:01:20. > :01:25.It must be such a job to keep a straight face though. Always.
:01:25. > :01:28.Have you got a trick, do you cross your toes or something to stop
:01:28. > :01:33.something going wrong? It's the degree of seriousness you give to
:01:33. > :01:40.it. Actually, I've been asked to do most of the comedy I do, so that's
:01:40. > :01:46.a trick and a secret in itself. it hard because you have worked
:01:46. > :01:48.quite a bit? Giro Juan, like me, is serious about comedy. It's a
:01:48. > :01:57.serious business. Yes, another trick you have got is a moustache
:01:57. > :02:07.you have had for many years, now you are sporting a beard? There was
:02:07. > :02:07.
:02:07. > :02:13.a glorious few months with nothing, a new but original me. Did you find
:02:13. > :02:19.that liberating? David's character in The Wright Way, he plays a
:02:19. > :02:23.safety officer. He makes sure kids wear goggles while playing conkers.
:02:23. > :02:27.Is that an unfair stereotype? If you work in health and safety and
:02:27. > :02:34.have a risk-taking side, then send in a picture of you doing something
:02:35. > :02:39.off the scale to the normal address. Health and safety is anybody's
:02:39. > :02:42.responsibility! So please take care. We have an intriguing mystery for
:02:42. > :02:52.you. The body of a young man is discovered in the streets of West
:02:52. > :03:02.
:03:02. > :03:08.London with no obvious clues as to how it got there. At about 7. 45pm.
:03:08. > :03:12.I heard a thud and thought nothing of it. I went back to sleep. Then I
:03:12. > :03:21.remember my brother saying, Clare, you have to wake up. There is a man
:03:21. > :03:29.in the street. He is dead. He was a black guy, wearing a pair of
:03:29. > :03:34.sneakers and jeans. We thought he had been murdered then. This was the
:03:35. > :03:44.shock. His body twisted. To me it was obvious, really. The way it
:03:45. > :03:49.
:03:49. > :03:54.looked. Police merge? We are in Portman Avenue in Mortlake. We have
:03:54. > :04:00.come across what looks like a dead body. It may be a hoax, but we
:04:00. > :04:06.thought we should let you know. Where do you think this is? It is
:04:06. > :04:11.outside number... 22. I have seen people murdered in the street
:04:11. > :04:17.before. People stabbed and shot, but this man looked like he had been hit
:04:17. > :04:23.hard. I thought that this was a road traffic accident, but it was a quiet
:04:23. > :04:28.street. Not a busy street. To be hit like that, he had to go over
:04:28. > :04:32.someone's bonnet, over the roof. . What started out as a crime scene it
:04:32. > :04:39.looked like the man had been murdered. I noticed that they kept
:04:39. > :04:43.looking at the sky as the planes were coming over. In bed, the planes
:04:43. > :04:47.are close enough to see the landing gear being lowered. To me it was
:04:47. > :04:51.obvious. It looked like he had fallen from a very long way. There
:04:51. > :04:57.are so many other things going through your mind. You don't want to
:04:57. > :05:03.miss, that you sometimes almost miss the obvious. The man had tissue in
:05:03. > :05:08.his ears, and it indicated that he had fallen from an aircraft. He had
:05:08. > :05:14.no identity, documents on him. Nothing to identify him as a person.
