Browse content similar to Episode 4. Check below for episodes and series from the same categories and more!
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SNIPPETS OF SINGING | 0:00:34 | 0:00:37 | |
One simple dream, two million people | 0:00:39 | 0:00:43 | |
and now, just three remain in tonight's final. | 0:00:43 | 0:00:46 | |
I know I can win this for my family, especially our Gran. | 0:00:50 | 0:00:54 | |
Singing has always been my life. I was born with the Pop Factor. | 0:00:57 | 0:01:01 | |
That's why I can't lose this competition. | 0:01:01 | 0:01:04 | |
We know we can win this. | 0:01:07 | 0:01:09 | |
Britain has got the Pop Factor and you're looking at it. | 0:01:09 | 0:01:12 | |
No acts are the same. Young and old are here for this, the final show. | 0:01:12 | 0:01:18 | |
It's the talent show to end all talent shows | 0:01:18 | 0:01:21 | |
and you choose who wins. | 0:01:21 | 0:01:23 | |
A life-changing recording contract | 0:01:23 | 0:01:25 | |
and a chance to skate into the lead role of an ice extravaganza! | 0:01:25 | 0:01:29 | |
Tonight's the night. It's the final and it's up to you. | 0:01:29 | 0:01:35 | |
Only you can decide who is crowned champion. | 0:01:35 | 0:01:39 | |
The cameras are set, the phone lines are ready, the lights are rigged. | 0:01:39 | 0:01:44 | |
It's time to prove that Britain has got the Pop Factor and possibly | 0:01:44 | 0:01:48 | |
a new Celebrity Jesus Christ Soapstar Superstar Strictly On Ice! | 0:01:48 | 0:01:52 | |
CROWD ROARS | 0:02:05 | 0:02:08 | |
Prostitutes are rough in Amsterdam. | 0:02:13 | 0:02:15 | |
The first one I went with made me wash me old man in the sink. | 0:02:15 | 0:02:19 | |
You took your dad?! | 0:02:20 | 0:02:21 | |
DRUNKEN SINGING | 0:02:24 | 0:02:28 | |
Oh, oh, I hate match days. Look at this. | 0:02:29 | 0:02:33 | |
CHEERING AND DRUNKEN SINGING | 0:02:33 | 0:02:35 | |
How far away are they? | 0:02:38 | 0:02:40 | |
# We're Bolton, we're barmy We're on the march tonight | 0:02:40 | 0:02:43 | |
# We're Bolton, we're barmy We're on the piss tonight | 0:02:43 | 0:02:47 | |
# We're Bolton, we're barmy We're on the road tonight | 0:02:47 | 0:02:51 | |
# We're Bolton, we're barmy We're on the piss tonight... # | 0:02:51 | 0:02:55 | |
Whoa! Enough, enough! | 0:02:55 | 0:02:57 | |
Get back on the bus, you're not coming in. | 0:02:57 | 0:03:00 | |
Hey, I'm getting married next week. | 0:03:00 | 0:03:02 | |
I don't care, you're not coming in, all right? | 0:03:02 | 0:03:04 | |
Come on, let him in, it's his stag night. | 0:03:04 | 0:03:06 | |
Is it money you want, cos we've got money? | 0:03:06 | 0:03:09 | |
We don't want it. Get back on the bus. | 0:03:09 | 0:03:10 | |
SHOUTING | 0:03:10 | 0:03:13 | |
Hey, what's up with this? Can't you read? | 0:03:17 | 0:03:21 | |
Oi, Tattoo, get away from there! | 0:03:21 | 0:03:24 | |
Who you calling Tattoo, you long streak of piss? | 0:03:24 | 0:03:27 | |
I'm calling YOU Tattoo! | 0:03:27 | 0:03:29 | |
SHOUTING | 0:03:29 | 0:03:31 | |
SMASHING GLASS | 0:03:31 | 0:03:33 | |
SHOUTING AND SMASHING GLASS | 0:03:33 | 0:03:36 | |
DISTANT COMMOTION | 0:03:41 | 0:03:44 | |
SHOUTING | 0:03:49 | 0:03:52 | |
LAUGHTER | 0:03:58 | 0:04:01 | |
I tell you what, you're laughing, but we'll end up like our parents. | 0:04:01 | 0:04:05 | |
It's inevitable. We will, I'm telling you. Mm. | 0:04:05 | 0:04:09 | |
LAUGHTER Oh, ay. 40 years from now, | 0:04:09 | 0:04:11 | |
we'll be there. Oh, I tell you, you don't know you're born, you. | 0:04:11 | 0:04:15 | |
LAUGHTER | 0:04:15 | 0:04:17 | |
All me and your mam used to have in the evenings was Sky Digital... | 0:04:17 | 0:04:19 | |
LAUGHTER Oh, ay, PlayStation. | 0:04:19 | 0:04:23 | |
