Dr. Jekyll and Mr Hyde
Screenplay Story Analysis
How scenes compare to the Scripts in our Library
| Percentile | Before | After | ||
|---|---|---|---|---|
| Emotional Impact | 7.8 | 78 | Narcos: 7.7 | American beauty: 7.8 |
| Character Changes | 6.5 | 75 | Breaking bad, episode 306: 6.4 | Dr. Jekyll and Mr Hyde : 6.5 |
| Concept | 8.0 | 69 | Narcos: 7.9 | Avatar: 8.0 |
| Conflict Level | 7.8 | 61 | Dr. Horrible's Sing-Along Blog: 7.7 | Dr. Jekyll and Mr Hyde : 7.8 |
| High Stakes | 7.2 | 46 | Birdman or (The Unexpected Virtue of Ignorance): 7.1 | Dr. Jekyll and Mr Hyde : 7.2 |
| Overall | 8.2 | 45 | The sweet hereafter: 8.1 | Donnie Darko: 8.2 |
| Characters | 8.1 | 40 | Narcos: 8.0 | Everything everywhere all at once: 8.1 |
| Plot | 7.9 | 39 | Queens Gambit: 7.8 | Everything everywhere all at once: 7.9 |
| Story Forward | 7.7 | 38 | Breaking Bad: 7.6 | Dr. Jekyll and Mr Hyde : 7.7 |
| Dialogue | 7.2 | 17 | Queens Gambit: 7.1 | Avatar: 7.2 |
| Story Content | Character Development | Scene Elements | Audience Engagement | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Scene Number | Full Analysis | Tone | Overall Grade | Concept | Plot | Characters | Character Changes | Conflict | High stakes | Story forward | Emotional Impact | Dialogue | |
| 1 | Church Service Interrupted | "Serious" | 9 | 8 | 9 | 8 | 6 | 7 | 7 | 8 | 7 | 9 | |
| 2 | Interruption at Church | "tense" | 7 | 8 | 6 | 7 | 5 | 8 | 6 | 7 | 6 | 6 | |
| 3 | Disruption in Church | "Intense" | 8 | 7 | 8 | 7 | 6 | 9 | 7 | 7 | 6 | 6 | |
| 4 | The Hospital Visit | "serious" | 8 | 7 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 7 | |
| 5 | Dr. Jekyll's Confrontation with Dr. Heath | "tense, emotional" | 8 | 8 | 8 | 8 | 7 | 7 | 6 | 8 | 9 | 7 | |
| 6 | Jekyll's Ethical Dilemma | "calm" | 7.8 | 8 | 8 | 8 | 1 | 4 | 3 | 2 | 3 | 8 | |
| 7 | Jekyll's Experiments | "Suspenseful" | 8 | 9 | 8 | 7 | 3 | 6 | 6 | 7 | 5 | 7 | |
| 8 | Jekyll Defends His Research | "serious" | 7 | 8 | 7 | 6 | 4 | 7 | 5 | 8 | 5 | 6 | |
| 9 | Dr. Jekyll Defends His Research | "serious" | 8 | 9 | 7 | 7 | 6 | 7 | 6 | 8 | 6 | 8 | |
| 10 | Jekyll defends unorthodox research on the soul | "argumentative" | 8 | 9 | 7 | 9 | 3 | 8 | 6 | 5 | 5 | 8 | |
| 11 | Sir Charles | "Wistful" | 8 | 8 | 7 | 9 | 3 | 4 | 2 | 6 | 7 | 8 | |
| 12 | Jekyll and Beatrix Share Their Melody | "romantic, introspective" | 8 | 8 | 7 | 9 | 7 | 4 | 5 | 7 | 8 | 9 | |
| 13 | Jekyll's Dilemma | "Tense" | 7 | 8 | 7 | 7 | 7 | 8 | 6 | 7 | 7 | 8 | |
| 14 | The Encounter | "Melancholic" | 8 | 7 | 7 | 9 | 6 | 5 | 4 | 6 | 7 | 7 | |
| 15 | Girl in Distress | "Romantic, but with tension and conflict" | 8 | 7 | 7 | 8 | 6 | 6 | 5 | 6 | 7 | 8 | |
| 16 | Jekyll's Flirtation and Advice | "Flirtatious, tender, conflicted" | 8 | 8 | 7 | 9 | 7 | 6 | 6 | 6 | 8 | 8 | |
| 17 | Dr. Jekyll's Temptation | "tense" | 7 | 8 | 7 | 7 | 6 | 8 | 6 | 7 | 6 | 6 | |
| 18 | Jekyll's Experiments | "tense" | 7 | 9 | 7 | 6 | 4 | 6 | 4 | 8 | 5 | 2 | |
| 19 | Jeckyll's Descent | "dark" | 8 | 9 | 7 | 8 | 4 | 5 | 3 | 6 | 7 | 5 | |
| 20 | Jekyll's Experimentation | "Dark, Brooding" | 9 | 9 | 9 | 8 | 9 | 8 | 10 | 9 | 10 | 7 | |
| 21 | Jekyll's Transformation | "dark, intense" | 8 | 7 | 8 | 7 | 7 | 9 | 8 | 9 | 7 | 6 | |
| 22 | Jeckyll and Beatrix's Encounter | "tense" | 7 | 7 | 7 | 8 | 6 | 7 | 6 | 7 | 7 | 7 | |
| 23 | The Engagement | "tense" | 9 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 9 | 8 | |
| 24 | Devastating News From Beatrix | "melancholic" | 9 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 7 | |
| 25 | Jekyll transforms into Mr. Hyde and seeks out Ivy Pearson | "dark" | 8 | 9 | 8 | 8 | 8 | 7 | 6 | 8 | 7 | 7 | |
| 26 | Hyde's First Night Out | "Dark" | 8 | 7 | 7 | 8 | 8 | 8 | 6 | 8 | 7 | 6 | |
| 27 | Hyde Meets Ivy | "tense" | 8 | 9 | 8 | 8 | 6 | 8 | 6 | 8 | 7 | 8 | |
| 28 | Hyde starts a fight at the Palace of Varieties | "tense" | 8 | 9 | 7 | 8 | 5 | 10 | 7 | 9 | 7 | 6 | |
| 29 | Hyde Offers Ivy a New Life | "Dark, seductive" | 9 | 8 | 9 | 10 | 7 | 7 | 7 | 8 | 8 | 8 | |
| 30 | Hyde Confronts Ivy | "dark, violent, manipulative" | 8 | 8 | 8 | 7 | 6 | 10 | 9 | 8 | 9 | 8 | |
| 31 | Mr. Hyde Confronts Ivy and Marcia | "Dark" | 9 | 8 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 7 | |
| 32 | Hyde Continues to Manipulate Ivy | "dark" | 8 | 7 | 8 | 9 | 6 | 7 | 9 | 7 | 8 | 7 | |
| 33 | Hyde and Ivy | "dark" | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 8 | 8 | 7 | |
| 34 | Hyde's Manipulation of Ivy | "manipulative" | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 9 | 6 | |
| 35 | Ivy's Dilemma | "Intense" | 8 | 7 | 8 | 9 | 6 | 9 | 9 | 7 | 9 | 7 | |
| 36 | Proposal and Announcement | "emotional" | 8 | 7 | 8 | 9 | 7 | 6 | 6 | 8 | 9 | 9 | |
| 37 | Jekyll Discovers Ivy's Plight | "Dark" | 8 | 7 | 8 | 9 | 7 | 8 | 9 | 8 | 9 | 7 | |
| 38 | Ivy Seeks Help | "Tense" | 8 | 7 | 8 | 7 | 6 | 9 | 7 | 8 | 9 | 8 | |
| 39 | Jekyll's Transformation | "Tense" | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 6 | |
| 40 | Hyde Attacks Ivy | "Tense" | 9 | 8 | 9 | 10 | 9 | 10 | 10 | 9 | 10 | 8 | |
| 41 | Hyde's Rampage | "Dark" | 10 | 9 | 10 | 10 | 9 | 11 | 11 | 11 | 11 | 9 | |
| 42 | Hyde's Robbery and Family Troubles | "Dark" | 8.9 | 9 | 9 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | |
| 43 | The Package | "tense" | 9 | 8 | 9 | 8 | 6 | 9 | 9 | 9 | 7 | 7 | |
| 44 | Hyde and Lanyon's Showdown | "Tense" | 9 | 9 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | |
| 45 | Jekyll's Confession | "dark, anguished, desperate" | 9 | 8 | 9 | 10 | 10 | 9 | 10 | 9 | 11 | 9 | |
| 46 | Jekyll's Confession | "tense" | 9 | 8 | 9 | 10 | 8 | 10 | 10 | 9 | 10 | 8 | |
| 47 | Paradise Lost | "melancholic" | 9 | 8 | 8 | 10 | 10 | 8 | 8 | 7 | 11 | 9 | |
| 48 | The Escape of Hyde | "Intense" | 8 | 8 | 9 | 8 | 8 | 10 | 10 | 10 | 9 | 7 | |
| 49 | Hyde flees to Jekyll's laboratory | "tense" | 8 | 9 | 8 | 7 | 6 | 9 | 10 | 9 | 8 | 6 | |
| 50 | The Fall of Dr. Jekyll | "intense, tragic" | 8 | 9 | 8 | 7 | 9 | 10 | 10 | 8 | 9 | 6 | |
Scene 1 - Church Service Interrupted
Written by
John Lee Mahin
Based on the novel
"Strange Case of Dr Jekyll and Mr Hyde"
by Robert Louis Stevenson
Copyright © 1941 Shooting Script, 1941
Loew's Inc., US;
Metro-Goldwyn-Mayer (MGM),
Culver City, CA
FADE IN:
1 CLOSE SHOT - MAN'S FACE 1
It is a large, sincere and kindly face, of about fifty-five
years of age, perfectly in keeping with the slow, resonant
tones in which its owner speaks.
