Scene 23 Imaginary Meeting between Quentin Quesnell and Morton Smith
INT. UNIVERSITY OFFICE - NIGHT
The scene is set in a dimly lit office, surrounded by shelves filled with ancient texts and artifacts. Morton sits across Quentin, with photographs scattered on the desk.
MORTON SMITH:
Quentin, thank you for coming. I hope you've had a chance to look over the photographs I sent you.
QUENTIN QUESNELL:
Yes, Morton, I have. And I must say, your discovery has raised quite a few eyebrows. But I have concerns.
MORTON SMITH:
Concerns? About the manuscript's authenticity?
QUENTIN QUESNELL:
Precisely. You know as well as I do the importance of rigorous documentation. These photographs... they're inadequate. They should have been in color, Morton. And the cropping—it hides the page edges.
MORTON SMITH:
I understand your reservations. However, the conditions at Mar Saba, where I found the manuscript, were less than ideal. I did what I could.
QUENTIN QUESNELL:
It's not just about the photos, Morton. Leaving the manuscript at Mar Saba... it's an insecure repository. How can we guarantee its safety? Its authenticity?
MORTON SMITH:
The monastery has been its home for centuries, Quentin. It felt right to leave it where it belongs.
QUENTIN QUESNELL:
But without additional verification, without more eyes on the original, how can we move forward? You've left us in a position where we have to consider the possibility of forgery.
MORTON SMITH:
Forgery? You think I would fabricate such a discovery?
QUENTIN QUESNELL:
I'm not accusing you directly, Morton. But you must admit, the circumstances are... unusual. Your discovery could rewrite Christian history, yet we only have your word and these photos to go on.
MORTON SMITH:
I'm aware of how it looks. But I stand by my findings. The manuscript's content, its implications for our understanding of early Christian traditions... I couldn't just walk away from that.
QUENTIN QUESNELL:
And yet, by not securing it properly, by not providing unassailable proof, you've left your discovery—and yourself—vulnerable to doubt.
MORTON SMITH:
So, what would you have me do, Quentin? The manuscript is where it is. I've shared all that I have.
QUENTIN QUESNELL:
For a start, we need to find a way to get back to Mar Saba. We need to examine the manuscript firsthand, conduct scientific tests on the ink, the paper. We need more than just photographs, Morton.
MORTON SMITH:
Quentin, I hear your concerns. But you must understand, the conditions under which I worked were not ideal. Yes, the photographs were not perfect, but they were what I could manage under the circumstances.
QUENTIN QUESNELL:
But Morton, the discrepancies in lighting and texture between the photos... These are not minor issues. They cast doubt on the entire discovery. And leaving the manuscript at Mar Saba, with all its reported lapses in security... You should have known better.
MORTON SMITH:
The monastery has been the manuscript's home for centuries. I believed it was secure there. And as for the photographs, I did my best to document the discovery. My intent was never to deceive.
QUENTIN QUESNELL:
Good intentions aside, your decision has left this discovery open to question. Why didn't you involve other scholars or experts to corroborate your findings? That alone could have mitigated a lot of these doubts.
MORTON SMITH:
I understand that now. But at the time, I was more focused on the discovery itself. Perhaps I was naive to think that the academic community would take my word and the evidence I provided at face value.
QUENTIN QUESNELL:
It's not about taking your word, Morton. It's about adhering to rigorous scholarly standards. Edgar Goodspeed laid out clear guidelines for a reason. By not following them, you've inadvertently opened the door to skepticism and doubt.
MORTON SMITH:
Perhaps you're right. In hindsight, I could have done things differently. But what matters now is how we move forward. The manuscript, its contents, they're what should be at the heart of this discussion. Not the conditions of its discovery.
QUENTIN QUESNELL:
Moving forward means addressing these concerns head-on, Morton. If the manuscript is still where you left it, then there's work to be done. We need to ensure its safety, verify its authenticity, and then, maybe, we can begin to truly understand its significance.
MORTON SMITH:
What's this sudden interest in this manuscript? I announced the discovery almost twenty years ago.
QUENTIN QUESNELL:
But your findings were only published a few years ago.
MORTON SMITH:
That's not my fault.
Quentin pauses
QUENTIN QUESNELL
Listen, Morton, we're both lapsed priests.
Morton shifts uncomfortably but meets Quentin's gaze.
MORTON SMITH
I left voluntarily.
Quentin's expression softens slightly.
QUENTIN QUESNELL
I fell in love. No need to rehash old wounds.
Morton's expression hardens.
MORTON SMITH
You certainly seem content to reopen mine. QUENTIN QUESNELL
In my case, I saw no incompatibility between loving Jean and loving God.
Morton shifts uncomfortably, the personal turn of the conversation unwelcome.
MORTON SMITH
I really don't see what this has to do with the discovery.
Quentin leans forward, his voice earnest.
QUENTIN QUESNELL
I knew without Jean my life wouldn't be worth living.
The question hangs in the air, challenging.
MORTON SMITH
Do you still consider yourself a priest?
Quentin mirrors the challenge back to Morton.
QUENTIN QUESNELL
Do you?
Morton straightens, his reply firm.
MORTON SMITH
I consider myself a scholar. If you have any evidence to the contrary, do be the first to tell me.
Their eyes meet, a silent acknowledgment of the paths they've chosen.
