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[ Coughing ]
ANNA: Well, let's examine the body, shall we?
MORGAN: No, no, I don't want you going in there.
The less contamination, the better.
Get moving on setting up the incident room.
Never seen anything like it. Beggars belief.
She's been sliced in two
and her skin is like a white china doll.
My chest hurts.
Well, whoever killed her placed her body
so she'd be found quickly.
MORGAN: I want details of all cars, vans, trucks
parked in the area.
Search all skips and bins
for handbags, clothes, shoes, anything.
JOAN: I've never worked this side of the river before.
BARBARA: I know, I had to catch two buses to get here.
Do we know any details yet?
No, not yet.
Morgan's giving the uniforms their marching orders.
My God, that does not look real.
This is the worst part.
Look at this.
JOAN: Barbara, Barbara, look at the board.
MORGAN: Can you cover her face?
BARBARA: It's a blow-up doll, isn't it?
JOAN: But it's in two halves.
MORGAN: Attention, everybody.
We have a female victim, aged between 20 and 30, naked,
but with nothing to identify her.
So that will be our priority-- find out who the poor soul is.
We got anything in from pathology?
We're kind of working blind.
You know, it's hard to sort of see what she really looked like,
because of that slash to her mouth.
DCI Morgan's been at the lab all afternoon.
He looked terrible.
He should be in bed.
As it is, he's spreading his germs.
ANNA: I've walked miles, done a hundred door-to-doors,
and no one's seen anything, apparently.
Have we got anything from the postmortem yet?
Nope.
There's no one fitting her description
from this area reported missing.
Has anyone tried to contact DCI Morgan?
PAUL: Not recently.
ANNA: I'll do it.
WOMAN: Tea, anybody?
Somebody must have really hated her to do that to her,
cut her face like that.
Well, I don't think we're looking at
some kind of domestic violence.
Oh, really, Barbara?
Very incisive!
What do you think we're looking for, then?
I mean, it would take some kind of a psychopath
with a ruddy chainsaw in his bathroom!
ANNA: Yeah.
What?
Okay, thank you.
DCI Morgan's been taken to hospital
suffering with pneumonia.
JOAN: I told you he was sick!
JAMES: Right, listen up, everybody.
Oh, picnic time, is it?
For those of you who don't know me,
I'm Detective Chief Inspector James Langton.
I will now be heading up this inquiry
due to the inability of DCI Morgan
to continue running the show.
This is DI Mike Lewis.
Some of you have worked with him before.
So...
do we have her identified yet?
Oh, my!
By now, Travis, you should be used to postmortem procedure.
Yes, sir, I've worked three cases now.
Good, because we don't want you crashing out and vomiting.
Got anything to say?
No, sir.
You ever come across anything like this before, Mike?
No.
I want a tight lid on this one, complete press embargo.
VERONICA: Ah, no need to gown up, I'm ahead of you.
I'm gonna need a bit more time for the finer details.
Her injuries are extensive.
Are you taking over?
Correct, Veronica.
Poor DCI Morgan was in a really bad way.
I had him shipped off to hospital before we could...
Yeah, yeah, let's get cracking, shall we?
Enough time's been wasted already.
Not on my part.
Your victim was between 24 and 30 years old,
five feet, five inches tall and 56 kilograms.
The mutilation was done very professionally,
perhaps by someone with surgical experience.
Slicing through a body, cutting through muscle tissue,
and then carefully through the spinal cord
not only takes time,
but these incisions are very neat and clean.
The body was drained of blood before being severed.
There are incisions made to the femoral artery
and the right jugular vein.
Again, this is no easy feat, one would require a pump and tubes.
The cuts to her face were made with a scalpel.
They are deep, slicing through the cheek,
to give the impression...
JAMES: That she's smiling.
VERONICA: Yeah.
There's extensive bruising to sections of the head,
forehead and midline.
Some of the hair has been shaved off.
