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Esther, don't forget to smile, please. | 0:00:29 | 0:00:33 | |
Do you have a drink? | 0:00:33 | 0:00:34 | |
Enjoy the gardens, the literary festival will be starting very soon. | 0:00:34 | 0:00:38 | |
It's funny because it's true. | 0:00:43 | 0:00:45 | |
-You did it, darling. -WE did it. | 0:00:48 | 0:00:51 | |
Would you give me an interview please? | 0:00:51 | 0:00:54 | |
Oh, this is my husband, Dr Oliver Wolf... | 0:00:54 | 0:00:56 | |
You know it's you they want, Professor. | 0:00:56 | 0:00:59 | |
Esther, can I get you a glass? | 0:01:03 | 0:01:06 | |
No, thanks. | 0:01:06 | 0:01:09 | |
It's a three-day celebration of Caribbean Literature | 0:01:09 | 0:01:11 | |
in all its forms. | 0:01:11 | 0:01:13 | |
Tours, readings, book signings. | 0:01:13 | 0:01:16 | |
APPLAUSE | 0:01:16 | 0:01:17 | |
And of course our star guest, Sylvie Baptiste. | 0:01:17 | 0:01:20 | |
-Welcome. -This is her family estate | 0:01:20 | 0:01:22 | |
and the setting of her most celebrated novel, The Flame Tree. | 0:01:22 | 0:01:27 | |
A pleasure to be hosting the first year of this wonderful festival. | 0:01:27 | 0:01:32 | |
APPLAUSE | 0:01:32 | 0:01:34 | |
-Oh, well, then! -After the reading, please. | 0:01:34 | 0:01:38 | |
Remind me not to invite you to my next party. | 0:01:38 | 0:01:42 | |
Esther? | 0:01:48 | 0:01:50 | |
I was wondering if you had had a chance | 0:01:50 | 0:01:52 | |
to think about our little chat? | 0:01:52 | 0:01:56 | |
I have and the answer is still no. | 0:01:58 | 0:02:01 | |
OK. We'll see. | 0:02:10 | 0:02:12 | |
POLITE APPLAUSE | 0:02:12 | 0:02:14 | |
Ladies and gents... | 0:02:15 | 0:02:17 | |
MIC FEEDBACK Ooh. | 0:02:17 | 0:02:19 | |
-Try again. -Ladies and gentlemen. | 0:02:23 | 0:02:25 | |
Welcome to the very first Saint-Marie Literature Festival. | 0:02:25 | 0:02:28 | |
To kick things off, we're starting with a talk from | 0:02:28 | 0:02:32 | |
Sylvie Baptiste's long-time editor and assistant, Patricia Lawrence. | 0:02:32 | 0:02:36 | |
APPLAUSE | 0:02:36 | 0:02:38 | |
Thank you, Anna. | 0:02:45 | 0:02:47 | |
When Donald and Iris first meet in The Flame Tree, | 0:02:47 | 0:02:51 | |
they are worlds apart... | 0:02:51 | 0:02:53 | |
Where did Esther go? | 0:02:53 | 0:02:55 | |
..and it's easy to see how the beauty not only of this island... | 0:02:55 | 0:02:58 | |
Maybe I should go and look for her. | 0:02:58 | 0:03:00 | |
No, no. Not now. | 0:03:00 | 0:03:01 | |
..but of the house where we are all gathered today inspired Sylvie Baptiste. | 0:03:01 | 0:03:07 | |
This estate is very much... | 0:03:07 | 0:03:09 | |
..it's in this sacred place that Donald learns | 0:03:13 | 0:03:17 | |
about the power of Obeah... | 0:03:17 | 0:03:20 | |
Sorry. | 0:03:20 | 0:03:21 | |
It's here that he buys a love spell, | 0:03:24 | 0:03:27 | |
one that will bind Iris to him, even against her will. | 0:03:27 | 0:03:31 | |
..throwing a red haze... | 0:03:45 | 0:03:48 | |
..the setting for Iris's attempted escape... | 0:03:48 | 0:03:51 | |
..when she first found the estate and got lost | 0:03:51 | 0:03:54 | |
exploring the many pathways that eventually lead to the ocean. | 0:03:54 | 0:04:00 | |
Let me read you the text at this point. | 0:04:00 | 0:04:03 | |
"Her heart was burning in her chest. | 0:04:03 | 0:04:06 | |
"She heard his voice in the garden behind her, | 0:04:06 | 0:04:09 | |
"calling her away from the cliffs, | 0:04:09 | 0:04:12 | |
"but she wanted to see over the cliff, | 0:04:12 | 0:04:14 | |
"over the water, all the way to the horizon and beyond it." | 0:04:14 | 0:04:19 | |
WAVES CRASH | 0:04:19 | 0:04:21 | |
HE WHISTLES | 0:04:53 | 0:04:56 | |
PHONE BLEEPS | 0:05:07 | 0:05:09 | |
Never realised the Commissioner's reports were so much fun, Sir. | 0:05:23 | 0:05:26 | |
He's had that smile on his face all week. | 0:05:26 | 0:05:28 | |
Just like my granny when she'd been at the rum. | 0:05:28 | 0:05:30 | |
Do we take it things are going well with Martha? | 0:05:30 | 0:05:33 | |
Could say that, Florence. Could say that. | 0:05:33 | 0:05:36 | |
She's moving in for the rest of her stay. | 0:05:38 | 0:05:40 | |
-Nice one, Chief! -Yes. | 0:05:40 | 0:05:42 | |
-So when is she planning to move in? -Hello? | 0:05:42 | 0:05:44 | |
End of the week, Florence. When she returns from Montserrat. | 0:05:44 | 0:05:47 | |
Actually, I could do with a hand at the shack, | 0:05:47 | 0:05:49 | |
I need to clear out some junk. Make it into more of a... | 0:05:49 | 0:05:52 | |
-Love shack?! -Thank you very much. | 0:05:52 | 0:05:54 | |
HE CLEARS HIS THROAT | 0:05:54 | 0:05:56 | |
Sir, body of a young woman's just been found | 0:05:56 | 0:05:59 | |
on the beach of the Malbonne estate. | 0:05:59 | 0:06:01 | |
Malbonne? | 0:06:01 | 0:06:03 | |
That's Sylvie Baptiste's home... | 0:06:03 | 0:06:06 | |
So who is Sylvie Baptiste? | 0:06:07 | 0:06:09 | |
She wrote a novel we all studied at school. | 0:06:09 | 0:06:12 | |
-Set on Saint-Marie. -The Flame Tree? -You've read it? | 0:06:12 | 0:06:15 | |
Heard of it, of course, but I had no idea it was set on the island. | 0:06:15 | 0:06:18 | |
It's about an Englishman who falls in love with an islander, | 0:06:18 | 0:06:21 | |
Iris, a former slave. | 0:06:21 | 0:06:23 | |
He marries her against her will and when she realises | 0:06:23 | 0:06:27 | |
she's enslaved again, in a different way, she kills herself. | 0:06:27 | 0:06:31 | |
-How? -She jumps from the cliffs. | 0:06:31 | 0:06:34 | |
Well, the paramedics say her injuries are consistent with | 0:06:41 | 0:06:44 | |
a fall from this height. | 0:06:44 | 0:06:45 | |
JP's up on the clifftop near where she fell, cordoning it off. | 0:06:45 | 0:06:48 | |
Do we know who she is? | 0:06:48 | 0:06:50 | |
Her name's Esther Monroe, a PhD student currently living in England. | 0:06:50 | 0:06:54 | |
-Esther Monroe? -Mm-hmm. | 0:06:54 | 0:06:56 | |
I went to school with her. | 0:07:05 | 0:07:07 | |
Really? Was she a friend? | 0:07:07 | 0:07:09 | |
For a while. | 0:07:09 | 0:07:11 | |
But she and her family moved to England when we were teenagers, | 0:07:11 | 0:07:14 | |
a long time ago. | 0:07:14 | 0:07:16 | |
Well, I'm sorry, Florence. Are you OK to carry on? | 0:07:16 | 0:07:19 | |
Sure. Of course. | 0:07:20 | 0:07:22 | |
So, who found the body? | 0:07:22 | 0:07:25 | |
Her tutor, Anna Wolf, and her husband Oliver. | 0:07:25 | 0:07:27 | |
They went looking for her after she went missing from an event | 0:07:27 | 0:07:30 | |
-up at the house. -An event? -Literary festival. | 0:07:30 | 0:07:33 | |
You know, readings, lectures, you know, things like that. | 0:07:33 | 0:07:36 | |
If you can call that a festival. | 0:07:36 | 0:07:39 | |
So, watch smashed and stopped at 1.25, | 0:07:39 | 0:07:42 | |
so I think we can call that time of death. | 0:07:42 | 0:07:44 | |
Do we know how old she would've been? | 0:07:44 | 0:07:46 | |
She was a year below me, so, 26. | 0:07:46 | 0:07:50 | |
So young. OK, Dwayne. We can release the body. | 0:07:50 | 0:07:54 | |
Then let's take a look up top. | 0:07:54 | 0:07:57 | |
-Morning, JP. -Morning, Sir. Sarge. | 0:08:03 | 0:08:06 | |
So, in the novel, this is where Iris jumped from, right? | 0:08:07 | 0:08:11 | |
It's become a bit of a tourist destination. | 0:08:11 | 0:08:14 | |
You've all read it, I suppose? | 0:08:14 | 0:08:16 | |
Of course, Sir. It's required reading at school. | 0:08:16 | 0:08:19 | |
I can't imagine anyone growing up on this island having not read it. | 0:08:19 | 0:08:22 | |
And that includes me, Chief. It's one of my favourites. | 0:08:22 | 0:08:26 | |
Really? Sounds like I've got some catching up to do. | 0:08:26 | 0:08:28 | |
Right, JP, what've you got? | 0:08:28 | 0:08:30 | |
Well, Sir, The victim's bag was found just here. | 0:08:30 | 0:08:32 | |
I've gone through it. Nothing out of the ordinary. | 0:08:32 | 0:08:35 | |
Purse, pen, diary, laptop cable. And then... | 0:08:35 | 0:08:39 | |
this. | 0:08:39 | 0:08:41 | |
"To My Family. I'm so sorry. | 0:08:45 | 0:08:47 | |
"I tried but I couldn't do it any longer. Please forgive me. | 0:08:47 | 0:08:50 | |
"I love you. Esther." | 0:08:50 | 0:08:52 | |
Poor Esther. | 0:08:55 | 0:08:57 | |
Yes. Strange, isn't it? | 0:08:57 | 0:09:00 | |
-What is? -That she chose to write that letter on a computer, | 0:09:00 | 0:09:03 | |
print it and then sign it. | 0:09:03 | 0:09:05 | |
