Finding Madame Curie
___________________________
By David Kurkowski
Contact:
David Kurkowski
604 S. Washington Sq. 2516
Philadelphia, PA 19106
609-972-5734
davidkurkowski@gmail.com
Copyright 2020. David Kurkowski.
All rights reserved.
i
ii.
SYNOPSIS
The year is 1891. Maria Sklodowska has just arrived in
Paris, having fled her native Poland, which is under Czarist
occupation. Thus begins the story of one of the greatest
scientists in history as she makes her way in a man’s world.
She expects Paris to be better than Warsaw, where girls are
forbidden to go to university, and in many ways it is. At
the Sorbonne, she conducts breathtaking research into the
nature of the atom, overturning long-standing beliefs. Marie
graduates at the top of her class, and she meets her soulmate and future husband, Pierre Curie, with whom she has two
children. Like many women today, she faces the challenge of
balancing her career with family responsibilities.
In many ways, Paris is not the enlightened city Marie
expects. She is stymied repeatedly by obstacles placed in
her way by the male power structure entrenched at the
Sorbonne. Her first Nobel Prize is initially to be given to
Pierre only, but he insists that Marie should be recognized.
Soon after, tragedy visits Marie when she loses her beloved
Pierre in a street accident. Her second Nobel Prize is
almost canceled when scandalous reports of a love affair with
a married man appear in the tabloids. She is denied
membership in the French Academy of Science; this policy of
excluding women is not changed until well after her death.
Despite the challenges that dog her every day, Marie’s story
is one of triumph. She coins the term “radiation,” discovers
two new elements (radium and polonium), develops the concept
of radiation oncology, and invents mobile X-ray devices that
are credited with saving thousands of lives during WWI. Her
older daughter Irene eventually wins her own Nobel Prize.
Our story ends in an epic scene on a WWI battlefield, where
Marie makes the most surprising discovery of her life.
ii
iii.
CAST OF CHARACTERS
MARIE (SKLODOWSKA) CURIE (1867-1934)
PIERRE CURIE, scientist in Paris, Marie's husband (1859-1906)
DEAN of the Sorbonne, Paul Appell
RAMBEAU, Department Chairman and Dean's conniving cohort
ANDRE DEBIERNE, lab assistant in Pierre's laboratory
PAUL LANGEVIN, scientist at the Sorbonne
IRENE, Marie's daughter (1897-1956)
LOIE, dancer
ENSEMBLE: Reporters, gendarme, doctor, nurse, nurse
director, citizens, soldiers
iii
iv.
SETTINGS
Paris street scene
Laboratory (outside and inside)
Academy of Science
Shed
Curie house (outside and inside)
At the war front
iv
v.
SCENES
ACT I
Scene
Scene
Scene
Scene
Scene
Scene
Scene
Scene
Scene
Scene
Scene
PAGE
1:
2:
3:
4:
5:
6:
7:
8:
9:
10:
11:
ACT II
Scene 1:
Scene 2:
Scene 3:
Scene 4:
Scene 5:
Scene 6:
Scene 7:
Scene 8:
Scene 9:
Scene 10:
Scene 11:
Scene 12:
Scene 13:
Scene 14:
Paris
Laboratory
Pierre's office
Laboratory
Academy of Science
Laboratory
Academy of Sciencs
Laboratory
Academy of Science
Laboratory
Academy & Shed
1
4
7
9
11
14
18
22
25
26
29
Outside the Laboratory
Academy of Science
Inside Curie house
Outside Curie house
Inside Curie house
Laboratory
Academy of Science
Laboratory
Academy of Science
Outside Curie house
Academy of Science
Laboratory
Shed
At the war front
33
35
36
39
42
47
49
51
53
55
58
59
62
64
v
vi.
SONGS
Act I
No. Title
Performer
Page
0. Overture
1. Paris
2. Tell Me Why
3. Missed The Boat
4. Fraternite
5. Look At This Girl
6. Honor of Gaul
7. You Don't Know
8. Tiny World
9. Can You See It?
10. The Element Song
11. In the Shed
12. Radium Dance
Instrumental
Marie and Chorus
Marie
Pierre
Dean, Rambeau
Pierre & Marie
Dean, Rambeau & Pierre
Pierre
Marie
Marie and Pierre
Andre
All
Instrumental
1
1
5
7
11
14
18
21
22
23
26
30
32
Chorus
Marie and Pierre
Chorus, Dean and Rambeau
Marie and Young Irene
Young Irene
Marie and Irene
Marie and Paul
Crowd, Irene and Marie
Marie
Marie and Irene
Soldiers, Marie and Irene
Chorus
33
36
39
43
44
45
51
55
59
60
64
68
Act II
13. Something New
14. Letter From Stockholm
15. Great Day For France
16. Ordinary Day
17. Ordinary Mom
18. It's Midnight
19. No One Need Know
20. Take Her Down!
21. Safe Place
22. Help France
23. War is Hell
24. Finale: Pass It On
vi
ACT I
SCENE 1:
PARIS, 1891
Le Champs Elysees. Bright sunny
day. The street is bustling with
action. Flower and fruit stands
along the way. Across the Seine
stands the just completed Eiffel
Tower.
SONG #1:
“PARIS”
CHORUS
PARIS, THE CITY KNOWN FOR LIGHTS!
PARIS, WITH ALL ITS MAD DELIGHTS!
(SOLO 1) THERE’S A FREEDOM THAT’S FLOATING IN THE
AIR
(SOLO 2) IN THE NATION OF ROUSSEAU AND OF
VOLTAIRE!
Clad in a drab dress, 24-year-old
Marie enters, carrying a heavy
suitcase. She’s never been to
Paris before.
FRANCOIS
Mademoiselle, that looks heavy. May I help?
MARIE
I’m trying to find my flat. (consulting a paper) Rue de
Flatters.
I’m heading that way.
Warsaw.
That’s a long journey.
FRANCOIS
Here. Where are you from?
MARIE
FRANCOIS
MARIE
A thousand miles in 4th class!
FRANCOIS
So what brings you to Paris?
2.
Freedom!
MARIE
A chance to learn! All this!
Marie points out all the sights.
Flowers, museums, and statues line
the streets.
LES CHAMPS ELYSEES, JUST LOOK AT HOW IT TEEMS!
I’VE BEEN HERE BEFORE BUT ONLY IN MY DREAMS.
CHORUS
ON THE LEFT AND ON THE RIGHT, THERE’S SUCH AN
EYEFUL,
OVER THERE, THE TOWER BUILT BY GUSTAVE EIFFEL!
Here you are.
FRANCOIS
Watch the steps.
Marie climbs up stairs.
MARIE
THIS LITTLE GARRET, IT’S ALL I CAN AFFORD,
BUT I’M HERE IN THE CITY I’VE ADORED!
SOMEONE PINCH ME! DID I REALLY JUST ARRIVE?
IT’S WHERE I NEED TO BE.
IT’S WHERE I WANT TO BE.
FOR THIS IS PARIS,
WHERE I CAN FEEL ALIVE,
I CAN THRIVE.
CHORUS
PARIS, IT’S KNOWN FOR ALL ITS CHARMS!
PARIS GREETS YOU WITH OPEN ARMS!
MARIE
(admiring the food stands) Look at all this food!
flowers. Definitely not Warsaw.
These
VENDOR
Mademoiselle, have an apple. On me.
No soldiers anywhere.
MARIE
VENDOR
Why would there be soldiers? There’s no parade.
your name?
MARIE
(to VENDOR)
In Poland, it was Maria.
Say, what’s
3.
FROM NOW ON, MY NAME WILL BE MARIE!
AT THE SORBONNE, WHERE THEY’RE EXPECTING ME!
THOUGH MY PATH MAY TWIST AND TURN,
I DON’T CARE, I’M HERE TO LEARN.
WHO WOULDN’T WANT TO BE IN GAY PAREE?
LET ME WALK TO THIS, MY DESTINY.
VINCENT
Need a hand?
MARIE
I DON’T NEED ANYONE FOR COMPANY!
VINCENT
You sure?
MARIE
WHY WOULD I? I’M NOT FRIGHTENED.
EVERYONE SEEMS SO ENLIGHTENED.
I AM CERTAIN
I AM CERTAIN THAT THEY WANT...
(holding up her admission letter)
“M. Sklodowska!”
THAT’S ME!
CHORUS
PA-REE!
Chorus exits, except for Pascal and
Marie.
PASCAL
Lady, you must be lost, that’s the Sorbonne.
That’s where I’m headed.
MARIE
PASCAL
Women don’t walk through the front door.
I do.
(shaking his head).
MARIE
PASCAL
Dreamer.
MARIE
(laughing) Yes, I’ve dreamed of this for years!
4.
SCENE 2:
LABORATORY.
We see Andre, the lab assistant,
alone in the laboratory. The
laboratory is small and disheveled.
In the corner is a mess, with
chemicals spilled and apparatus
lying on the floor.
Andre walks
with a slight limp.
Marie enters hesitantly.
Good morning.
MARIE
Is this the laboratory of Professor Curie?
ANDRE
It is.
MARIE
I am...
ANDRE
(handing Marie the mop). Late! Well, better late than never.
We had a mishap with the chemicals last night. The bucket’s
in the corner. Start with the table top, then the floor.
MARIE
I am...
Funny.
ANDRE
You’re not dressed for cleaning.
That’s because I am...
MARIE
ANDRE
No matter. I’m sure you’ll do fine.
spotless here.
I know.
We need everything to be
MARIE
ANDRE
No debris getting into the instruments.
I know.
Who are you anyway?
I’m trying to tell you.
new fellow?
MARIE
ANDRE
MARIE
I am Marie Sklodowska, (beat) the
5.
(astonished)
New fellow?
MARIE
A what?
Never mind.
ANDRE
But you’re a...
ANDRE
Nobody ever tells me anything.
And you are?
MARIE
ANDRE
Andre. Lab assistant extraordinaire. So you’re really here
to study science? I guess it’s easier for girls in--where
are you from?
MARIE
Poland. (chuckle) And no, it’s impossible. With the
Russians running things, it’s always no, no, no. But now I’m
here.
ANDRE
Not too many girls around here taking up science either.
fact, you’ll be the first. How’d you end up in science?
In
MARIE
It grew on me. Even when I was a little girl, I knew about
the elements. Oxygen was my favorite. Trees breathe it out.
We breathe it in.
Trees breathe?
ANDRE
MARIE
I used to get in trouble at school. “Sit down,” they’d say.
“Stop asking why, why, why,” they’d say.
And you...?
ANDRE
MARIE
...didn’t obey. I couldn’t help it!
things I wanted to know.
SONG #2:
“TELL ME WHY”
THE WORLD IS FILLED WITH WONDER,
JUST LOOK UP INTO THE SKY
THE BOLT PRECEDES THE THUNDER.
TELL ME WHY.
