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CARIBBEAN MUSIC PLAYS | 0:00:02 | 0:00:04 | |
OK. | 0:00:23 | 0:00:26 | |
-SHE LAUGHS -What was in that? | 0:00:28 | 0:00:31 | |
Trust me, you don't want to know. BOTH LAUGH | 0:00:31 | 0:00:34 | |
To the future! And to Miami! | 0:00:34 | 0:00:37 | |
Ah, you know, I'm probably gonna mess it up and be right back here before you know it. | 0:00:37 | 0:00:41 | |
No, you won't, you're gonna be a superstar! | 0:00:41 | 0:00:43 | |
-Oh! -Oh, I'm sorry. Let me. | 0:00:43 | 0:00:47 | |
-I'll do it. -Don't worry. Accidents happen, huh? | 0:00:47 | 0:00:49 | |
Maybe it's for the best. Wouldn't want your final performance to be a drunken disaster. | 0:00:49 | 0:00:55 | |
Small boat, big egos. BOTH LAUGH | 0:00:55 | 0:00:59 | |
-All right, ladies and gentlemen! -FEEDBACK | 0:00:59 | 0:01:01 | |
Only a few minutes to go before the best cabaret you will see. | 0:01:01 | 0:01:04 | |
So please, fill your glasses! And prepare to salute our super sexy singers! | 0:01:04 | 0:01:11 | |
-Eloise and the delicious Aimee! -CHEERING | 0:01:11 | 0:01:14 | |
You ever had a boss you could happily kill? | 0:01:17 | 0:01:20 | |
-No comment. -Five minutes, please. | 0:01:20 | 0:01:23 | |
I'm gonna go and get ready, I'll see you after the show. | 0:01:26 | 0:01:29 | |
-And not too much drinking, young lady. It's... a school night. -A school night! | 0:01:29 | 0:01:34 | |
BOTH LAUGH | 0:01:34 | 0:01:36 | |
KNOCKING | 0:01:38 | 0:01:40 | |
Bit early for bed, Milton. | 0:01:41 | 0:01:43 | |
Been working mornings down at the docks. | 0:01:43 | 0:01:46 | |
-Are you sure that's all you've been doing? -Yes. | 0:01:46 | 0:01:48 | |
That and trying to get some beauty sleep. | 0:01:48 | 0:01:50 | |
Let me tell you a bedtime story. | 0:01:50 | 0:01:52 | |
Our Commissioner is a very unhappy man. | 0:01:52 | 0:01:54 | |
Because there's been a rush of bootleg rum out on the streets | 0:01:54 | 0:01:57 | |
and the bars and the businesses who make the real stuff are calling him every day to complain. | 0:01:57 | 0:02:02 | |
So me and Fidel here have been given the task of finding out who's behind it all. | 0:02:02 | 0:02:06 | |
Ah! That's a lovely story. | 0:02:06 | 0:02:09 | |
In fact, it's a fairytale. I gave that up years ago! | 0:02:09 | 0:02:12 | |
Now, if you don't mind, I need my beauty sleep. | 0:02:12 | 0:02:15 | |
Hey. Nice watch. How could you afford something like that? | 0:02:15 | 0:02:18 | |
If you've been working as a go-between for the bootleggers, tell him. | 0:02:18 | 0:02:21 | |
You know what Dwayne's like when he gets annoyed. | 0:02:21 | 0:02:23 | |
Seriously?! Good cop, bad cop?! | 0:02:23 | 0:02:25 | |
Listen, Laurel and Hardy, this is the 21st century. | 0:02:25 | 0:02:28 | |
That stuff doesn't work any more. So shut me door on your way out. | 0:02:28 | 0:02:31 | |
-Idiot! -HE SUCKS HIS TEETH | 0:02:31 | 0:02:34 | |
MILTON LAUGHS | 0:02:36 | 0:02:38 | |
CHEERING AND APPLAUSE | 0:02:43 | 0:02:46 | |
# I'm your key... to set you free | 0:02:46 | 0:02:53 | |
# You can come to me | 0:02:54 | 0:02:57 | |
# Anytime for comfort SHUTTERS CLICK | 0:02:57 | 0:03:00 | |
# Don't be shy | 0:03:00 | 0:03:04 | |
# Let me try | 0:03:04 | 0:03:07 | |
# It's you I really want and not another | 0:03:07 | 0:03:14 | |
SHE LAUGHS | 0:03:14 | 0:03:16 | |
THEY HARMONISE # Baby don't you fight | 0:03:16 | 0:03:20 | |
# Oh, get your little self uptight | 0:03:20 | 0:03:23 | |
# Oh, no | 0:03:23 | 0:03:26 | |
CHEERING AND APPLAUSE | 0:03:26 | 0:03:29 | |
# Baby, after tonight | 0:03:38 | 0:03:40 | |
# Baby, after tonight... # | 0:03:40 | 0:03:44 | |
-FEEDBACK -Aimee! | 0:03:44 | 0:03:47 | |
Aimee! Aimee! Aimee! | 0:03:47 | 0:03:49 | |
-Aimee! Aimee! -SHE SOBS | 0:03:49 | 0:03:53 | |
Aimee! Aimee!! | 0:03:53 | 0:03:55 | |
The victim, you say she was a friend of Camille's? | 0:04:38 | 0:04:42 | |
Aimee Fredericks. Old school friend. | 0:04:42 | 0:04:44 | |
Been working away from the island, on and off for the past few years. | 0:04:44 | 0:04:47 | |
-Seeking fame and fortune. -So it was a reunion of sorts. | 0:04:47 | 0:04:51 | |
Yeah, she was really, really excited about seeing her again. | 0:04:51 | 0:04:54 | |
Right, well, we'd better be ready to pick up the slack. | 0:04:54 | 0:04:57 | |
I doubt Camille's going to be in any frame of mind to work. | 0:04:57 | 0:05:00 | |
Sit down! I'm not going to say it again. This is a crime scene! | 0:05:00 | 0:05:05 | |
Paramedics think it might have been poison. | 0:05:05 | 0:05:09 | |
-Right. Camille... -And if that's the case | 0:05:09 | 0:05:11 | |
then we need possible sources of the poison. | 0:05:11 | 0:05:14 | |
There's a shot glass and an oyster shell. | 0:05:14 | 0:05:17 | |
They'd fallen on the floor but I retrieved them myself, so they haven't been contaminated. | 0:05:17 | 0:05:21 | |
-They need to be bagged up. Dwayne? -I'm on it. | 0:05:21 | 0:05:23 | |
-Glass of water? -I don't think so, as far as I can make out | 0:05:23 | 0:05:27 | |
the only things she ate or drank were the shot and the oyster. | 0:05:27 | 0:05:31 | |
I meant for you. | 0:05:31 | 0:05:32 | |
I'm Stephen Morrison. The King Papyrus is my party boat. | 0:05:33 | 0:05:38 | |
I just... I've no idea what happened. | 0:05:38 | 0:05:40 | |
One minute she's up there singing, the next she's... | 0:05:40 | 0:05:44 | |
-We'll be talking to everybody. -I can't believe it! It's my fault, it has to be. | 0:05:44 | 0:05:48 | |
-Why would you say that? -I'm in charge of food and drink here. | 0:05:48 | 0:05:51 | |
She drank the shot, ate the oyster and then collapsed. | 0:05:51 | 0:05:54 | |
All eyes on me, right? | 0:05:54 | 0:05:56 | |
Investigations are ongoing, thank you. | 0:05:56 | 0:05:58 | |
This is now a crime scene, the whole boat needs to be sealed off. | 0:05:58 | 0:06:02 | |
Any idea how long she'll be out of commission? | 0:06:02 | 0:06:04 | |
As long as it takes. Do you have a problem with that? | 0:06:04 | 0:06:07 | |
No! No. | 0:06:07 | 0:06:09 | |
-You need to sit down. -No, I don't! | 0:06:09 | 0:06:12 | |
-Look, as your commanding officer... -What?! | 0:06:12 | 0:06:15 | |
As your superior, I'm ordering you to sit down. You're upset. | 0:06:15 | 0:06:18 | |
-You're in shock. It's for your own good. -And what if I refuse? | 0:06:18 | 0:06:22 | |
What are you going to do? Discipline me? Suspend me? | 0:06:22 | 0:06:26 | |
It's not meant to be a punishment. I'm just, you know, I'm just trying to help. | 0:06:26 | 0:06:31 | |
Then help me to find out who did this! | 0:06:31 | 0:06:34 | |
Fidel, we need full names and addresses of all staff and passengers. | 0:06:36 | 0:06:39 | |
I want written statements and exclusion prints taken. | 0:06:39 | 0:06:42 | |
And lots of people were taking pictures, | 0:06:42 | 0:06:45 | |
I want all cameras and phones handed in before anyone leaves the boat! | 0:06:45 | 0:06:48 | |
-OK. -Hey. | 0:06:48 | 0:06:50 | |
Thank you. | 0:06:54 | 0:06:56 | |
-Sir, thank you. -Ma'am, thank you. | 0:07:01 | 0:07:05 | |
-Name. -Thank you, sir, good night. | 0:07:06 | 0:07:09 | |
-Camera, sir. -It's back at the Green Bay Hotel, mate. -Name and addresses. | 0:07:09 | 0:07:13 | |
Names and addresses, please. | 0:07:13 | 0:07:16 | |
Keys. | 0:07:16 | 0:07:17 | |
These phones and cameras are going to take ages. | 0:07:51 | 0:07:53 | |
And don't forget, we got the bootlegging to follow up or the Commissioner will be on our backs. | 0:07:53 | 0:07:57 | |
Yes, Dwayne. I've been thinking about that. | 0:07:57 | 0:07:59 | |
Ah! Go on, then? | 0:07:59 | 0:08:02 | |
-Well... -Well what? | 0:08:02 | 0:08:05 | |
I've been thinking, maybe I should just take the lead, you know? | 0:08:05 | 0:08:07 | |
-What? -Yeah, be in charge of the investigation. | 0:08:07 | 0:08:09 | |
You want to be my boss? | 0:08:09 | 0:08:11 | |
Well, part of the Sergeant's exam is role play... | 0:08:11 | 0:08:13 | |
Ah, you want to pretend to be my boss. | 0:08:13 | 0:08:16 | |
