PHOTOG H51

BY A ZIEGLER

*
DRAMATISTS
PLAY SERVICE
INC.
 PHOTOGRAPH 51
Copyright © 20 I I, Anna Ziegler

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performances of the Play:

This play is the winner of the 2008 STAGE lntem11rlon.1I Scrip, C n1111,c•1htu11
and was developed, in part, through the University of 0.tliforniil, S1ncu ll.\1 b.u.a', \ ti\( , l! Project
by che Professional Artists lab {Nancy Knwulck. l)b,:tior)
and the California NanoSyStcrns ln11hu1e~

PHOTOGRAPH 5 I was developed by The Ensemble Studio ·n1c-,1tr c/J\l(r"rtl 11SloJrl I'ounJarlon
Science and Technology Pro1ec.c and rcceivc:d in New YQrk p1r:01lr1
ar the Ensemble Srudio fhcatre on October 27, 20 10,

Originally commissioned and produced by Active Cul cures, rbc Vcr11nculnr 'f'hc,111\" ur~tarylnnd.
Opening Night on Sunday, Pebrullry 10, 2008.

2
For Will, my balance
 ACKNOWI .EDGMENTS

T his play was written with the generous assiscance of tile following
organizations and individuals: William Carden, ,racm.e illis and
The Ensemble Studio Theatre; Doron Weber and 1''11c Alfred P.
Sloan Foundation; Lynne Meadow, Jerry Patcl1, Annie MacRae a11.d
The Manhattan Tl1eatre C lub; Andy Polle and 1-..he ape Cod
Theatre Project; Simon Levy, Aria Alpert and The Founc:1in
Theatre; Evan Cabnet; The Rattlestick Theatre; Zak Bc.-krll~tn and
Epic Theaue Ensemble; Ari Roth, Shirley Serocsky and Theater J;
and, finally, Mary Resing and Active C ultures Theatre.

Very special thanks go to Linsay Firman and Daniella Topol, whose

visions of this play fueled its creation and its creator and who each
then brought it to life with honesty and grace.

A final thanks to the incredibly inspiring Rosalind Franklin, whose

life lends itself to drama in part because it ended so cragically -
would that this had nor been the case.

4
 AUTHOR'S NOTFS

STYLE
This ,play is made up of several different kinds of storytelling.
T here is a choral aspect, in which the men narrate historical events
from a future perspective; there is contested narration, in which cl1e
men dispute h ow a moment or event truly happened; there are nat-
uralistic scenes between characters, which should be played with
the immediacy of the present mo ment, and there is a dream space
that bears all the ((what ifs?" on its back, a space primarily inside of
Rosalind and Maurice's hearts. This being said, all of the play
should be delivered with the same urgency, pace, vigor and need.

TRANSITIONS
Although broken into gestures indicated in the text by cl1e lights
shifting, the play is truly one long scene and each of its movemencs
should transition as quickly and seamlessly into the next as possi-
ble. Ideally, the different modes of storytelling referenced above
become overlapping and blurring shapes, difficult to distinguish
where one ends and another begins.

TONE
Tonally, the play should stay as naturalistic as possible, though
there are some moments that want to feel heightened. For instance,
Watson and C rick can be a bit larger than life at times, but should
never become cartoons.

ON THE PLAYING OF CERTAIN CHARACTERS

The actor playing Maurice should neither be coo awkward nor coo
condescending. H e shouldn't give up crying to make things right with
Rosalind too early in the play or we lose interest in the two of them
and the possibility that they might, at some point, come together. He
also need not apologize for his observations. H e is simply a product
of his times. In the early scenes, he should not be too careful arow1d
Rosali11d - after all, it was unintentional conflict chat drove them
apart. Similarly, the actress playing Rosalind shouldn't cede coo much

5
power to Maurice. There are a few moments when she a tuaJly gets
flustered, bur for the most part she is calm and collecccd, matter-of-
fact, direct and to the point. If she were otherwise, Maurice would
"win,, their battles right away; if he gets too flustered or apologetic or
is defeated coo early in the p~y, she «wins."

The interplay between Rosalind and Maurice is qLLicc delicate. Bue if

the actor playing Willcins endows him with a rrue e.xcitcme11t about
their work's potential, and the drive to keep trying to make it work
with Rosalind, and if the actress playing Rosalind finds ar1d truly
mines the few momencs when she softens, and those few mon1enrs
when she's tnily angry, then the balance of che play will be right. Let
these two characters almost come together a number of ti ,nes; it's their
near misses that make up the heart and the cragedy of Photagraph 51.

FINALLY
This play is a work of fiction, though it is based on the story of
che race co the double helix in England in the years between
1951 and 1953. Please note that I have altered ti mclincs, faces
1

and events, and recreated characters for dramatic purposes.

Actors have occasionally found doing too much research to be
detrimental because these characters are not ince,,ded robe carbon
copies of their real-life counterparts.

6
PHOTOGRAPH 51 received its New York premiere at the
Ensemble Studio Theatre (William Carden, Artistic Director),
where it opened on October 27, 2010, a production sponsored and
developed by The Ensemble Studio Theatre/Alfred P. Sloan
Foundation Science & Technology Project. It was directed by
Linsay Firman; the set design was by Nick Francone; the lighting
design was by Les Dickert; the sound design was by Shane Rettig;
the costume design was by Suzanne Chesney; and the production
stage manager was Danielle Buccino. The cast was as follows:

ROSALIND FRANKLIN ........................................ Kristen Bush

MAURICE WILKINS ............................................ Kevin Collins
JAMES WATSON ................................................... Haskell King
DON CASPAR ............................................... Benjamin Pelteson
RAY GOSLING ....................................................... David Gelles
FRANCIS CRICK .................................................. Jeremy Webb

PHOTOGRAPH 51 was subsequently produced by Theater J (Ari

Roch, Artistic Director) in Washington, D.C., opening on March
28, 2011. It was directed by Daniella Topol; the set design was by
Giorgos Tsappas; the lighting design was by Daniel Covey; the sound
design was by Veronika Vorel; the cosrume design was by Ivania
Stack; the properties were designed by Hannah Crowell; and the
production stage manager was Roy A. Gross. The cast was as follows:

ROSALIND FRANKLIN ..................................... Elizabeth Rich

MAURICE WILKINS ................................. Clinton Brandhagen
JAMES WATSON ............................................... James Flanagan
DON CASPAR .................................. ... .. ...... ........... Tim Getman
RAY GOSLING ................................................. Alexander Strain
FRANCIS CRICK ................................................ Michael Glenn

7
PHOTOGRAPH 5 1 was originally commissioned and produced
by Active Cultures, the Vernacular Theatre of Marylar1d (Mary
Resing, Director), opening on February 10, 2008.

T his play is the winner of the 2008 STAGE Internarional Scrip t

Competition and was developed, in part, through the University of
California, Santa Barbara's STAGE Project by the Professional
Artists Lab (Nancy Kawalek, Director) and chc al.iforn ia
NanoSystems Institute.

8
 CHARACTERS

ROSALIND FRANKLIN - rnid-30s, white, Jewish, British,

doesn't suffer fools
MAURICE WILKINS - lace 30s/early 40s, white, British, formal,
Rosalind's sparring partner, a wounded soul bur not bumbling or
buffoonish
DON CASPAR - late 20s/early 30s, white, Jewish, American,
open and affable, honest
JAMES WATSON - early/mid-20s, American, white, all con-
fidence, arrogance, hunger and drive
RAY GOSLING - mid-/lace 20s, white, British, awkward,
endearing
FRANCIS CRICK - early/mid-30s, British, white, very proper,
not unkind, brash, a philosopher

SETTINGS

Many and various. The simpler the sec, che more fluidly che action
ca.n move forward.

9
 PHOTOG H 51
Lights up on Rosalind.

ROSALIND. You wane to know what the atmosphere was like in

the lab? We made the invisible visible. We could see atoms, not
only see tl1em - manipulate then1, move them around. We were
so powerful. Our instrumen.ts felt like extensions of our own bodies.
We could see everything, really see ic, except, sometimes, what was
right in front of us. (Beat.) When I was a child I used co draw
shapes. Shapes overlapping, like endless Venn diagrams. My parents
said, "Rosalind, maybe you should draw people? Don,t you wane co
draw our family? Our little dog?,, I didn't. I drew patterns of the
tiniest repeating structures. In my mind were patterns of the tiniest
•
repeating structures.
MAURICE. Yes. I remember - it was a particularly cold winter
in London. January 1951 .
ROSALIND. And when I first got co use my father's camera, I
went outside and found four leaves. I arranged them carefully, on
the curb. Bue the photograph I took was nor of leaves. See, nothing is
ever just one thing. This was a map, rivers the veins of a barren
land. And when I cold my father I wanted to become a scientist, he
said, '~. I see.,, Then he said "No.,,
MAURICE. And at the same rime, in Paris -
JAMES. Not again, Wt.lkins. Really?
MAURICE. In Paris, Rosalind Franklin was packing up to move.
JAMES. Why tell a story about someone who barely made a dent?
FRANCIS. We like chis story, Watson.
JAMES. Not this version, Crick.
MAURICE. I don't care whether you like it, Jim. It isn't about you.
JAMES. But it should be.
RAY. No - not this time. I agree with Dr. Willci.ns.
MAURICE. Thank you, Gosling.

11
RAY. (Softening.) On the other hand ... do you really think it's
•
wise co .. .
MAURICE. Wise co do what?
RAY. I just don't wane you to .. .
MAURICE. I'm fine.
JAMES. Fine. Fine. You all do what you want. But it'll end the
same way!
MAURICE. No, it won't. It can't. (He looks at Francis.) Francis.
(Francis nods and /,aunches into the story.)
FRANCIS. There was a party for her at the Laboratoire Cencrale.
Everyone stayed late into the night, drinking and telling stories,
entreating her not to leave.
MAURICE. (To the audience.) But she'd just won a fellowship at
King's College London and one didn't cum down a job at King's -
especially since there was a chance she'd get to work in the field of
genetics - (Don enters.)
DON. A field in which the possibilities were ... well, they were
endless. In which the promise of personal and professional fulfillment
was tangible.
MAURICE. (To Don, sharply.) What are you doing here?
RAY. So she wrote a . . . polite letter requesting the instruments
she'd require: (Rosalind steps into the scene.)
ROSALIND. {Writing the letter.) I require, for one, an x-ray
generating rube. For another, a camera specially made so that the
temperature inside it can be carefully controlled. Otherwise, the
solution will change during its exposure, and Dr. Wilkins you
know as well as I do that chat jUSt won't do. Finally, if at all possible,
I'd like to know when th.is order will be placed so that, if need be,
I can request a few minor modifications. Yours sincerdy, Dr.
Rosal.ind Franklin.
MAURICE. Dear Miss Franklin, you are ever so ... cordial. But I
must warn you - we at King's are very erious. o serious, in fact,
and intent on being on "the cutting edge', as tl1ey ay, chat we will
be moving your research into another area er1circly.
ROSALIND. Excuse me?
MAURICE. Yes, instead of proteins you wiJI be worlting on deci-
phering the structure of nucleic acids.
ROSALIND. Is that right?
MAURICE. You see, I have recently found th:tt fib Ni of deoxyribose
nucleic acid derived &om the Signer material give rtm3rkably good

