0:00:02 > 0:00:07This programme contains scenes of sexual violence
0:00:07 > 0:00:13and scenes which some viewers may find disturbing.
0:00:13 > 0:00:17Ladies and Gentlemen, welcome to Whitechapel.
0:00:17 > 0:00:20Be sure to look down as keenly as you look up.
0:00:22 > 0:00:27Mr Gladstone himself, only last week, found himself fitted for new boots.
0:00:29 > 0:00:32Follow me for the haunts of Jack The Ripper.
0:00:38 > 0:00:39Who wants a wager?
0:00:51 > 0:00:53Yours, shitspade.
0:00:58 > 0:01:02Our men in blue are still cloaked in ignorance of Jack.
0:01:02 > 0:01:05Here you are, darling, looking for a bit of company?
0:01:05 > 0:01:10Miller's Court. Five months past, the scene of the worst.
0:01:10 > 0:01:13The worst and, please, God, the last.
0:01:13 > 0:01:15Mary Jane Kelly.
0:01:17 > 0:01:21What that man, Jack, did to her. Well, we shall not say.
0:01:23 > 0:01:27- He's tasty, all right. Where'd you find him?- I looked. Wasn't hard.
0:01:27 > 0:01:29Fighters, whores, flesh is what you seek,
0:01:29 > 0:01:31there's no shortage in these parts.
0:01:35 > 0:01:37Falls when he's bid?
0:01:37 > 0:01:39Money's right, he'll give you his mother and his sister, too.
0:01:39 > 0:01:40I likes him.
0:01:42 > 0:01:46All of this parish know little else but thuggery.
0:01:46 > 0:01:49How best to raise them up from such iniquity?
0:01:49 > 0:01:51Well, that's a matter for you good people, of course.
0:01:51 > 0:01:53Look! Look!
0:01:55 > 0:01:58Black shit and buggery.
0:01:58 > 0:02:01Murder! Murder!
0:02:01 > 0:02:04Murder!
0:02:12 > 0:02:14The inspector... I must see him...
0:02:14 > 0:02:18Show yourself in there dressed like that, they'll know he's blue.
0:02:31 > 0:02:33You're champion this night!
0:02:42 > 0:02:44You little streak of piss!
0:02:44 > 0:02:46- I've gutted younger for less, do you hear?- Let me.
0:02:52 > 0:02:54This better be very good.
0:02:54 > 0:02:56They've found a tart, sir. Up on Folgate.
0:02:58 > 0:03:00She's been ripped, Inspector.
0:03:38 > 0:03:41Hobbs, you did right.
0:03:41 > 0:03:45Cecil Smeaton's greed will keep him warm for a day or two.
0:03:45 > 0:03:48- You will take a fall for him tomorrow.- Yes, sir.
0:03:48 > 0:03:52This girl, if she has been carved as has been described,
0:03:52 > 0:03:55Ripper or no, word will have spread.
0:03:55 > 0:03:59We will find the press, a mob, whipped into a fear and rage.
0:03:59 > 0:04:01This populace, still without a culprit,
0:04:01 > 0:04:04it is to our uniform that they direct their fury.
0:04:04 > 0:04:06So you stand strong and follow your sergeant.
0:04:06 > 0:04:08They'll do their duty, sir.
0:04:45 > 0:04:47- You. Name?- Creighton. - Creighton, have you touched anything?
0:04:47 > 0:04:51- Have you arranged matters to your benefit in any way?- No, sir.
0:04:51 > 0:04:53Who is it has paid for your time here?
0:04:53 > 0:04:55Mr Best at The Star, Inspector, who else?
0:04:55 > 0:04:58Well, you're on my ticket now. I want these details, I want her face,
0:04:58 > 0:05:00her eyes, her throat. She wasn't cut here.
0:05:02 > 0:05:04Where was she...where was she brought in from?
0:05:04 > 0:05:06We can't keep 'em penned in much longer, sir.
0:05:06 > 0:05:09But this is vital. All of it. And this is next to useless.
0:05:09 > 0:05:11I need this place uncorrupted and in daylight. What?
0:05:11 > 0:05:14The wall.
0:05:14 > 0:05:15He's left word again.
0:05:17 > 0:05:18"Down on whores."
0:05:19 > 0:05:22- I need more time with her.- Sir, there's the way things are,
0:05:22 > 0:05:25and the way things should be, but that lot are coming through.
0:05:28 > 0:05:29Right, we need to move her.
0:05:29 > 0:05:31You. You're not finished. I want the ground
0:05:31 > 0:05:34going in both directions away from her. As much as you can get.
0:05:34 > 0:05:37I want the wall, the writing. You understand?
0:05:58 > 0:06:00Stand aside.
0:06:00 > 0:06:03Stand aside! Stand aside!
0:06:06 > 0:06:09A comment for The Star, Inspector? Is it him?
0:06:09 > 0:06:11Is it Jack?
0:06:11 > 0:06:12Away with you, Best.
0:06:12 > 0:06:14These citizens need their questions answered, Mr Reid.
0:06:14 > 0:06:17No. They need their fears pacified.
0:06:18 > 0:06:20Where would be the sport in that?
0:06:20 > 0:06:24Where are we taking her, sir? The London? Mr Bagster-Philipps'?
0:06:24 > 0:06:26No. You take her back to Leman Street. Use the back.
0:06:26 > 0:06:30Find a cell, lock her in it. Don't book her in, tell no-one.
0:06:30 > 0:06:33- Yourself, sir? Not the American. - Just get her hid.
