0:00:03 > 0:00:06There is a little boy we could have. This boy, Connor, has a father,
0:00:06 > 0:00:09Rose. When the mother is gone, it is up to Jackson to resolve, right?
0:00:09 > 0:00:10Take him. Please.
0:00:10 > 0:00:14Please, Connor, it's for the best. CONNOR WAILS
0:00:18 > 0:00:21Don't ever die for real. This borough here
0:00:21 > 0:00:23has a taste for monsters. Then let us hear of
0:00:23 > 0:00:25the man behind that monster.
0:00:25 > 0:00:26He's Isaac Bloom.
0:00:26 > 0:00:29It would not be so hard a thing to have a warrant card made for you.
0:00:29 > 0:00:33Needs must you would work under me, however.
0:00:35 > 0:00:37STREET HUBBUB
0:01:02 > 0:01:06MATHILDA: You are anxious. REID: No, I'm not. I'm not anxious.
0:01:06 > 0:01:10This work I am set to, my research in Whitechapel,
0:01:10 > 0:01:12you do not wish me to undertake it.
0:01:12 > 0:01:13That I do not, no.
0:01:13 > 0:01:17You think I'll be set upon by wolves and demons.
0:01:17 > 0:01:19But I've told you before, I'm equal to them.
0:01:19 > 0:01:22We are, none of us, equal to Whitechapel.
0:01:22 > 0:01:25Then you are not only anxious for me,
0:01:25 > 0:01:27for today you return to your duties at Leman Street.
0:01:27 > 0:01:32I am not anxious for that, Mathilda. I am not anxious at all.
0:01:32 > 0:01:35Then I may go about my work alone. You know you may not.
0:01:35 > 0:01:38It is your first day at it, and you will go with me or not at all.
0:01:38 > 0:01:42And so you win yourself an hour or two's delay
0:01:42 > 0:01:46before you walk through those doors and become a policeman again.
0:01:54 > 0:01:56Idle, drinking, violent.
0:01:56 > 0:02:01I shall mark these houses lowest class, loafer, vicious.
0:02:02 > 0:02:05I have my doubts of these categories of Mr Booth's.
0:02:05 > 0:02:07They do not do justice to the human reality.
0:02:07 > 0:02:10These people are not vicious or idle or violent.
0:02:10 > 0:02:12They do not choose this existence.
0:02:12 > 0:02:14And yet in but three words they are condemned.
0:02:14 > 0:02:16Mr Booth's categories are none of your concern.
0:02:16 > 0:02:19This is not your work. It is mine.
0:02:19 > 0:02:22I shall see to this house myself, alone.
0:02:24 > 0:02:26SHE KNOCKS AT DOOR
0:02:38 > 0:02:39CHILD WHIMPERS
0:02:42 > 0:02:44WHIMPERING CONTINUES
0:03:07 > 0:03:08WEAKLY: I die.
0:03:08 > 0:03:09Father!
0:03:11 > 0:03:12Father!
0:03:17 > 0:03:19Father, he's dying!
0:03:19 > 0:03:21There, boy.
0:03:21 > 0:03:23Open your chest. What's your name? Where's your mother?
0:03:24 > 0:03:28I'm dying. I die. I am here. You are not alone.
0:03:28 > 0:03:30What is your name? BOY MURMURS
0:03:33 > 0:03:34Tommy. Tommy.
0:03:34 > 0:03:38There, Tommy, do not be afraid. I am here.
0:03:39 > 0:03:40I am here.
0:03:44 > 0:03:45LABOURED BREATH
0:04:44 > 0:04:46Where is it, my love? I shall be late.
0:04:46 > 0:04:49Well, I'm quite sure I washed at least one of your shirts.
0:04:49 > 0:04:52And then there's so much linen. All right, it's all right. Here it is.
0:04:52 > 0:04:55Yeah, a little damp, but...
0:04:55 > 0:04:57Here you go, Connor. Here.
0:04:57 > 0:04:59No. Come on, Connor.
0:04:59 > 0:05:02No. All right, all right, all right. Connor... Give us a go.
0:05:02 > 0:05:05Now, little fella, how are you going to grow up big and strong
0:05:05 > 0:05:07unless you drink your milk?
0:05:07 > 0:05:08Ha!
0:05:16 > 0:05:20Connor Drake, I hereby arrest you for the criminal waste of milk
0:05:20 > 0:05:24and the destruction of police property.
0:05:24 > 0:05:25Eh?
0:05:25 > 0:05:27Now, what do you think about that? CONNOR GIGGLES
0:05:27 > 0:05:29What you going to do about that, young sir?
0:05:29 > 0:05:30Eh?
0:05:30 > 0:05:33JACKSON: 'He is safe.
0:05:33 > 0:05:35'He is loved, our boy.'
0:05:40 > 0:05:42Even now, your Rose holds him in her arms.
0:05:42 > 0:05:44Do you find no comfort in that?
0:05:49 > 0:05:50You're free.
0:05:53 > 0:05:54You're alive.
0:05:55 > 0:05:58And we're together.
0:05:58 > 0:05:59Yeah.
0:06:00 > 0:06:02We are. We are safe.
0:06:03 > 0:06:05Let us delight in that.
0:06:07 > 0:06:09900 days we were apart...
0:06:11 > 0:06:16..but I counted them, every one, and I bled each and every hour.
0:06:19 > 0:06:20You can't leave.
0:06:24 > 0:06:25900 days.
0:06:33 > 0:06:35All the hours we have lost.
0:06:38 > 0:06:40We must make amends.
0:06:55 > 0:06:58Captain Jackson will be along shortly, I have no doubt, sir.
0:06:58 > 0:07:00It's a workhouse boy.
0:07:00 > 0:07:02His red scalp is iodine.
0:07:02 > 0:07:04Workhouse practice against ringworm.
0:07:04 > 0:07:06Get on to the workhouses between here and Poplar.
0:07:06 > 0:07:08See who's gone missing. Find out who he is.
0:07:08 > 0:07:11His name is Tommy, and he has a birthmark here behind his left ear.
0:07:11 > 0:07:14And how shall I mark the case, sir? It is murder?
0:07:14 > 0:07:16It is not a case as such.
0:07:16 > 0:07:19I mean to find his family, give him a proper burial.
0:07:19 > 0:07:23But... But I must log the action, sir. It's how it is done now.
0:07:23 > 0:07:27And what is your name, lad? Drummond, sir.
0:07:27 > 0:07:30Samuel Drummond. Do not worry yourself, Samuel Drummond.
0:07:30 > 0:07:32It is a matter only for me.
0:07:32 > 0:07:34Very good, sir.
0:07:34 > 0:07:38And if you come with me now, Mr Drake is expecting you, sir.
0:07:52 > 0:07:56I, Edmund John James Reid, being appointed a constable
0:07:56 > 0:07:59of the police force of the Metropolitan Police district,
0:07:59 > 0:08:02do solemnly, sincerely, and truly declare
0:08:02 > 0:08:05that I will serve our sovereign lady Queen Victoria, and in all respects
0:08:05 > 0:08:08to the best of my skill and knowledge,
0:08:08 > 0:08:12discharge the said office faithfully and according to law.
