Browse content similar to Dreams are Made On. Check below for episodes and series from the same categories and more!
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And then, in dreaming | 0:00:27 | 0:00:31 | |
The clouds methought would open and show riches | 0:00:31 | 0:00:35 | |
Ready to drop down on me... | 0:00:35 | 0:00:37 | |
That when I waked | 0:00:53 | 0:00:55 | |
I cried to dream again. | 0:00:55 | 0:00:57 | |
Heston? | 0:01:31 | 0:01:32 | |
Yeah, I'm not really here. I'm looking for my, erm... | 0:01:32 | 0:01:36 | |
Ah, thank you. | 0:01:36 | 0:01:38 | |
And look how popular we are. | 0:01:38 | 0:01:40 | |
Oh, yes, well, I, er, I have so much to get through before my trip. | 0:01:40 | 0:01:44 | |
And The Mill... | 0:01:44 | 0:01:45 | |
Just nonstop babble and interruptions. I know. | 0:01:45 | 0:01:48 | |
So, are you looking forward to going back to Botswana? | 0:01:50 | 0:01:52 | |
Oh, yes. Yes, er, a friend of mine | 0:01:52 | 0:01:55 | |
has organised a trip to the Okavango River. | 0:01:55 | 0:01:59 | |
And another has invited me to lunch at a spot | 0:01:59 | 0:02:02 | |
overlooking the Gaborone Dam, and there is a grand | 0:02:02 | 0:02:06 | |
multi-denominational prayer day at Christ the King Cathedral. | 0:02:06 | 0:02:11 | |
Well, that will be a highlight. | 0:02:11 | 0:02:12 | |
Well, you can get a taste of your trip today. | 0:02:12 | 0:02:15 | |
Nyaqa Dale Setshwane, | 0:02:15 | 0:02:16 | |
it's her first book since winning the Nobel Prize. | 0:02:16 | 0:02:20 | |
It was a proud moment for Botswana. | 0:02:20 | 0:02:22 | |
Ah, yes, it was an incredible achievement. | 0:02:22 | 0:02:26 | |
Oh, so you know her? | 0:02:26 | 0:02:27 | |
Why would I know her? | 0:02:29 | 0:02:30 | |
Because you're both from Botswana. | 0:02:32 | 0:02:33 | |
It is impractical to suggest that I am acquainted with | 0:02:35 | 0:02:38 | |
everyone from Botswana. | 0:02:38 | 0:02:40 | |
Yes, but you do know her work? | 0:02:40 | 0:02:42 | |
Er, her earlier novels, yes. | 0:02:42 | 0:02:45 | |
And I am a great admirer of her writing. | 0:02:45 | 0:02:49 | |
Well, she's giving a talk at the university this afternoon | 0:02:49 | 0:02:52 | |
which I am attending after a lunchtime concert. | 0:02:52 | 0:02:54 | |
Oh, thrash metal or house? | 0:02:54 | 0:02:56 | |
No, it's the university orchestra | 0:02:56 | 0:02:59 | |
playing Sibelius' setting of The Tempest. | 0:02:59 | 0:03:01 | |
Then they're doing a production of the play in the evening. | 0:03:01 | 0:03:04 | |
Don't tell me you're going to that too. | 0:03:04 | 0:03:06 | |
I'm making the most of my day off. | 0:03:06 | 0:03:07 | |
Oh, he really is a vulture for culture. | 0:03:07 | 0:03:10 | |
On my days off, I prefer to get a bit of fresh air. | 0:03:10 | 0:03:12 | |
Well, chacun a son gout. | 0:03:12 | 0:03:14 | |
Anyway, would you like to come to the talk? | 0:03:14 | 0:03:17 | |
Oh, I would love to, but I have a costings report to finish. | 0:03:17 | 0:03:21 | |
We could have a bite to eat at the Icon. | 0:03:21 | 0:03:23 | |
I will try my best. | 0:03:23 | 0:03:25 | |
-No arrests? -No. No arrests. | 0:03:26 | 0:03:29 | |
We're just following the money. | 0:03:30 | 0:03:32 | |
All right. | 0:03:32 | 0:03:33 | |
As far as I know, the uni's never had major, | 0:03:33 | 0:03:36 | |
major drug problems, just lower category stuff. | 0:03:36 | 0:03:39 | |
But there's always someone who wants to sell them something. | 0:03:40 | 0:03:43 | |
Apparently this new guy who has moved in got the drugs | 0:03:43 | 0:03:46 | |
