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DRUMBEATS | 0:00:02 | 0:00:06 | |
PLAINTIVE SINGING | 0:00:06 | 0:00:09 | |
Here, on the seafront of the South Wales town of Port Talbot, | 0:00:11 | 0:00:15 | |
a crowd of at least 10,000 people are gathering | 0:00:15 | 0:00:18 | |
for an event they are unlikely to have experienced before. | 0:00:18 | 0:00:22 | |
The atmosphere is confused, boisterous and thoughtful. | 0:00:25 | 0:00:29 | |
Excited and fearful, they've all come here to witness... | 0:00:29 | 0:00:34 | |
..a crucifixion. | 0:00:36 | 0:00:38 | |
This town is about to become a stage, | 0:00:46 | 0:00:48 | |
and this community is about to become the cast | 0:00:48 | 0:00:52 | |
in perhaps the most ambitious theatrical event ever seen in Wales - | 0:00:52 | 0:00:56 | |
an epic staging of the story of The Passion by National Theatre Wales. | 0:00:56 | 0:01:01 | |
The director, lead actor and the inspiration is this man. | 0:01:01 | 0:01:05 | |
I'm not a Christian, | 0:01:05 | 0:01:07 | |
but I am someone who is fascinated by the figure of Christ. | 0:01:07 | 0:01:10 | |
So I'm coming at it from the point of view of someone | 0:01:10 | 0:01:12 | |
who is fascinated by this story, | 0:01:12 | 0:01:14 | |
fascinated by this figure, and trying to discover and reveal | 0:01:14 | 0:01:20 | |
what this means to me now | 0:01:20 | 0:01:21 | |
through the prism of the town that I grew up in. | 0:01:21 | 0:01:23 | |
Over the last few months, Michael Sheen and his team | 0:01:23 | 0:01:27 | |
have undertaken a huge project to collect personal stories | 0:01:27 | 0:01:31 | |
from every street and alley of this industrial town | 0:01:31 | 0:01:35 | |
and use them to transform the story of The Passion | 0:01:35 | 0:01:37 | |
into a story with the blood of Port Talbot running through its veins. | 0:01:37 | 0:01:43 | |
# You're gonna hold my body down. # | 0:01:43 | 0:01:45 | |
Listen to ME, now. | 0:01:45 | 0:01:47 | |
Now, finally, after weeks of intensive preparation, | 0:01:47 | 0:01:50 | |
the involvement of practically every organisation, charity and club, | 0:01:50 | 0:01:55 | |
and with 1,000 cast members from the town, the show is ready to begin. | 0:01:55 | 0:02:01 | |
So just do it with confidence. | 0:02:01 | 0:02:02 | |
In fact, the build-up to the play began 40 days and nights ago | 0:02:02 | 0:02:08 | |
when posters started appearing around the town. | 0:02:08 | 0:02:12 | |
A teacher from a local school had gone missing. | 0:02:12 | 0:02:16 | |
Then early this Good Friday morning, | 0:02:22 | 0:02:25 | |
the man was spotted down here on the beach. | 0:02:25 | 0:02:29 | |
The Passion performance began at dawn with an unadvertised and mystical sequence of events. | 0:02:29 | 0:02:35 | |
MAN SHOUTS | 0:02:38 | 0:02:40 | |
SINGING | 0:02:41 | 0:02:44 | |
It's now Friday afternoon, and the beach is literally teeming with people | 0:02:49 | 0:02:54 | |
waiting for the first official scene of the play to get underway. | 0:02:54 | 0:02:59 | |
Already it's getting quite buzzy. | 0:02:59 | 0:03:01 | |
It's quite full. | 0:03:01 | 0:03:02 | |
It feels authentic already. | 0:03:02 | 0:03:04 | |
It feels like there's something special going to happen. | 0:03:04 | 0:03:06 | |
A regatta or, you know, we're going to meet the Queen or something. | 0:03:06 | 0:03:09 | |
So, yeah, I'm terribly excited. | 0:03:09 | 0:03:12 | |
3 o'clock, and the audience on the beach | 0:03:12 | 0:03:14 | |
is estimated at well over 5,000. | 0:03:14 | 0:03:17 | |
It's so lovely to have something that's happening all around the town in Port Talbot. | 0:03:17 | 0:03:22 | |
It's just such a huge boost for the town. | 0:03:22 | 0:03:25 | |
Among the waiting crowd, | 0:03:25 | 0:03:27 | |
there's a diverse mixture of community performers. | 0:03:27 | 0:03:30 | |
In the play, I'm a policeman. | 0:03:30 | 0:03:32 | |
I've got three parts. I'm a policeman mainly, three quarters of the play. | 0:03:32 | 0:03:37 | |
I'm a ghost and I'm also a sleepwalker in the old people's home. | 0:03:37 | 0:03:40 | |
For the audience gathering on the beach, | 0:03:40 | 0:03:42 | |
it's already abundantly clear that this is not going to be | 0:03:42 | 0:03:45 | |
a traditional telling of the Easter story. | 0:03:45 | 0:03:48 | |
This is not a traditional Passion play, obviously. | 0:03:48 | 0:03:50 | |
There are no characters called Jesus and God and Judas and Mary. | 0:03:50 | 0:03:55 | |
It's more... | 0:03:55 | 0:03:56 | |
the narrative of The Passion | 0:03:56 | 0:03:59 | |
has been filtered through this town, through Port Talbot. | 0:03:59 | 0:04:01 | |
I know that the aspirations that we had from early on was to not just | 0:04:01 | 0:04:05 | |
make that Passion story known but to actually make it new | 0:04:05 | 0:04:08 | |
and to also make it relevant, hopefully to a wider audience, | 0:04:08 | 0:04:11 | |
but especially to people who are living here now. | 0:04:11 | 0:04:14 | |
So we have created a world | 0:04:14 | 0:04:15 | |
for these three days which is and is not Port Talbot. | 0:04:15 | 0:04:19 | |
Perhaps it's Port Talbot slightly in the future. | 0:04:19 | 0:04:21 | |
Good afternoon, ladies and gentlemen. | 0:04:21 | 0:04:23 | |
If I could have your attention, please, | 0:04:23 | 0:04:26 | |
I'd like to introduce our mayor. | 0:04:26 | 0:04:29 | |
Finally the play begins, | 0:04:29 | 0:04:31 | |
with the appearance of a group of very realistic dignitaries. | 0:04:31 | 0:04:34 | |
Ladies and gentlemen, you have no idea how pleased I am | 0:04:34 | 0:04:40 | |
to see so many of you here today. | 0:04:40 | 0:04:44 | |
As you know, this is a big day for our town. | 0:04:44 | 0:04:49 | |
It's a big day for all of us. Yes... | 0:04:49 | 0:04:53 | |
The mayor, his cronies and what looks like the whole town | 0:04:53 | 0:04:56 | |
are paraded here on the beach, | 0:04:56 | 0:04:58 | |
waiting to welcome a senior executive from a company called ICU. | 0:04:58 | 0:05:04 | |
As the play reveals, ICU are a global international corporation | 0:05:04 | 0:05:09 | |
who, over the last five years, have taken over the entire town. | 0:05:09 | 0:05:14 | |
It seems that our guest has been just a little delayed, | 0:05:14 | 0:05:18 | |
so perhaps this would be a good time | 0:05:18 | 0:05:21 | |
to have one final rehearsal of our entertainment before he arrives. | 0:05:21 | 0:05:27 | |
-Is that a good idea, Simon? -Yes, yes. I think so. | 0:05:27 | 0:05:29 | |
Ladies and gentlemen, our youth gymnastics team. | 0:05:29 | 0:05:35 | |
HIP-HOP MUSIC PLAYS | 0:05:35 | 0:05:39 | |
CHOIR SINGS | 0:05:46 | 0:05:49 | |
