the director’s cut THE DIRECTOR’S CUT

Freud’s Doppelgaenger,

The Cut,

and

Deleted Scenes

Geoffrey Garrison Contents

Introduction 9 Freud’s Doppelgaenger 13 The Cut 157 Deleted Scenes 189 Bibliographical Essay 239 Introduction

When the John Huston fi lm Freud the Secret Passion was dubbed into German, nineteen minutes of the English version were left out of the fi lm. This omission occupied the place of desire that led the short video The Cut, realized in 2005 with the support of the Jan van Eyck Academie in Maastricht, the Netherlands. I had originally proposed to fi nd the material left out of the German version of the fi lm as the basis for a piece—what exactly that art work would be, I did not know at the time. Three years later, I am putting the fi nishing touches on this book as a way of driving the last nail into the coffi n of what has been a long and obsessive production, with many detours. Taking its title from the practice of releasing expanded versions of fi lms on DVD, The Director’s Cut supplements the nineteen minute fi lm The Cut—nineteen minutes to fi ll, in a roundabout way, the space left by the deleted footage—by supplying some needed background and following some abandoned routes. The fi rst and longest screenplay, Freud’s Doppelgaenger, tells of the fi lming of Freud the Secret Passion through the life of Montgomery Clift, 10 i n t r o d u c t i o n Introduction 11 the actor who portrayed Freud in Huston’s fi lm. The screenplay fol- This book and the short fi lm The Cut would never have come into lows his self-destructive behavior and the car accident that destroyed existence if it were not for a lot of help and support from others along his good looks. It detours into John Huston and Jean-Paul Sartre’s the way. First of all, I would like to thank my parents, June and Jim work process as they conceive the fi lm, before coming back to Clift Garrison, for reading every draft of the screenplay, giving me their ad- and Huston’s confl ict during the fi lming of Freud the Secret Passion. The vice with the story, and checking where my English had been corrupt- screenplay ends with Clift’s slow descent into drug and alcohol abuse ed through years abroad. Thanks to the advisers at the Jan van Eyck and his death in 1966. Academie: to Aglaia Konrad for telling me to get my shit together, Orla In Freud’s Doppelgaenger, there is a scene with Marilyn Barry for practical advice and contacts to actors, and to John Murphy, Monroe during the fi lming of The Misfits, presenting Monroe’s descent Hinrich Sachs, Norman Sanders, Marc de Kesel, Koen Brams. as a mirror image of Clift’s own dissolution. Both struggled with their Thanks also to the Jan van Eyck Academie for fi nancially sup- sexual indetities in the violently conformist 1950s: Marilyn Monroe porting the fi lming of The Cut. I owe a lot to all of those in- with her role as sex symbol and Clift with his closet homosexuality. volved directly with the planning and fi lming of The Cut: Winnie The Deleted Scenes follow Monroe’s marriage with Arthur Miller in Koekelbergh for production assistance and putting up with the more detail—partly in order to focus on the congressional hearings on tons of questions and actor solicitations that clogged up her e-mail, the alleged communist infi ltration of Hollywood and the intellectual Berto Aussems for technical support with the editing software world of America in the 50s, but partly also through for the characters and dvd production. Georg Schoenharting, Jürgen Ruge, Tim van themselves. The HUAC trials present a bitter parody of psychoanalysis, Peppen for their technical expertise and patience, Marlous Borm for which was at its acme in the US at the time; if Freud was trying to re- going above and beyond the call of duty, Peter Kisur for the makeup, lieve suffering by bringing repressed memories out into the open, Mc- and of course the actors: Tomas Spencer, Tom Strauss, Katie Mullins, Carthy and Congress were repressing by forcing secrets into the open. and Peter Gilbert Cotton. Not exactly the same, but it says something about how psychoanalysis I would also like to thank Laura Horelli for her in depth feedback and psychology in general came to be misused to create “normal” sub- on the script over pizza, Kasper Andreasen for advice about graph- jects. ic design, Vinca Kruk and Daniël van der Velden for supplying the As is always the case in research, coincidences and circumstantial Albertina typeface for this book (the same used in the Norton Publish- connections abound: Sartre wrote the Freud screenplay after hav- ing Standard Edition of Freud’s Collected Works in English), Henrik ing adapted Miller’s play The Crucible for cinema; Miller wrote The Zorn for supplying a copy of the John Huston fi lm in German, and Misfits, starring both Monroe and Clift and directed by Huston; Huston John Menick for sending a copy in English. Alice Chauchat supplied and Sartre originally wanted Monroe to star as the hysterical patient in a wonderful translation into French of Sartre’s dialogue in Freud’s Freud, but her analyst objected. Anna Freud opposed the project, ada- Doppelgaenger. mantly declaring that the fi lm bore no likeness to her father, nor could Others along the way, who deserve thanks for advice and feedback any image do him justice. are Sean Snyder, Inga Zimprich, Candice Breitz, Michael Rakowitz, The Cut came out of Freud’s Doppelgaenger as a dream comes out of Tino Sehgal, Heimo Lattner, and Chat. Last but defi nitely not least, the daily impressions, or at least it abstractly represents the history of thanks to Noortje Fischer, who came late in the project, but was indis- what amounts to the Hollywood fantasy of Freud and psychoanalysis, pensable for her emotional support and for being such a good sport keeping in mind the limitations of images as refl ections of historical about running errands during fi lming. persons and their histories. Freud’s Doppelgaenger fade in ext. a mountain pass - night

An old locomotive train speeds along through the night, spewing a cloud of steam behind it as it goes. It enters a tunnel in the side of a mountain. int. sleeping compartment

It is sometime between 1917 and 1920. A suitcase lies open on the couchette, exposing starched white shirts, a grey suit, and a notepad fi lled with writing. An open passport reveals the suitcase’s owner to be none other than sigmund freud, the founder of psychoanalysis. The camera fl oats through the compartment alighting on a box of short cigars, on a notepad the words ‘das Unheimliche’ have been hastily scribbled. moving into: int. wc

We sneak up on Freud as he trims his beard in the mirror of the WC. He is dressed in a sleeping gown and wears a traveling cap upon his head. As he grooms, he scrutinizes his face in the mirror, check- ing for stray hairs. This is the classic image of Freud we are familiar with from countless photographs. Piercing eyes, white hair, closely- cropped beard. He packs his toiletries into a shaving kit and exits to: int. sleeping compartment

Closing the door of the WC behind him, he does not pay careful at- tention that it is securely shut. It rattles slightly with the movement of the train. Freud places the leather shaving kit into his bag, closes the suitcase and replaces it on the ledge above the couchette. He sits down and begins reading from a book of E.T.A. Hoffmann’s Der Sandman. He takes notes in his notepad as he does so. 16 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 17

The train jolts suddenly, his pencil skids across the page and the tip int. bloomingdale’s breaks. He looks at it annoyed when a second jolt puts the light out. A busy, brightly lit department store. Elevator music fi lls the air. A a moment of blackness salesgirl busily arranges a display of men’s underpants. Clift ap- proaches the girl casually. When the light comes back on, he fi nds himself face to face with a strange, uncanny specter standing in the compartment looking at clift him. The man, similar in appearance to Freud only more emaciated, (smiling charmingly) stares back at him. He opens his mouth as if to speak. As he does so, Excuse me, miss. Can you tell me where to fi nd an his jaw pops mechanically. umbrella?

freud salesgirl Verzeihen Sie, mein Herr, aber— (turning around) Across from the cosmetics counter. He begins to rise, but then stops short. The specter, who a moment before seemed entirely manifest, is gone. In his place, Freud sees only She points in the direction. his own image refl ected in the mirror of the WC door, which came open as a result of the jolt. He shivers and closes the door of the clift WC, this time making sure it is quite secure. He rubs a hand over his Thanks! eyes, closes the book he still holds in his hand, and lays down on the couchette, switching off the light. Clift walks off in the direction she had pointed to. The salesgirl watches for a second then goes behind the counter, picks up a phone darkness and begins to dial.

salesgirl credits Hi Martha? It’s Nancy... Listen, you’ll never guess who just walked into Bloomingdale’s...

int. cosmetics and accessories department ext. manhattan street - day Clift idly feels a woman’s silk scarf between his thumb and forefi nger. caption: Manhattan 1948 He picks up a cane and twirls it around in his hand then puts it back Montgomery Clift, around 30 and strikingly good looking, hurries in its place again. through the drizzling rain. The collar of his worn-out, grey Brooks salesgirl 2 Brothers’ suit jacket is fl ipped up. Clift dashes across the street and Can I help you, sir? into: 18 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 19

He turns around to face salesgirl 2 who stands behind the cosmet- person from crowd ics counter. Hey! It’s Montgomery Clift!

clift Clift, shocked, turns around to see a small crowd gathered behind Yes! I’m looking for an umbrella. him.

salesgirl 2 person 2 Hey! Didn’t I see you in The Search? I loved The Search!

Clift smiles a bit bewildered and surprised. person 1 You were great! Yeah, I’m sure of it. You’re Montgomery Clift! Can I have your autograph? person 3 What’s your next fi lm going to be? clift Well, sure, ok. You got a pen? General excitement. More people gather.

Clift approaches the counter. The salesgirl fumbles around looking person 4 for a pen and a piece of paper. Oh, can I get an autograph too?

salesgirl 2 person 5 Sure. Oh, wait’ll I tell my friends about this. My kid sister loved The Search. It was all she could talk about. Taking a pen and paper from behind the register, she hands it to him beaming. clift Please, please. Oh my name’s Susan... Susan Ritterson. R-i-t-t-e-r-s- o-n. Clift pushes his way through the crowd.

Clift writes: “To Susan Ritterson” and signs his name. He hands the All I want is an umbrella! paper back to her, smiling. A woman stops him. clift My friends call me Monty. Where do you keep the woman umbrellas, Susan? What are you doing tonight?

At this moment somebody yells from behind him: Clift looks at her in horror and then pushes by. 20 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 21 ext. street fi lm Let There Be Light, and we are especially pleased to have the director, John Huston, here with us tonight. Clift squeezes out the door and breaks into a run. john huston, sitting in the front row, stands and acknowledges the ext. street applause with a gregarious smile.

Clift comes around the corner and eases up his pace, glancing behind speaker him to make sure no one is following. He hurries along the street Most all of you— through the drizzling rain. He is interrupted by applause. ext. museum of modern art – dusk I’m sure, most all of you probably know John Huston Clift passes the Museum of Modern Art. In the background two as the man who brought us such wonderful fi lms as military police offi cers get out of an unmarked car and enter the The Maltese Falcon, that modern day classic starring museum. Humphrey Bogart, Sidney Greenstreet, and Peter Lorre, but few of you probably know that Mr. Huston, int. museum of modern art like all patriotic Americans, helped win the war, by serving in our armed forces. Let There Be Light, the fi lm The Military Police proceed in an authoritative fashion past a Matisse we are going to show tonight, is the fi nal fi lm he pro- and a Brancusi through the foyer of the Museum. Museum goers turn duced for the army—a documentary about the psychi- to stare. A man in suit runs over from across the room. atric treatment of soldiers suffering from the horrifi c man in suit effects of war. Mr. Huston will be available to answer Yes, uh, Offi cers! May I help you? any questions you might have after the screening. We also have several medical professionals in the audi- cut to: ence tonight who also took part in the fi lming of this fascinating documentary. The fi lm showcases many of int. cinema the wonderfully revolutionary techniques which our psychiatrists are putting in to use to cure America’s... A small crowd listens to a speaker who stands beneath the dark, er... uh mentally... um... ill. empty screen. From the side entrance, the man in suit gestures frantically to the speaker speaker, causing him to break off his discourse. Ladies and Gentleman... Ladies and Gentleman, I want to thank each and every one of you for coming here to- Ladies and Gentleman, we will have the fi lm on for you night. The Museum of Modern Art is happy to be pre- in a matter of minutes! Please enjoy the show! senting a very special screening of the documentary The audience applauds. 22 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 23

The speaker rushes over to the man in the suit. They both slip out the mp exit. Huston, from his seat in the front row, looks around quizzically. I have my orders, sir. He turns in his chair to speak to wolfgang reinhardt who is seated next to him. speaker There must be some sort of a mistake. huston Well, Wolfgang, I still can’t believe the army let us put Huston steps into the doorway. on this one showing after blocking the fi lm’s broader release. huston What the hell is going on here? reinhardt It certainly does not present the side of the military speaker they want to show. Sorry, Mr. Huston, they’re taking the fi lm.

huston huston No, it doesn’t, does it? I tell you what, Wolfgang. Let’s What?! What do you mean they’re taking the fi lm? start work ASAP on that fi lm biography of Freud you mp and I talked about. I’ve a feeling mental health is going We have orders to confi scate this fi lm. This is military to be a hot topic in the coming years! property. You don’t have the right to show it. He twists around to look at the projection booth. huston What the hell is taking them so long? I don’t have the right to show it?! I made the goddamn fi lm! We got express permission from Army Public reinhardt Relations to show it! Perhaps there is a problem with the projector. mp huston I’m afraid it’s been revoked. No, I doubt it. I’m going to go check on them. huston Huston stands up and goes out the door. On what grounds? int. projection booth mp I’m not at liberty to say. You’ll have to talk to someone The projectionist, a teenager, chews gum and watches the speaker higher up. and the man in the suit talk with one of the MPs, while the other MP collects the reels of fi lm. The man in the suit pulls the speaker aside. 24 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 25

man in suit clift Go back in there and work things out with the audi- I can’t go anywhere anymore! I went into Blooming- ence. dale’s to get an umbrella and I was practically mobbed.

speaker mccarthy What am I supposed to tell them? But Monty this is great news! The fi lm’s a hit!

man in suit clift Make something up. Tell them we’re going to show No, no, no! It’s awful. It’s the worse thing that can another fi lm instead. happen to an actor.

The speaker exits. The MPs turn to leave, the fi lm canisters beneath mccarthy their arms. Cheer up kid. Thousands—no, millions—would kill to be in your skin. huston You’re not at liberty to say? You mean, you don’t even clift know, do you! Yeah and soon they’ll all want a piece of me. I’ve seen it before. Hollywood, the press, the fans, they all just mp want to get their tentacles around us. Once they have (from over his shoulder) you, they turn you into a shell of the actor you once I’m not at liberty to say. were. And then—yeah, well then—then you don’t even have your own life anymore. huston Bullshit. Bull Shit! mccarthy So you go to Hollywood. It’s not the end of the world. cut to: Use it. You can choose any role you want! int. gregory’s – night clift No, Kevin. This is the end of Monty Clift as you know kevin mccarthy, returning with two drinks, slides onto the bench him. I don’t want to be some hack Hollywood actor. across from Montgomery Clift, grinning cheerfully. Kevin, also an I want to be great like the Lunts! I want to do serious actor, is about Clift’s age. stage work. mccarthy mccarthy It’s all anyone can talk about: Montgomery Clift the You still can, Monty—and you will! Trust me. Noth- new star! Shit, I’ve even heard talk of the Oscars. ing’s changed. We’ll still work together on stage. And now even more people will pay attention to what you 26 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 27

do. You’re a great actor, Monty, and if there’s anyone stevens who deserves to be a movie star, it’s you! Sure, Monty. What’s on your mind?

Clift tosses back his scotch in one swallow, proving that he is in any clift case a great drinker. (lowering his voice) I’m not sure about the way Shelly is playing her char- cut to: acter—I mean, screaming hysterical and all that. The audience is going to hate her, when they should hate ext. lake tahoe, california – day me! I’m the bad guy here.

Montgomery Clift, shelly winters and george stevens stand on stevens a pier where a rowboat is moored. The camera crew waits patiently as Trust me, Monty. The story is far more interesting the three talk. this way. People are going to walk away from this fi lm debating whether you’re guilty or innocent. stevens Remember, this is the key scene. It establishes how the clift audience feels about the characters. Today we’re just Yeah, but they should also sympathize with Shelly. going to get some shots of the two of you in the boat She’s the victim! and shoot the drowning sequence. The close-ups and the dialogue we’ll have to shoot in the sound stage. Stevens studies him for a second then continues:

winters stevens George, do I have to get wet? It’s freezing! Monty, with a face like yours, you could play Adolph Hitler and people’d feel sorry for you. stevens Don’t worry. What we’ll do is just shoot the sequence He looks up at the sky and then around at the people waiting on of you two in the boat, the boat rocking and then we’ll them. Taking Clift by the arm, he leads him over toward the rowboat. shoot the rest with stunt doubles... Let’s get going before it gets even colder. clift In Dreiser’s book, the character I play is vicious. He’d Winters gets into the rowboat and the crew take their places. Clift kill his own mother, if it could make him rich! pulls Stevens aside. stevens clift A movie is not a book. It may be based on a book, but George, can I talk to you for a minute? it is certainly not the same thing to show something in images, and to describe the internal thoughts of a character. 28 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 29

clift nails apprehensively. Next to him, elizabeth taylor, also dressed I know, of course, but... for opening night sits up properly in her seat and watches the fi lm excitedly. stevens A lot of people’re breathing down our necks these on screen: days, Monty. They’re looking for anything, any slip that can be interpreted in some way as un-patriotic, as Shelly Winters snivels opposite him in the rowboat. un-American. Things aren’t like they used to be—even fi ve years ago. Hollywood, the country, everything winters is infested with this hysteria. If we make a fi lm of George, tell me what you were thinking just now... Dreiser’s novel the way it was written, make it criti- when we saw the shooting star. cal of brutal ambition, of individualism, of the death int. cinema penalty, well, they’ll say we’re striking at the heart of the American dream, that we’re spreading “communist Clift fi dgets and leans over to Taylor, whispering in her ear. propaganda.” Next thing you know, it’d be Monty Clift testifying before the House Committee. clift Shelly does this all wrong. She does it all wrong. He shakes his head. They are standing in front of the rowboat where Shelly Winters is waiting for Clift to join them. Monty steps into the Taylor shushes him by holding up her hand, and he slumps back boat and is handed an oar by Stevens, who whispers in his ear. down into the chair.

When you get out there on that boat, never mind what on screen: I said about using stunt doubles. Tip the damn thing over and make sure she gets in the water. The boat capsizes.

cut to: int. cinema on screen: The fi lm is over and the audience, close to tears, breaks into loud ap- plause as the lights come up. Taylor turns to Clift excitedly. She looks b/w scene like the teenage girl she actually is.

Clift is hunched over in a rowboat, the oars in his hands. He sweats taylor profusely; his face wears the tormented look of a murderer. Oh, Monty! They love us! int. cinema – night clift You were wonderful, Liz. Really you were! Everyone Clift, dressed in a tuxedo, slouches low in his seat and bites his fi nger- said this was going to be Elizabeth Taylor’s fi rst grown- 30 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 31

up role, and they were right! clift I don’t... I don’t have time for these things. taylor But I’m nothing compared to you. hopper Hm. clift No, you’re better! I’m supposed to be a cold-blooded She pauses while she consults her notebook. killer; George made me into a lovable puppy dog. I guess for you it’s not so different from making another In one sentence, what is the story of your life? fi lm with Lassie. clift She gives him a look and then yanks him up out of his seat. I’ve been knifed.

taylor Hopper raises her eyebrows at this and then writes down the answer. C’mon, boy! Come to mama. Let’s get a drink! hopper cut to: Tell us about your character in From Here to Eternity. int. the brown derby restaurant – day clift I’m a soldier. A bugler actually. And a good boxer Monty sits at a table across from columnist hedda hopper, who and... the company commander wants me to fi ght, but, takes notes in a notebook. He fi dgets nervously with a pencil and is well, I don’t wanna fi ght you see, cause I hurt this guy... obviously not sober. He trails off. Hopper waits expectantly before writing his answer. hopper Thousands of American girls fell in love with you as hopper the tortured cowboy in Red River. So tell me... Monty: What are you planning to do now you’ve fi nished Is there a lucky woman in your life? My readers are shooting? dying to know! clift clift Go to Cape Cod. I... I don’t discuss my personal life. hopper hopper And what are you going to do on Cape Cod? You are the most eligible bachelor in Hollywood. My reader’s are wondering... clift Lie on the beach and grovel in the sand. 32 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 33

hopper holman If you weren’t an actor, what other professions would Monty... Monty. you like to go into? Clift rolls over on to his back, opens his eyes and smiles up at her. clift Bartending. I brought you some coffee.

At this, Clift sticks the pencil he has been playing with into a piece of She offers him a cup. He stretches, then sits up in bed, taking the cup bread. He gets up to leave. from her. She unfolds the newspaper and reads the headlines to her- self while sipping her coffee. Is that all? Oh, isn’t it horrible what happened to Jimmy Dean? hopper Yes, thank you. clift (looking up from his coffee) Clift walks out of the restaurant. From inside, Hopper watches him What? What happened to him? through the window do a series of pull-ups on the scaffolding of a building while the construction workers cheer him on. Once fi nished, holman he drops off the scaffolding and sprints into the parking lot. Hedda He was killed in an automobile race on Highway 66. Hopper frowns, turns back to her notebook, and starts to write. Says he was driving his silver Porsche, his neck was broken, his chest crushed when it smashed into the cut to: steering wheel. int. bedroom – day Clift turns green. He drops his scorching, hot coffee, shattering the cup on the ground. He leans forward and vomits all over the white Clift lies asleep in a fancy double bed with white satin sheets. libby satin sheets. holman comes into the room wearing a sleeping gown. She’s an attractive, middle-aged woman with a cigarette in her mouth, a cut to: newspaper under her arm and two cups of coffee in her hands. She carefully sets the coffee cups down on the bedside table, removes the int. hedda hopper’s offi ce – day newspaper from under her arm and places it next to the coffee cups. She takes the cigarette out of her mouth and balances it on the edge Gossip columnist hedda hopper on the phone. of an ashtray. Sitting down on the bed next to the sleeping fi gure, she hopper looks at him tenderly for a moment, then leans over and softly whis- Is it true Montgomery Clift was arrested for pederasty pers in his ear. in New Orleans? 34 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 35 int. hermann citron’s offi ce – day huston George. hermann citron on the other end. sokolsky citron Can I get you a drink? Preposterous! Clift is in Texas visiting his sister! You vultures have been gathering around that boy ever huston since his Oscar nomination for The Search. Of course, No. Let’s get to the point, George. Tell me why I am it’s not true! here.

