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Jekyll & Hyde musical script
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izzyloud
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PostPosted: Tue Mar 02, 2010 1:37 pm   Post subject: Jekyll & Hyde musical script Reply with quote



Hi , Has anybody got a copy of the script for Jekyll and Hyde the Musical. icon_smile.gif
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theatreguy



Joined: 18 Mar 2010
Posts: 2

PostPosted: Thu Mar 18, 2010 10:36 am   Post subject: Reply with quote

Here ya go!

ACT ONE

PROLOGUE

Scene 1: The stage is bare except for a single spotlight which illuminates the face of GABRIEL JOHN
UTTERSON.

UTTERSON
In the autumn of 1888, my friend Henry Jekyll, embarked on a series of scientific experiments that he hoped
may alter our notions of good and evil. How could I know than that it would also transform his soul...and
mine as well. (The lights fade and segue into a scene of SIR DANVERS, DR. JEKYLL, and a MENTAL
PATIENT who is seated in a chair and is chained at the waist.)

SIR DANVERS
Schizophrenia, Catatonia, Dementia...criminal insanity. He is lost, Henry. Lost to himself and to the world.
You will never be able to reach him.

JEKYLL
(Compassionately) I have to try.

SIR DANVERS
How? Everything’s been tried.

JEKYLL
The chemical formulae.

SIR DANVERS
(Scoffing) Magic potions.

JEKYLL
(Ignoring him) Shift the minds equilibrium. Bring the personality back into balance. Stimulate the good
that’s been buried. The drugs can catalyzes this, the theory...

SIR DANVERS
Your theories are more dangerous than he is! What you call the mind...is what god calls the soul.

JEKYLL
(Confident) He can be changed! Sir Danvers, we can all be changed. (SIR DANVERS slowly exits leaving
JEKYLL alone with the PATIENT.)






{“LOST IN THE DARKNESS”}

(JEKYLL sings)
LOST IN THE DARKNESS
SILENCE SURROUNDS YOU
ONCE THERE WAS MORNING
NOW ENDLESS NIGHT.

IF I COULD REACH YOU
I’D GUIDE YOU
AND TEACH YOU
TO WALK FROM THIS
NIGHTMARE,
BACK INTO THE
LIGHT!

(He kneels beside the PATIENT and touches his arm. The PATIENT gives no reaction)

SHOW ME
YOU HEAR ME,
PLEASE,
UNDERSTAND ME.
I’LL KEEP ON FIGHTING
BUT YOU HAVE TO TRY.

I’LL NEVER DESERT YOU
I’LL NEVER STOP TRYING,
I PROMISE YOU THIS
TILL THE DAY THAT
I DIE!!

(Softly spoken) Good night father... (The lights fade from on the scene and come up on several STREET
PEOPLE and MEMBERS OF SOCIETY as the music segues into “FACADE”)


Scene 2: A street scene of London. Members of the ensemble move about the stage as they sing. We
are introduced to several of the members of the cast.

{“FACADE”}
UTTERSON
THERE’S A FACE THAT WE WERE
IN THE COLD LIGHT OF DAY
IT’S SOCIETY’S MASK
IT’S SOCIETY’S WAY,
OF CONCEALING
WHAT’S BEHIND THE
FACADE!!


STREET DANDY
THERE’S A FACE THAT WE HIDE
TILL THE NIGHT TIME APPEARS,
AND WHAT’S HIDING INSIDE
BEHIND ALL OF OUR FEARS
IS OUR TRUE SELF.
LOCKED INSIDE THE
FACADE!!

THE COMPANY
EVERY DAY,
PEOPLE IN THEIR OWN SWEET WAY
LIKE TO ADD A COAT OF PAINT
AN’ BE WHAT THEY AIN’T!

STREET DANDY
THAT’S HOW OUR LITTLE...

THE COMPANY
GAME IS PLAYED
LIVIN’ OUT A MASQUERADE
ACTING A BIZARRE CHARADE...

BISHOP OF BASINGSTOKE
WHILE PLAYING THE SAINT!

BUT THERE’S ONE THING I KNOW
AN’ I KNOW FOR SURE
THIS DISEASE THAT THEY’VE GOT
HAS GOT NO READY CURE
AN I’M CERTAIN
LIFE IS TERRIBLY HARD

MEN OF THE COMPANY
WHEN YER LIFE’S A FACADE!

WOMEN OF THE COMPANY
LOOK AROUND YOU
I HAVE FOUND YOU
CANNOT TELL BY LOOKING
AT THE SURFACE WHAT IS LURKING THERE BENEATH IT.

PROSTITUTE
THIS MAN OF GOD IS PREPARE TO BET YOU
WHAT YOU SEES NOT WHAT YOU GET
THIS MAN’S A MASTER OF DECEIT!




THE COMPANY
SO WHAT IS THIS SINISTER SECRET
THE LIE HE WILL TELL YOU IS TRUE!

UTTERSON
EACH MAN YOU MEET
IN THE STREET
ISN’T ONE MAN
BUT TWO!!

THE COMPANY
NEARLY EVERYONE YOU SEE
LIKE HIM AND HER
AND YOU AND ME
PRETENDS TO BE
A PILLAR OF SOCIETY

THE WOMEN
A MODEL OF PROPRIETY

THE MEN
SOBRIETY AND PIETY

SOCIETY WOMEN
WHO NEVER EVEN HEARD OF NOTORIETY!

THE COMPANY
THE LADIES AN’ GENTS HERE BEFORE YOU
WHICH NONE OF ‘EM EVER ADMITS
MAY HAVE SAINTLY LOOKS,
BUT THERE’RE SINNERS AN’ CROOKS

STRIDE
HYPOCRITES!

THE COMPANY
HYPOCRITES!!

THERE ARE PREACHERS WHO DO
THERE ARE DOERS WHO PREACH.
THERE ARE TEACHERS WHO LIE
THERE ARE LIARS WHO TEACH!

PROSTITUTES
TAKE YOUR PICK DEAR!

THE COMPANY
CAUSE IT’S ALL A FACADE!

STREET DANDY
IF WE BECOME ONE TOO,
ARE WE EVIL OR GOOD?

BISHOP OF BASINGSTOKE
TILL WE WALK A FINE LINE!

STREET DANDY
THAT WE’D CROSS IF WE COULD!

BISHOP OF BASINGSTOKE
BUT WE’RE WAITING

THE COMPANY
TO BREAKTHROUGH THE FACADE!!

ONE OR TWO
MIGHT LOOK KINDA WELL-TO-DO

STRIDE
HAH!!

THE COMPANY
THEIR AS BAD AS ME AND YOU
RIGHT DOWN TO THEIR BOOTS!

STREET DANDY
I’M INCLINED TO THINK

THE COMPANY
HALF MANKIND
THINKS THE OTHER HALF IS BLIND
WOULDN’T BE SURPRISED TO FIND

BISHOP OF BASINGSTOKE
WE’RE ALL IN CAHOOTS!

THE COMPANY
AT THE END OF THE DAY,
THEY DON’T MEAN WHAT THEY SAY
THEY DON’T SAY WHAT THEY MEAN
THEY DON’T EVER COME CLEAN!

STRIDE
AN’ THE ANSWER!




THE COMPANY
IS IT’S ALL A FACADE!

THERE IS NOT ONE BUT TWO
HE IS EVIL AND GOOD
AND HE WALKS A FINE LINE
THAT WE’D ALL CROSS IF WE COULD

STRIDE
IT’S A NIGHTMARE!!

STREET DANDY
WE CAN NEVER DENY!

THE COMPANY
WHAT’S BEHIND THE FACADE!

UTTERSON
LOOK BEHIND THE FACADE!

(THE COMPANY exits and the STREET DANDY becomes the RECORDING SECRETARY)


Scene 3: The scene segues into the BOARD OF GOVERNORS.

RECORDING SECRETARY
The Board of Governors of St. Jude’s Hospital is now in session. Sir Danvers Carew, KBE. Chairman.. (Lit
by a spot-light) The Right Honorable Sir Archibald Proops, Q.C. (They are standing on the upper portion of
the catwalk, and are Lit by spot-light) Lord Savage. (Lit by spot-light) General Lord Glossop. (Lit by spot-
light) Lady Beaconsfield. (Lit by spot-light) His Grace The Bishop of Basingstoke. (Lit by spot-light) The
Order of business will be conducted by the Secretary to the Board of Governors, Mr. Simon Stride. (Last to
be lit by spot-light)

STRIDE
Proposition No. 929 - Presented by, Dr. Henry Jekyll. (JEKYLL enters from the rear of the stage)

(All shouting at once)
GENERAL GLOSSOP
(Shouting) Jekyll, you’re all talk an’ no result!...

BISHOP OF BASINGSTOKE
(Shouting) Forever asking us to endorse empty promises!

SIR ARCHIBALD PROOPS
(Shouting) What’s all the mystery? Much ado about nothing, if you ask me...

LADY BEACONSFIELD
(Shouting) You’re the laughing stock of your profession and polite society! The mad scientist!...
STRIDE
Order! Order! The Chairman will address the Board.

SIR DANVERS
My friends, as Governors of St. Judes Hospital, we are well aware of the controversial nature of Dr. Jekyll’s
research. But our high regard for his work and his reputation, demand that he be given a proper hearing.

JEKYLL
(He sings)
DISTINGUISHED GOVERNORS,
I HAVE GLIMPSED THE FUTURE
SEEN MIRACLES THAT STUN THE MIND
AND MARVELS ONLY SCIENCE CAN FIND
TO SHAPE TOMORROW FOR MANKIND.
AND I CAN SHOW THEM TO YOU.
IF YOU WISH ME TO.

FRIENDS, YOU’RE AWARE
THERE ARE TWO SIDES TO EACH OF US
GOOD AND EVIL
COMPASSION AND HATE.

IF WE COULD EXTRACT
ALL THE EVIL FROM EACH OF US
THINK OF THE WORLD THAT WE COULD CREATE!
A WORLD WITHOUT ANGER
OR VIOLENCE OR STRIFE.
WHERE MAN WOULDN’T KILL ANY MORE!

A WORLD OF COMPASSION
WHERE PASSION FOR LIFE
WOULD BANISH THE MADNESS OF WAR!
I’M CLOSE TO FINDING THE KEY TO DUALITY.
CHEMICAL FORMULAE WHICH COULD AND WOULD
ALTER THE PATTERNS OF MAN’S PERSONALITY
GUIDING HIM EITHER TO EVIL OR GOOD!
WEIGH THE POTENTIAL
THE GREAT POSSIBILITIES.
COLLEAGUES - DEAR FRIENDS UNDERSTAND!
WE HAVE A CHANCE
TO MAKE HISTORY HERE IN OUR HANDS!

STRIDE
Dr. Jekyll, may we dispense with the niceties and proceed with the matter in hand.




JEKYLL
(Spoken) Yes, of course, Mr. Stride...forgive my good manors. (Pause) In each of us there are two natures.
If this primitive duality of man - good and evil - could be housed in separate identities, life will be relieved of
all that is unbearable. It is the curse of mankind...that these polar twins should be constantly struggling...If
we could separate these two forces, we might control and ultimately eliminate all evil from mankind. My
experiments have led me to believe that the day is not far off when this separation will be possible.. To
achieve it, I must be allowed to try me formula on a living human being! (THE GOVERNORS all shout in
shock)

STRIDE
And what if you’re right, Jekyll? And you do manage to separate good from evil - what happens to the evil?

JEKYLL
(He sings)
THERE ARE DOOMED, BROKEN SOULS
IN A THOUSAND ASYLUMS
I DEFY YOU TO SAY YOU DON’T CARE IF YOU CAN!
IN THE NAME OF COMPASSION
AND MEDICAL SCIENCE,
I CAN SAVE MANY LIVES,
IF YOU GIVE ME ONE MAN!

BISHOP OF BASINGSTOKE
I TELL YOU NOW
THE CHURCH WILL NEVER SANCTION IT!

ALL THE GOVERNORS
SACRILEGE!
LUNACY!
BLASPHEMY!
HERESY!

SIR ARCHIBALD PROOPS
YOU SEEM TO TREADING
ON DANGEROUS GROUND
IN LEGAL TERMS,
I’D SAY, EXTREMELY UNSOUND!

BISHOP OF BASINGSTOKE
THE WHOLE THING’S UN-CHRISTIAN,
BARBARIC AND ODD!
YOU’RE PLAYING WITH FIRE
WHEN YOU START TO PLAY GOD!





STRIDE
THE BISHOP SPEAKS FOR ALL OF US
WHEN HE SAYS YOU’RE PLAYING GOD!
THERE’S SUCH A THING AS ETHICS
OVER WHICH YOU RIDE ROUGH-SHOD!

YOU’RE A DOCTOR, NOT OUR SAVIOR,
DOCTOR JEKYLL, FOR A START!
BUT I JUDGE FROM YOUR BEHAVIOR
YOU CAN’T TELL THE TWO APART!

JEKYLL
DEAR MR. STRIDE, I AM SIMPLY A SCIENTIST
I HAVE A CODE, TO WHICH I REMAIN TRUE!
I DON’T PRESUME TO THE STATURE OF MORALIST
I LEAVE PRETENSION LIKE THAT, SIR, TO YOU!

SIR DANVERS
HENRY, I’VE ALWAYS ENCOURAGED YOUR ENTERPRISE
AND I’VE BEEN HOPEFUL THAT YOU WOULD SUCCEED!
BUT IN THE FACE OF THESE POWERFUL ARGUMENTS,
I SEE NO CHOICE BUT FOR YOU TO CONCEDE!

JEKYLL
I KNOW MY FATE IS YOURS TO CHOOSE
BUT IF THEY WIN, THE WORLD WILL LOSE!
AND, I AM ON THE BRINK OF GREAT SUCCESS!
I BEG YOU, GOVERNORS,
YOU MUST SAY “YES!”

LADY BEACONSFIELD
DOCTOR JEKYLL,
ENOUGH OF THIS RANTING, SIR!
THIS IS A HOSPITAL
HERE TO SAVE LIVES!

THE GOVERNORS
DO YOU THINK
WE WOULD LET YOU PLAY HAVOC
WITH ALL THE HIGH PRINCIPLES
FOR WHICH IT STRIVES?

DO YOU EXPECT US
TO COMPROMISE ALL THAT WE STAND FOR
INDULGING YOUR DANGEROUS GAMES?

HOW MANY RULES SHOULD WE BREAK
FOR YOUR DUBIOUS AIMS?

JEKYLL
CAN’T YOU SEE?
I AM NOT PLAYING GAMES!
JUST GIVE ME THE OPPORTUNITY!

GENERAL GLOSSOP
THIS WHOLE THING’S TOO BIZARRE!

SIR DANVERS
OPEN UP YOUR EYES AND SEE!

BISHOP OF BASINGSTOKE
THIS MAN HAS GONE TOO FAR!

JEKYLL
UNLESS YOU LISTEN TO ME...

STRIDE
DOCTOR, PLEASE WATCH YOUR TONE!
DAMN IT, MAN, CAN’T YOU SEE?
YOU’RE ON YOUR OWN!

(THE GOVERNORS begin shouting again)

STRIDE
(Spoken) Order! Order!

JEKYLL
If I ever needed further justification for my experiment, gentlemen, you have just provided it! (He sings)
JUST LOOK AT WHAT HAS HAPPENED HERE!
MIX ANGER WITH A TOUCH OF FEAR
THE DANGERS ALL TOO CRYSTAL-CLEAR
JUST LOOK AT YOU!
OUR DARKER SIDE KEEPS BREAKING THROUGH
OBSERVE IT NOW - IN ME AND YOU!
THE EVIL THAT ALL MEN CAN DO
MUST BE CONTROLLED!
I BEG OF YOU
I’LL SHOW YOU ALL
IT CAN BE DONE!

HERE IS A CHANCE TO TAKE CHARGE OF OUR FATE
DEEP DOWN YOU MUST KNOW
THAT TOMORROW TOO LATE!
ONE RULE OF LIFE WE CANNOT REARRANGE
THE ONLY THING CONSTANT IS CHANGE
THE ONLY THING CONSTANT IS CHANGE!

STRIDE
DISTINGUISHED COLLEAGUES,
YOUR VERDICT, PLEASE.
ALL THOSE IN FAVOR SAY “AYE.”
ALL THOSE OPPOSED, “NAY.”

THE BOARD OF GOVERNORS
NAY! NAY! NAY! NAY!
POSITIVELY - ABSOLUTELY - NAY!

STRIDE
SIR DANVERS?

SIR DANVERS
(Spoken) Abstain.

STRIDE
By six votes to none - with one abstention - proposition 929 is rejected. Thank you for your time, Dr. Jekyll.
(THE GOVERNORS all exit)

UTTERSON
(To JEKYLL) They think your mad...

JEKYLL
They can’t admit to what they all know to be true. They’re hypocrites, John, everyone.

UTTERSON
Hypocrites yes, but powerful. They can cause you harm if you cross them.

JEKYLL
(He sings)
HOW CAN I CONTINUE ON
WHEN THEY CAN BLOCK
EACH STEP I TAKE

UTTERSON
HENRY, YOU HAVE
COME THIS FAR
NOW, THINK OF ALL
YOU HAVE AT STAKE

JEKYLL
JOHN, I KNOW I’M RIGHT
I HAVE LET THOSE FOOLS
MISGUIDE ME.
I’M SO WEARY OF THIS FIGHT
THERE’S SO LITTLE LEFT
INSIDE ME!

UTTERSON
IF YOU KNOW
THAT YOU ARE RIGHT
THEN YOU’VE GOT
TO SEE IT THROUGH.
YOU HAVE TO SEE IT THROUGH.

JEKYLL
SEVEN YEARS AGO
I STARTED OUT ON THIS ALONE,
AND IT’S ALONE I’LL SEE IT
THROUGH TO IT’S CONCLUSION.

WHO ARE THEY TO JUDGE WHAT I AM DOING?
THEY KNOW NOTHING
OF THE ENDLESS POSSIBILITIES I SEE!

IT’S MADNESS
I’M BOUND BY THEIR DECISION

UTTERSON
SEEMS VISION IS A WORD THEY’VE NEVER HEARD!

JEKYLL
IF IT MATTERED LESS,
I’D TREAT IT WITH DERISION
IT’S ABSURD!

UTTERSON
AND YET THE FACT REMAINS
THOSE BASTARDS HOLD THE REINS!

(JEKYLL and UTTERSON exit as we segue into a street scene and we find a STREET DANDY on the
catwalk. He sings the reprise to FACADE. Several STREET WOMAN enter also.)

STREET DANDY
IF YOU LIVE AROUND HERE
YOU NEED CASH IN THE BANK
CAUSE’ THE HOUSES ROUND HERE
ARE ALL FLASHY AND SWANK
AND THE FRONT BIT
IS WHAT’S CALLED A FACADE







(As they sing the company enter on the lower stage dressed for the party and begin dancing)

STREET WOMEN
EVERY NIGHT HERE
ONE HOUSE OR ANOTHER
IS A FUN HOUSE CAUSE’ THERE’S
SOMEONE GIVING
A PARTY AS YOU SEE, SIR!

STREET DANDY
THIS ONE HERE TONIGHT
IS RATHER SPECIAL
AM I RIGHT
IT’S THE BETROTHAL OF
SIR DANVERS DAUGHTER, LISA!


Scene 4: The scene segues into THE ENGAGEMENT PARTY.

GENERAL GLOSSOP
Jekyll! Disgraceful display. If he’d been in the Army, I’d given him a good flogging.

BISHOP OF BASINGSTOKE
He’s lucky he lives in modern times. Today’s penalties for heresy are not what they should be.

GENERAL GLOSSOP
Quite right.

UTTERSON
If these are modern times, your Grace. The penalty for speaking out to help ones fellow man should be the
support of society in general and the church in particular.

BISHOP OF BASINGSTOKE
You agree than with his blasphemies, Mr. Utterson?

UTTERSON
I agree with the principal that mans thoughts on God should not be confined to a church pulpit. Your Grace.

LORD SAVAGE
I think that, Jekyll overdoes all this stuff about helping the poor. I’ve lived in St. James and Oxford all me
life, and I hardly ever see any poor people.

LADY BEACONSFIELD
I think he’s mad if you must know. (She notices SIR DANVERS, and speaks to him) Ah, Danvers. We
were just talking about your future son-in-law, and I think you’re mad to let him marry your daughter.


LISA CAREW
That’s not father’s decision, Lady Beaconsfield. It’s mine.

SIR DANVERS
Don’t worry, Bessy. Whatever your views of him as a scientist, Lisa assures me that, Henry Jekyll is
impeccable husband material.

LADY BEACONSFIELD
Being late for ones own engagement party, shows a remarkable lack of style...

LISA CAREW
Comments on style Madame should never be made by those who have none...

LADY BEACONSFIELD
Well! (She and several of the BOARD OF GOVERNORS move to the back of the stage)

LORD SAVAGE
(He sings)
LISA CAREW, CAN THIS BE YOU?
WHAT KIND OF MAN IS THIS
YOU’VE TAKEN?

CAN YOU NOT SEE
THE KIND OF LIFE
THAT THIS WOULD BE?
YOU ARE MISTAKEN!

STRIDE
TIME TO AWAKEN
BEFORE IT’S TOO LATE
BEFORE YOU’VE FOREVER
DETERMINE YOUR FATE!

LISA CAREW
BUT SIMON, YOU KNEW
I HAD TO BE FREE!
WHAT I CHOOSE TO DO
IS DECIDED BY ME!

EVER SINCE MY MOTHER DIED
MY FATHER, BLESS HIS DARLING HEART,
HAS TREATED ME
AS THOUGH I’M STILL A YOUNG CHILD!
MAYBE HIS IDEA WAS JUST TO WAIT
UNTIL I GREW UP
AND THEN LOOK AT ME
AND HOPE THAT I’D BE HER!


IT’S EASY TO ACCEPT THAT
FROM A FATHER
HE’D RATHER
THINGS REMAINED THE WAY THEY WERE!
BUT WHEN IT COMES TO MARRIAGE,
I MUST PICK WHOM I PREFER!
I’M NOT THE WEAK YOUNG THING
YOU’RE SEEKING, SIMON.
SOMEONE SEVENTEEN, OBEDIENT AND SWEET!
I AM NOT THE PROTЙGЙ
TO WASTE YOUR TIME ON
I’M COMPLETE!

(JEKYLL enters from the rear of the stage and comes into the party)

IN HENRY’S EYES IT SEE
WHAT I AM MEANT TO BE!

(JEKYLL walks up to LISA as TWO GENTLEMEN stand beside them)

FIRST YOUNG MAN
(They sing)
HENRY JEKYLL, YOU’RE A DEVIL!
YOU HAVE ROBBED US
OF LONDON’S MOST LOVELY GIRL...

SECOND YOUNG MAN
I COULD TURN TO DRINK
WHEN I STOP TO THINK

BOTH
LISA’S MARRYING A DOCTOR
INSTEAD OF AN EARL!
POOR GIRL!

SIR DANVERS
Ah, the late, Henry Jekyll.

JEKYLL
Sir Danvers, forgive me.

SIR DANVERS
Nothing to forgive, dear boy. I’m thinking of inviting the guest for the day after the wedding...so that you
will appear to be on time.

UTTERSON
(He raises his glass to make a toast) Sir Danvers. My Lords, lady’s and gentleman. To the intolerably
happy couple. (To JEKYLL) Henry, may all of your research result in discoveries as wonderful as this one.
(He raises his glass) To Lisa and Henry.
THE COMPANY
(In unison) Lisa and Henry. Lisa and Henry (As the guest leave they continue to softly speak) Lisa and
Henry...

LISA CAREW
(To JEKYLL) My dear doctor. While you’re off fighting full time to change the world, I seem to be fighting
full time to save your reputation. I’m getting quite good at it.

JEKYLL
Oh? Well maybe you should present my case to the Board of Governors. You can’t do any worse than I.

LISA CAREW
Oh, Henry, you’ll win in the end. You always do.

JEKYLL
Lisa, (He sings)
I MUST GO ON WITH
THE WORK I’M COMMITTED TO!
HOW COULD I NOT
WHEN MY THEORIES
ARE TRUE!

AND I WILL PROVE,
IF I’M EVER PERMITTED TO!
THINGS ARE NOT WRONG
JUST BECAUSE THEY
ARE NEW!

LISA CAREW
HENRY, I ADORE YOU!
ALWAYS HAVE DONE
ALWAYS WILL DO!
BUT I, TOO HAVE DREAMS!

MAYBE NOT AS GRAND AS YOURS
OR HARD TO UNDERSTAND AS YOURS
BUT NONETHELESS MY DREAMS!
YOU AND I TOGETHER WILL BE...

JEKYLL
DARLING, TRY TO SEE WHAT I SEE!

LISA CAREW
HENRY, PLEASE BELIEVE ME,
I SEE EVERYTHING THERE IS TO SEE!



JEKYLL
THEN WHAT, BY GOD
AM I SUPPOSED TO DO?!

LISA CAREW
WHEN THIS ALL BEGAN
I KNEW THERE’D BE A PRICE TO PAY
TOO LATE NOW TO TURN AWAY
YOU HAVE COME TOO FAR
I KNOW WE’LL FIND A WAY

{“TAKE ME AS I AM”}
JEKYLL
SOMETIMES I SEE
PAST THE HORIZON
SURE OF MY WAY
WHERE I AM GOING

BUT WHERE’S THE PRIZE
I HAVE MY EYES ON?
WHERE?
THERE IS JUST NO KNOWING!

AND WHEN DESPAIR
TEARS ME IN TWO,
WHO CAN I TURN TO BUT YOU?
YOU KNOW WHO I AM...
TAKE ME AS I AM!

LISA CAREW
LOOK IN MY EYES
WHO DO YOU SEE THERE?
SOMEONE YOU KNOW?
OR JUST A STRANGER?

