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And now you're happy to let me hang alongside you, | 0:00:04 | 0:00:06 | |
when I bust my ass in here to free you? | 0:00:06 | 0:00:09 | |
Francis Thatcher is gone to exhume the body of Robin Sumner. | 0:00:09 | 0:00:12 | |
GUNSHOT | 0:00:13 | 0:00:15 | |
LONG SUSAN: All who kill must be punished. | 0:00:16 | 0:00:19 | |
I wish to surrender myself to the police. | 0:00:19 | 0:00:21 | |
And I too wish to surrender myself to the police. | 0:00:21 | 0:00:24 | |
For what crime? | 0:00:24 | 0:00:25 | |
Murder. | 0:00:25 | 0:00:27 | |
I do not know you, sir. | 0:00:27 | 0:00:29 | |
Who is this boy? | 0:00:31 | 0:00:33 | |
-Gustus. -GUN COCKS | 0:00:33 | 0:00:34 | |
You know. | 0:00:34 | 0:00:36 | |
Take control of your station house, Inspector! | 0:00:37 | 0:00:41 | |
Your voice makes me want to shit! | 0:00:41 | 0:00:43 | |
RAISED VOICES | 0:00:51 | 0:00:53 | |
ABBERLINE: That's right, Constable. | 0:00:56 | 0:00:58 | |
All Whitechapel stands agog. | 0:00:58 | 0:01:01 | |
Most like, Scotland Yard sends a battalion to free their chief. | 0:01:01 | 0:01:05 | |
Be calm, lad. You be calm. | 0:01:05 | 0:01:08 | |
RAISED VOICES OUTSIDE | 0:01:08 | 0:01:09 | |
But I seen it. | 0:01:12 | 0:01:13 | |
I seen Gustus kill him. | 0:01:16 | 0:01:19 | |
He witnessed Sergeant Thatcher shot, Mr Drummond. I believe him. | 0:01:19 | 0:01:22 | |
And who is he, that we should give his word credence? | 0:01:23 | 0:01:26 | |
Who are you, an' all, Miss Hart? | 0:01:27 | 0:01:29 | |
GATE CREAKS | 0:01:29 | 0:01:31 | |
In! | 0:01:32 | 0:01:33 | |
GUN COCKS | 0:01:33 | 0:01:35 | |
You're going to leave her be, Drummond. | 0:01:35 | 0:01:37 | |
Then you shoot me now, Captain, | 0:01:39 | 0:01:40 | |
because this is either done by the law or it is not. | 0:01:40 | 0:01:43 | |
You let him do his job, Captain, and he shall let you do yours. | 0:01:44 | 0:01:48 | |
It is only you can make this case. | 0:01:48 | 0:01:50 | |
GUN CLICKS | 0:01:53 | 0:01:54 | |
SNIFFS | 0:01:59 | 0:02:00 | |
CROWD SHOUTS OUTSIDE | 0:02:00 | 0:02:02 | |
That was my Uncle Bennet's chair, | 0:02:07 | 0:02:10 | |
and before it was his it was my father's. | 0:02:10 | 0:02:13 | |
CHAINS CLINK | 0:02:15 | 0:02:18 | |
Inspector Drummond. | 0:02:22 | 0:02:23 | |
Are you returned to your authority? | 0:02:23 | 0:02:25 | |
Have you prevailed? | 0:02:25 | 0:02:27 | |
CROWD SHOUTS OUTSIDE | 0:02:28 | 0:02:30 | |
Leave us. | 0:02:31 | 0:02:32 | |
Now, you wish to make your case. | 0:02:34 | 0:02:36 | |
You go on, then, Tilda. | 0:02:36 | 0:02:38 | |
The man in the cells beneath... | 0:02:40 | 0:02:42 | |
he who says he is your brother, I am going to interview him. | 0:02:42 | 0:02:46 | |
Drummond? | 0:02:48 | 0:02:49 | |
I am going to make written record of it. | 0:02:49 | 0:02:52 | |
You will release me, Inspector. | 0:02:53 | 0:02:55 | |
Now! | 0:02:58 | 0:03:00 | |
A murdered child on a mortuary slab. | 0:03:23 | 0:03:26 | |
The entropy of the universe, extended to a maximum, Mr Dove. | 0:03:26 | 0:03:30 | |
Every stroke of this blade to the boy's body, | 0:03:39 | 0:03:41 | |
I'm imagining it done to you, sir. | 0:03:41 | 0:03:43 | |
I'm hearing your screams. | 0:03:45 | 0:03:47 | |
NATHANIEL: I do not know how...how long we sailed, | 0:03:55 | 0:03:57 | |
but I do remember the stench, miss. | 0:03:57 | 0:04:00 | |
I remember the fear. | 0:04:02 | 0:04:04 | |
Go on, sir. | 0:04:04 | 0:04:06 | |
I do not know how my brother found Rabbi Leon. | 0:04:08 | 0:04:13 | |
But he brung him from Paris | 0:04:13 | 0:04:14 | |
in the hope he might know how best to quiet my tempers. | 0:04:14 | 0:04:19 | |
But that counsel, he did not soothe me. | 0:04:19 | 0:04:22 | |
It only roused my hunger. | 0:04:22 | 0:04:25 | |
I had to feed it, | 0:04:25 | 0:04:27 | |
cos, you see, miss, he had shown me myself. | 0:04:27 | 0:04:30 | |
My childhood self. | 0:04:30 | 0:04:33 | |
I saw the forest... | 0:04:33 | 0:04:34 | |
..and the ease and grace with... | 0:04:36 | 0:04:38 | |
with which the wolves might move through it... | 0:04:38 | 0:04:40 | |
..whilst we simply trudged... | 0:04:43 | 0:04:45 | |
..so heavy and...slow... | 0:04:47 | 0:04:50 | |
..and as the rabbi spoke of the morning they found her, | 0:04:51 | 0:04:55 | |
I did not think on the sight of my mother, | 0:04:55 | 0:04:58 | |
no... | 0:04:58 | 0:04:59 | |
..of my mother's body and blood. | 0:05:00 | 0:05:03 | |
I thought only on their... | 0:05:06 | 0:05:08 | |
..power... | 0:05:09 | 0:05:11 | |
..the pure purpose of their need... | 0:05:13 | 0:05:15 | |
..and how that need might be met. | 0:05:18 | 0:05:20 | |
There's no frothing or waterlogging to the lungs. | 0:05:22 | 0:05:25 | |
