Live from the National Theatre: 50 Years on Stage

:00:00. > :00:16.This programme contains strong language.

:00:17. > :00:23.So we have got two hours to show the vast range of work that the National

:00:24. > :00:26.has done over the last 50 years by staging short scenes from some of

:00:27. > :00:32.the most memorable shows and there are more than 800 choose from. We

:00:33. > :00:35.have got an unbelievable array of great actors, all of them at some

:00:36. > :00:40.point members of the National Theatre company. And six of them

:00:41. > :00:47.were in the first National Theatre company that started at The Old Vic

:00:48. > :00:50.in 1963. A small part of the show is from the archive recently discovered

:00:51. > :00:54.and we do not think ever seen before. But most of it is going to

:00:55. > :00:58.be absolutely live, live on stage and live on television and we're not

:00:59. > :01:06.sure anybody has ever done anything quite like this before.

:01:07. > :01:10.Olivier Theatre 50 Years On Stage company. Ladies and gentlemen, this

:01:11. > :01:13.is your beginners call, your calls please, Miss Maxwell-Martin, Mr

:01:14. > :01:19.Barker, Mr Jacobi, Mr Lester and Mr Townsend. Thank you.

:01:20. > :01:22.We are starting this evening the same way the National Theatre

:01:23. > :01:25.started in 1963, with the opening scene of Hamlet where the sentries

:01:26. > :01:32.on the battlements see the ghost of Hamlet's father. Playing the ghost

:01:33. > :01:37.this evening will be Sir Derek Jacobi, who played Laertes in the

:01:38. > :01:40.original production 50 years ago. The first voice you will hear is

:01:41. > :01:45.live archive recording of Richard Hampton. Richard spoke the first

:01:46. > :01:51.lines in the performance ever given by the National Theatre. The rest of

:01:52. > :01:53.the scene will be played by members of this year's company. I am one of

:01:54. > :02:17.them. Who is there? Nay, answer me. Stand

:02:18. > :02:24.and unfold yourself. Long live the King! Barnardo? He. You come most

:02:25. > :02:28.carefully upon your hour. 'Tis now struck twelve. Get thee to bed,

:02:29. > :02:34.Francisco. For this relief much thanks. 'Tis bitter cold, And I am

:02:35. > :02:43.sick at heart. Have you had quiet guard? Not a mouse stirring. Well,

:02:44. > :02:47.good night. If you do meet Horatio and Marcellus, The rivals of my

:02:48. > :02:56.watch, bid them make haste. I think I hear them. Stand, ho! Who is

:02:57. > :03:01.there? Friends to this ground. And liegemen to the Dane. Give you good

:03:02. > :03:10.night. O, farewell honest soldier, who hath reliev'd you? Say, what, is

:03:11. > :03:17.Horatio there? A piece of him. Welcome, Horatio. Welcome, good

:03:18. > :03:25.Marcellus. Tush, tush, 'twill not appear. So let us once again assail

:03:26. > :03:28.your ears, That are so fortified against our story, What we have two

:03:29. > :03:32.nights seen... Peace, break thee off. Look where it comes again. In

:03:33. > :03:36.the same figure like the King that's dead. Thou art a scholar. Speak to

:03:37. > :03:41.it, Horatio. Looks he not like the King? Mark it, Horatio. Most like.

:03:42. > :03:46.It harrows me with fear and wonder. It would be spoke to. Question it,

:03:47. > :03:49.Horatio. What art thou that usurp'st this time of night, Together with

:03:50. > :03:55.that fair and warlike form In which the majesty of buried Denmark did

:03:56. > :04:03.sometimes march. By heaven, I charge thee speak. It is offended. See, it

:04:04. > :04:17.stalks away. Stay, speak, speak, I charge thee speak.

:04:18. > :04:23.It was announced that he was to be the director of the National

:04:24. > :04:33.Theatre. He was very excited by it. He was also very frightened. Larry

:04:34. > :04:38.kind of works, he has an area around him which is quite difficult to

:04:39. > :04:45.penetrate. It got easier. It got easier and more relaxed.

:04:46. > :04:50.Now look here, gentlemen, he that bids the fairest shall have me! My

:04:51. > :04:53.dear, I'd prefer you, I'd make you a corporal this minute! Corporal? I'll

:04:54. > :04:57.make you my companion. You shall eat with me! You shall drink with me!

:04:58. > :05:01.You shall lie with me, you young rogue. You shall receive your pay

:05:02. > :05:05.and do no duty. Then you must make me a field officer! I'll do more

:05:06. > :05:08.than all this - I'll make you a Corporal and give you brevet for

:05:09. > :05:12.sergeant. Can you read and write, sir? Yes. Then your business is

:05:13. > :05:14.done. I'll make you chaplain to the regiment.

:05:15. > :05:18.It was an actors' theatre in that it was run by the greatest actor we

:05:19. > :05:23.had. Joan was very important because she was Mrs Olivier, and she sort of

:05:24. > :05:26.kept us all in check really. Now tell me Mikhail Lvovich, if I

:05:27. > :05:30.had a friend, or a younger sister, and if you found out that she, well

:05:31. > :05:49.- suppose she loved you, how would you take that? I don't know. No how

:05:50. > :05:53.I expect. I should give her to understand that I could not care for

:05:54. > :06:03.her, my mind was taken up with other things. Anyway if I'm going, I

:06:04. > :06:06.really must get off. Goodbye, my dear girl or we shall not finish

:06:07. > :06:11.till morning. I'll go out through this way if you don't mind, I don't

:06:12. > :06:37.want your uncle to detain me. No, no don't trouble please.

:06:38. > :06:43.My voices were right, they told me you were fools and that I was not to

:06:44. > :07:00.listen to your fine words...or trust to your charity. You promised me my

:07:01. > :07:05.life but you lied. You think that life is nothing but not being stone

:07:06. > :07:14.dead. It is not the bread and water I fear. I can live on bread, when I

:07:15. > :07:17.have asked for more? 'Tis no hardship to drink water if the water

:07:18. > :07:24.be clean. Bread hath no sorrow for me, nor water no affliction. But to

:07:25. > :07:28.shut me from the light of the sky, and the sight of the fields and

:07:29. > :07:32.flowers, to chain my feet so that I can never again ride with the

:07:33. > :07:35.soldiers or climb the hills; to make me breathe foul damp darkness, and

:07:36. > :07:39.keep me from everything that brings me back to the love of God when your

:07:40. > :07:54.wickedness and foolishness tempt me to hate Him. All this is worse than

:07:55. > :08:00.the furnace in the Bible that was heated seven times. I could do

:08:01. > :08:06.without my warhorse, I could drag about in a skirt. I could let the

:08:07. > :08:10.banners and the trumpets and the knights and the soldiers pass me and

:08:11. > :08:14.leave me behind as they leave the other women, if only I could still

:08:15. > :08:17.hear the wind in the trees, the larks in the sunshine, the young

:08:18. > :08:20.lambs crying through the healthy frost, and the blessed blessed

:08:21. > :08:41.church bells that send my angel voices floating to me on the wind.

:08:42. > :08:45.But without these things I cannot live, and by your wanting to take

:08:46. > :08:49.them away from me, or from any human creature, I know that your counsel

:08:50. > :09:13.is of the devil, and that mine is of God.

:09:14. > :09:41.In 1966 Kenneth Tynan, who was the literary manager of the National

:09:42. > :09:44.Theatre came back from the Edinburgh Fringe Festival with a dazzling new

:09:45. > :09:54.play which focused on two very peripheral characters from Hamlet.

:09:55. > :09:56.It was Tom Stoppard's first play at the National, Rosencrantz And

:09:57. > :09:59.Guildenstern Are Dead, in which Hamlet's two doomed school friends

:10:00. > :10:12.ponder The Mysteries of eternity, chance and death.

:10:13. > :10:27.Heads.Heads (and again). Heads. Heads.

:10:28. > :10:34.Yes, one must think of the future. It's the normal thing. To have one.

:10:35. > :10:44.One is, after all, having it all the time. Now. And now. And now. It

:10:45. > :10:55.could go on for ever. Well, not for ever, I suppose. Do you ever think

:10:56. > :11:07.of yourself as actually dead, lying in a box with a lid on it? No. Nor

:11:08. > :11:15.do I, really. It's silly to be depressed by it. I mean one thinks

:11:16. > :11:18.of it like being alive in a box, one keeps forgetting to take into

:11:19. > :11:21.account the fact that one is dead, which should make a

:11:22. > :11:26.difference,shouldn't it? I mean, you'd never know you were in a box,

:11:27. > :11:32.would you? It would be just like being asleep in a box. Not that I'd

:11:33. > :11:35.like to sleep in a box, mind you, not without any air. You'd wake up

:11:36. > :11:39.dead, for a start and then where would you be? Apart from inside a

:11:40. > :11:48.box. That's the bit I don't like, frankly. That's why I don't think of

:11:49. > :11:55.it. Because you'd be helpless, wouldn't you? Stuffed in a box like

:11:56. > :11:58.that, I mean you'd be in there for ever. Even taking into account the

:11:59. > :12:02.fact you're dead, really - ask yourself, if I asked you straight

:12:03. > :12:06.off - I'm going to stuff you in this box now, would you rather be alive

:12:07. > :12:11.or dead? Naturally, you'd prefer to be alive. Life in a box is better

:12:12. > :12:15.than no life at all. I expect. You'd have a chance at least. You could

:12:16. > :12:20.lie there thinking - well, at least I'm not dead! In a minute someone's

:12:21. > :12:24.going to bang on the lid and tell me to come out. "Hey you, whatsyername!

:12:25. > :12:35.Come out of there"! You don't have to flog it to death! I wouldn't

:12:36. > :12:42.think about it, if I were you. You'd only get depressed. Eternity is a

:12:43. > :12:50.terrible thought. I mean, where's it going to end?

:12:51. > :13:10.I don't think you're being very kind. Oh, what makes you think that?

:13:11. > :13:14.You being the cynical author laughing up his sleeve at a gushing

:13:15. > :13:18.admirer. I think you're a very interesting woman, and extremely

:13:19. > :13:23.nice-looking. Oh, do you? Yes. Would you like me to make love to you? Oh,

:13:24. > :13:26.now really, David - I wish you wouldn't say things like that. I

:13:27. > :13:30.know I've knocked you off your plate - I'll look away for a minute while

:13:31. > :13:33.you. Climb on to it again. Oh, really this is wonderful! That's

:13:34. > :13:37.right. Now then... Now then, what? You're adorable - you're magnificent

:13:38. > :13:41.- you're tawny. I'm not in the least tawny. Now, don't argue. This is

:13:42. > :13:45.sheer affectation. Now affectation's very nice. No, it isn't - it's

:13:46. > :13:49.odious. Oh, you mustn't be cross. I'm not in the least cross. Yes, you

:13:50. > :13:52.are - but you're very alluring. Alluring? Terribly. How sweet of

:13:53. > :13:56.you. I can hear your brain clicking - it's really very funny. Yes well

:13:57. > :14:00.that was rather rude. You've been consistently rude to me for hours.

:14:01. > :14:04.Never mind. Why have you? I'm always rude to people I like. Do you like

:14:05. > :14:11.me? Enormously. Oh, how sweet of you! But I don't like your methods.

:14:12. > :14:14.Methods? What methods? You're far too pleasant to occupy yourself with

:14:15. > :14:20.the commonplace. And you spoil yourself by trying to be too clever.

