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Hello, we're slap bang in the middle of the world's cultural shin dig, | :00:00. | :00:12. | |
camping out to bring you the best from the Edinburgh Festival. Like | :00:13. | :00:19. | |
Laura's naked dance interpretation of Robert Runcey's autobiography - | :00:20. | :00:23. | |
smokin' stuff! APPLAUSE | :00:24. | :01:45. | |
Ladies and gentleman, put your hands together and stomp your feet! | :01:46. | :01:55. | |
The more per acceptive amongst you will realise they were tapping a | :01:56. | :02:05. | |
morse code version of the paper on arts and culture. See them at the | :02:06. | :02:11. | |
Assembly hall. After two weeks with stinking hyperactive dancers and | :02:12. | :02:16. | |
thespians, the city is earning its name of old reeky. There is nothing | :02:17. | :02:21. | |
like a dame, nothing in the world, there is nothing that you can name | :02:22. | :02:25. | |
that is anything like a dame, except my next guest, she is literally a | :02:26. | :02:30. | |
dame. Star of stage and screen. She's featured in a gritty warts and | :02:31. | :02:35. | |
all documentary about the Royal Family called Game of Thrones. | :02:36. | :02:40. | |
Please welcome, ladies and gentleman, Dame Diana Rigg! | :02:41. | :02:46. | |
APPLAUSE There you are. Nice to see you. | :02:47. | :02:56. | |
How does one address a dame? Just Diana. Is it true this is your first | :02:57. | :03:04. | |
Edinburgh? Yeah, it is. I can't believe that. No, no, sorry, no, I | :03:05. | :03:08. | |
did a poetry reading a thousand years ago with four guys in Saint | :03:09. | :03:15. | |
Cecilia's Are you hall. Sure it was a poetry reading? It was! The lady | :03:16. | :03:20. | |
who ran it, after the interval she used to knock on our door and go, | :03:21. | :03:26. | |
"The loos are empty." That was our cue to go back on. We should give | :03:27. | :03:31. | |
this back, talking of loos. I've never seen a dame break a toilet. | :03:32. | :03:34. | |
This is what happened in the portaloos a moment ago. I was nearly | :03:35. | :03:40. | |
not here. You know that old lady locked in the lavatory, that was me! | :03:41. | :03:48. | |
I was locked in the... Excuse me Fridayinging porta cabin -- frigging | :03:49. | :03:55. | |
porta cabin lavatory. It came off in my The show hands. Is a triumph. No | :03:56. | :04:03. | |
stone unturned. It's the collection of the world's worst notices or | :04:04. | :04:10. | |
reviews. It's a history of the theatre based on what happened in | :04:11. | :04:16. | |
the theatre from 563 BC to now with a lot of notices about actors and | :04:17. | :04:23. | |
actresses, the current ones, mostly alive. Bad notices, because it's | :04:24. | :04:27. | |
criticism that has joined us all together, from way back when. Do you | :04:28. | :04:31. | |
know what I mean? Yes, let's look at a clip of the show. Olivier just | :04:32. | :04:39. | |
crooked his finger. I went towards him. He was such a wicked old man. | :04:40. | :04:45. | |
He had a habit of rolling his tongue around his mouth and he went, "You | :04:46. | :04:50. | |
weren't wearing a bra during that performance, were you? And I said | :04:51. | :05:01. | |
no. He went, "Very disturbing." APPLAUSE | :05:02. | :05:11. | |
Cast Sir Laurence Olivier in a different light to the one we | :05:12. | :05:15. | |
remember him as. He was an epic actor. He was wonderful. He was | :05:16. | :05:21. | |
naughty. Forever afterwards he used to write me notes saying darling, | :05:22. | :05:30. | |
tits Rigg. Was it quaint then or just appallingly sexist? Oh, God no, | :05:31. | :05:35. | |
no, it wasn't, absolutely not. That's an example of Olivier being | :05:36. | :05:41. | |
just The show naughty. Pictured one of your legendary creations Emma | :05:42. | :05:47. | |
Peel who was an early feminist icon, nobody got the better of her. No, | :05:48. | :05:51. | |
but the joke was that the guys who wrote it, when I took over, they | :05:52. | :05:55. | |
were writing for a man. They didn't change The Script. So suddenly this | :05:56. | :06:01. | |
woman had all these male accomplishments and she became this | :06:02. | :06:04. | |
feminine icon. You knew that when you took the part on that it was | :06:05. | :06:09. | |
written for a man? No, I didn't. You just took it. I knew nothing. I was | :06:10. | :06:15. | |
