FADE IN:
EXT. NEGLECTED SQUARE BEHIND HARLEY STREET - LONDON - DAY
A thick ribbon of grey-brown fog drifts across the square,
and hangs suspended before a soiled red brick wall, several
stories in height, with a single low wooden door, and not one
window. If there were once windows, they have been bricked or
boarded up long ago: a forbidding façade which adamantly
holds something out... or holds something in?
Occasionally the fog is penetrated by the mournful wail of a
river barge's horn, by the sound of iron-shod horses' hooves
and iron wheels on cobblestones; then, startlingly, by the
shriek of a small animal being slaughtered, not far away. The
shriek is silenced, to be followed, seconds later, by an
ascending wisp of innocent unearthly voices, as though a soul
or souls were winding upward through the fog and blending,
vanishing into the ether - "the angels weeping," an
indecipherable yet unforgettable sound we will hear again,
occasionally, throughout the film.
Strange noises and threatening technological thrums build to
an atmosphere of ominous anticipation. On a final crashing
chord, lightning and thunder hit.
MUSIC: "PROLOGUE"
JEKYLL (V.O.)
(hushed and fevered, out
of the darkness)
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.
On a sharp dissonant chord, the fog and the high soiled brick
wall dissolve, to reveal what was once within:
INT. JEKYLL'S LABORATORY
It would be spacious, were it not crowded with tables
intersecting at bizarre angles with other tables, all laden
with vials, Bunsen burners, beakers, retorts, glass tubing,
every sort of chemical equipment, with various brilliantly
colored drugs and compounds glowing inside; and with more
gleaming glass presses with more gleaming scientific
paraphernalia inside them; and with models of human busts
and skulls with the insides revealed; and with charts
and graphs and tablets, recording hundreds of previous
experiments; and with numerous gas jets giving off a
pure sterile glow; all dominated by an enormous, gilt-framed
mirror.
We pan past a clothes rack with old hat & coat hanging from
it; a drain basin; a wash basin, with a pitcher and towel;
and arrive at a writing table topped with a hand-dimming
hurricane lamp, an island surrounded by the sea of scientific
apparatus. A thick journal of previous work lies open on the
desk. Not sitting, a MAN (DR. HENRY JEKYLL) leans over the
journal, writing rapidly, pausing only to dip his pen in the
inkwell.
SONG: "I NEED TO KNOW"
(Note: All lyrics appear in CAPS.)
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
During the following verse, Jekyll crosses to wash bowl,
pours water and washes, then dries his hands on a towel.
JEKYLL (CONT'D)
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
He moves to a table (any table will do), and begins mixing
some chemicals.
JEKYLL (CONT'D)
ONE THING IS CERTAIN -
THE EVIL IS STRONGER
GOOD FIGHTS A HOPELESS AND
DESPERATE FIGHT
I MUST FIND WAYS
OF ADJUSTING THE BALANCE
TO BRING HIM BACK
FROM THE EMPTY BLACK
EDGE OF NIGHT!
I NEED TO GO
WHERE NO MAN HAS VENTURED BEFORE
TO SEARCH FOR THE KEY TO THE DOOR
TO END ALL THIS SENSELESS AND
TRAGIC DECAY!
BUT HOW TO GO?
I NEED TO KNOW!
Seizing the hat and coat from the rack, he throws them round
him with a violent gesture and ventures out of the lab.
EXT. SQUARE BEHIND HARLEY STREET - DAY
Jekyll leaves the building from our opening, which is...
...a very different building indeed from how we first saw it.
There are several windows, not bricked over; it looks like a
respectable middle-class home. The winds of time have
restored this once magnificent building from its former
shabbiness. (It should feel as though the film has just
switched from black and white to color, without the literal
effect.)
Jekyll is striding down the street purposefully and fiercely
in an authoritative and single-minded mood. We truly see him
for the first time. Young, ardent, perfectly turned-out.
JEKYLL
I NEED TO LEARN
THE SECRETS OF THE MIND
THAT WE CANNOT DISCERN
I NEED TO LEARN
THE THINGS THAT MAKE
MEN PASS THE POINT OF NO RETURN
WHY DOES A WISE MAN
TAKE 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!
