All language subtitles for The.Ripper.1985.720p.BluRay.x264.AAC-[YTS.MX]

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(horse trotting)
(thunder rumbling)

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(dramatic music)

(ominous music)

(thunder rumbling)

(hooves clopping)

(tense, dramatic music)

(hooves clopping)

(thunder rumbling)

- Here. Stop here, driver.

- [Driver] Here, ma'am?

Not here, ma'am.

This is no place for a lady like you.

- Yes, please stop.

Stop here.

You must stop now.

- [Driver] As you wish, ma'am.

(thunder rumbling)

(carriage creaking)

That'|| be six shills, please,

but I wouldn't mind waiting.

East End? No place for
a lady like yourself.

There'd be no extra charge

and I can wait, milady.

- That won't be necessary.

Good evening.

- [Driver] Thank you, ma'am,

and good evening to you.

(hooves clopping)

(tense, dramatic music)

(thunder rumbling)

(thunder rumbling)

(woman sighing)

(thunder rumbling)

(ominous music)

(woman sighing)

(hooves clopping)

(tense music)

(thunder rumbling)

(ominous music)

(suspenseful music)

(footsteps tapping)

(tense music)

(woman breathing heavily)

(footsteps tapping)

(tense, dramatic music)

(woman gasping)

(thunder rumbling)

(footsteps tapping)

(woman gasping)

(footsteps tapping)

(tense, foreboding music)

(dramatic music)

(bell tolling)

- Now, from that description,

what famous crime is brought to mind?

Mr. Patton.

- Jack the Ripper.

- Correct.

See, that's the kind of picture

that's been painted in
our minds by Hollwvood.

The kind of imagery that movie
makers are so fond of using

to manipulate history and
make it more exciting.

And if you'll pardon the expression,

more colorful than it actually was.

It should come as no
surprise to any of you

that Hollywood often
portrays historical events

in a much more romantic light
than was actually the case.

And if you weren't aware of that before,

you will be by the end of this course.

As a matter of fact,

there were several inaccuracies

in the description I just gave you

of Jack the Ripper's first murder,

which, by the end of the semester,

you should be able to pick out.

Any questions?

Yes, ma'am.

- Well, Hollywood makes
movies about murders.

We know that.

But what about murderers imitating

what they've seen in the movies?

Has that ever happened?

- Good question and yeah, it has.

We'll cover that later in the course.

It's the old question
of art imitating life

and life imitating art.

We'll take a good look at that later on.

Yes?

- Did you hear about that murder downtown?

It's the one they're
comparing to Jack the Ripper.

It's, like, this prostitute.

You know, she bought the
farm in the same kind of deal

that you were talking about earlier.

- Yeah, now that you
mention it, I do remember.

What's your name?

- Brian.

- Brian.

For those of you who didn't read about it,

what Brian is referring to is a murder

that took place over the weekend,

where a prostitute was killed by someone

who slit her throat from ear to ear.

Police are calling that,

"a modern day Jack the Ripper."

Why do you suppose
they're doing that, Brian?

- I don't know.

' Yes?

- Well, because Jack the
Ripper only killed prostitutes,

and when he did, he sliced
their neck across here,

all the way across.

And then he'd cut them up just like this.

(Brian giggling)

Well, that's how he did it.

- Exactly, that was Jack's proclivity.

Prostitutes.

Looks like you cou|d've been there.

We're not only going to
talk about Jack the Ripper.

The name of this course is

"Famous Crimes."

It's on your syllabus,

but for the sake of redundancy,

I'll put it up here anyway. "On Film."

What we'll be doing is looking
at a number of famous crimes.

We'll take a look at the Brinks robbery,

St. Valentine's Day
Massacre, um, Bluebeard,

Leopold and Loeb, and
the Whitechapel murders,

those actually committed
by Jack the Ripper.

We'll get a pretty solid
account of each one based on

what history tells us about it.

Then we'll view one, or more,
films based on the incident

and discuss how the crimes
were portrayed by Hollywood.

Yes, ma'am.

- This may be a dumb question, but --

- Young lady, there is one thing
you will learn in my class.

There are no dumb questions.

- Okay, then who was Bluebeard?

(everyone laughing)

- You're joke...

Well, that's a dumb question.

(everyone laughing)

- He does that all the time.

It's a big joke.

- No, I'm sorry, I'm kidding.

Seriously. Bluebeard was
a Frenchman named Landru

who knocked off several wives.

He collected them like
some people collect stamps.

We'll learn a lot more about him too.

It's all right here, in
the text for this course.

Leo Mat|in's Crime Cinema.

It's a must and really good reading.

Well, for those of you hoping
for a short first class,

I'm gonna make your day.

If there are no further questions,

we'll see you all tomorrow.

One more thing.

This is the first time

the university has offered this course.

It's sort of an experiment.

Whether it's repeated or
not will depend a lot on you

and how good you make me look,
so make me look good, okay?

Hmm?

Okay, we'll see you tomorrow.

- [Student] Hey, Brian, this
is gonna be an easy A, huh?

- [Brian] I think so, man.

Come on, let's go.

- Goodbye.

You must be a glutton for punishment.

Two semesters in a row.

- Hey, I can spot an
easy A when I see one.

- [Richard] I see you managed to drag

an accomplice along this time.

- Oh, Cindy Blair,
Professor Richard Harwell.

- Hi, it's nice to meet you.

- Same here.

I suppose Steve has already told you about

the university's automatic
grade point inflater: me.

- Well, he told me I'd
learn a lot about movies.

- Well, you know, it's tough
when one of your students

thinks he knows more about the
subject matter than you do.

- Did you see House of Wax last night?

- Last night?

I thought it was tonight.

- Nope, last night.

- Damn it, I wanted to tape it.

- Well, you can still catch
Conqueror Worm tonight.

- [Richard] Wait, wait.

Theatre of Blood is on tonight.

- No no, Theatre of
B|ood's tomorrow night.

Conqueror Worm's tonight.

House of Wax was last night.

- Does he always talk like this?

- Yeah, most of the time. (chuckles)

- See ya.

- Bye.

See, I told you he was a neat professor.

- Yeah, he is. He's okay.

- Okay, that's great kids.

That's real good. That's what I wanna see.

Let's take it again, from the top,

but this time, relax and smile, okay?

Right, you all remember
how to smile, yeah?

Great, let's do it again,
this time full out.

Okay, let's go.

(dramatic dance music)

(energetic dance music)

I I can feel it inside I

I Cutting deep in my heart I

I It's like electricity I

I And it's driving me crazy I

I I've got this burning I

I Burning inside I

I My body's yearning I

I Turning inside for you I

I I'll do anything I

I I'll do anything that
you want me to do I

I You set me on fire I

- Keep it up.
I A feeling I can't control I

I My love is on fire I

I It's deep into my soul I

I Oh, oh, oh I

I You can set me on fire I

I I can't control myself I

' Qkay, great!

Good, that's what I wanna see!