# I'm gonna let it shine | 0:05:57 | 0:05:59 | |
# This little light of mine | 0:05:59 | 0:06:02 | |
# I'm gonna let it shine | 0:06:02 | 0:06:05 | |
# This little light of mine | 0:06:05 | 0:06:08 | |
# I'm gonna let it shine Let it shine... # | 0:06:08 | 0:06:11 | |
At last, a flotilla of boats is spotted on the horizon. | 0:06:11 | 0:06:15 | |
Ladies and gentlemen, I have just been told | 0:06:17 | 0:06:21 | |
that he will be here any second. | 0:06:21 | 0:06:25 | |
So, ladies and gentlemen, let's remember to do ourselves proud. | 0:06:25 | 0:06:31 | |
Let us remember to show our gratitude. | 0:06:31 | 0:06:36 | |
Keep an eye on the man next to you. Stay in line. | 0:06:36 | 0:06:39 | |
The ICU executive lands on the beach | 0:06:39 | 0:06:41 | |
with his own heavily armed security unit. | 0:06:41 | 0:06:45 | |
Stay back! I am not joking. | 0:06:45 | 0:06:47 | |
..Historic occasion indeed, for how many times in our lives | 0:06:47 | 0:06:51 | |
are we honoured by such a distinguished guest? | 0:06:51 | 0:06:56 | |
A man of great generosity. | 0:06:56 | 0:07:00 | |
APPLAUSE | 0:07:00 | 0:07:03 | |
We have much to celebrate today. | 0:07:07 | 0:07:10 | |
Five years of working together, | 0:07:10 | 0:07:13 | |
five years of a unique relationship between this town and ICU. | 0:07:13 | 0:07:19 | |
APPLAUSE Five years... Thank you. | 0:07:19 | 0:07:23 | |
Five years of building on the experience of the... | 0:07:23 | 0:07:27 | |
SCREAMING | 0:07:27 | 0:07:29 | |
Stand still! | 0:07:29 | 0:07:31 | |
Everybody stay still. | 0:07:31 | 0:07:33 | |
Don't try anything. | 0:07:33 | 0:07:35 | |
Shoot her and I'll detonate them. I will. I'm warning you, stay back. | 0:07:35 | 0:07:41 | |
Nobody move. You... | 0:07:41 | 0:07:43 | |
This reluctant suicide bomber has been sent as a message to ICU | 0:07:43 | 0:07:49 | |
and the company man. | 0:07:49 | 0:07:51 | |
And the man with the finger on the button | 0:07:51 | 0:07:53 | |
launches into an angry tirade against ICU | 0:07:53 | 0:07:56 | |
for its exploitation of the town. | 0:07:56 | 0:07:59 | |
You company men have got your teeth deep in our throats, | 0:07:59 | 0:08:03 | |
bleeding us working men dry. | 0:08:03 | 0:08:04 | |
ICU? Well, I see you, all right. | 0:08:04 | 0:08:08 | |
I see you in that fake, false council around you. | 0:08:08 | 0:08:13 | |
I see you and your stories and your lies. | 0:08:13 | 0:08:18 | |
Hey, I told you, do anything and I'll do it. I will! | 0:08:18 | 0:08:22 | |
-I'm warning you, I will. -Please! | 0:08:22 | 0:08:24 | |
As this volatile situation develops, down on the beach, | 0:08:24 | 0:08:29 | |
a lone figure has begun to make his way through the crowd. | 0:08:29 | 0:08:33 | |
The missing teacher has returned. | 0:08:33 | 0:08:36 | |
I'll do it. I will! I will. I am, I'm warning you. | 0:08:36 | 0:08:39 | |
-Please! -I am, I am. | 0:08:39 | 0:08:42 | |
NO! | 0:08:42 | 0:08:46 | |
I see you. | 0:08:46 | 0:08:48 | |
From amongst the crowd, the teacher calls out. | 0:08:48 | 0:08:51 | |
I see you. | 0:08:51 | 0:08:53 | |
I don't understand. What's happening? | 0:08:53 | 0:08:57 | |
-Why are you here? -SHE SOBS | 0:08:57 | 0:09:00 | |
Why are you here? | 0:09:00 | 0:09:01 | |
He tricked me! | 0:09:01 | 0:09:03 | |
He made me do it. | 0:09:03 | 0:09:05 | |
Who? | 0:09:05 | 0:09:07 | |
Him...up there. | 0:09:07 | 0:09:10 | |
I trusted him. | 0:09:10 | 0:09:12 | |
Joanne... | 0:09:12 | 0:09:14 | |
..do you see me? | 0:09:15 | 0:09:17 | |
Look at me. | 0:09:21 | 0:09:23 | |
Good, good, good. Give me the jacket, give me the jacket. | 0:09:32 | 0:09:35 | |
Take this. Take this and get it clear. Where's the locals? | 0:09:35 | 0:09:39 | |
Who's in charge? What's your name? | 0:09:39 | 0:09:41 | |
-Phillips. -Get this people off the slip. | 0:09:41 | 0:09:43 | |
-Find out who that kid is. -I need to speak to you... | 0:09:43 | 0:09:47 | |
As the action subsides, | 0:09:47 | 0:09:49 | |
and the teacher, now accompanied by Joanne, the suicide bomber, | 0:09:49 | 0:09:52 | |
disappears into the crowd, | 0:09:52 | 0:09:55 | |
the audience are beginning to put together the pieces | 0:09:55 | 0:09:58 | |
of what they have just witnessed. | 0:09:58 | 0:10:01 | |
I didn't know what was real and what was not! | 0:10:01 | 0:10:05 | |
She was a bit worried that the guns were real, but I said they weren't. | 0:10:05 | 0:10:08 | |
I thought it was really great entertainment. | 0:10:08 | 0:10:11 | |
-It was good, wasn't it? -Yeah. | 0:10:11 | 0:10:12 | |
It's realistic, isn't it, in a way? It happened fragmented and it's a bit chaotic, | 0:10:12 | 0:10:16 | |
but it feels like something is actually happening and it does feel really like theatre, | 0:10:16 | 0:10:20 | |
but also like something real. People were starting to get a bit affected by it. | 0:10:20 | 0:10:24 | |
The company man, his entourage | 0:10:24 | 0:10:27 | |
and much of the audience have headed into the town. | 0:10:27 | 0:10:30 | |
It's a 45-minute walk into the Civic Centre, | 0:10:31 | 0:10:34 | |
and Michael, the teacher, has taken the scenic route along the river, | 0:10:34 | 0:10:39 | |
accompanied by Joanne and a large number of other followers | 0:10:39 | 0:10:43 | |
who must be wondering exactly where they are headed. | 0:10:43 | 0:10:47 | |
As the teacher decides to take a break and stop for a picnic, | 0:10:51 | 0:10:55 | |
the crowds are already gathering in the town | 0:10:55 | 0:10:58 | |
for the beginning of the next instalment. | 0:10:58 | 0:11:01 | |
A security cordon has been thrown up around Port Talbot Civic Centre, | 0:11:01 | 0:11:06 | |
with access denied to all but The Passion ticket holders. | 0:11:06 | 0:11:09 | |
There's already hundreds of faces pressed up against the heavy-duty fencing | 0:11:10 | 0:11:15 | |
waiting to see what will happen next. | 0:11:15 | 0:11:17 | |
Didn't know there was a play, like. | 0:11:17 | 0:11:19 | |
I've been on the beach all day and I seen some of the guns and all that, so I'm curious, like. | 0:11:19 | 0:11:24 | |
We've got Michael Sheen doing something in Port Talbot. | 0:11:24 | 0:11:27 | |
So I wondered what was going on. We've seen the snipers on the roof, | 0:11:27 | 0:11:30 | |
so we want to know what they're here for. | 0:11:30 | 0:11:34 | |
We're hoping they're don't start firing off at us. | 0:11:34 | 0:11:37 | |
We ain't done nothing, know what I mean? Getting a bit worried. | 0:11:37 | 0:11:40 | |
The next scene is billed as an important announcement from ICU, | 0:11:40 | 0:11:44 | |
and a public screen is already pumping out promotional material from the corporation. | 0:11:44 | 0:11:49 | |
Meanwhile, backstage, | 0:11:49 | 0:11:52 | |
