DR. JEKYLL AND MR. HYDE ADAPTED BY JEFFREY HATCHER FROM THE NOVELLA STRANGE CASE OF DR, JEKYLL AND MR. HYDE BY ROBERT LOUIS STEVENSON atte Company production of Dr. Jekyll and Mr. Hyde, DRAMATISTS PLAY SERVICE ING. A scene from the ArizoiDR. JEKYLL AND MR. HYDE Copyright © 2008, Jeffrey Harchor All Rights Reserved CAUTION: Profesional and amcuts ace herchy warmed that perfomance of DR, TEKYLLAND MR. HYDE issubjectopaymen of eal Ie ily proceed under the copyright vs ofthe Urine Sees of America, an ofl count covered by toe Ineonal Cop Union Gndudng he Dominion of Canad andthe ox othe Bish Commorweah), and ofl counties covered by the PaneAmercan Copyright Convetion, the Univenal Copyright Convention, the Beine Convention, and of al umes wih which the United States has epoca copyright rains, All igh, including without istation profesionaVamateur sage gate motion pcre, ee ‘ion, letring, public reading radio Broadening ees, vidco or sound econ, alloher forms of mechanical clcroic and dig eproution ansmiston an di tration, sich a CD, DVD, the Inerne, pevite a lesharag neo, note ton song nde cn Spin an the of anon sign langage re scl reserved. Parca emphasis laced upon the rater 0 ‘eating pais for which mus Be secured from the Adan’ get fn weg, “The English lnguage sock an smneur tage performance rights inthe United States, ine poatins an Corala BIC ERULL AND MR TOE ae oe tole excustelyby DRAMATISTS PLAY SERVICE, INC, 440 Park enue South, NNew York, NY 10016. No profesional or nonprofesiona performance of te Pay aay be gen rou chaiing in ahance the mien ermtoion of DRAMATISTS PLAY SERVICE, INC, and paying the mute fe Inquiries concerning all other rights should be addressed +0 Paradigm, 360 Park Avenue South, 16th Floor, New York, NY 10010, Aten: Jace Tantlef an reduce DR ERYLL AND yone reving pemision to precuce AND MR, HYDE is equi to give cede othe Adepror as ol and excuse Adapor ofthe Pay onthe page tal programs dave in connetion win prfrmane ofthe sy and all instante which the tl ofthe Diy appers fo purposes of adverasngpublcing rather epotinghe Py andra proton hea. Th name he Adepor aseapper ona spat line in which ho other ame spas immediacy bene the ile and in size of type equal co 50% ofthe size of the lergest, mos prominent Ice, ter wed for hele ofthe Ply No person, frm or eniy my rece eit rer or tote prominent than that accorded he Adaptor The iin must appears follows DR. JEKYLL AND MR. HYDE adapted by Jeffrey Hatcher fiom the novella Srange Cas of Dr Jel and Mr: Hyde by Rober Louis Stevenson The following acknowledgment must appear on the de page in all programs dsb uted in connection with performances ofthe Phys ‘The World Premiere of DR. JPKYII. AND MR_HYDE ‘was commisioned and produced by Arizona Thesere Company, David Ira Goldstein, Artistic Director Jestica L. Andrens, Exceutive Director econ ‘for David Ira GolditeinDR. JEKYLL AND MR. HYDE was commissioned and produced by the Arizona Theatre Company (David Ira Goldstein, Artistic Director; Jessica L. Andrews, Executive Director) receiving its world premiere in Tucson, Arizona, on January 18, 2008. Ie subse- quently opened in Phoenix, Arizona on February 9, 2008. Ie was directed by David Ira Goldstein; the set design was by Kent Dorsey; the costume design was by Anna Oliver; the lighting design was by Dawn Chiang; the original music was by Roberta Carlson; the sound design was by Brian Jerome Peterson; the fight director was Ken Merckx; the dramaturg was Jenny Bazzell; the casting was by Bruce Elsperger; and the stage manager was Bret Torbeck. The cast was as follows: R. Hamilton Wright ... Ken Ruta DR. HENRY JEKYLL ... EDWARD HYDE, GABRIEL UTTERSON ... EDWARD HYDE, SIR DANVERS CARE! RICHARD ENFIELD, O.E SANDERSON, INSPECTOR . cs ww Stephen D’Ambrose EDWARD HYDE, DR. H.K. LANYON, POLICE DOCTOR, SURGICAL STUDENT. Mark Anderson Phillips EDWARD HYDE, POOLE, SURGICAL STUDENT, POLICE DOCTOR. ELIZABETH JELKES ....... ORDERLIES ssoene Cartie Paff sennee Anna Bullard ... Rebecca Angel, Stephen Gaeto This production transferred to San Jose Repertory Theatre (Timothy Neat, Artistic Director; Nick Nichols, Managing Director) in San Jose, California, opening on May 16, 2008, The stage manager was Laxmi Kumaran, Orderlies were played by Alan Kaiser and Danielle Perata. PRODUCTION NOTES DOUBLING: The play is designed co be performed by six actors, four men and two women. One actor plays “Jekyll” and no other role, and one actor plays “Elizabeth” and no other role. But all four of the oxher actors — including the other woman — double, with each playing “Hyde” ac some point. SET: The play is designed for maximum speed and movement, so transition time must be kept to an absolute minimum. Rooms may be suggested by moveable desks, chairs, serving tables, lab tables, hospital gurneys, and the like. In the Arizona Theatre Company production directed by David Ira Goldstein and designed by Kent Dorsey, the set included wood “bleachers” that suggested the kind of seating found in the lecture halls and operating theaters of nineteenth-century England, This was very useful and also quite evocative, ‘What is vital for any production is The Red Door that is moved from place to place during the performance. The Red Door will define space. The Red Door will tell us whether we're inside or our- side a rcom or building. The Red Door must be practical; and on two occasions during the show, at the start and at the climax, it must be “smashed down.” I trust in the creativity of che design team to solve this, but more than one Red Door may be helpful. COSTUMES: There are no changes during the show, so the clothes should be general in look, although they must conform to our notions of late Victorian style and silhouette, A new character ccan be suggested by a prop or some other indicator, In the premiere production, four of the men and one of the women wore identical charcoal gray suits, to which were added hats, scarves, capes, etc. ‘The other woman wore a gray dress of similar material and gray color. This worked quite well, especially as it established from the start that our template was a uniformity that could warp into end- Jess variations. ‘The silver-headed cane is reserved for actors who play “Hyde.” ‘There should be no other canes onstage. 5— CHARACTERS “J DR. HENRY JEKYLL Ee MR. EDWARD HYDE rH GABRIEL UTTERSON ELIZABETH JELKES DR. H.K. LANYON SIR DANVERS CAREW POOLE, THE BUTLER SANDERSON, THE PRIVATE DETECTIVE ‘THE INSPECTOR ‘MR. RICHARD ENFIELD. ‘THE PROSTITUTE POLICEMAN POLICE PHYSICIAN SURGICAL STUDENT I SURGICAL STUDENT 2 MAID OLD WOMAN LITTLE GIRL DRUNKARD HOTEL CLERK MORGUE ORDERLY PLACE Drawing rooms, offices, a laboratory, a private surgery, a morgue, a dissecting theater, a bed-sitting room, a park, a hotel room, various streets and alleys TIME London, 1883. DR. JEKYLL AND MR. HYDE PROLOGUE Five actors — two women and three men — stand at the stage apron, in late Victorian clothing, circa 1883. They stand in front of a red door, upstage center. The door scems to ‘float in darkness. The five actor: look out front, footlights beaming up at them. WOMAN 1. This is what I know. MAN 1. T'll cell you what I know. MAN 2. What I'saw, what I heard. MAN 3. The events as I would recall chem. WOMAN 2. I cannot speak for what I have not witnessed. (Blackout. Immediately we hear — a woman’ scream.) AIITEEE! (We hear a very loud London police whistle, at least three blasts. Overlapping the whistle, we hear voices shouting in the dark:) MAN 1, (Offtage.) Jekyll MAN 3. (Offitage.) Break it down! WOMAN 1. (Offitage.) He's in there with him! MAN 1. (Offtage.) Stand back! (Lights on the red door. The red door bursts open, opening downstage. Towards us. The door hangs by a hinge. Five people, backlit, come through and come downstage. They stop in their tracks. Gasps. Now we see a body on the floor, downstage of the door. It might cven be two bodies. All we can sce is a swirl of dark clothing. Man 2 becomes “The Police Inspector.”) INSPECTOR. Is it him? IS IT2 (Pause as shey stare. Then — lights change. Man 1 becomes “Utterson.” Utterson ‘comes downstage and speates to the audience.)UTTERSON. Ter me begin. (Lights change. The red door is wheeled downstage in front of the “body(ies).” The actors go offitage. As Unerson speaks:) ACT ONE Scene 1 A London street. UTTERSON. Diary of Mr. Gabriel Utterson, solicitor. (Enfield enters the scene.) A relation of mine, name of Enfield, we meet for dinner once, twice a year to discuss legal business. On one of these occasions we decided to visita friend after and somehow allowed our conversation to take us from the route. A wrong turn, a nar- row lane,and suddenly we came upon a door. (The red door is re- positioned. This time at a different point onstage.) ENFIELD. This door. Tell you a story? UTTERSON. Please. (Lights change. As Enfield begins to describe the scene, Urterson “disappears” into the darkness.) ENFIELD. Some weeks past, coming home one night from some godforsaken place at the end of the world, I took the same wrong turn we did just now and found myself upon this spot. Saw a girl ves (One of the women — Actor 6 — comes downstage.) ... a child, almost, running down the street, and out of her sight, coming ‘round the corner, a man. (Light change. The actor who will play Jekyll throws bis cane to the actor who plays Utterson. The actor who played Utterson becomes the first of the actors who will play Hyde.) ‘The two came together at the same time and collided. (Hyde and the woman collide. She falls to the floor. Hyde raises up the cane as if zo strike her — and freezes. Other actors move into the scene,) STREET PEOPLE. ‘Ere now. — Stop there! — He knocked her over! — Grab him! (Hyde is apprehended by them.) DRUNKARD. Are you hurt, my darling? OLD WOMAN, Is she hurt? Ifhe’s harmed her, if he’s crushed her little frame — DRUNKARD. Call the constable, we should! OLD WOMAN. What about a doctor?DRUNKARD. Tha’ tight, a doctor should be called. HYDE. There is no need. The git is not harmed. ENFIELD. Here now. Why'd you knock her down? HYDE. Ie was not intentional. I was too much in haste to reach my door, ENFIELD. (Re: the red door) This door is where you live? HYDE. vis. ENFIELD. What is your name, sir? HYDE. Hyde. ENFIELD. Hyde, you owe this girl an apology. HYDE. I apologize. ENFIELD. Nor enou: OLD WOMAN. No, it