Episode # 1079
Tape Date: Thursday, February 5, 1970
Air Date: Wednesday, February 18, 1970
Written by: William J. Bell
Directed by: Joe Behar


PROLOGUE:
FADE IN: EXT. STATE PRISON - WINTER
DISSOLVE TO PLAQUE ON ENTRANCE "MORRISTOWN STATE PENITENTIARY", THEN DISSOLVE TO:
INT. SARAH FREDERICKS' OFFICE
(EXTREME CLOSEUP OF NAME PLATE ON DESK OF SARAH FREDERICKS. HOLD ON PLAQUE FOR EARLY PART OF DIALOGUE, THEN INCLUDE CHARACTERS)
SARAH: I see from your records, Doctor, that you have what we refer to as an "A-2" sentence.
BILL (sullen): Do I?
SARAH: That means you can be placed on parole whenever the Board sees fit to do so. Theoretically, you could go out of here tomorrow. But as a more practical matter, you could be released within four or five months.
BILL: You'll pardon me if I don't get too excited over the prospect.
SARAH: You should be. Normally an inmate with a year to a year and a half sentence wouldn't even be considered for parole until after eleven months.
BILL: Lady, that's like telling a surgeon that he's only going to lose the use of his right hand rather than both hands. It's just being here that I resent.
SARAH (a firmer note): Doctor, you have made that point quite clear by now. May I suggest for your benefit that you refrain from making it again.
BILL: Look, don't you or anyone expect me to come into a hole like this and be all smiles because I couldn't do it if my life depended on it! (RISING) Now if you're finished with me, lady, let's get me a uniform, find me a cell and get the show on the road, OK?!!
SARAH (very firm, in complete command): Doctor, you will sit down and you will sit down now! I most certainly am not finished with you. In fact, I have hardly begun.
(THE PROJECTION SERVED TO SUMMON THE GUARD WHO WAS STANDING OUTSIDE THE DOOR, WHO NOW OPENS THE DOOR)
GUARD: Need me, Miss Fredericks?
SARAH: No, John, thank you.
(SHE NEVER ONCE TAKES HER EYES OFF OF BILL. THE GUARD EXITS, THEN FINALLY A VERY HOSTILE BILL SLOWLY BEGINS EASING HIMSELF BACK INTO THE CHAIR. SLIGHT PAUSE, THEN SHE GOES ON)
SARAH: To continue with the prison rules and regulations, Doctor, you will notice that you are to fill out a correspondence list. I would advise you to include as many people as you expect may write to you. Though you yourself are limited to sending one letter a week, you will be given all the mail you receive. I should tell you, however, that your mail, both incoming and outgoing, will be censored.
BILL: Yeah, I expected that.
SARAH: Then suppose we touch on some of the things you hadn't expected. Doctor, you should know that you're going to occupy a rather unique position here in the penitentiary.
BILL: Just what do you mean by that?
SARAH: If you haven't noticed it before now, you will before the day is over that most of the population here; that is, the inmates; knew about your arrival from the moment you came through the front gate. They receive newspapers, listen to the radio, they know all about your case. The inmates who work in the records' section have already seen and gone through your records, so that word has started to spread through the prison grapevine that Dr. Horton who killed that woman in Salem is with us today.
BILL: So what's the big deal?
SARAH: Because you're a doctor, the population knows where you'll be working even before we've made the assignment. Working in the infirmary, you'll be in a position to do favors: sign work releases, get inmates in to see the doctor, possibly even influence the parole release eligibility of a seriously ill inmante. The inmates will tend toward treating you with a certain amount of deference, so that you'll be more inclined toward doing them favors. You'll no doubt find small favors extended to you: an inmate will make a gift of a package of cigarettes, you'll get someone's newspaper, someone else's dessert from dinner...
BILL: You're not serious.
SARAH (sober, in no way humored): Yes, very.
BILL (sardonic): All the luxuries of home.
