#pseudoscientists

[aryattempts]

A dumb little scene I had in mind in which

Lanyon literally kidnaps Jekyll and takes him away to some spa by the sea or up in the mountains as a kind of intervention. He then dumps EVERY MEDICINE he has picked up on Jekyll at once. "NOOOO FRIEND NOOOOO you will not be depressed I will make damn sure of it >( I wasn't sure which therapy to go with so I decided to go with ALL OF THEM."

[aryattempts]

Hyde note, re: tired

I may have already written this into the summaries but here's a thing I may have forgot: 

When Hyde first tries to manipulate Jekyll into taking the potion, he unhinges reality in a way that (as Jekyll perceives it) Hyde seems to step out of the mirror-space and into the real world. (Or perhaps he first takes the form of Rachel. Jekyll senses that something is up, causing Hyde to shed his disguise and reveal himself.) Jekyll is at this point too deliriously tired to realize that it should be IMPOSSIBLE for Hyde to take on a body of his own. He is merely annoyed.

"Edward? Go back into the mirror. I SAID you're not to be seen out here." 

Hyde himself could find it absurd how Jekyll is ordering A PART OF HIMSELF around as if he were a naughty child. This could indicate how detached Jekyll is from the part of himself that is Hyde. At that point in the story Jekyll probably wouldn't care if he IS wholly separate--it's all a means to and end (getting the Exhibition together) and he could care less about the fate of, say, his soul.

P.S. Thanks for the commentary, Cat! Sorry I haven't replied, really busy at work + super tired + too much shit to catch up on at home. Talk soon~

[aryattempts]

Frankenstein's Personal Apocalypse

Frankenstein tries to give rambling advice to Jekyll about his view of the world. What he says is something like: "The end of the world looks different for everyone. For me, I was profoundly afraid of my creation. The thought that I might face him and be defeated was the worst thing I could possibly imagine. It was my own personal apocalypse. But that day came, and that day passed, and still the world did not end. Still I was alive. There is so much more to my life than I could ever have imagined, then. 

"The same is true for you. You fear the demon inside you more than anything you can imagine. That is why you fight it. But you cannot fight it forever! Your apocalypse will come, and it will pass, and if you can find the courage to live through it you will find that there is more to your life than you now know."

........I imagine this half actually transpiring in half really badly worded phrases:

"It is only the end of the world!"

".....don't you mean, it's not the end of the world?"

"No, no, it IS the end of the world for you, but that is not the end of the world." 

"......somebody PLEASE help Victor. I think he's having a stroke."

The other half would, in theory, actually be pretty profound sounding, and not circuitous and awkward like I've phrased it at the top.

[aryattempts]

The Pseudoscientists, Act III

Scene 1: Jasper and Rachel and everyone else

Summary of Events

(note: for purposes of chapter breakdowns, we may want to have this scene happen right after Hyde wakes up in 'memory town', but with no idea where he is or how he got there. suspense??)

Rachel runs out to the Atrium to low hum of the Lodgers' murmurings. She tries to get them to help her, but the scale of the problem overwhelms them. Many are paralyzed with fear, worrying what Lanyon is planning to do to them. He is such an influential, venomous man, and without Jekyll to protect them, what chance do they have? 

Others have already shunned Jekyll--he acted like such a gentleman, but in the end he was just a fraud, no better than any of us! These Lodgers want to follow Frankenstein out to the wilderness to live like Real Men (the Creature's response: Yeah no none of you are going with us.) Others still hatch totally impractical plans to escape or defeat Lanyon ("we should all turn ourselves invisible!" "We should make the Society into a steam powered airship! [a la the opening sequence to Monty Python's the Meaning of Life]" "Let's all pretend the Society is a candy shop! [from the Experimental Confectionary Scientist]" These louder voices all shout over each other and then begin fighting each other . . . basically, Rachel is getting nowhere with these assholes.

She runs into Jasper and, in desperation, breaks their stalemate and confides in her. What are they going to do? Jasper has been thinking hard on this question as well. She feels deeply indebted to Jekyll for all the help he's given her, and now would be the perfect time to pay him back, when he needs it the most. If only she could think up a plan! She looks around at the clans of Lodgers that have formed, each with their own little plan of what to do next. All of them are smart, with their own special skills, but they're no good to anyone when they're divided like this! They need a leader. Jasper knows she is no born leader, but then again . . . then again, if she doesn't try, who else will?

Jasper climbs on top of some crates--muttering the rules for presentation Jekyll taught her under her breath--and shouts for everyone to shut up. The Lodgers look up at her--less in obedience and more in curiosity, but she'll take what she can get. Jasper tells them she has a plan to get them all out of this, and then begins grouping the Lodgers together and handing out orders to them.

Rachel stares at Jasper in shock and admiration.

Character Arc Notes:

Jasper: BIG arc for her here. Motivated by a desire to help Jekyll, she takes on a big responsibility she didn't know she could handle. This is a stretch, but I'm hoping that her gradual arc of learning from Jekyll will make it believable.

Rachel: Put under pressure by the danger at hand, and left with no alternative (the Lodgers are dumb), Rachel talks to Jasper again. Forced to rely on her for help, she learns to admire Jasper for her bravery and is able to look beyond her gender.

Thematic Notes:

Um, I'm actually not sure what this would fall under? Maybe:

Controlling the Monster: Without any kind of control from Jekyll, the Lodgers quickly descend into chaos. They will need some kind of new leader in order to save themselves.

Imagery:

This scene takes place in the Atrium, probably lit by fluttery gas lamps. The Lodgers arrange themselves in little groups--their separation could be highlighted if each group had a separate little lamp to themselves, like a camp fire. 

Business:

Concern: The Lodgers shouldn't act like SUCH idiots that we're happy to see them punished! They still need to be endearing, somehow, throughout all of this.

This scene really comes with two big character sequences here: one needs to show off the bizarre ideas of the Lodgers (+Frankenstein and the Creature) which can, in itself, show how quickly things will turn to shit without Jekyll's leadership skills to guide them. The other is REALLY FOCUSED on Jasper and showing this huge arc leap really clearly. 

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Scene 2: Mr. Hyde goes to Memory Town

Summary of Events

Okay so this is a weird fucking scene straight up.

Hyde descends into the surreal landscape that consumes him whenever he gives in to his own panic. This is, however, the first time that he has been completely transported from the real world--the place he is in bears no resemblance at all to his office. He stumbles through fuzzy scenes, some resembling real places, some an abstract mishmash of colors. All the while he hunts for Jekyll. He encounters scenes from his past--perhaps the past Jekyll relates when describing his depression--but the scenes are empty, or at least . . . definitely missing Jekyll. (Other characters might be there, or strange reflections of them.) It is hard to move around in this space. Everything runs together in a sort of Michel Gondry style. There are also a whole lot of animals.