12
fiber diagrams. And they are shown to be crystalline in shape.
Therefore it now seems evident that King's needs to push forward
in this endeavor, in determining, through crystallography, at wh.ich
•
you are quite expert -
ROSALIND . Thank you. I am.
MAURICE. Yes. No one will argue with that. (Beat.) At any rate,
we n eed co push ·f orward in determining why it is that in the
chromosom e the numbers of purines and pyrimidines come in
pairs. So that we can then determine how replication works. So
chat we can then determine -
ROSALIND. I know what you're talking about.
MAURICE. Yes, yes I suppose you do. Then I'll leap straight co
the point. You will be assisting me in my study of the Signer DNA
from Switzerland. Everyone wanted it and yet so.m ehow Randall
got it. The old rogue. I don't know how he did it ...
ROSALIND. I don't think I heard you right.
MAURICE. You did! We have the Signer stock. Quite a cotip,
really. When you think about it.
ROSALIND. But did you say I'd be assisting you?
MAURICE. Yes! .. . And my doctoral stude.n t, Ray Gosling, will
•
assist you.
RAY. Hello! (He puts out his hand and Rosalind ignores it.)
ROSALIND. Bttt . .. Randall told me I'd be heading up the study.
That I'd be in ch arge of my own work here. Surely, there's been
some misunderstanding.
MAURICE. No. No misunderstanding. Circumstances changed.
We recently took X-ray photos of DNA that convinced me and
Randall chat we must move forward with nucleic acid as opposed
to protein to gee to the bottom of what some are calling the secret
of life, to the way genetic information is replicated and encoded.
In other words, if we discover this structure - this structure - we
could discover the way the world works, Miss Franklin. Can you
imagine chat?
ROSALIND. Dr. Wilkins, I will not be anyone's assistant. (Beat.)
MAURICE. Is chat right?
ROSALIND. I don't like others to analyze my data, my work. I work
best when I work alone. If, for whatever reason, I am forced into a dif-
ferent situation, I should feel that I came here under false pretenses.
MAURICE. I see ... Then perhaps we could think of our work
together as a kind of partnership. Surely chat will sui t you?

13
ROSALIND. I don,t suppose it matters whether or not it suits me,
does it? (She exits.)
RAY. Well, that went well.
JAMES. See? She was meant to be Wilkins, assistant, and therein
lay the problem. Sh e misunderstood the terms. And after that, the
rest was inevitable. The race lost right there. In a single moment.
MAURICE. No - nothing is inevitable.
DON. And the truth is, Randall cold her she was to be in charge
of her own group. She was quite clear with me about chat.
FRANCIS. Well, that,s not what we heard.
DON. You heard what you wanted to hear. One of chose specialties
of human nature.
MAURICE. Is it really absolLttely necessary that you be here too?
RAY. Anyway. We began. It was gray in London in January. We
were working in a . . . well, it must be said, dank cellar in the
Strand. There were no two ways about that. (Rosalind, Maurice
and Ray are spread out in the lab, working.)
ROSALIND. Could it be any gloomier here? As your partner, I
might entreat you to find us a more hospitable working environment.
MAURICE. Labs are more nicely appointed in Paris, then?
ROSALIND. There's no comparison.
MAURICE. You know, not all of us felt we should leave En gland
when she needed us most.
ROSALIND. Thank you, Dr. W ilkins, for yo ur patriotic spirit.
I can assure you, however, that I was doing much more for British
society after the war by working o n coal molecules in France than
I would have had I been in London eating rationed food and
parking my car on a site cleared by a bomb that used to be some-
one's home.
MAURICE. I was only joking - really.
RAY. It's true - h e's quite the jokester.
ROSALIND. And aren't you the same Wukins who worked on the
Manhattan Project in California during the war?
MAURICE. (Proudly.) For a few months' time, yes.
ROSALIN D. Maybe you're aware of the fact that nor a single
female scientist from Britain was given a research position during
wartime?
MAURICE. Is that so.
ROSALIND. I'll have you know that nuclear force is not something
of which I approve.

14
MAURICE. Then I suppose it's good no one asked you co work
•
on 1t.
ROSALIND. Excuse me?
MAURICE. (Atternpting to joke.) At any rate, you lot never do
seem to approve of it.
ROSALIND. I'm not sure I understand what you're driving at.
RAY. No, l1e -
MAURICE. All I meant was - the irony of ...
ROSALIND. What irony?
MAURICE. {Without apowgy.) Just that . .. people . .. worked hard
to ... come up with these ways to save ... well, the Jews, and then all
you hear back from chem is how they don't approve. It feds a little .. .
ROSALIND. You're absolutely right that the Jews should be in a
more grateful frame of mind these days.
MAURICE. All right, Rosy.
ROSALIND. My name is Rosalind. But you can call me Miss
Franklin. Everyone else does.
MAURICE. Fine.
ROSALIND. Of course I'd prefer Dr. Franklin but chat doesn't
seem to be done here, does it, Mr. Wtlkins?
MAURICE. Dr. Wilkins.
ROSALIND. Dr. Wilkins, I don't joke. I cake my work seriously
as I trust you do coo.
MAURICE. Of course I do. (ung beat.)
RAY. How do you like chat - it's nearly two already.
MAURICE. No need for constant updates on the time, Gosling.
There's a clock right there chat we can see perfectly well -
RAY. No ... I was just saying, or, I mean, suggesting, that perhaps
we might take our lunch?
ROSALIND. We've been having so much fun chat the tirn.e has
really flown, hasn't it, Dr. Wilk.ins?
MAURICE. Has it.
ROSALIND. So where shall we go? I'm famished, actually.
(Maurice starts to leave; he's offto lunch.) Dr. Wilkins?
MAURICE. (Turning back.) Hm? (Off her look.) Oh, I'd love to
have lunch, but ...
ROSALIND. But what?
MAURICE. (Matter-offact.) I eat in the senior common room.
ROSALIND. That's where we'll go then.
MAURICE. That's the thing.

15
ROSALIND. Whac's the thing?
MAURICE. Ic,s for men only.
ROSALIND. Excuse me?
MAURICE. (Without apology.) Only men OJO eat there.
ROSALIND. Is th.ac right?
MAURICE. It is. (Beat.)
ROSALIND. Well go co it then.
MAURICE. If you,re sure.
ROSALIND. Absolutely.
MAURICE. All right then.
RAY. (To the audience.) The next hour was .. . well, it wasn,c what
you,d traditionally think of as fun.
ROSALIND. It's absurd, isn't it? Archaic!
RAY. Wl1at is?
ROSALIND. Well, this business of che senior common room, of
course.
RAY. I suppose. But ... you can,t worry abouc ic.
ROSALIND. I can worry over whatever I choose co worry over,
Mr. Gosling!
RAY. It's not like biophysicists have such great conversatio11s at
meals anyway. They tend just to talk about the work. They never
cake a break.
ROSALIND. But chose are precisely the conversations I need co
have. Scientists m.ake discoveries over lunch.
RAY. If you say so.
ROSALIND. Can I ask you a question?
RAY. Of course.
ROSALIND. What's h.e like - Wilkins. You've wor:ked for him•
for a few years already, yes?
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.
ROSALIND. (Taken aback.) Well, good.. I would have expected
as much.
RAY. Wilkins is fine. Between you and me he's a bit of a stiff, but
l 'm sure you two will get along. He's easy enough to get along with.

16
And he works hard. You know>no wife to go home to, no children.
He devotes himself completely.
ROSALIND. So do I.
RAY. What does Mr. Franklin l1ave to say about that?
ROSALIND. There is no Mr. Franklin. Unless, of course, you,re
referring to my father. (Beat.)
RAY. No. I wasn,t. I'm sorry. I really didnt mean to offend. I did-
n't mean to - (Maurice enters.)
ROSALIND. And how was your lunch, Dr. Wilki11s?
MAURICE. Just fine. Thank you for asking.
ROSALIND. I,m glad that on my first day here you didn't cake a
break &om your daily routine to accompany me somewhere I was
permitted to dine.
MAURICE. But you insisted -
ROSALIND. And I'm glad you went ahead and did what you
wanted to do.
MAURICE. Miss Franklin .. . Let me be clear about something: I
was looking forward to your arrival here.
RAY. He uuly was.
MAURICE. Thar's enough, Gosling.
RAY. Bue you talked about it all t11e time - how her chemistry
and your theory would be a perfect marriage of-
ROSALIND. My chemistry and your theory? Are you suggesting
I don't have theory, Dr. Wille.ins?
MAURICE. Of course not.
ROSALIND. Good.
RAY He was just fantasizing about a life free of all the menial tasks
associated with biochemistry -
MAURICE. Enough, Gosling!
ROSALIND. Oh my work is tnenial, is it?
MAURICE. No! And all I wanted. to say was that I done like that
things have got off to a ... rocky start. I>d like to begin again.
(Beat.)
ROSALIND. All right.
MAURICE. All right? (Maurice puts out his hand to shake> and she
does grudgi,ngly.)
ROSALIND. I'm Dr. Rosalind Franklin. It,s a pleasure to meet you.
MAURICE. It,s a pleasure to meet you coo.
ROSALIND . l>ve heard so much about you.
MAURICE. And I you.

17
RAY. Hi - I'm Ray Gosling. I'll be your doctoral student.
MAURICE. Un11ecessary, Gosling.
ROSALIND. Yes, Gosling, we've already met.
MAURICE. May I ask you, Miss Franklin, what you're most look-
ing forward to here at King's?
ROSALIND. I think, Dr. Wilkins, I'm looking forward to dis-
pensing with these games at which point I can begin caking photo-
graphs of crystals of DNA. Ir wasn't what I came here co do bttt if
we want to discover the secret of life, as you put it, I'll do it with
che cameras I choose from what's here and the sample from the
Signer stock. You can use whatever's left and come reintroduce
yourself to me whenever you'd like. (Rosalind exits.)
MAURICE. I see.
DON. Did it really happen that way? Were you quite so ...
MAURICE. I wasn't anything. I was perfectly fine .. . (To Ra.y.) A
bit of a stiff perhaps, but otherwise .. .
RAY. Oh did you hear that bit?
MAURICE. Yes, I heard ''char bit."
FRANCIS. Well, / don't think you're at all ... You're not at all ...
well, okay you can be quite stiff, actually.
MAURICE. That's ever so kind of you, Francis. Thank you.
(Rosalind enters.)
ROSALIND. Good morning, Dr. Wilkins.
MAURICE. Good morning, Miss Franklin.
ROSALIND. Did you have a nice weekend?
MAURICE. It was fme, I suppose. (Beat.) How was yours?
ROSALIND. Fine.
MAURICE. Did you do anything interesting?
ROSALIND. Yesterday I went to the matinee of The Winters Tak
at the Phoenix. Peter Brook directed it.
MAURICE. Thar's funny.
ROSALIND. How is char funny?
MAURICE. I almost went co see the very same performance. I was
in the vicinity, walking, and I passed the Phoenix and I very near-
ly went in.
ROSALIND. le was sold our?
MAURICE. No. I never got that far.
ROSALIND. Then where's the coincidence?
MAURICE. It's just that ... our paths so nearly crossed. (Beat.)
Was it any good?