All we had in the evenings, you know. | 0:04:23 | 0:04:25 | |
We used to have to manage with a car each! | 0:04:25 | 0:04:28 | |
A car each! LAUGHTER | 0:04:28 | 0:04:32 | |
Your mam had a dishwasher. You don't remember them. | 0:04:32 | 0:04:34 | |
Look at her face. She don't remember them. A dishwasher! | 0:04:34 | 0:04:38 | |
She used to have to go over, take all the plates, | 0:04:38 | 0:04:41 | |
open it up, load them in by hand on her own, turn it on... | 0:04:41 | 0:04:46 | |
LAUGHTER | 0:04:46 | 0:04:48 | |
I'm telling you now, you don't know you're born. | 0:04:48 | 0:04:50 | |
Didn't have any of them hoverboards. | 0:04:50 | 0:04:52 | |
They were just pipe dreams then, son. | 0:04:52 | 0:04:54 | |
Turn that music off. It's crap. Get a bit of Basement Jaxx on. | 0:04:54 | 0:04:58 | |
Put a bit of Basement Jaxx on. LAUGHTER | 0:04:58 | 0:05:00 | |
Bit of decent music, come on. Bit of drum'n'bass. | 0:05:00 | 0:05:03 | |
Put a bit of Prodigy on for your mam. She loves that. | 0:05:03 | 0:05:06 | |
Look at her. Smack Your Bitch Up, go on. She'll love that. | 0:05:06 | 0:05:09 | |
Put a bit of that on. LAUGHTER AND APPLAUSE | 0:05:09 | 0:05:13 | |
Come on, son. Look, it's Hammertime. It's Hammertime, come on. | 0:05:13 | 0:05:16 | |
LAUGHTER | 0:05:16 | 0:05:19 | |
Flat top. Can't touch this, son. | 0:05:19 | 0:05:21 | |
Go on, it's Hammertime. Crank it up. LAUGHTER | 0:05:21 | 0:05:25 | |
RADIO: ..Fixings at a steal. Plus gutter pipes to die for. | 0:05:25 | 0:05:29 | |
And more ladders than you could shake a stick at. | 0:05:29 | 0:05:32 | |
Planning on a bit of soldering? We've got soldering wire... | 0:05:32 | 0:05:35 | |
What's your favourite colour? Blue. | 0:05:35 | 0:05:37 | |
What's yours? Yellow. | 0:05:39 | 0:05:42 | |
That just about sums us up. | 0:05:43 | 0:05:45 | |
RADIO: Another great song on Forever FM. Timeless hits now and forever. | 0:05:47 | 0:05:52 | |
Richard Marx and Hazard. | 0:05:52 | 0:05:54 | |
Ah! Oh, I don't need this. | 0:05:54 | 0:05:57 | |
I do not need this. Beautiful song. | 0:05:57 | 0:06:01 | |
This is horrific. What they playing this for? | 0:06:01 | 0:06:05 | |
It's about you. You're a hazard. I'm not backwards. What? | 0:06:05 | 0:06:09 | |
He's backwards, the lad in this song. | 0:06:09 | 0:06:12 | |
He's not playing with a full deck. Listen. | 0:06:12 | 0:06:15 | |
# My mother called me Hazard when I was just seven | 0:06:16 | 0:06:20 | |
# Even then the folks in town said with prejudiced eyes | 0:06:20 | 0:06:27 | |
# That boy's not right... # | 0:06:27 | 0:06:30 | |
Oh, I thought it just meant he was naughty. No, he's not right. | 0:06:30 | 0:06:33 | |
# ..when I came to know Mary... # He think this is his girl, look. | 0:06:33 | 0:06:36 | |
# The first time that someone looked | 0:06:36 | 0:06:39 | |
# Beyond the rumours and the lies | 0:06:39 | 0:06:42 | |
# Saw the man inside... # | 0:06:42 | 0:06:45 | |
Bloody bleak, this. | 0:06:45 | 0:06:46 | |
# We used to walk down by the river | 0:06:46 | 0:06:52 | |
# She loved to watch the sun go down... # | 0:06:54 | 0:06:59 | |
Then he kills her. Serial killer. | 0:06:59 | 0:07:04 | |
What do you reckon? | 0:07:05 | 0:07:07 | |
Oh, get a grip! | 0:07:07 | 0:07:09 | |
You're not crying at Hazard, are you? | 0:07:09 | 0:07:12 | |
It's just so sad. You're having a laugh! She's dead! | 0:07:12 | 0:07:17 | |
Live, it's the final of all finals. | 0:07:18 | 0:07:22 | |
Will you finally welcome your host for the final time? | 0:07:22 | 0:07:26 | |
Cat Deeley! | 0:07:26 | 0:07:28 | |
CHEERING AND APPLAUSE | 0:07:28 | 0:07:31 | |
Hello! Hello, nice to see you again. | 0:07:38 | 0:07:40 | |
Good evening. | 0:07:41 | 0:07:43 | |
OK, this is it, Britain. | 0:07:43 | 0:07:45 | |
