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I enjoyed today, Colin. Thanks. | 0:00:18 | 0:00:20 | |
Me too. | 0:00:20 | 0:00:22 | |
Better go and rest up | 0:00:22 | 0:00:23 | |
if I'm going to have any energy for this dance tonight. | 0:00:23 | 0:00:26 | |
You don't have to come, you know. | 0:00:26 | 0:00:27 | |
I wouldn't miss it for the world! | 0:00:27 | 0:00:30 | |
See you later, Colin. | 0:00:30 | 0:00:31 | |
Well? Did you do it? | 0:00:37 | 0:00:40 | |
I meant to. I planned to, but when it got down to it, | 0:00:40 | 0:00:43 | |
I didn't have the courage. | 0:00:43 | 0:00:44 | |
Colin. We're none of us getting younger! | 0:00:44 | 0:00:47 | |
I'll do it tonight. | 0:00:47 | 0:00:49 | |
What are you stuck on? | 0:00:50 | 0:00:51 | |
Bloody 14 down. | 0:00:51 | 0:00:53 | |
Orchestra, anagram of carthorse. | 0:00:55 | 0:00:57 | |
HE LAUGHS | 0:00:57 | 0:00:59 | |
Course it is! | 0:00:59 | 0:01:00 | |
Oh, Jim! | 0:01:03 | 0:01:04 | |
My computer's lost the wi-fi signal. | 0:01:05 | 0:01:08 | |
Can you do that thing that you do? | 0:01:08 | 0:01:10 | |
Sorry, Pam! It's just that I wanted to video-call Ben tonight. | 0:01:10 | 0:01:14 | |
Oh, well, I'm sure Jim will be only too happy to help you out. | 0:01:14 | 0:01:17 | |
I won't be long. | 0:01:17 | 0:01:19 | |
Right then. Emma. | 0:01:19 | 0:01:21 | |
You have got to tell her. | 0:01:25 | 0:01:27 | |
We can't do this, not here. | 0:01:27 | 0:01:29 | |
You've got until the dance tonight to tell her, | 0:01:29 | 0:01:32 | |
otherwise I swear I'll tell her myself. | 0:01:32 | 0:01:34 | |
KNOCK AT DOOR | 0:01:38 | 0:01:40 | |
Well, then you'll have to get used to shiny trousers! | 0:01:40 | 0:01:43 | |
< I love that you can still nag me from 2,000 miles away. | 0:01:43 | 0:01:46 | |
I'm your mother - I can nag you from any distance! | 0:01:46 | 0:01:49 | |
< I know that, that's the problem! | 0:01:49 | 0:01:51 | |
UPBEAT MUSIC | 0:01:56 | 0:01:58 | |
APPLAUSE | 0:02:20 | 0:02:21 | |
-What's the matter with you? -Nothing, why? | 0:02:25 | 0:02:27 | |
Face like a smacked arse again. | 0:02:29 | 0:02:31 | |
I'll get us some drinks. | 0:02:33 | 0:02:34 | |
-Have you seen Emma? -No. Is she coming? | 0:02:44 | 0:02:47 | |
She said she was but, er, it's gone six. | 0:02:47 | 0:02:50 | |
-What's wrong? -Well, it's Emma. | 0:02:50 | 0:02:51 | |
She said she'd be here tonight, but I just tried her mobile, | 0:02:51 | 0:02:54 | |
-she didn't answer. -Well, maybe I should go and check on her. | 0:02:54 | 0:02:57 | |
What? | 0:02:57 | 0:02:58 | |
-Judith, have you seen Emma? -Oh, not since this afternoon. | 0:02:58 | 0:03:00 | |
She's not answering her phone. | 0:03:00 | 0:03:02 | |
Oh, I'm sure she's fine. She'll be getting ready. | 0:03:02 | 0:03:04 | |
No. Jim's right, we should go and check. | 0:03:04 | 0:03:06 | |
-Come on, we'll go together. -We'll be back in five minutes. | 0:03:06 | 0:03:09 | |
That's so sweet. He really cares about her, doesn't he? | 0:03:12 | 0:03:16 | |
Who? Colin? | 0:03:16 | 0:03:18 | |
Or Jim? | 0:03:18 | 0:03:19 | |
Emma? You there? | 0:03:26 | 0:03:27 | |
Emma? | 0:03:27 | 0:03:28 | |
I can see her. Open the door. | 0:03:28 | 0:03:30 | |
-It's locked! -Out the way. | 0:03:31 | 0:03:33 | |
< So, you were the last person to see her? | 0:04:19 | 0:04:22 | |
Dr Emma Redding. Retired. | 0:04:32 | 0:04:34 | |
She made arrangements to go to a dance this evening, | 0:04:34 | 0:04:36 | |
but she didn't show up. | 0:04:36 | 0:04:37 | |
Two male residents came to her room after 6pm. | 0:04:37 | 0:04:40 | |
They saw the body through the shutters, | 0:04:40 | 0:04:42 | |
so they broke the door down but she was dead before they got to her. | 0:04:42 | 0:04:46 | |
Was she alone? | 0:04:51 | 0:04:52 | |
Yes. | 0:04:52 | 0:04:54 | |
Cause of death? | 0:04:54 | 0:04:56 | |
It looks like an overdose. | 0:04:56 | 0:04:57 | |
Anyone know what Propenten is? | 0:04:58 | 0:05:00 | |
-Ah, yes, they're sleeping pills. -How do you know that? | 0:05:00 | 0:05:03 | |
I had an aunt. She was kind of highly strung. | 0:05:03 | 0:05:05 | |
It's what she took. | 0:05:05 | 0:05:06 | |
-Suicide note? -We haven't found one yet. | 0:05:07 | 0:05:09 | |
Well, we know she didn't have a sweet tooth. | 0:05:11 | 0:05:13 | |
She didn't eat her dessert but she did eat most of her main meal. | 0:05:13 | 0:05:16 | |
So, three possibilities. Suicide, accident or murder. | 0:05:17 | 0:05:21 | |
Well, accident is unlikely. | 0:05:21 | 0:05:23 | |
-Because? -Because if you're taking sleeping pills, you'd have to take | 0:05:23 | 0:05:26 | |
the whole packet for a fatal overdose | 0:05:26 | 0:05:27 | |
and you can't do that accidentally. | 0:05:27 | 0:05:29 | |
-Your aunt again? -Yes, sir. | 0:05:29 | 0:05:31 | |
So that just leaves us with suicide or murder. | 0:05:31 | 0:05:34 | |
-It's not suicide. -Oh? | 0:05:34 | 0:05:35 | |
Well, it's pretty obvious if you consider the evidence. | 0:05:35 | 0:05:38 | |
What evidence would that be? | 0:05:38 | 0:05:40 | |
-The dress. -The dress? -Mmm-hmm. | 0:05:40 | 0:05:42 | |
Well, if she was going to take her own life, | 0:05:42 | 0:05:44 | |
why get out a special dress like this and not put it on? | 0:05:44 | 0:05:47 | |
People who commit suicide prepare for it. | 0:05:48 | 0:05:51 | |
What clothes to wear, what time of the day, it's a ritual. | 0:05:51 | 0:05:54 | |
Why get out a dress like this if it's not part of the plan? | 0:05:54 | 0:05:58 | |
You know what, Camille? | 0:05:58 | 0:05:59 | |
Normally I would agree with you, but if this isn't a suicide, | 0:05:59 | 0:06:02 | |
I don't think it's a murder, either. | 0:06:02 | 0:06:04 | |
When you consider the evidence. | 0:06:04 | 0:06:06 | |
And what evidence would that be? | 0:06:06 | 0:06:09 | |
The door. | 0:06:09 | 0:06:10 | |
It has a latch-lock and a bolt. | 0:06:10 | 0:06:12 | |
Both were clearly broken when the residents forced it open. See? | 0:06:14 | 0:06:18 | |
And I've been looking - | 0:06:18 | 0:06:19 | |
there's no other way into the room other than through that door. | 0:06:19 | 0:06:22 | |
And as the door was locked, how did the killer get out? | 0:06:22 | 0:06:25 | |
-Chief? -So, Dr Redding was found dead in a room locked from the inside. | 0:06:25 | 0:06:29 | |
No sign of a struggle, and an empty pack of sleeping pills | 0:06:29 | 0:06:31 | |
beside her, and no possibility of anyone else being in here. | 0:06:31 | 0:06:34 | |
Or in other words, if it looks like a duck, walks like a duck | 0:06:34 | 0:06:37 | |
-and quacks like a duck... -It's a duck? -Exactly. | 0:06:37 | 0:06:39 | |
She killed herself. | 0:06:39 | 0:06:40 | |
But then there's the dress. | 0:06:42 | 0:06:43 | |
Thank you. | 0:06:59 | 0:07:00 | |
Mr and Mrs Chandler. | 0:07:03 | 0:07:05 | |
Judith Musgrove. Colin Campbell. | 0:07:05 | 0:07:07 | |
Good evening. | 0:07:07 | 0:07:09 | |
Sylvaine tells us that you were close to, er, Dr Redding? | 0:07:09 | 0:07:12 | |
So, can any of you tell me what kind of doctor she was? | 0:07:12 | 0:07:14 | |
Of course. She was a surgeon. | 0:07:14 | 0:07:16 | |
And then she worked in the cosmetic industry before she retired. | 0:07:16 | 0:07:20 | |
Mmm-hmm. I see. | 0:07:20 | 0:07:21 | |
We would like to get an idea of Emma's state of mind | 0:07:22 | 0:07:25 | |
over the last few days and weeks. | 0:07:25 | 0:07:27 | |
Emma's never been happier, and we all know why. | 0:07:27 | 0:07:30 | |
Don't we, Colin? | 0:07:30 | 0:07:32 | |
Emma and I, we'd been, erm, stepping out. | 0:07:34 | 0:07:38 | |
We went to a concert today, in a church in Honore. | 0:07:38 | 0:07:42 | |
Emma loved choral music, and we had a marvellous time. | 0:07:42 | 0:07:46 | |
When you got back, how would you describe her mood? | 0:07:46 | 0:07:49 | |
A little tired, but good. | 0:07:49 | 0:07:51 | |
Happy? Content? | 0:07:51 | 0:07:52 | |
I'd say so. | 0:07:52 | 0:07:54 | |
She was excited about the dance | 0:07:54 | 0:07:56 | |
and looking forward to speaking to her son. | 0:07:56 | 0:07:58 | |
