Browse content similar to No Wolves in Whitechapel. Check below for episodes and series from the same categories and more!
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This programme contains some violent scenes from the start | 0:00:01 | 0:00:04 | |
and some scenes which some viewers may find upsetting from the start. | 0:00:04 | 0:00:08 | |
I could no more kill Leon Ratovski than I could kill myself. | 0:00:08 | 0:00:11 | |
Do you travel somewhere, Miss Castello? | 0:00:11 | 0:00:13 | |
Paris, a story hunted down. | 0:00:13 | 0:00:16 | |
Thomas Gower? | 0:00:16 | 0:00:17 | |
This still does not make Thomas Gower Tanner's killer. | 0:00:17 | 0:00:19 | |
TEARING FLESH | 0:00:19 | 0:00:21 | |
Arrrgh! | 0:00:21 | 0:00:22 | |
WET SLICING | 0:00:22 | 0:00:24 | |
It is you who gains access to the Customs House, is it not? | 0:00:24 | 0:00:27 | |
Might you show me? | 0:00:27 | 0:00:28 | |
But there, beyond the barricade, treasure. | 0:00:28 | 0:00:32 | |
SHE CHUCKLES | 0:00:32 | 0:00:33 | |
RAIN PATTERS | 0:00:38 | 0:00:41 | |
THUNDER RUMBLES | 0:00:41 | 0:00:44 | |
Look, the golem. | 0:00:46 | 0:00:48 | |
DOG BARKS | 0:00:49 | 0:00:50 | |
What's that? | 0:00:50 | 0:00:51 | |
DOG BARKS | 0:00:54 | 0:00:57 | |
RAIN PATTERS | 0:00:57 | 0:00:59 | |
THUNDER RUMBLES | 0:01:03 | 0:01:05 | |
DOG BARKS | 0:01:12 | 0:01:14 | |
CLATTERING | 0:01:16 | 0:01:19 | |
BOTH GASP | 0:01:20 | 0:01:21 | |
RAIN PATTERS | 0:01:52 | 0:01:53 | |
Excuse me. | 0:01:55 | 0:01:56 | |
Ahh! Police! | 0:01:59 | 0:02:00 | |
Stop! There's someone there. | 0:02:00 | 0:02:02 | |
What? | 0:02:02 | 0:02:03 | |
No! Yes! | 0:02:03 | 0:02:04 | |
He's... He's covered in blood! He's dead! | 0:02:04 | 0:02:06 | |
He is. | 0:02:06 | 0:02:07 | |
RAIN PATTERS | 0:02:07 | 0:02:09 | |
I do not say you did not see it. | 0:02:11 | 0:02:13 | |
I only say that what you saw - it was not real. | 0:02:13 | 0:02:16 | |
It... It cannot be real. | 0:02:16 | 0:02:18 | |
It was as real as you are now, Bennet Drake. | 0:02:18 | 0:02:21 | |
I don't know how many times I need to say this. The woman is dead. | 0:02:21 | 0:02:24 | |
I saw it myself. Her ankles are twitched. | 0:02:24 | 0:02:26 | |
Dead! Then how?! | 0:02:26 | 0:02:29 | |
How, Bennet? | 0:02:29 | 0:02:30 | |
I am not mad! | 0:02:30 | 0:02:32 | |
I am not mad. | 0:02:32 | 0:02:34 | |
I saw her. | 0:02:34 | 0:02:35 | |
It is because you cannot rest. | 0:02:35 | 0:02:37 | |
You are sleepless. No. | 0:02:37 | 0:02:39 | |
Rose, any woman would suffer so. | 0:02:39 | 0:02:41 | |
Their senses adrift, frayed through lack of rest. | 0:02:41 | 0:02:45 | |
You must rest, Rose. | 0:02:46 | 0:02:47 | |
Please. Uncle Bennet? | 0:02:49 | 0:02:50 | |
Perhaps this is not, after all, the best time. | 0:02:57 | 0:02:59 | |
No, child, this...this is good. We are... | 0:02:59 | 0:03:01 | |
We are glad you have come. | 0:03:01 | 0:03:02 | |
Please, sit. | 0:03:02 | 0:03:04 | |
It is Mathilda, my love, | 0:03:06 | 0:03:08 | |
as we said, come to watch the lad awhile, | 0:03:08 | 0:03:11 | |
give him some lunch and his tea, and... | 0:03:11 | 0:03:13 | |
..allow you some sleep. | 0:03:15 | 0:03:16 | |
Allow those frayed senses of yours to knit again. | 0:03:18 | 0:03:20 | |
Only sleep, my love. | 0:03:21 | 0:03:23 | |
All will be right again. | 0:03:24 | 0:03:26 | |
And do not forget... | 0:03:28 | 0:03:29 | |
Miss Susan was your dear friend. | 0:03:29 | 0:03:32 | |
And in your heart... | 0:03:32 | 0:03:33 | |
..you must yet mourn for her. | 0:03:34 | 0:03:36 | |
No... | 0:03:36 | 0:03:37 | |
Bennet... | 0:03:37 | 0:03:39 | |
..she is no friend of mine. | 0:03:40 | 0:03:42 | |
That bitch means to steal our child. | 0:03:42 | 0:03:45 | |
Finished. Do you understand? | 0:03:48 | 0:03:50 | |
Only for real this time. | 0:03:50 | 0:03:52 | |
Our boy never clapping eyes on us as long as he lives, | 0:03:52 | 0:03:55 | |
unless it's a newspaper photograph, | 0:03:55 | 0:03:57 | |
the pair of us with ropes around our necks. | 0:03:57 | 0:03:59 | |
What was I supposed to do, Matthew? | 0:03:59 | 0:04:01 | |
He called to me, my son. | 0:04:01 | 0:04:02 | |
He called to me. | 0:04:02 | 0:04:04 | |
Ought I to just have abandoned him once more? | 0:04:04 | 0:04:06 | |
You want to know what he's going to look like as a grown man? | 0:04:06 | 0:04:09 | |
Teach him to ride? Watch him fall in love the first time? | 0:04:09 | 0:04:11 | |
You want all those things to pass? | 0:04:11 | 0:04:13 | |
Then, yeah, you goddamn ought to have left them there to wail for you! | 0:04:13 | 0:04:15 | |
Oh, you're a man - you don't understand. Oh, that's a fine apology. | 0:04:15 | 0:04:19 | |
Oh, I must apologise now, must I? To you? | 0:04:19 | 0:04:21 | |
Who I would otherwise consider the bane of my life, | 0:04:21 | 0:04:23 | |
if banes weren't altogether more bearable?! No, no, no! | 0:04:23 | 0:04:26 | |
You are not going to deflect this on me. | 0:04:26 | 0:04:28 | |
It's I that must go to my place of work, | 0:04:28 | 0:04:30 | |
a police station, | 0:04:30 | 0:04:31 | |
and pray to God that my chief's wife is not believed | 0:04:31 | 0:04:34 | |
when she says she saw a dead woman walk by her window last night! | 0:04:34 | 0:04:38 | |
Oh, she won't be. She was... She was barely awake. She was sleepwalking. | 0:04:38 | 0:04:41 | |
And besides, as you say, I am dead. | 0:04:41 | 0:04:44 | |
Whoever would believe her, hmm? | 0:04:44 | 0:04:45 | |
Well, we're soon going to find out, won't we? | 0:04:45 | 0:04:47 | |
Need my laboratory, don't I? | 0:04:54 | 0:04:56 | |
Potassium nitrate. | 0:04:59 | 0:05:00 | |
Make this lock-cracker for your little escapade tonight. | 0:05:01 | 0:05:04 | |
It mustn't happen tonight, must it? | 0:05:05 | 0:05:07 | |
It must. | 0:05:07 | 0:05:09 | |
You think you can sway Silver Beard to that way of thinking? | 0:05:13 | 0:05:16 | |
You leave Abel to me. | 0:05:16 | 0:05:18 | |
If I'm not back by ten tonight, you just assume me taken. | 0:05:19 | 0:05:23 | |
Make all further arrangements without me. | 0:05:23 | 0:05:25 | |
Only you make them fast. Do you hear me? | 0:05:26 | 0:05:27 | |
And you get yourself gone. | 0:05:28 | 0:05:30 | |
Bane of your life, huh? | 0:05:39 | 0:05:40 | |
Oi, oi! Can I get a hand over here? | 0:05:55 | 0:05:58 | |
"In recognition of his outstanding achievement... | 0:05:58 | 0:06:01 | |
"..in the reorganisation... | 0:06:02 | 0:06:05 | |
"of the Metropolitan Police Detective Department... | 0:06:05 | 0:06:09 | |
"..Her Majesty the Queen... | 0:06:10 | 0:06:12 | |
"...last night... | 0:06:13 | 0:06:14 | |
"bestowed the Companion of the Order of the Bath... | 0:06:14 | 0:06:18 | |
"..to Assistant Commissioner... | 0:06:20 | 0:06:22 | |
"..Augustus Dove. | 0:06:23 | 0:06:24 | |
"The ceremony took place at Toynbee Hall, | 0:06:26 | 0:06:28 | |
"where no less a personage than Joseph Chamberlain, | 0:06:28 | 0:06:30 | |
"the Colonial Secretary, conferred the honour." | 0:06:30 | 0:06:32 | |
Oh, hold up, Drum. It's the father-in-law. | 0:06:32 | 0:06:34 | |
Morning, Mr Reid. Drummond. Thatcher. | 0:06:34 | 0:06:37 | |
Morning, Mr Reid. | 0:06:37 | 0:06:38 | |
Hey, sir, did you see? | 0:06:40 | 0:06:42 | |
Assistant Commissioner Dove got a bauble for his coat. | 0:06:42 | 0:06:45 | |
