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CAST
MAIN-:
THE DOCTOR
ACE
ALEXANDER PARKES
INSPECTOR ABBERLINE
CONSTABLE JOHN O'NEIL
SUPPORTING-:
DRUNK (EP. 1)
EMILY (EP. 1)
MARY NICHOLS (EP. 1)
POLICE DOCTOR (EP. 1)
PAPER BOY (EP. 1)
BARMAN (EP. 1)
ANNIE CHAPMAN (EP. 1)
MAN (EP. 1)
THE VALEYARD (EP. 3)
MARY KELLY (EP. 3)
POLICE CONSTABLES
SETS AND LOCATIONS
EXTERIORS-:
Back Street
Another Street
Main Street
Alley
Hanbury Street
Back Yard
Police Station
Another Alley
Side Street
Another Back Street
Dorset Street
INTERIORS-:
Lounge Room
Hallway
Kitchen
Bedroom
Bar
Police Station
Holding Cell
Police Hall
Ripper's Tardis
Kelly's Room
EPISODE ONE
(Setting: Whitechapel, England. 1886)
1. EXT. BACK STREET. NIGHT.
(LOUD CHEERS CAN BE
HEARD ISSUING FROM A
CLOSED DOOR OF A BAR,
ON A WET, OLD
COBBLESTONE STREET.
A DRUNK IS THROWN
OUT OF THE BAR AND
HE STUMBLES INTO
THE STREET.
HE MUMBLES ABUSE
TOWARDS THE OWNER
AND SLOWLY WALKS
DOWN THE STREET PAST
TWO WOMEN STANDING
UNDER A SINGLE GAS
STREET LIGHT.
THE WOMEN LOOK OLD
AND HAGGARD AND THEY
BOW TOWARDS THE
DRUNK. THE DRUNK
FAILS TO NOTICE THEM
AND CONTINUES DOWN
THE STREET. EMILY IS
POORLY DRESSED AND
SHE SEEMS COLD. MARY
HAS WARMER CLOTHING,
AND IS WEARING A NEW
BONNET.)
EMILY : Oh come on, Mary. Let's go
back into the bar. It's too cold out
here tonight.
MARY : No, you go ahead. I'll stay out
here a while longer.
EMILY : Are you sure?
MARY : Yes of course I am love. You go
along and have a nice night.
(EMILY MOVES DOWN
THE STREET TOWARDS
THE BAR.)
MARY : Emily!
(EMILY TURNS AROUND,
AND MARY POINTS TO THE
BONNET ON HER HEAD.)
Look what a pretty bonnet I got.
EMILY : I hope it brings you some
luck, dear!
(EMILY TURNS AWAY
AND ENTERS THE BAR.
MARY TURNS TO
LOOK UP THE STREET.
FROM BEHIND, A HAND
APPEARS AND TOUCHES
HER SHOULDER. SHE
SWINGS AROUND IN
SHOCK, BUT REALISING
CERTAIN BUSINESS,
CALMS DOWN.)
MARY : Can I help you, Guv?
(THEY BOTH WALK DOWN
A DARK SIDE ALLEY
AND OUT OF SIGHT.
A STRUGGLE CAN BE
HEARD, BUT IS QUICKLY
MUFFLED. A RIPPING
SOUND THEN FOLLOWS.)
2. EXT. BACK STREET. DAY.
(A LARGE CROWD HAS
GATHERED IN THE MOUTH
OF THE SIDE ALLEY.
THEY ARE BEING KEPT
BACK FROM THE ENTRANCE
BY A YOUNG CONSTABLE
JOHN O'NEIL.)
3. EXT. ALLEY. DAY.
(DOWN THE ALLEY INSPECTOR
ABBERLINE, A MAN IN HIS
MID FORTIES, IS BENDING
OVER THE BODY OF MARY.
ANOTHER CONSTABLE IS
PRESENT, AND SO IS A
DOCTOR.
ABBERLINE PLACES A SHEET
OVER THE BODY, AND MOVES
OVER TO THE CONSTABLE.)
