All language subtitles for Jack the Ripper (European Cut) (1958) (UHD)

(fanfare music)

(organ grinder music)

(metal clanging)

(organ grinder music continues)

(horse hooves clopping)

(organ grinder music continues)

(drunken woman laughing)
(patrons chattering)

(organ grinder music continues)

- Ah, hello, dearie.

Oh, it's a nasty night, isn't it?

(monkey chittering)

Here. (laughing)

Here you are.
Go and get yourself a little nip.

(coins clattering)
- Thank you, Miss. Thank you.

- T'ain't for you, it's
for him. (chuckling)

(woman belches)

(organ grinder music continues)

(woman softly hums)

(organ grinder music continues)

(softly humming)

(items clattering)

(organ grinder music continues)

- [Jack] Mary Clarke.

(dramatic music)

Are you Mary Clarke?

(dramatic suspenseful music)

Where can I find Mary Clarke?

(dramatic foreboding music)

(victim moaning)
(intense dramatic music)

(intense dramatic music)

(victim moaning)

(dramatic foreboding music)

(knife thudding)

(dramatic music)

(intense dramatic music)

(dramatic suspenseful music)

(dramatic suspenseful music)

(dramatic suspenseful music)

(dramatic suspenseful music)

(hooves clopping)

- Yes, Nelly, we know all about that,

but I still want to know why
you hit him with a bottle?

- Like I said, he insulted me.

- Come, Nelly, you've
been insulted before.

- That's hardly the point, Officer.

Anyway, he wouldn't
pay me what he owed me.

- Ah, that's better.

Now we're getting nearer the facts.

- [Nelly] He insulted me.

- Oh, good evening, sir.

- Is Inspector O'Neill in?
- Yes, sir.

Shall I tell him you're...?

(door bangs)
- Ooh, who's the toff?

- [Sergeant] That, Nelly,

was the assistant commissioner
from Scotland Yard.

Not that it's any of your business.

- It is if he's come

to put a rocket under your fat backside.

Another of them Ripper jobs last night,

or hadn't you heard about it?

- You've had all the extra
men you've asked for.

The rest of London is
practically naked of policemen

and still you're no nearer
to making an arrest.

- [O'Neill] I've made
plenty of arrests, sir,

dozens of them.

Every lunatic and
sensation seeker in London

has given himself up as Jack the Ripper.

- Stop using that stupid name!

- I didn't christen him, sir,

but the one who did knew
what he was talking about.

Have you ever seen any of his victims?

- No. A body’'s a body, isn't it?

What's the point of
romanticizing these crimes?

Do you know that they've asked for

another inquest in the House today?

- [O'Neill] So I heard.

- The Home Secretary's
practically out of his mind.

"What's being done?”
they keep asking him.

He's run out of replies.

- He has my deepest sympathy.

- There's no cause to
be flippant, O'Neill.

- I am not being flippant, sir.

And I'm going to tell you something else.

Do you know how long it is
since I've been home? Four days.

Do you know much sleep I've
had in the last 48 hours?

Six hours, all here on this chair.

I've got every man working in this station

every hour God created.

Most of them are ready to drop,

but they go on just like I
do because it's their job,

despite the fact that
every ignorant lay-about

from here to Westminster and back

thinks they're lazy and incompetent

and they ought to be dismissed.

You must pardon me if
I don't feel sympathy

for the Home Secretary

just because he is
embarrassed in the House.

- Yes. Yes, of course.

Well, what's the next rope?

- Every line of investigation

will be followed to
its logical conclusion.

- That's what you said last time.

- And I shall very likely
say it next time, too.

(knuckles rapping)

Come in. What is it?

- Sorry, sir,

but there's a man in
the bar at the Red Goose

asking questions about the Ripper.

The governor thinks the crowd
might start getting ideas.

- The crowd at the Red Goose

always have ideas of some sort or another.

I suppose I better go down
and see what it's all about.

All right, Sergeant.
You'll excuse me, sir.

- Of course.

But remember, Inspector,

the police force are in particularly
bad order at the moment.

We're all relying on you
to do something about it.

- I shall continue to do my best, sir.

- I'm sure you will.

There's a good fellow. Now, off you go.

This man might be the Ripper himself, eh?

- He might, sir. He might.

- We know what you are about, mister.

Don't give us that stuff.

- [Sam] All I asked was if anyone

had actually seen the Ripper.

- We heard what you said. We're not deaf.

- We wanna know why you
asked it, that's what.

- [Sam] I'm interested. That's why.

- We know you're interested,
mister. How interested?

- [Sam] Oh, I'm sorry. Look, I--

- It wouldn't be that you are interested

to see if anyone's seen
your face, are you?

- Now, you don't think that--

Come now, gentlemen,

I just arrived from America this morning.

- [Simes] That's what you
say. Can you prove it?

- Why should I have to prove it?

- Let's give it to him.

- Hold on a minute, boys.

This gent ain't done no harm.

- You keep out of this.

Well, come on. What you waiting for?

(organ grinder music)

(drink splashes)

(blow thuds)

(furniture clattering)

(glass breaking)
(blows thudding)

Well, come on,
he's a foreigner.

They said the Ripper was a foreigner.

(glasses clinking)

(blows thudding)

Now, Mr. Jack the Ripper,

what have you gotta say for yourself?

We'll soon make him talk,
won't we, boys?

(organ grinder music)

(body thudding)
(furniture clattering)

(organ grinder music)

All right, my friend.

Let's see how you like
your belly slit open.

(bottle shatters)

(body thuds)
(organ grinder music)

- Stop that. Let him go, Charlie.

You too, Tom.

- Well, he's been asking
all sorts of questions,

Mr. O'Neill, questions about the Ripper.

- Since when did you take
the law into your own hands?

- All due respect to you, Mr. O'Neill,

but the police haven't
been much help, have they?

- That's still no excuse.

Now, get out of here, all of you!

Come on. Take him with you.

Come on, move.

Your listening to him makes
you as bad as he is.

Now, get a move on.

Come on, hurry it up!

- Nice piece of work, mister.

The way you handled ‘'em, I mean.

Nasty, rough men, they are.

(clicks tongue) There.
That's right better now, sir.

- [Sam] Yes. Thank you.

- [O'Neill] Give it back, Snakey.

- Give what back?

- [O'Neill] He's a friend of mine.

- [Snakey] Oh, on my life, Mr. O'Neill,

I never knew he was a mate of yours--

- [O'Neill] Give it back.

- Here you are, governor.

I never knew you was a
mate of Mr. O'Neill's.

I swear I never.
I wouldn't a done it. Ta-da.

- Oh!

- Drink?
- Whiskey.

- [O'Neill] Two whiskeys, please.

- Well?
- Well, what?

- [O'Neill] Now we're quits.

I visited America.

You dragged me out of a fight in New York.

You come to London, favor returned.

- All part of the
Metropolitan Police Service?

- When did you arrive?

- This morning.

- Why didn't you come and see me?

- I thought I'd have a look
around the scene of the crime,

get a little local color.