He lives in New York. I know she misses him... Missed him. | 0:07:58 | 0:08:02 | |
They were always speaking to each other on the computer, you know. | 0:08:02 | 0:08:05 | |
That's right. Her son is called Ben. | 0:08:05 | 0:08:07 | |
They were chatting when I brought dinner to her earlier, around 5.30. | 0:08:07 | 0:08:11 | |
-Did you hear what they were talking about? -Not really. | 0:08:11 | 0:08:14 | |
And you all met her here on Saint Marie? | 0:08:15 | 0:08:17 | |
Well, no, Pam and I first came across Emma in the '90s. | 0:08:17 | 0:08:20 | |
I was in medical supplies, | 0:08:20 | 0:08:22 | |
and my company had a contract with her hospital. | 0:08:22 | 0:08:25 | |
Bit of a coincidence, isn't it, her ending up here? | 0:08:25 | 0:08:29 | |
Well, hardly. It was my suggestion she came out here. | 0:08:29 | 0:08:32 | |
She had terrible arthritis in her right ankle, | 0:08:34 | 0:08:37 | |
that's why she took early retirement and also why she came out here. | 0:08:37 | 0:08:40 | |
Because the sunshine helped with the pain. | 0:08:40 | 0:08:43 | |
Was she in much pain? | 0:08:43 | 0:08:45 | |
I suspect more than she let on. | 0:08:46 | 0:08:48 | |
But she rarely complained. | 0:08:48 | 0:08:50 | |
And you were expecting her at the dance this evening? | 0:08:50 | 0:08:54 | |
Yes. That's why I was worried when she didn't turn up. | 0:08:54 | 0:08:57 | |
She told me she wouldn't miss it for the world. | 0:08:57 | 0:09:00 | |
It's possible we'll need formal statements from you all | 0:09:00 | 0:09:03 | |
tomorrow, but for the moment, thank you for waiting behind. | 0:09:03 | 0:09:06 | |
She was happy, excited to go to a dance this evening, | 0:09:14 | 0:09:17 | |
surrounded by friends, | 0:09:17 | 0:09:19 | |
not exactly the profile of someone who's about to commit suicide. | 0:09:19 | 0:09:22 | |
Yes. In other words, if it looks like a duck, | 0:09:22 | 0:09:25 | |
walks like a duck, quacks like a duck, | 0:09:25 | 0:09:28 | |
it's looking more and more unlikely that it is, in fact, a duck. | 0:09:28 | 0:09:32 | |
Question! | 0:10:37 | 0:10:39 | |
If you wanted to poison someone or give them an overdose or something, | 0:10:39 | 0:10:42 | |
but you didn't really want them to know what you were doing, | 0:10:42 | 0:10:44 | |
which of course you wouldn't, how would you go about disguising it? | 0:10:44 | 0:10:48 | |
Put it in their food? | 0:10:48 | 0:10:49 | |
And you'd need a food with a strong flavour, | 0:10:49 | 0:10:51 | |
something that assaulted their taste buds, rendered them inefficient. | 0:10:51 | 0:10:55 | |
-Something like... -Curry? | 0:10:55 | 0:10:56 | |
And Dr Redding's last meal was? | 0:10:56 | 0:10:58 | |
Chicken curry. | 0:10:58 | 0:10:59 | |
See, that's why her main meal was mostly eaten | 0:10:59 | 0:11:02 | |
when her dessert wasn't even touched. | 0:11:02 | 0:11:04 | |
How could it be? She was already dead. | 0:11:04 | 0:11:07 | |
You were right, Camille. | 0:11:07 | 0:11:09 | |
This isn't suicide. It's murder. | 0:11:09 | 0:11:11 | |
But if the killer poisoned her food, they left the sleeping pills | 0:11:11 | 0:11:15 | |
and the water to make it look like a suicide. | 0:11:15 | 0:11:17 | |
-After they'd done that... -How did they get out? | 0:11:17 | 0:11:19 | |
Leaving the door locked and bolted from the inside? | 0:11:19 | 0:11:22 | |
OK, let's just, er, park that in the "still to be established" column | 0:11:22 | 0:11:27 | |
for the moment. | 0:11:27 | 0:11:28 | |
HE CLEARS HIS THROAT | 0:11:28 | 0:11:30 | |
But if it is murder... | 0:11:30 | 0:11:32 | |
We'd need to interview her friends again, and the staff. | 0:11:32 | 0:11:34 | |
Then let's do that. Dwayne, background checks, er, | 0:11:34 | 0:11:37 | |
finish checking through the victim's personal possessions. | 0:11:37 | 0:11:40 | |
Fidel, chase up the lab results, get toxicology to look into the curry, | 0:11:40 | 0:11:43 | |
and we need her autopsy booked in as soon as possible. | 0:11:43 | 0:11:46 | |
I want to know what poison was in that curry. | 0:11:46 | 0:11:48 | |
Come on, Camille! | 0:11:48 | 0:11:49 | |
We need to get back in the victim's room again - | 0:11:54 | 0:11:56 | |
we must be missing something. | 0:11:56 | 0:11:58 | |
If she was murdered, there has to be another way out. | 0:11:58 | 0:12:01 | |
The Chandlers - Pam and Jim - | 0:12:04 | 0:12:05 | |
there was a little something going on between them, | 0:12:05 | 0:12:07 | |
when he talked about the victim. It wasn't much, it was just | 0:12:07 | 0:12:10 | |
the way she looked at him. What was that? It was jealousy, maybe. | 0:12:10 | 0:12:13 | |
Something, something more sinister? | 0:12:13 | 0:12:15 | |
-Erm... -What? | 0:12:15 | 0:12:16 | |
Sorry. I should've called first. | 0:12:20 | 0:12:22 | |
Humph? | 0:12:25 | 0:12:26 | |
-Well, say something. -Yes. Right. Er... | 0:12:27 | 0:12:30 | |
Maybe ask me what I'm doing here? | 0:12:31 | 0:12:32 | |
Good. Yes, that's the one. Excellent! What are you doing here? | 0:12:32 | 0:12:36 | |
The board sent me to Martinique for a week. | 0:12:36 | 0:12:39 | |
I knew that you were only an hour away and I... | 0:12:39 | 0:12:42 | |
should've phoned. | 0:12:42 | 0:12:43 | |
Yes. | 0:12:43 | 0:12:45 | |
Sorry. Er, Camille, this is Sally. | 0:12:46 | 0:12:49 | |
My wife. | 0:12:49 | 0:12:50 | |
My ex-wife. | 0:12:50 | 0:12:52 | |
Are you an ex? How's that work? | 0:12:52 | 0:12:53 | |
-Pleased to meet you. -I've heard so much about you. | 0:12:53 | 0:12:57 | |
-Really? -Yes! -All good! All good! | 0:12:57 | 0:12:59 | |
Er, you know, given the circumstances, anyway! | 0:12:59 | 0:13:02 | |
Well, I'll leave you and... | 0:13:02 | 0:13:04 | |
Oh, no, no, no! Of course, you're...you're working! But, erm... | 0:13:04 | 0:13:07 | |
maybe we could meet later? | 0:13:07 | 0:13:09 | |
Er, ye-yes. OK. | 0:13:09 | 0:13:11 | |
-Six? Seven? -Absolutely. | 0:13:11 | 0:13:14 | |
Which? | 0:13:14 | 0:13:15 | |
Oh, 6.30. | 0:13:15 | 0:13:17 | |
Er, where? | 0:13:17 | 0:13:19 | |
There's a bar on the harbour. Catherine's? | 0:13:19 | 0:13:21 | |
All right. I'll be there. | 0:13:23 | 0:13:26 | |
I'm sorry to intrude. | 0:13:28 | 0:13:29 | |
Bye. | 0:13:31 | 0:13:32 | |
Are you all right? | 0:13:38 | 0:13:40 | |
Yes, fine. Never better. | 0:13:40 | 0:13:42 | |
What are we doing? | 0:13:46 | 0:13:47 | |
-Going to the retirement home? -Of course! Of course! | 0:13:47 | 0:13:50 | |
OK, so, the kitchen prepared two room service meals | 0:14:00 | 0:14:04 | |
yesterday, both chicken curry. | 0:14:04 | 0:14:06 | |
And Sylvaine took one of them to Judith Musgrove in her room, | 0:14:06 | 0:14:10 | |
and the other she delivered to Emma Redding. | 0:14:10 | 0:14:12 | |
Sylvaine doesn't think anyone could have tampered with the food | 0:14:12 | 0:14:16 | |
while she was delivering it, and as at least one other guest had | 0:14:16 | 0:14:19 | |
the same meal, it couldn't have been tampered with in the kitchen. | 0:14:19 | 0:14:22 | |
-Are you listening to any of this? -Yes, every word. Go on. | 0:14:22 | 0:14:26 | |
At 5:45pm, Sylvaine collected the empty plates from outside | 0:14:27 | 0:14:31 | |
Judith's room, but Dr Redding hadn't put hers out. | 0:14:31 | 0:14:35 | |
Not surprising as she was almost certainly dead by then. | 0:14:35 | 0:14:38 | |
So Sylvaine is the last person to see the victim alive | 0:14:38 | 0:14:41 | |
and she's the only person who could have doctored the curry... | 0:14:41 | 0:14:44 | |
..so what if she's our killer? | 0:14:45 | 0:14:47 | |
Sir? | 0:14:49 | 0:14:50 | |
-Sir? -Mmm? -Why don't you take some time off? | 0:14:53 | 0:14:56 | |
What for? | 0:14:56 | 0:14:57 | |
To go and talk to your wife? | 0:14:57 | 0:14:59 | |
-I heard everything you said. -Really? -Yes. | 0:14:59 | 0:15:01 | |
Two room service meals, both of them chicken curry. The other one fine | 0:15:01 | 0:15:04 | |
so it couldn't have been tampered with in the kitchen. | 0:15:04 | 0:15:07 | |
