Man in the Attic (1953)
Unrated | 1h 22min | Film-Noir, Mystery, Thriller, Drama | 23 December 1953 (USA)
After an enigmatic, self-described pathologist rents the attic room of a Victorian house, his landlady begins to suspect her lodger is Jack the Ripper.
Director: Hugo Fregonese
Writers: Robert Presnell Jr. (screenplay), Barré Lyndon (screenplay) (as Barre Lyndon)
Stars: Jack Palance, Constance Smith, Byron Palmer
We have over 15,000 titles available for licensing to VOD platforms. Contact: sales@echelonstudios.us
Unrated | 1h 22min | Film-Noir, Mystery, Thriller, Drama | 23 December 1953 (USA)
After an enigmatic, self-described pathologist rents the attic room of a Victorian house, his landlady begins to suspect her lodger is Jack the Ripper.
Director: Hugo Fregonese
Writers: Robert Presnell Jr. (screenplay), Barré Lyndon (screenplay) (as Barre Lyndon)
Stars: Jack Palance, Constance Smith, Byron Palmer
We have over 15,000 titles available for licensing to VOD platforms. Contact: sales@echelonstudios.us
Category
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Short filmTranscript
00:00:00© BF-WATCH TV 2021
00:00:30© BF-WATCH TV 2021
00:01:00© BF-WATCH TV 2021
00:01:30© BF-WATCH TV 2021
00:01:35© BF-WATCH TV 2021
00:01:51You clatter like a horse.
00:01:54You'll not seal up on any jackthrift or thundering through the streets like that.
00:01:583,000 men called out, all wearing rubber strips on their boots,
00:02:02except the Yorkshire man.
00:02:04And one Yorkshire man's worth a lot of you. Never mind me boots.
00:02:08They'd be better off giving us guns, not yawping about rubber soles.
00:02:13And what do we do with this, against a cunning devil with a long, sharp knife?
00:02:17A nurseman knows what to do with that.
00:02:19You go now, Katie. Now, go home and don't come back here
00:02:22till you learn how to behave yourself.
00:02:25Now, I've warned you, Katie, a hundred times, if I said it once.
00:02:27Let go of me. I'll go when I'm ready and not before.
00:02:30Let go of me!
00:02:31Now, is that any way to be active?
00:02:34Now, just gentle-like. Easy and gentle, if you please.
00:02:38Three strong men it takes.
00:02:40Three men to keep one poor woman from having a little drink.
00:02:44No, no, you'll be feeling fine after a little sleep. Come on.
00:02:47I'm feeling fine now, you great ape.
00:02:50You've got a quick eye, miss. He is a bit like an ape.
00:02:53Here, you're for home. You've had enough.
00:02:55Now, look here.
00:02:57Have a drink till I float, if I want to, and no one is going to stop me.
00:03:00I might have... Here, let me handle this.
00:03:03You see, miss, it's our duty to protect you from Jack the Ripper.
00:03:07I don't think you mind a bit of protection from a fiend like that, do you?
00:03:13No, no.
00:03:15I will be honoured to have a stalwart and polite constable
00:03:21such as you take me home.
00:03:24I live just around the corner.
00:03:28Just around the corner.
00:03:41You know, it's a rare thing to find a constable with such lovely manners.
00:03:47Yolks are gallantry, ma'am.
00:03:49Well, here it is.
00:03:52And thank you kindly.
00:03:55A pleasure, ma'am. Sleep well.
00:03:57Thank you. Good night.
00:03:59Good night.
00:04:21Good night.
00:04:51Good night.
00:05:21Good night.
00:06:22Rot!
00:06:23This fellow, George Bernard Shaw, should be shipped back to Ireland post-haste.
00:06:26What did you say, dear?
00:06:27I was talking to the dog.
00:06:29About what, dear?
00:06:30I said George Bernard Shaw should be sent back to Ireland.
00:06:34Why? What did he say that you don't like?
00:06:36He said if a duchess went down to Whitechapel and got slaughtered by Jack the Ripper,
00:06:39something would be done to protect the lives of the poor women who live there.
00:06:43Well, it's true, isn't it?
00:06:44In the first place, it's not true.
00:06:46In the second, I was talking to my dog.
00:06:49Very well, but I think at least you should tell him both sides.
00:06:52That's ridiculous.
00:06:57Now, who could that be this time of night?
00:07:00I'm sure if you think carefully, you will discover a way of finding out.
00:07:07William?
00:07:10I feel something.
00:07:12Helen.
00:07:13Well, I do.
00:07:19Good evening.
00:07:21Do you have rooms to let?
00:07:25I saw your advertisement, and the estate agents gave me this order to view.
00:07:31You must forgive me for coming so late. I was working.
00:07:34Oh, yes, of course. We do have rooms.
00:07:38Please come in.
00:07:41I'm Mrs. Harley.
00:07:44My name's Mrs. Harley.
00:07:46My name is Slade.
00:07:48Well, Helen, who is it?
00:07:50My husband, Mr. Harley.
00:07:51This is Mr. Slade, dear. He's come to see the rooms.
00:07:57Yes, how do you do?
00:08:03That's odd, you know. He never does that with strangers.
00:08:11May I see the rooms, Mrs. Harley?
00:08:13Oh, yes, of course, Mr. Slade.
00:08:15You'll just come upstairs.
00:08:29Here we are.
00:08:32I'm awfully glad I dusted in here today.
00:08:34I had a feeling someone might come.
00:08:37I'm sure you'd be very comfortable here.
00:08:40This is the bedroom.
00:08:42These are the only rooms you have, Mrs. Harley?
00:08:45I could let you have them quite reasonably.
00:08:47There isn't anything else, except the attic, of course.
00:08:51The attic? Please let me see it.
00:08:54It's really very small, you know.
00:08:56I would like very much to see it.
00:09:03Do you like those? They're old-time actresses.
00:09:06Quaint, aren't they?
00:09:08Quaint, aren't they?
00:09:24As you see, it isn't very nice.
00:09:28Excellent. This is excellent.
00:09:31Exactly what I need, madam.
00:09:33You see, I am a pathologist.
00:09:35I need a place to study and do a little experimental work.
00:09:38I won't be interrupted.
00:09:40I'd take the other rooms as well, of course.
00:09:42I would live downstairs and work up here.
00:09:44Would that be all right with you?
00:09:47Yes, of course.
00:09:49This will be most useful.
00:09:52I suppose a scientist's experiments always seem mysterious to other people.
00:09:56I assure you, I won't be doing anything dangerous.
00:10:00That's good.
00:10:02May I take the rooms tonight?
00:10:04Yes, but the terms...
00:10:06Would five pounds a month be acceptable?
00:10:08Five? Oh, that's more than adequate.
00:10:10Done.
00:10:13You're our first paying guest, Mr. Slade.
00:10:16You see, we've come upon a period of hard times.
00:10:20So you must now let rooms.
00:10:22Yes. Mr. Harley suffered business reverses.
00:10:25And with nothing to do, he's become so nervous and restless.
00:10:30If at times he seems a little eccentric or rude,
00:10:34you will understand, won't you?
00:10:36Of course I will.
00:10:38I believe I should pay you now, Mrs. Harley.
00:10:42My habits are irregular, I'm afraid.
00:10:45I often need to be out late at night.
00:10:47And I will be very quiet.
00:10:50If you'll just regard me as a lodger, not as a guest,
00:10:52you'll hardly know I'm in the house a month in advance.
00:10:56Oh, you are thoughtful, Mr. Slade.
00:10:58I'm so pleased it was you who came.
00:11:01Are you?
00:11:03That's very kind.
00:11:05You can have your meals whenever you want them.
00:11:07You have a maid?
00:11:09Yes. This happens to be her night out.
