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[JERRY goes into Jekyll’s house. LEGHORN withdraws to one side of apron. SALLY stays under lamppost. POPS continues to patrol. Lower-class types go into pub. KIMBERLY, with her pram, and SAM exit into wings. The rest compose a London street scene in the late afternoon.

A rock band in the pit strikes up appropriate music to be written by somebody else, and a nonstop rock ballet about Jekyll and Hyde begins.

The story, to be choreographed by somebody else, goes roughly like this, with some information being sung:

Everybody on the street is happy, but worried about nightfall and fog. There has been, only a few days before, the murder of a whore under the lamppost where SALLY stands.

Dr. Jekyll, played by JERRY, comes out of his house, the image of civic decency, and is recognized and adored by all. He is trying to get into his secret lab without being observed. While biding his time, he performs acts of civic virtue which are noted and admired by one and all. He picks up a piece of trash dropped by somebody else, puts it in a waste barrel, gives money to a beggar, politely declines an invitation from SALLY the whore, giving her a gentle lecture, and so on. KIMBERLY enters with her perambulator, and he admires the baby, chucks it under its chin. KIMBERLY exits into wings, to return, going in the opposite direction, a few minutes later.

A fight breaks out in the pub, spills into the street. POPS rushes in to break it up. Everybody but Jekyll goes to watch. Jekyll takes the opportunity to duck into his lab. Lights go on in there.

The fight is broken up, and one of the fighters invites everyone into the pub for a drink on him.

Many accept, go into pub. Some refuse, exit into the wings instead. SALLY resumes her post by the lamppost. The street is otherwise deserted.

Utterson, the lawyer, played by SAM, enters in a state of agitation. He carries a huge briefcase on which is written, “Lawyer.” He is on his way to Jekyll’s house, is propositioned by SALLY. They dicker. Her price is too high and her services too limited, and he is too busy anyway. He goes and bangs on Jekyll’s door. Nobody is home. He sings to the audience that his client and closest friend, Dr. Jekyll, has just written a will leaving everything to a man named Hyde, about whom Utterson has never heard before. He fears that Jekyll has gone insane or is being blackmailed. He gives up, dickers briefly with the whore again, goes into pub for a needed drink.

JERRY, now as the monstrous Mr. Hyde, peers furtively out the secret lab door, sees nobody around but the whore. He whistles to her, crooks his finger at her. She is appalled, but needs the work. She goes into the lab with him, and the door is closed.

A drunk comes out of the pub, sings a song about the beauty of love, staggers off into the wings.

The lab door opens. The whore reels out, her clothes in frightful disarray. Hyde throws money after her, heaps scorn on her as she picks it up. She exits in disorder and shame. Hyde remains in the doorway, looking up and down the street for other opportunities to do evil.

KIMBERLY enters with her perambulator, on her way home from the park. She seems an ideal target of opportunity. She pauses, giving him a chance to duck into the lab to get a black spherical bomb with a fuse sticking out of it, which he shows to the audience. She starts coming again, and he stops her, pretending to be solicitous, hiding the bomb behind his back. He tells her that she should be careful, that he thinks someone may be following her. She looks back, and he tucks the bomb in with the baby and lights the fuse.

She moves on, looking back over her shoulder, exits. Hyde ducks into lab, closes door.

There is a terrific explosion offstage, people come pouring out of the pub, exit in direction of explosion.

They return, filled with horror. Some carry pieces of the perambulator. Utterson carries a wheel. Last of all come POPS and KIMBERLY. Pops has his pad and pencil out, trying to get Kimberly’s story. Most of Kimberly’s clothing has been blown away. Her