There are, however, tiny haemorrhages to the lining thereof, | 0:05:25 | 0:05:30 | |
the burst capillaries beneath the eyelids. | 0:05:30 | 0:05:32 | |
The cause of death was suffocation. | 0:05:32 | 0:05:34 | |
There are contusions about the neck and face. | 0:05:37 | 0:05:40 | |
Similarly to his fists. | 0:05:40 | 0:05:42 | |
We may therefore presume his death a violent one. | 0:05:42 | 0:05:46 | |
Within the lining of the respiratory tract, | 0:05:50 | 0:05:52 | |
there are trace elements inhaled at the point of death and adhered within. | 0:05:52 | 0:05:55 | |
So, we have a wool fibre. | 0:05:55 | 0:05:59 | |
The wool is an alpaca blend, charcoal-grey in colour, | 0:05:59 | 0:06:03 | |
most likely from the person who throttled him. | 0:06:03 | 0:06:05 | |
The suspect is frequently seen sporting such an overcoat, Inspector. | 0:06:05 | 0:06:08 | |
-Correct? -Grey alpaca. | 0:06:08 | 0:06:11 | |
Am I the only man in London with a woollen coat? No, I am not. | 0:06:11 | 0:06:15 | |
You have no witness, no physical evidence. | 0:06:15 | 0:06:18 | |
You have no fingerprints, Mr Reid. | 0:06:18 | 0:06:20 | |
You must surely see it, Drummond. | 0:06:23 | 0:06:26 | |
These men, these criminal murdering men, | 0:06:26 | 0:06:28 | |
wish to tar me with the black pitch of their own hearts. | 0:06:28 | 0:06:31 | |
Mr Reid. | 0:06:33 | 0:06:34 | |
Captain, please. | 0:06:34 | 0:06:37 | |
The boy must be found on the man or the man on the boy. | 0:06:39 | 0:06:43 | |
Augustus and Abel, they... they found a man... | 0:06:48 | 0:06:52 | |
..a madman, known to the police as such, | 0:06:53 | 0:06:55 | |
for his attack on... on another rabbi, see. | 0:06:55 | 0:06:58 | |
And, sir, that was Mr Isaac Bloom? | 0:06:58 | 0:07:01 | |
Yes, | 0:07:01 | 0:07:04 | |
and I heard them say how they would take my acts... | 0:07:04 | 0:07:07 | |
...and they would hand them to him. | 0:07:10 | 0:07:12 | |
-DRUMMOND: -Captain, whatever it is you hunt for, please find it. | 0:07:12 | 0:07:14 | |
He will find nothing, because there is nothing to find, | 0:07:14 | 0:07:17 | |
save the wreckage of your life along with theirs. | 0:07:17 | 0:07:20 | |
My, sir. You are flush. | 0:07:29 | 0:07:31 | |
Mimi. | 0:07:35 | 0:07:36 | |
-Are you feeling all right? -Other than flu, I'm fine. | 0:07:39 | 0:07:43 | |
Are you feeling quite well, sir? | 0:07:49 | 0:07:51 | |
GRUNTS | 0:07:51 | 0:07:52 | |
There's infection within. | 0:08:00 | 0:08:02 | |
A swollen tongue. | 0:08:02 | 0:08:04 | |
The throat red with infection, an infection he might have set loose | 0:08:05 | 0:08:10 | |
on any soul with whom he came into contact, | 0:08:10 | 0:08:12 | |
particularly one which was trying to kill him... | 0:08:12 | 0:08:15 | |
..because he would have fought. | 0:08:18 | 0:08:19 | |
He would have spat and screamed, | 0:08:22 | 0:08:24 | |
he would have clutched and clawed for the breathing of air, | 0:08:24 | 0:08:27 | |
and he would have sprayed that infection all over the man | 0:08:27 | 0:08:30 | |
whose arms were now choking the ten little years of life from him. | 0:08:30 | 0:08:34 | |
Does a fever rise in you, sir? | 0:08:38 | 0:08:40 | |
Is there a chill through your bones like a nameless haunting? | 0:08:40 | 0:08:43 | |
Well, I have the name for it. | 0:08:45 | 0:08:47 | |
Oh, you brave, clever little boy, Robin Sumner, | 0:08:49 | 0:08:51 | |
the gift you bring with you. | 0:08:51 | 0:08:53 | |
And, sir, will you confirm your spoken confession | 0:09:02 | 0:09:05 | |
that you murdered Inspector Bennet Drake? | 0:09:05 | 0:09:07 | |
Yes, miss. | 0:09:08 | 0:09:09 | |
And Assistant Commissioner Dove had full knowledge of this? | 0:09:11 | 0:09:15 | |
Augustus knew it. | 0:09:16 | 0:09:18 | |
Augustus knew it all. | 0:09:21 | 0:09:22 | |
And, um...how was it Augustus killed Abel? | 0:09:24 | 0:09:28 | |
HE SIGHS | 0:09:28 | 0:09:30 | |
Abel Croker wished to take my life... | 0:09:30 | 0:09:33 | |
..but Augustus Dove, he... | 0:09:35 | 0:09:36 | |
..he took his instead. | 0:09:39 | 0:09:40 | |
Gustus saved me. | 0:09:44 | 0:09:45 | |
Gustus... | 0:09:47 | 0:09:48 | |
..always saved me. | 0:09:50 | 0:09:52 | |
Reid, did you catch scarlet fever as a boy? | 0:09:58 | 0:10:01 | |
-I did. -So did I. Caitlin too. | 0:10:01 | 0:10:04 | |
Now, what that means is that, once caught, we cannot catch it again. | 0:10:04 | 0:10:08 | |
Now, Miss Morton, I believe, has not suffered it before, | 0:10:08 | 0:10:10 | |
because she suffers it now. | 0:10:10 | 0:10:12 | |
And where else might she have contracted it, | 0:10:12 | 0:10:15 | |
but from a sickly child who's taking refuge with her? | 0:10:15 | 0:10:18 | |
It's like a string of purple pearls. | 0:10:23 | 0:10:26 | |