0:08:16 > 0:08:17Who'd have thought, eh?
0:08:22 > 0:08:23Welcome back, Inspector.
0:08:27 > 0:08:31You have heard me speak often enough of this gentleman, Mr Edmund Reid.
0:08:31 > 0:08:35We are lucky indeed to have him back with us.
0:08:35 > 0:08:37I see this wall soon empty, now he has returned.
0:08:44 > 0:08:47And if I may, a little something to ease you back to work.
0:08:49 > 0:08:51A curious case, a spate of attacks,
0:08:51 > 0:08:54the victims separated from their right hands.
0:08:54 > 0:08:56I have other business I must attend to,
0:08:56 > 0:08:59but Sergeant Drummond will see you fitted
0:08:59 > 0:09:03with all the particulars of the case and show you to the suspect.
0:09:03 > 0:09:06Give this silent fellow a stir. See if you can't make him whistle.
0:09:17 > 0:09:21Your name and business, sir. I told them slops before.
0:09:21 > 0:09:23I don't talk to the police.
0:09:23 > 0:09:24Slops? Mm.
0:09:24 > 0:09:28You've been accused of severing the hands of four men.
0:09:28 > 0:09:30It's a most particular crime,
0:09:30 > 0:09:32in some cultures, the punishment for thieving.
0:09:32 > 0:09:36Slops - coster speak for police.
0:09:36 > 0:09:39You're a costermonger, a market trader.
0:09:39 > 0:09:42And you serve your own justice on those who would thieve from you.
0:09:42 > 0:09:45You part them from their light-fingered hands.
0:09:45 > 0:09:46It's old coster practice, this.
0:09:50 > 0:09:55These scars, you must need knives for your trade.
0:09:55 > 0:09:57You are a butcher.
0:09:58 > 0:10:00But the scars are on the underside of your palm.
0:10:04 > 0:10:08So you hold your work in your left, your knife in your right.
0:10:11 > 0:10:12You are an oyster shucker.
0:10:12 > 0:10:15FOOTSTEPS APPROACH
0:10:15 > 0:10:20Mr Reid, you are asked for, sir. The boy's mother is found.
0:10:25 > 0:10:27DOOR CLANGS
0:10:37 > 0:10:40You have my boy. Where is he, sir?
0:10:40 > 0:10:42I was at my interviews down Durwood Street
0:10:42 > 0:10:45and along comes this lady, knocking on all the doors just as I was.
0:10:45 > 0:10:49Looking for her boy, she says. Madam, be advised,
0:10:49 > 0:10:51the boy that we hold is dead.
0:11:07 > 0:11:10Oh, God, save us.
0:11:14 > 0:11:16Oh, God, forgive me. I've lost my boy.
0:11:18 > 0:11:20I couldn't keep him no more.
0:11:21 > 0:11:26I must put him in the workhouse. I couldn't feed him.
0:11:27 > 0:11:31I... I thought he would be safest there, but look at him.
0:11:34 > 0:11:38Oh, God, look what they did to him. SHE WEEPS
0:11:43 > 0:11:44Poor boy.
0:11:45 > 0:11:48The boy, sir, is Tommy Riggs,
0:11:48 > 0:11:50missing from Whitechapel Union Workhouse.
0:11:51 > 0:11:54Go to the mother. See she wants for nothing.
0:11:54 > 0:11:56I have questions must be answered at the workhouse.
0:11:56 > 0:11:59I wish to know how a boy in its care may die in such abjection.
0:12:13 > 0:12:16Mr Wilde, I have in my morgue in Leman Street
0:12:16 > 0:12:17a young boy, Tommy Riggs.
0:12:17 > 0:12:19I am concerned, sir, at the state in which I found him -
0:12:19 > 0:12:22underfed, neglected. Mortally, sir.
0:12:22 > 0:12:23Tommy Riggs?
0:12:23 > 0:12:25Yes, a...
0:12:25 > 0:12:28a runaway, missing this week past.
0:12:28 > 0:12:31I'm afraid I can not account for what became of him beyond these walls.
0:12:31 > 0:12:34These poor souls whose parents have neglected them,
0:12:34 > 0:12:36so many feel compelled to run away.
0:12:36 > 0:12:39They do not see that the workhouse is for their own safety.
0:12:40 > 0:12:42It is our...our greatest sorrow.
0:12:42 > 0:12:45Nevertheless, sir, I should like to see for myself
0:12:45 > 0:12:47the conditions in which the children are kept.
0:12:49 > 0:12:51Here, you see we teach literacy.
0:12:54 > 0:12:57Along here, domestic skills.
0:12:57 > 0:12:59For too long, the workhouse
0:12:59 > 0:13:01has been a form of incarceration for the poor,
0:13:01 > 0:13:05no hope of release, no hope of a future.
0:13:05 > 0:13:09We must let go of this notion of deterrent,
0:13:09 > 0:13:13of threat, and instead give the poor hope and possibility.
0:13:13 > 0:13:17I will not consign these people to despair, sir, nor to sickness.
0:13:18 > 0:13:18I will not consign these people to despair, sir, nor to sickness.
0:13:25 > 0:13:28We have separated the children's infirmary
0:13:28 > 0:13:30from the rest of the workhouse,
0:13:30 > 0:13:33a kind of cordon sanitaire.
0:13:33 > 0:13:37We must take the spread of disease very seriously, even ringworm.
0:13:45 > 0:13:47And this, what is this place?
0:13:47 > 0:13:51The casual ward for tramps and vagrants,
0:13:51 > 0:13:53those who stay only one night.
0:13:53 > 0:13:55We're obliged to feed and water them, let them return to the streets.
0:13:55 > 0:13:58We are, as you see, in the process of fumigating it,
0:13:58 > 0:14:00for they bring the filth of the world with them.
0:14:00 > 0:14:04Salus populi suprema est lex.
0:14:04 > 0:14:07The health of the people is the highest law. Indeed.
0:14:07 > 0:14:10Well, I hope you'll agree that the workhouse has much changed since you knew it.
0:14:10 > 0:14:13It is indeed a marvel of order and hygiene, which gives me to wonder, sir,
0:14:13 > 0:14:16why Tommy Riggs should wish to run away from such a place.
0:14:17 > 0:14:19Pauper spirit, Inspector Reid.
0:14:20 > 0:14:24The spirit of the streets, it is... it is too strong in some.
0:14:24 > 0:14:26They insist upon their freedom.
0:14:26 > 0:14:29His mother blames the workhouse for his demise.
0:14:29 > 0:14:30What say you to that?
0:14:31 > 0:14:32His mother?
0:14:33 > 0:14:36Why, sir, that cannot be. How so?
0:14:36 > 0:14:37His mother is dead.
0:14:56 > 0:15:01This is braided from my hair for remembrance of me.
0:15:01 > 0:15:04And they had us make them for our loved ones that they might share their mourning.
0:15:07 > 0:15:09Jesus, he's English.
0:15:18 > 0:15:19HE KISSES
0:15:21 > 0:15:24And I'll grieve for you every hour, on the hour.
0:15:25 > 0:15:26And you...