Manager adamant it never left her sight, so maybe she's our killer. | 0:15:07 | 0:15:10 | |
Why do you suppose she didn't phone? | 0:15:10 | 0:15:12 | |
-Who? -Sally. | 0:15:12 | 0:15:13 | |
Because she was afraid you would tell her not to come. | 0:15:16 | 0:15:18 | |
PHONE RINGS | 0:15:20 | 0:15:22 | |
Excuse me. | 0:15:22 | 0:15:24 | |
Hello? | 0:15:24 | 0:15:25 | |
Dwayne? Mm-hmm? | 0:15:27 | 0:15:29 | |
Is everything all right, Mr Witton? | 0:15:33 | 0:15:35 | |
Yep, just getting some air. | 0:15:36 | 0:15:39 | |
Thank you. | 0:15:45 | 0:15:46 | |
-Sir? -Here. | 0:15:50 | 0:15:52 | |
The only way in or out of the chalet is through this door, | 0:15:52 | 0:15:54 | |
which was locked and bolted from the inside. It's impossible. | 0:15:54 | 0:15:57 | |
That was Dwayne. | 0:15:57 | 0:15:58 | |
There were three entries in the victim's diary for yesterday. | 0:15:58 | 0:16:02 | |
-The concert with Mr Campbell, the dance... -And? | 0:16:02 | 0:16:05 | |
And a note to meet Judith Musgrove at 3pm. | 0:16:05 | 0:16:08 | |
-Judith Musgrove. We spoke to her last night, didn't we? -Yes, we did. | 0:16:08 | 0:16:11 | |
I wonder why she didn't feel the need to mention it then. | 0:16:11 | 0:16:13 | |
-14 points! -Mmm! Mm-hm! | 0:16:18 | 0:16:21 | |
Miss Musgrove. Can we have a word, please? | 0:16:22 | 0:16:25 | |
Of course. | 0:16:25 | 0:16:26 | |
I'd better make myself scarce. | 0:16:26 | 0:16:28 | |
No, stay, I'm sure it won't take very long. | 0:16:28 | 0:16:30 | |
How can I help? | 0:16:30 | 0:16:32 | |
You had an appointment | 0:16:32 | 0:16:33 | |
to meet Dr Redding yesterday afternoon at three. | 0:16:33 | 0:16:36 | |
I'm a retired solicitor. | 0:16:36 | 0:16:37 | |
Emma made an appointment to see me about her will. | 0:16:37 | 0:16:40 | |
She did? | 0:16:40 | 0:16:42 | |
She changed her will just before she died? | 0:16:42 | 0:16:44 | |
Actually, she didn't - that's why I didn't mention it last night. | 0:16:44 | 0:16:48 | |
Everything looks absolutely in order. | 0:16:48 | 0:16:51 | |
-Nothing that needs to be altered. -Oh, good. | 0:16:51 | 0:16:54 | |
Everything was left to her husband, unless he predeceased her, | 0:16:54 | 0:16:57 | |
in which case, her estate would go straight to her son, Ben. | 0:16:57 | 0:17:02 | |
Her husband died a few years ago. | 0:17:02 | 0:17:04 | |
And I was able to tell her not to worry about it. | 0:17:04 | 0:17:07 | |
Her son would still inherit on her death. | 0:17:07 | 0:17:10 | |
-Did she say why she felt the need to check her will? -No, she didn't. | 0:17:10 | 0:17:14 | |
And how was she when you were with her? | 0:17:14 | 0:17:16 | |
I thought she was pre-occupied. Worried, even. | 0:17:16 | 0:17:20 | |
I'm sorry, I should've told you all this yesterday. Shouldn't I? | 0:17:22 | 0:17:26 | |
I'm sorry, but I don't understand what the problem is. | 0:17:30 | 0:17:32 | |
What's going on? It's like the fifth time I've called. | 0:17:32 | 0:17:35 | |
My inspector's waiting for those results. | 0:17:35 | 0:17:37 | |
No, I'll hold. | 0:17:38 | 0:17:40 | |
Any luck? | 0:17:51 | 0:17:52 | |
-Excuse me? -Finding out what happened to Dr Redding? | 0:17:52 | 0:17:56 | |
It's, er, Mr...? | 0:17:56 | 0:17:57 | |
-Witton. David Witton. -Were you a friend of hers? | 0:17:57 | 0:18:00 | |
Of course. Everyone knew Emma. | 0:18:00 | 0:18:03 | |
Life and soul of the party. | 0:18:03 | 0:18:05 | |
-Close friends? -Well, not really. | 0:18:05 | 0:18:07 | |
I've only been here six months. | 0:18:08 | 0:18:11 | |
-Truth is, I'm still finding my feet. -Then why the interest? | 0:18:11 | 0:18:15 | |
Just after a bit of gossip. | 0:18:15 | 0:18:18 | |
It's like currency in here. | 0:18:18 | 0:18:20 | |
GOAT BLEATS | 0:18:39 | 0:18:41 | |
Well, thank you very much for your help, Mr Redding. | 0:18:57 | 0:19:00 | |
No, no. Of course. | 0:19:00 | 0:19:01 | |
As soon as we have any developments, we'll let you know. Bye. | 0:19:01 | 0:19:04 | |
He and his mother were clearly very close. | 0:19:07 | 0:19:09 | |
He said he only spoke to her for a few minutes yesterday, | 0:19:09 | 0:19:11 | |
but she seemed her normal self. | 0:19:11 | 0:19:13 | |
Really? | 0:19:13 | 0:19:14 | |
And yet she was worried when she went through her will, | 0:19:14 | 0:19:17 | |
so what changed? And why did she need a solicitor to look at it? | 0:19:17 | 0:19:20 | |
Could it be a coincidence? | 0:19:20 | 0:19:22 | |
That Emma got her will checked the same day she was murdered? | 0:19:22 | 0:19:24 | |
No. No way. It's connected. But why? | 0:19:24 | 0:19:28 | |
-Fidel? -Sir? -Background checks throw anything up? | 0:19:28 | 0:19:30 | |
We have Colin Campbell. He was a Captain in the Army. | 0:19:30 | 0:19:33 | |
Divorced five years ago, moved to Saint Marie. | 0:19:33 | 0:19:36 | |
In a relationship with Dr Redding. Everyone said they were inseparable. | 0:19:36 | 0:19:39 | |
-Right, Sally Musgrove? -Judith. -Judith, Judith Musgrove? | 0:19:41 | 0:19:45 | |
Yeah, she's a retired solicitor. | 0:19:45 | 0:19:46 | |
She's the home's longest-serving resident. | 0:19:46 | 0:19:48 | |
No family, never married. But by all accounts, | 0:19:48 | 0:19:50 | |
-she's a very good friend of the victim. -Hmm. | 0:19:50 | 0:19:52 | |
-Jim and Sally Chandler? -Jim and Pam Chandler, sir. | 0:19:52 | 0:19:56 | |
They're old friends of Emma's. Or rather he is. | 0:19:57 | 0:20:00 | |
They worked together in the UK. Nothing showing for them. | 0:20:00 | 0:20:02 | |
There was someone else we saw at the home. | 0:20:02 | 0:20:05 | |
David Witton. | 0:20:05 | 0:20:06 | |
-Do you have anything on him? -Yes. David Witton. | 0:20:06 | 0:20:09 | |
Now, he's a retired teacher. | 0:20:09 | 0:20:10 | |
He only came out to the island about six months ago. | 0:20:10 | 0:20:13 | |
But by all accounts, he's a bit of a loner. Doesn't really mix much. | 0:20:13 | 0:20:16 | |
And what about the manager - Sylvaine? | 0:20:16 | 0:20:18 | |
Right. Nothing on file. But I rang my mother, | 0:20:18 | 0:20:20 | |
cos she's good friends with Sylvaine's family. | 0:20:20 | 0:20:23 | |
She told me Sylvaine's married, has a couple of kids, | 0:20:23 | 0:20:25 | |
is involved in the local church and... | 0:20:25 | 0:20:27 | |
Well, she just laughed when I asked if she could be a killer. | 0:20:27 | 0:20:30 | |
And yet, if it was the curry that poisoned Emma... | 0:20:30 | 0:20:33 | |
-Sylvaine is the only person who ever had access to it. -Hmm. | 0:20:33 | 0:20:36 | |
-TELEPHONE RINGS -Honore Police Station. | 0:20:36 | 0:20:39 | |
It's Dwayne. ..Yes, go on. | 0:20:39 | 0:20:41 | |
You've been very helpful, sir. This is great. | 0:20:50 | 0:20:53 | |
Thank you very much. Bye-bye. | 0:20:53 | 0:20:55 | |
So what you got? | 0:20:57 | 0:20:58 | |
I found these architect's drawings for the refurbishment of this bar | 0:20:58 | 0:21:01 | |
in the victim's possessions, so I thought I'd check it out. | 0:21:01 | 0:21:04 | |
-Turns out the bar was sold just under a year ago. -Who to? | 0:21:04 | 0:21:08 | |
Colin Campbell. | 0:21:08 | 0:21:09 | |
-But these plans were in Emma's room? -They sure were. | 0:21:09 | 0:21:13 | |
But the thing is, this place is virtually worthless. | 0:21:13 | 0:21:16 | |
Turtles started breeding here a while back. The bar was closed down | 0:21:16 | 0:21:19 | |
and a preservation order slapped on the whole beach. | 0:21:19 | 0:21:21 | |
There's no building and no possibility of any redevelopment. | 0:21:21 | 0:21:25 | |
-So how come these plans exist? -And why were they in our victim's room? | 0:21:25 | 0:21:29 | |
There's no law against foreigners owning property on the island. | 0:21:32 | 0:21:36 | |
-Of course not. But the bar you bought is derelict. -Until we re-develop it. | 0:21:36 | 0:21:40 | |
-So what's the plan? -I buy the bar - that's my investment. | 0:21:40 | 0:21:44 | |
But developing it is going to cost at least 60,000. | 0:21:44 | 0:21:47 | |
-And you planned to raise the money how? -Friends. -Oh? | 0:21:47 | 0:21:50 | |
