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Bless me, Father, for I have sinned. | 0:00:03 | 0:00:04 | |
It has been three months since my last confession. | 0:00:04 | 0:00:08 | |
And you come now to accuse yourself? | 0:00:08 | 0:00:10 | |
I do, Father. | 0:00:10 | 0:00:11 | |
Of which sin, my son? | 0:00:11 | 0:00:12 | |
I am a liar. | 0:00:13 | 0:00:15 | |
# Climbed they up the ragged stair | 0:00:55 | 0:00:57 | |
# Rang their voices out in prayer | 0:00:57 | 0:01:01 | |
# God save Ireland said the heroes | 0:01:01 | 0:01:04 | |
# God save Ireland, said they all | 0:01:04 | 0:01:07 | |
# When for Erin dear we fall | 0:01:07 | 0:01:10 | |
# High upon the gallows tree | 0:01:10 | 0:01:13 | |
# Swung the noble-hearted three | 0:01:13 | 0:01:16 | |
# Climbed they up the rugged stair | 0:01:16 | 0:01:19 | |
# Rang their voices out in prayer | 0:01:19 | 0:01:23 | |
# Whether on the scaffold high... # | 0:01:23 | 0:01:27 | |
Shut it! | 0:01:27 | 0:01:28 | |
What are you doing here? | 0:01:30 | 0:01:32 | |
Ireland! | 0:01:32 | 0:01:34 | |
Sassenach! | 0:01:34 | 0:01:36 | |
Shut up, paddy! | 0:01:40 | 0:01:41 | |
CROWD JOINING IN: # God save Ireland said the heroes | 0:01:44 | 0:01:47 | |
# God save Ireland... # THUD | 0:01:47 | 0:01:49 | |
Does the bastard breathe? | 0:02:01 | 0:02:02 | |
What was it struck him? | 0:02:02 | 0:02:04 | |
Nothing. Clutched at himself then fell. | 0:02:04 | 0:02:06 | |
There is a God. | 0:02:06 | 0:02:08 | |
Who here would help a true patriot? | 0:02:08 | 0:02:11 | |
A humble man wronged by the cruel iniquities | 0:02:12 | 0:02:15 | |
of this uncaring government? | 0:02:15 | 0:02:17 | |
A brother - a warrior for justice! | 0:02:19 | 0:02:22 | |
Who would help me? | 0:02:22 | 0:02:24 | |
The keys? | 0:02:27 | 0:02:29 | |
Will you not give me the keys? | 0:02:29 | 0:02:30 | |
Are ye men, or are ye mice? | 0:02:30 | 0:02:33 | |
Are ye Irish men and women or not? | 0:02:33 | 0:02:35 | |
If not now, then never! | 0:02:37 | 0:02:39 | |
Maith an buachaill. Good lad. | 0:02:44 | 0:02:46 | |
Ah. What do you call a dead Englishmen? | 0:02:50 | 0:02:53 | |
A good start. | 0:02:55 | 0:02:57 | |
Maith an fear. Eirinn go Brach. | 0:02:57 | 0:02:59 | |
Jesus. | 0:03:07 | 0:03:08 | |
Is this to be laid at your door? Huh? | 0:03:11 | 0:03:14 | |
The balls on you would shame an elephant. | 0:03:17 | 0:03:20 | |
I hope you were not bored, Inspector. | 0:03:21 | 0:03:23 | |
Oh, by no means, Miss Cobden. | 0:03:23 | 0:03:25 | |
They come with a fervour, your friends. | 0:03:25 | 0:03:27 | |
They are not my friends. They befriend me. | 0:03:27 | 0:03:30 | |
There is a difference. | 0:03:30 | 0:03:32 | |
The settlement movement - men and women raised in the gracious avenues | 0:03:32 | 0:03:36 | |
of Bath or the rolling Surrey Downs, now making their home here. | 0:03:36 | 0:03:40 | |
In the hope that the benighted souls they now rub against might | 0:03:40 | 0:03:43 | |
somehow be elevated by such noble contact. | 0:03:43 | 0:03:45 | |
And you doubt their sincerity? | 0:03:45 | 0:03:47 | |
I doubt their efficacity. If people wish to improve conditions... | 0:03:47 | 0:03:50 | |
And you do not wish for improvement in people's lives? | 0:03:50 | 0:03:52 | |
No, I... Of course. I fear they will be disappointed. | 0:03:52 | 0:03:56 | |
Men, I find. And women? | 0:03:57 | 0:03:59 | |
Yes. They too. | 0:03:59 | 0:04:01 | |
In my experience, humans more often choose to | 0:04:02 | 0:04:06 | |
resist transformation than embrace it. | 0:04:06 | 0:04:10 | |
And you, Inspector. I invite you to an audience with a... | 0:04:10 | 0:04:16 | |
over-educated cabal of reformers and idealists | 0:04:16 | 0:04:19 | |
and you choose to attend. | 0:04:19 | 0:04:21 | |
Why, surely that is a transformation of sorts, is it not? | 0:04:22 | 0:04:26 | |
Inspector Reid! You're wanted, sir. | 0:04:27 | 0:04:30 | |
Miss Cobden, my thanks. Time with you is, as ever, educative. | 0:04:31 | 0:04:38 | |
Ah, Inspector. | 0:04:47 | 0:04:48 | |
Fresh from the admiring attentions | 0:04:48 | 0:04:50 | |
of the councillor for Bow and Bromley? | 0:04:50 | 0:04:53 | |
Sergeant. This is our Newgate driver? | 0:04:53 | 0:04:55 | |
Yes, sir. Morris. | 0:04:55 | 0:04:56 | |
Fell from the seat of the Maria as it passed underneath a clothesline. | 0:04:56 | 0:05:00 | |
Moved no more. Convict calls for assistance. A boy obliges. | 0:05:00 | 0:05:04 | |
He frees himself - scarpers. | 0:05:04 | 0:05:06 | |
Any reports from the community on either boy or prisoner? | 0:05:06 | 0:05:09 | |
Irish round there. Shut up like an oyster. | 0:05:09 | 0:05:11 | |
This one, I pronounce... | 0:05:11 | 0:05:12 | |
..dead. | 0:05:14 | 0:05:15 | |
No clubbing, no shooting, no stabbing. | 0:05:15 | 0:05:18 | |
Heart failure, most likely. | 0:05:18 | 0:05:19 | |
But I'm going to open him up and I'm going to get you sure. | 0:05:19 | 0:05:22 | |
So what was it - opportunism? A stroke of luck for the escapee? | 0:05:22 | 0:05:25 | |
Do we have a name? | 0:05:25 | 0:05:26 | |
We do, sir. | 0:05:26 | 0:05:28 | |
Aiden Galvin. Incarcerated at our pleasure since 1868. | 0:05:28 | 0:05:33 | |
Irish Republican Brotherhood. | 0:05:33 | 0:05:35 | |
Sent down with eight other members of the IRB after | 0:05:35 | 0:05:38 | |
the Clerkenwell bombing. | 0:05:38 | 0:05:39 | |
Flat-head Fenians tried to dynamite a prison. | 0:05:39 | 0:05:42 | |
Blew a crater out the street next door in its stead. | 0:05:42 | 0:05:44 | |
12 dead - civilians. Murdered at his hand. | 0:05:44 | 0:05:48 | |
It is a pitiless killer who now walks free. | 0:05:48 | 0:05:50 | |
But, sir, he has not walked abroad in this city for over 20 years. | 0:05:50 | 0:05:53 | |
He will be swiftly found. And your method in so doing, Flight? | 0:05:53 | 0:05:56 | |
We roust the Whitechapel Irish, Inspector. | 0:05:56 | 0:05:59 | |
And the thought of that action sits easy with you, does it? | 0:05:59 | 0:06:03 | |
I know what side I stand on, sir. | 0:06:03 | 0:06:05 | |
Sergeant, take a squad of men also. | 0:06:09 | 0:06:11 | |
The years roll round, | 0:06:11 | 0:06:12 | |
yet it is ever Irish heads on the end of my club. | 0:06:12 | 0:06:16 | |
Police! | 0:06:21 | 0:06:22 | |
Now, everybody stay calm. We're just having a little look around. | 0:06:22 | 0:06:25 | |
Get out, English pigs! Evening, Irish scum. | 0:06:25 | 0:06:27 | |
Watch your mouth, pig! All right then. | 0:06:27 | 0:06:29 | |
SHOUTING | 0:06:29 | 0:06:31 | |
And so it goes. | 0:06:33 | 0:06:34 | |
SHOUTING AND SCREAMING | 0:06:34 | 0:06:36 | |
You! Bulldog Boy! | 0:06:42 | 0:06:43 | |
Have you not walked the streets the last three years? | 0:06:43 | 0:06:45 | |
The IRB has given up its guns. | 0:06:45 | 0:06:48 | |