- You nearly became
part of the local color.

Bright red.

- Thanks. Oh, and thanks
for your help, young lady.

- [Helen] Oh, that's all right, sir.

- Hello, Helen. How's your mother?

- Oh, she's much better.
Thank you, Mr. O'Neill.

- Good.

- Nice kid.

You know, I'm almost glad I came.

- You'll excuse me asking,
but why did you come?

Your letter just said you were arriving.

- Believe it or not, the
New York Police Department

have given me a vacation.

- Well, you chose a good
time to come to London.

- So it seems. Want any help?

What about your vacation?

- Well, a change is as good as a rest.

Anyway, in New York,
we don't have a Ripper.

- Are you serious?
- Yeah.

Do you mind if I tag along?

- By all means. It can't do any harm.

- Well, that settles that.
Where do we start?

- First, I suggest you come home

and have some supper with me.

After supper you can go
round to the station,

start reading up what we know to date.

Get some of that local color
you were talking about.

(footsteps tapping)

Since when can a policeman

afford to travel 3,000
miles on a vacation?

- Something I didn't tell you, Ned.

The Department are paying.

- Oh.
- They're interested

in this Ripper business,

insofar as it affects the local
populace: general reactions,

attitude towards the police,
mob violence, stuff like that.

- Well, see for yourself.
Look at this street.

Before this Ripper business started,

you could hardly move along here.

Stalls, barrel organs, people
spilling out of the pubs.

It was a happy place. Not
particularly moral, but happy.

Take these men that attacked you in there.

One of them is a blacksmith.
Another a shop assistant.

I know them well.

Apart from the one with the knife,

they're just ordinary people.

- Well, they didn't seem much
like ordinary people to me.

- That's what the Ripper has done to them.

- Now, you mean to tell me--

- And no jokes, please.

You'll learn. Come on.

(heels clicking)

(people chattering)

- [Drunk] Here, (muttering)
no leave me alone. (moans)

- The next time you come
in here and can't pay,

I'll have you fixed proper.

- [Drunk] You better
(muttering indistinctly)

- Ah, none of that. None of that of it.

(lively pub music)

- [O'Reilly] Hey! You.

You're late.

- [Helen] I'm sorry, sir. I lost my way.

- First day and late.

I don't know what some of you
girls think this place is.

Go on, get inside.

(lively pub music)

Good evening, Mr. O'Neill.
And you, too, sir.

- [O'Neill] Who was that?

- Oh, just a drunk, Mr. O'Neill.

We get them all the time.

- The girl, the girl.

- Oh, the girl? Oh, she's new.

Started today.

- [O'Neill] Just make sure
that nothing happens to her

like happened to the Turner girl.

- But, Mr. O'Neill,

I should be responsible for what happens

to my employees in their spare time?

- It's no good pleading innocence with me

about the Turner girl.

She came to me the day before
she jumped into the river.

I told her to go back to
her family in the country,

but she thought she knew better.

I'm gonna keep an eye on this new girl.

So help me if anything happens to her,

I'll come back here and
I'll break every bottle,

glass, mirror, table and
chair over your filthy head!

Come on, Sam.

(crowd applauds)
(crowd cheers)

(crowd whistles)

(hooves clopping)

- [Driver] Thank you, Miss. Good night.

- Good evening, Hodges.
- Good evening, Miss.

- [Anne] Do you know where my guardian is?

- [Hodges] Well, Dr. Tranter's
supposed to be

operating about now, Miss.

Would you like me to tell him you're here?

- Oh, don't bother. I don't
want to interrupt him.

I'll wait for him in the almoner's office.

- [Hodges] Very well, Miss.

If I see him, I'll tell him you're here.

- [Urquhart] Hodges, have
you seen Dr. Tranter?

- Good evening, Dr. Urquhart.

I thought he was operating right now.

- [Urquhart] Well, he's supposed to be,

but we can't find him anywhere.

- Well, perhaps he
went on an outside case.

- Must be a very important one

to take him away when he
should be in the theater.

What are you doing here?

- I came to meet him. And I
want to see Mrs. Bolton.

- Maybe [I'll see you later.

- Well, if you find him,

will you tell him I'm waiting
in the almoner's office?

- Of course.

(door jangling)

(heels clicking)

- [Bolton] Hello, my dear.

You shouldn't be about as late as this.

- (chuckles) Nonsense, Mrs. Bolton.

If I had to take over your duties,

I should be a great deal later.

- If you take over my duties.

I still don't think
Dr. Tranter will allow it.

- I'm of age now. I can
make up my own mind.

- Indeed, you can, my dear.
Indeed, you can.

How about a nice cup of tea?

- Thank you.

- Can I go now, sir?
- Yes.

You'll be all right
walking home by yourself?

- [Helen] Oh, of course.
It's only a little way.

- [Manager] All right, dear.

Good night. See you tomorrow.

- Good night, sir.

(tense music)

(heels clicking)

(tense music)

(dramatic music)

It's you. What do you want?

- [Simes] You hit me on the
head with a bottle tonight.

- Well, it was no more
than what you deserved.

Now, get outta me way or
I'll call the governor.

He's in the bar room.

(heels clicking)

(Helen scoffs)

(heels clicking)

- [Jack] Mary Clarke.

(suspenseful music)

Mary Clarke.

- [Helen] No, that's
not me name. I'm sorry.

- [Jack] Where can I find her?

- [Helen] (gasps) Help!

(dramatic music)

(Helen gasping)

(intense dramatic music)

(dramatic, suspenseful music)

(footsteps clicking)

(patient softly moaning)

(gentle tense music)

- Any sign of Dr. Tranter yet?

- No, sir.

(anxious music)

Cover those instruments
in front of a patient.

(gentle, tense music)

- Nothing to be frightened of, Kitty.

Dr. Tranter's a very good surgeon.

You won't feel a thing.

(suspenseful music)

- [Tranter] Sorry I'm late. Outside case.

All ready here?

- Yes, sir.

- Let me see that.

Knowles, isn't it?

- Yes, sir.

- Right, now, let's see
what we can do for you,

shall we?

Thank you, nurse.

- Now, breathe deeply. Deep.

(Kitty rapidly breathing)

That's right. Breathe deeply.

Now, don't fight.

Relax. Relax.

That's right. Now, breathe deeply.

Count with me.

- One.
- One.

- Two.
- Two.

- Three.
- Three.

- Four.
- Four.

- Five.
- Five.

- [Urqubart] Six... Six.

(clock ticking)

- Scalpel.

(clock ticking)

Cut deeply, John.

That's the secret of surgery
these days, cut deeply.

(clock ticking)

D Underneath her thumb goes Jim D

D Isn't it a pity
that the likes of her is-- D

Hello? What have we got here then?

You'll catch cold
sleeping out here, ol boy.

Or... or is it "old girl™?

Yes, oh. Yes, it is a girlie.

She's no old girl neither.

Here, ducksie, what you
doing keeping in the open?

