Browse content similar to Episode 8. Check below for episodes and series from the same categories and more!
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# Saint Marie | 0:00:02 | 0:00:03 | |
# It's the land of peace | 0:00:03 | 0:00:06 | |
# Saint Marie | 0:00:06 | 0:00:07 | |
# Yes, island of liberty | 0:00:09 | 0:00:12 | |
# Saint Marie | 0:00:12 | 0:00:14 | |
# For you ever are my destiny. # | 0:00:15 | 0:00:18 | |
SONG ENDS, CHEERING | 0:00:20 | 0:00:23 | |
-Jah, Rastafari! -Bonfire! | 0:00:23 | 0:00:26 | |
Blessed love! Blessed love to ya all. | 0:00:26 | 0:00:28 | |
We have been Leon And The Ragers. | 0:00:28 | 0:00:32 | |
Boy! They're even better than the first time around. | 0:00:32 | 0:00:36 | |
I know it's like when Pink Floyd reunited in '05. | 0:00:36 | 0:00:39 | |
That performance, I'm telling you, | 0:00:39 | 0:00:41 | |
eclipsed every memory I had of them playing live. | 0:00:41 | 0:00:44 | |
Well, that's not exactly the same, you know, Chief. | 0:00:44 | 0:00:46 | |
This is real, proper music, reggae music. ..Bonfire! | 0:00:46 | 0:00:50 | |
Let's not leave it so long next time, hey? | 0:00:50 | 0:00:52 | |
MOBILE RINGS | 0:00:52 | 0:00:54 | |
It's the commissioner. | 0:00:57 | 0:00:59 | |
Commissioner, what can I do for you? | 0:00:59 | 0:01:02 | |
We were on fire. Eh, Billy? | 0:01:02 | 0:01:04 | |
Yeah, if you say so, Delmar. | 0:01:04 | 0:01:06 | |
-What! -Come, come, come, man, we've got to do this! | 0:01:06 | 0:01:09 | |
-Come on! Come on! -All right, all right. | 0:01:09 | 0:01:11 | |
All for one, and one for all! | 0:01:11 | 0:01:14 | |
All right, look, I'm going to grab a shower | 0:01:14 | 0:01:18 | |
and then I'm hitting that bar. Who's in? Leon? | 0:01:18 | 0:01:21 | |
Well, we have a radio interview, but when we're done, see me there! | 0:01:21 | 0:01:25 | |
-Maya? You ready to party? -A quick one for me. No more. | 0:01:25 | 0:01:28 | |
We'll see about that! | 0:01:28 | 0:01:30 | |
Billy? | 0:01:30 | 0:01:31 | |
REGGAE MUSIC BLARES | 0:01:32 | 0:01:35 | |
-Daddy, that was wicked, man! Serious! -It was all right. | 0:01:43 | 0:01:47 | |
It was more than all right. Trust me, Daddy. | 0:01:47 | 0:01:49 | |
You sure everything's OK? | 0:01:49 | 0:01:51 | |
Yeah, it just took it out of me that's all. | 0:01:51 | 0:01:53 | |
But everything's going to be fine. | 0:01:53 | 0:01:55 | |
You catch your breath. I'll grab us a drink from the bar. | 0:01:55 | 0:01:58 | |
HE SINGS: Saint Marie | 0:01:58 | 0:02:00 | |
My apologies for dragging you away. | 0:02:03 | 0:02:05 | |
Not at all, it's not really my scene. | 0:02:05 | 0:02:07 | |
So, you said it's the guitarist we're meeting, Billy Springer? | 0:02:07 | 0:02:11 | |
I've been at a council meeting all afternoon. Had my phone off. | 0:02:11 | 0:02:14 | |
When I came out, there was a message from Mr Springer, | 0:02:14 | 0:02:17 | |
claiming he'd discovered new evidence on an old case. | 0:02:17 | 0:02:19 | |
What old case would that be? | 0:02:19 | 0:02:22 | |
His wife's murder. | 0:02:22 | 0:02:23 | |
-HE KNOCKS -Dad! Open up! Please? | 0:02:23 | 0:02:26 | |
-Everything all right? -It's Billy and he's not answering. | 0:02:26 | 0:02:29 | |
-MAYA: -And the door's locked. -Here, let me try. | 0:02:29 | 0:02:32 | |
HE RATTLES DOOR | 0:02:33 | 0:02:34 | |
It's locked all right! | 0:02:34 | 0:02:36 | |
The key's in the lock. | 0:02:38 | 0:02:39 | |
OK, please, stand back. | 0:02:41 | 0:02:43 | |
Hate doing this! | 0:02:43 | 0:02:45 | |
CRASHING | 0:02:45 | 0:02:47 | |
Dad! | 0:02:47 | 0:02:48 | |
I'm sorry. | 0:02:53 | 0:02:55 | |
Sir. Dwayne and JP have gone to pick up the crime-scene kit. | 0:03:36 | 0:03:40 | |
Great stuff. | 0:03:40 | 0:03:41 | |
Afternoon, Commissioner. | 0:03:41 | 0:03:43 | |
DS Cassell. | 0:03:43 | 0:03:44 | |
He shot himself? | 0:03:44 | 0:03:45 | |
It appears to be the case. | 0:03:45 | 0:03:47 | |
The room was locked from the inside. | 0:03:47 | 0:03:49 | |
Had to bash the door down myself, actually. | 0:03:49 | 0:03:52 | |
Yeah. | 0:03:52 | 0:03:53 | |
So, it all points to suicide. | 0:03:53 | 0:03:55 | |
Hmm. Except? | 0:03:55 | 0:03:57 | |
Except, shortly before Billy went on stage, | 0:03:57 | 0:04:00 | |
he called the commissioner and left a message. | 0:04:00 | 0:04:03 | |
KEYPAD TONE | 0:04:03 | 0:04:05 | |
-BILLY ON MESSAGE: -Selwyn, it's Billy, Billy Springer. | 0:04:05 | 0:04:08 | |
Get back to me as soon as you get this. | 0:04:08 | 0:04:10 | |
It's Jasmine, I know who killed her. | 0:04:10 | 0:04:13 | |
I found a note. Selwyn, just get back to me, will ya? | 0:04:13 | 0:04:17 | |
So, who's Jasmine? | 0:04:17 | 0:04:19 | |
Billy's wife. | 0:04:19 | 0:04:21 | |
She was murdered 30 years ago. | 0:04:21 | 0:04:23 | |
We never caught the person that did it. | 0:04:23 | 0:04:25 | |
But if he'd arranged to meet the commissioner | 0:04:25 | 0:04:27 | |
to talk about his wife's murder. Why would he kill himself? | 0:04:27 | 0:04:30 | |
It's exactly the question we've been asking. | 0:04:30 | 0:04:32 | |
-And the only answer we've come up with is... -He wouldn't. | 0:04:32 | 0:04:35 | |
-So, it was murder? -Staged to look like suicide. | 0:04:35 | 0:04:37 | |
And we can only assume that whoever killed Jasmine | 0:04:37 | 0:04:40 | |
has now also killed Billy. | 0:04:40 | 0:04:42 | |
Because he'd found the evidence of the original murder? | 0:04:42 | 0:04:45 | |
But I thought you said the door was locked on the inside. | 0:04:45 | 0:04:49 | |
It was. And there are no other doors or windows, | 0:04:49 | 0:04:52 | |
-so that's the only way in or out. -So, how did the killer do it? | 0:04:52 | 0:04:55 | |
Well, there's the rub, Florence, we've no idea. | 0:04:55 | 0:04:57 | |
What's that doing there? | 0:04:59 | 0:05:01 | |
A fork, lying on the floor. | 0:05:05 | 0:05:08 | |
An old one at that. It's all worn and starting to rust. | 0:05:08 | 0:05:11 | |
I'll go and talk to Security on the stage door. | 0:05:13 | 0:05:16 | |
Good idea, Commissioner. | 0:05:16 | 0:05:17 | |
To get to the dressing room, you've got to go past him, | 0:05:17 | 0:05:20 | |
so he might well have seen something. | 0:05:20 | 0:05:23 | |
Florence, could you update Dwayne and JP? | 0:05:23 | 0:05:25 | |
They need to search this dressing room from top to bottom, | 0:05:25 | 0:05:27 | |
see if there's any sign of that note poor Billy was talking about. | 0:05:27 | 0:05:30 | |
If the killer hasn't already taken it. | 0:05:30 | 0:05:32 | |
-So, what did he say? -The only people who came and went | 0:05:36 | 0:05:39 | |
to the dressing rooms after the concert | 0:05:39 | 0:05:41 | |
were the band themselves and Kai. | 0:05:41 | 0:05:44 | |
That means one of these four has to be Billy's killer? | 0:05:44 | 0:05:46 | |
Except, if this is connected to Jasmine's murder | 0:05:46 | 0:05:50 | |
all those years ago, Kai was just a baby, then. | 0:05:50 | 0:05:53 | |
The one thing we can be sure of, he didn't kill his mother. | 0:05:53 | 0:05:56 | |
Well, we need to speak to them. | 0:05:58 | 0:05:59 | |
Now, I wonder if you could start by telling us how was he, | 0:06:01 | 0:06:04 | |
Billy, over the last few days? | 0:06:04 | 0:06:05 | |
We've been rehearsing for a couple of weeks | 0:06:06 | 0:06:09 | |
and he seemed to be enjoying himself, wouldn't you say? | 0:06:09 | 0:06:12 | |
That's not quite true. | 0:06:12 | 0:06:13 | |
This morning, I went to Dad's and something had changed in him. | 0:06:14 | 0:06:18 | |
-In what way? -He was distracted. | 0:06:19 | 0:06:22 | |
Not himself, like something was bothering him. | 0:06:23 | 0:06:26 | |
He spent the morning fixing the pickguard on his guitar. | 0:06:26 | 0:06:28 | |
He said he had nerves about playing again, but... | 0:06:28 | 0:06:31 | |
And you're not sure that's what it was? | 0:06:31 | 0:06:33 | |
And were you aware of your father owning a gun? | 0:06:33 | 0:06:36 | |
Did any of you know about it? | 0:06:38 | 0:06:40 | |
So, after finishing the performance this afternoon, | 0:06:44 | 0:06:47 | |
which, by the way, was excellent, | 0:06:47 | 0:06:50 | |
could you just talk me through exactly what happened? | 0:06:50 | 0:06:53 | |
Well, we played the encore | 0:06:53 | 0:06:55 | |
and then we come off the stage, | 0:06:55 | 0:06:57 | |
and then we headed back to the dressing room. | 0:06:57 | 0:07:00 | |
I jumped in the shower. Got changed. And when I knocked on Billy's door | 0:07:00 | 0:07:04 | |
to go to the after-show party, there was no answer. | 0:07:04 | 0:07:07 | |
Then, Delmar, him knock on our doors | 0:07:07 | 0:07:09 | |
so that we could see that Billy wasn't there. | 0:07:09 | 0:07:12 | |