18
ROSALIND. Oh yes. Very.
MAURICE. The great difference, you know, between The Winters
Tale and the story on which it's based - Pandosto - is that in
Shakepeare's version the heroine survives.
ROSALIND. John Gielgud played Leontes. He really was very
good. Very lifelike. Very good. When Hermione died, even though
it was his fault, I felt for him. I truly did.
MAURICE. And who played Hermione?
ROSALIND. I don't remember. She didn't stand out, l suppose.
MAURICE. My favorite part, you know, is Antigonus' dream.
ROSALIND. Why?
MAURICE. Because even though Hermione tells him to name
her child Perdita, which of course means "lost,'' she is instructing
him to save her. To find her. Naming her lets her live. (Beat.}
Come~ poor babe:
I have heard, but not believed -
ROSALIND.
The spirits o' the dead
May walk again.
MAURICE. Did they do that bit well?
ROSALIND. Yes.
MAURICE. It can really take you away with it, don't you chink?
When it's done well. Make you forger yourself a little. Your
regrets. (Beat.)
ROSALIND. Yes. I suppose it can.
MAURICE. (Finding his footing again.) My grandfather committed
a great number of Shakespeare's plays to memory. It was impressive.
I've always wished I could do the same.
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. (Beat.)
ROSALIND. I'll leave you to it then.
MAURICE. But what are you going to work on this morning?
ROSALIND. Oh, I expect I'll be trying to get an image of DNA
that isn't destroyed by the lack of humidity in the camera.
MAURICE. Hm. I suppose we need to fix that problem, don't we.
ROSALIND. Yes. I suppose we do. (Lights shift.)

19
DON. Dear Dr. Franklin.
RAY. Don Caspar was a doctoral stude11t in biophysics at Yale.
Unlike m e, he was acrually pretty close to getting his Ph.D. Not
that I was so ·far off. Or, okay . .. I was. I don,t know why it took
m e so incredibly long. My mother has her theories but we won't get
into those.
DON. M y advisor, Simon Dewhurst, recommended I contact you
sin ce I'm considering doing the final stage of my doctoral research
on the chemical makeup of coal molecules. You are, acco rding co
him, the world's expert on the subject. I gather you combine a the-
oretical and applied approach and this is precisely what I am hop-
ing to do. So, I would be delighted .. . no ... grateful if you would
send me some of your scholarship on coal. X-ray images and pub-
lished articles would be most appreciated.
ROSALIND. Dear Mr. Caspar: Thank you fo r your letter.
Published arricles are published and therefore you can access chem
just as well as I can. It might be possible, however, co send X-ray
images so long as you assure me you know how to read them. I
would prefer co avoid misinterpretations of m y work cropping up
all over New Haven. I should like to maintau1 the reputation yo ur
Dr. Dewhurst so kindly attributes to me.
DON. D ear Dr. Franklin, I never received the images in the mail,
even though I assured you I understood how to read them . Could
you please re-send? Ir's been over a month and I'm anxious to final-
ize this section of my dissertation. (Beat.) Dear Dr. Franklin, ,I'm so
sorry to write again, but I still haven't received the images. I'm afraid
I've become a pest. Please forgive me. It would kill me to think you
might think badly of m e, as l 'n1 such an admirer of your work.
ROSALIND. D ear Mr. Caspar, I trust yo u have now received the
images?
DON. D ear Dr. Franklin, I have indeed received the images. And
I can't thank you enough. They've opened up for me ... I mean,
you've opened up for me a whole new . . . What I mean is, I've
never seen anything Like them. I could stare at them for hours and
they still wouldn't reveal all of their secrets. Not that that means I
can't read chem. I can read them. 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 beauciful

20
simply for what they are. I think one sees something new each time
one looks at cruly beautiful things.
ROSALIND. Thank you, Mr. Caspar. I'm pleased you received
the images.
MAURICE. (Unimpressed.) One sees something new each time
one looks at truly beautiful things?
DON. Yes. I think so. And so did sl1e.
RAY. (To the audience.) Sometimes she would get away from the
lab. I'd arrive in the morning and no one would be there -
MAURICE. (Hurt/indignant at being overfaoked.) Well, I was
there.
RAY. And then the telephone would ring.
ROSALIND. (On the telephone with Gosling.) I'm in Switzerland.
Switzerland, I said.
RAY. What? I can't hear you.
ROSALIND. I told you I was going hiking this weekend. I'm just
going to stay an extra day.
RAY. Fine.
ROSALIND. Can you hear me?
RAY. She would just disappear sometimes. One day here and then
gone
MAURICE. Like a restless ghost.
ROSALIND. It's beautiful here, Gosling. You should l1ave smelled
the air at the summit; it was -
RAY. You have co speak up. I just can't -
ROSALIND. 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 some-
how less overwhelming than chey have in che past, as though their
vastness was made for me, as though the more of something there
is co climb, the further 1'11 get to go. It seems so obvious now. The
mountains mean more than what they seem at first glance but are
also beaucifuJ simply for what they are. You know, I chink one sees
somechi11g new each time one looks at truly beautiful things.
RAY. Miss Frank.Jin? Rosalind? Are you there?
JAMES. (Unimpressed.) But she wasn't there, was she. She was coo
busy snowshoeing and ... enjoying cl1ings like ... nature and small
woodland creatures.
FRANCIS. I mean, didn't she feel chat something was at her back,
a force greater than she was . . .

21
 JAMES. You mean us?
FRANCIS. No. I mean fate.
JAMES. What,s the difference?
MAURICE. And then she,d come back.
"--ROSALIND. Gosling, more to the left. I said the left.
RAY. I am moving it to the left.
ROSALIND. More, you have to move it more. We're simply not
aligned. (Rosalind moves into a beam oflight.)
RAY. Don't step there, Miss Franklin, please!
ROSALIND. Dammit.
RAY. You can't move through the beam like chat.
ROSALIN D. If I have to do everything myself, I will. I mean,
don,t you understand I will literally go mad if we don't get a better
as
image soon. So let's get it done, Gosling. It)S as simple that.
RAY. (Quietly.) It doesn't have to be.
V
ROSALIND. What was that?
RAY. I sai.d I,m here to help you. I just don't wane co . ..
ROSALIND. What, Gosling? Don't want co what?
RAY. (To the audience.) I was going to say "endanger myself,, but I
didn,t. I could have said, "put myself in harm,s way," could have
said chat even though we didn,t know it for sure yet, I could feel
the way chat beam cut through my flesh. Instead I said: Yesterday's
photographs were better, the best yet - did you see chem?
ROSALIND. Of course I did.
RAY. There was a little crowd around them chis morning, mar-
veling at them, at the detail you captured.
ROSALIND. {Feigning disinterest.) Was there?
RAY. Absolutely. They were enthralled. (Beat.) Ir's quite gratifying,
really. You should feel ...
ROSALIND. But they need to be so much clearer, Gosling ... If
we're ever to find the structure.
RAY. I know.
ROSALIND. It's going to get to the heart of everything, Ray.
RAY. But you still need to sleep, occasionally. Don't you? Or don't
you need any?
ROSALIND. We ca11 cal1 it a night, if you like.
RAY. You mean, why don't I call ic a,night?
ROSALIND. (Smiling to herself) They were really enthralled, were
they?
RAY. Like chickens clt1cking around a new bjc of food.

22
ROSALIND. Go home, Ray.
RAY. So long as you promise not to . ..
ROSALIND. What?
RAY. Stay too lace. So long as you promise not to stay coo late.
ROSALIND. I promise.
RAY. You,re lying.
ROSALIND. Yes.
DON. (To Ray.) Did she really do that?
RAY. All ·die trme.
DON. 'Ancf you didn't ...
RAY. I couldric .. . le was like speaking bad French co a French per-
son 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.
RAY. That's not what I meant -
DON. (C1,tting him off) I know. (To the audience.) And then there
was the conference in Naples, spring 1951.
MAURICE. (To the audience.) Yes, and it was typical enough.
Everyon e pretended to be terribly interested in everyone dse,s
work. My lecture was on the last day and the roo.m was nearly
empty. I showed a few slides, explained why we felt nucleic acid
was worth studying as opposed to protein, and then packed up my
things. I was about to leave but then a young man with really very
odd hair blocked my path.
JAMES. I'm Dr. Warson.
MAURICE. Hello, Watson. Can I help you?
JAMES. It's Dr. Watson, but no matter ... The thing is, I was fas-
cinated by your presentation.
MAURICE. Well good, thank you.
JAMES. le makes me think - more than ever - that the gene,s
the thing. I mean, we have to get to the bottom of it - discover
how it replicates itself And so we need its structure. Your slides
convinced me that this can and should be done. That the shape is
regular enough that it can be studied.
MAURICE. Yes. I believe it is.
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 fare.

23
MAURICE. You said your name is?
JAMES. Watson. And I was wondering if maybe I could work
with you on nucleic acid? Ac Kin g,s? I don't mean to be presump-
tuous ...
MAURICE. That is a bit .. . presumptuous. Have we even met
before?
JAMES. I'm cwenry-rwo. I have my doctorate. From Indiana
University. I'n1 currently doing research in Copenhagen on the bio-
chemistry of virus reproduction .
MAURICE. And?
JAMES. What I'm crying to say is: tl1e photograph s from your lab
are brilliant. I'd like to learn crystallography.
MAURICE. I'm not even positive that I know what we're talking
about.
JAMES. I want co get in the race, Wilkins.
MAURICE. What race are you referring to, Watson?
JAMES. For rhe structure of D NA, of course.
MAURICE. There is n.o race.
JAMES. Linus Pauling's on it, out at Caltech.
MAURICE. Well, he doesn't have the sample I have. Or rhe pho-
tographs.
JAMES. Or tl1e pho1ographer.
MAURICE. That's right. (Mattrice shuts his briefcase and walks
away.)
JAMES. Was it the biggest mistake of his Life? (Beat.) Without
•
question.
MAURICE. People assume I muse feel it was - nor caking Jim
on , and becoming his partner. After all, maybe the rwo of us would
have ... Maybe la1er my name would h ave ... rolled off the tongue.
Been the answer co questions in the occasional pub quiz. I don't
know. What happened h.appened .
JAMES. After our conversation, I approached Lawrence Bragg at
tl1e Cavendish, who took m e on immediately. I was partnered
upon my arrival with a scientist named Francis Crick.
FRANCIS. Do yo u prefer Jim, or James? Jim sounds more
American to me. Or how about Jimmy?
JAMES. How about I tell you and yo u don't have to keep guess-
•
1ng.
FRANC IS. I like that idea.
MAURICE. (To the audience.) And I went back co . .. (Lights shift.)

24
 •

Back in the ltzb.

ROSALIND. Hello, Dr. Wilkins.

MAURICE. Hello, Miss Franklin.
ROSALIND. And how was your conference?
MAURICE. I hear from Gosling you're spending some late nights
here.
ROSALIND. I'm just doing my work, Dr. Wilkins. Nothing more.
MAURICE. May I see it?
ROSALIND. What?
MAURICE. Your work.
ROSALIND. Why?
MAURICE. We're partners, aren't we, Miss Franklin? (Beat.)
Aren't we?
ROSALIND. Yes we are.
MAURICE. So let's have it then.
ROSALIND. For one, I fixed the camera.
MAURICE. The humidity is no longer an issue?
ROSALIND. Ir's no longer an issue.
MAURICE. How did you do it?
ROSALIND. It was simple, really. I used salt solutions.
MAURICE. And the salt didn't spray the DNA?
ROSALIND. No ir didn't. I assured you it wouldn't and it didn't.
MAURICE. Well, I'm very impressed.
ROSALIND. There's no need to condescend.
MAURICE. I wasn't. I am seriously impressed.
ROSALIND. But that's ridiculous. You shouldn't be. I used the
simplest of chemist's techniques.
MAURICE. Whatever you did, it was wonderful!
ROSALIND. Whats wrong with you, Dr. Wilkins? You look
flushed.
MAURICE. I do feel a linle warm.
ROSALIND. Maybe you should sic down.
MAURICE. Yes. (He sits. A Long beat.)
ROSALIND. All right. That should do ic. I'm sure you're ready
now to get back to work. (Mattrice stands and stares at her, shocked.
Then he turns to Ray.)

