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Hello. Can we help you? | 0:00:20 | 0:00:22 | |
My name is Tyler McCarthy. | 0:00:22 | 0:00:24 | |
I have some very important information... | 0:00:24 | 0:00:27 | |
about a murder. | 0:00:27 | 0:00:29 | |
OK. | 0:00:29 | 0:00:30 | |
-The murder of Julie Matlock. -Julie Matlock? | 0:00:30 | 0:00:33 | |
Editor of the Saint Marie Times? That was about... | 0:00:33 | 0:00:35 | |
I know. Eight years ago. | 0:00:35 | 0:00:38 | |
Julie Matlock was murdered and Nadine Hunter was convicted for it. | 0:00:38 | 0:00:43 | |
But the thing is - Nadine didn't do it. She couldn't have. | 0:00:43 | 0:00:48 | |
She was with me that night, I swear to you. | 0:00:48 | 0:00:52 | |
You got the wrong person. | 0:00:52 | 0:00:54 | |
RATTLING IN SHACK | 0:01:32 | 0:01:34 | |
Dad? | 0:01:34 | 0:01:36 | |
HAMMERING AND CLATTERING | 0:01:36 | 0:01:38 | |
CLANGING AND BANGING INSIDE | 0:01:47 | 0:01:50 | |
Dad? | 0:01:52 | 0:01:53 | |
Dad! | 0:01:55 | 0:01:56 | |
-Did you call me? -What are you doing? | 0:01:58 | 0:02:00 | |
Oh, I was just looking for a hammer and some nails, | 0:02:00 | 0:02:02 | |
and I discovered this place. Isn't it fantastic? | 0:02:02 | 0:02:05 | |
Yeah, fantastic(!) What are you going to do with all this stuff? | 0:02:06 | 0:02:10 | |
Well, I'm throwing it out. There won't be room for it | 0:02:10 | 0:02:12 | |
-if I'm going to get a bed in here. -A bed? | 0:02:12 | 0:02:15 | |
My back's not made for a hammock. | 0:02:15 | 0:02:17 | |
Ah, Florence. How are you? To what do we owe this pleasure? | 0:02:18 | 0:02:21 | |
I'm good, sir. Thank you. I hope I'm not interrupting your holiday. | 0:02:21 | 0:02:26 | |
No, not in the slightest. | 0:02:26 | 0:02:28 | |
The Commissioner asked me to come and see you. | 0:02:28 | 0:02:30 | |
We were hoping we could maybe borrow you. | 0:02:30 | 0:02:34 | |
-Borrow me? -He was wondering if you can help with a new case. | 0:02:34 | 0:02:37 | |
Well, it's more of an old case, but... | 0:02:37 | 0:02:40 | |
-I'll explain on the way. -Hm, OK. | 0:02:40 | 0:02:43 | |
Well, always happy to oblige. | 0:02:43 | 0:02:45 | |
-Suppose I'd better smarten myself up. -You might need to iron a shirt. | 0:02:45 | 0:02:49 | |
Good point. | 0:02:49 | 0:02:51 | |
Eight years ago, I was on vacation here with my girlfriend. | 0:02:53 | 0:02:58 | |
It was our last night, we had a big argument. | 0:02:58 | 0:03:00 | |
Ended with both of us storming off. The festival was on. | 0:03:00 | 0:03:03 | |
'I just fell into the nearest bar there was - | 0:03:03 | 0:03:05 | |
'that's where I met Nadine.' | 0:03:05 | 0:03:07 | |
Happy Saint Ursula's day. | 0:03:07 | 0:03:09 | |
Neither of us were in a great place. Both drunk. | 0:03:09 | 0:03:13 | |
One thing led to another... | 0:03:13 | 0:03:14 | |
You spent the night together? | 0:03:16 | 0:03:17 | |
Yeah. | 0:03:17 | 0:03:19 | |
When I woke up the next morning, she had left. I never saw her again. | 0:03:19 | 0:03:22 | |
And at the time, you weren't aware of the coverage of the murder? | 0:03:22 | 0:03:25 | |
You hadn't read the newspapers or seen the news? | 0:03:25 | 0:03:27 | |
I had no idea Nadine was arrested for murder. | 0:03:27 | 0:03:30 | |
And how did you find out now? | 0:03:30 | 0:03:33 | |
My marriage recently ended. | 0:03:33 | 0:03:36 | |
Sorry. Same girl from this...? | 0:03:36 | 0:03:38 | |
I know. Writing was on the wall. | 0:03:39 | 0:03:42 | |
These last few months... | 0:03:42 | 0:03:45 | |
I keep thinking about that night here on the island. | 0:03:45 | 0:03:48 | |
About Nadine. I knew it was festival time again, | 0:03:48 | 0:03:51 | |
so I came down here to see if I could find her. | 0:03:51 | 0:03:53 | |
And that's when you found out what had happened? | 0:03:53 | 0:03:56 | |
She died in prison - | 0:03:58 | 0:04:00 | |
pneumonia - | 0:04:00 | 0:04:02 | |
two years into her sentence. | 0:04:02 | 0:04:05 | |
She didn't deserve that, any of it. | 0:04:05 | 0:04:08 | |
She was innocent. | 0:04:08 | 0:04:10 | |
So, what do you think, sir? It sounds plausible. | 0:04:18 | 0:04:21 | |
No reason to make it up, as far as I can tell. | 0:04:22 | 0:04:25 | |
-Nothing to gain from it. -I checked earlier with immigration | 0:04:25 | 0:04:29 | |
and he was on the island eight years ago, like he says. | 0:04:29 | 0:04:31 | |
He also fits the description Nadine Hunter gave of the man | 0:04:31 | 0:04:34 | |
she claimed she spent the night with. | 0:04:34 | 0:04:37 | |
So what do we do now? | 0:04:37 | 0:04:39 | |
I don't think there's a choice, Florence. | 0:04:39 | 0:04:41 | |
You - or should I say we - reopen the case. | 0:04:41 | 0:04:46 | |
So, this is Nadine Hunter. | 0:04:48 | 0:04:51 | |
And this is Julie Matlock - the woman she was accused of killing. | 0:04:51 | 0:04:54 | |
We never found her body. | 0:04:54 | 0:04:56 | |
-You remember the case, Dwayne? -Oh, yes. | 0:04:56 | 0:04:58 | |
It was when DI Charlie Hulme was here. | 0:04:58 | 0:05:01 | |
Julie Matlock was editor of the Saint Marie Times | 0:05:01 | 0:05:04 | |
and quite a respected figure on the island. | 0:05:04 | 0:05:06 | |
And what was her relationship to Nadine Hunter? | 0:05:06 | 0:05:09 | |
Nadine worked under Julie at the paper, she was a photographer, | 0:05:09 | 0:05:12 | |
-but there were definite tensions between them. -Oh, in what way? | 0:05:12 | 0:05:16 | |
Well, you see, Miss Hunter was a little bit unstable. | 0:05:16 | 0:05:20 | |
Dependent on alcohol and anti-depressants. | 0:05:20 | 0:05:22 | |
-Not a great mix at the best of times. -Mm. | 0:05:22 | 0:05:25 | |
Well, the night before the murder, they had a very public falling out. | 0:05:25 | 0:05:28 | |
Julie had suspended Nadine from her job until she agreed | 0:05:28 | 0:05:31 | |
to accept professional help. | 0:05:31 | 0:05:32 | |
-And that's why she was suspected of killing Julie Matlock? -Mm-hm. | 0:05:32 | 0:05:36 | |
Plus...Miss Hunter was a registered gun owner. | 0:05:36 | 0:05:39 | |
When we searched her flat, there was no sign of the weapon. | 0:05:39 | 0:05:42 | |
And-and her car was missing, too. | 0:05:42 | 0:05:44 | |
We fished that out of the bay the following day. | 0:05:44 | 0:05:47 | |
We found the gun in the boot, along with this - | 0:05:49 | 0:05:52 | |
Julie Matlock's bloodied scarf. | 0:05:52 | 0:05:55 | |
Now, the court didn't have a body but they had means, | 0:05:55 | 0:05:58 | |
motive and, because she couldn't prove her alibi, opportunity. | 0:05:58 | 0:06:02 | |
What's this? | 0:06:02 | 0:06:04 | |
That's one of the reasons I can still remember the case. | 0:06:04 | 0:06:07 | |
-It's creepy. We actually had the murder on tape. -Really? | 0:06:07 | 0:06:11 | |
On the night it happened, | 0:06:11 | 0:06:13 | |
Julie Matlock was working late at the newspaper offices. | 0:06:13 | 0:06:16 | |
At 8:15pm, she phoned her daughter from her mobile and started leaving | 0:06:16 | 0:06:19 | |
an answer-phone message. That's when she got shot. | 0:06:19 | 0:06:22 | |
-RECORDING: -'Hi, Gracey. | 0:06:22 | 0:06:24 | |
'Look, I know I said we should do dinner but guess what? I'm still | 0:06:24 | 0:06:27 | |
'at the office, I'm probably going to be here another...' | 0:06:27 | 0:06:29 | |
GUNSHOT ON RECORDING Good Lord. | 0:06:29 | 0:06:31 | |
The newspaper office, where it happened, is it still there? | 0:06:34 | 0:06:37 | |
Oh, yes. | 0:06:37 | 0:06:39 | |
So, all the staff are waiting downstairs, | 0:06:51 | 0:06:54 | |
if you need to talk to any of them. | 0:06:54 | 0:06:56 | |
Great. Talk me through it. | 0:06:56 | 0:06:58 | |
What exactly happened here on the night of June the 22nd, 2009? | 0:06:58 | 0:07:02 | |
On the afternoon of the murder, | 0:07:02 | 0:07:04 | |
Julie Matlock's colleagues left at around 4:30. | 0:07:04 | 0:07:07 | |
We've had a hell of a day. You all go. | 0:07:07 | 0:07:09 | |
I'll stay here and finish up. | 0:07:09 | 0:07:11 | |
So there was no-one else here, apart from Julie, | 0:07:13 | 0:07:15 | |
until whoever did it turned up at some point and shot her at 8:15pm. | 0:07:15 | 0:07:20 | |
So, where was she when it happened? | 0:07:24 | 0:07:27 | |