We've made it. We're here. | 0:07:45 | 0:07:47 | |
It's what everybody is talking about. | 0:07:47 | 0:07:50 | |
It's the highlight of the television year. It's the final! | 0:07:50 | 0:07:54 | |
CHEERING AND APPLAUSE | 0:07:54 | 0:07:58 | |
OK, lock the front door and strap yourselves in | 0:07:58 | 0:08:00 | |
because have we got a packed show for you tonight? | 0:08:00 | 0:08:03 | |
Not only will the winner receive a life-changing record contract | 0:08:03 | 0:08:07 | |
but they'll also qualify for the chance to compete in a new show | 0:08:07 | 0:08:11 | |
that starts next week on this very channel - | 0:08:11 | 0:08:13 | |
Celebrity Jesus Christ Soapstar Superstar Strictly On Ice! | 0:08:13 | 0:08:17 | |
CHEERING | 0:08:17 | 0:08:20 | |
Featuring Sally Lindsay as Mary, Louis Emerick as Joseph | 0:08:25 | 0:08:28 | |
and Todd Carty as Jesus H Christ, | 0:08:28 | 0:08:31 | |
next Wednesday at eight, | 0:08:31 | 0:08:32 | |
except Border Tyne Tees. | 0:08:32 | 0:08:35 | |
Doesn't that look great? It looks great. I can't wait! | 0:08:35 | 0:08:38 | |
CHEERING | 0:08:38 | 0:08:39 | |
A record-breaking 2.6 million applied to appear on the show. | 0:08:39 | 0:08:44 | |
After 15 unforgettable weeks, just three final acts remain. | 0:08:44 | 0:08:49 | |
The pressure is enormous and they're nervously waiting backstage. | 0:08:49 | 0:08:53 | |
So, let's welcome them one last time. | 0:08:53 | 0:08:56 | |
Ladies and gentlemen, your finalists. | 0:08:56 | 0:08:59 | |
MUSIC: O Fortuna from Carmina Burana by Carl Orff | 0:08:59 | 0:09:03 | |
R Wayne. | 0:09:11 | 0:09:12 | |
Geraldine. | 0:09:14 | 0:09:16 | |
And 2 Up 2 Down. | 0:09:16 | 0:09:18 | |
CHEERING | 0:09:18 | 0:09:21 | |
Manchester Evening News Arena is Europe's largest multipurpose | 0:09:41 | 0:09:44 | |
indoor entertainment and sports venue. | 0:09:44 | 0:09:47 | |
Security training for the staff | 0:09:47 | 0:09:49 | |
is provided by specialist company Live Sec | 0:09:49 | 0:09:51 | |
and their representatives Chris Choi and Shaun Ballen. | 0:09:51 | 0:09:55 | |
Welcome back to your third and final day of training. | 0:09:55 | 0:09:57 | |
Hope you all slept well. | 0:09:57 | 0:09:59 | |
And those of you who didn't, I hope you didn't sleep at all. | 0:09:59 | 0:10:02 | |
Seriously, today, we're going to look | 0:10:02 | 0:10:04 | |
at your relationship with the public | 0:10:04 | 0:10:06 | |
and how to conduct a thorough and complete body search. Chris. | 0:10:06 | 0:10:08 | |
Thank you, Shaun. Now, anal probes. | 0:10:08 | 0:10:11 | |
Where and how to use them in a crowd situation. | 0:10:11 | 0:10:13 | |
Are we on now? Chris came out of prison in '85. | 0:10:13 | 0:10:17 | |
Mm, well, I didn't come out of prison. Sounds terrible, that. | 0:10:17 | 0:10:20 | |
Well, I DID come out of prison, but I hadn't done anything. No. | 0:10:20 | 0:10:22 | |
I was a prison officer, so I hadn't actually committed a crime. | 0:10:22 | 0:10:26 | |
I used to box, flyweight, till I did my knee. | 0:10:26 | 0:10:29 | |
What we do is cover the first initial stages of training. | 0:10:29 | 0:10:33 | |
We touch base with the stewards, | 0:10:33 | 0:10:35 | |
then we up sticks to the next port of call. | 0:10:35 | 0:10:36 | |
Next week, we're in...Berlin. Berlin. Berlin. | 0:10:36 | 0:10:39 | |
It's an international contract. We go all over, | 0:10:39 | 0:10:41 | |
work in many different arenas, different venues, | 0:10:41 | 0:10:43 | |
with all the top names, all the artists. | 0:10:43 | 0:10:46 | |
You name them, we've worked with them over the years. | 0:10:46 | 0:10:48 | |
Meat Loaf. Yeah. Madonna. Yeah. U2. U2. Cast. Worked with them all. | 0:10:48 | 0:10:51 | |
