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Who knew a seating plan could be this hard? | 0:00:13 | 0:00:15 | |
I don't even know who half these people are. | 0:00:15 | 0:00:17 | |
-Thank you, Rita. -No problem, sir. | 0:00:18 | 0:00:20 | |
-I might have guessed I'd find my best man at the bar. -Dad! -Stephen. | 0:00:20 | 0:00:25 | |
How's the blushing bride? | 0:00:25 | 0:00:27 | |
Oh! | 0:00:27 | 0:00:28 | |
Well, I've a few pre-wedding jitters, but I'll be fine. | 0:00:28 | 0:00:32 | |
17 hotels in our portfolio and you had to choose this one. | 0:00:32 | 0:00:36 | |
It's like the entire island moves at quarter speed. | 0:00:36 | 0:00:39 | |
Karen, darling, I couldn't care less. | 0:00:39 | 0:00:42 | |
I'm not here to work, I'm here for my wedding. | 0:00:42 | 0:00:44 | |
-Now, is everything set with the welcome drinks? -Daddy? | 0:00:44 | 0:00:48 | |
SHE SQUEALS | 0:00:48 | 0:00:49 | |
I am so sorry! Oh, I wanted to be here when you arrived. | 0:00:49 | 0:00:52 | |
But I was just so stressed from that plane. | 0:00:52 | 0:00:54 | |
I literally had to get some Reiki. | 0:00:54 | 0:00:55 | |
This is what you're marrying into, Diane. | 0:00:55 | 0:00:58 | |
Not too late to make a run for it. | 0:00:58 | 0:01:00 | |
LAUGHTER | 0:01:00 | 0:01:01 | |
I mean, I may as well have not brought my phone at all. | 0:01:03 | 0:01:05 | |
There is totes no service. | 0:01:05 | 0:01:07 | |
People just think I've fallen off the earth. | 0:01:07 | 0:01:09 | |
Mmm. | 0:01:11 | 0:01:13 | |
And don't get me started | 0:01:13 | 0:01:14 | |
on the bridesmaid's dress they're making me wear. | 0:01:14 | 0:01:17 | |
I'm going to look like an overripe plum. | 0:01:17 | 0:01:19 | |
It's basically horrendous. | 0:01:19 | 0:01:21 | |
KNOCK AT DOOR | 0:01:24 | 0:01:26 | |
-Your shirt, Mr Marston. -Thank you so much. | 0:01:28 | 0:01:31 | |
Audrey, you're a life-saver. | 0:01:31 | 0:01:33 | |
STEEL DRUMS PLAY | 0:01:35 | 0:01:37 | |
Oh, thank you very much. How are you? Lovely to see you. | 0:01:42 | 0:01:45 | |
-I'm glad you could come. It's lovely, thank you. -Where's Diane? | 0:01:45 | 0:01:49 | |
-She'll be down in a minute. -The band are far too loud. | 0:01:49 | 0:01:51 | |
-I have to talk to Oliver. -Your band is perfect. | 0:01:51 | 0:01:54 | |
Everything's perfect, so for once stop fussing and have a drink, OK? | 0:01:54 | 0:01:58 | |
We're so pleased to welcome so many dear friends | 0:02:16 | 0:02:19 | |
-and family to the Marston Hotel, Saint Marie. -PHONE BEEPS | 0:02:19 | 0:02:22 | |
I just want to talk you briefly through | 0:02:23 | 0:02:26 | |
the running order for tomorrow. | 0:02:26 | 0:02:28 | |
The wedding will start at 10:30 in the morning. Don't be late. | 0:02:30 | 0:02:33 | |
Mr Marston. Is everything all right? | 0:02:35 | 0:02:37 | |
LOCK BEEPS | 0:02:46 | 0:02:47 | |
Diane? Let me in. | 0:02:50 | 0:02:51 | |
I can't, I'm sorry! | 0:02:52 | 0:02:53 | |
-..passed her... -LOUD THUD | 0:02:55 | 0:02:56 | |
SCREAMING | 0:02:56 | 0:02:58 | |
Excuse me. | 0:03:00 | 0:03:01 | |
Diane? | 0:03:06 | 0:03:08 | |
HE WHIMPERS | 0:03:12 | 0:03:14 | |
HE SOBS | 0:03:14 | 0:03:16 | |
PANICKED BREATHING | 0:03:16 | 0:03:18 | |
-Oh! -Oh! | 0:03:18 | 0:03:20 | |
Suspect has entered the market. | 0:04:09 | 0:04:11 | |
Blue T-shirt. | 0:04:11 | 0:04:13 | |
Got him. | 0:04:18 | 0:04:19 | |
Blue T-shirt. | 0:04:22 | 0:04:24 | |
10 o'clock. | 0:04:24 | 0:04:26 | |
OK, so, that's one teaspoon of turmeric | 0:04:27 | 0:04:29 | |
and three teaspoons of chilli paste. | 0:04:29 | 0:04:31 | |
No, Jack, it's three teaspoons of turmeric, | 0:04:31 | 0:04:34 | |
-one teaspoon of chilli paste. -Oh, right! | 0:04:34 | 0:04:37 | |
You wouldn't want to get that wrong, now, would you? | 0:04:37 | 0:04:39 | |
-Blow your head clean off. -Not just your head! | 0:04:39 | 0:04:41 | |
Oh! | 0:04:43 | 0:04:44 | |
SHE LAUGHS | 0:04:44 | 0:04:45 | |
Hey! | 0:04:53 | 0:04:54 | |
Stop, police! | 0:04:55 | 0:04:56 | |
Hey! Hey, wait! Come here! | 0:05:02 | 0:05:04 | |
Come! | 0:05:04 | 0:05:05 | |
Melon curry. | 0:05:08 | 0:05:10 | |
Who'd have thought it was even a thing? | 0:05:10 | 0:05:12 | |
Who tried it first? | 0:05:12 | 0:05:14 | |
Can I get you a drink? | 0:05:14 | 0:05:16 | |
I'm on duty. | 0:05:16 | 0:05:18 | |
Oh, just a small one. | 0:05:18 | 0:05:19 | |
THEY ARE OUT OF BREATH | 0:05:21 | 0:05:22 | |
-Where is he? -I don't know. -OK... | 0:05:22 | 0:05:25 | |
Now, Catherine, are you sure it isn't too big? | 0:05:31 | 0:05:34 | |
I mean, there's only the two of us, you know that. | 0:05:34 | 0:05:36 | |
-It will be fine, trust me. -It's very heavy. | 0:05:36 | 0:05:38 | |
Here, would you hold this for a sec? You're under arrest. | 0:05:38 | 0:05:40 | |
But then you look like a bright young man, you probably guessed as much. | 0:05:40 | 0:05:43 | |
-What with the handcuffs and all. -Sir? | 0:05:43 | 0:05:45 | |
You got him. | 0:05:47 | 0:05:48 | |
-How...? -PHONE RINGS | 0:05:51 | 0:05:52 | |
I don't know. | 0:05:52 | 0:05:54 | |
Commissioner, what can I do for you? | 0:05:54 | 0:05:55 | |
Gotcha. | 0:05:57 | 0:05:59 | |
Be right there. | 0:05:59 | 0:06:01 | |
-Right, lock this fella up. Meet me at the Marston Hotel. -Yes, sir. | 0:06:02 | 0:06:05 | |
And bring the melon too, would you? | 0:06:05 | 0:06:07 | |
CLUCKING | 0:06:07 | 0:06:09 | |
Half an hour ago, a woman named Diane Smith appears to have | 0:06:17 | 0:06:21 | |
thrown herself off her own balcony. | 0:06:21 | 0:06:23 | |
Appears to have? | 0:06:23 | 0:06:25 | |
There's no reason to believe it wasn't suicide. | 0:06:25 | 0:06:28 | |
And what makes it especially tragic is that Miss Smith was due to | 0:06:28 | 0:06:32 | |
marry Philip Marston tomorrow morning. | 0:06:32 | 0:06:34 | |
-This is his hotel? -One of them. | 0:06:34 | 0:06:36 | |
Philip is an old friend of Saint Marie. | 0:06:36 | 0:06:39 | |
He employs about 100 islanders, so... | 0:06:39 | 0:06:42 | |
..I need to be reassured that this matter will be handled with speed, | 0:06:43 | 0:06:47 | |
discretion, tact and dignity. | 0:06:47 | 0:06:50 | |
Don't you worry, Commissioner. | 0:06:50 | 0:06:51 | |
Discretion, tact and dignity are my middle names. | 0:06:51 | 0:06:54 | |
I mean, not really. It's actually Fintan. | 0:06:56 | 0:06:58 | |
After the little-known St Fintan... | 0:06:58 | 0:07:01 | |
You don't need to know that. It's fine. | 0:07:01 | 0:07:03 | |
So, Mr Marston's booked out the whole hotel for the wedding? | 0:07:11 | 0:07:14 | |
And all the guests were here in the terrace when Diane fell? | 0:07:15 | 0:07:18 | |
Yes, regrettably many of our guests and several of my staff. | 0:07:18 | 0:07:21 | |
And you were out here yourself keeping an eye on things? | 0:07:21 | 0:07:23 | |
No, I was heading towards my office. | 0:07:23 | 0:07:25 | |
I actually passed Mr Marston on his way upstairs. | 0:07:25 | 0:07:28 | |
We'll need a list of who's staying in which room. | 0:07:28 | 0:07:31 | |
I'm afraid we don't usually release that information. | 0:07:31 | 0:07:34 | |
It would violate our guest privacy. | 0:07:34 | 0:07:36 | |
I'm guessing you don't usually have | 0:07:36 | 0:07:37 | |
guests chucking themselves off your balconies. | 0:07:37 | 0:07:40 | |
Now, Diane's balcony, which one would that be? | 0:07:40 | 0:07:42 | |
317, on the third floor. | 0:07:43 | 0:07:46 | |
Anything else, I assure you, my staff will be happy to help. | 0:07:47 | 0:07:51 | |
-Now, if you'll excuse me... -Right. | 0:07:51 | 0:07:52 | |
Poor woman. | 0:08:00 | 0:08:02 | |
So far, sir, the injuries are as expected. | 0:08:04 | 0:08:06 | |
Yeah. | 0:08:08 | 0:08:09 | |
-Well, that's intriguing. -Sir? | 0:08:10 | 0:08:12 | |
-Nail varnish. -Yeah, but only on the one thumb. | 0:08:18 | 0:08:21 | |
Is that a thing? | 0:08:22 | 0:08:23 | |
A thing? | 0:08:23 | 0:08:25 | |
A womanly thing? | 0:08:25 | 0:08:26 | |
Having one nail a different colour to the rest, | 0:08:27 | 0:08:29 | |
or using your bra as a makeshift pocket? | 0:08:29 | 0:08:31 | |
Not that I know of, sir. | 0:08:31 | 0:08:33 | |
But it's a bit odd, don't you think? | 0:08:34 | 0:08:36 | |
Hmm. | 0:08:36 | 0:08:38 | |
Dwayne, JP, you can release the body. | 0:08:38 | 0:08:41 | |
We should have a word with Mr Marston. | 0:08:42 | 0:08:44 | |
-Huh? -You all right? -Yes. | 0:08:48 | 0:08:51 | |
You keep on looking around. What is it? | 0:08:51 | 0:08:54 | |
