IN THE FLESH

SCREENPLAY BY

AMANDA MALONEY

BASED ON A TRUE STORY

WGA Registration # 2044148 [email protected] (561) 398-2350 FADE IN:

FLASHBACK - EXT. LOS ANGELES STREETS - DUSK Open on the serene streets of LA. The sky is painted majestically, and there are palm trees everywhere. SUPER: LOS ANGELES, 1944 MARILYN (V.O.) There's always been something that wouldn't let me go back to the world of Norma Jeane. It wasn't ambition or a wish to be rich and famous. But there was a thing in me, like a craziness that wouldn't let up. It kept speaking to me ... it kept chasing me. The serene images come to a halt. Feet hit the pavement as a woman runs rapidly. She is breathing heavily, and her brown hair floats in the wind. The woman turns to look behind her, face contorted with fear. It is young Marilyn Monroe, currently known as NORMA JEANE (17), who is wearing nothing but a nightgown. Norma Jeane turns back to the front, screaming and stopping short. She looks for somewhere to flee, but there are men on all sides of her, all with the same face. She looks up and sees a man glaring down at her from a tree. Seeing a side street, Norma Jeane takes off and runs for a block, until bursting through the front door of a tiny two- story home.

INT. DOUGHERTY RESIDENCE - NIGHT Norma Jeane runs through the foyer, rapidly up the stairs, and through a bedroom door.

INT. MASTER BEDROOM - CONTINUOUS Norma Jeane collapses into the arms of her pacing husband, JIM DOUGHERTY(tall, dark, and handsome, 20). Wrapped in a towel, hair still wet from a shower, he steadies Norma Jeane, who has tears streaming down her face. She gasps for air. JIM Norma Jeane, what is it? What's wrong? Blue Rev. (mm/dd/yy) 2.

Jim guides Norma Jeane over to the bed. NORMA JEANE He kept following me, Jim! It was so frightening. I barely escaped. JIM Who? Who was following you? Jim walks quickly over to the window, peeking through the curtain. Seeing no one, he returns to Norma Jeane on the bed. NORMA JEANE He was everywhere. He was behind me in the streets, and then suddenly he was in the car ahead of me, and he was even watching me from a tree! He holds Norma Jeane's hands in his. JIM He was in a tree? Norma Jeane takes her hands back and stands up, backing away from Jim. NORMA JEANE Don't look at me like that. JIM Like what? NORMA JEANE Like I'm crazy. Jim runs his hand through his hair. NORMA JEANE (CONT'D) I'm not crazy. I know what I saw! JIM I wasn't looking at you like you were crazy, Norma Jeane. I'm just trying to understand. Norma Jeane returns to sit beside her husband. Jim puts his arms around her. NORMA JEANE That's how I used to look at Mother. Blue Rev. (mm/dd/yy) 3.

With that, she curls up against Jim, who holds her as she sobs into his shoulder. DR. GREENSON (V.O.) Marilyn? Marilyn.

INT. DR. GREENSON'S PSYCHIATRIC CARE OFFICE - DAY SUPER: Los Angeles, 1961 MARILYN MONROE (35) sits on a couch across from psychoanalyst DR. GREENSON (50). Marilyn is a mess. She is almost unrecognizable: platinum hair in utter disarray, makeup smeared, blouse untucked. She appears to be in a drugged-up stupor. Dr. Greenson's salt-and-pepper hair and business clothing give him an air of sophistication and knowledge, yet there is still something slightly off-putting about his glance. The spacious office is covered not in plaques with degrees, but with pictures of the doctor with his arms around various celebrities. DR. GREENSON You were how old when you had that first episode? MARILYN (slurring words) Only 17. Dr. Greenson nods as he jots down some notes. DR. GREENSON So why is this the first story you chose to share with me? Marilyn stumbles off of the couch and starts wandering around the room, taking in all of the pictures of Dr. Greenson with beautiful women. Dr. Greenson spins his chair around, never wanting Marilyn to leave his line of sight. She stops in front of a picture with a woman kissing the doctor on the cheek. MARILYN Are these all former patients of yours, Dr. Greenson? He gets out of his seat and stands behind her. Blue Rev. (mm/dd/yy) 4.

DR. GREENSON Yes, these are some of the many patients I’ve helped over the years. And please, call me Ralph. Marilyn continues along the wall, tipping some photos as she walks by them. The frames swing. Dr. Greenson rushes to catch one before it can fall. Marilyn giggles and continues to wander around the room, stumbling. Dr. Greenson does not take his eyes off of her. He takes in her whole figure. Marilyn's face becomes suddenly serious. MARILYN You ever see things that aren’t really there? DR. GREENSON No. But I can imagine how confusing that must be. Marilyn shakes her head. MARILYN No one understands how real it is for me. I really thought those men were there. Dr. Greenson looks quizzically at Marilyn. He is still entranced by her as she moves about the room. DR. GREENSON What men? Marilyn answers distractedly as she begins to play with the zen garden on Dr. Greenson's desk. MARILYN In the street. Dr. Greenson walks over to the other side of his desk, standing opposite Marilyn. DR. GREENSON Right, of course. He clears his throat and straightens his tie. DR. GREENSON (CONT'D) But you don't believe they were there now? Marilyn aggressively rakes the sand in the zen garden. Blue Rev. (mm/dd/yy) 5.

MARILYN I don't know what to believe. Sand goes flying and gets all over the desk. Dr. Greenson looks like he wants to tell Marilyn to stop, but thinks better of it. DR. GREENSON How do you know for sure when something is real? Marilyn rubs her finger in circles in the sand. MARILYN When I can feel it with my own hands. Marilyn pinches sand in between her fingers and sprinkles it across the desk. DR. GREENSON (mortified) Marilyn please. You’re making a mess. Marilyn giggles. Dr. Greenson sighs and sits in his chair. DR. GREENSON (CONT'D) Tell me what you experience when you’re having an episode. Marilyn rakes the garden more aggressively with every passing moment. MARILYN Sometimes I see things and it's so vivid. But the second I tell people, they either drug me up to keep me from seeing things, or blame the drugs for what I see. Marilyn looks up into Dr. Greenson's eyes. MARILYN (CONT'D) But I'd rather be drugged up than crazy. The prongs of the rake SNAP from the pressure Marilyn applies. She looks down, surprised. They both stare at it for a moment before Marilyn puts it down and returns to her seat. 6.

DR. GREENSON Why did you come here, Marilyn? Marilyn closes her eyes. Flashes of a dimly lit grey hallway can be seen. There are quick snippets of her being carried by four men as she thrashes to get away. Her hands are bound. She is screaming. Marilyn opens her eyes slowly. Dr. Greenson is looking at her intensely. MARILYN (slurring words) I quit my last psychoanalyst. We had different strategies for how to handle my ... issues. Marilyn waves off the word "issues." Flashes can be seen once more of a heavy steel door closing. A small square piece of glass in the door is all that allows us to see Marilyn's face, contorted in anger, as she pounds on the glass with her bound, bloody fists. Marilyn shudders as she returns to the present moment, taking a second to collect herself. She sits up straight and begins patting down her hair, and tucking in her blouse. She pulls a tube of red lipstick out from her bag, pursing her lips as she drags it across them, all the while making eye contact with the doctor. MARILYN (CONT'D) I don't think that will be a problem for us. I'll just be needing something a little stronger to help me sleep. Marilyn bats her eyes and leans forward towards Dr. Greenson, exposing the top of her breasts. MARILYN (CONT'D) And maybe something to make it a little easier to wake up? Dr. Greenson drags his gaze back up to her face. DR. GREENSON I want to help you, Marilyn, and I truly believe that I can. But I don't think that more pills are the answer. Marilyn snaps up to a normal seated position, suddenly serious, seemingly sober. Blue Rev. (mm/dd/yy) 7.

MARILYN But what about when I run out? I need them to function, to work. I can't go into the studio without them! I’ll be fired! Dr. Greenson gets up and sits next to Marilyn. DR. GREENSON I promise I will do everything I can for you. I won't let you lose your job. He grabs her hands in his. She looks down hesitantly. DR. GREENSON (CONT'D) I'll tell you what. Come back here in three days for another session. If after that you don't feel that any progress has been made, I'll help you find someone else who might be more willing to prescribe. Marilyn begins to nod her head. MARILYN One more session. Dr. Greenson beams, stands, and extends his arms out to help Marilyn up off the couch. He walks her over to the door, putting his hand on her lower back. The two smile at each other. Marilyn walks out the door. As it begins to close behind her we hear: DR. GREENSON See you soon. FADE TO BLACK. FADE IN:

INT. DR. GREENSON'S PSYCHIATRIC CARE OFFICE - DAY Marilyn sits on the same couch in Dr. Greenson's office, this time her back turned to him as she anxiously peers out the window. She hides slightly behind the curtain. The doctor sits in his chair, with one leg bent over the other. He is in a nice suit, notepad in hand. Blue Rev. (mm/dd/yy) 8.

Marilyn ducks slightly, so as not to be seen by anyone outside. She covers more of her face with the curtain. The part of her face not obscured, twitches ever so slightly. DR. GREENSON Marilyn? No response. She continues staring out the window. DR. GREENSON (CONT'D) Marilyn, there’s no one out there. MARILYN I heard someone. DR. GREENSON I promise you, there’s no one there. She peers behind her to look at him. He nods in affirmation. She slowly turns around and takes a seat in a more relaxed position. DR. GREENSON (CONT'D) How have you been sleeping? MARILYN Well I ran out of pills, so I can't say I've slept well. Dr. Greenson nods and jots down some notes. DR. GREENSON How long have you been using pills for sleep? MARILYN My first agent, Johnny Hyde, would give me sleeping pills back when I started my career. I would see things as I rehearsed, I would hear the characters. I wouldn't be able to sleep after that. Dr. Greenson puts his pen and pad down on his lap. DR. GREENSON And did the pills help to get rid of the voices? MARILYN Yes, definitely. Dr. Greenson raises an eyebrow in suspicion. Blue Rev. (mm/dd/yy) 9.

DR. GREENSON Really? That’s surprising. Sleeping pills aren’t usually prescribed for that. Marilyn shrugs. DR. GREENSON (CONT'D) Care to tell me how effective they actually were? Marilyn gives up the rouse. MARILYN Johnny thought they'd calm me down. They did I guess. But the pills didn't make the voices go away. Dr. Greenson thinks for a moment. After a long pause of hesitant silence, Marilyn looks up at him quizzically. DR. GREENSON I think with further psychoanalysis we may be able to get to the root of these episodes. Marilyn sighs and slouches further into the couch. DR. GREENSON (CONT'D) I’d like to learn about your childhood. Can you tell me about your fam- MARILYN I had a pretty normal childhood. I promise there’s not much there to uncover. DR. GREENSON Okay. A beat. DR. GREENSON (CONT'D) Last session we talked a bit about Jim. I'd like to hear more about your relationship. Was he supportive of your career aspirations? Marilyn laughs to herself. Blue Rev. (mm/dd/yy) 10.

MARILYN His idea of career aspirations for me would have been to cook, and clean, and pop out children. He wasn't fond of the idea of me modeling and acting. Luckily, he wasn't really around enough to have much of a say.

FLASHBACK - EXT. DOUGHERTY RESIDENCE - DAY SUPER: Los Angeles, 1946 Jim, dressed in military attire, is saying goodbye before leaving to join the service. Norma Jeane holds him tightly. NORMA JEANE Do you really have to leave? JIM Don't make this harder, Norma Jeane. I'll be back soon. I don't expect you to understand my duties as a man. But I do expect that you know how to behave in my absence. Norma Jeane pulls away slightly. JIM (CONT'D) But I'll be home soon and we can begin our life together ... start a family? Norma Jeane nods hesitantly. Jim kisses her on the forehead. JIM (CONT'D) Be good. Jim walks to his car, and drives away. Norma Jeane waves until the car is out of sight. Her smile fades quickly, and she goes back inside.

INT. RADIOPLANE MUNITIONS FACTORY - DAY Norma Jeane and dozens of other young women stand over an assembly line inspecting parachutes. While working, Norma Jeane and RACHEL(20s), a hispanic woman next to her, engage in a conversation, sometimes forgetting to work altogether. RACHEL You don't understand his duties as a man? Blue Rev. (mm/dd/yy) 11.

Norma Jeane shrugs as she continues looking over the parachutes. NORMA JEANE That's what he said. RACHEL What a machisimo. Boys go to war expecting to fulfill their desire of truly becoming a man. I gotta tell ya, it's not war that makes a boy feel like a man, it's a woman. Rachel winks at Norma Jeane, who stifles a laugh as a group of men with cameras walk behind them. RON Here they are - the wonderful ladies doing their small part to help the war effort. Norma Jeane rolls her eyes at Rachel. RON (CONT'D) Ladies, these men from the army's Motion Picture Unit have come to take your pictures! They will be featured in the government magazine, Yank, to show the beautiful American women hard at work. Ron gestures to the photographers. RON (CONT'D) Go ahead men, pick out some beauts. The men walk around, inspecting the women. They point to a few and begin snapping pictures. As a photographer, DAVID CONOVER, begins snapping photos of Norma Jeane, he whistles deeply. She moves her body around so that the camera gets better angles while she works.

INT. RADIOPLANE MUNITIONS FACTORY - LATER The women pack up at the end of their shift. As Norma Jeane and Rachel are chatting and about to exit the factory, Ron walks over to Norma Jeane, pointing at her as he approaches. RON You. I have something for you. Blue Rev. (mm/dd/yy) 12.

Norma Jeane and Rachel stop walking. NORMA JEANE For me? RON One of the photographers wants you to call him. Says you're a real looker. Ron hands a business card over to Norma Jeane, and walks away. The name on the card reads David Conover. Norma Jeane and Rachel giddily jump and smile.

INT. PHOTOGRAPHY STUDIO - NIGHT Norma Jeane sits on a stool across from David, tapping her foot repeatedly as she waits. David attaches the camera to a tripod. DAVID Doll, I'm going to need you to relax once I start taking pictures. Norma Jeane nods and forces a smile. David finally attaches the camera and smiles brightly at her. DAVID (CONT'D) You ready? Norma Jeane nods again hesitantly. David sighs. David takes off the lens cap. As he looks through the lens, the expression on his face changes from worry to excitement. Suddenly the seemingly chaste, innocent, and scared young woman in front of him becomes this voluptuous, sexy, and self- assured goddess. Norma Jeane knows all of the right ways to move her body. The way she moves her eyes and turns her head makes her seem to be flirting with the camera. David stops taking photos for a moment. DAVID (CONT'D) How on earth did you do that? NORMA JEANE Do what? DAVID Become someone else? Blue Rev. (mm/dd/yy) 13.

Norma Jeane smiles sheepishly. NORMA JEANE I want to give the men who see these photos something to whistle about. And I wasn't going to do that being Norma Jeane. David shakes his head in wonderment. DAVID Well then goodbye, Norma Jeane. She smiles. David gets behind the camera, and she transforms through the lens once again.

INT. MASTER BEDROOM - DAY Frank Sinatra is blaring over a radio. Norma Jeane dances around in her robe, hair obscured by the towel wrapped around it. She is singing along to the crooning music. She runs into the closet, looking in the mirror as she holds up a number of outfits to her body before throwing them off to the side. She sits at her desk putting on her makeup. She hums along to the music, dancing in her seat. She makes faces in the mirror as she gets ready, pursing her lips and laughing to herself. It's as if she's putting on a show. Once she has put herself together, Norma Jeane slowly takes the towel off of her head, revealing gorgeous honey blonde locks. She grins widely, admiring her hair as she begins to style it. She is truly beginning to look like Marilyn Monroe.

