VICTORIAN WOMEN AND THE JACK THE RIPPER MURDERS:

CREATING A STRONG STORY THROUGH

FACT AND FICTION

_______________

A Project

Presented to the

Faculty of

San Diego State University

_______________

In Partial Fulfillment

of the Requirements for the Degree

Master of Arts

in

Television, Film, and New Media Production

_______________

by

Sarah Jo Ewing

Fall 2011
 iii

Copyright © 2011

by

Sarah Jo Ewing
 iv

DEDICATION

To Tari, Priya, Maia, Clara, and Alice (my puppy pile and one cat); and to Mom, my

biggest fan.
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. . . It has come to a sad end at last.

—William Nichols, husband of Mary Nichols,
murdered by Jack the Ripper
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ABSTRACT OF THE PROJECT

Victorian Women and the Jack the Ripper Murders:

Creating a Strong Story Through
Fact and Fiction
by
Sarah Jo Ewing
Master of Arts in Theatre Arts
San Diego State University, 2011

The real life murders of Jack the Ripper inspired my idea for a screenplay and
adaptation for a miniseries. I examined the suspects, victims, and case studies to successfully
solve the problem of weaving fact and fiction to create strong characters. The results allowed
me to achieve my goal to write a compelling and believable story.
Characters and events emerged from researching the actual murders and examining
Victorian society of late eighteenth-century England. Real characters and fictional characters
intertwine. For example, Emily Miller, a fictional character and the heroine, is a strong-
minded young woman who breaks the bond of social mores to pose as a Scotland Yard
Inspector and discover the murderer. Her mentor and real life character, Freddie Abberline, is
integrated with the fictional story of conspiring with Emily to get her into Scotland Yard. The
fact is that Freddie Abberline was placed in charge of the Ripper murders for Scotland Yard.
Real events and fictional events also intertwine. Actual case histories are used to
describe the murder scenes, locations, dates, and times. Other events have been invented that
relate to Victorian lifestyle, such as an Art Exhibit of a real life suspect, Walter Sickert. I also
used a saloon setting as the meeting place for all of the suspects.
The backdrop to the story authentically incorporates living conditions of the classes as
it relates to the disparity between the suspects (upper class), victims (lower class), and upper
middle class (Emily and Abberline).
My research included a study of film and television productions about crime and
murder with historical settings. I also looked at productions with a strong female heroine
solving a murder mystery. More specifically, I observed how they combined fact and fiction
and what was important to include as well as exclude to make a good and believable story.
Regarding strong heroines, I took note of the characteristics, lifestyles, and back stories that
make them compelling.
Finally, the significance of writing this story emerged as it was created. The societal
attitudes toward women in all classes of Victorian England reflect a collective societal
problem of abuse and discrimination that still exists today around the world. My intention
was to bring to life the stories of the victims, the tragedies of their murders, and to create a
strong female character who attempts to save them and herself from the circumstances of
their gender. In addition, the significance or my work was to write a new and exciting twist
on the Jack the Ripper murders for a successful story for a screenplay and miniseries format.
.
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TABLE OF CONTENTS

PAGE

ABSTRACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi

ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix

CHAPTER

1 INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

The Problem and Its Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Statement of the Problem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Statement of Sub Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Goals and Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Definition of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Delimitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Significance of Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

2 REVIEW OF RELATED LITERATURE, FILMS, AND GENRES . . . . . . . . . 12

Literature on Project Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Walter Sickert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Emily Miller/Philip Rodgers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Freddie Abberline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Jacob Edwards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Related Articles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Literature on Project Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

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Films, Series, Genres That Relate Thematically . . . . . . . . . . . . . . . . . . . . . . 18

Films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Television Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

3 METHODS AND PROCEDURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

The Murders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Setting the Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

The Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

4 CONCLUSIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Assessment of Goals and Objectives Achieved or Not . . . . . . . . . . . . . . . . . 26

Summary of Lessons Learned and Their Significance . . . . . . . . . . . . . . . . . 28

Conclusions from Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Recommendations for Further Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

WORKS CITED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

APPENDICES

A EMILY MILLER, MINISERIES TREATMENT . . . . . . . . . . . . . . . . . . . . . . . . . 38

B RIPPER, SCREENPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
 ix

ACKNOWLEDGMENTS

First and foremost, I thank my committee, Tim Powell (Chair), Greg Durbin, and

Kevin Burns. Their support and guidance was paramount to the completion of my degree.

They all took a personal interest and expressed encouragement to me that was both moving

and inspirational. I also want to thank Lee Marshall, although not on my committee; Ripper

was first conceived in his course and he proved a valuable mentor for my work.

Thank you to all of my very loving, encouraging, and supportive family and friends.

Most especially to my patient and ever calming partner of 14 years, Tari Lynn Gilbert,

without whom, this thesis would not have been completed. I thank her for her time in

listening to me lament, and the time spent reviewing and editing. Also, very special to the

continued attempt at completing this thesis is my very persistent and proud mother, Joan

Smith Ewing, whose daily phone conversations from North Carolina pushed me to believe it

was possible. Instrumental to the completion also was my very talented and accomplished

sister, Elizabeth Ann Ewing, whose advice and counsel paved the way to produce a

successful process of writing. I also thank her for her time to review and edit. I credit her in

turning on the light of word order and usage as well as academic strategy. I thank my friend

and career coach, John Shumate, for his persistent nagging to get back to school and finish

my thesis. He made it sound reasonable and logical that I could do it and essential to my life

to pursue it. I also thank an additional group of friends and family who took the time to read

and comment on the miniseries treatment and script: Priya Sitara Ewing Gilbert, my beautiful

and loving daughter; James Walter Ewing, my loving father; Ellen Colangelo, my loving
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step-mother; Kathy Dolan, my friend and historian; Mary Cortina, my friend, avid reader and

writer; Sue Torma, my life advisor; my sangha friends, Eliza, Louise and Naomi, who first

inspired the idea for a miniseries. I thank my friend Alanna Frasier who shared the

wonderfully descriptive book, At Home by Bill Bryson. I thank my very beautiful and loving

daughter Maia Gilbert for her support and interest (when older, she can read my story) and

my extended family, Gregg Lane and Ismael Ibarra, for their loving support. Finally, by my

side through each hour and minute I was at the computer were my dog, Clara, and my cat,

Alice. Their love and companionship was comforting. They knew I could do it.
 1

CHAPTER 1

INTRODUCTION

THE PROBLEM AND ITS SETTING

Inspired by the unsolved murders of Jack the Ripper, I have written a screenplay,

Ripper, and a treatment for a miniseries, Emily Miller, in the genres of historical fiction,

suspense, and murder mystery. Having completed a screenplay, Ripper, and sharing the script

with others, it was suggested I expand the story into a miniseries. For the series, I have

renamed it, Emily Miller, so that she can continue to solve more crimes in subsequent

episodes. Currently, I have outlined four one-hour episodes connected to the Jack the Ripper

case.

While researching the actual case studies of the five known Jack the Ripper murders

(between August 29, 1888, and November 9, 1888), I chose to write the story from the

viewpoint of a Victorian woman, Emily Miller. Questions naturally occurred to me: “How

did Jack the Ripper choose his victims?” “What motivated his violence and consistent style

of mutilation?” “Why was Scotland Yard so baffled by the mystery?” “What if there were

someone at Scotland Yard who knew who the murderer was?”

One possible answer to the puzzle that has never been explored occurred to me:

“What if there were an Inspector who was a woman disguised as a man in order to obtain a

job with Scotland Yard?” “What if it were she who discovered that Jack the Ripper was a

man disguised as a woman to gain the trust of his victims?”

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STATEMENT OF THE PROBLEM

The problem was to write a convincing story weaving factual and authentic history

around a fictional hypothesis and creating strong characters based on Victorian Era women

and men, their societal structure, political undercurrents, and environment.

The heroine, Emily Miller, is a realistic product of the Victorian Era. Her character

blends ordinary existence as a young Victorian middle-class woman with that of a privileged

man in the position of power. Emily Miller is a beautiful yet spunky twenty-six-year-old at

home and transforms into a savvy Scotland Yard Inspector, Philip Rodgers, at work. She

possesses the power and drive of a woman not limited by Victorian social structure or sexual

mores. She can discover what others are unable to discover in Jack the Ripper because her

mind is open to possibilities beyond the common belief system.

Taking what is known about historical characters portrayed in the story and bringing

them to life from what can be imagined about their lives presents another challenge. Walter

Sickert was an artist who studied with Whistler. Of the many suspects, I have chosen to base

my killer’s character on him. It is known that as a child, Sickert had a series of operations, the

nature of which was kept secret by his family. Some believe the operations were for

ambiguous genitalia. In my screenplay and in episode four of my miniseries treatment, the

opening scene is in the operating room. A young boy is crying as a female medical assistant

straps him to a surgical table. The surgeon takes a very sharp knife while the assistant looks

on and cuts in the area of the boy’s genitals. Anesthesia in 1860 was very new and

experimental and not used on children. It is likely that such an operation could have created a

trauma that later triggered the boy to kill and then mutilate women resembling his medical
 3

assistant. Jack the Ripper fact: his mutilations showed knowledge of surgical cuts as he

dissected his victim’s organs.

Sickert may have been more female than male in terms of his genitalia; thus he

secretly lived a life in between genders. The shame of his body along with the social stigmas

of the Victorian Era may have caused his pathological double identity. My story theorizes this

conclusion mixing fact with fiction.

There are studies in Criminology such as “Biology, Childhood Trauma, and Murder:

Rethinking Justice,” by Kathleen M. Heide and Eldra P. Solomon. In it they state,

A growing body of research literature indicates that individuals with severe

trauma histories are at higher risk of behaving violently than those without such
histories. This article links these two research areas by discussing how severe and
protracted child abuse and/or neglect can lead to biological changes, putting these
individuals at greater risk for committing homicide and other forms of violence
than those without child maltreatment histories. (220)

It is also true that women of the Victorian Era cross-dressed as men to gain the same

privileges in jobs as men. Emily Miller is an ambitious only child raised by her father who

was a well respected Scotland Yard Inspector and supported his daughter’s dreams. When he

died, he left her in the care of his good friend, Freddie Abberline, also a Scotland Yard

Inspector who became her mentor and conspired to get her into Scotland Yard. Freddie

Abberline fact: he was the actual Scotland Yard Chief Inspector made in charge of the Jack

the Ripper murders.

Again, weaving facts about the Victorian Era and the Jack the Ripper murders with

fictional events and characters to write a compelling screenplay and miniseries treatment for

television is the primary problem.

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STATEMENT OF SUB PROBLEMS

There were many sub problems that came up during the writing of my story. One was

how could Emily convince those around her that she was a man and working for Scotland

Yard? I solved the problem by creating the relationship with Freddie Abberline as her mentor

who helps her secure a job in Scotland Yard as Philip Rodgers. I felt establishing someone on

the inside would bring believability to her role. Further, how did Emily modify her voice so

that she sounded like a man? Perhaps, she is “a man of few words,” and speaks softly while

altering to lower tones. This also opens up the screenplay to dramatic possibilities where

there could be lapses in her delivery of a lower register when she is nervous. A related article

on changing a female voice to male (FTM) suggests,

The most important safeguard for the FTM voice in transition—indeed, for any
voice—is the development and use of the proper diaphragmatic breathing
technique. All human beings breathe diaphragmatically when they are newborns
and infants, and humans never cease to use this form of breathing during their
sleep. The appropriate diaphragmatic breathing method is not only the most
recommended for health, since it is the only one that utilizes full lung capacity,
but also has the advantage of better supporting the vocal change to a lower
fundamental frequency (Fo). (Constansis para. 21)

Another problem was creating compassion by the reader/viewer for the victims and

understanding their plight. I approached this by allowing Emily an insider’s view of these

women through interviewing them as Philip Rodgers the investigator. In this role, she gets to

know Mary Kelly (the last of the five murdered), and how she got to such a place in life.

Research of the Victorian Era related to women and alcoholism, substance abuse,

prostitution, and insanity revealed a society with great disparity between the rights of women

and men. Further, lack of education and jobs as well as no rights of property or child custody

in marriage led many to the streets. In Mary Kelly’s case, her husband kicked her out of her
 5

home because she developed a “drinking problem.” He stopped sending her five pence when

he discovered she was prostituting. Even with five pence, she could not support her rent,

food, and drinking habit. She had no means by which to make money except through

prostitution. Drinking commonly developed among women as a form of self-medication

during menopause as well as a means to dull the pain of abuse at home.

Also, I needed to build suspense. By introducing Walter Sickert as an artist who

becomes interested in Emily as Philip Rodgers, my hope is to throw off the audience, making

them believe he would not be interested in women prostitutes. In the screenplay, I created a

character in Scotland Yard, Inspector Grimes, and planted suspicion that he could be the

killer. Using fact and fiction, I created a guessing game of “whodunit.” I write about the

investigations with the belief that each could be guilty.

GOALS AND OBJECTIVES

My goal was to create a believable story using both fact and fiction. By researching

the Victorian Era including social conditions of women, sexual mores, living conditions,

class structure, culture, and religion, my objective was to have an authentic and rich picture

of what life was really like for these characters and the horrifying nature of the murders.

Additionally, my goal was to create suspense and surprise. When Emily puts herself in

danger to reveal and capture the killer, my hope was to surprise the audience.

Another goal was to intentionally write the story from the perspective of a woman and

with compassion for each of the female victims. While wanting the story to be entertaining, I

also wanted to bring awareness of discrimination, abuse, and murder of women in the

Victorian Era.
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DEFINITION OF TERMS

Ambiguous Genitalia: Ambiguous genitalia is a birth defect characterized by the

outer genitals not having the typical appearance of either a boy or a girl. If the process that

causes this fetal tissue to become “male” or “female” is disrupted, ambiguous genitalia can

develop. This defect makes it difficult to classify the infant as male or female. The extent of

the ambiguity varies. In very rare instances, the physical appearance may be fully developed

as the opposite of the genetic sex. For example, a genetic male may have developed the

appearance of a normal female (“Ambiguous Genitalia—Overview”).

Boarding House: Large houses were turned into flats and tenements and the

landlords who owned them, were not concerned about the upkeep or the condition of these

dwellings. In his book The Victorian Underworld, Kellow Chesney gives a graphic

description of the conditions in which many were living: “Hideous slums, some of them acres

wide, some no more than crannies of obscure misery, make up a substantial part of the

metropolis. . . . In big, once handsome houses, thirty or more people of all ages may inhabit a

single room” (12). Many people could not afford the rents that were being charged, so they

rented out space in their room to one or two lodgers who paid between twopence and

fourpence a day (“Hidden Lives Revealed”).

Brothel: A house of prostitution. The brothels of 1875: Mary Jeffries ran the most

exclusive brothel in the Victorian Era. Her chief assistant was a Mrs. Travers. She kidnapped

children by offering to watch them while the parents went to gather luggage or buy tickets.

Jeffries catered to nobility. “There was no form of sexual vice for which this murderess did

not cater” (“Brothel”).

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Burlesque: By the 1860s, British burlesque relied on the display of shapely,

underdressed women to keep audiences interested. In the Victorian age, when proper women

went to great lengths to hide their physical form beneath bustles, hoops and frills, the idea of

young ladies appearing onstage in tights was a powerful challenge (Kenrick).

Consumption: Tuberculosis was popularly known as consumption for a long time.

Scientists know it as an infection caused by M. tuberculosis. In 1882, the microbiologist

Robert Koch discovered the tubercle bacillus at a time when one in every seven deaths in

Europe was caused by TB (“Consumption”).

Headmaster: Headmaster is the term used in certain schools, especially private

schools for boys, for the man in charge of the school; principal (“Headmaster”).

Historical Fiction: A story that is set in the past. That setting is usually real and

drawn from history, and often contains actual historical persons, but the principal characters

tend to be fictional. Writers of stories in this genre, while penning fiction, attempt to capture

the manners and social conditions of the persons or time(s) presented in the story, with due

attention paid to period detail and fidelity. Historical fiction is found in books, magazines,

art, television programming, film, theater, and other media (“Historical Fiction”).

Jack the Ripper Murders: “Jack the Ripper” is the popular name given to a serial

killer who killed a number of prostitutes in the East End of London in 1888. The name

originates from a letter written by someone who claimed to be the killer published at the time

of the murders. The killings took place within a mile area and involved the districts of

Whitechapel, Spitalfields, Aldgate, and the City of London proper. He was also called the

Whitechapel Murderer and “Leather Apron” (Ryder and Johnno).

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Jack the Ripper’s Bedroom: It was in Camden in September 1907 that a part-time

prostitute named Emily Dimmock was found murdered in her bed, at 29 St Paul's Road. Her

throat had been cut, but the body had not been mutilated. She had last been seen in the

company of a man named Robert Wood, who was arrested and charged with her murder, but

was later acquitted. The murder became known as The Camden Town Murder. Sickert would

make reference to this murder, and the Whitechapel murders, in several of his drawings and

paintings. One such painting, entitled Jack the Ripper’s Bedroom, which he painted in 1908,

was inspired after being told by his landlady at Mornington Crescent that the previous tenant,

a young veterinary student, was Jack the Ripper (Ryder and Johnno).

London’s East End/Whitechapel: The East End came into being as the separate

villages east of London spread and the fields between them were built upon, a process that

occurred in the late eighteenth and early nineteenth centuries. From the beginning, the East

End has always contained some of the poorest areas of London (“London’s East

End/Whitechapel”).

Miniseries: A televised dramatic production, as of a novel or film, shown in a

number of episodes (“Miniseries”).

Music Hall/Saloon: Music Hall is a type of British theatrical entertainment which

was popular between 1850 and 1960. The term can refer to a particular form

of variety entertainment involving a mixture of popular song, comedy and specialty acts.

British music hall was similar to American vaudeville, featuring rousing songs and comic

acts, while in the United Kingdom the term vaudeville referred to more working-class types

of entertainment that would have been termed burlesque in America (Kenrick).

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Queen Victoria: Queen Victoria’s nearly sixty-four-year reign (1837-1901) was the

longest in British history. She presided over a period of British industrial progress, artistic

successes and political empire-building which became known as the Victorian Era (“Queen

Victoria”).

Scotland Yard: Scotland Yard became a synonym for British detectives in the

nineteenth century. The phrase was generally used to refer to the Criminal Investigation

Department of the London Metropolitan Police. The name came to prominence because

Scotland Yard was the location of the headquarters of the London Metropolitan Police. The

actual location was a short street called Great Scotland Yard, which was located off

Whitehall, in London. The Metropolitan Police headquarters was located there from 1829-

1890 (“Scotland Yard”).

Sixpence: A coin formerly used in Britain and worth six pennies (“Sixpence”).

Victorian Era: The years 1837 to 1901 represent a part of an era in history called

the Victorian age aptly named after Queen Victoria. This time was one of great contrasts

and of major social and political reform. For the wealthy, it was a time of high living

and seemingly endless parties; for the poor a daily struggle for survival (“Victorian

Miscellany”).

Whistler: James Abbott McNeill Whistler was born in 1834 in Lowell,

Massachusetts, the third son of West Point graduate and civil engineer Major George

Washington Whistler, and his second wife Anna Matilda McNeill. James Abbott was aged

nine when his family moved to Russia, and he spent several of his childhood years there,

studying drawing at the Imperial Academy of Science. Whistler settled in Paris first, where

he studied at the Ecole Impériale et Spéciale de Dessin, before entering the Académie Gleyre.
 10

He quickly associated himself with avant garde artists, and was influenced by Courbet’s

realism, as well as the seventeenth century Dutch and Spanish schools. After Whistler's At the

Piano (Taft Museum, Cincinnati) was rejected at the Salon of 1859 he moved to London, but

often returned to France. At the Piano was well received at the Royal Academy exhibition in

1860 and he soon made a name for himself, not just because of his talent, but also on account

of his flamboyant personality. He was famous for his wit and dandyism, and loved

controversy. His life-style was lavish and he was often in debt. He began work on a series of

etchings. There Whistler was influenced by the Pre-Raphaelites, and he befriended Dante

Gabriel Rossetti. Oscar Wilde was also among his famous friends (“Whistler, James Abbott

McNeill”).

Whodunit: A novel or drama concerning a crime (usually a murder) in which

a detective solves clues to determine the perpetrator (“Whodunit”).

Women’s Suffrage Movement: The right of women to vote. Throughout the latter

part of the nineteenth century the issue of women's voting rights was an important phase of

feminism. The movement in Great Britain began with Chartism, but it was not until 1851 that

a resolution in favor of female suffrage was presented in the House of Lords by the earl of

Carlyle. Among the leaders in the early British suffrage movement were Lydia Becker,

Barbara Bodichon, Emily Davies, and Dr. Elizabeth Garrett Anderson; Jacob Bright

presented a bill for woman suffrage in the House of Commons in 1870. In 1881 the Isle of

Man granted the vote to women who owned property. In 1903 a militant suffrage movement

emerged under the leadership of Emmeline Pankhurst and her daughters. When World War I

broke out, the suffragists ceased all militant activity and devoted their powerful organization
 11

to the service of the government. After the war a limited suffrage was granted; in 1928 voting

rights for men and women were equalized (“Women’s Suffrage”).

DELIMITATIONS

My discussion in this thesis is limited to the Jack the Ripper murders, the Victorian

Era, and the development of strong characters. This thesis will not present a sociological

study of the exploitation of women or a psychological study of serial killers. It does,

however, discuss the subject of Jack the Ripper suspects and victims.

SIGNIFICANCE OF PROJECT

Finally, the significance of writing this story emerged as it was created. The societal

attitudes toward women in all classes of Victorian England reflect a collective societal

problem of abuse and discrimination that still exists today around the world. My intention

was to bring to life the stories of the victims, the tragedies of their murders, and to create a

strong female character who attempts to save them and herself from the circumstances of

their gender. In addition, the significance of my project was to write a new and exciting twist

on the Jack the Ripper murders mixing fact and fiction for a successful screenplay and

miniseries.
 12

CHAPTER 2

REVIEW OF RELATED LITERATURE, FILMS,

AND GENRES

In approaching my research, I needed to know more about the Victorian Era and the

Jack the Ripper murders to create believable characters and events. I also needed to follow

important and well-known facts about the murders in terms of who, what, where, and when.

As I gained knowledge of the Era and the murders, my story developed and Emily Miller was

created. I outlined a list of categories to guide me through my research. I wanted to bring

richness to a period piece and excitement to its telling through a fictional heroine. I was

careful to verify cultural mores, attitudes, customs, people, events, and dates and times.

LITERATURE ON PROJECT TOPIC

There were three primary resources to facts related to the murders: (1) Richard Jones’

Jack the Ripper, the Case Book, (2) Stephen Ryder and Johnno’s “Casebook: Jack the

Ripper” on the internet, and (3) the reference book, The Complete Jack the Ripper: A to Z, by

Paul Beff, Martin Fido, and Keith Skinner. The latter provided an encyclopedia of

information by alphabet. The volume of books, websites, photos, films, and videos proved to

be overwhelming at times. This book condensed it all into a simple alphabetical reference.

While there were some contradictions in case history, the primary facts matched in all

resources.
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Walter Sickert

To research Walter Sickert further, I also drew from the sources mentioned above as

well as “Walter Sickert” on the web. For example, significant to a scene at his studio, I

learned Sickert’s studio was located in the East End: “Sickert had studios in the East End, a

working-class section of London, where between August and November 1888 five prostitutes

were murdered” (“Walter Sickert”). In the studio scene, he shows Inspector Rodgers his

collection of paintings about Jack the Ripper murders. Sickert did in fact paint these;

however, I changed the time:

In 1909, Sickert produced a series of paintings, known as the Camden Town

Murders, which were based on these killings. The killer was given the nickname
“Jack the Ripper.” It came from the flow of letters, signed “Yours truly, Jack the
Ripper.” One of Sickert’s works was named “Jack the Ripper’s Bedroom,” which
he painted in 1908. This kind of subject matter was unusual for an Impressionist
painter, but not for an Expressionist. (“Walter Sickert”)

Instead of 1908, it was in his studio when Emily visited him there in 1888. Also, the

mysterious way in which Walter lures Emily, dressed as Inspector Rodgers, to his studio as

well as the sexual overtones related to true accounts of him, “Attitudes towards sexuality in

Victorian England were far from liberal; and Sickert was secretive in many ways about his

personal life” (“Walter Sickert”).

Emily Miller/Philip Rodgers

To create Emily’s character, I drew from Phillipa Levine’s Victorian Feminism: 1850-

1900 as well as a great internet site, http://www.logicmgmt.com/1876/overview/vicwoman/

vicwomen_education.htm (“Victorian Miscellany”). Both clearly outlined Victorian women

in regards to education and employment opportunities. “As one would expect, the women

continued being met with strong opposition from the male workforce. With men holding the
 14

purse strings, women were being placed in jobs regarded as inferior to these held by men and

where their acceptance of such work downgraded the work” (“Victorian Miscellany”). This

was cause for daring women to cross-dress as men to enter a good and secure job in the

military, the arts, the sciences, and quite possibly, Scotland Yard as my character Emily

portrays. Education also presented a monumental obstacle to women with ambition and

seeking to better their situation.

Stories abound of the women who sought an education in Victorian England.

Annie Rogers, whose education was obtained mostly through the teaching of a
governess, received an offer to study at Worcester College, which was withdrawn
when her sex was discovered. It was given to a male who tested six places below
her in exams. Many women of the time lacking the opportunity of formal
education organized their own education through small interest groups or alone.
The cry for education was more than just for the sake of eliminating boredom, but
rather for the opportunity of escaping dependence on the male population.
(“Victorian Miscellany”)

In episode one of my treatment, I elaborate on Emily’s past including her education. Her

father, a single parent and Scotland Yard Inspector, made it possible for Emily to receive a

good education by disguising her as a boy at age twelve to enter a private school for boys.

The joy of creating Emily was to identify obstacles, and through fiction allow her to

be successful and thrive at fulfilling her dream of becoming a detective like her father. The

other half of her life was spent as a young and talented woman who took music lessons and

wrote poetry, learned cooking and sewing. For the middle class girl, it was common to be

involved with the arts as well as domestic duties. While it was tedious to play the proper role

of a young Victorian girl, she did it for her father and then her father’s friend and ward,

Freddie Abberline.
 15

Freddie Abberline

Frederick George Abberline is a factual character placed in charge of the Jack the

Ripper murders. Characters by his name were in Jack the Ripper themed films such as, From

Hell (2001), portrayed by Johnnie Depp as a clairvoyant Inspector Abberline. Abberline was

also portrayed by Michael Caine in the 1995 television series, Jack the Ripper, as a boozing

Inspector. The true story of Inspector Abberline is that he was quiet and respectable. He

worked for Scotland Yard for twenty-nine years, retiring in 1892 continuing private detective

work. He was promoted to 1st Class Inspector in 1888 for the Jack the Ripper murders. He

was married to a woman named Emma and died at age eighty-six. Abberline was interviewed

in 1903 by the Pall Mall Gazette, “In interviews with the Pall Mall Gazette in 1903

Abberline put forward the idea that George Chapman may have been the Ripper saying ‘. . . I

cannot help feeling that this is the man we struggled so hard to capture fifteen years ago’”

(Ryder and Johnno). However, in the same interview, he also said that, “Scotland Yard is

really no wiser on the subject than it was fifteen years ago” (Ryder and Johnno). I have

depicted him as quiet and respectable and in charge of the Ripper murders. I have

fictionalized him to be the ward of Emily after his good friend and her father, Harold Miller,

dies of consumption. Abberline is Emily’s mentor and confidant regarding her disguise both

at the boy’s school and Scotland Yard. He is able to get her a job based on his status

requesting that “a young and promising detective work with him as his assistant.” Emily and

Abberline work together as a crime-solving duo.