-Oh, Judith's already put some in. -How much? -40K. | 0:21:50 | 0:21:53 | |
SHE GASPS | 0:21:53 | 0:21:55 | |
Judith's already given you 40,000? | 0:21:55 | 0:21:57 | |
-That's right. -But that's still not enough. | 0:21:57 | 0:22:00 | |
-Did you ever mention your plans to Dr -Redding? Of course. | 0:22:00 | 0:22:03 | |
-How much money did you ask her for? -I never asked Emma for a penny. | 0:22:03 | 0:22:06 | |
And yet, we found the plans for your bar in her room. | 0:22:06 | 0:22:09 | |
Well, she took an interest, of course she did, | 0:22:09 | 0:22:11 | |
but I didn't ask her to invest. | 0:22:11 | 0:22:12 | |
You know there's a preservation order on that beach? | 0:22:12 | 0:22:15 | |
You'll never be able to build on it. | 0:22:15 | 0:22:17 | |
And yet you still took your friend's money? | 0:22:17 | 0:22:19 | |
I intend to fight to get the order lifted. | 0:22:19 | 0:22:22 | |
Let me make two predictions. One - I bet you never told Judith | 0:22:22 | 0:22:25 | |
about the preservation order before you took her money. | 0:22:25 | 0:22:28 | |
And two - the 40 grand she gave you is in an account | 0:22:28 | 0:22:30 | |
-which you could clear out at any time. -What are you implying? | 0:22:30 | 0:22:33 | |
Did Dr Redding refuse to give you the rest of the money you needed? | 0:22:33 | 0:22:37 | |
No! | 0:22:37 | 0:22:38 | |
Look, you've got me all wrong. | 0:22:39 | 0:22:41 | |
The reason I was so worried | 0:22:42 | 0:22:44 | |
when Emma didn't show up for the party that night | 0:22:44 | 0:22:47 | |
was that I was going to ask her to marry me. | 0:22:47 | 0:22:50 | |
I loved her. | 0:22:50 | 0:22:51 | |
-HE SIGHS -So have Fidel get in touch | 0:22:55 | 0:22:57 | |
with whoever's in charge of planning at the town hall. | 0:22:57 | 0:23:00 | |
See if Colin Campbell stood any chance of lifting | 0:23:00 | 0:23:03 | |
that preservation order on the beach bar. | 0:23:03 | 0:23:05 | |
Do you think he's a con man? | 0:23:05 | 0:23:06 | |
That maybe Emma Redding discovered what he was up to? | 0:23:06 | 0:23:09 | |
Oh, so he poisoned her before she could tell Judith | 0:23:09 | 0:23:12 | |
that she stood to lose 40,000? Well, it's a possible who and why. | 0:23:12 | 0:23:16 | |
But we can't prove anyone killed her | 0:23:16 | 0:23:18 | |
if we can't establish how they got out that bloody room. | 0:23:18 | 0:23:20 | |
You know, maybe we can finish a little early, if you want to get home? | 0:23:23 | 0:23:28 | |
-Mmm? -Have a shower. Get changed before your date. | 0:23:28 | 0:23:32 | |
-Oh, it's hardly that, Camille. -Your wife came a long way to see you. | 0:23:32 | 0:23:36 | |
It must be important. | 0:23:36 | 0:23:37 | |
Sir? Camille? | 0:23:39 | 0:23:41 | |
-The autopsy report. -Ah! | 0:23:41 | 0:23:42 | |
The only food the pathologist found in the victim's stomach | 0:23:43 | 0:23:46 | |
-was the curry, rice and beans. -Yes, her last meal, as we suspected. | 0:23:46 | 0:23:49 | |
So have they identified the poison? | 0:23:49 | 0:23:51 | |
Cause of death was a massive overdose of Propenten - | 0:23:51 | 0:23:54 | |
the sleeping pills we found beside the body. | 0:23:54 | 0:23:56 | |
All right, wasn't expecting that, but... | 0:23:56 | 0:24:00 | |
Her killer must've got the sleeping pills, | 0:24:00 | 0:24:02 | |
crushed them up and put them in the curry. | 0:24:02 | 0:24:03 | |
Then he or she got into the room | 0:24:03 | 0:24:06 | |
and staged the scene to look like suicide. | 0:24:06 | 0:24:08 | |
Before getting through a door | 0:24:08 | 0:24:09 | |
that was locked and bolted from the inside. How? | 0:24:09 | 0:24:12 | |
HE SIGHS | 0:24:22 | 0:24:23 | |
OK, could someone have given Emma the poison outside her room? | 0:24:23 | 0:24:27 | |
-She goes inside and bolts the door herself? -No, no way. | 0:24:27 | 0:24:31 | |
She was already in her room | 0:24:31 | 0:24:32 | |
when the food was delivered on the video call to her son. | 0:24:32 | 0:24:34 | |
The killer must've got the Propenten into the curry...somehow. | 0:24:36 | 0:24:41 | |
Then Sylvaine has to be our killer. | 0:24:41 | 0:24:42 | |
-No! -Yes! She's the only person who went near the curry. | 0:24:42 | 0:24:45 | |
I'm sorry, I disagree. I don't think Sylvaine's the killer. | 0:24:45 | 0:24:47 | |
Why would the manager of an old people's home | 0:24:47 | 0:24:49 | |
want to kill one of her residents? | 0:24:49 | 0:24:51 | |
Was there any indication Sylvaine and Emma didn't get on? | 0:24:51 | 0:24:54 | |
Er, were they ever seen arguing? | 0:24:54 | 0:24:55 | |
Well, according to the residents, Emma and Sylvaine got on very well. | 0:24:55 | 0:24:58 | |
Exactly, also... | 0:24:58 | 0:25:00 | |
Why would she want to lose one of her paying customers, hmm? | 0:25:05 | 0:25:09 | |
I don't think it's Sylvaine. | 0:25:09 | 0:25:10 | |
Someone else got to that curry and doctored it. | 0:25:10 | 0:25:14 | |
But how? | 0:25:15 | 0:25:16 | |
I've got the victim's credit card statements through. Nothing unusual. | 0:25:16 | 0:25:20 | |
She did go out to eat a lot, though. Five times in the past ten days. | 0:25:20 | 0:25:24 | |
-I crosschecked dates, but there's nothing in her diary. -Amounts? | 0:25:24 | 0:25:28 | |
All of them 100, all from the same restaurant. | 0:25:28 | 0:25:31 | |
-Must be two people. -OK, check it out. | 0:25:31 | 0:25:33 | |
Well, erm... Ahem! I don't think we can achieve much more today. | 0:25:33 | 0:25:37 | |
Er, let's go over everything again tomorrow morning. | 0:25:37 | 0:25:40 | |
Hopefully, we'll have the results back on the curry. | 0:25:40 | 0:25:43 | |
-It's not like you to be first to go, chief. -What? | 0:25:43 | 0:25:46 | |
-You got a hot date? -HE LAUGHS | 0:25:46 | 0:25:48 | |
DWAYNE LAUGHS | 0:25:48 | 0:25:50 | |
A date? No, no, erm... I, er... | 0:25:50 | 0:25:52 | |
Well, I mean, I would stay if there was, er, something to, er, do. | 0:25:52 | 0:25:55 | |
-I mean, there is no rush... -No, no, no, no. You go. | 0:25:55 | 0:25:58 | |
-We'll see you in the morning. -Right, ahem... | 0:25:58 | 0:26:01 | |
I'll... | 0:26:01 | 0:26:03 | |
Night, chief. | 0:26:03 | 0:26:05 | |
HE LAUGHS Dwayne! | 0:26:05 | 0:26:06 | |
What? | 0:26:06 | 0:26:08 | |
MUSIC PLAYS | 0:26:13 | 0:26:15 | |
Good evening. What can I get you? | 0:26:21 | 0:26:23 | |
-Do you have a Pinot Grigio? -Sorry, no. | 0:26:23 | 0:26:25 | |
I have a Sauvignon Blanc, it's quite dry. | 0:26:25 | 0:26:27 | |
Right, that'll be lovely, thank you. | 0:26:27 | 0:26:29 | |
-Well? -Well, what? | 0:26:34 | 0:26:36 | |
-What is she like? -She only ordered a drink. -Come on, Maman! | 0:26:36 | 0:26:39 | |
You've been serving in bars for 30 years, that's more than enough time! | 0:26:39 | 0:26:42 | |
-She's a bitch, isn't she? -Actually, she was very sweet. | 0:26:44 | 0:26:48 | |
REGGAE MUSIC PLAYS | 0:26:55 | 0:26:58 | |
-HE CLEARS HIS THROAT -Hi. | 0:27:12 | 0:27:14 | |
-Hi. -Sorry, am I late? -No. Like what you've done with your hair. | 0:27:14 | 0:27:20 | |
-Oh, God! Does it look very stupid? -No! I like it. It's very Humph. | 0:27:20 | 0:27:24 | |
Humphrey, what can I get you? | 0:27:24 | 0:27:27 | |
Oh, I-I would like, erm, a beer, please, Catherine, thank you. | 0:27:27 | 0:27:31 | |
I don't know what to say. | 0:27:37 | 0:27:39 | |
That's all right. Nor do I. | 0:27:39 | 0:27:41 | |
Hey! What's happened to his hair? | 0:27:42 | 0:27:44 | |
Hey! | 0:27:48 | 0:27:49 | |
There is one thing I've been meaning to tell you. | 0:27:49 | 0:27:51 | |
You know the car alarms you hear when it's stopped raining? | 0:27:51 | 0:27:53 | |
They're not car alarms, turns out they're... | 0:27:53 | 0:27:56 | |
-BOTH: ..amazing frogs. -I know. -Course you do. | 0:27:56 | 0:27:59 | |
-Thank you. -You're very welcome. | 0:28:01 | 0:28:03 | |
Why aren't we married any more? | 0:28:12 | 0:28:14 | |
I-I still don't really know what happened. | 0:28:15 | 0:28:17 | |
I got your message and listened to it over and over. | 0:28:17 | 0:28:19 | |