:14:21. > :14:23.Oh you're so inscrutable and quizzical, just exactly what a

:14:24. > :14:27.feminine psychologist should be. Yes, aren't I? You frighten me

:14:28. > :14:30.dreadfully. Oh darling! Oh, don't call me darling. Well that's

:14:31. > :14:33.unreasonable. You've been trying to make me the whole evening. Your

:14:34. > :14:36.conceit is outrageous! It's not conceit at all! You've been firmly

:14:37. > :14:39.buttering me up because you want a nice little intrigue. Oh how dare

:14:40. > :14:43.you! It's perfectly true. If it weren't you wouldn't be so cross. I

:14:44. > :14:47.think you are insufferable! Oh Myra - dear Myra... Ah! Don't touch me!

:14:48. > :14:51.Oh, come along let's have that nice little intrigue. The only reason

:14:52. > :14:54.I've been so annoying is that I love to see things as they are first, and

:14:55. > :14:57.then pretend they're what they're not. Yes words, words. Masses and

:14:58. > :15:01.masses of words! Yes, well, they're great fun to play with. Oh, I'm glad

:15:02. > :15:05.you think so. Personally, they bore me stiff. They're great fun to play

:15:06. > :15:08.with. I'm glad you think so. Personally, they bore me stiff. Myra

:15:09. > :15:20.- don't be statuesque. Yes, let go of my hand! Oh! Oh, I am so sorry.

:15:21. > :15:36.APPLAUSE AND CHEERING Wedlock, we own ordained by heaven's

:15:37. > :15:44.decree, But such as heaven ordained it first to be: Concurring tempers

:15:45. > :15:52.in the man and wife. As mutual helps to draw the load of life. View all

:15:53. > :15:56.the works of Providence above. The stars with harmony and concord move.

:15:57. > :16:08.View all the works of Providence below. The fire, the water, earth,

:16:09. > :16:21.and air we know. All in one plant agree to make it grow. Must man, the

:16:22. > :16:25.chiefest work of art divine, be doomed in endless discord to repine?

:16:26. > :16:43.No, we should injure heaven by that surmise. Omnipotence is just, were

:16:44. > :16:55.man but wise. APPLAUSE

:16:56. > :17:02.Peter Nichols' The National Health was the first in a long of

:17:03. > :17:07.illustrious line of what came to be known as State of the Nation plays

:17:08. > :17:13.at the National Theatre. A funny but merciless parody of a sentimental TV

:17:14. > :17:16.hospital soap is intercut with a very realistic portrayal of a

:17:17. > :17:23.shabby, underfunded hospital and a hospital staff that seems intent on

:17:24. > :17:27.doing anything but serving their patients properly. In the second bed

:17:28. > :17:47.from the right is Charles Kay, who played the same role 44 years ago.

:17:48. > :17:51.Good morning, how are you today? GROANS. Keep smiling. You'll soon by

:17:52. > :17:58.out of here. Good morning, how are you today? Morning, Matron, not so

:17:59. > :18:01.dusty, thank you. That's the style. When you consider half my tummy's

:18:02. > :18:05.been? Keep it up. Taken away. GROANS. Good morning. How are you

:18:06. > :18:11.getting along? Eh? Are they treating you well? Not too bad. That's right.

:18:12. > :18:16.Though I'd like to go to a toilet... Sister. You know - toilet with a

:18:17. > :18:32.decent chain. Get this patient a bedpan. Bedpan for Mr Flagg. Good

:18:33. > :18:37.morning how are you today? Lovely, Matron. That's what we like to hear,

:18:38. > :18:40.isn't it, Sister? Get well soon. We need the beds.

:18:41. > :18:45.LAUGHTER You could have waited. What's he

:18:46. > :18:50.brought me this for? You said you wanted to go to the toilet. I said I

:18:51. > :18:54.would like a toilet with a decent chain like I have at home. Mr Flagg

:18:55. > :19:00.don't said he was looking forward to a toilet with a decent chain. The

:19:01. > :19:17.Matron says do this, it's a Royal command. I don't want the bedpan.

:19:18. > :19:25.Come along, Mr Flagg. I have been on duty for 29 hours.

:19:26. > :19:32.LAUGHTER Where's Her Majesty? On the balcony.

:19:33. > :19:38.Who do you feel? Nurse, this patient should have the screens round.

:19:39. > :19:48.They're all being used. Get them in. Coming! Shall I take you off, Mr

:19:49. > :20:00.Flagg. I never wanted to come on here. Now I am on, you better leave

:20:01. > :20:04.me. Oh. Doctor. Doctor! We will aspirate a pleural effusion. Thank

:20:05. > :20:13.you, nurse. He should be on the terminal ward. Ask Strr to arrange

:20:14. > :20:19.it. I will be with the almoner if you want me. Other way if you want

:20:20. > :20:33.to go out. Mr Mackie to the terminal ward. Go for a nice long ride now,

:20:34. > :20:49.Mr Mackie. Chuff-chuff-chuff. Those chairs are anyhow. Put them straight

:20:50. > :20:55.Those chairs are anyhow. Put them straight. The whole ward block is in

:20:56. > :20:59.for a face-lift which I am sure you will agree is long overdue. The

:21:00. > :21:07.walls will be in washable avocado pear, curtains and counterpanes in

:21:08. > :21:14.Cotswold stone. High level louvres on the windows. King's Fund beds

:21:15. > :21:28.with slimline mattresses. Into the jet-age with one big jump.

:21:29. > :21:33.APPLAUSE No Man's Land by Harold Pinter. I

:21:34. > :21:39.remember seeing it with Gielgud and Richardson at the Vic. Then it moved

:21:40. > :21:43.to the South Bank. I can't remember knowing what it was about. But it

:21:44. > :21:51.didn't really matter. You are not supposed to really know. It's Harold

:21:52. > :21:59.Pinter, you just watch it. And when they pause, is it intended? Just

:22:00. > :22:03.long pauses, weren't there? Long pauses. I've done many plays by

:22:04. > :22:07.Harold. If you asked Harold what his plays were about he wouldn't reply.

:22:08. > :22:10.He wouldn't say, I don't know or wouldn't say anything. Just wouldn't

:22:11. > :22:19.speak to you. So you just get on with it and do it. That's all. I

:22:20. > :22:25.don't quite know what Spooner and Hirst represent. I mean, they seem

:22:26. > :22:28.to... Um... Be sort of kaleidoscopic. They can be many,

:22:29. > :22:35.many things at any time you want them to be. One is very rich and one

:22:36. > :22:40.is very poor. And one is a kind of parasitic hanger-on type person. The

:22:41. > :22:45.other is a man who is sitting there drunk. I wish I was playing that

:22:46. > :23:04.part! He never stops talking, your man, does he? Unfortunately, not! I

:23:05. > :23:07.am enraptured. Tell me more. Tell me more about the quaint little

:23:08. > :23:11.perversions of your life and times. Tell me more, with all the authority

:23:12. > :23:13.and brilliance you can muster, about the socio-political-economic

:23:14. > :23:20.structure of the environment in which you attained to the age of

:23:21. > :23:27.reason. Tell me more. There is no more. Tell me then about your wife.

:23:28. > :23:44.What wife? How beautiful she was, how tender and how true. Tell me

:23:45. > :23:49.with what speed she swung in the air, with what velocity she came off

:23:50. > :23:52.the wicket. Whether she was responsive to finger spin, whether

:23:53. > :23:57.you could bowl a shooter with her, or an off break with a legbreak

:23:58. > :24:17.action. In other words, did she google?

:24:18. > :24:20.You will not say. I will tell you then, that my wife had everything.

:24:21. > :24:37.Eyes, a mouth, hair, teeth, buttocks, breasts, absolutely

:24:38. > :24:42.everything. And legs. Which carried her away. Carried who away? Yours or

:24:43. > :24:52.mine? Is she here now, your wife? Cowering in a locked room, perhaps?

:24:53. > :25:02.Was she ever here? Was she ever there, in your cottage? It is my

:25:03. > :25:06.duty to tell you you have failed to convince. I am an honest and

:25:07. > :25:13.intelligent man. You pay me less than my due. Are you, equally, being

:25:14. > :25:15.fair to the lady? I begin to wonder whether truly accurate and therefore

:25:16. > :25:25.essentially poetic definition means anything to you at all. I begin to

:25:26. > :25:29.wonder whether you do in fact truly remember her, whether you truly did

:25:30. > :25:32.love her, truly caressed her, truly did cradle her, truly did husband

:25:33. > :25:46.her, falsely dreamed or did truly adore her. I have seriously

:25:47. > :25:55.questioned these propositions and find them threadbare. Her eyes, I

:25:56. > :26:39.take it, were hazel? Hazel shit. Good lord, good lord, do

:26:40. > :26:49.I detect a touch of the maudlin? Hazel shit. I ask myself: Have I

:26:50. > :27:01.ever seen hazel shit? Or hazel eyes, for that matter? Do I detect a touch

:27:02. > :27:05.of the hostile? Do I detect, with respect, a touch of too many glasses

:27:06. > :27:12.of ale followed by the great malt which wounds? Which wounds? Tonight,

:27:13. > :27:25.my friend, you find me in the last lap of a race I had long forgotten

:27:26. > :27:29.to run. A metaphor. LAUGHTER

:27:30. > :27:39.Things are looking up. APPLAUSE AND CHEERING

:27:40. > :27:47.The next playwright is Alan Ackybourn, one of the most prolific

:27:48. > :27:53.playwright for the National Theatre. I can remember many, among them

:27:54. > :27:58.Sisterly Feelings which I was in, Way Upstream, A Chorus of

:27:59. > :28:01.Disapproval, Small Family Business and Bedroom Farce. He started it on

:28:02. > :28:05.a Wednesday and finished on a Friday. He typed it up on the

:28:06. > :28:12.Saturday. He went into rehearsal on the Monday. Peter asked me to write

:28:13. > :28:17.a play specifically, I said, are you sure you want me to write for The

:28:18. > :28:23.National? He did a Peter-ism, he lent forward as we were having

:28:24. > :28:28.dinner and he said, Alan, ask yourself, can I do without The

:28:29. > :28:34.National Theatre? The answer is yes, but I'll ask you another question.

:28:35. > :28:44.Can The National Theatre do without you? Bedroom Farce takes place in

:28:45. > :28:46.three suburban bedrooms over 24 hours and I think probably that's

:28:47. > :29:02.all you need to know. A damp patch. Definitely. It's

:29:03. > :29:06.getting in from somewhere. I've just been standing on the spare bed in

:29:07. > :29:16.there feeling the ceiling. The verdict is, very very damp. Grub up.

:29:17. > :29:20.Just a minute. It'll get cold. I've just got to take this off. You can

:29:21. > :29:23.do that afterwards. I'm not getting into bed with my make-up on,

:29:24. > :29:28.darling. It may look beautiful in the films but they don't have to

:29:29. > :29:36.worry about the laundry bills. Oh well. Spot of bad news, anyway. Bad

:29:37. > :29:49.news? Sardines were not in evidence. I had to settle for pilchards.

:29:50. > :30:02.Pilchards? Oh. Don't you like pilchards? Well, not as much.

:30:03. > :30:06.Similar. Both fish, anyway. Yes. You had them in stock. I assumed you

:30:07. > :30:14.liked them. I don't necessarily like everything I buy. Those were just

:30:15. > :30:18.stores. For an emergency. Ah, the old siege stores, eh? I bought a

:30:19. > :30:22.little of everything. I think there's even some tinned red cabbage

:30:23. > :30:29.and I certainly don't intend to eat that. Oh well, I'll wolf the lot

:30:30. > :30:47.then, shall I? No, no, leave me a little. Right. Aaah. Didn't put the

:30:48. > :31:04.blanket on, did we? Nor did we. Ah. Down you go.

