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Brass Eye Transcripts |
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Episode 5 - CRIME - 26/2/97 PART ONEMONOLOGUE, OVER LIBRARY PICTURES: Chris Morris CM: "...set on fire, bum-raped, or burgled senseless by Britain's marauding criminals. This month, police pictures showed another estate in Manchester, turning itself into a gun. And it's not just the great unhosed; these raiders all earn over two hundred thousand pounds a year in big banks. So much for recorded crimes. But crimes we know nothing about are going up as well." GRAPHIC: (Computer generated image of bar graph, showing "Crimes we know nothing about" to be on the increase) CM: "What hope do we have of battering these down?" GRAPHIC: (A battering ram, the words "WHAT HOPE" imprinted on it, flies into the graph, the bars now forming the shape of a question mark) CM: "The Home Secretary scores repeated own goals; over twelve hundred convicts were released last month, after lying to the Home Office about how long they'd been inside. And just two days ago, it was revealed that convicts in Dartmoor prison had been running an international airport for over fourteen years." CUT TO: INT. OFFICE: (Middle aged man speaking to interviewer) TITLE: (Alan Fortune-Vatch, Governor, Dartmoor Prison) AFV:"I am not an expert on air traffic control; I thought they were landing nearby, but not in my prison." CUT TO: STUDIO: (Chris Morris, sitting in front of a bank of "BRASSEYE" monitors) CM: "So what causes crime? Social depravation? This bleak report from Ted Maul." CUT TO: GRAPHIC: (EARTH, a pointer to the town of COWSICK, England) TM: "From the moon Cowsick's a little dot..." GRAPHIC: (ZOOM down fast "into" the Earth, to show Ted Maul looking up to camera. NIGHT) TM: "From the ground, it's a _huge_ mess!" TITLE: (Ted Maul, Reporting) ZOOM OUT: TM: "Like Dante meets Bosch in a crack lounge." ZOOM IN: TM: "I'm here to ask a question:" CUT TO: HEAD & SHOULDERS SHOT: TM:"Is alarm justified?" (Ted holds up an old fashioned ALARM CLOCK) TM:"Is time running out for Cowsick?" (SAND starts to run out the bottom of the alarm clock) TM: "Or is this the start of a new day?" (Ted snaps his fingers; CUT TO same scene, but suddenly it's DAY) TM: "The first day of Spring." (Ted turns alarm clock round, points to a SPRING in the clockwork mechanism) CUT TO: VOICEOVER, over VIEWS OF COWSICK ESTATE: Ted Maul TM: "Cowsick. The stench of poverty hangs in the air like an old man's nappy. For the kids, it's a depravity supermarket, where bad is free, and society foots the bill." CUT TO: EXT. VIEW FROM ABOVE: (A number of young vandals, average age 13), NIGHT TM: "Not many cars to nick here; so instead they hijack pedestrians and run them around at terrifying leg-speeds. It's called "git surfing"; all too often, the "git" is one of their own mothers." CUT TO: SECURITY VIDEO FOOTAGE: (Shop interior), NIGHT TM: "The latest trick - catapult them into a shop -" (A "git" flies through a shop window, glass breaking over the floor) "- and force them to steal booze, fags and mags." CUT TO: INT. POLICE CAR: (Ted Maul sitting in passenger seat), NIGHT (Ted gestures with two fingers to passing hooligans) TM: "For the cops, it's a jungle, where dangerous animals speak "swear-hili". (Ted turns to the in-car camera, and says: "it looks like we've got a "burst shop"). CUT TO: EXT. BURST SHOP: NIGHT TM: "Kids burst shops, by filling them with rice, and pouring in water - then standing back and laughing, while the bricks are ripped apart by the swelling food." CUT TO: EXT. VIEW, SLO. MO.: (Teenager seemingly on the prowl), DAY TITLE: (Kerry Hufford, Coswick wastrel) TM: "They say a bored mind makes a great office for the devil -" CUT TO: INT. POLICE STATION: (Kerry Hufford detained at police