coming in from Coventry. | 0:03:46 | 0:03:48 | |
But he's going to grow more dealers. | 0:03:48 | 0:03:50 | |
Even if we take him out, he'll have left a network. | 0:03:50 | 0:03:53 | |
So what are you suggesting? | 0:03:53 | 0:03:55 | |
Nick them all, burn the chain. | 0:03:55 | 0:03:57 | |
Is that before or after we get the main man? | 0:03:57 | 0:04:00 | |
You think I'm a bucket head, don't you? | 0:04:00 | 0:04:01 | |
No, I don't. I'm just agreeing with the gaffer's strategy. | 0:04:01 | 0:04:04 | |
Oh, come on, admit it. | 0:04:06 | 0:04:07 | |
You just want to play super-cops and whizz round, thief-taking, | 0:04:07 | 0:04:10 | |
like The Professionals. | 0:04:10 | 0:04:12 | |
Professional what? | 0:04:12 | 0:04:13 | |
The Professionals? TV show? | 0:04:15 | 0:04:17 | |
Bodie and Doyle? | 0:04:18 | 0:04:20 | |
Who? | 0:04:20 | 0:04:21 | |
Good grief. | 0:04:21 | 0:04:23 | |
I'm just pulling your leg. Course I know The Professionals. | 0:04:23 | 0:04:27 | |
My grandad told me about them. | 0:04:27 | 0:04:28 | |
You cheeky...! | 0:04:30 | 0:04:31 | |
I've just got this for you to sign, Mrs Tembe. | 0:04:34 | 0:04:36 | |
Thank you. | 0:04:36 | 0:04:37 | |
A Woman Is An Island. | 0:04:40 | 0:04:42 | |
I think if I was an Island, I would like to be Gran Canaria. | 0:04:42 | 0:04:46 | |
Maybe not, it's a bit windy. Perhaps Menorca. | 0:04:48 | 0:04:51 | |
Cos it's not as flashy as its neighbour, | 0:04:51 | 0:04:53 | |
but it's got subtle charms and hidden depths. | 0:04:53 | 0:04:55 | |
How about you? | 0:04:55 | 0:04:56 | |
What? | 0:04:58 | 0:04:59 | |
What island would you be? | 0:04:59 | 0:05:02 | |
I think the title is a metaphor. | 0:05:02 | 0:05:05 | |
It might not be so specific. | 0:05:05 | 0:05:07 | |
Hmm, yeah. | 0:05:07 | 0:05:09 | |
Yeah, I suppose it's suggesting that we're all out there | 0:05:09 | 0:05:11 | |
on the seas and oceans of life, | 0:05:11 | 0:05:14 | |
seemingly anchored, but meanwhile we're all feeling adrift. | 0:05:14 | 0:05:17 | |
-I suppose I better let you get on. -Thank you. Thank you. | 0:05:20 | 0:05:23 | |
-AUTHOR: -"Outside my mother's house was a motopi, or shepherd's tree." | 0:05:38 | 0:05:43 | |
-MRS TEMBE: -"I would sit in its shade and watch beyond the dark penumbra, | 0:05:43 | 0:05:48 | |
"the breeze stirring the dust | 0:05:48 | 0:05:51 | |
"like red waves caressing a dark, still shore. | 0:05:51 | 0:05:55 | |
"And I would hear the sea in that landlocked place." | 0:05:55 | 0:06:00 | |
Hello. | 0:06:02 | 0:06:03 | |
That was an exchange, right? | 0:06:08 | 0:06:09 | |
Yep. | 0:06:10 | 0:06:12 | |
Hold on! Hold on! | 0:06:12 | 0:06:13 | |
Instinct. | 0:06:13 | 0:06:15 | |
Instinct... | 0:06:15 | 0:06:16 | |
Right, now we can see where laddo goes next. | 0:06:18 | 0:06:22 | |
145 over 103. | 0:06:25 | 0:06:26 | |
I'm afraid that's borderline hypertension. | 0:06:28 | 0:06:30 | |
I've been trying to eat more healthily. And I've lost four kilos. | 0:06:30 | 0:06:34 | |
Yeah, what about other factors, like stress, work? | 0:06:34 | 0:06:38 | |
I've got a fair bit on. There's marking, seminars. | 0:06:38 | 0:06:41 | |
I'm directing a play, and acting in it. | 0:06:41 | 0:06:43 | |
-The Tempest? -Yeah. -You're taking a lot on. | 0:06:43 | 0:06:46 | |
Oh, no, it's not the theatre. I love theatre. | 0:06:46 | 0:06:48 | |
It's the extra stuff, like, erm... | 0:06:48 | 0:06:50 | |
For instance, the head of department is ill | 0:06:50 | 0:06:52 | |
and there's this writer visiting today and I've got to host | 0:06:52 | 0:06:55 | |