:31:05. > :31:14.Ah, this is nice. What better way to end the day? Listening to the rain

:31:15. > :31:34.gushing through our roof. It's not raining surely? Metaphorical. These

:31:35. > :31:41.aren't bad at all. You know, I think I could become a pilchard man. I

:31:42. > :31:45.think we're in imminent need of a hot water bottle here, you know. Oh

:31:46. > :31:49.yes. Bearing in mind the normal running temperature of your feet.

:31:50. > :31:53.Not my fault. Most women have cold feet. It's circulation. I wouldn't

:31:54. > :31:58.know about that. I haven't sampled that many. The girls at school did.

:31:59. > :32:03.Well, not the younger ones. Younger girls have very hot feet. Like

:32:04. > :32:13.little boys. But when we got to the sixth form, we all found we had cold

:32:14. > :32:22.feet. I think it's something to do with - maturing. Very curious. Chaps

:32:23. > :32:30.I shared a hut with in the army all had overwhelmingly hot feet. I can

:32:31. > :32:37.imagine. Yes, I pronounce these pilchards a success. Jolly good.

:32:38. > :32:49.Right, here I come. Stand by for cold feet.

:32:50. > :33:01.Darling, you're getting fish on the sheet. Oh, sorry. Now we're going to

:33:02. > :33:02.reek of fish all night. I don't think this was a terribly bright

:33:03. > :33:37.idea of someone's. Oh well. You only live once. What

:33:38. > :33:49.the hell. Well, it's on your side. You have to put up with it. Oh yes,

:33:50. > :33:57.they're quite pleasant, aren't they? Not up to sardines but not bad. They

:33:58. > :34:07.got my vote. At least we're in for a reasonably early night. Yes. Sunday

:34:08. > :34:17.tomorrow, we can lie in. Go for a walk later on if you like. That'd be

:34:18. > :34:19.nice. If unwet. Rather. Otherwise we'll both be crouching in the

:34:20. > :35:01.rafters with buckets. God forbid. That night I heard Mozart's music

:35:02. > :35:06.for the first time. Some serenade for wind instruments, only vaguely

:35:07. > :35:11.at first, too horrified to attend. But presently the sounds insisted, a

:35:12. > :35:16.solemn Adagio in E flat. It started simply enough... Just a pulse in the

:35:17. > :35:27.lowest register, bassoon and basset horn, like a rusty squeeze-box. It

:35:28. > :35:37.would have been comic except for the slowness which gave it instead, a

:35:38. > :35:47.sort of serenity. And then suddenly, high above it, sounded a single note

:35:48. > :35:49.on the oboe. It hung there unwavering, piercing me through,

:35:50. > :35:53.'till breath could hold it no longer, and a clarinet withdrew it

:35:54. > :36:08.out of me, and softened it, and sweetened it to a phrase of such

:36:09. > :36:19.delight it had me trembling. The lights flickered in the room. My

:36:20. > :36:22.eyes clouded! The squeeze-box groaned louder, and over it the

:36:23. > :36:25.higher instruments wailed and warbled, throwing lines of sound

:36:26. > :36:38.around me, long lines of pain around and through me, ah, the pain! Pain

:36:39. > :36:44.as I had never known it. I called up to my sharp old God, "What is this?

:36:45. > :36:48.What?!" But the squeeze-box went on and on, and the pain cut deeper into

:36:49. > :36:51.my shaking head and suddenly I was running, downstairs through the

:36:52. > :37:06.side-door, out into the street, out into the dark night, gasping for

:37:07. > :37:15.life "What?! What is this Signore! What is this pain? What is the need

:37:16. > :37:25.in the sound? Forever unfulfillable yet fulfilling him who hears it,

:37:26. > :37:34.utterly. Is it Your need? Can it be Yours?" Dimly the music sounded from

:37:35. > :37:47.the salon above. Dimly the stars shone on the empty street. I was

:37:48. > :37:51.suddenly frightened. It seemed to me that I had heard a voice of God, and

:37:52. > :37:53.that it issued from a creature whose voice I had also heard, and it was

:37:54. > :38:18.the voice of an obscene child. APPLAUSE Would any of you gentlemen

:38:19. > :38:20.like to testify? Detroit. We'll hear testimony from? Brother

:38:21. > :38:29.Nicely-Nicely Johnson. Brother Nicely-Nicely Johnson. Get up you

:38:30. > :38:44.fat water buffalo. Well it er, happened to me kinda funny, like in

:38:45. > :38:49.a dream. Tell us in your own words. I dreamed last night I got on the

:38:50. > :38:58.boat to Heaven,.And by some chance I had brought my dice along. And there

:38:59. > :39:11.I stood, and I hollered, "Someone fade me". But the passengers they

:39:12. > :39:17.knew right from wrong. For the people all said, Sit down, sit down

:39:18. > :39:23.you're rockin' the boat. People all said, Sit down, sit down you're

:39:24. > :39:27.rockin' the boat. And the devil will drag you under By the sharp lapel of

:39:28. > :39:38.your checkered coat; Sit down, sit down, sit down, sit down. Sit down

:39:39. > :39:44.you're rocking the boat. I sailed. Away on that little boat to Heaven.

:39:45. > :39:47.And by some chance found a bottle in my fist,.And there I stood, Nicely

:39:48. > :39:58.passin' out the whiskey, But the passengers were bound to resist For

:39:59. > :40:03.the people all said, "Beware!" People all said, "beware, beware!

:40:04. > :40:10.You're on a heavenly trip". People all said, "beware"! Beware you'll

:40:11. > :40:13.scuttle the ship; And the devil will drag you under By the fancy tie

:40:14. > :40:18.'round your wicked throat; Sit down. Sit down, sit down, sit down, Sit

:40:19. > :40:32.down you're rockin' the boat. And as? I laughed at those passengers to

:40:33. > :40:35.Heaven. Ah, ah, ah, ah! A great big wave came and washed me

:40:36. > :40:38.overboard,.And as I sank, and I hollered, "Someone save me," That's

:40:39. > :40:55.the moment I woke up, thank the Lord! Thank the Lord, thank the

:40:56. > :41:06.Lord! And I said to myself, "Sit down". "Sit down you're rocking the

:41:07. > :41:11.boat." Said to myself, "Sit down". And the devil will drag you under.

:41:12. > :41:15.With a soul so heavy you'd never float. Sit down, sit down, sit down,

:41:16. > :41:18.sit down, Sit down you're rockin' the boat. Sit down you're rockin'.

:41:19. > :41:35.Sit down sit down sit down you're rockin' the boat. Sit down.

:41:36. > :41:54.And I said to myself, "Sit down". "Sit down you're rocking the boat."

:41:55. > :41:58.And the devil will drag you under. Sit down, sit down, sit down, sit

:41:59. > :42:09.down, Sit down you're rockin' the boat. Sit down you're rockin'. Sit

:42:10. > :42:40.down. You're rockin'. The boat! I never saw Pravda at the National

:42:41. > :42:44.Theatre but I remember it was Anthony Hopkins at the centre of

:42:45. > :42:50.this new play. Everybody was talking about this extraordinary

:42:51. > :42:53.performance. I suppose if I had seen it I would not be comfortable about

:42:54. > :43:00.putting myself in the firing line for this! The play is about a

:43:01. > :43:06.newspaper magnate from South Africa who comes to England and starts to

:43:07. > :43:11.take over various important British newspapers. It is supposedly based

:43:12. > :43:18.on a famous newspaper magnate, we can all guess who. He runs, takes

:43:19. > :43:18.over like a beast takes over the rather genteel and slightly

:43:19. > :43:52.ineffectual British press. You are born into a tragic culture.

:43:53. > :43:58.Tragedy is bred in your bones. A country of almost impossible beauty.

:43:59. > :44:08.From the very moment you are born, the sadness infects you. Like a mist

:44:09. > :44:11.hanging over the veldt. Jackal, giraffe, hyena, lion - the well-nigh

:44:12. > :44:14.unimaginable richness of creation is presented to you every day from the

:44:15. > :44:26.window of your speeding car in scenes of almost post-card-like

:44:27. > :44:35.glamour. Nature is there. In front of you. Childhood, boyhood, manhood.

:44:36. > :44:46.These are special things in South Africa. The hardening of muscle, the

:44:47. > :44:51.sprouting of hair. The coming realisation you are born into a

:44:52. > :44:54.divided culture. No one has tried harder than I through my

:44:55. > :45:04.organisations to untie the knots of the cultural contradictions. Black,

:45:05. > :45:10.white, rich, poor, us, them, but people who come from Europe bearing

:45:11. > :45:13.si police -- simplistic solutions ignore the scale of what we have

:45:14. > :45:19.inherited from Mother Nature herself.

:45:20. > :45:23.What I do is a natural thing. There is nothing unnatural about making

:45:24. > :45:28.money. When you are born where I was born you do have a feeling for

:45:29. > :45:38.nature. What I admire about nature is animals, birds, plants, they f

:45:39. > :45:44.ucking get on with it and don't stand about complaining all the

:45:45. > :45:51.time. We are greatly interested in your mother's share holdings in the

:45:52. > :45:56.Victory. The Daily Victory? Acquiring it. I know what you will

:45:57. > :46:06.tell me. The Daily Victory is one small part of your country you all

:46:07. > :46:14.say will never be for sale. An Everest of probity, unscaleable. An

:46:15. > :46:19.institution like Buckingham Palace, the Tower of London and your two

:46:20. > :46:23.Houses of Parliament and as dismal and dreary a read as it is possible

:46:24. > :46:28.for humanity to contrive It's true, it isn't very good. Your mother owns

:46:29. > :46:32.21% of the shares. I don't understand, if you want to acquire

:46:33. > :46:36.stock talk to her. It's often hard to speak clearly with Dame Elsa.

:46:37. > :46:41.She's often inaccessible. Her mind is often inaccessible. Her mind is

:46:42. > :46:47.often drifting between one thing and another. Incoherent. Senile. I

:46:48. > :46:54.gather from what you are saying you have already offered for her shares?

:46:55. > :47:01.Dame Elsa seems not to realise the potential of her shareholdings. God,

:47:02. > :47:09.is there nowhere to sit down? Dame Elsa's stock and we own 53% of the

:47:10. > :47:16.shares. Control. Can you just buy a piece of England? You are South

:47:17. > :47:23.African. We have the England cricket Captain. There are trustees with a

:47:24. > :47:26.veto, do you suppose they will let you in What if they did and you are

:47:27. > :47:32.the man that helped me. You are a Member of Parliament. Some backbench

:47:33. > :47:37.lobbying. The right word here and there. You've not much to lose. If

:47:38. > :47:42.we are to succeed a friendly victory will assist your career. I see. As a

:47:43. > :47:49.politician. Not even a politician, no longer a politician. With The

:47:50. > :47:59.Daily Victory behind you, a statesman. Get him a seat. The press

:48:00. > :48:04.and politicians, it's a delicate relationship.