Keep ii UP-

(energetic dance music)

I My heart is beating, baby I

I I can't hold back this burning desire I

I My love is begging for your love I

I Hot, so hot, I'm on fire I

I I've got this burning I

I Burning inside I

I My body's yearning I

I Turning inside for you I

I I'll do anything I

I I'll do anything that
you want me to do I

- All right, you're moving as one.

You all feel that? Good.

I A feeling I can't control I

- Stretch.

I My love is on fire I

I It's deep into my soul I

- [Carol] Okay, great!

I You set me on fire I

- Good.

It's okay, don't worry.

Keep it up.
I I can't control myself I

[Carol] I like that, great.

- Hello, Nurse Ratched.

- Richard, I'm in the
middle of a class right now.

I You, ooh, oh I

I You set me on fire I

- Can I watch the World
Series, Nurse Hatched?

- Shh, shh, be quiet.

- Please?

I It's deep into my soul I

- All right, good.

That was wonderful.

Just terrific!

I'm pleased with it.

Let's rest up a bit.

You all go home and think about

how you can improve on
it for Wednesday, okay?

Get out of here.

I love you, scram.

- Not bad.

- It's a good class, what can I say?

- Yeah, but giving them that whole routine

the first day, what are you trying to do,

screw their minds up immediately?

You're supposed to take
three weeks to do that.

- There are some of us, Professor Harwell,

unlike others of us who seem to feel that

every minute of class time is valuable.

- Oh.

Mm.

Hey, that's good, that's
my favorite flavor

of fabric softener.

- I'm sorry.

Is that's better?
- Now, that's much better.

My favorite flavor of human being.

- Richard, Richard, not in
front of students, please.

- You ready for lunch?

- I'm very ready for lunch,

but I wanna show you something first.

- Okay. Hey.
- See you, John.

- Hey, students.
- Oh, I forgot.

(shop bell ringing)

Stop, see it?

- What?

All I see is a room full of junk.

- The headboard, silly.

Isn't that the most gorgeous

brass headboard you've ever seen?

Come on, come on.

I'd just love to sleep under this.

(Carol chuckling)

Wouldn't it look great in my apartment?

I've always wanted a brass headboard.

- It needs a little polishing.

- I know, but imagine it all
shined up, pretty and clean.

Wouldn't it be great?

I wonder if it's too expensive.

- Ma'am, you wait here.

I'll go rustle up some help.

- Thank you.

- May I help you?
(Carol gasping)

- Gosh, you startled me.

- Did I?

I'm sorry.

I didn't hear you come in.

Did the bell ring?

- Yes, I think it did.

- Mm-hmm.

- Must be the hearing aid.

Battery getting low, I guess.

Did you come after the
brass headboard, dear?

- [Carol] Yes, ma'am.

- I noticed you in here the other day

and once before too.

- That was me.

So how much do you want for it?

- Oh, I just love this headboard.

It should go to a nice couple like you.

How long have you been married?

- Oh. (laughing)
(Carol chuckling)

We're not married.

- Yet.

- Well, nevermind.

Why don't you just go look around

and we girls will discuss price,

if that's all right with you?

- Oh, yeah, go ahead, go have fun.

- Just look around?

- Yes.
- Sure.

- Just make yourself at home.

(Carol chuckling)

Now, what is your budget, dear?

- Well, to tell you the truth,
my budget is only about $50,

and even at that, I can't
really afford all of it at once,

but I just want it so badly.

Maybe if I could pay you about,

I don't know, $20 down the first month,

and pay you $10 every month after that

until I get the $50 paid up,

and then that would work out just fine.

I really wanna have it.

It's so pretty and I really want it.

If we could work something out,

I'd be very grateful.

It's kind of scuffed up.

(tense, eerie music)

(Carol speaking faintly)

(eerie music)

(tense music)

(suspenseful music)

(ominous music)

Hey, you ready?

- Uh, yeah, sure.

- Isn't that an interesting ring?

- Yes, it is.

- Uh...

This doesn't look like you, Richard.

- An old man brought it
in just this morning.

He said he found it in an alley.

I don't think I've ever seen
one quite like that before.

- [Richard] It is different.

- If you're interested
in buying it, young man,

I'll sell it to you for, oh, $50.

- Uh, oh, no.

Thanks, really.

It just caught my eye.

- Well.

- You getting the headboard?

- I'm gonna think about it.

Maybe after a few more paychecks?

- That headboard was meant for you.

You'll have it, mark my word.

- I'll be back for it.

- Oh, young man.

If you change your mind about the ring,

$50, it's a deal.

It looks like 14 carat.

- Thanks.

' BYe~bye.

God, what a saleswoman.

(Richard and Carol chuckling)

- It's amazing what some
people think is attractive.

(shop bell ringing)

(engine revving)

(Richard whistling)

(Richard whistling)

(Richard humming softly)

(answering machine rewinding)

- [Richard] (sighs) It's here.

(dial tone humming)

- [Carol] Hi, honey, it's me.

I called to tell you thanks
for the great afternoon,

and, I mean, I'd probably
take the headboard

if you gave it to me.

See you later, bye-bye.

-Hmm.

(answering machine beeping)

- [Steve] Mr. Harwell, Steve Patton.

I just called to remind
you about Conqueror Worm.

Comes on in about 15 minutes.

It's about a quarter to 8:00 right now.

Hope you don't miss it.

(answering machine beeping)

(dramatic music playing on TV)

- [Man on TV] My god, it's still there!

(dramatic music playing on TV)

(telephone ringing)

- Hello?

- Mr. Harwell, Steve Patton again.

I see you're home.

- Yes, sir.

- Did you get my message?

- As a matter of fact,

I'm watching Conqueror Worm right now.

- Good, well, I didn't
want you to miss it,

you know, after last night.

Hey, no problem.

Enjoy the flick.

Thanks.

- For you.

Who was that?

- Harwell. Telling him about the movie.

You know, this is a great
home cooked meal you made.

- I tried really hard.

You mean that was Professor Harwell?

- Yeah, we're old buds.

- He doesn't mind you
calling him up at home?

- No, he's an old movie buff like me.

Did this take you a lot of time?

- No, I just whipped it up.

You know, the microwave.

- No, you didn't come
close to the microwave.

- You sure he doesn't mind?

- No, he doesn't mind at all.

- Okay, I just don't
want you to bother him.

- This is a good movie.

It's got Vincent Price.

It's kind of corny, but you'll like it.

- [Man On TV] As quickly
and as safely as possible.

If the creature gets to the...

- I think I'll go take a bath.

You could be in here for a while.

- No, you'll miss the movie.

- But see, you're taping it.

I'll watch it later, I promise.

- No, you won't.

Again, it's just like the other movie.

- You're right, I won't.
You spoil everything for me

when you tell me how they do the effects.

- No, I don't.

I never do that.

- Yes, you do.

- No, I don't. Go take a bath.

- You do it all the time.

No, before I leave, I
want you to know that

you do that all the time.

- No, I don't. Go take a bath.

- Yes, you do.

You know where I'll be.

