Browse content similar to Episode 3. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
-SHUTTER CLICKS -Nice. Nice, Sadie. | 0:00:06 | 0:00:09 | |
Good. Good. Just under the beat. Lovely, darling. | 0:00:09 | 0:00:13 | |
Rosey, keep your head up. Look at Sadie. Take notes. | 0:00:13 | 0:00:17 | |
-I'm going to go backstage and get some shots, Nelson. -OK, Jay. | 0:00:17 | 0:00:21 | |
Good, Sadie! Zoe, try to look as if you want to be here, yes? | 0:00:21 | 0:00:26 | |
Well done. Better. Concentrate, no? | 0:00:28 | 0:00:33 | |
Perfect, Eloise. | 0:00:35 | 0:00:37 | |
Perfect. | 0:00:39 | 0:00:40 | |
Let's just delay accepting, the Rome job's still a possibility. | 0:00:40 | 0:00:45 | |
-Hey, has anyone seen my laptop? -It's where you last had it. | 0:00:45 | 0:00:48 | |
-Thanks, Jay. -So there's great new place opened up on the beach for after the show. | 0:00:48 | 0:00:53 | |
-Caribbean food, music. -Yeah, I'll be well up for that. Sadie? | 0:00:53 | 0:00:57 | |
I think I'm going to keep my head down. | 0:00:57 | 0:01:00 | |
Oh, come on, Sades. It's our last night on the island. | 0:01:00 | 0:01:03 | |
-It'll be fun. -Sure. Why not? | 0:01:03 | 0:01:07 | |
Right, right, right. | 0:01:07 | 0:01:09 | |
Can I have your attention for a couple of minutes, please, ladies? | 0:01:09 | 0:01:13 | |
Zoe, now! | 0:01:13 | 0:01:16 | |
Right, just a few notes before tonight's show. | 0:01:16 | 0:01:18 | |
Eloise, just keep on doing exactly what you are doing, it's fantastic. | 0:01:18 | 0:01:24 | |
Rosey, a little more confidence, darling. | 0:01:24 | 0:01:28 | |
-And, Sadie, can you soften your turns a little, yes? -KEYS TAP | 0:01:28 | 0:01:32 | |
Zoe, as always, you need to focus. | 0:01:32 | 0:01:36 | |
-Got it. -You might want to try slowing your walk a little, too. | 0:01:36 | 0:01:39 | |
-Let them enjoy you. -Yeah. Well, thanks, Eloise. | 0:01:39 | 0:01:43 | |
-Jay. -Yeah, just pretend I'm not there. | 0:01:43 | 0:01:46 | |
And that's it. One hour to showtime. | 0:01:46 | 0:01:49 | |
Get some rest, get focused, | 0:01:49 | 0:01:52 | |
and don't forget... | 0:01:52 | 0:01:55 | |
be fabulous! | 0:01:55 | 0:01:56 | |
Have a good time. Oh, I've forgotten my key. I'll catch up. | 0:02:04 | 0:02:09 | |
This may not be important to you, but it is everything to me. | 0:02:09 | 0:02:12 | |
I didn't want you here in the first place, | 0:02:12 | 0:02:15 | |
but now you are here, you'll do as I say, yes? | 0:02:15 | 0:02:17 | |
Step out of line again and... | 0:02:17 | 0:02:20 | |
that is it. | 0:02:20 | 0:02:21 | |
Good evening, ladies and gentlemen. | 0:02:27 | 0:02:30 | |
In aid of our local school, I present to you | 0:02:30 | 0:02:33 | |
the stunning new lines from Saint Marie's favourite designer... | 0:02:33 | 0:02:37 | |
-Nelson Benedict! -APPLAUSE | 0:02:37 | 0:02:41 | |
MUSIC: Stone Cold Sober by Paloma Faith | 0:02:41 | 0:02:43 | |
# I'll be the late-night lady you won't recognise | 0:02:43 | 0:02:47 | |
# I'm a chameleon I'm always in disguise. # | 0:02:47 | 0:02:52 | |
APPLAUSE | 0:02:52 | 0:02:53 | |
APPLAUSE | 0:03:07 | 0:03:09 | |
APPLAUSE | 0:03:19 | 0:03:21 | |
Quickly, Zoe! Quickly! | 0:03:26 | 0:03:28 | |
Ready. | 0:03:28 | 0:03:30 | |
All right, that's it. | 0:03:30 | 0:03:33 | |
Careful. | 0:03:33 | 0:03:35 | |
OK. Zoe, scarf! | 0:03:35 | 0:03:38 | |
-Come on, Nelson, you can do this. -CLOTH RIPS | 0:03:40 | 0:03:44 | |
-I don't believe it! -I'll sort it. -How? | 0:03:44 | 0:03:47 | |
Like this. | 0:03:48 | 0:03:50 | |
Nelson, please. | 0:03:50 | 0:03:52 | |
-Eloise, I need you here. -PHONE RINGS | 0:03:54 | 0:03:57 | |
Agent. I need to take this. You can manage. | 0:03:57 | 0:04:00 | |
Hi. | 0:04:01 | 0:04:03 | |
APPLAUSE | 0:04:03 | 0:04:05 | |
CHEERING | 0:04:05 | 0:04:06 | |
Almost. Just the shoes. | 0:04:12 | 0:04:15 | |
Oh, brilliant! | 0:04:15 | 0:04:17 | |
APPLAUSE | 0:04:17 | 0:04:19 | |
Come on. Let's go. | 0:04:24 | 0:04:26 | |
WOMAN SCREAMS | 0:04:26 | 0:04:29 | |
ALL GASP | 0:04:29 | 0:04:31 | |
OK, so we said we'd talk and try to identify areas | 0:05:06 | 0:05:09 | |
you think have room for improvement. | 0:05:09 | 0:05:11 | |
Yes, vis-a-vis meeting members of the opposite sex. | 0:05:11 | 0:05:14 | |
Well, actually meeting them would be an area we could improve upon. | 0:05:14 | 0:05:17 | |
-Easily remedied. -Talking? | 0:05:17 | 0:05:19 | |
-Finding the right subject. -Constructing a sentence. | 0:05:19 | 0:05:22 | |
-You're talking now. -Yes, but you're not a date. If you were, | 0:05:22 | 0:05:25 | |
the nerves would kick in, the mouth'd dry up, throat'd close and... | 0:05:25 | 0:05:28 | |
-HE GASPS -Well, we can work on that. -Eating? | 0:05:28 | 0:05:32 | |
What with the whole dry mouth and throat closed up thing, | 0:05:32 | 0:05:35 | |
food goes down in lumps. It's a wonder I've not needed | 0:05:35 | 0:05:37 | |
the Heimlich manoeuvre before now. And walking, legs like jelly. | 0:05:37 | 0:05:40 | |
-PHONE RINGS And breathing's a bit of a problem. -It's Dwayne. -Oh. | 0:05:40 | 0:05:43 | |
Hello? | 0:05:43 | 0:05:45 | |
On our way. Paradise Beach Hotel. | 0:05:47 | 0:05:50 | |
-There's been a murder. -Let's go. | 0:05:50 | 0:05:52 | |
So, JP, what have we got? | 0:05:59 | 0:06:01 | |
Earlier this evening the hotel was hosting a fashion show. | 0:06:01 | 0:06:04 | |
As it was about to finish, one of the models, Zoe Mackay, 19, | 0:06:04 | 0:06:07 | |
was found dead in a marquee. She appears to have been strangled. | 0:06:07 | 0:06:10 | |
-And where are the other models now? -The hotel. | 0:06:10 | 0:06:12 | |
Dwayne's looking after them. | 0:06:12 | 0:06:14 | |
HUMPHREY SIGHS | 0:06:17 | 0:06:19 | |
Poor girl. | 0:06:19 | 0:06:20 | |
A small amount of blood at the corner of her mouth, | 0:06:22 | 0:06:25 | |
which would indicate death by asphyxiation. | 0:06:25 | 0:06:28 | |
And ligature marks around the victim's neck | 0:06:28 | 0:06:32 | |
would seem to confirm it. | 0:06:32 | 0:06:34 | |
-So what else do we know? -The models took turns on the catwalk. | 0:06:37 | 0:06:40 | |
-Nelson helped them change. -Nelson? -The designer. Nelson Benedict. | 0:06:40 | 0:06:45 | |
-Should I know who he is? -Originally from Saint Marie, | 0:06:45 | 0:06:48 | |
he left some years ago to find his fortune. He's fairly well established. | 0:06:48 | 0:06:52 | |
One of the models came off the catwalk | 0:06:52 | 0:06:54 | |
and that's when Zoe was found dead. | 0:06:54 | 0:06:56 | |
The other models and designer were here when she was killed and they're saying they didn't see anything? | 0:06:56 | 0:07:00 | |
Could anyone from the audience have gained access and killed her? | 0:07:00 | 0:07:03 | |
The area was fenced off and guarded by security. | 0:07:03 | 0:07:06 | |
So, security there. | 0:07:06 | 0:07:08 | |
And there's a swamp there, | 0:07:12 | 0:07:14 | |
which means no-one's getting in that way. | 0:07:14 | 0:07:16 | |
Don't they normally have legions of people, | 0:07:16 | 0:07:19 | |
hair, make-up, that kind of thing? | 0:07:19 | 0:07:21 | |
It was a charity event, sir, | 0:07:21 | 0:07:23 | |
a fundraiser for Mr Benedict's old school. | 0:07:23 | 0:07:26 | |
They wanted to keep costs to a minimum, so he and the models agreed they'd cover those jobs themselves. | 0:07:26 | 0:07:31 | |
Right. | 0:07:31 | 0:07:32 | |
HUMPHREY SIGHS | 0:07:32 | 0:07:34 | |
-Why is she holding this? -She's a woman. | 0:07:43 | 0:07:47 | |
Women wear these things. | 0:07:47 | 0:07:49 | |
Will you be wanting to speak to the witnesses tonight, sir? | 0:07:49 | 0:07:53 | |
What are you doing here? | 0:07:53 | 0:07:55 | |
-Sir? -Hmm. | 0:07:58 | 0:08:00 | |
-The witnesses? -Yes, witnesses. Yes. | 0:08:00 | 0:08:03 | |
Well, ladies, I thought you might appreciate this | 0:08:06 | 0:08:08 | |
after all you've been through. | 0:08:08 | 0:08:10 | |
-Keep your mind on the job, JP. -It's just...I think I know her. | 0:08:16 | 0:08:20 | |
And I'm best friends with Naomi Campbell. | 0:08:20 | 0:08:23 | |
Hello. | 0:08:23 | 0:08:25 | |
Thanks for coming, everyone, I know it's a difficult time. | 0:08:25 | 0:08:28 | |
Let's start with introductions. | 0:08:28 | 0:08:29 | |
I'm Detective Inspector Humphrey Goodman. DS Florence Cassell. | 0:08:29 | 0:08:33 | |
HUMPHREY SIGHS | 0:08:33 | 0:08:35 | |
Nelson Benedict, designer. | 0:08:35 | 0:08:37 | |
I was hosting tonight's show. | 0:08:37 | 0:08:39 | |
Jay Croker, photographer. | 0:08:39 | 0:08:41 | |
-Sadie Mernier. -Rosey Fabrice. | 0:08:41 | 0:08:44 | |
