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Gregor Fisher has been making millions laugh for over 40 years. | 0:00:02 | 0:00:07 | |
-Argh! -LAUGHTER | 0:00:08 | 0:00:10 | |
Tell you one thing. | 0:00:12 | 0:00:13 | |
See Sunday mornings like these? | 0:00:13 | 0:00:15 | |
Makes you feel great | 0:00:15 | 0:00:16 | |
to be half alive, eh? LAUGHTER | 0:00:16 | 0:00:19 | |
Star of the most successful Scottish sitcom on British TV, | 0:00:19 | 0:00:23 | |
Gregor is best known as drunken philosopher Rab C Nesbitt. | 0:00:23 | 0:00:29 | |
Rab is actually the polar opposite of Gregor | 0:00:29 | 0:00:33 | |
and it's a wonderful acting performance | 0:00:33 | 0:00:35 | |
that people believe. | 0:00:35 | 0:00:36 | |
I'm not sitting here listening to the likes of that. | 0:00:36 | 0:00:39 | |
Behind the laughs is a versatile actor of both stage and screen. | 0:00:42 | 0:00:48 | |
Now unburden yourself of your worries... | 0:00:48 | 0:00:51 | |
..and be comforted. | 0:00:52 | 0:00:54 | |
Bumble is here. | 0:00:54 | 0:00:55 | |
I've never had my eye on comedy... | 0:00:55 | 0:00:58 | |
Cannae park here, son. Double yellow line. | 0:00:58 | 0:01:00 | |
..comedy's had its eye on me. | 0:01:00 | 0:01:03 | |
I'm a little fat chap | 0:01:03 | 0:01:05 | |
with a fairly mobile face. | 0:01:05 | 0:01:07 | |
But I always thought that I was more of a boy for the tragedy myself. | 0:01:07 | 0:01:12 | |
SEAT CLUNKS, CAMERA SHUTTER CLICKS | 0:01:12 | 0:01:15 | |
Gregor has recently delved into his family's past, | 0:01:16 | 0:01:19 | |
discovering tragedy, lies | 0:01:19 | 0:01:22 | |
and a story as remarkable as any fiction. | 0:01:22 | 0:01:25 | |
What Gregor has been through is... | 0:01:26 | 0:01:29 | |
What he has survived and what he has made of his life | 0:01:29 | 0:01:32 | |
is quite extraordinary. | 0:01:32 | 0:01:34 | |
This programme contains some strong language. | 0:01:35 | 0:01:42 | |
Gregor Fisher is on a very personal journey | 0:01:51 | 0:01:54 | |
to uncover long hidden family secrets. | 0:01:54 | 0:01:57 | |
In order to make sense of his complicated past, | 0:01:59 | 0:02:01 | |
he took what few clues he had to Times journalist Melanie Reid. | 0:02:01 | 0:02:07 | |
There you are. | 0:02:07 | 0:02:08 | |
My mother says that was her pride and joy. She loved that picture. | 0:02:08 | 0:02:13 | |
-You were, what, five, six? -Yeah, something like that, yeah. | 0:02:13 | 0:02:16 | |
-You do look very sweet. -Very sweet. | 0:02:16 | 0:02:19 | |
I think I posed for it. | 0:02:19 | 0:02:20 | |
I think I was a pain in the neck, actually, to be quite honest. | 0:02:20 | 0:02:23 | |
I was probably slightly disturbed or something | 0:02:23 | 0:02:25 | |
because I was a love child. | 0:02:25 | 0:02:27 | |
Um... HE LAUGHS | 0:02:27 | 0:02:29 | |
-But at that stage, you didn't know you were a love child. -No, I didn't. | 0:02:29 | 0:02:32 | |
-You didn't know anything. -I didn't know anything. | 0:02:32 | 0:02:34 | |
Before this little boy was four years old, | 0:02:38 | 0:02:41 | |
he had had three different sets of parents. | 0:02:41 | 0:02:43 | |
I knew that this story wasn't an easy one for him, | 0:02:44 | 0:02:48 | |
that it would take a lot of digging, | 0:02:48 | 0:02:50 | |
trying to find out stuff about people who were long gone, | 0:02:50 | 0:02:54 | |
whose lives have been quiet, anonymous lives | 0:02:54 | 0:02:57 | |
and these people don't leave many traces. | 0:02:57 | 0:02:59 | |
Gregor grew up on the outskirts of Glasgow | 0:03:06 | 0:03:08 | |
in the small town of Neilston | 0:03:08 | 0:03:11 | |
with his best friend, Johnny Monaghan. | 0:03:11 | 0:03:14 | |
-Here we are. -Great stuff. | 0:03:14 | 0:03:16 | |
-Back at Kirkhill Cottage. -I know. A new gate as well. | 0:03:16 | 0:03:19 | |
-That wouldn't have been here. -No, I don't remember that. | 0:03:19 | 0:03:22 | |
Gregor's childhood home is still occupied by an elderly relative. | 0:03:22 | 0:03:26 | |
This was the famous, wonderful... | 0:03:26 | 0:03:31 | |
-I don't... -..outdoor loo. | 0:03:31 | 0:03:33 | |
Do you remember? Did you ever avail yourself? | 0:03:33 | 0:03:35 | |
-I think I had to on one occasion. -More than you'd want, Johnny. | 0:03:35 | 0:03:37 | |
And... | 0:03:42 | 0:03:44 | |
-I've got to point you this way. -Right. | 0:03:44 | 0:03:46 | |
Do you see there? You can't... | 0:03:46 | 0:03:48 | |
-You can hardly see it for the tree. -Oh, I can see it. -But you see it? | 0:03:48 | 0:03:51 | |
That was Glasgow. That tree wasn't there. | 0:03:51 | 0:03:54 | |
-So, you'd have the whole thing. -And Glasgow was twinkling. | 0:03:54 | 0:03:56 | |
-I thought, "Oh, this is it. Died and gone to heaven." -Yeah. | 0:03:56 | 0:04:00 | |
-Let's go in. -Right. | 0:04:02 | 0:04:03 | |
-Here you are. Do you remember that? -Good God. | 0:04:06 | 0:04:08 | |
That's the dresser from the good room. | 0:04:08 | 0:04:11 | |
That's the dresser from the good room. | 0:04:11 | 0:04:13 | |
There's Wally dugs, as well. Do you remember the Wally dugs? | 0:04:13 | 0:04:15 | |
The Wally dugs used to sit on either side of the mantelpiece | 0:04:15 | 0:04:18 | |
in the good room. | 0:04:18 | 0:04:19 | |
That's a concept that just... | 0:04:19 | 0:04:21 | |
-There is no good room now, is there? -No, I don't... | 0:04:21 | 0:04:23 | |
-People don't have a good room. -No, that's it. | 0:04:23 | 0:04:25 | |
And the thing was that nobody ever used the good room. | 0:04:25 | 0:04:27 | |
No, you weren't allowed to use it. I don't know what it was used for. | 0:04:27 | 0:04:30 | |
-CLOCK TICKS Remember Sundays? -Yeah, yeah. | 0:04:30 | 0:04:33 | |
-Oh, Sundays were interminable. -I know. | 0:04:33 | 0:04:36 | |
-It's cos there was nothing open. -Tick. | 0:04:36 | 0:04:38 | |
Tick. Tick, tick, tick. That's right. | 0:04:38 | 0:04:40 | |
And then we used to come and play Ponnies through there. | 0:04:40 | 0:04:42 | |
-Do you remember Pontoon? -Gambling. | 0:04:42 | 0:04:44 | |
-Gambling. -Yes, I remember gambling. | 0:04:44 | 0:04:46 | |
Bible class, Sunday school, the church and then gambling. | 0:04:46 | 0:04:50 | |
-Marvellous. -THEY LAUGH | 0:04:50 | 0:04:52 | |
Gregor lived here with John and Cis Leckie, | 0:04:56 | 0:04:59 | |
the woman he knew as his mother. | 0:04:59 | 0:05:02 | |
She looked like somebody of my generation's grandmother. | 0:05:05 | 0:05:10 | |
She wore a wraparound pinny and she'd be doing something, | 0:05:10 | 0:05:12 | |
she'd be making something. | 0:05:12 | 0:05:14 | |
She'd be contributing to the wellbeing of her family. | 0:05:14 | 0:05:19 | |
That was her main concern in life. | 0:05:19 | 0:05:21 | |
I tell you what she was - she was fun. She was great fun... | 0:05:23 | 0:05:27 | |
..my mother. She was always up for a laugh. | 0:05:28 | 0:05:32 | |
She was a mother. | 0:05:32 | 0:05:35 | |
A mother with a capital M. | 0:05:35 | 0:05:37 | |
Gregor was 14 when his cosy world was turned upside down. | 0:05:41 | 0:05:45 | |
A christening was on its way | 0:05:47 | 0:05:49 | |
and as part of the chitchat about this and that, | 0:05:49 | 0:05:51 | |
I said, "Where was I christened?" | 0:05:51 | 0:05:53 | |
And there was a bit of a pause. | 0:05:54 | 0:05:56 | |
Um, so, I repeated the question. | 0:05:57 | 0:05:59 | |
My mother started busying herself, | 0:06:00 | 0:06:03 | |
asking if anybody would like any more tea or toast. | 0:06:03 | 0:06:06 | |
But I thought, "Hello. Something's... | 0:06:07 | 0:06:10 | |
"What's...? Something's not right here." | 0:06:10 | 0:06:12 | |
Um... | 0:06:14 | 0:06:15 | |
Anyway, with that thought in my head, I went to bed | 0:06:15 | 0:06:19 | |
and I thought no more about it | 0:06:19 | 0:06:20 | |
until there was a knock on my bedroom door, | 0:06:20 | 0:06:22 | |
a thing that was unheard of in my house. | 0:06:22 | 0:06:24 | |
You know, nobody knocked. | 0:06:24 | 0:06:26 | |
And my mother came in | 0:06:26 | 0:06:30 | |
and said that I had been adopted. | 0:06:30 | 0:06:34 | |
Um, and that... | 0:06:35 | 0:06:38 | |
Something, you know... | 0:06:40 | 0:06:41 | |
"Anyway, we look after you now." | 0:06:41 | 0:06:44 | |
And patted me on the head...twice. | 0:06:45 | 0:06:49 | |
I don't mean to paint a picture of a family that was unloving | 0:06:51 | 0:06:55 | |
because they weren't. | 0:06:55 | 0:06:58 | |
My mother was the most loving person I've ever met in my entire life. | 0:06:58 | 0:07:02 | |