0:06:35 > 0:06:37Let's go!
0:06:37 > 0:06:38Come on.
0:06:55 > 0:06:59SHE GASPS AND GIGGLES
0:07:05 > 0:07:08Captain Jackson, this is all topsy-turvy, I'm sure.
0:07:08 > 0:07:12Now, Rose. I have told you,
0:07:12 > 0:07:14there are no rules here.
0:07:26 > 0:07:29CRASHING AND SHOUTING
0:07:33 > 0:07:35Jackson!
0:07:35 > 0:07:37Sweet Jesus.
0:07:37 > 0:07:40You cannot simply intrude here any time of your choosing.
0:07:40 > 0:07:42That this house thrives and your girls are not walking
0:07:42 > 0:07:45the streets this night is at my whim and indulgence, Madam.
0:07:45 > 0:07:47Don't forget that. Where is he?
0:07:47 > 0:07:49What do I care? It's not as if he ever pays.
0:07:49 > 0:07:51First door on the left.
0:07:51 > 0:07:52Jackson!
0:07:52 > 0:07:53Jackson!
0:07:53 > 0:07:58- What!? He's taken me for the night! - Jackson!
0:07:59 > 0:08:02Reid?
0:08:02 > 0:08:06I'm occupied. I'll come see you in the morning.
0:08:06 > 0:08:07Can't wait. I need a surgeon.
0:08:12 > 0:08:15- You have your own.- They're drunks and incompetents. I want you.
0:08:18 > 0:08:20- Five minutes.- Now! Now!
0:08:22 > 0:08:24(Now.)
0:08:29 > 0:08:33- You going to tell me what this is about?- Just keep walking.
0:08:34 > 0:08:36WOMAN: Don't touch me, don't touch me! >
0:08:58 > 0:08:59Jackson!
0:09:18 > 0:09:19Is it him?
0:09:19 > 0:09:22That's what you're here to find out.
0:09:22 > 0:09:24Your sudden passion for the furtive?
0:09:24 > 0:09:26I must be sure before that hell rises again.
0:09:35 > 0:09:37Get her naked, Sergeant Drake.
0:09:45 > 0:09:46Gently.
0:09:48 > 0:09:50Are those hands or meat hooks, really?
0:09:51 > 0:09:53It's no wonder to me at all you're a bachelor.
0:09:58 > 0:10:01The haemorrhage is from the severance of the left carotid.
0:10:01 > 0:10:03Was the stroke left or right?
0:10:03 > 0:10:04Like the others.
0:10:04 > 0:10:07And these are...these are stars, aren't they?
0:10:07 > 0:10:09And the eyelids slit apart.
0:10:11 > 0:10:15Catherine Eddowes and Mary Jane Kelly had the same.
0:10:15 > 0:10:16And the writing on the wall?
0:10:16 > 0:10:20Like Goulston Street the night we found Miss Eddowes' apron.
0:10:20 > 0:10:22The same words as was in that letter.
0:10:25 > 0:10:27What...what is that?
0:10:27 > 0:10:29Some kind of gelatine.
0:10:29 > 0:10:30What kind?
0:10:30 > 0:10:33- From a meat pie.- What?
0:10:33 > 0:10:35How am I to know yet?
0:10:36 > 0:10:37Don't you have evidence to collect?
0:10:39 > 0:10:41I know it's tempting, but try not to kill him.
0:10:48 > 0:10:51Mr Reid, sir.
0:10:51 > 0:10:54- I'm hearing strange rumours. - Oh, yes?
0:10:54 > 0:10:57That there's an unregistered female on the premises.
0:10:57 > 0:10:59Always an abundance of those, Sergeant.
0:10:59 > 0:11:01I'm not here to judge you, sir.
0:11:01 > 0:11:03Just to remind you of our obligations under the law.
0:11:03 > 0:11:06Why, thank you for that, Artherton. As always.
0:11:16 > 0:11:18Creighton! Open up!
0:11:45 > 0:11:46This one.
0:11:50 > 0:11:52He dragged the body through the archway.
0:11:57 > 0:11:59Those?
0:12:00 > 0:12:03Oh, I over-exposed them.
0:12:03 > 0:12:04Worth our while to check.
0:12:29 > 0:12:34Do you think me some bone-headed flatfoot? They need more time.
0:12:34 > 0:12:38Professional man like yourself, I would have thought you'd know better.
0:12:50 > 0:12:52That's the same wall!
0:12:52 > 0:12:54Where's the message, Creighton?
0:12:54 > 0:12:56The writing on the wall, "Down on whores."
0:12:56 > 0:12:58Was it you painted it up there?
0:12:59 > 0:13:00You know who it was.
0:13:02 > 0:13:04Best.
0:13:04 > 0:13:06I just record what I see.
0:13:20 > 0:13:22Get that to press, quick sharp.
0:13:26 > 0:13:28How do you think they felt, those girls,
0:13:28 > 0:13:31the moment they knew that was it, that breathing this air was up?
0:13:31 > 0:13:32Hmm? The later ones.
0:13:32 > 0:13:35They would have known what that lunatic intended for their bodies.
0:13:35 > 0:13:37Do you have a pity for them?
0:13:37 > 0:13:40Do you have a pity for the many men you've ruined with your accusations?
0:13:40 > 0:13:43I have...I have never accused. I have asked questions.
0:13:43 > 0:13:45I have speculated!
0:13:45 > 0:13:47Speculate! Well, I speculate about you, Best.
0:13:48 > 0:13:51The hand that penned that letter.