According to the files, forensics found significant traces of bleach | 0:07:27 | 0:07:31 | |
on and around her desk and chair, | 0:07:31 | 0:07:33 | |
suggesting it was cleaned after the murder. | 0:07:33 | 0:07:36 | |
Yes, and, erm, Julie's desk was that one over there. | 0:07:36 | 0:07:39 | |
She was sitting here, working away, | 0:07:41 | 0:07:44 | |
doing whatever editors do, when she decided to phone her daughter | 0:07:44 | 0:07:48 | |
and say she wasn't going to make it to dinner. | 0:07:48 | 0:07:51 | |
Any evidence to suggest where the gun was fired from? | 0:07:52 | 0:07:56 | |
Not that I can find. No traces of gunshot residue. | 0:07:56 | 0:07:59 | |
And without the body, it's... | 0:07:59 | 0:08:01 | |
We don't know where the fatal bullet entered. Yeah. | 0:08:01 | 0:08:04 | |
Could you just excuse me one moment? | 0:08:08 | 0:08:10 | |
What's he doing? | 0:08:44 | 0:08:45 | |
That's interesting. | 0:08:50 | 0:08:52 | |
You think you know where the gun was fired from? | 0:08:52 | 0:08:55 | |
Oh, haven't a clue, Florence. | 0:08:55 | 0:08:57 | |
I'd say it's about 100% impossible to tell. JP... | 0:08:57 | 0:09:01 | |
those crime scene reports, | 0:09:01 | 0:09:02 | |
any mention of how the killer moved the victim after she'd been shot? | 0:09:02 | 0:09:06 | |
Yes, sir. | 0:09:06 | 0:09:08 | |
There was a fire door downstairs found open on the night. | 0:09:08 | 0:09:10 | |
Leads onto the car park. | 0:09:10 | 0:09:12 | |
It was assumed that the killer used the lift to get the body down there. | 0:09:12 | 0:09:16 | |
So, whoever did it was familiar with the layout of the building. | 0:09:16 | 0:09:19 | |
And they'd have needed a key to get in. Security had locked up | 0:09:19 | 0:09:22 | |
for the night, leaving Mrs Matlock alone in the building. | 0:09:22 | 0:09:24 | |
Yes, sir, the initial investigation concluded that it must have been | 0:09:24 | 0:09:27 | |
one of the other employees here at the newspaper. | 0:09:27 | 0:09:30 | |
So, who else had a key to the building? | 0:09:30 | 0:09:32 | |
Well, apart from the security, | 0:09:32 | 0:09:33 | |
only the other members of the senior editorial team. | 0:09:33 | 0:09:36 | |
And who exactly were they? | 0:09:36 | 0:09:37 | |
Julie's husband, Ian Matlock, | 0:09:37 | 0:09:40 | |
her daughter, Grace, | 0:09:40 | 0:09:43 | |
and journalists Tony Garrett | 0:09:43 | 0:09:47 | |
and Kai Johnson. | 0:09:47 | 0:09:49 | |
It's the same team still working here. | 0:09:49 | 0:09:52 | |
There's just one thing. | 0:09:52 | 0:09:54 | |
Part of the reason the original investigation focused in on | 0:09:54 | 0:09:56 | |
Nadine Hunter was because she was the only one who couldn't prove | 0:09:56 | 0:09:59 | |
where she was on the night of the murder, | 0:09:59 | 0:10:01 | |
whereas these four all had rock solid alibis. | 0:10:01 | 0:10:04 | |
Of course they did. It's typical. | 0:10:04 | 0:10:07 | |
Look, I know this is very upsetting for you all. | 0:10:09 | 0:10:12 | |
It's just... Well, this witness has come forward | 0:10:12 | 0:10:15 | |
and we're duty bound to look into things. | 0:10:15 | 0:10:17 | |
So, if we could just have a little chat, | 0:10:17 | 0:10:20 | |
I'm sure we can clear everything up once and for all. | 0:10:20 | 0:10:22 | |
Right. Day of the murder. According to the original statements, | 0:10:22 | 0:10:26 | |
you all left here at 4:30pm, | 0:10:26 | 0:10:28 | |
leaving Julie to finish up on her own. | 0:10:28 | 0:10:30 | |
She more or less threw us out after Nadine Hunter turned up. | 0:10:30 | 0:10:33 | |
Nadine? | 0:10:34 | 0:10:36 | |
I'm here for my stuff. | 0:10:36 | 0:10:38 | |
-We can send your things on... -Don't you touch me! | 0:10:38 | 0:10:41 | |
We're not finished! | 0:10:41 | 0:10:43 | |
She's totally lost it. | 0:10:44 | 0:10:46 | |
The evening before, | 0:10:46 | 0:10:48 | |
you were dining at the... | 0:10:48 | 0:10:51 | |
at The Blue Orchid. | 0:10:51 | 0:10:53 | |
She showed up, she was out of her head. | 0:10:53 | 0:10:55 | |
I know what you're doing! You'll pay for this! | 0:10:55 | 0:10:59 | |
Let me go! | 0:10:59 | 0:11:01 | |
And she was so angry because Julie had suspended her from her job, | 0:11:05 | 0:11:09 | |
-is that correct? -No, it's because she had a screw loose. -Gracey. | 0:11:09 | 0:11:12 | |
She was...a damaged soul. | 0:11:14 | 0:11:17 | |
Dad, how can you still stick up for her? | 0:11:17 | 0:11:20 | |
Does anyone have any idea why she was so down in the dumps | 0:11:20 | 0:11:24 | |
or, you know, so fond of the old drink? | 0:11:24 | 0:11:26 | |
Wasn't there something about | 0:11:26 | 0:11:27 | |
a guy who broke her heart years ago or something? At college? | 0:11:27 | 0:11:30 | |
Who cares? | 0:11:30 | 0:11:32 | |
Mum was a good friend to her. | 0:11:32 | 0:11:34 | |
She was an ungrateful bitch. | 0:11:34 | 0:11:36 | |
I think Nadine thought Julie wanted to get rid of her, | 0:11:36 | 0:11:40 | |
whereas the fact is... | 0:11:40 | 0:11:41 | |
She just wanted her to get professional help - | 0:11:41 | 0:11:43 | |
that's why she suspended her. | 0:11:43 | 0:11:46 | |
Let's be honest - none of us could work with her any more. | 0:11:46 | 0:11:51 | |
So, next evening, night of the murder. | 0:11:51 | 0:11:54 | |
Miss Matlock, your mother phoned and left that message. | 0:11:54 | 0:11:58 | |
I take it you were out that evening. | 0:11:58 | 0:12:00 | |
No, I was there but I was in the shower. | 0:12:00 | 0:12:03 | |
I was at the house, too. Heard the phone ring, let it go to voice-mail. | 0:12:03 | 0:12:07 | |
Grace played it when she came out the shower. | 0:12:07 | 0:12:10 | |
'Hi, Gracey. Look, I know I said we should do dinner but guess what? | 0:12:10 | 0:12:14 | |
'I'm still at the office. | 0:12:14 | 0:12:15 | |
-'I'm probably going to be here...' -GUNSHOT | 0:12:15 | 0:12:17 | |
'I phoned dad straight away.' | 0:12:17 | 0:12:19 | |
Dad?! Dad! | 0:12:19 | 0:12:22 | |
'I was up at our beach house. | 0:12:22 | 0:12:24 | |
'I phoned you lot straight away and got into the car.' | 0:12:24 | 0:12:28 | |
And this beach house, is it nearby? | 0:12:28 | 0:12:30 | |
-About 40 minutes by car. -Oh. | 0:12:30 | 0:12:33 | |
OK. Well, that's very clear. | 0:12:33 | 0:12:36 | |
So, night of the murder, Grace and Kai, | 0:12:36 | 0:12:38 | |
-you were together at home and, Ian, you were at the beach house? -Yes. | 0:12:38 | 0:12:43 | |
Mr Garrett, Tony, where were you that evening at about 8:15pm? | 0:12:43 | 0:12:48 | |
It was festival night. | 0:12:48 | 0:12:50 | |
I was in Denny's bar, along with half of Honore. | 0:12:50 | 0:12:53 | |
Read the statements! That woman came into the office and threatened Mum! | 0:12:53 | 0:12:57 | |
"We're not finished" - that's what she said, straight to her face. | 0:12:57 | 0:13:00 | |
Remember? | 0:13:00 | 0:13:02 | |
Whoever this man is and whatever he says, | 0:13:04 | 0:13:06 | |
Nadine Hunter killed my mother. | 0:13:06 | 0:13:08 | |
OK, well, thank you all. | 0:13:08 | 0:13:10 | |
Ah, JP, could you get your hands on some hi-fi equipment? | 0:13:14 | 0:13:17 | |
The best you can find - external speakers, the whole works. | 0:13:17 | 0:13:21 | |
Let's see if there's any more background noises | 0:13:21 | 0:13:23 | |
on that voice message, you know, the killer entering the room, | 0:13:23 | 0:13:26 | |
footsteps, that sort of thing. | 0:13:26 | 0:13:28 | |
Yeah, OK. Erm, my cousin's a DJ, I'm sure he'll have something. | 0:13:28 | 0:13:31 | |
Brilliant, thanks! | 0:13:31 | 0:13:33 | |
-Commissioner. -Commissioner. | 0:13:34 | 0:13:36 | |
-Inspector, you answered the call to arms, I see. -Ah, yes, sir. | 0:13:37 | 0:13:42 | |
If for no other reason than to get out from under my daughter's feet. | 0:13:42 | 0:13:45 | |
Well, whatever the reason, I'm glad you're here. | 0:13:45 | 0:13:48 | |
This is rather a delicate matter. | 0:13:48 | 0:13:50 | |
Yes, I suppose it is a bit. | 0:13:50 | 0:13:52 | |
You think there's any substance to what this man says? | 0:13:52 | 0:13:55 | |
Well, I think we should proceed as though there is... | 0:13:55 | 0:13:59 | |
until we manage to talk ourselves out of it. | 0:13:59 | 0:14:02 | |
You seem worried, Commissioner. | 0:14:07 | 0:14:09 | |
