
Some of the photos offer a full-screen view when clicked
There are basic components
in a screenplay; not the least important is preparation!
Also, a whole lot of research went into this project. What follows
is a thorough look at the historical context for the story.
Special attention is paid to the
historical setting: Jekyll's Daughter takes place in a very
specific time period, namely, Edwardian Times, circa 1911.
Context is essential.
What follows here is some rather detailed
historical background and specific visual aids:
For
example, it is one year before the Titanic sets sail on her
Maiden Voyage,
though she was actually launched from Belfast in May 1911.
Cars are appearing everywhere, and electrification is progressing; there are approximately 122,000 telephones throughout Great Britain.

The London Tube is operational and expanding.
Aviation is highly primitive. Flights of over 100 miles were extremely rare.

King George V is coronated in June 1911, succeeding
Edward VII,
technically bringing the Edwardian Period to a close.

Long before television and even radio broadcasting, films are continuing to develop: titles replace commentators, newsreels appear, DW Griffith is on the scene and the first "film star" Mary Pickford is popular. London has 400 cinemas by 1912.

Picasso, Renoir, Cezanne and Monet, among others have changed the face of art.
Mahler (d. 1911), Strauss, Stravinsky, Irving Berlin and early Jazz reflect current and now diverse tastes in music.

The suffragette movement is
in full swing but it is still
some years before women can
actually cast ballots. Women in
Britain (over age 30) do not get to vote until 1918.

Freud's
seminal work, "The Interpretation of Dreams" is
already a decade old.

Albert Einstein has introduced The Special Theory of Relativity.
(1908)

Winston Churchill has
just been appointed First Lord of the Admiralty. (1911)
The outbreak of World War I is still some three years distant.
Slice of Life...
Some period photos to keep the story in context:
A wedding
and a graduation photo

An outdoor picnic and a crowded London Street

A magazine cartoon from 1902, probably a Gibson Girl.

A
family group from 1910
Tea
time in the summer of 1909
The next big component is the setting; the actual locations described in the story; London and Scotland and how they appeared at the time. There is a distinction between actual locations, i.e. specific scenes in the story, and general period settings. A lot of research has already been done. I prefer finding actual photos of the locations in question, both exterior shots and interiors. It greatly helps to have a visual reference point.
Some Choice London Settings to set the mood:


The following are illustrative of Edinburgh in Edwardian times:

Edinburgh Castle and Princes Street, circa 1910

Waverly Station and Drummond Street
The Jekyll House on the Square
is perhaps the hardest location to pin down.
It is essentially
two houses: the respectable front and the dark, mysterious
back door.
Here are a few
attempts:


The cottage in Scotland's wild north, where Henri spent the summer in battle:

Portobello, just outside Edinburgh where Isabelle held a huge Summer Gala:

Interior shots are more difficult to find:


Henri's lab, found abandoned
and then well-equipped

The
law offices of Mr. Nicholas Archer where his clerks labored
ceaselessly

A period library

An Edwardian Theater Lobby, a favorite
haunt of Jonathan, Isabelle and Enfield

A Theatre of another kind; the Surgical Theatre
downstairs from Henri's laboratory

A corner of Henrietta's laboratory
I'll post more as they become available...
Edwardian fashion is perhaps not the most exciting topic. Again the fashions reflect the transitional nature of the times. Tightly laced corsets are becoming a thing of the past. The Gibson Girl's (the pin-up of her day) popularity is beginning to wane. Women are wearing less restrictive clothes, though still very modest. The brassiere has yet to be invented (some sources say 1913) or at least popularized. While Coco Chanel was famous in Paris for her hats at the time, it was two years before she introduced a line of "Women's Sportswear." And yes... Hats are ever-popular!
I have already gathered a considerable stock of fashion plates:


And I'll be posting more as they become available.
Along with fashion comes various artifacts to consider, some
general,
some specific to the story:

Gas in the Fireplace, Chemical Supplies and a Period Telephone

A Period Microscope, A Cheval Mirror (three-way) and An Edwardian
Letter Box
And last but not least, an assortment of conveyances:

Bicycles were an ever popular mode of transportation for men
and women...

