
Browse content similar to The Bookseller of Belfast. Check below for episodes and series from the same categories and more!
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This programme contains some strong language. | 0:00:31 | 0:00:35 | |
Oh, let me see now. | 0:01:30 | 0:01:33 | |
Mr Toad deserves a wee bit of space along with er, | 0:01:33 | 0:01:35 | |
Mr Robert Emmet I think, so... | 0:01:35 | 0:01:39 | |
I'll get you that, old boy. | 0:01:39 | 0:01:40 | |
Ah, there you are. | 0:01:42 | 0:01:45 | |
Mr Wilder, I'd forgotten about you. | 0:01:45 | 0:01:48 | |
You're first edition of The Ides Of March, so you are. | 0:01:48 | 0:01:53 | |
1845, hmm. | 0:01:53 | 0:01:55 | |
Interesting, very interesting. | 0:01:56 | 0:02:00 | |
Oh-ho-ho! | 0:02:00 | 0:02:04 | |
It's a wee first edition of Odd Man Out. | 0:02:04 | 0:02:07 | |
And about Belfast. 1948. | 0:02:08 | 0:02:12 | |
Mmm. | 0:02:16 | 0:02:17 | |
Can't wait for you to see the light of day, son. | 0:02:20 | 0:02:24 | |
How can people do that with books? Jesus Christ, it's ridiculous. | 0:02:24 | 0:02:28 | |
He's destroyed it with that bloody tape. | 0:02:29 | 0:02:32 | |
Eejit. Bloody eejit. | 0:02:32 | 0:02:35 | |
I can clean you up, son. | 0:02:40 | 0:02:42 | |
Yep, you're going to be happy here and back to the way you were. | 0:02:43 | 0:02:47 | |
How dare he put that on it? How dare he? | 0:02:47 | 0:02:50 | |
CONVERSATION IN BACKGROUND | 0:03:11 | 0:03:13 | |
-Here you go, John. -Thanks, love. -That OK for you? -Very tasty. | 0:03:17 | 0:03:22 | |
Very, very tasty, love. Nice and fresh. | 0:03:22 | 0:03:25 | |
All right if I sit beside you? | 0:03:28 | 0:03:30 | |
You're all right, love. | 0:03:30 | 0:03:31 | |
I'm starving. | 0:03:33 | 0:03:35 | |
You hungry, pet? That looks nice. | 0:03:35 | 0:03:38 | |
Tell me, why do you get two bits of tomato and I only got one? | 0:03:38 | 0:03:41 | |
Because I made it myself! | 0:03:41 | 0:03:43 | |
Only joking! | 0:03:43 | 0:03:44 | |
-No, there were two bits of tomato there. -So did you have two bits? | 0:03:44 | 0:03:48 | |
-Oh, aye. -Do you want a wee bit, John? -No, no, I'm all right now. | 0:03:48 | 0:03:50 | |
-MOBILE BLEEPS -Everybody's trying to add me on Facebook today. | 0:03:50 | 0:03:54 | |
Tell me, Facebook, is this a sort of internet thing? | 0:03:54 | 0:03:57 | |
-I'm addicted to it, John. Every minute of the day. -Is that right? | 0:03:57 | 0:03:59 | |
Yes, and I have actually set it up to my phone | 0:03:59 | 0:04:01 | |
so if I get a message on it, you are supposed to get a message on | 0:04:01 | 0:04:04 | |
the computer, but if I get a message on it it goes straight to my phone. | 0:04:04 | 0:04:07 | |
Somebody text me today saying, | 0:04:07 | 0:04:09 | |
"Hiya, I see you every week up at the Trinity Lodge, you look amazing." | 0:04:09 | 0:04:12 | |
-I'm like, I don't even know who that is. -It's a fan! -I know! | 0:04:12 | 0:04:16 | |
MUSIC STARTS | 0:04:19 | 0:04:21 | |
MUSIC: "Make You Feel My Love" by Adele | 0:04:21 | 0:04:22 | |
# I go hungry I'd go black and blue...# | 0:04:22 | 0:04:27 | |
That's nice. | 0:04:27 | 0:04:28 | |
# I'd go crawling down the avenue...# | 0:04:28 | 0:04:33 | |
Oh, God, I'd love to be a singer. | 0:04:34 | 0:04:37 | |
I'm a great believer, Jolene, that if you enjoy doing something, | 0:04:38 | 0:04:42 | |
do it for love of it, don't look what comes out the other end. | 0:04:42 | 0:04:45 | |
Like, I was in the book business for over 40 years. | 0:04:45 | 0:04:48 | |
I didn't go into it for to make any economic fortunes, which is nice. | 0:04:48 | 0:04:54 | |
I done it because I loved it. And no return. I still buy and sell books. | 0:04:54 | 0:04:58 | |
I mostly buy them for people and I give them | 0:04:58 | 0:05:00 | |
instead of charging them for them! | 0:05:00 | 0:05:02 | |
LAUGHS | 0:05:02 | 0:05:04 | |
If you believe that, you'll believe anything. | 0:05:04 | 0:05:07 | |
Somebody asked me earlier, was I selling that to you | 0:05:07 | 0:05:09 | |
so they could buy it? | 0:05:09 | 0:05:11 | |
You just tell them what you want, love. | 0:05:11 | 0:05:14 | |
That's nice. | 0:05:14 | 0:05:15 | |
-All the customers will all be waiting! -No, let them go in. | 0:05:22 | 0:05:25 | |
It's lovely. | 0:05:25 | 0:05:27 | |
WHISTLES | 0:05:42 | 0:05:43 | |
See, last time I was in, Tony, you had a wee copy of No Mean City. | 0:05:47 | 0:05:50 | |
-And they were the old photographs of Belfast. -Yes. -I don't see it there. | 0:05:50 | 0:05:54 | |
It's very wee, if you recall, | 0:05:54 | 0:05:55 | |
-do remember that wee series that was done? -I do, yeah. -Sort of panoramic. | 0:05:55 | 0:05:59 | |
-Yes, I do, Brian Walker? -One of the Brian Walker ones, yeah, you know? | 0:05:59 | 0:06:05 | |
I had a wee copy that I had to loan, but I never got it back, you know, so... | 0:06:05 | 0:06:10 | |
Oh, here. I know a guy who's looking for that. | 0:06:10 | 0:06:15 | |
I can always ring him. You know what they say about him? | 0:06:17 | 0:06:20 | |
You see the ones that are not signed are scarce. He signed everything! | 0:06:20 | 0:06:25 | |
Yeah, I know, don't go overboard. | 0:06:26 | 0:06:28 | |
We don't go overboard for the prices. | 0:06:29 | 0:06:32 | |
-We try our best to keep away, you know? -That one's signed! | 0:06:32 | 0:06:36 | |
Mmm. Ah, delicious! | 0:06:38 | 0:06:41 | |
Mm. Oh-ho! Michaela's cooked. | 0:06:46 | 0:06:50 | |
Up to scratch. That'll be all right. That'll kick in for tomorrow. | 0:06:54 | 0:07:00 | |
Second-hand soup's always best. | 0:07:02 | 0:07:04 | |
Another run over and that will be beautiful. | 0:07:04 | 0:07:06 | |
HE WHISPERS THE WORDS | 0:07:10 | 0:07:12 | |
Don't know what that says but it ends "The bird from the sky." | 0:07:22 | 0:07:28 | |
WHISPERS: Through all the extremes without any, anyone's being able to. | 0:07:30 | 0:07:36 | |
Don't know. | 0:07:38 | 0:07:40 | |
Don't know. "Where one ends and another begins. You have..." | 0:07:45 | 0:07:49 | |
Don't know. | 0:07:51 | 0:07:53 | |
What's this you're reading? | 0:07:55 | 0:07:57 | |
Was this the one on Rome? Interesting, isn't it? | 0:07:57 | 0:08:02 | |
-Do you find it interesting? -Yep. | 0:08:02 | 0:08:04 | |
-It's The Light Of Rome I'm reading. -The Light Of Rome. | 0:08:06 | 0:08:10 | |
Can you move that over a wee bit? I can't see that from here. | 0:08:15 | 0:08:19 | |
Just a bit because that's a beautiful way of starting there. | 0:08:19 | 0:08:22 | |
