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CARIBBEAN MUSIC PLAYS | 0:00:02 | 0:00:05 | |
This is what I call overtime. | 0:00:27 | 0:00:29 | |
We're on duty, remember? | 0:00:29 | 0:00:31 | |
Fidel, we're baby-sitting a painting. | 0:00:31 | 0:00:34 | |
Dwayne, it's a work of art. | 0:00:34 | 0:00:35 | |
No. That is a work of art. | 0:00:35 | 0:00:37 | |
Anything to report, Sergeant Best? | 0:00:43 | 0:00:45 | |
-Commissioner. -All good, sir. | 0:00:45 | 0:00:47 | |
Dwayne, Fidel, this is Leo Pascal, the owner of the Pascal Gallery. | 0:00:47 | 0:00:51 | |
Leo, your security for this evening. | 0:00:51 | 0:00:54 | |
I can't tell you how reassured I am to have you gentlemen here. | 0:00:54 | 0:00:57 | |
You have a fine gallery. | 0:00:57 | 0:00:59 | |
We was just enjoying the show. | 0:00:59 | 0:01:01 | |
You're a fan of Durosseau? | 0:01:01 | 0:01:02 | |
I prefer his older stuff. | 0:01:05 | 0:01:07 | |
This may be your last chance to see his masterpiece. | 0:01:07 | 0:01:10 | |
After the auction it'll probably go to a private collector... | 0:01:10 | 0:01:13 | |
Speaking of which. Excuse me. | 0:01:13 | 0:01:16 | |
Oh-oh, Dragon Lady at two o'clock. | 0:01:17 | 0:01:20 | |
-Good luck, sir. -Commissioner. | 0:01:23 | 0:01:25 | |
Judge Stone. You look radiant. | 0:01:32 | 0:01:36 | |
Selwyn. You look doughy. | 0:01:38 | 0:01:42 | |
Her name was Cora Patrick. She was a dancer at the Mermaid bar. | 0:01:46 | 0:01:50 | |
Durosseau painted her portrait in an attempt to woo her. | 0:01:50 | 0:01:54 | |
Was he successful? | 0:01:55 | 0:01:57 | |
She rejected him because he was too poor. So, he killed himself. | 0:01:57 | 0:02:02 | |
It's tragic, really. | 0:02:02 | 0:02:03 | |
When did he paint it? | 0:02:03 | 0:02:05 | |
Early last century. 1927 to be precise. | 0:02:05 | 0:02:08 | |
Excuse me. Dorothy, I'm so glad you came. | 0:02:09 | 0:02:14 | |
I wouldn't miss this for the world. | 0:02:14 | 0:02:17 | |
Oh, you've met Carlton, haven't you? | 0:02:17 | 0:02:19 | |
-Good to see you again. -And you. | 0:02:19 | 0:02:21 | |
So, I can't wait to see the painting. | 0:02:21 | 0:02:23 | |
It's right over here. | 0:02:23 | 0:02:25 | |
Oh, you know, Carlton's been trying to teach me about art | 0:02:26 | 0:02:29 | |
but it's hopeless. | 0:02:29 | 0:02:30 | |
I am such a philistine, you see? | 0:02:30 | 0:02:33 | |
I'm sure that's not true. You've always had excellent taste... | 0:02:33 | 0:02:37 | |
Friend of yours? | 0:02:37 | 0:02:39 | |
Yeah, a long time ago. | 0:02:39 | 0:02:40 | |
Ah. The glamour has arrived. | 0:02:50 | 0:02:52 | |
Let me get you some champagne. | 0:02:54 | 0:02:55 | |
Sergeant Best, arrest me now. | 0:03:00 | 0:03:02 | |
Why, sir? | 0:03:02 | 0:03:03 | |
Anything to get away from that woman. | 0:03:03 | 0:03:05 | |
I don't know what the fuss is about, so what if it leaves the island? | 0:03:05 | 0:03:10 | |
Carlton thinks it should stay here. Durosseau's our most famous artist. | 0:03:10 | 0:03:14 | |
Excuse me. Carlton! | 0:03:19 | 0:03:21 | |
Carlton, wait! | 0:03:22 | 0:03:25 | |
Where are you going? | 0:03:25 | 0:03:27 | |
I really need to take this. | 0:03:27 | 0:03:29 | |
Quarter of a million dollars? | 0:03:34 | 0:03:36 | |
Yes, it's a lot for a painting. | 0:03:36 | 0:03:38 | |
Hmm. | 0:03:38 | 0:03:39 | |
PHONE RINGS | 0:03:39 | 0:03:41 | |
Diverted call from the station. | 0:03:43 | 0:03:45 | |
-Hello. -Hello? Police. My name is Carlton Paris. I'm at 125 Shore Road. | 0:03:45 | 0:03:52 | |
She's got a gun... | 0:03:52 | 0:03:53 | |
Hello? | 0:03:54 | 0:03:55 | |
Hey? Where are you going? | 0:03:57 | 0:04:00 | |
Honore Police! | 0:04:09 | 0:04:11 | |
Open up, Carlton! | 0:04:11 | 0:04:12 | |
Can you please charge your phone? | 0:05:21 | 0:05:23 | |
I did. Soon as I got in. | 0:05:23 | 0:05:26 | |
Look. | 0:05:26 | 0:05:27 | |
Electricity helps. | 0:05:27 | 0:05:29 | |
Sorry. I got a little sidetracked. | 0:05:29 | 0:05:31 | |
-Were you trying to call me? -Yes. We have a murder. | 0:05:31 | 0:05:33 | |
Ah, great, I'll just get my, er... | 0:05:33 | 0:05:35 | |
Yes, great. | 0:05:35 | 0:05:38 | |
What have we got? | 0:05:40 | 0:05:41 | |
Local boy. Carlton Paris. | 0:05:41 | 0:05:44 | |
-Shot. -Who found him? | 0:05:44 | 0:05:46 | |
We did. The Pascal Gallery job the Commissioner hired us for. | 0:05:46 | 0:05:51 | |
Carlton was a guest. | 0:05:51 | 0:05:52 | |
He left early but an hour and a half later, | 0:05:53 | 0:05:56 | |
he called the station, gave his name and address, and said... | 0:05:56 | 0:06:00 | |
"She's got a gun." | 0:06:00 | 0:06:01 | |
Did he by any chance say who she was? | 0:06:01 | 0:06:04 | |
No, that would be far too easy, wouldn't it? | 0:06:04 | 0:06:06 | |
So what do we know about the victim? | 0:06:06 | 0:06:08 | |
I think you better ask Fidel. | 0:06:08 | 0:06:09 | |
Why Fidel? | 0:06:09 | 0:06:11 | |
Seems they knew each other. | 0:06:11 | 0:06:13 | |
CAMERA CLICKS | 0:06:17 | 0:06:19 | |
Looks like he took a shot to the shoulder and to the back. | 0:06:22 | 0:06:25 | |
Close range. Killer probably fired from the doorway. | 0:06:25 | 0:06:29 | |
When did you get the call? | 0:06:29 | 0:06:30 | |
8:30. | 0:06:30 | 0:06:32 | |
-And you arrived at? -8:35. | 0:06:32 | 0:06:34 | |
A five-minute window for the killer to shoot him and then get away. | 0:06:34 | 0:06:37 | |
We did a brief search of the grounds and surrounding areas | 0:06:37 | 0:06:40 | |
but there was no sign of anyone. | 0:06:40 | 0:06:41 | |
Also, the door was intact when we got here | 0:06:47 | 0:06:49 | |
so he must have let the killer in. | 0:06:49 | 0:06:51 | |
Which suggests he knew her. | 0:06:51 | 0:06:54 | |
Yes, Camille. | 0:06:54 | 0:06:55 | |
What are you doing? | 0:07:01 | 0:07:02 | |
His glasses. They're for reading. | 0:07:04 | 0:07:07 | |
So? | 0:07:07 | 0:07:08 | |
So, what was he reading? | 0:07:08 | 0:07:10 | |
Dwayne says you were friends. | 0:07:14 | 0:07:15 | |
We were at the same school. | 0:07:17 | 0:07:19 | |
But were you close? | 0:07:19 | 0:07:20 | |
Very, I'd say... | 0:07:20 | 0:07:22 | |
How do you know? | 0:07:22 | 0:07:23 | |
Why else would Fidel be so upset? | 0:07:23 | 0:07:26 | |
I'm not upset. | 0:07:26 | 0:07:28 | |
Really? You sure? | 0:07:28 | 0:07:29 | |
Because it's not like you to miss such a big clue. | 0:07:29 | 0:07:31 | |
-I can only assume it's because you're upset. -What clue? | 0:07:31 | 0:07:34 | |
-There's no land line here. -So? | 0:07:34 | 0:07:37 | |
So, he must have made a call on his mobile to the station. | 0:07:37 | 0:07:40 | |
Did you find it? | 0:07:44 | 0:07:46 | |
-Which means? -The killer took it. -Exactly. | 0:07:46 | 0:07:50 | |
Wow! | 0:07:53 | 0:07:54 | |
Wow! Look at the size of that. | 0:07:56 | 0:07:58 | |
It's bigger than a king-size. | 0:08:00 | 0:08:01 | |
What would you call that? Emperor size? Tsar size? | 0:08:01 | 0:08:04 | |
It's comfy too. Gives a lot back. | 0:08:08 | 0:08:12 | |
Designer suits. | 0:08:17 | 0:08:18 | |
Mmm-hmm. | 0:08:18 | 0:08:19 | |
