WAYNE
Was there any vengeance on your part
with your unique sentence?
JUDGE STEINSMA
Yes, unquestionably. After they did
what they did in my court, and judge
worth his robe will tell you the same
thing. It couldn't help but affect my
decision. That's why they have judges.
We're supposed to be fair to a fault,
but when it's showtime, we have to make
a decision. That's why we don't just
input all the facts into a computer for
the appropriate punishment. I couldn't
give them the death penalty. Se,
California hops back and forth on that
issue. Mickey and Mallory went to
court when it was out of favor, which
is actually good because it leaves more
room for imagination. Anybody can give
somebody the chair. When you have
someone who deserves to die and you
can't kill them, you have to be
creative. And if the bastards had let
it stand, it would of been the perfect
sentence. It hit 'em right where they
lived. Far more punishing than the
death sentence.
WAYNE
Would you please describe for our
viewers what your sentence was?
JUDGE STEINSMA
Well, in a rouge's gallery of killers,
Mickey and Mallory are very unique.
I've seen a lot of killers in my day
and they're a very cold lot. They have
no more feelings about taking a
person's life than squashing a tiny
bug. It's all the same to them. Well,
Mickey and Mallory were that "kill 'em
to watch their expression change"
attitude personified. Except with each
other. And, since they lived only for
each other, I wanted to attack that, at
its very root. So, in a nutshell, my
sentence was double life for each
without any possibility for parole.
That would be fairly standard in their
case. The twist I added was that the
husband and wife would have no contact
or correspondence with each other for
the rest of their lives. And they
would never receive any word or
information about the other.
So, basically once the cell door slams
shut, Mickey and Mallory will
completely disappear from each other's
life. They'll never know when the
other dies. But alas, the best laid
plans of mice and men...
EXT. COURTHOUSE REAR - DAY
Mallory in tears, hysterically actually, is cuffed hand to foot,
and being dragged by sheriff's deputies into the prison bus.
Reporters throw out questions, photographers shoot photos, TV
news people capture the moment on video.
The bus pulls out onto the street.
CUT TO:
PHOTO: Mickey in prison uniform being led by guards.
PHOTO: Shot though bars of Mallory in her cell. Her back is to
the camera.
WAYNE (V.O.)
The sentence was never to reach that
point. Because after only a year,
Mickey and Mallory created so much
mayhem that it was decided . . .
WAYNE (V.O.)
. . . that they were mentally ill and
needed to be transferred to a state
mental hospital.
CUT TO:
PHOTO: of Dewight McClusky.
WAYNE (V.O.)
We talked with Dewight McClusky,
chairman of the California State Prison
Board, about this curious turn of
events in the Mickey and Mallory case.
Wayne's interviewing McClusky.
WAYNE
Why are Mickey and Mallory being moved
to an asylum? And who made the
decision?
MCCLUSKY
The prison board made the decision. A
board of which I belong. We're the
who. The why is simple. Mickey and
Mallory are mentally ill and need to be
under a doctor's care, where hopefully
they'll receive the help they need.
WAYNE
Mickey and Mallory were deemed
competent in a mental examination
before their trial. I'm confused,
What's changed?
MCCLUSKY
Well, since that time, they've killed
one person during their trail. And
since their incarceration, they've
killed one psychologist along with
several guards and inmates.
WAYNE
When they were found competent before,
they had already killed fifty people.
Other than the fact they're a
disciplinary problem, which frankly
shouldn't surprise anyone, I still
don't see where this situation is any
different then it was before. So, I
ask you again, Mr. McClusky, what's
changed?
MCCLUSKY
What's changed, Mr. Gayle, is our
minds. We felt they were competent a
year ago. A year has passed, sir, a
year where they were under close
observation, day in and day out, and
their behaviour has led us to believe we
were wrong.
WAYNE
Who is we?
MCCLUSKY
The prison board and the doctors who
examined them.
WAYNE
Were and of the doctors who made the
first evaluation on the Knoxs mental
state asked to re-examine them?
MCCLUSKY
Using the same doctors is not common
practice.