-I reckon I would be, too, if I was in your shoes. -I'm sorry? | 0:14:09 | 0:14:13 | |
Erm, well, no, just if the verdict proved to be unsafe, well, | 0:14:13 | 0:14:18 | |
wouldn't reflect brilliantly on your department now, would it? | 0:14:18 | 0:14:22 | |
But I've had a brief look through the case files and, from what | 0:14:26 | 0:14:29 | |
I've seen, Charlie Hulme was a good detective, very thorough. | 0:14:29 | 0:14:32 | |
So if a mistake was made, then I'm sure it wasn't due to | 0:14:32 | 0:14:35 | |
negligence or lack of effort. | 0:14:35 | 0:14:36 | |
Keep me in the loop, Inspector. | 0:14:40 | 0:14:42 | |
Absolutely. | 0:14:42 | 0:14:44 | |
-Pep talk? -Something like that. | 0:14:56 | 0:15:00 | |
-RECORDING: -'..but guess what? I'm still at the office. | 0:15:00 | 0:15:02 | |
-'I'm probably going to be here...' -GUNSHOT | 0:15:02 | 0:15:05 | |
Something there, isn't there? In the background? | 0:15:06 | 0:15:09 | |
'..but guess what? I'm still at the office. | 0:15:09 | 0:15:11 | |
-'I'm probably going to be here...' -GUNSHOT | 0:15:11 | 0:15:14 | |
TWO-BEAT MECHANICAL SOUND PLAYS | 0:15:14 | 0:15:17 | |
Yes, it's like, erm, a rumble. | 0:15:17 | 0:15:20 | |
JP, do you think you could isolate that sound? | 0:15:20 | 0:15:23 | |
-Oh, er, I could call my cousin, he might be able to. -Excellent! | 0:15:23 | 0:15:27 | |
You got something there, Dwayne? | 0:15:27 | 0:15:28 | |
Well, Nadine Hunter didn't have any next of kin, | 0:15:28 | 0:15:31 | |
so the prison authorities sent over | 0:15:31 | 0:15:33 | |
all her possessions to us when she died. | 0:15:33 | 0:15:35 | |
Clothes. | 0:15:35 | 0:15:37 | |
Leonard Cohen CD. | 0:15:38 | 0:15:39 | |
Copy of Wuthering Heights. | 0:15:42 | 0:15:44 | |
What's this? | 0:15:47 | 0:15:49 | |
-Lock of hair? -Mm-hm. | 0:15:49 | 0:15:51 | |
-Did she have children? -No. | 0:15:51 | 0:15:53 | |
Maybe it belongs to her college sweetheart? | 0:15:53 | 0:15:56 | |
It's a bit weird, isn't it? Keeping a lock of your boyfriend's hair? | 0:15:56 | 0:15:59 | |
Mmm. I suppose. Although, an auntie of mine, | 0:15:59 | 0:16:02 | |
she had her heart broken by the local chiropodist. | 0:16:02 | 0:16:04 | |
To this day, she's holding on to a pair of his socks he left behind, | 0:16:04 | 0:16:06 | |
like there's a chance he'll come back for them. | 0:16:06 | 0:16:08 | |
Maybe Nadine was just a hopeless romantic. | 0:16:15 | 0:16:18 | |
Maybe. | 0:16:18 | 0:16:19 | |
OK. Why don't we go over what we know so far | 0:16:19 | 0:16:22 | |
about the victim and our suspects? | 0:16:22 | 0:16:25 | |
Julie Matlock, 47, met husband Ian at Manchester University, | 0:16:25 | 0:16:30 | |
where they edited the student paper. | 0:16:30 | 0:16:33 | |
They settled in Saint Marie 18 years ago. Seemed a happy couple. | 0:16:33 | 0:16:36 | |
They were close to finishing a beach house on the coast | 0:16:36 | 0:16:39 | |
when Mrs Matlock was murdered. They were building the house themselves. | 0:16:39 | 0:16:43 | |
Kai Johnson, 35. | 0:16:43 | 0:16:46 | |
Oh, we looked at him very closely. He had a record as long as your arm. | 0:16:46 | 0:16:51 | |
Assault. Demanding money with menaces. Drug dealing. | 0:16:51 | 0:16:55 | |
They put him in a youth rehabilitation programme | 0:16:55 | 0:16:57 | |
and got him an apprenticeship at the newspaper. | 0:16:57 | 0:17:00 | |
Looks like he turned his life around | 0:17:00 | 0:17:02 | |
and bagged the boss' daughter. | 0:17:02 | 0:17:04 | |
Grace Matlock, 30. Their only child. | 0:17:04 | 0:17:07 | |
Not the high achiever her mum was, struggled at school, | 0:17:07 | 0:17:09 | |
didn't go to university. | 0:17:09 | 0:17:11 | |
Only ever worked for her parents as a copy editor. | 0:17:11 | 0:17:15 | |
So, husband, daughter and her boyfriend. This guy, Tony Garret. | 0:17:15 | 0:17:19 | |
Well, he's been at the paper for years, | 0:17:19 | 0:17:21 | |
way before the Matlock's even took it over. | 0:17:21 | 0:17:24 | |
Right. And what sort of a man is he? | 0:17:24 | 0:17:26 | |
Likes a party, but a decent enough guy. | 0:17:26 | 0:17:29 | |
Then there's the original prime suspect, Nadine Hunter, | 0:17:29 | 0:17:33 | |
who now, out of the blue, has an alibi for the night of the murder. | 0:17:33 | 0:17:36 | |
Well, look, I don't think we're going to achieve much more tonight. | 0:17:40 | 0:17:43 | |
Why don't we call it a day? | 0:17:43 | 0:17:44 | |
-Gets my vote. -Whoa, whoa, whoa. | 0:17:44 | 0:17:47 | |
You are aware of the visiting Inspector rule, right? | 0:17:47 | 0:17:49 | |
Er, not sure that I am Dwayne, no. | 0:17:49 | 0:17:51 | |
It's an old Saint Marie tradition. | 0:17:51 | 0:17:52 | |
You see, when an Inspector visits from another region, | 0:17:52 | 0:17:55 | |
he takes us all to the nearest bar and buys us a drink. | 0:17:55 | 0:17:59 | |
-That wouldn't be a rule you've just made up yourself now, would it? -No. | 0:17:59 | 0:18:03 | |
I might've made it up a little, | 0:18:07 | 0:18:09 | |
but Catherine's bar at the end of a hard day | 0:18:09 | 0:18:12 | |
is a bit of a tradition. | 0:18:12 | 0:18:13 | |
A very civilised tradition, if I may say so. | 0:18:13 | 0:18:17 | |
And here's the lady herself. | 0:18:17 | 0:18:20 | |
Catherine, meet Inspector Jack Mooney from the UK. | 0:18:20 | 0:18:23 | |
-Lovely to meet you. -Jack. Welcome to Saint Marie. | 0:18:23 | 0:18:28 | |
-Are you visiting the island? -Well, I thought I was. | 0:18:28 | 0:18:32 | |
He's helping us out. | 0:18:32 | 0:18:34 | |
Oh, and...Catherine is set to become our next mayor. | 0:18:34 | 0:18:37 | |
Well, there's the little matter of the election first. | 0:18:37 | 0:18:41 | |
I'll get your drinks. | 0:18:42 | 0:18:43 | |
-So, this festival I keep hearing about. -Hm. Saint Ursula's Day. | 0:18:45 | 0:18:49 | |
Which Saint Ursula is it? There's at least two that I know of. | 0:18:49 | 0:18:52 | |
There was one who was martyred by the Huns. | 0:18:52 | 0:18:55 | |
The poor girl, she got it in the neck - literally. | 0:18:55 | 0:18:57 | |
And then there's Saint Ursula Micaela Morata - | 0:18:57 | 0:18:59 | |
-she actually had the gift of bilocation. -Bilocation? | 0:18:59 | 0:19:02 | |
Yeah, the ability to be in two places at once. So which one is it? | 0:19:02 | 0:19:04 | |
The one where you drink a lot of rum and party wildly in the street. | 0:19:04 | 0:19:07 | |
Ah, I like her the best. | 0:19:07 | 0:19:09 | |
Thought I'd find you in the nearest bar. | 0:19:09 | 0:19:11 | |
Ah, Siobhan, come and join us. | 0:19:11 | 0:19:13 | |
Catherine, this is my daughter Siobhan. | 0:19:13 | 0:19:16 | |
Welcome! Shall I get another beer? | 0:19:16 | 0:19:19 | |
Well, one won't hurt, I suppose. | 0:19:19 | 0:19:22 | |
Oh! The slippery slope! | 0:19:22 | 0:19:23 | |
This is how it all starts. | 0:19:23 | 0:19:25 | |
One! One only. | 0:19:25 | 0:19:27 | |
Cheers, sir. | 0:19:27 | 0:19:29 | |
Oh, thank you. | 0:19:29 | 0:19:31 | |
You know what we need? | 0:19:36 | 0:19:38 | |
More willpower? | 0:19:38 | 0:19:40 | |
A grown-up. | 0:19:40 | 0:19:41 | |
Wouldn't hurt. | 0:19:41 | 0:19:43 | |
Remember when you were little? You were so fascinated by the stars | 0:19:47 | 0:19:51 | |
-you wouldn't let me close your bedroom curtains. -I remember. | 0:19:51 | 0:19:55 | |
And on cloudy nights I used to tell you there were no stars | 0:19:58 | 0:20:02 | |
because the batteries had run out. | 0:20:02 | 0:20:04 | |
Backfired a bit on me there! You took the battery out of every toy | 0:20:06 | 0:20:09 | |
you owned and had them ready for me at bedtime... | 0:20:09 | 0:20:12 | |
..to turn the stars back on. | 0:20:13 | 0:20:15 | |
And you said that they were the wrong size batteries. | 0:20:15 | 0:20:19 | |
So I did. | 0:20:19 | 0:20:21 | |
-Sorry about that. -It's OK. | 0:20:21 | 0:20:24 | |
Mum got me the glow in the dark ones to stick on the window. | 0:20:26 | 0:20:29 | |
Ah. | 0:20:29 | 0:20:31 | |
Just like your mum, tidying up after my mess. | 0:20:31 | 0:20:35 | |
I really miss her. | 0:20:40 | 0:20:41 | |
I know you do, love. | 0:20:43 | 0:20:45 | |
Me, too. | 0:20:51 | 0:20:52 | |
CLATTERING | 0:21:16 | 0:21:18 | |
Thanks a million. You're a star. Goodbye. | 0:21:22 | 0:21:27 | |
