THE MASTER
Written by
Paul Thomas Anderson
1952
INT. HOSPITAL ROOM - DAY
A young man, FREDDIE SUTTON (early 20s)_ speaks to a
DOCTOR;
DOCTOR
What are you going to do when you get out
of here? You're going to have to wear a
belt for six months, maybe a year...
FREDDIE
What kind of belt?
DOCTOR
A surgical belt. You won't be able to do
very heavy lifting.
FREDDIE
.I try to stay away from that.
DOCTOR
But you spend time outdoors.
FREDDIE
MMMM
DOCTOR
What do you do?
FREDDIE
DOCTOR
You didn't have very much on you when you
were admitted. Where were you going?
FREDDIE
I was on my way to Placerville. To the
Fair. Had a job waiting for me, with a
friend of mine. He doesn't know where I
am.
DOCTOR
How old are you, Freddie?
FREDDIE
28.
2.
DOCTOR
Why don't you turn honest?
You seem like an intelligent fellow.
'Quick on your feet - you like to drink?
FREDDIE
It's a weakness. But I like it.
DOCTOR
I know what the other is too.
FREDDIE
How can you tell that? I'm clean.
DOCTOR
The tattoo's.
FREDDIE
Is that a weakness...
DOCTOR
No one ever made money chasing girls.
FREDDIE
You're wrong. This tatoo's my Auntie.
DOCTOR
Who's that?
FREDDIE
My Auntie Bertha, (she raised me.) But
that doesn't mean I don't have a
weakness...
DOCTOR
College?
FREDDIE
I tried that, it didn't work.
DOCTOR
Why'd you leave?
FREDDIE
Sometimes my hypo's get the best of
me, I really feel like walking into the
street and hitting people's hats off.
DOCTOR
That's how you end up like this. With a
burst appendix.
3.
FREDDIE
That's when I know it's time to get to
the sea.. what kind of belt?
DOCTOR
A medical belt. Similar for lifting.
You're going to need some money. What do
you plan to do?
FREDDIE
I'm going to pay back the hospital. And
you.
DOCTOR
You don't owe me anything. I'm on surgical
duty. But you're expected to pay the
hospital for medicines. And your belt.
FREDDIE
Alright. I intend to do that. You saying
you have a job for me? What? As an
orderly?
DOCTOR
You couldn't be an orderly, it's too much
lifting -- and a lot of things you'd have
to learn. But maybe you could run an
elevator, something of that sort.
FREDDIE
I want to get out of here, but I also
like it here. You think I was gonna die?
DOCTOR
I know you were, Freddie.
FREDDIE
I don't know. I'm not saying you didn't
save me... . but...I can't seem to die.
DOCTOR
Too lucky?
FREDDIE
Something like that.
DOCTOR
Were you in the service?
FREDDIE
Yes, sir.
DOCTOR
Navy?
4.
FREDDIE
DOCTOR
FREDDIE
DOCTOR
Your luck was up this time, Freddie. You
should have seen the pus in your belly.
Something to think about.
It's not too late to stop being a
weisnheimer, no matter what you think.
you're still a young man.
DISSOLVE TO:
INT. ELEVATOR - DAY
FREDDIE sitting in a chair, running the elevator. bored.
Moving up and down.. .START MUSIC. CARRIES OVER THE
FOLLOWING SEQUENCE.
CUT TO:
INT. HOSPITAL. WEEKS LATER. NIGHT.
FREDDIE, middle of the night, sneaks across the ward to a
sleeping patient's bed. He goes into the drawer next to
the bed, grabs WALLET/CASH
HALLWAY, DOCTOR'S OFFICE
Freddie places a note on the door of the Doctor. He walks
away, CAMERA sees the note, it reads:
"I'VE GONE TO CHINA. SEE YOU
AGAIN SOMETIME. THANK YOU
FOR YOUR HELP."
INT. GAMBLING CLUB / CALIFORNIA - NIGHT
FREDDIE amongst a GROUP OF MEN playing cards, dice, etc,
in a backroom gambling hall. He collects some money and
leaves. VERY VERY SMOKY HERE.
CUT TO:
5.
EXT. ALLEY WAY - LATER
Freddie walks into the alley, stuffing some money in his
pockets - he's followed by a FIGURE. FREDDIE realizes,
stops, SPINS AROUND AND PULLS KNIFE:
FREDDIE
You come any closer and I'll slice your
GUT -
FIGURE
I'm not after your dough, I just want to
talk with you -
FREDDIE
You can talk standing in front of the
restaurant, around the corner --
At that moment, TWO OTHER MEN come out of the shadows and
JUMP FREDDIE, KNOCK HIM AROUND, TAKE HIS MONEY AND LEAVE.
He's left a little bloody, messy, no money in the alley.
CUT TO:
INT. CALDWELL'S DEPARTMENT STORE - DAY
FREDDIE's got a job working in the PORTRAIT STUDIO OF AN
OAKLAND, CALIFORNIA DEPARTMENT STORE. He looks from
behind the old camera, getting reactions. WE SEE THE
VARIOUS PEOPLE IN SEQUENCE:
MILITARY MEN, SINGLE LADIES, FAMILIES, TODDLERS, OLD
COUPLES, YOUTHFUL JUST MARRIED COUPLES. GET THEIR PHOTO'S
TAKEN. He interacts with them all.
CUT TO:
INT. CALDWELL'S DEPARTMENT STORE. DAY.
CAMERA leads around a beautiful young woman names: DONNA
(20) who is modelling a FUR COAT for the FEMALE CUSTOMERS
in the COSMETICS SECTION.
DONNA
Hand made. Imported. Chinchilla. Only
$49.99
She catches the eye of FREDDIE watching her. She moves
around snaking towards him.. .CAMERA° leads him out of the
PHOTO DEPARTMENT and towards her, and they meet in the
MIDDLE;
6.
DONNA (CONT'D)
Only $49.99, hand-made, imported.
FREDDIE
You have a break coming?
DONNA
Yes.
FREDDIE
When?
DONNA
15 minutes.
A BACK HALLWAY, BACK CLOSET, MOMENTS LATER.
He gets his little FLASK out...
FREDDIE
I saw you.
DONNA
I saw you first.
FREDDIE
What's your name?
DONNA
Donna. What's yours?
FREDDIE
Freddie.
DONNA
That's a nice name.
FREDDIE
This is homemade..
DONNA
Is it gonna kill me?
FREDDIE
Yes.
She sips it. Makes a face. Horrible.
DONNA
Uugugh.
FREDDIE
Taste good?
7.
DONNA
Yeah.
They kiss each other.
DONNA (CONT'D)
I have an apricot belly. Want to see it?
She shows him her stomach.
DONNA (CONT'D)
I'm really a very good girl. What gives
you this idea about me?
FREDDIE
Maybe we think the same things at the
same time.
DONNA
Oh my good-ness. I think we do. Want to
see my boobs?
FREDDIE
Yes.
She pulls her top down, the coat drapped around
her-reveals her breasts -
DONNA
Are they nice?
FREDDIE
Yes.
DONNA
Hand made. Chinchilla. Imported. That's
enough.
She pulls her top back up.
FREDDIE
Wanna go out tonight?
DONNA
Of course. Gllllagh. What's in this? I
think I'm cross eyed for good.
FREDDIE
I don't have any cigarettes...
DONNA
What do you make this liquor with?
8.
FREDDIE
There's secrets in liquor, this is just
booze.
CUT TO:
EXT. DEPARTMENT STORE. MOMENTS LATER.
They exit, move away from each other, both drunk..
CUT TO:
INT. PORTRAIT STUDIO AREA. LATER.
FREDDIE is very drunk and dealing with a very
IRRITABLE/VAIN BUSINESS MAN who can't stop doing his
hair ...FREDDIE makes some smart ass comments (TBD) to THE
MAN. They argue back and forth until:
FREDDIE LOSES HIS TEMPER WITH THE MAN AND SNAPS. HE
KNOCKS OVER A LIGHT, DECIDES TO STEAL THE CAMERA WHILE
HE'S AT IT AND TAKE HIS HOME MADE BOOZE OF FILM
PROCESSING CHEMICALS WITH HIM. THE WHOLE TIME RANTING AND
RAVING AT THIS MAN.
SECURITY GUARDS come after him, Freddie runs off, through
the store -
DONNA WATCHES HIM GO. HE SHOUTS A FEW SWEET WORDS TO HER
AS HE GOES --
CUT TO:
INT. SPREKLES SUGAR FACTORY/BEST FARM - SALINAS, CALIF -
DAY
Maybe a few months later, FREDDIE looks worse for wear.
He's been hired to work at a BEET DISTILLATE as a BENCH
CHEMIST. The FOREMAN walks him though the process; it's
clear that there is enough chemicals and beets here to
make some good booze...
MEXICAN and FILIPINO workers HARVEST THE BEETS, load them
to wagons - unload/wash - end up with FREDDIE: He works
the bench, making his HOME MADE VODKA. This stuff is
quite toxic and very strong. He places it in small, side
CONTAINER'S --
CUT TO:
9.
INT. BUNKHOUSE - EVENING.
Freddie and all the workers getting ready for a night
out. He's got the Fillipino's and Mexican's working for
him squeezing Lemons and Limes, Apples, Beet Juice, in
with HOMEMADE POTION.
CUT TO:
INT. LARGRANGE DANCE HALL - NIGHT.
A LOCAL DANCE HALL outside SALINAS. SCENE BEGINS IN THE
MIDDLE OF A FIGHT WITH FREDDIE/FARM WORKERS and some
LOCAL KIDS. FREDDIE is very very VISCIOUS IN THIS FIGHT.
CUT TO:
INT. CAR - MOVING
All of the MEN with Freddie have piled into a car. There
is one FILLIPINO MAN who is extremely drunkHe's passing
out and moaning a little... His young FRIEND says, "he
drank way too much."
FREDDIE
.somebody shut him up..
CUT TO:
INT. BEET/SUGAR FACTORY. BUNKHOUSE. LATER
It's the middle of the night and all the WORKERS,
including FREDDIE are asleep. Across the room the DRUNK
FILIPINO's condition has gotten worse...
The YOUNGER FILIPINO MAN wakes others up for help. . .The
DRUNKEN MAN is mumbling "I'm blind.." "I'm dying.." "my
eyes.."
FREDDIE TAKES NOTICE, COMES CLOSER... STARTS TO SIZE UP
THE SEVERITY OF THE SITUATION .AND REALIZES HE MAY/DOES
HAVE SOMETHING TO DO WITH THIS...
.he backs away quietly-and starts to THROW SOME
THINGS INTO A BAG...
.WHEN SOME OF THE FILIPINO'S NOTICE HIM STARTING TO
LEAVE, THEY YELL AFTER HIM...
.FREDDIE TAKES OFF...
10.
AND THE FILIPINO'S GIVE CHASE.. .THEY MOVE INTO THE FARM
FIELDS.
EXTEND OUT. CHASE THROUGH THE FIELDS FREDDIE JUST RUNNING
AND RUNNING AS FAST AS HE CAN...
CUT TO:
EXT. HIGHWAY - LATER.
LATER. off the side of the highway. Freddie collects
himself, obviously running for the past hour and evading
the Filipino's.
He hitches now...
CUT TO:
EXT. DOCKS/SAN FRANCISCO - HIRING HALL - NIGHT.
Inside the crowded HIRING HALL, sailors, men looking for
work, etc. Freddie puts his name down. This is a short
burst of a scene, establish he wants to get back to sea,
wants work, but there's nothing for a few weeks.
EXT. DOCKS/SAN FRANCISCO - NIGHT.
VARIOUS ANGLES. Freddie makes his way around the docks,
looking for something/anything. PLAY OUT.
He comes across a SHIP that's being readied for voyage.
It's an old cattle TRAWLER that seems converted to some
kind of CRUISE SHIP/PRIVATE YACHT-type vessel.
There's a buzz of getting ready around the ship also a
minor cocktail party in progress. (light music playing
from the ship...) DECKHANDS preparing to ship out, etc...
Freddie approaches the gang-plank...no one is there to
guard it. He walks straight up the gang plank and gets on
board the ship.
ANGLE, ON BOARD.
CAMERA follows him around... no one seems to notice or
care...
He goes down below...
ANGLE, BELOW DECK.
He sneaks around... some YOUNG MEN are getting dressed in
TUXEDOS.
11.
This plays itself out...FREDDIE finds a small CLOSET with
a TUXEDO and slips it on. He gets swallowed up into this
group of young men and acts as if he belongs --
.THE SHIP PULLS AWAY. HEADING OUT SAN FRANCISCO BAY...
.FREDDIE HEADING UP INTO A WELL APPOINTED CABIN...
A COCKTAIL PARTY IS IN FULL SWING AS THE SHIP LEAVES S.F.
There are all manner of people here, in this area,
everyone seems quite happy, chatty. Middle aged couples,
single middle-aged men, young couples, some kids,
teenagers, etc.
Freddie working near the bar, starts delivering drinks...
A live PIANO TRIO playing. FREDDIE NOTICES:
A LARGE MAN IN HIS MID-40s, all red-hair, red eyebrows,
red lips sings and dances while holding a baby It's a
bit blurry across the room from Freddie's POV
The SONG ENDS and everyone laughs, applauds, collapses.
KIDS run around...
CUT TO:
INT. MAIN DINNER CABIN. LATER.
Everyone seated for DINNER; we now see the red haired man
in full: MASTER OF CEREMONIES (early 40s)
He sits at the head of the table, his family with him:
HIS WIFE: MARY SUE (pregnant, mid-20s) HIS DAUGHTERS:
ELIZABETH (18) ELENA (3) SUSANAH (1) HIS SON: VAL (20)
A RIGHT HAND MAN TO MASTER IS: NORMAN CONRAD (40s)
ANGLE, THE BAR.
The BARTENDER whispers to Freddie; indicates he's POURED
TWO SHOTS FOR THEM TO SNEAK ... FREDDIE and the BARTENDER
reach and grab them, shoot them back...
INSTANTLY, FREDDIE'S HEAD POUNDS.
BARTENDER
You feel alright?
FREDDIE
Yeah, fine.
12.
ANOTHER SERVER
Why don't you go lay down, I'll take
over...
Freddie walks off. FREDDIE doesn't seem DRUNK he SEEMS
DRUGGED. He walks down the hall - AND IN AN INSTANT FALLS
FLAT ON HIS FACE. DEAD WEIGHT. He's dragged off.
FADE OUT.
CUT TO:
INT. SMALL DARK ROOM - LATER.
FREDDIE wakes up MASTER OF CEREMONIES is here along with
MARY SUE and NORMAN CONRAD does the speaking at first,
Freddie in and out of consciousness:
NORMAN CONRAD
How are you doing?
FREDDIE
Alright. What is this?
NORMAN CONRAD
How'd you get on this shit?
FREDDIE
I walked.
NORMAN CONRAD
Why?
FREDDIE
I was just looking f'work... I'm working
here.
MASTER OF CEREMONIES
You need to sit down.
FREDDIE
I need to sit down.
Freddie is already sitting in a chair they have him in.
FREDDIE (CONT'D)
Whatdchu put in my drink?
NORMAN CONRAD
You've been sedated.
FREDDIE
I'm sleepy.
13.
NORMAN CONRAD
I know you are. But you need to wake up
now. Be sharp and wake up... can you do
that for me? I want you to ask some
questions about why you're here.. .how you
came to be on this ship...
FREDDIE
.I just need the work. Wasinmy drink?
NORMAN CONRAD
You shouldn't be here, this is a private
trip.
FREDDIE
.I'm a good worker..Iknowthese ships...
BEAT. Freddie just looks at him, then MASTER SPEAKS:
MASTER OF CEREMONIES
You're an able bodied seamen?
FREDDIE
I am.
MASTER
You've had your appendix removed.
FREDDIE
MASTER
Why didn't you just ask if you could join
this ship? We're always looking for new
members, we'd have been happy to have
you, no need for skulking or sneaking.
FREDDIE
MASTER
You need work? We'd love to have you
work. You can work for us and our
company. . .we have a wonderful company...
FREDDIE
Yeah? Whatdo you do your company?
MASTER
This is the company where past, present
and future come together.
FREDDIE
14.
MASTER
Tell me why you're on my ship.
FREDDIE
I just want to go to sea. I am looking
for a berth--
MASTER
What's wrong with where you were?
FREDDIE
I'm a seamen.
MASTER
What wrong with the world from where you
were?
FREDDIE
I like being at sea. (I am a sailor.)
PAUSE. FREDDIE closes his eyes, sleepy a minute.., then:
MASTER
You're a Russian spy. Did you hear me?
Wake up, Freddie.
FREDDIE
What do you want? .what's your name?
MASTER
We've told you. You're a russian spy.
What are you escaping.
FREDDIE
Nothing.
MASTER
You did something.
FREDDIE
I'm here to work, I know ships...
MASTER
You don't know?
FREDDIE
No. I don't know-what?
MASTER
You're a little drunk and sleepy.
FREDDIE
More than a little watchu put in my
drink.
15.
MASTER
More than a little. You work for Dick
Quinn.
FREDDIE
Dick.
MASTER
RICHARD QUINN
FREDDIE
Don't know him. / no
MASTER
You work for the AMA. CIA.
FREDDIE
. you got alotta questions..
MASTER
You work for Bill Christos and his
friends at the APA.
FREDDIE
I don't know you...
MASTER
And you picked this ship at random?
FREDDIE
Yes, sir.
MASTER
How long have you been sleeping?
FREDDIE
I just woke up.
MASTER
What's your name?
FREDDIE
My name is Freddie Sutton. 40114-78
MASTER
You were in the Navy?
FREDDIE
Yes.
MASTER
Did you ever kill anyone?
16.
FREDDIE
Hah.