Yeah, that's what caught my eye. | 0:08:22 | 0:08:24 | |
"The Light Of Rome is more a thing of beauty." | 0:08:26 | 0:08:29 | |
"It is a mystery." | 0:08:29 | 0:08:33 | |
And then they all started beating me at the bloody bus stop. | 0:08:55 | 0:08:59 | |
Then when I looked around they were all shouting, "He's getting up, | 0:09:00 | 0:09:04 | |
"he's getting up." | 0:09:04 | 0:09:06 | |
JOHN LAUGHS | 0:09:06 | 0:09:07 | |
And I got such a dig in the head, my head hit the pub wall. | 0:09:07 | 0:09:10 | |
-And that was it? -And my face was getting slapped. | 0:09:10 | 0:09:13 | |
And I opened my eyes and the first face I seen was Buck Alec. | 0:09:13 | 0:09:17 | |
I says, "Where is I?" He says "I told them to F off and or I'd shoot them!" | 0:09:17 | 0:09:21 | |
He'd shoot them? | 0:09:21 | 0:09:25 | |
Carried me round home to my long-suffering Ma. | 0:09:25 | 0:09:28 | |
God love her. | 0:09:28 | 0:09:29 | |
And there's a gentleman called John... Sorry? | 0:09:31 | 0:09:33 | |
-John Clancy. -John Clancy. -Pleased to meet you. | 0:09:33 | 0:09:36 | |
-Always known as John the Book. -John the book! | 0:09:36 | 0:09:39 | |
LAUGHS | 0:09:39 | 0:09:41 | |
Right, you turn round. | 0:09:41 | 0:09:42 | |
People said John the Crook because I was a smithy dealer. | 0:09:42 | 0:09:45 | |
Along the back of the chairs there, that's the back of the chair, OK? | 0:09:45 | 0:09:49 | |
The table's in front of you and Grace is to your right-hand side. | 0:09:49 | 0:09:54 | |
-All right? -Who's that? -That's Grace. | 0:09:54 | 0:09:57 | |
John and John, do you want to talk away there? | 0:09:57 | 0:10:00 | |
I'm not going to say a warm-up speaker. | 0:10:00 | 0:10:03 | |
But this gentleman who is going to do the talking tonight, the poems, | 0:10:03 | 0:10:06 | |
I was always very close to John but what I love most about him | 0:10:06 | 0:10:09 | |
was very simple, the poetry. | 0:10:09 | 0:10:11 | |
Because what it was, not only did it bring the feeling when he wrote | 0:10:11 | 0:10:14 | |
his poems about Sailortown or York Street, for me, it re-lived them. | 0:10:14 | 0:10:20 | |
The shops, you can nearly smell the atmosphere. | 0:10:20 | 0:10:24 | |
It's like any area, like if I say I'm very proud to to be actually, | 0:10:24 | 0:10:28 | |
come from an area like Sailortown, we are diverse, we are | 0:10:28 | 0:10:30 | |
a mixed race as they call them now, Mickeys and Prods, you know? | 0:10:30 | 0:10:34 | |
But we've one thing in common, it was called poverty, | 0:10:34 | 0:10:36 | |
when we were growing up round here. | 0:10:36 | 0:10:38 | |
As an old friend of mine, Johnny Gillespie says, | 0:10:38 | 0:10:41 | |
we were that poor, we used to get parcels from the Third World. | 0:10:41 | 0:10:45 | |
And after a while, you get fed up of getting bananas. | 0:10:45 | 0:10:47 | |
LAUGHTER | 0:10:47 | 0:10:49 | |
In fact, I could tell you the first time I ever seen a banana. | 0:10:49 | 0:10:51 | |
You know, if you've never seen a banana before, what do you do? | 0:10:51 | 0:10:54 | |
You stick it in your gob the way it is and you start chewing it. | 0:10:54 | 0:10:57 | |
And my daddy says, "No, no, no, son, you peel it." | 0:10:57 | 0:11:00 | |
And you know I feel stupid at times, John? By God, I felt stupid. | 0:11:00 | 0:11:03 | |
It didn't hurt when they beat me with their weapons | 0:11:03 | 0:11:06 | |
Or when they smashed my nose and broke my jaw | 0:11:06 | 0:11:09 | |
It didn't hurt when they kicked my helpless body | 0:11:09 | 0:11:12 | |
It only hurt when her tearstained face I saw | 0:11:14 | 0:11:17 | |
It didn't hurt when they wouldn't give me water or medicine | 0:11:17 | 0:11:20 | |
To ease your throat so dry | 0:11:20 | 0:11:22 | |
It only hurt when I looked into her sad eyes | 0:11:23 | 0:11:27 | |
And it hurt me bad when I saw her start to cry. | 0:11:28 | 0:11:31 | |
That's lovely. | 0:11:31 | 0:11:34 | |
APPLAUSE | 0:11:34 | 0:11:35 | |
Now, these poems are encapsuled in the time they were written. | 0:11:36 | 0:11:40 | |
And I write in rhyme. Now, I've written a couple of novels. | 0:11:40 | 0:11:46 | |
I've written short stories, but when I do a poem, it has to be in rhyme | 0:11:46 | 0:11:51 | |
because as far as I'm concerned, if it isn't in rhyme, it isn't a poem. | 0:11:51 | 0:11:55 | |
TECHNO BEAT | 0:11:55 | 0:11:59 | |
HE RAPS: Just sit back and watch the intense suspense that I present | 0:12:11 | 0:12:14 | |
I invent the sound of a nation, turned present into presentation | 0:12:14 | 0:12:18 | |
Turned life on the street into life with a beat | 0:12:18 | 0:12:20 | |
What I write on the sheet is what I fight in defeat | 0:12:20 | 0:12:23 | |
I'm ambitious | 0:12:23 | 0:12:24 | |
But this road to riches turned me bitches and malicious | 0:12:24 | 0:12:27 | |
It's survival of the fittest I defy the odds | 0:12:27 | 0:12:29 | |
Living in a country full of riot squads | 0:12:31 | 0:12:34 | |
Bricks, bottles and blast bombs | 0:12:34 | 0:12:36 | |
Will I last long or will I pass on? | 0:12:36 | 0:12:38 | |
Keep your friends close but stay closer to your rivals | 0:12:38 | 0:12:41 | |
Trying to get ahead is a matter of survival | 0:12:41 | 0:12:44 | |
It's hard staying laden | 0:12:46 | 0:12:48 | |
The strongest will survive from the moment you arrive | 0:12:48 | 0:12:50 | |
You have nothing if you don't have the drive | 0:12:50 | 0:12:52 | |
See all you want until you get an eye | 0:12:52 | 0:12:55 | |
For how long will I last is a matter of survival | 0:12:55 | 0:12:58 | |
Just a matter of survival | 0:13:00 | 0:13:02 | |
I'm running for my life, in fact I'm jumping over fences | 0:13:07 | 0:13:09 | |
Smoking more dope trying to improve my senses | 0:13:09 | 0:13:12 | |
But if I get caught it seems that I'm defenceless | 0:13:12 | 0:13:15 | |
I'm ready to scrap like I'm ready to rap | 0:13:15 | 0:13:17 | |
But what good is all that if I get shot in the back | 0:13:17 | 0:13:19 | |
They're smarter than us all and you know you can't fool it | 0:13:19 | 0:13:22 | |
No matter how strong you are you can't stop a bullet | 0:13:22 | 0:13:24 | |
Some hot lead will be embedded in your head | 0:13:24 | 0:13:27 | |
You'll regret it what you said you must let it get you dead | 0:13:27 | 0:13:30 | |
They've got no balls but they betray themselves with men | 0:13:30 | 0:13:32 | |
Want to kill me cos I think the same as them | 0:13:32 | 0:13:35 | |
They gotta hold tight cos I ain't going without a fight | 0:13:35 | 0:13:37 | |