WAYNE
I take it by your answer it was a whole
new team?
MCCLUSKY
Now that you bring it up, yes. They
were different men. I hadn't really
thought that much about it. Since many
psychiatric opinions are, by a rule,
sought out for this kind of situation.
What do you think normally happens?
The Knoxs are assigned a family
psychologist that takes care of them
throughout the rest of their lives?
The state doesn't work like that.
WAYNE (V.O.)
The two psychiatric opinions the board
sought were those of Albert
Rodriguez. . .
WAYNE (V.O.)
. . .and Dr. Felix Vargus. Both of the
good doctors, for whatever reason,
refused to be interviewed.
Back with Dr. Reinghold. He's laughing.
DR. REIGNGHOLD
It's a funny situation actually. If
anyone besides Mickey and Mallory give
a damn, what the prison board is doing
would be considered an outrage. The
prison board is basically saying, `We
can't handle these guys.' They've
moved 'em around twice since their
sentence started.
They were a handful everywhere they
went. Now the prisons they're at now
want them outta there. But no other
prison's gonna be stupid enough to take
'em. So the prison board is left
scratching their heads wondering what
they're gonna do. Well, what they
decided to do was to set up a kangaroo
medical court that found them crazy.
Then they get them transferred to
Nystrom Medical Asylum or Lobotomy Bay
as its' referred to in the psychiatric
circle. Put 'em on a strict dope and
electro shock diet, and Mickey and
Mallory cease to be a problem to
anybody except the orderlies who clean
out the bedpans, which if you want to
see them get theirs, that's all well
and good. But there's something being
said here. Forget the immorality for a
second. Forget the corruption and the
skulduggery involved. What the board
is saying is "we give up." Mickey and
Mallory ran amuck in polite society.
They were put in an alternative society
and they ran amuck there, too. All the
powers that be, can't deal with these
two kids. And whatever can't be
assimilated has to be terminated.
WAYNE
So, in your opinion Mickey and Mallory
are not insane?
DR. REINGHOLD
Insane, no. Psychotic, yes. A menace
to living creatures, yes. But to
suggest that they're insane gives the
impression that they don't know right
from wrong. Mickey and Mallory know
the difference between right and wrong.
They just don't give a damn.
INT. EDITING BAY - DAY
Wayne's just finished viewing the show. He puts his hands on
Scott and Roger's shoulders.
WAYNE
Good work, my brothers. Fan-fuckin'-
tastic! I think that interview stuff's
too long, we can lose some of that.
Keep the girls, keep the long hairs,
keep the Hun brothers, keep the black
guy, keep them movie shit, and keep the
cop at the donut shop. Lose the rest.
And cut the interview with the prison
board fellow before that. Cut it after
I ask, `I take it by your answer it was
a whole new team.' Don't even let him
answer. Fuck him. Then cut to me
talking about the two chicken shit
psychiatrists and straight in Dr.
Reinghold laughing.
SCOTT
Okay.
WAYNE
Children, we have a show.
(to Scott & Roger)
You two get some long well overdue
sleep. 'Cause tomorrow, bright and
early, county jail and then journey's
end... Mickey Knox.
TITLE CARD: "TOMORROW--BRIGHT AND EARLY."
INT. MICKEY'S CELL - DAY
Mickey's pacing back and forth in his cell, trying out different
jokes.
MICKEY
There's this Italian guy, a French guy,
and a Polish guy. And they're all
talkin' about how they fuck their
wives---
MICKEY
. . .You know, I'm gonna just rip off
your dress and squeeze your titties.
Then Little Red Riding Hood whips out
her .357, sticks it in the Big Bad
Wolf's face and says, `No you're not.
You're gonna eat me. . .just like the
story says.'
MICKEY
(with a lisp)
. . .Fairy boat! I knew things were
good in here, but I didn't know we had
our own Navy.
