Browse content similar to Episode 1. Check below for episodes and series from the same categories and more!
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REGGAE MUSIC | 0:00:02 | 0:00:10 | |
Here we go, gang! | 0:00:19 | 0:00:21 | |
A little Kir Royal. | 0:00:21 | 0:00:22 | |
-Lovely! -Well, here we are! | 0:00:27 | 0:00:29 | |
Hello, everyone! | 0:00:33 | 0:00:35 | |
Oh, here he is! | 0:00:35 | 0:00:36 | |
Sorry, the, um... Well, the door was open, so I just...so I let myself in. | 0:00:36 | 0:00:40 | |
Well, this is fun! | 0:00:42 | 0:00:43 | |
But it's possible? | 0:00:48 | 0:00:49 | |
Right? | 0:00:50 | 0:00:52 | |
He could be having a...you know, a good time. | 0:00:53 | 0:00:59 | |
At a party? | 0:00:59 | 0:01:00 | |
Mm! Ah! Right then, Rich. What are you drinking? | 0:01:00 | 0:01:04 | |
Any chance of a cup of tea or...? | 0:01:07 | 0:01:09 | |
I'll get you one. | 0:01:10 | 0:01:11 | |
Thank you. | 0:01:11 | 0:01:12 | |
Put a sparkler in it, Sasha. | 0:01:12 | 0:01:14 | |
'But it's a reunion!' | 0:01:15 | 0:01:17 | |
So? | 0:01:17 | 0:01:18 | |
-So it's his old college friends. -And? | 0:01:18 | 0:01:20 | |
And they'll be talking about the good old days, you know? | 0:01:20 | 0:01:23 | |
When they were young and crazy and... And... And... | 0:01:23 | 0:01:26 | |
-'And what?' -'And the stuff they did and the fun they had.' | 0:01:26 | 0:01:30 | |
REGGAE MUSIC | 0:01:30 | 0:01:38 | |
I really can't believe you're here. | 0:01:39 | 0:01:41 | |
Sorry, could you excuse me, just for a moment? | 0:01:41 | 0:01:44 | |
-'We could go up there and rescue him.' -'How?' | 0:01:52 | 0:01:55 | |
Drive up there and say there's an emergency. | 0:01:55 | 0:01:58 | |
Tell him that we found his sense of humour! | 0:01:58 | 0:02:00 | |
'I know, everyone!' | 0:02:05 | 0:02:07 | |
-Roger? -Yup? -Richard? Let's all play charades! | 0:02:07 | 0:02:11 | |
-Yeah! -I'll get a paper and pen. | 0:02:11 | 0:02:13 | |
Actually, I've, um... I've got a bit of a headache coming on. | 0:02:13 | 0:02:16 | |
I think I'm going to just stop out here. | 0:02:16 | 0:02:18 | |
Oh, come on, RP! Don't be such a bore! | 0:02:18 | 0:02:20 | |
Come on, man! You can't sit outside all day! | 0:02:20 | 0:02:23 | |
LAUGHTER AND CHATTER FROM HOUSE | 0:02:23 | 0:02:30 | |
Dinner? Er...eat? | 0:02:32 | 0:02:35 | |
-Um, consume? -Mud? | 0:02:35 | 0:02:37 | |
-Some brown... -Mound? -Chow? Scoff? -Hill? Hill? | 0:02:38 | 0:02:40 | |
Look, you're never going to get it. | 0:02:40 | 0:02:42 | |
Angie's brain isn't wired the same as ours, is it, me old duck? | 0:02:42 | 0:02:45 | |
-Er, pancake? -Look! | 0:02:45 | 0:02:47 | |
Cutting... | 0:02:47 | 0:02:48 | |
Er...er... Mound? Wiping it? | 0:02:48 | 0:02:49 | |
Jamie's right. Ange, Ange, what is it? | 0:02:49 | 0:02:51 | |
It's a pie! | 0:02:51 | 0:02:53 | |
-A pie? -What was that bit? | 0:02:53 | 0:02:55 | |
That bit was the lid of the pie, the pie lid, the pastry pie lid! | 0:02:55 | 0:02:57 | |
Which film is pie? | 0:02:57 | 0:02:58 | |
Life Of Pi! I got it ten minutes ago! | 0:02:58 | 0:03:01 | |
Then why didn't you say something? | 0:03:01 | 0:03:03 | |
And miss you swinging your arms around like a demented windmill? | 0:03:03 | 0:03:06 | |
That was far more amusing. | 0:03:06 | 0:03:08 | |
Thank you, Ange, but that is quite enough charades for me! | 0:03:08 | 0:03:10 | |
Got a good mind to join old misery guts on the veranda there. | 0:03:11 | 0:03:15 | |
He's been out there for an hour. | 0:03:15 | 0:03:16 | |
He never liked party games. | 0:03:16 | 0:03:18 | |
But still, it's not much of a reunion, is it? | 0:03:18 | 0:03:20 | |
Even for RP, sitting on your own, reading a damn book! | 0:03:20 | 0:03:22 | |
Come on! Who wants a cocktail? | 0:03:23 | 0:03:26 | |
Ooh, I don't think I should. They're so strong. | 0:03:26 | 0:03:28 | |
For Christ's sake, Ange! Lighten up! | 0:03:28 | 0:03:30 | |
Come on, Ange! We owe it to our younger selves | 0:03:30 | 0:03:32 | |
to get totally wrecked! | 0:03:32 | 0:03:33 | |
What about Richard? He's missing all the fun. | 0:03:33 | 0:03:35 | |
Nothing new there, then! | 0:03:35 | 0:03:37 | |
Look, we've... We've taken him out some food and some drink. | 0:03:37 | 0:03:40 | |
He'll be fine. | 0:03:40 | 0:03:42 | |
-Do your worst, barman! -Certainly shall. | 0:03:42 | 0:03:44 | |
Roger's making more cocktails. Would you like one? | 0:03:44 | 0:03:46 | |
-Mm! -Where's the ice pick? It was here a second ago. | 0:03:46 | 0:03:49 | |
Richard? | 0:03:49 | 0:03:50 | |
SHE SCREAMS | 0:03:52 | 0:03:57 | |
No, we still don't know when the body will be released. | 0:04:55 | 0:04:58 | |
No, no, no, no. Of course not. And we will. | 0:04:58 | 0:05:02 | |
I promise. | 0:05:02 | 0:05:03 | |
OK, bye. | 0:05:05 | 0:05:06 | |
His parents? | 0:05:10 | 0:05:11 | |
Do we have anything new? | 0:05:14 | 0:05:16 | |
Nothing from the door to door. | 0:05:16 | 0:05:17 | |
And no-one could have approached by car because I checked the traffic | 0:05:17 | 0:05:20 | |
CCTV camera at the bottom of the hill, which leads up to the house. | 0:05:20 | 0:05:23 | |
We've got the chief's cab going up there at 4.50pm | 0:05:23 | 0:05:26 | |
and then coming back down empty ten minutes later. | 0:05:26 | 0:05:28 | |
The next car to go up there was ours. | 0:05:28 | 0:05:30 | |
What about you guys? | 0:05:30 | 0:05:32 | |
I'm going through the chief's current caseload. Nothing so far. | 0:05:32 | 0:05:34 | |
And I'm still trying to see who's just been released from prison. | 0:05:34 | 0:05:37 | |
Prison? Caseloads? We're wasting our time! | 0:05:37 | 0:05:40 | |
-Excuse me? -I'm telling you. | 0:05:40 | 0:05:42 | |
There's no way the killer was an intruder from outside. | 0:05:42 | 0:05:45 | |
Come on! We've all seen that villa. | 0:05:45 | 0:05:47 | |
The whole place is perched on the edge of a cliff. | 0:05:47 | 0:05:49 | |
The only way out onto that veranda is from inside the house. | 0:05:49 | 0:05:53 | |
OK! So we're back where we started again. | 0:05:53 | 0:05:55 | |
-Yes! -The four people already at the house. | 0:05:55 | 0:05:58 | |
University friends he hadn't seen in 25 years. | 0:05:58 | 0:06:01 | |
Makes no sense. | 0:06:01 | 0:06:02 | |
Good morning, team. | 0:06:05 | 0:06:07 | |
-Sir. -Sir? | 0:06:07 | 0:06:09 | |
So... I imagine it's difficult to think straight in the circumstances. | 0:06:09 | 0:06:15 | |
A little, Sir. Yes. | 0:06:15 | 0:06:16 | |
It, um... It occurred to me that you may need a little help. | 0:06:18 | 0:06:22 | |
Any extra officers you can get over here... | 0:06:24 | 0:06:26 | |
CAR HORN BEEPS | 0:06:26 | 0:06:27 | |
How about just one to begin with? | 0:06:29 | 0:06:30 | |
Your new inspector. | 0:06:40 | 0:06:41 | |
London speaks very highly of him. | 0:06:59 | 0:07:02 | |
-Hello! -Hello! | 0:07:02 | 0:07:03 | |
Morning. Commissioner. | 0:07:09 | 0:07:11 | |
Morning. | 0:07:14 | 0:07:15 | |
Well, at least I think it's morning. Are we in front or behind here? | 0:07:15 | 0:07:18 | |
Er... Anyway, sorry if I'm late. Or... Or... Or early. | 0:07:18 | 0:07:23 | |
-Thank you. -Team, may I introduce | 0:07:23 | 0:07:26 | |
Detective Inspector Humphrey Goodman? | 0:07:26 | 0:07:28 | |
Dwayne, Fidel. Help the inspector in with his luggage. | 0:07:34 | 0:07:37 | |
-Yes, Sir. -Thank you. | 0:07:39 | 0:07:41 | |
This is Detective Sergeant Camille Bordey. | 0:07:43 | 0:07:46 | |
It's a real pleasure to meet you, | 0:07:48 | 0:07:50 | |
although I'm sorry it's not in better circumstances. | 0:07:50 | 0:07:53 | |
This must be a terrible time for you all. | 0:07:53 | 0:07:55 | |
Yes, it is. | 0:07:55 | 0:07:57 | |
Sergeant Fidel Best and Officer Dwayne Myers. | 0:07:57 | 0:07:59 | |
Sergeant Bordey, perhaps you will bring the inspector up to speed? | 0:08:01 | 0:08:05 | |
