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Your's truly, Jack the Ripper
Scene 1: WHITECHAPEL, LONDON
(TREVOR MARRIOTT enters stage right in a suit and holding a briefcase. A chair is set down on the middle of the stage. He sits down. He looks solemn).
Trevor Marriott
We are here in the notorious Whitechapel, London. Beautiful, isn't it? This place is a vibrant, multicultural district with many traditional pubs and curry houses. No one would ever suspect that some the most famous gruesome murders occurred here. But before I go on with our story, might I introduce myself. My name is Trevor Marriott. I am a British detective who has been investigating, as you would call it; Jack the Ripper murders. I was denied access to uncensored documents surrounding the case. But...I luckily was able to receive some information.
(He stands up, picks up the chair and starts walking towards stage right. He stops at the far end of stage right. MARY stumbles from stage left).
Trevor Marriott
We start this story with Mary Ann Nichols, the first victim of Jack the Ripper. She was quite a beautiful woman, quite a lot to live for too. She had five beautiful children- 2 daughters and 3 sons. She was wed to the handsome William Nichols. Her roommate was the last person to see her alive at 2:30am; an
hour before her death at the corner of Osborn Street and Whitechapel Road. (Exit stage left)
(MARY stumbles over to stage right. She’s drunk and starts singing London Bridge. She slurs her words.)
Man
(Yells) Ey! Bugger off will ya?! I’m trying to sleep here!
Mary
Hey, stuff it old man!
Man
Keep ya legs closed ya filthy prostitute!
Mary
(Mumbles)Stupid, stupid, stupid. (She starts muttering drunken nonsense).
(MARY drunkenly laughs and exits stage right. A few seconds later she screams off stage. It grows quiet. TREVOR MARRIOTT enters stage left as CHARLES ALLEN CROSS explains what he saw off stage).
Charles Allen Cross
She looks to me to be either dead or drunk, but for my part, I believe she's dead.
Trevor Marriott
A carman; Charles Allen found Nichols’ body on August 31, 1888, the day after she was murdered. She was found laying on the ground in front of a gated stable entrance in Buck’s Row. The news of the murder had spread quickly. Her throat was slit twice, her abdomen mutilated with a deep jagged wound, and three or four similar cuts on the right side and several incisions across the abdomen. I told you, these murders are gruesome. And it's just the start.
(TREVOR exits stage right).
Scene 2: HANBURY STREET, Whitechapel
(ANNIE CHAPMAN lies in the middle of the stage, dead. TREVOR MARRIOTT enters stage right. He is carrying a magnifying glass and walks towards ANNIE and inspects the body. ELIZABETH LONG and POLICE #2 enter stage left).
Trevor Marriott
Annie Chapman. Another beautiful woman, dead. She was last seen talking to a man in this very backyard. Mrs. Elizabeth Long, a witness describes him for us now.
(ELIZABETH and POLICE #2 don’t see TREVOR).
Elizabeth Long
He was over forty, a little taller than Annie, with dark hair. He was wearing a deerstalker hat and dark overcoat.
(POLICE #2 nods and exits stage right with ELIZABETH)
Trevor Marriott
Annie’s body was discovered just before 6am on the morning of September 8th, 1888 by a resident, John Davis.
Trevor Marriott Con’t
Annie’s murder was quickly linked to Mary Ann Nichols’ murder a week previous. Dr. George Bagster Phillips describes the body as being horribly mutilated and that there was no evidence of a struggle having taken place. Chapman’s intestines have been thrown out of her abdomen over each of her shoulders. The morgue examination revealed that part of her uterus was missing.
(TREVOR exits stage right).
Scene 3: WHITECHAPEL POLICE STATION
Trevor
The name “Jack the Ripper” was given by the police on Sept. 17, 1888. Police followed up on the case, but there wasn’t enough of them. Major Henry Smith... (HENRY SMITH enters stage right) a commissioner of the Whitechapel city police station brought Detective Edmund Reid to join the case. (EDMUND REID follows HENRY). Edmund Reid was the head of the CID, the criminal investigation department, before he was brought onto the case. (Exit stage right)
Edmund
Sir, sir, please. I need to be back with my people. I don’t have time for silly nonsense. We got a good case back in- in the Metropolitan area.
