |
That's right. | 0:14:36 | 0:14:38 | |
Is that her desk? | 0:14:38 | 0:14:40 | |
Yes. | 0:14:40 | 0:14:41 | |
Mind if I take a look? | 0:14:41 | 0:14:43 | |
Nadia dealt with our finances. | 0:14:44 | 0:14:47 | |
But her real skill was finding loopholes in tax regimes. | 0:14:47 | 0:14:50 | |
She could get a subsidy in one country by taking goods out of it | 0:14:50 | 0:14:54 | |
and a rebate in another by bringing them in. | 0:14:54 | 0:14:56 | |
How long did she work for you? | 0:14:56 | 0:14:58 | |
A couple of years. | 0:14:58 | 0:15:00 | |
I don't know how we're going to get on without her. | 0:15:00 | 0:15:02 | |
Did she owe you money? | 0:15:04 | 0:15:06 | |
Sorry, why? | 0:15:06 | 0:15:07 | |
Or have any debts elsewhere? | 0:15:07 | 0:15:09 | |
No, I...I don't think she even had a credit card. | 0:15:09 | 0:15:12 | |
She didn't approve of debt. | 0:15:12 | 0:15:13 | |
What about her next-door neighbour? | 0:15:16 | 0:15:18 | |
Georgie Westcott. She also works with you? | 0:15:18 | 0:15:20 | |
That's right, Georgie's my PA. | 0:15:20 | 0:15:23 | |
And how did Nadia and she get on? | 0:15:23 | 0:15:26 | |
Yes? | 0:15:30 | 0:15:31 | |
Georgie... | 0:15:33 | 0:15:34 | |
..I think she felt a little overshadowed when Nadia arrived. | 0:15:35 | 0:15:38 | |
Jealous, even. | 0:15:38 | 0:15:40 | |
Nadia really was a remarkable woman. | 0:15:40 | 0:15:43 | |
So, they didn't get on? | 0:15:43 | 0:15:45 | |
They weren't natural friends, | 0:15:45 | 0:15:47 | |
and Nadia could be withering if she felt you weren't pulling your weight. | 0:15:47 | 0:15:52 | |
Can I ask where you were last night? | 0:15:55 | 0:15:57 | |
I was at home. | 0:15:58 | 0:16:00 | |
All night? | 0:16:00 | 0:16:01 | |
Yes. | 0:16:01 | 0:16:03 | |
Anyone with you? | 0:16:03 | 0:16:05 | |
No, I live alone. | 0:16:05 | 0:16:07 | |
So, you're not married, or in a relationship? | 0:16:09 | 0:16:13 | |
No. | 0:16:13 | 0:16:15 | |
Anything? | 0:16:17 | 0:16:19 | |
Is this her personal laptop? | 0:16:22 | 0:16:24 | |
Yes. | 0:16:24 | 0:16:26 | |
I'm sorry, I can't allow that. | 0:16:27 | 0:16:30 | |
-Why's that? -It's got sensitive information on it. | 0:16:30 | 0:16:33 | |
-We're used to handling sensitive information. -That may well be, | 0:16:33 | 0:16:36 | |
-but the computer belongs to the company and... -Would you rather we got a warrant and took it by force? | 0:16:36 | 0:16:41 | |
So, this is where you've been hiding. | 0:17:15 | 0:17:17 | |
-Can I get you something? -No, no, I'm fine, I'm fine. | 0:17:19 | 0:17:21 | |
I'm just admiring the view. | 0:17:21 | 0:17:24 | |
You can join me, though. | 0:17:24 | 0:17:26 | |
I can see why you don't want to leave here. | 0:17:29 | 0:17:31 | |
I haven't travelled much, not really, you know. | 0:17:31 | 0:17:34 | |
But I can't imagine many places in the world more beautiful than this. | 0:17:34 | 0:17:38 | |
Hmm, the Caribbean is very seductive. | 0:17:38 | 0:17:41 | |
That's why I stay here. | 0:17:42 | 0:17:44 | |
Well, I realise that if we are going to be together, | 0:17:44 | 0:17:48 | |
it's going to have to be here. | 0:17:48 | 0:17:50 | |
Yes. | 0:17:50 | 0:17:51 | |
Yes, yes. It's a very big step, you know, | 0:17:51 | 0:17:55 | |
leaving everything you know and starting a new life. | 0:17:55 | 0:17:58 | |
-I'd never ask you to do that. -Oh... | 0:17:58 | 0:18:01 | |
so you don't want me to stay? | 0:18:01 | 0:18:03 | |
That's not what I said. | 0:18:03 | 0:18:05 | |
-I'm just a holiday romance you'll forget about the second I leave? -No! | 0:18:05 | 0:18:09 | |
So you do want me to stay? | 0:18:09 | 0:18:11 | |
It's a decision only you can make. | 0:18:13 | 0:18:15 | |
Let's walk. | 0:18:23 | 0:18:25 | |
Whether or not he killed Nadia, Jon Taylor is hiding something. | 0:18:31 | 0:18:36 | |
I'll start with checking Nadia's laptop. | 0:18:36 | 0:18:39 | |
-Here's my statement, Chief. -Thank you. | 0:18:45 | 0:18:48 | |
Dwayne... | 0:18:51 | 0:18:53 | |
-..do I need to read this? -Chief? | 0:18:56 | 0:18:58 | |
Does it say anything other than you met her in the bar, | 0:18:58 | 0:19:01 | |
walked her home, taught her self-defence moves, | 0:19:01 | 0:19:03 | |
during which you sustained a small injury, | 0:19:03 | 0:19:06 | |
-then gave her a bit of a "cuddle" before leaving around midnight? -No, Chief. | 0:19:06 | 0:19:10 | |
You didn't argue, or asphyxiate her, or fill her mouth with loose change? | 0:19:10 | 0:19:15 | |
Of course I didn't. | 0:19:15 | 0:19:17 | |
-Then I'm eliminating you from our inquiries. -What about procedure? | 0:19:17 | 0:19:20 | |
We work better as a team, so start by looking at the files | 0:19:20 | 0:19:23 | |
and seeing if we've got anything previous on Nadia Selim or JIT Shipping. | 0:19:23 | 0:19:27 | |
Thanks, Chief. | 0:19:29 | 0:19:30 | |
I'm on it. | 0:19:30 | 0:19:32 | |
You see, what kind of name is Selim? | 0:19:38 | 0:19:40 | |
It sounds Turkish or Middle Eastern. | 0:19:40 | 0:19:46 | |
According to this, you were right. Selim is Arabic, it means "safe". | 0:19:59 | 0:20:04 | |
There were 26 coins in all, not even three dollars. | 0:20:04 | 0:20:08 | |
Hmm, hardly a debt repaid. | 0:20:08 | 0:20:12 | |
Which leaves us with it being symbolic, a message to someone. | 0:20:12 | 0:20:17 | |
But who? | 0:20:18 | 0:20:20 | |
Only one thing on file, Chief. | 0:20:20 | 0:20:22 | |
About five weeks ago, one of the victim's neighbours made an official complaint | 0:20:22 | 0:20:25 | |
-about her dog barking. -I thought it looked vicious. | 0:20:25 | 0:20:28 | |
It's a beautiful dog. | 0:20:28 | 0:20:30 | |