He slams down the phone. Considers for a second then lifts the re- sokolsky ceiver again. Now, John, don’t jump to any conclusions here... We just want to ask you a few questions. Hello, operator? Could you connect me with the New Orleans police, please? Thank you. ... Hello? Yes, I huston want to know if you’ve picked up anyone named You had me come all the way out here just to ask Clift—Montgomery Clift—within the last twenty-four me a few questions? If that was all you wanted to do, hours. Oh, you did, eh? For drunkenness? Is that all, George, you coulda just picked up the phone. no other charges? Great! Is he still there? He left earlier this morning? Anyone else called you? How the hell Huston looks around at the roomful. do they fi nd out about these things before we do? Cut the crap, George. What is this—some kind of cut to: interrogation? ext. house – day man 1 Actually, we’re hoping an interrogation won’t be nec- A chauffeured car drives up to a middle-class house in the upstate essary. New York countryside. John Huston gets out of the back seat and ap- proaches the door. huston (gesturing around the room int. living room at the silent committee) And with whom do I have the pleasure of speaking? A group of frowning men in dark suits await John Huston. george sokolsky greets him. sokolsky John. Please, sit down. Why don’t you have that drink? sokolsky Hi John, thanks for coming. Not waiting for an answer, Sokolsky pours him a drink. 36 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 37

I should introduce you to the others. John, this is man 1 Richard Lloyd from the Times, Robert Randolph from What is the nature of the project you are working on in the Sun, George Westorff and Harold Stevens are both Ireland? labor representatives—non-reds of course. The three gentlemen in the back are—shall we say—just your huston average, ordinary concerned citizens. It’s a farce called Beat the Devil—about a ragged group of smugglers. Bogie will star in the picture. Huston accepts the drink and resignedly takes a seat on the couch. man 2 man 1 You mean Humphrey Bogart. He was also a member of What is the Committee for the First Amendment? the front group. What is its purpose? Is it or is it not a front for the communist party? huston The Committee for the First Amendment was not a huston front group. It is not a communist front! A lot has been written in the papers about it... we ourselves have published man 1 countless statements about our intentions: to sup- This Beat the Devil fi lm. Is that based on a book? port the people we see as unjustly accused by the House Committee for Un-American Activities, people huston accused for simply voicing their opinions, as is pro- Yes, it was a hardboiled novel by James Helvick. tected by the First Amendment! We’ve been entirely open with our intentions and have no ulterior motives man 1 whatsoever. (looking at a notebook) You mean Claude Cock-burn, don’t you? man 2 Have you received funding from Moscow? huston Claude Co-burn. It’s pronounced Co-burn. The ck is huston silent. No. man 1 man 1 Beat the Devil was written by the known red Claude What is your purpose for visiting NY? Cockburn.

huston man 3 Just passing through. I’m on my way to Ireland to work Mr. Huston, does the name Salka Viertel mean any- on a script. thing to you? 38 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 39

huston man 1 Yeah. Sure. She’s one of the most hospitable, generous What do you know about Chaplin? people I know! What about her? huston man 2 Chaplin? ...when I was a boy, I was quite sickly. I was I’m sure you are aware that Mrs. Viertel is a notorious bed-ridden for a long time. Everyone thought I was left-winger. She has links to every major communist going to die. Once, while staying with my mother in in Hollywood. She is connected to such known Euro- a hotel in downtown LA, Chaplin came to visit me. pean communists as Bertolt Brecht, Thomas Mann, He had heard there was a sick child in the hotel and, and Aldous Huxley. as an act of charity, he came to cheer me up. He was my idol!... And he’s a good tennis player; we’re good huston partners at doubles. Communists? That’s ridiculous! Next thing you’ll be saying Einstein is a communist! sokolsky You do know that Chaplin is accused of being a com- They look at him icily. munist?

Now wait a minute! You can’t seriously mean to tell me huston you think Einstein is a communist! Does that make him one?

sokolsky man 2 Well, perhaps not a communist exactly... but he is Mr. Huston, you have defended every one of the certainly a misguided liberal. After all he is a known known and suspected communists we’ve mentioned pacifi st... even released a book against war with that here today. Whose side are you on anyway? Are you, famous atheist—Sigmund Freud! With the threat from John Huston, a communist? Are you sympathetic with international communism, such beliefs are naïve, the reds? childish. They only serve to help those who would destroy our way of life. huston (putting down his glass) huston Gentlemen, I can assure you I am opposed to interna- Seems a bit presumptuous to me for you to accuse tional communism and all that Soviet Russia stands Einstein of being childish. for. Look, I served my country in the war. What I really detest are bullies. I don’t like being afraid. I don’t like man 2 seeing other people be afraid. What I really like are Mr. Huston, I don’t think you realize the gravity of the horses, strong drink, and women. threat these people pose to our way of life. cut to: 40 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 41 ext. mansion – night taylor We look gorgeous!! Elizabeth Taylor’s home in the California Hills. Cars arrive and a small number of guests enter the house. Taylor laughs exaggeratedly. int. living room close up:

It’s May 12, 1956. Elizabeth Taylor greets the guests in her sparsely, The needle of a record player skims and jumps along the surface of an furnished living room. LP. Big band music plays on the soundtrack.

taylor int. living room Rock! Thanks for coming! Have a drink, Monty’s serv- ing. As Frank Sinatra’s voice emerges from the speakers, Liz Taylor turns around delighted and begins dancing tipsily. Clift lays on the fl oor Unshaven and dressed in rumpled chinos, Clift approaches with a next to the chair where Kevin McCarthy is seated. bottle of rosé and a glass. Handing the glass to rock hudson, he pours him a generous amount. clift Christ I’m tired! hudson Thanks, Monty. What about yourself? mccarthy You’ve just been working too hard. clift I’m too exhausted. Besides, I’m driving. Taylor dances over to them.

hudson taylor You’re driving? What about your driver? Come on, you shits! Wake up and show some signs of life! clift I gave him the night off. I wasn’t expecting to go out She loses her balance, spilling wine on the carpet. tonight, but Bessie Mae convinced me. Oh, Shit! I should do something about that. taylor Aren’t we glad he did come out? You should see the Instead she takes a deep sip from her glass. rushes from Raintree County! He looks gorgeous! Hey everybody! clift Still dancing, she refi lls her glass. Not as gorgeous as you! 42 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 43

Hey everybody! I’d like to propose a toast. Taylor sashays up to Hudson and links her arm in his.

She raises her glass. taylor Never mind him. He’s doped up on account of a back To my dearest friend: Montgomery Clift! spasm. Drunker than if he’d actually been drinking. C’mon over here, I’ll show you some of those stills I clift was talking about. Oh, Bessie Mae! She leads him away. taylor No, Monty, I mean it! And to Raintree County! int. living room

She raises her glass and drinks from it indulgently. Clift sits up.

hudson clift Bessie Mae? Hey, Kevin. I think I wanna go home now.

taylor mccarthy That’s just his name for me. Monty never calls anybody Monty, it’s only eleven thirty. Are you ok? by their real name. Clift looks away. clift But Bessie Mae, that is your real name! clift I’m really tired. int. living room mccarthy michael wilding lies awkwardly on his back on the couch on the Ok, have it your way. Take off, if you want to. other side of the room. clift hudson I’m scared of driving down the hills alone. How ya feeling there Michael? mccarthy Wilding does his best to rouse himself. Hell. What d’you want me to do?

wilding clift Sorry, I’m not particularly good company tonight... You could drive down in front of me. You lead and I’ll goddamn back. follow. 44 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 45

mccarthy taylor Oh God, Monty... Oh Monty!

clift She drapes her arms around his neck fl irtatiously, giving him bambi Please Kevin. You know I don’t drive much anymore. eyes.

McCarthy just looks at him. Stay a little longer. Have another drink!

mccarthy Monty looks around at the party. Michael Wilding dozes on the white Ok. couch. A few people chatting here and there quietly. Kevin Mccarthy idly waits for him. clift I don’t feel comfortable doing this alone. clift No... I really can’t. mccarthy Ok. Fine, let’s go. taylor (dropping the act) McCarthy drains his glass. Oh all right, party pooper. You go ahead. I’ll see you tomorrow anyway! clift Thanks, Kevin. clift (addressing the entire party) mccarthy Night everybody! I’m really exhausted. Have to get No problem. home. int. living room mccarthy G’night, Elizabeth! Thanks for the invite! Night every- Monty approaches Taylor who is in the middle of a conversation with one! Rock Hudson. She holds several stills from Raintree County in her hands. clift Kevin has to help me down that mountain or I’ll drive taylor around in circles all night. You should’ve seen it! It was amazing. We all practi- cally died laughing! ext. mansion – night

clift Clift leans on the door of his car as he lights another cigarette. Bessie Mae, I’m gonna go. I’m so tired, I’m about to crash. I gotta sleep so I can work to tomorrow. 46 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 47

mccarthy We played Chekhov! What’s eating you Monty? You’ve been so gloomy all night. clift How could I forget? We were slaughtered by the critics clift for it! Now I’ve spent all this time in Hollywood, and I donno. I had so much hope for this fi lm, so many for what? For what? Every fi lm is just watered down expectations... Raintree County was supposed to be like through the shitty mentality of this place. You give A Place in the Sun—as important. them the best performance of your life, putting every- thing you’ve got into a character whose been written mccarthy and rewritten by four, fi ve—who knows how many!— And Elizabeth? different people until there’s no human trace left anywhere. You put all that work into it and then once clift those editors get through with it, you’ve got no control It’s not that! It’s nice working with Bessie Mae again. over how it appears on screen. You think you’ve done But the fi lm itself... the fi lm just isn’t going that well. it one way and ‘chop,’ they cut it up and make it into the entirely opposite thing. mccarthy You’ve just gotten started... mccarthy The screen isn’t your mirror, Monty. You’re not going clift to fi nd any answers about yourself there. I know, I know. He fl icks his cigarette butt into the darkness and opens his car door. He takes a long, thoughtful drag on his cigarette. Let’s get outta here. It’s Hollywood! Everything associated with this place just turns in to shit! He gets in his car and shuts the door behind him.

mccarthy int. car Remember when we were on Broadway... on stage do- ing real theater together? Clift leans in the window of McCarthy’s car.

clift clift I wanted to be the greatest actor on earth! To play You drive in front and I’ll follow, ok? Hamlet and Chekhov. He disappears from the car window. McCarthy rolls up the window mccarthy and starts the ignition. He pulls out of the drive and starts down the You did play Chekhov, remember? hill. 48 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 49 insert rearview mirror He turns back just in time to quickly maneuver around a sudden steep curve. The headlights of Clift’s car in the rearview mirror. cut to: int. mccarthy’s car int. living room He follows a rather steep curve. His headlights are the only thing lighting the road in front of him. The scene is quite subdued. The remaining guests lounge on the sofas. int. clift’s car taylor I’m sure it’s going to be a wonderful picture! Monty is Clift grips the steering wheel anxiously. the best actor in Hollywood. int. mccarthy’s car wilding You’re not so bad yourself! Turning another curve. taylor insert rearview mirror Thank you, Darling! You recognized your cue.

The headlights get closer as Clift’s car speeds up a bit. hudson He’s critical though, and Hollywood doesn’t like criti- int. mccarthy’s car cal people. It wants optimistic yes men. McCarthy speeds up. The cars are still only going about 30 mph. taylor int. clift’s car It’s true, he’s far too critical. But most of all he’s critical of himself. I never saw anyone take acting so seriously Clift sits on the edge of his seat. until we did A Place in the Sun together. He taught me everything I know about acting. perspective wilding McCarthy’s car blurs and doubles, coming in and out of focus. That’s because all your previous romantic leads were animals. int. mccarthy’s car taylor McCarthy looks in his rearview mirror, and speeds up a bit more. He Ha ha. Very funny. I suppose you’re right, though. It’s twists around in his seat to look back at Monty’s accelerating car. hard to take acting seriously when you’re acting op- posite a trained dog. 50 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 51

Loud pounding on the door and muffl ed yells. Taylor gets up and Beyond the glare of the spotlight, Clift can make out the silhouettes of rushes out. people smiling at him and cheering. A big banner hangs in the back- ground with the text printed on it: “Welcome Back, Monty.” int. entryway int. fi lm set Kevin stands in the door, sweaty and near tears. Clift stands blinking in the light. Attempting to smile, he only man- taylor ages to curl up his mouth on the side of his face that is not paralyzed. Kevin! Elizabeth Taylor brings him fl owers. She embraces him warmly and gives him the bouquet. In the foreground, the director and cam- mccarthy eraman whisper to one another. Monty’s been in an accident! I think he’s dead! director taylor Jesus Christ! What are we going to do with that? Oh my God! Kevin, where is he? Take me to him. cameraman They rush out into the night. (shaking his head) No close-ups. fade to: director int. fi lm set – day Can’t avoid them entirely. Darkness. cameraman voice We’ll just have to shoot everything from his right Shh... Everybody. Here he comes. profi le.

A door opens, and a crack of light grows into a wedge broken by the cut to: long shadow of Montgomery Clift. ext. manor house – evening everybody It’s dusk and raining. The mansion is surrounded by lush green pas- Surprise! Welcome back, Monty! tures. A spotlight is turned on Clift standing in the doorway. He fl inches, int. dining room holding up his hand to shadow his eyes. Huston is having dinner with Wolfgang Reinhardt in the expensively perspective furnished, yet rustic dining room. A fi replace is burning. Several 52 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 53 pieces of Meso-american sculpture decorate the room. huston A pity. Perhaps tomorrow, weather permitting, we’ll huston take you out there and set you up in the saddle for the Ever had the opportunity to go fox hunting, Wolfgang? fi rst time. I’ve got a very gentle old mare you could surely handle. reinhardt No. Never. A moment of silence. Huston lights a cigar.

huston Yes, Wolfgang. I am extremely happy to have escaped No, I suppose you wouldn’t have. This is one of the su- the US and its paranoia. I’m truly happy to be away preme pleasures of living here in the Irish countryside. from all that. Couldn’t have found a better retreat than You see, it’s a kind of national sport here—not at all here at St. Cleran’s. I am a lucky man! like the kind of hunting people do in the United States, or even the big game hunting in Africa. Did I tell you reinhardt about hunting an elephant with Katherine Hepburn John, I... I was actually hoping we could maybe fi nd while fi lming The African Queen? time to discuss a possible project. You remember years ago we spoke about doing a fi lm on Freud together? reinhardt No, John. I don’t believe you have. huston Why, yes. I remember. huston We went out every weekend together looking for an reinhardt elephant. In some ways, Katherine was even more de- Well, what would you say to giving it a try now? termined than I was. Never did get one, though. Today, I wouldn’t even dream of killing one of those majestic Huston gets up and strolls over to the fi replace while he speaks. beasts. But fox hunting, you see. Now there’s a real sport! It’s got a whole social structure to it, with a kind huston of rank system based on skill and experience. Part of Hmm. It would be a diffi cult one to tackle—lots of the fun of the hunt is the social element, and the thrill technical information the audience might have trouble of the chase on horseback, of course. I have a special following. And it’s not exactly a classical love story... love for horses. Collected them ever since I could af- reinhardt ford to. Ever ride a horse, Wolfgang? Quite the opposite perhaps. All neuroses and com- reinhardt plexes. No, not really. huston Perhaps it’s worth doing just for that! 54 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 55

reinhardt huston We could present Freud’s early experimentation with Doesn’t matter. He’s perfect! I should know! I directed hypnosis, the painstaking development of his theories. the New York production of his play No Exit. No one else could handle the material and present a story like huston we talked about last night—Freud’s descent into the But the trick would be to avoid the classic biopic form. hell of the unconscious in pursuit of a cure for neuro- sis! Besides, he’s well versed in psychoanalysis and we reinhardt know he is capable of writing for the screen; he just A voyage into the depths of the human psyche! did an adaptation of The Crucible for a French fi lm. You have any better ideas? huston A descent into hell and back! You know what? I think reinhardt you’re onto something, Wolfgang... But who could we Would he do it? get to write such a story, and who would still be able to handle the scientifi c material? huston Everybody’s got a price. I can contact him as soon as ext. stables – morning we get a budget. I met him while in Paris fi lming Mou- lin Rouge. Huston, dressed for riding, is saddling up a horse as the rotund Rein- hardt drowsily walks out onto the porch. He hooks a leg in the stirrup and mounts the horse smoothly.

huston You like me to teach you to ride? (yelling) Sartre! Reinhardt looks with trepidation at the snorting beast.

reinhardt reinhardt (yawning) No. Thank you. What? huston Huston leads his horse over to where Reinhardt is standing. Suit yourself.

huston He turns the horse around and heads off into the fi eld, humming to Sartre. Jean-Paul Sartre! That’s who’s gonna write our himself. Freud movie! cut to: reinhardt The French existentialist? But he is an anti-Freudian! ext. st. cleran’s – day 56 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 57

A Rolls Royce drives up in front of the house in the pouring rain and biography of Freud, and the published letters between Freud and the butler opens the car door, holding an umbrella for the passen- Fliess. gers. Sartre’s secretary, an Arab woman of about twenty, gets out of the car, followed by the small, stocky fi gure of jean-paul sartre huston in his trademark grey suit. Huston stands in the doorway wearing We organized a screening at the MOMA but the mili- a house robe and ascot, cigar in hand. He waves jovially as the two fi g- tary showed up at the last minute and confi scated the ures approach the door under the cover of the butler’s umbrella. The fi lm. butler and driver follow with several heavy bags. Sartre’s secretary translates everything into French. Sartre speaks no int. foyer English.

huston sartre Welcome, Jean-Paul! Welcome to St. Clerans! Ah bon, ainsi le fi lm a été réprimé. Matériel remarqua- ble.Re-montrez-moi l’hypnotisme! Huston extends his hand. Sartre looks at it, then awkwardly takes it, only to pull his hand back almost immediately. secretary He would like to see the hypnotism section again. secretary I am Sartre’s secretary, Mr. Huston. I also translate for Huston threads the fi lm back on the projector. him. on screen: huston Welcome. Let me show you to your rooms, get you A young soldier is hypnotized by a portly army doctor. Sartre speaks some dinner, then perhaps we can get to work! while the fi lm plays.

He leads them up a staircase. sartre Oui, c’est très intéressant. Bien entendu, ce n’est pas Wolfgang is already here. He’ll join us momentarily. vraiment psychanalytique, mais peut-être très sem- blable aux expériences conduites par Freud et Breuer int. screening room pendant la période qui nous occupe: les années 1880 et -90, juste avant les Etudes sur l’hystérie. The room is dark and full of smoke, we see the last few frames of the fi lm Let There Be Light. Huston cuts off the projector. The lights come int. studio on. Huston, Sartre, and Reinhardt work on the script for the fi lm Freud. Sartre has a notebook where he jots everything down. In addi- secretary tion Sartre’s Secretary takes notes on everything he says. The books It is not really psychoanalytic, but perhaps very similar lying around the room include Studies on Hysteria, Ernest Jones’ to the experiments Freud and Breuer were conducting 58 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 59

during the 1880s and 1890s just before the Studies on sartre Hysteria. La célèbre Anna O! Notre patiente sera basée sur elle... mais comme Freud n’a jamais rencontré Anna O, il huston faudra qu’on la mélange à d’autres patientes des Etudes Precisely! We could use the... sur l’hystérie.

sartre on screen: (continuing as though Huston did not exist) Another soldier is being hypnotized by the army doctor. Marilyn Monroe pourrait jouer la patiente hystérique de Freud! int. studio

secretary sartre Marilyn Monroe can play Freud’s hysterical patient. Et bien sûr, à cette époque, ils utilisaient encore l’hypnose. Nous devrions nous renseigner sur He writes down Marilyn Monroe’s name in his notebook and circles l’hypnose, comment ça se pratique, quelle procédure, it. Then he pushes an English copy of Studies on Hysteria over to John comment ça marche, qu’est-ce que la suggestion per- Huston. met. On aura besoin de scènes d’hypnose. Mais je me demande comment ça marche... sartre Regardez ça. Huston looks at the secretary for a translation.

huston secretary (reading aloud) This passage describes the famous Anna O, the hys- “...in a bunch of fl owers which gave her much pleasure teric who will be the model for the patient in the fi lm. she could only see one fl ower at a time. She com- And he wonders about hypnosis, he wonders about plained of not being able to recognize people. Normal- how persons are hypnotized because Freud was using ly, she said, she had been able to recognize faces with- hypnosis then. out having to make any deliberate effort; now she was obliged to do laborious ‘recognizing work’ and had to huston say to herself ‘this person’s nose is such-and-such, his Well, that’s no problem! I became quite adept at hyp- hair is such-and-such, so he must be so-and-so.’ All the notizing patients while fi lming Let There Be Light. I people she saw seemed like wax fi gures without any even hypnotized many of the patients you just saw in connection with her... She now spoke only English and the fi lm. could not understand what was said to her in German. Those about her were obliged to talk to her in English.” sartre Well, what about it? Qu’est-ce qu’il dit? 60 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 61

secretary I want you to focus on my fi nger and count backwards Il dit qu’il sait hypnoser les gens. from twenty. Vingt... dix-neuf... dix-huit... dix-sept...

Sartre looks at Huston as if he were aware of him for the fi rst time. sartre seize... quainze... quatorze... treize... deuze... onze sartre Vraiment? Montrez-moi. huston Now as you count, you feel your eyelids getting heavi- secretary er, you are getting sleepy... you are getting sleepy... you Would you show him, please? are falling asleep... When I clap my hands together you will fall into a deep sleep and will not awake until I tell huston you so. Er, now? Sure, ok... but who will be the guinea pig? ...Of course we need a volunteer. Huston, the consummate showman, claps his hands dramatically. Nothing happens. Sartre looks at him with raised eyebrows. secretary Qui voulez-vous qu’il hypnotise? Nothing? Strange. Let’s try again.

sartre Huston raises his fi nger before Sartre’s skewed visage, and begins Moi. Hypnotisez-moi. Je veux savoir comment c’est! counting.

secretary huston He say you should hypnotize him. You are getting sleepy. You are getting very sleepy. Your eyelids are heavy and you fi nd it impossible to Huston considers Sartre briefl y, his ugly mug with the unaligned eyes stay awake. You are getting sleepy. Now when I clap and the yellowish teeth. my hands, you will fall into a deep sleep from which you will not awake until I command you to. huston I suppose I can give it a try. He claps again, and when nothing happens, he sits back in his chair.