What did he do? | 0:08:19 | 0:08:21 | |
As far as we know he was unemployed. | 0:08:21 | 0:08:23 | |
Rich partner then? | 0:08:23 | 0:08:25 | |
No partner. No family. | 0:08:25 | 0:08:26 | |
Then how could he afford all this? | 0:08:29 | 0:08:32 | |
Good question. Come. | 0:08:32 | 0:08:34 | |
So, we checked in here. | 0:08:36 | 0:08:38 | |
We ruled out burglary because they left the laptop. | 0:08:38 | 0:08:42 | |
They took his mobile. | 0:08:42 | 0:08:44 | |
Look, his diary. Seems like a woman for every week. | 0:08:44 | 0:08:48 | |
Imagine... | 0:08:48 | 0:08:49 | |
Today is marked Dorothy Foster. | 0:08:51 | 0:08:54 | |
-The shipping heiress? -Mmm-hmm. | 0:08:54 | 0:08:55 | |
Carlton was with her at the gallery this evening. | 0:08:55 | 0:08:58 | |
They looked very cosy. | 0:08:59 | 0:09:00 | |
Isn't she a little old for him? These are all rich women. | 0:09:00 | 0:09:05 | |
Mmm-hmm. | 0:09:05 | 0:09:06 | |
Odd selection of books, don't you think? All reference and | 0:09:06 | 0:09:09 | |
no fiction. | 0:09:09 | 0:09:10 | |
And the subjects. Antiques, opera, art, food, gardening. | 0:09:11 | 0:09:16 | |
Not what you'd expect a man in his 20s to be reading. | 0:09:18 | 0:09:21 | |
As far as I can see it wasn't so much reading them as mining them. | 0:09:22 | 0:09:26 | |
Mining them for what? | 0:09:27 | 0:09:29 | |
Conversation, I think. Take a look. | 0:09:29 | 0:09:31 | |
You see? He's marked this section on Royal Doulton as "icebreaker". | 0:09:33 | 0:09:38 | |
Then there's the fancy sculptures. | 0:09:38 | 0:09:41 | |
Expensive, tasteful but with a touch of femininity about them. | 0:09:42 | 0:09:45 | |
Not his choice. I think these were gifts. | 0:09:45 | 0:09:48 | |
So, we have a 25-year-old man with no apparent income | 0:09:48 | 0:09:53 | |
living in a prime beachside property with a wardrobe | 0:09:53 | 0:09:56 | |
full of designer suits. | 0:09:56 | 0:09:57 | |
He studies culture for conversation and receives gifts from rich women. | 0:09:57 | 0:10:02 | |
And, according to that, he clearly had a punishing romantic schedule. | 0:10:02 | 0:10:06 | |
Feels like I'm missing something. | 0:10:08 | 0:10:10 | |
Did you know? | 0:10:15 | 0:10:17 | |
Did I know what? | 0:10:17 | 0:10:18 | |
That Carlton was a gigolo? | 0:10:18 | 0:10:20 | |
He had a way with women. | 0:10:21 | 0:10:23 | |
Looks like he had a way with half the women on the island. | 0:10:23 | 0:10:26 | |
Yeah, well, that's nothing to be proud of. | 0:10:26 | 0:10:27 | |
How long since you were close? | 0:10:33 | 0:10:36 | |
A few years. | 0:10:36 | 0:10:37 | |
What happened? | 0:10:37 | 0:10:38 | |
We grew apart. | 0:10:39 | 0:10:41 | |
I'm going to need a copy of Walks of the Caribbean by Albert Dunn. | 0:10:49 | 0:10:53 | |
-What? -Volume Two by the looks of it. | 0:10:53 | 0:10:57 | |
-Why would you need that? -Carlton was reading, | 0:10:57 | 0:11:00 | |
but no written material was found in the front room. | 0:11:00 | 0:11:03 | |
Books are in alphabetical order. | 0:11:03 | 0:11:05 | |
All seem to be accounted for apart from... | 0:11:05 | 0:11:07 | |
See? Volume one and volume three. Maybe our killer took volume two. | 0:11:09 | 0:11:14 | |
All for a mobile phone and an old book? | 0:11:16 | 0:11:19 | |
I don't know! The things people kill for nowadays, eh? | 0:11:19 | 0:11:24 | |
How far was the gallery from here? | 0:11:25 | 0:11:27 | |
Less than a mile. | 0:11:27 | 0:11:28 | |
So, despite there being two police officers within five minutes, | 0:11:28 | 0:11:31 | |
Carlton chose to call the station. | 0:11:31 | 0:11:33 | |
He panicked. Dialled 999 and got through the switchboard. | 0:11:33 | 0:11:37 | |
But him and Fidel were old friends. Why not call him? | 0:11:37 | 0:11:39 | |
-Apparently, they grew apart. -It's odd though, don't you think? | 0:11:39 | 0:11:42 | |
Not as odd as Fidel being friends with the island gigolo. | 0:11:42 | 0:11:45 | |
Yes, you've got a point there. | 0:11:45 | 0:11:47 | |
Wait a minute. Did you say gigolo? | 0:11:51 | 0:11:53 | |
The problem with being single | 0:11:58 | 0:11:59 | |
is finding ways to occupy your time. | 0:11:59 | 0:12:02 | |
Then there's the discipline of cooking a proper dinner, | 0:12:02 | 0:12:04 | |
not simply resorting to baked beans on toast every night. | 0:12:04 | 0:12:08 | |
Making the bed. And they're all daily battles, don't you find? | 0:12:08 | 0:12:11 | |
-Not really. -But you live on your own? | 0:12:11 | 0:12:13 | |
Yes, but I make my own bed every morning | 0:12:13 | 0:12:16 | |
and I have no idea what baked beans are. | 0:12:16 | 0:12:18 | |
I need that information now. | 0:12:18 | 0:12:20 | |
Tomorrow is no good. | 0:12:20 | 0:12:22 | |
Is that Fidel? | 0:12:22 | 0:12:24 | |
Yes! He's chasing Carlton's service provider. | 0:12:24 | 0:12:26 | |
OK! You understand this is a murder investigation? | 0:12:26 | 0:12:28 | |
-He sounds a little angry. -You think that's bad? | 0:12:28 | 0:12:30 | |
You should have been here for the forensics call. | 0:12:30 | 0:12:33 | |
I want them here by tomorrow. | 0:12:33 | 0:12:35 | |
First they can't track his phone then it's a two-day | 0:12:41 | 0:12:43 | |
wait for his call records. They're amateurs. | 0:12:43 | 0:12:45 | |
-So, where do you want to start? -Coffee? | 0:12:48 | 0:12:50 | |
Let's skip coffee. | 0:12:53 | 0:12:54 | |
Right, Carlton Paris, | 0:12:54 | 0:12:56 | |
a 25-year-old male escort attends a viewing | 0:12:56 | 0:12:58 | |
at the Pascal Gallery, leaves early and an hour and a half later... | 0:12:58 | 0:13:02 | |
is threatened with a gun by a woman. | 0:13:02 | 0:13:04 | |
First question is why? | 0:13:08 | 0:13:12 | |
His job. He was a gigolo. | 0:13:14 | 0:13:16 | |
Maybe it was a disgruntled client. | 0:13:16 | 0:13:18 | |
Where are we on his clientele? | 0:13:18 | 0:13:20 | |
Most of his customers were businesswomen or tourists. | 0:13:20 | 0:13:22 | |
But he did have a few regulars on the island. | 0:13:22 | 0:13:24 | |
Yes, including Dorothy Foster. | 0:13:24 | 0:13:26 | |
She's hired Carlton every Saturday for the past eight months. | 0:13:26 | 0:13:29 | |
Must have cost her a fortune. | 0:13:29 | 0:13:30 | |
Carlton arrived at the viewing with Dorothy around 6:30. | 0:13:30 | 0:13:33 | |
But he left her sometime around 7:00. | 0:13:33 | 0:13:35 | |
-Any idea why? -No. But she didn't look very happy. | 0:13:35 | 0:13:38 | |
Right. | 0:13:38 | 0:13:39 | |
Dwayne, let's track down these local clients, | 0:13:39 | 0:13:41 | |
see if they have an alibi for the time of death. | 0:13:41 | 0:13:43 | |
Yes, Chief. | 0:13:43 | 0:13:45 | |
20:30 to 20:35. That is our golden hour. | 0:13:45 | 0:13:48 | |
Or golden five minutes, to be precise. | 0:13:48 | 0:13:51 | |
-Ballistics. -They said we'd have something this morning. | 0:13:52 | 0:13:55 | |
Also, we could do a profile of Carlton. As you were friends. | 0:13:55 | 0:13:57 | |
I hadn't spoken to him in years. | 0:13:57 | 0:13:59 | |
People don't change that much. | 0:13:59 | 0:14:01 | |