I've seen Cher's arse. That was a dancer. No, it wasn't. It was Cher. | 0:10:51 | 0:10:55 | |
It was a... Whatever. Chris, it was a dancer. Whatever. | 0:10:55 | 0:10:59 | |
Please will you welcome, Mr Peter Kay! | 0:10:59 | 0:11:01 | |
CHEERING AND APPLAUSE | 0:11:01 | 0:11:03 | |
# It's all about you | 0:11:03 | 0:11:06 | |
# It's all about you, darling | 0:11:06 | 0:11:09 | |
# It's all about you | 0:11:09 | 0:11:13 | |
# It's all about you, baby, ooh... # | 0:11:13 | 0:11:19 | |
Hey! CHEERING AND APPLAUSE | 0:11:19 | 0:11:24 | |
What does that mean? | 0:11:24 | 0:11:26 | |
Hey! CHEERING AND APPLAUSE | 0:11:26 | 0:11:30 | |
Do we sing something? What shall we sing? Can we sing something? | 0:11:33 | 0:11:38 | |
No, you BLEEP can't! Come on, Jonathan! | 0:11:38 | 0:11:41 | |
Come over here and join us! | 0:11:41 | 0:11:43 | |
Come on! What are you going to sing? | 0:11:43 | 0:11:47 | |
I don't remember the words to songs. | 0:11:47 | 0:11:50 | |
Come on, Jonathan! I haven't got a talent for songs. | 0:11:50 | 0:11:53 | |
What about Tina Charles, Are We Full Of Joy? | 0:11:53 | 0:11:55 | |
# I love to love... # Yeah, hang on. | 0:11:55 | 0:11:58 | |
# My baby just loves to dance | 0:11:58 | 0:12:00 | |
# She loves to dance She wants to dance | 0:12:00 | 0:12:03 | |
# She needs to dance Oh, I love to love | 0:12:03 | 0:12:06 | |
# But my baby, she just loves to dance | 0:12:06 | 0:12:10 | |
# Stop, she's spinning like a top | 0:12:10 | 0:12:13 | |
# We'll dance until we drop | 0:12:13 | 0:12:15 | |
# We'll dance the night away | 0:12:15 | 0:12:19 | |
# Ba, ba... LAUGHTER | 0:12:19 | 0:12:22 | |
There's no such word as "Ba"! | 0:12:22 | 0:12:25 | |
# Da, da, da night away | 0:12:25 | 0:12:28 | |
# I love to love | 0:12:28 | 0:12:30 | |
# But my baby just loves to dance | 0:12:30 | 0:12:33 | |
# Yes, she does... # | 0:12:33 | 0:12:36 | |
It's the part-time dinner lady, full-time diva. | 0:12:37 | 0:12:41 | |
It's the fabulous Geraldine. | 0:12:41 | 0:12:43 | |
It was drawing to the end of the auditions in London | 0:12:46 | 0:12:50 | |
and last to arrive was Geraldine, | 0:12:50 | 0:12:52 | |
who'd travelled all the way from Northern Ireland. | 0:12:52 | 0:12:55 | |
# I'm going to make a change | 0:12:55 | 0:12:58 | |
# For once in my life | 0:12:58 | 0:13:01 | |
# A summer's disregard | 0:13:01 | 0:13:03 | |
# A broken bottle top | 0:13:03 | 0:13:05 | |
# And a one man's soul | 0:13:05 | 0:13:08 | |
# They follow each other on the wind, you know | 0:13:08 | 0:13:11 | |
# Cos they got nowhere to go | 0:13:11 | 0:13:14 | |
# That's why I want you to know | 0:13:14 | 0:13:17 | |
# I'm starting with the man in the mirror | 0:13:17 | 0:13:20 | |
# If you want to make the world a better place | 0:13:20 | 0:13:22 | |
# Take a look at yourself and make a change. # | 0:13:22 | 0:13:25 | |
And once Geraldine was through to the weekly live shows, | 0:13:25 | 0:13:28 | |
there was no stopping her. | 0:13:28 | 0:13:30 | |
We've still got terrorism | 0:13:30 | 0:13:32 | |
But we've still got terrorists here living | 0:13:32 | 0:13:35 | |
In the USA, the big CIA | 0:13:35 | 0:13:38 | |
The Bloods and The Crips and the KKK... | 0:13:38 | 0:13:40 | |
And from then on, Geraldine kept her performances smokin'! | 0:13:40 | 0:13:46 | |
# What's she going to look like with a chimney on her? | 0:13:46 | 0:13:53 | |
DISTORTED: # What's she going to look like | 0:13:53 | 0:13:56 | |
# With a chimney on her? # | 0:13:56 | 0:14:01 | |
Even though things were going well in the show, behind the scenes, | 0:14:01 | 0:14:06 | |
the press were about to unearth a shocking secret. | 0:14:06 | 0:14:09 | |
They revealed that, prior to the competition, | 0:14:09 | 0:14:11 | |
Geraldine had, in fact, been a man called Gerry King, | 0:14:11 | 0:14:16 | |
