THE NEW STRAND MAGAZINE

Vol. MMI. MAY 2001 No. 6.

Appendices to part SIX of

THE REIGN OF TERROR*

By Blackhood der Kether

* Being an adaptation both of Stephen Knight's investigative book Jack the Ripper: The Final Solution (Grafton, 1977); and John Hopkins' screenplay for Bob Clark's movie Murder By Decree (Avco Embassy, 1979).

i. Text; Chapter Nine

It is entirely possible that I have not been watching the right Ripper films, but as yet I have not seen a single dramatisation that accurately depicts the events in Miller’s Court that night. Firstly, it was raining for the entire duration of the night. This may be a small point, but it is an example of one such detail constantly overlooked. It marvels me that such a lack of effort persists from film to film as details of Kelly’s activities that night are readily available for anyone to find. Even documentaries on the subject have been guilty of ignoring certain significant facts.

The notion of flying to Dieppe is one primarily inspired by Sickert’s testimony and only secondarily by Kelly’s boasts of being a French artist’s model.

It cannot be denied that the lower classes were becoming restless and that the writings of Karl Marx may have filtered down to Whitechapel through crusading socialist university students. In his article How Jack the Ripper Saved the Whitechapel Murderer, Mark Daniel demonstrates the need that England had for a socialist uprising.

The Ripper Murders were an ideal vehicle for the radicals. To date, they were the most effective means of drawing attention (partially through the newly formed radical newspaper The Star) to the extreme poverty and depravity experienced daily by the East-Enders. As history shows, there never was a socialist revolution in England, though the murders of Jack the Ripper did much to improve conditions for “The Miserable” of London.

In the confrontation between Holmes and Foxborough, Holmes – for the first time – implicates Lusk as a radical co-conspirator. Records refer very little to George Lusk; giving brief references to his position in the Whitechapel Vigilance Committee and his receipt of the kidney/letter. However, when one looks at the activities of this “Committee”, it becomes quite obvious that they were little more than a lynch mob. In fact, before the “Committee” had seen their first afternoon, they had already arrested seven men (including John “Leather Apron” Pizer) and sent them to various Police Stations (supposedly as a measure of assistance to the Police).

With this in mind, it is quite possible that the Whitechapel Vigilance Committee was formed to wreak confusion in the investigation; simultaneously masquerading as outraged keepers of the peace.

What was quite apparent to me – even in the film – was Holmes’ compassion and urgency for “saving” Mary Kelly; much like Clarice Starling’s struggle with “the screaming of the lambs.” Though it is a trait at odds with the conventional view of Holmes, the story itself illustrates how such a drive may be killed within a person; or sent to the extreme of clinical, almost heartless, detachment.

ii. Text; Chapter TEN

The details of Miller’s Court (and in particular N^o. 13) are entirely in accordance with Police News Illustrations, witness statements, initial surgeon’s and autopsy reports and surviving photographs. As all of this source material is readily available both on the internet and in most case-studies, there is no need for me to repeat them. Since two witnesses heard the cry of “Murder!” at around 4 am, the events of Chapter 12 are set shortly after.

The madness of Sir William Gull is far more implicit in this story than as it appeared in JACK THE RIPPER: THE FINAL SOLUTION. This is not only more in keeping with the character of Sir Thomas Spivey in MURDER BY DECREE, but also with the 1895 article on Robert Lees’ hunt for the killer. Calculated cruelty and ruthlessness could not alone justify Gull’s involvement; as suggestions of blackouts (as well as the diabolical nature of the mutilations) testify to a strong influence of dementia.

Those much colder attributes I ascribe to John Netley; being the more controlling and ambitious of the pair. In THE FINAL SOLUTION, Stephen Knight shows he believes the opposite to be true. Owing to the histories of these two individuals (as well as the analysis of the Lusk letter) I find it far more likely that Netley himself was the major impetus behind these crimes. At this stage in his life (and career) it is more likely that Gull would have been talked into the affair rather than instigate it.

I absolutely had to let Netley escape. Circumstantial historical data shows that the coachman did indeed live to see another day. Netley was a resourceful survivor and was far more likely to slip the net than be choked by it. Movie audiences prefer to see the murderer caught or killed, rather than see him escape, never to be seen or heard of again. So it worked well for the film; but to reproduce the same scenario in writing would be selling the reader short. It would lose any sense of realism and insult the reader by the same token.