What's going on? | 0:21:27 | 0:21:28 | |
I bought a bed. Have a look. | 0:21:28 | 0:21:31 | |
-When did you organise that? -Last night at the bar. | 0:21:32 | 0:21:35 | |
I mentioned it to Dwayne, who said he knew a man who knew a man | 0:21:35 | 0:21:37 | |
whose auntie might be able to help. And what do you know? | 0:21:37 | 0:21:40 | |
Now all I need is a pillow and some sheets and I'm right as rain. | 0:21:40 | 0:21:43 | |
Er, mattress? | 0:21:43 | 0:21:45 | |
Oh, yeah, a mattress. | 0:21:45 | 0:21:48 | |
I might have to have another word with Dwayne. | 0:21:48 | 0:21:50 | |
TO HIMSELF: She left the offices there...hmm...went to Port Royal. | 0:21:53 | 0:21:58 | |
When did she go, when did she go to Port Royal? Hmm. Oh... | 0:21:58 | 0:22:02 | |
Who's he talking to? | 0:22:04 | 0:22:06 | |
Why did she, why did she do that? | 0:22:08 | 0:22:10 | |
OK, then she stayed... | 0:22:10 | 0:22:13 | |
Sir? You OK? | 0:22:15 | 0:22:19 | |
Me? Great. Couldn't be better. | 0:22:19 | 0:22:21 | |
What about yourself, Florence? Getting anywhere with Julie's diary? | 0:22:21 | 0:22:25 | |
Only this. She scribbled something on the page before her last day - | 0:22:25 | 0:22:29 | |
it's a five-digit number. | 0:22:29 | 0:22:31 | |
"1-9-8-7-1". | 0:22:31 | 0:22:33 | |
It's hardly a phone number, not enough digits. | 0:22:33 | 0:22:36 | |
It's not a pin number, either. | 0:22:36 | 0:22:37 | |
I'll see if I can find something else it could relate to. | 0:22:37 | 0:22:40 | |
-Sir? -Yes, JP? | 0:22:40 | 0:22:42 | |
There's something here in Julie's inbox. It's a resignation e-mail | 0:22:42 | 0:22:46 | |
from Tony Garret sent two days before Julie was killed. It reads - | 0:22:46 | 0:22:50 | |
"Dear Julie, while I still stand by the articles, I regret that | 0:22:50 | 0:22:53 | |
"in certain respects my behaviour may have fallen | 0:22:53 | 0:22:55 | |
"short of your expectations. | 0:22:55 | 0:22:57 | |
"I therefore have no option but to tender my resignation. | 0:22:57 | 0:23:00 | |
"Yours, Tony Garret." | 0:23:00 | 0:23:02 | |
The classic non-apology apology. I wonder what that's all about? | 0:23:02 | 0:23:06 | |
I'll keep going back. | 0:23:06 | 0:23:08 | |
Let me see if I can find out what these articles were about. | 0:23:08 | 0:23:10 | |
Might be worth paying a visit to the paper. Check the archives. | 0:23:10 | 0:23:14 | |
Dwayne, how you getting on with financial checks? | 0:23:14 | 0:23:16 | |
The original investigation only focused on the victim's finances - | 0:23:16 | 0:23:20 | |
oh, and Nadine Hunter's - | 0:23:20 | 0:23:22 | |
-so I started to look into the other four suspects. -And? | 0:23:22 | 0:23:25 | |
And Ian Matlock's credit card statements | 0:23:25 | 0:23:27 | |
make for interesting reading. | 0:23:27 | 0:23:28 | |
In the two months before Julie's death, there's two - | 0:23:28 | 0:23:31 | |
no, three - payments to somewhere called Cupid's Arrow. | 0:23:31 | 0:23:35 | |
Cupid's Arrow? | 0:23:35 | 0:23:37 | |
Yes, that's a high-end lingerie shop on the other side of the island. | 0:23:37 | 0:23:40 | |
So I hear. | 0:23:43 | 0:23:45 | |
Then we have afternoon champagne at the Bay Cove Hotel | 0:23:45 | 0:23:48 | |
and a payment to the florists every day for a month. | 0:23:48 | 0:23:51 | |
-Spoiling his wife, eh? -What? Those kind of places | 0:23:51 | 0:23:55 | |
aren't usually where men go to shop for their wives! | 0:23:55 | 0:23:58 | |
Present company excepted. | 0:23:58 | 0:24:01 | |
And what about the afternoon champagne? | 0:24:01 | 0:24:03 | |
Julie Matlock was a workaholic. | 0:24:03 | 0:24:06 | |
If you ask me, it wasn't his wife. | 0:24:06 | 0:24:08 | |
-Wasn't there an insurance payout? -Half a million | 0:24:08 | 0:24:12 | |
and the husband was the beneficiary. | 0:24:12 | 0:24:15 | |
Florence, looks like you and I need to pay Ian Matlock a visit. | 0:24:16 | 0:24:20 | |
Sorry about the weather, sir. | 0:24:25 | 0:24:27 | |
Reminds me of home. | 0:24:27 | 0:24:28 | |
Ooh, this is some house they built for themselves. | 0:24:28 | 0:24:31 | |
So, you need clarification on something? | 0:24:32 | 0:24:35 | |
Yes, Ian, that's exactly what we need - a bit of clarification. | 0:24:35 | 0:24:39 | |
Now, what was it needed clarifying? | 0:24:40 | 0:24:43 | |
Ah, yes. Here it is. | 0:24:45 | 0:24:47 | |
Can you tell us what you were doing at the Bay Cove hotel | 0:24:47 | 0:24:49 | |
on May 18th and again on the 3rd of June 2009, | 0:24:49 | 0:24:53 | |
shortly before your wife was murdered? | 0:24:53 | 0:24:55 | |
There's lots of other dates, but we'll start with those two for now. | 0:24:57 | 0:25:01 | |
Er, the... | 0:25:02 | 0:25:03 | |
The Bay Cove Hotel? | 0:25:05 | 0:25:07 | |
Yeah. | 0:25:07 | 0:25:08 | |
Would you like the dates again? | 0:25:08 | 0:25:11 | |
I suspect you know damn well what I was doing. | 0:25:13 | 0:25:15 | |
I have no way of knowing what you were doing, Mr Matlock. | 0:25:18 | 0:25:21 | |
Locking yourself away in a hotel room with champagne | 0:25:21 | 0:25:24 | |
and sexy lingerie all afternoon could mean lots of different things. | 0:25:24 | 0:25:28 | |
I'm sorry. It's not exactly a chapter of my life I'm proud of. | 0:25:30 | 0:25:32 | |
You were having an affair? | 0:25:32 | 0:25:35 | |
Even the most perfect of marriages get into a rut. | 0:25:36 | 0:25:38 | |
Although, if I'm honest, it wasn't my marriage in a rut, | 0:25:38 | 0:25:41 | |
-it was me. A mid-life crisis. -Hmm. | 0:25:41 | 0:25:44 | |
-Can I ask, who was it you were seeing? -She was a travel rep, | 0:25:44 | 0:25:48 | |
only on the island for a few weeks at a time, | 0:25:48 | 0:25:50 | |
and Julie was away on work a lot and... | 0:25:50 | 0:25:53 | |
..I was vain and stupid and I wanted to feel like the big man. | 0:25:55 | 0:25:59 | |
-And did your wife ever find out? -No. God, she'd have killed me. | 0:25:59 | 0:26:02 | |
It was a few months that summer. I came to my senses and ended it. | 0:26:08 | 0:26:11 | |
It had nothing to do with my wife's death, I swear. | 0:26:12 | 0:26:15 | |
You know, I was still at college in 2009. | 0:26:25 | 0:26:29 | |
Me, I was getting my heart broken. | 0:26:29 | 0:26:32 | |
You? Getting your heart broken? | 0:26:32 | 0:26:35 | |
You better believe it! Big time. | 0:26:35 | 0:26:37 | |
Monica Cannon. Gorgeous girl. | 0:26:38 | 0:26:42 | |
Kind, sweet, looked like a model. | 0:26:42 | 0:26:44 | |
-So what happened? -I broke it off. | 0:26:44 | 0:26:48 | |
Why? | 0:26:48 | 0:26:50 | |
It was nothing. | 0:26:51 | 0:26:52 | |
I can't even remember. | 0:26:52 | 0:26:54 | |
OK, there was a slight height issue. | 0:26:57 | 0:27:00 | |
She was taller than me, a lot taller! | 0:27:00 | 0:27:03 | |
You dumped her just for that?! | 0:27:03 | 0:27:05 | |
There were people looking and laughing! | 0:27:05 | 0:27:08 | |
Ah! | 0:27:08 | 0:27:10 | |
Here we go, look - | 0:27:10 | 0:27:12 | |
"Tony Garret Investigates." | 0:27:12 | 0:27:14 | |
"Allegations Rock Calder Hill Private School". | 0:27:14 | 0:27:17 | |
What's the date on that? | 0:27:17 | 0:27:19 | |
May 4th, 2009. | 0:27:19 | 0:27:21 | |
May 4th, 2009. | 0:27:23 | 0:27:24 | |
It carries on the following week. | 0:27:24 | 0:27:27 | |
You know, I remember this, JP. One of the teachers was fooling around | 0:27:27 | 0:27:30 | |
-with some of his older students. -What do you reckon, Dwayne? | 0:27:30 | 0:27:33 | |
You think this could be the article that Tony Garret was talking about | 0:27:33 | 0:27:36 | |
-in his resignation letter? -It could be, you know! | 0:27:36 | 0:27:39 | |
I think I'll call the Inspector. | 0:27:39 | 0:27:41 | |
Caught with a rum and coconut water at 5:00pm. | 0:27:52 | 0:27:55 | |
Guilty as charged! | 0:27:55 | 0:27:57 | |
But then, if every police officer looked like you... | 0:27:57 | 0:28:02 | |
I wouldn't mind being arrested. | 0:28:02 | 0:28:04 | |
Unfortunately, Tony, most police officers look like me. | 0:28:05 | 0:28:08 | |
To what do I owe the honour? | 0:28:09 | 0:28:10 | |
-Calder Hill. -The school? | 0:28:10 | 0:28:12 | |
That's the one. And Josh Kingsley. | 0:28:12 | 0:28:14 | |
Oh, yes - Kingsley - the handsome English teacher and his | 0:28:14 | 0:28:18 | |
