All language subtitles for Landscapers2

♪ (EERIE MUSIC PLAYS) ♪

CHRISTOPHER EDWARDS:
Just remember.

One step at a time,
like we said.

They arrest us,
they read us our rights.

We know what we're gonna say.
We've gone through it

a thousand times,
and we're ready.

(BOOMING GUNSHOTS)

Just don't say a word
without a solicitor.

Right?

And remember,

you're in charge.

Then come the police interviews.

(GUNSHOTS)

CHRISTOPHER:
They'll try to confuse you,

but don't let them.

(INDISTINCT RADIO CHATTER)

CHRISTOPHER: Just tell
our story...

simply...

and calmly.

No need to make anything up.

Just tell them the truth.

(DOOR BUZZES OPEN)

(SIREN BLARES)

DOUGLAS HYLTON: Uh--
Hello there? Mrs. Edwards.

SUSAN EDWARDS: Oh, hello,
it's Susan Edwards.

I understand you're
being offered as my, um--

DOUGLAS: Yes, that's right.
My name is Douglas Hylton.

And I'll be coming in
to help you tonight,

- Mrs. Edwards.
- SUSAN: Oh, good,

because you've heard, I think,

that my husband
and I have got ourselves

into a bit of a pickle.

I know it sounds
all rather morbid.

DOUGLAS: Sus-- Susan?
Susan? Sorry, can I just--

SUSAN: So, I feel, for his sake,
everyone should know the truth

- from the outset--
- DOUGLAS: Uh... Uh--

Susan? This isn't a private call

because I'm not actually
your representative yet.

Uh-- That's what
I'm coming to do now,

you see,
to take your instruction,

and then I can--
Does that make sense?

SUSAN: I see, yes, sorry,
silly old me. (CHUCKLES)

(INDISTINCT MUFFLED CHATTER)

CHRISTOPHER: Just tell
our story, simply...

and calmly.

No need to make anything up.

Just tell them the truth.

(MUFFLED GUNSHOTS)

♪ (EERIE MUSIC CONTINUES) ♪

♪ (MUSIC CONCLUDES) ♪

(BUZZER BLARES)

(DOOR IS UNLOCKED)

(DOOR IS CLOSED)

(FOOTSTEPS APPROACH)

(KNOCKING ON DOOR)

(BREATHES DEEPLY)

CHRISTOPHER: (SIGHS) Thank you.

(SIGHS)

(DOOR IS UNLOCKED)

- Morning, Susan!
- SUSAN: Oh, you came back, then!

(CHUCKLES)

- How was your night?
- SUSAN: Oh, you know.

Yeah, first night's the worst.

Uh... The waiting...

Yeah. And also, the--
just not being with Chris,

even though
he's just down the corridor.

- (DOOR IS CLOSED)
- Very peculiar.

- Yeah, that's--
- Still, not for long, though.

- DOUGLAS: Huh?
- Sorry.

Oh. (CHUCKLES) Thank you.

- SUSAN: (CLEARS THROAT)
- DOUGLAS: (SIGHS)

Um-- Douglas, I was wondering...

You know your advice

about not telling
the police anything?

Is that
because you don't believe us?

Um-- No.
It's just to keep it simple,

uh, so that
we don't get tripped up.

Uh-- To be honest,
it's not my job

to have an opinion, really.

Uh-- My job is-- is to help you.

So when the police start
asking questions,

I just ignore them?

You simply let them know
you prefer not to answer.

Uh... You know, most people like
to go with "No comment."

It's "No comment" to everything.

At-- At least
until we know... more.

You've gotta remember,
they've only got until tonight

to convince the CPS
that they have enough evidence

to-- to win a trial
or get an extension.

If you and Chris
don't give them anything,

you might go free.

I can't promise,
but it does happen.

Okay. So, "No comment."

And how do we let Chris know
that that's the new plan?

I... um, we-- we don't.

The police aren't...

mega-keen on suspects
sharing tactics.

It's just Chris never said
anything about "No comment."

We agreed that we would just
tell our story.

We would never
have handed ourselves in

if we thought we had
something to hide.

Okay. Um...

Tell you what.

How about we...

write a brief statement?

Just the basics. Um...

Your story in your words,
very short,

which I'll read out,
and after that--

- "No comment."
- Ah, got it.

Um... (INHALES DEEPLY)

Okay. So, go for it,
as simply as you can.

Okay. Um...

The day before
my parents' deaths,

I took a National Express coach

from Victoria Coach Station
to Mansfield.

It was route number...

450 as it was then.
It might have changed.

Uh-- Susan, sorry,
could you slow down a bit?

