Browse content similar to A White World Made Red. Check below for episodes and series from the same categories and more!
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This programme contains some violent scenes | 0:00:02 | 0:00:04 | |
and some scenes which some viewers may find upsetting from the start | 0:00:04 | 0:00:07 | |
That is Samuel Drummond. His friends call him Drum. | 0:00:07 | 0:00:10 | |
And that is Francis Thatcher. Which do you consider the more handsome? | 0:00:10 | 0:00:13 | |
Drum. Yes. | 0:00:13 | 0:00:14 | |
# Tell me, where did you sleep last night? # | 0:00:14 | 0:00:19 | |
This is the only peace he's known. | 0:00:19 | 0:00:20 | |
I don't think Mr Drake would care for that very much. | 0:00:20 | 0:00:23 | |
DOG BARKS IN DISTANCE | 0:00:26 | 0:00:28 | |
BELL CHIMES | 0:00:48 | 0:00:50 | |
HOOVES CLATTER | 0:01:02 | 0:01:04 | |
HORSE WHINNIES | 0:01:10 | 0:01:12 | |
SHE BREATHES HEAVILY | 0:01:28 | 0:01:30 | |
DOOR OPENS | 0:01:42 | 0:01:44 | |
CLANKING | 0:02:01 | 0:02:02 | |
DOOR OPENS | 0:02:12 | 0:02:14 | |
CREAKING | 0:02:14 | 0:02:15 | |
DOOR CLOSES | 0:02:16 | 0:02:17 | |
FOOTSTEPS | 0:02:17 | 0:02:20 | |
SHE SIGHS WITH RELIEF | 0:02:27 | 0:02:28 | |
ANIMAL SCREECHES IN DISTANCE | 0:02:36 | 0:02:38 | |
DOOR CLANKS OPEN | 0:02:54 | 0:02:56 | |
SHE SCREAMS | 0:03:02 | 0:03:03 | |
Mathilda, you'll be late. | 0:03:36 | 0:03:38 | |
Tild... Wait. Have you been sat here this whole night? | 0:03:38 | 0:03:42 | |
What is this robs you of your rest? Vampires? | 0:03:42 | 0:03:45 | |
Really? Go. Ready yourself. | 0:03:45 | 0:03:47 | |
When the Count comes to London, | 0:03:53 | 0:03:55 | |
he makes his lair in Whitechapel... like you. | 0:03:55 | 0:03:59 | |
DOOR OPENS AND SHUTS | 0:04:01 | 0:04:03 | |
CONNOR CRIES It's just a bad dream. | 0:04:05 | 0:04:07 | |
What was that song, my love? | 0:04:08 | 0:04:10 | |
Hm? | 0:04:10 | 0:04:11 | |
That soothed him before. | 0:04:11 | 0:04:14 | |
You know, the one about the little girl. You were teaching me. | 0:04:14 | 0:04:17 | |
CLEARING HER THROAT: Um... | 0:04:17 | 0:04:18 | |
It's all right. It's all right. | 0:04:18 | 0:04:20 | |
Um... | 0:04:20 | 0:04:22 | |
# Little girl, little girl | 0:04:22 | 0:04:27 | |
# Don't lie | 0:04:27 | 0:04:29 | |
# To me | 0:04:29 | 0:04:32 | |
# Tell me, where did you sleep | 0:04:32 | 0:04:36 | |
# Last night? # | 0:04:36 | 0:04:39 | |
What sort of song is that for a child? | 0:04:39 | 0:04:42 | |
It works, though, don't it? | 0:04:42 | 0:04:44 | |
ROSE HUMS TUNE | 0:04:47 | 0:04:49 | |
BOTH HUM | 0:04:53 | 0:04:55 | |
# Tell me, where did you sleep | 0:04:56 | 0:05:02 | |
# Last night? # | 0:05:02 | 0:05:04 | |
SHOUTS IN DISTANCE | 0:05:06 | 0:05:10 | |
Croker! | 0:05:40 | 0:05:41 | |
Huh? | 0:05:44 | 0:05:46 | |
She's gone. What, are you simple? | 0:05:46 | 0:05:48 | |
You didn't keep lookout, you goddamn imbecile! | 0:05:48 | 0:05:52 | |
Careful now, Captain. Your lady is no rash girlie. | 0:05:52 | 0:05:56 | |
I doubt she now rows a skiff to Dunkirk. She will not be far. | 0:05:56 | 0:05:59 | |
You best hope he's right. | 0:06:01 | 0:06:02 | |
Jesus Christ, Caitlin. Have you lost your mind? | 0:06:21 | 0:06:24 | |
I awoke. I reached for my son. | 0:06:25 | 0:06:28 | |
And my son was not there. | 0:06:29 | 0:06:30 | |
He is safe and he is cared for, and he will be yours again. | 0:06:32 | 0:06:36 | |
Just time, darling. | 0:06:36 | 0:06:39 | |
The burden of it is all. | 0:06:39 | 0:06:40 | |
Oh, Inspector Drake, Inspector Reid. | 0:06:47 | 0:06:50 | |
It is the new cold stores, sir. It's this way. | 0:06:50 | 0:06:52 | |
They may keep meat for six months before it spoils. | 0:06:52 | 0:06:56 | |
Six months? Who wants mutton that's half a year old? | 0:06:56 | 0:07:00 | |
DOOR CLANGS OPEN | 0:07:03 | 0:07:05 | |
God's teeth. | 0:07:10 | 0:07:11 | |
Jackson. Jackson. | 0:07:30 | 0:07:32 | |
Oh, the American, sir? Yeah, I've... I've banged that drum, Mr Drake. | 0:07:34 | 0:07:38 | |
Ordered that, the, uh, carbon lights be brought an' all, sir. | 0:07:38 | 0:07:41 | |
The man learns. | 0:07:43 | 0:07:44 | |
The hanging man's wrists are bound. | 0:07:47 | 0:07:50 | |
And someone else restrained here, therefore. | 0:07:55 | 0:07:59 | |
Here's their spray. A lot of it, too. | 0:07:59 | 0:08:01 | |
Mr Thatcher! Yeah? | 0:08:05 | 0:08:06 | |
Whoever sat here was either spirited away or left on their own engine. | 0:08:08 | 0:08:13 | |
If the latter, having lost this weight of blood, | 0:08:13 | 0:08:16 | |
they will not have gone far. | 0:08:16 | 0:08:18 | |
I'll have the men pick the market clean, sir. | 0:08:18 | 0:08:20 | |
You do that, Sergeant. Yeah. | 0:08:20 | 0:08:22 | |
SWITCH CLICKS, FAINT BUZZING | 0:08:26 | 0:08:28 | |
SWITCHES CLICK | 0:08:30 | 0:08:32 | |
Skin penetrated at the jugular... | 0:08:34 | 0:08:37 | |
..at the radial beneath the bicep. | 0:08:38 | 0:08:41 | |
This? It's another lancing. | 0:08:41 | 0:08:43 | |
Older, however, less precise instrument. | 0:08:43 | 0:08:46 | |
And this is what killed him? The blood-letting? | 0:08:46 | 0:08:48 | |
No, ligature marks. | 0:08:48 | 0:08:50 | |
Then he was strangled, killed. | 0:08:50 | 0:08:53 | |
And only then is his blood let. | 0:08:53 | 0:08:56 | |
To what end, however? | 0:08:56 | 0:08:58 | |
The blood is the end. | 0:08:58 | 0:08:59 | |
This poor bastard's cadaver's been exsanguinated. | 0:09:01 | 0:09:04 | |
Every last droplet siphoned out. | 0:09:04 | 0:09:07 | |
Why, do you suppose? | 0:09:07 | 0:09:09 | |
The other party...bound to that chair... | 0:09:09 | 0:09:12 | |
she's found, sirs. | 0:09:12 | 0:09:14 | |
Get more. Get everything. | 0:09:15 | 0:09:18 | |
Another puncture wound. | 0:09:23 | 0:09:25 | |
Same method. | 0:09:25 | 0:09:28 | |
But no ligature marks, however. | 0:09:28 | 0:09:30 | |
She was alive while they tried to siphon blood from her. | 0:09:34 | 0:09:37 | |
But escaped. | 0:09:37 | 0:09:39 | |
She held her neck. | 0:09:39 | 0:09:40 | |
She hoped to staunch the blood flow even as she ran for her life. | 0:09:40 | 0:09:44 | |
Tonsillar pillar... inner mucous membrane undamaged. | 0:09:47 | 0:09:51 | |