:48:05. > :48:09.LAUGHTER Too close and danger ensues and too

:48:10. > :48:12.far apart, democracy itself cannot function. There must be an essential

:48:13. > :48:18.exchange of information. Creative leaks, a discreet lunch. Interchange

:48:19. > :48:21.in the lobby, the art of the unattributable telephone call late

:48:22. > :48:26.at night, a source close to the Prime Minister, meaning the Prime

:48:27. > :48:32.Minister. Yes. This mutual relationship is a good thing, and if

:48:33. > :48:38.it can be made concrete, formalised by an actual commercial arrangement,

:48:39. > :48:42.if I, for instance, were to offer you my private skill and influence,

:48:43. > :48:48.and in return you were to guarantee me access to your newspapers, if the

:48:49. > :48:58.channels of free expression were to be... Channelled in my direction, if

:48:59. > :49:06.Man Of Steel were to be a regular feature, a column, written by

:49:07. > :49:09.myself, by me, then democracy would be safeguarded. And we would have a

:49:10. > :49:44.very satisfactory deal. What the lock is happening? What is

:49:45. > :49:53.going on here? Christ, I never met such a load of locking shit. It's

:49:54. > :50:03.shit! It's locking rubbish! What do you do? Home affairs, Sir. Where are

:50:04. > :50:12.you? How much have we spent? 150,000 How much does that leave in the

:50:13. > :50:18.fund? 350,000. You're fired. Who wrote this article on Central

:50:19. > :50:24.American politics? Who is it? Is it anybody here. Put your hand up. Sack

:50:25. > :50:30.yourself, please. Spare me the embarrassment no gringo should have

:50:31. > :50:37.to read this kind of stuff. Where are you going? I am going to the

:50:38. > :50:42.lavatory. Use the public toilet. You're fired. Where are you? Have I

:50:43. > :50:46.fired you? No, Sir. Then get over there. Get over that side. All the

:50:47. > :50:53.ones I haven't fired are over that side. Don't confuse me. Where is

:50:54. > :50:58.marketing? They are the worst. Who is this communistic propaganda? All

:50:59. > :51:05.the advertising people must go. Don't even let them take a pencil

:51:06. > :51:09.with them. Search them. I am deputy editor. I have been holding the

:51:10. > :51:15.fort. I trust you find everything to your satisfaction. What is your

:51:16. > :51:18.name? Cliveden Whicker-Baskett. In South Africa there are no men called

:51:19. > :51:27.Whicker-Baskett. The name is totally unknown. Who is this? That's Mack

:51:28. > :51:31.Wellington, the drama critic. Whipper Wellington, he has just been

:51:32. > :51:37.to a lunchtime theatre. What sort of criteria do you use in your reviews?

:51:38. > :51:44.Is it more important the play flatters your personal prejudices or

:51:45. > :51:50.do you make a genuine attempt at objectivity? Oh, God! Did I sack

:51:51. > :52:03.you? No Doesn't make any difference I am sacking you now. Everyone,

:52:04. > :52:08.let's get the news on the street. APPLAUSE

:52:09. > :52:12.I feel very stubborn. I am going to sit it out until that bloody

:52:13. > :52:18.building is alive. I do enjoy a good fight, if I believe it's worth

:52:19. > :52:53.fighting and I am sure I am an adrenalin addict. I like that.

:52:54. > :53:07.APPLAUSE I dream'd there was an Emperor

:53:08. > :53:16.Antony: O, such another sleep, that I might see but such another man! If

:53:17. > :53:19.it might please ye,- His face was as the heavens; and therein stuck a sun

:53:20. > :53:32.and moon, which kept their course, and lighted the little O, the earth.

:53:33. > :53:37.Most sovereign creature... His legs bestrid the ocean: his rear'd arm

:53:38. > :53:40.crested the world: his voice was propertied as all the tuned spheres,

:53:41. > :53:54.and that to friends; But when he meant to quail and shake the orb, he

:53:55. > :53:58.was as rattling thunder. For his bounty, there was no winter in't; an

:53:59. > :54:02.autumn 'twas that grew the more by reaping: his delights were

:54:03. > :54:11.dolphin-like; they show'd his back above the element they lived in: in

:54:12. > :54:31.his livery walk'd crowns and crownets; realms and islands were As

:54:32. > :54:35.plates dropp'd from his pocket. Cleopatra! Think you there was, or

:54:36. > :54:39.might be, such a man as this I dream'd of? Gentle madam, no. You

:54:40. > :54:43.lie, up to the hearing of the gods. But if there be, nor ever were one

:54:44. > :54:52.such, It's past the size of dreaming.

:54:53. > :55:08.APPLAUSE The luckiest thing that happened to

:55:09. > :55:12.me when I was running The National Theatre, that I received a play from

:55:13. > :55:17.an American friend and it was a play that had never been performed in

:55:18. > :55:23.America and I started to read it. After I got to page three I realised

:55:24. > :55:28.I had to put this play on. It was a play about living with Aids, about

:55:29. > :55:33.American politics, about religion. It was about sex, love, and death.

:55:34. > :55:38.Which, after all, is the stuff of all good drama. It was called Angels

:55:39. > :56:11.In America. Poor Louis. I'm sorry your grandma

:56:12. > :56:15.is dead. Tiny little coffin, huh? Sorry I didn't introduce you to - I

:56:16. > :56:21.always get so closety at these family things. Butch. You get butch.

:56:22. > :56:28."Hi Cousin. Doris, you don't remember me I'm Lou, Rachel's boy."

:56:29. > :56:36.Lou, not Louis, because if you say Louis they'll hear the sibillant S.

:56:37. > :56:41.I don't have a... I don't blame you, hiding. Bloodlines. Jewish curses

:56:42. > :56:44.are the worst. I personally would dissolve if anyone ever looked me in

:56:45. > :56:51.the eye and said "Feh." Fortunately WASPS don't say "Feh." Oh and by the

:56:52. > :56:57.way, darling, cousin Doris is a dyke. No. Really? You don't notice

:56:58. > :57:00.anything. If I hadn't spent the last four years fellating you I'd swear

:57:01. > :57:11.you were straight. You're in a pissy mood. Cat still missing? Not a

:57:12. > :57:15.furball in sight. It's your fault. It is? I warned you, Louis. Names

:57:16. > :57:19.are important. Call an animal Little Sheba and you can't expect it to

:57:20. > :57:23.stick around. Besides, it's a dog's name. I wanted a dog in the first

:57:24. > :57:26.place, not a cat. He sprayed my books. He was a female cat. Cats are

:57:27. > :57:31.stupid, high-strung predators. Babylonians sealed them up in

:57:32. > :57:36.bricks. Dogs have brains. Cats have intuition. A sharp dog is as smart

:57:37. > :57:39.as a really dull two-year-old child. Cats know when something's wrong.

:57:40. > :57:50.Only if you stop feeding them. They know. That's why Sheba left. Because

:57:51. > :57:59.she knew. Knew what? I did my best Shirley Booth this morning, floppy

:58:00. > :58:05.slippers, housecoat. Curlers, can of Little Friskies; Come back, Little

:58:06. > :58:14.Sheba, come back - to no avail. Le chat, elle ne reviendra jamais,

:58:15. > :58:22.jamais... See. That's just a burst blood

:58:23. > :58:40.vessel. Not according to the best medical authorities. What? Tell me.

:58:41. > :58:44.KS, baby. Lesion number one. The wine-dark kiss of the angel of

:58:45. > :58:46.death. Oh please... I'm a lesionnaire. The Foreign Lesion. The

:58:47. > :58:49.American Lesion. Lesionnaire's disease. Stop. My troubles are

:58:50. > :58:53.lesion. Will you stop. Don't you think I'm handling this well? I'm

:58:54. > :59:11.going to die. Bullshit. Let go of my arm. No. I can't find a way to spare

:59:12. > :59:16.you baby. No wall like the wall of hard scientific fact. K.S. Wham.

:59:17. > :59:21.Bang your head on that. Lock you. Lock you, lock you, lock you. Now

:59:22. > :59:27.that's what I like to hear. A mature reaction. Let's go see if the cat's

:59:28. > :59:36.come home. Louis? When did you find this? I couldn't tell you. Why? I

:59:37. > :59:56.was scared, Lou. Of what? That you'll leave me. Oh.

:59:57. > :00:02.Bad timing, funeral and all, but I figured as long as we're on the

:00:03. > :00:08.subject of death... I have to go bury my grandma. Lou? Then you'll

:00:09. > :00:36.come home? Then I'll come home. I do the wrong, and first begin to

:00:37. > :00:45.brawl. The secret mischiefs that I set abroach I lay unto the grievous

:00:46. > :00:53.charge of others. Clarence, whom I have indeed cast in darkness, I do

:00:54. > :00:57.beweep to many simple gulls. Namely, to Stanley, Hastings, Buckingham.

:00:58. > :01:01.And tell them this the queen and her allies that stir the king against

:01:02. > :01:09.the Duke my brother. Now, they believe it; and withal whet me To be

:01:10. > :01:13.revenged on Rivers, Dorset, Grey: But then I sigh; and, with a piece

:01:14. > :01:21.of scripture, tell them God bids us do good for evil: And thus I clothe

:01:22. > :01:23.my naked villany in old odd ends stolen forth of holy writ; And seem

:01:24. > :01:42.a saint, when most I play the devil. My first job at the National was

:01:43. > :01:48.selling ice creams and caring tickets as a 19-year-old usher. But

:01:49. > :01:51.I was in the audience when David Hare wrote his great trilogy in

:01:52. > :01:55.which he examines Britain through the prism of three of its great

:01:56. > :02:01.institutions: The church, the law and Westminster. Absence Of War

:02:02. > :02:02.examines the Labour Party as its volatile leader fights are doomed

:02:03. > :02:22.campaign. Now, let's change the subject

:02:23. > :02:26.entirely, Mr Jones. The policies themselves. And how they change.

:02:27. > :02:32.Let's look at mortgage tax relief. Ah yes. Yes, of course. There is no

:02:33. > :02:37.mention in your manifesto of any plan to abolish this concession. No.

:02:38. > :02:40.No we have none. And yet my understanding is, until very

:02:41. > :02:43.recently you were determined to abolish it. Abolish it? No, that is

:02:44. > :02:47.absolutely not true. You see I've been told, on very good authority,

:02:48. > :02:51.plans to abolish it were there. They were in the draft manifesto. Then at

:02:52. > :02:57.the last minute they were removed. I don't think so. On November 14th, on

:02:58. > :03:03.your instructions, a whole paragraph was specifically removed. No, I

:03:04. > :03:06.don't think you'll find that is so. You mean you're denying it? You're

:03:07. > :03:09.denying this proposition was removed? On mortgage tax relief, it

:03:10. > :03:17.was never my intention-.you ask me, I tell you, I want to be clear?. The

:03:18. > :03:21.truth now, Mr Jones-. This proposal was never to appear in the final

:03:22. > :03:25.manifesto. Ah good yes, now, now we're making some headway, so now

:03:26. > :03:29.you admit it was there for a time. Well? So who took it out? That is my

:03:30. > :03:32.question. Did you or did you not take it out? I did not. Really?

:03:33. > :03:38.Really? That's not what I've been told. Are you calling me a liar? I'm

:03:39. > :03:42.calling you nothing. That is for the public to decide. Thank you, Mr

:03:43. > :03:55.Jones. Walk me away, just walk me away from

:03:56. > :04:01.him - All right, George. What the hell's going on? How did he know?

