Browse content similar to The Thirteenth Tale. Check below for episodes and series from the same categories and more!
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This programme contains some violent scenes and scenes some viewers may find disturbing. | 0:00:02 | 0:00:09 | |
BIRDS CAW | 0:00:29 | 0:00:31 | |
Is this the moors? | 0:01:39 | 0:01:41 | |
It is. | 0:01:41 | 0:01:42 | |
Good afternoon. | 0:02:23 | 0:02:24 | |
Miss Lea? I'm Miss Winter's housekeeper. | 0:02:24 | 0:02:27 | |
My name is Judith. | 0:02:27 | 0:02:28 | |
Very good. I'll send up some sandwiches right away. | 0:02:38 | 0:02:41 | |
-You must be hungry after your long journey. -Thank you. | 0:02:41 | 0:02:44 | |
Miss Winter expects to see you in the library at four. | 0:02:44 | 0:02:47 | |
So, Miss Lea, have you read ANY of my books? | 0:03:37 | 0:03:41 | |
Almost all of them, I think. | 0:03:43 | 0:03:45 | |
Well... | 0:03:45 | 0:03:47 | |
You'd better sit down. | 0:03:51 | 0:03:53 | |
Now, if I interpreted your answer to my letter correctly, | 0:04:00 | 0:04:05 | |
you're not exactly leaping at this very attractive offer I've made you. | 0:04:05 | 0:04:08 | |
-Well, I... -You'd be guaranteed a very healthy advance. | 0:04:08 | 0:04:12 | |
Hmm. But I can see from what you're wearing, | 0:04:15 | 0:04:18 | |
you're not particularly interested in money. | 0:04:18 | 0:04:21 | |
I've written about people who don't care for money, | 0:04:22 | 0:04:25 | |
but I never actually expected to meet one. | 0:04:25 | 0:04:28 | |
Are my books too popular for you? | 0:04:30 | 0:04:33 | |
What exactly makes you hesitate? | 0:04:35 | 0:04:38 | |
I'd like to know what made you choose me as a potential biographer. | 0:04:40 | 0:04:43 | |
Ah. | 0:04:43 | 0:04:45 | |
It certainly wasn't your celebrated biography of the Bronte sisters... | 0:04:50 | 0:04:55 | |
..which I wouldn't dream of reading. | 0:04:57 | 0:04:59 | |
BOOK CLATTERS | 0:04:59 | 0:05:01 | |
No, what caught my attention, Miss Lea, | 0:05:01 | 0:05:05 | |
was that piece you wrote for that pretentious little magazine | 0:05:05 | 0:05:09 | |
about the Landier sisters, the twins. | 0:05:09 | 0:05:12 | |
Obviously, I've been doing some research, | 0:05:13 | 0:05:16 | |
and I couldn't help noticing | 0:05:16 | 0:05:17 | |
in the couple of dozen interviews I looked at, | 0:05:17 | 0:05:20 | |
you give a different account of your life in every one of them. | 0:05:20 | 0:05:22 | |
You think I'm a liar? | 0:05:22 | 0:05:24 | |
That isn't quite what I said. | 0:05:24 | 0:05:26 | |
You surely don't think I'm so dull | 0:05:27 | 0:05:31 | |
as to trot out the same story over and over again? | 0:05:31 | 0:05:34 | |
I make things up so as not to bore myself. | 0:05:36 | 0:05:38 | |
It's my profession. After all, they're only journalists... | 0:05:40 | 0:05:44 | |
..if you take my point. | 0:05:45 | 0:05:47 | |
I'm not sure that I do, exactly. I'm sorry. | 0:05:47 | 0:05:49 | |
You don't need to be so polite. I can't abide politeness. | 0:05:52 | 0:05:57 | |
I always think that being nice... | 0:05:57 | 0:06:00 | |
..is what's left over after you've failed at everything else. | 0:06:01 | 0:06:04 | |
You're obviously a great success. | 0:06:04 | 0:06:07 | |
Ah! | 0:06:07 | 0:06:08 | |
SHE CHUCKLES | 0:06:08 | 0:06:10 | |
Oh, that's better. | 0:06:10 | 0:06:11 | |
Have you a love life? | 0:06:15 | 0:06:17 | |
Oh, wait, wait! Wait! | 0:06:21 | 0:06:23 | |
I have an extraordinary story. Don't turn your back on it. | 0:06:23 | 0:06:27 | |
It's about twins. | 0:06:28 | 0:06:30 | |
Please, come back. | 0:06:36 | 0:06:38 | |
Come on. | 0:06:38 | 0:06:40 | |
Sit down. | 0:06:40 | 0:06:41 | |
Don't take offence. I'm only trying to get to know you. | 0:06:44 | 0:06:47 | |
I can't be expected to spill the secrets of a lifetime | 0:06:47 | 0:06:51 | |
to a complete stranger. | 0:06:51 | 0:06:53 | |
But this was your idea. | 0:06:53 | 0:06:54 | |
I thought this is what you wanted to do. | 0:06:54 | 0:06:56 | |
-It's not that I want to. I have to. -Why? | 0:06:56 | 0:06:59 | |
Because I'm old. I'm dying. | 0:06:59 | 0:07:01 | |
Dying? | 0:07:01 | 0:07:04 | |
Why else should I subject myself to all this? | 0:07:04 | 0:07:07 | |
Hmm. | 0:07:14 | 0:07:15 | |
What do you need from me? | 0:07:20 | 0:07:23 | |
I need to be sure that you're intending to tell me the truth. | 0:07:25 | 0:07:28 | |
I'm a biographer, I deal in facts. | 0:07:28 | 0:07:31 | |
Oh, how stupendously boring, you poor thing. | 0:07:31 | 0:07:34 | |
Suppose we start by me | 0:07:36 | 0:07:37 | |
asking you three independently verifiable questions? | 0:07:37 | 0:07:40 | |
-And then if your answers are true... -Three questions. | 0:07:40 | 0:07:43 | |
Pleasantly traditional. | 0:07:43 | 0:07:45 | |
My first question - what is your real name? | 0:07:47 | 0:07:49 | |
Ah, I could easily bamboozle you there. | 0:07:49 | 0:07:51 | |
It's Vida Winter. I had it changed by deed poll. | 0:07:51 | 0:07:54 | |
What you really need to know is the name I was originally known by. | 0:07:54 | 0:07:58 | |
That's right, yes. | 0:08:00 | 0:08:01 | |
Adeline March. | 0:08:04 | 0:08:06 | |
My next question is your place of birth. | 0:08:07 | 0:08:09 | |
You can check in the records of St Bart's in London. | 0:08:09 | 0:08:13 | |
Next. | 0:08:13 | 0:08:14 | |
Um, I'd like you to tell me something that happened to you | 0:08:14 | 0:08:18 | |
before you changed your name, which is also a matter of public record. | 0:08:18 | 0:08:21 | |
Hm, I can do that, but first I have some conditions of my own. | 0:08:23 | 0:08:27 | |
-What are they? -You must let me tell my story chronologically. | 0:08:29 | 0:08:33 | |
No interruptions, no questions | 0:08:33 | 0:08:35 | |
and no sneaky peeping at the last page. | 0:08:35 | 0:08:38 | |
-All right. -Good. | 0:08:41 | 0:08:43 | |
Do you believe in ghosts? | 0:08:49 | 0:08:51 | |
That's not a very easy question. | 0:08:52 | 0:08:55 | |
Do you or don't you? | 0:08:55 | 0:08:57 | |
Certain kinds of ghosts, maybe. | 0:09:01 | 0:09:04 | |
I was brought up in a house about five miles from here. | 0:09:04 | 0:09:08 | |
A haunted house. | 0:09:09 | 0:09:11 | |