Now, why don't you go home, eh?
(chuckles)

You gotta a load on,
have you, ducks, yeah?

Here, I'll give you a hand, eh?

(gasps) Oh, my God.

The Ripper, he's done her in.

The Ripper, he's done
another of 'em!

Help, help! The Ripper,
he's done it again!

Help, help! Please, help!

(heels clicking)

He's done it again!

- Well, shut the window.

How many times do I have to repeat?

I must have the window
shut when I'm operating.

- [Drunk] The Ripper.
(police whistle trilling)

- Shut it this instant!

- [Drunk] He's done it again!

(police whistle trilling)
Help! Help! Please, help!

(window bangs)

(clock ticking)

- [Bystander] She works in
the Red Goose, don't she?

- [Onlooker] Drat these police.

You can't feel safe these
days, do you, dearie?

They don't know--

- It was a real sight, it was.

It was me what found her.

- Was it?

- Yeah, just lying there.
I thought she was sleeping.

- Come along now. Move back there.

(crowd murmuring)

- Bloody marvelous.

Police always arrive half an hour after.

- The brave boys in blue.

- Yeah, why can't we have protection?

- [Bystander] Here's Mr. O'Neill now.

(crowd murmuring)

- Whatcha gonna do about that, O'Neill?

- Keep back.

- Is it always like that?

- Always.

You know her?
- Name of Helen Morris, sir.

She's a barmaid at the Red Goose.

- Poor kid.

- They're all poor kids.

- [Crowd Member] What's
the verdict, Inspector?

Natural causes?
(crowd laughs)

- Pity Jack didn't rip up
a copper, eh, O'Neill?

- Did you call the wagon?

- [Crowd Member] Get rid of them all.

- [Constable] Hey, you
can't come through here.

- That's all right, Constable.

- [O'Neill] Evening, Sir David.

- O'Neill, have your no control
over these crowds at all?

Mutilation.
- Admirable diagnosis.

- And who might this be?

- Mr. Lowry, sir. He's an American.

- That would account for it.

Have the body taken to the hospital.

I'll do a postmortem right away.

I've already sent for the wagon.

Heavens, man, let's get this
thing out of the gutter.

Carry her, it's only a few hundred yards.

And be quick about it.

- That told them.
- It's about time

somebody started giving
a few orders round here.

- Come along. Break it up, break it up.

Get along.
(crowd murmuring)

- Who is the distinguished gentleman?

- Sir David Rogers.

Governor of the
Mercy Hospital for Women.

It's just around the corner from here.

- Not exactly sociable, is he?

- He's all right.

His bark is worse than his bite.

He's performed the majority
of postmortems on these girls.

It's easy to understand
why he's short-tempered.

- I'll get Sir David to look at her

next time he comes in,
but she'll be all right.

- Oh, incidentally, Anne
called for you earlier.

She's downstairs in the almoner's office.

- Oh.

Oh, Louis? If you're taking
those things away to clean,

clean and hone this for me, will you?

I'll pick it up tomorrow.

A boil lancing, rather nasty.

- With that?

- It was the only one I had with me.

A little like cutting a fingernail

with a pair of garden shears.

- These are the patients’ records.

We keep them for a year,
then if they haven't been-

- Ah, Mrs. Bolton, there's a
body coming into the morgue.

I'm going to do a postmortem.
Let them know, will you?

- Yes, Sir David.

- Well, good evening. Who are you?

- Anne Ford, sir. I'm Dr. Tran--

- Of course, you're
Tranter's ward, aren't you?

How silly of me.

Well, what you're doing
messing about with this stuff?

- Well, Mrs. Bolton's going
on holiday shortly, sir,

and I'm taking over her duties
as almoner while she's away.

- That's right, I'd forgotten.
Admirable, admirable.

Evening, Tranter. I've just
been talking to your ward.

Delighted she's gonna be the new almoner.

Pretty face is just what this place needs.

- I was going to tell you

as soon as everything was arranged.

- We'll talk about that later.
Come along.

- Sir David's here, sir.

He wants you in the morgue.

- What on earth for?

- They're bringing in a body.

- What sort of body?

- A dead one.

- I know that.

But why should Sir David
want to see it tonight?

- It's a Ripper job, sir.

- Oh, I see.

Oh, Sir David's doing a postmortem.

- So I understand. Come along, my dear.

- Here they come now, sir.
- Well, open them up.

I want to get away before they arrive.

- [Urquhart] Well, do you
think that very wise, sir?

I mean, they get a little nasty

when something like this happens.

- I'm perfectly capable of
looking after myself, Urquhart.

I wish you good night.

- [Urqubhart] Good night.

- [O'Neill] Good evening, Dr. Tranter.

- Oh, good evening, Inspector.

Who is it this time? Another
little drab from the streets?

- Even if it was, what
difference would it make?

- Are the police force recruiting
colonials now, Inspector?

- Uh, this is Mr. Lowry, sir.
Sam, Dr. Tranter.

Mr. Lowry's an American.

- I fail to see the distinction.

- We had a war way back, remember?

- A revolution, Mr. Lowry, not a war.

(mob clamoring)

So now, if you'll excuse me, please.

- You're not gonna try

and get through that crowd, sir, are you?

- Well, of course I am.

- I wouldn't, especially
with the young lady.

(mob murmuring)

- Come along, Anne.

(mob murmuring)

Get out of the way.

You heard what I said, get out of the way.

I'll teach you to respect your betters.

(mob clamoring)

- Let's get him out of here.

(mob clamoring)

- [Crowd Member] Beat him out of it.

- Oh!
(mob clamoring)

- [O'Neill] Grab the girl, Sam.

(mob clamoring)

(mob clamoring)

- Thank you, Mr...?

- Lowry. Sam Lowry.

- My nhame's Anne, Anne Ford.

- Pleased to meet you.

- I'm most grateful to you, sir.

Come along, my dear.
We'll go out by the back.

- Thank you again.

(mob murmuring)

- Sir David is doing a postmortem.

We'd like to be present.
Is that all right?

- Of course, Inspector.

If you'll come this way, please.

- And them?

(mob clamoring)

- Don't worry, they'll
quieten down. Come on.

(mob murmuring)

- [Simes] There he is!
There's leather apron!

- [Crowd Member] He knows about--

- There he is, ol’ leather apron!

- [Crowd Member] He knows about it--

- He's the Ripper!

(mob clamoring)

(Louis spits)

(mob clamoring)

- Don't shove me!
- You don't shove me!

And if you don't get
over I'll belt you one.

- Oh, you and who else, dearie?

- Oh, just me.

(crowd shouting)

- [Crowd Member] Go on,
dearie, pull her hair!

- I'm sorry, Anne, but you saw
what happened here tonight.

That sort of job's not for you.

- Don't you understand?

This is the sort of work I want to do.

- It's no place for a woman.

- Mrs. Bolton's a woman.

- Mrs. Bolton's different.

- She's only different
because she's not your ward.

I'm of age now. I feel I have
certain responsibilities.

