The Lodger 1944 ★★★½ (CC) Mystery/Thriller

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The Lodger is a 1944 American horror film about Jack the Ripper, based on the 1913 novel of the same name by Marie Belloc Lowndes. It stars Merle Oberon, George Sanders, and Laird Cregar, features Sir Cedric Hardwicke, and was directed by John Brahm from a screenplay by Barré Lyndon.   Storyline:  In London in 1889, retiree Robert Burton (Cedric Hardwicke) and his wife, Ellen (Sara Allgood), rent a spare room to the mysterious Slade (Laird Cregar) as Jack the Ripper continues to terrorize the city. The Burtons' niece, Kitty (Merle Oberon), is a music hall singer who initially grows fond of the eccentric lodger, but, when the Ripper's body count rises, she and a Scotland Yard inspector (George Sanders) gradually begin to suspect that Slade could be the notorious Whitechapel killer.  Credits  Merle Oberon as Kitty Langley (singing voice dubbed by Lorraine Elliott)  Laird Cregar as Mr. Slade, the Lodger  George Sanders as Inspector John Warwick  Sir Cedric Hardwicke as Robert Bonting  Sara Allgood as Ellen Bonting  Aubrey Mather as Superintendent Sutherland  Queenie Leonard as Daisy, the maid  Doris Lloyd as Jennie  David Clyde as Sergeant Bates  Helena Pickard as Annie Rowley   Uncredited  Ted Billings as News Vendor  Cyril Delevanti as Stagehand  Stuart Holmes as King Edward  Olaf Hytten as Harris  Billy Bevan as Bartender  Charlie Hall as Music Hall Entertainer("I Wish I Was Single Again")  Frederick Worlock as Police Commissioner Sir Edward Willoughby  Lumsden Hare as Dr. Sheridan  Anita Sharp-Bolster as Barfly who Borrows Concertina   FYI:  Merle Oberon fell in love with the film's cinematographer, Lucien Ballard, and they married the following year. Because of facial scars Oberon sustained in a car accident, Ballard developed a unique light for her that washed out any signs of her blemishes. The device is known to this day as the Obie (not to be confused with the Off-Broadway award).   There is a real Black Museum (now called the Crime Museum) at Scotland Yard. It officially came into existence in 1875 and has a police inspector and a police constable assigned to official duty there. It is not open to the public, but can be visited by police officers from any of the country's police forces by appointment.   Laird Cregar's screen presence and performance created such a sensation that 20th Century Fox planned to cash in on its find by putting him in similar roles in other productions. The first of these was Hangover Square (1945), which reunited director John Brahm, screenwriter Barré Lyndon, and co-star George Sanders. The plans were cut short after Cregar had a fatal heart attack at the end of the year. "Hangover Square" would be released after his death.

Transcript

00:00:04THE END

00:00:39THE END

00:01:00THE END

00:01:01THE END

00:01:08MURDERS BEING COMMITTED IN OUR MIDST.

00:01:13POLICE INHADEQUATE.

00:01:16WE INTEND OFFERING A SUBSTANTIAL REWARD

00:01:23TO ANYONE, CITIZEN OR OTHERWISE,

00:01:27WHO SHALL GIVE INFORMATION

00:01:30BRINGING THE MURDERER

00:01:32OR MURDERERS

00:01:33TO JUSTICE.

00:01:35THE END

00:01:37THE END

00:01:39THE END

00:01:40THE END

00:01:49TEN

00:01:49THE END

00:02:11FROM

00:02:11ED

00:02:11Come on, inaudible, inaudible.

00:02:29Come on.

00:02:30Come on.

00:02:31Hey, Bobby's been waiting.

00:02:33I know you're all present here at the dinner.

00:02:35There must be a price right now.

00:02:37No, no, look.

00:02:38Look it's a shame to break up the pot.

00:02:41Oh, yeah. How about the song, Katie?

00:02:43Oh, take that riah all over again.

00:02:46Ready?

00:02:47Watch here, riah.

00:02:49Riah's on the job.

00:02:51Watch here, riah.

00:02:52It is precoilable.

00:02:54Oh, riah, she's a top.

00:02:55And she looks inventive top.

00:02:57And the old shabby book.

00:02:59Yeah, riah.

00:03:06It's time to check the river.

00:03:10I'll be all right. There are plenty of policemen about.

00:03:15Have you got far to go?

00:03:17I'll be round the next corner.

00:03:19Very well. Good night.

00:03:21Good night.

00:03:27Good night, Katie.

00:03:29Good night, all.

00:03:44Good night, Mrs.

00:03:44What's she a riah?

00:03:47What's she a riah?

00:03:49Did you expect your right to 또?

00:03:51And why you she's a taut?

00:03:53And she looks inventive top.

00:03:56And they all share the contact…

00:03:58Hello?

00:04:01Who are you?

00:04:03What do you want?

00:04:31Oh, my God.

00:04:33Oh, my God.

00:04:59It was a ripper, all right.

00:05:01He done it the same way as the others.

00:05:04They only just found him.

00:05:05He had awful watch, Anthony.

00:05:07It's hardly more than a week since the last.

00:05:12I saw him.

00:05:13I saw the ripper.

00:05:14He ran down the other end.

00:05:15It must be him.

00:05:17Did you see his face?

00:05:18No.

00:05:19Not in the dark.

00:05:21Like a shadow he was.

00:05:25He's the fourth he's done round here.

00:05:28Right in the streets.

00:05:30And your very noses.

00:05:44Special edition, extra.

00:05:47Special edition.

00:05:49So, Lord, love me, they've seen him.

00:05:51They've seen the ripper.

00:05:53Murder in Whitechapel.

00:05:55Murder.

00:05:56The ripper's been seen.

00:05:58Murder in Whitechapel.

00:06:00Read about it.

00:06:02Read about it.

00:06:03Read all about it.

00:06:04Read all about it.

00:06:08Murder in Whitechapel.

00:06:12Murder in Whitechapel.

00:06:13Check the ripper's still in long.

00:06:14Read all about it.

00:06:16Murder in Whitechapel.

00:06:18Check the ripper's still in long.

00:06:20Boy, paper.

00:06:22Check the ripper's still in long.

00:06:24Read all about it.

00:06:25Hi, boy.

00:06:26Paper.

00:06:27Murder in Whitechapel.

00:06:41Murder in Whitechapel.

00:06:44Read all about it.

00:06:45Murder in Whitechapel.

00:06:47Thank you, Captain.

00:06:57Five percent.

00:07:06Amazing.

00:07:08Another murder in the same register committed in the same way.

00:07:10Throat cut from behind. Extraordinary.

00:07:13You don't have rooms to let.

00:07:14Hmm?

00:07:14I saw your advertisement and the estate agents gave me this order to you.

00:07:23Well, you better come in.

00:07:29We don't really make a habit of letting rooms, you know.

00:07:32It just so happens that at the moment we might be able to accommodate someone,

00:07:35I'll call my wife.

00:07:38Helen?

00:07:39Yes, darling?

00:07:40This gentleman's come about the, uh, advertisement.

00:07:45Oh, how do you do?

00:07:47How do you do?

00:07:48Uh, the rooms are upstairs.

00:07:50Mr, uh...

00:07:51My name is Slade.

00:07:54Slade?

00:07:55How odd.

00:07:56We have a Slade walk at the corner of the square here.

00:08:06Now, if you'll come this way.

00:08:21Here we are.

00:08:31My Aunt Sophie occupied this part of the house before she died.

00:08:40I'm sure you'll be very comfortable here.

00:08:43This is the bedroom.

00:08:44These are the only rooms you have?

00:08:47I'm afraid so.