It was the era of the "Brass" Automobile.
Pictured here, a camper
from 1911 and a 1912 Maxwell

Not much traffic at this London tunnel, nor many passengers for
this train!
Of course it is not my task to actually cast the characters, though I have provided specific details on how they may look. This is far different from the novel, where the characters are only sketched in the broadest terms, allowing the reader to picture them in their own mind. The character biographies also go some way in visualizing them. I understand there is never complete agreement between what one imagines and an actual photograph.
Another aspect of the characters specific to Jekyll's Daughter will be a reliance on special effects, namely the transformation between Henri and the Widow. For example, an actor playing Henri will probably need special make-up effects to make her less attractive and more attractive. I suppose CGI is not out of the question.
In future I plan post some more animated "morphs" to better make these crucial transitions visually understood.
Overall, I am a diehard fan of the old "Hammer Films" (usually starring Christopher Lee and Peter Cushing). No doubt this will greatly influence my approach to bringing Jekyll's Daughter to the big screen!
I also have the idea to employ one very specific device: the mirror. Since the story is told in such a way as to make the reader wonder if Henri's transformation is "real" ...or only in her mind— the mirror serves to visually enhance this paradox. On screen, when Henri looks into a mirror, she sees what she believes. But, when the camera looks into the mirror, it sees what is true.
Finally comes the write-up, the format of which is very specific and proscribed: from exterior shots to fully described interiors, characters and dialogue. The challenge lies in telling the story almost exclusively through conversation— a task I'm greatly looking forward to! It may seem a bit daunting at first... I will however rely on some of the work already begun in the Graphic Novel adaptation.
The latter is after all a kind of a story board and I fully expect many of the scenes to be similar, if not identical.
In future, look for scenes to be posted as completed... as drafts and revises become available.
An
incredible picture! A lucky find! (artist unknown)
I am currently seeking illustrators for this rather large project.
As Jekyll's Daughter is clearly a period piece, some modern illustration styles may not lend themselves to this narrative. Nonetheless, if you're are interested in collaborating, please send me an email with a few samples of your work to art@jekyllsdaughter.com.
I'll post them up here for general feedback.
The overarching goal is to portray the story accurately, if not in a somewhat compressed manner, and in a dark and moody style.
I'll be the first to admit that I am a terrible
illustrator, but I've attempted to block the beginning scenes
with some of the materials at hand and first draft text.
Future pages will probably rely on more very
rough sketches, as well as materials at hand... at least until
an real illustrator is on board!
Content will be posted as completed: both drafts and
more finished pages. The first edition will be made available
to premium members.
A variety of locations and specific settings, rendered in a graphic style:
Edinburgh in 1911
and a corner of Henrietta's laboratory

A London Townhouse and the cottage by the North Sea

A view from Henri's window and the lab found abandoned
Sometimes, backgrounds and characters may be created by different individual artists. Their respective style will, of course, need to blend seamlessly.
Here a few samples of characters only:

