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Once upon a time, there was a little princess, | 0:00:15 | 0:00:18 | |
the most beautiful princess in all the land. | 0:00:18 | 0:00:20 | |
Her hair was long and blonde, | 0:00:27 | 0:00:28 | |
and her eyes were as brown as the dark waters of the river | 0:00:28 | 0:00:31 | |
which ran by her castle. | 0:00:31 | 0:00:32 | |
But the little princess was unhappy, for she was lonely. | 0:00:32 | 0:00:36 | |
Someday, she would find her kind, handsome prince, | 0:00:37 | 0:00:41 | |
and he would sweep her up on a big, white horse, | 0:00:41 | 0:00:44 | |
and he would take her away and marry her. | 0:00:44 | 0:00:47 | |
And they would live happily ever after. | 0:00:47 | 0:00:50 | |
Hi, I'm Joyce McKinney, and that's from my pending book, | 0:00:50 | 0:00:52 | |
A Very Special Love Story. | 0:00:52 | 0:00:54 | |
First of all, were you surprised to be put in prison? | 0:01:03 | 0:01:06 | |
I really didn't feel I'd done anything wrong. | 0:01:06 | 0:01:08 | |
I still don't feel I did anything wrong. | 0:01:08 | 0:01:11 | |
Um... | 0:01:11 | 0:01:12 | |
I would never do anything to hurt Kirk Anderson, or slander him. | 0:01:12 | 0:01:17 | |
In fact, in my book, um... | 0:01:17 | 0:01:19 | |
My book is handled in a very tender, nice fashion. | 0:01:19 | 0:01:23 | |
It's not a porno story | 0:01:23 | 0:01:25 | |
like these crazy newspapers have tried to make out. | 0:01:25 | 0:01:27 | |
It's a love story. | 0:01:27 | 0:01:28 | |
You know, and, I mean, I would never do anything to hurt him | 0:01:28 | 0:01:31 | |
or to cause him any harm. | 0:01:31 | 0:01:33 | |
At all. | 0:01:33 | 0:01:34 | |
And the way that they threw me in prison | 0:01:34 | 0:01:37 | |
and tried to act like I was some sort of criminal, | 0:01:37 | 0:01:39 | |
and present this image over, was really what got to me. | 0:01:39 | 0:01:42 | |
My life started out in a small town in North Carolina. | 0:01:48 | 0:01:52 | |
I was one of these girls who was going to meet an all-American guy, | 0:01:52 | 0:01:55 | |
and get married, have a little Leave It To Beaver house | 0:01:55 | 0:01:58 | |
with a white picket fence, and just have a great little life. | 0:01:58 | 0:02:01 | |
Started dating very late in life, | 0:02:03 | 0:02:04 | |
didn't start dating till I was, like, 17, | 0:02:04 | 0:02:06 | |
was in an accelerated programme for kids with high IQs... | 0:02:06 | 0:02:09 | |
'How high was your IQ?' | 0:02:09 | 0:02:11 | |
-168. -SHE GIGGLES | 0:02:11 | 0:02:14 | |
I hadn't been out in the world much. | 0:02:14 | 0:02:16 | |
Till I went to Utah. | 0:02:16 | 0:02:18 | |
You know, I hadn't been around much. | 0:02:18 | 0:02:21 | |
'But there were a lot of men attracted to you.' | 0:02:21 | 0:02:23 | |
Well, I guess so, I don't know, I'm not that vain, | 0:02:23 | 0:02:26 | |
you know what I'm saying? | 0:02:26 | 0:02:27 | |
But I wasn't looking for just any guy. I wanted a special guy. | 0:02:27 | 0:02:30 | |
I wanted a special guy. | 0:02:31 | 0:02:33 | |
And he had to have certain qualities. | 0:02:34 | 0:02:35 | |
There are plenty of guys out there, but I wanted a special guy. | 0:02:35 | 0:02:38 | |
I met this professor and he said, | 0:02:40 | 0:02:41 | |
"Well, I've got these perfect guys for you, | 0:02:41 | 0:02:43 | |
"and they're just your type, Joyce." | 0:02:43 | 0:02:45 | |
"They don't smoke and they don't drink and they're clean-cut, | 0:02:45 | 0:02:48 | |
"you're just going to love 'em, | 0:02:48 | 0:02:50 | |
"and why don't you come over to my house and meet them?" | 0:02:50 | 0:02:52 | |
KNOCK AT DOOR | 0:02:52 | 0:02:53 | |
They were Mormons. | 0:02:53 | 0:02:55 | |
They didn't tell me what Mormonism was all about. | 0:02:55 | 0:02:57 | |
He didn't say, "We're a group that believes that Jesus was a polygamist | 0:02:57 | 0:03:01 | |
"and was married to Mary Magdalene." | 0:03:01 | 0:03:03 | |
He didn't say, "We believe that God lives on a star named Kolob." | 0:03:03 | 0:03:07 | |
He didn't say, | 0:03:08 | 0:03:09 | |
"We believe that black people are cursed with the Mark of Cain." | 0:03:09 | 0:03:12 | |
They made me think they were a church. | 0:03:14 | 0:03:17 | |
They made me think that they were family-oriented. | 0:03:17 | 0:03:20 | |
And so I was drawn to them as a young 19-year-old teenager, | 0:03:22 | 0:03:24 | |
like a moth to a flame. | 0:03:24 | 0:03:26 | |
I was just so happy to go to this place | 0:03:26 | 0:03:29 | |
where I thought that I would have my pick | 0:03:29 | 0:03:31 | |
of just all-American friends, people. | 0:03:31 | 0:03:34 | |
Husband material, I guess. | 0:03:34 | 0:03:36 | |
I had a Corvette, | 0:03:38 | 0:03:39 | |
and I had a big Old English Sheepdog that loved to ride the Corvette. | 0:03:39 | 0:03:44 | |
And I had a good friend, her name was Marilyn Clark. | 0:03:44 | 0:03:47 | |
There wasn't anything Marilyn didn't do. | 0:03:48 | 0:03:49 | |
Smoke, drink, have sex with Hell's Angels, | 0:03:49 | 0:03:52 | |
I mean, this is a wild child. We were exact opposites. | 0:03:52 | 0:03:55 | |
She used to call me Holier Than Thou McKinney because I was so straight. | 0:03:55 | 0:03:58 | |
We'd cruise the pizza parlour, | 0:03:59 | 0:04:01 | |
and we decided to cruise down to Frosty's ice cream parlour, | 0:04:01 | 0:04:03 | |
and I noticed this really handsome guy driving alongside me, | 0:04:03 | 0:04:07 | |
also in a Corvette, white Corvette. | 0:04:07 | 0:04:09 | |
And he kinda looks around at me like he's watching me, and I thought, | 0:04:09 | 0:04:12 | |
-"Whoa, he's cute!" -SHE GIGGLES | 0:04:12 | 0:04:14 | |
And, uh, I kept on driving, and Marilyn goes, | 0:04:14 | 0:04:17 | |
"Hey, McKinn, he's following ya!" and I go, "He is?" | 0:04:17 | 0:04:21 | |
So I let him chase me. He was quite aggressive. | 0:04:21 | 0:04:24 | |
He pulled in beside me and cleared his throat, | 0:04:25 | 0:04:28 | |
then he goes, "Like your car." | 0:04:28 | 0:04:30 | |
"Well, thanks, I like yours too." He goes, "I really like yours better." | 0:04:30 | 0:04:34 | |
-I go, "Want to drive it?" -SHE GIGGLES | 0:04:34 | 0:04:37 | |
When I met my Kirk, it was like in the movies. | 0:04:45 | 0:04:48 | |
When the girl comes down the stairs and their eyes meet, | 0:04:53 | 0:04:56 | |
when Juliet looks at Romeo and then, pew! | 0:04:56 | 0:04:58 | |
That's how it was. | 0:04:58 | 0:05:00 | |
He had the most beautiful blue eyes and the sexiest smile, | 0:05:01 | 0:05:05 | |
and he always had the cleanest skin. | 0:05:05 | 0:05:08 | |
Kirk Anderson was very big, rather flabby, 300 pounds, six foot three. | 0:05:20 | 0:05:27 | |
Not an athletic or attractive-looking man | 0:05:27 | 0:05:30 | |
in the accepted sense of the word, with a very shuffly kind of walk. | 0:05:30 | 0:05:33 | |
The last person in the world that you'd think would be the object | 0:05:33 | 0:05:38 | |
of this kind of strange sexual passion. | 0:05:38 | 0:05:42 | |
He had known Joyce McKinney in Salt Lake City, | 0:05:42 | 0:05:45 | |
and she had fallen in love with him. | 0:05:45 | 0:05:47 | |
Fallen in love with him, become obsessed by him. | 0:05:47 | 0:05:49 | |
Cos that's another thing about Joyce is obsession, | 0:05:49 | 0:05:52 | |
I mean, she just obsesses about things. | 0:05:52 | 0:05:54 | |
I don't know what the details of their relationship was | 0:05:54 | 0:05:57 | |
in Salt Lake City, but they obviously had some kind of romance | 0:05:57 | 0:06:02 | |
or love affair, because if one's to believe Joyce at all, | 0:06:02 | 0:06:07 | |
he had promised her a family and children. | 0:06:07 | 0:06:10 | |
He actually told me he loved me the first night I met him. | 0:06:10 | 0:06:14 | |
And asked me to marry him the second night, | 0:06:14 | 0:06:16 | |
and then the next thing I know, we're naming our kids. | 0:06:16 | 0:06:18 | |
And we were going to name them all with Js and Ks, | 0:06:18 | 0:06:21 | |
J for Joyce, Ks for Kirk. | 0:06:21 | 0:06:23 | |
Joshua, Jacob, you know, we had the names picked out, Kyle, Kirk... | 0:06:23 | 0:06:28 | |
And I remember he took me home to meet his Mormon mother, | 0:06:31 | 0:06:33 | |
she was this big huge woman, about 350 pounds, in a tent dress, | 0:06:33 | 0:06:38 | |
and she took one look at me with my little beauty queen figure, | 0:06:38 | 0:06:41 | |
and her eyes went up, her eyes went down, and she goes, | 0:06:41 | 0:06:44 | |
"She doesn't look like a Mormon to me." | 0:06:44 | 0:06:45 | |
From the time I was a little girl, I was in pageants. | 0:06:54 | 0:06:57 | |
It gave me the chance to develop myself | 0:06:59 | 0:07:01 | |
to be the best person I could be. | 0:07:01 | 0:07:04 | |
With my looks, | 0:07:04 | 0:07:05 | |
with my talent, | 0:07:05 | 0:07:07 | |
with my personality. | 0:07:07 | 0:07:09 | |
The pageants gave me, as a small-town girl, the chance to perform. | 0:07:13 | 0:07:16 | |
'So Mom thought you were too sexy for him?' | 0:07:24 | 0:07:26 | |
I guess she thought I was too pretty, or something. | 0:07:26 | 0:07:29 | |
Kirk and I were just ready for the big wedding, | 0:07:30 | 0:07:33 | |
and everything was happy, the only problem is, | 0:07:33 | 0:07:35 | |
I was wanting to get married in a Christian church, | 0:07:35 | 0:07:37 | |
he was getting pressure from the other side, | 0:07:37 | 0:07:40 | |
and so one day he vanished. | 0:07:40 | 0:07:41 | |
Into thin air. I don't mean he left me, I don't mean he abandoned me, | 0:07:41 | 0:07:44 | |
I don't mean he left me for another woman, | 0:07:44 | 0:07:46 | |
I mean he evaporated into thin air. | 0:07:46 | 0:07:48 | |
He wasn't the kind of person to just run off like that. | 0:07:48 | 0:07:50 | |
His things were still at my place, and... You know? | 0:07:50 | 0:07:53 | |
It was just weird. | 0:07:53 | 0:07:55 | |
I did what any American girl would do | 0:07:56 | 0:07:57 | |
if her fiance vanished into thin air. | 0:07:57 | 0:07:59 | |
I looked for him. | 0:07:59 | 0:08:00 | |
I went to LA and I worked three jobs | 0:08:00 | 0:08:03 | |
trying to save up enough money to get a private investigator | 0:08:03 | 0:08:06 | |
to find out what happened to him. | 0:08:06 | 0:08:07 | |
The private investigator found him in England. | 0:08:07 | 0:08:09 | |
The Mormons had him. | 0:08:09 | 0:08:11 | |
All young men in the church, from the time that we're young boys, | 0:08:11 | 0:08:16 | |
were indoctrinated to prepare to go on mission. | 0:08:16 | 0:08:19 | |
We sing songs like "I Hope They Call Me On A Mission." | 0:08:19 | 0:08:23 | |
CHILD'S VOICE: # I hope they call me on a mission. # | 0:08:23 | 0:08:27 | |
You leave as a boy, you come back as a man. | 0:08:28 | 0:08:32 | |
For Kirk, when he reached the age of 19, | 0:08:32 | 0:08:36 | |
he doesn't get whisked away from Joyce, | 0:08:36 | 0:08:38 | |
he's just fulfilling his religious, spiritual responsibilities. | 0:08:38 | 0:08:41 | |
Joyce knew where he'd gone, and set up this plan | 0:08:46 | 0:08:50 | |
with her strange, unexplained friend, Keith May, | 0:08:50 | 0:08:54 | |
to come over to the UK. | 0:08:54 | 0:08:56 | |
I had a really good friend from Torrance, California, | 0:08:57 | 0:08:59 | |
who was an architect, and his name was Keith Joseph May. | 0:08:59 | 0:09:02 | |
Everybody called him KJ. | 0:09:02 | 0:09:03 | |
KJ was like my big brother, and he said to me, | 0:09:05 | 0:09:07 | |
"I don't want you going over there to England by yourself," | 0:09:07 | 0:09:09 | |
he said, "You don't know what they're going to do to you." | 0:09:09 | 0:09:11 | |
All I knew was this powerful group had done something | 0:09:11 | 0:09:14 | |
to the man I love. | 0:09:14 | 0:09:16 | |
We got two bodyguards to go with us, | 0:09:16 | 0:09:18 | |
one was a big guy that was a kind of bodybuilder guy, | 0:09:18 | 0:09:22 | |
and the other was a pilot. | 0:09:22 | 0:09:24 | |
I was interested in something a little bit more exciting | 0:09:27 | 0:09:29 | |
than what I was doing. | 0:09:29 | 0:09:30 | |
I saw an ad in the newspaper, | 0:09:32 | 0:09:33 | |
they wanted a pilot to fly short trips in England. | 0:09:33 | 0:09:37 | |
And it sounded kinda interesting to me. | 0:09:37 | 0:09:39 | |
So I called the phone number and a gentleman answered, | 0:09:39 | 0:09:41 | |
and an appointment was made for the following week. | 0:09:41 | 0:09:44 | |
I was expecting to go to an office or something like that, | 0:09:44 | 0:09:47 | |
but it turned out to be an apartment building. | 0:09:47 | 0:09:49 | |
DOOR BUZZER | 0:09:49 | 0:09:50 | |
I was taken in by a gentleman by the name of Keith. | 0:09:53 | 0:09:56 | |
And after I was there for a few minutes, why, Joyce came out. | 0:09:56 | 0:09:59 | |