station) "- in Kerry Hufford's case, it's fully air-conditioned, with free typing. He's been arrested for menacing a helpless codger." CUT TO: EXT. FLATS: (An old couple, walking along balcony), DAY TM: "Jill and Sainsbur McManus are a rattly pair of old puffins, who remember Coswick in the days when people could still be trusted." CUT TO: INT. FLAT: (McManuses sitting on their settee, speaking to interviewer) TITLE: (Jill & Sainsbur McManus, Victims) JM: "Everybody had keys to everybody elses' house, you know, and the locks were, well they were sort of made of something like paper" CUT TO: EXT. VIEW, SLO. MO.: (Teenager SPITS in direction of FLAT WINDOW), NIGHT, CHILLING MUSIC TM: "On September the fifteenth, the McManuses went to bed, unaware they were being watched by the Hufford gang. Moments later, three kids had broken in. Kerry was dressed as an angel; he woke the old man up, and told him he was dead... and must go outside and bury himself." INT. ROOM: (Teenage girl speaking to interviewer) TITLE: (Claudia Lash, Hufford Gang Member) CL: "He ran out the room, Kerry and me were just, were rolling about on the floor in hysterics." DISSOLVE TO: RECONSTRUCTION: (POV Mr. McManus, clutching away at the earth, leaves flying through the air, the last frame a grim scene of a half buried hand) CL: "And he was pulling all the grass out with his hands, 'n, chuckin' it everywhere, we were just behind a bush laughing at 'im." DISSOLVE TO: POLICE VIDEO: (Heat sensitive, from helicopter), NIGHT TM: "Sainsbur would definitely be "Costa Del Blowfly", if the cops hadn't seen his body by chance - when they were tracking a man, who had buggered a heron." CUT TO: EXT. VIEW: (Kerry Hufford, loitering on the streets), DAY TM: "Maybe we can understand kids like Kerry by looking at his family -" DISSOLVE TO: INT. LIVING ROOM: (The Huffords, sitting on settee - Dad, Mum and Kerry) TM:"- Dad unemployed; Mum depressed beyond tablets. You want to help these people, but the truth is, they're got to help themselves." INTERVIEW: Ted Maul TM: "Do you agree with this question? If you don't get a job, he gets stuffed." (Ted points a finger from behind camera, at Kerry) TITLE: (Shane Hufford, Redundand) SH: (Splutters at the question, then speaks) "The point is I'm trying to get a job,it's not as though I'm not trying to get a job, I'm -" TM: (Talking over the father) "You must try harder."SH: "I'm trying, I'm doing the fu -" TM: (Interrupting) "Yeah but _really_ hard."SH: "I _am_ trying very hard tho -" TM: (Interrupting again) "Well couldn't you just go round somebody's house andclean up?" SH: "Clean up? Clean up somebody's house?" TM: "Yeah and then ask for money for it." SH:".. Yeah I could do that." TM: "Why not do that tomorrow?" SH: "Alright, mm I mean it's a bit demean -" TH: (Interrupts once more) "Good! Thanks for talking to us."CUT TO: EXT. COSWICK ESTATE: (Various scenes of depravity, dirty people etc), DAY VOICEOVER: Ted Maul TM: "Cowsick's people are the smashed toes of a lame duck society. A lame duck, that's attacking it's own feet, with a sledgehammer." CUT TO: EXT. COSWICK ESTATE: (Ted Maul, speaking while approaching camera), DAY TM:"Will the nightmare never end for Cowsick?" CUT TO: (Ted Maul 2, who we see was behind the camera) TM 2:"Perhaps with some help from outside." TM:"Oh yeah?" CUT TO: VOICEOVER, over LIBRARY PICTURES: Ted Maul TM:"In 1993, the council gave them a football." CUT TO: EXT. COSWICK ESTATE: (Ted Maul, standing next to a grim wall), DAY TM:"Good -" (Ted catches a football, thrown from outside of frame) "- but not enough." (Ted punches football away) - CUT TO:VOICEOVER, over PAUL McCARTNEY FOOTAGE: TM: "In '95, Paul McCartney gave them a hundred top hats." - CUT TO:INT. GROUND: (URINE falling onto a black TOP HAT, it's origin not in frame) TM: "Fat use. And