00:11:12But I can get you some dinner if you'd like.
00:11:15Yes.
00:11:17This is a beautiful old Bible.
00:11:19Yes, it belonged to my grandmother.
00:11:22I hope you'll not take it away. I should like to have it here.
00:11:25It comforts me.
00:11:27A ripper again! Murder in Whitechapel!
00:11:30Murder! Another ripper murder!
00:11:33Another one. Another one of those horrible Jack the Ripper murders.
00:11:37Why can't the police stop them?
00:11:39Jack the Ripper.
00:11:41What a revolting, stupid name.
00:11:48I'm sorry, Mrs. Harlady.
00:11:51The whole thing is repugnant to me.
00:11:53Well, if you'll excuse me, I'll get your dinner now.
00:11:58Murder! Evening standard! Echo!
00:12:02The ripper again! Murder in Whitechapel!
00:12:05Murder! Another ripper murder!
00:12:08Another murder! Evening standard! Echo!
00:12:15Oh, it's you.
00:12:17Yes. Another murder.
00:12:19The fourth. All the same.
00:12:21He cuts their throats and then uses his knife like a doctor who's gone mad.
00:12:24The papers daren't print all the details. Too gruesome.
00:12:27Want to read it?
00:12:29No, thank you.
00:12:32Mr. Slade took the room.
00:12:34And the attic, too. He's taking them as of now.
00:12:37I say, that's a bit quick, isn't it?
00:12:39He won't be any trouble to us at all.
00:12:41Don't like renting out bits and pieces of my own home.
00:12:45Can't have any privacy.
00:12:47Besides, we need the money.
00:12:49I suppose you want me to go up and make a show of hospitality?
00:12:52No. Tomorrow will do, dear.
00:12:54But if you're finished with the paper, let me take it up to Mr. Slade with his dinner.
00:12:57Finished with it? I just got it.
00:13:00There, you see? It's beginning...
00:13:02Well, now, where's that dog?
00:13:04I think I saw him go upstairs.
00:13:06Look, that fellow's not going to have my dog, too, is he?
00:13:30These pictures, their eyes follow you wherever you move.
00:13:33They watch.
00:13:35They get on my nerves. I don't like being watched.
00:13:38I understand. I'll have them taken down tomorrow.
00:13:41Bertha, they are pictures of actresses.
00:13:43Yes. I hope you don't really object to actresses.
00:13:47My niece Lily's on the stage.
00:13:49Your niece?
00:13:52Yes. We're very proud of her.
00:13:54She's a wonderful actress.
00:13:56Your niece?
00:13:59Yes. We're very proud of her.
00:14:01She opens next week at the Piccadilly Theatre Royal.
00:14:04She's bringing over some special dances from Paris.
00:14:07They're quite shocking, but they're most delightful.
00:14:10She is very beautiful, too, I suppose.
00:14:13Oh, yes. Wait till you meet her.
00:14:15Meet her?
00:14:17Yes. She'll live here in this house.
00:14:19Oh, you'll soon change your mind about actresses, Mr. Slade.
00:14:22Come on, Prince.
00:14:27Helen, it's 7 o'clock.
00:14:29Be quiet, dear. Read your paper. We're just coming.
00:14:33Oh, I'm as good as my word.
00:14:35Daisy, I've got your pass for Miss Lily's performance tonight.
00:14:38Oh.
00:14:40Mr. Arliss, sir, you're awfully nice.
00:14:43What's the matter? Don't you want to go now?
00:14:47Oh, I do, sir. I do.
00:14:49But I'm afraid.
00:14:51Afraid?
00:14:53Well, there ain't a girl in all London who fancies walking home alone at night.
00:14:57What, with a ripper up to his devilish tricks?
00:15:00Well, I suppose I don't blame you.
00:15:03Tell you what. See the show and come home in a cab.
00:15:08Oh, bless you, Mr. Arliss, sir.
00:15:10Now, run along and fetch us the carriage, will you?
00:15:13Yes, Mr. Arliss, sir.
00:15:24Come along, Lily darling, or you'll be late.
00:15:26I'm coming, Auntie.
00:15:31Uncle William, you look very handsome and elegant.
00:15:34You look pretty ravishing yourself.
00:15:36Oh, I'm so excited. I'm afraid I'm going to burst.
00:15:39You must contain yourself at all costs,
00:15:41especially in the theatre, where people are helplessly packed together.
00:15:44Oh, do be quiet. Be sure you've got everything.
00:15:47Oh, yes.
00:15:49Oh, do be quiet. Be sure you've got everything.
00:15:54Hello there, Mr. Slade.
00:16:00Are you coming to the theatre, Mr. Slade?
00:16:02I'm afraid not.
00:16:04Oh, Lily, I don't believe you've met Mr. Slade, have you?
00:16:07My niece, Lily Bonner.
00:16:09Good evening, Mr. Slade.
00:16:11I'm sorry you can't come to the opening.
00:16:13I have work I must do.
00:16:15You work at night?
00:16:17Yes, quite often, sometimes all night.
00:16:19It's quieter at night.
00:16:21I like the night, too. It's the only time I feel really alive.
00:16:24It's at night that the interesting things happen.
00:16:28What kind of work do you do at night, Mr. Slade?
00:16:31I doubt if you'd be interested.
00:16:34Do you just work?
00:16:37Sometimes I walk close by the river.
00:16:40The river is like liquid night
00:16:43flowing peacefully out to infinity.
00:16:46I must not delay you.
00:16:48I wish you success tonight.
00:16:52Good night.
00:16:54Good night.
00:16:57He's so odd, isn't he?
00:16:59I believe he's shy and lonely
00:17:02and all wrapped up in his Chinese puzzles.
00:17:04What Chinese puzzles?
00:17:06Oh, science and pathology, whatever you said he did.
00:17:09I can't help feeling there's something odd about him.
00:17:11He skulks, he prowls, there's something about him.
00:17:13And if he's lonely, he has only to pop out of his shell
00:17:15and speak to someone.
00:17:17I think he's interesting.
00:17:27Evening Standard! Echo!
00:17:30Evening Standard! Echo!
00:17:324,000 police on duty in Whitechapel!
00:17:35Evening Standard! Echo!
00:17:374,000 police on duty in Whitechapel!
00:17:394,000 police on duty in Whitechapel!
00:17:43Oh, thank you, Governor.
00:17:45Evening Standard! Echo!
00:17:51Dressing room one.
00:17:55Hello, Annie.
00:18:00Flowers for Miss Bonner.
00:18:02Please.
00:18:04May I see Miss Bonner?
00:18:06Miss Bonner's dressing.
00:18:08It's Annie Rowley, the belle-anne, remember?
00:18:11It's all right, Leela. I know who Annie Rowley is.
00:18:13Come in.
00:18:17Oh, it looks very nice.
00:18:19Thank you for letting me come in.
00:18:21I always like to come and say hello to my old dressing room.
00:18:24It's perfectly all right, Annie. Help yourself to champagne.
00:18:27Courtesy of the management.
00:18:29I've got to hurry.
00:18:31Yes, I remember. Did you know royalty was coming tonight?
00:18:34Yes, the Prince of Wales.
00:18:36Oh, I had it all once.
00:18:38Royalty, champagne, flowers.
00:18:43I remember my opening night and how excited I was.
00:18:47I looked in this very mirror.
00:18:50I wish I knew then what I know now.
00:18:54I came up overnight. Overnight, it was forgotten.
00:18:57Won't be that way with you.
00:19:00Who knows? No, it won't.
00:19:04I went on looks alone.
00:19:07You have talent and all the rest.
00:19:10Thanks, Annie. You coming tonight?
00:19:13No, I have what I call my work.