Hyde follows a stampede of Church Grims and finally finds Jekyll crouched in a little herd of them. When Jekyll sees him, he immediately tries to run away, believing that Hyde wants to drag him back to reality so that he can rot in jail in Hyde's place. Jekyll refuses to let that happen. The police can never learn his secret, or else the Society's reputation will forever be ruined! He had hoped that if he just abandoned reality, he could disappear completely, and is dismayed to find that he still exists.

Hyde explains that he DOES need Jekyll to come back--but for slightly different reasons. He convinces Jekyll (fuck if I know how) that he has realized his mistake and is willing to cooperate with him in order to survive. It's hardly a worthy apology for everything that's happened, but they don't have time for a worthy apology, do they? 

Seeing that he has changed, Jekyll agrees to help Hyde.

Character Arc Notes:

Hyde: Takes positive action to correct the error of his ways. Physically pulls Jekyll out of the mind-space.

Jekyll: Realizes that Hyde may not be the unstoppable, completely irrational force of evil he thought he was! By extension, perhaps at his core he himself is not so horrible.

Thematic Notes:

Controlling the Monster: This scene (should) show that it isn't necessary to control the monster--the very act of controlling was what made the monster act so monstrous in the first place. Left to his own devices, Hyde learns to make a rational decision, even if it means sacrificing some of his freedom.

Imagery:

Some fucking insane Michel Gondry, Spike Jonze, Paprika shit right here. Dream logic applies absolutely--essentially this is an extension of the surreal sequences earlier in the story, so this kind of dream logic should apply in those scenes as well.

Business:

There's all SORTS of fun shit that can go on in this sequence. Try and think of the strange, yet strangely consistent logic that applies in dreams, the way familiar locations merge together, the way people and events turn on a dime to fulfill the emotional core of a scene. 

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Scene 3: Escape Plan

Summary of Events

Jekyll wakes to find a crowd (including Rachel, Jasper, and Frankenstein) standing over him. He sees his wrists bloody and torn and, after uselessly interrogating Hyde about what happened, bandages himself. For a brief moment he believes his problems are solved, but then--another spontaneous physical transformation. Jekyll's return to reality--combined with Hyde's still mounting panic--have rendered their physical form unstable again. 

Jekyll tries unsuccessfully to calm Hyde down, but the police sirens keep driving home the impending danger. He decides on a different route: He asks Frankenstein about his offer to leave the city together. Does that mean that he knows a way to leave the city unseen? The Creature explains that the Lodgers had been showing them a passage through the sewers (haha, set up), but he has not learned the full passage yet.

Jasper arrives and tells Jekyll that she and the Lodgers are going to help him. Jekyll protests, insisting that he doesn't want to get them in trouble for his mistakes. Jasper cuts him off: His attempts to solve all his problems by himself haven't ended so well, have they? This shuts Jekyll up, and Jasper explains her plan: A few Lodgers sent with them in the sewers to show the way, a few out in the streets to keep a look out, a good half staying here to keep watch over the Society. (She herself will stay with the Society crowd, while Rachel will go to look out from the alleys.) 

Jekyll thanks them all for their help as the Lodgers scatter to quickly repack and retrieve all of Frankenstein's belongings. The plan seems settled: Jekyll will accompany Frankenstein and the Creature out of London, at least until the drama has calmed down.**

*this is an important arc moment for her and I'm not sure if it's fully set up yet...... work on this next draft

**at this point does he think he will still return to London?

Character Arc Notes:

Jekyll: Has made a positive commitment to try and save his own life. He also chooses "trusting others" over "control" in going along with Jasper's plan. 

Thematic Notes:

Controlling the Monster: Jekyll is learning to put his new life lesson into practice--you don't need to be in complete control in order to have a hold on life. Here he takes a small step towards trusting Jasper and the Lodgers.

Imagery:

Jekyll's office--the scene will have a little bit of awkwardness, what with the shattered mirror and all. Jekyll must learn to live with awkwardness, with the people he cares about seeing him in a vulnerable state.

Business:

Not a great deal comes to mind. Maybe this is a decent time to bring back the little church grim to lick Jekyll's face--might highlight how humbled he has become (the very thought that he would admit to needing comfort from someone!).

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Scene 4: A talk in the sewers

Summary of Events

Jekyll puts the plan into action! Jasper's team gets to work covering up all suspicious evidence at the Society and Rachel's team spies on the police.

Jekyll's own end of the operation gets off to a rocky start: he has a difficult time negotiating the dangerous path down in the sewers and must decide to give control back to the still-unstable Hyde. Hyde handles the terrain easily but is useless whenever the slightest bit of strategy is required of him. They learn to switch back and forth, Jekyll coming out when they need to plan, Hyde coming out when they need to act.

A few blocks in, Hyde turns a corner and nearly runs headlong into Dr. Lanyon. Lanyon looks much worse for wear than he did at the Society. He is shaky, with an intoxicated but troublingly determined look in his eyes. More troublingly, he is carrying a pistol, which he aims at Hyde, intending to kill him or injure him well enough for the police to catch him--whichever one works. 

Hyde (who is, as I mentioned, not really in a good 'planning mode') is at first merely annoyed. What the hell is HE doing down here? Lanyon explains that he had overheard the plans to capture Hyde after his escape. "I do know the things you lot whisper behind my back. Some of the things, anyway." Hyde dares Lanyon to try and shoot him, and must be reminded by Jekyll that he is not impervious to bullets. Jekyll convinces Hyde to let him take control. They switch out, and Jekyll tries to reason with Lanyon, to explain that he figured out a way to solve things, that everything is okay now. 

Lanyon doesn't believe him. How can things be okay, when that demon Hyde is still here? Jekyll explains that Hyde can't just disappear--he is a part of himself. The only reason things ever got out of hand is because Jekyll couldn't accept that. Now he's realized his mistake and he wants to make up for it, but he can't do that if he's captured, if the world learned his secret. 

Lanyon sees things differently. He thinks Jekyll must be terribly sick, sicker than he ever thought. He tells him, in a broken voice: "I realize this is partially my fault. I told you it was okay to fool people, I told you it was the appearance that really mattered. I didn't know that something so rotten had gotten into you. But I know better now, and I'm going to fix you. I will find the thing that's changed you and I will rip it out and everything will go back to normal." 

Jekyll tries to tell him: There is no normal. There was never a normal! He is so sorry for lying to him and he will set things right between them, but for now he needs to get away.

Lanyon raises his pistol to Jekyll. He isn't about to enable Jekyll to continue the broken life he's fallen into. "Friends don't let friends become monsters." He hopes Jekyll will come with him quietly. Perhaps they won't need to even involve the police! They can solve all this on their own, just the two of them! That is . . . after he's dealt with the little band of friends he's brought with him. (And no sudden movements, my dears. Henry may be a useless bloody shot but I can assure you, I am not.)