Smith
Nonsense? You’re calling this case nonsense? Two women were brutally murdered. The same way! So I suggest you get your head out of your arse long enough to find the killer.
Reid
Y-yes sir. How long will this take exactly?
Smith
Longer if you keep standing around. Get it done, Reid! You have until January.
Reid
Yes, sir. Is there anything else I should know? Any case files?
Smith
(Drops a file on REID’S desk)
A letter was sent on September 27th. It’s called the “Dear Boss” letter. (SMITH starts to exit stage left).
Reid
What do I call this man, sir?
Smith
Well, we call him “Jack the Ripper”.
Reid
“The Ripper”?
Smith
(Exits stage left, ignoring REID)
Just get it done, Reid.
Reid
Yes, sir.
(EDMUND exits stage right).
Scene 4: Whitechapel Police Station
(Two desks and chairs are in an office.)
Trevor
(Enters stage right)
Two other women were murdered in the early morning of Sunday the 30 of September, 1888. Elizabeth Stride and Catherine Eddowes. The four murders were done by the same method. Their throats were sliced open, and mutilations to the abdomens.
(Exits stage right).
(EDMUND enters stage left)
Edmund
(Mumbling) Saucy Jacky. Saucy Jacky. Dammit. Ok...Ok. (He sits down). “Saucy Jacky” postcard. Sent October 1st. (Opens postcard and reading it).”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.” The handwriting is similar to the “Dear Boss” letter. Mentions that the two victims were killed very close to one another. Obviously refers to the murder of Strides and Eddowes. And-
(SMITH enters stage left).
Smith
Reid! The new letter came in. The “From Hell” letter. This man doesn’t know what the hell he’s doing. He’s leading us straight to him.
Edmund
Do people think they’ve already got ‘em?
Smith
Hell no! My men over on the westside ain’t got shit! Praying that you got him in the bag. Better yet a body bag.
Reid
Ok...sir. And what would you like me to do? Track the letter from the original source? Check the postal service?
Smith
Ha! No. Run analysis on the letter. Look it over and see if it’s similar to the others. Remember, Reid; your job is on the line. Don’t mess it up! (Exits stage left).
(REID places his head in his hands and shakes his head).
Con’t
(Two desks and chairs and placed next to each other. REID is at a desk writing about the “From Hell” letter. He’s frustrated.)
Reid
“Sor, I send you half the kidney I took from one woman and preserved it for you tother piece I fried and ate it was very nice. I may send you the bloody knife that took it out if you only wait awhile longer.” (He sighs out of frustration). Oh, god. What does this even mean?
Smith
(Offstage) Hurry up, kid! C’mon now! Let’s go! (Enters stage left.)
Bond
Right. Sorry, sorry. (Runs after SMITH trying to catch up.)
Smith
Sir.
Bond
Yes?
Smith
No, no. You address me as “Sir”. Not “Henry, or “Smith”. It’s sir. I’m not your friend. I’m your boss. I’m in charge. Got it?
Bond
Yes...sir. Yes, sir.
Smith
Since you moved up the case, you’ll be working with our finest. Detective Reid. Reid, this is Detective Bond.
Reid
Hello, there. (He goes back to writing).
Smith
Reid will be showing you the ins and outs of this case. I expect you boys to find him soon. (Exits stage left).
Reid
Yes sir.
(BOND awkwardly takes a seat next to REID. He fidgets with his hands.)
Bond
Hello. My name is Thomas. Thomas Bond. Mr. Smith-sir called me Bond. But my first name is Thomas.
Reid
(Chuckles) Mr. Smith? Kid, when he’s not around, we refer to him as “Jack the Ass”. Not Smith.
(BOND laughs feeling more comfortable. REID goes back to writing).
Bond
Oh! I get what you did! (He laughs)
Reid
(Sarcastically) Yeah. Wow.