the security guards - all members of a local rugby club - | 0:11:52 | 0:11:56 | |
are getting into character. | 0:11:56 | 0:11:58 | |
-Everyone's clear what they are? -Yeah. -Awesome. | 0:11:58 | 0:12:01 | |
Stay cool. If anyone tries to engage you, just ignore them, OK? | 0:12:01 | 0:12:06 | |
BRASS BAND PLAYS | 0:12:06 | 0:12:10 | |
It's 7pm, and the scene begins | 0:12:10 | 0:12:13 | |
as the company man takes to the podium, accompanied by the mayor. | 0:12:13 | 0:12:17 | |
BOOING | 0:12:17 | 0:12:19 | |
Hello... Oh, thank you, thank you. | 0:12:19 | 0:12:21 | |
Thank you very much. | 0:12:21 | 0:12:24 | |
Thank you. I'm glad to see so many of you here this evening, | 0:12:24 | 0:12:27 | |
so many of you undeterred by the unfortunate events of this afternoon. | 0:12:27 | 0:12:32 | |
Let us be clear, | 0:12:33 | 0:12:35 | |
what we were all witness to was an act of pure cowardice, | 0:12:35 | 0:12:40 | |
an act of terror. | 0:12:40 | 0:12:41 | |
This is a town ready for change. | 0:12:41 | 0:12:46 | |
This is a town ready to embrace the bold new vision | 0:12:46 | 0:12:50 | |
that I place before you today with a brave new vision of the future | 0:12:50 | 0:12:55 | |
that we call the Passover Project. | 0:12:55 | 0:12:58 | |
A great new road leading this town into a glorious future. | 0:13:00 | 0:13:05 | |
Not surprisingly, this announcement of a new road | 0:13:05 | 0:13:09 | |
strikes a bitter chord in a town that had its centre bulldozed | 0:13:09 | 0:13:13 | |
to make way for the M4 in the late 1960s. | 0:13:13 | 0:13:16 | |
With this new Passover Project, the company and I will continue | 0:13:16 | 0:13:21 | |
looking out for your future. Thank you very much. | 0:13:21 | 0:13:25 | |
In fact, the company's construction plans seem to be already underway. | 0:13:25 | 0:13:29 | |
Families have begun to be evicted to clear a path for the new highway. | 0:13:29 | 0:13:34 | |
What could we do about it? | 0:13:34 | 0:13:35 | |
They said we had five minutes to collect our things and leave. | 0:13:35 | 0:13:38 | |
And what can you do in five minutes? | 0:13:38 | 0:13:42 | |
And they ripped off our door, our front door, and ripped it off. | 0:13:42 | 0:13:47 | |
Yeah, and what's going to happen to our homes? | 0:13:47 | 0:13:50 | |
Where are we going to go now? | 0:13:50 | 0:13:52 | |
Please, don't be alarmed. Please. | 0:13:52 | 0:13:54 | |
Clearly... | 0:13:54 | 0:13:56 | |
CROWD JEERS | 0:13:56 | 0:13:57 | |
Please! | 0:14:01 | 0:14:03 | |
Ladies and gentlemen, please! | 0:14:03 | 0:14:04 | |
I want to speak to our enemies now, the enemies of this town. | 0:14:04 | 0:14:10 | |
You are a cancer on this town. I know you're out there. | 0:14:10 | 0:14:14 | |
You will alert one of my security forces here to protect you, | 0:14:14 | 0:14:19 | |
and they will be only too happy to assist. | 0:14:19 | 0:14:22 | |
ICU! We see you! | 0:14:22 | 0:14:26 | |
CHAOTIC SHOUTING | 0:14:26 | 0:14:29 | |
GUNSHOT | 0:14:33 | 0:14:34 | |
-SCREAMS AND GASPS -Get back from the fence! | 0:14:34 | 0:14:37 | |
Who are you? | 0:15:01 | 0:15:03 | |
I'm... | 0:15:05 | 0:15:07 | |
I am... | 0:15:09 | 0:15:11 | |
If you've got something to say, | 0:15:15 | 0:15:18 | |
then say it. | 0:15:18 | 0:15:20 | |
I've come to listen! | 0:15:23 | 0:15:25 | |
You, get back there. Who's the local police? | 0:15:27 | 0:15:29 | |
Get the cordon outside here. My men, back inside the cordon. Make a gap! | 0:15:29 | 0:15:33 | |
Move here, now! Make a gap. | 0:15:33 | 0:15:35 | |
Get this woman up. Get this woman up. | 0:15:35 | 0:15:38 | |
Make me a gap. | 0:15:39 | 0:15:40 | |
SCREAMING AND JEERING | 0:15:40 | 0:15:43 | |
Once again, the teacher vanishes, | 0:15:52 | 0:15:54 | |
and the ICU heavies retreat with the body of the protestor. | 0:15:54 | 0:15:58 | |
I thought it was quite scary, to be honest. Really scary, yeah, | 0:15:58 | 0:16:03 | |
cos we didn't know what was going to happen | 0:16:03 | 0:16:05 | |
and we didn't know who the people were or anything. | 0:16:05 | 0:16:08 | |
And they were coming through by us and everything and... | 0:16:08 | 0:16:12 | |
we didn't know what was happening, so...we were scared. | 0:16:12 | 0:16:15 | |
I couldn't hear a pin drop, you know, especially with the people singing over there, it was beautiful. | 0:16:15 | 0:16:21 | |
And everybody, well, it was as if somebody that they knew had died | 0:16:21 | 0:16:26 | |
and everybody was just watching it, and they were telling everybody | 0:16:26 | 0:16:29 | |
to leave, and they didn't want to leave, because they just... | 0:16:29 | 0:16:32 | |
Oh, my good God, it was their own natural reaction. | 0:16:32 | 0:16:35 | |
# ..Will rise again at dawn... # | 0:16:35 | 0:16:42 | |
For Michael and the rest of the actors, | 0:16:42 | 0:16:44 | |
the performance continues nonstop for three days, | 0:16:44 | 0:16:48 | |
and after the shooting in the Civic Centre, | 0:16:48 | 0:16:51 | |
the teacher and a small band of followers escape for the night | 0:16:51 | 0:16:55 | |
onto the hill above the town. | 0:16:55 | 0:16:57 | |
# ..And sleep. # | 0:16:57 | 0:17:04 | |
It's Saturday morning on day two of The Passion, | 0:17:15 | 0:17:18 | |
and central Port Talbot is filled with audience and shoppers | 0:17:18 | 0:17:21 | |
chatting and trying to work out what went on yesterday. | 0:17:21 | 0:17:24 | |
It gave us goose pimples watching it. | 0:17:24 | 0:17:27 | |
It's quite awesome to see what was going on, you know. We didn't know what to expect. | 0:17:27 | 0:17:32 | |
We're afraid to miss anything, aren't we? | 0:17:32 | 0:17:36 | |
By midday, the centre of the mall is packed. | 0:17:37 | 0:17:41 | |
Nobody's quite sure what's going to happen. | 0:17:41 | 0:17:43 | |
There are a few odd faces amongst the crowd. | 0:17:43 | 0:17:47 | |
As well as a heavy security presence. | 0:17:50 | 0:17:54 | |
Suddenly, the day's events kick off with an unexpected outburst. | 0:17:55 | 0:18:00 | |
Resistance! United! We'll never be defeated! | 0:18:00 | 0:18:04 | |
LOUD CHANTING | 0:18:04 | 0:18:08 | |
Resistance! United! We'll never be defeated! | 0:18:08 | 0:18:12 | |
Resistance! United! We'll never be defeated! | 0:18:12 | 0:18:15 | |
ICU, we see you! ICU... | 0:18:19 | 0:18:22 | |
Frustrated by the demonstrators, | 0:18:22 | 0:18:24 | |
the security forces clear the audience from the building. | 0:18:24 | 0:18:28 | |
Once evacuated from the shopping centre, | 0:18:29 | 0:18:32 | |
they are guided to the next scene in nearby Llewellyn Street, | 0:18:32 | 0:18:36 | |
a road that was literally chopped in half by the M4 overpass | 0:18:36 | 0:18:40 | |
and that has given The Passion the inspiration for ICU's so-called Passover Project. | 0:18:40 | 0:18:47 | |