Good policing, JP! Always alert! | 0:08:54 | 0:08:57 | |
Sorry to intrude, but DI Mooney | 0:09:00 | 0:09:03 | |
and DS Cassell just need to ask a few brief questions as a formality. | 0:09:03 | 0:09:09 | |
-It should take only a moment. -Sure. | 0:09:09 | 0:09:12 | |
Go ahead. | 0:09:12 | 0:09:15 | |
What do you need to know? | 0:09:15 | 0:09:17 | |
-So, you're Mr Marston's son? -Stephen. | 0:09:17 | 0:09:19 | |
-And these are my sisters... -Karen and Perl. | 0:09:19 | 0:09:21 | |
Thank you, Stephen, we can speak for ourselves. | 0:09:21 | 0:09:24 | |
Well, I'm so sorry for your loss. | 0:09:26 | 0:09:28 | |
I just need to ask you if there was anything about Diane's | 0:09:29 | 0:09:32 | |
behaviour that suggested she might be about to take her own life. | 0:09:32 | 0:09:36 | |
Well... | 0:09:36 | 0:09:37 | |
She, uh... | 0:09:37 | 0:09:39 | |
HE CLEARS THROAT | 0:09:39 | 0:09:40 | |
She sent me this. | 0:09:42 | 0:09:43 | |
"I can't live with myself. I'm sorry." | 0:09:44 | 0:09:47 | |
Any idea what she was referring to? | 0:09:47 | 0:09:50 | |
There was a pretty brutal article in one of the UK papers this morning. | 0:09:50 | 0:09:54 | |
Apparently Diane got knocked up when she was, like, 15 or whatever, | 0:09:54 | 0:09:58 | |
and then just, like, totes abandoned the baby. | 0:09:58 | 0:10:00 | |
Pearl... | 0:10:00 | 0:10:01 | |
It was, er... | 0:10:03 | 0:10:04 | |
It was years ago but... | 0:10:04 | 0:10:06 | |
..she'd never forgiven herself. | 0:10:06 | 0:10:08 | |
Right. And the article brought it all back again? | 0:10:08 | 0:10:11 | |
-Yeah. -Totes. | 0:10:11 | 0:10:13 | |
So, Mr Marston, after you received the text, | 0:10:15 | 0:10:18 | |
you raced back to the room, room...317. | 0:10:18 | 0:10:22 | |
Yes. | 0:10:22 | 0:10:23 | |
When I got there, the door was on the chain. | 0:10:23 | 0:10:26 | |
And I, er, I begged her to let me in and she shouted... | 0:10:26 | 0:10:31 | |
I can't, I'm sorry! | 0:10:31 | 0:10:33 | |
I barged the door open. | 0:10:33 | 0:10:34 | |
But it was too late. | 0:10:35 | 0:10:37 | |
I can't do this now. | 0:10:42 | 0:10:44 | |
-Are we done, Inspector? -Yeah. | 0:10:46 | 0:10:48 | |
Just one last thing, er, if you don't mind. | 0:10:51 | 0:10:55 | |
Where were you all at the moment Diane died? | 0:10:55 | 0:10:57 | |
Erm, I was in my room, getting ready for the party | 0:10:59 | 0:11:02 | |
when I heard screaming. | 0:11:02 | 0:11:04 | |
I went onto my balcony and saw Diane's body, | 0:11:04 | 0:11:07 | |
I rushed straight down to Dad's room. | 0:11:07 | 0:11:09 | |
Dad! | 0:11:09 | 0:11:10 | |
Pearl was already there with Dad. | 0:11:10 | 0:11:12 | |
You were with your father when he broke in? | 0:11:14 | 0:11:16 | |
I got there just after. | 0:11:16 | 0:11:18 | |
I was in my room, across the corridor... | 0:11:18 | 0:11:20 | |
Diane? | 0:11:20 | 0:11:21 | |
..when I heard... | 0:11:21 | 0:11:23 | |
-BANGING -..all the noise. | 0:11:23 | 0:11:24 | |
Oh, God. | 0:11:24 | 0:11:26 | |
Daddy? | 0:11:26 | 0:11:27 | |
And what about you, Miss Marston? | 0:11:29 | 0:11:31 | |
I was at the party... | 0:11:33 | 0:11:34 | |
We're so pleased to welcome... | 0:11:34 | 0:11:36 | |
..saying a few words. | 0:11:36 | 0:11:38 | |
So there was definitely nobody else in the room with Diane? | 0:11:38 | 0:11:41 | |
You heard Daddy, | 0:11:41 | 0:11:42 | |
she was deffo alone and the door was basically locked. | 0:11:42 | 0:11:45 | |
Look, 130 of our friends and family just witnessed Diane's death, | 0:11:45 | 0:11:50 | |
all right? You can ask any one of them what happened. | 0:11:50 | 0:11:53 | |
Now, please, could you leave us alone to grieve? | 0:11:53 | 0:11:55 | |
-This is it, room 317. -Hm. | 0:12:04 | 0:12:07 | |
And that's Pearl's room there? | 0:12:07 | 0:12:09 | |
She'd locked herself in all right. | 0:12:12 | 0:12:14 | |
She was barely more than a child herself. | 0:12:36 | 0:12:38 | |
But why dig up the story now, 30 years later? | 0:12:38 | 0:12:41 | |
Here's the text to Philip. | 0:12:41 | 0:12:43 | |
"I can't live with myself. I'm sorry." | 0:12:43 | 0:12:46 | |
Sent at 5:55pm. | 0:12:46 | 0:12:49 | |
-Florence, you're a woman. -Yes, sir, I am. | 0:12:49 | 0:12:53 | |
From what I recall of my wife's dressing table, | 0:12:53 | 0:12:56 | |
leaving a lid off a nail varnish bottle, | 0:12:56 | 0:12:58 | |
I mean, that's practically a crime. | 0:12:58 | 0:13:00 | |
Of course. | 0:13:00 | 0:13:01 | |
The liquid sets if you don't screw the lid down tight. | 0:13:01 | 0:13:03 | |
It becomes... How do you say it? | 0:13:03 | 0:13:06 | |
-Gloopy. -Gloopy, exactly. | 0:13:06 | 0:13:08 | |
So if she was planning to kill herself, | 0:13:08 | 0:13:10 | |
surely she would've taken a little bit more time to finish her nails. | 0:13:10 | 0:13:14 | |
I mean, look around. | 0:13:14 | 0:13:15 | |
She was a tidy person. | 0:13:15 | 0:13:18 | |
Not the sort of woman to leave a cap unscrewed. | 0:13:18 | 0:13:20 | |
But if she was interrupted... | 0:13:20 | 0:13:22 | |
-You don't think it was a suicide. -No. | 0:13:22 | 0:13:24 | |
I'm convinced Diane Smith was murdered. | 0:13:24 | 0:13:27 | |
Because of one fingernail. | 0:13:27 | 0:13:29 | |
Exactly. | 0:13:30 | 0:13:31 | |
No-one seems to have seen anything. | 0:13:37 | 0:13:39 | |
I mean, how is that even poss...? | 0:13:39 | 0:13:42 | |
Dwayne, what are you doing? | 0:13:44 | 0:13:46 | |
I'm not here. | 0:13:46 | 0:13:47 | |
-What are you talking about? -I said I'm not here. | 0:13:47 | 0:13:50 | |
But you are, I can see you. | 0:13:50 | 0:13:52 | |
Not as long as that woman's coming this way you can't. | 0:13:52 | 0:13:54 | |
Now, act natural. | 0:13:54 | 0:13:55 | |
Dwayne Myers, is that you? | 0:13:58 | 0:14:01 | |
I'm sorry, Dwayne who? | 0:14:01 | 0:14:04 | |
He's behind that bush. | 0:14:07 | 0:14:08 | |
Nope, nothing in there, JP. | 0:14:09 | 0:14:11 | |
Oh, Audrey. | 0:14:12 | 0:14:13 | |
Fancy seeing you here. | 0:14:15 | 0:14:17 | |
So... | 0:14:17 | 0:14:18 | |
..how's you been keeping these last few years? | 0:14:18 | 0:14:21 | |
Tell that man that if I never see him again, it'll be too soon. | 0:14:21 | 0:14:26 | |
I get it now. | 0:14:30 | 0:14:32 | |
She's the reason you've been acting so weird since we got here. | 0:14:32 | 0:14:35 | |
No way, Sherlock, you worked it out. | 0:14:35 | 0:14:37 | |
What's she got against you? | 0:14:37 | 0:14:39 | |
Let's just say we have history. | 0:14:39 | 0:14:41 | |
Now, let's get out of here and fast. | 0:14:41 | 0:14:43 | |
You are saying, despite all evidence to the contrary, | 0:14:46 | 0:14:49 | |
-you don't believe Diane took her own life. -No. | 0:14:49 | 0:14:53 | |
And just so I am clear, | 0:14:53 | 0:14:56 | |
you have no concrete evidence to support this theory? | 0:14:56 | 0:14:58 | |
Not as yet, no. | 0:14:58 | 0:15:00 | |
Philip Marston confirmed that the door was locked on the inside | 0:15:00 | 0:15:04 | |
and Diane was alone. | 0:15:04 | 0:15:05 | |
It seems pretty clear to me. | 0:15:05 | 0:15:07 | |
I think it's time to wrap this up. | 0:15:07 | 0:15:10 | |
Trust me, Commissioner, I'd love to knock it on the head | 0:15:10 | 0:15:13 | |
and get back to the shack and discover the joys of melon curry, | 0:15:13 | 0:15:16 | |
but what if Diane Smith was murdered? | 0:15:16 | 0:15:18 | |
And, to be honest, I don't know if I could live with that. | 0:15:18 | 0:15:21 | |
On your head be it, Detective Inspector. | 0:15:21 | 0:15:24 | |
Commissioner. OK, we're all done here, nothing to report, | 0:15:26 | 0:15:28 | |
-see you at the station. -Hold on, Dwayne, we're changing tack. | 0:15:28 | 0:15:31 | |
This is now a murder investigation. | 0:15:31 | 0:15:34 | |
Murder? | 0:15:34 | 0:15:36 | |
-Are you sure about this? -Oh, yes. | 0:15:36 | 0:15:37 | |
Diane Smith's room is now a potential crime scene. | 0:15:37 | 0:15:39 | |
I need a full forensic sweep. There's a head maid... | 0:15:39 | 0:15:42 | |
Audrey, I think her name is, she'll help you get set up in there. | 0:15:42 | 0:15:45 | |
Where you going? | 0:15:48 | 0:15:49 | |
You heard the man, go and speak to Audrey. | 0:15:49 | 0:15:52 | |
He asked you. | 0:15:52 | 0:15:53 | |
Well, I'm delegating. | 0:15:53 | 0:15:55 | |
-FLORENCE: -We have 130 guests, do we need to consider them all suspects? | 0:15:57 | 0:16:03 | |