The thing is, it doesn't really tell me anything. | 0:28:19 | 0:28:22 | |
Except, of course, that you didn't love me any more, which is... | 0:28:22 | 0:28:24 | |
-HE LAUGHS NERVOUSLY -..fair enough. It's just... | 0:28:24 | 0:28:27 | |
-Did I do something wrong? -No. | 0:28:29 | 0:28:31 | |
Right. Good. | 0:28:33 | 0:28:35 | |
I just got a bit lost, Humph. | 0:28:35 | 0:28:38 | |
Like I didn't know who I was any more. | 0:28:38 | 0:28:41 | |
Like I was drowning in this never-ending whirlpool | 0:28:41 | 0:28:43 | |
of niceness and understanding and routine. | 0:28:43 | 0:28:47 | |
Days and conversations just merging into one another | 0:28:47 | 0:28:50 | |
until I couldn't tell them apart any more. | 0:28:50 | 0:28:53 | |
Everything was just a blob. Just a soggy, fat, huge, predictable blob. | 0:28:53 | 0:28:58 | |
-I'm sorry. -You don't need to apologise. | 0:28:58 | 0:29:01 | |
This wasn't about you, Humph, this was me. It was all me. | 0:29:01 | 0:29:04 | |
I thought I wanted something different. | 0:29:06 | 0:29:08 | |
Something...new and exciting. | 0:29:08 | 0:29:11 | |
SHE LAUGHS | 0:29:11 | 0:29:13 | |
You think I'd get it, wouldn't you? Being a botanist, I mean? | 0:29:13 | 0:29:17 | |
Well, the grass isn't always greener. | 0:29:17 | 0:29:19 | |
HE LAUGHS | 0:29:19 | 0:29:21 | |
I miss how smart you are. | 0:29:23 | 0:29:24 | |
I'm starting to realise that letting you go... | 0:29:33 | 0:29:35 | |
..may well qualify as the biggest mistake I've ever made. | 0:29:37 | 0:29:40 | |
Humph, I just need... | 0:29:43 | 0:29:45 | |
Humph... | 0:29:49 | 0:29:51 | |
Uh-oh. | 0:29:56 | 0:29:58 | |
Sir? | 0:30:16 | 0:30:19 | |
Ah! Just gathering my thoughts for the day ahead. | 0:30:19 | 0:30:22 | |
Mmm. | 0:30:22 | 0:30:23 | |
I'm sorry, Camille, if I've been a little bit, er... | 0:30:28 | 0:30:31 | |
preoccupied since Sally arrived. It's very unprofessional of me. | 0:30:31 | 0:30:35 | |
-No, it isn't. -No, no, it is. A lady lost her life. | 0:30:35 | 0:30:37 | |
We're duty-bound to put everything else aside | 0:30:37 | 0:30:41 | |
-until we find the person responsible. -Mm-hm. | 0:30:41 | 0:30:43 | |
So how was it? Last night? HE LAUGHS | 0:30:46 | 0:30:48 | |
Yes, well, we went to your mother's bar. | 0:30:48 | 0:30:50 | |
-I thought we would see you. -Oh, no, I was, erm... | 0:30:50 | 0:30:53 | |
I was busy. So? | 0:30:53 | 0:30:55 | |
Camille, would you mind very much if I didn't talk about it? | 0:30:57 | 0:31:00 | |
-Not just yet. -Oh... | 0:31:00 | 0:31:02 | |
-Of course. -Thank you. | 0:31:02 | 0:31:04 | |
-So, we had the toxicology report back first thing. -Mm-hm? | 0:31:11 | 0:31:16 | |
The lab tested the curry from Emma's room | 0:31:16 | 0:31:19 | |
and they found no trace of Propenten in it. | 0:31:19 | 0:31:22 | |
-But all she ate that night was that curry. -Mm-hm. | 0:31:23 | 0:31:26 | |
She overdosed on Propenten. It had to be in the curry! | 0:31:26 | 0:31:28 | |
The lab says not. It really was just a plate of curry. | 0:31:28 | 0:31:31 | |
Then how did the killer get her to overdose? How was she killed? | 0:31:31 | 0:31:34 | |
Why does nothing about this case make any sense? | 0:31:35 | 0:31:38 | |
Now, a woman makes sure her will is in order. | 0:31:38 | 0:31:40 | |
We then later find her alone, dead from a sleeping pill overdose, | 0:31:40 | 0:31:43 | |
the empty packet of pills beside her, | 0:31:43 | 0:31:45 | |
no traces of drugs found in the food she ate before she died, | 0:31:45 | 0:31:48 | |
and the door is locked and bolted from the inside. | 0:31:48 | 0:31:50 | |
What if it's suicide after all? | 0:31:50 | 0:31:52 | |
I don't believe it. | 0:31:52 | 0:31:54 | |
Neither do I. | 0:31:54 | 0:31:55 | |
-Sally wants to give it another go. -Oh. | 0:31:59 | 0:32:03 | |
Said she'd made a terrible mistake. | 0:32:03 | 0:32:06 | |
OK. | 0:32:06 | 0:32:08 | |
-And...is that what you want? -I don't know. | 0:32:08 | 0:32:11 | |
Yeah. Of course. | 0:32:11 | 0:32:13 | |
She called me this morning and asked me to meet her for dinner tonight. | 0:32:15 | 0:32:18 | |
That's good. Isn't it? | 0:32:18 | 0:32:21 | |
-I think she'll want an answer. -I'm sure she will. | 0:32:21 | 0:32:23 | |
-So what do I say? -Depends on how you feel. | 0:32:23 | 0:32:25 | |
-Maybe I should just concentrate on the job in hand. -Good idea. -Right! | 0:32:29 | 0:32:33 | |
Put everything else out of my mind | 0:32:33 | 0:32:35 | |
and concentrate on who killed Sally Redding. | 0:32:35 | 0:32:38 | |
Emma! Emma Redding! | 0:32:38 | 0:32:40 | |
Hey! | 0:32:47 | 0:32:48 | |
-Ah, chief! -Yes? -I went to that restaurant last night. | 0:32:48 | 0:32:51 | |
You know, the one where Emma had been using her credit card? | 0:32:51 | 0:32:54 | |
I got them to match their CCTV with the dates and times | 0:32:54 | 0:32:57 | |
-of the transactions. -Yes, and what did you find? | 0:32:57 | 0:32:59 | |
She was there with the same person every time. | 0:32:59 | 0:33:02 | |
Right, well, Colin Campbell, I presume, | 0:33:02 | 0:33:04 | |
seeing as he's her boyfriend. | 0:33:04 | 0:33:05 | |
It wasn't Colin. | 0:33:05 | 0:33:07 | |
Turns out her dining companion was... | 0:33:08 | 0:33:11 | |
Jim Chandler. | 0:33:11 | 0:33:12 | |
Hmm, I wonder if Mrs Chandler knew about this. | 0:33:15 | 0:33:17 | |
You've gotta come out here. You'd love it! | 0:33:32 | 0:33:35 | |
Seriously! WOMAN LAUGHS | 0:33:35 | 0:33:37 | |
-Bye! WOMAN VIA COMPUTER: -'Aw, bye, Pam!' | 0:33:37 | 0:33:39 | |
Aw! | 0:33:39 | 0:33:40 | |
-Good afternoon. -Oh! | 0:33:40 | 0:33:42 | |
It's a friend of mine, stuck in south east London. | 0:33:42 | 0:33:45 | |
Can you imagine? When she could be out here! | 0:33:45 | 0:33:48 | |
-Is your husband here? -Can I help you? | 0:33:48 | 0:33:50 | |
Yes, er, we'd just like a quick word. | 0:33:50 | 0:33:53 | |
Yeah, OK, erm, maybe we'd be best | 0:33:55 | 0:33:57 | |
down at the dining area. It's quieter there. | 0:33:57 | 0:34:00 | |
-Yes, of course. -Nonsense! | 0:34:00 | 0:34:02 | |
Anything you have to say, you can say in front of me. | 0:34:02 | 0:34:06 | |
Can't you? | 0:34:06 | 0:34:07 | |
-Yes, course. -Well, then... | 0:34:09 | 0:34:10 | |
How can I help? | 0:34:12 | 0:34:14 | |
Well, we're, er, trying to establish | 0:34:14 | 0:34:16 | |
the exact nature of your relationship with Emma Redding. | 0:34:16 | 0:34:18 | |
We know you've been having private meals with her in town | 0:34:18 | 0:34:22 | |
on at least six different occasions. | 0:34:22 | 0:34:24 | |
Yes, you've known each other for years. | 0:34:24 | 0:34:26 | |
Indeed, it was you who suggested she come out to the island, | 0:34:26 | 0:34:29 | |
so I must ask again - | 0:34:29 | 0:34:30 | |
what was the nature of your relationship with Emma? | 0:34:30 | 0:34:32 | |
Jim? | 0:34:34 | 0:34:36 | |
You think we were having an affair? | 0:34:36 | 0:34:38 | |
Well, were you? | 0:34:39 | 0:34:41 | |
Eight years ago, I had cancer, of the colon. | 0:34:47 | 0:34:50 | |
We spotted it early, had a bit of surgery and we cut the tumour out. | 0:34:52 | 0:34:56 | |
That's why Pam and I came out here. | 0:34:58 | 0:35:00 | |
We decided... life was for the living. | 0:35:00 | 0:35:03 | |
I still go for regular checkups, of course I do, and...the last one... | 0:35:05 | 0:35:09 | |
..my blood count was high. | 0:35:11 | 0:35:13 | |
What? | 0:35:15 | 0:35:16 | |
They wanted me to go in for more tests... | 0:35:18 | 0:35:21 | |
and I found myself asking Emma's advice, | 0:35:21 | 0:35:23 | |
just as an old friend and a doctor. | 0:35:23 | 0:35:26 | |
And she said she'd go with me. | 0:35:26 | 0:35:28 | |
The bastard's back. | 0:35:33 | 0:35:34 | |
-VOICE CRACKS: Why didn't you tell me? -I didn't want to burden you. | 0:35:39 | 0:35:43 | |
Not again. | 0:35:43 | 0:35:44 | |
That's why I told Emma it had to be a secret. | 0:35:44 | 0:35:47 | |
-But I, I, I thought... -I know. | 0:35:49 | 0:35:52 | |
I'm sorry. | 0:35:52 | 0:35:53 | |
The restaurant we went to was right next to the hospital. | 0:35:56 | 0:35:59 | |