Seems somewhat impersonal, rather formal, wouldn't you say? | 0:09:05 | 0:09:08 | |
Montblanc fountain pen. | 0:09:10 | 0:09:12 | |
These aren't cheap. | 0:09:12 | 0:09:14 | |
Is something troubling you, Sir? | 0:09:20 | 0:09:22 | |
Well there is a bit, JP, if I'm honest. | 0:09:22 | 0:09:25 | |
It's that suicide note. It doesn't quite make sense. | 0:09:25 | 0:09:28 | |
That it wasn't handwritten? | 0:09:28 | 0:09:29 | |
Yes, that. But also that Esther's signature is written in Biro. | 0:09:29 | 0:09:33 | |
Esther uses a rather expensive fountain pen to write all her | 0:09:33 | 0:09:36 | |
appointments in her diary. | 0:09:36 | 0:09:37 | |
But when it comes to signing her final letter to her family, | 0:09:37 | 0:09:40 | |
she plumps for a Biro. | 0:09:40 | 0:09:42 | |
Like I say, strange, isn't it? | 0:09:42 | 0:09:45 | |
So, Chief, there were around about 100 guests here today. | 0:09:54 | 0:09:58 | |
Anna Wolf is pretty sure Esther didn't have any contact with | 0:09:58 | 0:10:00 | |
any of them until they arrived here this morning. | 0:10:00 | 0:10:02 | |
OK then, talk to the other guests, | 0:10:02 | 0:10:04 | |
confirm whether Anna's right about that. | 0:10:04 | 0:10:06 | |
Also, the laptop cable we found in Esther's bag would imply she has a laptop. | 0:10:06 | 0:10:09 | |
-See if you can find it hereabout. -Chief. | 0:10:09 | 0:10:11 | |
DI Humphrey Goodman. DS Florence Cassell. | 0:10:15 | 0:10:18 | |
I understand you both found Esther? | 0:10:18 | 0:10:21 | |
Do you have any idea what happened? Was it accidental? | 0:10:21 | 0:10:25 | |
-We found a note. -Oh, God. | 0:10:25 | 0:10:27 | |
I know this is a difficult time, but I need to ask a few questions. | 0:10:27 | 0:10:30 | |
When did you last all see Esther alive? | 0:10:32 | 0:10:34 | |
I noticed her leaving the garden, at about... | 0:10:34 | 0:10:38 | |
Quarter past one. | 0:10:38 | 0:10:40 | |
-You're sure? -Quite sure. I was on stage... | 0:10:42 | 0:10:44 | |
-about to start my talk. -I saw her then too. -So did I. | 0:10:44 | 0:10:46 | |
Leaving the garden alone? | 0:10:46 | 0:10:48 | |
Yeah. | 0:10:48 | 0:10:51 | |
And where were you all for the next ten minutes? | 0:10:51 | 0:10:53 | |
In the audience listening to Patricia. All of us were. | 0:10:53 | 0:10:57 | |
Can you tell me about how Esther seemed over the last few days? | 0:10:57 | 0:11:00 | |
Her mood, behaviour? | 0:11:00 | 0:11:02 | |
She'd barely left her hotel room - since we arrived five days ago. | 0:11:02 | 0:11:06 | |
Do you know why? | 0:11:06 | 0:11:07 | |
She was working late every night on a new chapter of her thesis. | 0:11:07 | 0:11:10 | |
It was on The Flame Tree. | 0:11:10 | 0:11:12 | |
She was doing some research here on the island. | 0:11:12 | 0:11:14 | |
What sort of research? | 0:11:14 | 0:11:15 | |
She hadn't shared it with me yet. It was obviously preoccupying her. | 0:11:15 | 0:11:18 | |
-Obsessing her, even. -Really? | 0:11:18 | 0:11:21 | |
Esther was a very dedicated student. Cared about her work. | 0:11:22 | 0:11:27 | |
Perhaps a little too much. | 0:11:27 | 0:11:29 | |
Did you have any contact with Esther? | 0:11:30 | 0:11:32 | |
She was here yesterday, helping me with the festival admin. | 0:11:32 | 0:11:35 | |
Printing the programmes, setting up the equipment. | 0:11:35 | 0:11:39 | |
And, Sylvie, did you speak to her then? | 0:11:39 | 0:11:42 | |
Yesterday, no more than a word or two. | 0:11:42 | 0:11:45 | |
Didn't she go to see you on Thursday, to interview you? | 0:11:45 | 0:11:48 | |
She did and we spoke a little more then. | 0:11:50 | 0:11:54 | |
What did she want to talk about? | 0:11:54 | 0:11:56 | |
Oh, my writing. She had some research questions. | 0:11:56 | 0:11:59 | |
Like Anna said, I did notice she seemed a little tense. | 0:11:59 | 0:12:03 | |
-Do you know why? -I have no idea. | 0:12:03 | 0:12:06 | |
Presumably she was already planning to throw herself off my cliff. | 0:12:06 | 0:12:10 | |
Mmm. | 0:12:12 | 0:12:14 | |
And you say you were still all present at Patricia's talk at 1.25. | 0:12:14 | 0:12:17 | |
Are there other guests who can confirm this? | 0:12:17 | 0:12:19 | |
Ask anyone else in the audience. | 0:12:19 | 0:12:21 | |
There were 100 people here and we were sitting in the front row. | 0:12:21 | 0:12:24 | |
But Esther jumped, didn't she? She wasn't... | 0:12:25 | 0:12:28 | |
Well, we're not ruling anything out just yet. | 0:12:28 | 0:12:30 | |
OK, thank you. | 0:12:33 | 0:12:35 | |
We'll be in touch with any further questions. Bye. | 0:12:35 | 0:12:38 | |
-Sir? -Yes. | 0:12:42 | 0:12:44 | |
We looked around and there's no sign of Esther's laptop. | 0:12:44 | 0:12:46 | |
-Mm-hmm. -And we've spoken to most of the other guests. | 0:12:46 | 0:12:48 | |
And it's true - they only know Esther from meeting her after they | 0:12:48 | 0:12:51 | |
arrived earlier this morning. | 0:12:51 | 0:12:52 | |
Listen, a couple noticed Esther leaving the grounds | 0:12:52 | 0:12:54 | |
during Patricia Lawrence's talk. | 0:12:54 | 0:12:56 | |
Any of them notice anyone following Esther? | 0:12:56 | 0:12:58 | |
Apparently everyone remained in their seat for the duration of the talk. | 0:12:58 | 0:13:01 | |
What are you thinking, Sir? | 0:13:03 | 0:13:05 | |
Well I'm thinking that if, as I suspect, | 0:13:05 | 0:13:06 | |
that suicide note was faked and Esther was pushed to her death. | 0:13:06 | 0:13:09 | |
Then, as there seem to be only four people at the festival who | 0:13:09 | 0:13:12 | |
knew her, it has to be one of them that did it. | 0:13:12 | 0:13:14 | |
But Chief, if they were all in full view when it happened, | 0:13:14 | 0:13:16 | |
-it can't be, can it? -No, Dwayne. It can't. | 0:13:16 | 0:13:19 | |
You're right. | 0:13:19 | 0:13:20 | |
We need to get that note dusted for prints as soon as possible. | 0:13:20 | 0:13:23 | |
Also, Dwayne, JP, find out if there was anyone else present | 0:13:23 | 0:13:26 | |
on the estate at the time of death, apart from the guests, I mean. | 0:13:26 | 0:13:29 | |
Any staff, neighbours, anyone who may have witnessed anything. | 0:13:29 | 0:13:32 | |
Also, there's a small bungalow over there, I noticed. | 0:13:32 | 0:13:34 | |
Might be worth checking out. | 0:13:34 | 0:13:35 | |
In the meantime, Florence, let's take a look at Esther's hotel room. | 0:13:35 | 0:13:38 | |
If she's pretty much been holed up there since she arrived on | 0:13:38 | 0:13:41 | |
Saint-Marie, then it might give us a clearer idea about what she's been up to this last week. | 0:13:41 | 0:13:45 | |
Good idea, Sir. | 0:13:45 | 0:13:46 | |
Oh, and we should call Esther's parents. | 0:13:46 | 0:13:48 | |
Of course we will. And again, I am so sorry. | 0:13:54 | 0:13:58 | |
We'll speak soon. Bye. | 0:13:58 | 0:14:00 | |
How were they? | 0:14:00 | 0:14:02 | |
Shocked and devastated, of course, | 0:14:02 | 0:14:04 | |
but they refused to believe Esther would kill herself. | 0:14:04 | 0:14:07 | |
They were aware she was stressed by her studies. | 0:14:07 | 0:14:10 | |
But not to the extent she... | 0:14:10 | 0:14:11 | |
Well, that tallies with our thinking. | 0:14:11 | 0:14:14 | |
The receptionist says she saw Esther arguing with | 0:14:14 | 0:14:16 | |
a male English guest two nights ago. | 0:14:16 | 0:14:18 | |
Sounded like Oliver Wolf, from her description. | 0:14:18 | 0:14:20 | |
We should get in touch with Esther's university - see if they can offer | 0:14:20 | 0:14:23 | |
us any insight into her relationship with Professor and Doctor Wolf. | 0:14:23 | 0:14:27 | |
DOOR OPENS | 0:14:27 | 0:14:29 | |
Looks like she really was burning the midnight oil... | 0:14:31 | 0:14:34 | |
What a mess, right, let's see if Esther's laptop is here. | 0:14:35 | 0:14:40 | |
Strange. She left her phone here. | 0:14:45 | 0:14:48 | |
These look like notes for her thesis. | 0:14:54 | 0:14:57 | |
We used to love collecting shells as kids. | 0:15:05 | 0:15:07 | |
We used to go to the beach after school. | 0:15:07 | 0:15:09 | |
And then she moved to England? Did you stay in touch? | 0:15:09 | 0:15:13 | |
Yeah. Wrote a few times, but that was it. | 0:15:13 | 0:15:16 | |
Until today, I haven't thought about her for years. | 0:15:16 | 0:15:20 | |
Anything on her phone? | 0:15:21 | 0:15:23 | |
I've only had a quick look through, | 0:15:23 | 0:15:25 | |
but it seems to me that Esther liked to keep herself to herself. | 0:15:25 | 0:15:28 | |
