Welcome to Subterranean Cinema the perfect place to watch classic movies originating from your hometown TV station, PBS Fort Wayne.

I'm your host, Kris Hensler.

And I'm Justin Gephart, the digital content specialist for PBS Fort Wayne.

And today, we're going to be showing Man in the Attic from 1953.

But before we do that, Justin, why don't you give us a little better idea of exactly what you do here at the station?

Yeah, for sure, Kris.

Basically, it means I do the social media for the station.

I create graphics and videos and post them on our different social media platforms.

Sometimes I'm editing existing videos or changing graphics.

Like when we posted about the show, and sometimes I'm making all of it, like my “Fun Fact Fridays,” you can get a lot more information about what we're doing here at the station and about different shows from our social media.

You can find us, PBS Fort Wayne on Facebook, Instagram, TikTok, and YouTube.

You know, I do like the “Fun Fact Friday” but I'm kind of glad that you got rid of that tiny little microphone.

I really liked the tiny microphone, Kris.

Okay.

Well, that's one.

All right.

You know, if this is your first time tuning into Subterranean Cinem , we should probably let you know that you can see each of these classic titles three times each week.

And it all starts off at 8 p.m. on our Explore channel, also known as 39.4.

Then at midnight on 39.1, our main channel and also on Sunday afternoon at 2 p.m., also on 39.1.

And these films are also available to watch on demand as we roll them out each week through the PBS App.

You can also find more info about Subterranean Cinema and upcoming movies on our website, PBSFortWayne.org.

And of course, we'll also be featuring details on our social media pages.

Well, as long as you get me the information, Kris, you know I'm going to work on that.

Yeah, I really am.

I bet you will, you know.

So, Man in the Attic , it was released in 1953 and directed by Hugo Fregonese.

This feature stars Jack Palance, along with Constance Smith.

You might also recognize the character of Helen Harley, played here by Frances Bouvier.

Now, you may know her as Aunt Bee from The Andy Griffith Sho .

The storyline here is based on Jack the Ripper killings during the late 1800s.

Mr. Slade played here, of course, by Jack Palance, rents out the attic room of a Victorian house, supposedly for a pathology research.

Well, that doesn't sound fishy at all, but we're going to see how this works out.

So as tensions mount, a young woman living in the same house becomes increasingly suspicious of the man upstairs.

And like a lot of today's current films, this movie is also a remake of an earlier 1944 film called The Lodger .

It was based on a novel with the same name published in 1913.

As you can see, Hollywood remakes are certainly nothing new.

Well, we'll see how this version holds up.

So here's what we're going to do.

We're going to get out the popcorn.

We're going to pour some drinks and we're going to settle in for a classic movie with Man in the Attic .

You're watching S ubterranean Cinema only on PBS Fort Wayne.

(light orchestral music) (projector clicking) (grand orchestral music) (grand orchestral music) (bell tolls) (dramatic orchestral music) (footsteps echoing) >> You clatter like a horse.

You'll not steal up on any Jack the Ripper thundering through the streets like that.

3,000 men called out, all wearing rubber strips on their boots, except the Yorkshire man.

>> And when the Yorkshire man's worth the lot of you, never mind me boots.

They'd be better off giving us guns, not yawping about rubber soles.

And what we do with this?

Against a cunning devil with a long, sharp knife?

>> An Irishman knows what to do with that.

>> Barman: You'll go now, Katie.

Now go home and don't come back here till you learn how to behave yourself.

>> I won't go home.

>> Now, I've warned you, Katie, 100 times if I've said it twice.

>> Let go of me.

I'll go when I'm ready, and not before.

Let go of me!

>> Stop- >> Now is that any way to be acting?

Now, just gentle-like.

Easy and gentle, if you please.

>> Three strong men it takes.

Three men, to keep one poor woman from having a little drink.

>> Now, now, you'll be feeling fine after a little sleep.

Come on.

>> I'm feeling fine now, you great ape.

>> Ha, ha.

You got a quick eye, Miss.

He is a bit like an ape.

>> Here, you're for home, you've had enough.

>> Now, look here.

I'll drink till I float if I want to, and no one is going to stop me.

>> I might have- >> Here, now.

Let me handle this.

You see, Miss, it's our duty to protect you from Jack the Ripper.

I don't think you'll mind a bit of protection from a fiend that, do you?

>> You know?

I will be honest.

To have a stalwart and polite constable such as you, take me home.

I live just around the corner.

Just around the corner.

You know?

It's a rare thing, to find a constable with such lovely manners.

>> Yorkshire gallantry, ma'am.

>> Why, here it is.

And, and, and thank you, kindly.

>> A pleasure, ma'am.

Sleep well.

>> Thank you.

Good night.

>> Good night.

(clearing throat) (suspenseful orchestral music) (screaming) (suspenseful orchestral music) (whistle blowing) (whistle blowing) (whistle blowing) >> Nah.

Rot.

Rot!

This fellow George Bernard Shaw should be shipped back to Ireland post haste.

>> Helen: What did you say, dear?

>> I was talking to the dog.

>> About what, dear?

>> I said, George Bernard Shaw should be sent back to Ireland.

>> Why?

What did he say that you don't like?

>> He said, if a Duchess went down to Whitechapel and got slaughtered by Jack the Ripper, something would be done to protect the lives of the poor women who live there.

>> Well, it's true, isn't it?

>> In the first place, it's not true.

In the second, I was talking to my dog.

>> Very well.

But I think at least you should tell him both sides.

>> That's ridiculous.

(knocking) >> Now who could that be, this time of night?

>> I'm sure, if you think carefully, you'll discover a way of finding out.

(knocking) >> William, I feel something.

>> Helen- >> Well, I do.

(dramatic orchestral music) >> Good evening.

Do you have rooms to let?

I saw your advertisement, and the estate agents gave me this Order To View.

You must forgive me for coming so late.

I was working.

>> Oh, yes, of course.

We do have rooms.

Please come in.

I'm Mrs. Harley.

>> My name is Slade.

>> William: Well, Helen.

Who is it?

>> My husband, Mr. Harley.

This is Mr. Slade, dear.

He's come to see the rooms.

>> Yes, how do you do?

That's odd, you know?

He never does that with strangers.

(dramatic orchestral music) >> May I see the rooms, Mrs. Harley?

>> Oh yes, of course, Mr. Slade.