'Tell me about that first meeting.' | 0:09:59 | 0:10:02 | |
Well, I was favourably impressed, | 0:10:02 | 0:10:04 | |
she had a totally see-through blouse on. | 0:10:04 | 0:10:07 | |
I can even remember the colour, it was a light brown, | 0:10:07 | 0:10:10 | |
totally see-through blouse. | 0:10:10 | 0:10:11 | |
-'No bra?' -No bra, see-through blouse. | 0:10:11 | 0:10:14 | |
She was very, very easy to talk to, | 0:10:19 | 0:10:22 | |
at one point she came over and sat down next to me. | 0:10:22 | 0:10:25 | |
I was trying to perceive what type of relationship existed | 0:10:25 | 0:10:29 | |
between Keith and her at that point. | 0:10:29 | 0:10:32 | |
Perhaps, maybe down the line, | 0:10:32 | 0:10:33 | |
I might want to ask this girl out for dinner, or something. | 0:10:33 | 0:10:37 | |
Joyce had a trunk that she brought out, | 0:10:37 | 0:10:39 | |
and in it were folders, pictures, tablets, | 0:10:39 | 0:10:43 | |
letters from a private investigator in England. | 0:10:43 | 0:10:45 | |
She then unravelled a story to me that was just unreal. | 0:10:46 | 0:10:50 | |
Joyce had hired bodyguards, she told me, from Gold's Gym. | 0:10:53 | 0:10:58 | |
She was going to put them up while they were there in England, | 0:10:58 | 0:11:01 | |
and they were going to liberate her fiance from this cult group. | 0:11:01 | 0:11:07 | |
In the back of my mind, | 0:11:07 | 0:11:08 | |
I was trying to figure out how she could have all this money | 0:11:08 | 0:11:10 | |
to take all these people to England. | 0:11:10 | 0:11:12 | |
She told me she was a model. | 0:11:14 | 0:11:16 | |
I didn't realise models made that kind of money. | 0:11:17 | 0:11:20 | |
We actually hired some guys to go with us, | 0:11:23 | 0:11:25 | |
from Los Angeles, in case we were attacked or anything. | 0:11:25 | 0:11:27 | |
I didn't know what was going to happen, | 0:11:27 | 0:11:29 | |
I didn't know what I was going to be walking into. | 0:11:29 | 0:11:31 | |
I didn't know if they would release him willingly, or... what. | 0:11:31 | 0:11:35 | |
I didn't know if they would do something to hurt me. | 0:11:35 | 0:11:37 | |
I didn't know. | 0:11:37 | 0:11:38 | |
Joyce called me and wanted to know if I would fly her someplace, | 0:11:38 | 0:11:43 | |
in an airplane, locally, for dinner. | 0:11:43 | 0:11:45 | |
That sounded pretty good. | 0:11:45 | 0:11:46 | |
I though it might possibly be an overnight trip or something, | 0:11:46 | 0:11:49 | |
and I was more than up for that. | 0:11:49 | 0:11:51 | |
But when Joyce showed up, much to my surprise, Keith was with her. | 0:11:51 | 0:11:56 | |
I felt this was a time that I could try to make a determination | 0:11:56 | 0:12:00 | |
on how real she was, and her financial ability. | 0:12:00 | 0:12:03 | |
So I did rent the most expensive airplane that was possible, | 0:12:03 | 0:12:07 | |
single-engine, a Beechcraft A36 Bonanza. | 0:12:07 | 0:12:10 | |
When you're in an airplane like that, | 0:12:13 | 0:12:15 | |
you have to give them a credit card, | 0:12:15 | 0:12:17 | |
and they lock in the approximate amount it's going to be. | 0:12:17 | 0:12:19 | |
Joyce didn't have a credit card, | 0:12:19 | 0:12:21 | |
but she did bring out an envelope filled with hundred-dollar bills. | 0:12:21 | 0:12:24 | |
TILL RINGS | 0:12:24 | 0:12:26 | |
That brought me a little bit closer to realising, | 0:12:29 | 0:12:31 | |
maybe she has the money to do what she wants to do. | 0:12:31 | 0:12:35 | |
So we flew down to San Diego, we had dinner, and we flew back. | 0:12:35 | 0:12:38 | |
'Didn't stay the night?' | 0:12:38 | 0:12:40 | |
-No, no. Keith was with her, and so... -HE CHUCKLES | 0:12:40 | 0:12:44 | |
That was... Three people there. That's not for me. | 0:12:44 | 0:12:48 | |
'I take it that you were attracted to Joyce.' | 0:12:51 | 0:12:54 | |
Yes. | 0:12:54 | 0:12:55 | |
She was in her late twenties, had an outstanding figure, | 0:12:55 | 0:12:59 | |
had a Southern accent, long blonde hair. | 0:12:59 | 0:13:02 | |
Any heterosexual male would be attracted to Joyce. | 0:13:04 | 0:13:07 | |
Prior to our departure from the United States to England, | 0:13:10 | 0:13:13 | |
they wanted me to meet the bodyguard. | 0:13:13 | 0:13:15 | |
His name was Gil. | 0:13:15 | 0:13:17 | |
Gil would come to their place, I would come to their place, | 0:13:17 | 0:13:20 | |
then we would go down to the beach. | 0:13:20 | 0:13:23 | |
Then they told me the beach they were going to was a nude beach. | 0:13:23 | 0:13:26 | |
Well, I'd never been to a nude beach, | 0:13:26 | 0:13:28 | |
so that really slowed me down a little bit. | 0:13:28 | 0:13:31 | |
Joyce spread out a blanket, | 0:13:31 | 0:13:33 | |
and proceeded to take off all her clothes. | 0:13:33 | 0:13:35 | |
Totally. | 0:13:35 | 0:13:37 | |
Very quickly, three to four guys showed up around the blanket, | 0:13:39 | 0:13:42 | |
and started taking pictures. | 0:13:42 | 0:13:44 | |
I don't know where they came from. | 0:13:44 | 0:13:46 | |
Joyce protested, tried to stop them, | 0:13:46 | 0:13:48 | |
she claimed she was a model | 0:13:48 | 0:13:49 | |
and she didn't want photographs taken of her. | 0:13:49 | 0:13:51 | |
After about 15 minutes, Joyce put on her clothes and we left the beach. | 0:13:51 | 0:13:55 | |
And so we met at Los Angeles International Airport. | 0:13:56 | 0:14:00 | |
Keith May was there, Joyce McKinney, Gil Parker and myself. | 0:14:00 | 0:14:03 | |
First off, Gil Parker had a problem when he went through customs. | 0:14:09 | 0:14:13 | |
They asked him what his occupation was, | 0:14:14 | 0:14:15 | |
and he told them he was a bodyguard. | 0:14:15 | 0:14:17 | |
And they said, "For whom?" and he said, "For Joyce and Keith." | 0:14:17 | 0:14:20 | |
Well, that put up a red flag at customs, and they pulled him out. | 0:14:20 | 0:14:24 | |
Well, that scared Gil right there. | 0:14:24 | 0:14:27 | |
Then on the second day, we were in a motel room together, | 0:14:27 | 0:14:31 | |
and Joyce had a lot of baggage. | 0:14:31 | 0:14:33 | |
I've never seen anybody travel with so many bags. | 0:14:33 | 0:14:36 | |
They took out wireless microphone and listening devices. | 0:14:36 | 0:14:39 | |
It surprised me, I wasn't sure what they were going to use it for. | 0:14:39 | 0:14:42 | |
It was something you could probably just have carried through customs, | 0:14:42 | 0:14:45 | |
but they had it inside of a portable radio. | 0:14:45 | 0:14:48 | |
Well, when Gil seen this, that about did it for him. | 0:14:48 | 0:14:50 | |
That was when he called me outside | 0:14:50 | 0:14:52 | |
and said he wanted to go back the next day. | 0:14:52 | 0:14:54 | |
The private investigator had told Joyce | 0:14:56 | 0:14:58 | |
two or three different places where Kirk was at, | 0:14:58 | 0:15:01 | |
and Keith was going to go into some of these places | 0:15:01 | 0:15:03 | |
where this cult group was supposed to be, | 0:15:03 | 0:15:06 | |
ask questions, and it would be transmitted out to Joyce in the car. | 0:15:06 | 0:15:10 | |
Wirelessly. | 0:15:10 | 0:15:12 | |
Keith May and I, we wanted to go out a little bit on our own, | 0:15:17 | 0:15:21 | |
but Joyce was keeping us so busy, we couldn't. | 0:15:21 | 0:15:24 | |
-So one day... -'Keeping you so busy?' | 0:15:24 | 0:15:27 | |
Yeah, driving places, checking out places, walking places, | 0:15:27 | 0:15:30 | |
she had this wig, this wig she called Matilda, | 0:15:30 | 0:15:33 | |
and she'd wear this strange wig when we'd go out driving sometimes, | 0:15:33 | 0:15:37 | |
and sunglasses, and any time we'd go down near these churches, | 0:15:37 | 0:15:40 | |
where they were trying to find out | 0:15:40 | 0:15:41 | |
if Kirk was going to be at that church, | 0:15:41 | 0:15:44 | |
or if that was the one he frequented, | 0:15:44 | 0:15:45 | |
she'd have that wig on. | 0:15:45 | 0:15:47 | |
We were across, in front of a building, | 0:15:47 | 0:15:51 | |
out come two young men dressed in suits, a tie and a white shirt, | 0:15:51 | 0:15:57 | |
and she told me, "There is Kirk." | 0:15:57 | 0:15:59 | |
Well, I was totally surprised, this was nobody being held captive, | 0:15:59 | 0:16:02 | |
and that's when Joyce kinda levelled with me. | 0:16:02 | 0:16:05 | |
She showed me a bottle of chloroform, | 0:16:06 | 0:16:08 | |
and I'd already seen this phoney gun they had. | 0:16:08 | 0:16:11 | |
I was going to be no part of any of this, and I told her that. | 0:16:12 | 0:16:16 | |
So she arrives with Keith May, lurks around, waits around, | 0:16:20 | 0:16:25 | |
outside the Temple of whatever it was, | 0:16:25 | 0:16:28 | |
the Latter Day Saints of something or other, | 0:16:28 | 0:16:31 | |
waited for this huge, shuffling figure to come out, | 0:16:31 | 0:16:33 | |
with his short Mormon haircut, | 0:16:33 | 0:16:36 | |
and pointed a gun at him, and said, "Get into the car." | 0:16:36 | 0:16:40 | |
In the final analysis, | 0:16:40 | 0:16:42 | |
the one way they were able to make contact with Kirk, | 0:16:42 | 0:16:45 | |
Keith called him and told him he wanted to convert | 0:16:45 | 0:16:47 | |
to the Mormon religion. | 0:16:47 | 0:16:48 | |
And they thought they had a new convert. | 0:16:48 | 0:16:51 | |
Now, I'm not sure this is an exact scenario, | 0:16:51 | 0:16:54 | |
but at that point, Keith used the gun to get him out to the car. | 0:16:54 | 0:16:56 | |
GUN CLICKS | 0:16:56 | 0:16:58 | |
'So you drive up in your rental car with KJ.' | 0:16:58 | 0:17:02 | |
I waited and KJ went in, | 0:17:02 | 0:17:03 | |
because they're not supposed to be in the room alone with girls, | 0:17:03 | 0:17:06 | |
so KJ went in and said, "Joyce is in the car." | 0:17:06 | 0:17:09 | |
And Kirk turned around and he gave the keys to his companion and said, | 0:17:09 | 0:17:12 | |
"I've got to go and get something, I'll be right back." | 0:17:12 | 0:17:14 | |
KEYS CLINK | 0:17:14 | 0:17:16 | |
'So he goes out with KJ?' | 0:17:16 | 0:17:19 | |
Yeah. | 0:17:19 | 0:17:20 | |
And didn't come back, and this poor old dumb companion's sitting there, | 0:17:20 | 0:17:23 | |
staring like he's catching flies, looking out the window, | 0:17:23 | 0:17:26 | |
waiting for him to come back. | 0:17:26 | 0:17:28 | |
SHE LAUGHS | 0:17:28 | 0:17:31 | |
He got in the car, and he goes, "How long have you been in England?" | 0:17:31 | 0:17:35 | |
Like a robot. | 0:17:35 | 0:17:36 | |
He was almost speaking in a monotone voice, and he'd go, | 0:17:36 | 0:17:38 | |
"They said you didn't love me any more." | 0:17:38 | 0:17:40 | |
It was like he had a personality alteration. | 0:17:40 | 0:17:43 | |
Kirk Number One, and Kirk Number Two. | 0:17:43 | 0:17:46 | |
-Kirk number One was the man I fell in love with. -BIRDS TWEETING | 0:17:46 | 0:17:50 | |
Kirk Number Two was Cult Kirk. | 0:17:50 | 0:17:52 | |
According to all the reports of the time, | 0:17:57 | 0:18:00 | |
he was driven 250 miles to a cottage in Devon. | 0:18:00 | 0:18:06 | |
She had a suitcase full of all the equipment required, | 0:18:06 | 0:18:09 | |
including, I gather, | 0:18:09 | 0:18:11 | |
some Los Angeles Police Department Smith & Wesson handcuffs. | 0:18:11 | 0:18:17 | |
HANDCUFFS CLINK | 0:18:17 | 0:18:18 | |
He was taken in and chained to... | 0:18:18 | 0:18:21 | |
Joyce claims it was ropes, not chains, but chains sounds better. | 0:18:23 | 0:18:27 | |
Anyway, he was allegedly chained to the bed, | 0:18:27 | 0:18:30 | |
first by his ankle, so that he could actually reach the toilet, | 0:18:30 | 0:18:33 | |
the chain was long enough for him to get to the toilet. | 0:18:33 | 0:18:36 | |
Subsequently, with the help of Keith May, was spreadeagled... | 0:18:36 | 0:18:39 | |
Spreadeagled, this wonderful bondage word, | 0:18:39 | 0:18:42 | |
-was spreadeagled to the bed. -EAGLE CALLS | 0:18:42 | 0:18:44 | |
-WHIP CRACKS -And Keith May discreetly left the room at this point, I think. | 0:18:44 | 0:18:49 | |
Closed the door behind him, and Joyce had sex with him. | 0:18:49 | 0:18:54 | |
And she said to him she was going to go on having sex with him | 0:18:57 | 0:19:00 | |
until she found she'd missed a period, | 0:19:00 | 0:19:04 | |
and then would hopefully be pregnant by him. | 0:19:04 | 0:19:07 | |
'She wanted to be inseminated?' | 0:19:07 | 0:19:09 | |
Yes, I think that's the right word for it. | 0:19:09 | 0:19:11 | |
Kirk and I went to this cottage down in England, | 0:19:15 | 0:19:18 | |
I think they called it the Devon area down there. | 0:19:18 | 0:19:20 | |
Real Franco Zeffirelli, | 0:19:20 | 0:19:23 | |
you know, like Brother Sun, Sister Moon-type shots? | 0:19:23 | 0:19:26 | |
If you saw that film, that's what it looked like. | 0:19:26 | 0:19:29 | |
