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BBC Scotland's flagship drama River City is ten years old. | 0:00:02 | 0:00:06 | |
Over the last decade, Scottish audiences have been treated | 0:00:06 | 0:00:09 | |
to a veritable feast of Shieldinch shenanigans. | 0:00:09 | 0:00:12 | |
This programme will look back and celebrate this unique, quirky | 0:00:12 | 0:00:16 | |
and unashamedly Scottish product, | 0:00:16 | 0:00:19 | |
marking this ten-year milestone and raising a glass | 0:00:19 | 0:00:22 | |
to the good people of Shieldinch. | 0:00:22 | 0:00:24 | |
Happy Birthday, River City. | 0:00:25 | 0:00:27 | |
Many's a twist and turn River City has taken in its young life, | 0:01:13 | 0:01:17 | |
establishing household names, | 0:01:17 | 0:01:18 | |
welcoming some of Scotland's showbiz legends into its fold | 0:01:18 | 0:01:22 | |
and morphing into an hour-long drama with punchy, gritty storylines. | 0:01:22 | 0:01:27 | |
Let's go back to the very beginnings of River City | 0:01:27 | 0:01:30 | |
or, as it was called then, the Scottish soap. | 0:01:30 | 0:01:33 | |
It was kind of terrifying at the beginning. | 0:01:33 | 0:01:36 | |
Joining River City on day one was nerve-racking. | 0:01:36 | 0:01:40 | |
Everybody and their dug was being seen for a soap. | 0:01:40 | 0:01:43 | |
Everyone was proud of the fact that BBC Scotland were making | 0:01:43 | 0:01:47 | |
our own soap, that we were going to hear our own voices. | 0:01:47 | 0:01:51 | |
There was a huge buzz from the first read-through to the first day | 0:01:51 | 0:01:55 | |
on set, which was nerve-racking, but great fun. | 0:01:55 | 0:01:58 | |
When I got the call to say you're auditioning for Shell Suit Bob | 0:01:58 | 0:02:01 | |
I thought someone was kidding. It didn't sound like a real name. | 0:02:01 | 0:02:04 | |
And everybody wanted a gig on River City, everyone did. | 0:02:04 | 0:02:07 | |
BBC Scotland searched the length and breadth of the country | 0:02:07 | 0:02:10 | |
looking for a suitable site. | 0:02:10 | 0:02:12 | |
Very quickly, an old whisky bottling plant in Dumbarton became the frontrunner. | 0:02:12 | 0:02:17 | |
The first time I came down here and actually came on set, I remember | 0:02:17 | 0:02:20 | |
being completely blown away by how realistic the set looked. | 0:02:20 | 0:02:24 | |
I think the set itself was inspirational | 0:02:24 | 0:02:28 | |
and I'll never forget the day | 0:02:28 | 0:02:30 | |
that Barbara McKissak invited us onto set | 0:02:30 | 0:02:32 | |
and it was like, you turned a corner, crossed a puddle | 0:02:32 | 0:02:36 | |
and you were in Partick! | 0:02:36 | 0:02:38 | |
The preparation was over. It was time to start shooting. | 0:02:38 | 0:02:41 | |
I was actually on the first day, | 0:02:43 | 0:02:46 | |
the first scene that we ever started filming | 0:02:46 | 0:02:48 | |
in June 2002, and I remember when they said, "Running up, turn over," | 0:02:48 | 0:02:55 | |
Barbara McKissak, the head of drama, burst into tears. | 0:02:55 | 0:02:57 | |
I was incredibly emotional when it started. | 0:02:57 | 0:03:00 | |
To actually get to this stage where we're turning over | 0:03:00 | 0:03:03 | |
and we're now recording the new Scottish soap. | 0:03:03 | 0:03:06 | |
It's just like a miracle. | 0:03:06 | 0:03:08 | |
With the first episodes in the can, it was now time to show and tell. | 0:03:09 | 0:03:14 | |
860,000 discerning Scottish viewers tuned in to get their first glimpse | 0:03:14 | 0:03:18 | |
of life in Shieldinch. | 0:03:18 | 0:03:20 | |
On Tuesday the 24th of September, 2002 at 7.30pm, | 0:03:20 | 0:03:25 | |
River City went on air for the first time ever. Yikes! | 0:03:25 | 0:03:30 | |
The show opened with Tommy Donachie and Eileen Hamilton's wedding. | 0:03:30 | 0:03:34 | |
The wedding's off. | 0:03:34 | 0:03:36 | |
-We can't get married. -What? | 0:03:36 | 0:03:38 | |
I actually can't think of Tommy and Eileen's wedding | 0:03:38 | 0:03:40 | |
without a feeling of prickling horror, | 0:03:40 | 0:03:43 | |
because I had the worst wedding outfit in the world on | 0:03:43 | 0:03:47 | |
and my hair, I looked like Dandini from the pantomime, | 0:03:47 | 0:03:52 | |
so I can't look at the photographs without thinking, "What was I wearing?!" | 0:03:52 | 0:03:56 | |
# What's the use in sharing this one and only life?... # | 0:03:59 | 0:04:03 | |
We sang at Eileen's wedding on the first episode. | 0:04:03 | 0:04:07 | |
Gina, Ruth and I all got up to sing. | 0:04:07 | 0:04:09 | |
I cannot sing. I'm completely tone-deaf, so I'm standing there | 0:04:09 | 0:04:13 | |
trying to mime and trying to follow them moving about. | 0:04:13 | 0:04:16 | |
It was a great first episode because it introduced you to all the characters | 0:04:17 | 0:04:21 | |
and all the different relationships and who was married to who. | 0:04:21 | 0:04:25 | |
It wasn't something you felt was going to have to grow on you. | 0:04:25 | 0:04:27 | |
Immediately you thought, "It's good, it's going somewhere." | 0:04:27 | 0:04:30 | |
Very early on the three main families of the soap, | 0:04:30 | 0:04:34 | |
the Donachies, the Rossis and the Hendersons, were established. | 0:04:34 | 0:04:38 | |
Through them and some colourful characters around them, | 0:04:38 | 0:04:41 | |
the Shieldinch community was born. | 0:04:41 | 0:04:44 | |
Of course there were the three main families at the beginning | 0:04:44 | 0:04:47 | |
of River City and I was what was called a satellite character, | 0:04:47 | 0:04:49 | |
me and Shell Suite Bob, Stephen. | 0:04:49 | 0:04:52 | |
It was a wee community | 0:04:52 | 0:04:54 | |
and communities within communities as well. | 0:04:54 | 0:04:56 | |
Every good soap needs a good boozer | 0:04:56 | 0:04:59 | |
and the Tall Ship Bar was quickly established | 0:04:59 | 0:05:01 | |
as the heart of the soap, bringing together the old and the new. | 0:05:01 | 0:05:04 | |
It gives me great pleasure to declare the Tall Ship Grill open. | 0:05:04 | 0:05:09 | |
The stage was set for a whirlwind of births, deaths, marriages, | 0:05:13 | 0:05:17 | |
double dealings, accidents and lots | 0:05:17 | 0:05:20 | |
and lots of gallus Glasgow humour, which very quickly set the tone | 0:05:20 | 0:05:24 | |
and captured the hearts of the Scottish nation. | 0:05:24 | 0:05:26 | |
What there was was a real feeling of camaraderie. | 0:05:26 | 0:05:30 | |
We were all in this together because no-one knew how it was going to turn out. | 0:05:30 | 0:05:34 | |
It was about starting with this idea of new connections and hope. | 0:05:34 | 0:05:38 | |
And we were all out on the set, popping the champagne bottles | 0:05:38 | 0:05:41 | |
It was so exciting. | 0:05:41 | 0:05:43 | |
It was such a new thing for Scotland. | 0:05:43 | 0:05:45 | |
It was all, "We're young people and we've just started working | 0:05:45 | 0:05:48 | |
"in Glasgow. It's exciting, the future will be great." | 0:05:48 | 0:05:50 | |
To the future - bring it on! | 0:05:50 | 0:05:53 | |
-ALL: -The future! | 0:05:53 | 0:05:54 | |
You didn't know what was coming, but you knew it would be good. | 0:05:54 | 0:05:57 | |
With the show on air, the Scottish public had to get used to hearing | 0:05:59 | 0:06:03 | |
a concentration of their own voices on national TV. | 0:06:03 | 0:06:07 | |
Jo, hen. Sounds to me like she wants a tailor's dummy, no' Kate Moss. | 0:06:07 | 0:06:11 | |
They now had a mirror held up to them | 0:06:11 | 0:06:14 | |
and some found this a tricky reflection to embrace. | 0:06:14 | 0:06:16 | |
A lot of folk really freaked out at first. | 0:06:16 | 0:06:19 | |
I mean, folk would come up to you and go, "I cannae stand that, naebody talks like that." | 0:06:19 | 0:06:24 | |
"What are the accents? Naebody's talking like that." | 0:06:24 | 0:06:27 | |
-I just wanted to say, "You are talking -just -like that," you know. | 0:06:27 | 0:06:30 | |
You could feel the tide turning | 0:06:30 | 0:06:32 | |
and people starting to talk about characters. | 0:06:32 | 0:06:34 | |
-What a thing to come back to. -Well, that's not all. | 0:06:36 | 0:06:39 | |
Lewis came round with a bunch of flowers. | 0:06:39 | 0:06:42 | |
What kind? | 0:06:42 | 0:06:43 | |
It doesn't matter what kind. | 0:06:43 | 0:06:45 | |
You kind of realised that times are changing, | 0:06:45 | 0:06:48 | |
people are taking them to their heart. | 0:06:48 | 0:06:50 | |
I think it just found its feet very quickly | 0:06:50 | 0:06:53 | |
and became a very watchable soap, up there with the best of them. | 0:06:53 | 0:06:58 | |
I watched River City right from the very start. | 0:06:58 | 0:07:01 | |
I was so pleased that we were actually doing a Scottish drama | 0:07:01 | 0:07:04 | |
and I was hooked right away, and I've been a fan ever since. | 0:07:04 | 0:07:07 | |
I became a fan and I have remained hooked to the programme ever since. | 0:07:07 | 0:07:12 | |
I loved it from day one, because it's really authentic. | 0:07:12 | 0:07:15 | |
It's people speaking to us in our own accents and in our own language. | 0:07:15 | 0:07:20 | |
It's five o'clock, I thought yous were finished! | 0:07:20 | 0:07:22 | |
This was new, it was fresh | 0:07:22 | 0:07:24 | |
and it was speaking about the kind of modern Scotland | 0:07:24 | 0:07:27 | |
and modern Glasgow. | 0:07:27 | 0:07:28 | |
