10 Rillington Place Page #5

Synopsis: London, 1949. John Christie is an unassuming, middle-aged man who, along with his wife Ethel, lives in the ground-floor flat at 10 Rillington Place. His demeanor masks the fact of being a serial killer. His modus operandi is to act as a person with a medical background, lure unsuspecting women to his apartment on the pretense of curing them of some ailment, knock them unconscious with carbon monoxide gas, gain his sexual release through contact with the unconscious body, then strangle the victim dead before disposing of the body somewhere in the house or outside area. His next intended target is Beryl Evans, a young woman who has just moved into the top flat in the house. Beryl's husband, Tim Evans, is an illiterate man who likes to put on airs. Already with an infant daughter named Geraldine, the Evanses learn they are going to have another baby, which they cannot afford to have, nor can they afford to abort the pregnancy. This problem, on top of the constant issue of lack of money in
Director(s): Richard Fleischer
Production: Columbia Pictures
 
IMDB:
7.6
Rotten Tomatoes:
70%
GP
Year:
1971
111 min
545 Views


and you write it down, eh?

I'm not all that educated.

I can't do this reading

and writing.

Yes. That's what he said.

Well, he's a bit simple,

you know.

Okay. I'll have another go

at him.

Yeah. Bye.

Well, now...

The drain where you said

you put your wife's body -

it's been examined.

There's nothing there.

Well, I-I put it there.

I see.

It's a manhole, is it?

Uh... I expect so.

Who helped you lift the lid off?

I did it myself.

Who are you trying to kid?

It took three men to lift it.

Well, I don't know about that.

I did it!

I don't think your wife's body

was ever down that drain.

All right.

All right, I only said that

to protect a man named Christie.

Christie?

Yes.

It's not true

about the man in the caff.

Now I'll tell you the truth.

She wasn't very good

with money, I'm afraid.

Run up a lot of bad debts.

That was one of the reasons

they were always fighting.

This was... their little domain.

What is it? Just the two rooms?

Just the two rooms, yes.

You'd only have to ask

the neighbors

about the fights they had,

I'm afraid.

One of your chaps

from the station

had to come around one night,

as a matter of fact.

You saw them go, did you?

No, they just crept off.

Who has the flat below this?

Mr. Kitchener,

an old gentleman -

worked on the railways.

Inspector, you'd want to look

at his flat -

Mr. Kitchener's - I expect?

Oh, yes.

Yes, well, he's in hospital

at the moment,

so he'll not mind.

I just found these, sir.

They're all about

the torso murder case.

Oh, yes, a bit morbid

about that case, Tim was.

Kept all the newspaper cuttings.

Can't think why.

I thought he couldn't read.

No, he used to get Beryl

to read them to him.

Ah.

I better take a look

in here first.

I've just left the kettle on

in the kitchen.

Rn just, uh...

Shoo! Go on, get out!

Get out! Shoo!

This is the back garden.

Can't seem to get this open.

It, uh, gets jammed

occasionally.

Go and get the poker, Ethel.

There's a sort of bundle

under the sink here.

What's that, Mrs. Christie?

Do you know?

Well, take a look.

It's a bundle of something.

Do you know what's in it?

No.

It's tablecloth or something.

It's all wrapped up.

Is that yours?

No, I don't think so.

Well, feel it.

Feel if you recognize it.

No, I've never seen it before.

All right, drag it out.

Let's have a look at it.

It weighs a ton.

Better cut the cord.

If you've no objection, madam.

No, not at all.

It isn't mine anyway.

Man:
There's another one here.

It's a baby.

Did they ask Mr. Christie

if he could get the baby back

from the people in Acton,

do you know?

Well, bloody hell.

Are you gonna keep this up

all the way to London?

At 11:
50 A.M. today,

I found the dead body

of your wife, Beryl Evans,

concealed in a wash house

at 10 Rillington Place,

Notting Hill.

Also the body

of your baby daughter Geraldine

in the same outbuilding,

and this clothing

was found on them.

Later today I was present

at Kensington mortuary

when it was established

that the cause of death

was strangulation in both cases.