FILM SOUNDTRACK: Hey! | 0:19:29 | 0:19:30 | |
You shouldn't have come! | 0:19:30 | 0:19:32 | |
But I knew you would, I knew. | 0:19:32 | 0:19:34 | |
I had to tell you, and I don't care if the whole world knows it! | 0:19:34 | 0:19:37 | |
From now on, I'm not asking to be loved. | 0:19:37 | 0:19:40 | |
I want to love! | 0:19:40 | 0:19:43 | |
OK, if you can get that vision set in your head, Mr Film-maker. | 0:19:51 | 0:19:55 | |
'How did you find this place?' | 0:19:55 | 0:19:56 | |
Well, I was looking for someplace peaceful. | 0:19:56 | 0:20:00 | |
Where he could normalise. | 0:20:00 | 0:20:01 | |
Someplace where he could... | 0:20:01 | 0:20:04 | |
..come back to Kirk Number One. | 0:20:05 | 0:20:08 | |
I had a big fireplace, patchwork quilt, | 0:20:08 | 0:20:11 | |
silk sheets, blue to match his eyes, with his initials on it, | 0:20:11 | 0:20:15 | |
cinnamon oil back rub, cos he loved my back rubs, | 0:20:15 | 0:20:19 | |
and all his favourite foods in the fridge. | 0:20:19 | 0:20:22 | |
'What were his favourite foods in the fridge?' | 0:20:24 | 0:20:27 | |
Oh, I had chocolate cake, | 0:20:27 | 0:20:29 | |
and southern fried chicken, he loved my chicken, mashed potatoes. | 0:20:29 | 0:20:33 | |
I made everything that he wanted. | 0:20:35 | 0:20:37 | |
I was like his little, you know... | 0:20:37 | 0:20:39 | |
Wifey, almost. | 0:20:39 | 0:20:41 | |
We were slow dancing. | 0:20:42 | 0:20:44 | |
He got turned on as we were dancing. | 0:20:44 | 0:20:46 | |
I'll be blunt, he had an erection, OK. | 0:20:46 | 0:20:48 | |
And, uh... | 0:20:48 | 0:20:49 | |
We sat down on the bed, and he said, "Can you give me a back rub?" | 0:20:49 | 0:20:52 | |
And I got the cinnamon oil, which I had warmed, | 0:20:52 | 0:20:54 | |
and I was giving him a back rub, and he had these ugly garments on. | 0:20:54 | 0:20:57 | |
I said, | 0:20:57 | 0:20:58 | |
"How am I supposed to give you a back rub with this Mormon thing on?" | 0:20:58 | 0:21:01 | |
And I ripped the ugly things off, because they smelled, you know, | 0:21:01 | 0:21:04 | |
and they had those occultic symbols, | 0:21:04 | 0:21:06 | |
and I didn't want anything ugly there, in our beautiful moment, | 0:21:06 | 0:21:09 | |
you know? | 0:21:09 | 0:21:10 | |
It was like a honeymoon cottage. | 0:21:10 | 0:21:12 | |
And we burned them. | 0:21:12 | 0:21:13 | |
We actually burned 'em. | 0:21:13 | 0:21:15 | |
-And... -'You ripped off his magic underwear...?' | 0:21:15 | 0:21:18 | |
And I put it on the fireplace, where they belonged! | 0:21:18 | 0:21:20 | |
Where they should put 'em all, as far as I'm concerned. | 0:21:20 | 0:21:23 | |
There's folk stories galore, legends, | 0:21:23 | 0:21:27 | |
of the temple garment protecting people from harm. | 0:21:27 | 0:21:30 | |
The hooks, the psychic hooks of the Temple are so high and so deep, | 0:21:32 | 0:21:38 | |
that even people who don't go to church any more still wear them. | 0:21:38 | 0:21:43 | |
Because, in the back of their mind, like, "What if I don't wear them?" | 0:21:43 | 0:21:46 | |
"And then Satan's got me!" | 0:21:46 | 0:21:47 | |
Kirk was impotent, he was sexually impotent. | 0:21:50 | 0:21:55 | |
Because of this, uh, brainwashing. | 0:21:55 | 0:21:57 | |
He's not supposed to have sexual feelings, | 0:21:58 | 0:22:00 | |
he's not supposed to have emotional feelings. | 0:22:00 | 0:22:02 | |
He's not supposed to fall in love. | 0:22:02 | 0:22:04 | |
And we were in love. | 0:22:07 | 0:22:08 | |
He loved me and I loved him. | 0:22:08 | 0:22:10 | |
I know there was only one way to get Kirk out of Mormonism, | 0:22:11 | 0:22:14 | |
and that was to make love with him. | 0:22:14 | 0:22:15 | |
Because for a Mormon missionary to have a love affair is totally taboo. | 0:22:17 | 0:22:20 | |
They can't be in a room alone with a girl without a companion with them. | 0:22:20 | 0:22:23 | |
To even shake hands. | 0:22:23 | 0:22:25 | |
So if it took giving up my virginity in a romantic moonlit cottage, | 0:22:25 | 0:22:29 | |
so be it. | 0:22:29 | 0:22:30 | |
I just wanted him out of that cult. | 0:22:30 | 0:22:32 | |
We started to make love, and all of a sudden, | 0:22:33 | 0:22:35 | |
he jumps up on the bed like this, and he goes, | 0:22:35 | 0:22:37 | |
"By the law of the holy prophet Joseph Smith, | 0:22:37 | 0:22:40 | |
-"I cannot touch my body or the bodies of other... -SHE BABBLES | 0:22:40 | 0:22:44 | |
"Hold the Book of Mormon firmly in hand. Sing a Mormon song, sing a Mormon song." | 0:22:44 | 0:22:47 | |
Because he's turned on. And he's not supposed to be. | 0:22:47 | 0:22:49 | |
And I go, "Hah!" | 0:22:49 | 0:22:51 | |
I've come across an ocean to find him, | 0:22:51 | 0:22:53 | |
and the Mormons are in our bedroom? | 0:22:53 | 0:22:55 | |
That, that moment, when his garments are coming off, | 0:22:55 | 0:22:59 | |
that could have been a moment that, like, "Oh, my gosh!" | 0:22:59 | 0:23:02 | |
"Oh my heck," as they say in Utah. | 0:23:02 | 0:23:04 | |
"I'm doing something wrong." | 0:23:04 | 0:23:07 | |
I went back in the kitchen and got myself a real cold glass of water... | 0:23:08 | 0:23:11 | |
'Does he still have the erection while he's chanting?' | 0:23:11 | 0:23:14 | |
Well, I came back, to be continued, I came back in there, | 0:23:14 | 0:23:17 | |
and I'm thinking, "Am I doing something wrong?" | 0:23:17 | 0:23:19 | |
He started to cry. He had ejaculated, I guess. | 0:23:19 | 0:23:21 | |
He said, "Please don't tell 'em about the filthy place, | 0:23:21 | 0:23:25 | |
"what happened at the filthy place." | 0:23:25 | 0:23:26 | |
And I said, "Honey, what's wrong?" | 0:23:26 | 0:23:28 | |
He goes, "I don't know." | 0:23:28 | 0:23:30 | |
I mean, every guy on the planet masturbates and has wet dreams, | 0:23:30 | 0:23:33 | |
and I ask him, I said, "Honey, don't you have those dreams guys have, | 0:23:33 | 0:23:36 | |
"or whatever they're called?" | 0:23:36 | 0:23:37 | |
He goes, "Yeah, but I didn't tell them in the interview." | 0:23:37 | 0:23:40 | |
I go, "What interview? They talk to you about this stuff?" | 0:23:40 | 0:23:43 | |
He goes, "Yeah, once a week, they take us in rooms by ourselves, | 0:23:43 | 0:23:47 | |
"and they say, M1, M2, M3, M1, M2, M3"." | 0:23:47 | 0:23:49 | |
I go, "What's that?" | 0:23:49 | 0:23:50 | |
"Masturbation once, masturbation twice, masturbation three times. | 0:23:50 | 0:23:53 | |
So many times, you're out. | 0:23:53 | 0:23:55 | |
You're extra-home, you're off your mission, you can't get married in the Temple. | 0:23:55 | 0:23:58 | |
I go, "Kirk, these people are controlling your sex drive, | 0:23:58 | 0:24:01 | |
"they're controlling your mind, they're controlling your food, | 0:24:01 | 0:24:04 | |
you can't have coffee, tea or Pepsi-Cola. | 0:24:04 | 0:24:06 | |
It was a Christian marriage manual which I bought, which explained... | 0:24:07 | 0:24:11 | |
sex to young virgins. | 0:24:11 | 0:24:13 | |
There was a section in there on sexual impotence. | 0:24:13 | 0:24:16 | |
Im-po-tence, I-M-P-O-T-E-N-C-E. | 0:24:16 | 0:24:19 | |
And it says, sometimes if a guy was very repressed, | 0:24:19 | 0:24:23 | |
sexually, which poor Kirk was, Lord knows, | 0:24:23 | 0:24:26 | |
that you could tie the person up and they could just, ahh, let go, | 0:24:26 | 0:24:30 | |
you know, "I can finally let go and make love." | 0:24:30 | 0:24:33 | |
-And so I went and I read that section really quick. Speed-read it! -SHE LAUGHS | 0:24:33 | 0:24:37 | |
And I came back and I said, | 0:24:37 | 0:24:38 | |
"Honey, we're going to try some of these exercises." | 0:24:38 | 0:24:40 | |
And so we did. | 0:24:40 | 0:24:41 | |
We made love, actually, for three days, | 0:24:44 | 0:24:46 | |
we sort of, like, didn't get out of bed. | 0:24:46 | 0:24:49 | |
It was a honeymoon, was what it was, for me. | 0:24:50 | 0:24:52 | |
I wanted us to have a good sex life, I wanted to be a good wife to Kirk, | 0:24:56 | 0:24:59 | |
and I wanted to give him lots of babies in my tummy. | 0:24:59 | 0:25:01 | |
I didn't look at sex as a bad thing with him, | 0:25:01 | 0:25:03 | |
I looked at it as a melting of two souls. | 0:25:03 | 0:25:06 | |
Because when he kissed me, it was like we melted into one person. | 0:25:06 | 0:25:11 | |
It was like... | 0:25:11 | 0:25:13 | |
I didn't know where I stopped and he began. | 0:25:14 | 0:25:18 | |
We were lying there holding hands, | 0:25:18 | 0:25:19 | |
and his little missionary glasses were kind of askew, | 0:25:19 | 0:25:22 | |
and he goes, "I guess we're married in God's eyes." | 0:25:22 | 0:25:24 | |
I go, "Yeah, we are." | 0:25:24 | 0:25:25 | |
He says, "I guess we've got to make it official." | 0:25:25 | 0:25:28 | |
He said, "Let's go into London." | 0:25:28 | 0:25:29 | |
"And let's get married." | 0:25:29 | 0:25:30 | |
CAR STARTS | 0:25:30 | 0:25:31 | |
We took the rental car, we went into town, to London, | 0:25:33 | 0:25:36 | |
and we saw Trafalgar Square, they had, like, pigeons, | 0:25:36 | 0:25:40 | |
we fed the pigeons, and so I said, | 0:25:40 | 0:25:41 | |
"Oh, Kirk, they've got this cool cafe I want to take you to, | 0:25:41 | 0:25:44 | |
"it's called the Hard Rock Cafe." | 0:25:44 | 0:25:46 | |
And there were cops running around everywhere. | 0:25:46 | 0:25:48 | |
What do they call them, bobbies, or whatever. British cops. | 0:25:48 | 0:25:51 | |
If Kirk felt kidnapped at any time, he could have said, | 0:25:51 | 0:25:54 | |
"Hey, this little pint-sized girl here has me kidnapped." | 0:25:54 | 0:25:57 | |
"Can you please help me, Ossifer," but he didn't. | 0:25:57 | 0:26:00 | |
Kirk says, "Well, I'm going to go over across the street | 0:26:00 | 0:26:03 | |
"and get a newspaper." So he went over, by himself. | 0:26:03 | 0:26:06 | |
Got a newspaper, came back to the table, | 0:26:07 | 0:26:10 | |
slammed that newspaper down on the table, | 0:26:10 | 0:26:12 | |
he's white as a ghost. | 0:26:12 | 0:26:13 | |
And we said, "What's wrong?" | 0:26:15 | 0:26:17 | |
It was so shocking. | 0:26:21 | 0:26:22 | |
It sounded like Scotland Yard was after us or something. | 0:26:22 | 0:26:25 | |
And I'm sitting there with my, quote, kidnapped victim, | 0:26:25 | 0:26:28 | |
eating a burger. | 0:26:28 | 0:26:29 | |
With a hundred people in a crowded tourist restaurant. | 0:26:29 | 0:26:31 | |
Kirk said, "Well, maybe if I call them | 0:26:31 | 0:26:33 | |
"and let them know I'm alive and OK..." | 0:26:33 | 0:26:34 | |
He says, "Ah, they're going to ask me about sex." | 0:26:34 | 0:26:37 | |
"Aah, they're going to ask me about sex." | 0:26:37 | 0:26:39 | |
"What am I going to say? They're going to ask me about sex." | 0:26:39 | 0:26:42 | |
I says, "Can't you just tell them?" | 0:26:42 | 0:26:44 | |
He's, "Oh, no! I can't! Can't tell them we had sex!" | 0:26:44 | 0:26:47 | |
"Oh, they'll excommunicate me. Oh, my mother'll be so mad." | 0:26:47 | 0:26:50 | |
We called his mother, we called my dad, | 0:26:50 | 0:26:52 | |
we called from the phone booth at Trafalgar Square... | 0:26:52 | 0:26:54 | |
COINS FALL AND PHONE IS DIALLED | 0:26:54 | 0:26:58 | |
Kirk said to my dad, | 0:26:58 | 0:27:00 | |
"Mr McKinney, I love your daughter and I'm going to marry her." | 0:27:00 | 0:27:02 | |
My dad said, "Welcome to the family, son." | 0:27:02 | 0:27:04 | |
COINS FALL | 0:27:04 | 0:27:05 | |
When we called his mother, I could hear her screeching across the Atlantic. | 0:27:05 | 0:27:08 | |
"Aah! You've ruined your eternal probation, don't you know what you've done, | 0:27:08 | 0:27:12 | |
"how could you get involved with that girl, you've not had sex with her, have you?" | 0:27:12 | 0:27:15 | |
The mission president was, "Yadda, yadda, yadda, oh, you've been kidnapped, da-da-da." | 0:27:15 | 0:27:19 | |
Kirk couldn't hardly get a word in edge-wise. He'd say, "But I'm really OK, President Eric." | 0:27:19 | 0:27:24 | |
SHE BABBLES MANICALLY | 0:27:24 | 0:27:25 | |
-PHONE HANGS UP -Kirk hung up, and he goes, | 0:27:25 | 0:27:27 | |
"You know, they've got Scotland Yard and the FBI." | 0:27:27 | 0:27:30 | |
"How about if I just go back in, and you guys stay here | 0:27:30 | 0:27:32 | |
"so they can't do nothing like arrest you guys or anything, | 0:27:32 | 0:27:35 | |
and I go back in and show 'em I'm OK." | 0:27:35 | 0:27:37 | |
And I'll never forget that day, it was a real Kodak moment. | 0:27:37 | 0:27:41 | |
Victoria Station in those days had a beautiful old-fashioned train | 0:27:41 | 0:27:44 | |
that pulled out with one of those, pa-pa-pa-pa-pa... | 0:27:44 | 0:27:46 | |
STEAM ENGINE AND GUARD'S WHISTLE | 0:27:46 | 0:27:48 | |
And the last thing I remember of Kirk Number One | 0:27:49 | 0:27:52 | |