Most of the time, I was begging Emma to look after my Pammy for me. | 0:35:59 | 0:36:03 | |
PAM SOBS | 0:36:07 | 0:36:08 | |
It's all right. It's all right. | 0:36:11 | 0:36:13 | |
Camille, get in touch with Jim Chandler's doctor, | 0:36:18 | 0:36:20 | |
-confirm his story, would you? -Yes. | 0:36:20 | 0:36:22 | |
-Chief? -Mmm? | 0:36:22 | 0:36:24 | |
I've just spoken to a friend of mine at the Planning Department, and it | 0:36:24 | 0:36:27 | |
turns out that the beach where Colin bought his bar was only ever | 0:36:27 | 0:36:29 | |
SUSPECTED of being a turtle nesting site. | 0:36:29 | 0:36:31 | |
If he challenged the preservation order, | 0:36:31 | 0:36:33 | |
there's every chance he'd get it overturned. | 0:36:33 | 0:36:35 | |
And worse than that, if he's a con man, he's a very bad one. | 0:36:35 | 0:36:39 | |
I spoke to his bank. | 0:36:39 | 0:36:41 | |
He opened a joint account with Judith Musgrove. | 0:36:41 | 0:36:44 | |
There's 40,000 in it. | 0:36:44 | 0:36:46 | |
But no-one's ever touched a cent. | 0:36:46 | 0:36:48 | |
So. | 0:36:51 | 0:36:53 | |
Colin's not a con man, and Jim wasn't having an affair. | 0:36:53 | 0:36:56 | |
Who killed Dr Emma Redding? Why? | 0:36:56 | 0:37:00 | |
-And how? -Thank you very much. | 0:37:00 | 0:37:02 | |
-Sir, I might have found another suspect. -Who? | 0:37:02 | 0:37:05 | |
OK, so I've been looking into David Witton, and here's the thing. | 0:37:05 | 0:37:09 | |
-He had a daughter. -Had? | 0:37:09 | 0:37:10 | |
That's right. Because she went into hospital ten years ago. | 0:37:10 | 0:37:13 | |
It was routine surgery to have gallstones removed, | 0:37:13 | 0:37:15 | |
but the operation went wrong. She died in the operating theatre. | 0:37:15 | 0:37:18 | |
And guess who the surgeon was who operated on her? | 0:37:18 | 0:37:20 | |
Emma Redding. | 0:37:20 | 0:37:21 | |
You know, don't you? | 0:37:32 | 0:37:34 | |
What are you doing here, Mr Witton? | 0:37:34 | 0:37:37 | |
Either of you got any kids? | 0:37:37 | 0:37:39 | |
No. | 0:37:39 | 0:37:40 | |
Your life changes when you become a parent. | 0:37:40 | 0:37:43 | |
It's like...there was a before, but now you know - your child's | 0:37:43 | 0:37:48 | |
the reason you're alive, why you're on the planet. | 0:37:48 | 0:37:51 | |
Dr Emma Redding was your daughter's surgeon. | 0:37:51 | 0:37:53 | |
Joanna. Her name was Joanna. | 0:37:53 | 0:37:55 | |
Her mother and me, our marriage didn't survive. How could it? | 0:37:56 | 0:38:00 | |
I convinced myself that I had to find out who had done this, | 0:38:01 | 0:38:05 | |
the surgeon who killed Joanna. | 0:38:05 | 0:38:08 | |
So you came to Saint Marie? | 0:38:08 | 0:38:09 | |
You make it sound so simple. | 0:38:11 | 0:38:13 | |
When I knew she was out here... | 0:38:14 | 0:38:17 | |
I only ever wanted to see her, to talk to her, | 0:38:17 | 0:38:19 | |
find out what kind of person she was. | 0:38:19 | 0:38:22 | |
See if she was haunted by the girl who died on her operating table. | 0:38:22 | 0:38:27 | |
But when it came down to it... | 0:38:28 | 0:38:31 | |
I didn't even have the courage to tell her who I was. | 0:38:31 | 0:38:34 | |
You know, I didn't know true loneliness | 0:38:39 | 0:38:42 | |
until I came to a retirement home. | 0:38:42 | 0:38:44 | |
I mean, look at them. | 0:38:45 | 0:38:47 | |
Everyone's got someone. | 0:38:52 | 0:38:54 | |
You probably think I killed her, don't you? | 0:38:59 | 0:39:02 | |
Did you? | 0:39:02 | 0:39:03 | |
There were times when I could've done. Maybe even would have done. | 0:39:03 | 0:39:07 | |
But no. | 0:39:08 | 0:39:10 | |
I didn't. | 0:39:10 | 0:39:11 | |
You were right, Fidel, David Witton only came here | 0:39:25 | 0:39:28 | |
because of Emma Redding. | 0:39:28 | 0:39:29 | |
Oh, so what do you think? Is he our prime suspect? | 0:39:29 | 0:39:32 | |
Well, he's certainly got a motive. | 0:39:32 | 0:39:33 | |
What's the problem? | 0:39:33 | 0:39:35 | |
I don't know, he seemed genuine. I don't think he's our killer. | 0:39:35 | 0:39:38 | |
Yeah, well, this case is weird anyway. | 0:39:38 | 0:39:40 | |
If the killer can get out through a locked and bolted door, | 0:39:40 | 0:39:43 | |
there's no point in catching them. How we going to keep them locked up? | 0:39:43 | 0:39:46 | |
-You know something, he's got a point. -Yes! | 0:39:46 | 0:39:49 | |
Well, I'll see you both in the morning. | 0:39:49 | 0:39:51 | |
-Have a good night, Camille. -Where's the Chief? | 0:39:51 | 0:39:54 | |
-Ah! He has a date. -What?! | 0:39:54 | 0:39:57 | |
Yeah. | 0:39:57 | 0:39:59 | |
-You're kidding me! -Mmm-mm. | 0:39:59 | 0:40:01 | |
-Eh... -Who with? | 0:40:01 | 0:40:03 | |
WAVES CRASH ON SHORE | 0:40:08 | 0:40:09 | |
-Hi! -Hi. | 0:40:13 | 0:40:15 | |
-Am I late? -No. | 0:40:15 | 0:40:17 | |
-I brought you one of these. -What is it? | 0:40:17 | 0:40:19 | |
Try it, you'll love it. | 0:40:19 | 0:40:20 | |
It's like the whole of the Caribbean but in a glass. | 0:40:20 | 0:40:23 | |
Oh! | 0:40:26 | 0:40:27 | |
It's a bit strong. | 0:40:27 | 0:40:29 | |
Well, it's basically neat rum. That's why it's so Caribbean. | 0:40:29 | 0:40:32 | |
Yeah. Give me a gin and slim any time! | 0:40:32 | 0:40:35 | |
HE LAUGHS ANXIOUSLY | 0:40:35 | 0:40:36 | |
-Good day? -Not really. -Oh? | 0:40:37 | 0:40:41 | |
No, I've got this case that's driving me a bit mad. | 0:40:41 | 0:40:43 | |
-You see, there's this woman... -Excuse me? | 0:40:43 | 0:40:45 | |
Could I possibly swap this for a gin and slimline tonic? | 0:40:45 | 0:40:49 | |
-Of course. -Thank you. | 0:40:49 | 0:40:51 | |
Have you thought about what I said? | 0:40:53 | 0:40:55 | |
I've thought of little else. | 0:40:55 | 0:40:57 | |
Well? | 0:40:57 | 0:40:58 | |
-Well... -Chief! | 0:40:58 | 0:40:59 | |
Ah! Dwayne, Fidel. Hello. | 0:41:00 | 0:41:04 | |
Er... Sally, this is Dwayne, Fidel - we work together. | 0:41:04 | 0:41:07 | |
-Very nice to meet you. -You too. | 0:41:07 | 0:41:09 | |
-Mrs Goodman, welcome to Saint Marie. -Thank you. | 0:41:09 | 0:41:11 | |
-Well, we'll leave you two alone, shall we? Fidel! -Sir. | 0:41:11 | 0:41:14 | |
-Bye. -Bye. -Bye. | 0:41:14 | 0:41:17 | |
-Oh, they seem nice. -Yes, they are. | 0:41:18 | 0:41:21 | |
-(What are you doing?) -Having a beer. | 0:41:21 | 0:41:24 | |
No, no, no, no. You promised me you wouldn't come in here! | 0:41:24 | 0:41:26 | |
-HE promised. -I -didn't commit. | 0:41:26 | 0:41:28 | |
He made me. | 0:41:28 | 0:41:29 | |
You see, this is exactly why I didn't want to tell you. | 0:41:29 | 0:41:32 | |
-For you. -...and fell out the window. | 0:41:33 | 0:41:35 | |
SHE LAUGHS | 0:41:35 | 0:41:36 | |
I have missed you. | 0:41:40 | 0:41:42 | |
Yeah, see, this is the bit where you say you've missed me too, and then... | 0:41:44 | 0:41:48 | |
Course I miss you. | 0:41:48 | 0:41:49 | |
So? | 0:41:51 | 0:41:53 | |
Something you said yesterday. | 0:41:54 | 0:41:56 | |
I wrote it down. Sorry, er... | 0:41:57 | 0:42:00 | |
I thought it was important to remember the words you said. | 0:42:00 | 0:42:04 | |
You said you were drowning in a never-ending | 0:42:08 | 0:42:12 | |
whirlpool of niceness, understanding and routine. | 0:42:12 | 0:42:16 | |
God, that's sounds awful. | 0:42:16 | 0:42:18 | |
Everything was a soggy, fat, huge, predictable blob. | 0:42:18 | 0:42:24 | |
-Humph, look... -Just let me finish. | 0:42:24 | 0:42:27 | |
OK? | 0:42:27 | 0:42:28 | |
See, you're right. | 0:42:29 | 0:42:31 | |
Sorry, you WERE right, I mean. | 0:42:31 | 0:42:33 | |
To feel that way. | 0:42:33 | 0:42:34 | |
It's exactly how it was. | 0:42:36 | 0:42:37 | |
For me too. | 0:42:37 | 0:42:39 | |
What? | 0:42:40 | 0:42:42 | |
I thought if we could get away, start anew, find something | 0:42:42 | 0:42:46 | |
different together, find something exciting... | 0:42:46 | 0:42:50 | |
..get out of our soggy blob, we could be like we used to be. | 0:42:51 | 0:42:55 | |
That's what I wanted too. | 0:42:55 | 0:42:57 | |
Only you didn't, did you, Sal? | 0:42:57 | 0:42:59 | |