It's likely whoever killed Diane wanted to stop this wedding | 0:16:03 | 0:16:05 | |
at all costs. | 0:16:05 | 0:16:07 | |
Who'd be most affected by her becoming a Marston? | 0:16:07 | 0:16:09 | |
One of the immediate family. | 0:16:09 | 0:16:11 | |
Has to be. | 0:16:11 | 0:16:13 | |
Karen was on the terrace giving a speech. | 0:16:16 | 0:16:19 | |
Stephen was in his room getting ready... | 0:16:19 | 0:16:22 | |
Dad, there's something I need to... | 0:16:22 | 0:16:25 | |
Pearl was in her bathroom... | 0:16:25 | 0:16:27 | |
-Dad. -Mm-hm... | 0:16:27 | 0:16:28 | |
Sorry, love, yes? What is it? | 0:16:28 | 0:16:31 | |
Are you going to be working all night? It's just... | 0:16:31 | 0:16:33 | |
What time is it? You must be starving. | 0:16:33 | 0:16:36 | |
I'm so sorry, love. | 0:16:36 | 0:16:38 | |
The plan was I was going to try this new recipe | 0:16:38 | 0:16:40 | |
-I got from Catherine, melon curry. -Ooh. | 0:16:40 | 0:16:42 | |
If you can believe that! | 0:16:42 | 0:16:45 | |
But I had to use the melon to arrest the drug mule | 0:16:45 | 0:16:47 | |
and Florence thinks it might be evidence so... | 0:16:47 | 0:16:49 | |
-I'm not even going to ask. -Wise. | 0:16:49 | 0:16:51 | |
-Tell you what, why don't we go out? -OK. -Come on. | 0:16:51 | 0:16:55 | |
So, what's on your mind? | 0:16:58 | 0:17:00 | |
You remember our summer holidays on the west coast, | 0:17:00 | 0:17:03 | |
how I never wanted them to end? | 0:17:03 | 0:17:05 | |
Yeah, your mum and I had to practically force you into the car. | 0:17:05 | 0:17:08 | |
And you were crying the whole way back to London. | 0:17:08 | 0:17:10 | |
Then the next day, you're with your friends, happy as Larry again. | 0:17:10 | 0:17:14 | |
What made you think of that? | 0:17:14 | 0:17:15 | |
This arrived this morning. | 0:17:17 | 0:17:18 | |
They need to know if I'm going to defer my place for another year. | 0:17:20 | 0:17:23 | |
Right. | 0:17:27 | 0:17:29 | |
And when do you need to decide by? | 0:17:29 | 0:17:30 | |
Tomorrow. | 0:17:31 | 0:17:33 | |
Well, there's no decision to be made. | 0:17:33 | 0:17:36 | |
You're far too smart to waste that brain of yours sitting on a beach. | 0:17:36 | 0:17:40 | |
When will you need to leave? | 0:17:40 | 0:17:41 | |
There's a flight from Guadeloupe the day after tomorrow. | 0:17:41 | 0:17:44 | |
Wow. | 0:17:44 | 0:17:45 | |
I thought you were going to say a couple of months. | 0:17:45 | 0:17:48 | |
Where will you stay? You'll need money. | 0:17:48 | 0:17:51 | |
Well, Auntie Eileen says I can stay with her until I find a flat-share. | 0:17:51 | 0:17:55 | |
Sounds like you've got it all worked out. | 0:17:55 | 0:17:57 | |
Catherine, guess whose brilliant daughter | 0:17:59 | 0:18:01 | |
is about to take up her place at university? | 0:18:01 | 0:18:04 | |
-You're leaving us? -No. | 0:18:04 | 0:18:07 | |
Well, I'll be back in the holidays. | 0:18:07 | 0:18:09 | |
Your father is going to miss you. | 0:18:09 | 0:18:11 | |
Er, are you joking? | 0:18:11 | 0:18:13 | |
I've had enough of her cramping my style and getting under my feet. | 0:18:13 | 0:18:16 | |
Thought she'd never leave. | 0:18:17 | 0:18:19 | |
All right, thanks anyway. | 0:18:24 | 0:18:26 | |
Yeah, appreciate your time. | 0:18:26 | 0:18:28 | |
You immoral, spineless, parasitic, bottom-feeding hack. | 0:18:28 | 0:18:32 | |
That was the journalist who wrote the story about Diane? | 0:18:34 | 0:18:37 | |
Journalist is too polite a word for what he is. | 0:18:37 | 0:18:39 | |
Not a shred of remorse. | 0:18:39 | 0:18:41 | |
He said the story came from an anonymous tip-off, | 0:18:41 | 0:18:43 | |
just landed on his desk. | 0:18:43 | 0:18:45 | |
Someone is trying to discredit Diane, but why? | 0:18:45 | 0:18:48 | |
Maybe they wanted to drive her to suicide. | 0:18:48 | 0:18:50 | |
Or maybe they wanted to give her a motive to make it look like suicide. | 0:18:50 | 0:18:54 | |
Sir, are you all right? | 0:18:54 | 0:18:57 | |
You seem a little...edgy. | 0:18:57 | 0:19:00 | |
Do I? Sorry, no. | 0:19:00 | 0:19:01 | |
I'm fine. | 0:19:01 | 0:19:02 | |
I mean, Siobhan's leaving the island tomorrow. | 0:19:04 | 0:19:07 | |
Tomorrow? | 0:19:08 | 0:19:09 | |
It's a good thing. She's going to uni | 0:19:09 | 0:19:11 | |
and I'm happy for her, I really am. | 0:19:11 | 0:19:13 | |
Yeah, really, really happy for her. | 0:19:13 | 0:19:15 | |
Right, we're dealing with a family of billionaires. | 0:19:15 | 0:19:18 | |
Let's not overlook the obvious. Dwayne, JP, see what you can glean | 0:19:18 | 0:19:21 | |
-about the personal finances of these five. -Yes, sir. | 0:19:21 | 0:19:25 | |
Right, what do we have so far about Diane Smith? | 0:19:25 | 0:19:28 | |
Only child, parents died years ago. | 0:19:28 | 0:19:32 | |
She joined the Marston Group as the head of HR three years ago. | 0:19:32 | 0:19:37 | |
Before then, she worked in a number of hotels in London. | 0:19:37 | 0:19:40 | |
Her CV's pretty impressive though. | 0:19:45 | 0:19:47 | |
Always getting promoted, working her way up. | 0:19:47 | 0:19:50 | |
-A grafter. -A workaholic. | 0:19:50 | 0:19:52 | |
She even arranged an appointment the morning of her wedding, sir. | 0:19:52 | 0:19:55 | |
With who? | 0:19:55 | 0:19:57 | |
"Chris C - 9:30"? | 0:19:57 | 0:19:59 | |
-Could've been about the wedding preparations. -Maybe. | 0:19:59 | 0:20:02 | |
Well, let's find out who this Chris C is. | 0:20:02 | 0:20:04 | |
Right, even though we don't yet have a how, the question is, | 0:20:04 | 0:20:07 | |
why did one of these people want Diane Smith to die | 0:20:07 | 0:20:09 | |
the night before her wedding? | 0:20:09 | 0:20:11 | |
That is if we really believe it was a murder. | 0:20:11 | 0:20:14 | |
Oh, ye of little faith. Dwayne, I'll tell you what. | 0:20:14 | 0:20:16 | |
Prove me wrong, you'll never have to buy me a beer again. | 0:20:16 | 0:20:19 | |
You're on. | 0:20:19 | 0:20:20 | |
What about the children's mother, the first Mrs Marston? | 0:20:23 | 0:20:26 | |
Died 15 years ago. Cancer. | 0:20:26 | 0:20:28 | |
Karen is the oldest. | 0:20:28 | 0:20:30 | |
She became managing director of the Marston Group | 0:20:30 | 0:20:33 | |
when she was 20 years old. | 0:20:33 | 0:20:34 | |
People now see it as much as her company as her father's. | 0:20:34 | 0:20:38 | |
When I was 20 I was eating banana sandwiches and watching Crackerjack! | 0:20:38 | 0:20:41 | |
Stephen is the company's global brand ambassador which, | 0:20:43 | 0:20:47 | |
as far as I can tell, | 0:20:47 | 0:20:49 | |
means he travels the world, staying as a guest in his own hotels. | 0:20:49 | 0:20:53 | |
And what about her, Pearl, the youngest? | 0:20:53 | 0:20:55 | |
Left school at 16. | 0:20:55 | 0:20:56 | |
Tried her hand as an actress, did a few bit parts | 0:20:56 | 0:20:59 | |
and some modelling work. | 0:20:59 | 0:21:00 | |
In other words, she lives off her rich daddy. | 0:21:00 | 0:21:03 | |
Totes. It means totally, I checked with Siobhan. | 0:21:03 | 0:21:06 | |
Although, sir, there is a rota in Miss Smith's papers | 0:21:06 | 0:21:09 | |
for Pearl Marston to do work experience in the group's hotel. | 0:21:09 | 0:21:12 | |
Oh, sounds like Daddy's putting his foot down. | 0:21:12 | 0:21:16 | |
And there's something else. We ran a PNC check and five weeks ago, | 0:21:16 | 0:21:20 | |
Diane Smith called the police | 0:21:20 | 0:21:22 | |
when a woman was banging on her door, shouting abuse. | 0:21:22 | 0:21:25 | |
Who was doing the shouting? | 0:21:25 | 0:21:26 | |
Pearl Marston. | 0:21:28 | 0:21:29 | |
This won't take long, will it? | 0:21:32 | 0:21:33 | |
If I don't get this massage soon I am literally going to die. | 0:21:33 | 0:21:36 | |
Oh, sorry about that. But can you tell me, | 0:21:36 | 0:21:38 | |
how did you feel about Diane becoming your stepmother? | 0:21:38 | 0:21:41 | |
She was never going to be that. | 0:21:41 | 0:21:44 | |
That's what you were arguing about | 0:21:44 | 0:21:46 | |
the day you turned up on her doorstep. | 0:21:46 | 0:21:48 | |
That was nothing. | 0:21:48 | 0:21:50 | |
I mean, she totes overreacted and it wasn't like I was a threat. | 0:21:50 | 0:21:53 | |
Well, she must've felt threatened. Why would she call the police? | 0:21:53 | 0:21:56 | |
To show me up to Dad. | 0:21:56 | 0:21:57 | |
Diane never liked me. | 0:21:57 | 0:21:59 | |
She thought I was lazy just because I don't have a job or whatevs. | 0:21:59 | 0:22:04 | |