00:08:49There are the attics, of course.

00:08:51Attics.

00:08:53Might I see them?

00:08:55They're not very well furnished, but if you wish.

00:09:07Those are old time actresses.

00:09:08Quaint, aren't they?

00:09:20My Aunt's maid used these attics.

00:09:22This one is quite empty.

00:09:23This one was used as a kitchen.

00:09:35Excellent.

00:09:38This is excellent.

00:09:39Exactly what I need.

00:09:41You see, I'm a pathologist.

00:09:43A sort of medical scientist.

00:09:45I wanted to find a place where I could study

00:09:46and do a little experimental work.

00:09:49I'd take the other rooms as well, of course.

00:09:51Live in them and work up here.

00:09:52Would that be all right?

00:09:53Of course.

00:09:55This would be particularly useful

00:09:58because occasionally I'll require great heat.

00:10:02Would there be any objection to my moving in tonight?

00:10:04I don't even want to go out again.

00:10:06I have everything that I need.

00:10:08We haven't discussed terms.

00:10:10Anything you suggest?

00:10:11Well, I thought with meals and attention...

00:10:14Five pounds a week?

00:10:15Five.

00:10:16You've no idea how much it means to me

00:10:18to find just the place I need.

00:10:21Such a relief.

00:10:23And besides, you're not quite the usual landlady.

00:10:26Are you?

00:10:32I think I should tell you why I want a paying guest here.

00:10:35My husband was a tea broker in the city, Mincing Lane.

00:10:40Not very long ago, he misinterpreted a commission

00:10:42and bought an entire shipment at the wrong price.

00:10:46Making good a loss has left us in rather low water.

00:10:49So now, you must let rooms.

00:10:53He has income from a little entailed property.

00:10:56So we still manage to keep our appearances.

00:10:58But he'd give anything to be in business again.

00:11:00Originally, my husband started business with a hundred pounds.

00:11:03Now, if I could get that much together again and hand it over to him,

00:11:06I'm sure he'd go to the city again as he did 20 years ago.

00:11:09I understand completely.

00:11:10We can't go on much longer as we have been.

00:11:13He'll break up with nothing to do.

00:11:15In fact, he's had a nervous breakdown.

00:11:18So, if at times he seems a little eccentric or irritable

00:11:22or even rude towards you, I'm sure you'll understand that too.

00:11:24And excuse it.

00:11:25Of course.

00:11:27In a way, these dreadful Jack the Ripper murders are a godsend.

00:11:31He thinks and argues about them instead of moping.

00:11:39This is like a refuge.

00:11:43Since I am going to move in now,

00:11:45I think I should pay you a month's rent in advance.

00:11:4920 pounds.

00:11:55I'm afraid that my habits are irregular.

00:11:59I often need to be out quite late at night.

00:12:01But I'd use the back door into the mews so as not to disturb anyone.

00:12:06Just regard me as a lodger, not as a guest.

00:12:09Then you'll hardly know that I'm in the house.

00:12:11Whatever you wish.

00:12:12The major will get you a meal whenever you want them.

00:12:14You have a maid?

00:12:15It happens to be her night out.

00:12:17But I'll get you some supper.

00:12:20And you would like some supper, I expect.

00:12:23Yes, I should, thank you.

00:12:27This is a beautiful old Bible.

00:12:29It was my Aunt Sophie's.

00:12:31You'll leave it here.

00:12:33If you'd like to have it.

00:12:37Mine too are the problems of life.

00:12:41And death.

00:12:52The Ripper's been at it again.

00:12:55Ripper sensation here in your papers.

00:12:58Oh, it's you.

00:12:59I wondered why the door was open.

00:13:00Where have you been?

00:13:02Well, where have I been?

00:13:03Oh, I just slipped out.

00:13:05There's a new edition come up, you know.

00:13:06I heard the newsboys shouting.

00:13:08People are getting really alarmed.

00:13:11Especially women.

00:13:11He only does women, you know.

00:13:14He cuts their throat and then he uses his knife.

00:13:17It's terrible.

00:13:19They say the papers didn't print all the details.

00:13:21And the frightening part about it is nobody knows why he does it.

00:13:24Or what he's like.

00:13:27By the way, did you get rid of that fellow?

00:13:32He's taken the rules.

00:13:35Well, that means there's a stranger in the house.

00:13:38We'll have no more privacy.

00:13:40He'll be in all trouble.

00:13:42We shall hardly know that he's in the house.

00:13:46Well, if you really want to do it.

00:13:49I've done it anyway.

00:13:51All right, old girl.

00:13:53Now I must get him some supper.

00:13:56What do you mean he's already moved in?

00:13:57Mm-hmm.

00:13:59Well, what about references?

00:14:01But Robert.

00:14:02He's a gentleman.

00:14:03A kind of doctor.

00:14:05A pathologist.

00:14:06He insisted on paying a month in advance.

00:14:08And besides, I'm sure the agents would never send anyone who wasn't quite...

00:14:11Well, I suppose I'd better make some sort of a show of welcoming...

00:14:13Hold you, darling.

00:14:14Good.

00:14:16Well, if there's anything I can do for him.

00:14:18I've finished with his paper.

00:14:20Perhaps he might like to read the news.

00:14:24I've brought you some supper.

00:14:25May I come in?

00:14:36There was something peculiar about those pictures.

00:14:39I don't suppose you ever noticed it.

00:14:41But wherever you went in this room, the eyes of those women seem to follow you about.

00:14:47That can get on one's nerves.

00:14:50I understand what you mean.

00:14:52I'll have them taken down tomorrow.

00:14:54And there are pictures of actresses.

00:14:56Why?

00:14:57I hope you don't really object to actresses.

00:14:59Because there's one in the house.

00:15:03My niece, Kitty.

00:15:05And she is on the stage?

00:15:07She's making a name for herself in the provincial music halls.

00:15:10But next week, she opens at the Theatre Royal Piccadilly here, talking to Bill.

00:15:14She's brought over a dance from Paris.

00:15:16It's very saucy.

00:15:17Almost as daring as the can-can.

00:15:19Of course, Kitty doesn't intend to stay in the music halls.

00:15:22Later on, she hopes to get into musical comedy.

00:15:24Then she'll have half the men in London at her feet.

00:15:27Behold, there met him a woman subtle of heart.

00:15:30Oh, I don't think Kitty's especially subtle.

00:15:33You'll find her very clever and charming.

00:15:35When you see her, you'll change your mind about actresses.

00:16:06The Four Wheelers coming, sir.

00:16:11Here's the pass I promised you.

00:16:12To tell you the truth, sir, I don't fancy walking home alone from the theatre late at night.

00:16:17Even for Miss Kitty.

00:16:18Not with all the papers saying it's about time for the Ripper to do another.

00:16:22He's never killed anybody up this way.

00:16:24He can always decide to open up new ground.

00:16:34Come along, darling.

00:16:35You going to do plenty of time?

00:16:36Oh, yes.

00:16:37And you've got everything?

00:16:38Everything's at the theatre.

00:16:39I'm sorry. I'm flossing. I shouldn't.

00:16:42You look very smart.

00:16:43You don't look half bad yourself, my dear.

00:16:45Are you ready for it?

00:16:46I'd better be. It's my big night.

00:16:53Mr. Slade, you haven't yet met my niece, Kitty Langley.

00:16:56How do you do?

00:16:57The woman's subtle of heart.

00:16:58Now, you must admit, she really is rather charming.

00:17:01Are you coming to the theatre too?

00:17:03I have a pass here if you can use it.

00:17:05No, I'm afraid I have work that I must do.

00:17:08Then you won't be in to dinner, sir?

00:17:10No, I may be out late. Quite late.