INT. ST. JUDE'S HOSPITAL WARD
The violent ward of a modern (circa 1888) mental hospital.
Bodies are spread-eagled, stripped or partially covered,
strapped to wooden tables. A sour smell of sickness and
delusion permeates everything. SIR DANVERS CAREW, a gentleman
in his late years, serious and correct, is making his rounds
and speaking with another DOCTOR.
A high partition of glass encloses the ward. Beyond the glass
we can see DOCTORS, NURSES, ATTENDANTS, and the visiting
PUBLIC, moving about in their curious soundless world,
ignoring, or glancing disinterestedly into, the violent ward.
Jekyll enters, having reached his apparent destination.
JEKYLL
DEAR GOD, GUIDE ME...
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 THE COURAGE TO GO
WHERE NO ANGEL WILL GO
AND I WILL GO!
I NEED TO KNOW!
On the final chord of the MUSIC, there is a chilling outcry,
and a combative OLD MAN in a wheelchair appears, pushed by a
NURSE. As she struggles to put him in restraints, he screams
and fights her. Jekyll rushes to take over the situation. He
removes the restraints and he tries to calm the old man.
DANVERS observes for a moment, nods to the nurse to excuse
her.
DANVERS
He's beyond help, Henry.
JEKYLL
That's no reason to treat him like
an animal! He's still a man.
Jekyll calms the old man and covers him with his lap robe.
DANVERS
But he behaves like an animal,
Henry. He's dangerous! Catatonic
one minute, then unprovoked attacks
the next...
JEKYLL
Sir Danvers, he still has emotional
responses as sensitive as any of
ours! He's a prisoner. How can we
call ourselves civilized, if we are
not prepared to help him...
(gesturing to the other
bodies, strapped to
tables, all around him)
...and every wretched soul like him?
DANVERS
Death will help him, Henry.
JEKYLL
There is a better solution.
DANVERS
He is lost, Henry! You will never
reach him.
JEKYLL
I have to try!
DANVERS
You have tried everything!
JEKYLL
Not true! Drugs can catalyze this –
a combination of rare drugs –
DANVERS
Henry, these "experiments"...!
You're a gifted man, Henry.
Cultivate your life here at the
hospital. I want a son-in-law I can
be proud of.
Jekyll continues to stare down at the old man, as a doctor
draws Sir Danvers aside.
Jekyll goes to the old man, kneels by his side. The old man
is now resting peacefully. In the background, we gradually
become aware of the distant, oddly rhythmic sound of heavy
footsteps, many of them, on cobblestones, almost like an
uprising or demonstration, moving toward us from far away and
underneath...
Jekyll tenderly kisses the old man's cheek and embraces him,
as he gets his hat and prepares to leave.
JEKYLL
Good night, Father.
As he turns away, and follows the departed Sir Danvers, the
sound of many footsteps draws nearer and nearer.
SMASH CUT TO:
EXT. STREETS OF LONDON (CREDITS SEQUENCE) - DAY
MONTAGE: Quick documentary images and sounds. Heightened.
The cinematic equivalent of turning a radio dial through
1880's London. Beggars. Hawkers. Stevedores and sailors on
their way to the quay. Ladies and gentlemen of quality, and
of no quality. Tradesmen. Tradeswomen.
(NOTE: The choices in editing determine which lines might be
solos, as well as who should sing them. Solos listed below
are merely a suggestion.)
SONG: "FAÇADE"
FIRST MAN
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
THAT IT'S ALL A FAÇADE!
SECOND MAN
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 FAÇADE!
ALL
EVERY DAY,
PEOPLE IN THEIR OWN SWEET WAY
LIKE TO ADD A COAT OF PAINT
AN' BE WHAT THEY AIN'T!
FIRST MAN
THAT'S HOW OUR LITTLE
ALL
GAME IS PLAYED
LIVIN' OUT A MASQUERADE -
ACTIN' A BIZARRE CHARADE
THIRD MAN
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
ALL
WHEN YOUR LIFE'S A FAÇADE!