Eloise Ronson. | 0:08:44 | 0:08:46 | |
Thank you. So, can I ask, | 0:08:47 | 0:08:50 | |
which of you was it discovered Zoe? | 0:08:50 | 0:08:52 | |
It was me. As she came off the catwalk, I went on, | 0:08:52 | 0:08:56 | |
did my walk, returned and... | 0:08:56 | 0:09:00 | |
ROSEY SCREAMS | 0:09:00 | 0:09:02 | |
And how long were you on the...? | 0:09:02 | 0:09:05 | |
-Catwalk. -Catwalk? -Less than a minute, 40 seconds or so. | 0:09:05 | 0:09:09 | |
-Jay, you were out front, I assume? -Yeah, taking shots of the girls. | 0:09:09 | 0:09:13 | |
Did you see anyone acting suspiciously? Anyone trying to get past security? | 0:09:13 | 0:09:16 | |
No, but my attention was really on the catwalk, so... | 0:09:16 | 0:09:19 | |
-And that was the camera you were using? -Yeah. It's got the entire show on it. | 0:09:19 | 0:09:23 | |
-We'll need the memory card. -Sure. | 0:09:23 | 0:09:25 | |
There you go. | 0:09:34 | 0:09:35 | |
Thank you. | 0:09:35 | 0:09:37 | |
So, apart from Jay and Rosey, | 0:09:37 | 0:09:39 | |
everyone else was in the marquee when this happened? | 0:09:39 | 0:09:42 | |
Miss Ronson, what were you doing? | 0:09:44 | 0:09:46 | |
She was supposed to be helping me get Sadie into her dress. | 0:09:46 | 0:09:49 | |
HUMPHREY LAUGHS | 0:09:49 | 0:09:51 | |
What, you need two people to get someone into a dress? | 0:09:51 | 0:09:53 | |
It's quite intricate, it ties at the back. | 0:09:53 | 0:09:57 | |
The highlight of my show. | 0:09:57 | 0:09:59 | |
-I was outside taking a call from my agent. -Is that usual during a show? | 0:10:01 | 0:10:05 | |
Not in my experience. | 0:10:05 | 0:10:08 | |
-Did anyone see you outside? -I certainly heard her. | 0:10:11 | 0:10:14 | |
Oh, that's brilliant! | 0:10:14 | 0:10:16 | |
Well, I fly out of here tomorrow, so I can be there by Thursday. | 0:10:16 | 0:10:20 | |
My agent's number. Call her and check. | 0:10:20 | 0:10:22 | |
We will. Thank you. | 0:10:22 | 0:10:24 | |
So, Eloise taking a call, | 0:10:24 | 0:10:27 | |
Nelson and Sadie in the changing are, Rosey on the catwalk, | 0:10:27 | 0:10:30 | |
Jay out front taking photographs. | 0:10:30 | 0:10:33 | |
What happened after Zoe was discovered? | 0:10:33 | 0:10:35 | |
I...rushed out, asked if there was a doctor present, but... | 0:10:35 | 0:10:41 | |
And the scarf that was used to kill Zoe? | 0:10:41 | 0:10:44 | |
Part of her outfit. | 0:10:44 | 0:10:47 | |
Can you think of a reason someone might have to hurt her? | 0:10:47 | 0:10:50 | |
Has she fallen out with anyone since she's been here? | 0:10:50 | 0:10:54 | |
We flew in two days ago and all we've done is sleep and work, | 0:10:54 | 0:10:58 | |
she didn't have time to meet with anyone else. | 0:10:58 | 0:11:01 | |
There was something, you know? | 0:11:03 | 0:11:05 | |
I'd heard a little bit from Zoe myself, | 0:11:05 | 0:11:07 | |
but, Sadie, you know best. | 0:11:07 | 0:11:09 | |
-Zoe had some kind of a stalker. -What?! | 0:11:13 | 0:11:16 | |
A stalker? | 0:11:16 | 0:11:18 | |
He found out where she lived and started sending her letters. | 0:11:18 | 0:11:22 | |
-It's been going on for a couple of months now. -Did she know who it was? | 0:11:22 | 0:11:27 | |
No. She notified the police, but I don't think anything came of it. | 0:11:27 | 0:11:29 | |
Police?! We all get strange letters, it comes with the territory. | 0:11:29 | 0:11:34 | |
I think these were a bit different? | 0:11:34 | 0:11:37 | |
We'll need to get in touch with UK police and get hold of that case file. | 0:11:37 | 0:11:40 | |
All right, that's all for now. Thank you very much. | 0:11:40 | 0:11:42 | |
If you think of anything else, then please do tell us. | 0:11:42 | 0:11:45 | |
Oh, Mr Benedict... | 0:11:45 | 0:11:47 | |
Zoe was found holding a stocking. | 0:11:47 | 0:11:50 | |
-Part of your collection? -Stockings? | 0:11:50 | 0:11:53 | |
-No. -Just thought I'd ask. | 0:11:53 | 0:11:55 | |
Thank you. | 0:11:56 | 0:11:58 | |
-Morning. -Morning, Number Two. | 0:12:46 | 0:12:49 | |
-So, this stalker thing, I called the police in Blackpool. -Blackpool? | 0:12:49 | 0:12:53 | |
-Yes, a big tower, donkeys, kiss-me-quick hats. -Kiss your what? | 0:12:53 | 0:12:57 | |
It's like a trilby, you know? No, why would you? | 0:12:57 | 0:13:00 | |
Well, Blackpool is Zoe's hometown in the UK. | 0:13:00 | 0:13:03 | |
Anyway, I sent over copies of the letters from the stalker. | 0:13:03 | 0:13:06 | |
Er, here we are. | 0:13:06 | 0:13:07 | |
"I watch you every day, dreaming of us together forever, never apart." | 0:13:09 | 0:13:15 | |
-Nothing threatening. -No, it reads rather like a sort of creepy fan mail. | 0:13:15 | 0:13:20 | |
-He's clearly obsessed. -Yes, but if that is the case, | 0:13:20 | 0:13:23 | |
why travel all the way here to kill her? | 0:13:23 | 0:13:26 | |
So, the stalker isn't our killer? | 0:13:26 | 0:13:28 | |
Well, we can't dismiss them entirely, | 0:13:28 | 0:13:30 | |
but I can't help feeling... | 0:13:30 | 0:13:33 | |
that whoever sent those letters did not murder Zoe Mackay. | 0:13:33 | 0:13:37 | |
-Sir? -Yes. | 0:13:37 | 0:13:39 | |
-Erm... -Oh, gosh! | 0:13:39 | 0:13:41 | |
Yes. Thank you. | 0:13:41 | 0:13:43 | |
Right. Come on. | 0:13:45 | 0:13:48 | |
I'd like to take another look at this crime scene. | 0:13:48 | 0:13:51 | |
MUSIC: Licking Stick by Desmond Dekker | 0:13:51 | 0:13:53 | |
Right, for the moment, let's discount the possibility that Zoe was killed by her stalker. | 0:14:08 | 0:14:11 | |
Security were posted front of house and there's a large swamp at the back of the marquee, | 0:14:11 | 0:14:15 | |
so I'm not sure how he could have managed to get inside. | 0:14:15 | 0:14:18 | |
Also, if she's telling the truth, | 0:14:18 | 0:14:20 | |
Eloise was taking a phone call at the time, so she would've seen if an intruder had got in that way. | 0:14:20 | 0:14:25 | |
Which means that the killer had to be someone who was already backstage during the show. | 0:14:25 | 0:14:28 | |
That rules out the photographer, Jay, he was out front taking photos | 0:14:28 | 0:14:31 | |
and security would have noticed if he'd gone backstage. | 0:14:31 | 0:14:34 | |
So of all the four other suspects | 0:14:34 | 0:14:36 | |
who were in the marquee during the fashion show... | 0:14:36 | 0:14:38 | |
Rosey was on the catwalk, Sadie being dressed by Nelson. | 0:14:38 | 0:14:42 | |
-Eloise outside on the phone. -Each of them has an alibi. | 0:14:42 | 0:14:45 | |
So, who killed Zoe? | 0:14:45 | 0:14:47 | |
And how? | 0:14:47 | 0:14:49 | |
JP SNIFFS | 0:14:55 | 0:14:57 | |
My cologne. | 0:14:57 | 0:14:58 | |
Those models know quality when they see it... | 0:14:58 | 0:15:01 | |
and smell it. | 0:15:01 | 0:15:03 | |
Ah, Miss Fabrice! | 0:15:16 | 0:15:18 | |
Please...come in. | 0:15:18 | 0:15:21 | |
How can I be of assistance? | 0:15:28 | 0:15:30 | |
It's probably nothing, but there's something I thought I should mention. | 0:15:30 | 0:15:34 | |
Is it to do with Nelson? | 0:15:34 | 0:15:36 | |
I saw you looking to him during the questioning last night. | 0:15:37 | 0:15:40 | |
They didn't get on, Zoe and Nelson. | 0:15:41 | 0:15:44 | |
He thought she lacked focus, never had her mind on the job. | 0:15:44 | 0:15:47 | |
-In what way? -Zoe was always on her laptop or texting. | 0:15:47 | 0:15:51 | |
That's hardly a motive to kill her. Why did Nelson dislike her so much? | 0:15:51 | 0:15:56 | |
Zoe and I worked with each other last year on another of Nelson's shows. | 0:15:56 | 0:16:00 | |
First day, she turned up still drunk from the previous night. | 0:16:00 | 0:16:04 | |
-Didn't do too well on the catwalk. He was furious. -Still drunk? | 0:16:04 | 0:16:08 | |
She realised her mistake, forever apologising to Nelson, but... | 0:16:08 | 0:16:12 | |
He never forgave her? | 0:16:12 | 0:16:14 | |
From the moment we arrived he was at Zoe, criticising her every move. | 0:16:14 | 0:16:18 | |
You do as I say, yes? | 0:16:18 | 0:16:20 | |
Step out of line again and...! This is your last chance, you understand? | 0:16:20 | 0:16:24 | |
-And later, during the show... -I don't believe it! | 0:16:24 | 0:16:30 | |
I thought he was going to lose it again. | 0:16:30 | 0:16:32 | |
Hey, you were right to let us know. | 0:16:32 | 0:16:35 | |
Thank you. | 0:16:35 | 0:16:37 | |
Like my junior colleagues said, | 0:16:40 | 0:16:42 | |
you did the right thing. Thank you very much. | 0:16:42 | 0:16:45 | |
Oh, gosh! Mademoiselle. | 0:16:50 | 0:16:52 | |
DWAYNE CLEARS HIS THROAT | 0:16:52 | 0:16:54 | |
Wow! Look at that! The whole fashion show played out frame by frame. | 0:16:54 | 0:16:59 | |