-I see. -No, you don't. | 0:09:11 | 0:09:15 | |
I call it my story, | 0:09:25 | 0:09:28 | |
but it has none of the familiar consolations that word implies. | 0:09:28 | 0:09:33 | |
It's something far harsher... | 0:09:35 | 0:09:37 | |
..much more painful. | 0:09:38 | 0:09:41 | |
Something I suppose we have to call the truth. | 0:09:41 | 0:09:45 | |
I was brought up in a house called Angelfield. | 0:09:50 | 0:09:53 | |
When I was 17, there was a fire. The house was destroyed. | 0:09:54 | 0:09:58 | |
And there's a public record? | 0:09:58 | 0:10:00 | |
It was in all the local papers. | 0:10:00 | 0:10:03 | |
And I can show you a different sort of record... | 0:10:06 | 0:10:12 | |
SHE GASPS | 0:10:18 | 0:10:21 | |
So, you see, in spite of what I just said... | 0:10:21 | 0:10:24 | |
..you know the end of my story. | 0:10:26 | 0:10:29 | |
The end? You said that happened when you were 17, | 0:10:29 | 0:10:32 | |
-before you'd even started writing. -Oh, writing. | 0:10:32 | 0:10:36 | |
That was just to fill in the time. | 0:10:36 | 0:10:38 | |
I'm sorry if I've shocked you, Miss Lea. | 0:10:42 | 0:10:45 | |
One becomes so accustomed to one's own horrors. | 0:10:47 | 0:10:51 | |
MUFFLED GASPS AND GROANS | 0:11:25 | 0:11:28 | |
CHILD: 'Don't be like that, Margaret!' | 0:11:46 | 0:11:49 | |
KNOCK ON DOOR | 0:12:03 | 0:12:05 | |
Come in. | 0:12:05 | 0:12:07 | |
If you don't mind, Dr Clifton, Miss Winter's doctor, | 0:12:09 | 0:12:12 | |
would like to have a word with you. | 0:12:12 | 0:12:14 | |
Ah. OK. | 0:12:14 | 0:12:15 | |
Thank you for agreeing to see me, Miss Lea. | 0:12:20 | 0:12:23 | |
Miss Winter wanted me to explain her condition to you. | 0:12:23 | 0:12:25 | |
-Oh? -Miss Winter has cancer of the pancreas, | 0:12:25 | 0:12:28 | |
which we've recently discovered has spread throughout her body. | 0:12:28 | 0:12:32 | |
This means she has very little time left. | 0:12:32 | 0:12:34 | |
How long? | 0:12:34 | 0:12:37 | |
We're not able to say precisely. | 0:12:37 | 0:12:39 | |
Most people wouldn't have survived this long, | 0:12:39 | 0:12:41 | |
but Miss Winter is extremely tough. | 0:12:41 | 0:12:43 | |
She just wanted me to make you aware that time is of the essence. | 0:12:43 | 0:12:47 | |
You can let her know I understand. | 0:12:47 | 0:12:50 | |
Thank you. | 0:12:50 | 0:12:51 | |
Um, have you been her doctor long? | 0:12:53 | 0:12:57 | |
Long enough to know that I'm extremely impatient to read your book. | 0:12:57 | 0:13:01 | |
I was pleased last night | 0:13:07 | 0:13:09 | |
when you didn't ask the question everybody else always does. | 0:13:09 | 0:13:12 | |
-What question's that? -About the first book. -Oh, The Thirteenth Tale? | 0:13:12 | 0:13:16 | |
-That's right. -And everybody always asks why there are only twelve? | 0:13:16 | 0:13:19 | |
-That's right. -Why are there only twelve? | 0:13:19 | 0:13:22 | |
Shall we get started? | 0:13:23 | 0:13:25 | |
RECORDER BEEPS | 0:13:27 | 0:13:30 | |
The story begins at Angelfield. | 0:13:32 | 0:13:35 | |
After the mysterious, unexplained death of their parents, | 0:13:40 | 0:13:46 | |
the house now belonged to Charlie Angelfield and his sister Isabelle. | 0:13:46 | 0:13:51 | |
She'd left the house less than a year before but her husband, | 0:13:53 | 0:13:56 | |
Roland March, had been killed in the war | 0:13:56 | 0:13:59 | |
and now she returned. | 0:13:59 | 0:14:02 | |
Of course, in their parents' day, | 0:14:07 | 0:14:09 | |
there had been dozens of servants to run the estate | 0:14:09 | 0:14:12 | |
but now only two remained - | 0:14:12 | 0:14:14 | |
Mrs Dunne the housekeeper, known to everyone as The Missus, | 0:14:14 | 0:14:19 | |
and the gardener, John Digence, | 0:14:19 | 0:14:22 | |
who we called John The Dig. | 0:14:22 | 0:14:24 | |
Can you put it down there? | 0:14:27 | 0:14:29 | |
BABIES GURGLE | 0:14:31 | 0:14:33 | |
Well, well. | 0:14:36 | 0:14:38 | |
-What are they called? -Adeline and Emmeline. | 0:14:40 | 0:14:42 | |
Which one is which? | 0:14:44 | 0:14:46 | |
You know, I haven't the slightest idea. | 0:14:46 | 0:14:49 | |
BABIES CRY | 0:14:49 | 0:14:51 | |
Where is Mr Angelfield? | 0:14:51 | 0:14:53 | |
He'll be in the library, I expect, madam. | 0:14:53 | 0:14:56 | |
I'll leave these with you. | 0:14:56 | 0:14:57 | |
Truth to tell, it was not poverty or even the demands of the war | 0:15:03 | 0:15:08 | |
which brought about the exodus of the Angelfield staff. | 0:15:08 | 0:15:12 | |
It was the sense of chaos | 0:15:12 | 0:15:15 | |
and unease caused by the bizarre and unpredictable | 0:15:15 | 0:15:20 | |
behaviour of Isabelle's brother. | 0:15:20 | 0:15:22 | |
Charlie, I'm back. | 0:15:24 | 0:15:26 | |
What do you mean? | 0:15:26 | 0:15:27 | |
I'm back for good. I brought the children with me. | 0:15:29 | 0:15:32 | |
What? | 0:15:32 | 0:15:33 | |
What children? | 0:15:34 | 0:15:36 | |
-Oh. Oh, yes. -It's just you and me now, Charlie. | 0:15:39 | 0:15:42 | |
You shouldn't have gone away for so long, Isabelle. | 0:15:42 | 0:15:46 | |
I had to, Charlie. I explained it all to you. | 0:15:47 | 0:15:50 | |
All the same. | 0:16:02 | 0:16:04 | |
This one can be Adeline. | 0:16:21 | 0:16:24 | |
I suppose we were shamefully neglected | 0:16:39 | 0:16:43 | |
when we were children. No schooling, no discipline. | 0:16:43 | 0:16:47 | |
THEY TALK IN MADE-UP LANGUAGE | 0:16:47 | 0:16:51 | |
We were so much on our own, we invented our own private language. | 0:16:54 | 0:16:59 | |
Charlie and Isabelle were so wrapped up in one another | 0:17:12 | 0:17:16 | |
that the only people in our lives vaguely resembling parents | 0:17:16 | 0:17:20 | |
were The Missus and John The Dig. | 0:17:20 | 0:17:22 | |
Are you all right, missus? | 0:17:24 | 0:17:26 | |
THEY CHATTER IN THEIR OWN LANGUAGE | 0:17:29 | 0:17:32 | |
But we did have each other, and we were all the world to one another. | 0:17:34 | 0:17:38 | |
We couldn't imagine that anyone but ourselves really existed. | 0:17:39 | 0:17:45 | |
I expect that's why we were so cruel. | 0:17:45 | 0:17:47 | |
The topiary garden had been planted | 0:17:52 | 0:17:54 | |
by John The Dig's great-grandfather. | 0:17:54 | 0:17:57 | |