No haemorrhaging of the capillaries. | 0:09:51 | 0:09:55 | |
Third and fourth. | 0:10:08 | 0:10:10 | |
Oh, shit. | 0:10:10 | 0:10:11 | |
What's up? What more? What do you think this is? | 0:10:12 | 0:10:15 | |
A crystal ball? | 0:10:15 | 0:10:17 | |
Did you find the other? Young woman, | 0:10:18 | 0:10:20 | |
puncture wound here. No strangulation, however. | 0:10:20 | 0:10:23 | |
Well, have Thatcher bring 'em home. I need my knives. | 0:10:23 | 0:10:27 | |
Where do you go? | 0:10:30 | 0:10:31 | |
About my work, Drake. | 0:10:34 | 0:10:35 | |
FAINT SHOUTS | 0:10:46 | 0:10:48 | |
The haematoma about the man's neck is from a rope. | 0:10:52 | 0:10:55 | |
The insides of his cheeks are unbitten. | 0:10:55 | 0:10:57 | |
There are no burst capillaries in his eyes. | 0:10:57 | 0:10:59 | |
Therefore, he's not strangled. | 0:10:59 | 0:11:00 | |
His neck is fractured clean at the third and fourth cervical vertebrae, | 0:11:00 | 0:11:04 | |
and he's at least 120 pounds. | 0:11:04 | 0:11:05 | |
Do you see where I'm going yet, Doctor? | 0:11:05 | 0:11:07 | |
Now, such a break on the neck of a man of such weight, | 0:11:09 | 0:11:11 | |
that's a drop of around, what? Seven feet, at least. | 0:11:11 | 0:11:15 | |
Professional work. | 0:11:15 | 0:11:17 | |
The kind of work that puts me in mind of you, Probyn. | 0:11:18 | 0:11:20 | |
Standing over your hangman's recent execution, pronouncing 'em dead. | 0:11:20 | 0:11:25 | |
Ah, that's, er, impressive police work, Captain. | 0:11:25 | 0:11:30 | |
Yet no policeman you. | 0:11:30 | 0:11:31 | |
I wonder, have you shared your expert imaginings with your friends | 0:11:32 | 0:11:36 | |
on Leman Street? No? | 0:11:36 | 0:11:39 | |
I wonder why that might be... | 0:11:39 | 0:11:41 | |
if not because you fear what I might choose to tell them. | 0:11:41 | 0:11:45 | |
Do you not recall my promise to you or is that you doubt my sincerity? | 0:11:47 | 0:11:51 | |
Now, will you assist in my inquiry or won't you? | 0:11:52 | 0:11:56 | |
Which recently hanged cadavers have you seen diverted from burial pits | 0:11:56 | 0:12:00 | |
no longer than two days past? | 0:12:00 | 0:12:02 | |
HE COCKS GUN | 0:12:03 | 0:12:05 | |
Two details. His name | 0:12:05 | 0:12:08 | |
and where you sent him. | 0:12:08 | 0:12:10 | |
Meet Percival Monks. | 0:12:16 | 0:12:19 | |
He staved his mother-in-law's head in with a fire iron. | 0:12:19 | 0:12:22 | |
Got the rope for his troubles. | 0:12:22 | 0:12:24 | |
Newgate hanged him yesterday, | 0:12:24 | 0:12:26 | |
sent his body to the London Hospital for evisceration. | 0:12:26 | 0:12:28 | |
How have you done this, Jackson? | 0:12:30 | 0:12:32 | |
How have you done this, Jackson? | 0:12:32 | 0:12:32 | |
Just merely read the signs, Inspector. | 0:12:32 | 0:12:35 | |
Now, are we moving on, or do you wish me to showboat further? | 0:12:39 | 0:12:43 | |
Oh, no. Please, move on. | 0:12:43 | 0:12:45 | |
Right, see... | 0:12:47 | 0:12:49 | |
Er, scorbutic tongue. | 0:12:51 | 0:12:54 | |
Teeth as loose as the keys in a saloon piano. | 0:12:54 | 0:12:57 | |
Drake? | 0:12:57 | 0:12:59 | |
Scurvy. | 0:12:59 | 0:13:01 | |
Privation suffered on a migrant's passage, perhaps. | 0:13:01 | 0:13:04 | |
Polish. | 0:13:11 | 0:13:12 | |
Prayer card. | 0:13:12 | 0:13:14 | |
It's Mark 3:11. | 0:13:14 | 0:13:17 | |
Curious it is in English. | 0:13:17 | 0:13:19 | |
St Mark what? | 0:13:21 | 0:13:23 | |
3:11. | 0:13:23 | 0:13:24 | |
There we are. | 0:13:28 | 0:13:30 | |
"And unclean spirits, when they saw him, fell down before him." | 0:13:30 | 0:13:34 | |
There's more here, however. | 0:13:37 | 0:13:38 | |
You see here? This is indigo staining in here. | 0:13:39 | 0:13:42 | |
That's the model scarring of seamstress needles. | 0:13:42 | 0:13:45 | |
She's been sweated. That'd be my assumption. | 0:13:45 | 0:13:48 | |
Polish Catholics are only recently so visible in the city there. | 0:13:48 | 0:13:51 | |
And the numbers are not so swollen that finding one such | 0:13:51 | 0:13:54 | |
from a Whitechapel sweatshop should be beyond us. | 0:13:54 | 0:13:57 | |
Might you say what made an end of her, Jackson? | 0:13:57 | 0:13:59 | |
I'm at a loss, Drake. Genuinely. | 0:13:59 | 0:14:02 | |
It's not the blood-letting that done for her, then? | 0:14:04 | 0:14:06 | |
No, not at all. Point in fact, she ain't been bled at all. | 0:14:06 | 0:14:09 | |
Can you account for the blood that covered her? | 0:14:11 | 0:14:13 | |
I cannot. | 0:14:13 | 0:14:15 | |
The sole wound on her | 0:14:15 | 0:14:16 | |
is the exact same puncturing of the neck with the same instrument, | 0:14:16 | 0:14:19 | |
but it's not been used to drain her. On the contrary, she's, er... | 0:14:19 | 0:14:22 | |
...well, replete. | 0:14:23 | 0:14:25 | |
As we discussed, perhaps it is not the end | 0:14:26 | 0:14:29 | |
that is germane. It is not the end, but the means. | 0:14:29 | 0:14:32 | |
This is a clean wound, is it not? | 0:14:32 | 0:14:34 | |
There's nothing savage. It is precise, one might even say skilled. | 0:14:34 | 0:14:39 | |
And whether it is drained or not, | 0:14:39 | 0:14:41 | |
it is the blood that is of chief interest here. | 0:14:41 | 0:14:44 | |
Why preserve a dead thing? | 0:14:44 | 0:14:46 | |
What is it that happens to blood when it decays, Captain? It clots, | 0:14:50 | 0:14:53 | |
does it not? Unless you keep it cold, Reid. | 0:14:53 | 0:14:56 | |
Puncture wounds administered with skill and with clean instruments... | 0:14:58 | 0:15:01 | |
an act carried out in the full knowledge | 0:15:01 | 0:15:04 | |
of a clinical need for refrigeration. | 0:15:04 | 0:15:06 | |
Such as the cold store at the meat market. | 0:15:06 | 0:15:08 | |
This man, this executed cadaver, | 0:15:11 | 0:15:15 | |
a recent property, we are told, of the London Hospital. | 0:15:15 | 0:15:18 | |
It is a medical stripe of man we search for. Mr Reid... | 0:15:18 | 0:15:21 | |
I do not forget what the place once meant to you. | 0:15:21 | 0:15:23 | |
Would you take a turn around the London this afternoon? | 0:15:23 | 0:15:25 | |
See how it is they misplaced this corpse. | 0:15:25 | 0:15:27 | |
I shall, Inspector. | 0:15:27 | 0:15:28 | |