last year, the mayor gave them a gold mine -" DISSOLVE TO: EXT. COWSICK ESTATE: (Ted Maul, standing next to entrance to mine), DUSK TM: "It actually worked for a bit this, until someone clogged it up with sick. Sick's a sort of "metaphor -" (he pronounces it "mertaffer") "- for the way thesepeople lead their lives, and it's going to stay that way, 'til someone lets in... the wind of change." (Ted turns around, and strides away wistfully) MUSIC: "The Wind Of Change", (c) The Scorpions. CUT TO: STUDIO: (Chris Morris, sitting in front of a bank of "BRASSEYE" monitors) CM: "And as a result of that experience Ted Maul has been absent for some time, with nervous exhaust." CUT TO: INTRO SEQUENCE: "zeit guest, sir rhodes boyson mp" STUDIO: (David Compression, the interviewer, and Sir Rhodes Boyson oneither side of a desk, current affairs interview style) DC: "Do you feel that.. vigilanteism is actually gonna... help, in the long run?" TITLE: (Sir Rhodes Boyson, MP, Brent North) RB: "I think it will rise in an area where something has gone wrong." TITLE: (David Compression) DC: "I mean in Gotham City in the United States they call up a specialist vigilante agent when they're in times of _real_ trouble, by projecting a huge l uminous emergency "bat sign" into the sky, and he comes rushing in and.. so far that has... worked. Is that something that should be, encouraged?" RB: "I'd have to see it, I.." DC: (Talking over the Boyson's hesitant stuttering) "Well it _looks_ good..."RB: "It would have to be a very.. er, individual with great magnetism -" DC: "I think that's what it is. It's his special sign." RB: "They're one offs, they're one offs, that sort of thing, and it's very nice in school-mastering when you have people who are one offs who can act to do it in a way that nobody else can do it, but don't try and get other people doing it." DC: "Well when he, you know, Bruce Wayne goes, then it's all going to collapse." RB: "Yeah. Well, it's done, it's, happened throughout history." CUT TO: STUDIO:(Chris Morris, standing) CM: "Is crime gonna get any worse?" (Chris steps through a large model of a graph, indeed showing crime to be getting worse) CM: "Yes it is. Just look at America; Alabaster Codefy reports on _their_ latest mess." (A red balloon with the word "CRIME" tagged to it sails up in front of Chris) CUT TO: VOICEOVER, over American people show footage: Alabaster Codefy ANNOUNCER: "Fadanoid! With Chuck Fadanoid." AC: "Top talk topic Stateside right now: " FADANOID: "Priests With Guns!" AC: "The priests, who say they must pack a piece to keep _the_ peace. TITLE: (Father Pierre Runek, Chief Spokesman for the Artillery of God): "Lastweek I had er... well, maybe two hundred three hundred in the congregation. I got up in front of them and I said, "anybody here who's got a gun can leave now". Ten minutes later, three people are left - two kids and a deaf guy." AC: "The "padrenual" really took off after a minister "Vocus Wabe" was shot at a baptism for forgetting the baby's name.More and more of the holy flock is becoming a gory "gun-gregation". CUT TO: INT. GUN RANGE (Father Pierre Kupek, shooting an UZI at a target) AC: "Practicing four times a week, Father Kupek's a fully fledged "revolver-and". (Alabaster talks to the priest) AC: "Just what's the style you have there?" FK: "Well I use the one handed grip, it actually gives you a smaller profile if there's er, if there's answering fire.Like from congregation or something." CUT TO: INT. CHURCH VOICEOVER: Alabaster Codefy AC: "And in Kupek's church, a would-be shootist doesn't have a prayer." FK: (Demonstrates to Alabaster) "This is a defensive measure which isbullet-proof, and the hole has been cut so I can return fire." CUT TO: INT. GUN RANGE FK:(BANG, as he shoots at target) "That was the pimp that took the crucifix