SARAH: The point is, you're going to be taken under the collective wing of the most experienced group of inmates we have. That in and of itself isn't a bad thing since to a great extent the prison is run by the inmates: that is, the farms, the laundry, the machine shop, the various departments; and we do encourage a spirit of cooperation among the population.
BILL (anticipating) But...?
SARAH: Two things. One, considering your present attitude, the inmates are going to find it difficult to sustain an attitude of friendliness unless you reciprocate. And if you don't, they're going to turn away and make life exceedingly hard for you here. Secondly, there may come a time when you're asked to do more than extend a friendly hand. I'm speaking now of narcotics, drugs. I'm sure I don't have to tell you that if you succumb to this type of request, you're the one who will suffer most when it's brought to light.
BILL: Look, Miss Fredericks, despite what you may think of me, I'm not a stupid person. (INTROSPECTIVE) I went out on a limb once, but I'll never make that mistake again.
(MOMENTS PUZZLEMENT BY SARAH AT THE UNDERLYING MEANING OF BILL'S WORDS)
SARAH: Doctor, I'm not suggesting you not go out on a limb for your fellow inmates. I find myself doing it quite often. I'm just warning you about going out on the wrong kind of limb.
MUSIC: UP TO FINISH AND OUT. FADE: TO BLACK. UP ON: FILM/HOUR GLASS. FADE TO: BLACK. UP ON: COMMERCIAL # 1.

ACT ONE:
FADE IN: INT. SARAH FREDERICK'S OFFICE
(TAKE IT UP IMMEDIATELY)
SARAH: Doctor, I don't think it's necessary in your case to dwell on the problem of homosexuality.
BILL: No, I assure you, it isn't.
SARAH: It does exist in our prison systems, Doctor, and there's no point in our hiding our heads in the sand about it.
BILL: Maybe it does, but I'm not going to have to worry about it.
SARAH: I agree with you, but for a different reason than you have in mind. Again I go back to your status here as a doctor, one that will serve to protect and probably isolate you from any homosexual advances. The inmates who are so inclined will leave you alone because they will want to stay in your good graces. The other inmates, those who aren't inclined, will act almost as your protectors to see that you aren't so disturbed.
BILL: Then why even bring it up?
SARAH: Simply because you're going to run into these situations and we want you to be prepared for them.
BILL: OK, now that you've prepared me, what do I do when I run into them?
SARAH: All I can say is that such conduct is a serious breach of prison rules, not to mention its being a crime under the laws of this state.
BILL: Is that an answer?
SARAH: It's the best answer I can give you, Doctor.
BILL (reading between the lines): You know, what you haven't said, Miss Fredericks, is far more significant than what you have said. Namely, that if I report such things to the prison authorities, the other inmates will make things rough for me. And if I don't report them, the prison authorities are apt to do so.
SARAH: You get the idea, Doctor.
BILL (as he looks at her, very cynical): I sure like the way you people make life easy for a guy.
SARAH: I am making life easy for you by telling you that during the time you spend here you'll be living on a tight rope: take one step to the right and you'll disturb your relationship with the prison population; take the same step to the left and you're going to find yourself in disciplinary trouble with the warden's office.
BILL: So how does a guy win in this place?
SARAH: You don't win, doctor. You're here because you're a loser, and for the time that you're here, you can't win. All you can do is exist. Now that's practical advice, not the textbook kind, from one educated person to another. Take it for what it's worth and some day you'll find that you're in a position to start winning again. That'll be the day you walk out of here. I believe that covers everything for now, Doctor. Please know I'm here to help you in any way I can.
BILL: I can go now?
SARAH: The guard will take you to the supply room where you'll be issued prison clothing.