But physical displays of affection were not the thing in those days, | 0:07:03 | 0:07:08 | |
so that was an extreme show of affection, | 0:07:08 | 0:07:11 | |
the pat-pat of the hair. | 0:07:11 | 0:07:13 | |
And that was the end of that. | 0:07:13 | 0:07:15 | |
I wasn't actually part of her. | 0:07:15 | 0:07:17 | |
Much to my shame, I wasn't very nice for some time after that. | 0:07:22 | 0:07:27 | |
She'd give me my breakfast in the morning, | 0:07:27 | 0:07:29 | |
cereal or something and I'd take the bowl and say, | 0:07:29 | 0:07:31 | |
"I don't want this" and... | 0:07:31 | 0:07:32 | |
You know, all that shit. Stupid arse idiot that I was. | 0:07:32 | 0:07:37 | |
He'd been sort of vaguely aware | 0:07:42 | 0:07:44 | |
that there were things in his vague memory | 0:07:44 | 0:07:47 | |
that said he wasn't exactly who he... | 0:07:47 | 0:07:49 | |
He couldn't possibly have been Cis's son | 0:07:49 | 0:07:51 | |
because she was old enough to be his grandmother. | 0:07:51 | 0:07:54 | |
He was distraught, but because she loved him dearly | 0:07:54 | 0:07:58 | |
and he adored her, he didn't want to rock the boat. | 0:07:58 | 0:08:02 | |
And, in fact, he just sort of stuck it away in his consciousness | 0:08:02 | 0:08:06 | |
and didn't think about it anymore. | 0:08:06 | 0:08:08 | |
SCHOOL BELL RINGS | 0:08:11 | 0:08:13 | |
School life for Gregor was just as tricky. | 0:08:14 | 0:08:17 | |
I knew for certain that school and academic life | 0:08:19 | 0:08:24 | |
was not the thing for me, really. | 0:08:24 | 0:08:27 | |
I got one O Level, by the way. | 0:08:28 | 0:08:30 | |
Art. Still life and embroidery. | 0:08:30 | 0:08:33 | |
A drone's life loomed before me. | 0:08:33 | 0:08:37 | |
He left school as soon as he could in 1969 at the age of 15. | 0:08:42 | 0:08:47 | |
So, off to work I went... | 0:08:50 | 0:08:52 | |
..in various jobs. | 0:08:53 | 0:08:56 | |
Making sticky tape that was exported all over the... | 0:08:56 | 0:08:59 | |
It seemed all to go to Africa, that sticky tape. I don't know why. | 0:08:59 | 0:09:03 | |
I didn't last very long there. | 0:09:03 | 0:09:06 | |
I went to Shanks in Barrhead, made lavatories. | 0:09:06 | 0:09:09 | |
Didn't care for that either. | 0:09:09 | 0:09:11 | |
Then I was a barman. Didn't last very long at that. | 0:09:11 | 0:09:16 | |
I had a job cutting grass and that didn't last very long | 0:09:16 | 0:09:20 | |
because I sat down on the job one day to have a fag | 0:09:20 | 0:09:22 | |
and was sacked on the spot. | 0:09:22 | 0:09:25 | |
So, I had to walk from Paisley to Neilston. | 0:09:26 | 0:09:29 | |
The walk of shame. | 0:09:31 | 0:09:32 | |
But there was one thing he could do well. | 0:09:36 | 0:09:38 | |
He knew how to entertain people. | 0:09:38 | 0:09:41 | |
At 18, he was old enough to apply for drama college. | 0:09:41 | 0:09:44 | |
The hour approacheth that I did an audition | 0:09:46 | 0:09:49 | |
at the Royal Scottish Academy of Music and Drama. | 0:09:49 | 0:09:51 | |
And, um... | 0:09:52 | 0:09:54 | |
..they let me in. | 0:09:55 | 0:09:57 | |
Gregor's family life was not so straightforward. | 0:10:05 | 0:10:08 | |
Unsolved mysteries from his past were resurfacing. | 0:10:10 | 0:10:13 | |
It wasn't, in fact, until he was 18 years old | 0:10:15 | 0:10:18 | |
when he got a letter from a complete stranger saying, | 0:10:18 | 0:10:21 | |
"You don't know me, but I'm your sister | 0:10:21 | 0:10:24 | |
"and my name is Maureen." | 0:10:24 | 0:10:26 | |
I went, "Oh? Really?" | 0:10:27 | 0:10:29 | |
Very neat handwriting. I remember that. | 0:10:31 | 0:10:33 | |
TRAIN STATION TANNOY ANNOUNCEMENT | 0:10:33 | 0:10:36 | |
After a brief exchange of letters, Gregor and Maureen arrange to meet. | 0:10:38 | 0:10:42 | |
I remember being kitted out in cousin Billy's suit, | 0:10:47 | 0:10:51 | |
his best Reid & Taylor suit | 0:10:51 | 0:10:53 | |
and heading off to Glasgow Central Station. | 0:10:53 | 0:10:55 | |
Couldnae write this, actually. | 0:11:01 | 0:11:03 | |
It sounds like a bad sitcom or something, | 0:11:03 | 0:11:05 | |
but we met outside the lost property office. | 0:11:05 | 0:11:08 | |
-Hello. -Hello. | 0:11:09 | 0:11:11 | |
-Did you think I was never going to be coming? -I did. | 0:11:11 | 0:11:13 | |
-I thought that. -You thought you were going to be stood up | 0:11:13 | 0:11:16 | |
-outside the left luggage office. -The left luggage office. | 0:11:16 | 0:11:19 | |
I didn't know her. She didn't know me. | 0:11:26 | 0:11:29 | |
It was just...odd. | 0:11:30 | 0:11:33 | |
You know, some people you see in the street, you think, | 0:11:35 | 0:11:37 | |
"Things aren't going well for you." | 0:11:37 | 0:11:39 | |
She had a kind of... | 0:11:39 | 0:11:40 | |
..terrible, um... | 0:11:41 | 0:11:43 | |
..vulnerability about her. | 0:11:44 | 0:11:45 | |
Somebody that had had a right good slapping. | 0:11:45 | 0:11:48 | |
Life had not treated Maureen well. | 0:11:48 | 0:11:51 | |
Despite her troubled life, | 0:11:52 | 0:11:54 | |
Maureen was determined to help rebuild the family she had lost. | 0:11:54 | 0:11:58 | |
I wrote the letter because I thought | 0:11:59 | 0:12:01 | |
it's time now I find out what happened to Gregor, I think. | 0:12:01 | 0:12:05 | |
I knew about you, | 0:12:05 | 0:12:08 | |
although you probably had very little memory of me. | 0:12:08 | 0:12:10 | |
And I had seen you at family parties when we were younger and everything. | 0:12:10 | 0:12:14 | |
And I think I probably... | 0:12:14 | 0:12:16 | |
I did. I hit the age where I thought, | 0:12:16 | 0:12:17 | |
"I'm going to do something about this now." | 0:12:17 | 0:12:19 | |
Maureen was also old enough | 0:12:26 | 0:12:27 | |
to remember their early childhood together. | 0:12:27 | 0:12:31 | |
Everybody used to say what a lovely wee boy you were | 0:12:31 | 0:12:33 | |
-with your blonde curls. -Oh, right. | 0:12:33 | 0:12:35 | |
And my hair was straight and I remember getting the... | 0:12:35 | 0:12:38 | |
-It was pinking shears, you know, for cutting material. -Oh, right. OK. | 0:12:38 | 0:12:42 | |
And I cut your curls off. | 0:12:42 | 0:12:43 | |
-Oh, did you? -Cos everybody said you were lovely. | 0:12:43 | 0:12:46 | |
And that really annoyed you. | 0:12:46 | 0:12:48 | |
THEY LAUGH | 0:12:48 | 0:12:50 | |
I must have been maybe four and you'd be... | 0:12:50 | 0:12:53 | |
-Well, you were two and a half or something. -Right. | 0:12:53 | 0:12:55 | |
Gregor learned that he and Maureen | 0:12:56 | 0:12:58 | |
had been brought up by Jim and Ellen Fisher. | 0:12:58 | 0:13:01 | |
But tragedy had struck. | 0:13:04 | 0:13:06 | |
Ellen Fisher had fallen in a fire | 0:13:09 | 0:13:12 | |
and her nightdress had gone up in flames and she had died. | 0:13:12 | 0:13:16 | |
It was at that point that Jim Fisher's sister, | 0:13:18 | 0:13:21 | |
who was Cis, had come in, whipped him away. | 0:13:21 | 0:13:24 | |
And, of course, in those days, you know, | 0:13:24 | 0:13:27 | |
social work didn't control that sort of thing. | 0:13:27 | 0:13:29 | |
You know, "Oh, someone will look after him." | 0:13:29 | 0:13:31 | |
And he was whipped away to be brought up unofficially by Cis. | 0:13:31 | 0:13:35 | |
So, while Gregor was cared for by Cis, | 0:13:37 | 0:13:40 | |
whom he knew as Mum, Maureen was not so lucky. | 0:13:40 | 0:13:44 | |
Separated from her brother, | 0:13:47 | 0:13:48 | |
she was looked after by other relatives until, | 0:13:48 | 0:13:51 | |
as a troubled teenager, she ended up in care. | 0:13:51 | 0:13:55 | |
Nobody spoke about it. | 0:13:58 | 0:14:00 | |
Nothing was discussed in those kind of days. | 0:14:00 | 0:14:02 | |
I mean, I've absolutely no doubt I was never discussed | 0:14:02 | 0:14:04 | |
after I left the family. | 0:14:04 | 0:14:05 | |
Or if I was, it wouldn't have been in front of you, I don't suppose. | 0:14:07 | 0:14:10 | |
-Quite. -So... | 0:14:10 | 0:14:13 | |
Um, there was a childhood together. That's the... | 0:14:13 | 0:14:16 | |
-Yeah. -I was having a childhood. | 0:14:17 | 0:14:19 | |
Maureen also revealed something even more shocking | 0:14:30 | 0:14:33 | |
to the 18-year-old Gregor. | 0:14:33 | 0:14:35 | |
The Fishers were not their birth parents either. | 0:14:37 | 0:14:41 | |
They had, in fact, adopted them. | 0:14:41 | 0:14:43 | |
So, there was yet another mystery. | 0:14:46 | 0:14:48 | |
All that Maureen could tell him was that they had a mother | 0:14:49 | 0:14:52 | |
