Browse content similar to Become Man. Check below for episodes and series from the same categories and more!
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# Eight little whores With no hope of heaven | 0:00:15 | 0:00:20 | |
# Gladstone may save one Then there'll be seven | 0:00:20 | 0:00:24 | |
# Seven little whores all beggin' for a shilling, | 0:00:24 | 0:00:28 | |
# One stays in Heneage Court Then there's a killing | 0:00:28 | 0:00:33 | |
# Six little whores All glad to be alive... # | 0:00:37 | 0:00:40 | |
Jack, rip em good and proper! | 0:00:40 | 0:00:41 | |
# ..One sidles up to Jack | 0:00:41 | 0:00:44 | |
# Then there are five... # | 0:00:44 | 0:00:47 | |
Something to wet your lips, gentlemen? | 0:00:52 | 0:00:56 | |
You see? A den of iniquity. | 0:00:56 | 0:00:59 | |
I shall have it closed by the end of the week! Right as ever, Walter. | 0:00:59 | 0:01:03 | |
Prig. I'll see to him. | 0:01:07 | 0:01:09 | |
So, what d'you make of it? | 0:01:09 | 0:01:13 | |
We're waiting for the entertainment, Rose. | 0:01:13 | 0:01:15 | |
# ..Raise a hue and cry Then there's one less... # | 0:01:15 | 0:01:23 | |
I'll be on that stage before long. | 0:01:24 | 0:01:26 | |
Jack's girls started on the floor, same as me. | 0:01:26 | 0:01:29 | |
All's I need is to catch an eye or two, | 0:01:29 | 0:01:31 | |
a rich man to be snared and stand as my patron. | 0:01:31 | 0:01:34 | |
Well, then, your success is assured. | 0:01:34 | 0:01:36 | |
Thank you, Miss Susan. | 0:01:36 | 0:01:38 | |
# ..Four and whore rhyme aright | 0:01:38 | 0:01:40 | |
# So do three and me... # | 0:01:47 | 0:01:48 | |
WOMAN SCREAMS | 0:01:48 | 0:01:50 | |
Music hall. It's the opium of the masses | 0:01:50 | 0:01:54 | |
and me and you are here for a dose of it. We come to support Rose. | 0:01:54 | 0:01:58 | |
And I thought a change of scenery might improve your mood. | 0:01:58 | 0:02:01 | |
Let's be having ya. | 0:02:01 | 0:02:04 | |
# ..I'll set the town alight 'ere there are two! | 0:02:05 | 0:02:11 | |
You can't hide from Jack. | 0:02:11 | 0:02:14 | |
# Two little whores All shivering with fright | 0:02:14 | 0:02:18 | |
# Seek a cosy doorway in the middle of the night | 0:02:18 | 0:02:22 | |
# Jack's knife flashes... | 0:02:22 | 0:02:23 | |
# Then there is but one... # Come 'ere! Let Jack look after ya. | 0:02:26 | 0:02:31 | |
# And the last one is the ripest | 0:02:31 | 0:02:39 | |
# For Jack's idea of fun, fun, fun, fun, fun... # | 0:02:39 | 0:02:43 | |
Walter? | 0:02:43 | 0:02:45 | |
Walter! | 0:02:45 | 0:02:47 | |
Help! Help! Over here, something's happened. | 0:02:48 | 0:02:51 | |
Help! My friend, he's, he's disappeared! | 0:02:51 | 0:02:54 | |
Sir Walter De Souza. London City Council. | 0:03:31 | 0:03:34 | |
Man of influence and authority. And known foe of the music halls. | 0:03:34 | 0:03:37 | |
And now snatched from within one such. | 0:03:37 | 0:03:39 | |
He will scorn them the bitterer now. Ah, Blewett! | 0:03:39 | 0:03:41 | |
Inspector! We are grateful for your alacrity in this matter. | 0:03:41 | 0:03:44 | |
I would shake the hand of the great Inspector Reid. | 0:03:44 | 0:03:47 | |
Enemies we may be in the fictive world - | 0:03:47 | 0:03:50 | |
but I hope I may call you friend, sir. | 0:03:50 | 0:03:52 | |
What? | 0:03:53 | 0:03:54 | |
You play at Ripper? | 0:03:56 | 0:03:58 | |
Whilst you profit! | 0:03:59 | 0:04:01 | |
Come, Inspector. We are artists. | 0:04:01 | 0:04:03 | |
And artists must hold a mirror to the world they see. | 0:04:03 | 0:04:05 | |
You will see my cell and my Sergeant's fists | 0:04:05 | 0:04:08 | |
beating out a confession as to how you conspired to abduct | 0:04:08 | 0:04:10 | |
a city councillor from your own theatre of vice. | 0:04:10 | 0:04:13 | |
No, sir. | 0:04:13 | 0:04:15 | |
Here you see his friend. | 0:04:15 | 0:04:17 | |
We care for him. | 0:04:17 | 0:04:19 | |
Mr Pembury, who was at Mr De Souza's side throughout. | 0:04:19 | 0:04:23 | |
Good evening to you, sir. Will you tell us what has happened? | 0:04:23 | 0:04:26 | |
Sergeant Drake! | 0:04:26 | 0:04:27 | |
Yes, he, he was here... Miss Rose. Beside me. | 0:04:27 | 0:04:30 | |
The lights went black. There was a disturbance. | 0:04:30 | 0:04:33 | |
The lights returned. He'd vanished. | 0:04:33 | 0:04:35 | |
Blewett - this darkness, is it part of the act? | 0:04:35 | 0:04:37 | |
Indeed. Indispensable. | 0:04:37 | 0:04:39 | |
And your workers stage and serving - all accounted for? | 0:04:39 | 0:04:41 | |
Inspector. If I may, I don't see Ettie Leigh, servant girl. | 0:04:41 | 0:04:46 | |
And the last time you saw her, man? | 0:04:46 | 0:04:48 | |
I...my apologies. I only pay proper heed to the girls I...slit, sir. | 0:04:48 | 0:04:54 | |
Excuse me, Sergeant. Ettie told me she'd see to the toff. | 0:04:54 | 0:04:59 | |
You, Rose. As a serving girl, you know the routine? | 0:04:59 | 0:05:01 | |
Like clockwork, Mr Reid. | 0:05:01 | 0:05:03 | |
And the lights are dimmed for how long? | 0:05:03 | 0:05:05 | |
Perhaps 15 seconds. | 0:05:05 | 0:05:07 | |
So to exploit it, one would need similar knowledge. Ettie Leigh? | 0:05:07 | 0:05:09 | |
We will find Sir Walter, Mr Pembury. But your... | 0:05:11 | 0:05:13 | |
your own injuries, sir. The blood is not his own, Inspector. | 0:05:13 | 0:05:17 | |
Your lackey pronounces it so. | 0:05:17 | 0:05:19 | |
Reid. | 0:05:19 | 0:05:21 | |
Take in an entertainment, do we? | 0:05:21 | 0:05:23 | |
Entertainment's a broad term, Inspector. | 0:05:23 | 0:05:25 | |
See, we have blood leading back through the stage door. | 0:05:25 | 0:05:29 | |
Regular smeared intervals. | 0:05:29 | 0:05:31 | |
Your boy Flight rootles around out there already. | 0:05:31 | 0:05:34 | |
Knocked cold and dragged out. | 0:05:34 | 0:05:36 | |
I've scoured the laneway, sir. | 0:05:36 | 0:05:37 | |
What do you observe? | 0:05:37 | 0:05:39 | |
Wheel tracks, sir. | 0:05:39 | 0:05:40 | |
Carriage or cart? From the width of the rim, I would say a cart. | 0:05:40 | 0:05:44 | |
COUGHS | 0:05:44 | 0:05:46 | |
What is it, Constable? | 0:05:46 | 0:05:47 | |
Er, it is excrement. Human, I believe. | 0:05:47 | 0:05:51 | |
A night-soil cart? These streets are piped for sewerage. | 0:05:51 | 0:05:55 | |
It was an artful escape. Everyone would have avoided them. | 0:05:55 | 0:05:58 | |
Flight, throw your light over here. | 0:05:58 | 0:05:59 | |
Cigarette ends where an accomplice must have waited. | 0:06:01 | 0:06:05 | |
Tobacco's damp. I'll dry it out. See what brand was smoked. | 0:06:05 | 0:06:08 | |