They wanna make my exit even harder than my arrival | 0:13:37 | 0:13:40 | |
Trying to get ahead is just a matter of survival. | 0:13:40 | 0:13:43 | |
Hello. My name is John Clancy, I am... I was a book-seller. | 0:13:58 | 0:14:03 | |
I used to give Gerard the odd book now and then, you know? | 0:14:03 | 0:14:08 | |
And he rang me a wee while back looking for a book | 0:14:08 | 0:14:10 | |
and unfortunately it didn't... | 0:14:10 | 0:14:12 | |
I'm not sure whether it was called The Nemesis File | 0:14:12 | 0:14:15 | |
or to get him another copy of Pride's Castle. | 0:14:15 | 0:14:18 | |
I got him a week copy of Pride's Castle years ago, you know? | 0:14:18 | 0:14:22 | |
So, was the book called The Nemesis File? That's good. | 0:14:22 | 0:14:25 | |
Well tell him, like, I haven't forgot about him, | 0:14:25 | 0:14:28 | |
but what it was, you see, I came across a book the other day | 0:14:28 | 0:14:30 | |
there with Nemesis on the title but it wasn't of that title, when I was in town, you know? | 0:14:30 | 0:14:34 | |
It's just to let him know I haven't forgot about him. | 0:14:34 | 0:14:37 | |
My name is John Clancy. All right, darling. God bless you, love, bye. | 0:14:38 | 0:14:44 | |
Bye-bye, love. Bye, bye. | 0:14:44 | 0:14:46 | |
There we are, Tristan. We're getting there, kid. | 0:14:48 | 0:14:51 | |
We're getting there, so we are. | 0:14:53 | 0:14:54 | |
Now, here's a tricky part. | 0:14:57 | 0:14:58 | |
This is a tricky part. | 0:14:59 | 0:15:01 | |
This is the tricky part. Not too much, now Johnny boy. | 0:15:03 | 0:15:06 | |
We can be gentle. There you are, a newborn baby. | 0:15:11 | 0:15:15 | |
You're welcome back into the fold again. | 0:15:16 | 0:15:18 | |
Not perfection, but sure. | 0:15:23 | 0:15:24 | |
Too straight for perfection than anything whatsoever. | 0:15:26 | 0:15:29 | |
There we are, son. | 0:15:30 | 0:15:32 | |
"He came into the world in the middle of a thicket, | 0:15:41 | 0:15:44 | |
"in one of those little, hidden forest glades, | 0:15:44 | 0:15:47 | |
"which seemed to be entirely open but was really screened in on all sides. | 0:15:47 | 0:15:51 | |
"There was very little room in it, scarcely enough for him and his mother. | 0:15:52 | 0:15:56 | |
"He stood there swaying unsteadily on his thin legs | 0:15:56 | 0:15:58 | |
"and staring vaguely in front of them with clouded eyes which saw nothing. | 0:15:58 | 0:16:03 | |
"He hung his deep head, trampled a great deal | 0:16:03 | 0:16:05 | |
"and was still completely stunned. | 0:16:05 | 0:16:07 | |
"What a beautiful child, cried the magpie. | 0:16:09 | 0:16:11 | |
"She had flown past attracted by the deep groans of the mother | 0:16:13 | 0:16:16 | |
"who uttered in her labour. | 0:16:16 | 0:16:17 | |
"The magpie perched on the nearing branch. | 0:16:20 | 0:16:23 | |
"'What a beautiful child,' she kept repeating." | 0:16:23 | 0:16:25 | |
You know where it says a town that was buried? | 0:16:40 | 0:16:44 | |
That's because over the years Rome has been built over itself | 0:16:44 | 0:16:50 | |
repeatedly. From Julius Caesar built over Maximus'. | 0:16:50 | 0:16:56 | |
There's so much left in the city. | 0:16:58 | 0:17:01 | |
So, yeah, but they all rebuilt over each other's work? | 0:17:01 | 0:17:05 | |
Just trying to be remembered. | 0:17:05 | 0:17:07 | |
Just trying to be remembered for ever because if there are towns | 0:17:07 | 0:17:13 | |
where you are remembered for being a hero in books, | 0:17:13 | 0:17:17 | |
or you were an architect and you got remembered by leaving | 0:17:17 | 0:17:20 | |
beauty around, buildings, like the Coliseum. | 0:17:20 | 0:17:24 | |
The Coliseum was one of the most beautiful things. | 0:17:24 | 0:17:26 | |
-And you've seen it first-hand, haven't you? -I have. | 0:17:26 | 0:17:28 | |
I've standed right outside it. | 0:17:28 | 0:17:31 | |
Wearing a hacky jersey, but I was still standing outside it. | 0:17:31 | 0:17:34 | |
Is Caesar your favourite emperor then? | 0:17:36 | 0:17:39 | |
Favourite emperor would probably either be Julius Caesar, | 0:17:39 | 0:17:43 | |
but most people would say Julius Caesar, because a lot of people have only ever heard of Julius Caesar. | 0:17:43 | 0:17:49 | |
But Julius Maximus would probably be my... | 0:17:49 | 0:17:55 | |
favourite emperor. | 0:17:55 | 0:17:57 | |
-Or Judas Maximus. -I'm a fan of Nero. He was crazy. | 0:17:57 | 0:18:02 | |
Nero was a good emperor. | 0:18:02 | 0:18:04 | |
There's a lovely statue of Nero when you're walking up the river towards the Vatican. | 0:18:04 | 0:18:10 | |
HE SINGS OPERA | 0:18:10 | 0:18:13 | |
KNOCK AT DOOR | 0:18:52 | 0:18:54 | |
KNOCK AT DOOR | 0:18:58 | 0:19:02 | |
Are you going to be singing about spaghetti Bolognese all day? | 0:19:02 | 0:19:04 | |
-That's a bit loud. I'm trying to working here. -Oh, shit! Sorry, man. | 0:19:04 | 0:19:07 | |
MUSIC: "O Mio Babbino Caro" by Puccini | 0:19:07 | 0:19:12 | |
-Hiya, Connor. -How you doing, sir? -Do you know what I'm doing? | 0:22:11 | 0:22:15 | |
I'm moving a lot of stuff from up in the loft. | 0:22:15 | 0:22:17 | |
-Stuff that's been up there for a while, you know. -Yes. | 0:22:17 | 0:22:20 | |
-Be any chance maybe giving us a wee bit of a hand? -Ah, no problem. | 0:22:20 | 0:22:24 | |
-Sitting about, not doing anything. -You're not doing anything? | 0:22:24 | 0:22:26 | |
-I'm just going over to give John a wee hand here. -OK. -How's things? | 0:22:26 | 0:22:30 | |
-Oh, not so bad. How about yourself? -Getting on, thanks. | 0:22:30 | 0:22:33 | |
-You follow me up. -Yes. | 0:22:34 | 0:22:36 | |
-Can you get up all right there? -Yes, I've got this wee light here as well. -Oh, God bless you. | 0:22:37 | 0:22:41 | |
Not magic, son. What's that there? | 0:22:41 | 0:22:45 | |
-Here, could you move them books over there, Connor? -Yes. -Look at them. | 0:22:45 | 0:22:50 | |
We'll bring them down there, because what we'll have to do, | 0:22:50 | 0:22:53 | |
we'll have to come up someday and I might buy one of those lights, | 0:22:53 | 0:22:56 | |
that when you put it up, you're able to see everything. | 0:22:56 | 0:22:59 | |
What's in here, I wonder, son? Hold on. | 0:22:59 | 0:23:01 | |
I wonder if there's any books there. Oh, shit. | 0:23:01 | 0:23:04 | |
Oh, it's a pot-pourri in here, isn't it? All right? Here we are. | 0:23:04 | 0:23:08 | |
Let's see what this is, Connor. | 0:23:08 | 0:23:09 | |
Ah, this is a young girl I used to send books to. She was from, er... | 0:23:09 | 0:23:14 | |
