OXFORD PLAYSCRIPTS

Mary
Shelley

adapted by
Philip Pullman
OXFORD PLAYSCRIPTS

Frankenstein
Mary Shelley

adapted by Philip Pullman

OXFORD
UNIVERSITY PRESS
OXFORD
VNIVBRSITY PRESS

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This adaptation of Frankenstein O Philip Pullman 1990

Activity section O Oxford University Press 2003
The moral rights of the authors have been asserted
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This edition first published 2003
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British Library Cataloguing in Publication Data

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ISBN 978 0 19 831498 1

40 39 38 37 36 35 34 33 32 31
Printed in China by Leo Paper Products Ltd

Acknowledgements
The Publisher would like to thank the following for permission to
reproduce photographs:
Hulton Archive: page 62',
Polka Children's Theatre: page 72 (both).

Illustrations are by Jonathon Heap.

Cover image O AF archive/Alamy
The Publisher would like to thank Jenny Roberts for writing the Activities section.

Recommended Edition
Mary Shelley, Frankenstein. Oxford World's Classics, OUR 2008
contents
General Introduction

What the AdaPter Says

A Note on staging

characters

The Play 10

ACtiVities 57
Generat IntrodUCtiOn
With a fresh, modern look, this classroom-friendly series boasts an exciting range of
z authors —v from Pratchett to Chaucer — whose works have been expertly adapted by
such well-known and popular writers as Philip Pullman and David Calcutt.
Many teachers use Oxford Playscripts to study the format, style, and structure of
playscripts with their students; for speaking and listening assignments; to initiate
discussion of relevant issues in class; to cover Drama as part of the curriculum; as an
introduction to the novel of the same title; and to introduce the less able or willing to

pre-1914 literature.

At the back of each Oxford Playscript, you will find a brand new Activity section,

which not only addresses the points above, but also features close text analysis, and
activities that provide support for underachieving readers and act as a springboard for
personal writing.
Many schools will simply read through the play in class with no staging at all, and
the Activity sections have been written with this in mind, with individual activities
ranging from debates and designing campaign posters to writing extra scenes or
converting parts of the original novels into playscript form.
z For those of you, however, who do wish to take to the stage, we have included,
where necessary, 'A Note on Staging' — a section dedicated to suggesting ways of
staging the play, as well as examining the props and sets you may wish to use.
Above all, we hope you will enjoy using Oxford Playscripts, be it on the stage or in
the classroom.

4
What the AdaPter Says
Frankenstein is a story about what it means to be human. One of the things that makes
us human (perhaps the thing) is language, and the Monster's increasing command of
language is one of the things which any production needs to bring out.
In the book, the Monster himself tells a lot of the story. He tells how he finds the
cottage in the forest, and hides nearby, listening to the family through the wall and
learning, little by little, how to understand them.
In a play, though, it is not possible to show things happening gradually over a long
period. You have to find dramatic moments, single incidents that arise from what's
gone before and set the course for what will happen next. So, in Act 3, the Monster is

already able to speak at least as well as Frankenstein. His long speeches are very
important, and they should be spoken clearly, passionately, and powerfully, as a
brilliant lawyer speaks in court. If the actor playing the Monster has gained the
audience's sympathy in the previous Acts, they will listen to the speeches with close
attention.

Something I wanted to get away from in this play was the lurching, lumpish monster,
hands outstretched, that everyone can imitate jokingly. Mary Shelley, in the novel,
stresses the Monster's athleticism and speed, and after all Frankenstein created him to z
be powerful and active. If the Monster looks as ugly as a corpse, but moves with the
grace and energy of a dancer or gymnast, the effect is electric. Literally! z
The final section, with the Monster trying to bring the Bride to life and Frankenstein
destroying it, and the other characters dying, must not be taken slowly. The sections
must follow each other almost too swiftly for thought, as in a dream, otherwise the
tension goes out of it and all the corpses piling up look merely funny.
One major change I made was to have the blind person, whom the Nlonster tries to
befriend, a young woman instead of an old man. In the book, there are three people in
the cottage: Felix, Agathe, and their blind father. You might feel that in making this

change, I was being sexist, and wanting to exploit the contrast between a powerful male
monster and a frail, helpless female. On the other hand, you might feel that I was
provoking a more interesting role for an actress in a story where women have otherwise
very little to do. I know which I think I was doing.

Philip Pullman

5
A Note on staging
costumes and PrOP5
Props you may need include:

Frankenstein: a heavy coat.

Clerval: a heavy (over-)coat; a rucksack.

Elizabeth: a bonnet; a cloak; a portable lamp.

z Felix: a canvas bag; a 'dead rabbit'; a musket, a ramrod, shot, and

powder.

Agathe: a basket of mushrooms.

The Monster: a long, black cloak.

Servant: 2 pistols,

Special Effects
You may wish to consider the following:
z
Act One: 'showers of sparks and wreaths of smoke' (this could be achieved
z simply through lighting and/or with dry ice)

the sound of thunder (this could be created with drums)

Act Two: birdsong (a pre-recording or percussion might be used to good

effect)

dogs barking (a recording might come in useful here)

Act Four: electrical noise, 'a powerful humming and crackling' (you could
create this effect with a variety of percussion instruments)

The Play at a Glance

The outline of the play below highlights the props or scenery you may want to consider
for a performance.

Prologue The Arctic — 'A landscape of bright snow and ice'

This scene could simply be staged with a simple spotlight on Captain Walton.

6
Act One Frankenstein's room in Ingolstadt
High, arched windows (which ideally can be opened and closed); a door; a long wire
(leading from outside the window); a lamp; many sphials and bottles' on shelves; a

'large electrical-looking machine'; a bench; a sheet; a 'complicated piece of apparatus';

an armchair; a cushion; a Shuman thigh bone'; a bottle of wine; a glass; a fireplace; a
'flint and steel'; a chair; a 'Wimshurst machine' (see page 16 for a full description); a
'human hand'; a door.

Act Two The cottage in the forest

A table; 2 chairs; a fireplace; a window; some bread, cheese, and an apple; 2 doors (one
upstage, another to one side; guitar; a 'portrait of an elderly man'; logs; a small mirror.

Act Three Frankenstein's study in Geneva

A window (with shutters); a lamp; a fireplace with fire; 2 chairs; a table; a trapdoor
(optional).

Act Four Frankenstein's study in Geneva

As above, plus: a bench; a sheet; a 'large electrical machine . as tall as a man'; lots of
wires; a large knife.

Epilogue The Arctic 'A landscape of bright snow and ice'

As Prologue.
characters
Captain Walton an Arctic explorer; tough, bearded, wearing furs; a man who has
been in many dangerous places and survived, but who has come
across something now that has shaken him to the depths

Frankenstein young and idealistic; a dreamer, full of strange ideas, who believes
that his work will improve the world

Clerval thesame age as Frankenstein; realistic and humorous, he is

impressed by his friend's achievements but anxious about their
effects

Landlady middle-aged, probably, but it doesn't matter

Elizabeth a year or two younger than Frankenstein; she is devoted to his

and and she Frankenstein without
(9 father
understanding him
to William, loves

z
The Monster should look hideous made of corpses, after all; very strong
he is

and agile, and, although when he first comes to life he cannot

move easily, it makes him much more impressive in the later Acts
if he is and powerful and does not lurch about clumsily;
graceful
his voice should be impressive

Felix young, quick-tempered, fiery; he and Agathe are political

refugees

Agathe blind, but she should move about the room as easily as a sighted

person; she knows the room well, knows where everything is; it is

when she first becomes aware that something is wrong that she
begins to look vulnerable

Ghost of William best played in a dead white mask, to give the effect of something
or someone not quite alive

The Monster's should be as hideous as the Monster is; when he first sees her, he
Bride is shocked

Servant male
Focus Areas for Prologue (Pg. 10) Analysis Framework
1. Setting & Atmosphere Setting: Time, Place, Weather
2. Characterisation of Frankenstein and Monster Atmosphere: How a place makes you feel (mood/vibe)
3. Relationship between Frankenstein and Monster Analyse Characters: Words/Speech, Actions/Behaviour, Tone of
prologue Voice, Physical Appearance, Treatment of Others
Relationships: How do the characters treat/relate to each other?
II !

The Arctic. A landscape of bright snow and ice.

Enter Captain Walton, clothed in furs. 1. What is the ATMOSPHERE of

He speaks quietly, thoughtfully, as if recollecting a deep experience.
the Artic here?

Captain Walton Some time ago, I had the command of a on an expedition

ship 2. How does it make you feel
as the reader?
to the Arctic Circle. We sailed further north than anyone had
ever gone before, and then there came a day when we could go
no further, because the ice had closed us in. Weeks went by;
months passed, and still we couldn't move, Strange things
happen to your mind in those regions of eternal snow. The
2. What are your impressions of
sailors began to report seeing things, impossible things, and the 2 people described here?
hearing voices in the empty air —e someone
one voice like
Which is Frankenstein?
crying in pain or anguish, another voice that was deep and Which is the Monster?
harsh and monstrous, howling of revenge; began to worryI

that they'd go mad with fear, crazy with isolation; I began to

suspect that there were ghosts in the air, evil spirits behind the
bright light glaring on the snovc And then I saw it myself,
and I could doubt no longer, In the distance, a sledge was
moving across the ice, pulled by a team of dogs, and driving it
was a creature like a man, but huge and hideous beyond belief.
And pursuing it — always in pursuit but never catching up
was a man on foot, We watched from the deck, the sailors and
13 and then the man fell down and lay still on the snow, I sent

out a party to bring him in. He told us that his name was ,

Frankenstein. We laid him in my cabin and looked after him,

and presently he'd recovered enough to tell us his story. And a
strange one it was

He exits quietly.