It's not about anyone being anyone's boss, it's more of a case of... | 0:08:16 | 0:08:20 | |
-How do I put it? -Blah, blah, blah, blah, blah! | 0:08:20 | 0:08:23 | |
Go on, knock yourself out. | 0:08:23 | 0:08:26 | |
Sherlock. | 0:08:26 | 0:08:27 | |
FIDEL LAUGHS | 0:08:27 | 0:08:30 | |
-Dwayne? -Chief? | 0:08:32 | 0:08:35 | |
Last night... on the boat. What was that thing you did with Camille? | 0:08:35 | 0:08:40 | |
Thing? | 0:08:40 | 0:08:42 | |
Sort of... | 0:08:42 | 0:08:44 | |
Oh, that. I was just letting her know that I'm here if she needs me. | 0:08:45 | 0:08:49 | |
-Yeah, but you didn't say anything. -I didn't have to. -Right. | 0:08:49 | 0:08:52 | |
So you just look at her and she thanks you. I try to help, she practically bites my head off. | 0:08:52 | 0:08:57 | |
Chief, a woman like Camille doesn't want "help". | 0:08:57 | 0:09:00 | |
Support, sure, but help? Never. | 0:09:00 | 0:09:03 | |
And you have very soft hands, Chief. | 0:09:03 | 0:09:08 | |
Er... right! | 0:09:08 | 0:09:09 | |
The victim was Aimee Fredericks, 23. | 0:09:09 | 0:09:12 | |
She had worked on the King Papyrus party boat for six months. | 0:09:12 | 0:09:16 | |
How long had the boat been in Saint Marie? | 0:09:16 | 0:09:18 | |
It arrived back this week, Chief, after a nine week stint in Guadeloupe. | 0:09:18 | 0:09:22 | |
Antigua and Tobago before that. | 0:09:22 | 0:09:23 | |
So it stops off here about three times a year or so. | 0:09:23 | 0:09:27 | |
According to Camille, Aimee's performance yesterday was going to be her final one. | 0:09:27 | 0:09:32 | |
She was due to go and work for a producer in Miami and launch a recording career. | 0:09:32 | 0:09:36 | |
But someone, for some reason, didn't want that to happen. | 0:09:36 | 0:09:40 | |
What have we got on the other passengers? | 0:09:40 | 0:09:42 | |
Ah! We ran a check, they were your usual mix of holiday-makers, half a dozen locals. | 0:09:42 | 0:09:48 | |
No-one with criminal records or any links to Aimee as far as we can see. | 0:09:48 | 0:09:51 | |
The staff checked out clean as well. | 0:09:51 | 0:09:54 | |
I took these with my camera yesterday. | 0:09:58 | 0:10:01 | |
Six good shots, leading up to the... to the incident. | 0:10:01 | 0:10:07 | |
-What about the other cameras? -I'm starting on them now. -OK, let's get a move on. | 0:10:07 | 0:10:11 | |
Sir, we should go and check Aimee's apartment. | 0:10:11 | 0:10:13 | |
Dwayne, I've set up an interview for you with RJ, the waiter on the boat. | 0:10:13 | 0:10:16 | |
You want to know the secrets of a workplace... ask the serving staff. | 0:10:16 | 0:10:20 | |
-Erm... -Problem, sir? | 0:10:20 | 0:10:23 | |
No, no. Er... good work. | 0:10:23 | 0:10:26 | |
I... You know, I support what you're doing. | 0:10:26 | 0:10:31 | |
Camille. Camille! Camille, before we go... | 0:10:37 | 0:10:42 | |
What? | 0:10:42 | 0:10:43 | |
What are you doing?! | 0:10:49 | 0:10:51 | |
I don't know. I saw Dwayne doing it before. | 0:10:51 | 0:10:55 | |
-Right, erm, it's just... -It's just a little bit awkward. | 0:10:55 | 0:10:59 | |
You know, my grandparents had a dog called Laddie. Irish setter. | 0:11:09 | 0:11:14 | |
You know, he was probably my best friend, you know, growing up. | 0:11:14 | 0:11:18 | |
And... when I was 11, he was... he was hit by a milk... | 0:11:18 | 0:11:25 | |
Well, it wasn't a milk float, it was a milk van. | 0:11:25 | 0:11:28 | |
Anyway, the point... the point I'm trying to make is that... | 0:11:28 | 0:11:34 | |
Look, it was very difficult for me, you know. | 0:11:34 | 0:11:37 | |
And I... I was upset for weeks, months even. | 0:11:37 | 0:11:40 | |
Sir, Aimee was my friend, not a pet. That's different. | 0:11:40 | 0:11:43 | |
No, no, of course, I was... I mean that was just sort of... | 0:11:43 | 0:11:46 | |
just trying to show you I understand and can be supportive. | 0:11:46 | 0:11:50 | |
Yeah, well, you don't really seem to have any friends, | 0:11:50 | 0:11:53 | |
so I'm not sure how you could possibly understand. | 0:11:53 | 0:11:58 | |
He was a very clever dog, you know, he could do tricks. | 0:11:58 | 0:12:01 | |
Please, don't support me any more! | 0:12:01 | 0:12:03 | |
No. | 0:12:03 | 0:12:05 | |
Sorry. | 0:12:05 | 0:12:07 | |
HE SIGHS | 0:12:13 | 0:12:15 | |
BLEEPING | 0:12:25 | 0:12:28 | |
Sorry, what was the question again? | 0:12:36 | 0:12:38 | |
Can you describe your job on the boat? | 0:12:38 | 0:12:40 | |
I'm a waiter. You know, I... wait. | 0:12:40 | 0:12:45 | |
I bring food and drink out to customers. | 0:12:45 | 0:12:49 | |
And to Aimee as well? | 0:12:49 | 0:12:51 | |
Yeah. Yeah, they do this bit, it's like part of an act. | 0:12:51 | 0:12:54 | |
She drinks a shot and then swallows an oyster. | 0:12:54 | 0:12:57 | |
-And you pick these up from the chef station? -Yeah. | 0:12:57 | 0:13:01 | |
-Could anyone tamper with it on the way? -Yeah, don't see why not. | 0:13:01 | 0:13:03 | |
-Who? -Well, anyone, I guess. | 0:13:03 | 0:13:06 | |
I'm always picking stuff up, putting it down. | 0:13:06 | 0:13:09 | |
Tell me about her relationships with the others on the boat? How about Stephen? | 0:13:09 | 0:13:14 | |
-He's your boss. -Oh. I dunno. It's just a job, isn't it? | 0:13:14 | 0:13:18 | |
I just rock up, switch off, you know, count down until I can go home again. | 0:13:18 | 0:13:23 | |
-It's not rocket surgery. -Science. -Hmm? | 0:13:23 | 0:13:26 | |
Never mind. So you don't really have anything that useful you can tell us, do you? | 0:13:26 | 0:13:32 | |
No. I did see, erm... | 0:13:32 | 0:13:37 | |
thingy and the guy have a big argument two days ago. | 0:13:37 | 0:13:41 | |
-Thingy being? -The girl. | 0:13:41 | 0:13:44 | |
I remember thinking I needed to get my life in gear, cos I'm 19 and I'm wearing this stupid waiter's outfit. | 0:13:44 | 0:13:50 | |
-RJ, Focus! -Well... I remember her being really, really annoyed. | 0:13:50 | 0:13:55 | |
-You can't keep me here! -Aimee, you're not being fair. | 0:13:55 | 0:13:59 | |
And you think you're being fair? My mind is made up. You can't stop me. | 0:13:59 | 0:14:03 | |
-We both know that's not true. -I'm getting that money! | 0:14:03 | 0:14:05 | |
And do you know what this money was they were talking about? | 0:14:05 | 0:14:08 | |
Nah, not really. Hey, how much do you guys get paid? | 0:14:08 | 0:14:13 | |
I could really do with getting a better job. | 0:14:13 | 0:14:17 | |
-I'm not sure this police work is really for you. -Why? | 0:14:17 | 0:14:20 | |
-You don't seem the most observant person in the world. -Oh! Harsh. | 0:14:20 | 0:14:26 | |
But fair. I like it. | 0:14:26 | 0:14:29 | |
DOOR CREAKS | 0:14:29 | 0:14:33 | |
Lock's broken. | 0:14:33 | 0:14:36 | |
Possibly someone forced it. | 0:14:36 | 0:14:38 | |
Maybe it just needed repairing. | 0:14:38 | 0:14:40 | |
She complained about that. | 0:14:40 | 0:14:43 | |
Not having a home. Just a rental. | 0:14:43 | 0:14:47 | |
Living out of a suitcase. | 0:14:47 | 0:14:49 | |
SHE SIGHS | 0:14:52 | 0:14:54 | |
It doesn't look like there's been a break-in. | 0:14:54 | 0:14:56 | |
Too clean. No mess. | 0:14:56 | 0:14:59 | |
Maybe somebody was looking for something in particular. | 0:14:59 | 0:15:02 | |
Didn't steal the beer. | 0:15:02 | 0:15:04 | |
-That's strange. -What is? | 0:15:31 | 0:15:35 | |
A petal. | 0:15:35 | 0:15:37 | |
Phalaenopsis. It's a type of orchid often found in the Caribbean. | 0:15:37 | 0:15:42 | |
-Why is it strange, then? -Well, where did it come from? | 0:15:42 | 0:15:47 | |
There's no flowers in here. | 0:15:47 | 0:15:50 | |
Hmm. | 0:16:09 | 0:16:11 | |
Ah! Sarge, I interviewed RJ, the waiter. | 0:16:11 | 0:16:15 | |
HE WHISTLES | 0:16:15 | 0:16:16 | |
-He said Aimee and her boss were arguing a few days ago. -About what? | 0:16:16 | 0:16:20 | |
He wasn't sure, but he thinks it was about money. | 0:16:20 | 0:16:22 | |
He also said that after he picked up the tray with the oyster and shot glass from the bar, | 0:16:22 | 0:16:27 | |