Flight, the night-soil men of London. Their numbers dwindle. | 0:06:08 | 0:06:10 | |
Find all those whose collections pass nearby. Sir. | 0:06:10 | 0:06:12 | |
Weed. It's Datura Stramonium - Jimson weed. | 0:06:18 | 0:06:22 | |
Leaf of the Solanaceae family, found courtesy of my American brothers. | 0:06:22 | 0:06:27 | |
Gypsies use it as an analgesic. | 0:06:27 | 0:06:29 | |
And I believe it's being delivered in a new brand of cigarette, | 0:06:29 | 0:06:35 | |
a brand aimed squarely at the ladies. | 0:06:35 | 0:06:37 | |
'Joy cigarettes afford relief in cases of asthma and wheezing | 0:06:37 | 0:06:40 | |
'and with a little perseverance, effect a permanent cure.' | 0:06:40 | 0:06:43 | |
A cigarette for women? | 0:06:44 | 0:06:47 | |
Inspector, sir, I've the night-soil man collected for you. | 0:06:47 | 0:06:50 | |
Sergeant Artherton complained about the odour. | 0:06:50 | 0:06:52 | |
I thought it best, however, not to leave him outdoors. | 0:06:52 | 0:06:56 | |
Mr Urwin, sir. | 0:06:59 | 0:07:01 | |
SHOUTING OUTSIDE | 0:07:11 | 0:07:13 | |
Mr Urwin, a man has been snatched from Blewett's music hall. | 0:07:13 | 0:07:18 | |
Your cart used for his removal. | 0:07:18 | 0:07:19 | |
No, sir. Myself, my cart - we are blameless, I swear it. | 0:07:22 | 0:07:27 | |
You shall speak, sir, if you have affection for yourself. | 0:07:27 | 0:07:31 | |
My cart...it were thieved, two nights back. | 0:07:33 | 0:07:38 | |
How was it thieved, Mr Urwin? | 0:07:39 | 0:07:41 | |
There was many of them, sir. I fought hard as I could. | 0:07:41 | 0:07:45 | |
But they prevailed, in time. | 0:07:46 | 0:07:49 | |
Vicious, they were. Fierce, like lions. | 0:07:49 | 0:07:54 | |
They were...women, | 0:07:54 | 0:07:58 | |
were they not, Sir Urwin? | 0:07:58 | 0:07:59 | |
This the reason for your reticent shame? | 0:08:03 | 0:08:06 | |
It is, Mr Reid. | 0:08:07 | 0:08:09 | |
It is a crew of women we hunt, Sergeant. | 0:08:09 | 0:08:13 | |
Oh believe me, Mr Artherton. When he hears what I have to share with him, | 0:08:13 | 0:08:16 | |
he will be glad. Do you know, Mr Best, | 0:08:16 | 0:08:19 | |
I keep a list of what might provoke such emotion in the Inspector. | 0:08:19 | 0:08:23 | |
Indeed? Mmm. | 0:08:23 | 0:08:24 | |
Various painful deaths befalling your good self feature frequently. | 0:08:24 | 0:08:28 | |
Quite the charmer, are you not, Sergeant? | 0:08:28 | 0:08:30 | |
I do try, Mr Best. | 0:08:30 | 0:08:32 | |
Oh, now I feel the late hour. | 0:08:32 | 0:08:34 | |
Flight, put an alert out for this man's cart. | 0:08:34 | 0:08:37 | |
Find its resting place, we find De Souza. | 0:08:37 | 0:08:39 | |
What's that? Was that Mr De Souza? | 0:08:39 | 0:08:41 | |
How uncanny, Mr Reid. | 0:08:41 | 0:08:43 | |
I received a letter from that very man just two hours ago, | 0:08:43 | 0:08:46 | |
so I have come visiting to give you prior knowledge of tomorrow's paper. | 0:08:46 | 0:08:50 | |
"I, Sir Walter De Souza, renounce any opposition | 0:08:52 | 0:08:54 | |
"to my fellow LCC member Miss Cobden and her works". | 0:08:54 | 0:08:58 | |
The original? | 0:08:58 | 0:08:59 | |
How I am your friend, Mr Reid. | 0:09:02 | 0:09:06 | |
Mr Best. I wonder, have you ever met Mr Urwin? | 0:09:09 | 0:09:12 | |
I have not had the pleasure, sir. | 0:09:12 | 0:09:15 | |
But I am an admirer of your work. | 0:09:15 | 0:09:17 | |
Mr Urwin is perhaps the last remaining night-soil man | 0:09:17 | 0:09:20 | |
of this parish. | 0:09:20 | 0:09:22 | |
Good evening to you, inspector. | 0:09:24 | 0:09:26 | |
Hop it, Jimmy. | 0:09:28 | 0:09:30 | |
We must assume his female captors to have forced this retraction | 0:09:30 | 0:09:36 | |
of his opposition to Miss Cobden. A Miss in the London County Council? | 0:09:36 | 0:09:39 | |
How this city continues to evolve. | 0:09:39 | 0:09:41 | |
It's a novelty, yes, but her reputation grows. | 0:09:41 | 0:09:45 | |
Over 2,000 votes collected in '89. | 0:09:45 | 0:09:47 | |
Yet more side with her now. | 0:09:47 | 0:09:49 | |
What exactly is this opposition | 0:09:49 | 0:09:50 | |
they seek to end with this declaration of De Souza's? | 0:09:50 | 0:09:53 | |
De Souza has never hidden his bile from Cobden, | 0:09:53 | 0:09:55 | |
or indeed any woman that seeks office. | 0:09:55 | 0:09:57 | |
The first time she voted in the LCC, February this year, | 0:09:57 | 0:10:00 | |
he served her with a writ. Blocked her right to do so again. | 0:10:00 | 0:10:02 | |
And there is more. If he wins his court case, | 0:10:02 | 0:10:05 | |
her actions will be prosecuted as illegal. | 0:10:05 | 0:10:07 | |
Drake, send word to Cobden's office. | 0:10:07 | 0:10:09 | |
In the meantime, any and all we have on the woman. | 0:10:09 | 0:10:12 | |
You weren't being kind, about the music hall? | 0:10:13 | 0:10:17 | |
Come, Rose - you know I am not that. | 0:10:17 | 0:10:19 | |
Who'd have thought it, though. | 0:10:22 | 0:10:24 | |
A man snatched, | 0:10:25 | 0:10:27 | |
the police arriving... | 0:10:27 | 0:10:29 | |
Sergeant Drake. | 0:10:31 | 0:10:32 | |
He seem his self to you? | 0:10:34 | 0:10:36 | |
Happy? | 0:10:37 | 0:10:39 | |
Bella meets a need. | 0:10:39 | 0:10:41 | |
A need you would not. | 0:10:41 | 0:10:44 | |
You mistake my meaning, Miss Susan. | 0:10:44 | 0:10:46 | |
I wish the pair a, a happy union - the happiest. | 0:10:46 | 0:10:51 | |
KNOCK AT DOOR Come in. | 0:10:51 | 0:10:53 | |
Forgive me intruding. My night's takings here for counting. | 0:10:53 | 0:10:56 | |
Rose, meet Ida, newest to our home here. | 0:10:56 | 0:10:59 | |
But fastest to our gentlemen's hearts already. | 0:10:59 | 0:11:01 | |
Well, I should leave you to your business. | 0:11:01 | 0:11:04 | |
I would not get in the way of Miss Susan's profits. | 0:11:04 | 0:11:06 | |
WHISPERS: I'm proud of you, girl. | 0:11:09 | 0:11:11 | |
Your new thoroughbred? | 0:11:15 | 0:11:17 | |
Not near so sleek and lovely as you, darling. | 0:11:17 | 0:11:19 | |
Captain. | 0:11:21 | 0:11:22 | |
HE CLEARS THROAT | 0:11:23 | 0:11:25 | |
Captain. One for you, two for me | 0:11:25 | 0:11:27 | |
and 20 for the barber, Silas Duggan. | 0:11:27 | 0:11:29 | |
Would you leave us, please? Yes, Miss Susan. | 0:11:31 | 0:11:33 | |
You think it wise to air your weary gripes in front of that girl? | 0:11:35 | 0:11:39 | |
I just think she should know who she's working for. | 0:11:39 | 0:11:41 | |
So says the police stooge. | 0:11:41 | 0:11:43 | |