but I'd forgotten, because this morning I had a... | 0:06:55 | 0:06:58 | |
Had a what? | 0:07:00 | 0:07:01 | |
It was just a kind of...episode. | 0:07:01 | 0:07:03 | |
An episode? So, what, like dizziness? | 0:07:03 | 0:07:06 | |
Or a blackout? | 0:07:06 | 0:07:07 | |
Maybe a bit dizzy. | 0:07:07 | 0:07:09 | |
-You know that with the... -Brugada Syndrome, I know. | 0:07:09 | 0:07:12 | |
My father had it and he died at the age of 32. | 0:07:12 | 0:07:15 | |
I suppose I was lucky, finding out I had it too. | 0:07:15 | 0:07:18 | |
I would still like you to go ahead with the electrophysiological study. | 0:07:19 | 0:07:23 | |
-Yeah, I... -It's what the specialists are advising. | 0:07:23 | 0:07:25 | |
It's important for us to see whether you need an ICD. | 0:07:25 | 0:07:28 | |
I don't need a pacemaker. | 0:07:29 | 0:07:31 | |
It's not a pacemaker. It just sits under the skin | 0:07:31 | 0:07:33 | |
and it gives the heart the rhythmic stimulation it needs. | 0:07:33 | 0:07:37 | |
I'll think about it. | 0:07:37 | 0:07:39 | |
Thing is, you've been thinking about it for a while. | 0:07:39 | 0:07:41 | |
OK, I'll think about it some more. Thanks, Doctor. | 0:07:41 | 0:07:44 | |
You've got to stop following me. | 0:07:52 | 0:07:54 | |
Don't flatter yourself. I'm here to see the doctor. | 0:07:54 | 0:07:56 | |
But, when are you going to tell her the truth about us? | 0:07:58 | 0:08:00 | |
That would ruin everything. | 0:08:00 | 0:08:02 | |
For who? | 0:08:03 | 0:08:05 | |
I can't deal with this right now. | 0:08:05 | 0:08:06 | |
Because you don't want to deal with it, do you? | 0:08:06 | 0:08:10 | |
If you don't tell her, I will. | 0:08:10 | 0:08:11 | |
Ah, right, I'm off to lunch with Dr Carter. | 0:08:17 | 0:08:20 | |
Oh, have fun. | 0:08:20 | 0:08:21 | |
HE EXHALES | 0:08:23 | 0:08:25 | |
That's it, OK. | 0:08:25 | 0:08:26 | |
What's that mean? | 0:08:28 | 0:08:29 | |
Er, well, your peak flow has dropped off a little bit since last time. | 0:08:29 | 0:08:33 | |
Is that serious? | 0:08:33 | 0:08:34 | |
It's something to look at. You're still a non-smoker? | 0:08:34 | 0:08:37 | |
-Yeah. -OK. Anything else changed since last time? | 0:08:37 | 0:08:40 | |
Like what? | 0:08:40 | 0:08:41 | |
Lifestyle factors, stress, deadline pressures? | 0:08:41 | 0:08:45 | |
OK, well, look, there's always the university counselling service. | 0:08:46 | 0:08:49 | |
I don't need anyone telling me what my problems are! | 0:08:49 | 0:08:52 | |
It's not really about telling you what... | 0:08:52 | 0:08:54 | |
I know what my problem is. | 0:08:55 | 0:08:57 | |
-Aashiq... -PHONE RINGS | 0:08:59 | 0:09:01 | |
Hello? | 0:09:01 | 0:09:03 | |
Oh! I'm so sorry. | 0:09:03 | 0:09:04 | |
Ah, he's gone. | 0:09:10 | 0:09:11 | |
Oh, Daniel. | 0:09:11 | 0:09:13 | |
Erm, he had some tablets. | 0:09:13 | 0:09:16 | |
-Tablets? -Pills. | 0:09:16 | 0:09:17 | |
Well, did they look like prescription medication, or...? | 0:09:17 | 0:09:21 | |
They were in a plastic bag and there was quite a lot of them. | 0:09:21 | 0:09:24 | |
Funny way to carry them, if they were. | 0:09:24 | 0:09:25 | |
OK. All right, I'll make a call. | 0:09:25 | 0:09:27 | |
Keep an eye on him. | 0:09:43 | 0:09:45 | |
I'm going to have a quick word in the surgery. | 0:09:45 | 0:09:47 | |
Sarge. | 0:09:47 | 0:09:48 | |
What's going on? | 0:09:54 | 0:09:55 | |
Rob wanted to know about the boy who just left. | 0:09:55 | 0:09:57 | |
Aashiq Pierce. | 0:09:57 | 0:09:59 | |
Yeah. Yeah, Mr Pierce is a patient. | 0:09:59 | 0:10:00 | |