Do you disrespect this country's heraldic traditions, Sergeant? | 0:06:45 | 0:06:48 | |
Who, me, Mr Reid? | 0:06:48 | 0:06:50 | |
Still... | 0:06:51 | 0:06:52 | |
it's a wonder, is it not, | 0:06:52 | 0:06:53 | |
where a common fella may rise to these days? | 0:06:53 | 0:06:56 | |
Oh, you work hard, Thatcher, who knows how far you may travel? | 0:06:56 | 0:06:59 | |
Oh, no. I do not speak of myself, sir. No. | 0:06:59 | 0:07:01 | |
Happy as he is, that's Frankie Thatcher. No. | 0:07:01 | 0:07:04 | |
It's Drum here that I ask for. | 0:07:04 | 0:07:07 | |
Indeed. And why might Sergeant Drummond thank you | 0:07:07 | 0:07:09 | |
for enquiring after his prospects? | 0:07:09 | 0:07:12 | |
He's my friend, is all. | 0:07:12 | 0:07:14 | |
And I know how he means to be... | 0:07:14 | 0:07:16 | |
To be well thought of in this world. Frank... | 0:07:16 | 0:07:19 | |
enough! | 0:07:19 | 0:07:20 | |
Oh, he IS well thought of, Mr Thatcher. | 0:07:20 | 0:07:22 | |
I can vouch for that. | 0:07:22 | 0:07:24 | |
TELEPHONE RINGS | 0:07:26 | 0:07:27 | |
Leman Street. | 0:07:32 | 0:07:33 | |
Body found off the back of Heneage. | 0:07:35 | 0:07:37 | |
Mr Reid, wait, if you please! | 0:07:38 | 0:07:40 | |
Men, come. Rope the area off as good as you can. | 0:07:40 | 0:07:42 | |
HE REPLACES RECEIVER | 0:07:42 | 0:07:43 | |
The body, it is a dead man. | 0:07:43 | 0:07:45 | |
One known to us, sir. | 0:07:45 | 0:07:47 | |
And who that, Mr Drummond? | 0:07:47 | 0:07:49 | |
TRAIN WHISTLE BLOWS | 0:07:49 | 0:07:51 | |
BUSTLE AND CHATTER | 0:07:51 | 0:07:53 | |
Drake. | 0:07:54 | 0:07:56 | |
Jackson. | 0:07:57 | 0:07:58 | |
Quiet night? | 0:08:02 | 0:08:04 | |
Quiet enough. | 0:08:06 | 0:08:07 | |
So, the boy, he's settling on, then? | 0:08:09 | 0:08:10 | |
He does. | 0:08:12 | 0:08:14 | |
Mr Drake... | 0:08:14 | 0:08:14 | |
Mr Drake... | 0:08:14 | 0:08:15 | |
a man's body is found. | 0:08:15 | 0:08:17 | |
Murdered, so it's said. | 0:08:17 | 0:08:19 | |
Who is it attends? | 0:08:19 | 0:08:21 | |
I feel WE must. | 0:08:21 | 0:08:22 | |
Who is it, Mr Reid? | 0:08:22 | 0:08:24 | |
Captain, yourself, also. Tell me who it is, Inspector! I am sorry, Bennet. | 0:08:24 | 0:08:27 | |
BUSTLE AND CHATTER | 0:08:29 | 0:08:31 | |
Get out of the way! | 0:08:31 | 0:08:33 | |
Move it! | 0:08:33 | 0:08:35 | |
You men, I want these ghouls ten yards further back! | 0:08:35 | 0:08:38 | |
Oh, Thomas...! | 0:08:42 | 0:08:43 | |
A street fight. | 0:08:45 | 0:08:47 | |
Knife wound. | 0:08:47 | 0:08:48 | |
Gave as good as you got, did you not, Thomas boy? | 0:08:51 | 0:08:54 | |
There will have been over 200 pairs of boots up and down here since sun-up. | 0:08:57 | 0:09:00 | |
Any signs that may have been read will have been trod and kicked into obscurity. | 0:09:00 | 0:09:04 | |
He wasn't killed here, however. | 0:09:08 | 0:09:11 | |
See his knees? Grooves and abrasions, and his hands, likewise. | 0:09:11 | 0:09:15 | |
It's gravel rash. | 0:09:15 | 0:09:17 | |
He was... | 0:09:17 | 0:09:18 | |
He was dragged. | 0:09:18 | 0:09:20 | |
Dragged himself. | 0:09:20 | 0:09:22 | |
Woodseer Orphanage is three streets north of here. | 0:09:22 | 0:09:25 | |
How? | 0:09:25 | 0:09:27 | |
There is this violent altercation. | 0:09:27 | 0:09:28 | |
The assailant takes the knife to finish the matter, leaves him. | 0:09:28 | 0:09:32 | |
So he crawls to where he might feel safe. | 0:09:32 | 0:09:34 | |
You let me through! | 0:09:35 | 0:09:37 | |
Let me through!! | 0:09:37 | 0:09:38 | |
Let me see him! | 0:09:38 | 0:09:39 | |
CROWD SHOUTS | 0:09:39 | 0:09:40 | |
Oh! Deborah... | 0:09:43 | 0:09:45 | |
Who has done this to him?! | 0:09:46 | 0:09:48 | |
Miss Goren, let us do our work. No! | 0:09:48 | 0:09:50 | |
And what use is that work, Edmund Reid? | 0:09:50 | 0:09:51 | |
What use to us all?! | 0:09:51 | 0:09:53 | |
Please, please, let me walk you home. You cannot help him now. | 0:09:53 | 0:09:57 | |
Sergeant Drake, as you once were, think of this boy. | 0:09:57 | 0:10:00 | |
Think of all you have done for him! | 0:10:00 | 0:10:01 | |
SHE SOBS | 0:10:01 | 0:10:03 | |
Come, come. | 0:10:03 | 0:10:05 | |
FLASH DISCHARGES | 0:10:06 | 0:10:08 | |
Thatcher! Remove this hacker and her work. | 0:10:08 | 0:10:10 | |
There's no law says you may take that, Sergeant. | 0:10:10 | 0:10:13 | |
Oh, is there not? Oh... | 0:10:13 | 0:10:15 | |
GLASS SHATTERS | 0:10:15 | 0:10:16 | |
Get you gone, woman. | 0:10:16 | 0:10:18 | |
Go! | 0:10:19 | 0:10:20 | |
SCUFFLING | 0:10:20 | 0:10:22 | |
The wound... | 0:10:28 | 0:10:29 | |
..how long for him to bleed out, do we say? | 0:10:30 | 0:10:33 | |
Ten minutes. Certainly no longer. | 0:10:33 | 0:10:36 | |
And so injured, he could not have dragged himself | 0:10:36 | 0:10:39 | |
at no more than what...? | 0:10:39 | 0:10:40 | |
Ten yards a minute, maybe? | 0:10:40 | 0:10:43 | |
Miss Goren's orphanage, north of here. | 0:10:45 | 0:10:47 | |
He must therefore... | 0:10:49 | 0:10:50 | |
come from the other direction. | 0:10:50 | 0:10:52 | |
Thatcher! Yeah? | 0:10:52 | 0:10:53 | |
I want a radius, 150 yards. | 0:10:53 | 0:10:56 | |
All points south. | 0:10:56 | 0:10:58 | |
Such a ruck, it would not took a place on a main thoroughfare. | 0:10:58 | 0:11:01 | |
We look for dark corners, therefore. Get these men to it! | 0:11:01 | 0:11:04 | |
Some will say this is what killed him. | 0:11:06 | 0:11:08 | |
This from which the ruin of his life was made. | 0:11:08 | 0:11:12 | |
This is the response, not the question. | 0:11:16 | 0:11:18 | |
SHE SIGHS | 0:11:19 | 0:11:20 | |
Edmund Reid - who sees life and its puzzles clearer than you? | 0:11:21 | 0:11:25 | |
I have no idea what life would look like were it not a puzzle. | 0:11:26 | 0:11:29 | |
Were it not, I firmly believe the two of us would never have met. | 0:11:31 | 0:11:34 | |
No. | 0:11:34 | 0:11:35 | |
Well, here is another puzzle for you. | 0:11:37 | 0:11:40 | |
Why is it, do you suppose, in the... | 0:11:40 | 0:11:42 | |
In the two and a half months since Isaac was hanged, | 0:11:42 | 0:11:45 | |
you have not sat down to take a drink with me once? | 0:11:45 | 0:11:47 | |
Why do you think? | 0:11:55 | 0:11:56 | |
I felt... | 0:11:58 | 0:12:00 | |
shame. | 0:12:00 | 0:12:01 | |
SHE INHALES | 0:12:03 | 0:12:05 | |
Because you could not save Isaac? | 0:12:05 | 0:12:06 | |
I wasn't going to show you these, but... | 0:12:15 | 0:12:17 | |
These are drawings made of this... | 0:12:34 | 0:12:37 | |
"Whitechapel golem" | 0:12:37 | 0:12:38 | |
in the weeks before the Rabbi Ratovski was murdered. | 0:12:38 | 0:12:40 | |
No, they are the drawings made in the past month. | 0:12:40 | 0:12:44 | |
And what do you make of that fact, Deborah? | 0:12:48 | 0:12:51 | |
If they draw him still, perhaps he lives still, | 0:12:51 | 0:12:54 | |
and did not die when Isaac Bloom was hanged. | 0:12:54 | 0:12:56 | |
Might I borrow these? | 0:12:56 | 0:12:57 | |
Edmund, there... | 0:13:03 | 0:13:05 | |
There is a matter, I feel it is perhaps... | 0:13:05 | 0:13:07 | |
..disloyal to say it. | 0:13:09 | 0:13:10 | |
But your daughter Mathilda... What of her? | 0:13:10 | 0:13:13 | |
Her friendship with Miss Castello... | 0:13:13 | 0:13:15 | |
Rachel is a good person, this I know, | 0:13:16 | 0:13:19 | |
but she is young and angered. | 0:13:19 | 0:13:20 | |