isn’t! DRUNKARD. Nol ... What would be enough: ENFIELD. I think there are damages here. HYDE. Damages? You mean I'm to pay the girl? ENFIELD. Her family, then. (The Old Woman steps forward.) OLD WOMAN. I'm her mother! (As others look at her.) Wall. Pm her mother's friend. ENFIELD. I think we could pur the mateer at rest for the sake of twenty pounds. (The street people gasp.) HYDE. Come inside. ENFIELD. None of us wished to go inside. It was a bad street and the door, combined with the man’s demeanor, suggested an entrance that might not portend an exit. Still we went in. (Hyde unlocks the door. They all enter. The door is turned around by the actors, They are now “inside,”) HYDE. (Hands Enfield a cheque.) A cheque. Twenty pounds. You'll note the bank is beyond reproach. ENFIELD. How do we know there are funds to cover the amount? The girl's mother can't cash the cheque ‘til Monday. By then you could be on a steamer to who knows where. HYDE. This isa letter, from an associate of mine. (Hands Enfield a letter.) It confirms the funds and pledges to make good any over- draft. Will chat be acceptable to you, Mr. Enfield? ENFIELD. (Shocked, to Hyde.) Yes ... yes ... this will do. HYDE. May I have it back then? The letter? (Enfield hands the let- ter back to Hyde.) ENFIELD. And with that we left. (The door is repositioned in front of Hyde, closing him off from our view. Enfield helps up the woman — 10 Actor #6 — who played the girl. Ho gives ber the d exit. As this takes place, Enfield speaks — )T gave the gil, the gid ran off, the crowd dispersed, the incident. (Lights change. The actor who played Hyde now returns tothe. Urterson.) ‘ UTTERSON. What then keeps it in your mind? ENFIELD. ‘Two points: One, the fact that he called me Enfield, UTTERSON. Well, thae is your name. ENFIELD. Yes, but I didnt tell it to him. UTTERSON. ... And the second point? ENFIELD. The name at the bottom of the lewer. Id someone were going to see tonight. UTTERSON. Who? : ENFIELD. Henry Jekyll. (Light change, The door is repositioned.) Scene 2 De: Henry lel sting room. There is a bunt of male tughter as Dr. Lanyon enters. Dr. Lanyon is the owner of the exuberant laugh - a DR.LANYON. My dear Enfield! ENFIELD. My dear Lanyon! DR. LANYON, Utterson. UTTERSON. Lanyon. We seem to have walked into the midst of noc some little mirth. DR. LANYON. Yes, Jekyll has made a proposition, haven't you, Henry? (Dr. Henry Jelyll turns and enters the scene, ] . JEKYLL. It wasn'e a proposition. It didn't have even the force of argument to be anything close to a proposition, ENFIELD. We're late in coming. Do fill us in DR. LANYON. We were talking about this murder, JEKYLL. Murders. DR. LANYON. Took place in Scotland, which explains a lot. A burglar, fuirly common criminal sort, I should think, wouldnt you, Uttersoni Irs your profession, after all, crimes and courts? ulUTTERSON. A solicitor does all he can to make sure his clients don’t end up in court. DR. LANYON. This housebreaker fellow was good at what he did, hadn't been caught in a year and a half. JEKYLL. Nineteen months, to be exact. DR LANYON. Yes, Jekyll’ up on the particulars. Nineteen months and the fellow isn't caught, Has a job, wife, family, friends, and then tone night a neighbor hears something — crash, bang, sereams — tushes next door to find the man in the middle of his kitchen, cov- cred in blood. Held slaughtered his family. His wi, his child. JEKYLL, Children. There were two. DR. LANYON. Obviously the wife found out her husband was the housebreaker, she confronted him, he did away with her, child sees the wife done away with, child has to be done away with as well, and so on down the line. But when the police arrive and find the fellow covered in blood, red-handed as it were, whac does the fellow say? He says, “What have I done?” UTTERSON. Ie seems an innocent enough expression of disbe- lief, Although “innocent” is perhaps the wrong word. DR. LANYON. I agree, Man murders his family, says, rhetorically “What have I done#!” the way he'd say it to his confessor or God. Bur Jekyll hears those words differently than I, dontt you, Jekyll? Jekyll hears them as — JEKYLL. (All innocence.) “What have I done?” DR. LANYON. Jekyll thinks the question was not therorical. UTTERSON. ‘So the proposition...? (Lanyon grins and indicates that Jekyll should speak.) JEKYLL. Icis possible the man did not believe he committed the crime. In his mind, the crime had been committed by someone else. DR. LANYON. And that, gentlemen, is where you came in. And where I go out. (Poole, the bualer — played by the one of the female ‘actors — enters with Dr. Lanyon’ hat.) Jekyll, thanks for the dinner and brandy. See you at Dr. Carew’ lecture in the morning? The bas- tard’s got a good one tomorrow — prostitute done in by dog, Carew’s going. to determine whether she died from the canine rip- ping through her neck or from a disease carried by the canine’ teeth Fall dissection, Tickets are going fast. (Dr. Lanyon winks and exits.) Poole, open the other brandy, would you? Yes, sir. (Poole exits.) are late coming. I chought you said nine o'clock. 12 ENFIELD. We came ‘round the long way. ULTERSON. You look upset, Henry. JEKYLL. Do PT suppose I am. les the way Lanyon and I got onto the subject of those slayings in Scotland. It hs to do with Dr. Carew. Ca I don’ understand. , ‘LL. Dr. Carew wants one of the bodies for dissection purposes. JTTERSON. Heavens. The murderer? at JEKYLL. No. UTTERSON. The wife? JEKYLL. He wants one of the children, JTTERSON. That cant be legal. JEKYLL. ‘That wouldnit stop Sir Danvers Catew: (Poole reenters and ‘pou two brandies, one for Uteerson, one for Enfield.) He's been taking soundings around the hospital, to see if there might be a way to get bald ofthe bois 1 shar dhe commits on eis Cae knows Lanyon's my friend, so he asked Lanyon to bring it up tonight. UTTERSON. [suppose an argument ean be made (Poole exit) JEKYLL. For what Disecting the cadaver of a child? EiESON. Well, cant the body of a child be of as much use, JEKYLL, It’s nor for “use” he wants it! We know what the chil died of We know what happens when acidgd icbraght dows on a head. We know what happens to the blood vessels and the inte- ior organs when a bade is shoved through the visceral Thee is no ect Goer st hows is of interes. Fin sory. The man dos ENFIELD. Wel, I'm sorry then to bring up wh: pune ry then to bring up whae may be another UTTERSON. Enfield, let’s not — JEKYLL. What? (Neither responds.) What is i? ENFIELD. Well, now I have to tell him. Told a story to Utterson on our way over. On that rough street back behind the canal, met glow whol done a gl wrong Insite he py fo the ples ie wrote a cheque, I doubted it, and ma : he wrote chau 1 it, and he showed me a letter con- JEKYLL. Signed by Henry Jel. ENFIELD. ... Yes. ea UTTERSON. We wondered why you would allow yourself o put your name to such a piece of papes, especially since... well put plain, he’ not quite your sore, Henry, is he? 13JEKYLL. He is someone who has done me services in the past. I cannot approve his actions. I condemn them. I lope you both now me well enough to believe that. ENFIELD. Of course. UTTERSON. Goes without saying. JEKYLL. But ... Lowe Edward Hyde a debt. He came by after you met and gave me an accounting of the incident, He was quite ashamed and felt he could no longer claim my friendship, so .. (Takes out lester.) ... he returned my letter to me. ENFIELD. Well, I'm glad to hear that. When I realized just this evening the proximity of his house to this one — JEKYLL. He is no threat to me, I doubt you shall apprehend his likes again, ENFIELD. Ah. I see. UTTERSON. Well, I don't. Enfield said he ... (To Enfield.) Tell him. The ching that troubled you, when he said it. ENFIELD. Well ... he called me by my name. How could he know who I was? JEKYLL. Is that all? Hyde saw the two of us together on the street, afier that lunch at your club last month. When next we spoke he asked who you were, I told him, simple as that. (Enfield and Utterson exchange a glance. Enfield decides to let the matter go.) ENFIELD. Well, that’s cleared up. Wouldn't you say that's cleared up, Utterson? UTTERSON. (Nor at all convinced.) Yes, of course. (Jekyll and Enfield exit into darkness. Light change. The door is moved to a new Position. Utterson turns to the aiddience,) And that was the end of the evening, When Enfield and I parted, I recurned to the street behind the canal and found again the doot. Enfield was right. The place was much closer to Henry's than I would have thought. In fact, one would almost say it backed onto his garden where his laboratory was. But the point was moot. No lights shone from within, no smoke rose from its chimney. Mr, Hyde was not at home. (Uiterson exits. Lights change.) 14 Scene 3 College of London Hospital. Lecture theater. Two surgical stu- dents sep forward. SURGICAL STUDENT 1. College of London Hospital. Third year notes from the lecture of Sit Danvers Carew. SURGICAL STUDENT 2. And its aftermath. (A cadaver is wheeled in on a gurney by an orderly. The audience may glimpse yellow skin, blood and viscena. There are also bottles, jars, medical instruments and other dissection paraphernalia. Sir Danvers Carew, the florid and domineering chief surgeon of the hospital, steps forward. He wears a monocle and brandishes a pointer) SIR DANVERS CAREW. The brain, as you can see, gentlemen, is small, albeit distended and deformed, emblematic of the woman's moral decay and sensual rapaciousness, her intellectual spheres noticeably dwarfed in comparison with those devoted primarily to the pursuits of lust and degradation, Her neck and throat, the area with which the dog took issue, has been bitten, the salient point being the evidence of ripping. The face, though once possessing a ‘nor unattractive visage, has also been chewed upon. Thus disfigured there is no need to gaze upon it further, Her breasts, however, remain exemplary. Her sex is swollen, as one might suspect even without observation. But observe it we shall. For that, more chan the brain, is the true heart of the feminine soul. In this creature’ case — the case of a diseased and depraved streetwalker — the engorged nature of her vaginal canal divined its own end and signed her death warrant. That, gentlemen, concludes — (Jekyll enters.) JEKYLL. Ror. SIR DANVERS