So she thought you should go to work for the family firm. | 0:22:04 | 0:22:06 | |
I do work for the family firm. | 0:22:06 | 0:22:09 | |
I'm a Marston. | 0:22:09 | 0:22:10 | |
I'm promoting the brand every time I post online. | 0:22:10 | 0:22:13 | |
What did she think I was going to do, | 0:22:13 | 0:22:14 | |
put on a uniform and serve people? | 0:22:14 | 0:22:17 | |
She couldn't let it go, you know what I mean? | 0:22:17 | 0:22:20 | |
Totes. | 0:22:20 | 0:22:21 | |
I mean, totally. | 0:22:22 | 0:22:24 | |
Pearl, what do you think might have driven Diane to take her own life? | 0:22:24 | 0:22:29 | |
It was the article. | 0:22:29 | 0:22:30 | |
That's what tipped her over the edge, wasn't it? | 0:22:30 | 0:22:33 | |
Well, possibly an unfortunate choice of words, | 0:22:33 | 0:22:36 | |
under the circumstances. | 0:22:36 | 0:22:38 | |
Thanks. Understood. | 0:22:43 | 0:22:45 | |
That was Dwayne. | 0:22:46 | 0:22:47 | |
There is no sign of a Chris C on the guest list, | 0:22:47 | 0:22:50 | |
-in Diane's phone or on the hotel staff. -Hm. | 0:22:50 | 0:22:54 | |
They've also been looking into the Marston finances, | 0:22:54 | 0:22:57 | |
but their accountants are refusing to disclose anything. | 0:22:57 | 0:23:00 | |
Well, you don't get to be this rich | 0:23:00 | 0:23:02 | |
without knowing how to hide your assets. | 0:23:02 | 0:23:04 | |
Who else would have access to this information? | 0:23:04 | 0:23:06 | |
-Maybe their lawyers. -Yes, exactly. | 0:23:06 | 0:23:10 | |
The family's lawyer was on the guest list for the wedding. | 0:23:10 | 0:23:13 | |
Bet he's kicking his heels by the pool right now. | 0:23:13 | 0:23:15 | |
-You should go and talk to him. -Why me? | 0:23:15 | 0:23:17 | |
Because I've just noticed something vitally important. | 0:23:17 | 0:23:19 | |
Look, Florence, "Vasco da Gama". | 0:23:19 | 0:23:21 | |
Sir? | 0:23:22 | 0:23:24 | |
"Marco Polo." Come on. | 0:23:25 | 0:23:27 | |
-Where are we going? -To find Christopher Columbus. | 0:23:27 | 0:23:29 | |
Would you excuse me a moment? | 0:23:30 | 0:23:33 | |
The morning of her death Diane had a note in her diary, | 0:23:33 | 0:23:35 | |
"Chris C, 9:30." | 0:23:35 | 0:23:37 | |
Chris C wasn't who she was meeting, it was where. | 0:23:37 | 0:23:39 | |
Christopher Columbus suite. So, my question to you, sir, is, | 0:23:39 | 0:23:43 | |
who booked the room for that time, who was Diane meeting? | 0:23:43 | 0:23:47 | |
I'm afraid there was no meeting. | 0:23:47 | 0:23:49 | |
You haven't even checked the system. | 0:23:49 | 0:23:51 | |
As general manager, | 0:23:51 | 0:23:52 | |
I personally oversaw every last detail of this wedding. | 0:23:52 | 0:23:55 | |
I know what was scheduled in every room in the hotel, | 0:23:55 | 0:23:57 | |
down to the last minute. | 0:23:57 | 0:23:59 | |
And I can assure you there was no meeting in that room at that time. | 0:23:59 | 0:24:02 | |
Oh, I see. | 0:24:02 | 0:24:05 | |
Well, we'll just have to take your word for it. Thanks. | 0:24:05 | 0:24:07 | |
-Do you believe him? -Not for one second. | 0:24:09 | 0:24:11 | |
So come on, Dwayne, the suspense is killing me. | 0:24:21 | 0:24:24 | |
You have got to tell me what happened between you and Audrey. | 0:24:24 | 0:24:27 | |
And which Audrey would this be? | 0:24:27 | 0:24:29 | |
You know, "If I never see that man again, it'll be too soon" Audrey. | 0:24:29 | 0:24:34 | |
-Oh, that Audrey. -Mm. | 0:24:34 | 0:24:36 | |
So, is she an old girlfriend? | 0:24:36 | 0:24:39 | |
Girlfriend is too strong a word, OK? | 0:24:39 | 0:24:41 | |
We went out with each other for a couple of months | 0:24:41 | 0:24:43 | |
around 10 years ago, that is all. | 0:24:43 | 0:24:45 | |
Boy, that woman is angry. | 0:24:45 | 0:24:49 | |
-I mean, what did you do to her? -I don't know! | 0:24:49 | 0:24:52 | |
-You don't? -No, seriously. I have no idea. | 0:24:52 | 0:24:56 | |
I mean, I can understand her being upset at losing me, | 0:24:56 | 0:24:59 | |
she's only human. | 0:24:59 | 0:25:00 | |
But this woman went crazy. | 0:25:00 | 0:25:02 | |
She went around telling anyone who would listen that if she ever | 0:25:02 | 0:25:05 | |
saw me again, she would cut off parts of me I'd rather keep. | 0:25:05 | 0:25:08 | |
Well, if that was me, | 0:25:08 | 0:25:10 | |
I'd want to know what I'd done to upset her. | 0:25:10 | 0:25:13 | |
JP, whenever a woman is concerned, | 0:25:13 | 0:25:15 | |
don't ever ask them why they're angry. It never ends well. | 0:25:15 | 0:25:19 | |
Ah, perfect timing. | 0:25:19 | 0:25:21 | |
So... | 0:25:21 | 0:25:23 | |
..after I had no luck with the Marston accountants, | 0:25:23 | 0:25:25 | |
I decided to run a check on all the currency exchanges on the island. | 0:25:25 | 0:25:28 | |
-Smart thinking, Dwayne. -And I just received this. | 0:25:28 | 0:25:31 | |
Three days before the death of Miss Smith, Stephen Marston | 0:25:32 | 0:25:35 | |
took 20,000 out of the bureau de change in Port Louis | 0:25:35 | 0:25:38 | |
-on the other side of the island. -20,000, that's a lot of cash. | 0:25:38 | 0:25:41 | |
-Drive over there, find out what you can. -Will do. | 0:25:41 | 0:25:44 | |
-COMPUTER BEEPS -Oh, sir, the PM's in. | 0:25:44 | 0:25:47 | |
Great, what does it say? | 0:25:47 | 0:25:49 | |
"Massive blunt force trauma to the head and neck - | 0:25:49 | 0:25:52 | |
"consistent with a fall from a considerable height." | 0:25:52 | 0:25:55 | |
There's no mention of any other abrasions | 0:25:56 | 0:25:58 | |
or cuts to the skin pre-mortem? | 0:25:58 | 0:26:01 | |
No fibres or skin under her fingernails? | 0:26:01 | 0:26:04 | |
-No defence wounds? -No, sir. | 0:26:04 | 0:26:06 | |
So, nothing that suggests she was pushed, hey? | 0:26:08 | 0:26:11 | |
Nothing that proves she wasn't. | 0:26:12 | 0:26:14 | |
I don't know what you thought you were playing at. | 0:26:17 | 0:26:19 | |
Pearl is a child, a sensitive child. | 0:26:19 | 0:26:21 | |
She's just lost her stepmother for God's sake, | 0:26:21 | 0:26:23 | |
-and there you are making all kinds of insinuations... -All I want, | 0:26:23 | 0:26:25 | |
Mr Marston, is to make absolutely sure we know the full truth. | 0:26:25 | 0:26:28 | |
Now, I believe Diane deserves nothing less. | 0:26:28 | 0:26:30 | |
We know what happened. I was there. I saw it with my own two eyes. | 0:26:30 | 0:26:33 | |
You knew Diane, I didn't. | 0:26:33 | 0:26:35 | |
But from what little I do know, | 0:26:35 | 0:26:37 | |
I struggle to believe that she would take her own life | 0:26:37 | 0:26:40 | |
because of some rubbish written in a newspaper. | 0:26:40 | 0:26:42 | |
Oh, it wasn't just the article, it was... | 0:26:42 | 0:26:45 | |
-..30 years of guilt and shame she'd been holding in... -Mr Marston, | 0:26:45 | 0:26:49 | |
forgive me, now the last thing I want to do is add to your suffering. | 0:26:49 | 0:26:52 | |
All Diane ever wanted was to bring this family together. | 0:26:52 | 0:26:55 | |
I'm a very wealthy man. | 0:26:56 | 0:26:58 | |
But she couldn't care less about the money. | 0:26:58 | 0:27:00 | |
She loved me in spite of it, not because of it. | 0:27:00 | 0:27:03 | |
And she was prepared to take it all on, | 0:27:03 | 0:27:05 | |
-the name, the attention, my kids. -It can't have been easy for her. | 0:27:05 | 0:27:08 | |
No, it wasn't, it was bloody awful, but she hung on in there. | 0:27:08 | 0:27:11 | |
And they all came to love her in the end. | 0:27:11 | 0:27:14 | |
Even Pearl. | 0:27:14 | 0:27:15 | |
Although, I understand they were arguing | 0:27:15 | 0:27:18 | |
over Pearl joining the company. | 0:27:18 | 0:27:21 | |
You have children? | 0:27:21 | 0:27:23 | |
-I have a daughter. -Then you'll know all too well | 0:27:23 | 0:27:25 | |
the delicate balance between doing what they want and doing what's | 0:27:25 | 0:27:28 | |
best for them in the long term, and Diane understood that, just as I do. | 0:27:28 | 0:27:31 | |
-Of course. -Now, I know you think you have a job to do | 0:27:31 | 0:27:34 | |
but this family has suffered enough. | 0:27:34 | 0:27:37 | |
Diane took her own life, end of story. | 0:27:37 | 0:27:40 | |
So you will drop this investigation right now. | 0:27:40 | 0:27:44 | |
Glad we understand each other. | 0:27:48 | 0:27:50 | |
-What was he doing here? -Erm... Nothing, no. Just... | 0:28:01 | 0:28:05 | |
He just wanted to know how the investigation was going, yes. | 0:28:05 | 0:28:08 | |