She feels you police hide the truth | 0:13:20 | 0:13:24 | |
of what is acted out on the people of her faith. | 0:13:24 | 0:13:26 | |
She is Jewish? Raised as an Englishwoman. | 0:13:26 | 0:13:29 | |
However, she discovers her heritage with a zeal, | 0:13:29 | 0:13:33 | |
a zeal for truth, | 0:13:33 | 0:13:35 | |
and that truth to be discovered however it may. | 0:13:35 | 0:13:38 | |
If you see my meaning. | 0:13:40 | 0:13:41 | |
I do not know if it is disloyal. | 0:13:44 | 0:13:46 | |
But I know that I am grateful to you for sharing of it. | 0:13:46 | 0:13:48 | |
CHATTER NEARBY | 0:14:02 | 0:14:04 | |
Whoa, hey. | 0:14:09 | 0:14:10 | |
Hey! | 0:14:10 | 0:14:11 | |
MUTTERING | 0:14:11 | 0:14:13 | |
CLATTERING | 0:14:13 | 0:14:14 | |
What's happened? | 0:14:36 | 0:14:37 | |
CHATTERING | 0:14:37 | 0:14:38 | |
Blimey, what are they lookin' for? | 0:14:38 | 0:14:40 | |
CROWD CHATTERS | 0:14:40 | 0:14:42 | |
Here, you be Gower. | 0:14:45 | 0:14:47 | |
Might be something. | 0:15:16 | 0:15:18 | |
You are a newspaperwoman. | 0:15:18 | 0:15:20 | |
It is your job to inveigle, to connive, to seduce, | 0:15:20 | 0:15:23 | |
but this is low. | 0:15:23 | 0:15:25 | |
She's a child. She's my child. | 0:15:25 | 0:15:27 | |
She is not that, Mr Reid. | 0:15:27 | 0:15:29 | |
I do not know her well, but what I do know of her, I admire. | 0:15:29 | 0:15:32 | |
And she's no child, sir. | 0:15:32 | 0:15:34 | |
And you seek to turn her to what? | 0:15:34 | 0:15:36 | |
My betrayal? No, sir. | 0:15:36 | 0:15:37 | |
Never that. | 0:15:37 | 0:15:39 | |
I seek only that which you seek also, Mr Reid - | 0:15:39 | 0:15:43 | |
that which I find endlessly injuncted from me. | 0:15:43 | 0:15:46 | |
The truth. | 0:15:46 | 0:15:47 | |
Wait. What is that? | 0:15:52 | 0:15:54 | |
Is this the murdered man Ratovski? | 0:15:54 | 0:15:57 | |
What is this? What is this mapping? | 0:15:57 | 0:15:59 | |
What is it you make here? | 0:16:01 | 0:16:02 | |
A history. | 0:16:02 | 0:16:04 | |
Of the frozen and famished journeys made by those of my faith, | 0:16:04 | 0:16:07 | |
that they might find shelter in Whitechapel. | 0:16:07 | 0:16:09 | |
Ratovski's journey amongst? | 0:16:09 | 0:16:11 | |
Ratovski? What of him? | 0:16:13 | 0:16:14 | |
Show me. Show me! No, sir, I will not. | 0:16:14 | 0:16:16 | |
Bring a warrant if you must press it. | 0:16:16 | 0:16:18 | |
A warrant. | 0:16:20 | 0:16:22 | |
Or what details of the man and his end | 0:16:22 | 0:16:24 | |
which you yourself keep hidden from view | 0:16:24 | 0:16:25 | |
in the H Division archives. | 0:16:25 | 0:16:28 | |
I believe there is an expression for the exchange. | 0:16:28 | 0:16:30 | |
Quid pro quo. | 0:16:30 | 0:16:32 | |
See this? | 0:16:36 | 0:16:37 | |
It's piercing of the spleen. | 0:16:37 | 0:16:39 | |
Unstoppable internal bleeding. | 0:16:39 | 0:16:42 | |
That was the finishing, but not the finishing he sought. | 0:16:42 | 0:16:45 | |
You don't mean it. | 0:16:45 | 0:16:46 | |
All right, look at Gower's pockets. | 0:16:46 | 0:16:48 | |
There's money within, therefore it's not a theft. | 0:16:48 | 0:16:50 | |
It is personal? | 0:16:53 | 0:16:54 | |
His first point of attack from behind. Pinned against the wall. | 0:16:54 | 0:16:57 | |
He wished to knife him, he would have done it there and then. | 0:16:57 | 0:17:00 | |
It is an easy thing to say, I know... | 0:17:09 | 0:17:13 | |
but it is not you did this. | 0:17:13 | 0:17:15 | |
It is not you put that knife in him. | 0:17:15 | 0:17:17 | |
Nor you yourself, Mr Reid. | 0:17:19 | 0:17:21 | |
SCRAPING | 0:17:21 | 0:17:23 | |
Oh, God, no. | 0:17:23 | 0:17:25 | |
No, no, no, no! What? | 0:17:25 | 0:17:27 | |
JACKSON PICKS UP TELEPHONE | 0:17:36 | 0:17:37 | |
Hey, Drummond, I need you to dig up a file for me. | 0:17:37 | 0:17:40 | |
Last name, Ratovski. | 0:17:43 | 0:17:45 | |
What is it you do? | 0:17:46 | 0:17:48 | |
Tell me! What do you think? | 0:17:49 | 0:17:51 | |
This is a human bite mark. | 0:17:51 | 0:17:53 | |
TELEPHONE RINGS | 0:17:56 | 0:17:58 | |
What? | 0:18:03 | 0:18:04 | |
What do you mean, gone?! | 0:18:05 | 0:18:06 | |
Sergeant Drummond, beneath my desk, calfskin briefcase. | 0:18:07 | 0:18:11 | |
It is within. | 0:18:11 | 0:18:12 | |
Why is it you've kept it, Inspector? | 0:18:14 | 0:18:16 | |
The case remains of interest. Despite my instructions otherwise? | 0:18:16 | 0:18:19 | |
What would you have me do, Bennet? Avert my eyes? | 0:18:19 | 0:18:21 | |
Exactly that, Mr Reid. | 0:18:21 | 0:18:22 | |
We had precise words on that matter, did we not? | 0:18:22 | 0:18:25 | |
And I was clear as to what such disobedience might then incur. | 0:18:25 | 0:18:29 | |
KNOCK AT DOOR | 0:18:29 | 0:18:30 | |
Get out, Drummond. | 0:18:43 | 0:18:45 | |
Yes, Mr Drake. | 0:18:45 | 0:18:46 | |
HE SIGHS | 0:18:49 | 0:18:52 | |
They are not alike, Jackson. Not close! | 0:18:52 | 0:18:54 | |
That's because those were taken from the lower abdomen. | 0:18:54 | 0:18:56 | |
It's fleshier there. There's more to take. | 0:18:56 | 0:18:59 | |
In both these examples... | 0:19:00 | 0:19:03 | |
the mandibular lower incisor | 0:19:03 | 0:19:04 | |
is overlapped by the maxillary central incisor. | 0:19:04 | 0:19:07 | |
And now, the exact measurement on each of 'em | 0:19:07 | 0:19:09 | |
is a notch, and I mean a notch... | 0:19:09 | 0:19:12 | |
..under 250 thou. | 0:19:13 | 0:19:15 | |
An overbite. | 0:19:15 | 0:19:16 | |
A slight overbite. | 0:19:17 | 0:19:19 | |
You throw a rock into Commercial Street at lunchtime, | 0:19:19 | 0:19:21 | |
you will strike a man with the same. | 0:19:21 | 0:19:23 | |
Furthermore, the method of attack on this here is... | 0:19:23 | 0:19:26 | |
It's entirely at odds. | 0:19:26 | 0:19:27 | |
This is... | 0:19:27 | 0:19:29 | |
This is a street brawl, a knifing! | 0:19:29 | 0:19:30 | |
Drake! | 0:19:30 | 0:19:31 | |
Now, whatever this means to you, it means the exact same to me. I made this case, too. | 0:19:32 | 0:19:36 | |
Now, how many examples of pre- and postmortem biting | 0:19:36 | 0:19:39 | |
have we had in the eight years since I've served you here? | 0:19:39 | 0:19:41 | |
None. | 0:19:43 | 0:19:44 | |
Save this Ratovski... | 0:19:44 | 0:19:46 | |
and now your boy Gower. | 0:19:46 | 0:19:48 | |
They see him still... | 0:19:49 | 0:19:50 | |
..who they used to call the... | 0:19:54 | 0:19:56 | |
Whitechapel golem. | 0:19:56 | 0:19:57 | |
These were drawn recently at the orphanage in Woodseer Street. | 0:19:59 | 0:20:02 | |
Bennet... | 0:20:15 | 0:20:16 | |
No. | 0:20:16 | 0:20:17 | |
No. | 0:20:19 | 0:20:20 | |
This man's killer... | 0:20:22 | 0:20:24 | |
has been hanged for his crime. | 0:20:24 | 0:20:26 | |
And these? | 0:20:26 | 0:20:28 | |
Children's scrawlings and overbite? | 0:20:28 | 0:20:30 | |
They are not evidence fit for the overturning of that sentence. | 0:20:30 | 0:20:32 | |
Now, I warned you, Mr Reid. | 0:20:35 | 0:20:37 | |
So you give me reason why I ought not to send you away. | 0:20:39 | 0:20:42 | |
This...here, now... | 0:20:45 | 0:20:48 | |
I do not pursue it in some attempt to make the world wrong, | 0:20:48 | 0:20:53 | |
or to disprove your work, his work... | 0:20:53 | 0:20:56 | |
OUR work. | 0:20:56 | 0:20:57 | |
I do it because I see the need for it. | 0:20:57 | 0:21:00 | |