MASTER
Who did you kill?
FREDDIE
I fired and fixed torpedo room, USS
Barton. Yes, I killed people. I'll Kill
you.
MASTER
You feel agressive?
FREDDIE
Wakemeup.
MASTER
Where are you from?
FREDDIE
You know where - dn'ask me what you
know... wakemeup wakemeup wakemeup come
on wakemeup.
MASTER
You're from Princeton, New Jersey your
identification says but that's quite a
long way away from San Francisco. What
are you doing?
FREDDIE
-- I toldju I'm just trying to get to
sea.
MASTER
Why did you pick this ship?
FREDDIE
It was leaving...
MASTER
Did you come here to find out
information?
FREDDIE
It was leaving...
MASTER
Did you come here to find out
information?
FREDDIE
No, sir.
17.
MASTER
Who sent you here?
FREDDIE
You make me feel like I'm in hell. lemme
wake up or lemme sleep.
MASTER
Well you shouldnt drink so much liquor,
it's bad for the system. You're hurting
yourself.
PAUSE. Freddie is slipping out of it.
MASTER (CONT'D)
Would you like to stay with us a little
while?
FREDDIE
Sure.
MASTER
We can give you the guidance you need in
your life.
FREDDIE
Thanks.
MASTER
We can give you the guidance you need in
your life.
FREDDIE
Thanks.
MASTER
Why you don't you just get some more
rest?
FREDDIE
LONG PAUSE. Freddie's eyes close ane he passes out again.
MASTER
This boy is just a simple stow-away. All
things he says he is.
MARY SUE
I believe...
Master fiddles around with his things, belongings,
wallet, out on a table. He looks at the FLASK. Smells it.
Pours the contents into a glass; looks at the liquid.
18.
He drinks it. He lets it run down his body, feels the
drink. He drinks some more.
MASTER
Delicious... delicious
NORMAN CONRAD
There should be nothing above suspicion.
CUT TO:
EXT. HALLWAY - MOMENTS LATER
FREDDIE is dragged by to ASSISTANTS down the narrow
hallways of the SHIP. . .down another hallway, down
another...
CUT TO:
EXT. THE SHIP - PACIFIC OCEAN - NIGHT.
CAMERA MOVES WITH THE SHIP, SILENTLY MOVING ALONG AT
NIGHT.. .SEES THE LIGHTS GLOW FROM INSIDE...
CUT TO:
INT. ROOM - MORNING.
CU. FREDDIE.
Morning sun comes in, hits him in the face. Wakes him up.
He looks around. He looks out the window.
CUT TO:
INT. HALLWAY - SHIP - MOMENTS LATER
FREDDIE walks out, looks around. . .he walks down the hall,
a YOUNG GIRL passes him, smiles wide and says "GOOD
MORNING," ad keeps walking...
He moves towards a room where he hears a TYPEWRITER. He
steps in the doorway. MASTER sits at his desk, writing
gear all around. MASTER looks up, sees him, stops
typing...
Smiles. Extends his arm out for Freddie to come in and
take a seat.. .MASTER is warm, inviting. Not rushed. They
sort of sit and settle with each a moment;
19.
MASTER
Ok?
FREDDIE
Alright.
MASTER
You can't be...
FREDDIE
Is this your ship?
MASTER
I'm it's Commander, yes.
FREDDIE
Where's it going?
MASTER
New York City thru the canal. You're
seamen?
FREDDIE
Yes.
MASTER
You're looking for work?
FREDDIE
.what did I say last night...?
MASTER
You said you were an able bodied seamen
and you were looking for work?
FREDDIE
You have any?
MASTER
Perhaps.
FREDDIE
What was in my drink?
MASTER
You were sedated with chloral hydrate and
bubble gum kisses. Ha ha ha. I'm sure if
your check your butt-hole you'll find
it's all in working order (he he he...)
Isn't that what all men are worried about
in they surrender themselves.
FREDDIE
I didn't surrender myself.
20.
MASTER
You were acting very aggressive because
you drank too much alcohol.
FREDDIE
I don't think I was.
MASTER
Yes I think you were. And I don't like
strange boys jumping on my ship.
FREDDIE
So what are you gonna do?
MASTER
Why don't you just ask for work? Work
can't be hard to find.
FREDDIE
Depends on when you're ready to go...do
you have a job for me.
MASTER
You can't work in your condition.
FREDDIE
What condition is that?
MASTER
You're aberrated.
FREDDIE
What's that mean?
MASTER
A wandering from the path
The problems you have in your life (your
appendix, your work, your need to batter
your body with booze...) I resolve that
they can be fixed.
FREDDIE
I've got no trouble. You got a job for me
to do, I can do it.
MASTER
Maybe I do, but not the kind you think.
FREDDIE
Do you own this ship?
21.
MASTER
A charter though the Explorer's Club.
FREDDIE
.What do you do?
MASTER
I am many things. I am writer, a doctor,
a nuclear physicist, a theoretical
philosopher. Above all, I am a man, A
hopelessly inquisitive Man, just like
you.
FREDDIE
Where's your money come from?
MASTER
Many years of successful writing and
publishing has made me self sufficient.
Reader's in all languages have enjoyed my
work - but now I'm retired to study the
mid and the spirit...my life's true work.
FREDDIE
MASTER
These studies have made me a target and I
am hunted for what I know. Which is
why... it is so un-wise to go lurking and
jumping on strange ships.. .how do we know
what your motives are?
FREDDIE
.well: I apologize if I got a little
out of hand last night - I'm just...
looking for work and your ship looked
good, so...it's a nice looking ship.
MASTER
Don't apologize. You're a scoundrel. How
I miss the days of working a four
mastered schooner with nothing but salt
horse, dried peas and a couple quarts of
water.. .the present-day maritimer's seem
so much more fragile, don't you think?
You - you're and adventurer.
FREDDIE
22.
MASTER
An able bodied seamen, a maker of wine,
and a dashing mischievousness is what I
knew would come to me in this-lifetime.
.would you study with me? Submit
yourself?
FREDDIE
I don't understand what you're talking
about.
MASTER
I am always looking for mature men of
unusual ability who are willing to
stretch the boundaries of what they know.
To increase knowing-ness and
communication amongst man. I need day-ta.
And with your help, I can gather it...
FREDDIE
MASTER
You already understand, you just need to
remember. And only say yes. Say, 'yes.'
FREDDIE
I'm not saying yes to anything I don't
UNDERSTAND --
Master holds up the FLASK..
MASTER
What's-about-this?'
FREDDIE
What about it?
MASTER
As a Scientist and a Conniseur I have no
idea the contents of this remarkable
potion, what's in it.
FREDDIE
Secrets.
MASTER
Can you make more?
FREDDIE
MAYBE
23.
MASTER
I'll grant you a full reprive from your
naughtiness as a stow-away if you make us
some more. I must admit I sampled some
and ended up drinking it all.
FREDDIE
It's just booze.
MASTER
Horrible Hooch?
FREDDIE
Horrible Hooch.
BEAT. They both smile, laugh a little. MASTER gets up and
comes over him...
MASTER
Would you scrub yourself up and make
yourself clean?
My daughter is getting married.
Come and join us and leave your worries
for a while, they'll still be there when
you get back..he he he. You are invited.
CUT TO:
INT. LITTLE ROOM - LATER.
FREDDIE IN A LITTLE ROOM, SHOWERED, CLEANED UP, NICE SUIT
ON, CHECKS THE MIRROR AND EXITS...
INT./EXT. SHIP - MOMENTS LATER - DAY.
MASTER waits for him-they walk together...CAMERA leads
them-they go up on DECK...OUT INTO THE PACIFIC OCEAN
AIR...
MASTER
I think we have known each other before
you and I -
FREDDIE
Oh yeah?
MASTER
It will come out over time, but yes. We
are re-united... do you reember me?
24.
FREDDIE
.I don't know...
MASTER
That's alright. Don't strain yourself.
You will. There will be much time to
discuss this on the journey to our
destination. As we travel down Time-
Holes...you won't be afraid will you?
FREDDIE
.what destination?
MASTER
Have you ever had harm cme to you?
FREDDIE
Sure.
MASTER
What if we could return to a period of
your life where there was harm and do
away with it? .would You like that?
FREDDIE
Ok.
MASTER
That's where we go.
They come across ALL THE PEOPLE ON BOARD. THEY WALK INTO
THE GROUP. Everyone is getting ready for a WEDDING. . .they
greet MASTER and FREDDIE. He walks into it and is
welcome'd...
MASTER finds his daughter, ELIZABETH, who is to be
married and her husband-to-be CLARK (20s) He introduces
them to Freddie -
EXT. DECK OF SHIP. AFTERNOON.
ZOOM BACK FROM CU. On MASTER as he presides over his
DAUGHTER's WEDDING. ELIZABETH and CLARK. Everyone dressed
up; Master says some sweet,. beautiful words and then;
MASTER
.as long as you hold these bodies, in
this life: you may kiss the bride.
THEY KISS. APPLAUSE, CHEERS. CU. FREDDIE. He listens and
watches.
CUT TO:
25.
INT. DINNER CABIN. NIGHT.
It's mid-dinner, post-wedding ceremony party, everyone is
celebrating, drinking. Master talking a blue streak,
acting this out.
MASTER
Now, now, now, how 'bout this: Here it
comes - swooping down on me: A LARGE
DRAGON, TEETH AND BLOOD DRIPPING! RED
EYES!
What do I go? A lasoooo! Whip it up, wrap
it around it's neck. I wrastle, wrastle,
wrastle'em to the ground - I snap up, I
say: sit.
Everyone laughs, Master is acting all this out, rolling
around, etc as if he's training a dog...
MASTER (CONT'D)
Dragon sits. I say: stay. Sragon stays.
So now he's got a leash on and he's
staying on my command - THAT"S WHAT WHERE
WERE AT WITH IT NOW - it stays on
command.
Everyone is laughing, lapping it all up. He glances;
MASTER (CONT'D)
Next we're gonna teach it to roll over
and play DEAD.
Master sits down, starts speaking to someone about his
days studying Judo ...
FREDDIE, sitting up at the dinner table-across the
table is: VAL, strikes up conversation:
VAL
Freddie, I'm Val, the son.
FREDDIE
Hello.
VAL
Are you having a good time?
FREDDIE
Yes.
VAL
What are you goign to be working on?
26.
FREDDIE
I don't really know.
VAL
Have you done any time-hole work?
FREDDIE
I don't think so.
VAL is distracted by a WELL WISHER who comes over.
FREDDIE looks around at everyone. All the faces having a
good time and celebrating...
He catches the eye of a YOUNG WOMAN. . .then sees her
HUSBAND...
The BARTENDER comes over to FREDDIE
BARTENDER
Alright, old man?
FREDDIE
Yeah.
BARTENDER
No hard feelings?
FREDDIE
No.
BARTENDER
Welcome aboard. Clif Amsbury.
He serves him a drink.
BARTENDER (CONT'D)
This one's alright. Chink, chink.
ANGLE, LATER.
Master is saying good-night to everyone, passes FREDDIE
and says quietly:
MASTER
When can we have some of your potion?
FREDDIE
Whenever you'd like. I'll get making it -
MASTER
When I'd like it - I will give you a
signal. I will scratch my ear and rub my
nose. What will you need?
27.
FREDDIE
I'll take care of it.
MASTER makes his way down the table trying to say goodbye
to everyone, he finally tears away from the party by
SAYING:
MASTER
Enough! Enough! I must get back to work!
Keep going! Dont stop all night long!
He leaves. FREDDIE just looks around, caught up in it
all.
CUT TO:
INT. ROOM - LATER.
Freddie comes down into his little room. A cot has been
made for him, some fresh clothes and a BOOK
(hardcover,400pages) on the bed. It reads, very simply:
THE CAUSE
CU. BOOK "THE CAUSE"
The cover is opened, CAMERA SEES IN CU the opening line
from the book: "Shall a man be master of his memories? Or
shall his memories be the master?"
ANGLE, FREDDIE
He lays in bed and reads the book. He reads about to
lines and his eyes slam shit, asleep, still holding the
book.
HOLD.
CUT TO:
INT. MAIN DECK / CABIN - MORNING.
It's the next morning, EVERYONE IS HERE FOR BREAKFAST,
BUFFET STYLE, FREDDIE mixed in amongst it all.
FREDDIE sits down to eat with MARY SUE, who feeds her
baby. The other children around. VAL and NORMAN CONRAD
are here...
MARY SUE
He's been writing all night ...I think
you've inspired something in hi,. When
we're at home, on land, there's too much,
pulling him in each direction.
(MORE)
28.
MARY SUE (CONT'D)
He was working on a book that showed how
the Russians used narcosynthesis and
physical torture and how it worked as it
did. That was interrupted.
He had a technology oh psychological
warfare to present to the Defense
Department. All that was interrupted,
lost. Each time he sits to write, a new
attack is launched against him and he
spends too much time on defending
himself. I tell him to ignore it, but
he's so sensitive...
FREDDIE
Who's attacking him?
MARY SUE
People that are scared. People that are
greedy. Ex-wives...That's what's so nice
about being at sea. He gets his studies
done, advances the learning, and he
writes BOOK II.
FREDDIE
What's a time-hole?
CUT TO:
INT. SMALL CLASSROOM - LATER.
It's a dimly lit little room. A few folding chairs and a
small stage. A YOUNG GOD LOOKING COUPLE: WAYNE and SUSAN
DUNBAR (late 20s) are on stage. She is lying down, eyes
close, he is sitting in a chair next to her, students
watch as he runs an exercise with her; Mary Sue has
brought Freddie in here and sits with him in the
back.. .Freddie watches:
WAYNE
Say, "back beyond" and return to the pre-
natal area.
SUSAN
Back beyond. Back beyond. Back beyond.
Back beyond. Back beyond. Back beyond.
WAYNE
Continue please...
SUSAN
Back beyond..I Have.. something in my
face... It feels like I am being pushed.
29.
WAYNE
Contact it more closely and continue to
repeat.
SUSAN
Back beyond. Back beyond. It's getting
stronger.
WAYNE
CONTINUE
SUSAN
I hear a voice..It's my father's voice.
WAYNE
Listen to the words and repeat them,
please.
SUSAN
He is talking to my mother. The face
pressure is hurting. It's uncomfortable.
It keeps going up and down and it hurts.
WAYNE
Repeat his words, please.
SUSAN
"I don't want to come in you now. Let's
wait." The pressure is banging my face.
Into my face. My mother is there, her
voice...
WAYNE
What is your mother saying? Please, if
you hear her?
SUSAN
She saying "well get out of there then. I
don't want you in me at all if your not
there to come. Get in to come." She's
mad.
WAYNE
Please return to the start of this and
recount.
SUSAN
I wonder what they're doing? I hear a
squishing sounds and it's wet. Oh. Oh my.
WAYNE
Recount please.
30.
SUSAN
A faint rhythm ...then faster. I hear my
fathers voice say, "oh honey..I wont come
in you now. I'm not too sure I like
children that well and I have my job to
worry about..." And my mother must shove
him - a sharper pain here - "THEN I DON'T
IN THERE AT ALL, GET OUT.."
WAYNE
Return to the beginning and recount it
again, please.
CU. FREDDIE's FACE
Listening. Mary Sue leans over and whispers:
MARY SUE (WHISPERS)
Do you understand what's happening?
FREDDIE
Yes.
She hold her pregnant stomach;
MARY SUE
We record everything.
CUT TO:
INT. SHIP - VARIOUS. NEXT MORNING.
FREDDIE moves around, CAMERA follows him, collecting
VARIOUS SUPPLIES to start making a home-made potion of
booze. POTATOES, PAINT THINNER, ORANGES, YEAST. (TBD,
OTHER CONTENTS OF THE SHIP) that could go into a recipe --
CUT TO:
INT. BOOZE ROOM - LATER.
He's set up in an area of the ship to start distilling
BOOZE from the found ingredients on the ship. WATCH, HOLD
THIS. The BARTENDER/FOLLOWER is here to give him some
help. (poss. Bartender telling him how came to 'the
cause' here...)
CUT TO:
31.
INT. STUDY ROOM - LATER.
HE WALKS THROUGH THE LIBRARY ROOM, WATCHING A GROUP OF
FOLLOWERS READING, STUDYING, TALKING. LISTENING TO
HEADPHONES WITH MASTER'S VOICE SPEAKING. THIS IS THEIR
STUDY TIME.
He slips a PAIR of HEADPHONES ON, TAKES A SEAT AND
LISTENS. This is a recording of a LIVE LECTURE BY MASTER:
MASTER (V.0.)
.someone came up to me the other day,
and I had to say...I had to correct him.
He said, "I heard the Cause can fix me.."
I looked down at him and he'd lost his
legs. He's sitting in a wheel chair and
had no legs to speak of. I said, "We can
do very many things, sir...but no, we
cannot replace your legs. This is how
rumors get started." Let's talk about
what we can do...
FREDDIE looks around and watches all the STUDENTS on
their headphones. He tries to flirt and make eye contact
with all the WOMEN.
MASTER (V.0.) (CONT'D)
When did you decide you had limited
potentials and capabilities? You've
forgotten that this is all just a dirty
old game that YOU created.
An AID (Female, 40s) comes over;
AID
How you doing?
FREDDIE
I'm fine.
AID
Are you following alright?
FREDDIE
Well-not really-no...
AID
That's OK. You will. Don't worry -
FREDDIE
How long have you been studying
32.
AID
A year. It takes a little time. Don't
worry.
FREDDIE
What's your name?
AID
Carol Henike. You're Freddie.
FREDDIE
That's right.
AID
Just keep listening and reading. If you
don't udnerstand, just keep going back
over it. Headphones back on...
He slips the headphones back on.
CUT TO:
INT. MAIN CABIN - EVENING.