- Yeah.

- [Man on TV] But why, Paul.

- [Man on TV] Well,
then, have them transport

the plutonium tank to the east end.

- Call me if you need anything.

Human washrag, bar of soap...

- [Man on TV] We may have a chance

of dissolving it in the bath.

- [Woman on TV] Right, if
the professor could boost --

- What a cook.
- The power of the warp ray

and we can deflect it
to the chemical bath,

right when the worm gets there,

it will cause it to crystallize.

- [Man on TV] Right.
How about it, General?

- [General] Well, I
guess it's worth a try.

Okay, Paul, you and Jill wait
for me in the convoy truck,

and I'll get the professor
to deflect the ray.

Colonel?

- [Colonel] Yes, General?

- [General] Well, you heard the man.

What are you waiting for?

- [Colonel] I'm on my way, General.

Major, I'll need B Company

to canvass that area before we get there.

Have your men load the deflection mirrors

to 21st and Memorial.

I'll give you the coordinates

as soon as you arrive.

Get the professor on the horn.

He's got to boost that worm ray
at exactly the right moment.

(dramatic music)
So now we know how.

Okay, men, let's go.

(eerie music)

(eerie music cont.)

(eerie, dramatic music)

(suspenseful music)

(ominous music)

- Who are you? (echoing)

(suspenseful music)

What do you want from me?

(ominous music)

Quit doing this to me!

(tense, dramatic music)

What do you want with me?

Stay away!

Stay away from me!

(tense, suspenseful music)

(woman gasping)

(tense music)

(woman gasping)

(tense, ominous music)

(dramatic music)

(organs squelching)

(heartbeat pulsating)

(telephone ringing)

- Great, wasn't it?

- Uh, yes, uh...

- Do you believe those effects?

Weren't they great?

- Hello.

I must've dozed off.

- Dozed off?

During Conqueror Worm?

Come on, Mr. Harwell.

- [Richard] Listen, Steve, I gotta go.

See you tomorrow.

- See you in class.

Great movie.

- Was that Professor Harwell again?

- Yeah.

- Steve, you're sure he doesn't mind you

calling him this late?

- No, I told you.

We're old buds.

(dramatic music plays on TV)

Don't you look nice...

(water running)

(telephone ringing)

- Shit.

Hello?

- Hi, you okay?

- [Richard] Oh, hi.

I thought it was one of my students.

This guy's been calling me all night.

- Sorry, I didn't mean to bother you.

- [Richard] No, no, no, problem.

How are you?
- I'm fine.

Did you get my message?

- [Richard] Yeah, I did.

I had fun too.

Thanks.

- I was just sitting
here thinking about you.

Um, I'm sorry I called so late.

Hope you don't mind.

- [Richard] Have you ever heard
me complain in five years?

- No, I don't think I ever remember

you complaining about anything.

- [Richard] You know, I
was thinking about you too.

- Oh, you were?

- [Richard] Yeah, a little while ago.

I had the strangest dream.

- What dream?

Tell me about it.

- [Richard] Well, I
don't know if I should.

- Come on, you can tell me.

- [Richard] Really, I don't
know, you might not like it.

- I don't think there's

anything about you that I don't like.

- [Richard] Well, it was a nightmare.

- A nightmare?

- [Richard] Yeah, something
to do with the theater

and your students.

And in the end, you got killed

by a slasher, or Jack the Ripper.

- Richard, you're just watching

too many of those horror movies.

- [Richard] Yeah, but
that's not the worst part.

(tense, uneasy music)

I was the one who killed you.

- Richard!

(soft, romantic music)
- You missed the movie.

- So what?

- To the bed?

- [Cindy] How about the couch?

- How about the couch.

This may be better than the movie.

(soft, romantic music)

(soft, romantic music cont.)

- You sure are sweet tonight.

- [Steve] Yeah, so are you.

I was right.

This is a lot better than the movie.

- You always gonna be like this?

- [Steve] You'll see.

(soft, romantic music)

I That's Jack the Rapper I

(bluesy harmonica music)

I He's an okay dude I

(bluesy harmonica music)

I He'd kill his own mother I

(bluesy harmonica music)

I Just to get some food I

(students laughing)

- Whenever you're finished, Brian.

- Hi.
- Hi.

- Where you been?

- I had a little trouble
getting up this morning.

Thanks to you.

- Good morning, ladies and gentlemen.

Today, as promised, we begin
our study of crime in cinema

with a look at perhaps the most famous

series of murders ever committed:

the Whitechapel murders,

those committed by Jack the Ripper.

I say they are perhaps the most famous,

because more than any other series

of crimes in history that I know of,

the Whitechapel murders have been

the subject of many, many films,

especially in the British cinema.

So we'll start with the most popular.

The Whitechapel murders
all took place between

August 31 st and November 9, 1888.

In all, Jack the Ripper is alleged

to have committed 14 murders.

The key word there is "alleged."

Although as many as 14 killings

were, at times, attributed to Jack,

if we may become that familiar,

it's commonly agreed upon that

only five were actually his work.

The others may have been copycat killings.

There are many theories as to who Jack was

and why he committed the murders.

Hollywood has been great in supplying us

with those through the years,

and we'll look at some of them later on.

But for now, these are the facts.

Each victim was a prostitute.

Each victim had her throat slit.

And each victim was savagely mutilated,

and usually disemboweled.

That means her insides were carved out.

In one case,

police said Jack wrote to them that he had

fried and eaten one of
his victim's kidneys.

(students groaning)
(students chuckling)

He sent the other one to
them in a note to prove it.

As a matter of fact,

Jack wrote several notes to the police.

They were all very glib and
related to his progress.

In one, he told of how
a victim squealed a bit,

so he had to rush the job

and escape before being discovered.

Welcome back to Earth, Brian.

Wanna get that?

Jack's last victim was a
woman named Mary Jane Kelly.

With her murder, his trail vanished,

and his identity remains
a mystery to this day,

for which countless
novelists and screenwriters

have been eternally grateful.

Yes.

- Did you hear about
the murders last night?

The police are saying that
it's another Jack the Ripper.

- No, what murder?

- Some lady was cut up in the theater

and just like you said,
her guts were ripped out.

You think it's a copycat killing?

- Yeah.

Yeah, I think so.

Jack himself was last heard
from over 100 years ago.

(students chuckling)

There have probably been hundreds

of Jack imitators over the years,

with all the publicity
his killings have gotten,

but what's really fascinating about him

is all the speculation as to his identity.

Sir Arthur Conan Doyle hypothesized that

the murders weren't
committed by a man at all,

but rather by a deranged midwife.

Hence, the disemboweling of the victims.

My favorite theory comes
from a recent film,

called Murder by Decree.

It says that Jack was
actually a royal physician

and a Freemason sworn
to protect the monarchy.

He killed prostitutes in order
to abort the bastard child

of, I believe, the Prince of Wales.

It's a great Sherlock Holmes film

starring James Mason and Christopher Lee.

- Christopher Plummer.