:05:14. > :05:20.His name, address, or even his country of origin. The flight was
:05:20. > :05:28.from Angola. He had Angolan and Botswanian currency in the pocket
:05:28. > :05:32.but the phone was from a provider called Air Tel, but pointing to
:05:32. > :05:38.Africa. It has affected me long-term. I have had bad dreams
:05:39. > :05:42.about it ever since. Ever time a plane comes over now I do get
:05:42. > :05:48.nervous. When I see the undercarriage coming down, I think
:05:48. > :05:52.is it going to happen again. It is a body found in a street,
:05:52. > :05:57.unidentified, to let the relatives know what has happened, that is my
:05:57. > :06:01.priority. Somewhere, a mother, father, brother, sister, e.on
:06:01. > :06:08.children, he was missing. There is a mother who wants to know what
:06:08. > :06:14.happened to their son. What would be nice is if they found out where his
:06:14. > :06:19.family is from and why he did it. I would be at rest if I knew that the
:06:19. > :06:25.man had a burial. He landed right on the pavement. He did not hit a car,
:06:25. > :06:31.a roof. He landed right on the pavement. As though X marked the
:06:31. > :06:37.spot and there he laid. I think it is an unbelievable story to have
:06:37. > :06:41.featured on the show? It is incredible. Rob Walker, you are
:06:41. > :06:45.following the story for a BBC documentary. You have an update
:06:45. > :06:51.since that was filmed? That's right. We saw in the film that this is a
:06:51. > :06:57.man who stole away on the flight. What we know is that he was from
:06:57. > :07:01.Mozart. The police believe he is 30-year-old, his name is Jose
:07:01. > :07:05.Acasuso, but we don't know his family. They have not come forward.
:07:05. > :07:10.Unless the family are found, he will be buried in the country with out
:07:10. > :07:14.the family present. We don't know if they know what happened. How have
:07:14. > :07:24.they found out the information that you know in the update? They had a
:07:24. > :07:39.
:07:39. > :07:45.few clues in the beginning. There was a clue, a SIM card tucked in his
:07:45. > :07:50.trousers. The police started to call the numbers on the SIM card. They
:07:50. > :07:55.got nowhere. Then one number. No-one picked up. Finally, someone called
:07:55. > :08:00.back, the detective. To say you had been calling me. What was it about.
:08:00. > :08:07.It turned out it was his employer. She was then able to identify him.
:08:07. > :08:12.The first she said was that she thought she may know who he was. She
:08:12. > :08:17.said that straight away? Yes. So, so far his family have not been found.
:08:18. > :08:22.Let's hope that they find them. It is hard to imagine, how desperate
:08:22. > :08:28.somebody must feel before trying a stunt like this? The chances of
:08:28. > :08:32.survival are slim. We know from the text messages he sent. That he said
:08:32. > :08:36.he wanted to get to Europe to find a better life. What we don't know is
:08:36. > :08:39.why he thought he could survive doing that. . There have been cases
:08:39. > :08:43.in the past where people have done this. They have been told by
:08:43. > :08:48.traffickers, that there is a way into the plane. If they get into the
:08:48. > :08:52.wheel arch that they can find their way into the plane. A few cases
:08:52. > :08:58.where people have paid money to get them into that position, but in this
:08:58. > :09:05.case we don't know why. There is no oxygen. Temperatures down to minus
:09:05. > :09:10.50 Celsius? Yes. There are a documented of certain cases, about a
:09:10. > :09:14.quarter of those who try it survive, but there are so many things that
:09:14. > :09:20.can happen. You can be crushed by the wheels. Or the pressure
:09:20. > :09:25.dropping, the oxygen becoming less. If the wheels drop you can fall out.
:09:25. > :09:30.Are the survivors all of the lower altitude? Yes, in the cases we know
:09:30. > :09:38.that they survive, it is because it is short hall or lower altitude. A
:09:38. > :09:44.man came from veena to London. There was bad weather. The plane flew low,
:09:44. > :09:53.so he survived. It was warmer. On a long haul flight, the chances are
:09:53. > :09:58.slim. Thank you very much. I am doing a radio document for BBC World
:09:58. > :10:07.Service, we will finish the documentary if hopefully we can find
:10:08. > :10:13.his family. Back in the '70s, a small record shop was the hub of the
:10:13. > :10:21.Belfast alternative music scene. A future film about the man behind the
:10:21. > :10:27.success has proven to be a big hit. Andy Kershaw caught up with the shop
:10:27. > :10:37.as it was about to reopen. When it comes to punk, New York has the
:10:37. > :10:39.
