A cracked brass pocket watch.

This is Exhibit I of the collection — recovered from the body of Thomas Cutbush in Whitechapel, 1887. At first glance, it’s unremarkable. A cheap timepiece. A forgotten object. But this watch was not used to keep time. It was used to announce endings.

In the gaslit streets of Victorian London, Cutbush approached women with the same ritual. He would ask the time. When they answered, he would show them his watch — its ticking loud in the silence — and tell them their time was nearly up. What followed was violence, measured not in minutes, but in obsession.

This exhibit traces the short, brutal career of a man some later suspected as a precursor to Jack the Ripper — a figure hovering on the edge of that greater terror. It explores fixation, escalation, and the thin line between the forgotten attacker and the monster history remembers.

The watch stopped during Cutbush’s final struggle, wrenched from motion as he was overpowered, its hands locked forever at the moment his violence ended. It has never been rewound.

In this museum, time does not heal.

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