0:15:29 > 0:15:31..oh, my Caitlin,
0:15:31 > 0:15:34you will stay within the bounds of this place, within these walls,
0:15:34 > 0:15:38and you will show yourself to none but Croker. Promise me.
0:15:40 > 0:15:42I promise.
0:15:44 > 0:15:48And for that, Matthew, you must stay away from our boy.
0:15:49 > 0:15:51You made promise to Drake.
0:15:51 > 0:15:54You must keep that promise, lest you ruffle his feathers.
0:15:57 > 0:15:58For they'll not trouble us here.
0:16:02 > 0:16:05Ah, Mr Reid, sir, I've been seeking word of the coster.
0:16:05 > 0:16:07Yes, yes, yes, the woman, the grieving woman.
0:16:07 > 0:16:08Oh, she's gone, sir.
0:16:08 > 0:16:11She's gone? She packed up suddenly, lit out.
0:16:11 > 0:16:15She left no word, she gave no sign, no clue to her identity?
0:16:15 > 0:16:16Indeed, sir.
0:16:17 > 0:16:19It was found in the waiting room.
0:16:22 > 0:16:26Bromide of potassium. Greasepaint. She treads the boards.
0:16:26 > 0:16:28I know how she may be found.
0:16:28 > 0:16:29Sir, about the oyster seller.
0:16:29 > 0:16:32I found three stalls on Hanbury Street, Mitre Square and Middlesex Street.
0:16:32 > 0:16:33Middlesex Street.
0:16:33 > 0:16:37Trader there some years ago charged with several accounts of violent affray. Ah...
0:16:37 > 0:16:39Orton! Orton, his name.
0:16:39 > 0:16:42This may be his son. Seek him in the archives. Learn what you can of him.
0:16:42 > 0:16:45And I would have an autopsy done on this boy, Tommy,
0:16:45 > 0:16:48though I do not imagine Captain Jackson is of a mind to work.
0:16:48 > 0:16:50On the contrary, Mr Reid.
0:16:51 > 0:16:57Work is my mind's only refuge, after the old oak smoke, that is.
0:17:00 > 0:17:02Captain.
0:17:05 > 0:17:07Captain.
0:17:10 > 0:17:12You are not expected here.
0:17:12 > 0:17:15Go home, man. Riot victim.
0:17:15 > 0:17:16Straight to the morgue, boys.
0:17:17 > 0:17:18But it would seem I am needed.
0:17:24 > 0:17:25Blessed murder.
0:17:31 > 0:17:33What's the case, Sergeant Drummond?
0:17:33 > 0:17:36This riot we've had at the Salvation Army shelters.
0:17:36 > 0:17:40The Salvations are again set upon, and their captain is now dead, murdered, and strung up.
0:17:48 > 0:17:50Captain Solomon Shaw,
0:17:50 > 0:17:52stabbed in the guts multiple times, head sheared,
0:17:52 > 0:17:55strung up like a piece of meat for all to see.
0:17:55 > 0:17:57A statement.
0:17:57 > 0:17:59This is the work of the Skeleton Army.
0:17:59 > 0:18:02It's a ragtag army of the poor.
0:18:02 > 0:18:03They've risen against the Salvationists
0:18:03 > 0:18:06and their so-called charity. JACKSON WHISTLES
0:18:06 > 0:18:08Jesus, that's some kind of frenzy, huh?
0:18:08 > 0:18:10Nuts.
0:18:10 > 0:18:14Mr Reid, who's this boy in our morgue?
0:18:14 > 0:18:17Tommy Riggs, workhouse runway.
0:18:17 > 0:18:19I would request an autopsy.
0:18:19 > 0:18:21I am concerned it is negligence caused his death.
0:18:21 > 0:18:24Well, you can see the work waiting to be done here.
0:18:24 > 0:18:28You will get your autopsy, Inspector Reid, but we have a murder must be solved first.
0:18:35 > 0:18:36Thank you, Mr Reid.
0:18:39 > 0:18:41These are double wounds.
0:18:41 > 0:18:44My guess is blades, some kind of shears.
0:18:44 > 0:18:48See the lateral splits in the wound, most likely the impact of the hinge
0:18:48 > 0:18:49as the shears hit the flesh.
0:18:53 > 0:18:55STREET CHATTER
0:19:12 > 0:19:14Mrs Drake, I wonder if you might be able to help me.
0:19:14 > 0:19:17Er, I seek to discover the identity of a woman who came to me
0:19:17 > 0:19:18and since disappeared.
0:19:18 > 0:19:22She is, er, I believe, a fellow performer, an actress or a singer.
0:19:22 > 0:19:24She's dark, perhaps your height.
0:19:24 > 0:19:27She left this. Recognise it?
0:19:27 > 0:19:31There is a...handkerchief.
0:19:31 > 0:19:33It's embroidered with a swan. Oh...
0:19:33 > 0:19:36She wears a cluster of flowers in her hair.
0:19:36 > 0:19:38Leda Starling.
0:19:38 > 0:19:42She had a spot at Blewett's for a while, but they let her go.
0:19:42 > 0:19:47Last I heard, she was singing for her supper at the Four Knives.
0:19:47 > 0:19:49No. Come on, Connor.
0:19:49 > 0:19:50No.
0:19:51 > 0:19:52SHE SIGHS DEEPLY
0:19:53 > 0:19:55He will eat for Bennet, but not for me.
0:19:56 > 0:19:59Smile for Bennet, sleep for Bennet.
0:20:01 > 0:20:03SHE SIGHS What am I to do with him?
0:20:03 > 0:20:05Well, you are grieving, both.
0:20:06 > 0:20:07It is only to be expected.
0:20:10 > 0:20:12It's good to see you again, Mr Reid.
0:20:12 > 0:20:15KNOCK ON DOOR Who is that now?
0:20:21 > 0:20:22Augustus!
0:20:24 > 0:20:26Hello, old friend. SHE SIGHS HAPPILY
0:20:31 > 0:20:32Oh.
0:20:32 > 0:20:34Commissioner Dove.
0:20:34 > 0:20:37Er, Augustus and I were at the ragged school together.
0:20:37 > 0:20:39He taught me to write the perfect R.
0:20:39 > 0:20:43But, Augustus, I don't...doubt you've met Inspector Edmund Reid.
0:20:43 > 0:20:44Indeed, I have not.
0:20:44 > 0:20:45Sir.
0:20:45 > 0:20:49The honour is mine, Mr Reid. Whitechapel rejoices at your return.
0:20:49 > 0:20:50Hm!
0:20:54 > 0:21:00# Shall we never meet again, love
0:21:00 > 0:21:06# As we used to in the past?
0:21:06 > 0:21:12# And the bright links in love's chain, love
0:21:12 > 0:21:16# Be rudely snapped at last?
0:21:16 > 0:21:19# Yet my...
0:21:19 > 0:21:24# Heart will still be thine, love
0:21:24 > 0:21:29# And its thoughts still cling to thee
0:21:29 > 0:21:35# Like the tendrils of the vine, love
0:21:35 > 0:21:38# Around the old oak tree. #
0:21:44 > 0:21:46APPLAUSE
0:21:51 > 0:21:52Ah, thank you.