25
MAURICE. But how can we get anything done if she's constantly
making me fed as though I'm being impolite to her? No, worse -
offensive.
RAY. I cl1ink she,s just settling in.
MAURICE. Did you know Linus Pauling,s on DNA now,
Gosling?
RAY. I didn't.
MAURICE. We really must push forward.
RAY. And we will.
MAURICE. All I've been is kind to her.
RAY. So maybe kindness isn,t working.
MAURICE. Kindness always works with women, Gosling. I'm a
trifle concerned for you if you didn't know that.

Rosalind and Ray work in the lab together. Maurice knocks

on Rosalind's lab door, fiddling with the ribbon on a box of
chocolates.

ROSALIND. Gosling, could you get tl1at? (Gosling opens the door.)
RAY. Dr. Wilkins, you shouldn't have.
MAURICE. Oh - no - they're for ...
RAY. I know who they're for.
ROSALIND. (Appearing in the doorway.) What is it? (Beat.) Yes,
Wilkins, can I help you? (She notices the box.) Whar is char?
MAURICE. May I speak with you?
ROSALIND. About what?
MAURICE. Privately.
ROSALIND. Well, all right. But quickly. (She nods at l?ay, who
doem't understand at first.)
RAY. Oh, right. (He Leaves. A beat.)
ROSALIND. So?
MAURICE. I got you these. (H e hands her the box.)
ROSAL1ND. What are they?
MAURICE. Chocolates. (Beat.) I bought chem for you.
ROSALIND. Why?
MAURICE. Why?
ROSALIND. Yes, why?

26
MAURICE. Oh. I guess because I think things between us
haven't go-c off on a good fooc. On che right· foot. I want co ... I
wanted to ...
ROSALIND. We've already started again once, h.aven't we? How
often will we have to do this?
MAURICE. Ir's just chat ... I mean, I'd like to ... have an easier
relationship with you.
ROSALIND. But we're not here to have a rdationship, Dr. Wilk.ins.
MAURICE. (Turning red.) I didn't mean a relationship in the, well
.. . I meant a working relationship. An easier partnership.
ROSALIND. Was your wife cold?
MAURICE. I beg your pardon?
ROSALIND. Was she cold?
MAURICE. I don't know what you're ... to what you're referri11g ...
ROSALIND. You do, I think. After all, how many wives have
you had?
MAURICE. One.
ROSALIND. An American who refused to return with you to
England after the birth of yoL1r son.
MAURICE. Yes.
ROSALIND. So was she cold?
MAURICE. She could be.
ROSALIND. And I'm not her. We're not married. You don't have
to try co win me over. In fact, you shouldn't try to win me over
because yo·u won't succeed. I'm not that kind of person.
MAURICE. I'm just crying co ...
ROSALIND. What?
MAURICE. Be your friend.
ROSALIND. I don't wane co be your friend, Dr. Wilkins.
MAURICE. You don't?
ROSALIND. No. (Beat.)
MAURICE. Well then. E11joy the chocolates. (He exits; the Lights
shift.)

DON. Dear Dr. Franklin, I hope chis isn't out of turn, but I want-
ed to let you know how immensely helpful your images have been.
The work is going well. Incredibly well, actually. This morning I
realized char for once I didn't feel plagued by lack of direction, by

27
chis persistent question about 'tvhat to do with my life a11d. whether
I've made che right choices. I have made the right choices. I just
love .. . I mean does the X-ray camera ever seem like it's just an
extension of your own eye, as though yo u and you alone possess the
superhuman powers that allow you co see into the heart of things?
To understand the nature of the world as though it's a secret no one
else is meant to kno"v? ... I do. And I chink you do too.
ROSALIND. Dear Mr. Caspar: 1. .hank you for your letter. And . ..
Yes. I do share some of your . .. ways of thinking. Ir's nice to hear
chat one isn't alone.
RAY. And then ... tl1en Wilkins gave a lecture and referenced "his"
DNA work
MAURICE. I didn't say ic quite like char.
RAY. H e announced , to great applause, chat all the X-ray patterns
he'd made indicated a clear central x, a helix. And it wasn't pretty
- the aftermath, I mean. Not the helix. The helix was ... beauti-
ful.
ROSALIND. (Condescendingly.) Flushed with pride, are we?
MA.URI CE. Excuse me?
ROSALIND. X-ray patterns you made?
MAURICE. It was just a manner of speaking. Everyone knows
who's 011 the rea1n, that the.re is a ream.
ROSALIND. Well, I don't know which X-ray patterns you were
looking at, bur in the ones I rook, it's certainly not clear chat there is
a helix.
MAURICE. Ir's like you're unwilling co see it.
ROSALIND. (Calmly.) Dr. Wilkins, I was told - before I came
to King's - that I would be i11 charge of X-ray diffraction. Given
that, and given the credit you seem bent on grabbing all for your-
self, when you deserve none of it, I would suggest, and would cer-
tainly prefer, if you went back co optics and your microscopes. A
field no one will begrudge you beca·use no one really cares about it.
MAURICE. Why a.re you doing this?
ROSALIND. I simply done understand why you would state
something, why you would cell a crowd of people, no less, chat
something is true when ic's not.
MAURICE. It might be true!
ROSALIND. Ir's self-aggrandizement at the cost of any kind of
• •
1n cegr1 ry.
MAURICE. You want our funding co continue, done you? Don't you?

28
ROSALIND. I'm just not terribly impressed by you is the thing.
MAURICE. Oh?
ROSALIND. You're not ... you're just not ... you don't command
my respect.
MAURICE. That's it.
ROSALIND. I agree. That's it.
MAURICE. No one has ever spoken to me in this way. And I don't
deserve it.
ROSALIND. Neither do I! (They part in opposite directions.)
RAY. Neither did I! Not that that mattered.

Rosali1zd is studying a print.

ROSALIND. Would you look at this, Gosling. (Ray peers at the

print.) How do you like that? I mean, how do you like char? (Ray
peers at it some more.) Well?
RAY. What is it?
ROSALIND. Just look at it, Ray! Jesus.
RAY. I see two strands.
ROSALIND. Yes.
RAY. One is longer than the other.
ROSALIND. Yes!
RAY. What?
ROSALIND. Don't you see? They're both DNA. It exists in two
forms.
DON. (To the audience.) A form and B form. The hydrated, longer
one was B, and the shorter, replicable one, A . . . It turned our chat,
before, they'd been looking at one on top of the other, like a man and
woman making love, at that point when one body is indistinguishable
from the other. It had made them virtually impossible to study. But
now Rosalind had discovered how ro separate man and woman, how
to brush them off, get them out of bed and really see them, naked
before her. This achievement alone secured her place in history.
JAMES. Her place in history?
DON. Well, it should have. •

RAY. And its significance wasn't lost on Wilkins. (Rosalind and

Maurice work with Ray bettveen thern.)

29
 •
MAURICE. Could you please ask Miss Franklin if she would
mind terribly if I were to work with her on the B form of DNA. I
have some new samples and I chink we should collaborate.
RAY. Miss Franklin, Dr. Wilk.ins would like to know if you might
consider -
ROSALIND. Please tell him that I will not collaborate and I don't
appreciate his desire to infringe on my material.
RAY. She says she will not collaborate -
MAURICE. And why is that precisely?
ROSALIND. He knows perfectly well.
RAY. She says you know perfectly -
MAURICE. My lord, what's there to be so a&aid of??
RAY. He says ((my lord" -
ROSALIND. I'm not afraid of anything!
RAY. She says she's not afraid of anything!
ROSALIND. I mean, I simply will not have my data interpreted
for me!
MAURICE. I've really had enough of this.
ROSALIND. I agree.
MAURICE. I mean, I can't take it anymore. What's more, your
antipathy is distracting everyone in the lab.
ROSALIND. We'll work separately then. I'll take the B form. And
you can have A.
MAURICE. Maybe I'd like B.
ROSALIND. Maurice, you're being ridict1lous.
MAURICE. Fine. A it is.
FRANCIS. (To the audience.) And so Rosalind did her work. Or
tried to. Painstakingly. Paying attention to every detail. Every dis-
crepancy.
JAMES. You see, she was suddenly just a few steps away from the
structure. But Rosalind didn't hypothesize the way Crick and I did;
she proved things, and proving things, as all scientists know, isn't
... well for one thing it isn't fast.
ROSALIND. Either the structure is a big helix or a smaller helix
consisting of several chains. T he phosphates are also clearly on the
outside, and not within.
RAY. Did you hear that Linus Pauling's working on DNA again?
ROSALIND. I didn't.
RAY. Well, he is.
ROSALIND. Good for him.

30
RAY. I think Wtlkins wants to speed things up. Make a model.
The others are making models, you know.
ROSALIND. If you'd like to take the day off and build a model,
Ray, you're welcome to do so. I'd suggest a train, or an automobile.
Those tend to reflect reality fairly well.
FRANCIS. (To the audience.) You see, to Rosalind, making a
model was tantamount to negligence. She needed to do all the cal-
culations first, to sit in a dimly lit room and do the maths. So what
ended up happening was that she and Wilkins both sat in separate
dimly lit rooms, doing maths. Unsurprisingly -
JAMES . Wilkins got lonely.
MAURICE. I wasn't at all lonely.
JAMES. And so he'd visit his friend Francis Crick in Cambridge,
at the Cavendish. A brilliant new scientist had just joined the lab
there too: me.
FRANCIS. Another pint then?
MAURICE. Oh why not.
FRANCIS. Yes! Why not. This is practically a celebration! I don't
think I've seen yo u in - what - months now? You've been
neglecting me, Maurice.
MAURICE. I know . .. Tell me what you,ve been up to. Still on
those hemoglobins, Francis?
JAMES. But we,re so enjoying hearing about your work.
FRANCIS. Yes - we know all about our own work.
JAMES. There,s no fun in that.
MAURICE. It,s nice to be here; I muse say.
FRANCIS. She's really that bad?
MAURICE. Worse.
JAMES. The Jews really can be very ornery.
MAURICE. You're celling me.
JAMES. Is she quire overweight?
MAURICE. Why do you ask?
FRANCIS. He imagines that she's overweight. The kind of
woman who barrels over you with the force of a train.
JAMES. Or a Mack truck.
MAURICE. No, she's not like that. No. She's like . .. she's like ...
(Lights on Rosalind somewhere else on the stage; Maurice gt1Zes at her.)
DON. (To the audience.) To Watson and C rick, the shape of some-
thing suggested the m ost detailed analysis of its interior workings.
As though, by looking at something you could determine how it

31
came to be .. . how it gets through each day.
JAMES. Tell us m ore about these recent photographs.
MAURICE. Well, they're getting clearer. Every day I think I see ·
more, and then I wonder if my mind,s playing cricks on me.
FRANCIS. So yo u really think it's a h elix?
MAURICE. The thing is, she,s keeping me from my own work.
And she has all the best equipment, not to 1ne11rion the best sam-
ples. She,s hoarding everything.
JAMES. It looks like a helix, Maurice?
MAURICE. What? Oh. Yes. A helix.
FRANC IS. You should build a model.
MAURICE. Oh no. No!! She's opposed - completely - to
models. She doesn't chink there's an y way they could reflect reality
at chis point. Mere pointless speculation.
JAMES. Is speculation always pointless?
MAURICE. I chink as far as Rosy is concerned.
JAMES. She doesn't sound particularly rosy co me.
FRANCIS. Does she know you all still call her chat behind her
back?
MAURICE. Are you joking? She'd have us skinned.
JAMES. I can't wait to meet her.
MAURICE. O h trust me. You can wait.
RAY. (To the audience.) He didn't h ave to wait long. That w inter
King's held a colloquium on nucleic acid structure. I was rhe ...
well, I rnade coffee at the colloquium. That was my contribution .
It was January 1952.