It was his pride and joy. | 0:17:57 | 0:18:00 | |
LOUD WAILS | 0:18:06 | 0:18:10 | |
THEY GIGGLE | 0:18:10 | 0:18:12 | |
WAILING CONTINUES | 0:18:14 | 0:18:16 | |
We weren't confined to the house and garden. | 0:18:18 | 0:18:21 | |
We roamed all over the estate and did exactly what we felt like. | 0:18:21 | 0:18:25 | |
We were the children from the big house, so they put up with us... | 0:18:25 | 0:18:30 | |
One... | 0:18:30 | 0:18:32 | |
..until the day we took Mary Jameson's baby. | 0:18:32 | 0:18:36 | |
..two...three... | 0:18:36 | 0:18:38 | |
THEY GIGGLE | 0:18:39 | 0:18:41 | |
BABY CRIES | 0:18:53 | 0:18:55 | |
SHE SPEAKS IN THEIR OWN LANGUAGE | 0:19:06 | 0:19:08 | |
Good afternoon. Is your mother in? | 0:19:21 | 0:19:23 | |
Perhaps I'll try the back door. | 0:19:31 | 0:19:33 | |
Mrs Theodora Mawsley, the local doctor's wife | 0:19:39 | 0:19:44 | |
and something of a busybody, eagerly volunteered to take up | 0:19:44 | 0:19:48 | |
the matter of Mary Jameson's baby with Charlie and Isabelle. | 0:19:48 | 0:19:53 | |
BIRDS CAW | 0:19:54 | 0:19:57 | |
Hello? | 0:20:08 | 0:20:09 | |
Is anybody there? | 0:20:12 | 0:20:14 | |
Mr Angelfield? | 0:20:18 | 0:20:20 | |
PLAYED HALTINGLY ON VIOLIN: "Ring A Ring O' Roses" | 0:20:24 | 0:20:27 | |
MUSIC STOPS ABRUPTLY | 0:20:35 | 0:20:37 | |
GLASS BREAKS | 0:20:38 | 0:20:40 | |
GLASS TINKLES | 0:20:51 | 0:20:53 | |
SHE PLAYS SOME NOTES | 0:21:01 | 0:21:03 | |
LOUD THUD | 0:21:14 | 0:21:16 | |
What's the matter? Miss Winter? | 0:21:16 | 0:21:19 | |
It's just my wolf. | 0:21:19 | 0:21:20 | |
Wolf? | 0:21:20 | 0:21:22 | |
That's what I call it. | 0:21:22 | 0:21:24 | |
Pills are meant to keep him at bay, but he... | 0:21:24 | 0:21:27 | |
he comes a little earlier every day. | 0:21:27 | 0:21:30 | |
Is there anything I can do? | 0:21:30 | 0:21:32 | |
Should we stop for the day? | 0:21:32 | 0:21:34 | |
No. No, no, no, he's just sniffing around. | 0:21:34 | 0:21:37 | |
We mustn't encourage him. | 0:21:37 | 0:21:39 | |
Now... | 0:21:41 | 0:21:43 | |
Miss Lea, where were we? | 0:21:46 | 0:21:48 | |
Erm...the doctor's wife and the violin. | 0:21:50 | 0:21:53 | |
I'm desperate to know what happened next. | 0:21:53 | 0:21:56 | |
Oh... | 0:21:56 | 0:21:57 | |
-Surely it must have been one of the children? -No. | 0:21:57 | 0:22:00 | |
No, I told you, I saw the children out on the steps on my way in. | 0:22:00 | 0:22:05 | |
No, it was a woman in white. | 0:22:07 | 0:22:09 | |
There's no woman in white in this house, ma'am. | 0:22:09 | 0:22:11 | |
You must have seen the ghost. | 0:22:13 | 0:22:15 | |
They do say Angelfield is haunted. | 0:22:15 | 0:22:17 | |
Dr Mawsley. I'm not sure if you remember me. | 0:22:27 | 0:22:30 | |
It has been some time. | 0:22:30 | 0:22:32 | |
Oh, yes. | 0:22:32 | 0:22:34 | |
Might this be the person who attacked you? | 0:22:35 | 0:22:37 | |
Yes. Yes, I think it might. | 0:22:40 | 0:22:43 | |
Excuse me, but could you tell me, did you do these yourself? | 0:22:49 | 0:22:52 | |
Yes. | 0:22:56 | 0:22:57 | |
Mr Angelfield, do you mind if I have a word with you in private? | 0:23:04 | 0:23:08 | |
I think it would be best not to visit her for at least a month, | 0:23:30 | 0:23:33 | |
give them time to... draw some conclusions. | 0:23:33 | 0:23:37 | |
Oh, Mr Charlie... | 0:23:54 | 0:23:57 | |
HE WHIMPERS | 0:23:57 | 0:23:59 | |
Oh, now hush. | 0:23:59 | 0:24:00 | |
BIRDS CRY | 0:24:55 | 0:24:57 | |
'There's no woman in white in this house, ma'am. | 0:25:05 | 0:25:09 | |
'You think I'm a liar? | 0:25:09 | 0:25:12 | |
'Do you believe in ghosts? | 0:25:15 | 0:25:17 | |
'They do say Angelfield is haunted.' | 0:25:19 | 0:25:22 | |
DULL THUDS | 0:26:37 | 0:26:40 | |
SHE GASPS | 0:26:59 | 0:27:02 | |
GIRL SOFTLY SINGS: "Ring A Ring O' Roses" | 0:27:32 | 0:27:36 | |
THEY CHATTER IN THEIR OWN LANGUAGE | 0:27:45 | 0:27:48 | |
After they took Isabelle off to the asylum, | 0:27:56 | 0:27:59 | |
Charlie Angelfield went completely to pieces. | 0:27:59 | 0:28:02 | |
Dr Mawsley arranged through the family solicitor | 0:28:15 | 0:28:18 | |
to appoint a governess to look after us. | 0:28:18 | 0:28:22 | |
Her name was Hester Barrow. | 0:28:22 | 0:28:24 | |
Welcome to Angelfield. | 0:28:26 | 0:28:28 | |
I'll get your bags. | 0:28:32 | 0:28:34 | |
So the children never knew their father? | 0:28:48 | 0:28:50 | |
Oh, no, miss, none of us did. | 0:28:50 | 0:28:53 | |
I don't even think Miss Isabelle knew him very well. | 0:28:53 | 0:28:57 | |
The only man she ever took any notice of was her brother Charlie. | 0:28:57 | 0:29:02 | |
And when she came back here, she did everything for him... | 0:29:02 | 0:29:06 | |
..if you know what I mean. | 0:29:08 | 0:29:11 | |
I'm not sure I do, Mrs Dunne. | 0:29:11 | 0:29:13 | |
-Well... -In any event, it's probably time I met Mr Angelfield. | 0:29:13 | 0:29:17 | |
I don't know as he'll want to see you, miss. | 0:29:17 | 0:29:20 | |
He's not very well in himself, like. | 0:29:20 | 0:29:23 | |
He keeps to his quarters and no-one's allowed to disturb him. | 0:29:23 | 0:29:27 | |
I see. | 0:29:27 | 0:29:29 | |
He never was very sociable, | 0:29:29 | 0:29:31 | |
but since they took Miss Isabelle away, he's hardly showed his face. | 0:29:31 | 0:29:35 | |
I don't know where those children can be. | 0:29:38 | 0:29:40 | |
I'll go and see if I can scare them up. | 0:29:40 | 0:29:42 | |
No, no, Mrs Dunne, it's not for us to go chasing after them. | 0:29:42 | 0:29:46 | |
No doubt they'll come down for their dinner. | 0:29:46 | 0:29:49 | |
Well, often as not, | 0:29:49 | 0:29:52 | |
they just creep down and help themselves to summat out the pantry. | 0:29:52 | 0:29:56 | |
Oh... I don't think we can allow that. | 0:29:56 | 0:29:59 | |
We'll try the twins' room, miss, | 0:30:02 | 0:30:03 | |
which is the third door along here on the left. | 0:30:03 | 0:30:07 | |
It's just here... | 0:30:08 | 0:30:10 | |
Shh. | 0:30:12 | 0:30:14 | |
DOOR HANDLE RATTLES | 0:30:18 | 0:30:20 | |
Now, come along, girls. It's time you met your new governess. | 0:30:21 | 0:30:26 | |
I am sorry, Miss Barrow. | 0:30:31 | 0:30:33 | |
Don't you worry, Mrs Dunne, we have all the time in the world. | 0:30:33 | 0:30:36 | |