Until it takes your arm off. | 0:20:30 | 0:20:31 | |
Who made the complaint? | 0:20:31 | 0:20:33 | |
Er, a Jacko Gardiner. | 0:20:33 | 0:20:36 | |
-I interviewed him this morning. -And? | 0:20:36 | 0:20:39 | |
He complained about the dog again, but other than that he said that... | 0:20:39 | 0:20:43 | |
he didn't see or hear anything and he didn't know the victim particularly well. | 0:20:43 | 0:20:47 | |
Well enough to make a complaint about her. | 0:20:47 | 0:20:49 | |
You're not going to kill someone because their dog barks too much. | 0:20:49 | 0:20:53 | |
Hmm. I once investigated a murder where a husband killed a wife | 0:20:53 | 0:20:57 | |
cos she refused to pass him the TV remote control. | 0:20:57 | 0:20:59 | |
Yeah, that is annoying. | 0:20:59 | 0:21:01 | |
And, at the moment, if we're ruling you out, | 0:21:01 | 0:21:04 | |
it's all we've got. | 0:21:04 | 0:21:07 | |
That's interesting. | 0:21:15 | 0:21:17 | |
Hmm. | 0:21:21 | 0:21:23 | |
Hmm. | 0:21:27 | 0:21:28 | |
-You know what's funny? -What? | 0:21:38 | 0:21:41 | |
-I get it. -What? | 0:21:42 | 0:21:45 | |
Barking dogs, neighbours snitching on one another, vendettas. | 0:21:45 | 0:21:49 | |
I may have been transplanted a few thousand miles, surrounded by jungle and, | 0:21:49 | 0:21:54 | |
erm, that is quite clearly a goat crossing the road even as I speak... | 0:21:54 | 0:21:58 | |
but I recognise this place. | 0:21:58 | 0:22:00 | |
This... | 0:22:00 | 0:22:02 | |
is suburbia. | 0:22:02 | 0:22:04 | |
Your version of it perhaps, but, er, suburbia. | 0:22:04 | 0:22:08 | |
(These are my people.) | 0:22:08 | 0:22:11 | |
What you want? | 0:22:15 | 0:22:17 | |
Mr Gardiner, could we have a quick word? | 0:22:18 | 0:22:21 | |
I understand you made a formal complaint against your neighbour, Nadia Selim. | 0:22:21 | 0:22:25 | |
That dog of hers should be shot. | 0:22:25 | 0:22:27 | |
-Right. -Because? | 0:22:27 | 0:22:29 | |
It's vicious. She didn't control it, she let it run wild. | 0:22:29 | 0:22:33 | |
It's a danger to others, and it bark day and night. | 0:22:33 | 0:22:36 | |
The postman turn up, it bark. | 0:22:36 | 0:22:38 | |
Somebody walk past, it bark. | 0:22:38 | 0:22:40 | |
-And you heard it last night? -Yes, I did, | 0:22:40 | 0:22:42 | |
just as I was getting into my bath. | 0:22:42 | 0:22:45 | |
And what time was that? | 0:22:45 | 0:22:47 | |
Like I told the boy you sent earlier, ten o'clock. | 0:22:47 | 0:22:50 | |
I always take my bath at ten o'clock. | 0:22:50 | 0:22:53 | |
Did you ever argue with Miss Selim about her dog? Go to her house? | 0:22:53 | 0:22:56 | |
-No. -You never went to her house last night? | 0:22:56 | 0:22:59 | |
-No! -After midnight? -I said no, didn't I?! | 0:22:59 | 0:23:01 | |
-Have you seen anyone in the area recently you don't know? -Yeah. | 0:23:03 | 0:23:07 | |
-Good, who? -You two. | 0:23:07 | 0:23:09 | |
Is that it? | 0:23:09 | 0:23:10 | |
Yeah, well, erm... | 0:23:10 | 0:23:13 | |
..we may be back. | 0:23:15 | 0:23:16 | |
"My people." | 0:23:18 | 0:23:19 | |
-Wait... -What? | 0:23:23 | 0:23:25 | |
-The statements taken by Fidel, did you read them? -Yes. | 0:23:27 | 0:23:30 | |
Well, some of them, including Mr Gardiner, | 0:23:30 | 0:23:33 | |
reported the dog barking at or around 10pm. | 0:23:33 | 0:23:36 | |
When we think she and Dwayne arrived at the house. | 0:23:36 | 0:23:38 | |
Exactly. But none of them mentioned anything about it barking later. | 0:23:38 | 0:23:42 | |
Why not? I mean, the killer must have arrived after Dwayne left. | 0:23:42 | 0:23:45 | |
It's past midnight, someone arrives at the house, | 0:23:45 | 0:23:47 | |
possibly breaking in somehow. | 0:23:47 | 0:23:49 | |
Why didn't the dog, that seemingly barks at everything, bark? | 0:23:49 | 0:23:54 | |
-You're right, it doesn't make any sense. -No. | 0:23:55 | 0:23:58 | |
The curious incident of the dog who didn't bark in the night. | 0:23:58 | 0:24:02 | |
Sorry? | 0:24:02 | 0:24:03 | |
Never mind. Another question. | 0:24:03 | 0:24:05 | |
-What? -When Fidel went to interview Georgie Westcott, there was no answer, | 0:24:05 | 0:24:09 | |
so why is she now watching us from behind her net curtains? | 0:24:09 | 0:24:14 | |
Hello? | 0:24:23 | 0:24:25 | |
Hello? | 0:24:29 | 0:24:31 | |
Why were you watching us? | 0:24:37 | 0:24:38 | |
I wasn't. | 0:24:38 | 0:24:41 | |
Not really. | 0:24:41 | 0:24:43 | |
An officer came to your door this morning, but you didn't answer. Why was that? | 0:24:43 | 0:24:47 | |
I must have been out, walking Harry. | 0:24:47 | 0:24:51 | |
Sorry. | 0:24:51 | 0:24:52 | |
Do you mind if we, erm...? | 0:24:54 | 0:24:56 | |
Yep. | 0:24:58 | 0:24:59 | |
It's good of you to look after Miss Selim's dog. | 0:25:29 | 0:25:31 | |
He's not a nuisance for you at all? | 0:25:31 | 0:25:33 | |
Of course not. | 0:25:33 | 0:25:34 | |
We had a pact. If anything happened to me, Nadia would look after my cat, | 0:25:34 | 0:25:38 | |
and if anything happened to her... | 0:25:38 | 0:25:40 | |
You have a cat? | 0:25:40 | 0:25:41 | |
She's in hiding. | 0:25:42 | 0:25:44 | |
She doesn't much like Harry. Well, dogs in general. | 0:25:44 | 0:25:47 | |
We went to see your employer, Mr Taylor. | 0:25:47 | 0:25:51 | |
-You are his personal assistant, is that right? -Yes. | 0:25:51 | 0:25:55 | |
And you don't seem very happy about it. | 0:25:55 | 0:25:58 | |
He's... | 0:25:58 | 0:26:00 | |
What? | 0:26:01 | 0:26:03 | |
-..a bit of a lech. -Excuse me? | 0:26:04 | 0:26:07 | |
First it was me, that was bad enough. | 0:26:07 | 0:26:10 | |
But all that changed when Nadia came along. | 0:26:10 | 0:26:14 | |
