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'Good evening, ladies and gentlemen. This is your captain speaking. | 0:00:06 | 0:00:09 | |
'Welcome aboard DC10 flight 1313. | 0:00:09 | 0:00:11 | |
'We will be cruising at a height of 25,000 feet, | 0:00:11 | 0:00:15 | |
'an air speed of 600 miles per hour. | 0:00:15 | 0:00:18 | |
'Info will be provided upon request | 0:00:18 | 0:00:20 | |
'for a varied programme of in flight music. | 0:00:20 | 0:00:22 | |
'Have a good flight.' | 0:00:22 | 0:00:25 | |
..and he says "This is a 747. | 0:00:32 | 0:00:35 | |
"Get to the back of the queue with the Airbus drivers." | 0:00:35 | 0:00:38 | |
So as he starts to taxi he clips the tail of an Embraer 170! | 0:00:38 | 0:00:42 | |
Now they've got him back re-training to fly an Airbus! | 0:00:42 | 0:00:46 | |
Hey! Hey! | 0:00:52 | 0:00:55 | |
Oh, my God! | 0:00:56 | 0:00:58 | |
I think you've had enough for one night, sir! | 0:01:01 | 0:01:05 | |
Right then, shall I get another? | 0:01:10 | 0:01:12 | |
-Tash? -Not for me. | 0:01:14 | 0:01:16 | |
Paul? | 0:01:16 | 0:01:17 | |
No, I think the bar's closed. | 0:01:17 | 0:01:19 | |
Ooh, action - Adam's back. | 0:01:21 | 0:01:24 | |
It's past twelve oh no! | 0:01:24 | 0:01:26 | |
Lightweight! | 0:01:26 | 0:01:27 | |
You won't be saying that when the crew bus arrives Max. | 0:01:28 | 0:01:32 | |
No! | 0:01:32 | 0:01:33 | |
Yes. | 0:01:33 | 0:01:34 | |
Night, Tash. | 0:01:35 | 0:01:36 | |
Night, Adam. | 0:01:36 | 0:01:37 | |
Right, think it's time I turned in too, actually. | 0:01:42 | 0:01:45 | |
Ah, yeah, you need to look your best, with the missus due in. Thank you. | 0:01:45 | 0:01:49 | |
Is Helen coming here? | 0:01:49 | 0:01:50 | |
Yeah. She gets in from LAX shortly before we leave for Heathrow. | 0:01:50 | 0:01:54 | |
Think we've got a two hour gap. | 0:01:54 | 0:01:55 | |
Ah! Long distance relationships, eh, Adam? | 0:01:55 | 0:01:58 | |
Night. | 0:01:59 | 0:02:00 | |
-See you in the morning. -Night. | 0:02:01 | 0:02:04 | |
KNOCK AT THE DOOR | 0:02:23 | 0:02:25 | |
Helen! So nice to have you back again. | 0:02:41 | 0:02:45 | |
So nice to be back, Simone. | 0:02:45 | 0:02:47 | |
You missed quite a party last night. | 0:02:47 | 0:02:48 | |
Yeah? Well, I reckon there'll be another one tonight! | 0:02:48 | 0:02:51 | |
It's a crew room again, I'm afraid. | 0:02:52 | 0:02:54 | |
Oh, that's OK, I'm only here for a couple of nights. | 0:02:54 | 0:02:57 | |
S'funny. The key's not here... | 0:03:01 | 0:03:04 | |
Just give me a moment, I'll call up the room. | 0:03:04 | 0:03:07 | |
Hello. | 0:03:09 | 0:03:11 | |
Baby! | 0:03:11 | 0:03:12 | |
I missed you! | 0:03:12 | 0:03:15 | |
How was your flight? | 0:03:15 | 0:03:16 | |
Oh, you know - the usual. Everything all right? | 0:03:16 | 0:03:19 | |
Course it is. | 0:03:19 | 0:03:20 | |
HE SQUEALS AND LAUGHS | 0:03:20 | 0:03:22 | |
Erm, where's Natasha? | 0:03:26 | 0:03:28 | |
She's normally the first one down, I've knocked on her door. | 0:03:28 | 0:03:31 | |
Erm, can you call down to Natasha Thiebert's room? | 0:03:31 | 0:03:33 | |
Erm, I'm doing it now. There's no answer. | 0:03:33 | 0:03:36 | |
Ms Thiebert? Hello? | 0:03:44 | 0:03:46 | |
Can I come in? | 0:03:46 | 0:03:48 | |
Tash? | 0:03:48 | 0:03:50 | |
Morning. | 0:04:43 | 0:04:45 | |
-Sir. -Morning. -How are we? | 0:04:45 | 0:04:47 | |
Bright...and breezy. | 0:04:47 | 0:04:49 | |
-It's the shirt, isn't it? -Well, it's, it's very... | 0:04:50 | 0:04:53 | |
Yes, I know! Found it at the market. | 0:04:53 | 0:04:55 | |
Only 50 dollars, bit of a steal. | 0:04:55 | 0:04:57 | |
Oh, I'd say so. | 0:04:57 | 0:04:58 | |
Thought it was high time I started to blend in. | 0:04:58 | 0:05:01 | |
Morning, Camille. | 0:05:08 | 0:05:10 | |
Morn... | 0:05:10 | 0:05:12 | |
So we have... | 0:05:12 | 0:05:14 | |
Natasha Thiebert, a 35-year-old air hostess. Suspicious death. | 0:05:14 | 0:05:18 | |
Early indications are she was poisoned, sir. | 0:05:18 | 0:05:21 | |
Lack of oxygen to the skin indicates that. | 0:05:21 | 0:05:23 | |
Any idea how? | 0:05:23 | 0:05:24 | |
Oh, we're guessing the killer put something into a glass of champagne. | 0:05:24 | 0:05:28 | |
Ah! | 0:05:28 | 0:05:30 | |
OK, Fidel, prints please | 0:05:37 | 0:05:39 | |
and get the lab to identify our poison for us? | 0:05:39 | 0:05:41 | |
Yes, sir. | 0:05:41 | 0:05:42 | |
Any other bottles anywhere, a container of some kind? | 0:05:43 | 0:05:47 | |
The champagne was uncorked there | 0:05:47 | 0:05:48 | |
so the poisoner must have brought the poison in separately | 0:05:48 | 0:05:51 | |
and put it in the glass. | 0:05:51 | 0:05:53 | |
We haven't found anything, the killer must have taken it with them. | 0:05:53 | 0:05:56 | |
I imagine we don't have a time of death, yet? | 0:05:56 | 0:05:59 | |
No, we know she left the others around 12.30 last night, | 0:05:59 | 0:06:02 | |
her body was found at 8.40 this morning so we're guessing she's been dead around six hours. | 0:06:02 | 0:06:06 | |
So that's about...2.30am? | 0:06:06 | 0:06:09 | |
Did she seem fit and well when she was last seen? | 0:06:09 | 0:06:12 | |
She wasn't drunk or complaining of feeling unwell? | 0:06:12 | 0:06:15 | |
-No. -OK, who did she leave the party with? | 0:06:15 | 0:06:18 | |
No-one. | 0:06:18 | 0:06:19 | |
Yet two glasses. | 0:06:19 | 0:06:20 | |
The witnesses said she left alone. | 0:06:20 | 0:06:22 | |
They have CCTV in the hotel. | 0:06:22 | 0:06:23 | |
I could get the tapes and check it out. | 0:06:23 | 0:06:25 | |
Er, yes please. | 0:06:25 | 0:06:26 | |
Erm, and draw up a list of everyone she spoke to last night. | 0:06:26 | 0:06:30 | |
Twin beds? | 0:06:30 | 0:06:31 | |
Ah, yes, it's a crew room, they tend to share. | 0:06:31 | 0:06:34 | |
-But she wasn't? -Her roommate arrived on a different flight this morning. | 0:06:34 | 0:06:37 | |
Erm, Helen Walker. | 0:06:37 | 0:06:39 | |
But there were three other crew members who | 0:06:39 | 0:06:41 | |
came in in the same flight as the victim. | 0:06:41 | 0:06:43 | |
All male. They mixed with other guests all evening, but the manager | 0:06:43 | 0:06:47 | |
said that just the four of them were left together around midnight. | 0:06:47 | 0:06:51 | |
Even so, let's take statements from all the guests, | 0:06:51 | 0:06:53 | |
start eliminating people. | 0:06:53 | 0:06:55 | |
And Fidel, take exclusion prints also, | 0:06:55 | 0:06:57 | |
-check them against the champagne glasses. -Sir. | 0:06:57 | 0:07:00 | |
What on earth do you do with this? | 0:07:13 | 0:07:15 | |
Blusher. | 0:07:15 | 0:07:16 | |
Do women usually have this much make up? | 0:07:17 | 0:07:19 | |
Air hostesses do. | 0:07:19 | 0:07:21 | |
Mmm... | 0:07:21 | 0:07:22 | |
She wasn't murdered for money. | 0:07:31 | 0:07:33 | |
It's from all over the world. | 0:07:33 | 0:07:35 | |
Anything on these? | 0:07:39 | 0:07:41 | |
Oh, postcards home, all stamped and ready to go. | 0:07:41 | 0:07:44 | |
Says it's her first time on the island... | 0:07:44 | 0:07:47 | |
all the usual, although there was one... | 0:07:47 | 0:07:51 | |
"One in the morning, in my room, | 0:07:53 | 0:07:55 | |
"just had some exciting news, can't wait to tell you when I get back." | 0:07:55 | 0:07:59 | |
Interesting. | 0:08:00 | 0:08:01 | |
Anyone could have taken them. | 0:08:09 | 0:08:11 | |
-Mmmm. -The missing room key? | 0:08:11 | 0:08:13 | |
Hi! | 0:08:21 | 0:08:22 | |
I gave the guest list to one of your officers, | 0:08:22 | 0:08:24 | |
is there something else I can help with? | 0:08:24 | 0:08:27 | |
Er, yes. The, erm, airline staff. | 0:08:27 | 0:08:30 | |
They're regulars, I presume? | 0:08:30 | 0:08:32 | |
We have an arrangement with the airline - yes. | 0:08:32 | 0:08:34 | |