INT. DOUGHERTY RESIDENCE - NIGHT Norma Jeane and David sit on the living room floor with images spread out around them from a number of shoots. She is pictured in bathing suits, dresses, and work attire. Some feature her as a brunette, others as a blonde. As Norma Jeane goes to take a pair of scissors to yet another photo, David cries out. DAVID No, not that one! It is too late. David groans. Blue Rev. (mm/dd/yy) 14.

DAVID (CONT'D) That was my favorite one. You looked stunning. NORMA JEANE It wasn't perfect. David stops what he's doing to look at Norma Jeane in shock - She looks up quickly, offering a smile, before going back to work. After a moment, David resumes looking through the photos rather distractedly. Suddenly a sound can be heard at the front door. A key turns in the lock, and the door opens wide. NORMA JEANE (CONT'D) Jim! As Norma Jeane gets up to greet him, he stares at her in awe. She goes in for a hug, but he pushes her away. He reaches out to touch her new hair, but stops himself. David starts compiling the photos and stands up. Jim closes the door and moves past Norma Jeane, and over to David. JIM Who are you? David attempts to free his hand to shake Jim's, but pictures go flying. He speaks to Jim as he attempts to collect the photos. DAVID Hi, um you must be Jim. Norma Jeane has, uh, told me a lot about you. Jim glares at David menacingly. He takes a step closer. JIM And again, who are you? Norma Jeane quickly positions herself between them. NORMA JEANE This is David. He's been photographing me for a couple of months now. I sent you some of the photos he's taken. He's enormously talented. And it's been so nice to have something occupying my time while you've been away. JIM SomeONE occupying your time. Blue Rev. (mm/dd/yy) 15.

David looks quickly back and forth between Norma Jeane and Jim. DAVID I'll uh, l-leave these h-here for you to finish l-looking over. David hands Norma Jeane the stack of photographs and quickly leaves. Jim glares at Norma Jeane. NORMA JEANE Look, Jim. These are so incredible. David has an amazing eye, and it feels good to be doing something I'm actually decent at. Jim shoulders Norma Jeane and walks up the stairs to their bedroom. Norma Jeane follows, still holding the pictures.

INT. MASTER BEDROOM - CONTINUOUS Jim stares out the window, his back to Norma Jeane. NORMA JEANE Jimmy, please. I don't want to fight. I've missed you. He turns to face her. JIM I don't want to talk about the pictures. Norma Jeane walks over to the desk, opens a drawer, and puts the photos inside. NORMA JEANE Consider it forgotten. JIM And when I return again in a couple of months, I want you to put this modeling nonsense behind you so that we can focus on starting a family. Norma Jeane nods slowly. Jim walks over to his wife. He cups her face with his hands. JIM (CONT'D) You make me crazy. Blue Rev. (mm/dd/yy) 16.

Jim tilts Norma Jeane's head up to kiss her. He kisses her neck and unbuttons her blouse, while Norma Jeane stares ahead, emotionless.

EXT. 20TH CENTURY FOX LOT - DAY Norma Jeane stands outside the lot, looking up hesitantly at the big, bold sign. She closes her eyes and takes a deep breath. When she exhales and opens her eyes, there is a steadiness in them. She is ready. As she walks through the building, every head is on a swivel. She walks confidently to the front desk. NORMA JEANE Hello, I'm here for a screen test with Mr. Lyon. RECEPTIONIST Name? NORMA JEANE Norma Jeane Dougherty. Suddenly, a suave yet eager-looking man, BEN LYON (30), rounds a corner and walks over to the desk. BEN LYON Isn't that a mouthful. Ben extends his hand. BEN LYON (CONT'D) Ben, Ben Lyon. NORMA JEANE Oh, Mr. Lyon, it's so nice to meet you. I really appreciate you taking the time to meet with me. Ben puts a hand on Norma Jeane's back and guides her with him as he walks. BEN LYON The pleasure is mine. When my good friend, David Conover, sent me over those photos of you, I knew your beauty was being wasted on still photos. But we'll just have to prove that to the rest of my colleagues, now won't we? They walk through a door onto a set. Blue Rev. (mm/dd/yy) 17.

INT. 20TH CENTURY FOX STUDIO A group of men stand around a screen in which Norma Jeane can be seen walking from a stool, over to a window. As she stares through the window her expression becomes darker and full of longing. The screen fades to black. BEN LYON What'd I tell you, gentlemen? Have I got an eye for talent, or what? The men around all nod in agreement, some rewinding the tape and whistling as they watch her move. One man stands in the back, cigar in hand, looking disapproving. The man is DARRYL ZANUCK, (48, with a thick mustache) head honcho of 20th Century Fox. MAN 1 She's definitely a looker. MAN 2 Look at the way she moves. Ben appears to care very little about the opinions of the men around him. Instead, he turns to look behind him expectantly. BEN LYON What do you think, Mr. Zanuck? Zanuck moves closer to the screen and then turns to face the men. ZANUCK I think she's a dime a dozen. Zanuck takes a long drag from his cigar, blowing out the smoke. MAN 2 She's beautiful! MAN 1 She drips sex. BEN LYON And she's talented to boot. ZANUCK We've already got a blonde- BEN LYON Mr. Zanuck, sir, I agree that we already have a- Blue Rev. (mm/dd/yy) 18.

ZANUCK Don't agree with me until I finish talking. Ben shrinks back, ashamed. The other men all hold their breaths. Zanuck stretches out the moment by inhaling again from his cigar. ZANUCK (CONT'D) We've got a blonde, and I hardly think we need another. But she's got potential. Zanuck points his cigar in Ben's direction. ZANUCK (CONT'D) You give her a six month contract, paid whether she works or not. A trial run. Zanuck walks out, and the moment the door is shut behind him, the men all let out a cheer, and ogle over Marilyn's screen test once more.

INT. DOUGHERTY RESIDENCE - NIGHT Norma Jeane walks through the front door. She is humming a song as she hangs her coat on the wall. As she turns, she screams out. Jim sits on the couch in the dark. JIM Where were you? Norma Jeane walks over to him. NORMA JEANE You startled me. JIM Where were you? NORMA JEANE (Cautious) Aunt Grace took me shopping for a new business outfit. A beat. NORMA JEANE (CONT'D) I think I might be an actress. I had a screen test last week and now they want me to come back in, and so that's why I needed a new outf- Blue Rev. (mm/dd/yy) 19.

Jim stands up. JIM You were supposed to pick me up, Norma Jeane. She retreats slightly. NORMA JEANE It slipped my mind. JIM It slipped your mind? It’s great to know how much I mean to you. NORMA JEANE I’m sorry. It was a mistake. I forgot you were coming home today. Jim makes a sound of disgust, shaking his head. NORMA JEANE (CONT'D) Why are you so angry at me for this? JIM Because you are unbelievable. I leave last time under the impression that when I returned again, modeling would be out of your system. Instead, I come back only to find out that you're planning on becoming an actress? Jim laughs coldly. Marilyn’s face twitches slightly. JIM (CONT'D) What makes you even think you'd be any good at acting anyway? That requires talent. There's more to it than just looking pretty in pictures, Norma Jeane. Jim practically spits her name out of his mouth. She looks like she has been slapped. She walks quickly into the other room, and comes back with a pile of magazines. Norma Jeane begins to throw one magazine after another down on the coffee table in front of Jim as she speaks. She matches the haughty tone he gave her. Blue Rev. (mm/dd/yy) 20.

NORMA JEANE It takes talent to make it onto the cover of all of these magazines, Jim. Norma Jeane slams down the last magazine, her beautiful face smiling up from the cover. JIM I just want you to know that acting is a tough business. You don't have the strength for it. I don't know who you have been talking to at that modeling agency, but they're filling your head with stupid ideas. This isn't for you. NORMA JEANE (quietly) I'm good, Jimmy. And I think I could be really great ... I need to be really great. Jim walks closer, puts his hands on her shoulders, and looks deeply into her eyes. JIM I just want what’s best for you. I won’t watch you get eaten alive by this industry. A beat. JIM (CONT'D) You have a choice to make. Jim removes his grip and walks upstairs to their bedroom, shaking his head. Norma Jeane cries for a moment before wiping her tears from her face. When she finally looks back up, there is only sadness accompanied by a slight surge of strength.

INT. DR. GREENSON'S PSYCHIATRIC CARE OFFICE - DAY Dr. Greenson grabs a tissue from the box on his desk, and hands it to her. She takes it gratefully, dabbing at her eyes. DR. GREENSON That must have been really hard for you, choosing between love and your career. Blue Rev. (mm/dd/yy) 21.

Marilyn shakes her head and laughs slightly. MARILYN Yeah, like it was a really tough choice. Marilyn tosses her tissue in the wastebasket by the couch and lies down. DR. GREENSON Yet clearly this is a hard topic for you to talk about. MARILYN I'm not crying for the man I lost that night. I'm crying for the woman that I've lost since then. That was the strongest I've ever been. DR. GREENSON Are you not strong now? Look what you've made of yourself since then. Look how far you've come! MARILYN Oh yes, look at me. Marilyn Monroe in the flesh. DR. GREENSON That strong woman is still in there, Marilyn. Let me help you get back to her. A beat. She slowly leans forward, coming back to a seated position. She looks around the room, stalling. Finally she looks at Dr. Greenson. MARILYN I just don't know who I'm trying to get back to. Norma Jeane or Marilyn. Dr. Greenson shrugs and offers a subtle smile. DR. GREENSON Why not both? MARILYN Yeah, both. She nods, looking off into the distance. Blue Rev. (mm/dd/yy) 22.

FLASHBACK - INT. BEN LYON’S OFFICE - DAY Norma Jeane sits across from Ben at his desk as he hands her a contract and a pen. BEN LYON This is it. You are about to officially be a contract actress for 20th Century Fox! Norma Jeane is thrilled. She begins looking over the contract. BEN LYON (CONT'D) Once you look that over, there's one more thing that needs to be addressed. NORMA JEANE What's that? BEN LYON Your name. NORMA JEANE My name? BEN LYON It's a mouthful. No one's going to be able to pronounce it! Dough- herty? Doug-erty? Do-gerty? No, it needs to be clean, concise. Norma Jeane taps the pen against her lower lip. NORMA JEANE What about Monroe? A beat. BEN LYON I like it. What's it mean? NORMA JEANE I have family with the last name Monroe. Ben nods. BEN LYON I've got it! He leans forward. 23.

BEN LYON (CONT'D) Marilyn. Marilyn Monroe. NORMA JEANE Marilyn? BEN LYON After the Broadway actress, Marilyn Miller! It's perfect. What do you think? Ben leans back, satisfied, and puts his hands behind his head. Norma Jeane takes a deep breath. NORMA JEANE (determined) I think I'm Marilyn Monroe. FADE TO BLACK. FADE IN:

INT. MARILYN’S HOUSE - DAY Marilyn’s home is a modest Spanish style hacienda house. Inside there are two large couches, a coffee table, and a large bookshelf. Everything else is in boxes. SUPER: Los Angeles, 1962 The side table is empty except for a framed picture of Marilyn sitting at a restaurant with baseball legend Joe DiMaggio. The two are smiling at each other while clinking together their champagne flutes. The bookshelf, filled with novels and plays, takes up most of the room. The corners of many are bent and worn. There are multiple copies of some, including those of Arthur Miller. Marilyn lies on her stomach on the couch, head propped up in one hand, smiling dreamily. Dr. Greenson sits casually on the other couch drinking coffee. He is dressed in slacks and a button down, a far more casual look than we’ve seen. MARILYN It was amazing, Ralph. I’ve never been so close to anyone so powerful in my life! DR. GREENSON Did you get an introduction? Blue Rev. (mm/dd/yy) 24.

MARILYN Well ... no, but he definitely noticed me. Dr. Greenson nods as if pretending to believe Marilyn. He takes a sip from his mug. She rolls onto her back, starry- eyed, speaking in a dreamy voice. MARILYN (CONT'D) I just know we’d have so much to talk about. I would ask him about civil rights, and his thoughts on the Diem regime in ‘Nam, and the House Un-American Activities Committee. DR. GREENSON You certainly know a lot about the political state of things. MARILYN Well of course I do! I like being up to date for when I actually get to talk with the President of the United States. Dr. Greenson winces slightly, tilting his head to the side. Marilyn sits up. MARILYN (CONT'D) What? You’re not a fan? DR. GREENSON He’s alright. MARILYN I think he’s brilliant. And he’s got such a presidential name to boot: John Fitzgerald Kennedy. Dr. Greenson sips his coffee. He puts the mug down on the coffee table next to the picture frame, which he picks up in its place. DR. GREENSON Joe DiMaggio. Now THAT’S a brilliant man. I used to watch every game. A true American legend. MARILYN That was the night we met. Joe told our mutual friend Norman that he wouldn't leave him alone until he set up a dinner with me. Blue Rev. (mm/dd/yy) 25.

Marilyn motions for the doctor to pass the frame over to her. She opens the back of it, and the photograph falls out. She turns it over. The back of the picture has writing on it, which Marilyn reads aloud. MARILYN (CONT'D) To my dearest Marilyn. I knew in this moment that we were saying cheers to the rest of our lives together. To endless years of our love - Joe. He gave this to me on our wedding night. Marilyn puts the photo back into the frame. She stares at it. MARILYN (CONT'D) I knew it too when we met. I had never experienced anything like it.

WE MOVE SLOWLY INTO THE PHOTOGRAPH.

FLASHBACK - INT. VILLA NOVA - EVENING Marilyn and JOE DIMAGGIO, a large, and semi-attractive man with a slightly gap-toothed smile clink their champagne flutes together. SUPER: Los Angeles, 1952 All other customers in the room strain their eyes to get a look at the handsome pair, but the two are completely enraptured by one another. MARILYN (V.O.) He was the epitome of a gentleman. Joe looks deep into Marilyn’s eyes. JOE DIMAGGIO I’ve had a great time tonight. I’m sorry it took so long for Norman to set us up. MARILYN I’m not. I like to build up the anticipation. JOE DIMAGGIO Did I live up to it? Blue Rev. (mm/dd/yy) 26.

Marilyn looks at Joe flirtatiously. She pretends to think for a moment. MARILYN The jury’s still out. JOE DIMAGGIO I’ve always liked a challenge. Joe strokes Marilyn’s arm. DR. GREENSON (V.O.) So, what was it that drew you to him?

INT. MARILYN'S HOUSE Dr. Greenson looks at Marilyn intensely. MARILYN It was just an instant connection. We were very drawn to each other. DR. GREENSON Was it a physical connection? Marilyn looks uncomfortable. MARILYN To an extent, yes. DR. GREENSON What was your physical relationship like? MARILYN That’s a very personal question. DR. GREENSON It’s my job to ask you personal questions. MARILYN I don’t see how it’s all that relevant. DR. GREENSON It’s great to know the details of your relationships. It helps me to compile a more thorough ... A beat. Blue Rev. (mm/dd/yy) 27.