How did you get on with the lawyer? | 0:28:08 | 0:28:10 | |
He'd been in the sun drinking cocktails since breakfast, | 0:28:10 | 0:28:13 | |
so it wasn't hard to get him talking. | 0:28:13 | 0:28:16 | |
I even persuaded him to print out a copy of this on the hotel computer. | 0:28:16 | 0:28:20 | |
What's this? A prenuptial agreement. | 0:28:20 | 0:28:22 | |
Apparently it caused a big family rift. | 0:28:22 | 0:28:25 | |
Diane refused to sign it with Philip's blessing. | 0:28:25 | 0:28:29 | |
So who did want her to sign it? | 0:28:29 | 0:28:30 | |
Who had this drawn up in the first place? | 0:28:30 | 0:28:33 | |
The managing director, Karen Marston. | 0:28:33 | 0:28:36 | |
Afternoon, Miss Marston. Can we have a word? | 0:28:43 | 0:28:45 | |
Not right now, I'm on a timer. | 0:28:45 | 0:28:47 | |
Ah, it's police business, I'm afraid. | 0:28:47 | 0:28:49 | |
You could always run besides me. | 0:28:49 | 0:28:51 | |
You must be joking, we'd need a team of paramedics and an ambulance. | 0:28:51 | 0:28:54 | |
So, they tell me that you're the real brains of the Marston clan. | 0:29:04 | 0:29:07 | |
You've met my siblings, I'm the only brains. | 0:29:07 | 0:29:10 | |
So it all rests on you. | 0:29:10 | 0:29:11 | |
Quite a burden to have thrust upon you at the age of 22. | 0:29:11 | 0:29:14 | |
I dragged Dad kicking and screaming into the 21st century. | 0:29:14 | 0:29:19 | |
When I started, we were still serving fish finger and chips | 0:29:19 | 0:29:22 | |
in the restaurants, | 0:29:22 | 0:29:23 | |
now we have three Michelin stars across the group. | 0:29:23 | 0:29:25 | |
-You must be very proud of what you've achieved. -I am. | 0:29:25 | 0:29:29 | |
And Diane wasn't just your father's fiancee, | 0:29:29 | 0:29:32 | |
-she was also your head of HR. -I hired her. | 0:29:32 | 0:29:35 | |
-So you trusted her enough to take a key role in your business. -Yes. | 0:29:35 | 0:29:40 | |
Yeah, but not enough to let your father marry her | 0:29:40 | 0:29:42 | |
without signing a prenup. | 0:29:42 | 0:29:43 | |
It wasn't personal. | 0:29:46 | 0:29:48 | |
I have a duty to protect our company, to protect my father. | 0:29:48 | 0:29:52 | |
Did he need protecting? | 0:29:52 | 0:29:54 | |
He was leaving himself wide open. He was leaving us wide open. | 0:29:54 | 0:29:56 | |
Yet he took her side. Now, that must've been hurtful. | 0:29:56 | 0:30:00 | |
You've given your whole life to this company | 0:30:00 | 0:30:02 | |
and he was prepared to risk everything for her - | 0:30:02 | 0:30:05 | |
a woman you'd hired. | 0:30:05 | 0:30:06 | |
I don't know what you're implying but I suggest you tread carefully. | 0:30:08 | 0:30:11 | |
This conversation's on tape and we have excellent lawyers. | 0:30:11 | 0:30:14 | |
I can't believe she threatened to sue you | 0:30:15 | 0:30:18 | |
just because she didn't like your questions. What a family. | 0:30:18 | 0:30:22 | |
Well, you know what they say. | 0:30:22 | 0:30:23 | |
If you want to know what God thinks of money, | 0:30:23 | 0:30:25 | |
look at who he gives it too. | 0:30:25 | 0:30:27 | |
Dwayne, JP, how did you get on at Port Louis? | 0:30:27 | 0:30:31 | |
Well, sir, we went to the bureau de change | 0:30:31 | 0:30:33 | |
and the lady actually remembers serving Stephen Marston. | 0:30:33 | 0:30:36 | |
When he got the 20,000, | 0:30:36 | 0:30:37 | |
he got back into the taxi and drove off. | 0:30:37 | 0:30:40 | |
Any idea where he went? | 0:30:40 | 0:30:41 | |
We found the taxi driver he used. | 0:30:41 | 0:30:43 | |
He took him to an address up in the hills, | 0:30:43 | 0:30:45 | |
number 4 Rue du Plessis, | 0:30:45 | 0:30:47 | |
-but no-one was in. -Who lives at 4 Rue du Plessis? | 0:30:47 | 0:30:51 | |
Well, it's owned by a woman called Julie Francois | 0:30:51 | 0:30:53 | |
but we checked the address and no-one was home. | 0:30:53 | 0:30:56 | |
Well, whoever she is, why was Stephen delivering 20,000? | 0:30:57 | 0:31:01 | |
Blackmail? | 0:31:01 | 0:31:03 | |
Mmm. Or did she play some part in Diane's death? | 0:31:03 | 0:31:06 | |
Either way, let's try her house again in the morning. | 0:31:06 | 0:31:09 | |
So, this is Siobhan's last night on the island. | 0:31:11 | 0:31:14 | |
Mm. | 0:31:14 | 0:31:15 | |
I hope you're planning something special, you know? | 0:31:15 | 0:31:17 | |
-Send her back to London with a Caribbean glow. -Oh, yeah. | 0:31:17 | 0:31:21 | |
I thought I might make dinner at the shack. | 0:31:21 | 0:31:23 | |
I've got this great recipe for melon curry. | 0:31:23 | 0:31:25 | |
What? | 0:31:27 | 0:31:29 | |
All due respect, I think you can do a bit better than that. | 0:31:29 | 0:31:33 | |
Which part? The melon curry or...? | 0:31:33 | 0:31:35 | |
-Both. -The whole thing. | 0:31:35 | 0:31:36 | |
What do you suggest? I mean, Siobhan said she wanted | 0:31:38 | 0:31:40 | |
to do something that captures the essence of the Caribbean. | 0:31:40 | 0:31:43 | |
-Dwayne? -Dwayne. | 0:31:52 | 0:31:55 | |
How can she still be angry after ten years? | 0:31:56 | 0:31:58 | |
Who holds a grudge that long? | 0:31:59 | 0:32:01 | |
What did I do? | 0:32:02 | 0:32:03 | |
Well, if the thing is still bothering you, | 0:32:03 | 0:32:06 | |
why don't you go and talk to her? | 0:32:06 | 0:32:08 | |
Are you mad? You saw the way she was looking at me. | 0:32:08 | 0:32:11 | |
If looks could kill, my photo would be up on that white board | 0:32:11 | 0:32:14 | |
right now with the inspector circling her name. | 0:32:14 | 0:32:16 | |
Then suit yourself. OK? As long as you're happy | 0:32:16 | 0:32:18 | |
to go the rest of your life never knowing the truth. | 0:32:18 | 0:32:21 | |
You're going to miss her. | 0:32:26 | 0:32:27 | |
It's a funny old thing. | 0:32:29 | 0:32:30 | |
I knew it was coming, | 0:32:30 | 0:32:32 | |
just...don't think I admitted to myself it'd be so soon. | 0:32:32 | 0:32:37 | |
I was the same with Camille. | 0:32:37 | 0:32:38 | |
You spend all this time teaching them to be independent | 0:32:40 | 0:32:43 | |
and then wonder why they want to leave. | 0:32:43 | 0:32:45 | |
The fact is it's not us who cut the apron strings, it's them. | 0:32:48 | 0:32:54 | |
You're right. | 0:32:56 | 0:32:57 | |
Siobhan's been independent since she was about three years old. | 0:32:57 | 0:33:01 | |
I'm the one who... Well, | 0:33:01 | 0:33:03 | |
I've never lived on my own before, put it that way. | 0:33:03 | 0:33:06 | |
Dad, it's your turn. | 0:33:06 | 0:33:07 | |
-Oh, no, I don't think so. -Come on, Dad. Be brave. | 0:33:07 | 0:33:10 | |
Limbo's not really my area. | 0:33:10 | 0:33:12 | |
HE GROANS | 0:33:21 | 0:33:24 | |
Dad? | 0:33:24 | 0:33:25 | |
I think I've broken my spine. | 0:33:25 | 0:33:26 | |
HE GROANS | 0:33:26 | 0:33:28 | |
Oh, sir. | 0:33:38 | 0:33:39 | |
How are you? Here, sit down. | 0:33:39 | 0:33:42 | |
Oh, thanks, Florence, but it's actually less painful to stand. | 0:33:42 | 0:33:46 | |
So, I've been searching through Diane's laptop. | 0:33:46 | 0:33:49 | |
It's all work files. | 0:33:49 | 0:33:51 | |
I just checked a CV for Oliver Fitzwarren, the hotel manager, | 0:33:51 | 0:33:55 | |
and look... | 0:33:55 | 0:33:57 | |
Before this job, he'd never worked in a hotel. | 0:33:57 | 0:34:01 | |
Looks like he's a failed banker. So how did he get the gig? | 0:34:01 | 0:34:04 | |
He and Stephen Marston were at school together. | 0:34:04 | 0:34:07 | |
Jobs for the boys. | 0:34:07 | 0:34:08 | |
HE GROANS | 0:34:10 | 0:34:12 | |
Commissioner. Good morning. | 0:34:14 | 0:34:17 | |
To what do we owe the...? HE GROANS | 0:34:17 | 0:34:19 | |
-Are you quite all right? -Fine. Thank you. | 0:34:19 | 0:34:22 | |
Yes. Just a slight limbo related injury. | 0:34:22 | 0:34:25 | |
Speaking of low bars, | 0:34:25 | 0:34:27 | |
would you mind explaining why I spent much of last night | 0:34:27 | 0:34:30 | |
talking Philip Marston out of launching an official complaint? | 0:34:30 | 0:34:34 | |
Come on. That's absurd. | 0:34:34 | 0:34:35 | |
No. | 0:34:35 | 0:34:36 | |
No, no, no, no. | 0:34:36 | 0:34:39 | |
What is absurd is that | 0:34:39 | 0:34:41 | |
even when Mr Marston asked you to step back | 0:34:41 | 0:34:44 | |
you persisted in haranguing his children | 0:34:44 | 0:34:46 | |
with these baseless theories. | 0:34:46 | 0:34:48 | |
Haranguing? That's... No, that's completely unfair now. | 0:34:48 | 0:34:52 | |
You've yet to show me a single piece of evidence | 0:34:52 | 0:34:55 | |