:10:39. > :10:45.haircuts, London has the trousers but Belfast has the reason! 19-76,
:10:45. > :10:51.one of the most violent periods of Northern Ireland's troubles. It made
:10:51. > :10:56.Belfast the terrifying place, divided by religion and politics. A
:10:56. > :11:01.veteran hippy decide decided to wreck lessless, some may say, to
:11:01. > :11:08.open a small record store. He did it here on Great Victoria Street. It
:11:08. > :11:15.was known as Bomb Alley. He called the shop Good Vibe rations. The
:11:15. > :11:20.name, Good Vibe rations was not a reference to the Beach Boys but a
:11:20. > :11:24.nod to the after shocks of the Belfast bombs. What did the shop
:11:24. > :11:30.mean to Belfast people? I wanted to let the world know that there was
:11:30. > :11:35.more going on in Belfast than just #3w078s and mrets. In Belfast, the
:11:35. > :11:41.punk scene exploded on to the streets. It did not matter if your a
:11:41. > :11:46.republican or a loyalistist, Catholic or a Protestant. If you had
:11:46. > :11:54.green, orange or purple hair. As long as you were a music fan it what
:11:54. > :12:04.fine. Terri was persuaded to visit the Harp Bar. To see a band called
:12:04. > :12:07.
:12:07. > :12:13.Rudy. How different would music have been in Belfast would Terri Hooley.
:12:13. > :12:21.We never drept we could put a record out. We put out a sing. Once Big
:12:21. > :12:27.Time was out, everyone thought if they can do it, we can do it. The
:12:27. > :12:32.Northern Irish punk precedent had been set. Terri signed another new
:12:32. > :12:39.band, the back street kids of rock and roll, the John Prescott
:12:39. > :12:46.undertones. What did this building mean? Without Terri, we would never
:12:46. > :12:55.have made it. What was the memory of the day of the recording? Terri came
:12:55. > :12:59.in with fish and chips and lemonade. That is my only memory of him! You
:12:59. > :13:02.realised it was something special? Well, I didn't realise it was
:13:02. > :13:07.special, but it was a great opportunity to make a record. What
:13:07. > :13:13.was the reaction from the media, from the music industry? What
:13:13. > :13:22.response did you get? We went to London and we were told that Teenage
:13:22. > :13:28.Kicks was the worst record that they had heard. I was devastated. So,
:13:28. > :13:35.Terri, you dropped a few copis off at Radio 1 for the great man. I
:13:35. > :13:42.think it was on a Monday night. He played the record, we were so
:13:42. > :13:51.delighted. Then unbelievably, he played it for a second time. Terri
:13:51. > :13:57.sold teej Kicks for �400. Over the years, the Good Vibe rations shop,
:13:57. > :14:05.has shut done a staggering ten times. Now it is about to open its
:14:05. > :14:09.doors once again, for the 11th time! At the age of 64, Terri's passion
:14:09. > :14:13.for music is as strong as ever. People are proud of what the label
:14:13. > :14:19.did in the shop. Everyone has a story to tell. Some met their wives
:14:19. > :14:25.in the record shop and got married. The shop is not a record shop. It is
:14:25. > :14:30.not a record label it is a way of life. It will kill me or it will
:14:30. > :14:40.keep me alive! It looks like music in Belfast will be alive and kicking
:14:40. > :14:47.
:14:47. > :14:50.as long as TerriHooley will be with if you were a punk or a rock fan.
:14:50. > :14:56.We would have known more when we found this photo!
:14:56. > :15:02.You are in Dr Who there, aren't you? I was taking over a planet by
:15:02. > :15:06.cloning myself! Of course you were! As one is woed to do. But I get
:15:06. > :15:10.more mail from that one episode, it's a four-episode series, than
:15:10. > :15:17.anything else. I was in it for 35 seconds.