DR. GREENSON (CONT'D) ... patient analysis. Marilyn looks somewhat skeptical. MARILYN Well ... I guess you could say we certainly weren’t lacking in passion. SMASH CUT TO:

INT. JOE DIMAGGIO’S HOME - NIGHT As the front door swings open, Marilyn and Joe can be seen fumbling around as they make out, unwilling to detach themselves long enough to make it upstairs. Joe’s arm reaches out wildly to find the door to slam it closed, eyes still shut. The two stumble into the kitchen where Joe backs Marilyn up to a wall. He leans against it as they continue to go at it. He picks her up and moves her over to the kitchen counter, never breaking apart. As Joe lays her down we focus on a picture of him, mounted on the wall, in his New York Yankees uniform on the field. We hear the sounds of their clothes coming off and slight moaning.

INT. MARILYN'S HOUSE - DAY Dr. Greenson is furiously scribbling in his notepad. MARILYN That’s the most serious note-taking I’ve seen from you yet. Dr. Greenson looks up as if caught red-handed. DR. GREENSON What? Marilyn laughs and shakes her head. DR. GREENSON (CONT'D) As I told you, it’s all important to know. He jots down some final notes. Blue Rev. (mm/dd/yy) 28.

DR. GREENSON (CONT'D) What was it like dating someone else in the spotlight? MARILYN Being with Joe was refreshing. He wasn’t like most people in the public eye. DR. GREENSON How’s that? MARILYN He didn’t want to be recognized, and he didn’t care for the attention. He just wanted a normal life. DR. GREENSON And what did you want? MARILYN I thought I wanted that too. But mostly I just wanted to give him the life he wanted.

FLASHBACK - EXT. COURTHOUSE - DAY Marilyn and Joe walk out of the courthouse grinning. Marilyn looks stunning in a long white wedding gown, flowers in hand, and placed sporadically throughout her hair. SUPER: Los Angeles, 1954 Press immediately snap-to upon seeing the happy couple. Marilyn holds tightly to Joe’s arm, letting him take the lead as they approach the press. PRESS Joe, Marilyn! How’s it feel to be married? JOE DIMAGGIO We are elated to be married. We’re excited to settle down and begin a simple life together. PRESS Where will you live? Blue Rev. (mm/dd/yy) 29.

JOE DIMAGGIO We plan to stay right here in Los Angeles, although my beautiful bride will be traveling to New York City soon for her new picture. PRESS Marilyn, how long do you plan to continue working? Marilyn steps forward slightly to address the press, but as Joe begins to answer for her, she slinks back. JOE DIMAGGIO That’ll be all the questions today, thank you. We’re off to our honeymoon! The two walk down the courthouse steps arm-in-arm as camera bulbs pop after them.

INT. IMPERIAL HOTEL ROOM: JAPAN - NIGHT Marilyn leans over the balcony, waving at fans below. They all cheer, and she blows them a kiss. She looks behind her to see Joe standing inside the hotel room watching. She smiles widely at him, before turning back to look at the fans. Joe walks out onto the balcony, wrapping his arms around Marilyn from behind. He smiles at the onlookers. He leans into Marilyn’s ear. JOE DIMAGGIO (whispering) Let’s go inside, Marilyn. MARILYN Just a few more minutes? JOE DIMAGGIO (sweetly) They’ll still be there when we’re done, I’m sure. Marilyn gives Joe a seductive smile. He kisses her neck. The two walk back into the room, closing the balcony door behind them. Joe continues kissing Marilyn’s neck, and she grabs the drawstring to the blinds, lowering them down. Blue Rev. (mm/dd/yy) 30.

INT. IMPERIAL HOTEL ROOM: JAPAN - LATER Joe and Marilyn are cuddled up in bed, under the covers. He plays with her hair, while she stares off dreamily. JOE DIMAGGIO I have something for you. Marilyn looks up, excited. Joe gets out of bed and walks over to his bag. He grabs something and gets back in bed. He hands Marilyn the photograph of their first date. Marilyn’s eyes well up. MARILYN That was the most incredible night. He kisses her forehead. JOE DIMAGGIO Take it out. She looks at him, confused. He nods at the frame. She opens the back, and the photo falls out. She looks at it, and turns it over. A tear falls down Marilyn’s face as she reads Joe’s message. MARILYN I knew it then too. She puts the photo back in the frame, and places it on the nightstand. She smiles and leans into Joe. They share a moment in silence. MARILYN (CONT'D) Joe? JOE DIMAGGIO Hmm? MARILYN Promise me something? JOE DIMAGGIO Of course. MARILYN If I die first- Joe’s face goes dark and serious. JOE DIMAGGIO Marilyn. Blue Rev. (mm/dd/yy) 31.

MARILYN Hear me out. She waits for an objection, and doesn’t get one. MARILYN (CONT'D) If I die first ... will you place flowers at my grave every so often like Jean Harlow’s husband? JOE DIMAGGIO Marilyn, this is morbid. MARILYN Please, Joe. Joe wraps his arms tightly around Marilyn. He breathes out. JOE DIMAGGIO I will. Marilyn looks up into his eyes. MARILYN Promise? He stares lovingly back. JOE DIMAGGIO Promise.

INT. MARILYN'S HOUSE - DAY Marilyn smiles wistfully. Dr. Greenson gives her a second to return to the moment. DR. GREENSON What made you think to ask Joe to do that? MARILYN I just don’t want to leave this world without knowing that someone will be thinking of me. Dr. Greenson’s face softens. MARILYN (CONT'D) Is it bad that I often contemplate my own death? Blue Rev. (mm/dd/yy) 32.

DR. GREENSON Well that depends. It’s normal to wonder how you’ll die, or wonder what will come of those you leave behind. She nods, thinking. DR. GREENSON (CONT'D) So you and Joe, you two were happily married? MARILYN We were. DR. GREENSON So what happened? MARILYN We were happy ... for a time. He waits for further explanation. MARILYN (CONT'D) You know married life. Marilyn gestures to the wedding ring on Dr. Greenson’s finger. MARILYN (CONT'D) We had our ups and downs, but I had never known true love until Joe. DR. GREENSON Why did you two separate? Marilyn stands quickly, moving over to the coffee table. MARILYN Can I get you more coffee? DR. GREENSON No, I’m fi- Marilyn grabs his mug, and walks quickly into the kitchen. The doctor sighs and looks down at his notes that read: Dissociating. Loss of self. Abuse? Marilyn calls loudly from the other room. MARILYN (O.S.) Do you take sugar in your coffee? Blue Rev. (mm/dd/yy) 33.

DR. GREENSON I’m quite alright, Marilyn. I don’t need anymore. Marilyn walks back in with the now full mug and a sugar cube tray. MARILYN Coffee is about the one thing I can do right. I’m not much good in the kitchen for anything else. DR. GREENSON (hushed) Did he hurt you? Marilyn freezes over the coffee table. The mug in her hand starts shaking slightly. She puts it down, along with the sugar tray. She backs away slowly to her spot on the couch, sinking into it. MARILYN He didn’t mean to. I know he didn’t. He loved me more than anything. A beat. MARILYN (QUIETLY TO HERSELF) (CONT'D) Still does. DR. GREENSON Do you know why he hurt you? Marilyn chews on her bottom lip. MARILYN He was just so jealous.

FLASHBACK - EXT. NYC STREETS - EVENING A crowd is gathering swiftly as onlookers notice the filming of “The Seven Year Itch.” SUPER: New York City, 1954 MARILYN (V.O.) He couldn’t stand the thought of men watching me. Men whistle as Marilyn steps on the subway grates in her iconic white halter dress that blows up with the passing of each subway car below. Blue Rev. (mm/dd/yy) 34.

Marilyn smiles and waves. The crew and the police keep the men from rushing onto the set. As Marilyn’s dress blows up the onlookers all cheer. She laughs and blows kisses, until she finds Joe in the crowd and her smile vanishes. He glares at her disapprovingly and disappears into the crowd.

INT. NYC HOTEL ROOM - NIGHT Marilyn quietly closes the door. Suddenly a figure pushes her against the wall, hand around her throat. JOE DIMAGGIO What the fuck was that today, Marilyn? You felt like putting on a show for all of your admirers, huh? How many times have I told you not to act like such a goddamn slut? Marilyn’s hands grasp Joe’s tightly, trying desperately to remove them from her throat. MARILYN Joe, p-lease. You-you’re hurti- me! Joe lets go of Marilyn. JOE DIMAGGIO I’m sorry, Marilyn. I don’t want to hurt you. I just don’t understand why you do it. MARILYN I was working, Joe! It’s my job! Marilyn moves away from the wall, while Joe continues to face it, not wanting to look at her. JOE DIMAGGIO Can’t you give it up? MARILYN Give what up? JOE DIMAGGIO All of it. All of the fame and the fortune and the onlookers. I did. Blue Rev. (mm/dd/yy) 35.

MARILYN But I’m still in my prime. Joe turns on her, angrily. JOE DIMAGGIO What is that supposed to mean? Marilyn looks down and speaks quietly. MARILYN Your career was over. Mine has just begun. He steps towards her, and she takes a step back. MARILYN (CONT'D) Please Joe, not again. Suddenly the light hits on bruises covered with makeup on her arms and legs. She pauses, waiting for him to come towards her again. He doesn’t. MARILYN (CONT'D) (quietly) You want me to be this beautiful ex- actress, just like you’re the talented ex-baseball legend. But I haven’t had a chance to get there yet. Suddenly there’s a loud knock at the door. The person on the other side doesn’t wait for a response before opening the door slightly and poking her head through. It’s the beautiful PATRICIA (PAT) KENNEDY LAWFORD (30s), sister to JFK. PAT Everything alright in here? I heard a lot of yelling from next door. Joe looks at Pat, his irritation evident. JOE DIMAGGIO We’re fine. Pat returns Joe’s irritated look. She looks to Marilyn, who nods and smiles. MARILYN We’re alright. Thank you, Pat. Blue Rev. (mm/dd/yy) 36.

PAT I’m right next door if you need me. Pat smiles at Marilyn and turns to look menacingly at Joe before shutting the door behind her.

INT. MARILYN'S HOUSE Dr. Greenson pulls a handkerchief out of his pocket, and hands it to Marilyn, who takes it gratefully. DR. GREENSON Who was the woman who came in to check on you? Marilyn smiles through her tears. MARILYN That was Pat Kennedy Lawford. She’s been a dear friend of mine for years now. DR. GREENSON As in ...? MARILYN The President’s sister, yes. That’s how I got to be near him the other night. I went as her guest. DR. GREENSON What was she doing at your hotel with Joe? MARILYN Her husband Peter is an actor as well, and he was filming nearby in the city. DR. GREENSON Are you two still close? MARILYN Yes. I’m seeing her later this week. A beat. MARILYN (CONT'D) I’ve never had a lot of girlfriends before, but really I consider her to be more of a sister than anything. Blue Rev. (mm/dd/yy) 37.

DR. GREENSON So she didn’t trust Joe much? MARILYN No, but I couldn’t hide much of anything from her. She could tell something was wrong, and then when she saw the bruises ... She’s the one who helped me get away from him in the end. Dr. Greenson jots down some notes. DR. GREENSON What were her thoughts on Arthur Miller? Marilyn looks surprised. MARILYN Someone’s done their research. Dr. Greenson freezes almost unnoticeably before feigning nonchalance. DR. GREENSON You’re a public figure, Marilyn. And a pretty big one at that. Marilyn looks slightly skeptical, but carries on. MARILYN Pat thought he was handsome, sophisticated. Which he was of course. DR. GREENSON How did the two of you meet? Marilyn laughs lightly to herself. It’s almost scornful. MARILYN This used to be one of his favorite stories to tell. He told me later that I looked like the saddest girl he’d ever met.

FLASHBACK - INT. “AS YOUNG AS YOU FEEL” SET - EVENING SUPER: Los Angeles, 1955 Blue Rev. (mm/dd/yy) 38.

People are moving about everywhere. Marilyn sits on the ground, arms wrapped around her legs like a small child. Her director, HARMON JONES, is yelling at her. MARILYN (V.O.) Why he didn’t just run then, I’ll never know. HARMON You don’t need her Marilyn. I need you to listen to me. You can do this on your own. In walks ARTHUR MILLER (36), an extraordinarily tall, lanky, and ruggedly handsome man with an air of sophistication. He leans against a wall, watching the drama unfold. MARILYN I’m telling you, I can’t do it without Paula! Marilyn begins rocking back and forth. HARMON Will someone please, for the love of God, find me Paula Strasberg! Harmon walks off set muttering to anyone who will listen. HARMON (CONT'D) Might as well use her while she’s here. The woman gets paid almost as much as I do to take care of that mess. Marilyn sits crying. In walks PAULA STRASBERG (26), acting coach extraordinaire. Immediately upon seeing her, Marilyn jumps up and runs over to her. MARILYN There you are! I told them that I couldn’t do the scene without you. Paula hugs Marilyn closely. PAULA Well of course not. How are you to know if you’re any good if I’m not there to tell you? She smiles brightly at Marilyn. PAULA (CONT'D) Where is Harmon? Blue Rev. (mm/dd/yy) 39.

MARILYN He went to find you. Or he needed a break from me. PAULA I’ll talk him down. Paula saunters off, and Marilyn is left all alone. She looks around for someone near, but no one is paying attention to her. Her eyes finally land on Arthur, still leaning against the wall watching her. MARILYN Hi. ARTHUR Hi. Arthur leaves his perch and comes closer. He extends his hand. ARTHUR (CONT'D) Arthur Miller. Pleased to meet you. MARILYN THE Arthur Miller? I’m such a fan of your work! ARTHUR (shocked) You’ve read my work? MARILYN Well of course, you’re an incredible playwright! Arthur is extremely pleased. ARTHUR What’s your favorite? MARILYN Death of a Salesman. I own two copies. ARTHUR Why two? Marilyn looks sheepish. MARILYN Well the first is filled with pen marks with all my favorite lines, and notes, and corrections- Blue Rev. (mm/dd/yy) 40.

Arthur is humored. ARTHUR Corrections? MARILYN Well I guess there’s a few things I wasn’t entirely fond of. I always try to think about how it would come across if I were acting in it. And some things just don’t work. HARMON (O.S.) Marilyn!! Marilyn jumps. She looks torn. She does not want this conversation to end. Neither does Arthur. MARILYN Maybe we could grab dinner sometime and I could show you some of those notes. Arthur is slightly taken aback by Marilyn’s forward nature, but is pleased. ARTHUR How about tonight? Marilyn nods as she runs back to Harmon. MARILYN I can’t wait! ARTHUR Me neither. Marilyn joins Harmon and Paula as they both fight over who will explain the scene to her. MARILYN (V.O.) Arthur was a dream. He was by far the most intelligent man I’d ever met. And his vested interest in my own thoughts and pondering made me feel intelligent too. It made me feel worthy.

INT. MARILYN'S HOUSE - AFTERNOON Dr. Greenson and Marilyn are in their same seats, just sprawled out in a much more relaxed fashion. They’re just two friends talking now. Blue Rev. (mm/dd/yy) 41.

DR. GREENSON Why do you think that is? MARILYN My whole life I was told that I was beautiful. And then when I started acting, I began to believe it. But all I was given were these dumb blonde roles, and I knew I was destined for so much more than that. DR. GREENSON And Arthur saw that? MARILYN He promised me he would write me a real role. Something with grit and heat and intensity. He said it would make me a real star. DR. GREENSON And did he? MARILYN Well, he gave me A role. She rolls her eyes slightly. Dr. Greenson doesn’t notice. DR. GREENSON Was it his intelligence that attracted you to him? MARILYN Oh, yes. He was brilliant. I fell in love with his mind. Dr. Greenson writes Intelligence. Love of mind in his notes. DR. GREENSON And you liked that he saw more to you than just how you’d been showcased to the world? MARILYN Exactly. He seemed to really see me for me. DR. GREENSON Being seen is important to you. MARILYN Of course. Blue Rev. (mm/dd/yy) 42.