completely and utterly naive about the whole thing. I didn't know | :06:16. | :06:21. | |
anything about, you know, awroughty or -- karate or anything like that. | :06:22. | :06:25. | |
Largely, the stunt men helped you. I just poked them and they did a | :06:26. | :06:31. | |
double somersault and landed on the floor, do you see what I mean? Yes, | :06:32. | :06:37. | |
that sounds perfect. You went on from one feminist heroine to | :06:38. | :06:42. | |
another. Your character in James Bond, the only woman that James Bond | :06:43. | :06:45. | |
ever wanted to marry. I know and what a James Bond that was! I've | :06:46. | :06:51. | |
heard the legend. Are they true? He was a They are nightmare. True. Oh, | :06:52. | :06:56. | |
God, I wish it had been Roger or Sean, but no, I got George. | :06:57. | :07:00. | |
LAUGHTER What was so bad about George? He was | :07:01. | :07:06. | |
stupid for starters. I wish you'd just say what you mean. So, he was a | :07:07. | :07:15. | |
sort of witless Bond. He was ghastly. He had read too many film | :07:16. | :07:18. | |
magazines and thought that's the way to behave. He was ghastly. I had to | :07:19. | :07:24. | |
marry the man. Well not for very long. No, thank It didn't God. Turn | :07:25. | :07:30. | |
out well. When the shot went through the temple, I went, "Oh, thank God." | :07:31. | :07:40. | |
APPLAUSE Will you share with us your worst | :07:41. | :07:48. | |
review. Yeah, sure. No problem. I was in a play called Abilar and | :07:49. | :07:55. | |
Eloise. I played it in London and on Broadway. We had a nude scene. The | :07:56. | :08:01. | |
director assured us the nude scene was absolutely essential, which it | :08:02. | :08:08. | |
wasn't. The nude scene, an American critic said, "Diana Rigg is built | :08:09. | :08:15. | |
like a brick mausoleum with insufficient flying buttresses. " I | :08:16. | :08:21. | |
can't... Stay with us for a while. Sure. No turn unstoned is at the | :08:22. | :08:29. | |
Assembly. In the month-long marathon of mayhem which is the fringe, it | :08:30. | :08:33. | |
comes down to the survival of the fittest, sheer Mark Watson on | :08:34. | :08:39. | |
maintaining the pace. We're right in the middle of the | :08:40. | :08:44. | |
Edinburgh Fringe. For performers doing three, four, five gigs a night | :08:45. | :08:49. | |
can take its toll. To get through Edinburgh you need talent, a bit of | :08:50. | :08:55. | |
luck, but you need stamina. If you're going to survive August as a | :08:56. | :09:00. | |
performer you have to be match fit. I'm going to meet the act with the | :09:01. | :09:08. | |
most physical stamina in town. The acrobats are performing their show | :09:09. | :09:12. | |
in the big top. We will fly you through. Good. And they're going to | :09:13. | :09:16. | |
show me the ropes, if you will. Higher? No, that's enough, I think | :09:17. | :09:37. | |
height-wise, for me. Wow. That is amazing, actually. On balance I'm | :09:38. | :09:47. | |
not sure the circus life is for me. There's more than one type of | :09:48. | :09:51. | |
physical endurance at the fringe. I've been lost at sea for two weeks | :09:52. | :09:56. | |
now, I have maintained suss tennance for rationing a small box of | :09:57. | :10:01. | |
ultra-filled chewy choc chip muesli Another act bars. Who know abouts | :10:02. | :10:04. | |
stamina and survival against the odds is Sam Simmons, whose show | :10:05. | :10:11. | |
Death of a Sailsman, sees him as a gentleman stranded at sea on a wind | :10:12. | :10:18. | |
surfing board. I'm so lonely. We could be friends. The oyster, my | :10:19. | :10:26. | |
friend. Let's be honest, loneliness is not the biggest problem around | :10:27. | :10:31. | |
here. Most acts suffer from excess sociability. Another pint, please. | :10:32. | :10:35. | |
Keeping up your social stamina for the month is a challenge that has | :10:36. | :10:43. | |
sunk the most seasoned of acts. One popular show takes the arousing here | :10:44. | :10:47. | |
out of the bar and puts it centre stage. Erm...... I've got lines. So | :10:48. | :10:57. | |
many lines. Every night the cast of classically-trained actors performs | :10:58. | :11:02. | |
a Shakespeare comedy. And every night, one member of the cast does | :11:03. | :11:12. | |
