LiprReTTO VocaL Book Gonevived for the stage by Steve Cuden and Frank Wildhorn boobund Lyris by Leslie Bricusse ved y Frank Wildhorn All songs are: Lyries by Leslie Bri€usse and Music by Frank Wildhorn, except “Alive” (including “Alive (reprise)"), “First Transformation”, “His Work and Nothing Move”, “Once(Upon a Dream’, and “Murder! Murder!”, which have Lyrics by Steve Cuden, Leslie Bricusse & FrankWildhorn and Music by Frank Wildhorn NOTICE: DO NOT. DEFAC ould you find iytecenary to mark ces or ats sea softblack lead pencil aly NOT FOR SALE * This book is renced for the pérind specified in pour contract [trem propery af prop Music Theatre Incernatianal 421 West Sth Siret New York, NY 10019 212) 541-4684 wow MTTShows.com Copyright © Words by Leslie Bricusse, Music by Prank Wil lage and Screen Music, Lid. (BMI)/Cherry Lane Music Publishing Company, Inc. (ASCAP)/ DreamWorks Songs (ASCAP}/ Les Etoiles De La Musique (ASCAP)/Sc ja Music, Inc. (ASCAP]/ Worldwide rights for Stage and Sersen Mi Worldwide rights for DreamWorks Songs/Les Btoiles De La Musique/Scaramanga Music, [n Music Publishing Company, Inc. (ASCAP) All Rights Reserved. Used by Permission administered by CherryIn accordance with the terms and conditions specified in your perfor- mance license, all music, tyrics and dialogue contained herein are the property of the Authors and are fully protected by copyright. You are not permitted to make any changes to the music, lyrics or dialogue of the Play, including the interpolation of new material and/or the exclusion of existing material, Any changes shall consti- tedlea wilful infringement of said copyright and will subject you to all theCriminal penalties and civil liabilities under the United States Copyright’Act. This book may hobbeduplicated and must be returned at the conclu- sion of your productions, This Play is the property of its Authors. Remember, you have Yerttéd, these materials and been granted a performance license, You Thal not duplicate any portion of these materials, disseminate them in_ay way, in whole or in part, including electronic or digital tran$nission and posting on the Internet, or use them for performances other Han those specified in your license agreement. Music THEATRE INTERNATIONAL 421 West 54th Street New York NY 10019 (22) 541-4684 Music THEATRE INTERNATIONALCHARACTERS GABRIEL JOHN UTTERSON Sik Danvers Carew AN INMATE HENRY JEKYLL ‘SIMON STRIDE LADY BEACONSFIELD THE BISHOP OF BASINGSTOKE LORD SAVAGE GenzRat Lord Guossor SIR ARCHIBALD PROOPS, AN ORDERLY Ewa CAREW Lucy Harris: NELLIE, A PROSTITUTE ‘SPIDER, A PIMP POOLE, MANSERVANT BISSE', APOTHECARY EDWARD HYDE PropLe oF LONDON: Aristocrats, Street people, Prostitutes, Servants, Society Guests, Policemen, CustomersMusical NUMBERS ACT 1 Acr2 1. Prologue 25, Murder, Murder 2. Before Lost in Darkness 26, Ema in the Lab 4. Lost in the Darkness 27, Once Upon a Drew 4.1 Need to Know 28, Streak of Madness 5. Fade 29, In His Eyes 6, Beat f Governors 30, Before Dangerous 7. Pursue the “Trashy Facade Reprise 1 31. Dangerous Game 8. Engagement Party 32, Facade Reprise 2 9. Before Take Me Aeeim" 33, U & Hin the Lab 10. Take Me As I Am 34, Angst 2 11 Letting Go 35. No. One Knows — Reprise 12, Outside the Dregs 36, A New Life 13. Bring On The Men 37, Luey's Death 14. Lucy & Jekyll at the Dregs 38, Conffuntation 15, Spider Underscore BWeFacade Reprise 3 16. Outside Jekyll’ LAB 40. Tie Wedding 17. This isthe Moment 41. Bows 18, Transformation 42. Exit Musi’ 19. Alive 20. Jekyl's Study 21. His Work and Nothing More 22. Sympatity, Tenderness 23, Some Like You 24, Alive Reprise ~iv—Pekyeu) &)Hyoe -tt ACT 1, PROLOGUE Strange animal noises and threatening technological thrumts,building to an atmosphere of ontinous anticipation. A VOICE, iuished and fercered, out of the darkness. Ree JEKYLL (voice-over) In each of usythere are two natures. If this primitive duality of man — good and evil — could behotised in separate identities, life would be relieved of all tha able. [tis the curseof mankind that these polar twins should be constantly is unbear- struggling Transformation. UTTERSON, a lawyer, stands isolated in space. HE speaks to the audience UTTERSON In the Autunin of 1888, my friend Henry Jekyll embarked on a series of scientific experiments that he hoped might altet our notions of good and evil. How could I have known that they would also transférm his soul, And mine as well. = from UTTERSON and we are in. Transformation. LIGHT fil [Pea ea te eee SCENE 1 A nightmarish HOSPITAL ward — or is ita PRISON? MUSIGunder JERYLL and DANVERS DANVERS He's beyond help, Henry. and ANOTHER FIGURE, silent -a third man, a PATIENT ~ restrained toa metal bed in front of the white curtain, stares with strange eyes at a fixed point in front of tim. He seems to listen, but we cannot know if he hears JEKYLL Sie Danvers, he still has a soul — as pure and as good as yours ot mine. But he’s, trapped in a dark and terrible world. Madness is the cruelest of all prisons. There must be a way to help him,er PeKyeL) &) Hy oe DANVERS Death will help him, Henry. JEKYLL (dead still) My theories convince me there is a better solution. DANVERS Your theories are more dangerous than he is. Your colleagues say you are trespassing, on hallowed ground when you experiment with the human mind. JEKYLL. My colleagues’ are cowards, afraid of what they don’t understand. How can we call ourselves civilized/if we are not prepared to help him, and every wretched soul like him? (the SHADOW ldoks towards the Patient) DANVERS 1 admire your tenacity, Henry, but gestion your philosophy. You're a gifted man Use your gifts wisely. DANVERS is gone. JEKYLL comes to the PATIENT. Looké clesely info him. #3 — Lost in the Darkness JEKYLL LOST IN THE DARKNESS, SILENCE SURROUNDS YOU. ONCE THERE WAS MORNING — NOW ENDLESS NIGHT IF 1 COULD REACH YOU, I'D GUIDE YOU AND TEACH YOU TO WALK FROM THE DARKNESS: BACK INTO THE LIGHT. DEEP IN YOUR SILENCE. PLEASE TRY TO HEAR ME: I'LL KEEP YOU NEAR ME, TILL NIGHT PASSES BY. [WILL FIND THE ANSWER.Pekycu) &) Hyoe I'LLNEVER DESERT YOU — I PROMISE YOU THIS TILL THE DAY THAT I DIE ..! The MUSIC continues under as he tenderly kisses the OLD MAD embraces him. W's cheek and JEKYLL Goodnight, father. The OLD MAN siares into space, unheeding, a haunting image. JEKYLL agon questioning Eee JEKYLL I NEED TO. KNOW THE NATURE OF THE DEMONS THAT POSSESS MAN’S SOUL! [NEED TO KNOW WHY MAN'S CONTENT TO LET THEM MAKE HIM LESS THAN WHOLE WHY DOES HE REVEL IN MURDER AND MADNESS? WHAT IS IT MAKES HIM BE LESS THAN HE SHOULD? WHY 1S HE DOOMED NOT TO REACH HIS POTENTIAL? HIS SOUL IS BLACK WHEN HE TURNS HIS BACK UPON GOOD — [NEED TO FIND. AWAY TO GET INSIDE THE TORTURED MIND OF MAN I NEED TO TRY TO SEPARATE THE GOOD AND EVIL = IF ICAN.