extra-curricular activities. | 0:28:18 | 0:28:21 | |
Quite a series of articles. | 0:28:21 | 0:28:23 | |
Were you sure those girls were telling you the truth? | 0:28:23 | 0:28:26 | |
The truth has many faces. | 0:28:26 | 0:28:28 | |
I still had to investigate. | 0:28:28 | 0:28:30 | |
Ah, we read them, the articles, they were excellent. | 0:28:30 | 0:28:32 | |
But not an awful lot of evidence. One statement later retracted. | 0:28:32 | 0:28:36 | |
I talked to a lot of people, | 0:28:36 | 0:28:38 | |
that guy was crossing the line. | 0:28:38 | 0:28:40 | |
-So you didn't get it wrong? -No, I didn't. | 0:28:40 | 0:28:43 | |
Hm. Well, why then did you offer to resign over it? | 0:28:43 | 0:28:47 | |
Julie accused me of embellishing the truth. | 0:28:50 | 0:28:52 | |
..because you're lazy. Lazy and self-satisfied. And you lied to me. | 0:28:52 | 0:28:58 | |
It's over for you, Tony. | 0:28:58 | 0:28:59 | |
After all we'd been through, she should have stuck by me. | 0:29:01 | 0:29:04 | |
-Must have stung a bit, though. -Yes, it did. | 0:29:04 | 0:29:06 | |
And, two days later, Julie is dead and your resignation withdrawn. | 0:29:06 | 0:29:09 | |
-You think I killed her? -Well, you couldn't have. | 0:29:11 | 0:29:14 | |
If I remember rightly, you were in the bar all night. | 0:29:14 | 0:29:17 | |
Yes, I was. I could find a dozen witnesses in an hour. | 0:29:17 | 0:29:20 | |
Oh, there's no need for that, Tony, no need at all. | 0:29:20 | 0:29:23 | |
No, we're just tidying things up here a bit, | 0:29:23 | 0:29:25 | |
keep the powers that be happy. | 0:29:25 | 0:29:27 | |
Whatever the rights and wrongs of that investigation, | 0:29:27 | 0:29:31 | |
Nadine Hunter killed Julie. | 0:29:31 | 0:29:33 | |
End of story. | 0:29:33 | 0:29:35 | |
OK! | 0:29:35 | 0:29:37 | |
Rum and coconut water. May I? | 0:29:37 | 0:29:40 | |
Sure. | 0:29:40 | 0:29:41 | |
Never came across that before. | 0:29:43 | 0:29:45 | |
You should try it. | 0:29:45 | 0:29:46 | |
Not on duty! Thank you. | 0:29:46 | 0:29:49 | |
Ian Matlock, Tony Garret - both had motives. | 0:29:57 | 0:30:01 | |
Yes, but Tony Garret had a bar full of witnesses who all said | 0:30:01 | 0:30:04 | |
he was there at 8:15 - the same time Julie Matlock got shot. | 0:30:04 | 0:30:08 | |
Well, the same goes for Ian Matlock. | 0:30:08 | 0:30:09 | |
There's records of a call made from Grace's home phone | 0:30:09 | 0:30:12 | |
and answered on Ian's landline at the beach house at 8:16 pm. | 0:30:12 | 0:30:15 | |
Well, the beach house was a 40-minute drive | 0:30:15 | 0:30:18 | |
from the newspaper office where Julie was shot. | 0:30:18 | 0:30:20 | |
Neither Ian or Tony were anywhere near the scene of the crime | 0:30:20 | 0:30:23 | |
-when it happened. -None of them were. | 0:30:23 | 0:30:25 | |
PHONE BEEPS But if Nadine Hunter's innocent, | 0:30:25 | 0:30:27 | |
it must be one of them, it simply must be. | 0:30:27 | 0:30:30 | |
Er, sir, that's my cousin Eddie, | 0:30:30 | 0:30:32 | |
he's found a bit of kit to isolate the sound on that CD. | 0:30:32 | 0:30:35 | |
-I'll head over there now. -Great. | 0:30:35 | 0:30:37 | |
Oh, you found her! Good man! | 0:30:39 | 0:30:41 | |
What you doin' sneaking up on me, man? | 0:30:41 | 0:30:43 | |
Found who? | 0:30:43 | 0:30:45 | |
Oh, Dwayne's reconnecting with an old flame. | 0:30:45 | 0:30:47 | |
-He had a bit of a thing with her in 2009. -Hmm. What happened? | 0:30:47 | 0:30:52 | |
They didn't see eye to eye. | 0:30:52 | 0:30:53 | |
You think you're funny? | 0:30:55 | 0:30:57 | |
Hello? | 0:31:10 | 0:31:12 | |
Ah, Mr McCarthy. How are you? Come in. | 0:31:12 | 0:31:15 | |
I was just wondering if there'd been any developments. | 0:31:15 | 0:31:19 | |
Only, I'm leaving in a day. | 0:31:19 | 0:31:21 | |
We're progressing. | 0:31:21 | 0:31:22 | |
So you haven't found anything, then? | 0:31:22 | 0:31:24 | |
Well, there's an awful lot to get through - | 0:31:24 | 0:31:26 | |
forensic reports, statements, physical evidence. | 0:31:26 | 0:31:30 | |
-The fact that it all happened eight years ago doesn't help. -No. | 0:31:30 | 0:31:34 | |
Must've been quite a night - | 0:31:34 | 0:31:36 | |
to bring you back here after all these years. | 0:31:36 | 0:31:39 | |
It was. I've never met anyone like her before or since. | 0:31:39 | 0:31:44 | |
I don't know what I'm doing. | 0:31:47 | 0:31:49 | |
My marriage falls apart and the first thing I do is hop on a plane, | 0:31:49 | 0:31:54 | |
chasing some one night stand from years ago. | 0:31:54 | 0:31:57 | |
My father always told me | 0:31:57 | 0:31:59 | |
you never really know what you're looking for until you find it. | 0:31:59 | 0:32:02 | |
5,000 miles is a long way to go | 0:32:02 | 0:32:04 | |
if you don't know what you're looking for. | 0:32:04 | 0:32:06 | |
Well, look, if we manage to prove Nadine's innocence and arrest | 0:32:10 | 0:32:13 | |
whoever did commit that murder, | 0:32:13 | 0:32:15 | |
well, then I'd say your trip hasn't been wasted. | 0:32:15 | 0:32:17 | |
-Goodnight, Inspector. -Goodnight. | 0:32:19 | 0:32:22 | |
So, whoever did this let themselves into the building | 0:32:32 | 0:32:36 | |
and then shot Julie while she was on the phone | 0:32:36 | 0:32:38 | |
leaving a message for her daughter. | 0:32:38 | 0:32:40 | |
We know they then removed all signs of the killing, | 0:32:40 | 0:32:44 | |
cleaned up the crime scene and disposed of the body. | 0:32:44 | 0:32:47 | |
Where that body is is something we don't know. | 0:32:47 | 0:32:50 | |
We also know that Nadine Hunter's car was pushed into the sea | 0:32:54 | 0:32:58 | |
and, when it was recovered, all that we could find | 0:32:58 | 0:33:01 | |
was the potential murder weapon and the victim's bloodied scarf, | 0:33:01 | 0:33:04 | |
which would indicate that whoever did this was trying to frame | 0:33:04 | 0:33:06 | |
Nadine Hunter for the murder. | 0:33:06 | 0:33:08 | |
Ahh! | 0:33:11 | 0:33:13 | |
Which begs the question, why her? | 0:33:15 | 0:33:18 | |
Why kill Julie Matlock and then frame Nadine for it? | 0:33:18 | 0:33:21 | |
Maybe, somehow, they knew Nadine would struggle to prove her alibi? | 0:33:21 | 0:33:25 | |
Maybe. | 0:33:25 | 0:33:27 | |
But now that's no longer the case, the playing field has been levelled, | 0:33:27 | 0:33:31 | |
leaving us with four people, all of whom might have done it. | 0:33:31 | 0:33:34 | |
But they can all prove they were somewhere else at the time | 0:33:34 | 0:33:36 | |
that Julie was killed. | 0:33:36 | 0:33:38 | |
Sir? We've isolated the noise from the CD. | 0:33:40 | 0:33:44 | |
And? Did you find anything? | 0:33:44 | 0:33:47 | |
Well, listen. | 0:33:47 | 0:33:49 | |
TWO-BEAT MECHANICAL SOUND PLAYS | 0:33:52 | 0:33:55 | |
What is that? | 0:33:55 | 0:33:57 | |
Personally, I think it sounds like something mechanical. | 0:33:57 | 0:34:00 | |
Or someone tapping? | 0:34:00 | 0:34:02 | |
-No, no, no, no, no, - it's a horse! -A horse? | 0:34:02 | 0:34:05 | |
Yes. On the beach - in the distance. | 0:34:05 | 0:34:09 | |
You can't hear it? | 0:34:09 | 0:34:11 | |
Listen! | 0:34:11 | 0:34:13 | |
And that's as loud as your cousin can get it? | 0:34:13 | 0:34:15 | |
-He can't bring it out any more? -I'm afraid not, sir. | 0:34:15 | 0:34:18 | |
OK. Thanks, JP. | 0:34:18 | 0:34:20 | |
This timeline. Port Royal, that's a place on the island, right? | 0:34:22 | 0:34:26 | |
-Yes. It's small harbour town on the northern coast. -Yeah. | 0:34:26 | 0:34:28 | |
And we know that Julie Matlock was there for a short time | 0:34:28 | 0:34:31 | |
-the day she was murdered. -That's right. | 0:34:31 | 0:34:33 | |
A taxi driver gave a statement that he took Julie to Port Royal, | 0:34:33 | 0:34:36 | |
she asked him to wait for her, he said it was about 15 minutes, | 0:34:36 | 0:34:40 | |
then he drove her back to her office. | 0:34:40 | 0:34:42 | |
-Did we ever establish what she was doing there? -No. | 0:34:42 | 0:34:45 | |
OK. | 0:34:45 | 0:34:46 | |
Look, I know it's a long time ago, | 0:34:46 | 0:34:48 | |
but it's about the only thing we haven't double-checked. | 0:34:48 | 0:34:50 | |
Why don't we go there and we'll talk to whoever we can find, OK? | 0:34:50 | 0:34:54 | |
Right. Before we pull the plug. | 0:34:54 | 0:34:57 | |