:04:02. > :04:04.Somebody told him. You tell me, who told him? Who bloody told him? Wait,

:04:05. > :04:08.wait a moment. Whoever told him is going to have to face me. George, Mr

:04:09. > :04:11.Frank would like to say goodnight to you. George, no, George, you're not

:04:12. > :04:14.making this worse. George, oh George, I don't believe it. It's

:04:15. > :04:27.already started, the phones are ringing out there. How could you? He

:04:28. > :04:30.rattled me! How could you do that? I know. You've handed them their

:04:31. > :04:34.issue. LABOUR'S SECRET PLAN TO RAISE TAX. You've handed them their

:04:35. > :04:37.headlines. I know that. Are you calling me a liar? They're all going

:04:38. > :04:45.to use it. Every one! They're going to go for you. He sets the trap and

:04:46. > :04:50.you walk right in. Oliver. Now everyone hold on, let's stop for a

:04:51. > :04:54.moment. I gave you the cards, it was on the cards I bloody gave you, be

:04:55. > :04:58.careful, it said, watch for it, watch for mortgage tax relief. All

:04:59. > :05:00.right. But oh no! You're too vain to do your bloody homework. Oliver. Of

:05:01. > :05:03.course you're standing round wasting time with these bloody girls. You,

:05:04. > :05:06.you're listening to goo-eyed bloody Mary, all these women surrounding

:05:07. > :05:10.you telling you how marvellous you are. Do you not get it? Will you

:05:11. > :05:14.never get it? Giggling with girls who are in love with you. That isn't

:05:15. > :05:26.the job. That's not the bloody job, you idiot. Come on, George, come on,

:05:27. > :05:28.get off him! Get off him! Come on, gentlemen, let's calm this thing

:05:29. > :05:50.down. Feel my belly. It humbles, sir. I

:05:51. > :06:00.had a pair at supper. Two pairs, sir. I will try a Fat.

:06:01. > :06:12.It is hopeless. Lady Townsend came to see me this evening. She wanted

:06:13. > :06:22.to know if she could sit during the drawing room. Sit, what for? She is

:06:23. > :06:26.about to give birth. It is only for two hours. If everybody who is

:06:27. > :06:31.having a baby wants to sit, then it will be everybody with gout and

:06:32. > :06:40.before long the place will look like a Turkish harem.

:06:41. > :06:48.Arcadia is widely regarded as Tom Stoppard's masterpiece. It explores

:06:49. > :06:52.things like maths, physics, literary criticism, the nature of truth, the

:06:53. > :06:58.impossibility of knowledge, horticulture, the cosmos, the

:06:59. > :07:02.behavioural patterns of tortoises. We probably cannot get that into

:07:03. > :07:07.three minutes but here Hannah, a best selling novelist, a

:07:08. > :07:12.mathematician and Bernard, literary critic, determined to find traces of

:07:13. > :07:20.Lord Byron wherever he looks, crossed swords over the nature of

:07:21. > :07:27.truth. Last paragraph, if we seek the

:07:28. > :07:32.occasion of Ezra Chater's early and recorded death, do we need to look

:07:33. > :07:39.far? Without question, Lord Byron in the early season as a literary

:07:40. > :07:43.figure, quit the country and stayed abroad for two years at a time when

:07:44. > :07:56.continental travel was unusual and dangerous. If we seek his reason, do

:07:57. > :08:06.we need to look far? Bollocks. I think it is true. Byron had been

:08:07. > :08:08.banging on about leaving. He was talking back living in February.

:08:09. > :08:15.Geller macro everything moved more slowly than. He was two weeks in

:08:16. > :08:22.Falmouth waiting for wind. Bernard, as a scientist, your theory is

:08:23. > :08:26.incomplete. I am not a scientist. But as a scientist. Nobody would

:08:27. > :08:35.kill a man and then pan his book. I mean, not in that order. It is all

:08:36. > :08:42.trivial. What is? Who wrote what went. Did you say trivial? It is

:08:43. > :08:49.eight technical term. Not where I come from. The questions you ask are

:08:50. > :08:55.not important. It does not matter. What matters is the calculus,

:08:56. > :09:04.scientific progress, knowledge. Really? Why? Why what is? Why does

:09:05. > :09:12.scientific progress matter more than personality? Remap is he serious?

:09:13. > :09:21.No, it is trivial. You're going to zap me with penicillin. Spare me

:09:22. > :09:25.that. Do not confuse progress with respectability. A great poet is

:09:26. > :09:31.always timely. A great philosopher is an urgent need. There is no rush

:09:32. > :09:38.for Isaac Newton. We were perfectly happy with Aristotle's cosmos and

:09:39. > :09:44.personally, I preferred it. 55 years linked to God's crankshaft is a

:09:45. > :09:53.satisfying universe. I cannot think of anything more trivial than the

:09:54. > :10:01.speed of light. Black holes, who gives a shit? Why did these people

:10:02. > :10:09.con us out of money will stop are you against penicillin? I would push

:10:10. > :10:13.the lot of you over a cliff, except the one in the wheelchair will start

:10:14. > :10:14.that would lose the sympathy vote before you had a chance to think it

:10:15. > :10:51.through. This unwieldy sceptre from my hand.

:10:52. > :11:00.With mine own tears are awash away my balm. With mine own hands, I give

:11:01. > :11:21.away my crown. With mine own tongue, deny my secret.

:11:22. > :11:34.The reason why the seven stars are in reason. Monster ingratitude. If

:11:35. > :12:45.you were not my uncle I would have the beaten.

:12:46. > :12:56.Isn't it rich? Are we a pair?

:12:57. > :13:00.Me here at last on the ground, You in mid-air.

:13:01. > :13:17.Send in the clowns. Isn't it bliss?

:13:18. > :13:26.Don't you approve? One who keeps tearing around.

:13:27. > :13:35.One who can't move. Where are the clowns? Send in the

:13:36. > :13:45.clowns. Just when I'd stopped opening doors.

:13:46. > :14:00.Finally knowing the one that I wanted was yours. Making my entrance

:14:01. > :14:13.again with my usual flair. Sure of my lines, no one is there.

:14:14. > :14:23.Don't you love farce? My fault I fear.

:14:24. > :14:32.I thought that you'd want what I want.

:14:33. > :14:39.Sorry, my dear. But where are the clowns?

:14:40. > :14:52.There ought to be clowns. Don't bother, they're here.

:14:53. > :15:03.Desiree, I'm sorry. I should never have come. To flirt with rescue when

:15:04. > :15:16.one has no intention of being saved. Do try to forgive me.

:15:17. > :15:30.Isn't it rich? Isn't it queer?

:15:31. > :15:35.Losing my timing this late in my career.

:15:36. > :15:41.And where are the clowns? There ought to be clowns.

:15:42. > :16:26.Well, maybe next year. The medieval Mystery Plays were

:16:27. > :16:28.written over 500 years ago and they were created by ordinary men and

:16:29. > :16:39.women and the plays basically tell the story of the creation, the fall

:16:40. > :16:48.and the redemption of man. Thou must be slayed... The poet Tony Harrison

:16:49. > :16:53.adapted The Mysteries. Bill Bryden's original production took all of the

:16:54. > :16:57.seats out of the Cottesloe Theatre and his actors playing Yorkshire

:16:58. > :17:01.working people were able to mix with the audience and it was a profoundly

:17:02. > :17:16.religious experience, whether you were a believer or not.

:17:17. > :17:21.Lully lullay thou little tiny child Bye, bye lully lullay. Lully lullay

:17:22. > :17:51.thou little tiny child Bye, bye lully lullay.

:17:52. > :17:57.Hail, comely and clean! Hail, young child! Hail, maker, as I mean, of

:17:58. > :18:02.maiden so mild! Thou has confounded, I ween, the Warlock so wild: The

:18:03. > :18:18.false bringer of teen, now goes he beguiled. Lo, merry he is! Lo, he

:18:19. > :18:28.laughs, my sweeting! Ah! A very fair meeting! I have held to my telling:

:18:29. > :18:32.Have a bob of cherries. Hail, sovereign saviour, for thou hast us

:18:33. > :18:36.sought! Hail, nurseling and flower, that all thing has wrought! Hail,

:18:37. > :18:45.full of favour, that make all out of nought! Hail! I kneel and I cower. A

:18:46. > :18:52.bird have I brought To my bairn. Hail, little tiny mop! Of our creed

:18:53. > :18:59.thou art crop: I would drink of thy cup, Little day-starne. Hail, little

:19:00. > :19:07.darling dear, full of Godhead! I pray thee be near when that I have

:19:08. > :19:11.need. Hail, sweet in thy cheer! My heart will bleed To see thee sit

:19:12. > :19:19.here in so poor a weed, With no pennies. Hail! Put forth thy dall. I

:19:20. > :19:33.bring thee but a ball: Have and play thee withall, And go to the tennis.

:19:34. > :19:38.The father of heaven, God omnipotent, That set all in days

:19:39. > :19:44.seven, his son has he sent. My name could he namen, and on me his light

:19:45. > :19:57.spent! I conceived him full even by God's might as he meant; And now is

:19:58. > :20:00.he born. May he keep you from woe! I shall pray him so. Tell forth as ye

:20:01. > :20:24.go, And mind on this morn. I hope without dread today To see

:20:25. > :20:30.that child and his array. But, methinks, lords, by my fay The star

:20:31. > :20:35.it standeth still. Whom seek ye, sirs, by ways so wild, With talking,

:20:36. > :20:41.travelling to and fro? Here dwells a woman with her child And her

:20:42. > :20:45.husband; here are no mo. We seek a bairn that all shall shield; His

:20:46. > :20:51.certain sign has said us so; And his mother, a maiden mild, Here hope we

:20:52. > :21:00.now to find them two. Come near, good sirs, and see. Your way to an

:21:01. > :21:04.end is brought. Me beseemeth by this place That little treasure his

:21:05. > :21:19.mother has. Therefore to help her in this case Gold present shall I. And

:21:20. > :21:22.I will offer through God's grace Incense that noble savour has. Stink

:21:23. > :21:26.of the stable it shall make pass Where they both lie. And myrrh is

:21:27. > :21:29.best my offering to be To anoint him, as thinks me, The baby's

:21:30. > :21:44.members, head and knee, Yea, all his bright body.

:21:45. > :21:58.Shepherds arise be not afraid, With hasty steps prepare.

:21:59. > :22:10.To David's city, sing on earth. With our blessed infant there.

:22:11. > :22:23.With our blessed infant there. With our blessed infant there.

:22:24. > :22:36.Sing, sing all earth. Sing, sing all earth Eternal praises sing. To our

:22:37. > :22:51.redeemer. To our redeemer. And our heavenly king.

:22:52. > :23:00.Sing, sing all earth. Sing, sing all earth. Eternal praises sing. To our

:23:01. > :23:17.redeemer. To our redeemer, And our heavenly

:23:18. > :23:31.king. APPLAUSE AND CHEERING

:23:32. > :23:44.I have of late - but wherefore I know not - lost all my mirth,

:23:45. > :23:47.forgone all custom of exercises. And indeed it goes so heavily with my

:23:48. > :24:04.disposition that this goodly frame, the earth, seems to me a sterile

:24:05. > :24:10.promontory. This most excellent canopy, the air. Look you, this

:24:11. > :24:13.brave o'erhanging firmament, this majestical roof fretted with golden

:24:14. > :24:30.fire, why, it appears no other thing to me than a foul and pestilent

:24:31. > :24:39.congregation of vapours. What a piece of work is a man! How noble in

:24:40. > :24:45.reason! How infinite in faculty! In form and moving how express and

:24:46. > :25:08.admirable! In action, how like an angel! In apprehension, how like a

:25:09. > :25:14.god! And yet, to me, what is this quintessence of dust? Man delights

:25:15. > :25:27.not me. APPLAUSE AND CHEERING

:25:28. > :25:32.The Allied troops were closing in; there was nothing more we could do.