I shall pay a visit to our Polish community. | 0:15:28 | 0:15:31 | |
Sergeant Thatcher. | 0:15:31 | 0:15:32 | |
Yes. You and I are out to kick some rocks over. | 0:15:34 | 0:15:37 | |
She's a Polish woman, 20 years old. | 0:15:41 | 0:15:43 | |
WOMEN WHISPER | 0:15:43 | 0:15:45 | |
Have a look at her photograph here. | 0:15:45 | 0:15:47 | |
She is dead. | 0:15:47 | 0:15:49 | |
See? | 0:15:49 | 0:15:51 | |
Murdered not half a mile from here. | 0:15:51 | 0:15:53 | |
Does she not have one friend who would speak for her? | 0:15:53 | 0:15:56 | |
WOMAN COUGHS Will you not look, miss? | 0:15:56 | 0:15:59 | |
SHE SPEAKS POLISH | 0:15:59 | 0:16:02 | |
I'm sorry, miss. I don't speak Polish. | 0:16:05 | 0:16:07 | |
WOMAN COUGHS | 0:16:18 | 0:16:19 | |
Why will you not look, miss? | 0:16:23 | 0:16:25 | |
Please, sir. You need to talk with the foreman. | 0:16:25 | 0:16:28 | |
Pardon me, miss. | 0:16:28 | 0:16:29 | |
This wound needs attention. Will you let us see to it? | 0:16:31 | 0:16:35 | |
No. I have made no request for your help. | 0:16:35 | 0:16:38 | |
Now, please, the foreman will return. I must work. | 0:16:38 | 0:16:40 | |
To hell with your wretched foreman, miss. You're coming with us. | 0:16:45 | 0:16:48 | |
SHE SHOUTS IN POLISH Come on! | 0:16:48 | 0:16:50 | |
Calm down! | 0:16:50 | 0:16:52 | |
Agnieszka. | 0:17:00 | 0:17:01 | |
This was her name. | 0:17:03 | 0:17:04 | |
A friend? | 0:17:07 | 0:17:09 | |
Our mothers were. | 0:17:11 | 0:17:13 | |
She was given an address where to find me. I... | 0:17:15 | 0:17:18 | |
I helped her find work. | 0:17:20 | 0:17:22 | |
Pardon me, miss. And she left not word | 0:17:29 | 0:17:31 | |
of where she was going? | 0:17:31 | 0:17:33 | |
She just vanished, you say? | 0:17:33 | 0:17:35 | |
If she had left word... | 0:17:35 | 0:17:36 | |
..it would not have been a vanishing, would it? | 0:17:38 | 0:17:41 | |
Now, please, I must leave | 0:17:45 | 0:17:47 | |
or there will be no work when I return. | 0:17:47 | 0:17:49 | |
I will starve... | 0:17:49 | 0:17:51 | |
and that will be on your conscience, Inspector. | 0:17:51 | 0:17:53 | |
Uh-uh-uh. No, miss. You will not talk to me of conscience. | 0:17:53 | 0:17:57 | |
That girl down there looked to you for leading. | 0:17:58 | 0:18:01 | |
Seems to me you led her nowhere but her death. | 0:18:01 | 0:18:03 | |
Now, you wish to leave us, you will speak to me. | 0:18:05 | 0:18:08 | |
Or I will arrest you, miss. | 0:18:08 | 0:18:11 | |
Put you in a cell and forget for why. | 0:18:11 | 0:18:14 | |
She said only that she had been asked to meet a man. | 0:18:18 | 0:18:22 | |
A man who said that she had only to come with him... | 0:18:22 | 0:18:25 | |
..and she would be paid 1,000 times over what she would make | 0:18:26 | 0:18:29 | |
with a needle in her hand. | 0:18:29 | 0:18:30 | |
She was to sell herself. | 0:18:30 | 0:18:33 | |
Spread her legs for money, you mean? | 0:18:33 | 0:18:35 | |
No, I did... I-I... I asked... | 0:18:37 | 0:18:39 | |
But that was not it. She swore to me. | 0:18:39 | 0:18:42 | |
It must be that she was robbed. Killed for the money she earned. | 0:18:51 | 0:18:54 | |
No, miss. It wasn't a robbing of her that caused her death. | 0:18:54 | 0:18:58 | |
There was a good deal too much trouble taken for that. | 0:18:58 | 0:19:01 | |
Then if you, a policeman, do not know... | 0:19:04 | 0:19:07 | |
..I cannot see how I, a seamstress, can help you. | 0:19:08 | 0:19:12 | |
Now...may I return to see if I have been discharged from my work? | 0:19:12 | 0:19:17 | |
See her returned. | 0:19:17 | 0:19:19 | |
Yes, Inspector. | 0:19:20 | 0:19:21 | |
The sight of blood frighten you, Drummond? | 0:19:32 | 0:19:35 | |
Not in small amounts, Captain. | 0:19:35 | 0:19:37 | |
Well, it frightens some, however. | 0:19:38 | 0:19:42 | |
It's, er...instinctive phobia... | 0:19:44 | 0:19:48 | |
..as inescapable a part of any man as... | 0:19:49 | 0:19:52 | |
..well, his blood itself. | 0:19:53 | 0:19:56 | |
You know where Wyoming is, Drummond? | 0:19:58 | 0:20:00 | |
It's in America, I imagine. | 0:20:02 | 0:20:04 | |
Take a prize. | 0:20:04 | 0:20:06 | |
There's big mountains there... | 0:20:07 | 0:20:09 | |
..and big, high mountain passes... | 0:20:10 | 0:20:12 | |
..full of virgin snow. | 0:20:14 | 0:20:16 | |
Now, I saw a man... | 0:20:16 | 0:20:17 | |
..a friend of mine, as it goes. | 0:20:19 | 0:20:22 | |
Comanche brave put a hunting knife through his guts | 0:20:22 | 0:20:25 | |
before I could get a shot out. | 0:20:25 | 0:20:28 | |
My friend died. | 0:20:29 | 0:20:31 | |
And I'm a doctor, understand? So... | 0:20:33 | 0:20:35 | |
Well, the...the impudence of it. | 0:20:38 | 0:20:41 | |
All I could do was watch as blood... | 0:20:44 | 0:20:46 | |
spread through the eyes. | 0:20:46 | 0:20:49 | |
A white world... | 0:20:50 | 0:20:53 | |
made red. | 0:20:53 | 0:20:54 | |
Miss Mathilda! Your visits are a ray of sunshine. | 0:20:59 | 0:21:03 | |
Here, come, sit. Join me. | 0:21:03 | 0:21:05 | |
I am eager to know what latest there is concerning Samuel Drummond. | 0:21:07 | 0:21:11 | |
Have you now spoken with him? | 0:21:11 | 0:21:12 | |
I have, but he is, I believe, bashful. | 0:21:12 | 0:21:15 | |
And timidity, so the world insists, is the preserve of our sex. | 0:21:15 | 0:21:20 | |
You seek to draw him out, then? | 0:21:20 | 0:21:22 | |
I seek to know him a little, | 0:21:23 | 0:21:26 | |
what might make him sad or happy or excited or afraid. | 0:21:26 | 0:21:30 | |
There are means by which you might discover such, Mathilda. | 0:21:30 | 0:21:33 | |
It is no magic. | 0:21:33 | 0:21:35 | |
Merely offer him the opportunity to know something of yours. | 0:21:35 | 0:21:39 | |
Show him something about which you might own a passion. | 0:21:39 | 0:21:42 | |
See if then he might share his thoughts on it with you. | 0:21:42 | 0:21:45 | |
That is wise counsel. Thank you. | 0:21:45 | 0:21:47 | |
There is no-one else with whom I might share such questions. | 0:21:51 | 0:21:54 | |
Not your father? | 0:21:58 | 0:22:00 | |
No. | 0:22:00 | 0:22:02 | |
Do you travel somewhere, Miss Castello? | 0:22:06 | 0:22:08 | |
Paris. | 0:22:08 | 0:22:10 | |
It is no gentle tour, however, but work of a sort. | 0:22:10 | 0:22:14 | |
