[EERIE MUSIC PLAYS]
[INDISTINCT CHATTER]
It's just... I need you to...
promise me something, Tabitha. Um...
You see, I... I've... I've done something rather silly.
And it might sound bad,
might sound very bad even, but it's not what it seems.
Not at all. It's not what it seems,
and, um, just needs a little bit of clearing up, that's all.
So that's why I need you to promise me.
I need you to promise me that you won't tell the police.
There you go. Can you promise me that, Tabitha?
Uh, because I can't...
I can't let Susan down. Do you understand?
She's very, uh, fragile, yes.
[SUSPENSEFUL MUSIC PLAYS]
- [INDISTINCT CLAMOR] - [CAMERA SHUTTERS CLICK]
- [CAR BRAKES SCREECH] - [DOORS OPEN, CLOSE]
- SUSAN EDWARDS: Dear Chris... - [DOOR OPENS]
I've managed to get hold of a pen and some paper,
and so I thought I would write you a letter.
There's so much I want to say to you, Chris.
And maybe, one day, we'll see each other again
- and I'll be able to do it. - [DOOR OPENS]
Perhaps a little better than I feel able to now.
You see, I never cared about being shut out
from the real world...
[DOOR OPENS]
... because I never felt like I was allowed
to arrive here in the first place.
I'm not here anyway, am I?
So what's the difference?
What's the difference between here and somewhere else
- in my head? - [DOOR CLOSES]
SUSAN: But I see it now, that it was different for you.
You had a place in that world. And then you met me.
So I just wanted to say that I understand.
I will love you always, but I understand.
Yours, Susan.
[OMINOUS CELLO MUSIC PLAYS]
[WIND HOWLS]
Synced & corrected by QueenMaddie www.addic7ed.com
[BREATHES SHAKILY]
[SUSPENSEFUL MUSIC PLAYS]
- [BULLET CASINGS CLINK] - [WIND HOWLS]
[HORSE NICKERS]
CHRISTOPHER: Wait there. I'll be back in a minute.
SUSAN: What? Chris, where are you going?
I'll be back before you know it.
Just hold tight.
[WIND HOWLS]
[CRICKETS CHIRP]
[BREATHES SHAKILY]
[HORSE NICKERS]
- [THUDDING] - [FOOTSTEPS RETREAT]
[EXHALES]
[DRAMATIC MUSIC PLAYS]
... wrapped the near-naked bodies
of her parents in duvet covers and buried them
in the rear garden of their own house.
They then set about concealing both the deaths and the burials
for the next 15 years.
But the story that Susan and Christopher have concocted
is a fantasy. It is not the truth.
Over the course of this trial, we will demonstrate
that Susan and Christopher Edwards
are not only audacious and unrepentant liars,
they are cold-blooded killers
who, with forethought and malice,
jointly agreed to murder and conceal the bodies
of the helpless Patricia and William Wycherley.
[BIRDS CHIRP]
CHRISTOPHER: Thank you.
[CHRISTOPHER SLURPS]
[SIGHS]
[OMINOUS MUSIC PLAYS]
[DISTANT BELL RINGS]
- [INDISTINCT CLAMOR] - [HORSE NEIGHS]
Morning, officers.
My stepson left this letter
on my porch earlier this morning.
[WIND HOWLS]
DR. DICKSON: Decomposition begins almost immediately,
and after three or four days in a warm environment,
the corpse enters a new phase of decay
which we refer to as putrefaction or bloat.
The microorganisms digesting body tissue
produce gases, which cause the body to swell,
most visibly in the face, where the eyes and tongue
are pushed forward, often quite grotesquely.
And these gases are extremely foul-smelling.
We've all had the misfortune of smelling off chicken.
Now, imagine two chickens, each the size of a human body.
In many cases, it induces nausea and vomiting.
BECKETT: So what are the chances, would you say,
of Christopher and Susan Edwards
entering a tiny house where two adult corpses had lain
for nearly a week in temperatures
of up to 23 degrees Celsius,
and not immediately smelling them?
- DR. DICKSON: Nil. - [HOOFBEATS]
- [HORSE NEIGHS] - DEPUTY: Yah!
[HORSE NEIGHS]
BECKETT: Dr. Dickson, in the Edwardses' interviews,
they repeatedly stated that William Wycherley's limbs
and torso were stiff. What would account for that?