ONE DAY CICADAS WAKEN
There were so many
6.
AFTER SLEEPING IN THE GROUND.
SO MANY MYSTERIES UNEXPLAINED,
THE ANSWERS MUST BE FOUND.
WHY CAN’T A GIRL JUST HAVE HER TURN
TO CHOOSE WHAT SHE WILL LEARN?
WHY PUT UP A FIGHT
IF SHE WANTS TO READ ALL NIGHT?
WHY
YOU
WHY
AND
DO MUSHROOMS GROW IN CIRCLES?
CAN SEE THIS ALL THE TIME.
DOES PI R-SQUARED GIVE THE AREA?
WHAT MAKES PI SO PRIME?
WATCH THE GEESE, SEE HOW THEY FLY
IN A VEE UP IN THE SKY.
AND I WANT TO KNOW
WHY I SEE A GLOW
IN THE TAIL OF A FIREFLY.
I MUST
TO ASK
I WANT
I WANT
TAKE THIS PATH WHERE IT GOES
THE QUESTIONS NO ONE KNOWS.
TO STUDY WORLDS BOTH GREAT AND SMALL.
TO KNOW IT ALL.
EVERY THEOREM IS A THRILL,
AND IT HELPS YOU SEE WHAT’S TRUE.
THE THINGS THAT I EXPLORE
MAKE ME BEG FOR MORE.
I JUST HAVE TO KNOW, DON’T YOU?
MY MIND IS PREPARED TO LEARN.
MY SPIRIT, READY TO FLY.
YOU CAN SEE HOW MUCH I YEARN.
I CAN DO THIS. LET ME TRY!
FROM NOW ON I’LL PURSUE
WHAT I REALLY WANT TO DO?
I’VE GOT TO KNOW
WHY THE WORLD IS SO,
THAT TO ME’S
THE GREATEST MYSTERY.
TELL ME WHY.
TELL ME WHY.
TELL ME WHY.
Marie takes the mop.
7.
SCENE 3:
PIERRE’S OFFICE
Pierre Curie is sitting at his
desk, working on a physics lecture.
He practices delivering what he has
written.
PIERRE
Let’s see, today I have to explain Newton’s First Law of
Motion: An object will remain at rest unless acted upon by
an external force. This is known as inertia.
SONG #3:
“MISSED THE BOAT”
THOUGH I WORK IN
I NEVER CARED SO
WELL, MAYBE JUST
BUT I SEEM TO BE
A BASEMENT LABORATORY.
MUCH FOR FAME OR GLORY.
A LITTLE, I WOULD LIKE TO STRUT,
STUCK IN THIS RUT.
THE NAME-PLATE ON MY DOOR SAYS, “PROFESSOR.”
BUT WHAT HAVE I DONE TO PROFESS?
UNLESS THEY WANT TO HEAR A CONFESSOR,
CONFESSING HOW TO GET ALONG ON LESS!
I’m 35. I live with my parents. My unfinished dissertation
sits...somewhere. Inertia? I’m the very definition.
IT’S TRUE, I’M NOT A SCIENTIST OF NOTE.
I’VE DONE NOTHING OTHERS TALK ABOUT OR QUOTE.
AND IT’S MY GREATEST FEAR
THERE’S NOTHING MORE IN MY CAREER.
THIS IS ALL THERE IS, I’VE MISSED THE BOAT.
PIERRE
Maybe today I’ll get some good news, for a change.
The Dean bursts in along with
Rambeau, the department chairman.
DEAN
Pierre, I’ve got exciting news for you. We have a new fellow
coming on board, whom I’ve decided to place with you.
RAMBEAU
Not French, but quite qualified. A valedictorian!
PIERRE
But I have so little room... How can I?
And my dissertation!
DEAN
(ignoring Pierre’s comment) I just knew you would be
thrilled. Your new fellow will arrive today. Be on the
lookout for... uh...uh..
8.
RAMBEAU
(consulting a paper) M. Sklodowska.
Dean and Rambeau exit.
PIERRE
This is not the news I was hoping for.
HERE I SIT, I’M DROWNING ON THE BOTTOM.
AND WHAT NEWS DOES THE DEAN ANNOUNCE?
THAT I’M TO TAKE ON AN EXTRA STUDENT,
ONE WHOSE NAME I CAN HARDLY PRONOUNCE!
AND WHEN I LISTEN TO THE TWO OF THEM GLOAT.
I AM CERTAIN I HAVE MISSED MY BOAT!
I better get to class.
9.
SCENE 4 LABORATORY
The laboratory looks immaculate.
Andre is watching Marie. Marie is
busy cleaning up the lab, adjusting
the scientific instruments.
ANDRE
I must say, you seem to know your way around a laboratory.
That was easy.
MARIE
Where’s the professor?
I think I hear him now.
ANDRE
Pierre enters in a grumpy mood, not
noticing Marie. Andre tries to get
his attention by gesturing, but
Pierre ignores him and goes right
to his desk.
PIERRE
What a rough class! The fellows have the attention span of
a...a toad. They talk, they yawn. They don’t seem to
give...who’s she?
ANDRE
(whispering). I was trying to warn you.
Speak up, man.
She’s our new...
PIERRE
ANDRE
(whispering). She’s the new fellll-ooowww.
Whah?
PIERRE
I must have heard you wrong...
ANDRE
(shouting) She’s our new fellow! (normal). I mean, she’s a
girl, as you can plainly see, but she’s our fellow....
Professor, Marie Sklodowska. (a beat, then jabbering). Uh,
I’m sure there’s something I need to check on...somewhere.
Andre exits.
PIERRE
(staring at Marie, long pause, his jaw dropped) I suppose I
should say, “Welcome.” I...I am Pierre.
I am Marie.
MARIE
Where do I work?
10.
PIERRE
Where are you from?
Warsaw.
Where do I work?
MARIE
PIERRE
And you’re here to study...?
Physics.
Chemistry.
MARIE
Math.
PIERRE
Really?
Now where do I work???
MARIE
PIERRE
You can use the end of that table.
That?
It’s so small.
It’s all I can offer.
All right.
MARIE
PIERRE
Take it or leave it.
MARIE
I’ll make it work.
11.
SCENE 5:
ACADEMY OF SCIENCE
The Dean sits in his comfortable
chair and reads a book. Rambeau
enters.
RAMBEAU
Dean, have you heard the latest? Pierre’s new fellow
arrived.
DEAN
Good news.
Well, maybe not.
RAMBEAU
DEAN
What are you talking about?
RAMBEAU
M. Sklodowska’s not a fellow!
Not a fellow?
DEAN
RAMBEAU
Do I have to spell it out for you?
fellow. She’s a girl!
M. Sklodowska’s not a
DEAN
What? That’s outrageous! What gives her the nerve, to
invade our world? There’s a reason we’ve never had a female.
Oh, poetry? The humanities? Sure. But never science.
We
must do something!
SONG #4:
“FRATERNITE”
WE NEED A GUARD, WE NEED A SENTRY,
AS WE ENTER THE NEXT CENTURY.
WE MUST JOIN TO MAKE A BULWARK LIKE A FORT.
IT IS WRITTEN IN THE MASTER PLAN
THAT SCIENCE IS A FIELD FOR MAN.
RAMBEAU
THAT'S WHY WE BAR THE FEMINISTIC SORT.
DEAN
Did she indicate her gender?
No.
RAMBEAU
12.
A gross deception.
DEAN
WHEN YOU'RE READING APPLICATIONS
YOU’VE GOT CERTAIN EXPECTATIONS,
AND YOU THINK THE APPLICANT COULD BE A PAL.
RAMBEAU
AND OUR PROCESS COULDN’T BE FAIRER,
NOT AN INKLING OF AN ERROR
TILL WE END UP WITH THIS LIBERATED GAL!
DEAN
HOW COULD THIS HAPPEN TO THE TWO OF US, WE WONDER.
IF WE HAD KNOWN THE TRUTH SHE WOULDN'T HAVE
QUALIFIED.
RAMBEAU
HOW DID WE END UP WITH THIS MONUMENTAL BLUNDER?
WHAT WILL YOU DO? KICK HER OUT BECAUSE SHE LIED?
DEAN
No, let’s make an example of her. Science is hard.
about to find out just how hard it can be.
Ha!
Brilliant!
She’s
RAMBEAU
DEAN
This will be a lesson for all women.
(gasp)
RAMBEAU
You mean there might be more?
MON DIEU! NOW I COMPREHEND
THAT THIS MIGHT BE THE BEGINNING OF A TREND.
I look out on the horizon, and I see disaster!
the National Assembly.
Incomprehensible.
DEAN
RAMBEAU
A woman in the surgical theater.
Irresponsible.
DEAN
RAMBEAU
A woman in the voting booth.
Perish the thought.
DEAN
A woman in
13.
RAMBEAU
A woman in the Academy of Science?
Never!
DEAN
FATE HAS CHOSEN US TO ANSWER DUTY'S CALL.
FOR THERE IS NO ONE ELSE TO SAVE US FROM THIS
THREAT.
RAMBEAU
SO WE MUST DRAW THE LINE FOR ONCE AND FOR ALL.
THE LABORATORY’S NOT A PLACE FOR A COQUETTE.
DEAN
Let’s not forget our national credo.
OH, LIBERTE!
RAMBEAU
DEAN
THE NATURAL RIGHT OF EVERY MAN.
EGALITE!
RAMBEAU
DEAN
FOR MEN FROM NORMANDY TO CANNES.
FRATERNITE!
RAMBEAU
DEAN
AND IT IS WIDELY UNDERSTOOD
BOTH
THAT WE'RE ALL IN THIS BROTHERHOOD.
RAMBEAU
She should focus on motherhood.
DEAN
SOMEONE HAS TO STAND FOR ORDER,
RAMBEAU
AND PROTECT OUR SOVEREIGN BORDER
AND MAKE CERTAIN THAT THE SEINE STAYS IN ITS BANKS.
DEAN
THEN OUR NATION WILL EXPRESS ETERNAL THANKS.
BOTH
WE WILL NEVER LET A WOMAN IN OUR RANKS!
14.
SCENE 6:
LABORATORY (1895)
Marie is already at work early,
sitting at the electrometer.
Pierre enters and silently watches
Marie, who is examining a rock.
SONG #5:
“LOOK AT THIS GIRL”
PIERRE
LOOK AT THIS GIRL.
SHE’S NOT WHAT YOU’D EXPECT.
YOU CAN TELL SHE’S A WOMAN OF ADVANCED INTELLECT.
WHILE HER LOOKS ARE REFINED,
I AM SMITTEN BY HER MIND.
THERE’S NOTHING SILLY,
NOTHING FRILLY.
Who are you?
MARIE
(to the rock)
Ahem.
Oh, I was just...
PIERRE
MARIE
PIERRE
You were talking to someone?
No.
You’re always early.