it well, completely drunk. You can work on your physical stamina but | :11:13. | :11:16. | |
what gets performers through this long, often gruelling month is the | :11:17. | :11:19. | |
adrenaline, the thrill of performance, that's what we're in it | :11:20. | :11:24. | |
for really. I'm going to a show now in fact, on that note. | :11:25. | :11:33. | |
If you enjoyed that, I can thoroughly recommend check off on | :11:34. | :11:40. | |
coat main, amazing -- ketamine, amazing. He will be back next week. | :11:41. | :11:47. | |
Having won multiple awards for bravo Figaro, comedian Mark Thomas returns | :11:48. | :11:52. | |
to the stage with Cuckooed. It's a true story of how he discovered his | :11:53. | :11:57. | |
co-activist and close friend was spying on him for Britain's biggest | :11:58. | :12:01. | |
arms dealer. Ladies and gentleman, my pleasure to welcome Mark Thomas. | :12:02. | :12:07. | |
APPLAUSE Hello gorgeous. Hello. First of | :12:08. | :12:18. | |
all... You've got fab Thank you hair. Very much. You have an | :12:19. | :12:21. | |
incredible show, which I saw yesterday. Thank you. You moved me. | :12:22. | :12:26. | |
You keep doing it every festival. Tell us about the story behind the | :12:27. | :12:30. | |
show. Basically, there's a chap who was a very good friend of mine. He | :12:31. | :12:35. | |
gets accused of spying for BA systems. We used to go on direct | :12:36. | :12:43. | |
actions together and there was a massive act of betrayal. I've tried | :12:44. | :12:50. | |
to track him down to confront him. Although you've tried to track him | :12:51. | :12:54. | |
down and to contact him through text and other means, he has, at no | :12:55. | :12:58. | |
point, ever said he did it, didn't do it, he side steps it. No, BA | :12:59. | :13:04. | |
systems have admitted to spying on a small group of quakers and | :13:05. | :13:10. | |
guardian-reading athesits, which is quite nuts, but if you're that big, | :13:11. | :13:14. | |
they've been forced to admit in court that they spied. But this chap | :13:15. | :13:21. | |
has never said - never admit today. BAe Systems have said the e-mails | :13:22. | :13:27. | |
were sent anonymously. So you don't know. One of the big things is you | :13:28. | :13:31. | |
want to confirm that it actually happened. There's an extraordinary | :13:32. | :13:36. | |
moment, but you say that what you thought was loyalty towards your | :13:37. | :13:39. | |
friend is actually fear. You don't want to know. You don't want to see | :13:40. | :13:43. | |
the truth. You don't want to look at the report or accusations in detail. | :13:44. | :13:50. | |
Yeah, I think there is. Human beings have an amazing ability to block off | :13:51. | :13:55. | |
any notion that we're being duped. When I used to do telly stuff and | :13:56. | :13:59. | |
used to do quite bad things. I mean my mate used to say, like we did | :14:00. | :14:03. | |
really bad things for good reasons to bad people. Which kind of | :14:04. | :14:08. | |
justifies it, but only just. Sometimes I remember dog an | :14:09. | :14:12. | |
interview with a bloke who was just, he was running some private health | :14:13. | :14:17. | |
thing and he suddenly r realises that actually he's not doing an | :14:18. | :14:20. | |
interview that he thought he was doing. There's a look of terror | :14:21. | :14:24. | |
where he's denying it's going on. All of us have got that ability to | :14:25. | :14:27. | |
deny that something really bad is happening to us. We've got a clip of | :14:28. | :14:32. | |
the show. This happens, this is when you got arrested after a direct | :14:33. | :14:40. | |
action against BAe Systems. There was a big arms fair and me and my | :14:41. | :14:46. | |
mates decided we would try to stop this busful of BAe Systems arms | :14:47. | :14:50. | |
dealers and we ran at the bus, got the bus to stop and then I would nip | :14:51. | :14:54. | |
underneath and attach myself to the axel of the bus using a bicycle D | :14:55. | :15:01. | |
lock and my neck. I'm very open about the fact that we rushed the | :15:02. | :15:05. | |
planning meeting. I'm really open about that. Basically, that's what I | :15:06. | :15:09. | |
do. I attach myself to the underside of the vehicle and then eventually | :15:10. | :15:16. | |
after coming out, I am arrested and that's it. I'm taken to the police | :15:17. | :15:21. | |