Chief? Walks of the Caribbean by Albert Dunn. | 0:14:09 | 0:14:14 | |
Volume Two. Happy reading. | 0:14:14 | 0:14:18 | |
Wow. This looks...heavy. | 0:14:18 | 0:14:19 | |
Keep an eye on Fidel. | 0:14:20 | 0:14:22 | |
OK, in the meantime, let's go and see what Dorothy Foster has to say. | 0:14:24 | 0:14:26 | |
So this is the Reef Club? | 0:14:38 | 0:14:40 | |
Where the rich come to play. | 0:14:40 | 0:14:42 | |
I'm sorry. | 0:14:47 | 0:14:50 | |
I met Carlton about a year ago. In this room. | 0:14:52 | 0:14:56 | |
It was the Valentine's Dance and we got chatting. | 0:14:56 | 0:15:01 | |
He was handsome and charming. Attentive. | 0:15:01 | 0:15:05 | |
So you began hiring him? | 0:15:05 | 0:15:06 | |
He became my Saturday-night date. | 0:15:07 | 0:15:10 | |
It wasn't a physical arrangement, you understand. | 0:15:10 | 0:15:13 | |
More like best friends. | 0:15:13 | 0:15:15 | |
We had so much in common. | 0:15:17 | 0:15:18 | |
Like art? | 0:15:20 | 0:15:21 | |
Carlton loved art. It inspired him. | 0:15:24 | 0:15:27 | |
He always said that art was truth. | 0:15:28 | 0:15:31 | |
If he loved art so much, why did he leave the viewing early last night? | 0:15:33 | 0:15:38 | |
Well, that's what I was wondering. | 0:15:38 | 0:15:41 | |
Did you have an argument? | 0:15:41 | 0:15:43 | |
No, one moment everything was fine and then | 0:15:43 | 0:15:45 | |
the next Carlton was leaving. | 0:15:45 | 0:15:48 | |
Carlton, wait... | 0:15:48 | 0:15:49 | |
'So I followed him out and...' | 0:15:49 | 0:15:51 | |
Where are you going? | 0:15:51 | 0:15:52 | |
He never came back. | 0:15:55 | 0:15:56 | |
What time was this? | 0:16:01 | 0:16:03 | |
Um, around 7pm. | 0:16:03 | 0:16:05 | |
Did you try to call him later? | 0:16:05 | 0:16:07 | |
Dorothy? | 0:16:09 | 0:16:10 | |
I've been looking all over for you. It's just awful. Poor Carlton. | 0:16:10 | 0:16:16 | |
Leo Pascal. I own Pascal Gallery. | 0:16:17 | 0:16:21 | |
So, you were at the viewing? | 0:16:21 | 0:16:23 | |
Of course. | 0:16:23 | 0:16:24 | |
We were just wondering why Carlton left the gallery so abruptly. | 0:16:24 | 0:16:27 | |
I think he might have had some kind of run-in with Marc Campese. | 0:16:27 | 0:16:31 | |
Marc Campese? | 0:16:31 | 0:16:33 | |
He owns the Reef Club. | 0:16:33 | 0:16:34 | |
'Carlton and I were discussing the Durosseau when Campese turned up.' | 0:16:35 | 0:16:39 | |
I didn't catch what he said but it made quite an impact on Carlton. | 0:16:42 | 0:16:46 | |
And you've no idea what it was about? | 0:16:49 | 0:16:51 | |
Sorry. Haven't the foggiest. | 0:16:51 | 0:16:53 | |
Where were you between 8:30 and 8:35 yesterday? | 0:16:58 | 0:17:02 | |
I was at home. | 0:17:02 | 0:17:05 | |
Were you alone? | 0:17:05 | 0:17:07 | |
I'm nearly always alone. | 0:17:07 | 0:17:09 | |
I'm sorry. | 0:17:16 | 0:17:17 | |
HE SINGS | 0:17:20 | 0:17:22 | |
You know, I think the Inspector meant | 0:17:36 | 0:17:38 | |
he wanted you to interview the suspects, not date them. | 0:17:38 | 0:17:41 | |
You can come with me if you want, make sure I behave. | 0:17:41 | 0:17:44 | |
Haven't finished Carlton's profile. | 0:17:44 | 0:17:46 | |
Looks like you haven't started it. | 0:17:46 | 0:17:48 | |
Carlton Paris. 25. Dead. | 0:17:50 | 0:17:55 | |
You sure you two were friends? | 0:17:57 | 0:18:00 | |
What happened between you two? | 0:18:04 | 0:18:06 | |
-It's OK. You can tell me. -We fell out. | 0:18:07 | 0:18:10 | |
Was it a girl? | 0:18:10 | 0:18:12 | |
Did he steal her from you or vice versa? | 0:18:12 | 0:18:14 | |
Hey, where you going? | 0:18:16 | 0:18:17 | |
Fidel! | 0:18:18 | 0:18:20 | |
I almost feel sorry for her. | 0:18:22 | 0:18:24 | |
Why? | 0:18:24 | 0:18:25 | |
She seems grief-stricken. | 0:18:25 | 0:18:27 | |
Could be remorse. | 0:18:27 | 0:18:30 | |
You really think she's capable of murder? | 0:18:30 | 0:18:32 | |
She's the last person to see him alive and her alibi is weak. | 0:18:32 | 0:18:35 | |
Did she just... | 0:18:43 | 0:18:44 | |
I think she did. | 0:18:44 | 0:18:46 | |
Why would she do that? | 0:18:48 | 0:18:50 | |
Maybe she has a twitch. Or sunstroke. | 0:18:50 | 0:18:52 | |
So, Carlton's argument with Marc Campese, we should check it out. | 0:18:55 | 0:18:58 | |
We should but isn't he the wrong sex to be a suspect? | 0:18:58 | 0:19:01 | |
Maybe. But his wife isn't. | 0:19:01 | 0:19:04 | |
So, I spoke to Carlton. Big deal. | 0:19:10 | 0:19:13 | |
What was the conversation about? | 0:19:13 | 0:19:15 | |
Er, just, er, you know, small talk. | 0:19:15 | 0:19:17 | |
We understand that this small talk upset Carlton and made him | 0:19:18 | 0:19:22 | |
-leave early. -Rubbish. | 0:19:22 | 0:19:25 | |
Look, we exchanged a few words, yes, but, er, it was so trivial, | 0:19:25 | 0:19:29 | |
I have no recollection what they were. | 0:19:29 | 0:19:31 | |
Did you know Carlton well? | 0:19:31 | 0:19:33 | |
I knew what he was, that was enough. | 0:19:33 | 0:19:35 | |
And what was that? | 0:19:36 | 0:19:37 | |
A man who preyed on the lonely. | 0:19:40 | 0:19:42 | |
Don't get me wrong, he was good at it, | 0:19:42 | 0:19:44 | |
but it's hardly an honourable way to make a living. | 0:19:44 | 0:19:46 | |
What about you, Mrs Campese? | 0:19:48 | 0:19:49 | |
Er, what about me? | 0:19:50 | 0:19:52 | |
Did you know Carlton well? | 0:19:52 | 0:19:55 | |
Er, not really. | 0:19:55 | 0:19:56 | |
Er, he was a member of the club but we very rarely spoke. | 0:19:57 | 0:20:00 | |
Did Carlton ever bring any of his clients to the Reef Club? | 0:20:03 | 0:20:06 | |
He did...until I put a stop to it. | 0:20:06 | 0:20:10 | |
Why did you do that? | 0:20:10 | 0:20:11 | |
Preying on our female members is bad for business. | 0:20:12 | 0:20:15 | |
OK, afraid we have another meeting. Is there anything else? | 0:20:17 | 0:20:20 | |
Where were you between 8:30 and 8:35? | 0:20:24 | 0:20:28 | |
Let me see, well, we left the gallery at about 8:00. | 0:20:29 | 0:20:33 | |
Home by 8:30. | 0:20:33 | 0:20:35 | |
-Early night. -Yes. We were both very tired. | 0:20:35 | 0:20:38 | |
Marc Campese was lying. | 0:20:42 | 0:20:44 | |
But Marc Campese's not a she. | 0:20:44 | 0:20:46 | |
-Doesn't mean he's not involved. -Hm. | 0:20:46 | 0:20:49 | |
And his wife's lying too. | 0:20:49 | 0:20:51 | |
Anything useful? | 0:20:54 | 0:20:55 | |
What? | 0:20:57 | 0:20:58 | |
The book. | 0:20:58 | 0:21:00 | |
It's just an out-of-date travel guide with a few | 0:21:00 | 0:21:02 | |
chapters on Saint Marie. | 0:21:02 | 0:21:03 | |
"The pretty island of Saint Marie is situated in the eastern | 0:21:03 | 0:21:07 | |
"Caribbean Sea. | 0:21:07 | 0:21:08 | |
"It is one tenth the size of its northwest neighbour Guadeloupe, | 0:21:08 | 0:21:11 | |
"one eighth of the size of Dominica, one sixth of the size of St Lucia, | 0:21:11 | 0:21:15 | |
"one fifth the size of Martinique and a third of the size of Barbados..." | 0:21:15 | 0:21:19 | |
And on and on and on it goes. | 0:21:19 | 0:21:21 | |
Why would our killer want to take this from Carlton's villa? | 0:21:23 | 0:21:26 | |