Bond
What’s your name?
Reid
Edmund. Edmund Reid. I was the head of the CID.
Bond
Oh! Um… that’s nice. Did you work in the east or the west village?
Reid
(Laughs annoyed). Man, you sure do ask a lot of questions, kid. What do you want to know next my favorite color?
Bond
No. B-but mine is grey.
Reid
Whatever. (REID goes back to writing again. BOND fidgets with his fingers).
Bond
So...are we just going to sit here...or?
Reid
Well, I was just getting this last thing done before I head home. You’re welcome to stay. Look at the letter some more.
Bond
Oh. Um, where’s the letter?
Reid
Here. (Places “From Hell” letter on BOND’S desk.)
Bond
Thanks. Uh...Have a good night!
Reid
(Exits stage right)
Bond
(Sarcastically and disappointed) I think that went well.
Scene 5: Edmund’s home
(REID enters stage right. His wife, EMILY JANE is waiting for him.)
Reid
I’m home! (He walks up to his wife).
Emily
Elizabeth is in bed. She missed you tonight.
Reid
I’m sorry. I had to work late. Smith was making us stay later tonight. We had another letter from The Ripper.
Emily
Another? What is this? The third letter? What was this one about?
Reid
Well, The Ripper claimed to have fried and eaten half of a kidney.
Emily
Gross.
Reid
Yeah, so, I don’t know what to do. I got a partner though. His name is Thomas Bond.
Emily
That’s great!
Reid
He’s ok. He’s on the young side.
Emily
Edmund, you know you need all the help you can get. You need to solve this case.
Reid
Right, because if I don’t, I lose my job. And if I lose my job, we have no money.
Emily
Edmund w-
Reid
No! Emily! I need this job. We go to bed hungry every day. I don’t want our daughter to have this life. She needs better. We need to give her better. If I solve this case, I can get a raise. Possibly a promotion.
Emily
Edmund. Maybe it’s time for me to get a job. I can work at the flower shop down the street. Or at the bakery. I can send Elizabeth to my parents’ house for the day.
Reid
No. No. You don’t need to get a job. You could sell some of our clothes. We only need a few articles of clothing, right?
Emily
Edmund! We are not selling our possessions!
Reid
Clothes aren’t sentimental possessions, Emily. It’s not like I’m selling your grandmother’s watch.
Emily
I just don’t understand why I can’t get a job.
Reid
Maybe because I don’t want you on the streets when a murderer is out there killing women!
Emily
Yes! Prostitutes, Edmund! I’m not a prostitute!
Reid
I never said you were!
Emily
(Softly) You implied it.
Reid
I just want you and Elizabeth to be safe.
Emily
I understand. What time will you be home tomorrow night?
Reid
I don’t know, Emily. I’m tired and going to bed. (Exit stage left)
(Emily exits stage left upset and angry).
Scene 6: Whitechapel Police Station
(BOND is sat at his desk. REID enters stage left).
Bond
Reid! Something big came in last night!
Reid
Something big, ey? What? Couldn’t have been that big. They didn’t bother to call me in last night.
Bond
Well, I was here. You weren’t.
Reid
(Annoyed)What is it, Bond?
Bond
Oh, yeah! Last night, this man, kinda big fella, runs in screaming. He was holding a small box. He threw it on Smith’s desk and fainted.
Reid
Fainted?
Bond
Fainted. Smith looked in the box. Guess what was in there? (REID shrugs). A kidney!
Reid
A what?!
Bond
Reid! This is the best thing ever!
Reid
Explain.
Bond
In the “From, Hell” letter, Jack the Ripper said that he fried and ate the other kidney.
Reid
Yes, thank you. I’ve read the letter.
Bond
No! But listen. What if The Ripper really did send one of the women’s kidney? On her autopsy they said she only had one kidney.
Reid
And how would that help us find him?
Bond
It won’t. But, we can go to the morgue, where they sent the kidney and check it out.
