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Mr Venus, I wish to solicit your opinion. | 0:01:00 | 0:01:03 | |
A sudden emergency, Mr Bucket. | 0:01:04 | 0:01:06 | |
I'll meet you outside Jacob Marley's residence. | 0:01:06 | 0:01:09 | |
It's rather exciting, this new method, | 0:01:10 | 0:01:13 | |
trying to catch this devil in the detail. | 0:01:13 | 0:01:15 | |
Are you excited? | 0:01:17 | 0:01:18 | |
I have two days before I resume my former office. | 0:01:18 | 0:01:23 | |
Two days to get my man for this murder. | 0:01:23 | 0:01:25 | |
The clock is ticking. | 0:01:27 | 0:01:29 | |
I do not have time to be excited. | 0:01:29 | 0:01:32 | |
BABY CRIES | 0:01:38 | 0:01:41 | |
Shh, shh, shh... | 0:01:59 | 0:02:01 | |
This, this, the actual true facts right here, | 0:02:13 | 0:02:16 | |
how Inspector Thompson cornered and caged the savage killer of Marley. | 0:02:16 | 0:02:19 | |
Ain't right that such a thing be made entertaining. | 0:02:19 | 0:02:21 | |
It's grubby, it's nasty and I don't want to hear it, John, | 0:02:21 | 0:02:24 | |
-if it's all the same to you. -Well, it ain't right they ever | 0:02:24 | 0:02:26 | |
dragged you in, Mr C, just ain't right at all. | 0:02:26 | 0:02:28 | |
How could that Bucket ever put you in the frame? | 0:02:28 | 0:02:31 | |
I said I don't want to hear it, John! I've heard enough about it. | 0:02:31 | 0:02:33 | |
The murderer's been got. There's no more to be said. | 0:02:33 | 0:02:36 | |
Footman? | 0:02:40 | 0:02:42 | |
He is never to present himself here again. | 0:02:59 | 0:03:02 | |
You never want to set eyes on his face, nor hear his... | 0:03:02 | 0:03:06 | |
blandishments, now or ever in the future. | 0:03:06 | 0:03:09 | |
Mary, wait. | 0:03:12 | 0:03:14 | |
I'll tell him myself. | 0:03:14 | 0:03:15 | |
You smile, sir. Why? | 0:03:26 | 0:03:29 | |
I always smile when I see you. | 0:03:29 | 0:03:31 | |
Is something amiss? | 0:03:34 | 0:03:36 | |
I know about her. | 0:03:36 | 0:03:38 | |
-Her? -Your lady-friend. I know. | 0:03:40 | 0:03:43 | |
-You have this all so very wrong. -No, I don't believe I do. | 0:03:46 | 0:03:48 | |
If you will allow me to explain. | 0:03:48 | 0:03:49 | |
Everything that comes out of your mouth is a filthy lie | 0:03:49 | 0:03:52 | |
and I want no more of them. | 0:03:52 | 0:03:53 | |
Very well, Miss Havisham. I will return when you are calmer. | 0:03:56 | 0:03:58 | |
You will not return, not to this house. | 0:03:58 | 0:04:00 | |
And if you should, I will call the constables. | 0:04:00 | 0:04:03 | |
So, where is your smile now, sir? | 0:04:04 | 0:04:06 | |
You need to eat something. What are you doing? | 0:04:20 | 0:04:24 | |
I keep thinking I can hear her cry for me. | 0:04:24 | 0:04:27 | |
And every time I think I hear her cry, there's milk. | 0:04:28 | 0:04:32 | |
Here, let me. | 0:04:32 | 0:04:33 | |
BABY CRIES | 0:04:35 | 0:04:37 | |
Oh, gosh! | 0:04:37 | 0:04:39 | |
Oh, God, there it is again! | 0:04:39 | 0:04:42 | |
Can you really not hear anything? | 0:04:43 | 0:04:46 | |
I have to go out today to make arrangements. | 0:04:46 | 0:04:50 | |
Of course. To bury her. | 0:04:50 | 0:04:52 | |
Maybe then I'll stop thinking I can hear her cry for me. | 0:04:52 | 0:04:56 | |
Maybe I'll always think it. | 0:04:58 | 0:04:59 | |
It'll pass. | 0:05:01 | 0:05:02 | |
I'll try not to be too long. | 0:05:03 | 0:05:06 | |