Hyde whispers into Jekyll's ear: Let me out! I can take him by surprise. Jekyll agrees. Lanyon has barely enough time to register the switch before Hyde darts out to the side. Lanyon's bullet hits his shoulder, but a second later Hyde has grabbed the gun and wrestled it out of Lanyon's hand. He pins Lanyon to the wall with a predatory look in his eye. Jekyll talks him down and Hyde settles for gloating over his victory. "Hahah! I've got a gun now!" (The Creature prudently plucks the gun from Hyde's hand.) 

The group escapes down the path, leaving Lanyon crumpled against the sewer wall. Above, he can hear the sounds of the police force passing. He knows what he must do next.....

Character Arc Notes:

Jekyll: Is given (haha, sort of) a variation on the choice he had in the first act--will he go with Lanyon or with Hyde? Here he defends his true nature against Lanyon and finally sides with Hyde, pretty much severing any chance of friendship between him and Lanyon.

Lanyon: Revealing a much darker side of his character. Refuses to accept Jekyll's choice and decides that he knows best how to help his friend, even if he has to hurt him in the process. When Jekyll refuses to accept his help, he resorts to force to get his way.

Thematic Notes:

Controlling the Monster: Lanyon is now trying to control the monster inside JEKYLL. Jekyll must try to convince Lanyon of the lesson he himself just learned but does not succeed. In the end he must trust the "monster" to help him escape the situation.

Imagery:

The sewers--pretty much the same as the first time we saw them! Although some research into how one moves around in them is necessary for the first part. How do these things all connect up?

The second half of the scene is largely a dialogue scene . . . how can we elevate that to something more cinematic? Shadow-play, a la The Third Man? Should Lanyon have Jekyll CORNERED, up against a water fall or a sewage facility or another, er, specific detail of the terrain?

Business:

This scene does rely on clear set up, earlier, of the relationship between Lanyon and the Lodgers--there needs to be a gradual arc of their "relationship": Lanyon has never truly liked them but put up a front for Jekyll's sake. When things go bad, that gloss of friendship goes away completely.

Hyde with the gun is a pretty derpy idea.

The first part of this sequence is a doozy and I kinda skimmed over it! I may want to make this a separate scene, since the way in which Jekyll and Hyde learn to work together is practically the "proof of concept" of the whole theme of the story.

 Which parts of the sewers would Jekyll have a hard time getting around in? How would it look different when Hyde is running through the sewers verses Jekyll?

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Scene 5: Scatter!

Summary of Events

Rachel sees Lanyon talking to the police and guesses at his motifs. She sends a scout down to warn Jekyll, but he arrives just seconds before the officers, giving just enough time for the party to run blindly down the path. More officers seem to pour in from every exit, and before they know it, the group is split down the middle--Hyde in one group, Frankenstein in the other. By the time Hyde has managed to escape, he is utterly lost and has no idea how to rejoin the others. He climbs up to street level and finds the roads heavily patrolled. He needs to find someplace to hide, but . . . where the hell is he?

Jekyll scans the area. "I know where we have to go."

Meanwhile, Lanyon has led a group of officers back to the Society, where he suspects Jekyll will return. Rachel beats him there with time enough to warn Jasper, who is terrified by the prospect of taking on Dr. Lanyon. It took all of her nerve to rally the Lodgers around her, and those were people who liked her! Rachel reassures her and promises to stay with her and help out if she needs to--she knows Lanyon really well and knows how he thinks. 

When Lanyon arrives, Jasper sticks to her cover story--none of them have had contact with Hyde since Frankenstein's arrival, and Dr. Jekyll hasn't been in today. Thanks to her meticulous re-organizing, the police aren't able find any evidence to the contrary. She has her moment of victory--but then an officer pops in the front door to inform the others that Mr. Hyde has been spotted.

Other meanwhile!: Finding himself closely pursued, Hyde hastily climbs to the rooftops, which inevitably attracts even more attention. (Jekyll: You are SO BAD AT SUBTLETY.) The police close in quickly, and Hyde just barely manages to reach his new sanctuary--Jekyll's old laboratory--and slam the door shut. The building is a fortress, with only one small window high up looking out. Hyde peers out, seeing the place surrounded. He has nowhere to go now.

Character Arc Notes:

There's not much really?? This is a pretty straightforward "peril intensifies!" sequence. Some simple notes:

Rachel and Jasper: Rachel is now offering more and more help to Jasper. 

Jekyll and Hyde: Their list of options is being whittled down to almost nothing. It now looks like there will be no way for them to escape this easily.

Thematic Notes:

See above! 

Imagery:

In order to convey the "closing in" feeling--which should make Hyde's actions more believable in this and the next scene--all compositions and camera choices should be all about making Hyde feel small and powerless, the police huge and menacing, and creating a general cramped, claustophobic feel. 

Yet another scene taking place in the streets of London 8D;; oof those are never fun.....

Business:

Not a great deal, as this is mostly a series of escalations. The main business would probably come from Rachel and Jasper's interaction (Jasper's freakout, Rachel's awkward attempts to be nicer again) and Hyde's increasing spazziness (if I just go UP I'll be safe).

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Scene 6: End of the Line

Summary of Events

The laboratory is surrounded. A crowd has gathered by now, so that the police are almost flooded by eager passersby as well as all of the Lodgers, including Jasper, Frankenstein, and Rachel. Jekyll is safe inside--at least until the police axe in the door--but has nowhere to run. He is out of ideas. 

Hyde--currently in control of the body--is in an even worse state, pacing uselessly and gagging in the musty air. To him the room looks troublingly like a crypt. His physical form is completely unstable. It is clear that if the police had him in their grasp for even a minute, they would learn his secret.

In mirror-form, Jekyll looks down at the Lodgers. More than anything, he regrets what will happen to them. He would do anything if he could spare them the punishment for his foolishness! And there is Lanyon making his way to the front of the crowd. Perhaps, he considers, he has no choice but to give in to Lanyon. It might not be so bad, he considers glumly, after the first few years. He could be rehabilitated, brought back into the Society, and all the trappings of his old, perfect life would be waiting for his return. Okay, so it sounded perfectly awful, but what other choice did he have?

A roving police torch sends Hyde skittering into the shadows. The light catches on a shiny blue bottle lost in the curiosities. Jekyll examines it, and an idea forms in his mind. He beckons Hyde, who, upon seeing the bottle, lets out a shaky bark of laughter. He grasps Jekyll's plan but cannot believe it. "You not serious!" But Jekyll is serious as the grave.