00:17:13Until the early hours of the morning.

00:17:16I warned you of my irregular habits.

00:17:19You have been out rather late once or twice.

00:17:21Didn't I hear you two nights ago?

00:17:23It was past one in the morning, I think.

00:17:24What do you do out so late?

00:17:26You hardly ever go out in the day, do you, sir?

00:17:29I enjoy the streets at night.

00:17:31When they are empty.

00:17:33You mean you just walk about?

00:17:36Sometimes.

00:17:38Sometimes I go down to the Thames.

00:17:39I like the river.

00:17:42I do too, on a sunny day.

00:17:44I like it in a different way.

00:17:46Have you ever held your face close to the water?

00:17:49And let it wash against your hands as you look down into it?

00:17:56Deep water is dark.

00:18:00And restful.

00:18:05And...

00:18:07Full of peace.

00:18:10But...

00:18:12I mustn't delay you.

00:18:14I hope your debut is successful.

00:18:19Why don't you go out by the front door?

00:18:21I prefer the back door.

00:18:23I always use it.

00:18:28Good night.

00:18:37He's a curious fellow.

00:18:39A very curious fellow.

00:18:41Kitty, Kitty, we'll be late.

00:18:42Now that you've not yet to get to Daisy, you've no excuse for missing the performance.

00:18:46Come around to my dressing room afterwards and I'll send you home in a cab.

00:18:48How's that?

00:18:48Oh, bless you, Miss.

00:18:57I'll be clapping my hands all for you, Miss.

00:19:00Thank you, Daisy.

00:19:03Thank you, Daisy.

00:19:04To get a lithium royal.

00:19:05Right you are, sir.

00:19:17You fascinated him, you know.

00:19:19He can't take his eyes off you.

00:19:22I found him interesting, in a way.

00:19:24Well, I could do without him about the house.

00:19:27Something a bit odd about him, don't you think?

00:19:30Lots of people seem odd to other people at times, dear.

00:19:33I thought somehow he seemed a little lost.

00:19:36I believe that's because he's lonely, darling.

00:19:40Here, ladies.

00:19:41Montague Square, ladies.

00:19:43Step out, please.

00:19:44Mind the step there.

00:19:46It's a little bit wet, you know.

00:19:47Look after yourself now.

00:19:48Here you are, sir.

00:19:50Oh, get in White Chapel.

00:19:51Thank you, sir.

00:19:52There's plenty of room inside, sir.

00:20:09Evening Standard.

00:20:10Echo.

00:20:11Quarping on the watch at White House.

00:20:14Evening Standard.

00:20:16Echo.

00:20:17Quarping on Quarping.

00:20:19Evening Standard.

00:20:21Echo.

00:20:21She was just an arson to tell her

00:20:25I've been guiding you now

00:20:28For the main working money

00:20:32Here's your eyes, a cranky heart

00:20:36It's the shine, the old man's over

00:20:39It's the poor what gets the light

00:20:43While the rich, the old man's flesh

00:20:46Thank you!

00:20:47Now I serve until inside

00:20:50Now listen a minute, Charlie

00:20:52I'm not going to have you annoying Miss Langley

00:20:55Five and sixteen, all my lady

00:20:58Don't I always come back when someone new is using my old dressing room?

00:21:02I can't let you in

00:21:04We come round afterwards

00:21:07Miss Langley, good evening, sir

00:21:08Good evening

00:21:09Words going around there'll be royalty in the house

00:21:12We don't know who it is yet

00:21:13Royalty?

00:21:14Oh, that's wonderful

00:21:15I must go and tell the girl

00:21:16Bless you

00:21:18Oh, good luck

00:21:19Good luck, Annie

00:21:20Thank you

00:21:21Miss

00:21:23You know me

00:21:25I'm Annie Rowley

00:21:27La Belle Anne

00:21:28Now look here, Annie

00:21:29You'll have to walk

00:21:29It's all right, Charlie

00:21:30I know Annie

00:21:31You want to see her old dressing room, don't you?

00:21:38Here we are, Annie

00:21:43You got a nice lot of flowers

00:21:45More than I had when I opened, when the theatre was new

00:21:48Did you have this room for long?

00:21:50They didn't take to me

00:21:54I remember the night I looked in that mirror before I went on

00:21:57I looked at myself and I wondered how I'd go over

00:22:02I didn't go over

00:22:06Having talent isn't enough, Annie

00:22:07You've got to have luck, too

00:22:08I broke my luck

00:22:10I whistled to myself before I went on

00:22:14Something bad always happens if you whistle in the dressing room

00:22:17Oh, Annie

00:22:18It's an old superstition

00:22:19All right, Annie, dear

00:22:20I shan't whistle

00:22:21Your luck's all right

00:22:23And you've got real looks, too

00:22:25I saw you at the Grand Theatre Woolwich a couple of months ago

00:22:28They're going to love you here

00:22:30I hope so

00:22:35This is me

00:22:40Are you going to be out front tonight, Annie?

00:22:43No

00:22:44It'd break my heart to see you get in what I never got

00:22:47Besides, a nephew of mine was married this morning

00:22:49And I said I'd get back to the party

00:22:52Oh, I didn't come for that, miss

00:22:54Take it, please

00:22:56A golden sovereign

00:22:57Oh, miss

00:23:00Have you heard the news?

00:23:01They're putting flowers in the royal box

00:23:04What is the name of the royal box?

00:23:06I'm so excited

00:23:07I don't know what to do

00:23:20Every country has its music

00:23:23Angleterre, Spain, Italy

00:23:25For Les Chances of Raymond Comic

00:23:27For Delhi to Gay Paris

00:23:31I cannot explain the reason

00:23:33Why the songs are popular

00:23:35But you English

00:23:37In the season

00:23:39I'll say when you hear them there

00:23:43Oh, c'est chic

00:23:46It's chic

00:23:46Oh, c'est chic

00:23:47Ah, c'est chic

00:23:50In a chance現在

00:23:51We can try to get

00:23:52What in England

00:23:53You call

00:23:54chic

00:23:55Tink-a-tink

00:23:56Tink-a-tink

00:23:57Is a typical French refrain

00:24:01Good enough for me is the je ne sais quoi of the tink tink tink tink tink tink tink tink

00:24:10tink tink tink tink tink tink.

00:24:33Good enough for me is the je ne sais quoi of the tink tink tink tink tink tink tink tink

00:24:42tink tink tink tink tink.

00:25:08I've just heard sir there's been another ripper murder.

00:25:17Congratulations from all of us. Here's to you.

00:25:24Thank you. Thank you Marjorie, Betty, Jane, all of you.

00:25:31Coming from you this means more than all the applause in the world.

00:25:36Excuse me sir. There's a gentleman to see Miss Kitty. He says he's from Scotland Yard.

00:25:45I'm sorry sir but it's essential that I see Miss Langley immediately.

00:26:00Very lovely if I may say so sir. You may say so, Bates.

00:26:10You're a policeman, Mr. Warwick? Inspector Warwick, Miss.

00:26:13I must apologize for this intrusion but I came here directly from Whitechapel.

00:26:18You had a woman here earlier, Annie Rowley. She told some of her friends how generous you'd been and that's

00:26:24what led me to you.

00:26:25Miss Langley, were you well acquainted with her?

00:26:27Not particularly. Everybody in the theatre knows her.

00:26:30What is all this?

00:26:31I know. Jack the Ripper's got her.

00:26:37She stood right where you're standing now.

00:26:41Why would the Ripper want to go after anyone like her?

00:26:44I know.

00:26:45It's funny she should have sent this.

00:26:48You know, I almost don't like to touch it.

00:26:52It came just a little while ago.