=p, Pekycu) &) Hye (JEKYLL) WHY DOES A WISE MAN LEAVE OF HIS SENSES? WHERE IS THAT FINE LINE WHERE SANITY MELTS? - WHEN DOES INTELLIGENCE GIVE WAY ‘TO MADNE! A MOMENT COMES WHEN A MAN BECOMES SOMETHING ELSE ...! [NEED TO KNOW! WHY MAN PLAYS THIS STRANGE DOUBLE GAME! HIS HAND ALWAYS CLOSE TO THE FLAME! IT'S A DEAL WITH THE DEVIL HE CANNOT DISCLAIM! BUT WHAT'S HIS AIM? NEED TO KNOW! DEAR GOD;'GUIDE ME AND SHOW ME HOW TO SUCCEED! WITH YOUR WISDOM INSIDE ME HENRY JEKYLL WILE FOLLOW WHEREVER YOU LEAD! I NEED TO SEE THE TRUTH OTHER MEN CANNOT SEE = TO BE THINGS THAT OTHERS CAN'TBE = GIVE ME COURAGE TO GO WHERE NO ANCEL WILL GO AND | WILL GO! ~ [NEED TO KNOW! END OF PROLOGUE ACT I, SCENE 2 A London § COMPANY THERE'S A FACE THAT WE WEAR IN THE COLD LIGHT OF DAY IT'S SOCIETY'S MASK IT'S SOCIETY'S WAYPekyeu) &) Hype AND THE TRUTH IS (HAH!) THAT IT'S ALLA FACADE! THERE'S A FACE THAT WE HIDE TILL THE NIGHTTIME APPEARS AND WHAT'S HIDING INSIDE BEHIND ALL OF OUR FEARS IS OUR TRUE SELF LOCKED INSIDE THE FACADE! EVERY DAY, PEOPLE IN THEIR OWN SWEET WAY LIKE TO ADD A COAT OF PAINT AN/GE-WHAT THEY AIN'T! THATSSHOW THEIR LITTLE GAME IS PLAYED. LIVIN’ OUT A MASQUERADE — GETTING RICH ANDGETTTING LAID WHILE PLAYING THE SAINT! BUT THERE'S ONE THING LKNOW — AN'T KNOW IT FOR SURE — THIS DISEASE THAT WE'VE GOT HAS GOT NO READY CURE = ANT I’M CERTAIN LIFE IS TERRIBLY HARD WHEN YOUR LIFE’S A FACADE! LOOK AROUND YOU I HAVE FOUND YOU CANNOT TELL BY LOOKIN’ AT THE SURFACE WITAT IS LURKIN’ THERE BENEATH IT! SEE THAT FACE - NOW I'M PREPARED TO BET YOU WHAT YOU SEE’S NOT WHAT YOU GET = BECAUSE MAN’S A MASTER OF DECEIT! SO WHAT IS HIS SINISTER SECRET? THE LIE HE WILL TELL YOU IS TRUE? IT'S THAT EACH MAN YOU MEET IN THE STREET ISN'T ONE MAN, BUT TWO!PeKveL e) hyoe ( COMPANY) NEARLY EVERYONE YOU SEE LIKE HIM AN’ HER AN’ YOU AN’ ME PRETENDS TO BE A PILLAR OF SOCIETY! A MODEL OF PROPRIETY, SOBRIETY AND PIETY WHO SHUDDERS AT THE THOUGHT OF NOTORIETY! ‘THE LADIES AND GENTS HERE BEFORE YOU - WHICH NONE OF ‘EM EVER ADMITS — MAY HAVE SAINTLY LOOKS, BUT THEY'RE SINNERS AN‘ CROOKS — HYPOCRITES! HYPOCRITES! ‘THERE ARE PREACHERS WHO KILL! THERE ARE KILLERS WHO PREACH! THERE ARETEACHERS WHO LIE! THERE ARE LIARS WHO TEACH! TAKE YOUR PIGK, DEAR “CAUSE IT’S ALL AEACADE! YOU MUST SEEM TO BE RICE AND HAVE MONEY TO BURNY EVEN THOUGH IT'S A BITCH SPENDING MORE THAN YOU EARN THAT'S THE GAME HERE, ‘AND THE NAME IS FACADE! ONE OR TWO MIGHT LOOK KINDA WELL-TO DO ~ (HAH!) THEY'RE AS BAD AS ME AN’ YOU RIGHT DOWN TO THEIR BOOTS I'M INCLINED TO THINK HALF MANKIND THINKS ‘THE OTHER HALF IS BLIND WOULDN'T BE SURPRISED TO FIND THEY'RE ALLIN CAHOOTS! (AAT THE END OF THE DAY, THEY DON'T MEAN WHAT THEY SAY THEY DON'T SAY WHAT THEY MEAN,Pekycuy 6) Hyoe - THEY DON’T EVER COME CLEAN AN’ THE ANSWER IS IT’S ALLA FACADE! MAN IS NOT ONE BUT TWO HE IS EVIL AND GOOD AND HE WALKS A FINE LINE WE'D ALL CROSS IF WE COULD IT'S. A NIGHTMARE WE CAN NEVER DISCARD. SO WE STAY ON OUR GUARD THOUGH WE LOVE THE FACADE! WHAT'S BEHIND THE FACADE? LOOK BEHIND THE FACADE! END OF SCENE 2 ACT |, SCENE 3 St. Jude's Hospital, Nnightmarish Operating Theatre, temporarily converted {for the purposes toe drelabout to witness, The place is more a prison than a hospital. A HUGE DOOR upstage, through which [EXYLL will enter With his BOX containing the chertical formulae, No transition, immediate ria STRIDE The Board of Governors of St. Jude's Hospital is now metsSit Danvers Carew, KBE (Knight of The British Empire), Chairman, LIGHT on DANVERS The Right Honorable Sir Archibald Proops, Q. C. (Queen's Couns LIGHT on PROPS. Lord Savage. LIGHT. General Lord Glossop. LIGHT. Lady Beaconsfield. LIGHT. His Grace The Bishop of Basingstoke. LIGHT. The BOARD of GOVERNORS is assersbled:Pekyety 6) Ayes LADYBEACONSFIELD, a well-dressed older woman; ‘The BISHOP of BASINGSTOKE, in clerical purple; LORD SAVAGE, very much a man-rbout-town, with other (more impartant) things to be doing this afternoon; GENERAL LORD GLOSSOP, older, formidable, ramrod straight, cruel mouth; SIR ARCHIBALD PROOPS, queen's counsel — quick, methoelical, all business; SIMON STRIDE, secretary to the BOARD, rival of Jkyll 's. Similar fo him image and manner. SIR DANVERS CAREW, very much alone, nearest to where Jekyll will be STRIDE The Order of business will be conducted by the Secretary to the Board of Governors, Mr. Simon Stride: (STRIDE botos.ta,the GROUP and takes his place. He opens the Minutes Book) SAVAGE Let's get on STRIDE Proposal No. 929 — Presented by Dr. Henry Jekyll Huge doors open and JEKYLL enters, ‘The BOARD immediately erupts indo pandentonition as JEKYLL enters. Its a rumpus reminiscent of normal procedure in the British, House of Commons, JEKYLL is “on trial” before theni, His “breakthrouglisevvery” and radical proposals ave the subject of the heated debate, Shouting aver one another, the distinguished GOVERNORS’ behavior is anything but distinguished. STRIDE Order! Order! The Chairman will address the Board. Mumbling and grumbling, the GOVERNORS resume their stations. SIR DANVERS speaks over the receding hubbub. DANVERS My friends! As Govenors of St. Jude's Hospital we are all well aware of the highly controversial nature of Doctor Jekyll's research. But our high regard for his work and reputation demand that he be given a proper hearing, And that we now happily accord himPEKY CL 6) Ayoe LADY BEACONSFIELD I won't happily accord that madman anything! DANVERS Bessie! * Board Of Govemors * JEKYLL DISTINGUISHED GOVERNORS, [HAVE GLIMPSED THE FUTURE SEEN MIRACLES THAT STUN THE MIND. AND MARVELS ONLY SCIENCE CAN FIND 1 SHAPE TOMORROW FOR MANKIND. ANDILCAN SHOW THEM TO YOU IF YOUWISH ME TO, FRIENDS, YOU'RE. AWARE THERE ARE TWO SIDES TO EACH OF US GOOD AND EVIL. COMPASSION AND HATE: IF WE COULD EXTRACT ALL THE EVIL FROM EACH OF US THINK OF THE WORLD THAT WE COULD CREATE! AWORLD WITHOUT ANGER OR VIOLENCE OR STRIFE — WHERE MAN WOULDN'T KILL ANY MORE! A WORLD OF COMPASSION WHERE PASSION FOR LIFE WOULD BANISH THE MADNESS OF WAR! He extracts from a large case, a vial encased in @ protective ‘cell “ — the liquid inside the vial glows an electric crimson FEE rises ta show the vial to the BOARD, teh instinctively recoil from it I'M CLOSE TO FINDING THE KEY TO DUALITY (CHEMICAL FORMULAE WHICH, COULD AND WOULD ALTER THE PATTERNS OF MAN'S PERSONALITY —S- GUIDING HIM EITHER TO EVIL OR GOOD! WEIGH THE POTENTIAL,=n 7 PeKycuy 6) yore (JEKYLL) ‘THE GREAT POSSIBILITIES COLLEAGUES — DEAR FRIENDS — UNDERSTAND! WE HAVE A CHANCE TO MAKE HISTORY HERE IN OUR HAND! STRIDE Di Jekyll, may we dispense with the niceties and proceed to the matter at hand? JEKYLL Of course,.Mf. Stride, forgive my good manners, Each of us is the embodiment of two distinct and opposing forces — good and evil — each fighting for supremacy inside us. If we could sepinate these two forces, we could control and ultimately eliminate all evil from mankind, Myexperiments have convinced me that the day is not far off when this separation will’be possible. To achieve it, I must be allowed to try my formula on a living human being. BISHOP And what if you're right, Jekyll? And you do separate good from evil — What happens to the Evil? JEKYLL (passionately) THERE ARE DOOMED, BROKEN SOULS. IN A THOUSAND ASYLUMS LEFT THERE TO ROT FOR THE LACK OF A PLAN! TN THE NAME OF COMPASSION AND MEDICAL SCIENCE, CAN SAVE MANY LIVES IF YOU GIVE ME ONE MAN! BISHOP OF BASINGSTOKE (With great pomp) I TELL YOU NOW THE CHURCH WILL NEVER SANCTION IT! VARIOUS SACRILEGE! LUNACY! BLASPHEMY! HERESY!Pekyeu) &) Hype -ms SIR ARCHIBALD PROOPS YOU SEEM TO BE TREADING ON DANGEROUS GROUND — IN LEGAL TERMS, I'D SAY, EXTREMELY UNSOUND! BISHOP OF BASINGSTOKE YOUR LACK OF HUMILITY STRIKES ME AS ODD- WHAT MAKES YOU THINK YOU HAVE THE RIGHT TO PLAY GOD! STRIDE ‘THE BISHOP SPEAKS FOR ALL OF US WHEN HE SAYS YOU'RE PLAYING GOD! THERE'S SUCHA THING AS ETHICS = OVER WHICH.YOU,RUN ROUGH-SHOD! YOU'RE A