Reid
(Slowly)You. Want to go see a kidney? We don’t have the technology to check for fingerprints anyway. Let alone even if he left any. (Exit stage left)
Bond
Reid! We have to at least try. (Follows REID, exits stage left).
Scene 7: The Whitechapel Morgue
(DR.WILLIAMS is standing next to a table with a box. REID and BOND enter stage left).
Dr. Williams
Mr. Reid. Mr. Bond. Pleasure.
Reid
Where is it?
Williams
Over here, sir.
(BOND and REID peer into the box. They are disgusted when they find a kidney).
Reid
Ugh. Disgusting. This fella certainly has a morbid mind.
Williams
Yes, well. There seems to have been...a problem.
Bond
With what?
Williams
You see. The kidney...it’s a fake.
Reid
A fake. (Looks at BOND annoyed. BOND shrugs).
Bond
Everyone at the station thought it was real.
Williams
After tests on the kidney, it’s a practical joke. The Ripper was playing games, Detective.
Bond
So...the man that brought this in, faked it? He set this up just to mess with us?
Reid
Or he didn’t know...Thank you, Dr.Williams for your time.
(BOND and REID exit stage left).
Scene 8: Whitechapel Police Station
(REID is sitting at his desk reading the letters again. BOND runs in from stage left).
Bond
Reid! Reid!
Reid
What is it, Bond? Can’t you see I’m busy. I’m doing all of your work, since you weren’t here. You’re lucky that Smith wasn’t here or else you wou-
Bond
Someone else is dead!
Reid
What?
Bond
Another woman, Mary Kelly was found dead.
Reid
Christ. Five women, Bond. Five dead women.
Bond
Smith says he’s bringing someone in. A suspect by the name Joseph Barnett. He was close to the last victim, Mary Kelly.
Reid
They think he murdered her? And the other women?
Bond
I would be surprised if he didn’t. Reid, this man is all sorts of crazy. Friends of his said that he dressed up as The Ripper.
Reid
He has friends?
Bond
Reid, listen. This guy is bad news. He started calling Mary Kelly his wife, but yet there’s no marriage license. Friends said that Mary and Joseph were just roommates.
Reid
So, he’s delusional?
Bond
Appears so. Smith is interrogating him now. A-
Reid
Wait. He’s here? Now?
Bond
Yes. They’re questioning him now. I just told you that.
Reid
I’m going. (Exits stage right).
Bond
(running after REID) Wh- Reid! We can’t just barge in there!
Scene 9: Whitechapel Police Interrogation Room
(BARNETT is being questioned. He sits at a table. SMITH is standing at the other end of the table, leaning on it).
Smith
I told you, Barnett. Answer me. Did you kill Mary Kelly?
Joseph
I told you before, Commissioner Smith. I didn’t kill my wife.
Smith
God dammit! She’s not your wife! There’s no record of you two ever being married. You’re roommates. In that case, you were until you killed her. Slit her throat. Sliced her up real nice. Isn’t that right, Barnett?
Joseph
(leaning close to Smith)
(softly) I didn’t kill her.
Smith
Damn you!
(REID storms in from stage right)
Bond
(Chasing after REID)
Reid! Reid! I’m not kidding, you can’t just-
Reid
Smith!
Smith
Reid! What the hell do you think you’re doing?! You can’t just barge in he-
Reid
Oh, shut it, Smith! You know damn well that this is my case.
Smith
It’s not your case, Reid. It’s Whitechapel’s case. We work together. You are not authorized to be here.
Reid
Let me have 5 minutes with him, sir. You haven’t gotten anywhere with him.
Smith
Reid. This is highly inappropriate-
Reid
Sir, please. You want to catch The Ripper, right? 5 minutes with him and he’s yours.
Smith
5 minutes, Reid. (Exits stage right) 5 minutes!
Reid
(Angry) Did you kill Mary Kelly?
Bond
She was your wife, right? Were you married in secret or something?