If you'll just come upstairs.

Here we are.

I'm awfully glad I dusted in here today.

I had a feeling someone might come.

I'm sure you'd be very comfortable here.

This is the bedroom.

>> These are the only rooms you have, Mrs. Harley?

>> I could let you have them quite reasonably.

There isn't anything else.

Except the attic, of course.

>> The attic?

Please let me see it.

>> It's really very small, you know.

>> I would like very much to see it.

>> Do you like those?

They're old-time actresses.

Quaint, aren't they?

As you see, it isn't very nice.

>> Excellent.

This is excellent.

Exactly what I need, madam.

You see, I am a pathologist.

I need a place to study and do a little experimental work, where I won't be interrupted.

Now, I'd take the other rooms as well, of course.

I would live downstairs, and work up here.

Would that be all right with you?

>> Yes, of course.

>> This will be most useful.

I suppose a scientist's experiments always seem mysterious to other people.

I assure you, I won't be doing anything dangerous.

(chuckling) >> That's good.

>> May I take the rooms tonight?

>> Yes, uh, the, the term would- >> Would 5,000 a month be acceptable?

>> Ha, I, oh, no, that's more than adequate.

>> Done.

>> You're our first paying guest, Mr. Slade.

You see, we've come upon a period of hard times.

>> So then you must now let rooms.

>> Yes.

Mr. Harley suffered business reverses.

And with nothing to do, he's become so nervous and restless.

If at times he seems a little eccentric, or rude, you will understand, won't you?

>> Of course I will.

I believe I should pay you now, Mrs. Harley.

My habits are irregular, I'm afraid.

I often need to be out late at night.

And I will be very quiet.

If you'll just regard me as a lodger and not as a guest, you'll, you'll hardly know I'm in the house.

A month in advance.

>> Oh, you are thoughtful, Mr. Slade.

I'm so pleased it was you who came.

>> Are you?

Well, that's very kind.

>> The maid will get your meals whenever you want them.

>> You have a maid?

>> Yes.

This happens to be her night out.

But I can get you some dinner, if you'd like.

>> Yes.

This is a beautiful old Bible.

>> Yes, it belonged to my grandmother.

>> I hope you'll not take it away.

I should like to have it here.

It comforts me.

>> Newsboy: The Ripper again, murder in Whitechapel.

Murder, another Ripper murder- >> Man: Another one.

Another one of those horrible Jack the Ripper murders.

Why can't the police stop them?

>> Jack the Ripper.

What a revolting, stupid name.

I'm sorry, Mrs. Harley.

The whole thing is repugnant to me.

>> If you'll excuse me, I'll get your dinner now.

>> Another murder, "Evening Standard", 'ere you go.

The Ripper again, murder in Whitechapel, murder.

Another Ripper murder, another murder.

"Evening Standard", 'ere you go.

>> Oh!

Oh, it's you.

>> Have you heard?

>> Yes.

Another murder.

>> A fourth.

All the same.

He cuts their throats, and then uses his knife like a doctor who's gone mad.

The papers daren't print all the details.

Too gruesome.

Want to read it?

>> Eh, no, thank you.

William?

Mr. Slade took the room.

>> Mm-hm.

>> And the attic, too.

He's taking them as of now.

>> I say, that's a bit quick, isn't it?

>> He won't be any trouble to us at all.

>> Don't like renting out bits and pieces of my own home.

Can't have any privacy.

>> Besides, we need the money.

>> I suppose you want me to go up and make a show of hospitality.

>> No.

Tomorrow will do, dear.

But if you're finished with the paper, let me take it up to Mr. Slade, with his dinner.

>> Finished with it?

I just got it.

There, you see?

It's beginning, well, now.

Where's that dog?

>> I think I saw him go upstairs.

>> Hoo.

That fellow's not going to have my dog, too, is he?

(light orchestral music) (dramatic orchestral music) >> These pictures, their eyes follow you wherever you move.

They watch.

They get on my nerves.

I don't like being watched.

>> I understand.

I'll have them taken down tomorrow.

>> They're, they are pictures of actress.

>> Yes.

I hope you don't really object to actresses.

My niece Lily is on the stage.

>> Your niece?

>> Yes.

We're very proud of her.

She opens next week at the Piccadilly Theater Royal.

She's bringing over some special dances from Paris.

They're quite shocking, but they're most delightful.

>> Mr. Slade: And she is very beautiful, too, I suppose.

>> Helen: Oh, yes.

Wait till you meet her.

>> Meet her?

>> Yes.

She lives here, in this house.

Oh, you'll soon change your mind about actresses, Mr. Slade.

Come on, Prince.

(light orchestral music) >> Helen?

It's seven o'clock.

>> Helen: Be quiet, dear.

Read your paper.

We're just coming.

>> Oh, I'm as good as my word, Daisy.

I've got your pass for Miss Lily's performance tonight.

>> Ooh, Mr. Harley, sir.

You're awfully nice.

>> What's the matter?

Don't you want to go now?

>> Oh, I do, sir.

I do.

But I'm afraid.

>> Afraid?

>> Well, there ain't a girl in all London who fancies walking home alone at night.

Not with the Ripper up to his devilish tricks.

>> Well, I suppose I don't blame you.

Tell you what.

See the show, and come home in a cab.

>> Oh, bless you, Mr. Harley, sir.

>> Now, run along and fetch us the cabbies, will you?

>> Yes, Mr. Harley, sir.

(chuckling) (light orchestral music) >> Helen: Come along, Lily, darling, or you'll be late.

>> I'm coming, Auntie.

Uncle William.

You look very handsome and elegant.

>> William: You look pretty ravishing yourself.

>> Helen: Oh!

I'm so excited I'm afraid I'm going to burst.

>> You must contain yourself at all costs.

Especially in the theater, where people are helplessly packed together.

(Lily laughs) >> Helen: Oh, do be quiet.

Be sure you've got everything.

>> Hello there, Mr. Slade.

>> Helen: Are you coming to the theater, Mr. Slade?

>> Mr. Slade: I'm afraid not.

>> Helen: Oh, Lily, I don't believe you've met Mr. Slade, have you?

My niece, Lily Bonner.

>> Good evening, Mr. Slade.

I'm sorry you can't come to the opening.

>> I, I have work I must do.

>> You work at night?

>> Yes.

Quite often.