-Brilliant work, JP. -Thank you, sir. | 0:16:59 | 0:17:01 | |
What did Miss Fabrice want? | 0:17:01 | 0:17:03 | |
She came to tell us that Nelson had a few run-ins with Zoe. | 0:17:03 | 0:17:06 | |
One at a fashion shoot last year, and he's lost it a few times since they arrived here. | 0:17:06 | 0:17:10 | |
Which is interesting, because there's a charge of assault on his record. | 0:17:10 | 0:17:13 | |
I've asked the police in Paris to send over the files. | 0:17:13 | 0:17:16 | |
Also, Rosey mentioned that Zoe had a laptop. | 0:17:16 | 0:17:19 | |
-It wasn't at the marquee. -Yes, we'll need to search her room at the hotel, | 0:17:19 | 0:17:22 | |
see if it turns up there. Right, so background checks. | 0:17:22 | 0:17:25 | |
Our victim...Zoe Mackay? | 0:17:25 | 0:17:29 | |
19 years old from Blackpool, UK. | 0:17:29 | 0:17:31 | |
Left school at 16 after being spotted by a talent scout | 0:17:31 | 0:17:34 | |
from Bounce Modelling Agency. | 0:17:34 | 0:17:36 | |
Our suspects. Nelson Benedict? | 0:17:36 | 0:17:39 | |
Born Saint Marie, but left for London at the age of 18 to study fashion. | 0:17:39 | 0:17:43 | |
He returned to host a charity fundraising fashion show | 0:17:43 | 0:17:46 | |
and used Rosey Fabrice and Sadie Mernier as models, both island girls. | 0:17:46 | 0:17:51 | |
-Good. Eloise Ronson? -24 years old from London. | 0:17:51 | 0:17:54 | |
She'd been modelling since she was 15 and is well-known on the circuit. | 0:17:54 | 0:17:58 | |
She's the face of a high-street clothing chain | 0:17:58 | 0:18:00 | |
and an international cosmetics range. | 0:18:00 | 0:18:02 | |
-Rosey Fabrice? -23. Born and raised in Chapeltown, Saint Marie. | 0:18:02 | 0:18:07 | |
Won a scholarship to Saint Francis where she was a model student. | 0:18:07 | 0:18:11 | |
That was a deliberate pun, right? | 0:18:11 | 0:18:13 | |
HUMPHREY CHUCKLES | 0:18:13 | 0:18:15 | |
-Wrong. -At college, as part of her final exams, | 0:18:16 | 0:18:20 | |
she choreographed and performed a new work using local musicians | 0:18:20 | 0:18:25 | |
focusing on the island's history. | 0:18:25 | 0:18:27 | |
And you know that how? | 0:18:27 | 0:18:29 | |
-She was in the year above me at school. -I thought you was making that up? | 0:18:29 | 0:18:33 | |
So how come she didn't mention she knew you when she came in? | 0:18:33 | 0:18:37 | |
Hmm. Obviously you made a huge impact. | 0:18:37 | 0:18:41 | |
-Anyway, what was your impression of her? -Good family, friendly, easy-going. | 0:18:43 | 0:18:48 | |
-Sadie Mernier? -From Saint Marie, now based in Manchester. | 0:18:48 | 0:18:53 | |
-Good friends with Zoe. -OK. | 0:18:53 | 0:18:56 | |
So, Zoe was killed within less than a 60 second timeframe | 0:18:56 | 0:19:00 | |
between leaving the runway and then being discovered by Rosey Fabrice. | 0:19:00 | 0:19:04 | |
But...all of our suspects have alibis. | 0:19:04 | 0:19:07 | |
-Nelson and Sadie were busy changing. -Eloise on the phone. | 0:19:07 | 0:19:10 | |
-Rosey was on stage. -So, who had the most opportunity to kill Zoe? | 0:19:10 | 0:19:14 | |
-Eloise. -Because? -Because everybody else was in someone else's sight. | 0:19:14 | 0:19:17 | |
So, prime suspect, Eloise. | 0:19:17 | 0:19:20 | |
-Unless... -Let's play "what if". | 0:19:20 | 0:19:23 | |
What if Nelson and Sadie are in on this together? | 0:19:25 | 0:19:28 | |
-One of them killed Zoe, each giving the other an alibi. -Uh-huh. | 0:19:28 | 0:19:32 | |
What if...Eloise hadn't taken the call from her agent? | 0:19:32 | 0:19:36 | |
-They wouldn't have been left alone. -JP, want to talk us through? | 0:19:36 | 0:19:40 | |
Over 500 frames from Jay's memory card taken during the show. | 0:19:40 | 0:19:46 | |
There's even more of the rehearsals and backstage. | 0:19:46 | 0:19:50 | |
Jay started taking photographs on the left side of the catwalk, | 0:19:50 | 0:19:53 | |
moving round and ending up on the right side here. | 0:19:53 | 0:19:58 | |
The frames run chronologically, starting at seven o'clock | 0:19:58 | 0:20:01 | |
with Eloise being the first model on the runway, | 0:20:01 | 0:20:05 | |
through to this frame taken at 7:25, | 0:20:05 | 0:20:09 | |
by which time the models had appeared ten times each. | 0:20:09 | 0:20:12 | |
And every time in a new outfit. | 0:20:12 | 0:20:14 | |
Going through the time codes from 19:23:02 to...19:23:50, | 0:20:14 | 0:20:22 | |
Zoe doing her thing. | 0:20:22 | 0:20:24 | |
The most significant frame for us is this one here, 19:23:57, | 0:20:24 | 0:20:29 | |
Zoe leaving for the last time as Rosey begins her final walk. | 0:20:29 | 0:20:32 | |
That's the last shot of Zoe before she died. | 0:20:32 | 0:20:35 | |
PHONE RINGS | 0:20:39 | 0:20:40 | |
Honore Police. | 0:20:42 | 0:20:43 | |
19:23:59 to 19:24:40, | 0:20:43 | 0:20:50 | |
Rosey making her last appearance. | 0:20:50 | 0:20:52 | |
And time code 19:24:44, | 0:20:52 | 0:20:55 | |
We see her entering the marquee. | 0:20:55 | 0:20:57 | |
47 seconds after Zoe left the catwalk, Rosey finds her dead. | 0:20:57 | 0:21:02 | |
Which all the suspects say is correct because here | 0:21:02 | 0:21:04 | |
time codes 19:25:04 to 19:25:09, | 0:21:04 | 0:21:08 | |
after we last saw Rosey... | 0:21:08 | 0:21:10 | |
Nelson appears on the catwalk asking if there's a doctor in the house. | 0:21:10 | 0:21:13 | |
-Which was the last picture Jay took. -Thank you very much. | 0:21:13 | 0:21:16 | |
That was our colleagues in Paris in regards to Nelson's arrest for assault. | 0:21:16 | 0:21:19 | |
It was during a fashion show he was mounting. And, get this, | 0:21:19 | 0:21:21 | |
the person assaulted was one of his models. | 0:21:21 | 0:21:24 | |
She turned up late, he got physical. | 0:21:24 | 0:21:26 | |
-Short fuse? -Tiny. They also said it wasn't the first time the police had attended one of his shows. | 0:21:26 | 0:21:31 | |
Apparently, the man has some serious anger issues. | 0:21:31 | 0:21:34 | |
Let's go and see what he has to say for itself. | 0:21:34 | 0:21:36 | |
Dwayne, JP, whilst we're grappling with Nelson, | 0:21:36 | 0:21:40 | |
I want you to search Zoe's room, see what you can find. | 0:21:40 | 0:21:42 | |
-Oh, and great work, everyone. -Thanks, Chief. | 0:21:42 | 0:21:45 | |
What is that smell?! | 0:21:47 | 0:21:49 | |
How come you didn't tell me before you went to school with a model? | 0:21:53 | 0:21:57 | |
-She wasn't a model then. -Any news, officers? | 0:21:57 | 0:21:59 | |
Er, none at the moment, but I'm very hopeful. | 0:21:59 | 0:22:03 | |
I have a job booked in Rome at the end of the week, | 0:22:03 | 0:22:06 | |
-I'll still be able to make it, won't I? -Well, we've established a timeline... | 0:22:06 | 0:22:09 | |
The investigation's ongoing. | 0:22:09 | 0:22:11 | |
There's nothing to report yet. | 0:22:11 | 0:22:13 | |
What was that all about?! | 0:22:18 | 0:22:20 | |
These women have been traumatised, they need handling gently. | 0:22:20 | 0:22:23 | |
I'm just trying to stay focused, Dwayne. | 0:22:23 | 0:22:26 | |
I mean, one of them could be our killer. | 0:22:26 | 0:22:28 | |
OK, you're right, | 0:22:28 | 0:22:31 | |
one of them could be. | 0:22:31 | 0:22:33 | |
What about the other two, eh? Hmm? | 0:22:33 | 0:22:36 | |
A light petit dejeuner for me, | 0:22:44 | 0:22:46 | |
an...early lunch for you, if you'd care? | 0:22:46 | 0:22:50 | |
That's very kind, but, no. | 0:22:50 | 0:22:53 | |
Oh, a little tea. | 0:22:53 | 0:22:54 | |
Thank you. | 0:22:54 | 0:22:57 | |
I can't imagine what it must be like in your line of business. | 0:22:57 | 0:22:59 | |
-I mean, the adrenaline must be... -That is coffee. | 0:22:59 | 0:23:01 | |
Oh, gosh! Yes, of course. Erm... | 0:23:01 | 0:23:04 | |
-Let me. -Yes. | 0:23:04 | 0:23:06 | |
Oh, thank you. Yes, the sky-high adrenaline levels, | 0:23:06 | 0:23:10 | |
constantly on edge. | 0:23:10 | 0:23:12 | |
-NELSON LAUGHS -It can be very...tense. | 0:23:12 | 0:23:16 | |
And the models, getting them to do what you want, | 0:23:16 | 0:23:18 | |
-when you want, the way you want. -I try to keep a level head. | 0:23:18 | 0:23:22 | |
Uh-huh. You didn't, though, on December 10th, 2014, did you? | 0:23:22 | 0:23:26 | |
Euro Fashion Week, | 0:23:26 | 0:23:29 | |
when you assaulted one of your models, Doreen Hutton. | 0:23:29 | 0:23:31 | |
-The date's right, isn't it? -Uh-huh. | 0:23:31 | 0:23:34 | |
There are other incidents, five to be exact. | 0:23:34 | 0:23:37 | |
The...the pressure gets to me sometimes. | 0:23:37 | 0:23:40 | |
