The Lodger Page #2

Synopsis: In late Victorian London, Jack the Ripper has been killing and maiming actresses in the night. The Burtons are forced to take in a lodger due to financial hardship. He seems like a nice young man, but Mrs. Burton suspects him of being the ripper because of some mysterious and suspicious habits, and fears for her beautiful actress niece who lives with them.
Genre: Crime, Horror, Mystery
Director(s): John Brahm
Production: 20th Century Fox
 
IMDB:
7.2
APPROVED
Year:
1944
84 min
321 Views


I suppose I better make some sort

of a show of welcoming him.

- Tomorrow will do, darling.

- Good.

Well, if there's anything

I can do for him.

I've finished with this paper.

Perhaps he might like to read the news.

I've brought you some supper.

May I come in?

There was something peculiar

about those pictures.

I don't suppose you ever noticed it,

but wherever you went in this room...

the eyes of those women

seemed to follow you about.

That can... get on one's nerves.

Oh, I understand what you mean.

I'll have them taken down tomorrow.

And they're pictures of actresses.

I hope you don't really object

to actresses...

because there's one in the house.

- My niece, Kitty.

- And she is on the stage?

She's making a name for herself

in the provincial music halls.

Next week, she opens at the Theater Royal,

Piccadilly, here, topping the bill.

She's brought over a dance from Paris.

It's very saucy,

almost as daring as the cancan.

Of course, Kitty doesn't intend

to stay in the music halls.

Later on, she hopes

to get into musical comedy.

Then she'll have half the men

in London at her feet.

"Behold, there met him

a woman, subtle of heart."

Oh, I don't think Kitty's especially subtle.

You'll find her very clever and charming.

Wait till you see her.

You'll change your mind about actresses.

The four-wheeler's coming, sir.

- Here's the pass I promised you.

- To tell you the truth, sir...

I don't fancy walking home alone from the

theater late at night... even for Miss Kitty...

not with all the papers saying it's about time

for the Ripper to do another.

He's never killed anybody up this way.

- He can always decide to open up new ground.

- Oh, well.

Come along, darling.

You're going to have plenty

of time? You've got everything?

- Everything's at the theater.

- I'm sorry. I'm fussing. I shouldn't.

You look very smart.

You don't look half-bad yourself.

my dear.

- Are you ready for it?

- I'd better be. It's my big night.

Mr. Slade, you haven't yet met

my niece, Kitty Langley.

- How do you do?

- "The woman 'subtle of heart."

You must admit she really is

rather charming.

Oh. Are you coming

to the theater too?

I have a pass here if you can use it.

No. I'm afraid I have work

that I must do.

Then you won't be in to dinner, sir?

No. I may be out late, quite late.

Until the early hours of the morning.

I warned you of my irregular habits.

You have been out rather late

once or twice.

Didn't I hear you two nights ago?

It was past 1:
00 in the morning.

- What do you do out so late?

- You hardly ever go out in the day, do you, sir?

I enjoy the streets at night...

when they're empty.

- You mean you just walk about?

- Sometimes.

Sometimes I go down to the Thames.

I... like the river.

- I do, too, on a sunny day.

- I like it in a different way.

Have you ever held your face

close to the water...

and let it wash against your hands

as you look down into it?

Deep water is dark...

and restful...

and... full of peace.

But... I mustn't delay you.

I hope your debut is successful.

Thank you.

Why don't you go out

by the front door?

I prefer the back door.

I... always use it.

Good night.

He's a curious fellow.

- A very curious fellow.

- Kitty. Kitty, we'll be late.

Now that you've no dinner to get to, Daisy,

you've no excuse for missing the performance.

Come to my dressing room aftenuards.

I'll send you home in a cab.

- How's that?

- Oh, bless you, miss!

I'll be clapping me hands off

for you, miss.

Thank you, Daisy.

- Piccadilly Theatre Royal.

- Right you are, sir.

You fascinate him, you know.

He can't take his eyes off you.

I found him interesting in a way.

Well, I could do without him

about the house.

Something a bit... odd about him,

don't you think?

Lots of people seem odd

to other people at times, dear.

I thought somehow

he seemed a little lost.

I believe that's because

he's lonely, darling.

Here you are, ladies.

Montague Square, ladies.