IF YOU ARE WISE,
YOU WILL SEE ME THERE!
LOVE...
IS THE ONLY DANGER!

LOVE...MEANING ME
LOVE...MEANING YOU
WE’LL MAKE OUR ONE DREAM COME TRUE
YOU KNOW WHO I AM...
TAKE ME AS I AM!

BOTH
THOUGH FATE WON’T ALWAYS DO WHAT WE DESIRE
STILL WE CAN SET THE WORLD ON FIRE!
JEKYLL LISA
GIVE ME YOUR HAND GIVE ME YOUR HAND
GIVE ME YOUR HEART GIVE ME YOUR HEART

SWEAR TO ME WE’LL
NEVER PART WE’LL NEVER PART!
YOU KNOW WHO I AM YOU KNOW WHO I AM
THIS IS WHO I AM THIS IS WHO I AM

BOTH
TAKE ME AS I AM!

(They kiss passionately. Pause as SIR DANVERS and UTTERSON enter and interrupt the moment)

JEKYLL
Sir Danvers. Thank you sir, for so much. The six weeks till the wedding will be the longest of my life.

SIR DANVERS
(Pulling JEKYLL aside) I have to tell you, Henry, that your half-hour with the Board of Governors this
afternoon, was the longest of my life!

JEKYLL
I’m truly sorry, sir. But I have to stand by what I believe.

SIR DANVERS
Even at the expense of antagonizing the established authority on these matters?

JEKYLL
Especially then! Sir, they are not the established authority, merely the established prejudice.

SIR DANVERS
I want to be proud of you, Henry.

JEKYLL
Then listen to me, sir. (He turns toward LISA and kisses her. He then turns and walks away holding her
hand) Good night my angle.

LISA CAREW
Good night...my devil. (They smile at each other, then JEKYLL and UTTERSON exit)

SIR DANVERS
Lisa, there are times when it is difficult to tolerate, Henry’s behavior. His eccentricities...

LISA CAREW
You don’t have to tolerate it father, he’s marrying me not you.


SIR DANVERS
(He sings)
LISA DON’T YOU UNDERSTAND
IT’S YOU THAT I AM CONCERNED FOR!

LISA CAREW
BUT DON’T BE,
YOU MUST BE CONCERNED FOR HIM!
THAT’S WERE I SHOULD BE!

SIR DANVERS
I’M ONLY TRYING TO PROTECT YOU
WHAT ELSE WOULD YOU HAVE
YOUR FATHER DO?
I THINK I WOULD DIE
IF ANY HARM SHOULD COME
TO YOU!

I’M SCARED MY CHILD
BECAUSE I’M GOING TO LOOSE YOU.
I FIND IT VERY HARD TO LET YOU GO

LISA CAREW
PAPA, IF YOU TRIED TO
YOU COULD NEVER LOOSE ME.
DARLING, PAPA
I STILL LOVE YOU
MORE THAN YOU WILL EVER KNOW
BUT IF WE WANT
OUR LOVE TO GROW

SIR DANVERS
I KNOW IN TIME
I HAVE TO HAVE TO
LET YOU GO.

BOTH
WE MUSTN’T BE AFRAID
OF LETTING GO...










Scene 5: The scene segues into THE DREGS.
(JEKYLL and UTTERSON appear on the upper catwalk in their coats and hats. At the other side of the
catwalk we find NELLIE a prostitute at the Dregs.)

UTTERSON
Now, Henry, how can you possibly contend that only an evil man is free?

JEKYLL
Because it’s true. John., we all have dark impulses within us, you know that. But we follow societies rules.
The truly evil minded doesn’t, so he’s free. (Pause) As an animal is free to do exactly as he wants, when he
wants, with no restrictions of any kind.

UTTERSON
Well I for one am glad for some sense of order. And I’d prefer to believe that man is basically good. Every
moral man believes that.

JEKYLL
I do not believe it. (They both walk across the catwalk and up to NELLIE)

NELLIE
(She spies the pair of them. She speaks with a thick Cockney accent) Here’s a lovely looking pair of
Gentlemen, I must say. Shows about to start, Dearies. Have a drink, look around, find something you fancy.

JEKYLL
(Pointing to NELLIE) For instance, take this charming creature here. Behold her, John, unfettered,
unencumbered, unchained. (Speaking to NELLIE) My dear, are you free?

NELLIE
(Sashaying up to JEKYLL) Not free your Lordship...but cheap enough for the likes of you.

UTTERSON
(Urging JEKYLL to move on) Come along, Henry...

JEKYLL
John, where’s your sense of adventure? I think we must remain open to new experiences. Maybe I can find
a subject for my experiment? A volunteer.

UTTERSON
I expect this place has volunteers for all sorts of experiments.

NELLIE
You got that right dear. Me names Nellie...welcome to the Dregs.

(The attention is drawn to the stage floor were enters a Spanish dancer, then a Can Can dancer, a Primitive,
a Harem, Half and Half Couple and several male and female “customers” and “workers” of the club. The
dancing and excitement builds until the patrons begin shouting for LUCY the star attraction at the Dregs.
JEKYLL and UTTERSON are escorted to a table by NELLIE.)
MEMBERS OF THE DREGS
Lucy, Lucy, Lucy, Lucy...!!!


{“BRING ON THE MEN”}
LUCY
(LUCY appears center stage with two women on each side of her. They are dressed as men. LUCY sings)
THERE WAS A TIME - - I DON’T KNOW WHEN
I DIDN’T HAVE MUCH TIME FOR MEN
BUT THIS IS NOW - - AND THAT WAS THEN
I’M LEARNING!

A GIRL ALONE - - ALL ON HER OWN
MUST TRY TO HAVE A HEART OF STONE
SO I TRY NOT TO MAKE IT KNOW,
MY YEARNING.

I TRY TO SHOW I HAVE NO NEED
I REALLY DO - - I DON’T SUCCEED

SO LET’S BRING ON THE MEN
AND LET THE FUN BEGIN
A LITTLE TOUCH OF SIN
WHY WAIT ANOTHER MINUTE?

STEP THIS WAY
IT’S TIME FOR US TO PLAY!
THEY SAY
WE MAY NOT PASS THIS WAY AGAIN
SO LET’S WASTE NO MORE TIME
BRING ON THE MEN!

I ALWAYS KNEW - - I ALWAYS SAID
THAT SILK AN’ LACE - - IN BLACK AN’ RED
WILL DRIVE A MAN RIGHT OFF HIS HEAD
IT’S EASY!

SO MANY MEN, SO LITTLE TIME
I WANT ‘EM ALL - - IS THAT A CRIME?

A DRUNK SOLIDER
(Spoken low and deep) Nooo....!






LUCY
I DON’T KNOW WHY THEY SAY THAT I’M
TOO EASY!

THEY MAKE ME LAUGH - - THEY MAKE ME CRY
THEY MAKE ME SICK - - SO GOD KNOWS WHY...

WE SAY BRING ON THE MEN
AND LET THE FUN BEGIN!
A LITTLE TOUCH OF SIN
WHY WAIT ANOTHER MINUTE?
STEP THIS WAY
IT’S TIME FOR US TO PLAY!
THEY SAY
WE MAY NOT PASS THIS WAY AGAIN
SO LETS WASTE NO MORE TIME
BRING ON THE MEN!

THEY BREAK YOUR HEART
THEY STEAL YOUR SOUL
TAKE YOU APART
AND YET THEY SOMEHOW MAKE YOU WHOLE
SO WHAT’S THE USE?
WHY DON’T WE JUST OPEN
UP THE CAGES GIRLS,
AND LET THE TIGERS LOOSE!

(The dancers perform their various acts for the crowd as the music plays on)

THEY BREAK YOUR HEART
THEY STEAL YOUR SOUL
TAKE YOU APART
AND YET THEY SOMEHOW MAKE YOU WHOLE
SO WHAT’S THE GAME?
I ‘SPOSE A ROSE BY ANY OTHER NAME
THE PERFUME AND THE PRICK’S THE SAME!

LUCY & THE GIRLS
SO LET’S BRING ON THE MEN
AND LET THE FUN BEGIN!
A LITTLE TOUCH OF SIN
WHY WAIT ANOTHER MINUTE?
STEP THIS WAY
IT’S TIME FOR US TO PLAY!





LUCY
THEY SAY
WE MAY NOT PASS THIS WAY AGAIN
SO LET’S WASTE NO MORE TIME!

BRING ON THE MEN!!!

THE GIRLS
BIG MEN, SMALL MEN
SHORT MEN, TALL MEN
I GUESS THAT MEANS
ALMOST ALL MEN!
I’M A PLAYER
LONG AS THEY ARE MEN!
MEN! MEN!

(The two Female Harem dancers suddenly are revealed to be Men as the number concludes)

LUCY
(LUCY walks up to JEKYLL and UTTERSON’S table and sings)
S’NOT EVERY DAY
ME FRIENDS AN’ I
‘AS GENTS LIKE YOU
JUST DROPPIN’ BY.
BEFORE YOU GO,
YOU’LL KNOW JUST WHY YOU CAME HERE.

(NELLIE escorts UTTERSON to another part of the Dregs. LUCY sits down beside JEKYLL)

JEKYLL
OF THAT MY DEAR,
I’VE LITTLE DOUBT
ONE ONLY HAS
TO LOOK ABOUT
IT’S NOT TO HARD TO FIGURE OUT
THE GAME HERE!
AND YET I SENSE
THERE’S MORE TO YOU...

LUCY
YOU FLATTER, SIR
YOU REALLY DO!
WITH HALF A CHANCE..

JEKYLL
WHAT WOULD YOU DO?



LUCY
DON’T ASK ME!

(LUCY picks up her wine glass and clicks it to JEKYLL’s) Cheers... (The action of the Dregs becomes
more sensual as patrons and girls get together for their “arrangements.”) You got name brown eyes?

JEKYLL
(Softly) Henry...

LUCY
Well, Henry, aren’t you going to ask my what I’m doing in a place like this?

JEKYLL
(Trying to be polite) Yes, actually, I would...

LUCY
(Interrupting him) You see I’m in between engagements...at the Royal Albert Hall! (Pause) But what I’d
really like to know , darling, is what are you doing in a place like this?

JEKYLL
Well, surely a man is free to explore some of our cities... more colorful haunts. (Pause) Actually I’m
looking for someone to help me with an experiment. Someone unafraid to take a chance?

LUCY
This must me your lucky night. (She sings)
HERE’S TO THE NIGHT!
HERE’S TO ROMANCE!
TO THOSE UNAFRAID
OF TAKING A CHANCE!

JEKYLL
I THINK I’VE TAKEN ENOUGH FOR ONE DAY!
AS I HAVE LEARNED TO MY COST
CHANCES ARE SOMETHING YOU DON’T TAKE
ONCE YOU HAVE LOST!

LUCY
OH, WHAT A SHAME!
IF YOU ONLY KNEW
THE GAMES WE COULD PLAY
THE THINGS WE COULD DO!
YET I CAN SEE
YOU’RE NOT UP TO THE CHASE!
BUT, IT YOU’RE EVER IN NEED,
I AM THE GIRLS!
AND THIS IS THE PLACE!
COME TO ME!

(SPIDER enters and gestures to NELLIE)

JEKYLL
(UTTERSON comes back over to the table)
IT’S GETTING LATE - - I HAVE TO GO
IF ANY TIME - - YOU NEVER KNOW
YOU NEED A FRIEND...

(JEKYLL gives LUCY his business card)

LUCY
(She reads the card) Doctor Henry Jekyll, 46 Harley Street...

NELLIE
(Tugs on LUCY’s arm) The Spider’s here. And he wants to see you now! Lucy, now means now! (LUCY
slowly and reluctantly crosses towards the SPIDER who is seated on the other side of the stage)

JEKYLL
(Looking after LUCY) Can I be of any help?

LUCY
(Turning back to JEKYLL) There some things, were on one can help. Some fires you have to walk through
all by yourself. Thanks for this though. (She holds up the business card. LUCY crosses over to SPIDER)

NELLIE
(Looking over at LUCY) I don’t like it! (To JEKYLL and UTTERSON as they exit slowly) You fancy our
Lucy, do you? Come back. She’ll be here...(JEKYLL and UTTERSON exit up the catwalk stairs)

SPIDER
(To LUCY) A little less socializing and a little more soliciting might prove more profitable for both of us,
Lucy.

LUCY
I do my best, sir!

SPIDER
No Lucy, your best would have resulted in a satisfied customer. I don’t give lodgings and a responsible
position in any of my houses to girls that sit around hob-nubbin and drinking gin! That will cost you sixty
percent of the weeks earnings instead of fifty, Lucy.

LUCY
Yes, sir. Sorry, sir...




SPIDER
Fortunately I’m in a good mood tonight. I shall come to you at mid-night...for my pleasures! (He exits to the
rear of the stage and picks one of the male dancers who follows him up the catwalk stairs.)

LUCY
(LUCY is left sitting at the table. She looks down at the business card) Doctor Henry Jekyll, 46 Harley
Street. (She sings)
IF ANY TIME... YOU NEVER KNOW...
YOU NEED A FRIEND...

(The light slowly fade as the Company exits the stage)

Scene 6: The scene segues into THE TRANSFORMATION.
(JEKYLL and UTTERSON enter on the cat walk and descend the stairs into JEKYLL’s home)

UTTERSON
But, Henry wait!...

JEKYLL
No, John, no. I’ve made up my mind. I know now exactly where I can get a volunteer. The experiment must
move forward now!

UTTERSON
You’re playing for high stakes...Henry, you’re gambling your entire career! Your reputation! And Lisa’s
future! (JEKYLL removes his hat and coat and hands them to POOLE)

POOLE
(To JEKYLL) Good evening, sir.

UTTERSON
You have a lot to loose, Henry. (Pause) You must think of the consequences.

JEKYLL
If all I thought about were the consequences, I’d never accomplish anything.

UTTERSON
And what does that mean?

JEKYLL
(Smirking) Some fires you just have to walk through by yourself...

UTTERSON
(Giving up) You talk to him, Poole.

POOLE
Yes, sir.


UTTERSON
(Crossing to POOLE) I’m going home.

POOLE
Of course, sir.

UTTERSON
(To POOLE) Good night. (To JEKYLL) Good night, Henry. (He exits)

JEKYLL
Good night, Poole.

POOLE
And good night to you, sir. (He exits)

JEKYLL
(Alone on stage he thinks to himself. He sings)
NO THERE IS NO CHOICE
I MUST PUT ASIDE
THE FEARS I FEAR INSIDE
THERE’S NO PLACE TO HIDE!

So it comes to this!

ONE LAST FINAL CHANCE
THAT ONLY I CAN TAKE
WHILE EVERYTHING I FOUGHT
FOR IS AT STAKE!

{“THIS IS THE MOMENT”}
THIS IS THE MOMENT
THIS IS THE DAY
WHEN I SEND ALL MY DOUBT AND DEMONS
ON THEIR WAY!
EVERY ENDEAVOR
I HAVE MADE - EVER
IS COMING INTO PLAY
IS HERE AND NOW - TODAY!

THIS IS THE MOMENT
THIS IS THE TIME
WHEN THE MOMENTUM
AND THE MOMENT ARE IN RHYME!

GIVE ME THIS MOMENT
THIS PRECIOUS CHANCE
I’LL GATHER UP MY PAST
AND MAKE SOME SENSE AT LAST!

THIS IS THE MOMENT
WHEN ALL I’VE DONE
ALL OF THE DREAMING,
SCHEMING AND SCREAMING
BECOME ONE.

THIS IS THE DAY
SEE IT SPARKLE AND SHINE!
WHEN ALL I’VE LIVED FOR
BECOMES MINE!

(As he sings he gestures with his hands and the rear of the stage opens up to reveal a large laboratory table,
with test tubes and such upon it)

FOR ALL THESE YEARS,
I’VE FACED THE WORLD ALONE
AND NOW THE TIME HAS COME
TO PROVE TO THEM
I’VE MADE IT ON MY OWN!

(He gestures again and the table slowly moves forward)

THIS IS THE MOMENT
MY FINAL TEST
DESTINY BECKONED
I NEVER RECKONED
SECOND BEST!

I WON’T LOOK DOWN
I MUST NOT FALL!
THIS IS THE MOMENT
THE SWEETEST MOMENT
OF THEM ALL!

(He goes to the table and pulls a series of levers that another section of the lab lowers from above)
THIS IS THE MOMENT
DAMN ALL THE ODDS!
THIS DAY OR NEVER
I’LL SIT FOREVER
WITH THE GODS!

WHEN I LOOK BACK
I WILL ALWAYS RECALL
MOMENT FOR MOMENT
THIS WAS THE MOMENT
THE GREATEST MOMENT
OF THEM ALL!!

JEKYLL/VOICE OVER
(He pulls some more levers and the lab comes alive with lights. He begins to write in his journal)
September 13th. 11:56 pm. I have started this alone...and I must finish it alone. There is no longer a
choice...I know I must use myself as the subject for the experiment. (He slowly rolls up his shirt sleeves. He
reaches for a bicker with a red liquid in it)

JEKYLL
{“TRANSFORMATION”}
(He sings)
I MUST BE WISE
I MUST TRY TO ANALYZE
EACH CHANGE IN ME
EVERYTHING I SEE.

How will it be?

WILL I SEE THE WORLD
THROUGH DIFFERENT EYES?

(He pours in another set of chemicals)

LIKE A WARNING LIGHT
GLIMMERING IN RED
LIKE CRIMSON BLOODSHED
SHIMMERING IN RED.
BEAUTIFUL AND STRANGE
SEE THE COLORS CHANGE BEFORE MY EYES!
SEE HOW THEY DANCE AND THEY SPARKLE
LIKE DIAMONDS AT NIGHT!
LEADING ME OUT OF THE DARKNESS
AND INTO THE LIGHT!

(He slowly brings the bicker up to his lips and drinks. He pauses as if to expect a reaction. He then begins to
write in his journal again) 11:58 pm. Consumed 10 centiliters of Formula HJ7. Salty, bitter taste. Stings
the tongue. Warm in the gullet. Heat spreading strongly through my veins. A slight feeling of euphoria.
Light-headedness. No noticeable behavioral differences.

NOW THE DIE IS CAST
NOTHING LEFT TO DO!
TIME ALONE CAN PROVE
MY THEORIES TRUE!
SHOW THE WORLD

(JEKYLL is suddenly gripped with a strong pain) My God! - - what’s this? Something is happening I can’t
explain!




SOMETHING INSIDE ME
A BREATH-TAKING PAIN
DEVOURS AND CONSUMES ME
AND DRIVES ME INSANE!
(He screams out desperately in pain. He begins to jerk and spasm as he is taken over by his other self)

SUDDENLY
UNCONTROLLED
SOMETHING IS
TAKING HOLD

SUDDENLY
AGONY
FILLING ME
KILLING ME!

(He is tortured with the pain)

SUDDENLY
OUT OF BREATH
WHAT IS THIS?
IS THIS DEATH?

(JEKYLL’s voice begins to change and lower in tone as he becomes HYDE)

SUDDENLY
LOOK AT ME - - CAN IT BE?!
WHO IS THIS CREATURE THAT I SEE?

HYDE
(He slowly stands up and stretches his arms to the sky) Free...!!! (HYDE picks up the pen clumsily and
writes in JEKYLL’s journal) Midnight...un-expected development. (He give and evil laughs low and deep)

{“ALIVE”}
(He sings)
WHAT IS THIS FEELING OF POWER AND DRIVE
I’VE NEVER KNOWN?
I FEEL ALIVE!

WHERE DOES THIS FEELING OF POWER DERIVE?
MAKING ME KNOW
WHY I’M ALIVE!

LIKE THE NIGHT, IT’S A SECRET
SINISTER, DARK AND UNKNOWN.
I DO NOT KNOW WHAT I SEEK YET
I’LL SEEK IT ALONE!
I HAVE A THIRST
THAT CANNOT BE DEPRIVED
NEVER HAVE I FELT SO ALIVE!

THERE IS NO BATTLE
I COULDN’T SURVIVE
FEELING LIKE THIS
FEELING ALIVE!

LIKE THE MOON, AN ENIGMA
LOST AND ALONE IN THE NIGHT!
DAMNED BY SOME HEAVENLY STIGMA
BUT BLAZING WITH LIGHT!

IT’S THE FEELING OF BEING ALIVE
FILLED WITH EVIL, BUT TRULY ALIVE!
IT’S A TRUTH I CANNOT BE DENIED
IT’S THE FEELING OF BEING
EDWARD HYDE!

(HYDE gestures and the table and the upper portion lab move back and away. HYDE runs to the catwalk
and puts on his hat and coat)


Scene 7: The scene segues back to the DREGS.

(HYDE enters on the upper portion of the catwalk. There are two “Bouncers” standing by the entrance to
the Dregs)

HYDE
(Shouting) Champagne! Champaign! Champaign! (He is blocked from entering by the two “Bouncers.”)
Excuse me. You are in my way... (They do not move. He speaks to them more forcefully) I said you are in
my way! (He uses his cane to move one of the men out of his path)

BOUNCER ONE
(He sings)
ALL RIGHT MATE,
TAKE IT EASY!

BOUNCER TWO
WE DON’T WANT
NO ONE TO GET
HURT NOW,
DO WE?!

HYDE
ALLOW ME TO REACH
MY LADY FRIEND THERE
AND NO ONE WILL!
BOUNCER ONE
Here...Lucy! Nellie! The gentleman here says that he’s a friend of yours?! What do you say?

NELLIE
(To HYDE) Since when?

HYDE
SINCE I PAID
FIFTY GINNIE
FOR THE COMPANY
OF YOUR LOVELY FRIEND!

(HYDE produces a small leather purse from his pocket and tosses it at NELLIE’s feet. You can hear the
sound of coins from inside it) There...!

NELLIE
(Quickly picking up the purse) He’s a friend! (To LUCY) Take care of Champaign Charlie here...

LUCY
You know what they say about a fool and his money! (HYDE enters down the catwalk stairs)

HYDE
It’s the man who won’t pay any price for what he wants...who’s a fool! And besides...you look like you
could use a...friend.

LUCY
(A bit puzzled) I know you, don’t I?!

HYDE
(He sings)
AFTER TONIGHT, MY LITTLE LOVE,
YOU WILL NEVER FORGET ME.
I AM DESTINED TO BE YOUR GUARDIAN ANGEL
YOUR GUIDE TO SALVATION
IN THIS WORLD OF MADNESS!

LUCY
So what’s yer name, then, sweet’ert?

HYDE
(He climb upon a chair and stands before the group)
HYDE...EDWARD HYDE.

A TOAST TO THE NIGHT!
A TOAST TO ROMANCE!
TO THOSE UNAFRAID
OF TAKING A CHANCE!

LUCY
(She sits beside him at the table.)
I MUST ADMIT THAT I LIKE YER APPROACH!
IT’S ONE THAT I’VE NOT SEEN BEFORE!

(The bar patrons all laugh)

HYDE
WHY SHOULD YOU SETTLE FOR LESS, DEAR.
WHEN THERE’S MORE!

I AM THE MAN
FATE HAS DECREED
DESTINED TO BE
ALL THAT YOU NEED!
I CAN GIVE YOU EVERYTHING YOU DESIRE
YOU SIMPLY FOLLOW MY LEAD!

LUCY
(Scoffs at HYDE)
SOUNDS LIKE A NICE BIT OF BUSINESS
YES, INDEED!

(The bar patrons all laugh)

HYDE
(He grabs LUCY by the hair and pulls her head back)
I AM THE MAN!
MARK MY WORDS WELL
WITH WHOM YOU’LL SHARE
HEAVEN OR HELL!

LUCY
(Some of LUCY’s friends start to go to help her but are stopped with a gesture from SPIDER.)
‘EAVEN I FANCY HAS NO PLACE FOR ME!
AND I CAN FIND HELL ON MY OWN!

HYDE
LIKE IT OR NOT,
YOU WILL NEVER BE ALONE!
AFTER TONIGHT, YOU WILL NEVER BE ALONE!

(HYDE grabs hold of LUCY and begins kissing her hard)

LUCY
Stop it you’re hurting me! (She pulls away from him)

HYDE
I’m buying what you’re selling and you’ll do as I say!
LUCY
(She backs away from him) We’ll play by my rules or not at all!

SPIDER
(He calls to her from a dark corner of the stage) Lucy, it’s fifty guineas!

LUCY
(She picks up the purse from the table and thinks about it) Piss off!! (She throws the purse on the floor.
NELLIE again quickly and without HYDE noticing picks it up. LUCY runs to the other side of the stage
with HYDE slowly following her. One of the down-stairs “Bouncers” steps in front of HYDE)

DOWNSTAIRS BOUNCER
(Pointing a finger at HYDE) All right, friend! (He pokes HYDE in the shoulder) You heard the lady.
She’s not in the mood! (He goes to poke HYDE again, but HYDE catches his hand in mid-air)

HYDE
(Holding the DOWNSTAIRS BOUNCER by the wrist) No one...ever touches, Hyde!! (He twist and breaks
the “Bouncers” wrist and throws him to the ground. The room breaks into the fight. Everyone goes
running. Several patrons and bouncers attempt to subdue HYDE but he is unstoppable.) Who’s next. (Ad
lib)

LUCY
(Watching from the stairs) The man’s crazy!? (HYDE looks up and runs to her, her hurries up the stairs to
the top of the upper catwalk)

HYDE
{“ALIVE” REPRISE}
(He sings)
ANIMALS TRAPPED BEHIND BARS IN THE ZOO
NEED TO RUN RAMPANT AND FREE!

(He glances up at LUCY and she quickly exits along with all the rest of the Dregs people.)

PREDATORS LIVE BY THE PREY THEY PURSUE
THIS TIME THE PREDATOR’S ME!!

