Home: Sample Scripts: The Strange Case of Dr. Jeckyl and Dr. Hyde

The Strange Case of
Dr. Jeckyl and Dr. Hyde
Written by Stan Barber and Joe Edkin
©1997 Stan Barber & Joe Edkin. All rights reserved.

I had no intention of writing an adaptation of Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde when I traveled to Budd Lake, NJ, to audition for the play.  When I arrived at the Pax Amicus Theatre, director Stan Barber informed me that he had a script in hand, but he didn't like it.  He was going to make revisions, but he went ahead with auditions.  The script called for eight performers, four men and four women.  I was cast as the heroic lead John Utterson (who, in the original story, is the lead character).  I asked for the script, and was told it wouldn't be ready until the first cast read through.

When I arrived for the read through, I was surprised to find that twelve people had been cast.  This indicated to me that the script was going to need more than tweaking to accommodate all these performers.  As I listened to Stan's vision and his explanation of his new characters, my mind began to put together the pieces of his puzzle.  He had some interesting concepts, but they hadn't been forged into a coherent plot.  I went home that night and developed the characters and work out the specifics of the story.  The next morning, I met with Stan and it was agreed we would co-write the play.

If I was going to be involved in the actual writing, I had to find a new approach to the story, or I would not have felt a need to apply my time and efforts. We've seen this story adapted, sometimes well--other times not-so, dozens of times under its own title.  The individual at war with him or her self is a common theme in literature.  I think that the climactic confrontation I developed for our production--involving a character that Stan had created that I defined as the man Jeckyl (spelled as "Jeckyl" for copyright reasons) would be if he gave free reign to the Hyde side of his persona--gave our interpretation teeth.

Our audience seemed to agree.  The play--with a script written in ten days while we were rehearsing (something I'm not in a hurry to do again!)--worked well.  Below, are three scenes from the script.

--Joe Edkin

The story is set fifteen years later than the original.  By placing the events at the end of the 19th century, I was able to make references to the work of Sigmund Freud.  The play begins shortly after the death of Jeckyl's maid Nancy (who is killed by Hyde).

In this, a scene from the first act of the script as it was revised for the Coos Bay production, we learn how three key characters view the question of evil.  HENRY JECKYL is in his 30s and a scientist.  JOHN UTTERSON is Henry's oldest friend and his lawyer.  HASTIE LANYON is Henry's mentor and will one day be his father-in-law.  While Henry's Aunt Lena and his fiancee Sarah Lanyon discuss plans for the wedding, the men have retired to Henry's study for brandy and cigars.

LANYON:  Henry, the way you have been treating my daughter of late is reprehensible.  If your intentions have changed, you owe it to Sarah--and to me--to say so.
JECKYL:  Hastie, I need to finish my research.  Once I have succeeded, then nothing will stand in the way of our marriage.
LANYON:  She can't be expected to wait forever.
JECKYL:  I'm in the final stages.  If I succeed, it could change society, the nature of mankind itself, forever.  Brandy, gentlemen?
(JECKYL pours brandy for all.)
JECKYL: You recall the case of Jack the Ripper?
UTTERSON: It's a disgrace that he was never caught and prosecuted for his crimes.
LANYON: I am sure you would have been happy to see him hanged, John.
UTTERSON: Yes, I would, I'm not ashamed to say. A murderer should be held accountable.
LANYON: A man who commits atrocities like that is ill—mentally ill.
UTTERSON: The Ripper chose to kill those girls. Killing is a choice, not an illness.
LANYON: I have been reading the works of Sigmund Freud.
UTTERSON: Foolish nonsense.
LANYON: He claims that people are shaped by the traumas they have survived, and that in some cases, it is the memories of their pasts that cause them to lose touch with morality. They can no longer distinguish the difference between right and wrong.
UTTERSON: Balderdash. Killing is wrong. Every soul, no matter how ill, knows that. The Ripper should pay for his sins.
LANYON: I prefer to leave it to God to weigh the question of sin, John. Here on Earth, I think we must temper justice with compassion. Certainly there was something wrong in the brain of the Ripper, but sending him to the gallows would solve nothing.
UTTERSON: It would protect his future victims from his knife. Do you care more for the soul of a killer more than the souls of those he would kill?
LANYON: Is it your opinion that it is wrong for the individual to kill, but acceptable for the state to do so?
UTTERSON: If the state is following the law, then yes.
LANYON: But men wrote the laws, and men are fallible.
UTTERSON: It was our Maker that decreed that "Thou shalt not kill."
LANYON: Then shouldn't that decree be held sacred at all times? Which mortals should determine who gets to live and who gets to die? We usurp the role of our Lord.
UTTERSON: A madman like the Ripper threatens God's creations.
LANYON: And yet, is not a madman also one of God's creations?
JECKYL (interceding): Gentlemen, what if the compulsion to commit a crime is neither a choice nor the act of a diseased mind?
UTTERSON (reacting to a concept that he has not previously considered): What else could it be?
JECKYL: A chemical imbalance in the brain that drives people to act out their darkest impulses.
LANYON (his scientific curiosity aroused): Interesting theory...
JECKYL: My experiments have proved it's true.
LANYON and UTTERSON: What?
JECKYL: I have reproduced the chemical that triggers man's baser instincts.
LANYON: Why would you do such a thing, Henry?
JECKYL: Because if we can isolate the factors that incite a man to commit atrocities, then maybe we can control or expel those factors forever! Think of it—a world without violence; a world without crime. No more Jack the
Rippers...
LANYON: It's a lovely fantasy, Henry, but it's just that. A fantasy.
JECKYL: You're wrong, Hastie. I have created two elixirs. One brings out the evil side of the human brain and the other, an antidote which sends it back so that all inclination toward violence is completely submerged. I know it works. I'm already testing it.
LANYON: Testing it? Where on Earth did you find your test subject? No responsible hospital would have committed itself to this project.
JECKYL: I had to use my own resources.
LANYON: What resources? A lunatic asylum? A prison?
UTTERSON: And what of the legal questions—or the moral questions, Henry? Have you considered them?
JECKYL: Do not worry yourselves, gentlemen. I am in complete control of my test subject. There is nothing to fear.
LANYON: How can I not be worried? Are you putting my daughter's life in danger with your experiments?
(UTTERSON reacts to this statement, thoughts of Nancy's death going through his mind.)

