Chapter Text
EVE: A FRANKENSTEIN STORY - EPISODE 1
INT. THE LABORATORY
[THE CLICK OF A TAPE RECORDER. QUIET SHUFFLING, WRITING, AND SLOW MOVEMENT]
VICTOR
Year two, day one hundred and fourty-three. From the files of Victor Frankenstein.
Notes on the process of cerebral transplantation.
For centuries, the organ considered responsible for life has always been the heart. In literal terms, it is responsible for the pumping of blood, providing oxygen to the limbs, the brain, and to itself. Metaphorically, the source of emotion, of joy, of pain. Heartache, a heart of gold, a broken heart. The symbol of love. The symbol of the soul.
Of course, none of this is true.
The heart is an engine, perhaps, the source of power. It beats, incessantly, but apathetically. There is no soul in its pulsing. This, instead, comes from the brain.
A single collection of fat and water, mostly, hidden within the skull, is connected to the billions of nerves and trillions of cells within the human body, powering our thoughts, our movement, our emotion. This, is the soul. Fat and water. Flesh and cholesterol.
Previous dissections from day three hundred and fifty-six have determined the human brain to be connected to twenty-three… twenty-four nerves in a direct network to the face, neck, and torso. The nerves stretch often no more than tenths of a millimetre in diameter. As stated in day sixteen, it is in the aspiration of these logs to define the proper procedure for the removal and reattachment of the cranial nerves from one subject to another, leaving the brain intact and functioning… reanimating life in a new form.
[A PAUSE. VICTOR FLIPS THROUGH NOTES.]
VICTOR (CONT’D)
Previous examinations of specimens from year one, days seventy-three to two hundred ninety-two, reveal no direct differences or deviations in size, location, or function for the cranial nerves between the male and female human sexes. The past six hundred and thirty days have been devoted to the searching of thread or adhesive capable of performing the transplantation without significant damage to the nerves…
[VICTOR’S VOICE TRAILS OFF AS FOOTSTEPS SOUND FROM THE DISTANCE, GETTING CLOSER]
CLERVAL, FROM A DISTANCE
Darling. What are you doing up so late?
[FOOTSTEPS SOUND CLOSER, CLERVAL’S VOICE APPEARS NEXT TO THE TAPE.]
CLERVAL(CONT’D)
I thought we’ve discussed this. Your refusal to sleep is putting unnecessary stress on your body. This is unsafe for you.
VICTOR
I have no issue in dealing with mild sleep deprivation.
CLERVAL
Unsafe for both of you.
[A BEAT.]
VICTOR
We have discussed that the child is not to delay my work, Clerval.
[CLERVAL SIGHS. THERE’S A SHUFFLING OF FABRIC AS HE MOVES.]
CLERVAL
I don’t know why you still insist on calling me that. It’s endearing, darling, but it’s been two years. And come next week, the name will be yours, too.
VICTOR [QUICKLY, INTERRUPTING]
Not mine. The child’s. Not mine.
[A BEAT.]
CLERVAL [GENTLY, QUIETLY]
Of course.
[A SILENCE. VICTOR SHUFFLES PAPER.]
VICTOR
I’m recording the last of this week’s findings. It’s easier to document on tape than on paper. Sturdier. Less prone to damage.
CLERVAL
Come to bed, darling.
VICTOR
I have work to do.
CLERVAL
Work that’s more important than your health?
VICTOR
Undoubtedly.
CLERVAL
Than us? Than the child?
VICTOR [HESITATES, THEN SOFTENS]
No, Henry, of course not.
[ANOTHER SILENCE. PAPERS SLIDE ACROSS THE TABLE - SLOWER SHUFFLING.]
CLERVAL
You’ve always been one to rush into your ambitions. There will be discoveries on God’s creations to come, my love.
[FOOTSTEPS.]
After some sleep.
[FABRIC RUSTLES.]
Discovery. Creation. Family. A wedding next weekend. A future ahead.
VICTOR
You’ve always been a dreamer.
CLERVAL
Yes, that’s why you love me so.
[RUFFLING OF HAIR. A KISS ON THE TEMPLE.]
Bed, Frankenstein. Now.
[TRANSITION - THE TAPE CLICKS ON AND OFF]
INT. RIGHT OUTSIDE OF A LECTURE HALL
[A PROFESSOR SPEAKS IN THE BACKGROUND. HIS VOICE ECHOES THROUGH THE ROOM.]
PROF. WALDMAN
The results of the oxidation of an alcohol are determined by the states of the carbon and its adjacent molecules. A primary alcohol’s functional group is found bonded to…
[HIS VOICE FADES AS THE SOUND OF QUICK FOOTSTEPS GETS LOUDER.]
STUDENT 1
Are you lost, Madam? The arts department was down the other corridor in the last hall you went through.