We had been used to High Road and something that was very, very twee | 0:07:28 | 0:07:32 | |
and, of course, when River City came on the scene, it had tenement buildings, you know, | 0:07:32 | 0:07:36 | |
it had young people in it. You know, they spoke with a Glaswegian accent. | 0:07:36 | 0:07:40 | |
I'm fae Glesga. We take pride in the fact that naebody understonds us. | 0:07:40 | 0:07:43 | |
And there were early signs of a young star emerging. | 0:07:44 | 0:07:47 | |
Who could ever have predicted the impact that Shell Suit Bob | 0:07:47 | 0:07:51 | |
was going to have on the Scottish viewers? | 0:07:51 | 0:07:54 | |
You know, if you want anything else out of there, | 0:07:54 | 0:07:56 | |
trainers of whatever, the security guy's useless. | 0:07:56 | 0:07:59 | |
Shell Suit Bob, what can you say? He's just... He's just... | 0:07:59 | 0:08:03 | |
You can't imagine River City without him. | 0:08:03 | 0:08:05 | |
Shell Suit Bob's an institution. | 0:08:05 | 0:08:07 | |
Shell Suit Bob doesn't wear a shell suit, of course. | 0:08:07 | 0:08:10 | |
He was the guy to go to for your shell suits. | 0:08:10 | 0:08:12 | |
I never really wore shell suits a lot. | 0:08:12 | 0:08:14 | |
I think I had a couple of shell suits | 0:08:14 | 0:08:16 | |
and I think my whole thing was just stealing shell suits | 0:08:16 | 0:08:19 | |
out of shops, I think, and the name just stuck | 0:08:19 | 0:08:22 | |
and it's never left me since. | 0:08:22 | 0:08:24 | |
And a certain torry quine, Roisin McIntyre, played by Joyce Falconer, | 0:08:25 | 0:08:30 | |
burst onto our screens with the line... | 0:08:30 | 0:08:32 | |
"You've got a face that would turn the milk." | 0:08:32 | 0:08:34 | |
Roisin had a meteoric rise to becoming the voice of the show, | 0:08:34 | 0:08:38 | |
with everyone asking, "Does she really talk like that?" | 0:08:38 | 0:08:40 | |
Why nae hae a go on one of your own sunbeds? | 0:08:40 | 0:08:43 | |
Get a bit of colour about you! | 0:08:43 | 0:08:45 | |
The main reason folk noticed my character | 0:08:45 | 0:08:49 | |
was, of course, the way I speak. | 0:08:49 | 0:08:51 | |
Excuse me, do you mind talking properly? | 0:08:51 | 0:08:54 | |
Roisin was just speaking in dialect | 0:08:54 | 0:08:57 | |
and I mean, speaking the way that a lot of folk in Scotland do speak, | 0:08:57 | 0:09:02 | |
but they're so unused to seeing it on a square box. | 0:09:02 | 0:09:05 | |
No need to apologise, I'm happy to do that for free. | 0:09:05 | 0:09:08 | |
There were also strong signs of a strong, platonic friendship | 0:09:08 | 0:09:12 | |
in Scott and Ruth. | 0:09:12 | 0:09:14 | |
Scott and Ruth were a romance in the sense | 0:09:14 | 0:09:17 | |
that they just loved each other so much. | 0:09:17 | 0:09:20 | |
Scott and Ruth were intrinsically linked from day one | 0:09:20 | 0:09:24 | |
and so we went on a complete and utter rollercoaster for nine years. | 0:09:24 | 0:09:30 | |
Oh! | 0:09:30 | 0:09:31 | |
The casting net was flung far and wide. | 0:09:31 | 0:09:34 | |
New colourful characters and familiar faces from Scottish showbiz | 0:09:34 | 0:09:38 | |
started to pour into Shieldinch in their droves. | 0:09:38 | 0:09:42 | |
Casting was mammoth. You can imagine, we went everywhere. | 0:09:42 | 0:09:47 | |
I mean, let's face it, we went to Neighbours. | 0:09:47 | 0:09:49 | |
-Is this a private party or can anyone join in? -Come in. | 0:09:49 | 0:09:53 | |
I did a reading. They went, "Great, great," | 0:09:53 | 0:09:55 | |
and then the next minute I was on a plane to Scotland. | 0:09:55 | 0:09:57 | |
Deacon Blue's very own Lorraine McIntosh arrived | 0:09:57 | 0:10:00 | |
in Shieldinch. Alice Henderson was looking to reconnect | 0:10:00 | 0:10:04 | |
with her long lost son Deek. | 0:10:04 | 0:10:07 | |
I actually joined, I think it was about three months, | 0:10:07 | 0:10:10 | |
maybe two-and-a-half months into it. So I got a chance to see it | 0:10:10 | 0:10:13 | |
on screen and kind of see a bit of what I was coming into. | 0:10:13 | 0:10:16 | |
After bonding with Deek, | 0:10:16 | 0:10:18 | |
reformed alcoholic Alice soon fell off the wagon | 0:10:18 | 0:10:21 | |
and there was a rocky road ahead. | 0:10:21 | 0:10:24 | |
Why don't you do us all a favour and put a sock in it? | 0:10:24 | 0:10:27 | |
Shell Suit Bob needed a family. First up, his beloved mammie. | 0:10:27 | 0:10:31 | |
Enter Scarlett Adams and her ice cream van. | 0:10:31 | 0:10:35 | |
I'll never forget the first time I saw Scarlett in her van. | 0:10:35 | 0:10:38 | |
She jumped out the van | 0:10:38 | 0:10:40 | |
and was basically was ready for a punch-up, you know. | 0:10:40 | 0:10:43 | |
She was scary. You didn't know what would get with her. | 0:10:43 | 0:10:46 | |
Scarlett Adams, a woman with a sharp tongue, | 0:10:46 | 0:10:49 | |
razor-sharp wit, and a tigress when it comes to her cubs. | 0:10:49 | 0:10:52 | |
Robert Adams, get back here right now! | 0:10:52 | 0:10:55 | |
Ashamed of me or something? Me and you're ma, too! | 0:10:59 | 0:11:02 | |
I'd come to reclaim my son | 0:11:02 | 0:11:04 | |
because I know he was living rough and then he was hanging out | 0:11:04 | 0:11:07 | |
with Deek Henderson kind of thing, | 0:11:07 | 0:11:09 | |
and I was wanting him to come back into the family business, | 0:11:09 | 0:11:12 | |
and basically, when she turns up | 0:11:12 | 0:11:13 | |
looking for him, he's absolutely mortified. | 0:11:13 | 0:11:16 | |
Shell Suit also needed a sister. Enter Kelly-Marie. | 0:11:16 | 0:11:20 | |
My big entrance to the show was a big articulated lorry | 0:11:20 | 0:11:24 | |
and I tottered down the stairs | 0:11:24 | 0:11:25 | |
and all you seen was these legs and this wee skirt. | 0:11:25 | 0:11:28 | |
-Thanks! This is great. -HORN TOOTS | 0:11:28 | 0:11:32 | |
And as I walked off, I just picked the knickers out the bum. Classy! | 0:11:32 | 0:11:36 | |
My classy entrance! | 0:11:36 | 0:11:39 | |
Even a gay brother arrived, but more about him later. | 0:11:39 | 0:11:43 | |
-Stevie! -I caught him breaking in! | 0:11:43 | 0:11:46 | |
Don't listen to them, they're talkin' mince! | 0:11:46 | 0:11:48 | |
Latterly, wee Bob's been given an uncle in the form of Big Bob, | 0:11:48 | 0:11:53 | |
arriving in Shieldinch, as you do, in a tomato suit. | 0:11:53 | 0:11:56 | |
Out my road! Come on, get out my road! | 0:11:56 | 0:11:59 | |
And then Granny Molly arrived on her mobility scooter. | 0:11:59 | 0:12:01 | |
Molly O'Hara, Scarlett's mum, bold as brass | 0:12:01 | 0:12:04 | |
and ready to give anyone a tongue lashing if they stood in her way. | 0:12:04 | 0:12:07 | |
-Out my way! -What do you want? | 0:12:07 | 0:12:10 | |
Oh! Oh, Scarlett. | 0:12:10 | 0:12:11 | |
I mean, it didn't go all that fast, | 0:12:11 | 0:12:13 | |
but touching reverse by mistake and suddenly you're away! | 0:12:13 | 0:12:19 | |
Aye, right(!) What did you do to deserve it? | 0:12:20 | 0:12:22 | |
That's no way to speak to your mother! | 0:12:22 | 0:12:24 | |
I never honestly, honestly thought I would be in a soap, | 0:12:24 | 0:12:27 | |
and I'll tell you something, I didn't think I'd still be in it. | 0:12:27 | 0:12:30 | |
I was just assuming it would be for a few episodes. | 0:12:30 | 0:12:34 | |
Scarlett met a good man in Jimmy Mullen, and the Adams-Mullens were born, | 0:12:34 | 0:12:38 | |
forming the backbone of the Shieldinch community. | 0:12:38 | 0:12:42 | |
We're the family in Shieldinch who have probably got the least money | 0:12:42 | 0:12:45 | |
and probably the most working-class family in the show | 0:12:45 | 0:12:49 | |
and we represent that, and I think a lot of people identify with that. | 0:12:49 | 0:12:54 | |
The esteemed lawyer Archie Buchanan arrived home to Shieldinch, | 0:12:54 | 0:12:58 | |
rapidly followed by his very posh mother Liz Buchanan, | 0:12:58 | 0:13:01 | |
played by soap royalty Eileen McCallum. | 0:13:01 | 0:13:04 | |
So she's invited to Gina's for dinner | 0:13:04 | 0:13:08 | |
and that was the first scene, and it was hysterically funny. | 0:13:08 | 0:13:11 | |
Very...exotic. | 0:13:12 | 0:13:16 | |
-Mother! -What? I said he was cute. | 0:13:16 | 0:13:19 | |
Glam hairdresser Shirley arrived, | 0:13:20 | 0:13:23 | |
played by Barbara Rafferty | 0:13:23 | 0:13:24 | |
and became the boss of salon Moda Vida. | 0:13:24 | 0:13:27 | |
Coming into the show was a mixture of fear... | 0:13:27 | 0:13:33 | |
and excitement. | 0:13:33 | 0:13:35 | |
Very quickly, Shirley became a resident feature | 0:13:35 | 0:13:37 | |
of one of the three main families. | 0:13:37 | 0:13:40 | |
To become one of the big families of the community was fantastic. | 0:13:40 | 0:13:44 | |
Heather Bellshaw burst onto our screens. | 0:13:44 | 0:13:47 | |
Sexy Heather, always in killer heels, made her mark | 0:13:47 | 0:13:50 | |
on the Shieldinch community in more ways than one. | 0:13:50 | 0:13:53 | |
Coming into River City or trying to get into River City was | 0:13:53 | 0:13:57 | |
'a big deal for me.' Why's Kelly here? | 0:13:57 | 0:13:59 | |
-I needed the help. -Right, fine. | 0:13:59 | 0:14:01 | |
But I do the hiring and firing round here - not you. | 0:14:01 | 0:14:04 | |
She was fierce, in the true sense of the word. | 0:14:04 | 0:14:09 | |