Sir, it... | 0:08:05 | 0:08:06 | |
Yes, sir. | 0:08:09 | 0:08:10 | |
Inspector, if there's anything you need.... | 0:08:11 | 0:08:15 | |
Thank you, Sir. | 0:08:15 | 0:08:16 | |
Sir. | 0:08:18 | 0:08:19 | |
Commissioner. | 0:08:19 | 0:08:20 | |
Right. Er... This is me, is it? | 0:08:22 | 0:08:25 | |
Um... | 0:08:33 | 0:08:34 | |
Ah. | 0:08:35 | 0:08:36 | |
Um, actually... | 0:08:39 | 0:08:41 | |
This'll be great. | 0:08:45 | 0:08:47 | |
Yes. Lovely. | 0:08:52 | 0:08:53 | |
# Ska, ska, ska | 0:09:03 | 0:09:05 | |
# Ska, ska, ska... # | 0:09:07 | 0:09:08 | |
So where are these friends now? | 0:09:11 | 0:09:13 | |
We moved them to a local hotel so we could preserve the crime scene. | 0:09:13 | 0:09:16 | |
Excellent. | 0:09:16 | 0:09:17 | |
OK. So we have Angela Birkett. | 0:09:17 | 0:09:19 | |
She's a lawyer currently living in Bristol. Unmarried. | 0:09:19 | 0:09:22 | |
Then we have husband and wife James and Sasha Moore. | 0:09:22 | 0:09:24 | |
He's a financial advisor... | 0:09:24 | 0:09:25 | |
-..and she ran her own computer software company. -Ran, past tense? | 0:09:26 | 0:09:29 | |
Yes. She sold the company seven years ago for a small fortune. | 0:09:29 | 0:09:32 | |
And finally, we have Roger Sadler. | 0:09:32 | 0:09:34 | |
Here alone, but married with three children. He's an estate agent. | 0:09:34 | 0:09:38 | |
They all arrived on the island five days ago. | 0:09:38 | 0:09:40 | |
-And all of them went to university with the inspector? -Yes, Sir. | 0:09:40 | 0:09:43 | |
And you found the body where? | 0:09:43 | 0:09:45 | |
Hot, isn't it? | 0:09:53 | 0:09:54 | |
Could you bear to talk me through it? | 0:09:57 | 0:10:00 | |
Um... | 0:10:00 | 0:10:01 | |
The other guests were inside that room, playing games, | 0:10:01 | 0:10:03 | |
according to their statements. | 0:10:03 | 0:10:04 | |
Inspector Poole come out at 5.20pm with a book. He sat here. | 0:10:04 | 0:10:09 | |
-With his back to the house? -Yes, Sir. | 0:10:09 | 0:10:12 | |
Right. | 0:10:13 | 0:10:14 | |
About an hour later, Angela Birkett came outside to ask | 0:10:16 | 0:10:19 | |
if he wanted a cocktail. | 0:10:19 | 0:10:20 | |
It was then that she found him, with an ice pick in his chest. | 0:10:20 | 0:10:23 | |
OK. Forensics? | 0:10:23 | 0:10:26 | |
The only prints we've managed to lift from the murder weapon all belong to the witnesses. | 0:10:26 | 0:10:29 | |
-All four of them? -Yes, Sir. | 0:10:29 | 0:10:31 | |
They all used the ice pick at one time or another. | 0:10:31 | 0:10:33 | |
Anything else? | 0:10:33 | 0:10:35 | |
Yes, Sir. | 0:10:35 | 0:10:36 | |
We have an empty tea cup | 0:10:36 | 0:10:38 | |
and an empty bowl with remnants of potato chips | 0:10:38 | 0:10:40 | |
he was eating on the table. | 0:10:40 | 0:10:42 | |
And the book was on the floor, which is a bit of a puzzle. | 0:10:42 | 0:10:45 | |
How so? | 0:10:45 | 0:10:46 | |
It was in French. | 0:10:46 | 0:10:48 | |
-The inspector didn't speak French? -No. | 0:10:48 | 0:10:50 | |
Mm. | 0:10:52 | 0:10:53 | |
Right. | 0:11:08 | 0:11:09 | |
You said they were playing games? | 0:11:14 | 0:11:16 | |
Um, yes. Charades. | 0:11:16 | 0:11:18 | |
Cocktails there. | 0:11:18 | 0:11:20 | |
Cocktails. | 0:11:21 | 0:11:22 | |
So Inspector Poole was pretty much in full view the whole time | 0:11:22 | 0:11:26 | |
he was out there. | 0:11:26 | 0:11:27 | |
And we're sure there's no other way out onto the veranda? | 0:11:29 | 0:11:32 | |
Nope. You've got to come through the house. | 0:11:32 | 0:11:34 | |
Ah. So in effect, any intruder would have had to pass the other | 0:11:34 | 0:11:38 | |
guests as they played charades. | 0:11:38 | 0:11:40 | |
-And who took the statements? -I did. | 0:11:49 | 0:11:51 | |
Firstly to Sasha Moore, the lady in the blue... | 0:11:52 | 0:11:55 | |
HE SHOUTS | 0:11:55 | 0:11:56 | |
Where him gone? | 0:11:59 | 0:12:00 | |
Right? | 0:12:09 | 0:12:10 | |
Yeah, I was just... | 0:12:12 | 0:12:14 | |
Carry on. | 0:12:14 | 0:12:15 | |
OK, right. Um... | 0:12:17 | 0:12:19 | |
I, er... | 0:12:19 | 0:12:21 | |
I'd like background checks on those, er, old friends. | 0:12:21 | 0:12:24 | |
-Yes, we've done that. -Police records, financial checks? -Yes. | 0:12:24 | 0:12:28 | |
Good, excellent. Er, you can fill me in later. | 0:12:28 | 0:12:31 | |
Right. I think it's time we spoke to Richard's old chums, don't you? | 0:12:32 | 0:12:35 | |
Thank you. | 0:12:47 | 0:12:48 | |
Am I seeing things or did he fall out of the window? | 0:13:02 | 0:13:05 | |
Um...yes. | 0:13:05 | 0:13:06 | |
Yes, he did. | 0:13:07 | 0:13:08 | |
The hotel is just around the headland. | 0:13:18 | 0:13:20 | |
Right. | 0:13:20 | 0:13:21 | |
Gosh, that takes some beating! | 0:13:24 | 0:13:27 | |
What does? | 0:13:27 | 0:13:29 | |
You're so beautiful. | 0:13:29 | 0:13:30 | |
Sorry, IT is so beautiful! Not you, you're not. God, no! IT is. | 0:13:30 | 0:13:34 | |
Beautiful. The sea and everything, palm trees, | 0:13:35 | 0:13:38 | |
sand, the whole Caribbean vibe. Am I talking too much? | 0:13:38 | 0:13:42 | |
-Yes. -Sorry. I do that a lot. | 0:13:42 | 0:13:44 | |
It's the silence, you see. I always think it's my fault. | 0:13:46 | 0:13:50 | |
Sally, my wife, says I have a pathological need to fill it. | 0:13:50 | 0:13:53 | |
She's right, of course. She always is. | 0:13:53 | 0:13:55 | |
She generally just puts a finger to my lips or says "Shut up", | 0:13:55 | 0:13:58 | |
you know, so feel free to...either. | 0:13:58 | 0:14:00 | |
-You really don't want me here, do you? -No. | 0:14:04 | 0:14:07 | |
I'm not here to take his place, you know, Camille. | 0:14:09 | 0:14:12 | |
I'm not here to be him. | 0:14:15 | 0:14:16 | |
I don't expect anything, any consideration. I'm just here. | 0:14:17 | 0:14:21 | |
And while I'm here, I promise I will do everything I can to find | 0:14:23 | 0:14:26 | |
out what happened to your friend. | 0:14:26 | 0:14:27 | |
Because that's what he was, not just your colleague. | 0:14:27 | 0:14:30 | |
I'm sorry for your loss. I truly am. | 0:14:30 | 0:14:31 | |
But the thing is, I have a feeling I may need some help, | 0:14:34 | 0:14:38 | |
and a great deal of it. | 0:14:38 | 0:14:40 | |
You can decide if you like me afterwards. | 0:14:41 | 0:14:44 | |
And if I don't? | 0:14:44 | 0:14:45 | |
Ah. Good point. Don't really have an answer for that. | 0:14:45 | 0:14:48 | |
There's a whole list of things I'm not very good at. | 0:14:56 | 0:14:59 | |
But I am a good detective. | 0:14:59 | 0:15:02 | |
And right now, | 0:15:03 | 0:15:04 | |
more than anything, I want to catch the person who murdered your friend. | 0:15:04 | 0:15:08 | |
So maybe, just for now, | 0:15:08 | 0:15:10 | |
it's enough that we both want the same thing. | 0:15:10 | 0:15:12 | |
You're wet. | 0:15:16 | 0:15:17 | |
Yes, I am. | 0:15:17 | 0:15:19 | |
It will dry as we walk. | 0:15:19 | 0:15:20 | |
Hello. Good morning. | 0:15:33 | 0:15:35 | |
I'm sorry to put you through this again, | 0:15:36 | 0:15:38 | |
but I'm DI Goodman. DS Bordey you already know. | 0:15:38 | 0:15:41 | |
We just want to ask you a few more questions. | 0:15:41 | 0:15:43 | |
Um, when can we all go back to the villa? | 0:15:43 | 0:15:45 | |
And you are? | 0:15:45 | 0:15:46 | |
I'm James Moore. And this is my wife, Sasha. | 0:15:46 | 0:15:48 | |
Er, the villa is, er, still a crime scene, I'm afraid. | 0:15:48 | 0:15:51 | |
We're moving as quickly as we can. | 0:15:51 | 0:15:53 | |
I don't want to go back there. | 0:15:53 | 0:15:55 | |
Angela? | 0:15:55 | 0:15:57 | |
Roger Sadler. | 0:15:57 | 0:15:58 | |
Look, um, we've given our statements. | 0:15:58 | 0:16:00 | |
I'm not sure what else we can tell you. | 0:16:00 | 0:16:03 | |
I take it you're not suggesting we're involved in any way? | 0:16:03 | 0:16:06 | |