Plummer.

- Yes, I believe it was
Christopher Plummer.

Thank you.

And then, there is this book.

I haven't read it yet,

but it takes the cover
up theory a step further,

claiming that there was
crucial evidence found

at the scene of Mary Jane Kelly's murder,

that as part of the cover up was lost

and never heard from
again, except as rumor.

It's called The Ripper Conspiracy and...

(tense, uneasy music)

Well, as I say, I haven't read it yet,

but it's supposed to be the
latest thing on the subject.

Any questions?

(Brian snoring)

Good.

Now, if you'll all be quiet,

so as not to disturb Mr. Stodd,

I'll give you another short class today.

As long as you read at least one book

on the Whitechapel murders.

We'll meet again on Friday
and view The Lodger,

an early Hitchcock film about Jack.

So, quiet now,

and, uh, good day.

(Brian snoring)

(book banging)

Class dismissed, Brian.

(engine humming)

(shop bell ringing)

Hi.

- May I help you?

Oh, you came back for the brass headboard.

- Yes.

Actually, no.

It's gone. It's not here.

- I beg your pardon?

Well, it's right where it's always been.

- The ring, it's not here.

- Oh, you came back for the ring.

What is it with that ring?

- [Richard] What do you mean?

- Well, ever since that ring came in here,

everybody wants it,

and then they don't want it.

- [Richard] They what?

- Just after you left yesterday,

a woman came in, bought
it, paid $50 for it.

Said it was just perfect for her husband.

Then, this morning, the
husband brings it back.

Said it was bad luck or something.

I gave them their money back.

- Well, where is it now?

- Well, I sold it.

I almost sold it.

- [Richard] Almost sold it?

- Well, I promised a lady that

I'd hold it for her until noon.

- You mean you have it in the store now?

- Yes.

- May I see it?

- I don't see why not.

I don't see what is so
special about this ring.

- I really wouldn't know.

(dramatic music)

How much did you say that lady

was going to give you for the ring?

- Fifty dollars.

- All right, well, I have a hundred cash.

May I have it?

- Well, I really couldn't do that.

- Why not? This is $100 cash.

- Well, it's not the money.

It's the principle.

I promised her I'd hold it until noon

and I must keep my word.

You can't stay in business
if you go back on your word.

- Well, look, it's a couple
minutes to 12:00 now.

- I tell you, I'll sell it to you at noon

if she doesn't come back.

In the meantime, why don't
you just browse around?

Make yourself at home.

I'll show you that headboard
again, if you like.

- No, thanks.

- It'd be better if
you invested your money

in that headboard.

It sure would impress your fiance.

- Thanks.

(shop bells ringing)

- Well, hello, Mrs. Pratt.

- Hello, is it ready?

- [Shop Owner] Yes, it is.

- [Richard] Uh, excuse me.

' Yes?

- Oh, I thought I knew you from somewhere.

- Oh, really, from where?

- You just look familiar, that's all.

- Oh, well, I used to
work at the Red Cross,

I've met a lot of people that
way all over the country.

I used to travel to fairs and exhibitions,

and help run first aid centers,

and I gave first aid instruction and all.

Do you know what the first disaster was

that the Red Cross worked?

- Uh, no.

- The big San Francisco earthquake!

- Oh.

- In 19...

- That will be $120 exactly.

- One-hundred and twenty dollars.

All right.

Here it is!

Oh, my, isn't it beautiful?

- Yes. Oh, don't you want
me to put it in a box?

- Oh, no, I'll just
take it right like this.

- Oh, Mrs. Pratt, your receipt.

- Oh, I've got the clock.

I don't need a receipt.

- Oh, well.
- But thank you.

- All right, now, you come back.

- Oh, IWill.

- All right.

(church bells tolling)

- It's 12 o'clock.

(shop bell chiming)
- Oh, let's see.

Now, where did I put that?

Oh, here it is.

(telephone ringing)

Colonial Antiques.

(dramatic music)

Yes!

Yes, I've got it right here.

- Shit.

- Oh, well, I'm glad you called.

Yes, I have a young man right
here that wants to buy it.

Yes, uh, oh.

Isee,fine.

Yes, all right.

Good bye.

It's yours. $50.

(tense, foreboding music)

(answering machine rewinding)

(machine switch clicking)

(machine beeping)

- [Carol] Honey, it's me.

Give me a call about 7:00
if you get a chance.

I've got us some good news.

Bye, love you.

(answering machine beeps)

- [Fred] Uh, Richard,

Fred here, from Psychology.

Did you read the paper this morning?

There's been another knife murder.

Police are calling it
another Jack the Ripper type.

I thought that was interesting,

since you're teaching
Jack the Ripper and all.

Look, Richard, I don't
know how to tell you this,

but I hear rumblings in the administration

that they're going to
look into your class.

It's big news.

They've already asked me if I thought

the killer might be a student of here,

so I just thought someone should tell you,

so it wouldn't come as a
complete surprise. Bye.

(machine beeps)

- Discovery of a 10 carat Baroque.

(tense, foreboding music cont.)

Baroque. (chuckles)

(tense, ominous music)

- [Waitress] I'll see you
guys tomorrow night, okay?

- Okay.
- Bye.

(engines humming)

(eerie music)

(tense, dramatic music)

(tense, dramatic music cont.)

(tense, dramatic music)

(keys jangling)

(tense, dramatic music cont.)

(waitress gasping)

(thunder rumbling)

(waitress gasping)

Shit.

(suspenseful music)

(waitress breathing heavily)

(tense, suspenseful music)

(waitress hyperventilating)

(waitress groaning)

(dramatic music)

(dramatic music)

(thunder rumbling)

(organs squelching)

(tense music)

(organs squelching)

(light tapping on door)

(tense music)

(heavy knocking on door)

- Oh, hi.

— Are you okay?

- Yeah, sure.

(Richard sighing)

- Why wouldn't you answer the phone?

I've been calling all night.

- What time is it?

-11I15.

Did you get my message?

- Yeah, I got it.

Uh, "Ca|| at 7:00."

I must have dozed off.

- "Dozed off."

You dozed off for over four hours?

Some nap.

I was really afraid
something had happened to you

when you wouldn't answer all night.

- I haven't been sleeping
very well lately.

- Yeah, obviously, to give
up one of my Italian dinners.

- Mama mia!

- Richard, don't tease me!

I'm really angry,

especially when I thought
maybe you'd found something

more interesting to do, like watch TV.

- Damn it!

I missed taping Theatre of Blood tonight.

That's twice this week.

- Geez, I don't believe it!

You stand me up all night long

and now, all you're really worried about

is missing some stupid
slasher movie on TV.

- Hey, Carol, come on, give me a break.

I said I was sorry.

Okay?

Okay?

Hey, you are not gonna
believe what happened to me.

Right now, we're studying Jack the Ripper,

and I came across this book.

- [Carol] Go on, I'm listening.

- Uh, it's a book with a theory.

(eerie music)

— [Carol] Are you okay?

- Yeah, forget it.