A story hunted down. | 0:22:14 | 0:22:18 | |
Is it related to that photograph you take with you? | 0:22:18 | 0:22:20 | |
Of the man who was my father's friend? | 0:22:20 | 0:22:23 | |
Who that? | 0:22:23 | 0:22:25 | |
Mr Isaac Bloom, and the man, the rabbi, Ratovski, who all thought | 0:22:25 | 0:22:29 | |
was killed by Isaac Bloom. | 0:22:29 | 0:22:31 | |
He lived in Paris, did he not? | 0:22:31 | 0:22:33 | |
And how would you know such things, Mathilda Reid? | 0:22:33 | 0:22:37 | |
My father keeps some of his work at home. | 0:22:40 | 0:22:42 | |
On occasion, I'm interested to read it. | 0:22:43 | 0:22:46 | |
Mathilda... | 0:22:47 | 0:22:49 | |
there are few women who will tell you this. | 0:22:49 | 0:22:52 | |
But one of the greatest qualities we might own... | 0:22:52 | 0:22:55 | |
is that of disobedience. | 0:22:55 | 0:22:57 | |
The moniker "Elephant Man" was, of course, | 0:23:09 | 0:23:12 | |
a showman's adjectival indulgence. | 0:23:12 | 0:23:15 | |
Joseph looked no more like an elephant than I do. | 0:23:17 | 0:23:20 | |
LAUGHTER | 0:23:20 | 0:23:22 | |
We are keen, as a race... | 0:23:24 | 0:23:26 | |
..to throw back, to attribute animal, primal qualities | 0:23:28 | 0:23:32 | |
to that which we do not understand. | 0:23:32 | 0:23:34 | |
Here, deformity. | 0:23:34 | 0:23:37 | |
Elsewhere, perhaps, foreignness. | 0:23:39 | 0:23:42 | |
We can describe such conditions to ourselves | 0:23:43 | 0:23:47 | |
only in terms that are animalistic. | 0:23:47 | 0:23:49 | |
Important, then, to think | 0:23:51 | 0:23:53 | |
not on what separated Mr Merrick from we, his brother men... | 0:23:53 | 0:23:57 | |
..but rather what joined him to us. | 0:23:59 | 0:24:01 | |
Thank you. | 0:24:04 | 0:24:06 | |
CHATTER | 0:24:06 | 0:24:08 | |
Mr Reid. | 0:24:20 | 0:24:22 | |
DOOR CLOSES | 0:24:22 | 0:24:24 | |
Mr Treves, hello. | 0:24:24 | 0:24:26 | |
Inspector no more, as I heard it? | 0:24:28 | 0:24:29 | |
Inspector yet again, I'm afraid. | 0:24:29 | 0:24:31 | |
Afraid, sir? | 0:24:31 | 0:24:33 | |
Turn of phrase. | 0:24:33 | 0:24:34 | |
Hm. | 0:24:34 | 0:24:36 | |
He was consenting of these - Mr Merrick? | 0:24:38 | 0:24:41 | |
He was. | 0:24:41 | 0:24:42 | |
His abnormalities sketched | 0:24:47 | 0:24:48 | |
to aid the study of our similarities. | 0:24:48 | 0:24:51 | |
Mr Reid, forgive me. | 0:24:51 | 0:24:53 | |
Do you come seven years since your last visit | 0:24:53 | 0:24:56 | |
to question my science? | 0:24:56 | 0:24:57 | |
I do not, Mr Treves. | 0:24:57 | 0:24:59 | |
But the dissections carried out here, there are indeed | 0:25:01 | 0:25:03 | |
certain questions that I seek answers for. | 0:25:03 | 0:25:07 | |
The cadavers that are sent to you from Newgate... | 0:25:08 | 0:25:11 | |
A valuable resource, certainly. | 0:25:11 | 0:25:13 | |
You have records from them? Of course. | 0:25:13 | 0:25:15 | |
My thanks, Martins. | 0:25:20 | 0:25:21 | |
Yesterday, you say? | 0:25:22 | 0:25:24 | |
Yes. The name, Monks, as I have it. | 0:25:24 | 0:25:26 | |
No. As you see, no such name. | 0:25:28 | 0:25:31 | |
No, indeed. A wasted visit, then. | 0:25:36 | 0:25:38 | |
Oh, never that, Mr Reid. | 0:25:38 | 0:25:41 | |
Mr Treves, tell me, the cadaver whose origin I seek, | 0:25:41 | 0:25:44 | |
we have him currently. | 0:25:44 | 0:25:46 | |
He was found perhaps one day after his Newgate execution. | 0:25:46 | 0:25:49 | |
His neck punctured, | 0:25:49 | 0:25:52 | |
his body inverted | 0:25:52 | 0:25:53 | |
and it entirely exsanguinated. | 0:25:53 | 0:25:56 | |
At the fringes of medical practice, to take blood and then preserve it, | 0:25:58 | 0:26:02 | |
what purpose can you imagine for such an action? | 0:26:02 | 0:26:04 | |
Knowledge. | 0:26:06 | 0:26:08 | |
To know. | 0:26:08 | 0:26:09 | |
Blood is life. How might that life be taken, preserved... | 0:26:11 | 0:26:16 | |
..handed on? | 0:26:17 | 0:26:19 | |
Mr Treves. | 0:26:22 | 0:26:24 | |
I always recommend a smoke when you're two pints down. | 0:26:30 | 0:26:33 | |
Never known a head rush like it. | 0:26:33 | 0:26:35 | |
Ah, Inspectors. | 0:26:36 | 0:26:39 | |
You've come for some answers, and now I have a few. | 0:26:39 | 0:26:42 | |
Your, er... Your lady there... | 0:26:42 | 0:26:44 | |
Her name was Agnieszka. | 0:26:46 | 0:26:47 | |
Ah. Well, now I know her name... | 0:26:47 | 0:26:49 | |
..and what killed her. | 0:26:50 | 0:26:52 | |
And so? | 0:26:53 | 0:26:54 | |
It was organ collapse. | 0:26:54 | 0:26:56 | |
Almost total internal collapse, | 0:26:56 | 0:26:59 | |
heart, kidneys, bladder, liver, | 0:26:59 | 0:27:02 | |
and the cause of that failure was a corruption in her blood. | 0:27:02 | 0:27:06 | |
Come see. | 0:27:08 | 0:27:09 | |
Now, you know what haemoglobin is, Reid, I assume that? | 0:27:09 | 0:27:13 | |
It is the compound which carries oxygen | 0:27:13 | 0:27:15 | |
through the blood to the organs. Ever eager student, this one. | 0:27:15 | 0:27:18 | |
Now, this is Agnieszka's blood. Take a look. | 0:27:18 | 0:27:20 | |
Her blood ain't carrying nothing nowhere. | 0:27:30 | 0:27:32 | |
That's the organ failure? Now... | 0:27:32 | 0:27:34 | |
Have you bled the whole division? | 0:27:37 | 0:27:39 | |
Save you two, almost. | 0:27:39 | 0:27:41 | |
Now I take two different samples. | 0:27:41 | 0:27:43 | |
Reid, make a comparison. | 0:27:52 | 0:27:54 | |
It is clotting. Mm-hm. | 0:27:59 | 0:28:01 | |
The men's blood meet and corrupt. | 0:28:01 | 0:28:04 | |
We say then that the blood that covered her as she ran... | 0:28:06 | 0:28:10 | |
it was not hers. | 0:28:10 | 0:28:11 | |
But his...piped from him into her through the puncture in her neck. | 0:28:11 | 0:28:15 | |
Only she feels her body rebel, the panic of it, and runs. | 0:28:15 | 0:28:19 | |
But why? Why do this? | 0:28:19 | 0:28:21 | |
The care taken, it cannot be for cruelty, | 0:28:21 | 0:28:23 | |
for death alone. Even a vampire inflicts death so that he may live. | 0:28:23 | 0:28:26 | |
But what if two men's blood does not always corrupt? | 0:28:26 | 0:28:31 | |
Now, what if my blood is somehow different from yours | 0:28:31 | 0:28:34 | |
but akin to Drake's? | 0:28:34 | 0:28:35 | |