Oh, sorry, sorry!

And we don't need the routes
and so on.

- Just the important stuff.
- Oh, okay.

♪ (EERIE MUSIC PLAYS) ♪

(MUFFLED THUD)

PAUL WILKIE: Ey up.
How you feeling?

- Fucking wired, mate.
- Yeah? You look nervous.

Nah, I'm not nervous.
I'm wired.

There's a difference.

It's like there's a little bit
of shit in my pants,

but I'm also really excited.

Well, all power to you, mate.

It's just, 15 years, long time
to get their story straight.

♪ (EERIE MUSIC PLAYS) ♪

(FOOTSTEPS APPROACH)

(TV CRACKLES)

(DOOR IS OPENED)

♪ (EERIE MUSIC CONTINUES) ♪

CHRISTOPHER: Just tell
our story, simply...

and calmly.

No need to make anything up.

Just tell them the truth.

DOUGLAS: "On the weekend
of my parents' deaths,

in May 1998,

while my husband Christopher
was at our home in London,

I took the National Express
coach number 450

from London to Mansfield

and visited my parents
at their home--"

SUSAN: Well, that was
the route number then.

It might be different now,
the way these things go.

Um... "I--" "I took
the National Express coach
number 450

from London to Mansfield
and visited my parents

at their home.

All I'm prepared
to say is that, firstly,

I am not responsible
for the death of my father,

William Wycherley.

I believe my mother,
Patricia Wycherley, shot him.

I will say that I did, in fact,

shoot and fatally injure
my mother,

but only after
severe provocation.

I was in a very fragile
state of mind at the time.

I would like to make it
absolutely clear

that my husband,
Christopher Edwards,

had nothing to do
with the deaths of my parents.

He was only made aware
of their deaths by me,

one week after the incident."

Signed and dated. As I've said,
it's my handwriting,

but it's my client's words.

Thank you, Mr. Hylton.

Susan, are these your words?

Does that reading
accurately reflect

the content of your statement?

No comment.

Okay, Susan. If I go to the end
of the statement,

- this your signature?
- No comment.

- It's okay, Susan,
you can answer.
- Oh, sorry. Yes.

That's my signature, sorry.

EMMA LANCING: That's all right,
Susan.

Your statement's very helpful.

So, tell me. When you say
you went to visit your parents,

what was their address
in Mansfield?

Five Braxton Close.

And at that time, you're 39?

- Just about to turn 40?
- Yes.

No comment.

Um-- Again, I must stress
to you, Susan,

that although
it's completely your decision,

my advice remains that you
answer all questions,

- "No comment."
- Um... No comment.

LANCING: I can see
you're confused, Susan.

Your solicitor and I are coming
from different angles.

But I'm just trying to establish
some extremely basic facts.

So, if you want to,
you can answer.

Right?

You say Christopher Edwards
is your husband.

- When did you marry?
- No comment.

LANCING:
Can I ask why you're smiling?

Well, no comment.

- Whoa.
- So, we've uncovered

some slightly dodgy
financial activity,

which I've got Sandra
looking into,

and apparently they were friends
with Gérard Depardieu.

Whatever the fuck
that has to do with anything.

Oh, hello again.

- CORRECTIONS OFFICER: You done?
- Yes.

Thank you, I-- I'm sorry.

Breakfast, um,
isn't really my thing.

But my-- my compliments
to the chef, though,

or whoever it is that prepares
the microwave packages.

'Cause scrambled eggs,
they're not easy to do

in bulk, are they? They--
They often go hard, don't they?

CORRECTIONS OFFICER:
You still going with that?

Oh, uh, no. All done.

Thank you.

♪ (SOMBER MUSIC PLAYS) ♪

GÉRARD DEPARDIEU: (IN FRENCH)

(IN FRENCH)

♪ (MUSIC BECOMES ROMANTIC) ♪

(APPLAUSE)

(CHUCKLES)

(SIGHS CONTENTLY)

CHRISTOPHER: Yeah, it was great!
It wasn't what I excepted.

- SUSAN: Oh really?
- CHRISTOPHER: No!

- CHRISTOPHER: (SPEAKS FRENCH)
- SUSAN: (SPEAKS FRENCH)

(BOTH CHUCKLE)

(INDISTINCT CHATTER)

(CHATTING INDISTINCTLY)

CATHERINE DENEUVE: (IN FRENCH)

(IN FRENCH)

SUSAN: (IN FRENCH)

CHRISTOPHER: (IN FRENCH)

(GASPS)

How-- How is it so late?
I've missed the last train!

- Well, get a bus,
or I'll help you with a taxi?
- It's already so late!