a popular pianist on the Irish ferry circuit. | 0:14:16 | 0:14:19 | |
With relentless media attention, | 0:14:19 | 0:14:21 | |
Geraldine felt she had no choice but to defend herself publicly. | 0:14:21 | 0:14:25 | |
With a four-year waiting list on the NHS, | 0:14:30 | 0:14:33 | |
Geraldine's quest for surgery led her to a Bangkok hospital. | 0:14:33 | 0:14:37 | |
One night in Bangkok? Try three months. | 0:14:39 | 0:14:42 | |
Fiona, I've never known pain like it. | 0:14:42 | 0:14:45 | |
I owe everything to Dr Fung Me Wow. | 0:14:45 | 0:14:47 | |
He certainly knew his onions and now he's got mine. | 0:14:47 | 0:14:51 | |
See, I've always spent my life trapped, | 0:14:52 | 0:14:54 | |
ashamed when I've absolutely nothing to be ashamed of. | 0:14:54 | 0:14:57 | |
The problem is society dictates. | 0:14:57 | 0:14:59 | |
It shouldn't be about who I am or what I am. | 0:14:59 | 0:15:01 | |
It should be about my contribution to the world. | 0:15:01 | 0:15:04 | |
This is just a shell, this body, a vessel for my voice. | 0:15:04 | 0:15:08 | |
Real talent always shines through in the end. | 0:15:08 | 0:15:11 | |
It's a cup. | 0:15:13 | 0:15:15 | |
Let's go, girls! | 0:15:17 | 0:15:18 | |
After her open and honest appearance, | 0:15:18 | 0:15:21 | |
the British public quickly took her to their hearts. | 0:15:21 | 0:15:23 | |
# I'm going out tonight | 0:15:23 | 0:15:25 | |
# I'm feeling all right | 0:15:25 | 0:15:27 | |
# Going to let it all hang out | 0:15:27 | 0:15:31 | |
# The best thing about being a woman | 0:15:31 | 0:15:35 | |
# Is the prerogative to have a little fun | 0:15:35 | 0:15:39 | |
# Whoa-oa-oa | 0:15:39 | 0:15:41 | |
# Go totally crazy | 0:15:41 | 0:15:43 | |
# Forget I'm a lady... # | 0:15:43 | 0:15:45 | |
I've spent my whole life dreaming of a chance like this | 0:15:45 | 0:15:48 | |
and now I'm here, I really don't want it to end. | 0:15:48 | 0:15:51 | |
Please, Britain, let me live my dream. | 0:15:51 | 0:15:53 | |
# Man, I feel like a woman! # | 0:15:54 | 0:15:57 | |
MUSIC: Hazard by Richard Marx | 0:16:02 | 0:16:04 | |
# No-one understood what I felt for Mary | 0:16:04 | 0:16:08 | |
# No-one cared until the night | 0:16:08 | 0:16:11 | |
# She went out walking all alone | 0:16:11 | 0:16:15 | |
# And never came home... # | 0:16:15 | 0:16:17 | |
That's cos he killed her, put her in a wheelie bin! | 0:16:17 | 0:16:19 | |
# Man with a badge came knocking next morning... # | 0:16:19 | 0:16:22 | |
Police are here now. | 0:16:22 | 0:16:24 | |
Gets the blame. Yeah, cos he's killed her. But he didn't do it! | 0:16:24 | 0:16:29 | |
He DID do it! | 0:16:30 | 0:16:32 | |
# I swear I left her by the river... # | 0:16:34 | 0:16:39 | |
It's his last image of her, by the river. | 0:16:39 | 0:16:41 | |
It's his alibi to the police. | 0:16:41 | 0:16:43 | |
# I swear I left her safe and sound... # | 0:16:43 | 0:16:47 | |
Get a grip! | 0:16:47 | 0:16:49 | |
So, that's cameras and recording equipment to suite 21, | 0:16:49 | 0:16:53 | |
and no food and no beverages, unless it's on proven medical grounds. | 0:16:53 | 0:16:58 | |
Shaun. Thanks, Chris. | 0:16:58 | 0:16:59 | |
You know what the biggest enemy is in this business? | 0:16:59 | 0:17:01 | |
Public enemy number one. Tell them, Chris. Flash photography. | 0:17:01 | 0:17:06 | |
People might think we're being over the top | 0:17:06 | 0:17:08 | |
when we talk about the public taking photographs | 0:17:08 | 0:17:10 | |
but the repercussions can be enormous. Huge. | 0:17:10 | 0:17:12 | |
Someone tries to take a photograph at a concert - | 0:17:12 | 0:17:14 | |
a husband, a lover, whatever... Bang, it's like that! | 0:17:14 | 0:17:17 | |