who had lived in Clackmannanshire | 0:14:52 | 0:14:55 | |
and that they thought she was now dead | 0:14:55 | 0:14:58 | |
and that there was another sister. | 0:14:58 | 0:15:00 | |
They had another sister, an older sister | 0:15:00 | 0:15:03 | |
and that she might hold the key. | 0:15:03 | 0:15:05 | |
Their mother had had all of them out of wedlock. | 0:15:05 | 0:15:09 | |
It wasn't information that he wanted to hear. | 0:15:09 | 0:15:11 | |
And I did say, much to my shame, | 0:15:11 | 0:15:14 | |
"You could forgive somebody one, couldn't you? | 0:15:14 | 0:15:17 | |
"Two... | 0:15:17 | 0:15:18 | |
"..maybe. | 0:15:19 | 0:15:21 | |
"But three? Oh, come on." | 0:15:21 | 0:15:23 | |
Which is, you know...not good. | 0:15:25 | 0:15:29 | |
But that was when I was 17 or 18 or something. | 0:15:29 | 0:15:33 | |
You know, at that stage in my life where I knew everything. | 0:15:33 | 0:15:37 | |
There wasn't anything I didn't know. | 0:15:38 | 0:15:41 | |
He didn't want to know any more, really. | 0:15:41 | 0:15:43 | |
Um, and that was... | 0:15:43 | 0:15:45 | |
He just went on and went off to drama school | 0:15:45 | 0:15:47 | |
and kind of tried to forget about it, I think, | 0:15:47 | 0:15:51 | |
and just thought of Cis and the Fishers as his family. | 0:15:51 | 0:15:55 | |
At the age of 21, | 0:16:04 | 0:16:06 | |
Gregor left drama school for a life in the theatre. | 0:16:06 | 0:16:09 | |
-Fisher, where are you? -Oh, here he is. That's it. | 0:16:13 | 0:16:18 | |
Stand by your beds. | 0:16:18 | 0:16:20 | |
How are you? | 0:16:20 | 0:16:21 | |
Here, Gregor would meet | 0:16:21 | 0:16:22 | |
his long-term comedy partner, Tony Roper. | 0:16:22 | 0:16:25 | |
-Just the thought of seeing you. -Aye, that's right. | 0:16:25 | 0:16:28 | |
-You were all of aquiver. -My heart went, "Whoo!" -Aye, me too. | 0:16:28 | 0:16:31 | |
-How are you? You're looking well. -Aye, so are you, pal. So are you. | 0:16:31 | 0:16:34 | |
-Thank you very much. -Thanks very much. | 0:16:34 | 0:16:36 | |
This is a bit of a thing here. | 0:16:36 | 0:16:37 | |
I have to tell you, it was a bit weird being back in here. | 0:16:37 | 0:16:39 | |
-I havenae been in here for years. -I was just thinking the same. | 0:16:39 | 0:16:42 | |
-APPLAUSE -As young actors, | 0:16:42 | 0:16:44 | |
Tony and Gregor learnt the ropes together, | 0:16:44 | 0:16:47 | |
working across Scotland's theatres. | 0:16:47 | 0:16:49 | |
There is a huge buzz fae this. | 0:16:49 | 0:16:51 | |
The laughs started there | 0:16:51 | 0:16:54 | |
and they would go all the way back | 0:16:54 | 0:16:56 | |
and you got a good laugh or a big-knicker laugh. | 0:16:56 | 0:17:00 | |
-Yeah. -The big-knicker laugh | 0:17:00 | 0:17:02 | |
was all the old-age pensioners that sat in the front there. | 0:17:02 | 0:17:05 | |
If you told a really good joke and it went well, | 0:17:05 | 0:17:07 | |
they all rocked back and forward. | 0:17:07 | 0:17:09 | |
HE IMITATES OLD WOMEN LAUGHING | 0:17:10 | 0:17:13 | |
And their skirts would go up in the air. | 0:17:13 | 0:17:15 | |
Big knickers at the front. | 0:17:15 | 0:17:17 | |
HE LAUGHS | 0:17:17 | 0:17:19 | |
-They'll no' wear them nowadays, though, do they? -Aye, I think. | 0:17:19 | 0:17:22 | |
I don't know. I don't really know, but, well, I've heard that anyway. | 0:17:22 | 0:17:27 | |
No' much of a house the night, though, is there? | 0:17:27 | 0:17:29 | |
Hellish. Nobody in the night. | 0:17:29 | 0:17:30 | |
-Nae big knickers the night. -I wonder who's playing? | 0:17:31 | 0:17:34 | |
Thank God it's no' you and I. | 0:17:34 | 0:17:35 | |
Come on. Let's get something inside us. | 0:17:35 | 0:17:38 | |
-King's Cafe? -Yeah, King's Cafe, but I've had no breakfast. | 0:17:38 | 0:17:41 | |
-Have you had breakfast? -Yes, I have. | 0:17:41 | 0:17:43 | |
But I can have another one. That'll be no problem. | 0:17:43 | 0:17:45 | |
Let's have two breakfasts. | 0:17:45 | 0:17:47 | |
LAUGHTER AND APPLAUSE | 0:17:47 | 0:17:49 | |
Gregor's first big break in TV came | 0:17:50 | 0:17:53 | |
when comedian Rikki Fulton drafted him in to Scotch & Wry, | 0:17:53 | 0:17:57 | |
which kicked off in the late '70s. | 0:17:57 | 0:17:59 | |
Are you Mad Mick McDonald? | 0:18:05 | 0:18:07 | |
LAUGHTER | 0:18:09 | 0:18:12 | |
Aye. | 0:18:16 | 0:18:17 | |
Could you tell me the right time, please? | 0:18:22 | 0:18:24 | |
LAUGHTER | 0:18:24 | 0:18:26 | |
The thing with Gregor is that wonderful twinkle | 0:18:26 | 0:18:29 | |
in his eye...eyes, | 0:18:29 | 0:18:31 | |
um, when he was doing a character. | 0:18:31 | 0:18:34 | |
We'd rehearse, rehearse and he'd go through it | 0:18:35 | 0:18:37 | |
and suddenly, when it was like, "And action!" | 0:18:37 | 0:18:39 | |
the eyes would light up. | 0:18:39 | 0:18:41 | |
A good example of that is the Hamlet sketch, | 0:18:42 | 0:18:45 | |
which I had written. | 0:18:45 | 0:18:46 | |
You know, the guy in the photo booth. | 0:18:46 | 0:18:48 | |
CAMERA SHUTTER CLICKS | 0:18:48 | 0:18:50 | |
Again, he rehearsed it three times, the moves, | 0:18:50 | 0:18:52 | |
and then I think it was one take | 0:18:52 | 0:18:54 | |
and that moment when his eyes light up | 0:18:54 | 0:18:57 | |
just before the seat goes down is absolutely wonderful. | 0:18:57 | 0:19:01 | |
CAMERA SHUTTER CLICKS | 0:19:01 | 0:19:03 | |
SEAT CLUNKS, CAMERA SHUTTER CLICKS | 0:19:04 | 0:19:06 | |
Just face acting. | 0:19:09 | 0:19:10 | |
There's no dialogue or anything. It's all in his expression. | 0:19:10 | 0:19:14 | |
Happiness is a cigar called Hamlet. | 0:19:14 | 0:19:16 | |
The mild cigar. | 0:19:16 | 0:19:18 | |
Absolutely wonderful. | 0:19:18 | 0:19:20 | |
And that's when I think I realised, I thought, | 0:19:20 | 0:19:22 | |
"Actually, this guy's a wee bit special." | 0:19:22 | 0:19:24 | |
Room 101. | 0:19:24 | 0:19:26 | |
Gregor also landed some serious film roles, | 0:19:26 | 0:19:29 | |
including Parsons in 1984, | 0:19:29 | 0:19:32 | |
alongside Richard Burton and John Hurt. | 0:19:32 | 0:19:35 | |
Please. | 0:19:35 | 0:19:37 | |
You don't have to take me there. | 0:19:37 | 0:19:39 | |
Why? There's nothing I won't confess. | 0:19:40 | 0:19:44 | |
Nothing. | 0:19:45 | 0:19:46 | |
I've told you everything already. | 0:19:48 | 0:19:50 | |
What is it you want me to know? | 0:19:51 | 0:19:53 | |
Take him instead of me. | 0:19:53 | 0:19:56 | |
He's the thought criminal. It's him you want. | 0:19:56 | 0:19:59 | |
After he'd done this scene, | 0:20:04 | 0:20:05 | |
Richard Burton came up to him and said, | 0:20:05 | 0:20:07 | |
"I was watching you. You were very good." | 0:20:07 | 0:20:10 | |
And Gregor was absolutely, you know, | 0:20:10 | 0:20:12 | |
quite emotionally touched by that. | 0:20:12 | 0:20:15 | |
As he put it, he says, "Here was this... | 0:20:15 | 0:20:17 | |
"A wee boy fae Neilston." | 0:20:17 | 0:20:19 | |
And he says, "Here's Richard Burton, this big star." | 0:20:19 | 0:20:21 | |
Who he thought of as Alexander the Great, | 0:20:21 | 0:20:23 | |
Mark Antony, all these characters, | 0:20:23 | 0:20:25 | |
coming up and paying him that compliment, | 0:20:25 | 0:20:26 | |
which must've been fantastic. | 0:20:26 | 0:20:29 | |
MUSIC: Naked Video theme song | 0:20:29 | 0:20:31 | |
In 1986, a dynamic new comedy show appeared on British television, | 0:20:33 | 0:20:39 | |
Naked Video. | 0:20:39 | 0:20:40 | |
Hello, hello, hello, hello. LAUGHTER | 0:20:43 | 0:20:46 | |
The series featured a mix of rapid fire satirical sketches | 0:20:47 | 0:20:51 | |
by a team of writers for an ensemble cast. | 0:20:51 | 0:20:55 | |
LAUGHTER | 0:20:55 | 0:20:58 | |
-I like a bit of lemon with my fish. -Yes, he does. | 0:20:58 | 0:21:00 | |
He does like a bit of lemon with his fish. | 0:21:00 | 0:21:03 | |
And if there's a piece of lemon on the photograph, | 0:21:03 | 0:21:05 | |
there should be a piece of lemon on the plate. | 0:21:05 | 0:21:08 | |
Um, the lemon's off today. | 0:21:08 | 0:21:10 | |
-The lemon man didn't turn up. -LAUGHTER | 0:21:10 | 0:21:13 | |
Guy Hamilton, chartered accountant. | 0:21:13 | 0:21:15 | |
Andy Rennick, motor mechanic. | 0:21:17 | 0:21:19 | |
Argh! | 0:21:22 | 0:21:23 | |
-Robin Galbraith, stupid prick. -LAUGHTER | 0:21:25 | 0:21:28 | |
MUSIC: Morning Mood by Edvard Grieg | 0:21:31 | 0:21:34 | |
One character was about to emerge, | 0:21:36 | 0:21:40 | |
a character who would overshadow all others. | 0:21:40 | 0:21:43 | |