0:13:51 > 0:13:54A letter I never credited as bona fide.
0:13:54 > 0:13:56And now,
0:13:56 > 0:13:57this.
0:13:59 > 0:14:01What else did you alter?
0:14:05 > 0:14:08Nothing. Yeah, well, I didn't have to, did I?
0:14:08 > 0:14:11Just underlined what's plain to a man who's as intimate with
0:14:11 > 0:14:13the Ripper's doings as myself.
0:14:14 > 0:14:17Well, myself and Chief Inspector Abberline.
0:14:19 > 0:14:21You spoke to Fred Abberline?
0:14:21 > 0:14:23Your boss, as was. I have. Yes.
0:14:25 > 0:14:28And he finds himself in agreement with me.
0:14:29 > 0:14:32Our friend is back.
0:14:32 > 0:14:36Nothing's for certain. I won't have people hiding in their homes again,
0:14:36 > 0:14:38till I get to certain. If I see this in print
0:14:38 > 0:14:40I'll be back here for some ripping of my own.
0:14:40 > 0:14:42Oo-ooh!
0:14:46 > 0:14:48Who do you think you are, Reid?
0:14:48 > 0:14:53What, you come here to rattle me when you forget what I know of you?
0:14:53 > 0:14:56Oh, no. Do not fear, good citizens, do not shake.
0:14:56 > 0:14:59For sleepless, tireless Detectives Reid and Abberline,
0:14:59 > 0:15:01hunt our Jack down dockside and rookery.
0:15:01 > 0:15:03Two finer police the world has not yet made,
0:15:03 > 0:15:08so be of good heart, this maniac will be brought to ground and hard.
0:15:08 > 0:15:10Only, erm...
0:15:11 > 0:15:15Oh, yeah, no, he...he wasn't, was he?
0:15:17 > 0:15:20The man and his works abide.
0:15:23 > 0:15:26Friday. All right?
0:15:27 > 0:15:31Unless you've got something proves it's another knifeman...
0:15:32 > 0:15:34..this story turns over on Friday.
0:15:50 > 0:15:53- Ah, Inspector. - I know, I know, Artherton.
0:15:53 > 0:15:55- It's not that, sir.- What?
0:15:55 > 0:15:57Our past has come to say how-do.
0:16:00 > 0:16:03Chief Inspector Abberline. What merits such a visit?
0:16:03 > 0:16:05Enough dancing, Detective.
0:16:05 > 0:16:08If there's a diced up girl in this shop, she's mine.
0:16:12 > 0:16:14Out.
0:16:30 > 0:16:33- How could you do this? - This is my shop now.
0:16:33 > 0:16:36- This is my case! - I know what this looks like.
0:16:36 > 0:16:39Look...look, this graffito.
0:16:39 > 0:16:42- This is Best's contrivance. - Look at her!
0:16:42 > 0:16:46Her eyes, the stars on her face, her guts.
0:16:46 > 0:16:49Her abdomen was opened fresh, right here, as part of the autopsy
0:16:49 > 0:16:51conducted by Homer Jackson.
0:16:51 > 0:16:53That Yankee clap-doctor!
0:16:53 > 0:16:56- The man was a US Army surgeon and he was a Pinkerton.- Pinkerton?
0:16:56 > 0:16:59- That's right. - A chartered mercenary with a badge!
0:16:59 > 0:17:01And you place his word above mine.
0:17:01 > 0:17:04I think you would have her Ripper above all else.
0:17:04 > 0:17:06Another bite, another chance at him.
0:17:06 > 0:17:07But you would not?
0:17:07 > 0:17:09I would have my innards served to me cold
0:17:09 > 0:17:12if I thought it would show him to us but, Fred, what if...
0:17:12 > 0:17:16what if this girl was dressed as Jack for our eyes?
0:17:16 > 0:17:19And in our fervour, we fill the streets with uniform hunting for him
0:17:19 > 0:17:22and miss the truth of it? Now let me bring my mercenary
0:17:22 > 0:17:23back in here and have him speak.
0:17:28 > 0:17:31The fact he didn't open her up strikes as strange.
0:17:31 > 0:17:33Their guts, it's what he always wanted the most.
0:17:33 > 0:17:36To open them up and see the viscera in his hand.
0:17:36 > 0:17:40Then he was caught short, as he was with Elizabeth Stride.
0:17:40 > 0:17:43Her throat was cut, the rest of her untouched.
0:17:43 > 0:17:47But if he was disturbed with this one, he went back to her.
0:17:47 > 0:17:48Or he hid beside her.
0:17:48 > 0:17:51But whichever, he waited some few hours before bringing her here.
0:17:51 > 0:17:55So long, in fact, that all the blood had ceased to spill from her body.
0:17:55 > 0:17:57You see these cuts and gashes in her throat?
0:17:57 > 0:18:00No blood on the road she was dragged across.
0:18:00 > 0:18:03I doubt there'd have been much where they opened her, either.
0:18:03 > 0:18:06- When the woman's throat was cut? - The throat is a post-mortem injury.
0:18:08 > 0:18:10Then what did for her?
0:18:11 > 0:18:12Asphyxia.
0:18:13 > 0:18:15Her hyoid bone is broken.
0:18:17 > 0:18:21So she was strangled. And all else happened after.
0:18:22 > 0:18:26These slits in her eyes and her face,
0:18:26 > 0:18:29with Kelly and Eddowes, they were a postscript, an afterthought.
0:18:29 > 0:18:30This girl, they're top billing.