00:19:17I still sing and dance, you know.
00:19:20Oh? Where?
00:19:22The belle-anne now performs at Madame Tuss's School of the Dance.
00:19:28Gentlemen come in the evening to learn the latest fandango.
00:19:32That's in the parlour in front of the house.
00:19:37Is there anything I can do, Annie?
00:19:40Too late.
00:19:45You know, Annie, perhaps it isn't all up with you.
00:19:48Perhaps I could help you.
00:19:50I don't think there's a place with my girls, but I'm sure I could do something.
00:19:56She's gone, Miss Lily.
00:19:59Yes.
00:20:07THE DEVIL'S DAUGHTER
00:20:29Every girl should have a Dixionelli in a foreign land
00:20:35And if sit-talk should ever turn to love
00:20:39You look it up and you'll understand
00:20:45But you don't need to read a dictionary
00:20:50No, no!
00:20:51Never when you're in Paris
00:20:54I think I'm in Paris!
00:20:56When he holds your hand
00:20:59Oui
00:21:00You will understand
00:21:02Oh, oui
00:21:04Cause it's easy in Paris
00:21:10Say oui, oui
00:21:13Say si, si
00:21:16Say ooh, ooh, la, la
00:21:20That's all you have to know to fall in love
00:21:25Say chéri, say bébé
00:21:28Say comme ci, comme ça
00:21:31And you know the way to show the way to love
00:21:37You don't have to be a language connoisseur
00:21:43Just wink your eye and sigh, sigh
00:21:48And whisper vive l'amour
00:21:53Say je t'aime, say la même
00:21:57Say je vous adore
00:22:00And then gay Paris will very plainly see
00:22:06That you're in love
00:22:30Did you see that?
00:22:31The little minx floated with the Prince of Wales
00:22:34Shh!
00:23:01La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la
00:23:11Vive l'amour
00:23:13Say je t'aime, say la même
00:23:17Say je vous adore
00:23:21And then gay Paris will very plainly see
00:23:26And then gay Paris will very plainly see that you're in love.
00:23:48And then gay Paris will very plainly see that you're in love.
00:24:08Commissioner, there's been another murder by the Ripper.
00:24:11Are you sure it was the Ripper again?
00:24:13The report said it was a murder just like the others, sir.
00:24:16Where was it? Whitechapel?
00:24:19Right.
00:24:25To Lily Bonner and her beautiful, talented troupe.
00:24:29Long life.
00:24:32London is yours, Lily.
00:24:34And if I were Lord Mayor, I'd give you the keys to the city.
00:24:39You know, champagne has a special significance to me.
00:24:42As I was growing up in the old Limehouse district,
00:24:45champagne was only a remote word.
00:24:48It's beautiful, if I may say so, sir.
00:24:51Wait here, Bates.
00:24:53It's like very much interrupting your party, Miss Bonner.
00:24:56It's a matter of utmost importance to Scotland Yard.
00:24:58Sounds fascinating, Inspector Warwick.
00:25:01And how can I help Scotland Yard?
00:25:04I want to ask you about a woman who came to see you before your performance this evening.
00:25:07A certain Annie Rowley.
00:25:09Yes, she was here.
00:25:11I felt terribly sorry for her.
00:25:13How much do you know about her?
00:25:15Not much, I'm afraid.
00:25:16Why, Inspector?
00:25:18She has become another victim of Jack the Ripper.
00:25:20Can you tell me if she was with anyone?
00:25:23No.
00:25:25She was alone.
00:25:27Someone said a man was seen near the place where Annie Rowley was found.
00:25:30A man carrying a small black bag and wearing an ulster.
00:25:33Of course, that description fits thousands of people, but...
00:25:36you saw no such man?
00:25:38No.
00:25:41No, I saw no one like that.
00:25:46No.
00:26:13Finally got Lily settled for the night.
00:26:14Poor thing, she thought she was so excited she couldn't sleep.
00:26:17But she dropped off while I was talking to her.
00:26:20That's possible.
00:26:23I just opened it.
00:26:25I'm thinking.
00:26:27Thinking?
00:26:29You know that man from Scotland Yard said the Ripper was carrying a little black bag.
00:26:33All he said was there was a report that a man carrying a black bag
00:26:37was seen in the vicinity of the murder.
00:26:39And Mr. Slade came to us the night of the other murder
00:26:41and all he had with him was a little black bag.
00:26:44And tonight, he took his black bag with him when he went out.
00:26:49He did not.
00:26:51Yes, he did.
00:26:53His bag is not black and he didn't take it with him tonight.
00:26:55William, he did.
00:26:57Would you stake your oath on that?
00:26:59Your solemn oath in the court of law?
00:27:01So, you're not sure of the color of his bag,
00:27:03nor that he had it with him when he went out.
00:27:05You're always leaping to illogical conclusions,
00:27:08which you call thinking.
00:27:10And the window?
00:27:12Oh, I'm sorry, dear. I forgot.
00:27:14Women can sense things, William.
00:27:16Now, you know that's true.
00:27:18Remember when I said something had happened to my sister Sophie
00:27:21and we found out that she'd fallen and broken her hip?
00:27:23And remember...
00:27:26What are you looking at?
00:27:29It's Mr. Slade.
00:27:31He's just coming in.
00:27:33Why not? He lives here.
00:27:39Come in.
00:28:00He creeps.
00:28:02You can hardly hear him move.
00:28:04Naturally, he creeps.
00:28:06It's three o'clock in the morning.
00:28:07Do you think he should come in dancing and singing
00:28:09and waking up the whole house?
00:28:11He stopped at Lily's door.
00:28:13He did?
00:28:38The window?
00:28:40Oh.
00:28:45More tea, dear?
00:28:47The paper says that the murderer used his knife
00:28:50in ways quite unprintable.
00:28:52Ridiculous.
00:28:54How can a knife be used unprintably?
00:28:56Tea, dear.
00:28:58Oh.
00:29:00You mean Victoria?
00:29:02Yes.
00:29:04I'm sorry.
00:29:05Oh.
00:29:07Queen Victoria's issued a statement.
00:29:09She has told Commissioner Warren
00:29:11that no married man could possibly be to blame
00:29:13for these murders
00:29:15and therefore every bachelor in London
00:29:17should be rounded up immediately.
00:29:19Tea?
00:29:21What a wise queen.
00:29:23Now all Scotland Yard has to do
00:29:25is to round up a million men
00:29:27and ask them if they're Jack the Ripper.
00:29:29Well, she's right.
00:29:31No married man would do such a thing.
00:29:33Oh, she's so gay.
00:29:35Good morning.
00:29:37Isn't it a beautiful world?
00:29:39All the reviews are raves.
00:29:41Why, of course.
00:29:43Don't say it.
00:29:45Don't say what, dear?
00:29:47I wonder who that can be.
00:29:49I'll go, Daisy.
00:29:51Hello.
00:29:53I'm Paul Warwick of Scotland Yard again.
00:29:55Oh, yes.
00:29:57Do come in.
00:29:59Good morning, Mr. Warwick.
00:30:01Hello, Miss Barna.
00:30:03I'm sorry to bother you so early in the morning
00:30:05to see you.
00:30:07Hello.
00:30:09Hello.
00:30:11Oh, do come in and have a cup of tea.
00:30:15I'll get it, dear.
00:30:17Did you know I found out last night
00:30:19after you left that Annie Rowley sent me some flowers?
00:30:21Oh, yes.
00:30:23As a matter of fact, that was my excuse.
00:30:25I mean reason for calling.
00:30:27The stage doorman told me.
00:30:29I'd like to find out what florist the flowers came from.
00:30:31Oh, I'm sorry.
00:30:33I didn't keep the box.
00:30:35I didn't mean to interrupt.