As he goes off, the lightfades and the curtain rises to show

Frankenstein's room in Ingolstadt for Act One.

10
Focus Areas for Act 1 (Pg. 11-24) Analysis Framework
1.Setting & Atmosphere of Frankenstein's Room Setting: Time, Place, Weather
2. Characterisation of Frankenstein Atmosphere: How a place makes you feel (mood/vibe)
3. Feelings of Clerval Analyse Characters: Words/Speech, Actions/Behaviour, Tone of Voice, Physical
4 Feelings of Elizabeth
Act I Appearance, Treatment of Others
Relationships: How do the characters treat/relate to each other?

Frankenstein's room. It has high, arched windows 1.Read the description of

through which can be seen mountains and forest. Frankenstein's room in the stage
At the moment, moonlight is shining through. The directions. How would you
light is dim and flickers as clouds pass in front of describe the ATMOSPHERE
the moon. Sinister music plays. created?

Then a hand reaches down from above, as iffrom

c 2. How does Frankenstein enter his
the roof, and pulls the window open from the
room?
outside. A second later the shape ofa man
What do his actions and words
Frankenstein is seen to climb athletically
o show about him?
down the outside and in through the window.
He brings with him a wire, which seems to be

attached to something up on the roof, Because ofthe

dina light in the room it is impossible to be certain

what he is doing.

He leans out of the window and calls up softly. z

3. How does Frankenstein speak to
Frankenstein Clerval! Are you staying up there all night? Clerval? What does this show about
their relationship?
There is a scrambling sound offstage, as if the other person is not
sure of his footing.

Clerval [Off] I can't find the right place ah, here it is where the
devil do I put my foot?
A leg can be seen waving uncertainly about, feeling for a foothold.
Frankenstein takes it and guides it to safety. A moment later,
Clerval appears in the window and jumps down to join 4. What do the stage directions tell
Frankenstein. They are both in their early twenties: Frankenstein us about Frankenstein's & Clerval's
character?
intense, poetic; Clerval stout, cheerful, matter-of-fact,

Frankenstein lights a lamp. The room is an odd mixture of shabby

sitting-room and cluttered laboratory. Phials and bottles of chemicals
and preserved specimens of various kinds line the shelves. A large, 5. What do the descriptions of
electrical-looking machine stands in the corner. On a bench at the
Frankenstein's room/lab tell you
about his character?
back lies something obviously the Monster covered by a sheet.

11
6. Why does Clerval use the word
Clerval rubs his hands with the cold and looks around curiously,
'lurk' here? What does it show
So this is where you lurk, Frankenstein! D'you know, the other about his impressions of
students are convinced you're a wizard? Frankenstein?
Frankenstein A wizard! Why's that?
7. The other students call
Both men have heavy coats on. Clerval is carrying a •rucksack, Frankenstein a 'wizard'? What does
which he takes off and drops on the floor. Frankenstein reacts this word show about their
with nervous anger. impressions of him?

Frankenstein Don't drop that! 8. How does Frankenstein respond

Clerval to this label as a 'wizard'? What
I'm sorry, What's in it? It feels like several pounds of meat.
does his response show about him?
Frankenstein well, it's . just that. Several pounds of meat.
9. Frankenstein reacts with 'nervous
Clerval Ihope it tastes good. Where are you going to cook it? Don't anger' when Clerval drops the
you have a fire in here? It feels as cold as it does outside. rucksack of meat on the floor. Why?
Colder, if anything. What does this tell you about him?
z
Frankenstein is busy adjusting the wire he has brought in,

securing it to brackets around the walls, and leading it to

the bench.

z Frankenstein No. NO fire. I keep it cold on purpose it's way to

the only
preserve my specimens . I don't notice it any more. Hold
10. How do Clerval and
Frankenstein react to the cold in
this, would you
his room? What do the differences
Gives the end of the wire to Clerval, then goes back and props the show us about Frankenstein's
window open. character?

Clerval You're not going to leave it open? We'll freeze to death, man!

Frankenstein You'll get used to it. The only problem comes when you have to
do delicate work with your hands There. That should fix it.

He stands back, sumeying the arrangement of the wire.

Clerval Remarkable. Extraordinary. A phenomenon. I congratulate

you, Frankenstein. Now what the devil's it all about? You bring
me clambering over the rooftops carrying our next week's
suppers in a rucksack; suppers which, by the way, you intend
to eat raw, since you don't go in for lighting fires; you fix a
length of copper wire to the highest point of the house, and
12
trail it all the way down here and leave me holding the end of
it what's it all about, Frankenstein?

Frankenstein My dear fellow! Let me take it from you .

Takes the end of the wire and fastens it to a complicated piece of

apparatus near the bench.

There. Now you won't explode.

Clerval steps away hastily.

Clerval Explode?

Frankenstein A joke. [Solemnly] Ha ha ha.

Clerval Oh, a joke! 1 see. Ha ha.

Frankenstein Sit down, Clerval, there's a good man.

want a fire,
If you really
I lighting one just this once won't make any
suppose
difference. And to tell the truth, I feel like celebrating, D'you
think there's going to be a storm?
z

Clerval A storm? Oh, bound to be.

He sits in an armchair, then sits upright quickly and feels behind 11.What are Clerval's feelings as he
stares at the 'human thigh-bone'? What
him. He brings out a human thigh-bone from behind the cushion
and stares at it with distaste.
does the location of the thigh bone
show about Frankenstein?
Last night's supper? Or this morning's breakfast?

Frankenstein So that's where it got to

He takes it, puts it on a shelf, and brings down a bottle of wine

from which he pulls the cork by hand.

Frankenstein There's a glass on the floor beside the chair, Clerval. I've only
12.What do Frankenstein's actions
got the one. We'll share it,
with the glass show about him here?
Clervalfinds it. It's dirty and covered in dust. Frankenstein rubs
it on his sleeve before pouring the wine in.

Frankenstein Your good health!

Drinks deeply, fills the glass again, walks upstage, leaving Clerval
waiting for his turn.

13
13. Frankenstein tells Clerval that
Yes, if we're lucky tonight and it storms, and if my wire does
they are on the 'threshold of a new
the job it's supposed to, and if well, my dear fellow, we're
age.' What does this show about his
on the threshold of a new age.
emotions here?
Clerval You don't say?

Frankenstein There's no harm bound to come out sooner

in telling you. It's

or later, and you're an intelligent man. You'll understand

Clerval Kind of you. The wine, Frankenstein 14.Clerval reminds Frankenstein to

offer him the wine. What does this
Frankenstein Ah! Forgive me.
show about Frankenstein's character?
Pours another glass, takes it to Clerval.

15.Frankenstein seems to embrace

Yes — my work. So they call me a wizard, do they? Perhaps
the label of a 'wizard'. Why? Why does
they're not far wide of the mark. I expect two hundred years
he say that people would have burnt
ago they'd have burnt me at the stake.
him 'at the stake' 200 years ago for
Clerval Not a bad idea. Then we could have warmed ourselves up his work? What does this tell you
about the nature of the work he has
Rubs his hands, shivers done?

Frankenstein All right, all right. I'll light the fire.

He crosses to the grate. As he does so, there is a distant rumble of

thunder. He stops and looks out, with an expression of satisfaction.

Hear that? It's way over the mountains just yet, but it's on its
way
He stoops, strikes a flint and steel, and starts afire in the grate.
Clerval huddles closer to it as Frankenstein goes to the window
to peer out.

Frankenstein Another hour or so, I should think. You can see the lightning
16. Frankenstein describes the
playing around the peaks.
lightning to be playing around
the peaks. What literary device
is used here? What does his
description of lightning tell you
about him?

14
Clerval All right, let me guess. Storm lightning wire —v electricity.

Frankenstein Very good!

Clerval Electricity Umm . Magnetism? You've invented a way of
making magnets?
Frankenstein Nothing like it.

He comes to sit in the other chair, takes the wine glass andfills it

again.

Frogs' legs.

Clerval And the same to you. Or is that the menu?

Frankenstein No! An Italian called Galvani •—0 heard of him?

Clerval I'm a philosopher, not a musician. All Italian composers

sound the same to me.

Frankenstein Nothing to do with music. He was a scientist, Clerval. A

natural philosopher. He was dissecting a frog one day, and he
found that the nerve in the leg responded to electricity. It

twitched when a current passed through it.

Clerval Now I have heard about that, come to think of He thought

it.

there was a kind of animal electricity, didn't he? And is that

what you're working on?
Frankenstein More or less, But there's no such thing as animal electricity
it's all one. The same force flows in your nerves as in the
frog's, and the very same force flows through the lightning ,

Did I ever tell you how I first realized what my life's work was
to be? I was fourteen years old, at home in Geneva, on a night
like this a storm was threatening. They rise very quickly in
the mountains there. Outside our front door, about twenty
yards away, stood a great old oak tree. It had been there for
three hundred years and it was still green and strong.
at least,
I'd climbed it, I'd sheltered under it, I'd carved my initials on
the uunk and just as the storm was at its height, I opened
the door to look at the lightning. You've never seen such a
storm! The tree was lit up bright, bright green by flash after

15
17.What words and
images does Frankenstein
flash, and the thunder was exploding around the house like
use to describe lightning
artillery fire, Then without any warning the tree was engulfed

in flame. A colossal blaze shot right out of it, all in a moment, and thunder? What does
and dazzled me so I could hardly see When I opened my this tell you about him/his
eyes again, only a moment later, the tree was gone. There was attitude towards the forces
nothing there at all but a charred, smoking stump. That great of nature?
living thing, smashed to atoms in an instant! And I thought:
the power that can do that is the power of life and death. I'll 18. "The power that can do that is
harness it. I'll study it and master it and make it work for the power of life and death. I'll
mankind. harness it. I'll study it and master
it and make it work for mankind."
Clerval I see. And now you've done it?
What do these lines tell you about
Frankenstein Nearly. Nearly, Clerval! Frankenstein?