He fell for her hook, line and sinker. | 0:26:14 | 0:26:18 | |
He'd send her inappropriate e-mails, | 0:26:18 | 0:26:20 | |
and when he talked to her, you could tell he was... | 0:26:20 | 0:26:22 | |
You know. | 0:26:24 | 0:26:25 | |
No, what? | 0:26:25 | 0:26:27 | |
Undressing her with his eyes. | 0:26:27 | 0:26:29 | |
-Why did Nadia put up with it? -She said it was nothing compared to what she'd put up with in the past. | 0:26:29 | 0:26:34 | |
-Oh? -I assumed she had boyfriend trouble, | 0:26:34 | 0:26:38 | |
but she never really talked about it. | 0:26:38 | 0:26:40 | |
Whenever I tried to talk to her about her past, | 0:26:41 | 0:26:43 | |
she'd stick her head in one of her crosswords and pretend she wasn't listening. | 0:26:43 | 0:26:47 | |
Look... | 0:26:50 | 0:26:52 | |
..I didn't know whether to give you this, | 0:26:53 | 0:26:55 | |
whether I'd be betraying her. But... | 0:26:55 | 0:26:59 | |
I suppose I should. | 0:26:59 | 0:27:01 | |
Give us what? | 0:27:01 | 0:27:02 | |
Yesterday, she seemed really on edge. | 0:27:04 | 0:27:08 | |
She brought me this envelope, asked if I'd look after it for a few days. | 0:27:08 | 0:27:12 | |
That's why you went into her house this morning? | 0:27:12 | 0:27:14 | |
You were already worried about her, weren't you? | 0:27:14 | 0:27:18 | |
What is it? | 0:27:18 | 0:27:19 | |
Looks like an emergency escape plan. Money and an Antiguan passport. | 0:27:19 | 0:27:23 | |
But what would she be planning to escape from? | 0:27:23 | 0:27:26 | |
Ooh, what's that? | 0:27:28 | 0:27:30 | |
A vet's bill. | 0:27:32 | 0:27:34 | |
Why would she keep a vet's bill that's two years old? | 0:27:34 | 0:27:36 | |
Knowing how much Nadia loved Harry, | 0:27:36 | 0:27:39 | |
it was to let me know the name of his vet. | 0:27:39 | 0:27:42 | |
Miss Westcott, have you ever heard the name Rose Duchamp? | 0:27:42 | 0:27:45 | |
No, why? | 0:27:45 | 0:27:47 | |
Because according to this passport, that was Nadia's name. | 0:27:47 | 0:27:50 | |
-So, who was Rose Duchamp? Watch...watch out. -Ow! | 0:27:55 | 0:27:58 | |
And why was she living on Saint-Marie under a false name? | 0:27:58 | 0:28:02 | |
OK, run the passport through the computer, see if it's real or not. | 0:28:06 | 0:28:09 | |
-I'm on it. -What's this, Chief? | 0:28:09 | 0:28:11 | |
Looks like Nadia Selim could be a fake identity. | 0:28:11 | 0:28:14 | |
Fidel, did you speak to any witnesses | 0:28:14 | 0:28:16 | |
-who heard the victim's dog barking after midnight? -No. | 0:28:16 | 0:28:19 | |
As far as I can make out, he only barks at strangers. | 0:28:19 | 0:28:22 | |
He didn't bark when we went to see Georgie Westcott just now, | 0:28:22 | 0:28:25 | |
cos he'd seen us once today already. | 0:28:25 | 0:28:26 | |
-He barked at me last night. -That's the point, you were a stranger. | 0:28:26 | 0:28:30 | |
So why didn't he bark at the killer? | 0:28:30 | 0:28:31 | |
Precisely. | 0:28:31 | 0:28:33 | |
The dog must've known the killer. A friend, or a neighbour. | 0:28:33 | 0:28:36 | |
Unless you've got a better explanation? | 0:28:36 | 0:28:38 | |
Well, I've been through her laptop, nothing special, photo and music files... | 0:28:38 | 0:28:43 | |
and some racy e-mails from someone called Big John. | 0:28:43 | 0:28:46 | |
Her employer. | 0:28:46 | 0:28:48 | |
Well, I tell you, some of them even made me blush. | 0:28:48 | 0:28:51 | |
OK, that's weird. | 0:28:51 | 0:28:53 | |
Her passport's authentic, | 0:28:53 | 0:28:55 | |
she is Rose Duchamp from Antigua. | 0:28:55 | 0:28:59 | |
But her details are on an intelligence list | 0:28:59 | 0:29:01 | |
and there's a number we've got to ring if we have any information about her whereabouts. | 0:29:01 | 0:29:06 | |
-Who's flagged it? -Er, SOCA. Who are SOCA? | 0:29:06 | 0:29:09 | |
SOCA... | 0:29:09 | 0:29:11 | |
the Serious Organised Crime Agency, based in London. | 0:29:11 | 0:29:14 | |
But why would they be interested in a finance director from the Caribbean? | 0:29:14 | 0:29:17 | |
This is Detective Sergeant Camille Bordey | 0:29:17 | 0:29:20 | |
calling from the Honore Police Station on Saint-Marie. | 0:29:20 | 0:29:23 | |
We've got some information about Rose Duchamp and... | 0:29:23 | 0:29:27 | |
Er, yes, I'll hold. | 0:29:27 | 0:29:30 | |
-So what do this SOCA do, exactly? -Serious crime. | 0:29:30 | 0:29:33 | |
The mafia, Eastern European gangs. | 0:29:33 | 0:29:35 | |
And if she's involved in serious crime, | 0:29:35 | 0:29:38 | |
it explains why she left Antigua in a hurry | 0:29:38 | 0:29:40 | |
and why she's been here under a false name. | 0:29:40 | 0:29:42 | |
Until yesterday, when her past may well have caught up with her. | 0:29:42 | 0:29:47 | |
Um...OK. | 0:29:47 | 0:29:49 | |
Well? | 0:29:51 | 0:29:53 | |
They said they wouldn't tell me anything over the phone. | 0:29:53 | 0:29:57 | |
That's, erm, a little patronising. | 0:29:57 | 0:30:00 | |
And they've got a case officer on the island already. | 0:30:00 | 0:30:03 | |
What? There's someone already here? Who? | 0:30:03 | 0:30:06 | |
DI Chris Ricketts. Sorry I haven't come forward sooner, | 0:30:14 | 0:30:17 | |
I just wanted to take stock of everything, see what was what. | 0:30:17 | 0:30:20 | |
-So, how long have you been here? -I arrived two days ago. | 0:30:20 | 0:30:23 | |
Two days? How's London? | 0:30:23 | 0:30:26 | |
Winter's just settling in, you can smell the damp leaves, | 0:30:26 | 0:30:29 | |
see people's breath. | 0:30:29 | 0:30:31 | |
Ah, it's really cold, is it? | 0:30:31 | 0:30:32 | |
It was bitter the morning that I left. | 0:30:32 | 0:30:35 | |