Her hair--dyed by the way, she's a natural blonde--
you can see a tiny bit of regrowth in the parting.
There's further bruising to her arms and thighs
and restraint marks on her wrists and ankles.
Now, all of this would have taken some considerable time.
Judging by the marks on her body,
she would have had to be tied down.
Badly bitten fingernails, by the way.
Did you get any fibers or anything that might help us?
No, her body was scrubbed clean with a rough brush,
leaving nothing on her skin, bar the abrasions.
And the time of death?
Within the last 36 hours.
We're still working on her internal organs
and toxicology have samples, but without her blood,
we're not going to turn up anything satisfactory.
I've taken hair and tissue samples for her DNA profile.
DCI Morgan asked if we could help provide a photograph
for identification of her face without the injuries.
Somebody, somewhere must know who she is.
She was lovely.
I don't know.
Look how many girls we checked out.
She don't match any one of them.
JAMES: We are retaining a complete press blackout
on what has been done to the victim,
but an identical picture went out in this morning's papers,
appealing for information,
because until we know who she was, we'll get nowhere fast.
Good of you to join us, Travis.
JOAN: This is a possible, sir,
sounds as if she recognizes our victim.
-Female? -Yeah.
Travis, take it.
Hello, this is DC Travis. Can I have your name, please?
MIKE: Yeah, look, we're not giving out,
we're not giving out information, I'm afraid.
JAMES: What's the problem?
Some journo from the Telegraph, Richard Reynolds?
Tell him to *** off.
I've got another caller, says it could be his sister.
Yes, Joan?
Look, cut through the dross, prioritize them,
ask them about coloring, height, age,
and if it's a match, we'll bring them in.
Okay.
Hang on the line, please.
What is it, Travis?
It's a Sharon Bilkin,
says that the missing girl is her flatmate.
When did she last see her?
Three days ago.
Do we have a name?
Louise Pennel.
Well, get her address, go and see her.
ANNA: Sharon Bilkin?
Hi, I've not got very long.
I've got an audition this afternoon in the West End.
What kind of sick *** would do all this?
I'm still working, but I thought you should know
that your victim is missing
a number of lower internal organs.
What, with this and the blood draining,
it looks more likely that your killer has surgical experience.
SHARON: This is Louise.
She was trying to break into modeling, like me.
She had these done a few months back.
It's her, isn't it, from the paper?
ANNA: I'm gonna have to ask you some questions, okay?
Can I take this?
Yeah.
What's she done?
Has she done something?
When was the last time you saw her?
Uh, Friday, we went to a club.
Well, I left her there, and she didn't come back.
But it's not unusual, sometimes she stays out for days.
Does she work?
Yeah, part time, dental nurse.
I mean, she gets paid peanuts 'cause they're doing her teeth,
you know, putting on caps.
What's she done?
ANNA: I'm sorry to tell you this
but it's possible your friend may have been murdered.
Yes?
We need a positive ID, so bring her in.
Yeah, we'll be here.
We've maybe got her identified.
Travis is bringing in the flatmate.
No immediate family as yet.
Veronica, is there any way you could clean her face up a bit?
So I need you to look at this girl
and tell me if you recognize her.
But I did from the photograph, you know, I said it was her.
I know, but we need to be sure, and with no next of kin...
Right.
Are you ready?
Yeah.
What's been done to her?
Her face, what's the matter with her face?
Is this Louise Pennel?
Why does she look like that? What's happened to her?
Now we go to work.
That's the landlady. She owns the house.
PAUL: Lot of dirty laundry, but not many new clothes.
Some evening gear, looks expensive.
Ah, look at this, very nice.
Cashmere!
Also some, new, hardly worn, compared with...
You reckon she was on the game?
You tell me.
You don't get this kind of gear
working part time as a dental nurse.
ANNA: I'm going to go talk to the landlady.
When was the last time you saw Miss Pennel?
They used to get back late, waking me up.