Yeah, at least it's honest coin. No! That's an honest pittance. | 0:11:43 | 0:11:47 | |
That does nothing - NOTHING - | 0:11:47 | 0:11:49 | |
to address our currently calamitous situation. | 0:11:49 | 0:11:51 | |
Oh, yeah, and whose fault is that current calamitous situation, Susan? | 0:11:51 | 0:11:55 | |
Hmm? | 0:11:55 | 0:11:57 | |
Who was it did the goddamn deal with Duggan, huh? | 0:11:57 | 0:12:00 | |
Was it me? | 0:12:00 | 0:12:01 | |
There you are, sir. Thank you. | 0:12:42 | 0:12:45 | |
You are not yet due, madam. Should I be flattered? | 0:12:53 | 0:12:57 | |
No. I come with a business proposition. | 0:12:57 | 0:13:01 | |
Indeed. Tenter Street is a concern that makes money. Good money. | 0:13:01 | 0:13:06 | |
I'm aware of this. Then take it. Buy it from me. | 0:13:06 | 0:13:11 | |
But it's already mine. | 0:13:11 | 0:13:14 | |
The premises are yours, but the business is mine. | 0:13:14 | 0:13:16 | |
There would be no outlay for you, other than a fee for my discharge - | 0:13:19 | 0:13:23 | |
on which you and I might agree, and which may provide for | 0:13:23 | 0:13:26 | |
my husband and myself to remove ourselves from this quarter. | 0:13:26 | 0:13:29 | |
It is a good and generous offer, Duggan. | 0:13:29 | 0:13:31 | |
It's true, the house was a pigpen when I gave you tenancy of it. | 0:13:31 | 0:13:36 | |
That house, that income may now be entirely yours. | 0:13:37 | 0:13:41 | |
It will be mine - in due course. | 0:13:43 | 0:13:45 | |
Only should I fail to make payment. | 0:13:45 | 0:13:48 | |
Oh... | 0:13:48 | 0:13:50 | |
but you will fail, one month or the next. | 0:13:50 | 0:13:54 | |
Duggan, please. | 0:13:54 | 0:13:56 | |
I have made you money. Much money. | 0:13:57 | 0:14:00 | |
Now... | 0:14:00 | 0:14:03 | |
I beg you, free me. | 0:14:03 | 0:14:06 | |
But Madam, you may with ease be free. You have always known this. | 0:14:06 | 0:14:11 | |
Come - is an act from which, as you say, you have readily profited, | 0:14:13 | 0:14:18 | |
yet will not perform yourself. | 0:14:18 | 0:14:20 | |
Some might call that hypocrisy. | 0:14:23 | 0:14:26 | |
BELL JINGLES AND DOOR CLOSES | 0:14:32 | 0:14:33 | |
HAWKER: Fresh bread, baked this morning! | 0:14:40 | 0:14:43 | |
There are places nearby where you can get a hot meals and a cold drink. | 0:14:52 | 0:14:54 | |
Thank you, Miss. God bless you. | 0:14:54 | 0:14:56 | |
Turkish, sir. Ground with a burr-mill, | 0:15:00 | 0:15:03 | |
sugared and blended and akin to tar. | 0:15:03 | 0:15:06 | |
My thanks, Artherton. I just saw the damnedest thing. | 0:15:06 | 0:15:09 | |
This woman I just passed in the street. | 0:15:09 | 0:15:11 | |
No, scratch that, she was not a woman. | 0:15:11 | 0:15:14 | |
Uh-huh. She was a goddess, Reid, | 0:15:14 | 0:15:16 | |
to make even a heathen like you believe. | 0:15:16 | 0:15:17 | |
What are we to make of this, Sergeant? | 0:15:17 | 0:15:19 | |
Another blend for the American, I imagine. | 0:15:19 | 0:15:21 | |
You should have seen her, she had gentle eyes, perfect face. | 0:15:21 | 0:15:25 | |
And the body that one imagines under the... Yes. Thank you, Captain. | 0:15:25 | 0:15:28 | |
Oh, no, please... Do continue on, sir. | 0:15:28 | 0:15:31 | |
I apologise, Councillor Cobden. | 0:15:35 | 0:15:37 | |
He is American and therefore lacking in manners and propriety. | 0:15:37 | 0:15:40 | |
Well, then, we shall get along famously. | 0:15:40 | 0:15:43 | |
Inspector Reid, I take it? | 0:15:43 | 0:15:45 | |
You cannot think me a suspect in Sir Walter's disappearance? | 0:15:52 | 0:15:56 | |
I was with my political agent. | 0:15:58 | 0:16:01 | |
He can act as my witness if my word is not good enough for you. | 0:16:01 | 0:16:04 | |
No, it is not you, but your supporters we are interested in. | 0:16:04 | 0:16:07 | |
For once, the papers bear no lies. | 0:16:07 | 0:16:09 | |
We believe a gang of women did act in your name in snatching De Souza. | 0:16:09 | 0:16:13 | |
Do you know an Ettie Lee? | 0:16:13 | 0:16:15 | |
No. Did you incite any woman to action against De Souza? | 0:16:15 | 0:16:18 | |
To do so would be self murder. How so? | 0:16:18 | 0:16:21 | |
Sir Walter's capture looks set to ruin me. The court case approaches. | 0:16:21 | 0:16:25 | |
If he is not found, is not safe, | 0:16:25 | 0:16:26 | |
I will have lost before I have even begun. | 0:16:26 | 0:16:29 | |
I made a promise to my voters, Inspector. | 0:16:29 | 0:16:31 | |
I want to see it through. | 0:16:31 | 0:16:33 | |
And yet they would darken your name with this criminal act. | 0:16:33 | 0:16:36 | |
Do not think the irony lost on me. | 0:16:36 | 0:16:38 | |
Tell me, what kind of woman supports you. What unites them? | 0:16:38 | 0:16:43 | |
That they work. Or they have work stolen from them. | 0:16:43 | 0:16:46 | |
That they are mistreated by the men who employ them, | 0:16:46 | 0:16:49 | |
ignored, dismissed without due cause, | 0:16:49 | 0:16:52 | |
spoken over, used for carnal pursuits, dispossessed. | 0:16:52 | 0:16:56 | |
The ill-used women of this city could number an army. | 0:16:56 | 0:16:59 | |
They start with a gang. | 0:16:59 | 0:17:00 | |
Tell me, do you keep record of those who seek assistance from you? | 0:17:00 | 0:17:04 | |
It makes me feel quite the dullard, but yes. | 0:17:04 | 0:17:07 | |
Then I would have you share it with me, Councillor. | 0:17:07 | 0:17:10 | |
Will you have them sent over? | 0:17:10 | 0:17:11 | |
So, I am to be deputised to you? | 0:17:11 | 0:17:15 | |
I... | 0:17:15 | 0:17:17 | |
What's this? "Do I qualify for badge and warrant card now?" | 0:17:30 | 0:17:35 | |
You men. Fast eyes through these, if you please. | 0:17:38 | 0:17:40 | |
We search for women with both heavy grievance | 0:17:40 | 0:17:43 | |
and frequent communication with Miss Cobden. | 0:17:43 | 0:17:45 | |
Let's get to it, Sergeant. Sir. | 0:17:47 | 0:17:50 | |
WHISPERING | 0:17:50 | 0:17:52 | |
Both men asked for Miss Ida. | 0:18:06 | 0:18:08 | |
Said they would pay over and above. | 0:18:08 | 0:18:10 | |
DOOR CLOSES | 0:18:10 | 0:18:12 | |
Good evening to you, sir. Madam. | 0:18:14 | 0:18:18 | |
Miss Ida. Thrice in one week. | 0:18:18 | 0:18:21 | |
We are flattered. | 0:18:21 | 0:18:24 | |
Ida, show your gentleman to your room. Yes, Miss Susan. | 0:18:24 | 0:18:28 | |
GIGGLING | 0:18:31 | 0:18:34 | |
That man has had my very best. | 0:18:37 | 0:18:39 | |
First Rose, then Bella, | 0:18:39 | 0:18:41 | |
and neither could lay claim to such regular loyalty. | 0:18:41 | 0:18:44 | |