-What? -You seen Billy? | 0:07:12 | 0:07:14 | |
And, Kai, where were you during this? | 0:07:16 | 0:07:18 | |
I was out here getting us a drink and... | 0:07:18 | 0:07:20 | |
-Everything all right? -You seen Billy? -I was just with him. | 0:07:20 | 0:07:23 | |
And between seeing him alive and finding him dead, | 0:07:23 | 0:07:26 | |
none of you heard a gunshot? | 0:07:26 | 0:07:28 | |
I've always got music playing after a gig. | 0:07:28 | 0:07:31 | |
Mind you, it was pretty loud, so... | 0:07:31 | 0:07:33 | |
Tell me about it. That's all I could hear blasting away. | 0:07:33 | 0:07:36 | |
Hmmm. | 0:07:38 | 0:07:40 | |
And, tell me, did Billy mention Jasmine at all | 0:07:40 | 0:07:42 | |
-at any point over the last few days? -Not that I remember. | 0:07:42 | 0:07:46 | |
I know Mum was playing on his mind since the band started rehearsing. | 0:07:46 | 0:07:51 | |
I knew it'd brought some memories back up. | 0:07:51 | 0:07:53 | |
Billy called me this afternoon and left a message. | 0:07:59 | 0:08:03 | |
He said he'd discovered a new piece of evidence | 0:08:03 | 0:08:05 | |
that pointed to Jasmine's murderer | 0:08:05 | 0:08:07 | |
and we believe it to be one of the members of this band. | 0:08:07 | 0:08:10 | |
THEY SCOFF | 0:08:10 | 0:08:12 | |
Wait, this is a joke, right? | 0:08:12 | 0:08:14 | |
No, no joke. | 0:08:14 | 0:08:16 | |
I'm sure you'll all agree, it's strange. | 0:08:16 | 0:08:18 | |
Billy chose to take his own life just a couple of hours | 0:08:18 | 0:08:21 | |
after making that call. | 0:08:21 | 0:08:23 | |
He wouldn't. Not when he found out something about who killed Mum. | 0:08:23 | 0:08:27 | |
You really think that Billy was murdered? | 0:08:27 | 0:08:31 | |
And you think it was one of us three who did it? | 0:08:32 | 0:08:35 | |
This moment in time, it's hard to draw any other conclusion. | 0:08:35 | 0:08:39 | |
Ooh, er, just one last thing before we go. | 0:08:42 | 0:08:44 | |
There was a rusty old fork in Mr Springer's dressing room. | 0:08:45 | 0:08:49 | |
Any idea what it was doing there? | 0:08:49 | 0:08:51 | |
It was Dad's. | 0:08:51 | 0:08:53 | |
He lost the guitar capo once before... | 0:08:53 | 0:08:55 | |
Sorry? "Guitar capo"? | 0:08:55 | 0:08:58 | |
It's a device where you clamp on the strings to shorten the length. | 0:08:58 | 0:09:01 | |
So, it can make a different key. | 0:09:01 | 0:09:04 | |
And your father used a...a fork instead? | 0:09:05 | 0:09:09 | |
Yes, and an elastic band to put it all in place. | 0:09:09 | 0:09:12 | |
I mean, you could use a pen, pencil, cigarette lighter. | 0:09:12 | 0:09:16 | |
But all Dad could find before the gig was a fork. | 0:09:16 | 0:09:19 | |
Us musicians, we love to improvise, Inspector. | 0:09:19 | 0:09:23 | |
Hmm, so what was it was doing on the floor? | 0:09:23 | 0:09:25 | |
-Had he been using it today? -Sorry, Inspector, | 0:09:25 | 0:09:28 | |
but does this have anything to do with Billy's murder? | 0:09:28 | 0:09:30 | |
No, Ms Oprey. | 0:09:30 | 0:09:32 | |
It certainly does not. | 0:09:32 | 0:09:34 | |
Sir, were you involved | 0:09:37 | 0:09:39 | |
in the original Jasmine Springer investigation? | 0:09:39 | 0:09:42 | |
-It was my first serious case as a detective. -I see. | 0:09:42 | 0:09:47 | |
And do you think you could bring us up to speed, at some point? | 0:09:47 | 0:09:51 | |
If you've got time, of course. | 0:09:51 | 0:09:53 | |
First thing tomorrow. | 0:09:53 | 0:09:54 | |
They sit heavily, don't they, over the years? | 0:09:56 | 0:09:59 | |
The ones that don't get solved. | 0:09:59 | 0:10:01 | |
I'll see you tomorrow. | 0:10:04 | 0:10:05 | |
Sir, we've searched the suspects and the dressing rooms | 0:10:08 | 0:10:12 | |
and no sign of the note Billy Springer talked about. | 0:10:12 | 0:10:14 | |
Really? So, where is it? | 0:10:14 | 0:10:17 | |
The killer must've got rid of it. | 0:10:17 | 0:10:18 | |
If it was paper, it wouldn't be hard to destroy it. | 0:10:18 | 0:10:21 | |
So, the one piece of evidence we have that could finally solve | 0:10:21 | 0:10:24 | |
a 30-year-old murder case no longer exists. | 0:10:24 | 0:10:27 | |
HE SIGHS | 0:10:27 | 0:10:29 | |
One of them murdered Jasmine Springer. | 0:10:31 | 0:10:33 | |
And then, 30 years later, killed her husband, Billy. | 0:10:33 | 0:10:36 | |
We just need to work out who. | 0:10:36 | 0:10:37 | |
And how... Just how did they manage to make it look like, | 0:10:39 | 0:10:43 | |
in every discernible way, | 0:10:43 | 0:10:45 | |
Billy locked himself in his dressing room and then shot himself? | 0:10:45 | 0:10:47 | |
Florence...! | 0:10:52 | 0:10:53 | |
There appears to be a little old man asleep on our bench. | 0:10:53 | 0:10:57 | |
Mm-hm. I can see that, sir. Should we wake him? | 0:10:57 | 0:11:00 | |
Yeah, maybe give him a quick prod. | 0:11:00 | 0:11:02 | |
Excuse me, sir. | 0:11:04 | 0:11:06 | |
HE MURMURS | 0:11:06 | 0:11:08 | |
HE SIGHS | 0:11:08 | 0:11:10 | |
-What you doing here? -Oh, you're Nelson? | 0:11:12 | 0:11:15 | |
-You're his dad. -Don't believe we've had the pleasure. | 0:11:15 | 0:11:17 | |
DI Jack Mooney. It's a pleasure to make your acquaintance. | 0:11:17 | 0:11:20 | |
This is DS Florence Cassell. | 0:11:20 | 0:11:21 | |
Enchante. | 0:11:21 | 0:11:23 | |
What do you want? | 0:11:25 | 0:11:27 | |
Is that any way for a son to speak to his father, I ask you? | 0:11:28 | 0:11:31 | |
We should probably go inside, crack on. | 0:11:31 | 0:11:34 | |
So, you don't want to listen to my story? | 0:11:37 | 0:11:40 | |
I come all the way here to talk to you... | 0:11:40 | 0:11:42 | |
I thought Dwayne said his dad had gone? | 0:11:42 | 0:11:44 | |
Dwayne told him to go, but his father said | 0:11:44 | 0:11:46 | |
he won't disappear until they make peace. | 0:11:46 | 0:11:48 | |
Oh, and, JP, could you get the gun and dressing room key to the lab | 0:11:51 | 0:11:55 | |
-and have it checked for prints? -I will do, sir. | 0:11:55 | 0:11:57 | |
Yeah, and, Florence, in the morning, would you see about digging out | 0:11:57 | 0:12:00 | |
the original Jasmine Springer case file from the archives? | 0:12:00 | 0:12:04 | |
Oh, look at the time! We can pick this up again in the morning. | 0:12:04 | 0:12:07 | |
Yeah, I could do with nipping down to the harbour market | 0:12:07 | 0:12:09 | |
before it closes. | 0:12:09 | 0:12:11 | |
Bye. See you later. | 0:12:11 | 0:12:13 | |
So, do you want to talk about it? | 0:12:18 | 0:12:20 | |
No, there's nothing to talk about. | 0:12:20 | 0:12:22 | |
In a day or so, he's going to disappear off again | 0:12:22 | 0:12:24 | |
like he always does. And in about a week, | 0:12:24 | 0:12:26 | |
it'll be like he was never even here. | 0:12:26 | 0:12:29 | |
But, in the meantime, | 0:12:29 | 0:12:30 | |
we've got a very important investigation to solve. | 0:12:30 | 0:12:33 | |
So, I'm going to need you focused and on your case, OK? | 0:12:33 | 0:12:37 | |
Yes, Dwayne. | 0:12:37 | 0:12:39 | |
Good. | 0:12:39 | 0:12:40 | |
I'll see you in the morning. | 0:12:41 | 0:12:43 | |
If it's Ragers stuff you're after, | 0:12:52 | 0:12:54 | |
you'd better go in with their first two albums. | 0:12:54 | 0:12:57 | |
-Nelson! -You know, their earlier material was the real deal. | 0:12:57 | 0:13:01 | |
Proper roots reggae, you know? Had something to say, you know? | 0:13:01 | 0:13:04 | |
Yeah, well, I just want to get a flavour, that's all. | 0:13:04 | 0:13:07 | |
My boat's over there. I've got some beers chilling in the fridge. | 0:13:07 | 0:13:10 | |
We could shoot the breeze, you could tell me how Dwayne's been doing? | 0:13:10 | 0:13:14 | |
Oh, well... I'd love that, Nelson, | 0:13:14 | 0:13:16 | |
but I've got to get some work done on the case. | 0:13:16 | 0:13:19 | |
But my shack is just around the bay. | 0:13:21 | 0:13:23 | |
So, if you're passing and fancy a cuppa, feel free to pop in. | 0:13:23 | 0:13:26 | |
-Might take you up that. -Night, then. | 0:13:26 | 0:13:29 | |
KETTLE WHISTLES | 0:13:38 | 0:13:41 | |
KETTLE QUIETENS | 0:13:41 | 0:13:43 | |
What in the name of...? | 0:13:43 | 0:13:45 | |
Morning, Jack-boy. | 0:13:45 | 0:13:47 | |
Cup of tea do you? | 0:13:47 | 0:13:49 | |
-Nelson? What...? -So, I woke up this morning. | 0:13:49 | 0:13:52 | |
Realised I was out of milk. | 0:13:52 | 0:13:54 | |
Then I remembered your kind offer. | 0:13:54 | 0:13:56 | |
And here you are...?! | 0:13:56 | 0:13:58 | |
Quite a spot you've got yourself here. | 0:13:58 | 0:14:01 | |
I think it'll suit me down to the ground. | 0:14:03 | 0:14:06 | |
Sorry? Suit you down to the...? | 0:14:06 | 0:14:08 | |
Oh. | 0:14:12 | 0:14:13 | |
-Morning, everyone. -Ah, what a beautiful day, Chief. | 0:14:20 | 0:14:23 | |