And, yes, my return to Whitechapel | 0:21:00 | 0:21:03 | |
was indeed to make some defence of Isaac, | 0:21:03 | 0:21:05 | |
but that I stayed - it is you, Bennet Drake. | 0:21:05 | 0:21:07 | |
You, my friend, | 0:21:07 | 0:21:09 | |
who I missed... | 0:21:09 | 0:21:11 | |
..and who, now, I wish nothing other than to help. | 0:21:12 | 0:21:15 | |
And how is it you now help me? | 0:21:15 | 0:21:17 | |
I want what you want. | 0:21:17 | 0:21:18 | |
I want to know who it was killed this boy. | 0:21:18 | 0:21:21 | |
I want to see the investigation I make bring you to him. | 0:21:24 | 0:21:26 | |
I want to give Thomas Gower his justice, | 0:21:26 | 0:21:28 | |
to use his awful death to make comparison. | 0:21:28 | 0:21:30 | |
Despite all that you say, there are similarities with Ratovski's murder | 0:21:32 | 0:21:35 | |
that must at least be discarded | 0:21:35 | 0:21:36 | |
before any investigation can move forward. | 0:21:36 | 0:21:38 | |
So you show me the case you made against Bloom, Bennet. | 0:21:38 | 0:21:41 | |
Show me, every step of the way. | 0:21:42 | 0:21:44 | |
And then either you will prove me wrong, | 0:21:45 | 0:21:47 | |
in which case, you may indeed send me away, or... | 0:21:47 | 0:21:50 | |
we - you and I - | 0:21:50 | 0:21:52 | |
shall then together bring this killer to earth. | 0:21:52 | 0:21:55 | |
Well, he has ME sold. | 0:22:00 | 0:22:01 | |
Fetch me my boy. | 0:22:16 | 0:22:17 | |
SHE CHUCKLES AND KISSES HIM | 0:22:22 | 0:22:25 | |
Come. | 0:22:26 | 0:22:27 | |
Why are you here? | 0:22:29 | 0:22:30 | |
My Uncle Bennet, your husband, asked it of me. | 0:22:32 | 0:22:35 | |
So you might rest, Mrs Drake. | 0:22:35 | 0:22:37 | |
No. | 0:22:37 | 0:22:39 | |
Girl... | 0:22:39 | 0:22:40 | |
why are you in Whitechapel? | 0:22:40 | 0:22:42 | |
And don't talk your riddles with me | 0:22:42 | 0:22:44 | |
and tell me you are here because your father, Mr Reid, is here. | 0:22:44 | 0:22:48 | |
You tell me why the pair of you would return to this place at all. | 0:22:48 | 0:22:52 | |
It is our home. | 0:22:52 | 0:22:53 | |
Home? | 0:22:53 | 0:22:54 | |
A place... | 0:22:57 | 0:22:59 | |
where he knew nothing but blood and despair? | 0:22:59 | 0:23:03 | |
Where you were kept prisoner by all them people? | 0:23:03 | 0:23:07 | |
Your mother gone, | 0:23:07 | 0:23:08 | |
dead and mad for the loss of you? | 0:23:08 | 0:23:11 | |
That's home, is it? | 0:23:13 | 0:23:14 | |
Home chooses us, I believe, | 0:23:16 | 0:23:19 | |
and not the reverse. | 0:23:19 | 0:23:20 | |
Huh! | 0:23:20 | 0:23:21 | |
You know who the mother is... | 0:23:21 | 0:23:23 | |
SHE LAUGHS | 0:23:24 | 0:23:26 | |
Not mother. | 0:23:28 | 0:23:29 | |
I am that. | 0:23:30 | 0:23:31 | |
I am. | 0:23:31 | 0:23:33 | |
You know who the maker of Connor here is? | 0:23:33 | 0:23:36 | |
It is Miss Susan. | 0:23:36 | 0:23:38 | |
It IS Miss Susan. | 0:23:38 | 0:23:39 | |
It is her. | 0:23:41 | 0:23:42 | |
She who might poison the well of all London, | 0:23:43 | 0:23:46 | |
and find those who still love, and forgive her. | 0:23:46 | 0:23:49 | |
Yourself, Mathilda... | 0:23:49 | 0:23:52 | |
I'm sure you would be delighted... | 0:23:52 | 0:23:54 | |
...to see her once more... | 0:23:55 | 0:23:58 | |
and pass an hour or two in chat with her. | 0:23:58 | 0:24:02 | |
It is true, I would. | 0:24:02 | 0:24:03 | |
But Miss Susan is dead. | 0:24:03 | 0:24:04 | |
Hmm. | 0:24:04 | 0:24:06 | |
Miss Susan is dead. Long... | 0:24:06 | 0:24:08 | |
Susan Hart is dead. | 0:24:08 | 0:24:12 | |
The whole world thought you were dead, and gone, Mathilda. | 0:24:12 | 0:24:16 | |
And yet, there you stand. | 0:24:16 | 0:24:17 | |
Connor... | 0:24:19 | 0:24:20 | |
Connor... | 0:24:22 | 0:24:23 | |
your mama is sorry. | 0:24:23 | 0:24:25 | |
Mathilda, he likes a pinch of cinnamon in his milk, | 0:24:27 | 0:24:29 | |
and we're now run dry of it. | 0:24:29 | 0:24:31 | |
Will you take a penny from my purse, there, and fetch him some? | 0:24:31 | 0:24:34 | |
Of course, Mrs Drake. | 0:24:34 | 0:24:35 | |
SHE HUMS | 0:24:38 | 0:24:39 | |
DOOR OPENS AND CLOSES | 0:24:45 | 0:24:47 | |
When I was a girl and I wanted my way, | 0:24:49 | 0:24:52 | |
I would wheedle and whine... | 0:24:52 | 0:24:53 | |
..offer eternal devotion for a desire met, | 0:24:56 | 0:24:59 | |
owe a thing for one denied. | 0:24:59 | 0:25:01 | |
And you are now changed how? | 0:25:04 | 0:25:06 | |
I do not whine. Small mercies. | 0:25:09 | 0:25:12 | |
And a man as accustomed to lying as you are would see clean through me | 0:25:12 | 0:25:15 | |
as soon as I made as if I hated you. | 0:25:15 | 0:25:17 | |
Oh, but you have charm, my girl. | 0:25:19 | 0:25:21 | |
And if we are to do this thing, | 0:25:25 | 0:25:27 | |
let us do it tonight. | 0:25:27 | 0:25:28 | |
It is... | 0:25:30 | 0:25:32 | |
intemperate. | 0:25:32 | 0:25:33 | |
It is bold. | 0:25:35 | 0:25:37 | |
See you, Lady Macbeth. | 0:25:37 | 0:25:40 | |
Thieve in haste, repent at leisure. | 0:25:40 | 0:25:43 | |
Gather your Japanese porcelain while ye may. | 0:25:43 | 0:25:45 | |
HE CHUCKLES | 0:25:45 | 0:25:46 | |
If it must indeed come to pass that you leave us... | 0:25:51 | 0:25:54 | |
..I would see you steam away from me on still waters. And this... | 0:25:55 | 0:25:59 | |
Plans must be made, observations took. | 0:25:59 | 0:26:02 | |
They are made. | 0:26:02 | 0:26:03 | |
They are took. | 0:26:03 | 0:26:05 | |
By myself. | 0:26:05 | 0:26:07 | |
Because, Abel... | 0:26:07 | 0:26:08 | |
..the snare closes. | 0:26:09 | 0:26:11 | |
Closes? How? I'll keep you safe here. | 0:26:11 | 0:26:13 | |
It is only that I feel it. | 0:26:13 | 0:26:15 | |
I feel it on me sharp. | 0:26:15 | 0:26:17 | |
No. | 0:26:17 | 0:26:18 | |
You are altogether too tough-minded for such suspicions. | 0:26:20 | 0:26:22 | |
You tell me, girl... | 0:26:22 | 0:26:23 | |
You tell me how that snare looks. | 0:26:24 | 0:26:27 | |
I have been seen. | 0:26:29 | 0:26:31 | |
What does she say? | 0:26:36 | 0:26:37 | |
"Thank you, Matthew, for saving my life"? | 0:26:37 | 0:26:39 | |
"Well done"? | 0:26:40 | 0:26:41 | |
Nope. | 0:26:43 | 0:26:44 | |
"Take me to see my boy." | 0:26:45 | 0:26:47 | |
Now... | 0:26:48 | 0:26:49 | |
I told you that was a bad idea. | 0:26:49 | 0:26:52 | |
And did you listen? | 0:26:52 | 0:26:54 | |
No. | 0:26:54 | 0:26:55 | |
And whose problem is it now? | 0:26:55 | 0:26:56 | |
That's right. | 0:26:56 | 0:26:58 | |
Old Jackson. | 0:26:58 | 0:27:01 | |
And I'm the one that goes off half-cocked. | 0:27:01 | 0:27:03 | |
I'm the one that doesn't think things through(!) | 0:27:03 | 0:27:06 | |
CLATTERING | 0:27:06 | 0:27:07 | |
Shit! Idiot! | 0:27:07 | 0:27:08 | |
THUNDER RUMBLES | 0:27:14 | 0:27:16 | |
This how she did it, then? | 0:27:24 | 0:27:26 | |
What did she promise you, Guard Theakston? Money? | 0:27:26 | 0:27:29 | |
For delivery to that pit? | 0:27:29 | 0:27:31 | |
A kind word? | 0:27:31 | 0:27:32 | |
Her snake tongue in your ear? | 0:27:32 | 0:27:34 | |
Who is it you speak of? I don't even know who you are. | 0:27:34 | 0:27:38 | |
Oh, do you not? | 0:27:38 | 0:27:40 | |
What about the boy, then? | 0:27:40 | 0:27:42 | |
Remember him? | 0:27:42 | 0:27:43 | |
That's Miss Susan's boy. | 0:27:44 | 0:27:45 | |
And you would let him believe she is dead, when she is not. | 0:27:46 | 0:27:50 | |