-Where are we? Newcastle... California. -California? | 0:23:14 | 0:23:18 | |
It says here, "to a special friend". That would be me. | 0:23:18 | 0:23:22 | |
"Thank you very much, John, for the two books received. | 0:23:23 | 0:23:25 | |
"My mother was very what, how would one say, thrilled | 0:23:25 | 0:23:28 | |
"with the complete collection of William Butler Yeats. | 0:23:28 | 0:23:33 | |
"God bless and thank you again for your help. Mary." | 0:23:33 | 0:23:37 | |
-There we are, then. -How long ago was that? | 0:23:37 | 0:23:39 | |
-I wonder when they checked that. -Yeah. | 0:23:39 | 0:23:44 | |
I was what you call a great book, man. | 0:23:44 | 0:23:46 | |
That's why they call me John the Book. But I was a crap businessman. | 0:23:46 | 0:23:49 | |
I would have given more stuff away. I seen people come then with their long lists, kids, you know, | 0:23:49 | 0:23:54 | |
students from school, and things like that there and they had no money. | 0:23:54 | 0:23:58 | |
And I would have said, "That's yours, take them." | 0:23:58 | 0:24:00 | |
You know and I mean that, too. Take them, and I'll see you again. | 0:24:00 | 0:24:03 | |
But I remember one young girl came in, I'll never forget it as long as I live. | 0:24:03 | 0:24:06 | |
She was doing a wee Irish course. She was looking at a biography of John Hume, etc, etc, etc. | 0:24:06 | 0:24:11 | |
I had all these books and I give them to her. And I says, "Take them, love. | 0:24:11 | 0:24:14 | |
"Whenever you get your degree and you start earning a few quid, | 0:24:14 | 0:24:17 | |
"come down and spend a few pound with me." | 0:24:17 | 0:24:20 | |
And a number of days down the line, this young lady appears, beautiful young girl, | 0:24:20 | 0:24:23 | |
one of those attractive young girls that look well. | 0:24:23 | 0:24:26 | |
The right type of perfume, you know. | 0:24:26 | 0:24:28 | |
Should have seen the perfume - I would have drunk it at one time! | 0:24:28 | 0:24:32 | |
Cost about 100 quid a bottle! | 0:24:32 | 0:24:35 | |
And one thing about it, she went around the shop and she picked out three or four books. | 0:24:35 | 0:24:39 | |
And she says, "By the way, thank you very much," and she handed me an envelope and walked out. | 0:24:39 | 0:24:43 | |
And there was a note in it, "Thank you very much". And there was £100 in it. | 0:24:43 | 0:24:46 | |
-Now do you know what I'm talking about? -That's it. | 0:24:47 | 0:24:50 | |
-People don't forget the favours. -What goes around comes around. | 0:24:50 | 0:24:53 | |
Go. | 0:24:55 | 0:24:56 | |
Straight up, John. | 0:24:58 | 0:24:59 | |
-Oops-a-daisy. -How did he get that bed up in here? | 0:25:01 | 0:25:04 | |
Is that bed made up? That bed that's up there! | 0:25:04 | 0:25:07 | |
Was that made up indoors, or what? | 0:25:07 | 0:25:10 | |
How did you get it in originally? Oh, dear! | 0:25:10 | 0:25:13 | |
It's stuck! Stuck! | 0:25:14 | 0:25:16 | |
-Oh, my goodness! -Shit. | 0:25:20 | 0:25:22 | |
Let me see. | 0:25:23 | 0:25:24 | |
We'll see, I think. | 0:25:24 | 0:25:27 | |
Right, OK. | 0:25:27 | 0:25:28 | |
-Shit! -Oh, mind you don't hurt yourself. | 0:25:31 | 0:25:33 | |
-Ah, no. -Well, be careful. | 0:25:33 | 0:25:36 | |
It gets like that, you see. | 0:25:36 | 0:25:38 | |
Oh, no! It's not going to fit. | 0:25:38 | 0:25:40 | |
You see? | 0:25:41 | 0:25:43 | |
See what I mean? You see. Look. | 0:25:45 | 0:25:48 | |
-I'll tell you something... -It's like a water bed. | 0:25:48 | 0:25:51 | |
You see that one I took off? That's just a more comfortable mattress than the one I took off. | 0:25:51 | 0:25:55 | |
-So this one is going to stay here. -Oh, no. John. | 0:25:55 | 0:25:57 | |
And better still, it even fits nearly down there. | 0:25:57 | 0:26:00 | |
-But do you not think... -But say you don't want to keep this mattress. | 0:26:00 | 0:26:03 | |
You'd have to promise me, no smoking in the bed. | 0:26:03 | 0:26:06 | |
No, no smoking in the bed, love. | 0:26:06 | 0:26:08 | |
I'll... Look, I'll tell you what I'll do with you. | 0:26:08 | 0:26:11 | |
I'll even remove my cigarette and ashtray, you see, like so. | 0:26:11 | 0:26:15 | |
And I promise you there is no cigarettes. Sorry about that, love, you know. | 0:26:15 | 0:26:19 | |
-So what are you going to do? Get a new bed? -No. | 0:26:19 | 0:26:21 | |
Michelle, I was born in this bed and with the grace of God, I die on it. | 0:26:21 | 0:26:26 | |
-Can you not make it a bit more Belfast? -A wee bit more Belfast? | 0:26:26 | 0:26:30 | |
-A wee bit less, even. -Less? -You just sound too Belfastish. | 0:26:30 | 0:26:34 | |
-But that's where I'm from. -But why? It should be better. | 0:26:34 | 0:26:37 | |
-Because I was born there. -You could try it more. | 0:26:37 | 0:26:40 | |
Rapping like an American? (RAPS) I'm a sleeper. | 0:26:40 | 0:26:42 | |
I take life one step at a time, some try to live out their dreams... | 0:26:42 | 0:26:45 | |
-That's better. You don't think that better? -No, that sucks. | 0:26:45 | 0:26:48 | |
No. I'm a sleeper, I take life one step at a time, some try to live out their dreams... | 0:26:49 | 0:26:53 | |
-No, because it's very flat, if you know what I mean. -OK. I'll whizz it up. | 0:26:53 | 0:26:58 | |
I'm the sleeper, I take life one step at a time | 0:27:00 | 0:27:02 | |
Some try to live out their dreams but mine's are captain, my man | 0:27:02 | 0:27:05 | |
they say you're seeking new fame but not when you reclaim | 0:27:05 | 0:27:08 | |
my man's no motivation | 0:27:08 | 0:27:09 | |
I spend more time in bed than most spend in education | 0:27:09 | 0:27:12 | |
and all my weekend hours are just flurried with frustration. Why? | 0:27:12 | 0:27:16 | |
Cos I'm not... | 0:27:16 | 0:27:17 | |
# Overheard, underpaid | 0:27:17 | 0:27:22 | |
# I'm sure there's hurt | 0:27:22 | 0:27:25 | |
-# I could change my ways -Cos there's the smoker, the sleeper, | 0:27:25 | 0:27:28 | |
the tosser and turner, this is the smoker, the sleeper, | 0:27:28 | 0:27:31 | |
-the tosser and turner. Yeah? -Good! Do you like that? -I like that! | 0:27:31 | 0:27:37 | |
-Do you? -M'hm. Do you like it? | 0:27:37 | 0:27:40 | |
-What are you listening to? -Er, Puccini. | 0:28:18 | 0:28:20 | |
Let me hear. Can I have a listen? | 0:28:20 | 0:28:22 | |
-It's good? -I think it's good. | 0:28:23 | 0:28:25 | |
Oh, mummy, that's depressing. | 0:28:27 | 0:28:29 | |
-What do you mean, depressing? -That's what you'd play at a funeral. | 0:28:29 | 0:28:32 | |