Hardly any personal texts or photos, even. | 0:15:28 | 0:15:31 | |
There's no sign of her laptop either, is there? | 0:15:31 | 0:15:33 | |
No, there isn't. Someone's taken it, haven't they? | 0:15:33 | 0:15:36 | |
-Why? -I don't know, Florence. | 0:15:36 | 0:15:40 | |
But as we now not only have a suspicious suicide note, | 0:15:40 | 0:15:42 | |
but also a laptop that's gone missing, | 0:15:42 | 0:15:44 | |
I'm sorry to say that we're treating Esther's death as murder. | 0:15:44 | 0:15:47 | |
Oh, I have never been to the Baptiste estate before, Dwayne. | 0:15:50 | 0:15:53 | |
Me neither. | 0:15:53 | 0:15:55 | |
Yes, to think this is where the book actually takes place, you know, | 0:15:55 | 0:15:58 | |
it really brings it to life, don't you think? | 0:15:58 | 0:16:01 | |
Oh, yes, JP. | 0:16:01 | 0:16:02 | |
I'm seeing it very much in a new light now. | 0:16:02 | 0:16:05 | |
What's your favourite part of the book, Dwayne? | 0:16:05 | 0:16:08 | |
Honore Police. Can you open up, please? | 0:16:08 | 0:16:11 | |
You know what, JP, I don't think there's anyone at home, you know. | 0:16:11 | 0:16:15 | |
Wait a minute, Dwayne. | 0:16:15 | 0:16:17 | |
Oh! Good afternoon, madam. | 0:16:23 | 0:16:26 | |
We're investigating an incident that's taken place near here. | 0:16:26 | 0:16:29 | |
Did you happen to see a young woman, early 20s, | 0:16:29 | 0:16:32 | |
heading towards the cliff at about 1.15 today? | 0:16:32 | 0:16:35 | |
Sorry. No. | 0:16:35 | 0:16:38 | |
Do you live here alone? Excuse me! | 0:16:38 | 0:16:41 | |
Can we take your name...? | 0:16:41 | 0:16:43 | |
Nice to meet you, too! Some people, eh? | 0:16:43 | 0:16:48 | |
JP? | 0:16:52 | 0:16:54 | |
Well, it does look like the same handwriting to me. | 0:16:56 | 0:16:59 | |
But then it could just be a good forgery. | 0:16:59 | 0:17:01 | |
-It's not hard to do. -Sir? -Yes? | 0:17:01 | 0:17:04 | |
I've just spoken to the dean of the university. | 0:17:04 | 0:17:07 | |
He said Esther had made an appointment with the union welfare officer. | 0:17:07 | 0:17:11 | |
He didn't know why but I've asked her to get in touch. | 0:17:11 | 0:17:14 | |
Mm-hmm. So our victim dies in an apparent suicide. | 0:17:14 | 0:17:17 | |
She'd been on the island five days and we've established | 0:17:17 | 0:17:19 | |
she only had contact with four people. They were... | 0:17:19 | 0:17:23 | |
Professor Anna Wolf, 44, Esther's tutor | 0:17:23 | 0:17:26 | |
and head of the English faculty at Esther's university. | 0:17:26 | 0:17:29 | |
The dean spoke very highly of her. | 0:17:29 | 0:17:32 | |
Seems to be the star of her department. Married to... | 0:17:32 | 0:17:36 | |
Oliver Wolf, 43. | 0:17:36 | 0:17:37 | |
An academic too, but we can't find much about him online. | 0:17:37 | 0:17:40 | |
Hasn't published anything for some years, it seems. | 0:17:40 | 0:17:42 | |
Sylvie Baptiste, 66. | 0:17:42 | 0:17:44 | |
Big-deal novelist, lived on Saint-Marie all her life, | 0:17:44 | 0:17:47 | |
and Patricia Lawrence, 46, lives at the estate. | 0:17:47 | 0:17:50 | |
Originally from Lewisham in the UK. | 0:17:50 | 0:17:52 | |
How long has she been here? | 0:17:52 | 0:17:54 | |
25 years. | 0:17:54 | 0:17:55 | |
Apparently she came here whilst travelling, | 0:17:55 | 0:17:57 | |
got a temporary job as Sylvie's assistant and ended up staying. | 0:17:57 | 0:18:00 | |
And the woman in the bungalow, did she give a name? | 0:18:00 | 0:18:03 | |
Name? She slammed the door in my face. | 0:18:03 | 0:18:06 | |
Seemed very reluctant to talk to us. | 0:18:06 | 0:18:08 | |
Suspiciously so? | 0:18:08 | 0:18:09 | |
I don't think so, Sir. There's something about her. | 0:18:09 | 0:18:12 | |
-She didn't seem well, you know? -OK, well, call Patricia. | 0:18:12 | 0:18:15 | |
PHONE RINGS | 0:18:15 | 0:18:16 | |
See if she can tell us who lives there. | 0:18:16 | 0:18:18 | |
Right, Dwayne, get the suicide note fingerprinted. | 0:18:18 | 0:18:20 | |
And get in touch with Esther's internet provider. | 0:18:20 | 0:18:22 | |
See what her e-mails show up. | 0:18:22 | 0:18:24 | |
Also check with immigration and find out about Sylvie | 0:18:24 | 0:18:27 | |
and Patricia's travels over the last few years. | 0:18:27 | 0:18:29 | |
See if there's any chance that either of them may have | 0:18:29 | 0:18:32 | |
crossed paths with Esther before. | 0:18:32 | 0:18:33 | |
Chief. | 0:18:33 | 0:18:35 | |
Sir, that was the university welfare officer. | 0:18:35 | 0:18:38 | |
Apparently Esther had reported a case of sexual harassment... | 0:18:38 | 0:18:43 | |
against Oliver Wolf. | 0:18:43 | 0:18:46 | |
It comes with the territory, the odd flirtation. | 0:18:47 | 0:18:50 | |
Nothing more than that. | 0:18:50 | 0:18:52 | |
What exactly happened between you? | 0:18:53 | 0:18:55 | |
Well, it was at a seminar recently, | 0:18:55 | 0:19:00 | |
drank too much red wine. | 0:19:00 | 0:19:01 | |
We ended up kissing. | 0:19:01 | 0:19:03 | |
Look, these girls are young, they're hormonal, | 0:19:04 | 0:19:07 | |
if you're halfway decent-looking and under 50 - they do flirt. | 0:19:07 | 0:19:12 | |
HUMPHREY CHUCKLES | 0:19:12 | 0:19:13 | |
Yes, thing is, Oliver, | 0:19:13 | 0:19:15 | |
we just spoke to the union welfare officer at your university. | 0:19:15 | 0:19:18 | |
They told us that Esther's version of that seminar is rather | 0:19:18 | 0:19:21 | |
different from yours. You were the one drunk. | 0:19:21 | 0:19:24 | |
You were the one who cornered her in your office, | 0:19:24 | 0:19:26 | |
and the next morning Esther made an appointment to report you for sexual harassment. | 0:19:26 | 0:19:29 | |
But I think you already know that, don't you? | 0:19:29 | 0:19:33 | |
We spoke to the receptionist at your hotel. | 0:19:33 | 0:19:35 | |
She said she saw you and Esther arguing - two nights before she died. | 0:19:35 | 0:19:39 | |
I had... | 0:19:39 | 0:19:41 | |
nothing to do with her death. | 0:19:41 | 0:19:44 | |
What were you and her arguing about? | 0:19:44 | 0:19:45 | |
I was just trying to get her to be reasonable. | 0:19:48 | 0:19:50 | |
Had she threatened to tell your wife? | 0:19:50 | 0:19:52 | |
After all, Anna was her tutor. | 0:19:52 | 0:19:53 | |
I swear, I was only going there... | 0:19:53 | 0:19:55 | |
Perhaps you wanted to shut Esther up before she could do any more damage! | 0:19:55 | 0:19:58 | |
Anna knew! | 0:19:58 | 0:19:59 | |
Anna always knows. | 0:20:00 | 0:20:02 | |
She turns a blind eye. | 0:20:02 | 0:20:04 | |
Why on earth would she do that? | 0:20:04 | 0:20:06 | |
Because I've sacrificed everything for her! | 0:20:06 | 0:20:08 | |
She's the star academic, her career always comes first, | 0:20:08 | 0:20:11 | |
while I'm the one who rubs her feet, | 0:20:11 | 0:20:12 | |
does the laundry and makes sure there's food in the fridge. | 0:20:12 | 0:20:15 | |
And in return she allows you a few discreet...dalliances? | 0:20:15 | 0:20:18 | |
Yes. | 0:20:18 | 0:20:20 | |
It may seem a little dysfunctional to you, Inspector, | 0:20:23 | 0:20:26 | |
but it works for us. | 0:20:26 | 0:20:28 | |
Except, with Esther making a complaint - things had become | 0:20:28 | 0:20:31 | |
-slightly less discreet, hadn't they? -I suppose so. | 0:20:31 | 0:20:35 | |
Which makes me wonder how Anna felt about it all. Huh? | 0:20:38 | 0:20:42 | |
He told us you knew all about it. | 0:20:49 | 0:20:51 | |
Of course I didn't. | 0:20:51 | 0:20:53 | |
He told us you had a deal. About you turning a blind eye. | 0:20:53 | 0:20:55 | |
Of course you couldn't turn a blind eye to that, could you? | 0:20:55 | 0:20:58 | |
I mean, he'd pushed it too far, wrecked your cosy agreement. | 0:20:58 | 0:21:00 | |
I mean, a few discreet affairs, fine, but a sexual harassment charge? | 0:21:00 | 0:21:03 | |
I mean, that would really take the shine off the university's golden couple. | 0:21:03 | 0:21:07 | |
I had no idea about this "charge". | 0:21:07 | 0:21:08 | |
OK. Florence, call Ms Hoskins, would you? | 0:21:08 | 0:21:11 | |
See if she can clear this up for us. | 0:21:11 | 0:21:12 | |
Wait! | 0:21:14 | 0:21:16 | |
Look, he...he wasn't meant to go after students! | 0:21:18 | 0:21:23 | |
It was only ever meant to be women I didn't know, | 0:21:23 | 0:21:25 | |
things I would never have to hear about, | 0:21:25 | 0:21:28 | |
but of course Ollie couldn't resist a girl like Esther. | 0:21:28 | 0:21:30 | |
I'm sure he saw her as a challenge. | 0:21:30 | 0:21:33 | |