Sometimes all night.

It's quieter at night.

>> I like the night, too.

It's the only time I feel really alive.

It's at night that the interesting things happen.

What kind of work do you do at night, Mr. Slade?

>> I doubt if you'd be interested.

>> Do you just work?

>> Sometimes I walk, close by the river.

The river is like liquid night, flowing peacefully out to infinity.

I must not delay you.

I, I wish you success tonight.

>> Lily: Thank you.

>> Good night.

>> Lily: Good night.

>> He's so odd, isn't he?

>> I believe he's shy and lonely, and all wrapped up in his Chinese puzzles.

>> What Chinese puzzles?

>> Oh, science, and pathology, and, whatever you said he did.

>> Can't help feeling there's something odd about him.

>> He skulks, he prowls.

That's the "something" about him.

And if he's lonely, he has only to pop out of his shell and speak to someone.

>> I think he's interesting.

>> Man: "Evening Standard", 'ere you go!

"Evening Standard", 'ere you go!

4,000 police on duty in Whitechapel!

"Evening Standard", 'ere you go!

4,000 police are on duty in Whitechapel!

Oh, thank you, guvnor.

"Evening Standard", 'ere you go!

>> Dressing Room One.

>> Hello, Annie.

Flowers for Miss Bonner.

>> Please.

May I see Miss Bonner?

>> Miss Bonner is dressing.

>> Lily: Who is it, Leila?

>> It's Annie Rowley.

"La Belle Anne," remember?

>> Lily: It's all right, Leila.

I know who Annie Rowley is.

Come in.

>> Oh.

It looks very nice.

Thank you for letting me come in.

I always like to come and say hello to my old dressing room.

>> Perfectly all right, Annie.

Help yourself to champagne.

Courtesy of the management.

I've got to hurry.

>> Yes, I remember.

Did you know royalty was coming tonight?

>> Yes, the Prince of Wales.

>> Oh, I had it all, once.

Royalty, champagne, flowers.

I remember my opening night, and how excited I was.

I looked in this very mirror.

I wish I knew then what I know now.

I came up overnight.

Overnight, I was forgotten.

Won't be that way with you.

>> Who knows?

>> No, it won't.

I went on looks alone.

You have talent, and all the rest.

>> Thanks, Annie.

You coming tonight?

>> No, I, have what I call my work.

I still sing and dance, you know.

>> Oh?

Where?

>> La Belle Anne now performs at Madam Tuss's School of The Dance.

Gentleman come in the evening to learn the latest fandango.

That's in the parlor in front of the house.

>> Is there anything I can do, Annie?

>> Too late.

>> You know, Annie?

Perhaps it isn't all up with you.

Perhaps I could help you.

I don't think there's a place with my girls, but I'm sure I could do something- >> She's gone, Miss Lily.

>> Yes.

(upbeat orchestral music) ♪ Every girl should have a (speaking foreign language) ♪ ♪ In a foreign land ♪ And if ze talk should ever turn to love, you look him up ♪ ♪ And you'll understand ♪ But you don't need to read a dictionary, no, no ♪ ♪ Never when you're in Paree, I think I'm in trouble ♪ ♪ When he holds your hand, oui ♪ You will understand, oh ♪ Oui, 'cause it's easy in Paree ♪ ♪ Say oui, oui ♪ Say si, si ♪ say oo la la ♪ That's all you have to know to fall in love ♪ ♪ Say cherie ♪ Say baby ♪ say comme si, comme ca ♪ And you'll know the way to show the way to love ♪ ♪ You don't have to be a language connoisseur ♪ ♪ Just wink your eye, and sigh a sigh ♪ ♪ And whisper vive l'amour ♪ Say je t'aime ♪ Say la meme ♪ Say je vous adore ♪ And then gay Paree will very plainly see ♪ ♪ That you're in love >> Did you see that?

The little minx flirted with the Prince of Wales!

>> Sh.

♪ La da da da, la da da da, la da da ♪ ♪ Vive l'amour ♪ Say je t'aime ♪ Say la meme ♪ Say je vous adore ♪ And then gay Paree will very plainly see ♪ ♪ That you're in love (audience applauding) (upbeat orchestral music) >> Inspector, there's been another murder by the Ripper.

>> Are you sure it was the Ripper again?

>> The report said it was a murder just like the others, sir.

>> Where was it?

Whitechapel?

>> Yes, sir.

>> All right.

(all chattering) >> To Lily Bonner, and her beautiful, talented troupe.

Long life.

>> All: Long life.

>> London is yours, Lily.

And if I were Lord Mayor, I'd give you the keys to the city.

>> Miss Bonner?

>> Dignitary: You know, champagne has a special significance to me.

As I was growing up in the old Limehouse district, champagne was only a remote word.

>> Bates: She is very beautiful, if I may say so, sir.

>> Mm-hm.

Wait here, Bates.

I dislike very much interrupting your party, Miss Bonner.

It's a matter of utmost importance to Scotland Yard.

>> Sounds fascinating, Inspector, uh, Warwick.

And how can I help Scotland Yard?

>> I want to ask you about a woman who came to see you before your performance this evening.

A certain Annie Rowley.

>> Yes, she was here.

I felt terribly sorry for her.

>> How much do you know about her?

>> Not much, I'm afraid.

Why, Inspector?

>> She has become another victim of Jack the Ripper.

Can you tell me if she was with anyone?

>> No.

She was alone.

>> Someone said a man was seen near the place where Annie Rowley was found.

A man carrying a small black bag, and wearing an Ulster.

Of course, that description fits thousands of people, but you saw no such man?

>> No.

No, I saw no one like that.

(suspenseful orchestral music) (sighing) >> I finally got Lily settled for the night.

Poor thing.

She thought she was so excited she couldn't sleep, but she dropped off while I was talking to her.

>> That's possible.

(window shutting) I just opened it.

>> I'm thinking.

>> William: Thinking.

>> You know, that man from Scotland Yard said the Ripper was carrying a little black bag.

>> All he said was, there was a report that a man carrying a black bag was seen in the vicinity of the murder.

>> And Mr. Slade came to us the night of the other murder.

And all he had with him was a little black bag.

And tonight, he took his black bag with him when he went out.

>> He did not.

>> Yes, he did.

>> His bag is not black.

And he didn't take it with him tonight.

>> William, he did.

>> Would you stake your oath on that?