Can you find somewhere pretty for her to lie? | 0:05:06 | 0:05:08 | |
Perhaps near a tree. Somewhere peaceful. | 0:05:08 | 0:05:11 | |
I'll do my best. | 0:05:11 | 0:05:12 | |
-Morning, Daisy. -Morning, Emily. | 0:05:16 | 0:05:18 | |
HE SNORES | 0:05:24 | 0:05:26 | |
Have I been here all night? | 0:05:32 | 0:05:33 | |
Er, looks that way, sir. | 0:05:33 | 0:05:35 | |
Tell the landlord I want another bottle of rum. | 0:05:37 | 0:05:39 | |
Will you do something for me, sir? | 0:05:41 | 0:05:44 | |
Will you, er, pass on the respects of the Cratchit family | 0:05:44 | 0:05:46 | |
to your young lady? | 0:05:46 | 0:05:48 | |
My daughter, Martha, says that Miss Honoria is much | 0:05:48 | 0:05:50 | |
missed at the dressmakers. I told her she's looking after her poorly | 0:05:50 | 0:05:53 | |
aunt and family always comes first. | 0:05:53 | 0:05:57 | |
Sir? | 0:05:57 | 0:05:58 | |
Yes. | 0:05:58 | 0:06:00 | |
Yes, it does. | 0:06:01 | 0:06:03 | |
Family comes first, | 0:06:03 | 0:06:06 | |
above everything else. | 0:06:06 | 0:06:08 | |
Thank you, Mrs Cratchit. | 0:06:09 | 0:06:11 | |
I haven't done anything. | 0:06:11 | 0:06:13 | |
You've made me see sense. | 0:06:13 | 0:06:14 | |
-BABY CRIES -Shh, shh, shh... | 0:06:39 | 0:06:42 | |
Mr Bucket! | 0:06:47 | 0:06:48 | |
This was your sudden emergency? | 0:06:50 | 0:06:53 | |
This is Madame Snuggles. Belongs to the glove-stretcher's wife. | 0:06:53 | 0:06:58 | |
A beloved companion of many years. Has an infestation of moth. | 0:06:58 | 0:07:02 | |
There are irrefutable certainties to this case, Mr Venus. | 0:07:02 | 0:07:06 | |
Marley is killed by a blow to the temple. | 0:07:07 | 0:07:12 | |
A splinter from the murder weapon is embedded in his scalp. | 0:07:12 | 0:07:15 | |
Your thoughts on such a weapon, Mr Venus? | 0:07:15 | 0:07:19 | |
A practised felon, a professional cut-throat takes care of the tools | 0:07:19 | 0:07:22 | |
of his trade. | 0:07:22 | 0:07:23 | |
What use is it to him, a cosh that splinters? | 0:07:23 | 0:07:26 | |
The accused in the cells, waiting to hang, used a metal cudgel. | 0:07:26 | 0:07:31 | |
I feel, Mr Venus, that this murder weapon | 0:07:31 | 0:07:37 | |
is an item a man might just pick up, | 0:07:37 | 0:07:41 | |
something meant for a purpose other than the cracking of skulls. | 0:07:41 | 0:07:45 | |
What else are we certain of? | 0:07:47 | 0:07:49 | |
That when the blow was struck, er, the killer | 0:07:49 | 0:07:51 | |
and Marley were face to face. | 0:07:51 | 0:07:53 | |
And the blow itself? | 0:07:53 | 0:07:55 | |
Not one that I would associate with a powerful man. | 0:07:55 | 0:07:58 | |
There was force, yes, but it is glancing, almost fearful. | 0:07:58 | 0:08:04 | |
A fraction of an inch and Marley could still be alive. | 0:08:04 | 0:08:06 | |
I would call it an unlucky blow. | 0:08:06 | 0:08:09 | |
Unlucky for Jacob Marley. | 0:08:11 | 0:08:13 | |
The killer strikes and runs. | 0:08:28 | 0:08:31 | |
He doesn't stop to take Marley's watch, which is still ticking | 0:08:32 | 0:08:36 | |
away on his corpse, and it's a good, expensive watch. | 0:08:36 | 0:08:40 | |
He panics. | 0:08:40 | 0:08:42 | |
So, another certainty. | 0:08:42 | 0:08:44 | |
The killer is not a hardened criminal, | 0:08:44 | 0:08:48 | |
because they do not panic. | 0:08:48 | 0:08:50 | |
Then what are they doing at night by the docks, | 0:08:50 | 0:08:53 | |
