Dr. Jekyll and Mr Hyde
Executive Summary
Overview
Genres: Drama, Thriller, Horror, Romance, Mystery, Psychological Thriller, Historical, Period Piece, Period, Historical Fiction, Sci-Fi, Tragedy
Setting: Late Victorian England, London
Overview: Dr. Jekyll and Mr. Hyde is a story about a man's struggle with good and evil. Dr. Jekyll is a respected doctor who develops a potion that transforms him into the evil Mr. Hyde. As Hyde, Jekyll indulges in his darkest desires, committing heinous crimes. But as Jekyll, he is wracked with guilt and remorse. The story explores the duality of human nature and the dangers of unchecked ambition.
Themes: Good vs. Evil, The Dangers of Science, The Power of Love, The Importance of Self-Control
Conflict and Stakes: Jekyll's struggle to control his transformation into Hyde, and the threat that Hyde poses to his loved ones and society. Jekyll's reputation and his relationship with Beatrix are at stake, as well as the safety of the people around him.
Overall Mood: Dark and suspenseful, with a sense of impending doom.
Mood/Tone at Key Scenes:
- Scene 9: The scene in which Jekyll transforms into Hyde for the first time is particularly suspenseful and disturbing.
Standout Features:
- Unique Hook: The Jekyll and Hyde story is a classic that has been adapted many times, but this screenplay offers a fresh take on the story by focusing on the psychological and emotional aspects of Jekyll's transformation.
- Plot Twist: The revelation that Dr. Lanyon is aware of Jekyll's secret and has been helping him all along is a major plot twist that adds an extra layer of suspense to the story.
- Distinctive Setting: The film is set in Victorian London, a time and place that is both familiar and exotic, adding to the film's atmosphere and appeal.
- Unique Character: Mr. Hyde is a truly iconic villain, and his presence in the film is sure to generate excitement and anticipation among audiences.
Comparable Scripts:
- Frankenstein
- Dr. Jekyll and Mr. Hyde
- The Incredible Hulk
- Spider-Man
- The Wolf Man
- Buffy the Vampire Slayer
- The Exorcist
- The Shining
- Psycho
- The Silence of the Lambs
Writing Style:
The screenplay exhibits a diverse range of writing styles, drawing inspiration from renowned authors and screenwriters. It effectively blends elements of literary fiction, psychological thrillers, and character-driven dramas to create a captivating and multi-layered narrative.
Style Similarities:
- Robert Louis Stevenson
- David Mamet
- Mary Shelley
- Edgar Allan Poe
Pass/Consider/Recommend
Consider
Explanation: The screenplay of 'Dr. Jekyll and Mr. Hyde' is a compelling adaptation of the classic novel, with strong character portrayals, vivid transformation scenes, and a thought-provoking exploration of good and evil. However, the pacing could be improved in the middle section, and there are opportunities to further develop the characters of Ivy and explore the societal context of the story. Overall, the screenplay has the potential to be a successful film with some revisions.
USP: Delve into a captivating tale where the duality of human nature takes center stage. "Duality" explores the eternal battle between good and evil, morality and ambition, and love and sacrifice. With its unique blend of philosophical depth, suspenseful moments, and compelling characters, this script stands out as a thought-provoking and emotionally resonant cinematic experience.
Market Analysis
Budget Estimate:$40-60 million
Target Audience Demographics: Adults aged 18-49, fans of horror, science fiction, and psychological thrillers
Marketability: It has a strong premise, well-developed characters, and a suspenseful plot that will appeal to a wide audience.
It has a unique blend of genres and explores compelling themes, with a diverse cast that will appeal to a broad range of viewers.
It has a strong track record of success, with multiple adaptations and remakes, indicating its enduring appeal to audiences.
Profit Potential: High, due to its strong appeal to a wide adult audience and potential for award nominations
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by a blend of eloquence, psychological depth, and social commentary.
Best representation: Scene 36 - The Revelation of Ivy. This scene is the best representation of the writer's voice due to its effective combination of character-driven dialogue and descriptive narrative to create a compelling and immersive setting.
Memorable Lines:
- Dr. Jekyll: Good and evil are so close as to be chained together in the soul. Man isn't truly one, but two. (Scene 9)
- Dr. Jekyll: You and I are in love. Such a small word for such a great thing! (Scene 12)
- Hyde: You'll have what you have longed for. (Scene 41)
- Hyde: You will have what you have longed for. (Scene 42)
- Dr. Jekyll: I'm a murderer, John. A murderer! (Scene 45)
Characters
Dr. Jekyll:A brilliant scientist who develops a potion that allows him to transform into the monstrous Mr. Hyde.
Mr. Hyde:Dr. Jekyll's evil alter ego. He is a savage and violent creature.
Beatrix:Dr. Jekyll's fiancé. She is a kind and loving woman.
Sir Charles:Beatrix's father. He dislikes Dr. Jekyll and forbids his daughter from marrying him.
Dr. Lanyon:Dr. Jekyll's friend and colleague. He discovers Jekyll's secret and is horrified by what he sees.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Interruption at the Sermon | Serious, Religious, Scornful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 2 - Disturbance in the Church | Suspenseful, Mysterious, Tense, Dramatic | 8 | 8 | 7 | 9 | 7 | 6 | 8 | 7.5 | 9 | 8 | 7 | 8 | 8 | 7 | 6 | 9 | 8.5 | 8 | 8.5 | |
| 3 - Church Encounter | Serious, Light-hearted, Romantic | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 4 - Ethical Dispute over Patient Treatment | Agitated, Worried, Pathetic, Timorous | 8 | 9 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 5 - The Doctor's Dilemma | Intense, Compassionate, Authoritative | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 6 - Jekyll's Division | Intense, Sarcastic, Serious, Hopeful | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 7 - Dinner Preparations | Anxious, Anticipatory, Troubled, Casual, Sarcastic, Charming, Mollified | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 8 - The Nature of Good and Evil | Serious, Mysterious, Intriguing, Tense | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 9 - The Duality of Man | Intense, Philosophical, Controversial | 8 | 9 | 7 | 9 | 7 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 6 | 9 | 8 | 8 | 8 | 8 | |
| 10 - Jekyll's Provocative Theories | Controversial, Intense, Nostalgic, Indignant, Sarcastic | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 11 - An Evening at Sir Charles' Mansion | Wistful, Romantic, Reflective, Concerned | 8 | 7 | 7 | 8 | 9 | 7 | 8 | 7 | 3 | 6 | 4 | 7 | 6 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 12 - Transforming Love | Tender, Serious, Passionate, Reflective, Wistful | 8 | 8 | 7 | 8 | 9 | 8 | 9 | 7 | 6 | 6 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 13 - The Clash of Wills | Serious, Emotional, Contentious | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 14 - An Act of Kindness | Suspenseful, Intense, Dramatic, Mysterious | 8 | 7 | 8 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 15 - The Helpful Doctor | Suspenseful, Intense, Dramatic, Mysterious | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 16 - Flirtatious Encounter | Playful, Intimate, Serious | 8 | 7 | 7 | 9 | 9 | 7 | 8 | 7.5 | 6 | 7 | 6 | 7 | 7 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 17 - Jekyll's Dangerous Obsession | Intense, Controversial, Emotional, Tense, Mysterious | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 18 - Jekyll's Tireless Labors | Intense, Mysterious, Dark | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | |
| 19 - Jekyll's Tormented Night | Tense, Dark, Mysterious, Gloomy | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 20 - Jekyll's Transformation | Intense, Dark, Mysterious, Foreboding | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 21 - Jekyll's Transformation and Poole's Interruption | Dark, Intense, Mysterious, Tense | 9 | 9 | 9 | 8 | 8 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 22 - The Confrontation | Tense, Passionate, Anxious, Defiant, Cold | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 23 - The Choice | Tense, Emotional, Resentful, Anxious, Regretful | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 24 - The Transformation | Dark, Intense, Tragic, Suspenseful | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 7 | 9 | 6 | 9 | 9 | 7 | 10 | 7 | 9 | 8 | 8 | 8 | |
| 25 - Hyde's Malice | Dark, Intense, Mysterious, Sinister | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 26 - Hyde Arrives at the Palace of Varieties | Dark, Sinister, Menacing, Suspenseful | 9 | 9 | 8 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 27 - Unexpected Conversation | Tense, Romantic, Suspenseful | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 28 - Barroom Brawl | Dark, Intense, Suspenseful | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 29 - Temptation and Manipulation | Dark, Intense, Suspenseful, Romantic | 8 | 9 | 8 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 30 - The Menacing Threat | Dark, Intense, Emotional | 8 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 31 - Confrontation in Ivy's Apartment | Tense, Dark, Suspenseful, Menacing | 9 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 32 - Manipulative Mind Games | Tense, Sinister, Manipulative, Intense | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 33 - Hyde's Mind Games | Dark, Sinister, Manipulative, Menacing | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 34 - The Transformation | Dark, Intense, Menacing, Emotional | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 35 - Post-Transformation Tranquility and Envelope Delivery | Tense, Emotional, Dark, Intense | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 36 - A Proposal and a Threat | Anxious, Passionate, Tense, Emotional, Hopeful | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 37 - The Revelation of Ivy | Tense, Disturbing, Anxious, Horror, Hopeful | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 38 - Ivy's Plea for Help | Anxiety, Fear, Hope, Desperation | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 39 - The Transformation | Menacing, Intense, Emotional | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 40 - Hyde's Deadly Confession | Intense, Menacing, Terrifying, Sinister | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 41 - Hyde's Rampage | Dark, Intense, Suspenseful, Menacing | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 42 - Hyde's Desperation | Tense, Suspenseful, Anxious | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 43 - Tension and Confrontations | Suspenseful, Intense, Dark | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 44 - Hyde's Desperate Demand | Suspenseful, Intense, Menacing, Confrontational | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 9 | 8.5 | 8 | 8 | |
| 45 - Jekyll Confesses to Lanyon | Anguish, Horror, Desperation, Pleading | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
| 46 - Jekyll's Despair | Tense, Agonized, Worried, Anguished, Desperate | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 47 - Heartbreaking Confrontation in the Garden | Heartbreaking, Intense, Emotional | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
| 48 - The Hyde Transformation | Tense, Suspenseful, Dramatic, Violent | 9 | 9 | 8 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 49 - Hyde's Escape | Tense, Frantic, Horror | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 8 | |
| 50 - The Transformation and Death of Hyde | Tense, Horror, Tragic, Intense | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 7 | 9 | 8 | 8 | 8 | |
Scene 1 - Interruption at the Sermon
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
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 --
Scene 2 - Disturbance in the Church
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 6
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
Scene 3 - Church Encounter
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
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.
Scene 4 - Ethical Dispute over Patient Treatment
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 7
(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.
Scene 5 - The Doctor's Dilemma
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
(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 --
Scene 6 - Jekyll's Division
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 9
(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
Scene 7 - Dinner Preparations
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
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.
Scene 8 - The Nature of Good and Evil
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 8
(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
Scene 9 - The Duality of Man
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 7
- Dialogue: 9
(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
Scene 10 - Jekyll's Provocative Theories
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 9
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...?
Scene 11 - An Evening at Sir Charles' Mansion
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 9
- Dialogue: 8
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?
Scene 12 - Transforming Love
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
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.
Scene 13 - The Clash of Wills
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
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.
Scene 14 - An Act of Kindness
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
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.
Scene 15 - The Helpful Doctor
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
... 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!
Scene 16 - Flirtatious Encounter
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 9
- Dialogue: 8
(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 --
Scene 17 - Jekyll's Dangerous Obsession
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
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...
Lanyon notices his determined look, shrugs with a little
shake of his head, as we
DISSOLVE TO:
137 OUT. 137
137A FULL SHOT - INT. LABORATORY - LATER 137A
Jekyll is standing by the two cages, his cape and hat still
on. He peers at the occupants. His brow is furrowed.
137B CLOSE SHOT - HIS ANGLE, THE CAGES - 137B
The rabbit and the rat are more or less exactly as when he
put them in the cages earlier in the evening. Jekyll's hand
comes into the rabbit's cage. The rabbit sniffs at it. As
his hand approaches the rat, it tears around the cage wildly,
then bites at his hand.
137C CLOSE SHOT - JEKYLL 137C
His face sets with determination. He throws off his cape and
hat and WE PAN him to his work table. He starts mixing various
potions, lighting burners, etc., getting out vials, and
powders, as we
DISSOLVE TO:
NOTE: The following series of dissolves denote passage of
time and the fury of incessant work on Jekyll's part.
137D (FORMERLY #88) CLOSE SHOT - POTION - INT. LAB 137D
Scene 18 - Jekyll's Tireless Labors
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Jekyll's expression falls. Jekyll starts figuring ingredient
combinations on a pad.
DISSOLVE TO:
137E (FORMERLY SCENE #89) CLOSE SHOT - PAD - INT. LAB 137E
Jekyll's hand writes a formula, furiously. He scratches it
out. Tears off sheet. Starts writing again.
DISSOLVE TO:
53.
137F FULL SHOT - LAB 137F
Two men are carrying a cot down the stairs under Poole's
direction. Poole looks apprehensively at Jekyll, who is
working at the table. Poole carries blankets and sheets.
DISSOLVE TO:
137G (FORMER SCENE 90) CLOSE SHOT - JEKYLL - INT. LAB 137G
He is in work clothes now, a smock on. He wears a growth of
a couple of days' beard. He is trying another mixture.
DISSOLVE TO:
137H (FORMER SCENE 96) CLOSE SHOT - POOLE - INT. LAB 137H
He is pulling curtains aside to let in the morning light. WE
PAN HIM as he picks up a tray of food, and carries it to
Jekyll, who takes no notice. Poole puts it down with a sigh
and withdraws.
DISSOLVE TO:
137J (FORMER SCENE 97) CLOSE SHOT - TRAY OF FOOD - INT. 137J
LAB WE PAN up and Poole is looking at it. It is untouched.
He crosses to where Jekyll is asleep in the cot, exhausted,
some notes in his hand. Poole gently covers him up with a
throw.
DISSOLVE TO:
137K (FORMER SCENE 98) CLOSE SHOT - JEKYLL'S HANDS - MIXING - 137K
Scene 19 - Jekyll's Tormented Night
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
DISSOLVE TO:
137L (FORMER SCENE 99) CLOSE SHOT - JEKYLL'S FACE - INT. LAB 137L
He is watching, his face tired and haggard.
DISSOLVE TO:
137M (FORMER SCENE 101) CLOSE SHOT - JEKYLL - INT. LAB 137M
His expression is now more strained than ever. He is in his
shirt-sleeves, with open neck - another growth of beard. He
is mixing some stuff in crucible. He pulls it out quickly.
Measures some out in a syringe, dumps it into a cooling vat.
Then he goes quickly to cages with it AS WE PAN.
54.
137N CLOSE SHOT - JEKYLL - AT CAGES 137N
He reaches o.s. into the rabbit's cage and administers
syringe. Then repeats the action in the rat's cage. He
watches, and suddenly his expression grows elated. He looks
from one cage to another. He starts to put his bare hand
into the rabbit's cage.
137P CLOSE SHOT - RABBIT - INT. CAGE 137P
As Jekyll's hand enters slowly the rabbit is tearing about
wildly. It suddenly backs up into a corner, and then lunges
at Jekyll's hand.
137Q CLOSE SHOT - JEKYLL 137Q
He withdraws his hand with a gleeful explanation. Tries it
again a couple of times. Then he looks in rat's cage.
137R CLOSE SHOT - INT. RAT'S CAGE 137R
The rat seems almost dead. Then it gets up, shakes itself,
and as Jekyll's hand comes slowly into the cage, the rat
sniffs it. Jekyll's hand lifts it up. It does not struggle.
137S CLOSE SHOT - JEKYLL 137S
as he holds the rat, a look of triumph comes over his face.
He strokes the rat, fondling it to be sure of the result.
Then he quickly puts the rat back, and WE PAN HIM as he darts
to the cabinet, takes out his leather vial case, brings it
to the table, and starts pouring contents of the container
below the retort into a new vial, his expression jubilantly
excited, as we WIPE TO: [Section details]
137T FULL SHOT - INT. ALBERT HALL - BOX 137T
O.s. we hear the symphony being played. Beatrix, Sir Charles
and Lanyon are seated in a tier box as WE DOLLY IN CLOSE.
Jekyll's empty chair is in evidence. Beatrix seems very
unhappy. Sir Charles looks about at the empty chair, then
looks at his watch. Beatrix notices this, as does Lanyon.
They turn to each other.
137U CLOSE SHOT - LANYON AND BEATRIX 137U
BEATRIX
(sotto voce)
I'm worried, John. It's not like him
not to send any word.
(CONTINUED)
55.
137U CONTINUED: 137U
DR. LANYON
(reassuringly)
He'll be along.
DISSOLVE TO:
137V PAN SHOT - JEKYLL - INT. HOSPITAL CORRIDOR 137V
It is dimly lit, quiet. WE PAN JEKYLL as he hurries past the
entrance from the b.g. and rounds a corner. WE HOLD as he
stops. A nurse is leading Mrs. Higgins past him. She is
sobbing pathetically. Fenwick, the interne, is standing in
the b.g., closing the door. Mrs. Higgins does not notice
Jekyll. She goes by with the nurse. Jekyll's expression falls.
He turns quickly to Fenwick who comes up to him.
JEKYLL
Look here. Higgins isn't -?
FENWICK
(as Jekyll stops)
Yes, sir. Just now. Cerebral
hemorrhage.
Jekyll looks as though he'd been struck. He glances down at
his case, as his anticipation leaves him. Without a word, he
turns and WE PAN HIM back around the corner as we
DISSOLVE TO:
137W GROUP SHOT - EXT. HOSPITAL ENTRANCE 137W
The nurse is condoling Mrs. Higgins as Jekyll comes out.
Jekyll's carriage is waiting there. Jekyll is pre-occupied
in gloom.
NURSE
(to the sobbing Mrs.
Higgins)
There - there now -
MRS. HIGGINS
(seeing Jekyll)
Oh, Dr. Jekyll -!
JEKYLL
Oh... I'm sorry, Mrs. Higgins...
MRS. HIGGINS
(between sobs)
Maybe it's for best, sir. That -
that wasn't my Sam back there. It -
it was as if the Evil One had crept
into his heart - poor Sam...
(CONTINUED)
56.
137W CONTINUED: 137W
JEKYLL
(escorting her to
carriage)
Hobson - take Mrs. Higgins wherever
she wishes to go. I'll walk.
HOBSON
Yes, sir.
MRS. HIGGINS
(now in carriage)
Ht-Thank you, Dr. Jekyll...
JEKYLL
(patting her hand,
absently)
Goodnight, Mrs. Higgins.....
He walks o.s. and the carriage starts up as we,
DISSOLVE TO:
137X (FORMER SC. #42) MED. SHOT - ENTRANCE TO WEST GATE - PARK 137X
We are inside the park, SHOOTING OUT. Mr. Weller, a fat jovial
park-keeper in visored hat, is just about to lock the gate
as Jekyll appears.
MR. WELLER
Ah! Good evening, Dr. Jekyll. Just
about to lock up!
Scene 20 - Jekyll's Transformation
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
locks the gate. Then Weller joins him and WE TRUCK WITH THEM
as they walk.
MR. WELLER
(chattily)
I'll step along with you if you're
going to the East Gate. Wonderful
nights we're having - eh, sir?
JEKYLL
(suddenly)
Mr. Weller - supposing you had a
balloon that would carry a man to
Mars - and the pilot you'd picked
out disappeared - would you get in
the balloon yourself and cast off?
(CONTINUED)
57.
137X CONTINUED: 137X
MR. WELLER
(enjoying this as a
joke)
Well now - that's a difficult one.
But I think if I had a balloon as
would carry me there - and back,
mark you - I think I'd do it. Might
get me away from the mother-in-law
for a while!
(laughs uproariously)
How's that for an answer, Dr. Jekyll?
JEKYLL
(almost to himself -
with resolve)
Fair enough, Mr. Weller -- fair
enough....
DISSOLVE TO:
138 OUT. 138
139 FULL SHOT - INT. LAB - LATER 139
Jekyll is seated at his table, writing a letter. A full retort
of liquid is bubbling near him. His face is strained,
purposeful, his evening coat off, his hair a little
dishevelled. Jekyll looks up from his writing, examines the
content of the retort, turns the burner a little lower. Then
goes back to his writing.
140 CLOSE SHOT - PAGE OF NOTE. 140
JEKYLL'S HAND IS WRITING:
"because there is no other way to prove the true value of my
experiments....
(HIS PEN STARTS WRITING HERE)
"But remember, my darling, in case of my death...."
On this last word, with a crash of musical chord, we
QUICK DISSOLVE TO:
140A CLOSE SHOT - BEATRIX - INT. HER BEDROOM 140A
She is asleep, the moonlight coming across her face through
the window o.s. Suddenly her eyes go wide, and she sits bolt
upright as WE PULL back. She looks around the room.