Joseph
What is this? The good cop, bad cop routine? What did you do, Detective Reid? You let five people die. Maybe more if you keep up with this! You got this kid here! What is he your ward? You take him down here...to talk to me? Hate to break it to ya...I’m not him. But I wish I was. He’s fascinating, isn’t he? What motive does he have? He killed my Mary. Mary Kelly was my wife.
Bond
What about a marriage license?
Barnett
Screw marriage papers. She was mine. She was my wife! We were poor. Living in a rundown apartment. Barely enough food for both of us. What does she decide to do? She decides to roam around London with her legs spread open. She’s a prostitute.
Barnett Con’t
I told her to stay off the streets, but she didn’t listen. She got what she deserved. If only I could thank the man who did this, at least then I’ll be at peace.
Reid
If she was your wife? Then why do you want to thank the man that killed her?
Barnett
10 days before her death, we had a fight. I was yelling screaming about how I didn’t want her out on the streets. She was whining and moaning. She didn’t listen to me anyways. She left our apartment and didn’t come back. She was then found dead. I was heartbroken. As I told you before, I didn’t do it.
Reid
Maybe. Maybe not. Maybe you killed all those women to scare Mary off the streets. You tried to scare her off the streets. It worked for a little bit. She thought of going back out. You disagreed. Fought. She left and you felt angry. Betrayed. Wanted to kill her didn't you, Barnett? So, you did. You murdered her! Didn't you, Joseph?!
Bond
Reid! Enough.
Barnett
I told you before. I didn't kill her! I swear!
Reid
If you didn't kill her, then who did?
Barnett
Not me. I'm innocent.
Reid
We’ll be checking your apartment, Mr. Barnett. Just to be sure.
Barnett
Go right ahead. I'm not hiding anything.
(SMITH enters stage right).
Reid
We’ll see about that (Exits stage right. BOND follows).
(SMITHS enters stage right).
Smith
Well?
Barnett
Well, what?
Smith
What did he say to you?
Barnett
A bunch of bull. Can I go now?
(SMITH unlocks BARNETT’S handcuffs).
Smith
Get the hell out of here.
(BARNETT and SMITH exit stage right).
Scene 10: Whitechapel Police Station
(REID enters stage left. BOND is running around the office trying to recreate the crime scene where MARY KELLY was found. REID looks confused at the mess BOND has made).
Reid
Bond…
(BOND doesn’t hear him).
Bond
(Moving objects around the room).
That goes there, and-oh! This goes here…
Reid
Bond!
Bond
(Stops what he’s doing and looks up at RIED)
Yes? What? What?
Reid
What the bloody hell are you doing to my office?
Bond
(Trying to catch his breath).
I...looked over...the files...of Eddowes’ and Stride’s...deaths...and something doesn’t seem right.
Reid
(Looking around his office).
(Sarcastically) Yeah...something doesn’t seem right.
Bond
Forget about your office right now, Reid. When Stride died, the time it took for Jack to get rid of the evidence, then go west to kill Eddowes, and for the police to get to the crime scene, it-it just doesn't match up.
Reid
Wait, your saying…?
Bond
Jack would have had to have passed the police, after he killed Stride or Eddowes, when he was getting away.
Reid
How did he do it? How did the police not see him?
Bond
That’s what I’m trying to figure out here! It doesn’t add up. His description matches every man in London.
Reid
What about the back streets near where Eddowes’ body was found?
Bond
That’s what I’m thinking. At 4am, neighbors claimed to have heard a young women scream “Oh! Murder!” They called the police instantly and they arrived 5 minutes after. But, see...if he walked along…
(JACK THE RIPPER, POLICE #1 and #2, EDDOWES and STRIDE appear and follow what BOND is saying. BOND and REID can’t see them).
Bond
So...he walked east of the murder, away from Burner Street where he killed Stride. He would then murder Eddowes. Police were already showing up at the scene of Stride. He couldn't have gotten away when he still had to hide evidence and kill another woman.
Reid
Maybe he knew the police routes…
(There's a pause. JACK, POLICE #1 and #2, EDDOWES and STRIDE stop moving).
Bond
This is making my head pound.