0:21:57 > 0:21:58Thank you. Madam.
0:22:00 > 0:22:02You do not remember me?
0:22:02 > 0:22:05I'm Inspector Reid from the police station at Leman Street.
0:22:05 > 0:22:08You are Leda Starling. This is yours, is it not?
0:22:08 > 0:22:12Oh, er, you must excuse me, sir.
0:22:12 > 0:22:15I am, as you can see, a little mops and brooms.
0:22:15 > 0:22:18There was a boy. You came to see him.
0:22:18 > 0:22:20No, he was not my boy.
0:22:20 > 0:22:21Madam, you must explain yourself.
0:22:21 > 0:22:24You had me believe that you were the mother of the boy in my morgue.
0:22:24 > 0:22:28No, I am the mother of a boy who is lost.
0:22:28 > 0:22:29How is he lost?
0:22:32 > 0:22:34I gave him up.
0:22:34 > 0:22:35God bless him.
0:22:35 > 0:22:38I would have kept him, but you see what I'm reduced to.
0:22:39 > 0:22:42So I...put him in the workhouse.
0:22:42 > 0:22:46Oh, God, what has become of him?
0:22:46 > 0:22:48Do you believe some harm has come to him?
0:22:48 > 0:22:51Sir, I do fear it. In the workhouse?
0:22:51 > 0:22:53It's a fearful, dark place.
0:22:53 > 0:22:56But they say he's not there, but if he were not there, he would be here with me.
0:22:56 > 0:22:59Where else in the world could he be?
0:22:59 > 0:23:02Shall we not go there, get to the heart of this matter?
0:23:03 > 0:23:05And find my boy?
0:23:37 > 0:23:39The master is not in his office, sir, at present.
0:23:39 > 0:23:42Then find him. We're here for a boy - Starling.
0:23:42 > 0:23:44What's his Christian name?
0:23:53 > 0:23:54Um...
0:24:05 > 0:24:06My boy.
0:24:06 > 0:24:09My boy! Ma?
0:24:11 > 0:24:12Yes.
0:24:12 > 0:24:14Yes, your ma's here. Come to me.
0:24:14 > 0:24:17Ma! My boy.
0:24:17 > 0:24:18Oh!
0:24:20 > 0:24:21Uh...
0:24:22 > 0:24:25No, you're...you're not my boy.
0:24:29 > 0:24:32This... This is my boy. Come to your ma now.
0:24:32 > 0:24:33Are you my ma?
0:24:35 > 0:24:36CHILDREN MURMUR
0:24:36 > 0:24:39Miss Starling, you must come away now. You must come away.
0:24:41 > 0:24:44What is this now? Please remove her. She is disturbing the children.
0:24:44 > 0:24:48I... I know I left him. I know I left him.
0:24:48 > 0:24:49My office, if you please.
0:24:53 > 0:24:56She seeks her son. She is much distressed.
0:24:56 > 0:25:00Inspector Reid, is this woman the origin and cause of your earlier visit?
0:25:00 > 0:25:03For you must understand, sir, she is deranged. Do you not see?
0:25:03 > 0:25:05She has lost her wits.
0:25:05 > 0:25:08I do not doubt that it was she claimed to be the mother of Tommy Riggs.
0:25:08 > 0:25:11She is distracted, I own, but she is driven to it by the absence of her son.
0:25:11 > 0:25:14Then I grieve for her, but she comes here twice,
0:25:14 > 0:25:16often three times in a week, to ask after him,
0:25:16 > 0:25:19and every time I must tell her that she is mistaken.
0:25:19 > 0:25:23We have no knowledge of her son. He has never been an inmate here.
0:25:23 > 0:25:25I...cannot help her.
0:25:25 > 0:25:27She is unwell, sir.
0:25:28 > 0:25:30Provision must be made for her.
0:25:33 > 0:25:36I will call the Mile End asylum. No, no.
0:25:36 > 0:25:39No, do not trouble yourself. I will see that she's taken care of.
0:25:39 > 0:25:41Very well.
0:25:49 > 0:25:52Will you take me away from this place? Yes.
0:25:52 > 0:25:54Come. Please.
0:25:55 > 0:25:58I see now, Inspector Reid, how it is that you take such an interest.
0:26:01 > 0:26:02You insinuate, sir?
0:26:02 > 0:26:06I merely remark that it is not a criminal case you pursue here, is it?
0:26:06 > 0:26:10I do not doubt you have more pressing police matters to attend to.
0:26:13 > 0:26:17JACKSON WHISPERS
0:26:17 > 0:26:19I have something for it. Take one more.
0:26:31 > 0:26:33DOOR CLOSES
0:26:36 > 0:26:40Loss of short-term memory, neurasthenia, insomnia.
0:26:40 > 0:26:41She's taken bromide of potassium.
0:26:43 > 0:26:45Tertiary syphilis.
0:26:46 > 0:26:48It's in her brain.
0:26:48 > 0:26:51At one moment, she'll be lucid, rational,
0:26:51 > 0:26:54the next, she'll be scattered, maniacal, bewildered.
0:26:54 > 0:26:59The asylum's her only future now. Oh, dear God. What a road.
0:26:59 > 0:27:00What sanctuary is there?
0:27:02 > 0:27:06I will take her home for tonight. Er, she needs rest,
0:27:06 > 0:27:09and I would know more of this story of her boy and how he is missing.
0:27:09 > 0:27:11Perhaps she will be calmer when she is rested.
0:27:11 > 0:27:13Perhaps she will remember more. You cannot take her home.
0:27:13 > 0:27:16She is suffering the general paresis of the insane.
0:27:16 > 0:27:20For that I will find some place for her tomorrow, somewhere better.
0:27:22 > 0:27:24She's not your concern.
0:27:36 > 0:27:38Morning, ladies.
0:27:38 > 0:27:40Jake Carter, otherwise known as Redskin Jake,
0:27:40 > 0:27:42chief of the Skeleton Army... BELL RINGS
0:27:42 > 0:27:45..and soon to be convicted of the murder of Captain Solomon Shaw.
0:27:45 > 0:27:49Caught him trying to shear a Salvation Army lad with these little beauties.
0:27:49 > 0:27:50It's the black cap for you, my friend. Come on.
0:27:50 > 0:27:54Hallelujah! Look at him now. He's a proper little workhouse boy, ain't you, lad?
0:27:54 > 0:27:57Come on, son. Can you tell me what happened?
0:27:57 > 0:28:01Wilfred Higgins... That man, he grabbed me.
0:28:01 > 0:28:02You sheared this boy.
0:28:04 > 0:28:06I have two other such assaults, or am I wrong?
0:28:06 > 0:28:08This is your practice, is it not?
0:28:09 > 0:28:10Explain yourself.
0:28:12 > 0:28:13Ah, to teach him a lesson.
0:28:15 > 0:28:18You ever had a Salvation Army breakfast?
0:28:18 > 0:28:20Cos they make you beg for it.
0:28:20 > 0:28:24I've had many a Salvation breakfast. Never once was I made to beg.