BEATRIX
(as though someone were in the room)
Yes -? What --?
(CONTINUED)
58.
140A CONTINUED: 140A
She thinks for a second, then quickly gets out of bed, hurries
to the closet as WE PAN and starts pulling out some attire,
as we
DISSOLVE TO:
140B FULL SHOT - FRONT HALL - SIR CHARLES' HOUSE 140B
Beatrix, now dressed, tip-toes down the stairs and silently
opens the door to the street.
DISSOLVE TO:
141 CLOSE SHOT - JEKYLL - INT. LAB 141
The burner is now off. Jekyll is pouring the contents, which
have dripped from the retort into a container, from the
container into a vial. It smokes and swirls strangely. He
holds the vial a second. He looks at the letter to Beatrix,
leaning in a prominent position on the table.
142 CLOSE SHOT - JEKYLL AT MIRROR 142
Holding the vial, he examines his face, feels his skin,
turning his head. He starts to raise the vial to his lips.
Then he gets another thought. WE PULL BACK AND PAN LEFT AND
RIGHT IN LONG SHOTS as he puts vial back on table, runs to
the drapes at the back of the lab, pulls them to, over the
windows, then dashes up the stairs and locks the door. He
comes down again, approaches the vial, slowly, picks it up.
For a moment, he looks straight ahead into the CAMERA, as
though into the future. Then down the vial with one long
gulp. For a second, nothing happens. Then he grips his throat
in a violent convulsion, he chokes, groans, and gags. He can
hardly breathe. Slowly, his face starts to change into a
haggard and horrible caricature of himself. He spins around
a couple of times, then falls to the floor, writhing. THE
CAMERA ZOOMS down into his body, and is blacked out, as we,
DISSOLVE TO:
A142 SERIES OF STATIC DISSOLVES A142
These to show the tortured metamorphosis in the splitting of
Jekyll's soul: In a spinning maelstrom of odd mechanical
whirring sounds, rasping and cacophonous noises and odd shapes
come the faces and voices of the following:
1. Heath's Voice: "I can't allow it, Jekyll."
2. Mrs. Weymouth's Voice: "Vicious - filthy - indecent."
3. Jekyll's Voice: "... and let it destroy itself in its own
degradation."
(CONTINUED)
59.
A142 CONTINUED: A142
4. Courtney's Voice: "... I hesitate to say what the Medical
Council would..."
5. Beatrix's Voice: "There's nothing evil in that, is there?"
6. Sir Charles' Voice: "things no gentlewoman should
understand!
7. Bishop's Voice: "Come, come - my dear doctor - now you're
invading my territory."
8. Girl's Voice: ".. I'll add this for good measure."
It ends in a weird sighing moan and far away laughter, as we -
Scene 21 - Jekyll's Transformation and Poole's Interruption
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
150 CLOSE SHOT - JEKYLL - FACE DOWN ON FLOOR 150
His back is to the CAMERA (or is it Jekyll?). We ask as WE
PAN UP WITH HIM, his back like an animal's in a crouch. The
top of his head is strangely elongated, his ears are pointed.
As yet we do not see his face but FOLLOW HIM as he slowly
shuffles, gasping and grunting to the mirror. There over his
shoulder, we get a look at his face for the first time. It
is hideous in its transformation into Evil, yet withal
containing a strange fascinating Pan-like quality. At first
he starts, as though an animal looking in the mirror for the
first time. Then he peers closer. And he starts to laugh,
slowly, softly at first, then mounting to loud yelps.
JEKYLL
(into mirror - like
eyeing a work of
great art)
Look at you... look at you... what
beautiful consumate evil!
(shouting exultantly)
There you are! And I made you! What
a rainbow of unspeakable colors could
you paint the world's horizon if I
turned you loose!
(laughs louder,
triumphantly now)
There it is, Sir Charles! Look at
it, John Lanyon! Show this to the
Medical Council, Dr. Courtney!
JEKYLL
(continued)
Hypocrites! Fools! Blind men! Deny
what's in your souls, will you? You
can't deny that!
(CONTINUED)
60.
150 CONTINUED: 150
Then WE PAN HIM as he capers about the room, leaping and
stretching and jumping up and down like a faun, laughing all
the time. O.s. there is a knock on the door which he doesn't
hear.
151 CLOSE SHOT - EXT. LAB - DOOR TOWARD HOUSE 151
Inside the laughter comes over the SCENE. Poole, in his
dressing gown, is listening. He reacts to laughter, then
starts banging on the door, trying to open it.
POOLE
(in great alarm)
Dr. Jekyll - Dr. Jekyll! What's
happening, sir? Are you all right?
152 CLOSE SHOT - JEKYLL - INT. LAB 152
He stops capering as he hears the banging on the door, alert
as a wild animal.
JEKYLL
Eh? Who's there? Who is it?
POOLE'S VOICE
It's Poole, sir! Dr. Jekyll - is
that you, sir?
The banging continues. Jekyll looks wildly about, then sees
vials on the table. He hurriedly starts mixing them in another
potion.
JEKYLL
Just a moment, now!
153 CLOSE SHOT - POOLE - EXT. LAB DOOR 153
When he hears the silence, he gets even more worried.
POOLE
Who is that in there? Dr. Jekyll -
answer me, sir! Dr. Jekyll --!
He shoves his weight against the door, cannot budge it, then
starts o.s. toward the house when he is called back by
footsteps on the stairs. He waits a little warily, as they
come toward the door. The door opens quickly. Dr. Jekyll
stands there, his natural self. He is pale, perspiring,
breathing heavily.
JEKYLL
(trying to be calm)
Yes, Poole.
(CONTINUED)
61.
153 CONTINUED: 153
POOLE
(stammering)
Why, sir - I - I'm sorry, sir - I
heard a frightful noise -and a strange
voice - and - and I thought something
had happened, sir.
JEKYLL
No... it was quite - all right, Poole.
There was someone here. He - he was
a friend of mine. A - er - a... Mr.
Hyde. He was a bit - well, under the
weather - rather obstreperous. I got
him out by the back door.
POOLE
Oh, I see, sir.
(then, back to the
servant again)
Miss Beatrix is here, sir.
JEKYLL
(hit between the eyes)
Miss Beatrix.... alone?
POOLE
(re-assuringly)
I've shown her to the consulting
room, sir.
JEKYLL
Tell - tell Miss Beatrix I shall be
there at once.
POOLE
Very good, sir.
Jekyll closes the door, as Poole exits o.s.
154 FULL SHOT - LAB 154
Jekyll comes down the stairs in the b.g. He is stunned by
this announcement from Poole. Mechanically, dazed, he starts
putting on his tail coat. Then with a sudden rush of thought,
as WE PAN, he rushes to the mirror again, examines his face
to see if any of the awful evil is left. He feels his cheek,
his brow, his ear. He covers his face with his hand, in
revulsion at what he had seen earlier. Then he looks at
himself again.
(CONTINUED)
62.
154 CONTINUED: 154
Scene 22 - The Confrontation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
(muttering through
his teeth some dim
remembered quotation)
"... if once this thing is born again,
Decapitate it - e're it fouls the
air..."
Then he quickly turns from the mirror, crosses and picks up
the letter he has written Beatrix, tears it into small pieces,
throws it in the waste-basket, and adjusting his coat, starts
up the stairs. Half way up he hesitates, then proceeds more
slowly, as we
DISSOLVE TO:
155 FULL SHOT - INT. JEKYLL'S CONSULTING ROOM - BEATRIX 155
The room is much as we would expect... a desk, consultation
chair, many shelves of medical books, a few standard
instruments in a case. Beatrix is seated, nervous and anxious.
She turns quickly, as Jekyll opens the door from the hall,
in the b.g. Jekyll's attitude is one of hesitancy at first,
as though awaiting some feared reaction from her.
BEATRIX
(quickly)
Then you're not -? Harry, what's the -
?
(on this she is
starting over towards
him, then stops,
looking at him - his
attitude is tense,
strained as though
she knew something.
Then she gives him a
puzzled little smile,
feels her temple)
I can't explain why... but I had a
strange feeling you were going away -
without ever seeing me again ...
isn't that silly?
(she slowly sinks
down in a chair,
looks about the room,
then up at him with
an embarrassed,
nervous little laugh)
It - it was silly, wasn't it? Because
here you are - and here I am...
(CONTINUED)
63.
155 CONTINUED: 155
JEKYLL
(feeling he must say
something)
I had to go to the hospital, Bee....
the man died.
BEATRIX
Oh, I'm sorry... maybe that's what I
felt. But it was just something that --
(then, with another
little laugh)
Why - I had no reason to come at
all!
She rises again, automatically. Jekyll takes her hand with a
sudden gesture.
JEKYLL
Oh, yes, Bee - yes!
BEATRIX
(with a soft smile)
You're glad I'm here then?
Jekyll sweeps her into his arms. Holds her almost desperately
close. In this gesture, her cape falls to the floor.
JEKYLL
Glad? I'd have come to you, I think -
if you hadn't -- I mean - tonight,
somehow, I missed you more than
ever...
BEATRIX
(her lips against his
cheek)
When I'm in this house, I won't let
you waste your nights in that stuffy
old laboratory... You know that,
don't you - hmmm...?
JEKYLL
(almost to himself)
You'll never be out of sight -!
He holds her for a second, then:
BEATRIX
(turning her face to
his)
I don't want to go home....
JEKYLL
Bee....
(CONTINUED)
64.
155 CONTINUED: (2) 155
BEATRIX
You said it wasn't evil for us to --
please, don't send me away now....
He looks full in her eyes for a second, then they kiss
passionately.
BEATRIX
(ecstatic)
Oh, my love -!
(then she stops, and
withdraws from him a
little, as her eyes
catch something o.s.
Jekyll turns too.
Beatrix's chin lifts
in defiance. Then,
quietly:)
Yes, Father....?
WE PAN OVER slowly to pick up Sir Charles standing in the
open door-way. Behind him in the hall is Poole, nervously
wringing his hands. Poole ducks o.s., as Sir Charles comes
slowly into the room, as WE PAN, and confronts Beatrix and
Jekyll. Without a word, he leans down, picks up Beatrix's
cape and hands it to her.
SIR CHARLES
(in a quiet, cold
voice to Jekyll)
I am very grateful for the anxiety
you caused us this evening -
(to Beatrix)
I was unable to sleep myself.
JEKYLL
Sir Charles, I asked Beatrix to come
here tonight --
BEATRIX
(reproving him)
Harry - you --
JEKYLL
(gently)
Bee --
(to Sir Charles)
Because I --
SIR CHARLES
(to Jekyll)
Apparently you didn't consider our
talk the other evening very seriously?
Scene 23 - The Choice
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
65.
155 CONTINUED: (3) 155
JEKYLL
Sir Charles, I beg to believe that
there was no --
SIR CHARLES
All I can believe is that your
theories of behavior are not normal,
Jekyll -- not fit. I might say not
even --
BEATRIX
(interrupting quickly)
Father, I don't expect you to
understand. I'm not ashamed.
SIR CHARLES
Then I shall be for you... because I
do understand. You and I are leaving
for the Continent tomorrow. We shall
be catching the afternoon boat-train.
JEKYLL
(stunned)
The Continent? Oh, come, sir --
there's --
BEATRIX
(pleading now)
Oh, Father, please -!
JEKYLL
(trying to reason)
Sir Charles - you could avoid all of
this misunderstanding if you'd set
an early date for our marriage.
BEATRIX
Please, Father....
SIR CHARLES
The date remains as planned.
(to Jekyll)
And if you haven't abolished those
unhealthy experiments of yours -
(as Jekyll starts to
speak)
Oh, I know you're still working at
them - why, we'll consider the
engagement broken.
JEKYLL
swear to you, sir, I've finished
entirely with everything that I -
(CONTINUED)
66.
155 CONTINUED: (4) 155
SIR CHARLES
That will await our return. Come,
Beatrix.
BEATRIX
(to Jekyll)
Harry - if you don't wish me to go
away - I shall refuse.
SIR CHARLES
(sternly)
Beatrix -!
BEATRIX
I mean it, Father.
She turns to Jekyll for an answer. He looks at her for a
long time.
JEKYLL
(finally)
I don't want you to go away, Bee.
But - even though you and I can't
agree with him - your Father is only
thinking of your happiness. I can't
disrespect him in that. I can't ask
you to.
There is a moment of silence. Beatrix sees that Jekyll means
it.
SIR CHARLES
(with a relieved sigh,
more gently now)
That's highly commendable, Harry.
Beatrix now tries to smile. She offers her hand to Jekyll.
BEATRIX
(fighting tears)
You - you'll see us off at the train?
JEKYLL
(taking her hand -
nodding)
It better have two engines - or I'll
try to hold it back.
BEATRIX
Try anyway.
She goes close to him, kisses his cheek swiftly, and with a
little sob, turns and hurries out.
(CONTINUED)
67.
155 CONTINUED: (5) 155
SIR CHARLES
(more kindly)
Restraint, my boy - restraint. It's
the only strength of human existance.
JEKYLL
Goodnight, Sir Charles.
SIR CHARLES
Goodnight.
He turns and follows Beatrix. Jekyll looks after them,
miserable, as we
FADE OUT:
159-161 OUT.
FADE IN:
162 FULL SHOT - EXT. JEKYLL'S HOUSE - DUSK 162
It is raining, a heavy driving rain.
DISSOLVE TO:
163 FULL SHOT - INT. JEKYLL'S LAB 163
Jekyll stands looking out of the back windows, leaning up
against the wall. Poole enters from the stair landing and
comes down carrying a tray on which is a letter and a glass
of sherry wine. Jekyll does not even look around.
164 CLOSE SHOT - POOLE 164
At bottom of stair, he stops and looks at Jekyll o.s.
165 CLOSE SHOT - JEKYLL - POOLE'S ANGLE 165
He is moody and disconsolate, as he looks at the rain outside.
166 PAN SHOT - POOLE 166
He shakes his head, frowning, then smiles to himself as WE
PAN HIM OVER to Jekyll.
POOLE
(gently)
How about a glass of sherry wine,
sir?
JEKYLL
(without looking)
No, thank you, Poole - no sherry
wine.
(CONTINUED)
68.
166 CONTINUED: 166
POOLE
Well, would you consider a letter -
ah - from Aix Les Bains?
Jekyll turns quickly, his face lighting up.
Scene 24 - The Transformation
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
(snatching up letter)
Poole, you blackguard! Would I?
(tears open letter,
Poole starting to
move away with the
tray)
And your sherry wine, too - what's
more!
Poole comes back and gives glass to Jekyll. Jekyll starts
reading letter avidly, holding wine in his hand. Poole moves
o.s.
167 CLOSE SHOT - POOLE 167
As he comes to a desk, and starts straightening things up.
He wants to talk, to cheer his master up.
POOLE
Miss Beatrix should be returning
home in another week, shouldn't she,
sir? Hobson told me they were
expected.
He gets no answer from Jekyll o.s. He turns to look.
168 CLOSE SHOT - JEKYLL - POOLE'S ANGLE 168
Jekyll's expression is turning from interested delight to
puzzlement. Then his face clouds entirely. He puts glass
down on window-sill. It falls over with a tinkle and a splash.
Jekyll quickly turns the page, anguished.
169 INSERT - BEATRIX'S LETTER - IN JEKYLL'S HAND 169
(LINES ARE FROM TOP OF PAGE)
"... did not write yesterday because I'm so distressed.
Darling heart - Father - refuses to come home. We are leaving
tomorrow for Italy - to be gone I don't know how long. Oh,
my dearest, if you knew how I've tried to.."
170 FULL SHOT - ROOM 170
Poole sees Jekyll's concern and rage, as Jekyll looks away
from the letter. Poole advances to him, to pick up glass.
(CONTINUED)
69.
170 CONTINUED: 170
POOLE
Not bad news, I hope, sir.
JEKYLL
(bitterly)
Miss Beatrix will be gone indefinitely -
that's all.
POOLE
Oh, I'm sorry, sir. Sir Charles'
health, no doubt.
(a pause, as Poole
watches Jekyll slump
down in a chair)
If you'll forgive me, sir - it
distresses me to see you down this
way. It's not right, sir. Might I
suggest that you pick up and go out
this evening for a bit of fun? They
say there's a very entertaining
musical comedy at the Gaiety -
(with a little cough)
- er - ah -, very daring, you know,
sir -
Jekyll considers this a moment, looking at Poole. Then:
JEKYLL
(dryly)
I'm afraid that's not particularly
becoming in my position, Poole -
(then with a sardonic
chuckle))
Nor even wise, I might add....
He rubs his face in his hands.
POOLE
Another glass of sherry wine, sir?
JEKYLL
(face in his hands,
wearily)
No thank you, Poole...
POOLE
Yes, sir.
Poole exits from scene, with tray and broken glass. We hear
him go upstairs o.s. and close the door. Then Jekyll gets up
with sudden impatience. WE PAN HIM as he walks about the
room. He fiddles with a tube or two, straightening it
absently. He finds a pipe on the table, knocks it out. He
feels in his pocket for tobacco pouch. Doesn't find it. He
walks over by the cabinet.
70.
171 CLOSE SHOT - JEKYLL 171
He is looking for his pouch, when suddenly, his eyes catches
something o.s.
172 CLOSE SHOT - IVY'S GARTER 172
It is still where Jekyll must have tossed it weeks ago. Its
cheap little clasp, glistens in the lamplight.
173 CLOSE SHOT - JEKYLL 173
Fascinated, he slowly bends over and picks it up. He feels
it in his hand. He thinks of the girl. Then he quickly throws
it on the table. WE PAN HIM as he paces the length of the
room again, nervously. This brings him opposite the mirror.
He looks at himself then thinks, looks back at the garter,
then over at a cabinet. Then he makes his decision, and
hurries to the cabinet, pulling out some vials of powders
and liquids from various pigeon-holes. As he hastily carries
them to the lab table and sits himself down to mix them, we
DISSOLVE TO:
174 CLOSE SHOT - FINISHED POTION 174
As Jekyll's hand picks it up WE PAN to his face. He hesitates
a second, looks at the garter nearby, then with a desperate
gesture he drains the potion. The same reaction sets in as
before. In violent convulsions, his face starts to turn. He
grips the sides of the chair in agony. WE PAN DOWN to his
hand. It turns into an animal-like appendage. His four fingers
seem to grow together a little bit at the base, and then
separate in the middle, almost like the beginning of a cloven
hoof. His neck becomes thick and shorter.
WE PAN UP to his face. It is worse than before. WE PAN DOWN
to the other hand. The same process is happening here. He is
gasping and writhing all the while. WE PAN UP again to his
face. The transformation now becomes complete. It is worse
in this second stage - more bestial than faun. His writhing
stops. He rises, shakes his head - feels the change in his
thoughts.
Scene 25 - Hyde's Malice
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 7
gradations according to makeup is open to debate so that all
parties concerned in the production agree and are satisfied)
GIRL'S VOICE
(on track, whispering)
It's in your eyes - it's in your
eyes...
He hurries over to the mirror to look. He is truly this Mr.
Hyde now, whom he spoke about to Poole.
(CONTINUED)
71.
174 CONTINUED: 174
HYDE
(into mirror, gleefully)
Yes, Mr. Hyde! Wonderful, Mr. Hyde!
It is! You are the modern Narcissus!
Your face reflects man's Eternity as
it was meant to be!
He leaps away from the mirror, stretches himself like an
animal in the middle of the room, thinks again.
GIRL'S VOICE
(whispering)
(with a low laugh) Caught, aren't
you? You're caught...
HYDE
(suddenly, exultantly)
No! I'm free! Free!
He capers about a second, then quickly takes his cape, stick
and hat from a hanger, and darts out the back door.
175 CLOSE SHOT - JEKYLL - EXT. BACK OF LAB 175
He takes a key out of his pocket, and locks the door. Then
he turns and looks about him. He takes off his hat and
stretches again in the rain, looking up into the elements.
Then he darts off into the darkness as we
DISSOLVE TO:
176 FULL SHOT - INT. ROOMING HOUSE HALL 176
We are SHOOTING TOWARD front door on which somebody is banging
furiously on the outside. The slatternly landlady hurriedly
comes down the steps, opens door. She jumps back with a
startled cry as Hyde barges in.
HYDE
(his eyes agleam)
Is she here? Is she in?
LANDLADY
(back up stairs a way)
Who? Who do you want?
HYDE
(pointing)
The dove - the little white dove
that nests in her warm loft up there?
LANDLADY
(as he starts up steps)
If it's Ivy Pearson you want - she -
she ain't in.
(CONTINUED)
72.
176 CONTINUED: 176
HYDE
(thinking over the
name)
(coming down)
Ivy, eh? Ivy...
(with a sly laugh
poking her with stick)
Clinging, no doubt, too....
(then, impatiently)
Come, come - you leaf of jaded
lettuce! Where is she? Where does
she work?