DR. DICKSON: Rigor mortis. It's biochemical changes
in a dead body that lead to a stiffening of the muscles.
BECKETT: Is rigor mortis permanent?
No. Without refrigeration, it dissipates
approximately three days after death.
So could William Wycherley's body
have been stiff six days after he was killed?
DR. DICKSON: It's highly improbable.
Yet both Chris and Susan contend
that it was stiff when they buried it.
Their timescale must be mistaken.
They must have buried William within three days of death.
BECKETT: When Mr. Edwards maintains
he was still in London?
DR. DICKSON: Yes.
[OMINOUS MUSIC PLAYS]
[BOTH GRUNT]
[BOTH RETCH]
[GROANS]
- [WIND HOWLS] - [LEAVES RUSTLE]
[DRAMATIC MUSIC PLAYS]
[HORSE NICKERS]
DEPUTY: Whoa! Whoa!
[FOREBODING MUSIC PLAYS]
RAJINDER GUPTA: With a double-action revolver like this,
the trigger action has two phases.
The first part of your squeeze,
which takes quite a bit of effort.
I think you can see the strain on my finger.
What's happening is the hammer is being pulled back
into firing position, and at the same time,
the cylinder is advancing a fresh bullet into the chamber.
- Requires quite a deliberate effort... - [GUN CLICKS]
to discharge every bullet.
BECKETT: So not the kind of trigger that you could pull
by mistake, then?
- GUPTA: Not easily, no. - [GLASS SHATTERS]
GUPTA: It's a gun. It's not a toy.
- [CRICKETS CHIRP] - [FIRE CRACKLES]
GUPTA: And the other thing to consider here is that the...
bullet strikes on the bones
are also extremely similar in both victims,
and suggests they were facing the gun.
BECKETT: So what would your overall conclusion be,
taking all that into account?
GUPTA: My working assumption would be that the same shooter
discharged all four bullets,
which is to say that both William and Patricia
were most likely killed by the same person,
and that he or she was probably familiar
with this sort of weapon.
It's not like this is the biggest gun in the world,
but it's still quite serious. Do you know what I mean?
BECKETT: No further questions, My Lady.
- [FIRE CRACKLES] - [CRICKETS CHIRP]
[MELANCHOLY MUSIC PLAYS]
[MUSIC FADES]
CHRISTOPHER: I swear by Almighty God
that the evidence I shall give
shall be the truth, the whole truth,
and nothing but the truth.
What sort of films did Gary Cooper
star in, Mr. Edwards?
He was a Hollywood actor in the '40s and '50s,
- is that correct? - CHRISTOPHER: And '60s, yes.
BECKETT: And '60s, yes, thank you for clarifying.
CHRISTOPHER: He was, uh, principally known for Westerns,
but he played a wide range of characters,
romantic leads, comedies, soldiers and, uh, of course,
he once played the baseball player Lou Gehrig
- in Pride of the Yankees. - [AUDIENCE CHUCKLING]
BECKETT: But isn't it true, Chris,
that you and your wife loved stories about the Wild West?
About gunslingers and outlaws?
CHRISTOPHER: Well, Susan was the Gary Cooper fan.
And it was all perfectly harmless.
BECKETT: Members of the jury, please refer to document EL-96.
- [PAPERS RUSTLING] - This is an invoice from 2009
for an authenticated Gary Cooper letter
- costing 2,700 pounds. - [AUDIENCE WHISPERS]
BECKETT: You spent 2,700 pounds on a Gary Cooper letter
despite being on the verge of bankruptcy?
It was a gift for Susan.
And we were not on the verge of bankruptcy.
Mr. Edwards, when you and your wife
were arrested on your return from France,
you had nothing but a few coins between you.
The only personal belongings you had
were a few signed photos and books.
You personally have a correspondence
with the actor Gérard Depardieu.
- [AUDIENCE MURMURS] - BECKETT: So it is preposterous
to suggest that you were not a participant in this world
of overblown heroes and Hollywood stars and guns.
CHRISTOPHER: Well, if you want to get into the detail...
BECKETT: Forgive me, just listen to my question...
Well, now you're interrupting my answer.
BECKETT: You owned a gun of the same caliber as the one
that shot your in-laws, didn't you?
At one time, I owned a revolver
that was capable of taking .38 caliber cartridges, yes.
BECKETT: You had .38 caliber cartridges?
Not in May 1998, I didn't.
I had neither cartridges nor firearms. I had sold them.