ABBERLINE : Make sure you move the
body as soon as possible. We don't
want the crowd to see any of this
mess.
(ABBERLINE MOVES OVER TO
THE POLICE DOCTOR WHO
IS TAKING NOTES IN A
SMALL HANDBOOK.)
ABBERLINE : What do you make of it,
Doctor?
POLICE DOCTOR : It is one of the most
horrific things I have ever seen. The
injuries have been made by someone
who has considerable anatomical skill
and knowledge. There were no
meaningless cuts. I can't believe
anyone would have mutilated a woman
so. This murder in all its details is
inhuman, and could only have been
done by a bloodthirsty beast in human
shape.
ABBERLINE : Do you think there was
much of a struggle?
POLICE DOCTOR : Initially, yes.
However, the poor lass seems to have
been drunk, most probably with Gin,
and once the killer started to attack
the poor girl, she would have had
little chance. As you can tell by the
horrific injuries she sustained. Have
you any ideas who could have done
this?
ABBERLINE : Not as yet. But if what
you state is true, and the murderer
possesses considerable anatomical
skill, then all we have to do is find
all those in Whitechapel who are
skilled in anatomy. There can't be
many in this area, so I would think
my investigations are now very much
narrowed. I'm sure we'll have this
case cleared up in no time at all.
POLICE DOCTOR : What about the body?
ABBERLINE : It will be taken away as
soon as we can get this crowd to go
home.
POLICE DOCTOR : Well, the sooner the
better. The girl deserves a better
resting place than this alley.
(ABBERLINE MOVES TOWARDS
THE MOUTH OF THE ALLEY,
AND THE POLICE DOCTOR
CONTINUES TO WRITE NOTES
IN HIS HANDBOOK.)
4. EXT. BACK STREET. DAY.
(BEHIND THE CROWD, THE
TARDIS MATERIALIZES.
THIS GOES UNNOTICED BY
THE CROWD WHO ARE ALL
PEERING DOWN THE ALLEY.
FROM WITHIN THE TARDIS
THE DOCTOR AND ACE EMERGE.
THE DOCTOR NOTICES THE
CROWD AND PAUSES.)
THE DOCTOR : Ace.
ACE : Yes, Professor.
THE DOCTOR : Could you re check the
time period displayed on the TARDIS
console for me??
ACE : Sure.
(ACE RE-ENTERS THE TARDIS
AND THE DOCTOR SLOWLY
MOVES OVER TOWARDS THE
CROWD.
FROM WITHIN THE ALLEY
INSPECTOR ABBERLINE
MOVES TOWARDS THE
CROWD, WIPING HIS HANDS.
HE THEN INSPECTS THE
CROWD.)
ABBERLINE : There is nothing for you
to see here. I suggest you all
disperse and go home.
(THE CROWD TAKES LITTLE
NOTICE OF THIS AND
REFUSES TO MOVE.)
ABBERLINE : Did you hear me? I said go
home!
(STILL THE CROWD DOES
NOT MOVE FROM THE SCENE.
ABBERLINE TURNS TO
JOHN.)
ABBERLINE : Get rid of them, O'Neil.
JOHN : How Inspector?
ABBERLINE : I don't care how, just do
it!
JOHN : I'm only one man, Inspector. I
need a few more men to get them on
their way.
ABBERLINE : Look John, I've got the
mutilated body of a woman back here,
and a very limited number of men to
work with. If I had the proper number
of men under my command you would
have a couple of fellows to shift
this lot. But I haven't, so you'll
have to do your best. Is that clear,
constable?
JOHN : Yes, Inspector.
(AS JOHN TRIES TO
DISPERSE THE CROWD,
THE DOCTOR MANAGES TO
MOVE PAST HIM AND
CATCH UP WITH ABBERLINE
WHO HAS BEGUN TO WALK
BACK UP THE ALLEY.)
5. EXT. ALLEY. DAY.
THE DOCTOR : Excuse me, Inspector!