CAREW, Who's tha? JEKYLL, Rot, bad science and evil-mindedness. SIR DANVERS CAREW. Dr. Jekyll, Iam chief surgeon of this hosp — JEKYLL. Sir Danvers, you say the woman's brain is small. OF course it's small, she’s been dead three days with no hydration, ies shrunk! As any of ours would shrink in similar circumstances, as your brain 15would shrink, if further shrinkage were possible. As for some parts of her brain being dwarfed, as you put it, that's because the body was obviously improperly stored, in a tilted position, causing what blood remained in the head ro gather on one side, thus bloating the tissue. AAs for what you call “her sex,” its swollen because the woman was raped, and the “canine tears” around her neck are not the result of teeth, but rather a clumsy attempt to mask a murder by making it look like the ateack of a dog. I'll wager chose are from boot nails or a cobble pick. As for the rest, including your assumption as to the loca- tion of her soul, I leave to a higher knowledge. Now cover her. (The orderly teps forward and covers the body fully) If you want lurid depi tions, Sir Danvers, buy a postcard from a Frenchman. (Jekyll and Sir Danvers Carew glare at each other, in a stand-off. Beat.) SURGICAL STUDENT 1. ... Uhm, Sir Danvers, is class dis- missed? SIR DANVERS CAREW. (Barely controlling his rage.) Due to the interruption of my lecture, the whore shall be dissected tomorrow. (To Jekyll.) Jekyll, I shall see to you in quicker order. (Pushes past the students.) Out of my way!!! (Sir Danvers exits. Jekyll remains, shaken by his own outburst After a moment, he notices the surgical students staring at him.) JEKYLL. I apologize for my outburst, but it was long in coming. ‘As physicians, you will be presented with cases in which the choice is beoween what you can do and what you should do. SURGICAL STUDENT 1. How does one tell the difference? JEKYLL. What you can do js determined by your learning, your expertise, your reputation, and the power society bestows upon you in recognition of these gifts. SURGICAL STUDENT 2. And what you should do, what's that determined by? JEKYLL. Your character. SURGICAL STUDENT 1. Don't you mean the soul, sir? You do believe in a soul, dontt you, Dr. Jekyll? JEKYLL. I believe we give names to things we cannot compre- hend. There is a part of the mind we cannot study because we can- not sec it, feel it, but there our deepest dreams and desires live. Call that a soul if you like. Ie doesn’t care what name you give it. SURGICAL STUDENT 2. Buc if the soul is a — JEKYLL, Gentlemen. These are questions for the college chaplain. Go to him. He has little enough business as it is. (The students ext. 16 Jekyll turns to look at the cadaver. After a beat, he turns to the audi- ‘ence. Lights change.) Scene 4 Dr Jekyll’ study, Jekyll is alone. JEKYLL. Diary of Ds. Henry Jekyll. “Why could T nor tell them there is no soul? Tell them thac, and word gets ‘round I am Jekyll the Agrostic, Jekyll the Atheist, the God Nay-Sayer. More fuel for the fire, More ammunition for Sir Danvers Carew, the pornogra- pher of death, the corrupt charlatan who holds sway over idealistic young men who would be healers! And tomorrow morning he ‘wields his butcher blade again!” (Poole enters.) POOLE. Doctor, will you be dining in this evening? JEKYLL... Leave a tray outside the laboratory. I'll be working all evening. And Poole, no disturbances. POOLE. Ofcourse, Doctor. (Poole exits, Lights change. Jekyll turns upstage.) Scene 5 College of London Hospital. Lecture theater. The gurney has not moved since the previous scene. As the lights dim and deep shadows play across the stage, Utterson appears. UTTERSON, Item in the London Weekly News. (The second actor 10 play Hyde appears on an upper level of the playing space. He has a burlap sack slung over his shoulder. Theres something in the sack. The actor who played Hyde in the firs scene throws the cane to Hyde 2,) “A cadaver from the College of London Hospital was found miss- ing in che carly hours of last evening.” (Hyde 2 places the cane 17against one of the railings. Then he leaps to the lower level of the stage, with great agility. Hyde 2 comes close to the gurney and liis the sheet covering the cadaver. He gazes on the body for a moment.) “The remains, belonging to a deceased female in a recent police case, had been procured by the hospital for dissection by the noted surgeon Sir Danvers Carew.” (Lights up on Sir Danvers, as he storms in on the lower level. He raises his monocle to look around as if the cadaver has dlready been taken. Hyde 2 lets the sheet drop and picks up the covered cadaver with one arm. He slings the burlap sack onto the gurney in its place.) “The thieves, for itis assumed the strength of at least (wo ‘men was required, entered through a window in the lecture theater where the dissection was to occur this morning.” (Hyde 2 climbs to the upper level, moving quickly the cadaver over his shoulder. He snatches up the cane and disappears into the dark. Sir Danvers turns to the gurney and hurries to it. He lifis the opening of the burlap sack 10 ee what is inside.) “In its place was discovered the body of a pig, fieshly slaughtered, and wearing a monocle on one eye.” (Sir Danvers jumps away from the sack, repulsed and furious.) “The police are questioning members of the hospital faculty, as well as students, seaff and purveyors of the pork trade.” (Am orderly enters and push s off the gurney. Light change. Jekyll — who has remained onstage this whole time — his back to the audience, facing upstage — now turns to the audience, his eyes closed. Jekyll is breathing heavily, as if in the middle ofa dream. Sir Danvers comes downstage and stands very near Jekyll, facing out, Light change.) Scene 6 College of London hospital meeting room. Sir Danvers barks ‘out bis eter, which be holds in bis hand. SIR DANVERS CAREW. Letter from Sir Danvers Carew to the Board of Governors, College of London Hospital. “Sirs: I have the duty to issue a complaint in the matter of Dr. Henry Jekyll.” (As Sir Danvers continues — Jekyll “returns to life." Utterson and Dr. Lanyon enter the scene.) “To wit, Dr. Jekyll has, on numerous occa- 18 sions, echibited chronic manifestations of disrespect and insubor- dination. In addition, for years now, his sole work has consisted of the costly importation of roots and powders for distillation into suspect tinctures made at ruinous expense to the laboratory.” JEKYLL. That's not «rue, The experiments take place in my labo- ratory, at my expense. And if the tinctures appear suspect to you, Doctor, i's because they're foreign. SIR DANVERS CAREW. You see, he admits it! The man spent fully two years abroad in every cesspool he could find, every jig-jig voodoo — DR. LANYON. (Overlaps below.) Dr. Carew — UTTERSON. (Overlaps above.) Sit Danvers — SIR DANVERS CAREW. Gentlemen, I have had enough of his fairy tales and opium dens! Usterson, you represent Jekyll, assume you're here to give him advice and protect his interests. UTTERSON. ‘To the best of my waning abilities, yes, SIR DANVERS CAREW. Then advise him this: The Board of Governors meets in a week’s time. Jekyll may do one of two things before then: Make a public apology for his outburst yesterday ‘morning —and by public I mean in person, before the college and a letter in The Times — or prepare to face my full wrath! Good afternoon! (Sir Danvers Carew exits,) DR. LANYON. I'm sorry, Henry. I'd hoped a less formal meeting might — JEKYLL. It was a waste of time. We are sworn against each other. UTTERSON. How do you see the board going? DR. LANYON. I'll take soundings. Henry has right on his side. Sir Danvers has power. (Dr. Lanyon exits, JEKYLL. “Sir Danvers.” The fool! If he can't cut into it, he can't fathom it. He rails against voodoo and “savages,” then stands before a hundred students and gives credence to all manner of superstitious — Utterson, I have seen in jungle clearings and island shores levels of understanding advanced beyond anything contem- plated in a college lecture hall! I met a diviner in Suriname once who could calm his nerves by closing his eyes and humming a bird’s song. A priest in a South Seas hut who, with one draw on a pipe of yellow smoke, lefe this reality for another plane, serene and at peace. There is a distinction between the brain and the mind! UTTERSON. Yes, but how do you get to the mind without going through the brain? 19JEKYLL. You find an open door. One no one knows about. And ‘once you've crossed its threshold, you will find not one mind but ‘wo. Tivo streams within the consciousness, one on the surface, the other subterranean. Urterson, think on how your flesh warms when a woman enters the room. Think on your fear when a han- som cab comes barreling ‘round a corner, and you dash for safety faster than you thought possible. Our minds are fueled by blood and bile and secretions triggered by all manner of stimuli. Coursing through our veins is the river of our old ways, before man created morality, in the time when human hunted for food, killed for dom- nance, and copulated for pleasure. Morality harnessed our bestial inscinets, but it did not kill chem. If it had, there'd be no empire. They'e all still deep inside us. We see hints, though, in the mad- man’s eyes, the killer’ glint, the rage of a drunken father who beats his child. If we could find the chemical balance that would isolate these rages, these horrors, wouldn't we pursue their cure? UTTERSON. You're talking good and evil. JEKYLL. I'm talking the nature of man. UTTERSON. So you mix your powders, concoct your potions, banish ill-temper, anges, perversity ... what do you put in its place? JEKYLL. Serenity. UTTERSON. Well, there'd be no work for me, that’s certain, JEKYLL. You don't know what peace of mind means until you've been tortured by its opposite UTTERSON. But if you can trade mad rage for an angelic tem- perament, surely the reverse can happen. JEKYLL, What sort of man would want che beast when all he sought was peace of mind? UTTERSON. Even a beast must be fed. (Beat.) Does Carew know about Edward Hyde? JEKYLL. Hyde? Why would he be pertinent? UTTERSON. We are oft judged by the company we keep. I'd stay clear of Hyde until this business is over. JEKYLL. That’ not possible. UTTERSON. Why have I not heard of him before this? Is he a friend of some standing? JEKYLL. I’ve known him longer than I would admit. But he’s only, taken up residence this past year. UTTERSON. Would you like me to have him looked into? There’ a firm | use, fellow name of Sanderson — 20 JEKYLL. 