A SKETCH COMEDY SHOW, DANCING after-dinner. FREDDIE on
the sidelines, watching it, not really understanding some
of the humor and lyrics, etc...someone has a MOP on their
head and is pretending to be a PSYCHOLOGIST with a vary
thick/bad German-Austiran-accent. "zee muzzer and fazzer
and zee penisss and ze nippelz.." attempting to cure a
STUDENT... everyone LAUGHS.
ELIZABETH (the daughter) comes over;
ELIZABETH
Hi Freddie ...
FREDDIE
Hi.
ELIZABETH
.I Have a message for you.
She rubs her nose and tugs her ear.
ELIZABETH (CONT'D)
Better get along.
He leaves, she watches him go.
CUT TO:
33.
INT. FREDDIE'S AREA. MOMENTS LATER.
He puts the booze into MASON JARS.
CUT TO:
INT HALLWAY - MOMENTS LATER
FOLLOWING FREDDIE HOLDING THE BOOZE IN A LITTLE MASON
JAR.
CUT TO:
INT. MASTER'S SUITE. THAT MOMENT.
Freddie pours the liquid into two glasses. WE HEAR THE
PARTY OUTSIDE THE ROOM, FROM UPSTAIRS. MASTER examines
IT;
MASTER
What's in it?
FREDDIE
.drink just a little.
It's very strong. The good stuff takes
time. And there's secrets in good liquor.
This is just booze for now...
MASTER
How are you feeling, Freddie?
FREDDIE
Good.
MASTER
Rested?
FREDDIE
Yes.
MASTER
Excited?
FREDDIE
Sure.
MASTER
Have you made some friends?
FREDDIE
Yes.
34.
MASTER
Good. Good. How are you feeling?
FREDDIE
Yeah, good.
They CHEERS AND DRINK. Shudder at the strength of it.
MASTER
I've been writing ... BULAGH! Feel like I
went under. Dark cloud rolls in. Opens
up...anxious to share new work-would
you care for some informal processing?
FREDDIE
Sure...
MASTER
Well, then I gather myself... and you be
my protege and guinea pig, eh?
Informal processing.
Master smiles, excited, moves to an OLD TAPE RECORDER,
points a microphones towards Freddie, looks over some
papers...
MASTER (CONT'D)
Are you ready?
FREDDIE
Yes.
HE FLIPS THE TAPE RECORDER ON. Master smiles, reads,
LOOKS UP;
MASTER
Say your name.
FREDDIE
Freddie Sutton.
MASTER
Say it again.
FREDDIE
Freddie Sutton.
MASTER
Say it again.
FREDDIE
Freddie Sutton.
35.
MASTER
Might as well say it one more time just
to make sure you know who you are...
FREDDIE
Freddie Sutton.
MASTER
Do you ever make thoughtless remarks.
FREDDIE
I usually put some thought into them.
MASTER
Do you browse though railway timetables
just for pleasure?
FREDDIE
No.
MASTER
Do you get occasional twitches of you
muscles when there is no logical reason
for it?
FREDDIE
(flutters around goofy) Only on my good
days.
MASTER
Do past failures bother you?
FREDDIE
No.
MASTER
Do past failures bother you?
FREDDIE
No.
MASTER
Do past failures bother you?
FREDDIE
No. (some dice games I was in, he he.)
MASTER
So past failures bother you?
FREDDIE
.I don't know. . .you keep asking me..no,
not really.
36.
MASTER
Is your life a constant struggle for
survival?
FREDDIE
.not really ... .. life's alright.
MASTER
Would you rather give orders than take
them?
FREDDIE
Sure.
MASTER
Are you often impulsive in you behaviour.
FREDDIE
.sure... Yes.
MASTER
Do other people interest you very much?
FREDDIE
Not really (girls? They do)
MASTER
Do you find it easy to be impartial?
FREDDIE
Yeah.
MASTER
Are you likely to be jealous?
FREDDIE
No .about what?
MASTER
Are you logical and scientific in your
thinking?
FREDDIE
I'm..I don't know. Don't care about
science.
MASTER
Do you rarely suspect the actions of
others?
FREDDIE
I don't understand.
37.
MASTER
Yes you do.
FREDDIE
.I suspect people...yes. Sure. So...no,
rarely. Most people are ass's anyway.
MASTER
Are you usually truthful to others?
FREDDIE
.no... I don't know. Guess so.
MASTER
Are your actions considered unpredictable
by other people?
HOLD. HOLD. Freddie seems to think about this questions
seriously, THEN: OUT OF THE PAUSE AND OUT OF THE BLUE HE
SCREAMS;
FREDDIE
BLLLLLLLLLL GH.
How's that? (laughs hysterically)
MASTER
Silly..its good to laugh in
processing.. sometimes we forget.
Master reaches down, brings the microphone to his mouth:
MASTER (CONT'D)
"Freddie Sutton, Test Session. May 5,
1952, 1800 hours. Aboard he sailing
vessel Aletheia, en route to New York
City. MOC logged ad approced."
He CLICKS it off. Smiles at Freddie; he gives him a
comforting hug.
MASTER (CONT'D)
Should we sample another sip before we
join them upstairs?
FREDDIE
Is that it?
MASTER
For now.
FREDDIE
I'm ready for more if you want to ask
me...
38.
HOLD BETWEEN THE TWO OF THEM. LONG PAUSE.
FREDDIE (CONT'D)
Ask me, Master. This is fun.. .nobody's
asked me questions before --
MASTER
Could you answer the next series of
questions without blinking your eyes? To
without fear and hesitation answer as
quickly as you can?
FREDDIE
Sure.
CU. TAPE RECORDER BACK ON.
MASTER
Look at me...Starting now you are not to
blink. If you blink we go back to the
START:
.infringement. you blinked. Starting
now you are not to blink. If you blink we
go back to the start.
Do you often ponder over your own
inferiority?
FREDDIE
No.
MASTER
Infringement. Back to the start. You
blink, we repeat from the start. Do you
often ponder over your own inferiority?
FREDDIE
Yes.
MASTER
Do you believe that God will save you
from your own ridiculousness and self
contempt?
FREDDIE
No I don't.
MASTER
Have you ever had intercourse with a
member of your family.
FREDDIE
Yes.
39.
PAUSE.
MASTER
Have you ever had intercourse with a
member of your family?
FREDDIE
Yes.
MASTER
.who?
FREDDIE
My. Auntie.
PAUSE. Master is stumped for the first time...
MASTER
Have you ever killed anyone?
FREDDIE
No,
MASTER
Maybe?
FREDDIE
Not me.
TAPE RECORDING ALL THIS. DIALS MOVING. FREDDIE NOT
BLINKING.
MASTER
Have you ever killed anyone.
FREDDIE
No.
MASTER
How many times did you have intercourse
with your aunt?
FREDDIE
Three times.
MASTER
Where is your aunt now?
FREDDIE
Don't know. Probably Princeton.
MASTER
Where?
40.
FREDDIE
45 Province Lane.
MASTER
Would you like to see her?
FREDDIE
No.
MASTER
Would you like to sleep with her again?
FREDDIE
No.
MASTER
Do you regret this?
FREDDIE
No.
MASTER
What is she doing now?
FREDDIE
I don't know.
MASTER
Where is your mother?
FREDDIE
I don't know.
Freddie BLINKS.
MASTER
INFRINGEMENT. Back to the start.
FREDDIE
FUUUUUUUUUCKK. FUCK FUCK FUCK FUCK.
BULLSHIT. FUUUUUUUUUUUUUUUUUUUUCK.
He slaps himslef around, opens his. eyes. HOLD.
MASTER
Do you often ponder your own inferiority?
FREDDIE
Yes.
MASTER
Do you believe God is going to save you?
41.
FREDDIE
No.
MASTER
Have you ever had sex with a member of
your family?
FREDDIE
Yes.
MASTER
Are you lying?
FREDDIE
No.
MASTER
Who?
.FREDDIE
My Auntie Bertha.
MASTER
Where is your aunt?
FREDDIE
At home in new Jersey.
MASTER
Are you lying?
FREDDIE
No.
MASTER
Are you a liar?
FREDDIE
Yes.
MASTER
Have you ever killed anyone?
FREDDIE
Yes.
MASTER
Who?
FREDDIE
Japs.
MASTER
In the war?
42.
FREDDIE
Yes.
MASTER
What are you running from?
FREDDIE
Nothing.
MASTER
The law?
.PAUSE...
FREDDIE
I think I may have blinded a man. Maybe
he's dead, I don't know...
MASTER
Where?
FREDDIE
In Salinas, I served him up booze and he
drank too much of it.
MASTER
Is the booze you make poison?
FREDDIE
Not if you drink it smart, he was stupid.
MASTER
Are you trying to poison me?
FREDDIE
No.
MASTER
Where is your father?
FREDDIE
I don't know. (aka dead)
MASTER
Where is your mother?
FREDDIE
I don't know. Maybe New York, New Jersey,
anywhere. Don't know.
MASTER
What is your Auntie's Name?
43.
FREDDIE
Auntie Bertha.
MASTER
How did you come to sleep with your
Auntie Bertha?
FREDDIE
She said she'd let me have my inheritance
if I were to sleep with her. So I did and
I never got my money. I was drunk. She
looked good.
MASTER
And you did it again and again.
FREDDIE
Yes. Because I liked it. It felt good.
MASTER
She's rich? Is she? She has your
inheritance, does she?
FREDDIE
She controls it all.
MASTER
You feel you're owed this?
FREDDIE
I am.
MASTER
Have you ever had any bad thoughts about
her or Mary Sue?
FREDDIE
Yes.
MASTER
What do you think?
FREDDIE
I thought you were fools. But now I see
that you're not
MASTER
If you could lock yourself in a house, a
large mansion for the rest of your life:
who would you like to be there with you?
FREDDIE
Doris Schoemann.
44
MASTER
Who is Doris?
FREDDIE
Best girl I ever met. The girl I am gonna
marry one day.
MASTER
She's in New Jersey, is she?
FREDDIE
Lynn, Massachussets. ( I just got to get
back to her.)
MASTER
Why aren't you with Doris?
FREDDIE
MASTER
Why aren't you with her?
FREDDIE
I'm an idiot. I don't know. I got no
reason.
MASTER
Do you love Doris?
FREDDIE
Yeah.
MASTER
Is she the love of your life?
FREDDIE
Yes sir.
MASTER
Close your eyes/
CUT TO BLACK, HOLD, THEN FADE UP AGAIN..
MASTER (CONT'D)
Release and return to me ...
Say your name.
FREDDIE
Freddie Sutton.
MASTER
Are you hear with me in 1952?
45.
FREDDIE
Yes...
MASTER
End of session. Open/close your eyes.
He laughs. They both laugh, MUSIC 'dancers in love'/piano
ver.
MASTER (CONT'D)
How does it feel?
Freddie laughs a little.
FREDDIE
Feels good.
MASTER
Left side of your body feels ok?
FREDDIE
Yeah.
MASTER
Right side?
FREDDIE
Yeah.
MASTER
Any headaches?
FREDDIE
NO
MASTER
Are you a member of the Ninth Battle
Batallion?
FREDDIE
I don't know what that is.
MASTER
Are you a member of the Ninth Battle
Batallion?
FREDDIE
No.
MASTER
Or any other invader force? Space
stations or communication depots on this
planet or anywhere else?
46.
FREDDIE
No, sir.
MASTER
You're the bravest boy I've ever met.
Master turns off the tape recorder. They DRINK DOWN THE
BOOZE TOGETHER. Smile, laugh.
EXT. MANHATTAN SKYLINE - NIGHT.
ESTABLISH SHOT. 1950s. MOVING OVER THE WATER TOWARDS IT.
CUT TO:
EXT. DOCKS/NEW JERSEY - NIGHT.
The SHIP HAS ARRIVED AND DOCKED. Everyone is rounding up
to disembark. Those leaving: MASTER, MARY SUE, ELIZABETH,
CLARK, THE BABIES, NANNIES, VAL AND FREDDIE. They all
head down the gang-way...
The New York City franchise owner/follower is a thin,
sickly man named: BILL WHITE (40s) He's very
nervous/anxious/eager to please, comes to greet them.
He's here with some other ASSOCIATES/FOLLOWERS:
BILL WHITE
Master! Hello. Yes. Welcome. Welcome back
to New York City, Master. It's our honor,
its our pleasure. We are humble and so
happy...
MASTER
Thank you, Bill, good to see you.
BILL leads the way, waves his hand to the show:
BILL WHITE
We'd like to present you with this gift
from the New York Branch for your stay
here ...we know how fond you are of
motorcycles.
He presents a HARLEY-DAVIDSON..
MASTER
Loooooooooook at that... 1940 Harley
Davidson Knucklehead. For me?
47.
He slides on, starts it up, everyone APPLAUDS. MASTER
TEARS AWAY ON THE MOTORCYCLE, everyone else [piles into
some OLD SEDAN'S driven by some New York Followers --
Everyone on deck of the ship waves good-bye and watches
them go.
CUT TO:
EXT. CAUSE H.O./NEW YORK - AFTERNOON
MASTER and everyone comes in to the hotel/ballroom of a
fading mid-town hotel. Local students, followers are here
to greet ... about THIRTY people...
FREDDIE looks at the GIRLS. MASTER shakes hands, kisses
babies, etc...
BOOKS FOR SALE, DESKS, PARTITIONS, PAMPHLETS, REEL TO
REEL TAPE'S FOR SALE. BILL WHITE doing all the intro's,
liason work, etc... (note: Helen Sullivan here.) This
operation embryonic a little shabby...
CUT TO:
INT UPSTAIRS/HOTEL. LATER.
Everyone here, a FLOOR of the hotel has been taken over,
adjoining rooms connecting everyone... CAMERA moves
around, seeing all the activity, movement-the ADULTS are
getting dressed and ready for something ... . FREDDIE
brings MASTER some booze. They cheers, drink ... MASTER
gets ready.."to past, present, future and the street
where they all meet and shake hands."
CUT TO:
EXT. PARK AVENUE APARTMENT - NIGHT.
A very fancy APARTMENT ON THE PARK. The whole entourage
pulls up. MASTER on the Harley, everyone else in the
sedans..they head into a PARK AVENUE APARTMENT BUILDING;
CAMERA FOLLOWS THEM ALL IN. THE DOORMAN looks up;
BILL WHITE is quick to explain they're going to the
Penthouse to the party of Mrs. Purcell, etc..
48.
BILL WHITE
Make way, make way..thank you.
CUT TO:
INT. HALLWAY. FANCY APARTMENT.
THE ELEVATOR OPENS into the grand palatial apartment; an
older WOMAN is the hostess, her residence: her name is
MILDRED PURCELL (eraly 70s) a very wealthy widower,
follower, benefactor... This is a SHOW AND
TELL/FUNDRAISER/COCKTAIL RECEPTION in honor of Master and
the Cause...
They applaud his entrance. About FORTY or so guests, some
RICH UPPER EAST SIDE PEOPLE, who are members of a
satellite group. Some others come to listen and learn,
etc... BILL WHITE makes introductions, etc.
MASTER is offered some appetizers, he says:
MASTER
You can hear a tomato scream when you cut
it...this is why I don't eat tomatoes...
VARIOUS PARTY MINGLING/COVERAGE
MEET MRS. PURCELL and stay with her.-Everything settles
and she sets the stage for Master...
.FREDDIE Carries over an OLD REEL TO REEL TAPE PLAYER,
sets it on a coffee table in front of him...
MASTER (CONT'D)
As you can see I've brought props.
Everyone laughs.
MASTER (CONT'D)
Showman's trade secrets.. .he-he-he
More laughter.
MASTER (CONT'D)
Let me just listen to this tape...
He picks up the tape and lifts it to his ear..he wiggles
it around next to his ear..
MASTER (CONT'D)
Can't hear anything. But there's sound on
here, no? Sound to be found?
He puts the tape reels onto the player...
49.
MASTER (CONT'D)
This should do it!
He flips the switch. Nothing. No sound.
MASTER (CONT'D)
Hmmmm. Can' thear anything. Wait. There
are sounds on this tape, but I can't
hear... wait... how about this...
Nothing. He continues this ...he plugs the speakers
in.. . nothing again and again.
MASTER (CONT'D)
Well what do we have? We have the high
fidelity audio tape, we have speakers,
and yet..a ha! Just a moment.
He turns the machine "ON"...
MASTER (CONT'D)
This should do it...
Nothing.
MASTER (CONT'D)
Seems we're out of pieces..
Everyone laughs nervously...
MASTER (CONT'D)
I know there's sound on that tape...
He plugs the power cord into the wall... It crackles and
sound pours out.. It's MASTER'S VOICE.
MASTER (V.0.) (CONT'D)
Our life has never stopped and always
been. All of the recordings of our
lifetimes that we have lived are
available to us..
MUSIC STARTS TO PLAY. GENTLE PIANO MUSIC. MASTER turns
the volume down on the reel-to-reel, speaks live to the
PARTY:
MASTER (CONT'D)
Everything's there isn't it? On the tape?
Sure is, we just need to get it working
with all the other pieces in synch-ro-
nization. No good if it's not plugged
into the wall. Can't hear it. But the
sounds are still there. No good if those
speakers aren't there. Can't hear it.
(MORE)
50.
MASTER (CONT'D)
But that doesn't mean it's not there,
does it? No. It doesn't. That flimsy
little piece of tape is just nothin'
without all the other equipment lined up
properly, isn't it? We CAN access the
past, traumas and seeds that abberate us
in present time and once we access them -
we challenge them and throw them away.
Previously, I'd established how to access
these aberrations and painful memories to
pre-birth/cellular times.
But the new studies prove there is a time
beyond that. The Whole-of-time with which
we are now working. At last count,
perhaps sixty-seven trillion years our
studies show...