-Hello! Hi, how are you? -Bonjour. | 0:35:05 | 0:35:08 | |
-Have you seen this woman before? -No. | 0:35:08 | 0:35:12 | |
I really don't know anything about it. | 0:35:17 | 0:35:20 | |
-Come on. -Thank you. Have a good day. | 0:35:20 | 0:35:24 | |
Let's go. | 0:35:28 | 0:35:29 | |
-Sir? -Anything? | 0:35:33 | 0:35:35 | |
Nothing. There's still a couple of warehouses | 0:35:35 | 0:35:38 | |
and a safety deposit box place we haven't been to yet. | 0:35:38 | 0:35:41 | |
Safety deposit box? | 0:35:41 | 0:35:43 | |
1-9-8-7-1 - the five-digit code. | 0:35:44 | 0:35:48 | |
It's this way, sir. | 0:35:48 | 0:35:50 | |
He didn't recognise Julie Matlock's photograph, | 0:35:59 | 0:36:02 | |
but he's checked his files and the box was registered in her name. | 0:36:02 | 0:36:06 | |
1-9-8-7-1. | 0:36:07 | 0:36:10 | |
Bingo. | 0:36:10 | 0:36:12 | |
Pictures... | 0:36:16 | 0:36:18 | |
and a comp slip. | 0:36:18 | 0:36:21 | |
"Maxwell Private Detectives". | 0:36:21 | 0:36:24 | |
This is Kai, her daughter's boyfriend. | 0:36:24 | 0:36:27 | |
And who are these clowns he's hanging out with? | 0:36:27 | 0:36:30 | |
She had me followed? | 0:36:37 | 0:36:38 | |
She didn't believe that you were a reformed character. | 0:36:38 | 0:36:41 | |
-She was looking for proof - looks like she found it. -Yeah. | 0:36:41 | 0:36:46 | |
Wouldn't look good to Grace if she knew you were still hanging around | 0:36:46 | 0:36:49 | |
-with those fellas. -What's your point? | 0:36:49 | 0:36:51 | |
Our point is, Kai, if you knew about this, | 0:36:51 | 0:36:53 | |
you had a powerful motive to kill Julie. | 0:36:53 | 0:36:55 | |
Of course I knew Julie was trying to get rid of me - | 0:36:57 | 0:36:59 | |
she begged Grace to dump me, she was desperate. | 0:36:59 | 0:37:02 | |
She even tried to pay me off. | 0:37:04 | 0:37:06 | |
That was the real Julie. | 0:37:09 | 0:37:11 | |
She may have banged on about getting people out of the gutter, | 0:37:11 | 0:37:15 | |
until a piece of gutter trash got anywhere near her or Grace. | 0:37:15 | 0:37:18 | |
Did you tell Grace that Julie tried to buy you off? | 0:37:18 | 0:37:21 | |
Yes, and she was furious. | 0:37:21 | 0:37:22 | |
The night she died, | 0:37:24 | 0:37:25 | |
Grace was supposed to have dinner with her mum, sort things out. | 0:37:25 | 0:37:28 | |
-But you're saying you didn't know you were being followed? -No. | 0:37:28 | 0:37:32 | |
You were dealing, though? | 0:37:32 | 0:37:34 | |
One time. That was it. | 0:37:34 | 0:37:37 | |
I was up to my neck in debt and I did what I had to. | 0:37:38 | 0:37:41 | |
One deal to get away from it for good. | 0:37:41 | 0:37:43 | |
And you definitely didn't know about these pictures? | 0:37:43 | 0:37:45 | |
Of course I didn't! | 0:37:45 | 0:37:48 | |
Wait! You actually think I killed her? | 0:37:48 | 0:37:52 | |
I love Grace. You really think I'd kill her mother? | 0:37:53 | 0:37:57 | |
-DWAYNE: -'Honore Police.' | 0:38:10 | 0:38:11 | |
Dwayne, how are ya? Were Kai's fingerprints on those photographs? | 0:38:11 | 0:38:16 | |
No, not Kai's. We found Julie's, as expected. | 0:38:16 | 0:38:19 | |
-But there was another set of prints on there. -Belonging to who? | 0:38:19 | 0:38:23 | |
Grace Matlock. | 0:38:23 | 0:38:24 | |
When did you first see them? | 0:38:30 | 0:38:32 | |
Your fingerprints are all over them. | 0:38:33 | 0:38:35 | |
She showed them to me the day before she died. | 0:38:35 | 0:38:38 | |
I couldn't believe she did something like that. | 0:38:39 | 0:38:42 | |
But, then again, | 0:38:42 | 0:38:44 | |
she was like a dog with a bone when she wanted something. | 0:38:44 | 0:38:47 | |
All my life she tried to force me into things, | 0:38:47 | 0:38:49 | |
tell me what to do, make decisions for me. | 0:38:49 | 0:38:52 | |
I'd had enough. | 0:38:52 | 0:38:54 | |
I'm telling you, Gracey, he'll never change. He's trouble. | 0:38:54 | 0:38:57 | |
Told her I didn't care. She could do what she wanted with them. | 0:38:59 | 0:39:03 | |
But she knew that if she gave them to the police, | 0:39:03 | 0:39:05 | |
got him into trouble, she'd lose me forever. | 0:39:05 | 0:39:08 | |
-Never speak to her again. -Did you tell Kai that Julie had these? | 0:39:08 | 0:39:11 | |
No. Why would I? | 0:39:11 | 0:39:14 | |
You think I want to admit my own mother would do something like this? | 0:39:14 | 0:39:17 | |
-Well, didn't you want to warn him? -I didn't need a photo to do that. | 0:39:17 | 0:39:21 | |
Let's just say I made it clear that if I ever caught him dealing | 0:39:21 | 0:39:24 | |
I'd leave him. I knew that if he loved me he'd stop. | 0:39:24 | 0:39:27 | |
And it paid off. Look at us now. | 0:39:27 | 0:39:30 | |
We make each other happy, we're about to have a baby. | 0:39:30 | 0:39:33 | |
Mum may have had these photos, but she couldn't do anything with them. | 0:39:33 | 0:39:36 | |
She knew it. | 0:39:36 | 0:39:38 | |
HE EXHALES | 0:39:43 | 0:39:45 | |
DWAYNE WHISTLES CHEERILY | 0:39:45 | 0:39:50 | |
Why are you so cheerful? | 0:39:50 | 0:39:51 | |
Am I? | 0:39:51 | 0:39:53 | |
You got in touch with Monica Cannon, haven't you? | 0:39:55 | 0:39:58 | |
Of course. I messaged her, she got back. | 0:39:58 | 0:40:01 | |
That's great news, Dwayne, man! | 0:40:01 | 0:40:05 | |
So when are you going to meet her? | 0:40:05 | 0:40:07 | |
Who said I was? | 0:40:07 | 0:40:09 | |
Tonight at the festival. | 0:40:11 | 0:40:13 | |
JACK GRUMBLES | 0:40:14 | 0:40:18 | |
You alright, sir? | 0:40:19 | 0:40:21 | |
Yes. I'm fine, thank you, Florence. | 0:40:21 | 0:40:24 | |
Yeah. | 0:40:24 | 0:40:25 | |
But maybe we should just go over it one last time. | 0:40:27 | 0:40:30 | |
A woman was shot dead in her office. | 0:40:33 | 0:40:36 | |
Her body was never found. | 0:40:36 | 0:40:38 | |
There are five suspects - | 0:40:38 | 0:40:40 | |
one of them was wrongly convicted of her murder - which leaves four. | 0:40:40 | 0:40:44 | |
What do we know about these four people? | 0:40:44 | 0:40:46 | |
-They all had motives. -Exactly. | 0:40:46 | 0:40:48 | |
-They all had access. -Exactly. -They all had alibis. -Exactly. | 0:40:48 | 0:40:52 | |
MUSIC OUTSIDE, PEOPLE CHEERING | 0:40:52 | 0:40:55 | |
What's that music? | 0:40:55 | 0:40:57 | |
-That's the festival, you know, Saint Ursula's. -Oh, yeah. | 0:40:57 | 0:41:02 | |
They sound like they're having a lot more fun than we are. | 0:41:02 | 0:41:05 | |
Maybe we should call it a day. We're not getting anywhere here | 0:41:05 | 0:41:09 | |
-and...you are still on holiday, remember? -You're right. | 0:41:09 | 0:41:13 | |
Maybe a bit of breathing space would do us the world of good. | 0:41:13 | 0:41:16 | |
UPBEAT MUSIC PLAYS | 0:41:16 | 0:41:20 | |
-Welcome to Saint Marie, sir! -Yes. | 0:41:24 | 0:41:27 | |
-And Happy Saint Ursula's Day to you both. -Thank you. | 0:41:27 | 0:41:30 | |
Ay-ay-ay! | 0:41:33 | 0:41:35 | |
Wow! | 0:41:36 | 0:41:38 | |
Smells like an aftershave factory. | 0:41:38 | 0:41:41 | |
You think it's too much? | 0:41:41 | 0:41:43 | |
-No. -No. | 0:41:43 | 0:41:46 | |
Oh, good! | 0:41:46 | 0:41:48 | |
There she is. I'm going in! | 0:41:50 | 0:41:53 | |
Wish me luck. | 0:41:53 | 0:41:54 | |
I thought you said this woman was taller than Dwayne. | 0:42:02 | 0:42:05 | |
That's what he said. | 0:42:05 | 0:42:07 | |
Then who's that? | 0:42:07 | 0:42:09 | |
It's a long time since they last met. | 0:42:09 | 0:42:11 | |
Maybe Monica's shrunk a little bit. | 0:42:11 | 0:42:13 | |
MUSIC PLAYS LOUDLY | 0:42:17 | 0:42:20 | |
What happened with Monica? | 0:42:39 | 0:42:41 | |
I can't believe I mixed them up! | 0:42:41 | 0:42:44 | |
Monica Ridley is the model, the one taller than me. | 0:42:44 | 0:42:47 | |
And the other one is Monica Cannon, whose father was in the circus. | 0:42:47 | 0:42:51 | |
-Circus?! -It's a long story. | 0:42:51 | 0:42:54 | |
Or a short one! | 0:42:54 | 0:42:55 | |
I wonder what Saint Ursula would have made of all this. | 0:42:56 | 0:43:00 | |
-What? -Saint Ursula! | 0:43:00 | 0:43:02 | |
No, thanks, sir - I ate earlier! | 0:43:02 | 0:43:04 | |
You enjoying yourself, Dad? | 0:43:04 | 0:43:06 | |
-Yeah! -Good! | 0:43:06 | 0:43:09 | |
-They could turn the music down a bit, though. -What? | 0:43:09 | 0:43:11 | |