which suggests Diane Smith didn't take her own life. | 0:34:55 | 0:34:58 | |
We're working on it. We just need a bit more time. | 0:35:00 | 0:35:03 | |
Unless you present me with something tangible by the end of the day | 0:35:03 | 0:35:07 | |
I'm overruling you and closing this case down. | 0:35:07 | 0:35:09 | |
Is that clear? | 0:35:10 | 0:35:12 | |
Yes, sir. | 0:35:13 | 0:35:14 | |
Florence... | 0:35:20 | 0:35:22 | |
..please tell me you have something. | 0:35:22 | 0:35:24 | |
I have something. | 0:35:24 | 0:35:25 | |
Thanks, but that didn't help. | 0:35:25 | 0:35:26 | |
No, I really have something. | 0:35:26 | 0:35:28 | |
I found it in a folder marked "wedding admin". | 0:35:30 | 0:35:33 | |
At first, I thought it was music cos it's a sound file, but listen. | 0:35:33 | 0:35:37 | |
-RECORDING: -There's nothing to worry about. | 0:35:39 | 0:35:41 | |
-I assure you the situation's in hand. -No, I'm not having this. | 0:35:41 | 0:35:43 | |
We'll sort it out when I'm there, Saturday morning. | 0:35:43 | 0:35:46 | |
-That's the day of your... -It'll only take ten minutes | 0:35:46 | 0:35:48 | |
for you to sign the statement and don't even think about trying | 0:35:48 | 0:35:51 | |
-to get out of it or I'll call the police. -I assure you... | 0:35:51 | 0:35:53 | |
We can assume that's Diane Smith's voice, but who is she talking to? | 0:35:53 | 0:35:57 | |
That's clearly Oliver, the manager of the hotel | 0:35:57 | 0:36:00 | |
and Stephen's old school friend. | 0:36:00 | 0:36:02 | |
PHONE RINGS "I assure you." It's practically a catchphrase. | 0:36:02 | 0:36:05 | |
Although it's not very reassuring. | 0:36:05 | 0:36:08 | |
-JP. -Morning, sir. | 0:36:08 | 0:36:10 | |
Me and Dwayne are back at Julie Francois' house | 0:36:10 | 0:36:13 | |
and it's still all locked up but we found a neighbour who knows her. | 0:36:13 | 0:36:17 | |
She says that she lives here on her own. | 0:36:17 | 0:36:19 | |
And - check this - she works at the Marston hotel as a maid. | 0:36:19 | 0:36:23 | |
Why would Stephen be visiting a hotel maid with 20,000? | 0:36:23 | 0:36:26 | |
It's a hell of a tip. | 0:36:26 | 0:36:28 | |
Dwayne's got an ex-girlfriend there, Audrey Lefevre, | 0:36:28 | 0:36:30 | |
and I bet she'll give us every information that we need to know | 0:36:30 | 0:36:33 | |
about Miss Francois if we ask nicely. | 0:36:33 | 0:36:36 | |
-Oh, you do, do you? -Mm. | 0:36:36 | 0:36:38 | |
-That's perfect. You two see what you can get on Julie Francois. -Yes, sir. | 0:36:38 | 0:36:43 | |
-RECORDING: -The situation's in hand. -No, I am not having this. | 0:36:45 | 0:36:48 | |
We'll sort it out when I'm there, Saturday morning. | 0:36:48 | 0:36:50 | |
That's the day of your... | 0:36:50 | 0:36:53 | |
I assume this was to take place in the Christopher Columbus suite. | 0:36:53 | 0:36:56 | |
Look, I assure you, there's nothing untoward here. | 0:36:56 | 0:36:59 | |
It's just we... | 0:36:59 | 0:37:01 | |
..we take the privacy of our guests very seriously. | 0:37:01 | 0:37:04 | |
Oliver... | 0:37:04 | 0:37:06 | |
..we've done a bit of background on you. | 0:37:06 | 0:37:08 | |
Fired from your last job for insider trading. | 0:37:08 | 0:37:11 | |
You only got this one because an old school chum pulled some strings. | 0:37:11 | 0:37:14 | |
I'm an outstanding GM. | 0:37:14 | 0:37:16 | |
This place is like a well oiled machine. | 0:37:16 | 0:37:18 | |
You realise lying to a police officer is a criminal offence. | 0:37:18 | 0:37:21 | |
All right, look, it wasn't about me. It was... | 0:37:24 | 0:37:27 | |
..it was about Stephen. | 0:37:27 | 0:37:29 | |
What was the statement she wanted you to sign? | 0:37:29 | 0:37:31 | |
She was trying to bring formal charges against him. | 0:37:31 | 0:37:34 | |
Her own fiance's son! I refused to sign. | 0:37:34 | 0:37:37 | |
Unlike Diane, I'm loyal. | 0:37:37 | 0:37:39 | |
What kind of charges? | 0:37:39 | 0:37:41 | |
The last time Stephen was here, | 0:37:41 | 0:37:42 | |
he had an encounter with one of our maids. | 0:37:42 | 0:37:46 | |
It was just Stephen being Stephen. | 0:37:46 | 0:37:48 | |
She blew it out of all proportion. | 0:37:48 | 0:37:51 | |
Sexual harassment. | 0:37:51 | 0:37:52 | |
This maid, was her name, by any chance, Julie Francois? | 0:37:52 | 0:37:56 | |
Did Stephen Marston know that his future stepmother was about to | 0:37:57 | 0:38:01 | |
bring a charge of sexual harassment against him? | 0:38:01 | 0:38:04 | |
Of course he did. | 0:38:04 | 0:38:05 | |
Well, I must say, you both look a bit overdressed for the seaside. | 0:38:10 | 0:38:13 | |
You could at least loosen your tie. | 0:38:13 | 0:38:15 | |
Oh, Monique, drinks for my guests here. Anything they want. | 0:38:15 | 0:38:19 | |
Thanks, but we're not your guests. | 0:38:19 | 0:38:21 | |
Right, of course. You're on duty. Too bad. | 0:38:21 | 0:38:26 | |
Mm! Still, though, drop by any time, mention my name, | 0:38:26 | 0:38:30 | |
you'll be looked after. | 0:38:30 | 0:38:32 | |
You know what I was wondering? | 0:38:32 | 0:38:34 | |
What exactly does a global brand ambassador do. | 0:38:34 | 0:38:36 | |
Much as it sounds. They call it snagging in the trade. | 0:38:36 | 0:38:40 | |
I make sure everything's up to scratch, | 0:38:40 | 0:38:42 | |
from the cocktails to the curtains. | 0:38:42 | 0:38:44 | |
You mean you get to help yourself to whatever you fancy - food, drinks... | 0:38:44 | 0:38:48 | |
..staff? | 0:38:48 | 0:38:50 | |
Like Julie Francois for example. | 0:38:50 | 0:38:52 | |
All right, whatever you've heard, it wasn't how she said. | 0:38:58 | 0:39:01 | |
-No? -No. | 0:39:01 | 0:39:03 | |
You didn't try to force yourself on her? | 0:39:03 | 0:39:05 | |
No, I... Look, I wasn't trying to frighten her. | 0:39:05 | 0:39:08 | |
It was just a bit of fun. I was drunk. It was... | 0:39:08 | 0:39:10 | |
Oh, well, that makes it fine. | 0:39:10 | 0:39:13 | |
You were aware that Diane was trying to bring charges against you? | 0:39:13 | 0:39:16 | |
Bless her. Diane was typical HR. Such a stickler for procedure. | 0:39:16 | 0:39:21 | |
Had she told your father? | 0:39:21 | 0:39:23 | |
No. | 0:39:23 | 0:39:24 | |
He'd have taken it in his stride. He's a man of the world. | 0:39:24 | 0:39:27 | |
Are you sure about that? Because it strikes me that assaulting maids | 0:39:27 | 0:39:31 | |
is not exactly on-brand. | 0:39:31 | 0:39:33 | |
If this had come out, you'd have lost your job. | 0:39:33 | 0:39:35 | |
If you can call it a job. Let's say lifestyle. | 0:39:35 | 0:39:38 | |
We know what you were willing to do to buy Julie's silence - | 0:39:38 | 0:39:42 | |
pay 20,000. | 0:39:42 | 0:39:43 | |
But how were you planning to silence Diane? | 0:39:47 | 0:39:49 | |
No. No, I didn't. | 0:39:51 | 0:39:53 | |
All right, we had our differences but I did not want her to die. | 0:39:54 | 0:39:58 | |
Karen, the eldest daughter. | 0:40:03 | 0:40:04 | |
Frustrated by Diane's refusal to sign a prenup, | 0:40:04 | 0:40:07 | |
scared of losing half her company. | 0:40:07 | 0:40:09 | |
But that would only happen if they divorced | 0:40:09 | 0:40:11 | |
and there's nothing to suggest that was on the cards. | 0:40:11 | 0:40:13 | |
Not to mention the 130 witnesses that can place her at the party. | 0:40:13 | 0:40:17 | |
Stephen, the son. | 0:40:17 | 0:40:18 | |
Desperate to contain a sexual assault charge. | 0:40:18 | 0:40:20 | |
But he tried to buy Julie off. | 0:40:20 | 0:40:22 | |
Pearl, the youngest daughter. | 0:40:25 | 0:40:27 | |
Even I'd be hard pushed to suggest a fear of work experience | 0:40:27 | 0:40:29 | |
as a motive for murder. | 0:40:29 | 0:40:31 | |
Sir, even if we had a motive, | 0:40:31 | 0:40:35 | |
we still come back to the same question. | 0:40:35 | 0:40:37 | |
Diane was alone in her room with the door on the chain. | 0:40:37 | 0:40:41 | |
She sent a final text message. | 0:40:41 | 0:40:44 | |
Philip heard her call out and... | 0:40:44 | 0:40:45 | |
An entire hotel worth of guests saw her land on the terrace. | 0:40:45 | 0:40:48 | |
I know, I know, I know. | 0:40:48 | 0:40:49 | |
Be good enough to call the Commissioner, would you, Florence? | 0:41:04 | 0:41:07 | |
Tell him... | 0:41:07 | 0:41:09 | |
..the Diane Smith case is closed. | 0:41:09 | 0:41:11 | |
JACK GROANS | 0:41:15 | 0:41:17 | |
Looks like I'll never have to | 0:41:20 | 0:41:21 | |
buy another beer for the rest of my life. | 0:41:21 | 0:41:23 | |