Drains the glass, fills it again, hands it to Clerval.

Clerval So you're going to collect some electricity from the

lightning and bring it down here, and what then?
z
Frankenstein And then . drink the wine.

Clerval raises his eyebrows, but drains the glass.

Z Clerval well?

Frankenstein And then this happens.

He gets up and goes to the bench. Next to it is a

smaller trolley on wheels, on which is mounted a
ntachine consisting of two glass discs that rotate

o in opposite directions cvhen turned by a

handle. Attached to a brass tenninal is a
twisted piece of wire that leads down to

something on a slab of marble, covered at

the moment with a cloth.

Clerval stands up to come closer and look

at it.

Clerval Now that I recognize it's a what d'ye call it.

Frankenstein This thing? It's a Wimshurst machine. And I expect you'll

16
recognize this
22.What are Clerval's emotions here?
Takes the cloth away. Clerval peers, then starts back in disgust. Why do you think he feels this way?

Clerval It's a human hand!

A hand is lying flat on the slab, but we cannot see it clearly. That's

what it is, however —yellowed, dried, and withered, and thoroughly

revolting.

Where did you get that from?

Frankenstein From the dissecting room at the University. Quite proper, I 23. How does Frankenstein talk
assure you. The chap it was attached to was hanged; he had no about the human hand? What
further use for it, As a matter of fact, he strangled his wife does this tell you about his
with it only last month. character?

Clerval Good griefl Frankenstein, how can you joke about such things? 24.How does Clerval react to the way
Frankenstein speaks about the hand?
Frankenstein Yes, of course, you're right. I'm sorry. the excitement,
It's
What does Clerval feel and why does
Clerval. I'm so close to never mind. I'll show you what he behave in this way?
the machine does, if you're still interested.
25. What does the word 'ghoulish' mean?
Clerval Of course I'm interested! But I don't care to be ghoulish
Why does Clerval say he does not care to
about it.
be ghoulish about the human hand?
Frankenstein No, no. Heaven forbid.

He connects the wire to something on the bench, checks that all is

ready, and takes the handle of the machine. Before he turns it, he
addresses Clerval.
26. Frankenstein tells Clerval that there is
Think of this as a philosopher should, Clerval. There's no no cause for 'shock or disgust in nature.'
cause for shock or disgust in nature. What does this tell you about his
Clerval character?
I wonder. Carry on, then.

Frankenstein begins to turn the handle. The glass discs start 27. What can you tell about Clerval's
character in this entire excerpt when he
rotating slowly in opposite directions; an electric humfills the air;
is watching Frankenstein perform his
sparks are seen to jump fro;n one brass tenninal to another — all
experiment?
contributing to the impression of high powered electrical activity.
28.What emotion/feeling does
Frankenstein There can you see Can you see the finger twitching?
it?
Frankenstein feel when he says this line?
Clerval [Leaning over, but not so as to obscure the audience's view] The
index finger yes! It's definitely moving -— and now the thumb
17
29.Compare and contrast the emotions of
— Good God, Frankenstein, it's horrible! Clerval and Frankenstein towards the
twitching hands. What do the differences
Frankenstein Philosophy, Clerval! Let me increase the charge suggest about their character?

Turns the handle faster. And suddenly the hand moves so that all

the audience can see it: it curves up horribly, pabn towards us,
fingers ctnved and twitching. Clerval steps back and gasps.

Clerval Ugghh!

Frankenstein No wait that knob at the side of the bench

He is still turning the handle vigorously, down in the 30. What can you tell about
and he nods
direction he means. Clerval comes closers fascinated and horrified. Clerval's character in this entire
excerpt when he is watching and
Clerval This one? helping Frankenstein perform his
Turn slowly — when I tell you. Clockwise. experiment?
Frankenstein it

Clerval reaches for it.

Z Frankenstein Now. Slowly.

Clemtal turns it and the hand slowly clenches.

Clerval Good God!

He turns it back the hand unclenches again, and stands up from
the bench stiff and twitching as before.

Frankenstein Again.

Clerval does it again.

Clerval Extraordinary!

Frankenstein That's not all. Let it open again — that's it now try the lever

next to the knob. Gently, gently. I haven't tried this yet.

Frankenstein is still turning the handle, the glass discs are still

revolving, the sparks are still crackling. Clerval reaches for the
lever and moves it a fraction, then a bit further and the forefinger
curls fomvard slowly to meet the thumb. Clerval leans over, as
excited as Frankenstein by what he can make the hand do. Like

two small boys, they play with it for a moment or two.

18
Clerval Look! can bring
It its thumb across let me try the knob at
the same time

Frankenstein That's it! Just a bit more .

Clerval And . there! The thumb's touching the little finger!

Wonderful!

Frankenstein Excellent! Now we'll try the —

A flash from the machine, a loud crack, and they start back as the
hand falls lifelessly to the bench.

Clerval What happened?

Frankenstein The charge. I was turning the handle too fast it's burnt the
wire out, look, 29.What are Clerval's
emotions/attitudes towards
He holds up a charred end of wire. Clerval mops his brow.
Frankenstein's achievement?
$3)
Clerval Frankenstein, I'm astounded. This is the greatest discovery of What can you say about his
the age! A wonderful piece of work! z character?

Frankenstein A step or two beyond Signor Galvani, eh? 30.What are Frankenstein's
emotions here when he says he is a
Clerval It's beyond anything I've ever heard of. When are you going to step or two beyond Signor Galvani?
publish The world should be hearing about your genius, my
it?

friend! You should be honoured you should have doctorates,

professorships

Seizes the bottle and glass and pours sonze wine.

To your fame, Frankenstein!

Drinks deeply, then makes a face.

And I hope buy better wine when you're famous, That's

you'll
if you want company when you drink it.

Frankenstein covers the hand again with the cloth and wheels the
trolley back out of the way as he speaks.

Frankenstein 31. What can you say about

You're a good fellow, Clerval. That's why I wanted you to see
Frankenstein's emotions and character
what I'd done. You've no idea how lonely it's been I've been
here?
.

working at this for six years now. Six years! I mastered the
physiology of the hand a long time ago. I could do this
19
demonstration in my first year of study
Clerval sits, and Frankenstein comes to join him.

Clerval You mean there's more?

Frankenstein That was only the first crude attempt. I took that hand on
purpose to show you; I could have shown you four years ago.
1. as a matter of fact, I wasn't telling the u•uth when I said
where it came from. I hope you won't mention it to anyone. I 32.Frankenstein tells Clerval
well, I dug it up last night. what he had to resort to doing
in order to conduct his scientific
Clerval You what?
research and experiments.
Frankenstein I've begged the University for specimens. They say I've had all What does this tell you about
their best material for years, and produced nothing to show his character?
for it. How could I show them that? Can you imagine the
reaction? They won't give me anything now. I have to

He shrugs. Clerval is taken aback.

Clerval You dig them up? Good Lord, Frankenstein, how many
00
corpses are there without hands in our graveyards?
z
Frankenstein Not just hands. D'you think I want
way? I'd far
to do it this
z
rather have the use of a proper dissecting-room, and all the
resources of the University — I have to go meals to
buy the chemicals I need, I have nowhere to store my
specimens, my landlady drives me mad with her incessant
questions
33.What are Clerval's emotions as
Clerval What d'you mean, not just hands? What else
he starts to get an idea of
A thought strikes him suddenly —u he looks at the rucksack with Frankenstein's invention? What
honified suspicion. does this tell you about his
character?
What's in there?

Frankenstein Oh, nothing — that's just

He gets up anxiously, crosses to where the rucksack is lying —e but

before he can pick it up, there is a loud knock. He starts nervously.

Landlady [Off] Herr Frankenstein! Are you there?

20
Frankenstein [To Clervall My landlady [Calling/ Yes, Frau Liebermann?
Landlady [Off A constable to see you. What's going on, Herr
Frankenstein?

Frankenstein I haven't the faintest idea, Frau Liebermann, probably some

silly mistake, come down and see him. [To Clerval] I'll be
I'll

back in a minute. Be a good fellow don't touch anything .

He leaves. Clerval sits for a moment, thoughtful; then he gets up,

crosses to the rucksack, and picks it up, feeling its weight, feeling it
34.What can you tell about Clerval's
through the canvas: then he turns it around, and sees a spreading
character based on his reactions to the
bloodstain. He drops it with horror.
discovery of Frankenstein's Monster?
Clerval Good grief ,

He backs away, then goes to the window and looks out.

Frankenstein, are you mad, or am I? There's going to be a

storm soon, I can feel it.

He shivers.
z
And then what? Lightning lightning! Electricity! The hand
. what on earth?

He follows the wire to its destination on the large bench with the

sheeted body ofthe Monster. We can see him steeling himself to look.
Frankenstein, what have you done?