Here, below the motorway, | 0:18:49 | 0:18:52 | |
the audience enters a world of stories and memories of the past, | 0:18:52 | 0:18:56 | |
voices from the margins of Port Talbot society. | 0:18:56 | 0:19:00 | |
It's the teacher who welcomes the audience into the street | 0:19:00 | 0:19:04 | |
and he then approaches a young girl in the crowd. | 0:19:04 | 0:19:07 | |
I see you. | 0:19:07 | 0:19:09 | |
Come forward, come here. | 0:19:09 | 0:19:12 | |
Chloe is one of the many local people | 0:19:12 | 0:19:14 | |
whose personal stories have found expression in the play. | 0:19:14 | 0:19:18 | |
Hello, there. | 0:19:18 | 0:19:19 | |
GIRL MAKES SING-SONG SOUNDS AND THEY REPEAT THEM BACK TO HER | 0:19:19 | 0:19:23 | |
-Who's this? -This is Chloe. I'm afraid she can't speak, | 0:19:24 | 0:19:29 | |
at least not in a way you'd understand. | 0:19:29 | 0:19:31 | |
Although she cannot talk | 0:19:31 | 0:19:34 | |
and has to cope with some profound disabilities, | 0:19:34 | 0:19:37 | |
Chloe has her own vibrant method of communicating, | 0:19:37 | 0:19:40 | |
using sounds and movements. | 0:19:40 | 0:19:42 | |
-THEY CLAP -Ready? -Ready? | 0:19:42 | 0:19:44 | |
In Llewellyn Street, her unique language is transformed into dance and music. | 0:19:44 | 0:19:50 | |
ALL: Ready? | 0:19:50 | 0:19:51 | |
Ready? | 0:19:54 | 0:19:55 | |
PERCUSSION | 0:19:57 | 0:19:58 | |
Chloe... | 0:20:13 | 0:20:15 | |
I need to ask you a favour. | 0:20:15 | 0:20:17 | |
-GIRL'S VOICE: -Ask me anything. -I need to borrow your father. | 0:20:17 | 0:20:21 | |
I'm going on a journey, just for a day or so. | 0:20:21 | 0:20:24 | |
Where are you going? | 0:20:24 | 0:20:26 | |
I don't know yet... | 0:20:26 | 0:20:28 | |
but I think someone's gonna show me the way. | 0:20:28 | 0:20:31 | |
And when they do? | 0:20:31 | 0:20:32 | |
I'll follow it. | 0:20:33 | 0:20:36 | |
But I don't want to follow it alone | 0:20:36 | 0:20:40 | |
or in silence. | 0:20:40 | 0:20:42 | |
That's why I need your father. | 0:20:42 | 0:20:45 | |
Will you let him come? | 0:20:46 | 0:20:49 | |
Yes. | 0:20:49 | 0:20:50 | |
He will lead your dance, he will come. | 0:20:50 | 0:20:56 | |
APPLAUSE | 0:20:56 | 0:20:59 | |
Can you see me? | 0:21:01 | 0:21:04 | |
Can you see me? | 0:21:04 | 0:21:06 | |
Anyone see me? | 0:21:06 | 0:21:08 | |
I used to be over there, | 0:21:08 | 0:21:10 | |
but now I'm here. | 0:21:10 | 0:21:12 | |
Sometimes I'm both. | 0:21:12 | 0:21:15 | |
This is Alfie, a figure based on a well-known local character. | 0:21:15 | 0:21:19 | |
As the teacher disappears, | 0:21:19 | 0:21:21 | |
Alfie draws the audience back to the time | 0:21:21 | 0:21:24 | |
when the street still had two sides. | 0:21:24 | 0:21:27 | |
Used to be a street over there, | 0:21:27 | 0:21:29 | |
spit of this one, it was, like looking in a mirror. | 0:21:29 | 0:21:32 | |
All gone now, of course. | 0:21:34 | 0:21:37 | |
The '60s, | 0:21:37 | 0:21:39 | |
that's when it arrived, | 0:21:39 | 0:21:42 | |
the monstrosity. | 0:21:42 | 0:21:43 | |
Came clodhopping in with its big, stone legs and parked itself over there, | 0:21:44 | 0:21:49 | |
not so much as a by-your-leave, thank you very much. | 0:21:49 | 0:21:51 | |
You can't go anywhere in this town without it looking at you, watching you. | 0:21:51 | 0:21:56 | |
Alfie can still see the ghosts of his old neighbours | 0:21:56 | 0:22:01 | |
haunting the pillars. | 0:22:01 | 0:22:03 | |
When the bulldozers came, we had to go live down the estate. | 0:22:06 | 0:22:09 | |
Not the same. But there you are. | 0:22:09 | 0:22:12 | |
From the minute those houses came down, I haven't had a proper night's sleep since, not one. | 0:22:12 | 0:22:16 | |
My mother said she used to find me walking all over the place all night long, all over. | 0:22:16 | 0:22:23 | |
Trying to find my way back. | 0:22:23 | 0:22:25 | |
And then years later, I found my way back. Well, you know me - nothing if not dogged. | 0:22:25 | 0:22:30 | |
I live by here now...on this side. | 0:22:31 | 0:22:35 | |
I thought once I got back, I might get to sleep, but no. | 0:22:35 | 0:22:38 | |
Well, I can see THEM, can't I? | 0:22:38 | 0:22:41 | |
I stand up at the window all night, like, watching 'em on the other side over there. | 0:22:41 | 0:22:45 | |
All sorts going on. Well, you can't sleep with all that carrying on. | 0:22:45 | 0:22:50 | |
I stand up at the window | 0:22:50 | 0:22:52 | |
watching them. | 0:22:52 | 0:22:54 | |
Look...look now. | 0:22:54 | 0:22:57 | |
Do you see? | 0:22:57 | 0:22:59 | |
Do you see us? | 0:22:59 | 0:23:01 | |
-Can you hear me? -Can you hear us? -Do you see me? | 0:23:01 | 0:23:07 | |
-ALL: -Look for us, look for us. | 0:23:07 | 0:23:11 | |
I'm not ashamed to say I cried when I seen the scene. | 0:23:13 | 0:23:16 | |
-I think it was done beautifully. -Very nice, yes. | 0:23:16 | 0:23:20 | |
I think, when I seen the people there, | 0:23:20 | 0:23:24 | |
I could imagine that could be your grandparents. | 0:23:24 | 0:23:27 | |
Being there and...I don't know, | 0:23:28 | 0:23:32 | |
saying what those people were saying. | 0:23:32 | 0:23:34 | |
-Like... -The feelings was there when the houses go down. -Yeah, the feelings, the houses went down. | 0:23:34 | 0:23:40 | |
# There's a shadow hanging over us... # | 0:23:40 | 0:23:44 | |
Over the day, there have been other scenes in the town centre, | 0:23:44 | 0:23:48 | |
but the highlight of the Passion Saturday | 0:23:48 | 0:23:50 | |
is the evening's much-advertised Last Supper party | 0:23:50 | 0:23:55 | |
in the Seaside Social Club on Port Talbot's vast Sandfields estate. | 0:23:55 | 0:23:59 | |
# Those who may depart I'm sure they must be broken-hearted | 0:23:59 | 0:24:04 | |
# Hey! # | 0:24:05 | 0:24:06 | |
Welcome to the Seaside Social Club, and to those of you outside, | 0:24:09 | 0:24:14 | |
a big shout to our visitors, come from all over the world to see this. | 0:24:14 | 0:24:19 | |
# There are no secrets in this small town | 0:24:19 | 0:24:22 | |
# Nothing that's yours... # | 0:24:22 | 0:24:24 | |
The musical line-up is meant to be a secret, | 0:24:24 | 0:24:27 | |
but word has leaked out, and a huge crowd is gathering in the car park | 0:24:27 | 0:24:31 | |
to watch the next stage of the Passion story unfold. | 0:24:31 | 0:24:36 | |
Well, something like this, us coming together, | 0:24:38 | 0:24:41 | |
brings a closeness, and there's no violence, there's no attitude. | 0:24:41 | 0:24:46 | |
It's lovely, and we need more of it, I think. | 0:24:46 | 0:24:48 | |
Something for the community, and we all agree, we're all just saying, | 0:24:48 | 0:24:52 | |