00:26:54It's ever so pretty.

00:26:56That must have caused Annie half a sovereign to have made up.

00:27:00We found a cordon and the alarm spread through the district but we couldn't trace him.

00:27:04But the mutilations repeated?

00:27:06Well this is Dr. Sheridan, the theatre doctor.

00:27:08Oh yes. Yes, he used his knife pretty extensively.

00:27:11They don't call him the Ripper for nothing.

00:27:13My belief is that he's a man of considerable medical knowledge.

00:27:16Oh, I'm sure of it.

00:27:17It's proved by the deadly nature of his assaults.

00:27:20In the last case, his first stroke cut the sternocleidomastoid muscle clean through.

00:27:25And his second stroke provided the enciform cartilage.

00:27:28Does anybody know why he commits these murders?

00:27:31The Ripper must have a motive.

00:27:33But no man alive can even guess at what it might be.

00:27:37And the women who could know are dead.

00:27:41Have you discovered anything yourself? Any clues to him?

00:27:45One rather odd thing.

00:27:47Each of the murdered women was at one time or another on the stage.

00:27:51Why doesn't somebody shoot him?

00:27:53It's against the law for anyone to use firearms, even the police.

00:27:56And we all get so jumpy down there.

00:27:58We'll likely be banging away at one another.

00:28:00That'll do, Bates.

00:28:01Did anybody see him this time?

00:28:03Some of our men thought they saw him.

00:28:05They couldn't describe him clearly but they swear that he was carrying a small black bag.

00:28:12It says here, the bag appeared to be made of shiny black oilcloth.

00:28:16That was the sort of bag that artisans used to carry their tools or their dinner.

00:28:21And was of a size convenient to conceal the Ripper's long knife.

00:28:27Well, what's the matter?

00:28:30Robert.

00:28:32Silly, isn't it?

00:28:33But I was thinking that Mr...

00:28:36Mr. Slade came here the night of the other murder.

00:28:39And all he had with him was a little black bag.

00:28:43And he took the bag with him when he went out last night.

00:28:45He did not.

00:28:46But he did, dear.

00:28:47His bag was not black and he didn't have it with him last night.

00:28:50He did.

00:28:51Would you take it rather than that, your solemn oath in a court of law?

00:28:55Not only was his bag not black, but you're not even sure that he had it with him.

00:28:59He wasn't home from house three this morning.

00:29:01I heard him creeping up the stairs.

00:29:02Oh, nasty crap.

00:29:03What are you expecting to do, dance and sing?

00:29:06You don't want to wake the whole house, do you?

00:29:08You don't even read the news.

00:29:10And you sit there working up the most illogical and preposterous suspicions.

00:29:14Good, sir.

00:29:15Robert.

00:29:21Please.

00:29:24All right, Daisy, I'll go.

00:29:29Good morning.

00:29:30Good morning, sir.

00:29:31Good morning, madam.

00:29:32I'm sorry to trouble you so early, but it's rather important.

00:29:36Well, come in.

00:29:37But don't leave your bobby standing on my doorstep.

00:29:39All right.

00:29:40Keep moving, Bates.

00:29:41Very good, sir.

00:29:45Well, what are you doing here, Mr. Warren?

00:29:48I've been reading all about myself and the gentleman with the black bag.

00:29:51Oh, did you know that poor woman sent me some flowers to the theater last night?

00:29:55Sort of a good luck horseshoe.

00:29:56That was my excuse for calling.

00:30:01Good morning, darlings, my dear.

00:30:03I didn't see it until after you had left.

00:30:05The stage talkkeeper told the local constable about it and he reported it to us.

00:30:09I want to find out what florist it came from.

00:30:11Well, we brought the horseshoe home if you'd like to look at it.

00:30:14Thank you for a lovely breakfast, Daisy.

00:30:16Would you like to see myself?

00:30:18We're trying to trace her movements after she left you.

00:30:21Here it is.

00:30:22It's roses in London pride.

00:30:24Here's the box it came in, sir.

00:30:26The name's on the lid.

00:30:29I must have this address.

00:30:35Mr. Slade.

00:30:36He's going out very early this morning.

00:30:39He's not going out.

00:30:40He's coming in here.

00:30:43I beg your pardon.

00:30:45Mr. Slade, I haven't even started to get your breakfast.

00:30:48Good morning.

00:30:49Good morning.

00:30:49I just came down to get the paper.

00:30:51Oh, uh...

00:30:53Mr. Wallach, this is Mr. Slade.

00:30:55How do you know?

00:30:56Mr. Wallach's from Scotland Yard.

00:30:58He's engaged on the Ripper case.

00:31:03My men are hanging around trying to get a look at Miss Langley.

00:31:06Your opening performance went well?

00:31:09Tremendously well.

00:31:10We had royalty there.

00:31:11That must have been very gratifying.

00:31:13When are you coming to see the show?

00:31:15Mr. Slade doesn't care for the theatre, dear.

00:31:17Oh, but why not?

00:31:18I must insist on you coming some evening very soon.

00:31:20Haven't you enough men at your feet already?

00:31:25I didn't intend to intrude.

00:31:27If I could have a paper...

00:31:28Oh, uh...

00:31:30They've, uh, seen the Ripper again.

00:31:32I don't think you'll ever catch him.

00:31:34Why not?

00:31:35Whitechapel was swarming with police,

00:31:37and yet you haven't come near laying a hand on him.

00:31:39You don't know any more about him now than you did in the beginning.

00:31:42Well, we have our theories, though.

00:31:43Theories?

00:31:44The favorite one is that, uh, he's a maniac and kills at random.

00:31:47Do you think that?

00:31:49Oh, I don't.

00:31:49Well, he's a bit of a back alley specialist, if you ask me.

00:31:54He never goes off to enlisted alone and undefended.

00:31:57And some of us are inclined to believe that, um,

00:31:59he has a grudge against a particular woman,

00:32:01and when he finds her, then murders will cease.

00:32:03Do you believe that?

00:32:05Hmm.

00:32:06What is your theory about him, then?

00:32:09Well, if you'd care to come to Scotland Yard sometime,

00:32:12I'd be very happy to explain it to you.

00:32:14If my ideas are right, I'll make Jack the Ripper's own fingers tie the noose that'll hang him.

00:32:18Well, I know what you mean by that.

00:32:20There's a new clue here.

00:32:21Ripper.

00:32:22Man with bag wanted.

00:32:23Yeah, they're very excited about that.

00:32:29If you'll excuse me, I have some things to do.

00:32:55One afternoon next week, I'll show you our black museum.

00:32:58I shall be most interested.

00:33:00Goodbye.

00:33:00Goodbye after a while again.

00:33:02Goodbye.

00:33:02Okay, sir.

00:33:03If that's Mr. Slee's breakfast, I'll take it off.

00:33:33Mr. Slee, what's burning up there?

00:33:36Don't come up here.

00:33:38I'm sorry if there's an order, but there was something I had to do.

00:33:41I'll open the window.

00:33:43Just leave the tray, if you please.

00:34:19Robert.

00:34:20Uncle.

00:34:21We've looked you all over the house for you.

00:34:22Where have you been?

00:34:23I went out.

00:34:24I've just come in.

00:34:25We have something to tell you.

00:34:31Mr. Slee has burnt his bag.

00:34:33I smell it burning.

00:34:34I didn't say anything to you at the time.

00:34:36When I heard him go to his room, I went up to the attic, and this is what I found.

00:34:43What does the miraculous pay, Robert?

00:34:45He was out half last night.

00:34:47And then he saw this morning's headlines and burnt his bag.

00:34:49Very sensible of him.

00:34:51Why do you say that?