LUST - LIKE A RAGING DESIRE
FILLS MY WHOLE SOUL WITH ITS CURSE!
BURNING WITH PRIMITIVE FIRE
BERSERK AND PERVERSE!

TONIGHT I’LL PLUNDER HEAVEN BLIND!
STEAL FROM ALL THE GODS!
TONIGHT I’LL TAKE FROM ALL MANKIND
CONQUER ALL THE ODDS!



AND I FEEL I’LL LIVE ON FOREVER
WITH SATAN HIMSELF BY MY SIDE!
AND I’LL SHOW THE WORLD
THAT TONIGHT AND FOREVER
THE NAME TO REMEMBERS
THE NAME EDWARD HYDE!

WHAT A FEELING TO BE SO ALIVE!
I HAVE NEVER SEEN ME SO ALIVE!
SUCH A FEELING OF EVIL INSIDE!
THAT’S THE FEELING OF BEING EDWARD HYDE!

WITH THIS FEELING OF BEING ALIVE,
THERE’S A NEW WORLD I SEE COME ALIVE!
IT’S A TRUTH THAT CANNOT BE DENIED
THERE’S NO FEELING LIKE BEING EDWARD HYDE!!

(Lights Black-out)

Scene 8: The scene segues into the HOME OF DR. JEKYLL.
(POOLE meets LISA on the upper portion of the catwalk)

POOLE
I’m sorry, Miss Carew. Dr. Jekyll has left the strictest instructions that he is not to be disturbed under any
circumstance. Even by you.

LISA CAREW
(POOLE exits down the stairs into JEKYLL’s living-room. UTTERSON enters and meets with LISA) He
won’t see me! It’s been nearly two weeks now , John...

UTTERSON
I am too, Lisa, but you know, Henry...

LISA CAREW
(Strongly) John, I said I’m worried.

UTTERSON
I know....I’ll speak to, Poole. (He descends the stairs as LISA slowly paces on the catwalk)

POOLE
(Standing at attention in the living-room) Mr. Utterson, as you know I am completely devoted to, Dr. Jekyll.
And I do not wish to judge him uncharitably. But there are extraordinary circumstances I must make you
aware of. (Pause) Dr. Jekyll, has been locked in his laboratory day and night for over a week now. He
instructed me not to disturb him for any reason. And to leave his meals outside the door.

UTTERSON
You have not seen nor spoken to him at all during this time?

POOLE
No, sir! Not once!

UTTERSON
Come, Poole, it’s all right you’d hardly be disloyal in telling me.

POOLE
(He relaxes somewhat) Yes, sir. Last night I brought him his tray as usual. And I noticed yesterdays meal
was still untouched. And from inside, I heard these noises. The strangest noises. And a voice that I did not
recognizes. (Pause) I heard him...or it...or whatever it was behind that door weeping like an animal! Like a
lost soul. Crying out night and day for some kind of medicine...(JEKYLL enters quickly, not noticing
UTTERSON)

JEKYLL
(Handing POOLE a note) Poole. Poole, I want you to go to the apothecary immediately and get me these
chemicals. (POOLE takes the note and exits immediately)

UTTERSON
(Shocked at JEKYLL’s appearance) Henry, what in the devil’s name is happened to you? You look like the
wrath of God!

{“HIS WORK AND NOTHING MORE”}
(He sings)
THIS IS NOT THE MAN I KNEW!
THERE’S SOMETHING DEEPLY TROUBLING YOU!
HOW LONG DO YOU PLAN
TO HIDE AWAY HERE?
THIS INCREASING ISOLATION
ONLY ADDS TO YOUR FRUSTRATION
AND IT COULD ENDANGER YOUR CAREER!

JEKYLL
JOHN, I DON’T NEED YOU TO TURN ON ME AS WELL!
MORE THAN EVER NOW I NEED A FRIEND!
CAN’T YOU SEE AND DON’T YOU KNOW
I’VE BEEN THROUGH HELL?
DON’T CONDEMN WHAT YOU DON’T COMPREHEND!

UTTERSON
HENRY, I’M NOT QUESTIONING YOUR MOTIVES HERE!
BUT IS WHAT YOU’RE SEEKING WORTH THE PRICE?
YOU’VE TURNED YOUR BACK ON EVERYTHING YOU
ONCE HELD DEAR
YOU’RE CHOOSING TO IGNORE YOUR FRIENDS ADVICE!

YOU HAVE YOUR WORK
AND NOTHING MORE!
YOU ARE POSSESSED
WHAT IS YOUR DEMON?
YOU’VE NEVER BEEN
THIS WAY BEFORE
YOU’VE LOST THE FIRE
YOU BUILT YOUR DREAMS ON!

THERE’S SOMETHING STRANGE
THERE’S SOMETHING WRONG
I SEE A CHANGE
IT’S LIKE WHEN LOVE DIES.
I WHO HAVE KNOW
YOU FOR SO LONG
I SEE THE PAIN
IN YOUR EYES

UTTERSON JEKYLL
THERE WAS A TIME HAVE
YOU LIVED YOUR LIFE I
AND NO ONE LIVED BE-
THE WAY THAT YOU DID! COME
YOU HAD A PLAN
YOU FOUND A WIFE MY
YOU SAW YOUR WORLD WORK AND
AS VERY FEW DID! NOTHING MORE?

YOU HAD IT ALL! I
THE OVERALL! KNOW
YOU SEEMED TO KNOW THAT’S
JUST WHAT TO LIVE FOR! NOT

BUT NOW IT SEEMS WHAT
YOU DON’T AT ALL! I’M
YOU HAVE YOUR WORK LIVING
NOTHING MORE! FOR!

(SIR DANVERS enters onto the other side of the upper catwalk)

LISA CAREW
FATHER, YOU KNOW HENRY WON’T JUST WALK AWAY
THE ONLY WAY HE KNOWS
IS STRAIGHT AHEAD!

SIR DANVERS
LISA, YOU’VE NOT HEARD A SINGLE WORD I’VE SAID
MY FEAR IS HE’S IN OVER HIS HEAD!
HE COULD LOSE CONTROL
AND THAT I DREAD!



THERE HAS BEEN TALK
THEY SAY HE’S GONE TOO FAR!
HE’S LOCKED HIMSELF AWAY
IN HIS OWN WORLD
PURSUING THIS INSANITY...

LISA CAREW
IT IS HIS WORK!

SIR DANVERS
IT’S MORE THAN WORK!
HE IS OBSESSED!
THE MAN IS DRIVEN!

LISA CAREW
JUST GIVE HIM TIME
I ASK NO MORE!
HIS WORK’S A CRIME
TO BE FORGIVEN!

SIR DANVERS
THERE’S SOMETHING
STRANGE
UNLESS I’M BLIND
I SEE A CHANGE
OF A BIZARRE KIND!

LISA CAREW
THERE’S NOT AT ALL!
DON’T BE UNKIND!
THE PROBLEMS ALL
IN YOUR MIND!

SIR DANVERS UTTERSON JEKYLL
HE HAS HIS WORK HAVE YOU LISA...
AND NOTHING MORE YOU
HE IS OBSESSED BE-
THE MAN IS DRIVEN COME

LISA CAREW UTTERSON JEKYLL
JUST GIVE HIM TIME YOUR LISA...
I ASK NO MORE WORK AND
HIS WORK’S A CRIME NOTHING
TO BE FORGIVEN MORE?





SIR DANVERS UTTERSON JEKYLL
THERE’S SOMETHING I LISA...
STRANGE KNOW
UNLESS I’M BLIND THAT’S
I SEE A CHANGE NOT
OF A BIZARRE KIND!

LISA CAREW UTTERSON JEKYLL
THERE’S NOT ALL! WHAT LISA...
DON’T BE UNKIND YOU’RE
THE PROBLEM’S ALL LIVING
IN YOUR MIND! FOR

LISA CAREW SIR DANVERS UTTERSON JEKYLL
STILL I PRAY DEAR I PRAY I I
EVERY DAY EVERY DAY PRAY PRAY
HENRY MAY HENRY MAY YOU I
FIND HIS WAY FIND HIS WAY MAY MAY
I PRAY HE I PRAY HE FIND FIND
MAY FIND FIND HIS YOUR MY
HIS WAY. WAY WAY. WAY.

LISA CAREW SIR DANVERS UTTERSON JEKYLL
I WILL PRAY I WILL PRAY I I
EVERY DAY EVERY DAY PRAY PRAY
HENRY MAY YOU TWO MAY YOU I
FIND HIS WAY. FIND YOUR WAY MAY MAY
I PRAY I PRAY YOU FIND FIND
HE MAY FIND YOUR YOUR MY
MAY FIND HIS WAY WAY. WAY.
WAY.

(The lights slowly fade and LISA, SIR DANVERS and UTTERSON exit the stage. JEKYLL is left alone in
a single spot-light. As the lights slowly come up POOLE is standing on stage and LUCY is just off to the
side)

POOLE
A young woman to see you, sir. The kind...one can not mistake.

JEKYLL
(Softly) Send her away...

POOLE
Yes, sir. (Pause) I cannot imagine how she came to have your visiting card? Sir.

JEKYLL
(Turns towards POOLE) What? I’ll see her, Poole...(POOLE gestures to LUCY and she steps up into the
examining room. POOLE exits.)

LUCY
(To JEKYLL) I’m the one you and your friend met that night...remember?

JEKYLL
(Looking at her nervously) Well, what brings you here?

LUCY
You said if...I ever needed a friend...(She undoes her top and exposes her back to JEKYLL. He looks at the
marks with shock) Pretty isn’t it. (He has her sit in the chair) This one he enjoyed himself doing it too.
Things like this happen were I come from, but you don’t expect it from a gentleman.

JEKYLL
Gentleman? What sort of monster would do such a thing!

LUCY
Hyde, he called himself. Edward Hyde.

JEKYLL
Why come to me?

LUCY
You gave me your card. I never had someone like you be nice to me before.

JEKYLL
Why didn’t you go to the police?

LUCY
(JEKYLL opens a medical case on the table he then applies some medicine to LUCY’s wounds) You don’t
understand, sir. He being a gent...who’d listen to me? He’d kill me if he had a mind too. He ain’t human!
He’s a beast! I don’t know what I’d if he found out. (She takes his hand) He’s not like you. You make me
feel like a lady.

JEKYLL
(He kneels beside her) You are...a most extraordinary lady. (She kisses him on the mouth. JEKYLL slowly
rises)

{“SYMPATHY - TENDERNESS”}
LUCY
(She sings)
SYMPATHY - TENDERNESS
WARM AS THE SUMMER
OFFER ME THEIR EMBRACE.

FRIENDLINESS - GENTLENESS
STRANGERS TO MY LIFE
THEY ARE THERE IN HIS FACE.

(JEKYLL turns his face away from her and slowly walks toward the rear of the stage)
GOODNESS AND SWEETNESS
AND KINDNESS
ABOUND IN THIS PLACE...

I AM IN LOVE
WITH THE THINGS THAT I SEE
IN HIS FACE...

(JEKYLL slowly exits)

IT’S A MEMORY I KNOW
TIME WILL NEVER ERASE.

{“SOMEONE LIKE YOU”}

LUCY
(She sings)
I PEER THROUGH WINDOWS
WATCH LIFE GO BY
DREAM OF TOMORROW
AND WONDER WHY

THE PAST IS HOLDING ME
KEEPING LIFE AT BAY.
I WANDER LOST IN YESTERDAY
WANTING TO FLY
BUT SCARED TO TRY.

BUT IF SOMEONE LIKE YOU
FOUND SOMEONE LIKE ME
THEN SUDDENLY,
NOTHING WOULD EVER BE THE SAME.

MY HEART WOULD TAKE WING
AND I’D FEEL SO ALIVE!
IF SOMEONE LIKE YOU
FOUND ME!

SO MANY SECRETS
I LONG TO SHARE
ALL I HAVE NEEDED
IS SOMEONE THERE...

TO HELP ME SEE A WORLD
I’VE NEVER SEEN BEFORE
A LOVE TO OPEN EVERY DOOR
TO SET ME FREE
TO LET ME SOAR!

FOR IF SOMEONE LIKE YOU
FOUND SOMEONE LIKE ME
THEN SUDDENLY.
NOTHING WOULD EVER BE THE SAME!

THERE’D BE A NEW WAY TO LIVE
AND A NEW LIFE TO LOVE
IF SOMEONE LIKE YOU
FOUND ME!

OH, IF SOMEONE LIKE YOU
FOUND SOMEONE LIKE ME
THEN SUDDENLY,
NOTHING WOULD BE THE SAME!

MY HEART WOULD TAKE WING
AND I’D FEEL SO ALIVE!
IF SOMEONE LIKE YOU
LOVED ME!
LOVED ME!
LOVED ME!!

(The lights slowly fade to black. LUCY exits. Then the lights slowly come up on the upper portion of the
catwalk. We find NELLIE and the BISHOP OF BASINGSTOKE, they are just finishing a transaction. We
see HYDE stalking in the lower section of the catwalk)


Scene 8: We segue into the DEATH OF BASINGSTOKE.

THE BISHOP OF BASINGSTOKE
It’s very thoughtful of our friend, Spider, to arranged these little rendezvous for us my dear. It makes such a
pleasant change from my charity work.

NELLIE
As long as you have a good time, your Grace, that’s all that matters to me. (She sticks a wad of money into
the top of her bodice) I don’t do it for charity. (She exits)

HYDE
(HYDE crosses and confronts the BISHOP) Well, well, well! It warms my heart to see that romance still
blossoms in the sewers of London. If it isn’t the Romeo of the cloth, and the Juliet of the gutter. A truly
pretty pair...

THE BISHOP OF BASINGSTOKE
How dare you speak to me like that, sir.

HYDE
How dare I, sir?! How dare you, sir! (They begin to circle each other)


THE BISHOP OF BASINGSTOKE
Do you know who I am?

HYDE
Oh, yes! I know exactly who you are. (Shouting) You are Basil...The fourteenth Bishop of Basingstoke!
You are on the Board of Governors of St. Judes Hospital! You’re obscene...self-indulgent...degenerate...(He
raises his cane and strikes down on the BISHOP) Hypocrite! (He strikes him again and the BISHOP falls)
Hypocrite! (He strikes him again and again until he’s dead) Hypocrite!! (He pulls the cross from around the
BISHOP’s neck. He sings)

{“ALIVE” REPRISE}
AND I FEEL I’LL LIVE ON FOREVER

(He spits on the cross and tosses it to the ground)

WITH SATAN HIMSELF BY MY SIDE!
AND I’LL SHOW THE WORLD
THAT TONIGHT AND FOREVER
THE NAME TO REMEMBERS
THE NAME EDWARD HYDE!

WHAT A FEELING TO BE SO ALIVE!
I HAVE NEVER SEEN ME SO ALIVE!
SUCH A FEELING OF EVIL INSIDE!
THAT’S THE FEELING OF BEING
EDWARD HYDE!!

(Black-out)

END OF ACT ONE


















JEKYLL & HYDE

ACT TWO

Scene 1: The Company and ‘MURDER MURDER”
(The scene opens with UTTERSON in a single spot-light. THE COMPANY are gathered together behind
him. They are dressed in different attire, POLICE MEN, PROSTITUTES, SOCIETY MEN and WOMEN,
etc.)

UTTERSON
London was startled by crime a of singular ferocity. Made all the more notable by the high position of the
victim.

{“MURDER, MURDER”}
1ST. MALE STREET MEMBER
(He sings)
READ ABOUT THE HIDEOUS MURDER
PROFANE, RELIGIOUS MURDER
THE POOR OLD BISHOP,
WHAT A SHOCK!

2ND. MALE STREET MEMBER
SEEN WALKING WITH HIS DAUGHTER
A MORE THAN PIOUS DAUGHTER!

1ST. MALE STREET MEMBER
THE SHEPHERD TENDING TO HIS FLOCK!

SIR PROOPS
HE DIED IN THE LONDON SLUM!

LORD SAVAGE
A SLAVE TO MARTYRDOM!

SIR PROOPS
HE DIED WITHOUT COMPLAINT!

LORD SAVAGE
HE SHOULD BE MADE A SAINT!

THE COMPANY
HE’S UNDER CONSTANT GUARD
HE’S HOUSED IN SCOTLAND YARD!
WHY SHOULD IT BE
THIS MYSTERY!

MURDER, MURDER!
DOIN’ FOLKS IN
MURDER, MURDER!
IT’S A NIGHTMARE!
MURDER, MURDER!
IS THE WORST SIN!
BLOODY, MURDER!
IN THE NIGHT!!

MURDER, MURDER!
MAKES YOUR HEAD NUMB!
MURDER, MURDER!
MAKES YOUR LEGS NUMB!
MURDER, MURDER!
MAKES YOUR HEART PUMP!
BLOODY, MURDER!
IN THE NIGHT!!

{“MASS”)
(The whole company lines up in a funeral precession with the BISHOP held aloft the heads of four pawl-
bearers. A YOUNG BISHOP leads the CONGREGATION and GENERAL LORD GLOSSOP brings up the
rear. HYDE enters and stalks the GENERAL)

YOUNG BISHOP
(He sings)
SWEET DEATH HAS TAKEN THIS BRAVE MAN FROM US!

THE CONGREGATION
REQUIEM!

YOUNG BISHOP
FRIENDS TAKE WHAT COMFORT THAT YOU CAN FROM US!

THE CONGREGATION
GOD IN HEAVEN - NOW, FOREVER
TAKE HIM HOME AND HOLD HIM NEAR!

(HYDE sneaks up behind GENERAL GLOSSOP and steals one of his walking canes. HYDE then knocks
him to the ground and uses one of the canes to break his neck. The CONGREGATION does not see this
happen. Only LORD SAVAGE .)

{“MURDER, MURDER”}
LORD SAVAGE
LOOK AT THIS - ANOTHER MURDER!
JUST LIKE THAT OTHER MURDER!
THAT POOR OLD GENERAL GLOSSOP - DEAD!



1ST MALE STREET MEMBER
LAST WEEK THE BISHOP COPPED IT!
THE BLOKE WHAT DONE IT HOPPED IT!

2ND. MALE STREET MEMBER
THAT FELLER MUST BE OFF HIS HEAD!

VARIOUS GOSSIPY LADIES
THAT’S TWO IN THE LAST FOUR DAYS!
THIS KILLER HAS FANCY WAYS!

1ST. MALE STREET MEMBER
TO KILL OUTSIDE ST. PAUL’S

2ND. MALE STREET MEMBER
REQUIRES A LOTTA BALLS!

WOMEN OF THE COMPANY
HE HATES THE UPPER CLASS!

MEN OF THE COMPANY
HE MUST BE ON HIS ARES!

THE COMPANY
WHO COULD IT BE?
DON’T LOOK AT ME!

MURDER, MURDER!
DOIN’ FOLKS IN
MURDER, MURDER!
IS THE WORST SIN!
MURDER, MURDER!
HAS ME SCREAMIN’
BLOODY MURDER
IN THE NIGHT!!

MURDER, MURDER!
MAKES ME BLOOD THIN!
MURDER, MURDER!
MAKES ME HEAD SPIN!
MURDER, MURDER!
STARTS ME DRINKIN’!
BLOODY MURDER
IN THE NIGHT!!





(The scene focuses on the catwalk where DR. JEKYLL meets with BISSET the apothecary to gain more
chemicals)

JEKYLL
(Urgently) Bisset, do you have those chemicals?

BISSET
(Handing JEKYLL the chemical) All but two, sir. You know I could loose my license doing this?!

JEKYLL
(Looking desperately at the vial’s) When will I know about the others?!

BISSET
Tomorrow night, sir. What are they for...?

JEKYLL
(Snaps at him like HYDE) It’s none of your bloody business, what they’re for, Bisset!!

BISSET
No, sir. I’m sorry, sir! It’s just that you don’t seem to be quite yourself, Dr. Jekyll.

JEKYLL
(He turns to leave desperately gripping the vials) I’ve been better, Bisset...I’ve been better!! (He and
BISSET exit. The lights now focus on the main stage)

THE WOMEN OF THE COMPANY
LONDON HAS THIS KILLER ON THE LOOSE!

THE MEN OF THE COMPANY
OR A GANG!

STRIDE
EITHER WAY - LET ‘EM HANG!

THE MEN OF THE COMPANY
GOTTA GET ‘IS HEAD INSIDE A NOOSE!

LADY BEACONSFIELD
RIGHT AWAY!

NELLIE
THE POLICE ARE NO USE!

THE WOMEN OF THE COMPANY
MAYBE HIS NERVE WILL FAIL HIM!



THE MEN OF THE COMPANY
THEY MUST GO OUT AN’ NAIL HIM!

THE COMPANY
THEY’VE GOTTA TRAIL AN’ JAIL HIM
NOW!

MURDER!!

THE WOMEN OF THE COMPANY
NO MATTER WHO WERE BLAMIN’

THE MEN OF THE COMPANY
TILL THEY PULL WOTSISNAME IN,

THE COMPANY
THERE’S GONNA BE ONE FLAMIN’
ROW!!

MURDER, MURDER!
IT’S A CURSE, MAN!
MURDER, MURDER!
IT’S PERVERSE, MAN!

MURDER, MURDER!
NOTHING’S WORSE THAN
BLOODY MURDER IN THE NIGHT!

(The COMPANY now segues and from the front doorway of a home with their bodies, as LORD SAVAGE,
SIR PROOPS and LADY BEACONSFIELDS exit through the archway to center stage.)

LADY BEACONSFIELD
(Laughing) I am board gutless, with these damn charity dinners, Archie!

SIR PROOPS
Then why do you go to them?

LADY BEACONSFIELD
Because I’m board even more gutless at home! (They laugh)

LORD SAVAGE
I agree with you, Bessie. Damn all charities and good causes. (HYDE suddenly appears from among the
crowd)

HYDE
Well, well, well! If it isn’t faith, hope and chastity!


SIR PROOPS
(To HYDE) Be on your way, man! Off with you! (HYDE takes his cane and shoves it into SIR PROOPS
chest) Damn insolence...have you arrested! (He tugs on the cane and it pulls away leaving HYDE holding a
long sword blade)

HYDE
The only thing arrested here, sir, is your intelligence! Hypocrite!!(He stabs PROOPS through the forehead
and sticks him to the catwalk stairs. He then turns his attention to LADY BEACONSFIELD) Now let’s
have a closer look at you...you despicable drunken hag! As I’m sure in your will you’ve left everything to
yourself to be sent on to you in Hades! (He grabs hold of her and produces a large knife) We’ll put this in
your memory to charity! Hypocrite!! (He slashes at her throat twice severing her head. He turns to LORD
SAVAGE) A little gift for you from the late, Lady Beaconsfield!! (He tosses her head to him and vanishes
into the crowd)

1ST. MALE STREET MEMBER
(He sings)
READ ABOUT THE WORST TWO MURDERS!

2ND. MALE STREET MEMBER
MUCH WORSE THAN THE FIRST TWO MURDERS!

BOTH
THAT MAKES IT MURDERS THREE AND FOUR!

1ST. FEMALE STREET MEMBER
THEY’VE MURDERED DEAR OLD BESSIE!

2ND. FEMALE STREET MEMBER
I HEAR EXTREMELY MESSY!

3RD. FEMALE STREET MEMBER
AND POOR OLD ARCHIE IS NO MORE!

THE COMPANY
THAT’S FOUR IN THE LAST EIGHT DAYS!
IT’S LONDON’S LATEST CRAZE!

THE WOMEN OF THE COMPANY
THIS TIME IT WAS IN PARK LANE!
AND HE MAY COME BACK AGAIN!

THE MEN OF THE COMPANY
UNTIL THE KILLER’S FOUND

THE COMPANY
THERE’S DANGER ALL AROUND!
WHAT CAN WE DO?
WE WISH WE KNEW!

MURDER, MURDER!
ONCE THERE’S ONE DONE
MURDER, MURDER!
CAN’T BE UNDONE!

MURDER, MURDER!
LIVES IN LONDON!
MURDER, MURDER
IN THE NIGHT!!

(The COMPANY segues into the living-room of LORD SAVAGE, they form the furniture in the room with
their bodies. LISA CAREW and SIR DANVERS are there. LISA and LORD SAVAGE are seated.)

LORD SAVAGE
(Pleading) I tried to save them, Danvers, I did! But I was lucky to escape with my life!

SIR DANVERS
My dear, Herbert...I don’t doubt that you conducted yourself throughout, in the manner befitting an English
gentlemen.

LORD SAVAGE
I did! Absolutely...Throughout! But I couldn’t save them!

SIR DANVERS
Those are decisions for God to make, not you. And you and God know ...(Pause) that you tried... Come
Lisa. Goodnight. (SIR DANVERS and LISA exit)

(LORD SAVAGE begins laughing because he thinks he pulled one over on SIR DANVERS)

HYDE
(HYDE turns around, he was the back of LORD SAVAGE’s chair) Bad news from God, Herbert!
(SAVAGE stands as HYDE grabs him from behind and uses his cane to chock him) And the word is your a
hypocrite!! (He breaks his neck and exits into the crowd)















THE COMPANY
(They sing)
CATCHIN’ SUCH A MADMAN COULD BE HARD!

1ST. WOMAN
SHOULDN’T BE!

2ND. WOMAN
I AGREE!

3RD. WOMAN
WE SHALL SEE!


THE COMPANY
‘COS THEY’RE ALL SO THICK IN SCOTLAND YARD!

1ST. MAN
TELLIN’ ME!

2ND. MAN
I AGREE!

3RD. MAN
SO DO WE!

THE WOMEN OF THE COMPANY
HE’LL KILL US IF WE LET HIM!

THE MEN OF THE COMPANY
THEY GOTTA GO AN’ GET HIM!

1ST. MAN
I KNOW A WAY TO NET HIM!

2ND. MAN
HOW?