which is the haunt of malefactors and cut-throats? | 0:08:53 | 0:08:56 | |
Marley was a dark man, | 0:08:59 | 0:09:01 | |
at home in dark places. | 0:09:01 | 0:09:04 | |
But the killer... | 0:09:06 | 0:09:07 | |
Do you remember what I said to you early on in this case? | 0:09:09 | 0:09:13 | |
Money never lies. | 0:09:13 | 0:09:15 | |
Debt is the black heart of this crime. | 0:09:16 | 0:09:20 | |
I feel it. | 0:09:22 | 0:09:23 | |
To the murder site! | 0:09:25 | 0:09:26 | |
Do you think you've been clever? | 0:09:36 | 0:09:38 | |
I don't know what you're talking about. | 0:09:38 | 0:09:40 | |
-You told her about Sally. -No, I didn't. | 0:09:40 | 0:09:42 | |
-Of course it was you, you snivelling wretch! -I told her nothing. | 0:09:42 | 0:09:45 | |
I'm delighted if she's found out that you are actually married, | 0:09:50 | 0:09:53 | |
because it's over, isn't it? You're finished. | 0:09:53 | 0:09:55 | |
You think I can't come back from this? | 0:09:55 | 0:09:57 | |
How often has my sister begged for me to come home? | 0:09:57 | 0:10:00 | |
Perhaps it's time I did just that. | 0:10:00 | 0:10:01 | |
I'll buy her a gift. A pineapple, perhaps, | 0:10:01 | 0:10:04 | |
she adores pineapple. | 0:10:04 | 0:10:05 | |
It will remind her of our childhood trips with our father | 0:10:05 | 0:10:08 | |
to the glasshouses at Kew. | 0:10:08 | 0:10:10 | |
I will apologise for being such a fool and she would forgive me | 0:10:10 | 0:10:13 | |
and we'd be together again, brother and sister in Satis House. | 0:10:13 | 0:10:17 | |
Arthur and Amelia Havisham. | 0:10:17 | 0:10:20 | |
United, against you. | 0:10:20 | 0:10:23 | |
Shh, shh, shh, shh... | 0:10:44 | 0:10:45 | |
BABY CRIES | 0:10:45 | 0:10:48 | |
KNOCK AT THE DOOR | 0:11:01 | 0:11:03 | |
-James. -Where's Frances? -She's out. | 0:11:05 | 0:11:08 | |
Good. Not that it would matter, because I would still do this. | 0:11:08 | 0:11:10 | |
Frances sent you a note last night. Did you get it? | 0:11:10 | 0:11:13 | |
Oh, I threw it on the fire unread, I knew what it would say. | 0:11:13 | 0:11:16 | |
Honoria, marry me. | 0:11:16 | 0:11:18 | |
I want to be your husband. | 0:11:18 | 0:11:20 | |
I want to be the father of our child. | 0:11:20 | 0:11:22 | |
I want it more than anything else in the world. | 0:11:22 | 0:11:25 | |
What are we waiting for? | 0:11:25 | 0:11:27 | |
Your father's blessing? My promotion? | 0:11:27 | 0:11:29 | |
All that matters is that we love each other. | 0:11:29 | 0:11:32 | |
Oh, I forgot to kneel, wait. | 0:11:34 | 0:11:36 | |
My beautiful girl. | 0:11:40 | 0:11:42 | |
Be my wife. | 0:11:42 | 0:11:44 | |
James, do I look different to you? | 0:11:48 | 0:11:51 | |
You look tired. | 0:11:54 | 0:11:55 | |
The note you threw on the fire said the baby was coming | 0:12:06 | 0:12:09 | |
and a doctor was needed. | 0:12:09 | 0:12:10 | |
The baby? | 0:12:13 | 0:12:14 | |
She was born dead, James. | 0:12:16 | 0:12:17 | |
Our daughter was born dead. | 0:12:19 | 0:12:21 | |
BABY GURGLES | 0:12:23 | 0:12:25 | |
Where is she? | 0:12:39 | 0:12:40 | |
The baby, can I see her? | 0:12:41 | 0:12:45 | |
Frances is making arrangements for her. | 0:12:48 | 0:12:51 | |
She'll say prayers, give her flowers. | 0:12:51 | 0:12:53 | |
She was very beautiful. | 0:12:56 | 0:12:57 | |
Esther Frances. | 0:12:59 | 0:13:00 | |
Esther... | 0:13:02 | 0:13:03 | |