He nods and takes more notes. DR. GREENSON What was it like having a professional relationship with him? MARILYN It completely destroyed what was left of our relationship. The only thing that kept us together was that we shared in each other’s misery.

FLASHBACK - EXT. NEVADA DESERT - DAY A scorching hot day in the desert on the set of The Misfits. Arthur is speaking with director JOHN HUSTON, while Marilyn runs lines off to the side with fellow lead CLARK GABLE. SUPER: Nevada, 1960 JOHN HUSTON I don’t care if you wrote the part specifically for her, and I don’t care if she’s your wife! Some crew members begin to look at the pair. ARTHUR Shhh! Please John, she’s fragile right now. She already doesn’t think that she can do this, without you making her feel worse. John steps right into Arthur’s face. JOHN HUSTON You listen to me. I’ve put more money into this production than you would dream of having. We are weeks behind schedule because of your wife and her little “pill problem.” I will not let her ruin yet another one of my productions. ARTHUR Technically The Asphalt Jungle was a success. John shakes his head in anger and wonder. Blue Rev. (mm/dd/yy) 43.

JOHN HUSTON Somehow she is always magnificent on screen... John turns to look at Marilyn as she grows more and more frustrated with her inability to memorize her lines with Clark. JOHN HUSTON (CONT'D) Just a nightmare on set. John walks away from Arthur, who walks towards Marilyn and pulls her aside. ARTHUR Get it together, Marilyn. You’re embarrassing me. MARILYN I’m trying, Art. It’s been impossible to focus on anything. Marilyn’s lower lip begins to quiver. Arthur looks crestfallen and pulls her into a tight embrace, whispering in her ear. ARTHUR I know, I know. I’m sorry. Me too. Just do the best that you can. We’ll get through this. Marilyn nods her head into Arthur’s chest. DR. GREENSON (V.O.) Get through what?

INT. MARILYN'S HOUSE - DUSK Marilyn is staring off into space, while Dr. Greenson comes to a seated position. Suddenly Marilyn snaps to. MARILYN I’m sorry. I can’t talk about this. Marilyn gets up, grabs the still-full mug and sugar tray, and wanders into the kitchen. DR. GREENSON Marilyn, I think we were on the verge of something important. 44.

INT. MARILYN’S KITCHEN - CONTINUOUS Dr. Greenson follows Marilyn. She begins washing the mug absent-mindedly. DR. GREENSON Please Marilyn, it’s important not to subvert memories that cause pain. It’s better to bring them to the surface and understand who we are because of them. Marilyn tosses the mug into the sink, shattering it. Dr. Greenson jumps. MARILYN What good is it, exactly? I’ve been undergoing psychoanalysis for probably as long as you’ve been practicing it, and it only causes me more hurt everyday. Dr. Greenson takes a step towards Marilyn, who moves away. DR. GREENSON I’m sorry, Marilyn. I pushed you too hard today. We’ve covered a lot of ground. MARILYN Covered a lot of ground? Do you hear yourself? This is my life! Do you think I enjoy talking about what led to the demise of my marriages? DR. GREENSON Marriage is hard, yes. But maybe if you talk about it you’ll understand how to have better relationships going forward. MARILYN Oh, what do you know about it? You’re happily married with a wife and children. And I couldn’t even ... Marilyn turns away, her shoulders shaking violently. She lets out a wail. Dr. Greenson rushes over and puts a hand lightly on her shoulder. She turns into him and sobs. Blue Rev. (mm/dd/yy) 45.

MEMORY FLASH - INT. MILLER’S ENGLAND HOUSEHOLD - DAY Marilyn is grinning from ear to ear as she stands in front of a long floor-length mirror, hands under a slight bump in her stomach. Arthur pokes his head into the room and comes to stand behind Marilyn, putting his hands on hers. They are overjoyed.

INT. MARILYN'S KITCHEN - DUSK Marilyn puts her arms around Dr. Greenson’s neck and he holds her tightly, rubbing her back. DR. GREENSON It’s okay. You’re enough, Marilyn. You’re enough.

MEMORY FLASH - INT. MILLER’S ENGLAND HOUSEHOLD - NIGHT A scream rises up through the house. Arthur comes running into the bedroom to find Marilyn stumbling out of the master bathroom with blood on her hands and dripping down her legs. She looks at him with such devastation. He runs to her side.

INT. MARILYN'S KITCHEN - DUSK Marilyn and Dr. Greenson continue to embrace. When they finally pull apart, Dr. Greenson tucks a piece of hair behind her ear, and grabs her by the hand, leading her to her bedroom.

INT. MARILYN’S BEDROOM - CONTINUOUS They enter the messy room, with clothes strewn about, and boxes everywhere. Dr. Greenson guides Marilyn to her bed, tucks her in, kisses her forehead gently, and turns out the light. He starts to walk out of the room. MARILYN Ralph? He turns and waits. MARILYN (CONT'D) Can you stay? He thinks, and nods slowly. He goes to sit on a chair, moving some clothes off of it. Marilyn rolls onto her side, and closes her eyes. Dr. Greenson watches her for a moment, before closing his eyes as well. Blue Rev. (mm/dd/yy) 46.

EXT. DR. GREENSON’S HOUSE - EVENING Marilyn’s fist knocks on the front door. She catches a glimpse of herself in the glass in the door and fixes her hair. She bounces on her toes nervously. The front door swings open, revealing Dr. Greenson. DR. GREENSON Hey! Come on in!

INT. DR. GREENSON'S HOUSE - CONTINUOUS Marilyn walks through the open door and looks around the foyer, taking it all in. She jumps slightly as she feels hands rest lightly on her shoulders. DR. GREENSON I’m sorry. Can I take your coat for you? MARILYN Oh, yes please. Dr. Greenson helps Marilyn out of her coat, revealing a beautiful dress that accentuates Marilyn’s figure perfectly. Dr. Greenson hangs Marilyn’s coat on the rack, and turns to face her, eyes going wide. DR. GREENSON You look beautiful today, Marilyn. Marilyn smiles sheepishly, blushing as she looks down. DR. GREENSON (CONT'D) I’m so glad you could make it. I know this is last minute, but I didn’t want to wait until our next session to make sure you were alright. Dr. Greenson leads Marilyn through a spacious and beautiful living room with high ceilings and art everywhere. On the fireplace mantle sits a number of photographs of Dr. Greenson with his wife and children. As Dr. Greenson holds the door to his home office open for Marilyn, she looks down at his hand and notices that his wedding ring is not on. MARILYN Is your family home? I would love to meet them. Blue Rev. (mm/dd/yy) 47.

INT. DR. GREENSON’S HOME OFFICE - CONTINUOUS Marilyn sits on the couch and Dr. Greenson takes a seat on the love seat next to her, rather than at his desk. DR. GREENSON No, my wife took the kids to go visit her parents for the weekend. MARILYN You didn’t want to go with them? DR. GREENSON What if something happened and you needed me? MARILYN (surprised) I would’ve been fine. I don’t want to keep you from spending time with your family! I didn’t realize I’d become such a burden. DR. GREENSON Marilyn, no! You’re never a burden. I just value my work. Marilyn looks down solemnly. DR. GREENSON (CONT'D) Marilyn? Are you alright?

MEMORY FLASH - INT. NYC HOTEL ROOM - NIGHT Joe grabs Marilyn by the throat.

MEMORY FLASH - INT. MILLER'S ENGLAND HOUSEHOLD - NIGHT Arthur looks at Marilyn coldly and distantly.

MEMORY FLASH - INT. DR. KRIS'S OFFICE - EVENING A woman we’ve never seen before sits across from Marilyn in a psychiatric office, looking concerned.

MEMORY FLASH - INT. PSYCHIATRIC WARD - NIGHT People in drab outfits slide a tray of food through a slot in a door. It’s the grey cell of a room from similar flashes we’ve seen before. Blue Rev. (mm/dd/yy) 48.

DR. GREENSON (V.O.) Marilyn? SMASH CUT TO:

INT. DR. GREENSON'S HOME OFFICE - EVENING Marilyn looks up, tears in her eyes. MARILYN You are always so kind ... and you always listen to me. Dr. Greenson chuckles. DR. GREENSON It’s kind of in the job description. MARILYN Not all therapists seem to abide by that. Dr. Greenson looks at Marilyn quizzically. She takes a moment, closing her eyes. When she opens them again, they are steady. MARILYN (CONT'D) I had this therapist once. A beat. MARILYN (CONT'D) Dr. Kris...

FLASHBACK - INT. DR. KRIS’S OFFICE - EVENING Marilyn sits on the couch, one hand to her head, the other at arms length trying to push someone away - someone who isn’t there. SUPER: New York City, 1961 MARILYN Hold on... Yes, that’s a good point. Hold on, and I’ll tell her. Marilyn looks up at the woman across from her - DR. KRIS, an incredibly attractive woman with a stern face. Marilyn’s extended hand reaches up to SMACK her own beautiful face - hard. 49.

Dr. Kris’s eyes widen with horror. DR. KRIS Marilyn, Marilyn, no one is there. Look at me. She rolls her chair over to the couch, but Marilyn quickly stands up and begins pacing, looking wild. MARILYN She wants me to end it! She says that I’ll end up just like my mother and Grandma Della if I don’t. DR. KRIS Who says that, Marilyn? Marilyn turns sharply to face Dr. Kris. She stands still only for a moment. MARILYN Norma Jeane. Marilyn continues pacing. DR. KRIS Marilyn, you ARE Norma Jeane. Marilyn stops once again. She moves quickly over to stand directly in front of Dr. Kris, screaming in her face. MARILYN Don’t you ever say that! I am not Norma Jeane, I will never be her. I never was her. She’s crazy, she’s crazy! Dr. Kris attempts to restrain Marilyn, who is kicking and hitting. Marilyn suddenly loses the will to fight, and begins sobbing. She covers her face with her hands, getting mascara all over them. Once Marilyn regains her composure, Dr. Kris addresses her. DR. KRIS Marilyn, I think it would be really good for you to go somewhere for a few days and get some clarity. I don’t know that I’m best equipped to help you, but I know of a great place that is. Blue Rev. (mm/dd/yy) 50.

MARILYN You think I’m crazy. Dr. Kris hesitates. MARILYN (CONT'D) You’re trying to lock me up. DR. KRIS Don’t think of it like that, Marilyn. Look at it as more of a vacation, a spa if you will. Marilyn thinks on this for a moment. She nods slightly.

INT. PSYCHIATRIC WARD - NIGHT A dimly lit gray hallway. The few working fluorescent lights overhead flicker menacingly. Faint screams can be heard from around the corner. They grow louder with every passing second. It’s like the flashes we’ve seen before. Marilyn can be seen suddenly rounding the corner. She is carried by four burly men as she thrashes, trying to escape their grasps. Her hands are bound. A heavy steel door opens in the middle of the hallway, and the men carry Marilyn through it. They practically toss her inside and scurry out. She scrambles to her feet making a run for the door, but it closes and locks just as she reaches it. All that can be seen of her through the small square of thick glass in the middle of the door is her face and her bound hands as she pounds on the glass, screaming. MARILYN Please, please! There’s been some kind of a mistake. Call Dr. Kris, please! I don’t belong here! Marilyn’s voice grows weaker and quieter. She slowly stops banging on the glass, and slides down to the floor, looking at her now bloody hands. MARILYN (QUIETLY TO HERSELF) (CONT'D) I don’t belong here. DISSOLVE TO: 51.

DREAM SEQUENCE - INT. ORPHANAGE - NIGHT A beautiful nine year old girl with perfect brunette ringlets in a raggedy dress is holding hands with her AUNT GRACE, a beautiful woman in her mid-30s. They walk down a dark and barren hallway. AUNT GRACE Wait here, Norma Jeane. Young Norma Jeane nervously looks at her Aunt Grace, but nods trustingly. Aunt Grace walks down the hallway and shakes hands with a scary-looking woman with a tight bun. Their conversation cannot be heard, but they talk quickly and quietly, with short glances back and forth at Norma Jeane, who looks on hesitantly. The two women walk towards Norma Jeane, and Aunt Grace squats down to her eye level. AUNT GRACE (CONT'D) You’re going to stay here for a little while. NORMA JEANE But Aunt Grace, this place is for people who don’t have a family. I have you and Doc! Aunt Grace looks torn. AUNT GRACE I’m sorry, Norma Jeane. We can’t afford to have you live with us anymore. Norma Jeane’s eyes well up with tears. NORMA JEANE But what about Aunt Ida! I can live with Aunt Ida! Norma Jeane grabs onto Aunt Grace’s legs tightly. NORMA JEANE (CONT'D) Please, Aunt Grace, please don’t leave me here. I’m scared. AUNT GRACE Please, take her away, I can’t bear this. She hugs Norma Jeane and whispers in her ear. 52.

AUNT GRACE (CONT'D) I’m so sorry, Norma Jeane, I’m so sorry. Aunt Grace lets go of Norma Jeane suddenly and walks rapidly down the hallway and out of sight. The woman guides Norma Jeane down a hall, against her will. She attempts to escape, but the woman grabs her tightly and walks with her as Norma Jeane screams and thrashes wildly. NORMA JEANE But I’m not an orphan! I’m not an orphan! SMASH CUT TO:

INT. PSYCHIATRIC WARD - DAY Marilyn wakes up startled, eyes wide open, still slumped against the door. She takes a moment to realize where she is. As soon as she notices her bound fists, she shoots up, looking around for a way to escape. Marilyn runs over to a heavy chair in the corner of the cell. She struggles to lift it over her head, but takes a deep breath and runs at the door, slamming it against the thick glass. Again and again she runs for the door, each time the chair making a small dent in the glass. Marilyn looks down at her bound wrists- blood coming out where the binds have chafed them. She lifts the chair once more, and with all of her might hurls it against the glass. The glass in the door shatters, and pieces of it fall into the cell. Heavy footsteps can be heard as guards run over. Marilyn grabs a shard of glass. She backs up to the furthest part of the room, cuts the bind holding her wrists, and holds the shard to her left wrist. The guards faces appear in the now shattered glass hole in the door. MARILYN If you don’t let me out of here, I’ll kill myself. She is determined. The glass is dangerously close to cutting her skin. Blue Rev. (mm/dd/yy) 53.

The guards burst in and grab Marilyn. One twists her wrist until she loses her grasp on the shard of glass. They pick her up again, this time face down. MARILYN (CONT'D) No, please! You don’t understand. I don’t belong here. There’s been a mistake! GUARD I disagree. You’re a very sick girl. The men carry Marilyn down the hall and into a new room with padded walls and no glass in the door. MARILYN No, please no! Please just let me call Joe! The guards plop her down and begin to walk out. GUARD Phone calls are for the well- behaved patients. The door slams shut behind them, leaving Marilyn in a cold, dark, and even smaller room.

INT. DR. GREENSON'S HOME OFFICE - NIGHT Dr. Greenson looks at Marilyn in awe. Marilyn looks down, crying heavily. DR. GREENSON That’s why you came to me, isn’t it? Marilyn does not look up. Dr. Greenson gets out of his seat and moves over to sit next to Marilyn on the couch. He grabs her hands in his. DR. GREENSON (CONT'D) Your last psychoanalyst put you in a psychiatric unit against your will? MARILYN I didn’t belong there. That place was worse than the one my mother was in. 54.