Streptococcus pyogenes. | 0:10:26 | 0:10:29 | |
It's scarlet fever. | 0:10:37 | 0:10:38 | |
HE INHALES | 0:11:45 | 0:11:47 | |
DOOR OPENS | 0:11:48 | 0:11:49 | |
Sir? Commissioner Bradford. | 0:11:49 | 0:11:51 | |
Well, Fred. What do you say? | 0:12:11 | 0:12:12 | |
It is a cat-meat soup, Teddy. | 0:12:14 | 0:12:17 | |
You should know your own presence here, | 0:12:17 | 0:12:20 | |
a retired civilian gone rogue, it's unconscionable. | 0:12:20 | 0:12:24 | |
But, under current circumstances, | 0:12:24 | 0:12:27 | |
there is one more intervention you might perform for us. | 0:12:27 | 0:12:31 | |
Reid. | 0:12:32 | 0:12:34 | |
There will be an inquiry, internal, | 0:12:36 | 0:12:38 | |
but we here have decided what Edmund Reid's fate shall be. | 0:12:38 | 0:12:41 | |
And the others? Your man Dove? | 0:12:43 | 0:12:46 | |
Imagine the world's joy at our disgrace, Fred. No. | 0:12:46 | 0:12:51 | |
Sudden illness. | 0:12:51 | 0:12:53 | |
Lengthy convalescence. | 0:12:53 | 0:12:55 | |
Disappearance from public life. | 0:12:55 | 0:12:57 | |
Get him out. | 0:12:57 | 0:12:59 | |
BRADFORD: Dartmoor Prison will receive a new inmate, however. | 0:12:59 | 0:13:03 | |
The victim of a clerical blunder. | 0:13:04 | 0:13:07 | |
His paperwork lost. | 0:13:07 | 0:13:09 | |
The man likewise. | 0:13:09 | 0:13:10 | |
Gustus? | 0:13:15 | 0:13:17 | |
Think how far we came, brother. | 0:13:28 | 0:13:31 | |
How very far. | 0:13:31 | 0:13:33 | |
Gustus, where...where do you go? | 0:13:34 | 0:13:36 | |
Hush. We must be brave. | 0:13:36 | 0:13:39 | |
I knew chaos and horror a good long time | 0:13:56 | 0:13:59 | |
before I came to Whitechapel, Mr Reid. | 0:13:59 | 0:14:01 | |
I'm to bring you out as well, sir. | 0:14:15 | 0:14:17 | |
Mr Abberline's waiting for you outside. | 0:14:24 | 0:14:26 | |
Augustus Dove is to be buried deep and forgot. | 0:14:30 | 0:14:33 | |
Our shame alongside. | 0:14:33 | 0:14:36 | |
Is this the reason for our stroll? | 0:14:36 | 0:14:38 | |
How else is the pit to be limed, Fred? | 0:14:38 | 0:14:40 | |
The brother, that beast, he is to be choked and in short order. | 0:14:40 | 0:14:44 | |
The woman Hart similarly. | 0:14:44 | 0:14:46 | |
What else, Edmund? Clemency? | 0:14:51 | 0:14:54 | |
-And the Captain? -Send him home. | 0:14:56 | 0:15:00 | |
Where he belongs. Besides... | 0:15:00 | 0:15:01 | |
it is not the fate of that evil pair brings me to you now, but your own. | 0:15:01 | 0:15:07 | |
And that too is decided, I imagine? | 0:15:07 | 0:15:10 | |
A little further yet. | 0:15:11 | 0:15:12 | |
That is right, my friend. | 0:15:21 | 0:15:22 | |
Think of what you and I once found in a tenement room | 0:15:24 | 0:15:26 | |
off that courtyard beyond. | 0:15:26 | 0:15:28 | |
The cut and strewn remains of the Ripper's last victim. | 0:15:29 | 0:15:33 | |
Ten years ago, Edmund. | 0:15:34 | 0:15:36 | |
Ten years. | 0:15:36 | 0:15:38 | |
That barbarism then, that which these Dove brothers have only now enacted. | 0:15:38 | 0:15:43 | |
They were forged from the same furnace, | 0:15:45 | 0:15:47 | |
a furnace which requires permanent vigilance, Edmund. | 0:15:47 | 0:15:52 | |
A watchman...set for the night, | 0:15:52 | 0:15:56 | |
when that fire finds another crack in the world | 0:15:56 | 0:16:00 | |
and sets its creatures free once more. | 0:16:00 | 0:16:02 | |
Bennet Drake was a fine man. | 0:16:10 | 0:16:12 | |
But he... | 0:16:12 | 0:16:13 | |
That paleface Drummond, | 0:16:15 | 0:16:17 | |
they do not see. | 0:16:17 | 0:16:20 | |
Not in the way you see. | 0:16:21 | 0:16:23 | |
You are needed here, Mr Reid. | 0:16:23 | 0:16:25 | |
My crimes? | 0:16:27 | 0:16:28 | |
Wish to face them, do you? | 0:16:30 | 0:16:32 | |
They are true. I would own them. | 0:16:32 | 0:16:35 | |
I am to tell you that such an owning will not find favour... | 0:16:35 | 0:16:39 | |
..and to extend Commissioner Bradford's wish and invitation | 0:16:40 | 0:16:46 | |
for Edmund Reid to resume his command at Leman Street. | 0:16:46 | 0:16:51 | |
That is some bold denial to mount. | 0:16:56 | 0:16:59 | |
It is a public redemption of a good man wronged. | 0:17:00 | 0:17:04 | |
And if I refuse? | 0:17:04 | 0:17:05 | |
Well, then, your American will not find himself so easily forgot. | 0:17:07 | 0:17:11 | |
In point of fact, his many misdemeanours will be | 0:17:11 | 0:17:15 | |
pursued with full rigour... | 0:17:15 | 0:17:18 | |
..and he will dangle, Edmund. | 0:17:20 | 0:17:23 | |
LOCK CLICKS | 0:17:26 | 0:17:28 | |
-Have the man brought out in irons. -Miss Susan? | 0:17:29 | 0:17:32 | |
Where do they take me? | 0:17:36 | 0:17:38 | |
Wait. Wait. Please. Please, please. Please, wait. | 0:17:38 | 0:17:40 | |