00:30:37Mr. Slade, this is Mr. Warwick.
00:30:39How do you do?
00:30:41Mr. Warwick's from Scotland Yard.
00:30:43He's engaged on the Ripper case.
00:30:45Now, tell me, Inspector,
00:30:47is it really true that this time the Ripper was seen?
00:30:49Yes, I was about to ask that, too.
00:30:51He may have been.
00:30:53I don't think you'll ever catch him.
00:30:55Why not?
00:30:57Well, five murders.
00:30:59This time Whitechapel was swarming with police,
00:31:01and yet you didn't even come near to finding him.
00:31:03You don't know any more now
00:31:05Yes, we do.
00:31:07Oh, what?
00:31:09He's of average height,
00:31:11he's very quick and strong,
00:31:13and he's left-handed.
00:31:15Perhaps he carries a black bag
00:31:17which would contain his knives.
00:31:19What I want to know is, why does he do it?
00:31:21Well, there are many theories.
00:31:23The favorite one is that he's a maniac
00:31:25who kills at random.
00:31:27Do you believe that?
00:31:29No.
00:31:31Well, he may not kill at random, but he's not sane.
00:31:33You're a medical man, Mr. Slade.
00:31:35I tend to agree with Miss Lily.
00:31:37The police will not find him.
00:31:39Why not?
00:31:41The police are searching for a criminal.
00:31:43In reality, there are no criminals.
00:31:45There are only people doing what they must do
00:31:47because they are who they are.
00:31:49So perhaps the police are searching
00:31:51for someone who doesn't exist.
00:31:53Well, if my theories are correct,
00:31:55I shall make Jack the Ripper's own hands
00:31:57tie the noose that will hang him.
00:31:59I still don't see how you worked it out
00:32:01that he was left-handed.
00:32:03Do you, Mr. Slade?
00:32:05What's wrong?
00:32:07I really only came down for the morning paper.
00:32:21Have you all finished with it?
00:32:23Oh, yes, sorry.
00:32:25Should have sent one up to you.
00:32:29Excuse me.
00:32:31Odd how that dog acts.
00:32:33Seems to have fallen in love with him.
00:32:36Mr. Slade?
00:32:39Mr. Slade?
00:32:41Is something burning?
00:32:43Don't come up here.
00:32:46I'm sorry, there's an odor, Mrs. Harley.
00:32:48There was something I had to burn.
00:32:50My work.
00:32:52I'll open the window.
00:32:55Just leave the tray in my sitting room, please.
00:32:57I'll be right back.
00:32:59Mr. Slade?
00:33:01Mr. Slade?
00:33:03Mr. Slade?
00:33:05Please.
00:33:35Oh, I was thinking I would have to clean the room today.
00:34:03Whenever you wish, Mrs. Harley.
00:34:20You see, darling, if you could have that dress mended by tonight.
00:34:23I'll try, Miss Lily.
00:34:25You were so good in the show, you know.
00:34:27I don't think it half matters what you wear on the stage.
00:34:30It does, Daisy.
00:34:32And so does what I don't wear.
00:34:33Mr. Slade?
00:34:35I shall be at the hairdressers most of the time.
00:34:37Yes, Miss Lily.
00:34:40Good afternoon.
00:34:42You're going out early.
00:34:44Yes.
00:34:46I've just completed an experiment.
00:34:48I must test it.
00:34:50And when you've tested and improved it,
00:34:52what will you know, Mr. Slade?
00:34:54A little more about life and death.
00:34:56I wonder what else you need to know about life
00:34:58except that it's wonderfully worth living.
00:35:00And of death?
00:35:01Why not, except it's the end of life.
00:35:04That is a philosophy for a young and beautiful woman
00:35:07who is the toast of London.
00:35:16Which way are you going?
00:35:18Your way, Miss Bonner.
00:35:21Isn't that what your enraptured young men would say?
00:35:24I think they might.
00:35:26What do you say, Mr. Slade?
00:35:28I am going to work.
00:35:29Oh? Where's that?
00:35:32Everyone is so curious about me.
00:35:34Very well.
00:35:36I am going to the university hospital
00:35:38where there are laboratory facilities that I use.
00:35:41I may not come home until late
00:35:43and then your charming aunt will become suspicious.
00:35:45Soon, because I am not like everyone else,
00:35:47you will ask me to leave.
00:35:49I've had it all before.
00:35:51Poor Mr. Slade.
00:35:53Walk with me to the cab across the square.
00:35:59She won't ask you to leave, Mr. Slade.
00:36:01If she did, we'd all object.
00:36:03Would you?
00:36:05Of course.
00:36:07I'm afraid you've been alone too much.
00:36:09That makes one quite broody, you know.
00:36:11I am broody?
00:36:13A little.
00:36:15And when you're like that, you miss things.
00:36:17There's so much delight in the world.
00:36:19The whole sky with the sure sun in it.
00:36:21The sound of laughter and of music.
00:36:23The sweet enjoyment of a man's kiss.
00:36:25Do I shock you, Mr. Slade?
00:36:26You are an astonishing woman, Miss Bonner.
00:36:32Oh, dear.
00:36:34I don't know what to do.
00:36:37Where is William?
00:36:39Why doesn't he come home?
00:36:45But what is it, Mrs. Harley?
00:36:47What is it?
00:36:49Never mind, Daisy.
00:36:51I can't tell you now.
00:36:53I must see Mr. Harley first.
00:36:54No.
00:36:56Lily is walking with him.
00:36:58Lily's walking with that man.
00:37:00What man?
00:37:02Why, it's only Mr. Slade she's with.
00:37:04Daisy.
00:37:06Mr. Slade is the ripper.
00:37:16William, thank heaven, you're home.
00:37:18You must stop them.
00:37:20What are you getting at?
00:37:22Don't let her go off with that man.
00:37:24Oh, please.
00:37:29William, Mr. Slade is the ripper.
00:37:32Mr. Slade is the ripper.
00:37:40Look at that.
00:37:42What is it?
00:37:44The other morning when I took him his breakfast,
00:37:46I smelled something burning.
00:37:48He said it was his experiment.
00:37:50It was his black bag.
00:37:52He burned his bag, William,
00:37:54and took the bag.
00:37:56I see.
00:37:58Well, is that all you can say?
00:38:00Very sensible of him.
00:38:02What?
00:38:04I said very sensible of him.
00:38:06Nobody can afford to own a bag like that now.
00:38:08Come here.
00:38:13A man was mobbed this morning in Trafalgar Square.
00:38:15They nearly tore him to pieces.
00:38:17Why?
00:38:19Because he was carrying a little black bag.
00:38:21This is my black bag.
00:38:22There's nothing here.
00:38:24Anyone who owns such a bag is under suspicion.
00:38:26The whole city has become hysterical.
00:38:28People are flocking to the police
00:38:30to inform their neighbors.
00:38:32Do we have to have this nonsense in our own home?
00:38:35If Slade wanted to be rid of his bag,
00:38:37he wouldn't leave that around for you to find.
00:38:39A man isn't a fool.
00:38:42Well...
00:38:44You're just a little overwrought.
00:38:46That's all, old girl.
00:38:48How about a spot of sherry?
00:38:49I think you'd better have one too, Daisy.
00:38:51Oh, I don't mind if I do, sir.
00:39:04I rather wish we could talk again sometime.
00:39:06You've done something good for me.
00:39:08Perhaps you will have tea with me.
00:39:12Tomorrow?
00:39:14I'd be delighted.
00:39:16Thank you, Miss Bonner.
00:39:17Thank you, Miss Bonner.
00:39:41Hello, Chief.
00:39:44We're in trouble.
00:39:45A meeting is being called.