What's the panic?
It's not the end of the world.

Look, well, I know it's silly,
But we-- we have this routine.

We usually have a hot--
a cup of hot chocolate together

at bedtime
and talk about the day.

We've done it since
I was little, it's story time.

Only, I didn't tell him or Mom
that I was gonna be late,

so they'll be waiting up
wanting to go to bed.

Well, just phone them, then.

But if they're sleeping,
I'll wake them up.

CHRISTOPHER: Okay.
How about this?

If you want, if it's easier
for your parents, I mean,

you can stay at mine tonight.
I mean, I'm not--

(SCOFFS) No, uh,
no funny business. (CHUCKLES)

But I've got my mom staying,
she's on the sofa.

It's a bit of a long story,
but, uh...

Well, anyway,

I'll sleep on the floor.
You can have my room.

Oh, I couldn't make you do that.

No, honestly, I'd be happy to.

And then in the morning,
I can help you get home.

♪ (SUSPENSEFUL MUSIC PLAYS) ♪

(SADLY) Oh, Chris.

(DOOR IS UNLOCKED)

♪ (DRAMATIC MUSIC PLAYS) ♪

MACBRIDE: Just to confirm
one more time, Chris,

you are content
for this interview to continue

without a solicitor?

- CHRISTOPHER: I am content.
- (DOOR IS CLOSED)

CHRISTOPHER: I don't need
someone who knows nothing
about me

telling me when
and when not to speak.

MACBRIDE: Right, you understand
you can change your mind

- on that at any time?
- So I've been told, yes.

In fact, people won't stop
telling me.

MACBRIDE: Right, thank you.

I can't say I didn't know.

MACBRIDE: All right.
Mr. Edwards, uh,

before we begin
with specific questions,

is there anything
you would like to tell us

from the outset, anything about
why you think you're here?

Hm. Yes, I would. Thank you.

Uh-- The following is an account
of the events as I recall them.

On a bank holiday weekend
in May 1998,

my wife, Susan Edwards,
took a coach from London

to visit her parents,

William and Patricia Wycherley,
in Mansfield.

I myself remained at home
in London.

Now, I went with my wife
to Mansfield

the following weekend
and only then learned

of the tragic events
that had transpired

the previous weekend,
i.e. the death of her parents.

I wanted to ring the police,
of course,

but my wife can be very fragile,
and she convinced me

that nobody would understand
the complexity

of what had happened
and why she was not at fault.

That's when we, uh...

when we did what families
traditionally used to do,

still do in many parts
of the world, in fact,

which is to inter them,

uh, respectfully
in their own home, dwelling...

or domicile, if you will.

I mean, the thing that's really
tortured me all these years,

is had I been with her

on that previous,
fateful weekend,

none of this
would have happened,

you can be sure of that.

And we wouldn't be
sitting here right now,

you gentlemen and I, no.

WILKIE: ...before '84,
everything's black and white.

MACBRIDE: All right,
one last question.

Shut up!

MACBRIDE: Do you happen
to recall the coach company

you and Susan took up
to Mansfield?

National Express. Route 450,

as it was then,
it might have changed now,

the way these things go.

MACBRIDE: All right.
Well, I think we've covered
the crux of it,

so, um, we'll take a break there
and, uh, pick things up later,

- if you don't mind, Mr. Edwards.
- Happy to oblige.

- (BUTTON IS PRESSED)
- LANCING: Happy to oblige

with the same bollocks
Wifey's peddling.

Only difference is
she's got a solicitor.

Yeah, but they've given us
a confession, haven't they?

Of sorts.

WILKIE: (IN FRENCH ACCENT)
Uh-- Dear Christopher,

it was a big mistake to tell
your stepmother about the--

LANCING: Shut it, Gérard!

What do you reckon they'd get
if we take it, sir?

Not enough.

Financial stuff aside,
whatever fraud
they've committed...

WILKIE: (MUMBLES
IN FRENCH ACCENT)

...that's-- Oh, yeah,
worth doing again.

It went so well
the first fucking time.

That's Susan up
on loss of control manslaughter
for shooting her mom,

assuming that severe provocation
business holds up.

MACBRIDE: So, what, five years?

Eight at most. And Chris
is only getting a year or two,

- if that.
- For what?

Interfering with the duties
of a coroner

or some vanilla crap like that.

Which is not bad
if they've actually committed
double murder.

Maybe not such idiots after all.

That story won't hold up
in court though, will it?

Bullet wounds like that.
It's one shooter, surely,

it's just a question of who.
I reckon we press him on that...

- LANCING: Sir?
- ...and then we can--

I wonder if we could
try something.