A good name, I like it. | 0:13:05 | 0:13:06 | |
James, this is the end now. | 0:13:08 | 0:13:09 | |
What do you mean? | 0:13:13 | 0:13:14 | |
For us. It's the end. | 0:13:14 | 0:13:16 | |
This is goodbye. | 0:13:16 | 0:13:18 | |
Honoria, my sweetheart. | 0:13:18 | 0:13:20 | |
Terrible things happen, babies are lost and people grieve, | 0:13:23 | 0:13:28 | |
but they go on. | 0:13:28 | 0:13:29 | |
Well, that is people. It is not me. | 0:13:29 | 0:13:31 | |
I want you to leave now. It's over. | 0:13:34 | 0:13:36 | |
You don't mean this. You don't want this, it's just the shock. | 0:13:36 | 0:13:40 | |
-Please, go. -Honoria! -No, do not! | 0:13:40 | 0:13:42 | |
You are my world, my heart's blood, I love you. | 0:13:42 | 0:13:46 | |
And I loved you. | 0:13:46 | 0:13:48 | |
So much. All I could see was you. | 0:13:48 | 0:13:51 | |
But now, all I can see is her face. | 0:13:52 | 0:13:54 | |
This is a judgment on us, James. | 0:13:57 | 0:13:59 | |
Because of us, she can't even be buried properly. | 0:13:59 | 0:14:02 | |
She has to be hidden away like some dirty little secret, | 0:14:02 | 0:14:07 | |
lying there all alone, | 0:14:07 | 0:14:10 | |
a little girl in the dark. | 0:14:10 | 0:14:12 | |
And it's because of us. | 0:14:14 | 0:14:16 | |
We both died with our daughter last night. | 0:14:19 | 0:14:21 | |
We are ghosts of the people we used to be. | 0:14:24 | 0:14:27 | |
It is ended. | 0:14:31 | 0:14:33 | |
I want you to go. | 0:14:39 | 0:14:40 | |
Go and never come back. | 0:14:43 | 0:14:46 | |
I am nothing without you. | 0:15:02 | 0:15:03 | |
I am nobody. | 0:15:06 | 0:15:08 | |
Goodbye, Captain Hawdon. | 0:15:13 | 0:15:14 | |
BABY CRIES | 0:15:34 | 0:15:36 | |
She's so hungry. | 0:15:54 | 0:15:56 | |
She's had nothing yet, nothing at all. | 0:15:56 | 0:15:58 | |
Her name is Esther. Esther Fr... | 0:16:06 | 0:16:10 | |
Just Esther. | 0:16:10 | 0:16:11 | |
She's not in. I already knocked. | 0:17:00 | 0:17:02 | |
Might I ask how you got this address? | 0:17:04 | 0:17:06 | |
I drove by here. | 0:17:06 | 0:17:08 | |
I saw you embrace her, this woman of yours. | 0:17:08 | 0:17:10 | |
What is she, your mistress? | 0:17:10 | 0:17:13 | |
You share these squalid lodgings, so your wife, perhaps? | 0:17:13 | 0:17:16 | |
I do hope you married her. At least that would be decent. | 0:17:16 | 0:17:19 | |
It seems you have already decided what she is. | 0:17:19 | 0:17:22 | |
It's the money, isn't it? | 0:17:22 | 0:17:24 | |
You thought, "Here's some poor rich woman I can play." | 0:17:24 | 0:17:26 | |
You leap to so many conclusions, it would be dishonourable | 0:17:26 | 0:17:29 | |
-for me to contradict you. -Because you cannot contradict me. | 0:17:29 | 0:17:31 | |
-You are a fraud. -Meriwether? | 0:17:31 | 0:17:33 | |
What's she doing here? She knows about me. | 0:17:39 | 0:17:42 | |
She does. | 0:17:42 | 0:17:43 | |
And since you live together, | 0:17:43 | 0:17:45 | |
I suppose for the sake of good manners | 0:17:45 | 0:17:46 | |
I should call you Mrs Compeyson. | 0:17:46 | 0:17:48 | |
Mrs? | 0:17:57 | 0:17:58 | |
Oh, no, I'm Miss. Miss Compeyson. | 0:17:58 | 0:18:02 | |
I'm his sister. | 0:18:03 | 0:18:05 | |
Would you step into my carriage? | 0:18:10 | 0:18:12 | |
Not you. | 0:18:15 | 0:18:17 | |
It's an ugly tale, Miss Havisham. | 0:18:26 | 0:18:28 | |
I lost my heart to a bad man. | 0:18:28 | 0:18:33 | |
I ran away with him. | 0:18:34 | 0:18:36 | |