Your wife hates guns, doesn't she?
She certainly doesn't like them.
BECKETT: Well, you told the police
she was terrified of them
and she wouldn't even touch one at the firing range.
CHRISTOPHER: That's correct. She is generally very fragile.
I think that's another thing that we haven't spent
- nearly enough time... - BECKETT: What about you, Chris?
You like guns, don't you?
I'm interested in guns.
I am interested in military history,
and guns are simply a part of that.
BECKETT: Chris, could we just clarify something for the jury?
You used to fire such weapons, didn't you? Quite often.
CHRISTOPHER: Not often, no,
because the, uh... the club where I did my shooting
was in Earl's Court.
So from Dagenham, I had to change trains twice,
so by the time I got home, it was very late.
And then after Susan moved in, it started to feel like I...
Well, it wasn't worth it anymore, so I sold the guns
and surrendered my firearms certificate,
and that was in September 1995.
BECKETT: But before you lived with Susan,
you would've happily made the journey?
- Yes. - BECKETT: So what changed?
Well, Susan didn't like me being away from home for too long
unless it was for work.
Or she didn't like me being away from her,
perhaps I should say.
BECKETT: But you enjoyed this hobby, didn't you?
CHRISTOPHER: Yes.
BECKETT: Did you feel like it was your choice
to stop making that journey? Or did Susan make you do it?
Um... It was... It was mutual.
And when you buried the bodies,
was that your choice?
Or did Susan make you do it?
- CHRISTOPHER: It was, um... - BECKETT: Was it mutual?
CHRISTOPHER: Yes.
BECKETT: And when you phoned your stepmother to tell her
about the bodies in the garden, that was your choice, wasn't it?
That was a choice you made independently,
without Susan.
And that is why we are all here today, isn't it?
You must have been in a great deal of pain
and discomfort to choose this
over what you could've had in France, with Susan.
I made a choice to marry Susan
because I loved her.
And since then, I've been living Susan's life with her.
My life didn't really come into it.
It wasn't important anymore.
- [INSECTS BUZZ] - [BIRDS CHIRP]
[BRANCHES SNAP]
[HORSE NICKERS]
[WHISPERS] Chris!
[GROANS, PANTS]
BECKETT: Would you be able to show us, Chris,
how to fire a gun? A .38, for example?
Well, there are many styles.
My training was in something called, uh,
precision target shooting.
You begin with a pistol in front of you, unloaded.
Let's say the target is, um... well, where My Ladyship is.
And you take your position, bringing up the hand
to make sure you're pointing naturally in that direction.
Take out the pistol, fit it to the hand very precisely,
'cause you need to get consistency of grip.
In the case of a revolver, you put the cartridges into it
and then close it.
Take a couple of... [INHALES]
gentle... [EXHALES] deep breaths.
[OMINOUS MUSIC PLAYS]
CHRISTOPHER: And then raise...
the pistol.
[AUDIENCE WHISPERS]
CHRISTOPHER: Breathe out. [EXHALES]
Both eyes open.
And what you're looking for
is something they call the "surprise break,"
which is when the shot goes off
without you even thinking about it.
- [GUNSHOT] - [JUDGE BLACKLOCK SCREAMS]
- [SCREAMING] - [GUNSHOTS]
[HORSE NEIGHS]
[GUNSHOTS]
- Here, take this. - What do I do with it?
- [SCREAMS] - DEPUTY: Move forward!
- Just run, Susan! Go! - No!
[GROANS]
CHRISTOPHER: I'll take care of this. Just go now!
- No! Not without you. - [GUNSHOTS]
CHRISTOPHER: Susan! I'm begging you!
- Just do it! - No! Not without you!
CHRISTOPHER: I'll find you.
Susan, I'm begging you. Just run! I'll be all right.
- [CHRISTOPHER GRUNTS] - [GUNSHOTS]
How did they know we'd be here?
- [GUNSHOTS] - [CHRISTOPHER GRUNTS]
Chris, how did they know?
[PANTING] Susan...
- [GUNSHOTS] - [SOMBER MUSIC PLAYS]
Susan! What are you doing?
[GUNSHOT ECHOES]
[SUSAN GRUNTS]
[GUNSHOT]
[WIND HOWLS]
[MUSIC FADES]
[GENTLE MUSIC PLAYS]
Would you mind speaking up, please, Mrs. Edwards?