How did she climb down from that scaffold, eh? | 0:27:50 | 0:27:53 | |
How did she do that? | 0:27:53 | 0:27:54 | |
My husband - | 0:27:57 | 0:27:58 | |
this boy's new father - | 0:27:58 | 0:28:00 | |
he is the police headman at Whitechapel. | 0:28:00 | 0:28:02 | |
And he will see you swing, | 0:28:02 | 0:28:04 | |
just as surely as he will her when he catches her. | 0:28:04 | 0:28:07 | |
How did she do it? | 0:28:07 | 0:28:09 | |
Where is she hid? | 0:28:09 | 0:28:10 | |
Who hides her? | 0:28:10 | 0:28:11 | |
I see you. | 0:28:15 | 0:28:17 | |
Your fear. | 0:28:17 | 0:28:18 | |
You tell me. | 0:28:20 | 0:28:21 | |
You're mad, woman. | 0:28:21 | 0:28:23 | |
You're all the same! | 0:28:23 | 0:28:24 | |
SHE GRUNTS | 0:28:24 | 0:28:25 | |
Come on, Connor. | 0:28:28 | 0:28:29 | |
LIVELY CHATTER | 0:28:29 | 0:28:31 | |
This is where we found Ratovski. | 0:28:35 | 0:28:36 | |
Here. | 0:28:40 | 0:28:42 | |
Boy found him, raised a uniform. | 0:28:42 | 0:28:44 | |
You were able to keep the scene intact? | 0:28:44 | 0:28:47 | |
It was chaos by the time I got here. | 0:28:47 | 0:28:49 | |
Packed tight. Screaming. | 0:28:49 | 0:28:51 | |
Folk could see what had been done to him. | 0:28:51 | 0:28:53 | |
Head caved in, shirt ripped from him, and... | 0:28:53 | 0:28:56 | |
those bites taken out of his body. | 0:28:56 | 0:28:58 | |
Word would've got about, I imagine, chimed most likely with the...er... | 0:28:58 | 0:29:02 | |
the talk that had grown up of this Whitechapel golem. | 0:29:02 | 0:29:05 | |
Although there is no golem myth in which it's said to have torn men's flesh from their bodies. | 0:29:05 | 0:29:09 | |
Whatever the myth of it, Mr Reid, | 0:29:09 | 0:29:10 | |
we saw to it that any confirmation of that fact | 0:29:10 | 0:29:12 | |
be withheld from the press. | 0:29:12 | 0:29:13 | |
And why that? | 0:29:13 | 0:29:15 | |
I was worried at what those with a fear of our Jewish neighbours might accuse them of. | 0:29:15 | 0:29:19 | |
I felt it a wise policy. And one that you continued once Isaac Bloom was... | 0:29:19 | 0:29:22 | |
Once he, a Jewish man, was sentenced for it, yes. | 0:29:22 | 0:29:25 | |
And so then you removed the body...? | 0:29:25 | 0:29:28 | |
We did. | 0:29:28 | 0:29:29 | |
Identification? | 0:29:29 | 0:29:31 | |
The man's university accreditation was found about him. | 0:29:31 | 0:29:33 | |
You'd wired his place of work? | 0:29:33 | 0:29:35 | |
He'd taken a week's leave, not told a soul for why. | 0:29:35 | 0:29:38 | |
And then door to door? | 0:29:38 | 0:29:40 | |
The synagogue on Princelet Street. | 0:29:40 | 0:29:42 | |
Max Steiner. | 0:29:42 | 0:29:44 | |
Ratovski paid his respects... | 0:29:44 | 0:29:47 | |
made a few prayers, | 0:29:47 | 0:29:48 | |
and offered nothing of his purpose, and left. | 0:29:48 | 0:29:51 | |
Then we go to Bloom's lodgings next. | 0:29:51 | 0:29:53 | |
An old lock-seller, a lady, | 0:29:59 | 0:30:01 | |
said she saw Ratovski arrive at Bloom's around six of the evening. | 0:30:01 | 0:30:06 | |
Saw him leave an hour later. His body found...? | 0:30:06 | 0:30:09 | |
The next morning. | 0:30:09 | 0:30:10 | |
But killed, according to Jackson, 11 of the night. | 0:30:10 | 0:30:13 | |
And you interviewed Bloom. You found him disturbed, I imagine? | 0:30:13 | 0:30:17 | |
More bewildered, at the first. | 0:30:17 | 0:30:19 | |
He could not recall Ratovski's visit, or even that the man existed. | 0:30:19 | 0:30:22 | |
And you did not search his room then? | 0:30:22 | 0:30:25 | |
I had no call to. | 0:30:25 | 0:30:27 | |
It was not as though I did not remember the man fondly, Mr Reid. | 0:30:27 | 0:30:30 | |
I felt sad for him, not suspicious. | 0:30:32 | 0:30:34 | |
So it was not until you had Rabbi Steiner's account of him being attacked by Bloom that you returned? | 0:30:34 | 0:30:38 | |
Another violent attack on a religious man. | 0:30:38 | 0:30:40 | |
A compelling indicator that warranted further pursuit. | 0:30:40 | 0:30:43 | |
A search warrant was requested. | 0:30:43 | 0:30:45 | |
We returned to Bloom's lodgings, here, | 0:30:45 | 0:30:46 | |
conducted our search, found our plug of flesh - that shirt. | 0:30:46 | 0:30:50 | |
YELLING IN HEBREW | 0:30:51 | 0:30:53 | |
Calm yourself, sir. I beg you, calm yourself. | 0:30:53 | 0:30:55 | |
Police. We mean you no harm. | 0:30:55 | 0:30:57 | |
Our apologies. | 0:30:57 | 0:30:58 | |
We will leave you. | 0:31:00 | 0:31:01 | |
Briggs! Here, take a shift. | 0:31:16 | 0:31:17 | |
Tilda, what is it? | 0:31:21 | 0:31:22 | |
Is my Uncle Bennet here? My father? | 0:31:22 | 0:31:24 | |
Neither, Tilda. What is it that worries you? Will you say? | 0:31:24 | 0:31:26 | |
I think I must not, Drum. Might I wait, however? | 0:31:26 | 0:31:29 | |
Do I wait, then, for you to show me what it is I have neglected to see? | 0:31:33 | 0:31:36 | |
No, 'tis copper-fastened, Bennet. | 0:31:36 | 0:31:38 | |
I would have come to the same conclusions, I do not contest that. | 0:31:38 | 0:31:41 | |
Perhaps I worry it is, er... | 0:31:41 | 0:31:43 | |
too much of an irreproachable case. | 0:31:43 | 0:31:45 | |
We here cannot win, but for one fault or another. | 0:31:45 | 0:31:48 | |
But do you not agree? | 0:31:48 | 0:31:49 | |
In his bewilderment, you have found the perfect suspect. | 0:31:50 | 0:31:53 | |
In that search, the unimprovable evidence. | 0:31:53 | 0:31:56 | |
Does such ease, given what we have seen today, | 0:31:56 | 0:31:58 | |
not raise the slightest shiver of suspicion for you? | 0:31:58 | 0:32:01 | |
And is that not you all over, Mr Reid? | 0:32:01 | 0:32:04 | |
Your fevered eyes once more burning through the deceit of the world, | 0:32:04 | 0:32:08 | |
in the hope that you might at last uncover its black mechanics. | 0:32:08 | 0:32:12 | |
Another body! | 0:32:12 | 0:32:14 | |
WHISTLE BLOWS | 0:32:14 | 0:32:15 | |
PEOPLE CLAMOUR | 0:32:15 | 0:32:16 | |
WHISTLE BLOWS | 0:32:17 | 0:32:19 | |
SHOUTING CONTINUES | 0:32:19 | 0:32:20 | |
See the wounds on his side? The bite marks? | 0:32:30 | 0:32:32 | |
All the signs of the golem. | 0:32:32 | 0:32:34 | |
Did you see what has been done to him, sir? | 0:32:36 | 0:32:38 | |
To his flesh? | 0:32:38 | 0:32:39 | |
Sir? Inspector Drake? | 0:32:39 | 0:32:42 | |
Sir? Inspector Drake! | 0:32:42 | 0:32:44 | |
Will you not tell me what our eyes now see here? | 0:32:44 | 0:32:46 | |
What has been done to this man? | 0:32:46 | 0:32:48 | |
Or will you hide the facts of this case, too? | 0:32:48 | 0:32:51 | |
Come on. Come on. | 0:32:51 | 0:32:52 | |
SHOUTING CONTINUES | 0:33:03 | 0:33:06 | |
I wonder if you understand... | 0:33:19 | 0:33:21 | |
...if you could imagine, even, what it is | 0:33:23 | 0:33:25 | |
so many in our community have suffered to find... | 0:33:25 | 0:33:27 | |
If you will, please... I will not, Inspector Drake! | 0:33:27 | 0:33:30 | |
They do not walk, starving, through the frozen steppes of Europe | 0:33:30 | 0:33:35 | |
to arrive here to be so savaged... | 0:33:35 | 0:33:37 | |
just when they imagine they have some salvation near at hand. | 0:33:37 | 0:33:42 | |
You are charged with the people's protection, sir, | 0:33:43 | 0:33:45 | |
and you have failed in that mandate! | 0:33:45 | 0:33:48 | |
And you, Mr Reid... | 0:33:49 | 0:33:51 | |
how will you remedy this? | 0:33:51 | 0:33:53 | |