- Mess with their heads a bit.
- TONY COLLIER: Go on.

Could I handle
both interviews, sir?

You've got big bollocks today,
don't you, Lancing?

Great.

LANCING: This is your statement,
Susan,

now labelled as item EL-06.

We're glad to have it,
but it doesn't begin to explain

how your parents wound up dead

and buried in the garden,
does it?

DOUGLAS: Do you have a question
for my client?

LANCING: Dozens.
How did you first learn

your mother
shot your father, Susan?

- Where were you?
- No comment.

LANCING: Was it daytime
or nighttime?

- No comment.
- LANCING: What about the gun?
Whose was it?

- Had you seen it before?
- No comment.

- LANCING: What'd you do
with it afterwards?
- No comment.

- LANCING: What'd you do
with the bodies?
- No comment.

LANCING: Did you wrap them
in duvets?

Put them under the bed?

No comment.

(INHALES) Did you make
a phone call around 2:00 a.m.?

Perhaps to your husband,
Christopher?

Is-- Is Chris talking?
What about his solicitor?

- “No--" "No comment.”
- You said he wouldn't talk!

Your husband's opted not to
take legal advice, Mrs. Edwards.

- Have you told him it's free?
- LANCING: He knows it's free.

It's just he's chosen
to be cooperative.

He's told my colleagues
everything he can, Susan,

which makes me look a bit silly,
to be honest.

I'm meant to be smart one,

but it's Bill and Ben
in the other room

getting all the juicy stuff
from your very charming husband.

Only, he wasn't there,
was he, Susan, that night?

So, we're inclined to think
he might be making it all up.

You do want us to know
the truth, don't you?

- My advice remains--
- You said he wouldn't talk!

And how he's doing one thing
and I'm doing another,

and we're not together.

- I'm sorry.
- Um-- I'm sorry, Susan,

it's-- it's quite, um, strange,
honestly, but does Chris
know anything?

No, Chris is a very clever man.
You don't have to worry
about that.

- Perhaps you'd like to take a--
- No, I would not!

LANCING: Okay, Susan.
Can we go back to the beginning?

Yes, of course.

LANCING: Thank you.
Let's break it down

- one step at a time, shall we?
- Big balls.

(INDISTINCT CHATTER)

(TELEPHONE RINGS FAINTLY)

Uh-- Uh-- Do you want me
to leave you alone for a bit?

Or-- Or I can show you where
to get some fresh air maybe.

Oh, I'm fine, thank you.

Okay.

You're doing really well.

- SUSAN: Am I?
- Yeah. Uh... Definitely.

Just... stay strong.

Try not to take the bait.

(INHALES SHARPLY) Okay.

(INDISTINCT SHOUTING)

LANCING:
It's October 31st, 2013.

The time is 13:31.

Interview
with Christopher Edwards.

Hello, Mr. Edwards.
How are you today?

Never better.

May I ask what happened
to the other two officers?

Something more important
than this, apparently.

Very rude if you ask me,
but anyway...

And thank you for providing

such a thorough account
of the awful events

of May 1998.

It's a very sad story,
Mr. Edwards.

It is, yes.
I'm very happy to help.

LANCING: Would you mind
if we just review a few things?

Not at all, Detective Constable.

Susan was up with
her parents in Mansfield,

you're at home in London,

- in Dagenham.
- (TELEPHONE RINGS)

LANCING: She rings you up
in the middle of the night.

You answer. What does she say?

Nothing, really.
She couldn't tell me anything.

She was too upset.

LANCING: Upset about what?

I need you, Chris.

It's all wrong without you.

CHRISTOPHER: Well, she'd had
a terrible night.

Her mother was drunk,
her father, abusive.

The usual story, I'm sad to say.

I can't wait to get back...

to London.

♪ (SOMBER MUSIC PLAYS) ♪

LANCING: And the next time
you see her, you say,

is the following Tuesday.

After the bank holiday Monday.

- CHRISTOPHER: Indeed.
- LANCING: At Victoria
Coach Station.

CHRISTOPHER: That's right.

LANCING: You say
she'd not told you anything

about what had happened,
but was there anything

that struck you as unusual
about her? Her mood?

CHRISTOPHER: Yes.
She was odd. Quiet.

She said, uh...

What was it? Something like...

It was the most
awful weekend, Chris.

Really dreadful. I need a drink.

CHRISTOPHER:
...which was very unusual.

She almost never drinks.

I remember she asked
for a port and brandy.

LANCING: Port and brandy?

Uh... Yes.

Port and brandy.

For the nerves. Shot of brandy,
shot and a half of port.

Right.