Ah, yes, Dwayne, isn't it just...? | 0:14:23 | 0:14:25 | |
Ah, everything all right, Chief? | 0:14:25 | 0:14:29 | |
Yeah, yeah, everything's grand. | 0:14:29 | 0:14:31 | |
Couldn't be better. | 0:14:31 | 0:14:32 | |
-Ooh, good, it's the commissioner. Morning, sir. -Inspector. | 0:14:32 | 0:14:36 | |
You're just in time. We're about to make a start going over everything. | 0:14:36 | 0:14:39 | |
Florence, did you manage to dig out the Jasmine Springer file? | 0:14:39 | 0:14:42 | |
Yes, sir. It's over there. | 0:14:42 | 0:14:44 | |
Perhaps you'd like to reacquaint yourself with everything, sir? | 0:14:44 | 0:14:47 | |
Good. Now, the shooting of Billy Springer. | 0:14:48 | 0:14:53 | |
Now, we believe that Billy's killer is one of our three band-mates. | 0:14:54 | 0:14:59 | |
Delmar Brown, | 0:14:59 | 0:15:01 | |
Maya Oprey | 0:15:01 | 0:15:02 | |
and Leon Laroche. | 0:15:02 | 0:15:04 | |
Whoever it was, we already know their motive for killing him. | 0:15:04 | 0:15:07 | |
DWAYNE MURMURS Yes, Dwayne? | 0:15:07 | 0:15:09 | |
To stop him from revealing | 0:15:09 | 0:15:10 | |
-that they murdered Jasmine Springer 30 years ago. -Correct. | 0:15:10 | 0:15:13 | |
Now, if we're to work out who killed Billy Springer in the present, | 0:15:13 | 0:15:17 | |
we need to open up a cold case from 30 years ago... | 0:15:17 | 0:15:19 | |
..and work out who killed Jasmine Springer in the past. | 0:15:20 | 0:15:24 | |
Commissioner, perhaps you'd like to fill us in on the original case? | 0:15:24 | 0:15:28 | |
On the 3rd of June, 1988, | 0:15:37 | 0:15:40 | |
officers were called to Sirens' Point | 0:15:40 | 0:15:42 | |
at the north end of the island. | 0:15:42 | 0:15:44 | |
Jasmine Springer's body had been discovered by a dog walker. | 0:15:44 | 0:15:48 | |
Having recently been promoted to Detective Constable, | 0:15:48 | 0:15:52 | |
I attended the scene. | 0:15:52 | 0:15:53 | |
The postmortem confirmed that she'd been strangled | 0:15:53 | 0:15:56 | |
with her own neck-scarf. | 0:15:56 | 0:15:57 | |
There'd been a spate of violent muggings at the time | 0:15:57 | 0:16:00 | |
and as her jewellery had been taken | 0:16:00 | 0:16:02 | |
and her handbag emptied of any valuables, | 0:16:02 | 0:16:05 | |
we assumed her death to be at the hands of our unidentified mugger. | 0:16:05 | 0:16:10 | |
And whoever killed her dumped her body at Sirens' Point. | 0:16:10 | 0:16:15 | |
In light of yesterday's murder, | 0:16:15 | 0:16:18 | |
it does now appear | 0:16:18 | 0:16:20 | |
that we may have got the original investigation somewhat, um... | 0:16:20 | 0:16:23 | |
..wrong. | 0:16:25 | 0:16:26 | |
So, three suspects. | 0:16:29 | 0:16:31 | |
Who did it? Was it Delmar Brown? | 0:16:31 | 0:16:34 | |
Er, Mr Brown is 53 years old. He's the band's drummer. | 0:16:34 | 0:16:37 | |
He currently works as a general manager over at Johnson's Bar, | 0:16:37 | 0:16:41 | |
just outside of town. | 0:16:41 | 0:16:42 | |
And that place attracts a very questionable clientele. | 0:16:42 | 0:16:46 | |
Er, yes, that's right, sir. | 0:16:46 | 0:16:48 | |
And Delmar's got a few charges on file. But nothing too major. | 0:16:48 | 0:16:52 | |
Right, who's next? This fella, Leon Laroche. | 0:16:52 | 0:16:55 | |
OK, The Ragers' front man, somewhat of a local celebrity. | 0:16:55 | 0:17:00 | |
He earns a living now singing at hotels and on cruise ships. | 0:17:00 | 0:17:04 | |
Firmly bitten by the showbiz bug, eh? And what about Maya Oprey? | 0:17:04 | 0:17:08 | |
Er, 49 years old, she runs her own business. | 0:17:08 | 0:17:11 | |
A real estate company. From what I can tell, she's the only one | 0:17:11 | 0:17:14 | |
whose made a success of her life after the band split. | 0:17:14 | 0:17:17 | |
Mm-hm, fair play to her. | 0:17:17 | 0:17:18 | |
Our victim. | 0:17:20 | 0:17:22 | |
Billy Springer. | 0:17:22 | 0:17:24 | |
Dwayne, you're the biggest Ragers fan here, possibly anywhere. | 0:17:24 | 0:17:26 | |
Well, he's the lead guitarist and the song-writing talent of the band. | 0:17:26 | 0:17:29 | |
It took a few years for them to get their sound, | 0:17:29 | 0:17:31 | |
but by their early 20s, they were a big thing on the island. | 0:17:31 | 0:17:35 | |
And what about the split? | 0:17:35 | 0:17:36 | |
Happened shortly after Jasmine's murder, yeah? | 0:17:36 | 0:17:38 | |
Right! But things had been shaky in the band well before that. | 0:17:38 | 0:17:41 | |
-Oh? -You see, in the summer of 1988, | 0:17:41 | 0:17:44 | |
they'd planned this big European tour to raise their profile, | 0:17:44 | 0:17:47 | |
but Jasmine put a halt to it halfway through. | 0:17:47 | 0:17:49 | |
-Do we know why? -Billy had always had addiction issues. | 0:17:49 | 0:17:54 | |
All the pressures and stresses of touring | 0:17:54 | 0:17:57 | |
had caused him to start drinking and using drugs again. | 0:17:57 | 0:18:00 | |
So, when they got back in the studio, | 0:18:00 | 0:18:02 | |
there was still a lot of their resentment and tensions. | 0:18:02 | 0:18:06 | |
Well, we should look into these tensions and how deep they ran. | 0:18:06 | 0:18:09 | |
Isn't going to be easy, given the murder happened 30 years ago. | 0:18:09 | 0:18:13 | |
I can dig out our suspects' financial | 0:18:13 | 0:18:14 | |
and phone records from the time. | 0:18:14 | 0:18:16 | |
Great! And we should work through press coverage | 0:18:16 | 0:18:19 | |
of the band back in the day. And, Dwayne and JP, | 0:18:19 | 0:18:22 | |
could you go over to Billy's house, give it the once over? | 0:18:22 | 0:18:25 | |
-Yes, Chief. -Do your thing. | 0:18:25 | 0:18:27 | |
Commissioner, would I be right in thinking | 0:18:29 | 0:18:31 | |
that you'll want to stay involved with this one? | 0:18:31 | 0:18:34 | |
And why would you think that, Inspector? | 0:18:34 | 0:18:36 | |
Well, just with your connection to it and... | 0:18:36 | 0:18:39 | |
The last thing I want is to get in the way. | 0:18:39 | 0:18:42 | |
You know where I am if you need me. | 0:18:43 | 0:18:45 | |
Wow! If you'd have told me I would be visiting Billy Springer's house, | 0:18:51 | 0:18:56 | |
I never would've believed it, you know, JP! | 0:18:56 | 0:18:59 | |
I just wish it was under different circumstances. | 0:19:01 | 0:19:03 | |
But there's no time for wallowing, JP. | 0:19:05 | 0:19:07 | |
I wasn't. You were. | 0:19:07 | 0:19:09 | |
Listen, you take upstairs. I'll look downstairs. | 0:19:09 | 0:19:12 | |
And no shirking while you're at it! | 0:19:12 | 0:19:14 | |
When do I ever shirk? | 0:19:14 | 0:19:16 | |
Hm! | 0:19:16 | 0:19:17 | |
# Saint Marie... # | 0:19:19 | 0:19:21 | |
HE STRUMS | 0:19:22 | 0:19:24 | |
Florence! | 0:19:26 | 0:19:28 | |
There's a string missing on Billy's guitar. | 0:19:28 | 0:19:30 | |
The top one. The E string, if memory serves me correctly. | 0:19:30 | 0:19:33 | |
It must've broken when he was playing. | 0:19:33 | 0:19:35 | |
-That can happen, can't it? -Yeah, it's not uncommon. | 0:19:35 | 0:19:37 | |
It's just... I don't remember seeing it happen. | 0:19:37 | 0:19:40 | |
Sir, I think you might be right. | 0:19:40 | 0:19:42 | |
What, you didn't notice it break either? | 0:19:42 | 0:19:45 | |
No, sir, about Jasmine calling a halt to the tour. | 0:19:45 | 0:19:48 | |
-It had quite a financial impact. -Oh? | 0:19:48 | 0:19:50 | |
According to the checks I've run, | 0:19:50 | 0:19:52 | |
there was nothing suspicious going on in Leon or Maya's bank accounts | 0:19:52 | 0:19:56 | |
at the time. But the drummer, Delmar Brown, lost a lot of money. | 0:19:56 | 0:20:00 | |
Looks like he bankrolled the tour. | 0:20:00 | 0:20:02 | |
So, when it was cancelled, he lost over 50,000. | 0:20:02 | 0:20:06 | |
Not a small amount back in the '80s - or today for that matter! | 0:20:06 | 0:20:09 | |
Certainly enough to leave him hacked off with Jasmine. | 0:20:09 | 0:20:11 | |
ALERT CHIMES | 0:20:11 | 0:20:13 | |
Postmortem and lab results are through. | 0:20:16 | 0:20:19 | |
-And what do they say? -Cause Of Death as you'd expect. | 0:20:19 | 0:20:22 | |
Only partial prints found on the dressing room key. Not identifiable. | 0:20:22 | 0:20:25 | |
And striation marks on the bullet | 0:20:25 | 0:20:28 | |
match those of the gun found in Billy's hand. | 0:20:28 | 0:20:31 | |
Any prints found on the gun? | 0:20:31 | 0:20:33 | |
Two sets. Billy Springer's and, well, well, well, | 0:20:33 | 0:20:37 | |
would you believe it? It looks like we've now got | 0:20:37 | 0:20:39 | |
two reasons to talk to Delmar. | 0:20:39 | 0:20:41 | |
Why do you own a gun, Mr Brown? | 0:20:43 | 0:20:45 | |
For protection, you know? | 0:20:46 | 0:20:47 | |
There are some bad sorts that come into this place. | 0:20:47 | 0:20:50 | |