All hell breaks loose, doesn't it? We did Elton John in Stockholm. | 0:17:17 | 0:17:20 | |
Yeah, Sheraton. That night, he wasn't. | 0:17:20 | 0:17:23 | |
He were right in the middle of Candle In The Wind | 0:17:23 | 0:17:26 | |
and the flash hit him. Bang, like that, weren't it? Quicker than that. | 0:17:26 | 0:17:29 | |
Flash! And he was gone, you know. | 0:17:29 | 0:17:31 | |
One woman, one flash and he was all over the place. | 0:17:31 | 0:17:33 | |
He went straight into Nikita. He was lost. He was dazzled. | 0:17:33 | 0:17:37 | |
We had Rocket Man, Sad Songs. | 0:17:37 | 0:17:38 | |
He was all over the place, like a headless chicken. And for what? | 0:17:38 | 0:17:42 | |
A selfish snapshot. Luckily the band jumped in and jammed along with him. | 0:17:42 | 0:17:46 | |
That's right. The audience just thought it was a medley, you know. | 0:17:46 | 0:17:49 | |
Yeah, yeah. But he found his way back in the end. | 0:17:49 | 0:17:52 | |
True professional, Elton. If that had been somebody else... | 0:17:52 | 0:17:55 | |
If that had been, er... | 0:17:55 | 0:17:57 | |
Curtis Stigers. Frightening. | 0:17:57 | 0:18:00 | |
Come on, Mum, time to go. Go? Go where? | 0:18:02 | 0:18:06 | |
The old people's home. They'll look after you now. | 0:18:06 | 0:18:09 | |
It's for the best. Are you mad? I'm 55! | 0:18:09 | 0:18:12 | |
I know, but I've had a word with them. They'll take you. Come on. | 0:18:12 | 0:18:15 | |
Get off! Why should I go and live in an old people's home? | 0:18:15 | 0:18:19 | |
Because I want to put a snooker table in your bedroom | 0:18:19 | 0:18:21 | |
and the kids are frightened of your moustache. | 0:18:21 | 0:18:23 | |
Now, come on! Avanti! | 0:18:23 | 0:18:24 | |
LAUGHTER | 0:18:24 | 0:18:27 | |
Slimming World red and green days. Who goes to Slimming World? | 0:18:30 | 0:18:33 | |
SOME AUDIENCE MEMBERS SHOUT OUT | 0:18:33 | 0:18:36 | |
Slimming World. I went once. | 0:18:36 | 0:18:38 | |
If you don't know what Slimming World is, | 0:18:39 | 0:18:41 | |
it's like Weight Watchers but it's a quid cheaper. | 0:18:41 | 0:18:44 | |
LAUGHTER | 0:18:44 | 0:18:46 | |
Red and green days. | 0:18:46 | 0:18:48 | |
I went once. Methodist church hall in Bolton, Thursday night, | 0:18:48 | 0:18:52 | |
all women sat round in a semicircle. | 0:18:52 | 0:18:55 | |
Let's have a look at you girls now. | 0:18:55 | 0:18:57 | |
Big round of applause for Debbie. | 0:18:57 | 0:18:59 | |
This week, she's lost a pound. | 0:18:59 | 0:19:02 | |
I said, "I shit a pound. What's that?" | 0:19:02 | 0:19:05 | |
One pound! Big deal! LAUGHTER | 0:19:05 | 0:19:09 | |
Cost me ?3.50 to get in. What's a pound? Sh, sh! | 0:19:09 | 0:19:13 | |
LAUGHTER | 0:19:13 | 0:19:16 | |
Joan, at the back. Any problems this week, Joan, love? | 0:19:16 | 0:19:20 | |
Yeah, I can't poo. | 0:19:20 | 0:19:23 | |
LAUGHTER Too much information, Joan. | 0:19:23 | 0:19:26 | |
We didn't need to know that. | 0:19:26 | 0:19:28 | |
I'm eating a Nutri-Grain here. Dirty bitch. | 0:19:28 | 0:19:31 | |
Do you want that? Do you want that? | 0:19:31 | 0:19:32 | |
LAUGHTER | 0:19:32 | 0:19:35 | |
Carol, at the back. What's happened here, love? What's happened here? | 0:19:35 | 0:19:39 | |
You were doing really well, really well. | 0:19:39 | 0:19:42 | |
You nearly had your half-stone sticker. | 0:19:42 | 0:19:44 | |
LAUGHTER | 0:19:44 | 0:19:47 | |
What's going on, love? I'm looking here now...at my hand... | 0:19:47 | 0:19:50 | |
LAUGHTER | 0:19:50 | 0:19:53 | |
..and I'm worried. What happened? | 0:19:53 | 0:19:56 | |
I were doing really well and it got to Wednesday... | 0:19:56 | 0:20:00 | |
..and I don't know. I just... | 0:20:02 | 0:20:06 | |
Come on tell us, share it with the group. Come on. | 0:20:06 | 0:20:09 | |