We haven't ruled out anything yet. | 0:16:06 | 0:16:08 | |
Come on! We haven't seen the man for 25 years! | 0:16:08 | 0:16:11 | |
I mean, I know he wasn't everyone's cup of tea, | 0:16:11 | 0:16:13 | |
but why would any of us want him dead? | 0:16:13 | 0:16:15 | |
We didn't even know he was on the island. | 0:16:15 | 0:16:17 | |
But I thought this was a reunion. | 0:16:17 | 0:16:18 | |
Yes, it is. Um, well, we always said we'd do a little | 0:16:18 | 0:16:21 | |
something for our 25th anniversary. | 0:16:21 | 0:16:23 | |
So why wasn't DI Poole invited? | 0:16:23 | 0:16:26 | |
Well, none of us have really kept in contact with Richard | 0:16:26 | 0:16:29 | |
since university. | 0:16:29 | 0:16:31 | |
'Until, that is, we were in your local market the other day, | 0:16:31 | 0:16:34 | |
'and there he was. Richard bloody Poole! I mean...' | 0:16:34 | 0:16:37 | |
What are you all doing here? | 0:16:42 | 0:16:44 | |
What an amazing coincidence. | 0:16:44 | 0:16:46 | |
Yes! Wasn't it? | 0:16:46 | 0:16:47 | |
Um... Then could I ask, er... | 0:16:47 | 0:16:50 | |
-Who organised the holiday? -I did. | 0:16:53 | 0:16:56 | |
And, um, out of all the possible holiday | 0:16:58 | 0:17:01 | |
destinations in the world, why on earth did you choose Saint-Marie? | 0:17:01 | 0:17:05 | |
Someone mentioned it to me when I was trying to set up the reunion. | 0:17:05 | 0:17:09 | |
Was it you, James? You'd been here on a golf trip? | 0:17:09 | 0:17:12 | |
Me? No. God, no. No, I'd... I'd never heard of this place. | 0:17:12 | 0:17:15 | |
Oh, it must have been you, then, Sasha. | 0:17:15 | 0:17:17 | |
Didn't you say you had your cosmetic surgery here? | 0:17:17 | 0:17:21 | |
No, that was St Lucia, darling. | 0:17:21 | 0:17:23 | |
And please don't give up a girl's secrets! | 0:17:23 | 0:17:25 | |
Do you know what? I must've read about it, then, in a holiday supplement or something. | 0:17:25 | 0:17:28 | |
Anyway, it stuck in my mind for some reason. So... | 0:17:28 | 0:17:31 | |
So you bumped into Richard, invited him to your villa? | 0:17:33 | 0:17:37 | |
I mean, it was a reunion we were having and, well, we didn't know | 0:17:37 | 0:17:39 | |
he was here, but once we did, well... Well, how could we not? | 0:17:39 | 0:17:42 | |
Indeed. So how come he ended up sitting alone on the veranda? | 0:17:42 | 0:17:48 | |
It's no mystery. We wanted to play charades and he didn't. | 0:17:48 | 0:17:53 | |
-Got a bit of a headache. -Oh, come on, RP! Don't be such a bore! | 0:17:53 | 0:17:56 | |
'And then over the next hour, I understand that, um, | 0:17:56 | 0:17:59 | |
'some of you went out to the veranda to see him.' | 0:17:59 | 0:18:02 | |
'I went to check that he was all right.' | 0:18:02 | 0:18:04 | |
'And he asked me for another cup of tea.' | 0:18:08 | 0:18:12 | |
'And then I think I took him out a bowl of crisps.' | 0:18:12 | 0:18:14 | |
'Then I took the tea out.' | 0:18:14 | 0:18:15 | |
I'll just take the old boy this. | 0:18:15 | 0:18:18 | |
'How long were you outside for?' | 0:18:18 | 0:18:19 | |
Half a minute. Just delivered the tea, really. | 0:18:19 | 0:18:21 | |
Speak to him at all? | 0:18:21 | 0:18:22 | |
Er, yes. I asked if he wanted to come and join the game. | 0:18:22 | 0:18:25 | |
He, er... He said he'd rather not and, um... | 0:18:25 | 0:18:27 | |
and then I went back inside. | 0:18:27 | 0:18:29 | |
I think I was probably the last one out there. | 0:18:29 | 0:18:31 | |
'Yeah, I was doing the barbecue. | 0:18:31 | 0:18:33 | |
'I went out a couple of times to see if the coals were hot.' | 0:18:33 | 0:18:35 | |
'Did you talk to Richard?' | 0:18:35 | 0:18:36 | |
'No, no, anywhere near him. I was by the barbecue | 0:18:36 | 0:18:39 | |
'the whole, whole time.' | 0:18:39 | 0:18:40 | |
You know, the truth is, the rest of us were always in that main room. | 0:18:41 | 0:18:45 | |
There must have been an intruder. | 0:18:45 | 0:18:47 | |
Someone must have got into that area unnoticed, somehow. | 0:18:48 | 0:18:53 | |
Despite the fact that you weren't expecting to meet him here, | 0:18:58 | 0:19:01 | |
once you had, I take it you all got along OK? | 0:19:01 | 0:19:05 | |
-Of course we did. -Yes, yes. | 0:19:05 | 0:19:06 | |
OK. I think that's all for now. Thanks for your time. | 0:19:07 | 0:19:12 | |
Oh, just one more thing. | 0:19:14 | 0:19:16 | |
That book he was reading, where did that come from? | 0:19:18 | 0:19:21 | |
He brought that with him. He showed it to you, didn't he, Sasha? | 0:19:21 | 0:19:24 | |
Yes, that's right. Ya. He, um... | 0:19:24 | 0:19:27 | |
He said he picked it up from a book shop along the way. | 0:19:27 | 0:19:31 | |
Strange thing to do, don't you think? | 0:19:31 | 0:19:34 | |
-Bring a book to a party? -Well, not for Richard. | 0:19:34 | 0:19:36 | |
Thank you. | 0:19:41 | 0:19:42 | |
'So the question is,' | 0:19:51 | 0:19:52 | |
what are the odds of booking a holiday 4,000 miles | 0:19:52 | 0:19:55 | |
away, and a reunion, no less, then when you arrive, | 0:19:55 | 0:19:58 | |
you discover someone you all happened to go to university with? | 0:19:58 | 0:20:01 | |
Where are my notes? | 0:20:01 | 0:20:02 | |
Ah! Thank you. | 0:20:03 | 0:20:04 | |
So the point is... | 0:20:06 | 0:20:07 | |
..if any one of them | 0:20:09 | 0:20:10 | |
knew Richard was in Saint-Marie, then it suggests that his | 0:20:10 | 0:20:14 | |
'murder was premeditated.' | 0:20:14 | 0:20:15 | |
They wouldn't have sent him if he didn't know what he was doing. | 0:20:21 | 0:20:23 | |
Fidel, we're talking about a man who fell out of a window! | 0:20:23 | 0:20:27 | |
Yes, but... | 0:20:27 | 0:20:28 | |
Yes, that is true. Well, look. | 0:20:29 | 0:20:31 | |
You weren't too keen on Inspector Poole when he came out, either. | 0:20:31 | 0:20:34 | |
We should just give him a chance. That's all I'm saying. | 0:20:34 | 0:20:37 | |
Well, he's no chief, not in my book. | 0:20:37 | 0:20:38 | |
Dwayne, no-one is going to take the inspector's place. | 0:20:38 | 0:20:41 | |
Not for me. And if he was here, I know what he'd say. | 0:20:41 | 0:20:44 | |
Me too. "Turn up the air con!" | 0:20:44 | 0:20:47 | |
No. | 0:20:47 | 0:20:48 | |
He'd tell us to be as professional as we can | 0:20:48 | 0:20:50 | |
and to help the new inspector because that's why we're here. | 0:20:50 | 0:20:53 | |
-We're police officers. -Mm-hm. -We can grieve in our own time. -Mm-hm. | 0:20:53 | 0:20:56 | |
And to turn the air con up. | 0:20:56 | 0:20:58 | |
-You know what's really funny? -What? -And the new guy's just as... | 0:20:59 | 0:21:01 | |
I think we have to rule out an intruder. | 0:21:01 | 0:21:04 | |
If someone had managed to reach the villa unseen and they also | 0:21:04 | 0:21:07 | |
somehow managed to commit murder in plain view of four witnesses | 0:21:07 | 0:21:10 | |
and then escape, I don't believe it. | 0:21:10 | 0:21:12 | |
Agreed. | 0:21:12 | 0:21:14 | |
So we're left with four friends. | 0:21:14 | 0:21:16 | |
Then if you haven't set eyes on someone for 25 years, | 0:21:17 | 0:21:19 | |
how could you ever have a motive to kill them? | 0:21:19 | 0:21:21 | |
Maybe they was all in it together. | 0:21:21 | 0:21:23 | |
Possibly. | 0:21:23 | 0:21:25 | |
But then I find the notion of four old university friends | 0:21:25 | 0:21:28 | |
conspiring to travel all this way to murder someone after all this | 0:21:28 | 0:21:31 | |
time, is just as unlikely as our ghostly intruder. | 0:21:31 | 0:21:35 | |
Fox, goose and a bag of beans. | 0:21:39 | 0:21:41 | |
-I beg your pardon? -The puzzle! Fox, goose and a bag of beans. | 0:21:41 | 0:21:45 | |
Once upon a time, a farmer went to a market and he bought a fox, | 0:21:47 | 0:21:50 | |
a goose and a bag of beans. | 0:21:50 | 0:21:51 | |
But to get them home, he had to cross a river by boat. | 0:21:51 | 0:21:54 | |