VICTOR
I… no. I’m here for natural sciences. Is this the Waldman lecture?
[STUDENT 1 SCOFFS.]
STUDENT 1
What’s your name, sweetheart?
VICTOR
Elizabeth.
STUDENT 1 [MOCKING]
Elizabeth. Beautiful. You need to go down the other corridor, last hall you went through.
[THE DOOR CLOSES. VICTOR HUFFS. MORE FOOTSTEPS APPROACH.]
VICTOR
Sweetheart. Honestly.
STUDENT 2
Are you lost, Madam? The arts department was down the other corridor-
VICTOR [INTERRUPTING]
Yes, yes, I’ve gathered as much. Thank you.
[TRANSITION - THE TAPE CLICKS ON AND OFF]
INT. A BATHROOM
[EVERYTHING HAS A SLIGHT TINNY ECHO. WATER RUSHES FROM A SINK, THEN IS TURNED OFF. VICTOR SIGHS.]
VICTOR [TO HIMSELF]
The arts department. Fees and a month’s travelling for the arts department.
[FABRIC RUSTLING. VICTOR PULLS OUT A PAIR OF SCISSORS. WE HEAR THE SOUND OF IT SNIP THE AIR. A HESITANT PAUSE.]
VICTOR [TO HIMSELF]
It’ll only be for the semester. Maybe not even. Mother won’t miss much.
[HE INHALES. WE HEAR THE SOUND OF SCISSORS THROUGH HAIR. THE WATER FAUCET RUNS AGAIN.]
[TRANSITION - THE TAPE CLICKS ON AND OFF]
INT. THE LECTURE HALL
[THE PROFESSOR’S VOICE IS HEARD AGAIN.]
PROF. WALDMAN
Of course, none of this would take place without the correct conditions…
[THE VOICE FADES INTO A MURMUR. VICTOR’S STEPS ARE HEARD, SHUFFLING THROUGH MULTIPLE SEATS.]
VICTOR [A LITTLE DEEPER THAN BEFORE]
Excuse me. Pardon- coming through.
[HE SITS.]
PROF. WALDMAN
And the reduction of this permanganate can be identified through the colour changes of?
[A PAUSE]
Yes, the gentleman in the back.
VICTOR
Purple to colourless.
PROF. WALDMAN
That is correct, Mr…?
VICTOR
Eliz… Frankenstein.
PROF. WALDMAN
Mr. Frankenstein. That is correct.
[TRANSITION - THE TAPE CLICKS ON AND OFF]
INT. FRANKENSTEIN LIVING ROOM
[A BIRD IS SINGING FAINTLY OUT THE WINDOW. FROM THE OTHER ROOM, MUFFLED LAUGHTER AND CONVERSATION. VICTOR SIGHS, THEN OPENS THE DOOR.]
CAROLINE
Elizabeth! My darling! I’ve been waiting far too long to see you again.
VICTOR [UNDER HIS BREATH]
We could have waited longer yet.
CAROLINE
Now, that’s no way for a lady to greet her mother. What kind of manners are they teaching you out there?
[CAROLINE’S QUICK FOOTSTEPS COME CLOSER. THEY STOP.]
CAROLINE (CONT’D)
No manners or etiquette at all, I’m afraid. My dear, you look like death itself.
VICTOR [EXASPERATED]
Yes, Mother, you said so the last time-
CAROLINE [INTERRUPTING]
Your dress barely fits you anymore! I had that specially designed for you - they feed you too well there.
VICTOR
Weights, Mother. It’s healthy.
CAROLINE
It’s unsightly, is what it is. And for God’s sake, if you’re not going to grow your hair out then at least comb it. You had lovely locks like your grandmother and me, and look what you’ve done to them.
VICTOR
I have a reputation to uphold in the laboratory.
CAROLINE [DRYLY]
Ah, yes. ‘Victor Frankenstein’. What those professors out there did to you. ‘Victor’. It’s a horrible, pompous name, doesn’t suit you at all.
VICTOR [MUTTERING]
Right.
CAROLINE [SUDDENLY BRIGHTENING]
But no longer! Marriage, Elizabeth! Just tomorrow! How lovely!
I know I’ve always spoken of this, darling, but to see the day finally approaching… it just brings me to tears. You’re a lucky, lucky lady after all the mess you’ve been in - he’ll be good for you.
VICTOR
And I for him, I hope?
CAROLINE
Well, a wife has her duties.
VICTOR
And I have mine.
[SILENCE. A TENSION DEVELOPS.]
CAROLINE
You intend to continue?
VICTOR
I see no reason why the marriage should stop my research.
CAROLINE
Well… it’s just… horribly morbid, don’t you think?
VICTOR
As much as it was two years ago.
CAROLINE
When you were working for a wage, perhaps it was necessary. But now-
VICTOR [INTERRUPTING]
I was never working for a wage, Mother, and the research will continue with or without a band on my finger.
