
Browse content similar to Night on Film: An A-Z of the Dark. Check below for episodes and series from the same categories and more!
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I'm off now in search of a denizen of darkness. | 0:00:23 | 0:00:28 | |
CAT MIAOWS | 0:00:31 | 0:00:33 | |
Being a night watchman, | 0:00:35 | 0:00:37 | |
it's amazing the thoughts that pass through your mind. | 0:00:37 | 0:00:41 | |
It is dark and gloomy out at night. It is dull and black and scary. | 0:00:49 | 0:00:56 | |
Wee Willie Winkie runs through the town. | 0:01:19 | 0:01:23 | |
Upstairs and downstairs, in his night gown. | 0:01:23 | 0:01:27 | |
Tapping at the window, crying through the lock. | 0:01:27 | 0:01:30 | |
Are the children in their beds? It's 7 o'clock. | 0:01:30 | 0:01:34 | |
Wee Willie Winkie in this rhyme hadn't heard of our summer time, | 0:01:34 | 0:01:39 | |
but really thoughtful parents know, children must sleep a lot to grow. | 0:01:39 | 0:01:45 | |
Although there's daylight till eleven, | 0:01:45 | 0:01:47 | |
they should be in their beds by seven. | 0:01:47 | 0:01:49 | |
Sleepy eyes and dragging feet spoil the finish of a treat. | 0:01:49 | 0:01:54 | |
So parents kind, remember do, | 0:01:54 | 0:01:57 | |
your children's health depends on you. | 0:01:57 | 0:02:01 | |
When Wee Willie Winkie calls on you at night, | 0:02:01 | 0:02:05 | |
Have the children in their beds, and tucked up tight. | 0:02:05 | 0:02:09 | |
Every night when I go to sleep I have cheese for supper, | 0:02:11 | 0:02:15 | |
and then it makes me dream because it lies on my chest. | 0:02:15 | 0:02:19 | |
How do you know it's the cheese that does it? | 0:02:19 | 0:02:22 | |
Because that's the only time I get nightmares. | 0:02:22 | 0:02:24 | |
How do you think cheese can make you dream? | 0:02:24 | 0:02:27 | |
Don't know. | 0:02:29 | 0:02:30 | |
-Do you stop eating cheese? -No. | 0:02:30 | 0:02:33 | |
Why not? | 0:02:33 | 0:02:36 | |
Because my mum doesn't cook anything else, | 0:02:36 | 0:02:40 | |
except cheese on toast at night. | 0:02:40 | 0:02:42 | |
It's the latest answer to insomnia, | 0:02:46 | 0:02:48 | |
invented by three electronics engineers at Ruislip, Middlesex. | 0:02:48 | 0:02:51 | |
An electronic teddy bear. | 0:02:51 | 0:02:53 | |
From a box of electronic tricks still on the secrets list, | 0:02:53 | 0:02:56 | |
air is pumped into it at the normal breathing rate of a human being, | 0:02:56 | 0:02:59 | |
ten to 12 breaths a minute. | 0:02:59 | 0:03:01 | |
The effect is to provide a cuddlesome toy | 0:03:01 | 0:03:03 | |
whose rhythmically rising and falling chest | 0:03:03 | 0:03:05 | |
helps slow your breathing rate down | 0:03:05 | 0:03:08 | |
to the relaxed and steady rate of sleep. | 0:03:08 | 0:03:10 | |
Three-year-old Russell Fairbrass, son of one of the three inventors, | 0:03:10 | 0:03:13 | |
finds it easier than counting sheep | 0:03:13 | 0:03:16 | |
after a hectic session in the playpen. | 0:03:16 | 0:03:19 | |
Only air is pumped in, so there's no danger of electric shocks. | 0:03:23 | 0:03:27 | |
In fact, members of the medical profession | 0:03:27 | 0:03:29 | |
predict a great future for the idea | 0:03:29 | 0:03:31 | |
with invalids and elderly people as well as children. | 0:03:31 | 0:03:34 | |
Not only sheep-counting, but drug-taking may on the way out now, | 0:03:34 | 0:03:38 | |
thanks to the electronic teddy bear. | 0:03:38 | 0:03:41 | |
BELLS RING | 0:03:45 | 0:03:46 | |
Our night is their day, the time when they feed and fight and mate, | 0:03:55 | 0:04:00 | |
and live out lives which we never see. | 0:04:00 | 0:04:04 | |
High in the belfry, the first night animals start to stir. | 0:04:04 | 0:04:07 | |
By human standards, bats are upside-down creatures. | 0:04:07 | 0:04:11 | |
Not only do they hang by their feet, | 0:04:11 | 0:04:13 | |
they are active solely during the hours of darkness. | 0:04:13 | 0:04:17 | |
They monitor their world with ears, not eyes. | 0:04:17 | 0:04:21 | |
As dusk falls, they take to the wing. | 0:04:21 | 0:04:23 | |
They're flying now all around my head. | 0:04:47 | 0:04:51 | |
This cave, this particular part of it... | 0:04:51 | 0:04:54 | |
make - | 0:04:55 | 0:04:57 | |
the ammonia is really quite choking - | 0:04:57 | 0:05:01 | |
makes a very perfect place for a home. | 0:05:01 | 0:05:03 | |
This great dune is not a dune of sand. | 0:05:09 | 0:05:13 | |
It's a dune of guano, of animal droppings of one kind and another. | 0:05:16 | 0:05:21 | |
The entire surface of it | 0:05:21 | 0:05:22 | |
is covered with a glistening, moving carpet of cockroaches. | 0:05:22 | 0:05:27 | |
It's an extraordinary example of how prolific | 0:05:28 | 0:05:32 | |
this part of Borneo can be, | 0:05:32 | 0:05:35 | |
that it can support all this enormous colony of bats, | 0:05:35 | 0:05:39 | |
and a huge demonstration, as impressive as I could imagine, | 0:05:39 | 0:05:42 | |
of what a marvellous place | 0:05:42 | 0:05:44 | |
some animals think a cave is in which to live. | 0:05:44 | 0:05:48 | |
We found a colony of a different sort of bats. | 0:05:49 | 0:05:52 | |
The giant fruit bat or flying fox. | 0:05:52 | 0:05:55 | |
And here is one of these fruit bats, and with him is Mr Dolby, | 0:05:57 | 0:06:02 | |
from the London Zoo, who looks after him. | 0:06:02 | 0:06:04 | |
Come on. How long have you had this one, Mr Dolby? | 0:06:04 | 0:06:07 | |
This particular one we've had for the last nine year. | 0:06:07 | 0:06:10 | |
-So they obviously do very well. -Very well indeed in captivity. | 0:06:10 | 0:06:14 | |
Shall we just hang him up? Flop over. | 0:06:14 | 0:06:16 | |
That's fine! | 0:06:17 | 0:06:19 | |
Now we'll turn him round so that people can see his face. | 0:06:19 | 0:06:23 | |
Because a very foxy-looking face. So, just by a bit of... Whoops! | 0:06:23 | 0:06:29 | |
..television trickery, to show you how foxy he is, | 0:06:29 | 0:06:32 | |
we will turn him upside down. | 0:06:32 | 0:06:34 | |
And now you can see what he looks like | 0:06:36 | 0:06:38 | |
if he were the right way up, like any normal mammal. | 0:06:38 | 0:06:44 | |
Well, I think he's very nice, although actually, | 0:06:44 | 0:06:47 | |
-I wouldn't keep him as a pet. -Why? | 0:06:47 | 0:06:49 | |
He's got a bit of a smell on him. | 0:06:49 | 0:06:51 | |
A lot of people say so, but I think that really applies to | 0:06:51 | 0:06:54 | |
only the animal that's really run down. | 0:06:54 | 0:06:57 | |
-Yes, it certainly... -It's pretty, really. -Well, yes, I suppose so. | 0:06:57 | 0:07:01 | |