-No, it's not. It's a thing of beauty. -Why do you like it? | 0:28:32 | 0:28:36 | |
It's mainly from the country it comes. Italy shows so much... | 0:28:36 | 0:28:39 | |
Country music? | 0:28:39 | 0:28:40 | |
No, from the country it comes from, which is Italy. It's Puccini. | 0:28:40 | 0:28:44 | |
It's a town. | 0:28:44 | 0:28:45 | |
It's mainly because Italy put pure beauty | 0:28:45 | 0:28:48 | |
and romance into everything they do. | 0:28:48 | 0:28:50 | |
You shouldn't listen to all of that shit. You'll end up killing yourself! | 0:28:50 | 0:28:53 | |
See, with a big spliff, and that, and a big cup of tea - perfect. | 0:28:54 | 0:28:58 | |
-You're so like your brother. -Yeah, well so-so. | 0:28:58 | 0:29:01 | |
He prefers to listen to rap most of the time. | 0:29:01 | 0:29:03 | |
-Yeah? -I only listen to four rappers. -Oh, do you? -Yes. | 0:29:03 | 0:29:07 | |
-Rap's not my favourite thing. I'd rather jive or head bang. -Yeah. | 0:29:07 | 0:29:12 | |
-I better go back to work. -OK. | 0:29:12 | 0:29:14 | |
-Well, nice to see you. -Stop listening to that shitty tunes. | 0:29:14 | 0:29:17 | |
-All right. -See ya later. -See ya later. | 0:29:17 | 0:29:19 | |
I'm a shy person a lot of the time and whenever I meet new friends, | 0:29:23 | 0:29:29 | |
I'm usually stoned then, so I'm usually able to talk. | 0:29:29 | 0:29:33 | |
So, say, like I try a new girlfriend, like going out with a new girl, | 0:29:33 | 0:29:37 | |
and I can't talk, I have nothing to say. | 0:29:37 | 0:29:41 | |
I'll go and look at them for ten minutes and come back | 0:29:41 | 0:29:44 | |
and have a wee waterfall or bong, got back | 0:29:44 | 0:29:46 | |
and just be talking to absolute heavens, but it's perfect | 0:29:46 | 0:29:51 | |
because girls like to talk but they don't like to talk that much. | 0:29:51 | 0:29:56 | |
In the dances, going back to the old Orpheus days, if I hadn't had | 0:29:56 | 0:30:00 | |
a drink, I had to walk around the floor all night, I would | 0:30:00 | 0:30:02 | |
have been scared to approach a girl to say, "Can I have this dance?" | 0:30:02 | 0:30:05 | |
See, I didn't fucking feel like it. Fucking... | 0:30:05 | 0:30:07 | |
If I'd have gone up and danced with no booze in me. | 0:30:07 | 0:30:10 | |
I was like wrapped in fucking plaster of Paris, you know. | 0:30:10 | 0:30:13 | |
See, a couple of drinks, fucking John Travolta, move over! | 0:30:13 | 0:30:16 | |
I'll tell you the best description, Robert, that I ever heard of alcohol. | 0:30:16 | 0:30:20 | |
And it was from a wee woman who I loved dearly, | 0:30:20 | 0:30:23 | |
who happened to be my mother, who was then in her late 70s. | 0:30:23 | 0:30:27 | |
In reality, she was worrying herself to death about her youngest son | 0:30:27 | 0:30:32 | |
who was going to die. | 0:30:32 | 0:30:34 | |
And the best description that I ever heard, | 0:30:36 | 0:30:38 | |
and this is not an Irish mother, | 0:30:38 | 0:30:40 | |
was my mother "Son, I wish you were dead rather than | 0:30:40 | 0:30:45 | |
"the way your living." Now do you know where I'm coming from? | 0:30:45 | 0:30:49 | |
She hit it on the button. | 0:30:49 | 0:30:51 | |
But in that diseased condition, you can't see it that way. | 0:30:51 | 0:30:55 | |
That's a threat to you. | 0:30:55 | 0:30:57 | |
Now, I looked into her eyes and she looked into mine | 0:30:57 | 0:31:00 | |
and I seen the pain. | 0:31:00 | 0:31:02 | |
I went out the door, | 0:31:02 | 0:31:04 | |
and down to the Somerton Inn which is only around the corner. | 0:31:04 | 0:31:08 | |
I ordered a glass of brandy, which is my drink of choice, | 0:31:08 | 0:31:10 | |
in fact my ma called me Brandy Balls. You know what I mean? | 0:31:10 | 0:31:13 | |
I put a wee drop of ginger in it and after three drinks I says, | 0:31:13 | 0:31:17 | |
"That bitch. | 0:31:17 | 0:31:19 | |
"How could she say that to me?" | 0:31:19 | 0:31:21 | |
I dropped that brandy on the floor and it smashed. | 0:31:21 | 0:31:25 | |
And do you imagine all the wee shards of glass in the bottom. | 0:31:25 | 0:31:29 | |
And I got down like a dog and licked it off the floor, picking | 0:31:29 | 0:31:33 | |
the glass out of my tongue which had been bleeding. | 0:31:33 | 0:31:38 | |
Now, in reality you would... | 0:31:38 | 0:31:40 | |
I would say that's the depths of despair | 0:31:40 | 0:31:42 | |
and I never get called a genius, but I'm not stupid. | 0:31:42 | 0:31:46 | |
That was 1970. | 0:31:47 | 0:31:49 | |
I didn't stop drinking till 1983, so it gives you | 0:31:49 | 0:31:52 | |
an idea of the progression and where it will lead you to. | 0:31:52 | 0:31:59 | |
They call it the gates of insanity or death. | 0:31:59 | 0:32:03 | |
WOMAN SINGS KARAOKE | 0:32:06 | 0:32:09 | |
# Watch you smile while you are sleeping | 0:32:13 | 0:32:17 | |
# While you're far away and dreaming | 0:32:17 | 0:32:22 | |
# Then I kiss your eyes and thank God we're together | 0:32:22 | 0:32:29 | |
# Oh, I don't want to close my eyes | 0:32:29 | 0:32:35 | |
# I don't want to fall asleep cos I miss you baby | 0:32:35 | 0:32:39 | |
# And I don't want to miss a thing | 0:32:39 | 0:32:43 | |
# Cos even when I dream of you The sweetest dream will never do | 0:32:43 | 0:32:49 | |
# I still miss you, babe and I don't want to miss a thing... # | 0:32:49 | 0:32:54 | |
Remember to breathe and remember to smile. | 0:32:54 | 0:32:56 | |
-# When I close my eyes... -You're enjoying it. | 0:32:56 | 0:32:59 | |
# I don't Want to fall asleep because I miss you, babe | 0:32:59 | 0:33:03 | |
# And I don't wanna miss a thing | 0:33:03 | 0:33:06 | |
# Even when I dream of you... # | 0:33:06 | 0:33:10 | |
-That's it. You're doing well. That's it. That's the song. -Thank you. | 0:33:10 | 0:33:12 | |
And who was it? The Morrellas, Morrella...Morelli's? | 0:33:12 | 0:33:15 | |
Morelli's, yeah. Big Tony's not too well. | 0:33:15 | 0:33:18 | |
-You probably remember Big Tony, the singer? Sing with a showband? -Yes. | 0:33:18 | 0:33:21 | |
-Beautiful voice. -That's right. Tony Morelli. -Tony. | 0:33:21 | 0:33:25 | |
-I was talking to him. -Jolene, sit in here. | 0:33:25 | 0:33:28 | |
A cousin of his, you know. Here? Here? | 0:33:28 | 0:33:31 | |
Where's my dark glasses? | 0:33:33 | 0:33:35 | |
Hey, yourself. That's looks superb. What? | 0:33:39 | 0:33:42 | |
-Its country and western theme. -Maybe with a hat, I'll look better. -I don't know. | 0:33:42 | 0:33:46 | |
You're looking all right the way it is, love. I'll tell you one thing. | 0:33:46 | 0:33:48 | |