 16

Jacob Edwards

In creating Jacob Edwards, I wanted a politically forward thinking handsome young

man from an upper class family. Emily needed a young man who could accept her strong

nature and eventually her secret. Using facts about Victorian social interactions, the arts, and

dining, I fictionalized their meeting. Jacob’s father knew Freddie Abberline and invited him

along with Emily to their Estate. In a book by Bill Bryson titled, At Home: A Short History of

Private Life, he talks about Victorian dinners: “Protocol ruled every action. If you wished to

take a sip of wine, you needed to find someone to drink with you. ‘A messenger is often sent

from one end of the table to the other to announce to Mr. B that Mr. A wishes to take wine

with him’” (Bryson 187-89). After such a dinner, Emily, Jacob, and his two brothers talk in

the drawing room. This is where Emily impresses Jacob with her conversation: “Nowhere in

the house is the spirit of comfort better captured than in the curiously named room, the

drawing room” (135). Later, Emily and Jacob run into each other at the Music Academy

where they both take instrumental lessons. Music in Victorian Era was widely enjoyed and

encouraged: “Music was one of the greatest pleasures with thousands of people playing

musical instruments at home for pleasure” (“Victorian Recreations”). Jacob and Emily came

to enjoy weekly walks to her home after their music lessons.

Related Articles

In an enlightening moment, I received a Time magazine issue dated May 30, 2011,

which has an article by Nancy Gibbs titled “Men Behaving Badly: What Is It About Power

That Makes Men Crazy?” Here I was in the midst of writing about an upper class man and

well respected artist of Victorian England committing heinous murders of very poor women
 17

in the East End of London. Before me was a similar story of a very powerful man sexually

assaulting a very poor woman. The article lists many other powerful men who have sexually

abused women. What has changed in over a hundred years? For many more men, their acts

have not been made public. It suddenly became even more important to bring to light the

perspective of the Ripper murders through the eyes of Emily and the poor women who were

his victims.

In reading the New York Times Book Review issue dated May 29, 2011, there is

mention of Walter Sickert in a book titled Boredom, A Lively History by Peter Toohey. “In

the case of Walter Sickert’s ‘Ennui’ and Durer’s ‘Melencolia I,’ the game (boredom) is given

away by the paintings’ titles” (Gottlieb 12). In his book, Toohey suggests that boredom has

long been a British condition. It is possible that Sickert played his game with Scotland Yard

due to boredom. Women of little worth were his pawns.

LITERATURE ON PROJECT STYLE

When first starting my thesis process, the intent was only to write a screenplay to tell

my story. Further into the process, I wanted to spend more time with my characters and study

in more detail the murders and the victims. I wrote a treatment for a miniseries to satisfy my

need to delve more deeply into my story with more details. My resources for formatting a

screenplay and a miniseries treatment came from the Final Draft software, Lee Marshall’s

TFM 596, Writing for Television, as well as my course work with Lee Marshall in TFM 600

and 610, Screenplay Writing.

 18

FILMS, SERIES, GENRES THAT RELATE THEMATICALLY

To better grasp the pacing and style of a BBC miniseries as well as utilize filmmaking

styles for suspense, I viewed several productions.

Films

Alfred Hitchcock’s Psycho (1960): I have long admired the skills of Suspense

demonstrated by Alfred Hitchcock. From Psycho, I drew on his ability to build suspense and

story with very little dialogue. I also observed again the frightful scene when Marion Crane

(Janet Leigh) is slashed numerous times with a sharp knife by Norman Bates (Anthony

Perkins). In writing the violence done by the Ripper, I thought about this scene often.

Alfred Hitchcock’s The Lodger (1926): I learned through my research that Alfred

Hitchcock made a silent movie related to the Jack the Ripper murders. Again, his ability to

create story and suspense without words is evident in this movie. His suspense is built

visually and musically.

Music Box (1989): I chose Music Box because it is in the genre of historical fiction

and murder. The Nazi murders were a type of serial killing and done by those in positions of

status and power. It is quite possible that the actual Ripper murders were done by someone in

the Royal Family. Walter Sickert, a suspect, was highly regarded among the upper class and

art community. Murderers are people we know and people ruling society. It is most

disturbing when we find out that murderers not only blend in with nonviolent people, but are

also of high regard and status in society. In this film, a lawyer daughter defending her father

finds out he was a Nazi who murdered thousands of innocent people.

 19

Chinatown (1974): This film is also in the genre of Historical Fiction and Murder

Mystery. The historical setting is 1930s Los Angeles and the waterworks controversy. This,

too, is about a daughter and a father. The father is incestuous and a murderer.

Jonathan Demmes’ Silence of the Lambs (1991): I reviewed this film for its genre and

its female heroine, Clarice Starling (Jodie Foster), FBI agent who needs clues to capture a

serial killer. She is face to face with Hannibal Lecter (Anthony Hopkins), also a serial killer. I

observed Hannibal Lecter from the viewpoint that he was very persuasive and seductive. I

believe Walter Sickert was very charming and seductive before killing without a conscience.

Television Series

Agatha Christie’s “Miss Marple: The Mirror Crack’d,” on BBC in 1992: I began

studying these BBC television mysteries with Miss Marple. This was a miniseries starring a

female heroine, Miss Jane Marple (Joan Hickson) who places herself in danger to find the

murderer; classic BBC.

“Place of Execution” on BBC in 2009: Looking to watch more recent BBC mysteries,

I chose this one due to the female heroine. In each of the series watched, the main heroine or

hero has a sidekick who assists with crime-solving. This story is based on a book by Val

McDermid about a woman documentarian helping solve a modern day crime.

“Inspector Lewis,” Masterpiece Mystery, on BBC from 2007 to 2009: About a

modern day Scotland Yard team of detectives; this series was a good study for language,

London culture, and classic whodunit style of writing. While set in today’s London, it is very

realistic and many of the same buildings were in place over a hundred years ago.
 20

“Sherlock: Series 1,” Masterpiece Mystery, on BBC, 2010: An even more recent BBC

production, this series mimics the CSI style of presentation stressing more powers of

deduction and forensics. It shows London in closer shots and mixes humor with suspense. It

is a great character study and modern revision of Holmes and Watson.

“Pride and Prejudice,” Masterpiece Classic, on BBC, 1995: While this production is

not about a murder, it is the style and pace of what I envision my miniseries to be.

Fitzwilliam Darcy (Colin Firth) gives me a template to create Jacob Edwards and the head-

strong Elizabeth Bennet (Jennifer Ehle), is a good study for a British female.
 21

CHAPTER 3

METHODS AND PROCEDURES

As explained in Chapter 1, the problem was to write a convincing story weaving

factual and authentic history around a fictional hypothesis and creating strong characters

based on Victorian Era women and men, their societal structure, political undercurrents, and

environment.

My goal was to create a believable story using both fact and fiction. By researching

the Victorian Era, including social conditions of women, sexual mores, living conditions,

class structure, culture, and religion, my objective was to have an authentic and rich picture

of what life was really like for these characters and the horrifying nature of the murders.

Additionally, my goal was to create suspense and surprise. When Emily puts herself in

danger to reveal and capture the killer, my hope was to surprise the audience.

Another goal was to intentionally write the story from the perspective of a woman and

with compassion for each of the female victims.

THE MURDERS

I began with researching the Jack the Ripper Murders. There are hundreds of books

and a long list of films, documentaries, and a television series about the murders. I needed to

research documented facts and fictional hypothesis to find out if my solution to the murders

had ever been explored. There was no detailed hypothesis that Jack the Ripper may have
 22

dressed as a woman. Further, there was no fictional depiction of the story with a female

heroine solving the murder mystery.

In order to write a believable story, I needed to become familiar with the details of the

murders: The chronology; locations; dates and times; crime scene details; witness interviews;

primary suspects; and the primary five women victims. While the belief is that there are quite

possibly many more murders that could have been committed by Jack the Ripper, the five

women studied are confirmed to be the ones committed by Jack the Ripper.

The website http://www.casebook.org is the most comprehensive and up-to-date

resource for the murders. I also relied heavily on the book, Jack the Ripper: The Case Book,

by Richard Jones.

In my story, Emily and Abberline are at the murder scenes. I used the factual

descriptions of the scenes from Jones. Abberline examines the bodies and recites the details

as Emily takes notes. Forensics were not, of course, as they are now; however, the details

were impressive to review. Much like Sherlock Holmes, Abberline and Emily must use the

power of their minds for deduction of evidence.

SETTING THE SCENE

To set the scenes, I needed to know more about the Victorian Era. Delving into the

research, I discovered a fount of books, internet sites, and articles to choose from. My scenes

are in the East End (Slums of London), an Art Gallery, the estate of an upper class family, the

home of Abberline and Emily (middle class), Scotland Yard, Music Academy, and the Streets

of West London. Photographs that I found in books and on the internet were extremely

helpful. I wanted to know the full picture of the time period. In my story, I make reference to
 23

the economy, women’s suffrage movement, Queen Victoria, living conditions, prostitution,

education, and employment disparities. I studied films and television about crime and

murder, specifically looking at those stories with historical settings in London. I looked at

maps of the streets to understand the small geographic area of the murders and the proximity

of the East End to the wealthy areas of London. It was also important to understand the

period in terms of lighting. Due to the production of coal, the height and closeness of the

buildings, and no electricity, it was remarkably dark all day long. This would make it very

hard to confirm the identity of people, particularly at night. The fashion for men and women

was commonly black as well. The darkness allowed me to write how Jack the Ripper could

have easily dressed as a woman and murdered women on the street without being seen or

noticed.

THE CHARACTERS

I decided to write the story of the murders through the eyes of a woman. To create

Emily I used much of what I had learned about the Victorian Era. Now I needed to delve

more deeply into the experience of a Victorian girl growing up in a middle class family. How

did she become strong-minded and willful? How did she become educated? Where did she

get the skills of deduction? Why and how did she pass as a man to get the education and job

she wanted during a period when women were denied both? Once again, I turned my research

to find more information on Victorian Women. Wow! This was a very exciting period as the

Women’s Suffrage Movement began in 1860 and a movement to provide women with an

education equal to men was initiated. I was surprised to find out that there were many women

who disguised as men to get jobs in the military, the arts, writers, and working class male
 24

jobs. This made it very plausible that Emily would think of the idea and successfully pass as

male.

The other side of Emily is the proper and beautiful Victorian girl who goes with

Abberline to social events and takes music lessons. It was common among the middle to

upper class women to be taught music, art, and poetry. This made them more desirable to

men and better conversationalist. They would also be expected to learn domestic skills to

prepare for marriage and children. Careers for women were not encouraged and were, in fact,

laughable in most circles. Emily enjoyed her music, but when most girls were learning

domestic duties, Emily was working for Scotland Yard. She wanted both worlds, as she

enjoyed being female and in my story falls for a wealthy young man she meets at a dinner

party.

Creating back stories for each of the primary characters to stay authentic to the period

was important. For Freddie Abberline, I researched Scotland Yard and his biography. For

Walter Sickert, I researched his life, his art, and why he became a suspect. For Jacob

Edwards, I researched Victorian men of the upper class: their expectations, education, sports

and games, fashion, recreation, marriage, and employment.

To write biographies and back stories for the other suspects and victims, I utilized

what was written by Jones as well as what appeared on the casebook.org website. Again,

using fact and filling in with fiction, I created their stories.

Creating strong and compelling characters required knowing the period they lived in,

the factual details of their lives, and a vivid imagination. I needed to get inside them and

know everything from their favorite color to their greatest aspirations, from their vices to

their unique abilities.

 25

FORMAT

For the screenplay format, I relied on what I had learned and studied with Lee

Marshall in TFM 600 and 610. To create a treatment for a miniseries, it was helpful to read

an example miniseries treatment provided by Lee Marshall in his manual, Writing for

Television. Additionally, the software program, Final Draft, provided a template for a

treatment as well as a BBC Television Drama script. I also watched several episodes of

Masterpiece Mystery productions of “Sherlock,” “Inspector Lewis,” and “Place of

Execution.” I noted whether they had a teaser or not, number of scenes and length, entire

length for episode, and whether they were procedural or character driven.

WRITING

The writing of the treatment now became very vivid for me. I felt I knew the

characters, the murders, and the era. Each paragraph is a scene; some scenes are drawn out

more with dialogue. If dialogue came to me I would write it. This would make it easier when

I write the scripts for each episode. I began to think of other characters and scenes and went

back to insert them. I know that when I write the scripts, more changes, additions, and

subtractions will occur to me.

I needed to know how the story would be received, so I formed a group of readers that

I trusted would give me a true critical eye. I chose two with strong background in the

Victorian Era, one with strong background in editing and making books, and two who are

university professors in a graduate program at USD for an academic eye.

 26

CHAPTER 4

CONCLUSIONS

ASSESSMENT OF GOALS AND OBJECTIVES

ACHIEVED OR NOT

Upon review of my goals and objectives, I feel strongly that I have achieved them in

both my screenplay and episodic treatment formats.

My first goal was to create a believable story through fact and fiction. I used research

to verify an event in history. I also used research to investigate the viability of the idea I had.

During my research, I also ran across new information that sparked my imagination and

developed the story further. A secondary goal was to satisfy those familiar with the murder

case by writing accurate murder scenes, dates, and times as well as embellish real life

characters based on their biographies.

I first wrote the screenplay and then further embellished the story for a miniseries

treatment. My assessment of the screenplay is that it does not contain as many facts, leaning

more to the side of fiction. It wasn’t until I approached the challenge of writing the mini-

series that I delved more deeply into the casebook of the Jack the Ripper murders, the

suspects, and the victims. What evolved for me was a deeper compassion for the women who

died and those that lived in fear. Coinciding with the murders during late nineteenth-century

London, was the Women’s Suffrage Movement and the Education Movement. All of these

political efforts were addressed in an attempt to empower women. The Jack the Ripper
 27

murders occurred during these key political times, bringing attention to the plight of women

living without means or families in the East End. Their choices were few, the daily dangers

many. This parallel could be embellished further in both the screenplay and the miniseries by

focusing more on the women that were murdered: their biographies, their families, and what

brought them to the East End. Was there (and I believe there was) an underlying political and

class structure that produced prostitution, and drug and alcohol abuse among women? In both

my screenplay and miniseries treatments, I portrayed the victims as courageous women

coping with their plight with clear reasons for self medicating through alcohol. Emily was

portrayed as an educated woman well aware of her own challenges in a man’s world as well

as the poor conditions of the women living in the East End. I developed compassion in Emily

even as she attempted to keep a stoic mind when confronted by the mutilated bodies of the

victims.

The voice I set out to use for telling the story was through the eyes of a woman.

Through the creation of Emily Miller, I achieved this. My intent also was to develop her

character with the skills to achieve her personal goals. She wanted to be a detective in

Scotland Yard like her father. In order to achieve this, she must have the education and savvy

necessary. By attending a boys’ school and living with a single-parent father who was an

accomplished Inspector for Scotland Yard, she had the credentials to do the job. By also

learning the arts and living as a young and cultured female, she knew what challenges there

were for women, too. She liked who she was and had the courage to overcome the obstacles

of her time. Her interest and relationship with Jacob Edwards shows that she is also

vulnerable and capable of love. Her loyalty to her father and his friend (her mentor), Freddie

Abberline, shows her strength of character and a well developed sense of justice. Emily also
 28

has a natural attraction to adventure. She is a master of disguises, places herself in the line of

danger, and breaks boundaries in order to catch the murderer. I achieved my goal of telling

the story through the eyes of a woman by creating Emily Miller as my heroine.

The element of surprise was a secondary goal as well. I tried to lead the audience to

believe in a guilty murderer and surprise them with another, or with the idea that the killer

was still at large. I studied most carefully a BBC series, Sherlock, to set up my surprise and

pace the unfolding of clues. Act One was the murder, Act Two the gathering of clues, Act

Three setting up confrontation with the killer, and Act Four confrontation with the killer (or

not) and conclusion. The Tag was to entice the viewer to watch the next episode. In my

treatments, I kept track of clues and events in each episode in an attempt to have all clues

ultimately lead to the killer. Unlike most mysteries, I could not have the killer brought to

justice because Jack the Ripper in fact has not been identified conclusively.

Commentary from my readers group was very positive and helpful in knowing what

details I had left out that made events confusing. They were also helpful with dialogue and

period language. The Victorian Era experts helped with details of the times that I wasn’t

aware of, prompting my further research. Unanimously, all my readers liked the rewrites for

the miniseries better and suggested that I write a novel series for Emily Miller that can lead to

more television or film productions. The expert I talked to specializing in book production

suggested I also write a series entitled, Young Emily Miller Mysteries, for the teen market.

SUMMARY OF LESSONS LEARNED AND THEIR

SIGNIFICANCE

Research proved to be vital to my project. It opened doors to a deeper understanding

of the period, the victims of the murders, and, most importantly, for the development of my
 29

characters. Once the details of the story were understood, I wrote from the heart and my

imagination confidently.1

For example, regarding Victorian Women, Emily proves to have knowledge not

common for a woman, and is a good conversationalist. From episode one, Emily meets Jacob

Edwards and his brothers in the drawing room of their estate. It is noted that she has a mind

of her own which is threatening to Jacob’s brothers, but attractive to Jacob:

“The young lady has a mind of her own! It is a dangerous thing that most certainly
will bring the economy to its knees.” Jacob, the middle brother, does not laugh;
rather, he is enamored with Emily, “I think her points can make for a good
argument. Points that differ from ours, yet nevertheless, shall be well respected.”
Jacob walks over to Emily, bows to her, “Thank you. It is good to meet a woman
who can carry on a stimulating conversation.” Emily smiles in return, “Indeed, it
is good to meet a man who will listen.”

This scene came from researching Victorian women and education:

Despite the national education system established through the Education Acts of
1870 and 1876, girls attending public/state schools received essentially the same
skills related to the domestic role, classes in laundry, home management,
needlework, etc. It was still the purpose in educating women to keep them in their
role as the domestic middle-class wife and mother. John Ruskin, a writer during
this period, believed that a woman's education should be such that it “take into
consideration a husband's need to share his interest with his wife and conduct
intelligent conversation with her.” (“Victorian Miscellany”)

It was also important to understand Victorian men and their attitudes toward women: “There

were of course perceptive women of independent original thought, but for the huge majority

life was easier if they accepted that a woman's place was in the home” (“A Woman’s Place”).

Additional research dictated the place and circumstances for Emily to meet Jacob. It was

common for the British to have dinner engagements as their social networking: “there was

scarcely an hour of the day that wasn’t an important time to eat for somebody. Dining hours

1. This chapter contains quotes from my miniseries Emily Miller (Appendix A) and
my screenplay Ripper (Appendix B).
 30

were dictated to some extent by the onerous and often preposterous obligations of making

and returning social calls” (Bryson 189).

My research brought to life the victims of Jack the Ripper. I also used factual

information research from witness accounts and the murder scene. In episode four of the

miniseries, Mary Nichols is walking late at night, looking for rent money by selling herself.

She has a friend she talks to and a jovial quality:

It is raining hard and very dark. There is a bit of a chill in the air, too, as Polly
Nichols staggers down Osborne Street, very drunk. She sees a friend of hers, Katie
Holland, and they stop to chat. The church bells chime 2:30 am. “Are you goin’ in
for the night, Polly?” asks Katie through the rain. Polly holds herself up against
the brick wall, “No, I made me rent three times tonight, but spent it all on me
drink. I’ll need another customer tonight before me landlord will take mercy on
me.” Polly laughs. Katie bids her good night, “May luck be with you. With this
rain, I don’t think you have much chance.”

From reading Jack the Ripper: The Case Book, by Richard Jones and the website

www.casebook.org, I was able to know that Mary’s nickname was “Polly,” it was a rainy

night, she was drunk and looking for rent as well as her friend’s account that the church bells

chimed at 2:30 am, the time she last saw her. Also, the murder scene accounts from both

sources gave me the time she was discovered and the chaos that unfolded in the East End:

The police are trying to control the crowd of onlookers wanting a glimpse of the
body for reasons of entertainment and curiosity. Emily and Abberline force their
way through with the help of an officer. The coroner’s wagon arrives, ready to
take the body to the morgue. Officers stand by waiting for confirmation from the
physician on hand that the victim is dead.

In developing my characters, research allowed me to know the biographies Freddie

Abberline, the suspects Walter Sickert, Dr. William Gull, Prince Albert Edward Victor, and

George Chapman. I used this information to convincingly develop their characters and
 31

possible motivations for killing. In episode three, Freddie Abberline talks at the music

hall/saloon with Dr. William Gull:

“How about you, Inspector? Who are your prime suspects?” Freddie confides,
“Someone who’s good with a knife; a doctor, perhaps. Know of any?” Doctor
Gull is insulted, “Surely, you don’t think!” Freddie smiles, “That’s exactly what
I’m paid for, to think.” The doctor smiles raising his glass of whiskey ,“Think of
another doctor, then. There are plenty of quacks in the East End.” Freddie clicks
the doctor’s glass with his, “But are they good with a knife?”

I also developed fictional characters like Jacob Edwards from research on Victorian men:

During the Victorian period, the Victorian man was the breadwinner and head of
the family and household. It was a time when economic and social advancements
reached unprecedented levels, and the men credited with these achievements were
expected to be dutiful and attentive husbands and fathers. The Victorian man
based his life on his sense of what was right and proper for him. His home was in
many cases where he grew up and learned how to run his future home. (“The
Victorian Man”)

In addition, I learned that there were many false confessions from individuals looking

for fame, there were journalist sleuths getting in the way of Scotland Yard, and there were

witness accounts that could not be verified. The murders were the first to be a media frenzy

causing undue pressure and criticism toward Scotland Yard. Queen Victoria was furious with

the Yard and ultimately the Commissioner resigned and a new one appointed. I set out to give

a convincing and realistic backdrop to the screenplay and miniseries based on this research.

This scene in the screenplay is an argument between Inspector Grimes and Chief Constable

Williamson:

Chief Constable Williamson throws the morning newspaper on his desk. It has a
photo of the murdered Actress’s body and the headline reads, “The Ripper is
Back!” Williamson is furious.

WILLIAMSON
Grimes! Grimes!

Williamson’s MALE SECRETARY nervously enters.

 32

SECRETARY
He said he’d be out for a bit, sir.

WILLIAMSON
Well, when he returns, tell him to get his
bloomin’ ass in here! I want to know if
he is responsible for this!

SECRETARY
Yes, sir . . . bloomin’ ass, sir . . . I mean
. . . Inspector Grimes right away, sir.

WILLIAMSON
Just get him!

Williamson holds his stomach in discomfort.

WILLIAMSON (CONT’D)
. . . and get me some bicarbonate!

INT. SCOTLAND YARD - CHIEF CONSTABLE’S OFFICE - LATER

GRIMES
Sir, I said nothing of the Ripper files.
I simply said . . .

WILLIAMSON
You should have simply said nothing!
I told you not to talk to the press. Refer
them to me!

Format is ultimately a very important factor. However, finding the magic of the story

first is important. I fleshed out the story in my own words without the restriction of format.

Telling the story first and foremost from your heart and then formatting it into a screenplay,

miniseries, or novel is second.

CONCLUSIONS FROM PROJECT

I have written many other scripts that are strictly fiction. This is my first attempt at

historical fiction and I found it very exciting to research and write. It is important when using
 33

history or an historical setting to be as accurate as possible, but unless it is a documentary

production, the writer should not get lost in the factual details, sacrificing a good story with

strong characters.

Choosing a period in which modern tools of investigation were not available and the

sleuthing relied on deductions from clues at the murder scene and witness accounts, was

enlightening. It is my belief that if these murders occurred today in the same manner, there

would be a much stronger possibility of identifying the killer. In the Victorian Era, detectives

needed to deduce a motivation to guide the investigation. It was never clear what motivated

Jack the Ripper.

The conclusion, too, is that I portrayed the victims as individuals with a life story;

therefore, developed a compassionate place in the hearts of my readers for these victims.

There is also a recognizable parallel to violations against women around the world today.

What happened over a hundred years ago has brought to light the need for more awareness

and change worldwide.

It became clear to me that the attraction by the public to these murders even today is

their gruesome nature and the mystery of who is guilty. It is my belief that the murders will

not be solved without a shadow of doubt. It will ultimately remain a mystery and sleuths will

never give up their investigations or theories. The attraction, too, is that the guilty party or

parties could have been anyone from the poor East End barber to Prince Albert Edward

Victor.

I considered writing a satisfying ending in which the killer is caught, killed, or jailed.

However, this story is still alive and it is important to end it as I did. Moreover, the
 34

contradiction with historical fact would, in my judgment, weaken the story. It is sad to say

that even in today’s world of technology, many killers still go free.

RECOMMENDATIONS FOR FURTHER STUDY

I recommend further study to find out what avenues are available to sell the idea for

production as a screenplay, miniseries, and novel. I will also continue my research and write

all episodes into a sixty-minute Drama format. Additionally, I will rewrite the screenplay

with story changes made for the miniseries. Developing Emily Miller as a popular heroine in

novels, television, and film is my goal.

Finally, now that I have experienced the genre of historical fiction, I know I will write

more such stories. There are many to be told.

 35

WORKS CITED

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Beff, Paul, Martin Fido, and Keith Skinner. The Complete Jack the Ripper: A to Z. London:
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Bryson, Bill. At Home: A Short History of Private Life. New York: Doubleday, 2010. Print.

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Constansis, Alexandros N. “The Changing Female-To-Male (FTM) Voice.” Radical

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2011: 12. Print.

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Heide, Kathleen M., and Eldra P. Solomon. “Biology, Childhood Trauma, and Murder:
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“Hidden Lives Revealed.” The Children’s Society, 1881-1981, n.d. Web. 3 July 2011.
<http://www.hiddenlives.org.uk/>.
 36

“Historical Fiction.” Wikipedia. Wikipedia Foundation, Inc., n.d. Web. 3 July 2011.
<http://en.wikipedia.org/wiki/Historical_Fiction.com>.

“Inspector Lewis.” Dir. Bill Anderson. Masterpiece Mystery. Granada Media, 2007-2009.
Television.

Jack the Ripper. Dir. David Wickes. Euston Films, 1995. Film.

Jones, Richard. Jack the Ripper, the Case Book. London: Andre Deutsch, 2009. Print.

Kenrick, John. A History of the Musical: Burlesque, 1996-2003, n.d. Web. 8 Aug. 2011.
<http:www.musicals101/com/burlesque.htm>.

Levine, Phillipa. Victorian Feminism: 1850-1900. Tallahassee: UP of Florida, 1987. Print.

The Lodger. Dir. Alfred Hitchcock. Gainsborough, 1926. Film.

“London’s East End/Whitechapel.” Wikipedia. Wikipedia Foundation, Inc., n.d. Web. 3 July
2011. <http://en.wikipedia.org/wiki/London’s_East_End_Whitechapel.com>.

Marshall, Lee. Writing for Television. San Diego: Montezuma, 2005. Print.

“Miniseries.” LoveToKnow, Corp., 1996-2011. Web. 3 July 2011. <http://www.

youdictionary.com/miniseries/>.

“Miss Marple: The Mirror Crack’d.” By Agatha Christie. Dir. Norman Stone. Miss Marple.
BBC, 1992. Television.

Music Box. Dir. Costa-Gavras. Carolco, 1989. Film.

“Place of Execution.” Dir. Daniel Percival. Masterpiece Mystery. Coastal, 2009. Television.

“Pride and Prejudice.” By Jane Austen. Dir. Simon Langton. Masterpiece Classic. BBC,
1995. Television.

Psycho. Dir. Alfred Hitchcock. Shamley, 1960. Film.

“Queen Victoria.” Infoplease: Pearson Education, 2000-2011. Web. 3 July 2011.

<http://www.infoplease.com/biography/var/victoria.html>.

Ryder, Stephen P., and Johnno. “Casebook: Jack the Ripper,” 2009. Web. 3 July 2011.
<http://casebook.org/>.

“Scotland Yard.” About.com. 2011. Web. 3 July 2011. <http://history1800s.about.

com/od/18002glossary/g/scotland-yard.def.htm>.
 37

“Sherlock: Series 1.” By Arthur Conan Doyle. Dir. Paul McGuigan. Masterpiece Mystery.
Hartswood, 2010. Television.

Silence of the Lambs. Dir. Jonathan Demme. Orion, 1991. Film.

“Sixpence.” LoveToKnow, Corp., 1996-2011. Web. 3 July 2011. <http://www.

youdictionary.com/sixpence/>.