This instrument...
MARIE
PIERRE
MARIE
PIERRE
The quartz balance electrometer?
MARIE
I’m fascinated. I’ve been testing various elements.
understand how to use it.
I’m impressed.
Where did you get it?
I made it.
PIERRE
MARIE
PIERRE
Now I
15.
MARIE
(incredulous) You made this? Why?
PIERRE
You ask a lot of questions. I wanted to understand the
properties of elements.
MARIE
(really interested now) Now I’m impressed.
research proposal. (she hands him a copy)
Here.
My
PIERRE
“Radioactive Properties of Elements.”
Marie and Pierre stare at each
other, astonished that they share
the same interest.
“Radioactive.”
I never heard that term before.
Would you read it for me?
I will.
MARIE
PIERRE
Let’s take a look.
Pierre starts reading the proposal.
Marie is in her own thoughts.
MARIE
HE SAID HE WILL.
HE’LL LOOK AT MY PROPOSAL
AND HE DIDN’T BLINK AN EYE.
IT SEEMS HE’S AT MY DISPOSAL.
HE IS SMART, HE IS KIND,
AND HE SAID HE DOESN’T MIND.
OH, COULD IT BE?
MAYBE HE
WILL WORK WITH ME.
PIERRE
I never thought of using the electrometer this way.
Come see this reading.
That’s really high.
But it’s not.
uranium.
MARIE
PIERRE
It must be uranium.
MARIE
That’s what’s puzzling.
It’s higher than
16.
Higher?
What is it?
PIERRE
MARIE
Pitchblende.
PIERRE
That makes no sense. Pitchblende is just the ore.
the ore be stronger than pure uranium?
MARIE
I think we’re looking at something else.
Marie resumes her work.
in his own thoughts.
How can
Something new.
Pierre is
PIERRE
LOOK AT THIS GIRL,
SHE’S DIFFERENT FROM THE OTHERS,
WHO JUST WANT TO GROW UP
TO BE EXACTLY LIKE THEIR MOTHERS.
I HAVE FOUND EVERY SKIRT
TO BE NOTHING BUT A FLIRT!
BUT NOT MARIE.
COULD SHE BE THE ONE FOR ME?
I need more space.
MARIE
PIERRE
Hmmm, that may be difficult, but I’ll ask the Dean.
MARIE
And I need more pitchblende. Or leftover slag.
can get me. Lots of it.
Whatever you
PIERRE
Pitchblende is hard to come by, but I can get slag from
Austria. They’ll be glad to get rid of it. Why do you want
so much?
MARIE
I’m working on something. It’s just a thought.
Lately, my head is spinning with thoughts.
(beat)
PIERRE
Me, too. (They look at each other, awkward silence.) Oh, I
have to run. I have a meeting with the Dean. Can’t be late.
Pierre exits.
Andre enters with a
limp, which is noticeably worse.
He hands a journal to Marie.
17.
ANDRE
The latest proceedings from the Academy, as you requested.
Andre, your limp?
MARIE
It’s getting worse.
ANDRE
The doctor says it’s some kind of lump. A tumor, I think he
said. I’m not exactly sure. Doesn’t hurt. It’s just a
nuisance.
MARIE
That lump could be serious. Make sure your doctor keeps his
eye on it.
ANDRE
I will.
Andre exits. Marie returns to her
work. Picks up a rock.
Who are you? Who are you?
Find me.
MARIE
RADIUM
18.
SCENE 7:
ACADEMY OF SCIENCE
Dean and Rambeau are seated.
DEAN
I’ve invited Pierre to the Academy today to discuss a certain
fellow. It’s a... delicate topic. I don’t want to come off
as prejudiced.
Prejudiced?
Who, us?
RAMBEAU
Never.
DEAN
We need to get Pierre on our side.
RAMBEAU
Let’s appeal to his higher instincts, his sense of national
honor.
Perfect.
DEAN
But I have another approach if that doesn’t work.
Whatever it takes.
RAMBEAU
Pierre knocks, then enters.
DEAN
Pierre, come in. We were just talking about... well, a
certain student of yours, the one who seems to be receiving
all the glory. You know who I’m talking about, don’t you?
Marie?
SONG #6:
PIERRE
“HONOR OF GAUL!”
DEAN
MY DEAR PIERRE, IT’S COME TO OUR ATTENTION,
THAT YOUR PUPIL WINS FIRST PRIZE IN EVERY CLASS.
RAMBEAU
HER PERFORMANCE HAS RESULTED IN DISSENSION.
FOR ALL THE PRAISE THAT’S HEAPED UPON THAT POLISH
LASS!
PIERRE
She’s brilliant. That’s why she’s at the top of her class.
And she takes her work seriously, which is more than I can
say for the other fellows.
19.
DEAN
NOW ARE YOU SURE THAT SHE’S NOT GETTING EXTRA HELP?
THIS IS WHAT I HEAR MANY COLLEAGUES SAY.
RAMBEAU
AND THESE RUMBLINGS COULD SOON BECOME A YELP
IF THERE’S FAVORITISM THAT’S IN PLAY.
PIERRE
Absolutely not, Dean. I’ve never had a student like Marie.
Solid grasp of physics and chemistry. New ways to do atomic
research. Taught herself French. Works 12 hours every day.
Meticulous lab technique. How can we ignore such a talent?
SHE GETS NO BREAKS, I CAN ASSURE YOU.
SHE HAS EARNED EVERY HONOR SHE’S RECEIVED.
YOU MIGHT BE HEARING RUMORS THAT ALLURE YOU.
IF SO, I PROMISE YOU THAT YOU HAVE BEEN DECEIVED.
DEAN
I certainly hope that’s the case. Still, all this attention
does a disservice to our other students.
RAMBEAU
Just the other day, the fellows were puzzling over a math
problem in the hallway. She came up and rattled off the
solution. No one likes a show-off. Tell her to tone it
down.
DEAN
There’s more at stake than simply the Sorbonne.
talking about our national culture!
We’re
WE ARE DEVOTED TO THE HONOR OF OUR MEN.
RAMBEAU
WE ARE VIGILANT TO PREVENT THE FALL
OF THE CULTURE THAT PROSPERS BY THE SEINE.
BOTH
AND WE DO THIS FOR THE HONOR OF GAUL.
DEAN
For instance, Paul Langevin, one of our up-and-coming
students certainly deserves some of the spotlight. Don’t you
agree?
Paul?
But Marie is...
PIERRE
RAMBEAU
That defensive attitude is why we’re concerned.
20.
DEAN
THE ENTIRE WORLD WILL HAVE A BELLY LAUGH.
TO BE FRANK, THIS BRINGS DISHONOR TO ALL FRANCE.
RAMBEAU
WHEN THEY HEAR THE DETAILS OF OUR GAFFE,
THAT OUR TOP STUDENT ISN’T WEARING ANY PANTS!
DEAN
NOW WE’RE NOT BIASED, NO SIR, NOT ONE IOTA.
WE PROMISE TO BE FAIR TO ONE AND ALL.
RAMBEAU
THERE’S NO NEED TO INSTITUTE A QUOTA.
DEAN
LOOK AROUND THIS HALLOWED HALL,
RAMBEAU
AND BE CERTAIN TO RECALL,
BOTH
THAT WE DO THIS FOR THE HONOR OF GAUL.
DEAN
By the way, how is that dissertation coming along? We have a
vacancy coming up in the Academy of Science. It will go to a
candidate that shows great talent, as well as respect for the
traditions of this venerable institution. I’m sure that
would be of interest to you, wouldn’t it?
Of course.
PIERRE
Any scientist would want that.
RAMBEAU
We’ll keep track of your...progress.
PIERRE
um, Marie needs...uh... (catching himself)
Needs what?
RAMBEAU
PIERRE
She needs, uh, uh, to remember that she’s a woman.
Precisely.
DEAN
You are excused.
Pierre leaves the Academy and is
now standing by himself.
21.
PIERRE
Whew! My mind is spinning, pulled by
Half my brain says, set your feelings
career. Finish your dissertation and
in the Academy. But the other half?
two opposing forces.
aside. Focus on your
there’s a seat for you
The other half...
“In-love” Pierre is having a
dialogue with “scientist” Pierre,
who appears as a projected movie.
SONG #7:
“YOU DON’T KNOW”
YOU DON’T KNOW HOW ENCHANTING SHE CAN BE.
YOU DON’T KNOW HOW SHE’S OVERTAKEN ME!
You’re grinning.
Why are you grinning?
I KNOW WHAT ISAAC NEWTON FOUND:
THERE’S A LAW OF GRAVITY IN FORCE.
SO WHY AM I TEN FEET ABOVE THE GROUND
WITH A GRIN THAT’S AS SILLY AS A HORSE?
Pierre starts to giggle, loses
control. “Scientist” Pierre then
suddenly gets serious.
Get a grip! After all, you’re a professor.
scientifically.
Approach this
WHAT WORD SAYS WHAT I FEEL? I DON’T KNOW IT.
TO SPEAK OF ROMANCE WOULD BE AN OVER-REACH.
AFTER ALL, I’M A SCIENTIST, NOT A POET.
I NEED A SCIENTIFIC FIGURE OF SPEECH.
Uh oh.
I think you’re about to say something really stupid!
TO CONVEY JUST HOW I FEEL AND STILL BE TRUE
I NEED A DIFFERENT WAY
TO SIMPLY SAY,
HOW DO I SAY,
“I LOVE YOU.”
22.
SCENE 8:
LABORATORY
Marie is busily moving around the
lab and working with the apparatus.
She sings to no one in particular.
MARIE
SONG #8:
“TINY WORLD”
I LIVE IN A TINY GARRET.
I WORK IN THIS TINY SPACE,
I STUDY TINY ATOMS.
MY WHOLE WORLD IS A TINY PLACE.
BUT TO THE OPEN MIND
TINY-NESS IS ALRIGHT,
FOR THAT’S WHERE I’M INCLINED
TO SPEND MY TIME TONIGHT.
THIS LAB WHERE I’VE BEEN SITTING ALL THESE DAYS,
ASKING WHO IS IT THAT’S HIDDEN FROM MY VIEW?
I’VE THOUGHT ABOUT THIS ROCK IN COUNTLESS WAYS,
SEARCHING FOR A WAY TO FINALLY GET TO YOU!
(to the pitchblende) Whisper to me. I know you’re there.
How do I break the bond that keeps you hidden? Whisper to
me. I’m listening. Whisper.
FOR TO THE OPEN MIND,
TINY-NESS IS NO CURSE.
FOR THAT’S WHERE I WILL FIND
THE SECRETS OF THE UNIVERSE.
RADIUM
(whispering in a female voice) Find me, Marie.
Pierre enters.
broken.
Marie.
Find me.
The spell is
PIERRE
I want to discuss a certain proposal.
What did the Dean say?
Uh...Not your proposal.