-The music - it's very loud. -Very what?! | 0:43:11 | 0:43:14 | |
Loud! | 0:43:14 | 0:43:16 | |
Loud! It's very... | 0:43:16 | 0:43:17 | |
-RECORDING: -'..probably going to be here another...' | 0:43:17 | 0:43:19 | |
GUNSHOT Good Lord! | 0:43:19 | 0:43:21 | |
Something there, isn't there, in the background? | 0:43:23 | 0:43:26 | |
Forensics found significant traces of bleach | 0:43:26 | 0:43:29 | |
on and around her desk and chair. | 0:43:29 | 0:43:31 | |
A lock of hair? | 0:43:31 | 0:43:33 | |
What is it? Are you OK, Dad? | 0:43:35 | 0:43:38 | |
That's it! I've got it! | 0:43:38 | 0:43:40 | |
-Got what? -Thank you, Saint Ursula! | 0:43:40 | 0:43:44 | |
JP, we need to run a DNA test. | 0:43:44 | 0:43:46 | |
-Dwayne! -Huh? -We need something called a structural imaging radar. | 0:43:46 | 0:43:50 | |
-Fire service might have one. -But it's almost midnight! | 0:43:50 | 0:43:53 | |
We'll wake up whoever we need to. This has to be done tonight. | 0:43:53 | 0:43:57 | |
-Ooh, Siobhan... -It's fine, Dad. Go. | 0:43:57 | 0:44:00 | |
-You OK, sir? -Yeah. | 0:44:22 | 0:44:24 | |
Oh, good(!) The Commissioner's here. | 0:44:26 | 0:44:28 | |
Question - how many saints are there in the Catholic Church? | 0:44:34 | 0:44:38 | |
-Go on, have a guess. -A thousand? | 0:44:42 | 0:44:44 | |
10,221 - at the last count. | 0:44:44 | 0:44:47 | |
There's so many of them it's hard to tell who's who any more. | 0:44:47 | 0:44:50 | |
Take yesterday - Saint Ursula's Day. But which Ursula? | 0:44:50 | 0:44:53 | |
There's at least two that I know about - | 0:44:53 | 0:44:55 | |
the one who was martyred by the Hun | 0:44:55 | 0:44:57 | |
and the other one who had the gift of bilocation. | 0:44:57 | 0:45:00 | |
Sorry, but have we come here for a theology lesson? | 0:45:00 | 0:45:03 | |
No, sorry, Tony, not at all. | 0:45:03 | 0:45:05 | |
We're here because the killer of Julie Matlock also had | 0:45:05 | 0:45:08 | |
the gift of bilocation. | 0:45:08 | 0:45:10 | |
They were in two places at once. | 0:45:10 | 0:45:12 | |
See, there are two victims in this case. | 0:45:12 | 0:45:15 | |
There's Julie Matlock, demanding editor, | 0:45:15 | 0:45:18 | |
fiercely-protective mother, domineering wife. | 0:45:18 | 0:45:21 | |
And there was also Nadine Hunter, charismatic but haunted woman, | 0:45:21 | 0:45:25 | |
born under an unlucky star. | 0:45:25 | 0:45:27 | |
Depression, alcoholism, a college sweetheart buried in the past. | 0:45:27 | 0:45:31 | |
And then, to cap it all off, | 0:45:31 | 0:45:32 | |
she's convicted for a murder she did not commit. | 0:45:32 | 0:45:36 | |
-Did not? -No. | 0:45:36 | 0:45:38 | |
I believe that Nadine Hunter is innocent of the crime. | 0:45:38 | 0:45:42 | |
But what do we know about the real killer, whoever that might be? | 0:45:44 | 0:45:48 | |
What do we know about them? | 0:45:48 | 0:45:50 | |
Well, for a start, they had a key to this building. | 0:45:50 | 0:45:53 | |
And they also knew that Julie was working late | 0:45:53 | 0:45:55 | |
the evening she disappeared. | 0:45:55 | 0:45:57 | |
In other words - it had to be one of you. | 0:45:57 | 0:46:00 | |
-Come on. -For God's sake. | 0:46:00 | 0:46:02 | |
No, no, despite the protestations, you all had motives. | 0:46:02 | 0:46:06 | |
But - and here's the thing - all of you can prove beyond doubt | 0:46:06 | 0:46:10 | |
that you were not in this building at 8:15pm | 0:46:10 | 0:46:13 | |
on Thursday the 22nd of June, 2009 - | 0:46:13 | 0:46:16 | |
-Saint Ursula's Day. -Exactly. So why are we here, then? | 0:46:16 | 0:46:20 | |
We're here because I want to play you something. | 0:46:20 | 0:46:23 | |
This is the background noise on the message that Julie left | 0:46:23 | 0:46:27 | |
on Grace's answer-phone. | 0:46:27 | 0:46:29 | |
If you could just listen for a moment. | 0:46:30 | 0:46:33 | |
TWO-BEAT MECHANICAL SOUND PLAYS | 0:46:34 | 0:46:38 | |
Hmm. Sounds like a metronome. | 0:46:42 | 0:46:44 | |
Or someone tapping. | 0:46:44 | 0:46:46 | |
Now, just leaving aside what you do hear. What don't you hear? | 0:46:46 | 0:46:50 | |
What you don't hear is music and singing | 0:46:52 | 0:46:55 | |
and thousands of people out in the streets celebrating Saint Ursula. | 0:46:55 | 0:46:59 | |
The carnival passes right along this street here. | 0:46:59 | 0:47:01 | |
It's so loud my ears are still ringing from last night, | 0:47:01 | 0:47:04 | |
yet there are no carnival sounds here. | 0:47:04 | 0:47:07 | |
See? The grill was open, | 0:47:07 | 0:47:10 | |
but not a peep. | 0:47:10 | 0:47:12 | |
I'm sorry, you've lost me now. | 0:47:12 | 0:47:13 | |
My apologies, Ian. I'll try and get to the point. | 0:47:13 | 0:47:17 | |
It's true that none of you were here on that fateful evening. | 0:47:17 | 0:47:21 | |
-But then here's the thing - neither was Julie. -But she was. | 0:47:21 | 0:47:25 | |
Well, this is what I couldn't quite get. | 0:47:25 | 0:47:27 | |
Our killer, who was under such extraordinary time pressure, | 0:47:27 | 0:47:31 | |
decided to clean up after themselves, lugging a dead weight | 0:47:31 | 0:47:34 | |
down the corridor and into the lift, | 0:47:34 | 0:47:36 | |
and then waiting for an opportune moment to drag the body outside | 0:47:36 | 0:47:39 | |
and put it in the boot of a car. | 0:47:39 | 0:47:42 | |
Why would they do that? | 0:47:42 | 0:47:44 | |
I was thinking about this for ages. | 0:47:44 | 0:47:47 | |
It wasn't until I realised what it was you COULDN'T hear | 0:47:47 | 0:47:51 | |
on the background noises - the carnival - | 0:47:51 | 0:47:54 | |
and then it suddenly twigged. | 0:47:54 | 0:47:56 | |
It was like bingo! | 0:47:56 | 0:47:58 | |
The killer wanted us to think that Julie was killed here, | 0:47:58 | 0:48:02 | |
-but she wasn't. -But why would someone do that? | 0:48:02 | 0:48:05 | |
Well, to give themselves an alibi. | 0:48:05 | 0:48:07 | |
It was a stroke of genius. | 0:48:07 | 0:48:09 | |
Hold on. On the answer-phone message, | 0:48:09 | 0:48:11 | |
Mum says she's in the office. | 0:48:11 | 0:48:13 | |
That's another example of the killer's genius. | 0:48:13 | 0:48:16 | |
We're dealing with a very creative individual here. | 0:48:16 | 0:48:19 | |
But, unfortunately for them, they made one tiny little mistake. | 0:48:19 | 0:48:24 | |
That sound on the answer-phone message gives them away. | 0:48:24 | 0:48:28 | |
TWO-BEAT MECHANICAL SOUND PLAYS | 0:48:31 | 0:48:36 | |
Trust me, we spent an awful lot of time trying to figure out | 0:48:36 | 0:48:38 | |
what that was. Ho, ho, ho, yeah. | 0:48:38 | 0:48:41 | |
We went through the whole shoot and shebang, | 0:48:41 | 0:48:43 | |
rumbles and mechanical sounds - a horse even made an appearance. | 0:48:43 | 0:48:46 | |
It rang a distant bell with me but I couldn't quite place it. | 0:48:46 | 0:48:51 | |
My dad was very good with his hands. | 0:48:53 | 0:48:54 | |
When I was about ten, he built an extension onto our house. | 0:48:54 | 0:48:57 | |
My granny had come to live with us and my sister, she couldn't carry on | 0:48:57 | 0:49:00 | |
sleeping on the couch forever now, could she? | 0:49:00 | 0:49:03 | |
Anyway, to cut a long story short, | 0:49:03 | 0:49:05 | |
I used to help him out at the weekends | 0:49:05 | 0:49:08 | |
and I remember shovelling cement into a mixer. | 0:49:08 | 0:49:10 | |
And that's what that sound is - a cement mixer. | 0:49:12 | 0:49:15 | |
Now, where would Julie be anywhere near a cement mixer? | 0:49:17 | 0:49:20 | |
They were close to finishing a beach house on the coast | 0:49:20 | 0:49:22 | |
when Mrs Matlock was murdered. | 0:49:22 | 0:49:25 | |
At the beach house... | 0:49:26 | 0:49:28 | |
..the one you'd been building yourselves, | 0:49:30 | 0:49:32 | |
-which is where you shot her. -No. | 0:49:32 | 0:49:35 | |
The exact movements of yourself and Julie on that evening | 0:49:40 | 0:49:43 | |
will only ever be known by you. | 0:49:43 | 0:49:46 | |
But one thing's for sure, when Julie was done at work, | 0:49:46 | 0:49:49 | |
you picked her up from the office. | 0:49:49 | 0:49:51 | |
But not before you manufactured some excuse to slip back in here | 0:49:53 | 0:49:56 | |
and wipe down that desk with bleach - | 0:49:56 | 0:49:59 | |