00:39:47The High Commissioner resigned this morning
00:39:49and Her Majesty accepted.
00:39:51Resigned?
00:39:53Too much pressure on the Ripper case.
00:39:55If we could find a fingerprint...
00:39:57Fingerprints?
00:39:59That won't help.
00:40:01I know that theory.
00:40:03No two prints alike.
00:40:05It's nonsense.
00:40:07We'll have to do better than that, Paul,
00:40:09or we'll have no jobs.
00:40:11Perhaps you could put aside your social life
00:40:13and help us do something about the Ripper, eh?
00:40:15Yes.
00:40:38Must you stop?
00:40:40If I must choose between music and you,
00:40:42I will choose you.
00:40:43More tea.
00:40:45Yes, thank you.
00:40:52Do you enjoy Robert Browning's poetry?
00:40:55Sometimes.
00:40:57Depends on my mood.
00:40:59I read this author or that one as I feel like it.
00:41:01I like to pretend that it was all written for me.
00:41:03Perhaps it was.
00:41:06Every so often a woman lives
00:41:08for whom men do all things.
00:41:10I'm only a woman like any other.
00:41:11Not like any other.
00:41:14You don't know, Miss Bonner, about the others.
00:41:18Are you saying that you like me?
00:41:20Miss Bonner, it has done me great good to know you.
00:41:22It has?
00:41:24How?
00:41:26Oh, I'm afraid it's a long and very personal story
00:41:28and I should dislike troubling you with it.
00:41:31I already know.
00:41:34You are a man very much alone
00:41:36and you need to find those who will love you.
00:41:38And when you do,
00:41:39you won't be lonely anymore.
00:41:43Those who will love me?
00:41:56Is it really true that you dislike actresses?
00:42:03I seem to have touched on an old wound.
00:42:05I'm sorry.
00:42:07No.
00:42:10Yes.
00:42:13I will tell you.
00:42:15My mother was an actress.
00:42:17She was one of the most angelically beautiful women
00:42:19who ever lived.
00:42:21Exquisitely graceful, talented,
00:42:23and captivating.
00:42:28I loved her deeply.
00:42:31Deeply.
00:42:33She had the face of heaven
00:42:35and the rest of the world.
00:42:36She had the face of heaven
00:42:38and the wretched heart of Jezebel.
00:42:42For every aspect of beauty she possessed,
00:42:44she contained a double portion of evil.
00:42:46I hated her.
00:42:48But I thought you said you loved her.
00:42:51One can love the beauty and hate the evil.
00:42:54Didn't you know that, Miss Bonner?
00:42:58Come on.
00:43:00I will show you.
00:43:06I didn't mean to do this,
00:43:08but now I've begun, I will finish.
00:43:12I will show you this face
00:43:14and you will see for yourself
00:43:16that there was no way for my poor father
00:43:18to know that she was cunning and faithless
00:43:20and rotten.
00:43:27It's not difficult to understand
00:43:29that my father fell in love with her.
00:43:33Perhaps she never met a man she didn't entice.
00:43:34She knew no love, only lust.
00:43:37She betrayed my father a hundred times
00:43:39and when she finally left him
00:43:41for a young, rich Frenchman,
00:43:43my father killed himself.
00:43:45Not with a gun, with absinthe.
00:43:47With a thousand green glasses of absinthe.
00:43:51All of my growing up was spent
00:43:53with a drunken man
00:43:55who searched the face
00:43:57of every passing girl in Paris.
00:43:59Spent ten years dying of a broken heart.
00:44:02And your mother?
00:44:04Did you never see her again?
00:44:06Yes.
00:44:08Yes, I saw her.
00:44:10She had become a woman of the streets
00:44:12and it was in the streets that she died.
00:44:16Then they must be in Mr. Slade's room.
00:44:19Lily!
00:44:21Excuse me, Mr. Slade.
00:44:23Inspector Warwick is here to see Lily.
00:44:25I forgot.
00:44:27I, on the other hand, did not forget
00:44:29and here I am.
00:44:31Mr. Slade?
00:44:32The Black Museum at Scotland Yard.
00:44:34Would you like to come along?
00:44:36Is it all right if Mr. Slade comes with us?
00:44:38I don't believe Mr. Slade would really enjoy himself.
00:44:40Do come.
00:44:42Yes.
00:44:44Yes, I believe I'd like to come.
00:44:46I'll be just a moment.
00:44:55And these are the death masks
00:44:57of various murderers.
00:44:59That one was publicly hanged
00:45:00in a prison six months ago.
00:45:02You can see the rope marks on the neck.
00:45:04You treat them like trophies.
00:45:06Like a stuffed elk head
00:45:08mounted over the fireplace.
00:45:10Yes, a little.
00:45:12But these were more dangerous than an elk.
00:45:14Man, unfortunately, is the most dangerous of all beasts.
00:45:16Man is not beast.
00:45:18Murderers are beasts.
00:45:20There are the ropes that were actually
00:45:22used to hang these men.
00:45:24To me, it's the noose that's the wickedest looking.
00:45:26It hangs so calmly,
00:45:28making a graceful loop neatly tied.
00:45:30A simple design by which a man's breath is caught
00:45:32and forfeited for his crime.
00:45:35I'm afraid I'm making Mr. Slade a little queasy.
00:45:37If you'd prefer to wait for us outside...
00:45:39It's not the rope.
00:45:41It's your policeman's philosophy, Inspector Warwick.
00:45:46Perhaps I'm too used to murder.
00:45:48I must seem callous.
00:45:50Miss Bonner, I have a question to ask you.
00:45:52Just one?
00:45:54I have dozens to ask you.
00:45:56You do?
00:45:58Yes. For instance,
00:46:00what was that used for?
00:46:02That was used in the Tufnell Park murder.
00:46:04And would you come Friday for tea at my home?
00:46:06I'd like some friends to meet you.
00:46:08I see.
00:46:10What was that used for, Inspector Warwick?
00:46:13That is a poker with which
00:46:15some poor chap beat his sweetheart to death.
00:46:17Why did he do it?
00:46:19We never found out exactly.
00:46:21But my belief at this moment
00:46:23is that she failed to answer some perfectly simple question
00:46:25like, will you come to tea?
00:46:28Very well, Inspector.
00:46:32That table is expressly reserved for one murderer.
00:46:34The Ripper?
00:46:36Those are pictures of the five victims.
00:46:39Ah, there you are, Paul.
00:46:41I wanted to pay my compliments
00:46:43to our distinguished and beautiful visitor.
00:46:45May I present Chief Inspector Melville, Miss Bonner.
00:46:47How do you do?
00:46:49And Mr. Slade.
00:46:51I've been to the palace, Miss Bonner,
00:46:53where I heard Prince Edward say
00:46:55the most complimentary things about you.
00:46:57I thank you.
00:46:58Your Majesty has decided
00:47:00that the Ripper can't possibly be an Englishman.
00:47:02Now, I suppose,
00:47:04we shall have to investigate all foreigners.
00:47:06Not long ago, we were to investigate all bachelors
00:47:08because he couldn't possibly be a married man.
00:47:10Has Paul told you
00:47:12that he's our expert on Jack the Ripper?
00:47:14He even claims to be able to predict
00:47:16the time of each murder.
00:47:18There is a strange periodicity to the Ripper's crimes.
00:47:20It's as if the need to kill
00:47:22surges inside of him up to a peak,
00:47:24is satisfied, and then is quiet
00:47:26until the compulsion slowly builds up
00:47:28and he dies.
00:47:30Two days ago.
00:47:32He's broken the pattern now.
00:47:34Usually it's every five or six days.
00:47:36It could come any time.
00:47:38Perhaps he's sated.
00:47:40Sated?