- The emancipation of womanhood

that I've heard so much about.

So you're been bitten
by this disease, too.

- Call it what you like,

but this is the work I want to do.

I'd sooner have done it
with your blessing.

- I've always tried to act in
the best way possible for you.

But as you've said,

you're of age and a
determined young woman.

Well, go ahead, Anne, take the job,

do the work if it pleases you...

But not with my blessing.

(hooves clopping)

- Well, so much for that.

(utensil clatters)

Get rid of those, Urquhart.

- Yes, sir.

- You interested in

the findings of the postmortem,
gentlemen?

- No, not unless they're different.

- They're not.

Bruises on the neck,

deep-seated, multiple
abdominal incisions.

And, as before, inflicted by someone

who knew what he was doing.

- Excuse me, Sir David.

How do you mean, knew what he was doing?

- Hasn't the inspector
told you, young man?

These wounds are not the
savage slashings of a maniac.

They're careful, well-defined
abdominal incisions

that show a good knowledge
of anatomy and surgery.

- You mean a doctor.

- Doctor, nurse, student,

any one of a number of professions.

(gentle, suspenseful music)

(Kitty softly moaning)

(doors creak)

(suspenseful music)

(Kitty moaning)

(suspenseful music)

(Kitty screaming)

- What's the trouble, Louis?

All right, Louis.
I'll look after her now.

(Kitty whimpering)

- Under the circumstances,
there is no verdict I can give

other than "murder by a
person or persons unknown."

However, before I adjourn this court,

I would like to say this and
it is not my opinion alone.

Public confidence in the police

has never been as low as it is today.

In their complete inability

to apprehend the, the perpetrator
of these ghastly crimes,

they are showing themselves
to be incompetent,

inadequate, and inept.

(gavel bangs)

Court is adjourned.

- "Incompetent, inadequate, and inept.”

Oh, the papers are gonna love this.

- [Boy] Shoeshine, mister? Shoeshine?

- No, sonny, go away.

- What do you think about
the coroner's report?

What about a statement?

- Gentlemen, you heard
what the coroner said.

- [Reporter] Now, come on, O'Neill,

there must be something
you can say about this.

- O'Neill, what about the rumor that--

- Excuse me, Inspector.

- What are they gonna
do about that, O'Neill?

There must be a statement.

(reporters all clamoring)

- Cab?
- Oh, Mr. Lowry.

- Miss Ford.
- How nice.

- [Sam] May I share a carriage?

- Certainly, when I get one.

- Maybe we'll stand a better chance

up the street a little bit.

- All right, then.

- You've, uh, been to the inquest?

- Of course. Why do you ask?

- I thought, uh, oh, it doesn't matter.

- You thought, what is
a girl like me doing

being interested in such things?

You're as bad as my uncle.

It's a social problem as well
as a criminal one, you know.

- Oh? How come?

- It's a matter of class difference.

If it had happened to some
old duchess in Mayfair,

there'd be such an outcry

something would have to be
done about it and done quickly.

Because these are poor people

and not particularly respectable,

the general reaction from the...

- The right side of the tracks?

- That's it.

General reaction is they're probably

not getting much more than they deserve.

- Oh, yes, ma'am.

(hooves clopping)

- (scoffs) You're making fun of me.

- Believe me, I'm not.

- And how are your
investigations going, Mr. Lowry?

Has the well-trained American mind

brought new light to bear on the subject?

- Now, you're making fun of me.

Seriously, though, the most
difficult thing I've found

is getting to know the
people and the place.

London isn't just one city,
it's a hundred,

and each section is completely different.

What I need is a competent
guide to show me around.

One who knows both sides of
the tracks and is accepted.

- You think this may help?

- Oh, indeed, I do.

Uh, you wouldn't know anyone, would you?

- Well, I suppose I could...

I'll take you around, Mr. Lowry.
How would that be?

- That'd be just fine.
When can we start?

- When would you like to start?

- [Sam] This evening.

- Call for me at my house at 8,
27 Bruton Square.

- That'll be just fine.

- [Driver] Are you just wanting to sit

or are you going somewhere?

- No, I'm not going
anywhere. How about you?

- Oh, will you ask him to
take me to the hospital?

- Certainly. Oh, and uh,
thanks for the ride, Miss Ford.

Until this evening.

Mercy Hospital for Women,
Whitechapel, please.

- Mr. Lowry, I would've
been extremely disappointed

if you hadn't managed
to fabricate a reason

for wanting to see me again.

(hooves clopping)

(knuckles rapping)

- Tell him I'll be right down, will you?

- Tell who?

- Oh, uncle! I thought it was
Perkins announcing my escort.

- Who's the lucky man this evening?

- That American policeman, Mr. Lowry.

Remember we met in that
awful night at the hospital?

- You're going out with him?

- Yes.
- I wish you wouldn't.

- [Anne] Why on earth not?

- Well, he seems so, so brash.

- Uncle (chuckling), just
because he has an accent

and didn't go to Eton?

- I still wish you
wouldn't go out with him.

- I'm perfectly capable of
taking care of myself, you know.

- Yes, I know that, but it’s...
It's just that I,

I don't like the idea of you
going about with a policeman.

(knocking at door)

- [Anne] What is it?

- There's a Mr. Lowry downstairs, Miss.

- Oh, tell him I'll be down in a moment.

- Where's he taking you?

- To a... To a concert.

Chamber music. Very dull.

Good night, darling.

- Good night.

(upbeat, cheerful music)

(crowd applauding)
(crowd cheering)

(crowd whistling)

(can-can music)

(crowd cheering)
(crowd applauding)

(can-can music continuing)

- Waiter. Waiter!

Table, please.

- Ah, Mr. O'Neill's friend, yes?

Good evening, sir.
Good evening, ma'am.

Oh, let me get you a better table.

Or perhaps a private room, eh?

- Oh, no-no, this'll be just fine.

- Of course, sir. Waiter!

- Yes, sir.
- Champagne. On the house.

(can-can music continuing)

- Oh, no doubt as to
which side of the tracks

you're showing me this evening.

(can-can music swells)

(crowd applauds)
(crowd whistling)

(can-can music continues)

(crowd cheers)

(crowd applauding)

(can-can music continues)

- To chamber music.

- To chamber music.

Hey, what the, what is
chamber music anyway?

- That's to be our next conducted tour.

(can-can music)

You looking for someone?

- Yeah, the new girl.

- What new girl?

- The one on the end.

O'Neill warned the manager he intends

to take a paternal interest
to her future welfare.

- Glad somebody does.

- Now, what are you looking at?

- Seems we're not the only ones

to have crossed the tracks this evening.

- Evening, milord.

- Everything ready?

- Of course, milord. The usual room.

The champagne’s iced.

- Capital.
- This way, milord.

(can-can music continues)
(crowd whistling)

- Wait a minute. Who's that?
That one on the end?

She's only been here a week, milord.

- So much the better.

Send her up with Margaret
as soon as you can.

There's a good fellow.

