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“CASPAR: I mean…what do you want, Rosalind? ROSALIND: So many things: to wake up without feeling the weight of the day pressing down, to fall asleep more easily, without wondering what it is that’s keeping me awake, to eat more greens and also beetroot, to be kissed, to feel important, to learn how to be okay being with other people, and also how to be alone. To be a child again, held up and admired, the world full of endless future. To see my father look at me with uncomplicated pride. To be kissed.”
― Photograph 51
― Photograph 51
“ROSALIND. You know ... I think there must come a point in life when you realize you can't begin again. That you've made the
decisions you've made and then you live with them or you spend your whole life in regret.
MAURICE. And I have spent my whole life in regret. (Beat.)
ROSALIND. (Sadly.) Well then perhaps we should have seen the play together. Or gone to lunch.
MAURICE. Would that have changed things?
ROSALIND. We'll never know, will we?”
―
decisions you've made and then you live with them or you spend your whole life in regret.
MAURICE. And I have spent my whole life in regret. (Beat.)
ROSALIND. (Sadly.) Well then perhaps we should have seen the play together. Or gone to lunch.
MAURICE. Would that have changed things?
ROSALIND. We'll never know, will we?”
―
“DON. It's the tricky thing about time, and memory. I tell my grandchildren: whole worlds of things we wish had happened are
as real in our heads as what actually did occur.”
―
as real in our heads as what actually did occur.”
―
“DON. You heard what you wanted to hear. One of chose specialties
of human nature.”
―
of human nature.”
―
“ROSALIND. I do love the shapes of things, you know. I love them
even before they mean something.”
―
even before they mean something.”
―
“JAMES. It's just incredibly exciting.
MAURICE. What is?
JAMES. To be born at the right time. There,s an element of fate
to it, don't you think? And I don't believe in fate”
―
MAURICE. What is?
JAMES. To be born at the right time. There,s an element of fate
to it, don't you think? And I don't believe in fate”
―
“ROSALIND. Then why don't you do it?
MAURICE. I don't know. Laziness?
ROSALIND. Laziness?
MAURICE. Haven't you heard of it?
ROSALIND. I don't believe in it.
MAURICE. No. I suppose not.”
―
MAURICE. I don't know. Laziness?
ROSALIND. Laziness?
MAURICE. Haven't you heard of it?
ROSALIND. I don't believe in it.
MAURICE. No. I suppose not.”
―
“DON. I mean ... what do you want, Rosalind? -
ROSALIND. So many things: to wake up without feeling the
weight of the day pressing down, to fall asleep more easily, without
wondering what it is that's keeping me awake, to eat more beets
and also turnips, to be kissed, to feel important, to learn how to be
okay being with other people, and also how to be alone. To be a
child again, held up and admired, the world full of endless future.
To be kissed.To feel every day what it would be to stand at the
summit of a mountain in Wales, or Switzerland, or America, looking
out over the world on a late afternoon with this man sitting across
from me. Or to feel it once.”
―
ROSALIND. So many things: to wake up without feeling the
weight of the day pressing down, to fall asleep more easily, without
wondering what it is that's keeping me awake, to eat more beets
and also turnips, to be kissed, to feel important, to learn how to be
okay being with other people, and also how to be alone. To be a
child again, held up and admired, the world full of endless future.
To be kissed.To feel every day what it would be to stand at the
summit of a mountain in Wales, or Switzerland, or America, looking
out over the world on a late afternoon with this man sitting across
from me. Or to feel it once.”
―
“WATSON: When we shook hands, her handshake was far too firm. There’s nothing gentle, nothing remotely tender about her. She’s a cipher where a woman should be. That said, she’s not fat. GOSLING:”
― Photograph 51
― Photograph 51
“I just mean that they're beautiful
- these shapes within shapes, shapes overlapping, shapes that
mean more than what they seem at first glance but are also beautiful
simply for what they are. I think one sees something new each time
one looks at cruly beautiful things.”
―
- these shapes within shapes, shapes overlapping, shapes that
mean more than what they seem at first glance but are also beautiful
simply for what they are. I think one sees something new each time
one looks at cruly beautiful things.”