So you knew Esther had reported him? | 0:21:33 | 0:21:34 | |
Yes, I knew. | 0:21:34 | 0:21:37 | |
And it was only a matter of time before something like this happened. | 0:21:37 | 0:21:40 | |
I thought it was a good deal, | 0:21:40 | 0:21:42 | |
that I needed his support in my career, | 0:21:42 | 0:21:45 | |
but the truth is, I could've coped on my own. | 0:21:45 | 0:21:49 | |
Then, why let him get away with it? | 0:21:49 | 0:21:51 | |
Because I loved him. Idiotic, I know. | 0:21:53 | 0:21:57 | |
You don't think that I had anything to do with Esther's death, do you? | 0:21:59 | 0:22:03 | |
Well, you can see how it looks. | 0:22:03 | 0:22:04 | |
She was a threat to your marriage and your career. | 0:22:04 | 0:22:07 | |
My marriage is over. | 0:22:07 | 0:22:08 | |
It has been for a long time. | 0:22:10 | 0:22:12 | |
Now, our victim was on the cusp of reporting Oliver Wolf | 0:22:18 | 0:22:22 | |
to the university authorities for sexual harassment. | 0:22:22 | 0:22:24 | |
Which means that both he and his wife had a great deal to lose. | 0:22:24 | 0:22:28 | |
Either - or indeed both of them - had reason to kill her. | 0:22:28 | 0:22:31 | |
Yeah, but as they were sat next to each other in the front row | 0:22:31 | 0:22:34 | |
during Patricia Lawrence's talk at the exact moment Esther died... | 0:22:34 | 0:22:38 | |
In theory, neither of them could have done it. | 0:22:38 | 0:22:42 | |
Dwayne. How're you getting on? | 0:22:42 | 0:22:44 | |
-Well, Chief, I've fingerprinted the suicide note. -And? | 0:22:44 | 0:22:47 | |
I'm afraid only Esther's prints are on it. | 0:22:47 | 0:22:50 | |
I also checked with Immigration. | 0:22:50 | 0:22:52 | |
Seems Sylvie and Patricia travel a lot, all over the world. | 0:22:52 | 0:22:55 | |
The life of a celebrated novelist, eh? | 0:22:55 | 0:22:57 | |
Whilst Patricia's never been back to the UK, Sylvie's made four | 0:22:57 | 0:23:01 | |
trips there in the last seven years for other literary festivals. | 0:23:01 | 0:23:03 | |
But after a quick check, Esther wasn't in attendance at any of them. | 0:23:03 | 0:23:07 | |
So it's highly unlikely they met prior to Esther's arrival on the island. | 0:23:07 | 0:23:11 | |
Thank you, Dwayne. | 0:23:11 | 0:23:12 | |
JP, anything of interest from our victim's e-mail account? | 0:23:12 | 0:23:15 | |
Well, I've looked back over the last six months | 0:23:15 | 0:23:18 | |
and there are four e-mails sent to Patricia Lawrence | 0:23:18 | 0:23:21 | |
requesting an interview with Sylvie Baptiste. | 0:23:21 | 0:23:23 | |
All politely refused. Esther pretty much... | 0:23:23 | 0:23:26 | |
Keeps herself to herself. Yes, well that's the impression we got. | 0:23:26 | 0:23:28 | |
Oh, also, I left a message for Patricia to call | 0:23:28 | 0:23:32 | |
me back about whoever lives in that bungalow. | 0:23:32 | 0:23:34 | |
But in the meantime, | 0:23:34 | 0:23:35 | |
I checked the Electoral Register - and the owner is Sylvie Baptiste. | 0:23:35 | 0:23:38 | |
-No occupier registered. -How odd. | 0:23:38 | 0:23:42 | |
Chase Patricia - we need to find out who her mysterious tenant is. | 0:23:42 | 0:23:44 | |
-Yes, sir. -But do it first thing in the morning. It's getting on. | 0:23:44 | 0:23:47 | |
We should call it a day. | 0:23:47 | 0:23:49 | |
I'd also like to pop into the library before it closes, | 0:23:49 | 0:23:52 | |
get a copy of The Flame Tree to read, | 0:23:52 | 0:23:55 | |
but if anyone fancies a beer after I've done that... | 0:23:55 | 0:23:57 | |
Chief is buying. | 0:23:57 | 0:23:59 | |
That's very good of you, Chief. | 0:23:59 | 0:24:01 | |
Yes, well, I'd like to pick your brains about Sylvie's novel. | 0:24:01 | 0:24:03 | |
As you've all read it. | 0:24:03 | 0:24:05 | |
Of course! | 0:24:05 | 0:24:06 | |
Florence? Beer, maybe? | 0:24:06 | 0:24:09 | |
I just want to finish going through Esther's notes. | 0:24:09 | 0:24:11 | |
I'll see you there. | 0:24:11 | 0:24:13 | |
Yes, yes. | 0:24:13 | 0:24:16 | |
Ah! On the Chief's tab, Catherine. Mm-hmm. | 0:24:30 | 0:24:35 | |
Victor Pearce standing for mayor. | 0:24:35 | 0:24:39 | |
Eurgh. Just as bad as the last one. | 0:24:39 | 0:24:42 | |
I love this island, | 0:24:42 | 0:24:44 | |
but I wish that, just once, we could elect a mayor who deserves the job. | 0:24:44 | 0:24:48 | |
What's so bad about him? | 0:24:48 | 0:24:50 | |
A bully and a crook. Out drinking every night. | 0:24:50 | 0:24:54 | |
And it all goes on his expense account. | 0:24:54 | 0:24:56 | |
Never pays for a thing. | 0:24:56 | 0:24:59 | |
Well, maybe you should stand, Catherine. | 0:24:59 | 0:25:01 | |
I mean, I personally think you'd do a great job. | 0:25:01 | 0:25:03 | |
-HE SNORTS -What's so funny about that? | 0:25:03 | 0:25:06 | |
Nothing. My drink went down the wrong way. | 0:25:06 | 0:25:09 | |
OK, here we go, Sir. | 0:25:16 | 0:25:17 | |
Ah! Fine beer and classic literature. | 0:25:17 | 0:25:21 | |
-What more could a man want? -Indeed. | 0:25:21 | 0:25:23 | |
You enjoying the book, Sir? | 0:25:23 | 0:25:25 | |
Mmm. Very much. You liked it as well, Dwayne? | 0:25:25 | 0:25:28 | |
Me? | 0:25:28 | 0:25:30 | |
Yes, what did you make of it when you first read it? | 0:25:30 | 0:25:32 | |
Well... | 0:25:32 | 0:25:34 | |
You know... | 0:25:34 | 0:25:37 | |
It's...richly evocative. | 0:25:37 | 0:25:40 | |
A classic tale of destiny and desire. | 0:25:40 | 0:25:43 | |
-Crikey. -Wow! | 0:25:43 | 0:25:46 | |
It's a triumph of post-co...colonialism. | 0:25:46 | 0:25:50 | |
Kathy Morrison, New York Herald. | 0:25:54 | 0:25:57 | |
OK, OK, so maybe I didn't quite get to the end. | 0:25:59 | 0:26:02 | |
Where is Florence? I thought she'd be here by now. | 0:26:02 | 0:26:05 | |
Excuse me... | 0:26:58 | 0:27:00 | |
-Morning, all, morning. -Morning, Chief. -Morning, Chief. | 0:27:07 | 0:27:09 | |
Sorry I'm late. I didn't get to sleep till five. | 0:27:09 | 0:27:12 | |
I could not put this down. | 0:27:12 | 0:27:14 | |
Esther's parents called me first thing this morning. | 0:27:14 | 0:27:16 | |
They'd remembered something she said about uncovering | 0:27:16 | 0:27:19 | |
a secret during the research she'd been doing here on the island. | 0:27:19 | 0:27:22 | |
A secret? About what? | 0:27:22 | 0:27:23 | |
They didn't know but they said she'd seemed worried about it, nervous. | 0:27:23 | 0:27:27 | |
I started going through her notes here, | 0:27:27 | 0:27:30 | |
-seeing if there's any clue as to what it was... -But no joy? | 0:27:30 | 0:27:33 | |
Not yet. It looks like some kind of textual analysis, | 0:27:33 | 0:27:37 | |
comparing different works by Sylvie Baptiste, word usage, | 0:27:37 | 0:27:41 | |
styles of phrasing. | 0:27:41 | 0:27:43 | |
I'll keep looking. Also, I found this matchbox from a bar, | 0:27:43 | 0:27:47 | |
in amongst the things we took in Esther's room. | 0:27:47 | 0:27:49 | |
I went to visit it last night and showed them her picture. | 0:27:49 | 0:27:52 | |
Did they recognise her? | 0:27:52 | 0:27:53 | |
The barman said Esther didn't really talk much | 0:27:53 | 0:27:56 | |
but she showed some interest in this. | 0:27:56 | 0:27:59 | |
-It was hanging on the wall. -Sylvie Baptiste. | 0:27:59 | 0:28:01 | |
Not just her. Look at the caption. | 0:28:01 | 0:28:04 | |
-Lizzie Baptiste, too. -Lizzie Baptiste? | 0:28:04 | 0:28:07 | |
Turns out it's Sylvie's sister. | 0:28:07 | 0:28:09 | |
There's a record of birth and where she went to school, | 0:28:09 | 0:28:12 | |
but after that - nothing. | 0:28:12 | 0:28:14 | |
It's like she just...disappeared. | 0:28:14 | 0:28:17 | |
Gosh, how strange. Could this be the secret Esther discovered? | 0:28:17 | 0:28:21 | |
I can't see any secret exactly. Just not many records of her. | 0:28:21 | 0:28:25 | |
I think this is the woman from the bungalow. | 0:28:25 | 0:28:27 | |
I mean, she's a bit older now, but same eyes. No? | 0:28:28 | 0:28:33 | |
Mm-hmm. | 0:28:33 | 0:28:34 | |
So Sylvie's sister is living on her estate, not 100 metres | 0:28:34 | 0:28:37 | |
away from the scene of the crime, and Sylvie neglected to mention it? | 0:28:37 | 0:28:40 | |
I think you need to pay this Lizzie another visit. | 0:28:40 | 0:28:43 | |
Chief. | 0:28:43 | 0:28:45 | |
Morning. | 0:28:55 | 0:28:57 | |
It's Lizzie, isn't it? | 0:28:57 | 0:29:00 | |
I'm JP Hooper. | 0:29:00 | 0:29:01 | |
This is Officer Myers. | 0:29:01 | 0:29:03 | |
You need to speak to my sister. | 0:29:03 | 0:29:06 | |