MAN
(as we fade in)
... with purity in our hearts, with
right thinking in our minds, we arm
ourselves with an intolerance of all
evil! Thus, it is on this glorious
Sabbath morning, in this momentous
year, 1887, that we naturally turn
our thoughts to that way of life as
exemplified by Victoria, Our Beloved
Queen. For this week begins Her
Majesty's Golden Jubilee. Her strength
and goodness, her Christian
principles, have walked in the light
of God ever since her ascension to
the throne. From her heart has come
an ever-increasing flow of virtue
and moral blessing with which she
has endowed us, her loving subjects.
As the man speaks we BOOM BACK AND AROUND SLOWLY to discover
ourselves in All Souls Southwick Church, London. The man
speaking is the Bishop, talking from the pulpit, backed up
by the well-appointed magnificence of the Anglican altar. WE
PAN AROUND the congregation in the pews. For the most, they
are the well-dressed and well-bred families of the period,
listening attentively.
1A CLOSE SHOT - IN BACK - MAN AND WOMAN 1A
This is where the less well-to-do parishioners are seated. A
rugged, but strange-looking man of middle-age is seated here
with his wife. She is watching him anxiously. He is listening
intently to the sermon, his head cocked forward. Then he
looks away, passes his hand over his brow, and seems as though
to rise - as he looks at the Bishop o.s.
WIFE
(detaining him, with
a nervous agonized
whisper)
Sam - no! What's wrong, Sam -?
He looks at her, subsides, clenching his jaw.
2.
2 CLOSE SHOT - BISHOP 2
AS HE CONTINUES:
BISHOP
(continuing)
She came upon a world sadly mired in
ways of the flesh, and during her
reign the forces of good have achieved
notable and great victories over the
forces of evil. And though we know
not the time nor the season, we know
that Evil in God's own time shall be
wiped out by God.
At this point the Bishop is startled by the interruption of
a high-pitched, scornful evil laugh coming from the back of
the church. He looks up.
3 CLOSE SHOT - IN BACK - MAN AND WOMAN 3
The man is laughing evilly at the Bishop. His horrified little
wife is trying to quiet him, and then looking about her at
the other startled people.
WOMAN
(agonized)
Sam -- Sam --
MAN
(sneering out)
Evil wiped out, eh? So you want to
take all the fun out of life, eh,
Bishop?
3A CLOSE SHOT - BISHOP 3A
With hardly a flicker he continues:
BISHOP
And may we not live for the day,
when, in the words of Holy writ, the
Devil shall be cast into the
bottomless pit?
4 GROUP SHOT - CONGREGATION 4
The laughter from o.s. continues a little. One or two half
turn about. Several look at each other, then back to the
Bishop with stiff-backed composure.
BISHOP'S VOICE
For surely the roots of the realm
and its peoples have sprung from a
new goodness during these last decades --
3.
5 CLOSE SHOT - TOWARD ALTAR - GROUP 5
They are the backs of an elderly gentleman, a young girl and
fine-looking man of about thirty with a Byronic head. As the
laughter continues through the Bishop's persistent intonation,
the man turns full face into CAMERA AND looks back toward
the disturbance. He is Dr. Henry Jekyll, his vital features
alive with interest.
BISHOP'S VOICE
(continuing)
At the family hearth, in the shops
of industry, in the very Christian
graciousness with which men and women
greet each other during the everyday --
6 OUT. 6
7 CLOSE SHOT - MAN IN BACK 7
MAN
Bottomless Pit, my eye! Good old
Beelzebub - the boy with the horns
and the spiked tail - they're always
running him down and he's the winner
in the end every time.
A man in back of him tries to pull him down, quietly. He
shakes him off laughing. In the b.g. the aislemen are hurrying
down to him.
8 GROUP SHOT - CONGREGATION 8
Still they do not look about much, paying even more attention
to the Bishop.
BISHOP'S VOICE
... everyday hours. Certainly this
universal goodness is evidenced all
about us more and more as we --
Ratings
Scene 2 - Interruption at Church
As he looks back, studying man. The young girl with him starts
to look back but the old gentleman on her other side nudges
her not to do so.
10 CLOSE SHOT - BISHOP 10
With barely a flutter of an eyelid he continues, cutting it
short.
(CONTINUED)
4.
10 CONTINUED: 10
BISHOP
-- as we live under the gentle hand
of Her Majesty, and worship the glory
and wonder that is God. It is because
of these things that - that -
(he gives a signal to
the choir-master)
- the world moves forward today.
11 CLOSE SHOT - CHOIR MASTER 11
He signals over to the organist in the b.g. He motions to
the awed kids in the choir to stop looking toward the back
of the church. The music starts the introduction to the choral
anthem.
12 GROUP SHOT - IN BACK - AROUND MAN 12
The aislemen are struggling with him.
MAN
(with a last shout)
You don't think evil is on a holiday
in here, do you? Ask this bunch here
when they met up with Old Nick last!
Good Old Beelzebub! -- Blasphemy, I
call it, to talk that way about a
man's best friend!
But he is drowned out both by the sudden high soprano boys'
choir and the booming of the organ, as well as the fact that
the three aisle - men drag him out of the pew into the vestry.
The poor wife follows. But the other people hardly notice
him, in their disciplined conservatism. One aisleman dashes
on ahead.
13 GROUP SHOT - VESTRY 13
A knot of aislemen are around the raving, twisting man. He
is laughing and muttering evilly. The little wife is hovering
about, wringing her hands, as they lead the man from the
main part of the church.
AD LIB
(in hushed tones)
Here, here, now man - Never heard of
such a thing... ssh! Did Parker go
for a constable? Yes. Take his other
arm... This is frightful...
WOMAN
(agonized)
Sam dear - no, lad - no...
(CONTINUED)
5.
13 CONTINUED: 13
Just at this moment Jekyll comes hurrying out into the vestry.
JEKYLL
(with calm authority)
One moment, please.
The aislemen step back.
MAN
(to Jekyll, who studies
him)
Let me back in there and I'll tell
'em what a grown man really thinks
about -
Jekyll feels the man's pulse, lifts his eye-lid. The man
backs away a little.
JEKYLL
(to woman)
How long has this been going on?
WOMAN
It's - it's been coming on him worse,
sir - ever since the explosion.
JEKYLL
(very interested now)
Oh, a shock, eh?... Excellent - I
see --
MAN
(slyly - to Jekyll)
You're a hearty, full-blooded young
man - you tell 'em...
WOMAN
I thought maybe if we came to church
it would --
MAN
(trying to nudge Jekyll)
We know - don't we?
WOMAN
(as man laughs again)
No, Sam - there now -
The man edges her away from him. In the meantime, Jekyll has
taken a card out and is writing on it. At this moment, another
aisleman comes in with a very officious constable.
(CONTINUED)
6.
13 CONTINUED: (2) 13
CONSTABLE
Hey - make way here! What's all
this about? What's all this here -
(taking man who he
sees is struggling)
Drunk and disorderly, eh? Well --
JEKYLL
(handing constable
the card)
No, Constable. Take him to the Camden
Hospital. Give this card to Dr. Heath.
CONSTABLE
Better get him to the station, sir.
It's always -
(then seen name on
card, and looks up
at Jekyll with sudden
respect)
Oh, Dr. Jekyll! Bats, is he? Right,
sir. Camden Hospital it is, Dr.
Jekyll!
(takes man's arm,
cheerily)
All right there now, my beauty -
upsy-daisy! We'll go and get a little
fresh air in the belfry, eh?
WE PAN HIM out with the man, the woman following.
MAN
(as he is being led
out, calling back
over his shoulder)
Jekyll, eh? Go on back and try to
put old Beelzebub on his pit bottom,
Jekyll! He'll show you! He'll poke
his red beard over the rim! He jumps
on hot fiery rubber, he does!
14 CLOSE SHOT - JEKYLL 14
Ratings
Scene 3 - Disruption in Church
back into church.
MAN'S VOICE
(o.s., with awful
laugh)
Dr. Jekyll, eh?... ha, ha, ha - Go
back and be good, Dr. Jekyll...
(CONTINUED)
7.
14 CONTINUED: 14
The voice diminishes, as Jekyll turns and walks back into
church.
15 PAN SHOT JEKYLL 15
WE HOLD as he comes down the aisle to his pew. Just as he
reaches the pew the congregation rises and starts singing
the hymn to which the choir has been singing the introduction.
WE PAN HIM into his pew where he immediately starts singing
with his two companions. The girl is young, lovely, ripely
virginal, Beatrix Emery. She gives Jekyll a little questioning
look as he comes into pew. The elderly man is her father,
Sir Charles Emery - hawk nose over white mustache - correct
and cultured in his imperious strength. As they sing, we
DISSOLVE TO:
15A FULL SHOT - EXT. - CHURCH STEPS 15A
Service is over and the crowd is coming out. Inside the church
we hear the organ. Sir Charles, Beatrix and Jekyll are coming
out. WE PAN THEM DOWN THE STEPS across to the carriages at
the curb.
SIR CHARLES
(bowing to a lady and
gentlemen)
Harrison... good morning!
(turns to Beatrix and
Jekyll)
Well, we've just time for a turn in
the park -
BEATRIX
Harry has to leave us, Father.
JEKYLL
I must get to the hospital, sir.
SIR CHARLES
Hospital? On a Sunday? Oh, you mean
that outrageous individual that -?