32
 Rosalind stands in a spotlight, or maybe we just hear her lines
- a recording, or she speaks from offitage. In this scene, James
and Francis watch her, or watch a space that represents her.
Their lines should run over some ofhers; they're talking over
her. The ''/" indictates where the next line could interrupt the
cu·rrent line.

ROSALIND. As we all know, a nucleic acid is a macromolecule

composed of chains of monomeric nucleotides. This nucleic acid,
1
which I ll shorthand as DNA, exists in two forms. / Lee's show that
slide.
JAMES. (To Francis.) I wonder how she would look if she cook off
her glasses and did something novel with her hair.
FRANCIS. You may be onto something, Watson.
ROSALIND. All right. There it is. / Look closely at it.
JAMES. I mean, she could possibly be attractive if she cook even
the mildest interest in her clothes. But appearances aside, she is not
•
. . . engaging.
FRANCIS. No. Not in the least.
ROSALIND. If you examine it, you ca11 see the transition from A
form to B form / in this hydrated sample.
JAMES. When we shook hands, her handshake was far too firm.
There's nothing gentle, nothing remotdy tender about her. She's a
cipher where a woman should be. That said, she's not fat.
RAY. (To the audience.) So busy analyzing the speaker, they didn't
hear what she was saying. That she stated quite clearly that:
ROSALIND. Based on these calculations, it's clear that the
phosphates ex.ist on the outside of the molecule. There is no ques-
tion that this is the case.
RAY. And when Watson and Crick made their model a week or so
lacer, everyone ac King's was invited up to see it - after all, it was
based on our work.
JAMES. Wilkins, what do you make of it?
ROSALIND. Where's the water?
FRANCIS. It's nice to see you too, Miss Franklin.
ROSALIND. DNA absorbs at lease ten times more water than chat.
JAMES. Is chat right?

33
ROSALIND. I don't see how a molecule, if it's as you've imagined
it, could hold together.
FRANCIS. How so?
ROSALIND. The phosphates have to be on the outside.
Furthermore, the X-ray data has not proven that the molecule is,
indeed, helical.
JAMES. You j'ust don't want to admit that it's right.
MAURICE. It's not right, Watson . It would never hold together.
Not like that. Perhap s if you'd told me what you were working on
a few weeks ago I could have helped you with it.
FRANCIS. All right, old boy -
MAURICE. Bu-c you didn't do chat, did you? And why not?
Because you knew perfectly well it wasn't yours to ask about.
JAMES. Maurice -
FRANCIS. Be quiet, Jim.
JAMES. WeU, even if it is wrong - I don't really see what the big
deal is.
MAURICE. Then perhaps you should return to your country,
where theft and burglary are upheld as virtues. In fact, it's how
America came to be, isn't it? In Britain we don't actually believe in
• • • •
turning our sinners into sames.
JAMES. H ey, if you're angry with Paul Revere, don't cake it out on
me. I'm just crying to do some science h ere.
ROSALIND. Science?
MAURICE. Well you're not trying in the right way ... And you're
too young. And your hair .. . n eeds attention!
JAMES. I'm not coo young.
FRANCIS. For my part I quite like his hair! I chink it's go-c char-
acter!
DON. (To the audience.) Ir was a disaster. An e.mbarrassment. The
model, I mean. The Cavendish ordered Watson and Crick to stop
working on DNA.
MAURICE. An oddly satisfying disaster, wouldn't you say, Ray?
RAY. I would, Dr. Wilkins. It was oddly satisfying.
FRANCIS. What bastards those Kings boys ca.c1 be, right? The way
they condescended to us.
JAMES. Boys and girl.
FRANCIS. Right. I don't know how he puts up with her. They
make q uite a pair. I mean I Jove him dearly, but even in our schooJ
days, Wtllcins was a patronizing prac.

34
JAMES. Oh come on. We'd be gloating too. If it,d been the reverse.
FRANCIS. It will be, one day. There,s not a chance I'm going back
to hemoglobin diffraction patterns.
JAMES. I don't blame you.

Lights shift. Rosalind is on the telephone.

ROSALIND. You really don't have to worry about me, Mother. I'm
just fine. I always have been and nothing is different now. Yes: I am
getting enough sleep . .. No. I'm not too lonely. (From ojfitage.)
RAY. Miss Franklin!
ROSALIND. I've got to go. Okay. Yes. Friday night. Goodbye.
RAY. Miss Franklin! {She hangs up. Ray appears.)
ROSALIND. What is it?
RAY. You just have to see it. It's kind of ... well, amazing.
ROSALIND. Show me. (He shows her. She studies it for a long
time.) It's a perfect X. It's a helix.
RAY. I know.
ROSALIND. Gosling.
RAY. It's incredible.
ROSALIND. How do you like that. How do you like that ... I've
never seen anything like it.
RAY. It's certainly a helix. The B form is certainly a helix.
DON. Photograph 51.
JAMES. Photograph 51.
DON. (To the audience, transfixed.) And she stood there, staring-at
it, as though she were looking in a mirror bur was suddenly unrec-
ognizable to herself .
FRANCIS. (Searchingly.) Did any chimes go off in her head? Was
there any singing?
JAMES. And then . . . (Rosalind files the photograph away.)
JAMES. She put it away.
RAY. Shouldn't we show it to Wilkins?
ROSALIND. Don't you wane to celebrate, Gosling? Let's celebrate.
{Maurice enters.)
MAURICE. Celebrate what? I see no cause for celebration.
ROSALIND. You can have a little fun, can't you, Maurice? After

35
all, we know how you like your games and jokes and things.
MAURICE. Do I?
ROSALIND. Why don't you give us a Little speech.
MAURl CE. Excuse me?
ROSALIND. Go on then.
MAURICE. A speech? About what?
ROSALIND. Be creative, Maurice. You can do char. Come up with
something our of thin air. Can't you? ... I don't know. Why don't you
tell us about the fondest moment in your scientific career.
MAURICE. The fondest moment.
ROSALIND. Ray, does it seem he's just repeating after me?
RAY. Oh, um.
MAURICE. What is it precisely you want me to do?
ROSALIND. Just do something. Maurice. Son1erhing. You never
commit ro anything and it torments me.
MAURICE. Does ic.
ROSALIND. Yes. I can't abide it.
RAY. I think Dr. Wilkins is just crying co .. .
ROSALIND. Oh, come on, Ray. Whose side are you on?
RAY. (Directing the first phrase to Rosalind and the second to
Maurice.) I'n1 not 011 a side. I'm not on a side.
MAURICE. You're behaving a bit like a banshee, Miss Franklin.
ROSALIND. Just celebrate with us.
MAURICE. Bue what are we celebrating??
RAY. It's amazing, really-
ROSALIND. Have some faith in me, Maurice. Tl1ere is some-
thing to celebrate. Take a leap of faith.
MAURICE. As though you would ever do that. No - it all has
co be solved and re-solved. There can be no room for error. No
room for ... humanity, really. That's what yo u leave our of your
equations, Miss Franklin. (He leaves.)
RAY. (To the aitdience.) That night I slipped Wilkins the photo-
graph. I did think it was his right co see it. I knew it was the best
pl1otograph we had. (He exits. Caspar enters, reciting his letter.)
DON. Dr. Franklin, I graduated today! As of ch is morning, I was
still a scude11t, and a mere few hours lacer, I'm 110c. I feel like one
of my own X-ray exposures, one that cook ages to set up and was-
n't at all promising, but managed co yield something. A little some-
thing. Really, I can,r believe it. Neither could my parents. They
l<ept saying '< Don, we thought you'd never finish." But they \Vere

36
happy. And ... I was happy - am happy - and I just felt like
telling you chat I owe all of this to you. And I was wondering ...
d o you think ... I m ean, is chere any chance I could come work
with you - for you - at King's? It would be a great honor. Maybe
chere,s a fellowship I could look into?
ROSALIND. Dear Dr. Caspar, my .m ost heartfelt congratulations.
I'm sure you realize how important semantics are. This title that's
now b een conferred on you .. . le means win dows h ave been flung
wide, letting in the cold n ight air, chat streetlamps will blink on as
you walk p ast chem. In 1945, when I got m y doctorate, I thought
those letters you've now acquired would have the san1e value for
m e, but of course you and I well know this is no t the case. I'm not
co m plaining abo ut it. One can't focus on such tlungs. And I don't.
DON. You are so remarkab le, Dr. Franklin. I really h op e you don't
mind my saying: you are so remarkable. 1 d on't know how you exist
in the environment in which yo u find yourself.
ROSALIND. I jLtst do my work, Dr. Caspar. I've realized the best
thing is just co d o one's work and not worry so much about any-
thing else. It doesn't matter anyway.
JAMES. (To the audience.) Bu t it does matter! It did matter. You
can't be in the race and ign ore it at the same time! That,s where she
went wrong.
MAURICE. You told her she was remarkable?
DON. I did.
FRANCIS. And what is a race anyway? And who wins? If life is
the u lcimate race to the finish line, then really we d o n't wan.t to win
it. Shouldn,t want to win it. Right?
JAMES. I don't know what you're talking abo ut. Sometimes you
didn't make sense, Francis, and I h ad to pretend co understand
what yo u were saying. I usually attributed it to a British thing,
some guilty remnant of an imperialist past bac k to h aunt you.
FRANCIS. O r maybe the race is for something else entirely. Maybe
11one of us really knew what we were searching for. What we wanted.
Maybe success is as illusory and elusive as ... well, Rosalind was to tts.
Maybe it exists only in our conception of it, and then always just out
reach, like Tantalus with his h overing grapes.
JAMES. See? Gobbledygook. It,s amazing we got o n so well for so
long.
FRANCIS. Ir is amazing. (The tensior1 breaks and they smile at
each other.)

37
JAMES. (To the audience.) In February 1953 we got our hands on
a report Pauling had written about nucleic acid structure. It was
wrong; he was wrong about the phosphates, but the simple fact of
his writing it meant he was working on it in earnest, which meanr
he would get it.
FRANCIS. We all knew it was just a matter of time and not much
time at that. So Watson went to London. He didn't tell me why,
but I had a feeling. (lames bursts into Rosalind's office.}
JAMES. Good morning, good morning, lovely Rosalind.
ROSALIND. What are you doing here?
JAMES. It's nice to see you too.
ROSALIND. You could knock.
JAMES. Do you know what I have with me?
ROSALIND. How would I know?
JAMES. Pauling's manuscript.
ROSALIND. Okay.
JAMES. Okay?
ROSALIND. Look, I really was about ro -
JAMES. Pauling is going to be publicly h11miliated in two weeks
when this gets published an.cl you don't even want to see it?
ROSALIND. Why would I wane to see it?
JAMES. To gloat, for one. You should see Bragg - he's walking
on water these days. (Impersonating Bragg.) "Linus isn't going ro
bear me this rime!" See, Pauling made some of the same mistakes
Crick and I made. He's proposing a triple-stranded helix with the
phosphates on the inside.
ROSALIND. Thar's what this rush co publish does. Ir means our
publications are littered with ridiculous mistakes.
JAMES. Do you think the B form is a helix?
ROSALIND. I'm happy ro arrange a rime to sit down with you and
discuss my findings but right now is not possible, unfortunately.
JAMES. Maurice says you're anti-helical.
ROSALIND. Maurice has no bLtsiness saying who or what I am.
JAMES. So you think the B form is helical?
ROSALIND. I think it might be.
JAMES. Are you sure you're interpreting your data correctly?
ROSALIND. Excuse me?
JAMES. How much theory do you have? (A hair ofa beat.)
ROSALIND. Why are you here, Jim?
JAMES. (Holding up Pauling's manuscript.) To share.