He reaches out to pull the sheet down, nervously, when there's a

timid knock at the door. He starts guiltily.
Yes? Yes, who's that?

Elizabeth [Off] Victor? May I come in?

Clerval It's not Victor but yes, come in, come in

The door opens and Elizabeth comes in, dressed for a journey:
bonnet, cloak, etc. She is young, about eighteen, and, at the
moment, nervous,

Elizabeth I beg your pardon, sir the landlady said I would find Herr
Frankenstein's rooms up here
Clerval Yes, that's right. This is his place. I'm a friend of his •—j Henri
21
de Clerval. He's I thought he was downstairs at the
moment? Seeing a visitor?

Elizabeth The landlady was not very friendly. I I'm his cousin,
monsieur. I've come a long way.

She sways as if tired or about to faint. Clerval helps her to

a chair.

Clerval Mademoiselle please, sit down. I'm sure your cousin won't
be long.

Elizabeth Thank you, monsieur. I'm tired; I've come way today.
a long
He wasn't expecting me, but there yvas no time to let him
know I was coming
Clerval Is there any trouble, mademoiselle? He's never mentioned his
family. I thought he was alone in the world.

Elizabeth His father's very ill, His mother is dead; there's only his father
and me and his little brother, and when his father fell ill I 35. How is Elizabeth feeling
wrote to Victor and told him, but he never answered my here? How can you tell?
letters. I didn't know what else to do.

Z Clerval He's wrapped up in his researches, I'm afraid. A brilliant man,

but well, you know him, after all. Wasn't he like this when
he was a child?

Elizabeth Yes, I suppose he was. Monsieur de Clerval, is he in trouble?

Clerval Trouble? why?

Elizabeth Something's not right. I'm worried. I have such dreams I

see Victor in them, and there's something horrible pursuing

him — or is he pursuing it? But there's such a sense of doom
and despair I'm sorry. I shouldn't be telling you this, Where
is Victor now?

Clerval Seeing a visitor. He won't be long.

Pause. She shivers.

Clerval You're cold. Let me shut the window.

He crosses to the window. She has her back to him; he sees the

22
wire again, follows it wit/l his eyes to the sheeted figure, and
hesitates.

Clerval
Mademoiselle u, have you anywhere to stay? There's a
comfortable inn just across the square. I'd be glad to take your
luggage across there for you.

Elizabeth
That's kind of you, monsieur. You're right; I can hardly stay
here, and Victor isn't expecting me. My valise is in the hall.
Clerval I'll go and do it now. Your cousin will be up soon, I'm sure

He goes out quickly, She sits still for a moment looking weary and
anxious,

In the distance there is a runtble of thunder. Startled, she looks

around at the window and sees that it is still open. She gets up to

close it and her eye is caught by the sheeted form on the bench.
Hesitantly she approaches — reaches out to touch It is about the
pull back the sheet, when the door bursts open and

Frankenstein No! Don't touch it!

He runs in and pulls her away, then peers out of the window and
up into the sky.

Elizabeth Victor! Whatever's the matter? What is it?

Frankenstein Elizabeth —v you mustn't stay here. Not now. Where's Clerval?
Elizabeth He went to take my valise to the inn across the square but
Victor, what's going on? Are you in trouble?
Frankenstein No, no but I'm in the middle of a crucial experiment, I can't
leave it you haven't touched anything?
Elizabeth Not a thing. But Victor — what's the matter with you? I've 36. What is Elizabeth's character like?
come all the way from home, I'm tired and cold, I haven't seen How would you use specific adjectives
you for six months you haven't even asked me why I'm here. to describe her?

Frankenstein I'm sorry why are you here? Is something wrong?

Elizabeth It's your father, Victor. He's very ill

Frankenstein Oh no ii what is it? How long's he been unwell?

23
Elizabeth It's an affliction of the lungs. I wrote to you a month ago,
when came on, and again a fortnight later, and again
it first

last week. What are you doing, Victor? Why don't you answer

my letters? You haven't even read them! If you want to see

your father alive, you'd better come home tomorrow.

Frankenstein Tomorrow! But —

Elizabeth But what? What's more important than that? To him, I mean. I

can see there's plenty more important to you, A son who

doesn't come when his father's dying you make me ill.
Oh,
Now I'm going to the inn to find something to eat and go to
bed. I'm very tired.

She moves towards the door. He tries to hold her back.

Frankenstein No, Elizabeth, don't — you're right, I'll come back with you —
but my work, you don't understand, it's reached the point I've
been working towards for six years

Elizabeth Understand? How can I understand a son who cares nothing

for his father? How can I understand someone who shuts
z
himself up in a dirty dusty smelly freezing cold room like this,

and says that this is more important to him than his family?

He tries to hold her still, but she shakes hijn off.

Elizabeth No don't try to hold me back, If this is what matters to you,

Victor, then so be it. I've done my duty now I'm going to lie
down, because I'm tired, and in the morning I shall go back
home, whether or not you come with me.

She goes out. He sinks into a chair, despairing.

Frankenstein Must it finish, then? So close so nearly ready!

37. After Elizabeth's revelation
He holds his head in his hands.
of his father's illness, how
After a moment there comes a tronendous clap of thunder does Frankenstein behave?
deafening — as if right overhead. Frankenstein sits up at once and What does this tell you about
stares at the form on the bench. It is quite still. Hejzoups up and
him?

runs to the window, through which uv can hear the start of heavy
rainfall. He looks out and upwards, and is outlined in a flash of

lightning. He looks around again, checking the wire, but still the
24
figure lies umnoving. Then comes Inore thunder— longer and even
louder than before.

Feverishly he runs to the bench, checks the wire, and folds back the
sheet a little way so that he can see the Monster'sface,

Frankenstein It must be tonight it must be!

A frantic knocking at the door.

Clerval [Off Frankenstein! Open up! Open up!

Frankenstein No! Go away, Clerval! I can't be disturbed!

Clerval Frankenstein, I must talk to you

Frankenstein Impossible! Go away, man!

Nforefurious hammering on the door.

Clerval You must let me in I know what you're doing, Frankenstein

Frankenstein runs to the door.

z

Frankenstein Clerval, I beg you leave me alone — you don't know how
dangerous this could be

But the door bursts open. Frankenstein isflung aside as Clerval

runs in, looks around, and runs to where the Monster is lying. He
tears off the sheet and flings it to the floor as Frankenstein
recovers and runs across to tear him away.

Frankenstein Don't! Don't touch it! The lightning could strike at any
moment

They struggle in front of the window, illuminated by another great

flash of lightning; and almost at once comes the thunder. They
freeze, both looking in apprehension at the bench. Then conzes

another flash, lighting up the whole room, accompanied by showers

ofsparks and wreaths of smoke — and on the bench, the Monster
tenses convulsively.

Clerval

Frankenstein Leave it — leave it

Anotherflash, more thunder — and this time the Monster really

25
comes alive, thrashing from side to side as if trying to sit up. Clerval
breaks away from Frankenstein and stares at it in horror.

Clerval Frankenstein what have you created? 38.Why does Clerval describe
Frankenstein's creation as 'pure
Frankenstein I told you not to come in! evil'? Explain Clerval's thoughts and
point of view.
Clerval This is pure evil, Frankenstein

He starts forward as if to destroy it, but Frankenstein, seeing his

intention, seizes a chair and strikes him with it from behind. The
chair breaks Clerval falls stunned

Frankenstein Oh, my friend you don't know how important it is

He runs to the Monster's side and tears off the wires, and then
helps it to sit up. The stonn is still raging outside, and there are
flashes of lightning. The Monster is enormously tall and
powerfully built. His open eyes are hideous, red-rint;ned, and
glaring in a waxy yellow face. His lips are black, scars criss-cross
his cheeks, and his face is framed with matted black hair, He is
naked to the waist. He wears nothing but simple breeches.

The Monster stands there, swaying as Frankenstein moves back

to get a better look at his creation. Then the Monster raises a hand
and Frankenstein reaches up to touch it.

My creature! And living! Let me see you — let me look at you

ah .

He runs his hands over the Monster's limbs checking their

soundness, helping him balance upright. The Monster's eyes
follow him, as if confused.

Then Frankenstein stands back, and a first realization of what

he has made passes over him. He shudders.

38. What are Frankenstein's

But you're not what I was
thought you'd be I thought I
emotions at the moment of
making an angel! D'you know that? I thought I was making
the Monster's animation?
something better than human! Something so precious and
beautiful that everyone would love it and look at you. Look What are your emotions as
at what I've done. you read this?

26
The Monster takes a lurching step towards hini. Frankenstein
backs away nervously.

No! This isn't what I wanted. Oh, dear God, what have I

done? Is it alive after all?

39.What is Frankenstein horrified by?
The Monster makes a strange noise. What kind of a scientist would you
describe him as?
No! I didn't mean this! I didn't want this at all --

He turns way, and with a cry offear and horror, runs out of the
room.

No — no!

The Monster stumbles forward and falls over the body of Clerval 40.What are your initial
lying in his way. Heand kneels up, and runs his hands
recovers impressions of the Monster here?
wonderingly over Clerval'sface — and then, as wonderingly, over How do you feel towards the way
his own. He looks up and around, seeing everything for the first he is being deserted by
time. Then, with heavy grace, he gets to his feet and moves towards Frankenstein?
the open door. He stops there looks back once at Clerval then
goes out as Clerval stirs and groans.
Clerval Frankenstein — where are you

Clerval pushes himselfup and looks around. Seeing the empty

bench, he staggers up, finds the trailing wire, and looks at the open
door,

It's gone! it's gone! Frankenstein in God's name, what

41. Why do you think Clerval is horrified
have you done?
at this moment? What possible
He runs out. A finalflash of lightning fills the window. The consequences is he imagining when he
thunder crashes out and dies away as darkness falls.
thinks about what Frankenstein had
done?