to make it appear as if somebody had cleaned up after a murder. | 0:49:59 | 0:50:02 | |
In the absence of the police finding a body, | 0:50:02 | 0:50:05 | |
well, this was the next best thing. | 0:50:05 | 0:50:07 | |
You then drove back to the beach house... | 0:50:07 | 0:50:11 | |
where you persuaded Julie to cancel her dinner date with Grace. | 0:50:11 | 0:50:14 | |
I imagine it was something along the lines of, | 0:50:14 | 0:50:16 | |
"Give her more space," or, you know, | 0:50:16 | 0:50:18 | |
"The more you push her the more you'll drive her away," | 0:50:18 | 0:50:20 | |
that sort of thing. You then tell Julie to phone Grace | 0:50:20 | 0:50:24 | |
and say that she was working late at the office. | 0:50:24 | 0:50:26 | |
Just tell her you're still at work. | 0:50:26 | 0:50:28 | |
So Julie picks up the phone | 0:50:28 | 0:50:30 | |
and you wait while she tells Grace this lie about where she is. | 0:50:30 | 0:50:35 | |
Hi, Gracey. Look, I know I said we should do dinner but guess what? | 0:50:35 | 0:50:39 | |
I'm still at the office, probably going to be here another... | 0:50:39 | 0:50:41 | |
This is just mad. | 0:50:45 | 0:50:47 | |
Dad?! | 0:50:52 | 0:50:54 | |
This makes no sense. | 0:50:54 | 0:50:56 | |
Why would I do any of this? | 0:50:56 | 0:50:58 | |
Well, you told us yourself | 0:50:58 | 0:51:00 | |
that your marriage had got into a bit of a rut. | 0:51:00 | 0:51:02 | |
Although, if I'm honest, it wasn't my marriage in a rut, it was me. | 0:51:02 | 0:51:05 | |
The fact that you were having an affair, | 0:51:08 | 0:51:10 | |
it makes me think it was more than that. | 0:51:10 | 0:51:13 | |
You were unhappy, an unhappy man, | 0:51:13 | 0:51:15 | |
fed up with your marriage to Julie, | 0:51:15 | 0:51:18 | |
and that's why you strayed. | 0:51:18 | 0:51:21 | |
But this summer fling you had, | 0:51:21 | 0:51:24 | |
it wasn't with some travel rep whose name you can't recall. | 0:51:24 | 0:51:27 | |
No. | 0:51:27 | 0:51:29 | |
It was Nadine Hunter. | 0:51:30 | 0:51:32 | |
But for Nadine, it wasn't just a fling. | 0:51:34 | 0:51:37 | |
She was head over heels in love with you. | 0:51:37 | 0:51:40 | |
And for a woman like Nadine, love is all-consuming, intense, extreme. | 0:51:41 | 0:51:47 | |
She kept this lock of hair in her prison cell. | 0:51:50 | 0:51:53 | |
It was one of the few things she had. | 0:51:53 | 0:51:55 | |
We were wondering whether she had a child, | 0:51:55 | 0:51:57 | |
or was it her college sweetheart's? | 0:51:57 | 0:51:58 | |
And then the penny dropped and we ran a DNA test. | 0:51:58 | 0:52:02 | |
It's yours, Ian. This is your hair. | 0:52:02 | 0:52:04 | |
But of course you didn't feel the same way about Nadine. | 0:52:10 | 0:52:13 | |
She was erratic and unstable - more so now that she was in love. | 0:52:13 | 0:52:16 | |
So when she stormed into the restaurant | 0:52:16 | 0:52:18 | |
that you and Julie were at... | 0:52:18 | 0:52:19 | |
I know what you're doing! You'll pay for this. | 0:52:19 | 0:52:22 | |
..you ushered her out of there, out of the restaurant. | 0:52:22 | 0:52:24 | |
She's emotional, she's in no fit state to drive. | 0:52:24 | 0:52:27 | |
And that's probably when you got a hold of the car keys. | 0:52:28 | 0:52:31 | |
You get her into a cab. | 0:52:32 | 0:52:33 | |
It's unsettling, but maybe you're thinking she'll calm down, | 0:52:36 | 0:52:41 | |
she might sober up and realise it's all over between you. | 0:52:41 | 0:52:44 | |
But she came to the office the next day. | 0:52:44 | 0:52:46 | |
We're not finished! | 0:52:46 | 0:52:48 | |
See, everybody thought she was talking to Julie, | 0:52:48 | 0:52:50 | |
but it was you she was speaking to. | 0:52:50 | 0:52:52 | |
You knew you had to do something. | 0:52:52 | 0:52:55 | |
If the truth about you and Nadine came out... | 0:52:55 | 0:52:58 | |
well, that was it. | 0:52:58 | 0:53:00 | |
Julie was not a woman to cross. | 0:53:01 | 0:53:03 | |
You'd literally be left with nothing - | 0:53:03 | 0:53:05 | |
no house, no fancy motorbike. | 0:53:05 | 0:53:06 | |
You had to think quickly. | 0:53:06 | 0:53:08 | |
You knew where Nadine's car was. | 0:53:08 | 0:53:11 | |
You also knew she kept a gun in her car. | 0:53:11 | 0:53:14 | |
So, after the murder... | 0:53:14 | 0:53:16 | |
you place the weapon | 0:53:16 | 0:53:18 | |
and Julie's bloodied scarf | 0:53:18 | 0:53:21 | |
in Nadine's car | 0:53:21 | 0:53:22 | |
before pushing it into the sea. | 0:53:22 | 0:53:24 | |
You saw your problem with Nadine as an opportunity, | 0:53:29 | 0:53:32 | |
an opportunity to bring to an end your unhappy marriage | 0:53:32 | 0:53:35 | |
and also to get rid of the mistress you'd lost interest in... | 0:53:35 | 0:53:38 | |
..leaving you to continue living in the manner | 0:53:39 | 0:53:41 | |
to which you'd grown accustomed. | 0:53:41 | 0:53:43 | |
All you had to do was get rid of the two women in your life, | 0:53:43 | 0:53:46 | |
Julie and Nadine. | 0:53:46 | 0:53:49 | |
Kill one and frame the other. | 0:53:49 | 0:53:52 | |
Everything you've just said is based on conjecture | 0:53:54 | 0:53:58 | |
and circumstantial evidence. | 0:53:58 | 0:54:00 | |
Ah...no. | 0:54:00 | 0:54:02 | |
Not strictly true. | 0:54:02 | 0:54:04 | |
These are scans that we just ran | 0:54:13 | 0:54:16 | |
of the foundations of your house and grounds. | 0:54:16 | 0:54:19 | |
And underneath the veranda of the house you and she built | 0:54:21 | 0:54:25 | |
lies the body of Julie Matlock. | 0:54:25 | 0:54:27 | |
Quite literally concrete proof. | 0:54:31 | 0:54:33 | |
Say it's not true. | 0:54:36 | 0:54:38 | |
Dad! | 0:54:42 | 0:54:43 | |
Dwayne, JP, can you please do the honours? | 0:54:44 | 0:54:48 | |
Good work, Inspector. | 0:55:10 | 0:55:13 | |
Well done, sir. You did it. | 0:55:17 | 0:55:19 | |
We did it. | 0:55:19 | 0:55:21 | |
So...whatever happened to, er, Monica Ridley? | 0:55:27 | 0:55:31 | |
Who, her? I looked her up. | 0:55:31 | 0:55:34 | |
-Married with four kids. -Oh! | 0:55:34 | 0:55:37 | |
Ah, well. Well, maybe she named one of them Dwayne. | 0:55:37 | 0:55:41 | |
You're not funny, you know. | 0:55:41 | 0:55:43 | |
Maybe she just wasn't the one! | 0:55:43 | 0:55:45 | |
I'll get over it. | 0:55:51 | 0:55:53 | |
That didn't take long. | 0:55:53 | 0:55:54 | |
Hmm. You better believe it. | 0:55:54 | 0:55:57 | |
Ah! | 0:56:01 | 0:56:03 | |
-So, you solved your first case on Saint Marie. -Good evening. | 0:56:03 | 0:56:07 | |
Look who I found on the way - a charming young lady. | 0:56:07 | 0:56:11 | |
I hear you solved the case. Well done, Dad. | 0:56:11 | 0:56:14 | |
Ah, no, no. Very much a team effort. | 0:56:14 | 0:56:17 | |
Congratulations, Inspector Mooney. | 0:56:17 | 0:56:19 | |
Very tenacious work. | 0:56:19 | 0:56:21 | |
Yeah, well, I can be quite tenacious, if I may say so. | 0:56:21 | 0:56:25 | |
You have to be when you're a parent. | 0:56:25 | 0:56:26 | |
Creeping in from the festival at four o'clock this morning. | 0:56:26 | 0:56:29 | |
-She thinks I don't know. -You were asleep. | 0:56:29 | 0:56:32 | |
So you see, Commissioner, tenacity - minimum requirement in our house. | 0:56:32 | 0:56:36 | |
You called it "our house" - the shack. | 0:56:36 | 0:56:39 | |
It's a figure of speech. | 0:56:39 | 0:56:40 | |
You will be staying a little longer though, won't you? | 0:56:40 | 0:56:44 | |
Why is everyone looking at me? | 0:56:47 | 0:56:49 | |
Drinks for everyone! | 0:56:49 | 0:56:51 | |
About time! | 0:56:51 | 0:56:53 | |
Cheers. To an amazing team. Well done. | 0:56:55 | 0:56:59 | |
I hope I can count on your vote today. | 0:57:02 | 0:57:05 | |
Who else would I vote for, huh? | 0:57:05 | 0:57:06 | |
Mayoral candidate Victor Pearce | 0:57:06 | 0:57:09 | |
was casting his vote when one of these suspects managed to | 0:57:09 | 0:57:11 | |
stick a knife in his back. | 0:57:11 | 0:57:13 | |
That only leaves one person - Catherine Bordey! | 0:57:13 | 0:57:16 | |
Siobhan! | 0:57:16 | 0:57:18 | |
-That lizard's back! -He's called Harry. | 0:57:18 | 0:57:21 | |
Maybe someone should level the playing field. | 0:57:21 | 0:57:23 | |
-There's something I really need to go and do first. -What's that? | 0:57:23 | 0:57:26 | |
Catch a killer. | 0:57:26 | 0:57:28 |