0:18:30 > 0:18:34This is theory. Not proof.
0:18:35 > 0:18:41Get proof. If you cannot, I'll pull rank and claim her.
0:18:47 > 0:18:49What else?
0:18:49 > 0:18:52Well, despite your friend Best's connivery,
0:18:52 > 0:18:56she had been serviced, recently and vigorously.
0:18:56 > 0:18:59- So she WAS a tart? - No, I don't think so.
0:18:59 > 0:19:02See, I place her no younger than 28.
0:19:02 > 0:19:07Her skin, nail beds, the essential health of her...apparatus.
0:19:07 > 0:19:10By that age even the more costly are worn through.
0:19:10 > 0:19:12So, if she wasn't a professional?
0:19:12 > 0:19:13My guess...
0:19:15 > 0:19:17The lady taught fiddle.
0:19:20 > 0:19:23Yeah, she lived to the north. The new suburbs.
0:19:23 > 0:19:26Has the Pinkerton been conferring with spirits?
0:19:26 > 0:19:27Enough, Sergeant. Go on.
0:19:29 > 0:19:33Here, beneath her chin.
0:19:33 > 0:19:37You see this moon-like impression in the clavicle? Her fingers...
0:19:38 > 0:19:40..worn and puckered by strings.
0:19:40 > 0:19:44And her hair, there are heavy deposits in it.
0:19:44 > 0:19:46Soot.
0:19:49 > 0:19:51From the underground railway.
0:19:52 > 0:19:55Which arrives, Drake, I believe, from which direction?
0:19:57 > 0:19:59Finchley, Highgate, Crouch End. Missing persons reports.
0:19:59 > 0:20:01Can't be too many lady violinists.
0:20:01 > 0:20:03Just a warning, sir. It may take some time.
0:20:03 > 0:20:05The Type Printing Telegraphs you ordered ...
0:20:05 > 0:20:07What of them? They're faster.
0:20:07 > 0:20:09- So it is said...- Reid.
0:20:09 > 0:20:11You have a type-printer?
0:20:30 > 0:20:34Hobbs. You were instructed, were you not?
0:20:34 > 0:20:37- Yes, Inspector.- Well? - It's a bit of a handful.
0:20:37 > 0:20:39Come on, boy, this is the future!
0:20:39 > 0:20:41The lad might come to terms with it sooner, sir,
0:20:41 > 0:20:43if you weren't stood so close.
0:20:45 > 0:20:48And that, Reid, is the human barrier to progress.
0:20:51 > 0:20:54I'm home to change. You need to rest, too.
0:20:56 > 0:20:58Captain Jackson.
0:20:58 > 0:21:00The tonic you took from her thighs,
0:21:00 > 0:21:03have you wondered whether it might not be some kind of silver solution?
0:21:03 > 0:21:05From a peeper's dry plate?
0:21:29 > 0:21:30Emily.
0:21:32 > 0:21:33Have you been to church?
0:21:39 > 0:21:42I am home for a shirt.
0:21:42 > 0:21:43And now you go back.
0:21:44 > 0:21:46- It cannot be helped.- Of course.
0:21:57 > 0:22:00There is a particular reason why I must return.
0:22:03 > 0:22:05- Has he come?- I don't know.
0:22:07 > 0:22:09I don't know, it might be.
0:22:27 > 0:22:29Please don't go out after nightfall.
0:22:31 > 0:22:34I'll get word to you if I'm to be gone all night.
0:22:36 > 0:22:39- I don't want you to worry.- I know.
0:22:40 > 0:22:42No.
0:22:56 > 0:22:59Send the runner to Mr Reid.
0:22:59 > 0:23:02He'll be taking the Metropolitan. Finchley's missing a violinist.
0:23:05 > 0:23:06Johnson!
0:23:09 > 0:23:12It's the call to send them underground that troubles me, sir.
0:23:12 > 0:23:13Seems unnatural.
0:23:13 > 0:23:16Well, they're building more. More trains, digging more tunnels.
0:23:16 > 0:23:19It means the city can spread out and we can stop living like rats.
0:23:19 > 0:23:22What, and come live on these streets?
0:23:22 > 0:23:24Would you like that, Bennet?
0:23:24 > 0:23:26I'd like many things, sir.
0:23:28 > 0:23:29Is this it?
0:23:34 > 0:23:36HE CHOKES
0:23:38 > 0:23:40Mr Thwaites, sir? It's the police.
0:23:49 > 0:23:52Drake! Drake! I cannot hold him.
0:24:12 > 0:24:16What did Reid want?
0:24:16 > 0:24:18Weren't you taught to knock?
0:24:18 > 0:24:21The day you pay rent, Jackson, I'll knock.
0:24:21 > 0:24:23Is that maniac on the strut again?
0:24:23 > 0:24:24Who? Reid?
0:24:27 > 0:24:30Relax, darlin'. You need to start frisking men for knives again,
0:24:30 > 0:24:33I'll let you know. Now...
0:24:37 > 0:24:40Any of the girls get their picture taken?
0:24:40 > 0:24:43Is this what brought Reid here?
0:24:43 > 0:24:46Jackson, that man could ruin us.
0:24:46 > 0:24:48He wants my help. What am I supposed to do?
0:24:48 > 0:24:50You tell him sorry, but you're indisposed?
0:24:50 > 0:24:52Fine. But he'll ask himself why.
0:24:52 > 0:24:54And me and you, we don't want that.
0:24:54 > 0:24:57You stop lavishing your care and attention on him.
0:24:58 > 0:25:00Coming here was your idea.