27
Act
ooæomQOOOOOÖO@OQOOØOOOOOOOØOOOOOOOOOOOOOOOOOOOO
2
Inside a sünple cottage in the forest. A rough table, a couple of
rough chairs, a simple fireplaces a window overlooking some trees.

It is and clean, but very simply furnished On the table, the

neat
remains ofa meal— some bread, an apple, a piece of cheese.
Sunlight is streaming in through the window, and through the
door upstage, through which we also see more trees, To one side,
there is another door. Birds can be heard singing.

In the distance, there is the furious barking of dogs like

hounds in a hunt. It lastsfor a short while and then dies

away.

Suddenly the light is blocked in the doonvay. The Monster is

standing there, panting. It is hard to tell what his expression is,

though anger and fear seem to mingle in it. He is wearing a

torn white shirt which is too small for hinl, and his hands
z and arms are torn and bloody.

z He stands there nervously for a moment, then nzakes up his mind

and steps in, looking around as iffor any threat.

Then he sees the food on the table and seizes it, devouring it
ravenously, cramming the bread and cheese into his 111011th and
sniffing at the apple, His feet are clearly badly torn.

Hearing something, the Monster freezes. It is a young Dian's voice,

and a young girl's. During their exchange the Afonster looks

around desperately, sees the other door, inakesfor and gets
it,

through, shutting it behind him just before Felix and Agathe enter.

Felix [Offl Not far now. Mind that stone.

Agathe [Off Heavens above, Felix, I know there's a stone there. I

know every inch of this path

Felix [Off You ought to carry a stick. I don't know why you don't.

Agathe [Off What, and go tap-tapping everywhere? I need my hands

to carry things in. I'm more agile than you are. And I bet I
28
could find my way back to the cottage from anywhere in these
woods, I know them so well .

They appear in the doonvay, just as the Monster closes the other
door.

They are young and simply dressed. Felix is carrying a musket

and a dead rabbit. Agathe a basket of mushrooms. Although blind,
she knows her surroundings so well that she moves around with
great freedom.

Felix stands the musket in the corner.

Felix There. I'll clean that this evening. Time I made some more
bullets.
9.4

He puts the rabbit on the table, but carelessly: he does not notice
that the food has been eaten. Agathe puts her basket there too, and
then sits down.

Agathe And I'll skin the rabbit in a minute. Shall I make a pie? Or
would you like stew?

Felix He's an old one he'll be a bit tough. We'll have a stew, and
put some of that wild garlic in,

Agathe And themushrooms and a carrot or two we're living quite

well. Who'd have thought we could?
Felix Not the judges who sent us here, that's for sure. They thought
exile would kill us, as it killed father.

Agathe We'll survive. We'll do more than survive we'll prosper.

Felix We haven't faced winter yet. That won't be so easy look, I

think I'll load the gun before I go. Just in case.

Agathe If you must. But don't expect me to shoot anyone.

During the discussion, Felix loads his musket with powder and shot,
while Agathefetches and tunes a guitar from the corner of the room.

Felix I don't like leaving you alone without any protection. Just
point it roughly in the right direction and pull the trigger —
that's all you have to do.

29
Agathe I don't like the noise.

Felix All right, swing it round and hit 'em with it, I don't care. But
I'll you have something to protect you, even
feel better if if

you're so brave and independent that you don't want it.

Felix uses the musket's ramrod to check that the bullet is firmly in

place.

Agathe Who's going to attack me, Felix?

Felix That's a silly question. This is a wild part of the country,

Agathe there are wolves and bears in the forest, even if the
bandits are having a day off. And there's been some kind of
trouble down in the town. Didn't you hear the dogs earlier on?

Agathe I thought the men were hunting

Felix The town dogs were barking too. You must have heard them.

z Agathe Well, if it's down in the town, you'll need the musket more
than I will, Oh, I'm not arguing I know you're right. But I

feel safe here.

Felix No harm in being prepared. If we didn't need more powder

and lead I'd leave the rest of the stuff for a day or so, but I

might as well get it all what else was it? Flour?

Agathe And soap, and salt. And if you can find some honey

Felix We could set up a hive or two ourselves next year. I wonder if

I can find anyone who could let me have a queen bee?

Agathe We'll be living like kings!

Felix I suppose we could settle here the people in the town are
friendly enough, and I could get some kind of work on a farm,
perhaps. But it's very lonely for you.

Agathe Better than prison. Have you loaded that thing yet?

Felix Just about, It's here in the corner. Remember, you pull back the
hammer two clicks. And hold it tight, or you'll hurt yourself.

He stands the gun in the corner and shoulders a canvas bag.

30
Felix I'll be back before sundown. D'you want some wood for the
fire before I go?

Agathe No, I'll do that. You go.

He kisses her.

Felix I should get that rabbit cooking soon, or it'll be like eating a

boot.

Agathe Oh, stop fussing!

Laughing, he goes out.

She puts the guitar down and reaches on to the table for the apple.
Feeling that it is not there, she frowns.

Oh, you might have left me the apple that's a mean trick.

Her hand finds and She picks up

it properly.
the loaf, torn half-eaten. it to feel
8)
That's odd it was a fresh loaf.

She feels around for the cheese.

And where's the cheese? He hasn't taken that too? Felix, you
greedy pig.

She gets up and goes to the door as if to call him back, but changes
her mind.

'Well, he's got a long way to go, and a lot to carry. But it's not
like him to take it without saying anything

She comes back and sits down, picking up the guitar.

Anyway, I'm not hungry.

She plucks a chord then stops abruptly.

Supposing it wasn't Felix, though?

Head alert, listening, she 'looks' around.

Hello? Is anyone there?

Silence.

31
The door was open anyone could have come in no, I'm
being silly. This place is safe.

She begins to play a sintple, folk tune.

Afew bars into it, the Monster silently appears. He merely stands
and listens, as if he has never heard music before.

She comes to the end of her short piece and puts the guitar down,
sighing.

No that's too sad. Oh, Papa

She gets up and wanders towards the Monster, who does not
move, though he watches her carefully. Beside him on the wall is a
picture: the portrait of an elderly man. She contes close and seems
to be staring at Monster is holding his breath, as if he is
it. 171e

afraid of being discovered — and then he seems to realize that the

girl cannot see him, and moves his hand slowly in front of herface,
z getting no reaction. A light dawns on his expression, but he does
not move.

Then she reaches up, takes the picture from the wall, and goes back
to sit down. He stays where he is and listens,
z
Father, I expect it's silly talking to a picture I can't see it's

silly talking to a picture anyway. But I can't worry Felix, and I

can't write a diary,and I'm just worried, Papa. Will we

. i,.

survive here? Will we manage to find enough food? Will Felix

find work somewhere? You're silent. You don't know any
more than I do. Are you watching over us, Papa? I'm sure you
would if you could. But we haven't done badly, have we? We
never had to lift a finger before. The servants did it all for us.
But we've lived here for six months now, and every so often
Felix shoots a rabbit or a couple of pigeons, and there's the
apple tree, and I know where the wild strawberries grow I

think you are looking after us, Papa. You wouldn't leave us on
our own

During this speech, the Monster silently moves towards the door
and goes out.

32
She presses the picture to her heart, bowing her head over it.

But it's very hard I wish we'd said goodbye before they
took you away. Though I don't know how I could have let you
go

The Monster returns. His arms are full of logs. As she sits still

with her head bowed, he puts them down very carefully, so as not
to make a noise, in the hearth.

Then he takes an apple from his pocket and puts it on the table
only to freeze and draw his hand back as she looks up at where

he is standing. He stands still as she gets up slowly and goes to put

the picture back on the wall. Then she picks up a little mirror from
the shelf.

Thank Heaven, I remember what you looked like, Papa .1

can judge a my hands now, but I can't judge the
real face with
expression of a picture. And I can't see my own face any more
I used to be pretty. I think I was pretty, What I am now,

only Felix knows

She looks in the mirror. The Monster, who has come up silently

beside her, watches curiously, comparing her face with the image.

Then she puts the mirror back,

It's no good. Everything's changed; there's no point in looking

back.

She goes to thefireplace and tries to pick up the basket of logs — but
finds it full and feels them, surprised.

Oh! Felix, you've done it after But it's not like you to
all!

play tricks on me. Or I wonder — the bread, the apple

was it Felix?

She gets up swiftly and goes to stand in the doonvay, as if she is

nervous about remaining inside. She looks out, biting a nail.

Meanwhile the Monster, unable to resist it, picks up the mirror,

feeling his own face, and slowly brings the glass up and looks in it.

Monster Uggghhhh!
33
He drops the mirror, which shatters. Agathe hears, and turns at
once in fear.

Agathe Who's that? Who's there?

He leaps to her and seizes her hand before she can run away.

Agathe screams.

He puts his hand over her mouth. She struggles, but he is too

strong.

Monster No! No! Friend!

IVith one hand he holds her, and with the other he reaches to the

table and picks up the apple, which he puts into her hands. As she
feels it he says again.