You didn't come with me. | 0:43:02 | 0:43:04 | |
I was here... | 0:43:04 | 0:43:06 | |
..waiting for our fresh start, and you left me | 0:43:06 | 0:43:09 | |
a message on an answer-phone. | 0:43:09 | 0:43:12 | |
I was trying to save us, and you were trying to save yourself. | 0:43:12 | 0:43:16 | |
So... | 0:43:25 | 0:43:27 | |
I found different... | 0:43:29 | 0:43:31 | |
..and I found new, and I found exciting... | 0:43:33 | 0:43:36 | |
..and I did all that without you. | 0:43:37 | 0:43:39 | |
-I'm someone else now, Sal. -Don't be ridiculous. | 0:43:40 | 0:43:44 | |
It's true, Sally. I'm rum punch and you're still gin and slim. | 0:43:44 | 0:43:48 | |
God... | 0:43:49 | 0:43:50 | |
You're dumping me? | 0:43:52 | 0:43:53 | |
Sorry, Sal, it's not what I wanted. | 0:43:53 | 0:43:57 | |
It's just what happened. | 0:43:57 | 0:43:58 | |
What you made happen. | 0:44:00 | 0:44:01 | |
-One of us should go over there, no? -Not me, sir! | 0:44:11 | 0:44:14 | |
I'll go. | 0:44:16 | 0:44:17 | |
The first time, you walked out - and now her? | 0:44:26 | 0:44:29 | |
You weren't here the first time. | 0:44:29 | 0:44:31 | |
I was hiding. | 0:44:31 | 0:44:33 | |
Oh. | 0:44:33 | 0:44:35 | |
So, can I ask what happened? | 0:44:40 | 0:44:43 | |
It's finished. | 0:44:43 | 0:44:45 | |
I thought she said she'd made a mistake. | 0:44:45 | 0:44:47 | |
Yes, she did. She was wrong. | 0:44:47 | 0:44:49 | |
-I'm sorry. -Don't be. | 0:44:51 | 0:44:53 | |
Is there anything I can do? | 0:44:55 | 0:44:57 | |
Yes, yes, there is, actually. | 0:44:57 | 0:44:58 | |
OK. | 0:44:58 | 0:45:00 | |
What any self-respecting colleague would do in the circumstances. | 0:45:00 | 0:45:03 | |
Get me extremely drunk and then pour me into a cab. | 0:45:04 | 0:45:07 | |
It's a deal. Maman! Two rum punches, please. | 0:45:07 | 0:45:11 | |
Oh, wow. And keep them coming! | 0:45:13 | 0:45:16 | |
OK! | 0:45:16 | 0:45:17 | |
SHE SIGHS | 0:45:38 | 0:45:40 | |
-Morning! -Morning, sir! -Chief. -Ah, Camille! -Mmm.... | 0:45:42 | 0:45:45 | |
Everything all right? | 0:45:45 | 0:45:46 | |
I'm not sure how I got into the cab last night, assume it was you, | 0:45:46 | 0:45:51 | |
-so thank you. -Why aren't you hurting? | 0:45:51 | 0:45:53 | |
Bacon, egg, sausage, baked beans, two slices of fried bread. | 0:45:53 | 0:45:56 | |
You should try it. Right. | 0:45:56 | 0:45:57 | |
-I've been thinking, the crow and the pitcher. -What? | 0:45:57 | 0:46:00 | |
You know, the old fable. | 0:46:00 | 0:46:01 | |
A crow finds a pitcher of water one day and wants a drink, | 0:46:01 | 0:46:04 | |
but the thing is, the neck of the jug is too long for him | 0:46:04 | 0:46:07 | |
to reach down to the water. | 0:46:07 | 0:46:09 | |
So he tries and he tries and he tries | 0:46:09 | 0:46:11 | |
until he realises he needs a new approach. | 0:46:11 | 0:46:13 | |
Rather than trying to reach down, he gets pebbles and drops them | 0:46:13 | 0:46:16 | |
in to the pitcher and brings the water up to him. | 0:46:16 | 0:46:19 | |
I'm not with you, sir, sorry. | 0:46:21 | 0:46:22 | |
A fresh approach. | 0:46:22 | 0:46:24 | |
Your point being? | 0:46:24 | 0:46:25 | |
We've spent our whole time trying to reach down to the water, | 0:46:25 | 0:46:28 | |
so why not make the water reach up to us? | 0:46:28 | 0:46:31 | |
One minute. | 0:46:36 | 0:46:37 | |
HE WHISTLES MOCKING "CUCKOO" SOUND | 0:46:38 | 0:46:40 | |
SHE GROANS | 0:46:40 | 0:46:41 | |
HUMPHREY GRUNTS | 0:46:41 | 0:46:43 | |
CAMILLE GASPS | 0:46:43 | 0:46:44 | |
Let me open the door for you! | 0:46:44 | 0:46:46 | |
Step away from the door! | 0:46:46 | 0:46:47 | |
Oof! Ugh! | 0:46:50 | 0:46:52 | |
HUMPHREY GROANS | 0:46:52 | 0:46:53 | |
Are you OK, sir? | 0:46:56 | 0:46:57 | |
So, two men break down a door - that requires a lot of force. | 0:46:59 | 0:47:03 | |
I don't understand. | 0:47:03 | 0:47:04 | |
Don't worry, Camille, neither do I, but we've hit a brick wall | 0:47:04 | 0:47:08 | |
and I'm trying to come at it from a different angle. | 0:47:08 | 0:47:10 | |
Boy, it's lucky the door was only bolted, chief, | 0:47:10 | 0:47:12 | |
and not locked as well, or I reckon it would | 0:47:12 | 0:47:14 | |
-definitely have felt like a brick wall. -No. | 0:47:14 | 0:47:18 | |
-Wait! Maybe you're right! -About what? | 0:47:18 | 0:47:21 | |
But what does that mean? | 0:47:21 | 0:47:22 | |
If the door was bolted first... Yes, of course! But the curry... | 0:47:22 | 0:47:26 | |
How can you kill someone by putting sleeping pills in a curry | 0:47:26 | 0:47:28 | |
without putting sleeping pills in the curry? | 0:47:28 | 0:47:30 | |
ALL: You can't. | 0:47:30 | 0:47:31 | |
How can you take any trace of the pills out of the curry after it's been eaten? | 0:47:31 | 0:47:35 | |
ALL: You can't do that either. | 0:47:35 | 0:47:36 | |
Yet if the only explanation is that someone did, | 0:47:36 | 0:47:38 | |
-then that's what must have happened. -He must be still drunk. | 0:47:38 | 0:47:41 | |
I heard that, Dwayne. Unless it's different. | 0:47:41 | 0:47:43 | |
What if the door isn't the door, | 0:47:43 | 0:47:44 | |
or at least not the door that we thought it was? | 0:47:44 | 0:47:47 | |
What if the curry wasn't the curry? | 0:47:47 | 0:47:49 | |
CAMILLE: 'Sylvaine doesn't think anyone could have tampered with her food whilst she was delivering it.' | 0:48:02 | 0:48:07 | |
SHE LAUGHS | 0:48:07 | 0:48:08 | |
Gordon Bennett! | 0:48:09 | 0:48:11 | |
Who? | 0:48:11 | 0:48:12 | |
That's why it didn't make sense! | 0:48:12 | 0:48:14 | |
You know who the killer is? | 0:48:14 | 0:48:16 | |
And how they got out of the locked room? | 0:48:16 | 0:48:18 | |
You know what? I think I do. | 0:48:18 | 0:48:20 | |
I just need to make a phone call first. | 0:48:20 | 0:48:22 | |
Good afternoon. | 0:48:48 | 0:48:51 | |
As each one of you has at one time or another fallen under | 0:48:51 | 0:48:54 | |
the spotlight of our suspicion, | 0:48:54 | 0:48:57 | |
I felt that you were all owed an explanation. | 0:48:57 | 0:49:00 | |
WOMAN GASPS | 0:49:00 | 0:49:01 | |
Sorry! Something wrong with that step. | 0:49:03 | 0:49:05 | |
I felt you were all owed an explanation of how | 0:49:06 | 0:49:10 | |
Emma Redding was killed. | 0:49:10 | 0:49:11 | |
So she was killed? | 0:49:11 | 0:49:14 | |
Yes, she was. And what's more, her killer is in this room. | 0:49:14 | 0:49:18 | |
Why you looking at me? | 0:49:27 | 0:49:28 | |
Because Emma Redding was killed by the curry you took to her room. | 0:49:28 | 0:49:31 | |
I didn't do anything! | 0:49:31 | 0:49:33 | |
Don't worry, I know you didn't kill anyone. | 0:49:33 | 0:49:37 | |
Because after you put the tray down | 0:49:37 | 0:49:39 | |
was when the real killer entered the room. | 0:49:39 | 0:49:41 | |
And that was you... | 0:49:43 | 0:49:44 | |
Me? No! | 0:49:45 | 0:49:47 | |
..wasn't it... | 0:49:48 | 0:49:49 | |
..Judith? | 0:49:53 | 0:49:54 | |
What are you talking about?! | 0:49:54 | 0:49:57 | |
But tell me, when did you get hold of Emma's sleeping pills? | 0:49:57 | 0:50:02 | |
It wouldn't have been hard. Not for a, er... For a good friend. | 0:50:02 | 0:50:05 | |
But as for the trick of how you got into and out of a locked room, | 0:50:08 | 0:50:11 | |
that was harder to work out. | 0:50:11 | 0:50:12 | |
But then I realised, that's why Emma looked at her will | 0:50:12 | 0:50:16 | |
that afternoon. It was at your suggestion. | 0:50:16 | 0:50:19 | |
And it was very clever. | 0:50:19 | 0:50:21 | |
Because not only did it allow you to tell us | 0:50:21 | 0:50:23 | |
that Emma was not her usual, upbeat self... | 0:50:23 | 0:50:26 | |
Thought she was pre-occupied. Worried, even. | 0:50:26 | 0:50:29 | |
Then suggested she was maybe getting her affairs in order... | 0:50:29 | 0:50:32 | |
It also gave you access to Emma's room, | 0:50:32 | 0:50:34 | |
where, of course, she kept a chalet key. | 0:50:34 | 0:50:36 | |
And when you had that, you were ready to commit murder, weren't you? | 0:50:46 | 0:50:51 | |