I wouldn't get too far in the competition, Jolene. | 0:33:48 | 0:33:50 | |
Also, if we have a bit of TV crew in here, | 0:33:50 | 0:33:53 | |
so please don't say fuck or bugger, OK? You can bleep that one out. | 0:33:53 | 0:34:00 | |
So if you don't want to be on, if you're on DLA, | 0:34:00 | 0:34:02 | |
and you're not really meant to be out of the house | 0:34:02 | 0:34:04 | |
because you've got rickets or gout or something like that there, | 0:34:04 | 0:34:08 | |
do not be waving your hands in the air, and going, "Mummy look at me! | 0:34:08 | 0:34:13 | |
"I'm on fucking tape, momma, look at this! | 0:34:13 | 0:34:15 | |
"Look what I can do with my arm that I should have strapped up!" | 0:34:15 | 0:34:19 | |
Don't be doing anything like that there, OK? | 0:34:19 | 0:34:21 | |
Because we are not responsible if brew catches your arm. | 0:34:21 | 0:34:25 | |
OK, keeps your hands clapping, she was typing for now, | 0:34:25 | 0:34:28 | |
the wonderful Jolene, Jolene, Jolene. | 0:34:28 | 0:34:31 | |
APPLAUSE | 0:34:31 | 0:34:33 | |
# If I should stay | 0:34:48 | 0:34:53 | |
# I would only be in your way | 0:34:55 | 0:35:00 | |
# So I'll go, but I know | 0:35:02 | 0:35:09 | |
# I'll think of you each step of the way | 0:35:09 | 0:35:14 | |
# And I will always love you | 0:35:17 | 0:35:27 | |
# I will always love you | 0:35:27 | 0:35:33 | |
SONG CHANGES TO "9 TO 5" BY DOLLY PARTON | 0:35:39 | 0:35:42 | |
CHEERING AND APPLAUSE | 0:35:42 | 0:35:46 | |
# Tumble out of bed and stumble to the kitchen | 0:35:47 | 0:35:50 | |
# Pour myself a cup of ambition yawning, stretching | 0:35:50 | 0:35:54 | |
# Try to come to life | 0:35:54 | 0:35:57 | |
# Jump in the shower and the blood starts pumping | 0:35:57 | 0:35:59 | |
# Out on the streets the traffic starts jumping | 0:35:59 | 0:36:02 | |
# Folks like me on the job from 9 to 5 | 0:36:02 | 0:36:06 | |
# Working 9 to 5, what a way to make a living | 0:36:06 | 0:36:11 | |
# Barely getting by, it's all taking and no giving | 0:36:11 | 0:36:15 | |
# You just use your mind and they never give you credit | 0:36:15 | 0:36:20 | |
# It's enough to drive you crazy if you let it. # | 0:36:20 | 0:36:26 | |
APPLAUSE AND CHEERING | 0:36:26 | 0:36:30 | |
Wow! Well, everybody loves a bit of a medley. | 0:36:30 | 0:36:34 | |
I love a bit of Dolly medley, you can never go wrong. Did you enjoy that? | 0:36:34 | 0:36:37 | |
-Yes. -OK, Kat. | 0:36:37 | 0:36:39 | |
Absolutely, the first rule of show business - if you | 0:36:39 | 0:36:41 | |
-forget your words, you shake your ass, and you did it. -CHEERING | 0:36:41 | 0:36:45 | |
-Woo! -So, I think you look absolutely fantastic, | 0:36:45 | 0:36:49 | |
just the way you use the stage, you look terrific tonight, | 0:36:49 | 0:36:51 | |
and you should be very proud of yourself, so well done. Well done. | 0:36:51 | 0:36:54 | |
Congratulations, Jolene, great. | 0:36:54 | 0:36:56 | |
And ladies and gentlemen, a big round of applause for our backing | 0:36:56 | 0:36:59 | |
dancers, the lovely Pan's People. | 0:36:59 | 0:37:02 | |
OK, fingers crossed we get to see a little bit of bare flesh tonight. | 0:37:02 | 0:37:06 | |
I was just thinking to me self, remember that club we were at, | 0:37:06 | 0:37:09 | |
-Michelle? -Mm-hm. -There was some crowd in it, like. | 0:37:09 | 0:37:12 | |
Yeah, we're going to go to the finals, definitely, for support. | 0:37:12 | 0:37:16 | |
Ach, I think she'll make the final all right. | 0:37:16 | 0:37:18 | |
There's no problem there, and I mean that too, love. | 0:37:18 | 0:37:21 | |
No problem whatsoever. | 0:37:21 | 0:37:23 | |
I do believe that, you know. | 0:37:23 | 0:37:26 | |
Means she goes across the water to that other thing, doesn't she? | 0:37:26 | 0:37:29 | |
-Is she going to Liverpool? -That's right, John. | 0:37:29 | 0:37:32 | |
Well, you never know, it's that TV thing. | 0:37:32 | 0:37:34 | |
That's the real X Factor. It's called the X Factor. | 0:37:34 | 0:37:36 | |
-Oh, is that what it's called? -Yeah. -I watched a couple of times. | 0:37:36 | 0:37:39 | |
It'd be great for her to go to that, wouldn't it? | 0:37:39 | 0:37:41 | |
Ach, the wee thing that gets me sometimes about programmes | 0:37:41 | 0:37:44 | |
like that, they give people so many dreams, | 0:37:44 | 0:37:46 | |
and I'm a great believer, | 0:37:46 | 0:37:47 | |
it's unfair to take anybody's dreams away. | 0:37:47 | 0:37:49 | |
You build them up and then, of course, you knock them down. | 0:37:49 | 0:37:54 | |
The press, anyway, you know. But it's a hard, hard game, Michelle. | 0:37:54 | 0:37:58 | |
-I can't sing. -Don't you sing as well? | 0:37:58 | 0:38:00 | |
-When I get a few drinks, I like karaoke, like. -Oh, do you?! -Oh, aye. | 0:38:00 | 0:38:04 | |
Here, we have to get something organised there. | 0:38:04 | 0:38:06 | |
You can't hear yourself singing when you sing in one of them things. | 0:38:06 | 0:38:09 | |
So you think you're brilliant! | 0:38:09 | 0:38:10 | |
I used to sing in the boys choir, but that's a long, long time ago. | 0:38:10 | 0:38:14 | |
You know, little tenor, you know. | 0:38:14 | 0:38:17 | |
You all right? | 0:38:27 | 0:38:29 | |
-Come in. -A mattress for you. -Come on. Mr Cassidy, how are you?! | 0:38:35 | 0:38:39 | |
Lovely to see you! | 0:38:39 | 0:38:42 | |
I bet that fits like a tee, don't worry about that there. | 0:38:42 | 0:38:45 | |
They're only books. | 0:38:45 | 0:38:47 | |
Aw, would you look at that! | 0:38:47 | 0:38:50 | |
Now, there's a few wee books up there, Mr Cassidy. | 0:38:52 | 0:38:55 | |
Mostly Irish stuff, you know. I'm a collector, as you know yourself. | 0:38:55 | 0:38:59 | |
And I must get that we book on Winnie Carney. That's amazing. | 0:38:59 | 0:39:02 | |
-It's a small world, isn't it? -It certainly is. | 0:39:02 | 0:39:04 | |
Who's the baby on the wall? | 0:39:04 | 0:39:06 | |
That would have been a brother of mine who passed away, | 0:39:06 | 0:39:08 | |
when he was four-year-old. That was our Hugh. | 0:39:08 | 0:39:12 | |
I was the youngest of the family, you know, and he died of meningitis. | 0:39:12 | 0:39:16 | |
And then I had a sister, Rosaline, she passed away. | 0:39:16 | 0:39:20 | |
I'm the babby of the family. And I'm the only one left. | 0:39:20 | 0:39:23 | |
-The last of the Mohicans! -I'm the last of the Mohi... | 0:39:23 | 0:39:26 | |
And they're all away now, you know. | 0:39:26 | 0:39:27 | |
Mother, it was her anniversary yesterday. | 0:39:27 | 0:39:30 | |