DR. GREENSON Is that why you lived with your Aunt Grace? Marilyn nods. DR. GREENSON (CONT'D) And they couldn’t afford to keep you anymore? Marilyn looks like she wants to disagree and say something, but hesitates. Dr. Greenson notices this and scoots closer to her. DR. GREENSON (CONT'D) What is it, Marilyn? Why did they leave you in that orphanage? Marilyn looks down. Dr. Greenson lifts up Marilyn’s chin with his index finger. They share a long glance. MARILYN Doc, Grace’s husband ... A beat. MARILYN (CONT'D) ... He would come into my room at night and DR. GREENSON Oh, Marilyn. MARILYN I tried to tell her. She was so afraid of losing another man, she decided it would be better to lose me instead. As tears stream down Marilyn’s face, Dr. Greenson softly wipes them away. DR. GREENSON You have suffered more pain than any one person should ever have to endure. Marilyn wipes away her tears and stands up. Dr. Greenson looks upset to have this distance now stand between them. She begins to wander around the room. MARILYN When I lived in that orphanage I had the same dream every night. (MORE) 55. MARILYN (CONT'D) I dreamt that I would one day be so beautiful that no one would leave me behind. That every person I passed would whisper about how mesmerizing I was. Marilyn stops in front of Dr. Greenson’s bookshelf. MARILYN (CONT'D) Then when I woke up I would think of all the things I’d want people to say, and I’d repeat them aloud to myself until the day I left there. Marilyn sighs. MARILYN (CONT'D) And here I am, famous, a so-called sex-symbol, and still I don’t believe a thing I told myself. I’m still just Norma Jeane. Dr. Greenson stands and walks up slowly behind Marilyn. He places one hand just to the right of her on the bookshelf, and his other hand gently rests on her left hip. She sucks in a breath, nervous. DR. GREENSON (whispers) The world may have a fascination with Marilyn Monroe, but I kind of prefer Norma Jeane. Marilyn turns slowly, looking deep into Dr. Greenson’s eyes. He leans in. It’s a soft kiss. They pull away slowly, noses still touching. They kiss again - this one deeper and less cautious. The passion grows rapidly. Dr. Greenson bites Marilyn’s lower lip and pushes her hands up against the bookshelf. It’s almost aggressive. Dr. Greenson pulls down the strap of Marilyn’s dress to kiss her collarbone. She quickly slides out of the dress, and rips open his white button-down. He picks her up and carries her over to the couch. Marilyn takes off Dr. Greenson’s pants. As Marilyn attempts to get on top, he flips her back over, pinning her down. Marilyn looks surprised, but smiles. Dr. Greenson kisses her all over. Marilyn moans slightly, toes curling, back arching. Blue Rev. (mm/dd/yy) 56.

In between pants Dr. Greenson pulls away slightly to look deep into Marilyn’s eyes. DR. GREENSON (CONT'D) I’ve wanted this for so long. Marilyn, unable to speak, puts her forehead softly against his. He moans heavily. FADE TO BLACK. FADE IN:

EXT. PRIVATE LOS ANGELES BEACH - DUSK SUPER: LOS ANGELES, 1962 Marilyn, wearing a two-piece runs through the waves, tossing her body against them. She splashes Pat, who stands in the sand, covered up in a sweater, jumping back every time the water laps at her feet. MARILYN Come in, Pat! PAT It’s freezing! MARILYN I think it feels amazing! Marilyn twirls about in the water. She grabs a handful of seaweed and runs it through her hands. She tosses it at Pat, who runs away giggling. Marilyn takes a deep breath and then disappears under the water. After a moment, she pops her head up excitedly. MARILYN (CONT'D) There’s fish everywhere! You have to come in and see them. She grins wildly at Pat. PAT You’re crazy if you think I’m going in there! MARILYN Suit yourself! Marilyn shrugs and then dives under a large wave. Blue Rev. (mm/dd/yy) 57.

PAT (laughing) Marilyn! Pat shakes her head in wonderment. She rubs her arms, attempting to warm up. A few moments pass with Marilyn never coming up for air. The look of wonderment slowly fades from Pat’s face, replaced by one of panic. She begins looking around frantically. PAT (CONT'D) Marilyn? Not seeing her anywhere, Pat wades through the water, shivering. She moves her arms about wildly. Her hand finally connects with something. PAT (CONT'D) Marilyn! Pat dives into the water, pulling Marilyn up with her, who appears to be unconscious. Pat drags her back to shore, laying her out on the sand. PAT (CONT'D) Oh my God! Marilyn! Marilyn! She puts an ear to Marilyn’s lips to listen for breathing. She grabs her face. PAT (CONT'D) Marilyn! Oh, God, no! Help! Somebody help, please! Pat looks around the empty beach frantically. Marilyn gasps, her eyes opening widely. Pat quickly turns back to her. PAT (CONT'D) Oh, thank God! She lifts Marilyn up to a seated position and hugs her tightly. PAT (CONT'D) I have never been so afraid in my entire life. Marilyn starts to giggle. Pat looks at her, startled. A look of understanding crosses her face. PAT (CONT'D) You didn’t. Blue Rev. (mm/dd/yy) 58.

Marilyn bursts into a fit of manic laughter. MARILYN Oh, Pat. I really had you going. More laughter. PAT That is not funny, Marilyn. MARILYN Oh, come on, Pat. Lighten up. I was just acting. PAT There’s acting, and then there’s giving someone an absolute heart attack. Marilyn looks upset. PAT (CONT'D) Why would you do that? MARILYN It was fun. Pat looks at Marilyn with concern in her eyes. PAT That was reckless. Marilyn flops down on her back. MARILYN Oh lighten up, Pat. PAT I don’t know what’s wrong with you lately. Marilyn becomes angered. MARILYN Nothing’s wrong with me. I’m happy. Pat sits staring at the waves. PAT There’s happy and then there’s ... Marilyn props herself up on her elbows. Blue Rev. (mm/dd/yy) 59.

MARILYN And then there’s what? Pat shakes her head. Marilyn rolls her eyes, sighs, and plops back down.

INT. MARILYN'S HOUSE - EVENING Marilyn walks through the front door. She hears RATTLING coming from the kitchen, and freezes in her doorway. She closes the door quietly and sticks her key between her fingers, ready to attack. She quietly sneaks into the kitchen where EUNICE MURRAY, an older woman with gray hair, sharp features, and unkind eyes, is putting pots and pans in a cupboard. Marilyn bumps into a wall, prompting Eunice to spin around, shriek, and drop the pot in her hand in shock. It CLANGS loudly as it hits the floor. EUNICE Oh! Eunice quickly bends down to pick up the pot and places it on the counter. EUNICE (CONT'D) I was told that you wouldn’t be here until later this evening. I was supposed to be finished before you got back. MARILYN Finished with what? A beat. MARILYN (CONT'D) Who are you? Eunice steps closer, extending her hand. MARILYN (CONT'D) Eunice Murray. I’m Ralph’s housekeeper. He hired me to help tidy up around here, and unpack some of your things. Marilyn takes her hand hesitantly. Blue Rev. (mm/dd/yy) 60.

MARILYN (CONT'D) It’s uh, nice to meet you. EUNICE Ralph wanted to surprise you with a clean home tonight. I only wish I hadn’t startled you. Marilyn smiles and takes in the newly cleaned and organized space. MARILYN That’s ... alright. You’ve done an amazing job. EUNICE I can come back and clean again. I don’t mind at all. MARILYN Oh, you don’t have to do that. I’m sure you’re very busy. EUNICE Ralph would want me to. I insist. I’ll have him arrange it on another day when I’m sure to be out of your hair. Eunice collects her things. EUNICE (CONT'D) Would you mind if I used your restroom before I go? MARILYN No, not at all. It’s around the corner to your left. Eunice nods and walks down the hallway. Marilyn wanders around her living room, taking in all of the decorations. Eunice walks into the guest bathroom and opens the medicine cabinet. Seeing nothing, she stoops lower and checks the cabinet underneath. She waits for a moment before peeking into the hallway. Seeing that the coast is clear, she crosses the hall and goes into Marilyn’s room. Blue Rev. (mm/dd/yy) 61.

INT. MARILYN'S BEDROOM - CONTINUOUS Eunice closes the door behind her. She walks around, and opens the drawers of the nightstand quietly. Finding only notepads with various scribbles, she wanders into the adjoining restroom. She begins looking through the medicine cabinet and finds a number of pill bottles. She quickly pockets them, closes the cabinet door, and returns to the living room. EUNICE It was very nice to meet you. MARILYN Very nice to meet you too. Give my thanks to Ralph. Eunice nods and walks out of the house.

INT. DR. GREENSON'S HOUSE - DAY Dr. Greenson stands in his kitchen, chopping vegetables. Music plays out of a radio nearby. A pair of arms wrap around Dr. Greenson from behind. Dr. Greenson grins and turns his head to plant a kiss on HILDI GREENSON (50, with short and curly brunette hair, and a kind face covered by large glasses). She takes the knife out of his hand, placing it on the cutting board. She grabs his hands. HILDI Come dance with me. DR. GREENSON I’m making our dinner. HILDI Dinner can wait. You used to love this song. DR. GREENSON Still do. He grabs the knife and continues chopping. HILDI Please, Ralph. Just one song? Dr. Greenson puts down the knife and turns around. He puts a hand on her waist and pulls her in. They begin to slow-dance. Blue Rev. (mm/dd/yy) 62.

HILDI (CONT'D) I’ve missed this. She puts her head on his shoulder. HILDI (CONT'D) Let’s get away this weekend. The pair continue to dance. After a moment, Hildi looks up at Dr. Greenson. He doesn’t make eye contact. She lets go, and starts to walk away, frustrated. Dr. Greenson grabs Hildi’s wrist roughly, pulling her back into him. She looks surprised. He kisses her aggressively. She breaks away. HILDI (CONT'D) Ralph. She shakes her head and moves over to the fridge, looking through it. Dr. Greenson takes a deep breath in and out. He walks behind Hildi, who is staring blankly into the fridge. DR. GREENSON Where should we go? Hildi turns to face him, excitedly. HILDI Really? He nods. DR. GREENSON You’re right, we could use a weekend to ourselves. She smiles and wraps herself around him. HILDI Thank you, Ralph. They kiss gently. The doorbell RINGS. Dr. Greenson starts for the door. Hildi lightly touches his arm. HILDI (CONT'D) I’ll get it. You get back to cooking. Blue Rev. (mm/dd/yy) 63.

Dr. Greenson grabs a dish cloth off of the counter, whipping it at Hildi playfully. She squeals and jumps out of the way. Dr. Greenson returns to his cutting board, while Hildi answers the door. It swings open revealing Marilyn. Hildi’s face goes white in shock. HILDI (CONT'D) Oh my word, hi. You’re, you’re Marilyn Monroe. Marilyn giggles. MARILYN (slurring words) Yes, I suppose I am. It’s nice to meet you. HILDI I’m Hildi, Ralph’s wife. I’ve heard so much about you. They shake hands. Hildi looks at her with suspicion. HILDI (CONT'D) I’m sorry, I’m a bit in shock at seeing you here at my home. (pause) How did you know where we lived? MARILYN Well, I- uh, Marilyn stumbles. Hildi reaches out to catch her. HILDI Whoa, you alright? Marilyn stares at Hildi. MARILYN You’re very beautiful. Hildi blushes, pleased. MARILYN (CONT'D) You’re a really lucky woman, you know that? Hildi looks puzzled. Blue Rev. (mm/dd/yy) 64.

HILDI How’s that? MARILYN You have a wonderful husband. He’s so helpful. Marilyn leans in close to Hildi. MARILYN (CONT'D) (whispering) And he’s quite handsome. Marilyn bursts into a fit of giggles. Hildi looks off-put. She fakes a laugh. HILDI Um, yes. He is quite handsome. Marilyn stumbles some more. HILDI (CONT'D) Would you like to come in? I can get you some coffee? Or maybe get some food in you? Ralph is preparing dinner. He’s a fantastic cook. MARILYN Yes he is. Marilyn’s smile falls slightly. MARILYN (CONT'D) Well, I mean he’s told me that he is. HILDI (laughing) He certainly does like to talk himself up. Suddenly Marilyn notices Ralph’s head peeking from behind the foyer. HILDI (CONT'D) So, would you care to join us? Ralph shakes his head almost imperceptibly. MARILYN (slurring words) You know, I’d love to, but I- um, I- I actually have somewhere to be. (MORE) Blue Rev. (mm/dd/yy) 65. MARILYN (CONT'D) My phone is down, but I wanted Ra- Dr. Greenson to know that I wouldn’t be able to make our session tomorrow. Hildi hesitates slightly. MARILYN (CONT'D) I probably shouldn’t have bothered you like this. HILDI That’s quite alright. I’ll be sure to give him your message. You’ll have to come by for dinner another night. Marilyn nods and smiles. MARILYN Thank you. Have a nice night. The door shuts as Hildi returns inside. Dr. Greenson feigns nonchalance. HILDI Why does she have our home address? DR. GREENSON I gave it to her for emergencies only. I’m so sorry. I didn’t think she’d ever show up here. Hildi looks suspicious. DR. GREENSON (CONT'D) She’s a very disturbed young girl. HILDI Clearly. They walk back into the kitchen.

INT. MARILYN'S HOUSE - NIGHT Marilyn wanders around the living room, reading over a script. She acts out each of her lines. A KNOCK at the door. Marilyn pauses nervously. She looks all around the room, and then quickly runs and ducks behind the couch. The knocking persists. Blue Rev. (mm/dd/yy) 66.

She nervously shakes. The knocking stops for a moment. She waits and then peeks above the couch, only to see a shadow in the window trying to see through. She ducks back down again. DR. GREENSON Marilyn, open up! I know you’re in there. Marilyn lets out a sigh of relief, but doesn’t get up. DR. GREENSON (CONT'D) Marilyn, please. A beat. Marilyn stands up and walks to the door, opening it. She turns around and returns to the couch, leaving Dr. Greenson standing in the doorway. He walks in, closing the door behind him. DR. GREENSON (CONT'D) Please don’t be like this. Marilyn pouts on the couch. DR. GREENSON (CONT'D) You don’t get to be mad. You stopped by MY house. Marilyn stares straight ahead. He sits down next to her. DR. GREENSON (CONT'D) It’s not like you didn’t know I was married. Marilyn’s head snaps to the side as she turns to glare at him. MARILYN No, you don’t get to do that. DR. GREENSON Do what? MARILYN Make me out to be the bad guy. DR. GREENSON I’m not. I just don’t see how you can be mad at me. MARILYN I’m not mad. DR. GREENSON Clearly. Blue Rev. (mm/dd/yy) 67.

She glares at him. MARILYN I’m not. I just didn’t expect to see her and I just, I just feel so guilty. DR. GREENSON You have nothing to feel guilty for. MARILYN How can you say that? DR. GREENSON We can’t help who we love, Marilyn. Marilyn freezes. Dr. Greenson’s face goes white. A beat. DR. GREENSON (CONT'D) I mean, we’re both adults and responsible for our own actions. MARILYN What about your children? DR. GREENSON This has nothing to do with them. MARILYN Why would you risk it? Dr. Greenson thinks for a moment. After a long pause, Marilyn looks over at him. DR. GREENSON With Hildi, what you see is what you get. Never in all my life have I met someone as complex as you. Marilyn softens slightly. MARILYN I just don’t want anyone to get hurt. DR. GREENSON No one will. I promise. He moves closer to her, and she leans into him. DR. GREENSON (CONT'D) You can never show up like that again though, Marilyn. (MORE) Blue Rev. (mm/dd/yy) 68. DR. GREENSON (CONT'D) (pause) Hildi wouldn’t stop berating me with questions during our dinner. MARILYN (quietly) I’m sorry. I just wanted to see you. DR. GREENSON She wants us to get away. I can tell her at the last minute that I can’t, and have her go without me. Marilyn looks up at him. DR. GREENSON (CONT'D) Then we can have the weekend at my house to ourselves. Okay? Marilyn nods, pleased.