I will ask you of this man. | 0:33:56 | 0:33:58 | |
Can you tell me his name? | 0:33:58 | 0:33:59 | |
His name is Nadelman. | 0:34:00 | 0:34:02 | |
More than that, I can't tell you. | 0:34:03 | 0:34:05 | |
He recently came here from Lithuania. | 0:34:06 | 0:34:08 | |
As you can see... | 0:34:08 | 0:34:10 | |
emaciated from his deprivations. | 0:34:10 | 0:34:13 | |
But we cared for him. | 0:34:13 | 0:34:15 | |
We gave him a room beneath the synagogue. | 0:34:16 | 0:34:18 | |
And that is where you found him, sir? | 0:34:18 | 0:34:20 | |
It was. | 0:34:20 | 0:34:21 | |
Mr Thatcher, you will escort Rabbi Steiner back to Princelet Street. | 0:34:32 | 0:34:35 | |
Take men. And you will work the room as you have been taught. | 0:34:35 | 0:34:38 | |
Rabbi Steiner, we will see these streets now scoured | 0:34:38 | 0:34:41 | |
for the cause of this - you have my word. | 0:34:41 | 0:34:43 | |
We will not rest till it is done. | 0:34:43 | 0:34:45 | |
Bennet. Bennet? What? | 0:34:53 | 0:34:55 | |
What? Do you try to tell me the old man is wrong? | 0:34:55 | 0:34:58 | |
That this is not at my door? | 0:34:59 | 0:35:01 | |
This Nadelman. Thomas Gower. | 0:35:01 | 0:35:03 | |
Isaac Bloom, innocent and hanged. | 0:35:03 | 0:35:06 | |
You are not their killer. | 0:35:06 | 0:35:08 | |
You are not. | 0:35:08 | 0:35:09 | |
This is a battle worth the blood, remember? | 0:35:09 | 0:35:11 | |
This is not a battle - this is defeat. | 0:35:11 | 0:35:13 | |
Oh, so the abyss will swallow Bennet Drake, will it? | 0:35:13 | 0:35:15 | |
It swallowed YOU once, if you remember. | 0:35:16 | 0:35:18 | |
Our Gower was a soldier, with the strength to resist this, er... | 0:35:22 | 0:35:25 | |
..fetish with the body, | 0:35:26 | 0:35:28 | |
but this man - no, you can see how weak he is. | 0:35:28 | 0:35:31 | |
Advanced malnutrition, severe muscle wastage, | 0:35:31 | 0:35:34 | |
necrosis of the fat cells. | 0:35:34 | 0:35:35 | |
You can approximate a time of death? | 0:35:35 | 0:35:37 | |
Are you asking if it was about the same time as Gower's? | 0:35:37 | 0:35:40 | |
Yeah, I'd say it was proximate, Reid. | 0:35:40 | 0:35:42 | |
The, er... | 0:35:44 | 0:35:46 | |
this killer, here. | 0:35:46 | 0:35:47 | |
He comes face-to-face with Thomas's strength and resistance, | 0:35:47 | 0:35:52 | |
takes a knife to end that resistance, | 0:35:52 | 0:35:54 | |
then he flees from the rumpus he has no doubt made... | 0:35:54 | 0:35:57 | |
..makes his way towards the refugee lodgings in Princelet Street... | 0:35:58 | 0:36:01 | |
Finds a man too broken to fight. | 0:36:01 | 0:36:03 | |
Lets his desires grow fierce. | 0:36:03 | 0:36:06 | |
Now come see. Take a look here. | 0:36:06 | 0:36:08 | |
Here's your parallel tracks | 0:36:08 | 0:36:10 | |
where the upper incisors scraped down the skin. | 0:36:10 | 0:36:13 | |
And these are static puncture marks | 0:36:13 | 0:36:14 | |
when he then gouges down onto the lower teeth, | 0:36:14 | 0:36:16 | |
and then the flesh is torn and sheared, | 0:36:16 | 0:36:18 | |
so it's almost as if he's shaking them with his teeth. | 0:36:18 | 0:36:21 | |
So this biting, it presents itself less as cannibalism, | 0:36:21 | 0:36:24 | |
and more of a... | 0:36:24 | 0:36:25 | |
A means of attack. | 0:36:26 | 0:36:27 | |
It's like an animal. Like a dog attacks. | 0:36:27 | 0:36:29 | |
Like a dog. | 0:36:29 | 0:36:31 | |
It's alike. | 0:36:31 | 0:36:32 | |
This is the animal hair that I took from where Gower was found. | 0:36:33 | 0:36:37 | |
From the scale pattern of the cuticle and the medulla type, | 0:36:39 | 0:36:43 | |
it's from an animal that is very much like a dog. | 0:36:43 | 0:36:46 | |
It's a timber wolf. | 0:36:46 | 0:36:47 | |
Now, this town is crazy, I grant you, | 0:36:47 | 0:36:49 | |
but the last time I checked... | 0:36:49 | 0:36:51 | |
..there were no wolves in Whitechapel. | 0:36:53 | 0:36:55 | |
TELEPHONE RINGS | 0:37:01 | 0:37:03 | |
RINGING CONTINUES | 0:37:08 | 0:37:10 | |
Yes? | 0:37:10 | 0:37:11 | |
Assistant Commissioner Dove is here. | 0:37:14 | 0:37:16 | |
The error of it, sir. | 0:37:17 | 0:37:19 | |
Sheer bloody muck of a mistake. | 0:37:20 | 0:37:22 | |
Not for the minding of, Inspector. Not now. | 0:37:22 | 0:37:27 | |
Not yet. | 0:37:27 | 0:37:28 | |
I know you. | 0:37:35 | 0:37:37 | |
The man you are, the policeman you are. | 0:37:38 | 0:37:41 | |
The compassion and rigour you brought to that case, | 0:37:41 | 0:37:43 | |
as to every other part of your work here... | 0:37:43 | 0:37:45 | |
You could never be questioned. | 0:37:46 | 0:37:48 | |
It must be brought once more, Mr Drake. | 0:37:48 | 0:37:51 | |
This killer must be trapped. | 0:37:51 | 0:37:53 | |
I know you understand this, sir. | 0:37:53 | 0:37:55 | |
You shall have all the resources you require. | 0:37:57 | 0:38:00 | |
Thank you, sir. | 0:38:00 | 0:38:01 | |
And I expect updates. | 0:38:03 | 0:38:05 | |
On the hour. You shall have them, Mr Dove. | 0:38:05 | 0:38:07 | |
Mr Reid. | 0:38:07 | 0:38:09 | |
You find this savage beast, Inspector. | 0:38:11 | 0:38:13 | |
I will, sir. | 0:38:14 | 0:38:15 | |
Good evening, Mrs Drake. | 0:38:19 | 0:38:21 | |
And hello to you, young man. | 0:38:23 | 0:38:24 | |
I'm sure Mr Dove is pleased to see you, as I am, | 0:38:25 | 0:38:28 | |
but it is late for the lad to be out and about. | 0:38:28 | 0:38:30 | |
Rose, it is freezing. | 0:38:34 | 0:38:35 | |
Never mind Connor. | 0:38:37 | 0:38:38 | |
Better you mind me. | 0:38:38 | 0:38:39 | |
Not now, woman. Not here. | 0:38:40 | 0:38:42 | |
Mr Drake, I should... No, Augustus - you will hear this. | 0:38:42 | 0:38:46 | |
Rose... I have no secrets, | 0:38:46 | 0:38:48 | |
unless you know how it is a murderess escaped her sentence? | 0:38:48 | 0:38:51 | |
I know how she did it. I know. | 0:38:51 | 0:38:54 | |
I have discovered it. | 0:38:54 | 0:38:55 | |
Rose, I have told you, this is a madness. It is not, Bennet! | 0:38:55 | 0:38:59 | |
See, I went to Newgate, to the pit there, | 0:39:00 | 0:39:02 | |
and there is a guard, name of Theakston. | 0:39:02 | 0:39:04 | |
Oh, how he used to make eyes at Long Susan. | 0:39:04 | 0:39:07 | |
"Miss says this, Miss says that." | 0:39:07 | 0:39:09 | |
He'd have cleaned her arse with his tongue had she asked for it. | 0:39:09 | 0:39:12 | |
Rose, enough! But I stopped him... | 0:39:12 | 0:39:14 | |
and I asked him. | 0:39:14 | 0:39:15 | |
I said, "How'd she done it? Tell us. | 0:39:15 | 0:39:17 | |
"Tell us where she hides." | 0:39:17 | 0:39:20 | |
You should have seen him - | 0:39:20 | 0:39:21 | |
white as the beard of God. | 0:39:21 | 0:39:23 | |
And I knew it. | 0:39:23 | 0:39:24 | |
I knew it then. | 0:39:24 | 0:39:25 | |
She must have been put in that Newgate pit still alive, | 0:39:25 | 0:39:29 | |
and some accomplice to come and collect her. | 0:39:29 | 0:39:32 | |
You cannot think... You think I'm not able?! | 0:39:32 | 0:39:34 | |
Just remember all that she has done. | 0:39:35 | 0:39:39 | |
55, man, woman, child, and not a soul in this square mile | 0:39:39 | 0:39:44 | |
whose lives not changed by her. | 0:39:44 | 0:39:46 | |
By Long Susan Hart, and she is about her evil once more. | 0:39:48 | 0:39:51 | |
You will stop this now! | 0:39:51 | 0:39:52 | |
Just try and make me, Bennet Drake! | 0:39:52 | 0:39:55 | |