MUSIC BUILDS TO A CRESCENDO | 0:21:44 | 0:21:47 | |
What was initially known as The Ranting Man sketch | 0:21:53 | 0:21:56 | |
was born from the pen of writer Ian Pattison. | 0:21:56 | 0:22:00 | |
This old jotter is 30 years old | 0:22:01 | 0:22:03 | |
and it contains the first ever Nesbitt sketch. | 0:22:03 | 0:22:07 | |
I'd started to write this monologue | 0:22:07 | 0:22:08 | |
and from out of nowhere, I couldn't explain it, | 0:22:08 | 0:22:11 | |
I'd just got this kind of jingling, rhythmic Glasgow speak in my head. | 0:22:11 | 0:22:16 | |
And it just went, "Me? You're asking me? | 0:22:16 | 0:22:19 | |
"Listen, I think it's out of order what this government is doing | 0:22:19 | 0:22:22 | |
"to people like me today. OTT altogether." | 0:22:22 | 0:22:24 | |
But it was basically that. | 0:22:24 | 0:22:25 | |
So, it took about 20 minutes to write | 0:22:25 | 0:22:27 | |
and basically changed my little life. | 0:22:27 | 0:22:30 | |
Gregor didnae want to do Rab C. | 0:22:31 | 0:22:33 | |
-That's right, he didn't. -We were doing... | 0:22:33 | 0:22:35 | |
We were doing Naked Video | 0:22:35 | 0:22:37 | |
and the director came on and said, | 0:22:37 | 0:22:40 | |
"Ian Pattison has written a monologue. Who wants to do it?" | 0:22:40 | 0:22:44 | |
And it was coming near the end of the shoot | 0:22:44 | 0:22:46 | |
and nobody wanted to do it cos you'd to learn this huge big thing | 0:22:46 | 0:22:49 | |
and it was only one take. | 0:22:49 | 0:22:51 | |
It's a monologue, so you can't come away with it | 0:22:51 | 0:22:53 | |
and he forced it on Greg and Greg didnae want to do it. | 0:22:53 | 0:22:56 | |
I wasn't particularly keen | 0:22:56 | 0:22:57 | |
and I didn't learn the thing particularly well. | 0:22:57 | 0:23:00 | |
I think... Did I learn it? | 0:23:00 | 0:23:02 | |
Well, I tried to learn it, but I think in a half-hearted way. | 0:23:02 | 0:23:05 | |
And I think I hoped that it would die the death. | 0:23:05 | 0:23:09 | |
Are you talking to me? | 0:23:09 | 0:23:11 | |
Don't you talk to me, hey. | 0:23:11 | 0:23:13 | |
Listen, I'll tell you, | 0:23:14 | 0:23:15 | |
the trouble with this Tory government is what they're doing | 0:23:15 | 0:23:18 | |
to people like me and there you are. | 0:23:18 | 0:23:22 | |
See people like them? See people like me? | 0:23:22 | 0:23:24 | |
It's OTT altogether. Yeah. | 0:23:24 | 0:23:26 | |
There used to be a guy in Central Station in Glasgow | 0:23:26 | 0:23:31 | |
that used to rant and rave at the moon. | 0:23:31 | 0:23:32 | |
You know, there's a bit of that. | 0:23:32 | 0:23:34 | |
There's a bit of, you know, a crazy guy I met in New York once. | 0:23:34 | 0:23:38 | |
There's a bit of... | 0:23:38 | 0:23:39 | |
And not least, not least, there's Ian Pattison's script. | 0:23:39 | 0:23:46 | |
See when you scrape it all away, | 0:23:46 | 0:23:48 | |
all the crap and you get right down to it, | 0:23:48 | 0:23:50 | |
I mean, right down to the bottom line? | 0:23:50 | 0:23:52 | |
They're all a lot of jumped-up fascist bastards. | 0:23:52 | 0:23:56 | |
I'll tell you something else, son. | 0:23:56 | 0:23:57 | |
I should know, for I was an inspector on the buses. | 0:23:57 | 0:24:00 | |
LAUGHTER | 0:24:00 | 0:24:02 | |
It was just fabulous and he was a glorious antihero. | 0:24:02 | 0:24:07 | |
One of those guys you saw in Glasgow | 0:24:07 | 0:24:10 | |
or in any major city, in Liverpool, wherever, | 0:24:10 | 0:24:14 | |
you know, ranting at the moon. | 0:24:14 | 0:24:16 | |
But Gregor was like, "I don't think that guy's funny. | 0:24:16 | 0:24:20 | |
"Is it working?" We were all like, "Yeah." | 0:24:20 | 0:24:22 | |
But, I mean, what is the answer? | 0:24:22 | 0:24:24 | |
I mean, maybe you can tell me what the answer is | 0:24:24 | 0:24:26 | |
because I'm Donald Duck if I know what the answer is. | 0:24:26 | 0:24:29 | |
LAUGHTER | 0:24:29 | 0:24:31 | |
What was your question again? | 0:24:31 | 0:24:33 | |
Gregor influenced the writing in as much as | 0:24:33 | 0:24:36 | |
I can be quite vinegary and sour on the page | 0:24:36 | 0:24:38 | |
and Gregor has a great warmth and humanity, | 0:24:38 | 0:24:41 | |
as a human being and as an actor. | 0:24:41 | 0:24:43 | |
So, that came through. | 0:24:43 | 0:24:45 | |
That kind of empathy took the curse off my kind of bitterness. | 0:24:45 | 0:24:50 | |
So, the two seemed to gel quite well. | 0:24:50 | 0:24:52 | |
We seemed to meet in the middle. | 0:24:52 | 0:24:54 | |
You could send this character anywhere. | 0:24:54 | 0:24:56 | |
You know, he turns up at the A&E with an axe in his head for example. | 0:24:56 | 0:25:01 | |
Well, here, this is the hospital. | 0:25:01 | 0:25:03 | |
Aye, look, I'm all right, I'm all right, I'm all right. | 0:25:03 | 0:25:06 | |
You're more than all right, Rab. You're magic. | 0:25:06 | 0:25:08 | |
Hey, is there anybody here? Schulp! | 0:25:08 | 0:25:11 | |
Where's Mrs Schulp? | 0:25:11 | 0:25:13 | |
Yes, can I help you? | 0:25:13 | 0:25:14 | |
Aye. Can you do something for my pal here? | 0:25:14 | 0:25:19 | |
Well, that depends. What's the matter with him? | 0:25:19 | 0:25:22 | |
LAUGHTER | 0:25:22 | 0:25:24 | |
What's the matter with him? | 0:25:24 | 0:25:26 | |
-He's got the flu. -LAUGHTER | 0:25:26 | 0:25:29 | |
And then he could be in the psychiatrist's chair | 0:25:29 | 0:25:33 | |
being given a diploma that certifies that he's a psychopath. | 0:25:33 | 0:25:37 | |
So, you could just romp in the clover. | 0:25:37 | 0:25:39 | |
Being deranged is nothing to be proud of. | 0:25:39 | 0:25:42 | |
Aye, well, maybe not where you come fae, pal, | 0:25:42 | 0:25:44 | |
but see up our street? Christ, it's like a knighthood. | 0:25:44 | 0:25:46 | |
Wait till I tell her this, eh. | 0:25:47 | 0:25:50 | |
Hey, Mary. Get your arse in here a wee minute, hen. | 0:25:50 | 0:25:53 | |
-LAUGHTER -Aye, Rab. What is it? Is that you? | 0:25:53 | 0:25:56 | |
That's me, hen. That is me. | 0:25:56 | 0:25:58 | |
It's official. That is me. Pure mental. | 0:25:58 | 0:26:01 | |
Pure mental. Oh, Rab, I'm that pleased for you. | 0:26:02 | 0:26:06 | |
LAUGHTER | 0:26:06 | 0:26:08 | |
I thought he was a glorious character | 0:26:08 | 0:26:11 | |
and by that point, we had names. | 0:26:11 | 0:26:13 | |
And eventually, I found out that Rab C Nesbitt | 0:26:13 | 0:26:17 | |
actually was that his grandfather was Rab A Nesbitt, | 0:26:17 | 0:26:22 | |
his father was Rab B Nesbitt and he was Rab C. | 0:26:22 | 0:26:25 | |
-You know what we're going to do? -What, Rab? | 0:26:25 | 0:26:27 | |
A pair like you and I is gonnae get tanked up | 0:26:27 | 0:26:30 | |
and then we're gonnae stagger hame | 0:26:30 | 0:26:32 | |
and then you and me is gonnae have a barney. | 0:26:32 | 0:26:35 | |
-Oh! -LAUGHTER | 0:26:35 | 0:26:38 | |
And then I'm gonnae tap you for a fiver, | 0:26:38 | 0:26:40 | |
you're gonnae say no | 0:26:40 | 0:26:41 | |
and then I'm gonnae take you up the outpatients department | 0:26:41 | 0:26:43 | |
to get stitched. LAUGHTER | 0:26:43 | 0:26:46 | |
What do you say to that, eh? Eh? Eh? | 0:26:46 | 0:26:48 | |
What can I say, Rab? | 0:26:48 | 0:26:50 | |
20 year married and you're still a romantic. | 0:26:50 | 0:26:53 | |
In Mary Doll, Rab had found his match. | 0:26:55 | 0:26:57 | |
Argh! | 0:26:57 | 0:26:58 | |
In reality, Gregor had also been pursuing the woman of his dreams. | 0:27:00 | 0:27:04 | |
A young actress he had met whilst working in the theatre. | 0:27:06 | 0:27:09 | |
Ah, the very first time I remember Gregor and Vicki | 0:27:10 | 0:27:13 | |
being in the same room together, so the first time they met, I think, | 0:27:13 | 0:27:16 | |
was at read-through of this play. | 0:27:16 | 0:27:18 | |
But at that stage, most of us were all single | 0:27:19 | 0:27:22 | |
and really what you're doing is reading it and thinking, | 0:27:22 | 0:27:25 | |
"She looks quite nice. Oh. Hmm." | 0:27:25 | 0:27:28 | |
And you're kind of showing off to... | 0:27:28 | 0:27:30 | |
The girls are all doing a bit... | 0:27:30 | 0:27:32 | |
It's all done as though nobody was bothering, | 0:27:32 | 0:27:34 | |
but there's that wonderful undercurrent | 0:27:34 | 0:27:36 | |
where everybody's going, | 0:27:36 | 0:27:37 | |
"Hm, I wonder if any joy could be had there?" | 0:27:37 | 0:27:40 | |
And I think Gregor's wee mind must have been racing like a stock car | 0:27:40 | 0:27:47 | |
when he saw Vicki. | 0:27:47 | 0:27:49 | |