ABBERLINE : (TURNS TO FACE THE DOCTOR)
I'm sorry sir, the public is not
permitted within the crime scene.
THE DOCTOR : I'm the Doctor and -
ABBERLINE : Well, we've already got
the police doctor on the scene, sir.
You are not required.
THE DOCTOR : Could you tell me the
victim's name?
ABBERLINE : I beg your pardon, sir?
THE DOCTOR : I said, could you tell me
the victim's name?
ABBERLINE : The name of the victim
will be released in due course, and I
really don't see
THE DOCTOR : We are in Whitechapel,
London?
ABBERLINE : Do not play the fool, sir.
You know we are in Whitechapel.
THE DOCTOR : And the body is that of a
Miss Mary Anne Nichols, I presume?
ABBERLINE : May I ask where you got
that information from?
THE DOCTOR : Oh, from one of the
crowd.
ABBERLINE : I'm sure you did, sir. So
I can presume that you knew the
woman?
THE DOCTOR : Not personally. The year
is 1888 is it not?
ABBERLINE : Sir, you know it is 1886.
THE DOCTOR : Yes, but -
ABBERLINE : Look sir, I have a murder
to investigate, so I haven't got the
time to play childish games. Scotland
Yard wants to know what's going on,
and I have limited time and limited
men. So if you don't mind, good day.
THE DOCTOR : But all I want to know
ABBERLINE : Good day, sir!
(ABBERLINE MOVES FURTHER
INTO THE ALLEY. THE
DOCTOR BEGINS TO FOLLOW
ABBERLINE, BUT RECONSIDERS
AND DECIDES TO WALK BACK
TOWARDS THE STREET).
6. EXT. BACK STREET. DAY.
(ACE IS STANDING OUTSIDE
THE TARDIS TRYING TO
LOCATE THE DOCTOR.
THE DOCTOR WALKS PAST
JOHN WHO IS STILL
TRYING TO DISPERSE THE
CROWD, AND QUICKLY MOVES
BACK TO THE TARDIS.)
ACE : Where have you been, Professor?
THE DOCTOR : Never mind now Ace, what
was the time period displayed on the
TARDIS console??
ACE : Whitechapel 1886.
THE DOCTOR : How very odd.
ACE : Why?
THE DOCTOR : I'll tell you later. All
I know at the moment is that
something is dreadfully wrong.
ACE : Nothing new there! What's
attracted the crowd?
THE DOCTOR : There's been a murder.
ACE : Gordon Bennet! Let's go and get
a look.
THE DOCTOR : No, no, Ace. We have more
important things to do.
ACE : Oh come on Professor, what could
be better than this!
THE DOCTOR : Come with me Ace! It's
time I paid a visit to an old friend.
ACE : But
THE DOCTOR : No buts. Come on!
(THE DOCTOR AND ACE MOVE
OFF DOWN THE STREET. AS
THEY LEAVE, ACE CATCHES
THE EYE OF JOHN. HE
SMILES AT HER, AND ACE
SMILES BACK. THE CROWD
SURGES FORWARD AND JOHN
IS TEMPORARILY DISTRACTED.)
JOHN : Please stop pushing! You are
not permitted past this line! Please
go home!
(JOHN GLANCES BACK
TO WHERE ACE WAS, BUT
SHE HAS GONE.)
7. EXT. ANOTHER STREET. DAY.
(THE DOCTOR AND ACE
TURN THE CORNER AND
BEGIN TO WALK DOWN
A BUSY STREET. THEY
ATTRACT MANY GLANCES
AND STARES FROM PEOPLE
AS THEY LOOK OUT OF PLACE
IN THEIR NORMAL APPAREL.
DURING THIS WALK, THE
DOCTOR BUYS A PAPER
FROM A PAPER BOY
STANDING IN THE MIDDLE
OF THE STREET. THE
DOCTOR LOOKS AT THE
PAPER AND SHAKES HIS
HEAD. THE HEADLINE
READS "WHITECHAPEL
HORROR".