outta my church, and put it on his car.." VOICEOVER: Alabaster Codefy AC: "That's the "Holy Gunspel", according to "Saint Marksman." FK: "..got him that time..." AC: "And there's even ad campaigns to recruit more "pistol apostles". CUT TO: VOICEOVER, over ADVERTISEMENT FOOTAGE: (various clean shaven priests wielding semi-automatic weapons) "All part of God's "Holy Canon." AC: "Despite the increasing violence against priests, many say they are simply too "revved up" to handle guns, as at this wedding, where Minister Pat Grisald shot a guest in the leg." CUT TO: AMATEUR VIDEO FOOTAGE: (Priest, shooting his pistol in church - the bloody leg of one of the female guests is shown) CUT TO: VOICEOVER, over FADANOID FOOTAGE: Alabaster Codefy "The issue peaked on TV yesterday on a "rat-a-tat-tat show showdown", featuring Kupek and the two "prota-gunnists". CF: "You were shot by a minister with a gun?" GUEST: "That's right." CF: "Okay, you were shot by _this_ minister with a gun -" (Pat Grisald walks onto the stage and to his seat - the victim groans with disgust, as do the audience) "- this is Pat Grisald, the man who shot you at the wedding. Okay, now I know you haven't seen him for six weeks, not since he shot you; now, just, just react." GUEST: "What the hell were you doing!?" PG: "Look you moved funny I had to shoot." GUEST: "What do you mean I moved funny, I'm standing in the church at a _wedding_ for god's..." PG: "No no no you..." GUEST: "What do you mean I look like a crimi!..." PG: "With those hairy arms you could be a man in a dress!" GUEST: (Springs from seat towards Pat Grisald) "Right you I'm going to get you!" (She proceeds to assault Pat...) FK: (Draws gun and puts it to the back of guest) "Alright freeze woman!" (Slowly pulls her away) CF: "Put the gun down, pouch the piece, someone could get shot here!" FK: "Easy... easy... get back in your seat." CF: "Pouch that piece, padre." (Makes a grab for the gun, it goes off).- CUT TO: VOICEOVER, over FOOTAGE OF A TANK ON FREEWAY: Alabaster Codefy AC: "Two priests left the show in a tank, shooting as they went. So, as the "ammu-missionaries" get "trigger holy", Sunday turns to "Gun-day", and America awaits the "blast Judgement". This is Alabaster Codefy, for 10NN and BRASSEYE." - CUT TO:STUDIO: (Chris Morris, standing in front of a bank of "BRASSEYE" monitors) CM: "And sadly crime experts predict that one day, even friendly conversation between mother and daughter will be conducted at gunpoint." CUT TO: STUDIO: (David Compression, the interviewer, and "Mad" Frankie Fraser on either side of a desk, current affairs interview style) CM: "Up NEXT... A new scheme, for young offenders." DC: "Take the cashback scheme, that they're gonna try in Toxteth, where young offenders are on a fourteen-week sentence - costs about two grand a week to keep them in - so rather than spend twenty-eight grand to keep them inside, they give them twenty-five grand, and say "here you are, use that, for a positive reason." TITLE: ("Mad" Frankie Fraser, ex gangster) MFF: "I think that's a smashing idea. Yeah, I do, honestly." DC: "If someone had done that to you, what would have happened?" MFF: "I don't think you'd have ever heard of me again." CUT TO: STUDIO:(David Compression, the interviewer, and Sir Rhodes Boyson on either side of a desk, current affairs interview style) DC: "Do you think perhaps enlisting somebody like Richard Branson to sell the cashback scheme... _might_ just work, might just get through to them." RB: "I wouldn't say no to that." DC: "I suppose if there was an element of... stick, you know - Richard Branson up in a balloon, watching the situation and saying, "there's your twenty-six thousand pounds, but I'm watching you from a balloon, and I can see a very long way."" RB: "I'd go along with that." CUT TO: INTRO