Your proposal?
MARIE
Will he give me lab space?
PIERRE
My proposal.
MARIE
23.
PIERRE
Certain atoms have... an affinity for other atoms.
affinity causes a...
This
MARIE
Bond.
And the result is...
A molecule, of course!
MARIE
Elementary chemistry.
PIERRE
What if I were one of those atoms, and I had an affinity
for... for you?
SONG #9:
“CAN YOU SEE IT?”
BECAUSE I’VE GROWN SO VERY FOND OF YOU,
I DREAM OF FORMING A SPECIAL BOND WITH YOU.
(music stops)
MARIE
When I came to Paris, I told myself, “Focus on your work.
Always your work.” But now, I find myself dreaming...of
other things. (music starts)
It’s started.
PIERRE
The bonding.
MARIE
Tell me about your proposal.
PIERRE
IMAGINE, IF YOU CAN, A WEDDING.
A GARDEN GATE, NOT A CHAPEL DOOR.
THE ROSES STAND HIGH
AS YOU PROMENADE BY.
CAN YOU SEE IT?
Not exactly.
CAN YOU SEE IT?
Tell me more.
MARIE
PIERRE
MARIE
PIERRE
A HONEYMOON TO START THE MARRIAGE.
24.
MARIE
Keep going.
PIERRE
TWO BIKES INSTEAD OF A CARRIAGE.
MARIE
How lovely.
PIERRE
EACH DAY, A LOVELY RIDE,
AS WE PEDAL SIDE BY SIDE,
AND EXPLORE THE FRENCH COUNTRYSIDE.
MARIE
I CAN SEE IT.
AND SOMEDAY, A CHILD OR TWO,
ONE LIKE ME, AND ONE LIKE YOU.
PIERRE
You can see it!
WE’LL BE A TEAM FOR YEARS
AND THEN BEYOND.
OUR DREAMS COME TRUE
FOR ME AND YOU
IF WE ONLY FORM A BOND.
MARIE
I have a feeling my tiny world is about to change.
We’d be perfect together.
scientist in Paris!
PIERRE
Marry me, and I’ll be the happiest
WE’LL BE A TEAM FOR YEARS
AND THEN BEYOND.
OUR DREAMS COME TRUE.
FOR ME AND YOU.
MARIE
BOTH
IF WE ONLY FORM A BOND.
They kiss.
25.
SCENE 9:
ACADEMY OF SCIENCE (1897)
RAMBEAU
Well, it’s over a year now, and everything seems quiet on the
“female” front.
DEAN
Domestic life has taught our would-be scientist the folly of
her earlier path. She’s come to accept motherhood as the
natural order of things.
RAMBEAU
After all, a woman is not an intellect. She’s a...a vessel,
for bringing the next generation into the world. By nature,
she is geared to emotion, not the rigorous thought process of
science.
DEAN
We can thank Pierre for keeping Marie out of the laboratory.
And in the bedroom.
RAMBEAU
(laughing)
DEAN
Pierre seems to have more focus now.
RAMBEAU
I understand he finished his dissertation on magnetism.
And it was excellent!
him.
DEAN
Actually, more than I expected from
RAMBEAU
Perhaps some nagging from the little woman.
marriage will do to a man. (laughing).
That’s what
DEAN
In any case, it earned him a seat in the Academy.
RAMBEAU
So we don’t have to worry about her anymore.
26.
SCENE 10:
LABORATORY.
Andre is dealing with another mess.
Marie enters. Andre is shocked to
see her.
Madame, you’re back?
ANDRE
I didn’t expect to see you here.
MARIE
I couldn’t wait to get back to work.
ANDRE
And how’s baby Irene?
Growing by the minute.
your children?
My children?
MARIE
She’s with the nanny.
And how are
ANDRE
I’m a bachelor.
(Marie winks and points to
the mess.)
(getting the joke) Oh, MY children. I hate to tell you, but
while you’ve been away, they’ve been very, very naughty.
SONG #10:
“THE ELEMENT SONG”
ARSENIC WAS SIMPLY A DISGRACE,
HE SAT AROUND AND PLAYED WITH THE OLD LACE.
AND THAT LONER WHOM WE KNOW AS IODINE
HE SAT ALONE WHENEVER HE WOULD DINE.
Poor boy.
MARIE
ANDRE
HELIUM RUINED ALL THE HARDWOOD,
WITH HEEL MARKS LEFT AND RIGHT ON ALL THE PLANKS.
BUT FLUORINE SAVED THE DAY WITH BRAND NEW FLOORING,
AND FOR THAT WE OWE HIM OUR ETERNAL THANKS.
NEPTUNIUM INTONED A SILLY TUNE.
AND SODIUM SOWED HIS OATS LIKE A MAN.
NITROGEN THOUGHT THE NIGHT BEGAN AT NOON,
AND TIN SPENT SOME TIME IN THE CAN.
MARIE
I’ll have to speak to him.
27.
ANDRE
ACTINIUM PUT HIS NAME ON THE MARQUIS.
HE ACTED BOTH IN FARCE AND TRAGEDY?
BUT NOT IRON! HE HAD A PRESSING NEED.
OH, THE ELEMENTS MISSED YOU, MADAME, YES INDEED.
TUNGSTEN IS STILL ALIVE AND KICKING,
DESPITE THE FACT HE TOOK QUITE A LICKING.
GERMANIUM IMAGINES HE’S A PLANT.
THESE ELEMENTS TRY, EVEN WHEN THEY CAN’T.
MARIE
Well, you have to give them credit for something!
ANDRE
CARBON TOOK ON A WORTHY MISSION
TO CUT HIS ATMOSPHERIC EMISSION.
BUT CHLORINE SANG A MYSTIFYING SOLO,
IN THE POOL HE CLAIMED TO BE “MARCO POLO.”
ON EVERY VOTE, ON EVERY PROPOSITION,
ANTIMONY VOICED HIS OPPOSITION,
AND BISMUTH ENROLLED IN BISMUTH SCHOOL.
HE THINKS AN MBA WILL MAKE HIS CV COOL!
CADMIUM WAS SUCH A BOORISH CAD
TO GALLIUM, A SIMPLE COUNTRY GAL.
Oh, no!
MARIE
ANDRE
BUT IN THE END, IT DIDN’T TURN OUT SO BAD.
I WILL MARRY ‘EM, SAID SAMARIUM.
THESE ELEMENTS NEED YOUR FIRM AND GENTLE TOUCH.
REST ASSURED THEY MISSED YOU VERY MUCH.
NOT JUST THE ELEMENTS, MADAME, TO BE TRUE.
ALL OF US WERE MISSING YOU.
MARIE
Well, we’ll deal with them later.
Something new?
I’ve got a new project.
ANDRE
MARIE
You’ve seen the periodic table. (Andre nods). It’s a family
portrait. Each frame contains one member. Just like family,
some are busy, some are lazy, some help, some hurt, some
stick around, and some just stop in for a quick visit and
then they’re gone.
28.
ANDRE
But what about these empty frames?
MARIE
Those are for members of the family we haven’t found yet.
And that’s what we’re going to look for.
ANDRE
You’re looking for a new element?
Yes!
MARIE
29.
SCENE 11:
SPLIT STAGE:
THE SHED AND THE ACADEMY(1898-1902)
ACADEMY
I can’t believe it.
RAMBEAU
She’s back.
DEAN
I think she’s making a terrible choice.
RAMBEAU
Why doesn’t Pierre put his foot down.
house.
He’s the man of the
DEAN
Speaking of Pierre, he stopped by today with an odd request.
He asked for a new space, something large, away from the
university, with access to the outdoors.
SHED
Marie, Pierre and Andre stand
inside the shed.
Here we are.
PIERRE
Our new home, courtesy of the Dean.
MARIE
Perfect. Look at all this space. Here’s where the wagons
can pull up and dump their slag. (to Andre) Then you’ll
bring it in.
Wagons?
Tons.
ANDRE
That sounds like a lot.
MARIE
ANDRE
I’d better bring the wheelbarrow.
PIERRE
Marie, you’re sure about this? After all, we have a daughter
at home.
MARIE
My work has been on hold for two years, but right here, right
now, I feel alive!
RADIUM
(whispering, only Marie can hear)
Find me, Marie.
Find me.
30.
ACADEMY
You didn’t give him...
RAMBEAU
DEAN
The shed.
RAMBEAU
Where med students used to cut up cadavers?
Ha!
DEAN
I hate to see Pierre working in those conditions.
Serves him right.
RAMBEAU
DEAN
Nothing of merit will come from such morbid confines.
SHED
During the following song, we see
the three pantomiming: Andre
shovels, Pierre grinds, and Marie
stirs the cauldron. To one side
are the Dean and Rambeau. Opposite
stands a disgruntled neighbor.
Elsewhere stands the Greek chorus.
SONG #11:
IN THE SHED
MARIE
HERE WE WILL DO IT.
HERE WE’LL PURSUE IT.
AND WE’LL TURN THE WHOLE WORLD ON ITS HEAD.
WHEN THEY VIEW IT,
THEY’LL AH AND THEY’LL OOO IT.
WHAT WE’E DOING RIGHT HERE IN THE SHED.
CHORUS
SHOVEL SLAG,
GRIND IT DOWN,
MUSTN’T DRAG,
NO SLOWING DOWN
ADD THE ACID,
STIR THE POT,
LET IT DRY,
SEE WHAT YOU GOT.
KEEP IT MOVING IN THE SHED.
31.
DEAN & RAMBEAU
WHAT CAN WE DO, SIR?
WE DON’T HAVE A CLUE, SIR.
ALL OUR THEORIES, I FEAR, SOON MAY BE DEAD.
THEY’RE UNGLUING
THE THINGS THAT WE’RE DOING
WITH A NEW-FANGLED THEORY INSTEAD.
PIERRE
I FEAR FOR YOUR HEALTH, MY DEAR WIFE.
IT COULD IMPERIL YOUR LIFE.
SO IS IT WORTH THE RISK TO YOU?
MARIE
MY DEAR, I AM GRATEFUL FOR YOUR CARE.
I AM FINE. NOW PIERRE,
I MUST SEE THIS WHOLE THING THROUGH.
NEIGHBOR
TRASH THEY ARE STREWING.
GASES ARE SPEWING.
AND THE WHOLE NEIGHBORHOOD CONSTANTLY REEKS.
FOR WHAT THEY ARE DOING
WE ALL SHOULD BE SUING.
BUT WHAT’S GOING ON? NOBODY LEAKS.
ANDRE
SOMETHING IS BREWING.
IT WILL SOON BE DEBUTING.
THOUGH THE DETAILS AREN’T ALWAYS SO CLEAR IN MY
MIND.
BUT I AM NOT RUING
THE THINGS I AM DOING.
I’M EXCITED TO SEE WHAT THEY WILL FIND.