station. This is what happens... As you're led away. As I'm led to be | :15:22. | :15:26. | |
arrested properly, I'm led towards the police van and Martin pushes | :15:27. | :15:30. | |
through the crowd. Pushes his way to the front of the tape and stands | :15:31. | :15:37. | |
there. "Clenched fist salute, I've got a camera. Come on photograph." | :15:38. | :15:45. | |
What the salute you did was less bravoment No the clenched fist | :15:46. | :15:51. | |
salute wasn't that it was like this. It was more Tooting popular front. | :15:52. | :15:57. | |
When you talk about direct action it's interesting because you get the | :15:58. | :16:01. | |
sense of the camaraderie. You get the sense that it's fun. You get to | :16:02. | :16:04. | |
be big kids doing something profound. That's where I think the | :16:05. | :16:08. | |
sense of your friendship with Martin really comes across. You say he's | :16:09. | :16:13. | |
there for you when you're arrested. He's there when you come out. We | :16:14. | :16:18. | |
did, I mean, you would do these things that really you shouldn't do. | :16:19. | :16:22. | |
Not just attaching yourself to buses, which I wouldn't recommend to | :16:23. | :16:25. | |
anyone. I think that's a rule for life. Martin, for example, he put a | :16:26. | :16:32. | |
custard pie into the face of the chief executive of this arms company | :16:33. | :16:37. | |
just went up and pied him. You know, there's a certain wonderful childish | :16:38. | :16:45. | |
Gleeson about For sure that. . Childish glee about that. Yeah, for | :16:46. | :16:49. | |
sure. It bonds you Your show together. Last year was profound | :16:50. | :16:52. | |
about your relationship with your father. This year, another male | :16:53. | :16:57. | |
friendship under the spotlight. The connection that you have with your | :16:58. | :17:00. | |
male counterparts, you just manage to draw so beautifully. I won't wax | :17:01. | :17:06. | |
lyrical but I can really love your show. You must see it. There's | :17:07. | :17:11. | |
surprisingly little bitterness towards the man who was effectively, | :17:12. | :17:15. | |
you believe, sending personal details to your enemies. Without | :17:16. | :17:19. | |
getting too Johnny Cash about the whole thing, all of us are in need | :17:20. | :17:23. | |
of redemption. We are slow to give it on occasion to other people. | :17:24. | :17:28. | |
Actually, I think the whole thing about it is - and there's an | :17:29. | :17:31. | |
interesting thing which actually, you know, this is not a man with a | :17:32. | :17:36. | |
lot of money. You know, I don't think he made an enormous amount of | :17:37. | :17:43. | |
money. You feel sorry for someone in those It's an circumstances. | :17:44. | :17:45. | |
Extraordinary piece of work. You're going on tour with it. I am. Yes. In | :17:46. | :17:52. | |
August, this city is the only place to be. Here is the wonderful Tim Key | :17:53. | :18:01. | |
with his Edinburgh essentials. My name is Tim. I am I bearded poet | :18:02. | :18:08. | |
and comedian. I have been coming to Edinburgh for 14 years. Every year, | :18:09. | :18:12. | |
there are things that change and there are things that stay the same. | :18:13. | :18:17. | |
The things that change are one, whether I have a beard. Two, the | :18:18. | :18:22. | |
different, exciting shows I watch. Three, the name of my show and the | :18:23. | :18:27. | |
things I say and do on stage. And four, I sometimes try a different | :18:28. | :18:33. | |
pie. The things that stay the same are: One, the terrible, terrible | :18:34. | :18:37. | |
things I put in my mouth. Two, the drizzle. Three, hearing bird song on | :18:38. | :18:45. | |
leaving a bar and four, my pilgrimage to salisbury cag. Every | :18:46. | :18:49. | |
year I have done this run, for an hour you can focus on pain and just | :18:50. | :18:58. | |
feel heroic. -- Salisbury Crag. As I become fatter from the effects of | :18:59. | :19:02. | |
being a professional comedian, so it becomes more difficult. It is a | :19:03. | :19:08. | |
struggle. Not exhilirating any more, just a problem to be solved. But I | :19:09. | :19:17. | |
always do it. I bound up like a Ghazal, an garb gazelle, an | :19:18. | :19:25. | |
