Still Unforgiven : The Four Whores of The Apocalypse

She was a comely young woman and not without prospects. 

Therefore it was heartbreaking to her mother that she would enter into marriage with William Munny, a known thief and murderer, a man of notoriously vicious and intemperate disposition. 

When she died, it was not at his hands as her mother might have suspected, but of smallpox. 

That was 1878.

SKINNY

Alice, shut up! 

Little Bill, a whipping ain't going to settle this.

This here is a lawful contract between me and Delilah Fitzgerald, the cut whore. 

I brought her clear from Boston, I paid her expenses and all, and I've got a contract here that represents an investment of Capital.

LITTLE BILL

Property.

SKINNY

Damaged Property. Like if I was to hamstring one of their cow ponies.

LITTLE BILL

So you figure nobody will want to fuck her now, right?

SKINNY

Hell no, least ways they won't pay to do it. 

Maybe she can clean up the place or something, but nobody's going to pay good money for a cut up whore.

In April 1888, Joseph Gorman continues, Queen Victoria and the British Prime Minister Lord Salisbury discovered Albert Victor's secret. 

Gorman accuses Salisbury of ordering a raid on the apartment because he was afraid that public knowledge of a potential Catholic heir to the throne would result in a revolution. 

Gorman claims that Albert Victor was placed in the custody of his family, while Annie was placed in the custody of Sir William Gull, who certified her insane; she spent the next 30 years drifting in and out of institutions before dying in 1920.

http://www.amazon.co.uk/dp/0586046526

Meanwhile, Gorman alleges, Kelly was looking after the daughter, Alice, both during and after the raid. Gorman asserts that at first Kelly was content to hide the child, but then she, along with her friends Mary Ann Nichols, Annie Chapman and Elizabeth Stride, decided to blackmail the government. Gorman accuses Salisbury of conspiring with his fellow freemasons, including senior policemen in the London Metropolitan Police, to stop the scandal by staging the murders of the women. Gorman says Salisbury assigned the task to Gull, who lured the four women into a carriage individually where Gull murdered them with the assistance of coachman John Netley and Sir Robert Anderson, Assistant Commissioner of Scotland Yard. Gorman claims a fifth victim, Catherine Eddowes, was killed accidentally in a case of mistaken identity because she used the alias Mary Ann Kelly and was confused with Mary Jane Kelly. Gorman alleges that Netley tried to kill the young Alice twice but after the second unsuccessful attempt several witnesses chased Netley, who threw himself into the Thames and drowned. Gorman completes the story by saying that Alice lived well into old age, later becoming Walter Sickert's mistress, and that Alice and Walter Sickert are his parents

“I think the answer to why Obama doesn’t pardon [Former Heavyweight Champion of The World Jack] Johnson lies in the furor over sex trafficking which began with Bush and then Obama’s State Department. 

What does this have to do with Jack Johnson?

He is the black pimp, now called Gorilla Pimp in the anti-trafficking scenario. He was an enticer and certainly whatever his motives he can’t be a hero.”

Mary Frances Berry,

Professor of History, 

University of Pennsylvania, Former Chair of the U.S. Commission on Civil Rights. 

(She left the commission years before its vote on Johnson.)

ROSE: 

Can you imagine yourself writing a screenplay? 

Have you tried?

DFW: 

No, I haven't tried. I've talked a couple times -- 

My Best Friend writes mysteries and he and I have talked about doing a screenplay.

I think -- I think I would have a very difficult time writing something that's a product that other people would mess with. 

And the amount of money that's at stake in movies and the amount of -- the dispersal of responsibility for the thing -- I mean, the director, the actors, the producer -- in order to do -- writing is very difficult for me and it takes a lot of time and energy. 

And once I've done it, it's my thing. 

I can't imagine putting in the time and energy to do a good screenplay -- 

I mean, something like what David Webb Peoples can do. 

He's a screenwriter I think is really, really superb.

ROSE: 

What's he written?

DFW: 

He's written "Blade Runner" and he wrote "Unforgiven," the Clint Eastwood Western which --

ROSE: 

Did you like it?

DFW: 

I thought -- "Unforgiven"?

ROSE: 

Yeah.

David Foster Wallace : 

I thought "Unforgiven" is the first really smart Western since, I don't know, early Peckinpah.

Charlie Rose : 

I do, too. I loved it.

Foster : 

What's interesting is I don't know a single female who likes the film. 

It's very odd. I talk to all these people --

Charlie Rose :  

It's interesting you say that.

Foster :

-- about "Unforgiven" --

Charlie Rose :  

It's interesting you say that because --

Foster :

-- and females think, "Western? It stinks." 

And if you can get them to watch it, it's not a Western at all. 

I mean, it's a moral drama. 

It's -- you know, it's Henry James, basically. But it's very odd.

ROSE: 

My girlfriend and I -- Amanda hates the film and it's the one film that I just have a wider difference with her than any other film that we've seen together.

DFW: 

Yeah. If I were going to try to do something, I'd want to do something like that. 

But that was also an enormous success story -- luck story. 

David Webb Peoples -- reclusive, weird screenwriter -- I don't know much about him. 

This script had been shopped around for years and finally Clint Eastwood bought it 

and Clint Eastwood's got enough juice to go, 

"Okay, I'll star in it so they'll make it." 

This was a weird Western. This is very cerebral for a Western and I think the only way that it could have got made was if a, you know, star director, you know, was willing to do it. 

And the thing about it is, I think for every script like that that gets made, there've got to be, you know, hundreds of these really intelligent, cool scripts --

ROSE: 

Absolutely, that there's not somebody that comes along who has the power to get it made.

DFW: 

Right. Or else it gets worked on by the rewrite guys, you know, 

and John Gregory Dunne's got that whole book, "Monster" --

ROSE: 

"Monster," yeah.

DFW: 

-- about, you know, their working on the Jessica Savitch story, which became, you know, what was it --

ROSE: "

Up Close and" something --

DFW: 

-- "Up Close and Personal," which was --

ROSE: 

Michele Pfeiffer.

DFW: 

-- a film so bad it doesn't even have charm. 

You know, some things are so bad that they're enjoyable. 

This was worse than that.

ROSE: 

I know. It was. It was.