But the boat was so small it would only carry him | 0:21:54 | 0:21:57 | |
and one of the things he bought. | 0:21:57 | 0:21:59 | |
If he took the beans, the fox would eat the goose. | 0:21:59 | 0:22:01 | |
If he took the fox, the goose would eat the beans. | 0:22:01 | 0:22:03 | |
So how did he get them all across the river? | 0:22:03 | 0:22:06 | |
Yes. Now, in our version, | 0:22:08 | 0:22:09 | |
Angela Birkett went out first to ask him if he needed anything. | 0:22:09 | 0:22:13 | |
He asked for a cup of tea. | 0:22:13 | 0:22:15 | |
Then Sasha took him out a bowl of crisps. | 0:22:15 | 0:22:17 | |
So assuming that Sasha would have noticed him being dead, | 0:22:17 | 0:22:20 | |
we therefore have to accept that Angela didn't kill him. | 0:22:20 | 0:22:24 | |
Then the crisp bowl being empty | 0:22:24 | 0:22:25 | |
clearly suggests that he was alive to eat them after Sasha had left. | 0:22:25 | 0:22:30 | |
So we must assume that she didn't kill him, either. | 0:22:30 | 0:22:32 | |
Next out was her husband, James, who took him the cup of tea. | 0:22:32 | 0:22:36 | |
Which was also drunk, so that means James didn't kill him, either. | 0:22:36 | 0:22:41 | |
Unless Richard didn't drink the tea and the killer threw it away. | 0:22:41 | 0:22:44 | |
No. Forensics showed traces of Richard's saliva in the cup. | 0:22:44 | 0:22:47 | |
So he drank the tea after James left, leaving only | 0:22:47 | 0:22:51 | |
Roger as a possible suspect. | 0:22:51 | 0:22:53 | |
And yet, he's the only one of them | 0:22:53 | 0:22:55 | |
who never went near Richard at any time. | 0:22:55 | 0:22:57 | |
-Or so he says. -True. And then there's the damn book. | 0:22:57 | 0:23:01 | |
Yes! Take the goose! | 0:23:04 | 0:23:06 | |
-You take the goose because the fox won't eat the beans! -Yes. | 0:23:06 | 0:23:09 | |
But then if he takes the fox out next, the goose will eat the beans. | 0:23:09 | 0:23:12 | |
No, that's not right. | 0:23:12 | 0:23:13 | |
If he takes the fox out next, it will eat the goose | 0:23:13 | 0:23:16 | |
when he goes back for the beans. If he takes out the beans next, | 0:23:16 | 0:23:19 | |
the goose will eat them when he goes back for the fox. | 0:23:19 | 0:23:22 | |
The bottom line is none of them had a motive. | 0:23:25 | 0:23:28 | |
It makes no sense. | 0:23:28 | 0:23:29 | |
Ah. | 0:23:32 | 0:23:34 | |
Oh, um... It was a long flight. | 0:23:34 | 0:23:37 | |
I could really use a change of clothes. | 0:23:37 | 0:23:39 | |
Does anyone know where I'm staying? | 0:23:39 | 0:23:41 | |
We treated it as a secondary crime scene, | 0:23:55 | 0:23:57 | |
so everything of Richard has been taken away. | 0:23:57 | 0:24:00 | |
You know, I really wouldn't mind booking into a B&B or something. | 0:24:00 | 0:24:05 | |
It must be quite tough, having someone else stay here. | 0:24:05 | 0:24:08 | |
A little, yes, | 0:24:08 | 0:24:09 | |
-but if you stay on Saint-Marie, this will be your home, so... -Yes. | 0:24:09 | 0:24:14 | |
Will your wife be coming? | 0:24:15 | 0:24:16 | |
Sally? | 0:24:16 | 0:24:18 | |
In a week or so, I think. Er, yes. She's had to hang on. | 0:24:18 | 0:24:22 | |
We're renting out our house in the UK, so she's dealing with that. | 0:24:22 | 0:24:25 | |
Yes, a bit of a loss without her, really. | 0:24:27 | 0:24:30 | |
You must be. | 0:24:30 | 0:24:31 | |
Er... There's an immersion heater for hot water. | 0:24:32 | 0:24:35 | |
The switch is just beside it. | 0:24:35 | 0:24:37 | |
Anything else, just ask. | 0:24:38 | 0:24:40 | |
Quick shower and a change. Half an hour? | 0:24:40 | 0:24:42 | |
I'll be outside. | 0:24:42 | 0:24:43 | |
# I've been wanting you | 0:24:50 | 0:24:53 | |
# For so long, it's a shame | 0:24:54 | 0:24:58 | |
# Oh, baby | 0:25:00 | 0:25:03 | |
# Every time I hear your name... # | 0:25:03 | 0:25:08 | |
HE COUGHS | 0:25:09 | 0:25:10 | |
-Better? -Much better! | 0:25:13 | 0:25:15 | |
There was a lizard in the bathroom. | 0:25:20 | 0:25:21 | |
Harry. He comes with the house. | 0:25:21 | 0:25:24 | |
Ah! Sitting tenant? | 0:25:24 | 0:25:26 | |
He likes bugs smashed up with fruit. | 0:25:27 | 0:25:29 | |
I'll do my best. | 0:25:29 | 0:25:30 | |
This French novel Richard was supposedly reading, do you know it? | 0:25:35 | 0:25:40 | |
Yes. Le Rouge Et Le Noir. We studied it at school. | 0:25:40 | 0:25:43 | |
Le Rouge Et Le Noir. | 0:25:43 | 0:25:45 | |
It's the story of, um... of a carpenter's son, Julien Sorel. | 0:25:45 | 0:25:49 | |
He rises up through French society in the 19th century. | 0:25:49 | 0:25:52 | |
It's a satire. | 0:25:52 | 0:25:54 | |
Can you think of any reason why that would be of interest to Richard? | 0:25:54 | 0:25:57 | |
No. | 0:25:57 | 0:25:58 | |
And even if it was, he couldn't read French, | 0:25:58 | 0:26:00 | |
so the book would have been useless to him. | 0:26:00 | 0:26:03 | |
Then why take it to a party? | 0:26:03 | 0:26:04 | |
-Bonjour. -Oh, hello. | 0:26:04 | 0:26:06 | |
La poste pour Monsieur Poole. | 0:26:06 | 0:26:07 | |
No, don't worry. I'll... I'll take it. | 0:26:07 | 0:26:09 | |
It doesn't say who it's from. | 0:26:09 | 0:26:11 | |
It's from the UK. | 0:26:12 | 0:26:13 | |
Yeah. I wonder who sent it. | 0:26:13 | 0:26:15 | |
Oh, Sir? I've had a preliminary report back from the pathologist. | 0:26:26 | 0:26:30 | |
-Ah. Right. -Yes. It confirms what we already suspected. | 0:26:30 | 0:26:33 | |
The ice pick entered the body through the third and fourth ribs. | 0:26:35 | 0:26:37 | |
It punctured the right ventricle of the heart. | 0:26:37 | 0:26:40 | |
Death would have been pretty instant. | 0:26:40 | 0:26:42 | |
And the, er, background checks. You said you'd done them? | 0:26:47 | 0:26:50 | |
That's right. We have. Now, Angela Birkett has her own law practice. | 0:26:50 | 0:26:56 | |
She appears to be doing very well out of it. | 0:26:56 | 0:26:58 | |
Roger Sadler is an estate agent based in Kent. | 0:26:58 | 0:27:01 | |
He seems to be the least well-off. | 0:27:01 | 0:27:03 | |
Now, Mr and Mrs Moore are worth a bomb. | 0:27:03 | 0:27:06 | |
She sold her software company business in 2007 for 18 million! | 0:27:06 | 0:27:11 | |
The Moores moved to Spain seven years ago after Mrs Moore was | 0:27:11 | 0:27:14 | |
involved in a road traffic accident. | 0:27:14 | 0:27:16 | |
Really? A bad one? | 0:27:16 | 0:27:17 | |
Sasha Moore was fine but her sister, Helen Reed, | 0:27:17 | 0:27:19 | |
was driving and she was killed. | 0:27:19 | 0:27:21 | |
This is interesting. | 0:27:27 | 0:27:28 | |
What is? | 0:27:28 | 0:27:29 | |
It looks like his university album. | 0:27:30 | 0:27:32 | |
Look, there's Sasha. | 0:27:34 | 0:27:35 | |
The gang. | 0:27:38 | 0:27:39 | |
Richard and Sasha again. | 0:27:39 | 0:27:40 | |
There's James. | 0:27:43 | 0:27:45 | |
And there's Richard. Angela Birkett is behind him, look. | 0:27:45 | 0:27:48 | |
Hm. | 0:27:48 | 0:27:49 | |
It's... I can't see Roger Sadler. | 0:27:49 | 0:27:52 | |
Yes, it's their graduation photo. But why is it all here? | 0:27:52 | 0:27:55 | |
Maybe he wanted to show his friends. | 0:27:55 | 0:27:57 | |
Who sent it? | 0:27:57 | 0:27:58 | |
Um...his mother. | 0:27:58 | 0:27:59 | |
"Dearest Richard, hope what you're looking for is here. Love, Mum." | 0:28:01 | 0:28:05 | |
"Hope what you're looking for is here." What was he looking for? | 0:28:05 | 0:28:09 | |
Looks like his diary. | 0:28:09 | 0:28:10 | |
Ah, well, that could tell us something important. | 0:28:10 | 0:28:13 | |
I should read it. | 0:28:13 | 0:28:14 | |
Sir, I've got something! | 0:28:15 | 0:28:17 | |
There is a series of deleted e-mails to | 0:28:17 | 0:28:19 | |
and from the UK from Angela Birkett. | 0:28:19 | 0:28:22 | |
It looks like she's inviting him to their reunion, look. | 0:28:22 | 0:28:24 | |