DOCTOR, NOT OUR SAVIOR, DOCTOR JEKYLL, FORASTART! — BUT I JUDGE FROM YOUR BEHAVIOR YOU CAN'T TELL THE TWO-APART! JEKYLL DEAR MR. STRIDE, ] AM SIMPLY A SCIENTIST I HAVE A CODE, TO WHICH I REMAIN TRUE}. I DON'T PRESUME TO THE STATURE OF MORAHIST LEAVE PRETENSION LIKE THAT, SIR, TO YOU! DANVERS HENRY, I'VE ALWAYS ENCOURAGED YOUR ENTERPRISE AND I'VE BEEN HOPEFUL THAT YOU WOULD SUCCEED! BUT IN THE FACE OF THESE POWERFUL ARGUMEN’ [SEE NO CHOICE BUT FOR YOU TO CONCEDF! JEKYLL KNOW MY FATE IS YOURS TO CHOOSE, BUT IF THEY WIN, THE WORLD WILL LOSE.Dekyen) &) Hype (JEKYLL) [AM ON THE BRINK OF GREAT SUCCESS! I BEG YOU, GOVERNORS — YOU MUST SAY “YES"! LADY BEACONSFIELD DOCTOR JEKYLL, ENOUGH OF YOUR RANTING, SIR! THISIS A HOSPITAL HERE TO SAVE LIVES! GOVERNORS DO YOU THINK WE WOULD LET YOU PLAY HAVOC WITH ALL ‘THE FIGH PRINCIPLES: TOWARD WHICH IT STRIVES? DO YOU EXPECT US TO COMPROMISE ALL THAT WE STAND FOR INDULGING YOUR DANGEROUS GAMES? HOW MANY RULES SHOUEDWE BREAK FOR YOUR DUBIOUS AIMS? JEKYLL DANVERS FOOLS! HENRY! PROOPS YOU FOOLS! JEKYLL! BISHOP GOD DAMN BLASPHEMY! GEN. GLOSSOP YOUR RULES! MUTINY! LORD SAVAGE DAMN ME! LOOK AT YOURSELVES! LADY BEACONSFIELD CIVILIZED MEN! REALLY! DANVERS WHY-CAN'T-¥OU-SEE?) HENRY!PeKyeL) &) Hype - Bs JEKYLL (Frustrated) CAN'T YOU SEL? 1AM NOT PLAYING GAMES! JUST GIVE ME THE OPPORTUNITY! GENERAL GLOSSOP THIS WHOLE THING'S TOO BIZARRE! DANVERS OPEN UP YOUR EYES AND SEE! BISHOP OF BASINGSTOKE THISMAN HAS GONE TOO FAR! JEKYLL UNLESS YOU LISTEN TO ME STRIDE DOCTOR, PLEASE WATCH YOU TONE! DAMMIT, MAN, CAN'T YOUSEE? YOU'RE ON YOUR OWN! (By now, all eempers are frayed) (JEKYLL sees the BOARD OF GOVERNORS bayiitg at him like a pack of wolves.) STRIDE (banging his gavel) Order! Order! JEKYLL IF | ever needed further justification for my experiments, gentlemen, you have just provided it! JUST LOOK AT WHAT HAS HAPPENED HERE! MIX ANGER WITH A TOUCH OF FEAR THE DANGER'S ALL TOO CRYSTAL-CLEAR JUST LOOK AT YOU — OUR DARKER SIDE KEEPS BREAKING THROUGH OBSERVE IT NOW — IN MAN AND YOU! THE EVIL THAT ALL MEN CAN DOIt + PeKY EL) &) Hype (JEKYLL) MUST BE CONTROLLED! I BEG OF YOU I'LL SHOW YOU ALL IT CAN BE DONE! (Regains his calm) HERE IS A CHANCE TO TAKE (CHARGE OF OUR FATE DEEP DOWN YOU MUST KNOW THAT TOMORROW'S TOO LATE! ONE RULE OF LIFE WE CANNOT REARRANGE — (THE ONLY THING CONSTANT IS CHANGE THE ONLY THING CONSTANT IS CHANGE, STRIDE DISTINGUISHED COLLEAGUES, YOUR VERDICT) PLEASE. ALL THOSE IN FAVOR SAY “AYE", (A chilling silence fills the réonx/ STRIDE smiles a thin smile) All those opposed, “Nay.” BOARD OF GOVERNORS densemble) NAY! NAY! NAY! NAY! ABSOLUTELY = POSITIVELY = NAY! STRIDE SIR DANVERS? DANVERS Abstain. STRIDE (with smug satisfaction) By six votes to none, with one abstention, Proposition 929 is rejected. Thank you for your time, Doctor Jekyll. (The BOARD rise to their feet and disperse ~ muttering to one another about the Jekyll scandal. “Shameful!” “Disgusting exhibition”)PeKycu) &)Hyoe - B= LORD SAVAGE Who wants to take me to lunch? Bessie? LADY BEACONSFIELD I've heard enough demented babbling for one day, Herbert, without listening to yout THEY lew DANVERS Imtruly sorry, Henry. I did try to war you. HE Jéayes. UTTERSON appears next to JEKYLL. UTTERSON They think you're quite tifad. JEKYLL They're hypocrites, John — evéry’Last one of them! UTPERSON Yes, but they are powerful hypocrites. You'should exercise greater caution JEKYLL I can't afford caution! BUT HOW CONTINUE ON WHEN THEY CAN BLOCK EACH STEP | TARE? UTTERSON HENRY, YOU HAVE COME THIS FAR REMEMBER WHAT YOU HAVE AT STAKE! JEKYLL JOHN, IKNOW I'M RIGHT! I HAVE LET MY VISION GUIDE ME I'M SO WEARY OF THIS FIGHT THERE’S SO LITTLE LEFT INSIDE ME UTTERSON IF YOU KNOW THAT YOU ARE RIGHT THEN YOU'VE GOT TO SEE IT THROUGH YOU'VE GOT TO SEE IT THROUGH!a7 Pekyen) &)hyoe JEKYLL SEVEN YEARS AGO I STARTED OUT ON THIS ALONE AND IT’S ALONE I'LL SEE IT THROUGH TO ITS CONCLUSION WHO ARE THEY TO JUDGE WHAT | AM DOING? THEY KNOW NOTHING OF THE ENDLESS POSSIBILITIES I SEE! IT'S LUDICROUS I'M BOUND BY THEIR DECISION UTTERSON SEEMS VISION IS A WORD BVER HEARD! JEKYLL IF IT MATTERED LESS: I'D TREAT IT WITH DERISION IT'S ABSURD! UTTERSON (smriting) AND YET THE FACT REMAINS THOSE BASTARDS HOLD THE REINS! END OF SCENE 3 Transition: The facade of SIR DANCERS CAREW elegant Olav Nasit Regency house in Regent's Park COMPANY IF YOU LIVE AROUND HERE YOU NEFD CASH IN THE BANK CAUSE THE HOUSES ROUND HERE ARE ALL FLASHY AND SWANK AN’ THE FRONT BIT IS WHAT'S CALLED A FACADE. IF YOU LIVE AROUND HERE YOU NEED LOTS OF PANACHE!DeKYCL &) Ay oe -We IF YOU LIVE IN TOWN, DEAR, THEN YOU MUST CUT A DASH! TISN'T HARD, DEAR, TO CREATE A FACADE! HERE TONIGHT I'S FESTIVE BUT THE GUESTS ARE GETTING RESTIVE ‘CAUSE THE GUEST OF HONOR’S CAUSING A DILEMMA! DOCTOR JEKYLL’S TARDY FOR HIS OWN ENGAGEMENT PARTY HIS BETROTHAL TO SIR'DANYERS' DAUGHTER, EMMA! At the end of thesong, the facade flies as the last of the lnvishily-dressed GUESTS arrivedt the engagement party, and zoe move into the house. ACT |, SCENE 4 Pee te Sir Dartwers Carew’s house in regent’s park A swirling waltz as the lights come up to reves? alarge, elegant, dressy party in full swing, The room is spacious and grand. A stiircase dominates stage Left, and a large chandetier ovechangs the guests, AS'Some of them dance to the music, others flutter around and flatter the distinguéshéd central figure, the host of the ball, Sir DANVERS Careco, who is equally charthing to everyone, despite their sometimes exaggerated degrees of social affectatior. Argroup of the BOARD is present — gossiping about the events of this afternoon, SAVAGE Who does this Jekyll feller think he is? GLOSSOP Impertinence like that in the Army wouldve earned him a good flogging! BISHOP He's lucky he lives in modern times. Today's penalties for heresy are not what they should be! UTTERSON We're lucky that we have you to represent modem times, Your Grace.=8) = DEKYCL) G6) Hype SAVAGE I think Jekyll overdoes all this stuff about helping the poor. I've lived in St. James’ all me life. Damned if I've ever seen any poor people! LADY BEACONSFIELD | think he’s mad, if you must know. Ah, Danvers, we're talking about your future son in law! And I think you're mad to-allow him to marry your daughter! EMMA has been chatting with a nearby group of GUESTS, and now spins around, EMMA That's nob father’s decision, Lady Beaconsfield — it s mine! DANVERS Don’t worry, Bessié, Whatever your views on him as a scientist, Emma assures me that Henry Jekyll is imapéteable husband material! LADY BEACONSFIELD It's less than impeccable to be late for one’s own engagement party. Shows a remark- able lack of style! EMMA ‘Comments on style, Madam, should never bé made by those who have none. STRIDE enters, slightly the worse for drink DANVERS goes fo him. STRIDE (Oh good, now Jekyll and I can drown our respective sorrowsiih Sir Danvers’ drink, DANVERS MY DEAR SIMON, YOU'RE SO GRACIOUS TO WISH EMMA AND HENRY BOTH WELL! STRIDE DEAR SIR DANVERS, AS YOU KNOW, SIR I WISH EMMA THE SUN AND THE MOON BUT | HAVE TO CONFESS THAT [WISH HENRY JEKYLL IN HELL! EMMA moves to STRIDE, and gently signals Sir DANVERS to withdraw.PEKY CU 6) Ayoe -9 4 STRIDE EMMA CAREW, CAN THIS BE YOU? WHAT KIND OF MAN IS THIS YOU'VE TAKEN? CAN YOU NOT SEE THE KIND OF LIFE THAT THIS WOULD BE? YOU ARE MISTAKEN! TIME TO