Frankenstein vs The Hunchback of Notre-Dame

by Charles Nodier; Victor Hugo

  ZAMETTI (disturbed): What! How?...

  CECILIA: He told me, but fear not. He didn’t confide your secrets to me. Today, I still want to respect them. (smiling) But tomorrow, don’t forget that you must no longer keep any secrets from your wife.

  ZAMETTI: Oh, believe that only the strongest necessity–

  CECILIA: Shh. I’m not asking anything of you now. I don’t want you to give me the least explanation about your evening. But take my father’s advice: rest now. Your features are drawn, marked by too many sleepless nights. O my friend, from now on, let us be the only and sweetest subject of study for each other.

  ZAMETTI: Dearest Cecilia.

  CECILIA: Think carefully–if all my love and my efforts cannot dissipate the profound sadness and dark melancholy that, even now, I see on your face, then I can’t but think that you no longer love me. That thought will poison my life and, soon, dearest Zametti, you will have lost your Cecilia.

  ZAMETTI: What are you saying? Ah, I’d rather die a thousand times than cause you pain but for a moment! You ask that I abandon my labors? Very well, I intend to obey. Starting from tomorrow, this laboratory will be shut forever. I will deliver myself entirely to you, my Cecilia. I will be the happy possession of an adored object, and no other thought, no matter how foreign, shall come to distract me from my love.

  CECILIA: You are making a promise. I ought to... I want to believe it. I’ll now catch up with my father. (smiling and giving him her hand) Goodbye, my dearest friend, goodbye.

  ZAMETTI (kissing Cecilia’s hand): Tomorrow I will start a new life.

  CECILIA: Remember your oath. Goodbye!

  (She leaves with two other servants. Zametti, who watches her longingly as she departs, follows her to the door. Then, alone, he slowly walks towards the audience. Night has fallen. The stage is not lit, except for a lamp placed on the table in the foreground. Music depicting a storm rises.)

  ZAMETTI (alone): Yes, I swore an oath–but for tomorrow, tomorrow. Tonight remains mine. Must I leave such an enterprise incomplete? After so many years of work–the master of such an extraordinary power... Will I see it, then, destroyed without being able to hold its fruits in my hands? (pointing to the laboratory) The object of my experiment is there. If I were to succeed... (taking a step, then stopping) But all their ominous warnings dismay me! Perhaps another power, jealous of my triumph, seeks to thwart me by sowing doubts and fears? That is possible... (rain and thunder) What a dreadful night! The whistling of the wind is mixing with the rolls of thunder and the rain is falling in torrents. Such a project as mine demands such a night, however... (taking the lamp) Maybe one last try, then–but no imprudence! No presumptuous act! (stopping after a moment of silence) Yes–let’s go!

  (He climbs the stairway and enters the laboratory. Meanwhile, Pietro enters by a side door carrying a lantern.)

  PIETRO (as he enters): My master has gone. I bet that he is in his laboratory, in the midst of his crucibles, his alembics and his whole arsenal of devilish crockery. Yet, he must get up early. Miss Cecilia has asked me to make sure of it. (he bumps into a chair and drops his lantern, which goes out) My God! Here I am, alone, in the dark! What’s going to become of me?

  (Suddenly, a bluish flame appears in one of the laboratory windows.)

  PIETRO (curious): Heavens! What’s that? I’m burning to find out. I’ve never felt so filled with courage–that’s a good sign. Let’s go closer.

  (He climbs and looks through one of the glass windows. A sudden explosion can be heard. The blue flame becomes red.)

  ZAMETTI (from inside the laboratory): What have I done? What have I done?

  PIETRO (rushing down the stairs shaking like a leaf): What did I see? What did I see? (falling to the ground) O woe! Misfortune! I’m done for! (rising and scrambling away on all fours) I’m dead! Help! Help!

  (Zametti emerges from the laboratory, locks the door in terror and hurries down the stairs.)

  ZAMETTI: What Monster from Hell have I created? He breathed. His gaze was fixed on me! O Heaven! What work have I accomplished? What an object of horror! And it’s to arrive at this fatal result that I have deprived myself of rest? A frightful light is now penetrating my very soul. Already my punishment begins, already everything tells me that I have deserved Heaven’s justice. (listening) Everything is quiet now... Perhaps, the Monster has returned to nothingness... If only it were possible! Oh, no mortal could endure his presence–and I–wretch that I am–Olben, my son, my dearest Cecilia–I will no longer dare approach you. I am lost, lost forever.