is he got on the train, and he mouthed the words, "I love you." | 0:27:52 | 0:27:56 | |
And I go, "I love you too, baby." | 0:27:56 | 0:27:59 | |
If Kirk went away with Joyce... | 0:27:59 | 0:28:01 | |
..willingly.. | 0:28:02 | 0:28:03 | |
..and had sex with her... | 0:28:04 | 0:28:06 | |
..the guilt that would come over him so strongly after the fact | 0:28:08 | 0:28:14 | |
could be overwhelming. | 0:28:14 | 0:28:15 | |
KJ, I turned to him, and he goes, "Don't worry, he'll be OK." | 0:28:17 | 0:28:21 | |
"He loves you. You've got the man you love, what you worried about?" | 0:28:21 | 0:28:24 | |
I says, "I don't know, KJ. Some nagging feeling, I'm worried." | 0:28:24 | 0:28:28 | |
So we went back to the cottage and we packed everything up. | 0:28:28 | 0:28:31 | |
I remember I had my wedding dress, | 0:28:32 | 0:28:34 | |
a pretty white dress I was going to use for our wedding, | 0:28:34 | 0:28:37 | |
put flowers in my hair, also our wedding bands, | 0:28:37 | 0:28:41 | |
with our names engraved inside, they said, | 0:28:41 | 0:28:44 | |
"Joyce and Kirk, he lift thee and thee lift me, | 0:28:44 | 0:28:48 | |
"and we will ascend together." | 0:28:48 | 0:28:50 | |
Even after we grew old and died, | 0:28:53 | 0:28:55 | |
we would rise into the heavens together as man and wife. | 0:28:55 | 0:28:58 | |
This bizarre story began here last Wednesday. | 0:29:07 | 0:29:11 | |
Kirk Anderson, a young Mormon missionary, | 0:29:11 | 0:29:13 | |
was talking outside to a man with a Canadian accent. | 0:29:13 | 0:29:16 | |
He then disappeared. | 0:29:16 | 0:29:17 | |
But early today, he phoned police and told them he was kidnapped, | 0:29:17 | 0:29:20 | |
a blanket had been placed over his head, | 0:29:20 | 0:29:22 | |
he'd been driven to a house where he'd been blindfolded, | 0:29:22 | 0:29:25 | |
and his legs shackled. | 0:29:25 | 0:29:27 | |
When I got back to my apartment in Long Beach, | 0:29:30 | 0:29:32 | |
the landlady called me in | 0:29:32 | 0:29:33 | |
and said the Long Beach Homicide Department had been there, | 0:29:33 | 0:29:36 | |
and they wanted me to come down to the police station. | 0:29:36 | 0:29:39 | |
And that really freaked me out. Why the homicide department? | 0:29:39 | 0:29:42 | |
I don't know. | 0:29:42 | 0:29:44 | |
I told them everything. | 0:29:44 | 0:29:45 | |
Then we went down, had a cup of coffee, | 0:29:45 | 0:29:47 | |
then they asked me to come back and tell them again, same story. | 0:29:47 | 0:29:51 | |
They had tape recorded the first time I said it, | 0:29:51 | 0:29:53 | |
and they wanted to that when I told it the second time, | 0:29:53 | 0:29:56 | |
it was exactly the same story. | 0:29:56 | 0:29:58 | |
Which it was, I told them the truth. | 0:29:58 | 0:30:00 | |
They got kind of a big kick out of it, | 0:30:01 | 0:30:03 | |
considering they hadn't found anything yet, about the whole story. | 0:30:03 | 0:30:06 | |
-'Fanatical Mormon.' -Yeah, that's what it boiled down to! | 0:30:06 | 0:30:09 | |
I was a Mormon missionary in Exeter, OK, this is in Devon. | 0:30:11 | 0:30:15 | |
And I was at a church member's house, | 0:30:15 | 0:30:19 | |
and they were a younger couple, | 0:30:19 | 0:30:20 | |
and they sort of sat down and told us the whole story of Joyce McKinney and the manacled Mormon. | 0:30:20 | 0:30:26 | |
It reminds me of those cultures that have stories of | 0:30:26 | 0:30:30 | |
the vagina dentata - | 0:30:30 | 0:30:33 | |
the women with the toothed vagina. | 0:30:33 | 0:30:36 | |
They become cautionary tales about sexual impropriety, | 0:30:36 | 0:30:39 | |
the dangerous powers of women. | 0:30:39 | 0:30:42 | |
Women that can seduce young missionary, who are on God's errand. | 0:30:45 | 0:30:50 | |
When young men receive what's called the Melchizedek priesthood, | 0:30:51 | 0:30:55 | |
they're endowed with power from on high, | 0:30:55 | 0:30:58 | |
they go through what I went through - an elaborate endowment through the Mormon temples | 0:30:58 | 0:31:03 | |
where we received sacred underwear and sacred knowledge | 0:31:03 | 0:31:08 | |
of keys to heaven. | 0:31:08 | 0:31:10 | |
You re-enact the Garden of Eden scenario, | 0:31:10 | 0:31:12 | |
and there is an actor that performs Lucifer. | 0:31:12 | 0:31:14 | |
And he says, in a menacing tone, | 0:31:14 | 0:31:17 | |
"Those of you who don't live up to the covenants that you make | 0:31:17 | 0:31:21 | |
"on the altar of the temple this day | 0:31:21 | 0:31:24 | |
"will be in my power." | 0:31:24 | 0:31:26 | |
And one of the covenants that you make | 0:31:28 | 0:31:30 | |
is the law of chastity - that you will only have sexual relationships | 0:31:30 | 0:31:34 | |
with he or she to whom you are legally and lawfully wedded. | 0:31:34 | 0:31:39 | |
'Manacled Mormon Sex Slave wrecks that, doesn't it?' | 0:31:47 | 0:31:50 | |
Completely wrecks that. | 0:31:50 | 0:31:51 | |
If Kirk Anderson was a willing manacled Mormon, | 0:31:51 | 0:31:57 | |
he will have violated his temple covenants, | 0:31:57 | 0:32:00 | |
violated the law of chastity... | 0:32:02 | 0:32:06 | |
What he risks is excommunication from the church, | 0:32:06 | 0:32:09 | |
and, greater than that, unless he repents, | 0:32:09 | 0:32:13 | |
he won't be able to ultimately become a god | 0:32:13 | 0:32:17 | |
and have his own planet. | 0:32:19 | 0:32:20 | |
That's Mormon theology, That's what they're working towards. | 0:32:22 | 0:32:25 | |
I got this weird phone call. | 0:32:30 | 0:32:32 | |
I had an answering service, it said "It's been really crazy here, | 0:32:32 | 0:32:35 | |
"but I've finally got 'em off my back. I still love you. Call me, urgent. | 0:32:35 | 0:32:40 | |
Epsom 25724, urgent. | 0:32:40 | 0:32:43 | |
So I called the number, and some Mormon answered. | 0:32:46 | 0:32:49 | |
"Who is this? What do you want?" Very suspicious voice. | 0:32:49 | 0:32:53 | |
And I said, "I want to talk to Kirk. I mean, Elder Anderson." | 0:32:53 | 0:32:57 | |
So I said, "This is Sister er...Kelmsley, | 0:32:57 | 0:33:01 | |
"calling regarding the baptism for my daughter Millie..." | 0:33:01 | 0:33:05 | |
Millie was my sheepdog. And I knew Kirk wouldn't know that. | 0:33:05 | 0:33:10 | |
And I said, honey, "Where do you want to meet? He says, "About two o'clock..." | 0:33:10 | 0:33:13 | |
I said, "Don't say where it is over the phone. He goes, "OK." | 0:33:13 | 0:33:16 | |
I was worried about an extension phone. | 0:33:16 | 0:33:18 | |
It went further than that, it was a phone tap. | 0:33:18 | 0:33:20 | |
On my way to meet him, | 0:33:24 | 0:33:26 | |
I remember me and KJ were going along the motorway and I'm singing, | 0:33:26 | 0:33:30 | |
"I'm getting married in the morning..." | 0:33:30 | 0:33:32 | |
And I'm so happy - I was just like a young bride on her honeymoon, | 0:33:32 | 0:33:36 | |
I was just so full of so much love for him. | 0:33:36 | 0:33:38 | |
These cop cars ran us off the road, they just literally edged us off the road. | 0:33:40 | 0:33:44 | |
And then, when they threw us up against the police car and said, | 0:33:44 | 0:33:47 | |
"You're under arrest for false imprisonment and carrying away Kirk Anderson," | 0:33:47 | 0:33:50 | |
I couldn't believe it, it was just like, shock. | 0:33:50 | 0:33:53 | |
The law was required to take seriously | 0:33:59 | 0:34:02 | |
an act involving a woman with a gun pointing it at a priest. | 0:34:02 | 0:34:06 | |
Forcing him - although this was a sort of fantasy - | 0:34:06 | 0:34:09 | |
forcing him into a car, | 0:34:09 | 0:34:11 | |
spreadeagling him to a bed and having sex with him. | 0:34:11 | 0:34:14 | |
I mean, there are so many possible crimes involved in all of that, | 0:34:14 | 0:34:18 | |
and yet everyone suspected there wasn't really a crime here at all. | 0:34:18 | 0:34:23 | |
Scenario number one is Kirk's story - fake gun, | 0:34:23 | 0:34:26 | |
chloroform, kidnapped, tied up, forced to have sex. | 0:34:26 | 0:34:29 | |
The second version is Joyce's story - | 0:34:29 | 0:34:32 | |
They were going to be married and have children. | 0:34:32 | 0:34:34 | |
He needed to escape from the Mormon church. | 0:34:34 | 0:34:37 | |
She goes to rescue him, they rush away and have this magical, | 0:34:37 | 0:34:42 | |
wonderful night, weekend together, | 0:34:42 | 0:34:44 | |
and then they get him, they brainwash him, | 0:34:44 | 0:34:47 | |
and all of a sudden he's claiming rape. | 0:34:47 | 0:34:49 | |
The third scenario, is something in between. | 0:34:49 | 0:34:54 | |
There was a consensual aspect to his getaway with her, | 0:34:54 | 0:34:57 | |
but then somewhere along the line | 0:34:58 | 0:35:02 | |
he had second thoughts. | 0:35:02 | 0:35:04 | |
And he wanted it to stop, and it didn't. | 0:35:04 | 0:35:08 | |
'Do you think a woman can rape a man?' | 0:35:08 | 0:35:10 | |
No. I think that's like putting a marshmallow in a parking meter. | 0:35:10 | 0:35:13 | |
A guy either wants to have sex or he doesn't, he has an erection or he doesn't. | 0:35:13 | 0:35:17 | |
She spent about three months in Holloway Prison, the famous woman's prison in London. | 0:35:19 | 0:35:24 | |
There was a little sliding door that they would slide open | 0:35:26 | 0:35:29 | |
with just a little slit of light, | 0:35:29 | 0:35:31 | |
and they would slide it open maybe once a day and say | 0:35:31 | 0:35:34 | |
"Are you ready to sign a confession?" I kept screaming, "Please get Kirk." | 0:35:34 | 0:35:38 | |
I beat my fists bloody on this cold steel prison door, screaming "Please, somebody get Kirk." | 0:35:38 | 0:35:43 | |
There was a picture of her in all the papers, looking out of the back of a police van. | 0:35:46 | 0:35:53 | |
She had scrawled on a piece of paper which she was holding up to the press, | 0:35:59 | 0:36:04 | |
"Kirk was cooperative all along." | 0:36:04 | 0:36:08 | |
When I went to the prison library, I got a Bible, | 0:36:11 | 0:36:14 | |
and in the back of the Bible there was two white pages of blank paper. | 0:36:14 | 0:36:18 | |
I was like, God put it there. | 0:36:18 | 0:36:20 | |
I wrote two letters on those two blank pages. | 0:36:21 | 0:36:24 | |
One to my parents, and one to the press. | 0:36:24 | 0:36:27 | |
I put them up inside... I hate to sound gross, but I put one in my vagina and one in my rectum. | 0:36:27 | 0:36:32 | |
I got out the prison van, and I pushed 'em out and I grunted 'em out | 0:36:33 | 0:36:37 | |
and I popped 'em out the window. | 0:36:37 | 0:36:40 | |
And this man saw them, and I go, "Pick it up." | 0:36:40 | 0:36:44 | |
He goes... "Pick it up. Mail it." | 0:36:44 | 0:36:47 | |
Now, I was trying to motion to him - cos I knew he couldn't hear me inside the prison van - | 0:36:47 | 0:36:51 | |
to mail it at the post office. And he goes... | 0:36:51 | 0:36:54 | |
SHE MOUTHS | 0:36:54 | 0:36:56 | |
And so, he mailed it, | 0:36:56 | 0:36:59 | |
and of course the next time I go back for my bail hearing, the whole planet was there. | 0:36:59 | 0:37:03 | |
I asked my lawyer, "If you can't talk, would you let me? Cos I can sure talk." | 0:37:24 | 0:37:28 | |
"Let me tell people what happened." | 0:37:28 | 0:37:30 | |
So I got up there, and I had 'em laughing, I had 'em crying, | 0:37:30 | 0:37:33 | |
I had 'em throwing spitballs at the Mormons...! You know. | 0:37:33 | 0:37:36 | |
Thank God for all those years at drama school! Thank you. | 0:37:36 | 0:37:41 | |
Everyone was just mesmerised by her performance. | 0:37:41 | 0:37:44 | |
I mean, there was no sense of fear or shame or anything - | 0:37:44 | 0:37:47 | |
she just took on the court with great confidence, | 0:37:47 | 0:37:51 | |
and she said, "I loved him so much I would have skied down Mount Everest | 0:37:51 | 0:37:55 | |
"nude, with a carnation up my nose, for the love of that man." | 0:37:55 | 0:37:58 | |
There was standing room only, | 0:38:07 | 0:38:10 | |
there was little old ladies with their shopping carts ogling for places to stand. | 0:38:10 | 0:38:14 | |
The banners outside - Free Joyce, Free Joyce... | 0:38:14 | 0:38:18 | |
These judges with their white wigs sitting there, you know, | 0:38:18 | 0:38:20 | |
unable to comprehend any of this, | 0:38:20 | 0:38:23 | |
and there was nothing in the statute books which would deal with it. | 0:38:23 | 0:38:26 | |
They're so prim and proper, you know. | 0:38:26 | 0:38:28 | |
They wear these little powdered wigs which look like dumb little hats, | 0:38:28 | 0:38:32 | |
and they sit up and down and wiggle on their heads... | 0:38:32 | 0:38:36 | |
One of the questions they asked him was | 0:38:36 | 0:38:38 | |
"Did you ask for a back rub?" And he said yes. | 0:38:38 | 0:38:40 | |