―
“My head feels clear for the first time in ages and I've
been doing some really wonderful thinking. I believe I've figured
out how co fix the camera. And the Alps seem larger and yet somehow less overwhelming than they have in the past, as though their
vastness was made for me, as though the more of something there
is to climb, the further I'll get to go. It seems so obvious now. The
mountains mean more than what they seem at first glance but are
also beautiful simply for what they are. You know, I think one sees
something new each time one looks at truly beatiful things.”
―
been doing some really wonderful thinking. I believe I've figured
out how co fix the camera. And the Alps seem larger and yet somehow less overwhelming than they have in the past, as though their
vastness was made for me, as though the more of something there
is to climb, the further I'll get to go. It seems so obvious now. The
mountains mean more than what they seem at first glance but are
also beautiful simply for what they are. You know, I think one sees
something new each time one looks at truly beatiful things.”
―
“ROSALIND. I don't intend to spend any more time in that hospital. If I'm going to be in a dank, disgusting little room, I may as
well be here, where I might even gee some work done before I die.
MAURICE. Please don't say that.
ROSALIND. Why not? It's not pleasant? It makes you think
about your own life? The inevitability of your own death?
MAURICE. Yes. All of those things.
ROSALIND. Well, no one can protect you from those.
MAURICE. No. No I suppose not.
ROSALIND. We lose. In the end, we lose. The work is never
finished and in the meantime our bodies wind down, tick slower,
sputter out.
MAURICE. Like grandfather clocks.
ROSALIND. Well this has been a pleasant conversation.
MAURICE. Rosalind, I ...
ROSALIND. So they really got it, did they?
MAURICE. Yes.
ROSALIND. Is the model ... is it just beautiful?
MAURICE. Yes.
ROSALIND. Well. We were close, weren't we? By god, we were close.
MAURICE. But we Lost.
ROSALIND. Lost? No ... We all won. The world won, didn't it?
MAURICE. But aren't you at all ...
ROSALIND. Yes, but .. . It's not that they got it first ... It really
isn't ... It's that I didn't see it. I wish I'd been able to see it.
MAURICE. I think you would have. A few more days, even.
ROSALIND. So why didn't I get those days? Who decided I shouldn't get those days? Didn't I deserve them? (Beat.) I mean, if
I'd only ...
RAY. Been more careful around the beam.
JAMES. Collaborated.
FRANCIS. Been more open, less wary. Less self-protective.
DON. Or more wary, more self-protective.
JAMES. Been a better scientist.
DON. Been willing to take more risks, make models, go forward
without the certainty of proof.
FRANCIS. Been friendlier.
RAY. Or born at another time.
FRANCIS. Or born a man.”
―
well be here, where I might even gee some work done before I die.
MAURICE. Please don't say that.
ROSALIND. Why not? It's not pleasant? It makes you think
about your own life? The inevitability of your own death?
MAURICE. Yes. All of those things.
ROSALIND. Well, no one can protect you from those.
MAURICE. No. No I suppose not.
ROSALIND. We lose. In the end, we lose. The work is never
finished and in the meantime our bodies wind down, tick slower,
sputter out.
MAURICE. Like grandfather clocks.
ROSALIND. Well this has been a pleasant conversation.
MAURICE. Rosalind, I ...
ROSALIND. So they really got it, did they?
MAURICE. Yes.
ROSALIND. Is the model ... is it just beautiful?
MAURICE. Yes.
ROSALIND. Well. We were close, weren't we? By god, we were close.
MAURICE. But we Lost.
ROSALIND. Lost? No ... We all won. The world won, didn't it?
MAURICE. But aren't you at all ...
ROSALIND. Yes, but .. . It's not that they got it first ... It really
isn't ... It's that I didn't see it. I wish I'd been able to see it.
MAURICE. I think you would have. A few more days, even.
ROSALIND. So why didn't I get those days? Who decided I shouldn't get those days? Didn't I deserve them? (Beat.) I mean, if
I'd only ...
RAY. Been more careful around the beam.
JAMES. Collaborated.
FRANCIS. Been more open, less wary. Less self-protective.
DON. Or more wary, more self-protective.
JAMES. Been a better scientist.
DON. Been willing to take more risks, make models, go forward
without the certainty of proof.
FRANCIS. Been friendlier.
RAY. Or born at another time.
FRANCIS. Or born a man.”
―
“DON. You know, I have this theory ... I think the things we
want but can't have are probably the things that define us ...
And I've spent more time than I'd like to admit coming to this
pretty simple conclusion so I hope you don't think it's completely
ridiculous. But ... I guess I'm talking about ... I don't know ...
yearning?”
