- 4 months ago
Step into Victorian London with Man in the Attic (1953). Jack Palance stars in this chilling take on the Jack the Ripper legend—where suspicion, fear, and murder lurk in every shadow.
Man in the Attic (1953) is a suspenseful film noir thriller directed by Hugo Fregonese, starring Jack Palance, Constance Smith, and Frances Bavier. Set in late 19th-century London, the film revisits the chilling Jack the Ripper murders, with Palance delivering a haunting performance as the mysterious lodger whose dark secrets may be tied to the infamous killer.
Man in the Attic (1953) is a suspenseful film noir thriller directed by Hugo Fregonese, starring Jack Palance, Constance Smith, and Frances Bavier. Set in late 19th-century London, the film revisits the chilling Jack the Ripper murders, with Palance delivering a haunting performance as the mysterious lodger whose dark secrets may be tied to the infamous killer.
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00:42:01Is it really true that you dislike actresses?
00:42:17You seem to have touched on an old wound.
00:42:20I'm sorry.
00:42:20No.
00:42:26Yes.
00:42:28I will tell you.
00:42:29My mother was an actress.
00:42:32She was one of the most angelically beautiful women who ever lived.
00:42:37Exquisitely graceful, talented, and captivating.
00:42:43I loved her deeply.
00:42:46Deeply.
00:42:48She had the face of heaven.
00:42:50And the wretched heart of Jezebel.
00:42:54For every aspect of beauty she possessed, she contained a double portion of evil.
00:42:59I hated her.
00:43:01But I thought you said you loved her.
00:43:04One can love the beauty and hate the evil.
00:43:07Didn't you know that, Miss Bonner?
00:43:10Come on.
00:43:13I will show you.
00:43:14I will show you this face and you will see for yourself that there was no way for my poor father to know that she was cunning and faithless and rotten.
00:43:33It's not difficult to understand that my father fell in love with her.
00:43:45Perhaps she never met a man she didn't entice.
00:43:48She knew no love, only lust.
00:43:49She betrayed my father a hundred times.
00:43:53And when she finally left him for a young, rich Frenchman, my father killed himself.
00:43:58Not with a gun.
00:43:59With absinthe.
00:44:01With a thousand green glasses of absinthe.
00:44:05All of my growing up was spent with a drunken man who searched the face of every passing girl in Paris.
00:44:12Spent ten years dying of a broken heart.
00:44:15And your mother, did you never see her again?
00:44:18Yes.
00:44:21Yes, I saw her.
00:44:24She had become a woman of the streets.
00:44:26And it was in the streets that she died.
00:44:30Then they must be in Mr. Slade's room.
00:44:33Lily.
00:44:34Excuse me, Mr. Slade.
00:44:36Inspector Warwick is here to see Lily.
00:44:37I forgot.
00:44:39I, on the other hand, did not forget him.
00:44:40Here I am.
00:44:41Mr. Slade?
00:44:43We're going to the Black Museum of Scotland.
00:44:45Would you like to come along?
00:44:47Is it all right if Mr. Slade comes with us?
00:44:49I don't believe Mr. Slade would really enjoy himself.
00:44:52Do come.
00:44:53Yes.
00:44:55Yes, I believe I'd like to come.
00:44:57I'll be just a moment.
00:45:06And these are the death masks of various murderers.
00:45:10That one was publicly hanged outside Newgate prison six months ago.
00:45:14You can see the rope marks on the neck.
00:45:16You treat them like trophies.
00:45:18Like a stuffed elk head mounted over the fireplace.
00:45:21Yes, a little.
00:45:22But these were more dangerous than an elk.
00:45:25Man, unfortunately, is the most dangerous of all beasts.
00:45:27Man is not beasts.
00:45:29Murderers are beasts.
00:45:30There are the ropes that are actually used to hang these men.
00:45:35To me, it's the noose that's the wickedest looking.
00:45:38It hangs so calmly, making a graceful loop neatly tied.
00:45:42A simple design by which a man's breath is caught and forfeited for his crime.
00:45:47I'm afraid I'm making Mr. Slade a little queasy if you'd prefer to wait for us outside.
00:45:51It's not the rope.
00:45:53It's your policeman's philosophy, Inspector Warwick.