SEQUENCE: END OF PART ONE PART TWOEXT. CITY STREET: (A young black man, hanging about suspiciously) VOICEOVER: Chris Morris CM: "Now chafing the transmission heads: what is the relationship between crime and race? Using make-up sticks -" GRAPHIC: (Before and after pictures) "- we transformed our white reporter Tras Duprez, into a black man to see if the law would treat him any differently. Within five minutes, he'd committed a pocket theft -" (Tras reaches into the coat of a young woman, stealing a purse) -"and by mid-afternoon, he was attacking passers-by with violent muggings, and fleecing them viciously on the cobbles." (Tras repeatedly hits a man with the victim's own umbrella, then picks up a chair and throws it against the wall of the alley) CUT TO: STUDIO: (Chris Morris, with Nelson Koka, a black man - they are watching what we have seen, on a monitor) CM: "Well there's the evidence - Mr. Koka, what do you make of that?" TITLE: (Nelson Koka, Representing every single black person in Britain) NK: "Now I have seen the proof - I apologise for my fellow blacks I'm sorry." CM: "Mr. Koka thank you very much." CUT TO: STUDIO: (Chris Morris, standing in front of a bank of "BRASSEYE" monitors) CM: "So what's the solution to rising crime, particularly younger and younger?" (Chris turns to monitor - watches his own image) OTHER CHRIS: "For many, the answer to the crime problem can be summed up in just one word -" MONITOR CUT TO: ("Other Chris" becomes main picture) "- bring back Borstal." CUT TO: OLD B & W FOOTAGE: "BORSTAL" - CHILLING MUSIC (ZOOM out, to show this was being displayed on a monitor in a van, located outside an old Borstal - CHRIS is standing beside this van, holding a VT control device) CM: "But did they work?" MONITOR ZOOM TO: STUDIO:(Chris Morris, sitting in front of a bank of "BRASSEYE" monitors) CM: "Good question, because Borstals were phased out in 1982." MONITOR ZOOM TO: 1981 BBC FOOTAGE: ("Ted Maul Reports", standing outside Borstal, in '81) TM: "Borstals like Fork Hurst are to be axed because reports show they're full of men who should have been released _years_ ago." VOICEOVER, over FOOTAGE of ELDERLY BORSTAL INMATES: Ted Maul TITLE: (BBC News, 1981) TM: "Jock Bozenay was sent here as a juvenile offender in 1949. He never left, because he kept failing release tests.Like hundreds of others, he remained in chokey - even though the offences were small and twatty." CUT TO: INT. PRISON CELL: (Eddie Hazel, "Young Offender") EH: "When I was seven, I got dressed up as a little city gent, and walked into the Bank of England shouting "Fuck the Pound"." (BLACK AND WHITE FREEZE FRAME) MONITOR ZOOM TO: STUDIO: (Chris Morris, sitting in front of a bank of "BRASSEYE" monitors) CM: "While the situation is clearly grave enough to merit a black and white freeze frame, the solution may already be at hand -" MONITOR ZOOM TO: STUDIO: (Chris Morris, sitting in front of a bank of "BRASSEYE" monitors) CM: "- with the opening of the new harsh pounds for young offenders." MONITOR ZOOM TO: STUDIO: (Chris Morris, sitting in front of a bank of "BRASSEYE" monitors) CM: "Libby Shuss reports." MONITOR ZOOM TO: STUDIO: (Chris Morris, sitting in front of a bank of "BRASSEYE" monitors, with huge grin on his face) MONITOR ZOOM TO: EXT. OUTSIDE LEOBOLD QUAY: (Libby Shuss walking towards camera) VOICEOVER: Libby Shuss TITLE: (Libby Shuss, Reporting Outside) LS: "Leobold Quay, opened six months ago, right here, and already is being favoured by both main political parties..." (Libby turns to camera and speaks) LS: "And the third party, who are with Ashdown." (Libby stops walking) LS: "I'm going inside now - like a bad boy." (She stops, turns in SLOW MOTION, gives a sultry smile at camera, and walks off) CUT TO: VOICEOVER, over various shots of Leobold life: Libby Shus LS: "The