(WITHOUT ANOTHER WORD BEING SAID, BILL TURNS AND LEAVES. HOLD ON A THOUGHTFUL MISS FREDERICKS, AS SHE SENSES THAT THE YOUNG DOCTOR WILL NOT HAVE AN EASY TIME ADJUSTING TO HIS NEW ENVIRONMENT)
MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK. UP ON: COMMERCIAL # 2

ACT TWO:
FADE IN: INT. TOM'S STUDY
(A SHORT TIME LATER. TOM IS ALONE, THE HANDKERCHIEF WITH BILL'S PERSONAL EFFECTS IS OPEN ON THE DESK. TOM IS LOOKING AT THE POWER OF ATTORNEY WHICH HE HOLDS OPEN IN FRONT OF HIM)
BILL (voiceover): Giving and granting unto my father, Thomas Horton Senior, full power of attorney to do an perform all and every act and thing whatsoever as fuly as I might or could do if personally present, hereby confirming and ratifying all that my father shall lawfully do or cause to be done.
(BY NOW AND IN THE DISTANCE WE HAVE SEEN TOMMY COME TO THE DOORWAY. TOMMY HAS JUST RETURNED HOME. TOM PUTS THE LETTER DOWN, IS DEEPLY THOUGHTFUL AS TOMMY SLOWLY ENTERS)
TOMMY: Busy, Dad?
(TOM LOOKS TOWARDS TOMMY, NO SMILES, A MAN DEEPLY PREOCCUPIED)
TOM: No, no son. Come in.
TOMMY: Well, it...it's all over, isn't it?
TOM: Yes. All oer. My youngest son is now in prison.
TOMMY: I can't say I was too surprised that the Judge didn't go along with probation. Yet, the thought of my kid brother behind bards, it's a sickening thought.
TOM (as he feels it): But then, so was how Kitty died, and why...a sickening thought.
TOMMY: I told Sandy about the sentencing.
TOM: Does she feel justice was served?
TOMMY: I think deep down Sandy feels as we all do. A certain pity for Bill, yet knowing that he had to be punished in some way for what he did. That it was Bill who brought all this on himself.
(WE DON'T WANT A HARD LINE ATTITUDE BY EITHER TOM OR TOMMY HERE. NEITHER IS WITHOUT SYMPATHY FOR BILL, YET THE REALITIES OF THE SITUATION MUST DOMINATE THEIR THOUGHTS, NO MATTER HOW REPUGNANT)
TOM (after slight pause): I think it's one of the most disturbing elements of this whole mess. Not knowing all the facts. Never learning why Bill went to see Kitty, what provoked the argument. How can you feel...when you don't understand. But Bill clos3ed that door to us.
TOMMY: And you have to assume, for a reason.
(TOMMY LOOKS DOWN AT THE OPEN HANDKERCHIEF, WHICH TOM NOTICES)
TOM: Bill's personal effects. None of which he was permitted to take with him.
TOMMY: Were you with him when he surrendered himself?
TOM: No, because he told me very pointedly that he didn't want me there. Your mother, and this girl Janene, they were there, however.
(AND DURING THE FOLLOWING WE SEE TOM TAKE THE LETTER AND BILL'S PERSONAL EFFECTS AND PUT THEM INTO ONE OF THE DRAWERS OF HIS DESK, ONE ON WHICH THERE IS A LOCK, WHICH TOM LOCKS WHEN FINISHED)
TOMMY: His attitude isn't going to help his situation in prison, is it?
TOM: No, it isn't.
TOMMY: From what I understand, he does have a chance for an early parole...
TOM: According to Mickey, as soon as four, five, six months.
TOMMY: Unless he's a problem up there.
TOM: Unless he's a problem.