Eyes like sapphires in the night. | 0:27:49 | 0:27:51 | |
Well, I thought they were rather nice. | 0:27:51 | 0:27:53 | |
And I thought, "Oh, hello. We're in trouble here." | 0:27:54 | 0:27:58 | |
It became clear that he was quite keen on me, | 0:27:58 | 0:28:01 | |
but I wasn't in that space at all. | 0:28:01 | 0:28:04 | |
I wasn't looking for a relationship | 0:28:04 | 0:28:06 | |
and I was quite happy being single and... | 0:28:06 | 0:28:09 | |
So, it was slightly...it was slightly awkward, I guess. | 0:28:09 | 0:28:12 | |
I was smitten. | 0:28:12 | 0:28:13 | |
He was absolutely lovesick. Oh, just ridiculous. | 0:28:13 | 0:28:18 | |
And he used to corner me and say, "What do you think?" and all that. | 0:28:18 | 0:28:21 | |
I told him, "I think you're punching above your weight, | 0:28:21 | 0:28:23 | |
"so I wouldnae bother." | 0:28:23 | 0:28:25 | |
Maybe I wore her down. You'd have to ask her about that. | 0:28:25 | 0:28:27 | |
He just didn't give up and I guess I finally... | 0:28:27 | 0:28:31 | |
I finally twigged that, you know, "You're very lucky, Vic, | 0:28:31 | 0:28:35 | |
"that this person is here for you cos he is." | 0:28:35 | 0:28:39 | |
I didn't think I was aiming high. | 0:28:39 | 0:28:41 | |
I think she was probably aiming a bit high. | 0:28:42 | 0:28:44 | |
He's a marvel. | 0:28:47 | 0:28:48 | |
Gregor and Vicki found happiness in family life | 0:28:51 | 0:28:55 | |
and went on to have three children. | 0:28:55 | 0:28:57 | |
Sadly, Cis, the woman who brought Gregor up | 0:29:01 | 0:29:05 | |
did not live long enough to see her grandchildren. | 0:29:05 | 0:29:09 | |
She died when Gregor was 30. | 0:29:09 | 0:29:11 | |
By now, Gregor was finally ready | 0:29:20 | 0:29:22 | |
to unlock the secrets of his birth mother. | 0:29:22 | 0:29:24 | |
Until Cis died, he didn't go looking for his birth parents | 0:29:27 | 0:29:32 | |
just because he didn't want to. | 0:29:32 | 0:29:33 | |
He didn't want to upset Cis cos he loved her so deeply. | 0:29:33 | 0:29:37 | |
He then felt released, I think, to go back and find out a bit more. | 0:29:39 | 0:29:46 | |
The next clue to Gregor's early childhood | 0:29:51 | 0:29:53 | |
lay with the one person who could actually remember their separation | 0:29:53 | 0:29:57 | |
following their birth mother's death. | 0:29:57 | 0:29:59 | |
The eldest of his two sisters, Ann. | 0:30:00 | 0:30:04 | |
Once she had died, I was staying with a lady, a friend | 0:30:06 | 0:30:10 | |
and of course, immediate reaction as well, | 0:30:10 | 0:30:13 | |
-"What about Maureen and Gregor?" -Yeah. | 0:30:13 | 0:30:16 | |
"Well, they'll come back." | 0:30:16 | 0:30:17 | |
-Which never happened. -No. -And that was it. | 0:30:19 | 0:30:22 | |
I was never told where you had gone, from... | 0:30:22 | 0:30:26 | |
Wasn't it with...? | 0:30:26 | 0:30:27 | |
-You were never given any kind of explanation as to...? -No. | 0:30:27 | 0:30:29 | |
-We were just gone. That was it. -No. You were gone and that was it. | 0:30:29 | 0:30:33 | |
So, consequently, it wasn't just losing Mum. | 0:30:33 | 0:30:36 | |
I had lost you and Maureen. | 0:30:36 | 0:30:40 | |
And if I asked questions, "Oh, we don't talk about that." | 0:30:40 | 0:30:45 | |
And that was it. It was all brushed under the carpet. | 0:30:46 | 0:30:49 | |
After their birth mother's death, the children were split up. | 0:30:53 | 0:30:57 | |
Maureen and Gregor were sent to a children's home | 0:30:58 | 0:31:01 | |
to await adoption... | 0:31:01 | 0:31:03 | |
..whilst Ann was brought up by an aunt. | 0:31:04 | 0:31:08 | |
Gregor needed answers to many questions | 0:31:12 | 0:31:15 | |
if he was to make any sense of his past. | 0:31:15 | 0:31:17 | |
Who was his father? | 0:31:18 | 0:31:20 | |
And what was the full story of his real mother, Kit McKenzie? | 0:31:21 | 0:31:26 | |
Mama. | 0:31:26 | 0:31:27 | |
Now, that was the first picture you ever had of your mother. | 0:31:28 | 0:31:32 | |
I reckon Kit, your mother, in that picture is probably only... | 0:31:32 | 0:31:37 | |
-I don't know. Late teens. -Looks older to me. | 0:31:37 | 0:31:39 | |
Don't forget that women in those days didn't dress like teenagers. | 0:31:39 | 0:31:43 | |
Now, this one, | 0:31:45 | 0:31:47 | |
it's only the second picture you'd ever seen of your mother. | 0:31:47 | 0:31:49 | |
Yeah. | 0:31:49 | 0:31:51 | |
And how...? Really, what did you feel when you saw that? | 0:31:51 | 0:31:53 | |
I've got to say it's me. | 0:31:54 | 0:31:56 | |
It's me. I mean, you know, isn't it? | 0:31:57 | 0:32:00 | |
That's definitely me, I think, by the look of it. Wouldn't you say? | 0:32:00 | 0:32:03 | |
Oh, totally. It's like you in factory uniform. | 0:32:03 | 0:32:06 | |
Yeah. | 0:32:08 | 0:32:09 | |
Now, then, there's mother looking very glam | 0:32:10 | 0:32:13 | |
in a very shiny sort of satin affair. | 0:32:13 | 0:32:16 | |
-At a work's dance. -A work's dance. | 0:32:16 | 0:32:19 | |
I wonder what age she was then. | 0:32:19 | 0:32:21 | |
Had she had me by then? | 0:32:21 | 0:32:23 | |
Possibly, though I think she was ill. | 0:32:23 | 0:32:25 | |
-How would you know? There's no... -Oh, hang on, there's a date. | 0:32:25 | 0:32:28 | |
Oh, there's a date. 1951. | 0:32:28 | 0:32:30 | |
-OK. So, that would... -She's got Ann. No, she hasn't had Maureen either. | 0:32:30 | 0:32:35 | |
Maybe that was the night of the conception, then. | 0:32:35 | 0:32:37 | |
-Might be. -You're so romantic. | 0:32:41 | 0:32:43 | |
-Yeah. Well, it might have been. -Not. | 0:32:43 | 0:32:44 | |
In taking on the task of unravelling this complex family mystery, | 0:32:46 | 0:32:51 | |
journalist Melanie Reid faced a number of challenges of her own. | 0:32:51 | 0:32:54 | |
Not only would this be her first book, | 0:32:55 | 0:32:59 | |
but after a horse riding accident five years ago, | 0:32:59 | 0:33:02 | |
she now uses a wheelchair. | 0:33:02 | 0:33:04 | |
When I was writing the book, I got so lost in the story | 0:33:05 | 0:33:08 | |
that I forgot about my own condition. | 0:33:08 | 0:33:10 | |
For about six months, it was wonderful. | 0:33:10 | 0:33:12 | |
I just forgot about my problems, I was so lost in the story. | 0:33:12 | 0:33:16 | |
And that was...that was great. Yeah. | 0:33:16 | 0:33:18 | |
I think I realised very early on that his mother, Kit... | 0:33:21 | 0:33:25 | |
..was the absolute key to it | 0:33:27 | 0:33:28 | |
because she was the kind of mystery at the heart of it. | 0:33:28 | 0:33:31 | |
So, I really began, I suppose, by tracing her steps, | 0:33:32 | 0:33:35 | |
going back to where she was born, finding out about her father and... | 0:33:35 | 0:33:41 | |
I mean, her life was very tragic and that's how... | 0:33:42 | 0:33:45 | |
That was my sort of starting point. | 0:33:45 | 0:33:47 | |
-Come on, then. Come on. -DOGS BARK | 0:33:49 | 0:33:52 | |
-Should I shut these doors or not? -Yeah. | 0:33:54 | 0:33:55 | |
If you shut them, that would be great, thanks. | 0:33:55 | 0:33:57 | |
Gregor and Melanie set out on a series of road trips | 0:33:57 | 0:34:00 | |
as part of the process of writing the book. | 0:34:00 | 0:34:04 | |
It was him and me getting in the car together, | 0:34:04 | 0:34:06 | |
sort of Dastardly and Muttley and going off and...exploring. | 0:34:06 | 0:34:12 | |
-I shall get the door for you, madam. -Thank you. | 0:34:12 | 0:34:15 | |
Have you ever been driven by a cripple before? | 0:34:18 | 0:34:21 | |
Have I ever been driven by a cripple? | 0:34:21 | 0:34:24 | |
Christ, we'll get shot for saying that. | 0:34:24 | 0:34:27 | |
Why? Why? | 0:34:27 | 0:34:30 | |
Well, it's all right if you say it, but not if I say it. | 0:34:30 | 0:34:32 | |
Yeah. Well, I said it. | 0:34:32 | 0:34:33 | |
The most obvious place to start was with Kit's family history | 0:34:35 | 0:34:38 | |
in her hometown of Menstrie. | 0:34:38 | 0:34:40 | |
-And you have got over the name of it. -No. | 0:34:41 | 0:34:45 | |
Have you? | 0:34:45 | 0:34:46 | |
No. Menstrie. I mean... | 0:34:46 | 0:34:48 | |
You see, you know... They're lovely people in Menstrie | 0:34:48 | 0:34:52 | |
and I don't want to offend anybody, really, | 0:34:52 | 0:34:54 | |
but Menstrie, as a name, | 0:34:54 | 0:34:56 | |
it would not be my first choice, I'd have to say. | 0:34:56 | 0:35:00 | |
-But it doesn't mean that. -No, it means... -What is it? | 0:35:00 | 0:35:03 | |
It means the hill on the strath. | 0:35:03 | 0:35:05 | |