The grass stiff with white frost, you could feel it crunching underfoot. | 0:30:35 | 0:30:39 | |
It's not like this inferno. | 0:30:39 | 0:30:42 | |
-What season's this? -Oh, they don't have seasons. | 0:30:42 | 0:30:44 | |
-What? -They don't have seasons, it's this hot all year round, | 0:30:44 | 0:30:48 | |
January to December. | 0:30:48 | 0:30:49 | |
How can you have a year without seasons? | 0:30:49 | 0:30:52 | |
-When do the leaves fall off? -They don't. | 0:30:52 | 0:30:54 | |
Excuse me, we've got a case to discuss, remember? | 0:30:54 | 0:30:57 | |
Ah, yes, yeah, we were getting to that. It's, uh... | 0:30:57 | 0:31:00 | |
Well, you know, good manners to exchange pleasantries first. | 0:31:00 | 0:31:03 | |
-(Camille's French.) -(Ah.) | 0:31:03 | 0:31:06 | |
So, to business. | 0:31:06 | 0:31:07 | |
Right. Well, two years ago, | 0:31:07 | 0:31:09 | |
a woman contacted us anonymously from Antigua, | 0:31:09 | 0:31:13 | |
saying she had information about a money-laundering ring, | 0:31:13 | 0:31:16 | |
but didn't know what to do with it. | 0:31:16 | 0:31:18 | |
-This was Nadia? -Who? | 0:31:18 | 0:31:19 | |
-Oh, I'm sorry, Rose Duchamp? -That's right. | 0:31:19 | 0:31:22 | |
She'd got involved with a guy who turned out to be a money launderer, quite a big player. | 0:31:22 | 0:31:26 | |
She admitted she'd stolen files from her boyfriend that could blow the ring sky high. | 0:31:26 | 0:31:31 | |
-So what went wrong? -Well, somebody got to her. | 0:31:31 | 0:31:33 | |
They must've frightened the living daylights out of her, | 0:31:33 | 0:31:36 | |
because she just disappeared, vanished into thin air. | 0:31:36 | 0:31:39 | |
That was, until two days ago, | 0:31:39 | 0:31:42 | |
when she called me out the blue. | 0:31:42 | 0:31:44 | |
This man, the one she was going to tell you about, you think he found her? | 0:31:44 | 0:31:48 | |
She rang off before she could say where she was, so we put a trace on the call. | 0:31:48 | 0:31:52 | |
My boss put me on a plane, and, well, here I am. | 0:31:52 | 0:31:54 | |
-So, she never gave you the information? -No. | 0:31:54 | 0:31:57 | |
You've, you've not found anything, have you? | 0:31:57 | 0:32:00 | |
Files? Notebooks? CD? Laptop, even? | 0:32:00 | 0:32:05 | |
No. We, er, we checked her work laptop, | 0:32:06 | 0:32:09 | |
but, er, just music, some inappropriate e-mails from her boss. | 0:32:09 | 0:32:12 | |
-We're also pretty sure her house was searched after she was murdered. -That's it? | 0:32:12 | 0:32:17 | |
Whoever killed her probably took the information she was holding. | 0:32:17 | 0:32:21 | |
Well, we can't be sure. But it's certainly a reasonable assumption. | 0:32:21 | 0:32:24 | |
Well, the ex-boyfriend has to be the murderer! | 0:32:24 | 0:32:27 | |
Has there never been anyone else, since you've been here? | 0:32:30 | 0:32:34 | |
Oh, the occasional holiday romance. Nothing serious. | 0:32:34 | 0:32:38 | |
And was that out of choice, or just how things turned out? | 0:32:38 | 0:32:43 | |
I don't know. | 0:32:43 | 0:32:45 | |
Maybe bite-size pieces of romance are easier to digest at my age. | 0:32:45 | 0:32:50 | |
Besides, I enjoy my own company. I have lots of friends. | 0:32:51 | 0:32:55 | |
So there's, er, nothing you miss about being a couple? | 0:32:55 | 0:32:58 | |
Sometimes. | 0:33:00 | 0:33:01 | |
When I see something funny, or read something in the newspapers, | 0:33:04 | 0:33:08 | |
I turn to tell someone, but there's no-one there. | 0:33:08 | 0:33:10 | |
For me, it's always the mornings. | 0:33:10 | 0:33:12 | |
I'm still putting two cups on the table, still putting four slices of bread in the toaster. | 0:33:12 | 0:33:17 | |
That's nothing to do with being lonely, | 0:33:17 | 0:33:20 | |
that's just going senile. | 0:33:20 | 0:33:22 | |
THEY LAUGH | 0:33:22 | 0:33:24 | |
-I'm sorry. -Don't be. You're probably right. | 0:33:25 | 0:33:30 | |
Has anybody ever told you how extraordinary you are? | 0:33:30 | 0:33:33 | |
Oh, it's what everyone says. | 0:33:33 | 0:33:35 | |
To be honest, I'm starting to find it a little tedious. | 0:33:37 | 0:33:42 | |
Ah, Fidel. Where's Dwayne? | 0:33:53 | 0:33:56 | |
Chief? | 0:33:56 | 0:33:57 | |
This is DI Chris Ricketts from SOCA in London. | 0:33:57 | 0:34:00 | |
-Yeah, I saw you this morning. -Yeah, sorry about that. | 0:34:00 | 0:34:04 | |
Autopsy report's in, sir. Death by asphyxiation. | 0:34:04 | 0:34:07 | |
Embedded fibres seem to confirm the pillow was used. | 0:34:07 | 0:34:10 | |
Bruising suggests a knee or forearm was used to hold her down, | 0:34:10 | 0:34:14 | |
and there were more coins found lodged in her throat. | 0:34:14 | 0:34:16 | |
Four, to be precise, I'd imagine. | 0:34:16 | 0:34:18 | |
Yes. | 0:34:18 | 0:34:20 | |
This your girl? | 0:34:21 | 0:34:23 | |
That's her. | 0:34:25 | 0:34:26 | |
Right, as we know, the victim's real name was Rose Duchamp, | 0:34:26 | 0:34:30 | |
and it seems her killer was a man from her past. | 0:34:30 | 0:34:33 | |
We think he's based in Antigua, part of a money-laundering ring worth...? | 0:34:33 | 0:34:37 | |
Hundreds of millions of dollars. | 0:34:37 | 0:34:39 | |
Rose had information that could have put this man behind bars | 0:34:39 | 0:34:43 | |
and she called London after two years of living a new life, a new identity. | 0:34:43 | 0:34:47 | |
-Why? -She was in fear of her life. You think she saw him? | 0:34:47 | 0:34:52 | |
-Do we have any description of this man? -Nothing. | 0:34:52 | 0:34:55 | |
And even if we did, I doubt it would help. | 0:34:55 | 0:34:57 | |
Why not? | 0:34:57 | 0:34:59 | |
For two years, this guy's been one step ahead of us. | 0:35:00 | 0:35:04 | |