AWAKEN BEFORE II"S TOO LATE BEFORE YOU FOREVER DETERMINE YOUR FATE! EMMA BUT, SIMON, YOU KNEW HAD TO BE FREE! WHAT I\CHOOSE TO DO IS DECIDED BY ME! FROM THE DAY MY’ MOTHER DIED MY FATHER, BLESS HIS DARLING HEART, TREATED ME AS THOUGH: I'M STILL A YOUNG CHILD! MAYBE HIS IDEA WAS JUST TO WAIT, UNTIL LGREW UP AND THEN LOOK AT ME AND HOPE THAT I'D BE HER! IT'S EASY TO ACCEPT THAT FROM A FATHER, HE'D RATHER THINGS REMAINED THE WAY THEY WERE! BUT WHEN IT COMES TO MARRIAGE, I MUST PICK WHOM I PREFER! I'M NOT THE WEAK YOUN YOU'RE SEEKING, SIMON SOMEONE SEVENTEEN, OBEDIENT AND SWEET! - [AM NOT THE PROTEGE TO WASTE YOUR TIME ON I'M COMPLETE! IN HENRY’S EYES I SEE WHAT | AM MEANT TO BE! HING20) 7 PEKYeL e) Ayo 1ST YOUNG MAN HENRY JEKYLL, YOU'RE A YOU HAVE ROBBED US OF LONDON’S MOST LOVELY GIRL. 2ND YOUNG MAN [COULD TURN TO DRINK WHEN I STOP TO THINK EMMA‘S MARRYING A DOCTOR INSTEAD OF AN EARL! — POOR GIRL! JEKYLL frees himself and huvries to EMMA’s side SIMON STRIDE intrudes Tnfo the GROUP. HE raises his glass. HE is drunk. STRIDE (Mockingly) DOCTOR JEKYBE,MAY | BE THE FIRST TO WISH YOU ANDAYOUR BRIDE-TO-BE_ PEACE AND PROSPERITY? JEKYLL MR. STRIDE, IT’S MOST CIVIL.OF YOU TO SAY THAT, AS YOU DO, WITH SUCH PATENT SINCERITY! ‘The GUESTS close by are amused at JEKYLL's deft and (For once) diptomatic handling of a potentially dangerous situation, Sir Deigue? s approaches, Looking at his watch, DANVERS Ak, the late Henry Jekyll! JEKYLL (Shaking his hand) Sir Danvers, forgive me... DANVERS (Pool-pooks the apology) Nothing to forgive, dear boy. I'm thinking of inviting the guests for the day after the wedding so that you two will appear to be on time!DEKYCL &) Hyoe -ae UTTERSON Sir Danvers, my lords, ladies and gentlemen — to the intolerably happy couple! Henry, may all your research result in discaveries as wonderful as this one! Emma and Henry! Emma and Henry. The crowd disperses, EMMA, JEKYLL remain, JEKYLL Miss Carew EMMA Doctor Jekyll. 'm Kappy you're here. JEKYLL I try never to miss any social occasion attended by Lady Beaconsfield. Is there a Lord Beaconsfield? EMMA He died thirty years ago. JEKYLL Sensible fellow EMMA You know, Henry, I sometimes wish you were as diplomatic as you are outspoken JEKYL I'll be outspoken, if you'll be diplomatic. If you had presented my casetoday to the Board of Governors, | probably would have got what I wanted, EMMA You'll get what you want in the end, Henry. You always do JEKYLL I don't have a choice. I MUST GO ON WITH THE WORK I'M COMMITTED TO HOW CAN I NOT WHEN MY THEORIES ARE TRUE? AND I WILL PROVE IF YM EVER PERMITTED TO= DEKYCL &) Hye (JEKYLL) THINGS ARE NOT WRONG JUST BECAUSE THEY ARE NEW! EMMA HENRY, | ADORE YOU ALWAYS HAVE DONE ALWAYS WILL DO AND YOUR DREAMS ARE MINE! I WILL ALWAYS UNDERSTAND HOWEVER HARD THE PATH YOU'VE PLANNED OUR LIVES WILL INTERTWINE. JEKYLL WHO/KNOWS WHERE MY WORK WILL LEAD ME? EMMA NOWHERE WHERE YOU WILL NOT NEED ME! JEKYLL EMMA, PLEASE | BEG YOU", HEED ME? EMMA’ JUST DON'T LEAVE ME ON My OWN] JEKYLL THE ONLY THING TO FEAR IS THE UNKNOWN EMMA WHEN THIS ALL BEGAN, WE KNEW THERE'D BE A PRICE TO PAY « TOO LATE NOW TO TURN AWAY WE HAVE COME TOO FAR! KNOW WE'LL FIND A WAY Ce eer ra ee nd JEKYLL SOMETIMES I SEE PAST THE HORIZON SURE OF MY WAY WHERE | AM GOING —vekyc.y 6) Hype BUT WHERE'S THE PRIZE I HAVE MY EYES ON? WHERE? THERE 1S JUST NO KNOWING! AND WHEN DESPAIR TEARS ME IN TWO, WHO CAN ITURN TO BUT YOU? YOU KNOW WHOLAM... TAKE ME AS 1 AM, EMMA LOOK IN MY EVES — WHO DO YOU SEE THERE? SOMEONE YOU KNOW? OR JUST A STRANGER? IF YOUARE WISE, YOU WILL SEE ME THERE! LOVE... IS THEONLY DANGER! LOVE... MEANING ME LOVE... MEANING, YOU WE'LL MAKE OUR ONE DREAM COME TRUE! YOU KNOW WHO AM. TAKE ME AS | AM. BOTH THOUGH FATE WON'T ALWAYS DO WHAT WE DESIRE — STILL WE CAN SET THE WORLD ON FIRE! GIVE ME YOUR HAND = GIVE ME YOUR HEART JEKYLL AR TO ME WE'LL NEVER PART! EMMA WE'LL NEVER PART! JEKYLL YOU KNOW WHOT AM. EMMA YOU KNOW WHO AMa Perey &) Hype JEKYLL THIS I$ WHOLAM.. EMMA THIS IS WHOT AM. BOTH TAKE ME AST AM. SIR DANVERS and UTTERSON re-enter as JEKYLL kisses EMMA. #11 = Letting Go JEKYLL Thank you sir, for so"Giuch. The six weeks tll the wedding will be the longest of my life! DANVERS Thave to tell you Henry, that yourfalf hour with the Board of Governors, this after- noon was the longest of my life, JEKYLL I'm truly sorry, sir. But | have to stand by whatL believe. DANVERS Even if it means antagonizing the established authority in the process? JEKYLL Especially then. And your friends are not the established authoritySim Merely the established prejudice, DANVERS Lwant to be proud of you, Henry. JEKYLL Then listen to me, sir. To EMMA Goodnight, my angel. EMMA Goodnight, my devil. JEKYLL and UTTERSON leave. DANVERS and EMMA alone.Fekycuy é&) Ayer - 6s DANVERS Emma, there are times when I find it hard to tolerate Henry's behavior! EMMA You don’t have to tolerate it, father. He's marrying me nat you. DANVERS EMMA, CAN'T YOU UNDERSTAND I'S YOU THAT I'M CONCERNED FOR? EMMA FATHER, DON'T BE! YOU SHOULD BE CONCERNED FOR HIM! HE’S!IS ONE IN NEED — DANVERS [AM ONLY"IRYING TO PROTECT YOU! WHAT ELSE WOULD. YOU HAVE YOUR FATHER DO? [THINK I WOULD DIE, IF ANY HARM SHOULD COME TO YOU, I'M SCARED, MY CHILD, BECAUSE I'M GOING TO LOSE YOU. LFIND IT VERY HARD TO LET YOU GO} EMMA PAPA, LF YOU TRIED TO, YOU COULD NEVER LOSE ME! DARLING FATHER! I STILL LOVE YOU MORE THAN YOU WILL EVER KNOW! BUT IF WE WANT QUR LOVE TO GROW DANVERS I KNOW INTIME I HAVE TO LET YOU GO. BOTH WE MUSTN'T BE AFRAID OF LETTING G END OF SCENE 426 = Pekycu) 6) Hyoe ACT |, SCENE 5 Transition (IEKYLL and UTTERSON walk quickly through the streets of London, leaving the Regent's Park area for the more shadowy area of Camden Town they pass the entire “parade “ of humanity. itis Eleven 2M.) UTTERSON Well, I for one am glad for some sense of order. I prefer to believe that man is basi- cally good! Every moral man believes that. JEKYLL T do not believe it UTTERSON As your lawyer, Hentyit is my duty to inform you that you areplaying a very dangerous game. JEKYLL As your doctor, John, it is my dufy'fo,inform you that Ineed a very large drink, Eze ea (THEY arrive outside “THE RED RAT“) “THE RED RAT” (A noisy, rowdy pub iiPCatident Toren — a murky, slum Lackwater only a stone's throw fromm tee shiny facades of Regent's Park and the smart terraces of Harley Street. "The Red Rat” is@ famous — or rather infa- mous — local landmark, It is one of London's lustier and more celebrated brothels. A major mood-change. NELLIE, an exotic, tough antl streetwise Beauty fands at the top of the staircase leading down to “The Red Rat” She is a“BADGER” — that is, « walking prostitute by day — by night/@*hiook” to attract custonrers here. She eyes the favo wnusually upmarket gentslapfirag- ingly as they approach. An out-of-tune honky-tonk piano plays the music of “BRING ON THE MEN” gently wader as she sizes them tip, then de theme cvith her smile) NELLIE “Ere's a lovely lookin’ pair of gentlemen, I must say! Welcome to “The Red Rat!’ Show's about to start, My name’s Nellie, Have a drink- look around — find somethin’ you fancy! UTTERSON (regarding NELLIE)PeKycuy &)Hyoe - Fz This is hardly a respectable place, Henry. JEKYLL I've had all the respectability 1 can take for one day, John, And anyway, tonight's my bachelor night! You're supposed to give me a party. NELLIE I could be the party he’s supposed to give you, ‘Em UTTERSON He meant a bachelor party. NELLIE Most of my parties are bachelors, JEKYLL Come on, John, one drink! Where's your sense of adventure! NELLIE He's right, John! Good for you, ‘éne¥! JEKYLL Maybe I could find a subject for my experiment. A volunteer. UTTERSON I suspect this place has volunteers for all sorts of e&periments, NELLIE You got that right dear. Come on ‘enry, follow me. (JEKYLL follows NELLIE down the stairs into the pub, UTTERSON follows JEKYLL) UTTERSON (mock warning) This is dangerous, Henry, JEKYLL I'm feeling dangerous. PUB CUSTOMERS LU-CY! ... LU-CY! ... LUCY! LUCY! LUCY! LUCY! ‘The clamor builds to.a swift and dramatic crescendo,=P 7 Pekycuy &) Hyoe With perfect timing, just before the AUDIENCE demonstration gets out of and, the delectable object of the MEN's enthusiasm appears at the top of the staircase, enticingly encased in a provocative red dress. The roar of approval quickly subsides into a respectfl silence as LUCY sings. aur LUCY THERE WAS A TIME — 1 DON'T KNOW WHEN I DIDN'T HAVE MUCH TIME FOR MEN BUT THIS Is NOW — AND THAT WAS THEN — T'M.MEARNING! Cheers frowithe Men AGIRL ALONB — ALLON HER OWN MUST TRY TO.AAVE A HEART OF STONE SO I TRY NOT TO MAKE IT KNOWN, MY YEARNING! [TRY TO SHOW I HAVE NONEED [REALLY DO — | DON’T SUCCERI (Still more cheers. Lucy Shrugs) SO LET'S BRING ON THE MEN AND LET THE FUN BEGIN ALLIVILE TOUCH OF SIN WHY WAIT ANOTHER MINUTE? STEP THIS WAY — IT'S TIME FOR US TO PLAY! THEY SAY WE MAY NOT PASS THIS WAY AGAIN — SO LET'S WASTE NO MORE TIME BRING ON THE MEN! T ALWAYS KNEW — — [ALWAYSSAID — - THAT SILK AN’ LACE — — IN BLACK AN’ RED — - WILL DRIVE A MAN RIGHT OFF HIS HEAD — IT'S EASY! SO MANY MEN, SO LITTLE TIMETekycuy é) ype - 9s IWANT’EM ALL ~ 1S THAT A CRIME? (Roars af NO!) IDON'T KNOW WHY THEY SAY THAT I'M TOO EASY ("We do! “) THEY MAKE ME LAUGH = THEY MAKE ME CRY - THEY MAKE ME SICK = SO GOD KNOWS WHY... LUCY & THE GIRLS WE SAY BRING ON THE MEN AND LET THE FUN BEGIN! ‘A LITTLE TOUCH OF SIN WHY WAIT ANOTHER MINUTE? STEPTHIS WAY IT’S TIME FOR US TO PLAY! THEY.SAY WE MAY NOT PASS THIS WAY AGAIN, SO LET'S WASTE NO MORE TIME BRING ON THE)MIEN! LUCY THEY BREAK YOUR HEART. THEY STEAL YOUR SOUL TAKE YOU APART AND YET THEY SOMEHOW MAKE YOU WHOLE SO WHAT'S THEIR GAME? I SUPPOSE A ROSE BY ANY OTHER NAME THE PERFUME AND THE PRICK’S THE SAME, ILIKE TO HAVE A MAN FOR BREAK-FAST EACH DAY. I'M VE-RY SOCIAL AND I LIKE IT THAT WAY, BY LATE MIDMORNING I NEED SOMETHING TO MUNCH, SO 1 ASK OVER TWO MEN FOR LUNCH AND MEN ARE MAD ABOUT MY AFTERNOON TEAS, ‘THEY'RE QUITE INFORMAL | JUST DO IT TO PLEAS! THOSE TRIPLE SANDWICHES ARE MY FAV'RITE ONES I'M ALSO VERY PARTIAL TO BUNS MY HEALTHY APPETITE GETS STRONGER AT NIGHT MY AT HOME DINNERS ARE MY MENFRIENDS DELIGHT. WHEN I INVITE THE FELLERS OVER TO DINE ‘THEY ALL COME EARLY IN BED BY NINE!30 = Pekycu) 6) Hyoe ALL SO LET'S BRING ON THE MEN AND LET THE FUN BEGIN! ALITTLE TOUCH OF SIN WHY WAIT ANOTHER MINUTE? STEP THIS WAY. IT'S TIME FOR US TO PLAY! LUCY THEY SAY WE MAY NOT PASS THIS WAY AGAIN SO LET'S WASTE NO MORE TIME BRING ON THE MEN! GIRLS BIGMEN, SMALL MEN SHORT MEN, TALL MEN 1 GUESS THAT)MEANS ALMOST ALL MENI TM A PLAYER LONG AS THEY ARE MEN! MI The MEN roar their qpprredbas the song ends, And every barmaid is immedi- ately grabbed and carted caay tnt the furthest recesses of “The Red Rat” in response to the song's stirring méssagesNELLIE catches LUCY’s eye and ‘guides her attentions to JEKYLL [LUCY has noticed him during the song. Most certainly he has noticed hrer!] LUCYoks approvingly at the good looking GENTLEMAN, and approaches hiv Willa peri, sexy smite, brushing aside other MEN coho try to stop her, Music resunies uyrder. IN! MEN! Ee En Fi On the Men’ NELLIE warns LUCY sotto voce, jerking her thumb back towards sinister looking individual who is still and silent in the shadows, NELLIE Watch out. Spider’s in an evil mood. Lucy (umconcerned) Why should tonight be different? She continues to JEKYLL and smeiles af hintPEKY OL) &) Hype -e Ce acd kyll at the Dregs Lucy S’ NOT EVERY DAY ME FRIENDS AN*I “AS GENTS LIKE YOU JUST DROPPIN’ BY, BEFORE YOU GO, YOU'LL KNOW JUST WHY YOU CAME HERE! JEKYLL OF THAT, MY DEAR, VVE LITTLE DOUBT ONEONLY HAS TO LOOK)ABOUT T'S NOT TOO HARD TO FIGURE OUT ‘THE GAME HERE! AND YET I SENSE THERE'S MORE TO YOU Lucy YOU FLATTER, SIR- YOU REALLY DO! WITH HALF A CHANCE JEKYLL WHAT WOULD YOU DO? Lucy DON’T ASK ME! (NELLIE brings the drinks, and abducts UTTERSON with an irresistible come-hither smile.) Lucy Cheers! Got a name, brown eyes? JEKYLL Henry = Lucy Well, ‘Enry, aren't you gonna ask me what I'm doin’ ina place like this?B+ Pekr eu &) Hype JEKYLL Actually, 1... LUCY Actually, Pm in between engagements at the Royal Albert Hall, so this is your lucky night! Lucy HERE'S TO THE NIGHT! HERE'S TO ROMANCE! TO THOSE UNAFRAID OF TAKING A CHANCE! JEKYLL (tvith a ruefie’smile) I THINK PVE TAKEN ENOUGH FOR ONE DAY! ANDI HAVE LEARNED TO MY COST CHANCES ARE SOMETHING YOU DON'T TAKE ONCE YOU HAVE LOsT} LUCY OH, WHAT A SHAME! IF YOU ONLY KNEW THE GAMES WE COULD PLAY THE THINGS WE COULD DO! YET L CAN SEE YOU'RE NOT UP TO THE CHASE! BUT, IF YOU'RE EVER IN NE LAM THE GIRL! — AND THIS IS THE PLACE! ~ COME TO ME! (UTTERSON reenters above, HE catches JEKYLI JEKYLL, (Looks at his watch) IT'S GETTING LATE IHAVE TO GO IF ANY TIME YOU NEVER KNOW YOU NEED A FRIEND eye and laps his toatch)DEKYCL &) Hyoe - B= (He takes a visiting card out of his pooket and presents it to her. SHE is flat tered and thrilled) LUCY (impressed) Doctor Henry Jekyll, 46 Harley Street EERE oa nnn (SHE smiles at him, deeply touched UTTERSON and JEKYLL exit. SPIDER Approaches LUCY and slaps her viciously across the face. SPIDER’s voice is a dey, hoarse whisper, perfectly, suited to the totally spider-ke presence that egot his nickname, HE turns back tothe bar; twhere a nervous LUCY aenits her unwanted rendezvous With lim, She shivers at his quiet voice. He fiddles wi acl as he speaks. ht a gOldefifob SPIDER A little less socializing and a lit#le more soliciting might prove more profitable for us both, Lucy. LUCY Ido my best, sir, SPIDER No, Lucy. Your best would have resulted in a satisfied ctistomer. I don’t give lodgings and a responsible position in any of my houses to girls whosit around hobnobbing and drinking gin. That will cost you sixty percent of the weeW’S earnings instead of fifty, Lucy. Lucy (shrugs) ‘Yes, sir. I'm sorry, sir, SPIDER Fortunately, I'm in a good mood tonight. [ shall come to you at midnight for my pleasures, LUCY (SPIDER withdra= 3 PEKYEL) &) Hype LUCY Dr. Henry Jekyll ... 