00:47:42If you're ready to go, Miss Bonner,
00:47:44I would be delighted to take you home.
00:47:46Oh, not yet.
00:47:48Then I hope you will forgive me if I go on.
00:47:50I have seen all I care to see
00:47:52of Inspector Warwick's little museum.
00:47:55Inspector Melville.
00:47:58Your police methods will never track
00:48:00the one you call Jack the Ripper.
00:48:02You may be right about the periodicity,
00:48:04but I doubt if the beast you describe can be sated.
00:48:06He must do his work again.
00:48:09Good afternoon.
00:48:29Them fellas and horses
00:48:31have a real cushy job of it, all right, huh?
00:48:33Aye.
00:48:35Five thousand of us.
00:48:37We ought to lay our hands on that fella pretty soon.
00:48:40Aye, soon.
00:48:42And I hope it's me what does it,
00:48:44to make up for, you know...
00:48:46Oh, Wishman.
00:48:48Wisher, it wasn't your fault that poor Katie got murdered.
00:48:50How could you know that she didn't live
00:48:52where she said she did?
00:48:54Aye, that's all very well.
00:48:56Oh, for the love of Mike, will you cheer up?
00:48:58Shh.
00:49:01That's an Irish voice, I tell you.
00:49:03It staked me soul on it.
00:49:06I suppose you wouldn't consider
00:49:08a little drop of something to help guard ourselves
00:49:10against the cool of the night?
00:49:12Come along, man.
00:49:14Come again, Mary.
00:49:16Oh, good evening, sirs.
00:49:18Evening.
00:49:20It's like a breath of home to hear you, miss.
00:49:22Oh, you're an Irishman.
00:49:24There's no denying that.
00:49:26Well, no.
00:49:28I'd like nothing better, miss.
00:49:30Oh, you're very kind.
00:49:32I've only just come to London
00:49:34to seek me fortune on the stage.
00:49:36May hap well get there
00:49:38if I don't have to be walking home alone at night.
00:49:40Well, you'll not be walking home alone on my beat,
00:49:42Mr...
00:49:44Lenehan, Mary Lenehan.
00:49:46It is the breath of home to hear you, Miss Lenehan.
00:49:48Would it be asking too much
00:49:50to hear you sing again?
00:49:52I heard very little of that song in the pub back there.
00:49:54Why, sure I will.
00:49:56There's a dear little plant
00:49:59That grows in our isle
00:50:02To a St. Patrick himself
00:50:05Sure that said it
00:50:08In the sun on his labour
00:50:11With pleasure did smile
00:50:15And with dew from his isle
00:50:19Often wetted
00:50:23It shines through the bog
00:50:27Through the break, through the mireland
00:50:31And he called it
00:50:34The dear little shamrock of Ireland
00:50:40The dear little shamrock
00:50:45The sweet little shamrock
00:50:48The dear little shamrock
00:50:52The dear little, sweet little
00:50:56Shamrock of Ireland
00:51:00Me thanks, dear gentlemen.
00:51:02Good night, sir.
00:51:04Good night.
00:51:06It was our pleasure, Miss Lenehan.
00:51:08And good luck to you.
00:51:10Thanks.
00:51:18Dee-dee-dee-dee-dee
00:51:20Da-da-da-da-da-dee-dee
00:51:25Dee-dee-dee-dee-dee
00:51:29Dee-dee-dee-dee-dee
00:51:32Dee-da-da-da-da-da-da
00:51:36Dee-dee-dee-dee-dee
00:51:40Dee-dee-dee-dee
00:51:43Dee-dee-dee-dee
00:51:45Dee-dee-dee-dee-dee
00:51:48Dee-dee-dee-dee
00:51:51Dee-da-da-da-da-da-da
00:51:55Dee-dee-da-da-da-da
00:52:05Aye, she has a sweet voice, but we have our duty.
00:52:09Come on, lad.
00:52:15Come on.
00:52:29No.
00:52:31No.
00:52:33No.
00:52:34Please.
00:52:45Please.
00:53:16What happened?
00:53:35How long ago?
00:53:36We just left her. Only a few moments.
00:53:38Did anyone come out of here?
00:53:40We saw no one, sir.
00:53:41Then he might still be in the building.
00:53:46Put a cordon around this block.
00:53:49Search all these buildings.
00:54:16Come on.
00:54:18Come on.
00:54:20Come on.
00:54:40Come on.
00:54:46No one on the roof, sir.
00:54:48We can't get out of this if he's human.
00:54:51I'm afraid he isn't human, sir.
00:54:53Not until we do what he did to that girl.
00:55:16Come on.
00:55:17Come on.
00:55:45No.
00:55:47No.
00:55:50No.
00:56:16No.
00:56:27What are you doing?
00:56:31I'm burning my ulster.
00:56:33Don't come too close.
00:56:38Those.
00:56:39Look at those stains.
00:56:41They look like blood.
00:56:42I was carrying a solution in a glass container.
00:56:44Part of my experiment, I fell and it broke.
00:56:46My ulster became contaminated.
00:56:48I must be quick, drastic.
00:56:52The contamination could easily spread.
00:56:55Contamination?
00:56:57You mean it may carry a disease?
00:56:58Yes.
00:57:03What happened to the dog?
00:57:05I'm afraid I hurt him.
00:57:07He jumped up to greet me.
00:57:08I didn't want him to touch the ulster.
00:57:11Dogs can carry human disease.
00:57:15There.
00:57:16It's done.
00:57:19You were right about the Ripper.
00:57:21You were probably busy and didn't hear.
00:57:23Hear what?
00:57:25There was another Ripper murdered tonight.
00:57:27You said he would do it.
00:57:30How did you know?
00:57:31I didn't know.
00:57:33Your Inspector Warwick made me angry.
00:57:41I don't know why I said it.
00:57:42I don't know why I said it.
00:57:45What is it?
00:57:47Everyone distrusts me.
00:57:48I feel it, even you.
00:57:50I work very hard.
00:57:51I do what I must do.
00:57:52I am myself.
00:57:55I don't distrust you.
00:58:08Forgive me.
00:58:10I'm very tired.
00:58:13Is there anything I can do for you?
00:58:16We must each live with ourselves.
00:58:20Yes.
00:58:22What happened?
00:58:24What's that smell?
00:58:25Anything wrong?
00:58:26No, Uncle.
00:58:27I'm sorry.
00:58:29I had to use the stove.
00:58:42All this writing about investigations
00:58:44and not a single clue yet.
00:58:46William, we must go to the police.
00:58:48What for?
00:58:50I don't believe Mr. Slade burned his Ulster
00:58:52because it was contaminated.
00:58:54He wanted to get rid of those bad spots.
00:58:57Well, Lily said she believed him.
00:59:00I'm sorry.
00:59:02What's the matter?
00:59:03Here's his breakfast tray.
00:59:05But I don't want to take it.
00:59:07I don't know what to think of him.
00:59:09I'll take the tray and settle this business
00:59:10once and for all.
00:59:14William.
00:59:16William.
00:59:17Don't do anything silly.
00:59:19I never do anything silly.
00:59:33Great heavens, man.
00:59:35Don't you ever sleep?
00:59:37This experiment is very difficult.
00:59:38Any more danger of that contamination?
00:59:40I think not.
00:59:44You're suspicious, too.
00:59:47Well, I am a pathologist, Mr. Harley,
00:59:49and I am working on blood diseases.
00:59:51You can check on my work at the university hospital.
00:59:53Of course.
00:59:55Of course.
00:59:56Did you come to ask me to move away?
00:59:58It has happened before.
01:00:00Move away?
01:00:01No, sir, certainly not.
01:00:03You're perfectly welcome here,
01:00:05and I'll see to it that you stay welcome.