:15:17. > :15:21.You were one of my clones. Since then, conservationists and
:15:21. > :15:26.developers will often argue whether an old building should be
:15:26. > :15:33.demolished in the name of progress or kept intact. There is another
:15:33. > :15:37.way, as Arthur explains. # Just an illusion... # Facades on
:15:37. > :15:41.TV and film sets create an illusion that something is real when it
:15:41. > :15:46.isn't. It would seem silly in the real
:15:46. > :15:55.world wouldn't it? Actually, no. There is an architectural
:15:55. > :16:00.phenomenon known as facadism. Architects can build an entirely
:16:00. > :16:05.new inside of a building behind the actual building. It started in the
:16:05. > :16:11.70s when building technology made it possible. Facades are common in
:16:11. > :16:18.many UK cities. A striking example is The Lloyds Building in the City
:16:18. > :16:24.of London built in 19876. The architect chose to retain the
:16:24. > :16:28.original 1920s facade but juxtapose more modernist steel and glass --
:16:28. > :16:32.1986. It's won numerous awards, but not everyone is a fan of this
:16:32. > :16:36.blending of old and new. It's rather like a collage where they've
:16:36. > :16:40.stuck a bit of facade next to this modern building. It's not really a
:16:40. > :16:44.part of the building itself, it's a memory of what was there before. I
:16:44. > :16:48.think there are some facades which need to be retained but I think we
:16:48. > :16:52.do keep too many of them just because people are afraid of the
:16:52. > :16:55.new buildings that might go in their place. The thing that worries
:16:55. > :17:01.me about facade retention is where you get this facade which is
:17:01. > :17:05.totally unrelated to what is behind. An infamous example of what its
:17:05. > :17:09.opponents dislike about facadism can be found in historic
:17:09. > :17:17.Spitalfields in East London. Conservationist and historian Dan
:17:17. > :17:24.Cruickshank is unimpressed. It's daft and I'm cynical about facade
:17:24. > :17:33.retention. It's a screen hiding the duller and modern building behind
:17:33. > :17:40.there. There is rudimentary metal bars which look ghastly. There are
:17:40. > :17:43.whole histories. Keeping a facade cannot be in keeping with proper
:17:43. > :17:48.up-to-date conservation. You are not a facade-ist, but what about
:17:48. > :17:55.this, the Hearse building in New York? Lauded as a dramatic example
:17:55. > :18:01.of fusing the modern with the historic. I rest my case on that.
:18:01. > :18:08.It's a vast contradictory erection arising out of a beautiful 20th
:18:08. > :18:13.century building, turning it into theatre. This is a tragedy.
:18:13. > :18:17.Facadism has its nisier, but I'm told there's one building that's
:18:17. > :18:21.won over conservationists. The Unilever headquarters in London's
:18:21. > :18:25.won awards for its imaginative use of facade retention. John Bushell
:18:26. > :18:29.is the architect responsible. What was your original brief for
:18:29. > :18:33.this build something Unilever wanted to see whether they could
:18:33. > :18:39.both keep their location and their wonderful heritage in terms of this
:18:39. > :18:41.facade but also have a modern, invigorating work place that was
:18:42. > :18:47.this generation's contribution to the site. In the end, we took the
:18:47. > :18:56.facade back to as close as possible to 1931.
:18:56. > :19:00.The real transformation was inside. Gosh. This is a classic exterior
:19:00. > :19:07.which is preserved and a modern space is created inside. The best
:19:07. > :19:11.of both worlds. The building, as we found it, was dark and gloomy. It
:19:11. > :19:16.was a maize on the ground floor. It felt like a Government building. We
:19:16. > :19:19.transformed it. We brought a lot of light in. You can see and be seen
:19:19. > :19:23.and feel like one community within the building. One of the ways this
:19:23. > :19:28.was achieved was to open up the back of the building. In opening
:19:28. > :19:31.out the centre of the building, I'm opening out the back and bringing
:19:31. > :19:36.London into the building. We have discovered if we knock down large
:19:36. > :19:40.parts of cities and everything is new, that we lose layers of
:19:40. > :19:45.historical richness and juxtaposition. Whatever we think of
:19:45. > :19:52.it, facadism is shaping the city landscapes. I love FA sashedism. Or
:19:52. > :19:55.maybe that's just a front! -- facadism. One thing's for sure,
:19:56. > :20:00.once you demolish an historic building, it's gone forever.
:20:00. > :20:04.Facadism! Where do you stand, David? I love the juxtaposition of
:20:04. > :20:09.old and new if it's clever. I think so, if they do it well.
:20:09. > :20:13.There were some examples in that film I wasn't keen on.