You know them well then? | 0:08:34 | 0:08:36 | |
I don't know any of them really, | 0:08:36 | 0:08:38 | |
they tend to keep themselves to themselves. | 0:08:38 | 0:08:41 | |
So you wouldn't know if anyone held a grudge against Natasha Thiebert? | 0:08:41 | 0:08:45 | |
I wouldn't, sorry. | 0:08:45 | 0:08:47 | |
I think I heard that it was her first time at the hotel - | 0:08:47 | 0:08:50 | |
her first time on the island. | 0:08:50 | 0:08:52 | |
Poor woman. | 0:08:53 | 0:08:54 | |
She was due to share a room with a Helen Walker? | 0:08:56 | 0:08:58 | |
Er, each room has two keys, Natasha's was in her room | 0:09:00 | 0:09:03 | |
but the other one was missing? | 0:09:03 | 0:09:05 | |
Yes. It should be here. | 0:09:05 | 0:09:09 | |
Do you think it might have been taken? | 0:09:09 | 0:09:11 | |
It would appear so. | 0:09:11 | 0:09:13 | |
PHONE RINGS | 0:09:13 | 0:09:15 | |
-Er, may I? -Yes. -Of course. | 0:09:15 | 0:09:18 | |
Good morning, La Creole Beach Hotel... | 0:09:18 | 0:09:22 | |
I still can't believe it, I was only with her last week. | 0:09:24 | 0:09:27 | |
You arrived in Saint-Marie this morning? | 0:09:27 | 0:09:30 | |
Yeah. | 0:09:30 | 0:09:32 | |
And you were all with her last night? | 0:09:32 | 0:09:33 | |
Yeah, we were at the back of the hotel till about midnight. | 0:09:33 | 0:09:37 | |
Was it her heart? I'm sure someone said something about her having heart problems. | 0:09:37 | 0:09:41 | |
Yeah, I'd heard that rumour too, that's the gossipy world of the biccy-chuckers. | 0:09:41 | 0:09:45 | |
-The "biccy-chuckers"? -That's what all the Nigels call us. | 0:09:45 | 0:09:48 | |
Sorry - "Nigels"? | 0:09:48 | 0:09:50 | |
The pilots. | 0:09:50 | 0:09:52 | |
Look, she'd had her company medical a few months ago, there was | 0:09:52 | 0:09:55 | |
nothing wrong with her heart. | 0:09:55 | 0:09:57 | |
Yes, I can confirm that Natasha Thiebert didn't die of natural causes, | 0:09:57 | 0:10:02 | |
this is a murder investigation. | 0:10:02 | 0:10:04 | |
-Murder?! -Murdered! Who would do that? | 0:10:04 | 0:10:08 | |
It's all right. | 0:10:12 | 0:10:15 | |
It doesn't make any sense. | 0:10:15 | 0:10:16 | |
So she was well liked? | 0:10:16 | 0:10:19 | |
Yeah! | 0:10:19 | 0:10:20 | |
I mean I could, I could think of a hundred flight attendants people would gladly murder... | 0:10:20 | 0:10:24 | |
Max. But not Natasha. | 0:10:24 | 0:10:25 | |
And so she was popular? | 0:10:27 | 0:10:29 | |
She was, she was lovely. | 0:10:29 | 0:10:31 | |
She wasn't a party animal, not really, more "homely". | 0:10:31 | 0:10:35 | |
Talked about her family a lot. | 0:10:35 | 0:10:36 | |
She grew up in Provence - her family are still there - | 0:10:36 | 0:10:39 | |
she always called them, sent postcards from wherever she landed. | 0:10:39 | 0:10:43 | |
She dreamt of packing it all in one day, going back to France, | 0:10:43 | 0:10:48 | |
buying a little farm and living a simple life. | 0:10:48 | 0:10:52 | |
That's what she said anyway. | 0:10:52 | 0:10:53 | |
Yeah, postcards - yes, yes. | 0:10:55 | 0:10:56 | |
Erm, Natasha wrote something on a postcard, | 0:10:56 | 0:10:59 | |
when she went back to her room. | 0:10:59 | 0:11:01 | |
Er, something about "exciting news". | 0:11:01 | 0:11:04 | |
Do any of you know what that meant? | 0:11:04 | 0:11:06 | |
No. | 0:11:09 | 0:11:10 | |
And, and where were you all around, er, 2:30am this morning? | 0:11:11 | 0:11:15 | |
I was in bed. | 0:11:15 | 0:11:16 | |
We all were, we had a flight this morning. It's been cancelled. | 0:11:16 | 0:11:19 | |
And you're in separate rooms? | 0:11:19 | 0:11:21 | |
Yeah, pilots get single rooms. | 0:11:21 | 0:11:23 | |
Well, I'm in a twin, but I've got it all to myself. | 0:11:23 | 0:11:26 | |
I had a drink from the mini bar and I was asleep by one? | 0:11:27 | 0:11:32 | |
And, and you were en route from Los Angeles? | 0:11:32 | 0:11:35 | |
Got in a couple of minutes past seven this morning. | 0:11:35 | 0:11:38 | |
And none of you saw or heard anything from Natasha after she left? | 0:11:38 | 0:11:42 | |
No. | 0:11:42 | 0:11:44 | |
And none of you visited her room? | 0:11:44 | 0:11:45 | |
-No. -No. | 0:11:45 | 0:11:47 | |
OK. Thank you. | 0:11:47 | 0:11:50 | |
They all seemed nice enough, do you think they were telling the truth? | 0:11:55 | 0:11:58 | |
Well, there was two champagne glasses in her room, | 0:11:58 | 0:12:01 | |
so someone must have gone to see her. | 0:12:01 | 0:12:02 | |
Unless she left them because she knew she was meeting someone else? | 0:12:02 | 0:12:05 | |
Very true. Let's see if we can get anything new from the autopsy. | 0:12:05 | 0:12:09 | |
-Don't be mad at me. -Hmph. | 0:12:09 | 0:12:11 | |
I just said I was a little surprised to see you working here, | 0:12:11 | 0:12:15 | |
that is all. | 0:12:15 | 0:12:15 | |
You don't think I'm good enough for this hotel? | 0:12:15 | 0:12:18 | |
-I didn't say that. -No, but you inferred it. | 0:12:18 | 0:12:20 | |
Everything all right? | 0:12:20 | 0:12:21 | |
Yes, Chief. | 0:12:21 | 0:12:23 | |
Ms Magon here was er, kindly assisting us with the hotel CCTV. | 0:12:23 | 0:12:28 | |
Hmm. | 0:12:28 | 0:12:30 | |
Simone Magon seems nice enough. | 0:12:34 | 0:12:36 | |
I'm telling you, Chief, her mother is wild, her | 0:12:37 | 0:12:40 | |
sisters are wild, in fact the whole family is completely out of control. | 0:12:40 | 0:12:44 | |
You're not suggesting that she's a murder suspect? | 0:12:44 | 0:12:47 | |
There's no link. Not if it was Natasha's first time on the island. | 0:12:47 | 0:12:50 | |
Look, all I'm saying is it won't do any harm to run a few background checks on her. | 0:12:50 | 0:12:53 | |
-Well, if it'll make you feel better. -Thank you, Chief. | 0:12:53 | 0:12:56 | |
Oh, er, did you get anything from the CCTV? | 0:12:58 | 0:13:01 | |
Only that the time-code confirms their statements. | 0:13:01 | 0:13:04 | |
Is there any way she could have been poisoned in the bar or at the party? | 0:13:04 | 0:13:07 | |
I don't see how, she's sharing the same bottle of wine as everyone else. | 0:13:07 | 0:13:11 | |
And she doesn't seem to eat or drink anything else when she's there. | 0:13:11 | 0:13:14 | |
OK, rewind to the start of the evening and see | 0:13:14 | 0:13:16 | |
if you can spot anything untoward? | 0:13:16 | 0:13:18 | |
Yes, Chief. | 0:13:18 | 0:13:19 | |
Oh, by the way... | 0:13:19 | 0:13:20 | |
Mmm-hmm. | 0:13:20 | 0:13:21 | |
Natasha's bag... | 0:13:21 | 0:13:22 | |
I checked - it's called a 'lucky-dip' bag. | 0:13:22 | 0:13:25 | |
All cabin crew have one, they visit a country, | 0:13:25 | 0:13:28 | |
if they don't use all the currency or use up whatever, | 0:13:28 | 0:13:31 | |
they put it in their lucky-dip bag to use... | 0:13:31 | 0:13:33 | |
To use the next time they're there, thank you. | 0:13:33 | 0:13:35 | |
-Exactly. -Right! | 0:13:35 | 0:13:37 | |
Natasha Thiebert goes to her room, seemingly alone, seemingly happy. | 0:13:37 | 0:13:40 | |
Someone visits, they drink from two separate glasses of champagne, | 0:13:40 | 0:13:44 | |
she dies. | 0:13:44 | 0:13:45 | |
So, the person she drank champagne with must have poisoned her. | 0:13:45 | 0:13:49 | |
Which suggests it's someone she knew. | 0:13:49 | 0:13:51 | |
COMPUTER BLEEPS | 0:13:55 | 0:13:57 | |
Sir! | 0:13:57 | 0:13:58 | |
I've got a match with the prints on the champagne glasses. | 0:13:58 | 0:14:01 | |
-The victim's are on one. -And on the other? | 0:14:01 | 0:14:03 | |
Adam Frost. | 0:14:06 | 0:14:07 | |
It's just a few questions, that's all. | 0:14:12 | 0:14:14 | |
I'm not really sure we can be of much help but... | 0:14:14 | 0:14:17 | |
Well, actually, it's Mr Frost we'd like to speak to. | 0:14:17 | 0:14:20 | |
Why? | 0:14:20 | 0:14:21 | |