Yeah, well, why didn't they just call it Strath Hill or something? | 0:35:05 | 0:35:08 | |
Do you know what I mean? HE SIGHS | 0:35:08 | 0:35:11 | |
Menstrie, in central Scotland, | 0:35:16 | 0:35:19 | |
is one of many small industrial villages | 0:35:19 | 0:35:21 | |
at the foot of the Ochil Hills. | 0:35:21 | 0:35:23 | |
Gregor's birth grandfather, Matthew McKenzie, | 0:35:25 | 0:35:28 | |
worked here as a maintenance fitter in the Glenochil Distillery. | 0:35:28 | 0:35:32 | |
The distillery archive helped Melanie and Gregor | 0:35:33 | 0:35:36 | |
get a taste for Matthew's working life. | 0:35:36 | 0:35:40 | |
-So, this would have been taken in the 1920s. -OK. | 0:35:40 | 0:35:42 | |
And this shows you just the scale of the distillery here. | 0:35:42 | 0:35:45 | |
It would have employed so many people that lived in the village, | 0:35:45 | 0:35:48 | |
if not most of the people that lived in the village. | 0:35:48 | 0:35:50 | |
Surrounded by whisky galore, | 0:35:51 | 0:35:54 | |
temptation was never far away for the workers. | 0:35:54 | 0:35:57 | |
They mentioned how they were smuggling the whiskey | 0:35:57 | 0:35:59 | |
out of the distillery in the nosebags of the horses. | 0:35:59 | 0:36:02 | |
And also attached... | 0:36:02 | 0:36:05 | |
They would have made copper containers | 0:36:05 | 0:36:07 | |
-that would have gone round their tummies... -Body belts. | 0:36:07 | 0:36:10 | |
Exactly, body belts. ..that they would have filled. | 0:36:10 | 0:36:12 | |
-So, they were quite ingenious. -They were ingenious. | 0:36:12 | 0:36:14 | |
They would have had dramming then anyway. | 0:36:14 | 0:36:16 | |
So, once a day, all of the staff would have had a dram. | 0:36:16 | 0:36:18 | |
-They would have got a nip. -Really? -Yeah. | 0:36:18 | 0:36:20 | |
That didn't stop until the 1970s. | 0:36:20 | 0:36:22 | |
For the distillery workers, | 0:36:24 | 0:36:26 | |
the local church played a central role in village life. | 0:36:26 | 0:36:30 | |
Gregor's birth mother's family were regular churchgoers. | 0:36:31 | 0:36:35 | |
We really are walking in their footsteps here. | 0:36:36 | 0:36:39 | |
-This was one of their real familiar places. -Hm. | 0:36:39 | 0:36:43 | |
Gregor's grandfather, Matthew McKenzie, | 0:36:45 | 0:36:48 | |
was a pillar of the Menstrie Parish Church, | 0:36:48 | 0:36:51 | |
playing the organ here for 18 years. | 0:36:51 | 0:36:54 | |
HE PLAYS A HYMN | 0:36:54 | 0:36:57 | |
There you are. SHE APPLAUDS | 0:37:15 | 0:37:17 | |
-Hello, Grandpa. -That was fantastic. | 0:37:17 | 0:37:20 | |
Matthew McKenzie, the grandfather Gregor never knew, | 0:37:24 | 0:37:28 | |
fell to his death from a ladder at work | 0:37:28 | 0:37:30 | |
just days before his daughter Kit's 21st birthday. | 0:37:30 | 0:37:34 | |
This is about the death of your grandfather. | 0:37:34 | 0:37:37 | |
"The news of his sudden death cast a shadow on every house | 0:37:38 | 0:37:42 | |
"and the congregation assembled in the church at his funeral | 0:37:42 | 0:37:46 | |
"on Saturday the 12th of March | 0:37:46 | 0:37:48 | |
"and we mourned the loss of a friend." | 0:37:48 | 0:37:51 | |
Matthew's death was one of many disasters Kit suffered. | 0:37:54 | 0:37:58 | |
The first had been the loss of her mother at birth | 0:37:59 | 0:38:02 | |
and there was yet more disappointment and heartache ahead. | 0:38:02 | 0:38:05 | |
Of the many tragedies in Kit's life, | 0:38:07 | 0:38:11 | |
yet another one was the way she was treated | 0:38:11 | 0:38:13 | |
by her first proper boyfriend... | 0:38:13 | 0:38:15 | |
..who was a farm worker. | 0:38:17 | 0:38:19 | |
And she'd been going out with him for two years. | 0:38:19 | 0:38:21 | |
And she became pregnant, | 0:38:22 | 0:38:24 | |
um, and obviously, they were expected to get married. | 0:38:24 | 0:38:28 | |
Well, she was expected to get married. | 0:38:28 | 0:38:31 | |
And when she was four months pregnant, | 0:38:31 | 0:38:34 | |
he bought a five pound ticket to Australia and emigrated | 0:38:34 | 0:38:38 | |
and was never heard of hide nor hair again. | 0:38:38 | 0:38:41 | |
Kit was left carrying an illegitimate baby, | 0:38:41 | 0:38:45 | |
having to bear the burden of shame in the community. | 0:38:45 | 0:38:48 | |
Kit chose the life of a single mother, | 0:38:54 | 0:38:57 | |
juggling jobs to make ends meet rather than give up her baby, Ann. | 0:38:57 | 0:39:01 | |
Six years later, she had Maureen | 0:39:05 | 0:39:08 | |
and 18 months after that, Gregor. | 0:39:08 | 0:39:11 | |
All three children were illegitimate. | 0:39:14 | 0:39:17 | |
You wouldnae feel very churchy | 0:39:20 | 0:39:22 | |
if, when you were walking down the street | 0:39:22 | 0:39:24 | |
with three children in tow, | 0:39:24 | 0:39:25 | |
most of the people who went to the church | 0:39:25 | 0:39:28 | |
were giving you filthy looks, would you? | 0:39:28 | 0:39:30 | |
Your oldest sister, Ann, was christened here, | 0:39:30 | 0:39:33 | |
even though your mother, by that time, was a fallen woman. | 0:39:33 | 0:39:38 | |
Your sister Maureen was... | 0:39:38 | 0:39:39 | |
She was christened here, | 0:39:39 | 0:39:40 | |
but she was christened in the vestry. | 0:39:40 | 0:39:43 | |
-Of course. -Which... -Out of sight. | 0:39:43 | 0:39:46 | |
Out of sight of the congregation. | 0:39:46 | 0:39:48 | |
-Indeed. -Which is... | 0:39:48 | 0:39:49 | |
And then when number three came along, which I was, they'd say, | 0:39:49 | 0:39:52 | |
-"No, you're having a laugh." -Things... | 0:39:52 | 0:39:55 | |
You were too far gone. You were lost. | 0:39:55 | 0:39:58 | |
Records show that Kit McKenzie, Gregor's birth mother, | 0:40:05 | 0:40:09 | |
lived with her three children in Glenochil Terrace, | 0:40:09 | 0:40:13 | |
a small row of houses close to the distillery. | 0:40:13 | 0:40:16 | |
Gregor's sister Ann hopes to prompt his memory | 0:40:21 | 0:40:24 | |
by taking him there, | 0:40:24 | 0:40:26 | |
although he was only a toddler at the time. | 0:40:26 | 0:40:28 | |
Can you remember anything about here? | 0:40:32 | 0:40:34 | |
I remember smell and I'll tell you what else. | 0:40:34 | 0:40:36 | |
I remember the hills. | 0:40:36 | 0:40:38 | |
-Do you see that V in the hill there, where the two hills...? -Mm-hm. | 0:40:38 | 0:40:41 | |
There's a sort of gully there. | 0:40:41 | 0:40:42 | |
I remember that. | 0:40:44 | 0:40:45 | |
This is where the railway line was and then over there was a big gap | 0:40:46 | 0:40:51 | |
and that was our house and there was a washhouse there. | 0:40:51 | 0:40:55 | |
-Where the molasses tanks are? -Where the molasses tanks are. | 0:40:55 | 0:40:59 | |
And, see, right in between the two, the houses were. | 0:40:59 | 0:41:02 | |
-They were smack bang there? -Yes. Yeah. | 0:41:02 | 0:41:05 | |
What was it like inside? | 0:41:06 | 0:41:08 | |
I mean, I have no picture of it. I have no memory of it. | 0:41:08 | 0:41:10 | |
It was one room and we all slept in one room with one window. | 0:41:10 | 0:41:15 | |
-Is that right? -Yes. I slept in bed with Mum. | 0:41:15 | 0:41:19 | |
You and Maureen - one at the bottom of the bed and one at the side. | 0:41:19 | 0:41:23 | |
This sounds positively Dickensian. Was it? | 0:41:23 | 0:41:25 | |
I mean, was it warm? Was it comfortable? | 0:41:25 | 0:41:27 | |
It was comfortable, it was cosy cos we always had a big fire | 0:41:27 | 0:41:31 | |
and we always had nice food. | 0:41:31 | 0:41:33 | |
It was nice. It was a happy home. | 0:41:33 | 0:41:35 | |
After Gregor's birth, their mother's health began to fail. | 0:41:38 | 0:41:42 | |
And the responsibility for the entire family | 0:41:43 | 0:41:46 | |
fell to the eight-year-old Ann. | 0:41:46 | 0:41:48 | |
You were looking after our mother? | 0:41:50 | 0:41:52 | |
I was looking after her cos she used to, with her bad heart, | 0:41:52 | 0:41:55 | |
she used to pass out and you had to just lift her head, | 0:41:55 | 0:41:58 | |
tap her face and give her a drink of water | 0:41:58 | 0:42:02 | |
and leave her quietly to come round again. | 0:42:02 | 0:42:06 | |
-No-one to help? -No-one to help, no. | 0:42:06 | 0:42:08 | |
She was there for us all the time. | 0:42:10 | 0:42:12 | |
She loved us and she gave us a good home. | 0:42:12 | 0:42:14 | |
She was diagnosed with mitral stenosis. | 0:42:19 | 0:42:22 | |
The mitral valves of her heart were deteriorating. | 0:42:22 | 0:42:25 | |
