Two of these people – Susan Danvers and the police sketch artist – were sitting at a desk close to the stage. The other two – Beresford and Crane – were watching them from a distance. ‘I don’t understand why you’re going through all this rigmarole, sir,’ Crane said. Beresford smiled complacently. ‘Don’t you?’ he asked. ‘You don’t seem to think the sketch will be of any use . . .’ ‘It won’t.’ ‘. . . yet you’ve brought the police sketch artist all the way from Whitebridge to draw it.’ ‘The sketch will be of no value in itself, but the act of producing the sketch is serving a very valuable purpose indeed,’ Beresford said. ‘You’ve lost me,’ Crane admitted. ‘Then I suppose I’d better spell it out,’ Beresford said, a little wearily. ‘An interrogation is a bit like a conjuring trick. You don’t want your suspect to see which direction it’s taking until it’s far too late. Are you following me?’ ‘Yes, sir.’ ‘Because we have the sketch artist here, Susan Danvers thinks she knows which way the questioning is going to go.
What do You think about Lambs To The Slaughter (2012)?