  (He falls, overwhelmed, into a chair. Suddenly, the door of the laboratory begins creaking loudly, being slowly forced open by the Monster. Then, the locks break. The door, torn from its hinges, smashes into the bannister, breaks it and falls down to the stage.

  The Monster, wrapped in a huge cloak, appears on the threshold of the laboratory, framed by red flames. He rushes on stage, goes to Zametti and puts his huge hand on him.)

  ZAMETTI (rising, shocked): Great God! It’s him! I’m doomed!

  (The Monster looks attentively at Zametti, steps back, then for a second time approaches his creator, who recoils before him.)

  ZAMETTI: Monster, do not come near me! Withdraw or fear my wrath! No, no. What am I saying! You must not, cannot leave here...

  (Zametti draws his sword and seeks to kill the Monster. But the Creature easily snatches the blade from his hands, breaks it and disappears into an abyss of darkness which opens suddenly.)

  CURTAIN

  Act II

  Scene III

  Another part of the same forest already seen in Act I. A rock to the right in the background. AT RISE, Janskin is seated on the side of the stage. Gypsies are arranged around a large fire over which a cauldron is suspended. Some are asleep. Others gamble and drink. The stage is half-obscure.

  JANSKIN (to himself): Cecilia can’t be late coming. Only a few more hours and–dare I hope?–my father’s curse will no longer weigh on me. My father! Yesterday evening, he didn’t suspect that it was the hand of his own son which so tenderly clasped his. Oh! I would have given my very life to press him to my heart. But that moment is merely deferred. As to Zametti–if he were to have accomplished his dreadful project, then, all hope would be lost. Fortunately, my friendship prevented his audacity–he gave me his word. He’s marrying my sister today and this marriage will preserve him from all the dangers that his fatal ambition would otherwise expose him to.

  (Petrusco enters, running.)

  PETRUSCO: At last I’m back. (giving a letter to Janskin) Here, this is a letter that a villager gave me for you.

  JANSKIN (taking the letter and reading): “I won’t be able to come to our meeting because I can’t leave our father, but I spoke to him. I’ve already sounded his heart and everything gives me hope that this very day, he will pronounce your pardon.” (clasping the letter to his breast) Oh, joy! Oh, happiness! (to Petrusco) Well, what else do have we to worry about?

  PETRUSCO: Nothing. The Police, deceived by my clever tricks, have been misled into looking for us elsewhere. Besides, I left two of our men at the entrance to the forest. If they return, they’ll warn us in time.

  JANSKIN: So then, we can, without danger, remain camped in this part of the forest. (to the Gypsies) But our supplies are running low. Go get more and return promptly. (to Petrusco) They’ll spend the rest of the day celebrating.

  PETRUSCO: Yes, yes, it’s agreed. Now, let’s depart, hurry up! (there’s some movement to leave, but suddenly, at Petrusco’s voice, everyone stops) Silence! Someone’s running from that side.

  JANSKIN: Can it be one of our men? Coming to warn us that the Police–

  PETRUSCO: No, it’s one of the villagers.

  JANSKIN: I recognize him now. It’s Zametti’s servant. He seems terrified. What does it mean?

  (Pietro enters and crosses the stage running, often looking behind him–as if someone was pursuing him–and not noticing the Gypsies.)

  PETRUSCO (barring his
way): Stop!

  (The Gypsies surround Pietro.)

  PIETRO (stopping, terrified): Ah, good God! A den of thieves! I’m done for! Mercy, mercy!

  GYPSIES (angry): He called us thieves!

  PETRUSCO: We’re Gypsies, do you understand?

  PIETRO (trembling): Yes, yes, brave and honest Gypsies, if there ever were any, and I’m quite sure you wouldn’t want to do any harm to a poor devil such as I.

  JANSKIN (whom Pietro has not yet seen): Come closer and fear nothing.

  PIETRO (aside): Him again! Decidedly, I meet him everywhere I go.

  JANSKIN: Come closer, I tell you.

  PIETRO: Yes, yes, sir! I’m coming closer. Here I am.