The days when a Fenian could be found | 0:06:48 | 0:06:50 | |
hid in a cider barrel are past. We live in peace, now. | 0:06:50 | 0:06:52 | |
There's a prisoner on the loose, girl. | 0:06:52 | 0:06:54 | |
IRB with a taste for nothing but the bloody destruction of innocent life. | 0:06:54 | 0:06:59 | |
You're one to talk. The look in your eye - | 0:06:59 | 0:07:01 | |
you've quite a taste for it yourself. | 0:07:01 | 0:07:04 | |
His name is Galvin. Once, he laid dynamite. | 0:07:05 | 0:07:09 | |
Now, we will search this house and you will move aside. | 0:07:10 | 0:07:13 | |
Or you will know prison life yourself. | 0:07:13 | 0:07:15 | |
Thank you. | 0:07:19 | 0:07:20 | |
Although one must be careful of these bohemians, Reid. | 0:07:22 | 0:07:25 | |
I mean, they promise much, certainly, | 0:07:25 | 0:07:28 | |
but that casual air of impudence, | 0:07:28 | 0:07:30 | |
it is more often a disguise, I've found, for what can only be | 0:07:30 | 0:07:33 | |
described as a chilly disinclination when proceedings come to a point. | 0:07:33 | 0:07:39 | |
Captain, tell me. I am curious. | 0:07:40 | 0:07:42 | |
We are now both well enough known to each other, you and I. | 0:07:43 | 0:07:47 | |
Indeed, there are sides to our lives shared with few others | 0:07:47 | 0:07:50 | |
and yet you persist in this ceaseless goading. | 0:07:50 | 0:07:54 | |
Why do you suppose this is so? | 0:07:54 | 0:07:56 | |
Because we're men, Reid, and that is what men do. | 0:07:57 | 0:08:02 | |
We needle and we goad | 0:08:02 | 0:08:04 | |
because if we did not, we would be forced to speak the truth. | 0:08:04 | 0:08:08 | |
Suppose for just one moment that was not the... | 0:08:08 | 0:08:11 | |
Suppose for one minute, that was not the case. | 0:08:12 | 0:08:15 | |
What would the truth say? The truth? | 0:08:15 | 0:08:17 | |
That the good councillor fits with you. | 0:08:18 | 0:08:20 | |
That the two of you look right together. | 0:08:20 | 0:08:22 | |
And that I am sorry that your life is not less...complex. | 0:08:22 | 0:08:28 | |
And you needn't concern yourself with conspiracies. | 0:08:32 | 0:08:34 | |
At least, not as far as this man is concerned. | 0:08:34 | 0:08:36 | |
He got fluid in the lungs, atheroma of the coronary arteries, | 0:08:36 | 0:08:40 | |
infarction of the myocardium. | 0:08:40 | 0:08:43 | |
His heart collapsed on him. Your convict got lucky. | 0:08:43 | 0:08:46 | |
You have your mother's way with the pot still, I see. | 0:09:00 | 0:09:02 | |
Is it you, Aiden Galvin? It is, Evelyn. | 0:09:06 | 0:09:10 | |
My wee girl, Evelyn. | 0:09:13 | 0:09:14 | |
You're hunted. | 0:09:19 | 0:09:21 | |
It is a change to be wanted, I can tell you. | 0:09:21 | 0:09:23 | |
Yet another evil of this bastard government, | 0:09:26 | 0:09:29 | |
that they kept me from you. | 0:09:29 | 0:09:31 | |
And this government you speak of, | 0:09:31 | 0:09:34 | |
it prevents you from writing letters also? | 0:09:34 | 0:09:36 | |
I am not the letter-writing kind, Evelyn. No. | 0:09:36 | 0:09:40 | |
You are the gunpowder-plotting kind. | 0:09:40 | 0:09:42 | |
So what'll you do now, Aiden, before the police find you | 0:09:45 | 0:09:49 | |
and tear your skin from you? | 0:09:49 | 0:09:51 | |
There are one or two errands I must run. | 0:09:51 | 0:09:54 | |
And then there is you. | 0:09:54 | 0:09:56 | |
I would know you. | 0:09:56 | 0:09:58 | |
Help you, if I can. | 0:09:58 | 0:10:00 | |
Are you happy, Evie? | 0:10:01 | 0:10:04 | |
Is your life what you would wish it? | 0:10:04 | 0:10:06 | |
I live here, don't I? | 0:10:08 | 0:10:09 | |
What do you think? | 0:10:11 | 0:10:12 | |
You would leave this place? | 0:10:12 | 0:10:13 | |
Who, given the choice, would stay? | 0:10:13 | 0:10:15 | |
Aye, it is the arsehole of the world, is it not? | 0:10:15 | 0:10:18 | |
With your permission, | 0:10:18 | 0:10:19 | |
I will have to see about removing the pair of us from it. | 0:10:19 | 0:10:22 | |
Mr Parnell. | 0:10:32 | 0:10:33 | |
The acceptable face of Ireland. | 0:10:34 | 0:10:37 | |
A Protestant. | 0:10:37 | 0:10:38 | |
Trust him, we are told. | 0:10:38 | 0:10:41 | |
Trust an Irishman? | 0:10:41 | 0:10:42 | |
I would sooner play chess with an Orang-utan. | 0:10:44 | 0:10:46 | |
LAUGHTER | 0:10:46 | 0:10:47 | |
I was 20 years with the Irish Constabulary | 0:11:02 | 0:11:05 | |
and I will tell you this - | 0:11:05 | 0:11:06 | |
the Irishman is a Negro turned inside out. | 0:11:06 | 0:11:10 | |
Given only to slavishness and violence. | 0:11:10 | 0:11:13 | |
The Irishman harps on freedom. | 0:11:23 | 0:11:25 | |
Freedom to do what, exactly? | 0:11:25 | 0:11:27 | |
Shoot landowners, thieve livestock, explode dynamite. | 0:11:27 | 0:11:33 | |
Hear, hear. | 0:11:33 | 0:11:34 | |
The Irishman was put on this earth to be ruled and it is up to us, | 0:11:34 | 0:11:38 | |
gentlemen, to rule him. | 0:11:38 | 0:11:40 | |
Quite so! Hear, hear. I am for my rest. | 0:11:40 | 0:11:42 | |
Sleep well, Knightly. Good night. | 0:11:42 | 0:11:45 | |
I wish agonies on you, Mr Knightly, and in hell soon. | 0:11:49 | 0:11:53 | |
Bastards. | 0:12:37 | 0:12:39 | |
EXPLOSION | 0:12:39 | 0:12:41 | |
DISTANT: Quick. Need some help! | 0:12:43 | 0:12:46 | |
Inspector Reid! | 0:12:58 | 0:12:59 | |
This for your tame Pinkerton. | 0:13:02 | 0:13:05 | |
And you, Inspector, are with me. | 0:13:06 | 0:13:09 | |
A convicted Brotherhood man is sprung from these streets, | 0:13:09 | 0:13:11 | |
and you thought not to say? | 0:13:11 | 0:13:13 | |
Hardly sprung, Fred. The driver's heart failed. | 0:13:13 | 0:13:15 | |
Galvin has been in a cell for over 20 years - | 0:13:15 | 0:13:18 | |
I'm sure he can barely piss straight. | 0:13:18 | 0:13:19 | |
His physical condition is not germane, Inspector. | 0:13:19 | 0:13:23 | |
How do you think this plays? | 0:13:23 | 0:13:25 | |
It is, "Whitechapel frees Irish dynamite | 0:13:25 | 0:13:27 | |
"and blows it back to London." | 0:13:27 | 0:13:29 | |
Michael Donovan, IRB. Centre point of the Whitechapel Circle. | 0:13:31 | 0:13:35 | |
Mr Abberline, our masters meet in banquet halls. | 0:13:35 | 0:13:39 | |
The IRB is now a recognised political party that | 0:13:39 | 0:13:41 | |
negotiates with your government. | 0:13:41 | 0:13:44 | |
The days when such men as ourselves convened in such | 0:13:44 | 0:13:47 | |
places as this to take secrets off each other are in the past. | 0:13:47 | 0:13:50 | |
And yet, here I am, dragged from my breakfast to converse with you here. | 0:13:50 | 0:13:54 | |
Yourself, and...? | 0:13:55 | 0:13:57 | |
Reid. H Division. | 0:13:57 | 0:13:59 | |
And you, boy, are not a man such as I. | 0:14:01 | 0:14:05 | |
We should have begun this task one day ago, Edmund! | 0:14:05 | 0:14:08 | |
This is an act of war, sir. | 0:14:08 | 0:14:10 | |