38
ROSALIND. Is chat right? (Beat.)
JAMES. I don't know. I thought you,d be interested in the manu-
script. I thought ...
ROSALIND. Yes?
JAMES. I thought we could talk.
ROSALIND. But you've never shown any interest in doing that
before. Which leads me co believe that you're here to insult me.
That or you're not aware of the fact that you're insulting me, which
is, perhaps, worse. Do you think that if you demoralize me I won't
get it done?
JAMES. Get what done?
ROSALIND. The work, Jim.
JAMES. I think you'll get ic done. Or .. . I thjnk you might get it
done. But to do that, you have to compensate for the things you're
lacking. And maybe I could do that.
ROSALIND. Do what?
JAMES. Help you.
ROSALIND. Really, if you wouldn't mind leaving -
JAMES. What I mean is, if you had theory you might understand
how these "anti-helical,, features are really ruscortions. That what
you're seeing is, in fact, a helix. Because I really chink it is one,
Rosalind. I have chis feeling that's ruvorced from reason. That I
can't explain. Ic's deeper than .. . I mean, if I've known anything for
sure in my life, this is it.
ROSALIND. You must sleep so easily. With that kind of certa inty.
JAMES. No. I don't sleep. (Beat.) There's too much to think about.
You know there is. It overwhelms you. I can see that. So share your
research with me. I mean, you're not going to get it o.n your own.
ROSALIND. Get ouc.
JAMES. Be reasonable, Rosalind.
ROSALIND. Get out of my lab!
JAMES. There's no need to gee so upset -
ROSALIND. I'm not upset! I'm not upset. I,m ... I'm . .. What I
am is none of your concern. Just go.
JAMES. Why won't you even consider that - (Rosalind rushes at
him.) What's this all about?
ROSALIND. Out!
JAMES. Okay, okay. (He leaves.)
ROSALIND. And stay out.
DON. (To the audience.) Down the hall, Watson was with

39
Wilki11s. Or Wilkins was with Watson. If it wasn,t in poor taste,
they'd have been holding hands.
MAURICE. Don't be absurd.
DON. I wasn't.
JAMES. She really is a right old hag, isn't she? I mean, rhe way she
lunged at me. I really thought I mighc gee hie.
MAURICE. A complete disaster. Did ic to me once. All I was
doing was crying to be congenial.
JAMES. Me too!
MAURICE. She cakes everything so seriously.
JAMES. One needs to be more lighthearted sometimes. Every
.now and then at least.
MAURICE. I know.
JAMES. I mean, I can't believe this is what you've l1ad to put up
with. Ir's really more than anyone should be asked co do.
MAURICE. le really is.
JAMES. Jc is.
MAURICE. And it's all such a shame.
JAMES. What is?
MAURICE. That we're not actually partners. I suppose I ruined
that before it even began.
JAMES. How could you have ruined it?
MAURICE. I was unfriendly, I suppose.
JAMES. (Lying.) Come on. You're one of che .. . friendLesr men I
know.
MAURICE. I know! I mean, I am pretty friendly. I've never
offended anyone else.
JAMES. She muse be crazy.
MAURICE. Maybe she .is. Or maybe ...
JAMES. What?
MAURICE. I don't know.
JAMES. Well, you're better off without her. Why collaborate with
someone with whom it's impossible co gee along?
MAURICE. The work, for one! I mean, you should see some of
her .. . (He looks through a file in a drawer and pulls out a photo-
graph.) This photograph she took of B, for instance.
JAMES. What photograph?
MAURICE. This one. (He hands it to James, who studies it for a
long time.)
JAMES. I need to ...

40
MAURICE. What?
JAMES. Go. I need to go.
MAURICE. Just like that? ljames is out the door.) James?
DON. (To the audierlce.) In The Double Helix, Watson later wrote
"The instant I saw the picture my mouth fell open and my pulse
began to race." It was Pl1otograph 51.
MAURICE. You can,t leave - just like chat. James!
RAY. On the train back to Cambridge, he sketched the image in
the margin of a newspaper. H e stared at it. He scared ar it some
more. When the train pulled in, he ran like a wild man down the
rainy sueecs - and then he arrived.
FRANCIS. What is it?
JAMES. The Nobel.
FRANCIS. What?
JAMES. The answer.
FRANCIS. What's the answer?
JAMES. It's a double helix. I saw it.
FRANCIS. Where?
JAMES. At King's. And we have to build a model. Right now. We
1
have to start right now. We ve got it, Francis. It's ours. They're
1
sitting on it and they don t know it. It's ours. This is how we,re
gonna get to replication.
FRANCIS. But I don't quite understand.
JAMES. There's no time to understand. We just h ave to start.
FRANC IS. Well, let me at least finish this cup of tea. lt,s really
quite lovely - a jasmine mixed with a -
JAMES. Francis!
FRANC IS. Oh, all right.
MAURICE. But cl1at,s not how it happened. I didn't just give him
the photograph. H e asked for it.
JAMES. No. I don't think so. You offered it up, like a leg of lam b
we'd share for dinner.
MAURICE. I didn't.
RAY. And that same week -
MAURICE. (Unhappily.) Don Caspar arrived.
RAY. Shortly after getting his doctorate, Dr. Caspar was awarded
a fellowship with us at King's. Apparently, one of the scien tists here
had gone to bat for him, so to speak. I can't imagine who it was.
(The lights shift.)

41
 Maurice shepherds Don into the lab.

MAURICE. And this is Miss Franklin.

DON. You,re Dr. Franklin?
ROSALIND. That,s me.
DON. Well, hello. (An awkward beat. Maurice looks on, stunned.)
It's funny ... I imagined you differently.
ROSALIND. How,d you imagine m.e?
FRANCIS. He didn,t say- he couldn't say- that l1e'd imagined
her dowdier. A woman whose exterior mirrored her seriousness.
DON. Oh, just fairer maybe. Blonde.
ROSALIND. You thought I was blonde?
DON. I done know. Yes.
ROSALIND. You knew I was Jewish, though?
DON. Yes. So am I.
ROSALIND. That will make cwo of us at Kings.
DON. I have left New Haven, haven't I.
ROSALIND. Yes. I suppose you have ... And how was your journey?
MAURICE. His journey was fine - so, shall we?
DON. It was fine. A little tiring.
ROSALIND. Yes -it must have been. (Beat.)
DON. Ir's strange co meet someone with whom one has -
ROSALIND. We should get co work then, shouldn't we?
MAURICE. Yes. I think work is the reason why we're all here, isn't
it? Isn't it, Miss Franklin.
ROSALIND. It certainly is, Dr. Wilkins.
RAY. Four days lacer Crick invited Wilkins for Sunday lunch in
Cambridge. He found, when he arrived, thac -
FRANCIS. I hope you don't mind that I invited Watson coo.
MAURICE. No, of course not.
FRANCIS. Here - sic down. What can I get you to drink? Odile
is making a roast bur it won't be ready for an hour or so.
MAURICE. Anything is fine. Whiskey?
FRANCIS. Whiskey it is. (Francis exits.)
JAMES. So how has it been lately with you-know-who?
MAURICE. Don't ask.
JAMES. She's working hard?

•
42
MAURICE. Same as always . . .
JAMES. People never change, do they.
MAURlCE. No ... And I wonder sometimes if perhaps I shouldn't
move - you know, to the countryside. I can,t really ... That is to
say, I haven't met anyone in London. Have you met anyone out
here? I mean ... I guess I mean ... women? Do you meet women?
(Francis returns with a drink.)
FRANCIS. One whiskey.
JAMES. I have met a few women here. Sure.
FRANCIS. "Mee'' being the operative word. They take one look
at him and then . . . how would one describe it ... I guess then
there's a brief period of whispering after which time they end up
leaving the pub because one turns out to have left her hat at home
or some such nonsense. No, it's more likely James would solve the
secret of life than bed a woman.
JAMES. Now why d'you say that? It's just none of the women here
happen ro appreciate .m y sophisticated charms.
MAURICE. Francis, do you remember Margaret Ramsay?
FRANCIS. You think I could forget Margaret Ramsay?
MAURICE. (To James.) She was -
FRANCIS. One of the very few women in science at Cambridge.
And he was absolutely smitten by her. And then one night 'Chey were
sitting at opposite ends of his room, talking about the typical things
one talked about, I suppose - and out of nowhere he cells her he's
in love with her. The poor sod doesn't take her out, get a few drinks
in her and kiss her. No he tells her hes fallen for her and then. con-
tinues to sic there, waiting for some verbal reciprocation of his love.
JAMES. And what happened?
MAURICE. After a very long silence, she stood, said goodbye
and left.
FRANCIS. See, women expect men to fall upon chem .like unre-
strained beasts. Despite their murmurings to the contrary, they
want to feel that you can't keep your hands off chem. Mau.rice has
never understood chat.
MAURICE. I guess what I'm wondering is ... how do you and
Odile ... how does it work so well?
JAMES. le works because she doesn't know that he ogles every
other woman who crosses his path.
FRANCIS. I don't! I mean, give me some credit. Sometimes I do
much more than ogle.

43
MAURICE. Bue you love her?
JAMES. What is chis? Prime Minister's Question Tune?
FRANC IS. O f course I love her. I mean, honestly I don't know
what I'd do without her. You think it'd be satisfying to spend all of
one's time with Jim here? I assure you ic wouldn't. He doesn't exactly
fulfill my every need.
JAMES. I certainly hope not.
FRANCIS. (Studying Maurice.) What is ic, Wilkins? Is something
wrong? (Beat.)
MAURICE. Oh, it's ... I don't know. It's just that I'm starting to
chink there might come a point in life after which one can't really
begin again.
JAMES. Thar's right. It's called birth. After char point, what's done
is done. Which le.ids us nicely co a discussion of genes.
FRANCIS. Yes. Let's discuss how the work is going, shall we?
MAURICE. {With sarcasm.) Yes, the work, the work. That is the
important thing, isn't it?
FRANCIS. D o tell us what our little ray of sunshine is keeping
busy with these days.
JAMES. Anything new on her docket? If you don't mind sharing,
that is.
MAURICE. I honestly couldn't give two damns. I'm h appy co cell
you all I can remember.
JAMES. Well - good .
FRANC IS. Yes, good. (Beat. And a decision to go along with the
change oftopic.)
MAURICE. So let's see ... She's writing a paper at the minute. Sh e
mighr never finish it. The woman writes so slowly to begin with
and lately she's been a bit distracted. Infuriating, really.
JAMES. Wl1ar's it on then?
MAURICE. H er recent pho-rographs, I'm sure. As you saw, th ey
were the best yer.
JAMES. (Tossed off) Yes. T hey were good. Very good .
FRANCIS. And is she building a modd?
MAURICE. Scarring to.
FRANCIS. Is she? I didn't know that. James, did you know that?
JAMES. I didn't know that, Francis.
MAURICE. She has so much information now she can no longer
avoid it.
FRANCIS. What kind of model .is it?