00:34:52Well, nobody can afford to own a bag like that now.

00:34:55Look here.

00:34:56A man was mobbed into Farther Square this morning.

00:34:59They nearly had his life just because he was carrying a small black bag.

00:35:02That sort of thing's going on all over London.

00:35:05I came straight home and I read about it because I remember that I had a small black bag of

00:35:08that sort.

00:35:09That's why I hid it.

00:35:12Anyone who even owns one is under suspicion.

00:35:14That's why he tried to get rid of his just as I hid mine.

00:35:18It's the only sensible thing to do.

00:35:20Frightening myself like this.

00:35:21Oh, you're all worked up.

00:35:22I'll get you a glass of sherry, old girl.

00:35:32Your uncle's right, of course.

00:35:35You really know very little about Mr. Slade.

00:35:37He's coming down.

00:35:46Good afternoon.

00:35:47You're going out early, Mr. Slade.

00:35:49Yes, I've just completed an experiment. I must test it.

00:35:52And where do you do that?

00:35:53It would be where you work, I suppose.

00:35:55Yes, at the university hospital.

00:35:58You will excuse me, won't you?

00:36:08I wonder if he really works there.

00:36:11It's near my hairdresser's. And I'm going there now.

00:36:32Good afternoon, sir.

00:36:44Excuse me. Who is it that just went in?

00:36:46One of the doctors, miss.

00:36:48I thought I recognized him.

00:36:49He works down in the past lab.

00:36:51Very pleasant yet indeed, ma'am.

00:36:53Has he worked here long?

00:36:55Oh, quite some time now.

00:36:58He, uh, works here off and on, if you know what I mean, miss.

00:37:02He ain't what I call one of our regulars.

00:37:05Oliver, there you are, sir.

00:37:06The lady was just asking about you.

00:37:09I thought I saw you go in a moment ago.

00:37:11Why, Miss Langley.

00:37:13I had an appointment next door.

00:37:15You followed me.

00:37:17Do you expect to be followed?

00:37:18No.

00:37:20But I know that I arouse curiosity.

00:37:23I've become so absorbed in my work that I sometimes forget what people do.

00:37:27You may think.

00:37:29I've been asked to move several times because I was no longer welcome.

00:37:35I so hope to remain on at your house in Montague Square until my work was finished.

00:37:41But there's no thought of your leaving.

00:37:45I rather feel that your Aunt Ellery...

00:37:46Oh, she had too much excitement last night.

00:37:48These dreadful ripper murders are playing on her imagination.

00:37:52I'm sure she'll find her quite normal by tea time.

00:37:54Then you don't feel that she wants me to go somewhere else.

00:37:57But of course not.

00:37:58We'd miss you.

00:38:00See you at home.

00:38:29I'm sure you don't know.

00:38:31Your tea.

00:38:40Kitty's making a real success.

00:38:42She's been asked to open the new Palace of Varieties in Whitechapel High Street.

00:38:47They're going to have a musical there?

00:38:49They were going to postpone the opening.

00:38:51Then they decided that would look as though they were afraid of Jack the Ripper.

00:39:03Mr. Slade, I think Kitty would like it if you overcame your prejudice and saw the show.

00:39:08She dances wonderfully and Kitty really does look very beautiful.

00:39:12Solomon says a strange woman lieth in wait as for prey.

00:39:17She increases transgressors among men.

00:39:22Women of the theatre, actresses, they're powdered and painted to look beautiful.

00:39:29I can show you something more beautiful than a beautiful woman.

00:39:32Something much more beautiful.

00:39:35I had a brother and he was a genius and I loved him very dearly.

00:39:39Here's a portrait he painted of himself.

00:39:42Isn't that a wonderful face?

00:39:44Look at that remarkable brow, lofty.

00:39:48You see the life in those eyes, they're fine and clear.

00:39:52There's a sensitivity about his lips.

00:39:55You're looking at the work of a genius.

00:39:58It's as real as though he were alive.

00:40:00I can almost hear his voice again when I look at this.

00:40:04Isn't that a marvelous piece of work to come from the hands of a man?

00:40:08A young man.

00:40:09It is marvelous.

00:40:11But how peculiar to paint so small.

00:40:14He must have had wonderful eyes.

00:40:16He had strange eyes.

00:40:20He was a strange man.

00:40:21And he died.

00:40:25And he died.

00:40:32I'm sorry.

00:40:34He need not have died.

00:40:42He need not have died.

00:40:45He need not have died.

00:40:59He was a man.

00:41:00And there are the ropes that were used to hang some of these men.

00:41:05Everything here at our black museum has figured at some time or other in a celebrated crime.

00:41:10What's this shovel?

00:41:11That was used to bury a couple of corpses in the chicken run in the Hackney Marshes murder.

00:41:17How awful.

00:41:19Miss Langley.

00:41:21Yes, Inspector?

00:41:22I have a question to ask you.

00:41:24Only one, Inspector?

00:41:26Just one, for now.

00:41:27I have dozens to ask you.

00:41:29Really?

00:41:30For instance.

00:41:32What's this chopper for?

00:41:35That was used by the Clark twins to kill Herbert Thompson in the Tufnel Park murder.

00:41:39Miss Langley.

00:41:41Would you come on Friday for tea at my mother's?

00:41:43I'd like her to meet you.

00:41:45What's that cup?

00:41:49That belonged to Mrs. Gately.

00:41:50She disposed of four heavily insured husbands.

00:41:53With a cup?

00:41:53She put poison in their tea.

00:41:55Will you come?

00:41:56And what's this, Inspector?

00:41:58Oh, some poor chap beat his sweetheart to death with this.

00:42:01Why did he do it?

00:42:02Well, we've never known exactly.

00:42:04But my belief at this moment is that she failed to answer some perfectly simple question.

00:42:08In that case, Inspector, I'll come to tea on Friday.

00:42:12Thank you, Miss Langley.

00:42:13And, um, here are the fingerprint charts.

00:42:18Ah!

00:42:19I, uh, wanted to present my compliments to our distinguished visitor, Miss Langley.

00:42:23How'd you do?

00:42:24This is Sir Edward Willoughby, the Commissioner of Police.

00:42:26Yes, I've just been to the palace about the Ripper murders.

00:42:29I don't think I want to go through an interview like that again.

00:42:32Her Majesty knows that the papers say another may be due.

00:42:35Have you estimated when it might occur?

00:42:37He says he can predict the time of each murder.

00:42:40It has a strange periodicity to the Ripper's crimes.

00:42:42Four murders, each within ten to twelve days.

00:42:45Well, we know they happen regularly.

00:42:47It's as though the desire of the Ripper to kill surges to a peak,

00:42:51he's satisfied and then is quiet until the impasse returns.

00:42:54When do you think he'll do another?

00:42:56The night after tomorrow.

00:42:58Oh, say chic, ah, say chic, ah, say chic, ah, say sure que chic.

00:43:04In a sans-chanette we contrive to get what in England you call chic.

00:43:09Tinka-tin, tinka-tin is our typical French refrain.

00:43:21Tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin,

00:43:25tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin,

00:43:28tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin,

00:43:29tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin, tinka-tin,

00:43:29tinka-tin, tinka-tin, tinka-tin, tinka-tin, t

00:43:43Is she often to imitate her that way?

00:43:45Only once. Good, ain't she?

00:43:47Hello, Jenny. Hello, Wiggy.

00:43:49You wouldn't like to lend me that concertina, would you?

00:43:53Why? What do you want it for?

00:43:55Play hymns down the Whitechapel High Street.

00:43:58Good health, mate.

00:43:59Have you given up picking pockets, Wiggy?

00:44:04Enter. The Ripper's brought too many of you coppers down here.