They said, "Was it cinnamon oil she rubbed on your back?" And he goes, "Yes..." | 0:38:40 | 0:38:43 | |
Like he had remembered! | 0:38:43 | 0:38:46 | |
They ask him, "Were you willing or unwilling?" | 0:38:46 | 0:38:48 | |
And he did like that really fast, and looked at the head Mormon right on the front row, like, | 0:38:48 | 0:38:53 | |
"What am I supposed to say?" And the head Mormon went, like, | 0:38:53 | 0:38:56 | |
"You say what we told you to say." Like that. | 0:38:56 | 0:38:58 | |
And he goes, "I was unwilling! I was unwilling." | 0:38:58 | 0:39:01 | |
"Were you unwilling all seven times?" | 0:39:01 | 0:39:03 | |
"Well, I wasn't as unwilling the third time as I was the first." | 0:39:03 | 0:39:08 | |
I wanted him to be strong and say, "Yes. I love her - | 0:39:08 | 0:39:10 | |
"I'm going to tell the truth right now, let's get rid of this." | 0:39:10 | 0:39:13 | |
But he was so scared. | 0:39:13 | 0:39:15 | |
You know, you can tell a lie long enough, till you believe it. | 0:39:15 | 0:39:19 | |
For 55 minutes, Miss McKinney poured out her statement to | 0:39:21 | 0:39:24 | |
an occasionally confused magistrate - | 0:39:24 | 0:39:27 | |
at one point he stopped her and said, "I'm lost." | 0:39:27 | 0:39:29 | |
And Miss McKinney, speaking in a North Carolina drawl, | 0:39:29 | 0:39:31 | |
put the whole case in this way. | 0:39:31 | 0:39:33 | |
Referring to the young Mormon, Kirk Anderson, she said, "He put me | 0:39:33 | 0:39:37 | |
"in prison, to save himself from excommunication and family disgrace." | 0:39:37 | 0:39:41 | |
This was a phoney kidnap, according to Miss McKinney. | 0:39:41 | 0:39:44 | |
Referring to the episode down in the Devon cottage, she said, | 0:39:44 | 0:39:47 | |
"We had three days of fun, food and sex." | 0:39:47 | 0:39:50 | |
By this time the British Isles was on fire | 0:39:54 | 0:39:58 | |
with the Joyce McKinney story. All that was being talked about | 0:39:58 | 0:40:01 | |
in the pubs, and taverns, and restaurants - | 0:40:01 | 0:40:03 | |
"Where were you when you read the Joyce McKinney story?" | 0:40:03 | 0:40:07 | |
It had kinky sex, it had religion, it had a beauty queen, kidnap | 0:40:08 | 0:40:13 | |
at gunpoint, chains, being spreadeagled, it had Mormon missionaries - | 0:40:13 | 0:40:18 | |
there was something in that story for everyone. It was a perfect tabloid story. | 0:40:18 | 0:40:22 | |
I could never understand the public's fascination with my love life. | 0:40:22 | 0:40:25 | |
I'm not a movie star, I'm just a person, a human being | 0:40:25 | 0:40:29 | |
that was caught in an extraordinary circumstance. | 0:40:29 | 0:40:32 | |
The Daily Express and the Mirror were locked in almost deadly combat | 0:40:36 | 0:40:41 | |
over the Joyce McKinney story. And then it all kind of went away until she was released on bail. | 0:40:41 | 0:40:49 | |
And then there was a kind of burst of stuff again. | 0:40:50 | 0:40:53 | |
I was let out on bail to await the upcoming trial to clear my name. | 0:40:57 | 0:41:02 | |
Somebody sent a limousine to pick me up at the prison, and here I exit | 0:41:02 | 0:41:05 | |
the prison, I've got lice powder in my hair and I'm supposed to be this ex-beauty queen! | 0:41:05 | 0:41:10 | |
All the cameras are there, you know, I look like, eurgh... | 0:41:10 | 0:41:13 | |
That was my first taste of the press, | 0:41:13 | 0:41:15 | |
and when I got back to the bed and breakfast, | 0:41:15 | 0:41:17 | |
I started to very quietly get out of the limousine. | 0:41:17 | 0:41:19 | |
I'm thinking, "I wonder who sent this car from prison to pick me up?" | 0:41:19 | 0:41:23 | |
And I was going to go in and hug my mum and dad can say, "I'm home." | 0:41:23 | 0:41:27 | |
All of a sudden the sky lit up with flashbulbs. Suddenly night became day. | 0:41:27 | 0:41:32 | |
I was suddenly a celebrity. | 0:41:33 | 0:41:35 | |
I didn't ask to be a celebrity, I didn't want to be a celebrity... | 0:41:35 | 0:41:39 | |
But it was like a wave, it was like a phenomenimum. | 0:41:39 | 0:41:42 | |
'So what have these last few months been like for you?' | 0:41:43 | 0:41:46 | |
Well, I've been very busy. It's been amazing the way the public | 0:41:46 | 0:41:52 | |
has responded to my case. | 0:41:52 | 0:41:53 | |
I got close to a thousand letters from the British public. | 0:41:53 | 0:41:58 | |
The rest of the time that I'm not answering letters | 0:41:58 | 0:42:00 | |
-I'm working on my book. -What kind of book is that? | 0:42:00 | 0:42:04 | |
Well, this is my life story, and it's the story of how I met Kirk, | 0:42:04 | 0:42:09 | |
and the name of it is A Very Special Love Story. | 0:42:09 | 0:42:11 | |
I had said something like I loved Kirk so much | 0:42:18 | 0:42:21 | |
I'd have skied naked down Mount Everest with a carnation in my nose. | 0:42:21 | 0:42:24 | |
When I went into the bed and breakfast, | 0:42:24 | 0:42:26 | |
there were pink carnations all over the room. | 0:42:26 | 0:42:29 | |
There were pink carnations in the closet, in the sink, | 0:42:29 | 0:42:32 | |
on the floor, on the bed... Sacks of mail, from all over the world. | 0:42:32 | 0:42:36 | |
People wanted me to autograph their babies' bellies, their elbows.. | 0:42:36 | 0:42:41 | |
I got marriage proposals. I got maps with directions to guys' houses | 0:42:41 | 0:42:45 | |
saying "Please come and kidnap and rape ME any time, honey." | 0:42:45 | 0:42:48 | |
It kind of got a life of its own. | 0:42:48 | 0:42:50 | |
I remember I was at a party. | 0:43:06 | 0:43:07 | |
It was an after party for Saturday Night Fever, and Johnny Travolta | 0:43:07 | 0:43:11 | |
was there, and the Bee Gees came over and asked me to dance. | 0:43:11 | 0:43:15 | |
Keith Moon - he was the drummer for The Who - spied me, | 0:43:15 | 0:43:18 | |
and he told one of the reporters "I want to meet the girl." | 0:43:18 | 0:43:20 | |
He was with his girlfriend, there was nothing between me | 0:43:20 | 0:43:23 | |
and Keith, but he came over and he says | 0:43:23 | 0:43:24 | |
"Joycie girl, I'm going to give you a big old smooch." | 0:43:24 | 0:43:27 | |
And that was just getting started. | 0:43:27 | 0:43:29 | |
Peter McKay, my editor, said to me, | 0:43:29 | 0:43:33 | |
"Why don't you hire a Rolls-Royce | 0:43:33 | 0:43:36 | |
"and take Joyce to the premiere of The Stud, | 0:43:36 | 0:43:41 | |
"and upstage the showbusiness element?" | 0:43:41 | 0:43:44 | |
'Was there a chance that you could actually do this? Could you upstage Joan Collins?' | 0:43:44 | 0:43:48 | |
Well, we did. We stepped out of this Rolls-Royce, and the press went mad. | 0:43:48 | 0:43:52 | |
It was as if, I don't know, Marilyn Monroe had got out, or the Queen. | 0:43:52 | 0:43:58 | |
Certainly more excitement than when John Collins got out of her limousine. | 0:43:58 | 0:44:01 | |
She returned home at midnight, like Cinderella. | 0:44:07 | 0:44:10 | |
Presumably Keith May had been packing their bags, | 0:44:10 | 0:44:14 | |
because they disappeared a day later. | 0:44:14 | 0:44:17 | |
'The police had opposed bail, believing that the couple would leave the country if it were granted. | 0:44:17 | 0:44:22 | |
'Since their disappearance was discovered on Thursday, | 0:44:22 | 0:44:24 | |
'the police have kept a watch on all air and sea ports, | 0:44:24 | 0:44:27 | |
'but they were last seen by neighbours on Wednesday evening.' | 0:44:27 | 0:44:32 | |
I never fled, don't use the word "fled". I resent the word "fled", I left. | 0:44:35 | 0:44:38 | |
They went to the airport as deaf-mutes, I gather. | 0:44:38 | 0:44:43 | |
Quite clever, really. | 0:44:43 | 0:44:45 | |
I went and I got the birth certificates of two dead people. | 0:44:51 | 0:44:54 | |
I didn't figure they'd mind. And I got me a travel visa. | 0:44:54 | 0:44:57 | |
I put on a granny wig and I made me a fat suit, like in Norbit? | 0:44:57 | 0:45:01 | |
I said, "Keith, we're going home." | 0:45:01 | 0:45:03 | |
So I dye his hair coal black, | 0:45:05 | 0:45:07 | |
and I made him a little handlebar moustache, and darkened his skin. | 0:45:07 | 0:45:11 | |
I found out there was a troupe of deaf actors | 0:45:12 | 0:45:15 | |
going to the States via Canada. I put some little signs on us, | 0:45:15 | 0:45:19 | |
and it said, "I am deaf, but I can lip-read. | 0:45:19 | 0:45:23 | |
"Please enunciate your words slowly and speak clearly." | 0:45:23 | 0:45:26 | |
I remember the stewardess said, "Get these dummies on the plane." | 0:45:26 | 0:45:29 | |
Someone said, "They'll hear you." She said, "No, they're stone deaf." | 0:45:29 | 0:45:33 | |
We got to Canada, | 0:45:37 | 0:45:39 | |
and it's at night, and they stop us in immigration. I had 13 suitcases, full of news clips. | 0:45:39 | 0:45:43 | |
In the suitcases are hundreds of pictures of me, | 0:45:45 | 0:45:48 | |
magazine covers and all this stuff. | 0:45:48 | 0:45:51 | |
They're going to look at me and say, "Oh. Oh!" | 0:45:51 | 0:45:54 | |
They go, "13 suitcases. You emigrating?" I go... | 0:45:54 | 0:45:57 | |
She goes, "Oh, you're deaf. | 0:45:59 | 0:46:02 | |
"OK, we cannot get our interpreter at night." | 0:46:02 | 0:46:06 | |
She's talking louder and louder. | 0:46:06 | 0:46:08 | |
She gives me a pencil and I write down, | 0:46:08 | 0:46:11 | |
"I tired. May I go now, please?" She goes, "Ah, go on." | 0:46:11 | 0:46:15 | |
Ten days later I was in my office in the Daily Express building. | 0:46:16 | 0:46:21 | |
The telephone rang one evening about six o'clock. | 0:46:21 | 0:46:25 | |
PHONE RINGS | 0:46:25 | 0:46:27 | |
And I picked it up and it was Joyce. | 0:46:27 | 0:46:30 | |
She said that she wanted to sell her story | 0:46:30 | 0:46:33 | |
to the Daily Express for £40,000. | 0:46:33 | 0:46:37 | |
We arranged there and then for me to fly out to Atlanta | 0:46:37 | 0:46:40 | |
and wait in the Atlanta Airport Hilton hotel. | 0:46:40 | 0:46:45 | |
I went to the door and there outside were these two Indians. | 0:46:45 | 0:46:48 | |
Like Indians from Calcutta. | 0:46:48 | 0:46:50 | |
They should've been arrested for bad acting | 0:46:52 | 0:46:56 | |
far more than abducting Mormon priests. | 0:46:56 | 0:47:00 | |
She was having really the time of her life. | 0:47:01 | 0:47:04 | |
There was no sense of anxiety, she was just enjoying it. | 0:47:04 | 0:47:08 | |
And giving us all this nonsense, | 0:47:08 | 0:47:10 | |
a totally sanitised version of the truth. | 0:47:10 | 0:47:13 | |
And we were falling for it of course. | 0:47:13 | 0:47:16 | |
Getting all of it onto these little tape recorders and thinking, | 0:47:16 | 0:47:19 | |
"God, hasn't the Express got a great story here?" | 0:47:19 | 0:47:22 | |
Joyce brought in this suitcase. | 0:47:24 | 0:47:25 | |
It took about three of us to get it in the room. | 0:47:25 | 0:47:28 | |
She just put her finger on the button and it exploded. | 0:47:28 | 0:47:32 | |
All these disguises and wigs and... | 0:47:32 | 0:47:35 | |
Not bondage gear, I hasten to add. Or at least I didn't see any. | 0:47:35 | 0:47:39 | |
I expected the FBI to come crashing through the widows at any minute | 0:47:39 | 0:47:43 | |
because, as far as I knew, we were aiding and abetting a fugitive. | 0:47:43 | 0:47:49 | |
It wasn't clear really what Keith May's motive was | 0:47:51 | 0:47:54 | |
except that he adored Joyce. | 0:47:54 | 0:47:57 | |
And Joyce kind of did, from time to time, | 0:47:58 | 0:48:01 | |
treat him as if he was in some kind of mistress/slave fantasy. | 0:48:01 | 0:48:07 | |
"Down, slave," she would say to him. | 0:48:07 | 0:48:10 | |
"Down, slave! Down, slave!" | 0:48:11 | 0:48:13 | |
She'd say it humorously, jokingly, | 0:48:13 | 0:48:15 | |
but it did occur to us at the time | 0:48:15 | 0:48:17 | |
that this is all the language of the world of bondage. | 0:48:17 | 0:48:21 | |
-I speak as if I'm an expert but I mean... -'I assume that you are.' | 0:48:22 | 0:48:25 | |
But it's all this kind of master/mistress power thing, | 0:48:27 | 0:48:30 | |
domination thing that seems to run through this whole story. | 0:48:30 | 0:48:34 | |
It seems to be a theme. | 0:48:34 | 0:48:36 | |
Keith had probably an obsession for Joyce just like Joyce had | 0:48:36 | 0:48:40 | |
an obsession for her. | 0:48:40 | 0:48:42 | |
The fact that he was just able to be around her | 0:48:42 | 0:48:44 | |
and helping her where he could satisfied his emotions. | 0:48:44 | 0:48:48 | |
There are tabloids in England that are filth | 0:48:56 | 0:49:01 | |
but top of the list would be the Daily Mirror. | 0:49:01 | 0:49:03 | |
The Daily Mirror, meantime, | 0:49:05 | 0:49:08 | |
had their reporters in Los Angeles digging up all this stuff | 0:49:08 | 0:49:11 | |