BEATRIX
Harry says Providence dropped the
poor man right into his lap.
SIR CHARLES
But this is most unusual, my boy.
You know, we always take our stroll
before --
JEKYLL
I'm sorry, but it is, sir. Most
unusual.
(CONTINUED)
8.
15A CONTINUED: 15A
By this time they have reached Sir Charles [...] smart open
carriage. A footman stands holding the door open for them. A
groom, in similar livery, is on the box.
BEATRIX
(turning to him)
See you at the Marley's tonight,
now. Don't be late.
JEKYLL
And let you have free rein with all
those men?
He kisses her on the lips, much to Sir Charles' consternation.
She laughs and gets into carriage. Sir Charles, nervous about
the kiss, looking about to see who has noticed it, follows
Beatrix into carriage.
15B CLOSE TWO SHOT - BEATRIX AND JEKYLL 15B
She sits with her hand resting on the side of the carriage.
O.s. the footman closes the door.
JEKYLL
(intimately)
That's a very silly little hat, by
the way.
BEATRIX
I knew you'd like it.
JEKYLL
(picking up her hand -
kissing it)
There's really nothing about you
that I like at all.
As he holds her hand, he makes a surreptious little bite at
it.
15C CLOSE SHOT - SIR CHARLES 15C
He has been watching; he starts nervously as he sees Jekyll
do this.
SIR CHARLES
(to groom, o.s.)
All right, Jenkins.
15D GROUP SHOT - AROUND CARRIAGE 15D
The carriage drives o.s. Jekyll starts backing away, in the
opposite direction, waving to Beatrix. He backs into a fat
old dowager.
(CONTINUED)
9.
15D CONTINUED: 15D
JEKYLL
(to glaring dowager)
I beg your pardon!
15E CLOSE SHOT - BEATRIX AND SIR CHARLES - INT. CARRIAGE - 15E
PROCESS
Beatrix is waving and laughs louder as she sees Jekyll's
dilemna o.s. As she laughs louder, Sir Charles pulls her
around.
SIR CHARLES
My dear - please -
BEATRIX
But you didn't see him. He backed
right into Lady --
SIR CHARLES
My dear Beatrix - I'm a very broad-
minded man, as you know - but despite
the fact that you and Harry are
engaged to be married, I wish he
wouldn't carry on his demonstrations
of affection in public.
BEATRIX
Now, Father darling - don't be
pompous.
SIR CHARLES
(bowing to a passerby
o.s.)
But good heavens - nibbling your
knuckles...
Beatrix bursts out in a peal of healthy laughter, throwing
back her head.
Ratings
Scene 4 - The Hospital Visit
(quickly)
Beatrix -!
16-25 OUT.
15F CLOSE SHOT - BEATRIX - PROCESS 15F
She controls herself, and subsides to a giggle, shaking her
head at her Father's attitude, as we
DISSOLVE TO:
10.
16 CLOSE SHOT - INT. HOSPITAL - MRS. HIGGINS' FACE 16
Mrs. Higgins is the woman with the man who caused the
disturbance in the church. She is sobbing silently in contrast
to Beatrix and WE PULL BACK to see her standing outside a
door in the corridor of the hospital. AS WE HOLD the door
opens and a young interne steps out with a rather
surreptitious look back into the room. All we can see in the
room is the end of a bed with a man's feet strapped to it.
MAN'S VOICE
(Higgins, as door
opens)
Now, Doctor, my lad - as man to man -
we know what's fun in life and what
isn't! Eh, Doctor?
The man laughs wildly. The interne closes the door quietly
and WE PAN HIM as he hurries down the hall to the end, and
enters a door.
17 CLOSE SHOT - DOOR AT END 17
On it is marked: "House Physician - Dr. Heath."
INTERNE'S VOICE
I'm sorry, sir. But Dr. Jekyll insists
going ahead with treatment.
HEATH'S VOICE
But that mustn't be! The man's under
observation!
INTERNE'S VOICE
Yes, sir. That's what I told him,
but -- You better come, sir.
The young interne comes out with Dr. Heath, a matured
physician of about fifty. Dr. Heath wears a worried frown on
his face. WE TRUCK WITH THEM a little way back toward the
room.
DR. HEATH
(agitated - as they
come out)
He has no right to do such a thing!
INTERNE
I suggested it would be better that
he consult you first, sir - but he
still --
DR. HEATH
I know. Thank you, Fenwick.
(CONTINUED)
11.
17 CONTINUED: 17
WE PAN them on down the hall to the door where Mrs. Higgins
is waiting.
18 CLOSE SHOT - AT PATIENT'S DOOR 18
Dr. Heath enters the room. Mrs. Higgins sobbing, puts her
hand on the interne's arm as he is about to follow. Inside,
the man Higgins is laughing evilly.
MRS. HIGGINS
Isn't there anything they can -?
INTERNE
Everything possible is being done,
Mrs. Higgins. Dr. Jekyll knows more
about your husband's case than any
other mental specialist in London.
HIGGINS' VOICE
(from inside)
Why! Here's another doctor! But don't
ask him! He's too old!
The interne closes the door. The man's high laugh comes from
inside. Almost immediately the door is opened by Dr. Heath
who comes out with Jekyll.
DR. HEATH
It's a matter of ethics, Jekyll. I
can't allow it.
MRS. HIGGINS
Dr. Jekyll, can't I go in and --
JEKYLL
(gently, patting her
shoulder)
Not yet, Mrs. Higgins. Bear up now.
That's the way you said you'd help -
remember.
Continues to Heath as WE PAN THEM DOWN the corridor, Jekyll
obviously trying to control himself
JEKYLL
But, good heavens, man - this is the
chance of a lifetime for me. The
more I see of the case the more I
realize it.
The stop a little way down the hall, opposite an open
unoccupied room.
12.
19 TWO SHOT - HEATH AND JEKYLL 19
HEATH
It's quite possible that this case
might fall within the bounds of your
research. You know how we've all
admired your other work in the past.
And personally, I'd like to bow to
your opinion here, but in my position
as head of the staff, I cannot
countenance --
He stops and realizes they are being watched o.s. as he looks
down the hall.
20 CLOSE SHOT - MRS. HIGGINS - THEIR ANGLE 20
She stands looking at them pathetically, wringing her hand.
21 TWO SHOT - JEKYLL AND HEATH 21
HEATH
(indicating open door)
Better come in here.
They go into vacant room and close door.
22 SLOW TRUCKING SHOT - MRS. HIGGINS 22
She looks at the room her husband is in, then starts
timorously along the hall to the door behind which are Heath
and Jekyll. WE HOLD A SECOND here. She would like to go in.
She starts to knock. Jekyll's and Heath's voices are only
murmurs.
JEKYLL'S VOICE
(suddenly rising clear)
But I'm not witch doctor!
HEATH'S VOICE
(rising, too - very
clear)
Who's called you a witch doctor? You
told me yourself you've had no
definite success. I can't allow you
to experiment with -
There are sudden quick footsteps toward door, and it is flung
open by Jekyll.
Ratings
Scene 5 - Dr. Jekyll's Confrontation with Dr. Heath
(following him)
Why, the man's a human being -!
Jekyll wheels on him at the door, his eyes blazing.
(CONTINUED)
13.
22 CONTINUED: 22
JEKYLL
You mean he was a human being! And
he'd have another chance at it, if
you'd keep your hide-bound ethics
out of this! There aren't any rules
for discovering medical Utopia! Or
perhaps you haven't the courage to
face what might be the greatest -!
He stops, glaring impotently at Heath, who steps back a
little, so vehement is Jekyll's look and attitude. Then,
with an inarticulate growl of disgust, Jekyll wheels away
quickly, AS WE TRUCK AND PAN with him to the end of the
corridor and around the corner. The tension of his anger
relaxes into a bitter smile as he walks along. He passes
some swinging glass opaque doors marked: "CHILDREN'S WARD",
and is about to go on when he thinks of something and turns
back, entering the ward.
23 PAN SHOT - JEKYLL - INT. WARD 23
As he walks down between corridor of beds and steps quickly
behind screen which covers the fourth of fifth bed. This is
obviously the Children's Orthepedoic Ward as we see by the
condition of the patients in the various beds.
24 CLOSE SHOT - AT BED 24
A small boy has obviously been badly smashed in an accident.
A worried young father, sitting by the bed, gets up quickly
as Jekyll comes in. The little boy, his legs suspended in a
pully contraption, smiles weakly at Jekyll as the latter
feels his pulse.
JEKYLL
(to little boy)
Hullo, Tommy Atkins - how's the war?
The little boy laughs in weak happiness.
FATHER
(to Jekyll)
He's - he's going to be all right,
isn't he, doctor?
Jekyll waits a second, counting pulse.
JEKYLL
(smiling at boy)
Charlie and I never had a doubt about
it, did we, Charlie?
At this moment o.s. we hear a little girl's voice wailing.
(CONTINUED)
14.
24 CONTINUED: 24
LITTLE GIRL'S VOICE (O.S.)
I can't! Please, nurse --
NURSE'S VOICE (O.S.)
Now do as nurse says, Dorothy.
Jekyll looks in the direction of the voice and walks off
o.s.
25 35 GROUP SHOT - AISLE BETWEEN BEDS 25
A nurse is trying to get a little girl of five or six to
throw away her crutches and walk. The little girl is
frightened. Neither of them notices Jekyll as he comes out
in the aisle and watches the scene.
NURSE
Give the crutches to nurse now,
Dorothy.
DOROTHY
(her lip quivering)
I can't! I'll fall again. I don't
want to fall again.
NURSE
(starting to reason
again)
Dorothy dear, listen to me. If I
tell you -?