just about anyone could have tampered with it. | 0:16:27 | 0:16:29 | |
And the toxicology report came through on Aimee's postmortem. | 0:16:29 | 0:16:32 | |
Here. She was definitely poisoned. | 0:16:33 | 0:16:36 | |
Strychnine. The dosage suggests no more than five minutes from when it was taken | 0:16:36 | 0:16:41 | |
to her... to her death. I'm sorry. | 0:16:41 | 0:16:43 | |
How about the oyster shell, the shot glass? | 0:16:43 | 0:16:46 | |
It's strange, but there was no trace of poison on either. | 0:16:46 | 0:16:48 | |
That's impossible. They were the only two things she ate or drank before she collapsed. | 0:16:48 | 0:16:52 | |
She didn't imbibe anything else? | 0:16:52 | 0:16:54 | |
No, only the cocktail she was drinking with me. | 0:16:54 | 0:16:57 | |
But we shared a pitcher. Random glasses from the table. | 0:16:57 | 0:17:01 | |
Right. I think we should go and talk to Stephen Morrison, the boat owner. | 0:17:01 | 0:17:05 | |
He has access to all areas of the boat and he was seen arguing with the victim a few days before. | 0:17:05 | 0:17:09 | |
-As good a place to start as any. -Sure. | 0:17:09 | 0:17:13 | |
Anything here? | 0:17:13 | 0:17:15 | |
I'm trying to put together a timeline of the afternoon. | 0:17:15 | 0:17:18 | |
Top left corner, when the party starts, | 0:17:18 | 0:17:20 | |
then later as you go across and down. | 0:17:20 | 0:17:23 | |
A couple of people were taking videos on their mobile phones, | 0:17:23 | 0:17:25 | |
mostly bad quality, but I managed to transfer some stills where I can. | 0:17:25 | 0:17:29 | |
These customers joking with Aimee during the performance, do we know anything about them? | 0:17:29 | 0:17:33 | |
Yes. They've all given full written statements and been interviewed. | 0:17:33 | 0:17:36 | |
-They're just regular family guys. -Hmm. So we have a victim... | 0:17:36 | 0:17:40 | |
murdered in public, in plain view of everyone, | 0:17:40 | 0:17:42 | |
surrounded by cameras and in the company of a police officer. | 0:17:42 | 0:17:46 | |
And not only do we not know who did it, we don't even know how. | 0:17:46 | 0:17:50 | |
Hang on. Here. | 0:17:50 | 0:17:53 | |
Hawaiian shirt. | 0:17:53 | 0:17:55 | |
-What's he holding? -It's a video camera. | 0:17:57 | 0:18:00 | |
-I never saw one of those in the box. -That's because there wasn't one. | 0:18:00 | 0:18:04 | |
Wait... I remember him. | 0:18:04 | 0:18:07 | |
Of course. How could I forget that shirt? | 0:18:08 | 0:18:10 | |
I think he's staying at the Green Bay, but I'm pretty certain he said he didn't have a camera. | 0:18:10 | 0:18:16 | |
Ah! Colin Smith, Green Bay Hotel. | 0:18:16 | 0:18:21 | |
Why would he lie about not having a camera? | 0:18:21 | 0:18:23 | |
That's a question I'd very much like to ask him. | 0:18:23 | 0:18:26 | |
-This is really rather impressive, Fidel. -Thank you, sir. | 0:18:26 | 0:18:31 | |
-OK, thank you. No-one with that name at the Green Bay. -So he lied about that too? | 0:18:31 | 0:18:36 | |
Listen, we'll track him down, OK? I promise. | 0:18:36 | 0:18:40 | |
You and I should go and talk to Stephen Morrison, see what this argument over money was about. | 0:18:40 | 0:18:44 | |
Hold on, Chief. Commissioner... | 0:18:44 | 0:18:47 | |
Wants us to focus on the bootleggers, but he'll have to wait. | 0:18:47 | 0:18:50 | |
He's probably busy anyway, tucking into some lobster or swallowing down an over-priced bottle of plonk. | 0:18:50 | 0:18:57 | |
-Or standing behind you. -Or standing behind me. | 0:18:57 | 0:18:59 | |
And as a gentleman and a scholar, able to take a joke in the spirit that it was intended. | 0:18:59 | 0:19:04 | |
I'd happily take anything if you've some progress on my bootleggers. | 0:19:04 | 0:19:08 | |
A certain influential company on the island | 0:19:08 | 0:19:11 | |
who sell a certain brand name of rum are unhappy at having their product undercut. | 0:19:11 | 0:19:16 | |
I'm in charge of the investigation, sir. | 0:19:16 | 0:19:19 | |
We're sure the distribution is being organised by a Milton Reynards. | 0:19:19 | 0:19:24 | |
Now if we gather evidence to use as a leverage on him, | 0:19:24 | 0:19:27 | |
I'm fairly sure he'll give up the names of those behind it. | 0:19:27 | 0:19:31 | |
-Fairly sure or very? -Very, sir, of course. | 0:19:31 | 0:19:35 | |
How many percent? | 0:19:36 | 0:19:38 | |
86. Erm... 87. | 0:19:39 | 0:19:42 | |
I like your style, son. | 0:19:44 | 0:19:47 | |
-Don't let me down. -No, sir. | 0:19:47 | 0:19:49 | |
Oh - and it was crab. | 0:19:55 | 0:19:58 | |
-Sorry? -That was the thing I was busy tucking into. | 0:19:58 | 0:20:01 | |
Blue crab, not lobster. | 0:20:01 | 0:20:03 | |
Although you were right about the plonk. Dreadfully over-priced. | 0:20:03 | 0:20:07 | |
-It sounds worse than it is. -You were arguing with someone days before they were murdered, | 0:20:18 | 0:20:24 | |
how much worse could it be? | 0:20:24 | 0:20:26 | |
We can do this at the police station if you prefer. | 0:20:26 | 0:20:30 | |
Look, Aimee wanted to leave, right? She said she had a deal with someone in Miami. | 0:20:30 | 0:20:35 | |
-A real shot at the big time. -And you were unhappy for her? | 0:20:35 | 0:20:39 | |
That's what we all want, a break! | 0:20:39 | 0:20:42 | |
Look, she had a contract. She had another 18 months left to run on it. | 0:20:42 | 0:20:48 | |
The only way out of it was to buy herself out of it. That's what we were arguing about. | 0:20:48 | 0:20:52 | |
-So you threatened her? -No, I didn't threaten her. | 0:20:52 | 0:20:54 | |
I just made it clear no producer would touch her if they knew she had a contract somewhere else. | 0:20:54 | 0:20:59 | |
-So you would have told them? -Yeah. A contract's a contract. | 0:20:59 | 0:21:03 | |
Look, Aimee was a very good act, | 0:21:03 | 0:21:07 | |
but if she'd just waited, we could have all had our shot together. | 0:21:07 | 0:21:11 | |
And, frankly, that would have been to her advantage. | 0:21:11 | 0:21:13 | |
Because I built this business up from scratch, I know what I'm doing. | 0:21:13 | 0:21:16 | |
-How much would she have needed to buy herself out? -20 grand. | 0:21:16 | 0:21:19 | |
-What?! -She signed it. No-one forced her. -She never had that kind of money. | 0:21:19 | 0:21:23 | |
She told me she did and that she would let me have it when she left. | 0:21:23 | 0:21:27 | |
-Where would she get it? -I have no idea. | 0:21:27 | 0:21:28 | |
The other singer, Eloise? | 0:21:31 | 0:21:34 | |
-Oh! -I'm so sorry. -I saw her yesterday, she didn't like Aimee. | 0:21:34 | 0:21:37 | |
-Why? -It's a workplace, people have their ups and downs. | 0:21:37 | 0:21:41 | |
-Who worked here first, Aimee or Eloise? -Ellie. Eloise. | 0:21:41 | 0:21:46 | |
She's... she's great, | 0:21:46 | 0:21:47 | |
but one night in a club and I see Aimee singing | 0:21:47 | 0:21:51 | |
and I'm like, "Pow!" I'm sold. Star quality. | 0:21:51 | 0:21:57 | |
And Eloise was fine with that, being relegated to singing back-up? | 0:21:57 | 0:22:01 | |
She knew it was a business decision. We're in this together. | 0:22:01 | 0:22:05 | |
You know, in sickness and in health. | 0:22:05 | 0:22:08 | |
-She is your wife?! -Eight years. | 0:22:08 | 0:22:10 | |
So you brought in someone younger to replace your own wife at work and you say this wasn't an issue?! | 0:22:10 | 0:22:17 | |
And Aimee wanting to buy herself out of a contract early wasn't an issue either? | 0:22:17 | 0:22:20 | |
Losing your star attraction didn't hurt at all? | 0:22:20 | 0:22:23 | |
Hello. Sorry. | 0:22:23 | 0:22:27 | |
Excuse me, nobody's allowed on the boat. | 0:22:27 | 0:22:29 | |
I was hoping to pick up my knives. They are rather expensive, so... | 0:22:29 | 0:22:32 | |
Sorry, but everything has to remain where it is for the time being. | 0:22:32 | 0:22:35 | |
If they do go missing, I'll hold you responsible. | 0:22:35 | 0:22:37 | |
Wait a second, you were in charge of all food and drink yesterday, is that right? | 0:22:37 | 0:22:41 | |
-Yeah. Yeah. -Did Aimee eat anything other than the oyster and the shot? | 0:22:41 | 0:22:45 | |