-Must be something important in it. -Yeah. But what? | 0:21:26 | 0:21:28 | |
PHONE RINGS Er, it's Dwayne. | 0:21:28 | 0:21:30 | |
-Any luck on Carlton's clients? -Seems Carlton had another client. | 0:21:32 | 0:21:36 | |
-And you'll never believe who it is. -Who? | 0:21:36 | 0:21:39 | |
Judge Anne Stone. | 0:21:39 | 0:21:40 | |
Judge Anne Stone? | 0:21:42 | 0:21:43 | |
Who's Judge Anne Stone? | 0:21:45 | 0:21:46 | |
There was no relationship between Carlton Paris and I. | 0:21:48 | 0:21:52 | |
Right. Er, I see. | 0:21:52 | 0:21:55 | |
Well, we're just...we're pretty sure that you hired him. | 0:21:55 | 0:21:58 | |
We checked his bank records. | 0:21:58 | 0:22:00 | |
You made a single payment to him last month. | 0:22:00 | 0:22:03 | |
Hmm. My God. You must be desperate. | 0:22:03 | 0:22:06 | |
We're just covering every angle. | 0:22:06 | 0:22:08 | |
Fine. Last month I had to attend the Law Society dinner. | 0:22:09 | 0:22:15 | |
Now, it is still considered bad form for a woman to attend unaccompanied. | 0:22:17 | 0:22:22 | |
You needed a date? | 0:22:22 | 0:22:23 | |
My PA, she used her initiative. | 0:22:24 | 0:22:27 | |
And hired Carlton? | 0:22:27 | 0:22:29 | |
She told me Carlton was a friend. | 0:22:29 | 0:22:31 | |
It was only later that I found out he was, in fact, an escort. | 0:22:31 | 0:22:35 | |
So, what happened? | 0:22:37 | 0:22:38 | |
I sacked her of course. | 0:22:38 | 0:22:40 | |
I mean, with Carlton. | 0:22:40 | 0:22:41 | |
A little too clingy for my liking. | 0:22:41 | 0:22:43 | |
So you never hired him again? | 0:22:44 | 0:22:47 | |
Are you mad? | 0:22:47 | 0:22:48 | |
Do you have any idea what associating with a male | 0:22:48 | 0:22:52 | |
escort would do to my reputation? | 0:22:52 | 0:22:54 | |
-Anything else? -Yes. | 0:22:57 | 0:23:01 | |
Where were you between 8:30 | 0:23:01 | 0:23:03 | |
and 8:35 yesterday evening? | 0:23:03 | 0:23:05 | |
In my chambers. | 0:23:05 | 0:23:06 | |
Anyone see you there? | 0:23:06 | 0:23:08 | |
I have no idea. | 0:23:08 | 0:23:09 | |
PHONE RINGS | 0:23:09 | 0:23:11 | |
-Wow. -Hello. | 0:23:12 | 0:23:14 | |
She reminds me of my mum. | 0:23:14 | 0:23:15 | |
-Yes, it is. -That explains a lot. | 0:23:15 | 0:23:18 | |
Just do it. | 0:23:18 | 0:23:19 | |
"The waters around Saint Marie are too treacherous for any | 0:24:21 | 0:24:24 | |
"larger vessels to chance. | 0:24:24 | 0:24:25 | |
"However this may soon change as a lighthouse is currently being erected. | 0:24:25 | 0:24:29 | |
"The rainforests hum with life. The wonderful indigenous birdlife | 0:24:31 | 0:24:37 | |
"includes the fabled Saint Marie green..." | 0:24:37 | 0:24:41 | |
Maybe he was reading this and shot himself... | 0:24:43 | 0:24:45 | |
CARIBBEAN MUSIC PLAYS | 0:24:50 | 0:24:52 | |
Wow! Can't believe they closed it down. | 0:25:12 | 0:25:14 | |
It was hardly a surprise, stuck out here. | 0:25:14 | 0:25:17 | |
No-one could ever find the place. | 0:25:17 | 0:25:19 | |
So, what's so important? | 0:25:21 | 0:25:22 | |
Lauren...I found this at Carlton's villa. | 0:25:26 | 0:25:30 | |
It's yours, isn't it? | 0:25:37 | 0:25:39 | |
What do you want me to say? | 0:25:39 | 0:25:40 | |
What was it doing under his pillow? | 0:25:40 | 0:25:42 | |
Work it out, Fidel. | 0:25:44 | 0:25:45 | |
So, how long had you been... | 0:25:48 | 0:25:50 | |
Having an affair? | 0:25:50 | 0:25:52 | |
-Yeah. -A year. | 0:25:52 | 0:25:54 | |
You should leave him. | 0:25:56 | 0:25:57 | |
I'd planned to. Carlton and I were off to | 0:25:57 | 0:26:00 | |
America. He bought tickets. | 0:26:00 | 0:26:03 | |
No chance of that happening now. | 0:26:07 | 0:26:10 | |
No. Lauren? | 0:26:10 | 0:26:15 | |
Did Marc know? | 0:26:19 | 0:26:20 | |
Er...you know...I, erm... I really should get going. | 0:26:20 | 0:26:25 | |
Lauren? Lauren! | 0:26:25 | 0:26:27 | |
Did he know? | 0:26:30 | 0:26:31 | |
Marc Campese found out that Lauren and Carlton were having an affair. | 0:26:38 | 0:26:41 | |
How did he find out? | 0:26:41 | 0:26:42 | |
Somebody at the club told him. | 0:26:42 | 0:26:44 | |
And how did he react? | 0:26:44 | 0:26:46 | |
Marc has a temper at the best of times. | 0:26:46 | 0:26:49 | |
At the gallery the night that Carlton was killed, | 0:26:49 | 0:26:52 | |
Marc threatened him, | 0:26:52 | 0:26:53 | |
told him to stay away from me. | 0:26:53 | 0:26:55 | |
-So much for the small talk. -Mm. | 0:26:55 | 0:26:57 | |
Do you think he would've carried out his threat? | 0:26:57 | 0:27:00 | |
It's OK. You can tell them. | 0:27:02 | 0:27:04 | |
Marc lied when he said that we went home after the viewing. | 0:27:06 | 0:27:10 | |
After we left the gallery, he was still angry. | 0:27:12 | 0:27:15 | |
We were arguing. Things got ugly when I told him | 0:27:15 | 0:27:18 | |
that I was leaving him for Carlton. | 0:27:18 | 0:27:19 | |
That was it. Red rag to a bull. | 0:27:19 | 0:27:22 | |
-Marc! -What time was this? | 0:27:24 | 0:27:26 | |
Er, about 8:00. I went home and I waited for him. | 0:27:26 | 0:27:29 | |
-He came back at 10:00. -Did he say where he'd been? | 0:27:29 | 0:27:32 | |
-No, but I have a pretty good idea. -So do we. | 0:27:33 | 0:27:36 | |
-Inspector? -Commissioner. | 0:27:45 | 0:27:48 | |
I understand you paid a visit to Judge Stone yesterday. | 0:27:48 | 0:27:51 | |
She's helping with our inquiries. | 0:27:51 | 0:27:53 | |
Everything to your satisfaction? | 0:27:55 | 0:27:57 | |
Routine interview, that's all. | 0:27:57 | 0:27:59 | |
How disappointing. | 0:27:59 | 0:28:01 | |
You know, I wonder if you shouldn't be too quick to dismiss the good | 0:28:01 | 0:28:04 | |
judge from your investigation. | 0:28:04 | 0:28:07 | |
Sir? | 0:28:07 | 0:28:08 | |
Judge Stone is a prominent citizen with considerable political power. | 0:28:08 | 0:28:13 | |
It's our civic duty to ensure there's nothing to compromise her. | 0:28:13 | 0:28:17 | |
You're asking us to dig for dirt? | 0:28:17 | 0:28:19 | |
Not at all. | 0:28:22 | 0:28:23 | |
But should you uncover any skeletons, I'd like to know first. | 0:28:23 | 0:28:27 | |
She made him spend a day in jail. | 0:28:32 | 0:28:34 | |
You're kidding? What for? | 0:28:36 | 0:28:39 | |
Parking fines. | 0:28:39 | 0:28:41 | |
Can you jail someone for that? | 0:28:41 | 0:28:42 | |
Judge Stone can. | 0:28:42 | 0:28:43 | |
You two again. I've got nothing else to say to you. | 0:28:50 | 0:28:53 | |
Well, we'd love to talk to you...about your movements | 0:28:53 | 0:28:57 | |
after the viewing. | 0:28:57 | 0:28:58 | |
Told you. I went home. | 0:28:58 | 0:29:01 | |
You might want to rethink that answer. | 0:29:01 | 0:29:03 | |
Lauren? | 0:29:11 | 0:29:12 | |
What can I say? I thought my role as husband was to provide... | 0:29:17 | 0:29:21 | |
..give my wife everything her heart desired. | 0:29:22 | 0:29:25 | |
It turns out that what she desired was some jumped-up gigolo. | 0:29:26 | 0:29:29 | |
Do you know they were actually planning to run away together? | 0:29:30 | 0:29:33 | |