-Here. You shouldn't be doing that. -It's fine. | 0:41:27 | 0:41:30 | |
I'm a big girl. I can carry my own suitcases. | 0:41:30 | 0:41:32 | |
You won't forget to feed Harry? | 0:41:34 | 0:41:36 | |
-Who's Harry? -I know you love him really. | 0:41:36 | 0:41:38 | |
Let's just say we've come to an understanding. | 0:41:38 | 0:41:40 | |
I mash up his mango and he doesn't sneak up on me in the shower, | 0:41:40 | 0:41:44 | |
when I'm most vulnerable. | 0:41:44 | 0:41:45 | |
Besides, the more I look at him, | 0:41:45 | 0:41:46 | |
the more he remains me of your Auntie Bridget. | 0:41:46 | 0:41:48 | |
Thick-skinned? | 0:41:48 | 0:41:50 | |
No. Beady eyes and bandy legs. | 0:41:50 | 0:41:52 | |
And the sneaking up on me in the shower. | 0:41:52 | 0:41:54 | |
Going to miss you. | 0:42:01 | 0:42:02 | |
I'll miss you too. | 0:42:02 | 0:42:03 | |
Listen, you don't need to come with me to the airport. | 0:42:05 | 0:42:07 | |
-No, I'd like to, of course. -Why? | 0:42:07 | 0:42:10 | |
Either way, we've got to say goodbye. | 0:42:10 | 0:42:13 | |
It's nicer to do it here than in some horrible departure lounge. | 0:42:13 | 0:42:16 | |
-Text me as soon as you land. -I will. -Yeah. Don't forget now. | 0:42:22 | 0:42:26 | |
-I love you, Dad. -Oh, shut up. Don't start me off. | 0:42:29 | 0:42:32 | |
Love you too, kiddo. | 0:42:40 | 0:42:41 | |
-ANSWERPHONE: -This is Jack and Siobhan. | 0:42:48 | 0:42:50 | |
We're not here so please leave a message. | 0:42:50 | 0:42:52 | |
BEEP | 0:42:52 | 0:42:53 | |
This is Selwyn Patterson. | 0:42:53 | 0:42:55 | |
I just spoke to DS Cassell | 0:42:55 | 0:42:57 | |
and I gather you closed the Diane Smith case. | 0:42:57 | 0:43:00 | |
I'm glad you saw sense in the end. | 0:43:00 | 0:43:02 | |
JACK GROANS | 0:43:02 | 0:43:04 | |
Oh. She's gone, my scaly friend. | 0:43:23 | 0:43:26 | |
Skedaddled. Flown the coop. | 0:43:26 | 0:43:28 | |
Oh, well. | 0:43:29 | 0:43:30 | |
You're hungry? | 0:43:34 | 0:43:36 | |
Well, that's not my problem now, is it? | 0:43:36 | 0:43:38 | |
Fine. All right. | 0:43:40 | 0:43:41 | |
But just a snack. | 0:43:41 | 0:43:43 | |
It's like she was never here. | 0:43:50 | 0:43:52 | |
She was never here. | 0:43:55 | 0:43:57 | |
I was in my room, getting ready for the party. | 0:43:57 | 0:44:00 | |
I barged the door open. | 0:44:00 | 0:44:01 | |
I was in my room across the corridor. | 0:44:01 | 0:44:03 | |
I was at the party. | 0:44:03 | 0:44:04 | |
Where is it? | 0:44:12 | 0:44:13 | |
Look, Florence! | 0:44:16 | 0:44:18 | |
It's in the room list. | 0:44:18 | 0:44:20 | |
Look at the numbers. HE LAUGHS | 0:44:20 | 0:44:23 | |
Do you see it yet? | 0:44:23 | 0:44:24 | |
I'm sorry, sir. See what? | 0:44:24 | 0:44:26 | |
Who killed Diane Smith. | 0:44:26 | 0:44:28 | |
Afternoon. DI Mooney would like you all to join him on the terrace. | 0:44:29 | 0:44:33 | |
Oh, for God's sake. What is it now? | 0:44:33 | 0:44:35 | |
There's some fresh information about the death of Miss Smith. | 0:44:35 | 0:44:38 | |
-Well, I can't come, I've got a Pilates class. -No, no. Come on. | 0:44:38 | 0:44:41 | |
Let's hear what he has to say for himself this time. | 0:44:41 | 0:44:44 | |
You go if you want. | 0:44:44 | 0:44:46 | |
I've had enough of that man and his ridiculous theories. | 0:44:46 | 0:44:48 | |
I need to check on the refurb in Miami. | 0:44:48 | 0:44:50 | |
Where is Karen? | 0:44:55 | 0:44:56 | |
She was called away to a meeting at the last minute. Miami. | 0:44:56 | 0:44:59 | |
Police! Stop! | 0:45:04 | 0:45:06 | |
Stop! | 0:45:17 | 0:45:19 | |
Let me...go! | 0:45:19 | 0:45:22 | |
Ah! | 0:45:22 | 0:45:23 | |
Agh! | 0:45:24 | 0:45:25 | |
Ah, fair play to you, Florence. | 0:45:30 | 0:45:32 | |
What the hell's going on? Selwyn, what is this? | 0:45:34 | 0:45:36 | |
-Why is my daughter in handcuffs? -I was wondering about that. | 0:45:36 | 0:45:39 | |
I apologise for the delay. | 0:45:39 | 0:45:41 | |
I find it always holds things up | 0:45:41 | 0:45:43 | |
when one of your suspects tries to do a runner. | 0:45:43 | 0:45:45 | |
Suspect? I hope you're not implying that my daughter... | 0:45:45 | 0:45:47 | |
I'm not implying anything, Mr Marston. | 0:45:47 | 0:45:49 | |
I'm stating clearly and categorically | 0:45:49 | 0:45:51 | |
and for the avoidance of doubt | 0:45:51 | 0:45:53 | |
that Diane Smith's killer is sitting right here. | 0:45:53 | 0:45:56 | |
Killer? What? | 0:45:56 | 0:45:57 | |
We all know, the night she died, Diane was troubled | 0:45:57 | 0:46:00 | |
after a nasty story appeared in the British press, dragging up her past. | 0:46:00 | 0:46:04 | |
We can only imagine her state of mind as she was getting ready, | 0:46:07 | 0:46:10 | |
sitting there, steeling herself to face everyone, | 0:46:10 | 0:46:13 | |
painting her fingernails. | 0:46:13 | 0:46:14 | |
She only managed to paint one nail, | 0:46:14 | 0:46:16 | |
her left thumb, | 0:46:16 | 0:46:18 | |
when there was a knock on the door. | 0:46:18 | 0:46:20 | |
As she got up to answer it, | 0:46:22 | 0:46:23 | |
she didn't even replace the lid on the bottle, | 0:46:23 | 0:46:26 | |
thinking she'd be back any second to finish the job. | 0:46:26 | 0:46:29 | |
But that wasn't to be | 0:46:29 | 0:46:30 | |
because the person at the door had other plans - | 0:46:30 | 0:46:33 | |
murder. | 0:46:33 | 0:46:34 | |
So who was it? | 0:46:36 | 0:46:38 | |
Who was it who knocked at the door? | 0:46:38 | 0:46:40 | |
It was Pearl. | 0:46:44 | 0:46:45 | |
Sweet, wide-eyed Pearl, | 0:46:49 | 0:46:52 | |
who I assume not only hired a PI to dig up the dirt on Diane | 0:46:52 | 0:46:56 | |
but then leaked the story to a carefully chosen tabloid. | 0:46:56 | 0:46:59 | |
What are you talking about? Pearl's not capable... | 0:47:02 | 0:47:04 | |
Selwyn, do something about this. | 0:47:04 | 0:47:06 | |
Carry on, Inspector. | 0:47:08 | 0:47:09 | |
I suppose you're going to tell us next | 0:47:10 | 0:47:13 | |
it was Pearl who pushed her off the balcony. | 0:47:13 | 0:47:15 | |
Well, close, but not quite. | 0:47:15 | 0:47:17 | |
She WAS pushed, only it wasn't Pearl. | 0:47:17 | 0:47:19 | |
It was you, wasn't it, Stephen? | 0:47:23 | 0:47:25 | |
What? You're insane. | 0:47:25 | 0:47:27 | |
That's ludicrous. | 0:47:27 | 0:47:29 | |
Diane was alone in the room, the door was locked, I was there. | 0:47:29 | 0:47:32 | |
Yes, you were, but the point is, you see, she wasn't. | 0:47:32 | 0:47:35 | |
The killer was never in the room and neither was the victim. | 0:47:35 | 0:47:39 | |
And you're saying that's me, that I'm the killer? | 0:47:39 | 0:47:41 | |
Yeah, one of them, along with your accomplices. | 0:47:41 | 0:47:43 | |
Well, your two sisters. | 0:47:46 | 0:47:47 | |
I've got 130 witnesses | 0:47:47 | 0:47:49 | |
who will confirm I was downstairs at the party. | 0:47:49 | 0:47:52 | |
Well, of course you were, but that was all part of the plan, | 0:47:52 | 0:47:55 | |
to distract everyone's attention away | 0:47:55 | 0:47:57 | |
from what was happening above you. | 0:47:57 | 0:47:59 | |
We're so pleased to welcome so many dear friends and family. | 0:47:59 | 0:48:03 | |
Karen, tell him he's wrong. | 0:48:03 | 0:48:05 | |
Now, look, I have no idea what Pearl said to Diane | 0:48:08 | 0:48:11 | |
when she knocked on the door. | 0:48:11 | 0:48:13 | |
She must have spun her a story | 0:48:13 | 0:48:15 | |
about Stephen needing to see her urgently, a matter of life or death, | 0:48:15 | 0:48:19 | |
which indeed it was. | 0:48:19 | 0:48:20 | |
Stephen needs to see you, now. | 0:48:20 | 0:48:22 | |
With Diana out of the room, Pearl set about her part of the plan. | 0:48:26 | 0:48:31 | |
She chained the door behind her | 0:48:31 | 0:48:34 | |
and then, using Diane's phone, | 0:48:34 | 0:48:37 | |
sent a text message to her father. | 0:48:37 | 0:48:39 | |
After years of wanting to be an actress, | 0:48:43 | 0:48:45 | |
Pearl finally found the perfect role. | 0:48:45 | 0:48:47 | |
Diane? | 0:48:47 | 0:48:49 | |
It wasn't Diane who called out, "I can't, I'm sorry!" | 0:48:49 | 0:48:52 | |
It was Pearl, imitating her voice. | 0:48:52 | 0:48:54 | |
I can't, I'm sorry! | 0:48:54 | 0:48:55 | |
You took a gamble that your father, in his panic, | 0:48:56 | 0:48:58 | |
wouldn't spot the difference. | 0:48:58 | 0:49:00 | |
See, it's all a matter of perception | 0:49:02 | 0:49:04 | |