[A BEAT.]
CAROLINE
And the child?
[VICTOR INHALES SHARPLY]
VICTOR
Henry and I will make do with both our schedules and tend to it as necessary.
CAROLINE
It is unheard of for a mother to-
VICTOR [INTERRUPTING]
We have spoken about this. The child’s conception, if I recall correctly, involved both of us, and both of us will take responsibility accordingly. And if my own experience provides any insight, perhaps it will prefer a mother less present.
[A SILENCE.]
CAROLINE
At the very least, you can drop the horrid name and pretense, now. There’s nothing wrong with a lady publishing under her husband’s name.
VICTOR
Henry doesn’t understand a word of my records.
CAROLINE
What does it matter if he doesn’t?
VICTOR
I am keeping the name.
CAROLINE
Why? My darling, why hide yourself in such a way?
VICTOR
I am not hiding, Mother.
CAROLINE
Elizabe-
VICTOR [INTERRUPTING]
The name may well reveal more than you’d like to realise.
CAROLINE [QUICKLY, EXASPERATED]
Oh, you don’t believe that.
[A BEAT.]
Or at least, you won’t. Eventually. And perhaps by then it will be too late to warn you.
[SILENCE.]
VICTOR
Good night, Mother.
[THE DOOR OPENS]
CAROLINE
Eliza-
VICTOR [INTERRUPTING]
I said good night.
[THE DOOR CLOSES. THE TAPE CLICKS OFF.]
[THE TAPE CLICKS ON.]
EXT. A RIVERSIDE
[THERE’S THE CHIRPING OF BIRDS, AND THE SOUND OF A BROOK NEARBY. FOLLOWING THE TAPE IS THE SOUND OF FOOTSTEPS, CRUNCHING THROUGH GRASS AND LEAVES. CLERVAL IS LETTING OUT A BRIGHT LAUGH.]
VICTOR
Honestly, Clerval, I don’t know why you bring yourself to places like this. The sun is blinding me, and I can’t hear myself over the noises.
CLERVAL
Maybe you need to get out of that head a little bit, then. Or out of that dorm. I swear I thought you were a ghost, coming into the mess so late, as pale as you are.
VICTOR
I might as well be - all this fresh air will kill me.
CLERVAL
Student of natural sciences, you’d think you’d know how to appreciate it all outside of your books. Sit down.
VICTOR
Mother insisted, with her new dress-
CLERVAL
Oh, you hate the thing. Sit down.
[WE HEAR THEM PLOP ONTO THE GRASS.]
CLERVAL (CONT’D.)
Stop thinking for a second, about next week’s assignment or the mechanisms of the liver or what extraordinary amounts of time you are wasting here. And just listen.
[SILENCE. WE ONLY HEAR THE RIVER AND BIRDS, A FEW GUSTS OF WIND.]
CLERVAL (CONT’D.)
Nature’s music. Isn’t it beautiful?
VICTOR
It’s lyrical nonsense.
CLERVAL
You’re a cold-hearted woman.
[A BEAT.]
VICTOR
I’ve called the ride back from Mother’s. When it arrives tomorrow morning, we’ll be able to make it back to our dorms before sundown.
[CLERVAL SCOFFS.]
CLERVAL [AMUSED]
Don’t you find it as dreadful there as I do? All the stuffy and snobbish people. And seeing you becoming one of them. Aren’t you tired of pretending to be their idea of a man?
VICTOR
I think I quite enjoy it, actually. Quite prefer it.
CLERVAL
Being snobbish?
VICTOR
Being a man.
[A PAUSE.]
CLERVAL
Why would you enjoy that?
VICTOR
I… don’t know.
CLERVAL
That’s a first.
[ANOTHER PAUSE.]
VICTOR
It feels right. Comfortable. Like slipping into your own skin. Familiar.
[PAUSE. VICTOR SIGHS.]
It’s the research, of course. More freedom to work.
[CLERVAL CHUCKLES]
CLERVAL
And what is it that this Victor strives for with this work? Glory? Fame?
VICTOR
Discovery.
CLERVAL
Of what nature?
VICTOR
Of nature itself. Its music, as you say. Life, in its fleeting, confined nature. Origins. Limits. Creation.
[THEY DON’T SPEAK, AND ALL WE HEAR IS THE BROOK AND THE BIRDS]
CLERVAL
It is a fine thing to devote yourself to creation.
VICTOR
I find there is nothing else I can do.
[THE TAPE CLICKS OFF.]
INT. CLERVAL ENTRANCE
[TRANSITION - THE TAPE CLICKS ON]
[A DOOR SLAMS SHUT. VICTOR’S FOOTSTEPS WALK QUICKLY, PURPOSEFULLY.]
CLERVAL
Darling, you return so late.
VICTOR [SNAPPILY]
The road was snowed in.