Monster Friend! Friend!

z
Agathe You're giving me an apple who are you? What do you want?
Seeing her relax a little, he releases her. She steps away at once, still

fearful.

Monster I have come . a long way help. Help me.

Agathe It was you that ate the bread — and brought the logs in?

Monster I will not hurt anyone. I am their friend. Friend of everyone. I

give you

He reaches for her hands and folds them around the apple again.

Not hurt anyone. Not kill, not hurt. Friend.

She releases her hands gently and puts the apple on the table.

Agathe Let me please, I'm blind, you see may I feel your face?
So I can tell what you look like?

Monster You see with hands?

Agathe It's the only way I can.

Monster No. Not touch me. No.

He backs away as she reaches for him.

34
Agathe But you can see what I look like.

He shakes his head, turning away, as her hands reach up to his face.

Monster No — not good, not good

Her hands are on his cheeks, his eyes, his mouth. Suddenly she
pulls them away and steps back.

Agathe I'm sorry

Monster I said not good.

Agathe You poor man!

He is puzzled.

Nfonster Man?
Agathe You must have suffered What's your name?
Monster No name. Please — you listen. I come a long way. I look for
friends. I have no home. Men
me, they hurt me dogs
see z
they shout, they throw stones. But I am good I want to love
them, not hurt, not I come here — I see house I was

hungry, I take food. Pardon. Forgive me. Everywhere I go, they

hate me. Am I not good? I look bad. But I am good, I want to
help and love —a I help you? Bring you food, bring you wood?
Please! My heart is unhappy I stay here? You tell the man?

Felix
[Calling, off] Agathe are you there?
Agathe [Calling] Felix! Oh, Felix, listen to me
Felix runs Monster apparently attacking her and
in, sees the

Agathe apparently struggling to be free, and without hesitation

seizes the musket.

Felix Dear God! He's here

Agathe No, Felix! Don't! Don't shoot

Monster Tell him!

Agathe Don't Felix!

Felix
Out of the way Agathe, get down

35
But she turns to the Monster and clings to him, trying to shield

him.

Agathe Felix, listen —

The Monster, far stronger than she is, pushes her aside, and as
she falls Felix shoots.

The roar of the musket fills the stage. The Monster staggers and
cries out.

Monster AAAGGGGHHHHHHH!
Clutching his breast, he staggers to the door, where he clings to
0.1 the frame.

Agathe Felix! What have you done?

Are you hurt? What's he done to you?

He runs to Agathe and helps her to sit up, but she pushes him
away and feels for the Monster.

Agathe Oh, where are you? Where have you gone?

Felix Agathe! What are you doing? For God's sake, keep away
from him

She reaches the Monster and seizes his hand, but he thrusts
her away.

Monster You want me bad! All of you everyone you all want
me bad!
Agathe No no

Felix runs to hold her and keeps her back from the Monster,
who pulls himself up and looks at them both with a face twisted
with hatred.

Monster Evil? Evil you want evil? — then I shall be evil! I shall be
terror and hatred and revenge revenge!

With a mighty howl of anger, he runs off.

Agathe Oh, Felix! What have you done?

36
Felix You didn't see him, Agathe and you don't know what he's
done already! The villagers have been hunting him for days

Agathe We should have understood him, Felix. He was an outcast just

like us. We could have helped him he begged for it! What
have you done to him now? Have you made him evil forever?

She pulls herself away from him and nms out. Felix makes as if to

follow, but stops and sits down in baffled defeat. A long way off we
hear the Monster.

Monster [Howling faintly, OJI Revenge! Revenge!

37
Act 3
Frankenstein's study in Geneva. The
shape is the same as that of the roont in
Act One. There is no bench nor shelves of
medical specimens; othenvise it is much
the same, Frankenstein is sitting at his
desk, his head resting on his anns.

The shutters are closed and the room is lit

by a lamp and by the flickering firelight.

moment or two, the door opens and Elizabeth comes

After a in,

Frankenstein looks up.

Frankenstein Any news of William?

Elizabeth No. One of the saw him playing by the lake at four
village girls
o'clock she heard the clock chime, so she knew what üme it
was, He was on his own, under the trees. But, Victor, he's
played there dozens of times! It's perfectly safe!

Frankenstein Iknow, I know he can't have gone far. I expect he'll turn up
soon he's bound to,

He gets up and opens the shutter to look out. It is dark outside.

Elizabeth sinks anxiously into a chair.

Elizabeth Oh, what can have happened? Something's wrong, I know it,

Victor! Did I tell you about my dreams?

Frankenstein [Still at the window] Those dreams again?

Elizabeth I them out of my head. There's a monstrous figure

can't get —v

I can't see him clearly, but when he appears, there's such a

sense of doom and horror that I wake up crying with fear

what can it mean, Victor?

Frankenstein Itmeans you need some laudanum to help you sleep. I'll give
you some later.
38
Elizabeth You don't think I'm going to sleep till they find William, do you?

Frankenstein No. No, of course not wait. There's someone down there.
There's a group of them .

Elizabethjumps up and runs to the window.

Elizabeth It's the priest What's he carrying? Oh, no it can't be

She clings to Frankenstein.

It's William — he's dead

With a desperate cry, she runs from the room. Frankenstein sinks
to his knees in despair.

Frankenstein [Groans] Oh, dear God, this is my doing! I know who did this
— why did I ever start this cursed thing?

Suddenly the window is flung open. Crouched on the sill, zvearing

a long, black cloak, his eyes blazing, is the Monster.

Monster Frankenstein!

Frankenstein Demon
He springs Monster as if to kill him, but the Monster leaps
at the
lightly into the rooni and easily brushes him aside. Frankenstein

falls, butjumps up again and grapples with him.

Frankenstein Murderer! You did this, didn't you? You killed my brother!
Monster! Vile thing!

Alonster I am exactly what you made me, Frankenstein.

They struggle together. There is a cry outside and the door handle
turns.

The Monster lets Frankenstein go, sweeps the hood of the cloak
up to cover his face, and sits down with his back to the door.

Frankenstein staggers away and opens the door. Elizabeth is

there. She clings to Frankenstein, weeping. He has to let her come

in. She does not see the Monster.

Elizabeth Strangled! He was killed, Victor strangled they found his

little body down by the shore
39
Frankenstein Oh, no no

Elizabeth What did he ever do to deserve that? He was the kindest little

child — the sweetest little boy he never hurt a Oh, Victor,

it's too cruel! I can't bear it

She sobs in his arms. He stands stiffly, conscious all the time of the
Monster.

Oh, Victor, come down you must come and help me — I

can't manage on my own please Victor, I need you —

She stops suddenly. She has seen the Monster. A moment's
petrified silence.

Elizabeth [Screams] Oh, Victor what who —

Frankenstein Leave us, Elizabeth. I must talk to my visitor. I'll come
down in

Z Elizabeth But who is it? Oh, dear God, Victor, what are you doing? What
have you done? Oh, am I going mad? I can't bear it—
Z Frankenstein I'll explain everything, Elizabeth. But not now. I must talk to

this gentleman. Believe me, it's desperately important.

z
Elizabeth Victor, your little brother has been murdered! He's lying
downstairs! Oh, can't I make you understand?

She mns to the Monster and places a hand on his shoulder.

— you must make

Please, sir my cousin help me — tell him to
come down with me and —

The Monster turns to look at her. His hood falls back: she sees

his face.

Frankenstein

Elizabeth [Screams] The dream! The figure in the dream — Oh, God,
help me
She runs Frankenstein moves helplessly
out. as if to follow, but
the Monster is on his feet, holding him back.

40
Monster Let her go. You must listen to me novv' and do as I say. The
time for regrets is past.

Frankenstein Monster! I didn't create you to do evil — why have you

betrayed me?
Monster I — betray you? knew how to laugh, Frankenstein, I'd shake
If I

the house with scorn. You are the betrayer you created me,
and you made sure I could never be happy. Isn't that betrayal?

Frankenstein No! I swear it wasn't like that. I made you, yes

Monster And soon as you saw what you'd done, you turned away in
as
horror and left me to find my own way through the world — a
creature everyone turned from with disgust and loathing — a
vision from a nightmare! But do you know the cruellest thing
of all? It was that I wanted to love. I came to life full of

goodwill and friendship for every living creature — I wanted to

help them and protect them and give them all the love I felt
for them and when I tried, they stoned me and shot at me
and set their dogs on me and even the dogs turned away in
disgust Frankenstein, has any man in history ever been
more cruel than you have been to me?
Frankenstein You killed my little brother! Is that love? Is that goodwill?

Monster Listen! And I'll tell you everything.

He releases Frankenstein, who falls into the chair. The Monster

walks up and down as he speaks; Frankenstein hides his head in
his hands, occasionally looking up to reply — the very picture of

despair.

Monster When I came to life I knew nothing. I didn't know who I was,
I know what the world was things had no names. The
didn't
only thing I knew was pain, but I didn't know that that was till
much later, when I found out what it was called. Everything
was new, Frankenstein. Do you know how beautiful things are
when they're new? Or have you forgotten?
Frankenstein Get on

41
Nionster All, yes. I went down into the town, and they called out their
dogs. Creatures full of beauty, with soft fur and bright eyes. I

wanted to kneel down and pet them and play with them, but
they tore at me with their teeth, and then I Imew fear for the
first time. I ran to the forest, where it was quiet, where there
was cool water to bathe my flesh, The moon came up Oh,
Frankenstein, to see the moon for the first time! And I found
out what sadness was, and loneliness. Those other beings like

myself— they stood upright, like me — they'd thrown stones

and shouted harsh words at me, but they had companions,
fellows, friends. Couldn't I find a friend? So I began to look .