Okay. Port and brandy.
And what did you have to drink?

Um... Well, I didn't want
a drink.

I had a cup of tea. Earl Grey.

LANCING: So, you go up
to the house the next weekend,

week after Susan first went up.

She having said nothing
that whole week

about having killed her parents.

About her mother
killing her father.

About her killing
her mother, then.

- She was provoked
- "Provoked." So you say.

- So she says.
- So you both say. Very neat.

Look...

I'm not gonna sit here

and pretend I don't know
it's a defense.

Provocation. “Loss of control,”
you call it now, I believe.

Reducing murder to manslaughter.

I see you've done your homework.

CHRISTOPHER: It's a good thing
I have. You've just arrested
my wife for murder,

whereas in truth,
all she's ever done is suffer.

And I don't think anyone

should go to prison for that,
do you?

And as for that night, no, no,
she couldn't have shot them both

because she couldn't have done
anything to hurt her father!

I know her.
I know her better than you.

He had too much power over her.

Trouble is,

it looks to us like your in-laws
were both shot

from a similar angle,

perhaps by the same person.

Well, I don't know anything
about that,

but Susan didn't lie to me.

LANCING: Okay, so let's get back
to you then, Mr. Edwards.

That following Friday,

you both take
the coach up to Mansfield.

That is correct.

The Friday,
right after I finished work.

And she still hasn't told you?

CHRISTOPHER:
I'm getting to that.

It wasn't until we arrived
at the house.

First, we picked up
fish and chips.

We always have fish chips
on Fridays.

It's just when I'm tucking in

that Susan starts to act
a bit different,

and suddenly,
she says something like...

I can't stand it anymore.

They haven't gone away,
they're upstairs.

And I'm, of course, you know,
"What are they doing upstairs?

Why don't they come down
and say hello?"

Something like that. And then,
I don't remember the exact words

but then she said
something like...

- Because they're dead.
- (SCOFFS)

And I'm, you know,
“What do you mean?”

It's a surreal...
disbelief thing.

I lose all interest
in my haddock and chips.

And I love haddock and chips,
it's my favorite.

LANCING: A big deal, then.

Well, I've not had a single bite
of haddock since that day.

- Strictly cod.
- LANCING: Isn't there a smell?

What? Oh, you mean
the fish smell?

LANCING: It was warm that week,
we checked.

Yeah, but it was night when we
was eating our fish and chips.

The point is that the bodies
would've been lying there
for days.

Forgive the unpleasant image,
they're your in-laws after all,

but there would've been
quite a stench.

Ah.

I, uh-- Yes, well, I know.
That's one of the, uh...

(SCOFFS) But no,
I didn't smell it, but Susan...

Susan said...

or well, later, I think she said
that there had been...

an awful smell, but no,
I didn't...

notice it at the time...

myself. (PANTS)

Hard to explain, really,

except, of course,
that the house always smelt

overwhelmingly of cigarettes
because of her parents.

(CLEARS THROAT)

♪ (SPAGHETTI WESTERN
MUSIC PLAYS) ♪

(DOOR IS CLOSED)

- LANCING: (MIMICS GUNSHOTS)
- Oh!

COLLIER: Sandra!

Sandra! There you are.

- You're looking for me?
- Oh, yes, sir.

- Sorry.
- COLLIER: Why you apologizing?

I hear you've found
something good.
Just make it quick if you can.

We're in the middle
of these interviews
at the minute.

I spent the morning
at the branch in town.

- In the archive room.
- Oh, bank archives.

The glamour never stops,
does it?

(CHUCKLES) Yeah, it won't stop.

- Um-- But yeah. So--
- POLICE OFFICER: Excuse me.

Uh-- This is a bank statement
for a joint account.

Susan Edwards
and Patricia Wycherley.

Right. And if you look
over here,

that's the date
the account was opened.

This is good, Sandra.
This is very good! Come with me!

Come here! Fuck's sake!
I'm not gonna eat you!

LANCING: First of all, Susan,
I'd like to introduce you

to officer Sandra Winters.

- SUSAN: Hello.
- Officer Winters is a member

of our Forensic
Financial Department.

SUSAN: Oh, my husband's
an accountant.

Can you look at
this bank document, please?

Police item CKA-04. Sandra.

Do you recognize that?

That's a bank account statement
showing the joint account

you opened in your name
and your mom's.

Can you read the date there,
please? Left-hand side.

- Fifth of May.
- LANCING: Fifth of May 1998.

So, talk me through it.

You kill your mother,
your father's dead as well.

You dispose of the gun.
And then first thing

Tuesday morning,
after the bank holiday,

9:17 a.m., to be specific,
you transfer a bank account

into you and your mother's names

and withdraw almost half
of the funds.