Besides the everyday struggles of how we
become better, more able, more productive
homo sapiens, the uses for this new
science is the location and removal of
certain leukemias, apathies, manics.
Depressives, perverts, stuttering,
neuroses, ulcers, arthritis, and asthmas.
This is the province and science of
Cause.
If you'll forgive me, I must sit down.
Perhaps you've taken notice of my leg
injury and limp damndest thing. You see
it happens every time I come to Manhattan
Island, its a wound I've never conquered
and I'll tell you how I found out about,
because I never knew what in the H was
happening...
Well I did some processing to find out.
Took Mary Sue to ay me down and lead me
back...we processed over three hours! And
something came up. It was this:
I lived a life before and suffered a
great injury. Knee injury...
It was just around 1888. A great number
and year. Significant as the creation .
year of the new york city sewer system if
I'm not wrong...
I was a thief and criminal, working late
into the night robbing a bank in the
western side of the island.
(MORE)
51.
MASTER (CONT'D)
The crime was committed with a revolver
in hand. A Cole .45. My accomplices and I
made it clear across town when we were
ambushed by the local authorities.
-- but I made a slip away. A digression
into the under constructed sewer system.
It was here that I could no be found - or
so my thinking went. All my confidence
and all my arrogance was brought upon me.
Full in the face. For I was nose to nose
with a twenty-five foot alligator in the
New York City sewer. Oh brother! What a
scare I was in for. Now if you've veer
seen the SNAP! SNAP! SNAP! OF A GATOR -
you'll remember the fear.
You see, this being an island, and in
those days more inhabited by creature
than man, why wouldn't I meet such a
beast?
In my evasion -- I dropped the gold. The
money I'd stolen in my getaway.. .not
dropped, but stuffed in a newly cemented
drain hole just around 125th
Street... present day Harlem County I
believe today. Yes. Yes.
I stuffed it and made a getaway from both
man and beast „shattered my knee in five
different places-turned into a piece of
glass..woke up early in the morning
somewhere near the present day Times
Square-which was nothing more than a
farm..quite a farm..but that's another
story.
So what does this say? Injuries stay with
us don't they??..They sure do. How's it
gonna go away. How? How? How'm I gonna
fix this knee. How are any of us going to
get better? More able?
We Must Process The Whole Of Time. This
Life and Pre Natal Cellular processing is
not enough. We have Lived Many, Many,
Many Lives. So anybody tat is not
processing the whole of time - is doing a
disservice to man and Will Not Get
Better. I cannot put it more simply.
(MORE)
52.
MASTER (CONT'D)
And as for me now: I just need to find
the time away from all of my writing to
go back down and DO IT so I don't walk
around with the darndest limp everytime I
come to town!
This story is greeted. with equal parts
excitement/complete CONFUSION. MRS. PURCELL slightly
nervous.
ANGLE, LATER.
MASTER and a SOCIALITE WOMAN (50s) he has her lay down on
a love seat;
MASTER (CONT'D)
What is your name?
SOCIALITE
Margaret O'Brian.
MASTER
Are you sure you haven't lived here
before?
SOCIALITE
I don't know.
MASTER
What's your name?
MARGARET
Margaret.
MASTER
Are you sure?
ANGLE, PURCELL APARTMENT.
FREDDIE goes lurking around, slinks in and out of some
rooms. HE GOES INTO THE BEDROOM, STEALS SOME JEWELRY.
STUFF HIS POCKETS. (OC DIAL. PLAYS...)
ANGLE, MAIN LIVING ROOM.
MASTER has finished his demonstration and is opening it
up for questions/discussions. An OLDER MAN (MR. JOHN
MORE, 50's, scholarly, wearing a prominent HANDKERCHIEF)
stands up to speak:
(Throughout this another OLDER WOMAN has a terrible cough
from the back of the room.)
53.
JOHN MORE
Some of this seems quite like hypnosis,
is it not?
MASTER
Oh no, this is funny. It's quite the
reverse. Man is hypnotized. What we do is
un-hypnotize him of the shackles. Allow
him to raise his awareness and IQ.
JOHN MORE
What is the difference between this and
psychotherapy?
MASTER
Yes. Well. They are very different. No.
Psychoanalysis, they lay back. No, no,
no. Don't associate us with such people!
That's terrible (he, he) why that's a bad
manner don't you know? I mean at that
business about sex and all that. That's
for the neurotic or the person who is
insane or something like that. That's
nothing to do with us. They've failed.
That's for the fortunate few who can
afford the fees.
JOHN MORE
But some of this does in fact seem to
share quite a lot with Dr. Freud and
modern psychotherapy, does it not?
MASTER
No it does not. This is an exact science,
you see. Comparable to physics or
chemistry - but simpler. It's
engineering. Herr Freud had his chance
and contributed some very workable data,
but in the end, he failed. So that's
that.
JOHN MORE
And how long does this take?
MASTER
That depends. But it can be quite fast.
Quite fast. Or it can take some time.
Sometimes less than 36 hours.
JOHN MORE
36 hours? And you're saying that these
methods can cure leukemia according to
your book and what you've just said?
54.
MASTER
Some forms of leukemia, 22 cases tested.
22 cases cured. Those are the results.
JOHN MORE
You can understand scepticism, can you
not?
MASTER
Oh, yes, of course, yes. And this is to
be expected and welcome. For without it
we'd be positive's with no negatives -
therefore zero. charge. We must have it.
JOHN MORE
Are you a religious people?
MASTER
We are not incorporated as a religion,
no. But remember this: that religion has
come uniformly from a philosophy.
Philosophy is senior to religion. You
could call us a religion of religions.
JOHN MORE
Are you saying then that any religion is
rather narrow in its outlook?
MASTER
No, no, no. I have no quarrel with man's
belief's, but religions in general can be
pre-occupied with a God or Idol or
something of some such nature who is
merely trying to fill the universe with a
lot of little replicas of himself - we
are trying to free the individual - not
bend to a will of a God, you see. And if
our teachings can reconcile these views
it would be doing a great service to
MANKIND -
JOHN MORE
Do you think it can?
MASTER
I not only think it can, I know it does.
JOHN MORE
You mentioned 'good science' and what it
does.. .but doesn't that, by definition,
allow for more than one opinion?
55.
MASTER
Indeed, indeed. Which is why our
gathering of day-ta is so far reaching -
JOHN MORE
Otherwise you merely have the will of one
man - which is the basis of cult, is it
not?
MASTER
T'is, t'is, indeed. Thankfully we are,
all of us, working at break-neck speeds
and in unison towards catching the minds
fatal flaws and correcting it back to
it's original state of perfect - whilst
righting civilization.
JOHN MORE
I must say that I find it quite --
MASTER
AND I DON'T FUCKING CARE WHAT ELSE YOU
HAVE TO SAY YOU SLIMY LITTLE PIECE OF CUM
FUCK.
YOU ARE NOTHING. AND WORTHLESS AT THAT.
YOU PUNY LITTLE NOTHING OF NOTHING. IT
WORKS IF YOU USE IT. WHO IS THIS MAN?
JOHN MORE
I can answer for myself. My name is John
More.
MASTER
THIS IS NOT A DISCUSSION THIS IS A
GRILLING. A GRILL. AN ATTACK.
MRS. PURCELL
PLEASE --
JOHN MORE
If you're not allowing some sort of
discussion regarding your beliefs -
MASTER
AND I WILL NOT DEFEND MYSELF TO YOU, YOU
SLIMY PIECE OF NOTHING.
JOHN MORE
I'm sorry if you're unwilling to defend
your beliefs in any kind of rational
WAY --
56.
MASTER
I HAVE TAKEN MY FUCKING TIME WITH YOU AND
YOU ARE OVER NOW. YOU SLIMY PIG SHIT.
The WOMAN that's been coughing cannot stop:
MASTER (CONT'D)
STOP COUGHING. STOP COUGHING YOU HORRIBLE
OLD WOMAN. YOU DON'T GET IT. YOU DON'T
GET IT.
MRS. PURCELL is shocked, humiliated, everything
crumbles...
MASTER (CONT'D)
YOU GET OUT. GET OUT OF THIS LECTURE
HALL.
A WOMAN
She's sick! Please! She's sick!
MASTER
GET HER OUT OF THE LECTURE HALL.
JOHN MORE
This isn't a lecture hall, this is Mrs.
Purcell's home -
MASTER
YOU SHUT YOUR LITTLE MOUTH. SHUT THAT
WOMAN UP. YOU WILL STOP COUGHING. THAT
GRAVELY PUTRID NOISE, YOU ARE TRYING TO
RUIN ME. YOU HAVEN'T BEEN DOING THE WORK.
YOU WOULD NOT BE SICK IF YOU DO THE WORK.
WE DON'T GET SICK.
CUT TO:
INT. ELEVATOR - MOMENTS LATER
They're all leaving. Stuffed in the elevator, Master
fuming.
CUT TO:
EXT. STREET/UPPER EAST SIDE - NIGHT
They're leaving. Master gets on his Harley and peels off
into the night. . .HOLD THE SHOT - everyone else gets into
their SEDANS. . .up ahead, MASTER WIPES OUT, lays the bike
down in the middle of Park Avenue...
57.
.he leaves it, the SEDANS pull up, he gets in. An AID
goes to the bike and picks it up.
INT. MASTER'S HOTEL ROOM - NIGHT
MASTER is still fuming, ranting and raving, MARY SUE is
here with him...
MASTER
AND THIS IS WHERE WE ARE??? AT THE LOWEST
LEVEL? TO EXPLAINNNN OURSELVES? FOR WHAT?
FOR WHAT WE'RE DOING AND WE HAVE TO
GROVEL? GROVEL LIKE A DOG, A DOG LICKING
IT'S PISS? ANOTHER DOG OF PISS I SAY.
THE ONLY WAY TO DEFEND OURSELVES IS
ATTACK. ATTACK. ATTACK. WE ATTACK THAT
MAN. IF WE DON'T DO THAT, WE WILL LOSE
EVERY BATTLE WE'RE ENGAGED IN - WE WILL
NEVER DOMINATE OUR ENVIRONMENT THE WAY WE
SHOULD UNLESS WE ATTACK.
CUT TO:
INT. HOTEL ROOM - ADJOINING SUITE - NIGHT
WE HEAR MASTER from the next room; Everyone in here,
listens, hangs their faces.
MASTER (O.C.)
.this city is just noise. Just noise
and bad living. I know this place. I know
it's rotten secrets...
CU. FREDDIE listening. He sips some of his booze form the
FLASK, gets a real surly look on his face...
.VAL gets up and leaves the hotel room...
FRED DIE watches him go...
Everyone seems resigned, sleepy...Freddie snaps and says
TO BILL:
FREDDIE
You have the name's and information of
the guests at this lady's party?
BILL WHITE
Yes.
58.
FREDDIE looks at CLARK, the new son-in-law. ELIZABETH
looks up...
FREDDIE
You're coming with me. Get up. I need
some help and you wanna make a good show,
no? Who's paying your way?
CLARK looks to Elizabeth, who gives a look that says,
"He's right."
CUT TO:
INT. HOTEL BALLROOM / THE CAUSE H.O. - LATER
Bill White turns on the lights, takes Freddie and Clark
over to his desk. . .they get the address and info. For MR.
JOHN MORE.
BILL WHITE
I don't think this is right to do -
FREDDIE
You don't know what we're going to do, so
don't bother thinking about this
anymore...
CAMERA with FREDDIE AND CLARK as they walk out of the
hotel and into the streets of New York --
FREDDIE (CONT'D)
You have any money on you?
CLARK
Some.
CUT TO:
EXT. NEW YORK STREETS / UPPER WEST SIDE - NIGHT - LATER
FREDDIE and CLARK, walking down the street... They
WALK/TALK;
FREDDIE
Where are you from, Clark?
CLARK
Los Angeles. Pasadena.
FREDDIE
What's there?
59.
CLARK
I'm from there. Master and headquarters
there for a year.
FREDDIE
.how'd you see them?
CLARK
I read the first book. I worked at Boeing
for three years. When I read the book, I
didn't want to waste my time there
anymore. I came to help the Cause.
FREDDIE
What did it say?
CLARK
I'm skeptical of everything. Always have
been. All I know is I used to not be able
to sleep. Now I sleep through the night.
I spent 18 months at the Presidio with
every Army head-shrinker they had and not
one did as much for me as Book One did.
That's simple arithmetic to me. And I met
Elizabeth, so...
FREDDIE
That's good.
CLARK
He changes things. And the research is
hard to keep up with. None of this is
done by a long shot. Sometimes it's easy
to get lost.
FREDDIE
He's a very smart man. I can tell that. I
don't understand myself but - more time
with it and I might - I feel better - I
feel like I've more to do with my life
since I met him... and I JUST met him.
So - that can't be a bad thing, right?
CUT TO:
EXT. STREET / UPPER WEST SIDE - MOMENTS LATER
Outside an OLD APARTMENT BUILDING...
.Freddie BUZZES THE BUZZER.
60.
JOHN MORE (GROGGY) (O.C.)
Hello?
FREDDIE
I have a delivery for Mr. More. Special.
Late night delivery. I need a signature.
JOHN MORE (O.C.)
Yes, yes, of course...
CUT TO:
INT. APARTMENT - THAT MOMENT
JOHN MORE says to his WIFE...
JOHN MORE
Delivery... must be urgent from the
University...
He gets a robe on, makes the walk down the hallway -- He
comes to the door...
.FREDDIE smashes it down...CLARK is here and watches,
does nothing...
.FREDDIE drags him along the floor, CAMERA moves over
and sees: MRS. MORE...
.FREDDIE takes care of them both...ends up tying them
up.. .scaring them, etc. Takes some valuables -- FINDS
MORE'S LITTLE TRADEMARK HANDKERCHIEF, TAKES IT.
.Freddie gets down into his face and says;
FREDDIE
DON'T BE SO STUPID.
They run out.
CUT TO:
INT. VILLAGE BURLESQUE CLUB - NIGHT
Freddie drunk. Clark having his first beer..They are
watching a few very sexy BURLESQUE DANCERS. Freddie has
his eye on one in particular... she is doing a NAKED TAP
DANCE IN THE CENTER OF THE ROOM. Clark speaks;
CLARK
You know... at first there were rumors
going around about you...
61.
FREDDIE
What about me...?
CLARK
Well, when you first were found on board.
People were saying you were looking for
Split Saber. That you were trying to
steal The Split Saber if it was on board.
FREDDIE
What? Steal what?
CLARK
The Split Saber.
FREDDIE
I don't understand what you're saying.
CLARK
The Split Saber.
BEAT.
FREDDIE
I still don't understand what you're
saying...
CLARK
The Darkest Cloud? AKA Dual Saber? Or The
Split Saber?
FREDDIE
.no...
CLARK
.it's what started all this. Back
then...in 1941, Master...he'd been in
operation, in army hospital. He died on
the table...gone for seven minutes...but
CAME BACK:
And in a storm of vision and creative
output from this experience he wrote The
Split Saber aka The Darkest Cloud.
Whoever read it...either went insane or
committed suicide. Twelve people read it.
Six dead, four disappeared. The last time
anyone saw it...was his last publisher in
New York.
(MORE)
62.
CLARK (CONT'D)
Master walked into the office to find out
what the reaction was, the publisher
called for the reader, the reader came in
with the manuscript... . threw It on the
table. . .and flung himself out of the
skyscraper window...
Master took the book and hid it where no
one could get to it...it's inside this
book: all the history. All the facts. All
too dangerous. He re-wrote it, using what
he could as the basis for what we are
able to accept and learn today.. .that's
Book One that we all study and know. . .but
the real stuff. The things at the
center...are still too dangerous. They
(kill/cure) any man who reads it. It's
passing through the jaws of resistance.
It's the truth about all this. The book
is protected and hidden. No one knows
where but Master.
FREDDIE
The truth about all what?
CLARK
Life on this planet.
.Freddie stares at him... then takes a good long look at
the BURLESQUE DANCER AND HER BREASTS. THEN BACK TO CLARK:
FREDDIE
What is something like that worth?
CLARK
He said he was once offered $25,000
dollars for it...but the price is... . how
could you figure out what the price is on
something like that? Heretofore unknown.
Incalculable by man.
FREDDIE
Where is it?
CLARK
It's locked away in a vault somewhere? I
don't know.
FREDDIE
Where?
CLARK
No one knows for sure. Some say Phoenix
or the desert outside Los Angeles.
(MORE)
63.
CLARK (CONT'D)
It's held back, until the time is right.
Or in case it's needed.
FREDDIE
Needed for what?
CLARK
(leverage.) ? I don't know.
FREDDIE
How do you know about this?
CLARK
Everyone knows about it. It's the
original text.
FREDDIE just sort of looks, then looks back to the NAKED
DANCER.
ANGLE, LATER.
The DANCER (ELLEN) has joined them . Ad-libbed
flirtations, innuendo, etc. CLARK watching FREDDIE...
FREDDIE gets severely drunk -- HE MAKES A DRUNKEN APPEAL
FOR HER TO COME TO THE CAUSE H.Q. For help in her life;
FREDDIE
There's something... something that can
hepp you...you...
If you need helpp in yer life...
.where is it?
CLARK
The Martinique Hotel...
FREDDIE
Thizz helped me. It can help you.. you
can go back in time and learn thingz...
He is about to say..
FREDDIE (CONT'D)
(wanna fuck?)
But he PASSES OUT, FACE FIRST ON THE TABLE.
CUT TO:
64.
INT. HOTEL/HALLWAY - NIGHT - LATER
CLARK is dragging FREDDIE down the hall, passed out...he
gets him to the room... opens the door..pulls him
inside...
FADE OUT.
CUT TO:
INT. HOTEL ROOM - MORNING
.FREDDIE wakes up. Takes him a good long time.