Henrietta, Malcolm and Granny
Isabelle, Jonathan and The Widow

Henri
in a 3-panel transformation
More will be posted as they are created!
Long before the first draft of Jekyll's Daughter was penned a sequel was already scratching at the door. Ideas, notions and musings found their way on to various notebooks. Henri and her counterpart, Mrs. Hyde are just too interesting to leave alone.
A large part of my thinking leans towards the "Lost Journal." It has become one of my favorite aspects of this site. I hope to tell the second story of Henri Jekyll and Alice Hyde by employing journal entries throughout the narrative. This is somewhat in keeping with the original story by Robert Louis Stevenson in which Dr. Jekyll told his story to JG Utterson in a long letter—very much like a journal. It also affords the opportunity to write in the first person.
The most difficult initial decision is how far towards the present do I bring Mrs. Hyde's story, and yet this prospect opens many doors. I will be happy to be freed from the schackles of 1911, in both narrative style and dialogue. Also, it will be possible to scientifically ground the workings of the formula in the emerging discipline of stem cell research.
Currently, things have been a bit hectic: getting this book published and its site up and running; and I'm afraid that progress on the sequel has suffered. Once things settle down, it will move back to the top of my list and things will get rolling again!
A few ideas and themes I've been mulling over...
Henri Vanishes—
In the beginning, Henri has submerged and the Widow finds herself
alone; discovering herself, the world, and enjoying life to
the fullest! Of course that cannot last...
The Widow Travels—
Perhaps dogged by Inspector Jinx and/or the events unfolding
on the Continent (i.e. WWI is looming), the Widow decides to
travel abroad. Traveling frees her from prying eyes and the
few people remaining, who know her true identity. She should
probably not board a certain vessel heading for New York City!
Henrietta's Revenge—
Oh yes, Henrietta can never disappear entirely! She will be back in any future
narrative and she will be seeking revenge. The longer she is held back, the
more her fury builds. The Widow is also dependent on Henri in many respects...
She needs a continual supply of formula, and its improvements over time, especially
as science advances through the century.
Mrs. Hyde Today—
I am sorely tempted to bring Mrs. Hyde into the present day.
The narrative might follow her through the history of the
last century... her struggles to survive and indeed
flourish. In this regard she is "ageless—" at
least when she is in her best form. When Henrietta re-emerges
however, her true age may be revealed with horrific consequence.
Dorian Gray—
"The Picture of Dorian Gray" by Oscar Wilde (1890-91) is also
one of my favorite classic stories of the time period, and
some of the thematic elements in that story have already been
hinted at in Jekyll's Daughter. I would love to explore this
further. And it is certainly in keeping with the above plot
of bringing Alice Hyde into the present day.
Becoming One—
An important theme in Jekyll's Daughter, introduced but not explored
fully is how Henrietta and Mrs. Hyde might learn to cohabit
the same person. It explores with the integration of one's
personality... how the divergent parts of any person must
live side by side in order to function as a "sane" person.
Further Splits—
The flip side of personality integration is of course complete
madness! While the split between "Good and Evil" is a thematic
element in both RLS's original classic story and Jekyll's
Daughter, the dawning of "Age of Relativism" casts doubt on
such absolute judgments. There may be room to explore the divisions
between Henri and Alice of varying degree... indeed, even the
emergence of a "new personality."
More Daughters—
This is, I suppose, somewhat of a misnomer! The idea is more
of a plot device. The appearance of more daughters is,
in actuality, the various incarnations of Alice Hyde in the
present day. The effects of the transformative draught may
ebb and flow, presenting Mrs. Hyde in at least three guises...
an older woman, a middle-aged woman, and, a young woman...
The idea of her introducing her "daughters" to the world at
large is merely a means of self defence and protection. They
are all "her" but to the people she interacts with, they are
three separate, related people.
I wrote this scene some time
ago.
As a quick set-up: We find the Widow in modern times,
living a seemingly normal life...
In the course of researching the history of my great
grandfather, Lloyd Wallace, a pioneer photographer from
the turn of the last century, I came upon the name of Alice
Hyde. She was a renowned model, at least renowned in her
day, and apparently, my great grandfather’s favorite subject
behind the lens. I often wondered if their relationship
went any further. In my possession were a few faded and
torn photographs and part of his old journal, none of which
suggested anything more than a professional arrangement.