:20:13. > :20:18.The last was good. I'm sure some of those building sites would have
:20:18. > :20:23.been a nightmare or a heaven even for a Gerald Wright in the new BBC
:20:23. > :20:29.comedy. So who is he and what is it all about? He's a man of great duty
:20:29. > :20:39.and passion, Gerald, he loves his job and runs an eccentric health
:20:39. > :20:39.
:20:39. > :20:49.and safety unit in the town Council of Basilricky. Let's see Gerald
:20:49. > :21:17.
:21:17. > :21:21.going about his business. Here he We've all been there, David.
:21:21. > :21:24.have. The exasperation!I know those taps so well, you just can't
:21:24. > :21:29.get them on. I'm becoming the character, but you can't get the
:21:29. > :21:34.water out. I know! Doing with with your head is not
:21:34. > :21:38.very health and safety. I know. Health and safety is rich pickings
:21:38. > :21:43.really for comedy, isn't it? Absolutely. We are all as peeved as
:21:43. > :21:47.each other by health and safety and that obsessive adherence to what is
:21:47. > :21:51.healthy and safe. Is it challenging for you in those pre-recorded bits
:21:51. > :21:56.that aren't in front of an audience because nobody's laughing but your
:21:56. > :21:59.timing is absolutely spot on there? I think in the pre-records, you
:21:59. > :22:02.have to ignore the concept of the audience and Leigh it to the editor
:22:02. > :22:07.because you have to believe the timing that you are doing the
:22:07. > :22:15.actual physical comedy and then assume that it will fit. It will
:22:15. > :22:19.work, yes. The laughter filters over the next moment or the next
:22:19. > :22:24.line if it involves dialogue. are also playing another pretty
:22:24. > :22:29.physical character in the form of King Lear in Bath in July? I am,
:22:29. > :22:33.hence the beard. Yes. It's completely different. It's getting
:22:33. > :22:39.grey which is school. You are flattered to be playing King Lear,
:22:39. > :22:45.because it's often seen as an older man's role, is it not? It is, but I
:22:45. > :22:49.think all the King Lear's who're the best ones are younger. I'm not
:22:50. > :22:54.arrogant about this role, it's impossible to get right I think,
:22:54. > :22:58.but I think the reason to be younger is the energy of some of
:22:58. > :23:02.the scenes of when he's really insane, you know. So you haven't
:23:02. > :23:08.started rehearsing yet? No, there's another six weeks of growth.
:23:08. > :23:13.will be down here by then. Yes. It's set in the 60s, or
:23:13. > :23:22.there's a 60s twist to it? Yes, there is. Because we were looking
:23:22. > :23:27.for many King Lear's and we wanted to make an interesting resonance
:23:27. > :23:31.for the audience. There are very few patriarchal underworlds around,
:23:31. > :23:38.but there was that underworld in London that existed in the 60s and
:23:38. > :23:42.that could be quite interesting thing. Trying to make a living from
:23:42. > :23:46.the sea without harming the local wildlife in the process has always
:23:46. > :23:50.been a challenge. It's one that conservationists and
:23:50. > :23:55.fishermen are struggling with in Argyll on the West Coast of
:23:55. > :23:59.Scotland, as Miranda's been finding out.
:23:59. > :24:02.The wild lochs and rivers of Scotland. Home of the world famous
:24:02. > :24:07.Atlantic salmon. As well as an important species of
:24:07. > :24:10.wildlife, Scotland's salmon is a healthy, affordable food, popular
:24:10. > :24:15.the world over. But it's not just human who is love
:24:15. > :24:22.the taste of fresh salmon. One of Scotland's other great wildlife
:24:22. > :24:25.attractions has a keen interest in them as well. Seals. An adult seal
:24:25. > :24:30.eats around five kilograms of fish a day and that's what's brought
:24:30. > :24:33.them into a head-on conflict with humans.