"Perhaps, if you don't want to come to the UK, | 0:28:24 | 0:28:26 | |
"maybe I can persuade the others to come to Saint-Marie." | 0:28:26 | 0:28:29 | |
So there was no coincidence. She knew he was here all along! | 0:28:29 | 0:28:32 | |
She lied to us. | 0:28:32 | 0:28:34 | |
Because I loved him. | 0:28:36 | 0:28:38 | |
He was never interested in me, | 0:28:39 | 0:28:41 | |
no matter how much of a fool I made of myself. | 0:28:41 | 0:28:44 | |
With respect, doesn't explain why you lied to me. | 0:28:44 | 0:28:46 | |
The others didn't know that Richard was here. | 0:28:48 | 0:28:50 | |
It was bad enough at university. They were always teasing me, | 0:28:50 | 0:28:54 | |
saying I was obsessed. They called me "Richard's little bunny boiler". | 0:28:54 | 0:28:59 | |
If they knew I'd brought them all out here, just because... | 0:28:59 | 0:29:02 | |
Well, it wouldn't have been a proper reunion, not without Richard! | 0:29:04 | 0:29:08 | |
Um... Could you excuse me, just for a moment? | 0:29:08 | 0:29:10 | |
'You're saying you were never in a relationship with him?' | 0:29:12 | 0:29:15 | |
'He only ever had eyes for Sasha.' | 0:29:15 | 0:29:17 | |
Sasha Moore? | 0:29:17 | 0:29:19 | |
He helped her with her dissertation. | 0:29:19 | 0:29:21 | |
You know, they were... They were rarely apart. | 0:29:21 | 0:29:25 | |
Must have been quite some reunion when she saw him. | 0:29:25 | 0:29:27 | |
Actually... | 0:29:27 | 0:29:28 | |
'I thought she was rather cool with him. | 0:29:30 | 0:29:32 | |
'I suppose it was probably for James's benefit.' | 0:29:34 | 0:29:36 | |
James used to get a little bit jealous now and again but I think | 0:29:39 | 0:29:43 | |
that's why he kept sniping at him. You know, he was arguing with him. | 0:29:43 | 0:29:46 | |
Oh? | 0:29:46 | 0:29:47 | |
The day we bumped into Richard, we... | 0:29:47 | 0:29:48 | |
we all went to this place for lunch. | 0:29:48 | 0:29:50 | |
'I couldn't hear what they were saying. | 0:29:50 | 0:29:52 | |
'James said it was because Richard insisted on leaving | 0:29:52 | 0:29:54 | |
'a tip, even though the service was rubbish. | 0:29:54 | 0:29:57 | |
'But I... I just feel it was bound to be something about Sasha.' | 0:29:57 | 0:30:02 | |
I'm sorry I lied. I didn't mean any harm. | 0:30:09 | 0:30:12 | |
I really did love Richard. | 0:30:16 | 0:30:18 | |
I couldn't have done anything to harm him. I really... | 0:30:19 | 0:30:24 | |
I couldn't. | 0:30:26 | 0:30:27 | |
# Take the ribbon from your hair | 0:30:36 | 0:30:39 | |
# Shake it loose and let it fall... # | 0:30:42 | 0:30:45 | |
You OK? | 0:30:49 | 0:30:50 | |
It's so sad, you know, | 0:30:53 | 0:30:55 | |
reading about someone's dreams, how they see their future, | 0:30:55 | 0:31:00 | |
knowing that most of it will never happen. | 0:31:00 | 0:31:02 | |
I miss him. | 0:31:07 | 0:31:08 | |
I know. | 0:31:10 | 0:31:11 | |
Ah! Dwayne said I'd find you here. | 0:31:16 | 0:31:19 | |
Yes. This is my mother, Catherine. Maman, this is our new inspector. | 0:31:19 | 0:31:25 | |
Humphrey. Enchante. | 0:31:25 | 0:31:26 | |
Welcome to Saint-Marie. | 0:31:26 | 0:31:28 | |
Thank you. | 0:31:28 | 0:31:29 | |
And this is my mother's bar. | 0:31:29 | 0:31:31 | |
-Can I get you anything? -Oh! | 0:31:31 | 0:31:32 | |
Tea? | 0:31:34 | 0:31:35 | |
Tea? Heavens, no! It must be 100 degrees! | 0:31:35 | 0:31:38 | |
Um, I would like, please... Surprise me. | 0:31:38 | 0:31:40 | |
-May I? -Of course. -Thank you. | 0:31:44 | 0:31:47 | |
Is there, er, anything in Richard's diary that might help us? | 0:31:50 | 0:31:54 | |
Well, it seems that Richard was in love with Sasha Reed. | 0:31:54 | 0:31:57 | |
They were just friends, right? That's what Angela Birkett said. | 0:31:57 | 0:32:00 | |
Yes, they were. But it's clear Richard wanted more than that. | 0:32:00 | 0:32:03 | |
And she also has a boyfriend. | 0:32:03 | 0:32:06 | |
James Moore. | 0:32:06 | 0:32:07 | |
Who hates their friendship. | 0:32:07 | 0:32:09 | |
But Sasha always sticks up for Richard. | 0:32:09 | 0:32:11 | |
And makes James hate him even more, I'd imagine. | 0:32:11 | 0:32:13 | |
Sasha's sister, Helen, was a year below them. | 0:32:13 | 0:32:17 | |
When Richard left, she told him he wasn't being fair with Sasha. | 0:32:17 | 0:32:21 | |
He realised it was true and he decided he'd never see her again. | 0:32:21 | 0:32:24 | |
Ah, Catherine! Thank you. Er... What is it? | 0:32:24 | 0:32:28 | |
A rum made on the island. The locals swear by it. | 0:32:28 | 0:32:31 | |
Mm, excellent! Um... | 0:32:31 | 0:32:32 | |
No, your first drink is on me. Enjoy. | 0:32:32 | 0:32:35 | |
Thank you. | 0:32:35 | 0:32:36 | |
Well, bottoms up! | 0:32:40 | 0:32:42 | |
No, you should... | 0:32:42 | 0:32:44 | |
Camille. | 0:32:44 | 0:32:45 | |
Sir. | 0:32:46 | 0:32:47 | |
Yes, Fidel? | 0:32:47 | 0:32:48 | |
So I spoke to the staff at the Palm Court, and there was a waitress | 0:32:50 | 0:32:54 | |
who said she saw the argument between James and Richard. | 0:32:54 | 0:32:56 | |
HUMPHREY CLEARS THROAT | 0:32:56 | 0:32:57 | |
-HOARSELY: -Go on. | 0:32:57 | 0:32:59 | |
Well, the way waitress put it, um, | 0:32:59 | 0:33:02 | |
James was being very aggressive and she heard the name Sasha. | 0:33:02 | 0:33:05 | |
HE COUGHS | 0:33:07 | 0:33:08 | |
I think we need to speak to James Moore again, don't you? | 0:33:12 | 0:33:16 | |
People really drink that? | 0:33:16 | 0:33:18 | |
-Well, I do. -Right. | 0:33:18 | 0:33:21 | |
Hello. | 0:33:37 | 0:33:38 | |
Oh, for heaven's sake! How many times do we have to do all this? | 0:33:38 | 0:33:42 | |
Only as long as it takes for you to tell us the truth. | 0:33:42 | 0:33:45 | |
We have a witness who overheard the argument you had with Richard | 0:33:45 | 0:33:47 | |
at the lunch and it wasn't about the tip, was it? | 0:33:47 | 0:33:49 | |
Yeah, and while you're thinking about that, you can | 0:33:52 | 0:33:54 | |
tell us about the relationship you had with him at university. | 0:33:54 | 0:33:58 | |
Look, what is all this, eh? | 0:33:58 | 0:33:59 | |
You resented the time he spent with Sasha. | 0:33:59 | 0:34:01 | |
How the hell do you know that? | 0:34:03 | 0:34:04 | |
Are you saying it isn't true? | 0:34:04 | 0:34:06 | |
You know, he was like a fly. | 0:34:06 | 0:34:07 | |
He was always buzzing around her. | 0:34:07 | 0:34:10 | |
She wasn't remotely interested in him, of course, | 0:34:10 | 0:34:12 | |
but the damn fool was infatuated with her. | 0:34:12 | 0:34:14 | |
And it never went any further? | 0:34:14 | 0:34:16 | |
Like I said, she wasn't interested in him. | 0:34:16 | 0:34:19 | |
Then why, even after 20, 25 years, | 0:34:19 | 0:34:21 | |
were you still jealous of him? | 0:34:21 | 0:34:24 | |
That's what the argument was about, wasn't it? Sasha? | 0:34:24 | 0:34:27 | |
I didn't take kindly to the way he was looking at my wife | 0:34:27 | 0:34:29 | |
and I told him as much. | 0:34:29 | 0:34:31 | |
-Is that what you wanted? -It's a start. | 0:34:31 | 0:34:33 | |
All right. I admit it. | 0:34:33 | 0:34:34 | |
I get twitchy when men look at Sasha. And when we all met up, | 0:34:34 | 0:34:38 | |
I thought Richard was being over-familiar with her. | 0:34:38 | 0:34:40 | |
It was like being back at university and I... | 0:34:40 | 0:34:43 | |
I just snapped. | 0:34:43 | 0:34:44 | |
You just leave Sasha alone! | 0:34:47 | 0:34:49 | |
You seem to be an intelligent man, Inspector. | 0:34:52 | 0:34:54 | |
Do you seriously believe that I would murder a policeman | 0:34:55 | 0:34:59 | |
because of the way he was looking at my wife? | 0:34:59 | 0:35:01 | |
-I don't trust him. -Nor do I. Doesn't mean he's our killer. | 0:35:19 | 0:35:22 | |
Yes, then who is? | 0:35:22 | 0:35:23 | |
-I saw you talking to James. -Yes. | 0:35:25 | 0:35:28 | |