Like when Zoe turned up drunk to your show last year? | 0:23:40 | 0:23:43 | |
Or when you were overheard shouting to her before this show? | 0:23:43 | 0:23:46 | |
Or when she ripped the dress before she stepped onto the catwalk? | 0:23:46 | 0:23:49 | |
The incident with Doreen Hutton, unforgivable. | 0:23:49 | 0:23:53 | |
The others...were misunderstandings. | 0:23:53 | 0:23:56 | |
Did the red mist descend again yesterday, Nelson? Hmm? | 0:23:56 | 0:23:59 | |
Did Zoe not show you enough respect, is that it? Did you lose your temper? | 0:23:59 | 0:24:03 | |
Zoe had let me down before and I was letting her know, in no uncertain terms, not to let it happen again. | 0:24:03 | 0:24:09 | |
-The stupid girl! She didn't realise how lucky she was. -Lucky? | 0:24:09 | 0:24:14 | |
Zoe was handed it on a plate, | 0:24:14 | 0:24:17 | |
given the kind of success others have fought years to achieve. | 0:24:17 | 0:24:20 | |
I came from nothing. | 0:24:20 | 0:24:22 | |
Fought tooth and nail to get where I am. | 0:24:22 | 0:24:25 | |
That is why I'm so passionate about what I do and why sometimes I... | 0:24:25 | 0:24:29 | |
lose it when others don't feel the same. | 0:24:29 | 0:24:32 | |
This is my life, DI Goodman. | 0:24:32 | 0:24:36 | |
All I have! | 0:24:36 | 0:24:38 | |
So, how are you chaps getting on with the search? Anything of use? | 0:24:41 | 0:24:43 | |
Well, Chief, we found Zoe's mobile. | 0:24:43 | 0:24:47 | |
No threatening text or answerphone messages, but there was one thing. | 0:24:47 | 0:24:50 | |
JP? | 0:24:50 | 0:24:51 | |
-Mobile phone number? -It was in her dialled-numbers log. | 0:24:53 | 0:24:55 | |
She called that number two days ago and hasn't it before or since as far as we can tell. | 0:24:55 | 0:24:59 | |
-Can you trace it? -Pay-as-you-go. We called it ourselves, but it keeps going to voicemail. | 0:24:59 | 0:25:03 | |
So it doesn't belong to any of the suspects? | 0:25:03 | 0:25:06 | |
Intriguing. Keep trying, Dwayne, you never know, they may pick up. | 0:25:06 | 0:25:09 | |
There wasn't any sighting of the other stocking, was there? | 0:25:09 | 0:25:12 | |
-These things normally come as a pair, I believe. -No, sir. | 0:25:12 | 0:25:15 | |
-And Zoe's laptop hasn't turned up either. -So, maybe our killer took it. | 0:25:15 | 0:25:18 | |
If so, why and what's on it? | 0:25:18 | 0:25:20 | |
Have a word with the hotel staff, ask them to keep their eyes peeled. | 0:25:20 | 0:25:23 | |
-Should I apply for search warrants, sir? -No, that'll take for ever, JP. | 0:25:23 | 0:25:27 | |
So... | 0:25:27 | 0:25:30 | |
let's try a different approach. | 0:25:30 | 0:25:32 | |
Sorry to disturb you, Miss Mernier, this isn't... | 0:25:35 | 0:25:37 | |
-..an official request as I don't have... -the necessary warrant. | 0:25:37 | 0:25:40 | |
-But I wondered if you wouldn't mind me... -searching your room? | 0:25:40 | 0:25:43 | |
It's part of our ongoing investigation. | 0:25:43 | 0:25:45 | |
-And although I could get a warrant, it could... -take some time. | 0:25:45 | 0:25:48 | |
And it would be better all round if we could eliminate you from our enquiries as soon as we can. | 0:25:48 | 0:25:52 | |
-Thanks... -Thanks... -Thanks very much. | 0:25:54 | 0:25:56 | |
-..very much. -..very much. | 0:25:56 | 0:25:58 | |
Would it be possible to come in? | 0:25:58 | 0:26:00 | |
Tell me what it is and I'll tell you if it's there. | 0:26:00 | 0:26:03 | |
-It's confidential. -But if I let you in and you find it, I'll see it and know what it is. | 0:26:03 | 0:26:07 | |
So, why don't you just tell me what you're looking for and I can tell you if I have it? | 0:26:07 | 0:26:11 | |
-Look, it might have been stolen... -Are you calling me a thief? | 0:26:11 | 0:26:14 | |
-No. -Well, then you have no need to search my room. | 0:26:14 | 0:26:17 | |
Chief, Eloise is hiding something, I can feel it in my water. | 0:26:19 | 0:26:24 | |
She has the weakest alibi, she is our prime suspect. | 0:26:24 | 0:26:26 | |
No luck with Zoe's laptop, | 0:26:26 | 0:26:28 | |
but they did say that yesterday morning, | 0:26:28 | 0:26:31 | |
Eloise had requested to be given her own room. | 0:26:31 | 0:26:33 | |
She and Zoe had been sharing. | 0:26:33 | 0:26:36 | |
-They'd fallen out over something? -Putting it mildly. | 0:26:36 | 0:26:38 | |
Eloise told the receptionist she didn't want stay another night | 0:26:38 | 0:26:41 | |
-in the same room as "that interfering bitch". -How charming. | 0:26:41 | 0:26:45 | |
So, Eloise requests a room on her own, Zoe is murdered, | 0:26:45 | 0:26:48 | |
-and now she's refusing a search. JP, get to court, get a warrant, please. -Yes, Chief. | 0:26:48 | 0:26:52 | |
-Dwayne, keep an eye on Eloise. -Don't worry, Chief, I won't let her out of my sight. | 0:26:52 | 0:26:56 | |
Yes, of that I have no doubt. | 0:26:56 | 0:26:58 | |
Thank you. Eloise's agent's confirmed they were speaking at the time Zoe was murdered. | 0:26:58 | 0:27:03 | |
-We're still waiting for phone records to back it up. -Thanks, Florence. | 0:27:03 | 0:27:07 | |
So, security here at the site. | 0:27:07 | 0:27:10 | |
Swamp here at the back. | 0:27:10 | 0:27:13 | |
Catwalk here. And marquee where Zoe was killed here. | 0:27:13 | 0:27:18 | |
At the time Zoe was murdered, | 0:27:18 | 0:27:20 | |
Eloise was here taking a call from her agent. | 0:27:20 | 0:27:24 | |
Nelson and Sadie...said they heard Eloise talking on the phone | 0:27:24 | 0:27:28 | |
shortly before the body was discovered. | 0:27:28 | 0:27:30 | |
Sadie was being dressed by Nelson, so they alibi each other. OK. | 0:27:30 | 0:27:34 | |
Rosey was on the catwalk at the time of the murder. | 0:27:34 | 0:27:37 | |
Photographs taken by Jay prove this to be true. | 0:27:37 | 0:27:40 | |
But even if we rule her out, | 0:27:40 | 0:27:42 | |
I am at a complete loss as to how one of the other three might have been able to do it either. | 0:27:42 | 0:27:47 | |
-The postmortem results have arrived. -Ah, good. | 0:27:47 | 0:27:50 | |
-'JP.' -I'll be waiting a while for that warrant, the court is closed for lunch. | 0:27:50 | 0:27:55 | |
I can't stay here all day, | 0:27:55 | 0:27:57 | |
there are natural functions that need attending to. | 0:27:57 | 0:28:00 | |
There's movement. | 0:28:00 | 0:28:02 | |
Yes, confirm that. | 0:28:02 | 0:28:04 | |
The target is on the move. | 0:28:04 | 0:28:06 | |
The postmortem's confirmed death by asphyxiation. | 0:28:09 | 0:28:13 | |
The pressure exerted caused her windpipe to fracture. | 0:28:13 | 0:28:16 | |
So, she died quickly, small mercies. | 0:28:16 | 0:28:18 | |
Also, the lab has been unable to recover any fingerprints from either the stocking or the scarf. | 0:28:18 | 0:28:25 | |
Ah, yes, the stocking. | 0:28:25 | 0:28:28 | |
Satin Noir stockings, 15 denier. | 0:28:30 | 0:28:32 | |
I hardly notice I'm wearing them. | 0:28:32 | 0:28:34 | |
A luxury I can afford, a luxury... I deserve. | 0:28:34 | 0:28:38 | |
You do that a little too well. | 0:28:38 | 0:28:40 | |
Yes, quoting their advertisement. | 0:28:40 | 0:28:42 | |
I know this is trying to tell us something. | 0:28:42 | 0:28:46 | |
What exactly is it trying to say? | 0:28:48 | 0:28:50 | |
I knew it. | 0:29:00 | 0:29:02 | |
Available only on the black market, | 0:29:12 | 0:29:15 | |
Camadathol is a fat-burning drug which enhances weight loss. | 0:29:15 | 0:29:19 | |
According to this, it's widely used in the modelling world. | 0:29:19 | 0:29:22 | |
Hmm. Illegal. Anyone found in possession of the drug | 0:29:22 | 0:29:25 | |
could face a lengthy spell in prison, | 0:29:25 | 0:29:27 | |
-which would explain why Eloise was reluctant for you to search her room, Dwayne. -Hmm. | 0:29:27 | 0:29:31 | |
Maybe that's why she wanted out of the room she was sharing with Zoe. | 0:29:31 | 0:29:34 | |
Maybe Zoe had discovered the drugs. | 0:29:34 | 0:29:36 | |
Eloise was under contract to more than one high-street company pushing her girl-next-door image. | 0:29:36 | 0:29:40 | |
Which means if Zoe exposed her, she would lose everything. | 0:29:40 | 0:29:44 | |
Time to pay her a visit. | 0:29:44 | 0:29:46 | |
Zoe discovered you were using drugs, didn't she? | 0:29:54 | 0:29:57 | |
We argued. | 0:29:57 | 0:29:59 | |
Zoe said she was disgusted. | 0:29:59 | 0:30:02 | |
Said if word got out I was using these things, | 0:30:02 | 0:30:05 | |
young girls might follow my example. | 0:30:05 | 0:30:07 | |
Did she threaten to expose you? | 0:30:07 | 0:30:09 | |
As far as she was concerned the dealers were the bad guys, | 0:30:09 | 0:30:13 | |