No, she wouldn't have done. Staff can't eat until after the guests, so no. | 0:22:45 | 0:22:51 | |
-Except for the cocktails she was drinking with you. -But there's nothing else? | 0:22:51 | 0:22:55 | |
No. Oh, maybe the gargle bottles. | 0:22:55 | 0:22:59 | |
They do that before every show to soothe the vocal chords. | 0:22:59 | 0:23:03 | |
They keep the bottles here, back stage. | 0:23:03 | 0:23:06 | |
Well... they're meant to. | 0:23:06 | 0:23:09 | |
That's them. | 0:23:12 | 0:23:14 | |
Yeah, that's them. | 0:23:19 | 0:23:21 | |
Have the police been to see you yet? | 0:23:44 | 0:23:46 | |
-No. -Well, they will. | 0:23:46 | 0:23:49 | |
-Did you move the gargle bottles? -What? | 0:23:51 | 0:23:55 | |
The gargle bottles, did you move them? | 0:23:55 | 0:23:58 | |
Why? | 0:24:00 | 0:24:02 | |
Ellie... what have you done? | 0:24:02 | 0:24:06 | |
The gargle bottles have gone to toxicology, I've marked them urgent. | 0:24:09 | 0:24:13 | |
They'll check them for prints at the same time. | 0:24:13 | 0:24:15 | |
Thank you. I've been going through likely suspects. | 0:24:15 | 0:24:19 | |
Stephen Morrison, boat owner, | 0:24:19 | 0:24:21 | |
he was clearly jealous of Aimee's impending trip to Miami, tried to stop her leaving. | 0:24:21 | 0:24:26 | |
He was also seen arguing with her a few days ago. | 0:24:26 | 0:24:29 | |
Then we've got Eloise Morrison, backing singer, | 0:24:29 | 0:24:34 | |
you witnessed her animosity towards Aimee at first hand. | 0:24:34 | 0:24:37 | |
But we couldn't see how she could have had access to the oysters or the shot glass, | 0:24:37 | 0:24:42 | |
though she did have access to the gargle bottles. | 0:24:42 | 0:24:46 | |
Then we've got our mysterious man with the video camera. | 0:24:46 | 0:24:49 | |
He, erm... | 0:24:49 | 0:24:51 | |
-Sorry, I missed what you were saying. -It doesn't matter. | 0:24:54 | 0:24:59 | |
-Do you want to take a minute? -Yes. | 0:24:59 | 0:25:01 | |
If the man in the Hawaiian shirt is going to be anywhere, I think we'll find him here. | 0:25:04 | 0:25:09 | |
He was filming the event, so it suggests he likes to keep a distance between himself and the others. | 0:25:09 | 0:25:15 | |
Excuse me. | 0:25:15 | 0:25:17 | |
So, you think he's off to the side alone, filming everything? | 0:25:17 | 0:25:21 | |
Yeah, I think so, maybe. | 0:25:21 | 0:25:23 | |
Look. | 0:25:27 | 0:25:29 | |
-Fidel, you're a married man, you know. -No! There. | 0:25:30 | 0:25:36 | |
OK. | 0:25:39 | 0:25:41 | |
Right! This time we do it my way. | 0:25:41 | 0:25:44 | |
DWAYNE CLEARS HIS THROAT | 0:25:53 | 0:25:56 | |
Were you on the King Papyrus party boat yesterday? | 0:25:56 | 0:25:59 | |
-I was, yeah. -Then I'm going to have to ask you to hand over that camera. | 0:25:59 | 0:26:03 | |
-Hey, that's private property. -Look, we can do this the easy way or the hard way. | 0:26:03 | 0:26:10 | |
So which is it to be? | 0:26:10 | 0:26:12 | |
Fidel! Camera! | 0:26:12 | 0:26:14 | |
-"This time we're doing it my way"? Yeah, right! -All right, all right. | 0:26:35 | 0:26:38 | |
We should still be able to retrieve the data... if we're lucky. | 0:26:38 | 0:26:43 | |
-Might take a while. -Oh, you think?! | 0:26:43 | 0:26:45 | |
-Whoa, whoa! -PHONE RINGS | 0:26:45 | 0:26:49 | |
-Honore Police. -Fidel. -Hi, sir. | 0:26:50 | 0:26:53 | |
-I was just looking for Camille. -I think she said she might go to the beach. | 0:26:53 | 0:26:57 | |
Camille? | 0:27:25 | 0:27:28 | |
-Camille? -Yes, I'll be back to work in a minute. | 0:27:32 | 0:27:35 | |
Yes. | 0:27:35 | 0:27:38 | |
Right. Yeah. | 0:27:38 | 0:27:40 | |
-What are you doing? -Sitting down. -In the sand? | 0:27:53 | 0:27:57 | |
I'm not very much use to you, am I? | 0:28:02 | 0:28:05 | |
Yes, you are. You're... | 0:28:05 | 0:28:08 | |
You're fantastic. | 0:28:08 | 0:28:10 | |
You know, you've... you've just lost your friend. | 0:28:10 | 0:28:15 | |
All the more reason to stop being so useless and help you to find her killer. | 0:28:15 | 0:28:20 | |
You're not a machine, you're a person. | 0:28:20 | 0:28:23 | |
You know, when you care about someone... | 0:28:28 | 0:28:32 | |
..sometimes it's hard to... | 0:28:35 | 0:28:38 | |
be eloquent, you know, about how you feel. | 0:28:38 | 0:28:42 | |
To... to tell them how much... | 0:28:42 | 0:28:46 | |
..how much they mean... meant to you. | 0:28:47 | 0:28:52 | |
How important they are in your life and how special. | 0:28:52 | 0:28:56 | |
I've never heard you talk like this before. | 0:28:58 | 0:29:02 | |
-No, just trying, you know... -To be supportive? -Exactly. | 0:29:02 | 0:29:10 | |
Well, I think it's very sweet of you. And better than the dog story. | 0:29:10 | 0:29:17 | |
We... we got the results back on the gargle bottles. | 0:29:23 | 0:29:27 | |
We found traces of strychnine in Aimee's bottle. | 0:29:29 | 0:29:33 | |
-Fingerprints? -Aimee's fingerprints were on her bottle alone. | 0:29:33 | 0:29:36 | |
-Eloise's were on both. -So that's it. | 0:29:36 | 0:29:40 | |
Maybe. | 0:29:40 | 0:29:42 | |
But if she only gargled, would the poison still have killed her? | 0:29:42 | 0:29:48 | |
Absolutely. Oh, and there was something else. | 0:29:48 | 0:29:51 | |
Rather oddly, Aimee's bottle contained traces of rosehip hairs. | 0:29:51 | 0:29:58 | |
Well, it's an irritant. Sometimes used in itching powder. | 0:29:58 | 0:30:01 | |
So the question is, who'd put an irritant | 0:30:01 | 0:30:04 | |
in a bottle used by a singer to gargle just before she went on stage? | 0:30:04 | 0:30:10 | |
Another singer. | 0:30:10 | 0:30:13 | |
-One who didn't like her very much? -Exactly. | 0:30:13 | 0:30:16 | |
Let's see if this camera works. | 0:30:18 | 0:30:22 | |
HEAVY BREATHING | 0:30:22 | 0:30:24 | |
-MAN: -"Oh, yeah, baby! Come on!" Oh, yeah! Come on! That's it!" | 0:30:24 | 0:30:27 | |
WOMAN MOANS | 0:30:27 | 0:30:29 | |
"Oh, yeah! Come on!" | 0:30:29 | 0:30:31 | |
"That's it! That's it! Don't stop that!" | 0:30:31 | 0:30:34 | |
MAN COUGHS | 0:30:34 | 0:30:37 | |
MOANING CONTINUES | 0:30:37 | 0:30:42 | |
Sorry, Stephen's not here at the moment. | 0:30:52 | 0:30:55 | |
Actually, it was you we wanted to talk to. | 0:30:55 | 0:30:58 | |
Sorry. Yes, well, come in. | 0:30:58 | 0:31:01 | |
-Can I... get you anything? -No, thanks. | 0:31:06 | 0:31:09 | |
What beautiful flowers. | 0:31:10 | 0:31:12 | |
Oh. A romantic gesture from Stephen. | 0:31:12 | 0:31:16 | |
-Orchids. -Yeah, they look very fresh. | 0:31:16 | 0:31:19 | |
Yeah, he bought them this morning. Sorry, how can I help? | 0:31:19 | 0:31:22 | |
We just wanted to check on something. | 0:31:22 | 0:31:24 | |
-The gargle bottles you used before the show. -Yes? | 0:31:24 | 0:31:27 | |
-You and Aimee had separate ones, right? For hygiene. -Yes. | 0:31:27 | 0:31:32 | |
Just a mix of honey and lemon. | 0:31:32 | 0:31:33 | |
It's just that your fingerprints were found on Aimee's bottle. | 0:31:33 | 0:31:36 | |
Well, I must have picked it up by mistake. | 0:31:36 | 0:31:39 | |
And we also found traces of strychnine, | 0:31:39 | 0:31:41 | |
which was the poison used to kill her. | 0:31:41 | 0:31:44 | |
I swear, I didn't... | 0:31:44 | 0:31:46 | |
I didn't do that. | 0:31:48 | 0:31:50 | |
-Then why did you try to hide the bottles after the show? -I didn't. | 0:31:52 | 0:31:56 | |
No? Very well, tell us about the rosehip. | 0:31:56 | 0:32:00 | |
What? | 0:32:03 | 0:32:04 | |
Traces were found in Aimee's bottle. | 0:32:04 | 0:32:06 | |
It's an irritant. | 0:32:06 | 0:32:07 | |
But you know that, don't you? | 0:32:07 | 0:32:09 | |
You scoop out the hair inside the flower. | 0:32:09 | 0:32:12 | |
Oh, look, you have some in your garden. | 0:32:12 | 0:32:16 | |
Mrs Morrison? | 0:32:16 | 0:32:17 | |
You have to understand what it was like. | 0:32:21 | 0:32:23 | |
I mean, Stephen just turned up with her one day | 0:32:23 | 0:32:25 | |
and said she was singing lead. There was no explanation, no apology. | 0:32:25 | 0:32:29 | |