SHOVEL SLAG
I MUST FIND YOU
GRIND IT DOWN
WHAT ARE THEY DOING?
MUSTN’T DRAG.
CHORUS
MARIE
CHORUS
DEAN
CHORUS
PIERRE
I’M WORRIED FOR HER HEALTH.
32.
CHORUS
CAN’T SLOW DOWN
RAMBEAU
ALL OUR THEORIES
CHORUS
ADD THE ACID,
NEIGHBOR
GOD, IT REEKS
CHORUS
STIR THE POT.
SOMETHING’S BREWING
LET IT DRY,
SEE WHAT YOU GOT.
ANDRE
CHORUS
ALL
WE DON’T KNOW WHAT’S IN STORE UP AHEAD.
BUT WE KNOW SOMETHING’S HAPPENING IN THE SHED.
SONG #12:
RADIUM DANCE
Sudden lighting change. Solo
dancer suddenly appears. The
characters quietly scatter and
exit. African drumming. The
dancer is radium. She begins
slowly. She whispers, “Find me.”
The drumming accelerates. Frenetic
spinning in circles with streamers.
Sudden climax. The dancer freezes.
Marie walks to center stage and is
about to pick up glowing radium.
Marie, don’t!
PIERRE
It might be dangerous!
MARIE
After all this time... (holding radium high) Radium!
END OF ACT I
33.
ACT II
SCENE 1:
OUTSIDE THE LABORATORY (1902)
Reporters wait impatiently for the
Curie’s. Reporters are facing out
toward the audience. (The Curie’s
never actually appear in this
scene.)
SONG #13:
“SOMETHING NEW”
Is it really true?
A lady found radium?
Gotta get a photo.
What’s she look like?
REPORTER 1
REPORTER 2
REPORTER 3
REPORTER 4
REPORTER 1
They gotta show up sometime.
Hey look, there they are!
REPORTER 2
CHORUS
GIVE US AN INTERVIEW,
PHOTOS OF BOTH OF YOU.
WE’VE GOT A JOB TO DO.
HELP US PUT THIS TO BED.
WHAT WAS IT YOU JUST SAID?
IF I DON’T MEET MY DEADLINE THEN I’M DEAD,
AND I’LL HAVE TO TAKE UP SOMETHING ELSE INSTEAD!
DISCOVERIES LIKE THIS ARE ALWAYS RARE.
A BREAKTHROUGH DOESN’T HAPPEN EVERY YEAR.
AND THAT’S WHY PEOPLE CLAMOR EVERYWHERE.
THEY’RE WAITING FOR THE STORY TO APPEAR.
REPORTER 2
Is it true radium is a new element?
Whose idea was this?
REPORTER 3
34.
REPORTER 4
Is it true you worked out the theory and your wife just did
the labor?
REPORTER 1
Don’tcha have a baby at home?
CHORUS
PLEASE KEEP ME IN THE LOOP.
I’M STANDING ON THE STOOP.
I HOPE TO GET A SCOOP.
IT’S TIME TO MEET THE PRESS,
YOUR CHANCE TO SELF-EXPRESS.
WE MAKE OUR LIVING OFF WHAT’S NEW!
WE ALWAYS NEED,
GOT TO FIND,
MUST SUPPLY,
DO OR DIE.
WE’VE GOT TO GET SOMETHING NEW!
35.
SCENE 2:
ACADEMY OF SCIENCE
The Dean and Rambeau are reading
the newspapers, which prominently
feature Marie on page 1.
DEAN
Oh, the misery. Look at these headlines. Marie’s picture is
all over France. She’s become a national hero.
RAMBEAU
Don’t worry. This is just a momentary infatuation by the
press. We’ll handle this.
DEAN
Pierre is the problem. He isn’t keeping up his end of the
bargain. He gives credit to Marie every chance he gets.
RAMBEAU
You and I both know she’s just a glorified lab assistant.
need to tell the press.
DEAN
But the public will never believe it.
We
They adore her.
RAMBEAU
It’s up to us to change their mind. We’ll make them see the
real Marie. This is our moment to step forward and take
control.
36.
SCENE 3:
CURIE HOUSE, SEVERAL MONTHS LATER.
Marie is sitting at the breakfast
table, reading through a pile of
mail. Pierre enters and is
surprised to see that Marie reading
the letters. Marie is in
engrossed, but Pierre is suddenly
nervous.
MARIE
(holding up a pack of envelopes)
Pierre, look at all these invitations to lecture. Frankfurt,
Prague, London, Boston, even St. Petersburg! This is so
exciting! I noticed them in your briefcase. What were they
doing there?
PIERRE
I’m taking them to the office. I want to go through them
first and figure out how we should respond.
MARIE
Of course, we’ll have to divide these lectures up. Otherwise
we’ll never be able to do them all. Rome, Amsterdam...
(bell tone before each comment)
Oh, and here’s one from Stockholm.
PIERRE
Let me have it.
It’s already opened.
MARIE
PIERRE
I don’t want you to see that one.
MARIE
It’s from the Nobel Committee!
SONG #14:
LETTER FROM STOCKHOLM
MARIE
(plowing into the letter)
“... awarded the 1903 prize ...”
Oh, Pierre! “... in physics...” I can hardly believe this!
“... in Stockholm...” Of course, we’ll come.
“Congratulations, PIERRE!!!???”
Marie explodes.
caught.
Pierre has been
37.
PIERRE
I was going to tell you about this.
MARIE
You knew and you didn’t tell me?
I WANTED TO EXPLAIN.
PIERRE
MARIE
THERE’S NOTHING LEFT TO EXPLAIN.
THIS WAS MY IDEA ALL THE TIME,
BUT YOU GOT THE PRIZE.
PIERRE
THE PRIZE? SO WHAT?
WHO CARES WHOSE NAME IS ON THE PRIZE?
MARIE
YOU’RE CRAZY, LIKE EVERY OTHER MAN!
PIERRE
WE WORK TOGETHER, IT ALWAYS WAS OUR PLAN.
WE WORK TOGETHER, IT’S WIDELY UNDERSTOOD.
MARIE
Understood? Understood??? I’ll tell you what’s understood.
That you’re a brilliant scientist and I am your loyal
assistant, running all your errands and cleaning up your
mess.
PIERRE
You know that’s not how it is.
Really?
MARIE
You got into the Academy.
Not me.
BEHOLD! WHO GETS THE LIMELIGHT AND THE GOLD?
THIS TALK IS ALL FOR NOUGHT!
I’M JUST AN AFTERTHOUGHT!
IT ALL DEFIES BELIEF.
I THOUGHT PARIS WOULD BE DIFFERENT, BUT NO!
I THOUGHT YOU WOULD BE DIFFERENT, BUT NO!
PIERRE
Marie, please, I never meant for it to turn out this way.
MARIE
Go ahead, go to Stockholm. But don’t expect me to tag along
as your little puppy dog.
Marie turns her back on Pierre.
38.
PIERRE
Marie! You know that’s not like me! I will write to
Stockholm. I promise you I will fix this.
WHEN WE GO TO STOCKHOLM,
WE’LL OPEN UP THEIR EYES.
WE’LL ACT WITH CHARM
WHEN WE ACCEPT THE PRIZE.
WHEN WE GO TO STOCKHOLM
AND ENTER THAT GREAT HALL,
WE’LL GO ARM IN ARM
OR NOT AT ALL.
Blackout
39.
SCENE 4:
OUTSIDE THE CURIE HOME (1903)
A large crowd gathers in front of
the Curie house.
SONG #15:
“GREAT DAY FOR FRANCE”
CROWD
Citizen 1:
I’m so proud.
Citizen 2:
The Nobel Prize in physics!
Citizen 3:
First time for us!
Citizen 4:
An honor for all France!
IT’S A GREAT DAY FOR SCIENCE,
AS WE LEAVE THE OLD BELIEFS BEHIND.
IT’S A GREAT DAY FOR WOMEN,
AS WE CELEBRATE ALL OF HUMANKIND.
IT’S A GREAT DAY FOR PROGRESS,
AS WE SEE THE WORLD ADVANCE.
IT’S A GREAT DAY FOR OUR NATION,
IT’S A GREAT DAY FOR FRANCE.
OUR VERY OWN JUST WON THE WORLD’S ACCLAIM!
INTELLECT AND SCIENCE RULE THE DAY!
RADIUM’S THE REASON FOR THEIR FAME,
WHICH THEY FOUND IN A MOST CREATIVE WAY.
The Curie’s appear, wave to the
crowd and enter the house.
IT’S A GREAT DAY FOR SCIENCE,
AS WE LEAVE THE OLD BELIEFS BEHIND.
IT’S A GREAT DAY FOR WOMEN,
AS WE CELEBRATE ALL OF HUMANKIND.
IT’S A GREAT DAY FOR PROGRESS,
AS WE SEE THE WORLD ADVANCE.
IT’S A GREAT DAY FOR OUR NATION,
IT’S A GREAT DAY FOR FRANCE.
AFTER YEARS IN AN OLD LABORATORY,
ONE DAY THE CURIES COULDN’T BELIEVE THEIR EYES.
SO TODAY ALL FRANCE CAN SHARE THE GLORY
BECAUSE THEY WON THE NOBEL PRIZE!
TO BE HONEST, IT’S FAR TOO COMPLICATED
FOR ME TO COMPREHEND THE THINGS THEY SAY.
IN SPITE OF THIS, WE ALL CAN BE ELATED
THAT TWO SCIENTISTS OF FRANCE
40.
A MAN AND A WOMAN,
WERE HONORED IN THIS WAY!
IT’S A GREAT DAY FOR PROGRESS,
AS WE SEE THE WORLD ADVANCE.
IT’S A GREAT DAY FOR OUR NATION,
IT’S A GREAT DAY,
IT’S A GREAT DAY,
IT’S A GREAT DAY FOR FRANCE.
The action shifts to the Academy of
Science. Rambeau and the Dean sing
in a minor key.
DEAN
IT’S A BAD DAY FOR ALL THE MEN OF FRANCE.
THE TRADITIONS OF OUR FATHERS DOWN THE DRAIN!
RAMBEAU
MEN OF HONOR, AWAKEN FROM YOUR TRANCE!
WHERE WE’RE HEADED IS SIMPLY INSANE!
DEAN
WE ALL KNOW WHO CAUSED THE PROBLEM IN THIS CASE!
RAMBEAU
SHE’S IN THE SPOTLIGHT FOR EVERYONE TO SEE.
AND THE PAPERS ARE SIMPLY A DISGRACE!
THEY’RE SHOWING HER,
DEAN
RAMBEAU
NOT YOU.
NOT ME!
DEAN
HOW CAN WE STOP THIS INTRUDER IN HER TRACKS?
THIS INTERLOPER WHO GARNERS FALSE ACCLAIM.
RAMBEAU
WE MUST NOT LET DOWN OUR GUARD NOR RELAX,
OR ELSE OUR CULTURE WILL DESCEND INTO SHAME!