0:28:24 > 0:28:27Good people, merciful, who filled my belly,
0:28:27 > 0:28:29and I was glad of it, grateful.
0:28:29 > 0:28:32They want your soul in return.
0:28:35 > 0:28:40I sheared the boy just to show he's one of us - human.
0:28:40 > 0:28:43And for that, you sheared Solomon Shaw an' all.
0:28:45 > 0:28:47It was not for this you killed him.
0:28:47 > 0:28:49He came upon your territory,
0:28:49 > 0:28:53threatened your criminal dominion, and you made him answer for it.
0:28:53 > 0:28:55Stabbed him in the guts, strung him up.
0:28:55 > 0:28:56Do you think me stupid?
0:28:58 > 0:29:02I began my days in a prison, a workhouse.
0:29:02 > 0:29:05What, d'you think I mean to end them locked up an' all?
0:29:05 > 0:29:12We, the Skeleton Army, are the army of the free poor.
0:29:12 > 0:29:15We've known the paupers' punishments.
0:29:15 > 0:29:18"You may leave, but if you're worthy."
0:29:18 > 0:29:22"You may live, if you're deserving."
0:29:22 > 0:29:24We defy 'em.
0:29:24 > 0:29:27We will live as we choose,
0:29:27 > 0:29:30without shame of our poverty, without apology!
0:29:30 > 0:29:35Beef, good beef!
0:29:35 > 0:29:37Beer, good beer!
0:29:37 > 0:29:40Banger! Shut your noise!
0:29:42 > 0:29:45Yes, Miss? I'm here to take Mrs Starling home.
0:29:46 > 0:29:50Miss Reid... Oh, good evening.
0:29:54 > 0:29:56Mathilda, come.
0:30:04 > 0:30:05HE CLEARS HIS THROAT
0:30:07 > 0:30:09DOG BARKS IN THE DISTANCE
0:30:15 > 0:30:17There is soup, should she be hungry later.
0:30:18 > 0:30:21Thank you for this care of her. It's only for tonight.
0:30:21 > 0:30:24Tomorrow we'll find the right and proper place for her.
0:30:31 > 0:30:32KNOCK ON DOOR
0:30:40 > 0:30:42Inspector Drake...
0:30:42 > 0:30:45Given the late hour, I assume this is not a social call.
0:30:45 > 0:30:47It is not.
0:30:47 > 0:30:48DOGS BARK
0:30:51 > 0:30:55Oh, I think you know it. You overstepped the mark.
0:30:56 > 0:30:58And I cannot help but wonder why this is so,
0:30:58 > 0:31:01when I ask you to pursue one task for me,
0:31:01 > 0:31:03this amputating costermonger,
0:31:03 > 0:31:07yet I must find you inventing quite another.
0:31:07 > 0:31:10Inspector Drake, I do not act in opposition to you.
0:31:10 > 0:31:13I mean no disrespect. It is...
0:31:13 > 0:31:15It is only my doggedness that drives me.
0:31:15 > 0:31:18I think you know that well enough.
0:31:18 > 0:31:22HE CHUCKLES Oh, I know that, Edmund Reid.
0:31:24 > 0:31:28What of this lady, hm? This Leda Starling?
0:31:28 > 0:31:31Jackson tells me you've brought her home.
0:31:31 > 0:31:33And no doubt that I've lost my judgment in this matter.
0:31:35 > 0:31:38But she is ill... and she will be given proper care,
0:31:38 > 0:31:42but first she must rest so that I might pursue my inquiries of her.
0:31:44 > 0:31:46And these inquiries are?
0:31:46 > 0:31:48She's lost her son.
0:31:48 > 0:31:52She says that in dire straits she gave him up to the union workhouse,
0:31:52 > 0:31:53but he has since gone missing.
0:31:53 > 0:31:55She haunts the union for news of him,
0:31:55 > 0:31:58but the master there claims no knowledge of the boy.
0:31:58 > 0:32:00I have some sense,
0:32:00 > 0:32:04a sickening thrum, that there is some kind of malice at work here.
0:32:04 > 0:32:06The master, this Cornelius Wilde,
0:32:06 > 0:32:09he has a needling, deflecting way about him
0:32:09 > 0:32:11that resists all inquiry.
0:32:11 > 0:32:13I wish to talk to the Redskin.
0:32:13 > 0:32:16He was a workhouse boy. I should like to hear what he has to say of the place.
0:32:18 > 0:32:21I, er, must say, Mr Reid, I have my doubts for this.
0:32:22 > 0:32:26Well, I fear this case is food for the pigs, there are that many scraps.
0:32:27 > 0:32:30You are working on a say-so of, forgive me, a lunatic.
0:32:31 > 0:32:34Workhouse boys. I mean, they run away every day.
0:32:34 > 0:32:36What is there to see in this?
0:32:36 > 0:32:38Your boy Tommy is dead.
0:32:38 > 0:32:42I grieve for him, but you forget, this is Whitechapel.
0:32:44 > 0:32:47For all that we have done here, she is still the merciless bitch of the east.
0:32:47 > 0:32:52And it gives me to ask, what possessed you to come back here?
0:32:58 > 0:33:00You've seen Hampton...
0:33:03 > 0:33:04..the promenade...
0:33:05 > 0:33:10..the parasols, the polite conversation amidst the teacups.
0:33:10 > 0:33:13There is nothing of it that breathes.
0:33:13 > 0:33:18There is nothing of it that is alive and quick and stinking and bright.
0:33:18 > 0:33:23Whitechapel is life, in all its wild and rotten splendour.
0:33:24 > 0:33:27Beside it, the rest of the world seems a tomb.
0:33:29 > 0:33:31It is rotten and wild.
0:33:31 > 0:33:34It is heaving and pitiless and ignorant.
0:33:34 > 0:33:37And I have yet seen nowhere to match it.
0:33:39 > 0:33:43It is our heartland, Bennet Drake.
0:33:45 > 0:33:48It is our life's work, Edmund Reid.
0:34:01 > 0:34:03TRAIN RUMBLES PAST
0:34:03 > 0:34:04LEDA: No! No!
0:34:04 > 0:34:07SHE SOBS Will... William.
0:34:07 > 0:34:10William? William, Will...
0:34:11 > 0:34:12Leda.
0:34:14 > 0:34:17Where's William? Hm? William is your boy?
0:34:17 > 0:34:21Where's Barnabas? Where's William? Where's Barnabas? Where's William?
0:34:24 > 0:34:26They're missing. You must listen to me.
0:34:26 > 0:34:30My mind is so often clouded, but it is clear now for a moment.
0:34:30 > 0:34:32Hear it, please. M-My little boy was afraid.
0:34:32 > 0:34:35His friend William and his friend Barnabas, they disappeared.
0:34:35 > 0:34:38Disappeared? From the house, from the workhouse.
0:34:38 > 0:34:39He was afraid for 'em.
0:34:39 > 0:34:41Well, I'm afraid.
0:34:41 > 0:34:44You do believe me, do you? Yes. Yes.
0:34:44 > 0:34:47Oh, God, and now my boy's such another.
0:34:51 > 0:34:55You will find him for me, hm? Say you will find him.