And the bad boy of all bad boys, Lenny Murdoch | 0:14:09 | 0:14:13 | |
and his gangster's moll Lydia, brought glamour | 0:14:13 | 0:14:15 | |
and grit to the show, proving an instant hit with the audience, | 0:14:15 | 0:14:19 | |
shortly after to be joined by a rebel of a daughter | 0:14:19 | 0:14:21 | |
and two brothers from a previous marriage. | 0:14:21 | 0:14:23 | |
Roisin was later joined by her two sisters, Iona and Shona | 0:14:23 | 0:14:28 | |
and her long-lost daughter Alana. | 0:14:28 | 0:14:30 | |
The one thing these McIntyre sisters shared, | 0:14:30 | 0:14:33 | |
hellish luck when it came to men. | 0:14:33 | 0:14:35 | |
Shieldinch had its full complement on board with a cast bursting | 0:14:35 | 0:14:39 | |
at the seams. Yeah, you've guessed it - a hotbed for lust and romance. | 0:14:39 | 0:14:44 | |
Everyone loves a good love story, | 0:14:46 | 0:14:49 | |
and after lots of flirting over the sunbeds, | 0:14:49 | 0:14:51 | |
employer and employee Raymond and Roisin finally got it together. | 0:14:51 | 0:14:57 | |
It was very much a love/hate relationship with Raymond. | 0:14:57 | 0:15:00 | |
Roisin was constantly putting him down. | 0:15:02 | 0:15:04 | |
-You're sick. -Aye, sick of your moaning. | 0:15:04 | 0:15:08 | |
So sack me, then. | 0:15:08 | 0:15:10 | |
But of course he was head employer, so he could have sacked her | 0:15:10 | 0:15:13 | |
at any time, but he must have liked the abuse, I think. | 0:15:13 | 0:15:16 | |
She'd just, you know, take control. That was me, | 0:15:16 | 0:15:20 | |
and I was quite happy to let her do that. It's safer that way! | 0:15:20 | 0:15:23 | |
So...what is your type, then? | 0:15:24 | 0:15:27 | |
He had remembered that she'd liked these... | 0:15:27 | 0:15:30 | |
throwback, '80s white jeans that he'd had. | 0:15:30 | 0:15:33 | |
Which, I hasten to add, do nothing for me at all. | 0:15:33 | 0:15:36 | |
And then she came back to the Lazy Ray's | 0:15:36 | 0:15:40 | |
and there was Raymondo in all his glory with the white denims on. | 0:15:40 | 0:15:44 | |
He said, "Press play," and it's Proclaimers and Sunshine On Leith. | 0:15:44 | 0:15:48 | |
MUSIC PLAYS | 0:15:48 | 0:15:51 | |
Which is a personal favourite of mine. | 0:15:53 | 0:15:55 | |
And that was the moment that they realised | 0:16:03 | 0:16:06 | |
that they were for each other. | 0:16:06 | 0:16:07 | |
They went on to get married in one of the most flamboyant | 0:16:08 | 0:16:11 | |
wedding ceremonies Shieldinch has ever witnessed. | 0:16:11 | 0:16:14 | |
There have been so many weddings, and almost all of them | 0:16:14 | 0:16:17 | |
have happened in the Tall Ship. | 0:16:17 | 0:16:19 | |
I remember the huge big Las Vegas love heart above Raymond and Roisin, | 0:16:19 | 0:16:25 | |
and it was just fantastic. | 0:16:25 | 0:16:27 | |
And it was a real Footballers Wives type wedding. | 0:16:27 | 0:16:31 | |
I, Roisin McIntyre, | 0:16:31 | 0:16:34 | |
want to take you, Raymond Henderson, | 0:16:34 | 0:16:37 | |
as my husband | 0:16:37 | 0:16:39 | |
because you love me for the person I am. | 0:16:39 | 0:16:42 | |
MUSIC: "Love Really Hurts Without You" | 0:16:42 | 0:16:44 | |
I'd now like to read a bit from my favourite book Wuthering Heights. | 0:16:44 | 0:16:48 | |
I now pronounce you husband and wife. | 0:16:51 | 0:16:53 | |
This is the bit when you kiss. | 0:16:56 | 0:16:58 | |
Excellent! | 0:16:58 | 0:16:59 | |
CHEERING | 0:16:59 | 0:17:01 | |
From a flamboyant wedding to a flamboyant wedding dress. | 0:17:01 | 0:17:05 | |
Who could forget that leopard skinned, fluffy pink number that Scarlett Adams wore | 0:17:05 | 0:17:10 | |
in her ostentatious wedding to Jimmy Mullen? | 0:17:10 | 0:17:13 | |
I must say, I had the most fantastic dress known to man or woman. | 0:17:13 | 0:17:16 | |
I had a leopard-skin, fishtail dress with kind of pink, flowery bolero. | 0:17:16 | 0:17:22 | |
Jimmy, still recovering from his dramatic hit-and-run accident, | 0:17:22 | 0:17:26 | |
made a sterling effort and even ditched the wheelchair. | 0:17:26 | 0:17:29 | |
So he was on the sticks and they had their first dance together | 0:17:29 | 0:17:32 | |
and Jimmy's like Douglas Bader, sort of going about the dance floor. | 0:17:32 | 0:17:35 | |
-Oh, my goodness! -Jimmy was just out the wheelchair. Oh, dear. | 0:17:35 | 0:17:38 | |
It was those sticks. | 0:17:38 | 0:17:40 | |
Scarlett Bernadette Adams and you, James Leslie Mullen, | 0:17:40 | 0:17:44 | |
are now husband and wife. | 0:17:44 | 0:17:47 | |
APPLAUSE | 0:17:47 | 0:17:49 | |
Now why stop at one sister when you can have two? | 0:17:49 | 0:17:52 | |
Years later, Raymond married Roisin's sister Shona. | 0:17:52 | 0:17:55 | |
Only one slight problem - she was still married to someone else. | 0:17:55 | 0:18:00 | |
Never that lucky in love, wee Shell Suit Bob should get a medal | 0:18:01 | 0:18:05 | |
for his attempts to get hitched with all his proposals. | 0:18:05 | 0:18:08 | |
Proposal number one, Zara Malik. | 0:18:08 | 0:18:11 | |
Er, cherry picker. | 0:18:11 | 0:18:13 | |
Take me to Planet Love, Captain Henderson. | 0:18:13 | 0:18:16 | |
So he thought "Come on," to Deek, | 0:18:16 | 0:18:18 | |
"you can put me up in the cherry picker, | 0:18:18 | 0:18:20 | |
"so I can go up to her window and propose." Young love. | 0:18:20 | 0:18:23 | |
# I will be... | 0:18:24 | 0:18:27 | |
-# With you... # -Ssh! | 0:18:27 | 0:18:30 | |
Zara, hen, every time I see you I feel the voltage has been turned up in my socks! | 0:18:30 | 0:18:34 | |
The things starts going back and forward, up and down. | 0:18:36 | 0:18:39 | |
-Eh? -I pure love you! | 0:18:39 | 0:18:43 | |
He's reaching out to give her the ring and I'm mucking about | 0:18:43 | 0:18:47 | |
with the leavers and pulling him further away | 0:18:47 | 0:18:51 | |
and the gap's getting bigger. | 0:18:51 | 0:18:52 | |
Going to hurry up, Zara? My arm's kind of sore here! | 0:18:52 | 0:18:56 | |
It was ridiculous. It was good fun. It was a funny scene. | 0:18:56 | 0:19:00 | |
Proposal number two - Michelle. | 0:19:00 | 0:19:01 | |
I want us to get married... | 0:19:01 | 0:19:03 | |
I mean, I got it out the cracker. I didn't have time to go to the shops. | 0:19:05 | 0:19:08 | |
I'll get you a better one. Ones with diamond and all that, I promise. | 0:19:08 | 0:19:12 | |
Proposal number three was Charlie Drummond. | 0:19:12 | 0:19:16 | |
-That looked like the perfect match. -I'm so, so... | 0:19:17 | 0:19:20 | |
Charlie jilted him at the altar, so that was quite a sore one for him. | 0:19:22 | 0:19:26 | |
Charlie! | 0:19:26 | 0:19:27 | |
Proposal number four was a semi proposal, | 0:19:27 | 0:19:31 | |
it wasnae a full-blown proposal. It was Nicki Cullen. | 0:19:31 | 0:19:34 | |
Marry me. Please. | 0:19:35 | 0:19:37 | |
Give me the rest of our lives to make it up to you. | 0:19:37 | 0:19:40 | |
She was just about to leave and Bob went to propose | 0:19:40 | 0:19:44 | |
but she just left. Again, Bob failed miserably. | 0:19:44 | 0:19:47 | |
All he really needed was for someone to pop the question to him | 0:19:47 | 0:19:51 | |
and voila, you have a wedding. | 0:19:51 | 0:19:54 | |
Will you marry me, Bob Adams? | 0:19:54 | 0:19:56 | |
CHRISTMAS CAROLLERS SING | 0:19:56 | 0:19:59 | |
Of course I will. | 0:19:59 | 0:20:00 | |
CHEERING | 0:20:00 | 0:20:03 | |
Well, a wedding of sorts. | 0:20:03 | 0:20:05 | |
They did it on the QT, fooled everyone | 0:20:05 | 0:20:07 | |
inviting them to a quiz night, of all things, which actually turned out | 0:20:07 | 0:20:11 | |
to be their own wedding party, without any help or input | 0:20:11 | 0:20:14 | |
from Scarlett, | 0:20:14 | 0:20:15 | |
which, as you can imagine, when down like a lead balloon. | 0:20:15 | 0:20:18 | |
Slapping Bob at the venue, I've always felt it was out of love. | 0:20:20 | 0:20:24 | |
Are you happy now? | 0:20:27 | 0:20:29 | |
After arriving as the glam older hairdresser and merry widow, | 0:20:29 | 0:20:32 | |
Shirley married her love George Henderson, | 0:20:32 | 0:20:35 | |
a bittersweet moment as George was not a well man. | 0:20:35 | 0:20:39 | |
George was already terminally ill | 0:20:39 | 0:20:43 | |
and they make this hugely romantic, loving gesture | 0:20:43 | 0:20:46 | |
that they were still going to get married. | 0:20:46 | 0:20:48 | |
I'll always remember how much you mean to me. | 0:20:48 | 0:20:51 | |
It was a beautiful wedding | 0:20:53 | 0:20:55 | |
and it was very emotional, because we knew George wasn't well. | 0:20:55 | 0:20:59 | |
APPLAUSE | 0:21:01 | 0:21:03 | |
It was beautiful. I remember it clearly. | 0:21:03 | 0:21:06 | |
Then the lovely Gina Rossi eventually tied the knot | 0:21:06 | 0:21:09 | |
with the not-so-lovely Archie Buchanan, | 0:21:09 | 0:21:12 | |
becoming the new Mrs Buchanan of Shieldinch. | 0:21:12 | 0:21:15 | |
I'm going to be the next Mrs Buchanan. | 0:21:15 | 0:21:19 | |
Gina should never have married Archie and she knew that, | 0:21:19 | 0:21:23 | |
and Liz came to her and said to her, "He's not good man." | 0:21:23 | 0:21:26 | |
On her wedding day, mind you. | 0:21:26 | 0:21:28 | |
The wedding, I think you should call it off. | 0:21:28 | 0:21:30 | |
-You are kidding? -No, I'm not. | 0:21:30 | 0:21:34 | |
You see, I don't believe that Archie will make you happy. | 0:21:34 | 0:21:37 | |