―
want but can't have are probably the things that define us ...
And I've spent more time than I'd like to admit coming to this
pretty simple conclusion so I hope you don't think it's completely
ridiculous. But ... I guess I'm talking about ... I don't know ...
yearning?”
―
“RAY. I couldn't. lt was like speaking bad French to a French person who insists then on speaking in English just to show you you're
not good enough to speak to her in her own language, that she can
walk all over you in any language, anywhere.
DON. She did know a lot of languages.”
―
not good enough to speak to her in her own language, that she can
walk all over you in any language, anywhere.
DON. She did know a lot of languages.”
―
“MAURICE. (Matter-of-factly.) It's the loneliest pursuit in the
world. Science. Because there either are answers or there aren't.
There either is a landscape that stretches before you or there isn't.
And when there isn't, when you're left in the darkness of an empty
city at night, you have only yourself.”
―
world. Science. Because there either are answers or there aren't.
There either is a landscape that stretches before you or there isn't.
And when there isn't, when you're left in the darkness of an empty
city at night, you have only yourself.”
―
“FRANCIS. And what is a race anyway? And who wins? If life is
the ultimate race to the finish line, then really we don't want to win
it. Shouldn't want to win it. Right?”
―
the ultimate race to the finish line, then really we don't want to win
it. Shouldn't want to win it. Right?”
―
“RAY. And now they've moved me along co you. The conveyer belt
chugs along. But doctoral students are good .people co work with.
We're like liquids - we cake the shape of the vessel into which
we're poured.
ROSALIND. What do you mean by chat?
RAY. That you don't have co worry about a thing: my allegiance
will be to you. You're my advisor now.”
―
chugs along. But doctoral students are good .people co work with.
We're like liquids - we cake the shape of the vessel into which
we're poured.
ROSALIND. What do you mean by chat?
RAY. That you don't have co worry about a thing: my allegiance
will be to you. You're my advisor now.”
―
“MAURICE. And I wanted to join you. I got in the queue to buy a ticket.
ROSALIND. All right, so what happened?
MAURICE. It's not what happened ... It's what could happen. Now.
ROSALIND. What are you talking about, Maurice?
MAURICE. January, 1951. This time, I attend the play. And I see you across the theater. (He looks to her. She remains still unmoved)
MAURICE. This time, we make eye contact. And afterwards, we meet in the back. By the bar. (She doesn't move.) This time I say,
"Did you enjoy the performance?" (She stares at him. Says nothing.)
«Gielgud is excellent, don't you think? (Beat.)
ROSALIND. Yes, very lifelike. Very good.
MAURICE. And the incredible thing is we're both there, watching
him. Experiencing the very same thing. Together.
ROSALIND. It is incredible.
MAURICE. Boch watching.
ROSALIND. And when Hermione died, even though it was Leontes' fault, I felt for him. I truly did.
MAURICE.
Come, poor babe:
I have heard, but not believed -
ROSALIND and MAURICE.
The spirits o' the dead
May walk again.
MAURICE. And they do. I love that Hermione wasn't really dead.
That she comes back.
ROSALIND. (Sympathetically.) No, Maurice. She doesn't. Not really.
MAURICE. Of course she does.
ROSALIND. No.
MAURICE. Then how do you explain the statue coming to life?
ROSALIND. Hope. They all project it. Leontes projects life where
there is none, so he can be forgiven.
MAURICE. But don't you think he deserves to be forgiven?
ROSALIND. Do I forgive myself?
MAURICE. What? For what? (Beat.)”
―
ROSALIND. All right, so what happened?
MAURICE. It's not what happened ... It's what could happen. Now.
ROSALIND. What are you talking about, Maurice?
MAURICE. January, 1951. This time, I attend the play. And I see you across the theater. (He looks to her. She remains still unmoved)
MAURICE. This time, we make eye contact. And afterwards, we meet in the back. By the bar. (She doesn't move.) This time I say,
"Did you enjoy the performance?" (She stares at him. Says nothing.)
«Gielgud is excellent, don't you think? (Beat.)
ROSALIND. Yes, very lifelike. Very good.
MAURICE. And the incredible thing is we're both there, watching
him. Experiencing the very same thing. Together.
ROSALIND. It is incredible.
MAURICE. Boch watching.
ROSALIND. And when Hermione died, even though it was Leontes' fault, I felt for him. I truly did.