The kind of people that you do not want to be owing money to. | 0:20:50 | 0:20:53 | |
I take the gun with me most places. | 0:20:55 | 0:20:57 | |
Just in case. | 0:20:57 | 0:20:58 | |
Who in the band knew you had it? | 0:20:58 | 0:21:00 | |
We were rehearsing hard 24/7. | 0:21:02 | 0:21:05 | |
Maybe one of them saw it in my bag. | 0:21:05 | 0:21:06 | |
Tell me, Delmar. | 0:21:10 | 0:21:12 | |
Back in '85, the band went on tour to Europe, but it was cut short. | 0:21:12 | 0:21:16 | |
Now you lost a lot of money, didn't you? | 0:21:16 | 0:21:18 | |
Mmm. Just over 50,000. | 0:21:18 | 0:21:21 | |
Yeah. | 0:21:22 | 0:21:23 | |
My granny left it to me. | 0:21:23 | 0:21:25 | |
It was supposed to pay for me to go to law school in America, | 0:21:25 | 0:21:28 | |
but, instead, I chose to invest it in the band's future. | 0:21:28 | 0:21:33 | |
Not the best decision you ever made? | 0:21:33 | 0:21:35 | |
My family kept on telling me to have a backup plan. | 0:21:36 | 0:21:39 | |
-But you ignored them? -And you know it would have paid off. | 0:21:39 | 0:21:42 | |
Those first few gigs in Europe, | 0:21:42 | 0:21:44 | |
man, we were getting some serious attention. | 0:21:44 | 0:21:47 | |
Right up until Jasmine Springer interfered. | 0:21:47 | 0:21:50 | |
You must've really resented her? | 0:21:51 | 0:21:53 | |
Listen. | 0:21:57 | 0:21:58 | |
Every single thing that is wrong in my life now... | 0:21:58 | 0:22:01 | |
..is down to that woman. | 0:22:02 | 0:22:04 | |
Everything. | 0:22:04 | 0:22:06 | |
But it does not mean that I killed her. | 0:22:06 | 0:22:09 | |
Hello? Mm-hm. | 0:22:11 | 0:22:13 | |
Sure. We're on our way. | 0:22:13 | 0:22:15 | |
Dwayne. They've got something for us over at the victim's house. | 0:22:16 | 0:22:19 | |
MUFFLED: Oh! Good stuff. | 0:22:19 | 0:22:21 | |
Well, Chief, we really didn't find much connecting to | 0:22:27 | 0:22:30 | |
either Jasmine's or Billy's time with the band. | 0:22:30 | 0:22:33 | |
However, JP was searching Billy's bedroom | 0:22:33 | 0:22:35 | |
when he came across something of importance. | 0:22:35 | 0:22:37 | |
Would you like to update the chief, JP? | 0:22:37 | 0:22:40 | |
Ah, yes, so these photo albums are from Billy's bedroom. | 0:22:40 | 0:22:44 | |
There was a chest of drawers stuffed full of them, and... | 0:22:44 | 0:22:46 | |
All mainly of Kai as he was growing up. | 0:22:46 | 0:22:49 | |
These three are from between 1990 and 1993. | 0:22:51 | 0:22:54 | |
'92. That would be a couple of years after Jasmine was murdered. | 0:22:54 | 0:22:59 | |
It's Maya. She features a lot. | 0:22:59 | 0:23:01 | |
And when I say a lot, I mean, a heck of a lot. | 0:23:01 | 0:23:04 | |
Hmm. Here. Mm-hm. | 0:23:04 | 0:23:06 | |
Er, Dwayne, would you like to do the talking? | 0:23:07 | 0:23:10 | |
If I must. | 0:23:12 | 0:23:13 | |
As you can see, Chief. | 0:23:13 | 0:23:15 | |
They had many days out, holidays. | 0:23:15 | 0:23:18 | |
Used to spend a lot of time here at the house. | 0:23:18 | 0:23:21 | |
You know, everyday things like cooking, TV, | 0:23:21 | 0:23:25 | |
Maya was always there. | 0:23:25 | 0:23:27 | |
There, there, there. And then after two years, she stops appearing. | 0:23:27 | 0:23:30 | |
So, what are you saying? | 0:23:30 | 0:23:32 | |
There's more to Billy and Maya's relationship than she let on? | 0:23:32 | 0:23:35 | |
We think it's possible, sir. | 0:23:35 | 0:23:36 | |
If you didn't know any better, looking at these photos - | 0:23:36 | 0:23:39 | |
you'd be convinced Maya was a part of the family. | 0:23:39 | 0:23:41 | |
Let's get hold of Kai. See if he can shed any more light on this. | 0:23:41 | 0:23:44 | |
Yes, Chief. Hm. | 0:23:44 | 0:23:46 | |
JP, is everything OK with Dwayne? | 0:23:48 | 0:23:50 | |
I don't know, sir. | 0:23:50 | 0:23:52 | |
I think his dad being around | 0:23:52 | 0:23:54 | |
is bothering him more than he'd like to admit. | 0:23:54 | 0:23:57 | |
HE SIGHS | 0:23:59 | 0:24:01 | |
After Mum's death, Dad really lost it. | 0:24:01 | 0:24:04 | |
He got back on the booze, drugs. | 0:24:04 | 0:24:06 | |
-You were just a few months old then? -My auntie took me in. | 0:24:06 | 0:24:09 | |
Dad wasn't really up for raising a kid. | 0:24:11 | 0:24:13 | |
-So, what happened? -Various people tried to intervene, | 0:24:13 | 0:24:16 | |
but he just shut everybody out. | 0:24:16 | 0:24:19 | |
Until Maya stepped in. | 0:24:19 | 0:24:21 | |
Somehow she managed to get through to him. | 0:24:21 | 0:24:23 | |
-He got clean? -He went to rehab. | 0:24:23 | 0:24:25 | |
The full works. | 0:24:25 | 0:24:28 | |
And then when I was about two, he took me back in | 0:24:28 | 0:24:30 | |
and started being a dad again and he never looked back. | 0:24:30 | 0:24:33 | |
So, what...? | 0:24:33 | 0:24:35 | |
Maya stuck around after your dad sorted himself out? | 0:24:36 | 0:24:40 | |
She was really there for him. | 0:24:40 | 0:24:42 | |
Helped him learn to live without my mum. | 0:24:42 | 0:24:44 | |
After a couple of years, Maya stops appearing in the photos. | 0:24:46 | 0:24:50 | |
-Why? -I was about five. | 0:24:50 | 0:24:52 | |
And one night, they have a massive argument. | 0:24:52 | 0:24:56 | |
Never heard Dad so angry. | 0:24:56 | 0:24:58 | |
And then the next day, she gone. | 0:24:58 | 0:25:01 | |
Did you ever find out what happened? | 0:25:01 | 0:25:03 | |
What she wanted was more than friendship. | 0:25:03 | 0:25:06 | |
She was in love with Dad. | 0:25:06 | 0:25:08 | |
That night they argued, she suggested they get married. | 0:25:08 | 0:25:11 | |
But Billy didn't feel the same? | 0:25:11 | 0:25:13 | |
He said he could never love anybody else. | 0:25:13 | 0:25:16 | |
He felt angry at Maya for even thinking that he could. | 0:25:16 | 0:25:19 | |
You don't think this has something to do with my mum's murder? | 0:25:20 | 0:25:23 | |
And we're west facing here, so the view at sunset is pretty special. | 0:25:25 | 0:25:29 | |
Why don't you go and take a look around without me? | 0:25:29 | 0:25:32 | |
Thank you very much. | 0:25:32 | 0:25:33 | |
I'm with clients here, so if we could keep this brief? | 0:25:35 | 0:25:38 | |
We'll try our very best, Maya. Shall we? | 0:25:38 | 0:25:40 | |
I must say, I'm very impressed. | 0:25:43 | 0:25:46 | |
You've really made something of yourself since the band split. | 0:25:46 | 0:25:51 | |
I had no choice. | 0:25:51 | 0:25:53 | |
As my father always said, | 0:25:53 | 0:25:55 | |
"Don't waste time clinging to dreams that never come true." | 0:25:55 | 0:25:57 | |
Sounds like a wise man, yeah. | 0:25:57 | 0:26:00 | |
Tell me, Maya, would you say the same applies | 0:26:00 | 0:26:02 | |
-when it comes to affairs of the heart? -Sorry? You lost me. | 0:26:02 | 0:26:06 | |
You were in love with Billy, weren't you? | 0:26:06 | 0:26:08 | |
We know you were. A few years after Jasmine died, you told him so. | 0:26:08 | 0:26:12 | |
That's right, isn't it? | 0:26:12 | 0:26:14 | |
At first, it was fine. | 0:26:14 | 0:26:15 | |
Billy was young, playing the field, | 0:26:15 | 0:26:18 | |
I thought when it come to settling down, | 0:26:18 | 0:26:20 | |
finding the right girl that mattered, it'd be me. | 0:26:20 | 0:26:22 | |
But then, Jasmine came along? | 0:26:22 | 0:26:23 | |
I was convinced it wouldn't last. | 0:26:25 | 0:26:28 | |
But on it went. | 0:26:28 | 0:26:30 | |
They got engaged. Married. Had a son. | 0:26:30 | 0:26:32 | |
And all the time, I sat there on the sidelines telling myself, | 0:26:32 | 0:26:35 | |
"Any minute now, he'll realise he chose the wrong girl." | 0:26:35 | 0:26:38 | |
I can see where you're going with this, Inspector. | 0:26:39 | 0:26:42 | |
And where's that, Maya? | 0:26:42 | 0:26:43 | |
You're wondering if I killed Jasmine Springer | 0:26:44 | 0:26:46 | |
so I could have Billy all to myself. | 0:26:46 | 0:26:49 | |
I may have resented Jasmine, | 0:26:53 | 0:26:55 | |
but I could never have harmed her, | 0:26:55 | 0:26:58 | |
because I knew that would have hurt Billy, and that, I could never do. | 0:26:58 | 0:27:02 | |
Now, if you'll excuse me? | 0:27:04 | 0:27:06 | |
What's that saying, | 0:27:12 | 0:27:13 | |
"The love that lasts the longest is the love that's never returned." | 0:27:13 | 0:27:17 | |
It's very true, sir. But very sad. | 0:27:17 | 0:27:20 | |
MUSIC: The Israelites by Desmond Dekker | 0:27:22 | 0:27:26 | |
HE SIGHS | 0:27:38 | 0:27:40 | |
Oh, for the love of...! | 0:27:46 | 0:27:49 | |
GUITAR STRUMS NEARBY | 0:27:55 | 0:27:57 | |
Ah, Jack-boy! Good day at the office? | 0:27:58 | 0:28:02 | |
So, you're sleeping here now? | 0:28:02 | 0:28:04 | |
Saves me going back and forth to the boat. You don't mind, do you? | 0:28:04 | 0:28:08 | |