Your solemn oath in a court of law?

So, you're not sure of the color of his bag.

Nor that he had it with him when he went out.

You're always leaping to illogical conclusions, which you call "thinking."

And the window?

>> Oh, I'm sorry, dear, I forgot.

Women can sense things, William.

Now you know that's true.

Remember when I said something had happened to my sister Sophie?

And we found out that she had fallen, and broken her hip.

And remember- >> William: What are you looking at?

>> It's Mr. Slade.

He's just coming in.

>> Why not?

He lives here.

>> He creeps.

You can hardly hear him move.

>> Naturally, he creeps.

It's three o'clock in the morning.

Do you think he should come in dancing and singing and waking up the whole house?

>> He stopped at Lily's door.

>> He did?

The window?

>> Oh.

More tea, dear?

>> Hmph.

Paper says that the murderer used his knife in ways quite unprintable.

Ridiculous.

How could a knife be used unprintably?

>> Tea, dear?

>> Hm.

Queen Victoria's issued a statement.

She's told Commissioner Warren that no married man could possibly be to blame for these murders, and therefore, every bachelor in London should be rounded up immediately.

>> Tea?

>> What a wise Queen.

Now, all Scotland Yard has to do is to round up a million men and ask them if they're Jack the Ripper.

>> Well, she's right.

No married man would do such a thing.

(Lily singing) Oh, she's so gay.

Even in the morning.

>> Good morning.

Isn't it a beautiful world?

All the reviews are raves!

>> Why, of course.

(knocking) Don't say it.

>> Don't say what, dear?

>> I wonder who that can be?

(laughing) >> I'll go, Daisy.

>> Hello.

I'm Paul Warwick, of Scotland Yard again.

>> Oh, oh, yes.

Do come in.

>> Good morning, Mr. Warwick.

>> Hello, Miss Bonner.

I'm sorry to bother you so early in the morning, but it was important that I talk to you again.

Hello.

>> Hello.

Uh, do come in and have a cup of tea.

>> Thank you.

>> I'll get it, dear.

>> Did you know I found out last night, after you left, that Annie Rowley sent me some flowers?

>> Oh, yes, as a matter of fact, that was my excuse, I mean, reason, for calling.

The stage doorman told me.

I'd like to find out what florist the flowers came from.

>> Oh, I'm sorry.

I didn't keep the box.

>> Well, it was a possibility.

Even though it did no help to Scotland Yard, it did give me the opportunity- >> Good morning.

>> Slade: I beg your pardon.

I, I didn't mean to interrupt.

>> Lily: Uh, Mr. Slade, this is Mr. Warwick.

>> How do you do?

>> Mr. Warwick's from Scotland Yard.

He's engaged on the Ripper case.

Now tell me, Inspector, is it really true that, this time, the Ripper was seen?

>> Yes.

I was about to ask that, too.

>> He may have been.

>> I don't think you'll ever catch him.

>> Why not?

>> Well, five murders.

This time, Whitechapel was swarming with police.

And yet, you didn't even come near to finding him.

You don't know any more now than you did in the beginning.

>> Yes, we do.

>> Helen: Oh?

What?

>> He's of average height.

He's very quick, and strong.

And he's left-handed.

Perhaps he carries a black bag, which would contain his knives.

>> What I want to know is, why does he do it?

>> Well, there are many theories.

The favorite one is that he's a maniac, who kills at random.

>> William: Do you believe that?

>> Warwick: No.

>> Hm.

Well, he may not kill at random, but he's not sane.

You're a medical man, Mr. Slade.

Would you say he was sane?

>> I tend to agree with Miss Lily.

The police will not find him.

>> Warwick: Why not?

>> The police are searching for a criminal.

In reality, there are no criminals.

There are only people doing what they must do, because they are who they are.

So, perhaps the police are searching for someone who doesn't exist.

>> Well, if my theories are correct, I shall make Jack the Ripper's own hands tie the noose that will hang him.

>> I still don't see how you worked it out that he was left-handed.

Do you, Mr. Slade?

>> I've intruded too long.

I really only came down for the morning paper.

Thank you.

Have you all finished with it?

>> Oh, yes, sorry.

Should have sent one up to you.

>> Thank you.

Excuse me.

>> William: Odd, how that dog acts.

Seems to have fallen in love with him.

(knocking on door) >> Mr. Slade?

Mr. Slade, is something burning?

>> Don't come up here.

(suspenseful orchestral music) I'm sorry there's an odor, Mrs. Harley.

There was something I had to burn in my work.

I'll open a window.

Just leave the tray in my sitting room, please.

(suspenseful orchestral music) (gasping) >> Oh, I was thinking I would have to clean the room today.

>> Whenever you wish, Mrs. Harley.

>> It would be darling if you could have that dress mended by tonight.

>> I'll try, Miss Lily.

You were so good in the show, you know.

I don't think it ought matters what you wear on the stage.

>> It does, Daisy.

As well as what I don't wear.

I shall be at the hairdresser's most of the time.

>> Yes, Miss Lily.

>> Good afternoon.

You're going out early.

>> Yes.

I've just completed an experiment.

I must test it.

>> And when you've tested and improved it?

What will you know, Mr. Slade?

>> A little more about life, and death.

>> I wonder what else you need to know about life, except that it's wonderfully worth living?

And of death?

What is there to find out, except it's the end of life?

>> That is a philosophy for a young and beautiful woman, who is the toast of London.

>> Thank you.

Which way are you going?

>> Your way, Miss Bonner.

Isn't that what your enraptured young men would say?

>> I think they might.

What do you say, Mr. Slade?

>> I am going to work.

>> Oh?

Where's that?

>> Everyone is so curious about me.

Very well.

I am going to the University Hospital, where there are laboratory facilities that I use.

I may not come home until late.

And then, your charming aunt will become suspicious.

Soon, because I am not like everyone else, she will ask me to leave.

I've had it all before.

>> Poor Mr. Slade.

Walk with me to the cab across the square.

She won't ask you to leave, Mr. Slade.

If she did, we'd all object.

>> Would you?

>> Of course.

I'm afraid you've been alone too much.

That makes one quite brooding, you know?

>> I am brooding?

>> A little.

And when you're like that, you miss things.

There's so much delight in the world.

The whole sky with the sure sun in it.

the sound of laughter, and of music.