No! Don't! Stop! Don't! Stop! Leave him! | 0:17:40 | 0:17:44 | |
No, please! Where do you take him? | 0:17:44 | 0:17:46 | |
JACKSON: I'm with you, darling. I'm coming too. | 0:17:58 | 0:18:01 | |
Come with me, Miss Hart. | 0:18:03 | 0:18:05 | |
Wait, Drummond. What...what about me? | 0:18:07 | 0:18:09 | |
What about me, God damn it? What...what about me? Take me. | 0:18:09 | 0:18:13 | |
Your prisoner, Mr Reid. | 0:18:13 | 0:18:15 | |
Reid? What the hell? | 0:18:17 | 0:18:19 | |
Where's he taking her? | 0:18:19 | 0:18:21 | |
Reid? | 0:18:29 | 0:18:31 | |
Reid? | 0:18:33 | 0:18:35 | |
Reid. God damn it. What? | 0:18:41 | 0:18:44 | |
Your personal effects, Captain Jackson. | 0:18:44 | 0:18:47 | |
You're releasing me? | 0:18:51 | 0:18:53 | |
MAN: Murderer! WOMAN: Hang till you die! | 0:18:56 | 0:18:59 | |
SHOUTING OUTSIDE | 0:18:59 | 0:19:01 | |
Caitlin! Caitlin. | 0:19:01 | 0:19:04 | |
You sons of bitches! | 0:19:06 | 0:19:08 | |
-Let him go. -Let me go! | 0:19:08 | 0:19:09 | |
-Let me go! -Let him go. | 0:19:09 | 0:19:11 | |
God damn it! | 0:19:11 | 0:19:13 | |
For him? | 0:19:13 | 0:19:15 | |
You did this for him? | 0:19:17 | 0:19:20 | |
I did it before. I'll do it again. I'll save you. | 0:19:20 | 0:19:23 | |
No. No, you will not. | 0:19:23 | 0:19:26 | |
You are a father now. | 0:19:27 | 0:19:29 | |
What kind of example would that be for our son? | 0:19:29 | 0:19:31 | |
No. | 0:19:31 | 0:19:32 | |
What kind would I be, if I let you die? | 0:19:32 | 0:19:35 | |
But you must, you see. | 0:19:35 | 0:19:37 | |
Because he must have one of us to care for him... | 0:19:38 | 0:19:41 | |
..and it seems that one will be you. | 0:19:43 | 0:19:45 | |
It was you and me. | 0:19:46 | 0:19:48 | |
You and me. | 0:19:52 | 0:19:54 | |
And it ever will be. | 0:19:54 | 0:19:56 | |
Because of our boy. | 0:19:56 | 0:19:59 | |
We are in him. | 0:19:59 | 0:20:01 | |
One. | 0:20:01 | 0:20:02 | |
So, you go and you raise him good. | 0:20:04 | 0:20:06 | |
Raise him right. | 0:20:06 | 0:20:08 | |
I'll think of how we were made | 0:20:09 | 0:20:12 | |
and I'll do the reverse. | 0:20:12 | 0:20:14 | |
I love you. | 0:20:27 | 0:20:29 | |
I will never stop. | 0:20:31 | 0:20:33 | |
Please, Mr Drummond, | 0:20:39 | 0:20:41 | |
take me away. | 0:20:41 | 0:20:42 | |
Bye. | 0:21:29 | 0:21:30 | |
You little yahoo. | 0:21:30 | 0:21:32 | |
Come on, Connor, just leave her be now. | 0:21:37 | 0:21:39 | |
Mimi, I... | 0:21:41 | 0:21:43 | |
No. | 0:21:43 | 0:21:45 | |
Please. | 0:21:45 | 0:21:47 | |
Walk with you? | 0:22:03 | 0:22:04 | |
Is there a law that says you can't? | 0:22:04 | 0:22:07 | |
Well, then. | 0:22:08 | 0:22:10 | |
SHIP'S HORN BLARES | 0:22:19 | 0:22:21 | |
Well, goodbye, Master Judge. | 0:22:22 | 0:22:24 | |
Shake the man's hand, Connor. | 0:22:26 | 0:22:28 | |
I'll be seeing you, Reid. | 0:22:39 | 0:22:41 | |
Captain. | 0:22:42 | 0:22:43 | |
Are you going there now? | 0:22:45 | 0:22:47 | |
I am. | 0:22:47 | 0:22:48 | |
Erm... | 0:22:49 | 0:22:51 | |
Tell her, erm... | 0:22:51 | 0:22:53 | |
Tell her... | 0:22:53 | 0:22:54 | |
What? | 0:22:54 | 0:22:55 | |
Ah, never mind. | 0:23:00 | 0:23:02 | |
It don't matter. | 0:23:05 | 0:23:06 | |
SHIP'S HORN BLARES | 0:23:31 | 0:23:32 | |
Nathaniel. | 0:24:22 | 0:24:23 | |
Miss Susan. | 0:24:23 | 0:24:24 | |
Mr Theakston, please, only for a moment. | 0:24:24 | 0:24:28 | |
Do not let them touch. | 0:24:29 | 0:24:31 | |
We are to go together, then. | 0:24:40 | 0:24:42 | |
-One after the other. -Mm-hm. | 0:24:42 | 0:24:44 | |
They've found a priest who speaks my mother's tongue. | 0:24:47 | 0:24:49 | |
He says if...if I am repenting, I should be spared hell. | 0:24:49 | 0:24:54 | |
But why should I be spared it just for the saying of some words? | 0:24:56 | 0:25:00 | |
But you feel the regret? | 0:25:00 | 0:25:01 | |
Nothing but. | 0:25:05 | 0:25:08 | |
Miss Susan, they must be allowed to proceed. | 0:25:08 | 0:25:10 | |
Perhaps I shall speak with this priest after all. | 0:25:12 | 0:25:15 | |
Forgive her, I shall say... | 0:25:15 | 0:25:17 | |
...and let her see her Connor once more. | 0:25:18 | 0:25:20 | |
I should be grateful. | 0:25:23 | 0:25:24 | |
I'm...I'm...I'm coming after you, Nathaniel. | 0:25:26 | 0:25:29 | |
I shall be following you on, calling your name, | 0:25:29 | 0:25:31 | |
and, whatever it is that waits, we will go there together. | 0:25:31 | 0:25:35 | |
SHE PRAYS IN LATIN | 0:26:33 | 0:26:36 | |
LOCK RATTLES | 0:26:49 | 0:26:51 | |
KNOCK AT DOOR | 0:28:19 | 0:28:21 | |
Mr Reid! Mr Reid, sir! | 0:28:21 | 0:28:24 | |
-KNOCKING AT DOOR -Please, sir, raise yourself! | 0:28:24 | 0:28:27 | |
Stop your hammering, Sergeant. I'm here. | 0:28:27 | 0:28:30 | |
Mr Reid, you must come, sir. There is another. | 0:28:30 | 0:28:33 | |