IF he killed Rose Duchamp in the early hours of this morning, | 0:35:04 | 0:35:07 | |
he's probably left the island by now. | 0:35:07 | 0:35:09 | |
Not necessarily. | 0:35:09 | 0:35:11 | |
Look, you don't get it, the man is a ghost. | 0:35:11 | 0:35:14 | |
We don't know what he looks like, what he's called, | 0:35:14 | 0:35:17 | |
and the only person who could positively identify him | 0:35:17 | 0:35:20 | |
-was murdered this morning. -He's almost certainly still on the island. | 0:35:20 | 0:35:24 | |
-He's a professional! He's not going to hang around. -That's why he will. | 0:35:24 | 0:35:27 | |
Only an amateur would try and leave within hours of the murder taking place, | 0:35:27 | 0:35:32 | |
thereby drawing attention to himself. | 0:35:32 | 0:35:34 | |
No, he's still here. | 0:35:34 | 0:35:38 | |
-That's why this case has never really got started. -What? | 0:35:38 | 0:35:42 | |
There was no traction. | 0:35:42 | 0:35:44 | |
No-one who quite hit the spot... | 0:35:44 | 0:35:47 | |
because the killer's a professional. | 0:35:47 | 0:35:49 | |
-But we don't even know who we're looking for! -Ah, but we do. | 0:35:49 | 0:35:53 | |
We may not know his name or what he looks like, | 0:35:53 | 0:35:55 | |
but we know why he killed Rose Duchamp, | 0:35:55 | 0:35:57 | |
we know how, and we know when. | 0:35:57 | 0:35:59 | |
We also know he's still on the island. | 0:35:59 | 0:36:02 | |
Which means, quite possibly for the first time, | 0:36:02 | 0:36:06 | |
we're one step ahead of him. | 0:36:06 | 0:36:08 | |
DI Ricketts, can you give us access to the existing files? | 0:36:08 | 0:36:11 | |
It would help us to know what you know. | 0:36:11 | 0:36:13 | |
-Er, yes, yes. Of course. -Fidel? | 0:36:13 | 0:36:15 | |
You can use my desk, sir. | 0:36:15 | 0:36:17 | |
Check with the airlines, see if you can get a passenger list for all flights from Antigua | 0:36:17 | 0:36:21 | |
-during the past month. -OK. -Dwayne, background. Check the neighbours, | 0:36:21 | 0:36:25 | |
-see if any have links to Antigua, in case he wasn't working alone. -Yes, Chief. | 0:36:25 | 0:36:29 | |
If anyone needs me, I'll be at the crime scene. | 0:36:29 | 0:36:32 | |
Detective Inspector, just the man. | 0:36:42 | 0:36:46 | |
Actually, I'm in something of a hurry, sir. | 0:36:46 | 0:36:48 | |
-Five minutes. -Well, I... | 0:36:48 | 0:36:51 | |
All right. | 0:36:51 | 0:36:54 | |
Not in there. | 0:36:54 | 0:36:55 | |
Come on. I'll buy you a cold drink. | 0:36:55 | 0:36:59 | |
Slainte. | 0:37:07 | 0:37:09 | |
Aidan, can I ask you something? | 0:37:13 | 0:37:18 | |
That sounds ominous. | 0:37:19 | 0:37:20 | |
No. It's... | 0:37:20 | 0:37:22 | |
Well, I know we said we'd talk to Camille. | 0:37:22 | 0:37:25 | |
-Yes? -Would you mind if we just wait a little while | 0:37:25 | 0:37:30 | |
before we tell anyone? | 0:37:30 | 0:37:32 | |
You mean until after I get back? | 0:37:32 | 0:37:35 | |
I couldn't bear it if you didn't come back. | 0:37:36 | 0:37:38 | |
I'd rather not look like a sad and stupid old woman to everyone as well. | 0:37:38 | 0:37:44 | |
-Now you hate me. -No, no, no, no, no, no. | 0:37:47 | 0:37:50 | |
No, I could never hate you. | 0:37:50 | 0:37:53 | |
And I understand, so that's what we'll do. | 0:37:53 | 0:37:57 | |
-Really? -Really. | 0:37:57 | 0:38:00 | |
Hi! | 0:38:03 | 0:38:04 | |
You'll have to get yourself your drinks. | 0:38:04 | 0:38:07 | |
Aidan's cooked me a farewell lunch. | 0:38:07 | 0:38:10 | |
He flies home tomorrow. | 0:38:10 | 0:38:12 | |
Well, I'm sure I'll be back, you know. | 0:38:12 | 0:38:14 | |
It's very beautiful here. | 0:38:14 | 0:38:16 | |
Oh, sorry, my manners. | 0:38:18 | 0:38:20 | |
Aidan, this is Camille's boss, Inspector Poole. | 0:38:20 | 0:38:24 | |
-Inspector. -Richard, please. I've heard a lot about you. | 0:38:24 | 0:38:28 | |
-Oh? -Camille likes to talk. A lot. | 0:38:28 | 0:38:33 | |
Oh, a family trait. | 0:38:33 | 0:38:35 | |
And this is Selwyn Patterson, the police commissioner for Saint-Marie. | 0:38:35 | 0:38:39 | |
-Aidan Miles, pleasure to meet you. -Please, don't let us disturb your lunch. | 0:38:39 | 0:38:43 | |
This is, er, all a bit cloak and dagger, isn't it? | 0:38:48 | 0:38:52 | |
I, erm... | 0:38:53 | 0:38:55 | |
I have something I need to talk to you about. | 0:38:55 | 0:38:59 | |
Oh? | 0:38:59 | 0:39:01 | |
What's this? | 0:39:02 | 0:39:04 | |
I've been talking to your superintendent in London. | 0:39:04 | 0:39:08 | |
The detective they brought in to cover for you has finished his attachment. | 0:39:08 | 0:39:12 | |
I don't understand, sorry. | 0:39:13 | 0:39:15 | |
It's a human resources thing. | 0:39:15 | 0:39:18 | |
Before they can offer him the position permanently, | 0:39:18 | 0:39:21 | |
the Met guidelines state that you must be offered the position first. | 0:39:21 | 0:39:27 | |
What? | 0:39:27 | 0:39:29 | |
That's the number for the human resources officer | 0:39:29 | 0:39:32 | |
dealing with the case. | 0:39:32 | 0:39:34 | |
If you ring her, you can have your old job back. | 0:39:35 | 0:39:39 | |
I can have my old job back? | 0:39:44 | 0:39:46 | |
I can go back to London, | 0:39:46 | 0:39:48 | |
and not be hot, or have sand everywhere?! | 0:39:48 | 0:39:51 | |
Yes. | 0:39:51 | 0:39:53 | |
Or, of course, you could stay here. | 0:39:53 | 0:39:55 | |
Oh... | 0:39:55 | 0:39:57 | |
..I could go to the White Hart, | 0:39:58 | 0:40:00 | |
sit in the snug with a pint in my hand. | 0:40:00 | 0:40:03 | |
Yes, you could. | 0:40:03 | 0:40:05 | |
I thought it best I told you alone, | 0:40:06 | 0:40:09 | |