Reid
We have to keep moving, Bond.
(BOND and REID sit at their desks and begin looking over letters and files).
Reid
How about suspects? Any more of those?
Bond
Yes, just some Polish man named Aaron Kosminski.
Reid
Immigrant?
Bond
No. He’s a resident in the Whitechapel area. He’s a barber. His father Abr-
Reid
A barber? A barber killed all those women?
Bond
He does have a history of violent behaviors and threatening women. He was threatened about being admitted into asylums.
Reid
Anything else?
Bond
Just that he has a hatred of women, especially prostitutes, has strong homicidal tendencies.
Reid
Interesting. I want to question him, tonight.
Bond
Tonight? Reid, I don’t kno-
Reid
Just get him here, Bond. Prove yourself to me. I need to make sure I can count on you.
(REID and BOND exit stage left).
Scene 11: Whitechapel Police Interrogation Room
(AARON is sat at the table. BOND and REID are opposite him).
Reid
Mr. Kosminski?
Aaron
Yes?
Reid
Is it true that you have a hatred for women, mostly prostitutes?
Aaron
Yes, sir. Women are weaker than men. They must be home, cleaning, and taking care of the children. In my country, it’s always been that way. The husband is the one that has a job. Goes out on the streets.
Reid
And is it true that you’ve been threatened to be sent to an asylum?
Aaron
Yes. I’ve gotten help. I’m better. If this is about the asylums-
Bond
It’s not.
Aaron
Then, what is this?
Reid
We think you’re The Ripper.
Aaron
Sir, please. I’m just a barber. I would never kill.
Bond
Have you had violent tendencies towards women?
Aaron
Yes, but-
Bond
And have you ever hit a woman, Mr. Kosminski?
Aaron
Just my sister.
Bond
Right.
Aaron
We were 10.
Bond
But you do have a history of violence towards women.
Aaron
But I didn’t do anything. I wouldn’t really hurt them!
Reid
Really?
Aaron
Not on purpose, sir. Not on purpose.
Reid
We have nothing on him, Bond. We can’t arrest this man.
Aaron
Thank you! Thank you!
Reid
Hey! That doesn’t mean that we’ll let you that easily. We’re going to keep an eye on you, Kosminski.
(BOND releases AARON. He’s upset. AARON exits stage left)
Bond
What about Barnett, anything more on him?
Reid
You and I, along with Smith are going to his apartment on Thursday hoping to find some evidence.
Bond
Do you really think you’ll find anything?
Reid
I’m not sure, I hope so. This case has been a real big pain.
(REID and BOND exit stage left)
Scene 12: Smith’s Office
(REID and BOND enter stage right. SMITH is packing up his things).
Reid
Sir, is it just us going to Barnett's?
Smith
No...it’s just you and Bond, Reid.
Reid
What? Where are you going?
Smith
Didn't you hear, Reid? I'm resigning.
Bond
Resigning? Why? You can't just give up on us.
Smith
This whole case is bull. It's like playing cat and mouse. We can't seem to catch up. It's useless. I suggest you do the same.
Reid
No, sir. We-
Smith
Are you close to solving this case?
Reid
I-
Smith
Are you close to solving this case?
Reid
I'm not giving up. Not yet. Bond and I are going to Barnett's apartment.
Smith
What is it? A week till January. If you don't solve this case by next week, you'll be forced to resign.
Bond
Sir, you can't do that. You have no control, you resigned.
Smith
Good luck. I wish you the best, boys. Work hard. Go get‘em. (Exit stage right).
(BOND and REID exit stage right).
Scene 13: Barnett's Apartment
(REID and BOND enter stage right. The apartment seems normal and clean).
Bond
He disagreed with Mary Kelly's life as a prostitute and they lived together. Here, in this very apartment.
Reid
And?
Bond
What? You don't think that's interesting? We're in one of the victim’s homes.
Reid
(Sarcastically) Yeah, so cool.
Bond
I believe that he's Jack.
Reid
Excuse me?