Profoundly fearful of death, Hyde tries to talk Jekyll out of this new idea. Think of what he will be giving up! There will be no going back if he drinks this potion, not ever--he will never be able to return to the city he's lived in his entire life. He will probably never see the Lodgers again. He will never ever truly be himself again--the person he had built up all these years. His facade will be broken forever, and he'll have to start all over from scratch. 

Jekyll knows all this. It's not at all good, but it's the best he can do. He assures Hyde that everything will be all right, gently eases back into control, and drains the entire bottle.

Character Arc Notes:

Jekyll: Given this final choice--give himself up to the police or resist and save the Lodgers (risking death--certainly accepting the death of the life he knew). 

Thematic Notes:

Look at your life/look at your choices: This is the biggest question--what does Jekyll value in life? Here he makes a choice between the life he knew and the life (or, that is, the survival) of his friends. 

Imagery:

This all takes place inside the laboratory, so make heavy use of the imposing amphitheater structure and the spooky cobwebbed curiosities. They could almost form a kind of jury for Jekyll/Hyde, silently judging him for his mistakes. We're in the darkness just before dawn, but the main lighting source will be the police torches. Make heavy use of that.

It's a bit nice that Jekyll's "life" here ends with him drinking another potion, that iconic Jekyll and Hyde image. I would like more of these nice images in the story. *glares at self*

Business:

Obviously the main element of this scene is building to Jekyll's climactic decision, so on the forefront are: the despair and resignment he feels, considering his likely future, and the weight of the decision he makes at the end. That blue bottle is a BIG FUCKING DEAL and we have to be REALLY CLEAR what he is willing to sacrifice: his place in the Society, his personal relationships with the Lodgers, his reputation, his very sense of self will be completely shattered if he makes this choice.

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Scene 7: What we saw from the cheap seats

Summary of Events

Standing outside, the Lodgers hear crashes and screams--Dr. Jekyll's screams, calling out for help! The police, who have been attempting to break down the door, finally force their way into the laboratory. As the door slams to the ground, an eerie silence falls. The screams have stopped.

The officers squint into the dusty darkness. At first they see nothing, but just as Lanyon arrives, pushing through their ranks, they see him--Jekyll crumpled at the base of the amphitheater seats. His clothes are disheveled and torn, as though there had been a struggle, and his limbs are crumpled at odd angles. But his attacker is nowhere to be found.

The police search everywhere for Hyde--surely he is somewhere in the room? Only Lanyon walks slowly towards Jekyll's body, unwilling to believe what he is seeing. He shouts for Jekyll to wake up, shaking him by the shoulders. This is a trick, this has to be a trick! Eventually one of the officers has to pull him away from the body, and he stands shaking, a hand over his mouth. Only when the police begin carrying Jekyll's body away does Lanyon accept that his friend is truly dead. Pain and regret are plain on his face, but as he follows the procession out, he mutters to himself: "Perhaps this is for the best. You're better off this way." 

The Lodgers are hysterical. Jasper leans against Rachel, wondering if there is some way out of this. But Frankenstein--so rarely serious--is laser focused on Jekyll's body as it passes by. He exchanges a look with the Creature. Jasper sees this and asks what he saw. Frankenstein hushes her up, but Jasper gets the jist of it: there is some hope left yet.

She gathers the Lodgers together and leads them back to the Society. The Lodgers mill about restlessly, worried for their future. Jasper rallies their spirits. They can't just give up like this! Jekyll wouldn't want them to give up, not after everything he did to keep them afloat. They will need a new leader, though, someone who is up to the task of getting the Society up and running again, handling publicity and management but also cleaning up messes and crises, essentially operating as combination president and janitor?

She asks: Who would volunteer for that job? The Lodgers stare blankly. Reluctantly, Jasper volunteers herself and begins handing out jobs to re-decorate the Atrium. 

Late that night, Jasper sees Rachel climbing up to the attic. She follows her and finds Frankenstein and the Creature, their bags packed. Jasper has an idea of where they are headed and asks if she can tag along. Frankenstein agrees--they could use an extra hand.

Character Arc Notes:

Lanyon: The end of the line for him. He decides that he would rather see his friend dead than live a "sick" life. This should be pretty damning for him as a character (though slightly softened by his grief at Jekyll's death and fervent attempts to wake him up). 

Jasper: She's essentially had her arc, but here she asserts that she is asserting that she is willing to accept Jekyll's leadership role from now on, rather than in emergencies only.

Thematic Notes:

Look at your life/look at your choices: Lanyon refusing to accept Jekyll's true self, judging him even in death.

Imagery:

We're winding down the story--dawn has just broken. The first half of the scene takes place at sunrise and the second half in the glaring bright sun of the mid-morning. In general a "morning after" feel pervades.

Business:

The Lodgers should adopt a similar grouping system as they did the night previous. However the formation should look less intimidating now in the light of day--they look sad and ridiculous rather than conspiratorial. 

Big important research question: What would the Victorians have done with a murder victim's body?

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Scene 8: Re-Animation

Summary of Events

(fuck I totally just wrote this entire scene and then tumblr refreshed for no reason and deleted it. Gonna try and re-write it, but faster. Some logical details may get left out.)

(There's some research I need to do about police procedures in Victorian London regarding "what the hell they would do with a murder victim's corpse". I fear some tricky logistics are gonna be involved, so some details of Jekyll's plan may have to change in the future, but for now, when I refer to "the cemetery" below, please substitute in "the morgue" or "a holding area" or wherever Jekyll's body would be.)

Frankenstein, the Creature, Rachel, and Jasper travel to the cemetery and dig up Jekyll's grave. They find Jekyll alive--very much surprised to be alive. He thanks Frankenstein for his vigilance. He had been relying on him, who had spent so much time around corpses, to know when one was not as dead as it ought to be. Frankenstein adds that he was glad to find a test subject for his "sleeping death potion" in the end.

They cover up the evidence of their grave-digging and prepare to part ways. Jekyll thanks Jasper for her brilliance and congratulates her on her new-found leadership skills. Rachel informs Jekyll that she will be staying at the Society to help Jasper adjust to her new role. (She blushes hard when Jasper comments on how helpful she has been and quips something along the lines of, "Well, SOMEONE had to help you out, you'd be useless otherwise." Blah blah blah cute romantic comedy banter.)

Rachel and Jasper leave for the Society, and Frankenstein, the Creature, and Jekyll leave London together. Jekyll looks back on the city, on the life he left behind. He has many regrets and knows he will be facing plenty of hardships in his new life. He's spent so much time trying to hide who he really is that it will probably take years--and a lot of hard work--to really understand who he is again. Still, he feels he has made the right choice. He believes the Society will do well, and he can find comfort in that. 