Along with you, girl. See to refreshments. | 0:18:44 | 0:18:48 | |
GLASS SHATTERING | 0:18:50 | 0:18:52 | |
Charity! | 0:19:23 | 0:19:24 | |
Charity, fetch a broom. Yes, Miss Susan. | 0:19:25 | 0:19:29 | |
Ida, why are you not with your gentleman? | 0:19:32 | 0:19:34 | |
The gent has particular tastes, Miss Susan. | 0:19:34 | 0:19:37 | |
You wish me to accommodate, do you not? | 0:19:37 | 0:19:40 | |
No. I would speak with him myself. | 0:19:40 | 0:19:43 | |
I do not allow all and every behaviour under my roof. | 0:19:43 | 0:19:47 | |
Please, Miss. I made sure to charge extra. | 0:19:47 | 0:19:50 | |
Who are you? | 0:19:55 | 0:19:56 | |
What have you done? | 0:19:58 | 0:19:59 | |
CLATTERING | 0:20:12 | 0:20:14 | |
FOOTSTEPS | 0:20:14 | 0:20:16 | |
DOOR SHUTS | 0:20:23 | 0:20:25 | |
HORSE AND CART DRAW OFF | 0:20:26 | 0:20:28 | |
Help! Help, sir! | 0:20:28 | 0:20:32 | |
Please, help! | 0:20:32 | 0:20:34 | |
What is it girl? Miss Susan. Tenter Street, | 0:20:34 | 0:20:38 | |
she's been taken. | 0:20:38 | 0:20:40 | |
Perkins! Fetch Jackson! | 0:20:40 | 0:20:43 | |
Where? | 0:20:44 | 0:20:46 | |
Where? Ida's room. | 0:20:46 | 0:20:49 | |
Miss Charity... | 0:20:49 | 0:20:51 | |
What's happened to Miss Susan? Go! | 0:20:53 | 0:20:57 | |
Look, this is her earring. | 0:20:57 | 0:20:59 | |
Won by myself at dice. | 0:20:59 | 0:21:01 | |
Charity, what did you see here? What happened? | 0:21:01 | 0:21:04 | |
Miss Susan...taken, sir. | 0:21:06 | 0:21:08 | |
I gathered that, girl, but by who, goddamit? | 0:21:08 | 0:21:10 | |
Which of these sons of bitches...? | 0:21:10 | 0:21:11 | |
Jackson, will you just give the girl some peace? | 0:21:11 | 0:21:14 | |
What's this, Sergeant? Another mewling tart for you to defend? | 0:21:14 | 0:21:17 | |
Captain, Captain, gather yourself. Look... | 0:21:17 | 0:21:19 | |
I do not know any man who would spirit a woman away | 0:21:19 | 0:21:22 | |
into the night without first taking his clothes. | 0:21:22 | 0:21:25 | |
See here? Violence used to take whoever lay here. | 0:21:25 | 0:21:29 | |
Now... | 0:21:29 | 0:21:31 | |
who was it entertained here, girl? | 0:21:31 | 0:21:33 | |
Miss Ida, sir. Our new girl. | 0:21:33 | 0:21:36 | |
And she is here? | 0:21:36 | 0:21:38 | |
No. Disappeared also, sir. | 0:21:38 | 0:21:40 | |
Calm, now, who did you see? | 0:21:40 | 0:21:42 | |
I was in the parlour. | 0:21:45 | 0:21:46 | |
A brick came through the window there when I was sweeping up. | 0:21:46 | 0:21:50 | |
But... | 0:21:51 | 0:21:53 | |
I saw them. | 0:21:53 | 0:21:54 | |
The man and Miss Susan carried between them. | 0:21:54 | 0:21:58 | |
Stowed aboard a cart of some kind, sir. | 0:21:58 | 0:22:00 | |
But Ida herself was not so mistreated. | 0:22:00 | 0:22:03 | |
No, Captain Jackson. | 0:22:03 | 0:22:04 | |
She walked alongside. | 0:22:05 | 0:22:08 | |
Similar method, is it not? | 0:22:08 | 0:22:10 | |
Like De Souza and the girl Ettie who worked there. | 0:22:10 | 0:22:12 | |
The brick, through the window, a distraction also, | 0:22:12 | 0:22:15 | |
as with the blackout at Blewett's. The same means of escape. | 0:22:15 | 0:22:18 | |
The same gang of women, must be? And Susan just got in their way. | 0:22:18 | 0:22:21 | |
Look, there's some dirt here. | 0:22:24 | 0:22:26 | |
This man - the client - this man is the target, the purpose. | 0:22:26 | 0:22:30 | |
His name, Charity? | 0:22:30 | 0:22:32 | |
We all look to our own, sir. | 0:22:32 | 0:22:34 | |
His face is known to me, but...his name is not. | 0:22:34 | 0:22:37 | |
But others have known him in the past. | 0:22:39 | 0:22:41 | |
Miss Rose and, er...Mrs Drake. | 0:22:44 | 0:22:47 | |
We must have them both interviewed. If you would, er... | 0:22:50 | 0:22:54 | |
permit me to interview your wife, Sergeant. | 0:22:54 | 0:22:56 | |
You... Wait! Forgive me, Miss Susan. No harm was meant to come your way. | 0:23:21 | 0:23:26 | |
She wakes then? | 0:23:26 | 0:23:28 | |
I would have audience with you myself. Raine, my name. | 0:23:28 | 0:23:32 | |
I knew I liked the measure of you, first I had eyes on you. | 0:23:49 | 0:23:52 | |
Now, all the more. | 0:23:52 | 0:23:54 | |
Do not force me to make you prisoner. | 0:24:00 | 0:24:03 | |
Friend is much more to my liking. Friend?! | 0:24:03 | 0:24:05 | |
I am attacked in my house, abducted, and brought to this hovel. | 0:24:05 | 0:24:09 | |
My girls. | 0:24:09 | 0:24:11 | |
If any one of them are harmed, I shall slice you lip to tip. | 0:24:11 | 0:24:16 | |
Your premises was all that was required. | 0:24:16 | 0:24:18 | |
Premises! My business! Now ruined. Word will spread. | 0:24:18 | 0:24:22 | |
Which man will now trust in the security of my house? | 0:24:22 | 0:24:25 | |
You do not need such as Ely. | 0:24:27 | 0:24:31 | |
His deeds are evil, as is the man. | 0:24:31 | 0:24:35 | |
You think I have no knowledge of evil men? | 0:24:35 | 0:24:37 | |
Or care either which way for their deeds? | 0:24:37 | 0:24:39 | |
You care for this, then? | 0:24:39 | 0:24:41 | |
Mags. | 0:24:41 | 0:24:42 | |
Ely the cause. | 0:24:57 | 0:24:58 | |
He might as well have done it to her himself. | 0:24:58 | 0:25:01 | |
Come... | 0:25:07 | 0:25:08 | |
Mrs Drake. Good morning. My many thanks. | 0:25:25 | 0:25:29 | |
Study each item in turn. | 0:25:30 | 0:25:32 | |
If we can establish the identity of the client, | 0:25:32 | 0:25:34 | |
it may help us discover Miss Hart's whereabouts. | 0:25:34 | 0:25:37 | |
I set eyes on that bitch Ida, I'll smash her teeth through her jaw. | 0:25:37 | 0:25:40 | |
Shined. | 0:25:47 | 0:25:48 | |
Regular like. | 0:25:48 | 0:25:50 | |
Gutteridge? | 0:25:51 | 0:25:52 | |
Liked to see his face in his toecap. | 0:25:56 | 0:25:58 | |
But he were a big man... and this boot too small. | 0:25:59 | 0:26:02 | |
Hitchley? | 0:26:07 | 0:26:09 | |
Liked to smoke throughout, did he not? | 0:26:12 | 0:26:14 | |
Eridge. | 0:26:19 | 0:26:21 | |
Remember? | 0:26:21 | 0:26:22 | |
Haughty. | 0:26:22 | 0:26:23 | |
Always wished to, you know, finish... | 0:26:23 | 0:26:26 | |
..not inside as such. | 0:26:28 | 0:26:29 | |
Said we was all riddled. | 0:26:31 | 0:26:33 | |
Mrs Drake? | 0:26:36 | 0:26:37 | |
No. See the embroidery. | 0:26:37 | 0:26:40 | |
Eridge wasn't the kind for flowers. | 0:26:40 | 0:26:43 | |
Ely. | 0:26:44 | 0:26:45 | |
Ely. | 0:26:45 | 0:26:47 | |
Cruel. | 0:26:47 | 0:26:48 | |
Thomas Ely. | 0:26:48 | 0:26:50 | |
His home? His work? | 0:26:50 | 0:26:52 | |
Lawyerman. | 0:26:52 | 0:26:53 | |