:25:33. > :25:37.Elisabeth and the children had taken refuge in a village in Bavaria, so I

:25:38. > :25:44.went to see them before I was captured. Out of Wurttemberg, down

:25:45. > :25:53.through the Swabian Jura and the first foothills of the Alps. Across

:25:54. > :25:56.my ruined homeland. Was this what I'd chosen for it? This endless

:25:57. > :26:03.rubble? This perpetual smoke in the sky? These hungry faces? Was this my

:26:04. > :26:09.doing? And all the desperate people on the roads. The most desperate of

:26:10. > :26:12.all were the SS. Bands of fanatics with nothing left to lose, roaming

:26:13. > :26:20.around shooting deserters out of hand, hanging them from roadside

:26:21. > :26:23.trees. The second night, and suddenly there

:26:24. > :26:30.it is - the terrible familiar black tunic emerging from the twilight in

:26:31. > :26:33.front of me. On his lips as I stop - the one terrible familiar word.

:26:34. > :26:38."Deserter," he says. He sounds as exhausted as I am. I give him the

:26:39. > :26:45.travel order I've written for myself. But there's hardly enough

:26:46. > :26:51.light in the sky to read by, and he's too weary to bother. He begins

:26:52. > :27:01.to open his holster instead. He's going to shoot me because it's

:27:02. > :27:05.simply less labour. And suddenly I'm thinking very

:27:06. > :27:08.quickly and clearly. What comes into my mind this time is the pack of

:27:09. > :27:12.American cigarettes I've got in my pocket. And already it's in my hand

:27:13. > :27:22.- I'm holding it out to him. The most desperate solution to a problem

:27:23. > :27:31.yet. I wait while he stands there looking at it, trying to make it

:27:32. > :27:35.out. Trying to think. His left hand holding my useless piece of paper,

:27:36. > :27:38.his right on the fastening of the holster. There are two simple words

:27:39. > :27:49.in large print on the pack: Lucky Strike. He closes the holster, and

:27:50. > :27:56.takes the cigarettes instead. It had worked, it had worked! Like all the

:27:57. > :28:03.other solutions to all the other problems. For 20 cigarettes he let

:28:04. > :28:07.me live. And on I went. Three days and three nights. Past the weeping

:28:08. > :28:16.children, the lost and hungry children, drafted to fight, then

:28:17. > :28:19.abandoned by their commanders. Past the starving slave-labourers walking

:28:20. > :28:31.home to France, to Poland, to Estonia. Through Gammertingen and

:28:32. > :28:38.Biberach and Memmingen. Mindelheim, Kaufbeuren, and Schingau. Across my

:28:39. > :28:49.beloved homeland. My ruined and dishonoured and beloved homeland.

:28:50. > :29:09.APPLAUSE AND CHEERING A kind of artificial barrier had

:29:10. > :29:13.grown up that musical theatre is something where you kind of check in

:29:14. > :29:29.your brain at the cloakroom, and I do not think that is the case. I

:29:30. > :29:38.have never thought that is the case. I have never seen that there should

:29:39. > :29:39.be any particular division. I think the National Theatre is very well

:29:40. > :30:04.served by doing the whole spectrum. The rain in Spain stays mainly in

:30:05. > :30:09.the plain. I can't. I'm so tired. I'm so tired. Oh, for God's sake,

:30:10. > :30:14.Higgins. It must be three o'clock in the morning. Do be reasonable. I am

:30:15. > :30:20.always reasonable. Eliza, if I can go on with a blistering headache,

:30:21. > :30:29.you can. I've got a headache, an'all. Here. Eliza, I know you're

:30:30. > :30:33.tired. I know your head aches. I know your nerves are as raw as meat

:30:34. > :30:40.in a butcher's window. But think what you're trying to accomplish.

:30:41. > :30:46.Think what you're dealing with. The majesty and grandeur of the English

:30:47. > :30:52.language. It's the greatest possession we have. The noblest

:30:53. > :30:54.sentiments that ever flowed in the hearts of men are contained in its

:30:55. > :31:07.extraordinary, imaginative, and musical mixtures of sounds. That's

:31:08. > :31:16.what you've set yourself to conquer, Eliza. And conquer it you will. Now,

:31:17. > :31:46.try it again. The rain in Spain stays mainly in

:31:47. > :32:00.the plain. What was that? The rain in Spain stays mainly in the plain.

:32:01. > :32:17.Again. The rain in Spain stays mainly in the plain. I think she's

:32:18. > :32:21.got it! I think she's got it! # The rain in Spain stays mainly in the

:32:22. > :32:25.plain. By George, she's got it! By George, she's got it! Now once

:32:26. > :32:34.again, where does it rain? On the plain! On the plain! And where's the

:32:35. > :32:43.soggy plain? In Spain! In Spain! The rain in Spain stays mainly in the

:32:44. > :32:49.plain! # The rain in Spain stays mainly in

:32:50. > :32:59.the plain! In Hertford, Hereford, and Hampshire? Hurricanes hardly

:33:00. > :33:04.happen. How kind of you to let me come!

:33:05. > :33:09.Now once again, where does it rain? On the plain! On the plain! And

:33:10. > :33:20.where's that blasted plain? In Spain! In Spain! The rain in Spain

:33:21. > :33:22.stays mainly in the plain! # The rain in Spain stays mainly in

:33:23. > :34:33.the plain! You were a wonderful lover. Such a

:34:34. > :34:37.wonderful person to go to bed with, and I think mostly because you were

:34:38. > :34:42.really indifferent to it, isn't that right?

:34:43. > :34:47.Never had any anxiety about it. Did it naturally, easily, slowly, with

:34:48. > :34:51.absolute confidence and perfect calm, more like opening a door for a

:34:52. > :34:59.lady or seating her at a table than giving expression to any longing for

:35:00. > :35:17.her. Your indifference made you wonderful at lovemaking, strange,

:35:18. > :35:20.but true. You know, if I thought you would never, never, never make love

:35:21. > :35:24.to me again, I would go downstairs to the kitchen and pick out the

:35:25. > :35:34.longest and sharpest knife I could find and stick it straight into my

:35:35. > :35:38.heart. I swear that I would. But one thing I don't have is the charm of

:35:39. > :35:47.the defeated, my hat is still in the ring, and I am determined to win!

:35:48. > :35:56.What is the victory of a Cat On A Hot Tin Roof? I wish I knew. Just

:35:57. > :36:54.staying on it, I guess, as long as she can.

:36:55. > :37:08.Christine. Yes. Must be near daybreak, isn't it? Yes. It is

:37:09. > :37:14.beginning to get grey. What made you jump when I spoke? Is my voice so

:37:15. > :37:18.strange to you? I thought you were asleep. I haven't been able to

:37:19. > :37:26.sleep. I've been lying here thinking. What makes you so uneasy?

:37:27. > :37:31.I haven't been able to sleep either. You crept out of bed so quietly. I

:37:32. > :37:36.didn't want to wake you. Couldn't you bear it - lying close to me? I

:37:37. > :37:41.didn't want to disturb you by tossing. We'd better light the light

:37:42. > :37:47.and talk a while. I don't want to talk! I prefer the dark. I want to

:37:48. > :37:52.see you. You like the dark where you can't see your old man of a husband,

:37:53. > :37:56.is that it? I wish you wouldn't talk like that, Ezra. If you are going to

:37:57. > :38:07.say stupid things, I'll go in my own room. Wait! Don't go. I don't want

:38:08. > :38:13.to be alone. You have always been bitter. Before we married? I don't

:38:14. > :38:19.remember. You don't want to remember you ever loved me! I don't want to

:38:20. > :38:34.talk of the past! I feel strange, Christine. You mean...your heart?

:38:35. > :38:38.You don't think you're going to be taken ill, do you? No! Is that what

:38:39. > :38:43.you're waiting for? Is that why you were so willing to give yourself

:38:44. > :38:51.tonight? Were you hoping? Ezra! Stop talking like that! Wait! I'm sorry I

:38:52. > :38:54.said that. It isn't my heart. It's something uneasy troubling my mind -

:38:55. > :38:59.as if something in me was listening, watching, waiting for something to

:39:00. > :39:07.happen. Waiting for what to happen? I don't know. This house is not my

:39:08. > :39:12.house. This is not my room nor my bed. They are empty - waiting for

:39:13. > :39:16.someone to move in! And you are not my wife! You are waiting for

:39:17. > :39:22.something. What would I be waiting for? For death - to set you free!

:39:23. > :39:30.Leave me alone! Stop nagging at me with your crazy suspicions! Not your

:39:31. > :39:34.wife! You acted as if I were your wife - your property - not so long

:39:35. > :39:40.ago! Your body? What are bodies to me? I've seen too many rotting in

:39:41. > :39:44.the sun to make grass greener! Ashes to ashes, dirt to dirt! Is that your

:39:45. > :39:48.notion of love? Do you think I married a body? Look out, Ezra! I

:39:49. > :39:52.won't stand - And I had hoped my homecoming would mark a new

:39:53. > :39:58.beginning - new love between us! By God, I'm an old fool! Did you think

:39:59. > :40:03.you could make me weak - make me forget all the years? Oh no, Ezra!

:40:04. > :40:08.It's too late! You want the truth? You've guessed it! You've used me,

:40:09. > :40:15.you've given me children, but I've never once been yours! I never could

:40:16. > :40:21.be! And whose fault is it? I loved you when I married you! I wanted to

:40:22. > :40:28.give myself! But you made me so I couldn't give! You filled me with

:40:29. > :40:33.disgust! You say that to me! You wanted the truth and you're going to

:40:34. > :40:38.hear it now! Be quiet, Christine! I've lied about everything! I lied

:40:39. > :40:46.about Adam! It was I he came to see! I made him come! You dared! You!

:40:47. > :40:49.Yes, I dared! And all my trips to New York weren't to visit Father but

:40:50. > :40:53.to be with Adam! He's gentle and tender, he's everything you're never

:40:54. > :41:04.been. He's what I've longed for all these years with you - a lover! I

:41:05. > :41:36.love him! So now you know the truth! You - you whore. I'll kill you! Ah!

:41:37. > :41:46.Quick, medicine! Where is your medicine? On the stand! Hurry! Wait.

:41:47. > :42:51.I have it now. Here. Now drink. This street is what the media have

:42:52. > :43:00.dubbed murder mile due to the high number of shootings. It is the world

:43:01. > :43:12.I have decided to set my playing, Elmina's Kitchen. Ash, do you read?

:43:13. > :43:21.They make all the good books into films. You are reading self-help

:43:22. > :43:28.manuals. Reading is for whites? I try to open my mind to different

:43:29. > :43:35.things, what is wrong with that? What you are saying is there is

:43:36. > :43:41.nothing wrong with education? Happy birthday, old man. Thank you. Why

:43:42. > :43:50.did I find all your college books in the rubbish? Why are your books in

:43:51. > :43:57.the bin, Ashley? I put them there. Don't be rude. I do not have time

:43:58. > :44:08.for college. What do you have time for? Garage raise? You wanted to --

:44:09. > :44:15.you wanted me to take days off to help with locking food. Yellow macro

:44:16. > :44:24.don't swear at me. You want to keep serving plantain burgers, good luck

:44:25. > :44:29.to you. You would like me to punch your lights out so you could walk

:44:30. > :44:39.the streets and say, I told you my dad were in no punk. Why would I say

:44:40. > :44:46.that? I could take you the hell out. You are joking, you cannot touch

:44:47. > :44:54.me. How do you think you are going to live good? Man lives how he can.