- In cash.
- In cash.

SUSAN: Yes, I-- I...

ca-- can't remember.

You don't need to remember.
It's all there in the document.

CHRISTOPHER: Well, yes, uh,
as I say, she's been, uh...

Sometimes, she's simply
economical with the truth.

We all are sometimes.

LANCING: But this.
This is difficult.

It's straight
after the killings.
It's obscene.

It's mercenary.
And to be honest with you,

it's a little bit daft.

Well, I think she was
obviously very--

It's not confusion, Chris,
is it?

Bang, bang,
open a bank account?

Well, yes, I...

You said the word, I suppose.

"Mercenary," but...

Is there something
you're not telling us, Chris?

Something that could help Susan
perhaps?

Because at the moment,

this doesn't paint
a very pretty picture, does it?

(SMACKS LIPS) It's...

(CLEARS THROAT)

It's a very personal matter.

Personal?

I'll tell you what's personal:
being shot in your own house,

kept under the bed for a week,

and buried in your own back yard
for 15 years.

(INHALES, SIGHS)

I'd like it on record...

that I don't think
it's very fair

what I've just said
about Susan...

or rather what you said.

It does her a grave disservice

- to call her a mercenary.
- LANCING: Why?

Because Susan... (INHALES)

...has always had...

much bigger things
to worry about than money.

♪ (SERIOUS MUSIC PLAYS) ♪

Right.

Clean sheets on yesterday,
in case you're wondering.

Here's a towel, toothbrush.

Thank you.
Are you sure this is all right?

Yeah, of course, yeah, yeah.
It's my pleasure.

Is your mom okay?

(GRUNTS)

CHRISTOPHER: Yeah, she's fine.

She's, uh...

She's not very well
at the moment.

Well, I had a very good time
with you tonight, Susan.

- (CHUCKLES)
- Me too.

Have a good sleep,
and I'll see you in the morning.

- (WHISPERS) Goodnight.
- (WHISPERS) Goodnight, Chris.

SUSAN: (CHUCKLES)

(DOOR IS CLOSED)

(POTS CLATTER LOUDLY)

You okay for coffee?

Everything's good, Mom. Thanks.
Very nice!

- Eggs aren't her strong suit.
- (CHUCKLES)

It was so nice
of her to cook for us.

- ANGE EDWARDS: Oh!
- (CLATTERING)

I'm sorry, I really should go.

- All right.
- SUSAN: Thank you.

All right, then? Both done?

Ooh! Oh, silly me. (CHUCKLES)

- Are you going already, Susan?
- I-- I'm sorry.

I've had a lovely time.
Thank you for your hospitality.

ANGE:
And you're walking her back.

Lovely. Chivalry lives!
(CHUCKLES)

Separate rooms and everything.
Christopher!

I know I embarrass you,

but I was right
about the dating agency,

wasn't I, hmm?

It was my idea.

Might even give it a go myself.
(LAUGHS)

SUSAN: It's very nice
to meet you.

ANGE: You too, Susan.
And hopefully...

we'll be seeing
each other again.

Okay.

Look, maybe we should
just say goodbye here.

Oh.

All right then. Goodbye.

(BOTH CHUCKLE)

- Bye.
- Bye.

- You've met my mother!
- SUSAN: (CHUCKLES)

You're embarrassed of me,
ain't you?

They're just old-fashioned!
Maybe next time!

CHRISTOPHER: (CHUCKLES)

(CHUCKLES)

(KEYS JANGLE)

- (INDISTINCT SHOUTING)
- SUSAN: Can you let me in?

- Mom?
- (INDISTINCT SHOUTING)

SUSAN: Dad, please can--
can you let me in?

- I can explain.
- (INDISTINCT SHOUTING)

♪ (DRAMATIC MUSIC PLAYS) ♪

♪ (MUSIC BUILDS TO CLIMAX) ♪

♪ (MUSIC CONCLUDES) ♪

(SIGHS)

(SIGHS)

♪ (OMINOUS MUSIC PLAYS) ♪

(KEYS JANGLE)

LANCING: Sorry to keep
you waiting, Susan.

I know it's been
a long day already.

What we need now
are your words

on exactly what happened
that night.

Chris can't really tell us,
because...

uh, according to you both,
he wasn't there.

Only you were there.

Now, you say that your mother
shot your father.

That's not something
that happens every day, is it?

So the obvious question
is, "Why?"

No comment.

LANCING: Oh. (INHALES)

I thought you were feeling a bit
more comfortable talking to us.

What happened, Susan?
Was there an argument

- or disagreement between them?
- No comment.