“The Victorian Man.” Logic Mgmt Web Services, 1998-2008. Web. 3 July 2011.
<http://logicmgmt.com/1876/overview/vicman/htm>.

“Victorian Miscellany.” Logic Mgmt Web Services, 1998-2008. Web. 3 July 2011.
<http://logicmgmt.com/1876/overview/miscellany/htm>.

“Victorian Recreations.” Fashion-Era com., 2001-2011. Web. 3 July 2011. <http://

www.fashion-era.com/victorian_recreations.htm>.

“Walter Sickert.” Kuusankosken kaupunginkirjasto, Finland, 1991-2001. Web. 24 June 2011.

<http://kirjasto.sci.fi/sickert.htm>.

“Whistler, James Abbott McNeill.” ibiblio WebMuseum, 14 Oct. 2002. Web. 3 July 2011.
<http://www.ibiblio.org/wm/paint/auth/whistler/>.

“Whodunit.” Wordnik, n.d. Web. 3 July 2011. <http://www.worknik/com/words/

whodunit/>.

“A Woman’s Place.” Fashion-Era.com., 2001-2011. Web. 3 July 2011. <http://www.

fashion-era.com/a_womans_place.html>.

“Women’s Suffrage.” Answers Corporation, 2011. Web. 3 July 2011. <http://www.

answers.com/topic/women-s-suffrage. htm>.
 38

APPENDIX A

EMILY MILLER, MINISERIES TREATMENT

 39

Miniseries Treatment
Emily Miller
By
Sarah Jo Ewing

Back-story

It is August 1888 and Emily Miller just turned 26 years old. Her thick brown hair

flows past her shoulders; her penetrating brown eyes are electric. At five foot seven inches,

she is taller than most women her age. She is naturally thin, strong, and athletic. Her father

always told her she looked like her mother. Her chiseled jaw line and thick lips carry the

beauty of a woman she never met. Her mother died in childbirth and her father, Harold

Miller, raised her as his only child. After his wife’s death, Harold threw himself into his work

and rose to become a well-respected Inspector for Scotland Yard. Emily attended school as a

girl until the age of 12, like other middle class girls. Continued education was only available

for girls of a higher class or if you were a boy. Because Harold was a determined and forward

thinking man, he wanted the best for his only daughter. He asked a good friend and

Headmaster, John Walker, to enroll her in his school. With a secret gentlemen’s handshake,

Emily was enrolled disguised as a young boy.

Emily admired her father greatly and loved to listen to his crime stories. He talked to

her as if she were his son who would carry on in his profession. Emily would hear him

talking to his good friend Freddie Abberline, also an Inspector for Scotland Yard, when he

came to their home for late night chats. Emily would get out of bed and eavesdrop on their

conversations.

When Emily’s father died of consumption she was only thirteen and just becoming a

young woman. Always organized, Harold had made arrangements in his will for Emily to be
 40

in the care of his closest friend and colleague, Freddie Abberline. Freddie kept her secret so

that she could complete her education.

Each day after school, Emily would lead her life as a beautiful young girl who loved

to attend art and music lessons, play sports, as well as learn the domestic skills that all

Victorian women were taught, such as sewing and cooking. She was popular with the boys in

social circles and would often be asked to “help” them study and read books. Everyone was

impressed with her knowledge and talked of her being a good catch for an intelligent young

man who could enjoy her conversations.

Emily had a dream that she could become an Inspector and carry on in her father’s

footsteps. Abberline felt that she had a gift for solving mysteries. As she became older, they

conspired to again disguise her as a young man in order to work for Scotland Yard. Abberline

had risen to the title of Chief Inspector and was recognized for his work by Queen Victoria.

Because of his connections, Abberline was able to enroll her as Philip Rodgers, a friend of

the family. Emily passed for an aspiring Inspector by day and enjoyed her life as a young

woman by night.

It is now late August 1888 and the first of five horrendous murders has taken place.

Freddie Abberline has been asked by Scotland Yard to lead the investigation. He has

requested that a young and promising detective, Philip Rodgers, be his assistant. Emily

begins an adventure of a lifetime.

 41

Miniseries Treatment

“Emily Miller”

By Sarah Jo Ewing

Episode One – Murder One

HOOK: John Walker’s School for Boys, London, England; 1874.

(Typical fashion for boys’ school late 19th century)

School has just started for the year and it is cloudy, cool, and damp. Inside, the classroom is
dimly lit and the boys are learning drawing, a course only offered at the best schools. Philip
Rodgers is a small and very thin appearing boy. He is attentive, quiet and shy with an
observant eye for the world around him. The boy next to him is much taller with blond hair
and blue eyes. Philip observes him smiling as he draws. He isn’t drawing a building as
assigned, but rather what looks like a woman screaming. As the picture becomes more
detailed, Philip can’t help but stare. The teacher eyes the boys curiously. He begins walking
to the back where they are sitting. Philip quickly takes his eyes off the drawing and works on
his own. Philip then purposefully drops his pencil on the floor nudging his classmate as he
reaches down to get it. His classmate is deep in thought and does not see the teacher coming.
Just in time, the boy flips his paper to his assigned drawing of a building. The drawing of the
woman drops to the floor where Philip is picking up his pencil. Philip sees now that it is a
drawing of a violent scene with the woman cut up and bleeding. As Philip picks up his
pencil, the teacher picks up the drawing from the floor. The teacher sternly grabs the boy by
 42

the collar and marches him out of the classroom. The boy’s screams are heard by everyone in
the class as the teacher beats him.

ACT ONE: East End, London, England; August 30, 1888; 2:30am.

It is raining hard and very dark. There is a bit of a chill in the air, too, as Polly Nichols
staggers down Osborne Street, very drunk. She sees a friend of hers, Katie Holland, and they
stop to chat. The church bells chime 2:30am. “Are you goin’ in for the night, Polly?” asks
Katie through the rain. Polly holds herself up against the brick wall, “No, I made me rent
three times tonight, but spent it all on me drink. I’ll need another customer tonight before me
landlord will take mercy on me.” Polly laughs. Katie bids her good night, “May luck be with
you. With this rain, I don’t think you have much chance.” Katie walks on and Polly staggers
in the opposite direction. She looks up into the rain smiling and showing her missing front
teeth, “Dear heaven, find me a man who’s willin’ to pay and I’ll promise to change me
ways!” In the darkness, Polly seems to see somebody she knows, “How are ya tonight?” Her
face then turns to horror and a sharp knife slices Polly’s throat; so deep there is no voice to
scream. Bloods streams from what’s left of her neck and she falls backwards hitting the
sidewalk hard. Her dress is pulled up and the knife slices into her abdomen several times
violently. The murderer leaves and Polly’s blood flows onto the street. Her eyes are open and
we can see a slight breath indicating she is not yet dead.

Later that morning, 6:00am, Freddie Abberline, Scotland Yard Inspector, and Emily Miller, a
young woman in his custody of care, are awakened by a loud knock at the door. “Inspector!
Inspector! There’s been a murder!” Bumping into furniture in the dark, Freddie is putting on
his robe as he opens the front door. “What’s the bloody matter? Is it the Queen herself whose
been murdered?” Emily, 26, rushes out from her room to see what the matter is. Her thick
brown hair flows beyond her shoulders; her penetrating brown eyes are electric. At five foot
seven inches, she is taller than most women her age. She is naturally thin, strong, and athletic.
Her father always told her she looked like her mother. Her chiseled jaw line and thick lips
carry the beauty of a woman she never met. “What is it Uncle Freddie?” The policeman is in
a panic, “We need you sir to come to the murder scene before they take the body away. It’s
horrible; poor woman mutilated and left in pieces!” “Calm down mate. I’ll throw my clothes
 43

on and follow you there.” Emily pleads, “I want to come, Freddie.” Without hesitation and
waving his arm as he heads to his room for clothes, “Hurry up then!”

Emily and Abberline arrive at the scene of the crime. It is more gruesome than could ever
have been imagined. There was much chaos. The overcrowded East End was buzzing with
the news of a murder. Journalists are asking questions and looking for witnesses.
Photographers are taking pictures. The police are trying to control the crowd of onlookers
wanting a glimpse of the body for reasons of entertainment and curiosity. Emily and
Abberline force their way through with the help of an officer. The coroner’s wagon arrives,
ready to take the body to the morgue. Officers stand by waiting for confirmation from the
physician on hand that the victim is dead.

Emily stares, her eyes fixated on the body. She wonders who this nameless victim is. Who
had motive to kill her in such a violent fashion? Pushing her way through is Polly’s friend,
Katie. She is screaming, “My friend! I’ve come to see her!” She sees the body and cries out,
“Oh Polly! I told ya there’s no luck on a rainy night!” Emily holds her back from the body.
Katie cries in Emily’s arms. Freddie asks her, “So you know her? Polly is her name?” The
woman still crying explains to Freddie, “She goes by Polly, I think her given name is Mary
Nichols. I saw her write it down once in a letter to her son.” Abberline calls over an officer,
“Take this woman for questioning. See if we can locate the victim’s son.” To Emily, “I’ll
need you to wander about and ask questions. See if anyone saw her last night.” Emily replies,
“They won’t talk to me. I’m a middle class girl. I’m not one of them and I’m not one of you.
The police I mean.”
 44

Back at home in her room, Emily is looking at a photograph of a man in a Scotland Yard
uniform. Freddie knocks on her door, and then opens it. He sees her with the photograph in
her hands. “Your father was a good man. The best Scotland Yard had. We all miss him.”
Emily places the photograph back on her dresser, “I think he secretly wished he had a son to
follow in his footsteps.” Abberline pauses, reflecting, “He never said so to me. He was so
proud of you.” Emily looks at another photo of a classroom of boys. Freddie smiles, “At age
twelve you were helping solve crimes.” Emily turns and looks at Freddie eagerly, “And I
want to be a detective now. I want to work with you; work for Scotland Yard!” Freddie
frowns, “You know that’s not possible. Not now. Not at your age.” Emily pleads, “I’ll show
you my disguise. I’ve been thinking about it. Please let me try.” FFFF Freddie turns parental,
“Well you can’t now, because we have an invitation for dinner at the home of Henry
Edwards. He’s done quite well in manufacturing. I need to talk with him about a matter
related to a brawl at his factory. I want you to look like the beautiful young woman you are
and meet his three sons.” Emily groans.

ACT TWO: Dinner at the Edwards’ home.

That evening, Emily and Freddie arrive at the Edwards’ home for dinner. To Emily, the
thought of performing proper behavior is tedious and dreary. Left alone with the young men
in the drawing room, she listens to their prejudices regarding the poor, the economy, their
polo match, the women’s suffrage movement (which they are against), and, of course, the
murder. Biting her tongue, Emily stays quiet until asked directly her thoughts on any of the
subjects. Emily answers carefully until two of the sons laugh at the idea women could
actually vote, “To what end? Women know nothing regarding matters of state. Their opinions
are formed from hearsay and gossip!” At this moment, Emily explodes with her knowledge
of economics, the state of the poor vs. the very wealthy and the vanishing middle class. She
states that the suppression of women, Jews, and the poor by lack of public support in
education and basic living conditions has caused the economy to fail! The only thing good
about Polly Nichol’s murder is that it will bring attention to the horrid conditions of the East
End. The two brothers stare blankly in amazement of her words, they begin again to laugh.
“The young lady has a mind of her own! It is a dangerous thing that most certainly will bring
the economy to its knees.” Jacob, the middle brother, does not laugh; rather, he is enamored
with Emily, “I think her points can make for a good argument. Points that differ from ours,
 45

yet nevertheless, shall be well respected.” Jacob walks over to Emily, bows to her, “Thank
you. It is good to meet a woman who can carry on a stimulating conversation.” Emily smiles
in return, “Indeed, it is good to meet a man who will listen.”

At dinner, while suffering from boredom, Emily’s roaming eye catches a private argument
between Mrs. Edwards and her butler over the roast beef. The knives don’t match.
Apparently, one went missing from the set. Freddie is talking to Mr. Edwards about factory
rules for his workers. It is very hard to keep the men from fighting amongst themselves. He
needs more police in the factory. Emily then glances over toward Jacob who is between two
young women also invited for the purpose of meeting him. Emily smiles to herself as he
doesn’t seem at all pleased. He is so unlike his brothers who seem to relish the attention of a
woman. Emily decides to excuse herself to the powder room. The detective in her wants to
snoop around the house to see what she can find. Freddie would be very angry if he knew
what she was up to. The dinner party voices become distant as she walks through the dark
hallways. She hears someone coming and darts into a bedroom. It’s a close call as one of the
servants walks by. But inside the room she sees a photograph. It’s the same as her school
photograph! “Don’t tell me Jacob and I have met before?” Emily smiles and puts the photo
back on the shelf. Curiosity now has gotten the best of her. She opens the armoire and goes
through Jacobs clothes. There is a coat that is torn and damp. She also spots some shoes that
haven’t been cleaned from the mud. She’s about to close the armoire door when she sees a
spot of red on one of the shoes. Emily covers her mouth as she audibly gasps. She whispers to
herself, “No, it couldn’t be.” Emily flashes on her memory of the boy with the violent
drawing. She looks at the photograph again to see if she recognizes the face of the boy.
Suddenly, the bedroom door opens. Frightened, Emily drops the photo and the glass breaks.
It’s the family dog who just sits watching as Emily quickly tries to clean up the mess.

ACT THREE: September 7, 1888, Scotland Yard.

Abberline’s office has papers piled high. Framed on the wall are awards and medals showing
his experience. The Commissioner of Scotland Yard, Charles Warren, enters, “Freddie, I’m
putting you in charge of this Whitechapel murder case. I need someone with experience to
find the murderer and put an end to it quickly.” He slaps the morning newspaper on Freddie’s
desk, “The press is blaming Scotland Yard for the chaos yesterday.” Freddie responds
cautiously, “Of course, sir, I am honored by your words, but it’s not my current district.”
“Doesn’t matter, you’re starting today,” He opens the door to leave, and then turns back,
“Don’t let me down, Freddie. The Queen is watching.”
 46

Later that night, Emily is seen at home putting on a tattered dress, messing up her hair, and
putting dirt on her face. She goes to Freddie’s private cabinet and pours herself a shot of his
best whiskey, swishes around her mouth. Just then, Freddie arrives home early. “What are
you doing?” Surprised, Emily swallows and starts coughing. Abberline looks at Emily’s
dress, hair, and face, “ Ahhhh … I get it. Brilliant! You’re going to the East End to find more
clues. Great idea, but you’re not going … too dangerous.” Emily is determined, “Detectives
love danger. I’ve reason to believe I know who the killer is. I’ve needed to fill you in on what
I found at the Edwards’.” Freddie, stops cold, “You didn’t …” Emily is excited, “ I did and
you’ll never guess. I went to the same school with the Edwards’ sons! There were shoes with
mud and a wet over coat …” Abberline stops her, “Wait, you’re not suspecting …” Emily
shrugs, “Why not? You said yourself it could be anybody of any class. I want to go to the
East End tonight and talk to people who may have seen him, but they’re too scared to talk
with Scotland Yard.” Freddie becomes very stern, “You’re not going alone. Perhaps when I
have some police to follow you, but not tonight!” Frustrated and insistent, “But we’ve got to
find him before he kills again. Emily is excited, “Your friend Mr. Edwards may have a son
who’s a killer. How daring to sit with Scotland Yard at dinner. He’s toying with you and his
father. I saw that a knife that was missing from the cutlery set. The butler made a scene with
Mrs. Edwards about it. I happened into one of their bedrooms and found muddy shoes with
what looked like blood stains, a damp coat with a tear.” Freddie calmly responds, “Good
work detective. I’ll consider your points.” Freddie starts taking off his coat and loosens his
collar while walking toward his room. “By-the-way, show me your disguise tomorrow,
detective. I may have a job for you.” Yelling after him and smiling with excitement, “First
thing!”

ACT FOUR: Moments later.

Emily, alone in the living room, hears a knock at the front door. She hesitates and calls for
Freddie who doesn’t hear her. The knock is louder and more persistent. Emily talks through
the door, “Who is it?” “It’s Jacob. Jacob Edwards. We met at dinner. I need to talk with you.”
Emily’s heart starts to race. Could he know she was in his room? “You could have written
me. Why now? What’s the importance?” Jacob pleads, “Please, Emily. Open the door. I’ll
explain.” Emily opens the door. Jacob smiles, “Good evening. So sorry to disturb you, but it
is important.” Turning serious, “I need to talk with you, but not here. Will you walk with
 47

me?” Emily looks toward Freddie’s room. Emily pauses for a moment then decides to go
with Jacob.

They walk together silently.

At home, Freddie is now in his night clothes and robe. He enters the living room talking out
loud to Emily and then discovers she’s not there. He looks at the door that is still ajar. “Damn
her! I told her not to go.”

Emily and Jacob continue to walk down dark streets and are now in the East End. They pass
other men and women. Jacob now grips Emily’s arm leading her around a corner. Emily
inquires, “Where are we going?” Jacob whispers, his breath on her neck, “Just come with
me.”

Freddie is now in the East End. He looks for street police. One by one as he sees them, he
tells them to be on the lookout for Emily. Freddie doesn’t know she’s with Jacob. The police
and Freddie run from street to street in the darkness checking every woman they see.

Jacob stops, holding Emily close, “It’s here. “ Emily looks around in the darkness, “What’s
here? You must tell me.” Suddenly a cat jumps out at them. Jacob reacts by pushing Emily to
the ground.

Freddie is running down an alleyway. He sees one of his police officers, “Anything?”
Shaking his head, “No, Sir.”

In the distance, a policeman’s whistle blows, “Over here! Murder!” Freddie’s heart sinks and
he almost doesn’t want to go. He and the officer run toward the whistle. Turning the corner
his see the officer standing over a body of a woman with a light showing on her body.
 48

Freddie slowly walks over to the murdered woman. Freddie instructs the officer, “Her face,
show me her face.” The officer shines the light on her face; from behind him a woman’s
voice, “Freddie!” Turning, it’s Emily and he embraces her, “Thank god you’re all right.”
Pushing her away angrily, “You disobeyed my orders!” Emily is horrified looking at the
mutilated woman. “We’re too late.” Jacob runs up to them out of breath, “I looked; couldn’t
see anyone.” Freddie is surprised, “Jacob?” Emily explains, “He was with me. He may know
the murderer.”

TAG: Next day, Scotland Yard, Freddie’s Office:

Freddie is talking with the Commissioner, “I’m bringing on a young and very promising
detective exclusively to work with me on the Whitechapel murders.” The Commissioner
seems pleased, “Whatever it takes, Freddie. Scotland Yard is being blamed for the last
murder.” Freddie is thankful, “Very well, Sir. I’ll need an assistant. There is a lot of ground to
cover.” Freddie looks past the Commissioner toward his door, “Here he is now.” Emily
enters, fully dressed as a man in Scotland Yard uniform. Freddie enthusiastically introduces
her to the Chief Constable, “I want you to meet Detective Philip Rodgers.”
 49

Miniseries Treatment

“Emily Miller”

By Sarah Jo Ewing

Episode Two – Postcards

HOOK: Home of Harold Miller, London, England; 1874

A young Emily Miller is sneaking downstairs as we hear the murmur of men’s voices we
can’t yet understand. As the young girl gets closer to the drawing room, we begin to make out
the voices and see what she sees from behind a slightly open door. It’s her father, Inspector
Harold Miller and his good friend, Inspector Freddie Abberline. “What’s the motivation,
Freddie? All we have now is circumstantial evidence and no witnesses. That’s the trouble
with Scotland Yard; they are ready to charge a suspect just to get the case closed. The
Commissioner is so afraid of the Queen and public scrutiny.” Freddie responds, “Right you
are, Harry. I couldn’t agree more. However, it’s not up to us. The Commissioner has already
closed the case; murder in the first degree, a case of infidelity by the wife, poisoned by her
husband.” Emily loves to hear any news of Scotland Yard. She loves to think of clues that
can help her father and Uncle (by friendship) Freddie, catch the killer. The conversation takes
a turn. Harry begins to cough uncontrollably and sits down. Freddie tries to help, “Harry you
really must see a doctor.” Through his coughs, “I have. It’s not good news. It’s only a matter
of time.” Freddie is stunned and quiet looking sadly at his friend. “What can I do?” Emily is
confused and scared. Harry regains himself and looks seriously to his friend, his eyes red,
“Take care of Emily. I need to know you’ll be her ward and keep her secret.” Freddie assures
him, “Of course, I will. I haven’t children of my own; she’s as close to a niece that I have.
Her secret will be safe. But shouldn’t she have a mother?” Harry smiles, “She has one.” He
looks at a photo of a woman that looks very much like Emily. “We’ve gotten along fine, just
 50

the two of us. No one can replace her mother.” Freddie tears up, “Or, her father.” Emily
begins to cry, afraid, she runs into the drawing room revealing her presence.

Screaming, “Daddy,” Emily awakens from her dream weeping. On her bedside is a photo of
her father. She holds the photo in her arms saying, “Daddy.”

ACT ONE: Central News Agency, London, England; September 27, 1888.

It’s a sunny morning in London, but the streets are still dark. A postman drops off a pile of
letters to the front desk of the Central News Agency. As they are sorted, one stands out with
blood stains and red ink. The clerk, startled, drops it on the floor.

September 29, 1888, Scotland Yard: Emily dressed as Inspector Rodgers, and Abberline are
in his office going over the case. On the wall is a street map of Whitechapel with pins
marking where the two women were murdered. On another wall are gruesome photographs of
the victims and the coroner’s report. On another wall, the suspects accused or confessed to
crime.

Abberline is frustrated, throwing news articles on his desk since the last murder: “Scotland
Yard kills again; Murder at Scotland Yard; Queen Blames Scotland Yard; Buffoons Boggled
by Blood Thirsty Killer; and Suspect Found Innocent Sues Scotland Yard for Libel and
Slander.” To Emily, “We didn’t even suspect the man called “Leather Apron” until the story
appeared in the news, invented by a journalist! Shall I go on?” Emily is frustrated, too. “He
was so scared to come out of his house, evil little man. He’s mean to women, but not a
killer.” Emily pauses, “I’ve talked with all witnesses who have come forward and ten men
claiming to be the killer wanting fame or to be jailed; none of them likely suspects.” Freddie
sees an officer walking toward his door with an envelope in hand, “Ah, don’t tell me, it’s the
commissioner writing me again to hurry up and arrest someone.” The officer opens the door,
“For you, Sir, from the Central News Agency.” Abberline opens the envelope and reads:
“Dear Inspector thought you’d like to see this before it’s published in tomorrow’s news.”
Freddie pulls out and bloodstained postcard and reads,

“Dear Boss, I keep on hearing the police have caught me but they won’t fix me just yet. I
have laughed when they look so clever and talk about being on the right track. That joke
about Leather Apron gave me real fits. I am down on whores and I shant quit ripping them
 51

till I do get buckled. Grand work the last job was. I gave the lady no time to squeal. How can
they catch me now? I love my work and want to start again. You will soon hear of me with
my funny little games. I saved some of the proper red stuff in a ginger beer bottle over the
last job to write with but it went thick like glue and I can’t use it. Red ink is fit enough I hope
ha ha. The next job I do I shall clip the lady’s ears off and send to the police officers just for
jolly wouldn't you. Keep this letter back till I do a bit more work, and then give it out
straight. My knife's so nice and sharp I want to get to work right away if I get a chance.
Good Luck. Yours truly, Jack the Ripper.”

Emily repeats out loud, “Jack the Ripper. Now he has a name.” Abberline looks at the photos
of the women, “Yes, unless it’s just another hoax by the press.” Emily stands solemnly, “As
father would say, ‘what’s the motivation?’” Abberline replies, “It’s not clear.” Emily
thinking, “He’s either mad or bored.” Abberline comments, “Or it’s sport for him and
Scotland Yard his opponent.”

That afternoon, Emily interviews more people who may have known the victims or may have
clues about Jack the Ripper. “Inspector Rodgers, Scotland Yard,” she says in a commanding
voice. The woman she speaks to is a landlady at the boarding house where Polly lived. “I
knew her as Mary Nichols. She didn’t have her 4 pence to pay for her room on the night of
the murder. I wish now, I’d let her stay a night. I didn’t know she’d be murdered.”

Later, Emily locates the husband of Mary Nichols. He had confirmed her identity at the
morgue and gave her a proper burial. “She loved the drink. We have five children. She only
stayed in touch with our eldest son. I sent her 5 pence a week to pay for rent until I found out
she was making her way by selling herself.” Mr. Nichols pauses. “I seen what he done to
her.” He weeps. “She had a kind heart. I just couldn’t …” His voice falls off. He then takes a
big breath as if letting a load off his shoulders, “It has come to a sad end at last.”

After asking several women and men about Annie Chapman, the second victim, she finds
some that knew her. Her story is similar. She needed to pay rent and eat. Her drinking was
known. When she wasn’t drinking you’d never meet such a kind woman. She had her ways.

Back at Scotland Yard, Emily laments, “There’s another woman out there who will be next.
But neither he nor we know who it will be. That poor woman, I want to save her from his evil
game.”
 52

ACT TWO: MUSIC STUDIO, LONDON, ENGLAND; SEPT 29, 1888.

That evening, Emily was grateful for her piano lesson. She had to get her mind off the
murders and the gore. A part of her just wanted to be Emily for a few hours and forget about
Scotland Yard. As she left the music building, she literally bumps into Jacob Edwards and he
drops his violin. “Oh, I’m so sorry!” Jacob looks up smiling at her after retrieving his violin,
“Emily, the girl with a mind of her own.” Emily responds, “Yes, a mind perhaps but a bit
clumsy with the body. I’m so sorry about your violin; I hope it’s not damaged.” Jacob laughs,
“If it is, the world will rejoice that they don’t have to hear my annoying squeaking anymore.
Walking home, are you?” Emily replies, “Yes, it’s not too far.” Inviting himself, “May I
escort you? I could use a good conversation.”

Jacob asks, “Any word from Freddie on the murderer?” Emily must watch herself as Jacob
doesn’t know her as Philip Rodgers, “He doesn’t talk too much about it when he gets home;
long days. I hate to pester him. I do know he’s feeling a lot of pressure to capture the killer.”
Jacob is excited, “I do want to tell him more about my suspicions. It’s not a prank. I really
want to help him.” Emily’s eyes brighten up, “Perhaps you can tell me.” Jacob, very serious,
“It’s confidential. If word ever got out, it would cause public uproar.” Emily is jumping
inside with curiosity, “Why? Who is it?” Jacob confides, “I can only say it’s someone in
politics. Please don’t ask me anymore questions.” Emily bites her tongue and they continue
walking and talking about music and art while they both have their minds on the murders.
When they arrive to her front door, Emily asks if he would like go to an art exhibit. “While I
would very much like to continue our conversation, my family has booked me for another
engagement. Please tell Freddie I have information for him.” Emily smiles, “Yes. I will.”
Jacob suddenly nervous, “Shall we walk together again?” Emily feels herself blushing, “I’d
like that very much.”

ACT THREE: ART EXHIBIT, LONDON, ENGLAND. NIGHT:

The art exhibit is in the wealthiest area of London. Freddie asks Emily to mingle in the
crowd. Perhaps, there would be some clues from the chatter about the murder. The East End
is always a subject of discourse at these events. Some want social justice while others argue
that the wretched people of the East End get what they deserve. There seems to never be
enough wealth for some. Emily skillfully argues for social justice, in particular for the women
of the East End, “There are no jobs for them, after all.”

Emily observes the crowd and listens carefully. The exhibit features the artwork of Whistler
as well as a few of his apprentices. Walter Sickert is one of them. Emily thinks to herself that
 53

he is handsome in an odd sort of way. He has blond hair, very light blue eyes (almost clear),
and considered one of England’s premier artists. There is a familiarity about him she can’t
place. She also eyes Prince Albert Edward Victor, the Queens nephew. He has dark hair, dark
eyes, and a mustache. With him is Dr. Gull the Royal Family’s physician. He stays very close
to Prince Albert. She watches and listens with intrigue.