I was one of the victims. | 0:30:13 | 0:30:14 | |
Taking the drugs was wrong, | 0:30:14 | 0:30:17 | |
but there are girls who are younger, slimmer. | 0:30:17 | 0:30:20 | |
And if the client wants thin, they get thin. | 0:30:20 | 0:30:24 | |
Where did you get the drugs from, Eloise? | 0:30:25 | 0:30:28 | |
-A guy in London. -We need a name. | 0:30:28 | 0:30:31 | |
No name, just a number. | 0:30:31 | 0:30:34 | |
You send a text, a kid arrives on a bike, | 0:30:34 | 0:30:37 | |
you pay the cash and don't ask questions. | 0:30:37 | 0:30:39 | |
We'll need that number, if we may. | 0:30:39 | 0:30:41 | |
I love my job more than anything in the world | 0:30:48 | 0:30:51 | |
and I don't want to lose it, but I would never ever have killed Zoe in order to keep it. | 0:30:51 | 0:30:56 | |
I would never do that. | 0:30:56 | 0:30:58 | |
Why is Zoe's diary in your room? | 0:30:59 | 0:31:02 | |
So, what's the deal with you and the model Rosey? | 0:31:09 | 0:31:12 | |
-What do you mean? -Spill the beans, man. | 0:31:12 | 0:31:15 | |
-There's nothing to spill. -All right. | 0:31:15 | 0:31:18 | |
DWAYNE HUMS TO HIMSELF | 0:31:21 | 0:31:23 | |
I used to like her, along with every other boy in school. | 0:31:23 | 0:31:27 | |
In her final year, the last day of term, | 0:31:27 | 0:31:30 | |
-I left her a flower on her desk. -Oh, say it with flowers - nice. | 0:31:30 | 0:31:35 | |
I obviously said the wrong thing. I mean, I never saw her again. | 0:31:35 | 0:31:38 | |
And when she came in today, she didn't know me from Adam. | 0:31:38 | 0:31:42 | |
Zoe's diary. I'm going to work my way through, | 0:31:42 | 0:31:45 | |
see if it throws anything up. | 0:31:45 | 0:31:47 | |
JP, can you get on to the police in London. Pass them that number. | 0:31:47 | 0:31:50 | |
Tell them that's the contact that Eloise was using to buy Camadathol. | 0:31:50 | 0:31:53 | |
Sir, hang on. | 0:31:53 | 0:31:55 | |
This is the number Zoe called from her mobile two days ago. | 0:31:55 | 0:31:59 | |
-She called Eloise's dealer? -Zoe wasn't a user, was she? | 0:31:59 | 0:32:03 | |
She told Eloise she hated drugs. | 0:32:03 | 0:32:05 | |
News back from Zoe's Internet server. | 0:32:05 | 0:32:07 | |
Nothing much of interest. | 0:32:07 | 0:32:09 | |
The usual e-mail between her and her family back in the UK. | 0:32:09 | 0:32:12 | |
But there was quite a bit of correspondence with a fashion magazine based in London. | 0:32:12 | 0:32:16 | |
It turns out Zoe was writing an article called Life In The Industry. | 0:32:16 | 0:32:19 | |
That's probably why she was always on her laptop. | 0:32:19 | 0:32:22 | |
Also, Eloise's phone records have come through and they check out. | 0:32:22 | 0:32:25 | |
The call she said she received from her agent covers the time Zoe was murdered. | 0:32:25 | 0:32:28 | |
So, Eloise's alibi stands. Let's go over what we've got. | 0:32:28 | 0:32:32 | |
Nelson, furious regarding Zoe's previous behaviour, | 0:32:32 | 0:32:36 | |
and Eloise fearing she'd be exposed as a drug user. | 0:32:36 | 0:32:39 | |
-No motives for the other suspects so far. -Where are we with the financial checks? | 0:32:39 | 0:32:43 | |
-They'll be with us in the morning. -PHONE RINGS | 0:32:43 | 0:32:45 | |
Also, we need to check out Zoe's social media profile, | 0:32:45 | 0:32:48 | |
Facebook, the other one, the tweeter, see if anything leaps out. | 0:32:48 | 0:32:51 | |
Now, Zoe left the catwalk here. | 0:32:51 | 0:32:55 | |
Less than a minute later, as Rosey entered the marquee here, | 0:32:55 | 0:33:00 | |
she was found dead, strangled. | 0:33:00 | 0:33:02 | |
Our killer has to be one of those four people | 0:33:02 | 0:33:05 | |
who had access to the marquee during the fashion show. | 0:33:05 | 0:33:08 | |
-But they all have alibis. -So how did one of them manage to kill her? | 0:33:08 | 0:33:11 | |
Sir, that was the hotel, they've found a laptop. It could be Zoe's. | 0:33:11 | 0:33:16 | |
-I could collect it on my way home. -Fantastic. Absolutely brilliant, JP. | 0:33:16 | 0:33:20 | |
OK, let's leave it there for now. Sleep on things, back tomorrow | 0:33:20 | 0:33:23 | |
bright-eyed and, dare I say, bushy-tailed. | 0:33:23 | 0:33:26 | |
-Night, Chief. -Night-night. | 0:33:26 | 0:33:29 | |
Erm, Florence, Catherine's bar, a drink maybe? | 0:33:29 | 0:33:32 | |
-Sure. -Good. | 0:33:32 | 0:33:34 | |
CHATTER | 0:33:34 | 0:33:36 | |
You. It was you. | 0:33:41 | 0:33:43 | |
Sadie, you are drunk. Go to bed. | 0:33:43 | 0:33:46 | |
-Calm down, Sadie. -Get off me! Murderer! -Sadie, darling. | 0:33:46 | 0:33:49 | |
-Murderer! -Come on. | 0:33:49 | 0:33:51 | |
-Do you need some help? -We can manage. | 0:33:53 | 0:33:56 | |
Sadie. Sadie! Are you OK? | 0:33:56 | 0:33:59 | |
The first time I saw you, I just knew you were the one. | 0:34:07 | 0:34:11 | |
You and only you. | 0:34:13 | 0:34:15 | |
S-S-Shining... | 0:34:16 | 0:34:19 | |
like a diamond. | 0:34:19 | 0:34:20 | |
-That's a lyric from a song, right? -Yes, a fusion of a few, to be honest. | 0:34:26 | 0:34:30 | |
The best advice I can give is...just to be yourself. | 0:34:30 | 0:34:34 | |
-But I've myself for the past 30-odd years and it hasn't brought me much success. -Rubbish! | 0:34:34 | 0:34:39 | |
-You were married. -To a woman I met on a date my mum arranged. | 0:34:39 | 0:34:42 | |
-Before your wife, there were others? -Hundreds. | 0:34:42 | 0:34:46 | |
A few. | 0:34:47 | 0:34:49 | |
-One. -See, you don't take yourself too seriously. | 0:34:49 | 0:34:53 | |
-And that's such an attractive quality in a man. -You think? -Hmm. | 0:34:53 | 0:34:57 | |
Make a woman laugh and you're halfway there. | 0:34:57 | 0:34:59 | |
HUMPHREY SIGHS | 0:34:59 | 0:35:01 | |
What about Catherine? | 0:35:01 | 0:35:02 | |
Try and make her smile. Oh, come on. | 0:35:02 | 0:35:05 | |
You can do this. | 0:35:05 | 0:35:07 | |
HUMPHREY SIGHS | 0:35:07 | 0:35:09 | |
-Same again, Humphrey? -No. | 0:35:12 | 0:35:14 | |
Oh, yes. Yes. | 0:35:14 | 0:35:16 | |
-Erm...I was just laughing with Florence. -About? | 0:35:19 | 0:35:24 | |
Well...the time I played rugby at school. | 0:35:24 | 0:35:27 | |
I did my best, but all anyone could say was, "Nice try." | 0:35:27 | 0:35:30 | |
Ah, that was kind of them. | 0:35:30 | 0:35:33 | |
No, it's...it's a joke. | 0:35:33 | 0:35:35 | |
Rugby? Try, you see. | 0:35:35 | 0:35:37 | |
It's like a goal. No, OK. | 0:35:37 | 0:35:40 | |
All right. Ah, yes, yes, | 0:35:40 | 0:35:42 | |
why can't you hear a pterodactyl going to the toilet? | 0:35:42 | 0:35:46 | |
-A what? -Pterodactyl. A lizardy, flying dinosaur thing. | 0:35:46 | 0:35:50 | |
-In the toilet? -No, not your toilet. It's extinct. | 0:35:50 | 0:35:53 | |
But if it could go to the toilet, why wouldn't you hear it? | 0:35:53 | 0:35:56 | |
Cos the P is silent. | 0:35:58 | 0:35:59 | |
-P? -Pterodactyl. | 0:35:59 | 0:36:02 | |
It doesn't begin with a T, it's a P. | 0:36:02 | 0:36:04 | |
P-T... | 0:36:04 | 0:36:06 | |
E... | 0:36:06 | 0:36:08 | |
Oh, never mind. SHE LAUGHS | 0:36:08 | 0:36:11 | |
BOTH LAUGH | 0:36:11 | 0:36:13 | |
Here all week. Just before the bingo. | 0:36:15 | 0:36:18 | |
19:23:08. | 0:36:25 | 0:36:27 | |
19:23... 19:23:11. Oh, goodness! There are so many of these. | 0:36:27 | 0:36:32 | |
Ah, JP, any luck with the laptop? | 0:36:32 | 0:36:35 | |
A guest at the hotel found it when they were snorkelling. | 0:36:35 | 0:36:38 | |
The killer must have thrown it in the sea. | 0:36:38 | 0:36:40 | |
-It's in a pretty bad way. -OK, well get someone from the lab to pick it up, | 0:36:40 | 0:36:43 | |
see if they can recover anything from the hard drive. | 0:36:43 | 0:36:45 | |
I was hoping it might give us what we need to crack this. | 0:36:45 | 0:36:48 | |
Ah, Florence, Zoe's diary, anything? | 0:36:48 | 0:36:50 | |
Still working my way through. | 0:36:50 | 0:36:51 | |
Zoe's made a couple of entries in regard to her friendship with Sadie. | 0:36:51 | 0:36:55 | |
A couple of incidents of them falling out, but nothing so far suggests murder. | 0:36:55 | 0:36:59 | |
Well, let me know if anything comes up. Dwayne, financial checks? | 0:36:59 | 0:37:02 | |
Well, all the suspects are solvent. | 0:37:02 | 0:37:04 | |
It seems like Zoe had her feet very firmly on the ground. | 0:37:04 | 0:37:07 | |
Paid herself a small monthly salary and saved the rest. | 0:37:07 | 0:37:10 | |
But the most interesting thing is | 0:37:10 | 0:37:12 | |
I tracked her finances back to her first agency, Bounce. | 0:37:12 | 0:37:16 | |
And it turns out that Jay Croker was one of the company directors, | 0:37:16 | 0:37:19 | |