I should like to explore the rest of the house. | 0:30:36 | 0:30:39 | |
I'll show you around. | 0:30:39 | 0:30:41 | |
No, no, you get back to your kitchen, Mrs Dunne. | 0:30:41 | 0:30:43 | |
I shall get on much better on my own. | 0:30:43 | 0:30:45 | |
That first afternoon, we refused to come down and meet her. | 0:30:46 | 0:30:51 | |
We thought she might be discouraged and go away. | 0:30:51 | 0:30:54 | |
-But she wasn't? -No! | 0:30:54 | 0:30:57 | |
She was the first person who tried to take us on. | 0:30:57 | 0:31:01 | |
I went to have a look at Angelfield. | 0:31:01 | 0:31:03 | |
Hmm. Did you? | 0:31:06 | 0:31:08 | |
Did you see the ghost? | 0:31:09 | 0:31:12 | |
I saw something. | 0:31:12 | 0:31:13 | |
What? | 0:31:13 | 0:31:15 | |
Not sure. | 0:31:15 | 0:31:17 | |
Erm, you were telling me about Hester. | 0:31:23 | 0:31:26 | |
Yes. | 0:31:27 | 0:31:29 | |
You remind me of her a bit. | 0:31:29 | 0:31:31 | |
In what way? | 0:31:31 | 0:31:33 | |
She was very determined and inquisitive. | 0:31:33 | 0:31:36 | |
Food. | 0:31:38 | 0:31:40 | |
-Food. -Hungry. | 0:31:40 | 0:31:42 | |
At the end of Hester's first day at the house, | 0:31:42 | 0:31:45 | |
she'd already formed a strategy | 0:31:45 | 0:31:48 | |
for dealing with her as yet invisible charges. | 0:31:48 | 0:31:52 | |
No keys. | 0:32:00 | 0:32:02 | |
Emmeline? Adeline? | 0:32:14 | 0:32:17 | |
Which one are you? Adeline or Emmeline? | 0:32:23 | 0:32:26 | |
Emmeline. | 0:32:26 | 0:32:28 | |
Are you hungry? Would you like some supper? | 0:32:30 | 0:32:34 | |
Mmm. | 0:32:34 | 0:32:35 | |
And what about your sister? | 0:32:35 | 0:32:38 | |
Never mind. Let's go to the kitchen. | 0:32:41 | 0:32:45 | |
Follow me. | 0:32:52 | 0:32:53 | |
So, right from the start, Hester managed to drive a wedge between us. | 0:32:59 | 0:33:03 | |
I can't say our education was entirely plain sailing... | 0:33:05 | 0:33:09 | |
..although Emmeline continued to be pretty much of a pushover. | 0:33:13 | 0:33:16 | |
CRASHING AND BANGING | 0:33:16 | 0:33:19 | |
Well, a very good morning to you, Adeline. | 0:33:22 | 0:33:25 | |
HE MUTTERS | 0:33:25 | 0:33:26 | |
Thank you so much, John. | 0:33:26 | 0:33:28 | |
Very good of you to join us, I must say. | 0:33:30 | 0:33:32 | |
We're starting the morning | 0:33:33 | 0:33:36 | |
with a drawing of our beautiful Angelfield House. | 0:33:36 | 0:33:39 | |
You're most welcome to stay down there if you're more comfortable. | 0:33:41 | 0:33:45 | |
Ah! Ow! | 0:33:59 | 0:34:01 | |
Adeline! Adeline, this behaviour will simply not be tolerated! | 0:34:01 | 0:34:05 | |
Do you hear me? Do you hear me, Adeline? | 0:34:05 | 0:34:08 | |
Miss? | 0:34:21 | 0:34:23 | |
Yes, Emmeline? | 0:34:23 | 0:34:25 | |
Finished, miss. | 0:34:25 | 0:34:27 | |
Just a minute. | 0:34:32 | 0:34:34 | |
Very nice, dear. | 0:34:53 | 0:34:55 | |
Oh, I don't believe you've quite finished, Adeline. | 0:34:55 | 0:34:59 | |
THUNDER RUMBLES | 0:35:05 | 0:35:08 | |
CHILD: 'Margaret?' GIGGLING | 0:35:17 | 0:35:20 | |
MUFFLED GROANING | 0:35:47 | 0:35:50 | |
Do you believe in ghosts? | 0:36:08 | 0:36:10 | |
You asked me that before. | 0:36:12 | 0:36:13 | |
Your answer was evasive, as I recall. | 0:36:14 | 0:36:17 | |
Well, let's just say I'm beginning to. | 0:36:20 | 0:36:22 | |
Oh? Why would that be? | 0:36:22 | 0:36:24 | |
Anyway, Hester didn't. | 0:36:27 | 0:36:30 | |
Too sensible, poor thing. | 0:36:30 | 0:36:32 | |
It would have been easier for her | 0:36:32 | 0:36:34 | |
if she hadn't insisted on being so rational. | 0:36:34 | 0:36:37 | |
Is there really nowhere we can get hold of some decent fish? | 0:36:39 | 0:36:42 | |
Well, yes, you can, if you really want to. It's a bit of a palaver. | 0:36:42 | 0:36:47 | |
Emmeline? | 0:36:50 | 0:36:51 | |
She's out in the garden, miss. | 0:36:54 | 0:36:56 | |
I... I just saw her. | 0:36:56 | 0:36:58 | |
I can hear them outside. | 0:37:01 | 0:37:03 | |
DISTANT CHATTERING | 0:37:03 | 0:37:05 | |
That's strange. I could have sworn... | 0:37:11 | 0:37:14 | |
Was she wearing white, miss? | 0:37:18 | 0:37:20 | |
Yes, she was. | 0:37:21 | 0:37:23 | |
That'll be the ghost. | 0:37:24 | 0:37:26 | |
Oh, don't be ridiculous, Mrs Dunne. | 0:37:26 | 0:37:28 | |
It's probably just the sunlight flashing in the mirror. | 0:37:28 | 0:37:32 | |
Woman in white, miss. We've all seen her. | 0:37:32 | 0:37:36 | |
Well, I haven't, and I certainly don't intend to. | 0:37:36 | 0:37:40 | |
HANDLE RATTLES | 0:39:02 | 0:39:04 | |
SHE SHRIEKS | 0:39:15 | 0:39:17 | |
DISTANT LAUGHTER | 0:39:20 | 0:39:22 | |
WIND WHISTLES | 0:39:32 | 0:39:35 | |
During that summer, Dr Mawsley visited | 0:39:36 | 0:39:39 | |
a little more frequently than was perhaps medically necessary. | 0:39:39 | 0:39:43 | |
I'm at my wits' end with Adeline. | 0:39:45 | 0:39:47 | |
She's an aggressive and dangerous child. | 0:39:47 | 0:39:50 | |
She hardly eats anything. | 0:39:50 | 0:39:52 | |
It takes two of us to hold her down at bath-time. | 0:39:52 | 0:39:55 | |
She seems impervious to any kind of human emotion. | 0:39:55 | 0:39:58 | |
Is she intelligent? | 0:39:58 | 0:40:00 | |
It's hard to tell, given that she refuses to speak. | 0:40:00 | 0:40:03 | |
Soon after I arrived, I sent off for a number of studies of twins. | 0:40:05 | 0:40:09 | |
Really? | 0:40:09 | 0:40:11 | |
If I've understood correctly, | 0:40:11 | 0:40:13 | |
what tends to happen is that certain pairs of twins | 0:40:13 | 0:40:16 | |
divide up available emotions and personality traits between them. | 0:40:16 | 0:40:19 | |
Thus, one being placid and passive, the other wild and violent. | 0:40:19 | 0:40:25 | |
One clean, the other dirt-loving. | 0:40:25 | 0:40:27 | |
Of course, you would know much more about this than I. | 0:40:28 | 0:40:31 | |
Not necessarily. | 0:40:32 | 0:40:34 | |
Yes. | 0:40:34 | 0:40:35 | |
My wife's opinion... | 0:40:35 | 0:40:37 | |
I... I do sometimes discuss my patients with my wife. | 0:40:39 | 0:40:42 | |
She thinks the child may quite simply be wicked. | 0:40:44 | 0:40:48 | |
I think the explanation may be a little more nuanced than that. | 0:40:48 | 0:40:52 | |