Must have made you very angry. | 0:29:33 | 0:29:35 | |
Yeah, yeah, it did. | 0:29:35 | 0:29:38 | |
As soon as Lauren told me she was leaving, the rage took over me. | 0:29:40 | 0:29:43 | |
Don't ask me what I was planning to do. | 0:29:45 | 0:29:47 | |
-I just wanted to get there. -And do what? | 0:29:47 | 0:29:49 | |
And kill him, of course. | 0:29:53 | 0:29:54 | |
Did you? | 0:29:58 | 0:29:59 | |
No. | 0:30:01 | 0:30:02 | |
When I got to his villa Dorothy was there. | 0:30:04 | 0:30:07 | |
Dorothy Foster? | 0:30:08 | 0:30:10 | |
There she was, | 0:30:10 | 0:30:12 | |
demanding that Carlton let her in. | 0:30:12 | 0:30:14 | |
-She was angry. -What time was this? | 0:30:14 | 0:30:18 | |
Around 8:15. | 0:30:18 | 0:30:20 | |
So what did you do? | 0:30:20 | 0:30:21 | |
Hung around for five minutes waiting for her to leave. | 0:30:23 | 0:30:26 | |
Suppose I must've cooled off a bit. Anyway, I left. | 0:30:27 | 0:30:31 | |
Then where did you go? | 0:30:31 | 0:30:32 | |
I walked around for a while. | 0:30:32 | 0:30:33 | |
Came to my senses, and went home. | 0:30:33 | 0:30:36 | |
That's it? You just went home? | 0:30:36 | 0:30:39 | |
What about the rage that came over you? | 0:30:39 | 0:30:42 | |
I decided to redirect it. | 0:30:42 | 0:30:44 | |
Would you mind telling us where? | 0:30:44 | 0:30:45 | |
I know what this looks like from the outside. | 0:30:53 | 0:30:55 | |
Rich older man marries a pretty young woman. Trophy wife. | 0:30:57 | 0:31:02 | |
The fact is, I love Lauren. | 0:31:06 | 0:31:08 | |
I just have to find a way to prove that to her. | 0:31:10 | 0:31:12 | |
You have to sign your statement. | 0:31:17 | 0:31:19 | |
-And then what? -And then you can go. | 0:31:19 | 0:31:22 | |
Er, I found this last night. | 0:31:28 | 0:31:30 | |
When was this taken? | 0:31:35 | 0:31:37 | |
The day you got into police college. | 0:31:37 | 0:31:39 | |
Carlton bought the cocktails. | 0:31:39 | 0:31:40 | |
Oh, he was always the big spender. | 0:31:40 | 0:31:42 | |
-Yeah, we look drunk. -But happy. | 0:31:42 | 0:31:45 | |
Used to love spending time with the two of you. You were so close. | 0:31:47 | 0:31:52 | |
Like brothers. | 0:31:52 | 0:31:53 | |
Yeah...until I spoilt it all. | 0:31:54 | 0:31:58 | |
He still considered you a friend. | 0:31:59 | 0:32:00 | |
Then why didn't he call me? He was in trouble. | 0:32:00 | 0:32:02 | |
His life was in danger. He should've called me. | 0:32:02 | 0:32:05 | |
Er, you can keep that. | 0:32:10 | 0:32:12 | |
Thanks. | 0:32:13 | 0:32:14 | |
Thank you for letting me see it. | 0:32:30 | 0:32:32 | |
It's such a beautiful work. | 0:32:32 | 0:32:33 | |
And the last memory I have of Carlton. | 0:32:35 | 0:32:37 | |
Is everything set for the auction? | 0:32:39 | 0:32:42 | |
We're expecting quite a turnout. | 0:32:42 | 0:32:44 | |
Inspector Goodman. | 0:32:48 | 0:32:50 | |
Miss Foster, we have a witness who says | 0:32:50 | 0:32:52 | |
they saw you at Carlton's villa last night. | 0:32:52 | 0:32:55 | |
Who also says you were very angry. | 0:32:55 | 0:32:57 | |
Mr Pascal, could you give us a moment, please? | 0:33:00 | 0:33:02 | |
Thank you. | 0:33:05 | 0:33:07 | |
I've never had much luck with men. | 0:33:10 | 0:33:12 | |
I always seem to attract the wrong sort. | 0:33:12 | 0:33:15 | |
Daddy used to despair, "They're only after one thing, Dorothy, | 0:33:16 | 0:33:20 | |
"my money". | 0:33:20 | 0:33:22 | |
So, after ten years of moving from one disastrous | 0:33:22 | 0:33:25 | |
relationship to the next, I decided enough was enough. | 0:33:25 | 0:33:29 | |
You hired Carlton? | 0:33:29 | 0:33:31 | |
At least with him, I didn't have to pretend it wasn't about my money. | 0:33:31 | 0:33:34 | |
But the truth is, he made me feel like I was important. | 0:33:36 | 0:33:39 | |
Why did you go to the villa? | 0:33:41 | 0:33:43 | |
Well, when he didn't return to the gallery, | 0:33:45 | 0:33:47 | |
I went to see if he was all right. | 0:33:47 | 0:33:49 | |
Then what made you so angry? | 0:33:49 | 0:33:50 | |
The night of the viewing, Carlton asked to see me early. | 0:33:52 | 0:33:56 | |
Said he had an announcement. | 0:33:56 | 0:33:57 | |
For one silly moment I thought that he was planning to propose. | 0:33:59 | 0:34:03 | |
But no. | 0:34:03 | 0:34:04 | |
He said he was leaving the island | 0:34:06 | 0:34:08 | |
and that this would be our last date together. | 0:34:08 | 0:34:11 | |
Did he say why he was leaving? | 0:34:11 | 0:34:12 | |
Apparently, he'd fallen in love. I tried to be happy for him. | 0:34:15 | 0:34:20 | |
I put on quite an act. | 0:34:21 | 0:34:23 | |
But then I realised that this would be my last time with him. | 0:34:23 | 0:34:27 | |
So, well, I just couldn't cope. | 0:34:27 | 0:34:30 | |
So, I thought that if I offered him more money, | 0:34:30 | 0:34:33 | |
or even if I bought him the Durosseau... | 0:34:33 | 0:34:36 | |
What did Carlton say? | 0:34:37 | 0:34:38 | |
He never even answered the door. | 0:34:41 | 0:34:42 | |
Are you saying you went to bribe Carlton to stay friends with you? | 0:34:44 | 0:34:48 | |
You don't believe me? | 0:34:48 | 0:34:49 | |
I'm struggling to understand. | 0:34:51 | 0:34:54 | |
Then you have never been lonely. | 0:34:54 | 0:34:55 | |
What do you think? | 0:35:04 | 0:35:05 | |
I find it hard to believe that he wouldn't at least talk to her. | 0:35:06 | 0:35:10 | |
Maybe he did and she's lying. She has motive and opportunity. | 0:35:10 | 0:35:13 | |
All we're missing is the murder weapon. PHONE RINGS | 0:35:13 | 0:35:15 | |
Excuse me. ..Hello. | 0:35:15 | 0:35:18 | |
Beautiful, isn't she? | 0:35:22 | 0:35:25 | |
Yes, yes, she is. | 0:35:25 | 0:35:26 | |
The artist was in love with her. | 0:35:27 | 0:35:30 | |
Do you know about Durosseau and Cora? | 0:35:30 | 0:35:32 | |
No. But I can see it in there. | 0:35:32 | 0:35:34 | |
D'accord. Oui. Merci. | 0:35:38 | 0:35:44 | |
Forensics are in. Sir? Sir! | 0:35:45 | 0:35:50 | |
Sorry. Coming. | 0:35:50 | 0:35:52 | |
So! There's nothing in the pathology report to refute what | 0:35:59 | 0:36:02 | |
we already know. | 0:36:02 | 0:36:04 | |
The first bullet entered the left shoulder. | 0:36:04 | 0:36:06 | |
It was the second bullet that did the damage, pierced the heart. | 0:36:06 | 0:36:09 | |
-Ballistics? -A .45-calibre. | 0:36:09 | 0:36:12 | |
-Check the firearms register. -Yes, chief. | 0:36:12 | 0:36:14 | |
What happened with Campese? | 0:36:14 | 0:36:16 | |
He admitted going to the villa but claims he never saw Carlton. | 0:36:16 | 0:36:19 | |
And what, you believe that story? | 0:36:19 | 0:36:21 | |
We've got nothing to contradict it. | 0:36:21 | 0:36:23 | |
-PHONE RINGS -Honore Police. | 0:36:23 | 0:36:25 | |
So if Dorothy Foster and Marc Campese were outside | 0:36:28 | 0:36:31 | |
the villa before 8:30 and Judge Stone was in her chambers, | 0:36:31 | 0:36:35 | |
that just leaves us with Lauren. | 0:36:35 | 0:36:37 | |
Wait, hold on! Lauren's still a suspect? | 0:36:37 | 0:36:40 | |
We can't confirm she was at home. | 0:36:40 | 0:36:41 | |