Say you love me, do you? | 0:39:56 | 0:39:58 | |
Well, you cannot. | 0:39:58 | 0:40:00 | |
Because you do not trust me. | 0:40:00 | 0:40:03 | |
I, who have trusted you, and had faith in you, | 0:40:03 | 0:40:08 | |
when I know the black things you have done. | 0:40:08 | 0:40:11 | |
You will be silent. | 0:40:11 | 0:40:12 | |
I will not! | 0:40:12 | 0:40:13 | |
Reid... | 0:40:16 | 0:40:17 | |
..Susan, the Captain, all of you. | 0:40:18 | 0:40:21 | |
The things you have done, and I have kept that secret | 0:40:21 | 0:40:24 | |
like a poison in my heart. | 0:40:24 | 0:40:26 | |
Rose! Enough! | 0:40:26 | 0:40:28 | |
You two stop this right now. | 0:40:29 | 0:40:31 | |
Have a care. | 0:40:32 | 0:40:33 | |
Let me take him home, then. | 0:40:47 | 0:40:49 | |
We must take him home now, love. | 0:40:59 | 0:41:00 | |
Come on. | 0:41:03 | 0:41:04 | |
Let us get on. | 0:41:05 | 0:41:06 | |
Did you hear her accusations? | 0:41:13 | 0:41:15 | |
I couldn't fail to, could I, Frank? And so what do you say? | 0:41:15 | 0:41:17 | |
I say they are best unheard. | 0:41:17 | 0:41:19 | |
FRANK SCOFFS | 0:41:22 | 0:41:24 | |
I tell you what, Miss Reid... | 0:41:27 | 0:41:29 | |
He's a lickspittle, this one. | 0:41:29 | 0:41:31 | |
And you, Frank Thatcher, have an old woman's snatch box for gossip. | 0:41:31 | 0:41:35 | |
If you do not mind, Mathilda, | 0:41:37 | 0:41:38 | |
I should like a word with Sergeant Drummond. | 0:41:38 | 0:41:40 | |
Yes, sir. | 0:41:42 | 0:41:43 | |
Here, sir? | 0:41:43 | 0:41:44 | |
No - public house, I think. | 0:41:44 | 0:41:46 | |
Thatcher, you may stand at dock till he returns. | 0:41:48 | 0:41:50 | |
You might be a little warier with my daughter, however. | 0:41:50 | 0:41:53 | |
After you, Drummond. | 0:41:55 | 0:41:56 | |
It's still too god damned wet. | 0:42:15 | 0:42:16 | |
Have to serve. | 0:42:16 | 0:42:17 | |
You should know, Mr Reid, that... | 0:42:33 | 0:42:35 | |
..your Mathilda... | 0:42:36 | 0:42:38 | |
I mean to say, | 0:42:38 | 0:42:39 | |
if it please you, that you ought not to be afraid of any impropriety, or... | 0:42:39 | 0:42:43 | |
Or ugly motive on my part. | 0:42:43 | 0:42:45 | |
I seek only to... | 0:42:45 | 0:42:47 | |
if such were permitted... | 0:42:47 | 0:42:49 | |
both by yourself...and herself, of course, I... | 0:42:49 | 0:42:51 | |
I seek only to be allowed to come to know her a little better. Drummond? | 0:42:51 | 0:42:55 | |
Yes, Mr Reid? | 0:42:55 | 0:42:56 | |
Six months back... | 0:42:59 | 0:43:00 | |
..when Captain Jackson removed the bloody imprint | 0:43:01 | 0:43:04 | |
of Isaac Bloom's fingerprints from the shirt placket | 0:43:04 | 0:43:08 | |
of the murdered rabbi, Ratovski, | 0:43:08 | 0:43:10 | |
and Inspector Drake wished them then to be used as evidence - | 0:43:10 | 0:43:12 | |
you recall all this? | 0:43:12 | 0:43:14 | |
I do. | 0:43:14 | 0:43:15 | |
And the warrant that was then secured | 0:43:15 | 0:43:17 | |
for the search of Mr Bloom's rooms? | 0:43:17 | 0:43:20 | |
Yes, sir. | 0:43:20 | 0:43:21 | |
And when it was felt that the full and awful details | 0:43:21 | 0:43:24 | |
of the crime should not be broadcast abroad, for fear of panic... | 0:43:24 | 0:43:28 | |
and so the newspapers were injuncted - all this you recall? | 0:43:28 | 0:43:31 | |
Well, who could forget, Mr Reid? | 0:43:31 | 0:43:33 | |
Then, tell me... | 0:43:33 | 0:43:35 | |
whose authority was it saw these commands made? | 0:43:35 | 0:43:38 | |
Why... Mr Dove, sir. | 0:43:38 | 0:43:41 | |
Good evening, Augustus. | 0:43:52 | 0:43:54 | |
You have heard the rumpus out there? | 0:43:54 | 0:43:55 | |
I have not, forgive me. | 0:43:56 | 0:43:58 | |
It has been a day. | 0:43:58 | 0:44:00 | |
Well, it must have been... | 0:44:01 | 0:44:03 | |
for the whole world cries of it. | 0:44:03 | 0:44:05 | |
Of what? | 0:44:05 | 0:44:06 | |
Not the once, but twice. | 0:44:07 | 0:44:09 | |
He has... | 0:44:12 | 0:44:14 | |
performed his act once more. | 0:44:14 | 0:44:17 | |
The last occasion, | 0:44:23 | 0:44:25 | |
he confessed to both of us what he'd done to that rabbi. | 0:44:25 | 0:44:29 | |
Oh, I remember, Abel. What a runaround that was. | 0:44:29 | 0:44:32 | |
You were meant to care for him. And I do. I do! | 0:44:35 | 0:44:38 | |
This cannot happen again. He must be watched. | 0:44:38 | 0:44:41 | |
ABLE SIGHS I know, I know. | 0:44:43 | 0:44:45 | |
And further to that, Abel... | 0:44:46 | 0:44:48 | |
the woman you shelter... | 0:44:48 | 0:44:50 | |
..I now know who she is. | 0:44:51 | 0:44:53 | |
Why would you not tell me? | 0:44:54 | 0:44:56 | |
She is almost a celebrity in these parts, | 0:44:56 | 0:44:59 | |
and you have kept her these two months. | 0:44:59 | 0:45:01 | |
I have grown fond of her. | 0:45:01 | 0:45:03 | |
Wish her well. | 0:45:04 | 0:45:06 | |
Your murderous, conniving mind, by your kind heart... | 0:45:06 | 0:45:09 | |
..it will be the finishing of you. | 0:45:10 | 0:45:12 | |
Mmm. | 0:45:12 | 0:45:13 | |
I do not think it is the end of myself | 0:45:13 | 0:45:15 | |
which currently exercises you, Assistant Commissioner. | 0:45:15 | 0:45:19 | |
You and that bauble so recently pinned to your breast. | 0:45:19 | 0:45:22 | |
Besides, they owe me money. | 0:45:22 | 0:45:25 | |
She and her American husband? Oh, yeah. | 0:45:25 | 0:45:27 | |
How did he do it? | 0:45:29 | 0:45:30 | |
How did he fake her death, Abel? | 0:45:31 | 0:45:33 | |
Free her? | 0:45:33 | 0:45:34 | |
Oh, damned if I know. | 0:45:34 | 0:45:36 | |
But he is a sharp one. | 0:45:36 | 0:45:37 | |
Plus, there are... | 0:45:39 | 0:45:41 | |
plans afoot, | 0:45:41 | 0:45:43 | |
which will see the pair of them gone. | 0:45:43 | 0:45:46 | |
Plans? | 0:45:46 | 0:45:47 | |
Mmm. | 0:45:47 | 0:45:48 | |
There is currently some merit in H Division's finest surgeon | 0:45:48 | 0:45:51 | |
being gone from it. | 0:45:51 | 0:45:52 | |
You set about your plan, Abel. | 0:45:52 | 0:45:54 | |
I shall set about seeing how else the trail that leads to us | 0:45:54 | 0:45:57 | |
may be broke and scattered. | 0:45:57 | 0:45:59 | |
How that, Augustus? How broke? How scattered? | 0:45:59 | 0:46:01 | |
Never mind that for now. | 0:46:01 | 0:46:03 | |
You get home, and you keep that beast close to you, you understand? | 0:46:03 | 0:46:07 | |
FOOTSTEPS | 0:46:08 | 0:46:11 | |
DOOR CREAKS OPEN | 0:46:14 | 0:46:16 | |
DOOR CLOSES | 0:46:18 | 0:46:20 | |
DOOR OPENS | 0:46:25 | 0:46:27 | |
Matthew. I was afraid. | 0:46:29 | 0:46:30 | |
Me and you both, darling. | 0:46:32 | 0:46:34 | |
I tell you... This town... | 0:46:34 | 0:46:36 | |
The things that I've seen within it today, | 0:46:36 | 0:46:38 | |
me and you've got to get this thing finished, | 0:46:38 | 0:46:40 | |
and ourselves done with this place for all time. | 0:46:40 | 0:46:42 | |
Where's the sea dog? | 0:46:44 | 0:46:45 | |
He's called away. | 0:46:45 | 0:46:46 | |
And the retarded first mate? | 0:46:47 | 0:46:49 | |
Sleeping beyond. | 0:46:49 | 0:46:50 | |
KNOCKS ON THE TABLE | 0:46:56 | 0:46:58 | |
I know there's wisdom in sleeping early for night work, | 0:46:58 | 0:47:01 | |
but it's time to rise and get about it now, son. | 0:47:01 | 0:47:03 | |
DOOR OPENS | 0:47:12 | 0:47:14 | |
Well, my children... | 0:47:14 | 0:47:15 | |
DOOR CLOSES | 0:47:15 | 0:47:16 | |