46 Harley Street. (She Sings softly) IF ANY TIME, YOU NEVER KNOW ... YOU NEED A FRIEND .. Humming the melody quietly to herself, SHE walks sloventy affray as the lights cross-fade END OF SCENE 5 ACT, SCENE 6 Outside'fekyll’s Laboratory A small novideseript green door, Before Midnight, same evening UTTERSON and JEKYLL enter, high spirits. UTTERSON J must say, you're in.a much better mo6d, JEKYLL That’s because I've made up my mind, John’ kfiow exactly where to find my volun- ter, UTTERSON Not -? He gestures back tocoards where they have come from meaning ‘The Red Rat” JEKYLL No, no. Not her. Finding his keys I'm going to work late tonight. UTTERSON Careful, Henry. You have got a lot to Jose... Think of the consequences JEKYLL Ifall | thought about were the consequences, I'd never accomplish anything. UTTERSON I'm going home.PEKYeL) &) Ayes - 352 JEKYLL (a different tone) John, You remember my father ... before ... his mind and spirit were ... extremely strong, weren't they? trong, weren't they? #16 — Outside Jekyll’s Lab UTTERSON (moved) He waé thé finest man I ever knew. JEKYLL (to hiniself) I must do it ... for his sake, UTTERSON Do what? JEKYLL ply) Good night, John. And be careful. Hyde Park is dafgerous at night. UTTERSON UTTERSON starts to leave. And for God's sake, go straight to bed UTTERSON is gone JEKYLL NOW THERE IS NO CHOICE! [MUST PUT ASIDE THE FEARS | FEEL INSIDE THERE'S NO PLACE TO HIDE. SO IT COMES TO THIS ONE GREAT GOLDEN CHANCE THAT ONLY I CAN TAKE! He goes to the door and urtlocks it== PeKyeL) &)Hyoe (JEKYLL) WHEN EVERYTHING I'VE FOUGHT FOR IS AT STAKE! TO MAKE THE MARK THAT ONLY | CAN MAKE THIS 1S THE MOMENT THIS IS THE DAY WHEN 1 SEND ALL MY DOUBTS AND DEMONS ‘ON THEIR WAY EVERY ENDEAVOR HAVE MADE EVER IS COMING INTOPLAY IS HERE AND NOW "TODAY THIS 1S THE MOMENT THIS 1S THE TIME WHEN THE MOMENTUM AND THE MOMENT ARE IN RHYME, GIVE ME THIS MOMENT! THIS PRECIOUS CHANCE! T'LLGATHER UP MY PAST AND MAKE SOME SENSE AT LAST! THIS IS THE MOMENT WHEN ALLI'VE DONE ALL OF THE DREAMING SCHEMING AND SCREAMING BECOME ONF. Retumiing to the door, he opens it slowly ~ a strang th THIS IS THE DAY SEE IT SPARKLE AND SHINE WHEN ALL I'VE LIVED FOR BECOMES MINE! igltt beckons from deepPEKYEL) &) Hye - 9 = HE descends! Immediate transition into the LABORATORY: a Huge, spectae ular cavernous space = outfitted with the breathtaking apparatus = dormant mow, but as JEKYLL continues, he turns levers, dials, lowers vil ; ete. bringing it to ful, infernal, animated LIFE! JEKYLL FOR ALL THESE YEARS, I'VE FACED THE WORLD ALONE AND NOW THE TIME HAS COME. TO PROVE TO THEM I MADE IT ON MY OWN! ‘The lab begins to glow and throb, pulsating THISS THE MOMENT My FINAL TEST DESTINY BECKONED I NEVER RECKONED SECOND BEST! [WON'T LOOK DOWN, [MUST NOT FALL! HIS IS THE MOMENT ‘THE SWEETEST MOMENT OF THEM ALL! ‘The large mtirror is flown in, the tab at full throttle, nox, THIS IS THE MOMENT DAMN ALL THE ODDS! THIS DAY OR NEVER I'LLSIT FOREVER WITH THE GODS! WHEN | LOOK BACK WILL ALWAYS RECALL MOMENT FOR MOMENT THIS WAS THE MOMENT THE GREATEST MOMENT OF THEM ALL! JEKYLL moves purposefully to complete the preparation of the formula, The electrical, pyro, hydraulic, distillation processes ale all colorful and dramatic. . with color changes, spnoke andl spark, and bubble and fizzBa) ~ PeKyeul &) Hype JEKYLL (he writes in his journal) September 13th. 11:56 pm. I have started this alone ... and | must finish it alone I know I must use myself as the subject of the experiment. Tad I MUST BE WISE I MUST TRY TO ANALYZE EACH CHANGE IN ME, EVERYTHING 1 SEE. HOW WILL IT BE? WILL 1 SEE THE WORLD THROUGH DIFFERENT EYES? HE picks up-the glass beaker filled with the brilliant red liquid — it smokes aned moves withtinythe glass beaker. HE braneishes the formula LIKE A WARNING, LIGHT GLIMMERING IN-RED LIKE CRIMSON BLOODSHED SHIMMERING IN RED! BEAUTIFUL AND STRANGE SEE THE COLORS CHANGE BEFORE MY EYES! SEE HOW THEY DANCE AND THEY SPARKLE LIKE DIAMONDS AT NIGHT! LEADING ME OUT OF THE DARKNESS AND INTO THE LIGHT! A toast fo MIRROR aad HE drinks it down JEKYLL (As HE writes) September 13th. 11:56 p.m. Consumed 10 centilitres of formula HJ7 Pulse rate increasing. Warm in the gullet. Heat spreading strongly through my veins. Slight feeling of euphoria. Light-headedness, No noticeable behavioral differences. HE holds the rest of the blood-red brew wp to the light HE waits — for what ? HE faces the mirror, expectantly. NOW THE DIE Is CAST NOTHING LEFT TO DO!Fekycuy é&)hyoe - 9 TIME ALONE CAN PROVE MY THEORIES TRUE! SHOW THE WORLD (Suddenly, a raging pain rips into him. He can barely catch his breath) My God! — what's this? — - SOMETHING IS HAPPENING 1 CAN'T EXPLAIN! SOMETHING INSIDE ME A BREATH-TAKING PAIN. DEVOURS AND CONSUMES ME. AND DRIVES ME INSANE! (HiBpfeaches for his pen, to try and record his feelings in the jowrnal, but HE starts tazbrithe and twist in agony, and staggers cay frome the work-desk, clutching his.contorted body) JEKYLL SUDDENLY — UNCONTROLLED SOMETHING — IS ‘TAKING HOLD. SUDDENLY AGONY FILLING ME KILLING ME! HE looks in the mirror and sees Irimself becom gyH YDE. Slowly, his body is changing posture, losing in on itself tightenifg ap, HE clutches af this throat. HIS voice is altering, too, becoming more affimalistic and rasping HIS eyes take om an infernal inner fire, and he gasps with phir as he struggles in ‘iain to record his reflections in the journal. SUDDENLY OUT OF BREATH WHAT IS THIS? 1S THIS DEATH? (The lighting shifts dramatically, so that the JEKYLL-HYDE FIGURE becomes increasingly difficult to discera in the mirror) (Horsf) SUDDENLY LOOK AT ME! CAN IT BE?! WHO IS THIS CREATURE THAT | SEE?40, ~ PEKYEL) &) Hype ‘The sight of his transformation into HYDE has a violent effect on him, HE staggers around the laboratory, totally out of control, knocking over equip- ment, groceling and roaring furiously like a veil animal. Finally, HE finds Fis clay back to the sirror and stu dies hivnself again, An wsnearthily cal settles over him. HIS voice takes on a husky, dhroaty rasp. The MUSIC is sinister HYDE (in ecstasy) Fréef {takes wp Jekyll ‘s pen and writes in the Journal) “Midnight Unexpected Development”. TheMUSIC is eerie and sinister, dangerous, HYDE erupts into a sudden spasm of rages Seizing a thick silversknobbed cane front the umbrella stand by the doos, HEsees the gas lamp burning on the LAB table Forgive me, Doctor Jekyl!_I forgot to put out the light, HE smashes it with Riseaey eae, HE laughs and moves with astonishing quickness and ferocity ofctof the LAB and into the NIGHT. END OF SCENE 6 ACT |, SCENE 7, Attaen Hyde moves through the streets of London. ction of Jekyl’s walk with Littérgon — but strange, rid (aitd the production style A nightmarish vecoll distorted and hallucinatory, Indeed, the entire w now!) is seen Uarough Hyde's eyes. FEE HYDE WHAT IS THIS FEELING OF POWER AND DRIVE I'VE NEVER KNOWN? — 1 FEEL ALIVE! WHERE DOES THIS FEELING OF POWER DERIVE? MAKING ME KNOW WHY I'M ALIVE! LIKE THE NIGHT, IT’S A SECRET SINISTER, DARK AND UNKNOWN. [DON'T KNOW WHAT I SEEK YET I'LL SEEK IT ALONE!Dekyety o)hyoe -a4 = [HAVE A THIRST THAT I CANNOT DEPRIVE NEVER HAVE | FELT $0 ALIVE! THERE IS NO BATTLE | COULDN'T SURVIVE FEELING LIKE THIS — FEELING ALIVE! LIKE THE MOON, AN ENIGMA, LOST AND ALONE IN THE NIGHT! DAMNED BY SOME HEAVENLY STIGMA BUT BLAZING WITH LIGHT! 