26 CLOSE SHOT - JEKYLL 26
Jekyll is studying Dorothy o.s.
DOROTHY'S VOICE
But I'll hurt myself some more. I
can't walk.
JEKYLL
(suddenly - firmly)
Dorothy!
(he exits towards her)
27 CLOSE SHOT - DOROTHY AND JEKYLL 27
as she looks at Jekyll, who comes into SCENE.
DOROTHY
(slowly)
What, sir?
JEKYLL
Give me those crutches.
15.
28 FULL SHOT 28
Dorothy allows Jekyll to take the crutches from her. She
stands wavering.
JEKYLL
(without holding out
hands)
Now walk. Walk here to me.
Dorothy teeters after him as he backs up slowly for fifteen
feet. As she reaches Jekyll he kneels down and steadies her.
29 GROUP SHOT - JEKYLL, DOROTHY AND NURSE 29
DOROTHY
(looking at him in
wonder)
I walked! I walked, didn't I?
JEKYLL
(almost severely)
Dorothy, always remember you can do
anything in this world you put your
mind to.
(then patting her
head with a grin)
Why, you'll be dancing on Hampstead
Heath next Bank Holiday!
He straightens up and hands her over to the nurse who exits
with her. Jekyll turns and WE PAN HIM OUT of the ward.
30 FULL SHOT - EXT. WARD 30
Just as Jekyll comes out into corridor; he is joined by a
pleasant, solid-looking man of about his age, Dr. John Lanyon,
his friend and colleague. Lanyon, a stethescope about his
neck, yet attired as Jekyll, looks concerned as WE TRUCK
THEM down the corridor.
DR. LANYON
Harry, old boy, what's up? There're
rumors of a tiff between you and --
Ratings
Scene 6 - Jekyll's Ethical Dilemma
(with a calming
gesture, and a rueful
smile)
Don't worry, John. The bull is leaving
the china shop.
DR. LANYON
But you must realize that Heath has
his --
(CONTINUED)
16.
30 CONTINUED: 30
JEKYLL
(sardonically, yet
with affection)
I realize, Dr. John Lanyon, my friend
and eminently respected surgeon that
your Dr. Heath is right. My treatment
was not yet thoroughly proven. And
if we doctors were allowed to
experiment on human beings, too many
things would go wrong - and human
beings might lose faith even in the
proven good of medicine. Isn't that
it?
By this time WE HOLD as they reach a table near the foyer on
which doctors have placed their hats and sticks and from
which Jekyll picks up his.
DR. LANYON
(attempting to reason)
Harry --
JEKYLL
(now definitely)
But I'm not far from proof! And when
I get it: Ethics or no ethics!
Lanyon shrugs, and laughs, patting Jekyll with a soothing
gesture on the back, and exiting o.s. down another turn of
the corridor.
Then Jekyll thinks of something and starts quickly back down
the corridor just as the interne of the previous SCENE rounds
a corner to meet him, carrying a leather vial case. WE HOLD.
INTERNE
(handing case to him)
I thought perhaps you'd --
JEKYLL
(quickly, serious)
Yes.
(opens case, runs his
fingers over tops of
vials disclosed to
see if all are there,
then closes it)
Thank you, Fenwick.
We PAN HIM as he turns back toward foyer again, taking out a
key and locking case as he goes, as we,
DISSOLVE TO:
41-42 OUT.
17.
31 FULL SHOT - EXT. JEKYLL'S HOUSE - LATER 31
It is the type of house found in Harley Street of Adam
architecture, proving Jekyll's means and position. Jekyll's
carriage draws up and stops.
31A CLOSER SHOT - AT CARRIAGE 31A
Jekyll merely sits and stares ahead of him, unaware that he
is home. The groom, not hearing him open the door, looks
around. This causes Jekyll to look at the groom, realize
they have reached home.
JEKYLL
Oh - yes, Burke -
He gets out, and WE PAN HIM up to the front door. He takes
out his key and enters.
32 OUT. 32
33 FULL SHOT - INT. ENTRANCE HALL - JEKYLL'S HOUSE 33
Jekyll lets himself in with the key, walks slowly to the
center of the hall, stands there in thought for a second.
Poole, his butler, an old man full of warm adoration for
him, is hurrying down the stairs, and goes to him.
POOLE
(taking his hat and
stick)
Good afternoon, sir.
JEKYLL
(almost to himself)
Hello, Poole...
POOLE
I'm so glad you're home for tea,
sir. Where will you take it?
JEKYLL
(strolling slowly
away)
Oh - anywhere....
(CONTINUED)
18.
33 CONTINUED: 33
POOLE
(hurrying up beside
him)
I'll be bound you've had no lunch...
those hospitals. Some nice buttered
crumpets, sir - but we mustn't have
too much, or we shan't be eating a
good dinner at the Marley's - and
Miss Beatrix would be after me
properly.
JEKYLL
(not having heard a
word)
Hmmm...
With this he quickens his pace, and darts through an entrance
way off the hall.
34 FULL PAN SHOT - EXT. COURTYARD AND BRIDGE - JEKYLL'S HOUSE 34
The back court and garden are sunk below the ground level of
the main house. Jekyll comes from the main house across a
bridge which leads to another separate building in back, his
laboratory. He reaches door of lab. Poole stands in the door
of the main house.
POOLE
Shall I serve it in the laboratory,
sir?
35 CLOSE SHOT - POOLE - AT DOOR OF MAIN HOUSE 35
POOLE
(calling after him -
losing patience)
Now you must have something, you
know -!
He stops as WE HEAR a door slam o.s. He shakes his head
hopelessly.
19.
36 FULL SHOT - INT. LAB 36
Ratings
Scene 7 - Jekyll's Experiments
strange series of test tubes, vials, crucibles, a smelter...
and a mysterious pharaphernailia of connected glass stills
form a weird unknown world in themselves. There is a cabinet
full of surgical instruments and another larger closed cabinet
with a heavy lock. There is little furniture except a writing
desk with a file and a chair. Jekyll hurries along a balcony
and down a flight of steps at the back into the room. He
places his case on the table. WE DOLLY AND PAN HIM over to a
row of cages filled with rats, guinea pigs and rabbits. His
manner is anxious, anticipatory. He looks at the first two
or three cages. In the first a couple of guinea pigs seem
rather active. He looks at their actions closely. He seems a
little excited as he passes to the next two cages, but then
his expression falls.
36A CLOSE SHOT - TWO CAGES - HIS ANGLE - 36A
In one a large rabbit lies dead. In the second is a large
dead rat.
36B CLOSE SHOT - JEKYLL 36B
He reaches o.s. and picks out the two dead animals. WE PAN
HIM down the wall a little.
-- [19] --
He takes a large rabbit out of a smaller cage. It is gentle
and sniffs his hand. He strokes its head. WE PAN HIM back as
he puts the rabbit into the experimental cage and then PAN
HIM as he picks up a heavy glove and puts it on his hand. He
stops by a cage in which is a large wharf rat, and reaches
in for it with his gloved hand.
36C CLOSE SHOT - RAT - INT. CAGE 36C
He backs into a corner as Jekyll's hand enters and then
springs at Jekyll's fingers, biting the leather. But Jekyll's
hand pins him down by the back of the neck.
20.
36D CLOSE SHOT - JEKYLL 36D
He brings the rat out and WE PAN him as he places it in the
second experimental cage. He picks up the two dead animals,
crosses with them to the main laboratory table. He unlocks
his case and takes out a single vial and looks from vial to
the dead animals. We feel a connection between them and the
attempted treatment of Higgins. Jekyll frowns, then
immediately starts to work. He takes out an oral syringe,
tests it, looking back at the fresh animals, then he lights
a gas flame under a tube, starts arranging a cooling coil,
etc., mixing concoctions, and WE DOLLY INTO HIS troubled
face, as we
DISSOLVE TO:
37 CLOSE SHOT - BEATRIX - INT. MARLEY DINING ROOM 37
Her expression is also troubled. She sits dawdling with her
dessert, and then she looks o.s. as WE PULL BACK ALONG the
table.
The Marley dining room is typical of the period, high stiff
chairs, seating fourteen people. They are in evening dress.
Mr. Marley, the vacant-looking host, sits at one end. On his
left, in order, are: Mrs. French, [...] Courtney - a bearded
conservative of the profession, Mrs. Courtney, Sir Charles,
Mrs. Weymouth - a female eagle withered from the tropics,
Colonel Weymouth, her husband, an old red-faced officer of
horse in mufti with decorations on his lapel, and then Mrs.
Marley, hostess. On Mrs. Marley's right, in order are:
The Bishop of All Souls, Lady Cooper - a coy female, then an
empty chair, then Beatrix, Lanyon, and Mrs. Arnold next to
Mr. Marley.
There is quiet, well-bred small talk. A butler and two maids
are in attendance. WE HOLD on Sir Charles as he looks at his
watch, and then glances o.s. at the empty chair next to
Beatrix.
38 CLOSE SHOT - BEATRIX 38
She reacts to her father's frown and turns to smile casually
at something said farthur down the table.
AD LIB
(under all this)
We had a perfectly shocking meet at
Ascot, didn't we?
(MORE)
(CONTINUED)
21.
38 CONTINUED: 38
AD LIB (CONT'D)
Puggie Wilson has a wonderful new
filly, I understand... A good chance
for the Oaks this year... Of course
she's rather pretty - but my dear,
her father is in trade.... The poor
boy's just down from Cambridge --
simply exhausted from work...
Education demands sacrifice, doesn't
it? Etc.
Beatrix! expression suddenly lights up as we HEAR Jekyll's
Voice o.s.
JEKYLL'S VOICE (O.S.)