-Er... -And in return, I'm cooking us dinner. | 0:28:08 | 0:28:12 | |
A proper Caribbean feast. | 0:28:12 | 0:28:14 | |
Oh, right! Well, that's very kind of you, Nelson. Thank you. | 0:28:14 | 0:28:17 | |
So, why don't we crack this open | 0:28:17 | 0:28:19 | |
and have ourselves a little pre-prandial rum. What do you say? | 0:28:19 | 0:28:22 | |
Well, I was going to do a bit of work. | 0:28:22 | 0:28:24 | |
I suppose, a little one might warm up the brain cells a bit. | 0:28:24 | 0:28:27 | |
I'll fetch the glasses. | 0:28:27 | 0:28:28 | |
Anybody fancy a beer at Catherine's? Dwayne? | 0:28:30 | 0:28:33 | |
Um, I certainly wouldn't say no. | 0:28:33 | 0:28:36 | |
-Sarge? -You go ahead. -What, you found something? | 0:28:36 | 0:28:39 | |
It's a lease document belonging to the victim | 0:28:39 | 0:28:41 | |
for a property down by Sandy Bay. | 0:28:41 | 0:28:43 | |
Kai never mentioned that to us. | 0:28:43 | 0:28:45 | |
From what I can tell, Billy took the lease out a couple of years | 0:28:45 | 0:28:48 | |
after Jasmine's death. I should go take a look. | 0:28:48 | 0:28:51 | |
-Well, you want us to come with you? -It's fine. You get off. -OK. | 0:28:51 | 0:28:55 | |
Hello? | 0:29:12 | 0:29:14 | |
Is anyone in here? | 0:29:14 | 0:29:15 | |
Jasmine... | 0:29:49 | 0:29:52 | |
SHUTTER CLATTERS | 0:29:52 | 0:29:54 | |
Who's there? | 0:29:56 | 0:29:58 | |
SHE SIGHS | 0:29:58 | 0:30:00 | |
-JACK STRUMS GUITAR -No, no, no, no, no! | 0:30:09 | 0:30:12 | |
Reggae's all about the down beat. | 0:30:12 | 0:30:15 | |
Calypso is the up beat. | 0:30:15 | 0:30:18 | |
NELSON PLAYS REGGAE CHORD | 0:30:18 | 0:30:21 | |
I might have to admit defeat on this, Nelson. | 0:30:21 | 0:30:23 | |
To be honest, music's more of a spectator sport for me. | 0:30:23 | 0:30:27 | |
That's what they call the chop. | 0:30:27 | 0:30:29 | |
Or the strike. | 0:30:29 | 0:30:32 | |
-Or, my favourite the chikky-chikky. -"Chikky-chikky", I like it! | 0:30:32 | 0:30:35 | |
It's the hit on the off beat | 0:30:35 | 0:30:37 | |
that's at the heart of every reggae song written. | 0:30:37 | 0:30:40 | |
HE STRUMS | 0:30:40 | 0:30:41 | |
# Better must come one day | 0:30:41 | 0:30:43 | |
# Better must come | 0:30:43 | 0:30:47 | |
# Better that they conquer me | 0:30:47 | 0:30:50 | |
# Better must come. # | 0:30:50 | 0:30:53 | |
HE STRUMS CRESCENDO | 0:30:53 | 0:30:57 | |
That's brilliant, Nelson! HE CLAPS | 0:30:57 | 0:31:00 | |
Did you never think of making a go of this? | 0:31:00 | 0:31:02 | |
Oh, I tried, man, I tried. | 0:31:02 | 0:31:05 | |
It's what took me to London. | 0:31:05 | 0:31:07 | |
But it never really happened for me. | 0:31:07 | 0:31:09 | |
Why did you never come back? | 0:31:11 | 0:31:13 | |
Pride. | 0:31:13 | 0:31:15 | |
You know, I left here saying I'd make something of myself. | 0:31:15 | 0:31:19 | |
And when I didn't, | 0:31:19 | 0:31:20 | |
I guess I didn't want my family home to know that I had failed them. | 0:31:20 | 0:31:25 | |
You see, when they're thousands of miles away, | 0:31:25 | 0:31:29 | |
you never think you're hurting anyone. | 0:31:29 | 0:31:31 | |
Then I saw Dwayne in London. | 0:31:32 | 0:31:35 | |
He had such anger in his eyes. | 0:31:35 | 0:31:37 | |
Such bitterness. | 0:31:39 | 0:31:40 | |
I've left it too late with him, Jack-boy, haven't I? | 0:31:43 | 0:31:47 | |
No, just... | 0:31:47 | 0:31:48 | |
He'll... He'll come around. | 0:31:50 | 0:31:52 | |
Just...might need a bit more time. | 0:31:52 | 0:31:54 | |
It's the rum talking. | 0:31:56 | 0:31:57 | |
Look, I should probably go get some sleep. | 0:31:59 | 0:32:02 | |
-I better get some work done. -Goodnight. | 0:32:02 | 0:32:05 | |
Goodnight, Nelson. | 0:32:05 | 0:32:06 | |
-Morning, Chief. -Dwayne! -Apologies for the early visit, | 0:32:29 | 0:32:33 | |
-but we've had a breakthrough in the case. -Oh, right! Well, that's great. | 0:32:33 | 0:32:36 | |
Oh, um, er... | 0:32:36 | 0:32:40 | |
Sorry, Chief, I didn't realise you had company. | 0:32:41 | 0:32:45 | |
So, that's why you snuck off early, eh? "Working from home", eh? | 0:32:45 | 0:32:48 | |
Nice one! | 0:32:48 | 0:32:49 | |
No, Dwayne. | 0:32:49 | 0:32:51 | |
-It wasn't like that. -Yeah, I bet! | 0:32:51 | 0:32:53 | |
So, who is it? Who's the lucky lady? | 0:32:53 | 0:32:56 | |
-Huh? There's no lucky lady, Dwayne. -Morning, Son. | 0:32:56 | 0:33:00 | |
-What's he doing here? -Jack-boy here invited me to stay. | 0:33:02 | 0:33:05 | |
Well, that's not quite how it happened... | 0:33:05 | 0:33:07 | |
We been having a quite a high old time of it, haven't we? | 0:33:07 | 0:33:09 | |
I wouldn't go that far, Nelson! | 0:33:09 | 0:33:12 | |
We better get going, you know, Chief. | 0:33:12 | 0:33:14 | |
We've got a lot of work to do. | 0:33:14 | 0:33:15 | |
Maybe see you later, Dwayne? | 0:33:17 | 0:33:19 | |
Thanks a lot, Chief. | 0:33:23 | 0:33:25 | |
Dwayne, I'm sorry I didn't tell you about Nelson, | 0:33:25 | 0:33:27 | |
but it's not how he says it was. | 0:33:27 | 0:33:28 | |
The man just sort of invited himself here. | 0:33:28 | 0:33:30 | |
Yes, well, that's him! Give the man an inch and he'll take a mile. | 0:33:30 | 0:33:33 | |
I wouldn't want you to think I'm taking his side in any of this. | 0:33:33 | 0:33:36 | |
The man is a leech. He's forced his way into your life | 0:33:36 | 0:33:39 | |
the way he's trying to force his way back into mine. | 0:33:39 | 0:33:41 | |
Oh, but it won't be for long. | 0:33:41 | 0:33:43 | |
Give it a couple of days, he'll be gone before you know it. | 0:33:43 | 0:33:47 | |
Are you sure about this? From what he was saying last night, | 0:33:47 | 0:33:50 | |
-I think he wants to stay, make it up to you... -OK! We'll see. | 0:33:50 | 0:33:54 | |
Give it a day or two. And he'll be out of both of our hair. | 0:33:54 | 0:33:58 | |
This place is full of Jasmine's stuff. | 0:33:58 | 0:34:01 | |
Clothes. Books. Jewellery. Everything that belonged to her. | 0:34:01 | 0:34:04 | |
So, Billy held on to it all? Fair play to him. | 0:34:04 | 0:34:06 | |
And this is where he put it? | 0:34:06 | 0:34:08 | |
Yes, there's also his things from his time with the band, as well. | 0:34:08 | 0:34:11 | |
-We've been going through it all since first light. -Good. | 0:34:11 | 0:34:15 | |
You should also know, sir, that someone had already broken in here. | 0:34:15 | 0:34:19 | |
-Gone through the boxes. -What were they looking for? | 0:34:19 | 0:34:21 | |
Probably the evidence Billy told the commissioner he'd found. | 0:34:21 | 0:34:25 | |
You mean, the note? So, Billy didn't take it with him to the concert? | 0:34:25 | 0:34:28 | |
Question is, did whoever was here, find it? | 0:34:28 | 0:34:31 | |
Well, what have we got? | 0:34:33 | 0:34:34 | |
Well, sir, there's nothing here that might point to a motive | 0:34:34 | 0:34:38 | |
or suspect from Jasmine's murder. | 0:34:38 | 0:34:40 | |
But we did find these amongst Billy's stuff. | 0:34:40 | 0:34:42 | |
It's to do with the band. | 0:34:42 | 0:34:43 | |
All the session tapes from the Ragers' studio recordings. | 0:34:43 | 0:34:45 | |
Yeah, these here are from their last session before they split. | 0:34:45 | 0:34:48 | |
They were recorded the same day Jasmine was murdered. | 0:34:48 | 0:34:50 | |
-June 5th, 1988. -Won't that just be the songs | 0:34:50 | 0:34:53 | |
they were recording that day? | 0:34:53 | 0:34:55 | |
Er, more than likely. | 0:34:55 | 0:34:58 | |
But we wondered if maybe between takes, | 0:34:58 | 0:35:00 | |
there might've been something that was said. | 0:35:00 | 0:35:02 | |
You know, how things were between the band. | 0:35:02 | 0:35:04 | |
And do you know anywhere we might be able to play these? | 0:35:04 | 0:35:07 | |
Er, we could try the Sunshine Recording Studio. | 0:35:07 | 0:35:10 | |
That's where the Ragers made all their albums. | 0:35:10 | 0:35:11 | |
Right, well, why don't you fellas head over there, | 0:35:11 | 0:35:14 | |
-listen to what's on them. Definitely worth a try. -OK! -Yeah. | 0:35:14 | 0:35:17 | |
I do hope, Inspector, considering that we have a double murder | 0:35:32 | 0:35:36 | |
on our hands, that that fork hasn't become the sole focus | 0:35:36 | 0:35:39 | |
-of your attention. -Absolutely not, sir. Of course not. I... | 0:35:39 | 0:35:42 | |
HE SIGHS I was just... | 0:35:42 | 0:35:45 | |
I came for an update on how the investigation was progressing. | 0:35:45 | 0:35:48 | |
Well, sir, I have to admit, | 0:35:48 | 0:35:51 | |
the Jasmine Springer murder, | 0:35:51 | 0:35:54 | |
it's proving slow-going at the moment. | 0:35:54 | 0:35:56 | |
-And the Billy Springer case? -Equally slow-going, to be brutally honest. | 0:35:56 | 0:36:00 | |