Jeez, my ma loved that bed. My ma died in it. Jimmy died in it. | 0:39:30 | 0:39:34 | |
So if they can die in it, I'll die in it! | 0:39:34 | 0:39:37 | |
HE SIGHS | 0:39:37 | 0:39:40 | |
HELICOPTER WHIRRS | 0:39:43 | 0:39:46 | |
SIRENS WAIL | 0:39:46 | 0:39:49 | |
POLICE RADIO CHATTER | 0:39:53 | 0:39:55 | |
The only thing is, maybe you can go and ask the police man there. | 0:40:05 | 0:40:08 | |
-You see, I don't know. -I'm going up to Carr's Glenn. -Carr's Glenn? | 0:40:08 | 0:40:11 | |
-Aye. -Jesus, I don't know, darling, honestly. I'm sorry. -I'll ask. | 0:40:11 | 0:40:14 | |
-Ask the policeman, love. -Yeah. | 0:40:14 | 0:40:18 | |
Your wee woman there has to go to Carr's Glenn, I don't | 0:40:18 | 0:40:20 | |
think she'll be able to get up. See it apparently wasn't blocked off, sure it wasn't, this morning? | 0:40:20 | 0:40:24 | |
-But she'll be able to get a bus down... -She can get the bus down there. | 0:40:24 | 0:40:27 | |
-The bus is going up Cliftonpark Avenue, and then up... -Are they? | 0:40:27 | 0:40:31 | |
It's cutting the whole way across. | 0:40:31 | 0:40:33 | |
-Maybe the police might be able to tell her then. -Aye. | 0:40:33 | 0:40:37 | |
See where that library is, it usually picks you up there. There was a few people there this morning, | 0:40:37 | 0:40:41 | |
but I don't know how the kids got to school. | 0:40:41 | 0:40:44 | |
Usually they stand at the library, you see. | 0:40:44 | 0:40:46 | |
And get the bus straight up the road. But, it's absolutely mad. | 0:40:46 | 0:40:49 | |
Crazy, like. | 0:40:49 | 0:40:51 | |
Like I'm not from here, I'm from England, myself, | 0:40:51 | 0:40:53 | |
and this is, I've never seen anything like this in my life. Never, ever. | 0:40:53 | 0:40:58 | |
-I was going to say the... -God's sake, there's curse all else to do. | 0:41:00 | 0:41:03 | |
Now you're talking about it, darling. | 0:41:03 | 0:41:05 | |
That's probably a hoax as well, only you can't take that. | 0:41:05 | 0:41:08 | |
Yes, I ain't seen nothing, darlin'. | 0:41:08 | 0:41:10 | |
I'll tell you something, you're very fit for your age, | 0:41:10 | 0:41:12 | |
-the way you run down there, love. -Aye, nearly 80. -Are you, pet? -Yes! | 0:41:12 | 0:41:17 | |
-And my husband just died there... -I'm so sorry. | 0:41:18 | 0:41:21 | |
..after 84, so that's why I'm out walking, and you can't even get home! | 0:41:21 | 0:41:25 | |
Oh, it's very annoying, love, isn't it? | 0:41:25 | 0:41:28 | |
I'm sure people like that don't think about people like us, love. | 0:41:28 | 0:41:31 | |
No, if they'd put them to work instead of feeding them | 0:41:31 | 0:41:33 | |
their brew and all that jazz, they'd be all right! | 0:41:33 | 0:41:35 | |
-Oh, tell me about it, darlin. -Make them work for their money! | 0:41:35 | 0:41:40 | |
-The way I had to do! -Aye! | 0:41:40 | 0:41:42 | |
HELICOPTER OVERHEAD | 0:41:51 | 0:41:56 | |
-That's a lovely view. It was worth the walk. -Yeah... | 0:42:11 | 0:42:15 | |
The walk was nice, but the view isn't actually nice. | 0:42:15 | 0:42:17 | |
If you don't like Belfast, say you don't like Belfast. | 0:42:17 | 0:42:20 | |
Just come out with it. Is that what it is? You don't like Belfast? | 0:42:20 | 0:42:25 | |
-HE TUTS -Turncoat. | 0:42:25 | 0:42:27 | |
-HE LAUGHS Ah, well. -Where do you want go and live? | 0:42:27 | 0:42:30 | |
-America. -Aw, cos it's the land of the free? -Aye, the land of the free! | 0:42:30 | 0:42:35 | |
-Where do you want to go live in America? -Detroit. -Detroit. | 0:42:35 | 0:42:38 | |
-Want to go and watch the Red Wings play? -Every weekend. Every weekend. | 0:42:38 | 0:42:44 | |
-What would you do when you got there? -Work. | 0:42:44 | 0:42:46 | |
-As what? -A chef. -A chef. | 0:42:46 | 0:42:49 | |
Barman, more like. It's the only job an Irish man will get in America, these days, I imagine. | 0:42:49 | 0:42:53 | |
-Well, they still love the Irish barmen. -Oh, you may go to Boston then. | 0:42:53 | 0:42:57 | |
Detroit, Detroit do have a few Irish bars though. | 0:42:58 | 0:43:01 | |
But you don't even have a job here like, you go to America | 0:43:01 | 0:43:05 | |
-and think you'll get a job there? -If I had the money I would go. | 0:43:05 | 0:43:07 | |
This is like the famine, you know what I mean, | 0:43:07 | 0:43:09 | |
you go over there for work, cos there's none here. | 0:43:09 | 0:43:12 | |
See that? There's a plane taking off there. | 0:43:12 | 0:43:14 | |
That could be the plane that carries you to America. | 0:43:14 | 0:43:18 | |
That's not going nowhere, that's landing! You fool! | 0:43:18 | 0:43:20 | |
-HE LAUGHS -That could be the plane brings you back two weeks later | 0:43:20 | 0:43:23 | |
-from America because you couldn't make it there! -HE LAUGHS | 0:43:23 | 0:43:26 | |
That night in Smithfield, this is Smithfield as it was. | 0:43:31 | 0:43:33 | |
The incendiary devices went. | 0:43:33 | 0:43:35 | |
Eric Haugh was at this end of it, looking through. | 0:43:35 | 0:43:37 | |
And the devices went boom, boom, boom, boom, boom, boom, boom. | 0:43:37 | 0:43:43 | |
And so we just went up, he ran across the street | 0:43:43 | 0:43:46 | |
and the whole lot just went up like that, whowww. | 0:43:46 | 0:43:48 | |
Just collapsed all in, the burning embers. | 0:43:50 | 0:43:53 | |
Not only that there, you know, | 0:43:53 | 0:43:55 | |
by the time I got down, | 0:43:55 | 0:43:56 | |
a lot of the old traders were all around the market, you know. | 0:43:56 | 0:44:00 | |
I put my arms around one little lady, | 0:44:00 | 0:44:02 | |
you know, who had a little stall, | 0:44:02 | 0:44:04 | |
a little second-hand clothes stall, | 0:44:04 | 0:44:08 | |
and the tears dripping from there. | 0:44:08 | 0:44:10 | |
And I joined in. | 0:44:10 | 0:44:12 | |
The soul of Belfast was burned | 0:44:12 | 0:44:15 | |
on 27th of May 1974. | 0:44:15 | 0:44:17 | |
And it will never return. | 0:44:19 | 0:44:21 | |
These days are over. These days are over. | 0:44:21 | 0:44:25 | |
These days are over. | 0:44:26 | 0:44:29 | |
These days are over. Paul Morton. | 0:44:29 | 0:44:33 | |
Days are over. | 0:44:33 | 0:44:35 | |
All gone. | 0:44:35 | 0:44:37 | |
All gone. | 0:44:37 | 0:44:39 | |
That's me. That was our old shop. | 0:44:39 | 0:44:42 | |
People don't realise what was burnt in that shop. | 0:44:44 | 0:44:48 | |
The soul of Belfast gone. | 0:44:48 | 0:44:50 | |
Never to return. Never to return. | 0:44:51 | 0:44:55 | |
Never to return. | 0:44:57 | 0:44:59 | |