He also may be a person of interest to us. | 0:10:00 | 0:10:04 | |
-Really? -Yeah. | 0:10:04 | 0:10:05 | |
Valerie said that she saw him | 0:10:05 | 0:10:07 | |
drop a bag containing a large amount of white pills. | 0:10:07 | 0:10:09 | |
Does that sound like something that you might have prescribed to him? | 0:10:09 | 0:10:13 | |
No, no. So this is about narcotics? | 0:10:13 | 0:10:15 | |
That's our focus, yeah. Anyway, thanks for your help. | 0:10:15 | 0:10:19 | |
Mrs Setshwane, I am so sorry. | 0:10:44 | 0:10:47 | |
I was expecting Professor Halloran. | 0:10:47 | 0:10:49 | |
Clare, Professor Halloran, is ill, I'm afraid. | 0:10:49 | 0:10:52 | |
And, you are...? | 0:10:52 | 0:10:53 | |
Er, Misal Khatib. Lecturer in drama. | 0:10:53 | 0:10:55 | |
Drama? Really? | 0:10:55 | 0:10:58 | |
I am so sorry to interrupt... | 0:10:58 | 0:11:00 | |
Ah. A pen? | 0:11:00 | 0:11:02 | |
Oh, I, er... | 0:11:02 | 0:11:03 | |
-Here... -And to whom shall I inscribe it? | 0:11:05 | 0:11:08 | |
Oh, er, Dr Carter. | 0:11:08 | 0:11:10 | |
You are a medical doctor or PhD? | 0:11:11 | 0:11:14 | |
Neither, it is for Dr Heston Carter. | 0:11:14 | 0:11:17 | |
A medical doctor, he's a colleague. | 0:11:17 | 0:11:20 | |
I very much enjoyed reading it. | 0:11:20 | 0:11:22 | |
Your accent...? | 0:11:24 | 0:11:25 | |
Yes. I, er, I am also from Botswana. | 0:11:25 | 0:11:28 | |
Ah. | 0:11:28 | 0:11:29 | |
Did the book have resonance? | 0:11:31 | 0:11:34 | |
Yes. Yes, it did. | 0:11:34 | 0:11:35 | |
-So, where's lunch? -Lunch? | 0:11:37 | 0:11:39 | |
Yes, I was told I was going to be provided with lunch upon arrival. | 0:11:39 | 0:11:42 | |
Professor Halloran didn't mention anything about lunch. | 0:11:42 | 0:11:45 | |
Really? | 0:11:45 | 0:11:46 | |
Well, er, I am about to meet Dr Carter for lunch. | 0:11:46 | 0:11:49 | |
You are very welcome to join us. | 0:11:49 | 0:11:50 | |
It seems my best offer. | 0:11:50 | 0:11:52 | |
Great. And thank you, erm...? | 0:11:52 | 0:11:54 | |
Oh, Mrs Winifred Tembe. | 0:11:54 | 0:11:57 | |
Practice Manager at The Mill Health Centre and The Campus Surgery. | 0:11:57 | 0:12:01 | |
Right. | 0:12:01 | 0:12:02 | |
So, Mrs Setshwane, I will see you after I've done the, erm... | 0:12:02 | 0:12:05 | |
-You are not joining us? -No. | 0:12:05 | 0:12:07 | |
I, er... I'm in the middle of a rehearsal | 0:12:07 | 0:12:09 | |
for a performance this evening. | 0:12:09 | 0:12:11 | |
Ah, well, it is always best to lay bare one's priorities. | 0:12:11 | 0:12:16 | |
Yes. Erm, I'll be there to introduce you at the lecture room. | 0:12:16 | 0:12:20 | |
Right. Well, er, this way. | 0:12:20 | 0:12:23 | |
So, er, how is it you chose to come to | 0:12:27 | 0:12:29 | |
the University of Letherbridge to talk about your book? | 0:12:29 | 0:12:33 | |
The head of the English department here is a friend of my publishers. | 0:12:33 | 0:12:37 | |
If only she had deigned to grace us with her presence. | 0:12:37 | 0:12:40 | |
Well, it is hardly her fault that she is unwell. | 0:12:40 | 0:12:44 | |
Excuses! | 0:12:44 | 0:12:45 | |
-Thank you. -Thank you. | 0:12:48 | 0:12:50 | |
This glass is dirty. | 0:12:52 | 0:12:53 | |
Just replace it. | 0:12:55 | 0:12:56 | |
Now, if only there was something that seemed palatable, | 0:12:58 | 0:13:02 | |
if merely by description. | 0:13:02 | 0:13:05 | |
Hello, hello. | 0:13:05 | 0:13:06 | |
Ah, Dr Carter, this is... | 0:13:06 | 0:13:09 | |
Mrs Setshwane. Yes, I know. It is an honour to meet you. | 0:13:09 | 0:13:13 | |
And it would be an even greater honour... | 0:13:13 | 0:13:16 | |