The sweet enjoyment of a man's kiss.

Do I shock you, Mr. Slade?

>> You are an astonishing woman, Miss Bonner.

>> Oh, dear.

I don't know what to do.

Oh, where is William?

Why doesn't he come home?

>> But what is it, Mrs. Harley?

What is it?

>> Never mind, Daisy, I can't tell you now, I, must see Mr. Harley first.

(gasping) Lily is walking with him.

Lily's walking with that man.

>> What man?

Why, it's only Mr. Slade she's with.

>> Daisy, Mr. Slade is the Ripper.

(gasping) William, thank heavens you're home.

You must stop them.

>> What are you getting at?

>> Don't let her go off with that man.

>> Helen.

You've been nipping at the sherry again.

>> Oh, please.

William, Mr. Slade is the Ripper.

>> Mr. Slade is the Ripper.

>> Look at that.

>> What is it?

>> The other morning, when I took him his breakfast, I smelled something burning.

He said it was his experiment.

It was his black bag.

He burned his bag, William, right after he found out the police were looking for a man with a bag.

>> I see.

>> Well, is that all you can say?

>> Very sensible of him.

>> What?

>> I said, very sensible of him.

Nobody can afford to own a bag like that now.

Come here.

A man was mobbed this morning, in Strouder Square.

They nearly tore him to pieces.

Why?

Because he was carrying a little black bag.

This is my black bag.

I didn't burn it, because I didn't think of it.

I just hid it in here.

Anyone who owns such a bag is under suspicion.

The whole city has become hysterical.

People are flocking to the police to inform on their neighbors.

Do we have to have this nonsense in our own home?

If Slade wanted to be rid of his bag, he wouldn't leave that around for you to find.

The man isn't a fool.

>> Well- >> You're just a little overwrought.

That's all, old girl.

How about a spot of sherry?

I think you'd better have one too, Daisy.

>> Oh, I don't mind if I do, sir.

>> I rather wish we could talk again some time.

You've done something good for me.

>> Then perhaps you will have tea with me.

Tomorrow?

>> I'd be delighted.

Thank you, Miss Bonner.

(door clicking) >> Hello, Chief.

>> We're in trouble.

A meeting has been called.

The High Commissioner resigned this morning, and Her Majesty accepted.

>> Resigned?

>> Too much pressure on the Ripper case.

>> If we could find a fingerprint- >> Fingerprint?

That won't help.

I know that theory.

No two prints alike.

It's nonsense.

Well, we'll have to do better than that, Paul, or we'll have no jobs.

Perhaps you could put aside your social life, and help us do something about the Ripper, eh?

>> Yes, sir.

(light piano music) >> Must you stop?

>> If I must choose between music and you, I, I will choose you.

>> More tea?

>> Yes, thank you.

Do you enjoy Robert Browning's poetry?

>> Sometimes.

Depends on my mood.

I read this author or that one, as I feel like it.

I like to pretend that it was all written for me.

>> Perhaps it was.

Every so often, a woman lives for whom men do all things.

>> I'm only a woman, like any other.

>> Not like any other.

You don't know, Miss Bonner, about the others.

>> Are you saying that you like me?

>> Miss Bonner, it has done me great good to know you.

>> It has?

How?

>> Oh, I, I'm afraid it's a long and very personal story, and I should dislike troubling you with it.

>> I already know.

You are a man very much alone.

And you need to find those who will love you.

And when you do, you won't be lonely any more.

>> Those who will love me?

>> Is it really true that you dislike actresses?

I seem to have touched on an old wound.

I'm sorry- >> No.

Yes.

I will tell you.

My mother was an actress.

She was one of the most angelically beautiful women who ever lived.

Exquisitely graceful.

Talented, and captivating.

I loved her deeply.

Deeply.

She had the face of heaven.

And the wretched heart of Jezebel.

For every aspect of beauty she possessed, she contained a double portion of evil.

I hated her.

>> But I thought you said you loved her.

>> One can love the beauty and hate the evil.

Didn't you know that, Miss Bonner?

Come on.

I will show you.

(dramatic orchestral music) I didn't mean to do this, but now I've begun, I will finish.

I will show you this face, and you will see for yourself that there was no way for my poor father to know that she was cunning and faithless and rotten.

It's not difficult to understand that my father fell in love with her.

Perhaps she never met a man she didn't entice.

She knew no love, only lust.

She betrayed my father 100 times, and when she finally left him for a young, rich Frenchman, my father killed himself.

>> Oh, no.

>> Not with a gun.

With absinthe.

With 1000 green glasses of absinthe.

Part of my growing up was spent with a drunken man, who besmirched the face of every passing girl in Paris, and spent 10 years dying of a broken heart.

>> And your mother?

Did you never see her again?

>> Yes.

Yes, I saw her.

And she had become a woman of the streets.

And it was in the streets that she died.

>> Well, they must be in Mr. Slade's room.

Lily.

Excuse me, Mr. Slade.

Inspector Warwick is here, to see Lily.

>> I forgot.

>> I, on the other hand, did not forget, and here I am.

Mr. Slade.

>> We're going to the Black Museum at Scotland Yard.

Would you like to come along?

Is it all right if Mr. Slade comes with us?

>> I don't believe Mr. Slade would really enjoy himself.

>> Lily: Do come.

>> Yes.

Yes, I believe I'd like to come.

>> Lily: I'll be just a moment.

>> And these are the death masks of various murderers.

That one was publicly hanged outside Newgate prison six months ago.

You can see the rope marks on the neck.

>> You treat them like trophies.

Like a stuffed elk head mounted over the fireplace.

>> Yes, a little.

But these were more dangerous than an elk.

Man, unfortunately, is the most dangerous of all beasts.

>> Man is not a beast.

>> Murderers are beasts.

There are the ropes that were actually used to hang these men.

To me, it's the noose that's the wickedest looking.

It hangs so calmly, making a graceful loop, neatly tied.

A simple design, by which a man's breath is caught, and forfeited for his crime.

I'm afraid I'm making Mr. Slade a little queasy.

If you'd prefer to wait for us outside- >> It's not the rope.

It's your policeman's philosophy, Inspector Warwick.

>> Perhaps I'm too used to murder.

I must seem callous.

Miss Bonner, I have a question to ask you.

>> Just one?

I have dozens to ask you.

>> You do?

>> Yes.