But it would be, probably be last Friday,
I saw her leave with Sharon.
She had a flower in her hair. I remember that.
Did you ever see anyone with her?
Anyone come visit?
No.
Well, one night there was a ring on my doorbell,
and there was this man there, said he wanted her.
Then he walked across the road to wait in his car.
Now, we know who she is, Mike, what else have we got?
She worked for a dentist but got fired three weeks ago.
His alibi checks out, said she was always, always late.
Paul, anything?
Not a lot, no letters or diary.
Missing is a red coat with a velvet collar
and matching buttons.
She was wearing it when she was last seen.
What about friends? No boyfriends?
No boyfriends. There was an older guy she was seeing.
The flatmate told Travis
that Louise answered an advert somewhere.
The Times, or it could have been Time Out.
And?
Well, she thinks she got the job,
but doesn't know what it was.
But she was asking about getting a passport,
said she needed it for her new position.
JAMES: Check it out.
She used to go out and meet him
and come back with a lot of clothes and stuff.
And one time she looked really done in,
do you know what I mean?
Like, she had a bruise on her face,
said she'd fallen down the stairs.
-Did you see him? -No.
Listen, sweetheart, we've no time to waste.
Tell me about this man she was seeing.
Well, he was tall, dark-haired.
He wore a long black coat.
This is DCI Langton.
Yeah, and he was giving her presents, right, money?
Yeah, and perfume.
It was an old fashioned one, smelt of lilac.
And she started wearing odd makeup.
Very pale, with lots of black eyeliner and red lipstick,
like a Goth, or something on the Addams Family.
And when she went out,
she'd started to pin a red rose in her hair.
Travis, I want you to go back to the landlady,
jog her memory, see if she can come up with anything
about this older bloke that was seeing the victim.
And question the neighbors again.
Have we got anything on this new job
the victim was supposed to have?
We've only got a possible time re the advert,
but I'm checking with Time Out and the Lady.
Well, remember, it's something that required a passport.
Well, that's not much to go on!
Well, right now, it's all we've bloody got!
Keep at it.
ANNA: Sharon said that Louise used to go to local cafes
to get free meals off the men she met there.
Well, have you been down there?
ANNA: Not yet.
JAMES: Paul, check them out!
MIKE: Gov, you'd better read this.
"Roses are red, violets are blue,
who cut Louise Pennel's mouth in two?"
How the hell did they get hold of that information?
ANNA: Wait, this looks like the picture Sharon Bilkin had.
It's not a dahlia, it's a rose.
JAMES: We are going to get a load of calls from now on.
As long as we hold off on the atrocities that Louise suffered,
then maybe we can distinguish between the nutters
and any real tip-offs.
Get over there and close this down.
Hi, I'm sorry to keep you waiting.
I'm Richard Reynolds.
Anna Travis.
Nice to meet you.
Do you want to come through to the newsroom?
Or if you'd prefer, we can bag someone's office, more private.
Crime desk's a bit like Piccadilly Circus.
Just through here.
Take a seat, I'll get some coffee organized.
How can I help?
Well, it's about the article you wrote
about the *** victim Louise Pennel.
We didn't have much to go on,
as there hadn't been a press release.
Yes, but you wrote that her mouth had been slit in two.
That was in a letter that was sent in.
I got another anonymous letter that likened your victim
to somebody called Elizabeth, Elizabeth Short?
Have you heard of her?
No.
Me neither.
I haven't had a chance to look her up.
To be honest, I've been sidelined
by this young boy that's missing.
Do you still have the letter?
No, I don't.
You know, I did call the police about it.
I wasn't exactly taken seriously.
Then I got the second letter,
I don't have that, either, I'm afraid.
Can you recall exactly what it said?
Thanks, Lex.
This second letter?
Like I said, we get a shed load of crank letters
every time we lead with a *** story.
Thanks.
Well, what did this one say?
Something about how the case of the Black Dahlia
was never solved.
Wait, hang on, the black what?