RETCHING | 0:28:47 | 0:28:49 | |
Her name was Mary Jane Kelly. | 0:28:55 | 0:28:59 | |
Edmund. | 0:29:02 | 0:29:04 | |
I want to unmake the world. | 0:29:04 | 0:29:07 | |
PIANO PLAYS | 0:30:13 | 0:30:15 | |
CHATTER AND LAUGHTER | 0:30:15 | 0:30:17 | |
Drum! | 0:30:20 | 0:30:21 | |
Drum! The toasts. | 0:30:23 | 0:30:26 | |
GLASS TINKLES | 0:30:28 | 0:30:30 | |
CHATTER STOPS | 0:30:30 | 0:30:32 | |
My Mathilda. | 0:30:37 | 0:30:38 | |
-This is the last, I believe. -Oh, thank you, sir. | 0:30:41 | 0:30:44 | |
There's no need to "sir" me, not any longer. | 0:30:44 | 0:30:47 | |
So, you really couldn't have waited another few weeks? | 0:30:50 | 0:30:53 | |
Samuel doesn't want the child born here, Father. | 0:30:53 | 0:30:55 | |
Of course. | 0:30:55 | 0:30:57 | |
-Well, travel carefully. -Father, please. | 0:30:57 | 0:31:00 | |
It is the Great Western to Cheltenham Spa, not a steam turbine to the Congo. | 0:31:00 | 0:31:04 | |
I know, Mathilda, but, erm... | 0:31:04 | 0:31:05 | |
Bad things happen everywhere. I know. | 0:31:05 | 0:31:07 | |
You are my daughter, and I worry. | 0:31:07 | 0:31:09 | |
Don't. | 0:31:09 | 0:31:10 | |
Remember the conviction that you held that I was alive? | 0:31:14 | 0:31:17 | |
Yes, of course. | 0:31:18 | 0:31:19 | |
Then surely it is not such a struggle | 0:31:19 | 0:31:21 | |
to hold the simpler belief that I am well? | 0:31:21 | 0:31:25 | |
Mr Reid. | 0:31:35 | 0:31:36 | |
Samuel. | 0:31:36 | 0:31:37 | |
Right. | 0:31:39 | 0:31:40 | |
-You will visit, of course? -No, Drum. | 0:31:44 | 0:31:46 | |
He won't come. He won't ever. | 0:31:46 | 0:31:49 | |
He cannot. | 0:31:51 | 0:31:52 | |
-Sergeant. -Sir. | 0:32:25 | 0:32:28 | |
-He is within? -He is, Mr Abberline. | 0:32:28 | 0:32:31 | |
Nothing? | 0:32:41 | 0:32:42 | |
A witness. | 0:32:42 | 0:32:44 | |
Of sorts. | 0:32:44 | 0:32:46 | |
Description? | 0:32:46 | 0:32:47 | |
Five foot six inches, | 0:32:47 | 0:32:49 | |
fair, curled moustache, 34 years of age... | 0:32:49 | 0:32:52 | |
..about. | 0:32:54 | 0:32:55 | |
Well, I shall add it to the catalogue. | 0:32:56 | 0:32:58 | |
These are not clues, Fred. | 0:32:59 | 0:33:01 | |
They are half-glimpsed imaginings, a tangle of shadows, | 0:33:01 | 0:33:05 | |
and you and I floundering at them, | 0:33:05 | 0:33:07 | |
in the ever-vainer hope that we might corral them into meaning, | 0:33:07 | 0:33:10 | |
when we will not. | 0:33:10 | 0:33:12 | |
We will not. | 0:33:12 | 0:33:14 | |
I said. | 0:33:24 | 0:33:25 | |
I almost begged it of you when you lost her. | 0:33:26 | 0:33:29 | |
Forgive me. | 0:33:33 | 0:33:34 | |
When your Mathilda went down on that boat. | 0:33:34 | 0:33:37 | |
But I say it again. | 0:33:39 | 0:33:41 | |
Tend to your wife. Take the leave. | 0:33:41 | 0:33:44 | |
-You are due it. -I prefer to work. | 0:33:44 | 0:33:46 | |
Then work, Edmund! | 0:33:46 | 0:33:49 | |
Fight! | 0:33:49 | 0:33:50 | |
No, Mr Reid. Go home. | 0:34:01 | 0:34:03 | |
-Here, Mr Reid, let us get you home. -No, no. | 0:34:14 | 0:34:17 | |
Sergeant, Sergeant, Sergeant. Sergeant. | 0:34:17 | 0:34:19 | |
My girl is gone. | 0:34:19 | 0:34:21 | |
My wife will barely look me in the eye, | 0:34:21 | 0:34:22 | |
without the wish to spit in it and curse me for the loss of her. | 0:34:22 | 0:34:25 | |
So...no home. | 0:34:25 | 0:34:27 | |
-Come, sir, please. -No! Damn you! | 0:34:31 | 0:34:33 | |
Damn your care! Damn your endless fawning! | 0:34:33 | 0:34:36 | |
Are you a dog? | 0:34:36 | 0:34:38 | |
Are you? | 0:34:38 | 0:34:39 | |
-I am not, Inspector. -Then stop following me! | 0:34:39 | 0:34:42 | |
It shan't bring you any good. | 0:34:44 | 0:34:46 | |
That's it, up a bit. More, more, more to me. How's that, sir? | 0:35:08 | 0:35:13 | |
Afternoon, Inspector. | 0:35:13 | 0:35:15 | |
Six months they're gone. | 0:35:19 | 0:35:20 | |
He is now a teacher. She, erm... | 0:35:21 | 0:35:24 | |
She writes a novel, she says, | 0:35:24 | 0:35:26 | |
and the child prospers. | 0:35:26 | 0:35:28 | |
Have you been to see her, the child? | 0:35:28 | 0:35:30 | |
Er...no. Not yet, no. | 0:35:30 | 0:35:31 | |
Your granddaughter, Edmund. | 0:35:31 | 0:35:34 | |
Soon, however. | 0:35:34 | 0:35:36 | |
I shall, erm, take some holiday. | 0:35:36 | 0:35:38 | |
And so, your visit? | 0:35:44 | 0:35:46 | |
This is the death certificate of a woman named Mary Spinks. | 0:35:51 | 0:35:55 | |
Her named husband, see, is George Chapman, | 0:35:55 | 0:35:58 | |
only that is not his true name. | 0:35:58 | 0:36:00 | |
Sorry, Fred, but... | 0:36:01 | 0:36:03 | |
George Chapman only became so in 1895. | 0:36:03 | 0:36:07 | |
Before that, however, he was called... | 0:36:07 | 0:36:10 | |
Severin Klosowski. | 0:36:10 | 0:36:13 | |