THE COMPANY
MURDER!!

NO MATTER WHO WE’RE BLAMIN’
TILL THEY PULL WOTSISNAME IN,
THERE’S GONNA BE!
THERE’S GONNA BE!
THERE’S GONNA BE!
THERE’S GONNA BE ONE FLAMIN’
ROW!!

MURDER, MURDER!
ON OUR DOORSTEP!
MURDER, MURDER!
SO WATCH YOUR STEP!
MURDER, MURDER!
TAKE ONE MORE STEP!
YOU’LL BE MURDERED
IN THE NIGHT!!

MURDER, MURDER!
ONCE THERE’S ONE DONE!
MURDER, MURDER!
CAN’T BE UNDONE!
MURDER, MURDER!
LIVES IN LONDON!
BLOODY MURDER
IN THE NIGHT!!

MURDER!!

(The lights slowly fade on the COMPANY. Slowly the scene changes into JEKYLL’s laboratory. LISA is
by the lab table looking at JEKYLL’s journal.

Scene 2: The scene segues into DR. JEKYLL’S LABORATORY.

JEKYLL/VOICE OVER
October 7th. After midnight. I am dangerous - more dangerous than any wild animal stalking its prey...
(JEKYLL suddenly burst onto the catwalk and sees LISA)

JEKYLL
(Shouting) Who let you in here?!

LISA CAREW
(She sings)
HENRY?
OH, YOU SCARED ME.
FOR A MOMENT, I THOUGHT...
IT DIDN’T SOUND LIKE YOU.

JEKYLL
How long have you been here?! How long! (He hurries down the stairs)

LISA CAREW
ONLY THESE FEW MINUTES.
AND I SAW THE DOOR WAY OPEN
I THOUGHT YOU MIGHT BE HERE TO...



JEKYLL
(JEKYLL quickly picks up the journal she was reading. He sings)
HOW DARE YOU LOOK INTO MY JOURNAL
WHAT DID YOU SEE?
WHAT DID YOU SEE!

(He rushes into the chair and sits desperately grasping the journal)

LISA CAREW
HENRY, PULL YOURSELF TOGETHER!
IT’S LISA THAT YOU’RE SCREAMING AT!
I CAN’T REMEMBER WHAT I SAW...

JEKYLL
(Recovering is composure somewhat) Lisa, please forgive me. These experiments are taking me to places
even I don’t understand. I can’t explain them to myself, let alone to you! I need to be left alone! To finish
what I’ve started! (LISA very slowly goes to JEKYLL. She compassionately kneels beside him and takes his
hand)

{“ONCE UPON A DREAM”}
LISA CAREW
(She sings)
WHEN THIS ALL BEGAN..
I KNEW THERE’D BE A PRICE...

ONCE UPON A DREAM,
I WAS LOST IN LOVE’S EMBRACE
THERE I FOUND A PERFECT PLACE
ONCE UPON A DREAM.

ONCE THERE WAS A TIME
LIKE NO OTHER TIME BEFORE
HOPE WAS STILL AN OPEN DOOR
ONCE UPON A DREAM.

AND I WAS UNAFRAID
THE DREAM WAS SO EXCITING
BUT NOW I SEE IF FADE
AND I AM HERE ALONE...

ONCE UPON A DREAM,
YOU WERE HEAVEN-SENT TO ME
WAS IT NEVER MEANT TO BE?
ARE YOU JUST A DREAM?

COULD WE BEGIN AGAIN?
ONCE UPON A DREAM.


JEKYLL
(He kisses her softly) Lisa, please don’t abandon me. I just need some time. I do love you. (LISA slowly
gets up and begins to exit up the stairs of the catwalk)

LISA CAREW
(She pauses on the stairs and turns to JEKYLL) I will wait...and pray for you! (She quickly exits)

JEKYLL/VOICE OVER
(JEKYLL goes to the lab table and begins writing in the journal. He the also works with several of the glass
bickers) October 7th. 4am. The experiment is out of control. The transformations are starting to recur of
their own accord. I have radically altered the balance of the formula, to contain and overcome the powerful
and darker forces at work inside me. I know now that I risk death. (There is a pounding on the rear lab
door)

UTTERSON
(From off stage) Henry! It’s John! (JEKYLL slowly and causally puts away the chemical and closes his
journal. He then open the rear door to admit UTTERSON) Henry, what is the meaning of this letter? (He
produces a letter from his breast pocket) Who is, Edward Hyde? And why would you want to leave
everything to someone I’ve never even heard of? (He reads the letter) He is to have all control of these
assets immediate upon my death, or indeed my unexplained absence of longer than three months! (To
JEKYLL) Are you out of your mind?!

JEKYLL
(Trying to cover-up) Hyde, is a colleague...he is helping me with my research. If anything should
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holyguyver
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PostPosted: Thu Jul 08, 2010 11:49 pm   Post subject: Reply with quote

Theatreguy, way to go for posting & not realizing you passed the word count & got the script cut off before the end. Also thats an early draft of the First National Tour script that you posted, the show hasn't been like that since 1995. I will post the current MTI version below.
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holyguyver



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PostPosted: Thu Jul 08, 2010 11:54 pm   Post subject: Reply with quote

Jekyll And Hyde
Book and Lyrics by Leslie Bricusse Music by Frank Wildhorn
A provocative tale of the epic battle between good and evil

Characters
Gabriel John Utterson
Sir Danvers Carew
An inmate
Henry Jekyll
Simon Stride
Lady Beaconsfield
The Bishop of Basingstoke
Lord Savage
General Lord Glossop
Sir Archibald Proops
an Orderly
Emma Carew
Lucy Harris
Nellie, a prostitute
Spider, a pimp
Poole, manservant
BISSET, APOTHECARY
Edward Hyde
People of London:
Aristocrats, Street people, Prostitutes, Servants, Society Guests,
Policemen, Customers

Musical Numbers

ACT 1
1. Prologue
2. Before Lost in Darkness
3. Lost in the Darkness 4.I Need to Know
5. Facade
6. Board of Governors
7. Pursue the Truth/Facade Reprise 1
8. Engagement Party
9. Before 'Take Me As I Am'
10. Take Me As I Am
11. Letting Go
12. Outside the Dregs
13. Bring On The Men
14. Lucy & Jekyll at the Dregs
15. Spider Underscore
16. Outside Jekyll's LAB
17. This is the Moment
18. Transformation
19. Alive
20. Jekyll's Study
21. His Work and Nothing More
22. Sympathy, Tenderness
23. Someone Like You
24. Alive Reprise
ACT 2
25. Murder, Murder
26. Emma in the Lab
27. Once Upon a Dream
28. Streak of Madness
29. In His Eyes
30. Before Dangerous
31. Dangerous Game
32. Facade Reprise 2
33. U&H in the Lab
34. Angst 2
35. No One Knows - Reprise
36. A New Life
37. Lucy's Death
38. Confrontation
39. Facade Reprise 3
40. The Wedding
41. Bows
42. Exit Music


ACT 1, PROLOGUE
Strange animal noises and threatening technological thrums,building to an atmosphere of ominous anticipation. A VOICE, hushed and fervered, out of the darkness.

#1 - Prologue

JEKYLL
(voice-over)
In each of us there are two natures. If this primitive duality of man - good and evil - could be housed in separate identities, life would be relieved of all that is unbearable. It is the curse of mankind that these polar twins should be constantly struggling.

Transformation. UTTERSON, a lawyer, stands isolated in space. HE speaks to the audience.

UTTERSON
In the Autumn of 1888, my friend Henry Jekyll embarked on a series of scientific experiments that he hoped might alter our notions of good and evil. How could I have known that they would also transform his soul. And mine as well.

Transformation. LIGHT fades from UTTERSON and we are in...

#2 - Before 'Lost in the Darkness'

SCENE 1

A nightmarish HOSPITAL ward - or is it a PRISON? MUSIC under JEKYLL and DANVERS.

DANVERS
He's beyond help, Henry.

and ANOTHER FIGURE, silent -a third man, a PATIENT - restrained to a metal bed in front of the white curtain, stares with strange eyes at a fixed point in front of him. He seems to listen, but we cannot know if he hears ...

JEKYLL
Sir Danvers, he still has a soul - as pure and as good as yours or mine. But he's trapped in a dark and terrible world. Madness is the cruelest of all prisons. There must be a way to help him.

DANVERS
Death will help him, Henry.

JEKYLL
(dead still) My theories convince me there is a better solution.

DANVERS
Your theories are more dangerous than he is. Your colleagues say you are trespassing on hallowed ground when you experiment with the human mind.

JEKYLL.
My colleagues are cowards, afraid of what they don't understand. How can we call ourselves civilized, if we are not prepared to help him, and every wretched soul like him?

(the SHADOW looks towards the Patient)

DANVERS
I admire your tenacity, Henry, but I question your philosophy. You're a gifted man. Use your gifts wisely.

DANVERS is gone.
JEKYLL comes to the PATIENT. Looks closely into him.

#3 - Lost in the Darkness

JEKYLL
LOST IN THE DARKNESS,
SILENCE SURROUNDS YOU.
ONCE THERE WAS MORNING -
NOW ENDLESS NIGHT.
IF I COULD REACH YOU,
I'D GUIDE YOU AND TEACH YOU
TO WALK FROM THE DARKNESS
BACK INTO THE LIGHT.

DEEP IN YOUR SILENCE.
PLEASE TRY TO HEAR ME:
I'LL KEEP YOU NEAR ME
TILL NIGHT PASSES BY.
I WILL FIND THE ANSWER.
I'LL NEVER DESERT YOU -
I PROMISE YOU THIS
TILL THE DAY THAT I DIE ...!

The MUSIC continues under as he tenderly kisses the OLD MAN's cheek and embraces him.

JEKYLL
Goodnight, father.

The OLD MAN stares into space, unheeding, a haunting image. JEKYLL, agonized, questioning

#4 -I Need to Know

JEKYLL
I NEED TO KNOW
THE NATURE OF THE DEMONS
THAT POSSESS MAN'S SOUL!
I NEED TO KNOW
WHY MAN'S CONTENT TO
LET THEM MAKE HIM
LESS THAN WHOLE
WHY DOES HE REVEL
IN MURDER AND MADNESS? -
WHAT IS IT MAKES HIM BE
LESS THAN HE SHOULD? -
WHY IS HE DOOMED
NOT TO REACH HIS POTENTIAL?
HIS SOUL IS BLACK
WHEN HE TURNS HIS BACK
UPON GOOD -
I NEED TO FIND
A WAY TO GET INSIDE
THE TORTURED MIND OF MAN.
I NEED TO TRY
TO SEPARATE THE
GOOD AND EVIL - IF I CAN.
WHY DOES A WISE MAN LEAVE OF HIS SENSES? -
WHERE IS THAT FINE LINE WHERE SANITY MELTS? -
WHEN DOES INTELLIGENCE GIVE WAY TO MADNESS? -
A MOMENT COMES WHEN A MAN BECOMES
SOMETHING ELSE ...!

I NEED TO KNOW!
WHY MAN PLAYS THIS STRANGE DOUBLE GAME!
HIS HAND ALWAYS CLOSE TO THE FLAME!
IT'S A DEAL WITH THE DEVIL HE CANNOT DISCLAIM!
BUT WHAT'S HIS AIM?
I NEED TO KNOW!

DEAR GOD, GUIDE ME
AND SHOW ME HOW TO SUCCEED!
WITH YOUR WISDOM INSIDE ME,
HENRY JEKYLL WILL FOLLOW
WHEREVER YOU LEAD!

I NEED TO SEE
THE TRUTH OTHER MEN CANNOT SEE -
TO BE THINGS THAT OTHERS CAN'T BE -
GIVE ME COURAGE TO GO
WHERE NO ANGEL WILL GO
AND I WILL GO! -
I NEED TO KNOW!

END OF PROLOGUE

ACT I, SCENE 2

A London Street

#5 - Facade

COMPANY
THERE'S A FACE THAT WE WEAR
IN THE COLD LIGHT OF DAY
IT'S SOCIETY'S MASK
IT'S SOCIETY'S WAY
AND THE TRUTH IS ('HAH!')
THAT IT'S ALL A FACADE!

THERE'S A FACE THAT WE HIDE
TILL THE NIGHTTIME APPEARS
AND WHAT'S HIDING INSIDE
BEHIND ALL OF OUR FEARS
IS OUR TRUE SELF LOCKED
INSIDE THE FACADE!

EVERY DAY,
PEOPLE IN THEIR OWN SWEET WAY
LIKE TO ADD A COAT OF PAINT
AN' BE WHAT THEY AIN'T!
THAT'S HOW THEIR
LITTLE GAME IS PLAYED
LIVIN' OUT A MASQUERADE -
GETTING RICH AND GETTING LAID
WHILE PLAYING THE SAINT!

BUT THERE'S ONE THING I KNOW -
AN'I KNOW IT FOR SURE -
THIS DISEASE THAT WE'VE GOT
HAS GOT NO READY CURE -
AN' I'M CERTAIN LIFE IS TERRIBLY HARD
WHEN YOUR LIFE'S A FACADE!

LOOK AROUND YOU
I HAVE FOUND YOU CANNOT TELL
BY LOOKIN' AT THE SURFACE
WHAT IS LURKIN' THERE BENEATH IT!

SEE THAT FACE-
NOW I'M PREPARED TO BET YOU
WHAT YOU SEE'S NOT WHAT YOU GET -
BECAUSE MAN'S A MASTER OF DECEIT!

SO WHAT IS HIS SINISTER SECRET?
THE LIE HE WILL TELL YOU IS TRUE?
IT'S THAT EACH MAN YOU MEET
IN THE STREET ISN'T ONE MAN, BUT TWO!

NEARLY EVERYONE YOU SEE
LIKE HIM AN' HER AN' YOU AN' ME
PRETENDS TO BE A PILLAR OF SOCIETY!
A MODEL OF PROPRIETY, SOBRIETY AND PIETY
WHO SHUDDERS AT THE THOUGHT OF NOTORIETY!
THE LADIES AND GENTS HERE BEFORE YOU -
WHICH NONE OF 'EM EVER ADMITS -
MAY HAVE SAINTLY LOOKS,
BUT THEY'RE SINNERS AN' CROOKS -
HYPOCRITES! HYPOCRITES!

THERE ARE PREACHERS WHO KILL!
THERE ARE KILLERS WHO PREACH!
THERE ARE TEACHERS WHO LIE!
THERE ARE LIARS WHO TEACH!
TAKE YOUR PICK, DEAR
'CAUSE IT'S ALL A FACADE!

YOU MUST SEEM TO BE RICH
AND HAVE MONEY TO BURN!
EVEN THOUGH IT'S A BITCH
SPENDING MORE THAN YOU EARN!
THAT'S THE GAME HERE,
AND THE NAME IS FACADE!

ONE OR TWO MIGHT
LOOK KINDA WELL-TO DO - (HAH!)
THEY'RE AS BAD AS ME AN' YOU
RIGHT DOWN TO THEIR BOOTS

I'M INCLINED TO THINK
HALF MANKIND THINKS
THE OTHER HALF IS BLIND
WOULDN'T BE SURPRISED TO FIND
THEY'RE ALL IN CAHOOTS!

AT THE END OF THE DAY,
THEY DON'T MEAN WHAT THEY SAY
THEY DON'T SAY WHAT THEY MEAN
THEY DON'T EVER COME CLEAN
AN' THE ANSWER IS IT'S ALL A FACADE!

MAN IS NOT ONE BUT TWO
HE IS EVIL AND GOOD
AND HE WALKS A FINE LINE
WE'D ALL CROSS IF WE COULD
IT'S A NIGHTMARE WE CAN NEVER DISCARD
SO WE STAY ON OUR GUARD
THOUGH WE LOVE THE FACADE!
WHAT'S BEHIND THE FACADE?
LOOK BEHIND THE FACADE!

END OF SCENE 2

ACT I, SCENE 3

St. Jude's Hospital. A nightmarish Operating Theatre, temporarily converted for the purposes we are about to witness. The place is more a prison than a hospital. A HUGE DOOR upstage, through which JEKYLL will enter With his BOX containing the chemical formulae. No transition, immediate

# 6 - Board of Governors

STRIDE
The Board of Governors of St. Jude's Hospital is now met. Sir Danvers Carew, KBE (Knight of The British Empire), Chairman.
LIGHT on DANVERS.
The Right Honorable Sir Archibald Proops, Q. C. (Queen's Counsel)
LIGHT on PROOFS.
Lord Savage.
LIGHT.
General Lord Glossop.
LIGHT.
Lady Beaconsfield.
LIGHT.
His Grace The Bishop of Basingstoke.
LIGHT. The BOARD of GOVERNORS is assembled:

LADY BEACONSFIELD, a well-dressed older woman;
The BISHOP of BASINGSTOKE, in clerical purple;
LORD SAVAGE, very much a man-about-town, with other (more important) things to be doing this afternoon;
GENERAL LORD GLOSSOP, older, formidable, ramrod straight, cruel mouth;
SIR ARCHIBALD PROOPS, queen's counsel - quick, methodical, all business;
SIMON STRIDE, secretary to the BOARD, rival of Jekyll's. Similar to him in age and manner.
SIR DANVERS CAREW, very much alone, nearest to where Jekyll will be.

STRIDE
The Order of business will be conducted by the Secretary to the Board of Governors, Mr. Simon Stride.

(STRIDE bows to the GROUP and takes his place. He opens the Minutes Book)

SAVAGE
Let's get on with it!

STRIDE
Proposal No. 929 - Presented by Dr. Henry Jekyll.

Huge doors open and JEKYLL enters.
The BOARD immediately erupts into pandemonium as JEKYLL enters. It is a rumpus reminiscent of normal procedure in the British House of Commons. JEKYLL is "on trial" before them. His "breakthrough discovery" and radical proposals are the subject of the heated debate. Shouting over one another, the distinguished GOVERNORS' behavior is anything but distinguished.

STRIDE
Order! Order!
The Chairman will address the Board.

Mumbling and grumbling, the GOVERNORS resume their stations. SIR DANVERS speaks over the receding hubbub.

DANVERS
My friends! As Governors of St. Jude's Hospital we are all well aware of the highly controversial nature of Doctor Jekyll's research. But our high regard for his work and reputation demand that he be given a proper hearing. And that we now happily accord him.

LADY BEACONSFIELD
I won't happily accord that madman anything!

DANVERS
Bessie!

" Board Of Governors "

JEKYLL
DISTINGUISHED GOVERNORS,
I HAVE GLIMPSED THE FUTURE
SEEN MIRACLES THAT STUN THE MIND
AND MARVELS ONLY SCIENCE CAN FIND
TO SHAPE TOMORROW FOR MANKIND.
AND I CAN SHOW THEM TO YOU
IF YOU WISH ME TO.

FRIENDS, YOU'RE AWARE
THERE ARE TWO SIDES TO EACH OF US
GOOD AND EVIL
COMPASSION AND HATE.

IF WE COULD EXTRACT ALL
THE EVIL FROM EACH OF US
THINK OF THE WORLD THAT
WE COULD CREATE!
A WORLD WITHOUT ANGER
OR VIOLENCE OR STRIFE -
WHERE MAN WOULDN'T KILL ANY MORE!
A WORLD OF COMPASSION
WHERE PASSION FOR LIFE
WOULD BANISH THE MADNESS OF WAR!

He extracts from a large case, a vial encased in a protective 'cell ' - the liquid inside the vial glows an electric crimson HE rises to show the vial to the BOARD, who instinctively recoil from it.

I'M CLOSE TO FINDING THE KEY TO DUALITY
CHEMICAL FORMULAE WHICH
COULD AND WOULD
ALTER THE PATTERNS OF MAN'S PERSONALITY -
GUIDING HIM EITHER TO EVIL OR GOOD!
WEIGH THE POTENTIAL
THE GREAT POSSIBILITIES
COLLEAGUES - DEAR FRIENDS -
UNDERSTAND!
WE HAVE A CHANCE
TO MAKE HISTORY HERE IN OUR HAND!

STRIDE
Dr. Jekyll, may we dispense with the niceties and proceed to the matter at hand?

JEKYLL
Of course, Mr. Stride, forgive my good manners. Each of us is the embodiment of two distinct and opposing forces - good and evil - each fighting for supremacy inside us. If we could separate these two forces, we could control and ultimately eliminate all evil from mankind. My experiments have convinced me that the day is not far off when this separation will be possible. To achieve it, I must be allowed to try my formula on a living human being.

BISHOP
And what if you're right, Jekyll? And you do separate good from evil -
What happens to the Evil?

JEKYLL
(passionately)
THERE ARE DOOMED, BROKEN SOULS
IN A THOUSAND ASYLUMS
LEFT THERE TO ROT
FOR THE LACK OF A PLAN!
IN THE NAME OF COMPASSION
AND MEDICAL SCIENCE,
I CAN SAVE MANY LIVES
IF YOU GIVE ME ONE MAN! .

BISHOP OF BASINGSTOKE
(With great pomp)
I TELL YOU NOW
THE CHURCH WILL NEVER SANCTION IT!

VARIOUS
SACRILEGE! LUNACY! BLASPHEMY! HERESY!

SIR ARCHIBALD PROOPS
YOU SEEM TO BE TREADING
ON DANGEROUS GROUND -
IN LEGAL TERMS,
I'D SAY, EXTREMELY UNSOUND!

BISHOP OF BASINGSTOKE
YOUR LACK OF HUMILITY
STRIKES ME AS ODD
WHAT MAKES YOU THINK YOU
HAVE THE RIGHT TO PLAY GOD!

STRIDE
THE BISHOP SPEAKS FOR ALL OF US
WHEN HE SAYS YOU'RE PLAYING GOD!
THERE'S SUCH A THING AS ETHICS -
OVER WHICH YOU RUN ROUGH-SHOD!
YOU'RE A DOCTOR, NOT OUR SAVIOR,
DOCTOR JEKYLL, FOR A START! -
BUT I JUDGE FROM YOUR BEHAVIOR
YOU CAN'T TELL THE TWO APART!

JEKYLL
DEAR MR. STRIDE, I AM SIMPLY A SCIENTIST
I HAVE A CODE, TO WHICH I REMAIN TRUE!
I DON'T PRESUME TO THE STATURE OF MORALIST
I LEAVE PRETENSION LIKE THAT, SIR, TO YOU!

DANVERS
HENRY, I'VE ALWAYS ENCOURAGED
YOUR ENTERPRISE
AND I'VE BEEN HOPEFUL
THAT YOU WOULD SUCCEED!
BUT IN THE FACE OF THESE
POWERFUL ARGUMENTS,
I SEE NO CHOICE BUT
FOR YOU TO CONCEDE!

JEKYLL
I KNOW MY FATE IS YOURS TO CHOOSE
BUT IF THEY WIN, THE WORLD WILL LOSE
I AM ON THE BRINK OF GREAT SUCCESS!
I BEG YOU, GOVERNORS - YOU MUST SAY "YES"!

LADY BEACONSFIELD
DOCTOR JEKYLL,
ENOUGH OF YOUR RANTING, SIR!
THIS IS A HOSPITAL
HERE TO SAVE LIVES!

GOVERNORS
DO YOU THINK WE WOULD LET
YOU PLAY HAVOC WITH ALL
THE HIGH PRINCIPLES
TOWARD WHICH IT STRIVES?

DO YOU EXPECT US TO COMPROMISE
ALL THAT WE STAND FOR
INDULGING YOUR DANGEROUS GAMES?
HOW MANY RULES SHOULD WE BREAK
FOR YOUR DUBIOUS AIMS?

JEKYLL
FOOLS!

DANVERS
HENRY!

JEKYLL
YOU FOOLS!

PROOPS
JEKYLL!

JEKYLL
GOD DAMN...

BISHOP
BLASPHEMY!

JEKYLL
...YOUR RULES!

GEN. GLOSSOP
MUTINY!

JEKYLL
LOOK AT YOURSELVES!

LORD SAVAGE
DAMN ME!

JEKYLL
CIVILIZED MEN!

LADY BEACONSFIELD
REALLY!

JEKYLL
WHY-CAN'T-YOU-SEE?!

DANVERS
HENRY!

JEKYLL
(Frustrated)
CAN'T YOU SEE?
I AM NOT PLAYING GAMES!
JUST GIVE ME THE OPPORTUNITY!

GENERAL GLOSSOP
THIS WHOLE THING'S TOO BIZARRE!

DANVERS
OPEN UP YOUR EYES AND SEE!

BISHOP OF BASINGSTOKE
THIS MAN HAS GONE TOO FAR!

JEKYLL
UNLESS YOU LISTEN TO ME...

STRIDE
DOCTOR, PLEASE WATCH YOU TONE!
DAMMIT, MAN, CAN'T YOU SEE?
YOU'RE ON YOUR OWN!

(By now, all tempers are frayed).

(JEKYLL sees the BOARD OF GOVERNORS baying at him like a pack of wolves.)

STRIDE
(banging his gavel) Order! Order!

JEKYLL
If I ever needed further justification for my experiments, gentlemen, you have just provided it!
JUST LOOK AT WHAT HAS HAPPENED HERE!
MIX ANGER WITH A TOUCH OF FEAR
THE DANGER'S ALL TOO CRYSTAL-CLEAR
JUST LOOK AT YOU -
OUR DARKER SIDE KEEPS BREAKING THROUGH
OBSERVE IT NOW - IN MAN AND YOU!
THE EVIL THAT ALL MEN CAN DO
MUST BE CONTROLLED!
I BEG OF YOU
I'LL SHOW YOU ALL
IT CAN BE DONE!

(Regains his calm)

HERE IS A CHANCE TO TAKE
CHARGE OF OUR FATE
DEEP DOWN YOU MUST KNOW
THAT TOMORROW'S TOO LATE!
ONE RULE OF LIFE WE CANNOT REARRANGE -
THE ONLY THING CONSTANT IS CHANGE
THE ONLY THING CONSTANT IS CHANGE.

