All language subtitles for Jack.The.Ripper.Written.In.Blood.S01E01.1080p.HEVC.x265-MeGusta[EZTVx.to]_track3_[eng]

(bell tolling) (horse neighing)

(ominous music)

(tapping)

NARRATOR: When the horror began,

it was one brutal murder
after another.

(disembodied screams)

NARRATOR:
As blood ran through Whitechapel...

- Come see the body!

NARRATOR: ..the public
devoured the breaking news.

- Fred, can you make him speak?

NARRATOR: The words we wrote...

- "Dear boss, my knives
are nice and sharp.

I love my work and
want to start again."

NARRATOR: ..created a monster.

MAN: "Yours truly, Jack the Ripper."

- What the hell have you done?
- Ah!

NARRATOR: The bodies piled up...

- (cheering)
NARRATOR: ..so, did the profits.

- Read all about it!

- To The Star newspaper.

NARRATOR:
But with police chasing shadows...

- They are humiliating us.

NARRATOR: ..the price of our
deadly deception became clear.

- And to hell with the truth,
is that it?

NARRATOR: For the sake of headlines,

had we set the Ripper free
to kill and kill again.

- There is only one of here with
red ink on their hands, Fred.

(ominous music)

(dramatic music)

(dark, pulsing music)

(jaunty music fades in)

(lively chatter, laughter)

R. MORAN: The streets are a
dangerous place for anybody.

But that dangerous is multiplied
for homeless women.

(dog barking)

You have to be very vigilant

because predators are vigilant too.

(brooding music)

(dog barking)

S. KEOGH: To catch a killer,
you have to think like the killer.

As a detective, the eyes of
the world are going to be on you.

The pressure is going
to be on you to solve this.

(thunderous music)

But you also know that the press
are going to be all over it.

- (woman screaming)
- (man yelling)

(hooves clopping)

(dramatic music)

S. POLING: As a journalist there is

no greater feeling
than seeing your byline

on the front page of a newspaper.

(newspaper boy calling)

- Good morning!

- Good morning, Ernest!

- Good morning!

(typewriter tapping)

S. POLING: But you are only
as good as your next story.

Cos that's what gets you paid.

And in Fred's time,
that's what got him fed.

MAN: Fred!
Bring me the day's stories.

- Coming, sir.

S. POLING: It really was
a very precarious life.

- Good morning, T.P.

T.P.: No.

Not good enough.

Boring. (crumples paper)

(tense music sting)

(clock ticking)

We ran this story last week.

Do you people think I don't read
my own paper, now, for God's sake?

(tense music sting)

F. RIDDELL: T.P. O'Connor founds
The Star in January of 1888.

- Hmm.
- He is Irish and he's also an MP.

The Star is a really progressive,
left wing, radical paper.

- (newspaper boy calling)

- That's very, very exciting
because radical politics

goes against the traditional
understanding of the world.

B. NICHOLSON:
TP wanted to represent

the voice of ordinary
working people.

So, The Star cost half
as much as its nearest rivals.

And its style of journalism
absolutely revelled in sensation.

But at the beginning, it was
a fight to survive amidst tough

competition from rival papers
like The Pall Mall Gazette,

The London Evening News
and The Illustrated Police News.

- Oh, Jesus Christ.

Ernest, get in here now, man.

(tense music)

- Look, here's the thing...
- Shh, shh.

"A dull bank holiday."

This is to be our headline?

- Well, yes, I know it's not
the most exciting headline.

But-
- Most exciting?

It's not even fucking news, man.

I wouldn't even
wipe my arse with it.

Look at my desk,

piled high with correspondence from
my constituents from Liverpool

complaining to me of hunger,
injustice, corruption.

Now, this is the state
of our country now.

And you bring me headlines
about the fucking weather.

Last bank holiday, Ernest,
you smashed it with a dead woman,

the Rip Gang.

And don't ask me why,
people just love that stuff.

- The Emma Smith murder.
- Hm. More of that.