I think it may be best if we do this at the station? | 0:14:24 | 0:14:27 | |
Whatever you want to say to him, you can | 0:14:27 | 0:14:28 | |
say in front of us both, isn't that right, sweetheart? | 0:14:28 | 0:14:31 | |
-Of course. -Sure? | 0:14:31 | 0:14:33 | |
Yes. | 0:14:33 | 0:14:34 | |
We found some fingerprints in Natasha's room. | 0:14:38 | 0:14:41 | |
You sure you're happy to do this? | 0:14:42 | 0:14:44 | |
Wait! You're saying you found his fingerprints? | 0:14:44 | 0:14:47 | |
Adam? | 0:14:50 | 0:14:51 | |
OK. I went to her room. | 0:14:54 | 0:14:56 | |
I didn't tell you earlier because I knew how it would look | 0:14:56 | 0:14:59 | |
but it's all perfectly innocent, I can assure you. | 0:14:59 | 0:15:02 | |
So you admit you went to Natasha's room? Last night? | 0:15:02 | 0:15:04 | |
-Yes. -What time was that? -1.30. | 0:15:04 | 0:15:07 | |
Can we ask why? | 0:15:08 | 0:15:10 | |
To talk about the senior steward job. | 0:15:10 | 0:15:12 | |
We all knew it was a choice between Tash or Max, | 0:15:12 | 0:15:14 | |
and I'd just had word from London that the job was hers. | 0:15:14 | 0:15:16 | |
You could've waited until the morning to tell her. | 0:15:16 | 0:15:18 | |
Yes, I could. | 0:15:18 | 0:15:20 | |
But I knew how hard she'd worked for it | 0:15:20 | 0:15:22 | |
and I knew how much she wanted it. | 0:15:22 | 0:15:24 | |
-She was having trouble with another crew member. -Who? | 0:15:24 | 0:15:26 | |
I don't know exactly, she wouldn't tell me, although I do know it | 0:15:26 | 0:15:29 | |
was getting her down, so I thought she deserved a little good news. | 0:15:29 | 0:15:32 | |
OK, so you told her. Then what? | 0:15:32 | 0:15:34 | |
I made my excuses to leave... | 0:15:35 | 0:15:37 | |
but she insisted on opening a bottle of champagne. | 0:15:40 | 0:15:44 | |
We raised a glass to toast her success... | 0:15:44 | 0:15:46 | |
that was that, I had one glass and returned to my | 0:15:46 | 0:15:49 | |
room shortly after. | 0:15:49 | 0:15:50 | |
At what time? | 0:15:50 | 0:15:52 | |
I don't know exactly. But it can't have been later than two. | 0:15:52 | 0:15:56 | |
Although no one will be able to vouch for that, will they? | 0:15:56 | 0:15:59 | |
I think reception might. | 0:16:01 | 0:16:02 | |
After I got back to my room, I called down to arrange a wake-up call. | 0:16:04 | 0:16:08 | |
It was nothing. | 0:16:11 | 0:16:13 | |
'And what time was that? | 0:16:21 | 0:16:23 | |
'No, no, no that's fine. Thank you. Bye.' | 0:16:24 | 0:16:28 | |
Oh nice. Thank you. | 0:16:30 | 0:16:32 | |
-What is that? -Cheese and pickle. It's an English delicacy. | 0:16:34 | 0:16:37 | |
Whatever that is. | 0:16:37 | 0:16:38 | |
Reception confirm that they had a call from Adam Frost just | 0:16:40 | 0:16:43 | |
after 2am asking for a wake-up call. | 0:16:43 | 0:16:46 | |
From his own room? | 0:16:46 | 0:16:47 | |
Yes. | 0:16:47 | 0:16:49 | |
OK, well if he's telling the truth, | 0:16:49 | 0:16:50 | |
that explains away the two champagne flutes. | 0:16:50 | 0:16:52 | |
It doesn't mean he didn't poison her. | 0:16:52 | 0:16:54 | |
No, it doesn't. Though I'm struggling to see a motive. | 0:16:54 | 0:16:58 | |
Still! It ain't over till the fat lady sings. | 0:16:58 | 0:17:01 | |
Excuse me? | 0:17:01 | 0:17:02 | |
-It's an expression. -About a fat lady? | 0:17:02 | 0:17:04 | |
-Yes. -Singing? -It comes from the opera. | 0:17:04 | 0:17:06 | |
What does it mean? | 0:17:06 | 0:17:08 | |
Well, it all stems from a slightly overweight soprano | 0:17:08 | 0:17:10 | |
of the Grand Opera, the one with the Viking helmet. | 0:17:10 | 0:17:13 | |
When she came on and sang, you knew it was nearly the end. | 0:17:13 | 0:17:16 | |
Of the opera... | 0:17:16 | 0:17:18 | |
And that's a British saying? | 0:17:18 | 0:17:19 | |
Yes, it means it's not over... | 0:17:19 | 0:17:21 | |
-Until the fat lady sings? -Exactly. | 0:17:21 | 0:17:23 | |
But opera's probably not a big thing on Saint-Marie, | 0:17:23 | 0:17:26 | |
you have the, er, Tropical Caribbean Cabaret instead! | 0:17:26 | 0:17:29 | |
The dance show? | 0:17:29 | 0:17:30 | |
Yes. | 0:17:30 | 0:17:32 | |
I got it from the front desk. | 0:17:33 | 0:17:35 | |
"The world famous Tropical Caribbean Cabaret for the true | 0:17:36 | 0:17:40 | |
"Saint-Marie experience". | 0:17:40 | 0:17:42 | |
You're going to the cabaret? | 0:17:44 | 0:17:45 | |
Yes, and as I said to Dwayne and Fidel, I feel like | 0:17:47 | 0:17:51 | |
I need to integrate more, start acting more like a local... | 0:17:51 | 0:17:55 | |
It's all in the hips. | 0:17:59 | 0:18:01 | |
Please stop. | 0:18:01 | 0:18:03 | |
Sorry it's a, it's a work in progress. | 0:18:04 | 0:18:06 | |
I assume you'll be there? At the, er, cabaret? | 0:18:08 | 0:18:11 | |
No. | 0:18:11 | 0:18:13 | |
Ah. | 0:18:13 | 0:18:14 | |
Camille, Sir, we've had results back from the lab. | 0:18:31 | 0:18:33 | |
Excellent, so what have we got? | 0:18:33 | 0:18:35 | |
Well, they couldn't find any trace of poison in the glasses or the champagne. | 0:18:35 | 0:18:38 | |
-You sure? -One hundred percent. | 0:18:39 | 0:18:42 | |
But Natasha was poisoned? | 0:18:43 | 0:18:44 | |
Yes. It's a very rare poison - | 0:18:44 | 0:18:46 | |
Bikh now there was only a trace found in her system but... | 0:18:46 | 0:18:49 | |
But a trace is all you need. | 0:18:49 | 0:18:51 | |
Exactly. | 0:18:51 | 0:18:53 | |
Bikh is an organic, plant-based clear liquid, it originates from | 0:18:53 | 0:18:56 | |
Tibet, it is extremely fast acting. | 0:18:56 | 0:18:59 | |
Tibet? Oh great! So we've got a globe-trotting murderer. | 0:18:59 | 0:19:03 | |
Fine! We've got a globe-trotting list of suspects. | 0:19:03 | 0:19:06 | |
Yes, but if the poison wasn't in the champagne, how was it ingested? | 0:19:06 | 0:19:10 | |
Mmmm, that's a tricky one. | 0:19:10 | 0:19:11 | |
Now, we know she shared the same bottle of wine with the others | 0:19:11 | 0:19:14 | |
at the party but there's no record of her having | 0:19:14 | 0:19:16 | |
called room service when she got to her room. | 0:19:16 | 0:19:17 | |
Yes, and the autopsy confirms that she didn't eat or drink | 0:19:17 | 0:19:20 | |
anything after the champagne. | 0:19:20 | 0:19:21 | |
We need to go back to that room and search it again. | 0:19:21 | 0:19:24 | |
Dwayne, you do it. Maybe we've missed something, but er, | 0:19:24 | 0:19:27 | |
that poison must have been administered somehow. | 0:19:27 | 0:19:31 | |
Maybe Adam Frost went back to her room? | 0:19:31 | 0:19:33 | |
Or, or, | 0:19:33 | 0:19:35 | |
he could have set a trap for her. | 0:19:35 | 0:19:37 | |
Because that's the thing about poison, isn't it? | 0:19:37 | 0:19:39 | |
You don't have to be there when a person takes it. | 0:19:39 | 0:19:42 | |
But if it was Adam - she let him in. | 0:19:42 | 0:19:44 | |
So who stole the room key and why? | 0:19:44 | 0:19:47 | |
OK, so, we have got Adam Frost, he admits to visiting her, | 0:19:47 | 0:19:51 | |
sharing a glass of champagne then leaving at 2am. | 0:19:51 | 0:19:53 | |
Paul Bevans and Max Leigh say they were in their rooms. | 0:19:53 | 0:19:56 | |
Helen Walker was still en route from Los Angeles. | 0:19:56 | 0:19:59 | |
Er, what about Simone? | 0:19:59 | 0:20:02 | |
We know she was on duty. | 0:20:02 | 0:20:03 | |
She has easy access to the keys, | 0:20:03 | 0:20:04 | |
and can move around the hotel without being challenged. | 0:20:04 | 0:20:07 | |
-But what motive could she have? -Well, right now, we haven't got a motive for any of them. | 0:20:07 | 0:20:11 | |
Background checks? | 0:20:11 | 0:20:13 | |
Paul Bevans, lives north of London with his mother, | 0:20:13 | 0:20:16 | |
he's been with the airline his entire career, seems pretty clean. | 0:20:16 | 0:20:19 | |