00:45:58Perhaps I'm too used to murder.
00:46:00I must seem callous.
00:46:02Miss Bonner, I have a question to ask you.
00:46:05Just one?
00:46:06I have dozens to ask you.
00:46:08You too?
00:46:09Yes.
00:46:10For instance, what was that used for?
00:46:13Oh, that was used in the Tufnel Park murder.
00:46:16And would you come Friday for tea at my home?
00:46:18I'd like some friends to meet you.
00:46:20Hmm, I see.
00:46:21What was that used for, Inspector Warwick?
00:46:25That is a poker with which some poor chap beat his sweetheart to death.
00:46:29Why did he do it?
00:46:30We never found out exactly.
00:46:32But my belief at this moment is that she failed to answer some perfectly simple question like,
00:46:37will you come to tea?
00:46:40Very well, Inspector.
00:46:42I'll come.
00:46:43That table is expressly reserved for one murderer.
00:46:47The Ripper?
00:46:47Those are pictures of the five victims.
00:46:51Ah, there you are, Paul.
00:46:53I wanted to pay my compliments to our distinguished and beautiful visitor.
00:46:57May I present Chief Inspector Melville, Miss Bonner.
00:46:59How do you do?
00:47:00How do you do, Miss Bonner?
00:47:01And Mr. Slade.
00:47:02Mr. Slade?
00:47:03I've been to the palace, Miss Bonner, where I heard Prince Edward say the most complimentary things about you.
00:47:08Why, thank you.
00:47:09Also, I was told that Her Majesty has decided that the Ripper can't possibly be an Englishman.
00:47:14Now, I suppose we shall have to investigate all foreigners.
00:47:16Not long ago, we were to investigate all bachelors because it couldn't possibly be a married man.
00:47:21Has Paul told you that he's our expert on Jack the Ripper?
00:47:24He even claims to be able to predict the time of each murder.
00:47:28There is a strange periodicity to the Ripper's crimes.
00:47:30It's as if the need to kill surges inside of him up to a peak, is satisfied, and then it's quiet until the compulsion slowly builds up again to another climax.
00:47:39When do you expect another?
00:47:41Two days ago.
00:47:42He's broken the pattern now.
00:47:43Usually it's every five or six days.
00:47:45It could come any time.
00:47:47Perhaps he's sated.
00:47:48Sated?
00:47:49If you're ready to go, Miss Bonner, I would be delighted to take you home.
00:47:53Oh, not yet.
00:47:54Then I hope you will forgive me if I go on.
00:47:57I have seen all I care to see of Inspector Waddick's little museum.
00:48:04Inspector Melville.
00:48:07Inspector Waddick.
00:48:08Your police methods will never trap the one you call Jack the Ripper.
00:48:15You may be right about the periodicity, but I doubt if the beast you described can be sated.
00:48:19He must do his work again.
00:48:22Good afternoon.
00:48:38Good afternoon.
00:48:42Them fellas and horses have a real cushy job of it all right, huh?
00:48:46Aye.
00:48:48Five thousand of us.
00:48:50We ought to lay our hands on that fella pretty soon.
00:48:53Aye, soon.
00:48:54And I hope it's me what does it.
00:48:55To make up for, you know.
00:48:57Oh, wish, man.
00:48:58We're sure it wasn't your fault that poor Katie got murdered.
00:49:02How could you know that she didn't live where she said she did?
00:49:05Aye, that's all very well.
00:49:06Oh, for the love of Mike, will you cheer up? You're depressin' the life out of me.
00:49:10Shhh.
00:49:13That's an Irish voice, I tell ya. It staked me soul on it.
00:49:19I suppose you wouldn't consider it'll drop us somethin' to, uh, help guard ourselves against the cool of the night?
00:49:24Come along, man.
00:49:27Come again, Mary.
00:49:29Oh, good evening, sirs.
00:49:30Good evening.
00:49:31Good evening.
00:49:32It's like a breath of home to hear you, miss.
00:49:33Oh, you're an Irishman.
00:49:35Well, there's no denyin' that.
00:49:36Well, no.
00:49:37Would you be averse to walkin' a girl to her home?
00:49:39Oh, I'd like nothin' better, miss.