-They're both really quite... -Slow-going? | 0:36:00 | 0:36:02 | |
Well that's about the size of it, sir. Sorry. | 0:36:02 | 0:36:05 | |
Chief, check your e-mail. | 0:36:05 | 0:36:06 | |
You should have a sound file e-mailed over to you | 0:36:06 | 0:36:09 | |
-from the studio. -What is it? | 0:36:09 | 0:36:11 | |
It's a conversation caught on tape | 0:36:11 | 0:36:12 | |
during a break at a recording session. | 0:36:12 | 0:36:14 | |
Now, most of the band and sound engineers | 0:36:14 | 0:36:16 | |
had gone to get a coffee, but they left the reel still turning. | 0:36:16 | 0:36:20 | |
-So, who is it heard talking? -Jasmine Springer. -And Leon Laroche. | 0:36:20 | 0:36:26 | |
-JASMINE ON RECORDING: -I'm sorry, but Billy needs to know. | 0:36:26 | 0:36:28 | |
-LEON, ON RECORDING: -Please, Jasmine, don't tell him! | 0:36:28 | 0:36:31 | |
-I can't keep lying to him! -But he can't know what we've done. | 0:36:31 | 0:36:34 | |
-They were having an affair! -I'd say so, Chief. | 0:36:36 | 0:36:38 | |
And a few hours after telling Leon she was going to reveal it to Billy, | 0:36:38 | 0:36:42 | |
Jasmine turns up dead. | 0:36:42 | 0:36:44 | |
Meaning Billy never finds out. | 0:36:44 | 0:36:45 | |
Would you care to tag along on this one, sir? | 0:36:47 | 0:36:49 | |
One, two, one, two. | 0:36:49 | 0:36:52 | |
Mic check, mic check. | 0:36:52 | 0:36:55 | |
One, two, one, two... | 0:36:55 | 0:36:57 | |
Afternoon. | 0:36:58 | 0:37:00 | |
Not exactly Wembley Arena, is it, Mr Laroche? | 0:37:01 | 0:37:04 | |
Well, you know, | 0:37:04 | 0:37:07 | |
I go to where the music takes me. | 0:37:07 | 0:37:10 | |
And it's brought you all the way to Claire and Barry Thompson's | 0:37:10 | 0:37:13 | |
silver wedding anniversary. Fair play to you. | 0:37:13 | 0:37:15 | |
Commissioner, perhaps you'd like to kick things off? | 0:37:15 | 0:37:17 | |
Thank you, Inspector. | 0:37:17 | 0:37:19 | |
I think the best place to start | 0:37:19 | 0:37:21 | |
would be with Mr Laroche telling us about the affair | 0:37:21 | 0:37:23 | |
he had with Jasmine Springer? | 0:37:23 | 0:37:25 | |
I don't know what you're talking about, all right? | 0:37:25 | 0:37:28 | |
I'd...appreciate it if you didn't lie to us, Mr Laroche. | 0:37:28 | 0:37:32 | |
We've already wasted enough time on this case. | 0:37:32 | 0:37:35 | |
Close to 30 years. | 0:37:35 | 0:37:37 | |
Look, Billy was going through a rough patch, right? | 0:37:37 | 0:37:41 | |
He pushed the people that loved him away. | 0:37:41 | 0:37:43 | |
-Jasmine, you mean? -I tried to help her through it. | 0:37:43 | 0:37:46 | |
-By sleeping with her? -She was a grown-up. | 0:37:46 | 0:37:50 | |
She knew what she was doing. | 0:37:50 | 0:37:51 | |
She was also vulnerable. | 0:37:51 | 0:37:53 | |
Her husband was an addict. | 0:37:53 | 0:37:55 | |
She needed support, Leon, a friend. | 0:37:55 | 0:37:57 | |
I'm not saying I acted with much dignity. | 0:37:57 | 0:38:00 | |
But you know, we all make mistakes in our youth. | 0:38:00 | 0:38:03 | |
How long did it last? | 0:38:03 | 0:38:05 | |
-A few months. No more. -And Billy never suspected? | 0:38:05 | 0:38:08 | |
Most of the time back then, Billy was either drunk or stoned or both. | 0:38:08 | 0:38:11 | |
Jasmine and I, we were discreet. | 0:38:12 | 0:38:15 | |
I hired a little place up in the hills, so we wouldn't get catch. | 0:38:15 | 0:38:18 | |
But when she threatened to confess all to Billy, | 0:38:18 | 0:38:22 | |
the thought of him discovering your betrayal was too much... | 0:38:22 | 0:38:25 | |
..so you killed her. | 0:38:26 | 0:38:27 | |
I understand how this must look, right. | 0:38:27 | 0:38:30 | |
But you, you have to understand something. | 0:38:30 | 0:38:33 | |
We were in a band. | 0:38:33 | 0:38:35 | |
It was a wild time. | 0:38:35 | 0:38:37 | |
Relationships, they can get a little blurred | 0:38:37 | 0:38:40 | |
when you're living like that. | 0:38:40 | 0:38:42 | |
So, what are you saying? That Billy wouldn't have minded? | 0:38:42 | 0:38:45 | |
I'm saying it wouldn't have been the first time | 0:38:45 | 0:38:47 | |
-things in the band get a little... -Dysfunctional? | 0:38:47 | 0:38:50 | |
Billy finding out about our fling, yes, man, | 0:38:50 | 0:38:53 | |
it would have complicate things. | 0:38:53 | 0:38:55 | |
But not so much that I thinks that the only solution | 0:38:55 | 0:38:58 | |
would be to kill his wife! | 0:38:58 | 0:39:00 | |
We'll get there, sir. | 0:39:06 | 0:39:08 | |
Just might take us a bit more time. | 0:39:09 | 0:39:11 | |
That's what I said to Billy Springer all those years ago. | 0:39:11 | 0:39:14 | |
I assured him we'd solve it with a little time. | 0:39:15 | 0:39:19 | |
We never did. | 0:39:19 | 0:39:20 | |
It's not your fault, sir. | 0:39:23 | 0:39:25 | |
You can only go where the evidence takes you. | 0:39:26 | 0:39:29 | |
And everything pointed to a mugging. | 0:39:29 | 0:39:31 | |
But I wasn't convinced it was just a mugging. | 0:39:31 | 0:39:34 | |
The escalation in violence felt too marked. | 0:39:34 | 0:39:37 | |
To me, it was too much of a stretch | 0:39:37 | 0:39:40 | |
to go from threatening someone for their handbag | 0:39:40 | 0:39:44 | |
to strangling the life out of them. | 0:39:44 | 0:39:47 | |
And did you raise this at the time, sir, with your senior officers? | 0:39:47 | 0:39:50 | |
I did. | 0:39:50 | 0:39:52 | |
But I was a mere junior detective. | 0:39:52 | 0:39:54 | |
It's hard to get your voice heard, | 0:39:54 | 0:39:56 | |
when all you've got going for you is your lack of experience. | 0:39:56 | 0:39:59 | |
Yeah, we've all been there, sir. | 0:39:59 | 0:40:02 | |
You speak out, convinced an injustice has been done, | 0:40:02 | 0:40:06 | |
and all you're met with is indifference and inaction. | 0:40:06 | 0:40:10 | |
As you said, Inspector, | 0:40:12 | 0:40:15 | |
such cases do indeed sit heavy over the years. | 0:40:15 | 0:40:20 | |
I need for us to put this right. | 0:40:20 | 0:40:23 | |
We will, sir. We will. | 0:40:23 | 0:40:25 | |
Delmar Brown. Maya Oprey. Leon Laroche. | 0:40:27 | 0:40:30 | |
Three suspects. Three motives. Two murders. | 0:40:30 | 0:40:34 | |
And as yet, no idea which of them is our killer. | 0:40:34 | 0:40:37 | |
June the 5th, 1988. | 0:40:37 | 0:40:38 | |
Jasmine Springer was murdered and the scene staged | 0:40:38 | 0:40:41 | |
to look like a robbery gone wrong. | 0:40:41 | 0:40:43 | |
30 years later, her husband, Billy Springer, was shot dead | 0:40:43 | 0:40:46 | |
and that crime scene staged to look like a suicide. | 0:40:46 | 0:40:50 | |
Leaving us puzzling just how did our killer manage to shoot Billy | 0:40:50 | 0:40:54 | |
and then escape from the crime scene | 0:40:54 | 0:40:56 | |
with the door locked on the inside? | 0:40:56 | 0:40:58 | |
So, any thoughts or any ideas on how we crack this trickiest of cases? | 0:41:00 | 0:41:05 | |
Well, maybe we should call it a night. | 0:41:08 | 0:41:09 | |
Approach things again fresh in the morning. | 0:41:09 | 0:41:11 | |
You're probably right, Florence. | 0:41:11 | 0:41:13 | |
Nelson? | 0:41:20 | 0:41:22 | |
THEY EXCHANGE GREETINGS | 0:41:32 | 0:41:34 | |
It's all right. I'll go. | 0:41:37 | 0:41:39 | |
Dwayne! Please... | 0:41:40 | 0:41:42 | |
Just tell me what I have to do to make it up to you, huh? | 0:41:42 | 0:41:45 | |
Whatever it is, I'll do it, Son. | 0:41:45 | 0:41:47 | |
Then do what we both know you always do and leave the island. | 0:41:47 | 0:41:50 | |
Stay and finish your drink. | 0:41:52 | 0:41:54 | |
-Dwayne. -Catherine. | 0:42:01 | 0:42:03 | |
Everything all right? | 0:42:03 | 0:42:05 | |
Fine. Why wouldn't it be? | 0:42:05 | 0:42:06 | |
I know how hurt your mother was when he abandoned her. | 0:42:11 | 0:42:15 | |
And if she was alive today, | 0:42:15 | 0:42:16 | |
she'd be even angrier to see him back here now. | 0:42:16 | 0:42:19 | |
That doesn't mean you can't give him another chance. | 0:42:19 | 0:42:23 | |
-He's really trying. -I know he is. | 0:42:23 | 0:42:25 | |
Look, all I want to tell him is that it's OK with us. | 0:42:26 | 0:42:29 | |
And that we are good. I just don't believe | 0:42:29 | 0:42:32 | |
that he deserves my forgiveness. | 0:42:32 | 0:42:34 | |
And maybe he doesn't. | 0:42:34 | 0:42:36 | |
But if forgiving him might finally bring YOU some peace, | 0:42:38 | 0:42:43 | |
maybe it doesn't matter if he deserves it or not. | 0:42:43 | 0:42:47 | |
Nelson? | 0:43:03 | 0:43:05 | |
Are you decent? | 0:43:05 | 0:43:07 | |
Well, Harry. Fancy a brew? | 0:43:22 | 0:43:25 | |
Yep, looks like it's just you and me again, old fella. | 0:43:27 | 0:43:30 | |
HE MUMBLES TO HIMSELF | 0:43:55 | 0:43:57 | |
The key's in the lock... | 0:44:05 | 0:44:07 | |