For instance, what was that used for?

>> Oh, that was used in the Tufnell Park murder.

And would you come Friday for tea at my home?

I'd like some friends to meet you.

>> Mm, I see.

What was that used for, Inspector Warwick?

>> That is a poker, with which some poor chap beat his sweetheart to death.

>> Why did he do it?

>> We never found out, exactly.

But my belief at this moment is that she failed to answer some perfectly simple question, like, will you come to tea?

>> Lily: Very well, Inspector.

I'll come.

>> That table is expressly reserved for one murderer.

>> Lily: The Ripper?

>> Warwick: Those are pictures of the five victims.

>> Ah, there you are, Paul.

I wanted to pay my compliments to our distinguished and beautiful visitor.

>> May I present Chief Inspector Melville?

Miss Bonner.

>> How do you do?

>> How do you do, Miss Bonner?

>> And Mr. Slade.

>> Mr. Slade.

I've been to the palace, Miss Bonner, where I heard Prince Edward say the most complimentary things about you.

>> Why, thank you.

>> Also, I was told that Her Majesty has decided that the Ripper can't possibly be an Englishman.

Well, I suppose we shall have to investigate all foreigners.

>> Not long ago, we were to investigate all bachelors, because it couldn't possibly be a married man.

>> Has Paul told you that he's our expert on Jack the Ripper?

He, who claims to be able to predict the time of each murder.

>> There is a strange periodicity to the Ripper's crimes.

It's as if the need to kill surges inside of him up to a peak, is satisfied, and then is quiet, until the compulsion slowly builds up again to another climax.

>> When do you expect another?

>> Two days ago.

He's broken the pattern now.

Usually, it's every five or six days.

It could come any time.

Perhaps he's sated.

>> Lily: Sated?

>> If you're ready to go, Miss Bonner, I would be delighted to take you home.

>> Oh, not yet.

>> Then I hope you'll forgive me if I go on.

I have seen all I care to see of Inspector Warwick's little museum.

Inspector Melville.

Inspector Warwick.

Your police methods will never trap the one you call Jack the Ripper.

You may be right about the periodicity, but I doubt if the beast you described can be sated.

He must do his work again.

Good afternoon.

>> Them fellas on the horses have a real cushy job of it all right, huh?

>> All right.

>> 5,000 of us.

We'll have to lay our hands on that fellow pretty soon.

>> Aye, soon.

And I hope it's me what does it.

To make up for, you know.

>> Oh, Wish, man.

Wisher, it wasn't your fault that poor Katie got murdered.

How could you know that she didn't live where she said she did?

>> Officer: Aye, that's all very well.

>> Oh, for the love of Mike, will you cheer up?

You're depressing the life out of me.

(distant singing) >> That's an Irish voice, I tell you.

I'd stake me soul on it.

I suppose you wouldn't consider a little drop of something to help guard ourselves against the cool of the night?

>> Come along, man.

(all chattering) >> Come again, Mary.

>> Good evening, sirs.

>> Good evening.

>> Good evening.

>> It's like a breath of home to hear you, Miss.

>> Oh, you're an Irishman.

>> There's no denying that.

>> Well, now.

Would you be averse to walking a girl to her home?

>> Oh, I'd like nothing better, Miss.

>> Oh, you're very kind.

I've only just come to London.

To seek me fortune on the stage.

I may half way get there, if I don't have to be walking home alone at night.

>> Well, you'll not be walking home alone on my beat, Miss, uh- >> Lenihan.

Mary Lenihan.

>> Ah, it 'tis the breath of home to hear you, Miss Lenihan.

Would it be asking too much to hear you sing again?

I heard very little of that song in the pub back there.

>> Well, sure I will.

(light accordion music) ♪ There's a dear little plant that grows in our isle ♪ ♪ 'Twas Saint Patrick himself sure that set it ♪ ♪ And the sun on his labor with pleasure did smile ♪ ♪ And with dew from his eyes often wet it ♪ ♪ It shines through the bog, through the brake ♪ ♪ Through the mireland ♪ And he called it the dear little Shamrock of Ireland ♪ ♪ The dear little Shamrock ♪ The sweet little Shamrock ♪ The dear little, sweet little, Shamrock of Ireland ♪ Many thanks to you, gentlemen.

Good night, sir.

>> Good night.

>> It was our pleasure, Miss Lenihan.

And good luck to you.

>> Thanks.

(Mary humming) (creaking) >> My, she has a sweet voice.

But we have our duty.

Come on, lad.

(suspenseful orchestral music) (gasping) (gasping) (gasping) >> No.

(glass shattering) (screaming) (suspenseful orchestral music) (whistle blowing) (all chattering) >> How long ago?

>> We just left her.

Only a few moments.

>> Did anyone come out of here?

>> We saw no one, sir.

>> Then he might still be in the building.

>> Officer: Put a cordon around this block.

Search all these buildings.

>> Officer: Yeoman on the roof, sir.

>> Can't get out of this.

If he's human.

>> I'm afraid he isn't human, sir.

>> Not and do what he did to that girl.

(dramatic orchestral music) (dog barking) (dog yelps in distress) (dog whimpering) >> What are you doing?

>> I'm burning my Ulster.

Don't come too close.

>> Those, what are those stains?

They look like blood.

>> I was carrying a solution in a glass container, I, part of my experiment, and I fell and it broke.

My Ulster became contaminated.

I, I must be quick, drastic, the contamination could easily spread.

>> Contamination, you mean it may carry a disease?

>> Mr. Slade: Yes.

(Prince barking) >> What happened to the dog?

>> I'm afraid I hurt him.

He jumped up to greet me.

I didn't want him to touch the Ulster.

Dogs can carry human disease.

There.

It's done.

>> You were right about the Ripper.

You were probably busy and didn't hear.

>> Hear what?

>> There was another Ripper murder tonight.

You said he would do it.

How did you know?

>> I didn't know.

Your Inspector Warwick made me angry.

I don't know why I said it.

>> What is it?

>> Everyone distrusts me.

I feel it.

Even you.

I work very hard, I do what I must do, I, I am myself.

>> I don't distrust you.

>> Forgive me, I'm, I'm very tired.

>> Is there anything I can do for you?

>> We must each live with ourselves.

>> Yes.

>> What's happened?

What's that smell?

Anything wrong?

>> No, Uncle.