She has already signed it. | 0:13:16 | 0:13:18 | |
Then it will take pride of place on my bookshelf. | 0:13:18 | 0:13:20 | |
So, er, how was the concert? | 0:13:22 | 0:13:24 | |
Oh, charming, but you have to make allowances for | 0:13:24 | 0:13:28 | |
a university orchestra, but they gave a good performance. | 0:13:28 | 0:13:30 | |
Of what? | 0:13:30 | 0:13:32 | |
Sibelius' setting of The Tempest. | 0:13:32 | 0:13:34 | |
Sibelius. The Silence of Jarvenpaa. | 0:13:34 | 0:13:37 | |
Oh, I don't know that one. | 0:13:39 | 0:13:40 | |
It is a term used to describe the last 32 years of his life, | 0:13:40 | 0:13:44 | |
where he wrote almost nothing. | 0:13:44 | 0:13:46 | |
Maybe he felt he had created everything he needed to. | 0:13:47 | 0:13:50 | |
A creator does not stop creating. | 0:13:50 | 0:13:53 | |
That is the abandonment of an oath with one's talent. | 0:13:53 | 0:13:57 | |
Thank you. | 0:13:57 | 0:13:58 | |
The Waldorf salad. | 0:13:58 | 0:14:00 | |
I trust even here you can put five simple ingredients together. | 0:14:00 | 0:14:04 | |
Yes. | 0:14:04 | 0:14:05 | |
What's he up to? | 0:14:08 | 0:14:10 | |
I don't know, but he knew the key code. | 0:14:10 | 0:14:12 | |
Ah, hello, Mr Pierce. | 0:14:13 | 0:14:17 | |
Police. | 0:14:17 | 0:14:18 | |
Would you mind telling us what you were doing in there? | 0:14:18 | 0:14:21 | |
I, er, I really did enjoy the description of | 0:14:24 | 0:14:29 | |
the little girl under the motopi tree. | 0:14:29 | 0:14:31 | |
Yes, I was very impressed with the symbolism in that. | 0:14:33 | 0:14:37 | |
It reminded me very much of home, of Botswana. | 0:14:38 | 0:14:42 | |
Fortunately for me, I will be returning in a couple of days. | 0:14:42 | 0:14:46 | |
And are you intending to, once again, sit under a motopi tree? | 0:14:46 | 0:14:51 | |
Well, er... | 0:14:52 | 0:14:54 | |
Actually, it is something I used to do in the village of my aunt. | 0:14:54 | 0:14:58 | |
Isn't that the same for the girl in the book? | 0:15:00 | 0:15:02 | |
It's what she's thinking about, er, when the storm happens. | 0:15:02 | 0:15:06 | |
Yeah, but she does not go back. | 0:15:06 | 0:15:09 | |
When the storm subsides and she is safely harboured, | 0:15:09 | 0:15:12 | |
she does not thank a God who does not exist or go back to | 0:15:12 | 0:15:17 | |
a childhood created only by nostalgia. | 0:15:17 | 0:15:19 | |
My childhood was, er, very happy. | 0:15:22 | 0:15:25 | |
And the motopi tree in Kweneng was not created by nostalgia. | 0:15:26 | 0:15:31 | |
Ah, Kweneng, where David Livingstone arrived heralding empire | 0:15:31 | 0:15:38 | |
and Christianity and the simple people lined up | 0:15:38 | 0:15:42 | |
for servitude and baptism. | 0:15:42 | 0:15:43 | |
That is enough. | 0:15:45 | 0:15:47 | |
Er, Mrs Tembe... | 0:15:47 | 0:15:48 | |
No, I am not going to stay here and be insulted by this...hypocrite! | 0:15:48 | 0:15:53 | |
I do not care how many prizes or baubles you have won, | 0:15:54 | 0:15:59 | |
you take the life stuff of our country and our people, | 0:15:59 | 0:16:03 | |
you take our beliefs and our traditions | 0:16:03 | 0:16:05 | |
and you use them as metaphors and motifs, | 0:16:05 | 0:16:08 | |
and in person, they mean absolutely nothing to you. | 0:16:08 | 0:16:11 | |
You do not understand the literary voice. | 0:16:11 | 0:16:14 | |
I understand YOUR literary voice, and it is the voice of betrayal. | 0:16:14 | 0:16:18 | |
-Who have I betrayed? -Your readers! | 0:16:18 | 0:16:22 | |
You cannot draw on a country for your words and your sales | 0:16:22 | 0:16:28 | |