S. KEOGH:
In April 1888, in Whitechapel,

a horrific attack took place on a
lady by the name of Emma Smith.

Before she died of her injuries,
Emma told people that she had been

attacked by a gang of men.

The police were unable to identify

who it was that attacked
and killed Emma.

But off the back of this story,

the press were able
to sell more papers.

- If you don't go out there and give
the people something to gawp at

on their bank holiday,
well then, they'll just go out

and they'll spend their money
on booze, won't they, Fred?

So, fucking entertain them.

If this paper is to survive, boys,
and to be honest with you,

I'm not sure if it will,
then you need to get out there

and you need to find the stories.

Look at that, Ernest.

All of human life
is in those streets.

And up until now,

none of the other papers
have even bothered to report it.

But we will.

Cos there's more stories in that
city than you can ever dream of.

There are more nightmares too.

(ominous music)

C. PENANT: The East End
has always been a ghetto.

It's a tough life, a tough area.

It's always been a dense population
or working class people.

- At the end of the 19th century

more than a million people were
crammed in back to back houses.

Often in unsanitary conditions.

- Families really had to struggle
to put food on the table.

There is no help coming.

The divide between the West End
and the East End

is just quite clearly
haves and have nots.

(ominous music)

(hooves clomping)

- (clears throat)

Good day. I am looking for
Mr Bruner and Mr Coleman.

Thank you.

S. POLING: The newspaper world
is doggy dog.

The editor is under the most
amount of pressure,

because he is answerable
to those above him.

- Ah, Bruner.
- T.P.

- Colman.

- Well, you're both looking grand
I must say. (chuckles)

I wish I could say the same
about the sales figures.

- It's not good, T.P.

(tense music sting)

- Lads, baby steps, baby steps.
We will get there in the end.

(chuckles) Trust me.
- Well, it's been eight months.

(tense music sting)

B. NICHOLSON: The Star's two biggest
backers were both liberal MPs.

And they'd become frustrated
at what they saw

as the Tory dominance
of the British press.

They wanted to even the score,

and perhaps give themselves
a useful new mouthpiece.

But it wasn't going well.

- "A dull bank holiday"?

Thrilling stuff.

Perhaps you have taken on too much.
- Now, that's nonsense.

- How can you possibly represent
your constituents in Parliament

and run a newspaper?

- Because I can.

Gentlemen,
I've got it under control.

I just need you to trust me.

- We could've started our own paper,
but instead we invested in yours.

- I know.

- Don't make us
regret that decision.

- I won't.
- And try not to bankrupt us.

Our pockets are not as deep
as you might think.

- (he sighs)

(street chatter) (hooves clomping)

S. POLONG:
Then, as is the case today,

newspapers pay for tips
from the streets,

desperate to edge ahead
of their competitors.

So, if a rumour is spreading of a
suspicious dead body in Whitechapel,

it's those with the best network
who would have the best start.

- T.P.!

- If this is more street gossip,
Ernest, you can keep it.

- It's not, there's been a body
found in Whitechapel. A woman.

- Get down there now.

We need the details, all of them.

Was it a fight? Was it a robbery?
A jilted lover.

- We don't know.
- Well, find out, man.

- Get to Georgia.
- To Georgia. I am gone.

- I want to smell the blood.

I want to taste the horseshit
in the air.

- There's an expression that every
crime reporter was brought up with:

"If it bleeds, it leads."

So the second that you hear that
a woman has been murdered,

you are on foot, and you are there.

- COPPER: That's it, lads, come on.

(tense music)

(people clamouring)

- Martha Tabram's death is
one that people still discuss

and argue about today.

Was she an early part of
the Jack the Ripper series

or was she unrelated?

(people clamouring)

- What happened?
Was she murdered?

- I am telling you nothing, son.

- When police officers
attend the scene of a murder,

it's chaos.

Reporters turning up,
enquiring, asking questions,

wanting to know what is going on.

- That's a yes, then?