INT. UNIVERSITY OFFICE - NIGHT
The scene is set in a dimly lit office, surrounded by shelves filled with ancient texts and artifacts. Morton sits across Quentin, with photographs scattered on the desk.
MORTON SMITH:
Quentin, thank you for coming. I hope you've had a chance to look over the photographs I sent you.
QUENTIN QUESNELL:
Yes, Morton, I have. And I must say, your discovery has raised quite a few eyebrows. But I have concerns.
MORTON SMITH:
Concerns? About the manuscript's authenticity?
QUENTIN QUESNELL:
Precisely. You know as well as I do the importance of rigorous documentation. These photographs... they're inadequate. They should have been in color, Morton. And the cropping—it hides the page edges.
MORTON SMITH:
I understand your reservations. However, the conditions at Mar Saba, where I found the manuscript, were less than ideal. I did what I could.
QUENTIN QUESNELL:
It's not just about the photos, Morton. Leaving the manuscript at Mar Saba... it's an insecure repository. How can we guarantee its safety? Its authenticity?
MORTON SMITH:
The monastery has been its home for centuries, Quentin. It felt right to leave it where it belongs.
QUENTIN QUESNELL:
But without additional verification, without more eyes on the original, how can we move forward? You've left us in a position where we have to consider the possibility of forgery.
MORTON SMITH:
Forgery? You think I would fabricate such a discovery?
QUENTIN QUESNELL:
I'm not accusing you directly, Morton. But you must admit, the circumstances are... unusual. Your discovery could rewrite Christian history, yet we only have your word and these photos to go on.
MORTON SMITH:
I'm aware of how it looks. But I stand by my findings. The manuscript's content, its implications for our understanding of early Christian traditions... I couldn't just walk away from that.
QUENTIN QUESNELL:
And yet, by not securing it properly, by not providing unassailable proof, you've left your discovery—and yourself—vulnerable to doubt.
MORTON SMITH:
So, what would you have me do, Quentin? The manuscript is where it is. I've shared all that I have.
QUENTIN QUESNELL:
For a start, we need to find a way to get back to Mar Saba. We need to examine the manuscript firsthand, conduct scientific tests on the ink, the paper. We need more than just photographs, Morton.
MORTON SMITH:
Quentin, I hear your concerns. But you must understand, the conditions under which I worked were not ideal. Yes, the photographs were not perfect, but they were what I could manage under the circumstances.
QUENTIN QUESNELL:
But Morton, the discrepancies in lighting and texture between the photos... These are not minor issues. They cast doubt on the entire discovery. And leaving the manuscript at Mar Saba, with all its reported lapses in security... You should have known better.
MORTON SMITH:
The monastery has been the manuscript's home for centuries. I believed it was secure there. And as for the photographs, I did my best to document the discovery. My intent was never to deceive.
QUENTIN QUESNELL:
Good intentions aside, your decision has left this discovery open to question. Why didn't you involve other scholars or experts to corroborate your findings? That alone could have mitigated a lot of these doubts.
MORTON SMITH:
I understand that now. But at the time, I was more focused on the discovery itself. Perhaps I was naive to think that the academic community would take my word and the evidence I provided at face value.
QUENTIN QUESNELL:
It's not about taking your word, Morton. It's about adhering to rigorous scholarly standards. Edgar Goodspeed laid out clear guidelines for a reason. By not following them, you've inadvertently opened the door to skepticism and doubt.
MORTON SMITH:
Perhaps you're right. In hindsight, I could have done things differently. But what matters now is how we move forward. The manuscript, its contents, they're what should be at the heart of this discussion. Not the conditions of its discovery.
QUENTIN QUESNELL:
Moving forward means addressing these concerns head-on, Morton. If the manuscript is still where you left it, then there's work to be done. We need to ensure its safety, verify its authenticity, and then, maybe, we can begin to truly understand its significance.
MORTON SMITH:
What's this sudden interest in this manuscript? I announced the discovery almost twenty years ago.
QUENTIN QUESNELL:
But your findings were only published a few years ago.
MORTON SMITH:
That's not my fault.
Quentin pauses
QUENTIN QUESNELL
Listen, Morton, we're both lapsed priests.
Morton shifts uncomfortably but meets Quentin's gaze.
MORTON SMITH
I left voluntarily.
Quentin's expression softens slightly.
QUENTIN QUESNELL
I fell in love. No need to rehash old wounds.
Morton's expression hardens.
MORTON SMITH
You certainly seem content to reopen mine. QUENTIN QUESNELL
In my case, I saw no incompatibility between loving Jean and loving God.
Morton shifts uncomfortably, the personal turn of the conversation unwelcome.
MORTON SMITH
I really don't see what this has to do with the discovery.
Quentin leans forward, his voice earnest.
QUENTIN QUESNELL
I knew without Jean my life wouldn't be worth living.
The question hangs in the air, challenging.
MORTON SMITH
Do you still consider yourself a priest?
Quentin mirrors the challenge back to Morton.
QUENTIN QUESNELL
Do you?
Morton straightens, his reply firm.
MORTON SMITH
I consider myself a scholar. If you have any evidence to the contrary, do be the first to tell me.
Their eyes meet, a silent acknowledgment of the paths they've chosen.
Statistics: Posted by Secret Alias — Sun Apr 07, 2024 9:14 pm