1 asked you here for advice concerning Carew, not Edward Hyde. UTTERSON. Very well. I advise you apologize — JEKYLL. No, never. UTTERSON. Well, once again, my professional opinion is soundly rejected. My bill will follow. (Jekyll exits. Uteerson remains.) Scene 7 A London street. UTTERSON. That evening, I went to the street where Hyde lived and watched the door. No one went in, no one came out. I was just about to give up my post when a clock tolled midnight, and I sensed something in the alley. (Lights change. The actor who played Hyde pre- viously appears and toses the cane 10 the actor who now comes onstage and becomes Hyde 3. Hyde 3 moves to the door, and takes out a key Urterson moves to him.) Me. Hyde? (Hyde 3 freezes at the door.) Mi, Hyde, my name is Uterson, a friend of Dr. Jekyll. (Hyde 3 does not turn. Usterson comes closer) Visiting him as often as I do, I had hoped to make your acquaintance, but we never seem to cross paths. HYDE 3. How did you know to find me here? UTTERSON. ... Dr: Jekyll told me. (Hyde whirls around 10 Usterson.) HYDE 3. You lie! He never did! UTTERSON. (Zo audience.) At that alight was upon us. (A shaft of light splashes across Hyde 3, He freezes. To audience:) A hansom cab was passing, its lamps casting their yellow glow across Hyde’ face. The ‘man was younger than I, but his desires had ravaged him, crippled him, his features like chat of an old and evil child. (Hyde 3 wnfeezes and swings his cane up in the air. Urterson tries to shield his face from the blow he expects. But Hyde 3 quickly swerves back to the door, opens it, and disappears inside. The door closes with a bang. The shaft of light anishes. Urterson lowers his hand.) Hyde had disappeared to the other side of the door. And I was once more in the dark. (Lights change. Unterson exits as a woman — Elizabeth — enters) 21ELIZABETH. Diary of Elizabeth Ann Jelkes. “I went to see the fiend.” Scene 8 Inside Mr Hyde room. Sudden change of light asthe door turns around quickly. Hyde 3 stands at the door, his back pressed against it as if he’ jst slammed it shut after his encounter with Urterson, Hyde 3 sees Elizabeth standing in the room. HYDE 3. What're you doing here? (Springs to her, grabs her.) ‘Answer me! What brings you to my rooms? ELIZABETH. Your name is Hyde? HYDE 3. Who said? Tell me! ELIZABETH. My mother! My mother said this is where you live! HYDE 3. Who's your mother? ELIZABETH. You gave her money! For my sister, she plays in the street, you had an ... a— HYDE 3. We had a run-in. ELIZABETH. (Nods,) ... You gave her a chequ HYDE 3. And it was cashed, the bank is promp' ELIZABETH. My mother-drank the money. HYDE 3. Your mother has her priorities straight. You haven't answered my question. Why do I find you in my rooms? ELIZABETH. I wanted to sce the man who would do such a thing. HYDE 3. Trample a child and take a stick to er? You can see that in any house in London. ELIZABETH. Trample a child and pay for the privilege. (Hyde 3 Looks at her for a long moment. then he turns atway.) HYDE 3. Well, you've seen him, now go. (Elizabeth keeps her eyes on him. After a beat, she starts to the door. Fiyde 3% voice stops her.) Howd you get in? ELIZABETH. Your landlord isa man, 'ma woman. (Hyde 3 grins sand turns to ber.) HYDE 3. Why didn't you come before? The cheque was cashed a its reports, 2 week ago, ELIZABETH. 1| don't come back that often. HYDE 3. Back? ELIZABETH. Home. My family’s house. I work near Charing Cross. HYDE 3. Ohhh. Gor on in the world, did we? Gutter girl who learned a trade and got a room above a shop? What are we, a milliner’ assistant? Clerk in a sweets emporium? I'd say you were a governess, but you haven't the breeding. (Elizabeth turns to go. Hyde three steps in fone of her, blocking her way. Elizabeth tries to side-step Hyde 3. He blocks her again. Hyde 3 and Elizabeth are face to face. Out of the darkness, we can begin to discern the faces of the other actors, all bue the one who plays Jekyll. Their eyes are closed. As the scene continues they occasionally mouth a word or phrase spoken by Hyde 3. Sometimes we even hear the words, atthe level of a whisper.) The git, your sister, is she well? ELIZABETH. She's forgotten the encounter already. The only rea- son anyone remembers the occurrence is because of the cheque. HYDE 3. [assure you, I did not pay willingly. ELIZABETH. Some of the men from the street said they threat- ened you if you didn’. HYDE 3. Ic was not their threat I feared; I could have killed them cach and all, Ie was a gentleman showed me the error of my ways. ELIZABETH. Could you not kill him too? HYDE:3. Yes, bur the police take note when a gentleman gets his But you ... If you were found dead on the street tonight the con- stable who came across your corpse would as like sell it cheap as blow his whistle. Find yourself on a gurney being cut into bits, a penny < pound. (Hyde 3, quick as lightening, pulls on the handle of his cane and unsheathes a blade, attached to the handle. He shoves it against Elizabeth’ throat.) ELIZABETH. AHH! HYDE 3. Dont say you're not afraid of me, Elizabeth. ELIZABETH. I am afraid. HYDE 3. Then run. ELIZABETH. What if the door is locked? HYDE 3. Risk it, it’s your only chance. ELIZABETH. Do women always run from you? HYDE 3. They never run. ELIZABETH. Afraid to? 23HYDE 3. Paid not to. ELIZABETH. What else do you pay your women not to do? HYDE 3. Say “no.” ELIZABETH. You're sad. You have to frighten women to keep them. You have to pay them not to go. HYDE 3. What makes you so brave? ELIZABETH. You'll never know me well enough to understand. (Hyde 3 takes thas in. He lowers the blade and slips it back into the cane. The faces of the other actors disappear into the darkness again.) HYDE 3. The door’s not locked. ELIZABETH. I knew that. You didn't slip the bolt. (Elizabeth turns to go.) HYDE 3. Waie! I'm nor always “at home” when friends come call- ing here. (Takes out a card from his pocket, hands it to her.) They know me at this house. IFever you have need. What's your name? ELIZABETH. ... Elizabeth. Elizabeth — HYDE 3. (Stops her) No. Tell me more, and I'll know how to find you. (Elizabeth remains for a moment. Then she opens the door, exits ‘and shuts the door behind her. Hyde 3% grin fa the door is slid in front of Hyde. Lights change.) Scene 9 Dr. Jekyll’s bedroom. Jekyll lurches downstage from the darkness and into a white glare of light. He screams, JEKYLL. AHHH! (Poole rushes in with a candle.) POOLE. Dr. Jekyll? Are you all right? JEKYLL. (Disoriented.) .. Poole...? I heard a scream. POOLE. It was you, six. JEKYLL. What?’ POOLE. Ic was your sean, sit, I heard all che way up to my JEKYLL. I'm sorry. I didn’t mean to wake ... what time is it? POOLE. Past chree, sir: JEKYLL. In the morning? 24 POOLE. Doctor, have you not been co bed? You still got your clothes on. JEKYLL. Must have fallen asleep before I had the chance to take them off. Did you hear me come in? POOLE. Yes, sit. JEKYLL. How long ago? POOLE. An hour, not more. You came in from the laboratory. Do you not remember, sit? JEKYLL. ... ‘Course I do. Did I say anything in my sleep? POOLE. You cried out as if you were calling someone. JEKYLL. A name? POOLE. Yes JEKYLL. Whac was it? POOLE. ... Elizabeth. (Jekyll looks around, still unsure. Finally, he dismisse it all) JEKYLL. Nightmare. Bad dream is all. Go back to bed, Poole. POOLE. Yes, sit. (Poole exit. Jekyll comes downstage and stares off as if trying to remember something.) JEKYLL. ... Elizabeth. (Jekyll remains onstage as ... lights change. ‘The door is repositioned.) Scene 10 Dr. Lanyon’: surgery. Dr. Lanyon enters DR. LANYON. Notes from an interview between H.K. Lanyon, Ph.D. and Dr. X. “Ie was the dead of night and as usual I couldn't sleep, so I had gone downstairs to fix something when — * (Jekyll enters the scene.) Jekyll! Good God, do you know the time, man? JEKYLL. I saw your lamp was li. I assumed a Scotsman wouldn't ‘waste good oil on empry rooms DR. LANYON. You look like the morgue. Sit, I'll get you a — JEKYLL. No, nothing, Lanyon, please. I need to consult you about a patient. DR. LANYON. You haven't been a practicing physician for years. Your preference, as I recall, is lecturing on the stupidity of your col- 25leagues. JEKYLL. Special case, He came to me, I could not say no. DR. LANYON. Tell me the history. JEKYLL. I must ask you, on your oath, to hold what I impart con- fidential. DR. LANYON. You knew I'd keep your confidence when you saw the lamp light. JEKYLL. Tcan't name the patient. I can't even name his condition, it has no name. Imagine him a drunkard, or an opium fiend, if only as a metaphor for his condition. If I told you this man’s first experience with spirits or opiates was an experiment, that he was testing himself as much as he was testing the effects of the stimu- lants, would you believe me? DR. LANYON. Bad ends often have innocent, albeit misguided, beginnings. JEKYLL. And if I told you this patienc was fully aware of his actions under the influence, no matter how deep he lost himself in his debauchery, would you believe that as well? DR. LANYON. Of course. The pleasure he experiences from his debauchery is the point. JEKYLL. Well ... of late there's been a change. Of late ... there have been occasions when ... when he cant recall what's occurred in one of his “states.” Its as if a hand has pulled down a shade to block his view. Hours seem to have passed, and try as he may, he cantt remember what he’s done. The most he can recollect are shad ‘ows, sounds ... a name. Is there a term for tha? DR. LANYON. Yes, it’ called, in its Latin root, a “blackout.” Jekyll, a drunkard forgets, an opium eater hallucinates. Is sympto- matic of the addiction. JEKYLL. My patient is not an addict! DR. LANYON. "Course he is. You've nearly quoted the textbook. JEKYLL. No! There must be another answer. DR. LANYON. None but the obvious. IF he's not lost to spirits or narcotics, then the source of his condition is internal. The man is mad. A danger to himself and others, and consequently not the sort one can treat in a consulting room. JEKYLL. What do you mean? DR. LANYON. Henry, do