>> I'm sorry, I, I had to use the stove.

>> Hmph.

All this writing about the investigations, and not a single clue yet.

>> William, we must go to the police.

>> What for?

>> I don't believe Mr. Slade burned his Ulster because it was contaminated.

He wanted to get rid of those blood spots.

>> Well, uh, Lily said she believed him.

>> I'm sorry.

>> Huh?

What's the matter?

>> Here's his breakfast tray.

But I don't want to take it.

I don't know what to think of him.

>> I'll take the tray, and settle this business once and for all.

>> William?

William, don't do anything silly.

>> I never do anything silly.

Good heavens, mate.

Don't you ever sleep?

>> This experiment is very difficult.

>> Any more danger of that contamination?

>> I think not.

You are suspicious, too.

Well, I am a pathologist, Mr. Harley, and I am working on blood diseases.

You can check on my work at the University Hospital.

>> Mm.

Of course.

Of course.

>> Did you come to ask me to move away?

It has happened before.

>> Move away?

No, sir.

Certainly not, why, you're perfectly welcome here.

And I'll see to it that you stay welcome.

Now then, you'd better eat some breakfast, what?

>> Thank you.

>> Eat hearty.

(knocking on door) >> Come in.

Oh, do come in, Mr. Slade.

>> I came to thank you for your reminder.

The theater.

>> Oh, yes.

>> I will come.

Tonight.

>> Splendid.

I'm so happy.

I think it will do you a lot of good to forget work for a while, and really enjoy yourself.

I believe there's some tea.

Now suppose you take off your Ulster and stay a minute.

>> I'm not disturbing you?

>> No.

Of course not.

I was merely writing a few thank you notes for flowers.

>> And most particularly to Inspector Warwick?

>> I shall be able to thank him in person.

He's coming tonight, too.

You don't like Inspector Warwick, do you?

He thinks you are a most interesting man.

He asks me all sorts of questions about you.

>> Wait here, Bates.

(clearing throat) >> Yes?

May I help you?

>> I wish to inquire if you have a Dr. Slade in your hospital?

>> Doctor Slade?

No, we do not.

>> Thank you.

>> We have a Mister Slade, who works in research.

He's a pathologist.

Do you wish to see him?

>> No, not immediately, thank you.

>> Just as well.

He isn't here.

>> Have you seen him recently?

>> As recently as last night.

>> Is he here very much?

>> Almost every day and night.

He works late, quite often.

He's a most respected member of our staff.

(bell chimes) (knocking on door) >> Good evening, Daisy.

>> Oh, good evening, Inspector Warwick.

>> Am I too early?

>> Oh, I think Miss Lily will be down in a minute.

Will you sit in there, sir?

(clattering) >> What's the trouble, Daisy?

>> Oh, I don't know.

I'm as jumpy as a cat.

>> Warwick: What's the matter?

>> Well, it's the back and forth, and back and forth.

>> Warwick: Back and forth?

>> Well, first, Mrs. Harley says he's the Ripper himself, and then Mr. Harley proves it's all nonsense.

>> Warwick: What do you mean?

>> Well, first he burns his black bag, and then Mr. Harley poo-poos that, and shows that his own is hidden in the chest, and then he burns his Ulster.

Which had all the blood on it.

>> Daisy, wait a moment.

What are you talking about?

>> Well, Mr. Slade.

Oh, it's all mixed up.

And I'm not supposed to say.

Mr. Harley says it's just women's hysteria.

>> Wait a minute.

>> Good evening, Inspector Warwick.

>> Good evening, sir.

>> William: You've come for Lily?

>> Yes.

>> Perhaps a little sherry will help us pass the time.

>> Mr. Harley, what is this about Slade?

>> Helen's been at you, has she?

>> Oh, no.

As a matter of fact, Daisy mentioned it.

>> Look here, old man.

Everything about Slade can be logically explained.

Except one thing.

The dog's suddenly gone sour with him.

Still, that doesn't prove anything, does it?

>> You'd better tell me about it, Mr. Harley.

>> I'll tell you this, Lily.

No matter what you say, I don't believe you ought to spend too much time alone with him.

>> Aunt Helen.

Dear, sweet Aunt Helen.

What if I were to tell you that it was Mr. Slade who was in danger?

Not I.

>> Why, Lily.

>> I think this thing can be settled tonight.

This is a copy of a thumb print the Ripper left in the room of Mary Lenihan, the last victim.

>> Thumb print?

>> There's a theory that there are no two fingerprints in the world that are exactly alike.

I happen to subscribe to it.

>> Hm.

>> Could you get me something that Slade has held in his right hand?

A glass, or something?

>> Well, frankly, I don't know.

>> Mr. Harley, wouldn't you feel more secure if we cleared it up?

>> Yes, I suppose so.

The fact is, the fellow's gone out with, we might try looking about his room.

>> Well, that'll be fine.

>> I rather hate to, you know?

Prying into a man's belongings... >> Mr. Harley.

>> Yes.

(suspenseful orchestral music) Helen tells me Mr. Slade frequently reads the Bible.

Murderers don't read Bibles, do they?

>> There might be some prints here.

I'd like to take something smaller, something he wouldn't immediately miss.

This will do.

Now, something more.

>> Locked, eh?

I say, should you do that, old man?

>> A policeman never knows what he should do, until it's proved to be the right thing.

Ah, this probably has both prints.

Handkerchief?

>> I say, uh- >> I'll bring it back.

And your handkerchief.

(Lily laughing) >> Lily: Don't fuss, Aunt Helen.

Gentlemen don't mind waiting for ladies.

They're quite used to it.

>> What do we do?

>> Sh.

>> Helen: Do you have everything, dear?

>> Lily: Yes, Auntie.

And stop worrying.

>> Helen: Well, I can't help that there's something in the air tonight.

>> She's feeling things again.

>> I thought Mr. Slade had gone out.

There's a knife in here.

What is this?

>> I'm sorry, Miss Bonner.

>> You've been snooping through Mr. Slade's things.

>> Very well.

There's been a mystery about this gentleman, and I wish to clear it up, once and for all.

>> I'm quite tired of this.

Why don't you leave the poor man alone?

He went out early to avoid meeting you.

>> Oh?

Where did he go?

>> He'll be at the theater later, to see me.

Perhaps you can hang him there.

>> Warwick: I merely want to ask some questions.