-that's why we all get together, like, innit, to be part of the town. -Yeah. -It's good, like. | 0:24:52 | 0:24:56 | |
# You may leave but you never get out... # | 0:24:58 | 0:25:01 | |
It's going fantastically well. I think if you could cast | 0:25:01 | 0:25:05 | |
an audience, Port Talbot is the place to cast your audience. | 0:25:05 | 0:25:08 | |
It's like someone's flicked a switch in the town, and they're so... | 0:25:08 | 0:25:11 | |
into it and they're clapping along to the resistance chants. | 0:25:11 | 0:25:16 | |
We're managing the crowds. It's taken us by surprise, | 0:25:16 | 0:25:19 | |
but they're all really respectful, and it's like... | 0:25:19 | 0:25:23 | |
There was a fantastic tweet today from Lyn Gardner, critic of the Guardian, who said, | 0:25:23 | 0:25:27 | |
"Talk about the transformative power of art." | 0:25:27 | 0:25:29 | |
Port Talbot is not the place it was yesterday and not the place it will be tomorrow, | 0:25:29 | 0:25:32 | |
and I'm thrilled - it's been an amazing couple of days. | 0:25:32 | 0:25:35 | |
For the lucky members of the audience who managed to get tickets, | 0:25:35 | 0:25:40 | |
there's a huge spread of sandwiches, pies and cold food. | 0:25:40 | 0:25:44 | |
Tonight has become a rallying point for the growing resistance to ICU. | 0:25:44 | 0:25:50 | |
And the teacher and his followers, | 0:25:50 | 0:25:52 | |
the disciple-like figures he has collected over the last two days, | 0:25:52 | 0:25:56 | |
receive a warm welcome as they arrive. | 0:25:56 | 0:25:58 | |
CHEERING AND APPLAUSE | 0:25:58 | 0:26:01 | |
This man, Peter, is a regular at the club. | 0:26:01 | 0:26:06 | |
This is fantastic to see it so full of life again, like. | 0:26:06 | 0:26:10 | |
Oh, it means a lot to me, it does, to have you here with me in my club on this last night. | 0:26:10 | 0:26:16 | |
Swansea DJ Kev Jones is MC for the night. | 0:26:16 | 0:26:20 | |
It's so great to see so many of you here tonight. Such was the demand | 0:26:20 | 0:26:24 | |
for tickets, not everybody could get in, so everybody outside... | 0:26:24 | 0:26:28 | |
just like to say hello everybody outside there in the cheap seats. | 0:26:28 | 0:26:32 | |
Can we have a big cheer for everybody in the cheap seats? | 0:26:32 | 0:26:36 | |
CHEERING | 0:26:36 | 0:26:39 | |
Ah, great, man, great! | 0:26:39 | 0:26:41 | |
Well, it's time to start the show. | 0:26:42 | 0:26:45 | |
Are you ready for show time, everyone? | 0:26:45 | 0:26:47 | |
CHEERING Hey, look at everyone. | 0:26:47 | 0:26:51 | |
Anyway, this young man, he's absolutely fantastic, so best of order now, please, | 0:26:51 | 0:26:55 | |
best of order, everyone. Please give a warm welcome as he plays the Seaside Social Club | 0:26:55 | 0:26:59 | |
for the very first... and the very last time as well. | 0:26:59 | 0:27:02 | |
Let's here it for Iwan Rheon. Let's give him a big round of applause. | 0:27:02 | 0:27:06 | |
WHOOPING | 0:27:06 | 0:27:08 | |
# Well, it took me from the life I know | 0:27:08 | 0:27:13 | |
# They'll ring church bells We're going | 0:27:16 | 0:27:19 | |
# Dragging her precious soul | 0:27:21 | 0:27:26 | |
# Oh...the cobbled streets where I met my love... # | 0:27:26 | 0:27:32 | |
Next up is local hero and winner of Britain's Got Talent, | 0:27:34 | 0:27:38 | |
singer Paul Potts. | 0:27:38 | 0:27:40 | |
# ..Sogno d'or | 0:27:40 | 0:27:45 | |
# Questo vuole il cuor | 0:27:45 | 0:27:52 | |
# Triste senz'amor. # | 0:27:52 | 0:28:09 | |
CHEERING AND APPLAUSE Thank you very much. | 0:28:09 | 0:28:13 | |
In the interval, the teacher offers his friends some sandwiches. | 0:28:18 | 0:28:23 | |
ROOM QUIETENS TO SILENCE | 0:28:28 | 0:28:31 | |
Eat, eat. | 0:28:32 | 0:28:35 | |
I just wanted to say a few words. | 0:28:38 | 0:28:41 | |
I wanted to say thank you, really, | 0:28:42 | 0:28:46 | |
for being here with me tonight. | 0:28:46 | 0:28:49 | |
This is a special night, | 0:28:49 | 0:28:52 | |
and I'm glad we could share it together. | 0:28:52 | 0:28:55 | |
I can't believe I've met you all just since yesterday morning, | 0:28:55 | 0:28:59 | |
so much has happened already. | 0:28:59 | 0:29:00 | |
And I just want to say that, er... | 0:29:03 | 0:29:07 | |
even if... | 0:29:07 | 0:29:10 | |
even if for some reason... | 0:29:10 | 0:29:12 | |
we just have tonight, even if... | 0:29:12 | 0:29:14 | |
..we can't be together again after tonight... | 0:29:16 | 0:29:19 | |
..here we are, eating food together, drinking together. | 0:29:23 | 0:29:27 | |
And it feels good, doesn't it? | 0:29:28 | 0:29:30 | |
It feels good. | 0:29:33 | 0:29:35 | |
You know, yesterday... | 0:29:37 | 0:29:38 | |
..we were many. | 0:29:41 | 0:29:42 | |
Today... | 0:29:45 | 0:29:47 | |
..we are one. | 0:29:51 | 0:29:53 | |
To us. | 0:29:58 | 0:30:00 | |
-ALL: -To us. | 0:30:00 | 0:30:01 | |
Ladies and gentlemen, let's hear it for the house band! | 0:30:05 | 0:30:09 | |
CHEERING | 0:30:09 | 0:30:10 | |
Top of the bill tonight are the Valleys band - | 0:30:10 | 0:30:13 | |
and international superstars - the Manic Street Preachers. | 0:30:13 | 0:30:16 | |
# Do not go so gentle | 0:30:16 | 0:30:20 | |
# Do not go so gentle on this night | 0:30:22 | 0:30:25 | |
# One last chance | 0:30:27 | 0:30:30 | |
# To open up your hearts and your minds | 0:30:32 | 0:30:39 | |
# Who will bring prosperity? | 0:30:44 | 0:30:47 | |
# Pierce skies with hypocrisy | 0:30:49 | 0:30:52 | |
# It's up to us We shall defend | 0:30:54 | 0:30:58 | |
# Just to prove that this is not the end | 0:30:58 | 0:31:04 | |
# A design for life | 0:31:04 | 0:31:09 | |
# A design for life | 0:31:09 | 0:31:15 | |
# A design for life | 0:31:15 | 0:31:20 | |
# A design for. # | 0:31:20 | 0:31:23 | |
Yeah! Whoo! | 0:31:27 | 0:31:30 | |
Suddenly, the entertainment is brought to an abrupt end. | 0:31:30 | 0:31:34 | |
BOOING | 0:31:36 | 0:31:39 | |
The Manics are taken away by the security forces. | 0:31:39 | 0:31:43 | |
BOOING AND JEERING | 0:31:43 | 0:31:46 | |
As the gang head out into the dark, | 0:31:52 | 0:31:54 | |
the teacher realises that his hour has come. | 0:31:54 | 0:31:58 | |
The small close of houses outside the club | 0:32:09 | 0:32:13 | |
has become Port Talbot's Garden of Gethsemane - | 0:32:13 | 0:32:17 | |
a place of fear and doubt. | 0:32:17 | 0:32:18 | |
CHEERING | 0:32:34 | 0:32:36 | |
While his companions doze off waiting for a night bus, | 0:32:38 | 0:32:43 | |
the teacher is consumed with terror at the path he has chosen. | 0:32:43 | 0:32:47 | |
MAN: Is that you, son? | 0:32:53 | 0:32:55 | |
A godlike figure appears up on high, working on the scaffolding. | 0:32:55 | 0:32:59 | |
Dad? | 0:33:01 | 0:33:03 | |