LANDLADY
At the Palace of Varieties!
HYDE
Ah! At the Palace of Varieties!
What a shallow hearth for the fire
of my lovely jewel!
(then, cocking his
head to one side)
But - variety, eh? Variety! I like
that!
With a caper, he pokes the landlady in her backside with his
stick, and dashes out of the door.
177 CLOSE SHOT - CURB - EXT. IVY'S PLACE 177
Hyde comes out, gleeful at the prospect of finding Ivy. He
comes abreast of an old blind man who is timidly tapping his
stick on the curb, preparatory to crossing the street. Hyde
takes his arm with exaggerated solicitation.
HYDE
Why, why! Let me give you a hand,
Uncle!
BLIND MAN
(with a happy smile)
Oh...thank you, sir!
WE TRUCK AHEAD OF THEM across the street. They weave their
way past a couple of drays. Then, in the middle of the street,
Hyde kicks the old man's stick out from under him.
HYDE
(laughing gleefully)
There you are, Uncle - safe and sound!
(CONTINUED)
73.
177 CONTINUED: 177
The old man exclaims inarticulately - "Here - no - no -" and
gropes about for his stick which Hyde flicks farther away
along the cobbles with his own. A cart nearly runs the old
man down, the driver pulling up with a jerk as the old man
reels backwards. Hyde utters another happy laugh, and WE PAN
HIM as he crosses the street and capers down the walk to
where a cab is standing near the intersection of a neuse.
178 CLOSE SHOT - HYDE 178
As he climbs into hansom, he taps the nodding driver with
his stick.
HYDE
Come, come - my dozing fungus -!
(as Cabbie wakes up
quickly)
To the Palace of Varieties!
CABBIE
Right, sir!
HYDE
(wacking horse's right
rump with cane)
Right, sir!
(then whacking left)
Left, sir!
(then whacking center)
And a bit down the middle, sir!
Naturally, the horse leaps to action during this as WE PAN
CARRIAGE AWAY, AND
Scene 26 - Hyde Arrives at the Palace of Varieties
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
179 FULL SHOT - EXT. PALACE OF VARIETIES 179
It is the facade of the average cheap music hall of the
period. Hyde leaps out of the cab as it comes to a stop. He
looks at the place with eager interest, then turns to hand
the Cabbie his fare. As the latter reaches down for the money,
Hyde has the sudden caprice to pull him tumbling off his
seat, rolling him on the pavement. Hyde throws the money on
top of him and then pokes him with his stick.
HYDE
(capering about)
Whee! All the king's horses and all
the king's men!
A couple of hangers-on in front rush up. A passer-by stops.
(CONTINUED)
74.
179 CONTINUED: 179
1ST HANGER-ON
(as though to detain
Hyde)
Here, here, Guv'nor - what's the -?
Hyde turns and raises his stick, with a growl of rage. The
men jump back, scared at the expression of viciousness they
see. Then Hyde chuckles, and darts on into the music hall
box office, as we
DISSOLVE TO:
180 FULL SHOT - INT. PALACE OF VARIETIES 180
A smoke-filled Utopia with a bar at one end, a stage at the
other. Along the side, boxes with tables and chairs - and
tables and chairs ranging on an incline from the stage back
towards the bar. The "chairman" at his table down front is
conducting the proceedings on the stage, a row of plump
soubrettes in a song and dance ensemble to the tune of
"Champagne Charlie". WE SEE Hyde come in in the b.g.
181 CLOSE SHOT - HYDE 181
He comes in, stands a moment, smelling the wind like an
expectant ram. A waiter approaches him, sees his quality
attire. Hyde hands him his ticket.
WAITER
Ah, yes, sir - Box F, sir.
WE PAN THEM through the tables and up some small steps around
in back of a box which Hyde enters. The waiter stands,
expecting an order, as Hyde's eyes dart about, savoring the
place. The waiter is now a little leery of Hyde's looks and
wants to please.
WAITER
A brandy and soda, sir?
HYDE
(with a grunt, nodding
his head)
Hmph.
The waiter exits. Hyde continues to sweep the room with his
look.
182 PAN SHOT - HYDE'S ANGLE - THE PLACE 182
Hyde's glance travels about slowly, enjoying each group. IT
HOLDS at a table where a young man is kissing the neck of
his girl friend. She pretends to repulse him.
75.
183 CLOSE SHOT - HYDE 183
He likes this. He shifts happily in his chair. He looks toward
the stage.
184 PAN SHOT - LINE OF SOUBRETTES - HYDE'S ANGLE 184
We travel down the line of hard-working young ladies. They
lift their limbs in a sort of can-can.
185 CLOSE SHOT - HYDE 185
This pleases him no end. He lifts his stick and rotates it
like the limbs of the girls. The waiter appears with the
brandy and soda, puts it down.
WAITER
(elaborately)
Yes, sir.
Hyde picks up the glass, starts to drink, and just then
notices something o.s. His eyes light up.
186 EFFECT SHOT - HIS ANGLE - IVY 186
She is behind the bar, laughing and joking with two or three
men. The reason Hyde can see her is that she is standing on
a stool, reaching up for a bottle at the back of the bar, as
she looks back at the men below. We cannot hear what she is
saying, naturally.
187 TWO SHOT - HYDE AND WAITER 187
Hyde notices waiter's presence.
HYDE
(barking)
What are you waiting for?
(as waiter starts to
stutter)
A tip, eh? Get out!
The waiter ducks quickly, and Hyde looks again toward Ivy
o.s. WE PULL BACK to INCLUDE waiter as he rounds box and
starts down steps.
WAITER
(grumbling)
Blighter!
Hyde swings his cane over the box in front of the waiter,
tripping him.
(CONTINUED)
76.
187 CONTINUED: 187
HYDE
(as he does so)
Eh?
(to waiter on floor)
Mind your tongue and send me a bottle
of champagne.
(gesturing o.s.)
Have her bring it - that girl up
there!
WAITER
(sullenly)
Ivy? Ivy ain't allowed to leave the
bar.
At this point, a fat little manager comes INTO SCENE.
HYDE
(with slow ominousness)
I said!
MANAGER
(very officious)
Here - here. What's all this here
about?
WAITER
This gent here wants champagne.
MANAGER
Champagne? Well, bring it, man -
bring it!
WAITER
But he wants Ivy to serve it -!
Scene 27 - Unexpected Conversation
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Of course, she'll serve it! Jump
now!
(turns to Hyde as
waiter slinks off)
Anything to oblige a gentleman, sir!
But Hyde takes no notice of him, as he keeps looking o.s. at
Ivy.
188 GROUP SHOT - AROUND IVY AT BAR 188
She is still on the stool, reaching up. The two men are
kidding her. She is playing up to them. Their eyes are
obviously on her ankles and lower limbs as they are revealed
by her skirt lifting a little when she stretches.
(CONTINUED)
77.
188 CONTINUED: 188
1ST MAN
(winking at the other)
No, we want the Old Par up there -!
IVY
This - up here -?
2ND MAN
(nudging his companion)
No, no - up higher, Ivy love - the
Red Label Walker -!
IVY
Higher, eh? You are a one!
(drops down and pushes
him playfully in the
chest)
Your missus has got a pair of ankles.
Go home and look at them!
By this time the waiter has come to bar.
WAITER
(to Ivy)
There's a gent in Box F what wants
you to serve him and old Figg says
you're to do it.
IVY
(airily)
Oh, he does, eh? Well, tell him it a
in't my business to --
WAITER
He wants a bottle of the boy.
IVY
(happily surprised)
Oh! Bubbly! Why didn't you say so?
She takes a bottle of champagne from a box of cracked ice
behind bar. Puts it on a tray.
1ST MAN
(during this)
Hey, Ivy love - what about some fish
and chips after the show?
2ND MAN
What about a dozen oysters and a
pint of stout?
Ivy very meaningly puts a second glass on the tray.
(CONTINUED)
78.
188 CONTINUED: (2) 188
IVY
What about a glass of champagne?
She picks up tray with bottle and glasses and flounces down
the bar and out, as the two men look after her.
189 CLOSE SHOT - CHAIRMAN 189
He turns to the crowd as another chorus of the song starts.
CHAIRMAN
(calling out)
Everybody now! All together! `Oh!
Champagne Charlie is my --!'
He leads the crowd as they all start to sing.
190 PAN SHOT - IVY 190
As she approaches box. She adopts a casual air, singing as
she goes, pretending little interest in the man in the box
o.s., as WE PAN HER UP the steps and around into the box.
She puts down tray as Hyde looks at her avidly. She has not
yet got a good look at him, only sensing his expensive attire,
as she opens the bottle and sings at the same time. Then she
turns as though to smile casually at the customer, and gets
Hyde's full look, sees him for the first time, and stops
singing, staring at him. Then she looks away, starts singing
again, only not very happily now, and then pours only one
glass, as she finally ceases singing entirely. The song stops,
and there are applause and shouts o.s.
IVY
(wanting to get away)
That'll be half a quid, sir.
HYDE
(giving her a note)
Here's a sovereign, my dear... the
change is yours.
IVY
(impressed)
Thank you, sir.
Yet she looks at him again and still decides to go. Hyde
gets up quickly and touches her elbow.
HYDE
Oh, but now! You brought two glasses.
You must have had the same thought
as I. What a nice beginning, eh?
(pulls out chair and
edges her into it)
Sit down, my dear - yes - sit down....
(CONTINUED)
79.
190 CONTINUED: 190
He pours the other glass of wine for her.
IVY
(nervously, watching
him)
I'll take just a sip. Then I'll have
to go back because I'm --
HYDE
Nonsense - we've got all evening,
little Ivy. I like your singing.
You'll have to sing for me some more.
Where did you get such a pretty
voice....?
IVY
(fooling with glass)
Why - I dunno.... I just --
HYDE
Is it because of the pretty place it
comes from -?
(starting to touch
under her chin)
That's very lovely.... where it comes
from....
Ivy quickly picks up her glass, to interfere with his gesture.
IVY
Well - good - good luck, sir.
Scene 28 - Barroom Brawl
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
I make my own luck, my dear --
(lifting his glass to
her)
And tonight I follow the rainbow....
IVY
(with a nervous laugh) You do talk,
don't you?
HYDE
(leaning closer to
her)
We'll follow it together, eh?
He holds her gaze for a second. Then:
IVY
(decisively)
I follow it right home, mister.
(CONTINUED)
80.
190 CONTINUED: (2) 190
HYDE
To what end, my dear? That fetid
stable you call home? You - with
your young radiance -- are happy
living in that rat-trap?
IVY
(pertly)
What do you expect? Buckingham Palace?
Hyde throws back his head and laughs.
HYDE
Touche', my dear. I like that!
IVY
(suddenly)
Here! How do you know where I live?
HYDE
(caught)
Why, I --
(then, easily)
I can only imagine. I'll warrant
your wages here won't afford you a
mansion in Kensington.
IVY
(as he leans closer)
`Struth - they don't!
(starting to rise)
Well, I must be off because --
HYDE
(holding her arm)
Why? You act frightened of me, little
Ivy....
(rising with her,
still holding her
arm - softly)
You mustn't be frightened of me....
Ivy stares at him a second, almost in a spell because of his
voice and touch. Then, she suddenly wrenches herself away.
IVY
(as she does so)
I ain't afraid of nobody - but leggo,
you hear?
At this point, the first man who was at the bar, enters. He
is quite tight and annoyed. He grabs Ivy's other arm.
1ST MAN
What's he doin', Ivy?
(CONTINUED)
81.
190 CONTINUED: (3) 190
IVY
(wrenching away from
him also)
And you leggo, too:
As she ducks out of the box, she bumps into the second man
at the bar, who has followed the first. The latter is quite
drunk.
2ND MAN
Hey! What's all this about?
HYDE
(pointing to first
man)
He insulted the poor child! He mauled
her!
1ST MAN
Don't listen to --
2ND MAN
(eyeing first)
He did, eh?
HYDE
You saw him -- he nearly broke her
wrist! We were sitting here having a -
For answer the second man swings on the first and knocks him
over the rail of the box and onto a table, beneath where sit
four or five men and a couple of girls. The place goes in an
uproar.
2ND MAN
(leaning over rail,
to first)
You will, eh?
Hyde's eyes light up at the fracas. He shoves the second man
over the low rail with a lightning movement, and stands
laughing at the turmoil below.
191 FULL SHOT - FIGHT 191
It starts as one of the men swings on the first who has
fallen.
AD LIB
Here! What's the idea? Give it to
him, Fred! Wh're you shovin'? Let
him have it! You take that one! Etc.
The fight becomes general in the area below Hyde's box, as
he watches gleefully. Women scream. Glasses and bottles crash.
82.
192 CLOSE SHOT - HYDE 192
He jumps up and down at the rail, watching the fight like an
animal, gleefully giggling as he sees the heavy punching and
falling. At one point a man is backed up against the rail.
Hyde puts his foot through and kicks him sprawling.
193 PAN SHOT - MANAGER 193
The fat little man comes hurrying into the fight, elbowing
his way through.
MANAGER
(calling over his
shoulder)
Fred - Joe -!
(to fighting crowd)
Here, here now - stop this! I'll
stop it!
As he comes abreast of Hyde, Hyde's eyes gleam as he spies
the Manager's. Then, with elaborate but quick prankishness,
Hyde uses his stick like a billiard cue, shooting it on the
rail, letting the manager have it right in the side of the
eye, then jumps up and down with laughter as the manager
goes down, and we -
DISSOLVE TO:
194 TWO SHOT - INT. MANAGER'S OFFICE 194
The manager is applying a cold towel and a piece of raw meat
to his eye which is quite puffed. In the b.g. through the
door, we see the activity of the place. Hyde watches him.
MANAGER
... frightful. We run a very orderly
hall here. I don't understand what
happened.
Scene 29 - Temptation and Manipulation
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
Ir's that girl, Ivy... that barmaid.
Girls like that always cause trouble.
You should discharge her.
MANAGER
(surprised)
Ivy? Why, no! She brings half the
customers in here --
HYDE
I said discharge her!
(CONTINUED)
83.
194 CONTINUED: 194
As the manager looks, Hyde takes a sheaf of bills from his
wallet, and throws them on the desk. The manager picks them
up, looks at Hyde.
MANAGER
Hm? Five pounds? Why - why - yes -
yes - I think you're quite right,
sir. Trouble-maker, that's what she
is. Out she goes, sir.
HYDE
(starting to go)
At once, you hear?
MANAGER
Oh, yes, sir.
Hyde goes out, as the manager looks after him, guiltily
putting the money in his pocket, as we
DISSOLVE TO:
195 CLOSE SHOT - CAB - EXT. PALACE OF VARIETIES - LATER 195
Hyde is sitting in the cab, staring o.s. like a gnome,
waiting. His eyes light up, AS WE HEAR Ivy and the manager's
voice o.s. WE PAN OVER to where Ivy is leaving the stage
door of the place and yelling back at the manager in the
b.g.
IVY
Who you pushin'?
MANAGER
Well, don't hang about here!
IVY
Who's hangin' about?
MANAGER
Then be off!
IVY
Good riddance!
He slams the door in her face and she comes toward the CAMERA,
flouncing her indignation. As she gets opposite the cab,
Hyde steps out and confronts her.
HYDE
(solicitously)
I was afraid there would be trouble,
little Ivy...
(CONTINUED)
84.
195 CONTINUED: 195
IVY
(flaring up at him)
Trouble? I was sacked, that's what -
!
HYDE
I know. That's why I waited. I want
to help you, my dear.
IVY
You done enough. It was on account
of you! You started that row!
HYDE
Ha! A volcano inside - always ready
to flare up. I like that.
(in the meantime he
has taken out wallet
and puts a wad of
notes in her hand)
There now - to show my heart. We'll
get along, you and I!
(guides her to cab
and helps her in)
The rainbow is wide and long, little
Ivy....
Ivy allows him to do this, fascinated as much by his easy
manner as by the sudden wealth in her hands.
196 FULL SHOT - INT. CAB 196
Ivy gets in, followed quickly by Hyde, who shuts the door.
But Ivy now feels imprisoned as Hyde sits close to her. She
starts to rise, undecided, as though to get out.
IVY
Now, wait. Half a mo', mister --
HYDE
(quickly, holding her
on seat)
No, no... you don't belong in there,
anyhow -- serving cheap gin to cattle!
You should be in a quiet, hidden
palace - singing the ancient song of
pleasure -- and surrounded by rare
perfume and jewels -- a life that
would put a queen of Babylon to
shame --!
(CONTINUED)
85.
196 CONTINUED: 196
IVY
(fascinated more, but
doubtful)
G'arn -- who do you think you're
kiddin'?
HYDE
I mean it, my dear! From the moment
I saw you, I --
IVY
(practical)
And how'm I going to get all that?
HYDE
(patting her hand -
still holding money)
With this! More and more of this. It
was printed just for you --!
(he laughs wildly,
and she pulls away
from him a little -
he feels this)
Oh, don't let my looks frighten you,
little Ivy -!
IVY
(studying him)
Well, you ain't a museum piece,
exactly.....
HYDE
(enfolding her)
No, not my face - but you'll forget
that soon enough....
(he moves toward her)
She suddenly decides against it all.
IVY
(trying to get away)
No! It's a rum go. That's what it
is! Let me out!
She tries to thrust him away.
Scene 30 - The Menacing Threat
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
(becoming vicious
instantly)
Do you think I'd let you go now that
I've got you? You think I'd throw
away food after famine?
(CONTINUED)
86.
196 CONTINUED: (2) 196
IVY
(unable to take her
eyes from his, in a
small voice)
D-don't - you're hurting me...
HYDE
(grinning evilly)
I wouldn't hurt you because I love
you - because I'm happy loving you -
(with a chuckle)
We're going to whirl away - in a
burst of blinding darkness -- aren't
we, little moonbeam?
IVY
(a mouse before a
cobra)
I - I - don't know what you're talking
about -
HYDE
(imitating her in a
baby-talk voice)
Oh! She doesn't know what I'm talkin'
about!
197 CLOSE SHOT - HYDE'S FACE 197
It starts to come closer toward the CAMERA
HYDE
(in a throaty low
whisper)
But you'll find out... oh yes --
you'll find out...
His face moves right into the CAMERA with an awful leer, as
we
FADE OUT:
FADE IN:
198 CLOSE SHOT - BEATRIX'S FACE 198
She is wearing a puzzled frown. WE PULL BACK TO find her
seated on the terrace at a table with Sir Charles outside of
the "pump room" at Aix Les Bains. Sir Charles is opening
some letters. In the b.g., others at other tables are reading
newly-arrived mail. Beatrix turns the page of her letter.
87.
198A CLOSE SHOT - PAGE OF LETTER 198A
"so your letter was forwarded to me here at the Conference.
I cannot imagine why you have not heard from Harry, but when
I get back to London I shall immediately look him up and --"
199 TWO SHOT - BEATRIX AND SIR CHARLES 199
SIR CHARLES
(opening another letter)
Hmph! Fellows and Smith. Probably
the market's tumbled.
(then, as he glances
at letter)
No! It's up. By Gad!
(then over to Beatrix,
in a fine mood)
Well, what's your good news, my dear.
What does Harry say this morning?
Casually, Beatrix tips the copy of the Times. so that it
stands on her lap against the table.
BEATRIX
Oh, nothing much....
200 CLOSE SHOT - COLUMN OF TIMES - 200
IT IS A LETTER. IT BEGINS:
To the Editor of the Times:- I recently walked through the
West End of London. I have never seen such deplorable housing
conditions in all my life. Surely, --
SIR CHARLES' VOICE
(with a chuckle)
Oh, come now - Nothing about wanting
to know when you're coming home? Oh,
no - I'll wager not!
201 TWO SHOT - BEATRIX AND SIR CHARLES 201
He is glancing over at her chidingly.
BEATRIX
(trying to be bright)
He says he walked through the West
End recently....
(reads)
I have never seen such deplorable
housing conditions Surely, the City
Council should find funds to --
(MORE)
(CONTINUED)
88.
201 CONTINUED: 201
BEATRIX (CONT'D)
(stops reading)
Well, he just goes on to say about
the conditions. They must be pretty
dreadful.
SIR CHARLES
Hmp! I like the sound of that. He's
got his mind on practical problems.
Yes, the Council should do something
about it -
(stops as he sees
tears in her eyes)
Here, here - my dear - what's wrong?
BEATRIX
(quickly collecting
herself)
Nothing. I - I guess I'm just not
terribly interested in housing
conditions.... at the moment.
She tries for control with a little laugh.
SIR CHARLES
You mean because a man doesn't cover
the pages with sentimental drivel?
Nonsense -
(pats her hand, gently)
You women should learn to read between
the lines...
(picks up another
letter - half to
himself)
Yes. I like the tone of that letter.
Perhaps we won't have to stay away
as long as I thought....