Oh, Gina, you should have taken Liz's advice. | 0:21:37 | 0:21:40 | |
A mother always knows her own son, good and bad. | 0:21:40 | 0:21:43 | |
And in this case, it was bad. Really bad. | 0:21:43 | 0:21:48 | |
He did want to marry her, I do believe he was fond of her. | 0:21:48 | 0:21:51 | |
-You're -fond -of her? | 0:21:51 | 0:21:53 | |
So that's what you have to offer, is it? Fondness? | 0:21:53 | 0:21:56 | |
The bad seed that was in his father | 0:21:56 | 0:21:59 | |
had obviously been inherited by him. | 0:21:59 | 0:22:04 | |
You're every inch the swine he was. | 0:22:04 | 0:22:06 | |
And if that girl's going to have any chance of happiness, | 0:22:06 | 0:22:09 | |
you better love her, Archie. | 0:22:09 | 0:22:11 | |
At least as much as your father loved me. | 0:22:11 | 0:22:13 | |
The wedding goes ahead with disastrous, disastrous results. | 0:22:13 | 0:22:18 | |
It's not too late. We can leg it out of here. | 0:22:19 | 0:22:23 | |
I'll be right behind you. | 0:22:23 | 0:22:25 | |
The audience all knew she shouldn't have married Archie. | 0:22:28 | 0:22:30 | |
I'm sure the whole of Shieldinch knew. | 0:22:30 | 0:22:32 | |
But at the end, as everybody knows, | 0:22:32 | 0:22:35 | |
Archie was just out for whatever he could get from it. | 0:22:35 | 0:22:38 | |
And a certain famous face from daytime TV | 0:22:38 | 0:22:41 | |
got to witness the nuptials first-hand. | 0:22:41 | 0:22:44 | |
-It's you, isn't it? -Last time I looked. | 0:22:44 | 0:22:47 | |
Long-time friend of hairdresser Billy Davies, | 0:22:47 | 0:22:50 | |
Lorraine Kelly was in Shieldinch to visit her mum. | 0:22:50 | 0:22:53 | |
Is that who I think it is?! | 0:22:53 | 0:22:55 | |
I was so delighted to be asked to be part of River City | 0:22:55 | 0:22:58 | |
cos it was kind of like crawling into my TV set, it was amazing. | 0:22:58 | 0:23:01 | |
Excuse me. It's you, isn't it? I'm Scarlett. | 0:23:01 | 0:23:05 | |
-I'm a pal of Billy and Joanne's. -Lovely to meet you, Scarlett. | 0:23:05 | 0:23:08 | |
Being on set was fantastic | 0:23:08 | 0:23:10 | |
and surrounded by all these characters that I knew so well. | 0:23:10 | 0:23:13 | |
-Is she coming to the wedding? -No, she's not. -Oh, go on, | 0:23:13 | 0:23:16 | |
-Gina's my mate, she pure loves you, by the way. -Does she? -Aye. Tell her! | 0:23:16 | 0:23:20 | |
She would be tickled pink. | 0:23:20 | 0:23:22 | |
Maybe I'll pop in for five minutes once I've seen my mum. | 0:23:22 | 0:23:24 | |
When I heard Lorraine Kelly would be at Gina's wedding, | 0:23:24 | 0:23:27 | |
it was just so exciting because we also knew | 0:23:27 | 0:23:29 | |
that Lorraine Kelly was genuinely a big fan of River City | 0:23:29 | 0:23:32 | |
-so it was a big mutual appreciation society. -Hello! | 0:23:32 | 0:23:36 | |
Oh, my God. | 0:23:37 | 0:23:39 | |
Gina, this is an old school friend, this is Lorraine. | 0:23:39 | 0:23:43 | |
-Gina. Gina, Lorraine. -It's lovely to meet you, and congratulations. | 0:23:43 | 0:23:47 | |
It was quite nerve-wracking cos I'm not an actress | 0:23:47 | 0:23:49 | |
and I know it wasn't much of a stretch cos I was playing myself, but it was still quite scary | 0:23:49 | 0:23:53 | |
and I was really worried I would forget my lines. | 0:23:53 | 0:23:56 | |
We had this brilliant bit where we meet each other | 0:23:56 | 0:23:58 | |
and I'm reminding myself, "This is Gina meeting Lorraine, not Libby!" | 0:23:58 | 0:24:01 | |
Have you had anything to eat? There's sausage rolls, | 0:24:01 | 0:24:03 | |
-they're lovely. I made them myself. -Mum! | 0:24:03 | 0:24:06 | |
Such good scenes, because she steals the sausage rolls in her handbag | 0:24:06 | 0:24:09 | |
and Gina was really proud, cos she'd made them. | 0:24:09 | 0:24:11 | |
Everyone was so great, they all made me so welcome. | 0:24:11 | 0:24:15 | |
The atmosphere was fantastic. It was just like a big family | 0:24:15 | 0:24:19 | |
and they just, you know, they made it so, so easy for me | 0:24:19 | 0:24:22 | |
and I thought it was great and, like I say, just being able to be part | 0:24:22 | 0:24:25 | |
of a show that I love was really a very, very special moment for me. | 0:24:25 | 0:24:29 | |
But there wasn't a dry eye in the house | 0:24:29 | 0:24:31 | |
when two of Scotland's showbiz legends, in the guise of Malcolm Hamilton and Liz Buchanan | 0:24:31 | 0:24:37 | |
demonstrated their love for each other in front of all to see. | 0:24:37 | 0:24:40 | |
With the shadow of a dementia diagnosis hanging over him, | 0:24:40 | 0:24:44 | |
Malcolm asked his treasured Liz for her hand in marriage. | 0:24:44 | 0:24:48 | |
Are... | 0:24:48 | 0:24:49 | |
Are you asking me to marry you? | 0:24:49 | 0:24:52 | |
Oh, you're quick on the uptake. | 0:24:52 | 0:24:54 | |
Oh... | 0:24:54 | 0:24:56 | |
Malcolm. | 0:24:56 | 0:24:58 | |
Get your hankies at the ready. | 0:24:58 | 0:24:59 | |
This really was the wedding of the season. | 0:24:59 | 0:25:02 | |
Never doubt... | 0:25:02 | 0:25:04 | |
I love... | 0:25:04 | 0:25:06 | |
We got halfway through the ceremony | 0:25:08 | 0:25:11 | |
and Malcolm forgot my name. | 0:25:11 | 0:25:15 | |
I, Malcolm Hamilton... | 0:25:17 | 0:25:20 | |
..take, take... | 0:25:21 | 0:25:23 | |
There was this awful pause, you know, | 0:25:25 | 0:25:27 | |
and Liz just seemed to know what to do. | 0:25:27 | 0:25:30 | |
Look at me, Malcolm. | 0:25:32 | 0:25:33 | |
..take you, Elizabeth Buchanan, | 0:25:43 | 0:25:46 | |
to be my lawful, wedded wife. | 0:25:46 | 0:25:48 | |
Ach, I've never needed a piece of paper to tell me how I feel. | 0:25:53 | 0:25:57 | |
-I'm not going to start now. -LAUGHTER | 0:25:57 | 0:26:00 | |
He never needed a script to tell someone that he loved them. | 0:26:00 | 0:26:04 | |
I think Johnny handled that beautifully, | 0:26:04 | 0:26:07 | |
I loved the wedding episode. | 0:26:07 | 0:26:08 | |
It was a fantastic storyline for us | 0:26:08 | 0:26:10 | |
and it was wonderful to take these two folk up to Loch Lomondside, | 0:26:10 | 0:26:14 | |
this beautiful Scottish setting, and make it a real emotional wedding. | 0:26:14 | 0:26:17 | |
It was a joy to do actually, I really enjoyed it. | 0:26:17 | 0:26:21 | |
My mind may be playing up, | 0:26:21 | 0:26:24 | |
but my heart's as strong as ever. | 0:26:24 | 0:26:26 | |
And I love you with my whole heart. | 0:26:28 | 0:26:30 | |
'She's such a pleasure to work with.' | 0:26:30 | 0:26:32 | |
She's a remarkable lady, | 0:26:32 | 0:26:34 | |
an absolutely remarkable lady. | 0:26:34 | 0:26:37 | |
Everybody adored that storyline, | 0:26:37 | 0:26:38 | |
we had huge feedback about how wonderful it was. | 0:26:38 | 0:26:41 | |
I cried a tear at the wedding of Liz and Malcolm. | 0:26:41 | 0:26:44 | |
'When River City plays that kind of storyline' | 0:26:44 | 0:26:47 | |
when it's getting right into the heart of humanity, | 0:26:47 | 0:26:51 | |
'that's when it really connects with people.' | 0:26:51 | 0:26:53 | |
Eileen McCallum and Johnny Beattie reflect the best of acting talent. | 0:26:53 | 0:26:57 | |
Of all the weddings we've seen over the ten years in River City, | 0:26:57 | 0:27:01 | |
Malcolm and Liz, for me, has got to be up there, probably number one. | 0:27:01 | 0:27:05 | |
They're part of our heritage, giving the performances of their lives | 0:27:05 | 0:27:08 | |
at that stage in their career. What a joy. | 0:27:08 | 0:27:11 | |
Where there's wedding bells, the stork is often not too far away, | 0:27:11 | 0:27:15 | |
or in soap land, it's de rigueur to do it the other way around. | 0:27:15 | 0:27:18 | |
River City has had its fair share of weans claiming Shieldinch | 0:27:18 | 0:27:21 | |
literally as their rightful birthplace. | 0:27:21 | 0:27:24 | |
First of all we witnessed four generations in the one close, | 0:27:24 | 0:27:27 | |
as Gina's daughter Joanne gave birth to wee Franco on the stair landing. | 0:27:27 | 0:27:30 | |
-Mum, mum... -Oh, Joanne. | 0:27:30 | 0:27:33 | |
It's so sore, Mum! | 0:27:35 | 0:27:37 | |
OK, OK. | 0:27:38 | 0:27:40 | |
Here we go. One, two, three... | 0:27:40 | 0:27:43 | |
I felt as if I was giving birth and I always remember walking away | 0:27:43 | 0:27:46 | |
at the end of it thinking, "I'm never giving birth." | 0:27:46 | 0:27:49 | |
-Come on! Come on! -SHE SCREAMS | 0:27:49 | 0:27:52 | |
"Push! Push!" | 0:27:54 | 0:27:57 | |
And this massive baby appearing. | 0:27:57 | 0:28:00 | |
THEY LAUGH EXCITEDLY | 0:28:01 | 0:28:03 | |
Oh, my goodness, he's a big boy. | 0:28:07 | 0:28:10 | |
Next up was Scarlett going into labour in the Oyster Cafe | 0:28:10 | 0:28:14 | |
-on Christmas Day. -PANTING | 0:28:14 | 0:28:16 | |
-Are you all right? -No, Jimmy, I'm having a wean. | 0:28:16 | 0:28:19 | |
-I know that. -No, what I mean is, I'm having a wean the now. | 0:28:19 | 0:28:23 | |
"Jimmy, I'm having a wean!" He goes, "I know you're having a wean," | 0:28:23 | 0:28:27 | |
"No, but I'm having it right now!" | 0:28:27 | 0:28:29 | |
Jimmy, pull over! It's coming! | 0:28:29 | 0:28:32 | |
-You're going to have to hang on. -I cannae! I mean it! Stop! | 0:28:32 | 0:28:37 | |
-Hang on, Scarlett, we'll be there in a couple of minutes. -Aaah! | 0:28:37 | 0:28:40 | |
Scarlett's getting swung round | 0:28:40 | 0:28:42 | |
all the corners and eventually ends up on the floor of the taxi | 0:28:42 | 0:28:46 | |