Dahlia.
What does that mean?
No idea, it's just what the letter said--
how it was never solved
and now there was another one, the Red Dahlia.
Was it handwritten?
No, typed.
That was the "Roses are red, violets are blue,
who cut her mouth in two?"
Was it, by the way? Cut in two?
Do you know a young woman called Sharon Bilkin?
Should I?
Okay, look, could you please get in touch with me
if you get any more contact from anyone?
This is my direct line.
My pleasure.
Thanks for your time.
Have you had lunch?
Pardon?
There's a nice pub just around the corner.
No, I've got to get back, thanks.
How about dinner one evening?
ANNA: Apparently it was a story cobbled together
when they received the photograph.
JAMES: What? He got a note?
ANNA: Actually, there's two of them.
Two?
It said exactly what Richard Reynolds printed
in the paper.
Yeah, well, they had to have come from the killer,
because we never disclosed any of the wounds to the press.
And the only person outside our team who saw them
is Sharon Bilkin.
I'm on my way to her now.
I said they could take everything,
'cause I don't want her stuff.
I got to get someone else in to pay the rent,
but they've left some things and an old suitcase,
so I just shoved everything into it.
Just sold her photograph, did you?
I didn't sell it.
Sharon, this is very important.
You may not feel like you're withholding evidence,
but you are.
Are you sure you're telling me everything?
You had a folder of photographs.
Sharon!
Yeah, all right!
I know this bloke, Kenneth,
he's done some snaps of me, a couple for Buzz.
I bumped into him and we got talking,
and I told him about Louise.
Well, he came back here for a coffee,
and I showed him her pictures, I didn't think it would matter.
Did you tell him about the marks on Louise's mouth?
No.
Will you stop cleaning for a minute, please?
Did you give the journalist anything else?
I...
I never even met him, Kenneth gave me 50 quid.
I just, I just want her stuff removed.
She was always on the scrounge, pleadin' poverty.
I mean, she'd use my makeup, my perfume.
She'd even nick my tampons and then deny it!
Is there no one who would want her things?
I don't know.
What is it?
Anything you think of might help me.
When I first met her, she was really positive, you know.
Really excited about the future, but...
After a couple of months, she changed, she was different,
always sneaking in and out, secretive.
It was always as if she was waiting for something.
Like, every time the phone rang, she'd look towards it,
like, like she was hoping for something to happen.
I knew something was wrong, I just didn't know what.
I'll never know now, will I?
[ Woman singing faintly, distant ]
Harwood House Library, 1964.
"Etiquette: All you need to know about home entertaining."
"Dear Sir, I have enclosed a photograph of myself."
LOUISE: I would like to apply for the position
of personal assistant.
I am presently working for a dental practice
but have always wanted to travel,
and as I have no dependents, this would not be a problem.
I am able to type but do not have shorthand experience.
Working, reliable and hardworking.
Please contact me on the number above.
I look forward to hearing from you.
[ Woman singing faintly, distant ]
Is he in yet?
BARBARA: Oh, yeah. I think he spent the night here.
Barbara, you're trying to trace the advert
in the paper, right?
Well, this might help.
Tell me about it.
Found it in Louise Pennel's belongings.
This is part of her job application.
That's her suitcase.
Meant to bring it in last night.
Barbara, Gov wants a bacon roll.
What's this?
It's Louise Pennel's suitcase.
BARBARA: She just brought it in, stinks of mothballs.
I'm not bagging and tagging all that lot!
Get lost!
I couldn't believe it when I saw it.
Elizabeth Short.
She was 22 years old and was murdered in Los Angeles in 1947.
Her killer was never found.
It was called the Black Dahlia Case.
Sorry.
Just look at these mortuary shots.
Awful.
There are even more photographs
describing the exact way she was found
and a detailed description of the man that they were hunting.
There's even a sketch somewhere.
Shhh, give me a minute.
This LA killer sent anonymous letters to a reporter.