00:49:41Oh, you're very kind.
00:49:42I've only just come to London to seek me fortune on the stage.
00:49:46Mayhap I'll get there if I don't have to be walkin' home alone at night.
00:49:50Will you not be walkin' home alone on my beat, Mr...
00:49:53Lenehan.
00:49:54Mary Lenehan.
00:49:55Ah, it is the breath of home to hear you, Miss Lenehan.
00:49:58Uh, would it be askin' too much to hear you sing again?
00:50:01I heard very little of that song in the pub back.
00:50:03Oh, sure, I will.
00:50:09There's a dear little plant that grows in our isle.
00:50:15T'was St. Patrick himself sure that said it.
00:50:21In the sun on his labor, with pleasure did smile, and with dew from his isle, often wetted.
00:50:36It shines through the bud, through the break, through the mile-land, and he called it the dear little shamrock of Ireland.
00:50:52The dear little shamrock, the sweet little shamrock, the dear little sweet little shamrock of Ireland.
00:51:10Me thanks to you gentlemen.
00:51:13Good night, sir.
00:51:14Good night.
00:51:15It was our pleasure, Miss Lenehan.
00:51:17And good luck to you.
00:51:19Thanks.
00:51:20And good luck to you.
00:51:21For now, see you and see you.
00:51:22You're not the best for the papa.
00:51:23I know.
00:51:24You're not the best for it.
00:51:25I'm fear.
00:51:26Not sure, honey.
00:51:27But also, I'm not the best for it.
00:51:28But for now, you need me.
00:51:29I need to be a good morning.
00:51:30Dee-dee-dee-dee!
00:51:32Da-da-da-da-da-berrys...
00:51:41Dee-dee-dee-dee!
00:51:44Dee-da-da-da-dump-tump!
00:51:49Dee-dee-dee-dee!
00:51:53Dee-dee-dee...
00:51:55Dee-dee-dee!
00:51:57Come on, lad.
00:52:01Dee-dee-dee.
00:52:05Dee-dee-da-da-dum-dum.
00:52:09Dee-dee-da-dum-dum-dum-dum.
00:52:19Aye, she has a sweet voice, but we have our duty.
00:52:23Come on, lad.
00:52:27Come on, lad.
00:52:29Come on.
00:52:35No!
00:52:37No, lad.
00:52:39No.
00:52:41Please.
00:52:43No.
00:52:45No, lad.
00:52:47No.
00:52:49No, lad.
00:52:51No, lad.
00:52:53No, lad.
00:52:55No, lad.
00:52:57No, lad.
00:52:59No, lad.
00:53:01No, lad.
00:53:03No, lad.
00:53:05No, lad.
00:53:07No, lad.
00:53:09No, lad.
00:53:11No, lad.
00:53:13No, lad.
00:53:15What's the matter?
00:53:27What's the matter?
00:53:45How long ago?
00:53:49We just left her. Only a few moments.
00:53:51Did anyone come out of here?
00:53:52We saw no one, sir.
00:53:54Then he might still be in the building.
00:53:59Put a cordon around this block. Search all these buildings.
00:54:15Let's go.
00:54:45No one on the roof, sir.
00:55:00Can't get out of this if he's human.
00:55:03I'm afraid he isn't human, sir.
00:55:06Not and do what he did to that girl.
00:55:15Let's go.
00:55:24What?
00:55:25What?
00:55:26What?
00:55:28What?
00:55:29What?
00:55:31Oh, my God.
00:56:01Oh, my God.
00:56:31What are you doing?
00:56:43I'm burning my ulster.
00:56:45Don't come too close.
00:56:50Those.
00:56:51What are those stains?
00:56:53They look like blood.
00:56:54I was carrying a solution in a glass container.
00:56:56Part of my experiment.
00:56:58I fell and it broke.
00:56:59My ulster became contaminated.
00:57:00I must be quick, drastic.
00:57:04The contamination could easily spread.
00:57:07Contamination?
00:57:09You mean it may carry a disease?
00:57:11Yes.
00:57:15What happened to the dog?
00:57:17I'm afraid I heard him.
00:57:19He jumped up to greet me.
00:57:20I didn't want him to touch the ulster.