Mrs. Marley -!
39 FULL SHOT - DINING ROOM 39
Jekyll is just entering the dining room from the drawing
room, followed by a footman who has evidently just admitted
him. Jekyll heads straight for Mrs. Marley. The men rise.
40 CLOSE SHOT - JEKYLL AND MRS. MARLEY 40
She looks at him a little stiffly as she offers her hand.
JEKYLL
My deepest apologies.
MRS. MARLEY
(slightly sarcastic)
I know - you doctors - we can never
rely on you, can we?
JEKYLL
(turning on charm,
over her hand)
Mrs. Marley, I'd rather be reminded
of my short-comings by the smartest
hostess in London than to be on the
Jubilee Honors list.
MRS. MARLEY
(with a double-take,
completely mollified)
Ch! Sit there, Dr. Jekyll...
She indicates vacant seat o.s., and we PAN Jekyll as he walks
to it.
Ratings
Scene 8 - Jekyll Defends His Research
(to standing gentlemen)
Gentlemen, please... Good evening,
Bishop - John - Colonel Weymouth -
(CONTINUED)
22.
40 CONTINUED: 40
AD LIB
Ah, Doctor... Harry... good evening,
sir.
JEKYLL
(looking at Beatrix -
as butler pulls out
chair muttering)
Been behaving yourself?
41 CLOSE SHOT - BEATRIX 41
As she laughs, and looks around the table.
42 GROUP SHOT - INCLUDING JEKYLL 42
As he sits down between Beatrix and Lady Cooper.
JEKYLL
(to Lady Cooper - yet
feeling for Beatrix's
hand)
Lady Cooper - my short-comings are
rewarded.
LADY COOPER
(a coy dame)
Naughty man.
There is correct laughter at this "risque" dialogue.
DR. LANYON
A doctor's life, eh, Harry? The more
patients, the colder the soup.
JEKYLL
Wasn't a patient, exactly. I started
something in the laboratory and just
forgot to lock at the clock.
DR. COURTNEY
(a little patronizing)
Ah, yes, Jekyll - Heath was telling
me you're still carrying on with
that research of yours.
JEKYLL
(with a wry smile)
I'm afraid Dr. Heath isn't quite -
well, in sympathy, Dr. Courtney.
DR. COURTNEY
Well, that's understandable, isn't
it?
(MORE)
(CONTINUED)
23.
42 CONTINUED: 42
DR. COURTNEY (CONT'D)
Separating the facets of the brain...
a little ambitious, I'd say.
JEKYLL
(stung)
My research hopes to go deeper than
the brain -- into something more
intangible than the mind, even.
DR. COURTNEY
(looking at others
with a laugh)
Well, all that seems to be left is
the soul.
Colonel Weymouth and Marley laugh.
JEKYLL
All right. Have it that way. Because
that's just where I am aiming -- at
the soul.
A maid, putting his soup in front of him, looks extremely
startled.
43 CLOSE SHOT - SIR CHARLES AND OTHERS 43
He locks amazed at Jekyll o.s., puzzled and frowning.
DR. COURTNEY'S VOICE (O.S.)
The soul?
AD LIB (O.S.)
Good heavens... did he say "soul"?
What does he mean...? Etc.
44 GROUP SHOT - INCLUDING JEKYLL, BISHOP, LADY COOPER 44
LADY COOPER
The soul! How thrilling!
BISHOP
(genially)
Come, come - my dear doctor - now
you're invading my territory.
JEKYLL
(looking at him with
a serious smile)
Yes, my Lord - and I hope I may be
of some assistance.
24.
45 CLOSE SHOT - SIR CHARLES 45
He is a little startled by this radical statement and wishes
to assume that Harry is joking.
SIR CHARLES
My dear Harry - of course, you don't
mean this?
46 GROUP SHOT - INCLUDING JEKYLL 46
He looks quickly over at Sir Charles, picking up the
challenge.
JEKYLL
But I do, Sir Charles. Just consider
that poor chap in church this morning.
If you didn't see him, you all heard
him, I'm sure.
BISHOP
Ah, yes. I thank you for your
assistance there, Dr. Jekyll.
DR. COURTNEY
(with finality)
Hopelessly insane. Obviously.
MRS. MARLEY
Why, the simply shocking things he
said...
JEKYLL
He wasn't insane. There was just one
side of him in existence. And that
side was speaking the truth.
COLONEL WEYMOUTH
Good heavens! Which side?
JEKYLL
His evil side. The man has been
spiritually distorted through shock...
that explosion in the gas mains last
month. Before that he was a fine,
solid citizen - gentle and kind with
his children - deeply in love with
his wife. Since then, he's suffered
a complete change - so that this
afternoon I saw him entirely reverted
to the animal - slythinking and vile,
dangerous and rapacious, by turns.
(CONTINUED)
25.
46 CONTINUED: 46
Ratings
Scene 9 - Dr. Jekyll Defends His Research
(in the silence, edging
a little from Jekyll)
Mercy -!
47 CLOSE SHOT - SIR CHARLES 47
The other maid is just taking away his dessert, plate. The
maid looks wide-eyed at Jekyll o.s. Sir Charles is very
uncomfortable.
SIR CHARLES
(shifting uneasily)
Yes... ahumm...
48 GROUP SHOT - AGAIN 48
DR. LANYON
(trying to pass it
off casually)
But Harry - what's that to do with
the soul? We can clearly understand
it as an injury to the nervous system
and therefore --
JEKYLL
(now lost in his
subject, earnestly
reasoning)
No, no, John - I insist he has been
shocked from normal good into complete
evil. When I said before he was a
"good" man, I didn't mean that he
didn't have a bad thought or two
from time to time -- and perhaps
commit his portion of transgressions
against the laws of civilized society.
Because, after all - that is the
problem of civilized Man's soul -the
good and the evil in it are constantly
fighting one another.
49 GROUP SHOT - INCLUDING JEKYLL AND BISHOP 49
The Bishop is the least affronted, very interested, but
adamnantly patient.
BISHOP
There is a Higher Source from which
the good may always find aid in its
fight, Dr. Jekyll....
JEKYLL
I realize that, sir - but...
26.
50 CLOSE SHOT - COLONEL AND HIS WIFE 50
MRS. WEYMOUTH
(haughtily - her hand
possessively on
Colonel's arm)
Of course. The Colonel and I always
feel that people can be good if they
wish to be - and, well - otherwise,
if they don't.
COLONEL
(with a snort)
Exactly. Discipline! Everything
else is poppycock!
(then militantly
changing subject
with a joke)
Haw! But men going dotty and all
that do amusin' things at times. I
remember our sergeant during the
second Punjab campaign. We attacked
and --
MRS. WEYMOUTH
It was our quartermaster.
COLONEL
(not breaking his
stride)
Quiet, my dear - you were in Poona
at the time. I remember this -
51 CLOSE SHOT - MARLEY 51
MARLEY
(his mouth agape as
he still looks at
Jekyll vacuously)
But look here, Jekyll - I mean I - I
simply must get this straight - you
mean -?
52 FLASH SHOT - MRS. MARLEY 52
She is trying to get her stupid husband's eye to keep him
from pressing the subject.
27.
53 GROUP SHOT - INCLUDING JEKYLL 53
JEKYLL
(warmed to his subject,
glad of the interest)
Well, to put it as simply as I can -
Good and evil are so close as to be
chained together in the soul. Man
isn't truly one, but two. Now what
if we could break that chain -
separate those two selves --
(his face alight,
lost in his subject)
To free the good in man, and let it
go on to its higher destiny... to
segregate the bad in man - and let
it destroy itself in its own
degradation!
(looks around, sees
he has gone beyond
their comprehension -
finishes lamely)
Well, roughly that's what my research
is leading to -- a combination of
chemical agents, which if administered
would --
Marley has just awakened to the fact that his guests aren't
very happy - particularly the two nervous ladies on his either
side. Also, he feels his own "character" attacked.
MARLEY
(sputtering)
But see here - aren't you rather
presumptuous in assuming there is
evil in all men?
JEKYLL
Of course there's evil in all men!
He speaks the following with a peculiar faunlike glee, jabbing
at them with his tone, quietly, but watching them all as he
looks around the table. He's mad now at their subborn refusal
to look at the facts.
54 PAN SHOT - SLOW - AROUND TABLE 54
Jekyll's voice comes over the stiff-lipped women and
uncomfortable men.
(CONTINUED)
28.
54 CONTINUED: 54
Ratings
Scene 10 - Jekyll defends unorthodox research on the soul
We'd be hypocrites if we didn't admit
it. We've all had thoughts we wouldn't
care to have published ... or shouted
out loud. Our desires aren't always
confirmed to a drawing room. As
Christian we admit that Man was
created weak! It's an honest problem.
Shouldn't we face it?
By this time WE HOLD ON the Bishop. There is a tense silence!
BISHOP
(with gentle dignity)
Suppose we believe that Man's soul
has not yet reached its fulfillment.
Is it right or wise to tamper with
this problem, until its Creator has
solved it - in His own mysterious
way?
55 GROUP SHOT - INCLUDING JEKYLL, COLONEL, BISHOP 55
The Colonel is looking across at Jekyll, trembling with
austere indignation.
JEKYLL
(softening a little)
My Lord - as I said before -
56 CLOSE SHOT - DR. COURTNEY - 56
He draws himself up in a severe conservative huff.
DR. COURTNEY
Really, Jekyll - this is quite
alarming. Such theories are
dangerously close to a -- well, I
hesitate to think what the Medical
Council will be forced to say if --
57 GROUP SHOT - INCLUDING JEKYLL'S END OF TABLE 57
Sir Charles looks with alarm at what Dr. Courtney is saying.