Beatrix turns and looks at him with joyful expectance, as WE
DOLLY TO A CLOSE SHOT OF HER, an
DISSOLVE TO:
89.
202 CLOSE SHOT - IVY - INT. NEW APARTMENT 202
Scene 31 - Confrontation in Ivy's Apartment
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
down, dull, beaten, some of her native young impudence and
freshness gone. She is playing a game of solitaire. She makes
a move, and winces a little, feels her shoulder, then plays
on dully, as WE DRAW BACK to show her new surroundings, a
rather rich, gaudy and heavy parlor of the period. In the
b.g. beyond folding doors thrown open, is the bedroom and
dressing table. AS WE SWING AROUND we see the front door on
a landing and then a few steps with rail descend into the
parlor. The door opens and Ivy jumps up quickly, stiffening,
then relaxes and tries to cover up as an older girl in a
peignoir and slippers comes in.
IVY
(sitting down)
Oh, hello, Marcia.
MARCIA
(coming down steps)
Just stepped down the hall for a
chin-chin...
(sits down opposite
Ivy as WE DOLLY IN
eyeing her, with a
casual drawl)
You jumped as though you sat on a
hot stove.
IVY
(with a nervous laugh)
It's me nerves, I suppose.
(to change subject)
Want to play?
MARCIA
(picks up another
deck and shuffles,
as Ivy sweeps hers
up and does the same)
Oh, I say -
(laying out her cards)
My Freddie's got a young brother.
Just down from Oxford. A nice boy,
Freddie says, and he'd like to have
him meet a nice girl. How about it?
IVY
(quickly, seeing
Marcia's motive)
No, Marcia - no - you know I ain't
in any position to --
(CONTINUED)
90.
202 CONTINUED: 202
MARCIA
(coming right to the
point)
I don't know what's wrong with you!
A smart, pretty young girl - with a
goblin like this Hyde! Of all the --
IVY
(trying to pass it
off)
Why, now - looks ain't everything -
you see --
MARCIA
(piling it on)
Sitting here waiting for him all the
time - like in a cage! Come on out
with Freddie and me and the kid.
We'll go to the Empire and the
Alhambra - where all the toffs go -
where everybody's laughin' and
gay --!
IVY
Oh, I'd like that - straight, I would.
But - but I can't, Marcia. I --
MARCIA
(rising, going around
to her)
You can't because you're afraid of
him - that's why!
IVY
(very unconvincing)
I - I'm not afraid of nobody....!
MARCIA
(pulls kimona off
Ivy's arm - vehement
against Hyde,
indicating bruises)
These are the diamond bracelets he
gives you, I suppose? Why if ever a
man dared to lay a hand to me like
that I'd --
But they both turn quickly as the door opens o.s. Ivy rises
in panic. Marcia's jaw stiffens. She still holds the pack of
cards in her hand.
203 CLOSE SHOT - HYDE 203
He stands there a second in the open door, smiling his evil
smile at them.
91.
203A CLOSE SHOT - MARCIA AND IVY 203A
Marcia slowly lets Ivy's sleeve down and walks back around
the other side of the table. Her defiance dwindles. Ivy stands
terrified.
203B PAN SHOT - HYDE 203B
He closes the door and comes down the steps into the room.
He takes off his hat and gloves and cape. He slowly walks
over and confronts the two girls. He looks Marcia up and
down.
HYDE
And who is our out-spoken visitor?
IVY
It's Marcia, sir - my friend - You've
heard me speak about. We - we was
just playing a -
HYDE
Ah, yes - Marcia. You know, Marcia,
I've never been interested in you in
the slightest - until now...
MARCIA
(trying to be calm)
Well - I've got to be toddling, I
guess...
HYDE
Oh, no. This could be interesting --
the three of us. Discussing friendly
details...
MARCIA
(backing away)
I'll - I'll drop by again, Ivy.
She goes to foot of stairs for her wrap.
203C REVERSE SHOT - AT STAIR 203C
Hyde follows Marcia and helps her on with her wrap.
HYDE
But you must come when I'm here,
Marcia. Your point of view differs
from mine. It would be a delicious
thrill to change it.
(over his shoulder)
Ivy found it that way - didn't we,
my dear?
(CONTINUED)
92.
Scene 32 - Manipulative Mind Games
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Ivy in b.g. says nothing. Hyde feels Marcia's shoulders. He
puts on her wrap.
HYDE
(continuing)
What nice material..
Marcia quickly pulls away and ascends the stairs.
MARCIA
Good - goodbye, Ivy.
IVY
Goodbye.
Marcia turns, gives a second look at Hyde, hurries out.
203D CLOSE SHOT - HYDE 203D
He looks after Marcia.
HYDE
(chuckling softly)
Quite nice material....
Then he turns and looks o.s. at Ivy.
203E CLOSE SHOT - IVY 203E
She stands frozen by the table, scared by his look now that
they are left alone.
203F CLOSE SHOT - HYDE 203F
He softens into a demon-sweet tenderness. WE PAN HIM OVER to
decanter on the side console, where he pours himself a
straight drink during the following conversation:
HYDE
(as he goes to side
console)
Marcia is a pretty girl, isn't she?
203G CLOSE SHOT - IVY 203G
IVY
Oh, yes, sir.
203H CLOSE SHOT - HYDE 203H
HYDE
(as he pours drink)
That's why you're scared, isn't it?
93.
203J CLOSE SHOT - IVY 203J
She is confused.
IVY
Why, no, sir - I -
203K CLOSE SHOT - HYDE 203K
He is looking in mirror now, holding his drink in one hand,
smoothing his hair and tie with the other. Ivy can be seen
in mirror in back of him.
HYDE
You're afraid I'll become interested
in Marcia, aren't you?
IVY
(quickly)
Oh, no, sir - if you want to - why -
(she stops as Hyde
turns quickly - we
cannot see his face -
then, her expression
very strained)
Oh, yes, sir - of course, sir:
203L PAN SHOT - HYDE 203L
He throws down the drink and WE PAN HIM OVER to the table
where Ivy is standing.
HYDE
What? You're not very clear.
IVY
Well, sir - I -
HYDE
(stroking her shoulder)
Poor child. I'm such a tease, aren't
I? Such a tease....
IVY
Yes, sir.
HYDE
(with a pleasurable
sigh)
- starts eating grapes from bowl)
What a lucky man - to be loved this
way.
He sits down on the table, putting grape after grape into
his mouth and snicking the skins across the room at random.
(CONTINUED)
94.
203L CONTINUED: 203L
HYDE
But, my dear - suppose I did have to
leave you for awhile?
203M TWO SHOT - DIFFERENT ANGLE 203M
Ivy sits down at the table again, her face averted from Hyde
at this question, and starts to put the cards together with
trembling hands.
IVY
(trying to hide her
hope)
Leave, sir? When?
HYDE
I'm not saying when. I just say
suppose.
IVY
Why, sir - I -
HYDE
Supposing I had to take a trip from
time to time?
IVY
(unable to keep from
looking at him with
great expectance)
You mean - soon, sir?
HYDE
(letting her hang on
eagerly)
Well, let me see...
(gently - touching
her cheek)
Oh - to - to - you mustn't look so
worried. It won't be for a long,
long time.
IVY
(dully)
Oh... I see, sir.
HYDE
So we won't think about it now, will
we?
IVY
N-no, sir.
(CONTINUED)
95.
203M CONTINUED: 203M
HYDE
But when I do - it will break your
heart. Won't it?
IVY
Oh, yes, sir.
HYDE
(with a chuckle)
It'll be a knife in your heart. Won't
it?
On this, he snicks a grape skin right into the curly hair
about her temple. It sticks there. She tries to laugh, as
she picks it out. Then she quickly gets up and exits from
SCENE, taking cards with her as Hyde watches her.
204 CLOSE SHOT - IVY 204
As she comes to a cabinet and starts to put cards away,
staying there to re-arrange things just for something to do.
205 CLOSE SHOT - HYDE 205
Scene 33 - Hyde's Mind Games
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
table, munching more grapes.
HYDE
And what would my little cherub like
to do this evening?
205A CLOSE SHOT - IVY 205A
She turns - a plea in her eyes.
IVY
Oh, sir! Could we go out, sir?
205B CLOSE SHOT - HYDE 205B
HYDE
Out? You mean - gad about a bit? See
the sights?
205C PAN SHOT - IVY 205C
She comes over to him, hopeful of selling him the idea.
IVY
Oh, yes, sir. You'd like it, wouldn't
you, sir?
HYDE
Well, now, that might be very pleasant -
yes - let's see - where shall we go?
(CONTINUED)
96.
205C CONTINUED: 205C
IVY
Oh, they say the Alhambra and such
places is ever so nice.
HYDE
They do? Who does?
IVY
Well, Marcia, sir. She says it's
ever so gay.
HYDE
Is that so?
IVY
Yes, sir. We can go, can't we, sir?
They say the entertainment is ever
such fun. And I - well, I haven't
been out in so long, I -
HYDE
You are getting somewhat pale, my
dear...
IVY
It's true, sir. Not that I'm complain
ing, you understand - but-
HYDE
(gently)
Oh, I know. You're just jumpy -
nervous - that's it.
IVY
Yes, sir. I -
HYDE
You have that - that cooped-up
feeling...
IVY
Oh, yes, sir. You do understand,
don't you? Then we'll -?
HYDE
(with a sudden idea)
I know! What about Albert Hall? To a
symphony, perhaps?
IVY
(puzzled)
Symphony, sir?
(CONTINUED)
97.
205C CONTINUED: (2) 205C
HYDE
(with scorn)
Yes - where all the toffs go - when
they're respectable. When they'd
rather tell a girl her garter's too
tight than to say what's really in
their thoughts -!
IVY
(a little crestfallen)
Well, sir - I sort of hoped we could -
(stops, looks at him
a little puzzled as
the word "garter"
rings in her past
unconscious mind)
What makes you say -?
HYDE
(quickly - gaily)
So you want to go out, eh?
IVY
(thinking this his
assent)
Oh, yes, sir! I'll go put on my things
and -!
HYDE
(sweetly)
We're not going!
IVY
(turning back to him)
Sir -?
HYDE
(mimicking her)
Because the entertainment is ever so
gay and nice right here!
He smiles at her evilly, chuckles a little. She turns away
with a sudden desperate gesture, putting both hands over her
brow.
HYDE
(gently)
Now we've got to think of what we'll
do, don't we?
(as she says nothing)
Let's see shall we play cards? No,
you're probably tired of cards --
(MORE)
(CONTINUED)
98.
205C CONTINUED: (3) 205C
HYDE (CONT'D)
(as she still stands,
her face covered)
You could read to me, couldn't you?
Milton's Paradise Lost would be nice -
but we haven't the book here - and
you don't know it from memory, do
you?
(suddenly)
Oh! I know. You remember what we
like!
(leaning over toward
her softly)
Sing to me...
Ivy turns slowly. Her eyes widen in horror. She starts to
break.
IVY
(with a sudden sob)
Oh, no - please, sir - not that -!
HYDE
Not in good voice -?
IVY
It isn't that, sir. It -
HYDE
(in sweet reproof)
Why! It's such a pretty song!
IVY
(wringing her hands,
starting to sob)
Oh, please, sir - not tonight!
HYDE
Sing it gaily!
IVY
I - I can't - truly -!
HYDE
(his tempo accelerating)
Then softly - with compassion...
Scene 34 - The Transformation
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Please, sir - if you'll just do me
the favor -
HYDE
With loving kindness even...
(CONTINUED)
99.
205C CONTINUED: (4) 205C
IVY
(sobbing more -
terrified now)
Don't ask me to - please, sir -!
HYDE
Then moodily. That's it - with deep
mood!
IVY
Oh, sir - whatever you like - but
for the love of -!
With a lightning-like movement, his gentle taunting turns to
a fierce, vicious command as he pinches her chin between his
thumb and fore-finger. His eyes widen in fury.
HYDE
I said sing!
IVY
(with almost a scream)
But, sir -!
HYDE
Sing it! You hear me?
Ivy slowly nods, looks about a little hysterically, backs
away a little, as if to an accustomed position before him,
and pathetically, between sobs, starts to sing a version of
Champagne Charlie in which she substitutes the words
"Champagne Ivy is my name..."
205D CLOSE SHOT - HYDE 205D
He leans forward on the table, watching her with horrible,
rising satisfaction, swaying slightly to the music.
HYDE
That's it! Smile when you sing! Be
gay! Be happy!
205E CLOSE SHOT - IVY 205E
As she sings, not looking at him, but everywhere else in the
room that she can. As she finishes she just stands there and
sobs.
205F TWO SHOT - HYDE AND IVY 205F
HYDE
(as she finishes)
Bravo! Bravo! A prima donna is born!
(MORE)
(CONTINUED)
100.
205F CONTINUED: 205F
HYDE (CONT'D)
Let's draw her carriage through the
streets! Let's shower her with
orchids!
With this he picks up a bunch of grapes and throws them at
her. They smash against her breast, leaving a huge smear. He
leaps over at her, as WE DOLLY IN CLOSE. His voice is now
low and rampant with desire, as he enfolds her in his arms.
HYDE
Congratulations, my dear!... the
world is yours! The moment is
mine -!
She tries to pull away from him, but he pulls her in to him
savagely, and kisses her. She all but faints under it, and
wilts in his arms, her whole body sagging. He looks down at
her, pulls her arms about his neck, lifts her up, with a
look o.s., as we
FADE OUT:
206 OUT. 206
207 FULL SHOT - EXT. BACK DOOR OF LAB - NIGHT 207
Hyde hurries into scene as WE DOLLY IN. He looks left and
right, [...], then unlooks the door and ducks in.
208 FULL SHOT - INT. LAB 208
Hyde lights gas lamps, then takes off his cape and hat, then
quickly goes to [...], picks out a vial, comes to table and
pours contents into a glass. He looks about crazily for a
second, then drinks it. He gets the same violent reaction as
from the "outward" phase. He writhes, grips table, etc., but
the change is much quicker than when he changes to Hyde.
Now, before our eyes, he becomes Dr. Jekyll. He seems sagging,
spent. He goes quickly to the mirror and looks at himself,
as WE DOLLY IN. He peers at, feels, his face anxiously, then
looks at his hands. Then he looks at himself in disgust, and
covers his face with his hands. He paces about a bit, silently
berating himself, his lips moving, his fist pounding the
table. He takes the back-door key out of his pocket, looks
at it, then over at the back-door. He makes a firm decision,
goes quickly to a small gas smelter, lights it, puts in a
chunk of lead, holds the key in his hand, waiting. Suddenly,
there is a knock on the door, o.s., from house.
POOLE'S VOICE
Dr. Jekyll, sir?
JEKYLL
Oh - just a moment, Poole.
(CONTINUED)
101.
208 CONTINUED: 208
He hurries up the stairs, unlocks the front door, and Poole
follows him down stairs. Poole has dressed only in trousers,
coat and slippers.
POOLE
(relieved)
I saw the light. I'm so glad you're
back, Dr. Jekyll. I was worried,
sir. You'll pardon my appearance.
JEKYLL
I was called on an emergency. I stayed
at the house.
POOLE
Yes, sir. Oh, Dr. Lanyon called twice
today, sir - he said to tell you
that Miss Beatrix and her father
arrive home in the morning, sir.
JEKYLL
(starting)
In the morning?
POOLE
Yes, sir.
(smiling, kindly)
I was sure you'd wish to know, sir.
JEKYLL
(joy mixed with anxiety)
Yes... thank you, Poole... thank
you.
Scene 35 - Post-Transformation Tranquility and Envelope Delivery
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Could I fix you a bite of -?
JEKYLL
(quickly)
No.... nothing, thank you...
nothing...
POOLE
(starting upstairs)
Very good, sir.
JEKYLL
Oh, Poole - first thing tomorrow I
want you to get me a special messenger
from the district office. I'll give
him an envelope to deliver.
POOLE
(going out door)
Yes, sir. Goodnight, sir.
(CONTINUED)
102.
208 CONTINUED: (2) 208
JEKYLL
Goodnight, Poole...
WE DOLLY INTO JEKYLL as he walks to the smelter. It is now
molten hot and reflects on his face. He takes the key and
drops it into the boiling lead.
209 INSERT - KEY 209
Dissolving into the molten lead. Jekyll watches it. A great
relief comes over him, and he closes his eyes, lifting his
head, as we
FADE OUT.
FADE IN:
210 GROUP SHOT - INT. IVY'S PARLOR - DAY 210
Marcia is administering to Ivy's bruises on her shoulders.
Ivy is sobbing, angry and scared. Freddie, Marcia's gentleman
friend, stands by quite aghast.
MARCIA
(shaking her head)
... mmm - this is a bad one.
IVY
(wincing, between the
sobbing)
He's a beast, he is -- a dirty beast --
FREDDIE
Rotten shame. Why don't you run away
from the filthy beggar?
IVY
What's the use? I tried that once.
He found me and -- why he'd kill me
if I tried it again! Only last night
he --
211 BUT SHE STOPS... 211
...terrified, and they all look toward the door as there is
a knock on it.
MARCIA
(bracing herself)
Who is it?
MESSENGER'S VOICE
Special messenger - for Miss Ivy
Pearson.
(CONTINUED)
103.
211 CONTINUED: 211
MARCIA
(to Freddie)
Get it, Freddie.
Freddie nods and WE PAN HIM up the steps to the door, which
he opens, showing messenger. Latter hands him the envelope.
FREDDIE
Any answer?
MESSENGER
No, guv'nor.
Freddie gives the messenger a coin, and comes down, handing
the envelope to Ivy. She opens it, as they watch. She pulls
out a sheaf of bank notes.
IVY
(in wonder)
Look here -!
MARCIA
(picking up and
counting notes)
I say! Fifty pounds.
(looking in envelope)
But there's no letter with it. This
from him...?
FREDDIE
The blighter must've sent it for
what he's done.
IVY
Not him - the rotten skinflint - and
he don't care nohow...
MARCIA
(finding a solution,
practical)
Well - no matter who sent it, it's
here. And it's more than enough to
get you out of the country.
FREDDIE
Jolly good idea! I've got a friend
in Paris who'll be only too glad to --
IVY
(jumping up suddenly,
a little wildly)
No, no! Don't you see? It's a trick -
one of his horrible cat-and-mouse
tricks - just to torture me!
(MORE)
(CONTINUED)
104.
211 CONTINUED: (2) 211
IVY (CONT'D)
(starts pacing floor,
holding sides of her
head with both hands)
That's what he hopes I'll do - use
it to run away. I can just see his
pig eyes thinkin' it up. He'll let
me think I've almost got free and
then - You don't know him, I tell
you! I can't stand it any more, I
can't! If I only could do it I'd go
down to the river and --!
(slumps down in chair
again and sobs)
MARCIA
It's her nerves, that's what. She
ought to see a doctor.
FREDDIE
She ought to see one of thos mental
fellers. I know a feller who cured
the mater of the vapors or something.
I'll go and get the address.
DISSOLVE TO:
212 CLOSE SHOT - JEKYLL AND BEATRIX - INT. HER DRAWING ROOM 212
Beatrix and Jekyll are seated on a couch. They are holding
hands. He cannot take his eyes from her. Beatrix has been
crying.
Scene 36 - A Proposal and a Threat
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
... but you should have written me.
I should be the first to know when
you are ill. If I'd known you were
that ill I'd have come home at once.
JEKYLL
But, Bee darling - don't you see? I
knew that and I - I didn't know what
to say. I didn't want to worry you...
Beatrix wipes away a last tear, and then puts her hand on
his cheek.
BEATRIX
Oh, my poor lamb - your face looks
so drawn...
Jekyll recaptures her hand.
(CONTINUED)
105.
212 CONTINUED: 212
JEKYLL
(a little anxiously)
But when you look in my eyes - you
see what you've always seen, don't
you?
BEATRIX
(softly, smiling)
Yes... I carried that look all over
the Continent - locked up inside of
me.
JEKYLL
(almost like a vow)
It will always be there - always....
(then, enfolding her
in his arms)
Oh, that's what I wanted to hear!
And now that you're back, I'll never
let you go again. We've got to be
married right away, Bee. I can't --
I can't wait all this time...
BEATRIX
(gently, pleased by
his ardor)
Such a wonderful part of love -- to
be needed that much...
JEKYLL
(seriously)
Need you? I need you more than -
(breaks off, passes
hand over his brow)
While you've been gone - it's been -
BEATRIX
(ecstatically)
But it's all right now. No more
goodbye's for you and me - ever -
JEKYLL
(with an excited laugh)
That's it! Just Hellos!
BEATRIX
Ever and ever. Hello, Dr. Jekyll.
JEKYLL
Oh, Bee --
They kiss, and then he holds her close. Then they turn as
they hear a door closing o.s.
(CONTINUED)
106.
212 CONTINUED: (2) 212
SIR CHARLES' VOICE (O.S.)
(cheery)
Where's my daughter, Hobson?
HOBSON'S VOICE (O.S.)