INT. BAR - NIGHT Marilyn sits alone at a bar. Everyone turns in their seats to get a good look at her. An attractive male bartender leans over the counter. BARTENDER What can I get for you, beautiful? She grins at him widely. MARILYN Dom Perignon, please. BARTENDER Coming right up. He pours a glass of champagne and hands it to her. MARILYN Thank you. She drinks half of it in one sip. JOE DIMAGGIO Old habits die hard, huh? Marilyn swivels in her seat to see Joe standing behind her, grinning. Blue Rev. (mm/dd/yy) 69.

MARILYN Joe! They embrace tightly. MARILYN (CONT'D) I’m so glad you could join me. JOE DIMAGGIO Of course. I was happy to get your call. He takes a seat next to her. JOE DIMAGGIO (CONT'D) You look well. MARILYN As do you. Very tan. Florida’s suited you well I see. JOE DIMAGGIO It has. Although it’s no L.A. Joe looks at Marilyn longingly. She smiles and looks down. JOE DIMAGGIO (CONT'D) So Norman tells me you’re working on a new picture. Marilyn lights up. MARILYN Yes, it’s kept me extremely busy lately. JOE DIMAGGIO That’s wonderful! MARILYN And you’re coaching now? JOE DIMAGGIO I am. MARILYN Those guys are lucky to have you, I’m sure. Joe smiles. MARILYN (CONT'D) Do you ever miss it? Blue Rev. (mm/dd/yy) 70.

JOE DIMAGGIO Playing? Marilyn nods. JOE DIMAGGIO (CONT'D) Everyday. A beat. JOE DIMAGGIO (CONT'D) I could’ve gone on playing forever. My body didn’t quite agree with me on that though. MARILYN Well, I’m glad you’ve found somewhat of an alternative. He smiles. They share an awkward moment in silence. MARILYN (CONT'D) Can I buy you a drink? She leans over the counter to get the bartender’s attention. MARILYN (CONT'D) Excuse me? Joe stops her. JOE DIMAGGIO That’s alright. She leans over the counter again, ignoring him. JOE DIMAGGIO (CONT'D) Marilyn, I’m okay. She looks at him quizzically. JOE DIMAGGIO (CONT'D) I’m sober. Marilyn sits back down in shock. MARILYN Why? JOE DIMAGGIO Why? Blue Rev. (mm/dd/yy) 71.

MARILYN Life is always more fun with a drink in hand! She twirls her barstool around in a circle, spilling champagne as she spins. Joe looks surprised. She downs the rest of her champagne. Joe looks at Marilyn with frustration. JOE DIMAGGIO I thought I’d heard that you were sober too? MARILYN Just the pills. She motions to the bartender and then taps her glass. He walks over and refills it. She throws him a dazzling smile. JOE DIMAGGIO What caused that? She shrugs. He narrows his eyes in suspicion. JOE DIMAGGIO (CONT'D) I thought the pills helped you with um- MARILYN My craziness? Joe looks taken aback. JOE DIMAGGIO You know what I mean. Marilyn laughs. Joe looks disturbed. MARILYN We’re all a little crazy. Some people just disguise it better than others. She grabs her glass, tips it at Joe, and then takes a large sip.

INT. MARILYN'S HOUSE - EVENING Pat and Joe sit on a couch in the living room, while Marilyn sits on the other couch. She crosses her arms and looks anywhere but at the two of them. Blue Rev. (mm/dd/yy) 72.

Joe sighs loudly. Marilyn finally looks back and forth between Joe and Pat. MARILYN Don’t you two despise one another? JOE DIMAGGIO We both care about you. MARILYN And you both worry too much. JOE DIMAGGIO You just don’t seem like yourself. Marilyn looks at him quizzically. MARILYN I don’t see why. PAT Marilyn, what’s going on with you? MARILYN Nothing! Can’t I just be happy? PAT Of course. MARILYN Then what’s the issue? Pat looks to Joe for help. JOE DIMAGGIO How long have you been off of the pills for? MARILYN I don’t know. A few months I guess. Joe squirms, uncomfortable. MARILYN (CONT'D) Oh, spit it out, Joe. JOE DIMAGGIO Are you sure you haven’t ... relapsed at all? Marilyn’s eyes go wide. Blue Rev. (mm/dd/yy) 73.

MARILYN I can’t believe you just asked me that. PAT It isn’t a complete stretch. MARILYN I am not using drugs! Ralph got me off of them. You can ask him. JOE DIMAGGIO Ralph? Pat leans over to Joe. PAT Her psychoanalyst. MARILYN Yes, my psychoanalyst. JOE DIMAGGIO I hadn’t realized you’d been seeing someone new. MARILYN What? JOE DIMAGGIO What? MARILYN How did you know that? Joe looks at Marilyn questioningly. She squirms in her seat. PAT Oh my God. Marilyn’s eyes shoot over to Pat. PAT (CONT'D) Is he taking advantage of you? JOE DIMAGGIO (angrily) Who? Is who taking advantage of her? PAT Ralph. Blue Rev. (mm/dd/yy) 74.

MARILYN What?! No, of course not! PAT Are you seeing him? MARILYN No, I’m not seeing my psychoanalyst. Are you crazy? JOE DIMAGGIO You’ve always been a great actress. But you’re a terrible liar. Marilyn glares at him. She gets up and stands in front of them, hands on her hips. MARILYN I think I’d know if I were being taken advantage of. Joe stands to face her. JOE DIMAGGIO You came to him needing help. And he played on your vulnerability. That’s being taken advantage of. A dark look crosses Marilyn’s face. Her eyes narrow menacingly. MARILYN Why do you care so much, huh? She steps closer to him. MARILYN (CONT'D) Don’t you have anything better to do? She shoves him in the chest. MARILYN (CONT'D) You wanna be my protector now? She shoves him again. JOE DIMAGGIO Mar, don’t do this. MARILYN You still can’t bear the thought of me with another man, can you? Blue Rev. (mm/dd/yy) 75.

She goes to shove him again, but he reaches out and twists her arm. Marilyn yelps in pain, but then smirks at Joe. Pat runs over. PAT Let go. Joe, let go of her! Joe releases Marilyn, who looks pleased with herself. JOE DIMAGGIO (to Pat) I tried. He storms out. Marilyn turns on Pat. PAT (wary) We’re just looking out for you. MARILYN Ralph is looking out for me. PAT Is he? Marilyn glares. PAT (CONT'D) I just don’t want to see you get hu- MARILYN Get out. PAT Mar- MARILYN Get out, Pat. If you can’t trust me, then I don’t want your advice. PAT I trust you. I just don’t trust him. Marilyn lunges for Pat, who scurries out of the way. A wave of shock and hurt crosses over Pat’s face. MARILYN Get out! Blue Rev. (mm/dd/yy) 76.

Pat grabs her bag and walks along the wall, putting space between herself and Marilyn. PAT You’re on your own, Marilyn. Pat wipes away a tear and walks out the door.

INT. DR. GREENSON'S PSYCHIATRIC CARE OFFICE - DAY Dr. Greenson stands by his bookshelf, organizing it. A KNOCK at the door. Dr. Greenson walks to the door. His eyes go wide upon opening it. JOE DIMAGGIO Hi, you must be Ralph. DR. GREENSON H-hi, uh, yes. Wow, I’m such a huge fan of yours. Joe does not smile. JOE DIMAGGIO Thank you. May I come in? DR. GREENSON Of course. He steps back for Joe to enter. Joe sits on the love seat near Dr. Greenson’s desk. DR. GREENSON (CONT'D) What can I do for you? JOE DIMAGGIO It has come to my attention that you have taken over as Marilyn’s psychoanalyst. DR. GREENSON (proudly) I have, yes. Joe nods. JOE DIMAGGIO I came here to make sure that you’re the right man for the job. (MORE) Blue Rev. (mm/dd/yy) 77. JOE DIMAGGIO (CONT'D) She hasn’t had great judgment in choosing psychoanalysts in the past. DR. GREENSON So I’ve heard. JOE DIMAGGIO I’d like to know how your strategies differ from others she’s seen. DR. GREENSON I’m not sure what you’re asking. JOE DIMAGGIO Why is it that she has taken so much to your practices? DR. GREENSON Well I take a very hands-on approach with all of my patients. I give them as much time and attention as they need. Joe’s eyes scan the room. They land on a photograph of Dr. Greenson and Marilyn that hangs on the wall. The two sit very close together in the photo. JOE DIMAGGIO I can see that. Dr. Greenson follows Joe’s eyes to the picture wall. He then looks back at Joe, who is staring directly at him. Dr. Greenson’s face suddenly goes dark. He narrows his eyes. DR. GREENSON Do you have a specific concern, Mr. DiMaggio? JOE DIMAGGIO I just want to make sure that my Marilyn is in the best of hands. DR. GREENSON I’m sure you know I’m legally bound by confidentiality. JOE DIMAGGIO I have a right to know if she’s being properly cared for. Blue Rev. (mm/dd/yy) 78.

DR. GREENSON I can assure you she is. JOE DIMAGGIO I would hope so. I have a lot of influence in this town. DR. GREENSON Is that a threat? Joe shrugs. DR. GREENSON (CONT'D) I’ve heard you can be very ... authoritative. Joe narrows his eyes. JOE DIMAGGIO If you ever do anything to harm her- DR. GREENSON I can promise you, she’s in far better hands than she was with you. Joe stands and lunges for Dr. Greenson, who grabs Joe by the neck and pins him against the photo wall. Frames fall to the ground and break. Dr. Greenson gets closer to Joe, their noses touching. DR. GREENSON (CONT'D) (whispering) You stay away from her. You hear me? Dr. Greenson releases him and opens the door. Joe glares at Dr. Greenson and rubs his throat. He turns to leave, and then quickly whips around, punching Dr. Greenson in the eye. Dr. Greenson falls to the ground, and Joe walks out, shaking his head.

INT. DR. GREENSON'S HOME OFFICE Dr. Greenson and Marilyn are cuddled up together on the couch, concealed by only a blanket. He strokes her hair and she puts her head on his shoulder. His right eye is completely swollen and bruised. After a few peaceful moments like this, Marilyn looks up at him subtlety, just taking him in. Blue Rev. (mm/dd/yy) 79.

After a moment, he notices and looks down at her. She looks away shyly. He tilts her chin up at him and kisses her nose. She giggles. DR. GREENSON What is it, my love? MARILYN I just wanted to look at you. Dr. Greenson smiles to himself. MARILYN (CONT'D) You’re very handsome, you know? DR. GREENSON I am, aren’t I? Marilyn swats him playfully. She reaches up to touch his face near his bruised eye. MARILYN Does it hurt? DR. GREENSON I’ve had worse. Who knew my daughter had such a strong arm? I barely saw that ball coming. Marilyn shakes her head. DR. GREENSON (CONT'D) I’m going to go grab some food. Are you hungry at all? Marilyn nods. He gets up, begins to leave the room, but returns to catch Marilyn by surprise with a big kiss. She grins from ear to ear as he pulls away. He grabs his robe from the corner of the room, and exits, closing the door behind him. Marilyn can’t stop smiling.

INT. DR. GREENSON'S KITCHEN - CONTINUOUS Dr. Greenson is in the kitchen in only his robe, looking through the fridge. He pulls out some leftovers, and then gets two plates out of the cupboard.

INT. DR. GREENSON’S HOME OFFICE - CONTINUOUS Marilyn wanders around naked. She is humming to the song “Diamonds Are A Girl’s Best Friend.” Blue Rev. (mm/dd/yy) 80.

She stops by his bookshelf, freezing when she sees a number of Arthur Miller plays. She picks one out at random. While flipping through it she notices a number of underlined sections. A piece of paper slips out to the floor. She bends down to grab it, and her eyes go wide. It reads: Marilyn craves an intelligent man, but needs to feel appreciated. Tell her she is smart and well-read. She sticks the note back into the book, and places it on the shelf. She walks to the desk, opening each drawer and finding nothing, until getting to the bottom one. She rifles through a number of notebooks with client names, finally finding one with her own. There are a number of sketches of her in it. On one page she finds a detailed description of her sexual experiences with Joe. There are arrows drawn to certain lines with notes off to the side reading She likes this and She wants a man to take control. Marilyn’s face is contorted in surprise, and then anger. She throws the notebook into the drawer, runs to the couch, and begins dressing.

INT. DR. GREENSON'S HOUSE - CONTINUOUS Marilyn quietly tiptoes through the house, high heels in hand. She grabs her coat. DR. GREENSON Where are you going? Marilyn freezes. She doesn’t turn to face him. MARILYN I, I forgot I have to meet with Milton. I have a photoshoot. Dr. Greenson walks up slowly and quietly behind her. Marilyn holds her breath. He wraps his arms around her and whispers in her ear. DR. GREENSON No kiss goodbye? Marilyn turns around and kisses him on the cheek. She makes a move for the door, but he pulls her in tightly and grabs her face, pulling her in for a longer kiss. Blue Rev. (mm/dd/yy) 81.

DR. GREENSON (CONT'D) That’s more like it. She fakes a smile. MARILYN See you later. She quickly walks out the door.

INT. MARILYN'S HOUSE - NIGHT The front door SLAMS shut as Marilyn storms inside.

INT. MARILYN'S GUEST ROOM - CONTINUOUS Eunice, in the middle of cleaning up, jumps, startled by the sound of the door. She creepily tip-toes over to the door, cracking it open, and peering through. Marilyn goes whizzing by and slams her bedroom door shut behind her. Eunice backs away slowly, and goes over to the phone next to the bed. She begins dialing, and holds the phone up to her ear.

INT. MARILYN'S BEDROOM - CONTINUOUS Marilyn paces rapidly around her room, furious. She mutters to herself. She sits on the bed for a moment, head in hands. She pulls on her hair. Her face twitches. She stands quickly and walks into her bathroom, opening up the medicine cabinet. She frantically moves things around, in search of her pills. Things fall from the cabinet. She lets out a groan of frustration.

INT. MARILYN'S GUEST ROOM - CONTINUOUS Eunice sits on the bed, whispering into the phone. EUNICE She seems very angry, sir. INTERCUT WITH: Blue Rev. (mm/dd/yy) 82.

INT. DR. GREENSON'S HOME OFFICE - SAME TIME Dr. Greenson sits at his desk on the phone. DR. GREENSON Does she have access to any drugs? EUNICE No, I took all of the pills out of there like you asked. DR. GREENSON Okay, good. I don’t know what happened. It doesn’t make any- He notices a notebook slightly sticking out of the bottom drawer of his desk. He puts the phone down. EUNICE (V.O.) Sir? Dr. Greenson slowly opens the drawer, holding his breath as he pulls out the notebook with Marilyn’s name on it. DR. GREENSON Fuck.