No doubt. My wife is apt to take the layman's view. | 0:40:52 | 0:40:55 | |
I was thinking that the situation | 0:40:59 | 0:41:01 | |
does present a rare opportunity for original research. | 0:41:01 | 0:41:05 | |
Indeed. | 0:41:06 | 0:41:08 | |
In which I would be more than happy to assist you. | 0:41:08 | 0:41:11 | |
Hmm. | 0:41:14 | 0:41:15 | |
DOOR BELL RINGS | 0:41:31 | 0:41:33 | |
Where's Adeline? | 0:41:37 | 0:41:39 | |
Back soon. | 0:41:39 | 0:41:41 | |
KEY TURNS IN LOCK | 0:41:41 | 0:41:43 | |
-I hate you! -Adeline, behave, please. | 0:41:52 | 0:41:55 | |
ADELINE SHOUTS | 0:41:55 | 0:41:57 | |
-Emmeline! -Be careful, John. | 0:42:00 | 0:42:04 | |
Watch her, please. | 0:42:04 | 0:42:05 | |
Adeline! | 0:42:05 | 0:42:07 | |
Miss Barrow, take the door. | 0:42:07 | 0:42:09 | |
SHE STRAINS AND SCREAMS | 0:42:09 | 0:42:11 | |
-Emmeline! -Is she in? | 0:42:11 | 0:42:13 | |
Come on. Ready to go? | 0:42:14 | 0:42:15 | |
Come away. | 0:42:15 | 0:42:17 | |
LOUD SOBBING | 0:42:57 | 0:42:59 | |
KEY TURNS IN LOCK | 0:43:05 | 0:43:06 | |
Oh, my goodness, Emmeline. | 0:43:08 | 0:43:10 | |
Come in. Let me show you your room. | 0:43:26 | 0:43:28 | |
You'll like it, you'll have it all to yourself. | 0:43:28 | 0:43:31 | |
I tell you, no good'll come of this. | 0:43:33 | 0:43:36 | |
Adeline... | 0:43:49 | 0:43:50 | |
And naturally there have been reports that point to some evidence... | 0:43:56 | 0:43:59 | |
Hester and Dr Mawsley had become so engrossed | 0:43:59 | 0:44:03 | |
in their scientific experiment | 0:44:03 | 0:44:05 | |
and so relished their daily discussions | 0:44:05 | 0:44:08 | |
they quite failed to notice that their patients | 0:44:08 | 0:44:11 | |
were making no progress whatsoever. | 0:44:11 | 0:44:15 | |
They completely ignored the only and most obvious diagnosis - | 0:44:22 | 0:44:27 | |
the twins were missing each other desperately. | 0:44:27 | 0:44:30 | |
Emmeline! | 0:44:37 | 0:44:39 | |
Emmeline! | 0:44:39 | 0:44:40 | |
There you are. Come along, it's time for your tea. | 0:44:43 | 0:44:46 | |
Where have you been? I've been looking for you. | 0:44:48 | 0:44:51 | |
We went down to the woods. | 0:44:51 | 0:44:53 | |
-No, you should say, -"I -went down to the woods." | 0:44:53 | 0:44:57 | |
I went down to the woods. | 0:44:57 | 0:44:59 | |
Mm. And what did you do there? | 0:44:59 | 0:45:02 | |
We picked some bluebells. | 0:45:02 | 0:45:04 | |
Come on. | 0:45:05 | 0:45:07 | |
Where did you put your bluebells? | 0:45:17 | 0:45:19 | |
The bluebells you picked? Did you put them in the vase? | 0:45:22 | 0:45:26 | |
No, we saved them for Adeline. | 0:45:26 | 0:45:30 | |
Well, you correct her, you see, and she gets it right for a moment | 0:45:34 | 0:45:38 | |
but then she always goes back to saying "we". | 0:45:38 | 0:45:40 | |
-I'm afraid Adeline never speaks at all. -Oh, dear. | 0:45:40 | 0:45:43 | |
I don't think it would be prudent | 0:45:45 | 0:45:47 | |
to let her out of the house, do you? | 0:45:47 | 0:45:49 | |
I say, I don't think it would be safe | 0:45:50 | 0:45:53 | |
to let Adeline out of the house. | 0:45:53 | 0:45:55 | |
No. | 0:45:56 | 0:45:58 | |
KEY TURNS IN LOCK | 0:46:39 | 0:46:42 | |
I thought we'd agreed that the rooms not immediately in use | 0:46:45 | 0:46:48 | |
should be kept locked. | 0:46:48 | 0:46:50 | |
Yes, that's right, miss. | 0:46:50 | 0:46:51 | |
Well, just now I found the drawing-room open. | 0:46:51 | 0:46:54 | |
Not a bad idea to give it a bit of an airing. | 0:46:54 | 0:46:57 | |
Oh, so you opened it, did you? | 0:46:57 | 0:47:00 | |
Oh, no, miss. | 0:47:00 | 0:47:02 | |
I don't have the keys any more, remember? | 0:47:02 | 0:47:04 | |
You've got the keys. | 0:47:06 | 0:47:08 | |
THEY GIGGLE | 0:47:30 | 0:47:32 | |
FRANTIC KNOCKING | 0:47:35 | 0:47:37 | |
-What is it? -Why have you let Adeline out? | 0:47:39 | 0:47:42 | |
Oh... Oh, that's impossible! | 0:47:45 | 0:47:48 | |
I've just seen her this minute with Emmeline in...in the grounds! | 0:47:48 | 0:47:52 | |
Calm down. Here. | 0:47:52 | 0:47:53 | |
Adeline has been here, in this room, this past hour. | 0:47:55 | 0:47:58 | |
Ever since breakfast. | 0:48:00 | 0:48:01 | |
But... | 0:48:01 | 0:48:03 | |
I must be going mad! | 0:48:08 | 0:48:09 | |
SHE SOBS | 0:48:10 | 0:48:12 | |
FOOTSTEPS APPROACH | 0:48:28 | 0:48:31 | |
I'll thank you to leave this house immediately. | 0:48:41 | 0:48:44 | |
And send John for the child. | 0:48:46 | 0:48:47 | |
I can... | 0:48:47 | 0:48:49 | |
I'll speak to you later. | 0:48:49 | 0:48:51 | |
The next day, Hester had vanished. | 0:49:01 | 0:49:03 | |
Packed her bags, slipped away, never seen again. | 0:49:05 | 0:49:08 | |
-What happened to her? -I've no idea. | 0:49:08 | 0:49:10 | |
The doctor had disappeared as well, so we can make an educated guess. | 0:49:10 | 0:49:14 | |
Rumour was they'd disappeared to America. | 0:49:14 | 0:49:18 | |
Wherever it was, I'm sure they both flourished. | 0:49:18 | 0:49:22 | |
Hester was a resourceful little... THING. | 0:49:22 | 0:49:27 | |
CAR APPROACHES | 0:49:29 | 0:49:31 | |
CAR DOOR OPENS AND CLOSES | 0:49:31 | 0:49:33 | |
THE MISSUS: She's upstairs. | 0:49:33 | 0:49:35 | |
Emmeline! | 0:49:35 | 0:49:37 | |
SHE ROARS | 0:49:44 | 0:49:47 | |
But why did you do that? | 0:49:59 | 0:50:01 | |
I...I-I couldn't tell you. | 0:50:04 | 0:50:06 | |
Over the next five or six years, in spite of strenuous efforts | 0:50:14 | 0:50:19 | |
to maintain the status quo, bit by bit, everything changed. | 0:50:19 | 0:50:24 | |
First, a letter came from the asylum | 0:50:27 | 0:50:30 | |
saying that Isabelle had died of pneumonia. | 0:50:30 | 0:50:34 | |
FLIES BUZZ | 0:50:34 | 0:50:37 | |
A week or so later, we noticed that Charlie had stopped touching | 0:50:37 | 0:50:41 | |
the food that The Missus had left for him. | 0:50:41 | 0:50:45 | |
He'd gone. | 0:50:45 | 0:50:47 | |
I had an idea where Charlie might be. | 0:50:55 | 0:50:58 | |
I'd often followed him and watched what he did there with Isabelle. | 0:50:58 | 0:51:03 | |
FLIES BUZZ | 0:51:29 | 0:51:31 | |
I never said a word to the others. | 0:51:54 | 0:51:57 | |
If Master Charlie has gone, didn't we ought to tell someone? | 0:52:00 | 0:52:05 | |