He's a good man. | 0:35:29 | 0:35:30 | |
He just gets angry sometimes. | 0:35:32 | 0:35:35 | |
And jealous? | 0:35:35 | 0:35:36 | |
OK. Richard and I... | 0:35:38 | 0:35:39 | |
Richard was... | 0:35:43 | 0:35:44 | |
..funny. You know, eccentric. | 0:35:46 | 0:35:49 | |
He was one of my best friends. | 0:35:49 | 0:35:51 | |
But I never felt the way he did. | 0:35:54 | 0:35:56 | |
You know, it's funny. It's only now that he's gone... | 0:35:58 | 0:36:02 | |
..that I realise how much I've been missing him. | 0:36:04 | 0:36:07 | |
Anyway... | 0:36:10 | 0:36:11 | |
..I just wanted to tell you about James. | 0:36:14 | 0:36:16 | |
Crisps. | 0:36:29 | 0:36:30 | |
Cup of tea, cup of tea, tea. | 0:36:31 | 0:36:33 | |
'Hi, you're through to Sally. I'm not here right now | 0:36:44 | 0:36:47 | |
'but please leave a message and I'll get back to you.' | 0:36:47 | 0:36:49 | |
BEEP | 0:36:49 | 0:36:50 | |
Hello, my darling. Here safe. | 0:36:50 | 0:36:53 | |
At least I've hit the ground running, | 0:36:53 | 0:36:54 | |
so there's no time for jet lag yet. | 0:36:54 | 0:36:57 | |
People are nice and, er, it is very beautiful. Love you. | 0:36:57 | 0:37:03 | |
Bye-bye. | 0:37:03 | 0:37:04 | |
OK, well, thank you very much for that. | 0:37:07 | 0:37:10 | |
That was the dean's secretary at the university they all attended. | 0:37:10 | 0:37:14 | |
It bugged me as to why Roger Sadler is not in the graduation | 0:37:14 | 0:37:18 | |
-photograph, so she pulled his file for me. -And? | 0:37:18 | 0:37:21 | |
Simple. He never graduated. Roger was thrown out of university. | 0:37:21 | 0:37:25 | |
What for? | 0:37:25 | 0:37:26 | |
Cheating in his exams. And it gets better. | 0:37:26 | 0:37:30 | |
He was reported to the dean by Richard Poole. | 0:37:30 | 0:37:33 | |
You looking for me? | 0:37:51 | 0:37:53 | |
Yes, we are. | 0:37:54 | 0:37:55 | |
We understand that you were thrown out of university for cheating | 0:37:55 | 0:37:58 | |
on your exams. | 0:37:58 | 0:37:59 | |
It's a matter of public record. Why bring it up now? | 0:38:02 | 0:38:05 | |
You didn't think to tell us? | 0:38:05 | 0:38:08 | |
I hardly see how it's relevant! | 0:38:08 | 0:38:09 | |
It's relevant because it was Richard who reported you, wasn't it? | 0:38:09 | 0:38:14 | |
Is that true? | 0:38:14 | 0:38:15 | |
You really expect us to believe you didn't know? | 0:38:15 | 0:38:17 | |
Well, I didn't. Well, it was... | 0:38:17 | 0:38:20 | |
25 years ago. I honestly had no idea. | 0:38:20 | 0:38:22 | |
Now, if you don't mind... | 0:38:24 | 0:38:26 | |
You're lying! | 0:38:28 | 0:38:29 | |
I beg your pardon? | 0:38:31 | 0:38:33 | |
We've got Richard's diary. | 0:38:33 | 0:38:35 | |
He's written about how you cheated, how he confronted you | 0:38:35 | 0:38:39 | |
and you begged him not to tell, didn't you? | 0:38:39 | 0:38:41 | |
I can arrest you and you can read it for yourself at the police | 0:38:44 | 0:38:47 | |
station if you prefer. | 0:38:47 | 0:38:48 | |
Yes, all right, all right! Richard wouldn't listen. | 0:38:50 | 0:38:55 | |
I... I pleaded with him not to, but he went to the dean anyway. | 0:38:55 | 0:38:59 | |
And in that very moment, my life was ruined. | 0:38:59 | 0:39:02 | |
When I was booted out of Cambridge, I felt my life had come to | 0:39:02 | 0:39:05 | |
an end and maybe I'd have happily killed him then. | 0:39:05 | 0:39:09 | |
But that was a quarter of a century ago. | 0:39:09 | 0:39:11 | |
I've moved on since then. | 0:39:11 | 0:39:13 | |
Look, if you really think I'm the killer, then arrest me. | 0:39:13 | 0:39:16 | |
But first you going to have to prove to me how I'm supposed to have done it. | 0:39:16 | 0:39:19 | |
I've got three witnesses who say I never went near him in his bloody chair all night! | 0:39:19 | 0:39:22 | |
-None of that was actually in Richard's diary, was it? -No. | 0:39:26 | 0:39:28 | |
Rouge Et Le Noir... | 0:39:41 | 0:39:42 | |
..Speak French... | 0:39:43 | 0:39:44 | |
It's getting late. | 0:39:59 | 0:40:00 | |
You should get some sleep. | 0:40:03 | 0:40:05 | |
We're so close. We have to be! | 0:40:05 | 0:40:08 | |
And yet, WHY did he have to die? | 0:40:09 | 0:40:12 | |
-Well, good night, Sir. -Yes. Good night, Camille. | 0:40:18 | 0:40:20 | |
'Hi, you're through to Sally. I'm not here right now | 0:40:29 | 0:40:31 | |
'but please leave a message and I'll get back to you.' | 0:40:31 | 0:40:34 | |
BEEP | 0:40:34 | 0:40:35 | |
OK, everyone. We are missing something. | 0:40:38 | 0:40:40 | |
Means. | 0:40:42 | 0:40:44 | |
All four of them had access to the murder weapon. | 0:40:44 | 0:40:46 | |
Doesn't help. Opportunity. | 0:40:46 | 0:40:48 | |
Um, they all went out onto the veranda at one point or another. | 0:40:48 | 0:40:50 | |
Doesn't help, either, | 0:40:50 | 0:40:51 | |
but at least neither means nor opportunity rules any of them out. | 0:40:51 | 0:40:54 | |
Which brings us back to the one thing we keep coming back to. | 0:40:54 | 0:40:57 | |
Motive. | 0:40:57 | 0:40:58 | |
Yes, but do we really believe someone waited all that time to kill him? | 0:40:58 | 0:41:01 | |
-We don't believe there was an intruder, either. -No. | 0:41:01 | 0:41:03 | |
Then something must have happened after they arrived in Saint-Marie, something that provided a motive. | 0:41:03 | 0:41:07 | |
You know what really confuses me? | 0:41:07 | 0:41:09 | |
Why kill him at the villa? And why that night? | 0:41:09 | 0:41:12 | |
The man lives in a shack on a beach, miles from anyone. | 0:41:12 | 0:41:15 | |
Why not kill him there? | 0:41:15 | 0:41:16 | |
You're right! He was murdered at a party. | 0:41:16 | 0:41:18 | |
It's as though the killer felt they had no choice, | 0:41:18 | 0:41:20 | |
that Richard Poole had to die that evening! Why? | 0:41:20 | 0:41:23 | |
Perhaps he was about to expose one of them. | 0:41:23 | 0:41:25 | |
Yes! That's it! That's it! A ticking clock! | 0:41:25 | 0:41:27 | |
He knew something, didn't he? Or, at the very least, suspected it. | 0:41:30 | 0:41:34 | |
That's why he sent home for these things. | 0:41:34 | 0:41:36 | |
He believed that something in here would confirm what he discovered. | 0:41:37 | 0:41:42 | |
But what? Come on! | 0:41:43 | 0:41:46 | |
Right. There's a flight into Paris leaving at three | 0:41:51 | 0:41:54 | |
and a connecting flight into London. They've got seats if we want them. | 0:41:54 | 0:41:57 | |
What about the police? | 0:41:57 | 0:41:58 | |
Well, we've answered all their bloody questions. | 0:41:58 | 0:42:00 | |
They can't stop us from going home. Come on. | 0:42:00 | 0:42:02 | |
Ange? Come on. | 0:42:03 | 0:42:06 | |
I've just spoken to a clerk at Angela Birkett's law practice. | 0:42:19 | 0:42:22 | |
Took a little bit of the old Dwayne love dust, | 0:42:22 | 0:42:24 | |
but she told me that Angela hasn't been in any kind of relationship | 0:42:24 | 0:42:27 | |
since she started there eight years ago. | 0:42:27 | 0:42:29 | |
What is the "Dwayne love dust"? | 0:42:29 | 0:42:31 | |
Don't ask! | 0:42:31 | 0:42:32 | |
The police report from the traffic accident that Sasha Moore was | 0:42:32 | 0:42:34 | |
involved in, Sir. | 0:42:34 | 0:42:35 | |
Seems like a lorry had a puncture, swerved into two lanes. | 0:42:35 | 0:42:38 | |
Her sister was driving, but there was nothing she could do. Helen was killed instantly. | 0:42:38 | 0:42:42 | |
OK. Thanks, Fidel. | 0:42:42 | 0:42:43 | |
And only Roger Sadler and Angela Birkett had social network sites. | 0:42:43 | 0:42:46 | |
-Bit about the reunion but... -OK! | 0:42:46 | 0:42:47 | |
Enough of the information overload! | 0:42:48 | 0:42:51 | |
Let's keep it simple. The mementos. | 0:42:52 | 0:42:54 | |
Why did he need the stuff he sent for? | 0:42:54 | 0:42:57 | |
And the book. Come on! | 0:42:59 | 0:43:01 | |