My dear Bella, you are brave. You do know that, don't ya? | 0:26:55 | 0:26:59 | |
I shall see you tonight, husband. | 0:27:01 | 0:27:03 | |
Rose. | 0:27:07 | 0:27:08 | |
Mrs Drake. | 0:27:08 | 0:27:09 | |
Sergeant. Miss Rose. | 0:27:12 | 0:27:14 | |
We have a politician, a lawyer. | 0:27:19 | 0:27:21 | |
Men of influence snatched unsuspecting from their daily pursuits | 0:27:21 | 0:27:25 | |
by a gang of women, one of whose number may be planted | 0:27:25 | 0:27:27 | |
amongst those activities. | 0:27:27 | 0:27:29 | |
We may not assume De Souza their first. | 0:27:29 | 0:27:31 | |
So we must search the city's crimes for one similar. | 0:27:31 | 0:27:34 | |
One which may show us where this plotting began. Artherton, Jackson, | 0:27:34 | 0:27:37 | |
he studies the soil stamped into the Tenter Street carpeting, does he not? | 0:27:37 | 0:27:40 | |
He pursues it still, sir. Delicate work. | 0:27:40 | 0:27:43 | |
Very well. Sergeant, you are with me. | 0:27:43 | 0:27:45 | |
Ah, we have another, sir. | 0:27:49 | 0:27:51 | |
Two weeks back. C Division. | 0:27:51 | 0:27:53 | |
A gentleman snatched from his lunchtime stroll | 0:27:53 | 0:27:55 | |
through a department store. | 0:27:55 | 0:27:57 | |
A fire set off, their distraction - a dresser girl, their insider, | 0:27:57 | 0:27:59 | |
she also then disappeared. | 0:27:59 | 0:28:01 | |
Cullington. His work? | 0:28:01 | 0:28:02 | |
Yes, sir. Factory foreman. | 0:28:02 | 0:28:04 | |
Not quite a lawyer or a politician. | 0:28:04 | 0:28:06 | |
No. Which factory? | 0:28:06 | 0:28:07 | |
The Covent Garden shoe-makers. | 0:28:07 | 0:28:10 | |
Before that, however... What? | 0:28:10 | 0:28:12 | |
..the match factory at Bow. | 0:28:12 | 0:28:14 | |
Cullington left after the strike in '88. | 0:28:14 | 0:28:16 | |
The match-girls strike. Quite so, sir. | 0:28:16 | 0:28:19 | |
During the picket, Cullington acted as barrier | 0:28:19 | 0:28:21 | |
between the women and the owners. | 0:28:21 | 0:28:23 | |
After the settlement, | 0:28:23 | 0:28:24 | |
it was felt he no longer had the support of the workforce. The match-girls. | 0:28:24 | 0:28:27 | |
The match-girls. Show me a group of women more ill used than the match-girls. | 0:28:27 | 0:28:32 | |
Miss Cobden. | 0:28:32 | 0:28:34 | |
Miss Cobden, she is committed to those girls. | 0:28:34 | 0:28:38 | |
To answering their grievances, even though their strike is now past. | 0:28:38 | 0:28:43 | |
Phossy jaw! Necrosis of the jawbone. | 0:28:45 | 0:28:47 | |
The phosphorous from the yellow-tipped matches | 0:28:47 | 0:28:50 | |
converts into biphosphonates - these laid down in the bone | 0:28:50 | 0:28:53 | |
to then eat it away. Abscesses lead to brain inflammation, then mutism. | 0:28:53 | 0:28:57 | |
Then death. The Jimson in those smokes. | 0:28:57 | 0:28:59 | |
Taken for pain relief. | 0:28:59 | 0:29:01 | |
Deputations from match-girls. | 0:29:01 | 0:29:02 | |
Here, "They have been trying to get the poor girls to say | 0:29:02 | 0:29:05 | |
"that it is all lies and has been printed and trying to make us | 0:29:05 | 0:29:08 | |
"sign papers that it's all lies." | 0:29:08 | 0:29:10 | |
Papers. Legal papers. Ely, the lawyer. | 0:29:10 | 0:29:13 | |
Papers prepared by him, perhaps? | 0:29:13 | 0:29:14 | |
That is the means by which the strike was laid to rest, sir. | 0:29:14 | 0:29:17 | |
The girls were manipulated into silence, promised improvements in their conditions. | 0:29:17 | 0:29:21 | |
But these improvements so scant that Miss Cobden, others like her, | 0:29:21 | 0:29:24 | |
some of the girls even too, refused to accept this change in provision. | 0:29:24 | 0:29:27 | |
And here is De Souza all set to bring Miss Cobden to heel and silence her. | 0:29:27 | 0:29:30 | |
Cullington - the foreman who refused to hear their complaints, | 0:29:30 | 0:29:33 | |
Ely to serve legal writ, | 0:29:33 | 0:29:34 | |
De Souza to silence their champion. Sergeant, travel to Bow. | 0:29:34 | 0:29:38 | |
Find that factory manager, | 0:29:38 | 0:29:40 | |
hang him by his ankles over one of his dipping vats and have from him | 0:29:40 | 0:29:43 | |
the roll of girls that refused to accept his scant settlement. | 0:29:43 | 0:29:47 | |
Sir. | 0:29:47 | 0:29:49 | |
We are nearing the root and reason of this. | 0:29:49 | 0:29:52 | |
Flight, fetch me coffee. | 0:29:52 | 0:29:53 | |
Go on. | 0:29:55 | 0:29:56 | |
DOOR OPENS | 0:30:28 | 0:30:30 | |
Raine! | 0:30:31 | 0:30:34 | |
What game is this, young lady?! | 0:30:34 | 0:30:36 | |
Hide and seek. | 0:30:37 | 0:30:39 | |
GIRLS GIGGLE | 0:30:40 | 0:30:42 | |
See? | 0:30:43 | 0:30:46 | |
You are not alone in wishing your girls a better measure of living. | 0:30:46 | 0:30:50 | |
Here, they feel part of a family. | 0:30:52 | 0:30:54 | |
They are thieves. | 0:30:56 | 0:30:57 | |
What is this improved life you promise? | 0:31:00 | 0:31:03 | |
One lived behind bars? | 0:31:03 | 0:31:05 | |
One of freedom...compassion. | 0:31:05 | 0:31:09 | |
These girls have been | 0:31:10 | 0:31:12 | |
saved from slavery and disease and given a place... | 0:31:12 | 0:31:15 | |
..a voice. | 0:31:17 | 0:31:19 | |
I insist on everything that was never insisted upon for me. | 0:31:19 | 0:31:23 | |
Education of the self, control of the self, respect of the self. | 0:31:23 | 0:31:30 | |
Rebuilding what was ruined. | 0:31:30 | 0:31:33 | |
Here they are turned to no-one's account but their own. You! | 0:31:33 | 0:31:38 | |
You would have them spread-legging your service | 0:31:38 | 0:31:41 | |
and pocket your 60%. | 0:31:41 | 0:31:43 | |
My girls are treated better than any. | 0:31:44 | 0:31:47 | |
In my care they are tended to when sick, have as much security | 0:31:47 | 0:31:50 | |
as might be afforded them anywhere in this world! | 0:31:50 | 0:31:53 | |
And who profits? | 0:31:53 | 0:31:54 | |
It is my business. | 0:31:56 | 0:31:58 | |
You think yourself a woman liberated and independent. | 0:31:58 | 0:32:02 | |
I do. | 0:32:02 | 0:32:04 | |
And what of the men who leave your house loose and sated? | 0:32:04 | 0:32:08 | |
Do you think on them and what they have enjoyed | 0:32:08 | 0:32:11 | |
so that you can proclaim your liberation? | 0:32:11 | 0:32:14 | |
SHE SCOFFS | 0:32:19 | 0:32:21 | |
Come with me. | 0:32:21 | 0:32:23 | |
DOOR OPENS | 0:32:23 | 0:32:25 | |
I've been wounded. | 0:32:28 | 0:32:30 | |
There was a letter-knife in the bedroom. | 0:32:30 | 0:32:33 | |
Ely used it. | 0:32:34 | 0:32:35 | |
A needle and thread, there. | 0:32:38 | 0:32:40 | |