- The way you deal with them
is you don't tell them anything.

- Oh, fuck off, you bloody vulture.

- But your job as a journalist

is to try and get as close to
the crime scene as you can.

So, as soon as you
get to that cordon,

you'd speak to as many people
as you can

to try and find out
every single thing about the victim.

- Do you know her?

- You mean, did I?

Who's asking? I might have.

(coins jangle)

- Here. Did she live here?

- No, they just found her
up on the landing.

Thought she was a pile of rags
until they saw the blood.

- Nasty accident, you reckon?

- No.

No, it wasn't an accident.
It was murder.

(ominous music)

- As a crime reporter,

you know that a murder was always
guaranteed to make the front page.

But Fred would have had no idea
how dark this story would get.

(tense music sting)

(apprehensive music)

S. POLONG: Within the
first few hours of a murder,

what you have to do,
as a crime reporter,

is take ownership of that story.
You need to stake your claim.

It's literally climbing the mountain
and planting that flag.

(brooding music)

P. DEAN: It is something
of a shock to the system

the first time you see
a murder victim.

(disembodied screams)

There is that sense that a life
has been snatched away

very, very recently.

I am not sure that you
ever really get used to that.

(brooding music)

(tense music sting)

Martha Tabram had about 39 wounds,

repeated stabbing in areas
like the neck, chest, the abdomen.

But some of them are
in the genital areas as well.

Which has some significance
in terms of the psychopathology

of the offender.

- Coroner?
- Yes.

- Fred Best, The Star.
Just have a couple of questions.

- You again!

I told you to get out of here.
Go on.

- I just had a couple of questions
for the coroner.

- No! He has got nothing for you.

- What time do you think
the woman was killed?

- You don't have to answer.
I won't bloody tell you again, mate.

- Cause of death?
- Go on, out you go.

F. RIDDELL: At the time, very little
is known about Martha Tabram

apart from the graphic nature
of her death.

Today we know far more.

Her marriage had failed.

She had struggled
very much with alcohol.

She is someone who was trying to
make her way in that difficult world

of poverty and the East End.

But now she's murdered in
a brutal, violent, graphic attack.

And it's down to the police
to respond and respond quickly.

(knock on door)
- Come!

(tense music sting)

- You asked to see me, sir.

- Run me through your progress
on the Whitechapel murder.

(tense music sting)

- Our main witness,

the woman who was with the victim
on the night of the murder

reported the deceased was
seen walking with a soldier,

who had a white band around his hat.

- Coldstream Guards?
- Exactly so, sir.

- Not him then.

- Sir Charles Warren was drafted in
as commissioner in 1886.

With no policing background.

He was a colonel
in the British Army.

His military outlook led to him
acting in a quite heavy handed way.

None more so than on the 13th of
November 1887, at Trafalgar Square

where Warren's way of policing
demonstrations about unemployment

and Irish rights
led to many injuries

and to the death
of two of the protestors.

It became known as Bloody Sunday.

(distant shouting, yelling)

- It made Warren a lot of enemies.

And as an Irish Nationalist
Member of Parliament,

T.P. O'Conner was one of them.

It was clear that Warren's priority
as commissioner was nothing to do

with street crime, was nothing
to do with murder or anything else.

It's public order, pure and simple.

- Just, uh, release a statement
to the press.

Something like,

"We would be glad if anyone
knowing anything of the occurrence

would come forward and give any
information that would throw light

upon the incident."
- Yes, sir.

And how would you like us
to conduct the rest of the enquiry?

- Just put out the statement,
it will all blow over soon enough.

C PENNANT: The East End people
mistrust the police.

It was the old fashioned bobby,
you know, the peelers

who walk the beat.

But if the police are not
doing their job,

then they can't protect us.

(tense music sting)

(hooves clomping)

FRED: "Some person has called this
morning for the purpose of seeing

if they could identify the remains."
- Several persons.

- "Several persons called this
morning for the purpose of seeing

if they could identify remains
of the vagrant woman.