STRIDE
DISTINGUISHED COLLEAGUES,
YOUR VERDICT, PLEASE.
ALL THOSE IN FAVOR SAY "AYE".
(A chilling silence fills the room. STRIDE smiles a thin smile)
All those opposed, "Nay."

BOARD OF GOVERNORS
(ensemble)
NAY! NAY! NAY! NAY!
ABSOLUTELY - POSITIVELY - NAY!

STRIDE
SIR DANVERS?

DANVERS
Abstain.

STRIDE
(with smug satisfaction)
By six votes to none, with one abstention, Proposition 929 is rejected. Thank you for your time, Doctor Jekyll.

(The BOARD rise to their feet and disperse - muttering to one another about the Jekyll scandal. "Shameful!" "Disgusting exhibition")

LORD SAVAGE
Who wants to take me to lunch? Bessie?

LADY BEACONSFIELD
I've heard enough demented babbling for one day, Herbert, without listening to you!

THEY leave.

DANVERS
I'm truly sorry, Henry. I did try to warn you.

HE leaves. UTTERSON appears next to JEKYLL.

#7 - Pursue the Truth/Facade Reprise 1

UTTERSON
They think you're quite mad.

JEKYLL
They're hypocrites, John - every last one of them!

UTTERSON
Yes, but they are powerful hypocrites. You should exercise greater caution.

JEKYLL
I can't afford caution!
BUT HOW CONTINUE ON
WHEN THEY CAN BLOCK EACH STEP I TAKE?

UTTERSON
HENRY, YOU HAVE COME THIS FAR
REMEMBER WHAT YOU HAVE AT STAKE!

JEKYLL
JOHN, I KNOW I'M RIGHT!
I HAVE LET MY VISION GUIDE ME
I'M SO WEARY OF THIS FIGHT
THERE'S SO LITTLE LEFT INSIDE ME.

UTTERSON
IF YOU KNOW THAT YOU ARE RIGHT
THEN YOU'VE GOT TO SEE IT THROUGH
YOU'VE GOT TO SEE IT THROUGH!

JEKYLL
SEVEN YEARS AGO
I STARTED OUT ON THIS ALONE
AND IT'S ALONE I'LL SEE IT THROUGH
TO ITS CONCLUSION

WHO ARE THEY TO JUDGE WHAT I AM DOING?
THEY KNOW NOTHING OF THE
ENDLESS POSSIBILITIES I SEE!
IT'S LUDICROUS
I'M BOUND BY THEIR DECISION

UTTERSON
SEEMS VISION IS A WORD
THEY'VE NEVER HEARD!

JEKYLL
IF IT MATTERED LESS,
I'D TREAT IT WITH DERISION
IT'S ABSURD!

UTTERSON
(smiling)
AND YET THE FACT REMAINS
THOSE BASTARDS HOLD THE REINS!

END OF SCENE 3

Transition: The facade of SIR DANCERS CAREW's elegant John Nash Regency house in Regent's Park.

COMPANY
IF YOU LIVE AROUND HERE
YOU NEED CASH IN THE BANK
'CAUSE THE HOUSES ROUND HERE
ARE ALL FLASHY AND SWANK
AN' THE FRONT BIT IS
WHAT'S CALLED A FACADE.

IF YOU LIVE AROUND HERE
YOU NEED LOTS OF PANACHE!
IF YOU LIVE IN TOWN, DEAR,
THEN YOU MUST CUT A DASH!
'TISN'T HARD, DEAR,
TO CREATE A FACADE!

HERE TONIGHT IT'S FESTIVE
BUT THE GUESTS ARE GETTING RESTIVE
'CAUSE THE GUEST OF HONOR'S
CAUSING A DILEMMA!

DOCTOR JEKYLL'S TARDY
FOR HIS OWN ENGAGEMENT PARTY
HIS BETROTHAL TO
SIR DANVERS' DAUGHTER, EMMA!

At the end of the song, the facade flies as the last of the lavishly-dressed GUESTS arrive at the engagement party, and we move into the house.

ACT I, SCENE 4

#8 - The Engagement Party

Sir Danvers Carew's house in regent's park

A swirling waltz as the lights come up to reveal a large, elegant, dressy party in full swing. The room is spacious and grand. A staircase dominates stage left, and a large chandelier overhangs the guests. As some of them dance to the music, others flutter around and flatter the distinguished central figure, the host of the ball, Sir DANVERS Carew, who is equally charming to everyone, despite their sometimes exaggerated degrees of social affectation. A group of the BOARD is present - gossiping about the events of this afternoon.

SAVAGE
Who does this Jekyll feller think he is?

GLOSSOP
Impertinence like that in the Army would've earned him a good flogging!

BISHOP
He's lucky he lives in modern times. Today's penalties for heresy are not what they should be!

UTTERSON
We're lucky that we have you to represent modern times, Your Grace.

SAVAGE
I think Jekyll overdoes all this stuff about helping the poor. I've lived in St. James' all me life. Damned if I've ever seen any poor people!

LADY BEACONSFIELD
I think he's mad, if you must know. Ah, Danvers, we're talking about your future son in law! And I think you're mad to allow him to marry your daughter!

EMMA has been chatting with a nearby group of GUESTS, and now spins around.

EMMA
That's not father's decision, Lady Beaconsfield - its mine!

DANVERS
Don't worry, Bessie. Whatever your views on him as a scientist, Emma assures me that Henry Jekyll is impeccable husband material!

LADY BEACONSFIELD
It's less than impeccable to be late for one's own engagement party. Shows a remark-able lack of style!

EMMA
Comments on style, Madam, should never be made by those who have none.

STRIDE enters, slightly the worse for drink. DANVERS goes to him.

STRIDE
Oh good, now Jekyll and I can drown our respective sorrows in Sir Danvers' drink.

DANVERS
MY DEAR SIMON,
YOU'RE SO GRACIOUS TO
WISH EMMA AND HENRY BOTH WELL!

STRIDE
DEAR SIR DANVERS, AS YOU KNOW, SIR
I WISH EMMA THE SUN AND THE MOON
BUT I HAVE TO CONFESS THAT
I WISH HENRY JEKYLL IN HELL!

EMMA moves to STRIDE, and gently signals Sir DANVERS to withdraw.

STRIDE
EMMA CAREW, CAN THIS BE YOU?
WHAT KIND OF MAN IS THIS YOU'VE TAKEN?
CAN YOU NOT SEE THE KIND OF LIFE
THAT THIS WOULD BE?
YOU ARE MISTAKEN!
TIME TO AWAKEN
BEFORE IT'S TOO LATE
BEFORE YOU FOREVER
DETERMINE YOUR FATE!

EMMA
BUT, SIMON, YOU KNEW
I HAD TO BE FREE!
WHAT I CHOOSE TO DO
IS DECIDED BY ME!

FROM THE DAY MY MOTHER DIED
MY FATHER, BLESS HIS DARLING HEART,
TREATED ME AS THOUGH
I'M STILL A YOUNG CHILD!
MAYBE HIS IDEA WAS JUST TO WAIT
UNTIL I GREW UP
AND THEN LOOK AT ME
AND HOPE THAT I'D BE HER!

IT'S EASY TO ACCEPT THAT FROM A FATHER
HE'D RATHER THINGS REMAINED
THE WAY THEY WERE!
BUT WHEN IT COMES TO MARRIAGE,
I MUST PICK WHOM I PREFER!

I'M NOT THE WEAK YOUNG THING
YOU'RE SEEKING, SIMON
SOMEONE SEVENTEEN,
OBEDIENT AND SWEET! -
I AM NOT THE PROTEGE
TO WASTE YOUR TIME ON
I'M COMPLETE!
IN HENRY'S EYES I SEE
WHAT I AM MEANT TO BE!


1ST YOUNG MAN
HENRY JEKYLL, YOU'RE A DEVIL!
YOU HAVE ROBBED US OF
LONDON'S MOST LOVELY GIRL.

2ND YOUNG MAN
I COULD TURN TO DRINK
WHEN I STOP TO THINK
EMMA'S MARRYING A DOCTOR
INSTEAD OF AN EARL! - POOR GIRL!

JEKYLL frees himself and hurries to EMMA's side SIMON STRIDE intrudes into the GROUP, HE raises his glass. HE is drunk,

STRIDE
(Mockingly)
DOCTOR JEKYLL, MAY I BE THE FIRST
TO WISH YOU AND YOUR BRIDE-TO-BE
PEACE AND PROSPERITY?

JEKYLL
MR. STRIDE, IT'S MOST CIVIL OF YOU
TO SAY THAT, AS YOU DO,
WITH SUCH PATENT SINCERITY!

The GUESTS close by are amused at JEKYLL's deft and (For once) diplomatic handling of a potentially dangerous situation. Sir Danver s approaches, looking at his watch.

DANVERS
Ah, the late Henry Jekyll!

JEKYLL
(Shaking his hand) Sir Danvers, forgive me ...

DANVERS
(Pooh-poohs the apology)
Nothing to forgive, dear boy. I'm thinking of inviting the guests for the day after the wedding so that you two will appear to be on time!

UTTERSON
Sir Danvers, my lords, ladies and gentlemen - to the intolerably happy couple! Henry, may all your research result in discoveries as wonderful as this one! Emma and Henry!

#9 - Before 'Take Me As I Am'

Emma and Henry.

The crowd disperses, EMMA, JEKYLL remain.

JEKYLL
Miss Carew

EMMA
Doctor Jekyll. I'm happy you're here.

JEKYLL
I try never to miss any social occasion attended by Lady Beaconsfield. Is there a Lord Beaconsfield?

EMMA
He died thirty years ago.

JEKYLL
Sensible fellow.

EMMA
You know, Henry, I sometimes wish you were as diplomatic as you are outspoken.

JEKYLL
I'll be outspoken, if you'll be diplomatic. If you had presented my case today to the Board of Governors, I probably would have got what I wanted.

EMMA
You'll get what you want in the end, Henry. You always do.

JEKYLL
I don't have a choice.
I MUST GO ON WITH THE
WORK I'M COMMITTED TO
HOW CAN I NOT WHEN
MY THEORIES ARE TRUE?
AND I WILL PROVE
IF I'M EVER PERMITTED TO
THINGS ARE NOT WRONG
JUST BECAUSE THEY ARE NEW!

EMMA
HENRY, I ADORE YOU.
ALWAYS HAVE DONE ALWAYS WILL DO.
AND YOUR DREAMS ARE MINE!
I WILL ALWAYS UNDERSTAND
HOWEVER HARD THE PATH YOU'VE PLANNED
OUR LIVES WILL INTERTWINE...

JEKYLL
WHO KNOWS WHERE MY WORK WILL LEAD ME?

EMMA
NOWHERE WHERE YOU WILL NOT NEED ME!

JEKYLL
EMMA, PLEASE I BEG YOU, HEED ME!

EMMA
JUST DON'T LEAVE ME ON MY OWN!

JEKYLL
THE ONLY THING TO FEAR IS THE UNKNOWN

EMMA
WHEN THIS ALL BEGAN,
WE KNEW THERE'D BE A PRICE TO PAY -
TOO LATE NOW TO TURN AWAY -
WE HAVE COME TOO FAR! -
I KNOW WE'LL FIND A WAY...

#10 - Take Me As I Am

JEKYLL
SOMETIMES I SEE PAST THE HORIZON -
SURE OF MY WAY -
WHERE I AM GOING -
BUT WHERE'S THE PRIZE I HAVE MY EYES ON?
WHERE? THERE IS JUST NO KNOWING!

AND WHEN DESPAIR TEARS ME IN TWO,
WHO CAN I TURN TO BUT YOU?
YOU KNOW WHO I AM...
TAKE ME AS I AM.

EMMA
LOOK IN MY EYES -
WHO DO YOU SEE THERE?
SOMEONE YOU KNOW?
OR JUST A STRANGER?

IF YOU ARE WISE, YOU WILL SEE ME THERE!
LOVE... IS THE ONLY DANGER!
LOVE... MEANING ME
LOVE... MEANING YOU

WE'LL MAKE OUR ONE DREAM COME TRUE!
YOU KNOW WHO I AM...
TAKE ME AS I AM.

BOTH
THOUGH FATE WON'T ALWAYS DO
WHAT WE DESIRE -
STILL WE CAN SET THE WORLD ON FIRE!
GIVE ME YOUR HAND -
GIVE ME YOUR HEART

JEKYLL
SWEAR TO ME WE'LL NEVER PART!

EMMA
WE'LL NEVER PART!

JEKYLL
YOU KNOW WHO I AM

EMMA
YOU KNOW WHO I AM

JEKYLL
THIS IS WHO I AM...

EMMA
THIS IS WHO I AM...

BOTH
TAKE ME AS I AM.

SIR DANVERS and UTTERSON re-enter as JEKYLL kisses EMMA.

# 11 - Letting Go

JEKYLL
Thank you sir, for so much. The six weeks till the wedding will be the longest of my life!

DANVERS
I have to tell you Henry, that your half hour with the Board of Governors, this afternoon was the longest of my life.

JEKYLL
I'm truly sorry, sir. But I have to stand by what I believe.

DANVERS
Even if it means antagonizing the established authority in the process?

JEKYLL
Especially then. And your friends are not the established authority, sir. Merely the established prejudice.

DANVERS
I want to be proud of you, Henry.

JEKYLL
Then listen to me, sir.

To EMMA

Goodnight, my angel.

EMMA
Goodnight, my devil.

JEKYLL and UTTERSON leave. DANVERS and EMMA alone.

DANVERS
Emma, there are times when I find it hard to tolerate Henry's behavior!

EMMA
You don't have to tolerate it, father. He's marrying me not you.

DANVERS
EMMA, CAN'T YOU UNDERSTAND
IT'S YOU THAT I'M CONCERNED FOR?

EMMA
FATHER, DON'T BE!
YOU SHOULD BE CONCERNED FOR HIM!
HE'S IS ONE IN NEED -

DANVERS
I AM ONLY TRYING TO PROTECT YOU!
WHAT ELSE WOULD YOU HAVE
YOUR FATHER DO?
I THINK I WOULD DIE
IF ANY HARM SHOULD COME TO YOU.
I'M SCARED, MY CHILD,
BECAUSE I'M GOING TO LOSE YOU.
I FIND IT VERY HARD TO LET YOU GO!

EMMA
PAPA, IF YOU TRIED TO,
YOU COULD NEVER LOSE ME!
DARLING FATHER!
I STILL LOVE YOU
MORE THAN YOU WILL EVER KNOW!
BUT IF WE WANT OUR LOVE TO GROW

DANVERS
I KNOW IN TIME I HAVE TO LET YOU GO.

BOTH
WE MUSTN'T BE AFRAID OF LETTING GO.

END OF SCENE 4

ACT I, SCENE 5

Transition.

(JEKYLL and UTTERSON walk quickly through the streets of London, leaving the Regent's Park area for the more shadowy area of Camden Town they pass the entire "parade" of humanity. It is Eleven P.M.)

UTTERSON
Well, I for one am glad for some sense of order. I prefer to believe that man is basically good! Every moral man believes that.

JEKYLL
I do not believe it.

UTTERSON
As your lawyer, Henry, it is my duty to inform you that you are playing a very dangerous game.

JEKYLL
As your doctor, John, it is my duty to inform you that I need a very large drink.

#12 - Outside the Dregs

(THEY arrive outside "THE RED RAT")

"THE RED RAT" (A noisy, rowdy pub in Camden Town - a murky, slum backwater only a stone's throw from the shiny facades of Regent's Park and the smart terraces of Harley Street. "The Red Rat " is a famous - or rather infamous - local landmark. It is one of London's lustier and more celebrated brothels. A major mood-change. NELLIE, an exotic, tough and streetwise beauty stands at the top of the staircase leading down to "The Red Rat" She is a 'BADGER" - that is, a walking prostitute by day - by night, a "hook" to attract customers here. She eyes the two unusually upmarket gents approvingly as they approach. An out-of-tune honky-tonk piano plays the music of "BRING ON THE MEN" gently under as she sizes them tip, then dazzles them with her smile.)

NELLIE
'Ere's a lovely lookin' pair of gentlemen, I must say! Welcome to 'The Red Rat!' Show's about to start. My name's Nellie. Have a drink- look around - find somethin' you fancy!

UTTERSON
(regarding NELLIE)
This is hardly a respectable place, Henry.

JEKYLL
I've had all the respectability I can take for one day, John. And anyway, tonight's my bachelor night! You're supposed to give me a party.

NELLIE
I could be the party he's supposed to give you, 'Enry.

UTTERSON
He meant a bachelor party.

NELLIE
Most of my parties are bachelors.

JEKYLL
Come on, John, one drink! Where's your sense of adventure!

NELLIE
He's right, John! Good for you, 'enry!

JEKYLL
Maybe I could find a subject for my experiment. A volunteer.

UTTERSON
I suspect this place has volunteers for all sorts of experiments.

NELLIE
You got that right dear. Come on 'enry, follow me.

(JEKYLL follows NELLIE down the stairs into the pub. UTTERSON follows JEKYLL)

UTTERSON
(mock warning) This is dangerous, Henry.

JEKYLL
I'm feeling dangerous.

PUB CUSTOMERS
LU-CY! ... LU-CY! ... LU-CY! LUCY! LUCY! LUCY!

The clamor builds to a swift and dramatic crescendo.

With perfect timing, just before the AUDIENCE demonstration gets out of hand, the delectable object of the MEN's enthusiasm appears at the top of the staircase, enticingly encased in a provocative red dress. The roar of approval quickly subsides into a respectful silence as LUCY sings.

# 13 - Bring On the Men

LUCY
THERE WAS A TIME -
I DON'T KNOW WHEN
I DIDN'T HAVE MUCH TIME FOR MEN
BUT THIS IS NOW - AND THAT WAS THEN -
I'M LEARNING!

Cheers from the Men

A GIRL ALONE - ALL ON HER OWN
MUST TRY TO HAVE A HEART OF STONE
SO I TRY NOT TO MAKE IT KNOWN,
MY YEARNING!

I TRY TO SHOW I HAVE NO NEED
I REALLY DO - I DON'T SUCCEED!

(Still more cheers. Lucy Shrugs)

SO LET'S BRING ON THE MEN
AND LET THE FUN BEGIN
A LITTLE TOUCH OF SIN
WHY WAIT ANOTHER MINUTE?

STEP THIS WAY -
IT'S TIME FOR US TO PLAY!
THEY SAY WE MAY NOT
PASS THIS WAY AGAIN -
SO LET'S WASTE NO MORE TIME
BRING ON THE MEN!

I ALWAYS KNEW - I ALWAYS SAID -
THAT SILK AN' LACE - IN BLACK AN' RED
WILL DRIVE A MAN RIGHT OFF HIS HEAD -
IT'S EASY!
SO MANY MEN, SO LITTLE TIME
I WANT 'EM ALL - IS THAT A CRIME?
(Roars of "NO!)
I DON'T KNOW WHY THEY SAY THAT I'M TOO EASY
(" We do! ")
THEY MAKE ME LAUGH - THEY MAKE ME CRY -
THEY MAKE ME SICK - SO GOD KNOWS WHY ...

LUCY & THE GIRLS
WE SAY BRING ON THE MEN
AND LET THE FUN BEGIN!
A LITTLE TOUCH OF SIN
WHY WAIT ANOTHER MINUTE?
STEP THIS WAY IT'S TIME FOR US TO PLAY!
THEY SAY WE MAY NOT PASS THIS WAY AGAIN
SO LET'S WASTE NO MORE TIME
BRING ON THE MEN!

LUCY
THEY BREAK YOUR HEART
THEY STEAL YOUR SOUL
TAKE YOU APART
AND YET THEY SOMEHOW MAKE YOU WHOLE
SO WHAT'S THEIR GAME?
I SUPPOSE A ROSE BY ANY OTHER NAME
THE PERFUME AND THE PRICK'S THE SAME

I LIKE TO HAVE A MAN FOR BREAK-FAST EACH DAY
I'M VE-RY SOCIAL AND I LIKE IT THAT WAY.
BY LATE MIDMORNING I NEED SOMETHING TO MUNCH,
SO I ASK OVER TWO MEN FOR LUNCH

AND MEN ARE MAD ABOUT MY AFTERNOON TEAS,
THEY'RE QUITE INFORMAL I JUST DO IT TO PLEASE.
THOSE TRIPLE SANDWICHES ARE MY FAV'RITE ONES
I'M ALSO VERY PARTIAL TO BUNS

MY HEALTHY APPETITE GETS STRONGER AT NIGHT
MY AT HOME DINNERS ARE MY MENFRIENDS DELIGHT.
WHEN I INVITE THE FELLERS OVER TO DINE
THEY ALL COME EARLY IN BED BY NINE!

ALL
SO LET'S BRING ON THE MEN
AND LET THE FUN BEGIN!
A LITTLE TOUCH OF SIN
WHY WAIT ANOTHER MINUTE? STEP THIS WAY
IT'S TIME FOR US TO PLAY!

LUCY
THEY SAY WE MAY NOT PASS THIS WAY AGAIN
SO LET'S WASTE NO MORE TIME
BRING ON THE MEN!

GIRLS
BIG MEN, SMALL MEN
SHORT MEN, TALL MEN
I GUESS THAT MEANS
ALMOST ALL MEN!
I'M A PLAYER LONG AS THEY ARE MEN! MEN! MEN!

The MEN roar their approval as the song ends, And every barmaid is immediately grabbed and carted away into the farthest recesses of "The Red Rat" in response to the song's stirring message. NELLIE catches LUCY's eye and guides her attentions to JEKYLL [LUCY has noticed him during the song. Most certainly he has noticed her!] LUCY looks approvingly at the good-looking GENTLEMAN, and approaches him With a pert, sexy smile, brushing aside other MEN who try to stop her. Music resumes under.

#13A - After 'Bring On The Men'

NELLIE warns LUCY sotto voce, jerking her thumb back towards a sinister looking individual who is still and silent in the shadows.

NELLIE
Watch out. Spider's in an evil mood.

LUCY
(unconcerned) Why should tonight be different?

She continues to JEKYLL and smiles at him

#14 - Lucy & Jekyll at the Dregs

LUCY
S' NOT EVERY DAY ME FRIENDS AN' I
'AS GENTS LIKE YOU JUST DROPPIN' BY.
BEFORE YOU GO, YOU'LL KNOW
JUST WHY YOU CAME HERE!

JEKYLL
OF THAT, MY DEAR,
I'VE LITTLE DOUBT
ONE ONLY HAS
TO LOOK ABOUT
IT'S NOT TOO HARD TO FIGURE OUT
THE GAME HERE!
AND YET I SENSE
THERE'S MORE TO YOU

LUCY
YOU FLATTER, SIR-
YOU REALLY DO!
WITH HALF A CHANCE...

JEKYLL
WHAT WOULD YOU DO?

LUCY
DON'T ASK ME!

(NELLIE brings the drinks, and abducts UTTERSON with an irresistible come-hither smile.)

LUCY
Cheers! Got a name, brown eyes?

JEKYLL
Henry -

LUCY
Well, 'Enry, aren't you gonna ask me what I'm doin' in a place like this?

JEKYLL
Actually, I ...

LUCY
Actually, I'm in between engagements at the Royal Albert Hall...so this is your lucky night!

LUCY
HERE'S TO THE NIGHT!
HERE'S TO ROMANCE!
TO THOSE UNAFRAID
OF TAKING A CHANCE!

JEKYLL
(with a rueful smile)
I THINK I'VE TAKEN ENOUGH FOR ONE DAY!
AND I HAVE LEARNED TO MY COST
CHANCES ARE SOMETHING YOU DON'T TAKE
ONCE YOU HAVE LOST!

LUCY
OH, WHAT A SHAME!
IF YOU ONLY KNEW
THE GAMES WE COULD PLAY
THE THINGS WE COULD DO!
YET I CAN SEE
YOU'RE NOT UP TO THE CHASE!
BUT, IF YOU'RE EVER IN NEED,
I AM THE GIRL! -
AND THIS IS THE PLACE! -
COME TO ME!

(UTTERSON reenters above. HE catches JEKYLL's eye and taps his watch)

JEKYLL
(Looks at his watch)
IT'S GETTING LATE
I HAVE TO GO
IF ANY TIME
YOU NEVER KNOW
YOU NEED A FRIEND

(He takes a visiting card out of his pocket and presents it to her. SHE is flattered and thrilled)

LUCY
(impressed)
Doctor Henry Jekyll, 46 Harley Street.

#15 - Spider underscore

(SHE smiles at him, deeply touched UTTERSON and JEKYLL exit. SPIDER approaches LUCY and slaps her viciously across the face. SPIDER's voice is a deep, hoarse whisper, perfectly, suited to the totally spider-like presence that begot his nickname, HE turns back to the bar; where a nervous LUCY awaits her unwanted rendezvous With him. She shivers at his quiet voice. He fiddles with a golden fob-watch as he speaks.)

SPIDER
A little less socializing and a little more soliciting might prove more profitable for us both, Lucy.

LUCY
I do my best, sir.

SPIDER
No, Lucy. Your best would have resulted in a satisfied customer. I don't give lodgings and a responsible position in any of my houses to girls who sit around hobnobbing and drinking gin. That will cost you sixty percent of the week's earnings instead of fifty, Lucy.

LUCY
(shrugs) Yes, sir. I'm sorry, sir.

SPIDER
Fortunately, I'm in a good mood tonight. I shall come to you at midnight for my pleasures.

LUCY
Yes, sir.

(SPIDER withdraws)

LUCY
Dr. Henry Jekyll ... 46 Harley Street.....
(She Sings softly)
IF ANYTIME ...
YOU NEVER KNOW ...
YOU NEED A FRIEND ...
Humming the melody quietly to herself SHE walks slovenly affray as the lights cross-fade

END OF SCENE 5

ACT I, SCENE 6

Outside Jekyll's Laboratory

A small nondescript green door. Before Midnight, same evening UTTERSON and JEKYLL enter, in high spirits.