Every man to his taste. I'll let you keep him, I think. | 0:07:01 | 0:07:05 | |
Step in and see how, for the last quarter of a century, | 0:07:27 | 0:07:30 | |
your coal was won. | 0:07:30 | 0:07:32 | |
And how it is still won | 0:07:33 | 0:07:35 | |
at two-thirds of the coal faces of Britain, | 0:07:35 | 0:07:37 | |
24 hours round the clock. | 0:07:37 | 0:07:39 | |
There's a comradeship there which I can't really define, you know. | 0:07:49 | 0:07:54 | |
But it's there, you can feel it. You know. | 0:07:54 | 0:07:57 | |
You feel a confidence in your fellow workers. | 0:07:57 | 0:08:00 | |
-Hell, what a driver. -I bet you a dollar it's Albert. -I bet it is. | 0:08:03 | 0:08:07 | |
What's it like? | 0:08:18 | 0:08:19 | |
Everybody's the same, down the pit. | 0:08:24 | 0:08:27 | |
You work with just a certain few men, | 0:08:28 | 0:08:31 | |
and you work with them all the while, probably, for years in my case. | 0:08:31 | 0:08:35 | |
You get to know these men, you talk about your home life | 0:08:35 | 0:08:38 | |
and your social lives and that. | 0:08:38 | 0:08:42 | |
And you're in a little world on your own. | 0:08:42 | 0:08:44 | |
It's a dirty job. We all know that. | 0:08:44 | 0:08:48 | |
I mean, you can't sit and eat your snap in the canteen or anything, | 0:08:48 | 0:08:52 | |
you've got to sit and eat it where you are with dirty hands | 0:08:52 | 0:08:55 | |
and all that sort of thing. | 0:08:55 | 0:08:56 | |
No toilets, nothing like that. | 0:08:56 | 0:08:58 | |
So I think myself, it's a pretty dirty job. | 0:08:58 | 0:09:02 | |
You've got to make a seat out of anything that's lying around. | 0:09:02 | 0:09:05 | |
You haven't got chairs or anything to sit on. | 0:09:05 | 0:09:08 | |
You just pick a piece of wood up and put it down, | 0:09:08 | 0:09:11 | |
you just sit there, everyone just sits around while they're eating, | 0:09:11 | 0:09:15 | |
having a bit of chat, and carrying on and joking. | 0:09:15 | 0:09:18 | |
Right, chaps, knock off! | 0:09:22 | 0:09:24 | |
Don McCullin is one of the world's most celebrated photographers. | 0:09:53 | 0:09:57 | |
For the last 20 years, | 0:09:57 | 0:09:58 | |
his photo essays have been a regular feature of our Sunday newspapers. | 0:09:58 | 0:10:03 | |
I like to shoot pictures at night times and dusk | 0:10:12 | 0:10:15 | |
because I think they have much more impact. | 0:10:15 | 0:10:18 | |
And I feel that the whole thing is much more fiery and exciting, | 0:10:19 | 0:10:23 | |
as opposed to sunshine, which I hate to shoot in. | 0:10:23 | 0:10:25 | |
I do my own printing, because I can keep control of the whole thing. | 0:10:28 | 0:10:34 | |
And I started off thinking my prints were like nobody else's prints. | 0:10:34 | 0:10:39 | |
And I waste a lot of paper, I know, | 0:10:39 | 0:10:41 | |
but when I'm printing in the darkroom, I just... | 0:10:41 | 0:10:44 | |
my hand reaches out for paper and I expect it to be there. | 0:10:44 | 0:10:48 | |
I'm just like a kind of glutton of a schoolboy with sweets, | 0:10:48 | 0:10:51 | |
I don't care until the last one is gone | 0:10:51 | 0:10:53 | |
and then I realise the last one is gone. | 0:10:53 | 0:10:55 | |
There's no more paper, I've got to stop printing. | 0:10:55 | 0:10:58 | |
But I think I can say that nobody can squeeze any more | 0:10:58 | 0:11:03 | |
from a negative than what I've done, by the time I print it. | 0:11:03 | 0:11:08 | |
And then sometimes I finish when it's dawn, | 0:11:08 | 0:11:11 | |
and my hands are numb with the freezing cold water | 0:11:11 | 0:11:13 | |
that you have to keep using. | 0:11:13 | 0:11:15 | |
I know there's no turning back, | 0:11:16 | 0:11:18 | |
I know there's no other occupation that I could settle down in. | 0:11:18 | 0:11:22 | |
If I had to stop photography, for some reason or other, | 0:11:22 | 0:11:26 | |
I just don't know what the hell I'd do with myself. | 0:11:26 | 0:11:29 | |
I'm just no good at anything else in the world but taking pictures. | 0:11:29 | 0:11:33 | |
Mr Edison's best-known invention is, of course, the gramophone, | 0:11:38 | 0:11:41 | |
but his discovery of the electric light bulb | 0:11:41 | 0:11:43 | |
literally revolutionised the illumination of the world. | 0:11:43 | 0:11:46 | |
The electrons bump the atoms, and make the filament first red hot | 0:11:50 | 0:11:55 | |
and then white hot. | 0:11:55 | 0:11:57 | |
Now let's see how these bulbs are manufactured. | 0:11:57 | 0:11:59 | |
This central stem is now complete and moves on to the next stage. | 0:12:12 | 0:12:16 | |
Here, the bulbs are introduced. | 0:12:19 | 0:12:22 | |
And they are placed over the filament stems. | 0:12:22 | 0:12:25 | |
Later on, the bulbs are sealed off and after testing, | 0:12:52 | 0:12:55 | |
they'll be ready for use. | 0:12:55 | 0:12:57 | |
Gerry Holmes prefers 40 watts. | 0:13:00 | 0:13:02 | |
He finds 60 is a bit too sharp for his palate. | 0:13:02 | 0:13:05 | |
Our cameraman in Sydney accepted his invitation to dinner, | 0:13:06 | 0:13:09 | |
but declined to share the meal. | 0:13:09 | 0:13:12 | |
The mole. | 0:13:20 | 0:13:22 | |
Surprisingly common, yet hardly ever seen. | 0:13:25 | 0:13:28 | |
In a private system of tunnels, the mole follows a secret life, | 0:13:31 | 0:13:35 | |
spent in total darkness under the ground. | 0:13:35 | 0:13:39 | |
Under this beech canopy, | 0:13:43 | 0:13:46 | |
there are several families of badgers | 0:13:46 | 0:13:48 | |
living in a complex of setts. | 0:13:48 | 0:13:50 | |
We sat well away from the sett in a caravan. | 0:13:50 | 0:13:52 | |
In the knowledge that we might see a complete family | 0:13:52 | 0:13:55 | |
emerging from their sett to go about their nightly business. | 0:13:55 | 0:13:58 | |
Or that we might see nothing at all. | 0:13:58 | 0:14:01 | |
What we're doing out there | 0:14:01 | 0:14:03 | |
is throwing infrared light onto our badger sett. | 0:14:03 | 0:14:06 | |
You can see the light just up there in the top left-hand corner. | 0:14:06 | 0:14:09 | |
Our cameras react to it and give us these pictures in the dark, | 0:14:09 | 0:14:13 | |
and there is a badger. | 0:14:13 | 0:14:15 | |
That is the first television picture, live, of a badger, | 0:14:15 | 0:14:18 | |
ever seen on television through this unique system. | 0:14:18 | 0:14:21 | |
And doing the watching and waiting with me are Phil Drabble, | 0:14:21 | 0:14:26 | |
who a lot of you will know, and Chris Cheeseman, | 0:14:26 | 0:14:29 | |
who's a zoologist with us. | 0:14:29 | 0:14:31 | |
-Marvellous, isn't it, Phil? -Absolutely marvellous. | 0:14:31 | 0:14:33 | |