I was on my way to meet a different Mrs. Hyde, the grand
daughter of his prized model, though coincidently, they
shared the same first name. We had spoken over the phone
on several occasions and I imagined her to be a frail old
woman in her late sixties.
After several hours of driving I finally pulled into
the driveway of a rambling country house and found Mrs.
Hyde living quite comfortably in a remote suburb outside
of Boston. This morning she was in the garden, on her hands
and knees apparently burying something, when I approached
that late May afternoon.
‘‘Mrs. Hyde,” I said rather loudly and from some distance,
hoping to allow a frail old women the time to compose herself
and rise to meet me. But she waited for me to come closer,
then took my hand and gently pulled herself up. She didn’t
need it though—I was surprised by how spry she was.
She smiled, adjusted her sun hat and shook my hand.
“Very nice to meet you Mr. Wallace.”
My expectations were instantly dashed when I faced the
woman. She was not old or bent or feeble as I imagined
her. Here was a fairly robust, handsome woman in her sixties
with a lot of class. She stooped just a little and had
kept some of her figure. She presented it well in a neatly
tailored one piece khaki dress cut to the knee, all under
a loose, half-buttoned cardigan.
Her face, framed by an ultra-wide brimmed straw hat,
kept her features in a slight shadow which no doubt made
her look younger than her years. She was not a craggy,
wrinkled old hag; her skin was surprisingly smooth and
firm.
“Shall we go to the terrace for some iced tea?” she
offered and led me towards a patio set up with chairs,
a table and umbrella.
“Lovely place you have here,” I said idly as we walked
to the terrace.
She smiled a thank you and showed me to a comfortable
seat, then poured two large glasses of iced tea. Curiously,
she took a long drink from one of the glasses before handing
me my own. “Excuse me if I start without you,” she said.
“I’m very thirsty from working in the garden.”
She walked back to the serving table swaying slightly
and refilled her glass. She stood for a moment braced against
the table and I thought she was seized by an illness. I
watched her shut her eyes tightly and pucker her lips.
She squared her shoulders and straightened herself to her
full height, removing any sign of stoop from her posture.
Her figure filled her dress well, what could be seen of
it under the cardigan. She walked slowly to a swinging
loveseat positioned under the umbrella just opposite me.
She sat primly on the edge of the seat, fiddled with
her lapel and sipped her drink. “As we talked about: my
very own grandmother,” she began, “back in 1912, was your
great grandfather’s very favorite model. In Paris, I believe.
Those were simpler days,” she said almost wistfully. “And
of course I have some photographs as you requested.” She
laughed a little and took a sip from her iced tea as if
to mask her expression. She put her glass down and slowly
took off her sun hat.
Her face, in the shadow of the umbrella, looked much
younger than I had first noticed. Her eyes still had a
spark to them. Her hair was shockingly white and very full.
She edged back more fully in the chair. For an old woman,
she still had quite a figure, which showed when she pushed
back in the chair. She pulled her cardigan closer.
I wondered if it was a miracle of lingerie or plastic
surgery. “I’m excited to see them,” I said. “And the journals?”
I asked.
“Oh, the journals. Yes, I think I’ve located most of
them. You’ll have to come inside and help me.” She took
a long drink and set down the glass.
I wasn’t sure if she meant to go inside immediately.
She shifted her weight, arranged a pillow behind her
and sat in the loveseat with one leg up and one dangling
on the ground. Her rather full chest poked out from the
cardigan as she arched her back. The maneuver also hiked
up her skirt a little, and surprisingly, her legs were
quite shapely and smooth. I tried not to stare. She took
another sip of iced tea, as did I.
“Normally, my daughter or my granddaughter would have
retrieved them from the attic, but neither of them are
here today,” she said and pushed the loveseat into a slight
rock.
I wondered if they were as pretty as Mrs. Hyde was when
she was younger. I looked at her closely and tried to determine
her age more accurately. She must have had extensive plastic
surgery. My reckoning put her close to seventy and yet
as I looked at her in the loveseat, she seemed much younger.
Her face had signs of age, but she had smooth, firm skin
and excellent bone structure. She had no sagging jowls
or bags under her eyes, her lips were quite full and even
her neck was smooth.
She pushed again with her leg and set the seat rocking.
She seemed quite supple and vigorous. She unbuttoned her
cardigan and wriggled out while giving me furtive glances,
and I stared at her body, which filled out her dress very
well.
She rose slowly and walked back to the serving table
for another glass of iced tea. I now noticed that her dress
seemed to be well above her knees, as if she had grown