Yes, and I called the airline, and they confirmed Natasha's promotion. | 0:20:19 | 0:20:23 | |
But steward Max Leigh was also up for the same job, so maybe he was unhappy. | 0:20:23 | 0:20:26 | |
Why? | 0:20:26 | 0:20:27 | |
Max Leigh's been working for the airline twice as long as Natasha. | 0:20:27 | 0:20:30 | |
So why didn't he get the promotion? | 0:20:30 | 0:20:33 | |
Ah, some time ago the airline were doing a 360 degree staff | 0:20:33 | 0:20:36 | |
review - whatever that is - staff reports were assembled, | 0:20:36 | 0:20:39 | |
and people were asked to appraise each other, you know, strengths, | 0:20:39 | 0:20:43 | |
weaknesses and so on. | 0:20:43 | 0:20:44 | |
This is the report for Max. | 0:20:44 | 0:20:46 | |
And he doesn't come out of it well. | 0:20:47 | 0:20:49 | |
Phew! | 0:20:49 | 0:20:50 | |
"You're not focussed on the job, you're often late, | 0:20:55 | 0:20:59 | |
"sometimes smelling of alcohol." | 0:20:59 | 0:21:01 | |
Er, yeah, last night's alcohol, I was hung-over not drunk. | 0:21:01 | 0:21:06 | |
Look, life is for living - right? | 0:21:06 | 0:21:09 | |
And this job's hard enough, please and thank yous to a plane | 0:21:09 | 0:21:13 | |
load of plebs all moaning cos they haven't been upgraded. | 0:21:13 | 0:21:17 | |
At the end of a shift I like to let my hair down a little bit, | 0:21:17 | 0:21:22 | |
we all do - well, most of us anyway. | 0:21:22 | 0:21:24 | |
Is that a crime? | 0:21:24 | 0:21:25 | |
Though as we've heard, Natasha wasn't a party girl. | 0:21:27 | 0:21:30 | |
Bet she disapproved. | 0:21:30 | 0:21:31 | |
Well, yeah, she was Miss Goody Two Shoes. | 0:21:33 | 0:21:36 | |
It's quite a large case for cabin crew, isn't it? | 0:21:36 | 0:21:39 | |
Have you tried transporting a sharp suit in one of those little | 0:21:42 | 0:21:46 | |
wheel-along things? | 0:21:46 | 0:21:48 | |
Let me tell you. Nightmare. | 0:21:48 | 0:21:49 | |
It was Tash who complained about me, wasn't it? | 0:21:52 | 0:21:55 | |
What makes you think it was her? | 0:21:55 | 0:21:57 | |
She hated me. | 0:21:57 | 0:21:58 | |
Why? | 0:21:58 | 0:22:00 | |
She was jealous! I'm young and out partying and she was, | 0:22:01 | 0:22:05 | |
like, this old, tired woman. | 0:22:05 | 0:22:08 | |
She was 35! | 0:22:08 | 0:22:10 | |
Must've been very difficult for you. | 0:22:11 | 0:22:13 | |
You do this job twice as long as Natasha | 0:22:13 | 0:22:16 | |
and everyone's sure she'd get promotion. | 0:22:16 | 0:22:17 | |
So didn't bother me. | 0:22:17 | 0:22:19 | |
No? | 0:22:19 | 0:22:21 | |
All that extra hassle and work for an extra what, quid an hour, | 0:22:21 | 0:22:24 | |
you can keep it. | 0:22:24 | 0:22:26 | |
Look, it's just a job, OK? I wouldn't have killed her for it. | 0:22:26 | 0:22:30 | |
If you're looking for a murder suspect, | 0:22:33 | 0:22:35 | |
you're so looking in the wrong place. | 0:22:35 | 0:22:38 | |
Where should we be looking? | 0:22:38 | 0:22:40 | |
Paul Bevans. | 0:22:42 | 0:22:43 | |
We were getting on the crew coach to bring us to the hotel. | 0:22:44 | 0:22:47 | |
Tash was in a right state about something, she was all over Paul. | 0:22:47 | 0:22:50 | |
Having a right go at him, she was. | 0:22:50 | 0:22:52 | |
-What about? -I don't know exactly. | 0:22:52 | 0:22:54 | |
I need it! | 0:22:54 | 0:22:55 | |
Yeah! And you'll get it. | 0:22:55 | 0:22:57 | |
OK? As soon as we leave the island, I promise. | 0:22:57 | 0:23:00 | |
And that's all I heard. | 0:23:03 | 0:23:04 | |
Paul Bevans? | 0:23:26 | 0:23:27 | |
No, I'm sorry, he went out just a little while ago. | 0:23:27 | 0:23:30 | |
-Where? -He didn't say. I'm sorry. | 0:23:30 | 0:23:32 | |
Thank you. | 0:23:34 | 0:23:35 | |
'The police have been here again. | 0:23:40 | 0:23:43 | |
'We need to talk.' | 0:23:43 | 0:23:45 | |
If Max heard correctly, | 0:23:49 | 0:23:51 | |
Natasha was saying she "needed" something - not "wanted" something. | 0:23:51 | 0:23:54 | |
"Needed" something. From Paul Bevans. | 0:23:54 | 0:23:56 | |
Money is the most obvious. | 0:23:56 | 0:23:58 | |
There was a credit history report in his background check. | 0:23:58 | 0:24:02 | |
Yes. Looks like most of his credit cards are maxed out. | 0:24:03 | 0:24:07 | |
There are bank statements around here somewhere. | 0:24:07 | 0:24:10 | |
Ah... Ah! | 0:24:12 | 0:24:15 | |
Ah! Here we are. | 0:24:17 | 0:24:19 | |
You're right, money goes out as soon as it comes in. | 0:24:19 | 0:24:22 | |
Hang on a second, there's a large deposit here, three months ago. | 0:24:22 | 0:24:27 | |
10,000 euros. | 0:24:27 | 0:24:28 | |
His salary? | 0:24:28 | 0:24:30 | |
Oh no, that went in as usual, the week before. | 0:24:30 | 0:24:33 | |
Have you got Natasha's bank records? | 0:24:34 | 0:24:36 | |
Yes, I have. | 0:24:36 | 0:24:38 | |
Ha! There! | 0:24:41 | 0:24:43 | |
10,000 euros? | 0:24:43 | 0:24:44 | |
Yes. | 0:24:44 | 0:24:45 | |
Why is he so much in debt? | 0:24:45 | 0:24:47 | |
It might be something to do with his life-style. | 0:24:47 | 0:24:49 | |
He wears an elastic band around his wrist, it's a | 0:24:49 | 0:24:52 | |
classic addicts' device. | 0:24:52 | 0:24:53 | |
They ping it whenever they get a craving, to remind | 0:24:53 | 0:24:56 | |
them they're trying to quit. | 0:24:56 | 0:24:58 | |
He's an addict? | 0:24:58 | 0:24:59 | |
Yeah. And as the airlines take regular blood tests | 0:24:59 | 0:25:02 | |
it must be something other than excessive drink or drugs. | 0:25:02 | 0:25:05 | |
-Gambling? -That's my bet. | 0:25:05 | 0:25:08 | |
-Dwayne? -Chief? | 0:25:10 | 0:25:13 | |
If I wanted to play cards for money, where would I go? | 0:25:13 | 0:25:15 | |
Somewhere dirtier than a casino, | 0:25:15 | 0:25:18 | |
somewhere where a lack of credit wouldn't be an issue? | 0:25:18 | 0:25:20 | |
MUSIC: "Money Money" by Horace Andy | 0:25:24 | 0:25:27 | |
# Money, money, money, money Is the root of all evil | 0:25:37 | 0:25:41 | |
# Money, money, money, money Is the root of all evil... # | 0:25:44 | 0:25:48 | |
We hear you're having some financial difficulties. | 0:25:54 | 0:25:57 | |
Not any more. | 0:25:57 | 0:25:59 | |
We've seen your accounts - credit card bills, loans... | 0:26:01 | 0:26:04 | |
Yeah, OK. I know that might not look great, | 0:26:04 | 0:26:06 | |
but I've just been moving things around a little bit, | 0:26:06 | 0:26:08 | |
you know, robbing Peter to pay Paul. | 0:26:08 | 0:26:11 | |
Paul. | 0:26:12 | 0:26:14 | |
We're not here to talk about your credit cards. | 0:26:15 | 0:26:18 | |
Natasha loaned you some money, a lot of money. | 0:26:21 | 0:26:24 | |
Yeah, it was an emergency. | 0:26:36 | 0:26:39 | |
What emergency? | 0:26:39 | 0:26:41 | |
Well, I'd had a bit of a run of bad luck in Macau and, erm... | 0:26:44 | 0:26:47 | |
I was having a bit of trouble paying some guys off over there. | 0:26:47 | 0:26:50 | |
-They wanted their money? -These guys, they break bones. | 0:26:50 | 0:26:55 | |
I wouldn't have been able to work, my debts would've mounted up, | 0:26:56 | 0:26:59 | |
and it would have been the end of everything. | 0:26:59 | 0:27:01 | |
Tash stepped in, paid my debt off and saved my life. | 0:27:01 | 0:27:06 | |
We believe that when you arrived at Saint-Marie she asked for it back? | 0:27:08 | 0:27:12 | |
Yeah, that's right. She said she needed it. | 0:27:12 | 0:27:14 | |
Must have put you under a bit of pressure? | 0:27:14 | 0:27:17 | |
Yeah, and I didn't need her to make me feel pressurised. | 0:27:17 | 0:27:20 | |
I was feeling that pressure already. | 0:27:20 | 0:27:22 | |
I felt so guilty. I was just desperate to pay her back, you know. | 0:27:23 | 0:27:27 | |
And, like I promised her, | 0:27:29 | 0:27:31 | |
I would have. | 0:27:31 | 0:27:33 | |
So, we have no clear suspect and no clear motive. | 0:27:38 | 0:27:41 | |