..the night is a dark one. | 0:47:16 | 0:47:19 | |
Clouds roll over. | 0:47:19 | 0:47:20 | |
Such auguries must not be ignored. | 0:47:23 | 0:47:25 | |
Let us eat before we thieve. | 0:47:27 | 0:47:29 | |
Move across. | 0:47:44 | 0:47:45 | |
I sit there. | 0:47:48 | 0:47:49 | |
Go, Nate, move along. | 0:47:53 | 0:47:55 | |
Who are we to separate husband and wife? | 0:47:55 | 0:47:58 | |
Er, while you're up... | 0:48:00 | 0:48:02 | |
..get them kerosene lamps, and wipe them down. | 0:48:03 | 0:48:05 | |
There is food aplenty, Captain. | 0:48:15 | 0:48:17 | |
No call for you to be filching others'. | 0:48:18 | 0:48:20 | |
Sleep. | 0:48:26 | 0:48:27 | |
Forget about this world awhile. | 0:48:30 | 0:48:32 | |
Were there nought to be done, I would stay, Rose. | 0:48:44 | 0:48:47 | |
But, er... | 0:48:48 | 0:48:49 | |
..tonight, there is an evil out there, which I... | 0:48:51 | 0:48:54 | |
I cannot hide at home, my love. | 0:48:57 | 0:48:58 | |
And, for all that it may not be worth a heap of shit no more... | 0:49:01 | 0:49:03 | |
..I must go to work. | 0:49:05 | 0:49:07 | |
Bennet... | 0:49:13 | 0:49:14 | |
Yes, my love? | 0:49:16 | 0:49:18 | |
Do what you like. | 0:49:22 | 0:49:23 | |
DOOR CLOSES | 0:49:38 | 0:49:39 | |
CHATTER | 0:49:41 | 0:49:43 | |
STEAM TRAIN CHUGS | 0:49:50 | 0:49:54 | |
As we have agreed, your building of the case, | 0:50:01 | 0:50:04 | |
the evidence which convicted Mr Bloom... | 0:50:04 | 0:50:06 | |
..it was... | 0:50:07 | 0:50:08 | |
flawless. | 0:50:08 | 0:50:09 | |
But we know that Isaac Bloom cannot have killed Ratovski, because... | 0:50:09 | 0:50:14 | |
The killer still walks amongst us. Yes. | 0:50:14 | 0:50:16 | |
And we must needs look elsewhere for the flaw, Bennet. | 0:50:18 | 0:50:22 | |
And so I only ask you... | 0:50:22 | 0:50:24 | |
to think on who else might have had... | 0:50:24 | 0:50:26 | |
both the knowledge... | 0:50:26 | 0:50:28 | |
and the opportunity. | 0:50:28 | 0:50:29 | |
What? | 0:50:35 | 0:50:36 | |
My division has known care and advancement beneath his eye. | 0:50:41 | 0:50:46 | |
He has been the voice and encouragement | 0:50:46 | 0:50:48 | |
we who must police this quarter have always called for. | 0:50:48 | 0:50:52 | |
He has understood my life here, Mr Reid. | 0:50:52 | 0:50:54 | |
He has... | 0:50:54 | 0:50:55 | |
been my friend. | 0:50:55 | 0:50:56 | |
And it is he who gets you your warrant. | 0:50:56 | 0:50:59 | |
He who, therefore, knows the address at which to leave the evidence. | 0:50:59 | 0:51:04 | |
Evidence that he knew Captain Jackson | 0:51:04 | 0:51:05 | |
would clasp tight to his heart. | 0:51:05 | 0:51:07 | |
And it is he who then says, "Yes, use your fingerprints," | 0:51:07 | 0:51:12 | |
and, "Yes, I will bar all newspaper reportings of the details." | 0:51:12 | 0:51:16 | |
Only...he, Bennet. | 0:51:18 | 0:51:21 | |
Only Augustus Dove. | 0:51:23 | 0:51:25 | |
You ask me to admit his corruption. | 0:51:28 | 0:51:29 | |
I must therefore admit my own. | 0:51:30 | 0:51:32 | |
I see that. | 0:51:32 | 0:51:33 | |
I see that, Bennet, I do. But... | 0:51:33 | 0:51:35 | |
..what purchase that support and advancement has given him here... | 0:51:36 | 0:51:40 | |
My purchase, you mean? | 0:51:40 | 0:51:41 | |
No. My seduction?! | 0:51:41 | 0:51:42 | |
No, I do not mean to say... No, Mr Reid! | 0:51:42 | 0:51:44 | |
No, I may now need you here for this fight which comes down. | 0:51:46 | 0:51:49 | |
But you leave off Augustus Dove, you hear? | 0:51:49 | 0:51:52 | |
DOVE: Rose. | 0:51:58 | 0:51:59 | |
Rose, it is only me. | 0:52:02 | 0:52:03 | |
Rose, forgive me. | 0:52:08 | 0:52:10 | |
Will you let me in? | 0:52:10 | 0:52:12 | |
DOOR CLOSES | 0:52:13 | 0:52:14 | |
Did you not come to curse me for my madness? | 0:52:15 | 0:52:18 | |
Why would I? | 0:52:20 | 0:52:22 | |
I know you're sane. | 0:52:22 | 0:52:23 | |
Do you believe me? | 0:52:29 | 0:52:31 | |
I do, Rose. | 0:52:32 | 0:52:33 | |
SHE GASPS | 0:52:34 | 0:52:36 | |
Oh, that is a wonderful thing. | 0:52:36 | 0:52:38 | |
Thank you. | 0:52:39 | 0:52:40 | |
Augustus, thank you! | 0:52:40 | 0:52:41 | |
Will you keep watch? | 0:52:45 | 0:52:46 | |
Over us? | 0:52:46 | 0:52:48 | |
If Mr Drake is not here to do so, then I shall. | 0:52:48 | 0:52:52 | |
The thought of you doing so currently makes me happier. | 0:52:54 | 0:52:57 | |
However... | 0:52:59 | 0:53:00 | |
There was another fear that you spoke of earlier. | 0:53:08 | 0:53:11 | |
On the subject of Miss Hart. | 0:53:11 | 0:53:13 | |
But also... | 0:53:15 | 0:53:16 | |
Mr Reid. | 0:53:16 | 0:53:17 | |
An act in which you believe them to have collaborated. | 0:53:19 | 0:53:23 | |
A bad thing. | 0:53:25 | 0:53:26 | |
A bad... | 0:53:28 | 0:53:30 | |
thing. | 0:53:30 | 0:53:31 | |
Not only those two. | 0:53:31 | 0:53:32 | |
The captain, also. | 0:53:33 | 0:53:36 | |
And Bennet. | 0:53:38 | 0:53:40 | |
What was it, Rose? | 0:53:42 | 0:53:43 | |
I made a promise. | 0:53:47 | 0:53:48 | |
I swore it. | 0:53:48 | 0:53:50 | |
Never, ever to tell. | 0:53:50 | 0:53:52 | |
Then you must not, Rose. | 0:53:54 | 0:53:55 | |
Never break a promise. | 0:53:57 | 0:53:59 | |
CAMERA CLICKS | 0:54:14 | 0:54:15 | |
CAMERA CLICKS | 0:54:21 | 0:54:22 | |
CAMERA CLICKS | 0:54:26 | 0:54:27 | |
You sent for me? | 0:54:43 | 0:54:45 | |
Quid pro quo. | 0:54:49 | 0:54:51 | |
STEAM TRAIN RUMBLES | 0:54:51 | 0:54:54 | |
ABEL: Here we go. | 0:55:10 | 0:55:11 | |
Safe. | 0:55:12 | 0:55:14 | |
In you go. | 0:55:14 | 0:55:16 | |
After you, madam. | 0:55:19 | 0:55:21 | |
Captain. | 0:55:22 | 0:55:23 | |
Here. | 0:55:39 | 0:55:40 | |
Hush now, children. | 0:55:46 | 0:55:47 | |
Captain. | 0:55:49 | 0:55:50 | |
METALLIC RATTLING | 0:56:14 | 0:56:16 | |
Only the lock, correct? | 0:56:49 | 0:56:51 | |
Correct? Yes! | 0:56:51 | 0:56:53 | |
Correct. | 0:56:53 | 0:56:54 | |
FUSE FIZZLES | 0:56:57 | 0:56:59 | |
Matthew, wait... | 0:57:11 | 0:57:12 | |
EXPLOSION | 0:57:12 | 0:57:13 | |
HE COUGHS | 0:57:17 | 0:57:20 | |
Too much spice in your stew, Captain. | 0:57:25 | 0:57:28 | |
WHISTLE BLOWS | 0:57:30 | 0:57:31 | |
Nate! | 0:57:31 | 0:57:33 | |
No! No, Abel... | 0:57:33 | 0:57:34 | |
I will not have more blood on my tally. | 0:57:34 | 0:57:36 | |
Not yours, my girl - mine. Mine can manage the extra. | 0:57:36 | 0:57:39 | |
You step aside, get your crockery. | 0:57:39 | 0:57:42 | |
WHISTLE BLOWS | 0:57:42 | 0:57:44 | |
SHOUTING OUTSIDE | 0:57:44 | 0:57:46 | |
SLICING | 0:57:49 | 0:57:50 | |
SCREAMING | 0:57:50 | 0:57:53 | |
DULL THUD | 0:57:53 | 0:57:54 | |
For this? Mmm. | 0:58:09 | 0:58:11 | |
Anything else you wish to pilfer, or do we sail? | 0:58:14 | 0:58:17 | |
I will not stand idle whilst Whitechapel falls beneath terror. | 0:58:37 | 0:58:41 | |
You are up to your guts in this. | 0:58:42 | 0:58:44 | |
This is the animal unleashed. | 0:58:44 | 0:58:46 | |
There ain't nothing so cruel in this world as the killing of love. | 0:58:46 | 0:58:50 | |
Perhaps I am only good for the fight. | 0:58:50 | 0:58:51 | |
Now we go hunting. | 0:58:52 | 0:58:54 | |
Bennet! | 0:58:54 | 0:58:55 | |
SHE SIGHS DEEPLY | 0:59:32 | 0:59:33 | |
The shooting was fully justified. | 0:59:37 | 0:59:39 | |
So he's the Belfast strangler? | 0:59:43 | 0:59:45 | |
DOCTOR SHOUTS INSTRUCTIONS | 0:59:46 | 0:59:47 |