about her activities as a...not a call girl but... | 0:49:11 | 0:49:16 | |
Well, I suppose she was. | 0:49:16 | 0:49:18 | |
She was being paid for sexual services | 0:49:18 | 0:49:21 | |
but this was all long before her escapades in the UK. | 0:49:21 | 0:49:25 | |
This was earlier Joyce McKinney history. | 0:49:26 | 0:49:29 | |
They had a tip, I think it was from a police officer in London. | 0:49:29 | 0:49:32 | |
One of our reporters that was covering the story. | 0:49:32 | 0:49:35 | |
He said that it might be worth looking up an address | 0:49:35 | 0:49:38 | |
that we know she had in Los Angeles | 0:49:38 | 0:49:40 | |
and a boyfriend called Steve Moskowitz. | 0:49:40 | 0:49:44 | |
Joyce had been in touch with him from England saying, | 0:49:48 | 0:49:51 | |
"Destroy any pictures. If any journalists turn up, do not talk to anybody." | 0:49:51 | 0:49:55 | |
Steve was very uncooperative when I first met him. | 0:49:55 | 0:49:58 | |
Once he told me that he was still madly in love with her, | 0:49:58 | 0:50:00 | |
I said, "Look, Steve, | 0:50:00 | 0:50:02 | |
"if you want to be by her side for the trial at the Old Bailey, | 0:50:02 | 0:50:05 | |
we will pay a first class air ticket for you | 0:50:05 | 0:50:07 | |
and put you up in a hotel in London so you can be with her. | 0:50:07 | 0:50:09 | |
The next morning, | 0:50:09 | 0:50:11 | |
I'm in a hotel in Santa Monica, 8 o'clock Monday morning, | 0:50:11 | 0:50:15 | |
the phone goes. It's Steve. "I'm downstairs." | 0:50:15 | 0:50:18 | |
He produced six strips of black and white contacts. | 0:50:18 | 0:50:21 | |
There was nothing really that bad on them. | 0:50:21 | 0:50:24 | |
She was sitting on a horse. | 0:50:24 | 0:50:26 | |
They were glamour pictures, as such. | 0:50:26 | 0:50:27 | |
I said, "Look, Steve, this doesn't take us very much further. | 0:50:30 | 0:50:34 | |
"But I will hang on to them. We need more. | 0:50:34 | 0:50:37 | |
"By the way, the editor in London wants me to take a picture of you." | 0:50:37 | 0:50:41 | |
He said, "Can you make it look as if I've not posed for it?" | 0:50:41 | 0:50:45 | |
I said, "What do you mean?" | 0:50:45 | 0:50:46 | |
"He said, "Well, I've got Joyce's car here and I've got Millie. | 0:50:46 | 0:50:49 | |
"I often take the dog out, put him in the car, take the dog for a walk." | 0:50:49 | 0:50:53 | |
CAMERA CLICK | 0:50:53 | 0:50:55 | |
He didn't want Joyce to know he was cooperating. | 0:50:57 | 0:51:01 | |
'So he's betraying her. He knows he's betraying her.' | 0:51:01 | 0:51:05 | |
I don't think he realised how much he was giving us. | 0:51:05 | 0:51:07 | |
It was only when he said to me, | 0:51:09 | 0:51:11 | |
"She placed these ads in a Hollywood free press." Free. | 0:51:11 | 0:51:14 | |
He took us to one of their offices | 0:51:14 | 0:51:16 | |
which had back numbers of some of the ads that she posted in there | 0:51:16 | 0:51:21 | |
and it read... | 0:51:21 | 0:51:23 | |
"Your fantasy is her speciality. S&M, B&D, escort service, | 0:51:42 | 0:51:48 | |
nude wrestling, modelling, erotic phone calls, | 0:51:48 | 0:51:51 | |
dirty panties or pictures. | 0:51:51 | 0:51:53 | |
"Mail your fantasy or speciality to Joey." | 0:51:53 | 0:51:56 | |
I love this bit. | 0:51:56 | 0:51:58 | |
"PS Joey says, 'I love shy boys, dirty old men and sugah daddies.'" | 0:51:58 | 0:52:02 | |
I couldn't believe what I was seeing. | 0:52:02 | 0:52:05 | |
I could not believe that that was Joyce advertising those services. | 0:52:05 | 0:52:09 | |
But that was only the beginning because once we had all of that, | 0:52:09 | 0:52:12 | |
we then had to start thinking who's got pictures of all this? | 0:52:12 | 0:52:15 | |
It was only when he named that photographer. | 0:52:15 | 0:52:17 | |
PHONE RINGS | 0:52:17 | 0:52:19 | |
He said, "I don't have a photograph of Joyce McKinney. | 0:52:19 | 0:52:22 | |
"I've no idea who she is." | 0:52:22 | 0:52:24 | |
And I said, "Well, according to a friend of mine and a friend of hers, | 0:52:24 | 0:52:27 | |
"she always came on model assignments with a dog." "Ah!" | 0:52:27 | 0:52:32 | |
He dug out some magazines. As soon as I saw them I said "That's her". | 0:52:33 | 0:52:37 | |
I took that away and thought job well done. | 0:52:42 | 0:52:44 | |
We were getting somewhere. | 0:52:44 | 0:52:46 | |
We went back to Steve's apartment and he brought out a phone bill. | 0:52:47 | 0:52:53 | |
Every itemised phone call Joyce had made from the apartment | 0:52:53 | 0:52:55 | |
in the last three/four months. | 0:52:55 | 0:52:58 | |
Right. Away we went with the phone bill. | 0:52:59 | 0:53:02 | |
Frank and I spent three hours hitting every one of those numbers on there. | 0:53:02 | 0:53:06 | |
Nobody had heard of Joyce McKinney. No idea who she was. | 0:53:06 | 0:53:11 | |
The dog was the link. Always the dog. | 0:53:11 | 0:53:14 | |
It was only when Steve told me that she took the dog with her | 0:53:16 | 0:53:19 | |
that the photographer could put a face to an alias. | 0:53:19 | 0:53:22 | |
You learn when you're famous who your friends are. | 0:53:26 | 0:53:28 | |
When the payrollies come out, the cheque-book journalists, | 0:53:28 | 0:53:31 | |
people that are real jealous or maybe didn't like you or need money... | 0:53:31 | 0:53:34 | |
it's, "Yeah, what do you want to know about her? How much you paying me?" | 0:53:34 | 0:53:37 | |
I had a false friend and his name was Steve and he was a creep. | 0:53:37 | 0:53:41 | |
He had the key to the outside of my apartment | 0:53:41 | 0:53:44 | |
so he could go in and walk my dog. | 0:53:44 | 0:53:46 | |
He broke into a steamer trunk. | 0:53:46 | 0:53:48 | |
I had huge pictures of me in there from the modelling portfolio. | 0:53:48 | 0:53:52 | |
He sold those to The Sun and the Daily Mirror, | 0:53:52 | 0:53:55 | |
both who were in contest to see who could do the worst Joyce McKinney story. | 0:53:55 | 0:53:59 | |
When those Daily Mirror reporters turned up on his doorstep | 0:53:59 | 0:54:03 | |
they turned him and bragged about it. | 0:54:03 | 0:54:05 | |
They sent him and his prostitute crony to Mexico | 0:54:05 | 0:54:10 | |
so that they wouldn't be prosecuted | 0:54:10 | 0:54:12 | |
for breaking and entering my apartment. | 0:54:12 | 0:54:15 | |
We were worried about Steve, that somebody was going to get to him. | 0:54:15 | 0:54:20 | |
So we kept Steve out of the way of all our opposition, in Mexico, | 0:54:20 | 0:54:24 | |
for about ten days until we were finished with the story. | 0:54:24 | 0:54:27 | |
They didn't realise it was to keep them out the way. | 0:54:27 | 0:54:29 | |
He could've made a lot of money by telling his side of the story. | 0:54:29 | 0:54:32 | |
All he got from us was a promise to be at the Old Bailey | 0:54:32 | 0:54:36 | |
when Joyce goes to trial. | 0:54:36 | 0:54:39 | |
We were coming up with more material than you could believe. | 0:54:39 | 0:54:43 | |
Unpublishable material. | 0:54:43 | 0:54:45 | |
Bondage pictures, her wrestling with Thai girls, mud wrestling, nudes. | 0:54:45 | 0:54:48 | |
The service that they were offered was oral sex, massage or bondage. | 0:54:49 | 0:54:53 | |
Laura would have the full intercourse if they paid enough money. | 0:54:53 | 0:54:57 | |
Joyce would do the bondage and anything else they needed, | 0:54:59 | 0:55:02 | |
including oral sex, but that was it. | 0:55:02 | 0:55:04 | |
I said to them, "What happens if this ever got out of control?" | 0:55:06 | 0:55:09 | |
He said, "Oh, we had that fixed." I won't try and get his accent. | 0:55:09 | 0:55:12 | |
He said, "I bugged the dog's collar." I said, "You did what?" | 0:55:12 | 0:55:16 | |
He said, "I put a bug in the collar of the dog." | 0:55:16 | 0:55:18 | |
I said, "The dog went with her on these sexual encounters?" | 0:55:18 | 0:55:21 | |
"Oh, yeah, always, and if it got out of hand I'd be sitting outside | 0:55:21 | 0:55:24 | |
"with a couple of other guys and we would go in." | 0:55:24 | 0:55:26 | |
'Was he sitting in a coffee shop with headphones?' | 0:55:26 | 0:55:28 | |
He was sitting in the car. | 0:55:28 | 0:55:31 | |
Steve was very much in love with Joyce. We asked him if he'd ever | 0:55:33 | 0:55:37 | |
had sex with her and he said, | 0:55:37 | 0:55:39 | |
"Shoot, man, nobody's ever had sex with Joyce." | 0:55:39 | 0:55:42 | |
-That was the quote from him. -'Nobody?' | 0:55:42 | 0:55:45 | |
Nobody. That was the quote. | 0:55:45 | 0:55:47 | |
When Mike Molloy, who was the editor of The Mirror at that time, asked me | 0:55:50 | 0:55:53 | |
how I was getting on, I said, "It's interesting, Michael. | 0:55:53 | 0:55:55 | |
"You'll be pleased to see what we've got." | 0:55:55 | 0:55:57 | |
"Do you have a picture of her in a swimsuit?" | 0:55:57 | 0:55:59 | |
I said, "Oh, yes. I've got that." | 0:55:59 | 0:56:01 | |
I mean, worms crawl out of the woodwork | 0:56:08 | 0:56:11 | |
when you become famous. Worms, cockroaches! | 0:56:11 | 0:56:14 | |
Mike called me to say, "I'd better let you know that tomorrow | 0:56:18 | 0:56:21 | |
"we're going to run for a week with the real McKinney story," | 0:56:21 | 0:56:24 | |
and that was the front page - The Real McKinney. | 0:56:24 | 0:56:26 | |
Their front page was going to be Joyce naked but lying on her stomach. | 0:56:31 | 0:56:36 | |
Ours is going to be these pictures of her as a nun. | 0:56:36 | 0:56:40 | |
One paper projecting her as an innocent sweet-natured woman, | 0:56:40 | 0:56:46 | |
a God-fearing, religious woman | 0:56:46 | 0:56:49 | |
who was the victim of cruel circumstances and the other, | 0:56:49 | 0:56:52 | |
The Daily Mirror, projecting her as a kind of manipulating, sex-crazed | 0:56:52 | 0:56:58 | |
part-time hooker. | 0:56:58 | 0:57:00 | |
Somewhere in between, maybe, is the truth. | 0:57:00 | 0:57:03 | |
The Express came and they actually let me tape record what I said, | 0:57:03 | 0:57:07 | |
and they printed it word for word. In that same week, | 0:57:07 | 0:57:11 | |
The Mirror came out with the story. | 0:57:11 | 0:57:13 | |
They had painted a totally different picture of me. | 0:57:13 | 0:57:17 | |
If I was well-educated, they made me stupid. | 0:57:17 | 0:57:20 | |
If I was a virgin in real life, they made me a slut. | 0:57:20 | 0:57:24 | |
We did the fantasy that Joyce wanted promoted | 0:57:24 | 0:57:28 | |
to the millions of English readers. | 0:57:28 | 0:57:31 | |
'Yeah, you became her tool, her sleeve.' | 0:57:31 | 0:57:33 | |
Totally, I became her slave, yes. We were all her slaves. | 0:57:33 | 0:57:36 | |
The Daily Express did buy the story and it was only Joyce's story, | 0:57:39 | 0:57:44 | |
what she wanted to say about the kidnapping. | 0:57:44 | 0:57:46 | |
What she did or did not do with Kurt. | 0:57:46 | 0:57:47 | |
She wasn't going to tell a story about the hooker assignments. | 0:57:47 | 0:57:50 | |
She can't say it never happened | 0:57:50 | 0:57:52 | |
because there it is in black and white. | 0:57:52 | 0:57:55 | |
It was Joyce. | 0:57:55 | 0:57:56 | |
'Well, her claim is of course that the pictures were doctored.' | 0:57:59 | 0:58:02 | |
You don't doctor negatives. | 0:58:02 | 0:58:04 | |
We had the negative, print and the magazine. | 0:58:04 | 0:58:07 | |
Get out of that, Joyce. | 0:58:07 | 0:58:08 | |
The Sun put my head on another person's naked body, | 0:58:08 | 0:58:10 | |
and she was flat-chested as a board. | 0:58:10 | 0:58:12 | |
I mean, the girl was flat in her front. | 0:58:12 | 0:58:15 | |
As you see, I'm not flat in my front. | 0:58:15 | 0:58:17 | |
'So, it was clear that this woman's breasts...' | 0:58:17 | 0:58:20 | |
Were not me. | 0:58:20 | 0:58:21 | |
Those are fried eggs. | 0:58:21 | 0:58:23 | |
-The Sun admitted it was a fake picture. -They came out and said | 0:58:23 | 0:58:27 | |
this is a composite picture, but The Daily Mirror didn't. | 0:58:27 | 0:58:31 | |
The Daily Mirror tried to make it look like I was a whore. | 0:58:31 | 0:58:34 | |
On the only occasion when I did meet her a bit later, | 0:58:34 | 0:58:37 | |
she said in her accent, she went, "I don't pose nude." | 0:58:37 | 0:58:39 | |
Of course, sitting on the editor's desk | 0:58:39 | 0:58:42 | |
was over 1,000 pictures of magazines and negatives of her | 0:58:42 | 0:58:45 | |
that we already had. She never knew that, of course. | 0:58:45 | 0:58:48 | |
I never took a picture which was really unusual for me. | 0:58:48 | 0:58:51 | |
The only thing I ever wanted to do was photograph Joyce with no clothes on | 0:58:51 | 0:58:54 | |
and I ended up picking up hundreds of other people who did it. | 0:58:54 | 0:58:57 | |
A bit strange. | 0:58:57 | 0:58:59 | |