Frankenstein Where? Where did you look? And how did you learn to speak?

Monster By listening. By hiding, and listening, and practising by

myself, I found a cottage in the forest where a girl and her
brother were living •—0 a blind girl, the only piece of luck I ever

z
had, She couldn't see me. We spoke together; Oh, I would
have been her slave, I would have helped them and worked for
them, would have done anything if they'd only accepted me
I

but her brother shot me with his musket as if I were a wild

beast. It broke my arm. The bullet's still in my shoulder. That
was when I found out what pain was really like. All alone in
the icy mountains, weeping, crying with rage and loneliness
Frankenstein, you can't imagine how I suffered. If you could
imagme it, you'd be on your knees praying to your God for
forgiveness.

Frankenstein My God?
Monster Your God has nothing to do with me. You are my God. You
made me, and you owe me happiness. Listen, and I'll tell
you the last part of my story. When my wound healed, the
bitterness and hatred ebbed away a little; I was still ready
to love, still ready to trust you see what you'd made,
Frankenstein? A creature better than yourself, perhaps? A
nature more noble? Who knows what might have happened if
well, I was more cunning by then. More cautious. I thought
— it's only grown men and women who hate me; they've
learned to be suspicious and to think the worst of people.
42
But if I could find a child, a little innocent creature with
no hatred in its heart, then I could take it with me to the
wilderness and bring it up as my
companion and we should
love each other and live in peace and goodwill with all living
creatures

Frankenstein No! No — not my brother

Monster Be silent.

At this point either in the darkness at the back of the stage, or from
a trapdoor in the centre of it, a child silently appears. He is dressed
in white, with a white expressionless mask, playing silently: the
Ghost of William. Frankenstein and starts up, but the
sees,

Monster holds him back. Frankenstein watches in horror as the

Monster acts out with the child what he is describing, the child

also miming.

I found such a child a creature like an angel, playing on his

own beside the lake. I took his arm Oh, gently, Frankenstein,
I had no wish to hurt him, I said, 'Come with me, little one' —e

and he looked me, and he screamed. I said, 'No, hush, I

at z
shan't hurt you, but you must come with me' and he said,
'I shall tell my brother, Herr Frankenstein! He'll punish you,
ugly monster!'

Frankenstein Oh, no — no

Monster I put my hands mouth to silence him, because I was

to his

afraid. And your name resounded through my head. You, the

creator of my misery. You, the source of all my unhappiness.
Frankenstein, a name to curse forever! And in that moment I

thought Frankenstein is my enemy and I can hurt him. I can

destroy what is his. I can make him unhappy as he made me
and I killed your brother, and I laughed! Yes! The one time I

have ever laughed. And now you must do something for me.

Frankenstein Never! I shall destroy you

He leaps at the Monster, who easily pushes him away.

Frankensteinfalls to the floor.

43
Monster Not yet. Did you create me to be evil?

Frankenstein

Monster Did you intend me to be cursed and hated by all mankind?

Frankenstein No, never
Monster Did you create me to be good to be like human beings but
stronger, nobler, kinder to be an image of what humanity
might be?

Frankenstein Yes, I did. I intended all that. But

Monster Then finish what you have started! How can I be good alone?
How can I love, when I'm met with nothing but hatred and
disgust? Give me a creature like myself, Frankenstein! Give
me a mate a wife a friend, and we shall leave you alone
forever. We'll go far away from this country, we'll leave Europe
z altogether, we'll live in the desert or in the cold wilderness of
the north — we can survive there where humans can't. But I

must have a companion! Foxes bears —e wolves have their

mates; every bird has its partner; even rats and mice have
their nests, their homes, their families am I to be the only
creature in the universe doomed to live alone? Frankenstein,
that would be too me be the kind Of creature you
cruel. Let
want me to be loving, peaceful, harmless, gentle. Let me
have someone to love someone like myself. Make me a
companion make me a wife!

Pause. Frankenstein gets up, walks to the window, and leans his
head on the wall, as if in anguished thought.

Frankenstein You swear you'll go then, and not come back?

Monster I swear it!

Frankenstein God forgive me I'll do it. It was wrong of me to start; but it

would be worse not to finish You can argue well, Monster.

Monster At last! At last I can hope for something , how long?

Frankenstein Two years.

44
Monster Two years!

Frankenstein I'll have to from the beginning again, you realize. At

start

least this time I won't have to rely on lightning... I've got an

electrical machine that's much more powerful than the old
one. But I can't hurry the task, Do you want it done properly?
Monster Of course. Of course, yes, take your time. I can wait. But in
two years' time, I shall return.

Frankenstein In two years' time, it will be ready. But if I hear of you before
then, I shall destroy it, and that will be the end.

Monster You'll hear nothing. I'll be out of sight, but I'll be watching.

He opens the window and springs on to the sill.

Two years, Frankenstein!

He leaps away.

Frankenstein sinks to the chair.

Frankenstein What have I done? And yet he was right, I must do it

A knock at the door, and Clerval enters, wearing a heavy overcoat.

Clerval Frankenstein I've just heard the news about your brother
my poor fellow! They're hunting the murderer with dogs.
They'll find him, never fear.

Frankenstein It's too late, Clerval. They won't find him out there.

Clerval You think not? But my friend,

you must come down.
listen

Elizabeth needs you. There are things to be done

Frankenstein gets up wearily.

Frankenstein
Yes. You're right. Oh, Clerval, is there a curse on my family?
Clerval A curse? No, no, Only bitter misfortune.

Frankenstein leaves. Clervalgoes to follow him sees the open

window goes to close it looks out. He seems to be seeing the
Monster disappearing in the distance, because he starts with
surprise, looks at the door, makes as if to call after Frankenstein,
then changes his mind and shakes his head,
45
No it's a trick of the light. It's not possible. But I could have
sworn — [Calling] Frankenstein! I'll come with you!

With a last wortied look around, he goes out. Darkness falls.

Act 14
The same room, two years later. The main
difference lies in the fact that there is a bench with a
form on it covered by a sheet — the Nfonster's Bride
and, connected to it by all manner ofcomplex wires
and clips, a large electrical machine similar to the
small one we saw in Act One, but as tall as a man,
and equipped with brass terminals.

The shutters are closed; the light is dim. After a

moment, we hear a key turning in t/le lock, and
then the door opens, and in come Elizabeth
and Clerval. She is carrying a lamp.
(9
He shuts the door carefully, after listening to make sure that no one z
is coming. She puts the laniP down on the table.

Elizabeth We haven't got long he'll be back in an hour or so. I feel like

a traitor, like a spy

Clerval Don't. I'm as suspicious as you are, and I think I know

He sees the sheeted form on the bench, which she still has not
noticed. He helps her to sit down with her back to it.

I'm pretty sure I know what he's doing.

Elizabeth But to keep the room locked for two years! And forbid anyone
to come in! It's like he mad, Henri? He
Bluebeard's castle .
Is
hasn't been the same since before William was Since he
went away to University, in fact.

Clerval No, I don't think he's mad, Elizabeth. Not mad in the sense of
incapable, anyway. He's a genius. He's the greatest man of
science the world has ever seen

Elizabeth Ifyou tell me that, then I believe you. But why is he so

unhappy? He's like someone haunted by a demon. Surely a
great genius should be happy with the work he's doing?
Clerval Not if that work is like his.

Elizabeth But what's he doing? What's he got in here? Why won't he let
anyone in? I've thought of stealing his key and letting myself
in dozens of times, but I was too afraid of what I'd find and
yet I couldn't imagine what it could be Thank Heaven you
came back from Ingolstadt, Henri.

Clerval I think I know what he's doing. I only hope I can prevent him
from doing it again. And I think I know who killed little

William. Elizabeth, you must be brave.

Elizabeth What do you mean? Surely not that Victor himself — but that's

not possible! What is he doing?

She looks around wildly and sees the bench. She stands up
suddenly.

What's that?

Clerval Don't look! I suspected this. Elizabeth, you mustn't touch it

He holds her back from going to look at it.

Elizabeth Then tell me! Tell me what's going on, I beg you!

Clerval Victor is creating life.

Elizabeth Creating . I don't understand. Creating life? Now I think I'm

going mad what is that under there?

Clerval Listen. When you came to his rooms in Ingolstadt, he'd just
finished showing me an experiment — a horrible thing — with a
hand — a human hand, taken from a dead body. He could
animate it by passing electricity along the nerves. And more
than that he'd put together a complete creature an artificial

man. Do you remember the storm that night?

Elizabeth I've never heard such thunder — Oh, Henri, this is appalling
he's made a —a
Clerval A man, a being, and by attaching a wire to the roof he
conducted electricity down from the lightning and brought
it to life. He didn't want me to see at least, he was proud of

48
what he'd done, and wanted to show someone; but when it

came to life I think he was as shocked as I was.

Elizabeth And it did come to life?

Clerval Oh, yes. And this is something I've never told anyone: I saw it
on the afternoon William was killed. From this window — down
by the lake, among the trees, just as night was falling — a
monstrous figure leaping away into the darkness.

Elizabeth looks at the bench.

Elizabeth His visitor . i.. The man I saw in his room!

Clerval And that looks like another one.

Elizabeth Oh, this is horrible!

She clings to him.