  JANSKIN: Answer. Where were you going?

  PIETRO: To Old Man Olben’s cottage. He’s a blind old man who dwells–

  JANSKIN: I know him–and where are you coming from?

  PIETRO: From my master’s castle.

  JANSKIN: Why this precipitous rush? You seemed terrified–what harm–

  PIETRO: Oh! There are plenty of reasons, I assure you. If you knew what happened last night at the Castle, especially what I saw...

  JANSKIN (aside): Great God! Could Zametti have forgotten his oath? (aloud to the Gypsies) Go, my friends! Leave here at once!

  PIETRO: Can I leave too, excellent sir?

  JANSKIN: No, you stay.

  PIETRO: But–

  JANSKIN: Stay, I tell you. I want to speak to you.

  PIETRO: I want to speak to you–after we’re alone.

  (The Gypsies leave. Pietro and Janskin remain alone.)

  JANSKIN: Now tell me, when I left Zametti last night, near the sarcophagus in the forest, did he go away immediately?

  PIETRO: No, he stayed.

  JANSKIN: And what did he do?

  PIETRO: Upon my word, I can’t tell you precisely because my master cast a spell on me. He did it like this– (gesturing) and I stayed so–

  JANSKIN (aside): The wretch! Ah! I tremble–if he was able to obtain... (aloud) But what took place at his castle that was so frightening? What did you see?

  PIETRO: Damnation! I saw–I can’t very well tell you what I saw, because when you’re afraid, you can’t see. All that I can tell you is that I thought I saw something in my master’s laboratory–something horrible–it was a face, a body, a Monster... No offense intended, but there are some in your tribe–with all due respect–that are not among the handsomest of men, you will agree. And yet, I’ve never seen anything as ugly as that creature.

  JANSKIN (aside): No more doubt! The wretch has ruined himself–and my sister, and my father, too! Oh! May God at least give me the strength to help them and rescue them from the dreadful shadow that Zametti has now cast upon them all.

  PIETRO: Is that all that you wanted to know? Can I now–

  JANSKIN: Yes, you may go now, but say nothing of this to anyone, especially not to Cecilia–for if you were to speak...

  PIETRO: I understand, sir, and since I now have your permision... (bows and moves away, but then stops and looks in the direction from which he came)

  JANSKIN (noticing Pietro’s behavior): Well? What are you waiting for?

  PIETRO: Beg your pardon, sir, but I think I hear my master.

  JANSKIN: Your master?

  PIETRO: Yes, it’s him. He’s running this way. Like me–fear has given him wings.

  JANSKIN (aside, watching too): The wretch! In what disorder–in what distraction–ah, no doubt about it, his punishment is beginning. (to Pietro who keeps looking at him) Go away!

  PIETRO: Yes, yes, sir. (aside) Let’s go quickly and look for the wedding party.

  (Pietro leaves from the right. Zametti, clothes and hair in disorder, enters from the left.)

  ZAMETTI: Go away, go away! Don’t come near me, living spectre! What do you want with me? Why are you attaching myself to my very steps? Am I then prey that you intend to devour? Yes, it’s I who called you into this world–that crime is indeed my work, and it’s for you to punish me for it. Come drag me into the hell I pulled you from–but at least, let me be your only victim.

  JANSKIN (aside): The unfortunate wretch! He’s gone raving mad! (goes to Zametti) Zametti!

  ZAMETTI: Who calls me?

  JANSKIN: It is I, Janskin, your friend.

  ZAMETTI: Janskin! Don’t come near me. You would become the accomplice of my crime. You would become like me–a horror to the Earth, cursed by Heaven, exposed to all the tortures of Hell.

  JANSKIN: Calm yourself, Zametti. Despite your crime, I feel only pity–

  ZAMETTI: Pity for me! I don’t deserve any! Did I myself show pity for my fellow men, when I cast upon the Earth my execrable enemy? No, Heaven is just. Since the fatal moment when I dared to cross the bounds it imposes on humanity, its wrath has descended upon me.

  JANSKIN: True, your crime is a monstrous one, Zametti, but the divine power of mercy is infinite too. Perhaps it has already made the Monster which you called to Earth with your presumptuous ambition return to nothingness.