and Jimmy comes in, and the next minute - pop. | 0:28:46 | 0:28:48 | |
SHE SCREAMS | 0:28:48 | 0:28:49 | |
MUSIC: "All I Want For Christmas Is You" | 0:28:49 | 0:28:52 | |
BABY CRYING | 0:28:54 | 0:28:56 | |
A wee lassie. | 0:28:56 | 0:28:57 | |
A beautiful wee lassie. | 0:28:59 | 0:29:00 | |
Have you thought of a name yet? | 0:29:01 | 0:29:03 | |
How about wee Madonna? | 0:29:05 | 0:29:06 | |
She sounds like a wee Madonna. | 0:29:08 | 0:29:10 | |
This is why it was such an amazing Christmas Day episode, | 0:29:10 | 0:29:14 | |
because it's Madonna, the baby's name, it's Christmas Day, | 0:29:14 | 0:29:17 | |
she's been born in a taxi. It was TV gold. | 0:29:17 | 0:29:20 | |
That's exactly what you want to watch on Christmas Day. | 0:29:20 | 0:29:22 | |
Even Eileen got in on the act | 0:29:22 | 0:29:24 | |
with a late baby to her original husband Raymond. | 0:29:24 | 0:29:27 | |
Poor Eileen had locked herself in the toilet above the Tall Ship | 0:29:27 | 0:29:30 | |
and yes, you've guessed it, went into labour, again on Christmas Day. | 0:29:30 | 0:29:33 | |
Well, don't just stand there! | 0:29:33 | 0:29:35 | |
Right, come on, it's going to be all right. Let's get you up. | 0:29:35 | 0:29:39 | |
Don't talk to me in that namby-pamby voice. | 0:29:39 | 0:29:41 | |
She doesn't want to hear that nice, reasonable, "keep breathing" person, | 0:29:41 | 0:29:44 | |
she wants everyone to do what she wants them to do right now! | 0:29:44 | 0:29:47 | |
Raymond, get me to the hospital. Now. | 0:29:47 | 0:29:49 | |
After all that high drama, baby Stuart arrived safe and sound, | 0:29:49 | 0:29:53 | |
Eileen and Raymond's third child together. | 0:29:53 | 0:29:56 | |
We've had two Christmas babies, wee Madonna and baby Stuie. | 0:29:56 | 0:30:00 | |
Having a baby should be joy and happiness, | 0:30:00 | 0:30:02 | |
but for Ruth, it brought her back to a familiar dark path | 0:30:02 | 0:30:06 | |
of madness and paranoia. | 0:30:06 | 0:30:08 | |
After a horrendous fallout with yours truly, | 0:30:08 | 0:30:11 | |
feeling alone and dejected, | 0:30:11 | 0:30:13 | |
poor Ruth went into labour all on her own. | 0:30:13 | 0:30:15 | |
She was in the flat all alone in the darkness | 0:30:16 | 0:30:20 | |
and went into labour | 0:30:20 | 0:30:22 | |
and just completely ignored it. | 0:30:22 | 0:30:24 | |
I think that was the start of her complete breakdown, I suppose. | 0:30:24 | 0:30:29 | |
TV ON | 0:30:29 | 0:30:31 | |
SHE WEEPS | 0:30:36 | 0:30:38 | |
I think she was kind of detached from reality at that point | 0:30:38 | 0:30:42 | |
and went through the whole agonising labour on her own. | 0:30:42 | 0:30:46 | |
Neighbour Shirley Henderson heard the commotion and raised the alarm. | 0:30:46 | 0:30:50 | |
-Anything? -No, nothing. We've phoned, we've called through. | 0:30:50 | 0:30:53 | |
Ruth. | 0:30:55 | 0:30:56 | |
-Ruth! -Ruth! It's Shirley! | 0:30:56 | 0:30:59 | |
Oh! | 0:30:59 | 0:31:00 | |
And there they found Ruth | 0:31:00 | 0:31:03 | |
in what can only be described as a catatonic state, | 0:31:03 | 0:31:07 | |
half on the couch, half on the floor. | 0:31:07 | 0:31:08 | |
There was just a mess everywhere and then Shirley looked over... | 0:31:08 | 0:31:12 | |
Scott. | 0:31:12 | 0:31:13 | |
..and there was a little baby and the episode ended. | 0:31:13 | 0:31:17 | |
Was it a foetus, was the baby alive or what? | 0:31:17 | 0:31:22 | |
Very dramatic. | 0:31:22 | 0:31:24 | |
Oh, poor Ruth, beautifully played by Morag Calder over the years, | 0:31:24 | 0:31:28 | |
Ruth swung in and out of her borderline personality disorder | 0:31:28 | 0:31:31 | |
with monotonous regularity, and the results were horrific. | 0:31:31 | 0:31:34 | |
No-one was immune from Ruth's fury, | 0:31:37 | 0:31:40 | |
especially her sister. And when she blew her top | 0:31:40 | 0:31:42 | |
and you got in her way, look out. | 0:31:42 | 0:31:44 | |
I had massive padding on | 0:31:48 | 0:31:51 | |
so that Morag, the actress playing Ruth, | 0:31:51 | 0:31:54 | |
could really go to town kicking me. | 0:31:54 | 0:31:57 | |
I think Morag was probably taking out a bit of frustration | 0:31:57 | 0:32:01 | |
out on me as well when she was giving me those wee kicks. | 0:32:01 | 0:32:04 | |
She even pushed her own mother down the stairs. | 0:32:05 | 0:32:09 | |
You bitch! | 0:32:09 | 0:32:11 | |
You've ruined everything for me! | 0:32:11 | 0:32:13 | |
She's white with rage and she just launches her mother, | 0:32:13 | 0:32:18 | |
launches her mother down the stairs. | 0:32:18 | 0:32:20 | |
Ruth! | 0:32:21 | 0:32:24 | |
I always remember that and Gina just lying at the bottom, motionless. | 0:32:26 | 0:32:30 | |
I didn't know if she was dead or not. | 0:32:30 | 0:32:32 | |
Gina did make a full recovery | 0:32:32 | 0:32:34 | |
but years later when Ruth found out that her good husband Marty | 0:32:34 | 0:32:37 | |
had been playing around with Iona, | 0:32:37 | 0:32:39 | |
all hell broke loose, and Iona was right in the firing line. | 0:32:39 | 0:32:44 | |
Iona was trying to apologise, so she comes walking up and Ruth's outside | 0:32:44 | 0:32:49 | |
the Portakabin and Ruth, to be fair, gave her quite a few warnings, | 0:32:49 | 0:32:53 | |
you know, "Shut up, don't talk to me." Because Iona was behind Ruth, | 0:32:53 | 0:32:57 | |
she didn't see the look in her eyes which should have warned her. | 0:32:57 | 0:33:00 | |
Will you shut up?! | 0:33:00 | 0:33:02 | |
IONA SCREAMS | 0:33:02 | 0:33:05 | |
Ruth, no! | 0:33:06 | 0:33:08 | |
That's for the baby. Don't you ever, ever... | 0:33:08 | 0:33:11 | |
Stop it, you're going to kill her! | 0:33:11 | 0:33:13 | |
Ruth, stop this! | 0:33:13 | 0:33:15 | |
Iona! | 0:33:15 | 0:33:17 | |
Oh, darling, that's not the answer! | 0:33:17 | 0:33:20 | |
Somebody phone an ambulance. | 0:33:20 | 0:33:22 | |
Now! | 0:33:22 | 0:33:23 | |
She did get quite crazy... | 0:33:23 | 0:33:25 | |
She did get...and violent. | 0:33:25 | 0:33:27 | |
After much heartache and grief, Ruth eventually was diagnosed. | 0:33:27 | 0:33:32 | |
Ruth was diagnosed with borderline personality disorder, | 0:33:34 | 0:33:38 | |
but she could also have periods where | 0:33:38 | 0:33:40 | |
she had long spells of normality and things were OK for her. | 0:33:40 | 0:33:43 | |
All of Ruth's mental instability culminated | 0:33:43 | 0:33:47 | |
in her daughter Eilidh being taken away from her. | 0:33:47 | 0:33:50 | |
What followed was a sterling performance with a huge impact. | 0:33:50 | 0:33:55 | |
I won't let you take my baby. | 0:33:55 | 0:33:57 | |
Ruth, darling, nobody wants to take Eilidh away from you. | 0:33:57 | 0:34:00 | |
Yes, you do, I heard you. Don't lie. | 0:34:00 | 0:34:02 | |
Ruth, we just want to get her back to the hospital. | 0:34:02 | 0:34:05 | |
Come on, darling, please. | 0:34:05 | 0:34:06 | |
I won't let you take her. | 0:34:06 | 0:34:09 | |
-She's going to go in the water! -Ruth! -No! No, don't take my baby! | 0:34:10 | 0:34:15 | |
Mummy! | 0:34:15 | 0:34:16 | |
-No, don't take my baby! -It's OK. -No! | 0:34:16 | 0:34:20 | |
Ruth was finally sectioned. | 0:34:22 | 0:34:24 | |
Even her close family couldn't protect her from herself any more. | 0:34:24 | 0:34:28 | |
We thought it would be for the best... | 0:34:28 | 0:34:30 | |
if you went into hospital. | 0:34:30 | 0:34:33 | |
What? | 0:34:34 | 0:34:36 | |
I felt so sorry for her at that point, | 0:34:36 | 0:34:39 | |
and then, of course, being taken to the hospital | 0:34:39 | 0:34:41 | |
and being left in a room on her own, | 0:34:41 | 0:34:44 | |
and it was just...her world was broken. Completely. | 0:34:44 | 0:34:48 | |
And that was an incredible episode because it just ends | 0:34:51 | 0:34:54 | |
on a close-up of the eyes and I think everyone just felt for her. | 0:34:54 | 0:34:58 | |
The madness in Shieldinch was never far from the surface. | 0:34:58 | 0:35:01 | |
Sometimes characters were just incandescent with rage | 0:35:01 | 0:35:05 | |
and derangement. | 0:35:05 | 0:35:06 | |
The only way to vent their frustrations, | 0:35:06 | 0:35:08 | |
take their friends and family hostage! It is drama, after all. | 0:35:08 | 0:35:12 | |
Some incredible tense moments have been captured over the years | 0:35:12 | 0:35:15 | |
-with sterling performances from the actors involved. -Run, Nicki! | 0:35:15 | 0:35:20 | |
Any good drama worth its salt needs a healthy doze of deceit, | 0:35:20 | 0:35:23 | |
affairs and betrayals. | 0:35:23 | 0:35:25 | |
They really are a basic ingredient. River City had them all. | 0:35:25 | 0:35:29 | |
Sprinkle on top some beautiful performances and you're on to a winner. | 0:35:29 | 0:35:33 | |
Now who would have thought that Paul Robinson from Neighbours | 0:35:33 | 0:35:36 | |
could be an evil rapist? Not long after his arrival | 0:35:36 | 0:35:39 | |
in Shieldinch, the paediatrician doctor Marcus McKenzie, | 0:35:39 | 0:35:42 | |
played by Stefan Dennis, started to wreak havoc. | 0:35:42 | 0:35:45 | |
The audience in the beginning thought, "Oh, Gina's finally found | 0:35:45 | 0:35:49 | |
"somebody nice, she's got on the right track, a doctor," | 0:35:49 | 0:35:52 | |
and all of this, but he had this vile streak beneath. | 0:35:52 | 0:35:56 | |