(AS TOM LOCKS THE DRAWER, WHICH WE TAKE IN CLOSEUP, DISSOLVE TO:)
INT. PORTION OF ROOM WHERE CLOTHING IS ISSUED
(TO SMALL COUNTER AREA, WHERE WE SEE BILL'S STREET CLOTHES STACKED ON THE COUNTER, A RATHER LARGE STACK OF DENIM UNIFORMS, UNDERWEAR, ETC... STACKED BESIDE THEM. BILL ALREADY HAS THE DENIM PANTS ON, PLUS A PRISON ISSUED T-SHIRT. AND IS UNFOLDING A NEW "JUMPER" WHICH HE WILL PUT ON, WHICH ALREADY HAS HIS NUMBER STENCILED ACROSS THE BACK, AS DOES THE PANTS ACROSS THE SEAT. AN OLDER INMATE WITH A FADED BLUE UNIFORM IS GETTING READY TO PUT BILL'S STREET CLOTHES IN A LARGE BOX. A GUARD STANDS IN THE BACKGROUND SOMEWHERE)
INMATE: I'll give you a hint, Doc. Wash the rest of 'em before you wear 'em. That'll take the stiffness out.
(THE INMATE, OF COURSE, IS BEING A LITTLE SOLICITOUS OF BILL, WHICH BILL OBVIOUSLY CAN'T COTTON TO. INMATE PUTS BILL'S STREET CLOTHES IN BOX)
INMATE: Doc, got a little favor to ask. I've got a liver that's really been acting up. But the guy in the infirmary says I'm faking it, and I tell you I'm not. Word's gotten around that you're going to be takin' his place. Maybe you can help me, Doc. I mean, with my condition I shouldn't be here. And a word from you will go a long way. I mean a real long way. You see what I'm sayin'?
(FOR THE FIRST TIME, BILL LOOKS AT THE MAN DIRECTLY, THEN):
BILL (cold look): If you're saying what I think you are...you've got the wrong guy.
(THEN LET BILL GO OVER, PICK UP THE STACK OF CLOTHES JUST ISSUED TO HIM, AND HE STARTS OUT OF THE ROOM WITH THE GUARD FOLLOWING. HOLD ON THE INMATE WHO LOOKS AT BILL)
INMATE: I'll remember that, Doc. I'll remember that.
MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK. UP ON: COMMERCIAL # 3. UP ON: FILM/HOUR GLASS. UP ON: COMMERCIAL # 4

ACT THREE:
FADE IN: BILL AND BRENT'S CELL
(THAT BRENT WILL OCCUPY WITH BILL. THERE'S A SMALL SINK, A TOILET BOWL WITHOUT A SEAT, A DOUBLE BUNK, A SMALL PLAIN DRESSER, SMALL DESK AND CHAIR. THERE'S AN ASHTRAY, BUT MAKE CERTAIN IT IS PLASTIC RATHER THAN GLASS. BRENT DOUGLAS IS SITTING ON THE EDGE OF THE LOWER BUNK, BUFFING HIS ALREADY SHINY SHOES WITH A RAG. HE IS THOUGHTFUL, PREOCCUPIED, SOMEWHAT INTENSE. AS ALWAYS, HIS HAIR IS NEATLY COMBED, HIS NAILS FRESHLY MANICURED. HE HEARS TWO SETS OF FOOTSTEPS APPROACH, WE HOLD ON BRENT AS HE LOOKS UP, THE PRISON DOOR IS OPENED, AND IT IS ONLY AS BILL STEPS INSIDE THE CELL THAT WE TAKE HIM. THE TWO MEN EXCHANGE GLANCES AS THE SAME GUARD CLOSES THE DOOR BEHIND BILL. BRENT SOBERLY STUDIES BILL CAREFULLY, AND IT'S ONLY AFTER A FEW LONG SECONDS THAT HE FINALLY SAYS:)
BRENT (dryly, no smile): Welcome aboard.
(BILL STANDS MOTIONLESS AS HIS EYES VERY SLOWLY SCAN EVERY INCH OF THE CELL. BRENT STUDIES BILL FOR AN ADDED MOMENT, THEN STARTS WITH HIS OTHER SHOE. BILL'S SLOW SURVEY OF THE CELL CONCLUDES WITH THE DOUBLE BUNK, AT WHICH POINT HE SLOWLY BRINGS THE CLOTHES STACKED UP IN HIS HANDS TO THE UPPER BUNK, WHERE HE PUTS THEM DOWN)
BILL (tense, low level): I take it this is mine.