0:34:56 > 0:34:58If he be...
0:34:59 > 0:35:01..dead,
0:35:01 > 0:35:04I do not care who or why or how.
0:35:04 > 0:35:07I do not even ask for justice.
0:35:07 > 0:35:10Only that my boy be not alone in the world
0:35:10 > 0:35:14and forgotten and unknown.
0:35:14 > 0:35:19I will find him. I vow it. I will find your child.
0:35:23 > 0:35:27MATHILDA: Is she mad? REID: She is on that path, yes.
0:35:28 > 0:35:30My mother...
0:35:30 > 0:35:31was she so?
0:35:38 > 0:35:39She was very like.
0:35:43 > 0:35:47I should not have brought her here - Leda. Forgive me.
0:35:49 > 0:35:53I have wondered at it so often, my mother's madness.
0:35:55 > 0:35:57I could not imagine it. I dared not.
0:36:00 > 0:36:04But I know it now. I have seen it.
0:36:07 > 0:36:10I am no longer so, so afraid.
0:36:16 > 0:36:19And...to have her here...
0:36:22 > 0:36:24It's almost to be near her again.
0:36:37 > 0:36:39You brought Lady Luck with you, sir.
0:36:40 > 0:36:43Ah, this winning is too easy.
0:36:43 > 0:36:45CHUCKLING You mean to make me generous?
0:36:45 > 0:36:50You think me some feeble-headed girl with her brains in her tits.
0:36:50 > 0:36:53No, sir. No, indeed. HE CHUCKLES
0:36:53 > 0:36:57I will give the job the man who offers me the best price.
0:36:57 > 0:37:00For three, four... We'll do it for half your fee.
0:37:00 > 0:37:02CREAKING
0:37:06 > 0:37:08Well, then make yourself useful. I am dry.
0:37:08 > 0:37:13Not cripple, I think. There is the wine, and there are your legs.
0:37:18 > 0:37:19Now, forgive me, my dear.
0:37:20 > 0:37:22You have not been introduced.
0:37:36 > 0:37:37This is...
0:37:39 > 0:37:40..Jenny.
0:37:40 > 0:37:43I bought her to pretty things up.
0:37:43 > 0:37:44Mm.
0:37:49 > 0:37:51How much?
0:37:56 > 0:37:58How long have you been waiting in dock,
0:37:58 > 0:38:01while you float around for this cheap price?
0:38:01 > 0:38:04And all the while paying in port fees and interest?
0:38:06 > 0:38:08What is interest on your cargo?
0:38:10 > 0:38:13It is not for this that you are yet unloaded.
0:38:13 > 0:38:18It is not the best price that you seek. It is discretion.
0:38:20 > 0:38:23Clever little whore.
0:38:23 > 0:38:25Uhh! If you mean to do business with us,
0:38:25 > 0:38:29you will learn to keep a civil tongue, Bo Nystrom?
0:38:29 > 0:38:31SHE TUTS Yeah, you have a memorable name.
0:38:31 > 0:38:35You have not traded in the Port of London for many years, sir.
0:38:35 > 0:38:38Not since the steamship Gustavus went down with all hands.
0:38:38 > 0:38:42An unwarranted wreck in a calm sea.
0:38:44 > 0:38:49Nevertheless, the insurance was paid handsomely, fraudulently.
0:38:50 > 0:38:53Our friends at Lloyd's would be interested
0:38:53 > 0:38:56to know of your return to the London Docks.
0:39:02 > 0:39:05These are our terms.
0:39:05 > 0:39:08The job is ours and no others. The price is double.
0:39:08 > 0:39:12And there is a premium to pay for my silence.
0:39:18 > 0:39:20One minute and the offer is closed.
0:39:36 > 0:39:40If you betray me... I will carve you like scrimshaw.
0:39:45 > 0:39:47CHUCKLING
0:39:48 > 0:39:50Jenny's a wildcat.
0:40:03 > 0:40:06Inspector Reid, is it not?
0:40:06 > 0:40:07Your name travels ahead, sir.
0:40:10 > 0:40:13My name is Castello.
0:40:13 > 0:40:17Castello of the Star. Yours travels, too, Miss.
0:40:17 > 0:40:20And who is this wonderful girl? I am Mathilda Reid.
0:40:20 > 0:40:22Miss Castello, you have some business with me?
0:40:22 > 0:40:26Er... Your marvellous return to us here,
0:40:26 > 0:40:28it is owed to the fate of Isaac Bloom, I understand.
0:40:28 > 0:40:31You understand how? We have a mutual friend.
0:40:31 > 0:40:34And who that? Deborah Goren,
0:40:34 > 0:40:37of the orphanage on Woodseer Street. Come, Mathilda. We'll be late.
0:40:37 > 0:40:38She asks herself why it is
0:40:38 > 0:40:40you have not sought her out since your return,
0:40:40 > 0:40:43wonders if that return is motivated by the execution
0:40:43 > 0:40:46of your other mutual friend, Mr Bloom,
0:40:46 > 0:40:48if the murder of the rabbi Ratovski
0:40:48 > 0:40:51still occupies that restless mind of yours.
0:40:51 > 0:40:53As you know, that case is now closed.
0:40:53 > 0:40:57And yet so much of its detail still stands injuncted,
0:40:57 > 0:41:01withheld from the public by the unseen hand of police officialdom.
0:41:01 > 0:41:05Why is that, sir, if, indeed, that case is closed?
0:41:05 > 0:41:09Will you now leave us, Miss Castello, or allow us to leave you?
0:41:10 > 0:41:12Be my guest, Mr Reid.
0:41:14 > 0:41:16And a good day to you, Miss Mathilda Reid.
0:41:30 > 0:41:34Cornelius Wilde told me this boy had been missing for a week.
0:41:34 > 0:41:37Can a mere week out of the workhouse reduce a child to this?
0:41:41 > 0:41:42Fingernails missing...
0:41:44 > 0:41:47..sores in the mouth and the tongue.
0:41:47 > 0:41:50And this cracking about the lips, that's severe dehydration.
0:41:50 > 0:41:54I'd say that's chronic in nature, a matter of months.
0:41:54 > 0:41:56Then no more delay.
0:41:56 > 0:41:57An autopsy must be done on this boy.
0:41:57 > 0:42:00Well, my work's done here anyway, so...
0:42:00 > 0:42:02FOOTSTEPS APPROACH
0:42:09 > 0:42:12Got a, er, fragment of steel lodged in the vertebra.
0:42:14 > 0:42:15Broken blade.
0:42:16 > 0:42:18Redskin's your man.
0:42:25 > 0:42:29You wished to have words with him, Mr Reid. Do you come, then?
0:42:41 > 0:42:44Redskin Jake, murderer. These your shears.
0:42:44 > 0:42:48The missing piece found in the backbone of Solomon Shaw.
0:42:48 > 0:42:50What say you now?
0:42:50 > 0:42:53We have you, boy. Your motive, sir? What drove you to this act?
0:42:53 > 0:42:55My protest...
0:42:56 > 0:43:00..my defiance against the disposing of the poor.
0:43:01 > 0:43:04I charge you with the murder of Captain Solomon Shaw.