You ordered chicken curry that night, | 0:50:51 | 0:50:53 | |
which you then poisoned with sleeping pills. | 0:50:53 | 0:50:55 | |
You then went to Emma's room and pretended there'd been a mix up. | 0:50:59 | 0:51:02 | |
You'd ordered fish, the other curry that night, | 0:51:02 | 0:51:05 | |
but you'd got her chicken. | 0:51:05 | 0:51:06 | |
Which was the one risk you took. | 0:51:06 | 0:51:09 | |
Because there was a witness to the switchover, wasn't there? | 0:51:09 | 0:51:12 | |
Even though that witness was thousands of miles away at the time. | 0:51:12 | 0:51:15 | |
Emma was on a video call to her son when you went into the room. | 0:51:15 | 0:51:19 | |
In fact, you were relying on that fact - she was distracted. | 0:51:19 | 0:51:21 | |
You just had to hope that we wouldn't ask him | 0:51:21 | 0:51:24 | |
if anyone else came into the room. | 0:51:24 | 0:51:26 | |
And why would we? Her death was so obviously a suicide. | 0:51:26 | 0:51:28 | |
We rang Emma's son. | 0:51:28 | 0:51:30 | |
He heard you come in whilst he was still talking to Emma. | 0:51:30 | 0:51:33 | |
I think they've got our dinners mixed up. | 0:51:33 | 0:51:36 | |
I've got your chicken curry and you'll have my fish. | 0:51:36 | 0:51:39 | |
Thanks, Judith. | 0:51:39 | 0:51:40 | |
So, love... | 0:51:44 | 0:51:45 | |
Once Emma had finished speaking to her son, she ate her dinner. | 0:51:45 | 0:51:49 | |
And, as we'd already suspected, the flavours of the curry hid | 0:51:51 | 0:51:54 | |
the taste of the overdose that was about to kill her. | 0:51:54 | 0:51:57 | |
By the time she realised what was happening, it was just too late. | 0:51:57 | 0:52:00 | |
DR REDDING GROANS | 0:52:00 | 0:52:01 | |
At which point, it was now time to make it look like a suicide. | 0:52:07 | 0:52:11 | |
Mmm. First, you needed some leftovers that had no trace | 0:52:11 | 0:52:13 | |
of sleeping pills in. That was easy. You already had Emma's curry. | 0:52:13 | 0:52:17 | |
And you already had her key, so you could let yourself in. | 0:52:17 | 0:52:20 | |
You then made sure you left Emma's empty packet of sleeping | 0:52:27 | 0:52:31 | |
pills at her side, and a glass of water. | 0:52:31 | 0:52:35 | |
It was then the work of a moment to replace the incriminating | 0:52:35 | 0:52:37 | |
curry with the plate you brought. | 0:52:37 | 0:52:39 | |
And now the scene was set for the final part of the illusion. | 0:52:39 | 0:52:43 | |
You were going to get out of a locked room. | 0:52:43 | 0:52:46 | |
All it took was a little re-enactment to realise | 0:52:46 | 0:52:49 | |
how you did it. | 0:52:49 | 0:52:50 | |
See, first you opened the latch lock, | 0:52:50 | 0:52:53 | |
but made sure the steel bolt was closed. | 0:52:53 | 0:52:56 | |
The door frame was old. It wouldn't have been too hard to break | 0:52:56 | 0:52:58 | |
the bolt, not for someone who was already prepared to commit murder. | 0:52:58 | 0:53:02 | |
But then, having smashed only one of the locks, you left, | 0:53:04 | 0:53:07 | |
using the other lock to secure the door. | 0:53:07 | 0:53:11 | |
You then placed the plate of poisoned curry on a tray | 0:53:11 | 0:53:14 | |
outside your own room, knowing that Sylvaine would carry it away later. | 0:53:14 | 0:53:18 | |
An almost perfect murder. | 0:53:19 | 0:53:22 | |
Because when the door was finally smashed in, | 0:53:22 | 0:53:25 | |
you knew that we'd find the remnants of two bust locks | 0:53:25 | 0:53:27 | |
and presume that they were both broken at the same time. | 0:53:27 | 0:53:30 | |
The suicide wasn't a suicide, | 0:53:34 | 0:53:36 | |
The curry wasn't THE curry, and the locked | 0:53:36 | 0:53:39 | |
and bolted door wasn't locked and bolted, it was just locked. | 0:53:39 | 0:53:42 | |
You know, I should've realised when David here said that he didn't know | 0:53:45 | 0:53:50 | |
true loneliness until he came here. | 0:53:50 | 0:53:53 | |
Because he's right. Everyone here has someone else. | 0:53:55 | 0:53:58 | |
And you had Colin, didn't you? | 0:53:59 | 0:54:02 | |
Always doing the crossword together. Always there for one another. | 0:54:02 | 0:54:05 | |
In fact, you waited on him hand and foot - | 0:54:05 | 0:54:07 | |
like an old married couple, if you didn't know any better. | 0:54:07 | 0:54:09 | |
You even put 40,000 of your own money into Colin's bar, | 0:54:09 | 0:54:13 | |
never even checking for a moment whether it was a non-starter or not. | 0:54:13 | 0:54:16 | |
Proving love really is blind. | 0:54:16 | 0:54:18 | |
It must have been wonderful to finally find a companion... | 0:54:18 | 0:54:22 | |
and then Emma came along. | 0:54:22 | 0:54:24 | |
-COLIN: -'The reason that I was so worried that Emma hadn't shown up | 0:54:24 | 0:54:27 | |
'for the dance that night was that I was going to ask her to marry me. | 0:54:27 | 0:54:31 | |
'I loved her.' | 0:54:31 | 0:54:33 | |
You wanted Colin for yourself. | 0:54:34 | 0:54:36 | |
And you were prepared to do anything possible to get him back. | 0:54:36 | 0:54:39 | |
You killed out of jealousy, pure and simple. | 0:54:41 | 0:54:44 | |
SHE SOBS | 0:54:51 | 0:54:53 | |
I'm so sorry! | 0:54:53 | 0:54:55 | |
SOBBING CONTINUES | 0:55:00 | 0:55:02 | |
Take her away. | 0:55:05 | 0:55:06 | |
-I hear congratulations are in order. -Thank you, sir. | 0:55:28 | 0:55:33 | |
But there was something else I wanted to say. | 0:55:33 | 0:55:38 | |
A little bird tells me that your wife was here. | 0:55:39 | 0:55:42 | |
-Yes, sir. -There was also talk of a reconciliation. | 0:55:44 | 0:55:49 | |
-Well, sir, erm... -I'd hate to lose you, Inspector. | 0:55:49 | 0:55:53 | |
And I'm sure your team feel the same. | 0:55:53 | 0:55:55 | |
Don't worry, sir. I'm not going anywhere. | 0:55:55 | 0:55:58 | |
Well, not for the foreseeable future, anyway. | 0:55:58 | 0:56:01 | |
Er, Sally and me, well, Sally and I... | 0:56:02 | 0:56:06 | |
it's not really worked out, sir. | 0:56:06 | 0:56:08 | |
Oh. I see. | 0:56:09 | 0:56:12 | |
Then I am sorry for you. | 0:56:12 | 0:56:15 | |
But I'm pleased for us. | 0:56:16 | 0:56:17 | |
Same here. | 0:56:20 | 0:56:22 | |
RAUCOUS LAUGHTER | 0:56:29 | 0:56:30 | |
SONG: "HOT, HOT, HOT" | 0:56:30 | 0:56:32 | |
Oh, hey! | 0:56:32 | 0:56:33 | |
Who's for a dance, then? | 0:56:34 | 0:56:36 | |
That would be me, Dwayne Myers. Come on! | 0:56:36 | 0:56:38 | |
-Me too! -Two for the price of one, eh? | 0:56:38 | 0:56:42 | |
DWAYNE LAUGHS | 0:56:42 | 0:56:43 | |
Yes, sir. | 0:56:43 | 0:56:45 | |
I'm sorry, sir, about you and Mrs Goodman. | 0:56:48 | 0:56:52 | |
Oh, don't be, Fidel. These things happen. | 0:56:52 | 0:56:56 | |
Hm. I must say I was surprised. | 0:56:56 | 0:56:58 | |
-Not half as much as I was. -Oh? | 0:56:58 | 0:57:01 | |
Can you keep a secret, Fidel? | 0:57:03 | 0:57:04 | |
Yes, sir, I can. | 0:57:04 | 0:57:06 | |
Well, the thing is, I was just about to change my mind | 0:57:06 | 0:57:09 | |
and tell Sally that we should try and make another go of it, | 0:57:09 | 0:57:11 | |
when I looked across the room and saw something. | 0:57:11 | 0:57:14 | |
-What? -Sergeant Camille Bordey. | 0:57:16 | 0:57:19 | |
So, erm... | 0:57:26 | 0:57:27 | |
-..you... -..love Camille? | 0:57:28 | 0:57:30 | |
Well, yes, I think I very probably do. | 0:57:32 | 0:57:35 | |
I don't know why it's taken me so long. | 0:57:37 | 0:57:39 | |
I mean, look at her. | 0:57:39 | 0:57:42 | |
She's wonderful. | 0:57:43 | 0:57:44 | |
You know what, sir? You should tell her. | 0:57:47 | 0:57:50 | |
Heavens, no. And risk spoiling all this? | 0:57:51 | 0:57:55 | |
No, things are best left as they are. | 0:57:55 | 0:57:59 | |
-DWAYNE: -Bye, bye, bye, bye, bye, bye, bye! | 0:58:02 | 0:58:05 | |
That was good, eh?! | 0:58:05 | 0:58:07 | |
LAUGHTER | 0:58:07 | 0:58:08 | |
-Everything OK? -Yes, everything is just as it should be. Cheers. | 0:58:08 | 0:58:12 | |
-Cheers! -Salut! | 0:58:12 | 0:58:14 | |
CHATTERING | 0:58:14 | 0:58:16 | |
-DWAYNE: -Beautiful! | 0:58:16 | 0:58:18 | |
GIGGLING | 0:58:18 | 0:58:20 | |
LAUGHTER | 0:58:20 | 0:58:21 |