WOMEN
LOOK AROUND YOU
I HAVE FOUND YOU CANNOT TELL
BY LOOKIN' AT THE SURFACE
WHAT IS LURKIN' THERE BENEATH IT!
FIRST WOMAN
SEE THIS FACE -
NOW I'M PREPARED TO BET YOU
WHAT YOU SEE'S NOT WHAT YOU GET -
'CAUSE MAN'S A MASTER OF DECEIT!
ALL
SO WHAT IS THE SINISTER SECRET?
THE LIE HE WILL TELL YOU IS TRUE?
FOURTH MAN
IT'S THAT EACH MAN YOU MEET
IN THE STREET ISN'T ONE MAN,
BUT TWO!
CROWD
NEARLY EVERYONE YOU MEET
WHILE WALKING DOWN A LONDON STREET
PRETENDS TO BE A PILLAR OF SOCIETY!
WOMEN
A MODEL OF PROPRIETY,
MEN
SOBRIETY AND PIETY
WOMEN
WHO SHUDDERS AT THE THOUGHT OF
NOTORIETY!
CROWD
THE LADIES AND GENTS HERE
BEFORE YOU -
WHICH NONE OF US EVER ADMITS -
SOME
MAY HAVE SAINTLY LOOKS,
OTHERS
BUT WE'RE SINNERS AN' CROOKS -
SOME
HYPOCRITES!
CROWD
HYPOCRITES!
SOME
THERE ARE PREACHERS WHO KILL!
OTHERS
THERE ARE KILLERS WHO PREACH!
SOME
THERE ARE TEACHERS WHO LIE!
OTHERS
THERE ARE LIARS WHO TEACH!
WOMEN
TAKE YOUR PICK, DEAR
CROWD
'CAUSE IT'S ALL A FAÇADE!
FIRST MAN
YOU MUST SEEM TO BE RICH
AND HAVE MONEY TO BURN!
SECOND MAN
EVEN THOUGH IT'S A BITCH
FIRST MAN
SPENDING MORE THAN YOU EARN!
SECOND MAN
THAT'S THE GAME HERE
CROWD
TO BREAK THROUGH THE FAÇADE!
ONE OR TWO MIGHT
LOOK KINDA WELL-TO-DO - (HAH!)
THEY'RE AS BAD AS ME AN' YOU
RIGHT DOWN TO THEIR BOOTS
FOURTH MAN
I'M INCLINED TO THINK
CROWD
HALF MANKIND THINKS
THE OTHER HALF IS BLIND
WOULDN'T BE SURPRISED TO FIND
SECOND MAN
THEY'RE ALL IN CAHOOTS!
CROWD
AT THE END OF THE DAY,
WE DON'T MEAN WHAT WE SAY
WE DON'T SAY WHAT WE MEAN
WE DON'T EVER COME CLEAN
THIRD MAN
AN' THE ANSWER
CROWD
IS IT'S ALL A FAÇADE!
MAN IS NOT ONE BUT TWO
HE IS EVIL AND GOOD
AND HE WALKS A FINE LINE
WE'D ALL CROSS IF WE COULD
THIRD MAN
IT'S A NIGHTMARE
FIRST MAN
WE CAN NEVER DISCARD
THIRD MAN
SO WE STAY ON OUR GUARD
SECOND MAN
THOUGH WE LOVE THE FAÇADE!
SOME
WHAT'S BEHIND THE FAÇADE?
FOURTH MAN
LOOK BEHIND THE FAÇADE!
INT. HOSPITAL OPERATING THEATER
An operating theater in a fashionable clinic. Again, there is
much gleaming glass, including a high partition, which here
separates observers (in tiered rows) from practitioners.
Sudden stunned silence, permeated by the smell of ether and
other exotic chemicals.
In the operating arena, Jekyll waits, beside a gleaming steel
table on which are displayed various graphs and maps of the
human mind and personality. UTTERSON watches from the extreme
periphery of the operating arena. SIMON STRIDE stands, in the
first row of seats behind the glass partition. He is a
correct, pinched young man of Jekyll's generation.