I have reason to believe

that you were responsible

for their deaths.

Yes.

All right then.

She was incurring

one debt after another,

and I could not stand it

any longer.

So I strangled her

with a piece of rope

and took her down

to the flat below the same night

whilst the old man

was in hospital.

I waited until the Christies

downstairs had gone to bed,

then I took her

to the wash house

after midnight.

Then I strangled my baby

in our bedroom with my tie

and took her to the wash house.

Sign there, lad.

If you don't know

how to write your name,

just put a cross.

I know how to write my name.

Good, lad. Just sign there then.

Mr. Christie...

I have got to suggest to you -

and I do not want there to be

any misapprehensions about it-

that you are responsible

for the death of Mrs. Evans

and of the little girl.

Or if that is not so,

that at least you know very much

more about those deaths

than you've said.

That is a lie.

Did you know

that Mrs. Evans was pregnant

in November last year?

My wife told me.

Did you have any discussion

with her or Mr. Evans?

We understood from what

Mrs. Evans told my wife

that she had been taking

pills and various things

to procure an abortion.

Now, I suggest to you

that a little later

you said to Evans,

If you or your wife had come

to me in the first place,

I could have done it for you

without any risk.

No, definitely not.

Do you remember

him saying to you,

I didn't think you knew

anything about medical stuff?

No, he -

And that you said

that you'd been training to be

a doctor before the war?

No, that's nonsense.

Do you remember showing Evans

some medical books

in your flat?

I have not got

any medical books,

except the St. John's ambulance

handbook.

Did you show this book to Evans?

No, certainly not.

It's an obsolete book.

I daresay it's obsolete,

but did you show it to him?

No.

Did you not tell Evans

that you had been doing training

in medical matters

before the war

and that you stopped

because of an accident?

No.

You gave evidence yesterday

that during the night

of Tuesday the 8th of November,

you heard a thud.

Yes.

Uh, it seemed rather loud.

It startled us rather.

It woke us up.

This was about midnight?

Uh, yes, it would be.

Are you quite sure about that?

Absolutely certain.

Do you remember giving evidence

at the magistrate's court

at West London?

Yes.

You never mentioned there

this noise

of something very heavy

being moved,

did you?

Oh, yes, I did mention it.

I'm certain.

Well, perhaps

it was not taken down.

What happened after the sound

of furniture moving?

I, um -

I-l went off to sleep again.

Because of the pain I was having

with the fibrositis,

I was taking tablets.

It was the only way

I could get to sleep.

I'm still taking them,

as a matter of fact.

Are you still suffering

from fibrositis, Mr. Christie?

Very badly, my lord.

I was in severe pain all night.

I had to go to the doctor

again last night,

and he prescribed for me

and gave me some pills

to alleviate the pain.

But I was awake

for most of the night.

Would you be more comfortable

giving your evidence

sitting down?

Well, yes, I think I would, my lord.

Then you may.

Thank you.

Mr. Christie...

yesterday you remember

Mr. Humphreys asking you

if you had been in the police

force during the last war?

Yes.

In fact, you were a constable

in the war reserve?

For four years, yes.

But you are not, are you,

a man of good character?

Well, I... have had some trouble.

I apologize for having to ask

you these questions,

but I'm afraid I must.

On four occasions

you have been convicted

of offenses of dishonesty,

haven't you?

Uh, three.

Not four?

Then perhaps

I had better put them to you.

Were you sentenced

to three months'

imprisonment in 1921

for stealing postal orders?

Yes.

Bound over for false pretenses

Rate this script:5.0 / 1 vote

Clive Exton

Clive Exton (11 April 1930 – 16 August 2007) was a British television and film screenwriter who wrote the scripts of Agatha Christie's Poirot, P. G. Wodehouse's Jeeves and Wooster, and Rosemary & Thyme. more…

All Clive Exton scripts | Clive Exton Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "10 Rillington Place" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/10_rillington_place_1490>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of a "beat sheet" in screenwriting?
    A To describe the setting in detail
    B To provide camera directions
    C To write character dialogues
    D To outline major plot points