that is before it went into liquidation. | 0:37:19 | 0:37:22 | |
Really? Jay didn't mention that. | 0:37:22 | 0:37:24 | |
-See if there's anything else you can dig up, please. -Yes, Chief. -BEEPING | 0:37:24 | 0:37:27 | |
BEEPING | 0:37:29 | 0:37:31 | |
Zoe's phone. | 0:37:31 | 0:37:33 | |
Looks like she programmed it. | 0:37:33 | 0:37:35 | |
Set an alarm to remind her to call her parents. | 0:37:35 | 0:37:38 | |
BEEPING | 0:37:38 | 0:37:40 | |
HUMPHREY SIGHS | 0:37:42 | 0:37:44 | |
Hello. What's this? | 0:37:49 | 0:37:51 | |
Something in the background. | 0:37:52 | 0:37:54 | |
-Get that enlarged, please, JP. -Chief? -Yes. | 0:37:56 | 0:37:59 | |
Found a couple of articles on Bounce, Jay Croker's modelling agency. | 0:37:59 | 0:38:04 | |
-It seems like they've had quite a lot of bad press. -Really? What for? | 0:38:04 | 0:38:07 | |
Erm, "A toxic culture in which young clients | 0:38:07 | 0:38:10 | |
"were encouraged and on some occasions bullied | 0:38:10 | 0:38:13 | |
"into taking extreme and dangerous measures to lose weight." | 0:38:13 | 0:38:16 | |
-And Zoe was part of all this? -She led the walk-out. | 0:38:16 | 0:38:19 | |
She openly criticised what was going on there | 0:38:19 | 0:38:22 | |
and took most of the clients with her to a different agency. | 0:38:22 | 0:38:24 | |
Which would explain why she was so annoyed with Eloise for taking Camadathol. | 0:38:24 | 0:38:27 | |
It seems Zoe was evidently more than just a pretty face, | 0:38:27 | 0:38:30 | |
a girl with quite a moral code. | 0:38:30 | 0:38:33 | |
And not scared of expressing her opinions about the less glamorous side of the industry. | 0:38:33 | 0:38:37 | |
To the extent that she caused Jay Croker's business to go bankrupt. | 0:38:37 | 0:38:41 | |
It says motive to me. | 0:38:41 | 0:38:43 | |
But Jay was photographing the show when Zoe was murdered. | 0:38:43 | 0:38:46 | |
-There's no way he could be our killer, he can't be in two places at the same time. -True. | 0:38:46 | 0:38:50 | |
Very true, but nonetheless why did he lie, Florence? Why lie? | 0:38:50 | 0:38:54 | |
I think it's time I had a chat with Mr Croker, don't you? | 0:38:54 | 0:38:57 | |
Come in. You'll have to excuse the mess. | 0:39:02 | 0:39:05 | |
Oh, mess and I are very old friends. | 0:39:05 | 0:39:09 | |
Oh, well... | 0:39:09 | 0:39:11 | |
Er...what's this? | 0:39:11 | 0:39:14 | |
It's a way of getting a very expensive looking effect on the cheap. | 0:39:14 | 0:39:18 | |
See, check this out. | 0:39:18 | 0:39:19 | |
A small aperture creates a rippled circular halo. | 0:39:24 | 0:39:28 | |
While a wider aperture creates a kind of psychedelic haze. | 0:39:28 | 0:39:32 | |
-It's all low-def, really, but effective. -Low-def? | 0:39:32 | 0:39:35 | |
And a fraction of the cost of an equivalent filter. | 0:39:35 | 0:39:39 | |
The extra cash must come in handy... | 0:39:41 | 0:39:43 | |
since you've been declared bankrupt. | 0:39:43 | 0:39:45 | |
JAY SIGHS | 0:39:45 | 0:39:47 | |
Why didn't you tell us that Zoe was signed to your agency...Bounce? | 0:39:47 | 0:39:53 | |
For a long time, I couldn't stand the sight of that girl. | 0:39:53 | 0:39:56 | |
On account of the walk-out of clients she instigated? | 0:39:56 | 0:39:58 | |
Oh, you've been doing your homework. | 0:39:58 | 0:40:01 | |
First of all, I had nothing to do with the way that agency ended up. | 0:40:01 | 0:40:04 | |
I didn't even know what was going on. | 0:40:04 | 0:40:07 | |
You weren't aware that young girls | 0:40:07 | 0:40:09 | |
that your company was supposedly looking after were becoming anorexic, bulimic? | 0:40:09 | 0:40:13 | |
I was hardly ever there. I was a silent partner, | 0:40:13 | 0:40:16 | |
no involvement apart from putting up half the money. | 0:40:16 | 0:40:20 | |
-If I'd known what was going on... -You would have put a stop to it? | 0:40:20 | 0:40:23 | |
Yes. Yes, of course I would. | 0:40:23 | 0:40:26 | |
Oh, hang on a minute. | 0:40:28 | 0:40:30 | |
-You're not accusing me of killing Zoe? -She made things public, you lost everything. | 0:40:31 | 0:40:35 | |
-That's one hell of a motive, Jay. -I'm not saying she didn't damage me, | 0:40:35 | 0:40:39 | |
but she did the right thing and I don't blame her. | 0:40:39 | 0:40:41 | |
But let's just say I did kill her. | 0:40:43 | 0:40:45 | |
How? I was out front photographing the show. | 0:40:47 | 0:40:52 | |
How? How did I do it? | 0:40:52 | 0:40:54 | |
-Ah, Chief. -Sir. -Yes. -I think you need to see this. | 0:40:56 | 0:41:00 | |
The enlarged section of the photograph you requested. My God! | 0:41:00 | 0:41:03 | |
In your wildest dreams did you ever imagine | 0:41:05 | 0:41:07 | |
that you would be looking at a photograph of the victim actually being killed? | 0:41:07 | 0:41:12 | |
Rosey was on the catwalk when it happened, | 0:41:15 | 0:41:18 | |
so we can rule her out as our killer. | 0:41:18 | 0:41:20 | |
-And Jay was out front. -Unwittingly taking a photograph of the murder as it happened. | 0:41:20 | 0:41:25 | |
-So it can't be him. -Correct. | 0:41:25 | 0:41:27 | |
So, as we originally suspected, | 0:41:27 | 0:41:29 | |
it has to be one of the three people in the marquee. Nelson, Eloise or Sadie? | 0:41:29 | 0:41:33 | |
-Sir? -Yes. -Remember I mentioned | 0:41:33 | 0:41:36 | |
Zoe and Sadie's friendship was on the strain? | 0:41:36 | 0:41:39 | |
A week ago, just before they left the UK for Saint Marie, | 0:41:39 | 0:41:43 | |
Zoe writes that Sadie had started to get even more intense, | 0:41:43 | 0:41:47 | |
to the extent that Sadie told Zoe she was in love with her. | 0:41:47 | 0:41:51 | |
-OK. And what, Zoe didn't feel the same? -No. | 0:41:51 | 0:41:55 | |
Two days later, she told Sadie they should spend less time together. | 0:41:55 | 0:41:58 | |
But it's not the first time this has gone on. | 0:41:58 | 0:42:01 | |
If you go back eight months, | 0:42:01 | 0:42:02 | |
exactly the same thing happened between them. | 0:42:02 | 0:42:05 | |
Sadie started getting close, getting clingy, and Zoe pushed her away. | 0:42:05 | 0:42:09 | |
But what's interesting in the last time this happened, | 0:42:09 | 0:42:12 | |
two days later Zoe received her first letter from the stalker. | 0:42:12 | 0:42:17 | |
Wait, you think that Sadie | 0:42:17 | 0:42:19 | |
was the one sending Zoe the stalker letters? | 0:42:19 | 0:42:22 | |
Excuse me. | 0:42:27 | 0:42:28 | |
Mind if we join you? | 0:42:28 | 0:42:31 | |
Thank you. Erm... | 0:42:31 | 0:42:33 | |
Yes, erm... | 0:42:33 | 0:42:34 | |
Er, we came across Zoe's diary. | 0:42:36 | 0:42:40 | |
It didn't tell us much we didn't already know, but what it did tell us is that you and her were very close. | 0:42:40 | 0:42:47 | |
-Good friends. -It can be quite a lonely business, I imagine. | 0:42:47 | 0:42:51 | |
-It must be nice when you meet someone you can get on with. -It's rare. | 0:42:51 | 0:42:55 | |
People can be quite cold. | 0:42:55 | 0:42:57 | |
I thought I'd got used to it. | 0:42:57 | 0:43:00 | |
Until you met Zoe. | 0:43:00 | 0:43:02 | |
Someone I could talk to, | 0:43:02 | 0:43:04 | |
who didn't judge me for being too thin or too fat, | 0:43:04 | 0:43:08 | |
too small or too tall. | 0:43:08 | 0:43:10 | |
Someone who liked me for being me. | 0:43:10 | 0:43:13 | |
Zoe said much the same in her diary. | 0:43:15 | 0:43:17 | |
I know you wanted a little bit more than friendship, | 0:43:20 | 0:43:25 | |
a little bit more than Zoe was prepared to give. | 0:43:25 | 0:43:27 | |
I can't talk about this. | 0:43:27 | 0:43:29 | |
Erm, excuse me. I'm sorry, but this is a murder enquiry and you are a suspect. Please, sit down. | 0:43:29 | 0:43:34 | |
When we first met, she asked me how I was. | 0:43:41 | 0:43:45 | |
Not who I was or what I'd done, | 0:43:45 | 0:43:48 | |
who I knew, what my day rate was, | 0:43:48 | 0:43:51 | |
-but how -I -was. | 0:43:51 | 0:43:53 | |
She took an interest, you know? | 0:43:53 | 0:43:55 | |
And I just...just fell for her. | 0:43:55 | 0:43:58 | |
I thought I could tell her anything. | 0:43:58 | 0:44:01 | |
-So I told her. -That you were in love with her? | 0:44:02 | 0:44:05 | |
But she...she didn't feel the same. | 0:44:05 | 0:44:09 | |
-Couldn't. -You wrote the stalker letters, didn't you? | 0:44:09 | 0:44:12 | |
You sent them because you felt you were losing her. | 0:44:12 | 0:44:15 | |
She was pushing you away, so you sent her those letters to scare her, | 0:44:15 | 0:44:20 | |
to make her feel frightened, | 0:44:20 | 0:44:22 | |