You will oblige me? | 0:32:42 | 0:32:43 | |
I am not one of your mulish girls. | 0:32:43 | 0:32:45 | |
But I cannot ask one of my girls. | 0:32:46 | 0:32:49 | |
I am their leader. | 0:32:52 | 0:32:53 | |
They may not see me so...mortal. | 0:32:54 | 0:32:57 | |
Perhaps you understand? | 0:33:00 | 0:33:01 | |
Your hand is steady. | 0:33:20 | 0:33:22 | |
SHE GROANS | 0:33:28 | 0:33:29 | |
SHE GASPS | 0:33:32 | 0:33:34 | |
You wonder at my scars. | 0:33:36 | 0:33:37 | |
First was a carriage. | 0:33:40 | 0:33:41 | |
Same... | 0:33:44 | 0:33:45 | |
one that took my mother from this world. | 0:33:45 | 0:33:51 | |
Left me with nothing but my infant sister, | 0:33:51 | 0:33:54 | |
Ma held in her arms. | 0:33:54 | 0:33:56 | |
The rest - must a woman explain how she came by such... | 0:33:56 | 0:34:01 | |
stripes? | 0:34:01 | 0:34:02 | |
By the hands of men. | 0:34:06 | 0:34:07 | |
Your sister. Is she still amongst you? | 0:34:10 | 0:34:12 | |
She is not. | 0:34:13 | 0:34:14 | |
She helped build this, however. | 0:34:17 | 0:34:20 | |
This kingdom of ours. | 0:34:24 | 0:34:25 | |
You've made all this. | 0:34:29 | 0:34:30 | |
You started with nothing. | 0:34:32 | 0:34:34 | |
I started with everything, and yet nothing is my own. | 0:34:35 | 0:34:38 | |
Not such the independent woman, then? | 0:34:39 | 0:34:42 | |
No. | 0:34:44 | 0:34:45 | |
Many's the woman who has come down here... | 0:34:47 | 0:34:50 | |
..and had her vision of the world changed. | 0:34:53 | 0:34:56 | |
What will it take to change your vision of the world? | 0:34:58 | 0:35:00 | |
These men you have taken. | 0:35:02 | 0:35:05 | |
The revenge you seek. | 0:35:05 | 0:35:07 | |
Everything your sister and yourself have built up - | 0:35:07 | 0:35:10 | |
it will drive it into the dirt. | 0:35:10 | 0:35:12 | |
How dare you speak of her? | 0:35:21 | 0:35:22 | |
What do you know of her?! | 0:35:26 | 0:35:30 | |
I didn't mean... | 0:35:31 | 0:35:32 | |
Or me. Of what we do here! | 0:35:32 | 0:35:35 | |
SHE CHOKES You - a woman that runs whores! | 0:35:35 | 0:35:39 | |
No. I will not brook any more from you! | 0:35:40 | 0:35:44 | |
Mags! | 0:35:44 | 0:35:45 | |
You have no wish to be our friend? | 0:35:45 | 0:35:48 | |
I shall use you for another purpose. | 0:35:48 | 0:35:51 | |
May I introduce Sir Walter De Souza? | 0:35:52 | 0:35:56 | |
Mr Thomas Ely, you already know. | 0:35:56 | 0:35:58 | |
And Mr Henry Cullington. | 0:35:58 | 0:36:00 | |
Raine, what are you doing? | 0:36:02 | 0:36:04 | |
WHIMPERING | 0:36:04 | 0:36:05 | |
Raine, stop, please! Please! | 0:36:08 | 0:36:11 | |
No, Raine please, I beg you, think of what you do! | 0:36:14 | 0:36:16 | |
MUFFLED FRANTIC WHIMPERING | 0:36:16 | 0:36:18 | |
MUFFLED SCREAMING | 0:36:22 | 0:36:24 | |
The world will hear us now. | 0:36:30 | 0:36:32 | |
What will they make of you? | 0:36:44 | 0:36:46 | |
For surely a day will come when not only one woman - | 0:36:46 | 0:36:49 | |
but hundreds will take their fully-enfranchised position | 0:36:49 | 0:36:54 | |
among you and none shall remark on it | 0:36:54 | 0:36:56 | |
as anything more than the everyday heartbeat of political life. | 0:36:56 | 0:37:01 | |
Bluntly, sirs - if you are for progress, then you are for me! | 0:37:01 | 0:37:06 | |
Forgive the intrusion, it is born only out of necessity. | 0:37:06 | 0:37:11 | |
Sir Walter? | 0:37:11 | 0:37:13 | |
I'm afraid not, but we are close. | 0:37:13 | 0:37:14 | |
Here, madam - it is a list of all the women from the match factory | 0:37:14 | 0:37:18 | |
who refused settlement for their grievances. | 0:37:18 | 0:37:20 | |
The match-girls? Mmm. | 0:37:20 | 0:37:22 | |
You believe they are responsible for the man's abduction? | 0:37:22 | 0:37:25 | |
And not just the one man, miss. | 0:37:25 | 0:37:26 | |
Please. The names on the list, do any seem familiar to you? | 0:37:26 | 0:37:29 | |
Here, Agnes Thornell. | 0:37:31 | 0:37:33 | |
She came to me with her head and shoulders | 0:37:34 | 0:37:36 | |
entirely obscured with black lace - mourning weeds. | 0:37:36 | 0:37:39 | |
My thanks. We will find her. | 0:37:39 | 0:37:41 | |
You will not succeed, Inspector. | 0:37:41 | 0:37:43 | |
The poor woman died of her phossy jaw. | 0:37:43 | 0:37:45 | |
HE GASPS Her visits to you, was she alone? | 0:37:45 | 0:37:49 | |
No. She led a faction. She and another firebrand. | 0:37:49 | 0:37:55 | |
Well, after Agnes died, I never saw her again. | 0:37:55 | 0:37:57 | |
But I always fancied a familial closeness. | 0:37:59 | 0:38:02 | |
Familial? | 0:38:02 | 0:38:04 | |
Ah, here, another Thornell. Raine. Raine Thornell. | 0:38:04 | 0:38:09 | |
Thank you again, Miss Cobden, good evening. | 0:38:09 | 0:38:12 | |
Raine Thornell... | 0:38:14 | 0:38:15 | |
Nothing. Not a single record. | 0:38:15 | 0:38:17 | |
The wit and resilience to evade the law at every turn. | 0:38:17 | 0:38:19 | |
Miss Susan! I have word for you, Inspector. | 0:38:21 | 0:38:24 | |
Jackson? We have sent for him, sir. | 0:38:27 | 0:38:29 | |
Sit down. I'll get you a drink. | 0:38:29 | 0:38:31 | |
Jesus! Susan! | 0:38:36 | 0:38:37 | |
What did they do to you, darling? | 0:38:38 | 0:38:40 | |
Captain, a moment. These are from separate men? | 0:38:40 | 0:38:43 | |
Not now, Reid. Captain. | 0:38:43 | 0:38:44 | |
Three right-handed index fingers. Cut through | 0:38:45 | 0:38:48 | |
the digital artery... | 0:38:48 | 0:38:51 | |
There is word. "Have the woman Hart carry this bag | 0:38:51 | 0:38:54 | |
"filled with the ransom of 500 guineas compensation | 0:38:54 | 0:38:57 | |
"to Petticoat Lane, tomorrow at four o'clock in the afternoon. | 0:38:57 | 0:39:00 | |
"If neither, she, nor the bag, nor the money are there, | 0:39:00 | 0:39:02 | |
"Masters Cullington, de Souza and Ely will die." | 0:39:02 | 0:39:06 | |
Where are they hid, Miss Hart? | 0:39:06 | 0:39:08 | |
My eyes were bound. I have no idea. | 0:39:11 | 0:39:13 | |
You have no clue?! | 0:39:13 | 0:39:15 | |
Hey - she answered you already, Reid. | 0:39:15 | 0:39:17 | |
Let me fix you up. | 0:39:17 | 0:39:18 | |
500 guineas. The notion of De Souza's imminent death | 0:39:43 | 0:39:46 | |
oiled the wheels somewhat. | 0:39:46 | 0:39:48 | |
Along with my word to the Commissioner that it would not | 0:39:48 | 0:39:51 | |
leave my sight. This division does not bow to ransom demands. | 0:39:51 | 0:39:54 | |
But we may allow ourselves the pretence of doing so. | 0:39:54 | 0:39:56 | |
And how exactly do you intend to hand it off? | 0:39:56 | 0:39:58 | |