BRENT (without looking up, continuing with his shoes): Either way. Doesn't matter.
BILL (uptight, slight flair but still rather low level): Well are you using that one or this? Which?!!
BRENT (undaunted by Bill's mood and tone of voice, still no eye contact): Up to and including last night I spent seventeen months up in that one. When the other guy shipped out today, I moved down here. But, like I said, it couldn't matter less. Just don't come near me at night or I'll break your head.
(BRENT IS IN NO WAY SOLICITOUS OF BILL. BRENT DOESN'T "TURN ON" UNLESS AND UNTIL HE FEELS A SENSE OF MOTIVATION AND IT WILL BE A MATTER OF A WEEK OR SO BEFORE HE'LL BE SO MOTIVATED BY BILL. BRENT, HOWEVER, SHOULD NOT BE SULLEN, BUT RATHER INTROSPECTIVE AND INTERESTING. BILL COULDN'T GIVE LESS OF A DAMN WHERE HE BINKS, SO HE PLOPS HIS CLOTHES DOWN ON THE UPPER BUNK. BILL THEN REACHES FOR A CIGARETTE, LIGHTS IT)
BRENT: Understand you're a doctor.
BILL (cynically): Word really gets around.
BRENT: Yeah, that it does. What you in for?
BILL: You mean, you didn't hear that, too? 
BRENT: I wouldn't ask if I heard.
BILL: Does it matter what I'm in for?
BRENT: It could.
(AND BY NOW BRENT IS FINISHED WITH THE SHOES, PUTS RAG AWAY)
BILL (definite pause before): Involuntary manslaughter.
BRENT: How long?
BILL: A year to eighteen months.
BRENT (thinks for a moment, then dryly): So you be a good boy and you'll be out for the World Series.
(DEFINITE BEAT, THEN MERELY MAKING CONVERSATION, NO EYE CONTACT)
BRENT: What happend...you didn't know the gun was loaded?
BILL (bugged by the questions, but not wanting to go into details): Something like that.
BRENT: Six two and even says it was a woman.
(PAUSE. BILL DOESN'T COMMENT. THEN WE SEE BRENT BECOME INTROSPECTIVE AS HIS EYES LOOK OFF INTO SPACE)
BRENT: Women. That's the roughest part about being in here. Missing the sight, sound and smell of 'em. Running your fingers through their hair, biting 'em, kissing 'em. loving 'em. Using them. They still wearing those short skirts?
BILL: Yeah. Most of 'em.
BRENT: How short?
BILL: You name it, they're wearing it.
(NO RAPPORT HERE AND KEEP THE SCENE LOW KEY. LITTLE OR NO EYE CONTACT)
BRENT: I was afraid that fad would blow over before I got out.
BILL: And when's that?
BRENT: Four and a half little weeks, Doc. And then, look out world, here I come, I've got a lot of making up to do.
(THE LOOK IN HIS EYES AND THE TONE IN HIS VOICE IS MORE SOBER THAN HAPPY. HE'S NOT THINKING OF WOMEN HERE SO MUCH AS HE IS GETTING BACK TO APPLY HIS "TRADE." MAYBE BY NOW BILL HAS OPENED AN EMPTY DRAWER, IS PUTTING HIS THINGS AWAY)
BILL: And you? What brought you here?
BRENT (soberly, casually): Trusting people.
BILL (instinctive skeptcial reaction): Like how?
BRENT: Oh, like believing a guy who asked me to peddle some securities for him. Like being stupid enough to sign my name to them. A guy I grew up with. You know, the kind who went to church every Sunday, the kind of guy you'd trust your sister with. So here I am while he's still going to church every Sunday and making out with all the women the other six days of the week.
BILL: Sounds like your friend owes you a little something for your trouble...or you owe him something.