44
MAURICE. It's ofB. It turns o ut A is no longer viable on its own.
So essentially A and B have become hers. I 'm not quire sure how
that happened , but ic happened. And yes, a model may com e our
of it. Som eday.
FRANCIS. Oh, well good .
JAMES. T hat's terrific for her. {Beat.) We wish her well.
FRANC IS. Yes.
MAURICE. (Shocked.} You d o??
JAMES. Of course.
FRANCIS. But how would you fed, Maurice, if .. .
MAURICE. What?
FRANCIS. I mean ... what it is I mean co say is -
JAMES. He wonders if yo u'd be opposed co our crying. One more
time. To gee at the thing.
MAURICE. You wane co build another model?
FRANCIS. Would that be all right with you?
JAMES. We wanted to ask you first. This rime. Since ic really is
your . . . cl1ing. J
RAY. (To the audience.} Tl1ey neglected co men tion chat chey,d
already begun .
FRANCIS. You really should gee to it yoursel£ old boy. You can
do o ne too.
JAMES. It,s a super idea. You d o one coo.
MAURICE. I can't do one. Nor with Rosy around. It's her territory,
her m aterials . ..
FRANCIS. So chat's grand . You'll do ic if Rosy ever leaves.
JAMES. Yes, grand! She's bound to go sometime, after all.
FRANCIS. And we'll get started on ow·s, so long as you give us
che go-ahead.
MAURICE. I can't tell yo u what to d o. I just . ..
JAMES. Yes?
MAURICE. I didn't know you were interested, is all. In doing it
yourselves. Not again. Nor after what happened last rime around.
I mean, weren't you sufficiently embarrassed?
JAMES. Maurice, if I hid our after every embarrassment, l 'd
probably never be able co leave my room.
FRANCIS. And his room is an embarrassment. U tterly filthy.
Why do you chink he's here all the rime?
JAMES. Odile's roasts aren't bad.
FRANCIS. You cake chat bacl<. They're1uperb.

45
JAMES. Almost as tender as her thighs.
FRANCIS. Okay, that's enough.
MAURICE. Look, if I'd known you were going to do another, I
wouldn't have . ..
FRANCIS. What, Maurice?
MAURICE. Said so much, I suppose. Or shown you . . .
RAY. Then things moved quickly. Quickly especially by the standards
of a Ph.D student for whom everything moves slowly.
DON. Watson and C rick got hold of the paper Rosalind had
written. It was confidential.
FRANCIS. It wasn't confidential. Another scientist at Cambridge
gave it co us after it was circulated to a committee over which he
was presiding.
MAURICE. Well it wasn't published, that's for sure. And it
included her latest calculations, confirmation char the B-form was
helical, and the diameter of that helix. Information that became
critical to your work.
JAMES. I'm sure we would have gotten there sooner or lacer, even
w.i thout it.
MAURICE. So would we have done, with the benefit of your
work. You had ours but we didn't have yottrs!
JAMES. There was no "we" where you were concerned. Th.at was
the problem.
RAY. Anyway, it doesn't matter how they got the paper, only th.at
they got it.
DON. And that Rosalind didn't know she should be in a hurry.
Neither of us knew. (Don is leaning over a microscope and Rosalind
tries to squeeze by him.)
ROSALIND. Would you excuse me, Dr. Casp - (She brushes
against him, just a little.) Oh I'm sorry.
DON. (Straightening.) Ir's fine.
ROSALIND. I was j use .. .
DON. It's fine, Rosalind. (Beat.)
ROSALIND. (Taking offense.) What's happened? You got your
degree and somehow I lost mine?
DON. I'm sorry- Dr. Franklin .. . It's just.
ROSALIND. What?
DON. I like your name ... Rosalind ... Rosy.
ROSALIND. Why?
DON. It's warm. It makes me chink about coming inside to a fire

46
after a walk in the bitter cold.
MAURICE. {To the audience.) Only an American could come up
with such a line.
ROSALIND. But I,m not warm. No one thinks I,m warm. Ask
anyone -
DON. Listen ...
ROSALIND. Yes?
DON. Would you have dinner with me?
ROSALIND. Dinner??
DON. No - not like ... Just dinner ... Something really casual.
ROSALIND. I don,t think you u.nderscand that nothing in Britain
is casual. No - everything here is filled with meaning no one will
name or indulge. Ir,s why I much preferred Paris.
DON. Bue I would think it must have been very hard to be in Paris.
ROSALIND. Why,s that?
DON. I don't know. After tl1e war. It must not have been too
friendJy to ...
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.
DON. It would. I'm certain it would. (Beat.) Have dinner with
me. {Beat.)
ROSALIND. I'm afraid there just isn't rime, Dr. Caspar.
DON. For dinner?
ROSALIND. Right.
RAY. (To the audience.) In the meantime, Watson and Crick were
working at breakneck speed.
DON. After looking at Rosalind,s report, they made a conclusion
she had yet to draw: that DNA consisted of two chains running in
opposite directions, like escalators in a rube station.
FRANCIS. Which is how it replicates, Watson. That's how it works.
JAMES. Each strand is a template and in each template is anomer
helix and o,n and on forever.
FRANCIS. Do you know what this means?
JAMES. Yes. I mean, no.
FRANCIS. Ir means large homes in the countryside without
leaky radiators. It means suits tailored to fit. It means my mother
will stop politely asking why I didn,t go into law, or medicines,
and whether I have any regrets about the way my life l1as turned
out ...

47
JAMES. Ir means textbook publishers will call to make sure they
have the correct spelling of our names.
FRANCIS. Yes! And yo u can choose any woman as your wife. And
my wife will look ar m e differently.
JAMES. It m ean s there will always be the means co keep doing
this. Forever.
FRANCIS. We,re almost there, Watson. We're so close.
RAY. {To the audience.) Mid-February. Watson and Crick were all
of a sudden being very friendly. They invited everyone to
Cambridge - well, everyone except me - and then acted ...
strangely cheerful.
FRANCIS. Rosalind! So good to see y·o w Come in, come in -
h ere, Jet me rake your coat.
JAMES. You're looking particularly lovely today, particularly
vibrant -
ROSALIND. H ello Jim. Francis. (Beat.) Maurice.
FRANCIS. And you must be D r. Caspar.
DON. Please - call me Don .
ROSALIND. Now what was so important that we come all the
way h ere?
FRANCIS. Just the pleasure of your company, Miss Franklin, on
a loveJy winter,s day. Nothing more.
JAMES. Why not wait out the winter doldrums together? By a
warm fire, maybe, sipping the finest Cambridge has co offer.
ROSALIND. You,d be silly to waste a day like this indoors. And I
certainly won,t, not after being cooped up on the train all morning.
Will you come with me to the garden ... D on?
DON. Of course ... Rosalind. (Maurice watches her take Don's
arm; the -iwo exit together.)
MAURICE. She's different.
JAMES. Not co me. Still the same old -
FRANCJS. Corne now. Lee's be kihd.
MAURICE. I 've always been kind ro her! I've been nothing but
kind! (He leaves them standing there.)
FRANCIS. Oh.
JAMES. What was that?
FRANCIS. (Lengthening this single syllable as much as it can be
lengthened.) Oh!
JAMES. What??
FRANCIS. Don,t you see?

48
JAMES. See what?
FRANCIS. Sometimes you can be so blind, Jim.
JAMES. I can be blind?That's a funny notion.
FRANCIS. H e's in love with her.
JAMES. In love with who? (Beat.) No!
FRANCIS. Undeniably.
JAMES. That's quite a theory, Francis. Bue do you have any proof?
FRANCIS. That's not the way we work, now. Is ic. (Rosalind and
Don come back inside. Maurice is watching them.)
ROSALIND. Francis - Dr. Casp - I mean, Don - just had the
most fascinating idea -
JAMES. Oh yes? About what exactly? About helices, or?
ROSALIND. He was proposing that isomorphous replacement
could be used with the Tobacco Mosaic Virus.
MAURICE. It's not so novel.
FRANCIS. No, it's a first class idea.
JAMES. So you'd put atoms of -
DON. Lead, or maybe mercury - something heavy -
FRANCIS. Into the virus protein. to see what the difference
would be between the X-ray patterns. The X-ray with the atoms
and the one without. That would determine the structure. It's very
clever.
DON. Soon enough we'll be making a model, right, Rosy?
MAURICE. She doesn't like being called Rosy. vfn awkward
pattSe.)
ROSALIN D. (Qµietly.) I don't mind it.
MAURICE. And she doesn't like making models! (Awkward silence.)
JAMES. But are you thinking of making one? (Franc-is breaks in to
stop James from going on.)
FRANCIS. And how much longer will you be in London, Caspar?
DON. Not very much lo11ger, I'm afraid. This fellowship is just a
couple more months.
FRANCIS. Shame.
DON. It is. (They all look at Rosalind.)
ROSALIND. Yes. (Beat.) Shame.
MAURICE. (Barely concealing his true feeli1zgs.) Quire a shame. Yes.
JAMES. Wilkins, you old rogue.
MAURICE. What?
JAMES. Francis, I do believe you're right.
MAURICE. Right abouc what?

49
FRANCIS. Let's move into the sitting room, shall we? Jim, you go
and help Odile bring out our new tea set and then we'll sit and
have a nice cup.
JAMES. Why should I help her? She's your wife.
FRANCIS. Just go. (Lights shift.)
DON. (To the audience.) But dort't be fooled. Sh e was not dis-
tracted by me. Rosalind? No. She continued to work slowly and
methodically, and in increasing isolatio n.
RAY. Can I get you anything at least? A cup of tea?
ROSALIND. Gosling, if I were co tell you that it seemed co m e the
chains of DNA must run in the same direction, what would you say?
RAY. I'd say you're testing me.
ROSALIND. How so.
RAY. Because if they're not anti-parallel then it wouldn't make
sense for the nucleotides to be linked by their phosphate groups.
ROSALIND. Yes.
RAY. So you were testing me.
ROSALIND. You always need to rule out the wrong answer, Ray.
Don't forget that.
RAY. So then what's the right answer?
ROSALIND. W hat is the right answer.
RAY. Are you asking me?
ROSALIND. Do you know it?
RAY. No.
ROSALIND. Then I 'm n ot asking.
DON. (To the audience.) Watson and C rick struggled with how
the four bases fit into the picture. Did they pair up? Work together?
O r were they distinct from each other?
JAMES. You can't be tired . Are you really tired?
FRANCIS. No. I'm wide awake. I'm just feigning fatigue to keep
you on your toes.
JAMES. Are you kidding? I can't tell if you're kidding.
FRANCIS. I can't tell eitl1er.
RAY. (To the audience.) February 23rd . (Rosalind is studying
Photograph 51. She holds it very for away from her face and then very
close; she puts it down.)
ROSALIND. Gosling! Can you come here, Gosling.
RAY. What is it?
ROSALIND. What are you doing over there, playing solitaire?
RAY. No, I was j use -

50
ROSALIND. What do you think this is? Nursery school? I mean,
we have work co do.
RAY. But you haven't been wanting my help -
ROSALIND. Please just stand here, will you. (Beat.) No - chat's
too close. Still a little further. I need you to be standing further
away so I can think. (She picks up the photograph again, studies it.)
Yes. Both the A and B form are helical. They have to be.
RAY. Two steps away from the solution. Two steps away. She just
didn't know it. (Maurice enters.)
MAURICE. It's late. Why don't you go home.
ROSALIND. I'm fme.
MAURICE. Fine. (He begins to leave. She is staring at the photograph.)
You're staring. I can tell you're doing nothing more than staring.
Go home.
ROSALIND. No.
MAURICE. Or let me look at it. (He goes tuwards her.} Is it the
bases? Are you thinking about the bases?
ROSALIND. I think I'm tl1inking about how I've come to the end
of chinking. How there's nothing left.
MAURICE. You're exhausted.
ROSALIND. Not exhausted. Blank.
MAURICE. This rareJy happens to you.
ROSALIND. It never happens.
MAURICE. Never? (Beat.) You think if you were to give an inch,
we'd all cake a mile, is that it?
ROSALIND. (Quietly.) It's true, isn't it?
MAURICE. No. I don't think so.
ROSALIND. Then you too have come to the end of thought. You
should go home, Maurice.
MAURICE. I could .. .
ROSALIND. What?
MAURICE. We could talk it through. It might help. (f1 long beat.
She stares at Maurice.)
RAY. ( To the audience.) For a moment, everything stopped.
Different ways our lives could go hovered in the air around us. (A
long beat.)
ROSALIND. You know, I chink I am going to call ic a night. I
haven't been home before midnight for a fortnight and really what's
the point of being here and not getting anywhere? (She stands
abruptly.}

51
RAY. And then there was only one way everything would go.
ROSALIND. Goodnight, Maurice. (She exits.)
MAURICE. Goodnight.
RAY. (To the audience.) February 28, 1953. A barmaid made her
way through the Cambridge snow to open the Eagle Pub for the
day. Warson and C rick were holed up like birds in a cage that was
about co become ... the world.
JAMES. They must pair off. The hydrogen bonds form between
the pairs.
FRANCIS. Adenine always goes with thymine; cytosine with
•
guarune.
JAMES. Whenever there,s one 011 the DNA chain, there,s always
the other.
FRANCIS. Yes!
MAURICE. Like a team. A successful team.