It's no big deal.

H 9y,

I really am sorry about tonight.

- So...are you still hungry?

Let me make you something
to eat real fast.

- No.

No, I'm not hungry.

- Are you sure you're okay?

- Yeah, yeah, I'm fine, really.

Hey, you, uh...

Do you wanna get together tomorrow night

to make up for tonight?

- Yeah, that's the least you can do.

- (chuckles) Okay.

What are you doing?

- Making some coffee.

- Oh, not for me, I hope.

- Yes, for you, it'll do you some good.

- Oh, Carol, I don't want any.

I'll be up all night.

- I'm sorry I jumped on you.

I was just worried.

- Well, jump on me anytime you like.

— (laughing) You don't give up, do you?

- Nope.

- Richard.

(upbeat, energetic music)

(Steve humming loudly)

(upbeat music blaring through headphones)

- Sorry.

You got a hangover?

- No, I slept miserably last night.

I don't know what it is.

- Hey, I've got a great telephone joke,

if you wanna hear it.

- Sure.
- Cool, okay.

You call up the bowling
alley, and you say,

"Excuse me, sir, do you
have 12 pound ba||s?"

And he says, "Well, yeah, sure."

And you say,

"l bet you have a hard time
putting your pants on."

(Steve chuckling)

(music blaring in Steve's headphones)

- Is there a point to this little visit?

- Yeah.

Mm-hmm.

Did you hear about the murder last night?

- [Richard] No, what murder?

- Down on Brookside.

Cocktail waitress got killed

as she was getting in her car after work.

They're calling it another
Jack the Ripper job.

Talk about gruesome,

pulled her insides out
and threw them on her.

- Really?

- Yeah.

You know, it's kind of
weird having Jack the Ripper

in our town after all these
years, killing people.

- Yeah, well, that
Brookside's such a circus,

I'm not surprised.

- If you really think about it,

it all started three days ago.

Same day our class began.

Talk about a coincidence.

- I'd rather not.

Thanks.

- Hey, I found out something interesting.

You know, yesterday, you told us

to read a book about the murders?

- [Richard] Mm-hmm.

- Look.

- [Richard] That's a people's almanac.

- Mm-hmm.

Yep.

Look at this.

"Famous left-handed people.

Harpo Marx, Judy Garland,
Charlie Chaplin."

- [Both] "Leonardo
DaVinci, Paul McCartney."

- "Jack the Ripper."

Interesting. That bit of
information had eluded me.

Now, maybe I can sleep tonight.

Really, Steve, a People's Almanac?

- Hey, uh, nice ring.

Is that new?

- I can't get the damn thing off!

- Sorry.

Hey, will you sign
something for me real quick?

- Sure.

What are you dropping?

- [Steve] Nothing, I'm
adding your Steinbeck course.

- You realize that's next semester?

- Yeah, I wanna beat the rush.

- Yeah, right.

- [Steve] Thanks.

See you Friday.

- See ya, Steve.

- Bye.

- Twelve pound balls?

(Richard laughing)

(eerie music)

(Richard sighing)

(tense, eerie music)

(crickets chirping)

(dogs barking)

- Okay, well, stop!

(Carol laughing)

Back up!

- [Richard] Uh-huh.

Well, this is great.

Watch this.

Here we go.

(dramatic music on TV)

Come on, it's only a movie.

- [Carol] I don't wanna watch it.

Oh, gosh.

What now?

Is she gonna get murdered?

- [Richard] No, no, nothing like that.

- Uh, gross.

(heavy pounding on TV)

Gosh!

Wait a minute, what is that?

- What?

- That ring.

Did you go back to the
store and get that ring?

- No, no, I bought that
on campus the other day

from some guy.

- Some guy? What's his name?

- I don't know, I never met him before.

- Let me see.

You went back to the store

and got the ring, didn't you?

- [Richard] Yeah, okay, I did.

- I didn't think you liked jewelry.

God, that's so gaudy.

- Yeah, it is,

but it's interesting too.

- I guess. Here, let me see.

(Richard grunts)

Oh, wow, it won't come off.

- Yeah, I know.

- Well, take it off, I wanna see it.

- I can't, it won't come off.

- Richard, I'm serious.

I wanna see if it fits on my finger.

- I swear, it won't come off!

You think I'd be wearing the damn thing

if I could get it off?

- Well, that's kind of weird.

Why would you go back to the
store and get that ring if...

Richard Harwell, you are a
strange bird, you know that?

- [Richard] Yeah, well,
that's why all the women

are crazy about me.

- Hey, just hush and kiss me before

I have the time to think about that.

(dramatic music plays on TV)

Now, watch the movie.

Oh, God!

- Hey!
- Not again!

This is ridiculous.
- Look, look, look!

- Oh, it's squirting all over!

- Shh, shh, Shh, shh.

This thing is good.

Look at this.

I got some friends in this one.

That guy right there,
they call him Potato Head.

(Carol laughing)

(tense music on TV)

(hammer pounding on TV)

(eerie music plays on TV)

(light mellow music)

(alarm beeping)

What was that?

Pizza ready?

- Pizza? Hey, silly, hey.

It's about time for me to get going.

- Oh, you can't do that.

We got to watch the rest of the movie.

- You mean the one that
ended about an hour ago?

- Ended?

- (laughing) Yeah, about an hour ago.

- Damn it, I did it again.

- Hey, it's okay, don't worry.

You're just all wound up from

the new semester and your new class.

All that good stuff, you'll get over it.

Get a good night's sleep tonight,

and we'll have a great time tomorrow.

- But that's just it, I can't
get a good night's sleep.

I can't get rested up.

My system's all screwed up.

I doze off in the evening.

I wake up, stay awake all night long.

I don't now what's happening to me.

- Maybe it's, uh, early menopause.

- Damn it, honey, I am not kidding.

- Oh, I'm sorry.

Hey.

Hey, I didn't mean to be so cruel.

Let me stay the night, okay?

(engine humming)

(upbeat music plays on radio)

I My heart is beating baby I

I Can't hold back this burning desire I

I My love is begging for your love I

I Hot so hot, I'm on fire I

I I've got this burning I

I Burning inside I

I My body's turning I

I Turning inside for you I

I I'll do anything I

I I'll do anything that
you want me to do I

I You set me on fire I

I A feeling I can't control I

I And my love is on fire I

I It's deep into my soul I

I You set me on fire I

I I can't control myself I

(engine sputtering)

- Oh, man.

(engine sputtering)

Is this...

Come on, come on.

I You set me on fire I

I A feeling I can't control I

I Oh, oh, oh, and my love I

(engine cranking)

(engine stalling)

(engine cranking)

- Shoot.

Why does this stuff always happen to me?

Empty. I knew I shou|d've
filled this up before I left.

Shoot.

(crickets chirping)

Thanks a lot, car!

Now what am I gonna do?

Out here, in the middle of nowhere,

and I'll bet you anything
this place is closed.

(crickets chirping)

(Judy sighing)

Shoot.