As if I don't have troubles enough. Thatcher here, | 0:28:35 | 0:28:37 | |
for example. Now, I mixed his blood with, | 0:28:37 | 0:28:40 | |
er, your hanging man there, Monks. | 0:28:40 | 0:28:43 | |
Take a look. | 0:28:43 | 0:28:44 | |
It prospers. | 0:28:48 | 0:28:50 | |
Thatcher. | 0:28:54 | 0:28:55 | |
Thatcher, you... | 0:28:55 | 0:28:57 | |
You are a match for him. | 0:28:57 | 0:28:59 | |
So together they make life. | 0:29:01 | 0:29:03 | |
This...earlier lancing you identified, Captain. | 0:29:03 | 0:29:08 | |
The puncture wound infected. | 0:29:08 | 0:29:10 | |
Could this be the means by which a...a sampling took place? | 0:29:10 | 0:29:13 | |
The preselecting of a correlating blood match. | 0:29:13 | 0:29:15 | |
Inspector Drake, the, er... | 0:29:15 | 0:29:18 | |
the wound I bound on the girl, Magdalena, it's the same infection. | 0:29:18 | 0:29:21 | |
Do we...? Do we say, perhaps, that Magdalena was the match? | 0:29:21 | 0:29:23 | |
And not Agnieszka... | 0:29:27 | 0:29:30 | |
..who has no such infected wounds. | 0:29:32 | 0:29:34 | |
Did she go in Magdalena's stead therefore? | 0:29:38 | 0:29:40 | |
Her blood, no match. It corrupted | 0:29:40 | 0:29:42 | |
and her death brought down. | 0:29:42 | 0:29:44 | |
And this man, Monks, here, | 0:29:47 | 0:29:49 | |
his sampling could only have happened before his execution | 0:29:49 | 0:29:52 | |
for the blood to be alive. | 0:29:52 | 0:29:54 | |
Mr Drummond, run a records search. | 0:30:01 | 0:30:04 | |
Magdalena Dobrowski, | 0:30:04 | 0:30:06 | |
23. | 0:30:06 | 0:30:07 | |
I expect you'll find she spent some time behind the walls of Newgate. | 0:30:07 | 0:30:11 | |
It is curious, this, Captain. | 0:30:12 | 0:30:14 | |
But Mr Treves's records show no transfer of this man's cadaver | 0:30:15 | 0:30:19 | |
from Newgate to the London. Oh. | 0:30:19 | 0:30:22 | |
We must assume your source corrupted, also. | 0:30:24 | 0:30:27 | |
PHONE RINGS | 0:30:28 | 0:30:30 | |
Drummond! | 0:30:31 | 0:30:32 | |
Yes. Thank you. | 0:30:35 | 0:30:37 | |
Four months for the theft of bread. | 0:30:37 | 0:30:38 | |
You find that girl. You bring her back. | 0:30:38 | 0:30:41 | |
I imagine we are to Newgate, Inspector. | 0:30:41 | 0:30:44 | |
Quite so, Mr Reid. | 0:30:44 | 0:30:45 | |
Oh, and Jackson, best you come, too. | 0:30:45 | 0:30:47 | |
Introduce us to that source of yours. | 0:30:47 | 0:30:50 | |
You lied to me, Probyn. | 0:30:58 | 0:31:01 | |
Who did you pass Percival Monks' cadaver to, sir? | 0:31:02 | 0:31:06 | |
Er, the disposal of prison remains | 0:31:06 | 0:31:08 | |
is very far from my responsibility, Inspector. | 0:31:08 | 0:31:12 | |
The London Hospital is where such cadavers are, | 0:31:12 | 0:31:14 | |
under normal circumstances, sent. | 0:31:14 | 0:31:17 | |
If one has gone astray, then it has not done so from within my remit. | 0:31:17 | 0:31:20 | |
Where is it you keep your needles, Doctor? | 0:31:20 | 0:31:23 | |
You have the key about you? | 0:31:25 | 0:31:27 | |
CLUNKING | 0:31:42 | 0:31:43 | |
Instrument's much used, sir. | 0:31:51 | 0:31:53 | |
Blunted, in fact. | 0:31:54 | 0:31:55 | |
I am provided with but a modest stipend, Mr Reid. | 0:31:56 | 0:31:59 | |
I'm sure. | 0:31:59 | 0:32:00 | |
Mr Monks had a needle fester wound on his arm, you know, here, | 0:32:02 | 0:32:06 | |
in the crook of his elbow. | 0:32:06 | 0:32:07 | |
A Polish woman, Magdalena Dobrowski, likewise, Doctor. | 0:32:07 | 0:32:11 | |
So, to what end such needling, Doctor? I, er... | 0:32:14 | 0:32:17 | |
In... In an enclosed environment, er, such as this, | 0:32:17 | 0:32:20 | |
outbreaks of...of disease are all too common. | 0:32:20 | 0:32:23 | |
My... My duty would be neglected if I did not attempt | 0:32:23 | 0:32:27 | |
to contain them by inoculation. | 0:32:27 | 0:32:30 | |
And this? | 0:32:32 | 0:32:34 | |
If you please. | 0:32:34 | 0:32:35 | |
No, sir. No, I... I will not be so suspected. | 0:32:37 | 0:32:41 | |
I am a doctor. My entire life given | 0:32:41 | 0:32:44 | |
to the care of...of these incarcerate wrecks and villains. | 0:32:44 | 0:32:48 | |
I... I will have some respect, damn it! | 0:32:48 | 0:32:50 | |
Oops. | 0:32:52 | 0:32:54 | |
DOOR BURSTS OPEN | 0:33:03 | 0:33:04 | |
Magdalena! | 0:33:04 | 0:33:06 | |
Magdalena? | 0:33:06 | 0:33:07 | |
SHE SPEAKS POLISH | 0:33:09 | 0:33:11 | |
Magdalena! Where is she? Where is she?! | 0:33:13 | 0:33:16 | |
As I heard it, Frank, you were asked to return in company, not alone. | 0:33:18 | 0:33:22 | |
Drum...do you wish me to take that reading machine of yours | 0:33:22 | 0:33:25 | |
and bury it in your head? | 0:33:25 | 0:33:26 | |
Not overly, Sergeant. | 0:33:26 | 0:33:28 | |
Then stop being a lobcock and tell me where they put Probyn. | 0:33:28 | 0:33:31 | |
WIND WHISTLES | 0:33:35 | 0:33:37 | |
Hello? | 0:33:58 | 0:34:00 | |
Please, I have come as asked. | 0:34:00 | 0:34:02 | |
HE YELLS | 0:34:11 | 0:34:13 | |
HE MOANS | 0:34:13 | 0:34:14 | |
Where? Where? | 0:34:15 | 0:34:18 | |
You tell me where she is. | 0:34:18 | 0:34:20 | |
DOOR OPENS Huh? | 0:34:20 | 0:34:22 | |
Explain yourself, son! She's gone, sir. | 0:34:24 | 0:34:26 | |
Who has? Magdalena is gone. | 0:34:26 | 0:34:29 | |
Get out! | 0:34:31 | 0:34:33 | |
Captain Jackson to attend an injury in the cells immediately. | 0:34:38 | 0:34:41 | |
Who do you think I am? Some drunken navvy? | 0:34:44 | 0:34:48 | |
TEARFULLY: I am not. | 0:34:48 | 0:34:50 | |
I'll have your warrant cards for this. | 0:34:52 | 0:34:55 | |
What if I took blood from our inmates? | 0:34:55 | 0:34:58 | |
Is there a law that says I cannot? | 0:34:58 | 0:35:01 | |
No. | 0:35:01 | 0:35:02 | |
I am a public servant. | 0:35:02 | 0:35:04 | |
No, sir. You are an accessory to murder. | 0:35:04 | 0:35:08 | |
You have no option but to release me, and you know it. | 0:35:14 | 0:35:18 | |
Well, let me, er, patch you up, at least, before you go, huh? | 0:35:23 | 0:35:26 | |
HE BREATHES HEAVILY | 0:35:30 | 0:35:32 | |
GROANING: No. | 0:35:45 | 0:35:48 | |
Er, they do not improve your health, I believe. | 0:35:48 | 0:35:51 | |
Shit, Probyn. | 0:35:51 | 0:35:53 | |
What does? | 0:35:53 | 0:35:55 | |
PROBYN GROANS | 0:35:58 | 0:35:59 | |