(can-can music continuing)

(can-can music swells)

(crowd applauding)
(crowd whistling)

- Hey, you two. Upstairs in 10 minutes.

- All right. Who is it?

- Sopwith. He's got a friend with him.

Show her what to do.

- Well, not her.

- Why not?

- She's only been here a week.

- Well, it's time she
started earning her living.

You don't mind having a drink

with a couple of special
customers, do you, my dear?

- I don't think so.

- No, of course not. (laughs)
10 minutes.

- Come on, love.

("Song: To Celia")

- Here, come on. You're on.

(crowd moaning)

D Drink to me only with thine eyes D

D And I will pledge with mine >

D Or leave a kiss but in the cup )

(crowd jeering)

D And I'lL not ask for wine D

D The thirst that from
the soul doth rise D

D Doth ask a drink divine )

(crowd jeering)

- It shan't be long now, old boy.

Just give them time to change
into something appropriate.

(dancers chatting faintly)

- Really?
- Yes.

- Got any gin, love?
- Why?

- [Dancer Standing] To
paint my toenails with.

What'd you think?

- Yes, I have.
- Well?

- [Seated Dancer] I'm gonna keep it.

You don't know what it cost me.

- I've got a very good idea, darling.

What have you got there?

- Mentholated spirits.

- You're a mean lot
of cows this evening.

- [Dancer] Why don't you
buy some of your own?

- Watch out, Maggie,
she's after your booze.

- Am I all right?

- Don't worry yourself, dear.
You look lovely.

- Do you mind, dearie?

- There we are.

- My, my, don't we look lovely?

- Now remember, if they
make a joke, laugh,

even if you don't understand it.

Keep smiling like you're
having a wonderful time.

- I can't imagine why a lord
should want to meet me.

I don't know what to say.

- You don't have to say anything, dearie.

Just watch Maggie, she'll
show you what to do.

Play your cards right and
you might end up a duchess.

- Why don't you button your mouth?

- Oh, listen to the lady.

- Don't take any notice of her.

- Since when have you
become so high and mighty?

- Since his Lordship
gave up sluts like you.

- Why, you cow!

(dancers shouting)

- Maggie, you do it! Give
her everything you've got.

Come on, put her eyes out.

(dancers clamoring)

- Give it to her.
- Pull her hair out.

Go on.

(dancers clamoring)

(hand smacks)

(dancers shouting)

- Very nice. Very nice, indeed.

- Now, take these with you, room four.

(can-can music)

- Come on, dear.

- Have you been at that bottle again?

- Oh, go to hell!

- Come on, you lot. You're
all on in five minutes.

- Right, we know.

- Freddie! We've brought
some extra ammunition.

- Maggie, you are looking just, mmm.

- I'm Margaret and this
is Hazel. She's new.

- [Tom] Ah, fascinating.

Come on over here, my dear.

- Come on, love. He's not gonna bite you.

- I wouldn't bank on that, my dear.

- Go on, dear. Do like the gentleman says.

- Sit down.

A glass of champagne?

- No thank you, sir. I don't drink.

- She is new.

- Of course she drinks.

- If the young lady doesn't want to drink,

she doesn't have to.

I like a gal that, uh, knows her own mind.

- Thank you, sir.

- You don't have to call me "sir,” my dear.

Tom's the name,

- But I don't know you.

- Oh, she's a card,
this one. Always joking.

Call him Tom like he says.

- All right, Tom.

- Are you quite sure you
won't have one, my dear?

- All right, then.
Perhaps just this once.

- Oh, are you sure, my dear?

I don't want you to do anything
that you don't want to do.

- Well, I, I'd like to.

- We'll take ours in the other room.

- [Margaret] Have fun, children.

(Sopwith laughing)

(door slams)

- Why have they gone?

- They thought we'd like to be alone.

- What for? I thought
we were having a party.

- We are. A private, intimate party.

Just you and I.

- Oh, well, I don't think I...

- Hey, come on, finish up your bubbly.

Won't do you any harm.

You like it, don't you?

Drink it up, lass. Right to the bottom.

Come on, now. That's it.
(chuckles)

There, it wasn't so bad, was it?

(Hazel coughing)
(Tom laughing)

You like me, don't you?

- You seem very kind.

- Seeing as how you like me...
(laughing)

What about giving me a little kiss?

- I shall do no such thing!

- Just one little...

(laughing from outside)

- Champagne!

He poured champagne on me.

(both laughing)

Oh, Freddie!
(giggling)

(gasps) Freddie, not here.
Come on.

(Sopwith laughing)

- I think I better be going.

- [Tom] What's the hurry?
Come here.

- Oh, I must go.

- Well, what about the kiss
you were gonnha give me?

- Leave me alone! Let me go!

- (laughing) I like a
gal with a bit of spirit.

(fabric ripping)

- Look what you've done!
You've ruined my dress!

- Take it off!
(laughing)

(yelps) You little bitch!

(patrons chattering)

- [O'Reilly] What are you doing here?

- That man, he tore my dress.

- Oh, don't be so stupid, girl.

What do you think you went up there for?

(patrons chattering)
(festive music)

Hey, come back here, little fool.

Well, don't just stand
there, go after her.

We don't want no trouble with the police.

(patrons chattering)
(festive music)

- [Harry] Miss? Come back!

(dramatic music)

- [Jack] What's your hurry?

Is he after you?

Hide here.

- [Harry] Miss? Come back!

(footsteps plodding)

(foreboding music)

(foreboding music swells)

- Thank you. Thank you so much.

(dramatic suspenseful music)

- Are you Mary Clarke?

(dramatic suspenseful music)

(audience laughs)

(footstep plodding)
(audience laughs)

- Help!

(audience laughing)

(audience laughing)

- Enough education for one evening?

- Fine.
(audience laughs)

- The Ripper, he's done it again!

(audience members screaming)
(audience clamoring)

(police whistle trilling)

- Lowry!

I trust you have an explanation

for bringing my ward to an
establishment like this.

- I brought him.

- I find that hard to believe.

However, luckily I happened to see you.

Come along, my dear,
I'll take you home.

- You better go.

- Well, if you say so.

- I assume you're off to join the morbid

and the sensation seekers
at the scene of the crime.

- I've had a most pleasant evening.

Thank you very much.

Good night.
- Good night.

- Sir.
- I don't approve of Mr. Lowry

any more than I approve
of places like this.

- Well, why are you here?

- Since you must know,

I didn't believe your story of
a concert and I followed you.

Now, shall we go home?

(crowd murmuring faintly)

- Anyone sent for a doctor?

- [Crowd Member]
Undertaker, more like it.

- Awagon'’s been sent for, sir.

- Inspector O'Neill?

- Yeah, he's been sent for too, sir.

- [Crowd Member] Why ain't O'Neill here?

Then it might never have happened.

- He's never here when he's wanted.

- It ain't safe no more.
- Come on.

Why don't you go home, huh?
- Yeah, get rid of 'em all.

(metallic clinking)

(footsteps tapping)

(dramatic music)

- It's him!
- He's the Ripper!