11'S THE FEELING OF BEING ALIVE FILLED WITH EVIL, BUT TRULY ALIVE! IT'S A TRUTH THAT CANNOT BE DENIED IT’S THE FEELING OF BEING EDWARD HYDE! stalking section HYDE finds LUICY anel follows her trough the streets — almost ambushing Mer several times — a game of cat and mouse WAIT! WHAT'S THIS? SWEET MISS! AT LAST | HAVE FOUND YOU! IT’S Fs WHAT BLISS IVE RUN YOU TO GROUND MY DEAR: YOU'LL SEE, YOU'LL NEVER ESCAPE ME! I'M HERE! [FEAR AND YOU WILL PAY DEAR, MYDEAR! HYDE approaches LUCY. She responds thinkirig i isa potential client. He touches her, Caresses her LUCY [FEEL YOUR FINGERS BRUSHING MY SHOULDER. YOUR TEMPTING TOUCH AS IT TINGLES MY SPINE = WATCHING YOUR EYES AS THEY INVADE MYSOUL — FORBIDDEN PLEASURES I'M AFRAID TO MAKE MINE, HYDE's caresses become more violent, LUCY runs away, HYDE allows her to escape.dy Pekycuy &) Hyoe HYDE ANIMALS TRAPPED BEHIND BARS AT THE 200 NEED TO RUN RAMPANT AND FREE! PREDATORS LIVE BY THE PREY THEY PURSUE THIS TIME THE PREDATOR'S ME! LUST — LIKE A RAGING DESIRE FILLS MY WHOLE SOUL WITH ITS CURSE! BURNING WITH PRIMITIVE FIRE BERSERK AND PERVER’ TONIGHT I'LL PLUNDER HEAVEN BLIND! STEAL FROM ALL THE GODS! TONIGHT I'LL TAKE FROM ALL MANKIND: CONQUER'ALL THE ODDS! AND I FEEL I'L LIVE ON FOREVER WITH SATAN HIMSBLE BY MY SIDE! AND I'LL SHOW THE WORLD THAT TONIGHT AND FOREVER THE NAME TO REMEMBER'S THE NAME EDWARD HYDE WHAT A FEELING TO BE SO ALIVE! I HAVE NEVER SEEN ME SO ALIVE! SUCH A FEELING OF EWIL INSIDE! THAT'S THE FEELING OF BEING EDWARD HYDE! END OF SCENE & ACT |, SCENE 8 Jekyll’s Study ar A large comfortabte room, warmed by a bright open fire, and fuurnished with costly cabinets of oak, In UTTERSON's view it is ‘the pleasantest room in Londor’. POOLE has just admitted EMMA and UTTERSON, they are dressed for the street. — UTTERSON with hat and cane in hand.Vekycl) 6) Hype - B= POOLE mn the strictest instructions that he is not to be y give him a message? I'm sorry, Miss Carew. Dr. Jekyll has gi disturbed under any circumstances, M EMMA Just remind him that there is more in his life than his work — myself for example. POOLE ‘Ayery valid argument, if I may say so Miss. EMMA turns to UTTERSON EMMA He won't sée,the. It's been five days now, John. I'm worried. UTTERSON 1am too, Emma, But You"know Henry. EMMA John, I said I'm worried, UTTERSON Vl speak to Poole. SHE leaves. LIGHT cross-fades. UTTERSON and POOLE POOLE (hesitant at first) Mr. Utterson, as you know, Iam completely devoted to Doctor Jekyll, and | do not wish to judge him uncharitably, but there are extraordinary circuimstinces that | feel | must make you aware of. Doctor Jekyll has been locked in his labordtory-day and night, for nearly a week. He instructed me not to disturb him for any reason, and to leave all his meals outside the door! UTTERSON You have not seen oF spoken to him at all during this time? POOLE No, sir. Not once HE hesitates. UTTERSON Come Poole, it’s all right. You'd hardly be disloyal in telling me.ty Pekycuy &) Hyoe POOLE Last night .,. I took him his tray as usual, and I noticed that yesterday's meal I untouched, And from inside. .. | heard these noises. The strangest noises and a voice | did not recognize. | heard him — or it or whatever it was behind that door — weeping like an animal or a lost soul. Crying out for some sort of medicine JEKYLL (from offstage (JEKYLL appears) Poole, T want you to go to Bisset, the apothecary immediately and get me these chem- icals. Now, Poole, now! (POOLBexits, UTTERSON looks at JEKYLL in shock) UTTERSON Henry, what in the Devil’ name has happened to you? You look like the Wrath of Goud! Trae anc, (JEKYLL' deep anger shoots swifily to'the surface) JEKYLL JOHN, DON’T NEED YOU TO TURN ON MEAS WELL! MORE THAN EVER NOW I NEED A FRIEND! CAN'T YOU SEE AND DON'T YOU KNOW I'VE BEEN THROUGH HELL? DON’T CONDENN WHAT YOU DON’T COMPREHEND! UTTERSON HENRY, I’M NOT QUESTIONING YOUR MOTIVES HERE! BUT IS WHAT YOU ARE SEEKING WORTH THE PRICE? YOU'VE TURNED YOUR BACK ON EVERYTHING YOU ONCE HELD DEAR YOU'RE CHOOSING TO IGNORE YOUR FRIEND'S ADVICE! (UTTERSON turns and walks away. EACH MAN is left alone with his thoughis. We stay with BOTH of them, separated)Vekycl) 6) Hype - 45 = UTTERSON YOU HAVE YOUR WORK AND NOTHING MORE! YOU ARE POSSESSED WHAT IS YOUR DEMON? YOU'VE NEVER BEEN THIS WAY BEFORE YOU'VE LOST THE FIRE YOU BUILT YOUR DREAM ON! THERE'S SOMETHING STRANGE THERE'S SOMETHING WRONG [SEE A CHANGE I'S LIKE WHEN HOPE DIES. bWHO HAVE KNOWN YOU FORSO LONG I SEE THEPAIN IN YOUR EYES. UTTERSON JEKYLL ‘THERE WAS A TIME HAVE ‘YOU LIVED YOUR LIFE L AND NO ONE LIVED BECOME THE WAY THAT YOU DID! my ‘YOU HAD A PLAN WORK ‘YOU CHOSE A WIFE AND ‘YOU SAW YOUR WORLD. NOTHING AS VERY FEW DID! MORE? YOU HAD IT ALL I THE OVERALL! KNOW ‘YOU SEEMED TO KNOW THAT'S JUST WHAT TO LIVE FOR! NOT BUT NOW IT SEEMS. WHAT ‘YOU DON’T AT ALL! I™ ‘YOU HAVE YOUR WORK LIVING NOTHING MORE FOR!. (The lights cross-fade to where EMMA and SIR DANVERS are discussing JEKYLL).=a6 = Dexycu) &) Hyoe EMMA FATHER. YOU KNOW HENRY WON'T JUST WALK AWAY THE ONLY WAY HE KNOWS IS STRAIGHT AHEAD! DANVERS EMMA, YOU'VE NOT HEARD A SINGLE WORD I'VE SAID MY FEAR IS HE’S IN OVER HIS HEAD! HE COULD LOSE CONTROL — AND THAT I DREAD! THERE HAS BEEN TALK — THEY SAY HE’S GONE TOO FAR! HE'S LOCKED HIMSELF AWAY IN HIS OWN WORLD — PURSUING THIS INSANITY EMMA (Passionately) IT IS HIS WORKS DANVERS (Just as passionately) IT'S MORE THAN WORK! EMMA WORK! DANVERS HE IS OBSESSED! THE MAN IS DRIVEN! EMMA JUST GIVE HIM TIME 1 ASK NO MORE! HIS WORK’S A CRIME TO BE FORGIVEN! DANVERS ‘THERE'S SOMETHING STRANGE UNLESS I'M BLIND [SEF A CHANGE OF A BIZARRE KIND! EMMA THERE'S NOT AT ALL! —DON'T BE UNKIND! THE PROBLEM’S ALL IN YOUR MIND!PeKycuy é&) Ayes -We (The lights create another transition in space, isolating the FOUR SINGERS from one another through the conclusion of the scene) DANVERS UTTERSON JEKYLL HE HAS HIS WORK HAVE EMMA... AND NOTHING MORE! You HE IS OBSESSED — ‘THE MAN IS DRIVEN BECOME EMMA JEKYLL JUSTGIVE HIM TIME — YOUR EMMA... TASK'NO MORE! WORK HIS WORK'SA CRIME AND TO BE FORGIVEN, NOTHING DANVERS MORE? JEKYLL HES CHASING DREAMS EMMA... HE'LL NEVER FIND! ISEE A CHANGE OF A “NOW BIZARRE KIND! HY NOT. EMMA WHAT JEKYLL THERE'S NOT AT ALL! ~ YOU'RE EMMA DON'T BE UNKIND! THEPROBLEM’S ALLIN§ LIVING YOUR MIND! FOR EMMA DANVERS UTTERSON JEKYLL STILL IPRAY EVERY DAY IPRAY i EVERY DAY HENRY MAY PRAY ‘HENRY MAY FIND HIS WAY. r FIND HIS WAY. MAY PRAY HE 1 PRAY HE FIND FIND MAY FIND MaY FIND YOUR My HIS WAY HIS WAY way WAY. WILL PRAY 1 EVERY DAY I WILL PRAY PRAY HENRY MAY EVERY DAY Il FIND HIS WAY YOU TWO May MAY PRAY IPRAY FIND YOUR WAY FIND ‘HE MAY YOU MAY FIND YOURWAY = MY FIND HIS WAY FIND YOUR WAY Way.=H ~ PeKyeLy &) Ayoe The light fades. Back to the STUDY JEKYLL and POOLE now alone. POOLE ‘Ayoung woman to see you, sir. The kind .., one cannot mistake, She is without an appointment. Ican send her away. JEKYLL Send her away. POOLE Yé sir}] cannot imagine how she came to have your visiting card JEKYLL a piillor sets on hin, realizing who she must be V'll see her Poole: POOLE lemiesrJEKYLL collects himself LUCY enters, wearing her pathetic Lest. Lucy At Jekyll’s Study LUCY Tam the one you met that night, in the pb remember? Lucy — Lucy ‘Artis, JEKYLL What brings you here...? LUCY (SHE is hurt, upset that he speaks to her in this cool matner/tenbuttoning her Blouse) You said if | “ever needed a friend! (SHE reveals her injured back. JEKYLL sees, we don't. He is horrified) LucY Pretty, in’ it? And this one, “e’ enjoyed himself doin’ it, too! Things like this... happen where I come from. But you don’t expect it from a gentleman . (SHE looks at him) JEKYLL (treating her back with medicine) Gentleman! What kind of monster would do such a thing?PeKY CL) &) Hywe - age Lucy | won't forget his name ina hurry. Hyde, he called himself. Edward Hyde. JEKYLL {quiet shock) Why come to me? Lucy You, gimme your name. [never had someone like you be nice to me before. JEKYLL Why didn’hyou go to the police? LUCY