I'd rather have a night's badger watching than a week's holiday. | 0:14:33 | 0:14:37 | |
You can come for hours and hours and see nothing at all, | 0:14:37 | 0:14:40 | |
and suddenly out of the blue, | 0:14:40 | 0:14:42 | |
you get a badger come out like this, completely at ease. | 0:14:42 | 0:14:45 | |
The wild red fox. Nocturnal and elusive. | 0:14:46 | 0:14:51 | |
After a thousand night-long vigils, | 0:14:53 | 0:14:55 | |
stalking with infrared binoculars in pursuit of a quarry | 0:14:55 | 0:14:59 | |
of such legendary cunning, tonight, I'm in luck. | 0:14:59 | 0:15:02 | |
I've trapped a fox and I've got to move fast. | 0:15:02 | 0:15:05 | |
Hello, Jenny. Yeah, I've got one. | 0:15:08 | 0:15:11 | |
'My wife Jenny is used to being got out of bed at three in the morning. | 0:15:12 | 0:15:16 | |
'She has a touch of flu but, even so, the fox must come first.' | 0:15:16 | 0:15:20 | |
Come on, son. | 0:15:20 | 0:15:22 | |
Hold the sack open. | 0:15:24 | 0:15:26 | |
There we are, lovely boy. | 0:15:26 | 0:15:28 | |
'I have to take care for, understandably, | 0:15:28 | 0:15:30 | |
'the fox attaches low priority to the wellbeing of my fingers.' | 0:15:30 | 0:15:34 | |
Yeah, get him in. | 0:15:34 | 0:15:36 | |
Have you got his mouth? | 0:15:37 | 0:15:39 | |
-Have you got him? -Yeah, I've got him. | 0:15:40 | 0:15:42 | |
'Fortunately, the rather crude but effective anaesthetic | 0:15:43 | 0:15:46 | |
'will blur any memory of the incident. | 0:15:46 | 0:15:49 | |
'Attached to this collar is a miniature radio | 0:15:50 | 0:15:53 | |
'weighing only a few ounces. | 0:15:53 | 0:15:55 | |
'It transmits continuous signals | 0:15:55 | 0:15:57 | |
'that I can follow around the countryside.' | 0:15:57 | 0:16:01 | |
There we go, son. It's all over. | 0:16:01 | 0:16:03 | |
There we are. Come on. There we are. | 0:16:05 | 0:16:07 | |
Shrews. | 0:16:14 | 0:16:16 | |
The young have their own particular way of ensuring they don't get lost. | 0:16:17 | 0:16:22 | |
There are still 2,000 gas lamps in the London area | 0:17:06 | 0:17:09 | |
but the 102 here in the Temple are the only ones | 0:17:09 | 0:17:12 | |
turned on by the paraffin torch of a lamplighter. | 0:17:12 | 0:17:15 | |
It adds a touch of old world elegance | 0:17:15 | 0:17:18 | |
to an area already full of tradition. | 0:17:18 | 0:17:20 | |
# He made the night a little brighter | 0:17:20 | 0:17:26 | |
# Wherever he would go | 0:17:26 | 0:17:30 | |
# The old lamplighter | 0:17:30 | 0:17:36 | |
# Of long, long ago | 0:17:36 | 0:17:40 | |
# His snowy hair was so much whiter | 0:17:40 | 0:17:46 | |
# Beneath the candle glow | 0:17:46 | 0:17:51 | |
# The old lamplighter | 0:17:51 | 0:17:56 | |
# Of long, long ago. # | 0:17:56 | 0:17:59 | |
'But the traditional image of the lamplighter - | 0:17:59 | 0:18:02 | |
'a little old man with snowy hair - | 0:18:02 | 0:18:04 | |
'doesn't exactly fit Ivan Ramnoth. | 0:18:04 | 0:18:06 | |
'He was an insurance underwriter in Guyana | 0:18:06 | 0:18:09 | |
'and had never seen a gas lamp until he emigrated to England.' | 0:18:09 | 0:18:13 | |
-And how long have you been doing it? -16 years now. -Every day for 16 years? | 0:18:13 | 0:18:17 | |
Every day of the year, yes, unless I'm ill. | 0:18:17 | 0:18:20 | |
-How do you manage holidays? -Someone else has to do it then. | 0:18:20 | 0:18:23 | |
Are you going to do this until you're old enough to retire? | 0:18:23 | 0:18:26 | |
Yes, I'm accustomed to the job, I like the job | 0:18:26 | 0:18:28 | |
and I shall continue until it's time to retire. | 0:18:28 | 0:18:30 | |
# The old lamplighter | 0:18:30 | 0:18:35 | |
-# Of long, long ago. -# | 0:18:35 | 0:18:41 | |
Halloween, the bewitching eve, | 0:18:56 | 0:18:58 | |
when any hobgoblin worth his salt | 0:18:58 | 0:19:01 | |
is up to all sorts of magical mischief. | 0:19:01 | 0:19:04 | |
When people a long time dead, they say, return to their old haunts. | 0:19:04 | 0:19:09 | |
She's a Halloween witch. | 0:19:09 | 0:19:11 | |
I wonder if you can guess what she's made out of. | 0:19:11 | 0:19:14 | |
Her face is, in fact, a plastic lemon | 0:19:14 | 0:19:16 | |
and this very witch-like looking hair is the top of a mop. | 0:19:16 | 0:19:21 | |
You need a plastic lemon. | 0:19:21 | 0:19:23 | |
Make a small hole big enough to push through the end of a dish mop. | 0:19:23 | 0:19:28 | |
Tiny little bits of sticky-backed plastic. | 0:19:29 | 0:19:33 | |
Yes, I've just about got them in the right place. | 0:19:35 | 0:19:38 | |
Draw the shape of the arms and the skirt. | 0:19:40 | 0:19:43 | |
And the hands are made with felt again. | 0:19:44 | 0:19:48 | |
Put a little bit of glue round here and just inside the dress. | 0:19:50 | 0:19:53 | |
And there you are, you've got your witch. | 0:19:55 | 0:19:58 | |
And you can make a wizard as well. You make it exactly the same way. | 0:19:58 | 0:20:02 | |
Instead of a broomstick, you've got a wand. There you are. | 0:20:02 | 0:20:06 | |
"Hello, cast a spell again. Ha-ha! I won! I won!" | 0:20:06 | 0:20:10 | |
-Tell us how long you sleep every day. -An average of an hour a night. | 0:20:19 | 0:20:24 | |
What do you do with your spare time? | 0:20:24 | 0:20:27 | |
I'm always writing or reading or painting or sewing | 0:20:27 | 0:20:30 | |
or knitting or crocheting. | 0:20:30 | 0:20:33 | |
-Do you not feel tired? -No, I never feel tired. | 0:20:33 | 0:20:37 | |
I have been sleeping for 15 minutes a night maximum | 0:20:37 | 0:20:40 | |
since I was about 16 years old. | 0:20:40 | 0:20:42 | |
Over 30 years now. | 0:20:42 | 0:20:45 | |
I don't need sleep. I don't like sleeping. | 0:20:46 | 0:20:51 | |
And even the 15 minutes I sleep now I rather begrudge. | 0:20:51 | 0:20:55 | |
If you take into account my inability to sleep, | 0:20:55 | 0:21:01 | |
and most people would call that a horrifying thought, | 0:21:01 | 0:21:04 | |
to me it's a wonderful thought. | 0:21:04 | 0:21:06 | |
It means I get two whole lives to everybody's one. | 0:21:06 | 0:21:09 | |
This has had a tremendous affect on my life, this non-sleeping. | 0:21:09 | 0:21:14 | |
I mean, I was operating during the war. I was flying. | 0:21:14 | 0:21:18 | |
I was always able to wake the crews up in my squadron, | 0:21:18 | 0:21:21 | |
any time they needed to be woken up. | 0:21:21 | 0:21:24 | |
Two, three, four in the morning, it didn't matter. | 0:21:24 | 0:21:26 | |
Would you like to sleep like other people for eight hours a day? | 0:21:26 | 0:21:30 | |
Well, it would... | 0:21:30 | 0:21:32 | |
..it would be cheaper because I have to burn electricity during the night. | 0:21:34 | 0:21:40 | |