Camille, she didn't kill Carlton. | 0:36:41 | 0:36:43 | |
-How can you be so sure? -Because I know her. | 0:36:43 | 0:36:45 | |
Maybe she changed. Like you said, it's been a few years. | 0:36:45 | 0:36:48 | |
-Yeah, and like you said, people don't change that much, remember? -Thank you very much. | 0:36:48 | 0:36:51 | |
That was Carlton's service provider. | 0:36:53 | 0:36:55 | |
They're e-mailing full statements, but one number called | 0:36:55 | 0:36:58 | |
Carlton's phone every day for the past two weeks. | 0:36:58 | 0:37:01 | |
So I ran a check. | 0:37:01 | 0:37:03 | |
And whose is it? | 0:37:03 | 0:37:04 | |
Judge Ann Stone. | 0:37:04 | 0:37:06 | |
So, I called him a few times. | 0:37:13 | 0:37:16 | |
It might be better if you just told us the truth, Your Honour. | 0:37:16 | 0:37:20 | |
Do you have any clue what it's like to be a woman in this profession? | 0:37:21 | 0:37:26 | |
You have to be in control all the time. Even more so than the men. | 0:37:26 | 0:37:32 | |
20 years of my life I have dedicated to my career | 0:37:33 | 0:37:37 | |
and you have to learn to be tough. | 0:37:37 | 0:37:40 | |
You don't become the dragon lady overnight, let me tell you. | 0:37:40 | 0:37:44 | |
And Carlton? | 0:37:49 | 0:37:50 | |
He brought out a side in me I thought I had buried long ago. | 0:37:52 | 0:37:59 | |
He reminded me I have a sense of humour. | 0:37:59 | 0:38:01 | |
I'm actually very funny. | 0:38:03 | 0:38:06 | |
Yeah, no, we can see that. | 0:38:06 | 0:38:08 | |
I was intoxicated. | 0:38:08 | 0:38:10 | |
I wasn't in love with him... | 0:38:12 | 0:38:13 | |
..it was more that I was in love with who I am when I was with him. | 0:38:14 | 0:38:19 | |
And then he backed off. | 0:38:22 | 0:38:24 | |
Then what did you do? | 0:38:25 | 0:38:26 | |
I got desperate. | 0:38:29 | 0:38:30 | |
I never left him alone. | 0:38:34 | 0:38:36 | |
I called him...night...and day. | 0:38:38 | 0:38:43 | |
But it didn't work? | 0:38:46 | 0:38:47 | |
Desperation never does. | 0:38:51 | 0:38:53 | |
I'm finding it hard to imagine Judge Stone as a killer. | 0:38:55 | 0:38:59 | |
Oh. Easier than imagining her having a sense of humour? | 0:38:59 | 0:39:02 | |
Oh, er, please! | 0:39:03 | 0:39:05 | |
These women hired Carlton, he made them all happy. How? | 0:39:05 | 0:39:09 | |
Most men struggle to make one woman happy. | 0:39:09 | 0:39:11 | |
Clearly, he was good at his job. | 0:39:11 | 0:39:13 | |
Yes, then there's the mobile. And the book and... | 0:39:13 | 0:39:16 | |
It makes no sense, I read it from cover to cover. | 0:39:16 | 0:39:18 | |
Excellent work, DI Goodman. | 0:39:18 | 0:39:20 | |
-So, where's the prisoner? -Prisoner, sir? | 0:39:23 | 0:39:26 | |
Why, Judge Stone, of course. | 0:39:26 | 0:39:28 | |
Dwayne informs me you were about to arrest her. | 0:39:28 | 0:39:31 | |
-Huh. -That's not what I said... Commissioner. | 0:39:31 | 0:39:34 | |
-Did you do it in public? -Well, actually, | 0:39:36 | 0:39:39 | |
it was more of a follow-up interview with Judge Stone. | 0:39:39 | 0:39:42 | |
A follow-up interview? | 0:39:43 | 0:39:45 | |
Some further questions. | 0:39:45 | 0:39:47 | |
So, you didn't arrest her? | 0:39:47 | 0:39:49 | |
No cause to, sir. | 0:39:49 | 0:39:50 | |
So, I came all the way down here to watch you bring her in. | 0:39:52 | 0:39:56 | |
Sorry, sir. | 0:39:58 | 0:39:59 | |
It's disappointing, I know. | 0:39:59 | 0:40:01 | |
I checked the firearms register | 0:40:14 | 0:40:16 | |
and guess who owns a .45-calibre? | 0:40:16 | 0:40:18 | |
Right. | 0:40:21 | 0:40:22 | |
I'll drive this time. | 0:40:22 | 0:40:24 | |
-I'm an excellent driver. -No, you're not! | 0:40:24 | 0:40:27 | |
This is practically harassment. | 0:40:27 | 0:40:28 | |
We appreciate your co-operation. | 0:40:28 | 0:40:31 | |
-Never even use the damn thing. -Then why keep it? | 0:40:31 | 0:40:33 | |
It's a dangerous world. | 0:40:33 | 0:40:36 | |
A man has a right to protect his own property. | 0:40:36 | 0:40:38 | |
Does that include his wife? | 0:40:38 | 0:40:40 | |
There you go. Knock yourself out. | 0:40:43 | 0:40:45 | |
-It's gone. -What? -It's not there. | 0:40:48 | 0:40:50 | |
I can't understand. It was...it was here. | 0:40:52 | 0:40:55 | |
When was the last time you saw it? | 0:40:55 | 0:40:57 | |
I cleaned it a week ago. | 0:40:59 | 0:41:01 | |
Did you lock the safe afterwards? | 0:41:01 | 0:41:03 | |
Of course I locked it. | 0:41:03 | 0:41:05 | |
Who else has access to the key? | 0:41:05 | 0:41:06 | |
Campese's lying. | 0:41:12 | 0:41:14 | |
He did seem genuinely surprised to find it wasn't in the safe. | 0:41:14 | 0:41:16 | |
Someone else could have broken into the club and stole the gun. | 0:41:16 | 0:41:19 | |
Come on. The Reef Club's security system is state of the art. | 0:41:19 | 0:41:22 | |
Only a pro could be able to breach it undetected. | 0:41:22 | 0:41:25 | |
And they'd also have to have access to the key. | 0:41:25 | 0:41:27 | |
All right, but why would she kill him? They were going to America together. | 0:41:27 | 0:41:30 | |
No, they weren't. Carlton was all set to go. But not Lauren. | 0:41:30 | 0:41:35 | |
Her passport had been out of date for the past two years. | 0:41:35 | 0:41:38 | |
Carlton booked flights but there's no way Lauren could have travelled. | 0:41:38 | 0:41:42 | |
Why you checking up on this? | 0:41:50 | 0:41:52 | |
Because we do routine background checks on all suspects, | 0:41:52 | 0:41:56 | |
you know that... | 0:41:56 | 0:41:57 | |
Sergeant. | 0:41:57 | 0:41:59 | |
We know Carlton was killed by a woman. | 0:41:59 | 0:42:01 | |
We need to bring her in, Fidel. | 0:42:03 | 0:42:04 | |
Just give me half an hour. | 0:42:07 | 0:42:08 | |
OK. | 0:42:13 | 0:42:14 | |
-What happened? Is it Marc? -Where's the gun, Lauren? | 0:42:22 | 0:42:24 | |
-What gun? -The one you took from the safe. | 0:42:24 | 0:42:26 | |
-What are you talking about? -You had no intention of leaving. | 0:42:26 | 0:42:28 | |
What? Of course I did. I told you, New York, we were flying out... | 0:42:28 | 0:42:31 | |
Without a passport? | 0:42:31 | 0:42:32 | |
I don't know why I didn't renew it. | 0:42:42 | 0:42:45 | |
I wanted to go. I was just... | 0:42:45 | 0:42:46 | |
-..scared. -Scared of what? | 0:42:49 | 0:42:50 | |
Of everything. Of leaving Marc, the island. | 0:42:50 | 0:42:55 | |
Of starting a new life with Carlton. What if it didn't work? | 0:42:55 | 0:42:58 | |
Look, you know what he was like. Nothing ever frightened him. | 0:42:59 | 0:43:02 | |
It was all one big adventure. Me? | 0:43:02 | 0:43:04 | |
I'm a coward. | 0:43:07 | 0:43:08 | |
I wish I wasn't. | 0:43:13 | 0:43:14 | |
I wish I'd left with him. Then he'd still be alive. | 0:43:17 | 0:43:21 | |
What about the gun? | 0:43:21 | 0:43:23 | |
OK, I took the gun. But only to give it to Carlton for protection. | 0:43:23 | 0:43:25 | |
-Protection from what? -From Marc. | 0:43:25 | 0:43:27 | |
Look, when he found out about the affair he was livid. | 0:43:29 | 0:43:32 | |
He said that he was going to deal with Carlton and he meant it. | 0:43:32 | 0:43:34 | |