Ah, it's superficial. You'll live. | 0:35:59 | 0:36:02 | |
PROBYN GROANS | 0:36:02 | 0:36:04 | |
CLATTERING | 0:36:11 | 0:36:14 | |
Agh! No. | 0:36:15 | 0:36:18 | |
You do her the honour of looking at her. | 0:36:18 | 0:36:20 | |
I thought you were a doctor, Probyn. Such sights were humdrum. | 0:36:37 | 0:36:41 | |
Then why the discomfort unless you, er... | 0:36:44 | 0:36:48 | |
you feel some responsibility for her? | 0:36:48 | 0:36:50 | |
HE YELLS | 0:37:00 | 0:37:01 | |
Shit, sorry. It's rubbing alcohol. My mistake. | 0:37:01 | 0:37:04 | |
Still, there are worse mistakes to suffer, wouldn't you say? | 0:37:04 | 0:37:06 | |
By way of example, a transfusion experiment on a girl | 0:37:06 | 0:37:09 | |
with the wrong blood?! Now...you... | 0:37:09 | 0:37:11 | |
matched Magdalena and Monks. | 0:37:11 | 0:37:13 | |
I did. At whose instruction? | 0:37:15 | 0:37:18 | |
A name. | 0:37:18 | 0:37:19 | |
He was French, I believe. | 0:37:19 | 0:37:22 | |
He did not give it. | 0:37:22 | 0:37:23 | |
Well, what did he give you? | 0:37:23 | 0:37:25 | |
Money...and a promise of more. | 0:37:25 | 0:37:28 | |
Now, we know how motivated you are by that currency, don't we? | 0:37:32 | 0:37:35 | |
It was for the saving of a child. | 0:37:35 | 0:37:39 | |
His child. | 0:37:39 | 0:37:40 | |
And he was a doctor, correct? I mean, he would have had to have been | 0:37:41 | 0:37:44 | |
to attempt such a thing with a need to employ another such as yourself, Probyn. | 0:37:44 | 0:37:47 | |
Did he...? Did he say he'd been struck off, or...? | 0:37:47 | 0:37:51 | |
Er, no. Er, but I...I imagine it so. | 0:37:51 | 0:37:55 | |
You know, Probyn, I think me and you may yet escape | 0:37:59 | 0:38:02 | |
this particular pickle in one piece. | 0:38:02 | 0:38:05 | |
I never had a daughter, you know. | 0:38:07 | 0:38:09 | |
I should have liked one, however. | 0:38:11 | 0:38:14 | |
What benefit do you imagine she might have carried? | 0:38:14 | 0:38:16 | |
Well...no ship's head was ever made from the figure of a man. | 0:38:16 | 0:38:21 | |
THEY CHUCKLE | 0:38:24 | 0:38:25 | |
She would have been pleasing to have about the place is all. | 0:38:27 | 0:38:32 | |
Kind words, a pot of coffee. | 0:38:32 | 0:38:34 | |
Sons do not offer such? | 0:38:34 | 0:38:36 | |
They do not. | 0:38:36 | 0:38:37 | |
They're altogether more bother. | 0:38:37 | 0:38:39 | |
Huh. The man Nathaniel... | 0:38:43 | 0:38:45 | |
..he's yours? | 0:38:47 | 0:38:48 | |
My responsibility, I feel, if not my blood. | 0:38:48 | 0:38:50 | |
You? | 0:38:53 | 0:38:55 | |
You have a child? | 0:38:55 | 0:38:56 | |
I do not believe you would allow me to rest here ignorant of who I am. | 0:38:59 | 0:39:03 | |
ABEL CHUCKLES | 0:39:03 | 0:39:04 | |
Or my monstrous crimes. | 0:39:04 | 0:39:06 | |
Certainly that is true. | 0:39:06 | 0:39:09 | |
They do not trouble you? | 0:39:13 | 0:39:14 | |
The crimes? Should they? | 0:39:16 | 0:39:19 | |
There is, er... | 0:39:23 | 0:39:24 | |
...one blacker. | 0:39:27 | 0:39:28 | |
It felt blacker, I mean... | 0:39:29 | 0:39:31 | |
..in my heart. | 0:39:32 | 0:39:34 | |
Oh, believe me, child, | 0:39:37 | 0:39:39 | |
many's the fellow to have lost his life on my account. | 0:39:39 | 0:39:43 | |
You be calm on this score. | 0:39:49 | 0:39:50 | |
Mine is not a place of judgment or justice. | 0:39:52 | 0:39:55 | |
I leave such refined notions to others. | 0:39:57 | 0:40:00 | |
Scotland Yard, British Medical Association, | 0:40:05 | 0:40:07 | |
the French Confederation, Gendarmerie Nationale. | 0:40:07 | 0:40:09 | |
All that have been barred in the last three years, say. | 0:40:09 | 0:40:12 | |
Suggestion for the cause of such barring | 0:40:12 | 0:40:14 | |
is illegal transfusion of bloods. | 0:40:14 | 0:40:16 | |
Yes, Mr Reid. "Do no harm." | 0:40:16 | 0:40:20 | |
It's the first and most abiding maxim by which you practise by. | 0:40:20 | 0:40:23 | |
And yet you have done plenty, Captain. I've seen it. | 0:40:23 | 0:40:26 | |
Only when sorely pressed and never to a soul | 0:40:26 | 0:40:28 | |
that didn't have it coming. | 0:40:28 | 0:40:30 | |
You had a moral imperative. | 0:40:30 | 0:40:32 | |
You want to call it that, I did. | 0:40:32 | 0:40:35 | |
This man, likewise. | 0:40:35 | 0:40:37 | |
A child. His child. | 0:40:37 | 0:40:39 | |
No sin too great to save her, I imagine. | 0:40:39 | 0:40:42 | |
Perhaps you know how he feels, Reid. | 0:40:42 | 0:40:45 | |
Drum, I'm sure I saw a bottle back here somewhere. | 0:40:51 | 0:40:54 | |
You hope to get a little reading, are you, Sergeant? Er, no. | 0:41:23 | 0:41:26 | |
Ah, I mean, well, yes, at a...quiet moment. | 0:41:26 | 0:41:30 | |
Dracula. | 0:41:30 | 0:41:32 | |
The evil Transylvanian count. | 0:41:32 | 0:41:36 | |
Because all foreigners are dangerous predators | 0:41:36 | 0:41:40 | |
set on the parasitic cannibalism of our young women. | 0:41:40 | 0:41:43 | |
I shall see this returned, then, shall I, Sergeant? | 0:41:49 | 0:41:52 | |
Yes, I would...um...er... | 0:41:53 | 0:41:55 | |
A kind thought, Inspector. | 0:41:57 | 0:42:00 | |
TAPPING AND BUZZING | 0:42:00 | 0:42:01 | |
Is that...? It is, sir. French police. | 0:42:01 | 0:42:05 | |
There is a pursued felon, sir, thus the urgency of their response. | 0:42:05 | 0:42:08 | |
And his crime? "His wife..." | 0:42:08 | 0:42:10 | |
TAPPING | 0:42:10 | 0:42:12 | |
"...found bled out...in their Paris home | 0:42:12 | 0:42:14 | |
"and neither he nor their daughter seen since." | 0:42:14 | 0:42:17 | |
And his name, Drummond. | 0:42:17 | 0:42:20 | |
"Blanchard...Tristan. | 0:42:20 | 0:42:23 | |
"48." His wife? | 0:42:23 | 0:42:24 | |
Why would he perform the same experiment on his wife? | 0:42:24 | 0:42:27 | |
Perhaps she was sick, also. With the same disease. | 0:42:27 | 0:42:30 | |
An inherited disease of the blood. Haemophilia. | 0:42:30 | 0:42:33 | |
That... That can be bad, but it can be managed with skill and care. | 0:42:33 | 0:42:35 | |
Worse, then. Rarer. Incurable, even. | 0:42:35 | 0:42:37 | |
Porphyria. | 0:42:39 | 0:42:40 | |
It's a discolouration of the teeth, anaemia, photosensitivity... | 0:42:42 | 0:42:45 | |
..breakdown of the bones. | 0:42:46 | 0:42:48 | |