and that's why Philip didn't catch the killer red-handed | 0:49:04 | 0:49:06 | |
when he smashed his way into the room only seconds later | 0:49:06 | 0:49:09 | |
because the only person in the room at that moment was you. | 0:49:09 | 0:49:13 | |
-You were in the bathroom... -Diane? | 0:49:13 | 0:49:15 | |
..when you heard the commotion, but not your own. | 0:49:15 | 0:49:18 | |
You were in Diane's bathroom, | 0:49:18 | 0:49:20 | |
simply hiding until Philip had gone out onto the balcony. | 0:49:20 | 0:49:23 | |
Daddy? | 0:49:23 | 0:49:25 | |
This doesn't make any sense. If...if... | 0:49:26 | 0:49:29 | |
..if Diane wasn't even in the room then how exactly did she die? | 0:49:29 | 0:49:32 | |
It's a good question, Mr Marston... | 0:49:32 | 0:49:35 | |
..which I'm coming to right now. | 0:49:36 | 0:49:38 | |
As best man, | 0:49:39 | 0:49:41 | |
Stephen was tasked with the allocation of the rooms. | 0:49:41 | 0:49:43 | |
Now, the room you shared with Diane was room 317 on the third floor. | 0:49:43 | 0:49:48 | |
But Stephen's room was 417, | 0:49:48 | 0:49:51 | |
directly above you on the fourth floor. | 0:49:51 | 0:49:54 | |
Knowing that Pearl would send Diane up to see him, | 0:49:54 | 0:49:57 | |
Stephen waited for her to arrive. | 0:49:57 | 0:49:58 | |
-Diane. -I can't stay... | 0:49:58 | 0:50:02 | |
Then I imagine all you had to do was | 0:50:02 | 0:50:04 | |
provoke her into some sort of an argument... | 0:50:04 | 0:50:06 | |
..say, about Julie Francois, | 0:50:06 | 0:50:08 | |
and then somehow cajole her out onto the balcony, | 0:50:08 | 0:50:12 | |
until you heard the signal from the room below - four little words. | 0:50:12 | 0:50:15 | |
-PEARL: -I can't, I'm sorry! | 0:50:15 | 0:50:17 | |
And with everyone watching Karen make her speech, | 0:50:21 | 0:50:23 | |
no-one saw it happen. | 0:50:23 | 0:50:25 | |
THUD | 0:50:25 | 0:50:27 | |
It was Pearl's idea. | 0:50:35 | 0:50:37 | |
-Karen, tell them it was... -Shut up! Shut up! | 0:50:37 | 0:50:40 | |
You knew the autopsy wouldn't be able to tell us | 0:50:40 | 0:50:43 | |
whether Diane fell from the third floor or the fourth | 0:50:43 | 0:50:46 | |
as long as you sold the illusion that Diane was in her room | 0:50:46 | 0:50:49 | |
and that everyone else only arrived after your dad had broken in. | 0:50:49 | 0:50:52 | |
Dad! Dad! | 0:50:52 | 0:50:54 | |
Who would believe that any of you could have been behind the murder, | 0:50:54 | 0:50:57 | |
let alone all three of you. | 0:50:57 | 0:50:59 | |
None of you are denying it. | 0:51:01 | 0:51:02 | |
Tell him it's a lie. Tell him! | 0:51:04 | 0:51:07 | |
Why? | 0:51:10 | 0:51:11 | |
We didn't want her. | 0:51:14 | 0:51:15 | |
A friend of mine said recently | 0:51:22 | 0:51:23 | |
it's not the parents who cut the apron strings. | 0:51:23 | 0:51:26 | |
She was right. | 0:51:26 | 0:51:28 | |
There comes a moment when most children, they feel the need | 0:51:31 | 0:51:34 | |
to find their own lives. | 0:51:34 | 0:51:36 | |
None of you three ever did. | 0:51:38 | 0:51:40 | |
Now, why would you, when you had everything you ever wanted on tap? | 0:51:40 | 0:51:44 | |
And when you spend your life in a series of hotels | 0:51:44 | 0:51:46 | |
with your name on it, the Marston family name, | 0:51:46 | 0:51:49 | |
there's one word that you never hear, | 0:51:49 | 0:51:52 | |
until Diane Smith came into your lives. | 0:51:52 | 0:51:54 | |
For the first time you heard the word "no". | 0:51:54 | 0:51:56 | |
Each of you had a reason to feel threatened by Diane. | 0:51:59 | 0:52:02 | |
She wasn't going to forget about a sexual assault charge | 0:52:02 | 0:52:04 | |
or let you sidestep getting a job | 0:52:04 | 0:52:06 | |
or let you pressure her into signing a prenup. | 0:52:06 | 0:52:09 | |
Diane wasn't going to be bought or bullied. | 0:52:09 | 0:52:12 | |
So you reacted the way all spoilt children do. | 0:52:13 | 0:52:16 | |
Except it wasn't just your toys you threw out of the pram. | 0:52:16 | 0:52:19 | |
Take them away. | 0:52:22 | 0:52:23 | |
I'll catch up with you. | 0:52:48 | 0:52:50 | |
-So you arrested them. -Yes. | 0:52:53 | 0:52:55 | |
Audrey, whatever he was in the past, | 0:52:55 | 0:52:58 | |
the Dwayne Myers I know now is a good man. | 0:52:58 | 0:53:01 | |
OK, what's he done so bad that you can't forgive him? | 0:53:01 | 0:53:05 | |
While you were dating her you also had a fling with her sister? | 0:53:14 | 0:53:18 | |
Dorothy is Audrey's sister? | 0:53:18 | 0:53:19 | |
And her auntie! | 0:53:19 | 0:53:21 | |
Wait, wait. Alice is her auntie? | 0:53:21 | 0:53:23 | |
Oh, Lord. | 0:53:23 | 0:53:25 | |
No wonder the woman never forgave you, Dwayne, | 0:53:25 | 0:53:27 | |
if you were working your way through her whole family. | 0:53:27 | 0:53:29 | |
Hey, hold on a minute. That's a bit harsh. | 0:53:29 | 0:53:31 | |
Harsh? You know how she found out? | 0:53:31 | 0:53:33 | |
-How? -Because you gave them all identical bracelets. | 0:53:33 | 0:53:36 | |
Well, Turtle Pete had a good deal going on - buy one, get two free. | 0:53:36 | 0:53:40 | |
And she didn't say anything about her cousin Valerie in Sandy Bay? | 0:53:43 | 0:53:46 | |
You. | 0:53:47 | 0:53:49 | |
What? | 0:53:49 | 0:53:51 | |
Are you going to be OK? | 0:53:54 | 0:53:55 | |
Oh, I think so, sir. | 0:53:55 | 0:53:56 | |
I should probably scold you for endangering yourself and a suspect. | 0:53:58 | 0:54:01 | |
I should probably apologise for doubting you. | 0:54:01 | 0:54:04 | |
Oh, well. What do you say we call it quits? | 0:54:04 | 0:54:07 | |
Excellent work, Detective Inspector. | 0:54:07 | 0:54:09 | |
I believe you just raised the bar. | 0:54:11 | 0:54:14 | |
Thank you, sir. | 0:54:15 | 0:54:16 | |
I have to ask. | 0:54:18 | 0:54:19 | |
-How did you...? -Oh, well, she just painted one thumbnail, you see, | 0:54:20 | 0:54:25 | |
and she'd left the lid off the pot, which, of course, makes it gloopy. | 0:54:25 | 0:54:29 | |
DWAYNE LAUGHS | 0:54:36 | 0:54:38 | |
Ah, well, nice work, chief. | 0:54:39 | 0:54:44 | |
I never doubted you. | 0:54:44 | 0:54:46 | |
I appreciate that, Dwayne. | 0:54:46 | 0:54:48 | |
Looks like you'll be buying the beers from now on. | 0:54:48 | 0:54:50 | |
Wait, no. That's not what we agreed. | 0:54:50 | 0:54:52 | |
Chief! | 0:54:55 | 0:54:56 | |
I'm parched. | 0:54:57 | 0:54:59 | |
KNOCKING | 0:55:04 | 0:55:05 | |
Dwayne. | 0:55:09 | 0:55:10 | |
A bet's a bet. | 0:55:11 | 0:55:13 | |
Good man, yourself. Come in. | 0:55:13 | 0:55:14 | |
KNOCKING | 0:55:20 | 0:55:21 | |
So, we were just passing and we thought you might be hungry. | 0:55:25 | 0:55:29 | |
Well, that's very thoughtful of you. | 0:55:29 | 0:55:31 | |
I'm never going to be able to manage all that on my own. | 0:55:32 | 0:55:35 | |
-Don't worry about that, sir. -OK. | 0:55:35 | 0:55:38 | |
KNOCKING | 0:55:43 | 0:55:45 | |
I thought cos it's your first night without Siobhan, | 0:55:49 | 0:55:52 | |
I would keep you company with a bowl of... What else? | 0:55:52 | 0:55:56 | |
No, it's not! | 0:55:56 | 0:55:57 | |
Wow. That's amazing, Catherine. Come in. Come in. | 0:55:59 | 0:56:02 | |
Hm. | 0:56:11 | 0:56:12 | |
When did that happen? | 0:56:16 | 0:56:17 | |
LAUGHTER | 0:56:20 | 0:56:22 | |
OK, drinks all round. | 0:56:22 | 0:56:25 | |
One more for Audrey. | 0:56:25 | 0:56:26 | |
Hey, that's not funny. | 0:56:26 | 0:56:29 | |
Melon curry. Who'd have thought? | 0:56:29 | 0:56:32 | |
Nice. | 0:56:32 | 0:56:33 | |
Mm! | 0:56:36 | 0:56:37 | |
-It's amazing. -Oh, really? | 0:56:37 | 0:56:39 | |
-Oh! -Let's try this. | 0:56:39 | 0:56:41 | |
You all ready, ladies and gents? Your table awaits. | 0:56:44 | 0:56:47 | |
An American poker player | 0:56:47 | 0:56:48 | |
just dropped dead in the middle of a game. | 0:56:48 | 0:56:50 | |
With Florence out of action, I might need you to step up. | 0:56:50 | 0:56:52 | |
-I've just had a promotion. -Temporary. | 0:56:52 | 0:56:54 | |
-As Detective. -Acting detective. | 0:56:54 | 0:56:56 | |
-And this tournament, it's a big deal? -You better believe it. | 0:56:56 | 0:56:58 | |
The winner goes home with 3 million. | 0:56:58 | 0:57:00 | |
The paramedics suspect poisoning. | 0:57:00 | 0:57:01 | |
The four of us, five if you count the dealer, | 0:57:01 | 0:57:03 | |
were alone at that table for an hour and a half. | 0:57:03 | 0:57:06 | |
-Why would I want to kill Bobby Rodrigues? -Besides the 3 million? | 0:57:06 | 0:57:09 |