CAMERA just watches. He soaks everything in, thinks,
thinks, thinks. He puts the pieces together of last night
an the last few days.
CUT TO:
INT. MASTER'S HOTEL ROOM - NEXT MORNING
START CU. ON MASTER. He looks down at something in his
hands, quietly inspects it, looks up:
FREDDIE is here, he's given him the HANDKERCHIEF. HOLD
between them, then;
MASTER
What is it?
FREDDIE
I don't think John More will be speaking
out against you again.
MASTER
This isn't the way...you heard me say to
attack and you attacked?
FREDDIE
You were right.
MASTER
FREDDIE
You were right. . .he had a wise-ass mouth.
MASTER
My little Soldier.. .what did you
do?... . you need to tell me so that I
know...
65.
FREDDIE
That's why I won't tell you. Nothing bad.
Just scared him good.
WIDEN ANGLE, THAT MOMENT.
Reveal MARY SUE is here, listening... Master looks to Mary
Sue, back to Freddie:
MARY SUE
Whatever you've done, best not come back
to Master or the Cause.
FREDDIE
It won't.
MASTER
But-this-is-not-the-way-you-naughty-boy.
Ok? Alright. Freddie:
You-are-mischeif. Horrible young man you
are!
The PHONE RIGHTS, Mary Sue moves and picks it up, speaks
OC, we stay with MASTER and FREDDIE:
MASTER (CONT'D)
How are you...?
How do you feel to be so close to your
Auntie - just across the river? Close to
the incident of this present time?
FREDDIE
I don't really think about all that stuff
with my Auntie, you know ...I got other
things going on besides that thing I told
you about.. .that's yesterday's news to
me, so...
MASTER
Your problems aren't with your auntie or
your mommy or daddy or any such things.
FREDDIE
MASTER
You have seeded aberrations in this way.
Absolute rejection of authority and nay-
sayers.
FREDDIE
I don't like smart-mouths. If that's what
you mean.
66.
MASTER
Don't act out. This anger and battle has
been there from before you remember.
Before you know. It's not you, Freddie.
It's not...I promise you.
Freddie takes it all in.
FREDDIE
-- what is it?
He grasps his shoulders, touches his head to Freddie.
MASTER
It's just Q-44...all it is. Trillions of
years ago - little implants..
BEAT. He pulls back, smiles...
MASTER (CONT'D)
I promise to explain it. And make it go
away.
MASTER collects his notebooks.
MASTER (CONT'D)
Val has a habit of finding trouble...
I sometimes wonder what danger a man
could get himself into this Island.
MASTER (CONT'D)
Can you do this for me?
With a casualness and delicacy? Watchful
eyes to make sure trouble doesn't come...
or that come doesn't trouble? My little
soldier?
FREDDIE
Keep an eye on him?
MASTER
And report back to me...
FREDDIE
Alright.
MASTER leaves.
67.
INT. FREDDIE'S ROOM - MOMENTS LATER
FREDDIE is getting into his duffle bag, re-filling the
booze supply... hiding the JEWELS he stole from last
night's party...
ELIZABETH comes to his room, from the connecting door;
she's fresh from a bath, in a robe.
ELIZABETH
Hi.
FREDDIE
Hi.
ELIZABETH
Why aren't you downstairs?
FREDDIE
I'm working.
ELIZABETH
What are you doing?
FREDDIE
Errands.
ELIZABETH
You're not an errand boy...you're a
loafer... you're doing more than that, I
can tell.
BEAT. She steps up close to him.
ELIZABETH (CONT'D)
I want to tell you...
Freddie. . .what you did for my father last
night was spectacular.
FREDDIE
I didn't do anything.
ELIZABETH
I'm my father's daughter.
Don't tell me you did nothing. It was
just what was needed to be done. And you
took it upon yourself.
Shereaches for his face;
ELIZABETH (CONT'D)
I can tell that you know what persecution
feels like...
68.
She KISSES him. He kisses back. Gentle and small. A
prolonged simple kiss on the lips.
ELIZABETH (CONT'D)
Can I have some of your liquor?
FREDDIE
No.
ELIZABETH
Why not?
FREDDIE
It's too strong.
ELIZABETH
I'm a big girl.
FREDDIE
Not big enough yet -
ELIZABETH
I could just steal some...
FREDDIE
Don't argue with me. You're Father's
speaking .get dressed and get down
there...
'ELIZABETH
There's plenty of time... besides:
I've heard it all before.
She backs away.. .smiles. . .and closes the door..(JUST
BEFORE IT SLAMS SHUT - her ROBE FALLS OFF, REVEALING HER
NAKED FIGURE FOR A FLEETING SECOND...)
FREDDIE. Looking at the door. FREDDIE. Hold. He takes a
LARGE SWIG OF BOOZE.
CUT TO:
INT BANQUET HALL - MOMENTS LATER
MASTER takes the stage. THIRTY/FORTY STUDENTS applaud. He
gets up, speaks:
MASTER
THANK YOU! THANK YOU! Well? Down but not
out. Not Dead Yet!
(no tombstone at least...) he he he he.
69.
We are going to focus this morning to
"Communication" to cover "any exchange
between ourselves and our environment."
Because that's what I want to talk to you
about today: dominating your environment.
CUT TO:
INT. STAIRWELL. EVENING/LATER
CAMERA looks up the spiral stairwell of the HOTEL. It's
the end of the evening/lectures... . WE SEE: VAL walking
down the steps ... . moments later, about three floors
above, FREDDIE pokes his head over, sees VAL and starts
to follow... . MUSIC STARTS.
CUT TO:
INT. LOBBY OF THE HOTEL. THAT MOMENT
VAL moves past FOLLOWERS who are wrapping up for the
evening, discussing, smoking cigs, exchanging ideas,
etc...and out into the NEW YORK CITY STREETS.
FREDDIE follows ... MINI-SEQUENCE...
CUT TO:
EXT./INT. COFFEE SHOP. VILLAGE. NIGHT
VAL walks into a coffee shop, takes a seat in a booth and
orders some coffee...
FREDDIE stands across the street and watches VAL.
FREDDIE buys hot dog from a hot-dog vendor... stands and
waits.. .and watches VAL sit alone...
After a few minutes ... FREDDIE sees something:
A YOUNG GROUP ENTERS THE COFFEE SHOP. It's BILL WHITE,
his girlfriend PEGGY and TWO MALE NEW YORK FOLLOWERS: JIM
LEHR AND FRED FRITZ. They're here to meet VAL. They join
him, sit down, speak. Order cokes, coffee, smoke cigs,
etc...
FREDDIE watching all this from across the street. VAL is
answering their questions, speaking with some authority
about something, etc. etc.
70.
.FREDDIE sizes up the situation
And what this meeting might mean...
He turns this all around in his head for a while.. .and
after enough of it, gets restless...
.He moves to a phone booth. Makes a call. He hears a
young male voice say "HELLO? HELLO?"
FREDDIE
Bobby?
BOB (OC)
Yeah?
FREDDIE
It's Freddie.
BOB (OC)
FREDDIE! FREDDIE WHERE ARE YA!
FREDDIE
Are you home?
BOB (OC)
YEAH. YOU HERE?!
FREDDIE
I'm comin' over -
He hangs up.
He looks back across the street at the group in the
coffee shop. And WALKS AWAY, OFF DOWN THE STREET...
CUT TO:
INT. BOB'S APARTMENT - WEST VILLAGE
Freddie walks up some stairs at the top of the stairs is
his 17 year old Cousin: BOB.
BOB
HOLY SMOKES! HOLY SMOKE! HOLLLLY-SMOKEY!
Freddie and Bob greet each other, he takes him
inside. . .BOB is having a party with a bunch of his
FRIENDS, who all look alike and drink beer, etc;
FREDDIE
Where's everybody?
71.
BOB
We're havin' a party. Where you coming
from? Where you been?
FREDDIE
Here and there. Antarctica. Where's your
dad?
BOB
Not here, working. Get in here you gotta
see these two girls. Antarctica?
They greet each other and go inside.
CUT TO:
INT. APARTMENT/ROOM - LATER
BOB introduces FREDDIE: "my cousin, Freddie" to all the
boys.
All the BOYS are around, watching the TWO GIRLS DANCE and
LIP SYNCH to a record. They both look like Barbara
Striesand.
FREDDIE looks at family photos that are out and on the
walls.
FREDDIE
Where's my mom?
BOB
I heard she was in Florida.
FREDDIE
Where's your mom?
BOB
Left. She's back living in Princeton.
It's the best since she's gone. My dad's
never here. This place is mine. Did you
see these girls?
ANGLE, LATER. FREDDIE and the BOYS.
FREDDIE pours a tiny bit of his booze into the beers for
them...
FREDDIE
Anybody ever hear about stolen jewels and
money in the sewers?
BOB
Where?
72.
FREDDIE
Near Harlem.
They shake their heads.
FREDDIE .(CONT'D)
I heard about a load of money and jewels
that are hidden in a sewer wall up near
Harlem. A long time ago.
With crocodiles that live down there and
protect it.
BOY
I heard about that.
BOY 2
I heard about that too.
FREDDIE
Anybody want to go look for it?
CUT TO:
EXT. HARLEM. NIGHT
The FIVE BOYS, including FREDDIE and BOB get out of an
OLD CAR... . they Find and lift a MANHOLE cover and head
down with FLASHLIGHTS and a SLEDGEHAMMER - They're drunk
and bring more BOOZE down with them - (two girls? staying
up top?)
INT. SEWER - THAT MOMENT
They all climb down. Rats and sewage. FLASHLIGHT SHINING
AROUND AS THEY GOOF OFF AND WALK AROUND.
ANGLE, FREDDIE.
They come to an intersection -
FREDDIE
Let's go this way and that way - come
with me -
BOB follows FREDDIE, the rest go the other way -
VARIOUS ANGLES watching them move around, etc.
ANGLE, THE WALL.
CAMERA MOVES ALONG THE WALLS OF THE SEWERS.
FREDDIE looking for something...
73.
.THE WALL...
.FREDDIE...
BOB AND FREDDIE walking/talking:
BOB
My mom signed my early entrance to the
army.
FREDDIE
How'd she do that?
BOB
She just signed this letter I made up
saying my birth certificate was burned in
a fire. She's happy to let me go.
FREDDIE
You don't want to go there, dummy.
BOB
There's a lot of pussy there, Freddie. I
like those Korean girls the way they
look.
FREDDIE
You're an idiot.
BOB
I'd rather be there than here. Pussy over
there... I've been licking so much pussy
this summer...
They keep walking. BOB is drunk. He turns, says to
FREDDIE:
BOB (CONT'D)
I jerked off to a picture of my mom once.
Did I ever tell you that?
FREDDIE
No.
BOB
I did...
Bob smiles, giggles... stumbles forward...walks...Freddie
watching him...
ANGLE, THE OTHERS.
Walking and looking, drunk, smoking, etc. They find an
area that they think may have something - and start
WHACKING AWAY WITH THE SLEDGEHAMMER...
74.
ANGLE, FREDDIE AND BOB
FREDDIE
There's nothing here...let's just go...
BOB
Yeah. WE'RE COMING BACK!!!! MEET BACK.
THE BOYS hear this and head back -
CUT TO:
INT. SEWERS. THAT MOMENT
FREDDIE is walking behind BOB.. .moving towards the
intersection to meet with the BOYS... Suddenly, he stops,
bends down...
FREDDIE
Bob...
BOB turns ...FREDDIE in kneeling down, aims the
FLASHLIGHT:
THE JEWELS FROM MRS. PURCELL'S PARTY
BOB is stunned.
BOB
OVER HERE!!!! OVER HERE!!!!!
The BOYS run over, look down at the JEWELS.
BOYS
Where were those?
BOB
Right here.
FREDDIE
I found them right here.
BOY 2
Holy shit.
CUT TO:
75.
EXT. STREET
They all climb up and out of the sewer - cheering and
celebrating.
DISSOLVE TO:
INT. BOB'S APARTMENT - LATE NIGHT
BOB and the other BOYS passed out on couches and floor.
FREDDIE is awake, looking around at some photos and
things...
FREDDIE leaves him the JEWELS, takes a couple family
photos with him and writes a note that says:
"I'VE GONE TO AFRICA,
SEE YOU AGAIN SOMETIME.
FREDDIE."
and leaves.
CUT TO:
INT. HOTEL ROOM. DAWN
FREDDIE comes up to his room and hears from the hallway:
TYPING. He opens up and comes in. MASTER is here, in his
underwear, typing away. Very fast. He barely takes notice
of Freddie, keeps typing.
FREDDIE gets into the bed. MASTER stops for one moment,
looks at him, sees his condition, goes back to typing...
HELEN SULLIVAN (OC)
This city can be cold
and unforgiving to new
ideas. Philadelphia is the city of
brotherly love. We've had miraculous
results with the textbooks
and lecture tapes.
CUT TO:
INT. MASTER'S HOTEL ROOM/MARTINIQUE HOTEL - LATER MORNING
CU. HELEN SULLIVAN (sweet woman, early 30s) IS SPEAKING.
76.
HELEN SULLIVAN
If you come, we can guarantee an audience
of one hundred people three nights a week
and six afternoons a week.
We have an engineer from Western Electric
who is willing to record all of the
lectures for free onto high fidelity
audio tapes.
Perhaps these can be used for sale.
I assure you, you will find a very open
city. People with open minds... we keep
the bad ones out. I know that new
sciences can attract quacks and some
strange people, but keep them all away..
MASTER and MARY SUE listening to Helen. NORMAN CONRAD
stands to the side...
MASTER
You are very right about one thing,
Helen: this is a dirty city of nothing
good.
MASTER thinks ... . Everyone looks around at each
other ...A WOMAN STARTS SINGING...
WOMAN SINGING
"A TISKET-A-TASKET-MY PAST LIVES IN A
BASKET.
I WENT DOWN THE WHOLE-TIME-HOLE AND FOUND
I'D DROPPED MY BASKET..."
PRE-LAP THE SINGING OVER THE FOLLOWING:
CUT TO:
EXT. HOTEL/NEW YORK CITY - MORNING
Everyone is GETTING INTO CARS.. .the whole ENTOURAGE.
FREDDIE at the center of it. MASTER comes out of the
hotel quickly and into the sedan that waits...
BILL WHITE is there to say good-bye and is all but
ignored by MASTER and MARY SUE...
The swirl of getting bags, kids and bodies into SEDANS...
77.
VAL gets in one car...FREDDIE gets behind the wheel of
another... and they DRIVE OFF...
CUT TO:
INT. CAR - MOVING - DAY
FREDDIE is driving. MASTER is asleep in the passenger
seat. MARY SUE is breast feeding in the back. She looks
at FREDDIE in the rear view;
MARY SUE
You see anything last night?
FREDDIE
.with what?
MARY SUE
With Val.
CU. FREDDIE
Considers this a moment.
FREDDIE
No.
MARY SUE
How does that happen?
FREDDIE
.lost 'em in the streets...
MARY SUE
. or maybe you drink too much and you
get cross-eyed.
CUT TO:
EXT. SUBURBAN PHILADELPHIA/CAUSE COLLEGE - NIGHT
A party is in progress at HELEN SULLIVAN'S HOME which has
been converted into a STUDY COLLEGE. It's beautiful,
large, well-appointed home.
A woman: JOAN BANKS is singing, ELIZABETH is playing
piano. Everyone is here for a welcoming party, good time,
cocktails, snacks, etc...
JOAN (SINGING)
I DROPPED IT, I DROPPED IT, I BETTER GO
AND FIND IT.
(MORE)
78.
JOAN (SINGING) (CONT-D)
SOMETHING HURTS AND DON'T NEED THOSE
JERKS TO TELL US WHAT TO DO-O -
WE'RE HERE NOW, WE'RE HERE NOW.
IN LOVELY PHIL-E-DELFI. AND
WRESTLE OUR RE-ACTS RIGHT TO THE
GROUND AND PUSH, PULL, PIN IT DOWN.
WE'LL TAKE IT, WE'LL TAKE IT,
THOSE DIRTY SEEDS AND WIPE 'EM.
THE APA AND AMA WILL HAVE TO KISS OUR -
SS'S..
Everyone applauds, laughs. MASTER is smitten, STANDING
OVATION. MASTER walks over to JOAN to shake her hand...
She whispers to him:
JOAN (CONT'D)
What do you do with a student who keeps
dreaming she is in bed with you?
MASTER
Get thee behind me --
JOAN
And push.
They disperse. PIANO STARTS IN AGAIN...
Everyone is relaxed, sitting around. New faces (JOAN and
HELEN) sit close to MASTER...
A WOMAN is speaking (stories of Cause success she's had
at her branch in Minneapolis)
WOMAN
.a once-a-month meeting... this last
Saturday night we had a chiropractor..and
he spoke about 'Handwriting Analysis'...
MASTER is distracted... as he listens: HE RUBS HIS NOSE
AND PULLS HIS EAR, CATCHING FREDDIE'S EYE. As we hear the
woman ramble on, FREDDIE gets his FLASK, moves discreetly
to get a glass, make a drink and brings it to MASTER.
This is unnoticed by everyone but MARY SUE. The WOMAN
FINISHES TALKING:
MASTER
Cheers to that!
Everyone raises their glasses and DRINKS. MASTER downs
his new drink. A calm... then Master gently protificates:
79.
MASTER (CONT'D)
Something that Joseph Smith had right:
the breeding and the development of the
group... doubled, tripled with certain. ..a
certain marital structure... how clever.
Something to look at deeply for a
growth...
MARY SUE looks at him. JOAN looks at him. HELEN looks at
him. FREDDIE looks at all of it. Helen's husband John
looks confused.