- Umm, Scratch vagrant.
Nobody gives a fuck about them.

Put- Put "unfortunate woman."
- Unfortunate woman.

Then we just get
to injuries sustained.

- Right.
Well, we should run this past him.

It's strong stuff.

T.P., what do you think of this?

- "The wounds on
the body are frightful.

There are about eight on the chest
inflicted in almost circular form.

While the probably fatal ones,
certainly the largest

and deepest of many,
is under the heart.

The wounds appear to be the
result of sordid dagger thrusts

rather that of a knife.

No arrest has been made yet."

- So, do we, uh...? Do we run it?

- Well, yes.

Sit down and write it.

(tapping)

S. SIMMONS: People then
and now are drawn to the gore

and the drama of something
like this when it's happening.

If you are reading this graphic
detail in a newspaper, you are going

to enjoy trying to get your head
around the detail of the crime

from the comfort
of your own home.

We like to feel the fear

while not actually being privy
to the offender ourselves.

We like that adrenaline rush
when we read stories like this.

It is very, very addictive.

F. RIDDELL: In the last half
of the 19th century,

we have had this huge change
in literacy amongst working people.

And they want something to read.

So, papers like The Star, The Pall
Mall Gazette and The Illustrated

Police News are all vying for this
new audience of the newly literate,

knowing that the paper
with the most graphic details

would sell the most copies.

NEWSPAPER BOY: Vicious murder
on the streets of Whitechapel!

Get the latest!

Vicious murder. Bloody murder.

Read all about it.

- (he sighs)

- I will never get used to the noise
and the smell of this place.

I cannot believe you convinced me
to move here.

(tense music sting)

- I'm sorry, darling.

- I was just reading this.
- (he chuckles)

Marvellous, isn't it?

- For you, I'm sure.

Who was she, this unfortunate woman?
Do we know?

- No idea.

F. RIDDELL: Elizabeth O'Connor
is a really amazing woman.

She's born in Texas.

And by 1888, she's been married
to T.P. for about three years.

She comes from this background
of radical politics, women's rights

and being involved in journalism.

- Did you write this?

"The largest circulation of any
evening paper in the kingdom"?

- (chuckles) Guilty as charged.

- But you don't have the largest
circulation, do you?

- Oh, we will.

When they read it.

You'll see.

- T.P. knows that murder sells.

But then what do you write
the next day, and the next day,

and the next day?

You are constantly having
to feed the beast.

S. SIMMONS:
We are hard-wired as humans

to want to understand
the underlying story.

The reason, the rationale why
someone would do something

so depraved and so brutal.

It's human nature to want to pull
that apart and make sense of it.

Women in particular are always going
to be drawn to stories like this.

(door opens)
FRED: Hen?

S. SIMMONS:
Because it's typically females

that are the victims of murder.

- God, that poor woman!
What a horrible way to die.

(tense music sting)

Surely, someone must have seen
something or heard something.

- Not a thing. (kisses)

F. RIDDELL: Fred's wife, Henrietta
is Whitechapel born and bred.

She's grown up in a pub
which her father ran.

Whitechapel is a place that she
would have understood very well.

So, this story is going
to be really personal.

- I don't know if there is
anymore to write about.

It's not like the police
will find out who did it.

- Yeah. That's cos the police
don't care about people like this.

As far as they are concerned,

it's one less drunk
off the streets of Whitechapel.

- Hm.

T.P. is keen we keep on
the story, though.

So, I have got to find something.

- The thing is, I mean, who knows?

Next it might be someone we know.

It could be me.

- Don't even think it.

- As the weeks pass,

the police investigation
starts to go cold.

But the newspapers are
still reporting on the case.

Fuelling speculation and fear
in the area about the crime that's

going on in Whitechapel.

(brooding music)

(jaunty music fades in)

(pub chatter)

For the locals, it's just one
more thing to think about,

on top of trying to make ends meet.

- (she exhales)

How about you get me one
at the same time?