Bond
You said it yourself, Reid. Maybe Barnett killed those women to scare Mary off the streets. Then, when he lost his job, she returned to the streets for money. Neighbors claimed to hear yelling. Their financial problems led to fights. Their last fight got violent, Barnett moved out. And then what happens? 10 days later, Mary was found dead in her apartment. Barnett having lived there would have knowledge of the apartment and how to unlock the door from the outside. He also knew about Mary’s schedule.
Reid
And since Mary was a prostitute, he is someone local prostitutes know, which could allow him to get close to them, and kill them.
Bond
Yes! Exactly. And his friends call him Jack. And, he matches the physical description.
Reid
What about his friend, James Maybrick? He's a wealthy man, a cotton merchant. We could ask him some questions about Joseph.
(BOND and REID exit stage right)
Scene 14: Battlecrease House, Liverpool.
(MAYBRICK, BOND and REID enter stage right).
Maybrick
Welcome, welcome. What can I do for you gentlemen?
Reid
We came to ask you about your friend, Joseph.
Maybrick
Ah, yes! Joseph. Well, I'm sorry to say, but I haven't talked to him in years.
Bond
What could you tell us about him? Any strange behavior?
Maybrick
Strange? No. Joseph is always a very interesting man.
Reid
He hates prostitution.
Maybrick
Yes. But so do I. He also was in love with Mary Kelly. She never loved him back.
Bond
Right. We think he's Jack the Ripper. Did Joseph say anything about Mary being his wife?
Maybrick
Yes. He would brag about it to other men. Make them jealous. I worked but Mary always denied being married to him. She was with me for a while before I settled down with my riches.
Reid
With you? Were you and Mary romantic with one another?
Maybrick
I’d like to think so. But, who knows with her. She slept with a different man almost every night.
Bond
Do you have toxic feelings towards her?
Maybrick
Well of course I do! But I would never kill her. So if that's what you're suggesting then I-
Reid
No, Mr. Maybrick. It's just we need I find this man. I apologize for making it seem like we thought you were Jack.
Maybrick
Thank you, gentlemen. Wait here, I'll bring some tea. Would you like some?
Bond
No thank you.
Reid
Yes, please. Very kind of you. 2 sugar cubes as well, please.
(MAYBRICK exits stage left)
Bond
He’ll poison your drink, Ried.
Reid
What makes you say that?
Bond
Classic serial killer move.
Reid
I believe him. He's not Jack.
Bond
How do you know? Because he seems normal enough? That's how they get you Reid! That's how they get away! They hide in plain sight.
Reid
You're acting ridiculous, Bond.
Bond
Really? Then what's he hiding under the floorboards?
Reid
What are you talking about?
Bond
(Hush whisper) When we walked in, the wood sounded hollow. Like, under the floor there was space. Possibly to hide something.
Reid
(Not believing BOND) Really? You heard that?
Bond
Yes! I'm being serious, Ried.
Reid
Where'd you hear it?
Bond
Over by the front door.
(They walk to the front door (stage right) and stomp their feet on the wood. It sounds hollow).
Reid
Here, help me get the wood off.
Bond
Reid, he could come back any second!
Reid
Do you want to find out if you're right or not? Now stop panicking, hurry and help me get the floorboards off.
(They take the floorboards off. Underneath is a journal).
Reid
A journal?
Bond
What does it say?
Ried
(He opens the journal and begins reading).
I give my name that all know of me, so history do tell, what love can do to a gentleman born. Yours truly, Jack the Ripper.
Bond
So this is it, Maybrick is Jack.
Reid
It has intimate details of the murders. How he did it. Everything.
Bond
Put it back!
Reid
What? No. This is evidence.
Bond
Not the journal, the floorboards!
(They rush to place the floorboards back. REID puts the journal in his bag. MAYBRICK enters stage left)
Maybrick
Here you go, tea, two sugar cubes.
Reid
Oh, we must be going now. Terribly sorry for the trouble.
Maybrick
Oh. Are you sure? Stay a few more minutes. Enjoy some tea.
Reid
No, we really must be going. Lots to do.