The police? You're joking. With him bein’ a gent, ‘oo's gonna listen to me? ! I'd be afraid of what ‘e might,d0if he found out! ‘E ain't human! ‘E’s.a beast’! E’s not like you at all. (HE continues to treat ier back.) rn ML LUCY SYMPATHY ~ TENDERNESS: WARM AS THE SUMMER OFFER ME THEIR EMBRACE. FRIENDLINESS — GENTLENESS STRANGERS TO MY LIFE THEY ARE THERE IN HIS FACE, GOODNESS AND SWEETNESS AND KINDNESS ABOUND IN THIS PLACE. LAMIN LOVE WITH THE THINGS THAT I SEE IN HIS FACE .. IT’S A MEMORY | KNOW TIME WILL NEVER ERASE. SHE kisses Irim. HE does not resist. After a long moment, he ri his fet. y to=50) DeKYCL) &) Hyoe JEKYLL Take care of yourself, Miss Harris. LUCY Always try HE leaves her weone Like You Lucy 1 PEER THROUGH WINDOWS WATCH LIFE GO BY DREAM -OF TOMORROW AND WONDER WHY THE PAST IS HOLDING ME KEEPING LIFE AY BAY, [WANDER LOST IN YESTERDAY WANTING TO FLY BUT SCARED TO TRY, BUT IF SOMEONE LIKE YOU FOUND SOMEONE LIKE ME THEN SUDDENLY, NOTHING WOULD EVER BE THE SAME MY HEART WOULD TAKE WING AND I'D FEEL SO ALIVE! IE SOMEONE LIKE YOU FOUND ME! The song continues as LUCY leaves JEKLYLL’s house — into the streets of Regent's Park, then she makes her wry back to tic grim surroundings of the dockside, ‘SO MANY SECRETS LONG TO SHARE ALL I HAVE NEEDED IS SOMBONE THERE TO HELP ME SEE A WORLD I'VE NEVER SEEN BEFORE A LOVE TO OPEN EVERY DOORPEKY CU 6) Ayoe -is ‘TO SET ME FREE SO.1 CAN SOAR! IF SOMEONE LIKE YOU FOUND SOMEONE LIKE ME THEN SUDDENLY, NOTHING WOULD EVER BE THE SAME ‘THERE'D BE A NEW WAY TO LIVE ANEW LIFE TO LOVE IF SOMEONE LIKE YOU FOUND ME! (OH, IF SOMEONE LIKE YOU FOUND SOMEONE LIKE ME THEN SUDDENLY, NOTHING, WOULD EVER BE THE SAME! MY HEART:-WOULD TAKE WING AND I'D FEELSOALIVE! IF SOMEONE LIKEYOU LOVED MEI LOVED MEI LOVED MEI Immediate transition into; ACT I, SCENE 9 Shabby Street near “THE RED RAT” Along the siabby street, strolling together, arm-in-armn, come the unlikely pair of LUCY’ friend NELLIE and a surprising client, the BISHOP OF BASINGSTOKE, last seew/vithe the HOSPITAL BOARD OF GOVERNORS sanctimoniously lootingagainst the JEKYLL proposals that have precipitated the circumstances in whic we nox find ourselves. The BISHOP is clearly very content to be in the dubionls company of NELLIE, who is jangling her front door keys coquettishly as SHE onl.) BISHOP It is very thoughtful of our friend The Spider to arrange these little rendezvous for us, my dear. It makes such a pleasant change from my — et- — charity work! NELLIE (Sexily) Long as you ‘ave a good time, yer Grace — that's all that matters to me! I don’t do it for charity!82 5 Pekycuy &) Hyoe She departs. Qut of the shadows near the BISHOP totally without warning [this should be a real shock!], steps the terrifying figure of HYDE, The doomed-filled MUSIC anticipates the BISHOP's fate, The BISHOP stops in frozen with fear. HYDE: grins hin with a supremely eynicat smile his trac He ivirls his heavy cane in a debonair fashion as HE studies the BISHOP, He smiles charmningly HYDE Well, well/well! It warns my heart to know that romance still blossoms in the sewers of Londont If it.isn’t the Romeo of the Cloth and the Juliet of the Gutter — a truly pretty pair! BISHOP (Blusters) How dare you speak to me like'that, sir! (HYDE chuckles softly ase steps closer to the BISHOP, then throcos back his hair and roars wilh demorifelaughter) HYDE. How dare I. sir? ... How... dare... you, sir?! (HE steps towards the BISHOP and slowly anddeliberately raise cane high above his head) his heavy BISHOP (Terrified) Do you know who | am? HYDE Oh, yes! | know exactly who you are! You are Basil, the fourteenth Bishop of Basingstoke! — you're on the Board of Governors of St. Jude's Hospital! — And yow are an obscene, self-indulgent, malevolent, malignant Hypocrite! ... Hypocrite! Hypocrite! ... Hypocrite! HE crashes the cane down on the BISHOPis skull each time he wtters the word, The BISHOP drops like a felled ox. The only sound is of HYDE’s heavy, gasping breathing. Then, slowly, inexorably, the MUSIC and HYDE gear themselves for one last triumphant statement, HE is totally drunk with porwerPekycu) 6) Hyoe HYDE ANDI KNOW I’LL LIVE ON FOREVER WITH SATAN HIMSELF BY MY SIDE! AND I'LL SHOW THE WORLD THAT TONIGHT AND FOREVER THE NAME TO REMEMBER'S. ‘THE NAME EDWARD HYDE! WHAT A FEELING TO BE SO ALIVE! [HAVE NEVER SEEN ME SO ALIVE! SUCH A FEELING OF EVIL INSIDE! THAT'S THE FEELING OF BEING EDWARD HYDE! END OF ACT! 58 =64 + Pexkycu &) Hype ACT Il, SCENE 14, LONDON MONTAGE. The company onstage in tableau. #25 — Murder, Murder ONE OF THREE MEN READ ABOUT THE HIDEOUS MURDER PROFANE, RELIGIOUS MURDER! THAT POOR OLD BISHOP! WHAT ASHOCK! ANOTHER SEEN WALKIN’ WIV HIS DAUGHTER A MOMENT PRIOR TO SLAUGHTER! THE SHEPHERD JENDIN’ 10 HIS FLOCK! THREE MEN E DIED IN A LONDON SLUM! ASLAVE TO MARTYRDOM! DIED WITHOUT COMPLAINT! ‘E SHOULD BE MADE ASAINT! E'S GONE BACK ‘OME TO GOD! ALL MEN IT ALL SEEMS VERY ODD! ADD WOMEN WHY SHOULD IT BE? ALL THIS MYSTERY? MURDER, MURDER! IN THE NIGHT AIR! MURDER, MURDER! ITS A NIGHTMARE! MURDER, MURDER! ITS A RIGHT SCARE! BLOODY MURDER IN THE NIGHT!PEKY CU 6) Ayoe - 55 = MURDER, MURDER! MAKES YER ‘EART THUMP! MURDER, MURDER! MAKES YER BLOOD PUMP! BLOODY MURDER IN THE NIGHT! The LIGHT cross-fades. A straggling group of STREET PEOPLE stand on the steps outside St Paul's cathedral, listening to the quite audible eulogy, frout within, which is being delivered by one of the LATE BISHOP’s colleagues. OFFSTAGE VOICE CATHEDRAL CHOIR (offstage) .and-vyeshall remember him, not only REQUIEM as a Man’ofGod and. a Man of AETERNAM Principle, buta& a Man Whose Like We Shall Not See ‘Again! MMM... GLOSSOPSitking with two sticks, is the first o emerge from the service, accompanied big SAVAGE — who is wiping tears from his eyes — tears of helpless laughter. GLOSSOP and a Man Who Liked Buggering Children! SAVAGE A wonderful eulogy, George! — I could hardly keep a straight face! HYDE appears from nowhere in front of thet, HYDE Nothing like a good laugh at a close friend’s funeral, I alway$say — eh, what? Ha Ha Ha Ha! As HYDE laughs, he knooks axsay the GENERAL's two sticks, aid-the Mighty Warrior falls to the ground GLOSSOP You can't threaten me! I'm a gerreral! HYDE (laughter) Then they'll probably put up a statue in your memory, you miserable Hypocrite! As HE laughs, he breaks the General ‘s neck. BLACKOUT. Police whistles, ‘more souls of “Murder!*and general pandemonium. IMMEDIATE RESTORE OF LIGHT on a crowded stage, NEWSBOYS doing a brisk busi- ness= 6 = PeKY CL) 6) Ay oe ‘Their billboards read “WAR LORD GLOSSOP MURDERED “ and “SECOND SLAYING IN FIVE DAYS.” The STREET PEOPLE gather in clusters, reading the sensational story splashed across the papers, sfivaned by the news MAN(ONE OF THREE) LOOK AT THIS — ANOTHER MURDER! JUST LIKE THE OTHER MURDER! THAT POOR OLD GENERAL GLOSSOP — DEAD! LAST WEEK THE BISHOP COPPED IT! THE BLOKE WHAT DONE IT HOPPED IT! ‘THAT FELLER MUST BE OFF HIS HEAD! SECOND MAN THATS*WO IN THE LAST FOUR DAYS! THIS KILEERJIIAS FANCY WAYS! THIRD MAN TO KILL OUTSIDE ST: PAUL'S REQUIRES A LOTTA BALLS! MORE, HE HATES THE UPPER CLASS! HE MUST BE ON HIS ARSE! ALL (ADD WOMEN) WHO COULD HE BE? MAN DON'T LOOK AT ME! ALL MURDER, MURDER! MAKES ME BLOOD THIN! MURDER, MURDER! MAKES ME HEAD SPIN! MURDER, MURDER! STARTS ME DRINKIN’! BLOODY MURDER IN THE NIGHT!