STRIDE
The Board of Governors of St.
Jude's Hospital is now in session.
Sir Danvers Carew, K.B.E.,
Chairman...
Sir Danvers nods or waves from behind the glass partition.
STRIDE (CONT'D)
The Right Honorable Sir Archibald
Proops, Q.C. ...
PROOPS, a plump, pompous specimen, quick, methodical, all
business, merely sighs from his perch at the top of the
tiered rows behind the glass partition.
STRIDE (CONT'D)
Lord Savage...
Unlike his name, SAVAGE is frail, wasted, and into his
dotage. Very much a man-about-town, with other (more
important) things to be doing this afternoon.
STRIDE (CONT'D)
General Lord Glossop...
THE GENERAL is middle-aged, formidable, but given to drink,
and perhaps to repairing his ravaged complexion with
cosmetics. Ramrod straight. Cruel mouth. He sits somewhat
apart from the others, behind the partition.
STRIDE (CONT'D)
Lady Beaconsfield...
Enormously impressive and somber, this well-dressed older
woman, sitting beside Sir Danvers, wafts her blessings, then
frowns impressively down at Jekyll.
STRIDE (CONT'D)
His Grace The Bishop of
Basingstoke...
THE BISHOP, a portly florid giant in clerical purple sitting
on Sir Danvers's other side, waves, as though wafting his own
blessing.
The Board of Governors is assembled.
DANVERS
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 at his desk. He
opens the Minutes Book.
SAVAGE
(grumbling)
Let's get on with it!
STRIDE
Proposal No. 929 - Presented by Dr.
Henry Jekyll.
The BOARD immediately erupts into pandemonium. It is a rumpus
reminiscent of normal procedure in the British House of
Commons. He appears to be "on trial" due to his radical
proposals. Shouting over one another, the distinguished
GOVERNORS' behavior is anything but distinguished.
STRIDE (CONT'D)
(banging his gavel)
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! 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
allowed to present his request...
The BOARD OF GOVERNORS mutters and squirms a bit more.
DANVERS (CONT'D)
Henry...
The BOARD then focuses its attention on Jekyll, who bows, a
bit too respectfully, so that his irony shows - as it does in
the tone of voice:
SONG: "JEKYLL'S PLEA"
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.
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.
(sings)
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 HAND!
(spoken)
Governors, I believe that the day
is not far off that we could
ultimately eliminate evil from all
mankind. My experiments with
animals have convinced me that
behavioral control is achievable. I
must be permitted now to test my
formula on a human subject.
BISHOP
Are you suggesting a patient - from
our hospital?
BEACONSFIELD
What! To be prodded and tested like
a laboratory rat?!
JEKYLL
A volunteer. Someone who would be
willing to help prove my theory –
for the betterment of all mankind!
PROOPS
A volunteer mental patient?
(a sarcastic aside to the
Bishop next to him)
Very good!
JEKYLL
A man whom society has abandoned as
hopeless, an inmate of this prison!
DANVERS
Prison? Henry!
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
(with great pomp)
I TELL YOU NOW
THE CHURCH WILL NEVER SANCTION IT!
ALL
(variously)
SACRILEGE! LUNACY!
BLASPHEMY! HERESY!
PROOPS
BEWARE SIR, YOU'RE TREADING
ON DANGEROUS GROUND -
IN LEGAL TERMS,
I'D SAY, EXTREMELY UNSOUND!
BISHOP
YOUR LACK OF HUMILITY
STRIKES ME AS ODD
WHAT MAKES YOU THINK YOU
HAVE THE RIGHT TO PLAY GOD!
SAVAGE
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!
STRIDE
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
(to Danvers)
I KNOW MY FATE IS YOURS TO CHOOSE
BUT IF I FAIL,
THE WORLD WILL LOSE
I AM ON THE BRINK OF GREAT SUCCESS!
(to Governors)
I BEG YOU, GOVERNORS -
YOU MUST SAY "YES"!
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
(frustrated)
CAN'T YOU SEE?
I AM NOT PLAYING GAMES!
JUST GIVE ME THE OPPORTUNITY!