01:00:06Now then, you'd better eat some breakfast or what?
01:00:11Eat hearty.
01:00:37Come in.
01:00:42Oh, do come in, Mr. Slade.
01:00:45I came to thank you for your reminder.
01:00:49The theater.
01:00:50Oh, yes.
01:00:51I will come tonight.
01:00:53Splendid.
01:00:54I'm so happy.
01:00:55I think it will do you a lot of good
01:00:57to forget work for a while
01:00:58and really enjoy yourself.
01:01:00I believe there's some tea.
01:01:02Now, suppose you take off your ulcer and stay a minute.
01:01:03I'm not disturbing you?
01:01:05No, of course not.
01:01:07I was merely writing a few thank you notes for flowers.
01:01:10And most particularly to Inspector Warwick?
01:01:12I should be able to thank him in person.
01:01:14He's coming tonight, too.
01:01:16You don't like Inspector Warwick, do you?
01:01:19He thinks you are a most interesting man.
01:01:21He asks me all sorts of questions about you.
01:01:23Wait here, Bates.
01:01:32Yes, may I help you?
01:01:34I wish to inquire if you have a Dr. Slade in your hospital.
01:01:37Dr. Slade?
01:01:38No, we do not.
01:01:40I'm afraid we don't.
01:01:42Well, I'm afraid you do.
01:01:44I'm afraid you don't.
01:01:46I'm afraid you don't.
01:01:48I'm afraid you don't.
01:01:50I'm afraid you don't.
01:01:52I'm afraid you don't.
01:01:56We have a Mr. Slade who works in research.
01:01:58He's a pathologist.
01:02:00Do you wish to see him?
01:02:02No, not immediately, thank you.
01:02:04Just as well. He isn't here.
01:02:06Have you seen him recently?
01:02:08As recently as last night.
01:02:10Is he here very much?
01:02:12Almost every day and night.
01:02:14He works late quite often.
01:02:16He's a most respected member of our staff.
01:02:44Good evening, Daisy.
01:02:46Good evening, Inspector Warwick.
01:02:48Am I too early?
01:02:49No, I think Miss Lily will be down in a minute.
01:02:53Will you sit in there, sir?
01:02:59What's the trouble, Daisy?
01:03:03I don't know. I'm as jumpy as a cat.
01:03:06What's the matter?
01:03:09Well, it's the back and forth and back and forth.
01:03:13Back and forth?
01:03:15Well, first Mrs. Arliss says he's the Ripper himself.
01:03:17And then Mr. Harley proves it's all nonsense.
01:03:21What do you mean?
01:03:23Well, first he burns his black bag.
01:03:27And then Mr. Harley poo-poos there
01:03:29and shows us his own hidden in the chest.
01:03:31And then he burns his ulster,
01:03:33which had all the blood on it.
01:03:35Daisy, wait a moment. What are you talking about?
01:03:37Well, Mr. Slade.
01:03:39Oh, it's all mixed up.
01:03:41And I'm not supposed to say.
01:03:43Mr. Harley says it's just woman's hysteria.
01:03:45Wait a minute.
01:03:48Good evening, Inspector Warwick.
01:03:50Good evening, sir.
01:03:52You've come for Lily?
01:03:54Yes.
01:03:56Perhaps a nip of sherry will help us pass the time.
01:03:59Mr. Harley.
01:04:02What is this about Slade?
01:04:04Helen's been at you, has she?
01:04:06Well, no. As a matter of fact, Daisy mentioned it.
01:04:08Look here, old man.
01:04:10Everything about Slade can be logically explained.
01:04:12Except one thing.
01:04:14The dog's suddenly gone sour.
01:04:15Still, that doesn't prove anything, does it?
01:04:18You'd better tell me about it, Mr. Harley.
01:04:21I tell you this, Lily, no matter what you say,
01:04:23I don't believe you ought to spend
01:04:25too much time alone with him.
01:04:27Aunt Helen.
01:04:29Dear, sweet Aunt Helen.
01:04:31What if I were to tell you
01:04:33that it was Mr. Slade who was in danger,
01:04:35not I?
01:04:37Why, Lily!
01:04:40I think this thing can be settled tonight.
01:04:42This is a copy of a thumbprint
01:04:44the Ripper left in the room of Mary Lenahan,
01:04:46the last victim.
01:04:48Thumbprint?
01:04:50There's a theory that there are no two fingerprints
01:04:52in the world that are exactly alike.
01:04:54I happen to subscribe to it.
01:04:56Could you get me something that Slade
01:04:58has held in his right hand?
01:05:00A glass or something?
01:05:02Frankly, I don't know.
01:05:04Mr. Harley, wouldn't you feel more secure
01:05:06if we cleared it up?
01:05:08Yes, I suppose so.
01:05:10Fact is, the fellow's gone out.
01:05:12We might try looking about his room.
01:05:14That'll be fine.
01:05:16I'd rather hate to, you know,
01:05:18prying into a man's belongings.
01:05:21Mr. Harley.
01:05:24Yes.
01:05:43Helen tells me Mr. Slade frequently reads the Bible.
01:05:46Murderers don't read Bibles, do they?
01:05:49There might be some prints here.
01:05:51I'd like to take something smaller,
01:05:53something you wouldn't immediately miss.
01:05:55This will do.
01:05:59Now, something more.
01:06:09Locked in.
01:06:13I say, should you do that, old man?
01:06:16A policeman never knows what he should do
01:06:19until it's proved to be the right thing.
01:06:28This probably has both prints.
01:06:30Handkerchief?
01:06:32I say, uh...
01:06:34I'll bring it back.
01:06:36And your handkerchief.
01:06:38Don't pass on that.
01:06:40Gentlemen don't mind waiting for ladies.
01:06:42They're quite used to it.
01:06:44What do we do?
01:06:46Do you have everything, dear?
01:06:48Yes, I do.
01:06:50Stop worrying.
01:06:52Oh, I can't help it.
01:06:54There's something in the air tonight.
01:06:56She's feeling things again.
01:06:58I thought Mr. Slade had gone out.
01:07:00There's a light in here.
01:07:02What is this?
01:07:04I'm sorry, Miss Bonner.
01:07:06You've been snooping through Mr. Slade's things.
01:07:08Very well.
01:07:10There's been a mystery about this gentleman
01:07:12and he's gone.
01:07:14He went out early to avoid meeting you.
01:07:16Oh? Where did he go?
01:07:18He'll be at the theater later to see me.
01:07:20Perhaps you can hang him there.
01:07:22I merely want to ask some questions.
01:07:25What did you find of his?
01:07:27I found this.
01:07:29That's his mother.
01:07:31His mother?
01:07:33Of course. He told me about her.
01:07:35The woman, she died an alcoholic
01:07:37in the slums of Whitechapel.
01:07:39What else did he tell you?
01:07:40He seemed quite confused about his feelings
01:07:42for love and resentment,
01:07:44all mixed up together.
01:07:46Please, Paul, leave the poor man alone.
01:07:48You defend him with quite a lot of spirit, Miss Bonner.
01:07:51I know him better than any of you.
01:07:53I like him. I feel sorry for him.
01:07:55As a friend, I should like to respect
01:07:57your fondness for Mr. Slade.
01:07:59But I am also a policeman.
01:08:01You most certainly are.
01:08:04You needn't bother to take me
01:08:06to the theater tonight.
01:08:08Good night, Inspector.
01:08:11Good night.
01:08:24If I may say so, sir...
01:08:26And if I said you may not say it?
01:08:28Then I wouldn't, sir.
01:08:35If I may ask, sir...
01:08:37Bates, if it seems to you
01:08:38that tonight you're right and I have cause,
01:08:40no, you may not ask.
01:08:42You may not say so.