Louise Pennel's body was placed in exactly the same way.
A few years ago there was a book out,
written by a detective who claimed
that his own father was the killer.
He worked for the LA homicide team.
The suspect?
No, no, his father.
He was a surgeon, he was the police officer.
Give me some breathing space.
I'm still loathed to go to the press with more details.
It's just that there were two other murders.
If he is copying the Black Dahlia,
he could go the whole way and kill again.
You know, they never released the details...
[ Knock on door ]
...of exactly how the...Yes? ...the Yorkshire Ripper killed?
-Bacon roll, sir, no tomato. -Thank you.
Yeah, well, maybe they should have done.
He murdered 11 women!
If we give the press anything near the truth of this case,
it will create mayhem!
JAMES: Right, settle down everybody.
Settle down, this will just take a minute.
Anna, Harwood House was a children's home,
it closed down about five years ago.
From the library book,
we were able to check out a Mrs. F. Pennel in Margate.
Well, I couldn't speak to her personally,
Relation?
she's very elderly and bedridden,
but her housekeeper, a Joyce Hughes,
says she thinks she's our victim's grandmother.
Sorry, sir, I was just giving the Margate update.
Travis, don't bother phoning, just get down there.
In the meantime,
have we had any joy in tracing this bloody advert?
Train timetable.
I don't know how you get all the perks,
nice little trip to the seaside.
JAMES: Barbara!
No luck, sir, but I'm thinking of applying for a job
on a cruise ship!
Ha, very funny.
We find who placed this advert,
I reckon it will lead us to the only suspect we have,
so come on!
Move your arses!
Travis!
I hope this little trip to Margate proves worthwhile.
Is it all right if I go straight home afterwards, sir?
Why, you got a date or something?
I'll call you if I find anything.
Mrs. Hughes?
Anna Travis.
Follow me.
Mrs. Pennel is expecting you, but she may be sleeping.
Have you worked for Mrs. Pennel long?
Twelve years.
There used to be other staff, but now it's just me.
Give me a minute.
Florence?
The lady is here to see you.
Florence!
There's a bell by the door,
if you ring it when you're leaving.
I'll be downstairs in the kitchen.
Mrs. Pennel?
Sit down, dear.
Have you been offered a drink?
No, I'm fine, thank you.
Do you mind if I take my coat off?
There's some gin and tonic on the dresser.
Are you from the social services?
No, I'm, I'm here to ask you
about a young woman called Louise Pennel.
Mrs. Pennel, Louise was murdered.
Mrs. Pennel, this is a photograph of her.
Do you mind taking a look at it and telling me if you knew her?
Is it Raymond's daughter?
Who's Raymond?
My son!
That's him over there.
This is your son?
He married a terrible woman.
A hair dresser!
He died of a burst appendix.
If she'd had a brain, she'd have called an ambulance,
but she let him die!
Heather, her name was Heather!
Mrs. Pennel, I'm here
because I'm investigating the *** of Louise.
I need to know if she was here or if she was with anyone?
Yes!
I'm sorry?
I said yes, yes, yes!
My son!
I would have helped,
but not that woman with her bleached hair,
common voice, cheap perfume.
She was to blame!
She killed him!
JOYCE: She can go on like this for hours.
The same thing, over and over.
Do you want a cup of tea?
Yes, please.
ANNA: How does she live in that heat?
JOYCE: I should have warned you not to bring up Raymond.
She's 94, and I think her venom is what keeps her alive.
Did you know her son?
No, before my time.
Lot of gossip about him.
Caught with young boys up on the sand dunes.
Then, apparently, he met this hairdresser
and wanted to marry her,
but Mrs. Pennel wouldn't hear of it, cut him off.
I think she was pregnant.
Doubt if it was his.
That would be Louise? The child?
I think that was her name.
I only met her once.
Is this Mrs. Pennel's house?
Yes.
I'm Louise, I'm her granddaughter.