It's quite hard to hear what you're saying.
SUSAN: I can't remember clearly, um...
She had just killed my father,
and she was saying those dreadful things to me,
and at some point, I just...
BECKETT: You pulled the trigger?
SUSAN: Yes.
BECKETT: Louder please, Mrs. Edwards.
Yes, I pulled the trigger.
But as we heard from our expert,
such an action would have required
two separate applications of force.
Not hair-trigger, but deliberate.
Enough to cock it and fire the gun. Twice.
Bang. Bang. You did that?
SUSAN: I... I don't know exactly how I did it.
I spent 16 years trying to forget what happened.
All I know is I was provoked.
BECKETT: Did you even look to see
if you could help your father when you saw he'd been shot?
SUSAN: No, I didn't want to look at my father.
It... It was frightening.
BECKETT: Perhaps you might be able to tell me
a little about the brass casings
that you told the police you saw on the floor
and that you disposed of with the gun.
Um, there were casings... Um, blastings...
I... I don't know. I saw them.
BECKETT: And what did you do with the gun
- to dispose of it? - I wrapped it up
along with the casings that... that I...
That were on the floor, and I put it in a bag,
and then, um, I took it into town,
and I put it in an empty rubbish bin
so that other things would be put on top.
BECKETT: A rubbish bin? In the middle of the street?
SUSAN: Yeah, it was the Tuesday after bank holiday.
BECKETT: Then you went directly from the rubbish bin
to the bank, which we've already discussed.
Where did you go after the bank?
SUSAN: No, I returned to the house
after buying some air fresheners.
Oh, you... You bought air fresheners?
Yes, about 20 of them. 'Cause I... I thought
the... the bodies might start to smell, and the...
And the house already stank of smoke and nicotine,
and I hated that smell.
BECKETT: Isn't it interesting that you've never mentioned
the air fresheners to the police, and yet,
after Dr. Dickson's very vivid description
of how a body decomposes, suddenly you bought 20 of them?
SUSAN: I'd... I forgot. I didn't think it was important.
BECKETT: Did you know, Mrs. Edwards,
that a revolver of this type does not discharge casings?
- Did you know that? - No.
BECKETT: Could you speak up please, Mrs. Edwards,
- so we can all hear you. - Sorry. No.
BECKETT: You didn't know.
But if you had fired the gun, you would've seen
it produced no casings, wouldn't you?
And you wouldn't have made them up.
Isn't it a pity that you didn't go over that detail
with your husband before the arrest?
No, they... I saw them.
BECKETT: They would not have become part of your story.
Would they?
No, they... they were there. They were there on the floor.
BECKETT: And can you tell me why you wrapped
your parents' bodies in duvet covers, Mrs. Edwards?
SUSAN: To hide them, to make it as if it hadn't happened.
'Cause I didn't want to see them.
I... I didn't want to look at them.
BECKETT: Is that also why you destroyed
the photographs, the letters,
the diaries, that you burned outside your apartment
in France, as we heard from the defense?
The intention there isn't to preserve the memory
of your parents, is it?
That's you trying to wipe your parents
off the face of the Earth.
It wasn't enough that they were dead.
You had to burn all trace that they had ever existed.
And they are not here to defend themselves,
- are they, Mrs. Edwards? - I don't...
BECKETT: The victims of these terrible shootings?
What would they have told us, do you think?
- What would be their side of the story? - Please.
BECKETT: You have painted them in the worst possible light.
You were their daughter, weren't you?
- Their only daughter. - No, they... they said I was a mistake,
and they said they never wanted to get married.
They wouldn't have got married if my mom
hadn't got pregnant. And they hated each other,
and they... they didn't want me.
BECKETT: But they must have loved you on some level.
- They were your parents. - No, no,
'cause I'm impossible to love.
BECKETT: Mrs. Edwards?
I'm impossible to love.
That's what my mother would say to me all the time, and...
And it's true.
I... I know now that it's true.
[SNIFFLING]
Would you like to take a break, Mrs. Edwards,
if you're having a bit of a fragile moment?
- [AUDIENCE CHUCKLES] - [SUSAN LAUGHS, SNIFFLES]
No. I'm not fragile.
I'm not fragile. I'm broken. So you can't hurt me.
You can send me to prison, and you can...
You can all laugh at me,
and you can make me look like a piece of dirt
in front of all these people, but...
I'm broken, so you can't hurt me.
No one can hurt me anymore.