One might consider it a moral imperative | 0:42:49 | 0:42:51 | |
to seek to spare a child from such suffering. | 0:42:51 | 0:42:53 | |
Thatcher! | 0:42:54 | 0:42:56 | |
How's your French, Sergeant? | 0:42:56 | 0:42:58 | |
Er, worse than my Polish, sir. | 0:42:58 | 0:43:00 | |
Then simply shout louder. | 0:43:00 | 0:43:01 | |
Get a hansom to Albert Gate. French Embassy. Wake them. | 0:43:01 | 0:43:03 | |
Do not leave until they have provided you | 0:43:03 | 0:43:05 | |
with full photographic details of this man. | 0:43:05 | 0:43:07 | |
IN FRENCH ACCENT: Blanchard. | 0:43:07 | 0:43:08 | |
FRENCH ACCENT: Miss Dobrowski. | 0:43:19 | 0:43:20 | |
I'm relieved to finally meet you in person. | 0:43:22 | 0:43:26 | |
I did not mean to deceive you, sir. | 0:43:29 | 0:43:31 | |
Before, I mean. When you sent another in your name... | 0:43:32 | 0:43:37 | |
hm? She who is now gone. | 0:43:37 | 0:43:40 | |
I made a sacrifice for a greater need. | 0:43:42 | 0:43:45 | |
The only mercy is that it was a final trial. | 0:43:45 | 0:43:47 | |
Else you would now also have the sacrifice | 0:43:47 | 0:43:49 | |
of my daughter's life on your conscience. | 0:43:49 | 0:43:53 | |
Your life transformed, hm? | 0:44:00 | 0:44:02 | |
In return for the transformation of my Camille. | 0:44:02 | 0:44:07 | |
DRUMMOND: They moaned a good deal, sir. | 0:44:19 | 0:44:22 | |
This is because they are French. | 0:44:22 | 0:44:23 | |
But as Mr Reid suggested, I shouted, | 0:44:25 | 0:44:28 | |
and they soon packed up their moaning. | 0:44:28 | 0:44:31 | |
That is also down to their being French. | 0:44:31 | 0:44:33 | |
May I, Inspector? | 0:44:33 | 0:44:34 | |
This man. | 0:44:40 | 0:44:42 | |
I have met this man. | 0:44:42 | 0:44:44 | |
It begins now, my Camille. Hm? | 0:44:48 | 0:44:51 | |
You'll need a few. With me. | 0:45:01 | 0:45:03 | |
With me. | 0:45:03 | 0:45:05 | |
(Hey, stop!) | 0:45:12 | 0:45:14 | |
We can't just go in there thundering | 0:45:14 | 0:45:16 | |
with our irons out. You tell us why not. | 0:45:16 | 0:45:18 | |
What he does in there is delicate. | 0:45:18 | 0:45:19 | |
We jump him, it goes badly, she starts to bleed out, | 0:45:19 | 0:45:22 | |
then won't stop. Understand? | 0:45:22 | 0:45:24 | |
Let me talk to him, Drake. | 0:45:25 | 0:45:28 | |
Surgeon to surgeon. | 0:45:28 | 0:45:29 | |
Go. | 0:45:30 | 0:45:32 | |
DOOR CREAKS | 0:45:40 | 0:45:41 | |
Has she lost consciousness yet? | 0:45:43 | 0:45:45 | |
Who are you? Hm? | 0:45:46 | 0:45:49 | |
Huh, what do you want? | 0:45:49 | 0:45:51 | |
Has the board of this fine hospital approved the carrying out | 0:45:52 | 0:45:55 | |
of discredited medicine by fugitive outlaws? | 0:45:55 | 0:45:58 | |
So you are police? | 0:45:59 | 0:46:02 | |
Just another physician... | 0:46:02 | 0:46:04 | |
..of sorts. | 0:46:07 | 0:46:09 | |
I performed the autopsy on the other girl, | 0:46:10 | 0:46:12 | |
saw what catastrophe this science caused to her organs. | 0:46:12 | 0:46:17 | |
SHE MUMBLES | 0:46:17 | 0:46:18 | |
It's OK, darling. | 0:46:18 | 0:46:20 | |
SHE MUMBLES Shh, shh, shh. It's OK. | 0:46:20 | 0:46:23 | |
Well, then you know, huh? Death was a result of, er... | 0:46:23 | 0:46:26 | |
..an opportunistic falsehood. | 0:46:28 | 0:46:30 | |
This girl will come to no harm. | 0:46:30 | 0:46:32 | |
You take all of her blood, sir, she's going to die. | 0:46:32 | 0:46:35 | |
Now, I expect you didn't tell her that when you struck this deal. | 0:46:35 | 0:46:38 | |
Who is this man, Father? | 0:46:43 | 0:46:45 | |
No, no, no, no. Be still, my Camille. Be still, now. | 0:46:45 | 0:46:48 | |
Huh, you trust in me? | 0:46:48 | 0:46:49 | |
Yes. | 0:46:51 | 0:46:52 | |
Then rest. | 0:46:52 | 0:46:54 | |
Close your eyes. You can't save her. | 0:46:56 | 0:46:59 | |
You can't. | 0:46:59 | 0:47:00 | |
Even if this transfusion is completed, | 0:47:00 | 0:47:03 | |
the symptoms will only regress for a while. | 0:47:03 | 0:47:06 | |
Whatever it is, there's no way yet on earth found to alter those cards. | 0:47:06 | 0:47:10 | |
No! You...step back! | 0:47:11 | 0:47:15 | |
BLANCHARD: What do you know? | 0:47:16 | 0:47:18 | |
You judge me, but any father would do the same. | 0:47:18 | 0:47:21 | |
This is my life's work. | 0:47:22 | 0:47:25 | |
She will recover. She will transform. | 0:47:25 | 0:47:27 | |
She will live. | 0:47:27 | 0:47:29 | |
Gentle sir, I beg you. | 0:47:29 | 0:47:31 | |
Do not do this. | 0:47:31 | 0:47:33 | |
BLANCHARD: As you wish, sir. | 0:47:43 | 0:47:46 | |
Reid, Drake! Get in here! | 0:48:04 | 0:48:05 | |
Get after him. | 0:48:06 | 0:48:08 | |
Thatcher, you're with me. | 0:48:10 | 0:48:13 | |
I need your help, man. | 0:48:13 | 0:48:15 | |
There's too much blood. | 0:48:15 | 0:48:17 | |
There's too much goddamn blood. | 0:48:17 | 0:48:18 | |
We're going to have to try a vessel ligation. Hand me those forceps. | 0:48:18 | 0:48:21 | |
For Christ's sakes, man. Right there. Forceps! | 0:48:26 | 0:48:29 | |
Got it. | 0:48:30 | 0:48:32 | |
If I can clamp the vessel, that might buy us enough time. | 0:48:32 | 0:48:36 | |
Come on, Magdalena. | 0:48:36 | 0:48:38 | |
CRASHING | 0:48:42 | 0:48:43 | |
Stay back! | 0:48:45 | 0:48:46 | |
How can I let her suffer? | 0:48:50 | 0:48:53 | |
Without me, what hope does she have? | 0:48:53 | 0:48:55 | |
There is always hope, sir. | 0:48:55 | 0:48:58 | |
No. | 0:49:06 | 0:49:07 | |
In heaven, she will know the love of her mother. | 0:49:07 | 0:49:10 | |
Such love, sir. All that you are... | 0:49:10 | 0:49:14 | |
put to the protecting of her. | 0:49:14 | 0:49:15 | |
I do not believe you will now do this thing. | 0:49:17 | 0:49:19 | |
Goddammit! | 0:49:28 | 0:49:29 | |
It's too late. | 0:49:32 | 0:49:34 | |
Lost too much. We lost her, Thatcher. | 0:49:34 | 0:49:36 | |
No, no! No. Look... | 0:49:39 | 0:49:42 | |
Captain, take mine. | 0:49:42 | 0:49:43 | |
Remember? It... If I was... If I was a match for the hanging man, | 0:49:43 | 0:49:47 | |
I'm also a match for her, am I not? | 0:49:47 | 0:49:49 | |
Thatcher, you son of a bitch. | 0:49:51 | 0:49:52 | |
Yeah. | 0:49:52 | 0:49:54 | |
Hold tight, girl. Frankie Thatcher's coming for you. | 0:49:56 | 0:49:59 | |