DEPOSITING THE PAPER
IN HIS BACK POCKET,
THE DOCTOR AND ACE
TURN ANOTHER CORNER.)
8. EXT. MAIN STREET. DAY.
(THE DOCTOR AND ACE
TURN INTO A MAIN
STREET, AND THE DOCTOR
HEADS STRAIGHT FOR A
HOUSE SITUATED HALF WAY
ALONG THE STREET.
THE DOCTOR PAUSES
OUTSIDE THE HOUSE
JUST LONG ENOUGH FOR
ACE TO CATCH UP.)
ACE : Where are we going, Doctor?
(THE DOCTOR PLACES
A FINGER TO HIS LIPS
INDICATING SILENCE.
HE THEN SMILES,
HASTILY WALKS UP THE
STEPS TO THE HOUSE,
AND KNOCKS LOUDLY
ON THE DOOR. ACE
SLOWLY FOLLOWS THE
DOCTOR'S PATH UP THE
STEPS.)
ACE : Professor, what -
(ACE'S QUESTION IS
INTERRUPTED BY THE
DOOR SLOWLY BEING
OPENED. ALEXANDER
PARKES, THE ENGLLISH
SCIENTIST AND INVENTOR
OF CELLULOID IN 1855,
IS ON THE OTHER SIDE OF
THE DOOR FRAME. HE IS IN
HIS SEVENTIES, AND IS
TOTALLY BAFFLED BY THE
TWO STRANGERS ON HIS
DOORSTEP.)
PARKES : Can I help you sir?
THE DOCTOR : It's me, Parkes. Don't
you remember.
PARKES : You'll have to do better than
that if you want me to remember you,
sir. My memory isn't what it used to
be.
THE DOCTOR : I'm the Doctor, Parkes.
The Doctor.
PARKES : Very good. Doctor who?
THE DOCTOR : Brown curly hair. Long
scarf. I helped you with the problems
you were having with your celluloid
experiments.
PARKES : Bless my soul! It's that
Doctor! You've changed again. Why, I
would never have known it was you.
Not after all this time. It's been so
long! But please, don't just stand
out there, come in, come in dear
friend.
THE DOCTOR : Thank you. (MOVING INTO
HALL) Oh, by the way, this is my
companion, Ace. Ace, this is
Alexander Parkes, the inventor of
celluloid.
ACE : Nice to meet you.
PARKES : Charmed I'm sure.
(ALL THREE MOVE INTO
THE HALLWAY AND PARKES
CLOSES THE DOOR.)
9. INT. LOUNGE ROOM. DAY.
(FROM THE HALLWAY,
THE DOCTOR ENTERS
THE LARGE LOUNGE ROOM
FOLLOWED BY ACE AND
PARKES.
THE ROOM IS FURNISHED WITH
A LOUNGE SUITE, DINNER
TABLE, AND BOOKCASES
IN 19TH CENTURY STYLE.
THERE IS A SMALL DRINKS
CABINET IN ONE CORNER,
AND A WINDOW NEAR IT.
THERE ARE TWO DOORS,
ONE LEADING TO THE
KITCHEN, AND THE OTHER
TO THE HALLWAY.)
PARKES : Please, do sit down, make
yourselves at home. (THEY ALL SIT)
Tell me Doctor, whatever happened to
that other lovely, sweet lass you had
with you last time?
THE DOCTOR : We have since parted
company.
PARKES : And I suppose it would be
hard to keep in contact with her
where you go.
THE DOCTOR : This is true.
ACE : Did you hear about the murder
Mr. Parkes.
THE DOCTOR : Ace, really!
(TAKES NEWSPAPER OUT OF
BACK POCKET AND PLACES
IT ON A TABLE)
We have only just arrived here, and
you want to bring up the murder. I
must apologise for my friend,
Alexander.
PARKES : No apology necessary, dear
fellow. As a matter of fact, I have
heard about it. Dreadful business
really. Who would do such a thing to
a woman?
THE DOCTOR : I have an idea.