That's the only reason. No, I don't see any reason to want to sleep. | 0:21:40 | 0:21:45 | |
I think it's a frightful waste of time. | 0:21:45 | 0:21:47 | |
JAZZ MUSIC PLAYS | 0:21:47 | 0:21:50 | |
London's rhythm enthusiasts of all ages put on their zoot suits | 0:21:56 | 0:22:00 | |
and go to town. | 0:22:00 | 0:22:01 | |
To be precise, Oxford Street. | 0:22:01 | 0:22:03 | |
A normally sedate restaurant surrenders its dignity | 0:22:03 | 0:22:06 | |
to the excitement of the dancers and the music of Humphrey Lyttelton. | 0:22:06 | 0:22:10 | |
JAZZ MUSIC PLAYS | 0:22:10 | 0:22:13 | |
It's good fun and good exercise. | 0:22:44 | 0:22:47 | |
Rhythm is the only stimulus as drinks are strictly non-alcoholic. | 0:22:47 | 0:22:50 | |
Mid evening, and the known world of the youth club and the pub | 0:22:52 | 0:22:55 | |
and the cafe and the cinema is in full swing. | 0:22:55 | 0:22:58 | |
# Me and my brother was going to town | 0:23:02 | 0:23:04 | |
# Sing away ladies, sing away | 0:23:04 | 0:23:06 | |
# Riding a billy goat and leading a hound | 0:23:06 | 0:23:08 | |
# Sing away ladies, sing away | 0:23:08 | 0:23:10 | |
# Hound dog bark, billy goat jump... # | 0:23:10 | 0:23:14 | |
# Don't you rock me, daddy-o, don't you rock me, daddy-o | 0:23:18 | 0:23:22 | |
# Don't you rock me, daddy-o, don't you rock me, daddy-o. # | 0:23:22 | 0:23:27 | |
LOUD KNOCKS | 0:23:29 | 0:23:32 | |
DOG BARKS | 0:23:34 | 0:23:36 | |
Nearly morning. It's gone colder. | 0:23:44 | 0:23:46 | |
Already the knocker-up is moving briskly down the streets, | 0:23:46 | 0:23:49 | |
rattling on the windows of his sleeping customers. | 0:23:49 | 0:23:53 | |
I asked him why the knocker-up still flourished. | 0:23:53 | 0:23:56 | |
After all, I said, there are plenty of alarm clocks. | 0:23:56 | 0:23:59 | |
Oh, there's plenty of alarm clocks, | 0:23:59 | 0:24:01 | |
but they don't trust them, that's all. | 0:24:01 | 0:24:03 | |
An alarm clock is not a human being. An alarm clock can break down. | 0:24:03 | 0:24:07 | |
-But you can break down too. -Ah, but if I break down, I have my brother. | 0:24:07 | 0:24:11 | |
The night of the harvest moon. | 0:25:08 | 0:25:11 | |
The fat silver moon that shines on the golden fields of September | 0:25:11 | 0:25:15 | |
and illuminates the mysterious activities | 0:25:15 | 0:25:17 | |
of people who move in the night. | 0:25:17 | 0:25:20 | |
People like this, setting out on some dark business | 0:25:20 | 0:25:24 | |
which has led them to the banks of a West Country chalk stream. | 0:25:24 | 0:25:27 | |
We're keeping up an old country tradition | 0:25:27 | 0:25:29 | |
by going out on the night of the harvest moon | 0:25:29 | 0:25:31 | |
in search of fresh water crayfish. | 0:25:31 | 0:25:34 | |
The nets are swung into the water on a forked stick | 0:25:34 | 0:25:37 | |
and left there lying on the bottom, long enough, so it's said, | 0:25:37 | 0:25:41 | |
for a man to drink a pint of beer in comfort. | 0:25:41 | 0:25:44 | |
Then it's only a matter of filling the bucket. | 0:25:44 | 0:25:47 | |
Having caught your crayfish, | 0:25:47 | 0:25:49 | |
the country custom on the night of the harvest moon is to have a feast. | 0:25:49 | 0:25:53 | |
Crayfish with the traditional accompaniments of hot parsley sauce, | 0:25:53 | 0:25:58 | |
home-made bread, farmed butter and kegs of cider | 0:25:58 | 0:26:02 | |
are followed by creamy Cheddar cheese. | 0:26:02 | 0:26:05 | |
And that's the proper way to cook them - | 0:26:05 | 0:26:07 | |
in an iron fish kettle of salted water over a camp fire in the open. | 0:26:07 | 0:26:11 | |
I believe that this nation should commit itself | 0:26:13 | 0:26:16 | |
to achieving the goal, before this decade is out, | 0:26:16 | 0:26:20 | |
of landing a man on the moon and returning him safely to the Earth. | 0:26:20 | 0:26:23 | |
I think that each one of us carries his own impression | 0:26:27 | 0:26:30 | |
of what he's seen today. | 0:26:30 | 0:26:32 | |
I know my own impression is that it's a vast, lonely, | 0:26:32 | 0:26:38 | |
forbidding expanse of nothing. | 0:26:38 | 0:26:40 | |
-Well, Patrick Moore, what did you think of that? -Quite incredible. | 0:26:40 | 0:26:44 | |
One thing we've got to bear in mind, they were magnificent pictures. | 0:26:44 | 0:26:48 | |
I'm not going to say they show more detail than the orbiters, | 0:26:48 | 0:26:51 | |
but people were seeing them direct for the first time, | 0:26:51 | 0:26:54 | |
this was bound to add to our knowledge. | 0:26:54 | 0:26:56 | |
-'OK, engines stopped. We've had shut down. -We copy you down, Eagle. | 0:26:58 | 0:27:02 | |
'Tranquility Base here. The Eagle has landed.' | 0:27:02 | 0:27:05 | |
THEY CHEER | 0:27:05 | 0:27:07 | |
# I was strolling on the moon one day | 0:27:08 | 0:27:12 | |
# In the merry, merry month of December. # | 0:27:12 | 0:27:16 | |
-No, May. -May, that's right. | 0:27:16 | 0:27:19 | |
This is perfect with the rover and you and the old flag. | 0:27:22 | 0:27:27 | |
Oh, this is going to be some kind of different ride. | 0:27:31 | 0:27:34 | |
# Night clubbing, night clubbing | 0:27:54 | 0:28:00 | |
# We're what's happening. # | 0:28:00 | 0:28:05 | |
-There's a tiny one around here somewhere. -A tiny one? | 0:28:05 | 0:28:09 | |
-Is that an official name? -A micro. -Oh, a micro. I've heard of them. | 0:28:09 | 0:28:14 | |
-They're unidentifiable. -That's right, yes. | 0:28:14 | 0:28:17 | |
-Troublesome one. -That's a Powdered Quaker. | 0:28:17 | 0:28:20 | |
A Powdered Quaker, get that for a name. | 0:28:20 | 0:28:23 | |
A lot of these names, Victorian clergy named these moths | 0:28:23 | 0:28:27 | |
and, of course, some of the names are absolutely gorgeous. | 0:28:27 | 0:28:30 | |
-Lots of Quakers. -Lots of Quakers. | 0:28:30 | 0:28:33 | |
And things like the Hebrew Character. | 0:28:33 | 0:28:35 | |
-There's even a True Lover's Knot. -True Lover's Knot? | 0:28:35 | 0:28:40 | |
Was that a vicar's? I don't think a vicar named that one. Surely not. | 0:28:40 | 0:28:43 | |
-Ooh, what's this? -This is one called a Great Prominent. It's very worn. | 0:28:45 | 0:28:49 | |
-You see the edges of the wings? -Yes, I do. | 0:28:49 | 0:28:52 | |
-Does that mean it's old or what? -Been out quite a long time, yeah. | 0:28:52 | 0:28:55 | |
-And what would be old for a moth? -One of these, a matter of weeks. | 0:28:55 | 0:28:59 | |
Not more than five weeks. | 0:28:59 | 0:29:01 | |
-Some overwinter, as adults, they actually hibernate. -Yeah. | 0:29:01 | 0:29:04 | |