to give you time to make your decision. | 0:40:09 | 0:40:12 | |
No, yeah, yeah, absolutely. | 0:40:12 | 0:40:15 | |
No, I shall have to think long and hard. | 0:40:15 | 0:40:19 | |
Whoo, it's a tough one. | 0:40:19 | 0:40:21 | |
But, um, you'll have to phone today. | 0:40:21 | 0:40:25 | |
-What? -The last day they can keep the job offer open for you is today, | 0:40:27 | 0:40:33 | |
6pm, UK time. | 0:40:33 | 0:40:36 | |
That's in, erm, two hours. | 0:40:36 | 0:40:39 | |
Wh-wh-what?! | 0:40:39 | 0:40:41 | |
And when exactly did the Super ring you with this news? | 0:40:42 | 0:40:46 | |
It wasn't today, was it? | 0:40:46 | 0:40:47 | |
Er, not as such, no. | 0:40:47 | 0:40:50 | |
And it wasn't yesterday, was it? | 0:40:50 | 0:40:52 | |
-No. -It was long before today. | 0:40:53 | 0:40:55 | |
You didn't want me to know. You hoped it would go away. | 0:40:55 | 0:40:58 | |
-You're leading a good team here, Detective Inspector. -That's no excuse! | 0:40:58 | 0:41:02 | |
I'd like you to stay. | 0:41:02 | 0:41:04 | |
I want to go home. | 0:41:08 | 0:41:10 | |
I know. | 0:41:11 | 0:41:13 | |
Then I suggest you make the call. | 0:41:13 | 0:41:17 | |
-Oh, I was just, erm... -Sorry, can't stop! There's a call I've got to make! | 0:41:23 | 0:41:26 | |
Oh, you'll be the best dad, Fidel, | 0:41:28 | 0:41:31 | |
-but he'll need Uncle Dwayne to teach him about a few things. -Oh, really? Like what? | 0:41:31 | 0:41:35 | |
Women, motorbikes, climbing trees. | 0:41:35 | 0:41:38 | |
I can climb trees. Hello? Sorry, yes. | 0:41:38 | 0:41:42 | |
-This is Officer Fidel Best calling from Honore Police Station. -That was quick, Chief. | 0:41:42 | 0:41:46 | |
If we cross-reference the passenger list against the hotels, | 0:41:46 | 0:41:50 | |
see where they were staying, we can find out who can account for their movements, | 0:41:50 | 0:41:54 | |
and we can dismiss a huge amount of them. | 0:41:54 | 0:41:57 | |
-Why? -Women, children, elderly. | 0:41:57 | 0:42:00 | |
Good thinking. | 0:42:00 | 0:42:01 | |
But we've no way of knowing whether he got the information Rose was hiding or not. | 0:42:01 | 0:42:05 | |
We have to assume he has. | 0:42:05 | 0:42:07 | |
I'm sorry, but how can we expect to solve this puzzle | 0:42:07 | 0:42:09 | |
if Inspector Ricketts has been on it for years and not got anywhere? | 0:42:09 | 0:42:14 | |
Wait! | 0:42:14 | 0:42:15 | |
Have you got something? | 0:42:15 | 0:42:17 | |
Ooh. | 0:42:23 | 0:42:24 | |
Well, that's... | 0:42:24 | 0:42:26 | |
Ooh. | 0:42:29 | 0:42:31 | |
'Selim...it means safe.' | 0:42:31 | 0:42:34 | |
-Er... -'Nadia Selim, 30 years old, | 0:42:34 | 0:42:37 | |
-'lived at this address for a little under two years.' -Of course. | 0:42:37 | 0:42:41 | |
DOG BARKS | 0:42:45 | 0:42:46 | |
'Why would she keep a vet's bill that's two years old?' | 0:42:48 | 0:42:51 | |
HE LAUGHS | 0:42:51 | 0:42:53 | |
Oh, oh! | 0:42:53 | 0:42:55 | |
Oh, that's brilliant! | 0:42:55 | 0:42:57 | |
HE LAUGHS | 0:42:57 | 0:43:00 | |
Oh! That's superb! | 0:43:00 | 0:43:02 | |
Nearly two hours, I've got time. | 0:43:06 | 0:43:09 | |
Right, erm, exciting news. Well, at least, exciting for me. | 0:43:09 | 0:43:14 | |
So I'll stop being English and buy you all a drink. | 0:43:14 | 0:43:18 | |
Meet me across the road, say bon voyage. | 0:43:18 | 0:43:23 | |
Yeah. | 0:43:23 | 0:43:24 | |
In one hour, only I've to go and pick up Georgie Westcott first, so I'll see you there. | 0:43:24 | 0:43:28 | |
Drinks are on me! | 0:43:28 | 0:43:30 | |
I wouldn't mind, you know. | 0:43:45 | 0:43:47 | |
Mind what? | 0:43:47 | 0:43:48 | |
If you wanted him to move in. | 0:43:48 | 0:43:50 | |
I can find a place. | 0:43:50 | 0:43:52 | |
Thank you, but we're a little way from that yet. | 0:43:52 | 0:43:54 | |
Just a "little way"? | 0:43:54 | 0:43:56 | |
Stop it! | 0:43:56 | 0:43:58 | |
I heard he cooked you lasagne. | 0:43:58 | 0:43:59 | |
Which was very nice. | 0:43:59 | 0:44:01 | |
I'm happy you're not alone. | 0:44:01 | 0:44:03 | |
Hearing you laugh, watching you dance. | 0:44:03 | 0:44:05 | |
Oh, I always dance. | 0:44:05 | 0:44:07 | |
Why are you arguing with me? | 0:44:07 | 0:44:08 | |
I'm trying to give you my blessing here. | 0:44:08 | 0:44:11 | |
I know. | 0:44:11 | 0:44:13 | |
-Thank you. -But I'm not calling him Dad. | 0:44:14 | 0:44:17 | |
Hello? | 0:44:17 | 0:44:18 | |
Ah, sorry, everyone! Sorry! | 0:44:18 | 0:44:21 | |
Half an hour left. Perfect. | 0:44:21 | 0:44:25 | |
Er, I might, erm, have to jump around a bit, | 0:44:25 | 0:44:27 | |
because, er, well, I never really looked at it the way it was designed, as a puzzle. | 0:44:27 | 0:44:32 | |
Once I did, I got it. | 0:44:32 | 0:44:35 | |
-At least, I think I have. -Got what? | 0:44:35 | 0:44:38 | |
-I think I know where to find our killer. -How exciting! | 0:44:38 | 0:44:41 | |
Should we really be doing this here? | 0:44:41 | 0:44:43 | |
Yes, because as soon as we're done, I have an announcement to make, | 0:44:43 | 0:44:46 | |
so we'd come back here anyway, so I thought we may as well, erm, you know... | 0:44:46 | 0:44:51 | |
-Can we just get on with it? -Hey, that's the Chief. | 0:44:51 | 0:44:53 | |
This case has been a puzzle right from the start. Quite literally. | 0:44:53 | 0:44:58 | |
Firstly, the murder of Nadia, as you knew her, Rose Duchamp as she really was, | 0:44:59 | 0:45:02 | |
was carried out with the kind of professional attention to detail | 0:45:02 | 0:45:07 | |
none of our suspects were capable of. | 0:45:07 | 0:45:09 | |
According to Inspector Ricketts, | 0:45:09 | 0:45:11 | |
we know that Rose came to Saint-Marie to run away from her past, | 0:45:11 | 0:45:16 | |