ACE : Who Doctor?
PARKES : You mean you know?
THE DOCTOR : Oh no, of course not.
What I meant was, that I have an idea
what type of mind would do such a
thing. The mind of a predatory
animal, a demon crawling from the
dark shadows of the alleys called
Whitechapel. I have come in contact
with such types before.
PARKES : Steady on old thing. It's
only one murder.
THE DOCTOR : No. You don't understand,
Alexander. This madman will not stop
at just one murder. He will turn the
streets of London into a hunting
ground. This murder is the act of a
madman.
PARKES : Dreadful, just dreadful. They
should be rounded up. Every mad one
of them.
THE DOCTOR : Alexander, that's rather
a harsh judgment. Wee are all capable
of committing a murder not just
those who are insane. Labeling the
murderer a madman does not imply that
he must have escaped from an asylum.
Why, even you and I have the ability
to kill.
PARKES : Even so I -
THE DOCTOR : Alexander, my friend here
has a great interest in celluloid.
PARKES : Oh really! How delightful.
Come and I'll show you some of my
experiments my dear.
(ACE IS SURPRISED BY THE
SUDDEN BURDEN THE DOCTOR
HAS THROWN HER WAY, AND
GLANCES OVER TOWARDS HIM.
THE DOCTOR SMILES AND
NODS HIS HEAD FOR HER TO
CO-OPERATE.)
ACE : Maybe later, Mr. Parkes.
(THE DOCTOR THROWS ACE
A LOOK OF DISGUST, AS
SHE FAILS TO CO OPERATE.)
PARKES : Of course, you must be worn
out from your trip. Relax a while,
and recover. Meanwhile Doctor, I must
thank you again for your help with
the celluloid idea, it's starting to
become rather popular if I may say
so.
THE DOCTOR : Well that is good news.
PARKES : Could I offer either of you a
drink?
THE DOCTOR : Thank you, Alexander. A
drink would be lovely, but nothing
alcoholic. Ace and I both have to
keep on our toes.
(PARKES MOVES TO THE
DRINKS CABINET AND
POURS BOTH THE DOCTOR
AND ACE A DRINK.)
PARKES : This should help you both
recover from your journey. (HANDS
THEM THE DRINKS)
THE DOCTOR : Tell me Alexander, the
year is 1888, is it not?
PARKES : (laughs) That machine still
giving you trouble, Doctor? The year
is in fact 1886.
ACE : That's what the TARDIS said,
Doctor.
THE DOCTOR : But it can't be.
ACE : Why not Professor?
THE DOCTOR : This is indeed a most
baffling problem.
PARKES : I'm sorry Doctor, but as
usual, I don't quite follow you.
THE DOCTOR : I am baffled, Alexander,
by the Whitechapel murder.
PARKES : Yes, well who isn't I ask
you? It's baffling everyone so I
hear. I haven't been to the scene
myself, I try to keep away from those
areas, but it's been the talk of the
street all morning! They say the
murder is being compared to the play
that has just opened at the Lyceum.
Mansfield's, "Doctor Jeckyll and
Mister Hyde". Have you seen it yet
Doctor? I believe my neighbour across
the road was one of the first to
THE DOCTOR : Alexander, could I ask
you a small favour?
PARKES : Name anything Doctor.
THE DOCTOR : Ace and I will be
spending a few days in this area, as
I have a bit of unfinished business
to do, and I'm wondering whether or
not -
PARKES : Why of course, the answer is
yes my dear chap. You can stay here
as long as you wish. I've got many
inventions that I am having troubles
with if you find you have the time
for some tinkering.
THE DOCTOR : Well, I'm afraid we shall
be quite busy.
ACE : Doing what?
THE DOCTOR : You'll see.
(THE DOCTOR MOVES TO
LOOK OUT THE WINDOW)
From here, I can keep an eye on
Whitechapel.
PARKES : What the devil would you want
to do that for?
ACE : What's worrying you Doctor?
THE DOCTOR : Nothing Ace, nothing!