MASTER (CONT'D)
.the consideration of Celestial
Marriage. Spiritual Wifery. Plural
Unions. These cannot be overlooked so
quickly... think of the speed at which a
movement could grow...
BEAT. Met with a strange silence. MARY SUE moves to get
up. . .MASTER changes the topic slightly...
MASTER (CONT'D)
To live in the days of six-shooters and
open frontier, that's what I'd like! My
grandfather. Rancher. Wyoming. A criminal
of the highest lineage, once told me he
met a boy named Buckskin Joe...
He keeps talking...
CUT TO:
INT. MASTER'S ROOM/HELEN'S HOUSE - MORNING
It's the next morning. MASTER is getting ready, dressing
in the bathroom, getting ready for his lectures... MARY
SUE comes in, from behind him... she hugs him from
behind.. .he smiles.. .she looks at him in the mirror, he
looks at her ... . she REACHES AROUND, GETS INTO HIS PANTS
AND STARTS TO JERK HIM OFF, LOOKING STRAIGHT AT HIM IN
THE EYE AS SHE SAYS:
MARY SUE
You can do. Whatever you want. As long as
I don't find out. And as long. As. Anyone
I know. Doesn't know. Other than that.
You stop this idea. And you put it back
in its pants. It didn't work for them.
And it's not gonna work for you. We.
Have. Enough problems. Cum for me.
80.
MASTER
Yes. Yes.
MARY SUE
Do it. And get your best behavior out...
cum for me...
MASTER
Yes, master.
MARY SUE
And no more of that boy's booze.
MASTER
Yes master.
He comes, collapses, sinks to the floor. She washes her
hands and walks out of the bathroom.
CUT TO:
EXT. SUBURBAN PHILADELPHIA/CAUSE COLLEGE - DAY
A beautiful spring day. STUDENTS, FOLLOWERS, COME IN,
SIGN IN...
IN THE MAIN LIVING ROOM, on stage, MASTER is working with
a WOMAN, processing her. She lays back on a couch set
up...FULL CROWD of students watching...
MASTER
Try to recall how you feel...
WOMAN
Oh, I'm sort of glad it's the end..
MASTER
What happens next?
WOMAN
The doctor puts a stethoscope to her
chest..
MASTER
What is the doctor wearing?
WOMAN
A white coat.
MASTER
Is there a smell in the room?.
81.
WOMAN
It smells like a hospital.
MASTER
Try to imagine what a hospital smells
like.
WOMAN
Uugh. Uugh. Alright.
MASTER
What does the doctor say?
WOMAN
He listens to her chest and says, "She's
gone."
FREDDIE and VAL are sitting in the front foyer of the
house, facing each other in two folding chairs...we see
the. STAGE IN THE B.G...
.VAL is bored and nodding off to sleep ...FREDDIE
watches VAL. FREDDIE kicks his chair --
FREDDIE
Wake up. Your Father's speaking.. .you
could learn something.
VAL
What's that?
FREDDIE
You heard me.
VAL
He's making this up as he goes, don'tcha
know..? You can sleep and wake up and not
have missed anything...
FREDDIE
Maybe you should pay more attention.
VAL
You have something to say to me?
FREDDIE
I'm curly-q. Round in circles. So shut
up.
.FREDDIE takes a nice big drink from his FLASK...
FREDDIE looks out the open front door: TWO POLICEMAN AND
A MARSHALL are parking their cars and walking towards the
house...
82.
FREDDIE.
Watching them advance... He hesitates. He's not sure what
to do. So he stays put...
The MEN walk up to the house ...FREDDIE and VAL look:
POLICEMAN
We're looking for Lancaster Dodd.
FREDDIE
I don't know who that is...
POLICEMAN
May we come in?
FREDDIE
No. You cannot.
VAL
Yes you can. He's up there -
VAL points to the stage...
VAL (CONT'D)
That's him.
FREDDIE
You can't come in. Get outta here.
MASTER, ON STAGE, looks out - AGAINST THE GLARE OF THE
DOOR, he can recognize the FIGURES AS UNIFORMED...
ANGLE, AT THE DOOR.
POLICEMAN
We have a civil warrant to serve to
Lancaster Dodd to appear in Philadelphia
Bankruptcy Court - an arrest warrant -
VAL
Stay out of their way, Freddie.
MASTER walks down to see what's happening.
MASTER
What is happening here?
POLICEMAN
Are you Lancaster Dodd?
MASTER
Yes I Am.
83.
POLICEMAN
We have an arrest warrant for you, sir...
MASTER
What are the charges?
POLICEMAN
By order of Pennsylvania District Court
by the Mildred Purcell Foundation for
wrongful withdraw of funds. And operating
a medical school without a license.
That's.what we'll have to take you in for
MASTER
This is a silly joke, no?
MARSHALL
No, sir it isn't. But we have to take you
in and book and fingerprint you.
MASTER
This is comic opera. Is it illegal in
this city to get better?
MARSHALL
Please put your hands behind your back.
MASTER
I have no disagreement with you boys
doing your work in all its silliness as
defenders of what code? What honor? What
part of the galaxy? This is a scientific
gathering - you will cuff me from the
front, if you please --
He raises his ARMS for HANDCUFFS. FOLLOWERS COME FORWARD
AND START TO PROTEST ABOUT THIS. ONE YOUNG MAN, WITH ONE
ARM AND A HOOK FOR A HAND STARTS SWINGING IT AROUND (WWII
VET)
FREDDIE gets into it and is pushed by a POLICEMAN which
unleashes a WRATH IN HIM. IT VERY QUICKLY BECOMES A MINI-
MELE.
FREDDIE IS SLAMMED TO THE GROUND AND WRESTLED WITH BY THE
TWO MARSHALS. HE FIGHTS BACK. IT'S VERY ROUGH AND
VIOLENT.
MASTER, FREDDIE are taken away in hand cuffs. MARY SUE
comes out, angry at the police, everyone is, etc. Quite a
scene.
84.
MASTER is actually trying to CALM FREDDIE DOWN, WHO IS
GOING NUTS IN THE HANDCUFFS AND AT HIS TREATMENT
MASTER (CONT'D)
Freddie, no, no, no, calm down, please,
please. It's nothing, just laugh, we'll
be out shortly, it's nothing. I, please,
pleasue, Freddie -
INT. POLICE CAR
THEY SHOVE FREDDIE INTO THE CAR AND HE GOES CRAZY.
SMASHING HIS HEAD AGAINST THE WINDOW, THE BACK SEAT, ETC.
HE YELLS LIKE AN ANIMAL. KICKS AND SCREAMS, BLEEDING FROM
HIS FOREHEAD.
MASTER is put into another car.
INT. POLICE STATION - LATER
They arrive in CARS. FREDDIE in one.car. MASTER in the
other.
FREDDIE is STILL FIGHTING. THEY DRAG HIM. MASTER is
speaking to him, trying to calm him down...
CUT TO:
INT. HOLDING CELL - LATER
It's hours later. FREDDIE is out of energy. MASTER sits
with him. Old-fashioned holding cell.
MASTER holds his FINGER TO HIS LIPS.
MASTER
Shhhhhhhhhhhhhhhh.
He gets up close to FREDDIE, whispers in his ear;
MASTER (CONT'D)
Whatever we say is undoubtably being
monitored...speak in whispers.
FREDDIE
I don't want to talk to you right now.
MASTER
This is FBI work, Russians
maybe... this... too much work for the
AMA...
85.
FREDDIE
Stop talking...
MASTER
You're fear of capture and imprisonment
is an implant from millions of years ago.
An Invader Force played games with your
spirit as it.moved from one body to the
next - free for a moment - it was free
and the invader force captured it - spun
you around in a device not unlike a
grinder and hit you with waves of high
wattage electrical impulses - quaver
bolts to damage you. The impulse lodges
and plants the push-pull instinct, dumped
in scalding hot water, then freezing cold
- a control mechanism - any legal action,
a summons to court, the sight of a police
officer, exposes a glandular reaction and
anxiety wave of the highest order,
TRIGGERED -
the mere threat of arrest will make a
psychotic breakdown. This happened to you
and you are free to stop it. Their game
and implants are no match for you. Laugh
in their face. Laugh at it. These
triggers are useless now. You created
THEM so YOU can DESTROY THEM.
MASTER pulls away ... FREDDIE looks at him. HOLD.
FREDDIE
Horseshit.
MASTER
I don't have any opinions. I'm giving you
facts.
FREDDIE
Just shut-your-mouth? You're a fucking
DRUNK.
MASTER
ME shut my mouth? You're a fucking DRUNK.
You CACTUS. Play a game with me?
I don't think so, you little yo-yo. That
ain't the way. You want to shut me up?
I'm the best and only friend you have,
shut me up from saving you? HELPING YOU.
ONLY WAY. FIND ANOTHER ONE, YO-YO. You
wanna get rid of this or live this way or
MASTER it?
(MORE)
86.
MASTER (CONT'D)
You listen - you wanna spit in that cops
face for touching you? I'm gonna beat him
with you. Bash his skull in. BUT DON'T
TURN ON ME, DRUNK.
Long silence. They sit in it.
FREDDIE
Helen's house...all those girls walking
around, the wives of ... . I want to fuck
all of them.
MASTER
Sex is not an aberration. Never has been.
So what's wrong?
FREDDIE
I want to fuck 'em all. I want to stick
it in every one of them.
MASTER
When did you forget that surviving was
what you're supposed to do. Stick it in.
Stick it in.
FREDDIE
I don't belong in here, man. I gotta get
out of here...
MASTER
You belong at sea.
FREDDIE
.hmph...
MASTER
.You belong to Doris.
FREDDIE
Why're you talking about her?
MASTER
You think of Doris. The loss of her.
Triggers millions of little shocks and.
charges, doesn't it? That present-life
loss.
FREDDIE
It was Val who let them in the house and
told them who you were... Val did it.
CUT TO:
87.
INT. FREDDIE/VAL'S ROOM - HELEN'S HOUSE - LATER
MASTER enters the room, Freddie behind him...VAL'S BED IS
MADE AND ALL HIS BELONGING ARE GONE...FREDDIE looks at
the mirror on the wall. WRITTEN IN LIPSTICK a note to
FREDDIE:
"YOU'LL NEVER GET BETTER"
MOMENTS LATER. SAME.
MARY SUE is here, looking at it. She says to Master:
MARY SUE
Where's he going? What's he doing?
MASTER sits on the bed, thinks.
She leaves quickly, we hear her go down the hall and
knock on ELIZABETH's door... ELIZABETH answers and the
speak ...FREDDIE and MASTER look at each other;
MASTER
His mother was a paranoid schizophrenic
who wanted to abort him. Right now he
'wants to be sick.' He's losing his war.
CUT TO:
EXT. HELEN'S HOUSE/UPPER HALLWAY - MOMENTS LATER
FREDDIE is sitting outside the CLOSED DOOR to MASTER'S
UPSTAIRS BEDROOM/OFFICE. We HEAR VOICES talking
CLARK walks up and sits with FREDDIE, they sit in
silence... trying to listen, but not hearing...
CLARK
He's done this before...
FREDDIE
What happened?
CLARK
He ran out of money and came back. He's a
squirrel.
He's trying to get to The Split Saber,
don't you think?
To sell it. Sell it off to any of these
DISSENTERS -
88.
The door ... NORMAN CONRAD asks FREDDIE to come in...
INT. OFFICE - THAT MOMENT
FREDDIE enters, sits down.. .DOOR CLOSES. They all face
him, sit him in a chair... MASTER, ELIZABETH, NORMAN, MARY
SUE...
MASTER
There is a mission against time to be
undertaken, Freddie.
NORMAN CONRAD
Are you prepared to travel wherever we
may ask you to go -- ?
FREDDIE
Yes.
MASTER
-- An assignment of importance in which
more than just life hangs in the balance.
MARY SUE
-- I want to know if you can stop your
boozing?
FREDDIE
MARY SUE
Can you stop drinking?
MASTER
-- The drinking blocks the physical pain
and dissolves treatment from working,
FREDDIE --
MARY SUE
Let me be unambiguous: Tell me you won't
drink.
ZOOM IN TOWARDS HIS FACE, ENDS IN CU.
FREDDIE
I won't drink.
MARY SUE
Your mission is to go to Phoenix, Arizona
to prepare for a Universal Process
Congress of the Cause.
(MORE)
89.
MARY SUE (CONT'D)
All branches brought together for a
summit ... your mission is to prepare for
MOC's arrival and provide security at his
home in Camel Foot Hills...
NORMAN CONRAD
.By bringing everyone together with the
promise of unveiling new levels ... there
will be interest from outside
agencies ... the new works are of great
many interests to dark forces...
FREDDIE
Who?
MARY SUE
CIA, Russians, Catholic Church. The list
is long, Freddie.
NORMAN CONRAD
We don't expect trouble, but if it
comes... we believe and trust that you are
the right man for this mission.
ELIZABETH
You're the only one that can do this,
Freddie.
FREDDIE
.What is Val doing in all this?
MARY SUE
He's a squirrel. And he has weaknesses.
NORMAN CONRAD
Do you believe that no man can be neutral
in the struggle between civilization and
chaos?
FREDDIE
Yes.
MARY SUE
Val's not a threat to you. You can handle
Val. Can't you?
CUT TO:
INT. KITCHEN - DAWN
FREDDIE and MASTER getting ready to leave. Just the two
OF THEM:
90.
MASTER
Freddie... there's something else...a side
project I have for you...
FREDDIE
MASTER
.When you get there...I need you to get
something for me ... something of great
importance to me.
FREDDIE
7
MASTER
When you arrive at the house ...
you go underneath the house. There's a
crawl space. In the center of the house
is a small hole. You will see broken soil
that marks the spot.. .dig it up.
Inside is a box. I need you to take the
box and protect it. You can take it to
the First Phoenix Bank and register a
safe deposit. There it can stay until my
arrival...
FREDDIE
What is it?
MASTER
Valuables. Personal and confidential to
me ...
FREDDIE
MASTER
As Guardian of the Good for this
civilization and all it's neighboring
galaxies ... . can you promise me that you
will safely deliver and protect this box?
FREDDIE
Yeah.
CUT TO:
INT. PHILADELPHIA AIRPORT
FREDDIE is waiting for his flight. MASTER and HELEN
SULLIVAN and her husband JOHN are here...
91.
HELEN sits with FREDDIE...
HELEN
Whatever you're doing... . it feels
right.
FREDDIE looks at her. She looks at him
CUT TO:
INT. AIRPLAIN - EN ROUTE - NIGHT
FREDDIE is on board. A STEWARDESS comes down the aisle,
asks if anyone wants a COCKTAIL.
FREDDIE says no thank you. The MAN next to him has a nice
GIN AND TONIC.
FREDDIE is starting to sweat, gently shakes as he begins
to de-tox...
CUT TO:
EXT. PHOENIX AIRPORT - TARMAC - DAY
FREDDIE gets off the plane, walks to the terminal - he
carries a DUFFLE BAG. Walking swiftly, purposefully...
CUT TO:
EXT. SUBURBAN PHOENIX - AFTERNOON
FREDDIE is in A CAB that pulls into a SUBURBAN PHOENIX
NEIGHBORHOOD. He gets out in front of RANCH STYLE HOME
separated a bit form the rest of the neighborhood ... THE
CAB WAITS.
HE WALKS UP TO THE HOUSE, TAKES OUT THE KEY...HE PUTS THE
KEY IN AND STEPS INSIDE. HE LOOKS AND SEES:
THE HOUSE HAS BEEN TURNED UPSIDE DOWN AND RANSACKED.
Freddie is shocked/nervous ... . suddenly on guard.
FREDDIE walks around, looks into what appears to have
been MASTER'S OFFICE... Writing, books, etc, thrown all
over the place...
92.
HOLE'S IN THE WALLS, SOCKETS RIPPED OUT, FLOOR BOARDS
RIPPED UP...
CUT TO:
EXT. PHOENIX HOUSE - THAT MOMENT
UNDER THE HOUSE. A CRAWL SPACE. FREDDIE crawls on his
belly underneath the house - goes to the center of it and
(HAT
finds a HOLE. He digs into it...and digs up A BOX
BOX SIZE) COVERED IN DUST. HE TAKES THE BOX OUT AND
CRAWLS AWAY.
HE PUTS THE BOX INTO HIS DUFFLE BAG. HE BRUSHES THE DUST
OFF. HE GOES BACK TO THE CAB AND GETS IN --
CUT TO:
EXT. DOWNTOWN PHOENIX / THE CAUSE H.O. - DUSK
FREDDIE pulls up in the cab to THE CAUSE H.Q. STOREFRONT
OPERATION in downtown PHOENIX. He walks in...DICK BRETON
(30s, Phoenix Branch Manager) is here - a few others.
DICK
Good morning.
FREDDIE
Are you Dick Breton? I'm Freddie Sutton.
You're expecting me...
FREDDIE is very friendly, but focused on the task, he
asks to use the phone to call Master - some place
private, perhaps...
CUT TO:
INT. BACK OFFICE - MOMENTS LATER
FREDDIE is alone, on the phone, with MASTER.
MASTER
Freddie.
FREDDIE
Someone broke into the house.
MASTER
.Someone broke into the house...
93.
FREDDIE
Someone's been there. I don't know when.
I may have just missed them - the front
door was locked, I went in with the key
and the house up ended, all smashed up on
the ground - I walked to the back - the
door was open -
MASTER
-- do you have the box?
FREDDIE
Yes.
MASTER
Where are you now?
FREDDIE
I'm at the office with Dick Breton.
MASTER
Is he there with you?
FREDDIE
He's outside. The door's closed.
MASTER
The box is safe in your hands?
FREDDIE
Yes. It was right where you said it would
be...I haven't opened it.
MASTER
You've done well. You know the severity
of what you hold in your hands -
FREDDIE
Is...did...did Val break into the house
looking for it?