Marcus finally showed his true colours | 0:35:56 | 0:35:59 | |
and poor Gina got a dreadful birthday shock. | 0:35:59 | 0:36:03 | |
Marcus, don't! | 0:36:03 | 0:36:04 | |
Covering his tracks well, the good doctor - I use the term loosely - | 0:36:08 | 0:36:12 | |
started a love affair with Heather Bellshaw. | 0:36:12 | 0:36:15 | |
He was a very horrible man who raped Gina, had a wee pop at Ruth | 0:36:15 | 0:36:21 | |
and then set his sights on Heather - silly man. | 0:36:21 | 0:36:24 | |
But mud sticks, and the rape accusation wouldn't go away. | 0:36:24 | 0:36:28 | |
Ultimately, this conniving Aussie picked the wrong girl | 0:36:29 | 0:36:32 | |
to tussle with. | 0:36:32 | 0:36:34 | |
Watch this space. | 0:36:34 | 0:36:36 | |
Now, it's complicated, so stay with me. | 0:36:36 | 0:36:39 | |
Hairstylist Billy Davies was married to Della, Shirley's daughter. | 0:36:39 | 0:36:42 | |
They came back from Spain to run Moda Vida. | 0:36:42 | 0:36:44 | |
He then started an affair | 0:36:44 | 0:36:46 | |
with Joanne, who wasn't exactly whiter than white. | 0:36:46 | 0:36:49 | |
She had started seeing Luca, a gorgeous Italian, | 0:36:49 | 0:36:52 | |
Franco's long-lost son - yes, that's right, her half-brother. Or was he? | 0:36:52 | 0:36:57 | |
At the eleventh hour, she found out he wasn't her half-brother at all. | 0:36:57 | 0:37:00 | |
The romance flourished, Joanne got pregnant | 0:37:01 | 0:37:04 | |
and you've guessed it, Billy thought he was the father. | 0:37:04 | 0:37:07 | |
Wrong, Billy! It was Luca. | 0:37:07 | 0:37:09 | |
Billy, of course, found out about this betrayal and went off his head. | 0:37:09 | 0:37:14 | |
-You're a tramp! -No, Billy. | 0:37:17 | 0:37:19 | |
You're a tramp. | 0:37:19 | 0:37:21 | |
-A disgusting, sick tramp. -No! -No? | 0:37:21 | 0:37:24 | |
What bit? Cos you slept with your brother. That's quite sick, isn't it? | 0:37:24 | 0:37:28 | |
No, you don't understand! | 0:37:28 | 0:37:30 | |
All of this boiled over in a showdown in Billy and Della's flat. | 0:37:30 | 0:37:33 | |
-Where are they? I said where are they?! -Get out of here! | 0:37:33 | 0:37:37 | |
-I'm not leaving without my son. -GINA SCREAMS | 0:37:37 | 0:37:40 | |
-Do you want to tell her? Or will I? -Please don't do this. | 0:37:40 | 0:37:43 | |
What did Luca mean about his son? | 0:37:43 | 0:37:45 | |
Luca's just been punched | 0:37:45 | 0:37:46 | |
so Gina goes straight into her, "Oh, my Luca," | 0:37:46 | 0:37:50 | |
and wants to dab up the blood | 0:37:50 | 0:37:52 | |
and look after Luca, and within the same split second | 0:37:52 | 0:37:57 | |
she finds out that Luca and Jo have been getting down. | 0:37:57 | 0:38:00 | |
My baby, Mum... | 0:38:00 | 0:38:02 | |
..Billy's not the father. | 0:38:03 | 0:38:05 | |
So who is, then? | 0:38:06 | 0:38:08 | |
I do remember actually turning round to look at him | 0:38:14 | 0:38:16 | |
and having my hands on him and then that kind of, you know, | 0:38:16 | 0:38:20 | |
not thought-through thing, but just kind of, you know, | 0:38:20 | 0:38:23 | |
I don't even know if I pushed him a bit. | 0:38:23 | 0:38:25 | |
Joanne left with Luca, Romeo and Franco into the Italian sunset. | 0:38:25 | 0:38:30 | |
And poor Billy was left greetin' his eyes out. | 0:38:30 | 0:38:33 | |
He thought it was just going to be a wonderful life and... | 0:38:34 | 0:38:37 | |
IMITATES DEMOLITION | 0:38:37 | 0:38:39 | |
..crashing down. | 0:38:39 | 0:38:41 | |
Poor Billy. | 0:38:41 | 0:38:43 | |
Poor Alice didn't really have an easy time | 0:38:43 | 0:38:45 | |
in Shieldinch from day one. | 0:38:45 | 0:38:47 | |
If she wasn't drunk, she was trying her darnedest to get drunk | 0:38:47 | 0:38:50 | |
and was also not very lucky in the love department. | 0:38:50 | 0:38:53 | |
However, things started to look up for Alice and she fell in love | 0:38:53 | 0:38:56 | |
with her old flame Mac. | 0:38:56 | 0:38:58 | |
They set up home together and Deek finally accepts him as well | 0:38:58 | 0:39:03 | |
and then we take on board two kind of stray children. | 0:39:03 | 0:39:08 | |
But the happiness didn't last long. | 0:39:08 | 0:39:11 | |
Mac betrayed Alice big-style, having an affair with teenager Zoe. | 0:39:11 | 0:39:16 | |
Zoe? | 0:39:17 | 0:39:20 | |
You mean our Zoe? | 0:39:20 | 0:39:21 | |
No. No, tell me that's not true. | 0:39:23 | 0:39:26 | |
We fell in love. | 0:39:26 | 0:39:28 | |
You're having an affair with her? | 0:39:30 | 0:39:33 | |
We're...we're going to go away for a while. Make things easy. | 0:39:33 | 0:39:38 | |
It really breaks Alice's heart | 0:39:38 | 0:39:39 | |
to find out that's he's basically gone off | 0:39:39 | 0:39:43 | |
and been has been having an affair with this 16-year-old girl | 0:39:43 | 0:39:46 | |
that Alice is really like a mother to. | 0:39:46 | 0:39:48 | |
-How could you do this to me?! -Stop it. | 0:39:51 | 0:39:54 | |
-How could you do this to me?! -Don't do this! | 0:39:54 | 0:39:57 | |
Ultimately, Alice could only find solace in her old friend the booze, | 0:39:59 | 0:40:03 | |
goes off the rails | 0:40:03 | 0:40:05 | |
and get's off with her son's best pal, Shell Suit Bob. | 0:40:05 | 0:40:08 | |
The ardent steamy affairs in Shieldinch were not just restricted | 0:40:10 | 0:40:14 | |
to a heterosexual nature. | 0:40:14 | 0:40:15 | |
Yes, Scott, who only ever wished for a soulmate and dream boyfriend | 0:40:15 | 0:40:19 | |
learnt the hard way - it's not all chocolates and roses. | 0:40:19 | 0:40:22 | |
Early on there was Dan - Sanjay from EastEnders, | 0:40:22 | 0:40:24 | |
-for those who are interested. -I'll give you "open relationship"! | 0:40:24 | 0:40:27 | |
"Open relationship" is another language to Scott, | 0:40:27 | 0:40:30 | |
and Dan soon got short shrift. | 0:40:30 | 0:40:32 | |
Then Scarlett's very own wayward son Stevie couldn't make up his mind | 0:40:33 | 0:40:37 | |
if he wanted to snog Scott or lamp him one. | 0:40:37 | 0:40:40 | |
But Scott did eventually find true love. | 0:40:40 | 0:40:43 | |
Just one problem - he was married. | 0:40:43 | 0:40:46 | |
Oh, and he was a detective high up in the police. And he had two kids. | 0:40:46 | 0:40:50 | |
One thing Shieldinch has witnessed its fair share of - | 0:40:51 | 0:40:54 | |
shocking murders. | 0:40:54 | 0:40:56 | |
Eddie was preparing a special event for boyfriend Scott | 0:40:56 | 0:41:00 | |
when bang, he was no more. | 0:41:00 | 0:41:02 | |
And little did poor Scott know that Eddie was about to propose to him. | 0:41:11 | 0:41:15 | |
Shieldinch just missed out on its very first civil partnership. | 0:41:15 | 0:41:19 | |
This is yours, Scott. | 0:41:22 | 0:41:23 | |
Eddie wanted you to have it. | 0:41:25 | 0:41:28 | |
'She produces the ring that she had in her handbag, the ring that Eddie | 0:41:28 | 0:41:32 | |
'was going to propose with that Scott didn't know about. | 0:41:32 | 0:41:35 | |
'And that was really interesting to play' | 0:41:35 | 0:41:38 | |
because she could've withheld that, she could've kept hold if it. | 0:41:38 | 0:41:41 | |
But she had reached a point where that would have hurt her more. | 0:41:41 | 0:41:44 | |
She wants Scott to know just how much Eddie loved him. | 0:41:44 | 0:41:48 | |
Who killed Eddie Hunter? | 0:41:50 | 0:41:52 | |
Well, I think Lenny Murdoch was definitely involved. | 0:41:52 | 0:41:55 | |
He might not have pulled the trigger, | 0:41:55 | 0:41:57 | |
but he was absolutely behind the shooting of Eddie, in my mind. | 0:41:57 | 0:42:02 | |
I can't prove it, obviously, but I have a feeling. | 0:42:03 | 0:42:06 | |
One murder that will go down in the annals of Shieldinch's most dramatic | 0:42:07 | 0:42:12 | |
was the stabbing of Dr Marcus McKenzie by Heather Bellshaw. | 0:42:12 | 0:42:15 | |
No! | 0:42:15 | 0:42:17 | |
Joanne wanted to get revenge for her mother's rape, made a mad dash | 0:42:17 | 0:42:21 | |
for the hospital | 0:42:21 | 0:42:23 | |
and was met with a scene of devastation. | 0:42:23 | 0:42:25 | |
She runs in after Heather's left and... | 0:42:25 | 0:42:28 | |
..it was quite funny to film, you pull out the knife... | 0:42:30 | 0:42:34 | |
It was always ambiguous who did kill Marcus, | 0:42:34 | 0:42:38 | |
because Heather stabs him | 0:42:38 | 0:42:40 | |
and Joanne pulls it out and pulling it out obviously killed him. | 0:42:40 | 0:42:44 | |
Heather stabbed him, | 0:42:48 | 0:42:50 | |
but Joanne pulled it out, which actually killed him, | 0:42:50 | 0:42:53 | |
so Joanne Rossi killed Marcus McKenzie, not Heather Bellshaw. | 0:42:53 | 0:42:56 | |
So I'm actually, Joanne is down as killing Marcus McKenzie, | 0:42:56 | 0:43:01 | |
and good on her. | 0:43:01 | 0:43:03 | |
Cats have nine lives. Archie Buchanan had just the two. | 0:43:04 | 0:43:08 | |
Sleekit Archie was planning to leave Gina | 0:43:08 | 0:43:10 | |
and flee the country with nefarious Nieve Corrigan. | 0:43:10 | 0:43:13 | |
Liz found the letters and the passports | 0:43:13 | 0:43:15 | |
and a massive confrontation ensued. | 0:43:15 | 0:43:17 | |
-Gina! Where is Gina?! -Shut up! | 0:43:17 | 0:43:21 | |
-Gina! -Shut up! | 0:43:21 | 0:43:23 | |
Now listen. This is what's going to happen. | 0:43:23 | 0:43:27 | |
I am leaving now | 0:43:27 | 0:43:29 | |
and you are not going to stop me. All right? | 0:43:29 | 0:43:32 | |