00:57:23Dogs can carry human disease.
00:57:28There.
00:57:29It's done.
00:57:30You were right about the ripper.
00:57:34You were probably busy and didn't hear.
00:57:36Hear what?
00:57:38There was another ripper murdered tonight.
00:57:41You said he would do it.
00:57:43How did you know?
00:57:44I didn't know.
00:57:47Hear Inspector Warwick made me angry.
00:57:54I don't know why I said it.
00:57:57What is it?
00:57:59Everyone distrusts me.
00:58:00I feel it.
00:58:01Even you.
00:58:02I work very hard.
00:58:04I do what I must do.
00:58:05I am myself.
00:58:08I don't distrust you.
00:58:14Forgive me.
00:58:21I'm very tired.
00:58:25Is there anything I can do for you?
00:58:28We must each live with ourselves.
00:58:32Yes.
00:58:34What's happened?
00:58:36What's that smell?
00:58:37Anything wrong?
00:58:38No, Uncle.
00:58:39I'm sorry.
00:58:40I had to use the stove.
00:58:44All this writing about investigations and not a single clue yet.
00:58:58William, we must go to the police.
00:59:01What for?
00:59:02I don't believe Mr. Slade burned his ulster because it was contaminated.
00:59:07He wanted to get rid of those blood spots.
00:59:09Well, Lily said she believed him.
00:59:12I'm sorry.
00:59:13What's the matter?
00:59:15Well, here's his breakfast tray.
00:59:17But I don't want to take it.
00:59:19I don't know what to think of him.
00:59:21I'll take the tray and settle this business once and for all.
00:59:28William.
00:59:30William.
00:59:31Don't do anything silly.
00:59:32I never do anything silly.
00:59:33I don't.
00:59:33I don't.
00:59:43Great heavens, man.
00:59:48Don't you ever sleep?
00:59:50This experiment is very difficult.
00:59:52Any more danger of that contamination?
00:59:55I think not.
00:59:58You are suspicious, too.
01:00:00Well, I am a pathologist, Mr. Harley, and I am working on blood diseases.
01:00:05You can check on my work at the university hospital.
01:00:08Hmm.
01:00:08Of course.
01:00:09Of course.
01:00:10Did you come to ask me to move away?
01:00:12It has happened before.
01:00:14Move away?
01:00:15No, sir.
01:00:15Certainly not.
01:00:16Well, you're perfectly welcome here.
01:00:18And I'll see to it that you stay welcome.
01:00:20Now then, you'd better eat some breakfast, what?
01:00:25Eat, hearty.
01:00:53Come in.
01:00:58Oh, do come in, Mr. Slade.
01:01:00I came to thank you for your reminder.
01:01:04The theater.
01:01:05Oh, yes.
01:01:06I will come.
01:01:07Tonight.
01:01:08Splendid.
01:01:08I'm so happy.
01:01:10I think it will do you a lot of good to forget work for a while and really enjoy yourself.
01:01:14I believe there's some tea.
01:01:16Now, suppose you take off your ulcer and stay a minute.
01:01:19I'm not disturbing you.
01:01:20No, of course not.
01:01:21I was merely writing a few thank-you notes for flowers.
01:01:25And most particularly to Inspector Warwick?
01:01:28I should be able to thank him in person.
01:01:30He's coming tonight, too.
01:01:32You don't like Inspector Warwick, do you?
01:01:35He thinks you are a most interesting man.
01:01:37He asked me all sorts of questions about you.
01:01:46Wait here, Bates.
01:01:51Yes, may I help you?
01:01:59I wish to inquire if you have a Dr. Slade in your hospital.
01:02:02Dr. Slade?
01:02:03No, we do not.
01:02:06We have a Mr. Slade, who works in research.
01:02:10He's a pathologist.
01:02:12Do you wish to see him?
01:02:14No, not immediately, thank you.
01:02:15Just as well.
01:02:16He isn't here.
01:02:17Have you seen him recently?
01:02:19As recently as last night.
01:02:21Is he here very much?
01:02:23Almost every day and night.
01:02:25He works late quite often.
01:02:27He's a most respected member of our staff.
01:02:29Good evening, Daisy.
01:02:56Oh, good evening, Inspector Warwick.