And by the time she had Gregor, they were obviously failing badly. | 0:42:25 | 0:42:29 | |
So, it was an exquisitely sad story. | 0:42:30 | 0:42:35 | |
A woman dying so young and leaving three little children - | 0:42:35 | 0:42:39 | |
18 months, three and 10. | 0:42:39 | 0:42:42 | |
And they were all scattered to the...scattered to the three winds. | 0:42:43 | 0:42:48 | |
Kit's story was almost complete, | 0:42:53 | 0:42:56 | |
but there was still a mystery surrounding the identity | 0:42:56 | 0:42:59 | |
of Gregor's real father. | 0:42:59 | 0:43:01 | |
Gregor's career really took off in the late '80s | 0:43:06 | 0:43:09 | |
when Rab C Nesbitt was given his own BBC series. | 0:43:09 | 0:43:13 | |
This hugely popular sitcom centred around Rab | 0:43:16 | 0:43:19 | |
and his dysfunctional family and friends. | 0:43:19 | 0:43:22 | |
This is your room. | 0:43:24 | 0:43:25 | |
-Whoa! -Oh, yes! | 0:43:26 | 0:43:30 | |
My favourite episode to this day is still the Spanish episode. | 0:43:31 | 0:43:35 | |
That joy. | 0:43:35 | 0:43:37 | |
I think them both jumping on the beds in the hotel room. | 0:43:37 | 0:43:44 | |
Spain. | 0:43:44 | 0:43:45 | |
I mean, who would have thought we'd live to see the day | 0:43:45 | 0:43:47 | |
when trash like us was buying stuff like flip-flops and insect repellent? | 0:43:47 | 0:43:54 | |
Aye, you're right, Rab. | 0:43:54 | 0:43:56 | |
Two weeks all to ourselves. | 0:43:56 | 0:43:59 | |
A once-in-a-lifetime chance to deepen our relationship, | 0:43:59 | 0:44:04 | |
to discover the hidden Rab and Mary Nesbitt. | 0:44:04 | 0:44:08 | |
Oh, come here. | 0:44:08 | 0:44:10 | |
LAUGHTER | 0:44:11 | 0:44:14 | |
Um, that's me ready, Rab. | 0:44:14 | 0:44:17 | |
Do you want to try some of that continental swally I've got? | 0:44:17 | 0:44:20 | |
LAUGHTER | 0:44:21 | 0:44:23 | |
We had great fun and I think the one that most people remember | 0:44:23 | 0:44:26 | |
-is when we went to Spain. -Classic. | 0:44:26 | 0:44:29 | |
And we were on the beach, | 0:44:29 | 0:44:32 | |
12 o'clock at night for some strange reason. | 0:44:32 | 0:44:34 | |
Oh, yes! | 0:44:34 | 0:44:36 | |
-And I'd fancied... -Mary Doll. -..Mary Doll. | 0:44:39 | 0:44:44 | |
And I'd said to her, "Mary..." | 0:44:44 | 0:44:46 | |
You're a fine-looking woman, by the way. | 0:44:46 | 0:44:49 | |
And you're... | 0:44:49 | 0:44:50 | |
..a fine-looking man, Jamesie. | 0:44:51 | 0:44:54 | |
And then Rab was going, "Hmm." | 0:44:54 | 0:44:56 | |
So, he turns to Ella, right? | 0:44:56 | 0:44:58 | |
And he says, "Ella..." | 0:44:58 | 0:45:00 | |
I've never told you this, but... | 0:45:00 | 0:45:02 | |
..you're a hell of a good-looking woman, | 0:45:04 | 0:45:06 | |
Ella Cotter, by the way. | 0:45:06 | 0:45:08 | |
And I've never told you this... | 0:45:08 | 0:45:10 | |
..Rab Nesbitt. | 0:45:11 | 0:45:12 | |
See you... | 0:45:13 | 0:45:14 | |
..you're an ugly-looking bastard. | 0:45:15 | 0:45:19 | |
"And if you don't take your paws off me..." | 0:45:19 | 0:45:22 | |
I'll skewer your tackle with my manicure set. | 0:45:22 | 0:45:25 | |
-And he went... -Oh, I just loved it. I just loved it. | 0:45:29 | 0:45:31 | |
I'll tell you something, I'm glad I'm miserable. | 0:45:31 | 0:45:33 | |
I am glad I'm miserable. | 0:45:33 | 0:45:35 | |
Life's no' going to buy off Rab C Nesbitt | 0:45:36 | 0:45:40 | |
with a birthday song and a dose of the skitters. | 0:45:40 | 0:45:42 | |
LAUGHTER I will walk alone. | 0:45:42 | 0:45:45 | |
I will walk alone, there you are. | 0:45:45 | 0:45:48 | |
Universe said it. Universe. Harmony. | 0:45:48 | 0:45:51 | |
Probably just about everybody's favourite moment in Nesbitt | 0:45:51 | 0:45:54 | |
was when he's philosophising and he comes across the Spanish Nesbitt. | 0:45:54 | 0:46:01 | |
Nobody knows what I'm talking about. | 0:46:01 | 0:46:02 | |
DISTANT VOICE SHOUTS IN SPANISH | 0:46:02 | 0:46:06 | |
HE RANTS IN SPANISH | 0:46:06 | 0:46:08 | |
LAUGHTER | 0:46:08 | 0:46:10 | |
Bandy! Bandy! | 0:46:14 | 0:46:17 | |
Me bandy. Bandy, yeah. Bandage! | 0:46:17 | 0:46:21 | |
HE SPEAKS SPANISH | 0:46:21 | 0:46:24 | |
You tell the bastard. | 0:46:24 | 0:46:26 | |
You tell the bastard. LAUGHTER | 0:46:26 | 0:46:28 | |
HE CONTINUES SPEAKING SPANISH | 0:46:28 | 0:46:30 | |
HE RANTS INCOHERENTLY | 0:46:30 | 0:46:34 | |
And that's just such a wonderful moment, | 0:46:34 | 0:46:36 | |
where Rab realises that there's somebody else in the world | 0:46:36 | 0:46:39 | |
just as mad as he is. | 0:46:39 | 0:46:41 | |
He's not alone. | 0:46:41 | 0:46:42 | |
See? | 0:46:44 | 0:46:45 | |
My God. | 0:46:46 | 0:46:47 | |
There's nothing that destroys your faith more | 0:46:49 | 0:46:52 | |
in human nature than meeting some poor bastard | 0:46:52 | 0:46:55 | |
that's just as mad as yourself, you know? | 0:46:55 | 0:46:57 | |
LAUGHTER | 0:46:57 | 0:46:59 | |
I think making it look as natural as he did, and does, | 0:46:59 | 0:47:05 | |
is a skill that is really undervalued. | 0:47:05 | 0:47:08 | |
And the amount of work that was... | 0:47:08 | 0:47:11 | |
I mean, I was able to come in and do scenes | 0:47:11 | 0:47:14 | |
and I would have days off. | 0:47:14 | 0:47:16 | |
Gregor was there constantly. | 0:47:16 | 0:47:18 | |
The commitment he had and the discipline he had | 0:47:18 | 0:47:21 | |
to be filming six episodes | 0:47:21 | 0:47:26 | |
where you are literally in every day on 12-hour days | 0:47:26 | 0:47:30 | |
and where it all rests on your performance. | 0:47:30 | 0:47:33 | |
As Rab C Nesbitt became a household name, | 0:47:36 | 0:47:40 | |
the pressure began to mount on Gregor. | 0:47:40 | 0:47:42 | |
As he became more recognised, | 0:47:44 | 0:47:46 | |
it kind of made him withdraw a little bit, retreat, | 0:47:46 | 0:47:49 | |
and not go out so much and not be as sociable | 0:47:49 | 0:47:53 | |
because it was quite overwhelming sometimes when you were out. | 0:47:53 | 0:47:57 | |
To them, it was Rab | 0:47:57 | 0:47:58 | |
and Gregor's, like, all dressed and looking his best... | 0:47:58 | 0:48:01 | |
..and he'd bought a pie and a bridie, I think, | 0:48:02 | 0:48:05 | |
and as we're walking by, there's a guy shouting, | 0:48:05 | 0:48:07 | |
"Oh, Rab. Is that you got a pie there, Rab? | 0:48:07 | 0:48:11 | |
"You greedy bastard, Rab." | 0:48:11 | 0:48:13 | |
And poor Gregor's just trying to eat a pie. | 0:48:13 | 0:48:16 | |
STRONG GLASWEGIAN ACCENT I wish you'd go and fuck yoursel'. | 0:48:16 | 0:48:18 | |
You're giving the place a fucking bad name! | 0:48:18 | 0:48:22 | |
And I thought, | 0:48:24 | 0:48:25 | |
"I think the irony of that remark's rather lost on you, sir." | 0:48:25 | 0:48:28 | |
It becomes, as an actor, it becomes like a straitjacket. | 0:48:28 | 0:48:31 | |
A gold-lined straitjacket, but people think that's who you are. | 0:48:31 | 0:48:34 | |
But the fact that Gregor is best known as Rab C | 0:48:41 | 0:48:44 | |
has not stopped directors casting him in high-profile parts. | 0:48:44 | 0:48:47 | |
What...do you want? | 0:48:48 | 0:48:51 | |
Please, sir, I want some more. | 0:48:53 | 0:48:56 | |
What? | 0:48:57 | 0:48:59 | |
What did you say? | 0:48:59 | 0:49:01 | |
I said... | 0:49:01 | 0:49:02 | |
..please, sir, I want some more. | 0:49:04 | 0:49:07 | |
He's even grappled with Shakespeare | 0:49:08 | 0:49:10 | |
opposite Hollywood A-lister Al Pacino. | 0:49:10 | 0:49:14 | |
How now, Shylock. | 0:49:17 | 0:49:19 | |
What news amongst the merchants? | 0:49:22 | 0:49:26 | |
You knew of my daughter's flight. | 0:49:26 | 0:49:28 | |
None so well... | 0:49:30 | 0:49:32 | |
None so well as you. | 0:49:33 | 0:49:35 | |
Well, this is a surprise. | 0:49:35 | 0:49:38 | |
Yeah. | 0:49:38 | 0:49:39 | |
Ten minutes at Elton John's, you're as gay as a maypole? | 0:49:39 | 0:49:42 | |
No. Look, I'm serious here. | 0:49:42 | 0:49:44 | |
I left Elton's, where there were a hefty number of half-naked chicks | 0:49:44 | 0:49:48 | |
with their mouths open, in order to hang out with you | 0:49:48 | 0:49:52 | |
at Christmas. | 0:49:52 | 0:49:53 | |
Well, Bill... | 0:49:55 | 0:49:57 | |
It's a terrible, terrible mistake, Chubs. | 0:49:57 | 0:50:01 | |
But you turn out to be the fucking love of my life. | 0:50:05 | 0:50:08 | |
Over the years, Gregor had collected clues about his birth father, | 0:50:17 | 0:50:22 | |
but it was only when he started working with Melanie | 0:50:22 | 0:50:24 | |
that they were able to fill in some of the crucial gaps. | 0:50:24 | 0:50:28 | |