UTTERSON
I must say, you're in a much better mood.

JEKYLL
That's because I've made up my mind, John. I know exactly where to find my volunteer.

UTTERSON
Not-?

He gestures back towards where they have come from meaning 'The Red Rat"

JEKYLL
No, no. Not her.

(Finding his keys.)

I'm going to work late tonight.

UTTERSON
Careful, Henry. You have got a lot to lose ... Think of the consequences.

JEKYLL
If all I thought about were the consequences, I'd never accomplish anything.

UTTERSON
I'm going home.

JEKYLL
(a different tone)
John. You remember my father ... before ... his mind and spirit were ... extremely strong, weren't they?

#16 - Outside Jekyll's Lab

UTTERSON
(moved) He was the finest man I ever knew.

JEKYLL
(to himself) I must do it ... for his sake.

UTTERSON
Do what?

JEKYLL
(simply) Good night, John. And be careful. Hyde Park is dangerous at night.

UTTERSON
So are you. Be careful, Henry.
(UTTERSON starts to leave.)
And for God's sake, go straight to bed.
(UTTERSON is gone.)

JEKYLL
NOW THERE IS NO CHOICE!
I MUST PUT ASIDE
THE FEARS I FEEL INSIDE
THERE'S NO PLACE TO HIDE.
SO IT COMES TO THIS ONE
GREAT GOLDEN CHANCE
THAT ONLY I CAN TAKE!

He goes to the door and unlocks it.

WHEN EVERYTHING I'VE
FOUGHT FOR IS AT STAKE!
TO MAKE THE MARK
THAT ONLY 1 CAN MAKE...

#17 - This Is The Moment

THIS IS THE MOMENT
THIS IS THE DAY
WHEN I SEND ALL MY
DOUBTS AND DEMONS
ON THEIR WAY

EVERY ENDEAVOR
I HAVE MADE - EVER
IS COMING INTO PLAY
IS HERE AND NOW - TODAY

THIS IS THE MOMENT
THIS IS THE TIME
WHEN THE MOMENTUM
AND THE MOMENT ARE IN RHYME.
GIVE ME THIS MOMENT!
THIS PRECIOUS CHANCE!
I'LL GATHER UP MY PAST
AND MAKE SOME SENSE AT LAST!

THIS IS THE MOMENT
WHEN ALL I'VE DONE
ALL OF THE DREAMING
SCHEMING AND SCREAMING
BECOME ONE.

Returning to the door, he opens it slowly - a strange light beckons from deep within.

THIS IS THE DAY
SEE IT SPARKLE AND SHINE
WHEN ALL I'VE LIVED FOR
BECOMES MINE!

HE descends! Immediate transition into the LABORATORY: a Huge, spectacular cavernous space - outfitted with the breathtaking apparatus - it is dormant now, but as JEKYLL continues, he turns levers, dials, lowers pulleys, etc. bringing it to full, infernal, animated LIFE!

JEKYLL
FOR ALL THESE YEARS,
I'VE FACED THE WORLD ALONE
AND NOW THE TIME HAS COME
TO PROVE TO THEM
I. MADE IT ON MY OWN!

The lab begins to glow and throb, pulsating

THIS IS THE MOMENT
MY FINAL TEST
DESTINY BECKONED
I NEVER RECKONED
SECOND BEST!

I WON'T LOOK DOWN
I MUST NOT FALL!
THIS IS THE MOMENT
THE SWEETEST MOMENT OF THEM ALL!

The large mirror is flown in, the lab at full throttle now.

THIS IS THE MOMENT
DAMN ALL THE ODDS!
THIS DAY OR NEVER
I'LL SIT FOREVER WITH THE GODS!
WHEN I LOOK BACK
I WILL ALWAYS RECALL
MOMENT FOR MOMENT
THIS WAS THE MOMENT
THE GREATEST MOMENT OF THEM ALL!

JEKYLL moves purposefully to complete the preparation of the formula. The electrical, pyro, hydraulic, distillation processes ale all colorful and dramatic. . with color changes, smoke and spark, and bubble and fizz ...

JEKYLL
(he writes in his journal)
September 13th. 11:56 pm. I have started this alone ... and I must finish it alone. I know I must use myself as the subject of the experiment.

#18 - The Transformation

I MUST BE WISE
I MUST TRY TO ANALYZE
EACH CHANGE IN ME, EVERYTHING I SEE...
HOW WILL IT BE?
WILL I SEE THE WORLD
THROUGH DIFFERENT EYES?

HE picks up the glass beaker filled with the brilliant red liquid - it smokes and moves within the glass beaker. HE brandishes the formula:

LIKE A WARNING LIGHT
GLIMMERING IN RED
LIKE CRIMSON BLOODSHED
SHIMMERING IN RED!

BEAUTIFUL AND STRANGE
SEE THE COLORS CHANGE
BEFORE MY EYES!
SEE HOW THEY DANCE
AND THEY SPARKLE
LIKE DIAMONDS AT NIGHT!
LEADING ME OUT OF THE
DARKNESS AND INTO THE LIGHT!

A toast to MIRROR and HE drinks it down!

JEKYLL
(As HE writes)
September 13th. 11:56 p.m. Consumed 10 centilitres of formula HJ7, Pulse rate increasing. Warm in the gullet. Heat spreading strongly through my veins. Slight feeling of euphoria. Light-headedness. No noticeable behavioral differences.

HE holds the rest of the blood-red brew up to the light HE waits - for what ?
HE faces the mirror, expectantly.

NOW THE DIE IS CAST
NOTHING LEFT TO DO!
TIME ALONE CAN PROVE
MY THEORIES TRUE!
SHOW THE WORLD

(Suddenly, a raging pain rips into him. He can barely catch his breath)

My God! - what's this? -
SOMETHING IS HAPPENING
I CAN'T EXPLAIN!
SOMETHING INSIDE ME
A BREATH-TAKING PAIN
DEVOURS AND CONSUMES ME
AND DRIVES ME INSANE!

(HE reaches for his pen, to try and record his feelings in the journal, but HE starts to writhe and hoist in agony, and staggers away from the work-desk, clutching his contorted body)

JEKYLL
SUDDENLY - UNCONTROLLED
SOMETHING - IS TAKING HOLD.

SUDDENLY AGONY
FILLING ME
KILLING ME!

HE looks in the mirror and sees himself becoming HYDE. Slowly, his body is changing posture, closing in on itself; tightening up. HE clutches at this throat. HIS voice is altering too, becoming more animalistic and rasping HIS eyes take on an infernal inner fire, and he gasps with pain as he struggles in vain to record his reflections in the journal.

SUDDENLY
OUT OF BREATH
WHAT IS THIS?
IS THIS DEATH?

(The lighting shifts dramatically, so that the JEKYLL-HYDE FIGURE becomes increasingly difficult to discern in the mirror)

(Horrified)
SUDDENLY
LOOK AT ME!
CAN IT BE?!
WHO IS THIS CREATURE
THAT I SEE?

The sight of his transformation into HYDE has a violent effect on him. HE staggers around the laboratory, totally out of control, knocking over equipment, growling and roaring furiously, like a wild animal. Finally, HE finds his clay back to the mirror and studies himself again. An unearthly calm settles over him. HIS voice takes on a husky, throaty rasp. The MUSIC is sinister ...

HYDE
(in ecstasy) Free!
(takes up Jekyll 's pen and writes in the journal)
"Midnight. Unexpected Development".
(The MUSIC is eerie and sinister, dangerous. HYDE erupts into a sudden spasm of rage. Seizing a thick silver-knobbed cane from the umbrella stand by the door. HE sees the gas lamp burning on the LAB table.)
Forgive me, Doctor Jekyll. I forgot to put out the light.

HE smashes it with his heavy cane. HE laughs and moves with astonishing quickness and ferocity out of the LAB and into the NIGHT.

END OF SCENE 6

ACT I, SCENE 7,

Attaca.
Hyde moves through the streets of London.
A nightmarish recollection of Jekyll's walk with Utterson - but strange, distorted and hallucinatory. Indeed, the entire world (and the production style now!) is seen through Hyde's eyes.

#19 - Alive

HYDE
WHAT IS THIS FEELING OF POWER AND DRIVE
I'VE NEVER KNOWN? - I FEEL ALIVE!
WHERE DOES THIS FEELING OF POWER DERIVE?
MAKING ME KNOW WHY I'M ALIVE!

LIKE THE NIGHT, IT'S A SECRET
SINISTER, DARK AND UNKNOWN.
I DON'T KNOW WHAT I SEEK
YET I'LL SEEK IT ALONE!

I HAVE A THIRST THAT I CANNOT DEPRIVE
NEVER HAVE I FELT SO ALIVE!
THERE IS NO BATTLE I COULDN'T SURVIVE
FEELING LIKE THIS - FEELING ALIVE!

LIKE THE MOON, AN ENIGMA
LOST AND ALONE IN THE NIGHT!
DAMNED BY SOME HEAVENLY STIGMA
BUT BLAZING WITH LIGHT!

IT'S THE FEELING OF BEING ALIVE
FILLED WITH EVIL, BUT TRULY ALIVE!
IT'S A TRUTH THAT CANNOT BE DENIED
IT'S THE FEELING OF BEING EDWARD HYDE!

stalking section: HYDE finds LUCY and follows her through the streets -almost ambushing her several times - a game of cat and mouse

WAIT! WHAT'S THIS? SWEET MISS!
AT LAST I HAVE FOUND YOU!
IT'S FATE! WHAT BLISS!
IVE RUN YOU TO GROUND, MY DEAR
YOU'LL SEE, YOU'LL NEVER ESCAPE ME!
I'M HERE!
I FEAR AND YOU WILL PAY DEAR, MY DEAR!

HYDE approaches LUCY. She responds thinking he is a potential client, He touches her, Caresses her,

LUCY
I FEEL YOUR FINGERS
BRUSHING MY SHOULDER.
YOUR TEMPTING TOUCH
AS IT TINGLES MY SPINE -
WATCHING YOUR EYES
AS THEY INVADE MY SOUL -
FORBIDDEN PLEASURES
I'M AFRAID TO MAKE MINE.

HYDE's caresses become more violent. LUCY runs away. HYDE allows her to escape.

HYDE
ANIMALS TRAPPED BEHIND BARS AT THE ZOO
NEED TO RUN RAMPANT AND FREE!
PREDATORS LIVE BY THE PREY THEY PURSUE
THIS TIME THE PREDATOR'S ME!

LUST - LIKE A RAGING DESIRE
FILLS MY WHOLE SOUL WITH ITS CURSE!
BURNING WITH PRIMITIVE FIRE
BERSERK AND PERVERSE!

TONIGHT I'LL PLUNDER HEAVEN BLIND!
STEAL FROM ALL THE GODS!
TONIGHT I'LL TAKE FROM ALL MANKIND
CONQUER ALL THE ODDS!

AND I FEEL I'LL LIVE ON FOREVER
WITH SATAN HIMSELF BY MY SIDE!
AND I'LL SHOW THE WORLD THAT
TONIGHT AND FOREVER
THE NAME TO REMEMBER'S
THE NAME EDWARD HYDE!

WHAT A FEELING TO BE SO ALIVE!
I HAVE NEVER SEEN ME SO ALIVE!
SUCH A FEELING OF EVIL INSIDE!
THAT'S THE FEELING OF BEING EDWARD HYDE!

END OF SCENE 8

ACT I, SCENE 8

Jekyll's Study

#20 - Jekyll's Study

A large comfortable room, warmed by a bright open fire, and furnished with costly cabinets of oak. In UTTERSON's view it is 'the pleasantest room in London'. POOLE has just admitted EMMA and UTTERSON, they are dressed for the street - UTTERSON with hat and cane in hand.

POOLE
I'm sorry, Miss Carew. Dr. Jekyll has given the strictest instructions that he is not to be disturbed under any circumstances. May I give him a message?

EMMA
Just remind him that there is more in his life than his work - myself for example.

POOLE
A very valid argument, if I may say so Miss.

EMMA turns to UTTERSON

EMMA
He won't see me. It's been five days now, John. I'm worried.

UTTERSON
I am too, Emma. But you know Henry.

EMMA
John. I said I'm worried.

UTTERSON
I'll speak to Poole.

SHE leaves. LIGHT cross-fades. UTTERSON and POOLE

POOLE
(hesitant at first)
Mr. Utterson, as you know, I am completely devoted to Doctor Jekyll, and I do not wish to judge him uncharitably, but there are extraordinary circumstances that I feel I must make you aware of. Doctor Jekyll has been locked in his laboratory, day and night, for nearly a week. He instructed me not to disturb him for any reason, and to leave all his meals outside the door!

UTTERSON
You have not seen or spoken to him at all during this time?

POOLE
No, sir. Not once

HE hesitates.

UTTERSON
Come Poole, it's all right. You'd hardly be disloyal in telling me.

POOLE
Yes, sir. Last night ... I took him his tray as usual, and I noticed that yesterday's meal was still untouched. And from inside. . . I heard these noises. The strangest noises ... and a voice I did not recognize. I heard him - or it or whatever it was behind that door - weeping like an animal or a lost soul. Crying out for some sort of medicine ...

JEKYLL
(from offstage) Poole!
(JEKYLL appears)
Poole, I want you to go to Bisset, the apothecary immediately and get me these chemicals. Now, Poole, now!

(POOLE exits, UTTERSON looks at JEKYLL in shock)

UTTERSON
Henry, what in the Devil's name has happened to you? You look like the Wrath of God!

#21 - His Work and Nothing More

(JEKYLL's deep anger shoots swiftly to the surface)

JEKYLL
JOHN, I DON'T NEED YOU
TO TURN ON ME AS WELL!
MORE THAN EVER NOW I NEED A FRIEND!
CAN'T YOU SEE AND DON'T YOU KNOW
I'VE BEEN THROUGH HELL?
DON'T CONDEMN WHAT YOU DON'T COMPREHEND!

UTTERSON
HENRY, I'M NOT QUESTIONING YOUR MOTIVES HERE!
BUT IS WHAT YOU ARE SEEKING WORTH THE PRICE?
YOU'VE TURNED YOUR BACK ON EVERYTHING
YOU ONCE HELD DEAR
YOU'RE CHOOSING TO IGNORE
YOUR FRIEND'S ADVICE!

(UTTERSON turns and walks away. EACH MAN is left alone with his thoughts. We stay with BOTH of them, separated)

UTTERSON
YOU HAVE YOUR WORK
AND NOTHING MORE! YOU ARE POSSESSED
WHAT IS YOUR DEMON?
YOU'VE NEVER BEEN THIS WAY BEFORE
YOU'VE LOST THE FIRE
YOU BUILT YOUR DREAM ON!

THERE'S SOMETHING STRANGE
THERE'S SOMETHING WRONG
I SEE A CHANGE
IT'S LIKE WHEN HOPE DIES.
I WHO HAVE KNOWN
YOU FOR SO LONG
I SEE THE PAIN
IN YOUR EYES

UTTERSON
THERE WAS A TIME YOU
LIVED YOUR LIFE
AND NO ONE LIVED
THE WAY THAT YOU DID!
YOU HAD A PLAN
YOU CHOSE A WIFE
YOU SAW YOUR WORLD
AS VERY FEW DID!

JEKYLL
HAVE
I
BECOME
MY
WORK
AND
NOTHING
MORE?

UTTERSON
YOU HAD IT ALL
THE OVERALL!
YOU SEEMED TO KNOW
JUST WHAT TO LIVE FOR!
BUT NOW IT SEEMS
YOU DON'T AT ALL!
YOU HAVE YOUR WORK
NOTHING MORE

JEKYLL
I
KNOW
THAT'S
NOT
WHAT
I'M
LIVING
FOR!...

(The lights cross-fade to where EMMA and SIR DANVERS are discussing JEKYLL).

EMMA
FATHER, YOU KNOW HENRY WON'T JUST WALK AWAY
THE ONLY WAY HE KNOWS IS STRAIGHT AHEAD!

DANVERS
EMMA, YOU'VE NOT HEARD A SINGLE WORD I'VE SAID
MY FEAR IS HE'S IN OVER HIS HEAD!
HE COULD LOSE CONTROL - AND THAT I DREAD!
THERE HAS BEEN TALK - THEY SAY HE'S GONE TOO FAR!
HE'S LOCKED HIMSELF AWAY
IN HIS OWN WORLD -
PURSUING THIS INSANITY ...

EMMA
(Passionately)
IT IS HIS WORK!

DANVERS
(Just as passionately)
IT'S MORE THAN WORK!

EMMA
WORK!

DANVERS
HE IS OBSESSED!
THE MAN IS DRIVEN!

EMMA
JUST GIVE HIM TIME I ASK NO MORE!
HIS WORK'S A CRIME TO BE FORGIVEN!

DANVERS
THERE'S SOMETHING STRANGE
UNLESS I'M BLIND
I SEE A CHANGE OF A BIZARRE KIND!

EMMA
THERE'S NOT AT ALL! -DON'T BE UNKIND!
THE PROBLEM'S ALL IN YOUR MIND!

(The lights create another transition in space, isolating the FOUR SINGERS from one another through the conclusion of the scene)

DANVERS
HE HAS HIS WORK
AND NOTHING MORE!
HE IS OBSESSED -
THE MAN IS DRIVEN

UTTERSON
HAVE
YOU

BECOME

JEKYLL
EMMA...

EMMA
JUST GIVE HIM TIME -
I ASK NO MORE!
HIS WORK'S A CRIME
TO BE FORGIVEN

UTTERSON
YOUR
WORK
AND
NOTHING
MORE?

JEKYLL
EMMA...

DANVERS
HE'S CHASING DREAMS
HE'LL NEVER FIND!
I SEE A CHANGE OF A
BIZARRE KIND!

UTTERSON
I
KNOW
THAT'S
NOT
WHAT
YOU'RE
LIVING
FOR.

JEKYLL
EMMA...

EMMA
THERE'S NOT AT ALL! -
DON'T BE UNKIND!
THE PROBLEM'S ALL IN
YOUR MIND!

JEKYLL
EMMA...



EMMA
STILL I PRAY
EVERY DAY
HENRY MAY
FIND HIS WAY.
I PRAY HE
MAY FIND
HIS WAY

DANVERS
EVERY DAY

I PRAY HE
MAY FIND
HIS WAY

UTTERSON
I PRAY
HENRY MAY
FIND HIS WAY.

FIND
YOUR
WAY

JEKYLL
I
PRAY
I
MAY
FIND
MY
WAY

EMMA
I WILL PRAY
EVERY DAY
HENRY MAY
FIND HIS WAY
I PRAY
HE MAY
FIND HIS WAY

DANVERS
I PRAY
YOU MAY
FIND YOUR WAY

UTTERSON
I WILL PRAY
EVERY DAY
YOU TWO MAY
FIND YOUR WAY
FIND YOUR WAY

JEKYLL
I
PRAY
I
MAY
FIND
MY
WAY.


The light fades. Back to the STUDY JEKYLL and POOLE now alone.

POOLE
A young woman to see you, sir. The kind ... one cannot mistake. She is without an appointment. I can send her away.

JEKYLL
Send her away.

POOLE
Yes sir. I cannot imagine how she came to have your visiting card.

JEKYLL
(a pallor sets on him, realizing who she must be)
I'll see her Poole.

POOLE leaves. JEKYLL collects himself LUCY enters, wearing her pathetic best...

Lucy At Jekyll's Study

LUCY
I am the one you met that night, in the pub - remember? Lucy - Lucy 'Arris.

JEKYLL
What brings you here... ?

LUCY
(SHE is hurt, upset that he speaks to her in this cool manner, unbuttoning her blouse)
You said if I "ever needed a friend"...
(SHE reveals her injured back. JEKYLL sees, we don't. He is horrified)

LUCY
Pretty, i'n' it? And this one, 'e' enjoyed himself doin' it, too! Things like this...happen where I come from. But you don't expect it from a gentleman.
(SHE looks at him)

JEKYLL
(treating her back with medicine) Gentleman! What kind of monster would do such a thing?

LUCY
I won't forget his name in a hurry. Hyde, he called himself. Edward Hyde.

JEKYLL
(quiet shock) Why come to me?

LUCY
You gimme your name. I never had someone like you be nice to me before.

JEKYLL
Why didn't you go to the police?

LUCY
The police? You're joking. With him bein' a gent, 'oo's gonna listen to me? ! I'd be afraid of what 'e might do if he found out! 'E ain't human! 'E's a beast'! E's not like you at all.

(HE continues to treat her back.)

#22 - Sympathy, Tenderness

LUCY
SYMPATHY - TENDERNESS
WARM AS THE SUMMER
OFFER ME THEIR EMBRACE.
FRIENDLINESS - GENTLENESS
STRANGERS TO MY LIFE
THEY ARE THERE IN HIS FACE.

GOODNESS AND SWEETNESS
AND KINDNESS
ABOUND IN THIS PLACE...
I AM IN LOVE
WITH THE THINGS THAT I SEE
IN HIS FACE...
IT'S A MEMORY I KNOW
TIME WILL NEVER ERASE.

SHE kisses him. HE does not resist. After a long moment, he rises slowly to his feet.

JEKYLL
Take care of yourself, Miss Harris.

LUCY
Always try.

HE leaves her.

#23 - Someone Like You

LUCY
I PEER THROUGH WINDOWS
WATCH LIFE GO BY
DREAM OF TOMORROW
AND WONDER WHY

THE PAST IS HOLDING ME
KEEPING LIFE AT BAY.
1 WANDER LOST IN YESTERDAY
WANTING TO FLY
BUT SCARED TO TRY.

BUT IF SOMEONE LIKE YOU
FOUND SOMEONE LIKE ME
THEN SUDDENLY,
NOTHING WOULD EVER BE THE SAME.

MY HEART WOULD TAKE WING
AND I'D FEEL SO ALIVE!
IF SOMEONE LIKE YOU FOUND ME!

The song continues as LUCY leaves JEKYLL's house - into the streets of Regent's Park, then she makes her way back to the grim surroundings of the dockside.

SO MANY SECRETS
I LONG TO SHARE
ALL I HAVE NEEDED
IS SOMEONE THERE
TO HELP ME SEE A WORLD
I'VE NEVER SEEN BEFORE
A LOVE TO OPEN EVERY DOOR
TO SET ME FREE
SO I CAN SOAR!

IF SOMEONE LIKE YOU
FOUND SOMEONE LIKE ME
THEN SUDDENLY, NOTHING
WOULD EVER BE THE SAME
THERE'D BE A NEW WAY TO LIVE
A NEW LIFE TO LOVE
IF SOMEONE LIKE YOU FOUND ME!

OH, IF SOMEONE LIKE YOU
FOUND SOMEONE LIKE ME
THEN SUDDENLY,
NOTHING WOULD EVER BE THE SAME!
MY HEART WOULD TAKE WING
AND I'D FEEL SO ALIVE!
IF SOMEONE LIKE YOU
LOVED ME!
LOVED ME! .
LOVED ME!

Immediate transition into:

ACT I, SCENE 9

(Shabby Street near "THE RED RAT" Along the shabby street, strolling together, arm-in-arm, come the unlikely pair of LUCY's friend NELLIE and a surprising client, the BISHOP OF BASINGSTOKE, last seen with the HOSPITAL BOARD OF GOVERNORS sanctimoniously looting against the JEKYLL proposals that have precipitated the circumstances in which we now find ourselves. The BISHOP, is clearly very content to be in the dubious company of NELLIE, who is jangling her front door keys coquettishly as SHE walks.)

BISHOP
It is very thoughtful of our friend The Spider to arrange these little rendezvous for us, my dear. It makes such a pleasant change from my - er - charity work!

NELLIE
(Sexily)
Long as you 'ave a good time, yer Grace - that's all that matters to me! I don't do it for charity!

She departs. Out of the shadows near the BISHOP totally without warning [this should be a real shock!], steps the terrifying figure of HYDE. The doomed-filled MUSIC anticipates the BISHOP'S fate. The BISHOP stops in his tracks, frozen with fear. HYDE: grins him with a supremely cynical smile. He twirls his heavy cane in a debonair fashion as HE studies the BISHOP. He smiles charmingly

#24 - Alive Reprise

HYDE
Well, well, well! It warns my heart to know that romance still blossoms in the sewers of London! If it isn't the Romeo of the Cloth and the Juliet of the Gutter - a truly pretty pair!

BISHOP
(Blusters) How dare you speak to me like that, sir!

(HYDE chuckles softly as he steps closer to the BISHOP, then throws back his hair and roars with demonic laughter)

HYDE
How dare I sir?...How...dare...you, sir?!

(HE steps towards the BISHOP and slowly and deliberately raises his heavy cane high above his head)

BISHOP
(Terrified) Do you know who I am?

HYDE
Oh, yes! I know exactly who you are! You are Basil, the fourteenth Bishop of Basingstoke! - you're on the Board of Governors of St. Jude's Hospital! - And you are an obscene, self-indulgent, malevolent, malignant Hypocrite!...Hypocrite!...Hypocrite!...Hypocrite!...

HE crashes the cane down on the BISHOP's skull each time he utters the word. The BISHOP drops like a felled ox. The only sound is of HYDE's heavy, gasping breathing. Then, slowly, inexorably, the MUSIC and HYDE gear themselves for one last triumphant statement. HE is totally drunk with power

HYDE
AND I KNOW I'LL LIVE ON FOREVER
WITH SATAN HIMSELF BY MY SIDE!
AND I'LL SHOW THE WORLD
THAT TONIGHT AND FOREVER
THE NAME TO REMEMBER'S
THE NAME EDWARD HYDE!