Hello, son. You're out late. | 0:33:03 | 0:33:07 | |
So are you. | 0:33:09 | 0:33:11 | |
Well, you know me... | 0:33:11 | 0:33:13 | |
always working. | 0:33:13 | 0:33:16 | |
Do you see me? | 0:33:16 | 0:33:17 | |
Course I see you, son. I can see the whole town from up here. | 0:33:17 | 0:33:23 | |
You should come up here sometimes, it's beautiful. | 0:33:23 | 0:33:27 | |
Hey, there is a piece of slate down there, son? | 0:33:30 | 0:33:33 | |
A piece of slate? | 0:33:34 | 0:33:35 | |
Yes, yes, it fell just now. | 0:33:35 | 0:33:37 | |
Somewhere over there. | 0:33:37 | 0:33:39 | |
It's broken. | 0:33:40 | 0:33:43 | |
Yeah... | 0:33:43 | 0:33:44 | |
Yes, I thought it might be. All right then, never mind. Pass it up, son. | 0:33:44 | 0:33:49 | |
Do I have to? | 0:33:49 | 0:33:52 | |
Yes, I'm... | 0:33:52 | 0:33:53 | |
I'm afraid you do, son. | 0:33:53 | 0:33:57 | |
Son? | 0:33:57 | 0:33:59 | |
Yes, Dad? | 0:34:00 | 0:34:02 | |
Pick up the slate, son. | 0:34:02 | 0:34:05 | |
Pick it up now. | 0:34:07 | 0:34:09 | |
Thank you, son. | 0:34:37 | 0:34:39 | |
SIREN WAILS | 0:34:39 | 0:34:42 | |
Going on a journey, are you? | 0:34:44 | 0:34:48 | |
Yes, I think so, | 0:34:48 | 0:34:50 | |
going on a journey. | 0:34:50 | 0:34:52 | |
Well, I hope you've got everything you need. | 0:34:52 | 0:34:56 | |
Maybe. I don't know. | 0:34:56 | 0:35:00 | |
It's important to be ready, son. | 0:35:02 | 0:35:04 | |
Remember that. | 0:35:05 | 0:35:07 | |
Yes. | 0:35:07 | 0:35:09 | |
-JEERING -Thanks, Dad. | 0:35:09 | 0:35:12 | |
ANGRY SHOUTING | 0:35:14 | 0:35:18 | |
In a kangaroo court in front of the crowd, | 0:35:20 | 0:35:24 | |
the ICU security chief taunts the teacher. | 0:35:24 | 0:35:27 | |
So you pulled your little stunt on the beach, | 0:35:27 | 0:35:30 | |
and now everybody looks up to you. | 0:35:30 | 0:35:33 | |
WILD CHEERING | 0:35:33 | 0:35:37 | |
Leading people is a responsibility. | 0:35:38 | 0:35:41 | |
Are you ready for this? | 0:35:41 | 0:35:43 | |
Are you ready to lead these people? | 0:35:43 | 0:35:46 | |
CHEERING | 0:35:46 | 0:35:50 | |
-Because that is what they're saying... -MAN: Nazi! | 0:35:51 | 0:35:54 | |
..that you are going to lead them, you are going to change things, | 0:35:54 | 0:35:58 | |
you are going to make everything better, that's what they're saying. | 0:35:58 | 0:36:03 | |
Are you the king of these people? | 0:36:03 | 0:36:06 | |
CHEERING | 0:36:06 | 0:36:09 | |
Are you ready, son? | 0:36:09 | 0:36:11 | |
Just remember, | 0:36:11 | 0:36:13 | |
what's one slate to a whole house, eh? | 0:36:13 | 0:36:16 | |
Small sacrifice. | 0:36:18 | 0:36:20 | |
It is true, isn't it? | 0:36:21 | 0:36:24 | |
You ARE their leader, you are the king of this town? | 0:36:24 | 0:36:28 | |
That's what you've been saying! | 0:36:28 | 0:36:30 | |
That's what you've been telling THEM. | 0:36:30 | 0:36:33 | |
Tell ME! | 0:36:33 | 0:36:35 | |
Tell ME! SAY it! | 0:36:35 | 0:36:37 | |
I AM! | 0:36:37 | 0:36:39 | |
CROWING | 0:36:39 | 0:36:43 | |
Take him! | 0:36:43 | 0:36:44 | |
BOOING AND SHOUTING | 0:36:44 | 0:36:49 | |
I mean, we know where it's going. We're really rooting for him, the resistance - | 0:36:50 | 0:36:54 | |
it's really base instinct, I suppose, that anti-establishment feeling. | 0:36:54 | 0:36:59 | |
I found that bit when Michael Sheen was on the skip, I found it really emotional. | 0:36:59 | 0:37:04 | |
I've never seen anything like it before. Really wonderful. | 0:37:04 | 0:37:07 | |
-Probably never see anything like it again. -Fantastic for the town as well, isn't it? Yeah. | 0:37:07 | 0:37:12 | |
Go back to the comfort of your homes. | 0:37:14 | 0:37:17 | |
Go back to your homes. | 0:37:20 | 0:37:22 | |
It's Easter Sunday, and the streets of Port Talbot are heaving. | 0:37:31 | 0:37:35 | |
Newspapers around the world are printing pictures of this unique event. | 0:37:35 | 0:37:40 | |
And people have travelled here from all over the UK and abroad | 0:37:40 | 0:37:43 | |
to witness the last day of The Passion. | 0:37:43 | 0:37:46 | |
As two prisoners are led out of the police station, | 0:37:49 | 0:37:52 | |
a public trial is being prepared in the Civic Centre. | 0:37:52 | 0:37:55 | |
We're about to have the trial scene. | 0:37:55 | 0:37:59 | |
This is, I guess, our equivalent of the scene | 0:37:59 | 0:38:02 | |
from the Gospels where Pilate presents a choice to the people. | 0:38:02 | 0:38:06 | |
They can either free Jesus or they can free this insurgent. | 0:38:06 | 0:38:09 | |
So the company man, in an attempt at transparency | 0:38:09 | 0:38:14 | |
and an attempt at quashing rumours, | 0:38:14 | 0:38:16 | |
is going to have a very public trial. | 0:38:16 | 0:38:18 | |
That is when the die is cast. | 0:38:18 | 0:38:21 | |
I think that that sense of sort of getting behind the teacher, | 0:38:21 | 0:38:25 | |
that sense of injustice, will grow and will grow, | 0:38:25 | 0:38:28 | |
and especially what happens as a result of this trial, | 0:38:28 | 0:38:30 | |
there'll be the awful realisation that the end that everyone knows | 0:38:30 | 0:38:35 | |
is almost here. | 0:38:35 | 0:38:37 | |
When I spoke to you here two days ago, | 0:38:56 | 0:38:58 | |
I warned you that the enemies of progress were still working among us. | 0:38:58 | 0:39:03 | |
Sadly, as we have all witnessed over the last two days, | 0:39:03 | 0:39:07 | |
those same enemies have taken advantage | 0:39:07 | 0:39:09 | |
of what is a delicate time of transition for the town | 0:39:09 | 0:39:14 | |
and used it to spread their hatred and malice for our way of life. | 0:39:14 | 0:39:19 | |
And I would like to take this opportunity to thank our wonderful security forces | 0:39:19 | 0:39:24 | |
for all the good job they're doing... | 0:39:24 | 0:39:27 | |
BOOING | 0:39:27 | 0:39:28 | |
..and the courage they are showing in such difficult circumstances. | 0:39:28 | 0:39:32 | |
Thank you, thank you very much. | 0:39:32 | 0:39:34 | |
BOOING | 0:39:34 | 0:39:37 | |
Standing before you today are two of the selfsame enemies. | 0:39:37 | 0:39:41 | |
One, a would-be assassin and terrorist | 0:39:41 | 0:39:47 | |
who thinks nothing of killing his own kind to achieve his aims. | 0:39:47 | 0:39:51 | |
The other... | 0:39:51 | 0:39:52 | |
CHEERING | 0:39:54 | 0:39:57 | |
..a man who would tear down the very fabric of our society | 0:40:01 | 0:40:04 | |
and is an affront to everything we hold dear. | 0:40:04 | 0:40:06 | |
Well, today, I AM going to give you a choice, | 0:40:06 | 0:40:10 | |
because at the end of today's trial, one of these two men will go free, | 0:40:10 | 0:40:14 | |
and the choice as to which man goes free... | 0:40:14 | 0:40:18 | |
..will be yours. | 0:40:19 | 0:40:21 | |