But those two things are currently the least of our problems | 0:27:41 | 0:27:44 | |
because despite forensics and the pathologist's report, | 0:27:44 | 0:27:47 | |
we still have no idea how the poison was administered. | 0:27:47 | 0:27:50 | |
It's not exactly going very well, is it? | 0:27:52 | 0:27:55 | |
Right. So, the last person we believe to have seen Natasha, | 0:27:55 | 0:27:59 | |
they each drank a glass of champagne | 0:27:59 | 0:28:02 | |
before he, Adam Frost, returned to his room shortly after two. | 0:28:02 | 0:28:06 | |
And he lied at first. He didn't tell us about visiting Natasha. | 0:28:06 | 0:28:10 | |
Because he knew how it would look to Helen. | 0:28:11 | 0:28:14 | |
Although he doesn't appear to have any reason at all to kill Natasha. | 0:28:14 | 0:28:17 | |
Next we have First Officer Paul Bevans. | 0:28:17 | 0:28:21 | |
Under pressure to repay a 10,000 euro debt to Natasha. | 0:28:21 | 0:28:24 | |
-Boy, that's a lot of money. -Although he has the money to pay her back. | 0:28:24 | 0:28:28 | |
He did today. Yesterday may have been a completely different matter. | 0:28:28 | 0:28:31 | |
Though I have to say, he did seem grateful for her help. | 0:28:31 | 0:28:34 | |
Tash stepped in, paid my debt off and saved my life. | 0:28:35 | 0:28:39 | |
He doesn't sound like a man | 0:28:43 | 0:28:45 | |
who hated the victim enough to take her life. | 0:28:45 | 0:28:47 | |
Max, on the other hand, clearly had little time for Natasha, | 0:28:47 | 0:28:50 | |
thought she was a goody two shoes | 0:28:50 | 0:28:52 | |
and had spoken ill of him to the airline. Motive enough for murder? | 0:28:52 | 0:28:55 | |
Professional jealousy? The senior steward promotion, | 0:28:55 | 0:28:58 | |
-everyone thought it would go to Natasha. -And they were right. | 0:28:58 | 0:29:01 | |
But he says he didn't want the promotion. | 0:29:01 | 0:29:03 | |
All that extra hassle and work for an extra quid an hour, | 0:29:03 | 0:29:06 | |
-you can keep it. -If he is to be believed. | 0:29:06 | 0:29:10 | |
Unless there's something else we don't know, | 0:29:11 | 0:29:13 | |
it doesn't feel like a strong enough motive. | 0:29:13 | 0:29:15 | |
And yet he is the suspect who least liked Natasha. | 0:29:15 | 0:29:18 | |
Which brings us to the lovely Simone Magon. | 0:29:18 | 0:29:20 | |
-What? -Go on. | 0:29:20 | 0:29:24 | |
She had the opportunity, she could have easily taken the second key | 0:29:24 | 0:29:28 | |
to gain access to the room. | 0:29:28 | 0:29:30 | |
Yes, but Dwayne, wouldn't she have put it back afterwards? | 0:29:30 | 0:29:32 | |
-It's still missing. -Yeah, I'm not convinced she's linked. | 0:29:32 | 0:29:35 | |
-Me neither. -But I heard her on the phone earlier. | 0:29:35 | 0:29:38 | |
The police have been here again. We need to talk. | 0:29:38 | 0:29:41 | |
I still can't see a link between her and the victim. | 0:29:41 | 0:29:45 | |
Yes, but if I dig around a bit I might find one. | 0:29:45 | 0:29:48 | |
No, Camille's right. I appreciate your thoughts and won't dismiss her, | 0:29:48 | 0:29:51 | |
-but there's really not enough to make her a suspect. -Great(!) | 0:29:51 | 0:29:55 | |
OK, it's late. Let's come at it again fresh in the morning. | 0:29:57 | 0:30:00 | |
Yes, you're probably right. | 0:30:00 | 0:30:02 | |
Attack it again in the morning with clear minds. | 0:30:02 | 0:30:05 | |
And you don't want to miss the Tropical Caribbean Cabaret. | 0:30:05 | 0:30:08 | |
-HE LAUGHS -I'm sorry. What? | 0:30:08 | 0:30:12 | |
The inspector wants to see the real Saint-Marie. | 0:30:12 | 0:30:15 | |
Well, he's not going to find it at the Tropical Caribbean Cabaret! | 0:30:16 | 0:30:19 | |
-A lie, Fidel? -A true. It's only for the tourists, Sir. | 0:30:19 | 0:30:22 | |
Even I think it's cheap and tacky! | 0:30:22 | 0:30:24 | |
-You were going to tell me, right? -Of course! | 0:30:27 | 0:30:30 | |
We can't let you do it, Chief. | 0:30:30 | 0:30:32 | |
-OK, do you want to see the real Saint-Marie? -Yes. | 0:30:34 | 0:30:37 | |
MUSIC: "Boom Shaka Laka" by Hopeton Lewis | 0:30:37 | 0:30:40 | |
-I love it! -He'll be dancing any minute now. | 0:30:43 | 0:30:46 | |
I should have a little food first. | 0:30:46 | 0:30:49 | |
What do you recommend? | 0:30:49 | 0:30:51 | |
-The most authentic, traditional, island dish. -Yes, please! | 0:30:51 | 0:30:56 | |
-You like spicy food? -Hotter the better! | 0:30:56 | 0:31:00 | |
Ah, so you won't need that. I'll get you the staff special. | 0:31:00 | 0:31:03 | |
It's a shame the boys couldn't join us. | 0:31:03 | 0:31:06 | |
Fidel had some family stuff he couldn't get out of. | 0:31:06 | 0:31:09 | |
-And Dwayne? -He said he wanted to catch up on some work. | 0:31:09 | 0:31:13 | |
Yeah, I know! | 0:31:13 | 0:31:15 | |
MUSIC: "Red Blood" by Vin Gordon | 0:31:37 | 0:31:40 | |
-Oh! -Ah! | 0:31:51 | 0:31:53 | |
-Here we are. -Is that what I think it is? | 0:31:53 | 0:31:57 | |
Mmm. Saint-Marie confit poulet. | 0:31:57 | 0:31:59 | |
-Con-con..confit...pou...? -Chicken stew. | 0:31:59 | 0:32:02 | |
Ah! | 0:32:02 | 0:32:04 | |
-My mother's speciality. -It looks fantastic! Thank you. | 0:32:04 | 0:32:08 | |
-You're so welcome, I'll get you some bowls. -Thank you. | 0:32:08 | 0:32:12 | |
SHE LAUGHS | 0:32:17 | 0:32:19 | |
Ah. | 0:32:22 | 0:32:24 | |
Ah. | 0:32:44 | 0:32:46 | |
-Mm, it's magnificent. -Yes. -Mm, the flavours and spices. | 0:32:48 | 0:32:52 | |
-It's not too hot for you? -No, it's perfect. OK. | 0:32:53 | 0:32:56 | |
What's in it? | 0:32:59 | 0:33:01 | |
Garlic, ginger, chilli... | 0:33:01 | 0:33:03 | |
..and there's a bondamanjak in there too. | 0:33:04 | 0:33:07 | |
Bon-bonda...bo-bo-bonda? | 0:33:07 | 0:33:09 | |
Yeah, it's like a scotch bonnet chilli as a flavour thing. | 0:33:10 | 0:33:15 | |
But the trick is you have to keep that whole, | 0:33:16 | 0:33:19 | |
if it bursts it's too hot and it just ruins the dish. | 0:33:19 | 0:33:22 | |
-Mm, tomato. -No, no, no! | 0:33:22 | 0:33:24 | |
Oh, my! That's the chilli. | 0:33:24 | 0:33:26 | |
The Scotch bonnet chilli, you've just had the bonnet... | 0:33:26 | 0:33:29 | |
-SHE LAUGHS -It's OK. | 0:33:29 | 0:33:31 | |
Yes? HE MUTTERS | 0:33:32 | 0:33:34 | |
Ah! | 0:33:38 | 0:33:40 | |
Maman? | 0:33:40 | 0:33:42 | |
-HE RETCHES -Maman! | 0:33:42 | 0:33:44 | |
Maman! | 0:33:44 | 0:33:46 | |
-HE WHIMPERS -MAMAN? | 0:33:49 | 0:33:51 | |
You find anything? | 0:34:02 | 0:34:05 | |
HE GASPS | 0:34:10 | 0:34:12 | |
No? HE MOUTHS | 0:34:18 | 0:34:21 | |
Drink another! | 0:34:21 | 0:34:23 | |
Do you think I should call an ambulance? | 0:34:23 | 0:34:25 | |
He should be OK if he keeps drinking milk. | 0:34:25 | 0:34:27 | |
HE GROANS | 0:34:32 | 0:34:34 | |
Again. Drink. | 0:34:34 | 0:34:36 | |
CROWD GASP | 0:34:42 | 0:34:45 | |
HE BURPS | 0:34:49 | 0:34:52 | |
-Morning. -Ah, another shirt! | 0:35:05 | 0:35:08 | |
Yes! I couldn't really wear last night's with everything. | 0:35:08 | 0:35:12 | |
-How are you, by the way? -Better, thank you. | 0:35:13 | 0:35:16 | |
My mother was very worried, I mean, we all were. | 0:35:16 | 0:35:19 | |
Yes, I think I owe your mother for a lot of milk. | 0:35:19 | 0:35:22 | |
-Don't worry about that! -But Fidel, you should see her car! | 0:35:22 | 0:35:25 | |
I don't care about her car! You shouldn't have been there! | 0:35:25 | 0:35:28 | |
What's going on? | 0:35:28 | 0:35:29 | |
Simone Magon's lodged an official complaint against Dwayne. | 0:35:29 | 0:35:32 | |
-Police harassment. -Dwayne? I thought we agreed? | 0:35:32 | 0:35:35 | |
I know, Chief, but I was following a lead. | 0:35:35 | 0:35:37 | |
-What lead? -Well, when I say "lead" I mean "hunch". | 0:35:37 | 0:35:41 | |
Dwayne, listen to me and listen to me good. | 0:35:41 | 0:35:44 | |