I mean, he said I was talented. | 0:32:29 | 0:32:31 | |
That he could fulfil MY dreams. | 0:32:31 | 0:32:33 | |
Well, apparently those dreams were to sing endless back-up | 0:32:33 | 0:32:38 | |
for someone prettier and more talented than me, | 0:32:38 | 0:32:41 | |
on some tacky party boat. | 0:32:41 | 0:32:43 | |
I didn't, I didn't want to hurt her. | 0:32:45 | 0:32:48 | |
I just wanted to ruin her final performance. | 0:32:49 | 0:32:52 | |
I know that's petty and childish. | 0:32:52 | 0:32:54 | |
I even asked Grant for something from the kitchen, a chilli maybe, | 0:32:54 | 0:32:57 | |
but when he talked me out of it, I used the rosehip instead. | 0:32:57 | 0:33:00 | |
I, I swear, I swear to you I didn't kill her. | 0:33:00 | 0:33:05 | |
I just wanted to humiliate her, the way I'd been humiliated! | 0:33:05 | 0:33:10 | |
I knew the bottles would be found. | 0:33:10 | 0:33:12 | |
And if the rosehip was traced back to me, | 0:33:12 | 0:33:14 | |
I mean, everyone knew I hated her. | 0:33:14 | 0:33:16 | |
I thought she had an allergic reaction, I panicked. | 0:33:17 | 0:33:20 | |
So you admit you hid the bottles? | 0:33:20 | 0:33:22 | |
Yes. | 0:33:22 | 0:33:23 | |
-Eloise Morrison, I'm arresting you on suspicion... -No! | 0:33:23 | 0:33:26 | |
Wait a second, wait a second, wait a second. | 0:33:26 | 0:33:28 | |
We're not arresting her. | 0:33:30 | 0:33:31 | |
She's practically admitted it. | 0:33:31 | 0:33:33 | |
Camille, you're not thinking straight. | 0:33:33 | 0:33:35 | |
Why use rosehip AND poison? Think about it! | 0:33:35 | 0:33:37 | |
Why try to humiliate someone when you know they're going to be dead | 0:33:37 | 0:33:40 | |
in five minutes anyway? It doesn't make sense. | 0:33:40 | 0:33:42 | |
My colleague and I have discussed the situation | 0:33:46 | 0:33:48 | |
and we have decided we would like you to surrender your passport | 0:33:48 | 0:33:52 | |
and phone into the station every hour. | 0:33:52 | 0:33:54 | |
So, sorry, am I, am I under arrest or not? | 0:33:56 | 0:33:59 | |
Not yet, no. | 0:33:59 | 0:34:00 | |
I know she's a strong suspect, but that's not enough. | 0:34:08 | 0:34:10 | |
But the orchids at her house? | 0:34:10 | 0:34:12 | |
Which she said came from her husband. | 0:34:12 | 0:34:14 | |
Recognise this? | 0:34:14 | 0:34:15 | |
What is it? | 0:34:15 | 0:34:17 | |
It's a petal. From Phalaenopsis. An orchid. | 0:34:17 | 0:34:20 | |
No? That's odd. I understand it's your romantic flower of choice. | 0:34:20 | 0:34:23 | |
I really don't understand what you're getting at. | 0:34:23 | 0:34:26 | |
I think you do. This morning, before we saw you on the boat here, | 0:34:26 | 0:34:29 | |
-can I ask where you were? -I'm not sure. | 0:34:29 | 0:34:32 | |
I suggest you gave Aimee some flowers | 0:34:32 | 0:34:35 | |
and after her death, believing they might implicate you in some way, | 0:34:35 | 0:34:38 | |
you went to her apartment and retrieved them. | 0:34:38 | 0:34:41 | |
And waste not, want not, | 0:34:41 | 0:34:42 | |
you then gave them to your wife, didn't you? | 0:34:42 | 0:34:45 | |
It's not what you think. | 0:34:45 | 0:34:47 | |
I dropped those flowers off with Aimee yesterday, | 0:34:47 | 0:34:49 | |
as a last-ditch attempt to try and get her to stay. | 0:34:49 | 0:34:51 | |
-Were you having a relationship with Aimee Fredericks? -No! | 0:34:51 | 0:34:54 | |
-But you wanted to. -No! | 0:34:54 | 0:34:56 | |
Look, when Aimee told me she had the money to buy herself | 0:34:58 | 0:35:02 | |
out of her contract, I really thought I was losing her. | 0:35:02 | 0:35:05 | |
So the flowers were just a stupid idea. | 0:35:07 | 0:35:09 | |
The card with them could have been misconstrued. | 0:35:09 | 0:35:12 | |
By your wife? | 0:35:13 | 0:35:15 | |
You've got to believe me. | 0:35:19 | 0:35:22 | |
Please. | 0:35:22 | 0:35:23 | |
Oh, it must be nice, | 0:35:37 | 0:35:39 | |
sampling the merchandise in the afternoon. Relax. | 0:35:39 | 0:35:42 | |
It's not a crime. | 0:35:42 | 0:35:44 | |
No. But organising the distribution of bootleg liquor is. | 0:35:44 | 0:35:48 | |
You think I'm selling rum to the bar? You have evidence? | 0:35:48 | 0:35:52 | |
HE LAUGHS | 0:35:54 | 0:35:56 | |
-Right. -No, don't. | 0:35:56 | 0:35:59 | |
Look, if I go into the bar, turn up the heat, someone will rat him out. | 0:35:59 | 0:36:02 | |
No, Dwayne, listen. I'm in charge, OK? | 0:36:02 | 0:36:04 | |
We have to do this by the book. | 0:36:04 | 0:36:05 | |
In the old days we'd have rapped him across the head with the book. | 0:36:05 | 0:36:08 | |
We can use a paid informant. | 0:36:14 | 0:36:16 | |
Someone to go in there on our behalf. | 0:36:16 | 0:36:18 | |
Really? Who? | 0:36:18 | 0:36:20 | |
Him?! | 0:36:21 | 0:36:23 | |
You have any better ideas? | 0:36:23 | 0:36:24 | |
That don't involve throwing things around or shouting at people? | 0:36:24 | 0:36:28 | |
Right, so let me get this straight, | 0:36:31 | 0:36:32 | |
you want me to go into the bar and...? | 0:36:32 | 0:36:35 | |
-Tell them you're having a party. -What sort of party? | 0:36:35 | 0:36:37 | |
-A birthday party. -Yeah, but it's not my birthday. | 0:36:37 | 0:36:39 | |
It doesn't matter! | 0:36:39 | 0:36:41 | |
What you need to let them know is you'd like to buy 50, 60 bottles. | 0:36:41 | 0:36:44 | |
See if you can find out the name of their supplier. | 0:36:44 | 0:36:47 | |
-I dunno. I don't really want to... -Hey, hey, hey, hey, hey, hey, | 0:36:47 | 0:36:51 | |
I thought you said you wanted to be a policeman. | 0:36:51 | 0:36:53 | |
Yeah, think of this as a training exercise. | 0:36:53 | 0:36:56 | |
-Oh. So it's like a job. -Exactly. | 0:36:56 | 0:36:58 | |
Oh, sweet, and if I do well, I can be a policeman? | 0:36:58 | 0:37:01 | |
Go! | 0:37:02 | 0:37:04 | |
The secret of being a good chef is picking the right produce. | 0:37:07 | 0:37:10 | |
I mean, look at that - it's so beautiful. | 0:37:10 | 0:37:12 | |
It seems a shame to pull them out of the ocean, kill them, | 0:37:12 | 0:37:14 | |
-cook them and eat them... -We wanted to talk to you about Aimee. | 0:37:14 | 0:37:18 | |
Now was there anything going on between her and Stephen? | 0:37:18 | 0:37:21 | |
Oh, he wishes. No. She was a good girl, wasn't she? | 0:37:21 | 0:37:24 | |
More than that, she was smart. | 0:37:24 | 0:37:25 | |
I think she saw him for what he was. | 0:37:25 | 0:37:27 | |
And what's that? | 0:37:27 | 0:37:28 | |
Well, he fancies himself as a bit of an impresario, doesn't he? | 0:37:28 | 0:37:32 | |
But he's just a cheap salesman in an even cheaper suit, if you ask me. | 0:37:32 | 0:37:35 | |
But there were tensions between Eloise and Aimee? | 0:37:35 | 0:37:37 | |
She missed her chance at the big time and Aimee's star was rising. | 0:37:37 | 0:37:41 | |
It couldn't have been easy. | 0:37:41 | 0:37:42 | |
Don't think that makes her a murderer - human maybe, | 0:37:42 | 0:37:44 | |
but not a murderer. | 0:37:44 | 0:37:46 | |
Do you think Eloise meant to harm her in any way? | 0:37:46 | 0:37:48 | |
I'm sure she would have liked to have wrung her bloody neck. | 0:37:48 | 0:37:51 | |
Not literally. Figuratively, of course. | 0:37:54 | 0:37:57 | |
See, if you had listened to me, we'd have been in and out already. | 0:38:06 | 0:38:09 | |
Warm and dry! Done and dusted! | 0:38:09 | 0:38:11 | |
Dwayne! You're not helping. | 0:38:11 | 0:38:13 | |
Hey! | 0:38:19 | 0:38:20 | |
So, er...you got a name? | 0:38:20 | 0:38:22 | |
Whoa, whoa! Money first, come on. | 0:38:22 | 0:38:25 | |
Name first. Then money. | 0:38:25 | 0:38:27 | |
That's how this thing works. | 0:38:27 | 0:38:29 | |
Ah! | 0:38:31 | 0:38:33 | |
Now talk. | 0:38:33 | 0:38:35 | |
Jealous rival Eloise had opportunity, | 0:38:37 | 0:38:39 | |
but why put rosehip in a bottle you knew contained strychnine? | 0:38:39 | 0:38:43 | |
Boss Stephen was clearly smitten with her | 0:38:43 | 0:38:46 | |
and desperate to stop her leaving. | 0:38:46 | 0:38:47 | |
But do you really give someone flowers | 0:38:47 | 0:38:49 | |
