Your JTR mini-series or Hollywood film opening scene

[Michael W Richards]

Given that you cannot comprehend the original post,as evidenced by your first overly long drivel,I'll ignore your pathetic insult.

At least my project got as far as an Academy Award nominated screenwriter.

I read your post fine, and I didn't see "fiction" anywhere in it, so I assumed you believed you were selling something as a True Crime story. Which what you described isn't. "5 women escaping their environment by taking on a shy little pathologist"....is very imaginative, as I said. Not anywhere near Factual though. Assuming a position of superiority may be habitual with you, but its not warranted or accurate.

The only thing I did that was not specific to the thread premise was the length of my post, which you evidently didn't like. Funny...not even your thread and you take ownership of its parameters.

[DJA]

Original Post.

The first post by APerno.

Henry Gawen Sutton was described short and shy.

I've linked him to all of the Five. He had the skill and motive.

[Michael W Richards]

Original Post.

The first post by APerno.

Henry Gawen Sutton was described short and shy.

I've linked him to all of the Five. He had the skill and motive.

Too bad there is no evidence AT ALL to support your beliefs. And yet another man is smeared with the Suspect taint because some armchair sleuth sees symmetry.

[APerno]

I was mistaken thinking 50 words was realistic; any length can be a good read.

[Lipsky]

I used 173 -- a dialogue-less weird intro description could not take less.
Not bad though for the "babbling me" - as the ex used to say.

[richardnunweek]

Hi,
I would have a man walking down Commercial street [Early morning no music] with several shots of realistic landmarks, and in the distance a woman walking towards him, as they meet we hear the words ''Hutchinson can you lend me sixpence.the reply being, ''I have none , spent all my money going to Romford'', then we would see the woman walk on, only to be accosted by another man, they laugh, and turn back the way she came, passing the first man en-route. We would then have the first man follow the couple into Dorset street, observe them standing near a passage. As the couple enter the passage , the camera would switch to the name on the iron plate above , MILLERS COURT then the music would start. [ Maybe a popular song off that period]..
Regards Richard.

[Trevor Marriott]

If you were to write a JTR film or mini-series what would be your opening scene? . . . in 50 words or less; opening scene only.

“Thank you, Mr. Scrivens. I’m done for tonight.” She puts on her shawl; he walks her to the door opening it. The men are still stood outside talking. They see her coming out on her own. One of the men turns to her and says,
“Now my dear the night is still young. How about you and I go for a bit of slap and tickle?”
The rest of the men in the group continue to egg the man on. Lucy stops and confronts him. “The state you are in, it would probably take you all night, to do what you want to do all night.”
The man’s friends all let out a cheer and laugh among themselves. Mr. Scrivens is stood in the doorway and says to her, “Shall I walk you home?”
Lucy replies, “No, I will be alright, this lot are all mouth and trousers, see you in the morning, goodnight Mr. Scrivens.”
“Good night my dear,” he says as he turns and goes back inside, closing the door behind him.
Despite being summertime, there is a chill in the air. Lucy starts her journey home. A journey, which would take her through the dimly-lit, fogbound back streets of Whitechapel. The only sounds she hears are the soft patter of her slipper shoes on the cobbled streets. As she continues her journey home, she notices that the streets are surprisingly empty.
She is tired because of the long night and has only thoughts of her soft warm bed that awaits her. Suddenly, she is startled by a sleeping dog that she has frightened that knocks over a bin as it makes his escape. She takes a deep breath and gains her composure, and continues the now short journey to her lodgings at George Yard Buildings. As she approaches the front of the building, a shadowy male figure dressed all in black rushes out, almost knocking her to the ground, frightening her to the point that she gasps for breath.
“Er, excuse me!” she shouts at the man as he disappears into the darkness.
She makes her way up the dimly-lit stairs and sees what she believes to be a female lying on her side apparently sleeping on the stairs. She goes over towards the female and lightly touches her with her foot, saying,
“Come on wake up you can’t sleep here.”
The movement of her foot touching the female causes her to roll over so that the sleeping female is now lying on her back looking up. Lucy looks down, and notices she is standing in a pool of blood; she looks at the female and sees her clothes are drawn up around her waist and can see deep wounds to the female’s stomach. Lucy screams and runs back out into the street shouting,
“Murder, murder!”