It was more of a sort of detective thing. | 0:50:30 | 0:50:33 | |
It was more, "Oh, I wonder what happened to him | 0:50:33 | 0:50:36 | |
"and I wonder what he did do and where he lived | 0:50:36 | 0:50:39 | |
"and what his family were like and, you know... | 0:50:39 | 0:50:42 | |
"..what about...? Who would my grandfather have been, then?" | 0:50:43 | 0:50:46 | |
Things that normal people just take for granted. | 0:50:46 | 0:50:49 | |
They had a name, one that Gregor discovered | 0:50:49 | 0:50:52 | |
while searching through his adoption papers, | 0:50:52 | 0:50:55 | |
William B Kerr. | 0:50:55 | 0:50:58 | |
There was a handwritten letter on Basildon Bond | 0:50:58 | 0:51:02 | |
saying, you know, "I, William B Kerr, | 0:51:02 | 0:51:04 | |
"relinquish all rights..." | 0:51:04 | 0:51:06 | |
And saying it's OK for these children to be adopted. | 0:51:06 | 0:51:08 | |
So, that was absolute confirmation that he was indeed... | 0:51:09 | 0:51:13 | |
..the man. | 0:51:16 | 0:51:17 | |
This is your father as a very proud young excise man... | 0:51:19 | 0:51:24 | |
..in the 1920s. | 0:51:25 | 0:51:27 | |
And this is him smoking a pipe, wearing a bow tie... | 0:51:27 | 0:51:30 | |
-With a dug. -With a dug. Looking very sort of... | 0:51:31 | 0:51:35 | |
Pleased with himself. | 0:51:35 | 0:51:37 | |
Yeah. Well, an aspiring young man. | 0:51:37 | 0:51:41 | |
An aspiring young man. | 0:51:41 | 0:51:42 | |
And that's what he did. | 0:51:42 | 0:51:45 | |
He's well-educated and he spent his life aspiring for good things. | 0:51:45 | 0:51:50 | |
Hmm. | 0:51:50 | 0:51:51 | |
But the mystery remained - | 0:51:53 | 0:51:55 | |
how did William Kerr meet Gregor's mother, Kit? | 0:51:55 | 0:51:58 | |
One clue was that, as an excise officer, | 0:52:00 | 0:52:03 | |
part of William's job over the years included regular visits | 0:52:03 | 0:52:07 | |
to check the books at the Glenochil Distillery. | 0:52:07 | 0:52:10 | |
In a flash, the years have passed and here he is. | 0:52:11 | 0:52:14 | |
Looking rather splendid in a tail coat. | 0:52:16 | 0:52:18 | |
William Kerr was 61 when Gregor was born, | 0:52:20 | 0:52:23 | |
30 years Kit's senior. | 0:52:23 | 0:52:25 | |
He lived in a nearby suburb. | 0:52:27 | 0:52:30 | |
He was a freemason, a county councillor... | 0:52:30 | 0:52:33 | |
..and a married man. | 0:52:34 | 0:52:36 | |
He had to make sure that everybody else in society | 0:52:37 | 0:52:40 | |
was good and proper and right and then when he was in his... | 0:52:40 | 0:52:44 | |
Coming up to retirement, it's like he kind of said... | 0:52:44 | 0:52:48 | |
Sod it. | 0:52:48 | 0:52:49 | |
I'm going to go for it. | 0:52:50 | 0:52:51 | |
-"Maybe I want to live for a bit." -Yeah. -And he broke out of this... | 0:52:51 | 0:52:55 | |
..straitjacket of a life that he'd lived in. | 0:52:57 | 0:53:00 | |
This was when your half-brother got married in 1955. | 0:53:00 | 0:53:04 | |
Your father and his wife. His long-suffering wife. | 0:53:04 | 0:53:09 | |
We never talk about her, but she looks a lovely wee woman. | 0:53:09 | 0:53:12 | |
-Doesn't she? -She looks like a granny. | 0:53:12 | 0:53:14 | |
And he's got a young mistress and two illegitimate babies | 0:53:14 | 0:53:18 | |
in a second family. | 0:53:18 | 0:53:19 | |
You were back home in Menstrie | 0:53:20 | 0:53:22 | |
and he was at a very grand wedding in Knightsbridge. | 0:53:22 | 0:53:25 | |
He looks nothing like me. | 0:53:25 | 0:53:27 | |
Do you think that looks anything like me? | 0:53:27 | 0:53:29 | |
There's a twinkle in his eye. | 0:53:29 | 0:53:31 | |
Well, we've known that for quite some time, haven't we? | 0:53:31 | 0:53:34 | |
We've worked that one out. There's a lot of twinkles in his eye. | 0:53:35 | 0:53:40 | |
Maybe it was the love affair to rival all love affairs. | 0:53:46 | 0:53:49 | |
Maybe that's what it was. | 0:53:49 | 0:53:51 | |
Maybe he was the kindest man in the west of Scotland. | 0:53:51 | 0:53:55 | |
But maybe he wasn't. | 0:53:57 | 0:53:59 | |
My personal opinion is that there was a romance, | 0:53:59 | 0:54:02 | |
that there was a genuine love affair, | 0:54:02 | 0:54:05 | |
that it wasn't just... | 0:54:05 | 0:54:06 | |
..a matter of cheap sex. | 0:54:08 | 0:54:10 | |
Cos when William Kerr had died, they found in his wallet a poem | 0:54:10 | 0:54:15 | |
and it was a very old love song called Awearyin' For You | 0:54:15 | 0:54:19 | |
and it had been handwritten. | 0:54:19 | 0:54:21 | |
It was about, you know, "Evening comes, I miss you more. | 0:54:21 | 0:54:25 | |
"I yearn for the sound of the door latch going | 0:54:25 | 0:54:28 | |
"but you've gone." | 0:54:28 | 0:54:29 | |
And it was a poem about lost love. | 0:54:31 | 0:54:33 | |
My belief, and it's what Gregor, I know, would love to believe, | 0:54:33 | 0:54:38 | |
is that...you know, he adored Kit. | 0:54:38 | 0:54:42 | |
He adored this woman that he risked everything for and he... | 0:54:42 | 0:54:48 | |
When she died, he was distraught. | 0:54:48 | 0:54:50 | |
And he went to his grave still with strong affections for her. | 0:54:52 | 0:54:56 | |
# Just wearyin' for you | 0:55:09 | 0:55:15 | |
# All the time of feeling blue | 0:55:15 | 0:55:21 | |
# Wishing for you | 0:55:21 | 0:55:23 | |
# Wondering when you'll be coming home again | 0:55:23 | 0:55:31 | |
# Restless don't know... # | 0:55:31 | 0:55:33 | |
Gregor and Vicki now spend much of their time in France. | 0:55:33 | 0:55:37 | |
They have here some of Gregor's father's prized possessions. | 0:55:37 | 0:55:41 | |
These were given to Gregor by the Kerrs, | 0:55:47 | 0:55:50 | |
who warmly accepted him and his sister Maureen | 0:55:50 | 0:55:53 | |
into their family. | 0:55:53 | 0:55:55 | |
With the final pieces of the puzzle in place, | 0:56:00 | 0:56:03 | |
Melanie accepts that there are certain parts of Gregor's life story | 0:56:03 | 0:56:07 | |
she will never have the answers to. | 0:56:07 | 0:56:09 | |
If I could meet Kit, | 0:56:10 | 0:56:12 | |
I would love to ask her how much she loved Gregor's father. | 0:56:12 | 0:56:17 | |
And I'd love to be able to tell her how successful and brave | 0:56:17 | 0:56:21 | |
and fantastic all her children have been. | 0:56:21 | 0:56:24 | |
And that one of them's, you know, enormously famous. | 0:56:24 | 0:56:28 | |
It would... You know, it would be nice if she could know that... | 0:56:28 | 0:56:31 | |
..in a different kind of... | 0:56:32 | 0:56:34 | |
In a different kind of world. | 0:56:35 | 0:56:37 | |
SHE SPEAKS FRENCH | 0:56:47 | 0:56:49 | |
-That's quite a small bunch. -We'll have another one then. -Encore. | 0:56:51 | 0:56:54 | |
S'il vous plait. | 0:56:54 | 0:56:56 | |
We always liked the idea of moving to France. | 0:56:58 | 0:57:01 | |
He doesn't speak much French, | 0:57:01 | 0:57:03 | |
but in the markets, he has no trouble explaining what he wants. | 0:57:03 | 0:57:07 | |
-Encore. -He mimes or acts... | 0:57:07 | 0:57:10 | |
-Encore. -..what it is that he's feeling or wanting or... | 0:57:10 | 0:57:12 | |
He's terrific, actually, and, yeah, they love it. | 0:57:14 | 0:57:17 | |
THEY SPEAK FRENCH | 0:57:18 | 0:57:21 | |
Even here, Gregor can never fully escape his past. | 0:57:24 | 0:57:28 | |
Can I have a photo of you, please? | 0:57:28 | 0:57:30 | |
You can have a photo any time you like with me. | 0:57:30 | 0:57:33 | |
I know. It's Rab C Nesbitt! | 0:57:33 | 0:57:34 | |
Of course you can. Come round the front. | 0:57:34 | 0:57:36 | |
Gregor's recent journey through his family history | 0:57:37 | 0:57:40 | |
has given him food for thought. | 0:57:40 | 0:57:42 | |
Smile. OK, perfect. | 0:57:42 | 0:57:44 | |
It's nice to just now and again blow a trumpet | 0:57:45 | 0:57:48 | |
for the ordinary people in this story. | 0:57:48 | 0:57:51 | |
The ordinary people, like my mother, | 0:57:51 | 0:57:55 | |
who were ordinary and extraordinary at the same time. | 0:57:55 | 0:58:00 | |
You know, the people who you would pass in the street | 0:58:00 | 0:58:03 | |
and not give a second glance to, but these are the people. | 0:58:03 | 0:58:08 | |
If some boy, some girl, | 0:58:09 | 0:58:12 | |
who maybe hasn't had the best start in life | 0:58:12 | 0:58:14 | |
happens to think, "He's done all right. | 0:58:14 | 0:58:16 | |
"Look, come on. If he can do it, so can I." | 0:58:16 | 0:58:20 | |
That would be a good thing. | 0:58:20 | 0:58:21 |