He was cruel. Cast me aside. | 0:18:36 | 0:18:39 | |
I could have ended up a street woman. | 0:18:41 | 0:18:43 | |
I thought I might throw myself from a bridge at Blackfriars | 0:18:44 | 0:18:48 | |
and let the river take me. | 0:18:48 | 0:18:49 | |
But my brother searched for me, | 0:18:51 | 0:18:54 | |
found me and kept me safe. | 0:18:54 | 0:18:57 | |
But I saw him embrace you. | 0:18:58 | 0:19:00 | |
You have a brother, do you not? | 0:19:00 | 0:19:02 | |
Do you and he never embrace? | 0:19:02 | 0:19:04 | |
We used to. Once. | 0:19:06 | 0:19:08 | |
Why did he say nothing to me about you? | 0:19:10 | 0:19:13 | |
I told him he shouldn't. | 0:19:14 | 0:19:16 | |
Someone of your standing, your status, | 0:19:17 | 0:19:21 | |
associated with one such as myself. | 0:19:21 | 0:19:25 | |
A woman banished by good society. | 0:19:25 | 0:19:28 | |
I told my brother you'd drop him in an instant. | 0:19:30 | 0:19:32 | |
I'm sorry. | 0:19:36 | 0:19:38 | |
I'm terribly sorry. | 0:19:41 | 0:19:42 | |
She believed me. She's tricky, though. Hard work. | 0:19:59 | 0:20:02 | |
-Is that what you like about her? -It's the money I like. | 0:20:02 | 0:20:05 | |
You never told me she was beautiful. | 0:20:05 | 0:20:07 | |
This should've been finished weeks ago. You're delaying! | 0:20:07 | 0:20:10 | |
You want to get in her bed. | 0:20:12 | 0:20:14 | |
No, we had a deal. Anything but that. You don't get in her bed! | 0:20:14 | 0:20:17 | |
You're imagining things. | 0:20:17 | 0:20:19 | |
Why are you here? | 0:20:44 | 0:20:46 | |
You should hate me. Why don't you hate me? | 0:20:47 | 0:20:50 | |
Satis House! | 0:21:25 | 0:21:27 | |
This... | 0:21:32 | 0:21:34 | |
is the exact spot where Jacob Marley lost his life. | 0:21:34 | 0:21:37 | |
Put Madame Snuggles down a moment, Mr Venus. | 0:21:42 | 0:21:45 | |
I require your assistance. | 0:21:45 | 0:21:47 | |
You are in debt to Jacob Marley. | 0:21:49 | 0:21:52 | |
Why have you come here, at night, to meet him, instead of at his house | 0:21:53 | 0:21:58 | |
or his place of business? | 0:21:58 | 0:22:00 | |
Because this meeting is secret. I want it to be secret. | 0:22:00 | 0:22:04 | |
I don't want to be seen by anyone I know. | 0:22:04 | 0:22:07 | |
I'm ashamed. | 0:22:07 | 0:22:08 | |
I'm desperate. | 0:22:09 | 0:22:10 | |
I'm scared. | 0:22:12 | 0:22:14 | |
Why have you come? | 0:22:14 | 0:22:15 | |
Perhaps I've come to ask you for more time... | 0:22:15 | 0:22:18 | |
to pay. | 0:22:18 | 0:22:19 | |
Perhaps I want to ask you, beg you, please, to be lenient... | 0:22:20 | 0:22:25 | |
..to be kind. | 0:22:27 | 0:22:28 | |
I'm Jacob Marley. I enjoy your desperation. | 0:22:28 | 0:22:32 | |
I enjoy your shame and fear. | 0:22:32 | 0:22:35 | |
That is meat and drink to me. | 0:22:35 | 0:22:37 | |
Why should I be kind? | 0:22:38 | 0:22:40 | |
Well, perhaps I have a family, little ones. | 0:22:40 | 0:22:44 | |
I don't care. | 0:22:44 | 0:22:46 | |
I lent you a shilling but now it's pounds and pounds | 0:22:48 | 0:22:52 | |
and every day it gets worse and I enjoy that, | 0:22:52 | 0:22:55 | |
because now I own you. | 0:22:55 | 0:22:57 | |
There is not one part of your life I don't control. | 0:22:57 | 0:23:01 | |
The boots on your feet, the clothes on your back, | 0:23:01 | 0:23:04 | |
every mouthful of drink, every bite of food, every waking moment. | 0:23:04 | 0:23:09 | |