No, Michael. It is a retaliation. | 0:14:10 | 0:14:14 | |
This, found beside the charred remains | 0:14:14 | 0:14:18 | |
of a Member of our Parliament. | 0:14:18 | 0:14:20 | |
A one-time Inspector General of the Royal Irish Constabulary. | 0:14:21 | 0:14:25 | |
His escape was not sanctioned by leadership. | 0:14:31 | 0:14:34 | |
The man Galvin is not affiliated. Not no more. | 0:14:34 | 0:14:38 | |
The position of my leadership still stands. | 0:14:38 | 0:14:40 | |
We are for home rule by peaceful means. | 0:14:40 | 0:14:42 | |
Michael, your little knackers | 0:14:42 | 0:14:45 | |
were still being felt by Father O'Hoolahan | 0:14:45 | 0:14:48 | |
when Aiden Galvin was plotting to blow holes in my city. | 0:14:48 | 0:14:52 | |
Man like that is never for peace. | 0:14:52 | 0:14:56 | |
I am old... | 0:14:56 | 0:14:59 | |
but I know yet when an Irisher feeds me horse shit. | 0:14:59 | 0:15:06 | |
Where will he go? | 0:15:08 | 0:15:11 | |
I don't know. | 0:15:11 | 0:15:13 | |
Please! | 0:15:13 | 0:15:14 | |
Nyaaaaaarrrgh! | 0:15:18 | 0:15:20 | |
Aaargh! | 0:15:20 | 0:15:22 | |
He has a daughter! | 0:15:22 | 0:15:23 | |
Gaaargh! | 0:15:25 | 0:15:26 | |
Evelyn Foley. | 0:15:26 | 0:15:29 | |
Barmaid at the Black Rose. | 0:15:29 | 0:15:30 | |
Good lad, Michael. Good lad. | 0:15:30 | 0:15:34 | |
No, Fred. He is yet too green. | 0:15:34 | 0:15:35 | |
Nonetheless, in the time available, he is the best we have. | 0:15:35 | 0:15:39 | |
Detective Flight's face is right, his is voice righter still. | 0:15:39 | 0:15:43 | |
He may sit beside her, watch for Galvin, discern his purpose, | 0:15:43 | 0:15:47 | |
if indeed he does seek her out. | 0:15:47 | 0:15:50 | |
I have not forgot the boy you lost last year, Edmund. | 0:15:50 | 0:15:54 | |
But you will lose more before this life is out | 0:15:54 | 0:15:58 | |
and nothing to be done to change that fact. | 0:15:58 | 0:16:00 | |
You oblige me, Inspector. | 0:16:02 | 0:16:04 | |
Flight, this man, Galvin. There is a daughter, we are told. | 0:16:07 | 0:16:11 | |
Her mother, a woman named Foley. Bethan Foley. | 0:16:11 | 0:16:13 | |
I shall get to the archives, sir - see what might be found. | 0:16:13 | 0:16:16 | |
No, Flight. Sergeant Artherton will manage. | 0:16:16 | 0:16:18 | |
Chief Inspector Abberline has work for you. | 0:16:20 | 0:16:22 | |
If you've the chops for it, son. | 0:16:24 | 0:16:26 | |
Yes, sir, I have. | 0:16:27 | 0:16:28 | |
What is it you do to our Newgate driver? | 0:16:55 | 0:16:57 | |
There's a link here Reid. | 0:16:57 | 0:16:59 | |
Your detonator was charged with a Leyden Jar. | 0:16:59 | 0:17:02 | |
It's a glass bottle with silver sheeting around it, | 0:17:02 | 0:17:05 | |
set to carry current. | 0:17:05 | 0:17:06 | |
Knightly lays back in his bed to rest, | 0:17:06 | 0:17:09 | |
the bed springs depress, connects the circuit, | 0:17:09 | 0:17:14 | |
then, boom! Electricity. | 0:17:14 | 0:17:18 | |
Which is interesting, because now we have to ask ourselves | 0:17:18 | 0:17:21 | |
if our convict was freed with the design of laying this charge | 0:17:21 | 0:17:26 | |
beneath Knightly's bed. | 0:17:26 | 0:17:28 | |
That, is a shock scar. | 0:17:28 | 0:17:30 | |
What, and sufficient to cause his heart to give up? | 0:17:30 | 0:17:32 | |
Well, it is a vulnerable organ. | 0:17:32 | 0:17:34 | |
The charge would have needed to be significant, | 0:17:37 | 0:17:39 | |
however, and conducted into him I know not how. | 0:17:39 | 0:17:42 | |
With me, Sergeant. | 0:17:42 | 0:17:44 | |
The Maria makes its way along. Where did it stop? | 0:17:52 | 0:17:55 | |
Somewhere here. | 0:17:56 | 0:17:57 | |
Let's take a look, shall we? | 0:18:00 | 0:18:02 | |
Leyden Jars. Attached to the washing line. Pull it in. | 0:18:14 | 0:18:17 | |
So this falls upon our driver. | 0:18:25 | 0:18:28 | |
They would have needed, say, nine cells of two-pint jars each, | 0:18:28 | 0:18:32 | |
to deliver a shock strong enough to kill a man. | 0:18:32 | 0:18:35 | |
And what we thought chance is now plotted conspiracy. | 0:18:35 | 0:18:38 | |
Quite so. But by the IRB? No. | 0:18:38 | 0:18:41 | |
When they kill they do so to scream their grievance aloud. | 0:18:41 | 0:18:44 | |
They would never disguise their purpose in this way. | 0:18:44 | 0:18:47 | |
The murdered MP, Knightly, known for his vicious prejudice, certainly. | 0:18:47 | 0:18:51 | |
But I would like to know who else, apart from the IRB, | 0:18:51 | 0:18:54 | |
might celebrate his death. | 0:18:54 | 0:18:56 | |
INDISTINCT CHATTER | 0:18:56 | 0:19:00 | |
LOW CHATTER | 0:19:01 | 0:19:03 | |
Yes, friend? | 0:19:23 | 0:19:25 | |
Er...a lemonade. Thank you. | 0:19:25 | 0:19:28 | |
Whatever's your poison. | 0:19:30 | 0:19:31 | |
FIDDLE PLAYS | 0:19:34 | 0:19:36 | |
# Oh, father, dear | 0:19:43 | 0:19:45 | |
# I often hear | 0:19:45 | 0:19:46 | |
# You speak of Erin's isle | 0:19:46 | 0:19:49 | |
# Her lofty hills and valleys green | 0:19:50 | 0:19:55 | |
# Her mountains rude and wild | 0:19:55 | 0:19:59 | |
# They say she is a lovely land | 0:19:59 | 0:20:02 | |
# Wherein a saint might dwell | 0:20:03 | 0:20:08 | |
# Ah, why did you abandon her? # | 0:20:08 | 0:20:10 | |
Michael, what happened? Did your pigeons turn on you? | 0:20:10 | 0:20:15 | |
A word with you, Evie. In private. | 0:20:15 | 0:20:18 | |
As you can see, we've a crowd in. Will you return in an hour? | 0:20:18 | 0:20:20 | |
Now! | 0:20:20 | 0:20:22 | |
Outside. | 0:20:25 | 0:20:27 | |
Well, if you'll make a scene... | 0:20:27 | 0:20:29 | |
Your pa will be needing food and shelter. He will not be able to rely | 0:20:37 | 0:20:40 | |
on the IRB for such support. And where else will he come other than | 0:20:40 | 0:20:44 | |
to see how his wee girl has grown? | 0:20:44 | 0:20:47 | |
20 years. More than. | 0:20:47 | 0:20:49 | |
And not a single communication of affection is delivered to me | 0:20:49 | 0:20:52 | |
from behind those bars. | 0:20:52 | 0:20:53 | |
Why would he remain in this city when a boat for Bantry Bay | 0:20:53 | 0:20:56 | |
or Ellis Island might be his for the boarding? | 0:20:56 | 0:20:58 | |
Because he has a taste for murdering Englishmen | 0:20:58 | 0:21:01 | |
when the IRB dictates that such actions are of the past. | 0:21:01 | 0:21:03 | |
He may be an old, limp cock, tottering his way to the grave | 0:21:05 | 0:21:08 | |
but there is a warrior in your pappy yet. | 0:21:08 | 0:21:10 | |
A warrior that needs pacifying. | 0:21:12 | 0:21:13 | |
Important, therefore, and I'm sure you understand, that it is me | 0:21:13 | 0:21:16 | |
that finds him first, not the blues. | 0:21:16 | 0:21:18 | |
And why's that, Mikey? So you may put a bullet in his skull? | 0:21:19 | 0:21:23 | |
Don't be forgetting which body of men it was that | 0:21:23 | 0:21:26 | |