I'm sorry?
My name's Louise Pennel. I want to see my grandma.
If you're speaking about Mrs. Pennel,
I'm sorry, she can't see you.
It was last September.
ANNA: Nine months ago.
I don't know who you are,
but I've come a really long way.
JOYCE: I think she was after money.
I'd say Florence was worth a few hundred thousand,
probably more.
Well, I'm gonna answer this advert in the paper
for a personal assistant.
He's very wealthy, he's a writer.
And he travels a lot, so I got to get a passport.
If he says he wants to meet me,
and, well, I haven't got the right clothes.
JOYCE: There's wardrobes full of good quality clothes
that'll never be worn.
So I went upstairs and got them for her.
Anything else?
I'd been sitting here polishing the silver when she turned up.
After she'd gone, I noticed a few things missing.
A candlestick holder.
Okay, well, I'm gonna need a description.
Oh.
Will I get into trouble?
FLORENCE: I know Raymond took my jewelry for that ***,
and I never pressed charges.
JOYCE: Sad, isn't it?
FLORENCE: But I could have done!
All this money and this huge house,
and she came begging and then gets killed.
[ Woman singing faintly, distant ]
RICHARD: I don't know how good the food is here,
but I thought it'd be nice to go local.
Then you can invite me in for coffee after!
ANNA: Really?
I've never been here before.
RICHARD: Always a good idea to check out your local eateries,
reason being, you can get legless and totter home.
Okay, I'm gonna have the chicken liver to start
and the meatballs for main.
-Are you having a starter? -Yeah, I'm starving.
I'll have the avocado salad, and the lamb tagine, please.
-Did you get all that? -Yep.
Good man. Thanks.
We got a breakthrough on the missing boy.
They found his body in Highgate Cemetery,
stuffed into a half dug grave.
Oh, God, I'm sorry.
It's really hard to keep your distance emotionally
when there's children involved.
It's the peripheral things that take it out of you.
The poor mother couldn't speak, was in total shock.
My editor rings me and says,
"Get her to talk about the way she feels."
Sorry, sorry, I didn't want to get into it,
but that was why I was late picking you up.
Oh, it's okay, I'd just got back from Margate anyway.
Margate, what were you doing there?
Making inquiries.
About what?
No, I shouldn't really talk to you about it.
Anna, we're just having a nice, friendly dinner.
I'm not trying to pump you for information.
I don't suppose you've received any more anonymous letters,
have you?
Nope, but I've been away from my desk all afternoon.
Were the letters, were they addressed to you personally?
It's only in the original Black Dahlia case,
their suspect specifically chose the journalist.
No, they were just in the mail bag.
So, what? You're linking the two cases now, are you?
Are you married?
Swift change of subject.
No, I was. We broke up a year ago.
You have kids?
No. Had a parrot, but her mother's adopted it.
Ahh, good man.
Thanks.
Another bottle of the Merlot, please, thanks.
Do you think your killer had medical training?
I know you're not telling the press any of the grisly details,
but after you left,
I looked up Elizabeth Short's *** on the Internet.
If this Louise Pennel's case is similar,
it makes my hair stand up on end.
What's up?
It's my boss.
Excuse me a minute.
Hi.
Surprise...
Or maybe not. This has to be your local.
I come here a lot.
First time for me.
This is DCI Langton, this is...
Richard Reynolds. Nice to meet you!
***.
Enjoy your dinner.
***!
And that's his boss.
Why don't we just get coffee back at your place?
You ready?
Anna, do you mind if I take a rain check on that coffee,
it's just that I have to be up at the crack of dawn tomorrow
and I'll need to do a follow-up on that poor kid.
That's fine.
Bill, please.
Wait, hang on, let me give you...
No, no, no, this is on me.
You okay?
Yeah.
Wish I hadn't been clocked by my boss, that's all.
Can we do this again and at a different restaurant?
Yeah, I'd like that.
That bloke that you were with last night, the journalist.