The triangle of philosophies is at the heart of the story as I developed it.  Of particular importance is Utterson's belief in an ultimate right or wrong.  At the climax of the of the play, Utterson is confronted by the evil acts Jeckyl committed as Hyde and is asked by Jeckyl to kill him as Hyde won't let Jeckyl kill himself.  Utterson must make the choice between his beliefs and helping his friend end his torment...

We now move deep into the first act.  Mr. Hyde has given a prostitute a family heirloom that belonged to Henry's Aunt Lena.  With his house in an uproar, Dr. Jeckyl travels to Soho to visit the brothel where Hyde's mistress plies her trade to try to reclaim the missing broach...

(SOUND CUE:  KNOCK AT THE DOOR--this is a sharp sound as Jeckyl is knocking with his walking stick.)
JENNY:  Just a moment.  I'm not decent.
(She unbuttons her blouse.)
JECKYL (using Hyde's voice):  Jenny!
JENNY:  Mr. 'Yde, it's not like you to knock!  (opening the door)  Oh!
JECKYL:  Pardon me.
JENNY:  No, pardon me.  You sounded like someone else.  Never mind.  Come in. Oliver send you?
JECKYL:  No.
JENNY:  No matter.  My name is Jenny.  Are you lost, or just lookin' for a good time.
JECKYL:  I...
JENNY:  You do look kinda familiar, but I don't believe I've made your acquaintance.
JECKYL:  I'm Dr. Henry Jeckyl.
JENNY:  I've 'eard of you.  One of the girls from 'round 'ere went to work in your 'ouse .  Alice somebody.  Know 'er?
JECKYL:  She is in my employ.
JENNY:  So, you come 'ere lookin' for another maid, sir?  (laughs)  It's not the life for me.  I rather like me job.  Easy 'ours.  Good money.  An' some o' the blokes ain't so bad.
JECKYL:  Actually, I came to see you.
JENNY:  Me?  Well, that puts me in a rather tight spot.  I'm sorta "bought for the month," if you catch my meanin'.
JECKYL:  That's not...
JENNY:  But if the price is right, my... regular--Eddie... 'e don't 'ave t' know.  It does a girl like me some good t' be with gents like you from time t' time.
JECKYL:  I think you mis...
JENNY:  'Ow did you 'ear about me?  I know lots o' fine gents.  Did one o' them...
JECKYL (finally cutting her off by changing the subject):  That's a beautiful broach you're wearing.
JENNY:  A gift from an admirer.
JECKYL:  From Mr. Hyde?
JENNY:  'Ow did you know that?  D'you know Eddie?  He said he knew rich folk.  I thought 'e was just goin' on.
JECKYL:  That broach was not his to give away.
JENNY:  Whatcha mean?
JECKYL:  He stole it.
JENNY:  Stole?
JECKYL:  From my aunt.
JENNY:  I wouldn't put it past 'im, the thievin' bastard.
JECKYL:  And it's imperative I get it back.
JENNY:  I'm not just gonna 'and over me good broach.  'Ow do I know you're tellin' me the truth?
JECKYL:  I could go to the police.
JENNY:  Police?  I don't want no trouble.
JECKYL:  I can see that you're attached to it.
JENNY:  Only 'ad it a couple days, but I 'ave grown rather fond of it.  Damn that 'Yde!
JECKYL:  I'll be happy to pay you for it.
JENNY:  Really?  Is it worth somethin'?
JECKYL:  Just to my aunt.  Sentimental remembrance.
JENNY:  'Ow much?
JECKYL:  Fifteen pounds.
JENNY:  Fifteen pounds?
JECKYL (holding out the money):  Will that be sufficient?
JENNY (grabbing the cash): 'Ere take your bleedin' broach.  (She takes off the broach and puts it in Jeckyl's hand.  She holds his hand longer than necessary, making a pass at him.)  Dr. Jeckyl, is it?  You're very generous.  I'd like to give you somethin' in return.  You're a fine lookin' man, and a man like you probably needs a little stimulation, now and again.  (crawling up his body)  Let Miss Jenny show 'er appreciation.