Hyde is downright excited about the adventures that lie ahead. Bemused by his enthusiasm, Jekyll hands control over to Hyde, and he heads off with Frankenstein and the Creature into the woods.

Character Arc Notes:

Wrapping things up, establishing "and from that day on...." kind of things.

Rachel and Jasper: Their relationship is now patched up, Rachel's crush is re-ignited.

Jekyll: Has a brief moment to mourn his loss and accept that his journey of self-discovery is far from over. He still has a lot of emotional shit he needs to deal with, basically.

Thematic Notes:

Look at your life/look at your choices: Jekyll reflecting on ALL THE THINGS.

Controlling the monster: Jekyll knows now that giving up control of his identity is the only way he can move forward now.

Imagery:

Goodness, this depends on the research, doesn't it?

Business:

It's important to make clear, somehow, that Rachel's crush is still a romantic one, as opposed to one of those awkward "I have learned to tolerate your weird lifestyle, Jasper, and am willing to accept you as a flawed human being, in a purely platonic fashion" situations.

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[aryattempts]

Hyde and the Forty Elephants

For: Mid-act 2, when Hyde gets out

I have this surreal scene in my head of Hyde meeting Lucy (leader of the Forty Elephants) and trying to hang out with them when the police come in to raid the bazaar. Hyde would want to do something daring and rash (for instance, attack the police officers rather than run away) which Lucy doesn't understand at all. He sees crime as a grand adventure--she sees it as a means to and end. Maybe she wants to go back and sleep for the rest of the night (why bother going out? it's too much trouble right now) which befuddles Hyde. 

Thematically, Lucy contrasts Hyde because she knows how to be responsible for herself. She has no illusions of perfect freedom and is extremely street savvy. She knows how to get what she wants in many different ways, whereas Hyde only knows how to get something by leaping up and grabbing for it.

At some point Rachel comes in and--maybe--chastises Lucy for putting bad thoughts in Hyde's head, which of course deeply insults Hyde. He is not a child who needs to be coddled!

Eventually Hyde's rashness would get him chased (while the Elephants are safely hidden away).

[aryattempts]

Act one, 'mad scientist' set up!

I think the popular idea of the mad scientist needs to be set up before we can start subverting it at all, so DEFINITELY the first act. Maybe Jekyll and Lanyon see a preview of the theater across the way? Either that or at the VERY BEGINNING, around Hyde's monologue. Either way it needs to be really clearly and really dramatically demonstrated.

[aryattempts]

Act II, part 2

Because this shit is getting too long!!!

Scene 15 maybe: the abandoned laboratory Summary of events

Jekyll determines that the Lodgers will have an easy time breaking into his office, so it would be better to hide Frankenstein’s equipment somewhere safer. With a million apologies (seriously you don’t know how helpful this is), he asks Jasper to accompany him to his old laboratory in his home. He asks Jasper not too judge too harshly—the laboratory is an embarrassment to him, and he hasn’t taken anyone back there in ages. If she doesn’t feel comfortable, she can wait in the house. Jasper can’t imagine what he could have hidden there. He used to be an alchemist, so wouldn’t he just have a chemistry set and a bunch of bottles lying around?

Much more than that, it turns out. The laboratory is a grand old operating theater with tiered seating and a pretty chandelier. On every seat and table are wonderful, strange and deadly curiosities, seemingly a lifetime’s collection, all covered in cobwebs and a thick layer of dust. Jasper is astounded to find rare artifacts from supernatural creatures she’s only dreamed of encountering. It is all wonderful! Has Jekyll really had all this stuff locked away all this time?

Jekyll seems embarrassed by her enthusiasm. True, he used to love collecting these things, but … They need to stay here, out of sight. There are people—lots of people—who wouldn’t understand.

Jasper assumes: like Dr. Lanyon? Why does he care about that man’s opinion so much? (Now that’s a whole other barrel of worms that we could get into in this scene, the question of “woooow Jekyll REALLY likes Lanyon.) Jekyll responds that Dr. Lanyon wouldn’t understand, true, but there are many, many people like him, much worse than him, even. “I’m sure you know what it feels like to hear people whispering behind your back.”

Jasper isn't entirely convinced. She is sure there would be many more people who would love to see his collection. Jekyll insists: It wouldn’t be appropriate for a gentleman like him to surround himself with skeletons and smog mice. His glass cabinets are more than enough for him. Jasper presses on: What does he mean, 'a gentleman like him'? Is there an official rule book to what gentleman can and cannot enjoy? (Of course there isn't.) And if there is, why does Jekyll want to be 'a gentleman like that,' anyway? (It's not a matter of wanting it.) If he doesn't want it, then why does he do it?

Backed into a corner, Jekyll snaps at Jasper: He does it because it's expected of him, because he was born into a good family with every opportunity in the world. He has no right to want anything else! If he were to shirk his responsibilities and throw himself back into alchemy he would only become the ungrateful son who squandered the goodwill of his friends and family. "You act as if it would be so easy to change, but it's not. And I don't have to explain myself to some little street urchin--"

His own vitriol shocks him into silence. He apologizes profusely to Jasper for his rudeness--she was so helpful to him, and now he's insulted her and had an embarrassing breakdown right in front of her. Jasper accepts his apology, having been more puzzled than insulted.

Jasper asks if she can use some of the curiosities in her presentation. Jekyll agrees, eager to make up for his outburst—anything, if she can find a way to make them presentable! Jasper is sure that she can, and her enthusiasm encourages Jekyll. He apologizes again for being so gloomy—surely he is only worried about the Exhibition! There is only one thing to do with all that gloominess: turn it into action and power through until opening night, providing the best possible platform for her and the other Lodgers to shine!

Character arc notes Jekyll: reveals more of who he used to be—less the perfect gentleman, more a rough but enthusiastic work in progress. Jasper: gaining in confidence after the whole secret-related-debacle. Also shows how she can repurpose Jekyll’s flawed life philosophy into something positive.

Thematic notes: Look at your life/look at your choices: WARNING! This could easily be a double beat from Frankenstein’s scenes. Make sure we aren’t revealing Jekyll’s nature TWICE because that would be so boring.

Imagery: This laboratory needs to be shabby-dazzling! It should feel really sad that Jekyll feels the need to hide all this beautiful, morbid stuff from everyone. Also of course this is setting up an important and potentially pretty unique historical building, be sure to really show off this set with shot choices. This is also an opportunity to play with light a lot.

Business/jokes: This is a potential place to really show Jekyll and Jasper as equals. Jekyll is at a vulnerable enough place that he needs a friend more than anything. Also a potential place to hint at some unspoken sexual tension between Jekyll and Lanyon? Very much TBD.