Oh, I'd love to be a cowboy. Out in the open ranch. | 0:45:03 | 0:45:07 | |
Riding all day, herding cattle all day. | 0:45:09 | 0:45:11 | |
Drinking the occasional whiskey at night. Be the days. | 0:45:13 | 0:45:19 | |
Ride into town with a bandit over your back. Collecting the bounty. | 0:45:19 | 0:45:24 | |
Riding out with your posse and shooting a load of poachers. | 0:45:24 | 0:45:27 | |
Get away from my cows! | 0:45:27 | 0:45:29 | |
You come for beef, you'll get lead! | 0:45:31 | 0:45:34 | |
-Aye, dreams. -Mmm. | 0:45:40 | 0:45:42 | |
Never take a dream away from a man. You take away part of his soul. | 0:45:44 | 0:45:49 | |
But just that you mention that there, I've just the thing, when you say this. | 0:45:52 | 0:45:56 | |
"It was spring on an era many years after a lone Eagle had watched | 0:46:05 | 0:46:09 | |
"a buffalo herd. An upland prairie country road | 0:46:09 | 0:46:12 | |
"waved town the snow-capped Rocky Mountains, | 0:46:12 | 0:46:14 | |
"to spread out into the immense eastern void. | 0:46:14 | 0:46:18 | |
"Over the bleach white grass had come a faint tinge of green. | 0:46:18 | 0:46:22 | |
"The warm sod had begun to resume covering over the Earth. | 0:46:22 | 0:46:26 | |
"A flock of wild geese, | 0:46:26 | 0:46:28 | |
"late on their annual pilgrimage went swiftly towards the north land. | 0:46:28 | 0:46:33 | |
"On the ridges, held grazed, and down in the Hallows where murmuring | 0:46:33 | 0:46:37 | |
"streams roused, clouded with blue colour and melted snow." | 0:46:37 | 0:46:42 | |
"Deer nibbled at the new, tender shoots of grass." | 0:46:42 | 0:46:47 | |
Just like your dreams, you close your eyes, you see that. | 0:46:47 | 0:46:52 | |
When I read that there, it goes into my imagination. | 0:46:52 | 0:46:55 | |
Never give up on dreams, Robert. Never give up on dreams, son. | 0:46:57 | 0:47:00 | |
HE WHISPERS INAUDIBLY | 0:47:03 | 0:47:06 | |
"..the famed...expedition..." | 0:47:06 | 0:47:11 | |
Don't know what that sentence says. | 0:47:14 | 0:47:16 | |
Don't know what that says. Oh, "Louisiana. | 0:47:16 | 0:47:21 | |
"This..." ..don't know. | 0:47:21 | 0:47:24 | |
"This was dispatched under the command of 20-year-old... | 0:47:24 | 0:47:30 | |
"the command of a 20-year-old from a military family. | 0:47:30 | 0:47:36 | |
"Lieutenant..." don't know. | 0:47:36 | 0:47:39 | |
RAIN LASHES OUTSIDE | 0:47:40 | 0:47:44 | |
Hello, where are youse? | 0:48:15 | 0:48:18 | |
Ah, here, youse are leaving it a bit late. | 0:48:18 | 0:48:21 | |
-It's leaving soon. -'It's delayed.' -What? -'It's delayed.' | 0:48:21 | 0:48:25 | |
-Delayed till when? -"Till eight o'clock." -Eight o'clock? | 0:48:25 | 0:48:32 | |
The plane is delayed?! It's not delayed! | 0:48:32 | 0:48:35 | |
THUNDER RUMBLES | 0:48:37 | 0:48:40 | |
Hello, Tony, this is your brother-in-law here, John, ringing from Belfast. | 0:48:58 | 0:49:03 | |
A large tsunami has just hit the north coast of Japan | 0:49:03 | 0:49:08 | |
and it's making its way to Hawaii within the next couple of hours. | 0:49:08 | 0:49:12 | |
I don't know why you're aware of this, but I rang James in | 0:49:12 | 0:49:15 | |
San Diego, to let him know, and he said he would be in touch with you. | 0:49:15 | 0:49:20 | |
Cos I'm concerned about not only your safety in Hawaii, | 0:49:20 | 0:49:24 | |
but mostly also for your safety of your relatives and friends, | 0:49:24 | 0:49:29 | |
if any of them are living in the north-east of Japan. | 0:49:29 | 0:49:33 | |
I think if I remember, Patrick telling me that most of your | 0:49:33 | 0:49:36 | |
family lived in the Tokyo area, now Tokyo is OK at the present time, | 0:49:36 | 0:49:41 | |
but the tsunami is supposed to hit Hawaii within the next hour so, so... | 0:49:41 | 0:49:45 | |
That's powerful, isn't it? Holy God. | 0:49:49 | 0:49:51 | |
200 to 300 bodies so far. | 0:49:58 | 0:50:01 | |
8.9 on the scale, like. Phew. | 0:50:19 | 0:50:21 | |
That really is where you sort of go with the Noah's Ark thing, | 0:50:30 | 0:50:33 | |
cos you think these boys need an ark right now. | 0:50:33 | 0:50:36 | |
Two by two, we stand tall, one by one, we all fall. | 0:50:36 | 0:50:40 | |
Ring, ring, God, please answer my call. | 0:50:40 | 0:50:42 | |
It's your child, I know we ain't spoke in a while, | 0:50:42 | 0:50:45 | |
I fear you're about to make it real, I mean 40 days day, | 0:50:45 | 0:50:49 | |
I mean torrential, but survival of life is essential. | 0:50:49 | 0:50:52 | |
Once again, there's moneylenders dwelling in your temple. | 0:50:52 | 0:50:55 | |
Charging taxes. | 0:50:55 | 0:50:56 | |
So I'll build your ark and not grant them access, cos the fact is, | 0:50:56 | 0:51:00 | |
the flood out of chaos comes order, because once again, | 0:51:00 | 0:51:03 | |
man-made land is submerged in water. | 0:51:03 | 0:51:05 | |
All our old ways die like lambs to the slaughter, as once again, | 0:51:05 | 0:51:09 | |
we all go in the little ark for to get out of the rain. | 0:51:09 | 0:51:13 | |
# The animals went in two by two, hurrah, hurrah | 0:51:13 | 0:51:18 | |
# The animals went in two by two, hurrah, hurrah | 0:51:18 | 0:51:22 | |
# The animals went in two by two, the elephant and the kangaroo | 0:51:22 | 0:51:27 | |
# And they all went into the ark for to get out of the rain. # | 0:51:27 | 0:51:33 | |
HE RAPS We've been pushing our luck, but was there to be pushed | 0:51:35 | 0:51:38 | |
chances less broad, once the odds reduced? | 0:51:38 | 0:51:43 | |
Connects the roots. Our collective necks caught in the noose. | 0:51:43 | 0:51:48 | |
We produce so much that we just can't use. | 0:51:48 | 0:51:52 | |
End of an era, got your message now, you're sending it clearer. | 0:51:52 | 0:51:57 | |
God strike down those only pretending to fear ya. | 0:51:57 | 0:52:01 | |
And yet, save genetics of those with moral favour and ethics. | 0:52:01 | 0:52:06 | |
And all our efforts to survive will not be in vain and every good man | 0:52:06 | 0:52:12 | |
alive well not be in pain and every good vague will not be contained. | 0:52:12 | 0:52:20 | |
We all must reform at the top of our game as we go into the ark | 0:52:20 | 0:52:26 | |
for to get OUT of the rain. | 0:52:26 | 0:52:29 | |
# For to get out of the rain | 0:52:32 | 0:52:35 | |
# For to get out of the rain | 0:52:41 | 0:52:44 | |
# For to get out of the rain | 0:52:50 | 0:52:53 | |
# For to get out of the rain. # | 0:52:59 | 0:53:02 | |
Subtitles by Red Bee Media Ltd | 0:53:14 | 0:53:19 |