00:44:09I can make enough for a whole week playing hymns,

00:44:12and I'll bring it back in the morning. That's a promise.

00:44:15Well, if you want it that bad, here you are.

00:44:19Lord love you, Jenny.

00:44:23Gear outside if you're gonna play that thing, out you get.

00:44:27Well, I ought to be moving too.

00:44:29Toodle-oo.

00:44:30Hello, Jenny.

00:44:37Plenty of cops about tonight, ain't they?

00:44:39Yes, I've never seen so many.

00:44:42Do not do temptation

00:44:46For healing your sin

00:44:50Each break we will help you

00:44:54Some other to will

00:44:57Frightmanfully onward

00:45:01Dark passion so blue

00:45:07Thanks for lending me this.

00:45:09I see you bring it back.

00:45:10That's all.

00:45:11I will.

00:45:12First thing.

00:45:13Good night, dearie.

00:45:14Good night, Wiggy.

00:45:18You good night, ma'am?

00:45:19You good night, see you not with temptation

00:45:22For the beauty

00:45:27다른 one

00:45:29For heaven

00:45:38Food

00:45:40For heaven

00:45:44Please

00:46:11Hey, Wiggy!

00:46:16Have you seen Cherry Lightly?

00:46:17Oh, she's a good sort. She lent me this.

00:46:20She just went in.

00:46:23There's a smoking concert at the Red Lion next Tuesday night, you know.

00:46:26Maybe she could sing a few songs for them.

00:46:28She needs work ever so badly.

00:46:30Aye. I'll go right now and see her about it.

00:46:34Here, come on in.

00:46:47Oh, no. Oh, no.

00:47:17Jenny!

00:47:20Jenny!

00:47:21Jenny!

00:47:22Oi, there! Jenny!

00:47:24Oh, my dear!

00:47:28Please!

00:47:29Please, for the love of mine, please!

00:48:04It was the Ripper, all right.

00:48:06Did you see anyone come out after she came in?

00:48:08Nobody came out, sir.

00:48:09They must still be about.

00:48:11Oh, McBorden round here.

00:48:13Stand men, shoulder to shoulder.

00:48:14Don't let anyone pass.

00:48:15Search these buildings.

00:48:24You must be around here so much.

00:48:48Don't miss!

00:48:49No!

00:48:50No!

00:49:04No!

00:49:09There!

00:49:10That's true.

00:49:13Oh, Mary!

00:49:13There, there!

00:49:14Now, let me,

00:49:15They don't seem to find him.

00:49:19I don't see how he could have got away.

00:49:26That's the other side of Whitechapel.

00:49:33The Ripper's got away.

00:49:55The Ripper's got away.

00:49:56The Ripper's got away on the fence.

00:50:06The Ripper has arrived.

00:51:12Mr. Slade, what are you doing?

00:51:15Burning my elster.

00:51:16Please, don't come to me here.

00:51:21Are those stains on it?

00:51:25It became contaminated in a pathological laboratory.

00:51:30I have to be drastic or the contamination would spread.

00:51:34You mean it may carry a disease?

00:51:37The stove in my room wasn't big enough.

00:51:38That's why I made the fire in here.

00:51:40I have to destroy this completely.

00:51:42I smell burning in that case.

00:51:44I should have closed the kitchen door then.

00:51:46Perhaps the odor wouldn't have spread through the top.

00:51:50That will wake everyone in the house.

00:51:52I'm sorry.

00:51:56Well, it's done.

00:51:59There's no danger now?

00:52:00Well, it's done.

00:52:08No.

00:52:10You thought about the rest to us.

00:52:12But what about yourself?

00:52:14I'll be all right.

00:52:19I'll open the window and let some of the smoke out.

00:52:26It's almost daylight.

00:52:27And here's the milkman.

00:52:29Hello, mate.

00:52:30Heard about the ripper?

00:52:31Yes.

00:52:31He was up to his old tricks again last night.

00:52:33They tell me they practically copped him.

00:52:36But he got away.

00:52:38What's the news, son?

00:52:40Boy, throw the paper down here.

00:52:58I think we should go to the police.

00:53:00What?

00:53:00To scandalize the whole neighborhood?

00:53:03Now, we've very little to go on when you consider it calmly.

00:53:06But Robert Kitty saw the stains.

00:53:07But I told you what they were.

00:53:09Well, you get ideas out of reading the papers.

00:53:12You remember how excited and upset you were over that bag?

00:53:15Well, you were wrong, weren't you?

00:53:18Has it occurred to you that he might have been telling the truth?

00:53:20He's a medical man, and he'd know the danger of his coat was contaminated.

00:53:24He was protecting us.

00:53:25I believe you ought to be thanking him instead of suspecting him.

00:53:30Well, perhaps you're right.

00:53:32Of course I am.

00:53:33Now I'm going to run along and get a little more sleep.

00:53:41Well, I've always said he's a very eccentric fellow.

00:53:49Robert, I think we must make certain that Kitty's never left alone in the house with him.

00:53:54Just for safety's sake.

00:53:56Just for safety's sake.

00:54:26You look exquisite wearing that, dear.

00:54:30Oh, these flowers came from the Florence a little while ago.

00:54:35Our carriage will have an escort of mounted police.

00:54:37Is John arranging that?

00:54:38By a very funny coincidence, the squad will be going to Whitechapel for duty.

00:54:41And we're going that way, too.

00:54:44Oh, I don't think I like this.

00:54:45Where's Daisy?

00:54:46She went out after giving you Mr. Slater's tea.

00:54:48I put a note on his tray.

00:54:50What?

00:54:51It was just a reminder about the opening at the new palace tonight.

00:54:54Oh, no, this will never do.

00:54:56It looks a bit overdone.

00:54:58What will I do?

00:54:58I'll have to have some flowers for the opening.

00:55:01I know, a posy.

00:55:03How long will Daisy be?

00:55:04Well, she'll be rather late, I'm afraid.

00:55:05I'll take it.

00:55:06Would you, darling?

00:55:07Of course.

00:55:08Of course.

00:55:37I'll take it.

00:55:57This hat has given you very good service, sir.

00:55:59Yes, there's a bit of a dent here.

00:56:04I can get that out, sir.

00:56:07You're going to the opening of Miss Kitty tonight, I take it, sir.

00:56:09I wouldn't fancy going down to Whitechapel myself, sir.

00:56:12Oh, that's safe enough.

00:56:12You let me have around about an hour.

00:56:14I'll get it up very special, sir.

00:56:16Good day, sir.

00:56:16Good day to you, sir.

00:56:18Just to pick it up.

00:56:27Robert.

00:56:28I didn't know you would come out.

00:56:30Well, I just stood around to Harris's with my hat.

00:56:33Where's Daisy?

00:56:34Where's Daisy?

00:56:34She's shopping.

00:56:36Then Kitty's in the house alone.

00:56:37She wanted his bouquet altered.

00:56:39I thought you were in the bedroom.

00:56:41I'm getting back.

00:56:50You didn't mind my sending out that little note, did you?

00:56:52I was glad to have it.

00:56:54I came down to thank you.

00:56:56Are you able to go to the theater?

00:56:58I'm not sure yet.

00:57:01I guarantee you the rest of the show will be good.

00:57:03I have some passes.

00:57:04I'll get you one.

00:57:14Won't you sit down?

00:57:18I expect that many men have told you that you're very beautiful.

00:57:22Oh, well, I don't always believe them.

00:57:26My brother could have captured your beauty for all time.

00:57:31Your brother, he was an artist, wasn't he?

00:57:35He was a genius.

00:57:37It was the beauty of women that led him to his destruction.