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Scene 16: The Exhibition Summary of events Jekyll returns to the Society with new energy. The time for feeling sorry for himself is over! If he’s going to win out over Hyde he needs to take action now! The first thing he does is take every vial of the transformation potion and dump it out (this seems like a very specific action for him—may need to be set up better). He retrieves all the pill bottles Lanyon brought for him, takes as many as he can without making himself sick, and throws himself into the work of the Exhibition.

The next few days are a chaotic mess. Jekyll doesn’t sleep and spends all hours working with the Lodgers to get everything ready. Tensions are high, relieved only by the welcome help from the Creature, whose intervention allows them to rebuild the Atrium into something presentable.

Painful withdrawal symptoms from the transformation potion begin to show. Jekyll feels nervous, his heart beats irregularly and he is in a constant state of generalized pain. The upside to all of this is that Hyde has surely disappeared with the potion. He no longer fears his own weakness, he does not have the choice to drink the potion any longer. He feels that, if he can just make it through til the end of the Exhibition, everything will resolve itself.

But on the opening night of the ceremony, Hyde returns to taunt Jekyll. The initial showroom has met with tentative praise, and Jekyll needs only to give his opening speech to conclude the night’s duties. Hyde’s reappearance in the mirror-space unnerves him, and although he still believes there can be no way for Hyde to retake control after destroying the potion, Jekyll still fears that he might possess some power over him. This combined with stress and the withdrawal symptoms finally get the best of him: a minute after taking the stage, Jekyll falls unconscious. Lanyon rushes to his aid while Frankenstein, who has been prowling the top floor in a pissy mood, stands up and takes notice.

Character arc notes: Jekyll: has made a firm decision to destroy Hyde….. Cooperation between them is now totally impossible. They are at an all out war and cannot go back. Hyde: should be 100% fighting for his life here. Is putting his all into hanging onto his life by making Jekyll’s a living hell. Frankenstein: The final event causes him to see Jekyll in a new light. This kind of thing-the fainting-seems to suggest that something is more at stake for Jekyll than Frankenstein realizes. Jekyll has the haunted look about him that Frankenstein had when he was younger (should this be set up more?) The Lodgers: are working with Jekyll but only under coercion at this point. Their relationship is still fractured.

Theme notes: Controlling the monster inside: Jekyll makes an extreme choice to completely silence Hyde so that he can meet his goal of putting on the Exhibition.

Imagery: Lord knows the Exhibition should be a marvel on a scale I can hardly wish to design.

Business: This section all but mandates a montage. Study good montages that show pressure and stress! The Devil Wears Prada? The Creature should be really adorable helping out, especially when contrasted with Frankenstein’s pissy refusal to cooperate. Don’t forget this because it needs to pay off really cleanly at the end of the scene!

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Scene 17: Post-exhibition Summary of events

Jekyll wakes up in his office with Lanyon standing over him. It is much later, and he is more than sure that his stunt earlier has ruined the Exhibition. Too exhausted to hold back, he admits to Lanyon that things are much worse than he has been willing to say. He lets slip that he is worried about Mr. Hyde—an admission which Lanyon leaps on. He is still in contact with that lunatic? Why? What power does that man have over him? Jekyll is rescued when Jasper bursts through the door, announcing that she is going to be recommended for a grant (God I have no idea how this shit works???? Help???). Her presentation went over really well. A lot of the Lodgers’ presentations went over well! They’re going to celebrate, and they should join them! Jekyll does join them in a joyous after party. The success of the Exhibition returns hope to him, and with that hope he is able to relax and enjoy his time with the Lodgers, rather than just bossing them around. But Lanyon cannot relax. He is troubled by this news about Hyde but knows it would be no use asking Jekyll now. Instead he goes up to see the only people not taking part in the celebration, the Creature and Frankenstein—an awkward encounter, given their first meeting—and pleads his case: would Frankenstein please tell him everything he knows about this Mr. Hyde? He explains to them the history of his and Jekyll’s friendship, the melancholia and its unexplained return. Jekyll has never hidden anything from Lanyon before, so why would he do so now….? Meanwhile the party has spilled out into the streets as the Lodgers parade from coffee house to coffee house in the scientific tradition. Jekyll has a marvelous time and eventually falls asleep with the group at a nearby inn, feeling more peaceful than he has in weeks.

Character arc notes: Jekyll: under stress, Jekyll reveals a secret to Lanyon. He gets relief from that stress when he hears Jasper’s news and believes he has won out over Hyde. Lanyon: Learns that Jekyll is keeping a secret from him. Goes searching for information about Mr. Hyde, forming an alliance with Frankenstein. The Lodgers: make a connection with Dr. Jekyll. They now appreciate the work he did and now see him again as a peer and a friend, not just a boss. Essentially their relationship is prepared with the party.

Thematic notes: Look at your life: Jekyll has an introspective moment in the first half of this scene but it is interrupted by the party. Controlling the monster: The party seems to confirm that ‘complete control’ is the way to go for Jekyll.

Imagery: Jekyll’s office….. Hyde could be fucking around in the cabinets and whatnot, visually demonstrating Jekyll’s mental state and whatnot Hey coffee houses! That should be something fun to research!

Business: What could Jekyll and the Lodgers talk about? This seems like a good moment to expand on Jekyll’s secret whimsical side and love for travel. He could impress the Lodgers with his impressive tolerance for alcohol and his surprising knowledge of foreign lands. This should be a good character revealing scene but a lot lighter in tone than the others. This is the first time we really see a serious Lanyon. Up until this point he has not realized how serious the situation was and has acted cheerful and….. Can-do-ish.

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Scene 18: everything is out of control now! Summary of events

Jekyll wakes to the horrifying realization that he has transformed in the night into Mr. Hyde! Jekyll retains control of his mind, but he is still out in public in the body of a wanted criminal. He sneaks back to the Society, a task made more difficult by Hyde’s consciousness, which can now seize control over his mind at any minute … For a few moments at a time. The result is an utterly confused path back to his office, half fighting against himself and half fighting the terrain of the streets and the rooftops. He drops down into the Society by a skylight and finds himself in the attic, where Frankenstein and the Creature are preparing to leave (note: in previous scene the Creature would probably be reluctant to help Lanyon on account of wanting to leave more quickly). Frankenstein—who is now eager to empathize with Jekyll now that he suspects they may be very much alike—drops what he is doing and tries to talk to Jekyll. Jekyll tries to get away, but Frankenstein stalls him long enough to discover his secret (at least, the very bare bones facts). Jekyll escapes and locks himself in his office, but Frankenstein follows him and tries to talk to him through the door. The Creature follows, worried that his laster will delay their departure. The commotion soon attracts the returning Lodgers, and a small crowd gathers outside the door.

