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Heres your re-enactment: 
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At approximately 3:45 a man knocks on Mary Kellys door softly, perhaps also whispering her name. Diddles the cat hears this upstairs. Mary Kelly wakes from her drunken sleep and goes to the door and opens it to what seems like a shadow in blinding light to her. She utters "oh-murder" in recognition as the figure moves closer, and in doing so, blocks some of the light from the gas lamp. She leaves the door and heads back to the bed, leaving the door ajar for the visitor. He closes the door behind him. He doesnt touch the latch, yet.
She has crawled back into bed, and slipped over to the right side, on her right side, facing the partition wall. She easily slips back into a semi sleep while the man removes his coat and gloves perhaps, but she is secure in her belief that he will be joining her in bed shortly. She drifts back off, sheet up to her face. The man has moved to the bed, and is on the left side of it, one knee on the bed. When he is sure she is asleep he moves across using that knee on the bed, he places a knife at the farthest point he can reach....with his left hand......and he presses the knife inward and pulls it back across her throat, which was still partially covered with the sheet. She awakes immediately but has a severed windpipe and she is bleeding profusely from the severance of the arteries. Her hands flail up to the mans face, he slashes them back and then slashes at her shaking face, at times under the sheet...pinning her midsection by sitting astride her now. She weakens very quickly, and as she does he, backhanded, runs the knife from the left of her throat to the right side applying great pressure. The assurance cut. He dismounts. Rolls up his sleeves. Places his knife on the night table, he then turns and moves Mary to the middle of the bed and splays her legs.
Then, as if recalling some recently read gruesome gothic literature, he commences to cut and slice, and extract and place, and peel, and strip, and likely stab, and snap bone, .....and he places bits and pieces here and there.
Her heart he keeps. He's a monster, but a sentimental one. He was fond of her. Places her arm back over her body, tilts her face so she can see him out the door, and he looks at her as he sets the latch off and walks out into the courtyard. Mary Ann Cox hears his boots.
(Scene).
Cheers all
...At approximately 3:45 a man knocks on Mary Kellys door softly, perhaps also whispering her name. Diddles the cat hears this upstairs. Mary Kelly wakes from her drunken sleep and goes to the door and opens it to what seems like a shadow in blinding light to her. She utters "oh-murder" in recognition as the figure moves closer, and in doing so, blocks some of the light from the gas lamp. She leaves the door and heads back to the bed, leaving the door ajar for the visitor. He closes the door behind him. He doesnt touch the latch, yet.
She has crawled back into bed, and slipped over to the right side, on her right side, facing the partition wall. She easily slips back into a semi sleep while the man removes his coat and gloves perhaps, but she is secure in her belief that he will be joining her in bed shortly. She drifts back off, sheet up to her face. The man has moved to the bed, and is on the left side of it, one knee on the bed. When he is sure she is asleep he moves across using that knee on the bed, he places a knife at the farthest point he can reach....with his left hand......and he presses the knife inward and pulls it back across her throat, which was still partially covered with the sheet. She awakes immediately but has a severed windpipe and she is bleeding profusely from the severance of the arteries. Her hands flail up to the mans face, he slashes them back and then slashes at her shaking face, at times under the sheet...pinning her midsection by sitting astride her now. She weakens very quickly, and as she does he, backhanded, runs the knife from the left of her throat to the right side applying great pressure. The assurance cut. He dismounts. Rolls up his sleeves. Places his knife on the night table, he then turns and moves Mary to the middle of the bed and splays her legs.
Then, as if recalling some recently read gruesome gothic literature, he commences to cut and slice, and extract and place, and peel, and strip, and likely stab, and snap bone, .....and he places bits and pieces here and there.
Her heart he keeps. He's a monster, but a sentimental one. He was fond of her. Places her arm back over her body, tilts her face so she can see him out the door, and he looks at her as he sets the latch off and walks out into the courtyard. Mary Ann Cox hears his boots.
(Scene).
Cheers all
nevertheless, this character was carrying an assortment of weapons in his 'little black bag'.
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