LANCING: What did you feel
when you saw your father there,

dead on the floor?

Your mother having shot him.

- SUSAN: I felt terrible.
- Terrible.

That's a normal reaction,
I think, Susan.

What do you then do
with that emotion?

- SUSAN: No comment.
- Do you confront your mother?

- SUSAN: No comment.
- What's she say to you?

These questions
have to be answered, Susan.

They don't actually have
to be answered, Susan.

- That's not strictly true.
- But this is a horrible event,

isn't it? Two people shot dead.

- Your own parents.
- They're just-- This is what
I mean by bait.

LANCING: But it's not
a full explanation
to say you're simply provoked.

People are gonna provide
their own answers if you don't.

(WHISPERS) You don't have
to say anything, Susan.

No comment.

The bank account you opened
the day after the killings,
Susan,

the pensions you collected,
the sale of the house,

all those debts you had
to cover,

that feels like a slightly
better explanation, doesn't it,

to someone who wasn't there?

That this really
was all about money.

After all, you'd not seen
your parents for over a year

you say, and then suddenly
you pay them a visit?

- And then they die.
- But it wasn't.
As I said in my--

LANCING: We've just been
with your husband, Susan.

And do you know what word
he used to describe

your behavior?
With that bank account?

"Mercenary."

And I'm sorry, but I'm inclined
to think a jury would agree.

He wouldn't say that.

Um-- I think it might be useful
for my client to--

It's on tape, Susan.

Chris told us something else
as well, Susan,

that I'd like to ask you about
if you're comfortable with it.

He said that your mother
told you something that night

that you didn't know.

What did your mother
tell you that night?

She said, um...

She said, um...

(SIGHS)

Sorry. Must've been very hard
for him to tell you that.

(HESITATES) Can I just--
I'm sorry...

- It's okay, sir. I'll explain.
- ...I'd really like to remind--

I know how hard it is.

- But it'll be better for--
- SUSAN: I just said,

I'll explain it.

Even while I was sleeping,
I was aware of shouting,

some sort of row.

But that was nothing unusual
in that household, not at all.

As I told you,
I had been drinking a little.

A little more than normal.
I don't--

I don't normally drink.

(GUNSHOTS)

SUSAN: I don't know what time
it is, maybe 2:00 a.m.,

and I've been woken
by these bangs.

- LANCING: How many bangs?
- SUSAN: Uh...

I don't know, I was asleep.
Two maybe or-- or just one.

- Definitely not three.
- LANCING: One or two?

SUSAN: Yes.

And I know immediately
that my father's dead.

I don't know how I know,
I just know.

And my mom is standing there
with a gun,

and there are brass casings
on the floor--

Brass casings?

Yeah, uh,
spent bullets, I suppose.

And I can tell
she's even more drunk

than she was when I want to bed.

And then I say something like,
“What have you done?
You've killed him!”

Something like that,
it was a long time ago.

And she says-- I can't give you
the exact words,

- but she says something like...
- I had to! (PANTS, SIGHS)

I can't take it anymore, Susan!

- I couldn't look at him.
- Something along those lines.

And then she turns on me, and--
and she's actually waving
the gun at me at this point--

PATRICIA WYCHERLEY:
God knows why you care.

After everything
you've been through,

grubby, little man.

Horrible, horrible man!

(CHUCKLES)

What a disgusting piece
of work he was!

And then she throws
the gun on the bed

somewhere about here,
so I pick it up.

PATRICIA: He treated me

as though
he was disgusted with me!

- But really--
- Uh-- Sorry, Susan.

- SUSAN: Yes?
- Why'd you pick up the gun?

Uh-- It's just-- Well,
she'd been waving it at me,

and she was drunk,
and I suppose I was afraid

that she was
gonna pick it up again.

Um-- So, anyway, and then,
she starts saying that thing.

PATRICIA: I hated him.

For years, I hated him.

And I hate you too.

Because when I look at you,
I know I failed.

(SOBS) I failed you,
Susan, and I know that.

I know what he did to you.

I knew it,
and I just let it happen.

How do you think
I feel about that?

- You knew, Mom? You knew?
- Look, of course I fucking knew!

I'm your mother, aren't I?

And he didn't even
want me after that!

He couldn't do it.
He couldn't even get it up!

And I've spent
the last fifteen years

trying to forget what she said,
so I-- I can't tell you exactly,

but it was something like that.

Oh, I'm sorry.

I am so sorry, Susan.

I'm not a monster.
I did my best.

We had some good times together,
though, didn't we?

Even though
you were a difficult child--

And all I could think of was
"I want to call my husband."