Come on, we're all nosy bitches. Tell us. | 0:20:09 | 0:20:11 | |
LAUGHTER | 0:20:11 | 0:20:13 | |
Um, it got to Wednesday and I broke one of my nails and I had a fry-up. | 0:20:13 | 0:20:20 | |
LAUGHTER | 0:20:20 | 0:20:21 | |
We've all been there, girls, we've all been there! | 0:20:21 | 0:20:24 | |
Give Carol a round of applause anyway for trying. | 0:20:24 | 0:20:27 | |
For trying what? Cooking oil? Fat bitch! What's she tried? | 0:20:27 | 0:20:31 | |
What's she tried? Don't clap her! | 0:20:31 | 0:20:33 | |
LAUGHTER | 0:20:33 | 0:20:36 | |
Carol, take the "C" off "chips". What do you get? | 0:20:36 | 0:20:39 | |
LAUGHTER It's up to you, love. | 0:20:39 | 0:20:42 | |
I can't do it for you. | 0:20:43 | 0:20:45 | |
Men search men, women search women. | 0:20:45 | 0:20:47 | |
I know there's a lot of fellows in here | 0:20:47 | 0:20:49 | |
who'd like it the other way round but, hey... TOGETHER: Hands off. | 0:20:49 | 0:20:52 | |
Get them to open their bags and have a good look inside | 0:20:53 | 0:20:55 | |
but whatever you do, don't just stick your hand in there. | 0:20:55 | 0:20:58 | |
There could be anything in there. Hypodermic needles, anything. Shaun. | 0:20:58 | 0:21:01 | |
Thanks very much, Chris. When we frisk people | 0:21:01 | 0:21:03 | |
when they're coming into the arena, what, primarily, are we looking for? | 0:21:03 | 0:21:07 | |
Knives. I don't think so, mate. | 0:21:07 | 0:21:10 | |
We're going to be doing a lot of Disney On Ice, Hercules, | 0:21:10 | 0:21:13 | |
Beauty And The Beast, 911, family events, you know. | 0:21:13 | 0:21:16 | |
But you are the representatives of Live Sec. | 0:21:16 | 0:21:19 | |
You make the difference between what the public see on the door | 0:21:19 | 0:21:21 | |
and what they see on the stage. It's you that's in between. | 0:21:21 | 0:21:24 | |
You make the difference. Chris. Shaun's right. | 0:21:24 | 0:21:26 | |
You've got to learn to build up a relationship with the public. | 0:21:26 | 0:21:29 | |
Talk to them, let them get to trust you. Ask them questions. | 0:21:29 | 0:21:32 | |
Who's your favourite player? Who's your favourite singer? | 0:21:32 | 0:21:35 | |
Show them the magic thumb trick, you know. | 0:21:35 | 0:21:38 | |
Like that, look. Can you see at the back? Do it for us. | 0:21:38 | 0:21:41 | |
He does it better than me. Look at that, look. | 0:21:41 | 0:21:44 | |
Now, I guarantee you, they may not remember who they saw that night, | 0:21:44 | 0:21:47 | |
but they'll remember the magic thumb trick for the rest of their lives. | 0:21:47 | 0:21:51 | |
Basically, what we're asking for is 100%, 8 days a week, 24/7. | 0:21:51 | 0:21:56 | |
It's not easy, it's a hard job. No. We're not denying that. | 0:21:56 | 0:21:59 | |
But it'll probably be the most rewarding job you'll ever have | 0:21:59 | 0:22:03 | |
and a lot of fun as well. Chris. Thanks, Shaun. | 0:22:03 | 0:22:05 | |
And I know that, if we work together, | 0:22:05 | 0:22:07 | |
we can have a great future together. | 0:22:07 | 0:22:10 | |
Anybody any questions? | 0:22:10 | 0:22:12 | |
Can you frisk children? | 0:22:12 | 0:22:13 | |
MUSIC: Hazard by Richard Marx | 0:22:18 | 0:22:23 | |
SHE SNIFFS | 0:22:30 | 0:22:32 | |
# I swear I left her by the river... # It's too much. | 0:22:32 | 0:22:36 | |
Don't YOU start. Honest to God... | 0:22:36 | 0:22:39 | |
HE SOBS # I swear | 0:22:39 | 0:22:41 | |
# I left her safe and sound... # See, you're crying now! | 0:22:41 | 0:22:46 | |
# Oh, I need to make it to the river... # Awful story! | 0:22:46 | 0:22:52 | |
It's awful. Shouldn't be playing this when you're driving to work. | 0:22:52 | 0:22:57 | |
# And leave this old Nebraska town... # | 0:22:57 | 0:23:01 | |
HE SOBS | 0:23:01 | 0:23:03 | |