So they last several months, | 0:29:04 | 0:29:06 | |
but the majority of them it's just a matter of a few weeks. | 0:29:06 | 0:29:09 | |
Really? That's sad, that, isn't it? | 0:29:09 | 0:29:11 | |
For more than two million people in this country, | 0:29:29 | 0:29:32 | |
night work is a matter of necessity. | 0:29:32 | 0:29:35 | |
In steel towns like Sheffield and Rotherham, | 0:29:35 | 0:29:37 | |
there is a century-old tradition of working round the clock. | 0:29:37 | 0:29:40 | |
Men and their families have accepted for generations | 0:29:40 | 0:29:43 | |
that this is the way wages are earned here. | 0:29:43 | 0:29:46 | |
That it's night work that pays the rent | 0:29:46 | 0:29:49 | |
and leaves a bit over for the HP on the television. | 0:29:49 | 0:29:51 | |
Now more and more industries demand continuous working, | 0:29:51 | 0:29:55 | |
need round-the-clock production. | 0:29:55 | 0:29:57 | |
Machinery is too expensive to lie idle while men lie in bed. | 0:29:57 | 0:30:02 | |
The answer - more night people. | 0:30:02 | 0:30:05 | |
The problem - how to turn your life upside down without ill effect. | 0:30:05 | 0:30:08 | |
I start at ten o'clock at night and finish at seven in the morning. | 0:30:15 | 0:30:19 | |
Seven days on and seven off. There's floor polishing, | 0:30:19 | 0:30:24 | |
damp dusting, mopping, vaccing, sinks. | 0:30:24 | 0:30:29 | |
Besides cleaning vomit and blood and whatever else falls there | 0:30:29 | 0:30:34 | |
on the floor! | 0:30:34 | 0:30:36 | |
A woollen mill, | 0:30:37 | 0:30:40 | |
and these men working through the night are rat-catchers. | 0:30:40 | 0:30:43 | |
He's here. Skiddle-up! | 0:30:57 | 0:30:58 | |
Grab him, grab him. That's it. Finish him off, you lot. | 0:31:01 | 0:31:06 | |
Aye, she's done him. | 0:31:06 | 0:31:07 | |
I don't think I am supposed to really, in my contract, mop it up. | 0:31:07 | 0:31:12 | |
I think nursing staff's supposed to clean it, | 0:31:12 | 0:31:14 | |
but the simple reason, a domestic's on there to clean, | 0:31:14 | 0:31:19 | |
so, if I aren't there to clean blood up, | 0:31:19 | 0:31:22 | |
it's a waste of time me being there anyway. | 0:31:22 | 0:31:26 | |
So we all work as a team on there. | 0:31:26 | 0:31:28 | |
Nothing goes without one another so I automatically do it. | 0:31:28 | 0:31:32 | |
You've got to do all your shunting on a night time, | 0:31:44 | 0:31:47 | |
when your long haul's on a night time with the flight times, | 0:31:47 | 0:31:51 | |
to get them through, you see. | 0:31:51 | 0:31:52 | |
On its own, 12. | 0:31:55 | 0:31:58 | |
You know, being a night watchman, | 0:32:08 | 0:32:12 | |
it's amazing the thoughts that pass through your mind | 0:32:12 | 0:32:15 | |
here alone in the factory at night. | 0:32:15 | 0:32:18 | |
Sometimes I think the factory is like a huge ship. | 0:32:23 | 0:32:29 | |
A great golden ship rushing through the night, | 0:32:29 | 0:32:33 | |
and I, inside in safety. | 0:32:33 | 0:32:36 | |
I like coming. I like nights. It's quieter, for me. | 0:32:39 | 0:32:42 | |
I see more of the kids than what I did when I worked days. | 0:32:44 | 0:32:48 | |
You're your own boss. You've got to work on your own initiative. | 0:32:48 | 0:32:52 | |
I like that. | 0:32:52 | 0:32:54 | |
OWL HOOTS | 0:32:57 | 0:32:59 | |
CHILD: The wind is whistling through the tree tops. | 0:33:20 | 0:33:23 | |
I hear the hooting of an owl high up in the tree tops. | 0:33:27 | 0:33:33 | |
It is dark and gloomy out at night. | 0:33:37 | 0:33:39 | |
It is dull and black and scary. | 0:33:39 | 0:33:44 | |
A very ordinary-looking council house, but don't be deceived. | 0:34:40 | 0:34:43 | |
When night falls and the moon is bright, it takes on an evil air. | 0:34:43 | 0:34:48 | |
It's inhabited by a lady in white, a nun, | 0:34:48 | 0:34:51 | |
and a tall man in a black cape with a gold choker. | 0:34:51 | 0:34:55 | |
The householder, Mrs Joyce Bowles, | 0:34:55 | 0:34:57 | |
gets so nervy that she sleeps with her friend Bridget | 0:34:57 | 0:35:00 | |
when her husband is away working nights on the railway. | 0:35:00 | 0:35:05 | |
Bridget's willingly demonstrated some of the ghosts' antics. | 0:35:05 | 0:35:09 | |
This thing starts creaking. | 0:35:09 | 0:35:12 | |
I didn't know what it was in the beginning, but I worked out | 0:35:12 | 0:35:16 | |
it's the door trying to open, which it eventually does, like this. | 0:35:16 | 0:35:21 | |
And then it starts moving like this, | 0:35:21 | 0:35:26 | |
and these things fly out. | 0:35:26 | 0:35:27 | |
It must be very frightening? | 0:35:31 | 0:35:33 | |
Well, it was in the beginning but I got used to it. | 0:35:33 | 0:35:36 | |
After a while, they take off. | 0:35:36 | 0:35:39 | |
I mean, I can be laying in bed and I'm touched. | 0:35:41 | 0:35:44 | |
Something just comes up and touches me with their hands. | 0:35:44 | 0:35:48 | |
-Touches you? -It touches me as though they're trying to wake me up. | 0:35:48 | 0:35:52 | |
So then one night, or several nights running it happened, | 0:35:52 | 0:35:56 | |
that Joyce says, "Bridget!" | 0:35:56 | 0:36:00 | |
And I look across and this mattress lifts itself up | 0:36:00 | 0:36:03 | |
and tilts Joyce towards me which is rather alarming. | 0:36:03 | 0:36:07 | |
I have slung my leg and one arm across trying to hold it down, | 0:36:07 | 0:36:11 | |
which is quite a job. | 0:36:11 | 0:36:13 | |
After that, we hear seven knocks. | 0:36:13 | 0:36:15 | |
SHE KNOCKS | 0:36:15 | 0:36:16 | |
-Seven knocks? -Always seven, which means it's the end of it. | 0:36:16 | 0:36:20 | |
One night I got out of bed and got back in, and all of a sudden | 0:36:20 | 0:36:25 | |
this heavy breathing started and it sort of went... | 0:36:25 | 0:36:27 | |
SHE BREATHES HEAVILY | 0:36:27 | 0:36:30 | |
You see? | 0:36:30 | 0:36:31 | |
And the next thing I noticed was a rustling, | 0:36:31 | 0:36:35 | |
something settling on my head. | 0:36:35 | 0:36:37 | |
And Joyce must have looked up and she said, "Oh, my dolly!" | 0:36:37 | 0:36:41 | |
And this one had flown from here and settled on my head. | 0:36:41 | 0:36:47 | |
Does it frighten you? | 0:36:47 | 0:36:48 | |
How do you feel about all these guests in your house? | 0:36:48 | 0:36:51 | |
Well, I'm not going to say I'm never afraid, because I am. | 0:36:51 | 0:36:56 | |
But I have been told that wherever I move, it can move with me. | 0:36:56 | 0:37:00 | |
-So there's no point getting out of the house? -No. | 0:37:00 | 0:37:02 | |
Where the nun fits into the picture nobody seems to know. | 0:37:02 | 0:37:06 | |