0:25:00 > 0:25:03When we came here, you said this was the kind of lawless shit swarm
0:25:03 > 0:25:06that we could hide ourselves in and you were right.
0:25:06 > 0:25:08But, darling, in case you haven't noticed, we're not hiding anymore.
0:25:08 > 0:25:11We live here. Now, if that man wants to make a friend of me,
0:25:11 > 0:25:13he is welcome.
0:25:13 > 0:25:15Cos if he ain't a friend, he's an enemy, and an enemy like that
0:25:15 > 0:25:16we do not need.
0:25:16 > 0:25:21So, please, which of the girls has a leaning to smut?
0:25:34 > 0:25:35Myrtle!
0:25:36 > 0:25:37Get Rose up here.
0:25:42 > 0:25:45- You can keep 'em if you like.- I may.
0:25:49 > 0:25:50Where'd you get these done, Rose?
0:25:55 > 0:25:58Two men boarded a coach with some toff.
0:25:58 > 0:26:00Trimmed whiskers, moustache.
0:26:01 > 0:26:05Mr Thwaites, these men, they put you up there?
0:26:05 > 0:26:07And the man Sergeant Drake describes, do you know him?
0:26:08 > 0:26:12Were you here to talk about Maud? My wife?
0:26:20 > 0:26:22Sir, you should prepare yourself.
0:26:25 > 0:26:28Whatever the outcome, it may be safer for you to remain with us a while,
0:26:28 > 0:26:30Mr Thwaites, until we find those men.
0:26:30 > 0:26:33And I would apologise for where I have been forced to lay her.
0:26:33 > 0:26:36She will be moved as soon as circumstance allows.
0:26:53 > 0:26:54Oh, Maud.
0:27:10 > 0:27:11This is it.
0:27:16 > 0:27:17Queen of Sheba.
0:27:21 > 0:27:22Little Bo-Peep.
0:27:28 > 0:27:31Boadicea, Queen of the Britons.
0:27:48 > 0:27:50Rose?
0:27:50 > 0:27:52S'all right, Perce. He's with me.
0:27:52 > 0:27:54Thinking of joining up, ain't you?
0:27:55 > 0:27:57Business good?
0:27:57 > 0:28:01Never better. So long as we don't get copped,
0:28:01 > 0:28:03and find the right distribution.
0:28:03 > 0:28:05Rosie here'll be lighting them up in Blackpool.
0:28:05 > 0:28:08Sarah Bernhardt and I shall be one of a piece.
0:28:08 > 0:28:11You already are, Rose.
0:28:11 > 0:28:13You already are.
0:28:27 > 0:28:30Don't you get cold out here?
0:28:30 > 0:28:33Wouldn't know. Never been out here before.
0:28:57 > 0:28:58We have her name.
0:29:00 > 0:29:02- We know how she was killed. - And nothing else.
0:29:06 > 0:29:07What does he want?
0:29:12 > 0:29:17Your lead, Inspector, your notion about the dry plates.
0:29:18 > 0:29:20And this relates how?
0:29:21 > 0:29:22And we have this, too.
0:29:25 > 0:29:27It's more, er...
0:29:27 > 0:29:29evolved.
0:29:29 > 0:29:31That's disgusting!
0:29:31 > 0:29:33It's disgustingly remunerative.
0:29:33 > 0:29:37The act itself, Reid, that's the future of smut.
0:29:37 > 0:29:38Maud Thwaites was caught up in this?
0:29:38 > 0:29:41It would fit.
0:29:41 > 0:29:45No streetwalker, but so recently and energetically squired.
0:29:45 > 0:29:48The gelatine from a photographer's plate on her thigh.
0:29:48 > 0:29:50I am in your debt.
0:29:52 > 0:29:55You tell me which scratch Drake has taken his fall in tonight...
0:29:56 > 0:29:58..I'll consider it paid.
0:30:03 > 0:30:05You've no right to ask me this thing.
0:30:05 > 0:30:06I fear I have every right, sir.
0:30:08 > 0:30:11Your wife's body bears the signs of recent intimacy and I need to know if
0:30:11 > 0:30:14- that intimacy was shared with yourself.- Of course it was.
0:30:16 > 0:30:21Mr Thwaites, why do you think those men chose to string you up
0:30:21 > 0:30:22like they did?
0:30:22 > 0:30:25I've told you, I have no idea who they were.
0:30:25 > 0:30:29No. I mean, there was trouble taken to make it appear
0:30:29 > 0:30:34self-slaughter, as if driven by guilt or shame.
0:30:34 > 0:30:36In any event, they wanted your silence.
0:30:36 > 0:30:39But just what is it they were feared you might speak of?
0:30:41 > 0:30:43What shame, Mr Thwaites?
0:30:48 > 0:30:53This shame? Did your wife have pictures taken like this?
0:30:56 > 0:31:00How far and how openly did your wife share her...intimacy?
0:31:06 > 0:31:07Everything she did...
0:31:10 > 0:31:11..she did for us.
0:31:13 > 0:31:14For me.
0:31:15 > 0:31:17So that my pride might not be ruined.
0:31:19 > 0:31:23When I found her, she lived near here, in Whitechapel.
0:31:23 > 0:31:27She used to play for the children of the orphanage
0:31:27 > 0:31:31on Criterion Street, from where I hoped to deliver her.
0:31:31 > 0:31:34My church group, we raise supplies for a number
0:31:34 > 0:31:35of poor schools in the borough.
0:31:38 > 0:31:40I loved her immediately.