MICKEY
. . .So this guy wants to take little
Johnny's sister to the drive-in. But
the mother says, `Only if you take
little Johnny along---'
JUMP CUT:
MICKEY
. . .And the Polish guy says, `That's
nothing. When I get through with my
Hanna, I get up, wipe my dick on the
curtain, and she hits the roof!'
Mickey's pretending he's calming down a hysterical audience.
MICKEY
No. . .please. . .thank you. . .you're
too kind. . .no. . .please. . .
Through Scott's CAMERA, we're filming this in BLACK AND WHITE -
16mm.
NOTE: Everytime we're viewing through Scott's CAMERA, we are
filming handheld in 16mm BLACK AND WHITE. Until otherwise
specified, the SHOTS stay in Scott's CAMERA.
Scott's filming the back of the newsvan. Roger's sitting in the
back eating donuts as is Wayne. Unruly Julie's up front
driving.
WAYNE
(with mouthful of donut)
How's it working, Scotty?
SCOTT (O.S.)
Perfecto!
ROGER
Where the fuck's the chocolate cream
filled? Did anyone get my chocolate
cream filled? If you did, it's mine.
ROGER
I pointed at a chocolate cream filled.
You saw me do it, didn't you?
WAYNE
You were there. Did you see him put it
in a box?
ROGER
At the time, I was too busy explaining
to Scott the finer points of film.
SCOTT (O.S.)
Yeah, right. You know what he said?
He said, Indiana Jones And The Temple
Of Doom is Spielberg's best film.
WAYNE
(to Roger)
You can't be serious?
ROGER
(preoccupied)
I'm as serious about that as I am about
going back to the donut store, and
dipping that stupid Mexican's head into
the batter for forgetting my chocolate
cream filled. Gimme that other box.
WAYNE
Huh uh. This dozen is for Mickey.
ROGER
That dumbass probably put my chocolate
cream filled in there by mistake.
WAYNE
Roger, no.
ROGER
What's the big deal? Take out my
chocolate cream filled, put one of
these roasted coconut---
WAYNE
Roger, do you understand what the word
`no' means? It's important we
establish a rapport. Something as
simple as a dozen donuts can mean the
world to somebody who hasn't had a
donut in a year.
ROGER
So you're giving a man who butchers
whole families, little babies included,
my chocolate cream filled?
WAYNE
Okay, guys, we're here. L.A. County
Jail. Julie, just park in the front.
ROGER
Wayne---
WAYNE
Roger, I'm starting to get pissed.
Just drop this fuckin' donut shit, and
gather your gear.
EXT. LOS ANGELES COUNTY JAIL - DAY
BACK TO: COLOR 35mm.
Wayne hops out of the van and is approached by Superintendent
Phil Wurlitzer who's followed by two DEPUTY SHERIFFS.
WAYNE
(aside to Scott)
Here's the welcome wagon.
WURLITZER
Hello, Mr. Gayle. I'm Phil Wurlitzer.
We talked on the phone. It's a
pleasure to meet you.
WAYNE
Same here. Let me introduce my crew.
Scott. . .Roger. . .and Unruly Julie
. . .this is. . .I'm sorry. What's
your title again?
WURLITZER
I'm the superintendent here at L.A.
County Jail. Me and my deputies are
who you'll be working with while you're
here.
WAYNE
That sounds great. Look, I don't want
and of this to intimidate you. This is
not going to be a big deal. This is
going to be very easy.
(to his crew)
I need to talk with Mr. Wurlitzer. You
guys get your equipment ready, power up
the van and confirm a transmission code
for the remote. Julie come with me.
WAYNE
The main thing I need is a big room,
shut off from the population, so we can
get some privacy. . .with a few
electrical outlets.
Wayne and his crew have set up in the food supply room off from
the cafeteria. Being big, roomy, and unpopulated, it's perfect
for an interview. There's eight L.A. County DEPUTY SHERIFFS
around the room along with Wurlitzer. Roger's setting up his
sound equipment while Unruly Julie is checking her notebook.
Wurlitzer and a few Deputies talk among themselves. CAMERA
moves from person to person without cutting.
WURLITZER
(to two Deputies)
This is just for an interview, I was
on the set of `Dukes of Hazzard' once.