And why the ghost should wish to interfere with | 0:37:06 | 0:37:08 | |
Mrs Bowles' bedside cabinet in her 1919 council house | 0:37:08 | 0:37:13 | |
is anybody's guess. | 0:37:13 | 0:37:14 | |
I'm off now in search of a denizen of darkness. | 0:37:24 | 0:37:31 | |
Somewhere underneath the bushes, | 0:37:31 | 0:37:33 | |
the old slug hunter is lurking. | 0:37:33 | 0:37:37 | |
'The hedgehog is still very much a creature of the night | 0:37:39 | 0:37:43 | |
'but it's too big to hide in the leaf litter. | 0:37:43 | 0:37:45 | |
'That makes it vulnerable to attack from animals like foxes. | 0:37:45 | 0:37:50 | |
'To make up for this, its hairs have become a cloak of prickles.' | 0:37:50 | 0:37:54 | |
And if it thinks it's in real danger, it's got a special trick. | 0:37:58 | 0:38:03 | |
'The hedgehog will stay an impregnable spiny ball like this | 0:38:09 | 0:38:14 | |
'until it decides that danger has passed.' | 0:38:14 | 0:38:17 | |
How many prickles does a hedgehog have? | 0:38:26 | 0:38:29 | |
That's not a riddle. I mean it. How many? | 0:38:29 | 0:38:33 | |
6,000. I mean, not exactly, but about 6,000. | 0:38:33 | 0:38:40 | |
And they change them over a period of 18 months. Not all at once of course. | 0:38:40 | 0:38:45 | |
You can't have bald hedgehogs running around, can you? | 0:38:45 | 0:38:49 | |
'But one thing is guaranteed to make a male hedgehog drop his guard. | 0:38:49 | 0:38:53 | |
'The promise of an amorous liaison. | 0:38:53 | 0:38:56 | |
'If you're outside on a spring evening, | 0:38:58 | 0:39:01 | |
'you may be lucky enough to witness an extraordinary sight.' | 0:39:01 | 0:39:05 | |
You might think that having a coat of spines on your back | 0:39:21 | 0:39:25 | |
would be something of a handicap | 0:39:25 | 0:39:27 | |
when it comes to the intimacies of courtship, and indeed, | 0:39:27 | 0:39:31 | |
classical naturalists thought that hedgehogs actually mated | 0:39:31 | 0:39:36 | |
belly to belly. | 0:39:36 | 0:39:38 | |
'But it does seem that the old joke that asks, | 0:39:38 | 0:39:41 | |
'"How do hedgehogs mate?" was right all along. | 0:39:41 | 0:39:44 | |
'The answer is, of course, with great care.' | 0:39:44 | 0:39:47 | |
Something we see almost every day yet rarely notice until it's dark. | 0:39:51 | 0:39:55 | |
So small, we pass over it without a thought. | 0:39:55 | 0:39:57 | |
Percy Shaw invented the cat's eye. | 0:39:57 | 0:40:00 | |
Who'd have thought of putting glass in the road to run over, | 0:40:05 | 0:40:09 | |
-40 years ago? Eh? -Well, you did, didn't you? | 0:40:09 | 0:40:13 | |
Well, I gave them plenty of protection. | 0:40:13 | 0:40:16 | |
One night, driving back in the dark and fog, | 0:40:16 | 0:40:19 | |
after he'd had a few, let's be honest, | 0:40:19 | 0:40:21 | |
he noticed two little points of light in the road | 0:40:21 | 0:40:24 | |
and he stopped to see what they were. | 0:40:24 | 0:40:27 | |
He quickly realised it must have just been a cat, | 0:40:27 | 0:40:30 | |
but he also realised that, if he hadn't stopped, | 0:40:30 | 0:40:33 | |
he'd have driven off the edge and into a valley. | 0:40:33 | 0:40:36 | |
That was his eureka moment. | 0:40:36 | 0:40:38 | |
And this was the result. | 0:40:42 | 0:40:44 | |
And it's genius, frankly. | 0:40:44 | 0:40:47 | |
Not only does it light the road ahead, it also maintains itself. | 0:41:02 | 0:41:07 | |
This base bit, that's a piece of cast iron, | 0:41:07 | 0:41:09 | |
that will essentially last forever. | 0:41:09 | 0:41:11 | |
The eyes themselves are fitted into this easily replaced rubber bit | 0:41:11 | 0:41:16 | |
and every time a vehicle drives over it, | 0:41:16 | 0:41:18 | |
the cat's eyes get a little wipe. | 0:41:18 | 0:41:20 | |
It's brilliant. | 0:41:20 | 0:41:22 | |
The starling, probably not most people's favourite bird. | 0:41:53 | 0:41:57 | |
A bit of a bully on the bird table, | 0:41:59 | 0:42:01 | |
and yet I reckon starlings are responsible | 0:42:01 | 0:42:06 | |
for one of the most mesmerising spectacles in the whole of nature. | 0:42:06 | 0:42:12 | |
I'd say there's at least 4,000 birds up there at the moment. | 0:42:18 | 0:42:23 | |
And still they keep coming. | 0:42:23 | 0:42:26 | |
I feel like I ought to be conducting them. | 0:42:29 | 0:42:31 | |
All together... | 0:42:32 | 0:42:35 | |
It's the shapes though. | 0:42:36 | 0:42:38 | |
I know it's the obvious thing to say, | 0:42:38 | 0:42:41 | |
but just watch how these shapes change. | 0:42:41 | 0:42:44 | |
And down they go. Cascading down. | 0:43:05 | 0:43:10 | |
The waterfall. | 0:43:11 | 0:43:13 | |
Who'd have thought it, eh? | 0:43:35 | 0:43:37 | |
If somebody said to me, | 0:43:37 | 0:43:40 | |
"What are the most memorable creatures you've seen? | 0:43:40 | 0:43:43 | |
"Is it lions, or sharks, or elephants...?" | 0:43:43 | 0:43:47 | |
And I'd say...starlings. | 0:43:47 | 0:43:51 | |
Just one little mushroom left. | 0:43:53 | 0:43:57 | |
Like a parachute, nearly all down. | 0:43:57 | 0:44:00 | |
The paraffin vaporises, goes up through into the burner head, | 0:44:12 | 0:44:18 | |
and comes out at the mantle as a vapour. | 0:44:18 | 0:44:22 | |
You simply light the vapour, and... | 0:44:22 | 0:44:27 | |
up the light comes, one big white ball of light. | 0:44:27 | 0:44:31 | |
I think to myself, hundreds of years ago, | 0:44:43 | 0:44:46 | |
all ship's masters saw that very same light, | 0:44:46 | 0:44:48 | |
from that very same lens, from those very same oil burners. | 0:44:48 | 0:44:53 | |
-Roger, time to get up. -I don't mind. -I'm still searching for fog. -Yeah. | 0:44:58 | 0:45:05 | |
Bring up some testing charges when you come up, all right? | 0:45:05 | 0:45:08 | |
-OK, mate. On my way. -Cheers. | 0:45:08 | 0:45:11 | |
Occasionally, when it's a wet and dirty, foggy night | 0:45:18 | 0:45:23 | |
and you're operating the fog signal, | 0:45:23 | 0:45:25 | |
this I do not like doing. | 0:45:25 | 0:45:27 | |
You're up on the lantern, all the watch, | 0:45:27 | 0:45:31 | |
especially of a middle watch. | 0:45:31 | 0:45:33 | |
As I said, it's thick fog, or misty rain, | 0:45:33 | 0:45:36 | |
you have to go round the gallery every ten minutes | 0:45:36 | 0:45:40 | |
and hang up your charges, | 0:45:40 | 0:45:42 | |
the rain running off the glazing, down the back of your neck, | 0:45:42 | 0:45:46 | |
you're feeling thoroughly wet through, cold, | 0:45:46 | 0:45:50 | |
this I do not enjoy doing. | 0:45:50 | 0:45:51 | |
CLOCK DINGS | 0:45:51 | 0:45:54 | |
LOUD BANG | 0:45:54 | 0:45:56 | |
But it's got to be done. | 0:45:57 | 0:46:00 | |
There again, I feel a slight sense of achievement. | 0:46:00 | 0:46:03 | |