No call to. | 0:52:05 | 0:52:07 | |
I collect the money from the bank end of the month, | 0:52:07 | 0:52:10 | |
same as always. | 0:52:10 | 0:52:12 | |
And if we run short, | 0:52:14 | 0:52:16 | |
I know a man that'll buy some of that wine from the cellar. | 0:52:16 | 0:52:19 | |
Oh, he wouldn't like that. | 0:52:19 | 0:52:21 | |
Anyroad, I better take him up his dinner. | 0:52:24 | 0:52:28 | |
Of course, The Missus was suffering from some kind of dementia. | 0:52:31 | 0:52:36 | |
But we drifted on pretty much as we always had. | 0:52:36 | 0:52:41 | |
PIERCING SCREAM | 0:52:50 | 0:52:53 | |
GIRL SINGS SOFTLY: "Ring A Ring O' Roses" | 0:53:14 | 0:53:17 | |
CHILD: 'Forgive me, please! | 0:53:33 | 0:53:35 | |
LOUD SCREAM | 0:53:36 | 0:53:38 | |
'Margaret, I'm sorry.' | 0:53:38 | 0:53:41 | |
HORN BLARES | 0:53:41 | 0:53:43 | |
DISTRESSED WAILING | 0:53:45 | 0:53:48 | |
SHE SOBS AND WAILS | 0:53:55 | 0:53:58 | |
SOBBING | 0:54:03 | 0:54:06 | |
SHE GASPS AND MUTTERS | 0:54:18 | 0:54:21 | |
SHE GRUNTS | 0:54:21 | 0:54:24 | |
Underground... | 0:54:26 | 0:54:28 | |
Emmeline? | 0:54:28 | 0:54:30 | |
Dead go underground... | 0:54:30 | 0:54:33 | |
Are you Emmeline? | 0:54:33 | 0:54:35 | |
SHE MUTTERS | 0:54:37 | 0:54:41 | |
MOANING | 0:54:48 | 0:54:51 | |
DOOR OPENS | 0:54:55 | 0:54:57 | |
KISS | 0:55:30 | 0:55:33 | |
You look like death warmed up. What's the matter? | 0:56:01 | 0:56:04 | |
I didn't get sleep much last night. | 0:56:04 | 0:56:06 | |
Oh? | 0:56:06 | 0:56:08 | |
Are you in a fit state to continue? | 0:56:08 | 0:56:10 | |
Yes, of course. | 0:56:10 | 0:56:12 | |
Um, we were talking about what happened after The Missus died. | 0:56:12 | 0:56:16 | |
John brought in a local boy to help with the garden. | 0:56:17 | 0:56:20 | |
Ambrose Proctor. | 0:56:20 | 0:56:22 | |
I don't see why we need him. | 0:56:23 | 0:56:25 | |
He's all right. | 0:56:26 | 0:56:29 | |
Keeps himself to himself. Works hard. | 0:56:29 | 0:56:32 | |
Gives me a bit of time for what needs doing in the house. | 0:56:32 | 0:56:35 | |
You said you were going to show me how to trim the topiary. | 0:56:38 | 0:56:41 | |
Well, I will, then. Huh? | 0:56:41 | 0:56:43 | |
Now, you check the safety latch first. Right? | 0:56:48 | 0:56:52 | |
Right. Bit wobbly-like, against the tree. | 0:56:52 | 0:56:56 | |
You need to test it before you go up it. | 0:56:56 | 0:56:59 | |
Right... | 0:57:01 | 0:57:02 | |
Up you go. | 0:57:03 | 0:57:05 | |
Never cut into the sun or towards your own shadow, all right? | 0:57:12 | 0:57:17 | |
-Yes. -And never look at the clouds. | 0:57:17 | 0:57:20 | |
They keep moving, see, and they throw you out. | 0:57:20 | 0:57:23 | |
Good girl. | 0:57:33 | 0:57:34 | |
Yes. | 0:57:34 | 0:57:37 | |
GIGGLING | 0:57:40 | 0:57:42 | |
BANGING | 0:57:59 | 0:58:02 | |
Where's the ladder? | 0:58:14 | 0:58:15 | |
Mr Digence took it. He's round the back, fixing the guttering. | 0:58:15 | 0:58:19 | |
-Obviously somebody had tampered with the safety catch. -Who? | 0:58:47 | 0:58:53 | |
We said no questions. | 0:58:53 | 0:58:55 | |
After that, everything's a blur. | 0:58:57 | 0:58:59 | |
But I did have the presence of mind to tell the police | 0:58:59 | 0:59:02 | |
that Uncle Charlie was away. | 0:59:02 | 0:59:04 | |
After the funeral, we had a meeting with the family solicitor, Mr Lomax. | 0:59:06 | 0:59:12 | |
So where exactly is your uncle? | 0:59:12 | 0:59:15 | |
Peru, I think. | 0:59:15 | 0:59:17 | |
-Peru? -I believe so. | 0:59:17 | 0:59:19 | |
And when will he be back? | 0:59:21 | 0:59:23 | |
I'm not sure. Quite soon, anyway. | 0:59:23 | 0:59:26 | |
You're 17 now, if I'm not mistaken. | 0:59:30 | 0:59:33 | |
That's right. | 0:59:33 | 0:59:35 | |
I'm just wondering what arrangements we can put in place | 0:59:35 | 0:59:39 | |
to make sure that you and your sister are properly looked after. | 0:59:39 | 0:59:43 | |
We're quite used to fending for ourselves. | 0:59:43 | 0:59:45 | |
-Yes, but I... -My grandmother knows the house very well. | 0:59:45 | 0:59:48 | |
She can look in every day, like. | 0:59:48 | 0:59:50 | |
There's no need for your grandmother to trouble herself. | 1:00:02 | 1:00:06 | |
Well, that's lucky, because I haven't got a grandmother. | 1:00:06 | 1:00:10 | |
So, who do you think killed John? | 1:00:17 | 1:00:19 | |
It certainly wasn't Emmeline, if that's what you're thinking. | 1:00:19 | 1:00:22 | |
And Ambrose had no motive. Quite the contrary. | 1:00:22 | 1:00:26 | |
Then... | 1:00:26 | 1:00:28 | |
We agreed no questions. | 1:00:31 | 1:00:33 | |
Patience, Miss Lea. | 1:00:34 | 1:00:36 | |
That was that. You got away with it. | 1:00:38 | 1:00:40 | |
Mr Lomax was very happy not to put himself out. | 1:00:44 | 1:00:48 | |
You got away with everything. | 1:00:48 | 1:00:50 | |
I can't understand why the police didn't properly investigate | 1:00:50 | 1:00:53 | |
John's death after all the... | 1:00:53 | 1:00:55 | |
I'll tell the story my own way, Miss Lea! | 1:00:56 | 1:00:59 | |
I think that's probably enough for today. | 1:01:03 | 1:01:05 | |
'We said no questions. | 1:01:15 | 1:01:17 | |
'It certainly wasn't Emmeline, if that's what you're thinking.' | 1:01:17 | 1:01:20 | |
CAMERA SHUTTER CLICKS | 1:02:02 | 1:02:05 | |
Sorry. Forgive me. | 1:03:00 | 1:03:02 | |
So you're treating Emmeline as well? | 1:03:25 | 1:03:28 | |
Yes. Yes, um... | 1:03:30 | 1:03:32 | |
As a matter of fact, she's even more seriously ill than Miss Winter. | 1:03:32 | 1:03:35 | |
Is she? | 1:03:35 | 1:03:37 | |
We tried to move her to hospital a few weeks ago | 1:03:37 | 1:03:39 | |
but she refused to get in the ambulance. | 1:03:39 | 1:03:42 | |
Do you know if anyone's living at Angelfield? | 1:03:44 | 1:03:47 | |
Why do you ask? | 1:03:47 | 1:03:48 | |
Well, I know it's pretty much a ruin, | 1:03:48 | 1:03:50 | |
I've been there a couple of times, | 1:03:50 | 1:03:52 | |
and the first time some enormous man chased me out of the house, | 1:03:52 | 1:03:54 | |
and the second time, in one of the rooms, | 1:03:54 | 1:03:56 | |
there was signs of someone living there. | 1:03:56 | 1:03:59 | |
He's called Aurelius Love. | 1:03:59 | 1:04:01 | |