Clerval Elizabeth, you must go downstairs. I'm going to destroy this

thing. If he comes back while I'm here, you must keep him

away.

Elizabeth Yes -—0 yes. He mustn't finish it. Oh, this is a nightmare

He opens the door for her.

Clerval Remember -- do all you can to keep him downstairs while I

finish this.

Elizabeth Yes. But what'll he do when he finds out?

Clerval Then we'll have to talk to him. There must be some other way
for him to use his gifts

She goes out. He shuts the door and turns back to the bench,
preparing himselffor what lies under the sheet. He goes to the

bench takes the corner of the sheet as if to fling it aside then

hesitates, and looks around for something. Then he spots it: a large
knife, like a cook's knife. He holds it up, testing the blade, and is

about to pull the sheet aside when suddenly the shuttersfly open
with a crash. In the window, gigantic, enveloped in his cloak, is the

figure of the Monster.

49
Monster Don't touch her!

Clerval staggers back with a shock, and the Monster leaps down
into the room.

He has sent you to do this?

Clerval No! He doesn't know I'm here. It's my idea to destroy this
thing, and I'll do it — and if I can, I'll destroy you too!

Monster And that's humanity for you, in a nutshell. Stand away, man.

Clerval makes as ifto attack hijn, but the Afonster easily brushes
him aside.

9.9
Monster He made me too well. I'm disgusting to look at, I smell like the
grave but I'm too quick and too strong for you, Man,
whoever you are. Where is Frankenstein now?

Clerval On his way home.

Another attack. This time Clervalfalls, and the Alonster bends
down and snatches the knife from him.
z
Monster You'll never beat me like this. Why don't I kill you now? Why
z don't I snuff your life out like a candle? Shall I tell you? It's

because he, cursed though he made me better than your

is,

God made you. It's because when I see a living thing I revere
it — I want to cherish it and love it. When a human sees a living

thing, his first impulse is to destroy it.

Clerval That's not true!

Monster Try living like me, and you'll soon find out how u-ue it is.

Clerval And the little boy?

The Monster stands up and looks away.

Monster That's the one occasion when I behaved like a human being.
As a result, it's the one thing I'm ashamed OE

He goes back to the bench and pulls down the sheet to disclose the

form of his Bride. She is chalk-white, with coarse black hair like
his, dark lips, a red scar zigzagging down her face, as hideous as

50
the Monster, in fact. She is dressed in a long white garment like a
shroud. Her eyes are closed: she is not yet alive, As the Monster
looks at her, he shudders and turns away for a moment; but then he
makes himself look back.

Monster Beautiful , not like a human being. But we have our own
beauty, she and L Soon you'll wake up, my bride soon we'll
be together

Clerval A female
Clerval comes to 100k, and recoils in horror.

Monster A companion! Don't worry, man. We'll go off into the

wilderness together, we'll live in peace and kindness

Clerval And what'll you do then? Bred?

He springs to the electrical machine and tears out a handful of

wires before the Monster can stop him.

I'll never let it happen!

The Monster roars with anger then leaps on Clerval and pulls
him away from the machine, but Clerval pulls free and grabs
another wire. He is about to tear it loose when the Monster strikes

him down. He falls with a cry.

Clerval Aaaggghhhh!

The loose end of the wire is still in his hand. The Monster strikes

him again and again, until he is Unconscious.

Monster Murderer! Destroyer! My bride you've killed my bride

IV'hen Clerval is still, the Afonster seizes the wire from his hand
and stands in helpless agony, looking at the Bride and the loose
wires that trailfrom the machine.

Monster You shall live! You shall livel

Feverishly he tries to connect the wires up again.

Where do they go? Where do they go? Frankenstein,

Frankenstein!

51
Suddenly the door bursts open. Elizabeth is standing there,

together with a Servant holding two pistols.

Elizabeth There [gasping with shock as she sees t/le Monster] ahhh!

Servant In God's name, my lady what is it?

Elizabeth He's killed Monsieur de Clerval — shoot! Shoot!

The Servant ai;ns both pistols at the Monster and fires. The
Monster staggers back with a cry,

Monster Aaaagggghhhh!

Elizabeth runs to the body of Clerval and kneels beside him. The
Servant tries hastily to reload — but the Monster recovers himself
and leaps on him.

Servant No! No
Monster All killers all destroyers every one of you
z
He strikes the Servant down as he did Clerval. Pausing only to

staredown at Elizabeth withfeverish hatred, he springs back to

the Bride and attaches the last wire to her head

Monster My bride awake! Awake!

He starts to turn the handle of the great machine. Elizabeth

watches in horror.

Elizabeth No! Don't do it.

The terminals begin to spark and an electrical hum fills the air.

Faster and faster, the Monster turns the wheel, groaning with
effort. The electrical noise increases, sparks fly, but the Bride does
not move.

Monster She's not moving she's not coming alive they've destroyed
you! No wait — another wire
Still turning the wheel with one hand, he reaches down and picks
up the last loose wire. He looks with desperate urgency to see where
it goes, then lets go of the wheel, which continues to turn of its own
accord with the momentum, and bends down to slip hisarm under
52
her shoulders. He lifts her up, with the wire in his other hand -
brings the wire down to touch her heart — and suddenly she
convulses into life with a terrifying scream.

Elizabeth Oh no! No!

She crouches in fear as the Monster and his Bride cling together
in a desperate embrace, surrounded by sparks and a powerful
humming and crackling.
Monster [Howling] Live! Live!

The Bride cries out. Suddenly the door is flung open.

Frankenstein stands there, looking around with horror.

Frankenstein Clerval! Oh no — Elizabeth!

Elizabeth Victor — stop them! Stop them!

Frankenstein leaps to the machine. The Monster, still holding the

Bride, cannot stop him as he pulls out handfuls of wires, scattering
sparks everywhere and making the strange light from the machine
surge, fade, and flicker.
Monster No! No she's mine — she's alive

The Bride suddenly throws her arms up straight, her fingers z

clutching at the air, and then falls lifeless in his arms.

Frankenstein Never! She'll never live now! Monster, what have you done?

The Monster looks down at her with horror and then lowers her
gently on to the bench,

Monster What have I done, you say? Nothing — compared to what I'm
going to do

Before Frankenstein can Stop him, the Monster leaps towards

Elizabeth and seizes her by the throat.

Elizabeth No! Help Victor

Frankenstein Put her down! Don't do it u—

T/ie Monster, with horrible snarls of rage, strangles her and drops
her lifeless on the floor, then stands laughing as Frankenstein
throws himself to his knees beside her.

53
EPilOgUe
Enter Captain Walton dressed as in the Prologue.

During Walton's speech, the lights slowly fade up to the same

intense brightness as they reached during the Prologue.

Captain Walton So was the story Frankenstein told me, When he came to
that
the end, he fell back exhausted, near to death. I left him in the
care of one of my men, and went out on deck to breathe the
cold air and think for a while about the incredible things I'd
heard. But I hadn't been there for long when was a cry
there
from below. I ran down to the cabin and saw the Monster
crouching on the window-ledge. I shrank away in fear, but the
Monster didn't move for Frankenstein himself lay dead
below him. The effort of telling his story had been too much.
The creature looked at me and said 'It's ended, then. It's over.'
I said 'And what will you do now?' He looked out at the waste

of snow and ice, and said, 'I go north until I can go no

shall
further, and then I'll set fire to my sledge and lie down in the
flames until my bones have turned to ash. They tell me that
human beings have something called a soul that lives on after
their bodies die. I hope I have no soul. All I want now is

oblivion Then he turned and leapt down on to the ice, and

drove his sledge away at a furious pace. A minute later he had
vanished in the sunlight and the silence.

For a moment there is bright light and then darkness falls at once.

55
EPilOgUe
Enter Captain VValton dressed as in the Prologue.

During Walton's speech, the lights slowly fade up to the same

intense brightness as they reached during the Prologue.

Captain MTalton So was the story Frankenstein told me. When he came to
that
the end, he fell back exhausted, near to death. I left him in the
care of one of my men, and went out on deck to breathe the
cold air and think for a while about the incredible things I'd
heard. But I hadn't been there for long when there was a cry
from below. I ran down to the cabin and saw the Monster
crouching on the window-ledge. I shrank away in fear, but the
Monster didn't move for Frankenstein himself lay dead
below him. The effort of telling his story had been too much.
The creature looked at me and said 'It's ended, then. It's over.'
I said 'And what will you do now? He looked out at the waste

of snow and ice, and said, 'I shall go north until I can go no
further, and then I'll set fire to my sledge and lie down in the
flames until my bones have turned to ash. They tell me that
human beings have something called a soul that lives on after
their bodies die. hope I have no soul. All I want now is
I

oblivion Then he turned and leapt down on to the ice, and

drove his sledge away at a furious pace. A minute later he had
vanished in the sunlight and the silence,

For a moment there is bright light and then darkness falls at once.

55
56
OXFORD PLAYSCRIPTS

Oxford Playscripts is a powerful series of engaging plays especially

selected for I I to 14 year-olds.

The series features:

0 Exciting adaptations of Inodern and classic novels, and a range of

original plays

Motivating activities focusing on perförnutnce, close text analysis,

language and structure, together with varied creative tasks

Insights into the plays by the authors and adapters

Notes on props and staging

Frankenstein is the famous story ofa young man who thinks he can
change the world by making better human beings. Instead he creates
a living monster with a mind of its own...

ISBN 978-0-19-831498-1
OXFORD
UNIVERSITY PRESS
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