0:43:04 > 0:43:06Inspector Drake, if I may.
0:43:09 > 0:43:12You were a workhouse boy, sir.
0:43:12 > 0:43:14Here is another fine institution.
0:43:17 > 0:43:19I should have killed him.
0:43:19 > 0:43:23The master, should have killed him first,
0:43:23 > 0:43:28for it is he that started this pretty business...
0:43:28 > 0:43:32peddling the lives of the poor. This pretty business, expound it.
0:43:32 > 0:43:35Well, he shut down the casual ward,
0:43:35 > 0:43:37pays the Salvation Army a penny a man
0:43:37 > 0:43:39for the vagrants he now turns away.
0:43:39 > 0:43:42Shut down the casual ward when? Two months since.
0:43:42 > 0:43:46There is a lie told. This Cornelius Wilde, he claims he shut it for disinfection.
0:43:46 > 0:43:51It's cheaper to pay off these souls at a penny a go than to keep 'em.
0:43:52 > 0:43:54He is managing his costs.
0:43:57 > 0:44:00Here are boys, one dead, three missing,
0:44:00 > 0:44:02and here is a man obsessed with his books,
0:44:02 > 0:44:05his accounts, disposing of the casual wards.
0:44:05 > 0:44:07What else is he disposing of?
0:44:08 > 0:44:12Your name, these...these markings? I'm a redskin and proud.
0:44:12 > 0:44:16A redskin. These are the infirmary boys shaved and painted.
0:44:16 > 0:44:17This... This iodine.
0:44:17 > 0:44:19My badge of honour.
0:44:22 > 0:44:25You think the workhouse is the lowest of the low, hm?
0:44:27 > 0:44:28Wrong.
0:44:28 > 0:44:31It's the workhouse infirmary.
0:44:31 > 0:44:33That's the lowest.
0:44:33 > 0:44:35The sick and the weak.
0:44:35 > 0:44:37You're just a burden, ain't you?
0:44:37 > 0:44:41Left to rot, or...
0:44:43 > 0:44:48..better yet, they give you the old black potion.
0:44:48 > 0:44:51What is the black potion?
0:44:51 > 0:44:53Poison.
0:44:53 > 0:44:55This old black potion, it is folklore.
0:44:55 > 0:44:58You ask at any workhouse, you'll hear them talk of it.
0:44:58 > 0:45:00It is a pauper's myth.
0:45:05 > 0:45:07Scarring in the intestinal tract,
0:45:07 > 0:45:10severe bleeding in the lower intestine,
0:45:10 > 0:45:13dehydration, blood in the faeces. Caused by?
0:45:13 > 0:45:16Well, it's many possible causes, er...
0:45:17 > 0:45:19Excessive ingestion of iron or lead.
0:45:19 > 0:45:21But, equally, it could be hog's cholera.
0:45:21 > 0:45:23It's a savage son of a bitch.
0:45:23 > 0:45:25It's found in dustheaps and bad meat.
0:45:25 > 0:45:28But you do not rule out that Tommy Riggs was poisoned?
0:45:30 > 0:45:31I do not.
0:45:31 > 0:45:34That's reason enough for me. Bring him in. Bring in Cornelius Wilde.
0:45:36 > 0:45:38We will not bring him in.
0:45:38 > 0:45:40We do not have enough to justify it. We will go there.
0:45:40 > 0:45:42We will make a full and thorough search,
0:45:42 > 0:45:45then I may at least take your reins.
0:46:12 > 0:46:15Find Cornelius Wilde. Detain him here.
0:46:15 > 0:46:17Scour this place. Seek out any hidden place,
0:46:17 > 0:46:19any locked cupboard. Bring me whatsoever you may find there.
0:46:21 > 0:46:25Do you see it? There's something inhuman here.
0:46:25 > 0:46:28It is neat and correct, orderly. This order,
0:46:28 > 0:46:31this marvellous efficiency, this systematisation,
0:46:31 > 0:46:34I believe that here yet attends some unforeseen evil,
0:46:34 > 0:46:37some coldness to humankind, some conscience lost.
0:46:47 > 0:46:50This way. CHILD COUGHS
0:46:52 > 0:46:55What is this you give them? Cod liver oil, sir.
0:47:06 > 0:47:08This? An outbreak of scarlet fever.
0:47:09 > 0:47:12You may not go in, sir. It's quarantined.
0:47:12 > 0:47:15DOOR RATTLES Mr Reid, it's quarantined.
0:47:15 > 0:47:16You cannot go in there.
0:47:16 > 0:47:18RATTLING Mr Reid, you are going beyond here.
0:47:34 > 0:47:38Where to now? The casual ward.
0:47:38 > 0:47:40It was recently fumigated.
0:47:54 > 0:47:56Some poor kind of building work. Ceiling's in the wrong place.
0:47:58 > 0:47:59Stinks of carbolic.
0:48:04 > 0:48:08POLICEMAN: Mr Drake, sir, Cornelius Wilde is found.
0:48:11 > 0:48:15You see me here, Inspector Drake, an innocent man shackled.
0:48:15 > 0:48:16You will not hear the end of this.
0:48:21 > 0:48:23Here is a man with a vision.
0:48:23 > 0:48:26He means to invest in his young inmates,
0:48:26 > 0:48:29teach them skills, build them up ready for life.
0:48:29 > 0:48:32It's a worthy vision, but it costs money, a great deal of money,
0:48:32 > 0:48:34and he has only limited resources.
0:48:34 > 0:48:36And we see here
0:48:36 > 0:48:39busy accounts indeed, as money moved from here to there,
0:48:39 > 0:48:41robbing Peter to pay Paul.
0:48:41 > 0:48:44You pay a small fee to the Salvation Army to rid yourself
0:48:44 > 0:48:45of the great cost of the casual ward.
0:48:45 > 0:48:47There is nothing illegal in that.
0:48:47 > 0:48:50The casual ward was a drain on my resources. I freely own it.
0:48:50 > 0:48:53These men, the...these loafer paupers,
0:48:53 > 0:48:56they are the lazy, the indolent, the residuum.
0:48:56 > 0:48:58They are irredeemable.
0:48:58 > 0:49:02Undeserving of sympathy, of kindness, undeserving of life.
0:49:02 > 0:49:04Tommy Riggs, a boy in your care,
0:49:04 > 0:49:07and yet he died in abjection in my arms.
0:49:07 > 0:49:10Tommy Riggs ran away. Tommy Riggs escaped from you.
0:49:10 > 0:49:12He... He fled for his life!
0:49:12 > 0:49:15Mr Reid, here is something you must see.
0:49:16 > 0:49:18The boy, Starling, marked here.
0:49:21 > 0:49:22Jabez Starling...
0:49:24 > 0:49:25..lost to his mother.
0:49:26 > 0:49:30She dying of grief, and you denied all knowledge of him.
0:49:31 > 0:49:34You denied her her boy. You told her she was mad.
0:49:34 > 0:49:38That woman... That woman, she... she gave him up to the house.
0:49:38 > 0:49:41She is a prostitute, a lunatic! You bluster, sir.