I don't like to have visitors. | 0:29:06 | 0:29:09 | |
Lizzie? | 0:29:19 | 0:29:21 | |
I see your plants need a bit of a weeding. | 0:29:22 | 0:29:26 | |
Would you like us to help you tidy them up a bit? | 0:29:26 | 0:29:30 | |
It'll be our pleasure. | 0:29:30 | 0:29:32 | |
-So you live alone, Lizzie? -Mm-hmm. | 0:29:47 | 0:29:51 | |
And does your sister come and visit you? | 0:29:52 | 0:29:55 | |
She's good to me. She takes care of me. | 0:29:55 | 0:29:59 | |
How long have you lived here for? | 0:30:03 | 0:30:04 | |
A long time. Since... | 0:30:06 | 0:30:08 | |
..I came out of the hospital. | 0:30:10 | 0:30:12 | |
You weren't well? | 0:30:14 | 0:30:15 | |
Hmm. Things went a bit wrong... | 0:30:15 | 0:30:18 | |
..up here. | 0:30:20 | 0:30:21 | |
She wanted to know about...a poem. | 0:30:26 | 0:30:29 | |
Who did? | 0:30:36 | 0:30:37 | |
The girl... | 0:30:37 | 0:30:39 | |
The one whose body you found. | 0:30:40 | 0:30:42 | |
I told her I don't know anything about any poem. | 0:30:43 | 0:30:46 | |
Ah, where exactly did you speak to her? | 0:30:49 | 0:30:50 | |
She came here. | 0:30:50 | 0:30:52 | |
I told her I don't like having visitors, but... | 0:30:53 | 0:30:57 | |
..she wouldn't listen. | 0:30:59 | 0:31:01 | |
And when was this? | 0:31:01 | 0:31:02 | |
Couple of days ago, I think. | 0:31:04 | 0:31:07 | |
Lizzie, where was you yesterday lunchtime? | 0:31:09 | 0:31:12 | |
Yesterday? | 0:31:14 | 0:31:16 | |
Just before the first time we visited you. | 0:31:16 | 0:31:18 | |
I was here. All morning. | 0:31:22 | 0:31:25 | |
A poem? | 0:31:30 | 0:31:31 | |
Apparently, that's what Esther was interested in. | 0:31:31 | 0:31:34 | |
I wonder why? | 0:31:34 | 0:31:35 | |
And why on earth would she want to talk to Lizzie about it? | 0:31:35 | 0:31:37 | |
I mean, Sylvie doesn't write poetry, does she? She writes novels. | 0:31:37 | 0:31:41 | |
That's what Esther was researching. | 0:31:41 | 0:31:43 | |
I think I saw some poetry in the notes | 0:31:43 | 0:31:46 | |
that Esther was making for her thesis. | 0:31:46 | 0:31:48 | |
And she can't say for sure where she was | 0:31:48 | 0:31:51 | |
at the time Esther was pushed off the cliff? | 0:31:51 | 0:31:52 | |
No, Chief. | 0:31:52 | 0:31:54 | |
But I don't think that that's our killer, though, Sir. | 0:31:54 | 0:31:56 | |
I mean, I know she's vulnerable. Had some sort of... | 0:31:56 | 0:31:59 | |
Yes, yes, I know, JP. And I'm sorry. | 0:31:59 | 0:32:01 | |
But she currently has no alibi, | 0:32:01 | 0:32:03 | |
and she was in the vicinity of the murder | 0:32:03 | 0:32:05 | |
at the time it happened. | 0:32:05 | 0:32:06 | |
We have to do due diligence and add her to the board. | 0:32:06 | 0:32:09 | |
I'm sorry. | 0:32:09 | 0:32:10 | |
There it is. | 0:32:19 | 0:32:20 | |
Thank you. "Perhaps if I jump, I will fly. | 0:32:20 | 0:32:24 | |
"Perhaps if I jump, I will be free." | 0:32:24 | 0:32:27 | |
I'm sure I've seen that in the novel somewhere. | 0:32:27 | 0:32:30 | |
That's when Iris goes to the cliff for the first time. | 0:32:30 | 0:32:33 | |
That's it! That's it! | 0:32:33 | 0:32:34 | |
Now where is that? | 0:32:34 | 0:32:35 | |
Er, about halfway through. | 0:32:35 | 0:32:37 | |
Just after Donald visits the Obeah woman. | 0:32:37 | 0:32:40 | |
Oh, here we are. "Perhaps I'll fly if I jump. | 0:32:40 | 0:32:45 | |
"Perhaps I'll be free..." | 0:32:45 | 0:32:47 | |
That's almost identical to the poem. | 0:32:47 | 0:32:48 | |
The phrasing's just slightly different. | 0:32:48 | 0:32:51 | |
And what's that number next to it? | 0:32:51 | 0:32:53 | |
I don't know. There's a few of them in the notes. | 0:32:53 | 0:32:56 | |
All eight digits. | 0:32:56 | 0:32:57 | |
It's a phone number, maybe. | 0:32:57 | 0:32:58 | |
-No. -I don't think so. | 0:32:58 | 0:33:00 | |
There's a number on the book, Chief. Eight digits. | 0:33:00 | 0:33:02 | |
-Where? -There. | 0:33:02 | 0:33:04 | |
They're library reference numbers. | 0:33:06 | 0:33:08 | |
So Esther was researching all this at Honore library. | 0:33:08 | 0:33:10 | |
Dwayne, I want you to get down there. | 0:33:10 | 0:33:12 | |
See if you can find whatever it was Esther was digging out. | 0:33:12 | 0:33:14 | |
Right away, Chief! | 0:33:14 | 0:33:15 | |
Where would the library be, exactly? | 0:33:21 | 0:33:23 | |
I'll come with you. | 0:33:25 | 0:33:27 | |
HE BLOWS AND COUGHS | 0:33:39 | 0:33:40 | |
Shhh. | 0:33:42 | 0:33:44 | |
Why do they keep all this old stuff, Sarge? | 0:33:44 | 0:33:46 | |
It's a library. | 0:33:46 | 0:33:48 | |
It's a fire hazard, is what it is. | 0:33:48 | 0:33:50 | |
You should read it. I think you might enjoy it. | 0:33:52 | 0:33:56 | |
510 pages? You must be joking! | 0:33:56 | 0:34:00 | |
Shhh. | 0:34:00 | 0:34:01 | |
What? | 0:34:01 | 0:34:02 | |
Dwayne, Elizabeth Baptiste. | 0:34:09 | 0:34:13 | |
Listed here in the index. | 0:34:13 | 0:34:15 | |
Oh! | 0:34:15 | 0:34:16 | |
It's the poem Esther wrote out, | 0:34:20 | 0:34:21 | |
similar to the lines in the novel. | 0:34:21 | 0:34:24 | |
But it's by Lizzie Baptiste, | 0:34:24 | 0:34:25 | |
published two years before The Flame Tree. | 0:34:25 | 0:34:28 | |
So Sylvie stole her lines? | 0:34:28 | 0:34:29 | |
Maybe that's not all she stole. | 0:34:29 | 0:34:32 | |
Esther's notes compare The Flame Tree | 0:34:32 | 0:34:34 | |
to Sylvie's other works. | 0:34:34 | 0:34:35 | |
There are significant differences. | 0:34:35 | 0:34:37 | |
It's almost like she's comparing two different authors. | 0:34:37 | 0:34:41 | |
Is it possible that the secret Esther discovered is that... | 0:34:41 | 0:34:44 | |
There ARE two different authors? | 0:34:44 | 0:34:46 | |
That Sylvie didn't write The Flame Tree at all? | 0:34:46 | 0:34:48 | |
That Lizzie did? | 0:34:48 | 0:34:49 | |
And Sylvie found the manuscript? | 0:34:49 | 0:34:51 | |
I think that's what Esther's research was about, | 0:34:51 | 0:34:53 | |
and that's why she was writing a new chapter for her thesis. | 0:34:53 | 0:34:56 | |
It explains why she was so stressed, | 0:34:56 | 0:34:58 | |
why she hadn't felt able to tell anyone. | 0:34:58 | 0:35:00 | |
But why would Lizzie allow her sister | 0:35:00 | 0:35:01 | |
to take the credit for all her work? | 0:35:01 | 0:35:03 | |
Well, Lizzie doesn't remember the poem. | 0:35:03 | 0:35:05 | |
So maybe she didn't remember the novel, either? | 0:35:05 | 0:35:07 | |
Is it possible that you'd forget you wrote a novel? | 0:35:07 | 0:35:09 | |
Well, if her breakdown was as severe | 0:35:09 | 0:35:10 | |
as she says it was, then, yes, maybe. | 0:35:10 | 0:35:12 | |
But if that is the case, then Sylvie Baptiste must have thought | 0:35:12 | 0:35:16 | |
she'd committed the perfect fraud, | 0:35:16 | 0:35:17 | |
until the day Esther came along. | 0:35:17 | 0:35:19 | |
And threatened to ruin it all. | 0:35:19 | 0:35:21 | |
Esther came to see me here, yes, as I already told you. | 0:35:23 | 0:35:26 | |
A strange girl. | 0:35:26 | 0:35:28 | |
What did she want to talk about? | 0:35:28 | 0:35:30 | |
Oh, my creative methods, | 0:35:30 | 0:35:33 | |
my inspirations. | 0:35:33 | 0:35:35 | |
I told her I have only two. | 0:35:35 | 0:35:38 | |
The beauty of this island, | 0:35:39 | 0:35:42 | |
and single malt whisky. | 0:35:42 | 0:35:44 | |
Did she tell you about her research? | 0:35:45 | 0:35:47 | |
I don't believe she did. | 0:35:47 | 0:35:49 | |
I've read the novel. It's incredibly powerful. | 0:35:49 | 0:35:51 | |
Soucriants flying round the island as balls of flame. Obeah magic. | 0:35:51 | 0:35:56 | |
Must need a very vivid imagination to write that. | 0:35:56 | 0:35:58 | |
No imagination required. | 0:35:58 | 0:36:00 | |
My grandmother was an Obeah woman. | 0:36:00 | 0:36:03 | |
She had the power of love and death. | 0:36:03 | 0:36:06 | |
Real power... | 0:36:06 | 0:36:08 | |
because the people believed in her. | 0:36:08 | 0:36:11 | |
Amazing what people will buy, isn't it? | 0:36:11 | 0:36:14 | |
If it's sold to them with enough panache. | 0:36:14 | 0:36:16 | |
Ms Baptiste, we have a warrant to search your house. | 0:36:19 | 0:36:22 | |
-RECORDING: -'Idea for a short story. | 0:36:28 | 0:36:30 | |
-'A married woman in a close-knit community...' -Sylvie..? | 0:36:32 | 0:36:34 | |
'..begins an affair with a parish priest.' | 0:36:34 | 0:36:36 | |
What's going on? | 0:36:36 | 0:36:38 | |
She was obsessive. She was losing her mind. | 0:36:39 | 0:36:42 | |