This extract is taken from a draft screenplay taken from my book "Prey Time"
https://www.amazon.co.uk/Prey-Time-T...46604&s=books&

https://www.trevormarriott.co.uk

[DJA]

I was mistaken thinking 50 words was realistic; any length can be a good read.

Now see what you've done

Another Fine Mess (1930) Laurel & Hardy - http://kck.st/1IJjopC - YouTube

[APerno]

scene in (with pathos)

Looking down a Victorian London street we see Martha Tabram and a Guardsman walking towards us. Martha is crowding the Guardsman trying to coo and cuddle. With disgust the Guardsman places his hand on Martha's face and pushes her to the sidewalk, calling her an 'ugly drunken sow;' he walks on. Martha loudly and vehemently yells curses and insults at the retreating Guardsman but the empty Whitchapel streets swallow her words and they go unnoticed.

Martha gingerly regains her feet and surveys her loneliness; seeing the landing as salvation, with burps and belches, she ascends the stairs, mumbling exclamations of self pity as she slowly climbs.

The camera draws back across the sidewalk, and then further back across the street until we are standing in the shadows. We stand looking over a man's shoulder trying to spy Martha through the lattice of the stairs and railings; we can better hear Martha than see her. As she collapses to the deck her grunts and snorts fade away; we hear her slip into unconsciousness. Silence once again fills the empty streets; the man before us slowly moves towards the landing.

scene out

[Rob1n]

Just the hands, cleaning /sharpening his knife, places it in his internal pocket of his coat, slips on his coat, grabs his lamp and, walks down dimly lit corridor to front door of the section house - into the fog, for he is a Copper!

[Michael W Richards]

Original Post.

The first post by APerno.

Henry Gawen Sutton was described short and shy.

I've linked him to all of the Five. He had the skill and motive.

Second observation on this post...He has a motive you've given him to validate your own theory, one that has its origins in a decade old and long discarded one. As for what skill was needed to kill all Five Canonicals, its pretty obvious that there is evidence within the Five of some anatomical knowledge and some surgical skills, all the way to no evidence that any knowledge or skill was either needed or used, so his "skill and knowledge" is inconsistent and therefore not something that is not a requirement for any Suspect. We have multiple killers, varied motives and no single story.

[Al Bundy's Eyes]

A dark, drizzly, cobble street. Decay and poverty hang thick in the air. A lone woman, shabby, disheveled, a life of hard knocks and let downs etched on her face, her hair grey before it's time. Wrapping her shawl tighter against the cold she steps out of the shadows as a man approaches. She knows the danger, but desperation is a cruel master. As the figure gets nearer, she forces a smile so as to appear her best. Doubts fill her mind, she's about to attract his attention when suddenly....... A flash of lightning fills the scene, an explosion of smoke and luminescence. She stands stunned. As her eyes open and adjust, she sees fire. Two lines of fire, like tracks, running down the street.

[c.d.]

A crowded pub. A woman flirting with several men. Cut to the street outside the pub which is deserted, dark and rainy. Sound of soft, distant foot steps barely audible. Cut back to the pub as the woman says her goodbyes and leaves. Outside the pub she stops to pull her shawl closer around her. A quick look around and she starts her journey home alone. The loudness of the foot steps increases and she looks back over her shoulder. Cut back to the crowded pub for a second or two. Cut back to the woman who has now picked up her pace and is fearfully looking back over her shoulder. Increased and loud footsteps. A look of horror on her face. Cut back to the pub. Cut again to a hand over the woman's throat and a quick flash of a knife.

c.d.