BRENT (deeply introspective): Yeah, I thought that, too, for a long time. Each night I'd fall asleep thinking of a different way I could put the screws to him. But then I realized that every idea could get me back here again. So I've decided I want nothing to do with him, I don't want to go near him, I don't want to see him. But the catch is: he won't know that. And he's going to be waiting for me, spending the rest of his life looking over his shoulder, looking for me. I figure that'll be worse than anything I could do to him. Meanwhile, I'm out making up for lost time. And that...I intend to do. Like I said...look out world, because in four and a half weeks, here I come.
(AND NOW TAKE BILL FOR THE FIRST TIME GIVING THIS GUY A MORE SEARCHING LOOK)
MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK. UP ON: COMMERCIAL # 5

ACT FOUR:
FADE IN: BILL AND BRENT'S CELL
(A SHORT TIME LATER. BRENT IS LYING ON HIS BUNK. BILL IS OVER BY THE SMALL DESK WHERE HE PICKS UP HIS COPY OF THE RULES AND REGULATIONS)
BILL: Anything in here worth reading?
(BRENT LOOKS OVER BILL'S WAY)
BRENT: The rules and regulations? Oh, I suppose I can sum up most of them for you. Name's Horton, isn't it?
BILL: Bill Horton.
BRENT: Mine's Douglas. Brent Douglas.
(THE NAMES ARE ALMOST A THROW-AWAY SINCE NEITHER REALLY GIVES MUCH OF A DAMN. NO EYE CONTACT AS BRENT REMAINS ON HIS BUNK)
BRENT: Let's see, where to start. If you've got a wife, I suppose you're interested in the set=up regarding mail.
BILL: No wife, and I've already been filled in on my one letter a week by that lady criminologist.
BRENT: Quite a hunk of woman, isn't she.
(BOTH MEN ARE ESSENTIALLY NON-EXPRESSIVE. WE FEEL BRENT'S SOBER HUNGER FOR SEX RATHER THAN HIS DELIGHT WITH HER BEAUTY)
BILL: Frankly, I didn't notice. I've got other things on my mind.
BRENT: After you're here awhile, you'll notice, Doc. About a year ago, she was kind of an experiment. Young, liberal, a woman...but she's OK. Knows how to handle people. Just don't ever try anything with her or the inmates will chop you to pieces.
BILL: They like ice water do they?
BRENT: You're in prison, Doc. She's the nicest thing that'll happen to you while you're here, take my word for it. Like I said, she's a woman. But we were talking about rules and regulations, weren't we. OK, let's start with chow. The big rule there is whatever you take, brother, you'd better eat or you've got problems. Laundry. We do our underwear and socks, they do the rest. And if you don't wash and change clothing often enough, you hear about it fast. There's a lot of fights, and when one starts my advice is to walk the other way, and fast. And whatever you see or don't see, you keep to yourself. Stool on any of the inmates and somehow, in some way they get back at you. Of course you're going to be kind of a special cat around here. Being a doctor and all. In some ways that'll make it easier for you. In other way, I wouldn't trade places with you for anything.
BILL: I can take care of myself.
BRENT: Maybe you could out there, Doc, but this is a different ball game in here. On one side you have the warden and all his people. And on the other you have all the inmates...and there you are, at this moment, right smack in the middle. People are going to be watching you real close, Doc. You going to be able to straddle that fence?
BILL: Well, for one, your Miss Fredericks obviously has been able to do it.
BRENT: But she's a woman, that's the difference. At least for most of the guys it is. You and me, Doc, we're not like the majority of the inmates. That's why I'm cluing you in like this.
(LONG PAUSE AS HE LOOKS AT BILL)
BRENT: Watch yourself.
(TAKE BILL RIGID AND UNAFRAID, YET DEEP DOWN FOR BRENT'S WORDS OF ADVICE)
HOLD, MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK. UP ON: COMMERCIAL # 6. MUSIC: THEME. UP ON: FILM/HOUR GLASS. MATTE CARD/CRAWL. PRODUCTION TAG.