  ZAMETTI: No, no–during that night–that terrible night which saw me frozen in terror–then, I looked upon his face, the Monster’s face!–he fled–but his frightful image still pursues me everywhere, haunts me, terrifies me. I’ve left my castle, exhausted, haggard. I nearly succumbed at the entrance to the forest, but I can find no rest, no peace. I’m still shivering. I noticed that the Monster seemed to enjoy my fear–one might have said that the Genie of that accursed tomb was smiling at his work of destruction.

  JANSKIN: Calm down, Zametti. Perhaps your imagination has surrounded you with these dreadful illusions. Look around. Everything is calm here.

  ZAMETTI: Yes, for the moment, but soon... (listening and turning with terror) Don’t you hear? I think I see–

  JANSKIN: Nothing! Come, banish these idle frights and hear the language of reason, and friendship.

  ZAMETTI: Friendship! Do you dare to preserve yours for me?

  JANSKIN: I wanted your happiness and that hasn’t changed.

  ZAMETTI: There is no more happiness for me. Everything is over. Death, death alone that I am calling, can put an end to the frightful torments that are devouring me.

  JANSKIN: What are you saying? Didn’t you have the courage to do evil? Are you without strength to repair it? You want to die! I think that Cecilia cannot survive your loss. And what about your son–will you leave him without support on Earth?

  ZAMETTI (returning little by little to himself): Yes, my son, Cecilia, cherished objects, I have ruined you, ruined you forever.

  JANSKIN (in a solemn tone): Listen: Fate ordained what took place. Cecilia’s virtues ought to have kept you from the abyss. Now, these same virtues can still help you defeat Fate. Yes, I dare conceive hope. If you marry my sister, her candor, her innocence, her prayers will disarm the celestial wrath, and you can still hope for happy days.

  ZAMETTI: Dear Janskin! What consoling hope you are causing to shine before my eyes.

  (Gypsy music is heard.)

  JANSKIN: My men are returning. They will enjoy their festivities now. You must go to my father’s cottage. Prepare to lead Cecilia to the altar. I will soon join you there. Come with me, I’ll take you to the edge of the forest.

  (They leave. Suddenly, the Monster appears on the rocks. As he descends, he expresses in pantomime the effect the light and the air is producing on him.

  He notices the fire, which excites his admiration. He seeks to take a piece of lighted wood from the furnace, but quickly stung by the fire, he withdraws his hand and expresses pain.

  He hears the Gypsy music and listens in ecstacy. Diverse sensations are produced on him by the music. Upon the arrival of the Gypsies, he quickly withdraws.)

  PETRUSCO (to the Gypsies): Come, my friends, while we await the return of our leader, let us dance and play games.

  BALLET

  (Suddenly, the Monster reappears from behind the rocks. Everyone is shocked and terrified. There is much screaming and shouting. The Gypsi
es all escape and vanish.)

  CURTAIN

  Scene IV

  The stage represents Cecilia’s room in Olben’s cottage, and is open at the back. Far to the rear, we can see a small stream, crossed by a rustic bridge. Further back, there are mountains. On the one side, there is a door; on the other, a window.

  Three villagers are helping Cecilia to finish dressing. She is looking at herself in a floor mirror. Little Antonio, Zametti’s son, is there as well. Zametti’s servants are bringing presents to the intended bride. It is a very animated tableau.

  CECILIA: Here I am, ready at last. Thank you, thank you, my kind friends.

  ANTONIO: Well, Cecilia, are you happy with your dress?

  CECILIA: Yes, Antonio. Now your father can come when he pleases.

  ANTONIO: How pretty you are with all this finery. But, come here, see what pretty things–

  CECILIA: Yes, yes indeed. It’s all much too beautiful for me. (aside) I hope Zametti has kept his promise...

  ANTONIO: Nothing is too beautiful for you. (to the villagers) Let everybody know, do you hear? The wedding will take place at four!

  VILLAGE GIRL: Don’t worry, Master Antonio. There’s no one in the village who isn’t eager to witness our Mistress Cecilia’s happiness.

  CECILIA: Antonio, where is Olben?

  ANTONIO: He went ahead to look for my father.

  CECILIA: Zametti is late again... (aside) My God, I can’t help but worry. (suddenly a commotion is heard) But what’s that uproar? Here’s Pietro. Perhaps he will tell us.