There's always a diet going round work as well. | 0:23:03 | 0:23:06 | |
There's always some girl... This is the diet, right. | 0:23:06 | 0:23:08 | |
If you want to lose weight and you want to lose weight quick, | 0:23:08 | 0:23:10 | |
you've got to get on this. | 0:23:10 | 0:23:12 | |
Me mate, she's a nurse, she got it photocopied. I tell you now... | 0:23:12 | 0:23:16 | |
I swear to God, I'm not shitting you. This is the diet, right. | 0:23:16 | 0:23:20 | |
This is the diet, right. | 0:23:20 | 0:23:21 | |
You have one Tuc cracker and a cup of beetroot, right. | 0:23:21 | 0:23:24 | |
You drink your own piss, you drink your own piss. | 0:23:24 | 0:23:27 | |
It's detox. It detoxes your body. Detox. Tracy's on it, right. | 0:23:27 | 0:23:32 | |
She lost 14st in a day. | 0:23:32 | 0:23:34 | |
14st in a day, I tell you now. One day. She's here now. | 0:23:34 | 0:23:38 | |
LAUGHTER | 0:23:38 | 0:23:42 | |
She's fell over. She's fell over her drip. You OK, love? | 0:23:52 | 0:23:56 | |
LAUGHTER 14st in a day. | 0:23:56 | 0:23:59 | |
# I think that you're the one | 0:24:19 | 0:24:22 | |
# When every time you call me lady | 0:24:22 | 0:24:25 | |
# I don't know what it is | 0:24:28 | 0:24:30 | |
# It makes me feel like this just lately, yeah | 0:24:30 | 0:24:35 | |
# Those heavenly calls | 0:24:37 | 0:24:39 | |
# You knew I was on my own | 0:24:39 | 0:24:44 | |
# Those heavenly calls | 0:24:46 | 0:24:48 | |
# We stepped into the unknown | 0:24:48 | 0:24:53 | |
# Let me sleep | 0:24:53 | 0:24:57 | |
# So I can dream of you | 0:24:57 | 0:25:00 | |
# Let me sleep | 0:25:02 | 0:25:06 | |
# So I can be with you | 0:25:06 | 0:25:09 | |
# What's a girl to do | 0:25:12 | 0:25:14 | |
# When she's alone with you Don't tell me | 0:25:14 | 0:25:18 | |
# And here we are again | 0:25:21 | 0:25:23 | |
# Yeah, acting like we're friends Now help me | 0:25:23 | 0:25:27 | |
# Those heavenly calls | 0:25:29 | 0:25:32 | |
# You knew I was on my own | 0:25:32 | 0:25:37 | |
# Those heavenly calls | 0:25:38 | 0:25:41 | |
# We stepped into the unknown | 0:25:41 | 0:25:45 | |
# Let me sleep | 0:25:46 | 0:25:49 | |
# So I can dream of you | 0:25:49 | 0:25:52 | |
# Let me sleep | 0:25:55 | 0:25:58 | |
# So I can be with you | 0:25:58 | 0:26:02 | |
# Let me sleep | 0:26:04 | 0:26:07 | |
# So I can dream of you | 0:26:07 | 0:26:10 | |
# Let me sleep | 0:26:12 | 0:26:15 | |
# So I can be with you | 0:26:15 | 0:26:19 | |
# Hold me close | 0:26:40 | 0:26:42 | |
# Let me be with you | 0:26:42 | 0:26:45 | |
# At least tonight | 0:26:48 | 0:26:50 | |
# We'll be misunderstood | 0:26:50 | 0:26:54 | |
# Let me sleep | 0:26:56 | 0:26:59 | |
# So I can dream of you | 0:26:59 | 0:27:02 | |
# Let me sleep | 0:27:05 | 0:27:08 | |
# So I can be with you | 0:27:08 | 0:27:11 | |
# Let me sleep What's a girl to do | 0:27:13 | 0:27:17 | |
# So I can dream of you When she's alone with you, don't tell me | 0:27:17 | 0:27:20 | |
# Let me sleep And here we are again | 0:27:22 | 0:27:25 | |
# So I can be with you Yeah, acting like we're friends, now help me | 0:27:25 | 0:27:29 | |
# And let me sleep | 0:27:30 | 0:27:33 | |
# Oh, let me sleep | 0:27:34 | 0:27:38 | |
# Let me sleep | 0:27:39 | 0:27:43 | |
# So I can dream of you | 0:27:43 | 0:27:47 | |
# Let me sleep, yeah | 0:27:48 | 0:27:51 | |
# So I can be with you. # | 0:27:51 | 0:27:55 | |
MUSIC PLAYS ON TV | 0:27:58 | 0:28:02 | |
DOG BARKS | 0:28:02 | 0:28:04 | |
Your future is taken care of. | 0:28:33 | 0:28:35 | |
You'll be surprised what you'll find. | 0:28:35 | 0:28:38 | |
I need to see more. | 0:28:39 | 0:28:40 | |
# I know, with you | 0:28:40 | 0:28:42 | |
# Tonight could be amazing | 0:28:42 | 0:28:45 | |
# Be amazing... # | 0:28:45 | 0:28:47 |