new inmates are welcomed on arrival -" GUARD: "You shits up that hill!" LS: "- and are sent straight to the shaving room. Here, their eyebrows are shaved off, which undermines their self-respect rather well." (Various new inmates, each having one eyebrow shaved off) CUT TO: INT. OFFICE: (Clyde Jackson sits at desk) TITLE: (Capt. Clyde Jackson, Governor) CJ: "If you think of a fly, and you pull its wings off, it'll crawl, and if you push the back half of its body, onto the surface it's squiggling on.... then you've got its total, undivided attention." VOICEOVER: Libby Shuss LS: "In the Gulf War, Jackson was allied adviser on psycho-battery. At Leobold, his expertise is applied without mercy. The inmates' sleep is frequently interrupted." GUARD:(Into addressing system) "AAAAAAAAAARRRRRRGGGGHHHHHH!"CUT TO: INT. PRISON DORM: (Inmates standing to attention at the foot of their beds) LS: "Room inspections are full of sneaky traps; like the brass moustache, hidden behind the notice-board." CJ: (Points at moustache - addresses inmate) "Why didn't you polish it." INMATE: "Sir." CJ: (Spins round, eye to eye with inmate) "How funny is it." INMATE: "It's not sir." CJ: "Bury the beds." GUARD: "MATSHEETSPILLOWSSHEETSOUTSIDEBURYNOW!" (The inmates quickly start to gather up their bed-clothes) LS: "The men will dig up their bed-clothes again this evening, and sleep in them, all _earthy_. If they'd done better, they might have won a privilege. Despite his criminal mind, this man -" CUT TO: INT. CORRIDOR: (Inmate walks towards camera) LS: "- is behaving well.His reward is the canoe.This time he can sit in the canoe for up to an hour." (Inmate sitting in PINK CANOE) LS: "Meanwhile, the troublemaker is made to sprint blindfold to Jackson's office, where he receives a speaking down." (Inmate forced down corridor by guard - he is blindfolded, but running) INT. OFFICE: CJ: (Shouting at inmate) "_That_ is my big shiny shoe, and _you_ arethe biggest piece of shit on it!" (Slams his shoe down on his desk) CJ: "_Lick_ yourself off my shoe!" INMATE: (Hesitant) CJ: "Lick yourself off, my shoe." GUARD: (Screeching) "LICKTHESHITOFFHISSHOE!"INMATE: (Bends towards the shoe) CJ: "DON'T ACTUALLY DO IT!WHERE'S YOUR SELF RE-COCKING-SPECT?!" (Pause) CJ: "Get out!" INMATE: "Sir." CJ: "Now! Look at me! ... Get out!" VOICEOVER, cutting to show JACKSON inside office: Clyde Jackson CJ: "If you take a seal, and hit it very hard in the face, every day, for six weeks, you may.. turn it into a rather fetching hat." CUT TO: INT. PRISON HALL: (Libby sits, addressing the scum-throng) VOICEOVER: Libby Shuss LS: "And the future for these little fuckers? Will they succeed in returning to society?" LS: (Addressing inmates) "So you're nearing the end of your training, yourregime, and looking forward to joining society again tell me um - how do you feel about that?" INMATE: (Mumbles) "...skills."LS: "Skills.. for what?" INMATE: "Getting back into society." LS: "Well, you could have a family, and..." INMATE: "I could have, I don't know." (Laughter all round) LS: "And that if you.. if, you made the effort, became a part of the family, then you could root yourself back into the fabric of society." INMATE: "I could root... I'd root you into.." (Laughter all round) LS: "There is a serious question. I am from society..." INMATE: "Wee knoow." LS: "You're not from society, how do you get back into society?" INMATE: "Up your arse!" VOICEOVER: Libby Shuss LS: "There are no simple answers to the problem of punishment." CUT TO: EXT. PRISON: (Libby Shuss), NIGHT LS: "But there is a simple question. Would it really matter if one of these men died?" CUT TO: EXT. HOME OFFICE: (Chris Morris) CM: "Perhaps the most positive step has come from the Home Office action group, "Key 2000", who've produced a video to play to young offenders, on