I had to do something. | 0:43:34 | 0:43:36 | |
So, I took the gun. I don't know if I was protecting Carlton from Marc. | 0:43:38 | 0:43:43 | |
Or Marc from himself. I went round to Carlton's. | 0:43:43 | 0:43:46 | |
I told him that Marc knew | 0:43:46 | 0:43:47 | |
and that he should take the gun just in case something happened. | 0:43:47 | 0:43:50 | |
And what did Carlton say? | 0:43:50 | 0:43:52 | |
He didn't want it. He said he wasn't afraid of Marc. | 0:43:53 | 0:43:57 | |
But what happened with the gun? | 0:43:57 | 0:43:59 | |
Well, I left it there. | 0:44:00 | 0:44:01 | |
-We didn't find it, Lauren. -No... | 0:44:01 | 0:44:05 | |
I did not kill Carlton. I loved him. | 0:44:07 | 0:44:10 | |
How is she? | 0:44:20 | 0:44:22 | |
She's scared. | 0:44:22 | 0:44:24 | |
-Are you OK? -No, not really. | 0:44:24 | 0:44:26 | |
Looks like a fun night. | 0:44:41 | 0:44:43 | |
Yeah. One of the best. | 0:44:45 | 0:44:49 | |
Carlton was a handsome boy. | 0:44:49 | 0:44:50 | |
And he knew it. | 0:44:52 | 0:44:54 | |
Bonjour, Catherine. Oh, boy. | 0:44:54 | 0:44:57 | |
-Tough few days, huh? -Yeah. | 0:45:01 | 0:45:03 | |
Listen, about the passport check... | 0:45:05 | 0:45:08 | |
You were doing your job. | 0:45:08 | 0:45:10 | |
Sorry about Lauren. | 0:45:12 | 0:45:14 | |
Yeah, me too. I wish I could help her. | 0:45:14 | 0:45:18 | |
Yes, it's a pity we can't find the gun. | 0:45:18 | 0:45:21 | |
-She said she left it at the villa. -And you believe her? | 0:45:21 | 0:45:24 | |
-Yes. -Then let's go and look for it. | 0:45:24 | 0:45:26 | |
Dwayne, we searched the grounds and the house already. | 0:45:26 | 0:45:28 | |
Then let's search them again. Come on. | 0:45:28 | 0:45:31 | |
Honore Police. | 0:45:36 | 0:45:38 | |
Sir? | 0:45:49 | 0:45:51 | |
What you doing here? | 0:45:51 | 0:45:53 | |
-Looking for the gun. You? -Same. | 0:45:53 | 0:45:55 | |
So you believe Lauren's story? | 0:45:55 | 0:45:57 | |
Let's just say I have a lot of questions that remain unanswered. | 0:45:57 | 0:46:00 | |
-Like what? -Well, for starters | 0:46:00 | 0:46:01 | |
we're looking for a woman who hated Carlton enough to want to kill him. | 0:46:01 | 0:46:04 | |
Problem is every woman we've spoken to absolutely loved him. | 0:46:04 | 0:46:07 | |
And why take the mobile phone? | 0:46:07 | 0:46:09 | |
And why not call you when he was in trouble? | 0:46:09 | 0:46:12 | |
You're a good friend, you were close by... | 0:46:12 | 0:46:14 | |
I wasn't a good friend. | 0:46:14 | 0:46:16 | |
I cut off all contact with him when I graduated from police college. | 0:46:20 | 0:46:24 | |
Ah, I see. | 0:46:24 | 0:46:26 | |
It wasn't easy but... | 0:46:29 | 0:46:30 | |
But being friends with a male escort would have been a bit awkward? | 0:46:30 | 0:46:33 | |
Do you think I was wrong? | 0:46:35 | 0:46:37 | |
Well, can't have friendship without mutual respect. | 0:46:38 | 0:46:44 | |
-Golden rule, don't do anything to harm each other. -Exactly. | 0:46:44 | 0:46:47 | |
And Carlton being an escort, I didn't think it was a good | 0:46:47 | 0:46:49 | |
idea for me to be around him as a police officer... | 0:46:49 | 0:46:51 | |
Then again, friendship's not really about rules. It's about | 0:46:51 | 0:46:55 | |
sticking by each other no matter what. | 0:46:55 | 0:46:58 | |
You're right. I let him down. | 0:46:58 | 0:47:01 | |
I threw away my best friend because I thought he'd reflect badly on me. | 0:47:03 | 0:47:06 | |
What did you just say? | 0:47:08 | 0:47:11 | |
Carlton's job. I was too worried about how it reflected on me. | 0:47:11 | 0:47:16 | |
Reflect. | 0:47:16 | 0:47:17 | |
Carlton loved art. | 0:47:25 | 0:47:26 | |
It inspired him. | 0:47:27 | 0:47:28 | |
There she was demanding that Carlton let her in. | 0:47:31 | 0:47:34 | |
What time is it? | 0:47:38 | 0:47:40 | |
It's almost five. | 0:47:40 | 0:47:41 | |
Right! OK. | 0:47:41 | 0:47:43 | |
Go and pick up Camille, and I will meet you both there in an hour. | 0:47:43 | 0:47:47 | |
Meet us where? | 0:47:47 | 0:47:49 | |
The gallery, of course. | 0:47:49 | 0:47:50 | |
The auction should have started half an hour ago. | 0:47:53 | 0:47:55 | |
My customers are getting very restless. | 0:47:55 | 0:47:58 | |
We are waiting for DI Goodman. | 0:47:58 | 0:48:00 | |
-Where the hell is he? -He said he'd be here. | 0:48:06 | 0:48:08 | |
Sorry. Sorry to keep you all waiting. | 0:48:23 | 0:48:27 | |
-Where's Mr Campese? -Probably changing the locks. | 0:48:29 | 0:48:33 | |
You want us to arrest him. | 0:48:35 | 0:48:36 | |
-No, actually that won't be necessary. -Why not? | 0:48:38 | 0:48:41 | |
Because he didn't do it. | 0:48:43 | 0:48:44 | |
Before we begin, I think we should all take a moment to reflect | 0:48:50 | 0:48:54 | |
upon the work of Albert Peter Dunn. | 0:48:54 | 0:48:56 | |
And who is Albert Peter Dunn? | 0:48:59 | 0:49:01 | |
He was a travel writer. | 0:49:03 | 0:49:05 | |
Not a good travel writer but a very thorough one. | 0:49:05 | 0:49:08 | |
He came to Saint Marie in 1929 while researching this. | 0:49:09 | 0:49:13 | |
Walks of the Caribbean, | 0:49:14 | 0:49:16 | |
a set of three books describing every hike, | 0:49:16 | 0:49:19 | |
stroll and ramble in the region. | 0:49:19 | 0:49:22 | |
This is volume two. 500 pages long. | 0:49:23 | 0:49:27 | |
Crammed full of meticulous detail and painstaking research. | 0:49:27 | 0:49:32 | |
It also happens to be very, very dull. | 0:49:32 | 0:49:37 | |
Sorry, is there a point to this? | 0:49:37 | 0:49:39 | |
Yes. The point? | 0:49:41 | 0:49:45 | |
Well, the point is that like Albert Dunn, Carlton was also very thorough. | 0:49:45 | 0:49:49 | |
We know that he went to great lengths to research his clients | 0:49:49 | 0:49:52 | |
and their interests. | 0:49:52 | 0:49:53 | |
Probably what made him so good at his job. | 0:49:53 | 0:49:56 | |
He took the time to get to know them, to find | 0:49:56 | 0:49:59 | |
out who they were and what they needed. | 0:49:59 | 0:50:02 | |
Carlton played a different role for each of his clients. | 0:50:02 | 0:50:06 | |
Sometimes as a lover... | 0:50:06 | 0:50:08 | |
..sometimes a friend. | 0:50:11 | 0:50:13 | |
Er, sorry! | 0:50:18 | 0:50:19 | |
No, not that one. | 0:50:22 | 0:50:23 | |
Yes! Right! | 0:50:27 | 0:50:29 | |
So, let's start with what we think we know about the night Carlton died. | 0:50:29 | 0:50:33 | |
At 7:00 Carlton leaves the gallery | 0:50:34 | 0:50:37 | |
because he had an argument with Marc Campese. | 0:50:37 | 0:50:39 | |
Outside he tells Dorothy Foster he'll be back soon. | 0:50:39 | 0:50:43 | |
At 8:15 he refuses to answer his door to Dorothy. | 0:50:43 | 0:50:47 | |
At 8:30 he makes a call to the police | 0:50:47 | 0:50:49 | |
and says that a woman is trying to kill him. | 0:50:49 | 0:50:51 | |
And sometime between then and 8:35 | 0:50:51 | 0:50:54 | |
Carlton Paris is shot dead. | 0:50:54 | 0:50:57 | |
And not one of those statements is true. | 0:50:58 | 0:51:00 | |
It was all one big con. | 0:51:06 | 0:51:08 | |