you have reason to fear for your patient's safety or the safety of others? JEKYLL. ... Yes. 26 DR. LANYON. Then you must have him confined, In an asylum. (Jekyll curns away, horrified. Lights go down on Dr. Lanyon. He exits. Jekyll staves out front, distraught, Lights change. The door is reposi- tioned.) Scene 11 Jekeyll’s study, Jekyll seems to have made a decision. JEKYLL. “Diary of Henry Jekyll. I have instructed the servants that I may have to be away for a few days on business.” (Jekyll turns to face upstage. Lights change.) Scene 12 Regents Park. Elizabeth enters. ELIZABETH. “I came home by way of Regents Park. I don't know way, it was out of the way, but ic was Sunday, late in the afternoon, and I had spent Saturday with my mother and sister, as always, end thae’s never pleasant, so perhaps I just wanted a bit of green and bird song before I went back to Charing Cross. I stopped at a bench just off the path, And I saw him.” (The actor who played Hyde in the previous scene with Elizabeth steps into the light. He car- ries a cane. Elizabeth gasps, stands.) Are you following me? HYDE 3. Yes. ELIZABETH. I knew someone was. HYDE 3. Did you hupe it would be me? ELIZABETH. I never hope to be followed. HYDE 3. AsI don't know where you live, I have little choice but to. ELIZABETH. You could have asked. If you asked I might have told you I work at the Charing Cross Hotel where I share 2 room 7 27with another gicl six nights a week, come back to my mother’s in Soho on Saturday, stay the night, then return to the hotel by Sunday noon. HYDE 3. Following is more fun. ELIZABETH. What is it you want? (Hyde 3 opens his mouth to answer. No answer comes. Elizabeth shakes her head, almost in pity then starts off) HYDE 3. Stop. I want... (Pause.) ELIZABETH. What? (The first actor to play Hyde enters and stands next 10 Hyde 3, He carries an identical cane.) HYDE. I want to slit you in two. HYDE 3. I — (Hyde 2 with a third cane enters and stands next to the other Hydes,) HYDE 2. Twant to rend you on the green. (Hyde 4 with a fourth cane enters and stands with the other Hydes,) HYDE 4. I want to ravish you and ravage you and leave you bleeding. HYDE 3. (Trembling,) 1— (Elizabeth steps closer to Hyde.) ELIZABETH. Tell me. (Jekyll — no cane — slowly enters the scene from where hes stood and stands with the others, bis eyes half-closed.) JEKYLL. I want to see you. (Hyde, Hyde 2, Hyde 3, and Hyde 4 ‘step back, deferring to Jekyll. Then Hyde 4 — the female Hyde — takes over as the Hyde Elizabeth sees.) HYDE 4. I want to see you. JEKYLL. I didn’t know how to see you but not be seen. HYDE 4. I don't know how to see you but not be seen. (Hyde 4 Looks at Elizabeth with sad, open eyes.) ELIZABETH. I should be back by now. HYDE 4. Why aren't you? ELIZABETH. The girl I share my room with, she’s gone for the week, I won't be missed. JEKYLL. Don't say that! HYDE. Go on! HYDE 2. More! HYDE 4. What do you mean? ELIZABETH. I mean ... I don’t have to go back to my room tonight. HYDE 3. Stay with me! HYDE 4. Where will you stay? HYDE 2. Offer her a place! 28 E 4, I could offer you a place. ELIZABETH. Take me there. (Hyde 4 and Elizabesh go off vogerh- er, Hyde, Hyde 2, and Hyde 3 all look at Jekyll, who now appears drained, almost in a trance. The Hydes exit and... Jekyll comes to. He Looks around as if hes just found himself in his room.) JEKYLL. “Journal of Henry Jekyll. Previous entry ago. I have lost three days. I do not know myself. remaining Hydes turns ous front. He becomes Mr. Sanderson...) SANDERSON. Initial meeting between OB. Sanderson, Personal Enquiries Agent, and a prospective client. “The letter told me to expect the gentleman at our offices come nightfall.” (lekyll enters the scene.) JEKYLL, Mr. Sanderson. You do occasional work for Utcerson, the solicitor in Queen's Court, I think. SANDERSON. Yes, sit. Did Mr. Utterson recommend our services? JEKYLL. No, I happened to glimpse your card last time I was in his chambers. This is a private matter, nothing to do with Utterson. (Jekyll sates out a thick envelope and offers it to Sanderson.) \ under- stand a recainer is customary. (Sanderson holds up his hand, refusing.) SANDERSON. Perhaps you could tell me what would be the nature of the services you require. JEKYLL, Well, firs it may be an idea to know what is allowable, ‘within the law, within the ethics of your profession and — SANDERSON. Six, not to interrupt, buc why dontt you tell me swhae you want, and I'll ell you when it starts to get sticky. JEKYLL. I want you to follow a man. SANDERSON. Do we have a name? JEKYLL, All the particulars are in the envelope. (Beat. Sanderson ‘finally takes the envelope and takes out a sheet of paper, along with a thick wad of bill, Where he lives, where he banks, where you're apt to see him next emerge. I want to know his movements, his affairs, 29fiends, Those he meets re of parila interes. Especially one SANDERSON. This woman, is she a lady frend of yours? BENDERSON is she a lady iiend of yours? SANDERSON. Wife? JEKYLL, ‘There's no one, Her name may be “Elizabeth.” Beyond thae I cannot tell you more. Who she is, where she lives and can be found, all these, you will detail. SANDERSON. When would you like us to sear? JEKYLL. This evening. SANDERSON, You think hell be about? JEKYLL. I’m rather certain, SANDERSON. (Refers to the shee.) And, in following “Mtr. Hyde,” should there be any precaution? JEKYLL. There should be every precaution. (Lights change. Jeyll ‘moves to the far edge of the playing area.) a Scene 14 The streetsla publa hotel. Sanderson faces the audience. As he speaks, the other actors who played the Hydes drift back and forth across the stage, nodding at each other, handling their canes with dapper nonchalance. SANDERSON. Report. At six o'clock I attived outside the door where I was told the subject Edward Hyde could be found. Within an hour's time, Hyde exited his domicile and went by foot to vati- ous establishments in Whitechapel where heis known. To a publi house HYDE, — where Hyde incidents of violence were artestedt, al such incidents endii me ‘sf ui i SANDERSON. ‘To's chop howe wae aes steeple HYDE 2. — where Hyde spent the berter part of an hour wrti what appeared to be a letcer, the which, upon his exiting the estab- lishment, he posted in the nearest box. SANDERSON. To a house of ill repute — 30 HYDE 3. — where Hyde spent an hour's time with one of its ladies in a private room. The name he asked for was “Elizabeth.” (lek reacts. A light comes up on the silhouette of a woman. Shes seat- ed in a simple wooden chair, facing upstage. Hyde 3, with one swift ‘motion, spins the woman around, 50 that she’s facing out front, strad- dling the chair. The woman is the actress who plays Poole. Her hair falls loose around her shoulders. She looks frightened. Hyde 3 comes behind ber, seeming to straddle ber from above. Then be grabs her by the hair. The woman opens her mouth to scream. Bright white light on Hyde and the woman. They freeze.) SANDERSON. He used chloroform to render her still but not unconscious. Then he applied acid co her face, her torso, most of her body. Her back he lefe untouched until the end. (Hyde 3 snsheathes his blade and mimes what is next described.) He used a blade to carve on it ewo words: “Wrong One.” (The woman’ face contorts in pain as Hyde 3 finishes his work. Then she slumps, limp. Hyde 3 pulls up the blade ir his left hand and then slices it down into the palm of bis right hand. Jekyll grabs his right hand, in pain. Lights down on the woman. Hyde 3 smiles and exis: into darknes.) JEKYLL. He knew you were following him. SANDERSON. I assure you I was discreet — JEKYLL. I’m certain you were. He knew because | told him. “Wrong one.” This woman, Elizabeth — SANDERSON. That wasn't her name. But you said he asked for — SANDERSON. The madam who runs the place said Hyde asked for any girl named “Elizabeth.” There weren't one, but the madam didn wane to lose a client, so she had one of the girls pretend. JEKYLL. So her name in fact was...? SANDERSON. (Shrugs.) Something else, (Beat,) Shall I follow him again tonight? Perhaps hell lead me to the Elizabeth you seek, JEKYLL. No. No point. He’ too clever. (Poole enters.) POOLE. Dr. Jekyll, Mr. Utterson is here, he says ie urgent. SANDERSON. I'll see myself our the back way. (Sanderson exits with Poole, Utterson enters. He holds a lester) UTTERSON. Henry, I received this less Unan an hour ago! JEKYLL. What is it? UTTERSON. You sent it juse last night, 1 should think it would be fresh in your mind, Ics your will. (Utterson hands Jekyll the letter) JEKYLL. (Reads,) “In the case of my decease, disappearance or 31unexplained absence for any period exceeding three calendar months, all possessions of Henry Jekyll are to pass inww che hands of my friend and benefactor Edward Hyde, who shall step ineo my shoes without delay and free from all burdens and obligations.” UTTERSON. Handwriting’s not at all like yours. If I didn't know better, Id say you'd been drinking. (Holds up envelope.) What in God's zname were you doing in Whitechapel? And what would possess yout to leave three quarters ofa million sterling to a man like that! JEKYLL. Do you know the man? Have you met the man? UTTERSON. I have, in point of fact! I followed him, five times, over the last five days. (Hands paper: to Jekyll) I spent al last nighe putting it down on paper. What I discovered was but a sampling of his work. A docksman the size of a bank safe hurled across « bar, his back broken. An old man asleep in an alley, his face doused with lamp oil and lit by a match, Brothels, cellars, dens of iniqui- ty, every evil act you can conceive. JEKYLL. He’ not committed a capital crime. UTTERSON, Is that our standard? No one murdered yet, so he’ still on the side of the angels? I'll wager he didn'c tell you about the woman! JEKYLL. What woman? UTTERSON. Hyde was with her nearly every night last week. Ies all there, JEKYLL. (Reading the name.) “Elizabeth Jelkes.” UTTERSON. Chambermaid, works at the railway hotel at Charing Cross. (felyll drifis downstage,) | know I did this without your consent, but I had to prove to you at long last what kind of man Edward Hyde is, JEKYLL. And based on your investigations, what kind of man is he? UTTERSON. A villain. A brute. A sensualist of the perverse and a predatory beast who knows neither care no conscience. But then, pethaps he has another side. Henry, is Hyde blackmailing you? Does he know something about you? JEKYLL, He knows everything about me. Of him I know only what he allows. UTTERSON. That's in your favor. As long as there's no evidenve Hyde's been leading you with him on his sojourns, you can't be implicated. I beg you, whatever involvement you've had with this ‘man, whatever bond, whatever hold he has upon you, cut yourself off from Edward Hyde, 32 JEKYLL. I shall. The decision is made. Utterson, your entreaties fave moved mes shall myself of Edward Hyde. UTTERSON. You're resolved in this? JEKYLL. We'll speak no more of him. (Uterson smiles and exit.) Scene 15 Charing Cross Hotel. A hotel porter enters. ‘TER. Register Entry, Night Porter, Charing Cross How “Time of tia tn eck. 