:44:55. > :45:01.Put your hand on me now! Put your hand on the! Get off! You know I

:45:02. > :45:09.read one of those white books the other day. The true -- truth is man

:45:10. > :45:16.is a product of his environment. I am trying to change shit around

:45:17. > :45:37.here. It is a dark place which goes nowhere.

:45:38. > :45:47.This is my Jerry Springer moment. Jerry Springer. Jerry Springer. I

:45:48. > :45:56.don't want this moment to die.So dip me in Choclate and Throw me to the

:45:57. > :46:05.Lesbians. I don't want this moment to die. Die, die, die die, die, die.

:46:06. > :46:09.Good evening, ladies and gentlemen, and welcome to the show. Jerry,

:46:10. > :46:15.Jerry! Go Jerry go! Jerry Jerry! Jerry Jerry! Go Jerry go!

:46:16. > :46:21.Jerry Jerry! Jerry Jerry!

:46:22. > :46:25.Please give a special welcome to my guests tonight. They've come a long

:46:26. > :46:40.way to be with us, so please show some respect. Bring on the losers.

:46:41. > :46:54.Bring 'em on, bring 'em on. Bring on the losers. Tonight all my guests

:46:55. > :47:03.have guilty secrets. So, Dwight, what's your story? I been seein'

:47:04. > :47:11.someone else. I been seein' Someone else. I been seein' Seein' someone.

:47:12. > :47:16.I been seein' Your best friend. What the lock? What the lock? What the

:47:17. > :47:28.locking locking lock? Peaches, you seem surprised. Lock. Okay, so next

:47:29. > :47:39.up is Chucky. It says here your wife wants to be a

:47:40. > :47:44.pole dancer. What ya got to say to that? All

:47:45. > :47:50.women are whores. Whores or sluts or prostitutes. He don't know shit. He

:47:51. > :48:01.just a piece of... Shut it. Shut it. Slut! Whatever. Well, let's see her

:48:02. > :48:22.dance. We got a pole, we got some music. So Shawntel, let's see your

:48:23. > :48:27.moves. Dance dance dance dance. I don't give a lock no more. If people

:48:28. > :48:37.think I am a whore. I just wanna dance. Oh, I just wanna dance.

:48:38. > :48:50.Things are going bad for me. I am feeling sad for me. So I just wanna

:48:51. > :48:58.dance. Oh, I just wanna dance. I'm tired of laughing and I'm tired

:48:59. > :49:04.of crying. I'm tired of failing and I'm tired of all this trying. I

:49:05. > :49:12.wanna do some living cause I've done enough dying.

:49:13. > :49:35.I just wanna dance. I just wanna locking dance.

:49:36. > :49:47.Tired of laughing. She's tired of crying. She's tired of failing and

:49:48. > :49:51.she's tired of all this trying. She wants to do some living 'cos she's

:49:52. > :50:19.done enough dying. She just wants to dance. She just wants to locking

:50:20. > :50:31.dance. Dance. Dance, dance, dance. Seeing someone else All women are

:50:32. > :50:42.whores! Dance! Dance! Take care of yourselves and each other. Dance!

:50:43. > :51:00.APPLAUSE AND CHEERING Baghdad tonight, the 19th evening of

:51:01. > :51:05.air strikes. Very shortly after the invasion of Iraq in 2003 I asked

:51:06. > :51:10.David Hare to come up with a response and Stuff Happens was the

:51:11. > :51:13.play he wrote. Freedom's untidy and free people are free to make

:51:14. > :51:19.mistakes and commit crimes and do bad things. Stuff happens. It was

:51:20. > :51:24.based on public records and eyewitness accounts and only moved

:51:25. > :51:27.into areas of speculation when the conversations that it was

:51:28. > :51:32.reconstructing were necessarily secret. It included nothing that was

:51:33. > :51:38.known to be untrue, it blamed nobody, and it mocked nobody. And it

:51:39. > :51:48.left the audience to make up its own mind, which it doubtless did.

:51:49. > :51:52.My concern is this, Tony. At this moment, just at this very moment, I

:51:53. > :52:05.am finding the subject of Iraq seems to be moving up the agenda. That's

:52:06. > :52:09.clear. It's moving up all the time. Since 9/11 I am getting a strong

:52:10. > :52:14.feeling this is something we can't leave alone. Saddam has to be dealt

:52:15. > :52:20.with. My view is we're moving into a second phase. We did Afghanistan.

:52:21. > :52:23.Now we move on. The second phase. How do you feel about that, Tony?

:52:24. > :52:29.How do you feel about a second phase? I agree with the idea. Good,

:52:30. > :52:34.good. There's no question of leaving him alone. He's been left alone for

:52:35. > :52:41.far too long. This is a guy who gassed his own people. Quite. Quite.

:52:42. > :52:46.You and I want the same things. I am sure we do. The only discussion is

:52:47. > :52:50.going to be about method. Back at home, you probably know, you

:52:51. > :52:55.probably heard, you've been taking soundings of your own? Yes. I am

:52:56. > :52:56.going through one of those periods. You haven't had one yet when

:52:57. > :53:04.political problems come together. Can you give me an example? Well,

:53:05. > :53:07.for example, it sounds silly, but fox-hunting.

:53:08. > :53:11.LAUGHTER Also something called Railtrack. Is

:53:12. > :53:15.that a company... You really don't want to know. My point is this, I am

:53:16. > :53:22.in rough water. There is an accumulation, foreign and domestic,

:53:23. > :53:26.first term is easy, George. 146 MPs have already signed what we call an

:53:27. > :53:32.early day motion. It's a kind of warning. And 130 of them are in my

:53:33. > :53:36.own party. They're expressing their opposition to British support for a

:53:37. > :53:48.US-led war on Iraq. The phrase they're using is deep unease. Deep

:53:49. > :53:52.unease. Now, you and I know we're way ahead of ourselves. Way ahead.

:53:53. > :53:58.Any war, any conceivable war is a long way off. It isn't going to

:53:59. > :54:02.happen tomorrow. Not tomorrow, no. It's an option. That's what it is,

:54:03. > :54:09.an option. To I have to give you my judgment. Please, I welcome your

:54:10. > :54:12.judgment. In the event of considering armed action against

:54:13. > :54:16.Iraq, the British Parliament and I would say still more the British

:54:17. > :54:19.people won't go along without UN support. From the British point of

:54:20. > :54:23.view this has to be approached in a certain way. On Afghanistan you had

:54:24. > :54:30.a coalition, there were tensions, definite tensions, but we agreed on

:54:31. > :54:34.the aim. So it is here. Say more. I have an Attorney skaf General who is

:54:35. > :54:37.advising me that any invasion of Iraq without UN support is going to

:54:38. > :54:41.be in breach of international law. Is that what he says? That's it.

:54:42. > :54:51.That's what he says. In fact, he says more than that. Do I know this

:54:52. > :54:55.guy? You don't. Tell me what he says. What he says is this - even

:54:56. > :54:59.with UN support, any invasion may still be illegal unless we can

:55:00. > :55:06.demonstrate that the threat to British national security from Iraq

:55:07. > :55:28.is what he calls real and imminent. I see. I see. That's putting the bar

:55:29. > :55:33.quite high. Yes, it's high. APPLAUSE AND CHEERING

:55:34. > :56:14.Ou voudriez-vous travailler cet apres-midi? Dans un garage. Non,

:56:15. > :56:22.non. Pas encore. Ayez pitie de nous. Dakin. Ou voudriez-vous travailler

:56:23. > :56:26.aujourd'hui? Je voudrais travailler?dans une maison de passe.

:56:27. > :56:30.Oo-la-la. Qu'est ce que c'est? Qu'est ce qu'une maison de passe? A

:56:31. > :56:33.brothel. He would like to work in a brothel. Tres bien. Mais une maison

:56:34. > :56:50.de passe ou tous les clients utilisent le subjonctif ou le

:56:51. > :56:57.conditionnel, oui? Voila. Deja un client! Qui est la femme de chambre?

:56:58. > :57:00.Moi. Je suis la femme de chambre. Comment appelez vous? Je m'appelle

:57:01. > :57:04.Simone. Simone, le monsieur ne peut pas attendre. Bonjour, monsieur.

:57:05. > :57:17.Bonjour, cherie. Entrez, s'il vous plait. Voila votre lit et voici

:57:18. > :57:22.votre prostituee. Oh. Ici on appelle un chat un chat. Merci, madame.

:57:23. > :57:28.Madmoiselle. Je veux m'etendre sur le lit. Je voudrais...I would like

:57:29. > :57:37.to stretch out on the bed in the conditional or the subjunctive.

:57:38. > :57:46.Continuez mes enfants. Mais les chaussures, monsieur, pas sur le

:57:47. > :57:58.lit. Excusez-moi, Madmoiselle. Et votre pantalons, s'il vous plait.

:57:59. > :58:11.Oh! Quelles belles jambes! Watch it. Et maintenant...Claudine Oui, la

:58:12. > :58:15.prostituee, s'il vous plait. Monsieur, je pensais que vous

:58:16. > :58:23.voudriez des preliminaires? Quels preliminaires? Claudine. Quel

:58:24. > :58:30.preliminaires sont sur le menu? A quel prix? Dix francs. Dix francs?

:58:31. > :58:36.Pour dix francs je peux vous montrer ma prodigieuse poitrine. Et

:58:37. > :58:39.maintenant, pourrais-je caresser la poitrine? ca vous couterait quinze

:58:40. > :58:42.francs. Pour vingt francs vous pouvez poser votre bouche sur ma

:58:43. > :58:59.poitrine en agitant? En agitant quoi? Un autre client.

:59:00. > :59:11.Ah, cher Monsieur le Directeur, Mr Hector what on earth is happening?

:59:12. > :59:13.L'Anglais, c'est interdit. Ici on ne parle que Francais, en accordant une

:59:14. > :59:25.importance particuliere au subjonctif. Oh, ah. Et qu'est ce-que

:59:26. > :59:35.se passe ici? Pourquoi cet garcon?.. Dakin, isn't it?...est sans ses?.

:59:36. > :59:44.Trousers? Quelqu'un? Ne soit pas timide. Dites a cher Monsieur le

:59:45. > :59:56.Directeur ce que nous faisons. Dakin? Je suis un homme qui? Vous

:59:57. > :59:58.n'etes pas un homme. Vous etes un soldat?un soldat blesse, vous

:59:59. > :00:07.comprenez, cher Monsieur le Directeur?soldat blesse? Wounded

:00:08. > :00:19.soldier, of course, yes. Ici c'est un hopital en Belgique. Beligique?

:00:20. > :00:24.Pourquoi Belgique? ? Ypres, sir. Ypres. Pendant la Guerre Mondiale

:00:25. > :00:28.Numero Un. C'est ca. Dakin est un soldat blesse, un mutile de guerre

:00:29. > :00:30.et les autres sont des medecins, infirmieres et tout le personnel

:00:31. > :00:38.d'un grand etablissement medical et therapeutique. Continuez, mes

:00:39. > :01:12.enfants. Il est commotionne, peut etre?