'Do you still have the photographs?' | 0:58:59 | 0:59:01 | |
Unfortunately, only the pictures | 0:59:01 | 0:59:03 | |
that were published in The Mirror at the time. | 0:59:03 | 0:59:05 | |
The file, which was between 800 and 1,000 pictures, | 0:59:05 | 0:59:08 | |
were all locked up in the safe but unfortunately the Mirror Group | 0:59:08 | 0:59:11 | |
changed ownership and along with a lot of other things, | 0:59:11 | 0:59:14 | |
all that dossier went missing. | 0:59:14 | 0:59:15 | |
We were in the hotel room and Joyce was constantly calling her friend | 0:59:18 | 0:59:22 | |
in north London saying, "Have you seen the papers yet?" | 0:59:22 | 0:59:25 | |
She'd got the newspapers, the early editions of the newspapers, | 0:59:25 | 0:59:29 | |
and had them laid in front of her and was on the telephone saying, | 0:59:29 | 0:59:33 | |
"And the Mirror says this and the Mirror says that. | 0:59:33 | 0:59:35 | |
"There's a photograph of you here with no clothes on. | 0:59:35 | 0:59:38 | |
"And there's another photograph of you here standing on a man in a bedroom." | 0:59:40 | 0:59:45 | |
This is when Joyce freaked out. | 0:59:45 | 0:59:47 | |
She was so appalled and enraged and distressed about all this stuff | 0:59:50 | 0:59:56 | |
that The Mirror had been printing about her, | 0:59:56 | 0:59:59 | |
because she had no idea this was going to happen at all. | 0:59:59 | 1:00:02 | |
She just went crazy. Went absolutely crazy. | 1:00:02 | 1:00:05 | |
Brian realised that he had to stop this conversation | 1:00:05 | 1:00:08 | |
and that she mustn't learn any more because we didn't know | 1:00:08 | 1:00:12 | |
what she was going to do. | 1:00:12 | 1:00:13 | |
He didn't even bother to disconnect the telephone in a civilised way. | 1:00:13 | 1:00:17 | |
He just grabbed the wires and pulled them out of the wall. | 1:00:17 | 1:00:20 | |
He didn't unplug them. | 1:00:23 | 1:00:25 | |
Bits of plaster came out, I remember, with it. | 1:00:25 | 1:00:27 | |
'This is very unusual kind of behaviour though, wouldn't you just hang the phone up?' | 1:00:27 | 1:00:32 | |
Well, Joyce McKinney had it in both hands screwed into her ear. | 1:00:32 | 1:00:37 | |
She's really scary, really scary. She appeared to fly across the room, | 1:00:37 | 1:00:41 | |
as far as I remember, and clung onto the curtains | 1:00:41 | 1:00:44 | |
which partly came away on the rail. | 1:00:44 | 1:00:48 | |
She was completely hysterical. | 1:00:48 | 1:00:50 | |
Then she went for the balcony. | 1:00:50 | 1:00:51 | |
I'd dived after her and grabbed her by the ankles. | 1:00:51 | 1:00:54 | |
I don't know whether she was going to jump off, because if she had done, | 1:00:54 | 1:00:58 | |
I think there were probably tourists on deckchairs underneath. | 1:00:58 | 1:01:01 | |
She would have probably taken them out too so it would have been | 1:01:01 | 1:01:04 | |
very embarrassing, to say the least. | 1:01:04 | 1:01:06 | |
I wrote down and I could see all the reporters milling around outside | 1:01:06 | 1:01:09 | |
trying to get their shot, trying to get their shot. | 1:01:09 | 1:01:12 | |
Even as far up as I was, they were trying to get their shot. | 1:01:12 | 1:01:15 | |
I thought, all I have to do is just climb up on this rail | 1:01:15 | 1:01:18 | |
and just splatter and I will be dead. I'll be in heaven, | 1:01:18 | 1:01:21 | |
there will be no more tabloid reporters ever | 1:01:21 | 1:01:25 | |
to ruin my life. | 1:01:25 | 1:01:28 | |
She went a bit up the wall. | 1:01:28 | 1:01:30 | |
She tried to climb up and jump off the balcony. | 1:01:30 | 1:01:33 | |
"I'm going to meet my maker." | 1:01:33 | 1:01:35 | |
KJ came running in the motel room. He's just, "Don't let them win!" | 1:01:36 | 1:01:42 | |
"If you die, the truth dies with you and nobody will ever know | 1:01:42 | 1:01:46 | |
"what really happened. Nobody will know how much you loved him." | 1:01:46 | 1:01:49 | |
She was screaming, she was hysterical. | 1:01:49 | 1:01:51 | |
She was completely out of control. We got her to a hospital. | 1:01:51 | 1:01:56 | |
We were thinking in terms of a pill of some kind but the nurse appeared | 1:01:56 | 1:02:01 | |
with a large syringe and just stuck it in her. | 1:02:01 | 1:02:04 | |
We wheeled her out in this wheelchair that was provided, unconscious, | 1:02:04 | 1:02:09 | |
and got her back to the hotel. | 1:02:09 | 1:02:11 | |
Her father, this gentle man, came in with his wife, | 1:02:11 | 1:02:15 | |
and tried to put his arms round Joyce. | 1:02:15 | 1:02:18 | |
She just sunk her teeth into his forearm and there was an awful kind | 1:02:18 | 1:02:23 | |
of tussle and he managed to get himself free and there was blood | 1:02:23 | 1:02:26 | |
trickling down his arm. He'd been attacked by a vampire. | 1:02:26 | 1:02:30 | |
Joyce then fled the whole lot of us in her nightie, and we kind of | 1:02:33 | 1:02:39 | |
followed and chased her down and there was this freeway that went past | 1:02:39 | 1:02:43 | |
the back of the hotel with huge trucks and cars whizzing past | 1:02:43 | 1:02:48 | |
in both directions. I remember seeing her run | 1:02:48 | 1:02:51 | |
across this freeway, miraculously being missed by all these vehicles. | 1:02:51 | 1:02:56 | |
Kind of disappearing somewhere into the distance. | 1:02:58 | 1:03:01 | |
Would you believe, McKinney is back. | 1:03:11 | 1:03:13 | |
Joyce McKinney, the "sex in chains" girl arrested. | 1:03:13 | 1:03:16 | |
She kept us all entertained in 1977. | 1:03:16 | 1:03:19 | |
She used to phone me up every day, two or three times for months, | 1:03:19 | 1:03:22 | |
saying, "Lawks-a-mercy, I'll kill myself | 1:03:22 | 1:03:24 | |
"what the Daily Mirror said about me." Seven years later, | 1:03:24 | 1:03:27 | |
she's still pursuing this unfortunate Mormon. | 1:03:27 | 1:03:30 | |
-Can you believe it? -Oh dear. | 1:03:30 | 1:03:32 | |
'You saw him in 1984?' | 1:03:34 | 1:03:36 | |
Yeah. Yeah, I was at the airport. His overweight Mormon wife saw me | 1:03:36 | 1:03:41 | |
and I guess she was disturbed I was using a public airport. | 1:03:41 | 1:03:44 | |
She went and called the police and said, "McKinney's here, go get her." | 1:03:44 | 1:03:48 | |
'What was his job at the airport?' | 1:03:48 | 1:03:50 | |
I hate to say this but he was a doo-doo dipper. | 1:03:50 | 1:03:53 | |
-'A doo-doo dipper?' -Yeah. -'What is a doo-doo dipper?' | 1:03:53 | 1:03:58 | |
That's someone who takes the doo-doo off the back of the plane. | 1:03:58 | 1:04:01 | |
He was married to this overweight women | 1:04:01 | 1:04:04 | |
and they told her to start having kids as quick as possible | 1:04:04 | 1:04:07 | |
so that he would get over me. The fact that I could have | 1:04:07 | 1:04:10 | |
given him children, I guess, was bypassed. | 1:04:10 | 1:04:13 | |
I was kind of glad she was not too good looking. I mean, if she'd been | 1:04:13 | 1:04:16 | |
really great looking, I'd have probably felt awful, you know, | 1:04:16 | 1:04:19 | |
and cried my eyes out. | 1:04:19 | 1:04:20 | |
There wasn't any competition, if you know what I mean. | 1:04:20 | 1:04:23 | |
One thing she had that I didn't have was 100 extra pounds | 1:04:23 | 1:04:25 | |
and she was a Mormon. | 1:04:25 | 1:04:26 | |
She was found lurking outside his office. | 1:04:26 | 1:04:30 | |
I think she was arrested for stalking him or something. | 1:04:33 | 1:04:37 | |
'Do you still love him?' | 1:04:41 | 1:04:43 | |
I'll die loving him. I never got married because of him. | 1:04:43 | 1:04:47 | |
I'm the incurable romantic. You know. | 1:04:57 | 1:05:00 | |
The idea of marrying somebody that I didn't love | 1:05:00 | 1:05:03 | |
and having to sleep with him and have his kids and live | 1:05:03 | 1:05:07 | |
a humdrum blase life with half a love, | 1:05:07 | 1:05:10 | |
I would rather have a short few weeks with someone | 1:05:10 | 1:05:15 | |
who was the star in the crown, | 1:05:15 | 1:05:18 | |
than to spend my life with someone and be miserable. | 1:05:18 | 1:05:22 | |
Love is not a changing thing. It's a steadfast and eternal thing. | 1:05:23 | 1:05:28 | |
It's like an eternal flame. It doesn't just stop | 1:05:28 | 1:05:31 | |
because of circumstances or situations. | 1:05:31 | 1:05:33 | |
It goes on even past death. | 1:05:33 | 1:05:35 | |
It's a very bleak future you paint for yourself. | 1:05:35 | 1:05:37 | |
What is going to happen to you? | 1:05:37 | 1:05:39 | |
Well, first of all, I'm going to write my book and make sure that | 1:05:39 | 1:05:42 | |
the truth comes out, because regardless of what you've heard, | 1:05:42 | 1:05:46 | |
I haven't sold my life story to anyone, to any newspapers. | 1:05:46 | 1:05:49 | |
The only newspaper I have talked to has been The Express | 1:05:49 | 1:05:52 | |
who did the article about my adventures in America, | 1:05:52 | 1:05:54 | |
and that's it. I want my story to be told. | 1:05:54 | 1:05:56 | |
Are you really prepared to condemn yourself, because that's what it is, | 1:05:56 | 1:05:59 | |
-to a very solitary life? -Yeah. | 1:05:59 | 1:06:03 | |
Today's date is September 25th, 1986. | 1:06:09 | 1:06:12 | |
September 25th, 1986. It is the interior of the McKinneys' house. | 1:06:12 | 1:06:17 | |
The office. This is the office where the McKinney daughter | 1:06:17 | 1:06:22 | |
is currently working on a book. Could you work at this computer | 1:06:22 | 1:06:26 | |
with the Benfield coondogs barking outside your window? | 1:06:26 | 1:06:30 | |
BARKING | 1:06:30 | 1:06:33 | |
My father's trying to take a nap. | 1:06:33 | 1:06:35 | |
BARKING | 1:06:38 | 1:06:42 | |
Outside, both Benfield hounds are barking. | 1:06:44 | 1:06:47 | |
The shot has dented the screen. | 1:06:47 | 1:06:49 | |
This shot made on August 8th, 1986. | 1:06:56 | 1:06:59 | |
There is absolutely nothing around. | 1:06:59 | 1:07:02 | |
This shot shows absolutely nothing in the picture. | 1:07:05 | 1:07:12 | |
This shot made on August 8th, 1986 | 1:07:12 | 1:07:16 | |
shows absolutely nothing in the picture. | 1:07:16 | 1:07:21 | |
BARKING | 1:07:21 | 1:07:23 | |
This shot made on August 8th, 1986 | 1:07:23 | 1:07:25 | |
shows absolutely no other animals or anything in the picture | 1:07:25 | 1:07:30 | |
to agitate the barking Benfield hound. | 1:07:30 | 1:07:33 | |
It's the same dog, of course, that's been barking in the other pictures. | 1:07:34 | 1:07:38 | |
I finally got what's called agoraphobia. | 1:07:54 | 1:07:58 | |
It's when you can't go out of the house. | 1:07:58 | 1:08:01 | |
We had a big old farmhouse with a river on one side | 1:08:01 | 1:08:04 | |
and woods on the other. | 1:08:04 | 1:08:05 | |
We thought that was, like, a natural barrier to paparazzi | 1:08:08 | 1:08:13 | |
but they would just put on fisherman boots | 1:08:13 | 1:08:15 | |
and just wade right through that river. | 1:08:15 | 1:08:17 | |
I remember one time a woman came on our property | 1:08:20 | 1:08:22 | |
and ignored the, "No Trespassing" sign | 1:08:22 | 1:08:24 | |
and she was just yonking in the window. | 1:08:24 | 1:08:26 | |
Trying to get up to see what Joyce McKinney looked like. | 1:08:26 | 1:08:30 | |
It went on like that for years. | 1:08:30 | 1:08:32 | |
I could barely get out to go feed the horses. | 1:08:35 | 1:08:38 | |
So, finally, I got me this big old guard dog. | 1:08:46 | 1:08:48 | |
His name was Tough Guy. | 1:08:48 | 1:08:50 | |
He was a huge dog, he weighed about 150lbs, solid muscle. | 1:08:50 | 1:08:53 | |
Pit bull mastiff bulldog, jaws like an alligator | 1:08:53 | 1:08:57 | |
and I just put him right out in the front yard, | 1:08:57 | 1:08:59 | |
like, "Come on, boys. Come on!" | 1:08:59 | 1:09:01 | |
One day he got beestung. | 1:09:03 | 1:09:05 | |
These two women that worked at the pharmacy, who didn't like me, | 1:09:07 | 1:09:10 | |
decided it would just be a hoot to add a zero on to that prednisone | 1:09:10 | 1:09:13 | |
on the prescription for Joyce McKinney's guard dog. | 1:09:13 | 1:09:16 | |
Wouldn't that be funny? Probably drive him nutty, wouldn't it? | 1:09:16 | 1:09:19 | |
Well, it drove him more than nutty. | 1:09:19 | 1:09:21 | |
The capillaries in his brain exploded... | 1:09:21 | 1:09:24 | |
but not before he attacked me. | 1:09:24 | 1:09:28 | |
He didn't know who I was. | 1:09:28 | 1:09:30 | |
He amputated, I can't raise this arm up, but he amputated my left arm, | 1:09:30 | 1:09:35 | |
he tore off three fingers on this hand, | 1:09:35 | 1:09:36 | |
he ripped my intestines out of my stomach wall, | 1:09:36 | 1:09:39 | |
he shredded my knee. | 1:09:39 | 1:09:42 | |
From my right knee cap to my ankle. I was bleeding to death. | 1:09:42 | 1:09:45 | |
I was dying. | 1:09:47 | 1:09:48 | |