I think to myself, | 0:46:03 | 0:46:05 | |
"Well, if I hadn't done this, a ship might come in pretty close, | 0:46:05 | 0:46:08 | |
"and hit the rocks | 0:46:08 | 0:46:10 | |
"if it hadn't been for me operating that signal and warning him | 0:46:10 | 0:46:14 | |
-"that we're here." -CLOCK DINGS | 0:46:14 | 0:46:15 | |
LOUD BANG | 0:46:15 | 0:46:18 | |
My wife has often asked me what it's like at Bishop. | 0:46:18 | 0:46:22 | |
I try to explain to her | 0:46:22 | 0:46:24 | |
but somehow, she says, "I don't understand." | 0:46:24 | 0:46:26 | |
I try to tell her that it's like home to me, | 0:46:26 | 0:46:30 | |
but she says, "Your home is here, not on the Bishop." | 0:46:30 | 0:46:34 | |
But it isn't really. | 0:46:34 | 0:46:35 | |
My home is on the Bishop. | 0:46:35 | 0:46:37 | |
After all, I spend two-thirds of the year here, | 0:46:37 | 0:46:40 | |
so obviously the Bishop is my home. It's got to be. | 0:46:40 | 0:46:43 | |
Some of the big gang boys. Look at 'em! | 0:46:58 | 0:47:00 | |
All done no good on last week's pools, | 0:47:00 | 0:47:02 | |
so they're back to heaving dirty big rails about in the tunnels. | 0:47:02 | 0:47:05 | |
Yes, while you're pressing the mattress | 0:47:05 | 0:47:08 | |
there's me and 1,119 others like me | 0:47:08 | 0:47:10 | |
hard at it, down the hole. | 0:47:10 | 0:47:12 | |
There's a lot of that in London's underground. | 0:47:12 | 0:47:15 | |
130 miles of hole. | 0:47:15 | 0:47:16 | |
And this is me in it. | 0:47:16 | 0:47:18 | |
Jack Bedwell. Section ganger on routine inspection. | 0:47:18 | 0:47:22 | |
Rails, cables, foreign bodies, | 0:47:22 | 0:47:25 | |
lights, brackets... the last nut and bolt. | 0:47:25 | 0:47:28 | |
-NEWSREEL ANNOUNCER: -'They are the fluffers. | 0:47:28 | 0:47:31 | |
'The charladies of the underground. | 0:47:31 | 0:47:34 | |
'Into the cavernous blackness of the twisting tunnels, | 0:47:34 | 0:47:37 | |
'between the rails which link station to station, | 0:47:37 | 0:47:40 | |
'office to home, the fluffers march each midnight. | 0:47:40 | 0:47:43 | |
'While London dreams, knives and brush clean the lines | 0:47:46 | 0:47:50 | |
'that will carry tomorrow's traffic. | 0:47:50 | 0:47:52 | |
'Like glow worms, | 0:47:52 | 0:47:53 | |
'night by night the fluffers wash behind the ears of | 0:47:53 | 0:47:57 | |
'the 90 miles of London's tube track. | 0:47:57 | 0:47:59 | |
'Yes, these are the fluffers. | 0:48:03 | 0:48:06 | |
'People of another world | 0:48:06 | 0:48:07 | |
'who see the sunshine only for a fleeting hour each day. | 0:48:07 | 0:48:11 | |
Highgate Cemetery, officially opened in 1839, | 0:48:20 | 0:48:24 | |
was once described as the most beautiful resting place in London. | 0:48:24 | 0:48:28 | |
In the last few years, | 0:48:28 | 0:48:29 | |
vandals stalking around the overgrown tombs | 0:48:29 | 0:48:33 | |
have done over £9,000 worth of damage. | 0:48:33 | 0:48:35 | |
But to general foreman of the gravediggers, | 0:48:35 | 0:48:37 | |
William Law, who has worked here 23 years, | 0:48:37 | 0:48:40 | |
it's worsened an already harrowing job. | 0:48:40 | 0:48:43 | |
Down this part here, | 0:48:43 | 0:48:44 | |
there's two tombs broken into. | 0:48:44 | 0:48:46 | |
One on the left hand side here, | 0:48:46 | 0:48:48 | |
the doors were broken open, | 0:48:48 | 0:48:50 | |
the coffin was half pulled over, and a big iron stake | 0:48:50 | 0:48:53 | |
was stuck through, into the coffin. | 0:48:53 | 0:48:56 | |
These indications of a black ritualism at work | 0:48:56 | 0:48:59 | |
aroused the curiosity of Sean Manchester, | 0:48:59 | 0:49:02 | |
26-year-old president of the British Occult Society, | 0:49:02 | 0:49:05 | |
an organisation that practises the art of white magic, | 0:49:05 | 0:49:08 | |
the combat of evil. | 0:49:08 | 0:49:10 | |
Our first report indicated that there may be a vampire | 0:49:11 | 0:49:16 | |
in Highgate Cemetery. | 0:49:16 | 0:49:18 | |
A spectre was seen at that gate there, | 0:49:19 | 0:49:22 | |
appearing to come from here, | 0:49:22 | 0:49:25 | |
which leads to the catacombs. | 0:49:25 | 0:49:27 | |
A former associate of Mr Manchester, | 0:49:27 | 0:49:30 | |
Alan Farront, who used to own this tobacconist's shop in Highgate, | 0:49:30 | 0:49:33 | |
decided to pay a midnight visit to the cemetery | 0:49:33 | 0:49:36 | |
to combat the vampire once and for all. | 0:49:36 | 0:49:38 | |
He armed himself with a cross and stake | 0:49:41 | 0:49:43 | |
and crouched between the tombstones, waiting. | 0:49:43 | 0:49:47 | |
Have you ever seen this vampire? | 0:49:48 | 0:49:50 | |
I have seen it, yes. | 0:49:50 | 0:49:52 | |
I saw it last February, and I saw it on two occasions. | 0:49:52 | 0:49:56 | |
What was it like? | 0:49:56 | 0:49:58 | |
It took the form of a tall, grey figure, | 0:49:58 | 0:50:01 | |
about eight feet tall, | 0:50:01 | 0:50:02 | |
and it seemed to glide off the path without making any noise. | 0:50:02 | 0:50:06 | |
The only certain way of destroying an undead... | 0:50:06 | 0:50:12 | |
..is by driving a wooden stake, like the one I have here, | 0:50:14 | 0:50:18 | |
straight through the heart with one blow. | 0:50:18 | 0:50:22 | |
I think they're nutcases, actually. That's my opinion. | 0:50:22 | 0:50:26 | |
I've worked here all night long. | 0:50:26 | 0:50:28 | |
All day long, all night long - I've never seen nothing, | 0:50:28 | 0:50:30 | |
so I don't see why they should. | 0:50:30 | 0:50:32 | |
This time, when it started - this vampire business - | 0:50:32 | 0:50:35 | |
in the evening time, there's 100-odd people outside the gates | 0:50:35 | 0:50:38 | |
and they was all trying to climb over the walls | 0:50:38 | 0:50:41 | |
and one person said they saw a horrible grey thing | 0:50:41 | 0:50:43 | |
wriggling down the road. All this bloody nonsense. | 0:50:43 | 0:50:46 | |
The best thing to do, | 0:50:46 | 0:50:47 | |
if we could catch one of these people, to stop this nonsense, is to | 0:50:47 | 0:50:52 | |
put him in one of these tombs and leave him there all night. | 0:50:52 | 0:50:54 | |
See if in fact he can find a vampire. | 0:50:54 | 0:50:56 | |
Satan, get ye behind me and be gone from this place forever. | 0:50:57 | 0:51:02 | |
AIR RAID SIREN | 0:51:03 | 0:51:07 | |
EXPLOSIONS | 0:51:07 | 0:51:11 | |
Royal Air Force observers | 0:51:11 | 0:51:13 | |
tell us that the blackout in Britain at night is pretty good, | 0:51:13 | 0:51:16 | |
but in the morning it's not so good, | 0:51:16 | 0:51:18 | |
although it's every bit as important. | 0:51:18 | 0:51:20 | |