paid your orphan way in this life. | 0:21:26 | 0:21:28 | |
Your mammy dead and gone, | 0:21:28 | 0:21:29 | |
the Brotherhood was more of a father to you than he ever was. | 0:21:29 | 0:21:32 | |
This the way you London boys hope to charm a lady, is it? | 0:21:32 | 0:21:35 | |
Bring your boys to stand in threat then bully her? | 0:21:35 | 0:21:38 | |
Did I ask for your help, country boy? No. I did not. | 0:21:38 | 0:21:41 | |
So, Lemonade, away with you. Go on. | 0:21:43 | 0:21:47 | |
That's right, muck-savage. Back on the boat. | 0:21:47 | 0:21:49 | |
Now remember my words. Aiden Galvin. | 0:21:55 | 0:21:58 | |
He comes skulking about, I'm the first to know. | 0:21:58 | 0:22:01 | |
Girl's mother, Bethan Foley - kept IRB men safe | 0:22:07 | 0:22:10 | |
and secret off the streets. | 0:22:10 | 0:22:11 | |
Till she passed late '67 in a house fire... | 0:22:11 | 0:22:13 | |
Evening, gentlemen. | 0:22:13 | 0:22:15 | |
Imagine, Inspector, the dance I had to perform when it emerged that | 0:22:15 | 0:22:19 | |
Whitechapel H Division had requested the personal and professional | 0:22:19 | 0:22:23 | |
particulars of so recently deceased a dignitary as Cecil Knightly. | 0:22:23 | 0:22:29 | |
I do imagine it now and I am grateful. | 0:22:29 | 0:22:31 | |
And so you should be, Inspector. | 0:22:31 | 0:22:33 | |
The bloated fat-head sat on Commissions - chaired them also. | 0:22:33 | 0:22:38 | |
Parliamentary delegation to decide which | 0:22:38 | 0:22:41 | |
and who might be offered government contracts for public work. | 0:22:41 | 0:22:45 | |
The power to make men rich. | 0:22:45 | 0:22:47 | |
Or otherwise. | 0:22:47 | 0:22:48 | |
Flight! | 0:22:48 | 0:22:50 | |
Chief Inspector. You are a poor, lost immigrant | 0:22:50 | 0:22:54 | |
searching for a home amongst your own. | 0:22:54 | 0:22:57 | |
What do you do straying off the streets to fraternize with | 0:22:57 | 0:23:00 | |
the Metropolitan Police? | 0:23:00 | 0:23:03 | |
I made approach, sir, but was rebuffed. | 0:23:05 | 0:23:08 | |
I...I thought it judicious to retreat. | 0:23:08 | 0:23:10 | |
And you said you had the chops for it, son. | 0:23:13 | 0:23:15 | |
Gentlemen. | 0:23:19 | 0:23:21 | |
You get back on her, Flight. | 0:23:21 | 0:23:24 | |
Here. | 0:23:24 | 0:23:25 | |
This commission of Knightly's | 0:23:25 | 0:23:27 | |
lobbies to have the Basin Slum at Shadwell torn down. | 0:23:27 | 0:23:30 | |
Central and South-East Electricity Commission wish the Basin to | 0:23:30 | 0:23:33 | |
be emptied and re-purposed for a new power-station and has invited | 0:23:33 | 0:23:38 | |
bids to be tendered for how that power station might be constructed. | 0:23:38 | 0:23:41 | |
While the London County Council would prefer for more | 0:23:41 | 0:23:43 | |
sanitary dwellings to be built. | 0:23:43 | 0:23:45 | |
Well, at least now you've got a fresh excuse to row yourself past | 0:23:45 | 0:23:48 | |
Councillor Cobden's door, Inspector. | 0:23:48 | 0:23:50 | |
You, son. Sit down. | 0:23:51 | 0:23:54 | |
No, thank you. | 0:24:05 | 0:24:06 | |
You know, Constable, I hate to chop your onions here... | 0:24:07 | 0:24:10 | |
The very thought of it(!) | 0:24:10 | 0:24:12 | |
..but you keep resisting drink, | 0:24:12 | 0:24:13 | |
most men on this planet are going to have a hard time trusting you. | 0:24:13 | 0:24:16 | |
Never mind a piss-crew of Irish exiles. | 0:24:16 | 0:24:18 | |
You are to gain the trust of a girl who has known little else | 0:24:18 | 0:24:21 | |
but the inside of a tap room. | 0:24:21 | 0:24:22 | |
And then, of course, there is the matter of how best to penetrate | 0:24:22 | 0:24:25 | |
that frosty exterior and melt the fruitful vine within. | 0:24:25 | 0:24:27 | |
I wish it were not so but there is little Captain Jackson has | 0:24:27 | 0:24:30 | |
left unlearnt in this subject. | 0:24:30 | 0:24:32 | |
Now, she's pretty. | 0:24:32 | 0:24:37 | |
Correct? | 0:24:37 | 0:24:38 | |
She is. Hmm. | 0:24:38 | 0:24:40 | |
Then she builds both crenulations and portcullis about herself. | 0:24:40 | 0:24:43 | |
No sorcery known will allow a man ingress | 0:24:43 | 0:24:47 | |
until she first lowers that drawbridge down. | 0:24:47 | 0:24:50 | |
You need to make her start wondering after you. | 0:24:50 | 0:24:53 | |
Feel the twinge of intrigue. | 0:24:53 | 0:24:55 | |
Fellow feelings of vulnerability. | 0:24:55 | 0:25:01 | |
Here. You see? | 0:25:01 | 0:25:02 | |
Mother - cruelly killed when she was but a child. | 0:25:03 | 0:25:08 | |
Father in lock-down and a stranger to her. | 0:25:08 | 0:25:10 | |
You need to make yourself the same, Flight. | 0:25:10 | 0:25:11 | |
You need to build yourself a story - tragic loss, destitution. | 0:25:11 | 0:25:17 | |
It's got to be perfect, it's got to be detailed and most important, | 0:25:17 | 0:25:20 | |
it has got to be felt. | 0:25:20 | 0:25:23 | |
Right here. | 0:25:23 | 0:25:24 | |
In your heart. With your own secrets. | 0:25:24 | 0:25:27 | |
When you lie, you lie with your own hidden truth. | 0:25:27 | 0:25:32 | |
We do not have all year, however. | 0:25:32 | 0:25:35 | |
The woman still needs to somehow, notice him. | 0:25:35 | 0:25:39 | |
Then we mark him out. | 0:25:39 | 0:25:41 | |
Well, what kind of man would this woman most likely pity? | 0:25:41 | 0:25:44 | |
A victim of police brutality, perhaps. | 0:25:44 | 0:25:46 | |
Hmm. Well, I guess we'd have to find ourselves a brutal policeman. | 0:25:46 | 0:25:51 | |
Drake, any spring to mind? | 0:25:51 | 0:25:53 | |
Now, put your hat down, Constable, come on. Let's have you up. | 0:25:59 | 0:26:03 | |
Now this is with contrition, you understand. | 0:26:06 | 0:26:09 | |
Look at you, Flight, you're irresistible. | 0:26:15 | 0:26:17 | |
Good morning, Lemonade. | 0:26:28 | 0:26:30 | |
I'd take whiskey from you right now, Miss, were you offering. | 0:26:30 | 0:26:34 | |
Seems I need to find a new name for you. | 0:26:34 | 0:26:36 | |
You may have my real one. | 0:26:36 | 0:26:38 | |
I am Bertrand Doyle. | 0:26:38 | 0:26:39 | |
Then in you come, Bertrand. | 0:26:42 | 0:26:45 | |
I'm Evelyn. | 0:26:45 | 0:26:47 | |
Three of them, in uniform. | 0:26:47 | 0:26:49 | |
Accused me of vagrancy and did not care to wait for my defence. | 0:26:51 | 0:26:54 | |
You were their sport, nothing more. | 0:26:54 | 0:26:57 | |
What brings you here, Bertrand? | 0:27:01 | 0:27:04 | |
The prospect of nowhere to sleep but the cobbles of Whitechapel? | 0:27:04 | 0:27:07 | |
Work brings me, Miss. The hope of it, at least. | 0:27:07 | 0:27:10 | |
Money. Food in my belly. | 0:27:12 | 0:27:14 | |
And that's an improvement on home, is it? | 0:27:17 | 0:27:19 | |
No home. Never was. Not much of, leastwise. | 0:27:21 | 0:27:25 | |
My mother, taken by typhus when I was five. | 0:27:26 | 0:27:28 | |