(QUIETLY TO HIMSELF) There is
something dreadfully wrong here.
PARKES : Sorry old friend, I didn't
quite hear that last sentence. My
hearing is not as it used to be.
THE DOCTOR : (MOVING BACK TO CHAIR)
"Sometimes the Devil is a Gentleman."
a quote from the poet, Shelley. I
wonder if you have any clothes we
could borrow, as we look rather out
of place in these.
PARKES : No problem, Doctor. You can
borrow some of mine, and I'll just
pop over to number 21 to see if I can
borrow a dress for your lovely
friend.
(PARKES LEAVES THE
LOUNGE ROOM)
ACE : What do I have to wear those
awful things for. I'm happy with what
I've got on.
THE DOCTOR : Because Ace, we'll blend
in with the crowd better. And that's
exactly what I want to do.
ACE : I blend in fine already! No one
noticed me, they were all looking
down that alley -
THE DOCTOR : Ace!
ACE : Oh alright,, I'll wear the stupid
things.
(THE DOCTOR MOVES BACK
TO THE WINDOW. ACE
FOLLOWS HIM AND LOOKS
OVER HIS SHOULDER.)
ACE : What's troubling you, Professor?
THE DOCTOR : Ace, this murder of the
girl Nichols, happened in 1888! Now
everyone around here, including the
TARDIS, states the year is 1886.
Something is wrong, and we've got to
find out what it is.
ACE : Does it really matter that much?
What difference does it make if she
was killed in 1886 or 1888? It's only
one murder.
THE DOCTOR : It matters to me! It's
not so much what difference this
murder makes, Ace. I can't save that
woman now. But I do know that this
woman has been murdered two years
earlier than she should have been. We
are in the stalking grounds of the
most notorious and elusive killer of
all time. Jack the Ripper is out
there somewhere, two years earlier
than he should be. I'm not worried
about what has happened, I'm worried
about what could follow.
10. INT. LOUNGE ROOM. NIGHT.
(THE DOCTOR, ACE AND
PARKES ARE SITTING
AT THE DINNER TABLE
HAVING JUST FINISHED
DINNER.
THE DOCTOR AND
ACE ARE NOW IN PERIOD
DRESS. THE DOCTOR IS
DRESSED IN A DARK SUIT
AND ACE IS DRESSED IN A
LONG, CREAM EVENING DRESS.
PARKES IS DESPERATELY
TRYING TO SHOW THE DOCTOR
ANOTHER ONE OF HIS NEW
INVENTION IDEAS. THE DOCTOR
LOOKS UNINTERESTED AND
NERVOUS. HE PLAYS WITH A
HALF FILLED GLASS. ACE
WATCHES PARKES SKEPTICALLY.)
PARKES : The trouble with the idea, my
friend, is that the system seems to
fall down in the middle somewhere, I
think. There just doesn't seem to be
enough strength to hold the package
together. What do you think? (THE
DOCTOR DOES NOT ANSWER) Doctor? I do
hope I'm not boring you.
THE DOCTOR : Oh no no no, Alexander! I
just have a few things on my mind
that I have to take care of. I'm sure
you'll understand if I ask for some
time to myself.
PARKES : Well, I suppose I have little
choice. There will be other
occasions.
THE DOCTOR : Yes. That's the spirit,
Alexander!
(THE DOCTOR, WITH HIS
DRINK, MOVES FROM
THE TABLE OVER TO THE
WINDOW, AND LOOKS OUT
INTO THE NIGHT.
ACE MOVES INTO THE DOCTOR'S
CHAIR.)
ACE : Hey Alex., wouldn't the whole
system work better if you used
electricity?
PARKES : I'm sorry dear girl, I'm
afraid you can't do that. How would I
harness this electricity anyway? I
have read people are experimenting
with electrical currents, but I am
not familiar enough with the topic to
do any experimenting of my own. How
do you suggest I harness this power?
ACE : Stick it in a power point.