A few months before this I'd found a little dog by the side of the road, | 1:09:51 | 1:09:55 | |
going through garbage cans. I named him Booger. | 1:09:55 | 1:09:58 | |
And Booger was a little pit bull. | 1:09:58 | 1:10:00 | |
I hit the brakes and I backed up and I got out and I said, | 1:10:00 | 1:10:03 | |
"Could you use a friend? | 1:10:03 | 1:10:05 | |
"I could use a friend too. OK, I'm a softy, get in the car." | 1:10:05 | 1:10:09 | |
So he went, "Rargh, ah, ah, ah, ah!" | 1:10:09 | 1:10:12 | |
He had a little five deep musical bark, Booger did. | 1:10:12 | 1:10:16 | |
"Booger, booger, booger"! | 1:10:16 | 1:10:17 | |
I had taken home with me, | 1:10:17 | 1:10:18 | |
not realising that he was going to be famous some day | 1:10:18 | 1:10:21 | |
or that he would save my life or change the lives, | 1:10:21 | 1:10:23 | |
my life, and the lives of so many people. | 1:10:23 | 1:10:26 | |
The night that this big mastiff attacked me, the guard dog, | 1:10:27 | 1:10:29 | |
I got next door to where Booger was and I said, "Help me, Booger!" | 1:10:29 | 1:10:32 | |
Booger shot out, jumped on that other dog and pulled it off me. | 1:10:32 | 1:10:35 | |
"Rargh, rargh, rargh!" It was a fight to the death and I thought, | 1:10:35 | 1:10:38 | |
"Poor little Booger, | 1:10:38 | 1:10:39 | |
"he's going to give himself in Christ-like love for me." | 1:10:39 | 1:10:42 | |
When I came home from hospital, he sat on the bed beside me | 1:10:42 | 1:10:45 | |
and we healed together, and we formed a bond, a friendship. | 1:10:45 | 1:10:48 | |
Booger was a very special dog. | 1:10:50 | 1:10:52 | |
Not only was he a licensed service dog | 1:10:54 | 1:10:57 | |
but one day he just got up and unlocked the door | 1:10:57 | 1:10:59 | |
and then he started dialling 911 with his paw. | 1:10:59 | 1:11:01 | |
He had a big button phone and I'd say, "Booger, help, dial 911!" | 1:11:01 | 1:11:05 | |
He'd go, "WOMP". | 1:11:05 | 1:11:06 | |
"Booger, I need a towel. Go and get a towel out of the dryer, buddy." | 1:11:06 | 1:11:09 | |
He'd go to the dryer and get me a towel. | 1:11:09 | 1:11:11 | |
"Hey, Booger, get me a pop out of the refrigerator." | 1:11:11 | 1:11:14 | |
He go get me one and he'd so gently carry it, | 1:11:14 | 1:11:16 | |
so he wouldn't last it with his teeth, and drop it in my lap. | 1:11:16 | 1:11:19 | |
He got me through that tough time. For 10 years he was my, my helper. | 1:11:27 | 1:11:32 | |
My beloved old friend Booger passed away in my arms, of cancer, | 1:11:32 | 1:11:36 | |
in April of 2006. | 1:11:36 | 1:11:38 | |
I tried everything in the world to save him. | 1:11:38 | 1:11:39 | |
I took into every veterinary hospital I could. | 1:11:39 | 1:11:42 | |
I said, "You can't die, buddy, you're all I have. | 1:11:42 | 1:11:44 | |
"We're a package deal. You can't die." | 1:11:44 | 1:11:47 | |
It was the last command I gave him, "You can't die." | 1:11:47 | 1:11:50 | |
And he looked at me as if he didn't want to disappoint me | 1:11:50 | 1:11:53 | |
and those eyes, with age-old wisdom, those dark brown eyes, | 1:11:53 | 1:11:58 | |
looked at me like, "Don't worry, I'll see you again. | 1:11:58 | 1:12:02 | |
"This is not the end for us." | 1:12:02 | 1:12:05 | |
I just wanted to go to heaven | 1:12:05 | 1:12:06 | |
and I thought God would just have Booger there on a cloud for me or something. | 1:12:06 | 1:12:10 | |
And I'd had such a sad life, you know, with all the tabloidments, | 1:12:10 | 1:12:14 | |
and I thought, "I just want the hurt to stop and I can't do without him." | 1:12:14 | 1:12:18 | |
Then I heard about cloning | 1:12:18 | 1:12:20 | |
and I thought, "Well, I'll just give it a stab." | 1:12:20 | 1:12:23 | |
I contacted Dr Byeong-chun Lee and asked him if it was possible. | 1:12:23 | 1:12:28 | |
I wrote him a letter in Korean, translated it, | 1:12:28 | 1:12:30 | |
and then tracked down his phone number and he goes, | 1:12:30 | 1:12:32 | |
-IMITATES ACCENT: -"I can clone your dog." | 1:12:32 | 1:12:34 | |
I said, "Are you sure?! | 1:12:34 | 1:12:35 | |
"I mean, is it possible I could have my old boy back?" He goes, "I can." | 1:12:35 | 1:12:41 | |
Do you ever feel like God? | 1:12:44 | 1:12:45 | |
SPEAKS IN KOREAN | 1:12:48 | 1:12:49 | |
What their plan was, | 1:13:12 | 1:13:13 | |
is to take a little piece of tissue from Booger's tummy, | 1:13:13 | 1:13:17 | |
put it in liquid nitrogen for its safe trip back to Seoul, Korea. | 1:13:17 | 1:13:21 | |
They flew back with the help of Homeland Security! | 1:13:22 | 1:13:25 | |
-Homeland Security guarding these little cells! -Guarding Booger! | 1:13:25 | 1:13:30 | |
Well, to me it was spirit Booger, that's what we called it. | 1:13:30 | 1:13:32 | |
It was like an orb of light. | 1:13:32 | 1:13:34 | |
It moved along the fuselage of the plane | 1:13:34 | 1:13:37 | |
and people said, "What is that?" | 1:13:37 | 1:13:39 | |
But I knew, I knew it was old spirit Booger. | 1:13:39 | 1:13:42 | |
And I closed my eyes and I said a silent prayer. | 1:13:42 | 1:13:45 | |
And I said, "Oh, heavenly Father, please take care of him." | 1:13:45 | 1:13:48 | |
And it was like he spoke to my heart and said, | 1:13:48 | 1:13:52 | |
"Don't worry, he's with me and he's fine. | 1:13:52 | 1:13:56 | |
"And you, you're going to be fine too because I've got Booger one | 1:13:56 | 1:14:02 | |
"and I'm sending you back Booger two AND a little something extra." | 1:14:02 | 1:14:06 | |
SPEAKS IN KOREAN | 1:14:07 | 1:14:09 | |
This long-distance phone call and it's Dr Hong. | 1:14:40 | 1:14:44 | |
-IMITATES ACCENT: -"Miss, pardon, what is best news I can bring to you?" | 1:14:44 | 1:14:47 | |
And I said, "We're pregnant?! Oh, we're pregnant!" | 1:14:47 | 1:14:51 | |
And he said, "We are!" | 1:14:51 | 1:14:53 | |
On August 5 I flew to Seoul, Korea. | 1:14:53 | 1:14:57 | |
NEWSREADER SPEAKING KOREAN | 1:15:04 | 1:15:06 | |
Well, I found out what the, "little something extra," was | 1:15:12 | 1:15:15 | |
that Heavenly Father had promised me. There were five! | 1:15:15 | 1:15:18 | |
-Five?! -Five cloned puppies, all exactly like Booger, | 1:15:18 | 1:15:23 | |
five bitty Boogers lying there like little black jelly rolls, | 1:15:23 | 1:15:26 | |
with half the world press crowding around. | 1:15:26 | 1:15:29 | |
They just looks like a little tiny mini Boogers. | 1:15:29 | 1:15:31 | |
It was the strangest feeling. | 1:15:31 | 1:15:32 | |
The weirdest thing is, I was sitting in a hotel, in Seoul, Korea, | 1:15:36 | 1:15:41 | |
and one of them got up and opened the door | 1:15:41 | 1:15:43 | |
and he was four months old and I just went... | 1:15:43 | 1:15:45 | |
"Ha-ha-ha." | 1:15:45 | 1:15:46 | |
I thought, "How did he know that? I didn't train him to do that." | 1:15:46 | 1:15:49 | |
You know, they have those little refrigerators with little wooden doors, like a cabinet, in hotels? | 1:15:49 | 1:15:54 | |
And he just reached right up and got that silver knob | 1:15:54 | 1:15:56 | |
and jerked it open with his teeth, just like old Booger used to do. | 1:15:56 | 1:15:59 | |
And then when one of them got the leash and went over to the door and dropped it like, "Walk me, now," | 1:15:59 | 1:16:03 | |
like Booger did, it blew me away. | 1:16:03 | 1:16:05 | |
I said, "these are his clones!" | 1:16:07 | 1:16:08 | |
It was 25,000 if I can remember. | 1:16:08 | 1:16:11 | |
-Well, the original price was, I believe, 150,000. -Was it?! | 1:16:11 | 1:16:14 | |
God, she must like her dogs! No, no, no, some girl! | 1:16:14 | 1:16:19 | |
It was in all the papers, | 1:16:19 | 1:16:21 | |
"Dog cloning girl turns out to be THE Joyce McKinney," | 1:16:21 | 1:16:25 | |
and she pretended it wasn't her to start with. | 1:16:25 | 1:16:27 | |
She called herself Brennan McKinney, | 1:16:27 | 1:16:30 | |
or something like Brennan, was it? | 1:16:30 | 1:16:32 | |
Bernann McKinney or something like that, I forget what name she used. | 1:16:32 | 1:16:36 | |
I knew right away it was Joyce. | 1:16:36 | 1:16:38 | |
-Why? -Well, I think there was a photograph. | 1:16:38 | 1:16:41 | |
And she hadn't changed that much. | 1:16:41 | 1:16:43 | |
I thought if I used my middle name | 1:16:44 | 1:16:46 | |
that I would just be left alone by the press | 1:16:46 | 1:16:48 | |
because I don't see any connection at all | 1:16:48 | 1:16:50 | |
between cloned puppies and a 32-year-old sex-in-chains story. | 1:16:50 | 1:16:54 | |
I'm sorry, but I don't see the connection. | 1:16:54 | 1:16:57 | |
But you should've seen the way Associated Press, | 1:16:57 | 1:16:59 | |
those people slandered me so bad. | 1:16:59 | 1:17:01 | |
In fact, if there is an attorney listening to this | 1:17:01 | 1:17:03 | |
and wants a good libel suit, I've got one. | 1:17:03 | 1:17:04 | |
"I'll sue anybody!" she said, "who says I'm THAT Joyce McKinney | 1:17:04 | 1:17:08 | |
and I'm not that Joyce McKinney!" but she had to admit that she was. | 1:17:08 | 1:17:12 | |
NEWSREADER SPEAKING KOREAN | 1:17:15 | 1:17:17 | |
I was afraid to have a love affair of any kind after Kirk. | 1:17:22 | 1:17:25 | |
I was afraid to kiss a guy so I chose just to be celibate and... | 1:17:25 | 1:17:29 | |
as Brigitte Bardot once said, | 1:17:29 | 1:17:31 | |
"I gave my youth to men and my old age I give to dogs that I trust." | 1:17:31 | 1:17:35 | |
Dogs and children love me, | 1:17:35 | 1:17:36 | |
they love Joyce McKinney because they sense in me an innocence. | 1:17:36 | 1:17:41 | |
You know, they sense in me a gentleness | 1:17:41 | 1:17:44 | |
and they don't read tabloid papers. They love me for me. | 1:17:44 | 1:17:48 | |
She's not an evil person. | 1:17:48 | 1:17:49 | |
I mean, she's, she's just a bit crazy, | 1:17:49 | 1:17:52 | |
eccentric, and self-obsessed, and self-involved, and manipulative, | 1:17:52 | 1:17:55 | |
and...barking mad, probably, basically. | 1:17:55 | 1:17:58 | |
-But, erm... -"Barking mad"? -Yeah. | 1:17:58 | 1:18:02 | |
-I wish we had that expression over here. -You can have it! | 1:18:02 | 1:18:05 | |
You can tell yourself a million times, "God knows the truth," | 1:18:06 | 1:18:11 | |
and it would be nice if all you had to deal with every day was God. | 1:18:11 | 1:18:15 | |
But you don't, you have to deal with people. | 1:18:16 | 1:18:18 | |
I didn't plan on any of the tabloids destroying my life, or the Mormons, | 1:18:25 | 1:18:28 | |
or the press, or the wire services, that was not in my plans. | 1:18:28 | 1:18:31 | |
I really didn't have much choice, | 1:18:34 | 1:18:35 | |
other than to make some kind of move in my life. | 1:18:35 | 1:18:39 | |
I'd promised God that I was going to write the book... | 1:18:39 | 1:18:42 | |
finally, no matter how much hurt me. | 1:18:42 | 1:18:45 | |
But someone broke into my pickup truck. | 1:18:47 | 1:18:50 | |
I had an entire cab full of materials. | 1:18:51 | 1:18:54 | |
I had court cases, court records, | 1:18:54 | 1:18:57 | |
I had all the interview witnesses, I had all the exhibits... | 1:18:57 | 1:19:00 | |
I had the original modelling portfolio, | 1:19:00 | 1:19:03 | |
which matched the head that was put on the naked body. | 1:19:03 | 1:19:06 | |
My whole life was in those three suitcases... | 1:19:07 | 1:19:11 | |
and this is an old pickup. | 1:19:11 | 1:19:13 | |
They prised the wing open with an orange screwdriver | 1:19:13 | 1:19:16 | |
and they took coat hangers, pulled the door open... | 1:19:16 | 1:19:20 | |
..took absolutely everything documenting the story I've just told you. | 1:19:21 | 1:19:25 | |
Took everything with exception of one little yellow laundry basket, | 1:19:25 | 1:19:29 | |
which had somehow wedged under the seat. | 1:19:29 | 1:19:32 | |
At least I have something to show that this nightmare ordeal happened | 1:19:34 | 1:19:39 | |
to what was once a normal all-American kid. | 1:19:39 | 1:19:42 | |
"After her miraculous escape to America, | 1:19:50 | 1:19:52 | |
"Joyce retreats into seclusion to write a book about her love story. | 1:19:52 | 1:19:56 | |
"She vows never to marry, | 1:19:56 | 1:19:58 | |
"knowing fully that she could never love another man other than Kirk. | 1:19:58 | 1:20:02 | |
"For she will grow old alone. | 1:20:02 | 1:20:04 | |
"The love that once spanned an entire continent and ocean still exists. | 1:20:06 | 1:20:11 | |
"Time changes but the scene is still the same. | 1:20:17 | 1:20:20 | |
"Joyce is now a lonely old woman. | 1:20:20 | 1:20:23 | |
"Like Narcissus, she is pining to death, dying of a broken heart." | 1:20:23 | 1:20:28 | |
That's the conclusion of my book but the love has never ended. | 1:20:44 | 1:20:47 | |
Subtitles by Red Bee Media Ltd | 1:21:53 | 1:21:57 |