Huston moves his chair over to face Sartre and sits on the edge of the huston seat. It’s no use. You seem to be completely unsusceptible to hypnotism. I wonder why. Now, relax. He eyes the little barrel of a man, who resembles a bull dog ready to Sartre, intrigued, attempts to prepare himself to be hypnotized. It’s pounce. obvious he has diffi culty relaxing. 62 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 63

sartre secretary rapidly take notes on everything the man says. Nobody (determined) bothers to translate anymore. Nous avons besoin d’un autre volontaire. sartre huston Mais vous comprenez, mon problème avec Freud, Wolfgang? c’est justement cette description de la soi-disante censure. Il la décrit comme une espèce de juge-arbirtre reinhardt qui déciderait de ce qui peut ou non entrer dans la Oh, no you don’t! We went through this already while salle d’attente du pré-conscient. Ceci montre bien à fi lming Let There Be Light. He had me on all fours quel point sa vision de l’inconscient est absurde; si la thinking I was a dog! censure est capable de discerner le matériel répress- ible du matériel acceptable pour la conscience, alors huston il faut bien qu’elle connaisse ce qu’elle réprime, qu’elle Then, who? soit consciente de ce qui est inconscient, et ceci est une absurdité logique. Comment la censure pourrait-elle All turn and look at Sartre’s secretary, who shrinks away nervously. discerner les pulsions répressibles sans être consciente sartre de les discerner? Comment peut-on imaginer un savoir Nous avons besoin de votre aide. ignorant de lui-même? Tout savoir est conscient de savoir. Mais quel genre de conscience de soi la censure She assents, hesitantly approaching. Sartre vacates his chair for her peut-elle... and she takes the seat in front of John Huston. Huston fi dgets nervously, gazing wistfully out the window. huston Now focus on my fi nger. Concentrate. int. study – night perspective: The view out the window has turned to night. Sartre continues to carry on a monologue, dressed as before in his grey three-piece suit. John Huston stares directly at the camera hypnotizing the audience Huston and Reinhardt on the other hand have taken off their jackets, in her place. rolled up their sleeves and unbuttoned their collars.

fade to: sartre ... le pari du fi lm est de représenter la découverte de int. study – day Freud de sorte que le public puisse suivre les dével- oppements-clés de la psychanalyse, des expériences Surrounded by Pre-Columbian artifacts, Reinhardt, Huston, and avec l’hypnose à la théorie de la séduction, jusqu’à Sartre smoke profusely while they work on the script. While Sartre l’abandon de cette dernière en faveur du complexe speaks we hear the scratching of pencils as Reinhardt and Sartre’s 64 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 65

d’Oedipe... nul autre que le grand Meynert, dans les traces de qui j’avais marché avec une telle vénération et dont le com- int. dining room – night portement envers moi, après une courte période de faveur, s’était mué en hostilité ouverte.” Voilà. “... ça me It’s quite late at night. The group of them sit around the dining room rappelait aussi un autre incident avec lui peu de temps table. All have fi nished eating, but Sartre’s plate appears untouched. avant sa mort. J’avais poursuivi avec lui une longue Huston drinks whiskey and pays scant attention to what Sartre is say- controverse par écrit, au sujet de l’hystérie masculine, ing. dont il niait l’existence. Comme je lui rendait visite pendant sa fatale maladie et lui demandait comment sartre il se portait, il parla longuement de son état et fi nit par La découverte de la psychanalyse est le miroir de ces mots: ‘Vous savez, j’ai toujours été le cas le plus la relation de Freud à son propre père, ou plutôt, à clair d’hystérie masculine.’” Ce sera l’une des séquences ses pères. Le scénario sera structuré autour de trois dramatiques centrales du fi lm. La rupture d’avec fi gures paternelles de Freud: son collaborateur Joseph Meynert, et l’admission subséquente par Meynert de Breuer, Meynert, pour qui il a travaillé à l’hôpital, et souffrir de la maladie même dont il avait nié l’existence Wilhelm Fliess, son meilleur ami puis ennemi. Chacun pendant si longtemps, et de façon si catégorique! représentera, en termes freudiens, un transfer - il dé- place ses réactions émotionelles de l’un à l’autre. Ceci At this point Huston has given up following Sartre’s monologue. He est le combat central du fi lm, comment Freud se débat gets up and wanders out of the room. pour reconnaître son transfer - pour réaliser que la clé de la névrose se loge dans les fantasmes du patient et cut to: non pas dans leur expérience vécue. L’un des subplots centraux sera le confl it entre Freud et Meynert sur int. breakfast room – day l’existence de l’hystérie. Huston sits at a late breakfast dressed in a bathrobe and slippers read- huston ing the newspaper. His secretary, gladys hill, comes in carrying a Don’t you think there are too many characters in the package. fi lm already? hill sartre This just arrived in the mail. (ignoring him) En fait, freud lui-même les décrit comme des fi gures She hands him the package. paternelles. Prenez l’interprétation des rêves, par ex- emple. Freud décrit un de ses rêves qui ridiculisait son huston père. Il explique qu’il a associé son père à Meynert dans Have some tea or coffee, Gladys. le rêve. Je cite: “Là, la fi gure qu’il représentait n’était 66 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 67

hill When you get a chance, could you send this to Charlie Thank you, I will. Kaufmann? I want him to do a treatment of it. Let’s see what a professional can do with it. Oh and could you She sits down and pours herself a cup from one of the various pots on give Frank Taylor’s offi ce a call? Tell them I’ll have time the table. Huston takes a closer look at the package. to do The Misfits after all. Freud’s going to take a lot longer than planned. huston From Sartre! Must be the Freud script. God, it’s heavy! cut to:

He opens the package and pulls out the enormous script. ext. desert – day

Jesus Christ! What the hell is this? It’s as thick as my Outdoors in the desert of Reno, Nevada Montgomery Clift awkward- thigh! Must be as long as Ben Hur, The Ten Command- ly sets a cowboy hat on his head and squints in the bright sunlight. He ments and Gone with the Wind rolled into one! Get his throws away his cigarette and walks over to: secretary on the phone for me! ext. fi lm set (wooden shack) She puts down the English muffi n she was busy applying marmalade to, places the napkin on the table and goes off to get the phone. A hair dresser quickly fi xes marilyn monroe’s hair, hiding her Huston settles back down, sips coffee while he peruses the pages of widow’s peak. clark gable, comfortable in his cowboy hat, smokes the script. A minute later she returns with a telephone and hands it to pensively and stares into the distance. eli wallach wears a sour him. She sits back down and continues with her breakfast. expression as he watches the hairdresser at work.

huston erwitt Thank you... Hello? Yes, I’m fi ne. How are you?... That’s Monty, can you sit down in front next to Marilyn? swell. Listen, I just got the screenplay you sent me... Yes it came a few minutes ago... No, I haven’t, not yet. But Clift nods to the photographer elliot erwitt standing behind his listen, I can’t fi lm this. This looks like about a ten hour camera and tripod, and takes his place in front. John Huston, perched fi lm... Well, of course I want to tell the story properly, on a stool in the back row next to arthur miller, also wears a but no studio would fund this. There’ll have to be revi- cowboy hat. Each person, acutely aware of the camera’s eye, poses sions... Yes, of course, I’ll read it, but there will have according to his or her persona, vying for attention. to be cuts... Now can you tell Jean-Paul that either he does the revisions, or I’ll have to get someone else to erwitt and I know we both don’t want that... OK, I knew you’d All right... One, two, three and... understand. Great, thanks. Bye now. The camera fl ashes. Huston hangs up the phone. He hands the heavy package to Gladys Hill. ext. desert 68 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 69

A limousine pulls up and frank taylor steps out. taylor I’ve got a room over in the Mapes Hotel. I’ll hang ext. fi lm set around for a while and if anything happens with either one of them, get in touch. I’ll take care of it. huston Frank! huston I’m keeping my fi ngers crossed. He waves and starts over to him. Erwitt gives him an annoyed look. cut to: Be right back. He’s the producer! ext. desert Erwitt looks down and traces a circle in the sand with his toe. The sun beats down mercilessly on the Nevada Desert. ext. desert ext. fi lm set – day Huston confers with Taylor next to the limousine. Monty Clift smokes in the shade of a truck. Clark Gable tinkers taylor beneath the hood of his cadillac. John Huston and Arthur Miller are Wow! What a cast! This’s gonna be a knockout I can bent over the script like two grand masters over a chessboard. No tell. How’re things going so far? one says much. Eli Wallach wipes the sweat from his forehead with a handkerchief. huston Quiet. ‘Course there’s a lot of press fl oating around... wallach Goddammit, will someone go fi nd out where that taylor girl is? Who the hell does she think she is? Talk about And what about Marilyn and Monty? unprofessional! huston Marilyn Monroe comes hurrying on to the set, dressed in a summer So far so good. I’m keeping my fi ngers crossed. dress and sunglasses, she looks far fresher than the group of men taylor waiting for her. You know nobody would insure Monty—his reputa- monroe tion. I’m so sorry. huston wallach Like I said, so far so good. We’re out here in the scorching hot desert sun and you come waddling in three hours late! 70 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 71

You got quite a nerve! monroe Oh! I’m so sorry! monroe I just couldn’t sleep at all last night! clift You taking something for it? wallach (under his breath) monroe Diva! Nembutal.

monroe clift I said I was sorry! Does it help?

huston Monroe closes her eyes as powder is applied to her face. Argue about it later. Let’s get rolling! monroe monroe No, not really. I even tried breaking the little capsules I’m sorry. I really am. I don’t mean to be late all the open and licking the powder out of the palm of my time. It’s just... I want to give a good performance. You hand, but it’s no use... I can’t sleep. can’t expect me to act a diffi cult scene if I haven’t slept all night! clift I know what you mean. I had my own bed shipped int. make-up trailer from New York, but still... You know what I do when I can’t sleep? I call someone and just talk on the phone Monroe sits in front of the vanity while a hairdresser arranges her until I’m drowsy. It’s the only way I can clear my head. hair and makes her face. clift enters and leans against the counter. monroe clift Sometimes a massage helps. When all the muscles in You can’t sleep either? my body are relaxed, then I can fall asleep like a baby. Our bodies are our instruments you know. Monroe takes a sip from a cup of water and shakes her head. They’re very sensitive.

monroe She pauses for red lipstick to be applied to her mouth. You too? This line of work wears them down, treats us like clift machines. But we’re not! In order to create, we have to Well, I’ve had trouble sleeping since... you know... the protect that sensitivity. accident. 72 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 73

She scowls at herself in the mirror. clift Well, isn’t it? Sometimes I actually wish I were fi nished. monroe clift At fi rst. He paid attention to me like no one ever had (surprised) before. Took me seriously. Everybody else saw me as What do you mean? a big joke. But now... We don’t even talk, all he does is work. And I wanted a child so badly! And to be a She turns and looks up at him. proper wife and mother. Children are so wonderful. They’re not jaded or bitter or nothing. monroe Fame is fi ckle. Everybody just wants something from clift you. So many false friends, who can you trust? Sometimes I’d like to be a child again, but that’s gone. I wish I could cling to the happiest moments so that clift they’d last forever. Do you know what I mean? You Kevin McCarthy, you know him? Oh, that’s right! want to understand it or to see it perfectly, except that You have a scene with him. They only put him in this it’s already passed, and that they all pass the same. picture because of me. We used to be friends... At least, Thirty seconds or thirty years – it’s the same. I thought we were friends, but well...he just used me to get ahead in his career! If it weren’t for me, he would be monroe a nobody, he wouldn’t be anywhere. You can’t go back. That’s why it would be nice to be really fi nished. To say goodbye to fame and the whole monroe stinking business! Everybody just wants something from you. close up b/w of marilyn The hairdresser gently turns her head back to face forward and sets to work on her hair, taking it down and brushing it aggressively. Maybe all there really is, is just the next thing, the next thing that happens. Maybe you’re not supposed to And everyone thinks we have fairy tale lives. What remember anybody’s promises. a load of shit. I thought marriage would truly bring happiness. You know, someone you can trust like an clift extension of yourself. But... who can you trust? All You can count on mine. I trust you Rosalyn. I think I my life, boys paid attention to me. They wanted me love you! around as part of the décor, like a painting brightens up a living room. I really thought it’d be different this pullback time. The setting has changed. Marilyn is seated in front of a mound of 74 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 75 crushed cans and tires. Monty now lies with his head in her lap. He can see the silent fi gure of paula strasberg. Arthur Miller holds wears a bandage on his head. Dark cloths are draped everywhere to Marilyn’s jacket out for her. make it look like night. monroe monroe Why don’t you just back off, Mister? I’m not your fuck- No, you don’t know me. ing child!

clift She grabs her coat from him. She gets in the car, slamming the door I don’t care, Rosalyn... Ow! That damned bull! in his face. Miller stands dejected as the car drives off.

huston huston (breaking in) Need a lift? Cut! Good, Monty. Very good. This is your Hamlet scene. Make it a bit more mercurial. And Marilyn, Ro- miller slyn is confused. This should come through a bit more Thanks. when you say “They killed him?” So, let’s start again from there. Miller stares down the road after Marilyn’s car.

cut to: huston You can ride with me back into town. I’ll drop you at ext. fi lm set – evening your hotel.

Technicians pack up and lights are switched off. Huston, his jacket int. limousine over his arm, is on his way out. They ride through the Nevada landscape. huston See you Monday morning 9 a.m. huston You know, Arthur, I don’t mean to meddle, but don’t assistant director you think it’d be a good idea to get Marilyn off those She won’t be here until eleven—at least. pills? Clean her up a bit? The drugs are interfering with her performance, hell they’re interfering with her huston very existence. If she doesn’t straighten up soon, she’s Don’t worry about her. You be here on time. headed for disaster... ext. fi lm set miller Don’t you think I’ve tried everything in my power to Marilyn stands in front of her limousine. Through the open door, we get her to sober up? She goes off the pills, then she 76 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 77

can’t sleep nights, suffers from anxiety and the doctors stashed behind the toilet. I couldn’t deal with it! She just keep giving this shit to her when she complains to couldn’t stop, and God knows I couldn’t make her them that she can’t sleep. The only person she’ll listen stop! At some point, well, I guess I just switched off to to is Paula Strasberg. the whole business. Put up a wall and stopped caring. It was all I could do just to get out. Far as I know, she’s He falls silent. still at it.

huston ext. hotel Some acting coach she is. If Marilyn can relax, she’s a good actress. The Strasbergs just make actors depen- Miller gets out of the car, and closes the door. Huston rolls down the dent on them. window and speaks to him from inside.

miller huston My marriage is in shambles. All we do anymore is ar- I don’t want this to sound wrong, but we’re already gue. I’ve even got my own hotel room now! She’s fuck- way over budget. We can’t afford to wait around for ing her masseuse! God knows who else! She’ll fuck just her to get her act straightened up. about anyone just as long as they lie to her and don’t tell her she’s got a problem. But none of them care at miller all about her. She’s got to want it herself. If she doesn’t decide herself, nobody else can He pauses. The desert landscape rolls by outside. cut to: Thing is... I thought I was gonna save her. She was this poor, dumb child who didn’t see all these men swarm- int. mapes hotel – night ing around her trying to devour her. And I was gonna be the decent one who comes along and protects her The room is dark, the phone rings loudly. The light next to the bed is and straightens her out, saves her from all that. That turned on, and producer Frank Taylor answers the phone. got old fast. I guess I used her. We used each other. taylor He stares out the window. Huston hesitates before attempting to Yeah? He’s what? Where? console him. He scribbles an address on the Mapes Hotel stationary next to the huston phone. My fi rst wife was an alcoholic. Took me a while to I’ll be right there. realize. Quite naturally, I tried to help her quit. But eventually it got to the point I was fi nding bottles He hangs up the phone, and sits up in bed, rubbing his eyes. everywhere—in the medicine cabinet, under the bed, 78 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 79

Goddammit. He slips and is caught by Taylor.

cut to: taylor Your friends called me to pick you up because you int. lesbian bar were misbehaving.

A few couples dance here and there, while others drink quietly at the clift bar. The bar is fi lled almost exclusively with women, although many Me? Ain’t misbehavin’. in drag. The door opens and Frank Taylor enters, obviously a fi sh out of water. The bartender sees him, and comes over. He cackles with laughter.

bartender int. mapes hotel bedroom In the corner. He was making quite a ruckus earlier but he’s quieter now. Taylor lays Clift down fully dressed on the bed. int. booth taylor Now get some sleep. Monty is slumped in the corner, barely conscious. Taylor shakes him. Monty has already passed out and breathes noisily. Taylor removes clift Clift’s shoes. Wha? int. suite living room taylor C’mon. Let’s go back to the hotel. Carrying the shoes, Taylor comes out of the bedroom. He looks at them and throws them in the corner. He sits down on the couch and clift runs his hand over his eyes. Where we goin’? Just having a drink here with my friends. blackness

taylor int. living room C’mon, Monty. Let’s go home. Taylor wakes up with a snort. A completely naked fi gure slips out the Clift puts up ineffectual resistance as Taylor gets him up out of his door into the brightly lit hall. seat. He can barely stand. taylor clift Huh? No, don’t go out there! Where we goin’? I wanna stay n’ dance with all my friends. int. hallway 80 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 81

Taylor opens the door and looks out into the bright hallway just in monroe time to see Clift disappear around the corner. He takes off in hot And then what? pursuit. huston taylor You lose your stake, but you don’t have to pass on the Stop! Come back here, you dumb, bare-assed fuck! dice yet. You can place another bet and continue. int. hallway monroe Oh. Coming around the corner, Taylor almost knocks into Clift who stands in front of the elevator as if waiting for it to arrive. Clift’s eyes She considers for a moment. are closed and it is clear he is sleepwalking. What happens if I roll something else, something other taylor than a seven, eleven, two, three or twelve? C’mon, you! huston Taylor picks him up, and slings him over his shoulder with a grunt, Well then you’re still the one with the dice! But that just as the elevator door opens to reveal the surprised faces of a number that you rolled—whatever it is—that’s your FAMILY of sleepy tourists. The children’s jaws drop at the sight and point. You have to keep rolling until you get that num- the parents make a delayed attempt to cover the eyes of their kids. ber again. The elevator doors shut before Taylor can stammer out an apology or excuse. monroe Then I win? cut to: huston int. mapes hotel casino – night Right. Unless you roll a seven.

Huston stands with Marilyn Monroe at the dice table. monroe I thought seven was good. huston Good! Now... roll a seven or eleven on the fi rst throw, huston you win; but if you roll a two, three, or twelve, that’s Only on the fi rst roll. After that, seven means you lose craps, you lose. your bet and the dice...

Monroe pays close attention. Gladys Hill interrupts. 82 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 83

hill you do that we can’t water down Freud to appease the Telephone call. Wolfgang Reinhardt. Catholics; on the other hand, we can try to stave off a protest by meeting with them... So I’ll speak to you huston next week after that meeting, ok? Oh and Wolfgang! I Wolfgang? Calling from Rome? spoke with Marilyn about the part of Cecily. She won’t be able to do it. No, she defi nitely wanted to, but I Hill nods. guess she mentioned the project to her analyst and her analyst said she shouldn’t do it... He said Anna Freud is Great! opposed to any fi lm project about her father. If it’s not (to Marilyn) the Catholics, then it’s the analysts! But just between Be right back. Don’t lose everything you’ve got. you and me, I’m glad not to have to do another fi lm Monroe focuses on the dice that have just landed on the table in front with her right now! Ok. Sure, talk to you next week. of her. Do your best to keep Jean-Paul Sartre on this project! Bye, bye. int. hotel reception Huston hangs up. Sticks his cigar back in his mouth, and heads back Huston picks up the telephone at the hotel reception desk. to the table.

huston cut to: Hello, Wolfgang? Yes, I’m fi ne, thank you. Exhausted from the fi lm, but all right... It’s good to hear from you int. hotel in rome – night though! How’s it going with Sartre in Rome? Have you Wolfgang Reinhardt hangs up the phone. He walks across the room convinced him to make the cuts yet? and exits to: His smile drops suddenly. ext. restaurant He what? He doesn’t want to be part of the project Jean-Paul Sartre awaits him, thoughtfully smoking a pipe. They speak anymore? Well, why not? ... Listen, Wolfgang, you’ve in French with subtitles. got to convince him it’s worth his time. We need his name on this fi lm. It’ll give it that much more credibil- sartre ity. ...Yes, OK... I’ve got a meeting with some Catholics Did you tell him I won’t do the fi lm anymore? in New York on Monday. ...The studio thought it’d be a good idea to try and work out any differences before- reinhardt hand. It’d be a shame if there were a general uproar and Are you sure you won’t reconsider? boycott from the Catholic community. ...No, of course we can’t compromise on the fi lm. I know as well as 84 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 85

sartre (to the waiter) Absolutely. He has no idea what he is doing. If you Bring us two more of the same. make a fi lm about Cleopatra, it can be ten hours long, but Hollywood will never make a precise fi lm on the The waiter nods and clears the glasses from the table. unconscious. I wonder why he asked me to do it in the fi rst place. I’m not a Freudian. You should fi nish the I won’t lie to you, though. I had my doubts. The way screenplay. You know more about Freud than either Marilyn was carrying on. What a diva! And that little John Huston or I. faggot is almost as bad...

reinhardt huston You don’t want any credit at all? Monty’s quite an actor though. I’ve got him in mind to play Sigmund Freud in my next picture... He’s the only sartre actor I’ve considered for the part, actually! Absolutely not. I don’t want my name on that fi lm! gable cut to: You see the look on his face when we were roping those horses? He was completely green. Tore his hands int. hotel casino up pretty awful.