PARKES : A what? What are you talking
about, girl? Really Doctor, where did
you pick this one up from? Some far
off galaxy.
THE DOCTOR : (TURNING TO PARKES) She's
from this planet's future actually.
But that may as well be another
galaxy in your eyes. (TURNS TO
WINDOW) So many things change in the
short years between your earth and
hers. (TURNS BACK TO PARKES SMILING)
But I like to think I have taught her
most of what I know.
PARKES : Oh no, one of you is quite
enough, Doctor. I don't think I could
handle another.
(ALL THREE LAUGH. THE
DOCTOR TURNS BACK TO THE
WINDOW. HIS SMILE CHANGES
INTO A WORRIED FROWN.
THE DOCTOR LOOKS DOWN
AT HIS WATCH, PAUSES FOR
A SECOND, THEN PLACES HIS
DRINK ON A TABLE NEARBY
AND HEADS FOR THE DOOR.
ACE NOTICES HIS
MOVEMENTS.)
ACE : Where are you going, Doctor?
(THE DOCTOR DOES NOT
ANSWER, AND MOVES INTO
THE HALLWAY.)
11. INT. HALLWAY. NIGHT.
(THE HALLWAY HAS A FLIGHT
OF STAIRS LEADING TO
THE BEDROOMS. A HAT RACK
IS SITUATED NEAR THE FRONT
DOOR AND CONTAINS VARIOUS
HATS AND A CAPE.
THE DOCTOR GRABS HIS
CAP AND CAPE AND MOVES
TO THE DOOR.
ACE MOVES INTO THE
HALLWAY FOLLOWED
CLOSELY BY PARKES.)
ACE : Doctor, where are you going?
PARKES : Yes, old chap, it's not the
time to be walking the streets.
Especially with that murderer out
there.
(THE DOCTOR OPENS THE
DOOR AND STOPS.
HE TURNS BACK TO THEM.)
THE DOCTOR : Parkes, Ace, I have
something important I must do
ACE : Well, I'm coming too.
THE DOCTOR : And it must be done
alone. Ace, I want you to stay here
ACE : But Professor -
THE DOCTOR : Parkes, I want you to
take care of Ace for a while. I
shouldn't be very long, but whatever
you do, don't let her out after me. I
have something to take care of, and I
must do it myself.
PARKES : Well...whatever you say,
Doctor. Don't worry, the girl will be
fine with me.
ACE : But Doctor, I want to come with
you.
THE DOCTOR : Ace, I haven't got time
to argue
ACE : Good. Then I can come then?
THE DOCTOR : No! For once in your life
do what you are told to do.
(THE DOCTOR STEPS OUTSIDE,
GRABS THE DOOR AND CLOSES
IT BEFORE EITHER PARKES
OR ACE HAVE TIME TO SAY
ANYTHING ELSE.)
ACE : I don't believe it. What's got
into him.
PARKES : Well, I'm afraid he's right
Miss Ace. The Whitechapel area is no
place for a woman of your age at this
time of night.
ACE : I can take care of myself.
PARKES : I have no doubt you can. But
there is evil out in those streets.
And I have a feeling it will take
more than strength to conquer it.
Shall we move back into the lounge?
(PARKES AND ACE MOVE
BACK INTO THE LOUNGE
ROOM.)
12. EXT. BACK STREET. NIGHT.
(THE BAR, SEEN AT THE
BEGINNING OF THE EPISODE
IS STILL A HIVE OF
ACTIVITY. PEOPLE ARE
COMING AND GOING IN
REGULAR INTERVALS. MOST
OF THE MEN EITHER LEAVE
THE BAR DRUNK OR WITH A
WOMAN COMPANION. CHEERS
AND SINGING CAN STILL BE
HEARD FROM WITHIN.)
13 . INT. BAR. NIGHT.
(THE SMOKE FILLED BAR
IS CROWDED WITH PATRONS
ALL WITH DRINKS IN THEIR
HANDS. A PIANIST IS
PLAYING A TUNE MANY TRY TO
SING ALONG WITH.