Maybrick
No, I insist.
Bond
(Nervous and stressed) You heard him. We really must be going. It’s a long way back to Whitechapel.
Maybrick
Well, then I bid you adieu. Safe travel on your journey, gentlemen.
Reid
Thank you, Mr. Maybrick.
Maybrick
I wish you find Jack soon.
Reid
As do we.
Bond
(Rude and accusingly) Yes, I have a feeling he’s right under our noses.
Maybrick
(Confused and Disturbed) Yes, um...good night!
(REID and BOND exit stage right. MAYBRICK exits stage left).
Scene 15: Streets of Liverpool, England
(BOND and REID enter stage right, walking the streets of Liverpool).
Bond
Did you see that?
Reid
(Sarcastic) No, Bond. I didn't. I seemed to have missed it all.
Bond
(Excited) We need to get the journal to the station. We’ve got to run analysis, bring Maybrick to the station. We’ll have this in the papers by next week!
Reid
(Annoyed) Pull yourself together, Bond. We’re supposed to be professional here.
Bond
(He straightens his back and starts to act more mature and professional). Right.
Reid
And try not to look so suspicious.
Bond
What?
Reid
Really? Another second of you blabbering would have made him know that we know and then maybe we wouldn’t have known that he knows and we can’t have him know that we know.
Bond
(Extremely confused). What?
Reid
Just don’t talk. Ever. Pipe down next time.
Bond
Understood.
Reid
What did I say about talking?
Bond
I just said that I understo-
Reid
Shh. Please. For the love of God. Stop.
(BOND and REID exit stage left).
Scene 16: Whitechapel Police Station
(BOND and REID enter stage left).
Bond
(Holding the journal up in the air waving it around). We found something! Ha! Ha!
Reid
(Sternly) Bond!
Bond
Sorry, sorry. (Whispering) We found something.
(REID rolls his eyes and walks up to YARD).
Reid
Detective Yard, we found more evidence of who Jack is. We need to talk to Smith.
Yard
I apologize, Reid, but Smith left this morning. He resigned. Didn’t he tell you?
Reid
I thought he wasn’t leaving until tonight.
Yard
I’m sorry, Reid. I wish there was something I could do. They closed the case a-
Reid
What?
Bond
He closed the case?
Reid
Why?
Yard
I don’t know. They said something about not enough evidence. False leads.
Reid
Listen, Yard. We have the journal from James Maybrick claiming he’s Jack. So, open the damn case!
Yard
I can’t, Reid. I truly am sorry.
Bond
We’ve got to get analyses on this journal.
Yard
You can’t. You don’t have clearance to do analyses, Bond.
(BOND looks at REID)
Reid
Smith denied me access to run analyses last month.
Yard
Yes, because you punched a suspect in the face last year because he wouldn’t give you the answer you wanted. Smith finally realized that you weren't mature enough to handle evidence. (He snatches the journal from BOND)
Bond
Can you please just get this to the forensic scientist?
Yard
Very well. And, I’m sorry about Smith. (Exits stage left).
Reid
Smith should be glad that he wasn't here or else I would have punched him.
Bond
What now?
Reid
Look over evidence, a-
Bond
We’ve already done that, along with another 50 people around England. There’s nothing we’ve missed.
Reid
I’m going to write about the journal in a file. Hopefully, that will get Maybrick in a jail cell.
(BOND and REID exit stage left).
Scene 17: Present Day, Whitechapel, London
(TREVOR enters stage right)
Trevor
We’ve reached the end of our story. Edmund Reid and Thomas Bond resigned in January as Commissioner Smith had said. The case opened back up in the early 1910s and still remained one of the greatest unsolved mysteries of all time. But, that was until this March, they found him. On a stained shawl from Catherine Eddowes, a murder victim was the DNA of Aaron Kosminski. They were able to match the DNA with one of Kosminski’s descendants. Though some of the evidence is dismissible, Jack the Ripper’s identity still captivates historians. The question of his identity will never be known...
END OF PLAY
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