Rosalind and Don sit at a table together. Its the end ofthe meal

DON. I'm glad you didn't change yo ur mind. You know, I really
thought you were going to change your mind. I hope I didn't take
up coo much of your rime.
ROSALIND. My time.
DON. Right.
ROSALIND. To be honest I'm ooc sure anymore how terribly
valuable my time is ... Or maybe I haven't been ... allotting it to
the right things. I don't know.
DON. You don't know?
ROSALIND. Well, I .. .
DON. You're serious.
ROSALIND. I'm sorry - I shouldn,t have said anything.
DON. Haven't you heard the story about the woman physicist
who had to sneak into Princeton's lab in the middle of the night co
use the cyclotron ? And you probably know wo men aren't even
permitted into Harvard's physics buildi11g.
ROSALIND. Yes. I know that.
.DON. And yet J1ere you are doing this amazing ... no, ground-
breaking work. I can't think of a bercer allotment of anyone's time.

52
ROSALIND. I don't know.
DON. Well, I do. (A breath.)
ROSALIND. Should we get some tea then?
DON. Rosalind ... I have a confession. You might not like it.
ROSALIND. What?
DON. I hate tea. I hate it. I mean, I really h are ic. I can't even
pretend to like it.
ROSALIND. Oh. Well, that is pretty bad. I chink I'm rethinking
everything I ever thought about you.
DON. (A genuine question.) What did you think about me? (Beat.
Awkward. Then, Rosalind considers it.}
ROSALIND. {Honestly, openly.) I thought . .. you seemed balanced.
DON. If by balance you mean always about co take a .h orrible mis-
step and have it all come crashing down around me, then maybe ...
ROSALIND. No .. . See, I 've never had a balance. (Beat.)
DON. No?
ROSALIND. No.
DON. But you've been happy. (A long heat - she is taken aback.)
ROSALIND. Of course. (Beat.) Of course. Otherwise, why would
I have .. .
DON. Why would you have what?
ROSALIND. Continued on, I guess, in this way.
DON. Right. You wouldn't have.
ROSALIND. Right.
DON. You know, I have chis theory ... I think the things we
wane bur can't have are probably the things chat define us ...
And I 've spent more time than I'd like co admit coming co this
pretty simple conclusion so I hope you don't think it's completely
ridiculous. Bue ... I guess I'm talking about ... I don't know ...
yearning?
ROSALIND. Yearning?
DON. I mean ... what do you want, Rosalind? -
ROSALIND. So many things: co wake up without feeling che
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, co feel important, to learn how co be
okay being with ocher people, and also h ow co be alone. To be a
child again, held up and admired, the world fulJ 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

53
out over the world on a late afternoon with chis man sitting across
from me. 0 r to feel it once.
RAY. But instead she said:
ROSALIND. (Sadly.) I don't know. (Don takes her hand.)
FRANCIS. !e's two s'trands. The bases go in the middle and the
phosphates on the outside. It has to be.
JAMES. And we match the larger base with the smaller one. (They
step back and look at the model they've created Silence.)
JAMES. Crick
FRANCIS. Wait. Don't say anything. Uames holds up his sketch of
Photograph 51; they Look from sketcl, to model and back again.)
DON. Is chis okay?
RAY. There's no science chat can explain it. Loneliness. (Rosalind
Looks down at her hand in Don's. The rr,oment ofpossibility lingers.
Then a strange Look comes over her face.)
DON. Rosalind? (She clutches her stomach.)
JAMES . They n1atch, Francis. It works. very Long beat.)
FRANCIS. Ic's . . .
JAMES. I can't believe it.
FRANCIS. It's life unfolding, right in front of us. (Rosalind dou-
bles over in her chair, and gasps.)
DON. Rosalind?
MAURICE. (Matter-offoct!y.) It's the loneliest pursuit in the
world. Science. Because there either are a.nswers 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.
DON. I'll get you help. I'll bring you somewhere.
ROSALIND. A doctor.
DON. Yes.
ROSALIND. Thank you.
DON. Please don't th ank me.
ROSALIND. Don't worry- I won't do it again. It wasn't easy for
me. (Lights shift.)
MAURICE. When they said they had something to show me, I
had a feeling. All the way the(e on the train, the world seemed to
move very quickly, as though passing me by. (He gets to Cambridge
and sees the model.)
FRANCIS. Well?
JAMES. Say something, Wilkins.

54
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 Warson
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.
JAMES. You're really just going to stand there gaping? After all this?
FRANCIS. Let's have something at least. Come on. Give us
something.
MAURICE. (Resolutely.) I think you're a couple of old rogues but
you may well have somethjng. I chink it's a very exciting notion
and who the hell got it isn't what matters.
JAMES. (Matter-offactly.) An exciting notion? It's the secret of
life, Wilkins.
MAURICE. (Sadly.) But is it? Is it really, Jim?
DON. Rosalind, listen to me.
ROSALIND. Why? I'm not sure there is much else one could
choose co see on chose X-rays.
DON. I'm going to find another hospital.
ROSALIND. Just go home, Don. I'm fine here.
DON. How could you possibly chink I'd leave you here all alone?
ROSALIND. But why would you stay?
DON. Because I like you.
ROSALIND. (Sadly.) You like me. (He exits. The lights shift.)

MAURICE. De.ar Miss Franklin. No. Rosalind. No. Dear Dr.

Franklin: I was so sorry to hear about your illness. I'm sure you'll
come out on the ocher side of it, however, and be back at King's in
no time. Really, you haven't missed much. Things have been
exceptionally dull around here. The equipment is getting dusty
from disuse; it's been raining nonstop, of course; Warson and Crick
discovered the secret of life. My teeth hurt in the mornings, just
after I wake up. Dr. Randall sends his regards. We all miss you. No.
We crust you'll soon be well. Yours, Maurice Wtlkins. (Lights shift.)

55
JAMES. (Holding up the copy ofNacure that includes their seminal
paper.) Can you believe it, Crick? I mean, can you really believe it?
FRANCIS. I can't, I can c. 1

JAMES. Why do you seen1 so tired? I can''t sit still. I'm energized.
I want to cake on everything now. The world. Everything. Women.
You know.
FRANCIS. And you will.
JAMES. Crick?
FRANCIS. You will ... l n1 just tired, I chink.
1

1
JAMES. But wasn c ic worth it? Now we'll never be forgotten.
FRANCIS. Never.
JAMES. That's right.
FRANCIS. Never forgotce.n.
JAMES. Francis?
FRANCIS. My wife l1as taken the guest roo1n as her own. She
rnoved her things into it slowly, gradually, over the last few months.
She was clever. It was only when nothing was left chat I realized she
was gone. (Lights shift.)

Rosalind sees Wilkins in her office.

ROSALIND. Maurice, what are you doing here? Why o,n earth are
you sitting in my office in the dark?
MAURICE. Oh - I,m so sorry; I thought you were still ...
ROSALIND. (Matter-offactly. ) I escaped.
MAURICE. You - ?
ROSALIND. I don't intend to spend any more ti.me in that hos-
pital. If I'm going to be i11 a da.nl<:, 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 yoLLfrom chose.
MAURICE. No. No I suppose not.

56
ROSALIND. We lose. In rhe end, we lose. The work is never
finished and in the meantime our bodies wind down, tick slower,
sputter our.
MAURJCE. Like grandfather clocks.
ROSALIND. Well this has been a pleasanr conversation.
MAURICE. Rosalind, I ...
ROSALIND. So they really got ic, 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 wo11. The world won, didn't it?
MAURICE. Bue aren't you at all ...
ROSALIND. Yes, but .. . It's not that they got it first ... It really
isn't ... Ir'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 gee rh.ose days? Who decided I
shouldn't gee those days? Didn't I deserve chem? (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 co take more risks, make models, go forward
wichouc the certainty of proo£
FRANCIS. Been friendlier.
RAY. Or born at another time.
FRANCIS. Or born a man.
ROSALIND. But you'll see. The work never ends. Next n1onch
I'm going to go co a conference in Leeds with one of my colleagues
from Paris. We're going to drive there, stop off at some Norman
churches along che way.
MAURICE. Churches?
ROSALIND. I do love the shapes of things, you know. I love chem
even before they mean something.
RAY. But she never went co 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 srayed snow-covered well inco June.

57
MAURICE. No, no, no ... I won't have ic.
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 chat! 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 cell my
grandchildren: w.hole worlds of things we wish had happened are
as real in our heads as what actually did occur.
MAURICE. Stop that right now. We scan: over. Ar the beginning.
This instant.
JAMES. You've got to be kidding me, Wtlkins. 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. Ir 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 imponant.
ROSALIND. Then cell me. (Beat.)
MAURICE. I saw you. The day you went to see The Winters Tale
ar the Phoenix.
ROSALIND. This is what you needed to tell me?
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 anend 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
l1im. Experiencing the very same thing. Together.
ROSALIND. It is incredible.
MAURICE. Boch watching.
ROSALIND. And when Hermione died, even though ic was
Leontes, fault, 1 felt for him. I truly did.

58
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 whar? (Beat.)
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. (Lights down.)

End of Play

59
 PROPERTY LIST
A letter
Pencils
Lab tray
2 signer DNA vials
2 fluid vials with droppers
5 perri dishes
Folio
Microscope
Box of microscope slides
Notepad
DNA research notebooks
Blank X-ray files
X-ray diffraction camera
Piece of X-ray camera
Rotary dial telephone
Briefcase
Folder of DNA photographs
Photographs of DNA (including Photograph 51)
Lab toolbox
Slide rule
Protractor
Compass
Ruler
Triangle
Box of chocolates
3 pints of beer
Incorrect DNA model
Pauling's manuscript
Copy of Photograph 51
Newspaper
Cup of tea
2 glasses of whiskey
DNA model (partially constructed)
DNA model (completed.)
Sketch on newspaper
Folder of B strand research
Issue of Nature magazine

60
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