The Severin Klosowski who was once a suspect of ours in the Ripper murders? | 0:36:14 | 0:36:18 | |
But he has gone to America. | 0:36:18 | 0:36:21 | |
Not since 1892, he has not. | 0:36:21 | 0:36:24 | |
He has returned to this country. | 0:36:24 | 0:36:26 | |
Ah. Confidential autopsy report. | 0:36:28 | 0:36:30 | |
His wife. | 0:36:32 | 0:36:34 | |
He beat her. | 0:36:34 | 0:36:36 | |
Ceaselessly. You know? | 0:36:36 | 0:36:38 | |
-He's a brute, I'm sure. -And more than that. | 0:36:38 | 0:36:41 | |
Severin Klosowski. | 0:36:41 | 0:36:44 | |
1885, he finishes his surgical studies at the Praga Hospital in Warsaw. | 0:36:44 | 0:36:49 | |
June '87, he's in London as a barber, | 0:36:49 | 0:36:52 | |
a position in a shop | 0:36:52 | 0:36:54 | |
on the corner of Whitechapel High Street and George Yard... | 0:36:54 | 0:36:57 | |
Yes, the skills and the knives, Fred. I do not forget. | 0:36:57 | 0:37:00 | |
George Yard, where Martha Tabram was killed in August '88. | 0:37:00 | 0:37:04 | |
I never credited Miss Tabram as his. | 0:37:04 | 0:37:06 | |
Oh, did you not? | 0:37:06 | 0:37:08 | |
And the world must kowtow to Ed Reid's theories, must it? | 0:37:08 | 0:37:11 | |
Not mine, no. | 0:37:11 | 0:37:13 | |
Her killer was right-handed. The Ripper used his left. | 0:37:13 | 0:37:15 | |
You know that, Fred, you know that, and you sit here now | 0:37:15 | 0:37:17 | |
in the belief I might recommence those same investigations. | 0:37:17 | 0:37:21 | |
-The file remains open, Inspector. -And what?! | 0:37:21 | 0:37:24 | |
A man we once identified as a suspect has a wife who dies of consumption, | 0:37:24 | 0:37:28 | |
and you are roused from your retirement to berate me | 0:37:28 | 0:37:31 | |
that I do not set myself and my station house to his capture? | 0:37:31 | 0:37:34 | |
Read the autopsy, Inspector! | 0:37:34 | 0:37:37 | |
Consumption would present itself as a hardening rash on the arms and legs. | 0:37:37 | 0:37:41 | |
What she had were pustular swellings around the eyes and mouth. | 0:37:41 | 0:37:44 | |
Now, I am not your American surgeon, | 0:37:44 | 0:37:47 | |
but I know the symptoms of antimony poisoning. | 0:37:47 | 0:37:50 | |
Fred! Fred. | 0:37:50 | 0:37:51 | |
Even if it were true and proved, it is still only a poisoning. | 0:37:51 | 0:37:55 | |
The man that we hunted eviscerated his victims. | 0:37:55 | 0:37:58 | |
He ripped the flesh and the organs from their bodies. | 0:37:58 | 0:38:01 | |
Nevertheless, it is murder by a man we know capable of that evisceration, | 0:38:01 | 0:38:07 | |
who was proximate to the acts, | 0:38:07 | 0:38:09 | |
who even now is abroad in this town, | 0:38:09 | 0:38:11 | |
acting out his hatred of women upon their bodies. | 0:38:11 | 0:38:15 | |
Means. Opportunity. | 0:38:15 | 0:38:17 | |
Motive. | 0:38:17 | 0:38:18 | |
Will you bring him in? | 0:38:20 | 0:38:21 | |
No, I will not. | 0:38:24 | 0:38:25 | |
For why? | 0:38:25 | 0:38:28 | |
Because it is a fancy. | 0:38:28 | 0:38:30 | |
It's a dark daydream in the mind of a retired police officer, | 0:38:30 | 0:38:35 | |
who would do better to return to his roses and his wife. | 0:38:35 | 0:38:38 | |
It is a case, Edmund. | 0:38:38 | 0:38:40 | |
No, it is a ghost... | 0:38:40 | 0:38:42 | |
..and a dead one at that. | 0:38:45 | 0:38:46 | |
HE BREATHES HARD | 0:38:52 | 0:38:54 | |
Do not think you've heard the last of this. | 0:38:54 | 0:38:56 | |
Out of my way, you men! Move! | 0:39:01 | 0:39:04 | |
HE GASPS | 0:39:04 | 0:39:06 | |
LETTERBOX CLICKS | 0:39:39 | 0:39:41 | |
CHATTER | 0:40:17 | 0:40:19 | |
Good evening, Inspector. | 0:40:30 | 0:40:32 | |
And a very good evening to you, Miss Mimi. | 0:40:32 | 0:40:34 | |
-Ah! -The dramatic life, Mr Reid. | 0:40:36 | 0:40:38 | |
Ah, it's... it's wonderful. | 0:40:40 | 0:40:42 | |
Remarkable. | 0:40:42 | 0:40:43 | |
Although it is not quite the place you once knew as home. | 0:40:43 | 0:40:47 | |
CHEERING | 0:40:55 | 0:40:57 | |
APPLAUSE | 0:40:57 | 0:40:59 | |
My friends, my friends. | 0:41:08 | 0:41:11 | |
If I could only tell you what stories... | 0:41:12 | 0:41:15 | |
SHOUTING | 0:41:15 | 0:41:17 | |
Mr Reid, sir. | 0:41:43 | 0:41:45 | |
Mr Reid. | 0:41:46 | 0:41:47 | |
Mr Reid, sir. | 0:41:49 | 0:41:50 | |
Bennet? | 0:41:52 | 0:41:53 | |
Come, let's get you out of here. | 0:41:53 | 0:41:55 | |
How did you find me? | 0:41:55 | 0:41:57 | |
I followed you, didn't I? | 0:41:57 | 0:41:59 | |
Come on, sir. | 0:41:59 | 0:42:00 | |
-JACKSON: -Hey, slob! | 0:42:07 | 0:42:09 | |
Are you going to pay for that? | 0:42:10 | 0:42:12 | |
Oh, that's right, Gladys. Come on, take another step. | 0:42:14 | 0:42:16 | |
Jesus. You ain't winning any beauty pageants any time soon, are you? | 0:42:18 | 0:42:21 | |