SOBBING: My Camille. | 0:50:21 | 0:50:23 | |
I have killed you. | 0:50:25 | 0:50:27 | |
HE SOBS | 0:50:30 | 0:50:32 | |
JACKSON: # Little girl, little girl | 0:50:51 | 0:50:53 | |
# Don't you lie to me | 0:50:53 | 0:50:56 | |
# Tell me, where did you sleep last night? | 0:50:57 | 0:51:01 | |
# In the pines, in the pines | 0:51:02 | 0:51:06 | |
# In the cold lonesome pines | 0:51:06 | 0:51:09 | |
# Will you shiver when the cold wind blows? | 0:51:11 | 0:51:15 | |
# Little girl, little girl | 0:51:16 | 0:51:19 | |
# Don't you lie to me | 0:51:19 | 0:51:22 | |
# Tell me, where did you sleep last night? # | 0:51:22 | 0:51:26 | |
It is a song, Bennet. Only a song. | 0:51:28 | 0:51:32 | |
And you launch such conclusions at me. | 0:51:32 | 0:51:35 | |
No, Rose. You think you can hide such a truth from me. You cannot! | 0:51:35 | 0:51:38 | |
How often? | 0:51:44 | 0:51:45 | |
And do not think to lie to me again. | 0:51:45 | 0:51:48 | |
Once a week. | 0:51:50 | 0:51:51 | |
Oh, Jesus. In the month since. | 0:51:51 | 0:51:53 | |
But it was not planned, Bennet. | 0:51:53 | 0:51:55 | |
He found me all frantic with the strain of it, | 0:51:55 | 0:51:59 | |
helped us, brought us home, and... | 0:51:59 | 0:52:02 | |
And Connor, he... | 0:52:02 | 0:52:04 | |
He calmed with him. | 0:52:04 | 0:52:05 | |
CONNOR WHIMPERS | 0:52:05 | 0:52:07 | |
And I could not deny him that. | 0:52:07 | 0:52:08 | |
And does the boy...? | 0:52:08 | 0:52:09 | |
Does Connor know him? I mean, know who he is? | 0:52:11 | 0:52:15 | |
You are the only father he has ever known. | 0:52:18 | 0:52:20 | |
The only father he will ever know. | 0:52:22 | 0:52:24 | |
CONNOR WHIMPERS | 0:52:26 | 0:52:29 | |
No, no. I'll see to him. | 0:52:29 | 0:52:31 | |
It's all right, lad. | 0:52:35 | 0:52:36 | |
I'm here now. | 0:52:38 | 0:52:40 | |
It's all right, boysie. | 0:52:42 | 0:52:44 | |
Is it that you do not like him? | 0:53:10 | 0:53:12 | |
I barely know him. That is my point. Neither do you. | 0:53:12 | 0:53:15 | |
And yet I like him. | 0:53:18 | 0:53:19 | |
That... That is a guess, Mathilda. | 0:53:19 | 0:53:21 | |
And so instead you would prefer | 0:53:25 | 0:53:27 | |
I created experiments to test what matter | 0:53:27 | 0:53:30 | |
he is made of? I might, yes. | 0:53:30 | 0:53:32 | |
But do you not see that this is that experiment? | 0:53:33 | 0:53:37 | |
He appreciates it or he does not appreciate it. | 0:53:41 | 0:53:43 | |
These things are guides for you? | 0:53:43 | 0:53:45 | |
Well, is that not fair? | 0:53:46 | 0:53:48 | |
Fair? I'm not sure, Mathilda. | 0:53:48 | 0:53:50 | |
When these human transactions were writ, | 0:53:53 | 0:53:56 | |
fairness was not much of a consideration. | 0:53:56 | 0:53:58 | |
You make your test, Mathilda. | 0:54:08 | 0:54:10 | |
But be sure to let me know if he passes or not. | 0:54:10 | 0:54:14 | |
PROBYN: I, er, served for a time in Alexandria. | 0:54:59 | 0:55:02 | |
Ah, and grew fond of the blend there? | 0:55:02 | 0:55:05 | |
Quite so. I was not, er, misinformed, then? | 0:55:05 | 0:55:09 | |
You do have access to the Egyptian brand of tobacco I favour? | 0:55:09 | 0:55:14 | |
It has taken me an age to hunt down a supplier. | 0:55:14 | 0:55:17 | |
CHUCKLING: Well, you may rest gentle, sir. | 0:55:17 | 0:55:21 | |
That hunt is now behind you. | 0:55:21 | 0:55:23 | |
Ah. | 0:55:23 | 0:55:24 | |
Mr... | 0:55:24 | 0:55:25 | |
His name's Probyn. | 0:55:25 | 0:55:27 | |
Not a tobacconist, then? | 0:55:33 | 0:55:36 | |
No. | 0:55:36 | 0:55:38 | |
He is a doctor. The Newgate doctor. | 0:55:38 | 0:55:41 | |
I am relieved of my duties now, however. | 0:55:43 | 0:55:46 | |
How have you found me? | 0:55:46 | 0:55:48 | |
How? | 0:55:48 | 0:55:49 | |
I am shocked you asked. | 0:55:49 | 0:55:51 | |
That husband of yours stalking back into my life with his threats. | 0:55:52 | 0:55:56 | |
It is his colleague has me reported and deprived of my work. | 0:55:56 | 0:56:01 | |
?200. | 0:56:01 | 0:56:02 | |
Otherwise, my own further harm, or know...your secret will be told | 0:56:03 | 0:56:08 | |
and that wretch son of yours will never see | 0:56:08 | 0:56:11 | |
your spiteful little face again. | 0:56:11 | 0:56:14 | |
Abel, I think, on reflection, you should not. | 0:56:14 | 0:56:17 | |
For why? Naught but a dome-headed sack of jelly, this one. | 0:56:17 | 0:56:22 | |
No threat, certainly, and I cannot believe he will be missed. | 0:56:22 | 0:56:25 | |
I shall tell you for why, Abel. | 0:56:27 | 0:56:30 | |
METALLIC SWISH | 0:56:30 | 0:56:31 | |
Between first and second rib, is it not? | 0:56:36 | 0:56:39 | |
It is, my dear. | 0:56:42 | 0:56:44 | |
Oh. | 0:56:48 | 0:56:49 | |
HE GURGLES | 0:56:59 | 0:57:00 | |
Nate... | 0:57:04 | 0:57:05 | |
two ox and a tarpaulin, if you please. | 0:57:05 | 0:57:07 | |
Speak to me of my son, would you?! | 0:57:08 | 0:57:10 | |
Here. | 0:57:14 | 0:57:15 | |
Here, yes, yes. | 0:57:15 | 0:57:17 | |
Brandy. | 0:57:19 | 0:57:21 | |
Here... | 0:57:24 | 0:57:26 | |
Fit for a king... | 0:57:26 | 0:57:28 | |
had the French not done away with such things as kings. | 0:57:28 | 0:57:32 | |
What am I, Abel? | 0:57:46 | 0:57:48 | |
Why, a princess. | 0:57:48 | 0:57:51 | |
Ah...how now? SHE SOBS | 0:57:54 | 0:57:56 | |
Why do you weep? Not for him, surely? | 0:57:56 | 0:58:00 | |
No. | 0:58:00 | 0:58:02 | |
The other. | 0:58:04 | 0:58:05 | |
The dark secret I spoke of. | 0:58:06 | 0:58:08 | |
Ah. The last definite death by my hand. | 0:58:09 | 0:58:12 | |
And who he? | 0:58:16 | 0:58:17 | |
My father. | 0:58:21 | 0:58:22 | |
It was my father. | 0:58:24 | 0:58:27 | |
I killed my father. | 0:58:27 | 0:58:28 | |
SHE SOBS INTENSELY Ah... | 0:58:31 | 0:58:33 | |
MAN: None of my boys at the ironworks is weak. | 0:58:38 | 0:58:41 | |
They live, work, sport as men of iron. | 0:58:41 | 0:58:43 | |
Charlie Tanner is dead. Beaten with a hammer. | 0:58:43 | 0:58:47 | |
I have an obligation. Things will get better. | 0:58:47 | 0:58:49 | |
Me and you, we've got to get out of here. | 0:58:49 | 0:58:51 | |
You will hear me, Reid! | 0:58:51 | 0:58:53 | |
We coppered good together. Maybe them days have passed. | 0:58:53 | 0:58:56 |