She notices Walter Sickert leaving the exhibit. She sees Freddie now talking with Prince
Albert and Dr. Gull. She decides to follows Sickert. She wants to keep a safe distance so that
he doesn’t notice her presence.

Outside, it is a dark and damp night. Emily follows for several blocks and then Walter seems
to just disappear into the fog. Emily is discouraged and makes her way back to the exhibit.
Just before turning the corner, an old woman comes out of nowhere and knocks Emily to the
ground. It startles the old woman too, and she runs off quickly without an apology. She, too,
disappears into the fog.

Emily returns to the exhibit. Abberline is looking for her in the crowd. A woman across the
room screams and faints. Abberline sees Emily at the front doorway with mud all over her
dress, people gasped at the sight thinking it is blood. Freddie dashes over to Emily pulling her
out into the hallway. Freddie is perturbed, “Where have you been?” Emily smiles, “I guess
everyone’s a bit on edge with all this talk of murder. I followed Walter Sickert, but lost him
in the fog; curious fellow.” Freddie pulls Emily to the doorway, “I’ve got my own
suspicions.” Freddie points out Prince Albert. “I need to do some digging. The only way to
accuse a member of the Royal Family is to catch him in the act.” Emily is excited, “I’m ready
to pin the Ripper.” Freddie instructs Emily, “I have extra men tonight in plain clothes and
uniform staking out the East End. I think he’s getting ready to strike again if that postcard is
real. Go change into Rodgers. You and I will check the pubs tonight. The killer chooses
women who’ve spent their last pence on drink.”
 54

Inside the pub Emily scans all the tables and bar for suspicious characters and activity. In
walks a woman recognized by the bartender, “Make some money for a drink tonight?” She
replies, “Enough for two drinks or one drink and rent!” She laughs, delighted at her good
fortune. Emily notices a man drinking alone in a dark suit with a high collar and a hat. His
coloring and build are similar to the Prince. He has a mustache. Emily observes the activity at
the bar. She sits at a table with a good viewpoint and has a drink in front of her. The woman
at the bar is popular and entertaining to the men around her. Bartender offers, “So, me lady of
the night, will it be rent or another drink?” They all chant, “Drink, drink, drink!” She
answers, “A drink, of course. The night is still young.” The men at the bar cheer. The lone
man is strangely stoic, removed from the others.

Freddie is at another pub. He, too, scans the room. It’s very crowded and busy. Moving
through the crowd, he bumps shoulders with drunken men and women. He eyes a man and
woman leaving the pub. He can’t see the man’s face and the woman is tall and thin. She is
clearly drunk, but he appears to be sober. Freddie decides to follow them.

Emily watches the woman as she staggers to leave the pub; out of money, “I’ll be back in an
hour.” She laughs. The lone man follows her out the front door. Emily follows them. The
bartender yells after her, “Hey, mister, settle up your bill or you won’t drink here again!”
Emily pays her bill and then hurries out the door hoping not to have lost them. She runs down
the street and then sees them from a distance in front of a lodging house. It appears the man is
giving her money. They talk and the woman laughs. They both go in the lodging house.
Emily follows.

ACT FOUR: EARLY AM, STREETS OF THE EAST END, LONDON, ENGLAND;
SEPTEMBER 30, 1888.
 55

Freddie is following the man and woman down the street; they turn down an alleyway.
Freddie looks for a uniformed policeman, sees none, and follows them, hiding in the
darkness. They stop and talk. Freddie watches. He needs to catch the Ripper in the act.

Emily enters the lodging house and hears the woman laughing and a door shut one floor up.
She climbs the stairs to the top and listens; her ear to the door. She hears the woman say,
“What’ll ya have, mate? You payin’ me rent, I’ll make it extree special.” Emily stands ready
to knock the door in, waiting to catch him in the act. There is silence. All of the sudden a
hand slams on her shoulder and a man pins her to the wall. Emily recognizes the man,
“Jacob?” It’s Jacob and he is terribly confused. He looks in her eyes, “Emily?”

Freddie is in the darkness ready to make his move. The man opens his coat and is pulling out
a long object. Freddie runs and tackles the man to the ground. They fight.

Emily and Jacob hear the woman scream. Together, they bash the door open. The woman is
on the bed with her dress up, the man on top of her. They both grab him and pin him to the
ground. Now with a good look at his face, it’s not the Prince. The woman slurs, “Let him go!
That’s me rent!” They look at her, and she smiles, “He likes to hear a woman scream.”

Freddie pins the man on the cobblestone. The drunken woman falls on top of Freddie. They
all roll over and the man gets up showing his badge, “Scotland Yard.” Freddie is confused,
“Scotland Yard?” The drunken woman underneath Freddie, holds him tightly, slurring, “We
gotcha, Ripper!” Freddie is angry, “I’m Inspector Abberline, release me, Madam!” The street
clothed policeman is confused, “Inspector?”

A whistle is heard from a distance. From another direction, a whistle is heard. Then a chorus
of police voices from different directions, “Murder!”

Emily and Jacob hear the whistles and voices, too. They run down the stairs and outside. The
voices are coming from all directions. Turning the corner they see Freddie and two street
police standing over a body. The woman’s throat is severed. An officer runs over to Freddie,
“Sir, there’s another woman murdered. The devil is back; mutilated; a gruesome sight, Sir.”

TAG: NEXT DAY; SCOTLAND YARD;

 56

A hand is seen writing a postcard in red ink. His fingers are dabbled in blood smearing the
postcard. We see the writing: I was not codding dear old Boss when I gave you the tip, you'll
hear about Saucy Jacky's work tomorrow double event this time number one squealed a bit
couldn't finish straight off. Ha not the time to get ears for police. Thanks for keeping last
letter back till I got to work again. Jack the Ripper
 57

Miniseries Treatment

“Emily Miller”

By Sarah Jo Ewing

Episode Three – The Barber, the Doctor, or the Artist

HOOK: MORNING; BARBERSHOP, EAST END, LONDON, ENGLAND;

SEPTEMBER 30, 1888.

A barber is sharpening a razor blade at the local barbershop. His client is sitting in the chair
with a towel wrapped around his face. On close examination, Barber George has blood under
his nails. The barber assures his client in a thick Polish accent, “I’ll make it nice and
smooth.” Walking over to client, “Like a fine woman’s breast.” He unwraps the towel from
his clients face revealing Walter Sickert, the Artist. He lathers up his face. Before the blade
touches his neck, Walter grabs Barber George’s wrist sternly looking him in the eye. “Do be
careful how you cut. I have sensitive skin.” Barber George responds with a blank stare, “Of
course, Sir.” He begins at his neck to shave. He slowly shaves Walter’s neck, a bit nervous
now. We see a drop of sweat sliding down his forehead. When the drop hits his eye, he blinks
and nicks Walter’s neck causing a drop of blood to appear. Angry, Walter stands up and
wipes the remaining lather from his face, “I told you to be careful, you reckless buffoon!”
Walter stomps out. Barber George watches with a slight grimace on his face as Walter walks
away, the bells from his door still chiming, “Yes, I’ll be more careful next time.”

ACT ONE: MORNING; MURDER SCENE, EAST END, LONDON, ENGLAND;

SEPTEMBER 30, 1888.
 58

Emily and Freddie are standing over the body of Catherine Eddowes; the second murder of
the night, and more horrific, more violent than the others. Emily is sickened and looks away,
“I don’t think I can do this anymore.” Freddie, covering his mouth and nose with a
handkerchief doesn’t hear her, lost in his examination. “The first murder of the night was just
a cut to the throat. He must have been interrupted, and then he found this poor woman.”
Emily reads her notes, turned away from the gruesome body, “From witness accounts, the
first was nicknamed Long Liz. We are still looking for someone who can positively identify
this woman. One man who refused to look at the body thinks it a missing woman named
Catherine Eddowes.”

Back still turned away from the body, Emily continues to review the evening. “The landlady
at the Common Lodging House at 32 Flower and Dean Street paid Long Liz six pence today
to clean two rooms. Liz, she said, left very cheerfully with her earnings to the pub. This
second poor woman tonight, identified as Catherine Eddowes, was arrested for causing a
drunken disturbance at 8:30pm on Aldgate High Street. She was taken to Bishopsgate Police
Station and locked in a cell. Duty Officer P.C. Hutt let her go at 1:10am asking her to close
the door behind her to which she said, ‘Good night Old Cock.’ She then went in the direction
of Houndsditch, about an 8 minute walk to Mitre Square where she was found lying in a pool
of blood at 1:44am. About that same time, Long Liz was found at Dutfield’s Yard with her
throat severed.”

Abberline is lost in thought and looks over to Emily, back turned. “Your father watched your
mother die; much worse when it’s a loved one. There are clues in the body. Catherine wants
us to find her killer.” Emily turns around, trying to hide her gasp. “Catherine had loved ones,
so did Long Liz. They need to know. They need to be told.” Emily looks at the body and says
softly, “If they care.”

“Write this down as I tell you.” Emily takes pen to notebook as Freddie recites his findings.
“Her throat is cut almost back to the spine, her abdomen ripped open and savagely mutilated.
There are V-shaped incisions in her cheeks pointing upwards toward her eyes. Eyelids nicked
through and her earlobes. The tip of her nose is sliced off. Half of her uterus and her left
kidney removed and a portion of her apron gone.” Freddie looks up at Emily, “Did you get all
that?” Wiping tears from her eyes, she responds, “Yes, I’ve got it.” Freddie asks, “Did you
talk with the Night Watchman at the Warehouse across from Mitre Square?” Emily, now
composed, “Yes, he is completely baffled that he didn’t hear anything. He heard policemen’s
footsteps pass every quarter of an hour and remembers remarking to one that he wished the
 59

‘butcher’ would come round and he would give him a doing.” Freddie shakes his head, “We
were all perfectly ignorant of it …”

The next day, Emily is in the Scotland Yard office with Freddie looking at a map of
Whitechapel where the murders occurred. Freddie questions, “Why was Jacob with you?
Does he know?” Emily sighs, “He has taken a personal interest in the murders, thought the
murderer was Prince Albert as you did, and was looking for him as we were. He followed the
couple as I did and he followed me thinking I was up to no good as well.” Emily takes a
breath, “Yes, now he knows my disguise. I’ve told him to guard my secret with his life if he
ever wants to see me again which he’s expressed that he does.” Emily has been talking so fast
and nervously, that Freddie is now sitting up in his chair wincing at her. Emily is now silent.
Freddie sits back in his chair sighing and shaking his head, “It just makes things more
complicated. He could have botched the whole operation. This is the trouble with all of the
amateur sleuths combing the East End. It’s making it harder for us!” Emily defends Jacob,
“He did have the same idea as you.” Freddie must admit, “So he did.” Emily excited, “He
wants to work with us and now he knows who I am.” Freddie stands up, “Indeed. And you
seem to fancy him.” Walking over to Emily, “Alright, he can help. I think we should all take
a visit to the East End again. This time we will go to the Music Hall where men of all classes
like to watch the shows and drink. Their mouths may become loose with information. The
Ripper may very well be among them.”

ACT TWO: MUSIC HALL; EAST END, LONDON; OCTOBER, 2.

 60

The atmosphere at the Music Hall is vibrant. Only women who entertain are present. There
are men present of great wealth and reputation. Emily is wide eyed observing the show girls.
Freddie smiles in amusement. Jacob is a bit embarrassed and tells Emily, “I’d never come
here except to find the murderer.” Emily mocks him, “Really? I would.” Emily smiles and
they all split to cover different areas of the Music Hall. Emily, not a drinker, is stopped by a
waitress wanting her order, “Whiskey?” Emily cringes at the thought, but nods, yes.

To Emily’s surprise, she recognizes Walter Sickert. He is drinking alone at a table while
enjoying the performance on stage. Her whiskey in hand she heads over to join him, “This
seat taken?” Walter’s bright yet blank blue eyes catch hers for a moment before he answers,
“Please join me.” Emily watches the performance for a long moment and waits for Walter to
speak first. He remains quiet and then, “Aren’t you drinking?” Emily realizes she has yet to
take a sip, “Yes, of course.” Taking a sip of her first whiskey, she chokes and coughs. Walter
laughs, now enjoying her entertainment, “First time here, my Lord?” He continues to laugh
while Emily tries to regain her voice, tears streaming from her brown eyes, “What gave me
away?” They both laugh. Emily notices a cut on Walter’s neck. He sees that she noticed,
“Close shave.” More silence. Walter checks his pocket watch, then gently touches her
forearm grabbing her attention, “Meet me at my studio; East End tomorrow morning. I like
you, but I don’t want to talk here.” Walter quickly leaves. Emily finds him curious.
 61

In another area, Freddie sees Dr. William Gull, Royal Physician. He walks over to his table.
“Good evening, Doctor.” Doctor Gull is laughing at the show, “So good to see you, Inspector.
Good show. It’s good to laugh what with all these murders going on. At one point I even
suspected Prince Albert who’s in my care. Can you believe it?” Freddie lightly chuckles,
“No, can’t believe it. What made you think so?” “His syphilis has gone to his head. He’s
quite crazy and erratic; however, terrible with a knife and not smart enough to get away with
it. Plus, on each occasion of murder he’s been with me or the Queen. How about you,
Inspector? Who are your prime suspects?” Freddie confides, “Someone who’s good with a
knife; a doctor, perhaps. Know of any?” Doctor Gull is insulted, “Surely, you don’t think!”
Freddie smiles, “That’s exactly what I’m paid for, to think.” The doctor smiles raising his
glass of whiskey “Think of another doctor, then. There are plenty of quacks in the East End.”
Freddie clicks the doctor’s glass with his, “But are they good with a knife?”

Jacob runs into Emily, “Any suspicious characters?” Emily and Jacob keep looking around as
they speak, “I spoke with the great artist Walter Sickert. He’s invited me to his studio. You?”
Jacob clearly enjoys playing the sleuth, “I talked with George Chapman, a barber now, but
get this.” Jacob leans over, “He was a junior surgeon in Poland. He just moved to London a
year ago and opened a barbershop in the basement of White Harp pub where we were the
other night.” Emily is impressed, “Good work, Jacob. Does he seem like a killer?” Jacob
concludes, “Well he’s good with a knife and a razor.” He smiles, “I have an appointment for
a haircut and shave tomorrow.”

The next morning, Emily is back in disguise and discussing suspects with Freddie and other
Scotland Yard officials. There is urgency due to a letter from the Queen that she is ashamed
of Scotland Yard for not putting an end to these murders. In the heat of the discussion, a
gentleman of seemingly great importance enters the room. Freddie recognizes him, “Henry!
Ah, everyone, this is Henry Edwards. I’ve asked him here today. He has some information for
me regarding the murderer.” Henry responds, “Possible murderer.” Turning to Freddie, “It’s
very confidential.” Just then Jacob enters the room. “Oh yes, my son Jacob, an aspiring
politician.” Emily and Jacob exchange looks. Freddie and Mr. Edwards exit to a conference
room. Emily whispers to Jacob, “Why didn’t you tell me?” Whispering back, “He won’t even
tell me. He’s very worried. It’s someone he knows quite well.”
 62

A few minutes later, Freddie and Mr. Edwards appear. “Jacob, we must go and let these
detectives do their work.” Jacob winks to Emily, “Good day Inspector.” After they leave,
Freddie approaches Emily. You have an invitation to Walter Sickert’s art studio today. I need
to check on another lead. But I can’t tell you.” Emily is disappointed. Freddie assures her,
“I’ll tell you if it checks out.” Freddie with a sense of urgency says, “I want you to go. See
what Mr. Sickert wants.”

ACT THREE: DR GULL’S ROYAL OFFICE, BUCKINGHAM PALACE, LONDON,

ENGLAND; OCTOBER 3, 1888.

Freddie is at Dr. William Gulls Royal Office. Freddie is official, “Thank you for seeing me
today Doctor.” Dr. Gull is jolly, “Not at all, Inspector.” Freddie continues, “I’ll get right to
the point. Can you tell me your whereabouts on the nights of August 29, September 8, and
September 30?” Dr. Gull is not fazed by the question, “Would you like a drink dear Freddie?
Imported Whiskey. I think you could use some.” Dr. Gull pours for both of them. Dr. Gull
drinks heartily. Freddie places his glass down on the table without a sip. Freddie continues
one again, “You’d better present the Yard with strong evidence of your whereabouts. We
have someone of great stature who is willing to make an official statement unless you can
prove your whereabouts!” Again, Dr. Gull is not reactive, “Friends are so fickle.” He pauses
and walks from his bar to his desk. “As it happens, I was with Prince Albert on those
evenings. He had episodes. Ask him.” Abberline barks, “You know as well as I that the
Prince is not capable of rendering a clear conversation let alone conscious enough to know
when and where you were with him.” There’s a knock at the door. Freddie, not Dr. Gull, says,
“Come in!” In walks Police, “We have a warrant to search your laboratory.” Now Dr. Gull is
incensed, “Who told you I had a laboratory? You can’t just have warrant to search, its private
property of the Queen!” Now Freddie is coy, “Hiding something, Dr. Gull? Some newly
obtained body organs?” One officer looks at the warrant paper, “Sir our warrant doesn’t say
anything about the Queen, Sir. You’ll have to let us search.” Freddie chimes in, “Or be
arrested on suspicion of murder.” Dr. Gull is trapped. He pulls a large key out of his pocket
walking toward a bookcase. He presses what looks like a book and the bookcase opens like a
door. Inside are rows and rows of specimens in glass jars lined up on shelves. Dr. Gull snips,
“There; are you satisfied? They are Royal hearts, livers, kidneys, brains, dating back to the
1500s. Besides the Royal Family, there is only one person I’ve told about this. A breach of
confidence I cannot forgive.” They all just stare. Dr. Gull still angry, “Go on. See what you
have to see.” The police are stunned. Freddie is stunned. Dr. Gull explains, “My most recent
entry is Leopold, Duke of Albany, died 1884.” He pauses, “Kidney. He suffered from kidney
stones his whole life. His kidneys were examined to help prevent others in the Royal Family
 63

from his ailment. Satisfied, Inspector?” Freddie quips, “Royal Medicinal Cannibalism.
Popular way to cure disease or so it was thought up until the last 50 years. Still looking for
specimens, Doctor? Perhaps some that were not kept in jars, but rather ingested to cure a
disease such as syphilis? Prince Albert isn’t getting any better, but perhaps you are collecting
specimens for him to dine on!” Dr. Gull angry and appalled, “You’re daft! Never! Absurd!
You have no proof!”

Emily is at the door of Walter Sickert’s studio. Sickert opens the door enthusiastically,
“Please comes in! I hoped that you would come today.” Emily dressed as Rodgers enters. She
looks around; his studio is full of canvasses half finished, sketches on his drafting table of
paintings to be, “So many paintings.” Sickert responds with a smile, “I paint what moves me
in the moment. I feel moved to paint today now that you are here.” Sickert asked Rodgers to
pose for him, “I want a portrait of you. I want to remember you just the way you are right
now.” Walter’s very light blue eyes seem to look right through Emily, exposing her secret.
“Have you ever posed in the nude? It’s a popular style of painting for artist of today.” Emily
is feeling very uncomfortable and works hard to maintain her character. “I’m here on
business. I haven’t time to sit for hours, nor have I ever wanted to be a subject for a painting.
I must decline, with all due respect for your renowned talents.” Walter, still staring, develops
a half smile. “Perhaps you can schedule a time for pleasure as well.” Suddenly breaking his
intense stare, he turns away walking toward a painting he is working on, “So, Inspector, what
is your business?”

Emily clears her throat, “Where were you on the nights of the Jack the Ripper murders? We
have had a witness come forward suggesting suspicious behavior recently.” Walter laughs,
“Scotland Yard is really off their mark. Present company accepted, Scotland Yard is an
organization of buffoons! The Queen herself is disgraced by their ineptness. To come to me is
absurd! Never mind that I have family and Degas himself that can verify my presence in Paris
there during each of the murders. As a matter of fact, I’m leaving tomorrow morning. I’ve
been asked to meet with Oscar Wilde and Virginia Woolf. My curiosity of the murders is the
same as everyone else. I simply express it through paintings!” Walter takes a strong grip on
Emily’s arm dragging her over to see three paintings he has created of the Ripper Murders.
One is actually titled, “Jack the Rippers Bedroom.” Emily is amazed at the likeness of the
actual scenes of which she witnessed firsthand. Walter explains, “I have an imagination and I
read the Post!”
 64

Emily repeats, “So you were in Paris. Can you provide us with your witnesses? It may be
very important to you to have a strong alibi. This is an investigation. We must follow all of
our leads. Please don’t take offense, unless, of course, you are Jack the Ripper.” Emily
pauses, this time she is the one staring through Walter. As Emily opens the door to leave,
Walter is suddenly right behind her whispering in her ear, “Do remember to stop in again for
pleasure.”

ACT FOUR: GEORGE’S BARBERSHOP, EAST END, LONDON, ENGLAND;

OCTOBER 3, 1888.

Jacob walks in the front door as the chimes sound and George appears from the backroom.
Jacob is sheepish, “Sorry, I’m a bit early.” George stares blankly. “Remember, we met at the
music hall and I said I’d be here today around now.” George is stoic, “Haircut?” Jacob
answers, “Yes.” George doesn’t crack a smile through his long curled mustache, “Shave?”
Jacob answers a bit hesitantly, “Yes. I can come back another time if now isn’t good.”
George turns the chair around, “Sit here. I’ll get ye a hot towel.” Jacob sits in the chair.
George brings out a steaming towel with tongs. “I hope its not too hot.” Before Jacob can
answer the steaming towel is on his face. After a slight yelp, Jacob lies nervously, “Feels
good.” George sharpens his razor, then takes off the towel splashing lather on Jacobs red hot
face. “Do you like it close?” Jacob says nervously, “Sure.” Lined at his neck, George
skillfully slides the razor upwards. Sweat from Jacob’s hairline begins to drip; partly from the
steam and partly from his nerves. He thinks, “This could be Jack the Ripper with a razor to
my
neck!”
 65

Emily, walks past the pub and remembers that Jacob had an engagement to see the barber.
She goes in the pub and down the stairs. The chimes sound as she opens the door. George
looks at her, “Don’t mind waiting.” She sits and opens a newspaper with a headline reading,
“Jack the Ripper Still At Large: Beware!” Jacob doesn’t want to move for fear the razor will
cut him. Emily tries some chatter with George. “Any thoughts on who the Ripper is?” George
is silent, still shaving Jacob. Emily continues, “Some say it could be a surgeon. The
dissections on the woman seem to be from a man with knowledge of surgery.” Silence. “You
did surgery, George, in Poland up until a year or so ago, right?” George stops the movement
of the knife, but doesn’t take his eye off of it, “Yes.” “I bet not that many people know that
about you. Your precision with a blade is noticeable.” Again he stops the blade. Jacob is
really sweating now. Emily stands up, “I bet you could do some good cuts with that blade,
too!” George is getting the last bit of lather off Jacob. Emily taunts, “A close shave reveals
all. The ladies love a closely shaved man with a knack for cutting.” Suddenly the blade cuts
Jacob and he jumps from the chair. George is attacking Emily, Jacob battles to hold him
back. George waves the razor in the air, “Stay away; leave me alone!” Emily yells out the
door, the bells chiming, “Police! Get the Police!” George elbows Jacob who falls back and
then George lunges toward Emily with his razor. The razor is getting closer and closer to
Emily’s neck. She holds back his arm with all her might, his other hand covering her mouth.
Jacob recovers trying to pull George back, but he is very strong. Uniformed Police rush in
and pull him off Emily. She pulls out her Scotland Yard badge, “Scotland Yard! We’re taking
you in for questioning on suspicion of murder!”

TAG: SCOTLAND YARD, FREDDIES OFFICE, LONDON; OCTOBER 16, 1888.

Emily watches as Freddie takes down photographs of the suspects Dr. Gull, George the
Barber, Prince Albert, and Walter Sickert. “Alibis, alibis, alibis, alibis. Who’s left with no
alibis? You? Me? Jacob?” Freddie thinks for a moment, “Jacob.” Emily blurts out, “It’s not
Jacob. Would Jack the Ripper put himself in danger with a razor to his throat?” Freddie
quips, “He was there after each murder.” Emily exasperated, “Freddie!” Freddie slams the
photos on his desk, “I don’t believe all of these alibis. We’re going to crack the one that’s
lying!”

A man in an office is opening a box. His office door reads, “George Lusk, President;
Whitechapel Vigilance Committee.” He lifts out a glass jar and inside is half a human kidney.
He is horrified as he reads a letter written in red ink with bloodstains:
 66

From Hell.

Mr. Lusk, Sir

I send you half the Kidney I took from one woman and preserved it for you. The other piece I
fried and ate it was very nice. I may send you the bloody knife that took it out if you only wait
a while longer.

Signed

Catch me when you can Mister Lusk

 67

Miniseries Treatment

“Emily Miller”

By Sarah Jo Ewing

Episode Four – Revealing the Ripper

HOOK: HOSPITAL, SURGERY ROOM, GERMANY; 1864

A young boy about four years old is lying on a surgical table. The surgeon is washing his
hands in preparation. A female medical assistant is preparing the boy for the procedure. It is
not common practice to use anesthesia on children. The assistant begins the process of
surgery by strapping the boy’s legs and arms to the table. The young boy cries out, “Mama, I
want my Mama!”. The Assistant attempts to calm him in a reassuring voice, “Don’t worry
lad, it’ll all be over soon.” The surgeon approaches the table examining the boy’s genital area
and nods to the assistant, “We’ll begin now, cover his face.” The assistant places a towel over
the boy’s tearful eyes then takes her place at the instrument table. The surgeon holds out the
palm of his hand, “Knife.” A sharp knife is placed in his hand and he begins to cut. The boy
lets out a long and desperate scream.

ACT ONE: MORNING, EMILY’S BEDROOM; NOVEMBER 8, 1888

Emily is restless in her sleep; everything running through her mind: William Nichols is
weeping and saying, “It has come to a sad end at last;” dissolves to Freddie at his desk
receiving the specimen jar with the half kidney and saying, “Just like Dr. Gull’s laboratory;”
 68

dissolves to the Art Exhibit and Prince Albert, half-minded, being helped by Dr. Gull;
dissolves to the woman in the dark knocking her over in the street; Walter Sickert’s Art
Studio and him saying, “Come back for pleasure next time;” dissolves to Jacob suddenly
showing up for each murder and saying, “I want to help you.” Emily wakes up in a sweat and
goes to her dresser to look at the photo of her boy’s school class. She recognizes herself and
Jacob. There is one boy off to the side away from the others. She lies back in bed, “I’ve got to
find him before he strikes again.”

November 9, 1888, 2:00am Mary Kelly is walking along Commercial Street on the East End.
In the darkness and unsteady from a night of drinking, she stumbles into a gentleman,
“Excuse me sir, do you have sixpence for a poor woman wanting to pay her rent?” The man
responds, “And for what in return?” Mary mumbles, “Whatever it is you want of me.”
Smelling her filth the man grimaces, “You’ve given too much of yourself tonight. I can smell
at least five men on you. I haven’t got the money and wouldn’t spend it on you if I did.”
Dazed and desperate, Mary walks on. Out of nowhere, someone taps her on the shoulder.
Mary turns and through her blurry eyes sees a woman. “I need a place to stay the night. Do
you know of any? All I have is sixpence.” Mary can hardly believe her ears. Delighted, she
invites the woman to her boarding room. “You’re an angel sent down from the heavens. You
can stay with me as long as you like for sixpence.” They both laugh and walk over to Dorset
Street and into Mary’s boarding house, Miller Court.

Up a flight of stairs, Mary opens the door to her room. “I’ve had it for the night and passing
out in me bed. Better yet, you take my bed and I’ll sleep on the floor.” The woman replies,
“Take your bed, miss, the floor is a right more comfortable than the street.” Mary laughs,
“Right you are,” and plops down in her bed, “A good night’s sleep and I’ll be as good as
new.” The woman then hovers over Mary. A good night quickly turns bad. The woman pulls
out a sizable sharp knife saying, “Don’t worry miss, it’ll be over soon!” Mary only has time
to scream, “Oh Murder!” The knife slashes her throat, blood shoots onto the wall; Again and
again the knife cuts into Mary. In shock and still conscious, Mary looks on in horror.