There's a fork lying on the floor... | 0:44:08 | 0:44:11 | |
There's a string missing on Billy's guitar. | 0:44:11 | 0:44:13 | |
The top one, the E string... | 0:44:13 | 0:44:15 | |
Us musicians, we love to improvise, Inspector... | 0:44:15 | 0:44:19 | |
Why kill Jasmine? | 0:44:19 | 0:44:21 | |
-Question is, did whoever was here, find it? -You mean the note? | 0:44:21 | 0:44:25 | |
He spent the morning fixing the pickguard of his guitar... | 0:44:25 | 0:44:28 | |
No... | 0:44:29 | 0:44:31 | |
Not possible. | 0:44:31 | 0:44:33 | |
Is it? | 0:44:33 | 0:44:34 | |
Everybody! I need a screwdriver! | 0:44:34 | 0:44:37 | |
A screwdriver? OK. | 0:44:37 | 0:44:38 | |
Are you feeling all right? | 0:44:38 | 0:44:40 | |
Top of the world, Florence. | 0:44:40 | 0:44:42 | |
I think I've finally worked out how our killer shot Billy | 0:44:42 | 0:44:44 | |
-and then left the room locked on the inside. -Well done, Chief! | 0:44:44 | 0:44:48 | |
And in a few moments' time, if I'm right about this, | 0:44:48 | 0:44:50 | |
we'll also know WHO did it. | 0:44:50 | 0:44:52 | |
You were right, Florence, | 0:44:53 | 0:44:54 | |
whoever killed Billy never found our missing piece of evidence. | 0:44:54 | 0:44:57 | |
You don't think Billy had it with him in the dressing room? | 0:44:57 | 0:45:00 | |
Oh, no, it was there, right in front of our eyes. Has been all along. | 0:45:00 | 0:45:03 | |
You see the one thing I've learnt about reggae, | 0:45:03 | 0:45:06 | |
this piece of the guitar here takes a right battering. | 0:45:06 | 0:45:09 | |
And Billy's old pickguard was all rusty and worn, | 0:45:09 | 0:45:12 | |
so he had to replace it with a new one. | 0:45:12 | 0:45:14 | |
No way. | 0:45:15 | 0:45:16 | |
Florence, I need you to dig out our financial checks for me. | 0:45:20 | 0:45:23 | |
-Yes, sir. -And Dwayne! JP! | 0:45:23 | 0:45:25 | |
-It's that time. Gather up the suspects! -Yes, sir. | 0:45:25 | 0:45:29 | |
You know what I like most about going to a gig? | 0:45:34 | 0:45:36 | |
It's the half hour or so before the band come on stage. | 0:45:36 | 0:45:39 | |
That sense of anticipation | 0:45:39 | 0:45:40 | |
as you're all standing there waiting for it all to start. | 0:45:40 | 0:45:44 | |
Of course, anticipation is one thing we're not short of here today. | 0:45:44 | 0:45:49 | |
For some people, this moment has been 30 years in the making - | 0:45:49 | 0:45:52 | |
for 30 years, poor Kai has been wondering who killed his mother, | 0:45:52 | 0:45:55 | |
and for the same amount of time, | 0:45:55 | 0:45:57 | |
the island's Commissioner Of Police | 0:45:57 | 0:45:59 | |
has been left burdened by the one murder he never solved. | 0:45:59 | 0:46:03 | |
Well, today, the waiting's over. | 0:46:03 | 0:46:06 | |
We now know not only who killed Jasmine Springer, | 0:46:06 | 0:46:08 | |
but also who killed her husband, Billy... | 0:46:08 | 0:46:11 | |
..don't we, Leon? | 0:46:18 | 0:46:19 | |
It wasn't me, man! | 0:46:21 | 0:46:23 | |
No? Well, why don't we start with the murder of Billy Springer? | 0:46:23 | 0:46:27 | |
As the band came off stage after playing their gig. | 0:46:27 | 0:46:30 | |
They all returned to their dressing rooms. | 0:46:30 | 0:46:32 | |
But moments later, Leon came back out, entered Billy's room | 0:46:32 | 0:46:37 | |
and proceeded to shoot him dead. | 0:46:37 | 0:46:39 | |
Leon knew Delmar's post-gig ritual of playing his music loud. | 0:46:42 | 0:46:47 | |
So, the gunshot was never heard, | 0:46:47 | 0:46:49 | |
giving Leon time to stage the scene to look like suicide. | 0:46:49 | 0:46:52 | |
So, when we arrived and broke down the door, we found the room locked, | 0:46:52 | 0:46:55 | |
the key in the inside and the gun in Billy's hand. | 0:46:55 | 0:46:58 | |
Leading us to conclude that Billy killed himself. | 0:46:58 | 0:47:01 | |
So, just how did Leon manage this? | 0:47:01 | 0:47:03 | |
Well, this is how. | 0:47:05 | 0:47:06 | |
Leon took the key from the door. | 0:47:06 | 0:47:08 | |
Went out into the corridor and locked it. | 0:47:08 | 0:47:11 | |
He then proceeded to shoulder-barge the door, breaking the lock. | 0:47:11 | 0:47:14 | |
Returning to the room, | 0:47:14 | 0:47:16 | |
he closed the door and put the key back in the lock. | 0:47:16 | 0:47:19 | |
And this done, he did something I believe all musicians are good at. | 0:47:19 | 0:47:22 | |
Delmar, you even said it yourself, "Musicians love to improvise". | 0:47:22 | 0:47:26 | |
And that's what Leon did. | 0:47:26 | 0:47:28 | |
He improvised with what he had to hand. | 0:47:28 | 0:47:30 | |
Just as Billy had improvised when he was about to go on stage | 0:47:30 | 0:47:33 | |
and he realised he'd lost his guitar capo. | 0:47:33 | 0:47:37 | |
So, from Billy's little tin of guitar paraphernalia, | 0:47:37 | 0:47:41 | |
Leon took the fork. | 0:47:41 | 0:47:44 | |
From his guitar he removed a single guitar string, | 0:47:44 | 0:47:47 | |
and with just these two items he was able to wedge the door on the inside | 0:47:47 | 0:47:51 | |
of the dressing room. | 0:47:51 | 0:47:53 | |
So, first, place the fork on the floor | 0:47:53 | 0:47:55 | |
with the guitar string looped around the prongs. | 0:47:55 | 0:47:58 | |
He then slid the ends of the string under the door. | 0:47:58 | 0:48:01 | |
And then, out in the corridor, | 0:48:01 | 0:48:03 | |
he pulled the strings hard. | 0:48:03 | 0:48:05 | |
Wedging the fork so it appeared the door was locked. | 0:48:05 | 0:48:07 | |
He then pulled out the string, | 0:48:07 | 0:48:09 | |
put it in his pocket, | 0:48:09 | 0:48:11 | |
and sauntered casually back | 0:48:11 | 0:48:12 | |
to his own dressing room. | 0:48:12 | 0:48:14 | |
So, we broke down the door a few moments later | 0:48:14 | 0:48:18 | |
We found the room locked, | 0:48:18 | 0:48:20 | |
the key on the inside, | 0:48:20 | 0:48:22 | |
we naturally assumed that Billy had locked himself | 0:48:22 | 0:48:25 | |
into his room before shooting himself. | 0:48:25 | 0:48:28 | |
Now I imagine you didn't think we'd pay too much attention | 0:48:28 | 0:48:31 | |
to a rusty old fork lying on the floor. | 0:48:31 | 0:48:33 | |
I mean, how could that possibly have anything to do | 0:48:33 | 0:48:36 | |
with Billy taking his own life? | 0:48:36 | 0:48:37 | |
But once you know Billy was murdered, | 0:48:37 | 0:48:41 | |
then even something as innocent as a fork | 0:48:41 | 0:48:43 | |
suddenly starts to look suspicious. | 0:48:43 | 0:48:46 | |
So, why did Leon do all this? | 0:48:48 | 0:48:50 | |
Why the sudden need to kill Billy? | 0:48:50 | 0:48:52 | |
Kai, you said yourself | 0:48:53 | 0:48:54 | |
that Jasmine had been playing on your father's mind | 0:48:54 | 0:48:57 | |
since the band got back together over the past few weeks. | 0:48:57 | 0:49:00 | |
And I think that's why he paid a visit | 0:49:00 | 0:49:02 | |
to somewhere that he hadn't been to for close to 30 years. | 0:49:02 | 0:49:06 | |
The place where he'd hidden all your mother's possessions | 0:49:06 | 0:49:08 | |
after she died. | 0:49:08 | 0:49:10 | |
And I think that's where he found the incriminating document. | 0:49:12 | 0:49:16 | |
This is what prompted him to call the commissioner, | 0:49:16 | 0:49:18 | |
tell him that he found new evidence proving who Jasmine's killer was. | 0:49:18 | 0:49:22 | |
It says, "Sirens' Point. 8pm. Leon." | 0:49:22 | 0:49:27 | |
This proves categorically | 0:49:27 | 0:49:29 | |
that Jasmine's body was found at Sirens' Point | 0:49:29 | 0:49:31 | |
not because she was dumped there | 0:49:31 | 0:49:33 | |
after being killed during a botched mugging. | 0:49:33 | 0:49:35 | |
But because she was invited there | 0:49:35 | 0:49:37 | |
by Leon Laroche and callously murdered. | 0:49:37 | 0:49:39 | |
That right, Leon? | 0:49:41 | 0:49:43 | |
As Billy told no-one apart from the commissioner | 0:49:43 | 0:49:46 | |
about his discovery of the new evidence, | 0:49:46 | 0:49:48 | |
we assume you overheard him | 0:49:48 | 0:49:49 | |
leaving the phone message asking for the police's help. | 0:49:49 | 0:49:53 | |
It's Jasmine. I know who killed her. I found a note. | 0:49:53 | 0:49:56 | |
In that moment, you realised you needed to kill Billy | 0:49:56 | 0:50:00 | |
and recover the proof that he had. | 0:50:00 | 0:50:02 | |
Except, the note had gone missing. So, after you'd killed him. | 0:50:02 | 0:50:06 | |
You must've searched that dressing room high and low | 0:50:06 | 0:50:08 | |
but you couldn't find it! | 0:50:08 | 0:50:09 | |
Which means it was you that broke into Billy's beach hut, | 0:50:09 | 0:50:13 | |
-looking for the note. -That's right, but it wasn't there either, was it? | 0:50:13 | 0:50:16 | |