THE DOCTOR ENTERS
THE BAR TOTALLY OUT
OF BREATH. HE BEGINS
TO SEARCH THE BAR.
HE CAUSES SOME
DISTURBANCE WHEN HE
BEGINS TURNING WOMEN
AROUND, AND PUSHING
PEOPLE OUT OF THE WAY,
TO LOOK AT THEIR FACES.
AFTER CHECKING MOST OF
THE WOMEN IN THE BAR,
THE DOCTOR MOVES QUICKLY
TO THE BARMAN.)
BARMAN : What'll it be, Guv?
THE DOCTOR : No no, I don't want a
drink.
BARMAN : Well that's all we sell.
THE DOCTOR : I'm looking for a woman.
BARMAN : There's plenty around here,
Guv. Take your pick.
THE DOCTOR : You don't understand. I'm
looking for Annie Chapman!
BARMAN : Oh Annie! Well sorry Guv.,
you've just missed her. She left here
a few minutes a go. Why not pick
another one?
THE DOCTOR : No, I must find the
Chapman girl. Did you see in which
direction she was headed?
BARMAN : Sorry, can't help you there.
I just saw her leave. Didn't take any
notice after that. Although I do know
you can usually find her near Hanbury
Street.
THE DOCTOR : Thank you for your help.
BARMAN: No trouble at all.
(THE DOCTOR TAKES ONE
LAST LOOK AROUND THE
BAR BEFORE RUSHING OUT
THE DOOR.)
14. EXT. HANBURY STREET. NIGHT.
(AN OLD, WELL BUILT WOMAN
SLOWLY MOVES DOWN HANBURY
STREET, WHISTLING TO
HERSELF. ANNIE APPROACHES
A HOUSE WHICH HAS A SIGN
IN THE WINDOW READING
"LODGINGS". ANNIE
PAUSES FOR A MOMENT,
THEN MOVES TO THE DOOR
OF THE HOUSE, AND KNOCKS
ON IT.
THE DOOR IS OPENED BY
A ROUGH LOOKING MAN,
WHO STUDIES ANNIE FOR
A MOMENT.)
MAN : Can I help you, lady?
ANNIE : I would like to sleep inn your
lodgings tonight, sir.
MAN : Well, I don't really know. We're
already overcrowded.
ANNIE : It would only be for tonight,
sir.
MAN : Have you got eight pence?
ANNIE : I must admit that I do not,
sir. Sorry, sir.
MAN : Well, you can't stay here then.
These places aren't free for the
likes of you, you know.
ANNIE : Please sir, it would just be
(THE MAN SLAMS THE DOOR
IN ANNIE'S FACE. SHE HITS
THE DOOR IN ANGER, BUT
THEN CALMS DOWN AND
CONTINUES HER WALK
ALONG THE STREET.
SHE BEGINS TO WHISTLE
ONCE AGAIN.
SHE WALKS TO A STREET
LIGHT AND STOPS
BENEATH IT.
AS SHE WHISTLES, SHE FAILS
TO HEAR THE FOOTSTEPS
APPROACHING.
AS THE FOOTSTEPS BECOME
LOUDER, SHE STOPS
WHISTLING AND REALISES
SHE COULD HAVE A CLIENT.
SHE STRAIGHTENS HER DRESS
AND HAT, AND GESTURES
TOWARDS HIM.)
ANNIE : You looking for me, sir?
(THE DARK FIGURE TAKES
HER BY THE ARM, AND
SLOWLY MOVES HER INTO
A BACKYARD.
ONE SHORT, SHARP SCREAM
IS HEARD, BUT IT IS CUT
OFF BY THE SOUND OF
RIPPING.)
15. EXT. BACK YARD. NIGHT.
(WHEN THIS ATTACK HAS
FINISHED, THE DARK
FIGURE SITS BACK ON HIS
HAUNCHES AND HIS FACE
CATCHES THE LIGHT FROM
THE STREET. IT IS THE
DOCTOR.)
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