Oh, actually, wait, | 0:51:11 | 0:51:13 | |
the part about Carlton saying he was coming back to the gallery, | 0:51:13 | 0:51:16 | |
that was true. But everything else was a lie. | 0:51:16 | 0:51:20 | |
Carlton didn't leave the gallery because he was angry at Mr Campese. | 0:51:24 | 0:51:27 | |
In fact, he'd already planned to go. | 0:51:27 | 0:51:29 | |
And it wasn't that he wouldn't open his door to Dorothy. | 0:51:30 | 0:51:33 | |
But rather that he couldn't open his door. | 0:51:33 | 0:51:36 | |
And he never made a call to the police | 0:51:37 | 0:51:39 | |
and he wasn't shot between 8:30 and 8:35. | 0:51:39 | 0:51:43 | |
So, back to the start again | 0:51:44 | 0:51:47 | |
and the real reason why Carlton left the gallery. | 0:51:47 | 0:51:50 | |
He was going home to fetch something. | 0:51:50 | 0:51:53 | |
To fetch what, exactly? | 0:51:54 | 0:51:56 | |
Walks of the Caribbean, of course. | 0:51:58 | 0:52:00 | |
See, Carlton spotted something in this book that would have caused | 0:52:02 | 0:52:06 | |
a bit of a scandal. | 0:52:06 | 0:52:07 | |
Albert Dunn's description of his walk around Saint Marie harbour. | 0:52:09 | 0:52:13 | |
"The harbour is quaint, yet little used, | 0:52:14 | 0:52:17 | |
"save for a few local fishing boats. | 0:52:17 | 0:52:19 | |
"The waters around Saint Marie are too treacherous for any larger | 0:52:20 | 0:52:24 | |
"vessels to chance. | 0:52:24 | 0:52:25 | |
"However this may soon change as a lighthouse is currently being | 0:52:26 | 0:52:31 | |
"erected." | 0:52:31 | 0:52:33 | |
That would be this lighthouse here, the one reflected in the bottle. | 0:52:42 | 0:52:46 | |
The one built in 1929. Two years after the artist had died. | 0:52:48 | 0:52:54 | |
Looked it up in your catalogue. | 0:52:56 | 0:52:58 | |
So, you see... | 0:52:59 | 0:53:01 | |
..there is no way that Durosseau could have painted that painting. | 0:53:03 | 0:53:06 | |
And that's how Carlton knew that The Girl from the Mermaid is a fake. | 0:53:06 | 0:53:10 | |
This is ridiculous. | 0:53:12 | 0:53:14 | |
Carlton told you of his suspicions. | 0:53:17 | 0:53:19 | |
Thank you for sharing. | 0:53:21 | 0:53:22 | |
I can bring the proof to you. | 0:53:22 | 0:53:23 | |
-Ah. -The glamour's arrived. | 0:53:23 | 0:53:25 | |
He must have thought that you were a victim of a fraud. | 0:53:25 | 0:53:28 | |
He can't have known that you were involved or | 0:53:28 | 0:53:30 | |
he would have exposed you there and then. | 0:53:30 | 0:53:33 | |
You knew | 0:53:33 | 0:53:34 | |
that if he came back with that proof, | 0:53:34 | 0:53:37 | |
well, then you could say goodbye to that quarter of a million dollars. | 0:53:37 | 0:53:39 | |
And if it was discovered that you knew it was a fake, | 0:53:41 | 0:53:44 | |
well, then you'd be facing a lengthy jail sentence. | 0:53:44 | 0:53:47 | |
You went off to Carlton's villa. | 0:53:53 | 0:53:55 | |
I imagine you tried to reason with him at first, | 0:53:58 | 0:54:00 | |
maybe even tried to bribe him with a cut of the auction fee. | 0:54:00 | 0:54:03 | |
But Carlton, Carlton wouldn't bite. | 0:54:03 | 0:54:06 | |
And then it appeared before you, Marc Campese's gun. | 0:54:10 | 0:54:13 | |
You took the book and you were about to leave when... | 0:54:25 | 0:54:29 | |
you saw a chance to cover your tracks. Carlton's mobile phone. | 0:54:29 | 0:54:33 | |
The deed done. You returned to your | 0:54:39 | 0:54:41 | |
guests as if nothing had happened. | 0:54:41 | 0:54:43 | |
Come the end of the night, you had one more con to play. | 0:54:43 | 0:54:46 | |
A phone call to the police station using Carlton's phone to make | 0:54:50 | 0:54:54 | |
-it seem like he was still alive. -Hello? | 0:54:54 | 0:54:56 | |
-IMPERSONATES CARLTON: -Hello? Police. | 0:54:56 | 0:54:58 | |
My name is Carlton Paris. I'm at 125 Shore Road. | 0:54:58 | 0:55:01 | |
She's got a gun. | 0:55:01 | 0:55:02 | |
Hey? Where are you going? | 0:55:07 | 0:55:09 | |
A nice touch with that "she's got a gun". | 0:55:12 | 0:55:14 | |
What with Carlton being an escort you knew we'd be | 0:55:15 | 0:55:17 | |
looking at one of his clients. | 0:55:17 | 0:55:19 | |
And the phone call made us | 0:55:19 | 0:55:20 | |
think that Carlton was still alive an hour after you killed him... | 0:55:20 | 0:55:24 | |
..when you had two police officers who could vouch for your alibi. | 0:55:26 | 0:55:29 | |
See, Carlton never called his friend when he was in trouble | 0:55:31 | 0:55:34 | |
because it wasn't him making the call. | 0:55:34 | 0:55:36 | |
You managed to fake a murder. | 0:55:38 | 0:55:40 | |
Shame that you couldn't fake a painting. | 0:55:43 | 0:55:45 | |
Top drawer, I guess. | 0:56:00 | 0:56:02 | |
Just as I thought. Walks of the Caribbean Volume Two. | 0:56:05 | 0:56:09 | |
No doubt covered with Carlton's fingerprints. | 0:56:09 | 0:56:11 | |
-And the phone? -It's Carlton's. | 0:56:11 | 0:56:14 | |
All the evidence we need, I'd say. | 0:56:14 | 0:56:15 | |
-I'll buy them from you for a penny. -What? | 0:56:27 | 0:56:30 | |
Your thoughts. That's what English people say, | 0:56:33 | 0:56:36 | |
isn't it? "I'll pay one penny for your thought." | 0:56:36 | 0:56:39 | |
You mean "a penny for them". | 0:56:39 | 0:56:40 | |
-Yeah, that's what I said. -Yes, almost. | 0:56:40 | 0:56:43 | |
You're not going to do your baked beans on toast speech again? | 0:56:46 | 0:56:49 | |
-No. -I don't mind. -No! -Cool! | 0:56:49 | 0:56:51 | |
I suppose I am a bit lonely. | 0:56:53 | 0:56:55 | |
Bound to be, I've been with Sally, you see. | 0:56:56 | 0:56:58 | |
And now I'm not. And it takes a bit of adjusting. | 0:56:58 | 0:57:00 | |
Even looked at an internet dating site. | 0:57:02 | 0:57:04 | |
-Really? Did you do it? -No. | 0:57:04 | 0:57:07 | |
But there might be someone out there, just waiting for you... | 0:57:07 | 0:57:09 | |
-You think? -Why not? | 0:57:09 | 0:57:11 | |
Well, I'm afraid I fell at the first hurdle, you see. | 0:57:13 | 0:57:16 | |
It said "Name your three best qualities." I put catching | 0:57:16 | 0:57:18 | |
murderers as my number one, then I sort of ran out of steam. | 0:57:18 | 0:57:22 | |
Don't suppose you can think of anything else? | 0:57:23 | 0:57:26 | |
Er, no. | 0:57:26 | 0:57:30 | |
Ah! Right. Thought not. | 0:57:30 | 0:57:32 | |
I'm teasing. | 0:57:32 | 0:57:35 | |
You can put that you're kind, you're handsome, and you're very sexy... | 0:57:35 | 0:57:39 | |
Really? | 0:57:40 | 0:57:42 | |
Of course! It's internet. | 0:57:42 | 0:57:46 | |
Everyone lies. | 0:57:46 | 0:57:47 | |
There was a party last night. | 0:58:01 | 0:58:03 | |
-I reckon there will be another one tonight. -Ms Siebert? | 0:58:03 | 0:58:06 | |
Natasha Siebert, a 35-year-old air hostess. Suspicious death. | 0:58:06 | 0:58:10 | |
I could think of 100 flight attendants that people would gladly murder. | 0:58:10 | 0:58:14 | |
-Max, but not Natasha. -We found some fingerprints in Natasha's room. | 0:58:14 | 0:58:17 | |
-Do you want to see the real Saint Marie? -Yes. | 0:58:18 | 0:58:21 |