The autopsy-type description of Kelly’s remains was intentional, as it is to remind the reader of Watson’s medical background. As a great many years have elapsed when he finally puts pen to paper on the issue, it is probable that he drew the details from Dr. Thomas Bond’s report more so than from his own memory.

In regards to his co-operation with the murderers, Walter Sickert’s state of mind and motive cannot be easily deduced. I tend to follow Knight’s line of reckoning, as all indications point to the congenital cowardice of the Sickert line. Considering his affections for Alice Crook, it is reasonable to assume that he was well open to threats and coercion.

Anyone who has seen MURDER BY DECREE will notice that I have given Kelly a far more humane death that the torture portrayed in the film. Witness statements show that such a torturous end would not have been possible and – though smothering or strangulation are as likely methods as any – owing to the generally depressive nature of the story, I felt that one person at least deserved a happy ending.

I found it necessary to make this story a distinct failure for Holmes. It brought him lower than ever before, made him doubt his own abilities and almost sends him over the edge. However, what keeps the man from utter self-destruction is the support and encouragement of Watson. Since his marriage, he has in many ways grown apart from the great detective; but their shared experiences with the Whitechapel Murders brought them closer together and preventing the otherwise inevitable disintegration of their partnership.

iii. ILLUSTRATIONS; Chapter NINE

The cover-page is drawn from a full page picture in Illustrated Paper and Illustrated Times, and contains a colorized insert from the same picture. That we see Kelly and the mystery man only through the lens is intended to maintain ambiguity for those unfamiliar with the story.

"DR. WATSON, WHAT AN UNEXPECTED PLEASURE."

An original illustration by Stef essentially depicting the relative scene. Gives Watson more credibility as a man of action (as one would expect of a soldier).

"HOLMES PASSED THE DOOR, PRESSING HIMSELF FIRMLY AGAINST THE WALL."

A dramatic moment brought beautifully to life by the Kuklas. Lorraine drew the intense figure of Holmes preparing himself for an unpleasant surprise. The background was composed by Stef, drawing heavily from a photograph of the exterior of her lodgings.

iv. ILLUSTRATIONS; Chapter TEN

"THE MEN THAT WILL NOT BE BLAMED FOR NOTHING."

Possibly the most elaborate illustration in this issue. It is based on the main Police photograph of Kelly’s remains, a famous photograph of Sir William Gull, and a painting by Walter Sickert entitled The Camden Town Murder.

The main inspiration for this picture (composed entirely by Stef) is the corresponding, edge-of-your-seat scene from MURDER BY DECREE.

"NETLEY HAD SPUN AROUND AND PLUNGED HIS WEAPON CLEAN THROUGH THE MAN."

A good moment of action to make a picture of. The postures of the characters depicted was proving too difficult a task for the imagination; so Stef found an ideal template in a Batman Graphic Novel (of all places).

As for Netley’s attire, Stef stuck closely to George Hutchinson’s description of a possible suspect.

"AS HAUNTING A SIGHT AS EVER I DID SEE."

The title would prettymuch sum up my reaction to the movie’s corresponding moment. Although Lorraine did a fantastic job on it, it was perhaps not as haunting as I should have liked it to have been.

"YOU DON'T UNDERSTAND, MR. HOLMES."

Originally intended to be a two-shot with Holmes, this picture speaks much about the anguish and remorse felt by Sickert. The model for this was a photographic portrait of the man some years later; and the shift in perspective gives the viewer a Holmes POV.

"WHEN I ASKED WHY, SHE SMILED AT ME AND SAID, 'TRAVELLING EXPENSES.'"

I found the source picture for this just too precious to pass up. The Kukla’s resulting portrait really gives us the first visual depiction of the character of Mary Kelly (as the other two consist of an action shot and her corpse).

LEGAL NOTICE

This site has been created and maintained by Lord Blackhood der Kether (BA), Lorraine Kukla & Stef Kukla. Anyone found using any of the Kukla illustrations or Blackhood texts on this web site - WITHOUT the express permission of Lord Blackhood, Ms. Kukla; or Mr Kukla - will be considered in breach of copyright and will be prosecuted accordingly.