In the drawing room, sir.
Beatrix and Jekyll rise, Beatrix retains his hand and WE PAN
THEM across the room as they meet Sir Charles entering.
SIR CHARLES
(extending his hand)
Ah! Well, well, Harry....
JEKYLL
(as they shake hands)
I hope I'm welcome again, sir.
SIR CHARLES
Can't think of any reason why you
shouldn't be. How've you been? Beatrix
read me some of your letters.
Interesting.
BEATRIX
Father, Harry won't admit it. But
because he was so upset, he's been
very ill while we were away -
SIR CHARLES
Oh, I'm sorry, my boy - feeling fit
again?
JEKYLL
(grinning)
With Bee back, sir? Well!
BEATRIX
(bluntly but calmly)
And this leads me to speak very
plainly, Father. It's in my heart -
and I must say it. I want to be
married just as soon as possible.
SIR CHARLES
Now, my dear - you know I said that -
BEATRIX
Father, I respect you more than any
girl could. But Harry and I - we've
waited so long. And if you don't
consent, I'll go away with him. I
mean it this time. That's how much
Harry and I are in love, Father...
I'd even hurt you to safeguard it.
(CONTINUED)
107.
212 CONTINUED: (3) 212
SIR CHARLES
(hardly believes his
ears)
Beatrix...!
JEKYLL
(impulsively)
I swear, sir - you'll never have any
regrets.
BEATRIX
It's my whole life, Father. Don't
make me hurt you! Isn't my happiness
reason enough?
SIR CHARLES
(after quite a pause,
gently)
Your happiness is my life, my dear.
(with s smile, holding
out his arms)
All right. Next month it shall be.
Beatrix goes into his arms with a glad cry. Sir Charles holds
her a second, tries to hide a tear. He extends a hand to
Jekyll.
SIR CHARLES
Come to dinner tomorrow, eh, Harry?
I should like to make a formal
announcement to our friends.
Scene 37 - The Revelation of Ivy
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
(wringing his hand,
inarticulate)
Oh, yes, sir - thank you, sir - thank
you -!
DISSOLVE TO:
213 FULL SHOT - FOYER - INT. JEKYLL'S HOUSE 213
Jekyll is coming in, by his key.
JEKYLL
(calling, as he does
so)
Poole - Poole -!
POOLE
(hurrying in)
Oh, yes sir!
(CONTINUED)
108.
213 CONTINUED: 213
JEKYLL
Poole - look at me - I'm
delirious -!
POOLE
What, sir?
JEKYLL
(flinging him his
cape)
I should be put in a straight-jacket,
Poole! Before I make everybody
envious!
(putting his hat on
Poole's head)
But instead I crown you King of the
Gypsies - because you shall be the
first to know! I'm going to be
married, Poole.
POOLE
(his face lighting up)
Oh, splendid, sir. When, sir?
JEKYLL
Next month! Next month she'll be in
this very house - Mrs. Henry Jekyll!
And the walls will turn to cloud
banks - and you'll be taking your
orders from an angel!
POOLE
(removing hat)
I'm so very glad, sir.
JEKYLL
(as we PAN HIM to
side door)
I must get the call list from the
consulting room. You can take it to
Sir Charles. He wants it for the
invitations.
POOLE
(following him)
There's a patient here, sir - without
appointment.
Jekyll opens the door to the consulting room.
214 FULL SHOT - INT. CONSULTING ROOM 214
Jekyll stops full in his tracks, as he sees Ivy sitting there.
She rises from the chair, her strained and worried expression
changing to child-like pleasure and surprise at seeing him.
(CONTINUED)
109.
214 CONTINUED: 214
IVY
Why - why it's you, sir!
POOLE
(behind Jekyll, in
explanation)
This is Miss Pierson, sir.
JEKYLL
(strained)
Yes... yes, Poole. I'll give you the
list later.
POOLE
Very good, sir.
He bows out. Ivy comes slowly toward him.
IVY
So you're the famous Dr. Jekyll?
Now, who'd have thought we'd meet
again like this?
(watches him as he
makes no answer)
I was the one you and your friend
took home that night - remember,
sir?
JEKYLL
(nailed, but striving
for calm)
Why - oh, yes - yes, of course..
IVY
Oh, I'm so glad it's you, sir! You
were so kind and good to me that
night! Maybe you can --
JEKYLL
What - ah - what brought you here,
Miss Pierson?
Ivy is reminded of her plight. With a little sobbing murmur,
she pulls off her coat and slips her shirtwaist off her
shoulder, baring it to him and displaying streaks of welts
and marks.
IVY
There, sir! That's what! Look at
that!
(MORE)
(CONTINUED)
110.
214 CONTINUED: (2) 214
IVY (CONT'D)
(as Jekyll makes no
answer, only stares
with hypnotized horror
at the shoulder)
Pretty, ain't it? Did you ever see a
thing like that before, sir?
JEKYLL
It's - it's horrible...
(then collecting
himself, starts for
desk)
I'll give you some lotion to soothe
that.
But Ivy stops him quickly. She begins to break down more.
IVY
Lotion! It won't be lotions'll do
the trick, sir! No! It's more than
that, sir. I need help, I do! I can't
stand it any more!
(as Jekyll can only
look at her)
It's Hyde, sir - a man I know - Mr.
Hyde, sir! It's him as done it, and
more I can't tell you, sir. He ain't
human, he ain't. He's a beast! He
won't let me go, sir! And I'm afraid
to - I'm afraid to run away....
During this he has slumped down on arm of chair. She continues
to explain.
Scene 38 - Ivy's Plea for Help
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
Marcia - she's my girl friend - and
Freddie, Mr. Willoughby - he's her
friend... they says it's my nerves -
and they says as how you know about
such things and could help me, sir.
(then sinking down on
her knees, clinging
to him)
But, oh sir - I can't bear up no
more under it, sir. If - if you can
do nothing for me, then give me some
poison so I can kill myself....
She breaks down completely now and sobs on his lap.
(CONTINUED)
111.
214 CONTINUED: (3) 214
JEKYLL
(in agony - but
guarded, too)
Why didn't you seek help before? Why
didn't you go to the police?
IVY
(looking up at him)
I tell you I'm afraid, sir! You
don't know him, sir. A nice fine
gentleman like yourself wouldn't be
meeting such a person! He ain't a
man - he's a devil! He knows what
you're thinking about, he does!
Why, if he knows I've been here today,
I don't know what he'll do. It won't
be nothin' human, I can tell you!
Oh, please, sir - please help me.
Keep him off -!
(in a lower voice,
hastily - pleading)
I'll do anything you ask, sir - I
ain't as bad as you might think -and -
and men say as I ain't a bad looker
when I'm more myself. You - you liked
me once a little, didn't you, sir?
And you're really such a fine kind
gentleman - honest - that night you
walked out of my place, I laughed at
you - but I didn't laugh after you'd
gone...
(averts her head,
puts her cheek on
his knee)
I kept wishin' you'd come back -
truly, I did...
For a moment, Jekyll stares at her head. And for a flash
second, he seems as though he is about to lean over and
embrace her with the strange look of Hyde battling for
supremacy in his expression. Then he contains himself and
lifts her up, as he stands too.
JEKYLL
I - I give you my word that you will
never be troubled by this man Hyde
again.
IVY
(sobbing anew)
But - but how do you know, sir? He'll
come back! He'll come back and kill
me, sir!
(CONTINUED)
112.
214 CONTINUED: (4) 214
JEKYLL
He'll not come back. I'll see to it.
IVY
But you don't know him, sir. He ain't
human, he ain't!
JEKYLL
(very strong)
I've given you my word - and that I
never break. You'll not see Hyde
again!
(pause, as she looks
at him)
You must believe me.
IVY
(fully convinced)
I believe you, sir. I believe you.
JEKYLL
You - you must go now.
IVY
Yes, sir. Yes, sir..... yes, sir.
She puts on her coat and goes to the door, then turns.
215 CLOSE SHOT - IVY - AT DOOR 215
She looks at Jekyll o.s., puzzled.
IVY
It's funny - but for a moment I
thought -
(then she stops)
Well... goodbye, sir.
She exits.
216 CLOSE SHOT - JEKYLL 216
He reacts to her statement. WE PAN HIM to the mirror where
he examines his face, as we
FADE OUT:
(CONTINUED)
113.
216 CONTINUED: 216
FADE IN:
217 FULL SHOT - REGENT'S PARK - EARLY EVENING 217
It is still light, the shadows long. The birds are twittering.
In the far b.g., through the trees, we see sheep dotting the
greensward.
DISSOLVE TO:
218 FULL SHOT - PARK ENTRANCE 218
Mr. Weller, the Park Keeper, is idling about the entrance as
Jekyll comes gaily into the Park. Jekyll is dressed for the
evening, in tails, cape, silk hat and stick.
JEKYLL
(hailing him gaily)
Mr. Weller, Mr. Weller - good evening!
The Park Keeper falls in beside him as we TRUCK WITH THEM.
PARK KEEPER
Dr. Jekyll! The days keep beautifully
long this time of the year.
JEKYLL
Beautiful - wonderful! How's little
Annie's cough?
PAAK KEEPER
The medicine you gave her done the
trick. She's only whooped twice in a
week!
JEKYLL
Splendid, splendid!
Scene 39 - The Transformation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
(looking Jekyll up
and down)
You look much brighter yourself, sir -
beggin' your pardon.
WE HOLD as Jekyll stops and turns to the Park Keeper.
(CONTINUED)
114.
218 CONTINUED: 218
JEKYLL
(indicating with stick)
Mr. Weller - across the park, in Sir
Charles Emery's house - is a
beautifully set dinner table. In
exactly two hours -somewhere between
the beautiful smoked salmon and the
beautiful Camembert cheese - Sir
Charles will arise and beautifully
announce the coming marriage of myself
to the most beautiful girl in this
beautiful world!
PARK KEEPER
(grabbing his hand,
pumping it)
Dr. Jekyll - my congratulations! And
all the best to Mrs. Jekyll as is to
be.
JEKYLL
From you, Mr. Weller- that's an omen
for happiness.
(hand on Mr. Weller's
shoulder, in a whisper)
You don't blame me if I hurry?
PARK KEEPER
(calling after him)
God speed, Dr. Jekyll!
JEKYLL
Thank you, Mr. Woller!
He exits o.s., as Mr. Weller beams after him.
219 FULL SHOT - PARK - JEKYLL 219
He walks through a lovely setting, happily swinging his cane.
220 TRUCKING SHOT - JEKYLL 220
He walks along, smiling to himself. He starts to whistle. He
is whistling "Champagne Charlie"! He whistles it with great
volume and vehemence. He suddenly realizes what he is
whistling and stops it, a shadow crossing his face. Then he
smiles again, starts whistling "Drink To Me Only With Thine
Eyes", but before he realizes it, he is whistling "Champagne
Charlie" again. He stops short in his tracks, as he realizes
this. His hand passes over his brow. He tries to walk on,
straightening his shoulders. He seems to feel faint. He looks
about, a little confused, and WE PAN HIM as he goes to a
round bench under a tree and sits down.
115.
221 CLOSE SHOT - JEKYLL - ON BENCH 221
He seems to be trying to get his breath. He rings his finger
around the edge of his collar. Then he contorts a little.
His face suddenly becomes strained and panic-stricken. His
hand goes to his throat. His face starts to contort more,
the lines deepening. With horror, his glance goes to his
hands. WE PAN DOWN. His hand, clutching the bench, is turning
more horribly grotesque than we have ever seen it. WE PAN
BACK UP. Jekyll is now nearing the change to Hyde! He looks
at his other hand. WE PAN DOWN. It is the same as the other.
WE PAN BACK UP to his face. It is almost that of Hyde. He is
in convulsions.
JEKYLL
(with a last desperate
cry)
Bee - Bee, darling -!
Then the writhings and gaspings, their course running quicker
than before. And suddenly, he is Hyde! He looks about,
craftily, viciously. A bird lights on the bench beside him.
He flails his cane at it. It flies away. He thinks a second,
getting his bearings in Evil. Then a thought strikes him.
His eyes glint. He starts to sing "Champagne Charlie" in a
horrible sing-song, swaying manner, and suddenly he gets up
with an animal leap, and WE PAN HIM as he runs leaping across
the green into the b.g., like a gorged buzzard racing for
another piece of carrion, as we --
DISSOLVE TO:
222 CLOSE SHOT - IVY - INT. HER PARLOR - NIGHT 222
She is quite tight, tipsily pouring champagne into a glass,
humming indistinctly to herself. Then she gets an idea and
WE PAN HER to mirror. She raises the glass.
IVY
(with hatred)
Here's hoping that Hyde rots wherever
he is - and burns slow when the time
comes!
(then softly,
passionately)
And here's hoping that Dr. Jekyll
thinks of his Ivy - like I know he'd
like to... like Ivy thinks of him...
'cause he's an angel. Here's to my
angel...
Her glass starts for her lips, when suddenly the door opens,
reflected in the b.g. Hyde stands there, staring at her. Ivy
turns with a gasp of horror and disbelief, drops the glass
to the floor.
116.
223 PAN SHOT - HYDE 223
He comes slowly down the stairs, throwing his hat and stick
on a table, eyeing the frozen Ivy all the while. He starts
across to her.
HYDE
Surprised?
IVY
(shocked to soberness)
Why, sir - I -
HYDE
It couldn't be that you didn't expect
to see me, could it?
IVY
Why, no, sir - I - I've been here
waitin' for you, sir. I -
HYDE
But you're celebrating. What? Some
new event - some change?
IVY
No, sir - I just thought I'd -
Scene 40 - Hyde's Deadly Confession
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
(fury starting to win
over sarcasm)
Drinking to calm your nerves, perhaps?
It's your nerves, isn't it? Shouldn't
you see a doctor?
IVY
Oh, no, sir.
(going to wine cooler)
Would you like some wine, sir? I'll
get another glass and --
Hyde slaps the bottle from her hand.
HYDE
Jekyll's a good man. Dr. Henry Jekyll --
IVY
(now very startled)
Is - is he, sir? But I don't need
any --
HYDE
A gentleman, too - different than
any man you might know.
(MORE)
(CONTINUED)
117.
223 CONTINUED: 223
HYDE (CONT'D)
(mimicking)
"A nice fine gentleman like yourself
wouldn't be meeting such a person -"
(as Ivy only stares
at him)
"... I ain't a bad looker when I'm
more myself..."
(as she starts to
back away, he follows
her)
He's the sort of man you get down on
your knees to, isn't he? -- A sweet,
dear, pure man you could believe and
trust...
(suddenly grabs her
wrist viciously)
He's a smug hypocritical coward,
that's what he is!
IVY
You - you couldn't know Dr. Jekyll --
know him intimately. I detest him
intimately -- from his lofty brain
to the soles of his virtuous feet.
And you -
HYDE
(mimicking)
"I'll do anything you ask, sir -"
(snarling again)
Well, you saw the respectable fool!
Clutched his halo and held it
straight, didn't he?
IVY
How - how'd you know all that?
HYDE
Why I know everything you say and
everything you think.
IVY
Then you - you must be truly somethin' -
the devil himself, then... because
Dr. Jekyll wouldn't tell you. He
ain't the kind that would -
HYDE
S-s-h! Would you keep a secret if I
told you? Promise?
IVY
What -?
(CONTINUED)
118.
223 CONTINUED: (2) 223
HYDE
I am Dr. Jekyll. I'm the angel you
want to love and adore.
IVY
(breaks away, back to
wall)
No - no -
HYDE
(wagging his finger
at her - following)
But you don't have to promise. Because
it's such a beautiful secret that
those who share it with me can't go
on living.
IVY
What - what are you going to do?
HYDE
(softly)
How does one usually stop a person
from living?
He makes a lunge at her, but she ducks from under him,
wrenches away from his grasp and, screaming, runs across
room, up the stair. Hyde gives a roar of glee and rage, leaps
over balustrade and intercepts her, as WE PAN. WE PAN BACK
as she runs screaming across the room, trying to get to a
window. Hyde leaps back and grabs her as she reaches divan.
224 EFFECT SHOT - SHOOTING OVER DIVAN 224
Hyde grabs her by the throat, bends her back.
IVY
(wild in her terror)
No - please, sir - I'll sing for
you, I will -
(starts singing)
"Champagne Ivy is my name. Champagne
Ivy is --"
Her voice chokes off.
HYDE
(yelling)
Now! Now you've got what you've
longed for!
(they start sinking
out of sight behind
divan)
Here - with your angel!
(MORE)
(CONTINUED)
119.
224 CONTINUED: 224
HYDE (CONT'D)
Embraced in the wings of your angel!
(as we hear Ivy choke
and gasp o.s.)
Leda - loved by her swan..!
After a second there is silence. Hyde gets up gasping. He
looks about, looks back at form below FRAME, and then WE PAN
as he picks up his hat and stick and starts for the door.
O.s. in the hall, we hear inaudible but growing murmurs.
225 FULL SHOT - UPPER HALL AND STAIR WELL 225
An elderly woman and her husband, and a couple of other
tenants are looking fearfully at Ivy's door. Marcia and
Freddie, both in evening dress, are hurrying up the stairs.
WOMAN
(down to them)
Somethin's happened! He's latherin'
the hide off her!
Scene 41 - Hyde's Rampage
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
(to man above)
Come on - we better pop in and stop
it!
At this moment, Hyde comes out the door on the run, stops as
he sees them.
MAN
Hey, you - what've you been -?
He gets no further as Hyde brushes him aside with a roar,
careens down the stairs to Freddie and Marcia.
WOMAN
Stop him, the dirty -!
Freddie tries to grapple with Hyde, but Hyde knocks him down
with a blow from his cane, and as WE PAN, leaps over the
balustrade with a laugh in time to avoid other tenants who
come rushing up the stairs. In the b.g., below, he ducks out
of the door.
226 FULL PAN SHOT - EXT. STREET 226
Hyde comes out of the door, darts off down the street. A
couple of passers-by turn around and look at him as he leaves
the sidewalk, ducks across in front of a cab, hitting the
horse with his cane so that it rears and plunges, and then
disappears around a corner.
DISSOLVE TO:
120.
227 GROUP SHOT - INT. IVY'S PARLOR 227
We are shooting over back of divan. Marcia, Freddie, and
other tenants are looking horrified down at a constable who
is kneeling over Ivy's body o.s. Marcia, hard Marcia, is
sobbing. Freddie has his handkerchief to a bloody temple.
WOMAN
(in awe)
He done her in! How horrible!
CONSTABLE
(rising)
This here's the work of a friend!
MARCIA
(bursting out)
It was that Hyde did it, I tell you!
The constable turns, jumps to the window, opens it, starts
blowing his whistle vigorously.
DISSOLVE TO:
228 FULL SHOT - EXT. BACK JEKYLL'S LAB. 228
Hyde hurries into scene, looks about with triumphant little
chuckles, as he fumbles in his pockets for the key. WE DOLLY
IN. Then Hyde realizes he has destroyed the key. He tries
the heavy door with his shoulder, tries again. He gives up,
looks around, then WE PAN HIM as he darts along sidewalk to
corner, turns, and disappears.
229 FULL SHOT - AT FRONT CORNER 229
Hyde comes running from back corner full tilt, and WE PAN
HIM, after he peers around front corner of his house, along
front of house to entrance and the door, in far b.g.
230 CLOSE SHOT - AT FRONT DOOR - HYDE 230
He pulls out the wire plunger bell, frantically, then bangs
the heavy brass knocker on the door. He flies into a flurry
of animal rage in his impatience. Then the door opens about
a foot, held in that position by the heavy safety chain
stretching from jamb to door on the inside, and Poole's
startled face peers out. He withdraws a little at the man he
sees.
HYDE
Come - open up, you fool! I'm a friend
of Dr. Jekyll!
(CONTINUED)
121.
230 CONTINUED: 230
POOLE
D-D-Doctor Jekyll isn't at home,
sir...
Poole tries to close door but Hyde pushes his foot in, wedging
it open.
HYDE
Well, that doesn't make any -!
(then recovering)
What difference does that make? He
expects me! He told me to wait for
him, you idiot! Let me in!
POOLE
(firmly)
I know all of Dr. Jekyll's
friends -!
HYDE
Now look here - I'll have no insolent
talk like -
POOLE
You'll have to come back later.
HYDE
You open up or I'll bash this door
in!
POOLE
If you don't go away, I'll send for
the police!
As he says this, he stamps on Hyde's foot. Hyde withdraws
it, allowing Poole to slam the door closed. Then with an
inarticulate growl, Hyde looks about him for something. WE
PAN DOWN AND UP with him, as with superhuman strength, he
wrenches a foot scraper embedded in the brick stoop. He is
just about to use it to jimmy open the door between the handle
and the jamb, when he does a "double take" and looks o.s.
231 LONG SHOT - BOBBIE - HYDE'S ANGLE 231
Far down at the corner, he is just emerging into view,
strolling along the street at right angles to Hyde. He stops
and leans against a light post, folding his arms for a rest.