the day before you murder them? | 0:38:49 | 0:38:51 | |
Then there's our mysterious Hawaiian shirt man. | 0:38:52 | 0:38:54 | |
And waiter RJ clearly had access to the shot glass | 0:38:54 | 0:38:57 | |
and the oyster, but did he have access to the gargle bottles? | 0:38:57 | 0:39:00 | |
Why not? He went everywhere serving drinks. | 0:39:00 | 0:39:03 | |
And we have no way of knowing when the poison was put in the bottle. | 0:39:03 | 0:39:06 | |
In which case Grant, the chef, could have done it too. | 0:39:06 | 0:39:08 | |
But we don't have a motive for any of them. | 0:39:08 | 0:39:11 | |
Which brings us back to Eloise again! | 0:39:11 | 0:39:14 | |
I'd give anything for a new lead, something to break this open. | 0:39:16 | 0:39:21 | |
Yeah, well, that's understandable. Bargaining. | 0:39:21 | 0:39:24 | |
Stage three of the Kubler-Ross model, | 0:39:24 | 0:39:25 | |
-theory on the five stages of grief. -Yeah, of course. | 0:39:25 | 0:39:28 | |
Because I'm following some sort of model. | 0:39:28 | 0:39:30 | |
God forbid my feelings should be personal or unique! | 0:39:30 | 0:39:32 | |
Sorry. You're right. That wasn't very helpful. | 0:39:33 | 0:39:36 | |
I keep going over and over it and feels like I'm falling apart. | 0:39:36 | 0:39:39 | |
A-ha! I knew it. Depression, that's, that's, that's the fourth stage! | 0:39:39 | 0:39:43 | |
Sorry. I think that sounded a bit more triumphant and, um... | 0:39:45 | 0:39:48 | |
-Insensitive? -..than it was meant to. | 0:39:48 | 0:39:51 | |
I'm not really sure what people do in these situations. | 0:39:53 | 0:39:56 | |
You were doing well. | 0:39:56 | 0:39:58 | |
Maybe in the future I'd hold back on, y'know, | 0:39:58 | 0:40:00 | |
shouting "I knew it" in someone's face. | 0:40:00 | 0:40:03 | |
Sir. | 0:40:03 | 0:40:05 | |
We just got confirmation that the bootlegging | 0:40:05 | 0:40:07 | |
-is going through Milton Reynards. -Good job, Fidel. | 0:40:07 | 0:40:09 | |
The Commissioner will be pleased. | 0:40:09 | 0:40:11 | |
Yes, but we still don't have any hard evidence on him. | 0:40:11 | 0:40:13 | |
Well, it's a start. Pick it up again in the morning. | 0:40:13 | 0:40:15 | |
-See if you can get a confession. -OK. | 0:40:15 | 0:40:18 | |
Oh, and the video camera, there was a bit of damage | 0:40:18 | 0:40:20 | |
but I managed to transfer it to stills, I put it up on the board. | 0:40:20 | 0:40:23 | |
-Anything new? -No, not that I can see, no. | 0:40:23 | 0:40:27 | |
So why would he lie about having a camera? | 0:40:27 | 0:40:29 | |
We found him in a local drinking den. | 0:40:29 | 0:40:31 | |
He's supposed to be here on business, | 0:40:31 | 0:40:34 | |
only he's been squeezing in a little bit of rest and recreation too. | 0:40:34 | 0:40:37 | |
He met up with a lady friend on the night before the boat party | 0:40:37 | 0:40:40 | |
and... well, they made a video. | 0:40:40 | 0:40:43 | |
He was worried his wife would find out. | 0:40:43 | 0:40:44 | |
Even I was shocked. | 0:40:44 | 0:40:46 | |
So he's not our killer either. | 0:40:46 | 0:40:48 | |
No. | 0:40:48 | 0:40:50 | |
Look, it's late, you two should get yourselves home. | 0:40:51 | 0:40:55 | |
Sir. | 0:40:55 | 0:40:57 | |
-Night. -Night, Chief. | 0:40:58 | 0:41:00 | |
The answer's here somewhere, I know it. | 0:41:05 | 0:41:08 | |
BELLS RING | 0:41:52 | 0:41:55 | |
You didn't have to come in so early. | 0:41:58 | 0:42:00 | |
Didn't have a choice. | 0:42:00 | 0:42:01 | |
Rosie, she woke me around dawn and then an hour after that | 0:42:01 | 0:42:05 | |
and then an hour after that and... Well, you get the picture. | 0:42:05 | 0:42:08 | |
I don't think I slept more than a couple of hours. | 0:42:12 | 0:42:15 | |
OK, I tell you what. | 0:42:20 | 0:42:23 | |
If I fall asleep, just... | 0:42:23 | 0:42:28 | |
give me a nudge, and I'll do the same for you. | 0:42:28 | 0:42:31 | |
It's a deal. | 0:42:32 | 0:42:34 | |
Inspector! | 0:42:50 | 0:42:51 | |
Morning, sir. | 0:42:51 | 0:42:53 | |
How is the murder enquiry going? | 0:42:55 | 0:42:57 | |
Er, we're making progress. | 0:42:57 | 0:42:59 | |
Inspector, I know you have a lot on your plate, | 0:43:00 | 0:43:02 | |
but I need you to understand. | 0:43:02 | 0:43:04 | |
I'm getting the most horrendous pressure | 0:43:04 | 0:43:07 | |
-about this damn bootlegging ring. -Yes, Fidel and Dwayne | 0:43:07 | 0:43:10 | |
are interviewing the main suspect this morning. | 0:43:10 | 0:43:12 | |
We'll have something for you by the end of the day. | 0:43:12 | 0:43:14 | |
I hope so. Because it's a political hot potato. | 0:43:14 | 0:43:18 | |
And I don't want to get my hands burnt, | 0:43:18 | 0:43:21 | |
if you will excuse the extended metaphor. | 0:43:21 | 0:43:23 | |
Definitely not, sir. | 0:43:23 | 0:43:25 | |
You won't excuse the metaphor? | 0:43:25 | 0:43:27 | |
Er...no? | 0:43:28 | 0:43:30 | |
No, er, er, yes... You won't get your hands burnt, er... | 0:43:30 | 0:43:34 | |
..by a potato. | 0:43:36 | 0:43:37 | |
-Morning, team. -Sir. | 0:43:49 | 0:43:51 | |
Camille. Er, how are you feeling? | 0:43:51 | 0:43:54 | |
Better, thank you, sir. | 0:43:54 | 0:43:57 | |
Good. | 0:43:57 | 0:43:58 | |
Wow, everyone's early today! If I'd known, I'd have brought coffee. | 0:43:58 | 0:44:03 | |
You two should go and see Milton Reynards. | 0:44:03 | 0:44:05 | |
I promised the Commissioner a result on his bootlegging today. | 0:44:05 | 0:44:08 | |
He won't know what's hit him. | 0:44:08 | 0:44:10 | |
Hey! | 0:44:10 | 0:44:12 | |
-What? -Come! | 0:44:12 | 0:44:14 | |
Let's go catch a rat. | 0:44:14 | 0:44:16 | |
Come now! | 0:44:17 | 0:44:19 | |
It's unbelievable, isn't it? | 0:44:26 | 0:44:28 | |
We've got every conceivable angle of the bar, | 0:44:28 | 0:44:30 | |
the dance floor and the entrance. Not a single photograph | 0:44:30 | 0:44:33 | |
of the backstage area where the gargle bottles were kept. | 0:44:33 | 0:44:37 | |
So we have no way of knowing who put the poison in or when. | 0:44:37 | 0:44:40 | |
Except, look at the pictures here. | 0:44:40 | 0:44:42 | |
Just before Aimee comes on stage, | 0:44:42 | 0:44:44 | |
only Eloise comes out from the backstage area. Look. | 0:44:44 | 0:44:48 | |
It has to be her! | 0:44:50 | 0:44:52 | |
I just wish you'd trust me on this. | 0:44:54 | 0:44:56 | |
Yes, going by the book can work. | 0:44:56 | 0:44:59 | |
But sometimes the old ways, you know, getting in their face, | 0:44:59 | 0:45:03 | |
shaking them up a bit... | 0:45:03 | 0:45:05 | |
Look, I can't go intimidating witnesses | 0:45:05 | 0:45:07 | |
if I want to be a sergeant. | 0:45:07 | 0:45:08 | |
-It's not personal, I just don't want to mess this up. OK? -OK. Fine, fine. | 0:45:08 | 0:45:11 | |
Go on. You go ahead, I'll catch you in a minute. | 0:45:11 | 0:45:13 | |
-I don't want to get in your way. -Don't be like that. | 0:45:13 | 0:45:15 | |
I have a family to support. A future to think about. | 0:45:15 | 0:45:17 | |
-You know what they should teach you in that sergeant class? -What? | 0:45:17 | 0:45:20 | |
-How to relax. -I don't need to learn how to relax! -No. Of course not. | 0:45:20 | 0:45:23 | |
Clearly you're very calm and collected. | 0:45:23 | 0:45:25 | |
Go on then, go! | 0:45:25 | 0:45:27 | |
You really should get a lock for that door. | 0:45:31 | 0:45:33 | |
-Haven't we been here before? -What happened to you? | 0:45:33 | 0:45:36 | |
Oh, great. Good cop is now all concerned. What a surprise. | 0:45:36 | 0:45:39 | |
Look, Milton, you're going to have to come clean, OK? | 0:45:39 | 0:45:41 | |
We've been given your name as the bootleg dealer. | 0:45:41 | 0:45:43 | |
Where are you getting it from? | 0:45:43 | 0:45:45 | |
I can start going through all of your financial records, | 0:45:45 | 0:45:47 | |
-all of your business, everything. -I'm sleeping. | 0:45:47 | 0:45:49 | |
-I need a result on this case! -I need my rest. I'm tired. | 0:45:49 | 0:45:52 | |
You're tired?! Do you know what time I have to wake up in the morning? | 0:45:52 | 0:45:55 | |