JEKYLL
(with an undercurrent
of heat - but smiling)
Dr. Courtney - advanced theories are
always the sore-point for the Medical
Council - or even a Queen's physician.
Especially if there's a confortable
profit in those already safely
established.
(CONTINUED)
29.
57 CONTINUED: 57
DR. COURTNEY
(bristling)
Jekyll - if -
COLONEL
(suddenly exploding)
If you want my opinion, young man -
this is all pure balderdash!
JEKYLL
(right back at him)
Really, Colonel Weymouth? Suppose
we take your profession. What about
the soldier when he comes out of
battle - keyed up from the lust of
killing? What about his thoughts?
He's lonely - bewildered. Why just
recall yourself, as a young subaltern
in Egypt - back from a campaign up
the Nile - on a moonlit night in
Cairo. What were your thoughts? What
was in your mind?
For a moment the Colonel is so moved by the glamor and
nostalgia in Jekyll's words, that his mouth is agape.
COLONEL
(half remembering dim
conquests)
Well, now - if you put it - I mean
that's something diff--
(then suddenly feels
his wife's eagle
glare - pounds table)
Harrumph! By Gad, sir! I've heard
enough!
58 CLOSE SHOT - MRS. MARLEY 58
She pushes her chair back in the sudden silence, rises with
a sugary little murmur.
MRS. MARLEY
Ladies...?
59 FULL SHOT - ROOM 59
As the ladies rise, and leave, the men standing.
LADY COOPER
(as they go)
Oh, I meant to ask. Has anybody seen
Wilde's new play, "The Ideal Husband"?
(CONTINUED)
30.
59 CONTINUED: 59
MRS. FRENCH
Oh, yes - at the Haymarket - a little
so-so for my taste but then -
MRS. ARNOLD
The pantomime at the Lane is
magnificent. Dan [...] is screamingly
funny.
MRS. COURTNEY
Yes. And have you seen Irving's "King
Arthur"... Superb...
60 TWO SHOT - BEATRIX AND JEKYLL (OVER THIS) 60
As she rises she gives him a little smile which means "I'm-
with-you", perhaps even purses her lips at him quickly as WE
PAN her away with the other women.
61 CLOSE SHOT - JEKYLL 61
He looks after her, raises his eyebrow with a dry grin and
shrugs his shoulders.
62 CLOSE SHOT - SIR CHARLES 62
He is looking from Jekyll to Beatrix o.s., a worried look of
disapproval in his expression, as we,
DISSOLVE TO:
63 FULL SHOT - CARRIAGE - EXT STREET - NIGHT 63
It clops along with two horses, footman and driver on box.
64 FULL SHOT - INT. CARRIAGE - LATER 64
Beatrix sits between Jekyll and Sir Charles on the back seat.
Lanyon sits on the jump seat. Sir Charles looks silent and
worried. All are aware of this. WE ONLY HEAR the clop-clop
of the horses. Beatrix suddenly puts her hand over her
Father's.
BEATRIX
(affectionately)
Tired, Father darling...?
Ratings
Scene 11 - Sir Charles
Hm? Oh - no, no.
(as carriage stops)
Well - here we are, eh?
(MORE)
(CONTINUED)
31.
64 CONTINUED: 64
SIR CHARLES (CONT'D)
(as Footman opens
door - and Lanyon
gets out)
That's it. You first, John.
(getting out himself
with a grunt, as he
rises)
Hmph! Getting old, I suppose.
65 GROUP SHOT - EXT. - AT CARRIAGE 65
They are in front of Sir Charles' house, a large mansion of
the period.
DR. LANYON
Well, Sir Charles, it's been a long
evening, so I imagine you -
SIR CHARLES
Oh, no - no. You must come in for a
night-cap, John.
(with a smile)
If you don't think the rest of the
company will be bored with each other.
Jekyll and Bee look at each other with relieved smiles.
DR. LANYON
Well - thank you, sir. Just one.
They all move toward the house, as we PAN, and
DISSOLVE TO:
66 FULL SHOT - INT. DRAWING ROOM 66
It is excellently and richly appointed in the style of the
period. Some French doors open off into a conservatory to
one side. Lanyon is pouring the drinks from a tray. Beatrix
and Jekyll are across the room at a music box, looking for
some discs. Sir Charles is looking in a humidor for cigars.
66A TWO SHOT - JEKYLL AND BEATRIX 66A
Jekyll is looking at a disc.
JEKYLL
What about this -?
BEATRIX
(whispering)
No.... this -
She looks affectionately o.s. toward her Father.
(CONTINUED)
32.
66A CONTINUED: 66A
JEKYLL
(puzzled - in same
voice)
What -?
BEATRIX
(whispering)
This is the one that makes Father
wind his watch.
(she puts it on and
it starts a lovely
waltz))
Look -
THEY BOTH LOOK
66B PAN SHOT - SIR CHARLES 66B
He raises his eyes from the humidor at the first strains. He
seems to think back for a second. THEN WE PAN HIM as he walks
slowly to grandfather's clock. Beside the clock is a portrait
of a lovely woman, obwiously Beatrix's mother by her looks.
Sir Charles takes out his watch and winds it, but he does
not look at it. He is looking up at the picture, not the
clock.
66C CLOSE SHOT - PICTURE 66C
66D CLOSE SHOT - SIR CHARLES 66D
His eyes are a little misty, as he looks o.s. at the picture.
66E TWO SHOT - BEATRIX AND JEKYLL 66E
As they watch Sir Charles o.s.
BEATRIX
(to Jekyll)
It is the waltz that he and Mama
first danced together.
JEKYLL
(touched)
Oh...
(turns to Beatrix,
with a little bow)
May I have the honor, Miss Beatrix?
BEATRIX
(curtseying)
With pleasure, Dr. Jekyll.
He takes her in his arms, and they waltz through the French
doors into the conservatory.
33.
67 CLOSE SHOT - SIR CHARLES 67
He turns from the picture and watches them waltz o.s.
68 EFFECT SHOT - SIR CHARLES' ANGLE - BEATRIX AND JEKYLL 68
They waltz, framed in the French doors.
68A CLOSE SHOT - SIR CHARLES 68A
He smiles a little wistfully, touched by his memories.
68B BACK TO BEATRIX AND JEKYLL - HIS ANGLE 68B
They dance o.s. into the part of the conservatory hidden
from his view.
69 CLOSE SHOT - SIR CHARLES 69
His wistful expression turns to one of worry. Lanyon appears
INTO SCENE, carrying two glasses, hands one to Sir Charles.
DR. LANYON
Sir Charles...
(raising his glass)
Your health, sir.
SIR CHARLES
Hm? Oh, yes, John - thank you, sir.
He raises his glass, then drinks, then looks o.s. toward
conservatory again, worried.
70 EFFECT SHOT - BEATRIX AND JEKYLL - INT. CONSERVATORY 70
They are in each other's arms, in a long embrace. WE ARE
SHOOTING from the middle of the round, glass-domed room,
through ferns and foliage. The waltz plays dimly o.s. Their
lips part.
JEKYLL
Where's our melody - when first we
met? We haven't got any....
They start walking around the rotunda and WE PAN.
BEATRIX
Oh, yes we have. It isn't when you
meet. It's when you know.
JEKYLL
Know what?
Ratings
Scene 12 - Jekyll and Beatrix Share Their Melody
34.
70 CONTINUED: 70
BEATRIX
That the world's spinning around -
just for two people alone.
JEKYLL
When do two people know a thing like
that?
BEATRIX
Oh... just about a month ago - on a
high hill in Scotland..
JEKYLL
Oh, yes. I know that hill... Pretty
close to Heaven, isn't it?
BEATRIX
Right there. Right on the
outskirts....
JEKYLL
(as though suddenly
remembering)
I was there about that time - with a
girl of all things!
BEATRIX
Was the heather very high - and the
clouds very low above their heads -?
JEKYLL
Hmmm - yes - but what I remember
most was the way the wind caught the
absurd little ringlets in her hair.
(touching around her
ear)
Right about there.
She stops and turns to him.
BEATRIX
See? That's our melody.
JEKYLL
(nodding)
Uh-hm.
They kiss again. She looks at him a second, then draws away
and starts fingering a flower.
BEATRIX
Harry...
JEKYLL
What?
35.
71 CLOSE SHOT - BEATRIX 71
As she turns and looks up at him searchingly.
71A CLOSE SHOT - JEKYLL 71A
As he looks at her, wondering at her look.
JEKYLL
What, Bee?
72 TWO SHOT - BEATRIX AND JEKYLL 72
BEATRIX
(slowly) T)
Onight at dinner... I understand
what you said about good and evil in
people - and that it's that way in
all of us... but if good and evil
are so closely related in us -
chained, as you said - why isn't -?.
(then she stops with
a little laugh, and
a shake of her head,
turning from him -
fingering flower
again)
Oh, no - it sounds so... silly - and
wrong, even...
JEKYLL
(tenderly)
This is you and I. Remember us?
Nothing you and I can ever discuss
will be wrong....
BEATRIX
Well then, why - why isn't the way
you and I feel about each other -? I
mean...
(hesitates, then with
direct, serious warmth)
There's nothing evil in that, is
there?
Jekyll laughs tenderly, and takes her hand in his.
JEKYLL
Look here. You and I are in love.
Such a small word for such a great
thing!
(MORE)
(CONTINUED)
36.
72 CONTINUED: 72
JEKYLL (CONT'D)
But whatever it is, it's a blessed
thing, Bee. It makes us one strong,
living soul. And it takes whatever
power - or even whatever secret
delight that there is in evil - and
turns it all into good.