The next morning, the Landlord of Miller’s Court, John McCarthy, is counting through his
money and checking off tenant payments. Mary is still unpaid. To himself, “I’ll have to go
and collect it myself. She’s probably still in bed hung over.” He walks up the flight of stairs
and knocks on Mary’s door. There is no reply. He then looked through the small window to
her room. John pulls back, gasping, “God in heaven!” Clearly shaken, John stumbles down
the stairs, “Help! Police!” John runs out on the Street continuing to yell yet barely able to
 69

breathe. A policeman, responding, runs up to him, “What’s the matter with you, mate?” On
his knees, John cries, “The devil’s been here!”

ACT TWO: MORNING, FREDDIES’ OFFICE, SCOTLAND YARD; NOVEMBER 8,

1888.

Emily (as Rodgers) and Freddie are looking at his walls where there now hang more
gruesome photos, more suspect photos, and a map of the Whitechapel streets marking where
the murders have occurred. He looks to Emily, “Anything new? What are we missing? It’s
been over 30 days since the last murder, more false confessions, more journalists playing
sleuth, and witnesses keeping quiet. It’s as if everyone is holding their breath that the mad
man has vanished.” Emily adds, “I’ve talked to more women in the East End and they are
starving. They stopped working the street for a time, but now they have no choice. They’d
rather take a chance on being murdered than starve to death or miss their drink.” Freddie and
Emily look up and slowly walking toward them like the ghost of death is a police officer.
Through the glass his eyes catch theirs and he is shaking his head. Emily says softly, “There’s
been another one.”

Within 30 minutes, Freddie and Emily (Rodgers) are among the few officials to view the
horrid scene. Again, Freddie, handkerchief over his face, recites the examination as Emily
takes notes. “Skin carved back from thighs and abdomen, abdominal cavity emptied of its
viscera, breasts cut off, arms mutilated, face hacked beyond recognition, neck severed down
to the bone, liver dissected laying between her feet, uterus and kidneys dissected and under
her head with one breast, other breast by her right foot, intestines lay on right side of body,
the spleen on the left.” Even Freddie this time is noticeably sickened, “The devil indeed.”
Emily is looking forward this time concentrating only on her notes. She looks up, a
determined look on her face, “This is the last one, Mr. Ripper.” Freddie motions to Emily,
“We’ve got what we need here, let’s go talk to witnesses.”

Outside the clatter of horse and wagon on the cobblestone arrives with a wooden coffin.
Freddie directs, “I’ll talk to the landlord, you find people who may have seen her last night
and are willing to talk about it.” Emily walks outside where a crowd has gathered. It is
remarkably silent and the crowd makes a path for Emily to walk through. Coming toward her
is a horse and wagon with a coffin. Two police officers walk along side. A tear rolls down
her face as it passes on its way to Miller Court.
 70

ACT THREE: HOME, LONDON; NOVEMBER 10, 1888.

At home, Emily is getting dressed up this time like a chorus girl. She places a blond wig over
her cut off hair. Freddie knocks and Emily asks him to come in, “Do you think this will
work?” Freddie looks at her carefully as she turns a full circle, “It’s perfect. Jacob is already
at the music hall spreading the word about a new girl. We can’t be seen together. You go in
from the backstage entrance and blend with the other girls. I’ll go in the front and see who is
in the audience.” Emily looks determined, “The Ripper will be there, somewhere in the
crowd.” Freddie continues without losing a beat, “I’ll start planting seeds about you, too.
Give me a little time and then walk through the crowd. Flirt with the men. I’ll be stage right.
Look for my nod to make your exit. Be sure to talk about how you have to make a little more
in tips to pay your rent. You’ll get tips. When you have sixpence, say you’re going home
early to see your landlord. Make it sound natural.” Emily fills in, “Then I’ll wait outside the
stage door. You and Jacob better follow. I’m counting on you.” Freddie assures her, “We’ll
be there.” Emily takes a deep breath, “Let’s hope this works. Too many women have died.”
Freddie puts his coat on to go, “For Scotland Yard’s sake, too. The Queen has already forced
the commissioner to resign.” Freddie looks Emily in the eye, “Your father is watching; he’s
proud of you.” Freddie turns to exit while saying, “Remember, you’re not Rodgers tonight!”
Emily gives a cheesecake pose in the mirror, “No, not tonight.”

At the music hall, Emily enters through the stage door. The other girls don’t notice except
one, “New girl are ya?” Emily, “Yes, where do I go?” She waves her arm toward the main
hall, “Go out and mingle with the hounds.” Emily moves through the crowd. She sees
Freddie stage right and makes eye contact. She sees Jacob talking to a group of men including
Prince Albert and Dr. Gull. A few tables over Barber George is glaring at Jacob. Emily
doesn’t see Walter Sickert, but remembers he was going to Paris. Emily goes from table to
table flirting and getting tips for rent. She’s quite a hit with the men and gets good tips. She
tells them all she’s off to see her landlord. Freddie nods to Emily, then to Jacob.

ACT FOUR: EXTERIOR BACKSTAGE DOOR, MUSIC HALL, EAST END:

November 10, 1888.

Emily waits as bait for the Ripper. Several men approach her; they speak briefly, and then
move on. It is suddenly quiet and Emily is discouraged. Then a woman approaches,
“Sixpence for me rent tonight? Can you help me?” Just as Emily says, “No,” the woman
grips her arm, “Please come with me.” The woman pulls Emily down the alleyway. Emily
 71

insists, “Really, I can’t help you!” The woman tightens her grip and pulls Emily harder. They
turn a corner into a secluded alley, and then the woman opens a gate, “My landlord is this
way.” Emily is annoyed, “I have no sixpence for you! Please let go of me!”

Freddie just arrives at the stage door and no Emily. Talking to himself, Freddie thinks,
“Emily? Jacob? Good god, she’s already being followed.” Freddie finds a street policeman
and tells another. Soon the entire police force is looking for Emily and a stranger together.

Behind the gate and in the backyard, Emily sees the face inside the hood. Her mind flashes on
the boys’ school when the violent drawing fell to the floor and then she sees the class photo
in her mind, “It was you! Of course! Why didn’t I see it before?”

Freddie is running down an alleyway yelling, “Emily!”

Emily hears Freddie, “Over here, Freddie!” Then the Ripper lunges at Emily pinning her to
the ground and gripping her throat with one hand while pulling out a knife with the other.
Simultaneously, Emily pulls off the hood of the Ripper while he grabs her head and
surprisingly pulls off her blond wig.

Freddie, running at full speed in the darkness runs into Jacob, knocking both down. Angry,
Freddie yells at Jacob, “Where have you been? You didn’t follow Emily!” Jacob is panicked,
“I was too late!”

The face of the Ripper is revealed and it is Walter Sickert! Walter has the knife at Emily’s
throat, “You? Rodgers? Are you man or woman?” Walter rips Emily dress revealing her
breast, “You’re a woman?” In his eyes we now see the little boy in surgery, screaming. The
woman medical assistant’s eyes become Emily’s eyes as the Ripper stares down at her. "They
cut me! They didn't know if I was male or female so they cut me open and tried to make me a
man! She held me down and strapped me to the table! Now I'll kill you in the same way!"
Just then Emily hears Jacob yelling her name, "Emily!" Abberline is heard from the other
direction, "Emily!" Walter reacts by tightening his grip on her throat, "So that's your name,
Emily. You will die now and I'll write Scotland Yard a letter. 'Here is Emily's ear, you didn't
hear her scream. Jack the Ripper.'" Emily can't talk. She struggles to loosen his grip and kicks
him hard between the legs. "Ha!" Walter laughs, "Nothing there! The jokes on you! I'm not a
man either!"
 72

The sound of boots clipping on cobblestone is getting closer. Walter panics and suddenly
stops his murderous rage running away. Emily is left choking and covering herself as Jacob
and Abberline approach her. She points in the direction he ran. Barely getting the words out
in a hoarse voice, "I'm okay, get him!" Freddie sprints off in the direction of the Ripper.
Jacob holds Emily and checks her throat, "Thank god you're alive."

The next afternoon at Scotland Yard, Freddie throws a newspaper on his desk in front of
Emily and Jacob that reads: “Yard Misses Again!” Freddie argues, “We didn’t miss, we know
who it is and he knows we know.” Jacob inquires to Emily, “Emily, are you sure it was
Walter?” Frustrated, Emily answers, “We’ve gone over this, Jacob; I know who was gripping
my throat!” Freddie chimes in, “Ironclad alibi: In Paris meeting with Oscar Wilde and
Virginia Wolfe.” Looking at Emily, “Your word against his and theirs. Jacob and I didn’t see
him.” Jacob doesn’t understand, “Why are they protecting him?” Emily explains, “They don’t
believe it’s Walter who is the killer and they think Scotland Yard is desperate to charge
someone. They are right about that.” Freddie adds, “He was checked into a room in Paris. He
has proof of that. He could have easily been too sick to see them yesterday, but they believe
their friend was there. He’s there now.”

Emily looks again at her class photo from the boys’ school; now on Freddie’s desk. Jacob is
surprised to see it, “Where’d you get that? That’s my class photo from boys’ school, years
ago.” He points out himself as a boy, “That’s me. I was so shy. Hardly spoke.” Emily
confides, “…and that’s me; the small and skinny one.” Jacob is shocked, “You?” He looks,
“It is you!” He looks at Emily as Rodgers, “Why you’ve been at this for some time. Brilliant!
But why is the photo here?” Emily points out a boy off to the side, a bit taller and older than
the other boys, “That’s Walter Sickert. No doubt we didn’t know him well because he was
expelled early for some violent and explicit drawings of women. I contacted the school and
verified his identity this morning.” Jacob looks more closely, “My God.”

Freddie is reading a letter received this morning, “At least the Queen is happy. She writes that
she wants to meet the young woman who risked her life for the sake of England. ‘A million
thanks to her for her bravery; signed, Queen Victoria.’”

They all stare at Freddie’s walls. First, we see the photos of the mutilated women; then the
photos of the suspects. One by one, Freddie pulls down the suspect’s photos; all except
Walter Sickert.
 73

EPILOGUE

Inexplicably, the Ripper murders stop. The women of the East End are still afraid. The
murders will never be forgotten.

THE END
 74

APPENDIX B

RIPPER, SCREENPLAY
 75
SOUND OVER BLACK:
KNIFE SHARPENING

SUPER IN/OUT: LONDON, ENGLAND, 1860

FADE IN:
INT. HOSPITAL - SURGICAL ROOM - MORNING

A small CHILD (4) is crying while being rolled into surgery by a Woman
Assistant (30s). She lifts the child to the surgical table, while a tired
SURGEON (50s), garbed in a blood-stained smock, sharpens a well-used KNIFE
wiping blood off its blade, setting it on the table next to him.

WOMAN ASSISTANT
Quiet now...all will be fine.
The Woman Assistant gently caresses the boy on the forehead.
WOMAN ASSISTANT (CONT/D)
I’ll be with you.
The child seems comforted while tightening his grip on her
hand.
WOMAN ASSISTANT (CONT'D)
That's right, hold tight.
Behind them, surgeon picks out a smaller knife, while a MALE ASSISTANT
moves to the foot of the bed.

SURGEON
We're ready. Please brace the
child.
The Woman Assistant's face grows intense as she uses all her strength to
brace the child. Terrified, the Child watches while the Male Assistant
straps its ankles. The Surgeon's knife descends slowly toward the Child's
genital area until a BLOOD CURDLING SCREAM rings out from the Child who
looks up horrified, straight into

THE GRIPPING EYES OF

The Woman Assistant.

MATCH CUT TO:

EXT. INSIDE A SHALLOW WELL - EVENING
Our view fixed on the gripping EYES of a DECAYED WOMAN's face.
A STREET WORKER digging in the well SCREAMS with fright quickly climbing up
his ladder to
THE STREET - A MOMENT LATER
Gasping for air, stumbling away.
STREET WORKER
Help! Help!
SUPER - IN/OUT: WHITECHAPEL, SUBERB OF LONDON, 1889
 76
A PASSERBY runs over to help.
STREET WORKER (CONT'D)
A ghost...I've seen a ghost...
PASSERBY
Too much drinkin' mate...
STREET WORKER
(pointing to the well)
Not enough.
Passerby crosses to the well, looks down, gasps at the sight, legs
collapsing beneath him.
PASSERBY
Jesus, Mary, and Joseph...
EXT. STREETS OF WHITECHAPEL - NIGHT
Fog has settled in some POLICE hold back the growing CROWD while OTHERS
pull the decayed body from the well and carry it to a PADDY WAGON.
TIGHT ON A SCOTLAND YARD BADGE
Shown to one of the UNIFORMED COPS.

UNIFORMED COP
Yes, sir. Right away, sir.
CAMERA BACK

As our Uniformed Cop motions for an INSPECTOR, garbed in a natty tweed suit
and matching derby, to pass through. He is a shadowy character, mustached,
wearing his collar up crossing into the crime scene like he owned the
place.

UNIFORMED COP (CONT'D)

(to the crowd)
Move aside now. Let the Inspector
through.

Inspector approaches the decayed body as it is being hoisted into the paddy
wagon.

INSPECTOR
Hold up, please.
Police do. Inspector hones in on the body, retrieving an eye glass from his
pocket, examining the victims neck, focusing on a broken bone where the
artery would have been. Our Uniformed Cop steps up behind the Inspector,
waits with baited breath. Finally...
UNIFORMED COP
What do you think, there, governor?
Should we call it an animal attack
and send humanity home to sleep?
 77
INSPECTOR
It's an animal attack all right.
An animal named Jack the Ripper.

UNIFORMED COP
The Ripper? But Inspector Grimes
said it was...

INSPECTOR
(whirling around)
Well Inspector Grimes is wrong.
UNIFORMED COP
But that case is closed. There
haven't been any Ripper murders
since a year ago. You don't
think...
INSPECTOR
Yes, I do think ...
As silently as he arrived, the Inspector departs--never really giving us
any view of his face, quickly swallowed up by the fog.
EXT. A CARRIAGE IN THE FOG - LATER

INSPECTOR ABBERLINE (50s), a handsome man with a receding salt and pepper
hair line, slightly slouching from the chronic pain in his chest, waits
impatiently coughing into a handkerchief. He looks up suddenly as he hears
FOOTSTEPS approaching through the fog. Materializing in front of him
is his drop dead gorgeous Assistant, EMILY MILLER (20s), dressed tastefully
for the chill of an approaching winter, ever-energetic, with an apparent
maturity beyond her years, rushes up to Abberline, with a satchel strung
over her shoulder.
ABBERLINE
You're late!

EMILY
Sorry.
ABBERLINE
(as Emily climbs aboard
the carriage)
Your tardiness drives me crazy.

Emily is silent, raising her eyebrows while looking away. Abberline snaps
the reins as the horses take off.
EMILY
I'm doing this for you. It's not
easy...
Tense silence between them.
EMILY
...since Father died, nothing has
been easy.
Again, silence.
ABBERLINE
You're sure about this?
EMILY
 78
Positive.
Abberline coughs, spits on the road. Abberline whips the horses to hurry
up.
INT. MORGUE - LATER

Emily and Abberline barge into find a young MORGUE POLICEMAN seated at an
entrance desk. Abberline displays his Scotland Yard badge.
ABBERLINE
We've come to see the body.

MORGUE POLICEMAN
What's left of it. Down the hall
to the right. They're getting
ready to cremate it now.
ABBERLINE
Are you people out of your minds?
Emily, hurry. Tell them to stop.
My orders.

Emily races down the hall. Abberline turns to the Policeman who looks
suddenly docile against the anger in Abberline's eye.

MORGUE POLICEMAN
Inspector Grimes gave me the order
himself.
ABBERLINE
Did he now?
(checking cops badge)
Constable Bennett is it? If
Inspector Grimes told you to jump
in the crematory would you do it?

MORGUE POLICEMAN
Yes, sir...I mean, no, sir.
ABBERLINE
If I find ashes instead of a body,
that's exactly where you'll be.

FADE TO:
INT. CREMATION ROOM - MOMENTS LATER
Emily enters, takes in the body lying a foot away from an red hot furnace.
The stench is overwhelming. Emily puts a handkerchief in front of her mouth
hollering through it at two CREMATION WORKERS who have already begun to
lift the body.
EMILY
Stop! Inspector Abberline is here
to inspect the body!
 79
CREMATION WORKER #1
Inspector Abberline?
CREMATION WORKER #2
He's retired, missy. Wouldn't
likely see him here unless the
stiff were goin' into the furnace
himself.
The two cackle continuing their chore.
CREMATION WORKER #1
(re: the body)
What - You her sister?
Abberline stumbles into the room.
ABBERLINE
No. She's my Assistant, Emily
Miller.
(off their looks)
Shut the furnace down. Give the
body to me.
The two workers stop cold as if they've seen a ghost.

CREMATION WORKER #1
With all due respect, governor, we
have orders from Inspector
Grimes...

Abberline slams his cane down on the chair beside him.

ABBERLINE
Let me worry about Inspector
Grimes. Close that bloody door
now. Then leave us alone to
examine the body.

Abberline begins to cough. Emily takes the lead barking out

orders in a deeper voice -- one strangely familiar.

EMILY
NOW!
Just like that, the cremation workers close the furnace, exit flustered,
shutting the door behind them. Quickly, Emily moves to Abberline's side,
settles him. The two cross to the body. Both cover their nose and mouth
with a hanky as Abberline examines the corpse with a magnifying glass.
Emily stands curious.
ABBERLINE
Just as you said, the jugular cut
is similar to the others, but
mutilation of the internal organs
is far more severe.
(pensive beat)
I'll issue an order to halt the
cremation until further notice.
 80
Abberline sits down exhausted while Emily takes her turn
examining the body.
EMILY
I knew we could do it...stop them
from botching things up again.

ABBERLINE
Emily...it's not us versus them.
Try to keep your perspective.
EMILY
Perspective? You were hot on his
trail until those idiots poked
their noses in it.
ABBERLINE
They're not idiots. A bit daft on
the uptake, I'll grant you, but
it's important...
EMILY
Yes, I know...It's important to
respect our fellow policemen.
ABBERLINE
This Inspector Grimes everyone is
talking about...
EMILY
Frank Grimes - I had a brief
introduction, and I wasn't
impressed.
ABBERLINE
You didn't tell me.
(off her look)
He is to be my replacement isn't
he?
EMILY
Yes.

ABBERLINE
Oxford?
EMILY
Yes. Law degree. Although I heard
he flunked the test.
ABBERLINE
And pedigree?
EMILY
Wealthy from what little I saw and
arrogant to a fault.
 81
ABBERLINE
Is he?
(beat)
You're becoming quite the
Inspector.
EMILY
Not that anyone will ever know it.
ABBERLINE
Anyone, but me...
Abberline sends Emily a sympathetic look.

FRESH ANGLE - FAVORING

FRANK GRIMES (30s), pompous ass, dressed to Scotland Yard perfection from
bowler hat to shined shoes, bursts into the room enraged.

GRIMES
Who's the bogus bloke who ordered a
halt to the cremation?

Grimes sees Abberline, clearly surprised, he backs off his attitude.

GRIMES (CONT'D)
Inspector Abberline - I, uh...I've
heard so much about you.
ABBERLINE
All good, I'm sure.

Grimes sees Emily. He is impressed with her good looks, taking off his hat.
GRIMES
Good evening. Inspector Frank
Grimes, here. I didn't know any
ladies were present or I'd not
have...
Grimes regains his professional stance and faces Abberline.

GRIMES
Regulations require...
ABBERLINE
Inspector Grimes, cremation is out
of the question at least until we
gather all of the information we
can to determine the cause of
death.
GRIMES
Surely you don't think it's
anything more than a wild dog
attack dating back some time ago.
 82
ABBERLINE
Surely I do. Retired or not, I out
rank you in my friendship with
Chief Constable Williamson. Your
cremation orders will have to wait.
Good night, sir.

Abberline stumbles for a step, catches himself with Emily's help, exits
with her arm in arm. Grimes watches their retreat with genuine interest.
CUT TO:
EXT. SCOTLAND YARD - THE FOLLOWING MORNING

A damp urban cobblestoned street lined with naked trees, lead the way to a
tall columned building. Etched in its stone are the words "Metropolitan
Police Headquarters - Scotland Yard." From the quick pace of HORSES HOOVES
and the CLACK of wooden wheels emerges a CARRIAGE from around the corner,
stopping abruptly at the entrance. Abberline gets out slowly walkingup the
front steps with his cane, breathing hard.
FADE TO:

INT. SCOTLAND YARD - CHIEF CONSTABLE WILLIAMSON'S OFFICE - NIGHT

Grimes is arguing with the CHIEF CONSTABLE ADOLPHUS WILLIAMSON (50s),
bearded, diplomatically friendly, in charge, and listening patiently while
occupying himself signing paperwork.
GRIMES
Sir, the body is clearly not
related to the Ripper murders and
should be burned. Public Safety
code clearly states burning of
decayed carcasses.

WILLIAMSON
Just give it a little time. Just
long enough for Abberline to
examine the body. Humour him. We
owe him that much.

GRIMES
We owe it to the public, too, sir.
Besides, Abberline can barely talk
two sentences without spewing
phlegm in your face and ...
NEW ANGLE - TO REVEAL
Abberline has entered the room behind Grimes. Chief Constable Williamson
gives him a measured smile.

WILLIAMSON
Freddie! - How good of you to come.
(off Grimes' turn)
You know Inspector Grimes?
 83
ABBERLINE
We've met, yes.
(at Grimes)
Inspector.
WILLIAMSON
If you don't mind, Freddie, we'll
cut right to the chase. You no
longer work for Scotland Yard
officially. Which means that the
Ripper murders are now Inspector
Grimes' call, not yours. And his
call is that the woman found
earlier this evening, was the
victim of a wild dog attack, not a
knife.
ABBERLINE
With all due respect, Chief
Constable Williamson, Inspector
Grimes is wrong.

GRIMES
The hell, you say!
ABBERLINE
No, sir. Hell is what that woman
saw just before her throat was slit
and her heart cut out.
GRIMES
This is preposterous!

WILLIAMSON
Inspectors, please!
(musing)
Let's put a time limit on it.
Freddie? Two days...

GRIMES
Two days?

WILLIAMSON
(to Grimes)
Not an hour more.
(then to Abberline)
You can pick and probe and examine
your body. Then she's Grimes's to
burn.

FADE TO BLACK.
FADE IN:
EXT. HOUSE - LATER THAT NIGHT
A modest white wooden house with black shutters sits quietly at the end of
a cul-de-sac, built early 1800's, softly lit through the fog by a gas lamp.
INT. HOUSE LIVING ROOM - CONTINUOUS
CAMERA MOVES inside as the front door opens. There are cinders glowing
indicating the end of a warm fire and a gas lantern glows on a large oak
desk. Around the room are many clocks of all kinds. A soft chair sits by
the fireplace, next to it a small table with many parts of time pieces.
 84
CAMERA MOVES as we follow footsteps down a hallway to a room, Emily's room.
CUT TO:

INT. HOUSE BEDROOM - CONTINUOUS

Emily is in bed reading by a small lantern. Hearing footsteps, Emily looks
petrified reaching for a club she keeps at her bedside. We think it's the
Ripper himself, but no, as her bedroom door opens it's Freddie Abberline
coming home to his Assistant. Abberline sits on the bed next to Emily.
ABBERLINE
Sorry, this time I'm late.

EMILY
You're overdue a dose.
Emily gets up to retrieve Abberline's medicine.

ABBERLINE
No, I don't need...
Abberline begins coughing.
EMILY (O.C.)
Of course, you don't.
Emily reappears with a bottle pouring medicine into a spoon. Abberline
coughs then reluctantly opens his mouth, swallowing, then wincing with
distaste.

EMILY (CONT'D)
Will we have time with the body?
ABBERLINE
Two days.

Emily sits beside Abberline looking into his tired eyes.

ABBERLINE (CONT'D)
I'm convinced it's the work of the
Ripper. I have two days to
convince Scotland Yard.

EMILY
Where do we start?
ABBERLINE
The dead body. What is she telling
us? What do we know about her?
Did anyone miss her? Try to find
her?
 85
EMILY
I reviewed your files tonight.
There was no record of a missing
woman. No inquiries to the Yard, at
least.
ABBERLINE
You'd think someone would miss
her...
EMILY
Maybe they were afraid to go to
Scotland Yard. Maybe they asked a
beat officer who shrugged it off.
Abberline is tired and breathing hard.
EMILY (CONT'D)
(remembering)
The cremation workers thought I was
her sister. Not that they knew she
had a sister, but what if I was?

ABBERLINE
...And you show up suddenly because
a body was found. You get the word
buzzing around the East End.

Abberline turns to Emily, his eyes suddenly sparkle.

ABBERLINE (CONT'D)
Start outside the Saloon. The word
gets inside, it'll spread like wild
fire. If anyone knew her, they'll
talk. And if the RIPPER is still
among us, we'll smoke him out.

EMILY
I just pray that he's dead.
FADE TO:

INT. EAST END SALOON - ANOTHER NIGHT

A STRIPTEASE ACTRESS is performing, the BAND plays BRASSY MUSIC, and a full
house of MEN attend the East End Saloon focused on the stage show. Tables
are tightly arranged, BARTENDERS busily try to keep up with the demand for
pints and shots of whiskey at the bar, OTHER MEN play raucous games of
poker, dice, and darts as BELLOWING CHATTER reverberates throughout the
smoke filled room.

Grimes is seen entering the room, winding his way to a table of MEN
watching the stage show. A VOLUPTUOUS WAITRESS passes the table. Grimes
motions for her attention.
WAITRESS
Oh, you're a ripe one. Have I seen
you here before?
The Waitress caresses Grimes's head. Grimes is embarrassed.
GRIMES
I can't be sure. A pint of Ale,
please.
 86
The Waitress moves closer to Grimes, her breasts eye level.
WAITRESS
One?
GRIMES
I'll just start with one, thank
you.
The Waitress gives Grimes a hard look up and down.
WAITRESS
I'll make it a stiff one.

The Waitress leaves. The Men at the table laugh.

FIRST MAN
She's a game one!

SECOND MAN
Looks like you're in for a bit of a
tussle.

The men laugh again.

PANNING THE TABLE
There is one man not amused -- GRANGER HARRISON (30s) clean shaven, walking
cane, black coat and top hat are propped on his chair. His narrow
androgynous face is accented by his long narrow nose, his deep receded eyes
are focused on the stage show.

The striptease ends to a standing OVATION! MONEY is thrown on stage -- but

none by Harrison. The actress picks up the money placing it in
HER BRASSIERE

As the Men CHEER her on, expressionless, Harrison takes his hat, coat, and
walking stick to leave. Before leaving he turns to Grimes.
HARRISON
All the world's a stage and every
stage has its fools. Good evening.

Harrison exits.
SECOND MAN
Uppity I'd say.
FIRST MAN
Did he just call us fools?
Grimes watches Harrison exit, stays to drink his pint.
CUT TO:
EXT. SALOON STAGE DOOR - NIGHT
Emily is in the shadows, blue eyes fixed on the stage door as the ACTRESS
in the striptease exits. Emily spies a PERSON IN A CAPE approaching the
Actress. Emily watches closely as the couple walks toward her. Quickly, she
retreats back into the shadows.
She braces herself in anticipation of a quick defense. Turning briskly,
Emily is surprised, to see two women walking together. She breathes a SIGH
 87
of relief, tracking them as they walk into the FOGGY night. She laughs at
herself.
FADE TO:
EXT. STREETS OF WHITECHAPEL - NIGHT

A gas lamp ignites behind the curtained window of a third floor flat.
Silhouetted behind the curtain, a woman undresses, turning suddenly as the
light dims to darkness. A BLOOD CURDLING SCREAM is cut short to silence.
FADE TO BLACK.
FADE IN:
EXT. STREETS OF WHITECHAPEL - MORNING
The early morning sun reveals the same building as a run-down brothel, over
crowded by drunkards, prostitutes, neglected offspring, barely surviving
the depression of the East End.
CUT TO:

INT. RUN-DOWN BROTHEL - CONTINUOUS

An OLD WOMAN closes her apartment door as she stands in the hallway leaving
to sell her FLOWERS. Looking down, she notices a drop of dark red liquid on
her white lilies, then another drop. Looking up, a large circle of red
liquid stains the ceiling as a drop lands on her face. Wiping it with her
hand she is horrified realizing it is blood. The Old Woman SCREAMS while
backing up. A DRUNKEN MAN opens his door hung over.