[SIGHS]
[MELANCHOLY MUSIC PLAYS]
[SUSAN SOBS]
[MUSIC CONTINUES]
[SUSAN GROANS]
[EXHALES SHARPLY]
Chris!
[SOBS]
Chris!
[SOBS]
[SCREAMS]
- [GUNSHOT] - SUSAN: Chris!
[EXHALES HEAVILY]
- [GUNSHOT] - [SOBS]
- [GUNSHOT] - [GASPS]
[GUN CLICKS]
[CAR ENGINES RUMBLING]
- [INDISTINCT CHATTER] - [DUCKS QUACKING]
Do you want to get an ice cream cone?
- Yeah. - MOTHER: An ice cream cone?
- You want ice cream, honey? - CHILD: Yeah. Yeah.
MOTHER: Oh, I'm gonna get you one.
[SIREN WAILING IN DISTANCE]
SUSAN: There's not much we can do about it now,
- is there? - DOUGLAS HYLTON: Hmm.
I did have one thought, though...
that maybe we should've told the barrister,
or I should have told you, about Gérard Depardieu.
I've never told anyone this before.
Are you sure you wanna tell me?
So, just after Chris's brother passed away,
I wrote to Gérard Depardieu, asking for a signed photo
'cause I thought it would cheer Chris up.
And he didn't know anything about films or France
when we... when we got together, but, uh, somehow,
he did know about Gérard Depardieu.
And then eventually, after a few weeks of waiting,
I decided I would write back to Chris
pretending to be Gérard Depardieu.
I practiced his signature until I got it just right.
And I practiced his handwriting.
And I put in spelling mistakes and things, you know,
so it looked it was written by a French person.
SUSAN: Well, it worked. He bought it.
And it made him so happy...
that I just kept doing it.
I kept writing to him pretending I was Gérard Depardieu.
And then Chris would write back, all excited.
But he never knew that I was behind it all.
DOUGLAS: Uh, where was he sending the letters, then?
Oh, I thought of all that too. So the first one went to, um,
Apartment 16, Rue Madam Zephirine,
75014 Paris.
And then there was an address in Belgium.
And later on there was an address in Russia.
But I just made them all up.
- Bye, love. - Have a nice day!
[DOOR CLOSES]
SUSAN: 'Cause it didn't matter where they ended up.
I always read his letters before he sent them,
so I knew exactly how to reply.
And you might think that, you know,
Chris would become suspicious.
All these letters had London postmarks.
But they didn't. Because I had a franking machine.
Just had to pick a few well-chosen words
in the right language, and hey presto.
And you did all that just to make Chris happy?
SUSAN: I think even if I told him,
he wouldn't believe me.
"Good morning. I'm Gérard Depardieu."
"No, you're not Gérard Depardieu,
you're a librarian from Harlesden, for crying out loud!"
[BOTH CHUCKLE SOFTLY]
At least, I don't think he knew.
- Hmm. - It wouldn't have helped, would it?
Mm-mm.
I get you, Susan.
I don't know why I get you, but I get you.
And I find that story really sweet,
that you'd do something like that for him.
- But other people... - Yeah.
... might not get it.
I just think it wouldn't have played,
that's all. Because you're on trial, anything weird,
anything that isn't just normal
- will make people assume... - They'll think I'm bad news.
And I hate that, by the way.
Because... [CHUCKLES]
I like that you're you.
Honestly, I...
I honestly think I will carry this experience with me
for the rest of my life, because...
You know what? You're right, Susan.
I'm lucky. It's not the same for me.
And you've helped me to appreciate that.
Not because you're unlucky.
I... I don't mean it like that, though.
Or maybe I do mean it like that. I... I don't know.
I'm not saying that it has to define you or that it's...
even the reason why we're here right now in court, but...
they should have looked after you, Susan.
They were your parents. You were seven years old.
Do you know... You know how tall a seven-year-old is?
- This tall. This tall. - [CHUCKLES]
[CLICKS TONGUE] So, uh...
I'm still learning.
Maybe I could have done a better job for you.
I don't know.
I tried my best, I really did.
But I just wanted to make sure that you understand that...
whatever happens today...
there's a lot that has happened in your life that is not on you.
[SOFT MUSIC PLAYS]
[LAUGHS, SNIFFLES]
[INDISTINCT COURTROOM CHATTER]
JUDGE: But given that you left home in your early twenties,
fifteen years before the murders,
I cannot accept that his conduct explains
your decision to kill them.