Americans. | 0:42:24 | 0:42:25 | |
All bull, no dog. | 0:42:25 | 0:42:27 | |
I had 'em right where I wanted 'em. | 0:42:33 | 0:42:35 | |
HE CLEARS HIS THROAT | 0:42:49 | 0:42:51 | |
"Sir. I write as regards my execution of the will of the late Matthew Judge, | 0:43:11 | 0:43:16 | |
"in which you are mentioned as beneficiary. | 0:43:16 | 0:43:19 | |
"His assets were limited, but the enclosed was to be forwarded to you | 0:43:19 | 0:43:23 | |
"at the police station in Whitechapel, London. | 0:43:23 | 0:43:26 | |
"It may be of some comfort for you to know that, | 0:43:26 | 0:43:29 | |
"whatever the circumstances of Mr Judge's past, | 0:43:29 | 0:43:32 | |
"his son, Connor Judge, has now become the ward of this office here. | 0:43:32 | 0:43:36 | |
"We are also the executors, under grant of probate, | 0:43:36 | 0:43:39 | |
"which has recently seen Master Judge named sole heir | 0:43:39 | 0:43:42 | |
"to those assets held by us | 0:43:42 | 0:43:44 | |
"of his grandfather, Mr Theodore Patrick Swift." | 0:43:44 | 0:43:47 | |
-REID: -He and the boy had been fishing and were on their way home, | 0:44:06 | 0:44:10 | |
when the girls' mother came calling for help. | 0:44:10 | 0:44:12 | |
Her two daughters dragged into the current and downstream. | 0:44:12 | 0:44:17 | |
The Captain swam out, | 0:44:17 | 0:44:19 | |
brought one child to shore before returning to the other. | 0:44:19 | 0:44:23 | |
She too was saved. | 0:44:23 | 0:44:25 | |
But in so doing, | 0:44:28 | 0:44:31 | |
the cold, so they say, the river icy with the new spring's thaw... | 0:44:31 | 0:44:35 | |
..his heart gave up. | 0:44:36 | 0:44:38 | |
SHE SOBS | 0:44:38 | 0:44:41 | |
Thank you. | 0:44:58 | 0:44:59 | |
KNOCK AT DOOR | 0:45:21 | 0:45:23 | |
HE CLEARS HIS THROAT | 0:46:25 | 0:46:27 | |
Help you? | 0:46:29 | 0:46:31 | |
Pale ale. | 0:46:31 | 0:46:32 | |
Do you know an Elizabeth Taylor? | 0:46:36 | 0:46:38 | |
Who asks? | 0:46:39 | 0:46:40 | |
Police. | 0:46:40 | 0:46:41 | |
H Division. | 0:46:44 | 0:46:46 | |
HE RETCHES | 0:46:51 | 0:46:53 | |
How long before it begins? | 0:46:58 | 0:47:00 | |
-The inquest? -Yes. | 0:47:00 | 0:47:02 | |
Two hours, sir. | 0:47:02 | 0:47:03 | |
REID GRUNTS | 0:47:03 | 0:47:05 | |
Good day to you, Mr Reid. GAVEL BANGS | 0:47:25 | 0:47:27 | |
OFFICIAL: The Coroner's enquiry into the death of Mary Jane Kelly | 0:47:27 | 0:47:31 | |
will now come to order. | 0:47:31 | 0:47:33 | |
I live at number 5, Miller's Court. | 0:47:38 | 0:47:42 | |
It's the last house on the left-hand side of the court. | 0:47:42 | 0:47:45 | |
I'm a widow, and I get my living on the streets. | 0:47:45 | 0:47:49 | |
# Scenes of my childhood arise before my gaze | 0:47:50 | 0:47:57 | |
# Bringing recollection of bygone happy days | 0:47:57 | 0:48:02 | |
# While life does remain in memoriam, I'll retain... # | 0:48:07 | 0:48:12 | |
SHE SOBS | 0:48:12 | 0:48:13 | |
# ..This small violet I plucked from Mother's grave. # | 0:48:13 | 0:48:19 | |
-Mr Reid? -What am I to say to them, Bennet? | 0:48:21 | 0:48:25 | |
Say? | 0:48:25 | 0:48:27 | |
I am expected to stand there and explain a thing, | 0:48:27 | 0:48:30 | |
and yet I cannot find the explanation. | 0:48:30 | 0:48:32 | |
Because this man's acts are beyond such? | 0:48:32 | 0:48:35 | |
Sir, I do not say they are not dreadful. | 0:48:36 | 0:48:40 | |
They are that and more besides. | 0:48:40 | 0:48:42 | |
But, yourself, Mr Abberline, | 0:48:42 | 0:48:44 | |
these newspapermen and councillors screaming their horror to the skies, | 0:48:44 | 0:48:49 | |
it is as though they imagine some fantastical creature about his work. | 0:48:49 | 0:48:53 | |
My feeling, Mr Reid, if you will allow it? | 0:48:55 | 0:48:58 | |
You speak, Bennet. | 0:48:58 | 0:49:00 | |
This here, Miss Kelly, what was done to her. | 0:49:00 | 0:49:03 | |
It is down to you to name it | 0:49:03 | 0:49:05 | |
so this killer's acts are not dreamt of as the stuff of fancy, | 0:49:05 | 0:49:10 | |
but known | 0:49:10 | 0:49:12 | |
as the cruelty of men. | 0:49:12 | 0:49:14 | |
KNOCK AT DOOR | 0:49:16 | 0:49:18 | |
Hm. That is you, sir. | 0:49:19 | 0:49:21 | |
The whole of the surface of the abdomen and thighs was removed | 0:49:29 | 0:49:33 | |
and the abdominal cavity emptied of its viscera. | 0:49:33 | 0:49:35 | |
PEOPLE MURMUR | 0:49:35 | 0:49:38 | |
This was found in various parts. | 0:49:38 | 0:49:41 | |
The uterus and kidneys under the head... | 0:49:42 | 0:49:45 | |
..the liver between the feet, | 0:49:48 | 0:49:50 | |
the intestines by the right side, | 0:49:50 | 0:49:52 | |
and the spleen by the left side of the body. | 0:49:52 | 0:49:56 | |
The pericardium was open below and the heart was absent. | 0:50:02 | 0:50:06 | |