and play the part of the great Botswanan writer | 0:16:28 | 0:16:32 | |
on the world stage and in private hold it in contempt! | 0:16:32 | 0:16:37 | |
It is not contempt. | 0:16:37 | 0:16:39 | |
Well, that is what it feels like to me. | 0:16:39 | 0:16:43 | |
But I am just a simple woman who has grown from a simple girl... | 0:16:43 | 0:16:48 | |
-Hmm. -..for whom sitting under the motopi tree in her country | 0:16:48 | 0:16:52 | |
is a deep and treasured memory. | 0:16:52 | 0:16:54 | |
Sorry, excuse me. | 0:16:56 | 0:16:58 | |
I really don't know what to say. | 0:17:01 | 0:17:03 | |
There is nothing to say. | 0:17:03 | 0:17:04 | |
She is the type of my countrywomen who considers | 0:17:05 | 0:17:08 | |
the home place as a kind of Eden. | 0:17:08 | 0:17:11 | |
Now, it's almost time for my talk. | 0:17:12 | 0:17:14 | |
Would you be kind enough to escort me? | 0:17:14 | 0:17:16 | |
What's going on? | 0:17:21 | 0:17:22 | |
We're police. | 0:17:22 | 0:17:23 | |
Are you arresting him? | 0:17:23 | 0:17:25 | |
Yes. And you are? | 0:17:25 | 0:17:26 | |
Misal Khatib. I teach here. What are the grounds, what's he...? | 0:17:26 | 0:17:29 | |
They say I've been dealing drugs. | 0:17:29 | 0:17:32 | |
What? | 0:17:32 | 0:17:33 | |
We did witness a transaction with a second party. | 0:17:33 | 0:17:35 | |
And he had these on him, | 0:17:35 | 0:17:37 | |
which is technically possession with intent to supply. | 0:17:37 | 0:17:39 | |
They're not illegal. | 0:17:39 | 0:17:41 | |
-So you say. -They're not, they're nootropics. | 0:17:41 | 0:17:43 | |
-What? -Cognition enhancers. They help you concentrate, study. | 0:17:43 | 0:17:46 | |
There's nothing illegal in them. | 0:17:46 | 0:17:48 | |
-You were still selling them. -Just to make a bit of extra cash. | 0:17:48 | 0:17:51 | |
How can you arrest him when he says the drugs aren't illegal? | 0:17:51 | 0:17:53 | |
Well, we don't know that until we've tested them. | 0:17:53 | 0:17:55 | |
And there's also trespass. | 0:17:55 | 0:17:58 | |
-What? Where? -Your office. | 0:17:58 | 0:18:00 | |
PHONE RINGS | 0:18:00 | 0:18:02 | |
What were you doing in there? | 0:18:02 | 0:18:04 | |
Husna. | 0:18:11 | 0:18:13 | |
Look, I know you've been trying to call... | 0:18:13 | 0:18:15 | |
Husna, I can... | 0:18:17 | 0:18:20 | |
Husna?! | 0:18:20 | 0:18:21 | |
You told her! | 0:18:25 | 0:18:27 | |
That's what I was doing in your office, getting her number. | 0:18:27 | 0:18:30 | |
-She needed to know. -No, she didn't! | 0:18:30 | 0:18:32 | |
-Whoa, whoa, whoa, cool it! -Mr Khatib? -Argh! -Heston! | 0:18:32 | 0:18:36 | |
-What's happening? -I think it's palpitations. | 0:18:36 | 0:18:39 | |
Do you have a history of heart disease? | 0:18:39 | 0:18:41 | |
I've got Brugada Syndrome. | 0:18:41 | 0:18:43 | |
I saw Dr Granger this... | 0:18:43 | 0:18:45 | |
Mr Khatib? Mr Khatib! | 0:18:46 | 0:18:49 | |
-Is he going to be OK? -Let's get him in the recovery position. | 0:18:49 | 0:18:51 | |
Is he going to be OK?! | 0:18:51 | 0:18:52 | |
-Who are you? -I'm his son. | 0:18:52 | 0:18:54 | |
The woman is dreadful! | 0:18:57 | 0:18:59 | |
-I think it's a shame. -What is? | 0:19:00 | 0:19:02 | |
That you didn't get along, because you've got so much in common. | 0:19:02 | 0:19:05 | |
Geography, geography is the only thing we have in common. | 0:19:05 | 0:19:09 | |
A Woman Is An Island. | 0:19:11 | 0:19:13 | |
Her book. I mean, that says something, doesn't it? | 0:19:13 | 0:19:15 | |
Yes, that she is isolated because she is intolerable. | 0:19:15 | 0:19:19 | |