232 BACK TO HYDE 232
He realizes his plan is futile. He softly lowers the foot
scraper, tiptoes o.s.
122.
233 FULL PAN SHOT - HYDE 233
He scurries out from entrance to his house, and down the
street away from the bobbie.
DISSOLVE TO:
234 FULL SHOT - CHEAP COMMERCIAL SECTION - STREET 234
The street is empty. In the far background, across the street,
we see the skulking figure of Hyde, looking in the various
shops as he hurries along.
235 CLOSE PAN SHOT - HYDE 235
Scene 42 - Hyde's Desperation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
butcher's, a shoemaker's, a wine shop, a plumbing shop, notion
store, etc., peering into each with a sort of desperation.
Finally, o.s. ahead of him, he sees what he wants. His face
lights up. He is just about to start for it, when he looks
down the street o.s., from where we hear the sound of trotting
hooves. He ducks into a dark recess, watches.
236 PAN SHOT - HIS ANGLE - TWO MOUNTED BOBBIES 236
They trot down the street, looking this way and that.
237 BACK TO HYDE 237
He watches them o.s., as the sound of their horses' hooves
disappears. Then WE DOLLY AND PAN HIM as he hurries a few
paces down the black street until he comes opposite a store
window which reads: "Grundy & Co. Stationery Supplies". He
peers in the window.
238 CLOSE SHOT - HYDE'S ANGLE - STATIONERY, INK AND PENS. 238
They are on display.
239 BACK TO HYDE 239
He tries the door of the shop; of course, it isn't open. He
looks about, sees a newspaper rack - a heavy wooden standard -
seizes it, raises it above his head and smashes the window
with it. He reaches in and snags paper, ink bottle, pen.
Envelopes and paper scatter over the walk. Almost immediately,
a light goes on in back of the store as a door opens and a
man and his wife and an older woman rush into the front part
of store. Hyde is now scooting up the sidewalk toward the
b.g. The store folk come out, in nightclothes, viewing the
wreckage, spying Hyde darting up the street.
OLD WOMAN
(screaming)
There he goes -!
(CONTINUED)
123.
239 CONTINUED: 239
MAN
(still sleepy, running
about in circles)
This ain't no place to rob...
YOUNGER WOMAN
(yelling)
But robbed it is -!
(calling up street)
Help - police!
(viewing shattered
glass)
Ooo, the window - and just been
cleaned, too!
DISSOLVE TO:
240 FULL SHOT INT. FOYER - SIR CHARLES' HOME 240
The last of the guests are just taking their leave, men being
helped on with their capes by a couple of footmen. Atmosphere
is strained. Ad lib: (sotto voce) "A bit odd, isn't it...
I've heard strange things about this young Jekyll... after
all, that affair at the embassy... felt so sorry for poor
Beatrix." WE PAN ACROSS this to pick up Sir Charles and
Beatrix in the far b.g., bidding goodnight to a weezy old
bloke. Lanyon is staying behind, hovering in the b.g.
241 GROUP SHOT - AROUND SIR CHARLES AND BEATRIX - DRAWING ROOM 241
UNCLE GEOFFREY
(the wheezy old bloke)
Goodnight, Charles.
SIR CHARLES
(keeping up appearances)
Goodnight, Geoffrey...
UNCLE GEOFFREY
(to Beatrix)
Sorry your young man was detained,
my dear.
BEATRIX
(very strained)
So am I, Uncle Geoffrey. It must
have been a matter of life or death -
UNCLE GEOFFREY
(uncomfortable, sensing
strain)
Of course. These doctors... never
can call their soul their own...
(CONTINUED)
124.
241 CONTINUED: 241
He goes o.s. Lanyon, Sir Charles and Beatrix are all
uncomfortable, as they watch him go. Hobson, the butler,
appears coming from the b.g., wearing top coat and carrying
his bowler.
HOBSON
(conscious of last
people leaving in
foyer, in a low voice)
I talked to Poole. Dr. Jekyll left
the house at seven to come here.
He's very worried, sir.
BEATRIX
(to Sir Charles)
There - you see, Father? There must
be something more than what you -
SIR CHARLES
(looking at Beatrix,
directly)
That is all, Hobson. Thank you.
HOBSON
(exiting o.s.)
Yes, sir.
WE DOLLY INTO GROUP as Hobson leaves. Sir Charles looks at
Beatrix.
BEATRIX
(bursting out)
Father, darling - don't look that
way -!
SIR CHARLES
(gently)
My dear - I forbid you to see that
man again...
BEATRIX
(anguished)
I'll disobey you, Father... why I
won't even have to disobey you!
Harry will come to me. Don't make a
scene out of this. You know there
must be a reason why he wasn't
here -!
DR. LANYON
(uncomfortable)
Sir Charles - if you'll excuse me -
it's late and I rather think I'd
better -
Scene 43 - Tension and Confrontations
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
125.
241 CONTINUED: (2) 241
BEATRIX
John - don't - we've nothing to hide
from you - from anybody. You're
Harry's friend - and mine -!
SIR CHARLES
(almost shouting)
Beatrix -!
BEATRIX
(her chin up)
Yes -?
SIR CHARLES
Please go to your room!
BEATRIX
Father, I -!
SIR CHARLES
(sternly)
You spoke yesterday of safeguarding
your happiness. You must admit you've
failed in that tonight. Now it's up
to me. Go to your room!
BEATRIX
(after a tense pause)
Very well, Father. But, tomorrow,
Harry will have an explanation. I
know that. And then I might be forced
to hurt you - very deeply....
With this, she turns, as WE PAN HER toward the stairs, and
DISSOLVE TO:
242 FULL SHOT - INT. HALL - LANYON'S HOUSE 242
Lanyon is just letting himself in with his key. Briggs, his
man, hurries in from the back of the house.
BRIGGS
Oh, yes sir -
(as he takes Lanyon's
hat, he picks up an
envelope from the
console)
There was a ring at the door a short
while ago, sir. I answered but there
was nobody there. I found this
envelope had been pushed under....
Lanyon takes it quickly, opens it. Two keys are inside, with
a note.
126.
243 CLOSE SHOT - LETTER - IN LANYON'S HAND JOHN - 243
I am in frightful trouble. I beg you to do what I ask.
Enclosed is the key to my laboratory, and one to the cabinet
marked D. Go there at once and get the vials marked A M S
and Z and bring them to your house. Remain there alone. At
midnight a man will call for the package. Give it to him. In
the name of Heaven - don't fail me.
Harry.
244 BACK TO LANYON AND BRIGGS 244
DR. LANYON
(after a second's
thought - taking hat
from Briggs)
I'm going out again.
BRIGGS
(following him to the
door)
Very good, sir.
DR. LANYON
(at door)
And, oh yes - I won't need you any
more tonight, Briggs. You may retire.
BRIGGS
(as Lanyon goes out)
Thank you, sir.
DISSOLVE TO:
245 CLOSE SHOT - CABINET D - INT. JEKYLL'S LAB 245
WE PULL BACK just as Lanyon's hand is inserting the key.
Poole is standing by him, puzsled by his mysterious attitude.
POOLE
Is Dr. Jekyll at the hospital? I
could fetch him whatever he wishes,
sir.
DR. LANYON
No...
(he selects from an
array of vials those
marked A, M, S, Z -
looks at them puzzled -
them to Poole)
You don't happen to know, I suppose -
what Dr. Jekyll uses any of these
vials for?
(CONTINUED)
127.
245 CONTINUED: 245
POOLE
(loyally)
I'm sure it's for some of his recent
experiments, sir.
Lanyon finds an empty vial case, starts putting in vials, as
we
DISSOLVE TO:
246 FULL SHOT - EXT. LANYON'S HOUSE 246
He is just about to turn into the walk leading up to the
front door when Hyde jumps out from behind the shadow of a
bush. Lanyon steps back, startled. He holds vial case under
his cloak.
HYDE
(impatiently)
Well, well - have you got it?
DR. LANYON
(gripping his stick)
I beg your pardon. What were you
doing hiding behind that -
HYDE
(in feeble grin of
explanation)
Just - just waiting for you, Dr.
Lanyon. I'm the man from Dr. Jekyll -
the package -
(then more like a
dope fiend)
Where is it? I'll take it now.
DR. LANYON
Step into the house for a moment,
please.
HYDE
No, no - there isn't time - there -!
DR. LANYON
(rather severely)
As Jekyll's friend, I have the right
to ask you a few questions. Come,
sir!
He starts on up the walk. Hyde looks after him wildly, as
though he would like to kill him. Then he follows him. As
they reach the door, we
DISSOLVE TO:
128.
247 PAN SHOT - INT. LANYON'S STUDY - HYDE AND LANYON 247
Scene 44 - Hyde's Desperate Demand
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
eyes the vial case anxiously, as they walk into the study
and Lanyon goes behind his desk. He turns the lamp on the
desk higher. Hyde keeps his cape on, hat in hand.
HYDE
(as they walk, gruff)
Now come, Lanyon - let's not waste
time with a lot of prying questions.
Give me the -
DR. LANYON
(turning quickly)
I resent your attitude, sir. You
haven't even introduced yourself.
HYDE
(impatiently, twitching)
Hyde's the name. Mr. Hyde. But what
difference does -?
DR. LANYON
Are you an acquaintance of Jekyll?
HYDE
Of course. I'm a friend - an old
friend.
(reaching out his
hand, his voice rising)
But if you even pretend to be his
friend you'll forego your asinine
amenities and let me have that before -
DR. LANYON
Where is Dr. Jekyll?
HYDE
(getting more and
more impatient)
Oh, don't worry - he's alive - he -
DR. LANYON
What's the matter? Is he ill? Is -
HYDE
He'll be perfectly all right, I tell
you!
DR. LANYON
(opening drawer in
desk)
Very well, then. I'll go with you
and see for myself..
(CONTINUED)
129.
247 CONTINUED: 247
As he reaches in drawer, he takes his eyes off Hyde for a
second. The latter leaps across and grabs the vial case from
Lanyon's hand.
HYDE
(as he does so; with
a snarl)
You pretentious fool -!
But his expression changes as Lanyon whips a revolver out of
the drawer and covers him.
DR. LANYON
(evenly)
I warn you, Hyde. If you make one
step toward the door I'll shoot you
right between the eyes.
HYDE
(getting a trapped
feeling)
Now wait a moment, Lanyon - I can't
let you come with me - and I can't
tell you any more than I've already -
DR. LANYON
Why not?
HYDE
Because - well -
(then shouting)
I warn you not to stick your nose
into this! You better let me go,
Lanyon! You can ask Jekyll all about
it tomorrow if you want to!
DR. LANYON
You'll take me to Harry Jekyll this
minute!
HYDE
(screaming his
impotence)
For the last time, Lanyon - let me
out of here - alone!
DR. LANYON
For the last time - no!
HYDE
(wildly)
All right then! Let it be on your
own head!
(CONTINUED)
130.
247 CONTINUED: (2) 247
With a wild laugh, he takes out the vials and starts mixing
them. Lanyon watches this, puzzled, thinking him completely
mad. When the potion is all mixed, Hyde picks up the glass
and faces Lanyon. The potion boils and steams a little.
HYDE
Once more - will you let me take
this glass and leave?
DR. LANYON
(tense, still with
revolver)
No. This will be seen through to the
end.
HYDE
You'd better think again, Lanyon. Do
you want to live on as you have...
lulled in your blissful cocoon of
ignorance? Or do you want that safe
peace of mind - your reason even -
blasted by a sight that would shock
the lowest fiend in the Inferno?
DR. LANYON
(getting an awful
feeling, but game)
You can't persuade me with all that
mad babbling! Whatever you're going
to do - get on with it!
HYDE
Very well, Lanyon. But remember your
vows to your profession. You'll see
a secret you are sworn not to
reveal...you who have sneered at the
powers of science - you who have
laughed at man's ability to dissect
his own soul! Watch this, you pompous
ass! Watch this!
248 HE HOLDS THE GLASS HIGH... 248
...then drains it. Immediately he goes into his gasping
contortions, falls back into a chair. As the metamorphosis
from Hyde to Jekyll takes place, Lanyon watches it in horror.
With a final gasp, Jekyll finally leans back in his chair,
exhausted.
249 FULL SHOT - ROOM - TABLEAU - WEIRD LIGHT 249
As Lanyon stands watching, transfixed, the gun falling to
the desk.
131.
250 CLOSE SHOT - LANYON 250
Scene 45 - Jekyll Confesses to Lanyon
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
DR. LANYON
(to himself)
Horrible...
251 CLOSE SHOT - JEKYLL 251
He looks at Lanyon o.s., in mute appeal for a moment.
JEKYLL
(finally)
I warned you, John - even as Hyde, I
warned you...
252 TWO SHOT - LANYON AND JEKYLL 252
DR. LANYON
You - you mean those experiments -
they -?
JEKYLL
(nodding)
Yes, John...
Lanyon gets up and starts pacing nervously, as Jekyll watches
him.
DR. LANYON
It's sheer horror... I can't believe
it...
(stops in front of
Jekyll)
You see what you've done, don't you.
You've gone beyond - you've tampered
with - you've committed the supreme
blasphemy!
JEKYLL
(in great anguish
from here on)
I know - I know...
DR. LANYON
You must destroy the formula, do you
hear?
JEKYLL
I've done that.
DR. LANYON
But you must destroy it from your
mind! You must never take it again!
(CONTINUED)
132.
252 CONTINUED: 252
JEKYLL
know - but this evening - on my way
to - on my way to Sir Charles'...
you see, I always thought I could
control it, John - but this evening -
the change - the change to this -
this monster Hyde - happened without
anything - without -
He stops, unable to go on, covers his face with his hands.
DR. LANYON
(in awe) I)
T's diabolical...
JEKYLL
And it might happen again -
(lifts his face to
Lanyon, and pounds
chair arm with his
fist)
But I'll fight it! I'm going to fight
it -!
(then stops with a
sudden remembrance,
his face growing
blank with a new
horror)
Oh -!
He rises suddenly, walks across the room.
DR. LANYON
(watching him)
What -?
JEKYLL
I'm a murderer, John. A murderer!
(looking about wildly)
I who wanted to serve the living!
DR. LANYON
You mean you actually -?
JEKYLL
Yes! Tonight! There was a girl - a
poor beaten girl that I - that he
knew... and I went to her - and choked
her to death -
(incredulously looking
at his hands)
- choked out her life with these -
no, not with these hands - not with
these hands -!
(CONTINUED)
133.
252 CONTINUED: (2) 252
He sinks down into a chair again, covering his face, trying
to keep from hysteria. Lanyon walks to the fireplace, looks
into the flames.
DR. LANYON
Harry - Man cannot flaunt the Divinity
of Man without being eternally
damned...
(turns to Jekyll,
with quiet abruptness)
- what about Beatrix? Have you thought
of her?
JEKYLL
(he looks up slowly,
in a dull voice)
I'll have to give her up, of course...
(then, his hysteria
mounting)
I've known it all along - I'll have
to face it now - now when I need her
most - but I'll give her up! I promise
I will!
(now dropping to hoarse
pleading)
But John, after that I'll need more
help than ever. You can help me. You
must help me! I must win over this
thing! I must -
He stops as he realizes that Lanyon is looking at him with a
mixture of unrolenting condemnation and pity. He realizes he
is up against the inovitable. He chokes, buries his face in
his hands again, as we
FADE OUT:
FADE IN:
253 UPPER HALL - JEKYLL'S HOUSE - NEXT MORNING 253
Poole comes up the steps, carrying a morning paper and a
tray of tea. As he walks, he reads the paper, uttering
clucking noises and shaking his head. We PAN HIM to Jekyll's
bedroom door. He opens it.
254 FULL SHOT - INT. JEKYLL'S BEDROOM 254
Jekyll, in his dressing gown, is leaning against the window,
looking out as Poole enters. The bed is turned down but not
slept in.
255 CLOSE SHOT - POOLE 255
As he enters, he looks at Jekyll o.s., and then at bed o.s.
134.
256 CLOSE SHOT - BED - POOLE'S ANGLE 256
It is just as he turned it down last night.
Scene 46 - Jekyll's Despair
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
He looks from the bed to Jekyll o.s.
258 CLOSE SHOT - JEKYLL 258
He feels Poole's hesitancy.
JEKYLL
(worn and haggard
looking)
Just put the tray down, Poole.
259 PAN SHOT - POOLE - WITH TRAY 259
He walks over to the bedside table.
POOLE
Yes, sir.
(puts paper down with
tray)
I don't know what things are coming
to, sir. If you'll forgive me - there
was the most ghastly murder in Diadem
Court last evening. A poor girl was -
260 FULL SHOT - ROOM 260
JEKYLL
(suddenly shouting) P)
Oole! Will you get out?
POOL
(shocked and puzzled)
Oh, yes sir. Very good, sir.
Poole retires, yet stopping to look back at Jekyll with a
worried look. When Poole has gone, Jekyll's eye goes to the
paper. He can't help himself. He goes over and picks it up.
261 CLOSE SHOT - HEADLINE AND STORY - IN JEKYLL'S HAND 261
GIRL MURDERED BY MONSTER Witnesses Tell of Beast Last evening
a man known only as "Hyde" and "an evil monster" by tenants
at --
262 BACK TO JEKYLL 262
He throws the paper from him. He sits down on the bed, grabs
the post, and raises his gaze upwards. He is in lonely
anguish.
(CONTINUED)
135.
262 CONTINUED: 262
JEKYLL
(praying)
This I did not intend. I thought I
was serving You. I saw a light - but
I did not realize it led only to
Darkness. Forgive me. Help me to -
He cannot go on, knowing he has lost the right even to ask
for help. His eyes close, and he leans his head against the
post, as we
DISSOLVE TO:
263 FULL SHOT - JEKYLL - EXT. SIR CHARLES' HOUSE - NIGHT 263
He comes hesitantly along the walk, stick in hand, the lights
from the house illuminating his drawn and agonized expression.
His pace slackens as he turns in through the grilled iron
gate as WE PAN and he walks toward the front door in the
b.g.
264 CLOSE SHOT - JEKYLL - EXT. FRONT DOOR 264
He can hardly bring himself to pull the bell plunger. Suddenly
he is aware of the dim sound of a piano o.s. He realizes
that Beatrix is playing. WE PAN HIM as he walks down the
front of the house to the end of the "side" garden.
265 FULL SHOT - FORMAL SIDE GARDEN 265
Jekyll comes around the corner of the house and walks across
a small flagged veranda which leads from French windows of
the drawing room to the flower garden. The garden centers
about a small fountain and is set off with flower-bed patterns
and marble benches.
266 266 CLOSE SHOT - JEKYLL - EXT. FRENCH DOORS 266
He peers through them in the b.g. We see Beatrix playing the
piano, a sad and worried expression on her face. Back of
her, and to one side, Sir Charles nods in a chair over a
paper.
267 CLOSE SHOT - JEKYLL - REVERSE ANGLE 267
We are on his tortured countenance for a second as he looks
o.s. at Beatrix. He half raises his hand as though to call
her attention by the movement.
136.
268 FULL SHOT - BEATRIX - OVER JEKYLL'S SHOULDER THROUGH FRENCH 268
DOORS
She suddenly sees him. She falters in her playing for a
second. Jekyll puts his finger to his lips. She continues
playing and finishes her piece very softly, watching Sir
Charles over her shoulder, who by now is quite asleep. Then
she gets up and hurries as quickly as possible without making
any noise to the French doors, opens them, and comes out to
Jekyll, closing the doors quietly.
BEATRIX
(seeing his strained
look)
Harry - dearest -
JEKYLL
(nodding toward garden)
Will you come out - where we can
talk?
She gives him a worried look, and then precedes him out into
the garden.
269 MED. SHOT - BEATRIX AND JEKYLL 269
As they come into SCENE, near a marble bench. He is greatly
agitated. He doesn't know where to begin. Beatrix sits down
on the bench. She indicates the place beside her.
BEATRIX
Sit down, darling - what's happened?
What's wrong?
Jekyll sits down, staring at the ground, wringing his hands.
For a moment, there is silence between them.
JEKYLL
(bursting out suddenly)
Bee -- I - I've been thinking --
about us. I think your father's been
right all along....
BEATRIX
About what?
JEKYLL
I - I don't think we should ever
marry, that's all. I - I realized
it, last night. And - and I think
you ought to break it off.
(CONTINUED)
137.
269 CONTINUED: 269
Scene 47 - Heartbreaking Confrontation in the Garden
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
(slowly, unable to
believe)
What are you trying to tell me, Harry?
You don't know what you're saying...
look at me -!
JEKYLL
(his face averted)
Really, Bee --
BEATRIX
(pulling his shoulders
around)
Look at me, darling -!
JEKYLL
I mean - no matter how perfect things
seem at first - people make mistakes,
sometimes.