DRUNKEN MAN
Quiet woman!
WOMAN
Help! Please, help!

The Drunken Man notices the blood on the floor. Bending down to the Old
Woman.
DRUNKEN MAN
Are ya dyin' woman?

The Old Woman is breathless from fright not able to speak. The Drunken Man
yells out the window to the street.
DRUNKEN MAN (CONT'D)
Help! Police! A Woman's
dyin' here! (looks down
at Old Woman) God in
heaven have mercy.
EXT. STREETS OF WHITECHAPEL - CONTINUOUS
A BEAT POLICEMAN runs up to the building looking up at the
Drunken Man in the window.
BEAT POLICEMAN
Calm down there, mate, I'm on me
way!
INT. RUN-DOWN BROTHEL - CONTINUOUS
 88
The Beat Policeman runs up the stairs to the Old Woman quickly examining
her.
BEAT POLICEMAN
She's not dying...
He looks up to where the Old Woman is staring seeing the blood-stained
ceiling.
BEAT POLICEMAN (CONT'D)
...but someone is...
The Beat Policeman runs upstairs where he sees a pool of blood coming from
inside the apartment. He knocks the door in to a horrifying sight--it is
the Actress from the striptease, sliced at the throat, chest and abdomen
cut open.
Sickened, the Beat Policeman runs to the hallway, opens the window, BLOWING
his WHISTLE!

FADE TO:
EXT. STREETS OF WHITECHAPEL - LATER
A CROWD is gathering. A WHISTLE BLOWING CONSTABLE stands guard trying to
control the Crowd. Emily fights her way in breaking through to
THE DOOR OF THE BUILDING
The Whistle Blowing Constable stops Emily from entering.

CONSTABLE
Sorry, no one's allowed in.
EMILY
Emily Miller, Assistant to
Inspector Abberline. I'm here on
orders from Scotland Yard.

CONSTABLE
You're a woman and you can't go in.
The Queen Mum herself couldn't
enter.

Just then a REPORTER enters showing his I.D.

EMILY
I thought you said no one.
CONSTABLE
No one except reporters, officers,
and inspectors.
EMILY
Well, I'm here for Inspector
Abberline of Scotland Yard.
CONSTABLE
You may be here for an inspector,
but you aren't one. Now run along
and let us do our job.
(Off Emily's angry look)
This is England, Missy. You can't
stop the laws of the land anymore
than you can stop the laws of
 89
nature.
An OFFICER passes through bumping into Emily.

EMILY
It's murder I want to stop.

The Constable is not listening to Emily. Discouraged, she leaves. The

Constable looks up and she is gone.
CONSTABLE
Further more ... Ah, be gone with
ya, then.
(Looking in disgust at the
body. To himself)
This is no place for a proper
woman.
FADE TO:

EXT. LAUNDRY SHOP - LATER

Emily stands in front looking in the window.
INT. LAUNDRY SHOP - CONTINUOUS

Emily enters shop. A bell TINKLES. The PROPRIETOR walks from the back of
the shop sweating profusely.
PROPRIETOR
Well if it isn't the lovely Miss
Miller.

EMILY
Good day to you, sir. I'm here to
pick up Inspector Abberline's
clothes.

PROPRIETOR
Figured as much. Just finished
them, I did. Won't be a minute.

The Proprietor retreats for the laundry. Emily looks at the bowler hats for
sale in the window. The Proprietor returns within moments with Abberline's
clothes.

EMILY
(re: hats)
Are these for sale?

PROPRIETOR
Lowest prices in WhiteChapel. Take
one home to your Inspector friend.
EMILY
You mean my employer, of course.
PROPRIETOR
Of course.
EMILY
Inspector Abberline could use a new
hat. I'll take the suede bowler.
PROPRIETOR
 90
I'd of picked that one out myself,
I would. A bowler rounds out the
head, elongating the profile. Why
it can change a man's look
dramatically. Especially a bald
man. It's like defying the laws of
nature.

The Proprietor is proud of himself for speaking so cleverly. Emily is lost

in her own thoughts.
EMILY
(to herself)
...defying laws of nature...
PROPRIETOR (CONT'D)
Shall I box it up with the laundry?
EMILY
(inspired)
Yes, thank you.
Emily pays for the merchandise, collects her wares, exits the shop.
FADE TO:

INT. RUN-DOWN BROTHEL - DEAD ACTRESS'S APARTMENT - LATER

The Actress is still on the floor, roped off, REPORTERS ask questions,
POLICEMEN are gathering evidence, Inspector Abberline is taking detailed
notes, bending down to get a closer look at the Actress. Her eyes seem
strangely content. As Abberline coughs into his handkerchief, a VOICE is
heard from the hallway.
GRIMES (O.C.)
I'm Inspector Grimes, you fool!
This is my jurisdiction!

POLICEMAN (O.C.)
I'm sorry, sir, my mistake, sir...I
just thought...

Grimes and the Policeman are seen in the doorway.

GRIMES
Leave the thinking to me.
POLICEMAN
...Well, there's another Inspector
here, sir...
Grimes looks into the apartment, sees Abberline pulling a sheet over the
body. Entering, Grimes looks down at Abberline. Abberline sees Grimes's
shiny shoes and stands up to talk to him face to face.
GRIMES
You do know this is my jurisdiction
and it is my investigation?
ABBERLINE
That wasn't clear since there was
no Inspector here when I arrived.
GRIMES
(looking around the room
 91
at the Policemen and
Reporters)
I was delayed on another matter.

ABBERLINE
Yes, your shoes are nicely
polished.

Grimes glares at Abberline. Policemen and Reporters smile pretending they

didn't hear.
GRIMES
As you know, matters of an
Inspector are vast and complicated.
I appreciate your notes and will
take over from here.
Grimes holds out his hand for Abberline's notes. Abberline puts his
notebook in his coat pocket.

ABBERLINE
My apologies for not taking any.
But now that you are here, the body
is yours to examine. Good day,
sir.
Abberline walks to the doorway, turns to look at Grimes as he looks down at
the sheeted body. Bending down, Grimes braces himself before pulling off
the sheet. From behind in the doorway, Abberline smiles and walks away.
INT. RUN-DOWN BROTHEL - HALLWAY - CONTINUOUS

A muted GASP is heard from the Apartment, Abberline stops at the top of the
stairs. Behind him, Grimes is seen running into the hallway, throwing up in
the corner on the floor. Abberline gives him a look over his shoulder,
continuing down the stairs.

FADE TO:

INT. HOUSE BEDROOM - EVENING

The armoire door opens, Abberline's suits are neatly aligned. One is chosen
and removed. Ties hang in order, one slides off. In a drawer, freshly
starched shirts are stacked, worn shoes are lined up on the floor. At the
sink bowl lay a comb, a razor, and scissors. A small comb presses against a
mustache, a hand picks up a bowler hat. From behind, the hat is placed on a
head, suddenly familiar to us as the mysterious Inspector seen in the
beginning.
CIRCLE AROUND TO REVEAL

Emily, remarkably disguised as a Scotland Yard Inspector looking into a

full-length mirror.
INT. HOUSE LIVING ROOM - LATER THAT NIGHT
In disguise, Emily stands in front of the fireplace, looking pensively at
the flames as she
FLASHES BACK
On the two women walking away from the stage door the night before. The
sound of a KEY AT THE DOOR brings her back to
INT. HOUSE LIVING ROOM - PRESENT
 92
As Abberline enters struggling, coughing, shutting the door. Turning to see
Emily, stopping short, ceasing to cough, he observes her disguise from head
to toe.

EMILY
I've gone all out this time.

ABBERLINE
(eyeing his own clothes)
Indeed. I've never looked so good.
(beat)
Who are you this time?
EMILY
Scotland Yard Inspector Charlie
Rodgers.
ABBERLINE
Charlie...your father...you make me
miss him even more.
EMILY
He always wanted a detective for a
son.
ABBERLINE
He'd be proud.

A LOUD KNOCK AT THE DOOR surprises them both.

ABBERLINE (CONT'D)
Are you expecting someone?

Emily shakes her head starting for the bedroom. Abberline stops her.
ABBERLINE
No.

Abberline opens the door, it's Grimes looking frazzled.

GRIMES
I thought you might want to know,
the coroner is examining the body.
(hesitating nervously)
...please excuse the intrusion...
ABBERLINE
Come in, Inspector.
Grimes enters surprised to see another gentleman with Abberline.

ABBERLINE (CONT'D)
This is Scotland Yard Inspector
Charlie Rodgers. He's been
assigned from another district to
investigate the murders.
RODGERS
Good evening Inspector...
Grimes looks at Emily suspiciously, nods respectfully.
ABBERLINE
You were saying the coroner is
examining the body?
 93
GRIMES
Yes and well...Chief Constable
Williamson has ask me to examine
the Ripper files...
ABBERLINE
Ahhh...and I have the files...
GRIMES
Yes, sir. I need your expertise.
Abberline looks at Grimes then at Emily.

ABBERLINE
The expert, Inspector Grimes, is
the Ripper. The files are my
personal property.
GRIMES
Perhaps, I could just see...
ABBERLINE
Perhaps you best leave the
sleuthing to Inspector Rodgers and
myself.

Grimes stiffens.

GRIMES
Cutting me out of the
investigation?
 94
ABBERLINE
Not to fret. We will report our
findings directly to Constable
Williamson.
GRIMES
I beg your pardon, but I report
directly to Constable Williamson.
ABBERLINE
No need to beg. Of course, you
report to Constable Williamson your
findings. We'll report ours.

Grimes glares as he shifts his eyes back and forth looking at

Abberline, then Rodgers.
GRIMES
(to Abberline)
May I remind you, that Scotland
Yard is the police force for all of
England, ruled by the Queen. Any
violation of our authority is a
direct violation to the Queen.
ABBERLINE
Bravo! You do know your protocol,
'ol boy!
Grimes barely controls his temper.

GRIMES
I also know that withholding
evidence is treasonous!
ABBERLINE
(to Rodgers/Emily)
My apologies, Inspector. I had no
idea we were in the presence of
royalty.
(to Grimes)
We must bow to the Queen.

Abberline bows to Grimes mockingly. Grimes is infuriated.

GRIMES
Your jocular behavior is noted.

Grimes steps forward until he is nose to nose with Abberline.

GRIMES (CONT'D)
Perhaps the Ripper is playing a
bigger joke on you, Inspector.
(to Rodgers, eyes fixed on
Abberline)
I apologize in advance Inspector
Rodgers for what I am about to do.
Grimes puts on his hat as he opens the door to leave. Turning to Abberline
and Rodgers, he glares then slams the door so hard on his way out that it
blows out the lantern on the oak desk.
ABBERLINE
(elated)
Brilliant!
 95
FADE TO:
INT. HOUSE BEDROOM - NIGHT

Emily is in her nightgown, a beautiful young woman again. Abberline sits in

a chair as she unbuttons his collar and takes off his shoes.

ABBERLINE
The name of the dead woman is
Margaret Knoll, an Actress at the
East End Saloon. At least that's
who was occupying the flat.
Positive identification is
forthcoming.

Emily looks at Abberline intently listening, putting the pieces together.

EMILY
...I may have seen her last
night...
ABBERLINE
(surprised)
...at the saloon?
EMILY
...yes, the stage door. It was
after I hid myself in the shadows.
ABBERLINE
Why did you hide?

EMILY
I saw Grimes approaching, so I hid.
I decided to wait in the shadows
and follow him when he left. Who
knows, he might have gotten a lead.
That's when I heard a door shut
behind me...
CUT TO:

FLASHBACK - EMILY IN DARK FOGGY STREET OUTSIDE THE SALOON

ENTRANCE.
EMILY (V.O.)
I saw a woman at the stage door...a
caped man came up to her and they
started walking toward me...I
thought the worst...my heart
stopped as they passed. But it
wasn't a man with her. It was a
woman...
CUT TO:
 96
BACK TO PRESENT
Emily looks into Abberline's eyes.

EMILY (CONT'D)
I didn't think another thing about
it and continued to wait for
Grimes...I never saw him come
out...I got cold and gave up.
Abberline stands up lost in thought putting on his night shirt. Emily
watches him waiting for a response.

ABBERLINE
Williamson wants me to join him at
an art exhibit tomorrow night.
EMILY
I see...

ABBERLINE
I want you to go back to the
Saloon. This time as Inspector
Charlie Rodgers. See if you can
find the other woman that was with
Margaret Knoll last night.
Question her. Don't come on too
strong or you might scare the
Ripper away.
EMILY
Do you think he's there?

ABBERLINE
I'm not certain...

EMILY
...what will I look for? How will
I know if I see him?
ABBERLINE
I'm not certain of that either.

EMILY
...I've never been in...
ABBERLINE
...Keep your eyes on everyone...be
open to anything...anything that
strikes you as...

EMILY
...strange?
ABBERLINE
Normal...normal in a strange world.
Emily looks at Abberline.
FADE TO:
INT. SALOON - NIGHT
Emily, dressed as RODGERS, enters into a Crowd of Men, bumping and pushing
her way through to the bar. A MAGICIAN is on stage pretending to torture
 97
his beautiful MAGICIAN'S ASSISTANT by cutting her in half. The Crowd howls
with laughter.
FIRST MAN
That's how to handle a woman!
SECOND MAN
Yeah! Cut her down to size!
The Men laugh more. Rodgers appears uncomfortable and a bit nervous. The
BARTENDER comes up to him/her.
BARTENDER
What'll it be?
RODGERS
(without thinking)
Tea, please.

The Men around her laugh, the Bartender is exasperated.

FIRST MAN
A spot of tea he wants!
SECOND MAN
That's a good one, mate!
Rodgers must save herself.
RODGERS
The kind of tea that comes in a
whiskey glass!

BARTENDER
Right.

The Men laugh slapping Rodgers on the back.

FIRST MAN
I'll have to remember that one!
Their attention is suddenly reverted as the next act comes on stage -- a
beautiful singer dressed skimpily.

NEXT TO RODGERS
Is GRANGER HARRISON sitting quietly, smiling. Rodgers looks
over to him.

HARRISON
Nice save.
RODGERS
Thanks.
(beat)
Charlie Rodgers.
HARRISON
Granger Harrison. Tea is my
favorite drink, too...in a whiskey
glass.
Harrison raises his glass to Rodgers. The Bartender arrives with a drink.
Rodgers raises his. They both drink.
 98
HARRISON (CONT'D)
Your first time?
RODGERS
First time?
HARRISON
In a saloon.
RODGERS
What gave me away?
Harrison simply smiles.

RODGERS (CONT'D)
And you? Your first?
HARRISON
I hope my last. Bad habit.

They sit silently as the noise of the saloon BLARES around them. Harrison
looks at Emily/Rodger's profile, his eyes affixed. Emily/Rodger's drink is
empty already from nervousness.
HARRISON (CONT'D)
Buy you another?

Rodgers looks down at her drink surprised that it is empty.

RODGERS
Oh...yes...thanks.

Harrison raises two fingers to the Bartender indicating another round.

HARRISON
You're not like the others.

RODGERS
How's that?
HARRISON
You're pleasant.

RODGERS
Not a bad thing, I hope.
HARRISON
No, quite the contrary.
Harrison gulps his drink getting up to leave.
 99
HARRISON (CONT'D)
I must go and make an appearance at
my exhibit.

RODGERS
(brightens)
Art exhibit?

HARRISON
What gave me away?
Harrison puts on his hat and coat, smiles and winks at Rodgers.
HARRISON (CONT'D)
If you are so inclined, it would be
my pleasure to see you again.
Harrison leaves, Rodgers breathes a sigh of relief, feeling oddly exposed,
flirted with, wondering if her disguise is working.

FADE TO:
EXT. STREETS OF WHITECHAPEL - NIGHT
A FLOWER WOMAN offers PASSERS-BY flowers to purchase. Her face reveals a
pre-maturely aged woman (30s) bundled up in tattered clothing. Tired, the
flower woman walks into an alley counting her coins. She places her flower
basket down. A gloved hand taps her on the shoulder from behind. Turning,
she smiles as if seeing someone familiar. Suddenly her face turns to horror
her throat slit ear to ear and with such artistry. Her body falls to the
ground, the hands rip her clothing continuing their ruthless pursuit of
mutilation.

FADE TO:
EXT. WHITECHAPEL ART GALLERY - NIGHT

A beautiful stone building is lit by street lamps. DOORMEN bookend a red

carpet as they cordially escort the upper class into the Art Exhibit.
Chief Constable Williamson stands with Inspector Abberline as a WAITER
offers them a tray of appetizers.

WILLIAMSON
As long as I had to come to this
exhibit, I wanted someone to come
with me. These are the types of
things I'm sure you don't miss.
ABBERLINE
It's not so bad now that I don't
have to be here. Politics was
never my forte. Fixing time pieces
and solving murders are all I
claim.
WILLIAMSON
I'm told it's quite an honor for
Whitechapel to host an event
showing Whistler's art. He should
be here.
CLOSE-UP OF THE PAINTING OF WHISTLER'S MOTHER.
WILLIAMSON (CONT'D)
 100
(Tongue in cheek)
There's the ol' boy's mother now.
ABBERLINE AND WILLIAMSON PAN THE ROOM
Seeing OTHERS of political and social status. Whistler's paintings are
displayed as well as the artwork of some of his best students. Across the
Gallery is WHISTLER surrounded by eager PATRONS. ANOTHER WAITER offers a
tray of champaign. Both men oblige.
ABBERLINE
I know you're sticking your neck
out for me...

WILLIAMSON
You know how I feel about that.
Abberline holds his glass up to Williamson.

ABBERLINE
All in the line of duty, sir.
Across the room the men observe a REPORTER interviewing Whistler.
WILLIAMSON
I'm trying to keep the press at
bay. Public panic could hinder the
investigation.
ABBERLINE
I'm all too well aware of that.

WILLIAMSON
If anyone can find him, you can.
ABBERLINE
What do you know about Grimes?

WILLIAMSON
Good man. By the book type. Needs
a little loosening up on this one.

ABBERLINE
He came by for my files last night.
WILLIAMSON
I'll talk to him.

The Waiter returns with more appetizers. Abberline and Williamson once
again oblige.

AT THE ENTRANCE
Harrison enters giving his hat, coat, and walking stick to the coat check.
He is greeted by Patrons and the Reporter. Abberline eyes him.
ABBERLINE
Who's that?
 101
Williamson looks over.
WILLIAMSON
I think it's one of Whistler's
students who's displaying his work.
Williamson looks at his program.

WILLIAMSON (CONT'D)
Could be Granger Harrison.
ABBERLINE
He looks familiar. Has he been in
Whitechapel long?
WILLIAMSON
In and out. Rubs elbows with the
impressionists of our enlightened
day. Don't know much more.

Abberline looks at a sketch on the wall signed by Harrison. It depicts a

room with a dead woman lying on the bed.

ABBERLINE
The gruesome one of the bunch
judging by his sketches.

Williamson looks over to a WAVING PATRON.

WILLIAMSON (CONT'D)
Uh-oh...Dame Eloise Edwards. She
beckons us. Shall we? I'm not
going alone.
ABBERLINE
As long as you do the talking.

The men walk toward the Waving Patron.

FADE OUT.
INT. SCOTLAND YARD - LATER THAT NIGHT

Williamson has just come back from the Art Gallery to burn the midnight
oil. Suddenly, Grimes burst into his office frantic.
GRIMES
Sir, there is an urgent matter!
WILLIAMSON
I say...
GRIMES
The coroner has gotten out of hand!
WILLIAMSON
Why what do you mean?
GRIMES
He is refusing to burn the decayed
body brought in two days ago!
WILLIAMSON
I ordered him to stop.
 102
GRIMES
You? Why sir?
WILLIAMSON
Change of plans. Freddie Abberline
is coming back from retirement to
follow these cases.

GRIMES
You assigned me the cases!
WILLIAMSON
I'm saying now you're off the
Ripper case!
GRIMES
This wouldn't have anything to do
with an Inspector Charlie Rodgers?
WILLIAMSON
Rodgers?
GRIMES
To help Abberline because he can
barely walk, how else is he to
handle this. The public will
panic, sir, if the press knows
we're opening the Ripper file!
Once Abberline is in the limelight,
they'll know. Then you'll be
cutting your own throat!

WILLIAMSON
Inspector! First of all you are to
refer to my good friend and
honorable colleague as Inspector
Abberline. Secondly, leave the
press to me. Now get out!

Grimes looks shocked at Chief Constable Williamson.

GRIMES
Very well, sir. Have it your way.

Suddenly, several WHISTLES blow from the street below. Williamson opens his
office window as OFFICERS prepare a carriage for quick departure.
WILLIAMSON
(to OFFICER below)
Hello there! What goes?
OFFICER
(looking up, saluting)
Chief Constable, sir.
Williamson returns a obligatory salute in an irritable manner.
 103
WILLIAMSON
What goes on, Constable?
OFFICER
There's been another murder. We're
going to fetch the body, sir.
What's left of it.

WILLIAMSON
Damn!
(slams the window shut)
GRIMES
Not to worry, sir. I'm sure
Abberline is already there...
Grimes walks to the doorway, turning for one last stab.
GRIMES (CONT'D)
...spewing his phlegm on the
corpse, no doubt.
WILLIAMS
OUT!
INT. HOUSE LIVING ROOM - LATER

Abberline sits in his favorite soft chair by the fire fiddling contentedly
with a time piece. Emily enters still fully garbed in her disguise. Taking
off her hat and loosening her collar, she falls into the chair opposite
him, sighing.

ABBERLINE
(not looking up)
Hard day at work?

EMILY
You should have warned me about the
saloon.
ABBERLINE
Shocking what we Englishmen do,
heh?

EMILY
Shocking isn't the half of it.
ABBERLINE
Any findings, Inspector?
EMILY
Plenty, but none related to the
Ripper. I've been slapped on,
laughed at, flirted with, and
downed more whiskey than I've had
in a lifetime.
ABBERLINE
Well, while you were drinking the
night away, there was another
murder.
EMILY
What? When? Where?
 104
ABBERLINE
Tonight. A Flower Girl.
EMILY
How could I have missed it?
ABBERLINE
It was on the West End this time.
The body was discovered shortly
after I left the Gallery.
ABBERLINE
The heads of her flowers were all
cut off. We can have a closer look
at the body tomorrow.
Abberline continues working on the time pieces.
ABBERLINE (CONT'D)
Anything besides booze and broads
at the bar?
Emily sits up holding her head.
EMILY
There was one man who interested
me. Granger Harrison...

ABBERLINE
He's the artist from the exhibit.

EMILY
Yes.
ABBERLINE
He has links to all kinds of
people. Pursue him.

EMILY
He may see through my disguise.
ABBERLINE
Why is that?

EMILY
I think he flirted with me.
ABBERLINE
Artists flirt with everyone, men,
women...It's part of their flare.
See what you can find out. You'll
be back on the beat tomorrow.
Emily sighs holding her head. Abberline looks up for the first time. Emily
looks up at him with her tired yet engaging eyes.
 105
ABBERLINE (CONT'D)
You're doing a great job. He'll
reveal himself at last. It's just
a matter of time.
EMILY
(Looking at the time
pieces on the table.)
I just hope time doesn't run out
before the next murder.
FADE OUT.
INT. SCOTLAND YARD - CHIEF CONSTABLE'S OFFICE - DAY
Chief Constable Williamson has a street map of Whitechapel laid out across
his desk. Around his desk are Abberline, Grimes, and Rodgers.
WILLIAMSON
This is what we know, gentlemen.
The five murders last Fall took
place at these locations. All on
the East End. The last one
November 12, 1888. Apparently, the
murder of the decayed cadaver could
very well have taken place about
that same time.
(pointing)
Here is where the body was
discovered in the well. One block
from the November 12TH murder. The
two recent murders took place here
and here.
(placing pins on each
location)
Tell us what you know about the
victims, Freddie.

ABBERLINE
They were all of unfortunate
circumstances, surviving day to day
by their wits and favors to willing
gentlemen. The average age,
thirty. They all were either plump
or grotesquely thin. Their features
all similar as well...dark hair,
brown eyes...

GRIMES
(thumbing through
photographs)
...and from the looks of it,
homely.
WILLIAMSON
...most women of unfortunate status
have a rough appearance. I don't
believe that is of significance...
 106
ABBERLINE
On the contrary, we don't know that
for sure.

RODGERS
Confusing that the Actress was
attractive...doesn't fit the
mold...
ABBERLINE
...or does it...after all, beauty
is in the eyes of the beholder...

GRIMES
Come now, I wouldn't take these
tramps home to the dogs...
WILLIAMSON
That will be enough, Grimes.

ABBERLINE
...more intriguing is our most
recent murder on the West end.
GRIMES
Perhaps it was merely a robbery
meant to mock the Ripper to confuse
us.
RODGERS
Each death occurred in the early
hours of the morning.
Consistently, the bodies were found
in abandoned buildings or the
street. Always face up, mutilated.

All look up impressed with Emily/Rodger's knowledge.

RODGERS (CONT'D)
I've been reading your notes
Inspector Abberline. Very
detailed. Impressive.

GRIMES
The actress was killed in her own
flat, and the Flower Woman on the
West End. I think we're wasting
our time and public finance to
continue this ill-conceived
investigation.
ABBERLINE
Thank you for sharing your advice,
but as you know this is no longer
your case. We're just including
you as a courtesy.
Grimes looks to Williamson.
WILLIAMSON
I told you that, Grimes.
RODGERS
Of course, Scotland Yard
appreciates any assistance...
 107
GRIMES
With all due respect Chief
Constable, I have real cases to
attend to. I'll dismiss myself
from this inordinate waste of time.
Good day, sirs.

Grimes, always by the book, bows to the gentlemen, then exits in a huff.
WILLIAMSON
He'll be back. That's not the end
of him.

ABBERLINE
Who knows. We may need a patsy
later.
Rodgers clears his throat.

WILLIAMSON
Freddie, where do you suggest we
start?

INT. SALOON - NIGHT

Rodgers enters in search of Granger Harrison. As Rodgers, she bellies up to
the bar.

RODGERS
(to Bartender)
Have you seen Mr. Harrison?

BARTENDER
Who wants to know?
RODGERS
Scotland Yard just wants to ask a
few questions.

BARTENDER
Anything for our good friends from
Scotland Yard. But I don't think I
know who you're talking about.

RODGERS
The Artist. Whistler's student.
BARTENDER
Ohhhh...strange fellow. Has he
done something wrong?
RODGERS
No. I'm merely interested in a
certain drawing I saw.
 108
BARTENDER
I get it. Business. He's usually
at the table with a view.
(pointing across the room
toward stage left)
Rodgers turns to see Harrison at a secluded table hypnotized by the show
girls on stage. She walks over to his table sitting beside him. Intent on
the stage show, he doesn't notice. Rodgers examines his profile and his
expression – - almost sad. The show finishes, the audience APPLAUDS,
Harrison turns seeing Rodgers at his table.
HARRISON
Do you always sneak up on people?
RODGERS
Only when their attention is
elsewhere.
HARRISON
It's not polite. Furthermore, it's
an intrusion and I must ask you to
go.
RODGERS
I've come to have a spot of tea
with you...in a whiskey glass?
Remember?
HARRISON
Of course I remember. How could I
forget the most pleasant gentleman
in the bar?
RODGERS
Do you speak to others?

HARRISON
I can't say that I indulge in idle
chatter amongst them.
(leaning in to Rodgers)
Is there anyone in particular you
have an interest in?