DEAN
SHE’S A BLIGHT ON THE FACE OF OUR NATION.
RAMBEAU
SHE’S A BOIL, WHICH WE MUST BRAVELY LANCE.
BOTH
WE MUST HALT THIS VILE DESECRATION.
41.
ALL
(DEAN & RAMBEAU) IT’S A BAD DAY,
(CHORUS) IT’S A GREAT DAY!
(DEAN & RAMBEAU) IT’S A BAD DAY,
(CHORUS) IT’S A GREAT DAY!
(ALL) IT’S A BAD (GREAT) DAY FOR FRANCE!
Blackout.
42.
SCENE 5:
INSIDE THE CURIE HOUSE (1906)
Early morning. Marie and young
Irene are in night gowns sitting
together on the couch. Marie is
teaching Irene a Polish folksong.
Irene tries her best but needs
coaching.
What does it mean?
IRENE
MARIE
(explains). My mother said, “Manya...”
IRENE
Manya?
MARIE
When you have children, teach them this song.
IRENE
I never knew why you left Poland.
Was it awful?
MARIE
It was wonderful. Until the Russians came.
awful. I’ll take you home someday.
Then it was
Pierre comes downstairs, briefcase
in hand, ready for work.
PIERRE
You’re still in your robe. Aren't you coming to the lab
today?
MARIE
No, I need a break. I’m staying with Irene.
have a special mother-daughter day.
An ordinary day!
We’re going to
IRENE
For once, someone listened to me.
PIERRE
But we’ve got a lot of work to catch up on.
that article. I need your help. Please?
Don’t pressure me.
fast.
MARIE
This is Irene’s day.
The editor wants
She’s growing up so
PIERRE
I guess I’m the only one interested in work.
and slams the door.)
(Pierre exits
43.
IRENE
I’ve never seen Father get angry.
MARIE
Don’t worry. Tomorrow I will work with Father. But today,
just look outside! It’s beautiful. So, my dear...
SONG #16:
“ORDINARY DAY”
MARIE
LET’S SPEND THIS VERY SPECIAL DAY TOGETHER.
IRENE
THE MORNING SUN IS BECKONING.
MARIE
IT’S A DAY FOR US TO SHARE,
IRENE
NOT A WORRY NOR A CARE,
MARIE
NOT A DAY OF RECKONING.
NO HOUNDS WITH CAMERAS NIPPING AT MY HEELS.
NO WASTED TIME WITH POMPOUS BIG WHEELS.
BOTH
LET’S BE TOGETHER, YOU AND I, WHAT DO YOU SAY?
YES, WE’LL HAVE A SPECIAL ORDINARY DAY.
FIRST WE’LL...
MARIE
IRENE
...take a walk by the lake?
It’s your favorite place.
THEN WE’LL...
...pick strawberries?
MARIE
IRENE
MARIE
They’re ripe and free to take.
THEN WE’LL...
...bake a cake?
Maybe we’ll bake three.
IRENE
MARIE
44.
BOTH
THEN WEAVE A DAISY CROWN FOR ALL TO SEE.
IRENE
Whatever we want?
Yes!
What do you say?
MARIE
BOTH
WE’LL HAVE AN EXTRAORDINARY ORDINARY DAY.
IRENE
This is going to be such fun. I’ll go get dressed.
(Marie is suddenly distracted.)
MARIE
Oh, something just came to me, something I’ve been puzzling
over for weeks. (sits at her desk) I just have to jot down
a note to myself while I’m thinking of it. You go get ready.
IRENE
(Uh-oh, she’s heard this before.
promised.
She whines.)
MARIE
This will take just a few seconds, dear.
Mother, you
That’s all I need.
Marie is already lost in thought
and oblivious to Irene. Irene is
frustrated.
Mother?
MOTHER!
SONG #17:
IRENE
(no reply) Aghhhh!!!
“ORDINARY MOM”
I WISH I HAD AN ORDINARY MOM, NOT YOU.
A MOM WHO BAKES ME CAKES AND COOKIES, NOT YOU.
A MOM WHO TAKES ME FOR A HIKE.
AND IS SOMEONE I CAN LIKE.
GIVE ME SOMEONE WHO IS NOT AT ALL LIKE YOU!!!
I’ll have an ordinary day, all right--doing something by
myself in my room.
Irene stomps out. Marie sits at
her desk. Evening approaches.
Thunder. It starts to rain.
45.
MARIE
Irene, it’s raining. Can you shut the windows? Irene? (No
reply) Hmmm, she must be upstairs. (looking out at the
rain) (calling) Pierre? (no answer) He must be working
late.
Knock at the door.
That must be Pierre now.
I’ll bet he forgot his key again.
She opens the door. There’s a
gendarme. The sound of thunder.
GENDARME
Madame, I’m sorry to inform you. Your husband was in an
accident.
No, it can’t be Pierre.
MARIE
GENDARME
He crossed the street in the middle of the block.
No you’re wrong!
MARIE
He’s at the lab.
GENDARME
A horse-drawn wagon was going too fast.
stop in time...
No, no!
MARIE
He’ll be home any minute.
The driver couldn’t
I know he will.
GENDARME
It was over in an instant. I’m sorry.
Pierre’s hat and exits.)
(He hands her
MARIE
No! (She holds Pierre’s hat close.) Pierre! Your face.
Your beautiful mind. Am I never to see you again?
MARIE
SONG #18:
“IT’S MIDNIGHT”
IT’S MIDNIGHT, AND SADNESS FILLS MY MIND.
THE WORLD IS PAINTED KIND OF BLUE.
IT’S MIDNIGHT. MY HEART IS FILLED WITH DOUBT,
AND I MUST FACE THE DARK WITHOUT YOU.
MY WORLD IS DISCONNECTED,
MY WISHES ALL REJECTED.
THERE’S NOT A DROP OF HOPE DETECTED,
AS I DROP LIKE A STONE.
46.
OH, DAYLIGHT YOU WARMED ME AS A CHILD
WHEN HOPES AND DREAMS RAN WILD FOR ME.
NOW DAYLIGHT, I BEG YOU STEP ASIDE.
IN SUNSHINE I CAN’T HIDE, THEY MIGHT SEE.
SO NIGHT PLEASE TAKE COMPLETE CONTROL
AND OCCUPY MY INMOST SOUL
AND LET ME STAY INSIDE THIS HOLE.
DON’T LET THEM SEE!
MARIE
If only I’d gone with you...
Irene enters and embraces Marie.
Oh, Mother.
what to do.
IRENE
(both sobbing). I miss him so.
We’re hurting.
I don’t know
MARIE
What can we do?
MARIE
SO NIGHT PLEASE TAKE COMPLETE CONTROL
IRENE
I’VE FELT SO LONELY SINCE THE DAY YOU DIED.
MARIE
AND OCCUPY MY INMOST SOUL
IRENE
THERE IS AN EMPTINESS THAT ACHES INSIDE
MARIE
AND LET ME STAY INSIDE THIS HOLE.
HOW CAN I CARRY ON
DON’T LET THEM SEE!
IN THE NEW DAY?
IRENE
MARIE
IRENE
47.
SCENE 6:
THE LABORATORY (1907)
Paul and Andre are working.
PAUL
I think this equipment would work better at the other end of
the table. The lighting is much better there.
Yes, sir.
ANDRE
I’ll take care of it.
Marie enters quietly. It’s an
awkward moment for all.
Madame!
ANDRE
I’m so glad to see you.
It’s been... a year.
MARIE
Thank you. Pierre once said that, even without him, I should
continue our work. Today, finally, I felt it was time.
ANDRE
I’m sure you remember Paul Langevin...
Yes.
MARIE
(she stares at Paul)
PAUL
You might recall we sat together at the last department
reception, right before...
(sad)
Yes.
Yes, we did.
MARIE
(awkward silence)
ANDRE
(trying to be cheerful) Aren’t you going to ask about the
children?
(Marie looks puzzled by his bad attempt at a
joke.). You know, the children? While you were gone, Paul
volunteered to supervise the lab, and he’s doing a splendid
job of it, as you see.
So it would appear.
MARIE
PAUL
Your husband was a gifted teacher and an inspiration to me.
MARIE
Pierre thought highly of you, also.
PAUL
I know this is your laboratory, but I would like to stay,
carry on Pierre’s work, if you will have me.
48.
I would like that.
MARIE
PAUL
If there’s anything I can do for you, anything at all...
(leaving open a lot of unspoken possibilities.)
They gaze at one another.
notices.
Andre
49.
SCENE 7:
ACADEMY OF SCIENCE (1910)
Lights up on the Dean and Rambeau
DEAN
How many years has it been--three, four--but everyone still
sympathizes with Pierre’s widow.
So I’ve noticed.
RAMBEAU
DEAN
The faculty forced me to give Pierre’s vacant chair to Marie.
RAMBEAU
Now her supporters want you to appoint her to the Academy of
Science.
I would hate to do that.
DEAN
RAMBEAU
Dean, she only got the Prize because Pierre wrote that
letter. No one seriously thinks she earned it.
DEAN
Still if you win the Nobel Prize...
RAMBEAU
We already have a worthy candidate, a fine Frenchman, Edouard
Branly. He’s done some wonderful work, don’t you agree?
DEAN
The wireless telegraph wasn’t groundbreaking like radium.
RAMBEAU
I have an idea. Let’s put it to a vote. The Polish
immigrant versus one of our own. Let the Academy members
have the final word.
I don’t know.
DEAN
I have to think about this.
RAMBEAU
Once she loses--and she will lose--the public will have to
accept the results. If they point the finger at anyone, it
will be the Academy. You will be blameless. You’ll shake
your head and say, what a shame.
I like this idea!
DEAN
RAMBEAU
There’s something else we can do to seal our victory.
50.
What?
DEAN
RAMBEAU
We must change public sentiment. Create a scandal.
That sounds risky.
scandal?
DEAN
(suddenly interested)
What kind of
RAMBEAU
I don’t know yet, but we will find something. Everybody has
some dark secret that they don’t want people to know. Let me
poke around the bushes.
DEAN
Tell me the minute you find something. But don’t forget, I
have a good name and I don’t want it ruined. I’m not going
to act on innuendo alone. I need proof!
51.
SCENE 8:
LABORATORY (1910)
Paul and Marie are working
together. No one else is present.
They speak to each other, but they
sing their true feelings only to
themselves.
SONG #19:
“NO ONE NEED KNOW”
MARIE
Could you give me a hand with the ionization chamber.
Thank you.
They lift it to the table.
During the following lines, they
continue to work and don’t look at
one another while talk. The sung
parts are prerecorded.
PAUL
How are you feeling these days?
MARIE (to herself)
PAUL’S A GOOD MAN,
HE’S SOMEONE I ADMIRE.