INT. SOMETHING’S GOT TO GIVE SET - DAY Marilyn comes flying through the door onto the set. She is a wreck: hair in disarray, no makeup on, mismatched clothing. Everyone stops what they’re doing to stare. The director, GEORGE CUKOR (mid-60s), looks livid. GEORGE Oh, for fuck’s sake. Marilyn is looking all around, frantically searching for someone. GEORGE (CONT'D) Thanks for gracing us with your presence, Marilyn. She isn’t listening. GEORGE (CONT'D) (under his breath) Three hours late. Marilyn moves quickly over to him. Blue Rev. (mm/dd/yy) 83.

MARILYN I need to see the doctor. GEORGE What for? MARILYN I’m sick. GEORGE Sure you are. Marilyn grabs onto George’s arm. MARILYN George, please. I promise I’ll be ready to work as soon as I see the doctor. I can’t focus on my work if I’m not feeling well. George thinks on it. GEORGE Get started on hair and makeup and I will have someone find the doctor. Marilyn scurries off and George sighs, running his hand through his hair. He turns to the crew. GEORGE (CONT'D) What are you all staring at? She’s here now. Let’s set up for the pool scene.

INT. DRESSING ROOM - LATER Marilyn looks like a transformed woman. Her makeup is subtle and soft, her hair perfectly wavy. She is wearing only a robe. The doctor approaches. MARILYN (to hair and makeup crew) Will you excuse us for a moment please? Thank you. They all leave the room. The young female doctor, RUTH, stares at her, hypnotized. MARILYN (CONT'D) You’re the doctor? 84.

RUTH Yes, Ruth, ma’am. You’re feeling sick? MARILYN Oh yes, very sick. What have you got for medicine? RUTH What are your symptoms? Marilyn leans forward slightly, smiling sweetly at Ruth. MARILYN I’m so sorry. I’m afraid I’ve kept everybody waiting for a terribly long time now. If you could just give me something quickly, I could be on my way. Ruth hesitates, not wanting to say no to Marilyn. RUTH Umm, I- MARILYN You know, you have a beautiful face. Have you ever thought about getting into acting? Or modeling maybe? RUTH Me? Marilyn picks up a makeup brush and some rouge left from the makeup crew on the counter. She motions for Ruth to come closer, and rubs some of the rouge on Ruth’s cheeks. MARILYN When you put your face on, you’ve gotta accentuate your best features. And for you, it’s your cheekbones. Marilyn puts the finishing touch of rouge on Ruth’s cheeks. MARILYN (CONT'D) Voila. Marilyn turns Ruth around to look at herself in the mirror. MARILYN (CONT'D) Beautiful. 85.

RUTH (embarrassed) I don’t know about beautiful. MARILYN You have to believe it, dear. If you do, everyone else will too. She winks at Ruth. A knock at the door. A production assistant opens it. PRODUCTION ASSISTANT Um, hi, uh Miss Monroe. George wants to know how long you’ll be. Marilyn turns to Ruth. MARILYN How long do you think we’ll be? RUTH I don’t want you to be any later. We’ll just be a moment. The production assistant nods and closes the door. Ruth pulls a bottle of pills out of her bag and hands them to Marilyn, who looks very pleased. RUTH (CONT'D) Here, these will clear up just about anything. Marilyn looks at the pill bottle for a moment. MARILYN How long will this last me? RUTH The recommended dosage is two a day, so about a week. MARILYN Is there any chance I can get another, just in case it goes a little longer? Ruth looks skeptical. MARILYN (CONT'D) (sweetly) Please. Blue Rev. (mm/dd/yy) 86.

Ruth pulls another bottle out of her bag, handing it to Marilyn. She jumps up and gives Ruth a hug. MARILYN (CONT'D) Thank you so much, you’ve been so helpful. Ruth exits the room. Marilyn opens the pill bottle and pours six out. She grabs a glass of water off of the counter, and downs all six.

INT. SOMETHING'S GOT TO GIVE SET - LATER Marilyn sits naked in a makeshift pool. There are only the necessary few people on the set around her. She is lit beautifully. MARILYN I’m sorry. Shall we- Marilyn looks flustered, and she is slurring her words. MARILYN (CONT'D) From the start? I’m sorry. George and the crew give each other exasperated looks. GEORGE Scene 29, take eight. We hear the clapboard come down.

INT. MARILYN'S HOUSE - NIGHT Marilyn crashes through her front door. She stumbles through the house to her bedroom.

INT. MARILYN'S BEDROOM - CONTINUOUS Marilyn puts her purse down on the floor, almost falling over. DR. GREENSON Long night? Marilyn screams. MARILYN (words still slurred) Ralph, what are you- why are you here? Blue Rev. (mm/dd/yy) 87.

DR. GREENSON You stopped answering my calls. MARILYN You need to leave or I’ll call the cops. He scoffs. DR. GREENSON Please. I’m here to help you. He takes her in. DR. GREENSON (CONT'D) You’re a mess. MARILYN Like you said, long night. DR. GREENSON Mhmm. Where did you get them? MARILYN Get what? DR. GREENSON Don’t play coy with me. Marilyn ignores him. DR. GREENSON (CONT'D) Who gave them to you? MARILYN I had some leftover here from the last time I fell ill. DR. GREENSON Don’t lie to me, Marilyn. MARILYN I’m not! A look of understanding crosses Marilyn’s face. MARILYN (CONT'D) It was you. You took the pills out of my medicine cabinet. But when did you- She thinks. Blue Rev. (mm/dd/yy) 88.

MARILYN (CONT'D) Eunice ... Did you hire her to spy on me?! And keep me from drugs?! I wasn’t even doing any before- DR. GREENSON But look how quickly you went searching for some. MARILYN It’s not your concern anymore. DR. GREENSON Don’t be dramatic. It’s my job to help you. MARILYN Some job you’ve done. DR. GREENSON Don’t act like I’m the only one that benefitted from this relationship. Dr. Greenson gets off of the bed and walks closer to Marilyn, who backs away. They each wait for the other to move. MARILYN How many others have you done this to? DR. GREENSON What? MARILYN How many other patients have you slept with and taken advantage of? DR. GREENSON That’s disgusting. I can’t believe you would even ask me that. MARILYN How could I not? DR. GREENSON It’s beyond hurtful that you would think this was all a game to me. Marilyn looks at him in shock. Dr. Greenson takes a cautious step forward. Marilyn watches him warily, but makes no attempt to move away. Dr. Greenson closes the gap between them. Blue Rev. (mm/dd/yy) 89.

DR. GREENSON (CONT'D) Isn’t it time you end up with someone who you know is crazy about you? Who will do anything to be with you? Who sees you for you, and isn’t running away? He puts a hand on her arm. A beat. He puts another hand on her. They start to lean into each other hesitantly. As they are about to kiss, she pulls away. MARILYN I won’t let you destroy me like everyone else has. DR. GREENSON No one else has destroyed you, Marilyn. You continue to destroy yourself. Marilyn is shocked. DR. GREENSON (CONT'D) It’s only a matter of time before you self destruct. Let me be there to help protect you from yourself. Marilyn backs away and walks over to the door. MARILYN I don’t need your protection. She opens the door for him to leave. MARILYN (CONT'D) Get out. DR. GREENSON No. MARILYN I wasn’t kidding about the cops. DR. GREENSON You’re not gonna call the cops. MARILYN No? She walks over to the phone and dials. Blue Rev. (mm/dd/yy) 90.

DR. GREENSON I’ll go on record. She puts the phone to her ear. DR. GREENSON (CONT'D) I’ll tell the world who Marilyn Monroe really is. Marilyn ignores him. OPERATOR (V.O.) What’s your emergency? DR. GREENSON I’ve been recording you. Marilyn freezes. She slowly turns her head to look over at him. Her eyes are wide. DR. GREENSON (CONT'D) I’ll exploit the shit out of you. Show them what a crazy person you really are. OPERATOR (V.O.) Hello? DR. GREENSON Put down the phone, Marilyn. Marilyn slowly puts the phone down on the receiver. Dr. Greenson smirks. MARILYN You wouldn’t dare. DR. GREENSON What do I stand to lose? MARILYN Everything. It would ruin you. You release those tapes and you’re finished. You’ll never work another day. His smirk disappears, replaced by a look of intense anger. MARILYN (CONT'D) So by all means, Doctor, release them. Blue Rev. (mm/dd/yy) 91.

INT. SOMETHING'S GOT TO GIVE SET - AFTERNOON Marilyn walks onto the set and into her dressing room. Everyone on the set begins to whisper.

INT. DRESSING ROOM - CONTINUOUS Marilyn sits down and looks at herself in the mirror. She notices the bags under her eyes, and the wild look in them. She pulls open a drawer, revealing a bottle of prescription pills. There are only five pills left in the bottle. Her assistant enters. ASSISTANT Hi, I’m sorry to bother you. MARILYN Yes, yes. What is it? ASSISTANT George is wondering how much longer you’ll be. MARILYN I need to see a doctor before I can do any work. The assistant shifts nervously. ASSISTANT He told me you might say that. MARILYN Well I very well can’t do my work if I’m ill. So send in the doctor immediately. The assistant closes the door behind her. Marilyn quickly takes the last five remaining pills. Ruth enters. MARILYN (CONT'D) Finally! There you are. RUTH Hi, your assistant said you were feeling ill again? Blue Rev. (mm/dd/yy) 92.

MARILYN Yes, I just discovered I’ve run out of pills. She holds the bottle upside down, shaking it. Ruth looks at Marilyn suspiciously. RUTH I gave you enough to last for weeks. Are you sure you didn’t misplace the other bottle? Marilyn shrugs. RUTH (CONT'D) I’m sorry. I can’t give you any more. MARILYN And why not? RUTH I- I, uh, I just can’t. Marilyn narrows her eyes. MARILYN I took as many as I felt I needed, when I needed them. And now I’m out. And I’m sick. You’ll get me fired if you don’t help me. RUTH And I’ll get fired if I do. MARILYN Who’s gonna know? Ruth backs away. RUTH I really should be going. Marilyn gets out of her seat, walking towards Ruth. MARILYN Who told you to stop prescribing to me? Was it George? Ruth shakes her head no. Marilyn’s eyes light up with understanding. MARILYN (CONT'D) Was it Dr. Greenson? Blue Rev. (mm/dd/yy) 93.

Ruth hesitates. Her eyes dart back and forth. MARILYN (CONT'D) He’ll understand. Please. I just need one more bottle. RUTH I can’t. I’m so sorry. Ruth quickly darts out the door. Marilyn lets out a disgruntled scream and sits back down. She tugs on her face. Her left eye twitches. She bangs her fist on the counter and then aggressively puts her head down on it.

INT. DRESSING ROOM - LATER The door opens wildly and loudly to reveal George Cukor. Marilyn wakes up suddenly, her forehead indented from the counter. Everything looks distorted to Marilyn. She’s having trouble making out the shapes and figures around her. GEORGE (sounding distorted and sarcastic) Oh good. You’re here. Marilyn looks at him through squinted eyes, trying to focus. George looks at her angrily and with confusion, until he notices the empty pill bottle next to her. GEORGE (CONT'D) Oh, you’ve got to be kidding me. You really expect us to let you go away to perform when you come in hours late and high?! George continues to yell, but we can’t make it out. We see him through Marilyn’s eyes, his figure always slightly out of focus. We start to slowly hear what he’s saying again. GEORGE (CONT'D) I’ve had about enough of this. You think you’re not replaceable? I’ve got news for you. He finally snaps into focus at the end of his spiel, and all of the spinning and moving shapes stop. Blue Rev. (mm/dd/yy) 94.

GEORGE (CONT'D) If you go away this weekend, you’re fired. Marilyn’s eyes go wide.

INT. MADISON SQUARE GARDEN - NIGHT PETER LAWFORD (40s, handsome, eccentric) stands on stage speaking to the audience. PETER Ladies and gentlemen, Marilyn Monroe! A spotlight goes to stage left, where Marilyn Monroe is not. The audience laughs. Marilyn stands hidden from view backstage with a young male assistant, who is staring at her with admiration. MARILYN (whispers) They’re making fun of me. She looks over at the boy, forcing a smile and a shrug. MARILYN (CONT'D) I’m always late. PETER Singing Happy Birthday to our dear President, John Fitzgerald Kennedy, it’s the late Marilyn Monroe! The crowd goes wild. Marilyn shimmies in a tight, nude, sparkling dress. The audience members all hold their breath to not miss a moment of the seemingly naked Marilyn. Marilyn sings Happy Birthday, Mr. President, seductively. All the men in the audience are leaned forwards in their seats. The women look entranced. The President grins arrogantly. Pat looks disgusted. At the end, a cake is brought out and the President and his close companions are brought onto the stage. Marilyn looks uncertainly from side to side. The young assistant motions for her to come backstage once more. Blue Rev. (mm/dd/yy) 95.

JFK I’ve never had Happy Birthday sung to me so sweetly before. The audience laughs. Marilyn walks backstage, stripping pieces of her outfit as she walks, a tear rolling down her face.

INT. DR. GREENSON'S PSYCHIATRIC CARE OFFICE - DAY Marilyn sits on the couch while Dr. Greenson sits on the love seat staring at her. DR. GREENSON I can only help you if you’re cooperative. Marilyn ignores him. DR. GREENSON (CONT'D) I really am looking out for you. MARILYN I’m here for a session, nothing more. Dr. Greenson nods and grabs his notepad off of his desk. DR. GREENSON Alright. How are you feeling? MARILYN Great. DR. GREENSON Mmm. How is work? MARILYN Excellent. DR. GREENSON I heard you were asked to sing for the President’s birthday? MARILYN Mhmm. DR. GREENSON I know how excited you must’ve been for that. That’s a huge honor. She nods. He tosses his notepad onto the ground. Blue Rev. (mm/dd/yy) 96.

They stare at each other in silence. DR. GREENSON (CONT'D) If you’re here to have a productive session with me, then you need to communicate. MARILYN I am. DR. GREENSON Your anger is getting in the way of your healing. Dr. Greenson gets up and sits next to Marilyn, who scoots away. DR. GREENSON (CONT'D) Why did you come back to me for a session? She snaps her head to the side to glare at him. MARILYN You had me cut off. DR. GREENSON (laughing) I knew you’d find out quickly. But I had no idea just how quickly. MARILYN It’s not funny. I can’t function. I got fired from my picture. DR. GREENSON And you think that’s my fault? MARILYN I can’t work without the pills. DR. GREENSON You were doing just fine when we were practicing talk-therapy. Marilyn ignores him. DR. GREENSON (CONT'D) If you hear me out maybe we can get past this, and you can do well enough to get your job back. Blue Rev. (mm/dd/yy) 97.

MARILYN There’s nothing you could say that could make it better. She gets up quickly and begins pacing around the room. DR. GREENSON One day you’ll understand that I’ve only ever had your best interests at heart. She stops her pacing in front of the photograph wall, directly in front of the photo of her and Dr. Greenson. She looks at it in shock. MARILYN Really? Are you fucking kidding me? So what does it take to make the wall? Once you’ve fucked them you put ‘em up here? DR. GREENSON It’s not like that, Marilyn. She smacks the frame off of the wall. It crashes to the ground and shatters. Dr. Greenson jumps up, staring at her in shock. She smirks and hits others off of the wall. DR. GREENSON (CONT'D) Stop it!! He runs up and grabs her, wriggling her to the ground. DR. GREENSON (CONT'D) You need to calm down! He pins her with his knee and quickly reaches into his middle drawer, grabbing a bottle and syringe. She squirms underneath him as he fills up the syringe. DR. GREENSON (CONT'D) It’s time for your vitamin shot. MARILYN No, no! She claws at him, and attempts to bite his arm. He sticks the needle into her arm, and she slowly starts to relax. Blue Rev. (mm/dd/yy) 98.