their arrival in prison." CUT TO: INTRO SEQUENCE: KEY 2000 - MESSAGE TO FIRST TIME OFFENDER INT. LIVING ROOM: (Tommy Vance reclines in seat, holding pint of ale) TV: "Well they gotcha then. They gooone and banged you up good and proper. So what now. What I'd like to do right now is to take your bad half outside, and do it an extremely physical discourtesy; and then buy your good half a pint of foaming, nut-brown ale. Cheers." (Tommy sips ale) INTRO SEQUENCE: KEY 2000 TV: "Meet Geoff Boycott, and shake hands with a walking continent of common sense." CUT TO: EXT. OUTSIDE: (Geoff Boycott, addressing camera). GB: "I didn't get runs by slacking. I worked hard, I grafted, I practised, I did it as well as I could: properly. So when you get up in the morning, what do you do? You get out of bed properly. And that means all the way out of it - _get_ _right_ _out_ of the bed. No half-measures; you must get your whole body out of the bed, right out from under the sheets, right off the mattress, until your standing up. You won't get anywhere slouching about half-out of bed. Do you seriously think that people here wouldn't notice if you were only half out of the bed? Come on - wise up! Did I walk out to bat when I was half-asleep or half-out of bed? Of course not. I bloody well didn't. Remember - the best technique is to look at that bed, and then try and get as far away from it as possible." INTRO SEQUENCE: KEY 2000 - MESSAGE TO SECOND TIME OFFENDER INT. LIVING ROOM: TV: "Gary Glitter said, "good to be back", but in your case that _does_ _not_ apply.I can't believe it you little ponce - you've gone and dun it again intcha. Did you really like it so much last time? Did you? What? You didn't? Then why the hell did you come back? Alright, easy now
CUT TO: EXT. GARDEN: (Michael Winner, sitting in chair) MW: "I've been asked to read the words of a successful reformed criminal, someone who got a grip. And this is what he says "Remember that your life in prison is like a dog in a box. What you've got to do is make the dog bigger than the box. Not in a bad way like a mad wolf, in a matchbox, but more like a giant, a well-behaved Alsatian in a Kleenex box. Your aim is to place that dog in the lap of the guvnor - that is, the evil part of you - with a smile as you leave." INTRO SEQUENCE: KEY 2000 - MESSAGE TO MURDERER INT. LIVING ROOM: TV: "You are a murderer, and I can only pray to god that you watch, and you listen, very carefully to this: " CUT TO: EXT. OUTSIDE: (Vanessa Feltz, standing) VF: "Hello, you think you don't know me don't you? Yes, but you do because - I'm the shopkeeper you shot in a mindless hold-up; you blew out my guts, remember? I'm the old lady whose head you stove in with a loose wardrobe in the middle of the night, remember? I'm the little boy whose face you stabbed off in panic when I found you robbing my house, remember? I'm Marvin Gaye, shot by my own father - oh yes, you know me alright." (Starts to walk towards camera slowly)"Look into my eyes, murderer. You killed _me_. What the _hell_ did you do that for? Look at me - feel proud, do you? Do you even know what a feeling is? I do, but I can't have any more now, because of you. You! You get out after twenty-five years, but me? I'm here forever. I _hate_, you. INTRO SEQUENCE: KEY 2000 - USEFUL INFORMATION INT. LIVING ROOM: TV: "Now while you're inside here you're going to have to learn a whole new language. It's not French, it's prison slang and I've got some of it written here so it might help you. "Howard's Arse" means prison. "One nil at half time" means food." Wongey coconuts" means air breaks. "Gazza" is a "gas coin", used as currency for cigarettes. "Plank sanction", a one-for-one fag exchange. "Sue my chin" - give us a fag: I'll give you two next week. "Buff my pylon" - give us a fag, you owe me