0:31:44 > 0:31:47Before I married her, however...
0:31:50 > 0:31:52..she confessed to a certain...
0:31:54 > 0:31:55..practicality.
0:31:55 > 0:31:58- But, as you say, you delivered her. - I did.
0:32:00 > 0:32:05I promised her comfort and dignity...
0:32:07 > 0:32:10- ..pupils to be taken in her own home.- And she deceived you.
0:32:12 > 0:32:15No, Sergeant.
0:32:15 > 0:32:17The deception was mine.
0:32:19 > 0:32:21My...
0:32:21 > 0:32:24employment was not as secure as I thought.
0:32:25 > 0:32:28I had no grounds to promise her those things.
0:32:29 > 0:32:33Her home, even her violin,
0:32:33 > 0:32:36I mortgaged it all.
0:32:36 > 0:32:37And so she returned to Whitechapel.
0:32:39 > 0:32:41- Where did she go?- I don't know.
0:32:41 > 0:32:44- Who did she go to?- I don't know.
0:32:44 > 0:32:46Mr Thwaites, it's unwise to rile him.
0:32:49 > 0:32:51You think you can hurt me?
0:32:52 > 0:32:56Here, when my most profound wish is that those men had
0:32:56 > 0:32:59succeeded in their task.
0:32:59 > 0:33:02Can't you see, Inspector, that I am the last person
0:33:02 > 0:33:07who would ever know about the things that she did because,
0:33:07 > 0:33:10as far as I was concerned...
0:33:11 > 0:33:13..it wasn't happening, at all?
0:33:16 > 0:33:18What do you think?
0:33:18 > 0:33:20She was never Ripper, that girl.
0:33:21 > 0:33:24That killer prospers by this radical smut.
0:33:25 > 0:33:28You really don't think it could have been the husband, sir?
0:33:28 > 0:33:31The shame is too much, he follows her. Kills her.
0:33:31 > 0:33:35He'd need lodgings. Somewhere to work on her. No.
0:33:38 > 0:33:40Well, Sergeant, like it or not,
0:33:40 > 0:33:43Joseph Smeaton must draw us away a while.
0:33:43 > 0:33:45- Are you fit and able?- Yes, sir.
0:33:56 > 0:33:58Don't fight it, pull on!
0:34:03 > 0:34:06This scratch is over. Corner.
0:34:14 > 0:34:16Come to, gentlemen. Fifth scratch.
0:34:31 > 0:34:34He ain't got to deal with it for too much longer now, does he?
0:34:49 > 0:34:52Thought you said he could be trusted! Hey?
0:35:15 > 0:35:18Do the count, do the count! Count it! Hurry up!
0:35:18 > 0:35:24Ten, nine, eight, seven, six, five,
0:35:24 > 0:35:28four, three, two, one.
0:35:30 > 0:35:32Come and get your winnings, here we go!
0:35:34 > 0:35:36One for you, one for you, sir...
0:35:37 > 0:35:39Leave off. What's going on?
0:35:39 > 0:35:41Joseph Smeaton, I am arresting you for the organisation of
0:35:41 > 0:35:44and the illicit profiteering from proscribed and rigged fights.
0:35:44 > 0:35:46Put the irons on him.
0:35:46 > 0:35:48You're blue? Buckle me?
0:35:48 > 0:35:51You need to put the irons on every man jack in east London!
0:35:51 > 0:35:55They'll be leaving their earnings with someone new by the morning.
0:36:00 > 0:36:04Counterfeit currency. I shall send you down for snide, too, Joe.
0:36:07 > 0:36:08Sir!
0:36:10 > 0:36:14Sir. The toff, whiskers, fight...
0:36:16 > 0:36:18There!
0:36:26 > 0:36:29- Best make haste, Tucker.- Yes, sir.
0:36:54 > 0:36:57If Thwaites has anything more to tell us about this man,
0:36:57 > 0:36:59we are taking it this time. Thwaites.
0:36:59 > 0:37:02Oh, no! No, no, no, no, no!
0:37:04 > 0:37:07- Find Jackson.- Yes, sir.
0:37:16 > 0:37:18KNOCKING ON DOOR
0:37:18 > 0:37:22- Mr Thwaites' particulars, sir. - Thank you, John.
0:37:25 > 0:37:27May I?
0:37:39 > 0:37:41Sweet girl.
0:37:41 > 0:37:42With dark secrets.
0:37:42 > 0:37:45We've all got secrets. Even Sergeant Drake, here.
0:37:45 > 0:37:48I would be gentle with Sergeant Drake, if I were you.
0:37:48 > 0:37:49He's of a mind to murder someone
0:37:49 > 0:37:51and tonight I do not have the strength to...
0:37:54 > 0:37:56..stop him.
0:38:02 > 0:38:04What do you see?
0:38:07 > 0:38:09- Death and corruption.- Look closer.
0:38:11 > 0:38:16There's a blemish. A mark on the camera lens, most likely.
0:38:16 > 0:38:18- The same place on each photograph. - The same camera.
0:38:22 > 0:38:24Creighton! Go on, Sergeant.
0:38:51 > 0:38:52False bottom.
0:39:04 > 0:39:07You may want to avert your eyes, Drake.
0:39:07 > 0:39:08This is some strong meat.
0:39:14 > 0:39:16I have her.
0:39:19 > 0:39:21Not much seems to be beyond our Maud, does it?
0:39:24 > 0:39:27Hang on! That's him. It's the toff!
0:39:42 > 0:39:43What is this?