I even said,
"We should call Christopher,

he'd know what to do."

PATRICIA: (LAUGHS)
Give up, Susan!

You think he's different,
but he's not.

He's not gonna help you!

He's the same as all the others.
He's just using you for the sex!

- No, Mom!
- And then I keep crying

- and she keeps saying these--
- PATRICIA: He doesn't love you!

Just accept it
before you get hurt!
Nobody loves you!

- Stop, please stop!
- PATRICIA: God knows I tried!

But it's impossible.
You're impossible to love!

Stop it, Mom! Stop it!

With your miserable little life.
It would've been better

for all of us if you'd
never ever been fucking born!

- (GUNSHOTS)
- (GROANS)

LANCING: I just want to confirm
the implications

of what you're saying.

Are you telling us
that your father

abused you as a child?

- Yes.
- LANCING: Sexually?

Yes.

LANCING: And that was the night
you first discovered

- that your mother
had known all along?
- Yes.

LANCING:
And you'd never told her?

I was always too afraid
of what my father might do.

(SMACKS LIPS) I spent
my whole life

just trying to wish it away.

Thinking of all those years
after school

when she was at work and he...
(VOICE FALTERS)

LANCING: (INHALES)
And Chris, your husband.

Are you sure he wasn't involved
in the killings?

I only ask because
the bullet holes

on your parents' chests
were strikingly similar.

And that bank account,
that looks like a plan.

WILKIE: With all this new
information today,

some of which is quite important
as my colleague is pointing out,

we will be applying
for extra custody time,

- so we can continue.
- (SIGHS)

WILKIE: So we're just trying
to get everything

as clear as possible
before we progress.

Uh-- I think she's been
pretty clear already, don't you?

LANCING: Are you sure
Chris wasn't involved?

SUSAN: (SNIFFLES)

He helped you, didn't he?

He decided to protect you.

(SNIFFLES)

♪ (SOMBER MUSIC PLAYS) ♪

- SUSAN: (SNIFFLES)
- Susan?

Of course he did.
He always protects me.

LANCING: Did he bury
the bodies for you?

Yes, he buried the bodies.

He's very practical like that.

He has to be 'cause I'm not,
you see, so he has to be.

Uh-- Susan,
if you wanted a break...

We couldn't tell the police.

He understood that,
so he took control.

LANCING: And so...

this was his idea, then?
To bury the bodies?

Yes, it was his idea.

He did that for me.

He's the only person
in the world...

that's ever made me feel safe.

♪ (ROMANTIC MUSIC PLAYS) ♪

CHRISTOPHER:
We'll get it sorted.

He's not allowed to keep you
out of your own house.

Has he always been like that?

It's okay.
You don't have to tell me.

SUSAN: No, I...

I do want to tell you.

What is it?

It's just, I've...

I've never told anyone else.

Well...

whatever it is...

it'll be between us.

Just you...

and me.

♪ (MUSIC BUILDS) ♪

♪ (MUSIC CONCLUDES) ♪

♪ (SUSPENSEFUL MUSIC PLAYS) ♪

REPORTER 1: Susan Edwards
had been at her parents' house

when she was woken
by a loud bang.

(BANGS LOUDLY)

REPORTER 1: She'd gone
into her parents' bedroom.

REPORTER 2: Her mother
had shot her father.

REPORTER 1: Susan Edwards
claimed an argument
then took place,

during which her mother told her
she knew her father

had abused her as a child.

REPORTER 3: Now, Susan Edwards
admits manslaughter.

- REPORTER 4: ...manslaughter.
- REPORTER 5: ...manslaughter.

REPORTER 3: She says
killing her mother...

REPORTER 4:
...she was provoked...

- REPORTER 5: ...provoked...
- REPORTER 3: ...provoked...

REPORTER 4:
...into shooting her.

REPORTER 6: The Edwards
claimed they returned
to the house a week later

and had sat down to eat
fish and chips...

REPORTER 7: ...and watched
the Eurovision song contest

on television...

REPORTER 6:
...when Susan Edwards
suddenly blurted out,

"They're upstairs."

Christopher Edwards
said he went upstairs

to find the Wycherleys dead
underneath the bed...

REPORTER 7: ...before then
dragging the two dead bodies

down the stairs and burying them
here in the garden.

REPORTER 6: But prosecutors say
it was all a lie.

They claim
the Edwards jointly planned

to kill the Wycherleys.

REPORTER 8: Over the years,
the Edwards emptied

the elderly couple's
bank accounts.

REPORTER 9: Both she
and Christopher Edwards

admit burying the bodies
and theft,

but both of them
deny murder.