00:57:42Yours is a beauty which could destroy men.

00:57:46Is that a compliment?

00:57:48Or it could destroy you.

00:57:51Have you ever thought of that?

00:57:53That's a very queer thing to say.

00:57:55And besides, I don't think I'm beautiful at all.

00:57:57I, uh, take great trouble to give that impression.

00:58:01It is one thing if a woman is beautiful merely for herself.

00:58:05But when she exhibits the loveliness of her body upon the stage,

00:58:10as a lure, leading men on...

00:58:14You are prejudiced against actresses, aren't you?

00:58:18You wouldn't think that anyone could hate a thing and love it, too.

00:58:23You can't love and hate at the same time.

00:58:26You can.

00:58:29And it's a problem, then.

00:58:32I take my problems to the river.

00:58:35Because water is soothing when it runs dark and deep.

00:58:39And a man can think.

00:58:42The water answers problems, you know.

00:58:46You sound lonely.

00:58:47And the answer is...

00:58:49That a man can destroy what he hates.

00:58:53And love what he destroys.

00:58:57I also know that...

00:58:59There is evil in beauty.

00:59:02And that if the evil is cut out...

00:59:06Hello, Uncle.

00:59:11We've been having a most interesting conversation.

00:59:14Mr. Slade's quite a philosopher.

00:59:17I do hope you'll be able to come this evening.

00:59:26I'll look forward to seeing you in Whitechapel.

00:59:44You can dispatch your men.

00:59:51Come in, my boy.

00:59:52We've been watching for you.

00:59:54Is that you, John?

00:59:55I shan't be long.

00:59:57Penty of time.

00:59:58Did you remember to bring my escort?

01:00:00Yes.

01:00:00The square's full of mounted police.

01:00:05And in another moment, he might have had his hands on her.

01:00:07Did Kitty realize what was happening?

01:00:09Well, she didn't seem to, and we haven't told her anything.

01:00:11With the performance to Kitty tonight, we didn't even want her to think there was anything wrong.

01:00:14It's an accumulation of little things, one on top of the other.

01:00:17Destroying his bag, burning his holster, staying up all hours of the night.

01:00:20I think this thing can be settled right away.

01:00:23Here's a fingerprint.

01:00:23The ripper left in Whitechapel and again in Mitre Square.

01:00:26Now, if it were possible for me to see something that Mr. Slade had held in his right hand.

01:00:31A glass or something of that sort.

01:00:34Has Daisy taken this toddy up yet?

01:00:36Yours is a hot drink about now.

01:00:37Lemon and spices, a sort of appetizer.

01:00:39She's preparing it now.

01:00:42Well, if you took it up and waited to bring the glass down.

01:00:47Yes.

01:01:07We have a little excitement outside.

01:01:10But they're waking for Kitty.

01:01:11She'll be leaving in a few minutes.

01:01:14I'm going out too.

01:01:15I shan't be in for dinner tonight.

01:01:17Oh, do you like me new, Ulster?

01:01:20Oh, yes.

01:01:21If you don't mind, I'll wait to take you on the glass.

01:01:25If I seem a little excited tonight, you'll understand why.

01:01:31If you've ever worked for a long time, long and dangerously,

01:01:38you know how it feels when you believe that in a little while...

01:01:47In a little while, you'll finish what you have to do.

01:01:52You're referring to your work?

01:01:54Yes.

01:01:55You mean you're going away?

01:01:57Perhaps.

01:01:57I don't know.

01:02:02I rather think I may.

01:02:06You let me know if you were...

01:02:09Oh, yes.

01:02:10Of course, I'll let you know.

01:02:14If I can.

01:02:29You used his right hand?

01:02:31Yes.

01:02:31You sure you didn't touch it?

01:02:32I didn't.

01:02:33That's fine.

01:02:47I don't know if I could.

01:02:52I don't know if I can.

01:02:53I don't know if I could.

01:02:54I'll let you know if I could.

01:02:56I'll let you know if I could.

01:03:16Well, you needn't worry about Mr. Slade any more. These prints don't match.

01:03:21Then it wasn't him.

01:03:22Can't be. John, why must it be his right hand?

01:03:25Well, because this print couldn't possibly have been made by the lipper's left hand.

01:03:28It couldn't, huh? Not unless every detective at the yard is wrong.

01:03:36I wonder if we could be.

01:03:38Daisy, where's everybody? That's Kitty.

01:03:41I've got to think this out. Could you go on ahead with Kitty and we'll follow?

01:03:45If you don't mind staying behind for a few minutes.

01:03:47I'm ready, everybody. John.

01:03:53My men outside are going to think that you were well worth waiting for.

01:03:58Mr. Slade doesn't want dinner, so you take a bus to the theatre and come home in the carriage with

01:04:02us.

01:04:02Honest, ma'am. I can get a bus on the corner.

01:04:04Good.

01:04:06All ready now. We'll follow in a few minutes.

01:04:09Oh, well, aren't you coming with us?

01:04:10Well, John and I have something you want to talk about.

01:04:13I'm awfully sorry, but we'll follow almost immediately.

01:04:16They're waiting for you.

01:04:17Oh.

01:04:18Good, my Lord.

01:04:19Oh.

01:04:19That's right, Pat.

01:04:24Oh, well, look.

01:04:25Oh, well, look.

01:04:25Oh, well, gee, good.

01:04:25Oh, well, I'm sorry.

01:04:31Oh, well.

01:04:31Yes, sir, sir.

01:04:31Oh, wait.

01:04:36Oh, well, then, it's all right.

01:04:39Oh, well, it's as you're in the back of my mastererto.

01:05:05the ripper used his knife from right to left across the throat like a left-handed man

01:05:10now we never let it come out that the ripper was left-handed

01:05:13if he were left-handed oh stand up a minute then he would take his victim like this you see

01:05:21and the cut of his knife would start on this side from here now turn around if the ripper faced

01:05:28his

01:05:28victims instead of taking them from behind then he'd have to use his right hand to make that kind

01:05:33of cut and it would be his left hand that made the prince i found

01:05:35so

01:05:47so

01:05:48so

01:05:49so

01:05:50so

01:06:05you're going out sir you might just as well have used the front door instead of coming this way

01:06:10i'll light you up are you going to the theater today sir yes sir i'm just off to catch a

01:06:15bus

01:06:16i want you to have this you've been very good looking after me

01:06:24oh thank you sir thanks ellison

01:06:51oh

01:06:52jesus

01:06:52yes sir he just went out the back way

01:06:55all right you go along i'll lock up

01:06:56thank you sir goodbye sir

01:06:59bye

01:07:21hi

01:07:23hi

01:07:25Whitechapel High Street.

01:07:26Right-o, miss. All the way to Whitechapel.

01:07:28Up in.

01:07:48What's that?

01:07:54What's that?

01:08:08Counting me?

01:08:10I can't be sure.

01:08:12This pattern is so coarse, I can't see the ridges and characteristics clearly.

01:08:21Somehow I'll get clear prints of his left hands.

01:08:24I wonder if there's anything else here.

01:08:26Let's take a look at that.

01:08:30Locked, I suppose.

01:08:31Yes.

01:08:38Well, that's the picture Alan spoke to me about. His brother painted it.

01:08:42I've seen a miniature like this before.

01:08:45I think we have something here. Come on.

01:08:47Do you mind going on to Whitechapel alone?

01:08:49Why?

01:08:50I want to look in at the yard.

01:08:52I'll follow as soon as possible.

01:08:53And when you get to the theatre, stay close to Kitty.

01:08:59I found this picture in Slade's room, Superintendent.

01:09:02It's of his brother.

01:09:03You remember the first ripper murder?