All those years away from home, family. | 0:19:19 | 0:19:23 | |
I reckon it's all just a front. | 0:19:23 | 0:19:25 | |
She's probably just really lonely. | 0:19:25 | 0:19:27 | |
Some people do that, don't they? | 0:19:28 | 0:19:30 | |
Mrs Tembe, this is not like you. | 0:19:32 | 0:19:34 | |
She must have really got to you. | 0:19:34 | 0:19:36 | |
I need to go over to The Mill. | 0:19:36 | 0:19:38 | |
I will get back as soon as I can. | 0:19:38 | 0:19:39 | |
Take your time. | 0:19:45 | 0:19:47 | |
I'm OK. | 0:19:47 | 0:19:48 | |
Well, a blackout can't be taken lightly. | 0:19:48 | 0:19:50 | |
It happens sometimes. You get used to it. | 0:19:50 | 0:19:52 | |
This Brugada syndrome, something else you were hiding? | 0:19:52 | 0:19:56 | |
No. | 0:19:56 | 0:19:58 | |
But it is something else we need to talk about. | 0:19:58 | 0:20:00 | |
What, you could have passed it on to me? | 0:20:00 | 0:20:03 | |
It's genetic, you might be at risk. There's a simple test... | 0:20:03 | 0:20:06 | |
So I wasn't worthy enough to be told? | 0:20:06 | 0:20:08 | |
-It's nothing about being... -It is! | 0:20:08 | 0:20:11 | |
I bring shame on you. | 0:20:13 | 0:20:16 | |
Right from when I was born! | 0:20:16 | 0:20:18 | |
I was a student when you were born. | 0:20:18 | 0:20:19 | |
My parents were traditional, they wouldn't have accepted it. | 0:20:19 | 0:20:22 | |
But you know I split up from your mum anyway. | 0:20:24 | 0:20:27 | |
And you know she died? | 0:20:27 | 0:20:29 | |
Yes. | 0:20:29 | 0:20:30 | |
What happened to you after losing your mother? | 0:20:30 | 0:20:33 | |
I was in care. | 0:20:33 | 0:20:35 | |
In foster homes. | 0:20:36 | 0:20:38 | |
And all the while I was hoping my dad would | 0:20:39 | 0:20:42 | |
care enough to come and get me. | 0:20:42 | 0:20:43 | |
But he never did. | 0:20:44 | 0:20:46 | |
I really think we should phone an ambulance. | 0:20:48 | 0:20:50 | |
I can't go to hospital tonight because I've got a performance. | 0:20:50 | 0:20:54 | |
-I'm Prospero. -I'm looking forward to the performance, | 0:20:54 | 0:20:56 | |
but I don't think we should put that before your health. | 0:20:56 | 0:20:59 | |
I will go to hospital tomorrow, I promise. | 0:20:59 | 0:21:01 | |
And that, erm, pacemaker thing they're suggesting... | 0:21:01 | 0:21:04 | |
-ICD? -Yeah, I'll have one of them fitted. | 0:21:04 | 0:21:07 | |
But really, I've put too much into this. | 0:21:07 | 0:21:09 | |
Well, it's against my advice, but it is your decision. | 0:21:11 | 0:21:14 | |
-Time to go, son. -You're not still arresting him? | 0:21:14 | 0:21:16 | |
-I'm afraid so. -I'm not pressing charges. | 0:21:16 | 0:21:19 | |
It's not just down to you. Plus, there's the drugs. | 0:21:19 | 0:21:22 | |
He's already told you the drugs are legal. | 0:21:22 | 0:21:24 | |
-PHONE RINGS -Sergeant Hollins. | 0:21:24 | 0:21:26 | |
Right, OK. Thank you. | 0:21:29 | 0:21:31 | |
Well, it looks like we've got our main man. | 0:21:32 | 0:21:34 | |
Told you, nothing to do with me. | 0:21:34 | 0:21:36 | |
Yeah, but we've still got some questions | 0:21:36 | 0:21:38 | |
and we need to test those pills. | 0:21:38 | 0:21:39 | |
But if Aashiq's right, you can't keep him in. | 0:21:39 | 0:21:42 | |
I'll see what my boss says. | 0:21:42 | 0:21:44 | |
Dr Carter... | 0:21:46 | 0:21:48 | |
Oh, Mrs Tembe? | 0:21:48 | 0:21:49 | |
I am getting late for my talk. | 0:21:49 | 0:21:51 | |
-Yeah, yeah... -It is just through there. | 0:21:51 | 0:21:53 | |
Look, I wanted to apologise for what I said. | 0:21:53 | 0:21:57 | |
It's fine. I suppose you will not be attending. | 0:21:57 | 0:22:00 | |