(searching her eyes)
Do I have to tell you that....?
BEATRIX
Oh, no -!
She surges into his arms. They kiss passionately, then look
at each other, speechless for a moment.
JEKYLL
(suddenly)
What in the world are we doing? Here
we are -- bound hand and heart in
some ridiculous long engagement --
just because it's the conventional
correct thing to --
BEATRIX
Oh, I know, my darling - I don't
want to wait, either. Let's ask Father
if --
JEKYLL
You leave it to me. I'll take him to
the club - put a glass of his favorite
brandy in his hand and when I'm
through he'll --
They both turn as WE HEAR footsteps o.s. Sir Charles appears,
carrying a glass in his hand. The music has stopped.
SIR CHARLES
(as he approaches)
Help John, will you, my dear? He's
in there hunting for the Bonnie Banks
of Loch Lommond, or something -
BEATRIX
Oh yes, Father...
She goes past him. Jekyll starts to follow.
SIR CHARLES
Harry...
JEKYLL
Yes, Sir Charles?
(CONTINUED)
37.
72 CONTINUED: (2) 72
SIR CHARLES
I'm not one to brood about and all
that -- but you must have noticed my
attitude coming home this evening.
Ratings
Scene 13 - Jekyll's Dilemma
Why, sir - I merely thought that -
SIR CHARLES
That amazing flight of fancy you put
forth at dinner... I must confess it
startled me -- and even though I'm a
broad-minded man, myself -- it was a
little shocking, too...
JEKYLL
Well, I'm sorry, Sir Charles - because
I assure you it wasn't a flight of
fancy at all.
SIR CHARLES
You mean you actually were in earnest?
JEKYLL
Profoundly so, sir. In fact, I'm
arranging to spend all my time at it --
SIR CHARLES
This is distressing, Harry --
JEKYLL
(puzzled at his
attitude)
Why?
SIR CHARLES
It's absolutely hair-brained, in my
opinion.
JEKYLL
(a little stung)
I'm sorry you feel that way. I've
just been explaining it further to
Bee. She understands.
SIR CHARLES
(stiffening - but in
gentle reminder)
There are some things no gentlewoman
should understand.
(CONTINUED)
38.
72 CONTINUED: (3) 72
JEKYLL
Oh, come now, sir. In this day and
age we're surely getting beyond all
that sort of --
(breaking off)
Besides, Bee and I are adults, sir -
we're deeplyin love - and very close.
That's why we see no need to wait.
We want to be married as soon as
possible. We both feel that --
SIR CHARLES
I thought we decided on February.
JEKYLL
But that's months away! We need
each other now. I want her near me -
with me - in all the work I'm going
to --
SIR CHARLES
No, no, Harry - I can't discuss any
change in the plans. After this
evening, more than -
JEKYLL
But, Sir Charles --
SIR CHARLES
Harry! Restraint is wise and healthy
in all matters... A sort of proving
ground. I waited five years for
Beatrix's mother.
JEKYLL
(with a wry smile)
If you'll forgive me, sir -- you
were a very sturdy man.
SIR CHARLES
(laughing)
Well, I'm not asking that of you -
but, come now, Harry. I'we always
wanted a son - and now you're going
to be that. So listen to me, my boy.
You're a coming man in your
profession. I'm proud of you. But
these ridiculous experiments won't
get you anywhere. You must give them
up. Develop your practise. Cultivate
the circle in which you and Beatrix
shall move. That's common sense, my
boy.
(MORE)
(CONTINUED)
39.
72 CONTINUED: (4) 72
SIR CHARLES (CONT'D)
(patting his shoulder)
There now. I've had my say. Let's
get your night-cap, hm? Getting late.
He turns and starts back into drawing room.
73 OUT 73
73A TRUCKING SHOT - SIR CHARLES AND JEKYLL 73A
SIR CHARLES
Oh, by the way, don't forget - I've
taken a box for the opening concert
at the Albert Hall -
(passes o.s. ahead of
Jekyll)
You and John will join us, of
course...
But Jekyll is hardly listening, he is moody and downcast,
and almost resentful, as we
DISSOLVE TO:
74 FULL SHOT - EXT. SIR CHARLES' HOUSE 74
Lanyon and Jekyll are just coming down the steps and turning
into the walk along the street as WE PAN AND TRUCK with them.
Jekyll is silent and moody.
DR. LANYON
(noticing his mood)
What's up? You and the old boy cross
swords?
JEKYLL
(dryly)
It seems that I should give up my
research - and carry on with taking
out little Reggie Smith's adenoids
and giving Lady Gwendolyn St. Clair
a sugar pill for her perennial self-
induced hysteria - or else encounter
the serious disapproval of Bee's
father.
DR. LANYON
(laughing)
Oh, it can't be that bad, Harry. But
you did cut up a bit rough at the
Marley's, you know.
Jekyll stops, turning to him.
(CONTINUED)
40.
74 CONTINUED: 74
JEKYLL
(a little sharply)
I'm not asking you to agree with me.
I just have a decision to make, that's
all.
Ratings
Scene 14 - The Encounter
Now, look, Harry - you and I have
been friends for years. I can't agree
with your theories - but that needn't
break up our friendship, you know. I
haven't seen anything of you lately.
(taking his arm)
Come on - let's drop down to the
club and play a rubber of whist. Do
you good.
JEKYLL
(moodily)
I'll walk that far with you...
THEY WALK ON, AS WE
DISSOLVE TO:
87-113 OUT.
75 TRUCKING SHOT - JEKYLL AND LANYON - STREET 75
They are in another part of town, taking a short cut in a
rather dingy section. At this point they cross the entrance
to a narrow mews (alley) and WE HOLD as sounds of a struggle
and cries come from its darkened recess.
GIRL'S VOICE (O.S.)
Let me go, you -! Why you filthy -!
Help -!
Jekyll and Lanyon both look down the mews, then dart o.s.
toward the sound.
76 GROUP SHOT - IN MEWS 76
Jekyll and Lanyon rush into SCENE to find a hulk of a gent
struggling unpleasantly with young girl. The scene is lit by
dim gas light. Jekyll pulls the man off the girl, who drops
to the ground with a moan against a rubbish box or an old
packing case. The gent starts to fight, then sees two against
one, and streaks down the mews with Lanyon and Jekyll in
pursuit, as WE PAN.
77 TWO SHOT - OTHER END OF MEWS 77
As the gent flies in and out of SCENE, Jekyll and Lanyon
stop, as they watch him streak across the street.
(CONTINUED)
41.
77 CONTINUED: 77
JEKYLL
Let him go. Get a cab. I'll see what's
been done.
He hurries back into the mews.
78 TWO SHOT - JEKYLL AND GIRL 78
She is sitting on the rubbish box, straightening her hat and
muttering to herself in comic tearfulness as Jekyll approaches
into SCENE.
GIRL
(to herself)
A nice thing... when a girl can't...
the big...
JEKYLL
(politely)
Did he hurt you?
GIRL
dusting off her dress - hardly
noticing him) It'd take more than a
bloke like that to --
(suddenly sees him
for first time,
impressed by his
looks and attire, in
almost childish
admiration)
Oh..!
(straightening her
hat)
I'll bet I look ever so untidy.
Jekyll can't help but smile, amused by her reaction. Then:
JEKYLL
You're sure you're not hurt?
GIRL
Why... I don't think so - I -
(stands - winces on
one foot)
Oo!
JEKYLL
Ankle?
GIRL
Mm. Twisted.
(sways and catches
his arm)
Do you mind?
(CONTINUED)
42.
78 CONTINUED: 78
JEKYLL
Of course not. An ankle can be very
painful...
GIRL
You're ever so kind.
(feeling her side)
Mm! Me side, too. He bashed a rib,
he did!
JEKYLL
I shouldn't have stopped. I should
have caught him, eh?
GIRL
Oh, no, I mean - I'm so glad you
stopped - if you take my meaning.
JEKYLL
(nodding ahead)
My friend's getting a cab. Can we
drive you anywhere?
GIRL
You're ever so kind.
JEKYLL
Nonsense. Let's try it, shall we?
(they start to walk
toward end of mews
as WE TRUCK WITH
THEM. She limps)
That's the girl.
GIRL
(smiling up at him)
A gent like you shouldn't be bothering
yourself about me, now.
JEKYLL
What sort of a gent doesn't like to
help a pretty girl? Hm?
He says this with casual politeness, but smiles down at her
as he finishes.
GIRL
Oh, now!
(straightening her
hat, flustered)
And me with my hat all about me head!
Jekyll laughs, as we
DISSOLVE TO:
(CONTINUED)
43.
78 CONTINUED: (2) 78
118-121 OUT.
122 THREE SHOT - JEKYLL, GIRL, LANYON - INT. HANSOM CAB - 122
PROCESS
She sits between them. Lanyon is not very pleased with her
voluble presence or with the job of taking her home.
Ratings
Scene 15 - Girl in Distress
... and so he asks me can he walk me
home, he does. And I says yes. When
a girl has to work late at nights,
it's nice to have a bit of company
to see you home...
JEKYLL
(pleasantly, as Lanyon
makes no remark)
Naturally.
GIRL
(now all to Jekyll)
I know what's what. You have to if
you're a barmaid. I like a bit of
fun, as the saying goes. But when a
bloke grabs you sudden-like with
nasty notions in his head, it's time
to put your foot down.
(grabbing her side,
Leaning against
Jekyll) I)
'm sorry to bother you two gents...
ooo!
The cab slows to a stop.
123 FULL SHOT - CAB - EXT. TUKESBURY LANE BOARDING HOUSE 123
As the cab stops, Jekyll gets out first.