Step out, please.

Mind your step, dear.

T's a little bit wet.

Look after your self now.

Here you are, sir.

Aldgate and White chapel.

Thank you, sir.

There's plenty of room inside, sir.

Evening Standard. Echo.

Coppers on the watch at White Hart.

Thank you.

Evening Standard. Echo.

Coppers on... Thank you, sir.

Evening Standard. Echo.

II'

- N

- Thank you.

II'

Now, listen a minute, Charlie.

I'm not going to have you

annoying Miss Langley.

Five and sixteen. All right, laddie.

Don't I always come back when someone new

is using my old dressing room?

I can't let you in.

We'll come 'round afterwards.

- Good-bye, darling.

- Miss Langley. Good evening, sir.

Word's going around

there'll be royalty in the house.

- We don't know who it is yet.

- Royalty.

- That's wonderful, Kitty.

- I must go and tell the girls.

Bless you.

- Good luck.

- Good luck, darling.

Miss. You know me.

I'm Annie Rowley... "La Belle Anne."

- Look here, Annie.

- It's all right, Charlie. I know Annie.

You want to see your old dressing room,

don't you? Come on.

Here we are, Annie.

You got a nice lot of flowers...

more than I had when I opened

when the theater was new.

- Did you have this room for long?

- They didn't take to me.

I remember the night I looked

in that mirror before I went on.

I looked at myself.

and I wondered how I'd go over.

I didn't go over.

Having talent isn't enough.

You've got to have luck too.

I broke my luck.

I whistled to myself before I went on.

Something bad always happens

if you whistle in the dressing room.

- Oh, Annie.

- It's an old superstition.

All right, Annie dear.

I shan't whistle.

Your luck's all right,

and you've got real looks too.

I saw you at the Grand Theatre,

Woolwich, a couple of months ago.

- They're going to love you here.

- I hope so.

This is me.

- Are you going to be out front tonight, Annie?

- No.

It would break my heart to see you

gettin' what I never got.

Besides, a nephew of mine

was married this morning...

and I said I'd get back to the party.

- Oh, I didn't come for that, miss.

- Take it, please.

A golden sovereign. Oh, miss.

Have you heard the news?

They're putting flowers

in the royal box.

Oh, I'm so excited!

I don't know what to do.

I've just heard, sir, there's been

another Ripper murder.

Kitty, congratulations from all of us.

Here's to you.

Here's to you.

Thank you.

Thank you, Marjorie, Betty,

Jane, all of you.

Corning from you, this...

this means more than

all the applause in the world.

Excuse me, sir.

There's a gentleman to see Miss Kitty.

He says he's from Scotland Yard.

I'm sorry, sir, but it's essential

that I see Miss Langley immediately.

Kitty-

Very lovely, if may say so, sir.

You may say so, Bates.

- You're a policeman, Mr. Warwick?

- Inspector Wan/vick, miss.

I must apologize for this intrusion...

but I came here directly

from White chapel.

You had a woman here earlier...

Annie Rowley.

She told some of her friends how generous

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Barré Lyndon

Barré Lyndon (pseudonym of Alfred Edgar) (12 August 1896 – 23 October 1972) was a British playwright and screenwriter. The pseudonym was presumably taken from the title character of Thackeray's novel. Born in London, he may be best remembered for three screenplays from the 1940s: The Lodger (1944), Hangover Square (1945) and The Man in Half Moon Street (1945). The latter was remade by Hammer Film Productions in 1959 as The Man Who Could Cheat Death. Lyndon began his writing career as a journalist, particularly about motor-racing, and short-story writer before becoming a playwright. His first play, The Amazing Dr. Clitterhouse, was made into an Edward G. Robinson film in 1939. After that success, Lyndon moved to Los Angeles, California, in 1941 to concentrate on writing for films full time. He was naturalised as a United States citizen in the United States District Court in Los Angeles as Alfred Edgar Barre Lyndon in 1952. Alfred Edgar had two sons, Roger Alvin Edgar (b. England, 1924) and Barry Davis Edgar (b. England, 1929) . more…

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Submitted on August 05, 2018

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    "The Lodger" Scripts.com. STANDS4 LLC, 2024. Web. 5 Nov. 2024. <https://www.scripts.com/script/the_lodger_20720>.

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