Gina came hurtling down the stairs in her dressing gown. | 0:43:32 | 0:43:35 | |
And they confront Archie. And... | 0:43:35 | 0:43:38 | |
being Archie, he basically just thinks, "They're in my way." | 0:43:38 | 0:43:41 | |
-I'm warning you! -Archie, no! | 0:43:41 | 0:43:44 | |
Shut up, just shut up! | 0:43:44 | 0:43:46 | |
-Get out my way. -No, you're not leaving me. | 0:43:48 | 0:43:51 | |
Liz, in a moment of panic, rushed to the mantelpiece in the hall | 0:43:51 | 0:43:56 | |
and picked up the urn which held her dead husband's ashes | 0:43:56 | 0:44:01 | |
and smashed it over Archie. | 0:44:01 | 0:44:03 | |
Let me go! | 0:44:03 | 0:44:05 | |
Stop it! Stop it, Richard! | 0:44:05 | 0:44:08 | |
SHE CHOKES | 0:44:10 | 0:44:11 | |
-You stupid old bitch. -Get away from me! | 0:44:14 | 0:44:18 | |
Basically, Liz saves Gina's life | 0:44:20 | 0:44:22 | |
and Archie falls on the grate | 0:44:22 | 0:44:26 | |
and the next thing, we've got dead Archie lying | 0:44:26 | 0:44:30 | |
with his head in the fireplace | 0:44:30 | 0:44:32 | |
with a big bruise from the urn and two women going, "Oh, my God, what have we done?" | 0:44:32 | 0:44:36 | |
What to do, what on earth to do? | 0:44:36 | 0:44:40 | |
And what did they do? Gina phoned her big sister Eileen. | 0:44:40 | 0:44:43 | |
Eileen didn't want to help at all, | 0:44:44 | 0:44:46 | |
but your sister's in crisis, what else can you do? | 0:44:46 | 0:44:49 | |
And then Gina, Eileen and Liz had blood on their hands | 0:44:49 | 0:44:52 | |
or so they thought, when they all colluded in a plan | 0:44:52 | 0:44:54 | |
to tip Archie's body off a remote country cliff. | 0:44:54 | 0:44:57 | |
High drama indeed! | 0:44:57 | 0:44:59 | |
No! | 0:45:00 | 0:45:03 | |
Liz, stop it, calm down! | 0:45:03 | 0:45:04 | |
Stop it! | 0:45:07 | 0:45:08 | |
Liz was a gibbering wreck by this time. | 0:45:08 | 0:45:10 | |
We didn't cope well with it, we were hysterical, it was the full, | 0:45:10 | 0:45:13 | |
the full tears, the full snotters, pushing him off that cliff. | 0:45:13 | 0:45:17 | |
Goodbye, Archie. | 0:45:17 | 0:45:18 | |
Just as the credits were about to roll, | 0:45:31 | 0:45:36 | |
you saw his hand move. | 0:45:36 | 0:45:38 | |
And the fingers curled on the stones. | 0:45:38 | 0:45:41 | |
IMITATES DRAMATIC MUSIC | 0:45:45 | 0:45:47 | |
Time for that second life of Archie's to come into play. | 0:45:47 | 0:45:50 | |
The Adams were having a lovely Christmas dinner in a posh country house, | 0:45:50 | 0:45:54 | |
Jimmy was just about to propose to Scarlett | 0:45:54 | 0:45:57 | |
when something unusual caught Scarlett's eye. | 0:45:57 | 0:46:00 | |
Archie?! | 0:46:00 | 0:46:01 | |
# And so you're back from outer space ... # | 0:46:01 | 0:46:04 | |
Yes, Archie had reappeared as an affable waiter called Douglas. | 0:46:04 | 0:46:09 | |
The bump off the cliff had erased his mind completely...apparently. | 0:46:09 | 0:46:13 | |
My favourite storyline was the whole mad Archie storyline | 0:46:15 | 0:46:20 | |
when he disappeared and came back as somebody really lovely, | 0:46:20 | 0:46:24 | |
and then he was Archie again. | 0:46:24 | 0:46:26 | |
I thought that was really, really well done. | 0:46:26 | 0:46:28 | |
Archie - sorry, Douglas - returned to Shieldinch one Christmas, | 0:46:28 | 0:46:32 | |
giving his mother the shock of her life. | 0:46:32 | 0:46:35 | |
MUSIC: "I Will Survive" by Gloria Gaynor | 0:46:35 | 0:46:38 | |
As a device for reintroducing Archie back into the show, | 0:46:40 | 0:46:44 | |
it was a very clever one, I think. | 0:46:44 | 0:46:46 | |
Totally implausible, but nonetheless very clever. | 0:46:46 | 0:46:50 | |
Douglas even asked Gina to marry him...again. | 0:46:50 | 0:46:53 | |
So basically here he was, the same bloke but just nicer, | 0:46:53 | 0:46:57 | |
you know, just a better version. | 0:46:57 | 0:46:59 | |
I just wanted it to work out for Gina, I didn't want him to turn back into Archie. | 0:46:59 | 0:47:03 | |
But, of course, unlucky in love as always she is, it was very sad, | 0:47:03 | 0:47:07 | |
so that was a cracking storyline, that really had me hooked. | 0:47:07 | 0:47:10 | |
However, in true soap fashion, after seeing his old lawyer colleague | 0:47:10 | 0:47:15 | |
Fi Kydd, Douglas/Archie's memory came flooding back | 0:47:15 | 0:47:20 | |
and the mask slipped. | 0:47:20 | 0:47:22 | |
The old, mean Archie Buchanan was back. | 0:47:22 | 0:47:27 | |
There's a moment when you saw Archie coming back behind the eyes. | 0:47:27 | 0:47:31 | |
It's you. | 0:47:33 | 0:47:34 | |
You've got your memory back. | 0:47:35 | 0:47:38 | |
You're... | 0:47:38 | 0:47:39 | |
..Archie again. | 0:47:40 | 0:47:42 | |
There's no way I believed from the beginning that he was ever Douglas. | 0:47:42 | 0:47:45 | |
I thought, "He knows exactly what he's doing." He played a good game. | 0:47:45 | 0:47:48 | |
He was convincing and he managed to convince Gina and everyone else, | 0:47:48 | 0:47:52 | |
but you knew at some point the mask was going to slip. | 0:47:52 | 0:47:54 | |
Was it Douglas with amnesia? | 0:47:54 | 0:47:57 | |
I would say it was... | 0:47:57 | 0:47:58 | |
..80% Archie and 20% Douglas. | 0:47:59 | 0:48:02 | |
Archie fell into the Shieldinch underworld, | 0:48:02 | 0:48:05 | |
and this time it was renowned bad boy Lenny Murdoch who sent out | 0:48:05 | 0:48:09 | |
one of his henchmen and had Archie killed. | 0:48:09 | 0:48:11 | |
Properly, this time. | 0:48:11 | 0:48:13 | |
In fact, many's a person has died at the hands of Lenny, | 0:48:13 | 0:48:17 | |
directly or otherwise, but just how many people has he murdered? | 0:48:17 | 0:48:22 | |
Just shut up! You don't even know what you're talking about! | 0:48:22 | 0:48:26 | |
How many deaths has Lenny been involved in? Absolutely none. | 0:48:26 | 0:48:30 | |
MUSIC: "Man's World" | 0:48:30 | 0:48:32 | |
There have been so many murders in Shieldinch that he's been | 0:48:32 | 0:48:35 | |
connected to. He's got to be on the Most Wanted list. | 0:48:35 | 0:48:37 | |
He's a cold-blooded killer, but he's ours. | 0:48:37 | 0:48:40 | |
He's our cold-blooded killer. | 0:48:41 | 0:48:43 | |
And his lovely wife Lydia, played by Jacqueline Leonard, | 0:48:43 | 0:48:47 | |
turned a blind eye to all of it, as long as the bling | 0:48:47 | 0:48:50 | |
and the hard cash was coming in. | 0:48:50 | 0:48:52 | |
A bit of advice, don't ever ask her where the money comes from | 0:48:52 | 0:48:56 | |
or what Lenny actually gets up to. | 0:48:56 | 0:48:58 | |
He provides for this family. And you. That's what he gets up to. | 0:48:58 | 0:49:02 | |
She likes the nice things in life | 0:49:03 | 0:49:05 | |
and she did turn a blind eye to a lot of his sort of dealings, | 0:49:05 | 0:49:11 | |
but I don't think she realised he actually murdered so many people. | 0:49:11 | 0:49:15 | |
I don't think she could quite have quite coped with that, | 0:49:15 | 0:49:18 | |
so she just sort of never spoke about it, really. | 0:49:18 | 0:49:22 | |
I am just a hard-working businessman trying to earn an honest crust. | 0:49:22 | 0:49:26 | |
Mm. And I'm Donatella Versace(!) | 0:49:26 | 0:49:29 | |
If you say so, darling. | 0:49:29 | 0:49:30 | |
This old school gangster really does rule the roost in Shieldinch, | 0:49:31 | 0:49:35 | |
but will he ever learn the difference between right and wrong? | 0:49:35 | 0:49:39 | |
You wouldn't know what was right if it slapped you in the face! | 0:49:39 | 0:49:42 | |
-I know one thing... -So will he ever change his ways and become part | 0:49:42 | 0:49:45 | |
-of the Shieldinch community? -'I think he feels he's part' | 0:49:45 | 0:49:49 | |
of the community, but I don't think they feel he's part of the community | 0:49:49 | 0:49:52 | |
and they're quite happy to have him at arm's length at all times, | 0:49:52 | 0:49:56 | |
which is probably wise. | 0:49:56 | 0:49:58 | |
In fact, you could argue that Shieldinch really is | 0:49:58 | 0:50:02 | |
-quite a dangerous place. -If you lived in Shieldinch, | 0:50:02 | 0:50:05 | |
you'd put your house up for sale and get out of there. | 0:50:05 | 0:50:07 | |
It's the most dangerous place. They say somewhere like Johannesburg is the most dangerous place - | 0:50:07 | 0:50:12 | |
no, you've never been to Shieldinch. | 0:50:12 | 0:50:14 | |
Just sometimes in drama, good people have to die. | 0:50:15 | 0:50:18 | |
It pulls at the heartstrings of the empathetic audience | 0:50:18 | 0:50:22 | |
and makes the ratings soar. | 0:50:22 | 0:50:24 | |
But some deaths are more spectacular than others. | 0:50:24 | 0:50:27 | |
Lenny's son Ewan fell to his death | 0:50:27 | 0:50:30 | |
from the scaffolding on Montego Street. OK, here's the background. | 0:50:30 | 0:50:33 | |
Lenny had taken his own son hostage. | 0:50:33 | 0:50:35 | |
Oh, don't ask, this family really did need some serious counselling. | 0:50:35 | 0:50:39 | |
But before he died, Ewan told Lenny some harsh home truths | 0:50:39 | 0:50:43 | |
which made Lydia's hair curl. | 0:50:43 | 0:50:46 | |
You can't turn me in. I'm the father of our child. Your family! | 0:50:46 | 0:50:51 | |
-Didn't save my mum, though, did it? -Shut up! | 0:50:51 | 0:50:53 | |
-He killed her. -Shut up, I said! -And he'll do the same to you. | 0:50:53 | 0:50:57 | |