an inch or two, and it looked a bit tighter. “I do have
a powerful thirst today,” she said as she poured. “Would
you like some more Mr. Wallace?”
I had much more than half a glass remaining and I shook
my head no as I took another sip. I eyed her through the
rim of my glass as she stood by the table. Her figure was
actually quite voluptuous and I was peeved at myself for
finding such an old woman so attractive, though there was
no denying how well she filled up the back side of that
form fitted dress. It was a miracle of girdles I decided.
I watched her take another long sip.
She turned slightly to the side and raised one foot
up against the bottom of the table. Her legs were nearly
perfect and sculpted, and her dress, I could swear, was
now at lower thigh height. From profile, her breasts were
also quite miraculous, much firmer than I had first noticed;
her waist was quite narrow and I decided that plastic surgery
and a strict exercise regime had taken a good twenty years
off her appearance. She drained her glass and poured another,
then turned to face me. My jaw must have dropped and I
stared at the woman before me.
She stood straight and tall in the full sun. Her figure
filled her dress more than perfectly, that is to say the
dress was at least one size too small. Her face was smooth
and the bright sun seemed to wash away all signs of age.
She seemed for a moment like a well-kept woman in her mid-forties.
She put her glass down on the table and said, “Shall we
go inside Mr. Wallace?”
She turned and I followed her from a few feet behind,
watching her walk with a sensual confidence, her hips swaying.
It was my imagination, I’m sure, but it seemed as if her
dress was even a bit shorter and almost too tight now.
At the door she waited for me. I fumbled with handle and
opened it. She moved very close to me and I noticed her
marvelous scent. I looked into her pretty eyes and then
down at her dress when she arched her back. It seemed to
make her breasts swell. There was some cleavage visible
though her neckline. She leaned hard against me as she
entered the narrow doorway. I felt her breasts push firmly
against me; hard nipples brushed against my chest and I
felt my heart race.
The house was very dark, especially in contrast to the
bright May morning. I followed her up several flights of
stairs, watching her backside and marveling. Her dress
seemed a bit shorter with every few steps, and scandalously
tight. Once she mis-stepped and fell gently into my arms.
I felt no girdle, just smooth tight muscle and flesh. I
felt her in my arms and wanted her.
She smiled and laughed coyly, then took my hand and
put it against her breast. I could feel it expanding, I
thought, growing larger and firmer in my hand. She pulled
away and scurried up the remaining steps. At the top of
the stairs on a long landing she stopped and stood leaning
against the wall. She was breathing very hard and fast.
I came closer.
“Are you all right?” I asked and looked into her face.
This was not the same woman I had met outside. She was
at least thirty or forty years younger now.
She nodded yes and put her full weight against the wall.
She closed her eyes and puckered her lips. She reached
up and loosened her hair, letting it fall with a toss of
her head; it fell thick and soft around her shoulders,
and was not only white, but streaked with blonde.
I was not at all sure what I was seeing and yet, in
front of my eyes she began to transform. Her breasts swelled
up against the fabric of her dress, firm and upright, pushing
against the seams. Cleavage pushed out from the front of
her too-tight dress. She was breathing rhythmically and
seemed to be growing taller.
Her face was changing too, the few remaining wrinkles
were disappearing quickly, filling in from underneath.
Her cheekbones rose and protruded elegantly. Her jaw and
chin grew more defined. Her eyes got wider, larger, and
the top corners slanted up and back. Her eyelashes were
certainly thicker and longer. Her nose got slightly smaller
and her nostrils flared wide. Her lips began to swell,
red, swollen, moist and pouty, they grew to nearly twice
their previous size.
She was breathing hard. Her hips widened severely pushing
against the dress, straining the seams, and she was growing
taller still, some four or five inches from when we first
met. Her legs grew longer, her buttocks firmer, rounder
and higher. Her dress was now up around her upper thighs.
She opened her mouth in a kind of a silent gasp and
began to caress her own transforming body, pushing between
her legs and up across her waist and hips, and hard against
her breasts. Up to her shoulders and long smooth neck and
across her transformed face. She hiked up her dress and
was on me, straddling me, her arms around my neck. Her
heaving breasts pushing hard against my chest. I entered
her, hot and moist. My lips met hers, swollen red and wet.
She pulled me down to the floor. She arched her back and
neck and then pulled me into her. She was a fantasy, a
goddess come to life.
She was a seventy year old woman, a voice screamed inside
of me.