Now what am I gonna do?

Why do these things always happen to me?

I shou|d've known better.

(keypad beeping)

(sighs) Shoot.

(telephone line trilling)

Watch nobody be home now.

(tense music)

- Hello?
- Hello.

Hello, Dad?
- Judy, is that you?

- Yeah, is Mike there?

- [Dad] Something wrong, darling?

- No, no, I'm okay.

I just ran out of gas.

I wanna know if Mike
can come and pick me up.

- [Dad] Well, I got some time.

I can come do it.
- No, just go get Mike.

I'll wait.
- Okay, hold on.

(tense music)

(Judy sighing)

- Shoot.

I can't believe this.

I can't believe it.

(crickets chirping)

Just can't believe this.

(tense music)

(Judy screaming)

(Judy choking)

(Judy gagging)

(tense, dramatic music)

(tense music)

- [Dad] Judy, Mike's on his way.

Hello?

Hello?

Judy?

Judy?

Hello?

Hello, Judy?

(Judy screaming in terror)

(eerie, haunting voices echoing)

(eerie, haunting voices echoing)

(eerie growling)

- It's The Joys of a Woman.

- No, the answer is Emmanuelle 2.

Give 'em up.

- Like hell.

I worked at the theater where it played.

It was Emmanuelle: The Joys of a Woman.

I saw it six times.

- But that's not what the card says,

and this is what we're going by.

- All right, okay, okay.

Okay, fine.

Disqualify that card.

Ask me another one.
- I don't think so!

If you have a complaint,
you write to the company.

We're going by what the card says, Steve.

- Excuse me.

Geez, come on.

How nice are you?

- I'm very nice.
- Go ahead.

Hey, Professor Harwell,
look, look, look, look.

- Hi, Steve.
- Look, look.

Okay-

- Entertainment card's got
the wrong answer on it.

She says I'm wrong. Just read that.

Tell her who's right.
- He does this all the time.

- That's the right answer, Emmanuelle 2.

- See, I told you.
- No, it's not.

You feel okay?
- Yeah, I'm fine.

Look, I'm in a hurry, Steve.

I'll see you later.

Bye-bye.
- See you.

- Bye.

(engine roaring nearby)

(birds chirping)

- You really shouldn't go around

doing things like that, Steve.

- Did you notice his ring?

- His? No.

- The big one on his left hand.

- No.

- It's just like the one that was found

at the scene of Jack the
Ripper's last murder.

Look.

- Steve, I didn't get a good look at it.

- Believe me.

He was wearing it on his left hand.

You remember Harwell being left-handed?

- I never noticed, but so what?

- I've known him more than a year

and I never remember
him being left-handed.

Boom, suddenly he's left handed?

Yesterday, he signed an add
form for me with his left hand.

Just then he took that
card in his left hand.

- So what?

I don't...

- Jack the Ripper was left-handed.

(Cindy sighing)
No, no, seriously.

Now, here's a guy who's
always been right-handed.

- Mm-hmm.
- He buys a ring,

puts it on his left hand,

and suddenly, he's left-handed?

A ring that looks just like one

that was found a hundred
years ago on a Ripper victim?

To me, that's pretty strange.

- I think you've seen
too many weird movies.

- Come on, let's finish the game.

- Don't you think it's strange,

especially with all
these murders going on?

- No. Actually, I think you're
trying to get out of the game

because you're losing.
- No, seriously!

Don't you think it's strange?

- I think you're strange.

Now, come on, lose the game gracefully,

or we won't go parking tonight.

- Parking?
- Uh-huh.

You heard me, ask me a question.

- You win.

- (chuckles) You're just
gonna forfeit, just like that?

- That's it. Darn the luck.

I lose. Let's pack it up.

- (laughing) Okay.

(moody soft rock music)

I love this song.

-So do I.

Let's dance.
- No, let's not.

- Mm, okay.

(crickets chirping)

(soft rock music cont.)

- Mm.

Whoa, buddy, give me some air, okay?

- Okay, hold up.

- It's cold.
- Time out.

(Steve chuckling)

- Mr. Cool, you know.

Time out, doing my best work.

- Geez.

Sometimes, you just got to make me mad.

- I do not.
- Oh, sure.

- You love every minute of it.

It's beautiful out here.

- Yes.

Just like you.

- Cute.

Not bad yourself.

- Well, you know.

- So I hope you know all this studying

is really gonna help my grade point.

- Yeah.

What a way to go.

(Cindy chuckling)

(crickets chirping)

- Look over there.

- Yeah.

- We should go pretty soon, though.

There's a curfew.

- Oh, we should go.

We're over 18.

- I don't wanna get in trouble.

- What the hell is life
without a little danger?

- I just don't wanna get in trouble.

- I'll protect you.

- Okay, okay.
- Worry wart.

- Alright)'-

- Wanna go for a walk?

- Yeah, come on.

(moody soft rock music)

(crickets chirping)

(passionate romantic music)

(soft romantic music)

- What's that?

- What?

(crickets chirping)

You know, I never knew you
were such a good dancer.

- There's a lot of things
you don't know about me.

- Like what?

- Like...

- Like what?

- I'll figure something out.

- What?

- Let me show you something.

- Steve, wait a minute,
what are you doing?

- Come here.
- Don't drop me.

- No, now come here.
- Will you put me down?

- Steve, put me down.
- How much you eat today?

Look, when we get married,

we got to have a little spring.

- Oh, you mean a house, right?

- Or house.
- Okay.

- I thought we'd build it right here.

What do you think?

- You cleared this with the
Parks Department, right?

- Oh, don't worry about
the Parks Department.

I'll take care of them.

And this could be the living room,

and you walk into the den,

and then the kitchen.

And you could cook here.

We got to move this rock.

What do you think of this?

- [Cindy] I think it's great,

but the parks guys might not go for it.

- Oh, forget about the parks guys.

That's just the first floor.

Then, second floor, we
could have the kids' room.

- Kids?

- Yeah.

We got to make that bigger.

- Lots of kids.
- Lot's of them.

You got to have some kids, right?

(Steve laughing)
- Yeah, I think.

- So we're getting married.

- Is that the only reason
you're marrying me?

That's it.
- Okay.

-Kms

Okay, next to the kids'
room, you got to have a back.

- Uh-huh.
- Right?

- That's logical.
- Isn't that right?

- Okay, good.

Oh, and then comes our room,
with a big ole waterbed.

Stand back.

Mirrors on the ceiling,

we could look at ourselves.

Silk sheets, I think I'm in heaven.

It could be our dream house.

(dramatic music)

What do you think?

(crickets chirping)

Cindy?

Cindy, don't hide from me.

I'm not in the mood.

Cindy?

Cindy, I swear when I
find you I'm gonna...

Cindy?

Cindy, where are you?

(tense music)

Cindy?

Cindy?

Cindy, where are you?

Cindy?

Cindy?

Come here.

Cindy?

Cindy?

(sinister music)
Oh, my god, Cindy.

(tense, ominous music)

No.