Come on.

(tense music sting)

Haven't I spent enough here tonight
to have one on the house?

- Not tonight, Pol. Go home.

- What home do you think
I am going to go to, eh?

"Home."

R. MORAN: Homelessness
is something that is so far

outside the realm of most
people's understanding

that it's difficult really to
find words to describe it.

- (she sighs)

R. MORAN: You are constantly

putting one foot in front
of the other but where to?

Where are you going?

(muffled shouts)

The truth is
you have no where to go.

You are worn out emotionally.

You are worn out mentally.

And your defences are down.

F. RIDDELL: If you are homeless
in London in 1888...

- Hi.
- ..you didn't have many options.

With the breakdown of her marriage,

Polly is in and out
of the workhouses,

she sleeps rough
in Trafalgar Square.

- Look, I'll give you
the money tomorrow.

- Just give me a bed tonight,
please.

MAN: No. We're full.

- Sod you, then! Have it your way.

R. MORAN: I know from experience

that you feel like you were
swimming around in a piranha tank,

walking around those streets.

(brooding music)

(tense music sting)

(street chatter)

NEWSPAPER BOY:
Get your copy of The Star!

Read the latest news in The Star.

- Good lad. See you later.

- Sorry, T.P., I got to go.
- Where?

- Whitechapel!
There's been another murder!

Hen. What's going on?

- It happened again.

I just had to come
and see it for myself.

- What...
- Oh, shit. It's Sergeant Thick.

- Go and see what you can find out.
- OK.

- I will see what I can get
from Johnny Upright here.

Hello, mate!
- Oh, you again.

- What's the deal?
- I have still got nothing for you.

- Come on.
- Why don't you clear out of it?

(he sighs)

- They are taking the body
to the mortuary out the back.

- Where is the mortuary?
- In the shed by the workhouse.

- OK. OK.

You go back home,
I will see you back there.

- OK. Fred, be careful.

- Hey.

(brooding music)

Jesus!

(lock creaks)

THE KEEPER: Come to see the body?

Uh, yea- Yes.

(coins jangle)

(latch unlocks) (door creaks)

(tense music sting)

S. KEOGH: As an experienced
murder investigator

you become used to seeing victims.

THE KEEPER:
Do you want the clothes off?

- Yeah.

- What you rarely see is overkill.

You rarely see injuries that
go beyond what is necessary

to kill somebody.

(scissors snipping)

When Polly Nichols was examined,

she was found to have
severe abdominal injuries.

She had had her throat cut
in two places.

She had been brutally attacked.

(brooding music)

- These murders
were all about anger.

They were all about dominance.

And they were all about control.

This person hated women.

That's why you see
such graphic, dramatic

and seriously violent crimes.

- "No murder was ever more
ferociously and more brutally done.

The knife, which must have
been a large and sharp one,

was jabbed into the deceased
at the lower part of the abdomen.

And then drawn upward,
not once but twice.

The first cut veered to the right,
slitting up the groin

and passing over the left hip.

The second cut went straight
upward along the centre of the body

and reaching to the breastbone."

- (inhales, exhales)

- You saw this for yourself?

- Yes, sir.

I stood there and watched him
cut the clothes from her corpse.

Not a policeman
or a coroner in sight.

They just scraped her
torn up body off the street.

And dumped her there...

..with that man.

It felt wrong, T.P.

It felt like the police don't give
a damn about that poor soul,

whoever she was.

And I was just standing there
watching.

- (sighs) Run it.

(tense music sting)

- Exactly as it is?
- Don't change a word.

- But what good can come of people
knowing everything he did to her?

- We are not here to do good, Fred.
This isn't the Salvation Army.

We're here to sell fucking papers.

- I will get it to the typesetters.
- Good man.

And get this fella a drink.
He looks like he might need it.

S. POLING: T.P. knew if you fall
behind, you are quickly forgotten.

Every single aspect

of working in the newspaper industry
is a competition.