'Name of Gus Smit ‘Address: none.” Will this room do, sir? JEKYLL. Yes. Thank you. HOTEL PORTER. Is there anything else, sir? JEKYLL. I would like another pillow. | HOTEL PORTER. There's one in the dresser, sit JEKYLL. Then I would like a third. HOTEL PORTER. I'll send one up. (Hotel porter exits, Jekyll turns his back to the door. Pause. Elizabeth enters with a pillow.) ELIZABETH. Sir? (Jekyll turns to face her. Beat.) You requested a pillow, ir? ih JEKYLL. ... Yes. (Elizabeth places the pillow on the bed. Eliza turns to Jekyll. She gasps.) ELIZABETH. Oh! Your hand. JEKYLL. Its nothing. Cut myself. Accident. Clumsy. ELIZABETH. Have you had it seen to? There's a house physician — JEKYLL. I — Ie’ been treated. Just can't seem to stop it bleeding. ELIZABETH. Well, let me straighten the bed for you. Tes the lit tlest injuries, sometimes, that make things difficule. JEKYLL. Thank you. You're very kind. (Elizabeth goes to the bed. Jekyll watches) Elizabeth? (Elizabeth stops in her work, wary. Jekyll quickly covers.) That's your name, is it? ELIZABETH. Rate Yes, sir. JEKYLL. The porter told me. ELIZABETH, (Res ber work) Youve stayed atthe hoe before, sirJEKYLL. No, I live in London. Early train come morning, thought ic the herrer part of wisdom to stay the night close by. ELIZABETH. That's the convenience, sr, the hotel being over the station, JEKYLL. The parts of the city a city dweller never sees, hm? Hotel rooms, Tower of London. There are whole neighborhoods I've not fraversed in thirty years. There ate streets just beyond my own house I would be a stranger to, and yet cheyse just within my sight. ELIZABETH. (Stands, done with her work.) Is there anything ese, sir? JEKYLL. Uhm, no. That’ very good, thank you. Wait! (Gives her 4 few coins.) Here. ELIZABETH. Thank you, sir. Have a good night, sit. (Elizabeth starts to the door) JEKYLL. Are you on duty all evening, Elizabeth? ELIZABETH. No, sir, the other chambermaid comes on ‘tl morning, JEKYLL, When? ELIZABETH. Now. JEKYLL, So do you have a room here you sleep in, or are you going forth tonight? (Elizabeth is suspicious of him nou.) ELIZABETH. Sir, Iam expected below. If | do not go below, the housekeeper will come looking for me. JEKYLL, You. misunderstand me. My intentions. I have no designs, no impropriety of any sore ... (Digs for more money.) Tl pay you. ELIZABETH. Sir, I must = JEKYLL, (Shouts, slams the door.) NO! (Elizabeth shrinks in fear from him. Jekyll moves fom the door to reassure her) 'm sorry, Lapol. ogize. I fear Tam not at my best with women. My talents clade me Ifyou knew me you would know how harmless lam. (Tries 29 make light of) Vassure you your... your husband will have no cause ro aall me out ... Do you have a husband? ELIZABETH, No, JEKYLL. A gentleman friend, though, surely. (Elizabeth looks way.) Yes. | can see you do, Ie’s him you're going to this evening, isn’t it? Does he wait for you? ELIZABETH. I never make him wait. JEKYLL. ‘Does he threaten you if you don't do what he tells you? ELIZABETH. Open the door, 34 JEKYLL. Dont go to him tonight — SLIZABELH. I'll scream! JEL, — not tonight, I beg you! (Elizabeth bolts to the door and turns the knob.) He won't be there! (Elizabeth freezes. She turns to il) He'll never come again. AZART a Whee are you? Cel mae « salen mone towards her. Elizabeth screams. She runs from the room down the cen- TERY chek (Elizabeth bangs on “doors” as she runs.) ZABETH. HELP! HELP! Pee ELIZABETH! (Jekyll starts after her, then, once in the “pall,” be turns and runs, escaping from the botel until he arrives at sa. Jekyil’s study — as Poole enters.) Scene 16 Jebel’ house JEKYLL. Poole! (Peale rahe =A hex) POOLE. ... Doctor? (Jekyll rakes outa key) chemists closet you will JEKYLL. Key to the lab. Inside, near the ria Fra a trunk. Its contents: clothes, boots, hat, a cane. Dispose of them. Burn them. * ; sit. Now, sir? (Long pause. , jot, x Leviewaieto morning (Takes back key) Ul give you the key then. I have to close up a few things there first. POOLE. Yes, sit. Good night, sir. (Poole exits. Lights change.) 35Scene 17 Jekyll’ laboratory. For the 1e, den etn: Fr te i in, we se the lab— tbl JEKYLL. Journal of Dr: Henry Jekyll. “This shall be the last ent erring the ae of Me Babvard Hyde, leis almosea ill year since ‘ul manifestation. A year since the cort lar was found. The perfect tincture capsble of engendering bork the transformation and its opposite. Isolate the essence of the bein then reverse it back ro its former state, Start the blaze... then pat Fee Leb holds up a las of the mixture. He is abou to dik hesitates. He closes bis ees) | feel as if | havent slept in years, Or Perhaps I have, Perhaps Il come to believe allthis wes bur a nighe Ga jx and I juse dreamed him, Edward Hyde ... (Opens hit ees) One last time Geb drinks down the mixture. An actor tion dhe ene, It is the actor who played Hyde 3, Hyde 3 stands at Jebyll si Jekyll lowers the glass and stares ei Hyde ihe vad ti te ‘the cane. Lights change. The door is repositioned.) ” Scene 18 fe Sak Fiydes room, Elizabeth enters and rushes into ELIZABETH. I thought you wouldn't come! HYDE 3. I'm here, Im here. You're trembling, FLIZABETH, Ie nothing. E 3. Something happened. ELIZABETH... No Ten HYDE 3, Don’ lie, ny DE S Dont lie, It was a man, (Beat. She looks at him.) Who 36 ——— ELIZABETH. A man at the hotel. He took a fancy to me. They do things like that, all the time. Just the way. He was harmless. HYDE 3. Describe him. ELIZABETH. A gentleman, I s’pose. HYDE 3. What do you imagine he does for a living? ELIZABETH. (Shrugs)... A clerk of some sort. HYDE 3. HA! ELIZABETH. He seemed frightened. HYDE 3. But he scared you. ELIZABETH. What he might do scared me, HYDE 3. Did you fancy him? A gentleman. Precise and polite. Coins in his pocker to tip the help? ELIZABETH. Where am I now? Who am I with now? (Kisses him.) 1 came last night, you weren't here, HYDE 3. I was under restraints. (Hyde 3 hisses her. It becomes pas- sionate, Then Hyde pulls away.) ELIZABETH. ... What is it HYDE 3. I hate this room, ELIZABETH. You said this was our world, this room. HYDE 3. Horrid and stinking but good for — ELIZABETH. Don't. HYDE 3. (Looks around at the room.) Other rooms have windows, and sunlight, and doors. (To her.) Why are you here? ELIZABETH. (Takes his hand.) | love you — HYDE 3. Don’t say it. Never, never say that. ELIZABETH. Must you break my heart to hure me? HYDE 3. I have never hurt you! (Beat,) Have you told anyone about me? ELIZABETH. You know I haven't. HYDE 3. You would if you had no choice. ELIZABETH. I chose to come here, didn't I? I choose every time, I chose you! (Elizabeth smiles at him. Hyde 3 collapses to his knees and weeps. She goes to him, cradles him in her arms.) Oh, my datling, hush. Shha. If I could take away the demons in your head ... There's just us, remember? Just us in the world, you and me, we two, alone. (Elizabeth looks down at her hands. Theres blood on them.) ... Where'd ... There's blood on your hand — (Hyde 3 looks down at bis own hand. He realizes whats just happened. He stands and moves away from her, clenching and unclenching his band.) Ate you hurt? Did someone harm — ? 37HYDE 3. Don't come nearer! (Elizabeth stops in her tracks.) only came ... 1... I came tonight ... co say goodbye. (Pause.) ELIZABETH. You're leaving? HYDE 3. Yes. ELIZABETH. ... London? HYDE 3. Yes. ELIZABETH. For where? HYDE 3. Near, far, Away. ELIZABETH. When will you come back? HYDE 3. Never. (Silence.) ELIZABETH. What have I done? HYDE 3. It isn’t — ELIZABETH. 1s it because of that man at che hotel? HYDE 3. (Overlaps below.) I's nothing to do with — ELIZABETH. (Overlaps above.) There was nothing — HYDE 3. (Explodes.) Ic is not my choice! I am not the master of sy fate! [only dreamt I was! (Beat.) I leave tonight and we are at an end, ELIZABETH. (Moves from him, upset.) $0, what am Ito do now? Marry the desk clerk who's been after me? The tailor’s assistant with the stammer and good prospects? HYDE 3. Give them a glance and I'll rear them open tongue co ail! ELIZABETH. You love me. (Elizabeth goes to him, but he whirls on ber.) HYDE 3. Get out! Go! Go from here, and never return! Elizabeth, trembling, sears uprat him. She docsn't budge. Hyde 3 swings up bis cane.) GO! (Elizabeth rises quickly She hurries off Lights change. Hyde 3, in anguish, turns and looks at Jekyll Jekyll sill stares out front, still standing in the spot where he drank the mixture. Hyde 3 ruses to Jekylls side and balls his fist at him. Hyde 3 comes close to but never touches Jekyll.) Henry Jekyll! I would kill you if | could! But you're my vessel, the good, gray corpse that catties me to my pleasures. No, I cannot kill you, tho’ you would kill me. But annihilate Henry Jekyll all the same, I shall. (Light change. Jekyll remains in place. Hyde 3 turns as... ) 38 Scene 19 A park, A maid enters the scene. MAID. Police statement, Margaret Mary Walsh, parlor maid. “This is my testimony to which I swear. I was sitting at my win- down ia at, overlooking the park when I saw a man ...” (Sir Danvers Carew enters, a bit tipsy. Hyde 3 smiles to see him. As the ‘maid speaks, they act out what she describes.) “Two men, actually moving along two paths, from opposite directions. Between them, T could see the point at which they'd meet. As they reached it, one of the men ever so slightly tipped his hac and gave the other a look.” SIR DANVERS CAREW. Forgive me. Thought you were some- one else. (Sir Danvers turns to exit — ) 3. Carew! MAID, *And then the other man turned, wheeled on him, and spun his cane in the ai.” (Hyde 3 twirk his cane in the air and grabs it around its handle. Then he swings it at Sir Danvers head. It con- SIR DANVERS CAREW. Abh! (Sir Danvers falls to the ground.) MAID. “I wish I could say I called out at once. I was too shocked at first. The taller man raised up his hands and made some noise. SIR DANVERS CAREW. Don't! MAID. “What any of us would say —” SIR DANVERS CAREW. No! u MAID. “But the other one kept swinging, ewice, a dozen times. SIR DANVERS CAREW. PLEASE! MAID. “When I had my wits about me, I pulled open the sash and called for the constable. (Hyde 3 beats Sir Danvers over and over until Hyde 3 cane snaps in two.) Ven sorey. The better me would have called out sooner ... but the bad in me ... wanted to watch.’ (Hyde 3 holds up the half with the handle gripped in his fist. The cane handle and its silver head gleam in a spot. Spots on Hyde and Jekyll. Blackout.) 39ACT TWO Scene 1 Scotland Yard morgue. Lights up on an inspeeton INSPECTOR. Initial investigation into the death of Sir Danvers Carew, eminent surgeon and lecturer. (A police doctor enters ur. ney is wheeled in by a morgue asistant. We can discern a borly under the sheet. There are many bloodsains seeping shrough the sheet ) POLICE DOCTOR. “The victim died of repeated blows to the head, resulting in cranial swelling, internal ruptures, and massive hemorrhaging. Death would have come within one to two minutes afier the first blow, but given the number of blows, itis safe to sur. mise his assailant continued his assault for at least another minute ot more if one estimates an average of twenty blows per minute, or an approximate total of fifty post-mortem blows. Due to the eave agery of the attack, the victim’s face was bereft of features, hence his identity had to be ascertained by tailor's markings. And a note.” (The police doctor exits. The Inspector holds up a note.) INSPECTOR. “The contents ‘of which read in its entirety (Ueerson: urgent we talk about our mutual friend. Signed Carew.” (Uiterson enters.) UTTERSON. And so you called for me. INSPECTOR. It seemed the better part of wisdom, sit. (The Inspector picks up the broken lower half ofthe walking stick, which has been set on the gurney.) Do you recognize this, Mr. Utterson? UTTERSON. I recognize its type, inspector. Its a walking stick. Half of one, at any rate, INSPECTOR. It was found at the scene, broken in two. UTTERSON. The murder weapon, INSPECTOR. Why, sis, you could be on the force yourself UTTERSON. Where’ the rest of it? INSPECTOR. Missing, We've searched the park, the streets 40 i yond. Nowhere. We assume the cane broke in the course of the tere Ne murderer took the top half with h ihe sume unknown reason. (Looks at the cane break) Look at the way it snapped. Other haf should fit ke a pus piece, Holds up she tte) The note to you. “Uceson urgent we tal about our ‘iend.” mutual frien 7 . UETERSON [dat one the ote, Inspector Sis Danvers di. He knew to whom he was referring. It would be improper for me late. : INSPECTOR. Quit so, siz, When did you see Sir Danvers las? UTTERSON. Last week, a meeting at London Hospital. INSPECTOR. What was the meeting about? UTTERSON. A faculty member. INSPECTOR. Who? (Lights change.) Scene 2 Jekyll’ house. Jekyll enters to meet Utterson and the Inspector. an admirer of Sir Danvers, that’s JEKYLL. Tam shocked. I was not an admirer of Sir h te secret, but the manner of his death ... 'm sorry, 'm still shaking, INSPECTOR. You loole like you haven't had much sleep, Doctor. JEKYLL. I never sleep more than a few hours a night. obs UTTERSON. Jekyll. The inspector found 2 note on body. Something he'd writcen to me. (The Inspector offers the note to yl hesitates to take it.) IRpeCTOR, Go ahead, sir, blood’s all dried by now. (Jekyll reads. When hes done, he hands it back.) JEKYLL. Am I the “friend”? INSPECTOR. Seems a fair assumption. JEKYLL. I hated Carew. UTTERSON. Henry — 4 hs JEKYLL. He was a fiaud and a sadist, a corrupt and evil man who cd the medical profession. ; INSPECTOR "Whee weve you ls night, coming on to leven o'clock? 4JEKYLL. In my bed. INSPECTOR. And you rose wday at...? JEKYLL, Seven or thereabous. PECTOR. A good eight hours. And yer you sa deslep. Have you a walking seek, down) n° JEKYLL. Ihave three sticks. One for the theater, one for the eoun- try, one for every day. " INSPECTOR. And are they all three on the ses? JEKYLL. Ishould think. (Hyde 3 comer up bebind Jeb JER. Tahol Iyde 3 comes up bebind Jekyll The oth- HNDES, Think again JEKYLL. (As if hearing Hyde.) .. Unless 1... may i everyday. Ac the college or some such place. — INSPECTOR. Careless man, are you, si HYDE 3. Yes. JEKYLL. No. q . . INSPECTOR. ‘Then the stk that missing, it an important JEKYLL. Ie’ of great value to me. INSPECTOR. Oh, sir, why? HYDE 3. Now you have ts KYLL. Dr. Lanyon, with whom I shared rooms ai gave tg mewhen I became a doco, ett "TOR. Keepsake, then. What sore of handle does i JEKYLL. Silver. Crookd. With Fonte These TEISLL Siler, Cook, With he medial sel on i The serene INSPECTOR. No address, pity. Mi ISR Re dca ss, pity. May we look around a bit, Doctor? INSPECTOR. Do I have your assent? HYDE 3. Youhavewsayyen JEKYLL. Yes. . HYDE 3. What about the laboratory? JEKYLL. The laboratory — (elyll stops INSPECTOR. Sir? err Cel poe JEKYLL... Lhave a laboratory in thereat beyond she garden, Youll want to search that as well. Poole! (Poole enter. Jekyll takes rhe hey from his pocket and hands it to Poo! ete the he Fm bis pokes and hand it Pl) Unlock th boron fo POOLE. Yes, sic. 1es this way , y. (Poole indicates the Inspector exis, Unerson peaks feb ono roa TH a2 UTTERSON. Henry, if anything happened last night I must know and row. JEKYLL. Theres nothing! I have done nothing! I am innocent! (Poole takes a letter from bis pocket.) POOLE. Doctor, this was slipped under the pantry door this morning, Its got your name on it. (Jekyll takes the letter as — the Inspector remurns,) INSPECTOR. Sir, the laboratory — ? JEKYLL. A moment, please. (Jekyll opens the letter. As Jekyll reads, Usterson becomes Hyde and comes close to him and speaks.) HYDE. “My dear Jekyll. Forgive the formality of this missive, for ‘one as intimate to you as I. I know what you planned to do to me. T should be cross, bue I just can't bring myself to think ill of poor old Jekyll. ‘Poole, as Hyde 4, comes close as well.) HYDE 4. “You're a pathetic, frightened little nothing, nacurally you'd conspire to turn me out, and without even a fare-thee-wel. Well, not to worry, I took care of that for you. I also took care of Sir Danvers. No more shall his vulgar complaints soil your high ideals. He'l be ‘pecially badly thought of when the police search his home in Curzon Street and find the corpse of that prosticure that went missing, all chopped up and rearranged throughout the house, one limb to a room.” JEKYLL. Oh, God ... (The Inspector as Hyde 2 speats to Jekyll.) HYDE 2. “So you rather owe me for the favor. Although, I must admie I wasnt as exacting as I might have been regarding things left bbehind, at the scene, as they say. 'm embarrassed to admie I can't find the cane Lanyon gave you when you were young and inno- cent. ['m sure I put it somewhere safe. Hope and pray I haven't had a... what did Dr. Lanyon call ie?” HYDE 4. “A blackout.” HYDE 2. “Well, wherever the cane is, I'm sure its whereabouts will come to me. But not to you.” (Hyde 3 moves clasest to Jekyll.) HYDE 3. “Know this, Jekyll. I am your protector now, as you are mine. [cannot do without you. And you, | think you now realize, cannot do without me.” (All the Hydes except Hyde 3 revert to their other roles) JEKYLL. I won't be extorted! I won't live under anothers will! T ‘wont hand over my life! (Turns, makes a decision.) Inspector! INSPECTOR. Yes, sit? JEKYLL. May I put a few questions to you? This note. You found 43this on Sir Danver's body? INSPECTOR. Yes, sir. JEKYLL. Where? In a pocket, inside a billfold? INSPECTOR. No, the letter was on top of the body, not ina pocket or such. JEKYLL. As if efe there to be found? INSPECTOR. Ie could have been dropped during the struggle, JEKYLL. No, it couldn't have. The blood stains are evident only on the back side of the note, where it must have lain against the blood. soaked clothes. If the note had been part of the struggle, it would be bathed in blood. The cane. May I examine i (The Inspector ands hima the stick. Jekyll examines it.) He had the wrong end. INSPECTOR. Sit? JEKYLL, If you wane to kill a man with a stick ... you hit him with the end that will do the most damage — the handle end, where its heaviest — (Grips the sick like ies a weapon.) — then you swing it — (Swings it down.) — like so. INSPECTOR. That has been my limited experience, sir. JEKYLL. So when the handle breaks off... from the force of the blows ... the handle goes flying. Ie flies into the bushes or under a bench, somewhere hard to find in the dark, Yee chis murderer was hiting Sir Danvers with the smaller end of the stick. Why would he hie Carew with the wrong end? INSPECTOR. It may have been the wrong end, sir, but it did the job. JEKYLL. Especially if you wanted to make sure the handle was still in your grip the moment the stick broke. INSPECTOR. Why would che killer intend to make the stick break? JEKYLL. So held have the clue you seek in his possession. The Killer wanted to lead you to me. That note to Utterson, is it in Carew’s handwriting? INSPECTOR. Hard to say. He is a physician, afterall. JEKYLL. Compare che handwriting on the note against that of this letter. Gelyll hands the Inspector the letter Hyde wrote. Hyde 3 blanches.) HYDE 3. You bastard, INSPECTOR. What is this? JEKYLL. Blackmail. From Mr. Edward Hyde, HYDE 3. Evil, evil Henry Jekyll! 44 INSPECTOR. Who is Edward Hyde? JEKYLL, Your murderer, and a man who sought w have power dover me. Poole tll the inspector how you found this note. POOLE. [was slipped under the pantry door this morning INSPECTOR. This Hyde a friend of yours? JEKYLL. (Shakes head.) A mental patient. HYDE 3. LIAR ; JEKYLL. ‘The man was deranged, I tried to cure him, but he was beyond help and I told him so. I said I never wanted to see him again. This was his response. HYDE 3. You think you have me?! INSPECTOR. When was he last on the premises? JEKYLL. He must have come twice, last evening before midnight to steal my cane and again, in the wee hours, after the erime was committed, to leave this nore HYDE 3, You have murdered me! INSPECTOR. Welll need a description of Hyde. EKYLL. [can give you one. TTSTERSON: As can I. As can Richard Enfield, an acquaintance JEKYLL, i can also re e jes agent named JEKYLL, I can also refer you to a private enquires a cries, (Ukay fee mooted I employed him co follow Hiyde. He has a repore that will underline the man’s brutality INSPECTOR. 