more specifically, the lover she discovered to be a criminal. | 0:45:16 | 0:45:21 | |
She at first intended to hand him over to the police, | 0:45:21 | 0:45:26 | |
but was clearly got to before arrangements could be made. | 0:45:26 | 0:45:29 | |
Erm, it's strange that someone managed to get to her so easily | 0:45:29 | 0:45:33 | |
if she was under police protection, don't you think? | 0:45:33 | 0:45:36 | |
But can we be sure that it was Rose's criminal ex-lover that murdered her, | 0:45:36 | 0:45:42 | |
and not the lascivious boss, or the cranky neighbour, Jacko Gardiner, | 0:45:42 | 0:45:46 | |
or the somewhat resentful friend, Georgie Westcott? | 0:45:46 | 0:45:50 | |
I think we can. | 0:45:52 | 0:45:54 | |
You see, the biggest clue to the identity of the killer | 0:45:54 | 0:45:59 | |
was the coins found stuffed in the victim's mouth. | 0:45:59 | 0:46:02 | |
On the surface, something of a random act, | 0:46:02 | 0:46:05 | |
until you realise there were 26 coins, | 0:46:05 | 0:46:08 | |
plus a further four found lodged in her throat. | 0:46:08 | 0:46:10 | |
Thirty pieces of silver. Judas. | 0:46:10 | 0:46:14 | |
-So this was a message that she was killed for betraying someone? -Exactly that. | 0:46:14 | 0:46:19 | |
Someone who wanted others to know the penalty for such a betrayal. | 0:46:19 | 0:46:23 | |
And then we have mystery number two. | 0:46:23 | 0:46:26 | |
The house was searched, so the killer was clearly looking for something. But what? | 0:46:26 | 0:46:30 | |
-Logically, it had to be the information we're told Rose had promised the police. -Makes sense. | 0:46:31 | 0:46:36 | |
Hmm. But Rose gave an envelope to her neighbour for safekeeping. | 0:46:36 | 0:46:43 | |
So it occurred to me, if she knew that she was in danger, | 0:46:43 | 0:46:46 | |
that her past had caught up with her, then why leave the information in the house? | 0:46:46 | 0:46:50 | |
Why not give it to her neighbour for safekeeping as well? | 0:46:50 | 0:46:53 | |
And then it hit me. | 0:46:55 | 0:46:56 | |
That's exactly what she did. | 0:46:56 | 0:46:58 | |
When the killer broke into Rose's house last night, | 0:46:58 | 0:47:01 | |
he had no idea that the key piece of information he needed wasn't there. | 0:47:01 | 0:47:05 | |
I think he saw Rose with a policeman, and knew he had to act. | 0:47:06 | 0:47:11 | |
Obviously, the locks on the door | 0:47:15 | 0:47:17 | |
didn't prove too much of an obstacle to him. | 0:47:17 | 0:47:20 | |
We know that Harry, Rose's dog, barked at strangers, | 0:47:23 | 0:47:27 | |
yet none of the witnesses heard a dog barking after midnight, | 0:47:27 | 0:47:30 | |
so we can be sure that Harry knew the killer. | 0:47:30 | 0:47:33 | |
As Rose brought the dog with her from Antigua, I assume he recognised the killer instantly. | 0:47:37 | 0:47:42 | |
In fact, I'd hazard a guess that Harry here will run straight to the killer. | 0:47:42 | 0:47:47 | |
You mean the killer's here? | 0:47:47 | 0:47:50 | |
Oh, yes. | 0:47:50 | 0:47:52 | |
In fact, he was here last night, which is why Rose was frightened, | 0:47:52 | 0:47:55 | |
why, when she saw a police officer, | 0:47:55 | 0:47:58 | |
she made sure she made him take her home. | 0:47:58 | 0:48:01 | |
Wait, you said Rose left some information with her neighbour. | 0:48:01 | 0:48:05 | |
I thought it was just cash and a passport. | 0:48:05 | 0:48:07 | |
Yeah. | 0:48:07 | 0:48:08 | |
And this. | 0:48:10 | 0:48:12 | |
A vet's bill. | 0:48:14 | 0:48:16 | |
75 dollars for identity-chipping Harry. | 0:48:16 | 0:48:19 | |
But if you accept that the victim gave her neighbour all her most valued possessions, | 0:48:19 | 0:48:24 | |
the thing that brought her to Saint-Marie must be there. If it wasn't the passport or cash, | 0:48:24 | 0:48:28 | |
then it had to be this vet's bill. | 0:48:28 | 0:48:31 | |
It wasn't until an hour ago that it occurred to me how she did it. | 0:48:33 | 0:48:36 | |
So Georgie and I took Harry to see the vets | 0:48:36 | 0:48:40 | |
to have the chip removed. | 0:48:40 | 0:48:42 | |
Only to discover that it wasn't a pet identity chip, | 0:48:42 | 0:48:46 | |
it was a memory chip. | 0:48:46 | 0:48:47 | |
No doubt containing all the incriminating files Rose told the police in Antigua about. | 0:48:47 | 0:48:52 | |
I'm sure the identity of Rose Duchamp's killer's on here, | 0:48:52 | 0:48:56 | |
along with enough evidence to convict him. | 0:48:56 | 0:48:58 | |
-So all we have to do is run it through the computer? -Yes. | 0:48:58 | 0:49:02 | |
But, er, she left us one last clue. | 0:49:02 | 0:49:06 | |
You see, er, Rose was incredibly bright. | 0:49:06 | 0:49:09 | |
She loved to play games, solve puzzles. | 0:49:09 | 0:49:13 | |
And the final clue is the most damning of all. | 0:49:16 | 0:49:20 | |
It's also the simplest to solve, once you know how. | 0:49:20 | 0:49:24 | |
-So, what is it? -She knew that if anything happened to her, | 0:49:24 | 0:49:28 | |
it was the last chance she had to expose the person she was running from. | 0:49:28 | 0:49:32 | |
It was the name that she gave herself when she came to Saint-Marie. | 0:49:32 | 0:49:36 | |
Nadia... | 0:49:36 | 0:49:39 | |
Selim. | 0:49:39 | 0:49:41 | |
Anyone? | 0:49:47 | 0:49:49 | |
You see, any good crossword enthusiast, as Rose was, | 0:49:53 | 0:49:56 | |
knows to looks out for an anagram, | 0:49:56 | 0:49:58 | |
or, as in this case... | 0:49:58 | 0:50:00 | |
..words that work equally well... | 0:50:01 | 0:50:05 | |
when spelt backwards. | 0:50:05 | 0:50:08 | |
It was you, Aidan, wasn't it? | 0:50:12 | 0:50:14 | |