JEKYLL
(holding his arms up
to help girl)
Here you are.
As the girl gets down, she collapses on her ankle with a
muffled cry of pain and Jekyll catches her.
GIRL
Ow! It hurts more now -!
JEKYLL
Here -
(CONTINUED)
44.
123 CONTINUED: 123
With this, he picks her up.
DR. LANYON
(slightly impatient)
Can I give you a hand, Harry?
JEKYLL
(cheerily)
I think I can manage.
CONTINUED.
He carries the girl up the stoop to the door, as WE PAN. She
takes a key from her purse and opens the door. They go inside.
124 BOOM SHOT - INT. BOARDING HOUSE - HALL AND STAIRS 124
GIRL
(nodding upstairs)
Second floor - first door on the
right.
(watching Jekyll's
face as he carries
her up)
I'll bet I'm heavy...
JEKYLL
Oh, no.
GIRL
You're ever so strong, aren't you?
In the b.g., below a harridan of a landlady has poked her
head out of the door, and is watching them.
125 CLOSE SHOT - LANDLADY 125
She looks up after them with a knowing smile, lifting an
eyebrow and nodding her satisfaction at Jekyll's appearance.
126 FULL SHOT - GIRL'S DOOR - UPPER HALL 126
JEKYLL
(coming to top of
landing and door)
Here?
GIRL
Uh-huh.
She inserts a key and opens the door. Jekyll carries her in.
45.
127 REVERSE SHOT - INT. ROOM 127
WE ARE SHOOTING over a bed, and Jekyll and the girl's figures
are silhouetted in the door. He comes to the bed and puts
her down.
GIRL
(taking off her cape
or coat)
The light's by the door - if you've
a match.
JEKYLL
Right.
He goes back to the door, and lights the gas jet.
128 FULL SHOT - ROOM - DIFFERENT ANGLE 128
It is the usual dingy rooming house chamber, appointed as of
the era and the girl.... cheap souvenirs - men's pictures
(sailors and soldiers) tacked unframed on the walls, etc.
Jekyll puts his hat and stick down on a chair, and then closes
the door. WE PAN him over to her as she looks up at him,
half shy, half excitedly expectant.
JEKYLL
(calmly)
You better let down your blouse.
GIRL
(a little "miffed" at
the calm approach)
Why?
JEKYLL
(easily)
Don't you want me to have a look at
you?
GIRL
(coyly)
I don't know. You're lookin', ain't
you?
JEKYLL
But, your side. I thought you --
Then with a giggle, she quickly peels off her blouse, (or
lets down her shirt-waist) revealing herself in a fluffy
thin top slip of the period. She looks up at him, trying to
"play up". She pulls her feet upon the bed, under her.
(CONTINUED)
46.
128 CONTINUED: 128
GIRL
(softly)
You aren't half a fast one, aren't
you?
Jekyll looks puzzled for a second, then bursts out laughing.
JEKYLL
(between chuckles)
I'm sorry. Let's both understand
this, shall we? My friend and I are
physicians.
GIRL
Physicians...?
JEKYLL
(nodding)
Doctors.
GIRL
Doctors?
(suddenly laughs
delightedly at the
situation)
Go on! I thought you were just a
couple of toffs!
Ratings
Scene 16 - Jekyll's Flirtation and Advice
(laughing, too)
No. Haven't the leisure.
GIRL
(throwing back her
head, laughing)
Oh, dear me! -- And here I
thought -!
They stop laughing and look at each other.
JEKYLL
(quickly, easily again)
Well, I'm glad to see you're not
really hurt...
He smiles down at her, with a chiding look, then starts to
turn away.
GIRL
(quickly)
Oh, but I am, Doctor - truly -
(CONTINUED)
47.
128 CONTINUED: (2) 128
JEKYLL
(still kidding, turning
back)
I better send you to the hospital,
hm?
GIRL
(offering her side)
No, look - here - feel -
Jekyll adopts a mock serious manner and feels her side.
JEKYLL
Here -?
GIRL
("wincing")
O-o! Yes -
JEKYLL
Hm - I thought so - a transossis
pactoralis...
GIRL
(puzzled, alarmed)
What's that mean?
JEKYLL
(into her eyes)
That means your eyes are twin pools
of desire...
GIRL
(softly, slowly,
charmed)
Aw, Doctor... that's neat. You can
say the words, you can..!
JEKYLL
("surprised")
But doesn't this still hurt?
She looks down to see he is prodding her side.
GIRL
(quickly, wincing)
Hm? Oh - yes - o-o -!
JEKYLL
(straightening up,
with a chuckle)
It'll be all right in the morning...
(CONTINUED)
48.
128 CONTINUED: (3) 128
She quickly kicks off her shoe, peels off her stocking, holds
the garter in her hand, a little rubber-tape ringlet with a
gew-gaw buckle.
GIRL
(as she does so, softly)
But look here - my ankle - don't you
think you ought to look at that?
JEKYLL
(smiling, shaking his
head)
No.
(then points to where
garter has left a
red mark above her
knee)
But I'll tell you one thing, young
lady. You wear that garter too tight.
Bad. Stops the circulation.
The girl looks down and then looks up at him, pathetically
happy that he is this solicituous about her at least. She
rises and grabs his hands.
GIRL
There! You see now? You did find
something. You are my doctor, aren't
you?
(as he only smiles at
her, then:)
I ought to pay you a fee...
JEKYLL
(a little caught)
I haven't presented any bill...
GIRL
(handing him garter)
How about this? To begin with...
(as he looks at it)
Not that it's enough.
JEKYLL
Some people don't pay half as much --
GIRL
It don't seem near enough to me -!
With this she puts her arms about his neck and kisses him.
He half returns the embrace.
49.
128A FULL SHOT - ROOM 128A
The door opens with a simultaneous knock, and Lanyon stands
there.
DR. LANYON
Harry -? Is this -?
(seeing them break
apart)
Oh... sorry -
(a little coldly)
Come along, will you? It's getting
late.
He turns and we HEAR him walk down steps o.s.
128B TWO SHOT - GIRL AND JEKYLL 128B
He looks after Lanyon, frowning a little, then chuckles to
himself and shakes his head. He picks up his hat and stick,
walks toward the door. The girl follows him. He automatically
puts garter in his pocket.
GIRL
(puzzled)
You - you ain't really goin' - just
because he says that -
JEKYLL
No. But I have to go -
GIRL
But, look here - don't you understand?
I ain't no--
JEKYLL
(warmly)
I know that. You're a girl with her
heart just where it ought to be -
it's just a little too generous,
that's all.
(patting her arm)
-- So because you're a nice pretty
girl - just be a little smarter about
the company you pick from now on. Hm -
why not?
GIRL
Well, but -- You're here, ain't you?
JEKYLL
I shouldn't be, though. If you knew
me, you'd know I really don't want
to be. You see --
Ratings
Scene 17 - Dr. Jekyll's Temptation
50.
128B CONTINUED: 128B
The girl lifts her head quickly, stung.
GIRL
Oh! Well, I picks only them as wants
my company. I'll tell you that!
Her lip starts to quiver. Whatever her carefree loves, she
senses she is the woman scorned. Her eyes start to flash.
JEKYLL
(knowing it is useless
to make her understand)
I'm sorry. It's my fault. I should
have --
GIRL
Whatcha sorry about? I'm not!
JEKYLL
(one last try)
Come, now. Let's say we wore both
foolish and it was all in fun - and
wish each other luck the next time
we take a drink, hm?
As he says this, he puts out his hand. She ignores it.
GIRL
(starts to laugh)
I suppose it was all in fun when you
kissed me?
JEKYLL
(ruefully)
Yes. I have it coming to me, my dear.
(going out door)
But anyhow - good night and good
luck. Always.
GIRL
(slamming door on him)
You wasn't all in fun then - I know
that!
She starts laughing, tears of rage in her eyes.
129-133 OUT.
134 CLOSE SHOT - JEKYLL - EXT. DOOR - HALL 134
He hears her laughing.
GIRL'S VOICE (O.S.)
Next time you look at a girl, make
up your mind, mister!
(CONTINUED)
51.
134 CONTINUED: 134
He shakes his head again, wondering how he got in the whole
mess, and starts down the stairs.
135 CLOSE SHOT - GIRL - INT. ROOM 135
She hears his footsteps go away down the stairs. She turns
and WE PAN her back into the room. She is puzzled and furious
at the same time. She slumps down on the bed. Her expression
falls. Then she wipes all thought of him from her mind and
starts to whistle, taking off her other stocking as we
DISSOLVE TO:
136 TWO SHOT - JEKYLL AND LANYON - INT. CAB PROCESS 136
Lanyon is sitting quietly looking ahead. Jekyll is studying
him, grinning.
JEKYLL
(finally)
Oh come now, John - don't get that
stuffy look. The lady wasn't injured,
and neither was I - nor anyone else.
DR. LANYON
I admit she might be a tempting little
trick - in an off moment.
JEKYLL
What do you mean.. "off moment"?
DR. LANYON
(sardonically)
Yours. According to your theory, I
imagine that graphic tableau I just
witnessed was the momentary triumph
of the evil in your soul over the
good. Correct?
JEKYLL
(after a second's
thought)
Why...yes. Not quite a triumph...
(with a serious little
smile)
But it was an attack.
(then quickly)
- yet one that would have been
repulsed without your presence, John,
I assure you.
DR. LANYON
Wouldn't you run less personal risk
if you confined your experiments to
your laboratory?
(CONTINUED)
52.
136 CONTINUED: 136
JEKYLL
Well, the laboratory's where you'll
find me from tonight on -
(looking ahead, almost
to himself)
... until I get what I'm looking
for...