MASTER
Possibly. A crazed lone lunatic for all
we know. Certain atomic agencies wouldn't
mind a crack at it, I'm sure.
FREDDIE
What should I do now?
MASTER
Get yourself a room at the Sun Inn Motel.
The Sun Inn Motel ...it's
nearby... acceptable accommodations.
(MORE)
94
MASTER (CONT'D)
Find yourself a room there... and guard it
until morning - stay safe until that bank
opens...
FREDDIE
It's good. I got it.
MASTER
Yes it is. Are you alright?
FREDDIE
Yeah, yeah. I'm alright. I'm shaking..
MASTER
Why?
FREDDIE
I don't know. It's hot down here.
MASTER
You feel any stomach pain?
FREDDIE
No.
MASTER
Ringing in your ears?
FREDDIE
No.
MASTER
Left side feels good?
FREDDIE
Yeah.
MASTER
Right side feel good?
FREDDIE
I'm alright.
MASTER
Good, good. Alright, soldier. Go to it.
FREDDIE hangs up and looks at the DUFFLE BAG.. .he looks
out into the front area... sees DICK BRETON and some other
Phoenix Followers... they see Freddie.. .try to give him
his space...
He looks at the Duffle Bag.
CUT TO:
95.
INT. SUN IN MOTEL - NIGHT
FREDDIE has checked into a motel for the night. He is
sitting on the bed. THE BOX is on the next bed. He smokes
cigarettes and looks at the box.
He takes the BOX and puts it in his DUFFLE BAG. ZIPS IT
UP.
He turns off the light, smokes in the dark. ZOOM TOWARDS
THE BAG...ZOOM TOWARDS FREDDIE. STRETCCCCCCHHHH OUT THIS
MOMENT.
(IMAGINES HIMSELF OPENING THE BOX AND FIRE COMING OUT OF
THE BOX AND TEARING UP HIS ARM AND COVERING HIS HEAD.
THEN BLOWING HIS HEAD OFF)
BACK TO REALITY. HE TAKES THE BOX OUT OF THE DUFFLE BAG
AND LEAVES IT ON THE BED.
FREDDIE is starting to sweat and shake a bit. He's de-
toxing.
He looks down at his feet: HE HAS A TATTOO of a PIG on
his right foot and a ROOSTER on his left...
HE LOOKS AT THESE TATTOO'S...
HE SPENDS SOME TIME IN THE TOILET THROWING UP.
This goes on...until...
CUT TO:
INT. MOTEL ROOM - MORNING
FREDDIE is up, trying to get steady. Shaking, sweating...
FREDDIE looks out the window, down across the street and
sees the LOCAL BANK. The BANK MANAGER opens up...FREDDIE
moves to leave. . .HE GRABS THE DUFFLE BAG FROM THE BED AND
WALKS OUT.
CUT TO:
INT. HALLWAY - MOTEL - THAT MOMENT
FREDDIE cautiously comes out. He walks toward the
stairs.. .and SEES:
A FLEETING FIGURE RUNS AWAY AND DOWN A FIRE ESCAPE
OUTSIDE.
96.
FREDDIE RUNS AFTER THIS FIGURE...
HE LOOKS OUT THE WINDOW, DOWN THE FIRE ESCAPE...
HE LOOKS UP, ACROSS ROOFTOPS, SEES A FIGURE RUNNING AWAY,
JUMPING ACROSS ROOFTOPS...
FREDDIE makes his way down into the lobby of the
motel.. . .very very very carefully... looking for something
around any corner...
In the lobby... the OWNER nods to him... Freddie nods
back...
And makes a beeline - hard to the door and out into --
CUT TO:
EXT. STREET - THAT MOMENT
FREDDIE bursts out into the street in full-ready-for-
anything mode ... . STRETCH OUT, MINI SEQUENCE...
.looking up at the rooftops, alley's, etc...
.He gets across the street, rounds a corner, and into -
CUT TO:
INT. PHOENIX BANK - MOMENTS LATER
FREDDIE comes in, registers a SAFE DEPOSIT BOX.
HE PUTS THE BOX IN THE SAFE DEPOSIT.
HE LEAVES.
CUT TO:
INT. CAUSE H.O. PHOENIX - DAY
FREDDIE speaking to a group of 20 followers; he reads
some of this from a piece of paper ...he's shaking,
sweating but doing a terrible job of concealing it...
FREDDIE
Phoenix will be the home of the Universe
Process Congress of the Cause.. .to be
held June 5th to 9th...
Everyone is excited.
97.
FREDDIE (CONT'D)
And it is hoped that a major part of the
program can be devoted.to a report on a
demonstration of any new data or
techniques MOC may reveal at that time.
FOLLOWER
You're talking about Book II?
FREDDIE
Yes. This will be a unification Congress.
All of us together - all branches and as
many members as possible, organized in
one city - for the presentation of all
new levels.
CUT TO:
INT. CAUSE H.G. PHOENIX - DAY
FREDDIE is heard OFF CAMERA in the bathroom VOMITING HIS
GUTS OUT as he de-toxes. STUDENTS and a small LECTURE in
process tries to ignore the ANIMAL SOUNDS coming from the
bathroom...
CUT TO:
EXT. PHOENIX HOUSE - DAY
FREDDIE with DICK BRETON and another FOLLOWER are
cleaning, fixing up the ranch house...
CUT TO:
INT. CAUSE H.Q. PHOENIX - DAY
The storefront operation is being READIED AND
REFURBISHED. FREDDIE leading the clean-up, etc.
FREDDIE acting as MAIN LIAISON AND LIEUTENANT.
A STAGE IS PREPARED. MICROPHONES TESTED, RECORDING
EQUIPMENT.
FREDDIE OUT IN THE NEIGHBORHOOD. Doing the work of the
Cause. He invites people to come, hands out FLIERS.
CUT TO:
98.
INT. LOCAL PHOENIX RADIO STATION
FREDDIE is talking with a local STATION MANAGER about
buying air-time...
INT. RADIO BOOTH
FREDDIE is on the radio, reading the PROMO PIECE;
FREDDIE
You don't have to change you faith or
leave the congregation you belong to...So
those interested in freedom are urged to
please come for free sample processing
sessions in being 'younger' feeling
'freer' and understanding where you come
from...
If every individual in the world had one
other individual to whom he could go with
his troubles and his ideas; and if he
could tell that Other all about his
troubles and ideas; and if that Other
would listen AND understand, but not
evaluate or invalidate or approve or give
advice or in any other way try to control
the thoughts of the speaker; the people
of the world would become sane, well and
happy.
CUT TO:
EXT. PHOENIX AIRPORT / TARMAC - DAY
A PLANE TAXI'S TO A STOP, MASTER and MARY SUE, ELIZABETH,
etc, all disembark the PLANE...
FREDDIE, clean cut and wearing a nice suit, is here to
GREET THEM. They head for CARS waiting...
CUT TO:
EXT. PHOENIX HOUSE - DAY
THE WHOLE-ENTOURAGE unloads and heads into the house.
CUT TO:
99.
INT. PHOENIX HOUSE - THAT MOMENT
Everyone comes in, settling in. . .MASTER inspecting some
of the damage that has been cleaned up - but traces
remain ... FREDDIE there to explain what it looked like...
CUT TO:
INT. MASTER'S OFFICE - THAT MOMENT
MASTER and FREDDIE come in. . .MASTER looks around... MASTER
turns to FREDDIE:
FREDDIE takes out the SAFE DEPOSIT KEY and hands it to
MASTER.
FREDDIE
The key.
Master takes it, pockets it... He looks down at his
desk...
MASTER
I'll need fresh ribbon tonight for the
Old 'Vetti and paper, vanilla. Do. we have
any?
FREDDIE
I'll get some.
MASTER
We'll go to the bank in the morning.
First thing?
FREDDIE
Alright.
MASTER
Now that we've arrived, let's keep an
extra eye open around the perimeter.
We're not out of harm's way yet.
MASTER leaves the room with Freddie behind...
CUT TO:
INT. HOUSE.- LATER
MASTER is typing off camera. It's later that night,
everyone asleep but ELIZABETH and FREDDIE. They have a
SCENE:
100.
ELIZABETH
I hope that one day this place will be a
museum to my father and everyone he has
helped around the world will come and
visit to see where he presented Book II.
You did a wonderful job helping him...
FREDDIE
.where's Clark?
ELIZABETH
Denver.
FREDDIE
What's in Denver?
ELIZABETH
He had a mission there...
CU. FREDDIE
FREDDIE
What kind of mission?
ELIZABETH
A secret one...
CUT TO:
EXT. PHOENIX BANK - MORNING
MASTER and FREDDIE pull up in a car to the bank, get out,
GO IN:
CUT TO:
INT. BANK - THAT MOMENT
They get the BOX/DUFFLE BAG from the SAFE DEPOSIT.
FREDDIE watching MASTER. Master doesn't open it, just
gets it and they leave.
CUT TO:
INT. PHOENIX HOUSE - LATER
FREDDIE and MASTER come in, MASTER carrying the duffle
bag. He says hello to the kids, MARY SUE, etc.. .then goes
into his office...
101.
FREDDIE stays out in the living room.
MARY SUE serves the kids some pancakes. He watches for a
SECOND;
MARY SUE
Do you want some pancakes?
HOLD. THEN:
CUT TO:
EXT. PHOENIX HOUSE - LATER
FREDDIE is sitting outside the house, smoking a cig,
drinking some coffee... (distant sound of typing coming
from inside the house - Master at work)
.a CAR PULLS up...across the street. . .he watches it
park... . and out steps: BILL WHITE (from New York)
.he closes the door... and walks across the
street... towards the house ... . he Looks very out of place
in the middle of the desert. . .he approaches Freddie:
BILL
Hello, Freddie.
FREDDIE
Bill.
BILL
Just dropped in to see Master, find out
what's going on - guess I lost my
invitation.
FREDDIE
There's nothing going on, Bill.
BILL
What does that mean?
FREDDIE
That's what that means.
BILL
Does that mean I'm out? Am I in? What
does that mean?
FREDDIE
That's it.
102.
BILL
Y'know that I've had no communications
from this office for six weeks - no
Journals, no answer's to my calls, I
wrote a letter, was it received?
FREDDIE
Yes.
BILL
I'm mixed up slightly here. You know,
when I worked for the Cause, I was made a
nearly $800 in salary due me.
FREDDIE
We appreciate that.
BILL
And as a Founding Member, I'm supposed to
be a member for life?
FREDDIE
Yes.
BILL
And that entitles me to the Journals?
FREDDIE
Yes.
BILL
But I haven't gotten the Journals?
FREDDIE
No.
BILL
And I'm not going to get the Journals?
FREDDIE
No.
BILL
And do you know that I'm a Fellow of the
Cause and as a Fellow of the Cause I'm a
member for life?
FREDDIE
Yes.
BILL
But I haven't gotten the Journals?
103.
FREDDIE
No.
BILL
And do you know that I paid $800 for the
Minister's Course and that entitles me to
membership in the Group until January 1?
FREDDIE
BILL
And as a member I'm supposed to get the
journals?
FREDDIE
BILL
And I'm not going to get any Journals?
FREDDIE
No.
BILL
Ok. Do you know that I paid $50 for my
"Doctor Of Divinity" certificate, and for
which I also was to receive a medallion,
a ribbon, a lapel pin, and a gold
bordered book of The Cause?
FREDDIE
Yes.
BILL
And I haven't gotten them?
FREDDIE
No.
BILL
But you're going to give them to me?
FREDDIE
No.
BILL
Then I suppose you're going to refund my
money?
FREDDIE
No.
104.
BILL
Why?
FREDDIE
You're a dissenter. And an unfaithful
woman.
BEAT.
BILL.
Aren't you ashamed of yourself, sitting
there getting all red in the face and
being embarrassed because you have to act
like a heel?
FREDDIE
I'm not embarrassed. That's sunburn.
BILL
I'm not going to let anyone tell me I
can't have what I paid for, except
Master. I want to see Master.
FREDDIE
You can't see Master.
BILL
Why?
FREDDIE
Because he's busy and I'm not going to
let you.
BILL
Oh...it's Freddie-Barrier now? Why don't
you hyphenate that?
PAUSE.
BILL (CONT'D)
You know what this all is? Huh? It's
mental cruelty. That's what it is. It's
just mental cruelty to invent all these
new ideas and never follow through on it
and just keep adding and subtracting and
I gotta pay for this and that level and
more and more-and Book II's coming. All
the answers..."if you had that, it's no
good 'cause here's the new thing.. .and
oh no...you don't need that.. .that's
old.. .this is new." And it's more and
more and it's all just cruel.
(MORE)
105.
BILL (CONT'D)
And it's all gettin' away form what it
was at the start which made sense. This
is screwed man. Screw this. And screw
you.
BILL leaves.
FREDDIE watches him go. Something takes hold of him.
.FREDDIE walks after BILL, behind his back, come up on
him and CRACKS HIM IN THE KIDNEYS. HE GOES DOWN...KICKS
HIM FOR GOOD MEASURE, THEN WALKS BACK TO THE PORCH...
He sits down and just watches Bill squirm in the middle
of the street, finally dragging himself up and into his
car.
CU. FREDDIE.
Just watching him with no/very little compassion.
CUT TO:
INT. DOWNTOWN PHOENIX / PRINTERS - NEXT MORNING
MASTER and FREDDIE hand over THE BOOK II manuscript pages
for PRINTING. WE WATCH THE PAGES GO ROUND. DICK BENTON is
here to help. They smoke cigarettes and watch the
printing machines move...
WE SEE THE TITLE OF THE BOOK:
"THE SPLIT SABER"
We see, IN CLOSE UP, THE LAST LINE OF THE BOOK:
".. .as gift to homo-sapien, in hopes of a better world.
Lancaster Dodd, M.D."
INT. CAUSE H.O. PHOENIX - DAY
Everyone collected for the start of the Congress. 250
people in attendance from all over. APPLAUSE for MASTER
as he stands on stage, speaks:
MASTER
That's enough.. .now that's enough, you're
going to make me red all over. . .thank
you. Thank you.
Book II is about Man.
(MORE)
106.
MASTER (CONT'D)
And the title of the book is: "The Split
Saber." This is an adap-tation of the
original text... and here we have some
answers...
Ooooooh's and aaaaaaah's. Whispers, etc.
MASTER (CONT'D)
No More Secrets...
This is a study of your last 83 trillion
years.. .This is about the source of
creation.
Of good and evil ... . and the source of
all...
Now funny enough - the source of all
is...
You.
I have a unlocked and discovered a secret
to living in these bodies that we
hold.. .and Ohhhhhhh yessss it's verrrye
evre veryvery SERIOUS!
The secret is laughter.
CU. FREDDIE
Listens from the sidelines. It's sweltering HOT in here.
FANS ABOVE DO NOTHING. EVERYONE IS POURING SWEAT BUT RAPT
IN ATTENTION...
Freddie looks up at the stage and MASTER
speaking... MASTER keeps talking... Freddie keeps
looking...MASTER talks and talks ... . FREDDIE looks...
MASTER (CONT'D)
.so let's review "Laughter and
Processing." and how the role of the
listener...
FREDDIE imagines himself standing up, going up to the
stage, PULLS OUT A LARGE SABER AND SLICES MASTER'S HEAD
OFF. HIS HEAD ROLLS INTO THE AUDIENCE...
.MASTER keeps talking and talking...
MASTER (CONT'D)
Man is not an animal
Man is an enternal spirit.
107.
BACK TO FREDDIE.
He's sitting up straight, watching, pouring sweat. It's
the end of the lecture. EVERYONE STANDS UP AND GIVES
MASTER A HUGE ROUND OF APPLAUSE...
CUT TO:
INT. CAUSE COLLEGE.
a big party at the end of the evening. SLOW ZOOM IN ON
FREDDIE. Sober. Sitting and watching everyone dance aroud
and have a good time. He's STOIC. People are coming and
speaking to him...he is gracious, nodding her and
there ...
A sexy young woman, JOAN BANKS (30s) sings a song for
everyone: ELIZABETH is playing the piano.
JOAN (SINGING)
A TISKET-A-TASKET-MY PAST LIVES IN A
BASKET!
WE'RE HERE NOW, WE'RE HERE NOW.
IN LOVELY AR-I-ZO-NA. AND
WRESTLE OUT RE-ACTS RIGHT TO THE GROUND
AND PUSH, PULL, PIN IT DOWN.
WE'LL TAKE IT, WELL TAKE IT,
THOSE DIRTY SEEDS AND WIPE 'EM.
THE APA AND AMA WILL HAVE TO KISS OUR -
SS'S
Everyone applauds, laughs. FREDDIE watches everyone
celebrate and laugh, drink, etc...
ELIZABETH comes over and sits with FREDDIE...
ELIZABETH
Can we have some of your booze now?
FREDDIE
No more booze, Girl-y. Or haven't you
heard?
ELIZABETH
FREDDIE
ELIZABETH
108.
She leaves.
CUT TO:
EXT. DESERT - DAY/NEXT MORNING.
MASTER, riding a MOTORCYCLE... and A SEDAN carrying
FREDDIE and DICK BRETON.. .pull up in the middle of
flatland desert outside PHOENIX...
ANGLE, LATER. The three of them stand out in the
desert...
MASTER
The game is "Pick A Point"
pick a point... and ride straight at it.
as fast as you can. I'll go first.
MASTER gets up on the bike. Picks a spot on the horizon.
AND DRIVES STRAIGHT AT IT - A THOUSAND MILES AN HOUR.
COMPLETE ABANDON. MINIOSEQUENCE HER. SEEING THE SPEED. HE
GOES FULL THROTTLE FOR ALMOST HALF A MILE...