John Huston continues through the lobby towards the table where The waiter returns with the drinks. Gable stops Huston reaching for he left Monroe. Clark Gable, seated by himself, calls out to him. He’s his wallet. quite drunk, but he holds his liquor well. No, no. I got it, John. What a fi lm! A rough ride, but a gable good picture. John! Take a seat! What ya drinkin’? huston Huston sits down across from him. You know we’re half a million dollars over budget? Four million dollars in all! Mostly due to delays be- huston cause of you-know-who. Scotch. Huston takes most of his drink in one swallow. Gable gestures to the waiter who crosses over to them. The studio’s not happy though. Four million is a hell of gable a lot. For a black and white picture at that! You know, John, I was thinking about that rough cut you showed me yesterday. This could be the best god- gable damn thing I’ve ever done. If the studio is unhappy about the cost, I’ll buy the 86 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 87

damn picture for four million. I think it’s the best thing huston I’ve ever done. Well, how’s it going? You’ve not gone bust, have you?

He pauses to drink. monroe I won $800! Now all I want is to see that kid of mine born! huston huston No kidding? Son of a bitch! Hey, that’s right! When’s it going to be? cut to: gable February! int. offi ce – day

huston A grey-haired Catholic priest sits across a desk from Huston. That’s great news, Clark! I’m sure you’ll make a damn good father. priest You do understand our concern, do you not, Mr. gable Huston? Freud’s theories do not allow for the abso- It‘sabout time, too! I’minmysixties. lutely necessary categories of good and evil! And to be quite frank, Mr. Huston, the idea of...well, of sexuality Huston fi nishes his drink. He claps Gable on the back and stands up. in children is simply reprehensible!

huston Huston’s eyes fl it across the various things hanging on the offi ce wall. I left Marilyn over at the craps table. I’d better go make Other than the obligatory crucifi x, there is not much to distinguish sure she hasn’t lost her entire fortune! You like to join it from a lawyer’s offi ce—complete with framed doctor of theology me? degrees.

gable huston No, no! You go ahead, I’ll talk ta ya later. I’m a movie man, Father. I’m not making a philosophi- cal tractate here. My interest, to put it bluntly, is to Huston smiles and leaves. Clark Gable slumps down in his seat, a make a work of entertainment that will get people into heavy shadow crossing his eyes. the cinema. int. casino priest Yes! You see? You see! This is precisely the problem Monroe tosses the dice onto the table, with her entire body. It’s a win- with Hollywood, Mr. Huston. In our opinion the ning number. She jumps up cheering excitedly. cinema should teach wholesome values to the impres- 88 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 89

sionable masses not, as is presently the case, just feed The priest sighs and turns up his palms. their insatiable appetite for vulgar entertainment. priest Huston shifts uncomfortably in his seat. We will not prevent you from making your fi lm. You will make your movie regardless of what I say. Wheth- Furthermore, we are concerned that you wish to make er there will be a Catholic—what did you call it? Ah, a picture about a depraved atheist who propagated yes an “outcry”—whether there will be an outcry or anti-Christian ideas about child sexuality. The effect of not, depends on the fi nished product. I can give you no such a fi lm on the public could only be deleterious. assurance about that.

huston cut to: Well, I hate to disappoint you—Father—but this will probably be one of the least depraved fi lms to be pro- int. studio st. cleran’s – night duced in years. Now, whether you agree with him or not, Freud is a part of our age! Reinhardt sits at a typewriter, Huston paces the room, and Clift lies on the fl oor with his shoes off. Huston and Clift each have a glass of The Priest frowns as Huston continues. scotch.

In any case, I’m not dealing with his views on religion. huston This is a biography. I want to present his life as an Read that part back to me. intriguing story—a story that leads into the depths of the human psyche! reinhardt Breuer says: “No, Charcot was wrong. The mind is not priest divided like an axe splits a log.” ‘Psyche,’ I might remind you, comes from Greek, the language of the Gospels; it is the very word the huston apostles used to speak of the soul. The psyche, Mr. Right. Right. “There is a fi re in the fi replace and...” Huston—the soul—is God’s domain. The only people capable of dealing with the human soul are priests— Clift starts to laugh. God’s servants. A person’s soul is not reducible to a “But the fi replace is all stopped up so the smoke can’t bundle of instincts and drives. escape.” huston Clift bursts out laughing. Huston stops pacing and turns to face him. Granted. What I want to do is look at Freud the man. I don’t need you to agree with him. I just want to make Would you stop that?! my movie and be sure there will not be a Catholic out- cry when the fi lm hits the box offi ce. Clift sits up. 90 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 91

clift It helps me think. Sorry, it’s just so absurd... the fi replace metaphor. Huston sighs and looks steadily at Clift. huston Well, what’s your idea? huston Monty... Clift screws his eyes together, then opens them again widely. He hesitates. clift I have a doppelgaenger! We need to get some work done. I’m glad you’re so interested in the development of this fi lm, but honestly huston boy... your input is just not helping us. What? Clift looks stricken. clift (growing excited) Look. This is scientifi c stuff. We don’t expect you to Yeah, yeah, yeah! I’ve got a twin. He follows me understand it. Just play the part. everywhere; he lives inside of me, sees everything I see, hears everything I hear. Everything I experience, Clift turns and opens the door. He glares at Huston before exiting. he experiences too. But I know nothing about him. Huston closes the door after him and locks it. Nothing! Now, where were we? huston reinhardt Monty that’s absurd and childish. We’re looking for a (looking back at the typewriter) metaphor for the unconscious here. Not some kooky, The fi replace is all stopped up. paranoid fantasy. huston clift Right of course. The fi replace. It’s not kooky! It’s Freud. It’s like there’s this other me who I can’t control. int. hallway

huston Clift, crying, drinks directly from a bottle of whiskey as he makes his What are you talking about? Stand up, boy. Why are way along the hallway of the mansion. He stops in front of the door you always lying on the fl oor? to the studio. He can hear voices inside. He tries the door and fi nds it locked. He pushes against it thinking it is stuck. clift (getting up hesitantly) 92 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 93

clift int. airport bar Hey! Clift sits at a bar stool, a nearly empty glass of scotch in front of him. He pounds on the door. announcement HEY! Last call for boarding fl ight 1070 to Munich. Would all passengers please proceed to gate A10 now for board- int. studio ing.

Huston and Reinhardt look up from their work briefl y at the sound of Clift drains the glass and unsteadily lifts his bag. the pounding on the door. Huston shakes his head. int. airport gate huston Just keep going. He’ll grow tired of it soon. Clift waits in line as the fl ight attendant checks tickets. int. hallway fl ight attendant Thank you and have a nice fl ight. Clift, now crying heavily, slides down the wall. He curls up in the doorway with the bottle and sobs. Clift walks up and hands her his ticket. She takes a step back as she smells the alcohol on his breath. cut to: Your passport, sir? int. breakfast room – morning clift Huston sits at breakfast. Clift comes down, drowsy. Oh, yeah. Sure.

huston He puts his bag down and fumbles through his pockets. After a mo- Did that journalist spend the night with you last night? ment he fi nds it and hands it to her. She looks at the passport and forces a smile. Clift looks shocked. fl ight attendant Goddammit, boy! Can’t you be more considerate? Thank you, sir. Have a nice fl ight. I wish you’d think about my family before bedding someone here. int. airplane fi rst class

Clift pours himself a coffee and then goes back up the stairs. Clift slouches in his fi rst class seat on the airplane. The fl ight atten- dant comes by. cut to: 94 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 95

fl ight attendant If you don’t buckle up, then we will have to force you Sir, we’re getting ready for take-off. Please buckle your to do so. seatbelt. Clift doesn’t react, and one of the two grabs Clift. She is already gone as he mutters something inaudible, but makes no movement to comply. She passes again from the other direction. clift Hey, what the... fl ight attendant Sir, could you fasten your safety belt please? He trys to struggle, but he is too drunk. One of the Flight Attendants buckles the belt while the other holds Clift still. clift No. No, I said I don’t wanna. fl ight attendant Don’t take it off until the Captain turns off the fasten fl ight attendant seatbelt sign! Sir, you have to fasten your safety belt for take-off. cut to: He just looks at her blearily. int. dressing room – day fl ight attendant I see. Clift sits in front of his vanity. He is cold sober. The make-up artist applies make-up to his face. Huston enters. She hurries off. huston int. plane How ya doin’ there, my boy?

The fi rst fl ight attendant confers with another two fl ight atten- clift dants. She points to Clift. They nod and come with her. I don’t look at all like Freud. I saw a photograph of him when he was in his thirties. His beard was thicker, big- int. fi rst class ger than this one.

Clift barely looks up as they return. Clift tries to illustrate what he means by touching the beard. The make-up artist bats his hand away. fl ight attendant I’m sorry, Sir. You must buckle your seatbelt. make-up artist Stop it or it won’t stick! Clift just shakes his head. The Flight Attendants look at each other. clift Everyone’s was back then. If we had lived then, we 96 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 97

would all have worn big, bushy beards too. clift I know! I know, I know... If I had met Freud, I wouldn’t huston have liked him. (chuckling) It doesn’t matter, kid. We’re making a movie here, Huston laughs. remember? It’s all right if history gets a little scrambled up in the process. It’s fi ction. It’s the general impres- huston sion we’re aiming at—like in a dream. Why’s that?

clift clift But this beard looks more like today than like 1885. He was self-centered. He was obsessed with his own mind. huston Today’s audience would never accept a hirsute Mont- huston gomery Clift. They’re all expecting the distinguished Monty, Monty, Monty, that’s all fi ne and good... Doctor from Vienna with the nicely trimmed beard. If we put you up there on screen with a big, bushy beard, The assistant director interrupts them. they’d think prophet or madman, not scientist. This assistant director isn’t The Ten Commandments! New costumes just came in, we need your approval. clift huston But some of these lines read like the ten command- Be right with you... Look, son. This is intellectual stuff. ments... I don’t expect you to understand all of it, but... please... He picks up the script in front of him. just memorize your lines.

“I think a door has been opened. I think you’ve made clift a discovery as important as Pasteur’s. He isolated the But I sound like a textbook! I need to play Freud the germ, you have isolated the pathogenic memory.” man! John, I can’t...say it... like... this... Nobody speaks like huston that. Just learn the goddamn lines for Christ’s sake! huston He’s already walking off to take care of the costumes. We’ve been over this a hundred times already. This is not easy material. It’s not the same as playing a punch int. fi lm set (lecture hall) drunk cowboy or a pretty boy murderer. Freud was an intellectual; he should not sound juvenile. Clift dressed as Freud adresses the audience of extras in costumes. 98 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 99

huston A tech walks back with a ladder. Clift drops his voice. Cut! Me? No way! I could never become emotionally at- He comes onto the set. tached to him in any way! His eyes are totally empty! It’s like looking at a chimpanzee. Even when he is most Monty, what the hell’s that? charming, he is totally empty!

Clift looks at the papers he holds in front of him. He fi dgets with the telephone chord while listening.

clift I know you warned me. Everybody warned me... He Notes. always picks a victim.

huston cut to: Well, get rid of them. The scene should be done ex tempore. int. fi lm set

clift Clift, dressed in a frock coat and black suit, sits in a mock-up of a But Freud always used notes to give a lecture. coach beside Larry Parks, also in period dress. Parks plays the role stiffl y, but earnestly. On a rear screen projection behind them, a street huston scene of Vienna rolls past. No, he didn’t. Get rid of them. clift clift How do you reconcile this with Charcot’s theory? If It says so in the Earnest Jones biography... her mind had been divided, why...

huston He goes blank, and makes a kind of helpless gesture. I don’t care what it says. Get rid of the notes. huston int. backstage Cut! “If her mind had been divided, why would remem- bering the traumatic incident relieve a symptom?” Do Clift still in costume from the earlier scene talks into the phone. it again from there.

clift A Tech runs out in front of the camera. You were right. John’s misbehaving! ... No, I’m not. I don’t know why he’s picking on me. There’s a doctor tech here who thinks it’s cause he imagines himself as a Take twelve! 5,4,3,2... and rolling. father fi gure to me. No, it’s a load of shit. He claps the board shut for the camera. 100 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 101

clift you’ve got it right in front of you, inside the top hat. How do you reconcile this with Charcot’s theory? If You can read if you have to! her mind had been divided, why would remembering the traumatic incident relieve a symptom? The dark- He hands him the script and goes back to his position. Clift squints at ened part would still go on producing wild ideas. the text, then grudgingly does as he is told. intercut All right! Again!

Huston watching the performance tensely expecting another blunder. tech Parks’ delivery is stiff. Take thirteen! 5,4,3,2 and rolling!

parks The Tech snaps the board. No, Charcot is mistaken. Trauma does not divide the mind like an axe splits a log. It only causes the memory clift of the incident to be struck off from consciousness. But how can unconscious memories create symptoms? int. coach parks Because they are surrounded by emotions that cannot Clift hesitates momentarily before continuing. fi nd their natural outlet through consciousness. If you are overcome by grief, you shed tears; angry, you strike clift a blow; frightened, you run. The emotion aroused in ...But how can memory be... you is discharged in physical action. But what happens if the emotion is dammed up, strangulated? There’s a huston fi re in the fi replace, but the chimney is blocked. The Cut! Again. Listen, boy! fi re doesn’t go out, it smolders and smoke fi lls the room, hallways, entire house, and fi nally it leaks out Parks groans. Clift looks frustrated and helpless. Huston grabs the through a pantry window. A morbid system is only script and storms onto the set. emotional energy coming out the wrong place. Freud, what do you think? Listen, boy! clift clift I think a door has been opened. I think you’ve made These lines are impossible. No one speaks like this. a discovery as important as Pasteur’s. He isolated the huston germ, you have isolated the pathogenic memory. Put the script in your top hat. You’re holding it in front huston of you the entire scene anyhow. If you forget the line, CUT! Now you’re just reading! 102 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 103

clift Clift looks anxiously at the judge. That’s what you told me to do. Besides, nobody speaks like this. You can only read it, you can’t act it. doppelgaenger Speak! cut to: Clift opens his mouth to speak, but no sound comes out. int. dressing room Speak! Sitting before the vanity, Clift is dressed as Freud. Leaning over to read closely, he marks up the script with his miniscule handwriting. Clift opens his mouth again, and looks bewildered when no sound On the top page, it reads: “meynert Schnapps, Freud? freud Thank escapes. The doppelgaenger glares down at him. Clift begins to you, I don’t drink.” With his left hand, Clift arbitrarily selects three or wheeze and cough. The doppelgaenger looms over him. Clift coughs four pills from a roll of multicolored pills. He takes the pills, wash- more violently, until he coughs something up into his hand. He looks ing them down with a liquid from a thermos. Continuing to write, closely at it. It’s the teeth he lost in the accident. he tries to screw the top back on the thermos with his free hand. The thermos capsizes and the liquid begins to leak out on the table, but he The Doppelgaenger begins to laugh menacingly and we are drawn is too numb or engrossed to take notice of it. into its black eyes. A fl ash of light and the sound of the crash of an automobile. Pausing to think, he looks up at his refl ection in the mirror. What he sees there is not his own image, but the emaciated doppelgaenger ext. road – night who Freud met in his sleeping wagon at the beginning of the fi lm. He looks at it blurrily through misty eyes. Mesmerized, he drops his pen- Illuminated by the headlights of a car, the curving mountain road cil and raises his hand. The Doppelgaenger mirrors this action. Clift slips away in reverse. The road winds and slips away faster and faster reaches out to touch the mirror as the Doppelgaenger backs away until it turns into a blur. from the mirror. The room behind him stretches out and transforms into close up: int. courtroom Light coming in through the bars of a prison window.

Clift sits at the defense table. The Doppelgaenger looks down at him int. jail cell from the high judge’s bench. Clift turns around to see the jury box is full with familiar faces: Kevin McCarthy, Hedda Hopper, Clark Gable, Clift sits in an empty prison cell. He is dressed in a prison uniform, Frank Taylor, Arthur Miller, John Huston and others.The Doppel- but still wears Freud’s beard. The cell door is open slightly. He wan- gaenger leans forward ominously and commands him ders out of the cell into:

doppelgaenger int. hallway Speak! 104 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 105

The exaggeratedly long hallway twists and turns like the mountain own refl ection stares back at him. road terminating at a door. Clift moves down the hall. The door creaks open. Clift slowly advances through it. He hesitates as the int. fi lm set lights fl icker presumably from the surge of electricity accompanying an execution in the electric chair. Huston moves about the set smoothly, viewing everything with an eyepiece. The cameraman and the Assistant Director follow him int. sleeping wagon attentively.

The lights come on, and Clift is staring down at Freud reading in his huston sleeping wagon. Freud looks up at Clift. Clift tries to speak, but no From black looking over Susan’s shoulder as she opens sound escapes, only the popping of his damaged jaw. the door to Freud’s studio.

freud He pushes open the door and points to the desk. Rreh niem Eis nehiezrev. If we shoot from this angle we can see Freud reading Freud begins to stand up. at his desk as Breuer steps around Susan and enters through this door. Then cut. int. dressing room He moves into the room at a right angle from the previous position. Clift lies with his head on the table, his face refl ected in the pool from his thermos. The liquid drips from the table onto his lap. Waking up, Next shot—from inside the room. Freuer and Breud... he swears and jumps back from the table, knocking the chair over with a bang. Huston laughs.

clift pardon—Freud and Breuer shaking hands. Breuer Ah, mother fucker! walks across the room...

He quickly picks up the thermos and rescues the papers from the He moves over to the window. slowly encroaching fl uid. He looks around frantically for something to clean off the wet spot on his pants. Not fi nding anything, he dabs at and you follow him to the window where he reads the it with the script pages in his hand. He glances at a clock on the wall, title of Freud’s paper on neurology. From there we’ll swears again underneath his breath try to do it shot/countershot until the close of the scene where we’ll follow, uh, Breuer out the door— clift again creating a kind of symmetry... Mother fucker. int. hallway and heads for the door. Doing so, he glances again at the mirror. His Clift makes his way down the hallway, steadying himself against the 106 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 107 wall. He waves the wet pages in the air, and smooths them out on the huston wall. But these are all old versions of the script! Where’d you get these? clift Oh fuck, oh fuck, oh fuck. Huston hands Clift a couple of pages of the new script and pockets the trashed ones. int. set Here. This is the scene we’re setting up to shoot. Huston talking to the assistant director and cameraman. Clift squints at the script. huston Have Monty’s lines written on the props—on bottles, Oh, and I’ve had your lines written on the props so you door frames, books, whatever. If he can’t memorize can orient yourself during the scene. the lines, he’ll just have to read them. Clift looks as though he might break into tears. He hands him a few pages of dialogue. clift Just make sure they don’t show from the camera’s I don’t... need... perspective! huston The assistant director takes the pages and exits. Clift approaches mut- (almost tenderly) tering under his breath. Monty, please, just do as I say.

Ah there you are, my boy. He calls out to the Assistant Director.

Huston looks at the crumpled, soggy papers in Clift’s hands. He takes How are the special effects coming along for that them from him. dream sequence? Do you think we can fi lm it today? close up: assistant director I’ll talk to the effects people and get things set up for A page of heavily notated dialogue with a large vodka streak across this afternoon. the words “Thank you, I don’t drink.” Huston turns back to the sulking Clift. back to: huston Huston sniffs the vodka suspiciously. Tell you what. Today we’ll fi lm the dream sequence, which in any case has no dialogue. You and I can go over those lines later. 108 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 109

cut to: things happen. We’ve got a complicated lighting device and a machine that produces fog! It takes some time to int. fi lm set work out the kinks.

The set is made to look like a cave and mountain slope. Clift clings to huston a rope like a mountain climber. He makes his way up the mountain to What the hell are you talking about? It’s supposed to the mouth of the cave. be a simple scene! Let’s go, let’s go, let’s go!

huston Clift looks pale, but grips the rope in both hands and begins climbing. Cut! int. fi lm set – night Clift slides down the rope. On the ground he looks at his hands, the palms of which have been severely torn up by the ropes. His hands wrapped in bandages, Clift gingerly lifts a cup of tea with two hands. Huston, smoking a cigar, approaches. Huston takes the clift cigar out of his mouth and gestures with it at Clift’s bandaged hands. John, how do you do a dream in reverse? I mean, how do you write something like that? It’s the conscious huston mind that writes the dream sequence, inventing the Did I do that to you? symbols for the interpretation that is already there. Clift makes no sound, just looks at him accusingly. huston I don’t have time for this right now, Monty. We need to Son of a Bitch! get these effects working. He chuckles as he walks away. Huston turns to the Assistant Director. Clift glares at Huston’s back. cut to: huston Do you think you can make it work this time on cue? int. hallway

assistant director moving shot: It shoulda worked the last time. Huston storms through the hallway with clenched fi sts. A tech leaps huston out of the way and glares at him. Well, what’s the problem then? int. hallway assistant director Huston opens the door labeled “Montgomery Clift” and enters. When you’re working with modern technology these 110 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 111 int. dressing room int. hallway

Clift, partially in costume, looks up as Huston enters. Huston slams Panicking, the Techs disperse just as Huston emerges from the room. the door violently behind him. A mirror falls from the wall and shat- He slams the door behind him. The Techs look at him with reprehen- ters across the fl oor. Clift looks up at him blankly. Huston glares sion. Huston meets their eyes, then storms down the hall. back. Tensions mount, but nothing is said. The two silent opponents are refl ected in the myriad shards of the shattered mirror. int. dressing room int. hallway Clift lets out his breath.

A group of techs gather around the door, listening. Another one cut to: approaches. ext. jewish cemetery tech 1 What’s going on in there? Can you hear anything? They are set up to shoot Freud’s father’s funeral procession outside the Jewish Cemetery in Vienna. extras in period dress stand in posi- tech 2 and 3 tion as well. Clift, dressed in a frock coat, comes off the set cupping Shhhh! one hand over his eye and clutching his top hat in the other hand. int. dressing room huston Christ, boy! What now? Clift turns back to his own refl ection in his vanity mirror. clift clift I don’t know. My hat was knocked into my eye. It Are you going to kill me? hurts.