0:39:43 > 0:39:46- Look at this. It's all exactly the same.- Show me.
0:39:50 > 0:39:53No!
0:39:53 > 0:39:54Creighton!
0:40:04 > 0:40:06Water only inflames it.
0:40:07 > 0:40:09What kind of fire will not be doused?
0:40:09 > 0:40:11The door is bolted fast.
0:40:11 > 0:40:14- Then all evidence dies here. - And all the men who know about it.
0:40:23 > 0:40:25Jackson, sheets, pass me the sheets.
0:40:27 > 0:40:30Clear out the space between the hinges around the door with this.
0:40:30 > 0:40:33Do it, Sergeant! Cut me some strips.
0:40:36 > 0:40:39Phosphorous. Flash powder.
0:40:43 > 0:40:46- What's he doing?- The crazy bastard's making guncotton!
0:40:47 > 0:40:48Guncotton?!
0:40:57 > 0:40:59- This one in the bottom.- Of course.
0:41:00 > 0:41:04- Come on!- Back! Get back!
0:41:09 > 0:41:12You're just shanking it. You got to aim right.
0:41:12 > 0:41:15- You just take your time, sir. - Thank you, Sergeant.
0:41:35 > 0:41:37Now what?
0:41:42 > 0:41:45I see these images all look identical,
0:41:45 > 0:41:49but by the end of the sequence, the bird sits in a different position.
0:41:49 > 0:41:51There is a man,
0:41:51 > 0:41:55a Frenchman, Le Prince. He's an engineer.
0:41:55 > 0:41:59He has been experimenting with photographic images...
0:41:59 > 0:42:00that move.
0:42:02 > 0:42:04- Like a lantern show?- No, real.
0:42:07 > 0:42:09It's why the pictures appear as a kind, because every
0:42:09 > 0:42:14degree of muscular movement has to be captured with precision.
0:42:14 > 0:42:16So the end effect, therefore, is fluid movement.
0:42:18 > 0:42:23It is the...it is the precise details of our lives caught
0:42:23 > 0:42:25and re-presented to us.
0:42:28 > 0:42:33Now what...what if you could make these images move?
0:42:35 > 0:42:38And be real? You see?
0:42:38 > 0:42:40You see the leash?
0:42:40 > 0:42:45Enough, perhaps, in a moment of grotesque passion, to break her neck?
0:42:45 > 0:42:49And what if this entire moment had been captured by this new camera?
0:42:49 > 0:42:52In the right circles, it would make them a mint.
0:42:53 > 0:42:55Then they'd make more.
0:42:56 > 0:42:59This man. We must find this man.
0:43:40 > 0:43:42Oh...
0:43:42 > 0:43:43SHE CLEARS THROAT
0:43:43 > 0:43:47- Evening, my ladies. - Good evening, sir.
0:43:54 > 0:43:56Turkish Delight?
0:43:56 > 0:43:58Thank you, sir.
0:44:00 > 0:44:02Mmm.
0:44:08 > 0:44:10Is there someone else in here, sir?
0:44:13 > 0:44:15No-one you need worry about.
0:44:17 > 0:44:18Here, take another.
0:44:25 > 0:44:28All your snitches, every tart, landlord, bully and thief.
0:44:28 > 0:44:31He'll be wealthy, refined,
0:44:31 > 0:44:33ruthless.
0:44:34 > 0:44:37Artherton. I've come for her. Where's Reid?
0:44:37 > 0:44:40- The Inspector addresses his men. - All right.
0:44:42 > 0:44:44We only have these pictures, we have no name.
0:44:52 > 0:44:54His name is Sir Arthur Donaldson.
0:45:00 > 0:45:03Summer '86, before your time here.
0:45:03 > 0:45:07He got his cock out at a church picnic in Victoria Park,
0:45:07 > 0:45:08week or so later,
0:45:08 > 0:45:12tore the blouse off a pregnant woman on the Stepney omnibus.
0:45:12 > 0:45:15Charged him but man from such a family
0:45:15 > 0:45:18as like to do jug as Victoria herself.
0:45:19 > 0:45:21The address was all we ever had for him.
0:45:21 > 0:45:24- Thank you, Fred.- Go.
0:45:48 > 0:45:49Where's Rose, Susan?
0:45:53 > 0:45:55Rose isn't with us this morning, Mr Jackson.
0:45:55 > 0:45:56Will one of our other girls serve?
0:45:59 > 0:46:01She has to hear what I have to say.
0:46:01 > 0:46:03She's got to stop with the smut.
0:46:03 > 0:46:06You squire her one day and then you daddy her the next?
0:46:09 > 0:46:12What's the problem here, Susan? Now you decide to get jealous?
0:46:14 > 0:46:15Jealous?
0:46:17 > 0:46:22I would rather shrivel and die alone than let you near me again.
0:46:22 > 0:46:24Then get the girl.
0:46:26 > 0:46:27She's not here.
0:46:31 > 0:46:33She was ordered out and is yet to be returned.
0:46:33 > 0:46:37They're late. And what's worse, they paid me in snide.
0:46:39 > 0:46:42- Who did?- I don't know.
0:46:42 > 0:46:44A toff took two of them away in his great charabanc.
0:46:44 > 0:46:47- Right, get your hat. You're going to see Reid.- I'm doing no such thing.
0:46:49 > 0:46:52You touch me again and I will kill you.
0:47:42 > 0:47:44Oh, no, no, no, my beauty.
0:47:44 > 0:47:46You're coming with me.
0:47:46 > 0:47:47No.