As was requested. | 0:39:58 | 0:40:00 | |
Absolutely not! Goddamn it! | 0:40:00 | 0:40:01 | |
She's not going anywhere except home. | 0:40:01 | 0:40:02 | |
Does he speak for you? | 0:40:04 | 0:40:06 | |
He has never yet. | 0:40:06 | 0:40:07 | |
No. Well...? | 0:40:09 | 0:40:10 | |
I shall do it. | 0:40:12 | 0:40:13 | |
What the hell are you doing? You call me his stooge! | 0:40:15 | 0:40:17 | |
Why are you doing this for him?! | 0:40:17 | 0:40:18 | |
I am not doing it for him. I do it for them. | 0:40:18 | 0:40:22 | |
Those girls. | 0:40:22 | 0:40:24 | |
Because perhaps this way they might find a way through this | 0:40:24 | 0:40:26 | |
that does not involve a man and a rope. | 0:40:26 | 0:40:28 | |
Ourselves and the Captain, we will be hidden in plain sight, | 0:40:32 | 0:40:36 | |
alert to your safety. | 0:40:36 | 0:40:37 | |
You will hand the bag to Raine and then you will turn about | 0:40:37 | 0:40:40 | |
and you will leave. And then we shall follow her to wherever it is | 0:40:40 | 0:40:44 | |
they hide and only then, strike. | 0:40:44 | 0:40:47 | |
Retrieve both cash and captives. | 0:40:47 | 0:40:49 | |
If those men are alive, those women will avoid the hangman. | 0:40:50 | 0:40:53 | |
You have my word. | 0:40:53 | 0:40:54 | |
SHOUTING AND CHATTERING | 0:40:58 | 0:41:00 | |
You ARE a dutiful girl. | 0:42:02 | 0:42:04 | |
Raine, whatever your plan, be wise, think again. | 0:42:16 | 0:42:19 | |
The police will take you. | 0:42:19 | 0:42:21 | |
You're guilty of kidnap, ransom - your girls all of them complicit. | 0:42:21 | 0:42:25 | |
Please, I would not see you all hang. | 0:42:25 | 0:42:27 | |
You would do better to have a little faith in womankind. | 0:42:27 | 0:42:32 | |
SHE CHUCKLES QUIETLY | 0:43:51 | 0:43:52 | |
Wait! Get off me! Get off me! You, stay there. You, stay there! | 0:44:10 | 0:44:13 | |
BACKGROUND CHATTER OF STALL-HOLDERS AND CUSTOMERS | 0:44:22 | 0:44:25 | |
HUBBUB OF MIXED VOICES | 0:44:30 | 0:44:33 | |
You did not call out to the police. | 0:45:05 | 0:45:07 | |
I did not. | 0:45:08 | 0:45:10 | |
I would help you and yours. | 0:45:10 | 0:45:12 | |
Plenty enough girls to look to. | 0:45:12 | 0:45:15 | |
I do not require another. | 0:45:15 | 0:45:17 | |
But I come as your equal - your friend, not your charge. | 0:45:17 | 0:45:22 | |
Why would you want my life? | 0:45:22 | 0:45:24 | |
Because perhaps now, I see beneath the surface of my life. | 0:45:24 | 0:45:29 | |
I take orders from a man to come here. | 0:45:31 | 0:45:34 | |
I service the needs of another I call husband. | 0:45:34 | 0:45:37 | |
And yet there is another still... | 0:45:37 | 0:45:38 | |
a man - Duggan - who owns me. | 0:45:40 | 0:45:42 | |
No other soul have I shared this with. | 0:45:44 | 0:45:47 | |
He seeks to trade my debt for my flesh. | 0:45:47 | 0:45:51 | |
Whatever comes to pass... | 0:45:54 | 0:45:56 | |
..you must swear it to yourself, | 0:45:59 | 0:46:00 | |
that you will not cave in to this animal's demands. | 0:46:00 | 0:46:03 | |
The first time changes you... | 0:46:05 | 0:46:07 | |
for ever. I would not want that for you. | 0:46:07 | 0:46:11 | |
DOOR BANGS | 0:46:13 | 0:46:15 | |
Reid, I swear to God, if anything happens to her... | 0:46:15 | 0:46:17 | |
I swear! But what is it you fear? | 0:46:17 | 0:46:18 | |
You saw the pair, same as I, close in congress. | 0:46:18 | 0:46:21 | |
And what exactly is your point? | 0:46:21 | 0:46:23 | |
That too much of this story still remains a mystery. | 0:46:23 | 0:46:25 | |
One that you might still have a hand in unravelling. | 0:46:25 | 0:46:27 | |
Now muzzle your temper, Captain. Return to your laboratory. | 0:46:27 | 0:46:31 | |
That soil may yet lead us to her. | 0:46:31 | 0:46:32 | |
Forgive us, Councillor, we are somewhat pressed. | 0:46:37 | 0:46:40 | |
As I can see, Inspector. I merely wish to let you know | 0:46:40 | 0:46:43 | |
that the woman Raine, | 0:46:43 | 0:46:45 | |
I've a clue as to where she might call home. | 0:46:45 | 0:46:47 | |
Her sister, Agnes, | 0:46:47 | 0:46:49 | |
I was not the first advocate she sought out. | 0:46:49 | 0:46:51 | |
She spoke bitterly of her home parish | 0:46:51 | 0:46:52 | |
where she might have expected succour but received none. | 0:46:52 | 0:46:55 | |
St John at Hackney, Inspector. | 0:46:55 | 0:46:57 | |
Bow matchworks and surrounds. | 0:47:23 | 0:47:26 | |
St John at Hackney. Thanks to Miss Cobden, our search narrows. | 0:47:28 | 0:47:32 | |
There are women located in this section. | 0:47:32 | 0:47:33 | |
The soil burned hard and fast. | 0:47:33 | 0:47:35 | |
That means there's heavy residue of organic matter within it - peat. | 0:47:35 | 0:47:39 | |
Fossilised microscopic remains throughout. | 0:47:39 | 0:47:41 | |
That kind of dirt can only be found in one place - marshland. | 0:47:41 | 0:47:44 | |
Hackney Marshes. Flight, find Urwin, | 0:47:44 | 0:47:46 | |
cover this stretch of ground with him, find his cart. Yes, sir. | 0:47:46 | 0:47:49 | |
SHE CHUCKLES GLEEFULLY | 0:47:53 | 0:47:55 | |
SHE CONTINUES CHUCKLING | 0:48:00 | 0:48:04 | |
Gather it up, girls. | 0:48:07 | 0:48:09 | |
This is our compensation. | 0:48:09 | 0:48:10 | |
We have won at last. | 0:48:10 | 0:48:12 | |
We move out in the morning. | 0:48:15 | 0:48:16 | |
Miss Susan, you're one of us now! | 0:48:16 | 0:48:19 | |
For the first time in my life, I am glad to catch this stench. | 0:48:26 | 0:48:29 | |
Inspector, we have found the girls. Are you sure? Urwin, is it your cart? | 0:48:29 | 0:48:32 | |
Treated poorly, but, yes, mine. | 0:48:32 | 0:48:33 | |
House on Gilpin Road. | 0:48:33 | 0:48:35 | |
Artherton, fetch Captain Jackson. Sir. Thank you, sir. Jimmy. | 0:48:35 | 0:48:38 | |
EXCITED CHATTER | 0:48:45 | 0:48:48 | |
Where's Raine? Have you seen her? | 0:48:51 | 0:48:53 | |
She's gone downstairs. | 0:48:53 | 0:48:54 | |
Raine? Raine? Your girls wait on you. | 0:48:59 | 0:49:03 | |
Come no further. I will be quick. | 0:49:03 | 0:49:05 | |
This I do for my sister. | 0:49:06 | 0:49:07 | |
You should have paid me heed. Now you are party to this. | 0:49:11 | 0:49:16 | |
You would kill them? You will all hang. | 0:49:17 | 0:49:20 | |
I care not. Not since Agnes. | 0:49:20 | 0:49:23 | |
The rot did not stop at her jaw. | 0:49:25 | 0:49:28 | |
It crept up into her brain, into her skull, into who she was. | 0:49:28 | 0:49:33 | |
Until she did not know even me. | 0:49:33 | 0:49:37 | |
A sister yet stranger. | 0:49:37 | 0:49:40 | |