I have good days mostly. I like working in the laboratory
with you. And Andre, too, of course.
PAUL
I LOOK AT HER,
SHE’S SOMEONE I DESIRE.
How’s your family?
(to himself)
MARIE
HE’S NOT PIERRE,
THE ONLY LOVE OF MY LIFE.
PAUL
Problems at home, but my sons are all fine.
MY MARRIAGE GONE,
BUT I STILL HAVE A WIFE.
BOTH
(finally facing one another). I’m so alone.
I’M SO ALONE.
52.
MARIE
Oh, Paul. I have so many feelings, things I never thought I
would feel again, things I can barely put into words.
PAUL
(Paul puts has fingertips to Marie’s lips)
Shhhhhh.
PERHAPS YOU ARE OPEN TO AN AFFAIR OF THE HEART.
NO ONE NEED KNOW.
MARIE
WE COULD MEET IN SECRET. IT MIGHT BE THE START.
NO ONE NEED KNOW.
PAUL
MARIE
WE COULD BE TOGETHER SO VERY SOON.
THIS VERY AFTERNOON.
PAUL
MARIE
I LONG FOR YOUR TOUCH.
I WANT YOU SO MUCH.
NO ONE NEED KNOW.
PAUL
BOTH
PAUL
I have an apartment a few blocks away at 5 Rue Banquier.
Fifth floor. I hope you’ll meet me there. (He leaves.)
MARIE (to herself)
SHALL I GO?
I’VE NEVER DONE THIS BEFORE.
WE’RE BOTH ADULTS.
WHAT COULD IT HURT?
I AM A WIDOW,
WITH MY OWN LIFE,
MY OWN RULES.
SHALL I GO?
NO ONE NEED KNOW.
(Marie exits.)
53.
SCENE 9:
ACADEMY OF SCIENCE (1911)
The Dean is pacing.
enters.
Rambeau
RAMBEAU
Dean, I have some news about Marie.
DEAN
This better be good because Marie’s achievements are piling
up. Radium. The Nobel prize. Then that lucky finding about
radiation killing cancer cells. Maybe even a second Nobel.
At least the Academy vote turned out right.
RAMBEAU
Do you remember when I said our little scientist might be
hiding something...? (his hands are playfully suggestive)
Yes.
DEAN
RAMBEAU
She has a secret lover. They’ve been meeting at a flat near
the laboratory. A regular love nest.
You have proof for this?
Listen to this:
DEAN
RAMBEAU
“My dear, I spent yesterday evening and night thinking of
you, of the hours that we have spent together. I still see
your tender eyes, and I think only of the moment when I will
find again all the sweetness of your presence.”
She wrote that?
DEAN
RAMBEAU
“I am so impatient to see you. Until Saturday, my darling, I
will not stop thinking of you. I embrace you tenderly.”
How did you get that?
DEAN
RAMBEAU
I have sources. Don’t worry, it’s authentic.
at their apartment, on her nightstand.
So who is it?
DEAN
It was found
54.
This is so delicious.
(gasp)
RAMBEAU
It’s none other than Paul Langevin!
DEAN
But he’s married.
Paul?!
RAMBEAU
With four children. And French. She’s Polish, a free
thinker, maybe an atheist. Once the public reads these
letters, she won’t have a single friend left in Paris. Plus,
we’ve got a French mother who will testify that Marie wrecked
her life.
I don’t know.
DEAN
Who would print such a story?
I know someone.
RAMBEAU
I’ll take care of it.
They’ll publish this?
DEAN
RAMBEAU
Every fact and then some! Let’s see how her adoring public
reacts to something... lascivious. Dean, what do you say?
DEAN
Just make sure this never comes back to haunt me.
RAMBEAU
With this evidence, we finally have our chance!
55.
SCENE 10:
OUTSIDE CURIE HOUSE.
An angry mob has gather outside the
Curie house. The actual page is
projected.
SONG #20:
MOB
“TAKE HER DOWN!”
HAVE YOU READ THE NEWS?
THE DIRT THAT THEY REVEAL!
EACH DAY WE GET MORE CLUES.
IF IT’S IN PRINT, OF COURSE, IT’S REAL!
THEY SAY SHE CAUGHT A FRENCHMAN IN HER CLUTCHES.
SEDUCED A MARRIED MAN IN AN AFFAIR.
WE FIND IT MOST DISTURBING IN AS MUCH AS
A FRENCH FAMILY SUFFERS IN DESPAIR!
SHE’S A TEMPTRESS WITH EYES THAT OFTEN ROAM.
AS A MOTHER, SHE’S ONLY SECOND-RATE!
SHE’S ALWAYS IN THE LAB, SHE’S NOT AT HOME.
THAT IS WHAT THEY SAY OF LATE.
TAKE HER DOWN.
NOW SHE IS GETTING THREATS.
PEOPLE WANT HER DEAD.
THE PRIZE COMMITTEE CANCELED HER AWARD.
NOW THEY ARE TAKING BETS
ON WHO’S GETTING IT INSTEAD.
STOCKHOLM WON’T PUT UP WITH THIS DISCORD.
NOR SHOULD WE!
TAKE HERE DOWN!
Irene enters the scene and
confronts Marie off to side. The
mob continues pantomiming in slow
motion in dim light.
IRENE
MOTHER, HOW COULD YOU?
AT SCHOOL, I WAS MORTIFIED.
ALL THE WHISPERS, ALL THE JEERS,
WHEN I SAW IT, I COULD’VE DIED.
MARIE
IT WAS NEVER MY INTENT TO HURT YOU.
WHEN YOU’RE OLDER, SOMEDAY YOU’LL UNDERSTAND
THAT SOMETIMES THINGS JUST SEEM TO HAPPEN,
THINGS YOU NEVER PLANNED.
56.
IRENE
You never let things “just happen.”
I’LL NEVER KNOW HOW YOU COULD DO THIS.
WEREN’T YOU THINKING OF MY FATHER, YOUR PIERRE?
DISGRACING THE CURIE REPUTATION.
DID YOUR MOTHER EVER HAVE AN AFFAIR?
MARIE
MY MOTHER WAS ALWAYS SICK,
AND THEN SHE DIED WHEN I WAS TEN.
IT WAS LIKE SHE WASN’T THERE.
Irene, don’t do this to me!
I need you!
Marie is trying to reach her house,
but the crowd has her surrounded.
Irene stands off to the side.
MOB
THERE SHE IS! THE POLISH WHORE!
THE HOME-WRECKER WALKING UP THE PATH.
SHE USED TO BE OUR HERO, BUT NO MORE.
NOW SHE’S THE OBJECT OF OUR WRATH!
Marie starts to feel weak and
beaten down. She is on her knees,
surrounded by the menacing crowd.
WE WISH WE COULD GET RID OF HER FOREVER!
DEPORT THIS FOREIGNER WHILE THERE’S A CHANCE.
WILL WE EVER CHANGE OUR MINDS? NO, NEVER!
KICK HER OUT FOR THE HONOR OF FRANCE!
The Dean enters the scene and is
horrified to see what he has
wrought.
What have I done?
DEAN
After seeing the mob grow more
vicious, the Dean runs off stage
holding his head.
SOCIALIST! TAKE HER DOWN!
ATHEIST! TAKE HER DOWN!
FREETHINKER! TAKE HER DOWN!
FOREIGNER!
SHE’S A SCOURGE WE MUST PURGE!
TAKE HER DOWN!
TAKE HER DOWN!
TAKE HER!
TAKE HER DOWN!
57.
TAKE HER!
TAKE HER!
Irene enters the scene.
IRENE
STOP!
CRUEL PEOPLE, HAVE YOU NO DECENCY?
THIS IS MY MOTHER!
BEHOLD MADAME CURIE.
With Irene’s help, Marie starts to
rise.
(in agony)
MARIE
Why are you doing this?
MY PRIVATE LIFE IS MINE ALONE.
IT’S NOT YOUR BUSINESS, MIND YOUR OWN.
I PAID FOR ALL MY SORROWS AND MY PAINS.
THERE IS NOTHING THAT REMAINS.
MY EYES? THEY CAN BARELY SEE.
MY HANDS? BURNED IN AGONY.
MY BODY? SO WEAK I MAY NOT LIVE.
I HAVE NOTHING MORE TO GIVE.
LOOK AT ME! DON’T LISTEN TO THEIR LIES!
UNDERSTAND THAT I DESERVE THE PRIZE!
YOU DON’T KNOW WHAT I’VE HAD TO FACE EACH DAY.
I’LL GO TO STOCKHOLM! I WILL FIND A WAY!
MARIE
(to Irene) Irene, I’m so sorry.
leave Paris.
Come, Mother.
IRENE
Let’s go inside.
They exit.
Please forgive me.
We will
You need to go inside.
58.
SCENE 11:
ACADEMY OF SCIENCE
Rambeau sits reading the paper.
RAMBEAU
(to himself)
This article is perfect!
The Dean rushes in.
DEAN
Rambeau, do you know what’s happening?
RAMBEAU
Never under-estimate the power of the poison pen.
DEAN
There’s a hostile crowd outside the Curie house and they want
to drive Marie out of France!
RAMBEAU
History unfolding, just the way we planned it.
DEAN
No, seriously, this time we’ve gone too far.
RAMBEAU
Too far? We’re just starting. This afternoon, the Academy
meets to pass new bylaws.
New bylaws?
I did.
DEAN
I didn’t call a meeting.
RAMBEAU
And I’ve got the votes.
DEAN
Votes?
RAMBEAU
From now on, our worries are over. No woman, ever, will be
admitted to the Academy of Science!
That’s too extreme...
(interrupting)
Dean!
DEAN
RAMBEAU
I have the votes.
59.
SCENE 12:
LABORATORY (1914)
Marie is alone in the laboratory.
SONG #21:
MARIE
“SAFE PLACE”
AGAIN I AM ALONE.
FRANCE IS NO BETTER THAN POLAND.
MAYBE WORSE.
BUT IN THE END,
THIS LAB MAY SAVE ME FROM MY CURSE.
ALL I NEED NOW IS A SAFE PLACE.
SOMEWHERE TO WORK, A QUIET SPACE,
WHERE NO ONE CAN INTRUDE,
OR DISTURB MY SOLITUDE
THIS WILL BE MY HAVEN.
FOR ALL OF MY TOMORROWS.
WHERE I CAN ERASE
ALL MY SORROWS
THIS LAB THAT PIERRE GAVE
HAS THE POWER NOW, THE POWER NOW TO SAVE.
Marie sits alone, focused on her
work. Irene, now 18 years old,
enters, wearing her Red Cross hat.
IRENE
Mother?
Marie is absorbed and answers
without looking up.
Hello, Irene.
I’m leaving.
(jolted)
You’re what!?
To the front!
The front!
You can’t!
MARIE
IRENE
MARIE
Where are you going?
IRENE
MARIE
60.