01:08:44You may do absolutely nothing
01:08:46except breathe quietly.
01:08:48Yes, sir.
01:09:02Are you tired of life?
01:09:04Are you bored with your wife?
01:09:06Is the laugh really out of the question?
01:09:09Oui?
01:09:11Then I take you with me
01:09:13and we go to Paris.
01:09:18And I think I make just one suggestion.
01:09:24Come and do the new Parisian trot.
01:09:28In Paris, they do the trot their lot.
01:09:32You'll be shocked by such an upbeat step.
01:09:36Much too gay and frisky
01:09:38and it's risky
01:09:40for your rep-mutation.
01:09:45It's exciting, ooh, la-la-la-la.
01:09:49I'm inviting you, la-la-la-la,
01:09:53to let me show you
01:09:55everything you ought to know.
01:09:57You zap, and then you zip,
01:09:59then you steal a little kiss.
01:10:03Come on, who dares?
01:10:04Your cares will be forgotten
01:10:06if you learn to do
01:10:08the new Parisian trot.
01:10:18Nothing matches.
01:10:20And every print of his right hand is here.
01:10:25It's not slave, that's all.
01:10:27Sir, this print couldn't have been made
01:10:30by the ripper's left hand,
01:10:32not unless every detective at the yard is wrong.
01:10:34That's most unlikely, isn't it, sir?
01:10:36The victim's cut showed that the ripper
01:10:38used his knife from right to left
01:10:40across the throat while attacking from behind.
01:10:42That means he used his left hand.
01:10:44He took his victims like this.
01:10:46The cut of the knife was like this.
01:10:49Sir, have you observed Mr. Slade to be left-handed?
01:10:52No, I haven't.
01:10:54But he could still use his left hand
01:10:56if he attacked from behind.
01:10:59You know, for the first time,
01:11:01it occurs to me that the ripper
01:11:02need not have attacked from behind,
01:11:04in which case he could make the same cut
01:11:06from the front with his right hand.
01:11:08Yes, sir.
01:11:10If that's so, we must find a left thumbprint
01:11:12to match the print of the ripper's.
01:11:14About that portrait, sir,
01:11:16I have a peculiar memory for faces.
01:11:18You do?
01:11:20Yes, sir.
01:11:22I believe that to be the face of Anne Lawrence.
01:11:33Even in the mole on the left cheek.
01:11:36Bates, you're right.
01:11:38Slade's mother was the first ripper victim.
01:12:33It's exciting, ooh-la-la-la-la
01:12:36I'm inviting you, la-la-la-la
01:12:40I'm inviting you, la-la-la-la
01:12:44I'm inviting you, la-la-la-la
01:12:48I'm inviting you, la-la-la-la
01:12:52I'm inviting you, la-la-la-la
01:12:56I'm inviting you, la-la-la-la
01:12:59I'm inviting you, la-la-la-la
01:13:02To let me show you everything you ought to know
01:13:06You zet and then you zis
01:13:08Then you steal a little kiss
01:13:11Come on
01:13:13Where's Slade? Have you seen him?
01:13:15Yes, he's right down there.
01:13:17He's gone.
01:13:33Lovely, lovely. You were lovely.
01:13:36They liked us, didn't they?
01:13:38They worshipped you.
01:13:40Excuse me.
01:13:42Am I under arrest, Mr. Policeman?
01:13:44Where is Slade?
01:13:46Inspector Warwick, I'm very sick of all this.
01:13:48He's the ripper.
01:13:50Don't go away. You're out of your mind.
01:13:53Lela, I don't want you to let anyone in.
01:13:57There's a gentleman in here, Miss Lily.
01:14:00Hello.
01:14:02May I talk to you alone?
01:14:07I have to make a change. There isn't much time.
01:14:16All right, Lela.
01:14:18Please.
01:14:30Well, how did you like the show?
01:14:33You are exquisite, Lily.
01:14:35Good. For a moment I thought you disliked the whole thing.
01:14:37You look so glum.
01:14:39I hated it.
01:14:41I hated your beauty being exposed for everyone to ogle.
01:14:44I hated the looks on men's faces.
01:14:47Well, without those looks on their faces, I'd be finished.
01:14:50You're more wonderful, more...
01:14:53more sweetly beautiful than anyone I've ever known.
01:14:59Everything in my life has changed because of you.
01:15:03Help me.
01:15:06Help me.
01:15:12You pick the strangest moments.
01:15:14I need you, Lily.
01:15:16Only you can save me.
01:15:19Save you?
01:15:21Come away with me right now.
01:15:23Come away with me anywhere in the world you say.
01:15:25I want to live close to you without sharing you.
01:15:27Close.
01:15:29Close.
01:15:33I think there's something you should understand.
01:15:36I'm fond of you, but I'm not ready to be taken over.
01:15:39I like a man with passion,
01:15:41but I don't want a slave and I don't want to be one.
01:15:44Besides, I wouldn't dream of giving up the theater.
01:15:48All I've said makes no difference to you.
01:15:51I didn't say that.
01:15:58I didn't say that.
01:16:12You want to go on exciting men to want to kill.
01:16:15Go on using your beauty to corrupt, to degrade.
01:16:18Please.
01:16:19You're mocking me!
01:16:22Miss Lily?
01:16:23Same as my mother.
01:16:24Miss Lily?
01:16:25Same as all of them.
01:16:26I love living for lust.
01:16:28You are evil.
01:16:30Your beauty is evil.
01:16:31It must be cut away.
01:16:33No.
01:16:35No.
01:16:36You said you loved me.
01:16:37Please.
01:16:39Miss Lily?
01:16:41Miss Lily?
01:16:42Miss Lily, are you all right?
01:16:48Lily!
01:16:56Lily!
01:17:08Are you all right?
01:17:15Get a doctor.
01:17:23Hey!
01:17:26Hey!
01:17:57Hey!
01:18:23Can't you go faster, man?
01:18:26Can't you go faster?
01:18:56You hurt her.
01:19:00I'm the doctor.
01:19:02Take care of my horses.
01:19:03I must hurry.
01:19:12Where is he?
01:19:13You mean the doctor?
01:19:14He turned the corner too fast and crashed the wheel.
01:19:16Quickly, man.
01:19:17That was the Ripper.
01:19:26The Ripper.
01:19:57Circle around that way.
01:19:58Yeah, over this way.
01:20:27Harry!
01:20:36What is it?
01:20:37It's a reactor.
01:20:42Shine your lights over here.
01:20:43It's the Ripper.
01:20:44It's in the river.
01:20:46There's something over there.
01:20:48Where?
01:20:49Look, behind the bridge.
01:20:57Come on.
01:21:16It's too dark and it's too deep.
01:21:18We'll never get him now.
01:21:20Not so dark and not so deep as where he's going.
01:21:26Come on.
01:21:27Let's go.
01:21:57I'm sorry.
01:21:58I'm sorry.
01:21:59I'm sorry.
01:22:00I'm sorry.
01:22:01I'm sorry.
01:22:02I'm sorry.
01:22:03I'm sorry.
01:22:04I'm sorry.
01:22:05I'm sorry.
01:22:06I'm sorry.
01:22:07I'm sorry.
01:22:08I'm sorry.
01:22:09I'm sorry.
01:22:10I'm sorry.
01:22:11I'm sorry.
01:22:12I'm sorry.
01:22:13I'm sorry.
01:22:14I'm sorry.
01:22:15I'm sorry.
01:22:16I'm sorry.
01:22:17I'm sorry.
01:22:18I'm sorry.
01:22:19I'm sorry.
01:22:20I'm sorry.
01:22:21I'm sorry.
01:22:22I'm sorry.
01:22:23I'm sorry.
01:22:24I'm sorry.