WHAT A FEELING TO BE SO ALIVE!
I HAVE NEVER SEEN ME SO ALIVE!
SUCH A FEELING OF EVIL INSIDE!
THAT'S THE FEELING OF BEING EDWARD HYDE!

END OF ACT I

ACT II, SCENE 1,

LONDON MONTAGE. The company onstage in tableau.

#25 - Murder, Murder

ONE OF THREE MEN
READ ABOUT THE HIDEOUS MURDER
PROFANE, RELIGIOUS MURDER!
THAT POOR OLD BISHOP!
WHAT A SHOCK!

ANOTHER
SEEN WALKIN' WIV HIS DAUGHTER
A MOMENT PRIOR TO SLAUGHTER!
THE SHEPHERD TENDIN' TO HIS FLOCK!

THREE MEN
'E DIED IN A LONDON SLUM!
A SLAVE TO MARTYRDOM!
'E DIED WITHOUT COMPLAINT!
'E SHOULD BE MADE A SAINT!
'E'S GONE BACK 'OME TO GOD!

ALL MEN
IT ALL SEEMS VERY ODD!

ADD WOMEN
WHY SHOULD IT BE?

ALL
THIS MYSTERY?
MURDER, MURDER!
IN THE NIGHT AIR!
MURDER, MURDER!
ITS A NIGHTMARE!
MURDER, MURDER!
ITS A RIGHT SCARE!
BLOODY MURDER
IN THE NIGHT!
MURDER, MURDER!
MAKES YER 'EART THUMP!
MURDER, MURDER!
MAKES YER BLOOD PUMP!
BLOODY MURDER IN THE NIGHT!

The LIGHT cross-fades. A straggling group of STREET PEOPLE stand on the steps outside St Paul's cathedral, listening to the quite audible eulogy, front within, which is being delivered by one of the LATE BISHOP'S colleagues.

OFFSTAGE VOICE
...and we shall remember him, not only
as a Man of God and a Man of
Principle, but as a Man Whose Like We
Shall Not See Again!

CATHEDRAL CHOIR (offstage)
REQUIEM
AETERNAM
MMM...

GLOSSOP, walking with two sticks, is the first to emerge from the. service, accompanied by SAVAGE - who is wiping tears from his eyes - tears of helpless laughter.

GLOSSOP
...and a Man Who Liked Buggering Children!

SAVAGE
A wonderful eulogy, George! - I could hardly keep a straight face!

HYDE appears from nowhere in front of them.

HYDE
Nothing like a good laugh at a close friend's funeral, I always say - eh, what? Ha Ha Ha Ha!

As HYDE laughs, he knocks away the GENERAL's two sticks, and the Mighty Warrior falls to the ground

GLOSSOP
You can't threaten me! I'm a general1.

HYDE
(laughter) Then they'll probably put up a statue in your memory, you miserable Hypocrite!

As HE laughs, he breaks the General 's neck. BLACKOUT. Police whistles, more shouts of "Murder!"and general pandemonium. IMMEDIATE RESTORE OF LIGHT on a crowded stage, NEWSBOYS doing a brisk business. Their billboards read "WAR LORD GLOSSOP MURDERED " and "SECOND SLAYING IN FIVE DAYS." The STREET PEOPLE gather in clusters, reading the sensational story splashed across the papers, stunned by the news.

MAN(ONE OF THREE)
LOOK AT THIS - ANOTHER MURDER!
JUST LIKE THE OTHER MURDER!
THAT POOR OLD GENERAL GLOSSOP - DEAD!
LAST WEEK THE BISHOP COPPED IT!
THE BLOKE WHAT DONE IT HOPPED IT!
THAT FELLER MUST BE OFF HIS HEAD!

SECOND MAN
THAT'S TWO IN THE LAST FOUR DAYS!
THIS KILLER HAS FANCY WAYS!

THIRD MAN
TO KILL OUTSIDE ST. PAUL'S
REQUIRES A LOTTA BALLS!

MORE
HE HATES THE UPPER CLASS!
HE MUST BE ON HIS ARSE!

ALL (ADD WOMEN)
WHO COULD HE BE?

MAN
DON'T LOOK AT ME!

ALL
MURDER, MURDER!
MAKES ME BLOOD THIN!
MURDER, MURDER!
MAKES ME HEAD SPIN!
MURDER, MURDER!
STARTS ME DRINKIN'!
BLOODY MURDER
IN THE NIGHT!

WOMEN
MURDER, MURDER!
DOIN' FOLKS IN
MURDER, MURDER!
IS THE WORST SIN!

ALL (ADD MEN)
MURDER, MURDER
HAS ME SCREAMIN'
BLOODY MURDER IN THE NIGHT!

JEKYLL and BISSET meet in a dark doorway.

JEKYLL
Bisset, do you have the chemicals?

BISSET
(handing over a package) All but two, sir.

JEKYLL
When will you have the others?

BISSET
Tomorrow night, sir. What are they for?

JEKYLL
(snaps, Hyde-like) It's none of your bloody business what they're for, Bisset!

BISSET
No, sir. I'm Sorry, sir. It's just that...
(concerned)
...You don't seem to be quite yourself, Doctor Jekyll.

JEKYLL
(softens)
I've been better, Bisset ... I've been better.

LIGHT cross-fades.

VARIOUS GOSSIPY LADIES
LONDON HAS THIS KILLER ON THE LOOSE!
COULD BE A GANG!

STREET PEOPLE
GOTTA GET'IS HEAD INSIDE A NOOSE!
THE MAN MUST HANG!

ALL
MAYBE HIS NERVE WILL FAIL HIM!
THEY MUST GO OUT AN' NAIL HIM!
THEY'VE GOTTA TRAIL AN' JAIL HIM NOW!

WOMEN
MURDER!

ALL
('Build')
NO MATTER WHO WE'RE BLAMIN'
TILL THEY PULL WOTSISNAME IN,
THERE'S GONNA BE ONE FLAMIN' ROW!

ALL
MURDER, MURDER!
IT'S A CURSE, MAN!
MURDER, MURDER!
IT'S PERVERSE, MAN!
MURDER, MURDER!
NOTHIN'S WORSE THAN
BLOODY MURDER IN THE NIGHT!

The MUSIC continues gently under as the lights cross fade to: A restaurant entrance - "The Mayfair Club." A BLIND BEGGAR, carrying a tray of matches, stands nearby. Out of the club, in full evening dress and consider-ably the worse for drink, staggers the DOWAGER LADY BEACONSFIELD, ablaze with diamonds and escorted by the ubiquitous LORD SAVAGE and the elderly SIR ARCHIBALD PROOFS, Q.C. THEY, too, are plastered

LADY BEACONSFIELD
(Loudly) I'm bored gutless with all these damned charity dinners, Archie.

PROOPS
Then why do you go to 'em?

LADY BEACONSFIELD
Like to see me name in The Tatler!

PROOPS
Well, I agree with you, Bessie! Damn all charities and good causes!

Out of the darkness, HYDE ...

HYDE
Well, well, well if it isn't Faith, Hope and Chastity!

SAVAGE
(SAVAGE prods the intruder with his umbrella)
Get away, man. Be off with you. Have you arrested. Damn insolence. This is my final admonition.

HYDE
And this is mine!

(HE grins as he produces a long knife. PROOPS falls, mortally wounded LADY BEACONSFIELD and SAVAGE stand rooted to the spot in honor, HYDE spins-round and grabs LADY BEACONSFIELD by the wrist and pulls her towards him. SAVAGE looks on, blinking in drunken despair. HYDE; still holding LADY BEACONSFIELD's wrist, pulls her close to him and places his other hand around her throat)

HYDE
(continued) Now let's have a closer look at you, you despicable drunken old hag!

HE tightens his one-handed grip on her throat, slowly choking the life out of her. SHE gasps vainly for breath
(continued; With total venom)

I'm sure in your will you've left everything to yourself, to be sent on to you in Hades, I'll donate these in your memory to charity!

As his one tremendously powerful hand strangles her, the other tears off the diamond tiara, necklace and bracelet SHE is wearing Then, with a terrifying crack, HE snaps her neck, breaking it instantly, and lets her lifeless body drop to the ground HYDE triumphantly hold Up the diamonds with a diabolical laugh.

(The terrified SAVAGE once again seizes the moment of a close fiend's demise to make good his escape. HYDE lets him go, HE tosses the diamond necklace to the BLIND BEGGAR, who catches it expertly and promptly examines the quality of the diamonds.)

HYDE
A little gift for you from the late Lady Beaconsfield!

With another maniacal laugh, He is gone. The MUSIC surges, the lights cross-fade once more, and amid confused shouting and the blowing of police whistles, we return to the NEWSBOYS and a MIXED CROWD OF PEOPLE in another part of London. More lurid headlines - "BRUTAL DEATH OF LADY BEACONSFIELD AND SIR ARCHIBALD PROOPS", "DOUBLE MAYFAIR MURDER, " etc., fill the eye and the newsbills. EVERYONE looks appropriately nervous.

NEWSBOY
READ ABOUT THE WORST TWO MURDERS!
MUCH WORSE THAN THE FIR
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holyguyver



Joined: 08 Jul 2010
Posts: 3

PostPosted: Thu Jul 08, 2010 11:56 pm   Post subject: Reply with quote

NEWSBOY
READ ABOUT THE WORST TWO MURDERS!
MUCH WORSE THAN THE FIRST TWO MURDERS!

THREE MEN
THAT MAKES IT MURDERS THREE AN' FOUR!

GOSSIPY LADIES
THEY'VE MURDERED DEAR OLD BESSIE!
I HEAR EXTREMELY MESSY!
AND POOR OLD ARCHIE IS NO MORE!
(I'VE NEVER SEEN SUCH BLOOD AND GORE!)

MEN
THAT'S FOUR IN THE LAST EIGHT DAYS!

WOMEN
IT'S LONDON'S LATEST CRAZE!

LADY GOSSIPS
(Shocked)
THIS TIME HE WAS IN PARK LANE!

NEWSBOY
(Leers at them)
AN' HE MAY COME BACK AGAIN!

(The LADY GOSSIPS shriek in unison)

WOMEN
UNTIL THE KILLER'S FOUND

ALL
THERE'S DANGER ALL AROUND!

WOMEN
WHAT CAN WE DO?

ALL
WE WISH WE KNEW!

ALL
MURDER, MURDER!
ONCE THERE'S ONE DONE,
MURDER, MURDER
CAN'T BE UNDONE!
MURDER, MURDER
BLOODY MURDER IN THE NIGHT!

A departure platform at King's Cross Station; the fog melding with steam from the rails and from the engines. Station noise continues.

LORD SAVAGE, surrounded by several large carpet bags, is waiting for a train which will take him away from the horror that is London now.

Out of the OTHER TRAVELLERS, RAILWAY OFFICIALS, and ASSORTED VENDORS, who idle about, SIR DANVERS and EMMA appear. They catch sight of LORD SAVAGE.

SIR DANVERS
Herbert, Herbert, is that you? I got your message. What is the urgency?

SAVAGE
I'm leaving London, Danvers. It's not safe for me here.

SIR DANVERS
Where are you going?

SAVAGE
I'm telling that to no-one! (conspiratorially)
Aberdeen, actually. I'll be at the highland club, if you need me. I don't know what you have heard, Danvers. I did everything I could to save the others. I really tried... tried like hell.

DANVERS
I'm sure you did. That's between you and God, Herbert.. Both you and God know that you tried. Have a safe journey.

LORD SAVAGE seems reluctant to conclude the handshake, but then shakes EMMA's hand too and the CAREWS depart. There is another shrill railway whistle and a huge emission of steam from an unseen, source. In this steam, virtually all OTHERS on the departure platform vanish, except for LORD SAVAGE, who peers nervously into the steam and fog all around him.

HYDE
(Stepping out of a billow of steam) Bad news from God, Herbert!

LORD SAVAGE cries out, but it is the cry of a feeble old man, lost in the bustle of the Station. And it is cut short, as HYDE grabs him and swiftly snaps his neck with one arm, then tosses SAVAGE's frail body onto the rails below. HYDE grins down at the body for an instant. Then he glances up into the ether, as the familiar sound, "angels weeping," winds upward briefly, HYDE disappears back into the steam fog and shadows, as the CROWD emerges from them again.

A Funeral Service. 'Requiem '

PRIEST SWEET
DEATH HAS TAKEN THIS BRAVE MAN FROM US!

NEWSBOY
SWEET DEATH HAS RAISED HIS SCORE TO FIVE!

PRIEST
FRIENDS, TAKE WHAT COMFORT THAT YOU CAN FROM US!

NEWSBOY
THANK GOD US LOT ARE STILL ALIVE!

ALL
GOD IN HEAVEN - NOW, FOREVER
TAKE HIM AND LEAVE US LOT HERE!

ALL
CATCHIN' SUCH A MADMAN
COULD BE HARD!
HE'LL KILL AT WILL!
'CAUSE THEY'RE ALL SO THICK
AT SCOTLAND YARD!
NO BRAINS, NO SKILL!

MEN
HE'LL KILL US IF WE LET HIM!
THEY BETTER GO AN' GET HIM!

MAN
I KNOW A WAY TO NET HIM!

ANOTHER
HOW?

WOMEN
MURDER!
NO MATTER WHO WE'RE BLAMIN'
TILL THEY PULL WOTSISNAME IN,

MEN
THERE'S GONNA BE,
A FLAMIN' ROW!

ALL
MURDER, MURDER!
ON OUR DOORSTEP!
MURDER, MURDER!
SO WATCH YOUR STEP!
MURDER, MURDER!
TAKE ONE MORE STEP
YOU'LL BE MURDERED IN THE NIGHT!

MURDER, MURDER!
ONCE THERE'S ONE DONE,
MURDER, MURDER!
CAN'T BE UNDONE!
MURDER, MURDER!
LIVES IN LONDON!
BLOODY MURDER
IN THE NIGHT

(Blackout)

END OF SCENE 1

ACT II, SCENE 2

THE LABORATORY. EMMA enters the dark deserted room. SHE discovers his JOURNAL and begins to read ...

JEKYLL
(voice-over)
October 7, after midnight. I am dangerous. More dangerous than any wild animal stalking its prey...

The SOUND of a key in the lock EMMA is startled The door opens and a shadowy figure enters the room.

#26 - Emma in the Lab

JEKYLL
(surprised, sharp and angry) What do you want here?

EMMA starts at the voice. SHE cannot make out the FIGURE.

EMMA
Henry? Oh you scared me! for a moment I thought... Well you didn't sound like you!

SHE moves towards him. JEKYLL moves deeper into the shadows.

JEKYLL
How long have you been here? How long!

EMMA
Just these last few minutes. Poole let me into the house. - And I saw the door was open. I thought you might be here too!

JEKYLL
(Furious) How dare you look into my journal. What did you see? What did you see?

EMMA
(deeply upset)
Henry, it's me, Emma. I don't remember what I saw. My love, what's happened to you?

JEKYLL
(almost a swoon)
Emma, these experiments are taking me to places I don't understand. I can't explain then to myself, let alone to you. I must be left alone to finish what I've started.

EMMA
You never promised me the journey would be easy - only that we would take it together.

#27 - Once Upon a Dream

EMMA
WHEN THIS ALL BEGAN...
WE KNEW THERE'D BE A PRICE -
ONCE UPON A DREAM
WE WERE LOST IN LOVE'S EMBRACE
THERE WE FOUND A PERFECT PLACE
ONCE UPON A DREAM

ONCE THERE WAS A TIME
LIKE NO OTHER TIME BEFORE
HOPE WAS STILL AN OPEN DOOR
ONCE UPON A DREAM

AND I WAS UNAFRAID
THE DREAM WAS SO EXCITING
BUT NOW I SEE IT FADE
AND I AM HERE ALONE

ONCE UPON A DREAM
YOU WERE HEAVEN-SENT TO ME
WAS IT NEVER MEANT TO BE?
ARE YOU JUST A DREAM?
COULD WE BEGIN AGAIN?
ONCE UPON A DREAM

JEKYLL
Don't abandon me now, Emma. I do love you.

SHE starts to leave.

#28 - Streak of Madness

EMMA
WHEN YOU NEED ME
IF YOU NEED ME
YOU KNOW WHERE I'LL BE.

SHE goes. JEKYLL alone. He locks the door. And moves wildly about the room - studying his hands and his clothes - He rips off his cloak and coat, gloves and scarf; and begins to prepare another dose of the formula.

JEKYLL
(voice-over)
October 10th. 6:30 pm. The experiment is out of control. The transformations have started to recur of their own accord. I have radically altered the balance of the formula to try to contain and overcome the powerful and darker forces at work inside me. I know well that I risk death!

JEKYLL is about to take the formula. A knock. Insistent. JEKYLL pulls a revolver from its hiding place and turns to the door:

UTTERSON
(off) Henry. It's John.

JEKYLL hides the formula, puts the gun down on the lab table, then unlocks the door. UTTERSON comes in.

UTTERSON
Henry? What is the meaning of this letter? Who is Edward Hyde? And why, in God's name, would you want to leave everything you possess to someone I've never heard of?
(UTTERSON reads from the letter he carries.)
"He is to have full control of all my assets immediately upon my death, or indeed, my unexplained absence of longer than three months."

UTTERSON
(Continued) Are you out of your mind?

JEKYLL
Hyde is a colleague, closely involved in my research. If anything happens to me, he must have the wherewithal to carry on my work. You have to trust me, John.

UTTERSON
I do trust you...with my life.

JEKYLL
Then you will do as I ask.

UTTERSON
Does this man Hyde have some hold on you? Tell me what the problem is, and we'll work it out together, like we've always done.

JEKYLL
Not this time John! In the name of friendship, I beg you to do as I ask and do not question anything!

UTTERSON
I don't like it, Henry, but if that is your wish - I will draw up the revised will.

JEKYLL
(handing him the chemical case)
John. Bisset the apothecary is preparing some vital chemicals for me. I need you to collect them and bring them here. I cannot leave this place.

UTTERSON
Alright. I'll do it.

HE goes.

JEKYLL
(Voice-over)
I am aware of my peril, and the need to control Hyde's evil influence, which disappears within me like a stain of breath upon a mirror - He has found the perfect hiding place!

JEKYLL prepares a draught of the potion, and injects it into his forearm. The elixir courses into his veins, producing an hallucinatory effect - he rises from his chair and faces the MIRROR. AN IMAGE in the glass - HYDE or JEKYLL.

JEKYLL
WHAT STREAK OF MADNESS
LIES INSIDE OF ME?
WHAT IS THE TRUTH MY FEARS CONCEAL?
WHAT EVIL FORCE MAKES
EDWARD HYDE OF ME?
WHAT DARKER SIDE OF ME
DOES THIS REVEAL?

WHAT IS THIS STRANGE OBSESSION
THAT'S TEARING ME APART?
SOME STRANGE DERANGED EXPRESSION
OF WHAT'S IN MY HEART?

AM I THE MAN THAT I APPEAR TO BE?
OR AM 1 SOMEONE 1 DON'T KNOW?
IS THERE SOME MONSTER DRAWING NEAR TO ME?
BECOMING CLEAR TO SEE?
WILL WHAT I FEAR TO BE BE SO?

The image begins to change - the figure in the mirror becomes two figures: EMMA and LUCY. JEKYLL swoons, as if faint.

#29 - In His Eyes

LUCY
I SIT AND WATCH THE RAIN...
AND SEE MY TEARS RUN DOWN THE WINDOW-PANE....

EMMA
I SIT AND WATCH THE SKY...
AND I CAN HEAR IT BREATHE A SIGH...

LUCY
I THINK OF HIM...

EMMA
HOW WE WERE...

LUCY
AND WHEN I THINK OF HIM...

EMMA
THEN I REMEMBER...

LUCY & EMMA
REMEMBER...

EMMA
IN HIS EYES I CAN SEE
WHERE MY HEART LONGS TO BE!

LUCY
IN HIS EYES I SEE A GENTLE GLOW...
AND THAT'S WHERE I'LL BE SAFE, I KNOW.

EMMA
SAFE IN HIS ARMS - CLOSE TO HIS HEART

LUCY
BUT I DON'T KNOW QUITE WHERE TO START...

EMMA
BY LOOKING IN HIS EYES,
WILL I SEE BEYOND TOMORROW?

LUCY
BY LOOKING IN HIS EYES,
WILL I SEE BEYOND THE SORROW THAT I FEEL?

EMMA
WILL HIS EYES REVEAL TO ME PROMISES OR LIES?

LUCY
BUT HE CAN'T CONCEAL FROM ME THE LOVE IN HIS EYES!

EMMA
I KNOW THEIR EVERY LOOK!
HIS EYES!

LUCY
THEY'RE LIKE AN OPEN BOOK!
HIS EYES!

EMMA
AND MOST OF ALL

BOTH
THE LOOK THAT HYPNOTIZED ME!

EMMA
IF I'M WISE
I WILL WALK AWAY AND GLADLY

LUCY
BUT SADLY, I'M NOT WISE
IT'S HARD TO TALK AWAY
THE MEM'RIES THAT YOU PRIZE

EMMA
LOVE IS WORTH FORGIVING FOR

LUCY
NOW I REALIZE

BOTH
EVERYTHING WORTH LIVING FOR
IS THERE IN HIS EYES!

EMMA
LOVE IS WORTH FORGIVING FOR
NOW I REALIZE

LUCY
NOW I REALIZE

BOTH
EVERYTHING WORTH LIVING FOR
IS THERE IN HIS EYES!

END OF SCENE 2

SCENE 3

AT LUCY alone. SHE looks into a shard of mirror, a figure appears in the shadows, huddled, clutching his overcoat to him.

JEKYLL
(unseen) Lucy, my dear...

(LUCY spins round in delighted surprise. Out of the shadows where he has concealed himself steps the figure of... HYDE).

LUCY
(Catches her breath) For a moment I thought it was someone else.

HYDE
(Softly) For a moment it almost was ...

# 30 - Before 'Dangerous Game'

HE watches her closely.

HYDE
I have some rather sad news, Lucy. I have to go away for a while ... a friend and I have a little dispute to settle.
(He watches her closely)
You're glad to see me go?

LUCY
No.

HYDE
You're lying to me - I can always tell when you're lying!

LUCY
When will you be back?

HYDE
(smiling, nonchalant confidence) There's no knowing - but God help you, if you're not waiting for me when I return!

MUSIC. His hands caress her bare shoulders as he speaks. His voice entices her. Despite herself; LUCY is drawn to him, maybe subconsciously aware that it is the caress of JEKYLL she is enjoying. The music builds.

#31 - Dangerous Game

LUCY
I FEEL YOUR FINGERS
COLD ON MY SHOULDER
YOUR CHILLING TOUCH
AS IT RUNS DOWN MY SPINE
WATCHING YOUR EYES
AS THEY INVADE MY SOUL
FORBIDDEN PLEASURES
I'M AFRAID TO MAKE MINE

AT THE TOUCH OF YOUR HAND
AT THE SOUND OF YOUR VOICE
AT THE MOMENT YOUR EYES MEET MINE
I AM OUT OF MY MIND
I AM OUT OF CONTROL
FULL OF FEELINGS I CAN'T DEFINE.

HYDE
IT'S A SIN WITH NO NAME

LUCY
LIKE A HAND IN THE FLAME

HYDE
AND OUR SENSES PROCLAIM

BOTH
IT'S A DANGEROUS GAME!

HYDE
A DARKER DREAM THAT HAS NO ENDING
THAT'S SO UNREAL
YOU BELIEVE THAT IT'S TRUE.

LUCY
A DANCE OF DEATH
OUT OF A MYST'RY TALE

HYDE
THE FRIGHTENED PRINCESS
DOESN'T KNOW WHAT TO DO!
WILL THE GHOSTS GO AWAY?
WILL SHE WILL THEM TO STAY?
EITHER WAY, THERE'S NO WAY TO WIN!

LUCY
ALL I KNOW IS I'M LOST
AND I'M COUNTING THE COST
MY EMOTIONS ARE IN A SPIN.
I DON'T KNOW WHO'S TO BLAME.

HYDE
IT'S A CRIME AND A SHAME

LUCY
BUT IT'S TRUE ALL THE SAME

BOTH
IT'S A DANGEROUS GAME!
NO-ONE SPEAKS
NOT ONE WORD
BUT WHAT WORDS ARE IN OUR EYES.

BOTH
(Alternating)
SILENCE SPEAKS
LOUD AND CLEAR

LUCY
ALL THE WORDS WE

BOTH
DON'T WANT TO HEAR.
AT THE TOUCH OF YOUR HAND
AT THE SOUND OF YOUR VOICE
AT THE MOMENT YOUR EYES MEET MINE
I AM LOSING MY MIND
I AM LOSING CONTROL
FIGHTING FEELINGS I CAN'T DEFINE.

LUCY
IT'S A SIN WITH NO NAME
NO REMORSE AND NO SHAME.

HYDE
FIRE, FURY AND FLAME

LUCY
'CAUSE THE DEVIL'S TO BLAME

BOTH
AND THE ANGELS PROCLAIM
IT'S A DANGEROUS GAME!

#32 - Facade Reprise #2

SPIDER
IF YOU LIVE AROUND HERE
LOTSA PEOPLE I FEAR
WILL MAKE PROMISES
THEY WILL NOT HONOR MY DEAR
AND THE TRUTH IS
YOU END UP GETTING SCARRED!

MEN
THERE'S A BEAST AT THE DOOR
AND HE'S WILD AND FREE,
BUT WE DON'T LET HIM
IN 'CAUSE WE DON'T WANT TO SEE

MAN A (OR C)
WHAT IS LURKING
RIGHT BEHIND THE FACADE.

They disappear into the darkness.