so that she would turn to someone for support. Turn to you. | 0:44:22 | 0:44:25 | |
I wanted her to know how much of a good friend I could be... | 0:44:26 | 0:44:31 | |
if she let me. | 0:44:31 | 0:44:33 | |
Now she's gone... | 0:44:33 | 0:44:36 | |
..and I can't tell her how sorry I am... | 0:44:37 | 0:44:40 | |
..and tell her how much I loved her, | 0:44:41 | 0:44:44 | |
because it's too late. | 0:44:44 | 0:44:46 | |
It's too late! | 0:44:48 | 0:44:50 | |
-What is it? -I... | 0:45:06 | 0:45:09 | |
I've got this one in one in a million photo of Zoe's murder, OK? | 0:45:09 | 0:45:12 | |
Brilliant. But it's these others ones, | 0:45:12 | 0:45:15 | |
the ones taken either side of the killer photo. | 0:45:15 | 0:45:19 | |
I...I don't know, there's something about them. | 0:45:19 | 0:45:23 | |
HUMPHREY SIGHS | 0:45:23 | 0:45:25 | |
Who killed Zoe? | 0:45:25 | 0:45:27 | |
How did they manage to do it and why was she holding | 0:45:27 | 0:45:30 | |
a 15-denier stocking in her left hand when we found her body? | 0:45:30 | 0:45:33 | |
Well, Chief, if you get the whiff of rum from that stocking, | 0:45:33 | 0:45:36 | |
my uncle Denis could be the prime suspect. He used to use | 0:45:36 | 0:45:39 | |
my auntie's old cast-offs to filter his bootleg booze. | 0:45:39 | 0:45:42 | |
LAUGHTER But how did he do that? | 0:45:42 | 0:45:45 | |
He used to wrap the stocking around a pipe in the still | 0:45:45 | 0:45:48 | |
to filter the sediments. | 0:45:48 | 0:45:50 | |
Yes, of course he did. | 0:45:50 | 0:45:52 | |
He doesn't do it any more, though. | 0:45:52 | 0:45:54 | |
He only did it once. | 0:45:54 | 0:45:56 | |
Yes, of course he did. | 0:45:56 | 0:45:59 | |
Stockings? No. | 0:45:59 | 0:46:00 | |
That's why she was holding a stocking! That is why! | 0:46:04 | 0:46:08 | |
Zoe's phone. | 0:46:08 | 0:46:10 | |
Which is all very well, but, erm, why? | 0:46:11 | 0:46:15 | |
Why? That is the question. | 0:46:15 | 0:46:18 | |
-A mobile phone number? -She called it two days ago. | 0:46:18 | 0:46:21 | |
Zoe was writing an article called Life In The Industry. | 0:46:23 | 0:46:26 | |
The drugs, of course! The drugs, the ones Eloise had! | 0:46:26 | 0:46:30 | |
-Excellent, JP. Get them tested for prints. Top priority! -Yes, Chief. | 0:46:30 | 0:46:34 | |
I want all the suspects at the hotel in one hour. | 0:46:36 | 0:46:39 | |
Good afternoon. | 0:46:43 | 0:46:45 | |
Thanks for coming. | 0:46:49 | 0:46:51 | |
HUMPHREY SIGHS | 0:46:51 | 0:46:53 | |
This case has introduced me to a world I knew very little about, | 0:46:54 | 0:46:57 | |
the world of fashion, a world where appearance is everything. | 0:46:57 | 0:47:01 | |
And that's what's at the heart of this case, how something looks. | 0:47:01 | 0:47:05 | |
An image. One image in particular. | 0:47:05 | 0:47:08 | |
ALL GASP | 0:47:13 | 0:47:15 | |
Yes, apologies. | 0:47:15 | 0:47:17 | |
I know how upsetting this must be. | 0:47:17 | 0:47:19 | |
Zoe's murder presented us with a bit of a puzzle. | 0:47:24 | 0:47:29 | |
How did one of you manage to kill her when you each had an alibi? | 0:47:29 | 0:47:34 | |
Nelson helping Sadie, Eloise on the phone to her agent, | 0:47:34 | 0:47:38 | |
Rosey on the catwalk, Jay taking photographs. | 0:47:38 | 0:47:41 | |
At one point, we thought it could've been Zoe's stalker, | 0:47:41 | 0:47:44 | |
but something about that didn't quite ring true. | 0:47:44 | 0:47:47 | |
-So, who did it? -Well, it could have been you. | 0:47:47 | 0:47:50 | |
A charge for assault on file, anger issues, Zoe had a bad attitude | 0:47:50 | 0:47:55 | |
and didn't show you the respect you think you deserved. More than enough motive. | 0:47:55 | 0:47:59 | |
-But that doesn't make me a murderer. -No. No, it doesn't. | 0:47:59 | 0:48:03 | |
Sadie, you got close to Zoe. | 0:48:03 | 0:48:06 | |
You even sent her letters meant to bring you closer together. | 0:48:06 | 0:48:10 | |
But how could you kill someone you so obviously loved? | 0:48:10 | 0:48:14 | |
Eloise, you shared a room with Zoe. | 0:48:15 | 0:48:18 | |
She found out about your drug use. | 0:48:18 | 0:48:20 | |
-Had she exposed you, you'd have lost everything. -I couldn't. | 0:48:20 | 0:48:24 | |
There's no way... | 0:48:25 | 0:48:27 | |
-I... -I know. | 0:48:27 | 0:48:30 | |
-Rosey. -It wasn't you because you were photographed on the catwalk | 0:48:30 | 0:48:34 | |
at the exact time the killer struck. | 0:48:34 | 0:48:36 | |
And Jay took the photographs, so it couldn't have been you. | 0:48:36 | 0:48:39 | |
Yes, or could it? | 0:48:41 | 0:48:43 | |
HUMPHREY LAUGHS | 0:48:43 | 0:48:44 | |
-How could I be in two places at the same time? -You couldn't. | 0:48:46 | 0:48:50 | |
But, like I said, this is all about image or how things appear to be. | 0:48:50 | 0:48:54 | |
And what if you could appear to be somewhere you weren't? | 0:48:54 | 0:48:58 | |
The photographs. | 0:49:00 | 0:49:02 | |
Your piece de resistance. | 0:49:02 | 0:49:04 | |
You couldn't possibly have killed Zoe, | 0:49:04 | 0:49:06 | |
because you captured the very second she was killed. | 0:49:06 | 0:49:08 | |
I don't understand. | 0:49:08 | 0:49:10 | |
Well, it's really rather simple. | 0:49:10 | 0:49:12 | |
You see, two days ago, Zoe programmed an alarm on her mobile phone - | 0:49:12 | 0:49:16 | |
um, a reminder to call her parents... | 0:49:16 | 0:49:18 | |
..and it got me thinking, you didn't actually need to be there | 0:49:19 | 0:49:23 | |
when the photographs were taken - | 0:49:23 | 0:49:25 | |
not if you programmed your camera to continue taking photographs | 0:49:25 | 0:49:30 | |
whilst you made your way into the marquee and murdered Zoe. | 0:49:30 | 0:49:33 | |
You simply set your camera to automatic mode, | 0:49:34 | 0:49:38 | |
and with the audience's attention above the catwalk, | 0:49:38 | 0:49:42 | |
you slipped beneath it unnoticed. | 0:49:42 | 0:49:44 | |
Without anyone being aware of what you were up to, | 0:49:46 | 0:49:49 | |
you made your way under the catwalk. | 0:49:49 | 0:49:52 | |
But one of us would have seen him. | 0:49:53 | 0:49:55 | |
Not if he had his timings right... | 0:49:55 | 0:49:57 | |
It takes two people to get someone into a dress? | 0:49:57 | 0:49:59 | |
Quite intricate. | 0:49:59 | 0:50:01 | |
..which he did. | 0:50:01 | 0:50:03 | |
Jay had total access to the backstage area during rehearsals. | 0:50:03 | 0:50:06 | |
I'm going to get some shots of the girls backstage, Nelson. | 0:50:06 | 0:50:09 | |
He knew where everyone was supposed to be, and when. | 0:50:09 | 0:50:11 | |
Nelson and Eloise helping Sadie into the dress, Rosie on the catwalk - | 0:50:11 | 0:50:15 | |
as it was, Eloise ended up outside the marquee | 0:50:15 | 0:50:18 | |
taking a phone call from her agent, | 0:50:18 | 0:50:20 | |
but that didn't upset things too much - | 0:50:20 | 0:50:22 | |
she, like the others, was still entirely oblivious | 0:50:22 | 0:50:24 | |
to Jay's presence inside that tent, | 0:50:24 | 0:50:26 | |
and with everyone in their place, | 0:50:26 | 0:50:29 | |
you had less than a minute to get backstage, kill Zoe, | 0:50:29 | 0:50:31 | |
make your way back out front again and recover your camera | 0:50:31 | 0:50:34 | |
and take the final shots of the night - | 0:50:34 | 0:50:36 | |
leaving it to look once more like no-one, | 0:50:36 | 0:50:39 | |
especially you, could possibly have got backstage to commit murder. | 0:50:39 | 0:50:44 | |
After that, you let the talk of Zoe's stalker back in England | 0:50:44 | 0:50:48 | |
misdirect us into thinking that's who our killer was... | 0:50:48 | 0:50:51 | |
There was something, you know. Zoe had some type of a stalker. | 0:50:51 | 0:50:54 | |
..except what you didn't know was, the letters that Zoe had been sent | 0:50:54 | 0:50:58 | |
weren't those of a crazed obsessive intent on harming her. | 0:50:58 | 0:51:03 | |
They were written by someone who only had Zoe's best interests at heart. | 0:51:03 | 0:51:06 | |
Someone who loved her. | 0:51:06 | 0:51:08 | |
Over 500 photographs, | 0:51:09 | 0:51:12 | |
one of them conveniently catching the killer in action, | 0:51:12 | 0:51:15 | |
giving you the perfect alibi. | 0:51:15 | 0:51:18 | |
I assume that was planned, Jay. | 0:51:18 | 0:51:20 | |
That you wanted us to find it. | 0:51:21 | 0:51:24 | |
It's rather audacious, really. | 0:51:24 | 0:51:27 | |
This... | 0:51:27 | 0:51:28 | |
..is the photograph we enlarged, | 0:51:30 | 0:51:32 | |
only to discover that within it was the image | 0:51:32 | 0:51:34 | |
of Zoe's actual murder taking place. | 0:51:34 | 0:51:38 | |