Yeah?
I hope he wasn't pumping you for information.
No, he's just an old friend, sir.
Really? Keep your mouth shut around him, right.
When we want the press involved, we rope them in.
Don't go spilling any beans they're not privy to.
I wouldn't do that, sir.
How old a friend is he?
I've known him for quite a while.
Yeah, well, they're all the same as far as I'm concerned.
Just be careful what you say to him.
I will, but thank you for the advice.
Hey, don't get shirty with me.
Right, listen up, everybody, if we have a copycat killer,
we need to be one step ahead of him.
Now I want you to pay particular attention to this.
This is the LAPD sketch from 1947, the suspect.
Now the only description we have of our suspect
comes from Sharon Bilkin and the landlady, Mrs. Jenkins,
so let's see how they match up.
[ Phone rings ]
Tall, about six feet, possibly more, wore a long, dark coat.
We can put this drawing out.
ANNA: Sir.
It's the crime desk at the Telegraph,
they reckon they've had a phone call from the killer.
Who am I talking to?
Mr. Reynolds, I would be very grateful
if you would bring in a tape of the call immediately.
Did he ask for you personally?
Yes, but I didn't record that as it came via the switchboard.
It's exactly the same.
Let's hear it.
MAN: Well, Mr. Reynolds, I congratulate you
on what your newspaper has done on the Red Dahlia case.
You seem to have gone silent on it.
Have you run out of material?
RICHARD: You could say that.
MAN: Maybe I can be of some assistance.
-Bit muffled here. -Shh!
MAN: I'll tell you what I'll do.
I'll send you some of Louise Pennel's personal things
that she had with her when she, shall we say, disappeared.
RICHARD: When will I get them?
MAN: Oh, within the next day or so.
See how far you can get with them.
Now I have to say goodbye.
You may be trying to trace the call.
RICHARD: He cut me off.
It's almost identical to the call made
in the Black Dahlia case.
Travis!
Mr. Reynolds, I do not want the contents of this call
printed in your newspaper or any reference to it.
We'll send it over to the lab. It may be vital evidence.
Play it again.
MAN: Well, Mr. Reynolds, I congratulate you
on what your newspaper has done on the Red Dahlia case.
You seem to have gone silent on it.
Have you run out of material?
JAMES: We got anything?
I'd say middle-aged male.
It doesn't sound as if he's attempting
to disguise his voice.
Educated, confident, slightly upper crust intonation.
Is that it?
It's muffled, indistinct,
and little background noise to pinpoint a location.
This type of phonetic analysis is very time-consuming.
It requires painstaking preparations of speech samples
and close observation of acoustics and characteristics.
So what do we do?
Shove our thumbs up our arses,
because it could take what, days?
Weeks?
Mike, Mike!
I'm working on the adverts, I've been scrolling through them,
and this one ticks the right boxes.
A novelist seeking a PA with shorthand and typing experience
and a willingness to travel worldwide
at a moment's notice.
No previous experience required.
Applicants are to be between 20 to 30 years old,
attractive and well dressed!
The dates fit, ad withdrawn six months ago.
And?
It was paid for in postal orders,
bought in different post offices.
One in Slough, one in Charing Cross.
JAMES: Now he's covering his tracks.
Can you please look at this sketch
and tell me if it resembles the man
that came to call for Louise?
Oh, similar.
After you left, I had a good think about it,
and I'd remembered something.
It might be nothing,
but he held his left hand to his face, like this.
Maybe he didn't want me to see him clearly,
but I remembered he was wearing a very distinctive ring,
quite large, with a carnelian stone, I think.
It's a bit like him, but I never really had a good look.
Whoever it was, Louise was scared of him.
Why do you say that?
Well, the way she acted when she was going to see him.
And she told me that he didn't like her to dress sexy.
Demure, that was the word she used,
he liked her to dress demure!
But on the night that we last went out,
it was like she was sort of expecting him,
because at first, she didn't want to come with me.