Huston snarls at him. huston Let me take a look... huston I’m seriously considering it. Clift resists as Huston approaches

Clift meets his eyes as if in a daze. Just lower your hand a second, will ya!

Huston glares back angrily. He complies and Huston moves closer to get a good look at his eye. Clift hazily meets his gaze. Clift shrugs. Looks fi ne to me. C’mon, let’s get this shot done and Huston snorts and turns to the door. get to someplace warmer! 112 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 113

clift doctor (blinking) Of course, he should probably see a specialist. I am I don’t think I can. only a general practitioner. It is quite possible I miss something important. huston Christ! Monty, this is just another fucking diversion! huston What do you want? You want to see a doctor? Oh, I don’t think that’ll be necessary...

Intimidated, Clift puts his top hat back on. Huston claps his hand on the doctor’s back, and starts urging him out the door. clift No. No, let’s fi nish the shoot. clift (blinking) Huston watches him intently as he cautiously resumes his earlier Yes! Yes, I wanna see a specialist. I know something’s position in the funeral procession. wrong. int. trailer huston A specialist. Where can he see a specialist? Clift sits in a chair while the doctor shines a light in his eyes, pulls up his eyelids, and then holds up a fi nger. doctor Perhaps London. doctor You would please follow my fi nger with your eyes, Mr. huston Clift. London? Isn’t there anyone here who can see him?

He moves the fi nger towards Clift’s nose. Huston looks on. The doc- doctor tor replaces his instruments in his bag, and then looks at Clift studi- I am afraid there is not. ously. clift I don’t fi nd anything wrong with his eyes. I’ll go to London if I have to.

huston huston Well this is good news! Jesus fucking Christ! When will it end? We’re already over budget and off schedule and you want to go run- He gives Clift a pointed look. Clift averts his gaze. ning off to London right now!

Thank you, doctor. Thank you very much. The Doctor looks from Huston to Clift with raised eyebrows. 114 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 115

clift receptionist (quietly putting his foot down) There is a telegram for you here as well. No. I have to. I know there is something wrong with me. I have to fi nd out what it is. And I can’t work, if I Huston opens the telegram, glances at it and hands it to the Assistant can’t see. Director.

huston huston Goddamn it! Goddammit all to hell! I guess it’s not so funny after all. Monty’s got cataracts in both eyes. cut to: cut to: int. hotel lobby - night ext. greece – day Huston, Assistant Director, Larry Parks, Actors, Crew enter the lobby of the hotel. Broken statues and doric columns everywhere, Monty Clift stands in the ruins of an ancient Greek temple. From a distance he spots huston Flying to London to get his damn eyes checked out was ext. rocky pathway just another fucking excuse to avoid learning the damn script. This fi lm has become torture! I’d go through all a stranger limping along a pathway through the rocky terrain. The the hardships of my past fi lm productions rather than fi gure is hunched over, dressed in rags and feels his way with a stick. have to deal with Monty again! Clift starts along the path after him at a brisk pace. The stranger limps on his swollen foot along the uneven path. He does not increase his He snorts. pace, but remains always out of Clift’s reach. Clift grows more and more frustrated, anxious to catch up with the stranger. I suppose now we’ll have to get him a seeing eye dog for Christmas to lead him around the set! A clap of thunder.

They arrive at the reception. Clift looks up anxiously.

huston clouds darken the sky above. Room 268. Clift looks back along the path to see that the Stranger is even further The receptionist fetches the key from the slot and takes out an away. Clift hurries after him. There is another clap of thunder, and envelope as well. He lays both on the counter. Clift fl inches. When he looks up the stranger has disappeared over the hill. Clift hurries to the top of the hill, and fi nds himself confronted with: 116 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 117 ext. cliff She rearranges the fl owers on his bedside table, plucking off the wilted pedals. A steep dropoff that plunges down to a dry riverbed below. He turns around in shock as a hand is placed on his shoulder. Remember learning gymnastics on the Riviera? How many kids get to learn gymnastics on the Riviera? close up: Wasn’t that fun? Weren’t you happy then?

A fl ash of lightning illuminates the stranger’s shriveled face. Where She absentmindedly begins to organize and straighten the pile of his eyes should be, there are only wounds. Clift looks at him in hor- magazines and newspapers also on the table. ror. I’ve got a new job now. I’m working for the Metropoli- int. hospital room – day tan Museum of Art, evaluating antiques. It’s a nice job for an old woman like me. Quiet. I get to spend a lot of Waking up in a hospital bed, Clift’s eyes are milky from the cataracts time with beautiful, old things. that cover them. He looks around at the sterile surroundings, for a second not sure where he is. Suddenly aware of what she is doing, she stops and puts down the magazines and folds her hands in her lap. She changes her tone. The door opens and his mother enters. She is somewhat matronly but still beautiful and dignifi ed. Did the press come after you about Brooks’ girl? Silly me. Of course they must have. It’s all over the press: sunny clift “Montgomery Clift’s Niece Murders Her Lover.” Just Hello, dear. because you’re a celebrity. It’s all so terrible! Well, I got her the best lawyer around. He stiffens at the sound of her voice, and rolls over to face away from her. She hesitates.

Monty, why don’t you answer my calls? Brooks told me you called him. He said you spoke with him for a long time... She waits for an answer, and when there is none, she sits down in the chair next to him. Another pause.

Remember when we were in St. Moritz, Switzerland Monty, dear, why don’t you call me? and you and sister went Skiing for the fi rst time? Clift suddenly rolls over, with tears in his eyes. She pauses, hoping for an answer. clift Didn’t we have fun then? Oh, Ma! Give me your strength. I need your strength, 118 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 119

Ma. I don’t want to go blind. He hangs up the phone.

She reaches out to him. executive (to secretary) sunny Whachagot for me, sweetie? Oh, Monty, dear, you’re not going to go blind! secretary cut to: John Huston here to see you. ext. universal studios - day executive Show him in. A limousine drives up to the gates of Universal Studios. The gate- keeper comes out of his booth. He shovels a loose pile of pages from his desk into his fi les and stands up to greet Huston, who comes in with a sour expression on his face. gatekeeper Go right on in, Mr. Huston executive Hiya John! Good to see ya! Come on in! He pulls back the gate and Huston’s limousine drives through. huston int. offi ce – day Who told them to cut that scene from my movie?

A generic studio executive sits in a generic studio executive’s offi ce executive and makes a generic studio executive speech to someone on the other John, what’re you talking about? It’s one measly scene. end of the telephone. huston executive One measly scene? It’s a key scene for the narrative’s People want more titillation in a picture! You’re asking development! The fi lm is built up logically scene by us to sit through a feature length fi lm with nothing but scene, thought by thought through Freud’s progress. unconsummated relationships! ... Art? Art? You want If you cut that scene, the following scenes won’t make to talk about art? What are you Pablo fucking Picasso! any sense! You’re a goddamn movie director that’s what you are! It’s the pleasure principle, for chrissake. It’s entertain- The executive’s face hardens. ment! executive The door opens and his secretary looks in. You honestly expect me to release a movie that in- cludes a scene where a girl explicitly describes her Uh oh gotta go. My appointment’s here! Titillation, father rape—er, sexually assaulting her? You think I you hear me! 120 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 121

can sell a fi lm like that in Montgomery, Alabama? You Huston sizes him up. The executive meets his gaze steadily without think the American public will sit through that? I tell smiling. you what—you’re nuts! You’re fucking nuts! huston huston You win. Make the cut. Who gives a fuck about Montgomery, Alabama?! That’s not our audience! People in Montgomery, The executive relaxes and smiles, sits down behind his desk and leans Alabama aren’t interested in a fi lm about Freud in the back in the chair, gesturing to Huston to do the same. fi rst place. Look, it’s a key scene! It’s the seduction theory! It shows how Freud was misled to believe all executive neuroses are caused by children being sexually assault- Good. Now have a seat. There are just a few other ed by adults! It shows the missteps he took on the path small cuts I’d like to discuss with you. to his important discoveries. Huston sits down and looks at him expectantly. executive By the way, how’s that lawsuit? Monty still insisting All the test audiences we’ve shown the fi lm to have the studio is responsible for his eye problems? complained about length. You’ve got a fi lm that’s over two hours long fi lled with neurotics and child sexual- huston ity. There’re no love scenes, no healthy sexuality—you Heck if I know! He’s far beyond reason now. Every know the kind I mean: Marilyn Monroe, doctor who’s looked at him swears that his cataracts were in development long before that silk hat brushed He holds his hands up in front of his chest in a vulgar pantomime of a his eyes, but there’s no reasoning with him. He’s too voluptuous woman. far gone. boy meets girl, boy gets girl, they get married! There’s executive not even a single humorous scene in the entire fi lm! It’s a damn shame. He was a fi ne actor, too. So, where do you want to cut it? I’m not releasing that fi lm until some cuts are made. huston The amazing thing is, if you look at some of the scenes huston in Freud, you can almost see the ideas forming in his Cutting scenes doesn’t necessarily make a long fi lm eyes. Monty could sure make it look like something any shorter. Without that scene, it will break the chain was going on inside that head of his, but God knows of logic, the fi lm will just be more confusing, it will there wasn’t. seem longer. executive executive Damn shame. Listen, John. What do you think about I’m not releasing that fi lm until some cuts are made. 122 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 123

changing the title from Freud to Freud the Secret Pas- gerhardt sion? Hello. Nice to meet you.

huston harald You’re kidding, right? That sounds like a smut picture. Mr Johnson is here from Universal. He will look over the proposed changes for the fi lm. executive We thought it would draw more crowds. manfred Please. Have a seat. huston (throwing up his hands) They all take seats. Manfred passes him copies of the marked up It’s out of my hands! scripts. int. screening room johnson I’m afraid I can’t read German. The room is very cramped without sunlight or ventilation. A cloud of cigarette smoke hangs in the air. gerhardt and manfred sit in the manfred small screening room talking to one another in German over a heav- Keep it. We will point out the important parts on it. ily marked set of scripts in English and German. You don’t need to be able to understand what it says.

manfred Johnson hesitantly takes both the English and German scripts and Ja, ich fi nd ihn auch genauso langweilig... balances them on his knee.

The door opens and they stand up when harald and johnson manfred come through the open door. We think the fi lm is too long. No one will really sit through two hours and nineteen minutes to learn harald about Freud. Johnson, I would like to present Gerhard Schumacher and Manfred Nußbaum. They have been assigned the johnson Freud project; they work now on the translation what U.S. audiences also tended to complain about the fi lm’s will later be synchronized. length.

johnson manfred Hello, Gentlemen. Nice to meet you. We would like to cut it to just about two hours. That way it will fi t into two hour movie time slots for the manfred television. Good Day. 124 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 125

Flipping through a script and pointing out some marked sections. johnson Why don’t you just show me the scenes you’re talk- You can see here we have selected some scenes which ing about cutting. Is there someone in the projection we think can be taken away without hurting the story. booth? Can we get those scenes projected?

gerhardt manfred We’ve shortened some of the speeches. Naturally we Yes, of course. mostly selected scenes where the characters talk for a very long time. He waves to the projection booth and they all turn attentively to the screen. The lights dim and the fi lm starts. johnson What page is that on in the English script? on screen:

Gerhard reaches over and turns the pages of the script in Johnson’s parks (breuer) hands, pointing with a pen to one section, showing him the corre- Did you know Meynert had a heart attack? sponding sections in both versions. in the theater: gerhardt But here is one subplot which we would like to discuss manfred with you. We think it can be removed as well. This entire scene we will have to cut because it refers to the subplot between Meynert and Freud. johnson You think that can be done without confusing the johnson audience... But it also builds up Freud’s confl icted feelings about using hypnosis. gerhardt We think so. gerhardt Yes. But it is very stiff. Mostly just talking heads. And johnson with this reference to Meynert, it will not work. (reading through it quickly.) Um ‘K. So basically you want to take out this subplot johnson between Meynert and Freud. Couldn’t you just change the translation of that part? Or just cut the reference? To cut this out would de- gerhardt crease the signifi cance of Breuer in the story’s develop- Yes. But this will also mean taking away some other ment. scenes that relate logically. 126 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 127

manfred ing my portrait painted? You never suspected, did you? Of course we could do this. But if we want to make the two hour cut, then we would have to take out some- freud thing from the rest of the fi lm. Did you know all this when you drove me away from your clinic? johnson I see. Well, let’s see what else has to go. in the theater:

Manfred turns around and yells: manfred We really think the fi lm can stand without these manfred scenes. There are a couple of small fragments to take Die nächste Ausschnitt bitte! away from the rest of the fi lm, but once we have taken away this subplot and the related scenes then the fi lm The fi lm jumps forward to a scene with Meynert (Eric Portman) on is a much nicer length. the screen. In the background Meynert is dramatically lit on screen on screen: johnson meynert (eric portman) But it’s one of the most dramatic scenes in the fi lm! Breuer tells me that you’ve given up your idea of prov- Eric Portman delivers a superb performance. I un- ing the existence of hysteria. Pity, I could’ve settled the derstand completely why you want to cut the scene question by presenting you with a classic case. between Breuer and Freud and also that section of Charcot’s lecture—both are stiff and sound thorough- close up: ly pedantic—but if you take out this subplot, how will you account for Freud’s move away from hypnosis? Clift as Freud, listening to what Meynert is telling him. manfred in the theater: This we don’t need to worry about. In our version, manfred Freud returns to the house of his ex-patient, fi nds out This is the second scene between Freud and Meynert the patient what he had committed has died in the asy- which would have to be cut. lum, he returns to his house, sees his error and begins to work harder to fi nd the truth. In fact the fi ght with on screen: Meynert is not necessary.

meynert gerhardt Remember how I carried my right hand, thumb We think the story is stronger this way. hooked round a waistcoat button, as though I was hav- 128 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 129 on screen: Bird produces a roll of twenties, pulls one out and slaps it down on the bar. meynert My life has been a sham. I misused my talents, hiding Business good? the truth even from myself. I suppressed my real being. The result? I’m dying in a state of pride and ignorance. bird I don’t know who I am. It’s not I who lived my life, but I seen better. But you know me, I get by. an other. The creation of my vanity... The door to the bar opens and Clift comes into the bar. He’s extreme- in the theater: ly thin, unshaven and his clothing is trashed. He sticks out in the mostly black bar. Johnson watches the scene for a moment considering the cuts. Monty! Jesus, man! You look like shit! I didn’t even johnson recognize you. Hard times? Hmm. I guess it will work without it... Monty doesn’t answer but comes close and says in a low voice. on screen: clift A close-up of Montgomery Clift as Freud. Bird, I need you to get me some stuff.

cut to: bird Hey, hey, hey. Not here, Monty my man. You want to int. uptown manhattan bar – night talk business? Well, then step into my offi ce!

The bar is nearly empty except for a few sketchy looking characters He picks up his drink, takes Monty by the arm and leads him away. hanging out in the smoky darkness. bird comes out of the back They almost bump into a man walking in the other direction. The room and approaches the bar. man looks quite distraught.

bird bird Hey Rocko, my man, give me one of those magic elix- Now what was it you wanted to see me about? The irs you mix so well. usual?

bartender As if by magic he produces a roll of pills in the palm of his hand. You bet, Bird. clift He pours something from a bottle and sets it down in front of Bird. (nervously) Do you have something stronger? Two Dollars. 130 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 131

bird Frank Taylor sits on the couch with a whiskey tumbler in his hand. Stronger? What’cha looking for? Smack? The White Monty lays on the fl oor as usual. giles, a petulant looking man about Lady? ten years younger than Monty, sits in another chair. Clift cackles uproariously. clift clift It’s not for me. It’s for a friend. You’re a funny man, Frank, but you’re drunk.

A gun shot cuts off their conversation. A woman screams. Taylor swirls the whiskey in his glass, grinning.

man taylor Die, Mother fucker, die! I know I’m drunk. What’re you telling me I’m drunk for? The distraught man fi res another bullet into the chest of a man. The body crumples onto the fl oor, blood spurting everywhere. A woman clift screams repeatedly. Two bouncers grab the distraught man, and I know that you know that you’re drunk. I just... twist the gun out of his hand. taylor woman Well, then what’re you telling me I’m drunk for? Oh my god, oh my god, oh my god. clift By this time, everyone is crowding around the dead man. I just wanted to tell you again. Just in case you didn’t know that I know that you know that you’re drunk. bird Listen, Monty. You better get out of here. It wouldn’t be They splutter stupidly at this. good for a kid like you to be found here. giles Bird turns around and sees that Monty is gone. He rubs his eyes in C’mon Monty. Let’s go out. disbelief. clift cut to: Frank’s drunk, Giles. ext. brownstone – night giles So are you. Let’s go out. From inside Monty’s brownstone, we can hear the sound of laughter. clift int. brownstone – night Ok. Frank, we’re going out on the town. 132 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 133

taylor int. limousine – night OK. OK. Frank Taylor is passed out in the seat. Monty and Giles whisper con- He starts to get up, but drops back onto the couch. spiratorially while Manhattan slips by outside. Taylor opens his eyes drowsily. Ok, you go out. Just drop me off at Grand Central Sta- tion. My train can take me home. ext. grand central station

Clift gets up off the fl oor. The car speeds by Grand Central Station without stopping.

clift int. limousine You’ve got a train, Frank? You must be rich. Where’d you get all the money? Obviously not from The Misfits, Taylor closes his eyes again. that fl op! blackness Clift exits. voices. taylor Ha ha ha. A car door slams. Taylor opens his eyes. He looks out the window and sees He is left in the room with the morose-looking Giles who just stares at him evenly. Taylor downs his whiskey. He looks at Giles. ext. christopher street – night

taylor Giles and Monty disappear into a doorway. So... Giles. How ya doin’ there? Want something more int. limousine to drink. Taylor tries to get out, but the limousine door is locked. giles See this? taylor Hey, Driver! Hey let me outta here. He rolls up his sleeve. A dark track mark lines his vein. The driver turns around in the front seat. That’s Monty’s fault. driver Giles rolls his sleeve back down. No, sir. You don’t want to get out here. It’s Monty’s fault I’m a smack addict. He’s a fucking sadist. 134 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 135

taylor cop You’re goddamn right I wanna get out here. You a friend of Montgomery Clift?

driver taylor You don’t want to go in there. Yeah, sure... Yes, Offi cer.

taylor cop I wanna catch a cab to Grand Central, go home. Get ’im outta that bar. He comes ‘ere almost every night. We don’t wanna arrest him, but if we gotta, we driver will. We got plenty a complaints so far. You won’t fi nd a cab here. Not now. This is a bad neighborhood. If you get out here, you’re liable to get taylor mugged... or worse! There’ve been three knifi ngs here What am I supposed to do? in the last month. cop taylor Go in and get ‘im outta there. Bullshit! I’m a New Yorker. I know my way around this city. Let me outta here. taylor Can’t you... driver No, sir. cop We ain’t allowed in there without a warrant. ext. christopher street int. bar A police cruiser pulls up next to the limousine and the cop leans out the window. The place is dark and almost empty except for a glowing jukebox and a few drunk men. int. limo cop Taylor rolls down the window. (voice over) He’s in the back room, behind a leather curtain. That’s taylor where the rough types hang out. Hey Offi cer! This driver’s gone nuts. He won’t let me outta this car! Taylor now extremely sober stands at the bar. He looks apprehensive- ly at the leather curtain in the back of the room, drinks a shot, and ext. christopher street leaves a couple dollars on the counter. He turns toward the leather curtain. 136 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 137

Taylor approaches the leather curtain slowly. Pulling aside the cur- taylor tain, he is bombarded with loud music, smoke and a glowing red Take him home and put him to sleep. light. driver int. backroom What about you?

A group of thirty odd people stand in a circle with their backs to the taylor door. They seem entranced. The circle moves like a single animal. No thanks, I’d rather walk. Taylor enters the room, approaching the circle cautiously. His feet crunch ice cubes, broken bottles, and cigarette butts littered on the cut to: fl oor as he moves into the room.Androgenous faces stare at him from the background. int. bedroom – day

Approaching the circle, the ranks part and Taylor sees Clift lying on Clift lies in bed. There is a knock on the door. His eyes open. loren- his back, passed out fully dressed on the table. The entranced beast zo, a neatly dressed black man comes into the room. swarms about him, kissing him all over, fondling his body. Taylor lorenzo looks away repulsed. An androgenous couple stares back at him. Get up, Monty! Get up now! You can’t lay around all Steeling himself, he forces his way through the circle. He lifts Clift’s day. unconscious body into his arms and carries him like a baby out of the Clift groans and rolls over to face him. circle. clift voices Did Giles come by? I thought I heard someone at the Where’re you taking him? door. Leave him with us! He’s ours! lorenzo He came by to pick up some more of his things. Did The bodies part as he makes his way through with his burden. you want to see him? ext. christopher street clift Taylor carries Clift out of the bar in his arms. No. No, I don’t want to see him ever again. ext. limousine He rolls over to face the wall. A moment of silence passes before Lorenzo speaks again. The driver gets out and runs around to open the door. Taylor places Clift in the back seat. He straightens up and adresses the driver. lorenzo C’mon. You’ll feel better once you get up. 138 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 139

clift lorenzo I’m not getting up today. Well, why don’t you do something about it then?

lorenzo clift C’mon Monty, you get up and get back to shape. What do you mean?

clift lorenzo Leave me alone, Lorenzo. I didn’t hire you. I don’t care When I was a boy, I was attacked by a bull dog. Mean what my friends think. You’re not my babysitter. old son of a gun. He tore up my face pretty bad.

lorenzo Clift spins around and looks at him intently. That’s right, Monty. I’m not your babysitter. But you know as well as I do that if you lay around in bed all clift day you’ll just feel even worse. But where? I don’t see any scars.