You stay away from her from now on, you understand? That's an order. | 0:35:44 | 0:35:46 | |
-What? -Dwayne? Fidel's right, OK? You messed up. | 0:35:46 | 0:35:50 | |
You need to go and apologise to her, | 0:35:50 | 0:35:52 | |
tell her we're acting on bad information, | 0:35:52 | 0:35:54 | |
-and hopefully she'll retract her complaint. -She won't! | 0:35:54 | 0:35:57 | |
-You don't know what she's like! -Dwayne! Apologise. | 0:35:57 | 0:36:00 | |
All right, I'll apologise. | 0:36:01 | 0:36:03 | |
-What? Now? -Yes, now. | 0:36:07 | 0:36:09 | |
Come on, I'll go with you. | 0:36:09 | 0:36:12 | |
HE GRUMBLES | 0:36:14 | 0:36:16 | |
-Shall we get to work? -Yes, let's. | 0:36:16 | 0:36:20 | |
The answer must be in here somewhere! | 0:36:21 | 0:36:24 | |
She was poisoned but there was no poison in the room. | 0:36:24 | 0:36:27 | |
It wasn't in the glass or the champagne. | 0:36:27 | 0:36:29 | |
Yet no one forced her to take the poison - no cuts, no bruises. | 0:36:29 | 0:36:33 | |
What are you looking... | 0:36:34 | 0:36:37 | |
Ah, the timeline! | 0:36:37 | 0:36:39 | |
Right. | 0:36:39 | 0:36:42 | |
We know that Natasha was last seen alive at midnight | 0:36:43 | 0:36:45 | |
when she left the others. | 0:36:45 | 0:36:47 | |
She dies at 2:30. So between those times | 0:36:47 | 0:36:50 | |
we believe that she returned to her room after leaving the others. | 0:36:50 | 0:36:53 | |
And we also knew that she returned to her room | 0:36:53 | 0:36:56 | |
because Natasha wrote that it was 1:00am in one of the postcards. | 0:36:56 | 0:37:00 | |
What else did she write in that postcard? | 0:37:00 | 0:37:02 | |
-That she had some exciting news. -Which we assumed was her promotion. | 0:37:02 | 0:37:06 | |
But she can't have written about the promotion in the postcard... | 0:37:07 | 0:37:10 | |
Because according to Adam Frost, she didn't know by then! | 0:37:10 | 0:37:14 | |
Until he arrived half an hour later. | 0:37:14 | 0:37:16 | |
So we need to call our contact at the airline, | 0:37:16 | 0:37:18 | |
find out who knew about the promotion and when. | 0:37:18 | 0:37:21 | |
You've felt really distant since I got here. | 0:37:24 | 0:37:27 | |
-Sorry, it's just such a shock. -I know. Poor Tash. | 0:37:27 | 0:37:31 | |
-That's it though, isn't it? I mean, there's nothing else? -Mmm? | 0:37:32 | 0:37:36 | |
You still love me? | 0:37:39 | 0:37:41 | |
Yeah, yeah. Of course. | 0:37:42 | 0:37:45 | |
No, no, that's all. Thank you. Bye. | 0:37:49 | 0:37:52 | |
The decision was made in London in the early evening | 0:37:55 | 0:37:57 | |
on the day of the murder. | 0:37:57 | 0:37:59 | |
Because of the time difference, her line manager | 0:37:59 | 0:38:02 | |
decided not to contact Natasha until the following morning. | 0:38:02 | 0:38:04 | |
When she couldn't reach Natasha direct, she spoke to Adam Frost. | 0:38:04 | 0:38:08 | |
So Adam couldn't have known about it the night before? | 0:38:08 | 0:38:11 | |
So, the question has to be... | 0:38:11 | 0:38:14 | |
If he was less than truthful about his reasons for visiting | 0:38:14 | 0:38:17 | |
Natasha in the early hours of the morning, | 0:38:17 | 0:38:19 | |
why else would he be visiting her at 1:30am and drinking champagne? | 0:38:19 | 0:38:23 | |
What do you think? | 0:38:23 | 0:38:26 | |
It's a little early for that, isn't it? | 0:38:29 | 0:38:32 | |
Is it my drinking you'd like to discuss or is there something else? | 0:38:32 | 0:38:35 | |
Perhaps you'd feel more comfortable having | 0:38:35 | 0:38:37 | |
this conversation down at the station? | 0:38:37 | 0:38:39 | |
Adam and I don't have secrets. | 0:38:39 | 0:38:41 | |
It's about Natasha. | 0:38:44 | 0:38:46 | |
You didn't go to Natasha's room to tell her about the promotion. | 0:38:46 | 0:38:50 | |
So the big question is... | 0:38:50 | 0:38:53 | |
why did you go to her room to share a bottle of champagne? | 0:38:53 | 0:38:56 | |
It's all perfectly innocent. | 0:38:58 | 0:39:00 | |
Adam, listen to me, what you say now, this is really serious. | 0:39:02 | 0:39:06 | |
This is a murder enquiry. | 0:39:06 | 0:39:09 | |
Baby? | 0:39:09 | 0:39:11 | |
I'm sorry. | 0:39:19 | 0:39:21 | |
You and Natasha? | 0:39:21 | 0:39:23 | |
I tried to end it, I swear I did. But...I loved her. | 0:39:23 | 0:39:27 | |
I'm so sorry. | 0:39:28 | 0:39:30 | |
You were carrying on behind my back, making me look stupid, | 0:39:30 | 0:39:33 | |
-laughing at me! -No! | 0:39:33 | 0:39:36 | |
No, I swear that wasn't the case. | 0:39:36 | 0:39:38 | |
-How long? -Does it matter? | 0:39:38 | 0:39:40 | |
Yeah, it bloody matters! | 0:39:40 | 0:39:42 | |
Six months? | 0:39:42 | 0:39:44 | |
Bloody cabin crew! | 0:39:46 | 0:39:48 | |
Always at it! | 0:39:48 | 0:39:51 | |
I suppose people have got over worse. | 0:40:03 | 0:40:05 | |
People who have got less than us. | 0:40:09 | 0:40:11 | |
If you want to try... | 0:40:11 | 0:40:13 | |
I loved her because I didn't love you any more. | 0:40:16 | 0:40:19 | |
I'm sorry. | 0:40:21 | 0:40:23 | |
At least I don't have anything to hide any more. | 0:40:36 | 0:40:39 | |
I can be honest. | 0:40:39 | 0:40:41 | |
Natasha and I, we decided to make a go of it. | 0:40:44 | 0:40:48 | |
That was the real reason we were celebrating. | 0:40:48 | 0:40:50 | |
-New beginnings? -New beginnings. | 0:40:51 | 0:40:54 | |
We'd put in an offer on a house in Provence. | 0:40:55 | 0:40:58 | |
It was Tash's dream. | 0:40:59 | 0:41:02 | |
The bank, the estate agents, our solicitors - | 0:41:02 | 0:41:05 | |
I'll give you their details. They'll confirm everything. | 0:41:05 | 0:41:08 | |
I loved her. | 0:41:09 | 0:41:10 | |
-I believe he didn't kill her. -Because he loved her? | 0:41:14 | 0:41:17 | |
-Because he's a pilot. -What's that got to do with it? | 0:41:17 | 0:41:20 | |
Pilots are level-headed. Considered. They plan things. | 0:41:20 | 0:41:24 | |
-They're very precise. -You just described a murderer. | 0:41:24 | 0:41:27 | |
Maybe Natasha spurned him. She wasn't interested, | 0:41:35 | 0:41:38 | |
she wanted to end it, who knows? | 0:41:38 | 0:41:40 | |
We only have Adam's word they were in love. | 0:41:40 | 0:41:42 | |
-Even though they were buying a farm? -Again, we only have his word. | 0:41:42 | 0:41:45 | |
Even if his lawyer confirmed the purchase, | 0:41:45 | 0:41:48 | |
she may have still tried to end it. Maybe decided to buy it on her own? | 0:41:48 | 0:41:52 | |
Could she afford to do that? | 0:41:52 | 0:41:53 | |
-Might explain why she was asking Paul to repay his loan. -Excuse me. | 0:41:53 | 0:41:56 | |
But I think we may owe Dwayne an apology. | 0:41:56 | 0:41:59 | |
Simone Magon's phone records. | 0:42:04 | 0:42:05 | |
Dwayne requested them at the start of the investigation. Look here. | 0:42:05 | 0:42:09 | |
-UK mobile number. -Yep. | 0:42:09 | 0:42:11 | |
And here and here and here - all to the same mobile number. | 0:42:11 | 0:42:15 | |
-Whose number was it? -Max Leigh. | 0:42:15 | 0:42:17 | |
Max and Simone? | 0:42:18 | 0:42:20 | |
Even though... | 0:42:20 | 0:42:21 | |
I don't know any of them, really. | 0:42:23 | 0:42:25 | |
They tend to keep themselves to themselves. | 0:42:25 | 0:42:28 | |
So, that's why I saw them together. | 0:42:28 | 0:42:31 | |
Why would Simone choose not to tell us she knows Max? | 0:42:31 | 0:42:34 | |
She's hiding something. As is Max. | 0:42:34 | 0:42:36 | |
remember how quickly he turned the spotlight on to Paul. | 0:42:36 | 0:42:39 | |
If you're looking for a murder suspect, | 0:42:39 | 0:42:41 | |
you are SO looking in the wrong place. | 0:42:41 | 0:42:44 | |
But what links them? | 0:42:44 | 0:42:46 | |
-It's not love. -Money? -I've been telling you. | 0:42:46 | 0:42:50 | |