- [Crowd Member] Old leather
apron. Look at that knife.

- That's what he did her with.

- You done it, didn't you?
- You're the Ripper, aren't ya?

- He's dumb! He can't talk!
- Or won't.

Let's get him.

(suspenseful music)

(tools clinking)
(crowd shouting)

(dramatic music)

- You wait here.

(dramatic music)

- Come on!

(dramatic music)

There he is now!

(dramatic music swells)

(mob clamoring)

(intense, suspenseful music)

(bell ringing)

(dramatic music continues)

Grab him.

(suspenseful music)

Now, let's see how you like it.

(blow thuds)
Ow! Me arm, you broke it!

- It'll be our head next time.

Now, get outta here before
I forget I'm a policeman.

Go! Go on home, all of you!

Come on, Benz.

- I went to see the Home
Secretary personally.

He was delighted. Delighted!

There'll be a promotion
in this for you, O'Neill.

I'm not making any promises,

though, but there's every chance.

What do you think of that, eh?

- Very gratifying, sir.

- I thought you'd feel that way.

- Now, I think we'll keep
the fiend here tonight.

We'll have to organize well,
of course,

the crowd'll probably
try to rob us of our prey.

And then tomorrow morning
we'll move him and--

- Can't move him, sir.

- Can't? Why not?

- He hasn't been charged with anything.

- You're joking, of course.

- I put Benz into protective
custody, sir, nothing more.

- Well, go down to his cell
and charge him, right away.

- With what?
- Murder. Multiple murder.

He is Jack the Ripper.

- Is he?
- What do you mean, “Is he"?

Of course, he is. You've
locked him up, didn't you?

- [O'Neill] Protective custody,
I said, sir.

- I'm sorry, sir, it's these reporters.

I can hardly stop 'em from
breaking the door down.

Get back!
(reporters clamoring)

- [Hodges] Get rid of them, Sergeant!

- Well, they want a statement, sir.

- Do as I say, this instant!

- Come on, get out.
(reporters chattering)

- What's gonna happen to him?

- Has he been charged?

- What does Inspector O'Neill
think his chances are?

- They didn't even make a statement.

- Gentlemen, please. You've all
heard the official statement.

I'm afraid I can't add to it.

- "Louis Benz, an employee at
the Mercy Hospital for Women,

has been taken into custody.”

Now, what sort of a statement'’s that?

- That's right.
- The official sort.

That's all you're gonna get.

- Where's O'Neill?

- [Reporter] Aren’t you Sir David Rogers?

- [Reporter] Benz works at your hospital.

What do you think about this affair?

- [Reporter] Do you
think Benz is the Ripper?

- Is O'Neill in here?
- Yes, sir,

but you can't go in there.

- Ah.

O'Neill, what's this I hear about
Louis Benz being locked up?

- That's right, sir.

- What do you mean,
"That’s right™?

Release him immediately.

- What may I ask--
- Who are you?

- [Hodges] This is Assistant
Commissioner Hodges

of Scotland Yard, Sir David.

- Ah, good.

Then perhaps you can talk sense
into this mutton-headed policeman.

Tell him to release Benz at once.

- I shall do no such thing.

Who do you think you are
barging in here like this,

giving me instructions?

- Never mind who I am.
Do as I tell you.

- You realize, of course,

that this Benz is Jack the Ripper.

- Balderdash. Whose idea is that?

Yours, O'Neill?

- Uh, no, sir.

- Yours then, I suppose?

Really, Mr. Assistant Commissioner,

I think the metropolitan police force

is staffed by a bunch of halfwits,

and not so half-witted as those at the top.

What put that damn fool idea
into your head, anyway?

- Benz was carrying a bag
full of surgical instruments.

- Oh, was he now?

Well, of course that makes a difference.

What do you suppose these are, toothpicks?

Go on, arrest me.

While you're at it,

try locking up the rest of my staff:

Tranter, Urquhart, all of us.

There's not one Jack the Ripper,

there's half a dozen of us.

We take it in turns.

- Louis Benz is in protective custody.

He hasn't yet been charged.

l... We thought it was the
only safe place for him.

- Then why didn't you say
so in the first place?

- I'm still not saying
he isn't the Ripper.

- Then you're still being asinine.

And I'm going to see the Home
Secretary and tell him so.

Good night, sir.

(door bangs)

- Shall I go downstairs now,
sir, and charge Benz?

- Um, no. No, O'Neill,
we leave it for a while.

- Then if you'll pardon me,
sir, I have work to do.

- What's that?

- I'm going to try and
find Jack the Ripper.

Come on, Sam.

- My life, Mr. O'Neill!

How was I to know the
poor little thing would go

and get herself carved up
by The Ripper?

You can't blame me for that, can you?

- What was it that sent her

running out into the night on her own?

I can't blame you for
that either, I suppose?

- Well, I--
- Well?

- [O'Reilly] I've got to
make a living, Mr. O'Neill.

The legitimate side of the
business don't pay nothing.

People come in here, they buy half a beer

and they sit all the evening.

I've got to make a living.

The suit. Now, mind the suit, Mr. O'Neill.

- Listen, you. It so happens
that I've got something else

that's taking up all of my time.

But as soon as I clear it up,

you better start looking for
a new way of making a living,

because I'm gonna close
this place up so tight

it won't see daylight for 20 years!

- Flaming busybody.

I hope the Ripper carves him up.

- I came along here, sir.

And just there was where
I saw the courting couple,

and then I went on to--

- Courting couple in this doorway?

- No, it's this door, sir.

And then I went on--

- That's where you discovered the body.

- Oh, no, sir. No, it...

Now, wait a minute.
You're right, Mr. O'Neill.

You're dead right.

So they wasn't courting after all.

- The Ripper, Harry. You saw the Ripper.

- Oh, God.

- Harry, what did this man look like?

- Well, I don't know, sir.

I didn't really look at him, actually.

Hey, wait a minute.

If he was the Ripper, I heard him talk.

- Talk? What was he saying?

- Well, I just passed by, still
looking for the young lady,

and what I heard him say,
“Is your name...?"

“Is your name” something or other.

- Well, what, Harry?
"Is your name” what?

- Mary! Mary, it was.

Mary something.

- Think, man, think!

- I am thinking, sir.

Mary... Mary...

Mary Clarke!

That was it.
“Is your name Mary Clarke?”

- Mary Clarke.

- Ring any bells?

- Not right off.

All right, Harry, you can go now,

and not a word of this to anyone,
do you understand?

- Yes, sir. If you say so, sir.

- I say so.

- And so you don't forget, huh?

- Oh, thanks, Mr. Lowry. Good night.

Good night, sir.

- Good night.

Mary Clarke... I wonder who she is.

- Whoever she is, the
Ripper's looking for her

but he hasn't found her yet.

- That doesn't explain

why these other young girls
have been butchered.

- Why, they could identify
him, couldn't they?

- Yeah. Let's hope for her
sake, we find her first.

- Kitty, you're not well enough yet.