Monty is silent. lorenzo Across my cheek and lip. I was disfi gured. Then I met Why don’t you take a bath? That’d make you feel bet- Manfred von Linde and he changed my life. ter. clift clift Von Linde? What, is he nobility? Because I don’t want to take a bath, Lorenzo! lorenzo lorenzo Not exactly. He changed his name. But even if he You should at least wash up. I’ll fi x you some hot tow- were the devil himself, I’d still be thankful to him. He els to put on your face. changed my life by fi xing my face. int. bathroom clift (staring intently at his own refl ection) Clift wraps his face in a steaming hot towel and groans with pleasure. I want to meet him! Lorenzo takes the towel from him when he is done. Clift leans for- ward and scrutinizes his face in the mirror. cut to:

clift close up: When I look in the mirror, I want to vomit. I’ve never gotten used to this new face. The photograph taken at the beginning of the fi lming of The Misfits. It shows Clift posing with Clark Gable, Marilyn Monroe, Eli Wallach, 140 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 141

John Huston, and Arthur Miller. taylor Don’t be so superstitious! clift (Voice-over) clift See this picture? No Bessie Mae! It’s true! You can’t avoid these things. Even if you don’t believe in them, they happen! They’re int. living room – day stronger than us.

Clift and Elizabeth Taylor are in Monty’s brownstone. She is still in taylor the process of removing her gloves and hat after coming from out- Monty. side. She takes the photograph he has profferred her and sits down on the beige couch, while Clift stands above her in a bathrobe, and thick She takes her hat and gloves and places them on the table next to her. coke-bottle glasses. He looks extremely gaunt and disoriented. Every- thing in the apartment is either white or beige. There is no color, not C’mon, sit next to me. even in Monty’s sickly face. As usual, the curtains are drawn although Clift sits down and she wraps her arms around him. it is daytime. She looks at the picture briefl y and then up at him. You’re not leaving us anytime soon. I won’t let you! taylor Yeah, you’ve shown it to me before, Monty. It’s from He curls up next to her affectionately. the fi lming of The Misfits. clift clift Oh, Bessie Mae! You’re the only woman I could ever Well, things always come in threes, right? Clark died love! from a heart attack just after fi nishing the fi lm. And now Marilyn; she’s dead, too. I wonder who’s next. taylor You love women? He looks at her intensely, almost fanatically. Taylor looks up at him for a second, then averts her gaze. She hands him back the photo- Clift looks at her offended. graph. clift taylor I adore them! Monty, that’s ridiculous. She laughs and kisses him sisterly on the forehead. clift Death always comes in threes. taylor What you need is to get back to work. You always hated to be idle for so long. 142 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 143

clift gets me up every morning to go to the gym. I have the Oh, but Bessie Mae, it’s impossible. Freud ruined me. lifestyle of a monk now. Nobody will insure me anymore. Twentieth Century Fox turned down the last fi lm I was going to be in. taylor They said I was uninsurable. All because of the contro- Well, why don’t we make a fi lm together? I’m the most versy over Freud. Universal wasn’t even going to pay famous actress around and if I want Monty Clift to star me for it. with me then goddammit they’ll listen to me. I’ll put up the money myself to guarantee you if I have to. taylor Monty, they can’t do that! Did you sue? Taylor grabs his arm excitedly.

clift I have two scripts you’d be perfect for! The Owl and the Yeah. Pussycat or Reflections in a Golden Eye. Richard would defi nitely do it with us. He could direct and act at the taylor same time. And? clift clift Do you really think Richard Burton would want to Well they sued back, claimed I owed them six hundred play third wheel to his wife and me? eighty-six thousand three hundred and something for production delays. taylor If I want him to, he will! taylor But the cataracts weren’t your fault. cut to:

clift int. living room – day Of course not. But then they claimed that the produc- tion delays were caused by my memory lapses. Clift reads a magazine in the orange light of evening. Lorenzo enters.

taylor lorenzo Bastards! Here is your tea, Monty.

clift clift Well, I won the lawsuit and they had to pay me, but Thanks, Lorenzo. now no one will touch me with a thirty foot pole. It’s The phone rings quietly in the background. 1965! I haven’t worked in four years. And I’m doing so much better these days! Lorenzo has cleaned me up, 144 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 145

lorenzo He smiles and winks at Lorenzo. Did you read the script? I know he’s your husband, but if he doesn’t want to do clift the fi lm, then you can’t force him. The Defector? Yes. It’s not very good, but I’m gonna do it anyway. It was nice of Salka to think of me for the The door bell rings. part. Hold on a minute, Bessie Mae. Lorenzo could you get The phone rings a third time. the door?

Is that the phone ringing? Lorenzo exits.

Lorenzo hurries off. Clift produces a small, medicinal bottle from Sorry. Now, what were you saying? You’ve already the pocket of his bathrobe. He unscrews the top and pours a shot of found someone else to direct Reflections in a Golden alcohol into his tea. He sips the spiked tea and returns the bottle to his Eye? Who? pocket. Lorenzo returns. His smile fades. lorenzo Monty, it’s Elizabeth. Do you want to take it? But Bessie Mae, he’ll never agree to it… He already has? How did you do that? Clift throws the magazine on the fl oor. He looks uncertain, agitated, twisting the phone cord tighter in his clift hand. Oh, great! Well, I guess if John Huston is willing to work with me He stands up. again, then I can do it as well. int. hallway He hangs up the phone, looks thoughtfully at the palm of his hand, and then calls out to Lorenzo. He picks up the phone. Lorenzo, who was at the door? clift Hi Bessie Mae! So nice to hear from you! How’s our int. living room fi lm coming along? Entering the living room, Clift fi nds Lorenzo chatting amicably with He twists the cord anxiously. the dimunitive manfred von linde, who wears a Van Dyke beard and exaggerated smile, which make him look rather mephistoph- Oh. He won’t do it? That’s too bad. elian. 146 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 147

lorenzo Let’s see the damage. Remember the doctor I told you about who fi xed my face? Monty, this is Manfred von Linde. He pulls up a chair and begins removing Monty’s bandages, clucking his tongue disapprovingly and shaking his head. von linde (in a decidedly non-european accent) I can’t do anything about the scarring, but I can fi x Very pleased to meet you! your infected eyelids. Lorenzo, go boil some water.

clift lorenzo The pleasure is all mine! Is there anything you can do Sure thing. for my face, Doctor? kennammer von linde And can you get me a cup of coffee? (approaching with a cold, fi xed smile) Everything is possible. Lorenzo exits.

cut to: You should know better than to let a sinister devil like Von Linde operate on you. He’s a total charlatan, an ext. brownstone - night embarrasment to the medical profession!

Lorenzo opens the door to doctor kennammer, who looks di- He digs through his doctor’s bag, selecting some tools. shevelled and sleepy. You know he killed his wife on their honeymoon in lorenzo Haiti? Thanks Doctor Kennammer for coming on so short notice and at this late hour. Monty’s in his bedroom. Clift looks up pitiably at him through red, swollen eyelids. int. bedroom Of course everyone knows he got off. But only because he had her buried before anyone could run an autopsy. Monty lies in bed, his face in bandages. Kennammer begins speaking as soon as he enters the room. Lorenzo comes back in with a pot of steaming hot water and a cup of coffee. Kennammer takes the coffee and sips it. kennammer I could kill you for letting a mountebank like Von Well let’s see what we can do to get you fi xed up. I’ve Linde operate on you. done it before, so I can do it again this time.

Clift says nothing but just turns towards the voice. cut to: 148 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 149 int. bedroom – day lorenzo Yes, Monty. Monty sits reading a magazine. Lorenzo knocks on the door and then enters carrying a sandwich on a plate. Clift takes another bite of his sandwich. He turns back to his maga- zine. lorenzo I thought you might like something to eat. clift I’m not gonna go out to Fire Island today. It’s so much clift nicer just to stay at home. What kind is it? cut to: lorenzo Goose liver—your favorite. close up:

clift A black and white television set plays scenes from The Misfits. Ok. Thanks. television Lorenzo sets the plate down in front of him. And now in a few minutes on the Late Late Show: The Misfits, starring Marilyn Monroe, Clark Gable, and It’s a really hot day. It must be at least a hundred Montgomery Clift. After this message from our spon- degrees in the shade! Maybe I should go out to Fire sor: Arm and Hammer Baking Soda. Island. I’ve rented that place again and not used it at all. int. living room – night He takes a bite out of the sandwich. Lorenzo gets up from the couch. Oh, that reminds me! I need to rent a place in Italy for Reflections in a Golden Eye! int. stairs

lorenzo He climbs the stairs. I’m on top of it. Don’t worry. Your fl ight to Rome is a week from now. int. hallway

Clift chews thoughtfully. He stops outside Monty’s bedroom door.

clift int. bedroom It will be nice to work with Bessie Mae again... even if it Clift sits on the bed naked except for his thick glasses. His clothing is means working with John Huston. This fi lm’ll be much strewn out around him on the fl oor of the bedroom, and he holds a better than The Defector, don’t you think so, Lorenzo? 150 f r e u d ’ s d o p p e l g a e n g e r Freud’s Doppelgaenger 151 glass of whiskey in his hand. There is a knock at the door. Monty still lies on the bed. His eyes are partially open, but life- less. One of his arms is fl exed and his fi st is tightly and unnaturally lorenzo clenched. The camera pulls out and above him as the door is broken Monty? Hey Monty! down and Lorenzo enters the room and draws back at the sight of Montgomery Clift’s dead body. clift Yeah? fade out lorenzo The Misfits is on the late, late show. Wanna watch it?

clift Absolutely not!

lorenzo Ok, Suit yourself.

Clift stares down at the light playing on the whiskey. close up:

The brown liquid swirls around hypnotically. back to:

Clift tosses the drink back, sets the glass on the table beside the bed. He stares at his refl ection in the massive mirrored bar on one side of his room, then lies back on the bed. fade to: int. bedroom – morning

Morning light shows through the window and there are birds singing. Someone is knocking on the door and calling.

lorenzo Monty! Monty! Are you in there? It’s time to get up.

“Sigmund Freud’s study and examining room in the 9th district of Vi- enna, Berggasse 19. The founder of psychoanalysis worked here from 1891 until his emigration to London in 1938.” This caption from a book on Freud erroneously claims that the photograph shows Freud’s offi ce. In fact, the image shows the set from Freud the Secret Passion. The Cut fade in

monroe (Katie reading from an open book.)

“…in a bunch of fl owers which gave her much pleasure she could only see one fl ower at a time. She com- plained of not being able to recognize people.

“Normally, she said, she had been able to recognize faces without having to make any deliberate effort; now she was obliged to do laborious ‘recognizing work’ and had to say to herself ‘this person’s nose is such-and-such, his hair is such-and-such, so he must be so-and-so.’

“All the people she saw seemed like wax fi gures with- out any connection with her… She now spoke only English and could not understand what was said to her in German. Those about her were obliged to talk to her in English.” still close-up:

A black and white publicity still of montgomery clift, clark gable, marilyn monroe, eli wallach, john huston, and arthur miller posing outdoors in front of a wooden shack. The center of the photograph is dominated by a ladder. Clift, Gable and Huston are in western wear and cowboy hats, Marilyn Monroe wears a white dress with a cherry pattern on it.

montgomery clift (voice over) See this picture? 160 t h e c u t The Cut 161

liz taylor Clift approaches wearing the Freud costume. (v.o.) You showed it to me before, Monty. clift John… John? How do you do a dream in reverse? clift I mean, how do you write something like that? It’s (v.o.) the conscious mind that writes the dream sequence, Things always come in threes, right? Clark died of a inventing the symbols for the interpretation that is heart attack just after we fi nished the fi lm. And now already there. Marilyn; she’s dead, too. huston int. fi lm set This is a biography. I want to present Freud’s life as an intriguing story—a story that leads into the depths of The fi lm set is based on Sigmund Freud’s offi ce as portrayed in the the human psyche! fi lm Freud the Secret Passion. There are two desks, a bureau, two round tables, chairs and a divan. Elizabeth Taylor sits on the divan. She has clift just arrived and removed her gloves. Montgomery Clift, wearing I don’t look at all like Freud. I saw a photograph of him thick glasses and pyjamas, stands above her holding the photograph. when he was in his thirties. His beard was thicker, big- She takes it from him. ger than this one. Everyone’s was back then. If we had lived then, we would all have worn big, bushy beards clift too. I wonder who’s next. huston cut to: (chuckling) It doesn’t matter, kid. We’re making a movie here, john huston adresses the offscreen assistant director. remember? It’s all right if history gets a little scrambled up in the process. It’s fi ction. It’s the general impres- huston sion we’re aiming at—like in a dream. Write the lines on the props—on bottles, door frames, books, whatever. If he can’t memorize the lines, he’ll clift just have to read them. But this beard looks more like today than like 1885.

He hands the Assistant Director a few pages of script. huston Today’s audience would never accept a hirsute Mont- huston gomery Clift. They’re all expecting the distinguished Just make sure they don’t show from the camera’s doctor from Vienna with the nicely trimmed beard. If perspective! we put you up there on screen with a big, bushy beard, they’d think prophet or madman, not scientist. This 162 t h e c u t The Cut 163

isn’t The Ten Commandments! clift Well, I’ve had trouble sleeping since… you know… the Clift looks down at the script. accident.

clift monroe Some of these lines read like the ten commandments... Oh! I’m so sorry!

“I think a door has been opened. I think you’ve made clift a discovery as important as Pasteur’s. He isolated the You taking something for it? germ, you have isolated the pathogenic memory.” monroe I can’t…say it…like…this…. Nobody speaks like that. Nembutal.

huston clift That’s all fi ne and good, but— Does it help?

clift Monroe closes her eyes as powder is applied to her face. But I sound like a textbook! monroe huston No, not really. I even tried breaking the little capsules Just learn the goddamn lines for Christ’s sake! This is open and licking the powder out of the palm of my not easy material. It’s not the same as playing a punch hand, but it’s no use… I just can’t sleep. drunk cowboy or a pretty boy murderer. Freud was an intellectual; he should not sound juvenile. Clift thoughtfully takes a sip from his thermos.

cut to: clift I know what you mean. I had my own bed shipped marilyn monroe sits before a mirror having her make-up applied. from New York, but still… You know what I do when While Clift looks on. I can’t sleep? I call someone and just talk on the phone until I’m drowsy. It’s the only way I can clear my head. clift You can’t sleep either? monroe Sometimes a massage helps me. When all the muscles Monroe takes a sip from a cup of water and shakes her head. in my body are relaxed, then I can fall asleep like a baby. Our bodies are our instruments you know. monroe They’re very sensitive. You too? 164 t h e c u t The Cut 165

She pauses for red lipstick to be applied to her mouth. huston (yelling) This line of work wears them down, treats us like Who gives a fuck about Montgomery, Alabama?! machines. But we’re not! In order to create, we have to That’s not our audience! People in Montgomery, Ala- protect that sensitivity. bama aren’t interested in a fi lm about Freud in the fi rst place. She scowls at herself in the mirror. producer Sometimes I actually wish I were fi nished. All the test audiences we’ve shown the fi lm to have complained about length. You’ve got a fi lm that’s over cut to: two hours long fi lled with neurotics and child sexual- Huston storms over to the producer. ity. There’re no love scenes, no healthy sexuality—you know the kind I mean: Marilyn Monroe, huston Who told them to cut that scene from my movie? He holds his hands up in front of his chest in a vulgar pantomime of a voluptuous woman. producer What’re you talking about? It’s one measly scene. boy meets girl, boy gets girl, they get married! There’s not even a single humorous scene in the entire fi lm! huston So, where do you want to cut it? I’m not releasing that One measly scene? It’s a key scene for the narrative’s fi lm until some cuts are made. development! The fi lm is built up logically scene by scene, thought by thought through Freud’s progress. cut to: If you cut that scene, the following scenes won’t make any sense! priest You do understand our concern, do you not, Mr. Hus- producer ton? Freud’s theories do not allow for the absolutely You honestly expect me to release a movie that in- necessary categories of good and evil! And to be quite cludes a scene where a girl explicitly describes her frank, the idea of… well, of sexuality in children is father ra—er, sexually assaulting her? You think I can simply reprehensible! sell a fi lm like that in Montgomery, Alabama? You think the American public will sit through that? I tell Huston rolls his eyes. you what—you’re nuts! You’re fucking nuts! huston I’m a movie man, Father. I’m not making a philosophi- cal work here. My interest, to put it bluntly, is to make 166 t h e c u t The Cut 167

a work of entertainment that will get people into the taylor cinema. No, Monty, I mean it!

cut to: She raises her glass and drinks from it indulgently.

Huston faces off with the fbi agent. Why do you always call me Bessie Mae? Why don’t you use my real name? huston Communists?! That’s ridiculous! Next thing you’ll be clift saying Einstein is a communist! You mean Elizabeth Taylor? I think I’ve read about her in the tabloids. I like Bessie Mae more. For me that’s The FBI Agent looks at him icily. your real name.

Now wait a minute! You can’t seriously mean to tell me Taylor whispers in Clift’s ear. you think Einstein is a communist! taylor fbi agent Remember when we were on Broadway... on stage do- Well, perhaps not a communist exactly…but he is ing real theater together? certainly a misguided liberal. After all he is a known pacifi st…even released a book against war with that clift famous atheist Sigmund Freud. With the threat of in- I wanted to be the greatest actor on earth! To play ternational communism hanging over the free world, Hamlet and Chekhov. such beliefs are naïve, childish. They only serve to help those who would destroy our way of life. taylor You did play Chekhov, remember? We played Chek- huston hov! You’re calling Einstein childish? clift cut to: How could I forget? We were slaughtered by the critics for it! Now I’ve spent all this time in Hollywood, and Liz Taylor raises her glass. for what? For what?

taylor Clift turns away and comments to the camera. To my dearest friend: Montgomery Clift! You put all that work into it and then once those edi- clift tors get through with it, you’ve got no control over Oh, Bessie Mae! how it appears on screen. You think you’ve done it 168 t h e c u t The Cut 169

one way and ‘chop,’ they cut it up and make it into the I thought marriage would truly bring happiness. You entirely opposite thing. know, someone you can trust like an extension of yourself. But… who can you trust? Every fi lm is just watered down through the shitty mentality of this place. You give them the best perfor- Monroe hands Clift a pile of scripts. mance of your life, putting everything you’ve got into a character who’s been written and rewritten by four, monroe fi ve—who knows how many different people—until All my life, boys paid attention to me. They wanted me there’s no human trace left anymore. around as part of the décor, like a painting brightens up a living room. I thought it was different this time. taylor The screen isn’t your refl ection, Monty. You’re not go- clift ing to fi nd any answers about yourself there. Well, isn’t it?

cut to: monroe It was at fi rst. He paid attention to me like no one ever huston had before. Took me seriously. Everybody else saw me It’s a key scene! It’s the seduction theory! It shows how as a big joke. But now… We don’t even talk, all he does Freud was misled to believe all neuroses are caused by is work. children being sexually assaulted by adults, until he discovered that trauma wasn’t a question of reality, but cut to: of fantasy. It shows the missteps he took on the path to his important discoveries. priest Yes! You see? You see?! This is precisely the problem producer with Hollywood! The cinema should teach wholesome People want titilation in a picture! You’re asking us values to the impressionable masses, not, as is present- to sit through a feature length fi lm with nothing but ly the case, just feed their insatiable appetite for vulgar unconsummated relationships! What are you Pablo entertainment. fucking Picasso! The Priest looks at the script dubiously. cut to: Furthermore, we are concerned that you wish to make monroe a picture about a depraved atheist who propagated And everyone thinks I have a fairy tale life. Everybody anti-Christian ideas about child sexuality. The effect of wants to be me, to be Marilyn Monroe. What a load of such a fi lm on the public could only be deleterious. shit. 170 t h e c u t The Cut 171

huston they all pass the same. Thirty seconds or thirty years— Well, I hate to disappoint you, but this will probably be it’s all the same. one of the least depraved fi lms produced in years. monroe cut to: You can’t go back. That’s why it would be nice to be really fi nished. To say goodbye to fame and the whole fbi agent stinking business! I don’t think you realize the gravity of the threat these people pose to our way of life. “A very reliable source cut to: has indicated that there are six hundred Communists employed in the motion picture and radio industries producer in Hollywood, California. Five hundred and twenty of You’re a goddamn movie director that’s what you are! these individuals have been identifi ed as Communists It’s the pleasure principle, for chrissake. It’s entertain- in that they are now or were members of the Commu- ment! nist Party, USA, or were members of the Communist Political Association, USA. The occupational break- Huston goes over to the table and pours himself a whiskey. down of these Communists whose occupation has huston been ascertained is as follows: (out of character) Actresses 45, Actors 47, Directors 15, Producers 8, Writ- I made a fi lm about hysteria… shellshock actually. ers 127, Publicists 5, Musicians 42, Analysts 9, Techni- I made it for the military. We organized a screening cians 12, Cameramen 3, Film Editors 1, Miscellaneous at the MOMA, but the military showed up at the last (Cartoonists, Laborers, Offi ce Employees, Artists, and minute and confi scated the fi lm. I guess it didn’t show so forth) 62.” soldiers in the heroic way they expected.

cut to: A shame, really. The fi lm was repressed. Of course it is not really psychoanalytic, but perhaps very similar monroe to the experiments Freud and Breuer were conduct- And I wanted a child so badly! Children are so wonder- ing during the 1880s and 1890s just before Studies on ful. They’re not jaded or bitter or nothing. Hysteria.

clift producer Sometimes I’d like to be a child again, but that’s gone. I’m not releasing that fi lm until some cuts are made. Sometimes I wish I could cling to the happiest mo- ments in my life so that they’d last forever. Do you cut to: know what I mean? You want to understand it or to see it perfectly, except that it is already passed, and that 172 t h e c u t The Cut 173

clift fbi agent If I had met Freud, I wouldn’t have liked him. You’ve defended every one of the known and suspect- ed communists we’ve mentioned here today. Whose huston side are you on anyway? Are you, John Huston, a com- (laughing) munist? Are you sympathetic with the reds? Why’s that? huston clift (putting down his glass) He was self-centered. He was obsessed with his own I can assure you I am opposed to international Com- mind. munism and all that Soviet Russia stands for. Look, I served my country in the war. What I really detest are Huston kicks a chair. bullies. I don’t like being afraid. I don’t like seeing other people be afraid. What I really like are horses, strong huston drink, and women. Christ! Monty, this is just another fucking diversion to avoid learning your lines! cut to:

Clift stares at Huston. Huston glares at Clift. monroe Everybody just wants something from you. So many Clift stares back. false friends, who can you trust?

clift clift Are you going to kill me? But these are all old versions of the script! Where are the new ones? Huston snarls at him. Clift lays down with his head in Monroe’s lap and looks at the script. huston I’m seriously considering it. monroe (reading) Clift meets his eyes as if in a daze. Maybe all there really is, is just the next thing, the next Huston glares back angrily. thing that happens. Maybe you’re not supposed to remember anybody’s promises. Clift shrugs. clift Huston snorts and exits, slamming the door behind him. (reading) You can count on mine. I trust you. I think I love you! cut to: 174 t h e c u t

cut to:

clift (coming out of character) “I was sitting alone in my wagon-lit compartment when a more than usually violent jolt of the train swung back the door of the adjoining washing-cabinet, and an elderly gentleman in a dressing-gown and a travelling cap came in.