Do you?! No, no, no, I don't know either! | 0:45:55 | 0:45:57 | |
All I know is that it's dark and my baby's just crying. | 0:45:57 | 0:45:59 | |
I've got work, I've got classes, I've got homework | 0:45:59 | 0:46:01 | |
and in between, I'd love to spend some quality time with my wife. | 0:46:01 | 0:46:04 | |
But I can't because there is no time and I've had enough of you! | 0:46:04 | 0:46:07 | |
Tell me who's supplying the hooch, where you're getting it from, | 0:46:07 | 0:46:10 | |
and who did that to your face. The sooner I can make a break | 0:46:10 | 0:46:12 | |
on this case, the sooner I can get some rest. | 0:46:12 | 0:46:14 | |
But if you hold out one moment longer, tired or not, | 0:46:14 | 0:46:16 | |
I will not be held responsible for my actions. | 0:46:16 | 0:46:19 | |
OK, OK, I'll talk! I'll talk. Just, Dwayne! | 0:46:19 | 0:46:22 | |
You need to learn to relax. | 0:46:22 | 0:46:23 | |
Oh, thank God. | 0:46:25 | 0:46:27 | |
Oooh. Yeah. | 0:46:27 | 0:46:29 | |
Sometimes the old ways are the best. | 0:46:29 | 0:46:31 | |
What am I missing? | 0:46:36 | 0:46:38 | |
Milton talked. | 0:46:38 | 0:46:39 | |
He gave up the names of the people producing the bootleg rum. | 0:46:39 | 0:46:42 | |
We can head over and pick it up later. | 0:46:42 | 0:46:44 | |
That should get the Commissioner off our backs. Well done. | 0:46:44 | 0:46:46 | |
You should have seen him, Chief. He made me so proud. | 0:46:46 | 0:46:50 | |
Oh, by the way, there's something else I think | 0:46:50 | 0:46:53 | |
-maybe we should keep an eye on. -Oh? | 0:46:53 | 0:46:54 | |
Milton wanted to siphon off some of the bootleg | 0:46:54 | 0:46:56 | |
he'd been distributing, you know, make a little bit on the side. | 0:46:56 | 0:46:59 | |
A criminal AND an entrepreneur, how impressive. | 0:46:59 | 0:47:01 | |
So anyway, old Milton's down at the harbour | 0:47:01 | 0:47:03 | |
and he sees this box of empty bottles outside | 0:47:03 | 0:47:06 | |
the King Papyrus party boat, just sitting there. | 0:47:06 | 0:47:08 | |
So he goes to grab them, then out of the blue, | 0:47:08 | 0:47:11 | |
suddenly these guys jump him! | 0:47:11 | 0:47:13 | |
They beat him up real bad, you see, Chief. | 0:47:13 | 0:47:16 | |
Empty bottles? | 0:47:16 | 0:47:17 | |
Yes, beer bottles. | 0:47:17 | 0:47:18 | |
Palm Tree beer, it's a local brew. | 0:47:18 | 0:47:20 | |
-Well, write it up in your report. -Yes, Chief. | 0:47:20 | 0:47:23 | |
I've spent hours looking at them. Nothing. | 0:47:28 | 0:47:31 | |
Do you know how many murders I've investigated? | 0:47:31 | 0:47:33 | |
And in how many of them do you think I had | 0:47:33 | 0:47:36 | |
photographs of the murder scene while the murder was taking place? | 0:47:36 | 0:47:39 | |
Maybe we... | 0:47:43 | 0:47:45 | |
What? | 0:47:45 | 0:47:46 | |
Oh, my God! | 0:47:46 | 0:47:47 | |
Quick, here, look! | 0:47:50 | 0:47:51 | |
I can't see anything. | 0:47:51 | 0:47:53 | |
No, not the photographs, the... What's it called? The decoration! | 0:47:53 | 0:47:55 | |
The mirror thing. Look. | 0:47:55 | 0:47:57 | |
There's Aimee getting ready backstage, | 0:48:00 | 0:48:02 | |
then she reaches for her gargle bottle, | 0:48:02 | 0:48:04 | |
but look here, see, she drops something. | 0:48:04 | 0:48:07 | |
And then, she's distracted by... | 0:48:07 | 0:48:09 | |
Perhaps her music cue? | 0:48:09 | 0:48:11 | |
That's it, of course! Then look here. | 0:48:11 | 0:48:12 | |
-She heads straight for the stage. Which means... -She didn't gargle. | 0:48:12 | 0:48:15 | |
But how can that be? The poison was... | 0:48:15 | 0:48:17 | |
That's why nothing made sense. We took a wrong turn | 0:48:17 | 0:48:19 | |
and never got back on track. By focusing on the gargle bottles, | 0:48:19 | 0:48:22 | |
we looked away from what was really important. Fidel, | 0:48:22 | 0:48:24 | |
the forensic report on the oyster shell | 0:48:24 | 0:48:26 | |
and the shot glass, if you would. | 0:48:26 | 0:48:28 | |
Yeah, of course. Fingerprints. | 0:48:31 | 0:48:33 | |
A shot glass and an oyster shell. | 0:48:33 | 0:48:34 | |
They had fallen on the floor, but I retrieved them myself, | 0:48:34 | 0:48:37 | |
so they haven't been contaminated. | 0:48:37 | 0:48:39 | |
That's it. But why? | 0:48:40 | 0:48:42 | |
How long had the boat been in Saint Marie? | 0:48:42 | 0:48:44 | |
It arrived back this week, Chief, | 0:48:44 | 0:48:46 | |
after a nine-week stint in Guadeloupe. | 0:48:46 | 0:48:48 | |
Antigua and Tobago before that. | 0:48:48 | 0:48:49 | |
Milton sees this box of bottles | 0:48:49 | 0:48:51 | |
outside the King Papyrus party boat, so he goes to grab them. | 0:48:51 | 0:48:54 | |
Suddenly these guys jump him. | 0:48:54 | 0:48:56 | |
They beat him up real bad, you see, Chief. | 0:48:56 | 0:48:58 | |
Palm Tree beer, it's a local brew. | 0:48:58 | 0:49:00 | |
The bottle. | 0:49:01 | 0:49:02 | |
That's why it wasn't in the fridge. | 0:49:02 | 0:49:05 | |
-Dwayne! -Chief. | 0:49:05 | 0:49:06 | |
Go over to Aimee Fredericks' apartment, | 0:49:06 | 0:49:09 | |
there's a beer bottle in one of the kitchen cupboards, | 0:49:09 | 0:49:11 | |
bring it to the King Papyrus as fast as you can. | 0:49:11 | 0:49:13 | |
-On my way, Chief. -Fidel, get everyone together | 0:49:13 | 0:49:15 | |
and get them to the boat. OK, right, OK. | 0:49:15 | 0:49:18 | |
Now I know where to look. | 0:49:18 | 0:49:20 | |
Excuse me. | 0:49:20 | 0:49:21 | |
How did...? | 0:49:23 | 0:49:24 | |
Ah! There you are! | 0:49:26 | 0:49:30 | |
Yeah, and there, very clever. Very good. | 0:49:30 | 0:49:32 | |
Very good. | 0:49:33 | 0:49:35 | |
Two days ago, Aimee Fredericks was poisoned and killed | 0:49:35 | 0:49:37 | |
during what was to be her final number. | 0:49:37 | 0:49:40 | |
And yet there seemed to be no way it could have happened. | 0:49:40 | 0:49:43 | |
She ate an oyster and, er, drank from a shot glass. | 0:49:43 | 0:49:49 | |
But when tested, neither showed any trace of poison. | 0:49:49 | 0:49:51 | |
Yet there were traces of poison | 0:49:51 | 0:49:53 | |
in the bottle Aimee used to gargle with, | 0:49:53 | 0:49:56 | |
along with an irritant. | 0:49:56 | 0:49:58 | |
Rosehip. | 0:49:58 | 0:50:00 | |
The rosehip was put in the bottle backstage by Eloise. | 0:50:00 | 0:50:04 | |
The aim was to make it impossible for Aimee to sing that afternoon, | 0:50:04 | 0:50:08 | |
to humiliate her. | 0:50:08 | 0:50:10 | |
Yet she denies putting poison in the bottle. | 0:50:10 | 0:50:12 | |
I believe her. Not that it matters whether she did or she didn't, | 0:50:13 | 0:50:17 | |
because on the afternoon in question, | 0:50:17 | 0:50:18 | |
Aimee didn't use that bottle. | 0:50:18 | 0:50:20 | |
The poison we found in it wasn't what killed her. | 0:50:20 | 0:50:23 | |
This whole thing started when Aimee was offered a job in Miami. | 0:50:23 | 0:50:27 | |
She worked hard, waiting for her big break. | 0:50:27 | 0:50:30 | |
She was determined not to let it slip away. | 0:50:30 | 0:50:32 | |
But her boss Stephen didn't want to let her go. | 0:50:32 | 0:50:34 | |
He pointed out there was a clause in her contract which meant | 0:50:34 | 0:50:37 | |
it would cost her 20,000 to buy herself out. | 0:50:37 | 0:50:39 | |
I'm getting that money. | 0:50:39 | 0:50:41 | |
He even tried to seduce her in an attempt to get her to stay. | 0:50:41 | 0:50:44 | |
Tried and failed. | 0:50:44 | 0:50:46 | |
Aimee knew Stephen well enough to know that he'd quite happily | 0:50:49 | 0:50:52 | |
call her producer in Miami to ruin her big chance. | 0:50:52 | 0:50:54 | |
So she decided to try and find the money. | 0:50:54 | 0:50:57 | |
She was excited about going to Miami, so she must have found it. | 0:50:57 | 0:51:01 | |
Where from? | 0:51:01 | 0:51:03 | |
If Aimee wasn't killed by the poison in the gargle bottle, | 0:51:03 | 0:51:06 | |
how was she killed? | 0:51:06 | 0:51:07 | |
It's simple, really. Sometimes it's easy to overlook the obvious, | 0:51:11 | 0:51:16 | |
thinking it can't possibly be true, but it was. | 0:51:16 | 0:51:19 | |