RODGERS
All of them.
Harrison holds up two fingers to the Waitress for drinks. He leans back in
his chair taking in the big picture of the Saloon.
HARRISON
Shall I go round the room? Let's
start over there with Lord Francis
Cormel, connected to the Royals by
a marriage in name only. From what
I've observed, he's anything but
faithful. However, I believe his
bark is worse than his bite.
Rumors have it that his royal wife
prefers the company of women.
(looking elsewhere)
RODGERS
(smiling)
As we all do, heh?
 109
HARRISON
Over there is someone
interesting...a doctor. Retired.
Drunkard, poor soul. Too many
mutilations, no doubt.
RODGERS
No doubt.
Suddenly, Harrison's face grows stern.
HARRISON
Polish...

RODGERS
Excuse me.
HARRISON
Him.

Rodgers follows Harrison's eyes to the bar.

HARRISON (CONT'D)
A Polish Jew. Never minding his
own business...

Harrison gets up.

HARRISON (CONT'D)
I don't want to play this game
anymore. You'll have to play
without me.

RODGERS
Have I offended you?

Looking eye to eye.

HARRISON
Not you.
Harrison eyes Kosminski again leaving the bar. He stops, turning back
around. His hand gently touching Rodgers's upper arm.

HARRISON (CONT'D)
I do want to see you again...but
not here.

He turns to leave again.

RODGERS
Where? How will I find you?
Harrison either doesn't hear or is choosing not to respond. Rodgers looks
back over toward Kosminski, but he is gone. She looks toward the entrance.
There, she sees Kosminski leaving, too.
EXT. STREETS OF WHITECHAPEL - NIGHT
Rodgers races out after Harrison and Kominski. Looking both ways through
the thick fog, there is no sign of either man. Making a choice, Rodgers
walks deeper into the East End and the fog. She hears FOOTSTEPS behind her,
she turns quickly, but there is no one. Continuing, it starts to sprinkle
and Rodgers picks up her pace. Startled by Passers-by that suddenly appear
from the fog and rain, Rodgers grows more tense. In the distance, there is
 110
a black figure, thinking it is Harrison, she starts to run toward him. The
rain is heavier as she approaches the figure.
RODGERS
Harrison? Stop! It's me, Rodgers!
To her disappointment, the figure is a coat hanging on a fence post.
Rodgers gives a sigh of discouragement, giving up. A hand suddenly reaches
toward her neck as she turns, GASPING in surprise. It's Grimes.
GRIMES
I didn't mean to startle you,
Rodgers.
(suspiciously)
It is Rodgers?
RODGERS
(composing herself)
Yes.
(catching her breath)
You did give me a bit of a scare.
What are you doing here?
GRIMES
Following up on a robbery and
assault incident. A bit difficult
in this weather. And you? Find
the Ripper, yet?
RODGERS
Not much luck in that department.

From the direction that Grimes has just come from is a DRUNKARD's CRY.
DRUNKARD
Me wife! Me wife!

This time Rodgers gives Grimes a suspicious look, then races to the CRIES.
Grimes watches Rodgers, then runs after her. Rodgers stops in the fog
listening for the direction of the CRIES. She looks down at her feet, her
shoes flooded with a mixture of rain and blood. She hears a faint WEEPING.
Walking forward she sees the dead woman in her husband's arms.

DRUNKARD (CONT'D)
(weeping)
Me beautiful wife...what have ya
done to her?

Grimes, just arriving, steps forward from the fog and rain seeing the
bloody mess for himself. Rodgers looks at Grimes.
 111
RODGERS
The truth of the horror dies with
its victims.

CAMERA OVERHEAD REVEALS

The tragic scene.

INT. HOUSE BEDROOM - NIGHT

Emily has changed out of her disguise, Abberline is sitting in chair next
to her bed.

ABBERLINE
So there's something about
Kosminski...try to find out, will
you?
RODGERS
I tried tonight, but he reacted to
something, I don't know what, but I
know it has something to do with
Kosminski. As far as anyone else
knows, Kosminski is just a poor
Polish Jew living modestly in
Whitechapel.

ABBERLINE
Williamson followed some leads last
fall on Kosminski...I wonder what
Harrison knows...

EMILY
He's a suspect?
ABBERLINE
He was, but we couldn't prove
anything, just hearsay, probably
planted by Jew haters.
EMILY
Well, all I know is that something
about him struck a chord in our
artist.
Emily crawls into bed.
EMILY (CONT'D)
He wants to see me again.
ABBERLINE
Perfect.
EMILY
He doesn't want to meet at the
Saloon.
ABBERLINE
Where then?
 112
EMILY
I didn't know at first until I
found this card in my pocket with
an address.
Emily shows the card to Abberline.

ABBERLINE
His studio.
(thinking)
Go tomorrow. It must be important.
He may be afraid that our
perpetrator would overhear him at
the Saloon.

Exhausted, Emily lies down, her head plops on her pillow.

EMILY
This inspector work is exhausting.

ABBERLINE
Poor dear.

Emily is already asleep.

ABBERLINE (CONT'D)
Good-night Inspector.

Abberline smiles while reaching over to blow out the candle by the bed.
ABBERLINE (CONT'D)
Rest peacefully tonight, for
tomorrow you may not.
FADE TO:

INT. SCOTLAND YARD - CHIEF CONSTABLE'S OFFICE - MORNING

Chief Constable Williamson throws the morning newspaper on his desk.

It has a photo of the murdered Actress's body and the headline reads,
"The Ripper is Back!" Williamson is furious.

WILLIAMSON
Grimes! Grimes!
Williamson's MALE SECRETARY nervously enters.

SECRETARY
He said he'd be out for a bit, sir.
WILLIAMSON
Well, when he returns, tell him to
get his bloomin' ass in here! I
want to know if he is responsible
for this!
SECRETARY
Yes, sir...bloomin' ass, sir...I
mean...Inspector Grimes right away,
sir.
WILLIAMSON
Just get him!
Williamson holds his stomach in discomfort.
 113
WILLIAMSON (CONT'D)
...and get me some bicarbonate!
INT. SCOTLAND YARD - CHIEF CONSTABLE'S OFFICE - LATER
GRIMES
Sir, I said nothing of the Ripper
files. I simply said...
WILLIAMSON
You should have simply said
nothing! I told you not to talk to
the press. Refer them to me!

GRIMES
Next opportunity, sir.
WILLIAMSON
There will be no next
opportunities! Take some time off.
GRIMES
What are you saying, sir?
WILLIAMSON
I'm saying take some time for
yourself. Lay low. Drive to the
lakes.
GRIMES
It's winter, sir.

WILLIAMSON
Ice skate!
GRIMES
I'll do nothing of the kind. You
know as well as I do that the
murder of the Actress after finding
the decayed body was purely
coincidental. You have no proof
that it was the Ripper.

WILLIAMSON
Grimes, I'm not in the mood.

GRIMES
This public uproar and paranoia is
heightening the possibility of a
copycat and thus another murder.

Williamson is exhausted by his own anger.

WILLIAMSON
(gritting his teeth)
And why is there public uproar?
GRIMES
Sir, you can't blame me for...
WILLIAMSON
Get out! Get out!
Grimes exits in a huff.
 114
FADE OUT/IN:
EXT. ARTIST STUDIO - DAY

Emily as Inspector Rodgers walks up to a run-down brick building with

dirty windows double checking the address. She knocks lightly. The door
opens, its Harrison.
HARRISON
(excited)
You're just in time!
INT. ARTIST STUDIO - CONTINUOUS

Rodgers enters.
RODGERS
In time for what?

HARRISON
For posing.
RODGERS
Posing?
HARRISON
Don't worry, I won't ask you to
take your clothes off...
(beat)
...not this time.

RODGERS
I'd like to talk with you.
HARRISON
We can talk while I paint. Just
don't move your lips too much.

Harrison puts his arm around Rodgers leading her to a chair.

HARRISON (CONT'D)
Here. Sit here. Like this.

Harrison demonstrates the pose. Rodgers sits and obliges.

HARRISON (CONT'D)
Perfect!

Harrison goes back to his canvass.

 115
HARRISON (CONT'D)
Now what is it you want to talk
about? Surely not those boring
Ripper murders. You don't think he
exists do you?
RODGERS
Actually, that's what I'm to
investigate.
HARRISON
I said not to move.

RODGERS
Sorry...You never finished telling
me about Kosminski...
HARRISON
My reaction was a bit harsh. It's
just that he stole a painting of
mine and claimed it for his own!
RODGERS
I don't understand...that's why you
reacted?

HARRISON
It's one thing to steal a painting,
but to sign it and call it your
own? It's blasphemous!

RODGERS
Why do you say the Ripper doesn't
exist? Do you know something?
HARRISON
A bit more than our trusted police,
perhaps. One can learn a lot by
hanging around the Saloon and
walking the streets of the East
End. Once or twice I think I
actually saw him.

RODGERS
Really? What made you think so?

HARRISON
Oh the black cape in the dark
image. The funny thing is that
almost every Englishman has a black
cape.
RODGERS
So why do you think you saw him?
HARRISON
On the contrary, it's precisely why
I think I didn't see him. The
papers and gossip feeds the brain
to the point of mirage.
RODGERS
(remembering her
experience)
Yes...
 116
HARRISON
It's important to remember that
nothing is as it appears to be.
That's why the police will never
find him. They have no
imagination.

RODGERS
Are you saying I don't...
HARRISON
(looking around from his
canvass)
No...
(softly)
Not you. You're different.
Harrison gets up.
HARRISON (CONT'D)
And that's why you'll never get
promoted. Case closed and painting
finished!
RODGERS
May I see?

HARRISON
By all means.
Rodgers stands next to Harrison turning to look at the painting. It's a
picture of two men at a table in a saloon. They are engaged with each other
as the world of the saloon dances around them.
HARRISON
Do you recognize yourself? I call
it "A Chance Meeting."

Rodgers looks at the painting as Harrison places his hands on his/her

shoulders from behind. She feels the depth of his emotion. Turning around
quickly she pushes him away, breathing hard, nervously, looking into his
eyes.

HARRISON
You're not like anyone I've met.
Rodgers walks toward the door.

RODGERS
I've got to go.

HARRISON
Did I frighten you?
(Rodgers opens the door)
Will you see me again?
RODGERS
(knowing that she must)
Yes, but not here.
HARRISON
Where then?
RODGERS
I don't know ...
 117
Emily leaves through the front door.
EXT. ARTIST STUDIO - CONTINUOUS

Walking briskly down the street. Harrison runs out the door after her.
HARRISON
Rodgers! Come back!
Harrison runs after him/her. As he is about to catch up, there is a BLOOD
CURDLING SCREAM! They both stop, surprised and confused. Rodgers races
toward the cry. Harrison quickly follows. They run through the streets,
alleys, around street vendors. Rodgers sees a woman on the ground and a man
running away. She picks up her pace chasing after the man. Harrison runs
after her then slows down out of breath. She is out of sight. Harrison
turns around, Grimes is suddenly in front of him.
GRIMES
I don't believe we've met.

HARRISON
(Surprised)
Indeed, no.
Rodgers returns, slows down at the sight of Grimes talking to Harrison.

RODGERS
Grimes.
Grimes sees Rodgers.

GRIMES
Inspector.
HARRISON
(to Grimes)
You know each other?

RODGERS
Grimes is Scotland Yard, Oxford...
Stops, realizing she's said too much.

GRIMES
You've done your homework,
Inspector.

RODGERS
(to Harrison)
The screams were from an attempted
robbery.
GRIMES
Robbery?
RODGERS
The woman said they were children.
Appears that nothing was lost, just
a prank.
(Pointing)
Down the street. Your area, I
believe.
GRIMES
...and yours is examining dead
 118
bodies from crimes you can not
solve.
Grimes glares glassy-eyed as he walks away down the alley.
HARRISON
Charming.
RODGERS
I must be getting back.
Walking away.

HARRISON
I'll be at the Saloon again
tonight.
RODGERS
(Walking faster without
turning around)
Perhaps I'll see you!
FADE OUT/IN:
INT. - SALOON - BACKSTAGE - NIGHT

The action backstage is a frenzy contrasted by dull expressions

indicating this as normal in a strange world. Emily, disguised as
Rodgers walks in, immediately dodging a STAGE HAND then A TOPLESS STRIPPER.
A bored DOOR KEEPER behind a podium sees Rodgers.

DOOR KEEPER
You looking for someone. Inspector?
RODGERS
(Flashes badge)
Just wanted to ask the girls a few
questions about their friend who
was murdered.
DOOR KEEPER
There's plenty of girls, but you
won't find many friends. She
wasn't as popular back stage as she
was on stage.
 119
RODGERS
I'd just like to ask a few
questions.

DOOR KEEPER
Just don't get in the way, Sir.
It'll be my job.

RODGERS
You won't even know I'm here.
Rodgers walks through the frenzy, sees a CHORUS GIRL taking a break,
rubbing her feet.

RODGERS
Pardon me. Inspector Rodgers,
Scotland Yard.
Showing her badge quickly.

RODGERS
Did you by chance know Margaret
Knoll?
CHORUS GIRL
Maggie? Yeah, I knew her. But I
didn't want to.

RODGERS
Did you see anyone suspicious
backstage the night she was
murdered.

CHORUS GIRL
Poor girl met the Ripper, didn't
she?
(laughing)
How would I know, I see gents in
capes every night.
RODGERS
Perhaps a man that didn't belong
backstage?
CHORUS GIRL
Well you don't belong back here! I
don't remember. The last time I
saw Maggie, she was talking to
George
(nodding toward the stage)
Our fearless Stage Manager --
They were having a big fight over
her leaving early. Said she was
going to be evicted if she didn't
see her landlady and pay her rent.
RODGERS
Where were they to meet?
 120
CHORUS GIRL
How should I know? I was getting
ready to go on stage. I just heard
the fight.
Chorus Girl adjusts her costume and gets up.

CHORUS GIRL (CONT'D)

Hey, I'm on ...
The Chorus Girl runs to the curtain with the other girls going on next.
Rodgers sees the MAGICIAN's ASSISTANT standing alone.

RODGERS
(Flashes her badge)
Pardon me, Inspector Rodgers,
Scotland Yard. Do you know
anything about Maggie Knolls? Are
you aware she was murdered?
MAGICIAN ASSISTANT
(smiling)
Maggie?
(sighing)
Poor Maggie.

RODGERS
What do you know about her?
MAGICIAN ASSISTANT
No one liked her. A stripper on
stage, a prude backstage. She was
a traditional woman until her
husband was killed in a mining
accident. She put her son in an
orphanage and came here.

Rodgers looks over to the entrance seeing Harrison with a bouquet of

flowers. A girl in the show comes up to him, kissing him.
RODGERS
(Pointing)
Do you know him?
MAGICIAN ASSISTANT
(Looking over at Harrison)
Don't know his name, but he always
gives flowers to the new girls in
the show.
Rodgers continues to stare at him. As he turns to exit, Harrison sees
Rodgers and gestures for him/her, then continues out the door.
EXT. SALOON - ALLEY - MOMENTS LATER
Rodgers exits the stage door into the alley. Harrison is there smoking.
He offers a cigarette to Rodgers.
HARRISON
Smoke?
Harrison gives Rodgers a cigarette, lighting it.
HARRISON
 121
Forgive me?
RODGERS
For what?
HARRISON
Scaring you.
RODGERS
Granger, please.
There is silence between them. Rodgers takes a puff, coughing her head off.

HARRISON
First?
RODGERS
(between coughs)
What gave me away?

Laughter turns to silence again. Harrison grabs Rodgers. Again Rodgers is

taken back by the intensity of Harrison's emotion. Rodgers backs away
fearfully.
HARRISON
(Backing away)
Sorry.

RODGERS
What do you want from me?

HARRISON
(Suddenly emotional)
You don't understand...
Harrison weeps as Rodgers looks on confused.

HARRISON
(Turning away and hiding
his face)
Don't look, please don't look.
Just go away.

Harrison tries to regain his dignity, turning away from Rodgers.

HARRISON (CONT'D)
Please...I beg of you...just go!

Rodgers, still confused, walks away.

FADE OUT/IN:
INT. HOUSE LIVING ROOM - EARLY MORNING
Emily, half disguised, has fallen asleep in a chair by the fireplace.
The door opens waking her up. It's Abberline, coughing and tired.
 122
EMILY
My god, where have you been?
ABBERLINE
There's been another murder.
Abberline coughs, Emily takes off his overcoat, guides him to his chair,
bringing him medicine.
EMILY
I'll make some tea...
Abberline smiles up at her.

ABBERLINE
Thank you.
(Pauses)
This time the body was found in an
abandoned building.
(Pausing again)
You'd think after seeing so many,
that it wouldn't be a bother for
me.
Abberline is silent, forlorn.
ABBERLINE (CONT'D)
If you could've seen her eyes.
Just like the last one. Strangely
content, trusting eyes.

Abberline gets up standing at the fireplace with his back to Emily,

thinking.
ABBERLINE (CONT'D)
What are we missing?

FADE OUT/IN:

INT. SCOTLAND YARD - CHIEF CONSTABLE'S OFFICE - DAY

Abberline and Rodgers sit at Williamson's desk. They are all looking
at the recent developments on a street map.

WILLIAMSON
The press is killing me. This
could cost me my position.
ABBERLINE
Inspector Rodgers and I are
continuing to gather valuable
information...
Williamson looks up to see through his office glass, Grimes talking to his
Secretary. His Secretary stands up approaching his office.
WILLIAMSON
Oh no...what now...
His Secretary opens the door.
SECRETARY
Excuse the interruption, sir, but
Inspector Grimes is insisting that
he speak with you.
 123
WILLIAMSON
On what matter?
SECRETARY
He said something about knowing who
the murderer is.

WILLIAMSON
Send him in!
The Secretary exits.
WILLIAMSON (CONT'D)
(to Abberline and Rodgers)
Let's see what he's on to...It had
better be good.
Grimes enters, somewhat subdued and more proper than usual.
GRIMES
Inspectors...I have some very
important information. It seems
that the woman that was murdered
last night was seen having an
argument with her estranged
husband. On my rounds this morning
I learned of a suicide. The man
was identified as her husband.
Grimes pauses for a reaction, none is given.

GRIMES (CONT'D)
...It seems quite possible to me
sir that this last murder was a
lover's quarrel...

Grimes pauses again.

GRIMES (CONT'D)
...It seems to me if the press were
to know this, it might take the
heat off of you for a bit...at
least enough to give the Inspectors
more time.
Williamson moves forward in his chair looking stoically at Grimes, then
looking at Abberline and Rodgers, suddenly smiling.

WILLIAMSON
Good work, Grimes! Brilliant!

GRIMES
(relieved, proud)
I'll call the press...

WILLIAMSON
No! I'll call the press.
Williamson gets up to lead Grimes out of his office.
WILLIAMSON (CONT'D)
But good work.
(pausing)
Do feel free to come to my office
 124
again if you have more news.
Williamson leads Grimes out the door. Grimes feels redeemed, his
arrogance returning in a cocky smile.
WILLIAMSON (CONT'D)
(under his breath to
Grimes)
Don't go overboard, you're still in
the dog house, there's just not as
many dogs, now.
Grimes's smile diminishes.

GRIMES
Yes, sir...thank you, sir.
Williamson walks back to his desk.
WILLIAMSON
This is perfect. Now if we can
prove the other murder was a
robbery or something, I'll be off
the hook, and the people of
WhiteChapel can breathe a sigh of
relief.

RODGERS
But it's not true.
WILLIAMSON
Of course it's true. You heard
Grimes.
ABBERLINE
Even if he is right about this one
murder, what about the others?

WILLIAMSON
Well the public doesn't have to
know. Then we can work behind the
scenes.

RODGERS
But the streets are still
dangerous.
WILLIAMSON
Not if we find him.
FADE TO:
INT. SALOON - NIGHT
Rodgers is at the bar looking over at Harrison sitting alone at his usual
table. She avoids going over to him, trying not to make eye contact. She
turns to take a drink of her whiskey, takes a deep breath changing her
mind, turning to walk to his table. Harrison doesn't see her, as she makes
her way through the Crowd. The stage show concludes and Rodgers is stalled
by a vigorously cheering Crowd throwing money. When she gets through to the
other side of the room, Harrison is gone. Looking over to the entrance she
sees him exit, then heads to the door herself.
EXT. - SALOON - STAGE DOOR - MOMENTS LATER
 125
Outside, Rodgers looks side to side for Harrison. She doesn't see him, but
she sees an ACTRESS exiting the Stage Door. Approaching her is a black
caped shadowy character – an all too familiar sight. Again as they pass, it
is two women. This time Rodgers follows them into the foggy night.
EXT. - ANOTHER RUN-DOWN BROTHEL - LATER

Rodgers watches the two women enter the brothel. From the street she sees a
light from a fourth floor window. Rodgers decides to enter the building.
INT. ANOTHER RUN-DOWN BROTHEL - CONTINUOUS
Inside, it is filthy. The stairway is filled with passed out DRUNKARDS. An
OLD DRUNKARD reaches out and grabs her foot as she passes.
OLD DRUNKARD
Help me, I'm dyin'...
Rodgers reaches down to release his hand from her foot.

OLD DRUNKARD (CONT'D)

Dyin' of thirst, that is...

The Old Drunkard laughs as Rodgers winces from the smell of his breath,
releasing herself from his grip, running up the stairs. Next she passes a
COUPLE having sex. Finally up on the fourth floor she sees the light from
under the doorway. Inside she hears voices. The TWO WOMEN are talking.

WOMAN ONE (O.C.)

Thanks for walking me home. You
can't be too careful.

WOMAN TWO (O.C.)

May I stay for a bit?
WOMAN ONE (O.C.)
Of course.

Emily concludes it's nothing and leaves down the stairs and past the
Drunkard.
INT. BROTHEL - FLAT - CONTINUOUS

Woman One takes off her coat and exits to the side room. Woman Two, from
behind we see her take off her cape, hat, and wig appearing from behind as
though she is really a man. Woman One re-enters surprised by the figure
facing her.

WOMAN ONE
You!

MAN
Surprised?
WOMAN ONE
What do you want?
The Man approaches a frightened Woman One embracing then kissing her. Woman
One, after an initial struggle, kisses back. She lays on her bed, he pulls
up her dress. He strips his clothes showing himself to Woman One, who is
suddenly horrified.
WOMAN ONE
You're not a man, your a woman!
(suddenly laughing)
 126
The jokes on me!
The Man becomes angry. He grabs her throat. Woman One struggles as the very
life is squeezed out of her. The Man pulls out a knife.
MAN
See now what it feels like!
Over and over again, he stabs her. He then slices open her genital area.

CUT TO:
EXT. STREETS OF WHITECHAPEL - CONTINUOUS

As Rodgers walks away from the Brothel she hears the front door OPEN and
FOOTSTEPS running away. Turning around quickly, Emily looks into the dark
foggy night then up at the
WINDOW OF THE FLAT

As an OLD WOMAN'S SCREAMS waking up the night.

GASLAMPS
are rapidly lit

FROM WINDOW TO WINDOW AS

The Old Woman leans out yelling.

OLD WOMAN
Murder! Murder!

RODGERS LOOKS
into the

DARK FOGGY NIGHT

Where the killer has vanished. Choosing a direction, Rodgers runs down the
cobbled street. Hearing the sound of a GARBAGE CAN FALLING behind her from
a distance, she runs towards it. She dashes around the corner into an
alley. She sees the spilled garbage can, still no killer. She walks slowly
towards it. Suddenly, a cat jumps out at her and she SHRIEKS from surprise.
Quickly swirling around, she bumps into a TALL POLICE OFFICER standing with
his hands on his hips. Again surprised, Rodgers GASPS.
TALL POLICE OFFICER
Damn cats! They're always messin'
up me streets.

Short of breath, heart pounding, Rodgers's regains her role as Rodgers.

RODGERS
There's been another murder.
TALL POLICE OFFICER
Murder?
RODGERS
Call more officers. Fourth floor,
around the corner.
The Tall Police Officer just stares at Rodgers in disbelief.
 127
RODGERS (CONT'D)
HURRY!
The CLICKING of the Tall Police Officer's boots against the cobblestone
streets and his WHISTLE fade as he runs off.
TALL POLICE OFFICER
(between whistles)
Murder! Murder!
As Rodgers becomes aware of blood drops on the ground. She bends to touch a
drop, smells it, smears it between her thumb and finger. Looking down the
alley, no one is in sight.

THE CAMERA MOVES IN ON RODGERS'S STARE.

MATCH CUT TO:
INT. HOUSE BEDROOM - LATER
Emily stares intently,

CAMERA MOVES BACK TO REVEAL

Her in bed as Abberline sits beside her holding a cup of tea.
ABBERLINE
Have some tea. Tea will help.
(pause)
Please say something.

EMILY
I should have stopped him.
ABBERLINE
(gently blowing on cup)
It's hot.
 128
EMILY
Why didn't I stay, pound on the
door, something.

ABBERLINE
(pouring cream)
Fresh cream will help you sleep.

EMILY
I let a woman die.
Abberline puts the tea cup on the bedside table.
ABBERLINE
Don't blame yourself.
EMILY
I left. Where was he? There were
two women in that flat. He must
have been watching me. It was so
fast. I had just gotten out to the
street. I heard his footsteps.
ABBERLINE
You were so close.
Emily's distressed eyes look at Abberline.

EMILY
What good is my being so close if
he got away again.

ABBERLINE
There must be something you
remember. Something
distinguishable.

Emily closes her eyes, remembering step by step.

EMILY
I couldn't see clearly. I heard
the footsteps, but I couldn't see a
thing through the fog. I wasn't
thinking clearly either.
Emily sits up in bed. Abberline drinks Emily's tea, coughs, looks intently
at Emily.

ABBERLINE
...the inner workings of a clock
can not be assumed by it's
face...nothing is as it appears to
be...
Looking down at Emily, her eyes winced shut trying to remember what
happened, Abberline realizes she needs comfort.
ABBERLINE (CONT'D)
Try to sleep. You'll think clearly
tomorrow Inspector.
Emily, eyes still closed, slowly relaxes her eyes and falls asleep.
Abberline pulls her blanket up and blows out the gaslamp.
FADE OUT/IN:
 129
INT. HOUSE LIVING ROOM - MORNING
Emily is sitting in Abberline's chair examining his time piece. COUGHING is
heard off camera, Emily looks up to see Abberline looking at her from the
hallway. Emily continues looking at the time piece. Abberline walks over to
the dining table pouring himself a cup of tea.

EMILY
Maggie Knoll met a woman at the
stage door the night she was
murdered, too. I saw her.
ABBERLINE
Yes, when you were waiting for
Grimes.
EMILY
I didn't see him leave the
saloon...

Emily continues to examine parts of the time piece on Abberline's work

table.

EMILY
I keep hearing the voices of the
women...so familiar...but I can't
place them.

Abberline sits in Emily's chair, a warm morning fire in front of him.

EMILY (CONT'D)
I'm going back to the Saloon
tonight. It's likely I've seen him
there.
ABBERLINE
Then it's likely that he's seen
you, too.

Emily closes her eyes, thinking.

ABBERLINE
Whoever the Ripper is, he knows you
as Rodgers. He's watching you
while you're looking for signs of
him. The Ripper loves to make
fools of the police.

EMILY
But the Ripper doesn't know me as
Emily.
Abberline smiles, leaning back in his chair, he takes a sip of tea.
 130
ABBERLINE
I hear you winding your clock. Go
on...

EMILY
What if I made myself the target
for Ripper by dressing as a show
girl?
ABBERLINE
I'm picturing it. Brilliant!
EMILY
I'll exit the stage door. If we're
right, he'll approach me.
ABBERLINE
If he's true to his pattern, we
know he'll want the murder to take
place in his victim's flat.
EMILY
I'll need a flat.
ABBERLINE
We can arrange for one in the
morning.

EMILY
I'll go into the Saloon as Rodgers.

ABBERLINE
Spread the word on how the police
have caught the Ripper and are
holding him for questioning. If
he's there he'll want to commit
another murder to prove Scotland
Yard wrong.