The roof over your head, the bed you lie down on. | 0:23:09 | 0:23:14 | |
Because whether you go destitute or not is at my say so. | 0:23:14 | 0:23:18 | |
There is nowhere you are free from me. | 0:23:18 | 0:23:21 | |
Every brick and every stick is mine. | 0:23:21 | 0:23:23 | |
Your life, the life of your loved ones is mine. All of it! | 0:23:23 | 0:23:28 | |
Crushed by the debt you owe to me | 0:23:28 | 0:23:31 | |
and that gives me pleasure, so why should I be kind? | 0:23:31 | 0:23:34 | |
Ah! | 0:23:34 | 0:23:36 | |
Exactly so, Mr Venus. | 0:23:43 | 0:23:46 | |
Our killer is an ordinary man, pushed to the very limit | 0:23:48 | 0:23:52 | |
of what was bearable. | 0:23:52 | 0:23:53 | |
And he snapped. | 0:23:55 | 0:23:57 | |
Don't announce me, I want to surprise her. | 0:24:04 | 0:24:08 | |
DISTANT LAUGHTER | 0:24:22 | 0:24:24 | |
You haven't touched your cordial, Mr Venus. | 0:24:55 | 0:24:57 | |
I'm worried about this man. | 0:24:57 | 0:24:59 | |
The killer? | 0:25:00 | 0:25:02 | |
He's just ordinary. | 0:25:02 | 0:25:03 | |
Driven to a terrible act, but ordinary. | 0:25:05 | 0:25:08 | |
And now with you so hard on his tail, I... | 0:25:08 | 0:25:11 | |
I fear for him. | 0:25:11 | 0:25:13 | |
You have a gentle heart, my friend, | 0:25:13 | 0:25:17 | |
but there must and will be justice and I will pursue it | 0:25:17 | 0:25:22 | |
to my dying breath. | 0:25:22 | 0:25:23 | |
But consider what that justice will be for his crime, though. | 0:25:23 | 0:25:26 | |
It is the hangman's noose for him, Mr Bucket. | 0:25:26 | 0:25:29 | |
An ordinary man. | 0:25:29 | 0:25:31 | |
Mr Venus, the killer took a weapon with him. | 0:25:31 | 0:25:35 | |
He went to meet Marley with malice a forethought. | 0:25:35 | 0:25:39 | |
Pre-meditation. | 0:25:41 | 0:25:43 | |
So he might have been ordinary once, but now he is a murderer. | 0:25:43 | 0:25:49 | |
-Pies, gents. -Thank you. | 0:25:53 | 0:25:55 | |
Mmm. | 0:25:56 | 0:25:57 | |
KNOCK AT THE DOOR | 0:26:36 | 0:26:38 | |
Inspector! | 0:26:40 | 0:26:42 | |
Mrs Cratchit. I was passing. | 0:26:42 | 0:26:45 | |
Might I come in? | 0:26:45 | 0:26:47 | |
I'm baking, it's a terrible mess. | 0:26:47 | 0:26:49 | |
I don't mind mess. | 0:26:49 | 0:26:51 | |
Quite the family industry. | 0:26:57 | 0:26:59 | |
Everyone pitches in - the little ones, | 0:27:00 | 0:27:02 | |
Bob...Mr Cratchit. | 0:27:02 | 0:27:04 | |
Yeah, he's quite a dab hand in the kitchen. | 0:27:04 | 0:27:06 | |
He's got a sure touch with pastry. | 0:27:06 | 0:27:08 | |
What's that? | 0:27:10 | 0:27:12 | |
It's evidence, Mrs Cratchit. | 0:27:13 | 0:27:16 | |
This piece of wood was removed from Jacob Marley's scalp. | 0:27:16 | 0:27:21 | |
It came from the cosh that killed him. | 0:27:22 | 0:27:25 | |
I've been looking for that weapon. | 0:27:27 | 0:27:29 | |
And now I've found it. | 0:27:41 | 0:27:43 | |
Mrs Cratchit, when your husband comes home, | 0:27:46 | 0:27:49 | |
I'm going to have to take him away. | 0:27:49 | 0:27:52 | |
Why? | 0:27:53 | 0:27:55 | |
Because your husband, who has such a sure touch with pastry... | 0:27:55 | 0:27:58 | |
..is going to be re-arrested for the murder of Jacob Marley. | 0:28:00 | 0:28:03 | |
MAN WHISTLES | 0:28:06 | 0:28:09 | |
It wasn't Bob, it was me. I killed Marley. | 0:28:15 | 0:28:18 | |
It was me. | 0:28:18 | 0:28:20 | |
BOB WHISTLES | 0:28:20 | 0:28:22 |