IRENE
Mother, you live in a bubble. You’re all wrapped up in your
journals, your theories. Do you even realize that a terrible
war is raging? The Germans are only a hundred miles from
Paris!
MARIE
I have valuable work to do.
I’m sure our brave French
forces will keep us safe.
IRENE
Have you heard about our brave French forces? Our boys--my
classmates--are being slaughtered. Enemy artillery shatters
their legs. The only choice is to amputate. You must have
seen them, Mother. Our brave young men--their legs nothing
more than...(Irene weeps)
I have seen them.
MARIE
SONG #22: “HELP FRANCE”
IRENE
THEN HELP THEM!
DO SOMETHING TO HELP FRANCE!
MARIE
HELP FRANCE?
WHY SHOULD I?
THEY MADE MY LIFE A LIVING HELL!
IRENE
BUT THIS IS OUR HOME.
MARIE
I HAVE NO HOME!
THIS IS WHERE I WORK.
IRENE
IT’S ALL I’VE EVER KNOWN.
MARIE
EVER KNOWN?
THIS IS WHAT I HAVE KNOWN.
Hear me well!
THEY TRIED TO DESTROY ME.
I GAVE THEM MY LIFE!
THEY REPAID ME IN HATE!
I OWE THEM NOTHING!
61.
IRENE
I ASK YOU TO HELP.
LISTEN TO MY PLEA!
FOR ONCE, MOTHER, PLEASE!!
DO THIS FOR ME!
What exactly do you want?
MARIE
IRENE
We could save those limbs, those lives, if we only had X-rays
at the front.
MARIE
What does that have to do with me?
IRENE
Nobody in Paris knows more about X-rays than you. (pause)
Oh, what’s the use of talking? All you care about is
research! Well, I’m going to do something. I’ve joined the
Red Cross. I leave today.
They look at one another.
Irene storms out.
Then
Marie paces and thinks, then calls
to Andre, who is offstage.
MARIE
Andre, bring my car around to the shed.
62.
SCENE 13:
SHED
Marie’s Renault sits on the stage,
the hood open. Someone is working
on the car, but we can’t see who.
Loud noise of tools being used.
Andre enters
ANDRE
Madame? (then seeing the car) What the...?
to your car?
(looking around the hood)
hold it in.
What happened
MARIE
Press the starter button now, and
The Renault roars to life. Marie
comes around the car. She flips a
switch
Ha, it works!
(still incredulous)
ANDRE
What works?
MARIE
My mobile X-ray. If we can’t bring the troops to the X-ray,
we’ll bring the X-ray to the troops.
I don’t understand.
ANDRE
MARIE
We drive this car as close as we can to the front line. We Xray the wounded soldiers as soon as they arrive and guide the
surgeons. The X-ray tells them exactly where to cut! No
need to amputate.
ANDRE
This is incredible. But who will operate these... these...
Little Curies? All the men are at the front.
MARIE
(thinking) Women! We’ll make our own corps! Women from all
over France will be our recruits! We’ll train them and send
them up and down the line! They’ll be...
X-ray technicians!
ANDRE
MARIE
Here’s a list of friends who’ve already agreed to donate
their cars. I’ll work on them as soon as I get back.
63.
Back?
ANDRE
Where are you going?
To the front, of course.
You can’t go alone!
be useful.
MARIE
ANDRE
I’m going with you.
Who knows?
I may
64.
SCENE 14:
AT THE WAR FRONT (1914)
Sounds of the war-front: gunfire,
yelling, explosions, chaos. Voices
shout: “X-ray.” “Medic.” “This
one’s urgent. X-ray now.” “More
bandages.”
SONG #23:
“WAR IS HELL”
SOLDIERS
WAR IS HELL
THE CARNAGE AND THE GORE
WAR IS HELL
THERE IS NO KINDNESS ANY MORE
THE AMMO GETS USED UP.
THE BODIES PILE UP.
THIS IS A HELL OF A WAY TO FIGHT A WAR!
DOCTOR
This leg is a mass of blood. Take him to X-ray!
NURSE
There’s a line.
He goes to the head.
DOCTOR
He’ll die without the X-ray.
SOLDIERS
THIS IS HELL
THE WOUNDED AND THE LAME.
THIS IS HELL
BUT WHO KNOWS WHO’S TO BLAME?
WHEN WILL THIS DANGER PASS?
LOOK OUT, THE MUSTARD GAS!
IT’S “SOLDIER!” NO ONE KNOWS MY NAME
Marie enters the scene.
Where’s my daughter?
my daughter?
In this chaos?
MARIE
Has anyone seen Irene?
I’m looking for
SOLDIER 1
Good luck.
MARIE
Surely someone has seen her. She’s a nurse.
Curie.
SOLDIER 1
That supposed to mean something? Step aside.
to do.
I’m Madame
I got things
65.
MARIE
(turning to someone else). YOU
must have seen her. Irene Curie.
A nurse.
NURSE DIRECTOR
Curie? Yes, I believe I saw her a few days ago.
is she working with?
I sent her to Verdun.
Which unit
MARIE
NURSE DIRECTOR
Verdun? The shelling was very bad. We haven’t heard
anything for two days.
MARIE
VERDUN!
OH NO!
THAT’S WHERE I SENT IRENE.
HOW COULD I LET HER GO?
THE PERIL, I SHOULD HAVE FORESEEN.
I have to go there...now.
MARIE
I must find Irene!
NURSE DIRECTOR
You’ll never get through. The road’s closed.
You’ll have to wait till dark.
I can’t wait!
understand???
Enemy fire.
MARIE
I need to find her now! Don’t you
(shouting) I’m her mother!!!
WHAT KIND OF MOTHER LETS HER CHILD GO TO WAR?
WHAT WERE YOU THINKING? THIS IS JUST ANOTHER
CHORE?
DID YOU THINK ABOUT THE COST?
ALL THE CHANCES THAT YOU LOST
WHEN YOU LET HER WALK RIGHT OUT THE DOOR?
WHAT
WHAT
WHEN
WERE
THEN
KIND OF MOTHER TURNS A DEAF EAR TO HER PLEA?
KIND OF MOTHER IGNORES HER PROGENY?
YOU CHOSE THE LABORATORY
YOU CHASING FAME AND GLORY?
YOU SET YOUR CHILD DOWN OFF YOUR KNEE.
IRENE, YOU NEEDED ME IN YOUR YOUTH
I WASN’T THERE, AND THAT’S THE TRUTH
THAT’S STARING AT ME IN THE MIRROR.
IRENE, I ONLY HOPE THE FATES ALLOW
A SECOND CHANCE, RIGHT HERE, RIGHT NOW
TO HOLD YOU CLOSE TO ME, MY DEAR.
66.
NURSE DIRECTOR
I will see what I can find out.
The MEDICAL DIRECTOR and CHORUS
exit. Spotlight on Marie.
MARIE
TELL ME THIS IS NOT SO.
TELL ME FOR I FEAR THE WORST!
WHY DID I EVER LET HER GO?
I SURELY MUST BE CURSED.
EVERYONE I’VE EVER LOVED HAS DIED.
DON’T LET THIS HAPPEN TO YOU!
PLEASE RETURN SAFELY TO MY SIDE.
IRENE, PLEASE GET THROUGH!
Marie is now weeping, her head in
her hands.
(V.O.)
Find her, Marie.
I want to.
RADIUM
Find her.
MARIE
I don’t know how.
Andre brings Irene on upstage. She
is limping. Andre points her
toward Marie. Irene stumbles to
her mother. Andre exits.
Mother?
Mother!
IRENE
Marie and Irene embrace.
MARIE
OH, IRENE, MY DAUGHTER DEAR,
I THOUGHT YOU LOST AT VERDUN.
IRENE
MOTHER, I AM SAFE.
I AM HERE DESPITE THE HUN.
But I’m afraid we can’t go on. Their artillery damaged our Xray unit beyond repair. (weeping). I’m sorry, I positioned
the car too close to the front.
That doesn’t matter.
But the X-ray...
MARIE
IRENE
67.
MARIE
Irene, I don’t care about the X-ray.
all that matters.
You’re safe.
That’s
IT’S YOU I LOVE.
IRENE, IT’S YOU.
IRENE
MOTHER, I LOVE YOU, TOO!
IRENE
Mother, being here has changed me. I’ve decided what I want
to do when we get back to Paris. I want to be a scientist,
so I can work with you, be with you.
MARIE
Darling, nothing would make me happier.
IRENE
I’m ready to begin. I know what I’ll do for the rest of my
life.
MARIE
Irene, you are...my daughter. (a beat) Being here has
changed me, too. Now that I found you, I’m not letting go.
EPILOGUE
Irene takes off her nurse’s cape.
Underneath she is wearing her
formal gown. Marie takes the cape
and exits. Irene stands alone in
the spotlight. She is holding her
gold medal.
IRENE
I humbly accept this Nobel Prize for chemistry. I dedicate
this award to the memory of my mother--my mentor and
inspiration. Not only was she a brilliant scientist, but she
tried to make the world better in so many ways--through her
pioneering work on the treatment of cancer, her effort to
create world peace, and her eternal belief that women should
be given an equal opportunity to succeed. She always found a
way, for herself, for me, and for generations of women to
come.
The entire ensemble emerges from
the shadows.
68.
SONG #24:
“PASS IT ON”
IN OUR OWN LIFETIME,
ROLE MODELS HAVE BEEN RARE.
WE SEARCHED AND WE SOUGHT,
ALONE SO WE THOUGHT.
THEN WE FOUND YOU HAD ONCE BEEN THERE!
YOU WERE THE FIRST TO BLAZE ACROSS THE SKY!
YOU ASKED YOUR QUESTIONS:
SHOW ME HOW.
TELL ME WHY.
WE ARE THE WOMEN WHO FOLLOW IN YOUR SHOES,
WE ARE YOUR FOLLOWERS, THE ONES WHO ALSO CHOOSE
TO CHASE THE DREAM, TO SEEK WHAT’S TRUE!
AND OUR SUCCESS, WE OWE TO YOU.
THE WORLD THAT ONCE HAD PROUDLY HAILED YOU,
THEN TURNED THEIR BACK, ABANDONED, AND ASSAILED
YOU.
THEY COULDN’T ADMIT, THEY COULDN’T ACCEPT YOUR
CLIMB.
YOU WERE BORN WAY BEFORE YOUR TIME.
NOW LOOK AT US,
WE ARE YOUR LEGACY.
ALTHOUGH OUR NUMBERS ARE STILL FEW.
WE’LL TELL OUR DAUGHTERS,
WE WILL BE TRUE.
WE’LL PASS IT ON!
WE’LL PASS IT ON!
THE LIGHT THAT COMES FROM YOU!
WE’LL PASS IT ON!
WE’LL PASS IT ON!
THE LIGHT THAT COMES FROM YOU!
THE END