0:47:47 > 0:47:50Tristan or Bertrand or whatever your name is, I'm going home.
0:47:52 > 0:47:55I've paid for you, you're mine.
0:47:59 > 0:48:00Get off me!
0:48:03 > 0:48:04Get the door.
0:48:20 > 0:48:22No-one at home, sir?
0:48:23 > 0:48:25SHE SHOUTS IN PAIN
0:48:27 > 0:48:30Hobbs! Donaldson's friends and relatives, The Telegraph.
0:48:30 > 0:48:32- Scotland Yard must have their names and addresses.- Reid!
0:48:34 > 0:48:36Show and tell, Susan.
0:48:38 > 0:48:42Counterfeit, two of my girls taken last night. Not yet returned.
0:48:42 > 0:48:45Black coach, one horse. They paid in that.
0:48:45 > 0:48:48Smeaton! Come with me.
0:49:01 > 0:49:05SHE GASPS IN PAIN
0:49:12 > 0:49:13What's he doing?
0:49:22 > 0:49:24This snide. One of yours, I believe.
0:49:27 > 0:49:29There are mine all over the city.
0:49:29 > 0:49:33Only they're not. Arthur Donaldson, where is he?
0:49:33 > 0:49:35What makes you think I know, eh?
0:49:35 > 0:49:37Sincerely? Not a great deal. Instinct.
0:49:39 > 0:49:41Well, you can take your instinct
0:49:41 > 0:49:44and you can shove it up this animal's fundament.
0:49:44 > 0:49:45Curse us.
0:50:38 > 0:50:40Shall we make another?
0:50:42 > 0:50:43HE CROAKS
0:50:44 > 0:50:45Huh?
0:50:49 > 0:50:51I need light.
0:50:51 > 0:50:56Imagine, a little thing like that come between us and our enrichment!
0:50:57 > 0:51:01Light you shall have.
0:51:08 > 0:51:10SHE SQUEALS
0:51:13 > 0:51:16Where is Donaldson?
0:51:16 > 0:51:19He lives in Mayfair!
0:51:20 > 0:51:23We know that. He does no longer.
0:51:23 > 0:51:27SHOUTING FROM BELOW
0:51:29 > 0:51:30I only went there once!
0:51:32 > 0:51:34- Well?- Under our noses, sir.
0:51:36 > 0:51:37This will calm you.
0:51:38 > 0:51:40SHE GURGLES
0:52:54 > 0:52:56Downstairs.
0:52:56 > 0:52:58Donaldson! Arthur Donaldson!
0:53:04 > 0:53:07Myrtle, Myrtle, where is Rose?
0:53:07 > 0:53:08Jackson!
0:53:11 > 0:53:13Get the sword, Sergeant.
0:53:27 > 0:53:28Drake!
0:53:39 > 0:53:40Argh!
0:53:45 > 0:53:48SHE COUGHS
0:53:50 > 0:53:51Does she breathe, Sergeant?
0:53:51 > 0:53:53She does, sir.
0:54:00 > 0:54:02Whatever happens,
0:54:02 > 0:54:06whatever punishment is seen fit for all this, that is extraordinary.
0:54:14 > 0:54:17HE SCREAMS
0:54:40 > 0:54:41This way.
0:54:56 > 0:55:00I thought...at last...
0:55:00 > 0:55:02I thought it was safe again.
0:55:02 > 0:55:05Ssh, now. It is, it is safe now.
0:55:13 > 0:55:16Thank you, Drake. I'll tend to her now.
0:55:24 > 0:55:27(Hey, Rosie, hey...)
0:55:41 > 0:55:42Clear the way, lads.
0:55:58 > 0:55:59The facts.
0:56:03 > 0:56:04Have you lost your mind?
0:56:10 > 0:56:12Why?
0:56:12 > 0:56:13Because it is the truth.
0:56:14 > 0:56:16And I would have the world know it.
0:56:16 > 0:56:19She was never Ripper, that girl. But you two...
0:56:19 > 0:56:21You, for profit.
0:56:21 > 0:56:24You, for guilt, I suspect, wanted it so.
0:56:25 > 0:56:28Now I ask us to undertake this,
0:56:28 > 0:56:31that we find a little joy in his continued absence.
0:56:31 > 0:56:33That we cease to look for him
0:56:33 > 0:56:35in every act of evil that crosses our path.
0:56:37 > 0:56:39There is an abundance of that hereabout
0:56:39 > 0:56:42and I would have obsession blinker us to the wider world no longer.
0:56:42 > 0:56:43Am I understood?
0:56:47 > 0:56:48Then get out.
0:57:04 > 0:57:08Edmund, this last year, that...
0:57:08 > 0:57:12lunatic will ever bind me to you.
0:57:12 > 0:57:15But you ask too much.
0:57:16 > 0:57:21He lives still, he breathes this air still.
0:57:22 > 0:57:24- These streets demand your vigilance. - No.
0:57:26 > 0:57:28We did everything in our power.
0:57:28 > 0:57:31Used every instrument allowed to us, some that were not.
0:57:31 > 0:57:35All that we can hope for now is that he is gone and stays gone.
0:57:42 > 0:57:44He will own my life no more.
0:58:28 > 0:58:31- The men of Whitechapel do your job for you, once more.- Yeah!
0:58:32 > 0:58:34'He is my prisoner and in my protection.'
0:58:34 > 0:58:39Then at the time of my choosing we will end you all this night!
0:59:04 > 0:59:08Subtitles by Red Bee Media Ltd