He's not quite right in the head, but he's totally harmless. | 1:04:01 | 1:04:05 | |
Bit of a local character. Works with his mother in the bakery. | 1:04:05 | 1:04:09 | |
Was that what you wanted to ask me about? | 1:04:10 | 1:04:12 | |
Um...no, not really. | 1:04:12 | 1:04:15 | |
I think Miss Winter may have confessed to committing | 1:04:23 | 1:04:26 | |
a murder when she was a teenager. | 1:04:26 | 1:04:28 | |
Erm, well... Well, did she or didn't she? | 1:04:28 | 1:04:32 | |
I haven't got the whole story yet but somebody killed the gardener | 1:04:32 | 1:04:35 | |
and I can't see who else it could have been. | 1:04:35 | 1:04:37 | |
And I don't know what to do about it. | 1:04:37 | 1:04:40 | |
Do you have any evidence? | 1:04:40 | 1:04:42 | |
No, and even if I did... | 1:04:45 | 1:04:47 | |
Hmm. | 1:04:51 | 1:04:52 | |
I'm sure you're right. | 1:04:53 | 1:04:56 | |
Maybe wait until you've heard more? | 1:04:56 | 1:04:58 | |
Emmeline... | 1:05:01 | 1:05:03 | |
Dr Clifton tells me you've been asking questions about her. | 1:05:05 | 1:05:08 | |
How did you find out? | 1:05:08 | 1:05:09 | |
I saw her one night in the garden, | 1:05:09 | 1:05:11 | |
and eventually worked out who she was. | 1:05:11 | 1:05:14 | |
I see. | 1:05:14 | 1:05:15 | |
I wanted to know why she was digging in the garden | 1:05:15 | 1:05:18 | |
-and what it was she kept saying all the time. -Any theories? | 1:05:18 | 1:05:21 | |
Erm...I think what she's saying is, "Dead go underground." | 1:05:23 | 1:05:26 | |
Very good. | 1:05:33 | 1:05:35 | |
Miss Lea, you're doing very well. | 1:05:35 | 1:05:37 | |
So she IS looking for someone underground? | 1:05:37 | 1:05:40 | |
Who could it be? A child? | 1:05:40 | 1:05:42 | |
When are you going to tell me your story, Margaret? | 1:05:45 | 1:05:48 | |
I haven't got a story. | 1:05:48 | 1:05:50 | |
Everybody has a story. | 1:05:51 | 1:05:53 | |
If you keep it to yourself, it dies and comes back to haunt you. | 1:05:53 | 1:05:59 | |
You take my word for it. | 1:05:59 | 1:06:01 | |
Well, I have no intention of telling anyone my story. | 1:06:02 | 1:06:05 | |
Would you mind passing me that bottle? | 1:06:10 | 1:06:14 | |
Yes, of course. | 1:06:14 | 1:06:15 | |
What is it? | 1:06:19 | 1:06:21 | |
Liquid morphine. | 1:06:21 | 1:06:23 | |
For my wolf. | 1:06:28 | 1:06:30 | |
What did you say? | 1:06:40 | 1:06:42 | |
CHILD: 'I said I'm sorry. | 1:06:42 | 1:06:44 | |
'I was saving it specially.' | 1:06:44 | 1:06:46 | |
HORN BLARES | 1:07:07 | 1:07:08 | |
'It's me!' | 1:07:08 | 1:07:10 | |
I want to spend more time with Emmeline | 1:07:20 | 1:07:22 | |
over the next couple of days. | 1:07:22 | 1:07:25 | |
I always thought of Emmeline as a twin. | 1:07:27 | 1:07:29 | |
-MUFFLED ECHO: -I always thought of Emmeline as a twin. | 1:07:29 | 1:07:32 | |
-MUFFLED: -There is something special about losing a twin. | 1:07:35 | 1:07:37 | |
SHE SOBS | 1:07:37 | 1:07:40 | |
My dear, whatever's the matter? | 1:07:42 | 1:07:45 | |
I had a twin. | 1:07:53 | 1:07:56 | |
-Margaret, I'm sorry. -I'm not talking to you. | 1:07:59 | 1:08:02 | |
I'm not even going to walk with you. | 1:08:02 | 1:08:04 | |
-I'm going over to the other side. -Don't! | 1:08:04 | 1:08:07 | |
Walk by yourself. | 1:08:07 | 1:08:09 | |
Please forgive me, please! | 1:08:13 | 1:08:15 | |
It was all my fault. | 1:08:17 | 1:08:19 | |
She'd eaten a bar of chocolate that I'd been saving | 1:08:19 | 1:08:22 | |
and...I wanted to punish her. | 1:08:22 | 1:08:25 | |
Oh, all right. | 1:08:28 | 1:08:30 | |
Come on, then! | 1:08:31 | 1:08:33 | |
Moira! | 1:08:35 | 1:08:36 | |
CAR TYRES SCREECH | 1:08:36 | 1:08:38 | |
MARGARET SCREAMS | 1:08:38 | 1:08:39 | |
Feeling guilty doesn't do anybody any good. | 1:08:47 | 1:08:50 | |
It wasn't your fault. | 1:08:53 | 1:08:55 | |
My mother thought it was. | 1:08:58 | 1:09:00 | |
And she never forgave me. | 1:09:00 | 1:09:02 | |
I've been so lonely all these years without my sister. | 1:09:08 | 1:09:12 | |
We all have our stories. | 1:09:19 | 1:09:21 | |
You've been here before, haven't you? | 1:10:16 | 1:10:18 | |
You're Aurelius? | 1:10:18 | 1:10:20 | |
I frightened you when you came here. I didn't mean to. | 1:10:20 | 1:10:23 | |
No, I... It was my fault, I panicked. | 1:10:23 | 1:10:26 | |
-Look what they've done. -Yeah. | 1:10:26 | 1:10:29 | |
Developers. | 1:10:30 | 1:10:32 | |
Didn't you live here? | 1:10:32 | 1:10:34 | |
No, I just used to camp out, like. | 1:10:34 | 1:10:38 | |
I live with me mum. | 1:10:39 | 1:10:41 | |
I loved this house. | 1:10:44 | 1:10:46 | |
And what's going on down there? | 1:10:49 | 1:10:51 | |
Oh, yeah. Funny thing. | 1:10:51 | 1:10:54 | |
They found some bones. | 1:10:56 | 1:10:58 | |
Skeleton. | 1:10:58 | 1:11:00 | |
'She's an aggressive and dangerous child. | 1:11:24 | 1:11:28 | |
'I always thought of Emmeline as a twin. | 1:11:30 | 1:11:32 | |
'The twins were missing each other desperately.' | 1:11:34 | 1:11:39 | |
# Ring a ring a roses | 1:11:39 | 1:11:41 | |
# A pocketful of posies... # | 1:11:41 | 1:11:44 | |
'Emmeline...' | 1:11:44 | 1:11:46 | |
There were three of you. | 1:12:18 | 1:12:20 | |
There were three of you. | 1:12:22 | 1:12:24 | |
It wasn't just Adeline and Emmeline, there were three of you. | 1:12:24 | 1:12:28 | |
There were police at Angelfield. They've found a body. | 1:12:28 | 1:12:31 | |
-A skeleton. -Mm-hm. | 1:12:31 | 1:12:33 | |
There were three of us. And now there's one of us. | 1:12:35 | 1:12:38 | |
Oh, I'm sorry. | 1:12:40 | 1:12:42 | |
I'm so sorry, I got carried away. | 1:12:42 | 1:12:45 | |
Oh, I'm sorry. | 1:12:47 | 1:12:48 | |
So, you see, there WAS a ghost at Angelfield all along. | 1:13:09 | 1:13:13 | |
A ghost with no name. | 1:13:13 | 1:13:16 | |
It was me. | 1:13:18 | 1:13:20 | |
Like it or not, I was the ghost. | 1:13:20 | 1:13:22 | |
Who was your mother? | 1:13:24 | 1:13:26 | |
Oh, I've no idea. | 1:13:26 | 1:13:29 | |
All I do know is that when Isabelle went away to have the twins, | 1:13:31 | 1:13:36 | |
Charlie went on some kind of a rampage. | 1:13:36 | 1:13:39 | |
What I do know is that I was born a few months later than the twins, | 1:13:42 | 1:13:46 | |