“I assumed that in leaving the washing-cabinet, which lay between the two compartments, he had taken the wrong direction and come into my compartment by mistake.

“Jumping up with the intention of putting him right, I at once realized to my dismay that the intruder was nothing but my own refl ection in the looking-glass on the open door. I can still recollect that I thoroughly disliked his appearance.”

cut to:

Taylor hands Clift a glass of whiskey.

taylor The Misfits is on the late, late show. Wanna watch it?

clift Absolutely not!

cut to:

Alone on the set, Clift tosses the drink back, sets the glass on the table beside the divan. He stares at the photograph of all the actors, then lies back on the divan.

Deleted Scenes newsreel

An airplane lands at an airport. Celebrities get out of the airplane smiling and waving.

newsman Today, in a further development of Congress’s in- vestigation of the alleged communist infi ltration of Hollywood, the Committee for the First Amendment arrived in Washington D.C. in order to, as they put it, ‘defend the right to free speech under the constitution.’ The Committee is made up of many of the most well- known faces in Hollywood: montage

As the announcer pronounces each name, we see the actor smiling and waving to the crowd.

Humphrey Bogart, Lauren Bacall, Edward G. Robinson, Danny Kaye, John Huston, Willy Wyler.

Now a montage of Bogart and Robinson in roles as gangsters and cowboys shooting guns.

Yes, folks, having made their names as gangsters, outlaws and criminals, these big stars have decided to turn their guns on other targets! cut to: int. hotel – day

Washington D.C. Hotel. Flashes pop. A row of tables has been set up and a group of jet-lagged celebrities sit in a press conference: John Huston and philip dunne answer most of the questions to the press. 192 d e l e t e d s c e n e s Deleted Scenes 193

reporter 1 hopper Have you come here to defend the Hollywood Ten? Give me all the dirt you possibly can on this group— especially John Huston! He seems to be there ring- dunne leader. I’m willing to bet you John Huston is one of the No, we’re not here to defend the Ten— brains behind the communist party in Hollywood! huston cut to: There’s more of them than just ten, by the way! int. us congress – day dunne We’re here to make a simple point that these people March 21, 1951 larry parks sits behind a desk. A heavy microphone are being tried unconstitutionally! Congress makes in front of him, he leans on the table and is refl ected in it’s polished laws, it doesn’t enforce them. That’s for the justice surface. The lawyer to his left wears dark-rimmed owl glasses that department to do. Checks and balances. stare out of the frame, his eyes obliterated by the refl ection of the fl ashing cameras. Papers, glasses of water, an ashtray, a package of reporter 2 unfi ltered Lucky Strikes on its side next to the microphone. Cigarette Are you saying there isn’t a threat from communists in in hand, Parks looks nervously at the investigator seated at an Hollywood? elevated tribunal. In the background men in ties hunch over their pa- pers. A painting of Jefferson hangs on the wall in the darkness behind huston it all. I’d say there is more of a threat from the House Un- American Activities Committee! investigator Mr. Parks, tell the committee the circumstances under dunne which you became a member of the Communist party; This is a fi rst amendment issue! These people are prac- and, if you left the party, when you did and why. ticing their right to freedom of speech and political affi liation. parks I was a member in ’41. Being a member of the Party huston fulfi lled certain needs of a young man who was liberal That’s why we’ve set up this organization—the Com- in thought, idealistic, who was for the underprivileged, mittee for the First Amendment. the underdog. I felt it fulfi lled these needs. Being a Communist in ’51, in this situation, is a different kettle cut to: of fi sh. A great power is trying to take over the world. int. offi ce – day investigator Hedda Hopper sits in her offi ce on the phone. You didn’t realize that the purpose of the Communist Party was to take over other segments of the world in 194 d e l e t e d s c e n e s Deleted Scenes 195

’41? You do realize that in ’51? innuendo, is there as far as the public is concerned. Also as a representati— parks This is in no way an apology for anything I’ve done, pan: you see, because I feel I have done nothing wrong, ever. In ’41 the purposes, as I knew them, simply ful- Clift walks over to the telephone. fi lled—at least I thought they would fulfi ll—a certain clift idealism, a certain feeling of being for the underdog, Hey turn that shit off, will you? I wanna make a phone which I am today, this minute. This didn’t work out... I call. attended very few meetings and petered out the same way I drifted in. I petered out in ’44 or ’45. A partially-dressed man a few years Clift’s senior, jerome goes over to the radio and turns it off. He walks over to Clift who sits at the investigator table with a stack of scripts. Your Communist registration card for 1944 bore the number 46954 and for 1945 the number 47344. Does jerome that refresh your recollection? I don’t have a choice. I’m going to do it.

parks Clift looks up at him icily. No, sir, it doesn’t. Because I never had a Party card. clift cut to: Coward. int. bedroom – day At this the man looks stricken. He loses his cool. Clift’s brownstone in NY city. The curtains are drawn even though it jerome is day. Bottles and clothing are strewn about the room—evidence of What do you want me to do? If I don’t cooperate with a wild night. In the foreground a radio plays larry parks testimony them, they’ll hold me in contempt. My career would be before HUAC. ruined. I’d go to jail. Do you want me to go to jail? It’s parks hard enough as it is! (on radio) He touches Clift’s hand in an appeal for sympathy. Clift brushes him If you think it’s easy—I’ve worked hard in my profes- off, stands up and turns his back on him. sion, climbed up the ladder a bit—if you think it’s easy for me to appear before this committee, you’re mis- man taken. This is diffi cult. One of the reasons is that, as an Monty, be reasonable! actor, my activity depends on the public. To be called before this Committee has a certain inference, a certain 196 d e l e t e d s c e n e s Deleted Scenes 197

clift hale You have to go now. I’m expecting company. Proctor, if she is innocent, the court—

The man stares at Clift for a second, then begins collecting his things proctor and getting dressed. Clift goes to a cabinet, opens it and extracts a roll If she is innocent! Why do you never wonder if Par- of pills. He takes a handful and downs them. We hear the door shut as ris be innocent, or Abigail? Is the accuser always holy the man leaves the apartment. now? Were they born this morning as clean as God’s fi ngers? I’ll tell you what’s walking Salem—vengeance cut to: is walking Salem. We are what we always were in Sa- lem, but now the little crazy children are jangling the ext. ny street – day keys of the kingdom, and common vengeance writes A delivery man takes a stack of papers out of the back of a truck the law! This warrant’s vengeance! I’ll not give my wife and throws it down in front of a newstand. The title on the top copy to vengeance! reads “all 13 reds guilty.” The vendor looks up from a copy of elizabeth Playboy magazine he is reading. A picture of Marilyn Monroe adorns I’ll go, John— the cover. It is the fi rst issue of the magazine with the famous nude images of Marilyn Monroe in front of a red background. proctor You will not go! vendor Thanks a lot, Phil! herrick I have nine men outside. You cannot keep her. The law delivery man binds me, John, I cannot budge. (waving and getting into his truck) See ya tomorrow, Frank! proctor (to Hale, ready to break him) pan to: Will you see her taken? ext. martin beck theater hale The matinee announces that Arthur Miller’s The Crucible opens in a Proctor, the court is just— few nights. proctor int. theater Pontius Pilate! God will not let you wash your hands of this! On stage, the actors all face directly out at the empty audience. For rehearsal, they are dressed in everyday clothing. In the audience several rows back. arthur miller and Kevin Mc- Carthy sit watching the rehearsal. 198 d e l e t e d s c e n e s Deleted Scenes 199

mccarthy mccarthy (to Arthur Miller) Yeah, but the staging was absolute garbage! It would be Well, I have to hand it to you. You’ve got guts! Still I a good play with a better director. won’t be surprised if I see Arthur Miller called be- fore Joe McCarthy’s kangaroo court in the next few mary mccarthy months. I preferred Death of a Salesman.

miller clift So let ‘em. I’ve got nothing to hide. It’s about time Yeah, but only because Kevin starred as Biff. somebody pointed out what a load of shit is going on in the name of protecting American values! mary No, not only! It was also more real. The audience could mccarthy recognize itself in the characters. There was none of Tsk tsk tsk you’re asking for trouble. I’m glad I’m not in this stylization or antiquated language. your shoes. kevin miller That’s true. The seventeenth century Puritan speech Well, do you like the play or not? does get in the way sometimes in The Crucible.

mccarthy clift I’m not criticizing the play. It’s fi ne work. I just think Who came up with the idea of having the actors all you’ll have more than just the Times’ theater critic to face out to the audience? worry about on opening night. mccarthy cut to: No idea! Arthur must be crazy though! He’s practically asking for a subpoena! int. gregory’s – night clift Monty sits with Kevin McCarthy, mary mccarthy, and mira Jerome testifi ed! Do you know him, Mira? He’s really a rostova in a wooden booth. genius—I saw some of his choreographies on Broad- way. Amazing! It’s too bad. Really too bad. He went in clift there and just crumpled. Told them everything. What (hyperactively) a coward! It’s fantastic! In Death of a Salesman, Arthur Miller said the American dream was full of shit! Now he’s taking The Russian émigré Mira Rostova looks a bit uncomfortable at the on HUAC head on! mention of both HUAC and Jerome. 200 d e l e t e d s c e n e s Deleted Scenes 201

rostova tion unit humming in the window and awards and photographs on Monty, you should not hold that against him. A lot the walls. One other man sits in the waiting room as well. Miller sets of people did the same. We all have to survive in such down his valise and typewriter, as the door to the offi ce is opened and times as these. edwin hills comes out.

clift hills He can give himself up if he wants, but naming others You mind waiting a few more minutes, Mr. Miller? I’ll isn’t right. It’s just not right. He should be more like... be right with you. more like the priest I play in I Confess. Once he makes a vow a priest won’t break it even when faced with the He turns around in one quick motion and disappears back into highest authority on earth. Can you believe it, though? the offi ce. Miller removes his hat and takes a seat. He examines the My character was supposed to die at the end, and then plaques and awards on the wall. afterwards proven innocent, but the censors decided this would offend Catholics. Hitchcock was really montage: upset about the ending being changed. Another dopy, Awards honoring Edwin Hills from the American Legion, The Catho- happy ending. lic War Veterans, Veterans of Foreign Wars, the National Rifl e Asso- rostova ciation, the Knights of Columbus, the Order of Fire Fighters, and Sons It is just like in Russia. I’ve seen this all before. Pretty of the White Rose. soon everyone will be playing the police offi cer with int. waiting room one another. You will not be able to trust anybody.

cut to: Miller begins to look a bit nervously at some of the framed letters of gratitude for patriotic services on the wall. He notices the signatures ext. mapes hotel in reno, nevada – day of Senators Joseph McCarthy and Pat McCarran, as well as Represen- tative Richard M. Nixon. The letters praise Edwin Hills for his defense The sun shines aggressively in the Reno sky as Arthur Miller, carrying of democracy. a valise and a typewriter, enters the building across from the Mapes Miller now becomes aware of the other man in the room. carl Hotel: royce is powerfully built and dressed in full cowboy regalia, wearing a dove grey cowboy outfi t and expensive boots. A grey stetson sits on int. offi ce hallway the couch next to him. He resembles John Wayne. He meets Miller’s eyes and—can it be?—almost smiles. Miller enters the door labeled “Edwin Hills, Attorney at Law.” Hills hurries back out of his offi ce. Miller stands up and meets him in front of a window that looks out on the Mapes Hotel. Tbey shake int. waiting room hands. A very plain waiting room, with cheap wood panelling, an air-condi- 202 d e l e t e d s c e n e s Deleted Scenes 203

hills miller (quietly) What do you mean, do I want to? I have to. He fi nd you? hills miller There’s a back door to this building. You can stay in Who? my offi ce and I’ll bring the Judge over from the Court- house for the divorce proceedings so that you don’t hills have to go over there. That fellow’ll probably be wait- He ha’n’t found you? ing for you there.

miller Miller looks a bit fl ustered, not knowing what to do. Who do you mean? I’m just here for the divorce pa- pers. miller I... I. Thank you, I... hills An investigator from HUAC. He’s been looking for hills you. With a subpoena. You think about it. I’ll go make a phone call and be back in a moment. Miller lets out his breath. Carl Royce turns and watches curiously. Hills hurries back into the offi ce. Miller sinks back down into the hills chair, overwhelmed. He fi nds himself face to face with the cowboy, Is there anything to it? who looks him directly in the eye and begins to speak.

miller royce I don’t see why they’re after me now. Name’s Carl Royce. I know who you are.

hills miller He said he’d come back later today; he knew you were Nice to meet you. due here, knew about the divorce. Royce leans forward offering his hand. He takes Miller’s and shakes miller it powerfully. Miller notices an American fl ag on the wall above his I guess there’s nothing I can do about it. head.

hills royce Do you want to accept the subpoena? What’re you going to do about it? The subpoena, I mean. 204 d e l e t e d s c e n e s Deleted Scenes 205

miller marriage to Marilyn Monroe. I haven’t had a chance to think. Hills hurries back out from the offi ce. royce Well, I hope you’re not going to tell those bastards hills anything. You can go down the street to Larry’s offi ce to sign the cattle deal, Carl. I just spoke to him on the phone. Miller looks at him surprised. royce miller Alright. Thanks a lot, Eddy. I’ve always opposed the Committee. The three of them walk to the door. royce You know Dashiell Hammett? It’s a Red plane. With white wings. The pilot’s name is Bill. I’ll call over to tell him you’re coming. Think about miller it. I hope you do. It’s a nice, quiet place to lay low for a Sure. Of course. while. You can do all the writing you need to.

royce hills He was my Sergeant in the Aleutians. We lived in the The judge’ll be over in about twenty minutes. After- same tent for a couple of years. He taught me every- wards, you can leave by the back door. I’ve got a driver thing I know. Look. I’m only here to buy cattle. I’ve got and car waiting out back. I’ll tell him to take you to the a place down in Texas. Couple thousand acres. One of airport. the houses is empty. They’d never fi nd you there. You can just wait this thing out down there, until they get miller tired of looking for you. Dashiell stayed there a while I, uh, I don’t know. when they were after him. My plane is waiting at the airport. I can fl y you out of here in a half an hour. Royce takes Miller’s hand conspiratorially.

miller royce It might seem like I was trying to escape a subpoena. Think about it. They’d blow that up into something much bigger. He exits. royce hills I wouldn’t worry about that. The main thing is not to Let me know when you make up your mind. let them get you. It’s all just a publicity stunt anyway. They’re just trying to ride the publicity of your coming He returns to his offi ce. Miller, alone now, looks around at the various 206 d e l e t e d s c e n e s Deleted Scenes 207 awards on the walls of the offi ce, smiles to himself and shakes his this, are you? He’s not well enough to work again. head. The smile quickly fades. He walks out of the offi ce and pushes the button for the elevator. The elevator comes up and a soft man in taylor his forties gets out of it and heads toward Hills offi ce door. If we don’t fi nish soon, the studio will put it on the back shelf. miller Are you looking for me? mccarthy The studio doesn’t give a damn about his well-being. william wheeler, surprised, turns around and approaches Miller, They’re putting too much pressure on him to start sizing him up. He removes a pink sheet of paper from his breast shooting again. pocket. taylor wheeler They’ve been pretty generous up until now. Besides, he Are you Miller? wants to get back to work. It means a lot to him.

miller mccarthy Yes. Can you imagine him getting in front of the camera now? His face doesn’t match the earlier takes. Raintree Wheeler touches the lapels of Miller’s jacket with the sheet of paper. County is going to be one big continuity nightmare.

wheeler taylor You’re ordered to testify before Congress. Kevin, you know him. He’s too stubborn to give up on the fi lm. It would break his heart. Miller takes the subpoena out of his hand and holds it stiffl y without opening it. doctor rex kennammer comes out to see them. They stand up as he arrives. wheeler My name’s William Wheeler. Care for a cup of coffee? kennammer Hello, Kevin, Elizabeth. Follow me. cut to: taylor int. hospital waiting room – day How’s he doing today, Doctor Kennammer? Kevin McCarthy and Liz Taylor wait to see Monty a week after his kennammer accident. He’s a little out of it. The swelling still hasn’t gone mccarthy down entirely, so we’ve got him on heavy sedatives. You’re not actually going to let him go through with One side of his face is still paralyzed. Unfortunately, 208 d e l e t e d s c e n e s Deleted Scenes 209

his jaw set incorrectly, so it’ll have to be broken again clift and reset. The entire crew sent me fl owers! It’s so nice of them! I’m gonna leave them on the dresser til they rot. I’ve mccarthy got to be sure and thank them once we start fi lming When do you think he’ll be able to leave the hospital? again.

McCarthy looks at Taylor meaningfully as he asks this. She looks uncomfortable at the mention of Raintree County. But forces herself to smile. kennammeer It’s going to be a while still. And even then, he will taylor have to continue to convalesce at home for a few Of course, Monty! But fi rst you have to get better! Take weeks. He’s not ready to go back to work, if that’s what some time off to recover. you’re asking. clift They have come to the door. He lets them into: Bessie Mae, I have to do this! You know how important it is to me. If I can’t work again, I’ll kill myself, I swear! int. hospital room taylor Call me if you need anything. Don’t say that!

Clift lies in traction, his face is swollen, his nose is crooked and his mccarthy mouth wired shut. When he speaks, it makes an audible popping You’ll work again soon, Monty. You’re the best damn sound. actor around. It’ll be just like before, you’ll see! As soon as you get better. But give yourself some time to heal mccarthy and all the swelling in your face to... How you doing, kid? clift clift I don’t look that different, do I? Do I? Tell me the truth. Awful! taylor taylor No, Monty. Of course not. Of course, you look normal. Oh Monty! clift She runs over to embrace him, but seeing the casts, stops. Instead she (touching his face) sits on the stool next to the bed. She notices a new bouquet of fl owers But I feel different! I can’t move half my face. on the dresser. Clift follows her gaze. Taylor looks away. 210 d e l e t e d s c e n e s Deleted Scenes 211

cut to: investigator Was Arnaud d’Usseau chairman at this meeting of int. congress – day Communist writers in 1947 at which you were in at- tendance? It is May 21, 1956. Arthur Miller is on the stand. miller investigator My conscience will not permit me to use the name of Mr. Miller, tell us about these meetings with Commu- another person. nist writers which you said you attended in New York City. Who invited you there? int. hall outside

miller marilyn monroe surrounded by reporters with microphones. I don’t know. Flashes go off repeatedly. She basks in the media attention, defl ect- ing them from discussing what is going on behind the doors of the investigator HUAC. On the wall behind her we see a sign that reads: Congress in Who was there when you walked into the room? Session. Quiet!

Miller pauses briefl y before answering. reporter 1 When’s the wedding, Ms Monroe? miller I understand the philosophy behind this question, and monroe I want you to understand mine. I am trying to—and I In summer! When the weather’s warm! will—protect my sense of myself. I could not use the name of another person and bring trouble on him. I reporter 2 ask you not to ask me that question. How do you feel about the trial?

To this, the chairman feels compelled to answer. Similar to the inves- monroe tigator, he is serious and red-faced. I’m proud of him! I’m proud of Arthur and stand be- hind him all the way! chairman We do not accept your reasons for refusing to answer. A loud commotion erupts from behind the closed doors. Shouts, and If you do not answer, you are placing yourself in con- the sound of a gavel pounding. Monroe looks concerned. tempt. cut to: The investigator consults a stack of papers before continuing. ext. westchester house – day

Close-up of a glass being wrapped in a cloth then broken under foot. 212 d e l e t e d s c e n e s Deleted Scenes 213

Marilyn Monroe and Arthur Miller are married in the company of a monroe small group of people including Arthur Miller’s father and moth- Oh my God! Is she all right? er, sister joan and brother kermit, and rabbi robert goldberg. They kiss. miller (starting the engine) ext. house I don’t know. I don’t think so.