B. NICHOLSON: The Illustrated Police
News had already caused uproar

by publishing graphic drawings
of the victim's injuries.

So, for The Star to print
this amount of gory detail

was a risky move.

But if it worked for them,
it would bring enormous rewards.

(hooves clopping)

- Thank you.

(pub chatter)

You alright?

(disembodied voices)

(tense music sting)

- It was so similar to the last one.

The frenzy of it.

- It could be the same man.

- This isn't done by men.

(tense music sting)

It's the work of monsters, maniacs.

- What if it wasn't done
by separate men?

- Where are you going?
- The office.

- With the murder of Polly Nichols,

the police now had
three separate crimes.

Three separate women who'd
been attacked and murdered.

The first victim, Emma Smith,
in April 1888,

survived long enough to be able
to tell people that she was attacked

by a gang of men. Not a lone killer.

There was nothing then until August

when there were two murders

within a space of a few weeks
of each other.

First, Martha Tabram.
- (muffled speech)

(tense music sting)

- Followed by Polly Nichols.

Now, these two murders

had some similarities
in terms of the injuries.

But there were also
some key differences.

- The stab wounds that one
saw in Martha Tabram's case,

they were very different
to incised wounds

that we saw in Polly Nichols' case.

It's a different mechanism
of injury.

So, some people have said,
"Well, no, that's not the same MO."

- What if they weren't just
three random matters, hm?

What if they were all
the work of one person,

one crazed, maniacal monster?

Uh, but, Emma Smith, remember?

We know Emma didn't
die right away, did she?

Not before she could tell people

it was a gang of three or
four young men that did it.

- If we were to go with our
own lone maniac theory...

- But we- We're not
going to go with this?

- I said, "if".

What evidence do
we have to support it?

- This.

The evidence is carved
into those women's bodies

like a fucking signature.

Groin to throat.

How many men are
truly that depraved?

- Well, the way I see it, lads,
is we have two options.

We could give our readers
a list of stone cold facts.

Or we could give them
something better. (chuckles)

S. POLING: For an editor,

whether the murders
are actually linked or not,

isn't it more titillating
to suggest that they are linked?

Doesn't that make a better headline?

And if it makes a better headline,
doesn't that sell more papers?

- When we look at The Star's
circulation figures,

we can see a very steep,
upward trajectory

that begins with the creation
of the lone killer story.

NEWSPAPER BOY: Killer
on the streets on Whitechapel!

Three brutal murders!

Get your papers.!

- "All this leads to the conclusion

that there was a lone maniac
haunting Whitechapel,

and that the three women were all
victims of his murderous frenzy."

Nobody else is saying it.

Nobody.

- To link the three very separate
murders of Emma Smith, Martha Tabram

and Polly Nichols,
and claim there's a lone killer

is a pivotal moment
for tabloid journalism.

Because it's crossing the line
between reporting news

and making news.

- T.P.
- Aye, aye.

- We are out already.
- What do you mean?

People are queuing down
the street to get a copy.

We have sold out.
- Then start another print run.

(laughing)

F. RIDDELL: This is an incredibly
significant moment

in the history of Jack the Ripper.

Because this is his birth.

This is where you see
the mythology of the Ripper

being created by The Star.

- The rest of the press
soon catch on.

Even the most respectable
and serious minded newspapers

like The Times print this theory
of the lone killer.

- This is our story, boys.

And it's going to change the
fucking game. Mark my words.

(laughter)

(commotion)

(hooves clopping)

NEWSPAPER BOY:
London gripped by fear!

It's all here in The Star!

Buy your paper!

(indistinct speech
from adjacent room)

- Ah, here she is! Elizabeth.
Come and join us.

- Oh, we're entertaining?
You might have said.

Colman and Brunner are here.
- Well, how could we stay away?

Your husband and his newspaper
are the talk of all of London.

S. KEOGH:
When The Star's lone killer theory

starts to link the unconnected
murders of Emma Smith,

Martha Tabram and Polly Nichols,

that's going to be a problem.