0:49:41 > 0:49:44You could not acknowledge him for you could not produce him.
0:49:44 > 0:49:48What have you done with him? How have you disposed of him? Mr Reid... Mr Reid.
0:49:49 > 0:49:51I will find you out, sir.
0:49:53 > 0:49:55You have taken leave of your senses, Mr Reid.
0:49:55 > 0:49:58You accuse me of killing the boys in my care!
0:49:58 > 0:50:01Inspector Drake, will you allow this obsession, this...this mania?
0:50:01 > 0:50:03You stop your yapping now and be silent!
0:50:03 > 0:50:06The money from the casual ward, then.
0:50:06 > 0:50:07Yes.
0:50:07 > 0:50:09Here. You pay the salaries of three schoolteachers,
0:50:09 > 0:50:12and yet you are still in the red!
0:50:12 > 0:50:14Now, let me see. Where is the greatest expenditure made?
0:50:14 > 0:50:17I will warrant it is in the infirmary.
0:50:18 > 0:50:20The children's infirmary.
0:50:23 > 0:50:27Costs fall month on month this last quarter.
0:50:27 > 0:50:29Says the children are dispatched.
0:50:29 > 0:50:31How much does a sick child cost, Mr Wilde?
0:50:31 > 0:50:34How many do you need to be rid of before you balance your books?
0:50:34 > 0:50:36Why would I want to kill my boys
0:50:36 > 0:50:38when my only purpose is to give them life?!
0:50:39 > 0:50:45A locked cabinet, Mr Reid, and inside, these.
0:50:45 > 0:50:48"Blaud pills, treatment of anaemia, sulphate of iron."
0:50:48 > 0:50:51Huge cupboard, full of them. Hundreds of bottles.
0:50:51 > 0:50:56Tommy Riggs died from scarring of the intestinal tract and dehydration
0:50:56 > 0:50:59caused by the excessive ingestion of iron.
0:51:01 > 0:51:06He's killing the sick. For it is cheaper than keeping 'em.
0:51:07 > 0:51:09Dear God, he is killing children.
0:51:11 > 0:51:13Tommy Riggs ran away.
0:51:15 > 0:51:18Jabez Starling ran away.
0:51:19 > 0:51:22Inspector Reid has taken leave of his senses, not for the first time.
0:51:32 > 0:51:33Deaths.
0:51:39 > 0:51:41They are not marked here.
0:51:41 > 0:51:45He is not taking them to the pits, or he must document them. Where's he putting them?
0:51:48 > 0:51:49The casual ward.
0:51:50 > 0:51:53It was not the ceiling that was too low.
0:51:53 > 0:51:55It was the floor. It was too high.
0:52:44 > 0:52:45Sweet Jesus.
0:52:55 > 0:52:59You will dig up every single one of these boys that you have buried...
0:52:59 > 0:53:01HE COUGHS ..and you will identify them!
0:53:01 > 0:53:06You will identify this boy, or you will join him in the earth!
0:53:06 > 0:53:10HE COUGHS This...Jabez Starling...
0:53:10 > 0:53:15you...you...you do not understand. You cannot.
0:53:15 > 0:53:22This place, the waste of life, it is...it is intolerable.
0:53:22 > 0:53:26This... This... This boy... This Jabez...
0:53:27 > 0:53:30..himself blighted with syphilis,
0:53:30 > 0:53:35his mother deranged, his...his father absent.
0:53:35 > 0:53:38There... There is no hope for him,
0:53:38 > 0:53:42only poverty and degradation.
0:53:42 > 0:53:48These... These... These others, polio, rickets.
0:53:48 > 0:53:52I only hasten the inevitable.
0:53:52 > 0:53:55And there is... There is a kindness in it.
0:53:55 > 0:53:58There is a kindness in it for them.
0:53:58 > 0:54:00Their sufferings, their...
0:54:02 > 0:54:05..pitiful lives are shortened.
0:54:06 > 0:54:09These useless boys...
0:54:10 > 0:54:16I have given a hundred children - a hundred children -
0:54:16 > 0:54:19the start in life they deserve.
0:54:22 > 0:54:25At what cost, hm?
0:54:25 > 0:54:31Deserving poor, the undeserving poor. Who are you to judge?
0:54:56 > 0:54:57Connor.
0:55:00 > 0:55:02Come. HE GROANS
0:55:08 > 0:55:09Come.
0:55:11 > 0:55:13Connor, calm yourself.
0:55:14 > 0:55:15Rose.
0:55:20 > 0:55:22All day it is like this.
0:55:22 > 0:55:24He will have nothing of me.
0:55:26 > 0:55:29Why don't you quit your fooling, little man? Huh?
0:55:32 > 0:55:33You gotta behave...
0:55:35 > 0:55:36..for your mum.
0:55:37 > 0:55:38CONNOR GIGGLES
0:55:48 > 0:55:51# Little girl, little girl
0:55:51 > 0:55:55# Don't you lie to me
0:55:55 > 0:56:00# Tell me Where did you sleep last night?
0:56:02 > 0:56:05# In the pines, in the pines
0:56:05 > 0:56:08# Where the sun never shines
0:56:08 > 0:56:10# Shiver... #
0:56:15 > 0:56:17The only kind of song I know.
0:56:17 > 0:56:19Oh...
0:56:20 > 0:56:21You will come see him again?
0:56:24 > 0:56:28I don't think Mr Drake will care for that very much.
0:56:29 > 0:56:30Well...
0:56:31 > 0:56:33..he need never know.
0:56:38 > 0:56:40LEDA: I lost my boy.
0:56:45 > 0:56:47I know where he lies.
0:56:49 > 0:56:51It's a bright spot
0:56:51 > 0:56:55beside the trees, where birds sing. WOMAN WEEPS
0:57:03 > 0:57:04Why do you weep, sir?
0:57:16 > 0:57:18The comfort you have for your son...
0:57:20 > 0:57:21..I could not give to my wife.
0:57:23 > 0:57:25Our girl was lost to her forever.
0:57:27 > 0:57:30You're a good man, Mr Reid.
0:57:30 > 0:57:31Do you not know it?
0:57:32 > 0:57:34You're a mighty heart.
0:57:43 > 0:57:46SHE SOBS I lost my boy.
0:57:51 > 0:57:53But I know where he lies.
0:57:55 > 0:57:57Beside the trees...
0:57:58 > 0:58:00..among the birds.
0:58:11 > 0:58:13Edmund Reid...
0:58:15 > 0:58:17..you are forgiven.
0:58:32 > 0:58:35MATHILDA: When the Count comes to London,
0:58:35 > 0:58:37he makes his lair in Whitechapel.
0:58:37 > 0:58:38SHE SCREAMS
0:58:38 > 0:58:40Skin's penetrated at the jugular.
0:58:40 > 0:58:42You find what killed her?
0:58:42 > 0:58:44What purpose? Blood is life.
0:58:44 > 0:58:47With me. Your secret will be told.
0:58:49 > 0:58:50Do not do this.
0:59:32 > 0:59:34STELLA: You're under arrest.
0:59:34 > 0:59:36You're going to prison.
0:59:36 > 0:59:37In what sense are you free?