My father, taken by drink soon after. | 0:27:30 | 0:27:32 | |
I've no knowledge of him. | 0:27:32 | 0:27:34 | |
And that is why the lemonade. | 0:27:36 | 0:27:37 | |
You've no need. | 0:27:42 | 0:27:45 | |
Not to impress me. | 0:27:45 | 0:27:46 | |
Come. | 0:27:54 | 0:27:55 | |
Wash your face. Take those boots off and rest. | 0:28:12 | 0:28:15 | |
I'll bring food for you. | 0:28:15 | 0:28:17 | |
MAN: Evelyn! Get yourself down here. | 0:28:19 | 0:28:21 | |
Do you think these pints pull themselves? | 0:28:21 | 0:28:24 | |
Thank you, Evelyn. | 0:28:24 | 0:28:25 | |
Rest, Bertrand. | 0:28:26 | 0:28:27 | |
I'm sorry. They're so beautiful. | 0:29:34 | 0:29:37 | |
One arrived for me each year on my birthday. | 0:29:37 | 0:29:39 | |
They came to me inside a letter from a man who claimed he was my father. | 0:29:39 | 0:29:43 | |
Was he that? | 0:29:43 | 0:29:44 | |
If he is, then it seems I have two of them. | 0:29:45 | 0:29:47 | |
Then where is the other? | 0:29:47 | 0:29:49 | |
Oh, I have not seen so much of him. Not until recently, at least. | 0:29:50 | 0:29:53 | |
He is from home? From Ireland? | 0:29:55 | 0:29:56 | |
He's been in London all my life. But...out of reach. | 0:29:56 | 0:30:01 | |
I'm sorry. I don't mean to be so obscure. | 0:30:02 | 0:30:06 | |
I feel without care in this life and yet am made claim on by two men | 0:30:06 | 0:30:09 | |
who are entire strangers to me. | 0:30:09 | 0:30:11 | |
Even were my mother still here, she might find it hard to offer clarity. | 0:30:11 | 0:30:15 | |
From what folks here have said, she was not exactly... | 0:30:15 | 0:30:17 | |
exclusive in these matters. | 0:30:17 | 0:30:19 | |
If I had had a brother, or a father for that matter, I imagine | 0:30:38 | 0:30:41 | |
I might have done this for him. | 0:30:41 | 0:30:42 | |
Woke him with milk and bread and butter. | 0:30:43 | 0:30:46 | |
The idea, the way other folk say it is, I mean... | 0:30:48 | 0:30:53 | |
it's our family instruct us, is it not? | 0:30:53 | 0:30:56 | |
Tell us who we are, how we should be. | 0:30:56 | 0:30:58 | |
And... | 0:31:09 | 0:31:11 | |
..without that instruction it's hard, sometimes, I find, to... | 0:31:12 | 0:31:16 | |
..to make sense of ourselves - what we want. | 0:31:19 | 0:31:23 | |
What is right, even. | 0:31:23 | 0:31:24 | |
You... | 0:31:31 | 0:31:32 | |
You scare me. | 0:31:33 | 0:31:35 | |
Inspector, what a lovely surprise. | 0:31:56 | 0:31:59 | |
Miss Cobden, a moment of your time. | 0:31:59 | 0:32:01 | |
Of course, sir. Would you like to follow me? Thank you. | 0:32:01 | 0:32:05 | |
St Paul's Wharfside - | 0:32:05 | 0:32:07 | |
or what the people who must live in that slum call the Basin - | 0:32:07 | 0:32:10 | |
is felt to be dead land, without purpose. | 0:32:10 | 0:32:13 | |
I would build new homes there. | 0:32:13 | 0:32:15 | |
For the men of the Central and South East Electricity Commission, | 0:32:15 | 0:32:18 | |
however, there is opportunity there for industrial development. | 0:32:18 | 0:32:22 | |
It offers a convenient location. | 0:32:22 | 0:32:24 | |
Coal can be delivered from Northumberland, South Wales, | 0:32:24 | 0:32:27 | |
and used to fire the power station they propose. | 0:32:27 | 0:32:29 | |
And the now-atomized Mr Knightly sat to decide on which party | 0:32:29 | 0:32:33 | |
would be awarded the privilege of constructing it, | 0:32:33 | 0:32:36 | |
giving a motive to murder him to any electricity supplier who felt | 0:32:36 | 0:32:39 | |
that Knightly would not support their bid. Indeed. | 0:32:39 | 0:32:43 | |
It just so happens there will be a practical demonstration | 0:32:43 | 0:32:47 | |
this afternoon by one Charles Broadwick, | 0:32:47 | 0:32:50 | |
who hopes to present his suitability for such privilege. | 0:32:50 | 0:32:54 | |
Broadwick is one of the many tenders to build it. | 0:32:54 | 0:32:58 | |
The theatre is on your beat, is it not? | 0:32:58 | 0:33:02 | |
The light above your door, the fire in your stove, | 0:33:02 | 0:33:08 | |
the miniature steam-train on your boy's bedroom floor - | 0:33:08 | 0:33:11 | |
all will be brought into energetic purpose | 0:33:11 | 0:33:14 | |
by your very own supply of electric current, | 0:33:14 | 0:33:18 | |
arriving beneath the paving stones of your street | 0:33:18 | 0:33:22 | |
and into the life of your home. | 0:33:22 | 0:33:24 | |
None of this is in question. | 0:33:25 | 0:33:28 | |
But yet...there is one debate left for us. | 0:33:28 | 0:33:33 | |
A debate which must be decided before this future finds you. | 0:33:33 | 0:33:36 | |
Where will this power be brought into being? | 0:33:36 | 0:33:40 | |
How will it be delivered to your hearthside? | 0:33:40 | 0:33:43 | |
Because for all its wonder, | 0:33:43 | 0:33:46 | |
the electrical age is also one of profound danger, my friends. | 0:33:46 | 0:33:50 | |
The choice we all face is between currents. | 0:33:51 | 0:33:56 | |
Alternating current or direct current. | 0:33:56 | 0:34:00 | |
Both cages are set for identical voltage but differing currents. | 0:34:00 | 0:34:04 | |
The contrast between the two is alarming. | 0:34:04 | 0:34:07 | |
If you please? | 0:34:08 | 0:34:10 | |
WHIRRING | 0:34:10 | 0:34:11 | |
HUMMING AND CRACKLING | 0:34:12 | 0:34:14 | |
BLEATING | 0:34:17 | 0:34:19 | |
HE GASPS Behold! | 0:34:19 | 0:34:22 | |
CRACKLING | 0:34:26 | 0:34:28 | |
Behold, alternating current. | 0:34:39 | 0:34:41 | |
I send you away now, ladies and gentlemen, to ponder only this... | 0:34:43 | 0:34:47 | |
Which of these currents would you allow into your home? | 0:34:48 | 0:34:52 | |
There can be only one choice. And that is direct. | 0:34:53 | 0:34:57 | |
Direct current for London, ladies and gentlemen. | 0:34:57 | 0:35:01 | |
APPLAUSE | 0:35:01 | 0:35:03 | |
Good evening. Charles Broadwick of Broadwick Machine Works. | 0:35:17 | 0:35:21 | |
If you have further questions, I'm only too happy to oblige. | 0:35:21 | 0:35:24 | |
Reid. Police. Councillor Cobden. | 0:35:24 | 0:35:27 | |
Ah, I am delighted. | 0:35:27 | 0:35:30 | |
A member of our august and newly minted County Council. | 0:35:30 | 0:35:33 | |
And a man whose mind is designed to see truth wherever it is hid. | 0:35:33 | 0:35:37 | |
And what truth would you have me describe here, Mr Broadwick? | 0:35:37 | 0:35:40 | |
That animals and electricity do not make great bedfellows? | 0:35:40 | 0:35:43 | |
You are not convinced by my demonstration, Mr Reid? | 0:35:43 | 0:35:46 | |
I have asked myself if that cage was even charged. | 0:35:46 | 0:35:48 | |
Oh, come, sir! Of course it is not! | 0:35:48 | 0:35:49 | |
These animals, whilst never dear, still cost. | 0:35:49 | 0:35:52 | |
And all men of science must economise. | 0:35:52 | 0:35:54 | |
Mr Knightly. | 0:35:56 | 0:35:58 | |