and Charlie, God knows if it ever dawned on him... | 1:13:46 | 1:13:50 | |
..was the father of us all. | 1:13:54 | 1:13:56 | |
How did you get to Angelfield? | 1:13:58 | 1:14:01 | |
All I know is what John The Dig told me. | 1:14:01 | 1:14:03 | |
Which was what? | 1:14:03 | 1:14:05 | |
He started to notice his strawberries | 1:14:07 | 1:14:09 | |
and his carrots were disappearing from his vegetable garden. | 1:14:09 | 1:14:12 | |
And he thought he saw | 1:14:12 | 1:14:14 | |
signs of someone sleeping in the potting shed. | 1:14:14 | 1:14:18 | |
Also, this someone was not properly turning off the outside tap. | 1:14:19 | 1:14:24 | |
Hey, you! | 1:14:41 | 1:14:43 | |
John and The Missus took me in. | 1:14:45 | 1:14:47 | |
Or he did, really. | 1:14:47 | 1:14:49 | |
Are you thinking what I'm thinking? | 1:14:51 | 1:14:54 | |
The hair? Yes. | 1:14:54 | 1:14:55 | |
Should we tell them? | 1:14:55 | 1:14:57 | |
And I spent as much of the time as I could with them. | 1:15:02 | 1:15:06 | |
He taught me how to read out of his seed catalogues. | 1:15:07 | 1:15:10 | |
But of course Adeline never even wanted to learn to read. | 1:15:17 | 1:15:20 | |
She was...? | 1:15:21 | 1:15:22 | |
Genuinely dangerous, yes. | 1:15:24 | 1:15:26 | |
Violence was always her first instinct. | 1:15:29 | 1:15:31 | |
SHE SCREAMS | 1:15:41 | 1:15:44 | |
Finally, she killed John. | 1:15:58 | 1:16:01 | |
What made her do it? | 1:16:01 | 1:16:03 | |
She hated him for some reason. | 1:16:07 | 1:16:10 | |
She seemed to think he was responsible | 1:16:10 | 1:16:13 | |
for taking her away from Emmeline that time. | 1:16:13 | 1:16:16 | |
Or perhaps she was jealous of all the attention he gave me. | 1:16:16 | 1:16:22 | |
He was the closest I ever had to a real parent. | 1:16:33 | 1:16:39 | |
GASPS AND CLATTERING | 1:16:39 | 1:16:41 | |
HE MUTTERS UNINTELLIGIBLY | 1:16:50 | 1:16:52 | |
After John's death, we were alone with Ambrose. | 1:17:04 | 1:17:09 | |
It's a lot harder than it looks. | 1:17:14 | 1:17:16 | |
I was never easy in my mind about him. | 1:17:16 | 1:17:19 | |
Don't you touch Emmeline, you hear me? | 1:17:24 | 1:17:27 | |
I haven't touched Emmeline. | 1:17:27 | 1:17:29 | |
Good. Well, don't. | 1:17:29 | 1:17:31 | |
It's not Emmeline I wants to touch. | 1:17:38 | 1:17:40 | |
Even though she's kinder than what you are. | 1:17:41 | 1:17:44 | |
Why can't you be kind like Emmeline? | 1:17:52 | 1:17:53 | |
'Before long it was obvious that Emmeline was pregnant | 1:18:04 | 1:18:08 | |
'and I dismissed Ambrose. | 1:18:08 | 1:18:10 | |
'I decided not to ask for any help with delivering the baby.' | 1:18:16 | 1:18:21 | |
SCREAMING | 1:18:21 | 1:18:23 | |
'I read up for it as much as I could. | 1:18:23 | 1:18:25 | |
'So, I was deluded, | 1:18:26 | 1:18:29 | |
'Adeline was insane and Emmeline was helpless. | 1:18:29 | 1:18:33 | |
'All the same, somehow or other...' | 1:18:37 | 1:18:40 | |
That's it, Emmeline, keep going. | 1:18:40 | 1:18:42 | |
'..we managed.' | 1:18:42 | 1:18:43 | |
BABY CRIES | 1:18:44 | 1:18:45 | |
It's a boy, Emmeline. It's a boy. | 1:18:46 | 1:18:50 | |
There. | 1:19:06 | 1:19:09 | |
Shall I leave you to rest a while? | 1:19:14 | 1:19:16 | |
No. | 1:19:18 | 1:19:20 | |
I want to finish the story tonight. The wolf is at the door. | 1:19:21 | 1:19:25 | |
It's time to tell you the Thirteenth Tale. | 1:19:28 | 1:19:31 | |
I realised very early on how jealous Adeline was | 1:19:39 | 1:19:43 | |
and how much she resented the baby. | 1:19:43 | 1:19:46 | |
Please go on. | 1:20:00 | 1:20:01 | |
And before long, I discovered the baby was in real danger. | 1:20:04 | 1:20:09 | |
I knew I had to keep her under constant observation. | 1:20:49 | 1:20:54 | |
BABY GRIZZLES | 1:22:33 | 1:22:35 | |
Shh, shh... | 1:22:43 | 1:22:44 | |
< SCREAMING | 1:23:01 | 1:23:02 | |
Emmeline! | 1:23:02 | 1:23:03 | |
Adeline, no! Emmeline! Adeline, leave her alone! | 1:23:16 | 1:23:21 | |
It's the only time I've ever seen Emmeline fight back. | 1:23:21 | 1:23:25 | |
The baby's safe, Emmeline! He's safe! | 1:23:28 | 1:23:30 | |
Emmeline! No, Emmeline! No! | 1:23:30 | 1:23:35 | |
SCREAMING ECHOES | 1:23:40 | 1:23:43 | |
SIZZLING, SHE SCREAMS | 1:24:00 | 1:24:02 | |
Emmeline! | 1:24:06 | 1:24:08 | |
< SCREAMING CONTINUES | 1:24:11 | 1:24:14 | |
SCREAMING ECHOES | 1:24:19 | 1:24:21 | |
-You saved the baby's life. -Yes. | 1:24:43 | 1:24:45 | |
I left the baby | 1:24:48 | 1:24:51 | |
outside the cottage belonging to the baker's widow, Mrs Love. | 1:24:51 | 1:24:56 | |
Everybody knew she had a kind heart. | 1:24:59 | 1:25:03 | |
-Aurelius Love. -Yes. | 1:25:03 | 1:25:05 | |
He turned out to be a bit simple, but warm-hearted... | 1:25:06 | 1:25:09 | |
..like his mother. | 1:25:10 | 1:25:12 | |
When I got back to the house, | 1:25:22 | 1:25:24 | |
of course, everyone assumed...I was Adeline. | 1:25:24 | 1:25:31 | |
When we started, Margaret, I told you this was a story about twins. | 1:25:38 | 1:25:42 | |
What I didn't tell you was that I wasn't one of them. | 1:25:42 | 1:25:45 | |
Oh, I longed to be, | 1:25:46 | 1:25:49 | |
but they always kept me out. | 1:25:49 | 1:25:53 | |
So I stayed outside. | 1:25:53 | 1:25:54 | |
That's what made me a writer. | 1:25:57 | 1:25:59 | |
You lost your twin, Margaret. | 1:26:06 | 1:26:08 | |
Margaret... Oh, that was terrible. | 1:26:12 | 1:26:16 | |
But you had her with you for a while. | 1:26:18 | 1:26:20 | |
She's always with me. | 1:26:23 | 1:26:24 | |
I envy you. | 1:26:27 | 1:26:28 | |
Oh, I'm so tired. | 1:26:37 | 1:26:39 | |
Hee-hee-hee, the wolf is in the room. | 1:26:47 | 1:26:50 | |
Thank you. | 1:27:27 | 1:27:28 | |
Margaret? | 1:27:30 | 1:27:31 | |
I didn't want you to go before I had a chance to say goodbye. | 1:27:32 | 1:27:36 | |
I'm going to stay in the area for a while, | 1:27:36 | 1:27:38 | |
at least until after the funeral. | 1:27:38 | 1:27:39 | |
Good. Good, well, I'll see you there. | 1:27:39 | 1:27:42 | |
And then will you go back to London? | 1:27:43 | 1:27:46 | |
Um, I'm not sure. I think I'll stay up here somewhere to write the book. | 1:27:47 | 1:27:50 | |
I'll let you know what I decide. | 1:27:51 | 1:27:53 |