It was a much bigger deal than this.
They had a crew of maybe seventy-five
people.
WAYNE
We're gonna be talking over here. But
I want enough freedom so if I wanna get
up and move around, we can.
WAYNE
Take him and walk him over this way.
(pretending Scott's
Mickey)
So, Mickey, killing Mallory's parents,
what the hell was that all about?
(pauses--to Scott)
Then maybe take him to the window.
WAYNE
(pretending Scott's
Mickey)
So, Mickey, if you were let outta jail
today, what's the first thing you'd do?
(pause--to Scott)
Little shit like that. I don't wanna
have to feel I gotta stay in the
chairs. We're after a cinema verite,
anything can happen, truth twenty-four
times a second kindda feel.
Wurlitzer's talking with Deputies.
WURLITZER
And when it's lunch time, they don't
just go to McDonalds. They got cooks
there servin' great food. Swedish
meatballs. . .
WURLITZER
How's everything coming, Mr. Gayle?
WAYNE
Everything's coming along just fine.
Phil, I wanted to know if I could have
a small word with you.
WURLITZER
By all means.
Wayne puts his hand on Wurlitzer's shoulder. They walk around
the room.
WAYNE
You met the kids I have working for me?
Great bunch, aren't they?
WURLITZER
Oh yes, indeed. Top flight.
WAYNE
Scott, genius cameraman, Roger,
magician with sound. Unruly Julie, I
could sooner do without my are than
Unruly Julie.
WURLITZER
Is that her real name?
WAYNE
Just a little nickname. Yep, they're
my kids and they're all I need. After
working together these past coupla
years, we're like well-oiled machinery.
No, more like a Formula race car. No,
scratch that one, too. What we're
really like is a Swiss watch. Small,
intricate, compact. . .it shouldn't
work as well as it does, but it does.
Because of the craftsmanship, the
expertise, and the artist's loving
hand.
WURLITZER
I see.
WAYNE
Now, Phil, I don't know if you've ever
been on a set before---
WURLITZER
(proudly)
Ya know, I was.
WAYNE
(acting surprised)
Really?
WURLITZER
I was on the `Dukes of Hazzard' set
about eight years ago.
WAYNE
(still acting surprised)
Well. . .small world. Well, then, you
know firsthand how Hollywood does
things. Lights all over the place,
generators, a hundred and fifty crew
members---
WURLITZER
Oh, that `Dukes of Hazzard' show, there
was probably ninety-five people there,
maybe more.
WAYNE
See what I mean? It's a funny
business, isn't it?
WURLITZER
It sure is.
WAYNE
They got a asshole over here.
(pointing to his left)
A asshole sitting down reading a
magazine over there.
(points to his right)
A asshole perched up there.
(points straight up)
Assholes everywhere. Hey, maybe if we
were doin' that kiss, kiss, bang, bang
stuff we'd need all those assholes,
too. What we're about is intimacy.
We're about two people having a
conversation. Say I was interviewing
you. All I want you to worry about is
what I ask you. I want a trust to
develop. If you're thinking about all
this. . .
(indicates the hustle and
bustle of a set)
. . .you're not going to relax, a trust
won't develop, we'll be talking a each
other instead of to each other, there
will be no chance for intimacy.
WAYNE
That's why my crew is only three. . .an
invisible three.
(switching gears)
Which brings me to what I wanted to
talk to you about. I have to get
Mickey Knox to relax...Mickey Knox to
share what he's never shared before...
Mickey Knox to open doors which 'till
today have bee closed. Well, how can
we expect him to do that when we got
Los Angeles County Sheriffs up
the walls.
WURLITZER
(snorts)
Well, just what the hell do you expect
me to do?
WAYNE
Lose 'em.
WURLITZER
Mr. Gayle, do you have the slightest
idea how dangerous Knox is?
WAYNE
Mr. Wurlitzer, I assure you, I am very
familiar with Mickey Knox's career.