:24:33. > :24:38.Between them, anglers, fishermen and commercial fish farms shoot
:24:38. > :24:41.hundreds of seals off the Scottish coast each year to protect their
:24:41. > :24:46.fish stocks. Someone who resorts to shooting is
:24:46. > :24:49.Scottish netsman James Mackay. He catches wild salmon by placing nets
:24:50. > :24:56.at river mouths, but it's a disaster for him if a seal gets
:24:56. > :25:00.into the nets. It's like a fox getting into a chicken coup. They
:25:00. > :25:07.would destroy all the fish. They would maybe eat one or two or maul
:25:07. > :25:11.them. Often this results in the entire catch being ruined. The seal
:25:11. > :25:16.stresses the fish so much that the fish become of a poorer quality,
:25:16. > :25:19.they become soft and don't have the same firmness about them.
:25:19. > :25:22.Two years ago, the Scottish Government passed a law to try and
:25:22. > :25:28.control the number of seals being shot.
:25:28. > :25:32.Anyone killing one must hold a licence and only kill as a last
:25:32. > :25:41.resort. James stresses he shoots only when there really is no other
:25:41. > :25:45.option. We are not cruel people. We like nature, we are not part of
:25:45. > :25:49.cruelty. We like the ocean and the birds and things like that. We are
:25:49. > :25:54.not all out to kill, kill, kill, we just want to protect our living.
:25:54. > :25:58.There are many who don't want to see any seals shot and feel the law
:25:59. > :26:04.isn't being enforced properly. David Ainsley worries that salmon
:26:04. > :26:09.farming in the same area have ago an adverse effect on the wildlife.
:26:09. > :26:13.We run a wildlife tourism business, so we are taking people to see
:26:13. > :26:17.seals, dolphins and porpoise and all are affected, unnecessarily, by
:26:17. > :26:22.the way salmon farmers currently operate.
:26:22. > :26:28.He wants to see a change in working practices which he claims would
:26:28. > :26:32.prevent the need to shoot. The answer is simply to do what is
:26:32. > :26:38.already happening in Canada and very effective at solving the
:26:38. > :26:43.problem. Use two nets, a double layer of net. The nets are kept
:26:43. > :26:48.tensioned and separated so that the seals can't get close to the salmon
:26:48. > :26:53.and you don't have a problem. Any farm which is using a single net
:26:54. > :26:57.and shooting seals is not shooting seals as a last resort, they are
:26:57. > :27:02.shooting them because single nets are cheaper than double nets and
:27:02. > :27:06.they don't want to spend the money. This accusation is denied by
:27:06. > :27:10.technical director Dr John Webster from the Scottish salmon Producers'
:27:10. > :27:14.Organisation. He says the doubling of nets would slow the water
:27:14. > :27:19.current down and reduce oxygen to the fish and he stresses that they
:27:19. > :27:24.are following the law. The first line of defence is to prevent the
:27:24. > :27:29.seal get near the salmon in the first place. Only when that doesn't
:27:29. > :27:33.work do they resort the shooting. He says the damage caused by seals
:27:33. > :27:38.is devastating. A single seal reaching a salmon pen could take
:27:38. > :27:44.hundreds, even thousands of salmon in a single sitting. It's not going
:27:44. > :27:50.to eat them all though? They tend to take a single bite out of the
:27:50. > :27:53.throat and move on to the next fish. The effect on fish welfare is
:27:53. > :27:57.extraordinarily bad and the effect on the well-being of the people
:27:57. > :28:01.whose job it is to make sure the fish are in good order is
:28:01. > :28:05.catastrophic when this happens. We are moving on and developing new
:28:05. > :28:11.technology and approaches which we hope in the very near future will
:28:11. > :28:15.eliminate the need to shoot seals at all. Until the day seals and
:28:15. > :28:19.salmon can be kept apart more effectively, it appears that seals
:28:19. > :28:23.will continue to be shot. It's an example of the ever growing
:28:24. > :28:28.conflict between food production and wildlife conservation.
:28:28. > :28:32.It's difficult. Thank you. In honour of your character, we asked
:28:32. > :28:35.for health and safety officers doing extreme things. Paul rarri,
:28:35. > :28:39.the health and safety emergency planner ice climbing in New Zealand
:28:39. > :28:43.and not wearing a helmet. This is Jane, a health and safety manager,
:28:44. > :28:47.part of the British gliding team. Look at the fastest woman in the