Miller and Monroe get into their car as the group wave. They drive monroe off. We have to do something for her! ext. road – day miller We’ll call an ambulance from the house. They drive along at a moderate pace. He pulls around the bend and sees int. car ext. house Marilyn leans her head on Miller’s shoulder, exhausted. Seeing some- thing further down the road, she sits up abruptly. A group of photographers and reporters trying to explain to the am- bulance driver where the accident took place. monroe Oh my God! miller Looks like somebody alread did. ext. road He pulls past the crowd and asks a journalist. A Chevrolet is wrapped around an old tree. Miller pulls up behind the wreck, gets out and runs over to the car, where he sees the body What happened? of a woman slumped over in the front seat. He opens the door of the wreck. journalist They were looking for the wedding. She’d hitched a int. chevrolet ride with a photographer. They thought they the Mill- er’s car, and took off in pursuit. He couldn’t manage The woman’s neck is obviously broken and she is dead. the turn. Hey wait a minute, aren’t you— ext. road Miller turns and drives into the garage of the house. Marilyn buries her face in Miller’s shoulder. He bolts back to the car and gets in. cut to: int. car 214 d e l e t e d s c e n e s Deleted Scenes 215 int. offi ce – day parks Of course I meant it! I’m no communist! Everyone Larry Parks sits chainsmoking across from an agent or movie execu- knows that! tive. He fi ddles with a pack of Lucky Strikes. agent agent Larry, get a hold of yourself. Nobody’s accusing you of Sorry, Larry my boy. Nothing this week either. anything!

parks parks Don’t think I don’t know what’s going on! Screw you, Jack! Don’t tell me to calm down. I’m a wrecked man! Ruined! I’m an actor, I need to act. Tell agent me you have something for me—anything! I’ll take it! What do you mean, Larry? Nothing is going on here. Whatever it is, I’ll take it!

parks agent I’m not stupid! My career is ruined. I’ve been black- Look, Larry. I’m sorry. I’m truly sorry. I don’t have listed! anything for you.

agent parks I don’t know what you’re talking about.There is no Not even the smallest supporting role? I have a family blacklist, remember? to support for chrissake! What do I have to do to ex- onerate myself? Do I need to give more names? Is that parks what I have to do? Bullshit! It’s been fi ve years and I haven’t worked since I testifi ed—I testifi ed! Remember? I named names! I co- He looks across at the agent searching for an answer he won’t get. He operated with those witch hunters. I had to! If I hadn’t lights another cigarette with the butt of the last one before stubbing it cooperated, I would have been blacklisted for sure—no out, and picks up his hat. He stands up. one would have touched me with a ten foot pole. As it is, I gave them what they wanted, crawled through the Fine. I’ll go back and testify again, give ‘em everything mud for them, swallowed my self-respect. But I still they want! I’m an actor for chrissake. I’ve got to act. can’t get work! There is a blacklist and the name Larry Parks is on it! He slams the door behind him as he leaves. The agent shakes his head and exhales noisily. agent Are you saying you didn’t mean what you said in front cut to: of Congress? 216 d e l e t e d s c e n e s Deleted Scenes 217 int. federal district court – day rauh (rising) Federal District Court judge charles mclaughlin looks down Objection, your honor! The defendant has never been from the bench at Arthur Miller seated by his lawyer joe rauh, and to Czechoslavakia! prosecutor william hitz. Judge Mclaughlin glares at Rauh. judge Give or take a few minutes, this contempt trial should judge be over before noon. So let’s get on with the proceed- Prosecution may continue. ings. Prosecutor Hitz? fade to: Prosecutor laughs amicably. int. court – day prosecutor I can assure you, Judge Mclaughlin, the governments hitz case is clear-cut. We will be able to lay out the proof Now, when Mr. Miller traveled to Czechoslavakia of the defendant, Arthur Miller’s, culpability within a aware that he was forbidden to do so… matter of minutes. Rauh rises. Mclaughlin acknowledges him wearily. rauh rauh (chuckling) Mr. Miller has never been in or even near Of course, your honor, my case will take a bare mini- Czechoslavakia, but… mum of four or fi ve days to present. Rauh pauses deliciously. Rauh’s smile spreads as the smiles disappear from the shocked faces of Hitz and Mclaughlin. …even if he had been, the President of Czechoslavakia fade to: in 1947—the point at which Prosecutor Hitz places the alleged trip—was Eduard Benes, the democratically int. court – day elected leader of the democratic state of Czechoslavakia. In other words, Czechoslavakia was Prosecutor Hitz stands before the bench and declaims: our friend and ally at that time. It wasn’t even commu- nist then. This is a matter of history which Prosecutor hitz Hitz cannot deny. Now, when Mr. Miller traveled into Czechoslavakia in 1947, he knew he was forbidden by the stamp on his Rauh sits back down triumphantly. Mclaughlin looks momentarily passport to enter the country... insecure, then turns and looks at Hitz. 218 d e l e t e d s c e n e s Deleted Scenes 219

judge curtis, standing next to a buffet, is dressed in a sailor’s outfi t with I believe that falls under the four corners of the indict- navy jacket. He wears glasses. Marilyn Monroe wears a slinky dress ment. Proceed, Mr. Hitz. with sheer low-cut neckline and open back. She kisses him intensely.

Miller leans over to Rauh and whispers. monroe Was that anything? miller What does that mean, “four corners of the indict- curtis ment?” (shakes his head) Thanks just the same. rauh (laughing) monroe Nothing. It means this trial is a farce. You should see a doctor, a good doctor.

fade to: He goes over to the couch and lies down as though he were talking with a psychoanalyst. int. court – day curtis judge I have. I spent six months in Vienna with Professor Does the defendant have anything to say before sen- Freud, fl at on my back. Then there were the Mayo tencing? Brothers, injections, hypnosis, mineral baths. If I wasn’t such a coward I’d kill myself. miller I’m afraid I have nothing to add. She rushes over to him and gets on her knees.

judge monroe Very well. The defendant, Arthur Miller, is sentenced Don’t say that! There must be some girl some place to a fi ne of fi ve hundred dollars and a prison term that could. of one month. The prison term is suspended. Court adjourned. curtis If I ever found the girl that could, I’d marry her just like He pounds his gavel. that! cut to: He snaps his fi ngers. int. fi lm set – day

The set is made up to look like the interior of a fancy yacht. tony 220 d e l e t e d s c e n e s Deleted Scenes 221

monroe monroe Would you do me a favor? That’s all I am to people. A big joke!

curtis miller Certainly. What is it? You know that’s not what I mean. The scene is funny. You were great! monroe I may not be Dr. Freud or a Mayo brother, or one of monroe those French upstairs girls, but could I take another You fi nd it funny? I guess it is. For me it’s all hard work. crack at it? miller curtis You were wonderful! All right. If you insist. She turns towards him plaintively. They kiss. Now we see the crew standing around and hear the director billy wilder call out. monroe Arthur, take me out to dinner tonight! Just the two of wilder us. Like we used to. Cut! Perfect! miller Monroe gets up off of Tony Curtis and walks off the stage. She fi lls a You know I don’t have time. I have to work. cup with water and drinks. monroe wilder You always have to work. Why don’t you have time for Thank you, Marilyn! That was perfect! me anymore?

curtis miller (quietly) I’m working for you! The Misfits, your screenplay. I’m Like kissing a drill sergeant! writing it for you! It’s almost done, darling, I swear. When it’s fi nished then we can go out every single Arthur Miller who has been watching the whole thing approaches night if you want to. Monroe from behind, laughing aloud. monroe miller Oh, can’t you just take tonight off? Very funny! miller Alright. We’ll go out tonight. I just have to fi nish the 222 d e l e t e d s c e n e s Deleted Scenes 223

scene I’ve been working on. take him to Dublin. It’s not a problem!

monroe Huston gets up and leaves the room to summon his driver, while (throwing her arms around him) Sartre’s secretary tries to explain the situation to Sartre in French. Oh thank you! I’ll go get ready. sartre She leaves to her dressing room. He stares after her as she exits. (annoyed) No, no. We mustn’t waste time on such trivialities. cut to: Let’s just go to Galway. int. breakfast room – day huston (returning) Huston sits at breakfast, reading the newspaper and drinking coffee. But there’s no good dentist in Galway. You need to Sartre comes down the stairs with his jaw swollen and approaches the have that taken care of by a professional. table. secretary huston He says he will just have it taken out. Jesus! Jean-Paul what’s with your jaw? cut to: secretary (appearing from the stairs) int. bedroom – day He has a toothache. All of the shades are pulled and the room is quite dark although it is Huston attempts to examine Sartre’s cheek. Sartre is annoyed and clearly sunny outside. Marilyn lies in bed somewhere between wak- takes a seat instead. ing and sleeping. Miller enters.

huston miller That looks bad! We’d best get you into Dublin to have C’mon, get up. You have to go to work. that looked at. I’ll get a driver to take you. monroe secretary I not gettin’ up. Not ‘onna work today. Dublin is quite far, no? In fact, we could just go to Galway. He turns on the lights and moves closer. She pulls the sheet over her head. huston Galway is a small town! Your chances of fi nding a good miller doctor in Galway are almost nothing. My driver can C’mon. You missed too many days already. They’re 224 d e l e t e d s c e n e s Deleted Scenes 225

gonna sue you if you don’t go in. miller Marilyn. He goes over and tries to rouse her, shaking her gently. A tangle of blonde hair and dirty night gown, she rears up in bed and screams in She lies back, pulling him down on top of her. He begins to kiss her his face. throat and shoulders, but is only going through the motions and stops. monroe NO! I can’t! I’m sick. monroe C’mon, baby. Wha’s a matter? She lies back down and pulls the sheet back above her head. He sits down and gently whispers to her. miller Not now. miller No, You’re just tired. Things’ll be ok when you fi nish He lies limply captive in her arms. up with the movie. Then we can have a normal life together. miller You know I don’t like to… when you’re like this. She pulls the sheet down from her face with a smile. She laughs in a sultry way. She drapes her arms around him, pulling him to her. She There is silence from Monroe. She starts to cry. stares into his eyes, suggestively. miller monroe Oh, Marilyn. It’s the pills, it’s not you. Lie down with me. She pushes him away and rolls over on her side, her back to him. miller Marilyn. monroe Just go away, please. I want to sleep. monroe Lie down with me. He stands up, and considers her momentarily.

miller miller You need to go to work. Please get up. There’s coffee on the stove.

She smiles at him, holding his forehead against hers, and laughs. He exits, leaving her alone in the dark room. cut to: monroe You don’t want to? int. hotel room – day 226 d e l e t e d s c e n e s Deleted Scenes 227

Arthur Miller and Marilyn Monroe sit together across from an inter- licious and wide-spread hysteria that manifested itself viewer. inge morath moves about the room periodically snap- in the House Un-American Activities Committee’s ping photographs. persecution of many people—not just communists or anarchists, but ordinary people like you and me. interviewer Similar events can be seen throughout history in the Ok, this question is for Arthur Miller. The Misfits will witch craft trials in Salem and will be—I’m afraid—in be the fi rst time the two of you have worked together the future as well. It’s not about drawing a direct com- on a fi lm. We’ve heard that you wrote the part of Ros- parison between then and now. The Crucible is more lyn specifi cally for Ms. Monroe. generally about human bravery in the face of tyranny and irrational hysteria. That’s a message which I think monroe will survive its time and place. It was a Valentine’s Day present! interviewer interviewer Ok and Ms. Monroe. How do you feel about working Will this be the fi rst Arthur Miller work specifi cally for on The Misfits with your husband? the silver screen? monroe miller (brightening up) In some sense, yes. The Misfits was written with a fi lm Oh, I’m terribly excited. Also to work with Clark Gable in mind. I suppose I avoided writing for fi lm for a long and Montgomery Clift. I’ve admired their work for time. It’s a far more industrialized process, which as a years and am very happy to have an opportunity to writer you don’t have much control over. My place is work with them. really in the theater. Of course, some of my works that were originally plays have been adapted for the mov- The interviewer looks at his watch, scribbles a bit more in his note- ies. Death of a Salesman was made into a picture a few book and gets up to leave. Monroe and Miller rise as well. years ago and more recently there was a French fi lm based on The Crucible; that version I didn’t have any- interviewer thing to do with though. It was changed quite a bit by I’d like to thank you both for this opportunity to talk Jean-Paul Sartre who re-wrote the dialogue for the fi lm with you before you get to work! I know we are all and added considerable material of his own invention. excited to see The Misfits and to see America’s number one couple working together! interviewer Now that McCarthy’s dead, how should we view The monroe Crucible? Does it still have a message? Oh, Thank you.

miller Monroe who seems excessively tired, perhaps depressed, moves over McCarthy was just the most visible fi gurehead of a ma- to the window, pushing aside the diaphanous curtains, and stares out 228 d e l e t e d s c e n e s Deleted Scenes 229 at Reno shining in the desert sun. Miller follows her with his eyes as She begins searching frantically for a clean cup, a bottle or something he lights another cigarette, lost in thought as well. Marilyn gazes out she can offer him. the window. The two have forgotten the existence of Inge Morath who, observing all this, snaps one last photograph before leaving. huston No, Marilyn. It’s ok. I just…well, I thought I would perspective: stop by to see if you need anything…how you’re doing.

Gazing out the window from Marilyn’s perspective into the desert She puts down whatever it is she has just picked up and looks at him, landscape. relaxing a bit.

cut to: monroe Yeah thanks John. Sure I’m doing fi ne. Just fi ne. int. hotel room – day He tries to make eye contact with her, but her eyes don’t quite seem to The shades are closed and even though it is day, the room is dark. A focus. knock on the door. Marilyn in a small nighty gets up from the bed to go to the door. She opens the door to John Huston. huston You sure? monroe Hi, John! Oh, It’s so great to see you! So wonderful that monroe you came! What?

Marilyn’s hair is tangled. Her hands and feet are fi lthy. The nighty huston she is wearing is also fi lthy. She gazes through him. Huston hesitates Are you sure you’re ok? I mean you look a little, well… momentarily before speaking. ill.

huston monroe You mind if I come in, Marilyn? Yes, John, I’m just fi ne.

monroe She stares past him, her leg fi dgeting uncontrollably. They sit like that Oh. Yes, sure. Sure come on in. for a moment. Huston tries to make eye contact, but her eyes dart here and there guiltily. Huston looks as though he wants to say some- She stands aside to let him in. He enters and looks around at the thing more, but opts for the easier path of escape. messy room. She fi dgets nervously as she follows his gaze around the room. huston Well, I’d best be going now. Just wanted to check up. Oh, uh, you want somethin’ ta drink? 230 d e l e t e d s c e n e s Deleted Scenes 231

monroe Marilyn sits up in bed. The doctor searches her hand for a vein, the OK. syringe full of Amytol poised in his other hand.

He walks over to the door, but turns around before leaving. monroe (screaming) huston Get out! Get the fuck out of here! You gonna be all right for work on Monday? miller monroe (at the doctor) Oh yes. I’m gonna be all right. I’m gonna be just fi ne. What the hell are you doing? How much has she taken already? Do you know how many pills are already in He looks back from the doorway. Marilyn appears to be in a hypnotic her system? state. He closes the door behind him. Marilyn continues to stare into space. The doctor just looks up at him helplessly. Marilyn is nearly hysteri- cal. cut to: monroe int. mapes hotel hallway – evening Get out of here! Get out get out get out get out. Get the Miller knocks on the door. There is no answer and he knocks a sec- fuck away from me! ond time. The door is opened by paula strasberg. Dressed all in Miller looks at her and then retreats into black, she wears a look of concern on her face. She ushers him in with a fi nger pressed to her lips. int. living room int. living room He paces around the room, worried and upset. A few moments pass before the young Doctor comes in carrying his things. Miller grabs strasberg him. She’s in the bedroom with the doctor. miller miller How much did you give her? Is she ok? Doctor? Is everything ok. doctor strasberg She’s still awake. She should be out cold, but she’s still He’s giving her an injection to sedate her. awake. They enter miller int. bedroom You can’t give her anymore barbiturates. 232 d e l e t e d s c e n e s Deleted Scenes 233

They’re destroying her. huston Who woulda thought the most-decorated World War doctor II hero never learned how to swim? Don’t worry. I’ll never give her another injection. morath The doctor fl ees Miller’s severe gaze. Miller goes back in. You two bastards would have just let him drown. You kept on hunting while I dragged him out of the lake. int. bedroom miller Paula Strasberg approaches him as he enters. She looks at him thank- Hi, John. Can I talk to you about these changes? fully. huston strasberg Arthur! Have you met Inge Morath? She’s here with I need to eat something. Henri Cartier-Bresson to photograph the fi lming.

miller miller I’ll stay with her. (distracted) Nice to meet you. She turns to go, but he stops her. She smiles at him in return. Paula... thanks. huston She squeezes his hand, smiles slightly, then leaves. Marilyn looks at She’s a hero, you know. She saved Audie Murphy from Miller through half-closed eyes and mutters drowsily like a mantra. drowning in Mexico during the fi lming of The Unfor- monroe given. Get out get out get out get out. Miller looks at her and then back at Huston. She falls asleep. He sits down next to her and watches her sleep. miller cut to: I’m sorry, John. I’m preoccupied with endings right now. Can we talk about the fi nal scene? It’s just not int. mapes bar working.

Miller enters the bar with a marked-up script in his hand, looking for cut to: John Huston. Even before he sees him, he hears Huston’s jovial laugh from across the room. Huston sits laughing with a self-confi dent ext. salt fl ats – day European woman with short, bobbed hair. This is Inge Morath. The fi lming of the mustang scene in The Misfits. 234 d e l e t e d s c e n e s Deleted Scenes 235

gable miller Did you see that goddamn fag steal my scene? It’s not exactly the most fl attering action.

huston morath Clark, relax. He didn’t steal your scene. Who says I want to fl atter you?

gable She shoulders her camera and starts off after another subject. He He just sauntered up in the middle of my speech and lit smiles to himself, then runs after her. a goddamn cigarette behind my back! miller huston Listen. About that yawn… The scene was great! Take a look at the rushes tomor- row, and you’ll see what I mean. morath Yes? int. fi lm set miller Arthur Miller lingers in the background, watching everything from I could really use a cup of coffee. Would you like to a distance. He yawns and as he does so, Inge Morath shoots a photo- join me? graph of him. She smiles pleasantly. miller Don’t use that photograph. morath OK. morath Why not? int. mapes bar – day

miller Miller and Morath sit over coffee. He pays a lot more attention to her It’ll give the wrong impression. this time.

morath morath Everybody yawns. Driving here, we thought we were going to fi nd good provincial cooking, but instead each diner we went miller into, it was hamburger and fries all over again. And the Sure, but we don’t need to see everybody yawning. coffee! God! We survived on iceberg salads and tea.

morath miller Why not? You’re from Germany? 236 d e l e t e d s c e n e s

morath Austria. I live in Paris now.

miller You say that like an apology.

morath I needed a change of place after the war. I was a student and spent the war as a forced laborer at Tempelhof.

miller You? A German forced laborer?

morath I refused to join the Nazi student organization...

miller I see.

morath One day at the end of the war, when everything had fallen apart, an allied bomb destroyed the gates of Tem- pelhof, and I just walked out. Everything was pretty much chaos at that point and I made my way back to King Kamehameha Golf Club in Maui, Hawaii Austria and my family.

miller The pictured house was originally proposed by Frank Lloyd Wright I can understand why you would move away from to a Texas family in the late forties. When it was not built, Wright there. modifi ed the plan for a Mexican politician. Again construction was cancelled and Wright proposed the house to Marilyn Monroe and morath Arthur Miller instead. Miller and Monroe could not afford to build And today the Americans and British are less interest- the house and it was only fi nally constructed in the 1990s as a golf ed in hunting down the criminals than in competing club in Waikapu, Maui, Hawaii by Taliesin Architects, a fi rm that with their ex-ally. reconstructs buildings based on Wright designs. * * * Bibliographical Essay

The themes and historical incidents depicted in these pages are based on a variety of sources, although I do not pretend to represent the complete historical “truth” about the scenes described, but have given my own twist to them. I fi rst became conscious of the fi lm Freud the Secret Passion from a list of fi lms cut when they were dubbed into German. The list comes from the book Spielfilmsynchronisierung by Wolfgang Meier (Forum Anglicum). To fi nd out more about the Freud fi lm, I began searching the Inter- net, where I came across a number of articles written on the fi lm. Freud and the Psychoanalytic Situation on the Screen by Alain de Mijolla sup- plies a good amount of information on a number of fi lms that repre- sent Freud and/or psychoanalysis. Probably the best essay on the fi lm, Seeing Huston’s Freud by Norman N. Holland not only looks at the fi lm psychoanalytically, but also at the personality of John Huston. The fi lm itself was diffi cult to locate, so I started by reading Jean- Paul Sartre’s The Freud Scenario, the abandoned screenplay discovered in Sartre’s papers after his death and published in 1985. A good deal of 240 b i b l i o g r a p h i c a l e s s a y further information on the fi lm, I found in John Huston’s autobiogra- ten by Arthur Miller. There is also a fragment from A Place in the Sun phy, An Open Book, which was also an important source for Huston’s by Michael Wilson and Harry Brown based on the novel An Ameri- side of the confl ict with Montgomery Clift during the fi lming of Freud. can Tragedy by Theodore Dreiser. Clift’s fi fth and arguably best fi lm, A For Clift’s side of the story, I relied on Montgomery Clift: A Biography by Place in the Sun is such a good movie that Woody Allen has lifted plot Patricia Bosworth. elements from it for his last two fi lms. Sartre based his screenplay on Ernest Jones’ biography of All of the scenes and text from Freud the Secret Passion come from Freud, but I relied instead on the more recent Freud: A Biogra- the nineteen minutes that were edited out of the original fi lm when the phy for Our Time by Peter Gay and on Freud’s own self-analysis fi lm was translated into German. in the Interpretation of Dreams. The opening scene of the screen- And the rest is fi ction. play is based on the anecdote cited in a footnote in The Uncan- ny. I include this footnote directly in The Cut. I also quote from Joseph Breuer’s description of Anna O in Breuer and Freud’s Studies On Hysteria found in the fi rst volume of the Standard Edition of the Geoffrey Garrison, Berlin 2007 Complete Psychological Works of Sigmund Freud translated by James Strachey. From Sartre’s Being and Nothingness, I began to understand his criti- cism of Freud, even if I do not pretend to understand all of what he writes in this exhaustive book. Another source helpful on Sartre’s views on psychoanalysis was “Self Deception” re-printed in Existential- ism from Dosteovsky to Sartre edited by Walter Kaufman. For details about Marilyn Monroe and Arthur Miller, I read Miller’s autobiography Timebends: A Life and his play After the Fall. What better way to write a fi ction about history than to turn to a fi ction- alized account of history? Similarly, for the McCarthy era, I read Miller’s play The Crucible, and also Eric Bentley’s Are you now or have you ever been. Bentley’s play, composed from the transcripts of the HUAC trials, was my source for the testimonies of Arthur Miller and Larry Parks found in the Deleted Scenes section of this book. Huston also had a good deal to say about the McCarthy era in his au- tobiography, and the FBI fi les available online covering the HUAC in- vestigation of the Communist infi ltration of Hollywood are a fascinat- ing work of inspired fi ction. Also in the Deleted Scenes a scene is taken from The Crucible and another from Billy Wilder and I.A.L. Diamond’s screenplay for Some Like it Hot. In Freud’s Doppelgaenger, a few lines appear from The Misfits writ-