The man who was murdered this night last - I assume you knew of him. | 0:35:58 | 0:36:01 | |
Knew him in life, mourn him in death. | 0:36:01 | 0:36:04 | |
And currently await news of who next I must bribe. | 0:36:04 | 0:36:07 | |
Parliament passed a law last year, Mr Broadwick. An anti-bribery law. | 0:36:09 | 0:36:12 | |
Perhaps you'd care to correct your last statement? | 0:36:12 | 0:36:15 | |
Oh, come, Mr Reid. This is priceless. | 0:36:15 | 0:36:17 | |
You are welcome to arrest me. | 0:36:17 | 0:36:18 | |
But should you do so you will be forced to do likewise to all men | 0:36:18 | 0:36:22 | |
who ever bid for governmental contract! | 0:36:22 | 0:36:24 | |
Every commercial body wishing to turn St Paul's Wharfside | 0:36:24 | 0:36:27 | |
into a generating plant was paying Knightly. | 0:36:27 | 0:36:29 | |
The only secret you will discover from me, sir, | 0:36:29 | 0:36:32 | |
is whether I was paying above or below his median rate! | 0:36:32 | 0:36:35 | |
In fact, we should ask Mr Ferranti! | 0:36:35 | 0:36:39 | |
Miss Cobden, you will, | 0:36:39 | 0:36:40 | |
I am sure, be attending his exposition this evening. | 0:36:40 | 0:36:43 | |
Indeed. It is the invitation of the season. | 0:36:43 | 0:36:46 | |
But Mr Ferranti's power station at Deptford is already | 0:36:46 | 0:36:48 | |
constructed on the principle of alternating current. | 0:36:48 | 0:36:51 | |
We must admire our rivals, Mr Reid, if we wish to be worthy of them. | 0:36:51 | 0:36:55 | |
Of all the men who waited on Mr Knightly's influence, it is | 0:36:55 | 0:36:58 | |
perhaps Mr Ferranti who placed the most at stake. | 0:36:58 | 0:37:00 | |
He would add to the power station | 0:37:00 | 0:37:02 | |
he has already constructed at Deptford and, | 0:37:02 | 0:37:05 | |
with his new design at St Paul's, make it is his exclusive purpose | 0:37:05 | 0:37:07 | |
to power all of central London from within his halls. | 0:37:07 | 0:37:10 | |
But there is talk of trouble, of concerns over its scale | 0:37:10 | 0:37:13 | |
and the scale of danger it represents. | 0:37:13 | 0:37:15 | |
Mr Ferranti. | 0:37:23 | 0:37:24 | |
Yes? | 0:37:26 | 0:37:27 | |
Inspector Reid. Police. | 0:37:27 | 0:37:29 | |
How can I help you, sir? | 0:37:29 | 0:37:31 | |
You find us preparing this evening's exposition. | 0:37:31 | 0:37:33 | |
Yes, for men and women of influence. Influenced. | 0:37:33 | 0:37:38 | |
You are cynical, Inspector? | 0:37:38 | 0:37:40 | |
No, not of the science, | 0:37:40 | 0:37:41 | |
but the means by which you purchase favour. | 0:37:41 | 0:37:45 | |
So I must ask you whether or not you bribed Knightly | 0:37:45 | 0:37:48 | |
to support your bid for St Paul's Wharfside. | 0:37:48 | 0:37:51 | |
Yes, we gave the man money. | 0:37:51 | 0:37:53 | |
But so we might not be ignored. | 0:37:53 | 0:37:55 | |
The field of play thus levelled, we were to win, Mr Reid. | 0:37:56 | 0:38:00 | |
We are, yet. | 0:38:00 | 0:38:01 | |
My competitors cast spells of death and destruction | 0:38:01 | 0:38:04 | |
as if they think the people of this city are Neanderthals to be terrified at the sight of fire. | 0:38:04 | 0:38:09 | |
I have no need of such strategy. | 0:38:09 | 0:38:12 | |
Electrical current is a fierce and unruly force. | 0:38:12 | 0:38:14 | |
What alternating power promises is the means by which such | 0:38:14 | 0:38:18 | |
ferocity is made benign. | 0:38:18 | 0:38:21 | |
You drop the voltage using your transformer, | 0:38:21 | 0:38:25 | |
then you hive it off for domestic consumption. | 0:38:25 | 0:38:27 | |
Indeed. I have removed the beast from the machine. | 0:38:27 | 0:38:32 | |
Oh, I know what you wonder - whether I might have motive to do | 0:38:32 | 0:38:35 | |
worse to a man like Knightly than meet his demands of bribery. | 0:38:35 | 0:38:38 | |
But I have no need to resort to murder | 0:38:38 | 0:38:40 | |
when I have the perfect logic of science at my side. | 0:38:40 | 0:38:43 | |
Does he strike you as the breed of man to consort with escaped dynamiters? | 0:38:44 | 0:38:48 | |
Not so much, sir. No. | 0:38:48 | 0:38:50 | |
And yet Galvin is connected to this circuit somewhere. | 0:38:50 | 0:38:52 | |
And his beast remains intact. | 0:38:52 | 0:38:54 | |
DOOR OPENS | 0:39:02 | 0:39:05 | |
You touch him and I'm straight to the blues. | 0:39:05 | 0:39:08 | |
Do you understand me? | 0:39:08 | 0:39:10 | |
What's your name, boy? | 0:39:12 | 0:39:14 | |
What's yours, sir? | 0:39:14 | 0:39:16 | |
He is Bertrand. And this, Bertrand, is Aiden, | 0:39:16 | 0:39:19 | |
who somehow now believes he has a right to be my protector. | 0:39:19 | 0:39:22 | |
You do not. | 0:39:22 | 0:39:24 | |
And do I deserve the right to a word with you in private? | 0:39:26 | 0:39:29 | |
Please, darling. | 0:39:31 | 0:39:33 | |
I leave this city tonight. | 0:39:33 | 0:39:35 | |
One way or another. | 0:39:35 | 0:39:37 | |
Will you give us a moment, Bertrand? | 0:39:39 | 0:39:41 | |
The MP exploded in his rooms. That was you. | 0:39:57 | 0:40:01 | |
Don't tell me you weep for him, Evelyn. | 0:40:01 | 0:40:04 | |
I care not a thing for him. | 0:40:05 | 0:40:07 | |
But somehow, fool that I am, I care for you. | 0:40:07 | 0:40:10 | |
Know you will now be pursued | 0:40:10 | 0:40:12 | |
and hanged right here in this city that you hate so bitterly. | 0:40:12 | 0:40:15 | |
I do dream that, Evie. | 0:40:15 | 0:40:17 | |
But I have one last task I must perform. | 0:40:17 | 0:40:19 | |
And then... Look, my love. | 0:40:19 | 0:40:23 | |
New York. | 0:40:23 | 0:40:24 | |
One for you. | 0:40:27 | 0:40:28 | |
And, with this task achieved, one for me. | 0:40:28 | 0:40:31 | |
and with enough folding to see us righter than a dosshouse in the Five Points. | 0:40:32 | 0:40:37 | |
Now, I know this is strange for you, Evelyn. | 0:40:37 | 0:40:40 | |
I am unknown to you. | 0:40:40 | 0:40:41 | |
And yet, this - | 0:40:41 | 0:40:44 | |
to provide this for you - is like a dream for me. | 0:40:44 | 0:40:48 | |
You don't have to befriend me, girl, | 0:40:48 | 0:40:50 | |
nor call me Father, nor even look at me when we sail. | 0:40:50 | 0:40:53 | |
But you'll take this chance. | 0:40:54 | 0:40:56 | |
Take it. | 0:40:58 | 0:40:59 | |
Aiden. | 0:41:12 | 0:41:13 | |
Darling. | 0:41:13 | 0:41:14 | |
This task that you go to? | 0:41:17 | 0:41:18 | |
Not for you to worry over, darling. | 0:41:18 | 0:41:21 | |
I'll see you here later, all right? | 0:41:21 | 0:41:23 | |
Wait. | 0:41:25 | 0:41:26 | |
Do you know a man called Holland? | 0:41:28 | 0:41:29 | |
Do you? | 0:41:31 | 0:41:32 | |
He writes to me. | 0:41:33 | 0:41:35 | |
And these letters - what do they say? | 0:41:35 | 0:41:38 | |
Well, he sends one every birthday. | 0:41:40 | 0:41:42 | |
He says that he's my father. | 0:41:44 | 0:41:47 | |