WURLITZER
Since he and his wife have been in
custody, they've killed---
WAYNE
Don't recite the fact to me. I'm sure
I know 'em better than you do.
WURLITZER
Well, let me let you in on one more fact you
obviously don't know. If I were to
take my men away, Mickey Knox would
snap your neck like a twig.
WAYNE
One. . .I cam take care of myself. I
grew up in a tough neighbourhood, and
I've handled some pretty rough
customers in my day. Mickey Knox
doesn't scare me. Two. . .I'm a
journalist, and I'm prepared to take
that risk. Three. . .it ain't gonna
happen. Believe me when I tell you, it
is in Mickey Knox's own best interest
to play this game according to Hoyle.
(pause)
Wait a minute. We've gotten into a
advisory relationship here, which is
not what I want.
(pause)
But seriously, Phil, look at this.
WAYNE
(counting)
We got one. . .two. . .three. . .four
. . .five. . .six. . .seven. . .eight.
I mean Jesus Christ, Phil, that's too
much. Let's lose some of these guys.
WURLITZER
Wayne, if it was anybody else---
WAYNE
Phil, I'm just scared he's gonna clam
up on me with all these sheriffs all
over the place. They hate him. He
hates them. What kinda intimacy am I
gonna create with all this hate in the
air. Even you and I feel it.
WURLITZER
What are we talking about?
WAYNE
Two guys?
WURLITZER
Okay. I'll take two guys off.
WAYNE
No, no, no, no, no, no, I mean only two
guys.
WURLITZER
I can't do that. Five guys.
WAYNE
Three.
WURLITZER
I'll cut it in half. Four guys, but
that's it.
Mickey lays on his be with his hands behind his head.
CAMERA DOLLIES BACK to include the bars of Mickey's cell door in
the F.G. as two DEPUTY SHERIFFS enter FRAME and slide it open.
The deputies each carry shotguns and a shit load of chains and
shackles.
DEPUTY #1
On your feet! Turn your face to the
wall.
MICKEY
Now what you're supposed to say is:
`Five minutes, Mr. Knox.'
CUT TO:
INT. MALLORY'S CELL - DAY
CU of Mallory asleep in her bunk. The echo of Mickey's cell
door makes her up with a jolt.
SCAGNETTI (O.S.)
Rise and shine, Mallory!
CAMERA WHIP PANS to Scagnetti, inside her cell, flanked by two
deputies with shotguns. The deputies are BINGHAM and
WASHINGTON.
SCAGNETTI
Beautiful day for a drive, isn't it?
INT. JAIL CORRIDOR - DAY
CU of Mallory's bare feet walking in front of Bingham and
Washington's shiny black shoes.
The SOUND of Mallory's bare feet slapping the concrete floor,
along with the clip-clop-clip-clop of the deputies' shoes,
reverberates throughout the scene.
Mallory walks slightly ahead of the two shotgun wielding
deputies, when Scagnetti slips in beside her. He lights up a
cigarette with his Zippo, and talks a long drag.
SCAGNETTI
It's a long trip to Bakersfield. Long
and hot. Ever been to Bakersfield?
SCAGNETTI
See, I've been there twice. And I'm
not lookin' forward to goin' back. But
I'm in and out. You, on the other
hand, sweetheart, are gonna spend the
rest of your life there. Now that's
what I call cruel and inhuman
punishment.
SCAGNETTI
Course you're not gonna give a shit.
'Cause when the good doctor's get
through givin' you the zap...
(he puts his finger next
to his temple, pantomimes
being electrocuted)
...You won't know where the hell you
are. They'll just put you on a window
sill, and water you every other day.
INT. SUPPLY ROOM - DAY
Wayne stands at the window speaking to Scott, Roger and Unruly
Julie. One the other side of the room Wurlitzer and his
entourage of deputies are yucking it up, and occasionally
bursting into laughter.
WAYNE
(to his crew)
And when he gets here, its no dick'n
around time. Make him up, clip a mike
on him, then leave him alone. I don't
want you talking to him. I don't want
you getting in his face. I want you
hiding behind you gear. You are
invisible.