DR. GREENSON I’m only trying to help.

INT. MARILYN'S BEDROOM - NIGHT Marilyn wakes in her bed, groggy. She opens her eyes slowly. After a moment she begins to panic. She shoots up, breathing heavily, and then notices Dr. Greenson sitting across from her in a chair. MARILYN What did you do to me? Dr. Greenson moves over to the bed. Marilyn pulls her knees into her. DR. GREENSON I gave you something to relax. MARILYN You drugged me. DR. GREENSON It was vitamins. MARILYN Some vitamins. DR. GREENSON I have to apologize. I hadn’t realized just how much you needed help. I was so blinded by my love for you, I was unable to see how much worse you’d gotten. MARILYN What? DR. GREENSON It’s okay. You don’t have to hide it with me. He reaches forward and strokes her head. She shrinks under his touch. DR. GREENSON (CONT'D) I’m here to take care of you. Marilyn looks terrified. MARILYN You’re crazy. Blue Rev. (mm/dd/yy) 99.

Dr. Greenson laughs cynically. MARILYN (CONT'D) You expect me to believe you’re looking out for me? You’ve caused me nothing but harm. He shakes his head. DR. GREENSON You haven’t even thought for a second about how you’ve hurt me. She looks at him surprised. MARILYN How I’ve hurt you?! DR. GREENSON I have to say Marilyn, I think that you’ve exhibited some extremely narcissistic traits. Marilyn is speechless. DR. GREENSON (CONT'D) You turn everything around on me, making me out to be the bad guy. He gets up and starts wandering around the room. DR. GREENSON (CONT'D) I mean you showed up at my house, risking my marriage, and then got mad at ME for it. Then you raid through my personal belongings, reading notes that I took on what I observed, and now you won’t speak to me? He shakes his head. Marilyn processes all of this. MARILYN (softly) But you used what you learned to take advantage of me. DR. GREENSON You know what I think? A beat. Blue Rev. (mm/dd/yy) 100.

DR. GREENSON (CONT'D) I think you’ve been trying to seduce me from day one. Marilyn’s eyes go wide. MARILYN How can you- What? Are you kidding? DR. GREENSON In our first session you tried to act all sexy to get me to prescribe medicine. Anyone else would’ve walked out my door after not getting what they wanted. But you, you stayed. You came back for more. Dr. Greenson returns to the couch, sitting close to her. DR. GREENSON (CONT'D) But I’m so glad you did. Because I’ve fallen for you too. Marilyn tears up. She shakes her head, confused. DR. GREENSON (CONT'D) I know you still love me, Marilyn. She looks at him with disgust. MARILYN I could never love you again. DR. GREENSON You don’t need to believe me right now, but I do need you to let me help you. (pause) I brought you something. She looks over for a short moment. Dr. Greenson pulls a bag of prescription pills out from his coat pocket. DR. GREENSON (CONT'D) I thought that talk-therapy would be curative, but your issues run deeper than I can handle alone. He caresses her face. Blue Rev. (mm/dd/yy) 101.

DR. GREENSON (CONT'D) You really are crazy. But these will help. Marilyn goes to take a bottle out of the bag, but Dr. Greenson pulls the bag away. DR. GREENSON (CONT'D) I have one condition. He has her full attention. DR. GREENSON (CONT'D) You do what I tell you to do, no questions asked. You’ve made it very difficult lately to look out for you, and I don’t want you getting in your own way. Marilyn stares at him. DR. GREENSON (CONT'D) Understood? She thinks for a minute and then nods slowly. He nods in return. Dr. Greenson slides the bag back over to her and she peers inside.

INT. MARILYN'S BEDROOM - LATER Marilyn sits on her bed, the world spinning around her. A single tear rolls down her face. She dumps out the bag, causing the pill bottles to fall out everywhere.

INT. HOSPITAL ROOM - DAY Marilyn wakes up in a hospital bed, an IV attached to her arm. A nurse sees her stirring and comes in. NURSE Whoa, take it easy. How are you feeling? MARILYN Awful. NURSE I don’t blame you. You’re lucky to be alive. Blue Rev. (mm/dd/yy) 102.

MARILYN Can you send Joe in? NURSE I, uh- I’m sorry, there’s no Joe here for you. MARILYN I’m sure you’re mistaken. Joe DiMaggio, he’s my emergency contact. NURSE Let me check. The nurse quickly exits, and can be seen conversing with someone quietly in the hall. Marilyn strains to hear. After a moment, the nurse returns. MARILYN So? NURSE I’m so sorry, but apparently he was called, and said that he would not be coming. Marilyn nods, masking her hurt. MARILYN Can you call Pat Kennedy Lawford? The nurse’s eyes go wide. NURSE You mean- MARILYN Yes, yes. The President’s sister. Just call her, will you? The nurse nods and walks out of the room.

INT. HOSPITAL ROOM - LATER Marilyn sits up in bed, eating jello while watching the television. The nurse walks into the room, and Marilyn perks up. NURSE I’m really sorry, Miss Monroe- Marilyn’s face falls. Blue Rev. (mm/dd/yy) 103.

MARILYN She’s not coming, is she? The nurse shakes her head solemnly. She watches Marilyn’s expression, taking her in. NURSE Are you sure there’s no one else I can call? Marilyn hesitates.

INT. MARILYN'S HOUSE - NIGHT Dr. Greenson helps Marilyn through the front door. He guides her down the hall and into her bedroom.

INT. MARILYN'S BEDROOM Marilyn sits down on the edge of her bed, putting her face in her hands. Dr. Greenson sits next to her, rubbing her back. DR. GREENSON Can I get you anything? Marilyn shakes her head. DR. GREENSON (CONT'D) I can have Eunice whip something up for you? Marilyn looks up slightly. DR. GREENSON (CONT'D) I’m on it. He kisses her temple softly, and walks across the hall, knocking on the door to the guest room. Marilyn walks into her bathroom, leaving the door open. She puts her hands on the sink, bracing herself as she stares at her reflection in the mirror. Her eyes are sunken in. She appears old and tired. She slowly starts to undress. Dr. Greenson walks into her bedroom, unnoticed. He watches her from behind as she changes. As she goes to grab her robe, he backs up silently and closes her bedroom door loudly. When he walks back over, she is fully covered up in her robe. Blue Rev. (mm/dd/yy) 104.

DR. GREENSON (CONT'D) Eunice is going to make you some soup. She nods. DR. GREENSON (CONT'D) Are you sure I can’t get you anything else? She shakes her head. DR. GREENSON (CONT'D) I wish I could stay, but I have to be home. Hildi’s parents are in town... Marilyn stares off into the distance. DR. GREENSON (CONT'D) Why did you call me? MARILYN I knew you’d come. They share a look.

INT. MARILYN'S BEDROOM - LATER Marilyn is alone in her room, in only a robe. She tiptoes over to her door, looking around. Eunice is standing in the doorway of the guest room across the hall. Marilyn jumps slightly at the sight of her. MARILYN Oh! Um, goodnight Mrs. Murray. EUNICE Goodnight. Marilyn goes into the bathroom, shutting the door behind her. She draws herself a bath, and slips out of her clothing. She goes to get into the bath, but stops herself. She opens the door, grabs a bottle of champagne, and goes back into the bathroom. In the tub, Marilyn sings to herself. She sips from her bottle of champagne. Blue Rev. (mm/dd/yy) 105.

All of a sudden, Marilyn sinks deeper into the water, her leg feeling pulled down. She screams. CUT TO:

INT. MARILYN'S GUEST ROOM - CONTINUOUS Eunice, hearing the screams, freezes. She hesitantly walks into Marilyn’s room, and listens outside the bathroom door. MARILYN Please! Please don’t hurt me! Eunice throws open the door, revealing Marilyn alone in the bathtub, thrashing about. Eunice looks on in terror. Marilyn looks over at her. MARILYN (CONT'D) Please, Mrs. Murray, help me! She’s trying to kill me! Eunice just stares in shock. MARILYN (CONT'D) Mrs. Murray! Eunice runs over to the phone, and dials Dr. Greenson. INTERCUT WITH:

INT. DR. GREENSON'S HOME OFFICE - SAME TIME DR. GREENSON Hello? EUNICE (V.O.) Dr. Greenson, sir, she’s having a psychotic break. DR. GREENSON How do you mean? EUNICE She’s screaming in the bathtub, acting like there’s someone there hurting her. DR. GREENSON Dammit, I can’t leave right now. Blue Rev. (mm/dd/yy) 106.

EUNICE What do you expect me to do?! Dr. Greenson runs his hand through his hair, thinking. DR. GREENSON (V.O.) I left a bag there hidden in her room in case anything like this ever happened. Look underneath the bed. EUNICE Okay, hold on. Eunice puts down the phone while she searches under the bed. MARILYN (O.S.) Please don’t hurt me! I don’t want to die! I’m not ready to die! Please! Eunice’s hand reaches around under the bed. Finally she grabs onto a leather medical bag. She puts it on the bed and puts the phone back to her ear. EUNICE Okay, I’ve got it. DR. GREENSON Good, now pull out the stuff inside. EUNICE (V.O.) Sir, I don’t feel good about this. DR. GREENSON It’s going to be alright, Eunice. You’re going to administer an enema with some drugs to calm her down. EUNICE I’m not a doctor. I don’t know what I’m doing. DR. GREENSON (V.O.) I’m going to walk you through it, and then I’ll be over just as soon as I can. Eunice looks warily at the supplies. DR. GREENSON (V.O.) Tell me you can do this. I need to hear you say it. Blue Rev. (mm/dd/yy) 107.

She hesitates. DR. GREENSON Eunice. EUNICE (V.O.) I can do this. DR. GREENSON Okay, good. This is what you’re going to do ... Eunice sits on the bed listening to his instructions. She keeps nodding. Marilyn continues thrashing in the tub. She falls over the side. Eunice comes in. Marilyn is screaming violently. Eunice shakes her. EUNICE Marilyn! Marilyn! Marilyn looks wildly at Eunice, who gets on her knees. Marilyn holds onto the woman tightly, getting water all over her. EUNICE (CONT'D) It’s okay. I’m going to help you. Will you let me help you? Marilyn nods frantically, catching her breath. EUNICE (CONT'D) I have to administer an enema. You’ve had one before, yes? Marilyn nods, still unable to speak. EUNICE (CONT'D) Okay, you’re going to be alright. Eunice readies the tools for the enema.

INT. MARILYN'S BEDROOM Before we see anything, we hear the sound of worried whispers: one male, one female. We hear the sounds of bed sheets being stripped, grunting from lifting something heavy. Marilyn can be seen lying dead, face down and naked in bed. The clock on the nightstand reads 12:00. Eunice tries to get the sheets out from under her, while Dr. Greenson lifts her. Blue Rev. (mm/dd/yy) 108.

DR. GREENSON Hurry up and get these in the wash. Eunice folds up the sheets and points at the blackout curtains. EUNICE Take those down. She walks out of the room. Moments later, the WASHING MACHINE starts up. Dr. Greenson pulls down the curtains, and folds them up nicely, leaving them on the floor. He starts to walk away, but stops. He turns, walks back to the window, and kicks a hole in it, shattering the glass. Eunice runs back in. EUNICE (CONT'D) What on earth? DR. GREENSON The door was locked. She thinks, nods in agreement, and then grabs new sheets. The two remake the bed. Eunice walks into the bathroom and returns with an empty Nembutal bottle. EUNICE This was in the trash. Dr. Greenson nods in understanding. He takes it from her and puts it in Marilyn’s hand. They reposition her body. Dr. Greenson looks at her for a moment, and then grabs the phone, putting it in her free hand.

INT. MARILYN'S BEDROOM - LATER SIRENS grow louder. A car door SLAMS. The clock on Marilyn’s nightstand reads 4:00. Dr. Greenson goes to answer the door for the police officers.

INT. MARILYN'S HOUSE - CONTINUOUS He takes a deep breath before opening the door with a solemn look on his face. A much different look than the frantic expression he’s had. Blue Rev. (mm/dd/yy) 109.

DR. GREENSON Officers, thank you for coming. They nod and enter. OFFICER 1 Where is she? DR. GREENSON This way. FADE TO BLACK: FADE IN:

INT. WESTWOOD VILLAGE MORTUARY CHAPEL - DAY The end of “Over the Rainbow” by Judy Garland plays. Marilyn lies in an open coffin but we do not see her. Joe stands at the front of an intimate group of people. As the song comes to an end, Joe holds his notes up to his face. His eyes scan over the paper. He takes a breath and puts the paper down. JOE DIMAGGIO I could stand in front of you all today, describing the woman who was Marilyn Monroe. But she gave a different little piece of herself to all of us. We each saw her in the light she chose to share with us individually. He takes a breath. JOE DIMAGGIO (CONT'D) I could also tell you of the legend of Marilyn. The icon who will live on for centuries, captured on film forever. But that too was not the version of herself she most loved to share. The few in the chapel hang on his every word and breath. JOE DIMAGGIO (CONT'D) Marilyn was complicatedly beautiful, filled with hope and desire and sensitivity and love. Blue Rev. (mm/dd/yy) 110.

INT. PAT’S HOME - SAME TIME Pat watches the televised broadcast of the funeral with tears streaming down her face. Peter Lawford holds onto her. JOE DIMAGGIO (V.O.) She overcame every adversity life threw at her, of which there were many. She most longed to love and to be loved, to be seen and truly known.

INT. WHITE HOUSE - SAME TIME JFK watches the broadcast alone with a sad expression. JOE DIMAGGIO (V.O.) The world was not ready for a woman like Marilyn. She was too pure- hearted, too good for the evil in this world.

INT. DR. GREENSON'S HOUSE - SAME TIME Dr. Greenson sits on the couch with HILDI, his son, and daughter. As they watch the broadcast, Hildi looks devastated. She reaches out a hand to comfort Dr. Greenson. He fakes a grateful smile, and gazes back at the television with vacant eyes. JOE DIMAGGIO (V.O.) She was loyal to the bone, impulsive, and sensitive. Eunice sits at the end of the couch, wide-eyed, and lip quivering.

INT. WESTWOOD VILLAGE MORTUARY CHAPEL - SAME TIME Joe’s eyes well up. JOE DIMAGGIO She had a child-like curiosity that made her an avid learner. But most importantly, she was luminous. A single tear rolls down Joe’s face. Blue Rev. (mm/dd/yy) 111.

JOE DIMAGGIO (CONT'D) I didn’t love Marilyn in the way that she deserved to be loved. I don’t think I knew how to. But the love that she gave to the world will live on, and Marilyn Monroe will be with us all forever, even if no longer in the flesh. FADE TO BLACK. FADE IN:

EXT. PIERCE BROTHERS WESTWOOD VILLAGE MEMORIAL PARK AND MORTUARY Paparazzi stand at the edge of the memorial park straining to get a picture as Joe DiMaggio walks alone towards a tombstone, carrying a bouquet of flowers. SUPER: Joe Dimaggio kept his promise to Marilyn that he would bring flowers to her grave for the rest of his life. FADE TO BLACK. SUPER: Marilyn Monroe’s legacy lives on. Nearly 60 years after her death, she is considered one of the most talented, beautiful, and influential actresses of all time. FADE OUT.