Why take a book to a party? | 0:43:01 | 0:43:02 | |
What was he up to? | 0:43:02 | 0:43:04 | |
It's like he's testing us. | 0:43:04 | 0:43:05 | |
Yes, well, you know, that would be the chief all over, Sir. | 0:43:05 | 0:43:08 | |
'And the book was on the floor, which is a bit of a puzzle. | 0:43:09 | 0:43:12 | |
-'It was in French.' -Testing! | 0:43:12 | 0:43:14 | |
It looks like things from his time at university. | 0:43:14 | 0:43:16 | |
'Haven't seen the man for 25 years!' | 0:43:16 | 0:43:19 | |
He helped her with her dissertation. | 0:43:19 | 0:43:21 | |
But no, of course! Of course! Testing us! | 0:43:21 | 0:43:24 | |
PHONE RINGS | 0:43:24 | 0:43:27 | |
Honore Police Station? | 0:43:27 | 0:43:28 | |
-Bloody hell! -You got something? | 0:43:43 | 0:43:45 | |
That was the hotel, the reunion party's checking out. | 0:43:48 | 0:43:51 | |
What?! We need to stop them! | 0:43:51 | 0:43:52 | |
Yes! Stop them! | 0:43:52 | 0:43:54 | |
Fidel. | 0:43:54 | 0:43:55 | |
Look at this. | 0:43:57 | 0:43:59 | |
What am I looking at? | 0:44:00 | 0:44:01 | |
Name at the top. Got the who, just need the how. | 0:44:01 | 0:44:05 | |
-Where's the Jeep? -Huh? | 0:44:07 | 0:44:09 | |
-There's no Jeep? -Camille took it. | 0:44:09 | 0:44:12 | |
What do we do, then? | 0:44:12 | 0:44:15 | |
Oh...no! | 0:44:15 | 0:44:16 | |
Splendid! | 0:44:32 | 0:44:34 | |
Lovely. | 0:44:39 | 0:44:41 | |
Splendid. | 0:44:41 | 0:44:43 | |
Got it. | 0:44:51 | 0:44:52 | |
What are they all doing here? | 0:45:09 | 0:45:10 | |
This is the part where you expose the killer. | 0:45:10 | 0:45:13 | |
In front of everyone? | 0:45:13 | 0:45:15 | |
It's how Richard did it. | 0:45:15 | 0:45:18 | |
-Really? -Yes. | 0:45:18 | 0:45:21 | |
Look, can someone tell us what the bloody hell is going on, | 0:45:21 | 0:45:23 | |
-because we all have a plane to catch. -We've answered all your questions. | 0:45:23 | 0:45:26 | |
Ah, no, you've answered some of them. | 0:45:26 | 0:45:29 | |
Some I haven't asked yet. | 0:45:29 | 0:45:31 | |
HUMPHREY SIGHS | 0:45:31 | 0:45:33 | |
Sorry. | 0:45:33 | 0:45:35 | |
You know, bizarrely, I'm the only one who never met Richard Poole. | 0:45:35 | 0:45:40 | |
But during this case, I...I feel as though | 0:45:40 | 0:45:42 | |
I've got to know him...a little. | 0:45:42 | 0:45:45 | |
Mostly by the effect he had on those around him. | 0:45:45 | 0:45:48 | |
But it seems we all forgot one very crucial thing... | 0:45:49 | 0:45:53 | |
he was a detective. | 0:45:53 | 0:45:56 | |
A good one. | 0:45:56 | 0:45:58 | |
I think he made a discovery, had a theory about what he discovered | 0:45:58 | 0:46:01 | |
and then sent home for evidence to corroborate that theory. | 0:46:01 | 0:46:04 | |
And in doing so, he has in essence...solved his own murder. | 0:46:04 | 0:46:09 | |
You know, the biggest problem we had was establishing a motive. | 0:46:09 | 0:46:13 | |
Why kill someone you haven't seen for 25 years? | 0:46:13 | 0:46:17 | |
It...it simply can't be any of us, | 0:46:17 | 0:46:19 | |
we were in sight of each other the whole time! | 0:46:19 | 0:46:21 | |
Apart from Roger when he went out to light the barbecue. | 0:46:21 | 0:46:24 | |
Now...now hold on a second, I didn't bloody kill anyone, | 0:46:24 | 0:46:27 | |
-I didn't go anywhere near him. -No, you didn't. | 0:46:27 | 0:46:30 | |
-What? -I said you didn't kill Richard Poole. | 0:46:30 | 0:46:34 | |
Oh, right, good. | 0:46:34 | 0:46:37 | |
Thank you. | 0:46:37 | 0:46:39 | |
-Then there were three. -ANGELA SIGHS | 0:46:39 | 0:46:42 | |
I can't bear this! I've told you all I know, | 0:46:42 | 0:46:44 | |
I wouldn't have hurt Richard, you all know that! | 0:46:44 | 0:46:47 | |
I-I-I...I loved him. | 0:46:47 | 0:46:49 | |
And I believe you. | 0:46:49 | 0:46:51 | |
SHE SIGHS | 0:46:51 | 0:46:53 | |
And then there were two. | 0:46:53 | 0:46:55 | |
You see...it was a little like the goose, the fox and the beans... | 0:46:57 | 0:47:02 | |
working out who did what, when...and in what order. | 0:47:02 | 0:47:07 | |
First, Angela checked he was all right. | 0:47:07 | 0:47:10 | |
Why don't you come in, Richard, it'll be fun? | 0:47:10 | 0:47:12 | |
She asked him if he wanted another cup of tea. | 0:47:12 | 0:47:14 | |
But when she left him, we believe he was still alive. | 0:47:14 | 0:47:17 | |
Then a little later, you took him out his bowl of crisps. | 0:47:17 | 0:47:21 | |
Remind me...who was it who suggested playing charades that night? | 0:47:21 | 0:47:25 | |
It was you, wasn't it, Sash? | 0:47:25 | 0:47:28 | |
It might have been. Why? | 0:47:28 | 0:47:30 | |
Why, because it was well known Richard hated playing games, | 0:47:30 | 0:47:33 | |
so how better for his killer to isolate him from the group. | 0:47:33 | 0:47:36 | |
Yes, you needed him to be on his own away from the others, didn't you? | 0:47:36 | 0:47:40 | |
So that you could murder him. | 0:47:40 | 0:47:42 | |
ANGELA SIGHS | 0:47:42 | 0:47:43 | |
No. | 0:47:43 | 0:47:46 | |
-No! -That can't be right. | 0:47:46 | 0:47:48 | |
Richard was still alive when Sasha came back inside. | 0:47:48 | 0:47:51 | |
H-H-He drank the tea, he ate the food. | 0:47:51 | 0:47:54 | |
Not quite, cos Sasha had an accomplice. | 0:47:54 | 0:47:56 | |
James. | 0:47:59 | 0:48:00 | |
What?! | 0:48:00 | 0:48:03 | |
-Angela... -HE CLEARS HIS THROAT | 0:48:03 | 0:48:05 | |
..when Richard asked you for another cup of tea, | 0:48:05 | 0:48:08 | |
did you take the old cup back into the house? | 0:48:08 | 0:48:11 | |
-I don't think so. -Cos you did, didn't you? | 0:48:11 | 0:48:15 | |
When you took him out his crisps. | 0:48:15 | 0:48:17 | |
And you didn't take him out a new cup of tea, did you? | 0:48:18 | 0:48:22 | |
-You took him out the old one. -I'll just take His Lordship this. | 0:48:22 | 0:48:25 | |
All done to establish an alibi...for your wife. | 0:48:25 | 0:48:29 | |
You see the "how"...was reasonably easy, | 0:48:29 | 0:48:32 | |
once we knew that one of you committed the murder, | 0:48:32 | 0:48:35 | |
but it was the "why"...the "why" that was the most elusive. | 0:48:35 | 0:48:39 | |
Why would anyone kill an old friend they hadn't seen for 25 years? | 0:48:39 | 0:48:43 | |
In fact, by this logic, Sasha was our least likely suspect. | 0:48:43 | 0:48:48 | |
After all, she and Richard were best mates in college. | 0:48:48 | 0:48:50 | |
But that's how... | 0:48:50 | 0:48:51 | |
that's how I knew it had to be you who wielded the ice pick. | 0:48:51 | 0:48:56 | |
Richard Poole wasn't killed by an old friend | 0:48:56 | 0:48:58 | |
as we've been thinking all along. | 0:48:58 | 0:49:01 | |
He was killed by a relative stranger. | 0:49:01 | 0:49:04 | |
What are you talking about? | 0:49:05 | 0:49:07 | |
Because you're not Sasha Moore... | 0:49:07 | 0:49:09 | |
..you're Helen Reed...her sister. | 0:49:10 | 0:49:14 | |
Only one year separated two sisters, Sasha and Helen Reed. | 0:49:14 | 0:49:18 | |
Both attended the same university. | 0:49:18 | 0:49:20 | |
In the police file from the road traffic accident you were both involved in, | 0:49:20 | 0:49:23 | |
there's a police report showing an earlier conviction for shoplifting. | 0:49:23 | 0:49:27 | |
Which was around the time | 0:49:27 | 0:49:28 | |
Sasha founded her computer software company. | 0:49:28 | 0:49:30 | |
Unlike her, you were unemployed, you had no money. | 0:49:30 | 0:49:33 | |
And even years later, after your much more successful sister | 0:49:33 | 0:49:35 | |
sold her company for a small fortune, you were still struggling. | 0:49:35 | 0:49:39 | |
What happened after that car accident? | 0:49:40 | 0:49:44 | |
Two sisters both injured, one fatally. | 0:49:44 | 0:49:47 | |
Was there some confusion about who was who? | 0:49:49 | 0:49:51 | |
Did someone ask you if you were Sasha? | 0:49:51 | 0:49:53 | |