Obsessive, yes. Losing her mind? No. | 0:36:42 | 0:36:45 | |
Esther knew she was onto something. | 0:36:45 | 0:36:46 | |
She believed she'd discovered a secret. | 0:36:46 | 0:36:48 | |
That the original manuscript of The Flame Tree | 0:36:48 | 0:36:50 | |
had been written by Lizzie. | 0:36:50 | 0:36:51 | |
Esther discovered a poem that Lizzie had written - | 0:36:51 | 0:36:54 | |
about a young woman who, unable to cope with life, | 0:36:54 | 0:36:57 | |
throws herself off a cliff. | 0:36:57 | 0:37:00 | |
We've been researching your background. | 0:37:00 | 0:37:02 | |
You were rejected by publishers many times. | 0:37:02 | 0:37:04 | |
And then, suddenly, you came up with The Flame Tree, | 0:37:04 | 0:37:07 | |
and you were an instant critical hit. | 0:37:07 | 0:37:10 | |
Did you find a manuscript of Lizzie's, | 0:37:10 | 0:37:12 | |
decide to keep it for yourself? | 0:37:12 | 0:37:14 | |
Lizzie would never have done anything with it! | 0:37:17 | 0:37:19 | |
She never worked at it. | 0:37:21 | 0:37:23 | |
She didn't deserve it. | 0:37:23 | 0:37:25 | |
She would write things and forget them, like a child. | 0:37:25 | 0:37:29 | |
I was the one who took things seriously. | 0:37:29 | 0:37:32 | |
I was the one who gave it to the world. | 0:37:32 | 0:37:36 | |
SHE COUGHS | 0:37:36 | 0:37:38 | |
Chief? It's Esther's laptop. | 0:37:41 | 0:37:45 | |
We found it in Ms Baptiste's room. | 0:37:45 | 0:37:46 | |
You stole it. | 0:37:46 | 0:37:48 | |
She did. | 0:37:50 | 0:37:52 | |
On your instructions, no doubt. | 0:37:52 | 0:37:54 | |
You said you'd got rid of it. | 0:37:54 | 0:37:55 | |
Tell us exactly what happened | 0:37:55 | 0:37:57 | |
when Esther came to see you on Thursday morning. | 0:37:57 | 0:37:59 | |
She asked me if I had any original notes for The Flame Tree. | 0:37:59 | 0:38:04 | |
Anything to prove that it had been my work. | 0:38:04 | 0:38:07 | |
She said she had a new chapter for her thesis, | 0:38:07 | 0:38:09 | |
which posited that I wasn't the author. | 0:38:09 | 0:38:12 | |
I think a part of her was still hoping that I would prove her wrong. | 0:38:12 | 0:38:16 | |
But you couldn't. | 0:38:16 | 0:38:17 | |
So she said she'd go ahead and publish. | 0:38:17 | 0:38:19 | |
She had the laptop with her. | 0:38:19 | 0:38:22 | |
The new chapter was on it. | 0:38:22 | 0:38:24 | |
Which you then instructed Patricia to steal from her | 0:38:24 | 0:38:26 | |
while Esther was helping you prepare for the festival. | 0:38:26 | 0:38:29 | |
But you knew she'd just rewrite the chapter? | 0:38:35 | 0:38:38 | |
I panicked. I wanted to delay her. | 0:38:38 | 0:38:41 | |
Esther's work threatened to destroy your reputation and career. | 0:38:41 | 0:38:43 | |
You needed to deal with matters more permanently. | 0:38:43 | 0:38:46 | |
I didn't kill her. | 0:38:46 | 0:38:47 | |
You needed to make absolutely sure | 0:38:47 | 0:38:49 | |
that she would never breathe a word about | 0:38:49 | 0:38:50 | |
what a fraud her idol had turned out to be. | 0:38:50 | 0:38:52 | |
You're right. I am a fraud. | 0:38:52 | 0:38:55 | |
I told myself I could help Lizzie, could look after her better. | 0:38:56 | 0:39:00 | |
The truth is, I did it for myself. | 0:39:02 | 0:39:03 | |
I may be a fraud, | 0:39:06 | 0:39:08 | |
but I am not a murderer. | 0:39:08 | 0:39:09 | |
I need to go and lie down for a while. | 0:39:15 | 0:39:17 | |
We've got the book signing at five. | 0:39:17 | 0:39:19 | |
You can do that beforehand. | 0:39:19 | 0:39:20 | |
Tell the guests I am not well. | 0:39:20 | 0:39:22 | |
If you'll excuse me. | 0:39:24 | 0:39:26 | |
You stole for Sylvie. I wonder, would you kill for her, too? | 0:39:27 | 0:39:31 | |
Sylvie got nervous, didn't she? She knew Esther would just rewrite it. | 0:39:31 | 0:39:35 | |
She asked you to do one more thing for her. | 0:39:35 | 0:39:37 | |
The ultimate act of loyalty from an employee | 0:39:37 | 0:39:39 | |
whose devotion knows no bounds. | 0:39:39 | 0:39:41 | |
I'm afraid that's where you're wrong. | 0:39:41 | 0:39:43 | |
I wish I could summon the sort of devotion you imagine. | 0:39:43 | 0:39:46 | |
I wish to God Sylvie inspired it. I have no pension. | 0:39:46 | 0:39:49 | |
No savings. | 0:39:49 | 0:39:51 | |
I work 12-hour days that end in putting her to bed drunk, | 0:39:51 | 0:39:54 | |
and mopping up her vomit. | 0:39:54 | 0:39:55 | |
I draw the line at killing for her, too. | 0:39:56 | 0:39:59 | |
Sylvie Baptiste. She had everything to lose. | 0:40:10 | 0:40:13 | |
A lifetime's worth of reputation destroyed in an instant. | 0:40:13 | 0:40:16 | |
Or Patricia Lawrence, | 0:40:16 | 0:40:17 | |
loyal assistant protecting her employer. | 0:40:17 | 0:40:19 | |
Either one of them could've done it. | 0:40:19 | 0:40:20 | |
Maybe they were in it together? | 0:40:20 | 0:40:22 | |
Maybe. | 0:40:22 | 0:40:23 | |
But they, like Mr and Mrs Wolf, | 0:40:23 | 0:40:24 | |
were in full view of an audience of 100 | 0:40:24 | 0:40:26 | |
in the ten-minute window when Esther was killed. | 0:40:26 | 0:40:29 | |
Which leaves Lizzie Baptiste | 0:40:29 | 0:40:30 | |
-as the only suspect who doesn't have an alibi. -Sir... | 0:40:30 | 0:40:33 | |
But why would Lizzie want to kill Esther Monroe? | 0:40:33 | 0:40:37 | |
She hardly knew her. | 0:40:37 | 0:40:38 | |
And it seems, | 0:40:38 | 0:40:40 | |
knew nothing of the long-held secret Esther was uncovering. | 0:40:40 | 0:40:43 | |
And then there's that fountain pen. | 0:40:43 | 0:40:45 | |
I'm afraid we're not going to solve this tonight. | 0:40:47 | 0:40:50 | |
Let's call it a day for now. Pick up again tomorrow. | 0:40:50 | 0:40:53 | |
Come on, I'll buy you a beer. | 0:40:53 | 0:40:55 | |
Florence? | 0:40:58 | 0:41:00 | |
I thought I might make a start looking through Esther's laptop. | 0:41:00 | 0:41:03 | |
Actually, you said you'd help me tonight. | 0:41:03 | 0:41:06 | |
Not often I pull rank. | 0:41:06 | 0:41:08 | |
Come on. | 0:41:11 | 0:41:12 | |
So, earlier, this gardening thing. | 0:41:18 | 0:41:23 | |
You did well, JP. | 0:41:26 | 0:41:28 | |
I was impressed. | 0:41:28 | 0:41:30 | |
Ah, Catherine. | 0:41:32 | 0:41:34 | |
So, JP, I decided to take your advice. | 0:41:34 | 0:41:37 | |
Could use a little more idealism in politics. The spirit of protest! | 0:41:37 | 0:41:41 | |
A woman's touch. Wouldn't you say, Dwayne? | 0:41:41 | 0:41:43 | |
You'd better believe it! | 0:41:43 | 0:41:44 | |
OK. | 0:42:01 | 0:42:02 | |
If you haven't used it in three months, it goes. | 0:42:02 | 0:42:05 | |
Very good. Ah, no, I wear that rather a lot actually. | 0:42:05 | 0:42:09 | |
Thanks for helping me, Florence. | 0:42:16 | 0:42:17 | |
I know you feel a responsibility to Esther. | 0:42:20 | 0:42:22 | |
But I keep thinking, maybe if I'd stayed in touch, | 0:42:26 | 0:42:29 | |
things would've been different for her. | 0:42:29 | 0:42:31 | |
It's not your fault Esther died, Florence. | 0:42:31 | 0:42:34 | |
She was harassed. She was stolen from. | 0:42:34 | 0:42:38 | |
She spent a week on this island alone with no-one to turn to, | 0:42:38 | 0:42:42 | |
and she ended up on that clifftop with someone who... | 0:42:42 | 0:42:44 | |
If I'd been a friend to her, if I hadn't forgotten her... | 0:42:48 | 0:42:52 | |
You can't think like that. | 0:42:52 | 0:42:53 | |
Looking back and dwelling on the ifs, buts and maybes, | 0:42:53 | 0:42:56 | |
it's a fool's game. | 0:42:56 | 0:42:58 | |
What Esther needs most now | 0:42:58 | 0:43:00 | |
is for a detective to catch the person that did this to her. | 0:43:00 | 0:43:03 | |
OK? | 0:43:03 | 0:43:05 | |
And you'll help me? | 0:43:05 | 0:43:06 | |
I'm surprised you need to ask. | 0:43:08 | 0:43:09 | |
Come on. Lots to do. | 0:43:13 | 0:43:16 | |
Morning, Florence. JP. | 0:43:25 | 0:43:27 | |
-Morning, Sir. -No Dwayne? | 0:43:27 | 0:43:28 | |
Not yet, but, Sir, you should come and look | 0:43:28 | 0:43:30 | |
-at what Florence has found... -Oh, yes? | 0:43:30 | 0:43:32 | |
Something interesting on Esther's laptop. | 0:43:32 | 0:43:34 | |
A video file, recorded on Thursday. | 0:43:34 | 0:43:36 | |
-RECORDING: -'Lizzie, can you remember this poem? | 0:43:38 | 0:43:41 | |
'If we read it together, in the place where you wrote it, | 0:43:42 | 0:43:47 | |
'it might help you remember...' | 0:43:47 | 0:43:49 | |
The poem we read is set on the cliffs. | 0:43:49 | 0:43:51 | |
So maybe Lizzie Baptiste did go to the clifftop with Esther. | 0:43:51 | 0:43:55 | |