You thought your parents had
deprived you of an inheritance that was rightfully yours.
I'm sure it was you, Christopher Edwards,
who held the gun.
But I have no doubt that you were acting together,
and I see no reason
to distinguish between you on sentence.
[VACUUM CLEANER WHIRRING]
[PIGEONS COOING]
Can you imagine ever, like...
actually murdering someone?
EMMA LANCING: I can imagine it, yeah.
Don't think I'd ever do it, though.
Why? You thinking of trying it?
- Bit of murder? - [SCOFFS] Just trying to imagine
actually having a gun and pointing it at your...
- LANCING: Your mom and dad. - Yeah. So fucked up.
It's sad.
WILKIE: Yeah. I guess so.
- [PIGEONS COOING] - [INDISTINCT CHATTER]
I threatened my dad once,
when he'd been at my mom.
I sat on it for a bit.
There's no point me trying anything when he was pissed
'cause he'd just kick the shit out of me.
But a few days later, when he was watching telly,
I got an axe from the garage
and I went up to the sofa and I said,
"If you touch Mom again,"
"I'll chop your fucking head off."
WILKIE: Jesus. How old were you?
Twelve.
- Then what happened? - LANCING: He left.
Shit, man.
Sorry.
LANCING: Don't fucking hug me, you twat.
- WILKIE: Okay. - That's not...
WILKIE: Just offering you a hug. Sorry.
- Pervert. - Fuck off.
Why would I try it on anyway after a story like that?
- That's mad. - When would you do it, then?
I don't know. I'd just ask you out for a drink, whenever.
Right.
In what way?
Well, in that way if you're asking.
- Are you asking? - Yeah, all right, I'm asking.
No, I don't think so. Sorry.
What?
I would in theory. But not in practice.
Maybe in like ten years.
Just before my eggs start to dry up.
All right, well, shall we go for a drink
just as friends, then? Or as partners, even?
I need a bit more than a drink, mate.
It's been quite an intense few days.
- Oh. Well, like what? - Like a fuck.
No, not with you. Don't get any ideas.
You're a sensitive lad, I can tell.
It'll get a bit complicated, and then it'll just
go a bit Chris and Susan, won't it?
WILKIE: Well, I'm not gonna offer to kill your dad for ya.
I'm not asking you to. We're going to the pub.
You're gonna be my wingman.
- Fucking wingman. - Yeah.
- Fuck off. [LAUGHS] - Come on. Chop, chop.
[GENTLE MUSIC PLAYS]
[DISTANT MUFFLED SHOUTING]
CHRISTOPHER: Dear Susan, thank you for your letters,
which I have been very grateful to receive.
I'm sorry it's taken me so long to reply.
The first pen I received was very scratchy,
and I wanted you to be able to read what I was saying.
So I waited to be furnished with the brand of implement
I originally asked for,
which I'm happy to say is working much better.
In answer to your question about Tabitha,
the truth is, Susan,
that I don't entirely know why I did that.
But I do think that, on some level, you're right.
I felt like I was struggling
and I needed to ask somebody for help,
something that, traditionally speaking,
I have not been very good at.
I think, though, that you're wrong
about how I felt in other ways.
Because I never felt like I had to leave
the real world behind to be with you, Susan.
If anything,
you are the person who made the world feel real to me.
It wasn't you who made me feel trapped, Susan.
It was me.
[WESTERN MUSIC PLAYING]
In the movies, there are the good guys
and there are the bad guys.
And I think we will have to accept
that for most people, we will always be the bad guys.
But we love each other, Susan.
And nobody can take that away from us.
Yours forever and always,
Gérard Depardieu.
[MUSIC SWELLS]
[ROMANTIC MUSIC PLAYING]
Ah, there you are!
If you'd like to follow me, please.
Checks, please! Wardrobe checks.
[FILM CREW CHATTERING]
[MUSIC CONTINUES]
Stand by. Roll sound.
SOUND MIXER: Sound rolling!
All right, all right, all right! Let's do this.
- Roll Camera. - CAMERAMAN: Rolling.
Ladies and gents, are you all set?
And action!
[PROJECTOR WHIRRING]
_
[PROJECTOR STOPS]
[MUSIC CONCLUDES]
[WIND HOWLING]
Synced & corrected by QueenMaddie www.addic7ed.com