I was supposed to protect her. Always. | 0:49:40 | 0:49:44 | |
MEN WHIMPER | 0:49:44 | 0:49:47 | |
You! Dare whimper like a child(!) | 0:49:50 | 0:49:54 | |
You who would rob my girls of every hope! | 0:49:54 | 0:49:58 | |
No, no, no. | 0:49:58 | 0:49:59 | |
I did not... Do not touch me! | 0:50:03 | 0:50:04 | |
I know you understand me. | 0:50:06 | 0:50:13 | |
SHE STRIKES MATCH | 0:50:13 | 0:50:14 | |
When these men burn... | 0:50:15 | 0:50:17 | |
you will, I hope, join us. | 0:50:18 | 0:50:22 | |
Now! | 0:50:27 | 0:50:28 | |
No! You would betray me? You betray yourself. | 0:50:33 | 0:50:35 | |
THUDDING WOMEN: To the back door. | 0:50:35 | 0:50:37 | |
This is not freedom. Not for your girls. Not for you. | 0:50:37 | 0:50:40 | |
This is blind violence - the preserve of all those | 0:50:40 | 0:50:42 | |
that have left their scars on your back. You have become man, Raine. | 0:50:42 | 0:50:46 | |
No! Don't tell me I am that! | 0:50:46 | 0:50:48 | |
WOMEN SHOUT | 0:50:50 | 0:50:52 | |
VOICES SHOUT OVER EACH OTHER | 0:50:54 | 0:50:57 | |
Give it up. | 0:50:59 | 0:51:01 | |
Give it up! | 0:51:01 | 0:51:02 | |
Jackson! Jackson! | 0:51:08 | 0:51:10 | |
Where's Susan? Where's Susan? | 0:51:10 | 0:51:13 | |
THEY YELL | 0:51:13 | 0:51:16 | |
No! | 0:51:17 | 0:51:18 | |
Tell me that I am not that! | 0:51:18 | 0:51:21 | |
Tell me I am not that! | 0:51:21 | 0:51:22 | |
(Cut them loose. Cut them loose. | 0:51:22 | 0:51:24 | |
(If you kill them, all here will hang.) | 0:51:24 | 0:51:27 | |
RAINE GASPS AND SNIFFS | 0:51:29 | 0:51:32 | |
(Cut them loose.) | 0:51:39 | 0:51:40 | |
THEY GASP AND PANT | 0:51:43 | 0:51:46 | |
GUNSHOT | 0:51:55 | 0:51:56 | |
No! No, Raine... | 0:51:56 | 0:51:59 | |
RAINE MOANS | 0:51:59 | 0:52:02 | |
SUSAN SOBS | 0:52:02 | 0:52:04 | |
No, no... | 0:52:04 | 0:52:07 | |
Hey, Susan? No... | 0:52:08 | 0:52:10 | |
Susan? | 0:52:10 | 0:52:11 | |
Don't touch me! | 0:52:11 | 0:52:13 | |
SHE SOBS No... | 0:52:13 | 0:52:15 | |
CLAMOURING VOICES | 0:52:27 | 0:52:30 | |
Come here. | 0:52:30 | 0:52:32 | |
INDISTINCT EXCHANGE | 0:52:32 | 0:52:34 | |
I intend to protest this outrage | 0:52:34 | 0:52:36 | |
to the very highest level - to the Commissioner himself. | 0:52:36 | 0:52:39 | |
Come to the station with me and I will take a statement, sir. | 0:52:39 | 0:52:44 | |
BACKGROUND CHATTER | 0:52:44 | 0:52:47 | |
They killed her. They killed Miss Raine. | 0:52:55 | 0:52:58 | |
If I placed you in harm's way, madam, I am sorry for it. | 0:53:04 | 0:53:08 | |
What will happen to her girls? | 0:53:08 | 0:53:11 | |
I shall do all I can to speak for these women. | 0:53:11 | 0:53:14 | |
They will not see the rope. | 0:53:14 | 0:53:16 | |
But you, why did you run with her? | 0:53:16 | 0:53:19 | |
Raine wanted the best for those girls and so did I. | 0:53:19 | 0:53:25 | |
Life - it singularly fails to reward good intentions. | 0:53:27 | 0:53:31 | |
We want something better for ourselves, better for those we love. | 0:53:31 | 0:53:35 | |
And then... | 0:53:36 | 0:53:37 | |
WOMEN SHOUT | 0:53:37 | 0:53:40 | |
The city, my readers and myself, all are awash with | 0:53:55 | 0:53:59 | |
relief at your return. None more so than Miss Cobden, | 0:53:59 | 0:54:03 | |
here at my behest. A chance for rapprochement, | 0:54:03 | 0:54:07 | |
and who better than The Star to report it? The truce. | 0:54:07 | 0:54:10 | |
This is how much damage women cause. | 0:54:18 | 0:54:21 | |
But I would rather lose each remaining finger | 0:54:21 | 0:54:25 | |
than shake hands with her. | 0:54:25 | 0:54:26 | |
Print a retraction of the letter forced from me. | 0:54:27 | 0:54:30 | |
My opposition to female involvement in politics... | 0:54:30 | 0:54:33 | |
Miss Cobden, do not think him representative of all of us. | 0:54:33 | 0:54:36 | |
Two more different men I could not think of. | 0:54:36 | 0:54:38 | |
Where Sir Walter is so consumed with meanness, with revenge, | 0:54:38 | 0:54:41 | |
you are a good man, compassionate and right-headed. | 0:54:41 | 0:54:45 | |
What does this mean for you? | 0:54:45 | 0:54:46 | |
I rally my team, fight the good fight - | 0:54:46 | 0:54:49 | |
I think you rather know the drill. | 0:54:49 | 0:54:51 | |
Continue on with his will so set against you and you risk prison. | 0:54:51 | 0:54:54 | |
At least I'd be under your lock and key, Inspector. | 0:54:54 | 0:54:57 | |
Forgive me, I am for ever in jest. | 0:54:59 | 0:55:02 | |
STREET TRADER CALLS OUT | 0:55:10 | 0:55:12 | |
KNOCKING AT DOOR | 0:55:13 | 0:55:15 | |
KNOCKING AT DOOR Miss Susan? | 0:55:19 | 0:55:20 | |
Come in, Rose. Come in, Rose. | 0:55:23 | 0:55:27 | |
Oh, Miss Susan. | 0:55:36 | 0:55:38 | |
You cannot imagine my relief | 0:55:42 | 0:55:44 | |
to hear of your safe return. | 0:55:44 | 0:55:46 | |
And... | 0:55:47 | 0:55:48 | |
And happiness which... | 0:55:50 | 0:55:51 | |
Well, is it true, Miss Susan, | 0:55:53 | 0:55:55 | |
what Mr Blewett says, | 0:55:55 | 0:55:57 | |
that you are to stand as my patron? | 0:55:57 | 0:55:59 | |
I would have you close to me, Rose. | 0:55:59 | 0:56:01 | |
Not owned yet again by another man | 0:56:03 | 0:56:05 | |
whose only motives are for his own enrichment, never your own. | 0:56:05 | 0:56:08 | |
Then you are ever my saviour, Miss. | 0:56:08 | 0:56:11 | |
(No, Rose. I was never that.) | 0:56:14 | 0:56:18 | |
DOOR OPENS | 0:56:18 | 0:56:20 | |
That woman... Raine. | 0:56:43 | 0:56:45 | |
I couldn't see her intentions | 0:56:49 | 0:56:50 | |
but she was a crazy woman, Susan. | 0:56:50 | 0:56:52 | |
I saw her. I thought she was going to take you from me. | 0:56:52 | 0:56:55 | |
I thought... | 0:56:58 | 0:56:59 | |
I thought I was saving you, darling. | 0:57:03 | 0:57:05 | |
The water grows cold. You want me to warm some up for you? | 0:57:12 | 0:57:15 | |
Maybe fetch you some more towels? | 0:57:15 | 0:57:17 | |
No. I want you to leave me in peace. | 0:57:17 | 0:57:20 | |
Detective Flight's face is right, his voice righter still. | 0:57:52 | 0:57:55 | |
In the time available, he's the best we have. | 0:57:55 | 0:57:58 | |
Good morning, Lemonade. | 0:57:58 | 0:57:59 | |
I'll take whiskey from you now, miss. | 0:57:59 | 0:58:01 | |
What are you offering? You scare me. | 0:58:01 | 0:58:04 | |
What do you call a dead Englishman? | 0:58:04 | 0:58:06 | |
A good start. | 0:58:06 | 0:58:07 | |
Police. | 0:58:07 | 0:58:08 | |
There will be peace. | 0:58:13 | 0:58:14 | |
Subtitles by Red Bee Media Ltd | 0:58:35 | 0:58:38 |