-Save the teacher! -Teacher! -Teacher! -Save the teacher! | 0:40:21 | 0:40:25 | |
Name! | 0:40:25 | 0:40:27 | |
It's Barry, Barry Absalom. | 0:40:28 | 0:40:31 | |
Were you the bomber behind the assassination attempt on Friday? | 0:40:31 | 0:40:35 | |
Yes, I was. | 0:40:35 | 0:40:38 | |
Name. | 0:40:38 | 0:40:39 | |
I don't know. | 0:40:43 | 0:40:45 | |
They call you the teacher. | 0:40:45 | 0:40:46 | |
If you say so. | 0:40:50 | 0:40:51 | |
You have been charged with leading an ideological revolt | 0:40:51 | 0:40:54 | |
against the council and the company, | 0:40:54 | 0:40:57 | |
and of planning insurrectionist activities. Is this true? | 0:40:57 | 0:41:02 | |
If you say it is. | 0:41:02 | 0:41:04 | |
Let's play this by your rules, shall we? | 0:41:04 | 0:41:08 | |
I want to give this town a choice, but not by a vote. | 0:41:08 | 0:41:11 | |
Everyone knows a vote can be rigged - and that's what you'd say, isn't it, that I loaded the crowd? | 0:41:11 | 0:41:17 | |
So how would you do this? | 0:41:17 | 0:41:18 | |
Maybe by giving the vote to just one person, | 0:41:21 | 0:41:24 | |
just one innocent person. | 0:41:24 | 0:41:27 | |
The one innocent person they choose is a small girl from the crowd. | 0:41:27 | 0:41:32 | |
The company man plays out a charade of questioning the child. | 0:41:34 | 0:41:38 | |
-And what is your name? -Katie. -Katie. | 0:41:38 | 0:41:42 | |
But the outcome has already been decided. | 0:41:42 | 0:41:46 | |
The verdict has been delivered, | 0:41:46 | 0:41:50 | |
and it is a good verdict. | 0:41:50 | 0:41:53 | |
DISCONTENTED MURMURS | 0:41:53 | 0:41:56 | |
Free him. | 0:41:56 | 0:41:57 | |
This other one, make an example of him. He's yours. | 0:41:57 | 0:42:01 | |
Out the way. Out the way. | 0:42:05 | 0:42:07 | |
-Watch yourselves. -Move! Move! | 0:42:07 | 0:42:11 | |
-Move! Out the way. -Move it. | 0:42:11 | 0:42:14 | |
Move! Out the way. | 0:42:17 | 0:42:19 | |
HAUNTING MUSIC | 0:42:19 | 0:42:23 | |
HE GASPS FOR AIR | 0:43:21 | 0:43:23 | |
Open up, open up. | 0:43:35 | 0:43:38 | |
Get ahead of me, get that gate open. | 0:43:38 | 0:43:41 | |
Who's got him? Who's got him? Who's got him? | 0:43:41 | 0:43:43 | |
Out of the way! | 0:43:43 | 0:43:46 | |
I was really moved by it, actually. | 0:43:46 | 0:43:49 | |
It was quite upsetting. | 0:43:49 | 0:43:51 | |
It's quite realistic, isn't it? | 0:43:51 | 0:43:52 | |
I feel a bit weird now. But after everything that happened last night in the garden, | 0:43:52 | 0:43:57 | |
these are quite haunting images. | 0:43:57 | 0:43:59 | |
Absolutely moving to have it shown in such clarity, about violence and things, | 0:43:59 | 0:44:06 | |
and how it might have been when it was back in the Biblical times for Jesus. | 0:44:06 | 0:44:12 | |
It does make people think about everything, you know, what he's said over the weekend, definitely. | 0:44:12 | 0:44:18 | |
I think people have forgot about the way Port Talbot was. | 0:44:18 | 0:44:21 | |
This town's... Well, this is a beautiful spot | 0:44:21 | 0:44:25 | |
and a fantastic area which the industry, | 0:44:25 | 0:44:29 | |
which has been brought in here by first of all the Talbots, I guess, | 0:44:29 | 0:44:32 | |
and ongoing ever since, and they keep on dumping all this pollution on us, which we don't want. | 0:44:32 | 0:44:39 | |
From this point on, | 0:44:41 | 0:44:43 | |
the story of The Passion begins to play out its final, inevitable chapter. | 0:44:43 | 0:44:48 | |
Thousands of people are beginning to line the streets | 0:44:49 | 0:44:52 | |
to witness a great procession. | 0:44:52 | 0:44:54 | |
We didn't realise it's going to be a parade here, so we just joined in. It's really exciting. | 0:44:54 | 0:45:00 | |
Hopefully we'll watch all of it - about eight, nine o'clock, is it? | 0:45:00 | 0:45:04 | |
DRUMBEATS | 0:45:04 | 0:45:07 | |
Everybody's getting quite excited, | 0:45:07 | 0:45:08 | |
because you can hear the music from the other side. | 0:45:08 | 0:45:12 | |
I'm just anticipating the scene when it comes. | 0:45:12 | 0:45:15 | |
SINGING | 0:45:18 | 0:45:21 | |
The grim march snakes its way along the main street | 0:45:36 | 0:45:41 | |
and on towards the shopping centre. | 0:45:41 | 0:45:43 | |
But here, the procession takes a pause. | 0:45:43 | 0:45:47 | |
BELLS RING SOFTLY | 0:45:47 | 0:45:50 | |
Inside, the mall has been transformed. | 0:45:59 | 0:46:03 | |
The teacher is relieved of his burden | 0:46:03 | 0:46:05 | |
and gently ministered to by a group of women, including his mother. | 0:46:05 | 0:46:10 | |
BELLS STOP AND SOFT HARP BEGINS | 0:46:18 | 0:46:21 | |
As the procession gets underway again, | 0:46:44 | 0:46:46 | |
the mood of the crowd seems to have lifted. | 0:46:46 | 0:46:49 | |
WOMEN: # Hold my body down You're gonna hold my... # | 0:46:49 | 0:46:54 | |
Along the backstreets of the town, | 0:46:54 | 0:46:56 | |
there are residents waiting patiently all afternoon for their chance to be part of the event. | 0:46:56 | 0:47:03 | |
# Hold my body down You're gonna hold my body down | 0:47:03 | 0:47:08 | |
# You're gonna hold my body down | 0:47:08 | 0:47:10 | |
# You're gonna hold my body down | 0:47:10 | 0:47:13 | |
# Gonna hear that trumpet sound | 0:47:13 | 0:47:16 | |
# I'm gonna get up outta this ground... # | 0:47:16 | 0:47:18 | |
There's quite a lot of people here, aren't there? | 0:47:18 | 0:47:20 | |
It's been pretty hectic today, and thousands are joining us | 0:47:20 | 0:47:23 | |
on the procession, which we weren't expecting necessarily so much. | 0:47:23 | 0:47:27 | |
We thought people would line the streets but not join us | 0:47:27 | 0:47:29 | |
for the whole procession, so it's been tremendous. | 0:47:29 | 0:47:31 | |
We've been waiting here a couple of hours this afternoon for him to come through on this route, | 0:47:40 | 0:47:44 | |
and I must say it's quite powerful. | 0:47:44 | 0:47:46 | |
I just think it was really sort of, like...sort of, like, you know... | 0:47:46 | 0:47:49 | |
quite choking. I was really quite emotional, really. | 0:47:49 | 0:47:52 | |
# Let there be peace on Earth | 0:47:52 | 0:47:54 | |
# And let it begin with me | 0:47:54 | 0:47:59 | |
# Let there be peace on Earth | 0:47:59 | 0:48:03 | |
# And let it begin with me | 0:48:03 | 0:48:08 | |
# Let there be peace on Earth... # | 0:48:08 | 0:48:11 | |
DRUMMING | 0:48:11 | 0:48:13 | |
I just feel that in walking and following the procession, in walking, we're talking, | 0:48:13 | 0:48:21 | |
and I've seen people that I haven't seen for years, | 0:48:21 | 0:48:24 | |
so this, to me, has pulled the whole Passion story together. | 0:48:24 | 0:48:29 | |