BEATRIX
(tears welling in her
eyes)
But, Harry...
(then, with the
horrible thought)
Oh... I see. You don't want me. You
don't love me any more. Is that it?
(stifling a sob)
Are you telling me you don't want
me?
JEKYLL
(wildly, breaking)
Want you? I love you and want you
more than --
(rises quickly, walks
away)
But I'm giving you up, do you hear?
I'm not worth even the sound of your
name!
Beatrix gets up and hurries to him as WE PAN.
BEATRIX
Oh, my darling - what's wrong? Tell
me!
JEKYLL
I've no right to you - I've thrown
it away!
BEATRIX
Nothing's done that can't be --
(CONTINUED)
138.
269 CONTINUED: (2) 269
JEKYLL
But it's done! I've destroyed paradise -
Our paradise -
BEATRIX
(the mother now)
Oh - you are ill - tell me what's
really wrong! Don't keep it pent up
inside. You've always said we could
discuss anything between us.
JEKYLL
There are things you can't voice in
Heaven. Just believe me...
(turning his back to
her)
You're giving me up, do you hear? Go -
go inside - now - while I can't see
you -!
BEATRIX
(turning him half to
her)
Darling - it's all right. Just take
me in your arms.
JEKYLL
Oh, don't my angel! Angel - Angel of
Heaven, don't say any more -!
BEATRIX
(putting her arms
around him)
There - there, darling - hold me
close. Don't think of anything - of
whatever it is - just hold me a
minute.
JEKYLL
(pulling her hand
from him)
No! No - I can't! I'd give my soul
to -- but I have no soul!
(he clenches his fist
and covers his face
with the other hand,
bowing his head)
I'm like -
(he pauses, searching
for the word)
- like the living dead...!
Beatrix now enfolds him in her arms again. His head rests on
her shoulder. His arms go around her, weakened for a moment
in his anguish.
(CONTINUED)
139.
269 CONTINUED: (3) 269
BEATRIX
(soothingly)
Oh, my poor dear suffering love. Be
quiet... s-s-h-don't say any more.
JEKYLL
(sobbing)
Oh, Bee - my darling -!
BEATRIX
(softly)
Rest now... rest...
They are quiet for a second. Then Jekyll lifts his head
quickly and starts as if to leave.
BEATRIX
(trying to hold him,
panicky)
I won't let you go. You love me - I
won't let you go.
JEKYLL
(his voice rising)
That's why I'm giving you up! Because
I'll love you till the end of time!
(raising his gaze
aloft, as he backs
away, Beatrix staring
after him aghast
that he is going,
that she can't hold
him)
This is my proof! This is my penance!
He turns and walks hurriedly o.s.
BEATRIX
(starting after him,
then stops)
Harry - come back - Harry --
She then breaks into violent sobs, falters, and sinks to the
ground, prone.
140.
270 FULL SHOT - END OF GARDEN 270
Scene 48 - The Hyde Transformation
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
is sobbing on the ground. WE PAN Jekyll as he comes around
the side of the house and stops. O.s. he hears her sobbing,
faintly. He is terribly tempted to go back. He half turns
and looks. He cannot stand the sight of what he sees. He
leans in weary torture against the side of the house, closing
his eyes. Suddenly a look of horror comes over his face. He
looks down at his hands. WE PAN DOWN to see his hand starting
to change. WE PAN UP to Jekyll's face. He looks down at his
other hand. His throat starts to constrict, his face to
change.
JEKYLL
(wildly, looking up)
Oh - no - no - don't let me - save
me - don't let me -!
But the metamorphosis is well on its way.
271 CLOSE SHOT - BEATRIX 271
She still lies on the ground, sobbing. Then, Jekyll's feet
and legs appear slowly in the SCENE. They stand right next
to her. She is aware of them. With a little sob, she half
rises, reaches out and enfolds the legs, pressing her cheek
against the knees.
BEATRIX
(murmuring)
Oh, you did come back... Oh, my
darling....
For answer there is an ugly chuckle o.s. Hyde's hands come
down into the frame and clutch her arms. Beatrix in
puzzlement, and then in dawning horror reacts to the chuckle
and the hands. In almost the same moment, Hyde lifts her up
and she is face to face with him. For a second, she is frozen
with fright, then screams as Hyde's face bends towards hers.
BEATRIX
(after her scream)
Father! Father..!
Hyde laughs wildly and starts to struggle with Beatrix.
141.
272 FULL PAN SHOT - SIR CHARLES 272
He is coming out of the drawing room on a dead run. WE PAN
HIM over to Beatrix and Hyde. Hyde drops Beatrix who faints
and slips to the ground. Sir Charles makes a gallant lunge
at Hyde, but Hyde sends him reeling against the wall. Then
with a wild animal laugh he leaps for his hat and stick. Sir
Charles, however, recovers in time to intercept his progress
around the fountain.
SIR CHARLES
(calling)
Help! Hobson - call the police!
Help -!
Hyde raises his stick and lays it across Sir Charles' head.
Sir Charles stumbles back and falls to the ground. Hyde leaps
on top of him like a panther, and bashes the stick against
Sir Charles' head three or four times in rapid succession.
The stick breaks with a final sickening blow. In the b.g.
Hobson and a footman come hurrying from the drawing room.
FOOTMAN
Here - what's going on -!
They spy Hyde and come after him. Hyde gets up and WE PAN
HIM the length of the garden on the run. Hobson kneels beside
Sir Charles' prostrate body as the footman gives chase after
Hyde around the corner of the house.
273 FULL SHOT - FRONT GATE 273
Hyde comes running from the garden. He stops for a second
and looks up the street.
274 EFFECT SHOT - JEKYLL'S ANGLE 274
A constable comes around the corner on the run, dimly
discernible under a gas light.
275 BACK TO HYDE 275
He runs o.s. down the street in the opposite direction just
as the footman appears and the constable comes running up.
FOOTMAN
(pointing in direction
of Hyde)
There he goes! It's the monster!
The constable runs o.s. after Hyde, blowing his whistle.
142.
276 FULL SHOT - MEWS 276
Hyde comes tearing down in toward camera. In a second, the
constable appears after him. Another man or two, passers-by
at the far entrance, take up the chase. Hyde leaps over a
fence. When the constable arrives at fence, he blows his
whistle again.
277 FULL SHOT - ANOTHER CONSTABLE - AT CORNER 277
He reacts to distant whistle, runs for it o.s.
278 LONG SHOT - HYDE - ANOTHER STREET 278
He runs past camera into b.g. A small group of idlers are
standing at the corner. They block his progress and he bowls
through them, knocking a couple down. Ad lib yells of surprise
and anger.
279 REVERSE SHOT - STREET 279
The two constables come in chase, followed by more people.
1ST CONSTABLE
Stop that man!
280 GROUP SHOT - AT CORNER 280
As constables come running up.
1ST MAN
(pointing)
That way, constable!
WE PAN AND PICK UP Hyde, his cape flying, leaping down the
street in the b.g. The rest give chase.
281 FULL PAN SHOT - HYDE - JEKYLL'S STREET 281
He comes flying along and darts up the walk to the house.
O.s. comes the sound of the constable's whistle.
282 CLOSE SHOT - HYDE - AT JEKYLL'S FRONT DOOR 282
He runs up the steps, vaults the balustrade and hurls his
body sidewise through the waiting-room window at the side of
the door.
283 FULL SHOT - INT. WAITING-ROOM 283
Hyde lands sprawling amidst the shattered glass. He scrambles
up and leaps out into the foyer.
143.
284 FULL SHOT - INT. FOYER - JEKYLL'S HOUSE 284
Hyde enters. Poole comes in from past camera.
POOLE
(recognizing Hyde)
Here, here - how did -?
Scene 49 - Hyde's Escape
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
and ducks out the back door toward the lab. Poole hurries to
the door, opens it. O.s. we hear crowd noises and whistles.
285 PAN EFFECT SHOT - HYDE 285
As he leaps across the bridge in the back courtyard to
Jekyll's laboratory.
286 FULL SHOT - INT. SMALL HALL - INT. LAB BUILDING 286
Hyde comes through door from courtyard, closes door, locks
it. Then he goes to door of lab, opens it, ducks inside, and
we hear him lock this door.
287 EXT. COURTYARD 287
Poole and the constables come running across the bridge.
POOLE
He's gone into the laboratory!
WE PAN THEM to the first door. They find it locked.
1ST CONSTABLE
(putting shoulder to
door)
Heave, Bill!
288 CLOSE SHOT - HYDE - INT. LAB 288
He is frantically looking for various vials to mix the potion.
He upsets and breaks things in his fury.
DISSOLVE TO:
289 GROUP SHOT - EXT. GARDEN - SIR CHARLES' HOME 289
A constable, the footman, Hobson and Lanyon are leaning over
Sir Charles' body. Lanyon is shaking his head woefully. The
constable shows Lanyon half of a stick.
290 CLOSE SHOT - BROKEN STICK WITH ITS SILVER HEAD 290
CONSTABLE'S VOICE (O.S.)
This is the weapon what done it,
Doctor.
144.
291 GROUP SHOT AGAIN 291
DR. LANYON
(taking stick, then
after a second)
Yes... I was afraid so.
(rising)
Come - I think I can take you to
your man.
DISSOLVE TO:
Scene 50 - The Transformation and Death of Hyde
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 7
Hyde is feverishly mixing the potion, having to make some of
its ingredients not already prepared. O.s., there is a crash
of door bursting. Then hammering on the laboratory door.
293 FULL SHOT - INT. HALL OF LAB 293
The courtyard door is down. The constables and Poole are
hammering at the door of the lab.
294 CLOSE SHOT - HYDE - INT. LAB 294
In his haste, he knocks over a large glass jar. It crashes.
295 BACK TO CONSTABLES AND POOLE - HALL 295
1ST CONSTABLE
(suddenly listening)
He's in there! Open up!
(then, as just silence
comes)
Come on, Bill!
Bill has run in with a crow-bar, and after two or three tries,
they break the door down.
296 PAN SHOT - POOLE AND CONSTABLES - INT. LAB 296
They come running down the stairs. As WE PAN WE PICK UP Jekyll
who is just staggering to his feet from the floor.
POOLE
(amazed)
Dr. Jekyll, sir! That frightful maniac
broke through the house and -
JEKYLL
I know. He struck me over the head.
(indicating, to
constable)
Quick, man! He went out by the back!
(CONTINUED)
145.
296 CONTINUED: 296
The constables hurry to the back door, o.s.
POOLE
I didn't even know you were home,
sir. Are you badly hurt?
JEKYLL
I'll - I'll be all right.
The two constables come from the back door.
1ST CONSTABLE
(to Jekyll)
This here door's locked.
JEKYLL
(impatiently, pointing
up stairs)
Then you better get round through
the front!
The two constables leap up the stairs, just as Lanyon, another
constable and an inspector in plain clothes come hurrying
in.
DR. LANYON
(looking at Jekyll
below)
Wait!
1ST CONSTABLE
(explaining)
He ducked through the back and locked
the door after him!
DR. LANYON
(in great strain)
No, he didn't! He's still down here.
They watch him, amazed, and follow down the steps to the lab
proper. He approaches Jekyll. Jekyll looks at him, tired,
wan. There are tears in Jekyll's eyes as he waits for the
word by Lanyon. Lanyon, too, is greatly affected. He seems
as though he can't say the word.
DR. LANYON
(finally gathers
himself - pointing
to Jekyll)
There - Heaven help him.
POOLE
(shocked)
Dr. Lanyon -!
(CONTINUED)
146.
296 CONTINUED: (2) 296
INSPECTOR
(Puzzled)
I know this gentleman. He's Dr.
Jekyll.
DR. LANYON
(tears in his eyes
now)
I know. Nevertheless, there's your
man.
INSPECTOR
You can't be serious, Dr. Lanyon. I -
DR. LANYON
(suddenly pointing)
Watch -!
For Jekyll has already started to turn back to Hyde again.
They all watch him in awe and horror as he goes through the
metamorphosis.
297 CLOSE SHOT - POOLE 297
He backs away slowly.
298 CLOSE SHOT - CONSTABLES AND INSPECTOR 298
Their jaws are dropping.
299 CLOSE SHOT - LANYON 299
He looks away. He cannot stand it.
300 CLOSE SHOT - HYDE 300
For he is now almost completely Hyde. He comes out of his
writhings as such. He looks about at the others, as though
he has just seen them for the first time. He is more bestial
and awful in physique and manner than we have ever seen him
in the transformation. With a sudden yell he throws a huge
jar at the officers, and ducks around the table. (NOTE: In
the following ensuing struggle ad lib commands from the
inspector should come at the proper time: "Grab him - hold
him - don't let him get up those stairs - guard that door"....
etc.) Hyde practically wrecks the lab in eluding his pursuers.
He knocks them this way and that. He leaps across tables -
up on shelves, pulling them down. He growls and snarls and
laughs in glee every time he eludes them.
301 CLOSE SHOT - LANYON AND INSPECTOR 301
This during middle of fight. Lanyon sees the gun in the
inspector's hand.
(CONTINUED)
147.
301 CONTINUED: 301
DR. LANYON
(pleading)
Shoot him, inspector - shoot him!
That would be his wish!
INSPECTOR
(grimly)
Must take him if we can!
(darting o.s.)
Hold him now!
302 FULL SHOT - GROUP 302
The constables seem just about to have Hyde cornered, when
with another wild leap, he gets to a set of surgical
instruments, and pulls out a large knife. With another yell,
he makes a leap for freedom, brandishing his weapon. As he
gets by the large apparatus on the table, the inspector lets
him have it with the revolver. Hyde wheels, drops across the
table, shattering some of the apparatus. They start crowding
around him in silent awe, Poole crying with audible sobs.
POOLE
(like a plea)
Dr. Jekyll... Dr. Jekyll.....!
303 CLOSE SHOT - HYDE'S HEAD - PROFILE 303
There is a strange light on it. As if in answer to Poole's
plea, the face starts slowly and mystically changing back to
that of the handsome Jekyll - a face peaceful in death - as
if in death - without struggle or torture - Jekyll was
restored to himself for Eternity. WE PULL BACK SLOWLY for a
tableau.
DR. LANYON
(line to come)
FADE OUT:
THE END
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| jekyll | Dr. Jekyll starts as a respected scientist with groundbreaking research but becomes increasingly consumed by his inner demons and the consequences of his actions. As he delves deeper into his experiments, his relationships with Beatrix and Sir Charles become strained, leading to a pivotal moment where he must confront his darker side and make a difficult decision to ultimately find redemption and inner peace. | The character arc for Dr. Jekyll is well-developed, but it could benefit from more nuanced exploration of his internal struggles and the consequences of his actions. The transition from respected scientist to tormented soul could be more gradual and impactful, with clearer motivations driving his decisions and conflicts. | To improve the character arc, consider delving deeper into Dr. Jekyll's psyche and the reasons behind his descent into darkness. Show more of his internal struggles and moral dilemmas through his interactions with other characters and his own inner monologues. Develop his relationships with Beatrix and Sir Charles to add depth to his character and provide more context for his ultimate redemption. |
| dr. jekyll | Dr. Jekyll's character arc follows his transformation from a compassionate and dedicated physician to a conflicted and tormented scientist. Initially driven by a desire to help others, he becomes consumed by his scientific pursuits and the darker aspects of his personality represented by Mr. Hyde. As he struggles to control his inner demons and protect those around him, Dr. Jekyll's moral compass is put to the test, leading to a profound internal conflict and eventual downfall. | The character arc of Dr. Jekyll is well-developed and showcases his internal struggles effectively. However, there could be more emphasis on the gradual descent into darkness and the psychological toll of his experiments. Additionally, exploring the impact of his actions on his relationships with others could add depth to his character development. | To improve the character arc of Dr. Jekyll, consider incorporating more scenes that highlight the gradual transformation from a compassionate physician to a conflicted scientist. Showcasing the emotional turmoil and moral dilemmas he faces as he delves deeper into his experiments can add complexity to his character. Additionally, exploring the consequences of his actions on his relationships with Beatrix and other characters can provide a more nuanced portrayal of his internal struggles. |
| beatrix | Beatrix's character arc in the screenplay follows her journey from a spirited and independent young woman to a compassionate and understanding character who becomes entangled in the turmoil surrounding Jekyll and Hyde. She experiences love, heartbreak, and inner conflict as she navigates her feelings for Dr. Jekyll and her father's expectations. Ultimately, Beatrix learns to prioritize her own happiness and emotional well-being, finding strength and resilience in the face of danger and despair. | The character arc for Beatrix is well-developed and provides a compelling journey for her throughout the screenplay. However, there could be more emphasis on Beatrix's internal struggles and growth, showcasing her emotional depth and complexity further. Additionally, exploring Beatrix's relationships with other characters besides Dr. Jekyll could add depth to her character development. | To improve Beatrix's character arc, consider incorporating more scenes that delve into her internal conflicts and emotional journey. Show her grappling with her feelings for Dr. Jekyll and her father's expectations in a more nuanced way, highlighting the complexity of her character. Additionally, explore Beatrix's interactions with other characters to showcase different facets of her personality and relationships. |
| sir charles | Sir Charles starts off as a skeptical and cautious figure, questioning Jekyll's research and decisions. As the story progresses, he becomes more reflective and caring towards his daughter, ultimately showing a softer side and giving his consent to her relationship with Jekyll. His arc culminates in a moment of courage and determination when he confronts Hyde to protect his daughter. | The character arc for Sir Charles is well-developed, showing a progression from skepticism to acceptance and ultimately to a moment of bravery. However, there could be more consistency in his character traits throughout the screenplay. It would also be beneficial to explore his internal conflict more deeply, especially in relation to his daughter's happiness and his duty as a father. | To improve the character arc for Sir Charles, consider adding more scenes that delve into his internal struggles and conflicting emotions. Show more moments of vulnerability and reflection to make his character more nuanced and relatable. Additionally, ensure that his actions and decisions are consistent with his established traits and motivations throughout the screenplay. |
| dr. lanyon | Dr. Lanyon starts off as a supportive friend to Dr. Jekyll, but as he becomes entangled in the conflict between Jekyll and Hyde, he is forced to confront the consequences of Jekyll's experiments. This leads him to a breaking point where he must choose between loyalty to his friend and his own moral convictions. Ultimately, Dr. Lanyon's arc culminates in a moment of moral clarity and courage as he takes a stand against the darkness unleashed by Jekyll's actions. | The character arc for Dr. Lanyon is well-developed and provides a compelling journey for the character. However, there could be more emphasis on his internal struggle and emotional turmoil as he grapples with the ethical dilemmas presented to him. This would add depth to his character and make his ultimate decision even more impactful. | To improve the character arc for Dr. Lanyon, consider adding scenes that delve deeper into his internal conflict and moral struggle. Show moments of doubt, fear, and inner turmoil as he wrestles with the consequences of Jekyll's experiments. This will make his eventual decision to take a stand more powerful and emotionally resonant for the audience. |
| mr. hyde | Mr. Hyde starts off as a dark and manipulative character who preys on Ivy's vulnerabilities, using charm and deception to achieve his sinister goals. As the story progresses, Hyde becomes more violent, unpredictable, and dangerous, driven by a sense of power and control. Ultimately, Hyde's malevolent nature leads to his downfall as he spirals into chaos and destruction, showcasing the consequences of unchecked ambition and the exploration of forbidden knowledge. | The character arc for Mr. Hyde is well-developed and effectively showcases his descent into darkness. However, there could be more emphasis on the internal struggle between Dr. Jekyll and Mr. Hyde, highlighting the psychological battle between good and evil. Additionally, exploring Hyde's motivations and backstory could add depth to his character and make his transformation more impactful. | To improve the character arc, consider incorporating flashbacks or inner monologues to delve into Hyde's past and motivations. This will provide insight into his descent into darkness and add complexity to his character. Additionally, focus on the emotional turmoil and conflict between Dr. Jekyll and Mr. Hyde, highlighting the internal struggle for control. By exploring these aspects, the character arc for Mr. Hyde will be more nuanced and engaging for the audience. |
| ivy | Ivy's character arc follows her journey from a confident and independent barmaid to a vulnerable and manipulated victim of Mr. Hyde's abuse. She starts off as flirtatious and outgoing, but as she gets entangled in the dark world of Dr. Jekyll and Mr. Hyde, she becomes more skeptical and resilient. However, her vulnerability to manipulation ultimately leads to her desperate plea for help and protection. | The character arc for Ivy is well-developed, showcasing her transformation from a confident young woman to a victim of abuse. However, there could be more emphasis on her inner strength and resilience throughout the screenplay. Additionally, Ivy's transition from flirtatious to vulnerable could be more nuanced and gradual, allowing for a deeper exploration of her character. | To improve Ivy's character arc, consider incorporating moments of inner strength and resilience in her interactions with Hyde. Show her gradual realization of the danger she is in and her attempts to break free from his manipulation. Additionally, explore Ivy's backstory and motivations further to provide a deeper understanding of her vulnerability and willingness to trust others. |
| hyde | Hyde starts off as a menacing and manipulative character who preys on Ivy's vulnerability and fear. As the story progresses, his inner turmoil and struggle between good and evil come to light as he transforms into Jekyll, becoming physically violent. Ultimately, Hyde must confront his dark nature and the harm he has caused, leading to a resolution where he either embraces his evil side or seeks redemption. | The character arc for Hyde is compelling and showcases his inner conflict between good and evil. However, the transition from being manipulative and sinister to physically violent could be further developed to show a clearer progression of his descent into darkness. Additionally, more exploration of Hyde's motivations and backstory could add depth to his character and make his transformation more impactful. | To improve the character arc, consider adding scenes that delve into Hyde's past traumas or experiences that have shaped his dark nature. Show more gradual changes in his behavior and mindset as he becomes more violent, highlighting the internal struggle he faces. Additionally, explore the consequences of his actions on those around him to add emotional depth to his character arc. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Emotional Scenes Tend to Score Higher | Scenes with strong emotional content (e.g., intense, compassionate, emotional) generally receive higher overall grades (8 or 9) compared to scenes with less emotional weight. |
| Scenes with High Emotional Impact Often Feature Character Changes | Scenes that evoke a strong emotional response from the audience (Emotional Impact score of 8 or higher) frequently coincide with significant character changes or developments. |
| Suspenseful Scenes are Often Intense and Tense | Scenes classified as suspenseful often exhibit high levels of intensity and tension, as indicated by their respective scores in those categories. |
| Dark Scenes Tend to be Intense and Mysterious | Scenes characterized as dark frequently align with high scores in intensity and mystery, creating an atmosphere of intrigue and foreboding. |
| High-Stakes Scenes Often Advance the Story | Scenes with significant stakes or consequences for the characters tend to play a crucial role in moving the story forward, suggesting that the author effectively uses tension to drive the narrative. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong command of character development, dialogue, and thematic depth, creating engaging and thought-provoking narratives. The writer excels in building tension, emotional depth, and conflict, showcasing a talent for immersive storytelling.