Was the opportunity just too good to miss? | 0:49:53 | 0:49:56 | |
Had the affair with her sister already started? | 0:50:02 | 0:50:05 | |
Or did it begin once she got control of your dead wife's fortune? | 0:50:05 | 0:50:09 | |
This...is the real Sasha. | 0:50:12 | 0:50:14 | |
Full of life and joy, about to marry her college sweetheart, James. | 0:50:14 | 0:50:19 | |
And this is you. You already looked a bit like your sister, | 0:50:20 | 0:50:24 | |
but helped on with a touch of cosmetic surgery... | 0:50:24 | 0:50:27 | |
Didn't you say you had your cosmetic surgery here? | 0:50:27 | 0:50:30 | |
No, that was St Lucia, darling. | 0:50:30 | 0:50:32 | |
None of you had seen each other for years, | 0:50:32 | 0:50:35 | |
so when Angie called up and asked you to attend the reunion, | 0:50:35 | 0:50:38 | |
you thought you'd be able to get away with it. | 0:50:38 | 0:50:40 | |
-Until you bumped into Richard. -What are you all doing here?! | 0:50:40 | 0:50:43 | |
Yes, Richard, not only a detective, | 0:50:43 | 0:50:45 | |
but someone who knew the real Sasha better than all of you. | 0:50:45 | 0:50:49 | |
-I think he was on to you from the start. -It's no wonder you were cold with him, | 0:50:49 | 0:50:53 | |
you hardly knew him at all. And when you lost your temper with him, | 0:50:53 | 0:50:57 | |
you were not being jealous, | 0:50:57 | 0:50:59 | |
you were simply trying to prevent him from speaking to Sasha. | 0:50:59 | 0:51:02 | |
In the end there are two pieces of damning evidence. | 0:51:02 | 0:51:05 | |
This is the book Richard brought with him that night. | 0:51:05 | 0:51:07 | |
-You said you hadn't read it. -I haven't read it. | 0:51:07 | 0:51:09 | |
-Which is rather the point. -HE LAUGHS | 0:51:09 | 0:51:12 | |
This is a photograph taken from the box Richard sent home for. | 0:51:14 | 0:51:18 | |
I believe it's a photograph celebrating Sasha's dissertation. | 0:51:18 | 0:51:22 | |
It's very hard to see with the naked eye, but...if you look closely, | 0:51:22 | 0:51:26 | |
you can see a copy of the finished dissertation in front of Sasha. | 0:51:26 | 0:51:30 | |
Le Rouge Et Le Noir. | 0:51:30 | 0:51:33 | |
Which is why Richard was holding a book we know he couldn't read, | 0:51:36 | 0:51:40 | |
he brought it with him that night as a final test | 0:51:40 | 0:51:42 | |
to confirm his suspicion that you were not the Sasha he knew. | 0:51:42 | 0:51:46 | |
Found it in the market. | 0:51:46 | 0:51:48 | |
Do you know it? | 0:51:50 | 0:51:51 | |
No...I don't know it. | 0:51:51 | 0:51:53 | |
-When you realised Richard Poole was on to you... -He knows. | 0:51:59 | 0:52:02 | |
..you decided to kill him. | 0:52:02 | 0:52:05 | |
Trust me, he knows. | 0:52:05 | 0:52:08 | |
I'll do it. | 0:52:08 | 0:52:09 | |
All of which...I suppose, may be regarded as circumstantial... | 0:52:10 | 0:52:16 | |
..until we see this. | 0:52:18 | 0:52:19 | |
Helen Reed's shoplifting conviction. | 0:52:21 | 0:52:25 | |
The prints on this | 0:52:25 | 0:52:26 | |
match the exclusion prints you gave us after the murder, | 0:52:26 | 0:52:29 | |
leading me to make only one conclusion, | 0:52:29 | 0:52:32 | |
which is why Richard had to die and he had to die that evening. | 0:52:32 | 0:52:36 | |
You had to protect your secret. | 0:52:36 | 0:52:38 | |
LAUGHTER OVERLAPPING VOICES | 0:52:40 | 0:52:44 | |
Richard? | 0:52:48 | 0:52:50 | |
HE GASPS | 0:52:50 | 0:52:52 | |
Sorry about that. | 0:52:53 | 0:52:56 | |
LAUGHTER ANGELA: Brilliant! | 0:52:57 | 0:53:00 | |
HE SIGHS | 0:53:07 | 0:53:09 | |
Madame. | 0:53:32 | 0:53:33 | |
Nice one. | 0:53:36 | 0:53:38 | |
Thanks. | 0:53:38 | 0:53:40 | |
HE SIGHS | 0:53:43 | 0:53:44 | |
He'd still be alive, wouldn't he, if I hadn't brought her here? | 0:53:59 | 0:54:03 | |
HE CHATS INDISTINCTLY | 0:54:13 | 0:54:15 | |
-Well done, sir. -Well done to all of us, Fidel. | 0:54:20 | 0:54:23 | |
I'm sure the Inspector would've been proud of you. | 0:54:23 | 0:54:25 | |
Yes, I'm sure he would have. | 0:54:25 | 0:54:27 | |
-There is just one thing still bothering me. -Yes? | 0:54:27 | 0:54:30 | |
-The fox, the goose and the bag of beans. -Ah! Well, you see, | 0:54:30 | 0:54:32 | |
you take the goose over first and then go back for the beans... | 0:54:32 | 0:54:35 | |
-Yes, but then won't the goose eat the beans when you go back for the fox? -No. | 0:54:35 | 0:54:40 | |
And here's the clever bit. | 0:54:40 | 0:54:42 | |
When you go back for the fox, you take the beans with you. | 0:54:42 | 0:54:45 | |
I'm sorry, you take the goose with you. I think. | 0:54:45 | 0:54:47 | |
Well, I'd better start writing up my report. | 0:54:51 | 0:54:54 | |
Ah, erm...where are all my bits of...paper and stuff. | 0:54:54 | 0:55:00 | |
Erm... | 0:55:00 | 0:55:03 | |
I put them on your desk, Sir. | 0:55:03 | 0:55:05 | |
Oh. | 0:55:07 | 0:55:08 | |
-Good night. -Yes, er...yes, good night, Camille. | 0:55:12 | 0:55:15 | |
# You're wondering now | 0:55:37 | 0:55:40 | |
# What to do now you know this is the end. # | 0:55:40 | 0:55:46 | |
REGGAE MUSIC PLAYS | 0:55:47 | 0:55:49 | |
DWAYNE SIGHS | 0:55:49 | 0:55:50 | |
Only the Chief could have solved his own murder. | 0:55:50 | 0:55:52 | |
Just so you know, his body has been released, | 0:55:52 | 0:55:55 | |
they'll fly him home tomorrow. | 0:55:55 | 0:55:57 | |
-He was a good man. -Well, if he's going home, | 0:55:59 | 0:56:02 | |
I say we have a remembrance service right here tonight. | 0:56:02 | 0:56:05 | |
I'm going to remember him till I fall over. LAUGHTER | 0:56:07 | 0:56:11 | |
DWAYNE SIGHS | 0:56:11 | 0:56:13 | |
Taxi! | 0:56:13 | 0:56:14 | |
To the Chief! BOTTLES CLINK | 0:56:17 | 0:56:19 | |
Where you going? It's the Commissioner's round! | 0:56:26 | 0:56:28 | |
I'll be back! | 0:56:28 | 0:56:30 | |
Sir. | 0:56:30 | 0:56:33 | |
We were having a drink...come and join us. | 0:56:33 | 0:56:36 | |
That's really sweet of you, but er...I shouldn't. | 0:56:38 | 0:56:40 | |
-Why not? -Well, you all need to spend a bit of time | 0:56:40 | 0:56:46 | |
to say goodbye to Richard in your own way. | 0:56:46 | 0:56:50 | |
It'd be a bit awkward if I was there. | 0:56:50 | 0:56:52 | |
-HE CLEARS HIS THROAT -I need to unpack. | 0:56:52 | 0:56:55 | |
If I can find a taxi. | 0:56:56 | 0:56:58 | |
OK. | 0:56:58 | 0:57:00 | |
I'll see you tomorrow. | 0:57:01 | 0:57:03 | |
Bye, Camille. | 0:57:04 | 0:57:06 | |
CICADAS CHIRRUP | 0:57:15 | 0:57:17 | |
MACHINE BEEPS | 0:57:29 | 0:57:31 | |
-SALLY: -'Hello, Humph, it's me. | 0:57:31 | 0:57:33 | |
'God, I usually hate these things, but now I'm rather pleased you're not there. | 0:57:33 | 0:57:37 | |
'Look, The thing is, Humph, I... Well...I'm not coming. | 0:57:37 | 0:57:43 | |
'I never was. | 0:57:43 | 0:57:45 | |
'And I know I should have had this conversation before you left, | 0:57:45 | 0:57:48 | |
'but I'm a terrible coward and this just seemed... | 0:57:48 | 0:57:50 | |
'Look, the thing is...I don't love you any more, not really. | 0:57:52 | 0:57:56 | |
'So there, I've said it. | 0:57:56 | 0:57:59 | |
'And I'm so sorry, I truly am! | 0:58:00 | 0:58:02 | |
'And this...this may well turn out to be the biggest mistake of my life, but it's how I feel. | 0:58:02 | 0:58:07 | |
'You'll be OK, won't you, Humph?' | 0:58:07 | 0:58:10 | |
Action! | 0:58:10 | 0:58:11 | |
The day she's satisfied is the day she dies. | 0:58:13 | 0:58:16 | |
-SHE GROANS SOFTLY -Right. Thea! Call an ambulance! | 0:58:16 | 0:58:20 | |
A stand-in was killed after only a few weeks on a film set. | 0:58:20 | 0:58:24 | |
It's my fault she was out here. | 0:58:24 | 0:58:26 | |
This is not the not the act of a writer. | 0:58:26 | 0:58:28 | |
-Your wife...she arrives tomorrow. -Yes, of course. | 0:58:28 | 0:58:32 | |
Stop the car! | 0:58:32 | 0:58:34 |