Oh, does he now? | 0:41:47 | 0:41:49 | |
You take this to Inspector Reid of Leman Street. | 0:42:39 | 0:42:42 | |
I am Flight. | 0:42:42 | 0:42:44 | |
You do it now. | 0:42:44 | 0:42:45 | |
Sergeant! Message for Inspector Reid. Urgent! | 0:42:50 | 0:42:54 | |
He found letters, he says. Important to the girl. From America. | 0:42:56 | 0:43:00 | |
A man laying claim to her parentage. | 0:43:00 | 0:43:02 | |
But Galvin is her father, is he not? | 0:43:02 | 0:43:04 | |
And he was reclined in a cell at Newgate. | 0:43:04 | 0:43:06 | |
This man's name, Holland, however. Letters to the girl since 1868. | 0:43:06 | 0:43:10 | |
The year after her mother's death. | 0:43:10 | 0:43:11 | |
And Galvin went down. | 0:43:11 | 0:43:13 | |
All right, so he's made note of the different postmarks, | 0:43:13 | 0:43:15 | |
different towns and states till 1881, | 0:43:15 | 0:43:17 | |
then his travels cease. Cease there. | 0:43:17 | 0:43:20 | |
Raritan, New Jersey. | 0:43:20 | 0:43:22 | |
Raritan? | 0:43:23 | 0:43:24 | |
Letter after letter to the girl, | 0:43:24 | 0:43:25 | |
so we must assume this man Holland settles there. | 0:43:25 | 0:43:29 | |
Menlo Park is in Raritan, is it not, Captain? | 0:43:29 | 0:43:31 | |
It is, Reid, and thus the circuit's made. | 0:43:31 | 0:43:35 | |
Menlo Park is an industrial park created by one Thomas Edison. | 0:43:35 | 0:43:38 | |
The inventor? Also a man of business. | 0:43:38 | 0:43:41 | |
More patents filed in more fields of inquiry than any man alive. | 0:43:41 | 0:43:43 | |
And yet his one ardent pursuit - | 0:43:43 | 0:43:45 | |
to secure the means by which the United States of America distributes | 0:43:45 | 0:43:48 | |
its electricity and to secure it for his own chosen charge and current. | 0:43:48 | 0:43:52 | |
He is for direct current. | 0:43:52 | 0:43:54 | |
Unlike Ferranti, who is for alternating, is he not? | 0:43:54 | 0:43:57 | |
But akin to another man I have met recently, Dr Charles Broadwick. | 0:43:57 | 0:44:02 | |
Captain, you would trust Edison | 0:44:02 | 0:44:04 | |
to own a telegraph machine, would you not? | 0:44:04 | 0:44:06 | |
The leanest and fastest, Reid. | 0:44:06 | 0:44:08 | |
Edison did indeed employ James Percival Holland - | 0:44:31 | 0:44:34 | |
English physicist. Alma mater - University College London. | 0:44:34 | 0:44:37 | |
And wanted by us as a known IRB collaborator | 0:44:37 | 0:44:40 | |
in the Clerkenwell bombing. | 0:44:40 | 0:44:42 | |
The same circle as Aiden Galvin. | 0:44:42 | 0:44:44 | |
Wanted but never brought to ground. He got on a boat, then. | 0:44:44 | 0:44:46 | |
Made his way and his life in America. | 0:44:46 | 0:44:48 | |
Receives employment at Menlo Park, | 0:44:48 | 0:44:49 | |
education at the feet of Thomas Edison. | 0:44:49 | 0:44:52 | |
The letters to the girl - they ceased in 1887, did they not? | 0:44:52 | 0:44:57 | |
Indeed. | 0:44:57 | 0:44:58 | |
Because I am beginning to wonder if, in fact, this man Holland left | 0:44:58 | 0:45:01 | |
America when those letters stopped and travelled here to London, | 0:45:01 | 0:45:03 | |
travelling beneath a different name. | 0:45:03 | 0:45:05 | |
Broadwick Machine Works. Instituted September 10th 1887. | 0:45:09 | 0:45:13 | |
Charles Broadwick, like Holland, a champion of direct current. | 0:45:15 | 0:45:19 | |
Charles Broadwick was once James Holland, he who sprung | 0:45:19 | 0:45:22 | |
Aiden Galvin from his prison wagon and set him to kill Knightly. | 0:45:22 | 0:45:25 | |
And just what business of yours is she, | 0:45:27 | 0:45:29 | |
to be writing to her all the way from America? | 0:45:29 | 0:45:32 | |
I knew her too, Aiden. Remember the girl fondly. | 0:45:32 | 0:45:36 | |
Why should I not ask after her? | 0:45:36 | 0:45:38 | |
Because she is not yours to ask after! | 0:45:38 | 0:45:41 | |
Did you write from your cell? | 0:45:41 | 0:45:43 | |
I did not. Then is it not better that one of us did? | 0:45:44 | 0:45:47 | |
One of us? Do not make me the same as you. | 0:45:47 | 0:45:51 | |
One of us(!) | 0:45:51 | 0:45:52 | |
Dynamite. That's all we ever shared. | 0:45:52 | 0:45:55 | |
Dynamite... | 0:45:56 | 0:45:58 | |
and a woman. | 0:45:58 | 0:46:00 | |
Bethan Foley was mine! | 0:46:02 | 0:46:04 | |
She was not, Aiden. Not alone. Do you forget? | 0:46:04 | 0:46:07 | |
She was never particular. | 0:46:07 | 0:46:09 | |
And Evelyn? | 0:46:10 | 0:46:12 | |
Tell me, you bastard. | 0:46:12 | 0:46:13 | |
You'd been jailed. I was bound for New York. Bethan found me. | 0:46:13 | 0:46:18 | |
Told me that I am Evelyn's father. | 0:46:18 | 0:46:20 | |
Asked if I might make myself known to the girl. | 0:46:20 | 0:46:23 | |
But I could not - would not. | 0:46:25 | 0:46:29 | |
I may send her presents but I do not have the strength to be a father. | 0:46:29 | 0:46:32 | |
And is that why you broke me out? | 0:46:32 | 0:46:34 | |
So that I might finally have the truth from you? | 0:46:34 | 0:46:37 | |
I released you so that you might know freedom | 0:46:37 | 0:46:40 | |
and vent your rage against this country once more. | 0:46:40 | 0:46:42 | |
Don't come the charitable English rebel with me, Jamie. | 0:46:42 | 0:46:47 | |
It is a venting designed to suit your purpose and ambition. | 0:46:47 | 0:46:52 | |
This task you would set me on is not for ideas | 0:46:52 | 0:46:55 | |
but for your own advancement and profit. | 0:46:55 | 0:46:58 | |
Perhaps. | 0:46:58 | 0:47:00 | |
But you're well paid for it, Aiden. | 0:47:00 | 0:47:02 | |
And it is that profit which will see you to New York. | 0:47:02 | 0:47:05 | |
Before then, however, half of the London County Council waits | 0:47:05 | 0:47:09 | |
on Sebastian Ferranti's word. | 0:47:09 | 0:47:11 | |
And on your dynamite. | 0:47:13 | 0:47:15 | |
Your last chance to spill the blood of British politicians. | 0:47:17 | 0:47:20 | |
And mine, to extinguish my competitors. | 0:47:20 | 0:47:24 | |
The Aiden Galvin I remember would never have declined such an opportunity. | 0:47:24 | 0:47:27 | |
Eirinn go Brach? | 0:47:30 | 0:47:31 | |
Eirinn go Brach. | 0:47:33 | 0:47:35 | |
DOOR CLOSES | 0:47:39 | 0:47:40 | |
Flight? | 0:48:03 | 0:48:04 | |
Sir, you need to see this. | 0:48:04 | 0:48:06 | |
The device described here - Galvin has it. | 0:48:06 | 0:48:09 | |
Another electric circuit to detonate the explosive. | 0:48:09 | 0:48:12 | |
But this - what is this within? A wax stem? | 0:48:12 | 0:48:16 | |
That's a delay. It allows him to get clear. | 0:48:16 | 0:48:19 | |
See, the wax plug keeps the electric contact plates apart. | 0:48:19 | 0:48:22 | |
No circuit's made, therefore the device is harmless | 0:48:22 | 0:48:25 | |
unless you put it beside a heat source. | 0:48:25 | 0:48:27 | |
Or... | 0:48:27 | 0:48:29 | |
inside one. | 0:48:29 | 0:48:31 | |