01:02:57Am I too early?
01:03:01Oh, I think Miss Lily will be down in a minute.
01:03:05Will you sit in there, sir?
01:03:11What's the trouble, Daisy?
01:03:13Oh, I don't know.
01:03:16I'm as jumpy as a cat.
01:03:18What's the matter?
01:03:19Well, it's the back and forth and back and forth.
01:03:25Back and forth?
01:03:27Well, first Mrs. Arley says he's the ripper himself, and then Mr. Harley proves it's all nonsense.
01:03:32What do you mean?
01:03:35Well, first he burns his black bag, and then Mr. Harley pooh-poohs that and shows us his own, hidden in the chest.
01:03:44And then he burns his ulster, which had all the blood on it.
01:03:48Daisy, wait a moment.
01:03:48What are you talking about?
01:03:49Well, Mr. Slade.
01:03:52Oh, it's all mixed up, and I'm not supposed to say.
01:03:56Mr. Arley says it's just woman's hysteria.
01:03:58Wait a minute.
01:04:03Good evening, Inspector Warwick.
01:04:05Good evening, sir.
01:04:05You've come for Lily?
01:04:07Yes.
01:04:08Perhaps a nip of sherry will help us pass the time.
01:04:13Mr. Arley.
01:04:16What is this about Slade?
01:04:18Helen's been at you, has she?
01:04:19Well, no.
01:04:20As a matter of fact, Daisy mentioned it.
01:04:22Look here, old man.
01:04:23Everything about Slade can be logically explained.
01:04:25Except one thing.
01:04:27The dog's suddenly gone sour on him.
01:04:29Still, that doesn't prove anything, does it?
01:04:32You'd better tell me about it, Mr. Arley.
01:04:35I tell you this, Lily, no matter what you say,
01:04:38I don't believe you ought to spend too much time alone with him.
01:04:41Aunt Helen.
01:04:42Dear, sweet Aunt Helen.
01:04:44What if I were to tell you that it was Mr. Slade who was in danger?
01:04:48Not I.
01:04:51Why, Lily!
01:04:54I think this thing can be settled tonight.
01:04:58This is a copy of a thumbprint the ripper left in the room of Mary Lenahan, the last victim.
01:05:03Thumbprint?
01:05:03There's a theory that there are no two fingerprints in the world that are exactly alike.
01:05:08I happen to subscribe to it.
01:05:09Hmm.
01:05:11Could you get me something that Slade has held in his right hand?
01:05:14A glass or something?
01:05:16Well, frankly, I don't know.
01:05:18Mr. Arley, wouldn't you feel more secure if we cleared it up?
01:05:21Yes, I suppose so.
01:05:22Fact is, the fellow's gone out.
01:05:24We might try looking about his room.
01:05:26That'll be fine.
01:05:27I'd rather hate to, you know, prying into a man's belongings.
01:05:33Mr. Arley.
01:05:36Yes.
01:05:36Helen tells me Mr. Slade frequently reads the Bible.
01:06:00Murderers don't read Bibles, do they?
01:06:01There might be some prints here.
01:06:05I'd like to take something smaller, something you wouldn't immediately miss.
01:06:08Oh, this will do.
01:06:12Now, something more.
01:06:22Locked in.
01:06:23I say, should you do that, old man?
01:06:30A policeman never knows what he should do until it's proved to be the right thing.
01:06:41Well, this probably has both prints.
01:06:43Handkerchief?
01:06:45I say, uh...
01:06:46I'll bring it back.
01:06:48And your handkerchief.
01:06:49Don't pass on, Helen.
01:06:53Gentlemen don't mind waiting for ladies.
01:06:54They're quite used to it.
01:06:55What do we do?
01:06:56Shh.
01:06:57Do you have everything, dear?
01:06:58Yes, I'm here.
01:06:59Stop worrying.
01:07:00Well, I can't help it.
01:07:01There's something in the air tonight.
01:07:04She's feeling things again.
01:07:06I thought Mr. Slade had gone out.
01:07:08There's a light in here.
01:07:11What is this?
01:07:13I'm sorry, Vespana.
01:07:15You've been snooping through Mr. Slade's things.
01:07:17Very well.