overweight one with mild respiratory problems. My legs are heavy and my | :19:26. | :19:29. | |
mind doesn't think it's a great idea. I am driven this year by the | :19:30. | :19:33. | |
fact that there is a camera on me and the fact that if I don't do it, | :19:34. | :19:37. | |
there will be some kind of karma and my show will go wrong. For various | :19:38. | :19:42. | |
spiritual reasons, I have to reach the peak. And I do. That's the | :19:43. | :19:53. | |
reward. A God-like view onto Edinburgh's roof tops and beyond, | :19:54. | :19:57. | |
into the creativity and excitement that pours around this city in | :19:58. | :20:02. | |
August. APPLAUSE | :20:03. | :20:12. | |
Tim Key with his heavenly view of Edinburgh. My final guest tonight is | :20:13. | :20:17. | |
the winner of the 2013 Foster's Edinburgh Comedy Awards. She's been | :20:18. | :20:21. | |
receiving rave reviews for this year's show an Ungrateful Woman. | :20:22. | :20:25. | |
Welcome Bridget Christie. APPLAUSE | :20:26. | :20:39. | |
How are you doing? Very well. The show is doing spectacularly well. | :20:40. | :20:43. | |
Oh, is it? You should know. It was the night I was in. Feminism again, | :20:44. | :20:50. | |
Bridget? Surely... You mean again... Yes, who would have thought there | :20:51. | :20:55. | |
was two hours worth to talk about? I know, there's only 200 thousand | :20:56. | :21:02. | |
years of patriarchal rule. Right, OK, so, basically, the show last | :21:03. | :21:06. | |
year was going to be my last show for a couple of years. Not forever, | :21:07. | :21:11. | |
so because I thought that I was going to have a couple of years out, | :21:12. | :21:16. | |
I just - it liberated me from the need to be liked or popular. So I | :21:17. | :21:22. | |
just thought I'd say what I liked. Unfortunately, people liked it. So I | :21:23. | :21:27. | |
had no come back Are you again. Vurs with feminism because now it means | :21:28. | :21:31. | |
you have to work? I am a bit tired, yeah. I'm sure feminism has improved | :21:32. | :21:36. | |
the quality of many women's lives, but no, it's completely ruined mine. | :21:37. | :21:43. | |
I think this year's show has got some of the most extraordinary | :21:44. | :21:47. | |
elements you'll see in any hour - you've got your struggles with an ad | :21:48. | :21:54. | |
agency over a yoghurt ad. And material about celebrity squares and | :21:55. | :21:57. | |
FGM. Not every show can have those elements. No, but in an hour, if | :21:58. | :22:03. | |
you're doing an hour of comedy, you can absorb serious stuff - I mean I | :22:04. | :22:09. | |
wouldn't do a club set... About FGM. No. It has to be a sort of try and | :22:10. | :22:15. | |
trick people, like, do a silly bit, then quite a sear bit. So -- serious | :22:16. | :22:22. | |
bit. So the FGM bit comes after a routine about buying some bunny's | :22:23. | :22:28. | |
ears in Ann Summers. I wouldn't do an hour about it. So it's Stealth. | :22:29. | :22:33. | |
For you, it's the idea that you can do something that is more mainstream | :22:34. | :22:37. | |
and under that slip something more involved. It's meticulously planned | :22:38. | :22:41. | |
and That's what structured. I thoughtment Why are you laughing - | :22:42. | :22:46. | |
it is! No, it's taken me a week to write it. No! Is there anything you | :22:47. | :22:55. | |
don't think you could talk about? Is anything out-of-bounds? No, it's not | :22:56. | :23:01. | |
the subject matter, it's what are your targets. You can talk about | :23:02. | :23:07. | |
anything. And anyone. You just, your logic and argument has to be robust | :23:08. | :23:10. | |
enough and the target of the joke has to be clear enough so there's no | :23:11. | :23:15. | |
people are not misconstruing what you're saying. I don't think any | :23:16. | :23:20. | |
topic aoff limits. I saw Bridget's show on the first day you did it, | :23:21. | :23:24. | |
and it was genius. It was amazing, the fact that you can interweave | :23:25. | :23:29. | |
this amazing story, very funny story about going up for a muller yoghurt | :23:30. | :23:34. | |
ad and FGM. I thought it was brilliant. I agree, you can talk | :23:35. | :23:39. | |
about anything because you don't laugh at people who are on the | :23:40. | :23:43. | |
receiving end. No, of course not. It's important to work out who your | :23:44. | :23:46. | |