If I were there
investigating these three murders,

it would not be in our interest

for the press to be running off
with their own narrative.

- Now, now, gentlemen, gentlemen,
ladies...

To The Star newspaper.

- To The Star.
- To The Star.

- And its pursuit of the ghastly
Whitechapel demon.

(glasses clink)
- And to those poor women.

You know, I was thinking of writing
something about them.

Their lives, how they ended up
in such a destitute situation.

- No, no, no, it will never sell.
It's, uh, it's too depressing.

(all chuckling)

- But murder and mutilation
aren't depressing?

- Oh, heavens, no. It's much better.

It's terrifying
and everyone wants to be terrified.

(laughing)

(all laughing)

S. SIMMONS: It's human nature

to focus on the mindset
of the offender.

We like to be scared.
We like the fear factor.

But what's clear is that a male
dominated newsroom at The Star

led to there being a focus on the
offender and sadly not the victims.

F. RIDDELL: The direct consequence
of fetishising the killer

and his crimes

means that all public attention
shifts onto this monster,

rather than onto the victims,
the women themselves.

- (laughing)

- As a journalist you are under
pressure to keep the story alive.

- Thank you.

- So, when the newspaper
starts to push the idea

of there being a lone killer,
what you need next is a name.

- The thing is, if it is
just one man doing this

then surely someone's
got to know who it is.

- You think?
- No, I know.

And actually I know
exactly who we can ask.

- Who?
- The other women on the street.

- You think I should go
and speak to them?

- No chance, you are a press man,
they are not going to trust you.

Leave it to me.
- Uh, well, Hen, wait. You've got a-

- When The Star is describing
these three murders,

it says that they were
"unfortunate women."

In Victorian terms that's
coded language for people

we now refer to as sex workers.

A term that acknowledges the diverse
experiences of those in the past,

from trafficked women to those who
embraced its possibility of freedom.

R. MORAN: I have been told
that the women of the day were

described as "unfortunate women."

And the first thing I thought
when I have heard that was,

at least they were honest
in Victorian London.

Women in prostitution

have always had their humanity
erased and denied.

I resent the term "sex work,"

because it sanitises
the reality of what's happening.

WOMAN: Be safe.

- Excuse me,
can I just ask you some questions?

- One of the best ways
of trying to solve a crime

is to get down and dirty
with the people of the street.

To be speaking to them.
Mixing with them.

Listening to the rumours.

- We've all got the fear.

Not one of us wants to go out,
but if we don't work...

- Have you got any idea of
who it could be?

- We know him alright.

(tense music sting)
- Really?

- There is one punter
we all try to avoid.

- Who?

- (whispers)

See you.

R. MORAN: There is a constant need

as a woman on the streets
to be vigilant.

Predators can clock vulnerability.

So the news of violent men
would spread like wildfire.

(tense music sting)

- Have you locked
the latest edition?

- Almost. Why?

- We got a name for our lone maniac.

- Hold that thought. Tell me.

- They call him Leather Apron.

- Leather Apron?
- Yeah.

- If you are going to name someone
as a killer,

you better be right.

- Let's get into the
last edition then.

Now, you tell them all downstairs.
Hop to it.

- Because if you are wrong,
it's going to cost you an awful lot.

- We are going to change the game!

(laughing)

- Your suspect is a crazy Jew?

- I would describe it
as irresponsible reporting.

- The Star is calling upon the
people of Whitechapel to take

matters into their own hands.

- You can imagine the tension.

- Come and see the body.

- Annie's injuries match
that of Polly Nichols.

- It's the same killer.

- The journalists at The Star
had blood on their hands.

- We're going to write a letter.

- The Dear Boss Letter
is a pivotal moment.

- Where's the body?
- Which one?

- Horrific, brutal,
torturous violence,

it sells itself,
that's why tabloids love it.

- Jesus Christ!

- "Yours truly, Jack the Ripper."

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