:01:13. > :01:18.Comment? Commotionne. Shell-shocked. C'est possible. Commotionne. Oui,

:01:19. > :01:30.c'est le mot juste. Permettez-moi d'introduire M. Irwin, notre nouveau

:01:31. > :01:33.professeur. Enough of this silliness. Not silliness, no?but?Mr

:01:34. > :01:44.Hector you are aware that these pupils are Oxbridge candidates. Are

:01:45. > :01:47.they? Nobody has told me. Mr Irwin will be coaching them but it's a

:01:48. > :01:53.question of time. I have found him three lessons a week and I was

:01:54. > :01:57.wondering? No, Headmaster. Purely on a temporary basis. It will be the

:01:58. > :02:01.last time, I promise. Last time was the last time also. I am thinking of

:02:02. > :02:07.the boys. I, too. Non. Absolument non. Non. Non. Non. C'est hors de

:02:08. > :02:08.question. Et puis, si vous voulez m'excuser, je dois continuer le

:02:09. > :02:44.lecon. A tout a l'heures. Lock. And I'll wager a hat full of guineas

:02:45. > :02:48.against all of the songs you can sing; that some day you'll love and

:02:49. > :03:10.the next day you'll lose and winter will turn into spring And the snow

:03:11. > :03:19.falls the wind calls. And the year turns round again. And

:03:20. > :03:21.like Barleycorn who rose from the grave, a new year will rise up

:03:22. > :03:35.again. But there will come a time of great

:03:36. > :03:43.plenty. A time of good harvest and sun. Till then put your trust in

:03:44. > :03:55.tomorrow, my friend for yesterday's over and done. Ploughed, sown,

:03:56. > :04:03.reaped and mown. And the year turns round again. Get

:04:04. > :04:06.off. You silly donkey. And like Barleycorn who rose from

:04:07. > :04:17.the grave a new year will rise up again.

:04:18. > :04:34.Which one? Which hand? Which hand is it? There! Good boy. Good boy.

:04:35. > :04:51.Hello? What's that? What's that, then? Do that again! Whey up, boy!

:04:52. > :05:10.And whey up, boy! Yes! Yes! And whey up, boy!

:05:11. > :05:22.Phoebe arise. A gleam in her eyes. And the year turns round again.

:05:23. > :05:24.And like Barleycorn who rose from the grave, a new year will rise up

:05:25. > :06:10.again. Good boy, Joe. I am going to find out who killed

:06:11. > :06:17.Wellington. Someone killed her dog? With a fork. Jesus Christ! A garden

:06:18. > :06:20.fork. Ah. I like maths and also I like outer space and I like being on

:06:21. > :06:49.my own. I can create...people. You make

:06:50. > :06:56.sport with my life! In the cause of science! This is your universe,

:06:57. > :07:11.Frankenstein! You need to love! Oh! Oh?! You need

:07:12. > :07:15.to understand what it is to love! You carry on about the future and

:07:16. > :07:18.the great bright world, but you are scared to love. You are horrified by

:07:19. > :07:31.people in all their failings and this, this purity that you seek is a

:07:32. > :07:34.fear of life! What? What is she saying? You are not higher than

:07:35. > :07:38.love, you are not higher than love! You are retarded! That's not a beard

:07:39. > :07:42.it's fungus! Is there hair down there? Or is it all shrunken like a

:07:43. > :07:46.mossy statue of some baby man? Is there anything male about you? This

:07:47. > :07:50.is horrible! Is there a man down there at all? How old are you and

:07:51. > :07:58.not to have had a lover? This is horrible! I can't...I will leave!

:07:59. > :08:01.You're a virgin at your age?! Oh sweet Susie you'll see what

:08:02. > :08:14.you've done, you played in Maddy's arms sweet game and now you've won.

:08:15. > :08:26.I've got two jobs, how did that happen? You got to concentrate ain't

:08:27. > :08:30.ya, with two jobs. I can do it, long as I don't get confused. But I get

:08:31. > :08:33.confused easily. I don't get confused that easily. Yes I do. I'm

:08:34. > :08:37.my own worst enemy. Stop being negative. I'm not being negative.

:08:38. > :08:40.I'm being realistic. I'll screw it up. I always do. Who screws it up?

:08:41. > :08:43.You, you're the role model for village idiots everywhere. Me?!

:08:44. > :08:47.You're nothing without me. You're the cock up! Don't call me a cock

:08:48. > :08:49.up, you cock up! You slapped me!? Yeah, I did. And I'm glad I did.

:08:50. > :09:13.That hurt. Good. You started it. Get off! Come here! Get off! Come

:09:14. > :09:27.here! Get off! Get off! No, you wouldn't dare! Wouldn't I? !

:09:28. > :09:31.London Road is about a real community in Ipswich that came

:09:32. > :09:37.together and healed itself after a series of murders. It was created

:09:38. > :09:40.from a series of interviews that I did with real people from that

:09:41. > :09:43.community, and Adam Cork set some of those interviews to music by

:09:44. > :09:53.following the real speech patterns of those people. I've got nearly 17

:09:54. > :09:57.hanging baskets, in this back garden.

:09:58. > :10:02.I've got nearly 17 hanging baskets, in this back garden.

:10:03. > :10:29.And it was a bit of a crazy experiment.

:10:30. > :10:43.I've got nearly 17 hanging baskets in this back garden. Believe it or

:10:44. > :10:52.not. Begonias and petunias and inpatients and things. Marigolds,

:10:53. > :11:02.petunias. We've got busy Lizzie 's and geraniums. There's all sorts in

:11:03. > :11:09.that basket anyway. Petunias in a basket. Hanging basket. And some

:11:10. > :11:16.fuchsia. There is a special name. I just called them lilies. They are a

:11:17. > :11:27.lily type, there is a special name, and for the first time this year

:11:28. > :11:38.I've got a couple of... Baskets. Begonias and petunias and inpatients

:11:39. > :11:40.and things. The going ears and petunias... We've got busy Lizzie

:11:41. > :11:54.'s. Hanging baskets, variegated ivy in

:11:55. > :12:05.there which makes a nice show. And then you've got these... Sky-blue

:12:06. > :12:12.whatever they are. That's a little... Purple one. Rhubarb. The

:12:13. > :12:24.old-fashioned Margarets. The daisies. The roses have done pretty

:12:25. > :12:29.well this year. She gave us an extra point for having basil on the

:12:30. > :12:38.windowsill, didn't she? Hanging baskets. Variegated ivy in their

:12:39. > :12:43.makes a nice show. The old-fashioned Margarets, the daisies. I've got

:12:44. > :13:18.nearly 17 hanging baskets. Begonias and petunias and things.

:13:19. > :13:29.Begonias. And petunias. And things. Inpatients and things.

:13:30. > :14:00.O monstrous! Monstrous! Nay, this was but his dream. But this denoted

:14:01. > :14:04.a foregone conclusion. 'Tis a shrewd suspicion, though it be but a dream.

:14:05. > :14:08.And this may help to thicken other proofs that do demonstrate thinly.

:14:09. > :14:12.I'll tear her all to pieces. Nay, but be wise: yet we see nothing

:14:13. > :14:15.done; She may be honest yet. Tell me but this, have you not

:14:16. > :14:18.sometimes seen a handkerchief spotted with strawberries in your

:14:19. > :14:28.wife's hand? I gave her such a one; 'twas my first gift. I know not

:14:29. > :14:32.that; but such a handkerchief - I am sure it was your wife's - did I

:14:33. > :14:42.today see Cassio wipe his beard with. If it be that... If it be

:14:43. > :14:46.that, or any that was hers, it speaks against her with the other

:14:47. > :14:53.proofs. O, that the slave had 40,000 lives! One is too poor, too weak for

:14:54. > :15:06.my revenge. Now do I see 'tis true. Look here, Iago; all my fond love

:15:07. > :15:13.thus do I blow to heaven. 'Tis gone. Arise, black vengeance, from thy

:15:14. > :15:18.hollow cell! Yield up, O love, thy crown and hearted throne to

:15:19. > :15:23.tyrannous hate! Swell, bosom, with thy fraught, For 'tis of aspics'

:15:24. > :15:27.tongues! Yet be content. O, blood, blood, blood! Patience, I say; your

:15:28. > :15:31.mind perhaps may change. Never, Iago: Like to the Pontic sea, whose

:15:32. > :15:35.icy current and compulsive course ne'er feels retiring ebb, but keeps

:15:36. > :15:41.due on to the Propontic and the Hellespont. Even so my bloody

:15:42. > :15:45.thoughts, with violent pace, shall ne'er look back, ne'er ebb to humble

:15:46. > :16:00.love, till that a capable and wide revenge swallow them up. Now, by

:16:01. > :16:13.yond marble heaven, in the due reverence of a sacred vow I here

:16:14. > :16:16.engage my words. Do not rise yet. Witness, you ever-burning lights

:16:17. > :16:19.above, you elements that clip us round about, witness that here Iago

:16:20. > :16:31.doth give up the execution of his wit, hands, heart, to wrong'd

:16:32. > :16:41.Othello's service! Let him command. And to obey shall be in me remorse,

:16:42. > :16:47.what bloody business ever. I greet thy love, not with vain thanks, but

:16:48. > :16:50.with acceptance bounteous. And will upon the instant put thee to't:

:16:51. > :16:57.Within these three days let me hear thee say That Cassio's not alive. My

:16:58. > :17:08.friend is dead; 'tis done at your request: But let her live. Damn her,

:17:09. > :17:12.lewd minx! O, damn her! Come, go with me apart; I will withdraw, to

:17:13. > :17:29.furnish me with some swift means of death for the fair devil. Now art

:17:30. > :17:42.thou my lieutenant. I am your own forever.

:17:43. > :18:27.Actors. I never get used to them. They are frightened. But then

:18:28. > :18:35.everybody is frightened. To act is to be frightened. When I used to do

:18:36. > :18:47.it I was always frightened. Throw up before every performance. White --

:18:48. > :18:55.you were an actor? What happened? Nothing, that is the trouble. Actors

:18:56. > :19:02.are like soldiers. The soldiers fear the enemy, the actors fear the

:19:03. > :19:09.audience. Fear of failing. Fear of forgetting. Fear of art. Olivier

:19:10. > :19:13.ended up terrified. If you sat on the front row you could see him

:19:14. > :19:21.trembling. And besides all that, there is the fear of this building.

:19:22. > :19:28.I worked once or twice with Ronald Eyre, Ron, not Richard. A difficult

:19:29. > :19:34.man but like all the best directors and ex-schoolmaster. He was here not

:19:35. > :19:38.long after it opened. The opening was, of course, disastrous. Ron said

:19:39. > :19:43.they should have moved out straightaway, gone back to the old

:19:44. > :19:49.Vic and rented the place out. Made the Olivier into a skating rink. The

:19:50. > :19:55.Cottesloe billiard hall and the Lyttelton, boxing. Then after 20 odd

:19:56. > :19:59.years of ordinary unpretentious entertainment, when it is shabby and

:20:00. > :20:07.rundown and being purged of culture, and all the pretension had

:20:08. > :20:12.long since been beaten out of it, then with no fanfare at all, they

:20:13. > :20:20.should sneak back with the occasional play. And nobody need be

:20:21. > :20:30.frightened any more. Except, of course, the actors. He was wrong

:20:31. > :20:35.though, Ron. Because what's has knocked the corners of the place,

:20:36. > :20:42.taken the shine off it, made it dingy and unintimidating our plays.

:20:43. > :20:47.Plays plump, plays paltry, plays preposterous, plays purgatorial.

:20:48. > :21:01.Plays radiant, plays rotten, but plays assistant. -- persistent.

:21:02. > :21:08.Plays, plays, plays. A word or two before you go, I have done the

:21:09. > :21:11.stakes on service... Tonight I heard Mozart's music for the first time,

:21:12. > :21:25.some Serenade for wind it instruments. When he met at Quail

:21:26. > :21:39.and shake... Pretend they are what they are not. Words, words, words,

:21:40. > :22:02.masses of words. APPLAUSE. CHEERING AND APPLAUSE.