It's the only thing Simone and her family are interested in. | 0:42:50 | 0:42:53 | |
And how would a small-time criminal make money from an air steward | 0:42:54 | 0:42:58 | |
flying in and out of the country? | 0:42:58 | 0:42:59 | |
-By bringing something in and selling it on? -Smuggling. | 0:42:59 | 0:43:03 | |
Finally looks like we're getting somewhere with the case. | 0:43:03 | 0:43:05 | |
Of course. | 0:43:08 | 0:43:10 | |
Of course. | 0:43:10 | 0:43:12 | |
Max... | 0:43:15 | 0:43:16 | |
..and Simone. | 0:43:17 | 0:43:18 | |
The same... | 0:43:19 | 0:43:21 | |
..case. | 0:43:22 | 0:43:23 | |
-What now? -You wouldn't mind us looking in your case, would you? | 0:43:23 | 0:43:27 | |
Help yourself. | 0:43:27 | 0:43:29 | |
-Drugs? -Guns? | 0:43:30 | 0:43:31 | |
Nothing. | 0:43:33 | 0:43:34 | |
You already delivered, didn't you? | 0:43:37 | 0:43:39 | |
Where will we find Simone? | 0:43:39 | 0:43:41 | |
I know. Come on. | 0:43:41 | 0:43:42 | |
You stay with him. | 0:43:43 | 0:43:44 | |
There she is! | 0:43:52 | 0:43:53 | |
Drugs? Guns? | 0:44:06 | 0:44:08 | |
-Cigarettes? -Duty free. | 0:44:10 | 0:44:12 | |
Cigarettes, perfume, spirits - Max brought them in on his flights, | 0:44:14 | 0:44:18 | |
-Simone sold them to local bars and shops. -I told you she was no good. | 0:44:18 | 0:44:22 | |
It doesn't feel like a big enough motive for murder, though, does it? | 0:44:22 | 0:44:25 | |
It's big enough for Max. if Natasha found out, | 0:44:25 | 0:44:28 | |
-it's the end of his career. -Hmm. -And Simone could lose her job. | 0:44:28 | 0:44:32 | |
Yes, but Simone could have slipped the poison to Natasha at any time, | 0:44:33 | 0:44:37 | |
as could Max. Why was she killed on her own, in her room? | 0:44:37 | 0:44:41 | |
And how was the poison administered? | 0:44:41 | 0:44:44 | |
And why did the killer take the second key? | 0:44:44 | 0:44:46 | |
She came back to her room, seemingly well. | 0:44:52 | 0:44:54 | |
She wrote postcards to her family. Adam Frost came. | 0:44:54 | 0:44:57 | |
She and Adam drank champagne. He left. She didn't. | 0:44:57 | 0:45:01 | |
What did she do in that last half-hour or so? | 0:45:01 | 0:45:03 | |
We know she didn't eat or drink anything. | 0:45:03 | 0:45:06 | |
Yet she was poisoned. It makes no sense. | 0:45:06 | 0:45:09 | |
She finished packing... and she was found here. | 0:45:12 | 0:45:17 | |
What did she see? | 0:45:20 | 0:45:22 | |
What was the last thing she saw? | 0:45:22 | 0:45:24 | |
Gloves! | 0:45:33 | 0:45:35 | |
That is our poison. | 0:45:57 | 0:45:59 | |
Let's see if Fidel can get a print off it. | 0:45:59 | 0:46:02 | |
I don't understand how we missed it. | 0:46:07 | 0:46:09 | |
We searched every spot in that room - twice. | 0:46:09 | 0:46:12 | |
-I know I did. -It doesn't make any sense. | 0:46:12 | 0:46:16 | |
How can something just suddenly turn up like that? | 0:46:16 | 0:46:19 | |
BEEPING | 0:46:19 | 0:46:21 | |
We've got a match. | 0:46:21 | 0:46:22 | |
Adam Frost? | 0:46:24 | 0:46:25 | |
Yes. | 0:46:27 | 0:46:28 | |
Yes, just as I thought. | 0:46:28 | 0:46:30 | |
Well, let's go and pick him up. | 0:46:33 | 0:46:35 | |
But...it still doesn't tell us the poison was administered. | 0:46:35 | 0:46:40 | |
Maybe Adam will tell us? | 0:46:40 | 0:46:43 | |
Hang on a sec. | 0:46:43 | 0:46:44 | |
There's something in here. Look. | 0:46:46 | 0:46:47 | |
Looks like a hair. | 0:46:54 | 0:46:55 | |
We can send it to the lab, get a DNA check. | 0:46:55 | 0:46:58 | |
It doesn't look like a human hair. | 0:46:58 | 0:47:00 | |
It's an...animal? | 0:47:00 | 0:47:02 | |
Wait a minute... | 0:47:05 | 0:47:06 | |
Erm... | 0:47:09 | 0:47:10 | |
"animal"? | 0:47:10 | 0:47:12 | |
Think I heard it was her first time at the hotel, | 0:47:17 | 0:47:20 | |
her first time on the island. | 0:47:20 | 0:47:22 | |
-New beginnings. -New beginnings. | 0:47:23 | 0:47:26 | |
-That's just the gossipy world of biccy-chuckers. -Ah! | 0:47:27 | 0:47:31 | |
It's a goat hair! | 0:47:40 | 0:47:41 | |
Sorry? | 0:47:42 | 0:47:43 | |
The hair in the bottle belongs to a goat. | 0:47:43 | 0:47:47 | |
Makes sense(!) | 0:47:48 | 0:47:50 | |
No! | 0:47:55 | 0:47:57 | |
Oh, you are a genius. | 0:47:59 | 0:48:00 | |
Our murderer's a genius. | 0:48:04 | 0:48:06 | |
An absolute, bloomin' genius! | 0:48:06 | 0:48:09 | |
Right, let's get everyone together at the hotel! | 0:48:09 | 0:48:13 | |
Thank you all for coming. | 0:48:25 | 0:48:26 | |
Like we all had a choice. | 0:48:26 | 0:48:29 | |
Natasha Thiebert died from poisoning, this much we know. | 0:48:29 | 0:48:33 | |
She was murdered. | 0:48:33 | 0:48:35 | |
The things that eluded us, until a short while ago, anyway, | 0:48:35 | 0:48:39 | |
were not just the who, | 0:48:39 | 0:48:42 | |
but also the how | 0:48:42 | 0:48:44 | |
and why? | 0:48:44 | 0:48:45 | |
It's a bit of a mess, actually. | 0:48:45 | 0:48:47 | |
First, we must look at motive. | 0:48:47 | 0:48:50 | |
Who here had the motive? | 0:48:50 | 0:48:52 | |
Max was stealing duty free stock from the airline. | 0:48:52 | 0:48:57 | |
-Simone was selling those goods on to local bars and shops. -And?! | 0:48:57 | 0:49:03 | |
Both stood to lose their jobs, if discovered. | 0:49:03 | 0:49:05 | |
We know that Max already suspected Natasha of reporting him | 0:49:05 | 0:49:10 | |
to the airline for other misdemeanours. | 0:49:10 | 0:49:13 | |
And then we have First Officer Paul Bevans, | 0:49:13 | 0:49:16 | |
a gambler, who owed Natasha money. | 0:49:16 | 0:49:17 | |
I had it yesterday. I could have paid it all back. | 0:49:17 | 0:49:20 | |
But not today? | 0:49:20 | 0:49:22 | |
Or the day before. | 0:49:23 | 0:49:24 | |
Adam Frost's motive may well have been different. | 0:49:25 | 0:49:28 | |
He was in love with her. They were having an affair. | 0:49:28 | 0:49:31 | |
What? | 0:49:31 | 0:49:33 | |
Did you know? | 0:49:33 | 0:49:34 | |
I wouldn't have killed her. I loved her. | 0:49:38 | 0:49:41 | |
You say you loved her, but did she love you? | 0:49:42 | 0:49:43 | |
We only have your word for that. | 0:49:43 | 0:49:46 | |
And, finally, there's Helen. | 0:49:47 | 0:49:50 | |
Me?! | 0:49:50 | 0:49:51 | |
As the truth of Adam and Natasha's affair was revealed, | 0:49:51 | 0:49:54 | |
it gave you the clearest motive of all - | 0:49:54 | 0:49:56 | |
to get rid of a love rival. | 0:49:56 | 0:49:58 | |
-I only found out about the affair yesterday. -So YOU say. | 0:50:00 | 0:50:03 | |
But then, as we know, the cabin crew world is a gossipy little world. | 0:50:03 | 0:50:08 | |
You can think what you like. I wasn't even here. | 0:50:08 | 0:50:12 | |
No, you're absolutely right. You were on a flight en route | 0:50:12 | 0:50:15 | |
to Saint-Marie when the murder took place. | 0:50:15 | 0:50:17 | |
Which brings us rather neatly onto opportunity. | 0:50:21 | 0:50:24 | |
Who had the opportunity? | 0:50:24 | 0:50:27 | |
The spare key to Natasha's room went missing. | 0:50:27 | 0:50:29 | |
Now, any one of you could have stolen it from reception. | 0:50:29 | 0:50:32 | |
Except me. | 0:50:32 | 0:50:33 | |
But that... But that doesn't tell us how the poison was administered. | 0:50:33 | 0:50:39 | |
You see, when we searched that room, | 0:50:39 | 0:50:41 | |
we couldn't find anything containing the poison. | 0:50:41 | 0:50:43 | |
And yet, today, strangely enough, we did. | 0:50:43 | 0:50:47 | |
Today, we found a bottle with Adam's fingerprints all over it. | 0:50:47 | 0:50:52 | |
Hotel shampoos. I've thrown away hundreds all over the world. | 0:50:53 | 0:50:57 | |
I'm sure you have, but this one is different. | 0:50:57 | 0:50:59 | |
How? | 0:50:59 | 0:51:01 | |
Because this one contains the poison used to murder Natasha Thiebert. | 0:51:01 | 0:51:05 | |