>> What did you find of his?

>> I found this.

>> That's his mother.

>> His mother?

>> Of course.

He told me about her.

Poor woman, she died an alcoholic in the slums of Whitechapel.

>> What else did he tell you?

>> He seemed quite confused about his feelings for her.

Love, and resentment, all mixed up together.

Please, Paul.

Leave the poor man alone.

>> You defend him with quite a lot of spirit, Miss Bonner.

>> Well, I know him better than any of you.

I, I like him.

I feel sorry for him.

>> As a friend, I should like to respect your fondness for Mr. Slade.

But I am also a policeman.

>> You most certainly are.

You needn't bother to take me to the theater tonight.

Good night.

Inspector.

>> If I may say so, sir- >> And if I said you may not say it?

>> Then I wouldn't, sir.

If I may ask, sir- >> Bates.

If it seems to you I'm in a nasty mood tonight, you're right.

And I have cause.

No, you may not ask.

You may not say so.

You may do absolutely nothing, except breathe.

Quietly.

>> Yes, sir.

(upbeat orchestral music) >> Are you tired of life?

Are you bored with your wife?

Is a laugh really out of the question?

Oui?

♪ Then I take you with me, and we go to Paree, mm ♪ ♪ And I think I make just one suggestion ♪ ♪ Come and do the new Parisian tap ♪ ♪ In Paree they do the (speaking foreign language) ♪ ♪ You'll be shocked by such an ugly step ♪ ♪ Much too gay and frisky ♪ And it's risky for your reputation ♪ ♪ It's exciting, oo, la la la la ♪ ♪ I'm inviting you, la la la la ♪ ♪ To let me show you everything you ought to know ♪ ♪ You that and then you this ♪ And then you steal a little kiss ♪ ♪ Come on, who dares ♪ Your cares will be forgotten ♪ If you learn to do the new Parisian tap ♪ >> Nothing matches.

And every print of his right hand is here.

It's not Slade, that's all.

>> Sir.

This print couldn't have been made by the Ripper's left hand.

Not unless every detective at the Yard is wrong.

That's most unlikely, isn't it, sir?

>> The victim's cuts show that the Ripper used his knife from right to left across the throat, while attacking from behind.

That means he used his left hand.

He took his victims like this.

The cut of the knife was like this.

>> Sir, have you observed Mr. Slade to be left-handed?

>> No, I haven't.

But he could still use his left hand, if he attacked from behind.

You know, for the first time, it occurs to me that the Ripper need not have attacked from behind.

In which case, he could make the same cut from the front, with his right hand.

>> Yes, sir.

>> If that's so, we must find a left thumb print to match the print of the Ripper's.

>> About that portrait, sir, I have a peculiar memory for faces.

>> You do.

>> Yes, sir.

I believe that to be the face of Anne Lawrence.

>> Even to the mole on the left cheek.

Bates, you're right.

Slade's mother was the first Ripper victim.

(upbeat orchestral music) ♪ It's exciting, oo, la la la la ♪ ♪ I'm inviting you, la la la la ♪ ♪ To let me show you everything you ought to know ♪ ♪ You that and then you this ♪ And then you steal a little kiss ♪ ♪ Come on >> Where is Slade?

Have you seen him?

>> Yes.

He's right down there.

He's gone.

(audience applauding) (upbeat orchestral music) >> Lovely, lovely.

You were lovely.

>> They liked it, didn't they?

>> They worshiped you.

>> Excuse me.

>> Am I under arrest, Mr. Policeman?

>> Where's Slade?

>> Inspector Warwick, I'm very sick of all of this.

>> He's the Ripper.

>> You go away.

You're out of your mind.

Leila?

I don't want you to let anyone in.

>> There's a gentleman in here, Miss Lily.

>> Hello.

>> May I talk to you alone?

>> I have to make a change.

There isn't much time.

All right, Leila.

Please.

Well, how did you like the show?

>> You are exquisite, Lily.

>> Good.

For a moment, I thought you disliked the whole thing.

You looked so glum.

>> I hated it.

I hated your beauty being exposed for everyone to ogle.

I hated the looks on men's faces.

>> Well, without those looks on their faces, I'd be finished.

>> You're more wonderful, more, more sweetly beautiful than anyone I've ever known.

Everything in my life has changed, because of you.

Help me.

Help me.

>> You pick the strangest moments.

>> I need you, Lily.

Only you can save me.

>> Save you?

>> Come away with me, right now.

Come away with me, anywhere in the world you say.

I want to live close to you, without sharing you.

Close.

Close.

>> I think there's something you should understand.

I'm fond of you.

But I'm not ready to be taken over.

I like a man with passion.

But I don't want to slave, and I don't want to be one.

Besides, I wouldn't dream of giving up the theater.

>> All I said makes no difference to you.

>> Lily: I didn't say that.

>> You want to go on exciting men to wanting you.

Go on using your beauty to corrupt.

To degrade.

>> Please.

>> You're mocking me!

>> Leila: Miss Lilly?

>> You're the same as my mother.

The same as my mother.

Mocking in love, but living for lust.

You are evil.

Your beauty is evil.

It must be cut away!

>> No, no, you said you love me, please.

(banging on door) >> Leila: Miss Lily?

Miss Lily?

Miss Lily, are you all right?

>> Lily!

(banging on door) Are you all right?

>> Officer: Halt!

>> Get a doctor.

(suspenseful orchestral music) >> Hey!

(whistle blowing) >> H'yah!

(man shouting) >> Can't you go faster, man?

>> H'yah!

(suspenseful orchestral music) >> Are you hurt, sir?

>> No.

I am a doctor.

Take care of my horses.

I must hurry.

>> Where is he?

>> You mean the doctor?

He turned the corner too fast, and crashed the wheel.

>> Quickly, man.

That was the Ripper.

(suspenseful orchestral music) (whistles blowing) (whistles blowing) >> Circle around that way.

>> Here, over this way!

>> Man: Hey!

>> What is it?

>> It's the doctor.

>> Man: Shine your lights over here!

>> It's the Ripper.

>> He's in the river.

>> Man: They found something, over there.

>> Where?

>> Look, by the bridge- (suspenseful orchestral music) >> It's too dark, and it's too deep.

We'll never get him now.

>> Not so dark and not so deep as where he's going.

(dramatic orchestral music) (bell ringing)