01:09:05Lizzie Turner, last August.

01:09:06She had a sweetheart.

01:09:07But the one who died a drinker sound to the murder.

01:09:09I found this picture in her room.

01:09:11Slade's brother again.

01:09:12I picked it up to the Black Museum on my way here.

01:09:14Now, that's as he used to be.

01:09:16And this one is the same man, also painted by himself,

01:09:18only he degenerated, dragged down by Lizzie and her kind.

01:09:21Slade killed Lizzie because she ruined his brother.

01:09:23But this doesn't prove that Slade is Jack the Ripper.

01:09:26No, but it's sufficient grounds for action.

01:09:28Slade is deranged.

01:09:29He believes he's doing right to rid the world of the kind of woman

01:09:31that brought his brother to this.

01:09:33And I'm pretty sure he's in the theatre somewhere.

01:09:46Did you spot anyone like him?

01:09:48Inspector Warwick will come and identify.

01:09:49I'm sure he's in the theatre somewhere.

01:09:51Well, be quick and be quiet and report back here.

01:09:52Move along now.

01:09:53Yes.

01:10:09Are you tired of life?

01:10:12Are you bored with your wife?

01:10:14Is a laugh really out of the question?

01:10:17Oui.

01:10:18Then I take you with me.

01:10:20And we go to Paris.

01:10:22Hmm?

01:10:23And I think I'll make just one suggestion.

01:10:27Hmm.

01:10:28Come and do the new Parisian trots.

01:10:32In Paris they do the trot de la.

01:10:36You'll be shocked by such a naughty step.

01:10:40Much too gay and frisky and it's risky for your amputation.

01:10:45Hmm.

01:10:46It's exciting.

01:10:48Ooh.

01:10:48La la la la la.

01:10:50I'm inviting you.

01:10:52La la la la.

01:10:53To let me show you everything you want to know.

01:10:57You satins and you sis.

01:10:59Then you steal a little kiss.

01:11:01Come on.

01:11:02Who dares?

01:11:03Your cares will be forgotten.

01:11:05If you weren't to do them no for even thought.

01:11:09No.

01:11:22Believe me.

01:11:23I can't.

01:11:26Yeh.

01:11:32I can't.

01:11:33You won't.

01:11:34A year old lady.

01:11:34What?

01:11:34No.

01:11:37Yes.

01:11:37You won't.

01:11:38You won't?

01:11:38Yes.

01:11:43The End

01:12:22No sight of him, sir.

01:12:23Nobody answered in that description, sir.

01:12:25We drew blank, sir.

01:12:27It was a false alarm.

01:12:28Anybody else report?

01:12:29No.

01:12:30I'd better get backstage.

01:12:31Her number's just ended.

01:12:39One more, Miss Langley.

01:12:57Wonderful show, Miss Langley.

01:12:58Well, is she good?

01:13:00She really wrote one night.

01:13:01Oh, there's John.

01:13:02Oh, hello, John.

01:13:04I'm sorry I'm so late.

01:13:05Oh, never mind.

01:13:06I want to change and see the rest of the program.

01:13:07Will you wait for me?

01:13:10Once I was single and then.

01:13:12Once I was single and then.

01:13:14When I was single, me pockets to jingle.

01:13:16I wish I was single again.

01:13:18Again and again and again.

01:13:20Again and again and again.

01:13:22When I was single, me pockets to jingle.

01:13:24I wish I was single again.

01:13:49I said I'd be here.

01:13:55I promised I would be here if I could.

01:14:00But the others are taking me home.

01:14:02I'm not going home.

01:14:05I'm going away, and I'm going to take you with me.

01:14:12But, but I want to see the rest of the show, and I'll have to change.

01:14:16So if you wait, I'll...

01:14:18So I... I shan't be very long.

01:14:23You're so exquisite.

01:14:28You're always so complimentary.

01:14:31More wonderful than anything I've ever known.

01:14:36Why don't you sit here and...

01:14:39We can talk while I change behind the screen.

01:14:42I can't lose you now.

01:14:43Oh, it is such lovely women as you who drag men down.

01:14:53We're missing the show, aren't we?

01:14:55After all, I... I don't really have to change.

01:14:59Let's watch it together.

01:15:01I'll be beside you.

01:15:02Shall we go?

01:15:03You know they're waiting out there to kill me.

01:15:07You corrupt and destroy men.

01:15:10As my brother was destroyed.

01:15:13But when the evil is cut out of a beautiful thing,

01:15:16then only the beauty remains.

01:15:23We've...

01:15:23talked of this before, haven't we?

01:15:29Those...

01:15:29Others whom you...

01:15:32Were they beautiful?

01:15:35I watched you tonight.

01:15:37Out there.

01:15:41You were even more lovely than when I first saw you.

01:15:44When you...

01:15:44thought I was the woman subtle of heart.

01:15:48Solomon warned me against such a woman.

01:15:52But that is the evil in you.

01:16:04The evil, which must be cut out.

01:16:09But...

01:16:11But isn't it the life and the thing which makes it beautiful?

01:16:15If you take the life away, then...

01:16:17Then it becomes still.

01:16:19Then it is even more beautiful.

01:16:23I'll be still for you.

01:16:25I'll stand here quite still and...

01:16:27Let you look at me.

01:16:28If that's what you want.

01:16:30I want to make sure that you belong only to me.

01:16:34I love you.

01:16:36And I hate the evil in you.

01:16:39Love is very close to hate.

01:16:42Did you know that?

01:16:43Don't be afraid!

01:16:45You have no reason to be afraid of me.

01:16:50I have never known such beauty as yours.

01:16:53Nor such evil in such beauty.

01:16:57Men will not look at you again as they did tonight.

01:17:00John!

01:17:02John!

01:17:03John!

01:17:03Look at me!

01:17:08John!

01:17:09John!

01:17:11John!

01:17:12John!

01:17:15John!

01:17:21John!

01:17:24John!

01:17:46Let's go.

01:18:21I married another for worse than the other and love to be seen.

01:18:26The police are looking for the Ripper.

01:18:51They say the Ripper's loose in the audience.

01:18:53The crowd's half mad.

01:18:55Hurry, let's try this way.

01:18:57You mustn't go out into the street.

01:18:59What shall we do?

01:18:59Better keep her here.

01:19:00Be easier to keep an eye on her.

01:19:04He slipped up, sir.

01:19:05He could still be in the building.

01:19:06Mates, get some men.

01:19:07Search those galleries.

01:19:09John, you take charge of the stage.

01:19:10All right.

01:19:24How many times do you have to do this?

01:19:27How many times do you have to do this?

01:19:30You have to do this.

01:19:31You are the ones that you have.

01:19:31You go.

01:19:34Let me tell you a little more.

01:19:36Let me tell you what you have.

01:19:37I'm sorry.

01:19:39I'm sorry.

01:19:40I'm sorry.

01:19:56Oh, my God.

01:20:37Oh, my God.

01:20:49THE END

01:21:16THE END

01:21:46THE END

01:21:46Finish him off, sir.

01:21:48Take him alive.

01:21:51I know how to tackle him.

01:21:52Watch out for his knife.

01:21:53He'll cut you to pieces.

01:21:54Let's go.

01:21:56Let's go.

01:21:58Let's go.

01:22:02Let's go.

01:22:04Let's go.

01:22:16Let's go.

01:22:32Let's go.

01:22:38Let's go.

01:22:56Let's go.

01:22:58Let's go.

01:23:05Let's go.

01:23:16Let's go.

01:23:17Let's go.

01:23:18Let's go.

01:23:26Let's go.

01:23:27Let's go.

01:23:30Let's go.

01:23:42Let's go.

01:23:44Let's go.

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