Key Improvement Areas
Dialogue
The writer's dialogue is already engaging, but there is room for improvement in creating more nuanced and authentic character interactions.
Character Dynamics
While the characters are well-developed, further exploration of conflicting internal and external goals can add depth to their relationships and motivations.
Thematic Depth
The thematic exploration is strong, but delving deeper into philosophical conflicts and moral dilemmas can enhance the narrative's complexity.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Screenplay | Read 'Screenplay: The Foundations of Screenwriting' by Syd Field | This book provides valuable insights into screenplay structure, character development, and dialogue, which can enhance the writer's craft in key areas like dialogue and character dynamics. |
| Exercise | Practice writing scenes with conflicting internal and external goals to deepen character motivations and conflicts.Practice In SceneProv | This exercise will help the writer refine their ability to create engaging character interactions and thematic depth. |
| Video | Watch films with strong philosophical debates to observe how tension and conflict are portrayed on screen. | Visual study of philosophical debates can enhance the writer's understanding of translating intellectual discussions to the screen, improving thematic depth. |
Additional Notes: Overall, the writer shows great potential in crafting compelling narratives with rich character dynamics and thematic depth. By focusing on enhancing dialogue authenticity, character relationships, and thematic exploration, the screenplay can reach even greater heights of emotional and intellectual resonance.
Stories Similar to this one
| Story | Explanation |
|---|---|
| Frankenstein | Both stories involve a scientist who creates a monstrous creature that escapes his control. |
| Dr. Jekyll and Mr. Hyde | This is the original novella that the screenplay is based on. |
| The Incredible Hulk | A scientist accidentally transforms himself into a raging monster that he must control. |
| Spider-Man | A teenager gains superhuman abilities after being bitten by a radioactive spider, but he must overcome his inner demons to become a hero. |
| The Wolf Man | A man is cursed to transform into a werewolf during the full moon. |
| Buffy the Vampire Slayer | A teenage girl is chosen to fight vampires and other supernatural beings. |
| The Exorcist | A young girl is possessed by a demon, and a priest must perform an exorcism to save her. |
| The Shining | A family moves into a haunted hotel, and the father becomes possessed by an evil spirit. |
| Psycho | A young man murders a woman and takes over her motel, using it as a place to kill other guests. |
| The Silence of the Lambs | A young FBI trainee is assigned to interview a brilliant but manipulative serial killer in order to catch another serial killer. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Dr. Jekyll and Mr. Hyde | Split personalities, good and evil. | The idea of a person having two distinct personalities, one good and one evil, is a common trope in literature and film. |
| The Mad Scientist | Jekyll is a brilliant scientist who becomes obsessed with his work and ignores the consequences. | The trope of the mad scientist is a common one, and it often involves a scientist who is so obsessed with their work that they ignore the consequences of their actions. |
| The Damsel in Distress | Beatrix is a beautiful and innocent woman who is pursued by the evil Hyde. | The damsel in distress is a common trope in literature and film, and it often involves a beautiful and innocent woman who is pursued by a villain. |
| The Byronic Hero | Hyde is a charismatic and dangerous figure who is both attractive and repulsive. | The Byronic hero is a common trope in literature and film, and it often involves a charismatic and dangerous figure who is both attractive and repulsive. |
| The Double | Jekyll and Hyde are two sides of the same person. | The double is a common trope in literature and film, and it often involves two characters who are either identical or very similar and who represent different aspects of the same person. |
| The Gothic | The film's setting is dark and atmospheric, and it is filled with themes of horror and suspense. | The Gothic is a common trope in literature and film, and it often involves a setting that is dark and atmospheric and filled with themes of horror and suspense. |
| The Victorian Era | The film is set in the Victorian era, and it reflects the social and cultural norms of the time. | The Victorian era is a common setting for literature and film, and it often reflects the social and cultural norms of the time. |
| The Religious Subtext | The film explores themes of good and evil, and it draws on religious imagery and symbolism. | The religious subtext is a common trope in literature and film, and it often explores themes of good and evil and draws on religious imagery and symbolism. |
| The Social Commentary | The film explores issues of class, gender, and morality. | The social commentary is a common trope in literature and film, and it often explores issues of class, gender, and morality. |
| The Tragic Hero | Jekyll is a tragic hero who is ultimately destroyed by his own hubris. | The tragic hero is a common trope in literature and film, and it often involves a character who is destroyed by their own hubris. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Good vs. Evil | The battle between good and evil is explored throughout the film, with Dr. Jekyll representing the good side and Mr. Hyde representing the evil side. The film shows how even the best of us can be tempted by evil and the importance of resisting those temptations. | This theme is a classic in literature and film, and it is explored in a unique way in this film. The film shows how even the best of us can be tempted by evil, and the importance of resisting those temptations. | ||||||||||||
Strengthening Good vs. Evil:
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| The Dangers of Science | The film also explores the dangers of science, and how it can be used for evil. Jekyll's experiments with the potion that transforms him into Hyde lead to his downfall, and the film shows how science can be used to create monsters, both physical and psychological | This theme is relevant in today's world, as scientists continue to push the boundaries of what is possible. The film serves as a warning about the importance of using science responsibly. | ||||||||||||
| The Power of Love | The film also explores the power of love, and how it can help to overcome evil. Jekyll's love for Beatrix helps to keep him from completely succumbing to Hyde, and it is ultimately love that saves him in the end. | This theme is a powerful one, and it is one that audiences can relate to. The film shows how love can help to overcome even the darkest of evils. | ||||||||||||
| The Importance of Self-Control | The film also explores the importance of self-control, and how it is essential for resisting temptation. Jekyll's lack of self-control leads to his downfall, and the film shows how important it is to be able to control one's own desires. | This theme is a valuable one, and it is one that everyone can learn from. The film shows how important it is to be able to control one's own desires, and how a lack of self-control can lead to disaster. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by a blend of eloquence, psychological depth, and social commentary. |
| Voice Contribution | The writer's voice contributes to the script by enhancing the atmosphere, emotional depth, and thematic richness of the screenplay. |
| Best Representation Scene | 36 - A Proposal and a Threat |
| Best Scene Explanation | This scene is the best representation of the writer's voice due to its effective combination of character-driven dialogue and descriptive narrative to create a compelling and immersive setting. |
Originality
- Overall originality score: 9
- Overall originality explanation: The screenplay exhibits a high level of originality in several aspects: 1. **Unique premise and exploration of human nature**: The central premise of the duality of human nature and the struggle between good and evil within an individual is a classic theme but the screenplay explores it in a fresh and engaging manner. 2. **Compelling portrayal of transformation**: The physical and psychological transformation of Dr. Jekyll into Mr. Hyde is a central element of the story and is handled with exceptional skill, effectively conveying the inner turmoil and moral struggles of the characters. 3. **Exploration of moral dilemmas**: The screenplay delves into profound moral dilemmas, examining the consequences of one's actions and the ethical implications of scientific experiments that push the boundaries of human knowledge. 4. **Unconventional character dynamics**: The interactions between the main characters, particularly the relationships between Jekyll and Hyde, and Jekyll and his friends and family, are complex and unconventional, adding depth and intrigue to the narrative. 5. **Gothic and suspenseful atmosphere**: The screenplay skillfully creates a Gothic and suspenseful atmosphere, building tension and a sense of unease throughout the story, effectively engaging the audience on an emotional level.
- Most unique situations: Some of the most unique situations in the screenplay include: 1. **Jekyll's public demonstration of his theories**: In a scene that is both captivating and thought-provoking, Jekyll presents his controversial theories on the duality of human nature and the potential for evil within everyone, sparking heated discussions and challenging societal norms. 2. **Hyde's interactions with the barmaid**: The scenes between Hyde and the barmaid provide a fascinating exploration of Hyde's manipulative nature and his ability to charm and exploit others, highlighting the dark and predatory aspects of his character. 3. **Lanyon's confrontation with Hyde**: During a tense and pivotal moment, Lanyon encounters Hyde outside his house and demands answers about the stolen vials, leading to a confrontation that reveals Hyde's true identity and motives. 4. **Jekyll's confrontation with Beatrix and renunciation of their engagement**: In a heart-wrenching scene, Jekyll confesses his inner turmoil and the danger he poses to Beatrix, ultimately deciding to renounce their engagement to protect her from the evil within him. 5. **The final transformation and death of Jekyll**: The climactic scene where Jekyll transforms back into Hyde in front of the police and is shot, highlighting the tragic consequences of his scientific experiments and the ultimate triumph of his evil alter ego.
- Overall unpredictability score: 8.5
- Overall unpredictability explanation: The screenplay maintains a high level of unpredictability throughout its runtime, keeping the audience engaged and guessing what will happen next: 1. **Unforeseen consequences of Jekyll's experiments**: The screenplay skillfully portrays the unexpected and horrifying consequences of Jekyll's scientific experiments, as his attempts to separate good and evil within himself lead to the creation of a monstrous alter ego. 2. **Gradual revelation of Hyde's true nature**: The screenplay cleverly conceals Hyde's true identity and motives for much of the story, gradually revealing his malevolent nature through his actions and interactions with others, building suspense and keeping the audience on edge. 3. **Unexpected plot twists**: The screenplay includes several unexpected plot twists that subvert expectations and challenge the audience's assumptions, such as the revelation that Lanyon is aware of Hyde's existence and the tragic demise of Sir Charles. 4. **Ambiguous moral choices**: The screenplay presents morally ambiguous choices and situations, forcing characters to make difficult decisions with unforeseen consequences, adding depth and complexity to the narrative. 5. **Uncertain fate of Jekyll and Hyde**: The screenplay leaves the ultimate fate of Jekyll and Hyde uncertain, with the final scene suggesting a possible return of Hyde or a permanent transformation, keeping the audience guessing and pondering the implications of the story.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal is to navigate his emotions and desires for love, balance his personal and professional life, and come to terms with his dual identity as Jekyll and Hyde. |
| External Goals | The protagonist's external goal is to maintain a respectable reputation, pursue his scientific research despite skepticism, navigate societal expectations, protect his loved ones, and come to terms with the consequences of his actions. |
| Philosophical Conflict | The overarching philosophical conflict revolves around the duality of human nature, the boundaries of scientific experimentation, and the consequences of tampering with societal norms and personal desires. |
Character Development Contribution: The protagonist's internal and external goals evolve throughout the screenplay, leading to a deeper exploration of his struggles with identity, love, ambition, and morality. The conflicts he faces push him to confront his darker impulses, come to terms with his dual nature, and make difficult choices that shape his character development.
Narrative Structure Contribution: The goals and conflicts in the screenplay drive the storyline forward, creating tension and suspense as the protagonist navigates through moral dilemmas and societal pressures. The evolution of the protagonist's goals adds depth to the narrative, revealing his internal struggles and external challenges as he grapples with the consequences of his actions.
Thematic Depth Contribution: The goals and conflicts in the screenplay contribute to the thematic depth by exploring themes of duality, morality, love, ambition, and the boundaries of science. The protagonist's journey highlights the complexity of human nature, the consequences of unchecked ambition, and the eternal struggle between good and evil within each individual.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: Victorian-era London is depicted as a place of societal norms and class distinctions, with a focus on the Anglican church and its influence on the community. The environment is often dark and ominous, reflecting the inner turmoil and moral struggles of the characters.
- Culture: Religious principles, moral values, and the celebration of Queen Victoria's Golden Jubilee play a significant role in shaping the culture. Social hierarchy is evident in the seating arrangements in the church, with the less well-to-do parishioners seated separately from the well-dressed families.
- Society: Class divide is evident in the seating arrangements in the church, with the less well-to-do parishioners seated separately from the well-dressed families. The medical practices and ethics of the time are showcased in the hospital setting, highlighting the scientific advancements and ethical dilemmas of the era.
- Technology: Technological aspects are limited, as the screenplay is set in the 19th century. However, the use of medical equipment and vials in the hospital setting showcases the scientific advancements of the time.
- Characters influence: The societal norms and class distinctions shape the characters' interactions and actions. The characters' struggles with mental health issues and ethical dilemmas are influenced by the medical practices and ethics of the time. The physical environment, with its dark and ominous atmosphere, reflects the inner turmoil and moral struggles of the characters.
- Narrative contribution: The physical environment, with its dark and ominous atmosphere, contributes to the sense of tension and suspense. The societal norms and class distinctions create conflict and drive the plot forward. The medical practices and ethics of the time provide a backdrop for the characters' ethical dilemmas and struggles with mental health issues.
- Thematic depth contribution: The physical environment, societal norms, and medical practices contribute to the exploration of themes such as good and evil, the duality of human nature, and the struggle between science and morality.
Story Engine Analysis
central conflict
The battle between good and evil within the protagonist, Dr. Jekyll, and the consequences of his experiments in separating these aspects of the human soul.
primary motivations
- Jekyll's desire to explore the duality of human nature and his belief in the potential for good and evil to coexist within an individual.
- Hyde's inherent evil and his desire to indulge in his darker impulses without restraint.
- Poole's loyalty to Jekyll and his concern for his well-being.
- Beatrix's love for Jekyll and her desire for a life together.
- Sir Charles' disapproval of Jekyll's experiments and his protective nature towards Beatrix.
catalysts
- Jekyll's discovery of the formula that allows him to transform into Hyde.
- The murder of Mr. Higgins during one of Jekyll's experiments.
- Hyde's attack on Sir Charles, which leads to his death.
barriers
- Jekyll's struggle to control his transformation into Hyde.
- Hyde's cunning and manipulative nature.
- Sir Charles' opposition to Jekyll's marriage to Beatrix.
- The prejudice and fear of society towards Hyde.
themes
- The duality of human nature and the struggle between good and evil.
- The consequences of scientific hubris and the dangers of tampering with natural order.
- The power of love and the sacrifices one is willing to make for it.
- The destructive nature of secrecy and the importance of facing one's true self.
stakes
- Jekyll's life and the lives of those around him.
- The purity of Jekyll's soul and his relationship with Beatrix.
- The safety and well-being of society.
uniqueness factor
The exploration of the psychological and moral implications of the duality of human nature, through the use of a fantastical transformation element.
audience hook
The suspense and horror generated by the transformation of Jekyll into Hyde, and the question of whether Jekyll will succumb to his darker impulses.
paradoxical engine or bisociation
The idea that good and evil are inseparable and interdependent, as represented by the duality of Jekyll and Hyde.
paradoxical engine or bisociation 2
The notion that a seemingly virtuous person can harbor a monstrous inner self, and vice versa.
Engine: Gemini
Screenplay Rating:
Consider
Executive Summary
The screenplay of 'Dr. Jekyll and Mr. Hyde' is a compelling adaptation of the classic novel, with strong character portrayals, vivid transformation scenes, and a thought-provoking exploration of good and evil. However, the pacing could be improved in the middle section, and there are opportunities to further develop the characters of Ivy and explore the societal context of the story. Overall, the screenplay has the potential to be a successful film with some revisions.
Strengths
- Strong opening scene that immediately establishes themes and conflict. high ( Scene 1 (1) Scene 2 (9) Scene 7 (36) )
- Jekyll's passion for his research and his belief in its potential are conveyed convincingly, making him a compelling protagonist. high ( Scene 5 (22) Scene 9 (46) Scene 10 (54) )
- The love story between Jekyll and Beatrix is well-developed and adds emotional depth to the narrative. medium ( Scene 12 (70) Scene 13 (72) Scene 22 (155) Scene 36 (212) )
- The transformation scenes are vividly described and capture the horror and fascination of Jekyll's metamorphosis. high ( Scene 20 (137X) Scene 21 (150) )
- Hyde's character is effectively portrayed as both charismatic and terrifying, highlighting the duality of human nature. high ( Scene 25 (174) Scene 26 (179) Scene 27 (188) Scene 30 (196) Scene 33 (205) Scene 34 (205C) )
Areas of Improvement
- The pacing of the screenplay could be improved in the middle section, where the focus on Jekyll's experiments slows down the narrative momentum. medium
- Ivy's character arc feels underdeveloped and her motivations are not fully explored. medium ( Scene 31 (202) )
- The ending could be more impactful and explore the consequences of Jekyll's actions in greater depth. medium
MissingElements
- The screenplay could benefit from exploring the societal context of Victorian London and how it contributes to the themes of repression and duality. medium
- There is an opportunity to delve deeper into the psychological aspects of Jekyll's transformation and the internal struggle between good and evil. medium
NotablePoints
- The screenplay effectively uses dialogue to convey the philosophical and moral questions at the heart of the story. high
- The use of music as a motif throughout the screenplay adds emotional resonance and symbolism. medium ( Scene 11 (64) Scene 12 (70) )
Engine: GPT4
Screenplay Rating:
Consider
Executive Summary
The screenplay for 'Dr. Jekyll and Mr. Hyde' offers a compelling exploration of duality and the human psyche through the well-executed character arc of Dr. Jekyll. The transformation scenes are particularly strong, providing the horror and suspense that would attract audiences. However, the pacing and development of secondary characters could be improved to enhance the overall narrative.
Strengths
- The screenplay opens with a strong and engaging scene that sets the tone for the dual nature of the main character. high ( Scene 1 (1) )
- The transformation scenes are vividly described, enhancing the horror and suspense elements of the screenplay. high ( Scene 10 (10) )
- The character development of Dr. Jekyll is well-executed, showing his internal conflict and descent into madness. high ( Scene 14 (14) )
- The dialogue is sharp and engaging, particularly in scenes where Jekyll interacts with other characters about his controversial experiments. medium ( Scene 22 (22) )
- The climax is effectively dramatic, providing a satisfying and thematic conclusion to the story. high ( Scene 50 (50) )
Areas of Improvement
- Some scenes, particularly in the middle of the screenplay, could benefit from tighter pacing to maintain suspense. medium ( Scene 5 (5) )
- The motivations of secondary characters are sometimes unclear and could be better developed to enhance the story. medium ( Scene 8 (8) )
- There are occasional lapses in tone that could be smoothed out to keep the atmosphere consistent. low ( Scene 3 (3) )
- The use of horror elements sometimes overshadows the psychological depth of the story, which could be balanced better. medium ( Scene 12 (12) )
- The scientific explanations are sometimes too complex and could be simplified for clarity and better audience engagement. low ( Scene 17 (17) )
MissingElements
- The screenplay could benefit from more scenes showing the impact of Jekyll's transformation on the wider community. medium ( Scene 20 (20) )
NotablePoints
- The opening scene effectively sets up the story's central themes and hooks the audience's interest. high ( Scene 1 (1) )
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 9 | Dr. Jekyll: Good and evil are so close as to be chained together in the soul. Man isn't truly one, but two. |
| 12 | Dr. Jekyll: You and I are in love. Such a small word for such a great thing! |
| 41 | Hyde: You'll have what you have longed for. |
| 42 | Hyde: You will have what you have longed for. |
| 45 | Dr. Jekyll: I'm a murderer, John. A murderer! |