1 know Sanderson, Hes beyond reproach, HYDE 3. You'l have a thousand witnesses against me, won't you? Whores and publicans to do me wrong! INSPECTOR. Where does this lunatic reside? E 3. In Hell ; JEKYLL eas we Yr foe bers T aed shakes where youl find the rest of the murder weapon, held as extortion. HYDE 3. VILLAIN! DEVIL! UTTERSON. I know the way, inspector JEKYLL. May [join you? I've never seen his environs. HYDE 3. ACTOR! INSPECTOR. Pi cs JEKYLL. Utcerson, show dhe inspector the way, will you? Pll be a minut oo behing, Ad tl the inspector about shelter you received frem Whitechapel, purporting to be my new will. UTTERSON. Happy to. (Litenon and she Inspector ext, followed by Poole. Hyde 3 seethes, eyes wide, glaring, breathing heavily. Jekyll 45‘puts on a pair of grey gloves as be speaks, coolly and silkil.) JEKYLL. You can’t come out now, Hyde. Your hovel behind the red door will be barred, The entire Metropolitan Police Force, nay, the whole of English law enforcement will be looking for you. Drawings of you posted everywhere. Edward Hyde. Murderer of Sir Danvers Carew. You have no place left. You can never come out again. (Hyde 3 exits into darkness.) Scene 3 Mr. Hyde room. The Inspector enter. Jey listens a be speaks INSPECTOR. Results of the search of the rooms of the suspect Edward Hyde. “One bed, one wash stand, one desk and chait The room was turned inside and out but we found no cane handle of the description given by Dr. Jekyll.” (febyll reacts to chat. His fice darkens, Then he dismisses his worry.) fee our own iol tions, matched with the report of Mr. Sanderson, coupled with the descriptions given by Messieurs Utterson and Enfield along with that given by the maid who witnessed the attack, confirm our judg- ment that the murderer is indeed Mr. Edward Hyde, whom we now seek.” (All but Jekyll and Unterson exit. Lights change.) Scene 4 Regents Park. Usterson approaches Jekyll. Utterson looks up. il ad Sun. Spring at last. You look fit. Good color. JEKYLL. I have lost the weight of the world. UTTERSON. Even though the fiend is still at large? Don't you 46 worry he'll come back? JEKYLL. He's gone forever. He wold me once he'd sooner die than live a hunted life. He knew one day his nature would consume itself. The day came. Hes probably drowned or hanging from a noose, dead by his own hand, UTTERSON, If that’s the case, whete’s his body? JEKYLL. Chances are a resurrectionist found him and sold him for 1 penny a pound, For all I know we studied his liver this Thursday last. UTTERSON. You're very merry in your morbidity. JEKYLL. Ifhe’s dead, I'm glad of it. He deserved to be punished. ‘Any pain and degradation he's suffered he has earned. (Jekyll has a ook of cold piety on bis face. Urterson looks concerned.) UTTERSON. Henry. You spoke to me once of wanting to find a way of “isolating” the beast in man’s nature, so you could cue it. ‘Was Hyde the subject of any experiment along those lines? (Jekyll looks away) JEKYLL. Nothing I did could have changed Hyde. UTTERSON. But ifa man, under the sway of some medicinal — JEKYLL. Utterson, I did no wrong co Edward Hyde. I swear to ‘you, on my life, Hyde was born evil and never altered from the first. UTTERSON. Hm. (Beat.) You said, once, “There is not one mind, but ovo. Two streams, one on the surface, the other subter- ranean.” I've been brooding on your theory. I've seen, in my work, ‘many men, many women for that matter, in all sorts of difficulties, under eno-mous strain, and I've come to believe there's no one who's wholly good or wholly bad, not even the worst of us. And as for “two streams,” I think its more apt to say the bodies of water are endless in their possibility: streams and rivers, waterfalls and ice-jams, swamps and quicksand, oceans and deserts, a thousand tributaries flooding over the one into the other. JEKYLL, You think my theory too simple? UTTERSON. Perhaps too bifurcated. JEKYLL. Do you know what set Hyde apart from the sort of men. and women you encounter? There was nothing to the man but his desires. He was his appetice bound into a red fist. UTTERSON. But even if one grants that were true, if Hyde was the worst of man, what would be the best? Wouldn't be human. JEKYLL. I no longer consider these questions, Utcerson. The will is all one needs. Sin is nothing but weakness. (Jekyll looks at a7Unterson as if to dare him to disagree, Utterson is made uneasy. He turns and points) UTTERSON. This is the spot, you know, the path where Hyde Killed Carew: JEKYLL. Is it? UTTERSON. Green now, flowers. Three months ago it was all blood and fog. Well, much as I would like to while away the day, I suppose I must get back to my office. (Elizabeth enters. She sows «and stops to look around. She surveys the scene, as if trying to make a ‘mental picture of something. Utterson sees her.) Here, now. A reason to delay return. JEKYLL. Whats that? (eyll loots over and sees Elizabeth. He freezes iat the sight of hen. Elizabeth senses shes being watched. She turns to Jekyll. Elizabeth and Jekyll are looking at each other. Suddenly Jekyll looks auvay. Utterson takes a step towards Elizabeth and tips his hat.) UTTERSON. Miss. (Elizabeth pulls her focus away from Jekyll and nods to Urterson.) ELIZABETH. ... Sir. (Elizabeth looks back at Jekyll, who is till ook- ing away. Then Elizabeth hurries off: Utterson sees Jekyll turned away) UTTERSON. Jekyll, what are you do —? JEKYLL. Is she gone?! UTTERSON. The girl? JEKYLL. Is she looking this way?! UTTERSON. No. Shall I go after her? JEKYLL. NO} ... Go. Leave me, please, I beg you. UTTERSON. Henry — JEKYLL. GO! (Utterson hesitates, cher hurries off Jekyll falls to his ‘ences, trembling, eyes closed.) No, no, no, no, no, no, let it not be, let ie not be! I have been good! I have been myself! Please, I beg! I beg! (And out of the shadows comes an actor, twirling a broken cane. Hts Hyde 2.) HYDE 2. Springtime, and che buds have come back to bloom. Just because they lie dormant in the ground, we think they're dead, ‘They're not. They'e just sleeping. Come on, darling boy, on your fect, we're going for a ramble. (Jekyll stands and goes off with Hyde 2. Lights change.) 48 Scene 5 Dr. Lanyon’ surgery. The Inspector enters. INSPECTOR. Notes from Dr. H.K. Lanyon, found at the scene. (The Inspector exits as — Dr. Lanyon enters.) DR. LANYON. “A knock on the door. A voice called out.” (Poole enters, with a note.) POOLE. Dr. Lanyon! Dr. Lanyon! DR. LANYON. Poole? POOLE. T have a message from my master! Its of the utmost urgency. DR.LANYON. (Reads, with difficuly.) “Lanyon, Go to my labo- ratory and take the top drawer from the chemist’s closet. Bring it to yout surgery and wait for me. I shall come to you when night falls. Jekyll” ... When did your master give you this? POOLE. An hour ago, someone rang the bell, and when I came to the door it was slipped through. Do you think its a joke, sit? DR. LANYON. Jekyll doesn't joke. He wants me to go into his laboratory and get a drawer for him. Why can't he do ic himself? Is the laboratory locked? POOLE. Yes, sit. But the doctor keeps a key in his seudy. DR. LANYON, “I shall come co you when night falls.” Your mas- ter has become a devotee of the dramatic. Lead on. (Lights change. The door i: repositioned.) Scene 6 Dr Jebyl’s laboratory. LANYON. “I went with Poole to Jekyll’s home, Poole found the key in Jekyll’ study, then we went into the garden and opened the 49laboratory. It was dark, and the air was stale and rank.” POOLE. Dr. Jekyll hasn't used it in months. DR. LANYON. Let's do this and be done. (Poole picks up the drawer and hands it to Dr. Lanyon, Ie seems heavy) Heavens, what's he gor in here? POOLE. I'm sure I don't knows sir. DR. LANYON. Well, lock the doos, and ella cab for me, is almost dark, POOLE. Yes, Dr. Lanyon. (Poole exits. Light change. The door is re- positioned) Scene 7 Dr. Lanyon's surgery. Dr. Lanyon sets the drawer on his desk and scribbles in his notebook. DR. LANYON. “I returned to my surgery as the clock struck six. A low fog had rolled in, shrouding the street outside in a brown ‘ist. It seems winter has not yet left us.” (We hear a voice fiom the shadows.) HYDE 4, (Offtage.) Lanyon. DR. LANYON. (Starts looks around.) Who's that? (Hyde 4 comes out of the shadows into the light. Dn. Lanyon gasps,) HYDE 4. I've been waiting for you. DR. LANYON. Who are — ? How'd you get in? HYDE 4. Dr. Jekyll sent me. Give me the drawer. DR. LANYON. Dr. Jekyll did nor give instructions to hand over his property to any representative, HYDE 4, Jekyll and I are as one. DR. LANYON. He isn't coming then? HYDE 4. Helll be here shortly. DR. LANYON. Then we shall wait. HYDE 4. GIVE IT TO ME! (Beat. Dr. Lanyon hands over the drawer. Hyde 4 opens it and takes out three vials, There’ a bit of col- cored fluid in each.) This is the last of it. (Hyde 4 uncorks two vials and mixes their contents into third vial. Then be drinks it down. He 50 penne screams.) AHHH! DR. LANYON. Mother of Mercy! HYDE 4. OHHH! DR. LANYON. Tell me what to do! HYDE 4. WHY DOES IT HURT?! WHY DOES IT HURT SO2! DR. LANYON. Here, let me—! HYDE 4. AHHH! (Hyde 4 shoves Dr. Lanyon aside. Lanyon falls to the floor. Hyde 4 doubles over, on the floor, in a near-fetal crouch. He seréams.) HYDE. OHHHHHHHH! (Jekyll enters from the darkness, weary- eyed. He kneels behind Hyde 4, Hyde 4 screams and groans subside.) HYDE 4. Ohh ... ohhh ... ohhh ... (Hyde 4 calms as Jekyll now breathes heavily as if hes taken on the pain and exertion. Jekyll and Hyde 4 rise, mirroring each other's movements as they do. Then Hyde 4 backs away into the darkness. Dr. Lanyon slowly rises, his eyes wide, never taking them off Jekyll) JEKYLL. Lanyon ... bring me a looking glass ... (Dr. Lanyon gets

• Fear: Trump in the White House

  

  From Everand

  Fear: Trump in the White House

  Bob Woodward

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