(Steve weeping)

No.

No!

(tense, dramatic music)

- Wait a minute, man!
- Hurry he's getting away!

- Wait a minute!

- He killed my girlfriend!

He's getting away!

- Who killed Who?

- Forget it!

(dramatic music)

(siren wailing)

(dramatic action music)

(siren wailing)

(tires squealing)

(engines revving)

(dramatic music cont.)

(tires squealing)

(explosion booming)

(siren wailing)

(tires squealing)

(siren wailing)

Come on, he went down there.

- Yeah, I saw him.

You just stay right here.
- No, come on, let's go!

- No, stay here!

- No, we got to go.

He's getting away!

- Who are you, anyway?

- Steve Patton.

That's the Ripper, the
one that's been killing

all the girls. (gasping)

He killed my girlfriend back there

and now he's getting away!
- Okay, settle down.

Listen to me, settle down.

I've got to go get some help.

We'll go check on your girlfriend.

You stay right here.

- He's getting away!

- Now, will you sit right here?

You promise me?

- No, he's...
- Answer me.

Are you gonna stay right here?

- Yes.

- All right, you stay right here.

(tense music)

Lou, it's Ken.

We got a homicide suspect on foot.

(officer speaking faintly on radio)

(tense music)

- Uh, his...

His first film, however, was The Lodger.

Made in 1926,

it was a silent film and was remade twice,

as a talkie in 1932, and again in 1944.

It was also the first
film in which Hitchcock

made one of his famous cameo appearances,

because they didn't have enough extras.

And now, as far as I know,
the film you're about to see

is the first cinematic representation

of the Whitechapel murder mystery.

Many more, of course, would
follow through the years,

including a number of television shows,

including one on, uh, Twilight Zone,

and another on Star Trek,
entitled "The Man Trap."

- [Brian] "Wolf in the Fold."

- What was that?

- Wasn't it "Wolf in the Fold?"

That was the episode on Star Trek

that was about Jack the Ripper.

- Yeah, I'm sorry, you're right.

"Wolf in the Fold."

Anyway, what makes the Whitechapel murders

so appealing to writers is the fact

that they were never solved.

The murderer was never apprehended.

And so, that's been the springboard

for a great many ideas.

Well, I have an appointment
in about five minutes,

and that should do it for introductions.

Steve?

(eerie, ominous music)

Uh, Brian, if you'd put your friend down,

get the lights and the VCR,

I'll see you when the film's finished.

- [Brian] Cool.

(footsteps departing)

(birds singing)

(dog barking)

- Fred.

- Oh.

Hi.
- Hi.

I'm glad you could meet with me.

- No problem, no problem.

I don't even have a class 'til 11 :00,

but let's walk, okay?

- Sure, sure, fine.

- So what's on your mind?

- Those knife murders.

— (sighing) They talked to you, huh?

- No.

Fred, Fred.

The one last night was one of my students.

She was with her boyfriend.

He's in my class too.

- The one in the phone booth?

- No, no, that was the night before.

Last night was in the park.

- There was another one?

- Do you read the papers?

- Is that what you wanted
to talk to me about?

- Yeah, well,

listen, you teach Abnormal Psychology,

don't you, Fred? Among other things?

- Mm-hmm. So what do you wanna know?

- Well, they're comparing
this to Jack the Ripper.

What I'm wondering is, do you
think this guy is an imitator,

or do you think he really
believes he is Jack the Ripper?

- Could be either one.

You say the girl last night was

with her boyfriend in the park?

- Yeah.

- And as I remember, another
was a cocktail waitress, and...

(birds chirping)

I'd say the guy thinks he's Jack.

- Why?
- Well,

if he were an imitator,

chances are he wouldn't know

enough about him to imitate him to a T.

But if he's operating under the delusion

that he actually is Jack the Ripper,

well, he'd do everything
Jack would have done.

An imitator wouldn't necessarily be on the

ball enough to be able
to make the distinction.

- I see.

- On the other hand...

Care for some Coke?

- Uh, no, thanks.

- On the other hand,

depending upon the guy's
psychological makeup...

Here, would you hold this for me?

- Sure.
- Thanks, and that.

I think this book on Freud

here has what I'm looking for.

- Okay.
- I got it.

Let's see here.

I found it earlier.

Yeah, yeah, yeah, yeah.

See? See that?

That's what a Victorian
prostitute looked like.

- [Richard] So?

" So?

Look around.

(birds chirping)

Aha.

- Yeah, but what about his methods?

Why would he mutilate them so?

- Well, it depends on if you're

talking about the current murderer,

because that's the way Jack did it.

If you're talking about Jack himself,

could be any one of a number of reasons.

- Such as?

- Oh, such as a mother-hate thing,

massive inferiority complex,

religious mania.

Or, quite the opposite.

It could be some type of occultic thing.

- Occultic?
- Yeah, yeah.

Ritualistic killings and mutilations,

usually disembowelment.

- For what purpose?

- Power,

immortality,

soul transference.

(Fred inhaling)

- Yeah, but Fred.

(Fred exhaling)

Fred.
- Huh?

- How prevalent was all that,
back in the Victorian era?

- The more severe the society,

the more extreme the
other side of the coin.

- That so?
- Uh-huh.

Well, take Prohibition, for example.

It was a gangsters' heyday

and you'd be surprised how much

occultic activity was going on then.

(Fred continues speaking faintly)

(dramatic, tense music)

(dramatic, tense music cont.)

(dramatic, tense music)

(Richard sighing)

- To hell with you.

(telephone ringing)

- Hello?

- Hi, honey, just calling to
let you know I'm on my way.

- Well, that was sweet of you.

Hey, you made me a very happy girl.

You'll never guess what arrived today.

- Let me see.

Is it round and shiny,

and sticks so far out of your bed

that you could hang a hat on it?

(crickets chirping)

- You're a doll, Richard.

You really shouldn't have.

Oh, I love it!

So does this mean we're tying the knot,

now that we have our own brass headboard?

- [Richard] Uh, well, I'm dying to see

what it looks like in your bedroom.

Be ready in 2O minutes?

- Uh, in 2O minutes?

|'|| try.

See you later, bye-bye.

(tense music)

(crickets chirping)

(engine cranking)
(engine stalling)

(engine cranking)
(engine stalling)

Fine!

(crickets chirping)

Hi, honey, it's me.

Battery's dead in the Porsche again.

Can you pick me up?

- [Carol] Yeah, I guess so.

- I'll just wait here for you, all right?

- [Carol] I'm not ready yet.

It's gonna take a few minutes.

- Well, I'm not going anywhere.

(knocking on door)

- [Carol] Okay, bYe-

- Bye.

(crickets chirping)

Steve, what are you doing here?

- I need to talk to you.

- Look, this is really not a good time.

- Can I come in?

(tense music)

- Sure, why not, Steve?

Come right in.

(door creaking)

I was sorry as hell to hear
about your girlfriend, Steve.

- I was with her, you know.

- I know.

- We were going to get married.

- I heard that.