- Anne, you speak to her.

- Won't do any good.

- Just a few more days,
until you're really strong.

- No thank you, Miss, all the same.

I want to go home.

- All right, Kitty.

But I want you to promise me something.

- What?
- That you'll let me come

and visit you.

- Morning.

- Morning, sir.

- Urquhart, you'll have
to get someone else

to assist in the theater.

Those idiots have still
got Benz locked up.

- Yes, sir.

- Hello, dear. You one of mine?

- No, Dr. Tranter’s case, sir.

She's asking to be discharged,

and I told her I do not
consider her fit enough.

- Hmm. What does Dr. Tranter say?

- He says we can't hold
her against her will.

- I'm afraid he’s right.

If she insists on leaving,
we can't stop her.

But I must say,

I think you're being
very foolish, young lady.

The doctor here knows what's best for you.

- I still want to go home, sir.

- All right, Urquhart, sign the discharge.

- Yes, sir.

- Don't forget about the
theater assistant, will you?

- No, sir.

(person coughing)

- I think this is him.

- Your name’s Clarke, isn't it?

- Yeah.
- I'm Inspector O'Neill.

- [Clarke] Good luck. God help me,
governor, I wasn't there.

This fella said to me

did I wanna make myself a couple of quid

and I said no, not if it ain't honest.

But I wasn't there!

- Records show that you have
a daughter, Mary, Mary Clarke.

- Even if I had have
been there, I wouldn't...

What, Mary?

What's my poor little baby
daughter got to do with all this?

- You do have a daughter Mary?

- Yeah, and a sweeter,
kinder girl never lived.

She depends on me, you know.
I'm her only means of support.

If you locks me up, she'll
starve to death. (sniffles)

- We're not gonna lock you up, Clarke.

We just wanna find out
about your daughter.

- Honest?
- That's all.

- [Clarke] It's not about
the Euston Road job,

y'know, the one where I wasn't there?

- No, we just want to find your daughter.

- Ooh, I can't help you, I'm afraid.

- What's that supposed to mean?

- I ain't seen the
little slut for 10 years.

- You just said--

- Oh, that's flannel, guv,
just flannel.

- You have no idea where she is?

- I forgot I had a daughter

til the other fella come looking for her.

- What other fella?

- I don't know who he was.
It was about four months ago.

Posh feller, he was. Toff.

- What'd he look like?

- I didn't see him properly
‘cause it was dark,

but he was a posh fella.

He, uh, he was carrying a little black bag.

(foreboding music)

(foreboding music continues)

(dramatic, foreboding music)

(intense dramatic music)

(dramatic music swells)

- Well, so much for that fool idea

of Louis Benz being the Ripper.

- I've already released him.

- About time, too. Take that, Urquhart.

The whole idea was a
lot of nhonsense, anyway.

- Pawn ticket.

- No hame?
- Yeah.

Here we are.
"Grace Merchant.”

(soft knocking)

- Hello, Kitty.

- Hello, Miss.

- May I come in?

- [Kitty] If you want to.

- Well, of course I want to.

You said I could come and visit you.

- What'd you come round for?

- See how you are.

- Oh, I'm all right, thank you.

- Lovely. Do you need anything?

- No, thank you. Oh, lovely flowers.

Is this your young man?

- Leave it alone.

- I'm sorry. I didn't mean to upset you.

- I shouldn't have behaved like that.

It was very rude of me. I'm sorry.

- It's all right.

- (sighs) He was my young man.
We were gonna be married.

(sentimental music)

He found out about, well,
my life before I met him.

The men l've been with.

Don't think you'd understand, Miss,

what it's like for a girl like me.

I'm not much good. Never was.

Then I met him. He was very kind.

Said he loved me.

(sentimental music)

I wanted to tell him all
about myself and what I was.

But somehow each time I
was going to, I put it off.

And then, as I said, he found out

and the next day they found
his body in the river.

(sorrowful music)

- Kitty! Oh, how dreadful.
I'm so sorry.

- Oh, it's all over now.

I'm sorry. Can I get you something?

A cup of tea or-

- You stay there, I'll get it.

(tender music)

(tender music swells)

Kitty, when was the last time
you had something to eat?

- [Kitty] Yesterday evening.
But I'll be all right.

I'm going out later to see
a woman I know about a job.

- Yes, but you won't get
paid for at least a week.

In the meantime, you've got to eat.

Look, I'll put you down
on the parish register.

That way you can get
food from the hospital.

- I don't want any charity.

- Now, don't be so silly.

You've been ill.

If you don't eat, you'll find
yourself back in hospital.

It's cheaper for us to keep you out.

Oh, have you got a birth certificate?

- Yes. What do you want it for?

- Well, I have to have it
for the parish register.

- Oh. Fine.

(tender music)

- I'll call around later this evening,

bring you a hamper.

- Oh, I don't want you to
go to any trouble, Miss.

- Oh, it's no trouble.

Good.

- Thank you, Miss. You're very kind.

- See you later this evening.

(tender music)

(door bangs)

(gentle, suspenseful music)

(heels clicking)

(gentle, ominous music)

(dramatic music)

(heels clicking)

(ominous music)
(heels quickly clicking)

(ominous music)
(heels clicking)

(ominous music swells)

(ominous music)

(footsteps clicking)

(tense, ominous music)

(footsteps clicking)

(ominous music)

(footsteps clicking)

(tense, ominous music)

(dramatic music)

(dramatic music swells)

(metal clanking)

(footsteps clicking away)

(Anne gasps)

- I thought it was you.

I've been following you.

You shouldn't have tried to hide.

- Now then, what’s going on here?

How did you two get in?

- The gate was open.

- Oh, was it now? We'll
have to see about that.

And I'll ask you both to leave.

- But--
- Of course.

Wwe'll leave at once.

Anne, what's the matter?

I, I saw you come from
Kitty Knowles' place

and I tried to catch up with you

but you were going so fast.

- I, I was frightened.

- Frightened?
Well, what on Earth...?

Oh, now wait a minute.

You didn't think that I...
That I... Oh, Anne!

(laughing) Oh, come on.

I'll walk back to the
hospital with you. (chuckling)

- Give me the clips.

Put that one there.

Not there, idiot, there!
And hold it.

(clock ticking)

Ah, it's no good, Benz.

Leave her alone. Let her die in peace.

- Just looking in to see
if everything’s all right.

What's the matter, Louis?

What's that? Let me have a look.

- It's no good, sir.
She's going to die.

- Nonsense. No one dies while
their heart’s still beating.

We must hurry.
Get this clip out,

it's strangling the blood vessel.

Louis, I want swabs, clips,
sterilizing pan. Quickly.

(quill scratching)

- Hello, dear. What's the matter?

- I feel a bit tired. I'm going home.

Are you ready?

- I have some work to do first.

Anyway, Mr. Lowry’'s calling for me later.

- "Kitty Knowles."” Isn't that
the girl I operated on?

- Yes.
- "Mary Clarke.”

- [Anne] It's on her birth certificate.