01:07:18There's been a mystery about this gentleman, and I wish to clear it up once and for all.
01:07:21I'm quite tired of this.
01:07:23Why don't you leave the poor man alone?
01:07:25He went out early to avoid meeting you.
01:07:27Oh?
01:07:28Where did he go?
01:07:29He'll be at the theater later to see me.
01:07:32Perhaps you can hang him there.
01:07:34I merely want to ask some questions.
01:07:37What did you find of his?
01:07:38I found this.
01:07:41That's his mother.
01:07:43His mother?
01:07:43Of course.
01:07:44He told me about her.
01:07:46Poor woman.
01:07:47She died an alcoholic in the slums of Whitechapel.
01:07:50What else did he tell you?
01:07:52He seemed quite confused about his feelings for love and resentment all mixed up together.
01:07:58Please, Paul.
01:07:59Leave the poor man alone.
01:08:01You defend him with quite a lot of spirit, Miss Barna.
01:08:03I know him better than any of you.
01:08:05I like him.
01:08:06I feel sorry for him.
01:08:07As a friend, I should like to respect your fondness for Mr. Slade.
01:08:11But I am also a policeman.
01:08:13You most certainly are.
01:08:16You needn't bother to take me to the theater tonight.
01:08:19Good night, Inspector.
01:08:21If I may say so, sir, I...
01:08:36And if I said you may not say it?
01:08:39Then I wouldn't, sir.
01:08:45If I may ask, sir...
01:08:47Bates, if it seems to you I'm in an osti mood tonight, you're right, and I have cause.
01:08:52No, you may not ask.
01:08:53You may not say so.
01:08:54You may do absolutely nothing except breathe quietly.
01:08:59Yes, sir.
01:08:59Are you tired of life?
01:09:16Are you bored with your wife?
01:09:19Is he laugh really out of the question?
01:09:21Weep?
01:09:23Then I take you with me.
01:09:26And we go to Paris.
01:09:28And I think I make just one suggestion.
01:09:37Come and do the new Parisian trot.
01:09:41In Paris, they do the top de l'art.
01:09:45You'll be shocked by such an oppi step.
01:09:48Much too gay and frisky, and it's risky for your rep-mutation.
01:09:56It's exciting, ooh, la-la-la-la-la.
01:10:02I'm inviting you, la-la-la-la-la, to let me show you everything you want to know.
01:10:10You zappers and you zappers and you zappers and you steal a little kiss.
01:10:15Come on, who dares?
01:10:17Your cares will be forgotten if you learn to do ze new Parisian trot.
01:10:22Nothing matches.
01:10:32And every print of his right hand is here.
01:10:35It's not Slade, that's all.
01:10:40Sir.
01:10:41This print couldn't have been made by the ripper's left hand.
01:10:44Not unless every detective at the yard is wrong.
01:10:46That's most unlikely, isn't it, sir?
01:10:48The victim's cut showed that the ripper used his knife from right to left across the throat while attacking from behind.
01:10:53That means he used his left hand.
01:10:55He took his victims like this.
01:10:59The cut of the knife was like this.
01:11:01Sir, have you observed Mr. Slade to be left-handed?
01:11:04No, I haven't.
01:11:05But he could still use his left hand
01:11:07if he attacked from behind.
01:11:10You know, for the first time it occurs to me that the ripper need not have attacked from behind.
01:11:17In which case he could make the same cut from the front with his right hand.
01:11:20Yes, sir.
01:11:21If that's so, we must find a left thumbprint to match the print of the rippers.
01:11:25About that portrait, sir.
01:11:27I have a peculiar memory for faces.
01:11:30You do?
01:11:31Yes, sir.
01:11:32I believe that to be the face of Anne Lawrence.
01:11:40Even in the mole on the left cheek,
01:12:00if they'd sure right, Slade's mother was the first ripper victim.
01:12:10I believe that to be the face of Anne Lawrence.
01:12:40I believe that to be the face of Anne Lawrence.
01:13:10I'm inviting you, la-la-la-la,
01:13:14to let me show you everything you ought to know.
01:13:18You zappers and you zis and you steal a little kiss.
01:13:24Come on.
01:13:25Where is Slade? Have you seen him?