Take this house in the suburbs, the house of a well-known Mr Twerp. | 0:51:20 | 0:51:24 | |
He switches on a lamp when he wakes up, | 0:51:24 | 0:51:26 | |
forgetting that he removed the blackout before he went to sleep. | 0:51:26 | 0:51:30 | |
When he gets up, he wanders from room to room, reading the paper | 0:51:30 | 0:51:33 | |
and waking the butler | 0:51:33 | 0:51:34 | |
and one thing and another, and the result outside is simply appalling. | 0:51:34 | 0:51:37 | |
Mr and Mrs Twerp are particularly liable | 0:51:37 | 0:51:39 | |
to forget the back of the house. | 0:51:39 | 0:51:41 | |
A light from the kitchen can be seen in the sky | 0:51:41 | 0:51:43 | |
just as easily as one in the front. | 0:51:43 | 0:51:45 | |
Another point in the blackout occurs on the way to the office. | 0:51:45 | 0:51:48 | |
Mr Twerp decides to have a blackout on the old bike. | 0:51:48 | 0:51:51 | |
He forgets that because he can see, | 0:51:51 | 0:51:53 | |
he may not be visible to others until the last moment. | 0:51:53 | 0:51:55 | |
It's a good job we're not all Twerps, isn't it? | 0:51:55 | 0:51:59 | |
The lights blaze and dance. A city with her make-up on, | 0:52:08 | 0:52:12 | |
and in the side streets that criss-cross their devious ways | 0:52:12 | 0:52:15 | |
behind the arteries of light, and in the alleys | 0:52:15 | 0:52:17 | |
where the lamps are low, the clubs and the easy-money joints, | 0:52:17 | 0:52:21 | |
the fashionable nightspots, as proud of their respectability | 0:52:21 | 0:52:25 | |
as a girl of her first mink. | 0:52:25 | 0:52:27 | |
The all-night cafes and the nude shows. | 0:52:27 | 0:52:30 | |
Soho. | 0:52:30 | 0:52:32 | |
Life after dark with an enamelled gloss and the cracks showing, | 0:52:32 | 0:52:36 | |
garish, gay, avaricious and a little sleazy at the edges. | 0:52:36 | 0:52:41 | |
Don't copy this technique, girls, | 0:52:47 | 0:52:49 | |
unless you've got central heating in your bedroom. | 0:52:49 | 0:52:52 | |
-Are you ever nude when you're stripped? Completely nude? -No, no. | 0:52:54 | 0:52:58 | |
-Never? -No. -Would you ever be? -No, I don't think so, no. | 0:52:58 | 0:53:02 | |
Midnight. | 0:53:02 | 0:53:04 | |
Annette Wilson is 20 and a trained dancer, | 0:53:04 | 0:53:07 | |
but at 20, dancing doesn't pay as much as stripping. | 0:53:07 | 0:53:11 | |
She's married, works four clubs at once, does up to 50 shows a shift. | 0:53:11 | 0:53:16 | |
To keep her schedule, she runs from club to club in Soho, | 0:53:16 | 0:53:19 | |
dresses and undresses with the expediency | 0:53:19 | 0:53:21 | |
of a fireman answering an alarm. | 0:53:21 | 0:53:24 | |
2:00am and home to husband Colin, | 0:53:27 | 0:53:30 | |
a poet, painter and designer of Aztec jewellery. | 0:53:30 | 0:53:34 | |
-So why does she work, and why as a stripper? -Um... | 0:53:34 | 0:53:38 | |
The money. You know? | 0:53:38 | 0:53:40 | |
Colin and I were broke and we were talking about it, | 0:53:41 | 0:53:45 | |
and since I can dance and I have a bit of ballet, | 0:53:45 | 0:53:49 | |
I just decided, well, you know, why not? | 0:53:49 | 0:53:52 | |
-Do you enjoy it? -No. | 0:53:52 | 0:53:54 | |
It's a job, | 0:53:55 | 0:53:57 | |
and that's all. You know? | 0:53:57 | 0:53:58 | |
Then we cut a line to the centre. | 0:54:03 | 0:54:07 | |
And then bend it round, and that has to be stuck, then, | 0:54:07 | 0:54:10 | |
and covered in material. | 0:54:10 | 0:54:12 | |
Having done that, now we have an almost finished one. | 0:54:12 | 0:54:17 | |
All that's left to do is to make it stick to me. | 0:54:17 | 0:54:21 | |
Now, the way I usually do my tassels | 0:54:23 | 0:54:27 | |
is to start with them both going to the right, | 0:54:27 | 0:54:30 | |
so that way, | 0:54:30 | 0:54:33 | |
and then one at a time, | 0:54:33 | 0:54:36 | |
and then the other, | 0:54:36 | 0:54:37 | |
outside, | 0:54:37 | 0:54:39 | |
and then in reverse, with them both together. | 0:54:39 | 0:54:41 | |
It's the initial shoulder movement that starts them off, I find, | 0:54:41 | 0:54:45 | |
but it's rather difficult to explain. It just seems to happen. | 0:54:45 | 0:54:48 | |
That way. | 0:54:51 | 0:54:52 | |
CHEERING AND APPLAUSE | 0:54:52 | 0:54:55 | |
Hi! | 0:54:55 | 0:54:56 | |
# Come on, come on! | 0:54:56 | 0:54:58 | |
# Come on, come on! | 0:54:58 | 0:55:00 | |
# Come on, come on, come on... # | 0:55:00 | 0:55:04 | |
It's no good starting off too crude, | 0:55:04 | 0:55:06 | |
because women certainly don't like it crude. | 0:55:06 | 0:55:10 | |
CHEERING | 0:55:19 | 0:55:22 | |
If you didn't do the strip at the end of the evening, there's no way | 0:55:29 | 0:55:33 | |
you'd get out the door alive, and it's as easy as that. | 0:55:33 | 0:55:36 | |
# Do you wanna touch? Yeah! # | 0:55:36 | 0:55:39 | |
-SHE SQUEALS -# Yeah, yeah... # | 0:55:39 | 0:55:42 | |
# Do you wanna touch? Yeah! | 0:55:42 | 0:55:44 | |
# Do you wanna touch? Yeah! | 0:55:44 | 0:55:46 | |
# Do you wanna touch... # | 0:55:46 | 0:55:49 | |
-CHANTING: -Off! Off! Off! Off! | 0:55:49 | 0:55:54 | |
POLICE SIREN | 0:55:55 | 0:55:58 | |
Good morning, sir. Just a routine check. | 0:56:10 | 0:56:12 | |
-Can you tell me where you're going? -The bakery. I'm going to work. | 0:56:12 | 0:56:16 | |
The first one comes in, puts the lights on, of course, | 0:56:21 | 0:56:25 | |
and puts the ovens on. | 0:56:25 | 0:56:27 | |
And then he puts the first mixing on, | 0:56:29 | 0:56:32 | |
which takes about 20 minutes to mix. | 0:56:32 | 0:56:34 | |
And then puts it through the machine, | 0:57:00 | 0:57:02 | |
in one-pound loaves and two-pound loaves. | 0:57:02 | 0:57:05 | |
And then by the time he's done that, the oven is up to its temperature | 0:57:05 | 0:57:10 | |
and then we can start baking. | 0:57:10 | 0:57:12 | |
Most of our customers, now, are used to... | 0:57:21 | 0:57:24 | |
When they buy it, it's still warm and fresh, | 0:57:24 | 0:57:27 | |
and still steaming a little bit. | 0:57:27 | 0:57:29 | |
People aren't so daft today, in that when they do buy things, | 0:57:29 | 0:57:33 | |
they like to feel them, and if they're not fresh, | 0:57:33 | 0:57:36 | |
they will complain about it, | 0:57:36 | 0:57:37 | |
so that's why we make ours fresh every day. | 0:57:37 | 0:57:41 | |
DOG BARKING | 0:58:07 | 0:58:09 | |
CAT MIAOWING | 0:58:47 | 0:58:50 | |
DOG BARKING | 0:58:50 | 0:58:52 | |
CRICKETS CHIRRUPING | 0:58:53 | 0:58:55 | |
FOOTSTEPS | 0:58:55 | 0:58:58 | |
OWL HOOTING | 0:58:59 | 0:59:02 | |
Subtitles by Red Bee Media Ltd | 0:59:06 | 0:59:09 | |
E-mail [email protected] | 0:59:09 | 0:59:11 |