Character arc notes: Jekyll: Turns out his original control plan won’t work! Tries to sort of control the new situation he is handed but he is has no idea what to do about his seemingly incurable quantum state! Also he is forced to reveal a lot about himself to Frankenstein. Frankenstein: is now extremely invested in Jekyll’s well being (at least, enough to satisfy his infinite curiosity). Is now an ally to Jekyll, though his help may not be what Jekyll wants right now. Creature: oh fuck gotta keep Frankenstein from getting distracted and getting us in trouble somehow. We should just leave Jekyll alone. Hyde: Has absolutely no long term plan yet but, like an indoor cat clawing at the front door, will take any opportunity for freedom he can get.

:Thematic notes Controlling the monster: clearly Jekyll’s method of coping wont work anymore. Now in order to contain Hyde he will have to quarantine himself. Look at your life: Frankenstein is about to really make his lifestyle changing pitch to Jekyll and right now Jekyll has no choice but to listen!

Imagery notes: Use really stark, ‘morning after/walk of shame’ style lighting for the opening of this scene. The super judgy light of day KNOWS WHO JEKYLL REALLY IS.

Business notes: It’s going to be really hard to sell the back and forth battle between Jekyll and Hyde in this scene. Maybe there can be some sort of visual cue that separates Jekyll-Hyde from Hyde-Hyde, a combination of posture and shape language? And his eyes, of course! Maybe there is some precedent in the story of Hyde imitating Jekyll and vice-versa?

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Scene 19: office confessional

Summary of events

Frankenstein tries to talk to Jekyll through the door, saying that he understands their situation, that they are much the same, in their experiences. He has just enough presence of mind (or perhaps this occurs only by luck) not to fully give away Jekyll's secret.

The eavesdropping lodgers cannot quite parse out what he is talking about. A good chunk of this heart to heart is currently TBD--this is an opportunity to really delve into some topics if they've been left out so far. The gist of the situation is that Jekyll is listening desperately, and Hyde has grown so powerful that he seems to fill the room with darkness and shadows. Jekyll is having a hard time hearing Frankenstein at all over Hyde's taunts. Frankenstein tries to reassure Jekyll that hope is not lost. He doesn't have to defeat his demons in order to survive. There is another way, if he will let him show him! Frankenstein suggests that he could stay here in London and help him.

The Creature cuts in with a hasty addendum. No, they REALLY cannot stay. But what if Jekyll came with them? Frankenstein is so stubborn that he could really use a doctor who knows what he's doing....

Meanwhile Lanyon has arrived. He runs to the door and tries to talk with Jekyll. To his frustration he finds that Jekyll still won't tell him everything, insisting that he needs to leave, there is nothing he can do to help. Lanyon persists, eventually forcing through the door. Hyde has just managed to seize control. Still in Jekyll's body, he knocks Lanyon unconscious and escapes out into the street.

Character arc notes

Frankenstein: is now totally on Jekyll's side, trying to change Jekyll's perspective so that he can survive

Jekyll: is now desperate enough to listen to Frankenstein--too bad it's too late for him to follow his advice smoothly. He is now turning to Frankenstein for help, rather than Lanyon.

Lanyon: his suspicions are vindicated! Something terrible is happening to his friend!

Thematic notes:

Controlling the monster: Jekyll loses control of Hyde by the end of the scene. Look at your life: Jekyll is now fully willing to listen to Frankenstein because all of his own coping methods have failed.

Imagery:

The scene inside the office should be really surreal and nightmarish. Jekyll's view of the entirety of reality is now clouded by Hyde. Here, more than in any other scene, it would be appropriate to show Jekyll and Hyde in separate bodies, to show just how real Hyde has become to Jekyll. Hyde choking Jekyll, standing over Jekyll, etc.

Business:

Not much, this is a pretty dramatic scene? But given what a confrontation-y scene this is, it would be most appropriate here to make references to the musical or my boards I made of Confrontation, etc. so that I can be sure to milk this concept as much as possible.

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Scene 20: Murder!

Summary of events

Hyde is on the loose and high off his own victory. He is invincible! He tears through the streets heading nowhere but out, out, out, and within moments the police have sighted him. Officers chase him through the streets but Hyde is not the least bit concerned. When cornered, he attacks officers at random, killing one, and makes his escape. 

Frankenstein sends the Creature out to capture Hyde. He discovers him in an alleyway, knocks him out, and drags him unseen through the London sewer system to the Society.

Character arc notes

Hyde: Believes he has achieved his ultimate goal and is, for the moment, completely unaware of any consequences. In a complete state of mania at this point.

Thematic notes:

Controlling the monster: Obviously the monster has won out in this scene. An outside force is required to step in. A bit ironic that Frankenstein's monster is the one to reign in Jekyll's monster.

Imagery:

Most of the scene takes place in London streets, in a kind of hallucinogenic haze (similar to Rabbi's Cat?) Possibly, Hyde is only vaguely aware of the officer's death--everything is color and light and glee to him right now.

The sewers is an interesting idea I just came up with! Apparently they were a really vast and interesting network. There were a lot of vast and interesting networks built under London in that era. It could be nice to introduce this area further or set it up somehow, if only to establish the Creature and Frankenstein's escape plan. How did the Creature learn about the sewers? Maybe he talked to some of the Lodgers? Simply, maybe one of the Lodgers tells him about the sewer system right before he leaves to find Hyde. Maybe some of the Lodgers go with him in order to help track him.

Maybe, in fact, the Lodgers use some Science Technology to help track down Hyde and communicate with each other during the search. 

Business:

Maybe, in fact, the Lodgers use some Science Technology to help track down Hyde and communicate with each other during the search. 

Indeed, I rarely ever thought of the search itself as a real part of the scene, but the question of "where the fuck did Hyde go??" is an interesting one. Maybe it could help build suspense!

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Scene 21: Dr. Jekyll's True Face

Summary of events

The Creature ties Hyde to a chair and sets him in the middle of the Atrium. The Lodgers peer down from the banisters of the floors above. When Hyde comes to, Lanyon rushes forward and demands to know what he has done with Jekyll. Hyde, still manic, only laughs at him: Stupid Robert! He really doesn't know, does he? Lanyon interrogates him, shaking off Frankenstein when he tries to step in to explain. Hyde continues to taunt him, but soon he begins to act strangely--his grip on his mind is slipping. Jekyll regains control and looks around in horror at Lanyon. The physical change follows soon after and the crowd breaks out into gasps and frightened murmurings.

Lanyon stumbles back in horror. Jekyll apologizes to him (and to the Lodgers) for everything--for keeping this secret, for creating Hyde in the first place, for not being able to keep it together for them.

Lanyon is barely able to respond. He says that he wishes Henry had told him sooner. He would have been able to help if only he'd known the truth! He could help, just like the last time. This forces Jekyll to explain the truth about his depression, how it had never really lifted, but he had pretended it did when Lanyon tried to help so that he wouldn't appear ungrateful. All the while he began to fear more and more that there was something terrible and broken about himself, which is why he created Hyde, so that he might separate all those parts from himself and control them, but now it's gone so wrong. . . .

Lanyon has a difficult time accepting that the (in his eyes) barely human Mr. Hyde and Dr. Jekyll are really the same person. He half believes that Hyde has performed some kind of black magic on him. He has a much easier time transferring the blame on the Lodgers. Surely this is all their fault somehow! Surely they knew! Or if they didn't know, they encouraged Jekyll to go down this dark path with their unnatural interests. They will get what's coming to them! 

Lanyon stumbles out of the Society. Jekyll watches him leave in despair. He asks the Creature to lock him in his office. Hyde is so powerful that he's not sure how much longer he will have control over himself. He wants to make sure Hyde won't be able to get away once he is gone.

Lodgers, all others: It's hard to gague their reactions at the moment, but from Jekyll's POV they seem to be judging him just as harshly as Lanyon is. It seems as though he has lost the trust and love of everyone he cares about, who have all gathered together to witness his shame.

Character arc notes

Jekyll: Is forced to reveal his secret to everyone and tell Lanyon the truth about their past together. Believes that his life is all but over and is planning for the end--he is at his lowest point. He deeply regrets that the Lodgers might have to suffer because of him but hardly knows what to do about it. He hopes that his last-ditch plan will save them but barely has the will to believe it.

Lanyon: Feels horrified and betrayed, feeling too big emotions to direct them at Jekyll. He lashes out at the Lodgers but is too overwhelmed to make good on his threats--yet.

Thematic notes:

Controlling the monster: Jekyll has totally lost control--

Look at your life: --but is now forced to come clean about his past and his reasons for creating Hyde.

Imagery:

This scene takes place in the Atrium, with all the lights out except a glaring spotlight on Jekyll. The upper floors should be all in shadow--Jekyll can only see the glint of the Lodgers' eyes staring down at him like a huge jury. Rachel, Frankenstein, the Creature, and Lanyon all stand in the shadows, stepping forward into harsh light when they need to interrogate him.

This will also require that I get MUCH BETTER at depicting acting on the part of both Jekyll and Hyde.

Business:

I will have to keep track of the Lodgers' reactions very carefully. They need to seem horrified and frightened, so that, from Jekyll's point of view, they are seeing him as a monster. But it needs to be ambiguous enough that it's believable when they all flock to his aid later on.

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Scene 22: Hyde Wins Forever

Summary of events

The Creature locks Jekyll in his office. Hyde gloats over his victory, wondering what will become of Jekyll now that he has completely lost control? Will he be forced to witness every act of atrocity Hyde commits, powerless to stop it? Will he eventually become corrupted completely, so that none of his friends will even be able to recognize him for the good man he used to be?

What happens is that Jekyll gives up fighting entirely, not only fighting for control but fighting to exist at all. He fades even from the mirror-space, and after a moment Hyde realizes that he is completely alone, his taunts echoing in an empty room. He tries to pretend that he isn't perturbed by this. He has total freedom, after all! But it's hard to ignore the sirens outside, and claustophobia sends him spiraling into a panic before long. He paces the room, shaking, trapped by his own design.

Rachel opens the door. She recovered first from Jekyll's confession--the sciencey magic of it all is still a lot for her to process, but she never stopped caring about either Jekyll OR Hyde, so she can't just abandon them. Seeing Hyde in a weakened state, she coaxes him into seeing reason. She makes him see that, even if he were to escape London, he would never truly be free. He would live in constant fear of imprisonment--she knows this is true, she's seen it countless times before. The only way to escape his fate is to bring Jekyll back, somehow. He needs to find balance in his mind and in his life in order to survive.

Hyde agrees. But he doesn't know how to bring Jekyll back. He stares hard at the mirror, demanding that Jekyll return. When this doesn't happen, Hyde grows desperate, finally smashing the mirror in frustration. Glass shards slash his wrists, and he stares at his own blood flowing out of him, delirious, unable to move. He falls to the floor and the world goes white.

Character arc notes

Jekyll: Gives up his life so that Hyde can never be traced back to him. Believes, at this moment, that he has no choice but to forfeit his life.

Rachel: Helps Hyde see reason: true freedom is an illusion, in order to live you must compromise.

Hyde: Achieves his dream of complete freedom, but it is not everything he hoped for. He realizes that he is much worse off without Jekyll. He falls into despair, but with Rachel's help he decides to bring Jekyll back, giving up his dream of freedom in order to survive.

Thematic notes:

Controlling the monster: Jekyll gives Hyde total control, and in that moment Hyde is forced to face reality. But at the end of the scene Hyde realizes on his own that he must change. The monster has learned to control HIMSELF (so was it really necessary for Jekyll to control him in the first place)? Still, perhaps Hyde has learned his lesson too late.

Look at your life/Dream of perfect freedom: HYDE is the one forced to really look critically at himself. Without Jekyll he has no one to blame for his problems but himself.

Imagery:

This scene takes place in Jekyll's office, with the curtains drawn. Still, the lamps of the police should be constantly shining through the cracks, illuminating Hyde's face, invading the room. The room should feel small and claustrophobic and descend into surreal imagery as Hyde grows more and more unhinged.

The mirror is SHATTERED here. The symbolism of a shattered mirror hardly needs to be explained, especially coupled with Hyde's BLOOD. 

Business:

Be sure to give Hyde a good chance to gloat before reality sets in. Then EXISTENTIAL PANIC, and the surprising turn that he is FRIGHTENED to see that Jekyll is gone for good. He should call out for Jekyll like a frightened child.

Rachel gets to be real smart when convincing Hyde here. Manipulating, using reverse psychology, absolutely using Hyde's delirium to her advantage.

[arythusa]

Possible names for the Society

EDIT: I actually meant to post this to my private writing journal but I ended up getting some nice replies on it, so I'll leave it here!

So a lot of Jekyll's story revolves around this Society's he's built for up and coming mad scientists (or "rogue scientists" as he would prefer). The closest I've got is the "Society for Peculiar Science" but IDK if that works grammatically, it seems like it should be "Society for Peculiar Sciences" but that sounds vaguely clunkier, and there's a lot of "S" sounds in it....

Words:

Speculative? Conjectural? Peculiar? Sciences? Uncanny? Aberrant? Preternatural? Divergent? Inquiry? Um, Empirical Curiosity? Chimerical? Learning? Arcane? Enlightenment? Improvement? Scientific Curiosity? Peculiar Science? Uncanny Science? 

It needs to sound positive, almost sugar-coaty, essentially a nicer way of saying "Mad Science". Something that someone like Jekyll would come up with. The equivalent of saying "differently abled" rather than "disabled".