JECKYL:  What about your Mr. Hyde?
JENNY:  To the devil with 'im!  Givin' me stolen goods.  Coulda got me in a lot o' trouble.
JECKYL:  But don't you have an exclusive agreement with him?
JENNY:  'E's not 'ere right now.  Besides, 'e's ugly an' mean.  'E smells of medicines.  Not sweet smellin', like you.  Oh, I think you're likin' this.  You're 'ungry for a girl like me.
JECKYL (breathlessly):  You're a lovely girl, Miss Jenny, but I really must be going.
JENNY:  Well, you come back any time, sir.  Miss Jenny will show you the time o' your life.  I can do it all kinds of ways...  ways that a gent like you only dreams about.
(JECKYL exits hurriedly, leaving behind his walking stick.)
JENNY (after him):  An' if you see that wretched Mr. 'Yde, you tell 'im 'e's not welcome 'ere no more.  I'm done with 'im, I am!  (to herself)  I'd rather be with a real gentleman, like that fine doctor.
(JECKYL appears outside of the hotel as Jenny continues her monologue.  He is overcome by lust.  Leaning against the brick wall, he takes a drink from his flask.  He then exits.)
JENNY (stuffing the bills in her blouse):  Jeckyl.  'Enry Jeckyl.  I'm gonna remember that name.  Fifteen pounds 'e gave me.  I'm gonna buy me a new dress an' shoes!
(SOUND CUE:  KNOCK AT THE DOOR.)
(JENNY moves to answer it and notices the walking stick.)
JENNY (moving toward the door):  Ah, Dr. Jeckyl.  You forgot your fine walkin' stick?
HYDE (as Jenny opens the door):  And you forgot your broach, Miss Jenny.
JENNY:  Why, Eddie!  I thought you were...
HYDE:  I told you never to part with this!
JENNY:  Where did you get it?
HYDE:  I found it.
JENNY:  Liar!
HYDE (slapping her):  Whore!  (holding the broach out to her)  Misplaced your good broach, didja?
JENNY:  I suppose I did.  (She reaches out for it, but he snatches it away.)  You gave it t' me.  It's mine!
HYDE:  It was yours, 'til you pawned it off on some fancy gent.
JENNY:  You stole it--twice--didn't you!
HYDE:  My precious gift, an' you go sellin' it for a few quid.
JENNY:  It was stolen goods.  Dr. Jeckyl gave me a reward for...
HYDE:  Don't say that name!
JENNY:  What 'ave you done t' 'im, you bloody creep?
HYDE:  Prefer 'im t' me now, do you?
JENNY:  I prefer anyone t' you!
HYDE:  I don't smell good.  Not 'andsome enough for the likes o' you?
JENNY:  Were you standin' outside the door--spyin' on me?
HYDE:  Stupid tart!  I 'ave a good mind t' show you the back o' me 'and, I do!
JENNY:  Gimme the broach.  I'll find Dr. Jeckyl an' return it to 'im
HYDE:  Dr. Jeckyl!  Dr. Jeckyl!  Dr. Jeckyl is a weak, stupid, hypocritical bastard!
JENNY:  You're not worth the ground 'e stands on!  You're mud beneath 'is feet, you are!
HYDE:  Shut your mouth or I'll ram this cane down your bleedin' throat!
JENNY (putting her hand out):  Now give it 'ere, you bloody bastard!
(HYDE rams the broach, pin first, into her hand.  JENNY screams, but he puts his hand over her mouth.)
HYDE:  Take your bloody broach!  (He throws her to the floor and begins to hit her with the cane.)
JENNY:  Help!  Dr. Jeckyl!  Oliver!  Help me!
HYDE (striking her furiously and repeatedly):  Shut your mouth!  Shut it, I tell you!  Dr. Jeckyl can't help you now!  No one can.  You're mine!  Mine!  (Realizing that she is dead.)  You shouldn't 'ave crossed me, whore.  You shouldn't 'ave preferred Jeckyl t' me.  Well, you can both rot in 'ell.
(HYDE exits.)