She is the only suspect not to have an alibi. | 0:43:55 | 0:43:57 | |
Except the fake suicide note. | 0:43:57 | 0:43:59 | |
I don't think she can plan something like that. | 0:43:59 | 0:44:01 | |
If Esther was going to the clifftop to meet Lizzie, | 0:44:01 | 0:44:04 | |
could someone have seen her going there and decided to follow her? | 0:44:04 | 0:44:09 | |
No, no, it's too convenient. | 0:44:09 | 0:44:10 | |
Whoever did this knew that Esther would be on the cliff | 0:44:10 | 0:44:12 | |
and planned their alibi accordingly. | 0:44:12 | 0:44:15 | |
I just don't know how | 0:44:15 | 0:44:16 | |
they were able to make it appear like they were at the festival | 0:44:16 | 0:44:18 | |
with the rest of the attendees, | 0:44:18 | 0:44:19 | |
when they were actually on the clifftop committing murder. | 0:44:19 | 0:44:22 | |
It's... | 0:44:22 | 0:44:24 | |
Sorry I'm late, Chief. Overslept. | 0:44:24 | 0:44:26 | |
Up late on a school night? | 0:44:26 | 0:44:29 | |
No, Sarge, finishing The Flame Tree, actually. | 0:44:29 | 0:44:32 | |
No way. | 0:44:32 | 0:44:34 | |
Audio book. | 0:44:34 | 0:44:36 | |
-Yeah, that's cheating! -What did you think? | 0:44:36 | 0:44:39 | |
Loved it. | 0:44:39 | 0:44:40 | |
Glass of rum, feet up, headphones in, | 0:44:40 | 0:44:43 | |
I think I'll start reading more often. | 0:44:43 | 0:44:45 | |
Mmm. Listen... | 0:44:45 | 0:44:47 | |
AUDIO BOOK: 'Chapter 57. | 0:44:48 | 0:44:50 | |
'Iris woke early the next morning and walked down to the beach. | 0:44:50 | 0:44:54 | |
'The storm had cleared by then and the sea was calm.' | 0:44:54 | 0:44:58 | |
Like she's there in my living room. | 0:44:58 | 0:45:00 | |
Everything all right, Chief? | 0:45:10 | 0:45:11 | |
"In your living room," you said. | 0:45:11 | 0:45:13 | |
"Like she was there in your living room." | 0:45:13 | 0:45:15 | |
Yes, Chief? | 0:45:15 | 0:45:16 | |
So, watch smashed and stopped at 1.25. | 0:45:18 | 0:45:20 | |
There were 100 people here, | 0:45:20 | 0:45:22 | |
and we were sitting in the front row. | 0:45:22 | 0:45:24 | |
What's going on? | 0:45:26 | 0:45:28 | |
Didn't she go to see you on Thursday, to interview you? | 0:45:28 | 0:45:30 | |
She did. | 0:45:30 | 0:45:32 | |
She was working late every night on a new chapter of her thesis. | 0:45:32 | 0:45:35 | |
If we read it together, in the place where you wrote it... | 0:45:35 | 0:45:37 | |
Montblanc fountain pen. | 0:45:37 | 0:45:39 | |
The suicide note...how did they manage that? | 0:45:42 | 0:45:44 | |
How?! | 0:45:44 | 0:45:45 | |
-PATRICIA: -'We've got the book signing at five.' | 0:45:45 | 0:45:47 | |
Of course! That's how! | 0:45:47 | 0:45:50 | |
-Dwayne! -Chief? | 0:45:50 | 0:45:52 | |
I need you to collect the laptop from Sylvie's estate | 0:45:52 | 0:45:54 | |
and get it to the lab. | 0:45:54 | 0:45:55 | |
I'm also going to need the folders containing our background checks | 0:45:55 | 0:45:58 | |
and gather up the suspects. | 0:45:58 | 0:45:59 | |
-Most importantly, Lizzie Baptiste. -Sir... -Please. | 0:45:59 | 0:46:02 | |
Just trust me on this. | 0:46:02 | 0:46:04 | |
This place is quite something, isn't it? | 0:46:10 | 0:46:13 | |
The real-life setting of a famous novel. | 0:46:13 | 0:46:16 | |
Esther Monroe died here three days ago, | 0:46:16 | 0:46:19 | |
in what appeared to be a suicide. | 0:46:19 | 0:46:21 | |
She was anxious, | 0:46:23 | 0:46:25 | |
obsessing about her work. | 0:46:25 | 0:46:27 | |
Jumping from the same cliff that her literary heroine had jumped from | 0:46:29 | 0:46:33 | |
might seem like the ultimate escape from her problems. | 0:46:33 | 0:46:36 | |
But this was no suicide. | 0:46:38 | 0:46:40 | |
Esther was murdered. | 0:46:42 | 0:46:44 | |
Now, Esther left the party at 1.15pm. | 0:46:47 | 0:46:50 | |
When her body was found, her smashed watch had stopped at 1.25. | 0:46:50 | 0:46:53 | |
100 witnesses vouch for you all being at Patricia's talk | 0:46:55 | 0:46:58 | |
during that period... | 0:46:58 | 0:46:59 | |
..in the front row, Patricia on stage. | 0:47:00 | 0:47:04 | |
So it's impossible | 0:47:04 | 0:47:05 | |
that any of you could have left to commit murder. | 0:47:05 | 0:47:08 | |
Unless every one of those impartial witnesses were mistaken... | 0:47:08 | 0:47:13 | |
..which is exactly what they were. | 0:47:15 | 0:47:17 | |
Early on Thursday, the day before her death, | 0:47:20 | 0:47:24 | |
Esther had been to visit Sylvie Baptiste. | 0:47:24 | 0:47:27 | |
Esther had confronted Sylvie | 0:47:27 | 0:47:29 | |
about the true authorship of The Flame Tree. | 0:47:29 | 0:47:32 | |
She knew by then her theory was right. | 0:47:32 | 0:47:34 | |
But she wanted one final piece of evidence. | 0:47:34 | 0:47:38 | |
She wanted to talk to Lizzie herself... | 0:47:38 | 0:47:40 | |
DOOR KNOCKS | 0:47:40 | 0:47:41 | |
..to try and uncover Lizzie's long-forgotten memories of writing. | 0:47:41 | 0:47:45 | |
Esther planned to record Lizzie's testimony on her laptop, | 0:47:47 | 0:47:52 | |
which she did. | 0:47:52 | 0:47:54 | |
-RECORDING: -'Lizzie. Can you remember this poem?' | 0:47:54 | 0:47:57 | |
But... | 0:47:57 | 0:47:58 | |
Lizzie could remember nothing. | 0:47:58 | 0:48:00 | |
So Esther suggested to visit the place where Lizzie wrote the poem - | 0:48:00 | 0:48:04 | |
the clifftop. | 0:48:04 | 0:48:06 | |
But we think Lizzie wasn't the only person present | 0:48:07 | 0:48:10 | |
during this conversation. | 0:48:10 | 0:48:11 | |
Which means that there would be someone else who knew about | 0:48:13 | 0:48:16 | |
the plan to visit the cliff. | 0:48:16 | 0:48:18 | |
In fact, I believe they suggested it in the first place - | 0:48:18 | 0:48:20 | |
a helpful idea to tap into Lizzie's memories. | 0:48:20 | 0:48:24 | |
Am I right, Lizzie? | 0:48:28 | 0:48:29 | |
That someone else was in that room that day? | 0:48:31 | 0:48:33 | |
Yes. | 0:48:36 | 0:48:37 | |
In fact, this person told you to stay at home, didn't they? | 0:48:37 | 0:48:39 | |
And went to meet Esther alone, intent on murder. | 0:48:41 | 0:48:45 | |
So the following day, | 0:48:48 | 0:48:50 | |
Esther left the festival reception at 1.15pm. | 0:48:50 | 0:48:54 | |
She knew that her research would ruffle feathers. | 0:48:54 | 0:48:57 | |
Esther went secretly to meet Lizzie at the clifftop, | 0:49:00 | 0:49:02 | |
as she believed she had previously arranged. | 0:49:02 | 0:49:05 | |
But the person who helped her to arrange it | 0:49:05 | 0:49:09 | |
met her there alone. | 0:49:09 | 0:49:10 | |
There are only two people | 0:49:13 | 0:49:14 | |
who could've been the third presence in that room, | 0:49:14 | 0:49:16 | |
who could've let Esther into Lizzie's house, | 0:49:16 | 0:49:19 | |
been present at the interview, and, thus, known about the clifftop plan. | 0:49:19 | 0:49:23 | |
Sylvie Baptiste... | 0:49:24 | 0:49:26 | |
..or Patricia Lawrence. | 0:49:27 | 0:49:28 | |
You can't possibly believe... | 0:49:30 | 0:49:32 | |
You were the third person in that room. Am I right, Lizzie? | 0:49:32 | 0:49:35 | |
Now, once you'd told Lizzie that the clifftop rendezvous | 0:49:38 | 0:49:41 | |
wasn't happening any more, | 0:49:41 | 0:49:43 | |
you then went and impressed on Esther | 0:49:43 | 0:49:44 | |
the importance of telling nobody else | 0:49:44 | 0:49:47 | |
about the planned meeting with Lizzie. | 0:49:47 | 0:49:49 | |
And when the time came, | 0:49:49 | 0:49:51 | |
you left the festival opening | 0:49:51 | 0:49:53 | |
to meet with Esther at the clifftop. | 0:49:53 | 0:49:55 | |
This is ridiculous. | 0:49:55 | 0:49:56 | |
I was giving a speech at the time she died. | 0:49:56 | 0:49:58 | |
They all heard me... | 0:49:58 | 0:50:00 | |
'And this is the cliff right here on the estate...' | 0:50:00 | 0:50:02 | |
Yes, they HEARD you. | 0:50:04 | 0:50:06 | |
But did they see you? | 0:50:06 | 0:50:07 | |
You see, I must say, you had me fooled. | 0:50:09 | 0:50:10 | |
Sylvie? | 0:50:10 | 0:50:12 | |
Until I remembered seeing you typing Sylvie's notes from her Dictaphone. | 0:50:12 | 0:50:15 | |
See, you're quite adept at technology, aren't you, Patricia? | 0:50:15 | 0:50:19 | |
MIC FEEDS BACK | 0:50:19 | 0:50:21 | |
You told us yourself that you were | 0:50:22 | 0:50:23 | |
in charge of setting up the laptop | 0:50:23 | 0:50:25 | |
and the AV equipment for the festival. | 0:50:25 | 0:50:27 | |
And you gave a presentation, | 0:50:27 | 0:50:28 | |