two, so I'm letting you off the other one." Don't buff my pylon" - switch over the telly. And er, very, very important this one, "Portillo" means "look out behind you". Learn the language, better communication." MONITOR ZOOM TO: STUDIO: MINIATURE MODEL PRISON CELL, MINIATURE MONITOR CM: "Well that's one way of dealing with offenders, in prison; but what about the bigger picture?" (Camera pans out, to show the miniature model prison cell being carried away on the head of a midget. Chris is standing in a life size version of the model cell) CM: "Thanks to the News Dwarf." ND: "Pleasure Chris." (News Dwarf walks out of frame carrying model on head) CM: "The hope is that we'll benefit from a number of European projects." CUT TO: VOICEOVER, over FOOTAGE: Chris Morris CM: "Research shows that football riots can be halted instantly by showing pornography, on the video displays. For street disturbances, the metropolitan police are now breeding elephants, following their successful deployment in Athens, and Turin." CUT TO: EXT. CANAL: (Chris riding a bicycle alongside a Dutch canal) CM: In Holland they've halved the crime rate by legalising murder, with the introduction of slaughter cafes." CUT TO: INT. SLAUGHTER CAFE: TITLE: (Plaap Vlugnet, Dutch ex-murderer) PV: "We used to come here, with er knives and everything slashing like that with guts and all the blood all over, but ah we got bored with that after about two weeks.. and I just eat my cake now, an' wash it down with a nice cup of coffee." CUT TO: INT. POLICE CAR: Chris Morris, Gendarme, French woman. CM: "This French system of victim support comes to Britain next year.Last month, that woman -" (Chris points to woman) "- woke up to find a young offender defecating on her floor." VOICEOVER: Chris Morris CM: "Under police supervision, she now meets the offender, at his house - and is given an hour, to formalise a similar return, on his floor." (Woman squats on floor) - CUT TO: STUDIO: (Chris Morris, sitting in front of a bank of "BRASSEYE" monitors.) (Chris turns away from monitor, showing what we've just seen, with big grin on his face. He suddenly looks serious) CM: "Good night." ROLL CREDITS: - CUT TO: STUDIO:(David Wavvin, the interviewer, and David Sullivan sitting on either side of a desk, current affairs interview style) DS: "I'm, sort of violently against hanging, for example -" DW: "Yep." DS: "I believe no human's got the right to take another human's life." DW: "Oh hang on let me get this right, so so you _shouldn't_ be allowed to take away someone's life.." DS: "No what I'm saying is _I personally_ -" DW: "The penalty for taking away somebody's life should be the death penalty?" DS: "No, I per -" DW: "No?" DS: "No, I personally _totally_ oppose the death penalty, capital punishment -" DW: "It's alright to take away someone'e life?" DS: "_No_, only in self-defence -" DW: "So if you if you murder somebody you've taken away their life." DS: "Yes." DW: "And in _that_ circumstance only, then, that person should be killed." DS: "No." DW: "No?" DS: "I, I believe under no circumstances does one human being got the right to take another human being's life." DW: "No way! Surely?" DS: "That's my opinion." DW: "Oh alright, okay." DS: "I'm not saying it's, I mean, everything's about opinions -" DW: "_Is it?_Yes it is. What about capital punishment, for _murder_ only?" DS: "No I I, I personally believe on moral grounds that no human being can take another humans being's life." DW: "Well what if you didn't take their life you just, murdered them?" DS: ".... sssay that again -" DW: "What _if_ you didn't take somebody's life but just murdered them." DS: (Takes a long breath, freeze frame) END OF PART TWOBRASSEYE - A TALKBACK PRODUCTION for CHANNEL FOUR TELEVISION |
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