It's one of community and being one. | 0:48:29 | 0:48:32 | |
Despite the barbaric ordeal that Sheen is portraying, | 0:48:41 | 0:48:46 | |
the procession has turned into an extraordinary celebration for the whole community. | 0:48:46 | 0:48:51 | |
All along the route, | 0:48:57 | 0:48:58 | |
people are carrying, wearing and displaying images and objects | 0:48:58 | 0:49:03 | |
that evoke their own private memories of the town. | 0:49:03 | 0:49:06 | |
I wanted to be part of the atmosphere and enjoy the town as it is today. | 0:49:06 | 0:49:11 | |
And this is how it was | 0:49:11 | 0:49:13 | |
when everyone...every member of the town went to church or chapel, | 0:49:13 | 0:49:18 | |
and Sunday was a very quiet day! | 0:49:18 | 0:49:21 | |
It's nearly nine in the evening, and the procession has finally turned onto the seafront | 0:49:22 | 0:49:28 | |
and is slowly making its way along the last stretch. | 0:49:28 | 0:49:31 | |
Oh, it's a wonderful parade, isn't it? It's very emotional, I think, very deeply emotional. | 0:49:33 | 0:49:40 | |
You see people crying on the way down. | 0:49:40 | 0:49:42 | |
So touching, so touching. | 0:49:45 | 0:49:48 | |
And what it's brought to Port Talbot today, you know, it's flushed everybody out. | 0:49:48 | 0:49:53 | |
The people of Port Talbot is out to watch this today. | 0:49:53 | 0:49:57 | |
It's brought a lot of emotion to the community. | 0:49:57 | 0:50:01 | |
This is a very religious town, Port Talbot, very Catholic town, | 0:50:01 | 0:50:06 | |
and, erm...picked a good subject. | 0:50:06 | 0:50:08 | |
It's nice to see a man of Michael Sheen's stature bringing something | 0:50:08 | 0:50:12 | |
back to Port Talbot, bringing it back to the community, | 0:50:12 | 0:50:16 | |
putting a spotlight on the place where he came from. | 0:50:16 | 0:50:20 | |
I, myself, couldn't go down to watch the crucifixion. | 0:50:20 | 0:50:23 | |
I think it'd be a bit too moving. | 0:50:23 | 0:50:24 | |
SLOW DRUMBEATS | 0:50:24 | 0:50:28 | |
The teacher's Calvary, his final destination, | 0:50:30 | 0:50:34 | |
is a grassy roundabout down on the seafront | 0:50:34 | 0:50:36 | |
close to where the whole story began three days ago. | 0:50:36 | 0:50:41 | |
The scale of the audience for this final scene - | 0:50:42 | 0:50:45 | |
anywhere between 10,000 and 12,000 people - | 0:50:45 | 0:50:48 | |
has exceeded all expectations. | 0:50:48 | 0:50:51 | |
SOMBRE MUSIC | 0:50:51 | 0:50:55 | |
HE CRIES OUT | 0:52:10 | 0:52:13 | |
-HAMMERING -Argh! | 0:52:13 | 0:52:16 | |
-Three! -Ah! | 0:52:18 | 0:52:20 | |
Argh...! | 0:52:21 | 0:52:24 | |
Argh...! | 0:52:24 | 0:52:27 | |
HE CONTINUES TO SCREAM | 0:52:27 | 0:52:31 | |
HE SINGS MOURNFULLY | 0:52:48 | 0:52:53 | |
On the verge of death, | 0:53:07 | 0:53:09 | |
the teacher's memory returns, | 0:53:09 | 0:53:13 | |
and he cries out a litany of memories of the town, | 0:53:13 | 0:53:16 | |
memories actually collected from the people of Port Talbot. | 0:53:16 | 0:53:21 | |
I remember... | 0:53:21 | 0:53:22 | |
I remember this place. | 0:53:25 | 0:53:27 | |
I remember... | 0:53:29 | 0:53:31 | |
..Beach Hill! | 0:53:32 | 0:53:33 | |
Number nine... | 0:53:34 | 0:53:36 | |
I remember the guys. | 0:53:36 | 0:53:39 | |
I remember nights at the Starlight... | 0:53:39 | 0:53:42 | |
CHEERING | 0:53:42 | 0:53:43 | |
..bands at the Troubadour... | 0:53:43 | 0:53:46 | |
CHEERING | 0:53:46 | 0:53:48 | |
I remember the Carlton, and Pharaohs and Wall Street. | 0:53:48 | 0:53:54 | |
I remember the smell and the taste of blackberries | 0:53:55 | 0:53:59 | |
in the summer from Baglan Mountain. | 0:53:59 | 0:54:03 | |
CHEERING | 0:54:03 | 0:54:04 | |
I remember donkey rides on the beach. | 0:54:04 | 0:54:08 | |
CHEERING | 0:54:08 | 0:54:10 | |
CROWD FALLS SILENT | 0:54:10 | 0:54:14 | |
WHISTLING | 0:54:21 | 0:54:23 | |
CHEERING AND APPLAUSE | 0:54:23 | 0:54:27 | |
CHOIR SINGS SOFTLY | 0:54:38 | 0:54:42 | |
APPLAUSE | 0:55:15 | 0:55:20 | |
Out of the gloom, the figure of the stranger emerges one last time. | 0:55:32 | 0:55:38 | |
(WAVERINGLY) # And sleep | 0:55:38 | 0:55:41 | |
# And sleep | 0:55:41 | 0:55:44 | |
# And sleep | 0:55:45 | 0:55:48 | |
(VOICE BREAKING) # And sleep. # | 0:55:49 | 0:55:52 | |
SLOW DRUMBEATS | 0:55:52 | 0:55:56 | |
It is finished. | 0:55:57 | 0:55:59 | |
It has begun! | 0:56:03 | 0:56:05 | |
CHEERING | 0:56:05 | 0:56:07 | |
Everyone was open mouthed, especially when the music started coming on, and he started saying | 0:56:35 | 0:56:39 | |
the little jokes, all the personal things about Port Talbot, everyone was just really, like, enjoying it. | 0:56:39 | 0:56:45 | |
And then when the music started, and you could see that he was becoming more frail, | 0:56:45 | 0:56:48 | |
everyone was open mouthed and in awe of what was going on. | 0:56:48 | 0:56:51 | |
It's just amazing. There's no words, really, | 0:56:51 | 0:56:54 | |
that can express how we all felt, | 0:56:54 | 0:56:57 | |
but you could feel it in the atmosphere. | 0:56:57 | 0:56:59 | |
It's better than winning the lottery, to be here tonight, | 0:56:59 | 0:57:03 | |
to be a part of all this. | 0:57:03 | 0:57:05 | |
The town is an absolutely brilliant town. | 0:57:05 | 0:57:08 | |
It's had a bit of a hard time, | 0:57:08 | 0:57:10 | |
but now what has happened here today brought them all together. | 0:57:10 | 0:57:13 | |
Absolutely outstanding. | 0:57:13 | 0:57:15 | |
The following evening, the whole company have a final get-together. | 0:57:19 | 0:57:24 | |
Well, what a three days it was, eh? | 0:57:24 | 0:57:27 | |
-CHEERING -It was... | 0:57:27 | 0:57:29 | |
I think I can say without any qualification at all, | 0:57:29 | 0:57:33 | |
it was the most extraordinary three days of my life. | 0:57:33 | 0:57:36 | |
CHEERING | 0:57:36 | 0:57:41 | |
This was your Passion, it was our Passion, | 0:57:42 | 0:57:45 | |
and we made this happen together, | 0:57:45 | 0:57:48 | |
and nobody has ever done that before. | 0:57:48 | 0:57:50 | |
There have been performances and productions of things but never, | 0:57:50 | 0:57:53 | |
I think, has an entire town come together to tell the story of itself to itself | 0:57:53 | 0:57:59 | |
to be witnessed by the world. | 0:57:59 | 0:58:01 | |
What happened was that we became more than ourselves. | 0:58:01 | 0:58:04 | |
We became something much bigger. | 0:58:04 | 0:58:06 | |
And great things can be achieved. | 0:58:06 | 0:58:08 | |
That's what community is about and that's what this was all about. | 0:58:08 | 0:58:12 | |
-MAN: Well done, Michael! -So...thank you very much. | 0:58:12 | 0:58:15 | |
Subtitles by Red Bee Media Ltd | 0:58:47 | 0:58:49 | |
E-mail [email protected] | 0:58:49 | 0:58:51 |