The other ten or so images are the ones that were taken around it, | 0:51:38 | 0:51:41 | |
and there was something about them that bothered me, | 0:51:41 | 0:51:43 | |
something that I couldn't quite get my head round, | 0:51:43 | 0:51:45 | |
and then it hit me - they were all framed identically. | 0:51:45 | 0:51:49 | |
The angle didn't change once. | 0:51:49 | 0:51:52 | |
And you presumed we'd never notice. | 0:51:52 | 0:51:54 | |
But unfortunately for you, we did. | 0:51:54 | 0:51:56 | |
And it was all thanks to this. | 0:51:56 | 0:51:58 | |
If it hadn't been for Officer Myers' dear old uncle Dennis | 0:52:00 | 0:52:02 | |
and his illegal booze still, we might never have got there. | 0:52:02 | 0:52:05 | |
You told me how you could slip a plastic bottle | 0:52:05 | 0:52:08 | |
over your camera lens to get a certain effect. | 0:52:08 | 0:52:11 | |
A budget-price photographer's trick to get the effect you wanted. | 0:52:11 | 0:52:15 | |
Well, I had a look on the internet. | 0:52:15 | 0:52:16 | |
There are others. | 0:52:16 | 0:52:18 | |
A stocking stretched across the lens | 0:52:18 | 0:52:21 | |
will create an effect known as a diffusion. | 0:52:21 | 0:52:25 | |
Quite well-known amongst the photographic fraternity. | 0:52:25 | 0:52:29 | |
And while Dwayne's uncle Dennis used to use his stocking | 0:52:29 | 0:52:31 | |
to filter alcohol... | 0:52:31 | 0:52:33 | |
..you used yours to filter light. | 0:52:34 | 0:52:38 | |
You see, I think you had the stocking in your pocket | 0:52:38 | 0:52:40 | |
when you murdered Zoe MacKay. | 0:52:40 | 0:52:42 | |
We'll need the memory card. | 0:52:42 | 0:52:44 | |
It's where you carry all the tools of your trade. | 0:52:44 | 0:52:48 | |
So, what reason would I have to kill Zoe? | 0:52:49 | 0:52:52 | |
Our killer discovered that Zoe was writing an article | 0:52:52 | 0:52:56 | |
for a prominent magazine about life as a model - | 0:52:56 | 0:53:00 | |
an expose, guaranteed to ruffle a few feathers. But whose feathers? | 0:53:00 | 0:53:04 | |
-SCOFFS: -This is... This is ridiculous. | 0:53:04 | 0:53:07 | |
Three days ago, Zoe fell out with Eloise, | 0:53:07 | 0:53:09 | |
when she discovered she was taking Camadathol. | 0:53:09 | 0:53:11 | |
We know that she led the march away from your agency | 0:53:11 | 0:53:14 | |
once she discovered that drug use was being encouraged. | 0:53:14 | 0:53:16 | |
That was two years ago - so why would I kill her now? | 0:53:16 | 0:53:19 | |
The day after she came to Saint Marie, | 0:53:19 | 0:53:22 | |
Zoe made a call to the dealer who supplied Eloise. | 0:53:22 | 0:53:24 | |
I assume that she somehow copied the number | 0:53:24 | 0:53:26 | |
when you weren't looking, Eloise - but why make that call here? | 0:53:26 | 0:53:30 | |
Why not do it in the UK? | 0:53:30 | 0:53:32 | |
After all, that's where the supply was. | 0:53:32 | 0:53:34 | |
Unless, of course, Zoe suspected the dealer was on the island. | 0:53:34 | 0:53:38 | |
Unless she thought the dealer was you. | 0:53:40 | 0:53:43 | |
See, we checked your mobile number, | 0:53:43 | 0:53:45 | |
and it didn't match up with the call Zoe had placed, | 0:53:45 | 0:53:48 | |
but that's because I think you've got two phones, Jay - | 0:53:48 | 0:53:50 | |
one for day-to-day stuff... | 0:53:50 | 0:53:52 | |
PHONE RINGS | 0:53:52 | 0:53:53 | |
..and one for business. Your drug trade. | 0:53:53 | 0:53:56 | |
I have absolutely no idea what you're talking about. | 0:53:57 | 0:53:59 | |
This is the number Zoe dialled. | 0:53:59 | 0:54:02 | |
PHONE RINGS | 0:54:06 | 0:54:09 | |
I think it's for you, Jay. | 0:54:10 | 0:54:11 | |
You blamed your former business partner for pushing drugs | 0:54:18 | 0:54:21 | |
onto the models at your agency, | 0:54:21 | 0:54:23 | |
but it was you, and Zoe knew that. | 0:54:23 | 0:54:26 | |
You stumbled across Zoe's laptop. | 0:54:26 | 0:54:28 | |
Where you last had it. | 0:54:28 | 0:54:30 | |
You realised that it was her that had caught you. | 0:54:30 | 0:54:32 | |
Discovered that she was about to expose you, | 0:54:32 | 0:54:34 | |
and destroy your reputation all over again. | 0:54:34 | 0:54:37 | |
But you weren't going to let that happen - not for a second time. | 0:54:37 | 0:54:41 | |
Because this time you were going to kill her. | 0:54:41 | 0:54:43 | |
You waited for your cue. | 0:54:43 | 0:54:45 | |
For Rosie to step onto the catwalk - and once she'd gone, | 0:54:45 | 0:54:48 | |
all you needed was for Zoe to return. | 0:54:48 | 0:54:50 | |
As you strangled her, | 0:54:52 | 0:54:54 | |
as she fought for her life, arms flailing, | 0:54:54 | 0:54:56 | |
I think she was reaching out, grabbing. | 0:54:56 | 0:54:59 | |
Without your knowledge, the stocking ended up in her clutch. | 0:55:00 | 0:55:03 | |
Caught out by a single stocking. | 0:55:08 | 0:55:10 | |
So close, Jay. | 0:55:10 | 0:55:12 | |
So close. | 0:55:14 | 0:55:15 | |
Mind your head. | 0:55:24 | 0:55:25 | |
Excuse me, do you have a moment? | 0:55:27 | 0:55:29 | |
Of course I do! | 0:55:29 | 0:55:31 | |
Sorry, I meant him. | 0:55:31 | 0:55:33 | |
Mm...? | 0:55:33 | 0:55:35 | |
I knew that. I was just teasing. | 0:55:35 | 0:55:37 | |
It's for you. | 0:55:37 | 0:55:39 | |
MUSIC: You Can Get It If You Really Want by Jimmy Cliff | 0:55:39 | 0:55:41 | |
I really wanted to say, but couldn't... | 0:55:41 | 0:55:44 | |
The time wasn't right, and... | 0:55:44 | 0:55:46 | |
That is, I didn't want to compromise you, or... | 0:55:46 | 0:55:50 | |
I wanted to ask if you are the same JP | 0:55:50 | 0:55:52 | |
that was in the year below me at school. | 0:55:52 | 0:55:54 | |
Were you the guy that left that flower for me | 0:55:57 | 0:55:58 | |
on that last day of term? | 0:55:58 | 0:56:00 | |
Wow, you remember that? | 0:56:00 | 0:56:02 | |
I thought it was really sweet. | 0:56:03 | 0:56:06 | |
I looked for you to say thank you, but you'd gone. | 0:56:06 | 0:56:09 | |
I didn't know where you lived, and now... | 0:56:09 | 0:56:11 | |
you're here! | 0:56:11 | 0:56:13 | |
Ahem... | 0:56:13 | 0:56:14 | |
Here I am! | 0:56:14 | 0:56:16 | |
She's giving him the brush-off. Look, she's going. | 0:56:16 | 0:56:19 | |
Cupid fires his arrow and the victim's dead in seconds. | 0:56:19 | 0:56:24 | |
Poor JP. | 0:56:24 | 0:56:27 | |
# You can get it if you really want | 0:56:27 | 0:56:31 | |
# You can get it if you really want... # | 0:56:31 | 0:56:33 | |
But his face and body language was screaming defeat and heartache. | 0:56:33 | 0:56:37 | |
-Looks can obviously be deceptive! -Mm. | 0:56:37 | 0:56:40 | |
-Great! -Good luck to him. | 0:56:41 | 0:56:44 | |
No, it's not about luck. It's about confidence. | 0:56:44 | 0:56:47 | |
And who'd have thought he'd have the confidence | 0:56:47 | 0:56:49 | |
to pull a woman like that? | 0:56:49 | 0:56:51 | |
Act normal, as if nothing happened. | 0:57:06 | 0:57:08 | |
JP looks like he's having a lot of fun. | 0:57:13 | 0:57:16 | |
They seem to be getting on really well. | 0:57:16 | 0:57:17 | |
Who would have thought, eh? | 0:57:17 | 0:57:19 | |
Maybe we should ask him for a few tips. | 0:57:19 | 0:57:21 | |
Well, not you, obviously. | 0:57:21 | 0:57:22 | |
You're having no trouble at all in that department, Chief. | 0:57:22 | 0:57:26 | |
Thought you might need this. | 0:57:26 | 0:57:28 | |
Thank you, Catherine. | 0:57:28 | 0:57:30 | |
HE SIGHS | 0:57:34 | 0:57:36 | |
-Same again? -Please. | 0:57:36 | 0:57:38 | |
Only this time I'll have it in a glass. | 0:57:38 | 0:57:40 | |
HE LAUGHS | 0:57:42 | 0:57:44 | |
She was obviously enjoying your company... | 0:57:44 | 0:57:47 | |
-until you... -Until - yes, we were getting on famously. | 0:57:47 | 0:57:50 | |
Then she asked me for the time. | 0:57:50 | 0:57:52 | |
Oh, well. Back to the drawing board. | 0:57:53 | 0:57:56 | |
-You'll get there. -Yes, one day. | 0:57:56 | 0:57:58 | |
One day. | 0:57:58 | 0:58:00 | |
Funny thing is, I don't even wear a watch. | 0:58:00 | 0:58:02 | |
I've known Cedric since I was 13 years old. | 0:58:04 | 0:58:07 | |
He thought I could do better and I believed him. | 0:58:07 | 0:58:10 | |
I put the phone in his coffin myself. | 0:58:10 | 0:58:13 | |
Why have only one pillow... | 0:58:13 | 0:58:16 | |
without a pillow case? | 0:58:16 | 0:58:18 | |
Someone held it over his face. | 0:58:18 | 0:58:20 | |
He WAS murdered. | 0:58:20 | 0:58:21 | |
I'm worried about Dwayne. | 0:58:21 | 0:58:23 | |
I've looked up to these men my whole life, | 0:58:23 | 0:58:26 | |
and I'm starting to wonder if I've got it all wrong. | 0:58:26 | 0:58:29 |