Immediate segue to:

ACT II, SCENE 4

THE LABORATORY. Late at night. In the shadows and dimmed light, a solitary figure can be seen slumped in the armchair. It is HYDE. Silence. Someone is heard approaching, followed by a tentative knock at the door. The door, unlocked, is opened, revealing UTTERSON backlit in the threshold. He carries a package in his hand. UTTERSON regards the shadowy figure in the chair, and steps into the room.

#33 - Utterson & Hyde in the Lab

UTTERSON
Henry?

HYDE
I'm afraid Dr. Jekyll is not available.

UTTERSON
Who the devil are you?

HYDE
There's no point your waiting, Mr. Utterson. Dr. Jekyll is most...unlikely to return.

UTTERSON
It is of the utmost urgency that I deliver these chemicals to Dr. Jekyll personally!

UTTERSON crosses purposefully to the table and turns up the gas-lamp, lighting the room well enough to reveal the chaos-broken flasks and beakers, over-turned furnishings, the signs of a violent struggle.

HYDE
Just leave them and go!

The light also reveals the FIGURE in the chair, exhausted and racked with the deep impression of great suffering, HYDE. His hair is matted, his clothing is disheveled and stained. JEKYLL's journal lies open at his feet, surrounded by the smashed containers bile recognize as those that held the reagent. UTTERSON stares in disbelief and horror at the sight, then pulls himself together.

UTTERSON
I am not leaving until I know precisely where he is!

HYDE
If I told you, I am quite certain you would not believe me.

UTTERSON picks up the revolver lying on the lab table, opens it to see it is loaded, expertly clicks it shut and points it at HYDE.

UTTERSON
You will tell me where he is, Mr. Hyde. Yes, I know who you must be! What have you done with Henry Jekyll?

HYDE
(another soft chuckle, with none of the familiar maliciousness) What have I done with Jekyll? You wish to see him?

(UTTERSON pulls back the hammer of the revolver).

HYDE
Very well. So you shall.
(HYDE rises with difficulty and moves to the lab table. From the distilling flask he pours the last of what we realize is JEKYLL's formula.)
But let what you are about to witness be on your own head.

With a grimace of despair he downs the potion. At once, he is racked with a searing, convulsive pain - much more severe than the earlier transformations we have witnessed. HYDE falls, crying out, to the ground he crawls painfully back to the armchair, collapses into it. When he raises his face UTTERSON it is no longer HYDE's face.

UTTERSON
(In agony, dropping the revolver) Henry! ... Oh, my God! Henry!!

JEKYLL
I warned you, John. Even as Hyde, I warned you.

UTTERSON
You must save yourself before this thing kills you.

JEKYLL
(With the drugs)
There's not much time, John. And you have got to help me with a most urgent errand.

HE hands UTTERSON an envelope

UTTERSON
"Miss Lucy Harris..."The Red Rat," Isle of Dogs." Henry, this is that place we...that night! That girl!

JEKYLL
Tell her she must leave London-and tonight! John, more than one life is in danger - it is Hyde! He-I cannot say 'I'...

UTTERSON
I understand.

JEKYLL
Go now-! With these chemicals you have brought me - I promise you I can find an antidote that will destroy Hyde forever.

UTTERSON
God help you, Henry. God help us all.

(He goes. JEKYLL rises and rushes back to his workbench to mix the final formula.)

#34 - Angst 2

JEKYLL
COULD IT BE?
HAVE I REALLY LOST MY WAY?
HAVE I LOST MY MIND?
WILL I LOSE THE DAY?

AM I A GOOD MAN?
AM I A MADMAN?
IT'S SUCH A FINE LINE
BETWEEN A GOOD MAN AND A BAD...

SOMEHOW I HAVE TO GET BACK
TO THE PLACE WHERE MY JOURNEY STARTED
FIND THE COURSE I CHARTED
WHEN I FIRST DEPARTED!

SOMEHOW I HAVE TO HANG ON
TO THE VISION THAT FIRST INSPIRED ME
TO THE HOPE THAT FIRED ME
WHEN THE WORLD ADMIRED ME!

I'LL FIND MY WAY BACK TO THE HIGHER GROUND
AND SEE THE VIEW 1 KNEW BEFORE!
I'LL SEARCH THE WORLD UNTIL THE ANSWER'S FOUND
TURN MY DESPAIR AROUND FOREVER MORE!

SOMEHOW I'VE GOT TO REBUILD
ALL THE DREAMS THAT
THE WINDS HAVE SCATTERED
FROM FATE HAS SHATTERED
I'LL RETRIEVE WHAT MATTERED!

SOMEHOW I'VE GOT TO GO ON
TILL THE EVIL HAS BEEN DEFEATED
TILL MY WORK'S COMPLETED
I WILL NOT BE CHEATED!

GOD, YOU MUST HELP ME CARRY ON!
WHEN IT SEEMS ALL HOPE HAS GONE
I HAVE GOT TO CARRY ON!

The music builds ominously as HE is suddenly gripped by a nests transformation. His scream of fear turns into the agonized roar of HYDE. Both his body and his mind are now totally out of control.

END OF SCENE 4

ACT II, SCENE 5

Sounds of a storm brewing outside. These mingle with rough muffled sounds from the East End riverfront, and invade LUCY's bedroom, above " The Red Rat", which attempts hominess, without escaping squalor. A single oil lamp burns on a table by the rumpled bed

The room is empty for a moment, then footsteps are heard, ascending. LUCY comes in through the narrow door, which is already ajar, followed by JOHN UTTERSON.

#35 - No One Knows Reprise

LUCY
No fear, sir. You won't've disturbed nobody. They're used to late visitors 'ere.

(As UTTERSON steps into the shabby room.)

UTTERSON
(Extending the sealed envelope) This is from Doctor Jekyll.

(As LUCY looks at it, without taking it) You are to leave London at once. Tonight, if possible.
She takes the envelope and tears it open; takes out a note and some money. She stares at the note, then shakes her head and hands it to UTTERSON, biting back her tears. UTTERSON reads.

UTTERSON
My dear Miss Lucy: I regret more than I can ever express, that my private misfortunes prevent me from ever seeing you again. I have found in you a tender and loving light during these past dark days. I hope you will accept the enclosed as a small repayment for the lesson you have taught me. Leave this place, I beg you, and begin again secure in tine knowledge that I shall never forget you. Henry Jekyll.

LUCY
(Shakes her head) 'E don't owe me nothin'. I owe him.

UTTERSON
That's none of my concern. But I beseech you to do as he asks. I'm sure it's for the best.

LUCY
Why didn't he come? Why did you?

Utterson looks at her but does not respond

UTTERSON
Because he is my friend.

#36 - A New Life
LUCY
(Nods in understanding)
Yeh - an' I suppose he's mine, too.

UTTERSON
Believe it. Good night, then. And good luck to you. May you find a happier life...elsewhere.

He hurries out and can be heard descending the same hollow steps. LUCY stares at the note and the money.

A loud clap of thunder startles her. She blows out the oil lamp, goes to a window and pulls back the ragged drape. After a moment, a lightning flash, followed almost immediately by a more distant rumble of thunder. She stands at the window, watching the storm gather.

LUCY
A NEW LIFE -
WHAT I WOULDN'T GIVE
TO HAVE A NEW LIFE!
ONE THING 1 HAVE LEARNED
AS I GO THROUGH LIFE -
NOTHING IS FOR FREE
ALONG THE WAY.

A NEW START
THAT'S THE THING I NEED
TO GIVE ME NEW HEART
HALF A CHANCE IN LIFE
TO FIND A NEW PART
JUST A SIMPLE ROLE
THAT I CAN PLAY.

A NEW HOPE
SOMETHING TO CONVINCE ME
TO RENEW HOPE.
A NEW DAY
BRIGHT ENOUGH TO
HELP ME FIND MY WAY.

A NEW CHANCE-
ONE THAT MAYBE HAS
A TOUCH OF ROMANCE.
WHERE CAN IT BE?
THE CHANCE FOR ME?

A NEW DREAM
I HAVE ONE I KNOW
THAT VERY FEW DREAM.
I WOULD LIKE TO SEE
THAT OVERDUE DREAM
EVEN THOUGH IT
NEVER MAY COME TRUE.

A NEW LOVE
THOUGH I KNOW
THERE'S NO SUCH THING
AS TRUE LOVE
EVEN SO,
ALTHOUGH I NEVER KNEW LOVE,
STILL I FEEL
THAT ONE DREAM IS MY DUE!

A NEW WORLD
THIS ONE THING I WANT
TO ASK OF YOU, WORLD
ONCE--BEFORE IT'S TIME
TO SAY ADIEU, WORLD
ONE SWEET CHANCE
TO PROVE THE CYNICS WRONG!

A NEW LIFE
MORE AND MORE I'M SURE,
AS I GO THROUGH LIFE,
JUST TO PLAY THE GAME
AND TO PURSUE LIFE
JUST TO SHARE ITS PLEASURES AND BELONG
THAT'S WHAT I'VE BEEN HERE FOR, ALL ALONG
EACH DAY'S A BRAND NEW LIFE!

She moves to the bed, lies back on it, and closes her eyes. The storm continues outside; frequent eruptions of lightning and thunder. In one flash of lightning, LUCY is revealed on the bed alone; but in the next flash, a DARK FIGURE is seen standing beside her, leaning over her. It is as though he appeared in an instant, from nowhere.

The sudden complete darkness, and the loudest explosion of thunder yet. A match is struck, and the oil lamp is lit. EDWARD HYDE stands beside the bed. He blows out the match, and at the same moment, LUCY opens her eyes. She breathes in sharply, stifling a cry, and sits up on the bed. HYDE smiles at her, baring his teeth like an animal, then sits beside her. Lightning and thunder continue, intermittently.

HYDE
Dearest Lucy...you werren't expecting me?

LUCY
(almost soundless) No.

HYDE
But who else can I come to? for "sympathy, tenderness...?"
(Looks at the money on the bedside table)
You've had another visitor this evening?

LUCY
No...not really...

HYDE
It wasn't the Doctor himself, was it? No...! Henry's such a very busy man.

HE laughs, a rasp.

LUCY
You know...Doctor Jekyll?...

HYDE
Of course. As well as I know myself. We're very old friends, he and I. We share everything. Just as you and I do, my sweet Lucy - everything.
(He reaches out, brushes JEKYLL's money aside and picks up the note, LUCY wants to stop him, but dares not. HYDE looks over the note.)
"Leave this place, I beg you."
(Turns to her)
You wouldn't leave the city without saying goodbye, would you?

LUCY
I'm not going anywhere...

HYDE
That's right, Lucy. You're not going anywhere. Come here to me now. Close. Closer.

She looks into his eyes, then slowly drags herself toward him. He reaches out and embraces her tightly, her head against his chest, tucked under his chin.

#37 - Lucy's Death

HYDE
SYMPATHY - TENDERNESS
WARM AS THE SUMMER
OFFER ME THEIR EMBRACE.
FRIENDLINESS, GENTLENESS,
STRANGERS TO MY LIFE
THEY ARE THERE IN THIS FACE.
GOODNESS AND SWEETNESS
AND KINDNESS ABOUND IN THIS PLACE.

A loud peal of thunder interrupts the song. LUCY remains frozen, trembling but entranced, as HYDE, in agonizing slowmotion, stabs her, first in the back then deeply into her stomach, then - almost like a slow caress - slits her throat. Finally, he releases her body, and it slumps back onto the bed, like a rag doll. HYDE stands and wipes the knife blade on the rumpled bedclothes. Suddenly, his body is shaken with spasm - then another and another. He falls to his knees, gasping for air.

He cries out in pain and braces himself against the bedstand, burying his face in the blood-stained sheets. A massive shudder passes through him; and, when he raises his bloodstained face, it is that of DOCTOR HENRY JEKYLL. He stands with difficulty, staring aghast at LUCY's contorted bloody form. Then he sees the long knife in his hand, and throws it away from him, as far as he can. He gazes down at the dead girl, unable to look away.

Wrapping the fog-colored cape, now stained with blood, around him, he plunges through the narrow door, and can be heard running down the hollow steps, out into the night. A long, low, distant roll of thunder - then "the angels" are heard, "weeping" - the innocent plaintive chant rises toward Heaven and blends with the thunder - and we are into -

ACT II, SCENE 6

Sounds of the storm continue, muffled, a heavy rainfall now, occasional glowing lightning high in the heavens, and muted thunder; JEKYLL's devastated laboratory, as before. Empty for a moment, then JEKYLL enters. He stares in the mirror at the soiled reflection of himself in the eerie light of the many flames.

#38 - The Confrontation

JEKYLL
LOST IN THE DARKNESS
SILENCE SURROUNDS YOU.
ONCE THERE WAS MORNING,
NOW ENDLESS NIGHT.

I WILL FIND THE ANSWER,
I'LL NEVER DESERT YOU -
I PROMISE YOU THIS -
TILL THE DAY THAT I...

His voice is strangled. His reflection changes, almost instantly, into the ape-like grinning scowl of EDWARD HYDE. Within the frame, but very real, HYDE laughs hideously. JEKYLL retreats into the laboratory a few steps, but his reflection remains that of his "other self," and it now addresses him, in its rasping,

HYDE
DO YOU REALLY THINK
THAT I WOULD EVER LET YOU GO?
DID YOU THINK I'D EVER SET YOU FREE?
IF YOU DO, I'M SAD TO SAY IT SIMPLY ISN'T SO
YOU WILL NEVER GET AWAY FROM ME!

JEKYLL
ALL THAT YOU ARE IS
A FACE IN THE MIRROR
I CLOSE MY EYES, AND YOU DISAPPEAR!

HYDE
I'M WHAT YOU FACE
WHEN YOU FACE IN THE MIRROR
LONG AS YOU LIVE, I WILL STILL BE HERE!

JEKYLL
ALL THAT YOU ARE
IS THE END OF A NIGHTMARE
ALL THAT YOU ARE IS A DYING SCREAM!
AFTER TONIGHT, I SHALL
END THIS DEMON DREAM!

HYDE
THIS IS NOT A DREAM, MY FRIEND
AND IT WILL NEVER END!
THIS ONE IS THE NIGHTMARE THAT GOES ON!
HYDE IS HERE TO STAY,
NO MATTER WHAT YOU MAY PRETEND -
AND HE'LL FLOURISH LONG AFTER YOU'RE GONE!

JEKYLL
SOON YOU WILL DIE,
AND MY SILENCE WILL HIDE YOU!
YOU CANNOT CHOOSE BUT TO LOSE CONTROL!

HYDE
YOU CAN'T CONTROL ME!
I LIVE DEEP INSIDE YOU!
EACH DAY YOU'LL FEEL ME DEVOUR YOUR SOUL!

JEKYLL
I DON'T NEED YOU TO SURVIVE
LIKE YOU NEED ME!
I'LL BECOME WHOLE AS
YOU DANCE WITH DEATH!
AND I'LL REJOICE AS YOU
BREATHE YOUR FINAL BREATH!

HE convulses, as HYDE struggles to re-enter him.

HYDE
FOR I'LL LIVE INSIDE YOU FOREVER!

JEKYLL
NO!

HYDE
WITH SATAN HIMSELF BY MY SIDE!

JEKYLL
NO!

HYDE
AND I KNOW THAT,
NOW AND FOREVER
THEY'LL NEVER BE ABLE
TO SEPARATE JEKYLL FROM HYDE!

JEKYLL
CAN'T YOU SEE IT'S OVER NOW?
IT'S TIME TO DIE!

HYDE
NO, NOT I! ONLY YOU!

JEKYLL
IF I DIE, YOU DIE, TOO!

HYDE
YOU'LL DIE IN ME -
I'LL BE YOU!

JEKYLL
DAMN YOU, HYDE! -
SET ME FREE!

HYDE
CAN'T YOU SEE? -
YOU ARE ME!

JEKYLL
NO! DEEP INSIDE - !

HYDE
I AM YOU - YOU - ARE - HYDE!

JEKYLL
NO NEVER!

HYDE laughs, vicious mockery incarnate. JEKYLL hurls the glowing beaker at the enormous mirror, shattering it and the vision of EDWARD HYDE. At the same moment, the several flaring burners in the laboratory are instantly extinguished Sudden darkness, permeated by a bitter chemical smoke; then we are into -

ACT II, SCENE 7

#39 - Facade Reprise 3

COMPANY
THERE'S A BEAST AT THE DOOR
AND HE'S WILD AND FREE
BUT WE DON'T LET HIM IN
'CAUSE WE DON'T WANT TO SEE
WHAT IS LURKING
RIGHT BEHIND THE FACADE!

MAN IS NOT ONE BUT TWO
HE IS EVIL AND GOOD
AND HE WALKS A FINE LINE
THAT HE'D CROSS IF HE COULD
IT'S A NIGHTMARE WE CAN NEVER DISCARD.

UTTERSON
Jekyll had walked through the very gates of Hell, and seen what lay beyond. The way back - if there was one - would be littered with the corpses of his shattered dream and engulfed by flames that could yet consume him...Yet back from the dead he came, to the sound of wedding bells...

An ancient church sumptuously but tastefully decorated with white blossoms, ribbons and draperies. Through the tall, narrow, faintly tinted windows on one side fall long rectangles of sunlight, The MINISTER appears at the decorated high alter, followed by HENRY JEKYLL, and by JOHN UTTERSON, his best man. The three of them, along with a number of WEDDING GUESTS, seated on either side of the main aisle, look down the aisle, watching for the bride's approach.

COMPANY
AT THE END OF THE DAY,
MEN DON'T MEAN WHAT THEY SAY.
THEY DON'T SAY WHAT THEY MEAN.
THEY DON'T EVER COME CLEAN
IN THE NIGHTMARE
WE CAN NEVER DISCARD -
SO WE STAY ON OUR GUARD -
HIDE BEHIND A FACADE -
WE ALL LOVE A FACADE -
BUT BEWARE THE FACADE...

EMMA CAREW appears at the other end of the main aisle, escorted by her father, SIR DANVERS, who has handed her the bouquet. EMMA is gorgeously, simply clad in white, and, as she steps into each rectangle of light, she seems to glow with purity and happiness. She moves slowly up the aisle, toward JEKYLL and the others. Heads of WEDDING GUESTS turn to view her.

EMMA reaches the alter, and stretches out one pale hand, from underneath her veil, toward JEKYLL's waiting hand The minister starts the service.

MINISTER
Dearly beloved we are gathered here in the sight of God to join together this man and this woman in Holy Matrimony ... if any man can show any just cause, why they may not lawfully be joined together, let him now speak, or else hereafter for ever hold his peace.

JEKYLL and UTTERSON's eyes meet for a long moment. The MINISTER breaks the silence and continues.

MINISTER
Henry John Albert Jekyll, do you take this woman, Emma Alice Margaret Carew, to be your lawfully wedded...

#40 - The Wedding

Suddenly JEKYLL cries out hoarsely and doubles up in pain, shoving EMMA' s hand away.

UTTERSON
Henry, what is it?

He tries to support and raise JEKYLL, but the Doctor shoves him away with another heart-rending cry, then falls to his knees.

EMMA
Henry!

She kneels beside him, though SIR DANVERS tries to pull her away. Then, with lightning speed, JEKYLL is on his feet again, careening down the main aisle of the church, toward the entrance, toward us. UTTERSON follows him. The WEDDING GUESTS are frozen in place, watching.

JEKYLL
OH, GOD, WHAT NOW?-
OH GOD, NOT NOW!
HELP ME SOMEHOW!
PLEASE TAKE THE PAIN AWAY!

FEEL IT FILL ME!
THIS WILL KILL ME!
PLEASE, GOD, WILL ME
SOMEHOW TO FIGHT, I PRAY!

Emma starts down the aisle toward him, followed by her father. Out of one of the pews steps SIMON STRIDE. He reaches out for her -

STRIDE
Emma!

But she pulls away from both him and SIR DANVERS, and continues down the aisle toward JEKYLL

JEKYLL
OH, PLEASE HELP ME! -
GOD HAVE MERCY!
DON'T LET HER SEE!
NOT ON OUR WEDDING DAY!

HYDE
Ah! Mister Stride! I trust you are respectfully recording the order of business!

He screams in anguish, and shoves UTTERSON away. The scream, before it dies, becomes a feral growl; and, as STRIDE rushes up to confront JEKYLL, he is confronted by EDWARD HYDE, who rises into his threatening ape-like stance. STRIDE gasps and retreats, trying to block EMMA's and SIR DANVER's approach.

SIR DANVERS
In God's name, Doctor Jekyll -!

HYDE
(Roars) There is no Doctor Jekyll! There's only Edward Hyde!

As he turns to them, grinning, EMMA screams. HYDE laughs madly, and reaches out for her. STRIDE steps between them, brandishing his ebony walking stick

He reaches out one claw-like hand, and STRIDE raises the walking stick; preparing to strike. But HYDE is too fast for him, He seizes the ebony stick and uses it to pull STRIDE roughly up against him. He breaks STRIDE'S grip on the stick by swiveling him sharply around, then pulls the stick back stiffly against STRIDE'S throat, STRIDE reaches for HYDE, then for the stick but all in vain. With the elated roar of a vicious beast, HYDE pulls the stick back savagely, snapping STRIDE'S neck as though he were a wooden puppet. EMMA cries out, as HYDE steps back and allows STRIDE's body to sag to the floor. Then HYDE moves toward EMMA again. SIR DANVERS steps forward, but one blow from HYDE sends him flying, and he falls to the floor, unconscious. UTTERSON reaches for EMMA, but he is not fast enough.

As WEDDING GUESTS hide their faces or remain frozen, HYDE starts to drag EMMA up the aisle toward the main alter. JOHN UTTERSON unsheathes a long blade from his walking stick; and tosses the rest of the stick aside. He advance on the rasping, ape-like figure.

UTTERSON
Mister Hyde!

Without releasing EMMA, HYDE swivels and sees UTTERSON and the blade.

UTTERSON
She has nothing to do with you! Let her go!

HYDE hesitates for only an instant, then laughs like a howling animal, and starts toward UTTERSON, who raises the sword and points it at HYDE's heart. Still dragging EMMA after him, HYDE lurches even closer to UTTERSON's blade.

HYDE
(Growls and knocks the blade aside with his arm) No one touches Edward Hyde!
(Advancing on UTTERSON again) No one! Or she dies, before God!

UTTERSON backs up only a step or two, raising the sword blade again. At the same time, SIR DANVERS has regained consciousness, and gets to his feet, supported by WEDDING GUESTS.

EMMA
Father!

SIR DANVERS
Emma?

HYDE
(Savagely pulling her closer again) No one!

He drags EMMA another step or two toward the alter, then stops, panting erratically. EMMA reaches up and touches his contorted face with one hand.

EMMA
Henry?...I know that it is you...and you would never harm me...never!

HYDE growls again, low in his throat, and holds her close, as though to crush her. The OTHERS freeze where they are. After a long moment, HYDE suddenly lets his arms drop wearily to his sides, and EMMA slides from his grasp. She falls at the steps of the alter and covers her face with both hands, sobbing. SIR DANVERS breaks free from the WEDDING GUESTS and rushes to his daughter. He raises her to her feet, as HYDE slouches away, exhausted, and turns toward UTTERSON.

HYDE
(Not in JEKYLL's voice, but with his intonation) John Do it Now I beg of you Set me free Set us all free!

UTTERSON understands and holds the blade at his fiend's heart. His hand trembles.

UTTERSON
I cannot!

HYDE looks into UTTERSON's eyes, pleading, then suddenly falls forward onto the sword, pulling the blade into his own heart. He gasps and looks at UTTERSON piteously, smiling. Most of the WEDDING GUESTS have turned away, terrified, aghast. EMMA and SIR DANVERS stare, as HYDE sinks to his knees, still impaled on the blade.

JEKYLL
(Turning his contorted features up toward UTTERSON; the eyes, at least, are no longer those of EDWARD HYDE.)
Father...

UTTERSON
Forgive him ...

He throws the sword aside and kneels beside JEKYLL

EMMA pulls free of SIR DANVERS, gently but firmly, and moves to where HYDE has fallen. She kneels too, and takes JEKYLL into her arms. She embraces him for a long moment, and, when she lets his head sink back into her lap, he is HENRY JEKYLL again, completely, finally.

JEKYLL
Emma ...

EMMA cradles JEKYLL in her arms.

EMMA
Rest now...my tormented love...
YOU ARE FREE NOW...
YOU'RE WITH ME NOW...
WHERE YOU'LL ALWAYS BE...

Weeping softly, she enfolds him in her arms, and rocks him like a frightened child. UTTERSON stands and looks down at them. SIR DANVERS moves to stand beside him. No one else moves. Innocent voices, not of this earth, wind upward through the air, and the bell begins to toll again.

END OF ACT II

#41 - Bows

#42 - Exit Music
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holyguyver



Joined: 08 Jul 2010
Posts: 3

PostPosted: Fri Jul 09, 2010 12:03 am   Post subject: Reply with quote

In return from my generosity I ask that anyone with scripts of other versions of the show share them. I already have the early draft of the first national tour, the MTI script, the FCLO script, The Russian script, The German script, The Spanish script, & The Hungarian script. what I want is people to upload the Alley Theatre script & the Broadway script or any other script they have of this show.
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songdragnJ&H
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PostPosted: Wed Sep 08, 2010 2:19 pm   Post subject: J&H script FCLO version Reply with quote

Hi there,

Thank you so much for the updated version. I was wondering if you or someone could post the FCLO version? I would love to see the differences. Do you think it is better than MTI? If I come across any other versions I will let you know.

Please discuss and thanks again.
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KWeese
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PostPosted: Sun Oct 24, 2010 9:53 pm   Post subject: Reply with quote

Thank you so much for posting this. I wasn't able to copy from my book. My community theater just finished this.

Anyway, thank you so much. icon_smile.gif
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seomasster45
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Joined: 08 Apr 2020
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PostPosted: Thu Aug 27, 2020 5:20 am   Post subject: poker88 Reply with quote

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