Ferranti's transformer. | 0:48:31 | 0:48:33 | |
The transformer melts the wax, allowing the plates into congress. | 0:48:33 | 0:48:36 | |
Boom. | 0:48:38 | 0:48:39 | |
Councillor. Hello. | 0:48:50 | 0:48:52 | |
How wonderful to see you. Oh, my pleasure. | 0:48:52 | 0:48:54 | |
I'm thrilled you could join us. I'm looking forward to it. | 0:48:54 | 0:48:57 | |
Wonderful. We have a fine show in store. Thank you. | 0:48:57 | 0:48:59 | |
Good evening. | 0:49:04 | 0:49:05 | |
Good evening, Miss Cobden. Mr Broadwick. | 0:49:10 | 0:49:12 | |
Ladies and gentlemen. | 0:49:31 | 0:49:32 | |
I could, of course, wish you welcome to the future | 0:49:32 | 0:49:35 | |
but, whilst this most certainly is the future I am to show you, | 0:49:35 | 0:49:38 | |
I would not do so with fireworks. | 0:49:38 | 0:49:41 | |
Although such things are certainly within my gift. I will show you. | 0:49:41 | 0:49:45 | |
Here, piped from our power station at Deptford, I may deliver | 0:49:47 | 0:49:51 | |
almost 800 kilowatts of generated power. | 0:49:51 | 0:49:54 | |
CRACKLING | 0:49:56 | 0:49:58 | |
Enough not only to kill whichever dumb animal my competitors | 0:50:00 | 0:50:04 | |
would use as slanderous scaremongery, | 0:50:04 | 0:50:07 | |
but to stop a stampeding herd of bison, if need be. | 0:50:07 | 0:50:11 | |
But no. | 0:50:11 | 0:50:12 | |
I do not hope to impress you with such power, | 0:50:13 | 0:50:18 | |
but rather with the means by which such power is mastered - | 0:50:18 | 0:50:22 | |
transformed by alternating current... | 0:50:22 | 0:50:25 | |
..and put to whichever peaceful purpose we choose. | 0:50:26 | 0:50:29 | |
I will bring light to your streets and peace to your homes. | 0:50:33 | 0:50:36 | |
The city illuminated, ladies and gentlemen. | 0:50:41 | 0:50:43 | |
Bravo! | 0:50:46 | 0:50:47 | |
Ferranti! Shut it down now! | 0:51:04 | 0:51:06 | |
Mr Reid, explain yourself! Shut it down. Do it now, sir! | 0:51:06 | 0:51:09 | |
Everybody out, now! Get up and get out, nice and calmly. | 0:51:09 | 0:51:13 | |
This must be dismantled. Why? | 0:51:15 | 0:51:17 | |
Because we believe it may have been sabotaged. | 0:51:17 | 0:51:20 | |
It should have blown by now. You go back in there and you fix it! | 0:51:24 | 0:51:28 | |
No. I am no longer your dynamite delivery boy. | 0:51:28 | 0:51:31 | |
You do it yourself, Jamie. | 0:51:31 | 0:51:33 | |
I go now to let Evelyn know the truth of who she is. | 0:51:33 | 0:51:36 | |
She might be your flesh and blood but she's my girl | 0:51:36 | 0:51:39 | |
and I will see her right in this world. | 0:51:39 | 0:51:42 | |
Eirinn go Brach, Jamie. | 0:51:42 | 0:51:43 | |
Everyone out now! Come on. | 0:51:53 | 0:51:56 | |
Let's get up and get out of here. | 0:51:56 | 0:51:59 | |
Come on, ladies and gentlemen, move along. Keep moving. | 0:51:59 | 0:52:02 | |
You looking for this, brother? James Holland. | 0:52:07 | 0:52:10 | |
Good evening. Inspector Reid. | 0:52:11 | 0:52:13 | |
You are under arrest. Murder and attempted murder. Multiple counts. | 0:52:13 | 0:52:18 | |
You are for the rope, sir. | 0:52:18 | 0:52:20 | |
Infernal machines. | 0:52:20 | 0:52:22 | |
No! No! Don't touch him, sir! | 0:52:22 | 0:52:24 | |
LOW CHATTER | 0:52:36 | 0:52:37 | |
God bless you. Safe journey. | 0:52:43 | 0:52:46 | |
Take care. Take care of yourself. | 0:52:48 | 0:52:50 | |
I thought my father had scared you off for good. | 0:52:54 | 0:52:58 | |
Perhaps he did. | 0:52:58 | 0:53:00 | |
Still, my courage is found now. | 0:53:01 | 0:53:03 | |
Should I prepare myself to fight him? Perhaps. | 0:53:03 | 0:53:07 | |
You leave with him, I think. | 0:53:09 | 0:53:11 | |
I do, Bertrand. | 0:53:12 | 0:53:13 | |
America. | 0:53:16 | 0:53:17 | |
I understand, Evelyn. | 0:53:19 | 0:53:21 | |
May I wait with you? | 0:53:26 | 0:53:28 | |
Perhaps shake his hand? | 0:53:28 | 0:53:29 | |
Think you're leaving, do you, Aiden? | 0:53:53 | 0:53:55 | |
And you are? | 0:53:58 | 0:54:00 | |
I am your centre. Your colonel. | 0:54:00 | 0:54:03 | |
Colonel? You're milk piss, boy. | 0:54:03 | 0:54:06 | |
There will be peace. | 0:54:12 | 0:54:13 | |
There'll never be peace. | 0:54:16 | 0:54:18 | |
THUD | 0:54:21 | 0:54:22 | |
Does he not come? | 0:54:27 | 0:54:29 | |
Well, he was never reliable. | 0:54:29 | 0:54:30 | |
Perhaps you should sail with me. | 0:54:34 | 0:54:36 | |
Ah, send me an address and I'll come find you. | 0:54:36 | 0:54:38 | |
But who should I send it to, Bertrand? | 0:54:45 | 0:54:47 | |
Whoever you are, that is not your real name. | 0:54:50 | 0:54:52 | |
Who are you? | 0:54:57 | 0:54:58 | |
Go. Take your boat, Evelyn. | 0:55:01 | 0:55:02 | |
And did you lose your mother? | 0:55:08 | 0:55:09 | |
And your father too? | 0:55:11 | 0:55:12 | |
Those things are true. | 0:55:15 | 0:55:16 | |
And the rest? | 0:55:18 | 0:55:20 | |
Take your boat. | 0:55:24 | 0:55:25 | |
HE SHIVERS | 0:55:48 | 0:55:51 | |
HE SNIFFS | 0:55:51 | 0:55:52 | |
One might say you saved my life, Inspector. | 0:56:02 | 0:56:04 | |
That being the case, I have put my mind to how I might thank you. | 0:56:04 | 0:56:08 | |
I thought I might allow you to walk with me this Sunday afternoon. | 0:56:09 | 0:56:13 | |
At Hampstead, perhaps. We could take a blanket and some cold wine. | 0:56:13 | 0:56:17 | |
Miss Cobden... When will you call me Jane, Inspector? | 0:56:18 | 0:56:21 | |
Miss Cobden, I... | 0:56:21 | 0:56:24 | |
I do not know what you think it is has passed between us. | 0:56:26 | 0:56:29 | |
I am married. | 0:56:32 | 0:56:34 | |
Mr Reid. | 0:56:34 | 0:56:35 | |
Edmund. | 0:56:37 | 0:56:38 | |
I am, as you know, for the present and the future, but never the past. | 0:56:39 | 0:56:43 | |
There is nothing but black magnetism there. | 0:56:43 | 0:56:46 | |
Allow me and I will help you to resist it. | 0:56:47 | 0:56:51 | |
I am sorry, Miss Cobden. | 0:56:55 | 0:56:56 | |
You run them - confess it. | 0:57:26 | 0:57:28 | |
No, sir! Yes, sir! | 0:57:28 | 0:57:29 | |
You pander and pimp those boys | 0:57:29 | 0:57:31 | |
who ought to be safe in your care. | 0:57:31 | 0:57:32 | |
I want you. | 0:57:32 | 0:57:34 | |
Tell me we can do this. | 0:57:34 | 0:57:35 | |
We can do this. He'll pay. He has to. | 0:57:35 | 0:57:39 | |
These are mine. Silver and copper. | 0:57:39 | 0:57:41 | |
Within a week - 200. | 0:57:41 | 0:57:42 | |
And the value just soars. | 0:57:42 | 0:57:44 | |
How would you like the Star | 0:57:44 | 0:57:46 | |
to turn the biggest bank in London upside down? | 0:57:46 | 0:57:48 | |
I acted in the best interests of my bank and its investors. | 0:57:48 | 0:57:51 | |
By lying to them. | 0:57:51 | 0:57:53 | |
What is the purpose of our work? | 0:57:53 | 0:57:55 | |
Subtitles by Red Bee Media Ltd | 0:58:04 | 0:58:07 |