CLERVAL
And your mother?
VICTOR
As she always is.
CLERVAL
You’re agitated.
VICTOR
Oh, do I look it?
[MORE QUICK, PACING FOOTSTEPS.]
CLERVAL
You need sleep, my love.
VICTOR
I have the last of my reports to finish.
CLERVAL
Long nights are unhealthy.
VICTOR
I will manage.
CLERVAL
For a person with chi-
VICTOR [INTERRUPTING]
I don’t want to hear another word about this God-forsaken child!
[SILENCE. VICTOR WALKS SOME MORE, AND WE HEAR THE SOUND OF PAPERS ON THE TABLE.]
CLERVAL
You don’t mean that.
VICTOR
I don't recall it being anyone else's place to know exactly what I mean or believe.
[BEAT. PAPERS STOP.]
VICTOR [CONT’D, BITTER]
You were the one who wanted it. You should have been the one to carry it.
CLERVAL
If I know anything of your studies, my dear, I should know that’s not how it works.
[A PAUSE.]
VICTOR
Perhaps it could be.
CLERVAL
What do you mean?
[MORE QUICK FOOTSTEPS, AND THE RUSTLING OF PAPER AS VICTOR SETS THEM DOWN ON A TABLE.]
VICTOR
The soul… it’s a singular thing, isn’t it? The mind? The brain? Isolate it from the body, and the corpse is only flesh and bone, but the brain - the brain holds everything.
CLERVAL
Your research…
VICTOR
If one can isolate the brain. Place it elsewhere, and break the confines of nature. The limitations of the mind set by the body. By my body.
CLERVAL
You intend to tamper with God’s creation?
VICTOR
I intend to amend it.
[SILENCE.]
It worms into me, Henry.
I can feel it sapping from me, like a parasite. Like a leech. It eats at my energy, it eats at my time, and it eats at my pride.
[SILENCE. HEAVY BREATHING.]
CLERVAL [SLOWLY]
I understand… that this is a difficult time, my dear.
[A BEAT. THEN, FASTER, MORE CONFIDENT.]
There are… changes. There are changes, and chemicals in the bloodstream that may be agitating you more than-
VICTOR [INTERRUPTING]
Don’t.
[SILENCE FALLS AGAIN. DISTANTLY, A BELL TOLLS. MIDNIGHT.]
CLERVAL [LIGHTLY]
They say it’s bad luck for the bride and groom to meet on the wedding day.
VICTOR
Call it off.
CLERVAL
What?
VICTOR
Call off the ceremony.
CLERVAL
My dear, you are not hearing yourself-
VICTOR [INTERRUPTING]
I am hearing myself perfectly clear. If we want vows, we can take them privately. Not in front of our families. Not in front of my mother. Not with these names, in that dress, for a hundred eyes to see.
CLERVAL
But surely-
VICTOR [INTERRUPTING]
I refuse to look them in the eye-
CLERVAL [OVERLAPPING]
After everything all planned-
VICTOR [OVERLAPPING]
Have them narrate the path of my work-
CLERVAL [OVERLAPPING]
With the hour so late-
VICTOR [OVERLAPPING]
And the path of my life-
CLERVAL [INTERRUPTING]
My dear Elizabeth, you are hysterical.
[A BEAT.]
VICTOR
What did you call me?
[A PAUSE.]
CLERVAL
My darling, you must understand-
VICTOR [SLOW, METHODICAL]
I don’t know why you insist on calling me that
CLERVAL
If you’d just see what I’m trying to-
VICTOR (CONT’D.)
It’s been two years
CLERVAL
If you’d listen to what-
VICTOR (CONT’D)
And come today
CLERVAL
My darling, listen-
VICTOR (CONT’D)
Come next year
CLERVAL
Don’t you-
VICTOR
What happens when the child arrives, Clerval? What happens to me?
CLERVAL
Oh, grow UP.
For god’s sake, grow up.
What are you looking for, Elizabeth? What are these notes? Hiding under a large coat and thinking that gives you the means? For what? Discovery? Creation? Self-immolation?
These ambitions are changing you, turning you away from your mother, your family, your home. Can’t you see I’m trying to bring you back? Can’t you see I’m trying to help you?
[PAUSE.]
Don’t look at me like that. I love you. Elizabeth, I do.
[SILENCE. THERE’S A RUSTLING OF MOVEMENT.]
CLERVAL (CONT’D.)
What are you…
What…
Don’t. No, DON’T-
[THE TAPE CLICKS OFF.]
[SILENCE.]
[THE TAPE CLICKS ON.]
[HEAVY BREATHING. THE SOUND OF HEAVY METAL DROPPING TO THE FLOOR.]
VICTOR
Shit.
[BREATHING CONTINUES.]
[THE TAPE CLICKS OFF.]
END OF EPISODE 1