PEOPLE GASP AND MURMUR | 0:50:06 | 0:50:09 | |
It is concluded that the mutilation was inflicted | 0:50:09 | 0:50:11 | |
by a person favouring their left hand. | 0:50:11 | 0:50:14 | |
The bed clothing at the right corner was saturated with blood | 0:50:14 | 0:50:17 | |
and on the floor beneath was another pool of blood covering... | 0:50:17 | 0:50:20 | |
Police. | 0:50:20 | 0:50:22 | |
H Division. | 0:50:22 | 0:50:24 | |
My wife is unwell. | 0:50:29 | 0:50:31 | |
Has asked not to be disturbed. | 0:50:31 | 0:50:34 | |
Are you much troubled in this house, Mr Chapman? | 0:50:36 | 0:50:39 | |
We none of us can be too careful, Inspector Reid. | 0:50:42 | 0:50:46 | |
What did you say you wished to ask her? | 0:50:47 | 0:50:49 | |
I hadn't yet. | 0:50:49 | 0:50:50 | |
Well caught. Right hand. | 0:50:57 | 0:50:59 | |
Lost property. | 0:51:01 | 0:51:02 | |
Umbrella. She registered it with us. | 0:51:02 | 0:51:04 | |
And? | 0:51:06 | 0:51:07 | |
I'm sad to say it hasn't been found. | 0:51:08 | 0:51:11 | |
You'll pass the message on, I'm sure. | 0:51:11 | 0:51:13 | |
NEWSPAPER BOY: Get your final edition here! | 0:51:30 | 0:51:33 | |
Last day of the century! | 0:51:33 | 0:51:35 | |
I left word. | 0:51:43 | 0:51:45 | |
I was unsure whether we... | 0:51:45 | 0:51:47 | |
Well, it is a special occasion | 0:51:47 | 0:51:49 | |
and I wanted to ask if, after the performances, | 0:51:49 | 0:51:51 | |
we might dine together perhaps? Er...see in the New Year? | 0:51:51 | 0:51:53 | |
Mr Reid, stop. | 0:51:53 | 0:51:55 | |
I shan't be here tonight. | 0:51:55 | 0:51:56 | |
I have to go to a ball in Richmond. | 0:51:56 | 0:52:00 | |
There is a man who wishes to marry me. | 0:52:00 | 0:52:02 | |
It's his ball. | 0:52:02 | 0:52:05 | |
He's quite old, and, um... | 0:52:05 | 0:52:07 | |
..I am minded to encourage his attentions, | 0:52:09 | 0:52:12 | |
because I'm frightened | 0:52:12 | 0:52:15 | |
that if I'm still in Whitechapel at midnight, | 0:52:15 | 0:52:19 | |
I will be here for another 100 years... | 0:52:19 | 0:52:22 | |
..and though I'm very fond of you, | 0:52:23 | 0:52:25 | |
dear, dear Edmund... | 0:52:25 | 0:52:27 | |
..I'd forever be seeing the Captain's smile, | 0:52:28 | 0:52:31 | |
smelling his disgusting whisky breath, | 0:52:31 | 0:52:34 | |
and I refuse | 0:52:34 | 0:52:36 | |
to be haunted by him. | 0:52:36 | 0:52:38 | |
Do you see? | 0:52:40 | 0:52:41 | |
There shall be no-one left but myself. | 0:52:47 | 0:52:49 | |
I think perhaps... | 0:52:51 | 0:52:53 | |
..that is your gift to us. | 0:52:54 | 0:52:56 | |
It's very noble of you. | 0:52:58 | 0:53:00 | |
CHEERING AND APPLAUSE | 0:53:52 | 0:53:54 | |
WHISTLING | 0:53:57 | 0:53:59 | |
# Scenes of my childhood arise before my gaze | 0:54:19 | 0:54:25 | |
# Bringing recollections of bygone happy days | 0:54:25 | 0:54:32 | |
-# When down in the meadow... -# When down in the meadow... | 0:54:32 | 0:54:34 | |
# In childhood I would roam | 0:54:34 | 0:54:38 | |
# No-one's left to cheer me now within that good old home... # | 0:54:39 | 0:54:45 | |
-No. No, no! No. -PEOPLE: Shh, shh, shh! | 0:54:45 | 0:54:47 | |
You cannot! This is her song! That is her song! Stop this! Stop! | 0:54:47 | 0:54:51 | |
-# ..Sister and brother now lay... -Stop this! This is her song! | 0:54:51 | 0:54:55 | |
-# ..Beneath the clay... # -Mr Reid! Come. | 0:54:55 | 0:54:57 | |
-# ..But while life does remain... -You cannot. You cannot. | 0:54:57 | 0:54:59 | |
It cannot be allowed! Stop this, damn it! Stop! | 0:54:59 | 0:55:02 | |
AUDIENCE SINGS ALONG Quiet, sir! | 0:55:02 | 0:55:04 | |
-# ..This small violet I plucked from Mother's grave... # -Do you not know any respect? | 0:55:04 | 0:55:10 | |
Or is that you do not know at all? It is her song! | 0:55:11 | 0:55:13 | |
It is the song that Mary Jane Kelly was heard to sing | 0:55:13 | 0:55:16 | |
the night the Ripper killed her! | 0:55:16 | 0:55:18 | |
Mr Reid. | 0:55:18 | 0:55:19 | |
Is that not the reason why it is sung? | 0:55:19 | 0:55:22 | |
# ..This flower has brought me joy | 0:55:22 | 0:55:25 | |
# So while life does remain... # | 0:55:25 | 0:55:27 | |
Please, sir. Perhaps it is time you went home. | 0:55:27 | 0:55:31 | |
# ..This small violet I plucked from Mother's grave... # | 0:55:31 | 0:55:35 | |
Yes, of course. | 0:55:35 | 0:55:37 | |
I'm, erm... | 0:55:37 | 0:55:39 | |
I'm so sorry. I'm so sorry. | 0:55:39 | 0:55:41 | |
I'm sorry. | 0:55:43 | 0:55:45 | |
CHATTER AND LAUGHTER | 0:57:00 | 0:57:03 | |
FRAME CLICKS SHUT | 0:57:58 | 0:57:59 | |
DRAWER CLOSES | 0:57:59 | 0:58:01 | |
CLOCKS CHIME | 0:58:36 | 0:58:38 | |
CHEERING | 0:58:38 | 0:58:40 | |
PEOPLE OUTSIDE: Happy New Year! | 0:58:43 | 0:58:45 |