So, how did we not find this sooner? | 0:51:10 | 0:51:12 | |
Incompetence by our forensic team? | 0:51:12 | 0:51:15 | |
Or just an oversight? | 0:51:15 | 0:51:16 | |
Frankly, I don't believe the first, for a second, | 0:51:16 | 0:51:20 | |
and the second is pretty unlikely. | 0:51:20 | 0:51:24 | |
So, if we didn't miss it, | 0:51:24 | 0:51:26 | |
then it had to have been planted by someone much later. | 0:51:26 | 0:51:28 | |
Planted by someone who wanted to frame Adam Frost... | 0:51:29 | 0:51:33 | |
..using the missing key, once again, in order to do so. | 0:51:34 | 0:51:38 | |
Once again, yes. | 0:51:38 | 0:51:41 | |
You see, the key was taken before, | 0:51:41 | 0:51:44 | |
but it wasn't used to murder Natasha... | 0:51:44 | 0:51:46 | |
..but taken so there was an independent eye-witness | 0:51:48 | 0:51:51 | |
to the discovery of the body. | 0:51:51 | 0:51:53 | |
Isn't that right... | 0:51:53 | 0:51:55 | |
..Helen? | 0:51:56 | 0:51:57 | |
Me? | 0:52:05 | 0:52:06 | |
How could I have killed her when I wasn't even here? | 0:52:07 | 0:52:11 | |
And that is what is absolutely brilliant about this - | 0:52:13 | 0:52:17 | |
your cast-iron alibi. But as Sergeant Best pointed out... | 0:52:17 | 0:52:22 | |
That's the thing about poison, isn't it? | 0:52:22 | 0:52:24 | |
You don't have to be there when the person takes it. | 0:52:24 | 0:52:26 | |
I don't have to listen to this. | 0:52:28 | 0:52:30 | |
Oh, yes, you do. | 0:52:30 | 0:52:31 | |
Sit. | 0:52:31 | 0:52:33 | |
Helen, please, don't hide your genius. | 0:52:35 | 0:52:41 | |
What you did, awful as it was, was also bloody brilliant. | 0:52:41 | 0:52:47 | |
Aside from the key. You really should have put that back, | 0:52:48 | 0:52:51 | |
shouldn't you? But then, if you had, you wouldn't have made | 0:52:51 | 0:52:55 | |
your biggest mistake. | 0:52:55 | 0:52:57 | |
Adam declared his love for Natasha. | 0:52:57 | 0:53:00 | |
I suppose people have got over worse, | 0:53:00 | 0:53:03 | |
people with less than us, | 0:53:03 | 0:53:06 | |
if you want to try? | 0:53:06 | 0:53:08 | |
If Adam had accepted your olive branch at that very moment, | 0:53:09 | 0:53:12 | |
you may well have got away with this murder. | 0:53:12 | 0:53:14 | |
But he didn't, did he? | 0:53:16 | 0:53:17 | |
I was with Tash because I didn't want to be with you any more. | 0:53:17 | 0:53:20 | |
I loved her, because I didn't love you. I'm sorry. | 0:53:22 | 0:53:25 | |
And at that very moment, you hatched a new plan, didn't you? | 0:53:25 | 0:53:29 | |
To frame Adam for the murder you committed. | 0:53:29 | 0:53:32 | |
Using the missing key, you let yourself in. | 0:53:35 | 0:53:38 | |
You'd already stolen a bottle from Adam's room, | 0:53:38 | 0:53:40 | |
knowing it would have his fingerprints on it. You emptied it, | 0:53:40 | 0:53:43 | |
cleaned it and put the poison in. | 0:53:43 | 0:53:45 | |
You knew that when it was found, it would implicate him. | 0:53:45 | 0:53:48 | |
Yeah, this is all very clever, but it doesn't explain how I killed her | 0:53:48 | 0:53:53 | |
when I was 38,000 feet in the sky. | 0:53:53 | 0:53:56 | |
Ah, yes, good point. It's a very good point. | 0:53:56 | 0:53:59 | |
And that's how using the bottle to frame Adam was your downfall. | 0:53:59 | 0:54:02 | |
Because the clue to how you did it was a hair | 0:54:02 | 0:54:05 | |
in this bottle of poison. | 0:54:05 | 0:54:07 | |
Animal hair. | 0:54:08 | 0:54:11 | |
See, Natasha was well known for writing postcards home | 0:54:13 | 0:54:16 | |
from wherever she landed. You'd shared a room with her often enough | 0:54:16 | 0:54:20 | |
to know her routine and, shortly after Adam left, | 0:54:20 | 0:54:22 | |
having packed her case and got everything ready to leave | 0:54:22 | 0:54:25 | |
and while you were 38,000 feet | 0:54:25 | 0:54:26 | |
up in the sky, you murdered Natasha Thiebert! | 0:54:26 | 0:54:30 | |
Helen... | 0:54:36 | 0:54:37 | |
you bought the poison in Tibet | 0:54:37 | 0:54:40 | |
and, using a make-up brush - | 0:54:40 | 0:54:42 | |
a make-up brush, made from goat hair, | 0:54:42 | 0:54:45 | |
as I discovered, the best ones generally are - | 0:54:45 | 0:54:49 | |
you coated the Saint Marie stamps... | 0:54:49 | 0:54:50 | |
..before passing them on to Natasha, | 0:54:52 | 0:54:56 | |
knowing she was about to fly to Saint Marie for the first time, | 0:54:56 | 0:54:59 | |
to put in her lucky-dip bag, to use to send a postcard home. | 0:54:59 | 0:55:02 | |
After discovering the affair, you coated the stamps, | 0:55:05 | 0:55:08 | |
in order to murder your love rival | 0:55:08 | 0:55:10 | |
and to ensure you had a brilliant, cast-iron alibi. | 0:55:10 | 0:55:16 | |
After all, as you pointed out, | 0:55:16 | 0:55:19 | |
how could you possibly kill anyone from 38,000 feet? | 0:55:19 | 0:55:23 | |
You can't prove any of this. | 0:55:23 | 0:55:26 | |
Oh, I wouldn't be so sure. | 0:55:26 | 0:55:28 | |
You see, I reckon that tiny little goat hair, | 0:55:28 | 0:55:31 | |
with your DNA all over it... | 0:55:31 | 0:55:33 | |
..is probably all the proof I'd need. | 0:55:35 | 0:55:38 | |
Take her away. | 0:55:42 | 0:55:43 | |
Is the fat lady singing? | 0:55:46 | 0:55:48 | |
Oh, yes! | 0:55:48 | 0:55:49 | |
-It was all about love and jealousy? -Love makes the world go around. | 0:55:57 | 0:56:01 | |
-Mmm. -And jealousy makes it stop. | 0:56:01 | 0:56:04 | |
Anyway, well done, everyone! | 0:56:04 | 0:56:08 | |
A job well done, I think. | 0:56:08 | 0:56:09 | |
CLINKING | 0:56:09 | 0:56:11 | |
Cheers. I still think we should have arrested that Simone, though. | 0:56:11 | 0:56:15 | |
A few cigarettes never hurt anybody. | 0:56:15 | 0:56:17 | |
I suppose that's not strictly true, but you get my gist. | 0:56:18 | 0:56:22 | |
No, if I'm going to, er, blend in with the locals more, | 0:56:22 | 0:56:26 | |
be at one with Saint Marie, then, I suppose, locking up | 0:56:26 | 0:56:29 | |
-half the shop and bar owners, wouldn't really help, would it? -Hmm. | 0:56:29 | 0:56:33 | |
I suppose not. | 0:56:33 | 0:56:35 | |
So, you're still keen to blend in? | 0:56:35 | 0:56:38 | |
Absolutely. | 0:56:38 | 0:56:39 | |
Although, as much as we all loved your new shirts, | 0:56:39 | 0:56:43 | |
it's nice to see you back in your usual attire. | 0:56:43 | 0:56:46 | |
Very true, Fidel. You can blend in, | 0:56:46 | 0:56:48 | |
but you don't have to change your personality | 0:56:48 | 0:56:50 | |
or your shirt. | 0:56:50 | 0:56:51 | |
Amen. | 0:56:51 | 0:56:53 | |
CLINKING | 0:56:53 | 0:56:57 | |
Which is exactly why, I'm going to leave the colourful shirts | 0:56:59 | 0:57:02 | |
to the locals...like you. | 0:57:02 | 0:57:04 | |
And as you like them so much, | 0:57:07 | 0:57:09 | |
I look forward to seeing YOU wearing them. | 0:57:09 | 0:57:12 | |
-Me? -Yeah, I don't think that will work, Sir. | 0:57:12 | 0:57:16 | |
Chief, I don't think I could, erm, pull off that look! | 0:57:16 | 0:57:21 | |
-Me, neither. -Course you can. -I don't... | 0:57:21 | 0:57:24 | |
I insist. | 0:57:24 | 0:57:25 | |
CHEERING AND APPLAUSE | 0:57:36 | 0:57:40 | |
CHEERING AND LAUGHTER | 0:57:50 | 0:57:52 | |
DISTANT RUMBLING | 0:57:54 | 0:57:56 | |
-GUNSHOT -Sir, are you all right? | 0:58:00 | 0:58:02 | |
Dad! | 0:58:02 | 0:58:03 | |
The day a government minister's exposed as having an affair... | 0:58:03 | 0:58:06 | |
He takes his own life. | 0:58:06 | 0:58:07 | |
I don't think this is a suicide. It's been staged to look like one. | 0:58:07 | 0:58:10 | |
If you ask me, this is murder. | 0:58:10 | 0:58:13 | |
I want to see who did this behind bars for a very long time. | 0:58:13 | 0:58:17 | |
-Camille? -Do you know each other? | 0:58:17 | 0:58:20 | |
-I think Marlon is my father. -What?! | 0:58:20 | 0:58:23 |