showing the slides of the locations of The Flame Tree. | 0:50:28 | 0:50:31 | |
My colleague's audio book made me wonder... | 0:50:31 | 0:50:34 | |
What if you read a recording of your speech? | 0:50:34 | 0:50:36 | |
'And this is the cliff right here on the estate, | 0:50:36 | 0:50:39 | |
'where Iris decides she can no longer live | 0:50:39 | 0:50:42 | |
'with what Donald has done to her.' | 0:50:42 | 0:50:44 | |
Now, you started the talk genuinely enough, | 0:50:44 | 0:50:46 | |
onstage, holding a microphone. | 0:50:46 | 0:50:49 | |
It's in this sacred place | 0:50:49 | 0:50:51 | |
that Donald learns about the power of Obeah. | 0:50:51 | 0:50:54 | |
Sorry. | 0:50:56 | 0:50:57 | |
But then, I think you retreated to the sides to let the slides play... | 0:50:57 | 0:51:00 | |
One that will bind Iris to him, even against her will. | 0:51:00 | 0:51:04 | |
..where you then pressed play on the audio file you'd already set up. | 0:51:04 | 0:51:08 | |
'The house itself, with its unique design, | 0:51:08 | 0:51:10 | |
'seems to add a sense of foreboding | 0:51:10 | 0:51:13 | |
'to every encounter that Donald and Iris have.' | 0:51:13 | 0:51:15 | |
The second laptop vital to solving this case, your laptop. | 0:51:19 | 0:51:23 | |
-RECORDING: -'And this is the cliff, right here on the estate, | 0:51:23 | 0:51:27 | |
'where Iris decides she can no longer live | 0:51:27 | 0:51:29 | |
'with what Donald has done to her.' | 0:51:29 | 0:51:31 | |
The recording lasted for five minutes. | 0:51:32 | 0:51:35 | |
And while the audience would've sworn | 0:51:35 | 0:51:37 | |
that you were still there giving that talk, | 0:51:37 | 0:51:39 | |
in fact, you had slipped away to the clifftop, | 0:51:39 | 0:51:41 | |
to push a young woman to her death. | 0:51:41 | 0:51:43 | |
This is nonsense. The girl killed herself. | 0:51:50 | 0:51:52 | |
It's obvious, she left a suicide note. | 0:51:52 | 0:51:54 | |
Ah, yes, the note was a nice touch. | 0:51:54 | 0:51:56 | |
The fact that you'd got Esther's fingerprints onto it, | 0:51:56 | 0:51:58 | |
and no-one else's, was smart. | 0:51:58 | 0:51:59 | |
And we already knew | 0:51:59 | 0:52:01 | |
that Esther had helped you with the festival admin. | 0:52:01 | 0:52:03 | |
I mean, there would've been reams of paper with her prints on. | 0:52:03 | 0:52:06 | |
All you had to do was use some gloves | 0:52:06 | 0:52:09 | |
to take a piece, print the note off and then sign it. | 0:52:09 | 0:52:12 | |
Sign it? How could I... | 0:52:12 | 0:52:14 | |
Well, you sign Sylvie's books for her when she's, um... | 0:52:14 | 0:52:17 | |
indisposed. | 0:52:17 | 0:52:19 | |
We've got the book signing at five. | 0:52:19 | 0:52:21 | |
Can you do them beforehand? Tell the guests I'm not well. | 0:52:21 | 0:52:24 | |
For someone so practised at forging signatures, | 0:52:26 | 0:52:28 | |
it wouldn't be difficult to forge Esther's handwriting. | 0:52:28 | 0:52:31 | |
I'm sure it would've been easy enough | 0:52:31 | 0:52:33 | |
to lay your hands on a copy of Esther's signature. | 0:52:33 | 0:52:35 | |
And then, all you had to do was slip the faked suicide note | 0:52:35 | 0:52:38 | |
into her handbag - after you'd killed her. | 0:52:38 | 0:52:40 | |
But as clever as it was, that suicide note was also your undoing. | 0:52:43 | 0:52:47 | |
That it was a typed note meant that it somehow lacked credibility. | 0:52:47 | 0:52:51 | |
But also the fact that Esther's signature was written | 0:52:51 | 0:52:53 | |
at the bottom in Biro, | 0:52:53 | 0:52:54 | |
rather than the fountain pen that she always used, | 0:52:54 | 0:52:57 | |
confirmed to me that she neither wrote it, nor signed it. | 0:52:57 | 0:53:01 | |
Tell me this isn't true. | 0:53:01 | 0:53:03 | |
Did Sylvie's loyal assistant kill to protect her employer? | 0:53:06 | 0:53:10 | |
I mean, you've implied to us that you were Sylvie's personal slave, | 0:53:10 | 0:53:13 | |
working 12 hours a day, | 0:53:13 | 0:53:15 | |
doing everything for her, even putting her to bed, | 0:53:15 | 0:53:17 | |
all for a pittance of a salary. | 0:53:17 | 0:53:19 | |
All true. | 0:53:19 | 0:53:20 | |
You didn't even get the chance to visit home. | 0:53:22 | 0:53:24 | |
That's not quite so true, is it? | 0:53:26 | 0:53:28 | |
Because we know | 0:53:28 | 0:53:30 | |
that Sylvie had visited the UK several times on work trips. | 0:53:30 | 0:53:32 | |
Sylvie's made four trips there in the last seven years | 0:53:32 | 0:53:34 | |
for other literary festivals. | 0:53:34 | 0:53:36 | |
And our immigration checks show that you did not accompany her once. | 0:53:36 | 0:53:41 | |
It's not that you didn't get the chance to go home. | 0:53:41 | 0:53:43 | |
You CHOSE not to. | 0:53:43 | 0:53:44 | |
We've looked into your background. | 0:53:48 | 0:53:49 | |
26 years ago, you came here travelling, | 0:53:49 | 0:53:52 | |
and through luck and perseverance | 0:53:52 | 0:53:54 | |
you landed a job working for a successful author. | 0:53:54 | 0:53:57 | |
And what a life you've lived over those last twenty-odd years. | 0:53:57 | 0:54:00 | |
You got to travel the world, meet other famous authors. | 0:54:00 | 0:54:02 | |
And when you haven't been doing that, | 0:54:02 | 0:54:04 | |
you've been living in this Caribbean paradise. | 0:54:04 | 0:54:08 | |
Fantasy made real. | 0:54:08 | 0:54:09 | |
Unfortunately, you realised that's exactly what it was. | 0:54:11 | 0:54:14 | |
A fantasy that could be destroyed at any time. | 0:54:14 | 0:54:17 | |
Was it when Esther first got in touch | 0:54:17 | 0:54:19 | |
that you first realised that Sylvie was a fraud? | 0:54:19 | 0:54:22 | |
No, I think you've known for years, haven't you? | 0:54:28 | 0:54:30 | |
That's why you stopped Esther meeting her. | 0:54:32 | 0:54:35 | |
You knew what Esther was onto. | 0:54:35 | 0:54:37 | |
And if Sylvie's fraud had been exposed, | 0:54:37 | 0:54:39 | |
you would be the one person who had even more to lose | 0:54:39 | 0:54:41 | |
than Sylvie herself. | 0:54:41 | 0:54:42 | |
The dream would be over forever, | 0:54:42 | 0:54:44 | |
and so you killed an innocent young woman to protect it. | 0:54:44 | 0:54:47 | |
She left me no choice, don't you see? | 0:54:49 | 0:54:51 | |
She was going to destroy it all. | 0:54:52 | 0:54:54 | |
Take her away. | 0:54:56 | 0:54:57 | |
I had no choice. I had no choice! | 0:54:57 | 0:55:00 | |
I had no choice! | 0:55:01 | 0:55:03 | |
I want to fund a scholarship in Esther's name, | 0:55:05 | 0:55:07 | |
for the students of my work. | 0:55:07 | 0:55:09 | |
We spoke to the head of faculty at Esther's university. | 0:55:09 | 0:55:12 | |
They're planning to award her PhD posthumously. | 0:55:12 | 0:55:16 | |
So I'm afraid it's Lizzie's work from now on. | 0:55:16 | 0:55:18 | |
Do you understand? It's YOUR novel. | 0:55:20 | 0:55:23 | |
You know...I don't say this nearly enough. | 0:55:55 | 0:55:57 | |
But you are a brilliant detective, Florence Cassell. | 0:55:59 | 0:56:01 | |
And a good friend, | 0:56:03 | 0:56:04 | |
to Esther and to me. | 0:56:04 | 0:56:06 | |
If ever I was in trouble, | 0:56:09 | 0:56:10 | |
I can't think of anyone else I'd rather have on my side. | 0:56:10 | 0:56:12 | |
You hungry? | 0:56:17 | 0:56:18 | |
Fancy braving my cooking and coming for dinner at the shack? | 0:56:18 | 0:56:21 | |
Is Martha back tonight? | 0:56:21 | 0:56:23 | |
In an hour. | 0:56:23 | 0:56:24 | |
If it's just the two of you... | 0:56:24 | 0:56:25 | |
Harry'll be there too. | 0:56:25 | 0:56:28 | |
I'm making shepherd's pie. | 0:56:28 | 0:56:30 | |
Then, how can I resist? | 0:56:30 | 0:56:33 | |
I'd better go and get the spuds on. | 0:56:33 | 0:56:36 | |
Join us when you're ready. | 0:56:36 | 0:56:38 | |
Welcome to La Maison Cecile... | 0:57:01 | 0:57:03 | |
-We've been expecting you. -Let's get you up to the hotel. | 0:57:03 | 0:57:05 | |
It's been lovely, our little holiday romance. To chance encounters... | 0:57:05 | 0:57:08 | |
To chance encounters... | 0:57:08 | 0:57:10 | |
WOMAN SCREAMS | 0:57:10 | 0:57:11 | |
-We should call the police. -Actually, I am the police. | 0:57:11 | 0:57:14 | |
HE GRUNTS | 0:57:14 | 0:57:15 | |
We know that the hotel is in financial trouble. | 0:57:16 | 0:57:19 | |
We have five possible suspects. | 0:57:19 | 0:57:21 | |
You want to know why he kept it secret? | 0:57:21 | 0:57:23 | |
Who's the key witness? | 0:57:23 | 0:57:24 | |
It's me. What are the chances, eh? | 0:57:24 | 0:57:26 |