- Well, if you're not
coming home, I'll get along.

- Well, she'll be all right.
Eh, Tranter?

- Yes, sir, I think she will.

- Of course, she will.

- Sir David...
- What is it?

- [Tranter] I'd like you to
accept my resignation.

- Uncle!
- Resignation?

What are you talking about?

- Well, you saw what happened here.

If you hadn't arrived when you
did, that girl would've died.

Even Louis Benz knew when
I was making a mistake.

Good heavens, man, that's
no reason to resign.

- I think it is.

I feel I've come to the
end of my work here.

- Nonsense. You've been
overworking, that's all.

You'll need a rest.

Look, why not take a couple of weeks off?

Then, if you still want to resign,

we can talk about it again.

- Very well, sir.

- I'll walk to the gates with you.

- And, Tranter,

you'll never come to the end
of your work here.

Remember that.

- Thank you, sir. Good night.

- Good night.
- Excuse me.

Uncle, because of one small error?

- I've told you why.

I feel I've accomplished everything

that I set out to do
in this part of London.

There's no more for me.

- Sir David's suggestion was right.
Take two weeks rest.

- Good night, my dear, and
don't be too late home.

- I'll be all right.

(gentle music)

(gentle music continues)

(cart rumbling)

(anxious music)

(dramatic music)

- Hodges.
(gate clanking)

Miss Anne still here?

- She had to go out, sir.

Took a hamper of food
to that Kitty Knowles.

She said, would you wait, sir?

- Thanks.

(suspenseful music)

(knocking at door)

(anxious music)

(foreboding music)

(foreboding music swells)

(door slams)
(foreboding music)

(frantic music)

- Kitty? Kitty?

(gentle, suspenseful music)

(suspenseful music swells)

(intense dramatic music)

- Mary Clarke.

- Yes. Why, you're--

- No matter who I am.

But you knew my son rather well.

- Your son?

Oh, you're Paul's father.

- I was.
- What do you want?

- [David] I want my son.

But he's dead, isn't he?
You killed him.

- I killed him?

- Surely as if you'd planted a
knife into his heart.

He was going to be a surgeon, you know.

A brilliant surgeon. A genius!

But you turned his mind.

You drove my boy to suicide.

- No, I loved him.

- How dare you speak of love.

You defile the word.

Like some foul, malignant virus,

you and your kind contaminate
the gutters you inhabit.

The very air you breathe!

No one is safe.

I've been sweeping the streets

looking for you, Mary Clarke.

Scouring the pavements,
SO young men may be safe.

Young men, like, like...

Paul. Paul. Paul!

- You're ill.

- Yes. Yes, I'mill.

The virus...
I must kill the virus.

I must kill it before it's too late.

Destroy it. Now, Mary...

(Mary screams)
(dramatic music)

- (crying) Kitty!

(knocking) Kitty! Kitty!

(Anne knocking)

(dramatic music)

(furniture clattering)

Kitty!
(dramatic music)

(Kitty yelping)

(intense dramatic music)

(Kitty moans)

(tense music)

(suspenseful music)

(suspenseful music swells)

(door banging)

(suspenseful music)

- Anne!

(door bangs)
(dishes clattering)

[Sam] Anne! Anne!

(suspenseful music continues)

Anne.
- I'm here.

- [Sam] My God, did you see him?
Did you see who it was?

- (crying) No.
- Don't look.

(suspenseful music continues)

(Anne crying)

(suspenseful music continues)
(footsteps clicking)

(bell ringing)

- All right, all right,

all right, all right.

What's all this noise about?

- Come on, you idiot, open up.

- I'm sorry, Sir David.

Why, what's happened?

You're all covered in blood.

(gate clanks)

(suspenseful music)

Are you all right?

(dramatic music)

(Hodges moans)

(body thuds)

- O'Neill will be here in a minute.

You know what to do.

- Yes, I think so.

(doorknob clicks)

- Good evening, Sir David.

- What do you want?

- Working late, aren't you?

- Obviously. What are you doing here?

- Well, I have reason to believe

the Ripper's somewhere in this hospital.

- Nonsense.

- The porter’s just been attacked.

- Why should that lead you to believe

the Ripper’s in the building?

I was under the impression he
confines his attacks to women.

- Well, there has been another killing.

Only this time he was
forced to leave in a hurry.

He left this behind.

- Well, just like my bag.
Eh, Mr. Lowry?

Now, if you don't mind, I've work to do.

- Good evening, Sir David.

- Look here, Inspector,
this is a mortuary,

not a public art gallery.

- I'm sorry, sir, but I came to
see you about the porter.

- Mr. Lowry's already informed me.

The porter was murdered by some ruffian.

- I didn't say he'd been
murdered, Sir David.

I said he'd been attacked.

- Well, you, you implied it then.

- He's been taken to
the operating theater.

Dr. Urquhart thinks he can be saved.

He'd like you to operate.

- Well, that's, that's quite impossible.

But can't you see I'm busy?

I've got to finish this postmortem.

- I think you'd better
come to the theater, sir.

- Are you telling me
what to do, Inspector?

- Yes, sir, I am.

- This is impertinence.
Gross impertinence.

- Possibly, but we want
to save this man’s life.

You're a doctor, surely
that's your wish, too.

- Very well. I'll see what I can do.

- Thank you, sir.

(suspenseful music)

(suspenseful music continues)

(elevator thumping)
(dramatic suspenseful music)

(suspenseful music continues)
(elevator thumping)

(gate rattling)

(tense music)

Sir David, please.

(tense music)

- This hospital's becoming
like Piccadilly Circus.

If I see this man, I must
see him alone. Is that clear?

- Perfectly clear, Sir David.

How is he, Dr. Urquhart?

(tense music continues)

- He is regaining consciousness slowly.

It's all right, Hodges.

Sir David's here to look after you.

(suspenseful music)

(suspenseful music swells)

(dramatic music)

- Quick! Ground floor.

Go out the front.

(suspenseful music continues)

(door creaks)

(door clicks)

(suspenseful music continues)

(cigarette sizzles)

(bolt clanks)
(dramatic musical stinger)

(elevator cranking)

(gate bangs)

- Why we didn't take him

to the morgue in the first place beats me.

- Poor old fella. Even I
could see he was dead.

(gate rattles, bangs)

(suspenseful music)

(door clattering)

(door banging)

(suspenseful music continues)

(suspenseful music builds)

- [Sir David] Let me out! Let me out!

(dramatic, suspenseful music)

Let me out! Let me out!

Let me out! Let me out!

(intense dramatic music)

(David groaning)

(intense dramatic music)

(David yelling)

(David screams)
(intense dramatic music)

- But you don't know.
Not for sure.

- Oh, we know. We can't prove it.

- We'll never be able to prove it.

The most infamous
murderer since Bluebeard

and the files will always
be marked "Unsolved.”

- Well, good night.

- Good night, you two.

(dramatic music)

(dramatic music swells)
(hooves clopping)

(dramatic music)

(dramatic music swells)