What, did she receive a phone call or something?
Something that made her change her mind?
SHARON: I don't know, she might have done
while I was in the bath.
But she didn't wear her own clothes, she was in mine.
Not demure then?
No.
But she put on that red coat that she had.
So you said that she was wearing
this red strapless dress with a sequined...
With a pink sequined bag, that was mine.
Do you think that she was hoping to see him in the club?
Don't know, well, maybe she wanted to dress sexy
to *** him off?
I'm having my nails done this morning.
ANNA: There's no bank account, no post office savings,
she gets 150 quid a week from the dental surgery,
but she pays Sharon 120 quid in rent each week,
so that doesn't leave much to live on, though, does it?
But there is the cash in the boot.
But there's no trace of the red coat,
'40s style with a velvet collar.
Skirts, blouses,
suitcase reeks of mothballs.
You heard we traced the advert?
But the bad news is,
is that the postal box and the number listed
for applicants to call, drawn a blank so far.
It's a pay-as-you-go mobile.
Right, I'm off home. Joan's already gone.
Right, wait, but you can still trace the calls made to it?
We have done that, haven't we?
I'll do it, I'll do it.
Is the boss in?
These were delivered to reception.
"Dahlias Killer Cracking. Wants terms."
The LA Examiner received an almost identical letter, sir.
He's a copycat.
That's bloody obvious, Paul.
"DCI Langton,
I will give up in the Dahlia killing if I get 10 years.
Don't try to find me."
Okay, take a break, recharge your batteries.
Go on, get out.
I'll deal with these.
DCI Langton. Yes?
[ Snaps fingers ]
About time. I'll send someone over to pick them up.
And this is a *** inquiry that takes precedence
over a few starlets getting drunk on champagne!
Thank you.
The club's releasing the CCTV footage.
Get over there.
Are you here about that girl that was murdered?
Yeah, were you not questioned already?
No, I'm part time, nights.
Right, well, this shouldn't take too long.
I need you to look at these photos.
She didn't leave me a tip.
I'm sorry?
The coat didn't fit, old-fashioned.
I remember it 'cause me mum had one.
You took her coat?
Yep, hung it on the rail at the back.
I have a system, the early birds usually are the ones
that stay very late, don't ask me why.
This is a sketch of a man we're trying to trace.
Have you ever seen him?
Hmm. I don't know if it was him. Sort of similar.
In the club?
No, outside in the alley. We nip out there for a smoke.
Right, let's take a look at that.
He was parked opposite.
Cars think they can park here at night,
and the wardens have a field day.
You saw him?
I didn't get a close look. He was sitting in his car.
MIKE: Do you know what make of car it was?
A big car.
A four by four, maybe?
Very dark, but shiny, clean.
He got out of it when she came up to the passenger's side.
He said something and then she got into the car.
And the man looked like the one in the sketch?
Sort of, yeah.
Older looking, thin face, tall.
He had this long, dark coat.
Speaking of which, I'd better get back.
There'll be coats up the yin yang.
Is there, is there anything else,
anything else you remember?
That other girl, they came in together.
She's often here. Naughty one, she is.
But she didn't stay more than an hour.
They were having a row.
SHARON: You can stay, see if you can pull!
I'm leaving!
I haven't got any money, Sharon!
You never have, do ya?
Here! And this time, you can pay me back!
MIKE: Why haven't you come forward with this before?
I didn't think it meant anything, really.
It doesn't, does it?
Doreen, you've been very helpful, thank you.
Is there a reward?
"LP deserved to die.
Another victim will pay the same price."
The body of a white female has been discovered,
dumped in a field off the A4.
Body's covered in a red coat.
Can we go to bed?
You're investigating a brutal ***,
you're a detective,
you know the rules, and you've broken them.
Third time this woman's called in.
Sounds scared, but she said she knows who the killer is.
Did your father ever entertain young girls
like these, Emily?