MAURICE.
Come, poor babe:
I have heard, but not believed -
ROSALIND and MAURICE.
The spirits o' the dead
May walk again.
MAURICE. And they do. I love that Hermione wasn't really dead.
That she comes back.
ROSALIND. (Sympathetically.) No, Maurice. She doesn't. Not really.
MAURICE. Of course she does.
ROSALIND. No.
MAURICE. Then how do you explain the statue coming to life?
ROSALIND. Hope. They all project it. Leontes projects life where
there is none, so he can be forgiven.
MAURICE. But don't you think he deserves to be forgiven?
ROSALIND. Do I forgive myself?
MAURICE. What? For what? (Beat.)”
―
“RAY. But she never went to Leeds. Rosalind was thirty-seven when
she died. It was a particularly cold April that year; there was frost on
the trees in London; the Alps stayed snow-covered well into June.
MAURICE. No, no, no ... I won't have it.
RAY. Eulogies about her focused on her single-minded devotion
to work, the progress she made in her work, the lasting contributions
she made through her work.
MAURICE. (To Ray.) Stop that! I said: stop that right now.
RAY. I can't. It's what happened.
DON. It's the tricky thing about time, and memory. I tell my grandchildren: whole worlds of things we wish had happened are
as real in our heads as what actually did occur.
MAURICE. Stop that right now. We start over. At the beginning.This instant.
JAMES. You've got to be kidding me, Wilkins. I mean, you won.
We won. Your name on the Nobel Prize. Remember that part? For
god's sakes: this was the finest moment in your life.
MAURICE. No. It wasn't. (He turns to Rosalind.) We start over.
Just us this time. (Everyone else exits.) Please ... You see, I need ...
ROSALIND. (Gently.) What is it you need, Maurice?
MAURICE. There's something I need to tell you ... It's important.
ROSALIND. Then tell me. (Beat.)
MAURICE. I saw you. The day you went to see The Winters Tale at the Phoenix.
ROSALIND. This is what you needed to tell me?”
―
she died. It was a particularly cold April that year; there was frost on
the trees in London; the Alps stayed snow-covered well into June.
MAURICE. No, no, no ... I won't have it.
RAY. Eulogies about her focused on her single-minded devotion
to work, the progress she made in her work, the lasting contributions
she made through her work.
MAURICE. (To Ray.) Stop that! I said: stop that right now.
RAY. I can't. It's what happened.
DON. It's the tricky thing about time, and memory. I tell my grandchildren: whole worlds of things we wish had happened are
as real in our heads as what actually did occur.
MAURICE. Stop that right now. We start over. At the beginning.This instant.
JAMES. You've got to be kidding me, Wilkins. I mean, you won.
We won. Your name on the Nobel Prize. Remember that part? For
god's sakes: this was the finest moment in your life.
MAURICE. No. It wasn't. (He turns to Rosalind.) We start over.
Just us this time. (Everyone else exits.) Please ... You see, I need ...
ROSALIND. (Gently.) What is it you need, Maurice?
MAURICE. There's something I need to tell you ... It's important.
ROSALIND. Then tell me. (Beat.)
MAURICE. I saw you. The day you went to see The Winters Tale at the Phoenix.
ROSALIND. This is what you needed to tell me?”
―
“ROSALIND. (To the audience.) I have two rumors. Twin tumors.
Twins scampering around my body on tricycles, dropping handfuls
of dirt as they go ... For a moment I think of naming one Watson
and the other Crick, but no, I tell myself: Rosalind, dispel the
thought. (Beat.) No. I have ovarian cancer. A tumor in each ovary,
one the size of a tennis ball, and the other a croquet ball, and they
are indeed an efficient pair.”
―
Twins scampering around my body on tricycles, dropping handfuls
of dirt as they go ... For a moment I think of naming one Watson
and the other Crick, but no, I tell myself: Rosalind, dispel the
thought. (Beat.) No. I have ovarian cancer. A tumor in each ovary,
one the size of a tennis ball, and the other a croquet ball, and they
are indeed an efficient pair.”
―
“ROSALIND. Oh. Yes. But ... you just have to get by, don't you?
That's all one can do. You can't constantly be thinking about that ... or I imagine it would destroy you.”
―
That's all one can do. You can't constantly be thinking about that ... or I imagine it would destroy you.”
―