Because Billy was clever. | 0:50:16 | 0:50:18 | |
He wasn't going to risk leaving the note lying around | 0:50:18 | 0:50:20 | |
when he went on stage. No! He took it with him. | 0:50:20 | 0:50:23 | |
Hidden in the pickguard of his guitar. | 0:50:23 | 0:50:25 | |
But I don't understand, why would Leon murder Jasmine? | 0:50:25 | 0:50:28 | |
We found a recording from the studio you were all at | 0:50:28 | 0:50:31 | |
the day Jasmine was killed. | 0:50:31 | 0:50:33 | |
In it, Jasmine was heard telling Leon she wanted to confess to Billy | 0:50:33 | 0:50:37 | |
what had gone on between them. | 0:50:37 | 0:50:38 | |
We assumed they were having an affair | 0:50:38 | 0:50:40 | |
and when we confronted Leon about this, | 0:50:40 | 0:50:42 | |
he confirmed that's exactly what it was. | 0:50:42 | 0:50:44 | |
But while it was true, that they had indeed engaged in an affair, | 0:50:44 | 0:50:47 | |
what wasn't true was that their argument that day in the studio, | 0:50:47 | 0:50:51 | |
it wasn't just about Jasmine | 0:50:51 | 0:50:52 | |
revealing details of the affair to Billy. | 0:50:52 | 0:50:55 | |
It was about more than that, wasn't it, Leon? | 0:50:55 | 0:50:57 | |
When Leon admitted the affair, he told us he hired a small place | 0:50:57 | 0:51:00 | |
up in the hills for him and Jasmine to go to. | 0:51:00 | 0:51:03 | |
I hired a little place up in the hills, so we wouldn't get catch. | 0:51:03 | 0:51:06 | |
But during the investigation, | 0:51:06 | 0:51:08 | |
we went through all the financial checks | 0:51:08 | 0:51:10 | |
from the year Jasmine was killed, | 0:51:10 | 0:51:12 | |
and there was nothing suspicious about Leon's bank accounts. | 0:51:12 | 0:51:15 | |
That's right, I'm sure that a sudden monthly outgoing | 0:51:15 | 0:51:17 | |
for an extra property would have stood out, | 0:51:17 | 0:51:19 | |
particularly to a thorough detective like DS Cassell here. | 0:51:19 | 0:51:22 | |
So, we went through the finances again | 0:51:22 | 0:51:25 | |
just a while ago and we were right. | 0:51:25 | 0:51:28 | |
No sign of him renting a property in 1988. | 0:51:28 | 0:51:31 | |
But there was evidence | 0:51:31 | 0:51:33 | |
of Leon renting a house a year earlier than that. | 0:51:33 | 0:51:36 | |
So, why the discrepancy in Leon's timeline of events? | 0:51:37 | 0:51:40 | |
Kai, you were two months old when your mother died, | 0:51:42 | 0:51:45 | |
a year after Leon rented that property, | 0:51:45 | 0:51:49 | |
and, therefore, a year since he and your mother had their affair. | 0:51:49 | 0:51:53 | |
I'm sorry that this is how you have to find out. | 0:51:55 | 0:51:58 | |
I think it should come from you, don't you think? | 0:51:59 | 0:52:02 | |
Kai is my son. | 0:52:05 | 0:52:07 | |
Not Billy's. | 0:52:07 | 0:52:09 | |
That's what Jasmine was going to tell Billy. | 0:52:09 | 0:52:12 | |
And having not got through to her at the studio that afternoon, | 0:52:12 | 0:52:15 | |
you gave her a note suggesting | 0:52:15 | 0:52:17 | |
she meet you later on that night at Sirens' Point. | 0:52:17 | 0:52:20 | |
I didn't mean to kill her. | 0:52:23 | 0:52:25 | |
I thought she'd come round to what I was saying. | 0:52:26 | 0:52:29 | |
But she was so stubborn! She wouldn't listen! | 0:52:29 | 0:52:31 | |
I didn't know how else to stop her. | 0:52:35 | 0:52:37 | |
I take it you assumed Jasmine had just binned this? | 0:52:37 | 0:52:41 | |
But, unfortunately for you, Leon, she forgot she had it. | 0:52:42 | 0:52:45 | |
All these years, it sat in the pocket of the jacket | 0:52:47 | 0:52:50 | |
she wore to the studio that day. | 0:52:50 | 0:52:51 | |
And it was only when Billy was finally able to face | 0:52:51 | 0:52:54 | |
going through her possessions decades later, that he found it. | 0:52:54 | 0:52:57 | |
How could you do that to her? | 0:53:00 | 0:53:03 | |
SCUFFLING AND GRUNTING | 0:53:05 | 0:53:07 | |
Easy, easy... | 0:53:07 | 0:53:10 | |
He did it because, in his mind, if Billy had ever found out, | 0:53:15 | 0:53:18 | |
that'd be the end of everything. | 0:53:18 | 0:53:21 | |
This was no messy musicians' fling. | 0:53:21 | 0:53:23 | |
No, it was more serious than that. | 0:53:23 | 0:53:25 | |
Having to give up the son that Billy had raised for a year. | 0:53:26 | 0:53:29 | |
-The son he loved. -It would have destroy him. | 0:53:29 | 0:53:32 | |
-And the band. -And, ultimately, that's all you care about, isn't it? | 0:53:32 | 0:53:36 | |
Course it is! | 0:53:36 | 0:53:38 | |
You're the lead singer. The front man. It's all about you. | 0:53:40 | 0:53:44 | |
Even now, all this time later, | 0:53:44 | 0:53:46 | |
you're desperately pursuing the spotlight. | 0:53:46 | 0:53:48 | |
Any little bit of attention at all you can find to feed your ego! | 0:53:48 | 0:53:51 | |
You didn't care about Jasmine or Billy, | 0:53:52 | 0:53:55 | |
or even your son, Kai. | 0:53:55 | 0:53:57 | |
It's all about you. | 0:53:57 | 0:53:59 | |
Always was. | 0:53:59 | 0:54:01 | |
Arrest him, please, for the murders of Jasmine and Billy Springer. | 0:54:05 | 0:54:09 | |
Up, come on. | 0:54:09 | 0:54:10 | |
Thank you, Inspector. | 0:54:13 | 0:54:15 | |
Any time, sir. | 0:54:15 | 0:54:17 | |
Congratulations to cracking the case. | 0:54:23 | 0:54:26 | |
It was no mean feat. | 0:54:26 | 0:54:28 | |
Yes, a double-murder spanning 30 years. | 0:54:28 | 0:54:30 | |
Two for the price of one, if you will. | 0:54:30 | 0:54:32 | |
You think he's all right? | 0:54:32 | 0:54:33 | |
It's not like Dwayne to go off on his own, you know? | 0:54:33 | 0:54:37 | |
I know he expected Nelson to do a runner. | 0:54:37 | 0:54:38 | |
I'm just not sure he thought it would be quite so soon. | 0:54:38 | 0:54:41 | |
I'll take him one of these. | 0:54:41 | 0:54:43 | |
-Here. Get that into you. -Oh, thanks. | 0:54:50 | 0:54:53 | |
You doing OK? | 0:54:57 | 0:54:59 | |
You know what? I am. | 0:54:59 | 0:55:01 | |
For the first time, I've actually got some clarity in my life. | 0:55:01 | 0:55:04 | |
Really?! | 0:55:04 | 0:55:06 | |
-I need to make peace with the old man. -Right. I see. | 0:55:06 | 0:55:09 | |
Well, good for you, Dwayne. Being the bigger man and all that. | 0:55:09 | 0:55:13 | |
I like it. | 0:55:13 | 0:55:14 | |
Just... If you don't mind me asking, | 0:55:16 | 0:55:18 | |
how are you going to do that, now he's gone? | 0:55:18 | 0:55:21 | |
Ah, that's the thing, Chief. | 0:55:21 | 0:55:23 | |
I've decided that I'm going to go and look for him. | 0:55:26 | 0:55:29 | |
I see! | 0:55:29 | 0:55:30 | |
But I may need some time off... | 0:55:30 | 0:55:32 | |
If that's OK, of course! | 0:55:32 | 0:55:34 | |
Of course. Take as much time as you need. | 0:55:34 | 0:55:36 | |
Thank you, Chief! | 0:55:37 | 0:55:38 | |
BOTTLES CLINK | 0:55:38 | 0:55:40 | |
No way! It can't be! | 0:55:43 | 0:55:45 | |
Dwayne! You're not going to believe this! | 0:55:45 | 0:55:49 | |
Jack-boy! Dwayne! | 0:55:50 | 0:55:53 | |
I don't think I do believe it. | 0:55:53 | 0:55:56 | |
-Help! -What the heck are you doing?! | 0:55:56 | 0:55:59 | |
The boat sank! | 0:55:59 | 0:56:00 | |
What a loser! | 0:56:00 | 0:56:01 | |
HE GROANS | 0:56:01 | 0:56:03 | |
I'm going to have to go and get him, you know, Chief! | 0:56:03 | 0:56:06 | |
He's not getting any younger. | 0:56:06 | 0:56:08 | |
And neither am I! | 0:56:08 | 0:56:10 | |
-What's going on? -Is that Nelson? | 0:56:12 | 0:56:15 | |
It is indeed, | 0:56:15 | 0:56:17 | |
and we're rescuing him. | 0:56:17 | 0:56:19 | |
Where in blazes was you going? | 0:56:29 | 0:56:32 | |
-Dominica? -I wasn't going anywhere. | 0:56:32 | 0:56:35 | |
So, why you went out in your boat, then? | 0:56:35 | 0:56:37 | |
I was moving it around the bay. | 0:56:37 | 0:56:38 | |
Turtle Pete said I could moor it at his place. | 0:56:38 | 0:56:41 | |
You mean, you wasn't leaving the island? | 0:56:41 | 0:56:44 | |
I told you, like it or lump it, I'm not going anywhere. | 0:56:44 | 0:56:47 | |
Whoa! And you must let me buy you all a drink! | 0:56:47 | 0:56:50 | |
-What? -As a thank you. | 0:56:50 | 0:56:52 | |
One drink! You cheapskate! | 0:56:52 | 0:56:54 | |
You mean, we save your life for one drink? | 0:56:54 | 0:56:56 | |
Don't worry about that. The drinks will be on the house. | 0:56:56 | 0:57:00 | |
I'll look after you, Nelson... | 0:57:04 | 0:57:05 | |
-Thanks, Catherine. -Come on, let's get you dry... | 0:57:05 | 0:57:08 | |
He's going to want my spare room back, isn't he? | 0:57:09 | 0:57:12 | |
Almost definitely, sir. | 0:57:12 | 0:57:14 | |
Probably want my clothes, as well, and my shoes! | 0:57:16 | 0:57:19 | |
I'm going to have to move in with you, Florence! Only joking! | 0:57:21 | 0:57:24 |