He'll dump your body in the boat yard just like he dumped hers, | 0:50:57 | 0:50:59 | |
just like he dumped Archie's. How many more have you got in there, Dad? | 0:50:59 | 0:51:03 | |
From Lenny's point of view, he just feels totally betrayed | 0:51:03 | 0:51:06 | |
by his son and the rest of his family, | 0:51:06 | 0:51:09 | |
and Ewan climbed out onto the balcony... | 0:51:09 | 0:51:12 | |
because Lenny was threatening him and then we they realised | 0:51:12 | 0:51:16 | |
it's went too far, both Lenny and Lydia try to talk him back in. | 0:51:16 | 0:51:20 | |
I'm sorry. | 0:51:22 | 0:51:23 | |
-No! -Ewan! | 0:51:30 | 0:51:32 | |
So the big question remains. | 0:51:35 | 0:51:37 | |
Was he pushed and did Malcolm see something he shouldn't? | 0:51:37 | 0:51:40 | |
Or was it just an accidental fall after all? | 0:51:40 | 0:51:44 | |
Either way, Lydia made sure that Lenny took the rap for it. | 0:51:44 | 0:51:49 | |
Then, that's when Lydia just realises | 0:51:49 | 0:51:52 | |
he has to take responsibility for this, and she goes on | 0:51:52 | 0:51:56 | |
to blame Lenny for actually pushing Ewan, which he actually didn't. | 0:51:56 | 0:52:02 | |
Lydia told a big lie which put Lenny behind bars. | 0:52:02 | 0:52:06 | |
Lenny attended the funeral of his own son with handcuffs on. | 0:52:07 | 0:52:10 | |
For the first time ever, audiences witnessed a very emotional side | 0:52:10 | 0:52:14 | |
to Lenny Murdoch. | 0:52:14 | 0:52:16 | |
That should be me lying in there, not you. God.... | 0:52:20 | 0:52:23 | |
That whole emotion just came out in that speech. | 0:52:23 | 0:52:28 | |
Actually I'm getting a little bit choked thinking about it now, | 0:52:28 | 0:52:30 | |
cos, of course, we all left then, the whole family. | 0:52:30 | 0:52:34 | |
That was our story to go, really. | 0:52:34 | 0:52:37 | |
Stunts like falling from heights, | 0:52:37 | 0:52:39 | |
car crashes and explosions have been embraced | 0:52:39 | 0:52:41 | |
by the River City production team and crew | 0:52:41 | 0:52:43 | |
over the years, and still now continue to provide pivotal moments | 0:52:43 | 0:52:47 | |
in the drama's throughline. | 0:52:47 | 0:52:49 | |
Recently, the team have been filming an incident involving | 0:52:49 | 0:52:52 | |
the character Deek Henderson, | 0:52:52 | 0:52:53 | |
culminating in a spectacular road accident. | 0:52:53 | 0:52:57 | |
Will! Hey! | 0:52:58 | 0:53:01 | |
TYRES SCREECH | 0:53:01 | 0:53:02 | |
And to make the tenth anniversary go with a bang, | 0:53:08 | 0:53:11 | |
an impressive explosion in the Tall Ship Bar. | 0:53:11 | 0:53:15 | |
These current stunts are just following a long line | 0:53:16 | 0:53:19 | |
of River City casualties, catastrophes and calamities. | 0:53:19 | 0:53:23 | |
But some of you River City buffs might remember Moira Henderson, | 0:53:23 | 0:53:27 | |
George's first wife, exploding in a horrible car crash | 0:53:27 | 0:53:30 | |
at the bottom of Montego Street. | 0:53:30 | 0:53:32 | |
This was River City's first ever stunt. | 0:53:32 | 0:53:35 | |
Moira! | 0:53:42 | 0:53:45 | |
Who can forget Roisin and Raymond's mad dash from the exploding caravan | 0:53:45 | 0:53:49 | |
with her daughter Alana's drunk, evil father inside it? | 0:53:49 | 0:53:52 | |
And Scarlett's very own Bubba dramatically falling | 0:53:54 | 0:53:58 | |
into the River Clyde. | 0:53:58 | 0:54:00 | |
Now, faces come and faces go, and when your number's up in Shieldinch, | 0:54:00 | 0:54:05 | |
it's time to go, through a variety of ways. | 0:54:05 | 0:54:08 | |
Joanne Rossi favoured the more conventional way, leaving with Luca | 0:54:08 | 0:54:12 | |
in a taxi round the corner. | 0:54:12 | 0:54:14 | |
That girl had had her fill of Shieldinch... | 0:54:14 | 0:54:18 | |
but was to come back years later with a different face. | 0:54:18 | 0:54:22 | |
Joanne? | 0:54:22 | 0:54:24 | |
Hello, Mum. | 0:54:25 | 0:54:27 | |
And then Joanne came back and looked better. | 0:54:27 | 0:54:30 | |
Now, Kelly-Marie has been back and forward like a yo-yo. | 0:54:31 | 0:54:34 | |
Oh, look who's back! | 0:54:34 | 0:54:36 | |
I'm leaving. Today. | 0:54:36 | 0:54:39 | |
Yes, after a fling with a footballer, | 0:54:39 | 0:54:41 | |
she left for a second time with the local priest. | 0:54:41 | 0:54:44 | |
She then ditched the man of the cloth | 0:54:44 | 0:54:47 | |
and, after a short liaison with Ewan Murdoch, | 0:54:47 | 0:54:49 | |
left for third time - again in a taxi. | 0:54:49 | 0:54:51 | |
Now she's back, this time with a son in tow. | 0:54:51 | 0:54:54 | |
Yep, that's right, Scarlett's and Lenny Murdoch's grandson. | 0:54:54 | 0:54:58 | |
With such a strong bond and friendship, | 0:54:58 | 0:55:01 | |
it was only fitting that Ruth and Scott would leave together | 0:55:01 | 0:55:04 | |
to be a happy family of sorts, but without Gina's blessing. | 0:55:04 | 0:55:07 | |
Just at the last minute, Gina comes running through | 0:55:08 | 0:55:11 | |
and says a big farewell and everything's OK, it's OK to go. | 0:55:11 | 0:55:17 | |
They'd gone through the gamut of emotions | 0:55:17 | 0:55:19 | |
with just a litany of events, and I think | 0:55:19 | 0:55:22 | |
it was maybe time to close the chapter | 0:55:22 | 0:55:24 | |
and open a new chapter somewhere else. | 0:55:24 | 0:55:26 | |
Oh, poor Gina. Don't worry, we're doing just fine in lovely Yorkshire. | 0:55:26 | 0:55:30 | |
But do you know what, looking back over the ten years, | 0:55:31 | 0:55:35 | |
it's not always been doom and gloom in Shieldinch. | 0:55:35 | 0:55:37 | |
You dancer! | 0:55:37 | 0:55:40 | |
Roisin's joy was palpable for all to see when she won the Lottery, | 0:55:40 | 0:55:44 | |
lost the ticket, then found it again. | 0:55:44 | 0:55:47 | |
The whole cast camped it up in the Shieldinch pantomime. | 0:55:47 | 0:55:49 | |
Johnny Beattie, of course, played a blinder as the dame. | 0:55:49 | 0:55:53 | |
Hello, boys and girls! | 0:55:53 | 0:55:54 | |
-ALL: -Hello! | 0:55:54 | 0:55:57 | |
That's more like it. | 0:55:57 | 0:55:58 | |
And Scarlett got quite the eyeful on her hen night | 0:56:00 | 0:56:03 | |
with a sexy male stripper, | 0:56:03 | 0:56:04 | |
# Celebrate good times... # | 0:56:04 | 0:56:06 | |
And what about Liz's hen night? | 0:56:06 | 0:56:08 | |
When those Shieldinch girls get together, look out! | 0:56:08 | 0:56:12 | |
The Adams-Mullins had quite the penchant for dressing up at Christmas, | 0:56:14 | 0:56:18 | |
or any other time of year, for that matter. | 0:56:18 | 0:56:20 | |
And Raymond made a sterling effort to emulate his idol. | 0:56:20 | 0:56:24 | |
Shame the real Elvis didn't make it to Shieldinch, | 0:56:24 | 0:56:27 | |
but a few other famous faces did. | 0:56:27 | 0:56:29 | |
And so the going's on of the good people of Shieldinch | 0:56:29 | 0:56:32 | |
continue to enthral the Scottish nation. | 0:56:32 | 0:56:35 | |
Plenty of fresh new faces have taken up the challenge | 0:56:35 | 0:56:39 | |
of some strong, innovative story lines. | 0:56:39 | 0:56:42 | |
Today's audiences follow the antiques of Robbie the hairdresser, | 0:56:42 | 0:56:45 | |
a harmless soul with a zest for life | 0:56:45 | 0:56:48 | |
and a boyfriend with a rather heavy hand. | 0:56:48 | 0:56:51 | |
Big Bob, Scarlett's brother, and his battle against his weight... | 0:56:51 | 0:56:56 | |
and a bossy maw. | 0:56:56 | 0:56:58 | |
Wide boy Gabriel and his on/off affair with his sister-in-law Leyla, | 0:56:58 | 0:57:03 | |
who is a little bit too fond of the booze. | 0:57:03 | 0:57:05 | |
Lots of doctors who come and go like the buses. | 0:57:07 | 0:57:10 | |
There's never one when you need one - they all come at once. | 0:57:10 | 0:57:14 | |
Of course, there's still some of the show's original characters in there too. | 0:57:14 | 0:57:18 | |
Gina and Eileen fall in and out with each other all the time, | 0:57:18 | 0:57:22 | |
but they never forget their sisterly bond, and blood's thicker than water. | 0:57:22 | 0:57:26 | |
Eileen's back with the devil she knows in Raymond | 0:57:27 | 0:57:31 | |
and living above the pub...for now. | 0:57:31 | 0:57:34 | |
Scarlett continues to reign over the firm, keeping Jimmy, Bubba | 0:57:34 | 0:57:39 | |
and the rest of them in line. | 0:57:39 | 0:57:41 | |
A setback with cancer has given her a renewed lust for life | 0:57:41 | 0:57:44 | |
and mischief - watch this space. | 0:57:44 | 0:57:47 | |
And let's not forget the chilling legend that is Lenny Murdoch. | 0:57:48 | 0:57:52 | |
Will he add any more to the death toll? Let's hope not. | 0:57:52 | 0:57:55 | |
Their motto - the show must go on, and so it does, week in, week out. | 0:57:57 | 0:58:02 | |
One of the hardest-working crews in Scotland | 0:58:02 | 0:58:04 | |
and a cast of talented, dedicated actors all working together | 0:58:04 | 0:58:08 | |
for our viewing pleasure and giving us our weekly dose | 0:58:08 | 0:58:12 | |
of Shieldinch dramas. | 0:58:12 | 0:58:14 | |
Happy Birthday, River City - here's to the next ten years. | 0:58:19 | 0:58:23 | |
Happy birthday, River City. | 0:58:29 | 0:58:31 | |
Happy birthday, River City. | 0:58:36 | 0:58:38 | |
Happy anniversary, River City. | 0:58:43 | 0:58:45 | |
Happy birthday, River City! | 0:58:49 | 0:58:51 | |
Subtitles by Red Bee Media Ltd | 0:58:54 | 0:58:57 |