You killed Rose Duchamp. | 0:50:17 | 0:50:18 | |
It was you who approached her in her sleep and killed her before searching her house. | 0:50:18 | 0:50:23 | |
You're the man she was running from, the ex-boyfriend at the heart of the money-laundering ring | 0:50:23 | 0:50:28 | |
who she's finally exposed. | 0:50:28 | 0:50:30 | |
You came to Saint-Marie two weeks ago. | 0:50:31 | 0:50:33 | |
You've been looking for Rose ever since you got here. | 0:50:33 | 0:50:36 | |
You found her last night. | 0:50:36 | 0:50:38 | |
CAR HORN BEEPS | 0:50:42 | 0:50:45 | |
Take him away. | 0:51:02 | 0:51:03 | |
PHONE RINGS | 0:51:03 | 0:51:06 | |
Two years. | 0:51:06 | 0:51:07 | |
Took us one day. | 0:51:07 | 0:51:08 | |
Well, at least I get to go home. | 0:51:10 | 0:51:12 | |
Home! | 0:51:12 | 0:51:14 | |
Oh, I've lost the piece of paper! | 0:51:14 | 0:51:16 | |
What? Wait, hold on! Sir, erm, the baby's coming! | 0:51:16 | 0:51:19 | |
-What?! -Juliet, you know, she's... The baby! It's coming! | 0:51:19 | 0:51:22 | |
-Then go! -Yeah, go, go, go! | 0:51:22 | 0:51:25 | |
-You process him, I'll bring the car round. -What?! | 0:51:25 | 0:51:27 | |
No, I'll process him, you bring the car. | 0:51:27 | 0:51:29 | |
I'll lock him up, then we'll follow Fidel. | 0:51:29 | 0:51:32 | |
HE SCREAMS | 0:51:32 | 0:51:34 | |
WOMAN SCREAMS | 0:51:48 | 0:51:51 | |
Er, I don't seem to have any signal. I don't suppose anybody else has got any, have they? | 0:52:03 | 0:52:08 | |
What's more important than Fidel's baby? | 0:52:08 | 0:52:11 | |
Sir, you don't, er, you don't have any signal? | 0:52:11 | 0:52:14 | |
No, sorry. | 0:52:18 | 0:52:20 | |
BABY CRIES | 0:52:23 | 0:52:26 | |
I'm a daddy! | 0:52:27 | 0:52:29 | |
-Oh! -Well done, Fidel! | 0:52:29 | 0:52:32 | |
THEY LAUGH AND APPLAUD | 0:52:32 | 0:52:35 | |
So... | 0:52:43 | 0:52:45 | |
did you make the call? | 0:52:45 | 0:52:47 | |
You know I didn't. | 0:52:47 | 0:52:49 | |
Good! You decided to stay! | 0:52:49 | 0:52:53 | |
No, not exactly, I just couldn't... | 0:52:53 | 0:52:56 | |
I'm sorry, sir, but you tricked me, again. I find that very underhand. | 0:52:56 | 0:53:01 | |
Would you like to make an official complaint? | 0:53:01 | 0:53:03 | |
Who to? | 0:53:03 | 0:53:04 | |
The police commissioner. | 0:53:04 | 0:53:06 | |
That's you, isn't it? | 0:53:06 | 0:53:07 | |
Yes. | 0:53:07 | 0:53:09 | |
This is my daughter. | 0:53:28 | 0:53:30 | |
Are you sure? | 0:53:30 | 0:53:32 | |
THEY LAUGH | 0:53:32 | 0:53:35 | |
-Congratulations, Fidel. I'm very happy for you. -Thank you, sir. | 0:53:35 | 0:53:38 | |
-There's nothing quite as glorious as a new life. -No. | 0:53:38 | 0:53:42 | |
You can hold her, sir, if you want. | 0:53:42 | 0:53:44 | |
Ooh, er, actually, I, er, I've never held a baby before. | 0:53:44 | 0:53:48 | |
Then it's about time you did. | 0:53:48 | 0:53:50 | |
Yes, great... | 0:53:52 | 0:53:54 | |
Oh, hello. | 0:53:55 | 0:53:57 | |
Ahh! | 0:53:59 | 0:54:00 | |
Oh, God, she's just been sick on me. Sorry, what do I do now? | 0:54:02 | 0:54:05 | |
It's OK, I'll take her. | 0:54:05 | 0:54:07 | |
Yes, please do, please. I'm so sorry, I made her sick. | 0:54:07 | 0:54:11 | |
Murderers! | 0:54:11 | 0:54:12 | |
I'm so much more comfortable with murderers than babies. | 0:54:12 | 0:54:15 | |
Don't worry, I'll take her back to her mother. | 0:54:15 | 0:54:18 | |
Maman? | 0:54:33 | 0:54:34 | |
You all right? | 0:54:36 | 0:54:37 | |
I'm always all right. | 0:54:37 | 0:54:39 | |
Good night, Richard. | 0:54:39 | 0:54:41 | |
Good night. | 0:54:41 | 0:54:42 | |
Hello? | 0:54:52 | 0:54:53 | |
Over here! | 0:54:54 | 0:54:56 | |
Thanks. | 0:55:09 | 0:55:11 | |
Aren't you going to sit down? | 0:55:12 | 0:55:14 | |
Ooh, down here? | 0:55:15 | 0:55:17 | |
Er, yeah. | 0:55:17 | 0:55:18 | |
-On the sand? -Yes. | 0:55:20 | 0:55:22 | |
I was starting to think you'd loosened up a bit. | 0:55:25 | 0:55:28 | |
I have. | 0:55:28 | 0:55:30 | |
I mean, sitting on the beach, beer in hand, free spirit. | 0:55:30 | 0:55:33 | |
I'm virtually feral. | 0:55:33 | 0:55:35 | |
Hardly! | 0:55:35 | 0:55:37 | |
All the time you've been here, have you learnt anything? | 0:55:39 | 0:55:42 | |
Have you changed your opinion, maybe? | 0:55:42 | 0:55:44 | |
Yeah. | 0:55:46 | 0:55:47 | |
How? | 0:55:47 | 0:55:49 | |
There is something I've realised, | 0:55:49 | 0:55:51 | |
something I suppose it's taken me a long time to notice. | 0:55:51 | 0:55:54 | |
-Yes? -Something I've really come to appreciate, | 0:55:54 | 0:55:57 | |
-more than I thought I would. -What? | 0:55:57 | 0:56:00 | |
My own company. | 0:56:00 | 0:56:02 | |
Now what have I done? | 0:56:08 | 0:56:09 | |
Nothing. | 0:56:09 | 0:56:11 | |
That is so annoying. | 0:56:12 | 0:56:14 | |
Wait, I'M annoying? | 0:56:14 | 0:56:15 | |
-Yes. -You're so English! | 0:56:15 | 0:56:18 | |
-Being English doesn't mean you're annoying. -Yes, it does. | 0:56:18 | 0:56:21 | |
Well, if you don't mind me saying so, I think that's very childish. | 0:56:21 | 0:56:25 | |
And very French. | 0:56:25 | 0:56:26 | |
Excuse me?! And what has being French got to do with it? | 0:56:26 | 0:56:30 | |
-You started it. -No, I didn't! | 0:56:30 | 0:56:32 | |
-Agh! Agh! -What?! | 0:56:32 | 0:56:34 | |
I've got, I've got sand in my eye. | 0:56:34 | 0:56:36 | |
SHE LAUGHS | 0:56:36 | 0:56:37 | |
-Stop laughing, I'm dying here! I've got sand in my eye! -Stop being a baby! | 0:56:37 | 0:56:41 | |
HE SCREAMS | 0:56:41 | 0:56:43 | |
SHE LAUGHS | 0:56:43 | 0:56:44 | |
Subtitles by Red Bee Media Ltd | 0:57:04 | 0:57:08 | |
E-mail us at [email protected] | 0:57:08 | 0:57:11 |