HE ARRIVES... SKIDS TO A STOP...THE ADRENALINE AND
RUSH ...HE TURNS...
THEN GOES BACK THE SAME WAY HE CAME.
HE PULLS UP. he laughs his head off, talking about what
just happened...
ANGLE, LATER.
FREDDIE'S TURN...he gets on-picks a spot, says what it
is...
AND DRIVES TOWARDS IT. DRIVING. FAST. HE HITS A BUMP.
ALMOST WIPES OUT. KEEPS GOING. FAST. FASTER. FASTER.
FREDDIE keeps on going...
MASTER watching him go and go-disappear on the horizon
line...
HOLD.
FREDDIE IS GONE. MUSIC STARTS, OVER THE FOLLOWING: (?
"ho! For kansas.")
DISSOLVE TO:
109.
EXT. DESERT - THREE-HOURS LATER - DUSK.
MASTER and DICK BRETON get in the car, done waiting for
Freddie..and drive off.
CUT TO:
EXT. GALVESTON, TX.
FREDDIE gets passage on a FREIGHTER. It sails off. He's
on it. back at sea.
CUT TO:
EXT. ATLANTIC OCEAN. DAY.
FREDDIE ON BOARD. . .DOWN BELOW. HE MAKES HIS SPECIAL
POTION OF BOOZE OUT OF RUBBING ALCOHAL AND SOME OTHER
INGREDIENTS FOR THE OTHER CREW MEMBERS...
THIS ALL ENDS UP IN AN EVENING OF:
TATTOO'S. FREDDIE GETS SOME NEW TATTOO'S
"TOO TOUGH TO DIE"
EXT. LYNN, MASS. SUBERBAN NEIGHBORHOOD WEEKS LATER.
FREDDIE walks up to a small house in a suburban
neighborhood...
He knocks on the door...then stands back off the steps...
A NOEWEGIAN WOMAN - MOTHER-type (40s) opens the door,
ROCOGNISES HIM;
WE SEE FREDDIE. He looks rough, tired...HE HAS MORE
TATOOS that come up from under his shirt and start to
WRAP UP HIS NECK...
MOTHER
Hello ... . Freddie?
FREDDIE
Hi. I'm lookin' for Doris.
MOTHER
Oh. .what for?
110.
FREDDIE
'cause I'm looking for her. Because i
want to talk to her. That's what for.
MOTHER
Well. Doris is in Alabama right now. She
lives there ... . she's married to Jim
Day. He's in ROTC training. Navy flight
training...
FREDDIE
Jim day? Jim day-jim day? That jim-day?
MOTHER
Yes. Jim day. From sommerville.
FREDDIE
When did that happen?
MOTHER
They've been married for three years.
FREDDIE
To jim day?
MOTHER
Yes.
FREDDIE
Is he still ugly?
PAUSE.
MOTHER
She has two children.
FREDDIE
.boys or girls?
MOTHER
Two girls. Are you coming back home?
FREDDIE
I'm just visiting, wanted to see if she
was around, say hello.
MOTHER
How's your family doing?
FREDDIE
Yeah, alright.
PAUSE.
FREDDIE
Well, ok-then. If she's not here.
MOTHER
You could write her. I have an adress.
FREDDIE
No, I'm not gonna write her a latter.
MOTHER
Alright.
FREDDIE
Was she upset that last time I was here?
When I left her here?
MOTHER
Yes.
FREDDIE
Was she broken up about it?
MOTHER
Yes.
FREDDIE
Did she tell you what happened?
MOTHER
Yes.
FREDDIE
What did she say?
MOTHER
That you said you couldn't be with her
and that you'd come back some time. Is
that right? (it was a long time ago.)
FREDDIE
Yeah.
MOTHER
Where have you been?
FREDDIE
(laughs)...I been working. I been
doing a lot of work and travelling, I
think I been halfway aroudn the world
doing things since I last saw doris...
how old is she now?
112
MOTHER
Doris is twenty.
FREDDIE
Casue I wanted to know. She was too young
when I knew her, when I saw her. how's
Sonny?
MOTHER
Sonny died in Italy.
FREDDIE
Yep. Yeah. Alright.
BEAT.
FREDDIE
I loved Doris, but when I came back
hom..and she was only sixteen, so...i
couldn't wait for her-but she's happy
and that's good. So...
MOTHER
I'll tell her you came to see me.
FREDDIE
That's not going to matter - give me a
BREAK --
MOTHER
Do you want her to know?
FREDDIE
It's better if she thinkgs I was a heel.
That's better - so if you can - don't
tell her - but you're her mother you'll
tell her, so -
MOTHER
No I won't. I think you're right.
FREDDIE
Well. . .you do whatever you think is
right.
MOTHER
It was nice to see you.
FREDDIE
. am I leaving?
MOTHER
No. Whatever you'd like. You can come in.
113.
FREDDIE
I gotta go. Thank you. So. . .thank you.
How's Mr. Shoeman?
MOTHER
He's very good. He, s working.
FREDDIE
Tell him I said hello.
MOTHER
Alright.
LONG PAUSE.
FREDDIE
So her name is Doris Day? The the Doris
Day?
MOTHER
Yes.
FREDDIE
Like the movie star.
FREDDIE comes up and gives her a kiss on the cheek and
walks off.
CUT TO:
INT. MOVIE THEATER - SOMEWHERE.
FREDDIE, by himself, drinking from his FLASK. The movie
playing is a short "CASPER THE FRIENDLY GHOST. THERE'S
GOOD BOOS TONIGHT."
He is PASSED OUT IN THE BACK ROW OF THE BALCONY...
A sory of dream moment happens where... an USHER walks up
WITH A TELEPHONE AND HANDS IT TO FREDDIE, waking him up,
Freddie speaks into the phone:
FREDDIE
Hello?
MASTER (V.0.)
I miss you.
FREDDIE
How'd you find me?
114
MASTER (V.0.)
We're tied together.
Who got to you, Freddie?
FREDDIE
What?
MASTER (V.0.)
Who got to you?
FREDDIE
Nothing. Nobody.
MASTER (V.0.)
Come to England... you'll love it here.
And I think it will do you some good. Can
you do it?
FREDDIE
Where?
MASTER (V.0.)
We have a new house ... . it's In England.
FREDDIE
My spaceship's in the shop and the dance
CARD'S FULL
MASTER (V.0.)
Ha ha ha ha. You've still got it! Will
you bring some Kools?
FREDDIE
They don't have 'em there?
MASTER (V.0.)
The only bad part over her...no Kools.
FREDDIE
How'd you find me?
MASTER (V.0.)
Freddie; I ahve a matter of such urgency -
a matter that only you can help me with -
that may, in fact, cure the insane once
and for all...
BACK TO FREDDIE. PASSED OUT IN THE MOVIE THEATER.. .he
wakes up, looks around... watches Casper for a second or
two.. .gets up...
And walks down the very steep flight of stairs on the
balcony...
115.
.it's dark...he's drunk...he takes a step or two the
wrong way - and FALLS...he not only falls down the steps -
but OVER THE BALCONY RAILING AND DOWN INTO THE MAIN
AUDITORIUM...
The fall should either kill him or break his back.
Audience members come rushing over, helping him. . .people
call for help ...FREDDIE'S KNOCKED OUT. HOLD THIS AND
WATCH AS PEOPLE HELP HIM. . .THERE IS WOMAN HER...SHE IS A
BIT SHAKEN, FREDDIE FELL RIGHT NEXT TO HER...
WE SEE THIS WOMAN, AND RECOGNIZE HER AS THE WOMAN (NUDE
DANCER) FROM THE NIGHTCLUB IN NEW YORK CITY... ELLEN... SHE
LOOKS AT FREDDIE...
CUT TO BLACK.
FADE UP IN;
INT. HOSPITAL - LATER
FREDDIE looks around. He sees a YOUNG WOMAN...it all
takes him a minute.. .he focuses on her:
It's her...ELLEN.
ELLEN
You're alright. You're Superman.
He looks at her.
ELLEN
Do you remember me?
you saved my life.
you don't remember me?
You told me where I could get some help.
And I did.
And it saved my life.
Freddie looks at her, looks around, looks down at
himself. Only a few bandages, all seems to be in order..
ELLEN
Do you know what happened?
FREDDIE
I fell over the balcony.
116.
ELLEN
That's right.
FREDDIE
Am I alright?
ELLEN
Yes.
FREDDIE
Sure I'm not dead?
ELLEN
Yes.
FREDDIE
Not dreaming?
ELLEN
Well ...I don't know ... depends on how you
mean... you're here right now. With me.
In the hospital. It's 1952. New york
city. My name is Ellen Rodgers..
You probably don't recognize me with my
clothes on...he he he.
FREDDIE
.why are you here?
ELLEN
I was in the movie theater. You fell
down. Right. Next. To. Me...
I just happen to be there. You see?
FREDDIE
Do you have a cigarette?
ELLEN
No.
PAUSE. She starts to cry a little...
ELLEN
.you're A mess...I can't see you
this way...you...I've thought about you
and what my life was life before the
Cause and now. . .before I met you...
.and you should be a Savior. You are.
FREDDIE looks at her...she puts her head on him...
117.
ELLEN
I'm not a cryer. I'm sorry. I don't know
why I'm crying ...I'm just heppy to see
you...
can I get you something?
HOLD...
FREDDIE
I really want a cigarette...
She goes away...comes back...lights him up a cigarette...
FREDDIE
I want to get to a phone ...I gotta make a
phone call. . .can you help me with that?
CUT TO:
INT. HOSPITAL/HALLWAY. PHONE BOOTH.
FREDDIE making a LONG DISTANCE CALL TO PHOENIX ARIZONA.
Finally connected with THE CAUSE H.Q. (Ellen lingers in
background..)
VOICE
The Cause College Of Phoenix, Hello.
FREDDIE
This is Freddie Sutton calling for MOC.
VOICE
Who?
FREDDIE
My name is Freddie Sutton. I'm calling
for MOC.
VOICE
MOC is not here, I can help you. Are you
calling for help? Are you in trouble or
would you like to come in for free
processing and evaluation?
FREDDIE
Is someone there. Elizabeth or mary Sue
or Norm Conrad, the family?
VOICE
No, They're in England.
118.
FREDDIE
VOICE
Who is this?
FREDDIE
Is Dick Breton there?
VOICE
Dick Breton no longer works for this
organization. Who is this?
FREDDIE
My name is Freddie Sutton and I'ma friend
of the the family. Where in England?
VOICE
Are you in any kind of trouble that we
can help you with? You can come in for an
EVALUATION -
FREDDIE hangs up. He thinks. He thinks. He thinks. He
looks at Ellen... she looks at him...
CUT TO:
INT. EELEN'S APARTMENT - NEW YOKR CITY - NIGHT.
FREDDIE is in Ellen's bed. She is going over his
tattto's. She kisses the tops of his FEET. ON HIS LEFT
FOOT: A PIG. ONE HIS RIGHT FOOR: A ROOSTER.
ELLEN
What are these? What does this mean?
FREDDIE
They keep you from drowning... keep the
sea from swallowing you..pig and
rooster's always survive a shipwreck.
ELLEN
How come they survive?
FREDDIE
I don't know. They can swim better? Never
thought about it.
ELLEN
Did you ever have a shipwreck?
FREDDIE
.I did.
119.
HOLD. He thinks about this.
Ellen starts to get a little teary. She hugs his legs and
feet, holds onto him...
CUT TO:
EXT. ATLANTIC OCEAN. DAY.
FREDDY on board a ship heading across the ocean.
CUT TO:
EXT. LONDON. ENGLAND - DAY - MONTHS LATER.
FREDDIE, alone, walking down the STREETS OF
LONDON...CAMERA WITH HIM, IN THE B.G. there are still
VACANT LOTS, HALF BOMBED BUILDINGS, REMNANTS OF THE CITY
BOMBARDED...
CUT TO:
EXT. COUTNRY ROAD/ENGLAND - DAY.
FREDDIE walking a long road carrying his DUFFLE BAD...he
heads up, passes some STUDENTS (wearing uniforms)
He comes into a clearing and heads up a driveway that
leads to a VERY LARGE ENGLISH MANOR...
CUT TO:
INT. RECEPTION AREA/MANSION.
A young BRITISH GIRL is very welcoming, asking him:
BRITISH GIRL
Hello! welcome, can we help you and
invite you to sit down?
FREDDIE
You can...
BRITISH GIRL
You look like you've travelled here...
FREDDIE
.how else do you get someplace?
120.
BRITISH GIRL
Ha, ha, he, he...
.can I assist you in help?
FREDDIE
.I'm here to see your Master.
CUT TO:
INT. WAITING AREA/COUNTRY ESTATE - MOMENTS LATER.
FREDDIE is sitting, waiting.. .he sees:
DOWN THE HALLWAY, APPROACHING IS: VAL. he looks good,
healthy clean-cut, etc...he's walking with an AID and
going over some official business...
VAL walks past FREDDIE...
VAL sees FREDDIE.
FREDDIE sees VAL. He stops, comes back.. .walks up to
FREDDIE:
VAL
Come to get yourself straight?
FREDDIE
You look good, Val.
VAL
Thank you.
FREDDIE
Was in the neighborhood, stopped in to
see your old man.
VAL
Does he know you're here?
FREDDIE
He should...
MASTER comes down the long hallway...
MASTER
IS THERE A RASCAL IN THE HOUSE??
VAL to FREDDIE quickly before MASTER arrives:
VAL
They always come back.
121.
MASTER
IS THERE A RASCAL NEARBY?
MASTER comes barreling up to FREDDIE, wraps his arms
around FREDDIE in a big-friendly BEAR HUG.
MASTER
Mold sparring partner.
VAL watches...
MASTER
Traveller. Seamen. Adventurer. Bon
vivant. You bring with you elan vitale.
days of rugged wear on your face, come
with me...
CUT TO:
INT. MASTER'S OPULENT OFFICE - DAY.
MASER and FREDDIE together... MARY SUE is here...
CU. FREDDIE
he's listening to MASTER speak -
MASTER (O.C.)
You don't believe that this can work
FREDDIE
Not really.
MASTER (O.C.)
Then you'll never know.
are you drunk?
FREDDIE
No.
MASTER (O.C.)
It's not up to me to decide how ou use it
or if you use it.
but if you want FACT. And scientific
proof. This is it.
REVERSE, MASTER.
MASTER
Who got to you?
122.
FREDDIE
Nobody.
MASTER
Do you want to come back?
FREDDIE
I don't think so.
MASTER
We could have some fun. Without you,
there's less adventure.
FREDDIE
How did you get this castle?
MASTER
I think I won it in a card game. He he
he.
MARY SUE
You look sick, Freddie. You don't look
healthy.
FREDDIE
I don't look that way, that's not the way
I look. (must be a bad habit.)
MARY SUE
You should.
You can.
You don't think you can. ?
FREDDIE
It's just not how I look.
MARY SUE
Can't take this-life straight, huh?
BEAT.
MARY SUE
What do you want? What did you hope would
happen by coming here today?
FREDDIE
I don't know..
I had a dream.
123.
MASTER
The pull and the dream. The intersection
of astral planes. Only a man as strong as
you can listen to those calls...
PAUSE.
FREDDIE
Do you need some photographs taken? I
could do that for you.
You know. Whatever I do for you, I'm only
gonna do for a minute. It's only gonna be
a minute before I go somewhere else
again... just the way it's built.
MASTER
I know it. But this is not fashion. This
is something to do for billions of years
or not at all...
MARY SUE
We don't need any photo's taken, Freddie.
They all sit and look at each other. MARY SUE gets
restless. She stands up...
She leaves. It takes her a minute to walk across the huge
room. . .PAUSE, THEN:
MASTER looks at Freddie..MASTER goes into his desk, takes
out a CONTRACT.
MASTER
We have a new contract. . .it says that you
will serve the Cause above all other laws
and regulations in this or any other
neighboring galaxy for three billion
years...
.would you sign it? And join with me?
FREDDIE
MASTER
It's not that long in the scheme of
things, Freddie.. .he he he he he..
PAUSE. SILENCE between them ...then: MASTER starts to
sing. . .and walk over to Freddie... serenades him;
124.
MASTER
Lighting up the night so bright, for all
OF US
who sail by night...
for those of us who sail by
night-light, light, the light.
I'd love to get ya...
on a slow boat to China
all to myself alone...
get you and keep ya,
in my arms ever more.
Leave all your lovers,
weepin' on a far-away shore.
Out on the briny
with that moon big and shinee.
Melting your heart of stone.
Honey I'd love to get ya
on a slow boat to China
all to myself
alone...
They look at each other.
CUT TO:
EXT. ESTATE - COUNTRYSIDE.
FREDDIE walks off, away from the mansion. . .down the
road.. .passing STUDENTS ...
CUT TO:
INT. BROTHEL/APARTMENT - LONDON - NIGHT.
FREDDIE is lying in bed with a BRITISH WOMAN. He's
smoking, looking at the ceiling, she curls up next to
him. . .smokes some of his cigarette...
We SEE HIS FULL BODY NOW, COVERED IN AMAZING, INTRICATE
TATTOOS'S. BIRDS, SHIPS, FLAGS, PALM TREES, "TOO TOUGH TO
DIE,"
FREDDIE
What's your name?
WINN
I told you...don't rememeber?
125.
FREDDIE
Say it...
WINN
You're drunk...
FREDDIE
No. Not drunk yet. Say it...
WINN
Winn.
FREDDIE
Say your full name.
WINN
Winn Manchester.
FREDDIE
Say it again...
WINN
Winn Mancester.
FREDDIE
Say it again...
WINN
Winn Manchester.
FREDDIE
Are you sure you haven't lived before?
WINN
No.
FREDDIE
Maybe this isn't your only life...
WINN
I don't think it is...
THE END.
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