GLOSSOP
THIS WHOLE THING'S TOO BIZARRE!
DANVERS
OPEN UP YOUR EYES AND SEE!
BISHOP
THIS MAN HAS GONE TOO FAR!
JEKYLL
UNLESS YOU LISTEN TO ME...
STRIDE
DOCTOR, PLEASE WATCH YOUR 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.
JEKYLL
FOOLS!
DANVERS
HENRY!
JEKYLL
YOU FOOLS!
PROOPS
JEKYLL!
JEKYLL
GOD DAMN...
BISHOP
BLASPHEMY!
JEKYLL
...YOUR RULES!
GLOSSOP
MUTINY!
JEKYLL
LOOK AT YOURSELVES!
SAVAGE
DAMN ME!
JEKYLL
CIVILIZED MEN!
BEACONSFIELD
REALLY!
JEKYLL
WHY CAN'T YOU SEE?!
DANVERS
HENRY!
STRIDE
(banging his gavel)
Order! Order!
JEKYLL
If I ever needed further
justification for my experiments,
gentlemen, you have just provided it!
(sung)
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 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!
(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.
STRIDE (CONT'D)
All those opposed, "Nay."
GOVERNORS
(ensemble)
NAY! NAY! NAY! NAY!
ABSOLUTELY – POSITIVELY – NAY!
STRIDE
SIR DANVERS?
DANVERS
(glancing plaintively at
Jekyll)
I abstain.
STRIDE
(with smug satisfaction)
By five votes to none, with one
abstention, Doctor Jekyll's
extraordinary proposal is rejected.
(bangs gavel)
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."
SAVAGE
Who wants to take me to luncheon?
Bessie?
BEACONSFIELD
No, Herbert, I've heard enough
demented babbling for one day.
They leave.
DANVERS
I'm profoundly sorry, Henry. I did
try to prepare you.
He leaves as Stride addresses Jekyll.
Song: "STRIDE'S APOLOGY"
STRIDE
I'M SO SORRY, DOCTOR JEKYLL.
WHAT A REALLY ROTTEN SHAME!
I SO HOPE THAT WHAT HAS HAPPENED
WON'T DESTROY YOUR PRECIOUS NAME.
He leaves. Utterson comes over to Jekyll.
UTTERSON
Well... you've finally convinced
them... that you're mad!
JEKYLL
They set themselves up as "friends
of medicine," John, but they're
hypocrites, every last one of them!
UTTERSON
Yes, but they're powerful
hypocrites, Henry. You should
exercise caution.
JEKYLL
I can't afford caution!
SONG: "PURSUE THE TRUTH"
JEKYLL (CONT'D)
HOW CAN I PURSUE THE TRUTH
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!
Already, underneath the preceding few lines of music, hooves,
harness, and carriage wheels have been heard, approaching.
CUT TO:
EXT. SIR DANVERS' HOUSE - NIGHT
Establishing shot: the composed and regal façade of Sir
Danvers Carew's elegant John Nash Regency house in Regent's
Park, immaculate, stately, lit by gaslight and torches.
Immaculate and stately LADIES and GENTLEMEN of quality are
arriving for a fête, and proceeding within the edifice,
assisted and observed by FOOTMEN, MAIDS, MANSERVANTS...
SONG: "FAÇADE" (reprise)
1ST MANSERVANT
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 FAÇADE.
FOOTMEN, MAIDS, MANSERVANTS
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 FAÇADE!
1ST MANSERVANT
HERE TONIGHT IT'S FESTIVE
BUT THE GUESTS ARE GETTING RESTIVE
'CAUSE THE GUEST OF HONOR'S
CAUSING A DILEMMA!
FOOTMEN, MAIDS, MANSERVANTS
DOCTOR JEKYLL'S TARDY
FOR HIS OWN ENGAGEMENT PARTY
HIS BETROTHAL TO
SIR DANVERS' DAUGHTER, EMMA!
The PARTY GUESTS are now all within. FOOTMEN, MAIDS AND
MANSERVANTS withdraw, or likewise disappear within, as the
façade of the stately edifice dissolves, to reveal what is
within: