#the pseudoscientists

[magicalmo]

The Pseudoscientists Story Notes, by Arythusa

While creating an archive of sorts about TGS and The Pseudoscientists, I stumbled across Sage's old writing blog! I thought I'd share it now rather than later, I'm not sure how much of the fandom knows about it! Even if the story has since changed, its still a good read.

Act I Act II Act III

[aryattempts]

Act I

Scene I: Scary Fun Things At Night

Summary of events

Hyde's opening narration. We hear Hyde waxing poetic about the wonderful world of mad science and debauchery that comes out after London goes to bed, as:

A werewolf--Jasper--escapes into East London streets, pursued by neighbors and police. Hyde, seen briefly in the shadows, watches the chase before disappearing. Jasper is cornered and a mob surrounds her, working itself up into a murderous frenzy. A carriage arrives, bearing a well-dressed, articulate gentleman who somehow manages to calm the crowd and save Jasper. The man also offers her food and shelter. Jasper accepts and follows him into his cab. 

Leaving us with the question: Who is this man who just saved Jasper?? 

(Note for next scene--don't forget to introduce continuing threat of "strange things have been happening at night" that Hyde is investigating.) 

Character arc progression

Jasper: Jasper introduced as quintessential haunted rogue scientist. Jasper meets Jekyll. Jasper is taken out of life-threatening danger.

Jekyll: Jekyll's perfect outward persona is introduced, to be expanded upon later.

Themes addressed

Hyde's love of freedom, persecution and fear of rogue scientists

Recurring imagery

Foggy London streets, London slums, spooky scary London at night, Hyde's green eyes, basic "mad scientist" tropes

Recurring business/jokes

Jekyll introduces the Church Grim as part of his "saving Jasper" act.

Damn, Jekyll is pretty!!! Jasper is probably not sexually attracted to him but is pretty dazzled by his beauty and how damn put together he is. 

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Scene 2: The Modern Society for Arcane Science

Summary of events

(Note: I refer to Jasper as "she" throughout the notes, but Jekyll believes her to be a man and refers to her as "he.")

Inside the cab, the man introduces himself as Dr. Henry Jekyll. He  He engages with Jasper about her "condition", showing a profuse, almost suspicious wealth of knowledge about lycanthropy. Jekyll explains, good naturedly, that she is hardly the first werewolf he has ever encountered. (Jasper ponders this in silence, for the moment.) But he admits that he was not counting on meeting a werewolf tonight. He and his associates had been looking into some night time disturbances that had cropped up over the last week, and they have yet to find the source. 

Jasper asks: Disturbances? Investigating? He's not with the police, is he? 

Jekyll assures her that he is not. He is a scientist, much like her. He is the founder of something called 'The Society for Arcane Sciences'--where they arrive, presently. Housed in a beautiful renovated stone building, the Society serves as a safe haven for scientists with less than conventional interests, providing them with a like-minded community and helping them find grants and support.

Jekyll gives Jasper (and the audience) a tour of the Society. He explains its purpose and offers her sanctuary while she gets herself back on her feet. He promises to make her a wolfsbane potion to help with her lycanthropy and, in seeking out the ingredients, introduces Jasper to some of the individual Lodgers. They are each eclectic and unusual but fit together like (idiosyncratic) clockwork. He also tells her that the Society is planning to put on a grand show--the Exhibition--in two weeks' time, showing off its talents and scientific wonders in order to secure funding for the future. Everyone is hard at work on their presentations.

Jasper is inspired but intimidated, fearing she can't live up to the standards of the group. Worse, she isn't even truly human anymore! She is a monster! Surely everyone will know that she doesn't belong! Jekyll takes her aside and reassures her that she absolutely belongs here, that everyone is a little monstrous in their own way, and that her own troubles are nothing to be ashamed of. "All you need to do is to learn how to control that monster inside. Control is key--that's something I can teach you."

He promises to keep an eye on her and to make sure everything goes smoothly. Perhaps, if she feels up to it, she might even participate in the Exhibition, earning herself a permanent position at the Society--if she likes it here, of course.  

Jasper begins to feel better and settles into her new room.

Character arc progression

Jasper: Jasper experiences her first social crisis. Jekyll's talk gives her confidence and also gains her trust. She finds an ALLY in Jekyll. She now has a new goal: win a permanent place at the Society.

Jekyll: Jekyll's perfect outward persona is expanded upon, and his role as leader of the Society is introduced. We get a good glimpse at his relationship with the Lodgers--he is their benevolent leader, a little bit persnickety about keeping them in line, but for the most part they work in harmony together.

The Lodgers: introduced as an eclectic, likable group of scientists. They are more rough around the edges than Jekyll but much more put together than Jasper. They act a bit like children and rely on Jekyll for support and structure. They collaborate readily with each other.

Themes addressed

Jekyll clearly states his world view to Jasper: perfect control of yourself keeps the monster inside at bay. 

The Society shows the value of friends who share one's interest--contrasting strongly with Jasper's barely-held-together loner lifestyle.

The Society also shows the pure love of rogue science that drives the most noble of scientists.

(ABOVE: That's an important theme, please note where this comes in during later scenes!!!!)

Recurring imagery

The Society itself is a huge setpiece, intended to dazzle spectators with the whimsy and majesty possible with rogue science. We get a bit more of the dark london foggs streets in the opening, and that is contrasted with brilliant morning light pouring into the Society. The Lodgers' quarters themselves are a bit messier--they need to be kept in line by Jekyll.

Recurring business/jokes

During the carriage ride, keep the Church Grim on Jekyll's lap. A more general note: Keep better track of this Church Grim and of all the other magical pests in the story! There's a lot of potential for continuity and recurring cuteness.

The search for the wolfsbane potion should be generally lively and full of appealing business from the Lodgers and their interactions with Jekyll. 

Jekyll himself should be at his most charming here. The Society is his briar patch--he is enormously fond of it and absolutely in his element.

He also needs to make everything look effortless, for maximum contrast to the scene to come next.

Let's have some more fantastical creatures living at the Society. Jekyll is a weird animal lover!

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Scene 3: Dr. Jekyll and Mr. Hyde

Summary of events

Jekyll escapes to his office. Now that he is alone, he lets his guard down, dropping the perfect mask and letting worry and fatigue show on his face. Jekyll speaks to his reflection in the cheval glass, which transforms into the image of Mr. Hyde--the first time we have seen Hyde plainly. (Only Jekyll can "see" Hyde--he is a projection of Jekyll's inner dialogue. Hyde can "appear" in shadows and in any reflective surface, including the many glass cabinets lining Jekyll's office.)  

We see Jekyll and Hyde's relationship to one another--they get along well, as far as split personalities go. Jekyll doesn't seem perturbed by Hyde's presence and Hyde seems complacent around Jekyll, although a certain conflict of interests bubbles under the surface--Hyde desires wanton excitement and adventure, Jekyll wants safety and caution. Jekyll talks about the nightly disturbances that are happening and convinces Hyde to continue investigations. Hyde agrees, so long as he is allowed to attend a 'black market bazaar' on the other side of town. 

The scene ends with an abrupt knock on the door. Jekyll "pushes" Hyde's reflection out of the mirror so that he can ritually check himself to make sure his mask is back in place. The door opens too soon and his visitor catches him in the act of preening.

Character arc progression

Jekyll: We see that Jekyll's perfect facade is masking a deeper inner life. We learn how he views Hyde and see them interacting for the first time.

Hyde: Hyde is properly introduced, and we learn the bare bones about his nature. For the purposes of this scene, he could be a demon who sometimes possesses Jekyll--the circumstances of his history are decidedly unknown. We learn that he has a fun-loving, trickster-y nature. We learn the basic physics of how he communicates with Jekyll and how he can manifest in reflections.

Themes addressed

"controlling the monster inside" Jekyll's philosophy from the previous scene is demonstrated in this scene. 

Jekyll's outward persona vs. his private self

Hyde's obsession with freedom--Hyde is extremely concerned with having his own needs met FIRST, and that he is never shown to "obey" Jekyll directly. He wants everything to be his own idea.

Recurring imagery

Jekyll's mirror, Jekyll's office, Jekyll's glass cabinets. The drapes in the room should be CLOSED in this scene so that Lanyon can throw them open in the next (to pep Jekyll up, contrast with the present introspective scene, and reveal the theater across the street). Jekyll should have a glass of wine in this scene--self medication.

Recurring business/jokes

The Black Market Bazaar, the Forty Elephants Gang, Mrs. Lovett's meat pies

Hyde's acting in this scene should be creative--he doesn't really have to follow the laws of physics when he's in "mirror-form"

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Scene 4: Dr. Lanyon

Summary of events

(NOTE: This scene is literally the vaguest in the entire script. I have almost no idea what to do with it, but there is some act I shit that does need to set set up so. ALSO please see note in Act II about a way to improve this scene.)

Dr. Lanyon enters in a dramatic flurry: It's terrible! It's horrible! It's a sin against nature! What is he so angry about? The theater across the way, which is about to put on a sensationalized play about a Frankenstein-like mad scientist. Its opening night is the same night as the Exhibition!

A beat of silence--Lanyon sees Jekyll properly for the first time and asks, "Why are we drinking alone in the dark?" Jekyll makes up excuses for himself as Lanyon zips around the room, throwing open the curtains.

Jekyll and Lanyon, it turns out, have been scheming together to make the Exhibition a success. The Society is Jekyll's baby but Lanyon, who has considerable wealth and influence, had helped find the initial backing. Lanyon reminds Jekyll: "My family's money can't keep this place afloat forever." This is putting things lightly. The two of them have been pooling their funds to keep the Society afloat, but if the Exhibition doesn't raise enough interest and patronage, they'll have to close the whole place down.

Hence the theater. Lanyon believes that the slightest hint of bad PR will ruin the whole event for them. He gleefully plots the theater's demise, wondering which strings he could pull to get the whole play banned. Jekyll is hesitant--he would rather not resort to censorship.

Lanyon pulls Jekyll to a preview showing of the play. Sitting unseen in the far back, they watch a sensational melodrama unfold: the 'pop culture' interpretation of a rogue scientist brought vividly to life. A cackling clown of a mad scientist builds a ghastly monster that terrorizes London. Worse, the audience seems enormously engaged and genuinely frightened of the scientist. They cheer when the scientist is chased by the police and finally meets a grizzly fate.

Jekyll is unsettled by this apparition, not only for its potential effect on the Exhibition, but out of some deep, primal fear he cannot put his finger on. But he hides this from Lanyon as they return to the Society, discussing strategy to combat this publicity disaster.

On the way back, Lanyon discusses what they might do about the play--and about the source of the "night time disturbances". Jekyll is not so keen on Lanyon's initial solution ("Not to put too fine a point on it, but--I know some people. Who kill other people. For money!*") and suggests his own: He has his "best man" out looking for the source of the disturbance. It will only be a matter of days before he discovers it.

He is vague on the identity of this man. Lanyon tries to figure out who within the Society might be the one. His interaction here with the Lodgers is awkward, like a childless grown-up trying to talk with a group of schoolkids. Lanyon clearly TOLERATES the Lodgers, though he finds them borderline creepy, because Jekyll vouches for them. Seeing Jasper for the first time particularly unsettles Lanyon. "Who is that Oliver Twist-type over there?" He is dismayed to learn that Jasper is the werewolf of the previous night, and fears more bad PR. (Jasper herself is shoveling food down her throat and into every pocket on her, looking like a starved old dog.)

Lanyon eventually pushes Jekyll to confess that his "best man" is his personal assistant, Edward Hyde. Lanyon is a little flustered by this--since when does Jekyll have an assistant?--and insists upon meeting this Hyde. Jekyll sidesteps the issue for the moment. He has no long term solution for Lanyon's curiosity, but the daylight is fading fast--he can afford to forget his troubles for one might.

(still need a better transition out of this scene but whatevs)

Character arc progression

Overall, this is a scene highlighting Jekyll and Lanyon's friendship. They should be co-conspirators in handling the public face of the Society. Lanyon advises Jekyll on how to handle the drama surrounding the Exhibition and Jekyll listens like an eager mentee.

Lanyon: We get a basic intro to his character, most importantly his personality. He is snarky and sharp-witted, fiercely loyal to the people he cares for (Jekyll) but wickedly vindictive to his enemies. Loves gossip and revenge plots. He is an influential, 100% respectable gentleman, seeming to be completely confident and comfortable in himself, the ideal that Jekyll strives for in his own life. He is Jekyll's BFF and has been for a long time. He is one of the foils for Jekyll.

*note on the throw-away joke about Lanyon knowing hit-men--Lanyon's logic is that it's not too awful to kill someone if that someone is, in his book, a filthy criminal. It is preferable, in fact, to have someone else do the job for you, so that you don't get your hands soiled by prolonged contact with said filthy criminal.

Jekyll: We see how much Jekyll cares for Lanyon as a friend and looks to him as a role model. This is the first time we have seen him clearly below rank of any other character.

Hyde: Hyde shows dismissive contempt for Lanyon.

Themes addressed

So the set piece of this scene is now the stage play--it's really important (I think right now) for setting up what Jekyll is UP AGAINST. In a very broad, Baz Lurhman-y way, it shows us what could happen to him if he lets things get out of hand. Given how heavy-handed the play is by its very nature, it may not be necessary for Lanyon to hit us over the head with similar exposition--he only needs to lay out the specifics.

"controlling the monster inside" Lanyon believes that every aspect of the Exhibition must be heavily controlled.

This theme is expanded from the realm of the individual to that of the group--the Society must control its own image in order to survive in the world. The consequences of NOT controlling the monster (public outrage, the dismantling of the Society) are hinted at.

Also! The play is a melodrama that illustrates Jekyll's deepest fear in an over-the-top colorful way

Jekyll's outward persona vs. his private self

Dr. Lanyon's well-meaning advice: A lot of what Lanyon says is ultimately advice that is BAD for Jekyll and his growth as a person, encouraging him to continue the way he has been living, without looking critically at some of his more problematic beliefs.

Recurring imagery

The theater is a major set piece here. Research gaudy popular theaters, the kinds of props they would use . . . essentially, this is Twilight-level entertainment, painfully bad but terrifyingly popular.

The drapes in Jekyll's office--Lanyon throws them open in order to reveal the theater outside. Lanyon is even MORE concerned with image than Jekyll is, doing away with the "dreary" atmosphere in the office. "What would visitors think if they saw you like this?"

Wine: Lanyon is even more fond of drinking than Jekyll and enjoys a certain amount of luxury in his life.

Recurring business/jokes

Lanyon should also be an appealing character that WE can like, so he should have plenty of humanizing traits.

The Lodgers looking extra shabby whenever Lanyon comes to visit--Rachel brings out lunch and they descend on it like wild animals. Jasper, with a kicked-kitten "I've never EVER eaten before" look on her face, shovels chicken simultaneously into her mouth and her dirty jacket. Lanyon worries about this new addition (an "Oliver-Twist-type") and how it will affect the Society's image. "A werewolf, Henry? Really?"

His attempts to engage with the Lodgers and hide his true feelings about them should be charmingly awkward, like a childless grown-up trying to find common ground with a group of kids. "Oh, would you look at that. They look like..... little  maggots..... Which is fine! Lovely! Fascinating creatures! And what are they doing there? Eating flesh? Oh....! How industrious of them!" 

Lanyon hates the cold and should look fairly adorable bundled up.

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Scene 5: A Midnight Snack

Summary of events

That night, Rachel the maid is baking cookies in the kitchen when Hyde pounces on her. In this he fails, miserably--instead of shock, she seems relieved to see him.  She has, in fact, lured Hyde with cookies so as to keep an eye on him before he goes out for the night. We learn that Rachel sees Hyde as less of a scary monster and more as a rambunctious younger brother. Hyde wants Rachel to be scared of him--he is an evil, dangerous scoundrel, is he not?--and attempts unsuccessfully to frighten her.

Their talk is interrupted by a loud crash upstairs--it seems that tonight's adventure has started without him. Hyde rushes upstairs as curious Lodgers trickle out into the main atrium. He throws the front doors open to see where that racket could be coming from. He hears another crash but can see nothing in the darkness. He heads out to look for its source.

Character arc progression

Hyde: We see a different side of Hyde when talking with Rachel. We learn that Hyde is very much TRYING to be "scary". He is very concerned about others' opinions of him and is clearly threatened by Rachel's indifference. The domestic setting of the kitchen reveals a less extreme side to Hyde's personality, foreshadowing the fact that he is not a 100% evil creature of the night. Rachel: Rachel is properly introduced and her attitudes towards Hyde are demonstrated.

Themes addressed

"Mr. Hyde isn't a special evil snowflake": Rachel doesn't see Hyde as a uniquely evil being who is somehow exempt from the realities of the mundane world because of how super evil he is. She sees him as HUMAN and empathizes with him whether he wants her to or not. This brings up the question: Why is Rachel, of all people, immune to Hyde's spooky-scary persona?

Recurring imagery

Cookies/tea/sweets: Comfort food. Pulls Jekyll/Hyde out of their lofty world of Good vs. Evil and forces them to focus on reality. In Hyde's case, sweets force him to temporarily abandon his "evil" persona and become a relatable human being.

Recurring business/jokes

This whole scene is more or less scripted already, and the main business is in Rachel and Hyde's banter and Hyde's tendency to become petulant, and his dialogue to border on Whedon-ness, when his spooky-scary persona doesn't work on people. We see Hyde talking about Jekyll as if he were a totally different person--his annoying boss, always making him go out and run dumb errands. This mostly comes up when briefly discussing the night's plans, "Well, you know how it is, boss's orders!" Rachel might gush to Hyde about how awesome Jekyll is, which would bore and bother Hyde. She might also gush about how hot Jekyll is, and I have no idea how Hyde would even react to that. Rachel could probably ask Hyde surreptitiously about Jasper. It would just be a throwaway line at this point--at this point Jasper is just some hot guy she's spotted. (For an earlier scene: Rachel has to see Jasper at some point.)

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Scene 6: Frankenstein's Arrival, Part I

Summary of events

Hyde begins his nightly patrol, searching for the source of the noise. His patrols are a joyful, manic affair--he scampers up the side of a building and runs along the rooftops, seeing London lit up and wild with the energy of the night. He quickly loses himself in the experience. (On the ground, Rachel rolls her eyes: no wonder it's taken so long to track down this whatever-is-out-there.)

He is so distracted that he nearly runs headlong into an enormous green Creature, heading fast towards the Society.

The Creature barrels down the street, pursued by a monster hunter named Moreau. Moreau has with him four vivisected chimera and an array of clockwork weaponry at his disposal. The chase is interesting enough to pique Hyde's interest, and he follows it as it rounds back to the Society. Hyde, Rachel, and the Lodgers manage to pull the Creature away from Moreau's sight and guide him inside via a side door. This affords them a momentary lull from the action. They learn that this creature is, in fact, Dr. Frankenstein's Creature, carrying the desperately ill and unconscious Frankenstein in his arms. He has come to the Society to find a cure for his master in an environment friendly to rogue scientists, but found himself pursued by Moreau as he was traveling down from Scotland. Hyde and the Lodgers surround Frankenstein, fascinated. He was the original rogue scientist--without him, most of them would never have been inspired to pursue their own work. His legacy is, in fact, in the culture all around them*--he's even the inspiration for that sensational play across the street. One Lodger has also managed to capture one of Moreau's weapons, a flying clockwork beetle with concealed knives--an invention of the dark, genuinely dangerous side of rogue science rarely seen on this side of the English channel.** He recognizes the beetle as being used in a recent French rebellion. "They're also got these great little tracking devices--" A beat of realization in the room--then Moreau crashes through the window. *yet another thing that needs to be set up **really important bit of world buidling that needs to be foreshadowed. God I am so bad at that kind of natural, slow, Golden Compass-style world building. Character arc progression

Hyde: We open on a nice, juicy scene showing Hyde in his happy place, ultimate freedom on the London rooftops. THIS is the freedom he fears that Jekyll will take from him.

The Creature: Is introduced as an articulate, pragmatic being, a stark contrast to his monstrous appearance. His straightforward goal is stated--he wants to cure Frankenstein. Frankenstein: Is totally unconscious for this entire scene, but his legacy is shown here. He is a kind of celebrity, his story made famous. This maybe should have been foreshadowed a bit before this. Anyway, the essential idea of this scene is to really set up the MYSTIQUE of Frankenstein, this perfect, tragic noble scientist, so that it can be subverted in his next scene. Themes addressed

Hyde's desire for total freedom

The mythology of Frankenstein--the tragic noble scientist The "bad" science represented by Moreau vs. the "good" science of the Society Recurring imagery

London at night: a time when the dark side of rogue science takes over Moreau's weapons--beautiful clockwork artistry + dangerous weapons from the tumultuous Continent I feel like I'm missing some stuff.

Recurring business/jokes

Hyde running along the rooftops should be a spectacle

Hyde and the Lodgers are essentially fanboys in this scene Rachel begins to show her street smarts in the beginning of the scene Jekyll should start to show some alarm in this scene--he would be worried more about what Moreau is doing outside while everyone else is obsessing over Frankenstein. Hyde should easily be able to brush him off at this point--who cares about Moreau when they have rogue science ROYALTY among them?

There's some really important shit brought up in this scene that I don' think follows through in the rest of this draft. This includes: --The legend of Frankenstein/vs. reality of Frankenstein. --the clockwork bugs --the 'Continent' -------------------------

Scene 7: Frankenstein's Arrival, Part II

Summary of events Moreau crashes in and attacks the Creature. Hyde and the Lodgers fight back, and soon the chaos spills back into the street. A crowd has gathered by now, which worries Jekyll--he doesn't want Hyde to be seen. High on adrenaline, Hyde ignores him and recklessly throws himself into the fray. He sets his sights on Moreau, who has captured the Creature. Hyde frees the Creature but gets himself cornered in a one-on-one face-off with Moreau.

Here Hyde faces a choice: he could just barely manage to run away to safety. Jekyll, now shouting in his ear, advocates for this option. But going that route would mean giving up the fight, essentially letting Moreau win--and Hyde is too full of bloodlust to let that happen. With quick thinking, Hyde manages to take him down, but his hastiness brings a few unintended consequences: he manages to endanger dozens of civilians, incriminate five Lodgers, and start a fire (which, ironically, stops just before the theater in front of the Society). For just a moment, Hyde experiences genuine horror at the chaos he has accidentally created. But his survival instincts kick in when the police arrives. He flees, but even this he does carelessly. More than a few of the officers get a good look at him before he disappears, and soon they begin searching for a wiry man with blond hair.

Hyde hastily transforms into Jekyll, leaving him to deal with the fall-out of the evening. Character arc progression Hyde: Here he makes the decision to deliberately disobey Jekyll's orders and gets himself in massive trouble for it. We see the consequences of his actions, but Hyde does not accept responsibility for any of it. At this point in time, he does not even realize how much trouble he is in. He just sees it as another night out.

Jekyll: A terrible fear has realized itself--the monster inside him has stepped beyond his control. Themes addressed "Controlling the monster inside"--Hyde has now disobeyed Jekyll to disastrous results. What will Jekyll do in response?

We also see the consequences of NOT controlling the monster beginning to gather: the fire, the crowd, the police. Recurring imagery London at night: a time when the dark side of rogue science takes over Moreau's weapons--beautiful clockwork artistry + dangerous weapons from the tumultuous Continent

The Society's public image: The gathering crowd reminds us that everything the Lodgers (and now, Hyde) do is being observed and judged by outside forces. Recurring business/jokes This is the first full-throttle action!Hyde we've seen. This is going to be hard as shit to draw.

Need to find creative ways to include Jekyll, probably in shadows. Could create interesting effects using the gas lights on the streets?

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Scene 8: The Scapegoat

Summary of events

Lanyon arrives, catching just a glimpse of Hyde before he disappears. It doesn't take him long to learn: This is Jekyll's mysterious assistant, and now he seems to be a wanted man. Lanyon soon finds Jekyll doing his best to control the situation, but even with all his cleverness and charm, he cannot wriggle out of this one. Someone needs to take the blame. 

Jekyll heads down to the police station. Lanyon accompanies him, and during the journey he tries to find a solution for his friend. He knows Jekyll cares too much about the Lodgers to let them take the blame, and for some reason he doesn't want that big green monster in trouble either . . . for Lanyon, the solution is obvious. Why not blame Mr. Hyde? Hyde is an easy scapegoat--he is not a scientist, not a gentleman, just some glorified errand boy from off the street. (He MUST be just some guy off the street--if he were anyone important, surely Jekyll would have let his best friend know about him earlier!) Jekyll, kind soul that he is, had put his trust in Hyde, and Hyde had taken advantage. A simple mistake, a simple explanation.

Jekyll resists Lanyon's proposal but has a difficult time explaining why. Perturbed, Lanyon tries to reason with him. He understands (he says) why Jekyll keeps resisting his suggestions to preserve the Society--they sound harsh, and he can be a bit . . . harsh at times when explaining them. But they live in a harsh world--sometimes you have to do something unpleasant in order to achieve a greater good.

He also knows that Jekyll probably feels sorry for Hyde. This is understandable, of course, but: "The criminal classes can't be reasoned with. They do not feel things the same way you or I do. If Hyde really is one of these people, he is beyond your help. There is no use trying to restore something gone rotten."

(Mmph that ended up rambly and not very to-the-point.)

Or perhaps he could make an appeal to: "Hyde has disobeyed you tonight. How can you trust him again? If it were me, well . . . 'one strike, and you're out!' I say. I do not suffer fools as gladly as you do."

They arrive at the station and find a huge crowd ogling them. Jekyll is painfully aware of them, judging his every move, and of everything at stake should he fail to appease them. But his mind is a blank. Lanyon's words swirl around in his head, making him doubt Hyde and himself. He catches sight of a daunting cautionary tale: Moreau, led away in chains, a broken, savage man. Paralyzed by fear, Jekyll follows Lanyon's advice, incriminating Hyde and agreeing to cooperate with the police in his capture.

Hyde himself, floating idly through mirror-space, cannot believe what has just happened.

Character arc progression Hyde: For the majority of the scene Hyde is smugly confident--he can't believe anything bad could ever happen to him. Jekyll's announcement shocks him. He had not really thought Jekyll capable of such betrayal.

Jekyll: This entire scene is basically pushing Jekyll to his first really difficult choice. He decides to control and punish Hyde for his actions because he fears that everything will fall apart if he does not. He follows Lanyon's advice and buys into his philosophies--he now distrusts Hyde and is inclined to see him as something truly "rotten" and unfixable.

Lanyon: He puts pressure on Jekyll to make his decision. In doing so he states two important key beliefs that he holds: 1) He believes that "criminals" (essentially, people he holds in contempt) are worthless human beings who deserve whatever punishment comes to them. 2) He has a "one strike" rule--you betray his trust once, he will never fucking forgive you. Themes addressed "Controlling the monster inside"--Jekyll follows Lanyon's advice, believing that controlling Hyde is the only way to save himself and the Lodgers.

We see a consequence of NOT controlling the monster: (not mentioned in the summary, but) Jekyll sees Moreau led away in chains, the sad fate of a rogue scientist who lost control Recurring imagery London at dawn: the dark deeds of the night look particularly damning in the cold light of day!

Moreau: a cautionary tale for Jekyll. Don't end up like this guy!

The gathering crowd: puts pressure on Jekyll. They could tear him apart if they so chose! Recurring business/jokes Not a great deal, but we will see Jekyll putting his all into his "benevolent, really nice, impossibly good and kind gentleman, no really" act.

We may want to see a little of Lanyon's fondness for physical affection as a way to win Jekyll over. He could find ways to maintain contact with Jekyll, with a hand on his shoulder or neck, maybe even grazing his cheek, etc. There could be hints of Lanyon "checking in" on Jekyll, looking for tell-tale signs of depression in his friend.

For future scenes, we should see the Creature pretty well damaged from the fight. Maybe an arm has come loose?

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