God, I'm sorry, Steve.

- I really loved her.

And like that, she's gone.

You know what that does to someone?

- I can imagine.

— Can you?

- Hey, look, Steve, let me
get you a drink or something.

- I don't want a drink.

I wanna talk to you.

- Okay, so sit down, we'll talk.

- I don't wanna sit down!

I wanna talk to you right here!

- Okay, I'm all ears, so talk.

- I wanna talk to you because...

I think you're the Ripper.

I think you killed Cindy.

" Me?

- The ring.

You know about the ring.

- Yeah, I know about the ring.

- I wanna see your leg.

Show me your leg.

(tense music)

- What are you talking about?

- Show me your leg!

_ Hey, hey.

Look, Steve,

now there's no need for that.

Put the gun away.

- Your left leg!

The Ripper fell on his left leg!

Now let me see your left leg!

- Settle down.

I didn't kill your girlfriend.

I'm not the Ripper.

I never killed anybody.

- Show me your leg!

(tense music)

Professor Harwell.

Why?

- Steve, that's been there a long time.

Look, I never killed anybody.

Now, let's call the police.

" N0!

The ring.

What about the ring?

- I bought it as a joke.

Now it won't come off, that's all!

- No, you know that Jack
the Ripper owned the ring.

- Steve, that's speculation!

That's some writer's theory!

That's not a fact!

Now, give me the gun.

- No.

You killed them.

- Steve, look at me.

I never killed anybody.

(thunder rumbling)

Now, I've got a date coming
over in a couple of minutes.

Why don't you give me the gun?

- You still going out
with the dance teacher?

- Yeah, I am, now give me the gun!

(gunfire blasting)

(thunder rumbling)

(tense, dramatic music)

(engine cranking)

(engine revving)

(tires squealing)

- [Carol] Hello?

- Carol? Carol Hastings?

Do you date Professor
Harwell at the university?

- [Carol] Yeah.

- Do you have a date with him tonight?

- Who is this?

- Don't meet him.

Don't go out with him,
he's going to kill you.

- Who is this?

- He killed my girlfriend.

And he killed those other girls too.

And now, he's going to kill you.

- Is this some kind of a joke?

- It's no joke, I swear it.

He's the Ripper

and you're his next victim.

(dial tone ringing)

Stupid.

(tense, dramatic music)

(train bell ringing)

(tense, dramatic music cont.)

(thunder rumbling)

(train bell ringing)

(thunder rumbling)

(train bell ringing)

(tense, dramatic music)

- Richard?

(engine cranking)

(engine revving)

(train bell ringing)

(thunder rumbling)

Richard?

(thunder rumbling)

Richard?

(eerie ominous music)

(thunder rumbling)

Richard?

(train bell ringing)

(thunder rumbling)

(tense dramatic music)

Richard, what are you doing in here?

(tense music)

Come on, let's go eat, okay?

Honey?

(thunder rumbling)

(tense, eerie music)

Richard?

(faint distant rattling)

Don't do this to me.

(tense music)

(sinister music)
(Carol gasping)

- Oh my god, who are you?

- Uh, moi?

I should think that would be obvious.

Though, considering that people have been

asking me that question
for the last 100 years,

hearing it again hardly surprises me.

- Where's Richard?

What have you done with Richard?

- Richard?

Richard?

Richard?

Richard?

(eerie, tense music)

(train bell ringing)

(engine humming)

(thunder rumbling)

(eerie, tense music)

(Carol gasping)

(Ripper laughing)

(Carol gasping)

- Well, you're a dear.

Like any intelligent man,

I do enjoy an occasional challenge.

However, I am not of
the temperament tonight

to put up with any more of
this cat and mouse game!

(dramatic music)

(thunder rumbling)

- [Officer] Zoomer Five to dispatch.

Request backup at 1201 Vancouver.

(Carol gasping)

- Though I'm sure there are many people

that believe that I
kill for mere pleasure,

I assure you, that's not the case.

Like any good hunter,

I kill to sustain my existence.

(Carol gasping)

And had it been known that roguery

is a practice common to mortals,

perhaps I would not have
achieved immortality

quite so eagerly.

You see, my dear,

immortality exacts a handsome price.

Both for those who must claim it

and those who must pave the way,

it can be not without honor.

I do have a conscience, you know.

I initially took the lives of those

that society would miss the least,

the waifs, the misbegotten,

the misfits, the derelicts.

But as time progresses,

I find it increasingly difficult

to make that distinction.

Therefore, I do apologize,

but I must take your life.

(tense, dramatic music)

(thunder rumbling)

. Help-

- But too many times, I've
been stopped short of my goal.

I've been hindered in my quest.

But tonight, tonight, this very night,

you are the only thing
that stands between me

and permanent release from the
void that has been my prison

for the better part of this last century.

(eerie, tense music)

If I fail,

I may have to wait another 100 years

before fate presents me with an escape.

Don't fight it.

(rain pattering)

You have a great honor.

This is your night.

This is the night

that you release me

from my mortal bonds.

(Carol weeping)

- Let her go!

Go ahead!

Drop the knife!

(suspenseful music)

(Ripper laughing)

Let her go!

- Young man!

(tense, dramatic music)

You can't kill me.

You can kill her,

but you can't kill me.

(gunfire blasting)
(suspenseful music)

(gunfire blasting)

(gun clicking)

(Ripper shouting)

(tense, suspenseful music)

(tense, eerie music)

(Ripper screaming)

(thunder rumbling)

- It's the Ripper!

He's in there! Get him!

Get him! It's the Ripper!

- [Steve] Kill him!

(dramatic music)

Don't let him get the ring on!

You can't kill him when he does!

Kill him!

Kill him!

- Get him, please!

Get him, he's the Ripper!

- Easy there.

Don't let him get the ring on!

(gun cocking)

It's Jack the Ripper!

The Ripper!

The murderer!

Kill him!

(Ripper screaming)

Kill him!

(Ripper screaming)
(suspenseful music)

- No, it's the wrong man!

- Take him out!
- Don't shoot!

(gunfire blasting)

(Carol screaming)

(dramatic music)

No, it's the wrong man!

Don't shoot!

- [Steve] Kill him!

(tense, suspenseful music)

(gun fires)

(Carol screaming)

- Oh, Richard!

Oh!

(thunder rumbling)

(somber music)

(rain pattering)

(thunder rumbling)

(thunder rumbling)

(melancholy, unsettling music)

(birds chirping)

- Hey, what's that?

- Oh, neat, something shiny.

Wow, it's a ring!

- [Child 1] Hey, it's kinda neat.

- [Child 2] Looks kinda weird.

- [Youngest Child] Let me see it.

- No, I want it.

- I think mom might like it.

- Let's bring it home to her.

- Nah, she won't want it.

- Let's give it to her as a present.

Come on.

- Oh, okay.

(upbeat instrumental music)

(upbeat instrumental music cont.)

(upbeat instrumental music)

(ominous music)

(dramatic music)

(logo clicking)

(logo buzzing)