The film consists of 10 tableau scenes.

The film was shot in Pembroke.

In his book The Art of Film, Ernest Lindgren describes the film’s first three scenes in detail and suggests that the entire film is typical of the proscenium style of filmmaking prevalent throughout the world in 1905. A ‘proscenium arch bound ‘ film is one in which the camera is positioned so as to capture the full length of the actors, much as the way a theatre-goer would view a stage play within a proscenium arch. The camera is essentially used as a piece of machinery to capture the movement of the actors. However, Peter Yorke, the great-Grandson of William Haggar and author of ‘William Haggar - Fairground Film-Maker‘, says that Lindgren’s description of the film is in fact inaccurate. In correspondence with this site, Mr Yorke writes that ‘Much of the rest of the film was taken out of doors, there are 3-scene chases cut from one scene to another, and the episode where Peace tries to escape by throwing himself from a railway carriage window was made on a moving train, in a siding near Pembroke Dock station.’

Although the film re-enacts the capture and execution of notorious criminal Charles Peace, it does so in much the same way that more modern films show the demise of a central criminal character who has, until his eventual capture, been depicted as a daring figure who earns the audience’s admiration by snubbing his/her nose at authority. Peace is repeatedly shown outwitting the police: at one point he leaps from a train to escape them (although he is instantly recaptured); on another occasion he is shown disguised as a parson sending the pursuing police on a wild goose chase.