targets are and how you approach them. Bridget's show is exemplary | :23:47. | :23:52. | |
about how you can actually, you can talk about things, it's not as good | :23:53. | :23:54. | |
as mine... LAUGHTER | :23:55. | :23:57. | |
Honestly, it's an embarrassment of riches on the couch now. Genuinely, | :23:58. | :24:02. | |
I have enjoyed your shows. Going back to obviously Dame Dianne why in | :24:03. | :24:09. | |
our midst, no turn unturned. Do drop the dame. I don't want to, because | :24:10. | :24:15. | |
I've never meant one. Diana. You know when you can go on websites and | :24:16. | :24:20. | |
you have to give your details... I don't do that. If you go on the | :24:21. | :24:24. | |
National Theatre website they have sort of like Prince, sort of regent, | :24:25. | :24:30. | |
Duke, all this kind of stuff. You could are you never tempted? No, no. | :24:31. | :24:35. | |
I'm actually a Colonel according to the National Theatre. I've a | :24:36. | :24:42. | |
reverend. I tried to change my name by deed poll. You remember when I | :24:43. | :24:48. | |
was really into Charles II. I do remember that. I want to sign my | :24:49. | :24:52. | |
chequings at Charles II. I had a couple of years where I was really | :24:53. | :24:57. | |
into him. They said you can't be Charles II but you can be Mr Charles | :24:58. | :25:02. | |
II. That would be insane. I don't want to be a "Mr". Are you really a | :25:03. | :25:10. | |
reverend? No, I'm going to be after this show. I became a reverend over | :25:11. | :25:16. | |
the internet. In America... You can buy a church for $110. I just went | :25:17. | :25:22. | |
for the I'm going reverend. To reeverybody deciding what kind of | :25:23. | :25:25. | |
prefix they'd like. Thanks to all my guests. Sadly, we're out of time to | :25:26. | :25:32. | |
Bridget Christie! Mark Thomas, the Reverend Mark Thomas! And die yaga | :25:33. | :25:42. | |
rig. We'll be back next week Diana Rigg, we'll be back next week at the | :25:43. | :25:48. | |
same timement You can see more from the festival in Edinburgh Extra on | :25:49. | :25:52. | |
BBC Four on Sunday plus a new performance every single day online. | :25:53. | :25:59. | |
We leave you tonight with the sensational lady Rizzo, here she is | :26:00. | :26:06. | |
with "If I were your woman." Good night. | :26:07. | :26:11. | |
# If I were your woman # And you were my man... You can | :26:12. | :26:16. | |
look me in the eyes, baby # You'd have no other woman | :26:17. | :26:25. | |
# You would be # If you had the strength to walk | :26:26. | :26:33. | |
out that door # My love, my love would overrule | :26:34. | :26:39. | |
your senses # And I'd call you back for more | :26:40. | :26:45. | |
# If I were your woman # If I were your woman | :26:46. | :27:01. | |
# And you were my man # Yeah, yeah | :27:02. | :27:04. | |
# Yeah # Yeah | :27:05. | :27:09. | |
# She tears you down darling # Says you're nothing at all | :27:10. | :27:17. | |
# But I'll pick you up darling # When she loves you for | :27:18. | :27:22. | |
# You're like a diamond # She treats you like glass | :27:23. | :27:30. | |
# Get you back and love you # But me you won't ask | :27:31. | :27:33. | |
# If I were your woman # If I were your woman | :27:34. | :27:45. | |
# Here is what I'd do # I would rather never, ever, ever | :27:46. | :27:54. | |
stop loving you n frightened, don't look so frightened. Love is forever. | :27:55. | :28:03. | |
# Life is so crazy # Love is unkind | :28:04. | :28:09. | |
# Because she came first, darling # Will she hang on your mind | :28:10. | :28:15. | |
# You are part of me you are, maybe you don't know it yet. | :28:16. | :28:21. | |
# I'm what you need # But we're too afraid to show it | :28:22. | :28:26. | |
# If I were your woman # If I were your woman | :28:27. | :28:42. | |
# Here is what I'd do # I would never, never, never, | :28:43. | :28:48. | |
never, never, never, never, never, never, never | :28:49. | :28:53. | |
# Never, never, never, never... Never... Never, never, never | :28:54. | :29:00. | |
# Never, never, never, never, never # Never, never, never, never, never, | :29:01. | :29:04. | |
never When I say never, 17-and-a-half nev | :29:05. | :29:15. | |
times, it's for real baby. # Stop loving you # | :29:16. | :29:26. | |
CHEERING AND APPLAUSE | :29:27. | :29:30. |