EMILY
Then I'll sneak back stage and
change into a show girl costume.
I've seen them backstage. There
are wigs, too. I'll dress like the
new blond actress, a perfect bait.
ABBERLINE
I'll be waiting in the shadows when
you exit the stage door. Start
walking. No matter what happens,
I'll be right behind you.
EMILY
You're too sick.
ABBERLINE
I can't risk losing you. I'll talk
to Williamson in the morning to get
some help.
 131
EMILY
Which means we have to bring
Williamson in on our plan.

ABBERLINE
He doesn't have to know Rodgers and
Emily are one in the same.

Emily pauses, thinking.

EMILY
I used to help my father on small
cases, but nothing this big.

ABBERLINE
You've grown up since then.
EMILY
Do you think he'd approve?

ABBERLINE
Yes, I do. His spirit will be
there to protect you.
FADE TO:

EXT. STREETS OF WHITECHAPEL - MORNING

A paper boy hands out headlines, "RIPPER MURDERS AGAIN!" Police

are at every corner on patrol. PEOPLE are huddled reading the news,
shaking their heads.

EXT. SCOTLAND YARD - MIDDAY

The shadows of the sun indicate the coming of the afternoon.

INT. SCOTLAND YARD - CHIEF CONSTABLE'S OFFICE - CONTINUOUS

Close-up of Grimes leaning over Williamson's desk looking at the street map
of murders and victim photographs. His eyes widen and a slight smile
creases his face. Williamson enters, surprised to see Grimes.

WILLIAMSON
Grimes...
GRIMES
Sir.
WILLIAMSON
What are you doing here?
GRIMES
Our two o'clock meeting.
Williamson pulls out his pocket watch, tapping it to see if it's working.
WILLIAMSON
Watch must have stopped...
GRIMES
Another job for Abberline.
Williamson walks around to the front of his desk. He looks down at a
photograph of a mutilated victim.
 132
WILLIAMSON (CONT'D)
Enough to spoil your appetite, heh?
GRIMES
Any luck, sir?
WILLIAMSON
I'll know soon. Abberline says
he's on to something.
GRIMES
I'll stick around then.

WILLIAMSON
What was it we're meeting about?
GRIMES
My position. I'd like to apply for
a promotion.

WILLIAMSON
On what grounds?

GRIMES
Attendance, promptness, test
scores.

WILLIAMSON
Grimes, this is hardly...
GRIMES
The time is perfect. With my
discovery of the robbery, it could
deflect the press from putting
pressure on you. I'm promoted
because of my discovery that the
recent murders are not by Jack the
Ripper.

There is a RATTLING noise as Abberline struggles with the door. Abberline

enters.

WILLIAMSON
Freddie! Come in. We were just
finishing up. Thank you Grimes.
We will discuss it further as the
day develops.
GRIMES
Of course, sir. I'll take that as
positive feedback.
WILLIAMSON
Right, right...
Grimes, looking pleased, exits.
 133
WILLIAMSON
I thought I'd never get rid of him.
Thanks Freddie.

ABBERLINE
My pleasure.

WILLIAMSON
I've laid out the locations and the
photographs. In this file are the
various suspects we've followed
over the last year and a half.
Now...

Williamson looks up at Abberline.

WILLIAMSON (CONT'D)
...tell me what this is all about.
There's nothing new here. What
have you got. The pressure is
getting worse. My job is on the
line.
ABBERLINE
Tonight, I'd like a couple of
officers stationed in this
location.

Abberline points to the map.

WILLIAMSON
You have a lead?

ABBERLINE
If you look at the murder
locations, he is starting the cycle
again.

WILLIAMSON
Cycle?
ABBERLINE
(pointing)
See? These first two murders are
in the same vicinity as the last
two.
Williamson observes.

WILLIAMSON
(looking at map)
So you think he's repeating
himself?
ABBERLINE
I think he's wanting us to think
that he is. So I'm playing along.
He loves to out smart us.
 134
WILLIAMSON
...and he has so far. So what's
your lead? I'm desperate for
answers.
ABBERLINE
I've enlisted the help of my
Assistant, Emily Miller, to act as
bait for the next murder.
WILLIAMSON
Your Assistant? Does she know how
dangerous this could be?

ABBERLINE
She knows. That's where your
officers come in. They've got to
wait at the Stage Door of the
Saloon and tail her without being
seen.
WILLIAMSON
I'll get every available officer on
duty tonight to watch her like a
hawk.
ABBERLINE
No. We can't be too present. Just
two and they've got to stay in the
shadows or they could blow the
whole thing.

WILLIAMSON
What about Rodgers? He could tail
her.

ABBERLINE
Rodgers will be inside the saloon.
If he leaves, the Ripper could get
suspicious, too. He'll spread the
rumor that Scotland Yard has
captured the Ripper. This will
drive him crazy.
WILLIAMSON
Perfect bait for him to strike. He
would never want it to appear that
Scotland Yard had the upper hand.
ABBERLINE
I'm gambling a bit. But I think we
have a good chance of nabbing him.

WILLIAMSON
My job depends on it.
ABBERLINE
Emily's life may depend on it.
WILLIAMSON
What if your scheme doesn't work?
 135
Abberline sits down, looks out the window to the streets below.
ABBERLINE
Then the Ripper wins and the
streets are his.
EXT. SALOON - NIGHT

Rodgers is standing in front of the Saloon. She walks to the side alley
where she eyes the UNIT OFFICERS waiting at the stage door, casually
chatting.
AT THE FRONT ENTRANCE

Emily/Rodger's eyes are determined as she looks up the stairs to the Saloon
door. Step by step she builds in her conviction that she will catch Jack
the Ripper. The light from the door beams intensely as the DOORMAN opens
it for Rodgers. MUSIC AND CHATTER resonate through her body as she enters.
INT. SALOON - CONTINUOUS
Emily/Rodger's eyes pan the Crowd from the bar to the stage to the private
table area where Harrison usually sits. His chair is empty.
WALKING THROUGH THE CROWD

to the bar, Emily/Rodger's feels strangely alone in her pursuit.

AT THE BAR
Emily examines all of the

FACES
wondering which one is the Ripper. Her eyes fix on Inspector Grimes in
unusually good cheer chugging pints with BLOKES at the far end of the bar.
Emily/Rodger's

FLASHES BACK
On the moment she was startled by Grimes on that rainy evening in the
streets of Whitechapel.

GRIMES
I didn't mean to startle you,
Rodgers.
(suspiciously)
It is Rodgers?
RODGERS
(composing herself)
Yes.
(catching her breath)
You did give me a bit of a scare.
What are you doing here?
GRIMES
Following up on a robbery and
assault incident. A bit difficult
in this weather. And you? Find
the Ripper, yet?
A DRINK SLAMS DOWN ON THE BAR
In front of Rodgers, snapping her consciousness
 136
BACK TO THE PRESENT
she turns to see Harrison beside her.

HARRISON
Tea in a whiskey glass still your
drink?
Rodgers stares into Harrison's eyes. She is speechless.

HARRISON (CONT'D)
Please, don't look at me so. Can
we please forget what happened?

RODGERS
I looked for you the other night.
You left.
HARRISON
(turning his eyes away)
Yes.
RODGERS
I wanted to talk with you.
A LOUD CHEER erupts at the far end of the bar. Grimes is dancing on the bar
in a chorus line with TWO WAITRESSES. Harrison and Rodgers look on.

RODGERS
I wonder what he's so happy about.

HARRISON
Didn't you hear? He got a
promotion for his fine detective
work.

RODGERS
(surprised)
Really.
HARRISON
The brilliance of Scotland Yard
strikes again.

Rodgers looks at a drunk Grimes. His voice escalates into BLURRY ECHOS in
her mind. A loud CRASHING OF GLASS drowns out his voice as Grimes falls
off the bar knocking down a shelf of glassware. The Bartender is furious.
BARTENDER
That's enough, mate. Out you go!
Rodgers and Harrison look on as TWO BURLY DOORMEN carry a very drunk Grimes
out the front door.
CUT TO:
INT. SCOTLAND YARD - MOMENTS LATER
Williamson is tapping his desk repeatedly from nervousness.
Abberline observes his watch ticking the seconds.
WILLIAMSON
I sent two unit officers to the
stage door. They're the best I've
got.
 137
ABBERLINE
Rodgers should be planting the
seeds by now. Emily should be
backstage soon. It's still early.
Williamson sits at his desk, eyes focused on Abberline.

WILLIAMSON
Do you really think this will work?
Abberline looks at his watch.
ABBERLINE
Only time will tell.
CUT TO:
EXT. STREETS OF WHITECHAPEL - NIGHT

Two UNIT OFFICERS stand their post on this damp, foggy night.
One lights the other's cigar then his own. They both take a puff.
UNIT OFFICER #1
Another wild goose chase if you ask
me.

UNIT OFFICER #2
I don't think the Ripper will fall
into anyone's trap. He's too
clever, that one.

The CLICK of boots on cobblestone are coming closer. The Unit Officers
quickly put out their cigars. The sound FADES AWAY.
UNIT OFFICER #1
(looking down the street)
False alarm.

They both breathe a sigh of relief that it's not the Ripper.
CUT TO:

INT. SALOON - MOMENTS LATER

Rodgers and Harrison are at his private table near the stage. The new
BLOND SHOW GIRL is doing a MUSICAL NUMBER. Harrison looks past Rodgers
eyeing her.

HARRISON
I'm leaving for Paris tonight.

RODGERS
Tonight?
HARRISON
One of Whistler's friends wants to
show my paintings.
RODGERS
Scotland Yard says they've got a
Ripper suspect for questioning.
Looks like they'll nab the Ripper
while you're away.
HARRISON
 138
Sorry to miss that. Anyone I know?
RODGERS
Can't say.
They're eyes meet.

HARRISON
Will I see you again?
RODGERS
I don't know.

HARRISON
I find you fascinating.
RODGERS
Like the girls on stage?

HARRISON
No. Not like that. That's
different.

RODGERS
You don't know me.

HARRISON
I know what I see.
RODGERS
Don't be so sure.

HARRISON
Nor you.
Harrison gets up to leave. Rodgers rises, too. Harrison pauses gazing at
Rodgers, he smiles, puts his hat on and leaves. Rodgers watches.

FADE OUT/IN:
INT. SALOON - BACKSTAGE - LATER

Rodgers walks backstage. She is not noticed in the hustle and bustle of
activities.
Rodgers sneaks into the dressing room, picking out a chorus girl costume.
She hides behind a rack in the corner changing her disguise to a chorus
girl in a blond wig. Leaving her detective clothes on the floor, she
re-emerges into the Crowd unnoticed.
CUT TO:
INT. SCOTLAND YARD - CHIEF CONSTABLE'S OFFICE - MOMENTS LATER
CLOSE-UP OF ABBERLINE'S WATCH
The two men sit quietly, their tension filling the room.
SWEAT FROM WILLIAMSON'S BROW
Drips down his face. Abberline is coughing into his handkerchief.
Williamson opens his window.
CLOSE-UP ON ABBERLINE'S WATCH
 139
Shows that an hour has past.
CUT TO:

INT. SALOON - BACKSTAGE - LATER

Emily mingles with the girls. A bouquet of flowers is handed
to her from the Door Keeper.
DOOR KEEPER
Here, these are for the blond.
You're blond. An admirer it says.

EMILY
Thanks.
Emily looks at the card. It just says "Admirer." She hands them to ANOTHER
GIRL.

EMILY
From an Admirer.
ANOTHER GIRL
You don't say. Too scared to show
his face? What I really need is a
drink.

Emily watches her as she walks away. Emily then puts on a coat
hanging on the rack. It's a little big, but it'll work.
CUT TO:

EXT. SALOON - STAGE DOOR - NIGHT

Emily exits Stage Door. As she walks, her shoes CLICK on the cobblestone.
From behind, she hears another set of footsteps CLICK simultaneously
on the cobblestone. Emily stops, someone grabs her arm, turning, it is a
HOODED WOMAN IN A BLACK CAPE.

HOODED WOMAN
Will you walk with me? I'm afraid
to be alone.

Emily's heart is pounding. She knows the Ripper is watching. She thought
she was ready for this moment, but her legs are shaking.
EMILY
Of course. It would do me good as
well.
Emily can't see the Hooded Woman's face in the darkness and shadows. She
knows the Ripper will be following. They walk together.
EMILY
Where are you headed?
HOODED WOMAN
I'm looking for a room. I've not
had a place since being evicted a
week ago. Perhaps I could stay
with you tonight.
EMILY
Of course. I'm headed to the
brothel a bit more East of here.
 140
HOODED WOMAN
I'd be most grateful.
Emily and the Hooded Woman walk together through the dark foggy streets.
With each CLICK of their footsteps, the tension builds. Emily wonders where
the Unit Officers are. The figures of the two women walk steadily, not a
word between them. An occasional gaslamp lights their way.

EXT. STREETS OF WHITECHAPEL - CONTINUOUS

Rounding a corner, Emily finally sees the two Unit Officers.
EMILY'S EYES

Watch the Unit Officers as she walks passed them. Inside she is wanting to
scream for help, but knows she must follow the plan she and Abberline have
laid out. Emily smiles to herself comforted by their presence. Emily tries
to appear calm, but to us, she is clearly nervous, yet determined.
CUT TO:
EXT. BROTHEL - CONTINUOUS

Emily and the Hooded Woman enter the Brothel.

CUT TO:
INT. BROTHEL - STAIRWAY - CONTINUOUS
Emily and Hooded woman walk up the stairs step by step passing
DRUNKARDS, PROSTITUTES, AND NEGLECTED CHILDREN.Sweat drops from Emily's
forehead onto the stairway. The room Abberline has arranged for is on
the third floor.
FADE TO:

INT. SCOTLAND YARD - CHIEF CONSTABLE'S OFFICE - MOMENTS LATER

Abberline and Williamson are tense. Abberline looks at his watch.

 141
ABBERLINE
Let's go. It's time.
WILLIAMSON
Right.
Abberline and Williamson leave his office. They pass Williamson's Secretary
on the way out, not losing a step.
WILLIAMSON
(to Secretary)
Send a messenger to 44 East
Whitechapel Street if you need me.
But only if it's more important
than catching the Ripper.
The Secretary responds as they hurriedly pass.
SECRETARY
Of course, sir. Good luck, sir.
Abberline and Williamson exit.

CUT TO:
INT. BROTHEL - HALLWAY - MOMENTS LATER
Emily and the Hooded Woman are at the door of a vacant flat on the
third floor.
INT. BROTHEL - FLAT - CONTINUOUS

Emily opens the SQUEAKY DOOR to the flat not knowing exactly what
she will find inside. There is a broken down bed, a gas lamp burning
on a table and two chairs. They enter. Emily leaves the door open,
the Hooded Woman closes it.

Emily takes off her coat, then faces the Hooded Woman.

A CLOSE-UP
Of Emily's frightened eyes. Her mouth dry with anxiety knowing the
Ripper is near.

WE ZOOM IN ON
The Hooded Woman as she slowly takes off her hood. Emily can not
believe

HER EYES
GASPING when she sees that the woman is a man and it is Granger
Harrison!
HARRISON
Surprised?
CUT TO:
FLASH BACK
Of Emily looking through the keyhole at the two women she
followed.
WOMAN ONE
 142
Please stay for a bit.
WOMAN TWO
I'd like that.
Emily leaves thinking it was nothing.

CUT TO:
PRESENT
EMILY
You! You're the Ripper!

Harrison moves toward Emily. Emily reacts abruptly pushing him back.
She moves away from him.
EMILY
No!

Emily composes herself. Harrison is stern. She must think fast.

Harrison moves toward her.

HARRISON
Don't be afraid, I'm your secret
admirer. You must have received my
flowers backstage tonight?
(stepping forward)
Flowers are what a woman wants from
a man, isn't it?

Emily scans the room for a weapon. She focuses on the gas lamp across
the room on a table.
HARRISON (CONT'D)
They smell like a woman, open like
a woman.

Harrison's controlled, psychotic anger builds as he walks toward Emily.

Emily moves toward the gas lamp. Her time is running out.
HARRISON
Afraid of love, are you?

EMILY
I'm not afraid...I didn't expect
this... I didn't know you were...
HARRISON
A man? How do you know that even
now?
Emily and Harrison have circled around like dogs just before a fight.
Harrison grabs Emily's wrist, whispers in her ear.
 143
HARRISON
You can trust me.
Emily winces to the touch of Harrison's tongue on her ear.
In one quick move Harrison spins Emily face first against the wall
taking hold of Emily's neck with his other hand.
Emily elbows Harrison's stomach stunning him. He bends over breathless.
Harrison becomes angry, lunging at Emily. They struggle, Emily's arms swing
fiercely. Harrison grabs her by the hair pulling her wig off. He steps back
in disbelief as he stares at Emily in amazement realizing that she is
Rodgers.

EMILY
You're not the only one with
disguises!
CUT TO:

EXT. RUN-DOWN BROTHEL - CONTINUOUS

Unit Officers #1 and #2 light cigars while above and behind them we
see the silhouette of Harrison and Emily in the third floor window.
UNIT OFFICER #1
Well nothing happening here.

UNIT OFFICER #2
Let's go around the corner and
check the other brothel.

The officers leave without turning around.

CUT TO:

EXT. ANOTHER BROTHEL AROUND THE CORNER - NIGHT

Abberline, Williamson, and a GROUP OF UNIT OFFICERS are prepared

for action.
ABBERLINE
They should have been here by now.
I'm going to take a walk. Maybe
she's still wandering the streets.
WILLIAMSON
We'll stay posted here. Shall I
send one of my men with you?
ABBERLINE
No, you'll need them here.
Abberline turns to go. Williamson grabs his shoulder turning him back
around.
WILLIAMSON
Here.
Williamson places whistle in Abberline's hand.
WILLIAMSON (CONT'D)
Use this if you need
reinforcements.
 144
BACK TO:
INT. RUN-DOWN BROTHEL - FLAT

HARRISON
What sort of joke is this?

EMILY
You're one to talk of jokes.
HARRISON
I thought you were different...

EMILY
I am different.
HARRISON
You betrayed me...you lied to me!

EMILY
And you? A murderer. A mutilator
of human flesh!

Harrison takes steps closer to Emily who backs up to the window.

Harrison grabs her, pressing her against the glass. He looks into her
eyes, he wells up in tears.

HARRISON
I thought you were like me!
His hands shaking, he grips her jaw almost breaking her neck.

HARRISON (CONT'D)
You're a woman of the worst kind!
You're the mutilator of hearts!

He whips out his knife.

MATCH CUT TO:

INT. 1860, LONDON, ENGLAND HOSPITAL - EARLY MORNING

A SURGICAL KNIFE
SURGEON
We're ready. Please brace the
child.
The Woman Assistant's face grows intense as she uses all her strength to
brace the child. Terrified, the Child watches while the Assistant straps
its ankles. The Surgeon's knife descends slowly toward the Child's genital
area until a BLOOD CURDLING SCREAM rings out from the Child who looks up
horrified, straight into the grimacing eyes of the Woman Assistant ...
MATCH CUT TO:
EMILY'S EYES
Emily let's out a BLOOD CURDLING SCREAM.
CUT TO:
EXT. RUN-DOWN BROTHEL - CONTINUOUS
Abberline looks up at the building in front of him hearing the scream.
 145
The glass of the window BREAKS. He sees a struggle, an argument.
ABBERLINE
(to himself)
My God, we're at the wrong brothel.
Abberline hobbles toward the building blowing the whistle. He stops
from a sharp pain in his chest.
CUT TO:
EXT. RUN-DOWN BROTHEL - AROUND THE CORNER - CONTINUOUS

One of Williamson's MAN #1 hears the FAINT WHISTLE.

MAN #1
Constable, the whistle!
Just then Unit Officers #1 and #2 arrive.
WILLIAMSON
Where is she? You were to follow
her!
Again, a FAINT WHISTLE is heard.

WILLIAMSON (CONT'D)
You fools!
Williamson and his MEN dash in the direction of the WHISTLE.

CUT TO:

INT. RUN-DOWN BROTHEL - FLAT - MOMENTS LATER

HARRISON
No one out wits the Ripper!

EMILY
I'm your friend, remember?
Rodgers. I'm the same person, just
different clothes.

HARRISON
Friend! You're just like all the
others.
EMILY
What others?
HARRISON
The women! At the hospital!
 146
EMILY
Hospital?
HARRISON
Don't pester me with questions!
You know what you did!

EMILY
Remind me.
HARRISON
You said you'd help me, you'd be
there for me, then you changed, you
strapped me down and I screamed for
you to help me!
EMILY
I'll help you now...
HARRISON
Help me now? Now is too late!
Harrison strips his clothes off showing his scarred genitals that are
neither male or female.
HARRISON (CONT'D)
See what you let them do to me!
Who am I? What am I? I'm less
than an animal! I'm stripped of my
humanity!

Emily is stunned by the sight.

HARRISON (CONT'D)
Now is too late for help. Now is
the time to strip you of yours.
You'll all pay, every last one of
you.

BACK TO:
INT. RUN-DOWN BROTHEL - STAIRWAY - CONTINUOUS

Abberline, still coughing and wheezing ascends the stairway one

step and one breath at a time.
BACK TO:

INT. RUN-DOWN BROTHEL - FLAT - CONTINUOUS

Harrison lunges at Emily who moves more quickly. He recovers and
lunges again falling on Emily, his knife accidently piercing his
side. Emily tries to get free.
HARRISON
You can't escape, I won't let you.
Harrison pulls the knife out of his side and with all of his might
swings the knife at Emily just missing her head getting his knife
stuck in the floor.
EMILY'S EYES
Are fierce with determination.
 147
BACK TO:
INT. RUN-DOWN BROTHEL - HALLWAY - CONTINUOUS

Abberline now on his last flight of stairs is drenched in sweat,

blood from his lungs dripping from his mouth. He tries to yell,
but barely gets a sound out. He drops the whistle which bounces
down three flights of stairs.
BACK TO:
INT. RUN-DOWN BROTHEL - FLAT - CONTINUOUS

Emily grabs the lit gas lamp on the table waving it at Harrison.
She swings it at him, he swipes it with his knife, breaking the glass.
Emily continues to hold the flame.
CUT TO:

EXT. RUN-DOWN BROTHEL - CONTINUOUS

Williamson and his men arrive on the scene.
WILLIAMSON
Surround the building. Don't let
the RIPPER escape!
BACK TO:
INT. RUN-DOWN BROTHEL - FLAT - CONTINUOUS

Harrison circles Emily who is still holding the flame.

HARRISON
Put the flame down. I want to talk
with you.

EMILY
Talk. I want to see your face when
you explain why you killed all of
those women.

HARRISON
They weren't women, they were
whores, the lot of them! Flaunting
betrayers! Less than human!
EMILY
Is that what I am to you? How am I
different now?
HARRISON
You're the worst of them. You
stole my heart and now I'm going to
cut yours out!
CUT TO:
INT. RUN-DOWN BROTHEL - STAIRWAY - CONTINUOUS
Abberline is pulling himself up the last step moving toward the door of the
flat.
BACK TO:
 148
INT. RUN-DOWN BROTHEL - FLAT - CONTINUOUS
Emily's eyes are fixed on the door hoping to see the Unit Officers
barging through. Under her feet, Emily feels the broken glass.
EMILY
Tell me more...I want to hear my
eulogy.
HARRISON
You'll be famous. You'll be on the
front page. They'll have the
details of your brutal murder by
Jack the Ripper.
EMILY
But what about your note. You'll
write the newspapers this time,
won't you?

HARRISON
You know me well.

BACK TO:
Abberline knocks the door in. Harrison backs away from Emily long
enough for Emily to toss the flame on him, setting his shirt on
fire, scorching his face.
Harrison SCREAMS in pain, rips off his fiery shirt, rolling on the
floor, putting out the flames.

Harrison grabs a piece of glass from the floor swiping it in front

of him to keep Abberline and Emily at a distance. Just as Harrison
leaps toward the window, Abberline throws his body toward him managing
to grab his ankle. Emily jumps on Harrison and the two fall half way
out the window.

CUT TO:
EXT. RUN-DOWN BROTHEL - CONTINUOUS

Williamson's Men see Emily and Harrison struggling outside the window.

HARRISON
I'll die with you, rather than let
you live!

EMILY
I'd rather perish killing you, than
allow you to mutilate one more
woman!
 149
Abberline loses his grip on Harrison's ankle. Harrison falls three
flights landing on the front awning. Emily manages to grip the window
pane. Abberline grips her arm.

Harrison slides down to the ground running. Emily yells still hanging
from the window held by Abberline.

EMILY
Hurry! The Ripper!
WHISTLES BLOW, Williamson's Men take off running.
INT. RUN-DOWN BROTHEL - FLAT - CONTINUOUS

Abberline pulls Emily inside. She is angry and frustrated. Pushing

Abberline to the side she screams out the window watching the Ripper get
away one more time.
EMILY
We had him! We had him!
FADE OUT/IN:

INT. SCOTLAND YARD - CHIEF CONSTABLE'S OFFICE - NEXT MORNING

Emily is staring intently out the window dressed as herself. Abberline
sits in a chair, Williamson at his desk.

Williamson slams the morning newspaper on his desk that reads,

"RIPPER ESCAPES SCOTLAND YARD."

WILLIAMSON
How could we miss him? The entire
fleet of Scotland Yard comes up
empty handed!

EMILY
I'll search all of England. We've
got to find him before he strikes
again.
WILLIAMSON
You forget that the Queen is a bit
outraged at your disguise.

EMILY
Outraged that I got away with it,
you mean.
ABBERLINE
Emily...
There is silence among them.
 150
WILLIAMSON
Freddie, you could have told me...
EMILY
It wasn't about deceiving you.
ABBERLINE
It was never about deceiving you.
It's always been about the
reputation of Scotland Yard. I
just wish it hadn't of ended like
this.
EMILY
If only I could have...
ABBERLINE
Emily, don't torture yourself.
He's gone. Whistler is saying he
left for Paris last night. There's
no way to prove him wrong.
WILLIAMSON
We didn't catch him. None of my
men got close enough to see his
face. So far, I have ten
conflicting descriptions of him
from witnesses.
(pause)
What's your watch say, Freddie?

Abberline checks his watch.

ABBERLINE
It's time.

WILLIAMSON
We won't prolong this. When my
replacement arrives we will all be
escorted out.
The three sit in silence, waiting.

EMILY
If only England would believe the
people in this room.
Through the glass door window is seen a group of OFFICERS arriving.
Williamson's Secretary enters.
SECRETARY
Your replacement is here, sir.
WILLIAMSON
(to Abberline and Emily)
Ready?
UNIFORMED OFFICERS enter clearing the way as the new Chief Constable
arrives. Grimes enters.
 151
WILLIAMSON
Grimes! You?
GRIMES
Chief Constable Grimes at your
service.

Williamson leaves in disgust. Abberline looks at Grimes to say

something, but decides the better. Emily stops in front of Grimes
looking him in the eye.
EMILY
You'll never know how close we
were. Never.
Emily exits, a puffed up Grimes watches as they leave.
FADE OUT/IN:

MONTHS LATER
EXT. CRUISE SHIP - MORNING
Emily is on the upper deck as the ship leaves the dock. Emily looks
out to the horizon as the wind blows in her face. In her hand is
Abberline's prized watch and chain. She opens it.
EMILY
Time finally ran out.
Emily closes the watch holding it against her heart, looking back
at the dock as she drifts away from England out to sea.

FADE OUT/IN:
EXT. STREETS OF WHITECHAPEL - MORNING

NEWSPAPER BOY is selling morning papers. There is a GENTLEMAN'S

VOICE from behind him.
GENTLEMAN (O.C.)
I'll take one, boy.

The Boy turns, looking up.

BOY
Yes, sir.
The Boy takes the two-pence then placing the newspaper in
THE GENTLEMAN'S HANDS
scarred from burns.
The headlines read, "RIPPER STRIKES AGAIN!"
From the newspaper to the Gentleman's face we see the scars of
Granger Harrison's mutilated face. He smiles glassy-eyed at the
boy. He folds the newspaper under his arm. Turning slowly, he
walks down the streets of Whitechapel.
 152
PAN TO
EXT. SCOTLAND YARD BUILDING

FADE TO BLACK.
THE END