The first act ends with the death of Henry's Aunt Lena.  That night, Hyde reveals to Lanyon that he is also Dr. Jeckyl.  Following Lena's funeral, Lanyon confronts Jeckyl with the realities of what he has done...

LANYON (referring to Utterson's departure):  I will not be put off as easily as that, Henry, not after what I witnessed.
JECKYL:  If you are worried that Mr. Hyde--
LANYON (over Jeckyl's line):  Hyde?  There is no Hyde.
JECKYL:  --will harm your daughter, I promise you I won't let that happen.
LANYON:  How can you be so certain?
JECKYL:  Because Hyde emerges only when I take the elixir.  After Lena's death, I disposed of it.  You saw me do that.
(At this point, JECKYL begins to walk away.  LANYON follows him as they cross the stage as if walking through the streets on their way to the parapet.  Throughout their cross, they continue their dialog.)
LANYON:  Henry, I don't think that's the end of the matter.
JECKYL:  I am confident that Hyde has done nothing that could lead back to me.
LANYON:  You speak of him as if he's a separate person.
JECKYL:  He is.  I am Dr. Henry Jeckyl.  Hyde is an abomination.
LANYON:  Then why did you become him?
JECKYL:  I had to know.
LANYON:  Had to know what?
JECKYL:  If he could be controlled.  Every man has the capacity to become a Jack the Ripper.  My elixir created Edward Hyde, a man of murderous inclination, and my antidote buried him deep within me where he could never escape.
LANYON:  "Murderous inclination?"  What have you done?
JECKYL:  I have done nothing.  It was all him.
LANYON (stepping around JECKYL to stop him):  What has Hyde done then?
JECKYL:  You don't want to know, Hastie.
LANYON:  I must know!
JECKYL:  Edward Hyde will never again see the light of day.
LANYON:  Henry, you called him a man of "murderous inclination."  Has he killed?
(JECKYL does not answer.)
LANYON:  He has, hasn't he.
(JECKYL remains silent.)
LANYON:  Dear God.  The maid!  You killed that girl!
JECKYL:  Not me.  Hyde.
LANYON:  Is there anyone else?
JECKYL:  I'm going home now.
(JECKYL walks away.)
LANYON (following):  Is there anyone else?  Damn it, Henry.  Tell me the truth!  Tell me!
(By this point, they should be on the parapet.)
(SOUND CUE:  FLOWING RIVER)
LANYON:  Stop!  You must tell me what you've done!
(LANYON grips JECKYL's shoulders tightly, not allowing him to leave.  This is the point when JECKYL begins to lose his temper, triggering his transformation.)
(MUSIC CUE)
JECKYL:  Take your hand off me, Hastie.
LANYON:  If you killed that poor girl anyone else, you must confess!
JECKYL:  Hyde did those things.  Not me.
LANYON:  You are Hyde.
JECKYL:  No!  I am Henry Jeckyl.  I am not Hyde!
LANYON:  You are both!  Stop this charade!
JECKYL:  Hyde is the killer, not me.
LANYON:  If Hyde has killed, then so have you, Henry.
JECKYL (breaking free of LANYON's grip, he is close to being Hyde now):  I am not Hyde!  I am not!
LANYON:  Henry, you must accept it!  You are Hyde!
HYDE (transformation complete):  No!  I am Hyde!
LANYON:  Yes, Henry!  You are Hyde.  We must go to the police.
HYDE:  I will not be caged like an animal.
(HYDE hits LANYON in the stomach with the cane.)
LANYON:  Henry!  Stop!
(HYDE savagely beats LANYON to death, ranting all the while.)
HYDE:  I am not Henry!  Henry Jeckyl is weak!  I am Hyde!  I am Hyde!
(HYDE finally stops hitting the body, but he is still in a rage. Once Lanyon is dead, HYDE throws the stick away and exits.)