Aimee was killed when, in plain view of everyone in the room, | 0:51:19 | 0:51:22 | |
she ate the oyster, | 0:51:22 | 0:51:23 | |
and then she drank the poison from the shot glass. | 0:51:23 | 0:51:29 | |
Because the glass we found didn't contain any traces of poison, | 0:51:29 | 0:51:32 | |
we missed the other forensic details. | 0:51:32 | 0:51:34 | |
All attention was on the gargle bottle. | 0:51:34 | 0:51:37 | |
Which was nothing more than a distraction, | 0:51:37 | 0:51:40 | |
and I really wish I hadn't done that strange hand wave. | 0:51:40 | 0:51:42 | |
The point being, the shot glass | 0:51:42 | 0:51:44 | |
should have had two sets of fingerprints on it. | 0:51:44 | 0:51:47 | |
Grant's because he prepared it, | 0:51:47 | 0:51:49 | |
and Aimee's because she drank it. | 0:51:49 | 0:51:51 | |
Yet there was only one set of fingerprints found. | 0:51:51 | 0:51:53 | |
-How could that be? -It wasn't the same shot glass. | 0:51:53 | 0:51:56 | |
Exactly! | 0:51:56 | 0:51:57 | |
And once you know that, well, | 0:51:57 | 0:51:59 | |
you know that only the killer would change it, | 0:51:59 | 0:52:01 | |
so therefore only the killer's fingerprints would be on it. | 0:52:01 | 0:52:05 | |
Hmm, isn't that right, Grant? | 0:52:06 | 0:52:08 | |
What are you asking me for? | 0:52:08 | 0:52:10 | |
Because your prints were the only ones found on the clean shot glass. | 0:52:10 | 0:52:13 | |
You killed Aimee Fredericks. | 0:52:13 | 0:52:15 | |
You've been out in the sun too long, | 0:52:15 | 0:52:17 | |
you've fried your brain, you need to see a doctor. | 0:52:17 | 0:52:20 | |
So should you. Nasty cut on your hand. | 0:52:20 | 0:52:23 | |
Should be more careful. | 0:52:23 | 0:52:25 | |
You knew that this being Aimee's last performance, | 0:52:25 | 0:52:27 | |
your time was running out. | 0:52:27 | 0:52:29 | |
After she drank the poison, it quickly took effect. | 0:52:33 | 0:52:36 | |
Aimee. Aimee! | 0:52:36 | 0:52:37 | |
The tray was on the table when the table toppled over, | 0:52:37 | 0:52:40 | |
but a shot glass is small and thick - it didn't smash. | 0:52:40 | 0:52:44 | |
With the distraction, you saw your chance. | 0:52:44 | 0:52:47 | |
As you swapped it for a replacement, | 0:52:48 | 0:52:50 | |
you cut your hand on the broken glass around it. | 0:52:50 | 0:52:53 | |
I think you were probably standing round about here. | 0:52:54 | 0:52:56 | |
So you're effectively holding the murder weapon | 0:52:57 | 0:53:00 | |
and suddenly you have a police officer in front of you. | 0:53:00 | 0:53:03 | |
Don't move. Police! | 0:53:03 | 0:53:04 | |
What do you do? This, perhaps. | 0:53:04 | 0:53:06 | |
My guess is forensic examination | 0:53:19 | 0:53:21 | |
will show yours and Aimee's fingerprints, traces of strychnine | 0:53:21 | 0:53:24 | |
and quite possibly a drop of your own blood for good measure. | 0:53:24 | 0:53:28 | |
When you returned to the boat yesterday, | 0:53:28 | 0:53:30 | |
you weren't coming back for your knives - | 0:53:30 | 0:53:32 | |
you were coming to retrieve this from its hiding place. | 0:53:32 | 0:53:35 | |
But what about motive? | 0:53:36 | 0:53:38 | |
Well, that was slightly harder to establish, but, | 0:53:38 | 0:53:40 | |
well, once I knew you were the murderer | 0:53:40 | 0:53:43 | |
it was simply a case of working backwards. | 0:53:43 | 0:53:45 | |
That, and a seemingly random event. | 0:53:45 | 0:53:47 | |
A small-time criminal was caught trying to steal | 0:53:47 | 0:53:49 | |
a crate of beer bottles from just on the harbour here, | 0:53:49 | 0:53:51 | |
got very badly beaten up. Then I remembered seeing a beer bottle | 0:53:51 | 0:53:54 | |
in the cupboard at Aimee's apartment. | 0:53:54 | 0:53:56 | |
I remember wondering why it wasn't in the fridge. | 0:53:56 | 0:53:58 | |
Dwayne? Behind the bar. | 0:53:58 | 0:54:01 | |
Then it struck me. | 0:54:02 | 0:54:04 | |
I knew where Aimee was hoping to get her 20,000 from. | 0:54:04 | 0:54:06 | |
It was you, wasn't it? | 0:54:06 | 0:54:08 | |
She was blackmailing you, because she'd discovered your little secret. | 0:54:09 | 0:54:13 | |
You'd been using the party boat's movements from island to island | 0:54:22 | 0:54:25 | |
to deliver drug shipments. | 0:54:25 | 0:54:27 | |
Stupid bastard! | 0:54:27 | 0:54:28 | |
Eloise told us you knew of her plan | 0:54:28 | 0:54:30 | |
to put something in Aimee's gargle bottle. | 0:54:30 | 0:54:32 | |
I mean, I even, I even asked Grant for something from the kitchen, | 0:54:32 | 0:54:35 | |
a chilli maybe, but when he talked me out of it, | 0:54:35 | 0:54:38 | |
I, I used rosehip instead. | 0:54:38 | 0:54:40 | |
But you saw her, didn't you, and you put the poison in Aimee's bottle | 0:54:40 | 0:54:43 | |
assuming Eloise would get the blame. | 0:54:43 | 0:54:45 | |
You watched and waited for Aimee to take the fatal dose. | 0:54:46 | 0:54:49 | |
But just as Aimee was going to drink from her gargle bottle, | 0:54:49 | 0:54:52 | |
she heard her music cue. | 0:54:52 | 0:54:54 | |
Your plan went wrong | 0:54:54 | 0:54:55 | |
when you saw she failed to drink from it and instead rushed onstage. | 0:54:55 | 0:54:59 | |
So you quickly came up with plan B. | 0:54:59 | 0:55:01 | |
You poured a shot of rum. | 0:55:02 | 0:55:04 | |
And added a lethal measure of strychnine. | 0:55:09 | 0:55:11 | |
If Aimee had gargled from the bottle as you'd planned, | 0:55:15 | 0:55:17 | |
I'm not sure we could have caught you. But she didn't, | 0:55:17 | 0:55:20 | |
and you were forced into making a mistake. | 0:55:20 | 0:55:23 | |
One that will send you to prison. | 0:55:23 | 0:55:25 | |
Yeah, well, I don't think you can prove it. | 0:55:25 | 0:55:27 | |
I do. Fidel! | 0:55:30 | 0:55:32 | |
Unbeknownst to you, your every move was captured | 0:55:39 | 0:55:42 | |
in the reflective surfaces of the party boat decorations. | 0:55:42 | 0:55:45 | |
Take him away. | 0:55:50 | 0:55:52 | |
MUSIC PLAYS | 0:56:11 | 0:56:14 | |
CRASH | 0:56:24 | 0:56:26 | |
Well, well. | 0:56:29 | 0:56:30 | |
Evening, gentlemen. | 0:56:30 | 0:56:31 | |
Flowers. | 0:56:43 | 0:56:44 | |
For you. Orchids. | 0:56:47 | 0:56:49 | |
Stephen may be unoriginal, | 0:56:49 | 0:56:51 | |
but he has fairly good taste in floral arrangements. | 0:56:51 | 0:56:54 | |
Why are you giving them to me? | 0:56:56 | 0:56:57 | |
Because I don't really know how to say I'm sorry. | 0:56:57 | 0:57:00 | |
For what happened to your friend. | 0:57:00 | 0:57:01 | |
Oh, it doesn't matter. They weren't expensive. | 0:57:04 | 0:57:06 | |
Richard. You found out why she died. | 0:57:06 | 0:57:09 | |
Who was responsible. | 0:57:09 | 0:57:12 | |
You've done enough already. | 0:57:12 | 0:57:13 | |
So do you want me to take them back, or...? | 0:57:17 | 0:57:19 | |
Well, I, I didn't mean that. | 0:57:19 | 0:57:22 | |
I'm sorry, too. About what I said before. | 0:57:24 | 0:57:29 | |
About how you didn't have friends, because you know we are... | 0:57:29 | 0:57:32 | |
I hope you're not going to say that you, Fidel and Dwayne | 0:57:32 | 0:57:34 | |
are my friends because that would be horrifically sentimental | 0:57:34 | 0:57:37 | |
and, and mawkish and... | 0:57:37 | 0:57:39 | |
Join me? | 0:57:41 | 0:57:42 | |
Jacket. | 0:57:48 | 0:57:49 | |
They were quite expensive actually, | 0:57:56 | 0:57:59 | |
ridiculous really when you consider they grow in the wild... | 0:57:59 | 0:58:02 | |
Estelle, we talked about this. I'm at work! | 0:58:04 | 0:58:06 | |
I know! That's why I'm calling. | 0:58:06 | 0:58:09 | |
I've found a body. | 0:58:09 | 0:58:10 | |
I'd heard on the police grapevine | 0:58:13 | 0:58:15 | |
-you'd been shipped off somewhere, but here? -I wasn't...shipped. | 0:58:15 | 0:58:19 | |
So your alibi is your best friend? | 0:58:19 | 0:58:20 | |
No. My alibi is I was sick as a dog. | 0:58:20 | 0:58:24 | |
Get lost, Ronnie, OK? I mean it. | 0:58:24 | 0:58:25 | |
Now don't get smart with me, Dicky boy. | 0:58:25 | 0:58:28 | |
Subtitles by Red Bee Media Ltd | 0:58:52 | 0:58:55 |