01:13:26Yes, he's right down there.
01:13:28He's gone.
01:13:29Lovely, lovely.
01:13:52You were lovely.
01:13:53They liked us, didn't they?
01:13:54They worshipped you.
01:13:55Excuse me.
01:13:57Am I under arrest, Mr. Policeman?
01:13:59Where is Slade?
01:14:00Inspector Warwick, I'm very sick of all this.
01:14:02He's the ripper.
01:14:03Don't go away. You're out of your mind.
01:14:07Lila, I don't want you to let anyone in.
01:14:09There's a gentleman in here, Miss Lili.
01:14:16Hello.
01:14:18May I...
01:14:19talk to you alone?
01:14:23I have to make a change.
01:14:25There isn't much time.
01:14:26All right, Lila.
01:14:34Please.
01:14:42Well, how did you like the show?
01:14:45You are exquisite, Lili.
01:14:47Good. For a moment, I thought you disliked the whole thing.
01:14:49You look so glum.
01:14:50I hated it.
01:14:52I hated your beauty being exposed for everyone to ogle.
01:14:54I hated the looks on men's faces.
01:14:59Well, without those looks on their faces, I'd be finished.
01:15:03You're more wonderful, more...
01:15:04more sweetly beautiful than anyone I've ever known.
01:15:11Everything in my life has changed because of you.
01:15:15Help me.
01:15:18Help me.
01:15:19Lila.
01:15:19You pick the stranger's moments.
01:15:26I need you, Lili.
01:15:28Only you can save me.
01:15:32Save you?
01:15:32Come away with me right now.
01:15:35Come away with me.
01:15:36Anywhere in the world you say.
01:15:37I want to live close to you without sharing you.
01:15:40Close.
01:15:42Close.
01:15:42I think there's something you should understand.
01:15:49I'm fond of you, but I'm not ready to be taken over.
01:15:52I like a man with passion.
01:15:54But I don't want a slave and I don't want to be one.
01:15:57Besides, I wouldn't dream of giving up the theater.
01:16:01All I've said makes no difference to you.
01:16:04I didn't say that.
01:16:05You want to go on exciting men to want to kill.
01:16:26The one using your beauty to corrupt, to degrade.
01:16:29Please.
01:16:30You're mocking me!
01:16:33Miss Lillie?
01:16:34Same as my mother.
01:16:34Miss Lillie?
01:16:36Same as all of them.
01:16:37Miss Lillie, are you all right?
01:16:37Mocking, love, living for lust.
01:16:40You are evil.
01:16:42Your beauty is evil.
01:16:43It must be cut away.
01:16:45No.
01:16:46No.
01:16:47Miss Lillie, you'll let me.
01:16:49Please.
01:16:51Miss Lillie?
01:16:53Miss Lillie?
01:16:54Miss Lillie, are you all right?
01:17:00Lillie!
01:17:00Miss Lillie, are you all right?
01:17:20Get a doctor.
01:17:50Get a doctor.
01:18:20Can't you go faster, man?
01:18:50Get a doctor.
01:19:20Take care of my horses.
01:19:21I must hurry.
01:19:30Where is he?
01:19:31You mean the doctor?
01:19:32He turned the corner too fast and crashed the wheel.
01:19:34Quickly, man.
01:19:34That was the ripper.
01:20:04Circle around that way.
01:20:11Yeah, over this way.
01:20:12Here it is.
01:20:14Let's go.
01:20:16Jerry.
01:20:17Harry!
01:20:47What is it?
01:20:49It's a reactor.
01:20:53Shine your lights over here.
01:20:55It's the river.
01:20:56It's in the river.
01:20:57There's something over there.
01:20:59Where?
01:21:00Look, by the bridge.
01:21:17It's too dark and it's too deep.
01:21:30We'll never get him now.
01:21:32Not so dark and not so deep is where he's going.
01:21:47We'll never get to it again.
01:21:48We'll never get to it again.
01:21:50I clean it again.
01:21:53We'll never get to it again.
01:21:58It's bad.
01:22:00Whatever that process is,
01:22:01it's over here,
01:22:03sir.
01:22:05Thank you so much.
01:22:07Mellvester Young comes back at the الحge,
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