Well, I did enjoy some aspects of the, well, the earlier chapters. | 0:22:01 | 0:22:06 | |
This too was one of the dark places of the Earth. | 0:22:10 | 0:22:14 | |
So Conrad had said, his parallel with the Congo. | 0:22:14 | 0:22:18 | |
But London was a dark place still and the sea had brought her there. | 0:22:19 | 0:22:24 | |
She gazed into the grey water, | 0:22:26 | 0:22:28 | |
eddying fast in its channels as it exited Waterloo Bridge, | 0:22:28 | 0:22:32 | |
or the Ladies' Bridge, as it was sometimes called, | 0:22:32 | 0:22:36 | |
due to the workforce that constructed it | 0:22:36 | 0:22:38 | |
being of a solely female composition. | 0:22:38 | 0:22:41 | |
And it bore the neatness and cleanness and fresh precision | 0:22:42 | 0:22:47 | |
that you would expect of a woman's hand, | 0:22:47 | 0:22:50 | |
the care over her creation. | 0:22:50 | 0:22:54 | |
But that was scant comfort | 0:22:57 | 0:22:59 | |
as she thought of sitting in the shadow of the motopi tree. | 0:22:59 | 0:23:04 | |
Think I should just, erm... | 0:23:09 | 0:23:11 | |
Excuse me. | 0:23:11 | 0:23:13 | |
Thank you very much. | 0:23:13 | 0:23:15 | |
Sorry. Excuse me. | 0:23:19 | 0:23:21 | |
I had the child when I was an undergraduate in London. | 0:23:21 | 0:23:25 | |
The father was a music promoter. | 0:23:25 | 0:23:27 | |
He didn't stay around for long. | 0:23:27 | 0:23:29 | |
My parents would never have accepted it. | 0:23:30 | 0:23:33 | |
I could not support a child, so I had to give him up. | 0:23:33 | 0:23:36 | |
When I heard that young man today, I... | 0:23:38 | 0:23:40 | |
So your son never tried to seek you out | 0:23:40 | 0:23:43 | |
and you never tried to find him? | 0:23:43 | 0:23:45 | |
When I was married, my husband, Martin, | 0:23:45 | 0:23:48 | |
suggested I try and find him. | 0:23:48 | 0:23:50 | |
But to no avail. | 0:23:50 | 0:23:51 | |
As a child, in Botswana, I always dreamt of the sea. | 0:23:53 | 0:23:57 | |
And the sea took me away to London, to having my child. | 0:23:58 | 0:24:03 | |
He is the only part of my past I have ever wanted to get back to. | 0:24:04 | 0:24:08 | |
So you are not the same as your character in your novel. | 0:24:10 | 0:24:13 | |
You do not need memories of where you are from. | 0:24:14 | 0:24:17 | |
The memories, yes. An imaginary arcadia, no. | 0:24:17 | 0:24:22 | |
The past is another country and I am a citizen of the present. | 0:24:23 | 0:24:29 | |
I think it's time for me to leave now. | 0:24:31 | 0:24:34 | |
You are not going back to the talk? | 0:24:34 | 0:24:36 | |
I mean, obviously, if you feel unable... | 0:24:36 | 0:24:38 | |
I feel I have exposed myself quite enough. | 0:24:38 | 0:24:41 | |
I need a taxi. | 0:24:42 | 0:24:43 | |
Much as I would like to be of further assistance, | 0:24:46 | 0:24:49 | |
I always think it is better to feel impelled rather than compelled. | 0:24:49 | 0:24:54 | |
I am sure you of all people appreciate the difference. | 0:24:54 | 0:24:58 | |
Mrs Tembe? | 0:25:01 | 0:25:02 | |
Well, I, er, I wish you well on your journey home. | 0:25:03 | 0:25:07 | |
I am very much looking forward to mine. | 0:25:07 | 0:25:10 | |
Now I want | 0:25:19 | 0:25:20 | |
Spirits to enforce, art to enchant... | 0:25:20 | 0:25:23 | |
And my ending is despair, Unless I be relieved by prayer, | 0:25:24 | 0:25:31 | |
Which pierces so that it assaults Mercy itself and frees all faults. | 0:25:31 | 0:25:37 | |
As you from crimes would pardoned be... | 0:25:39 | 0:25:42 | |
Let your indulgence set me free. | 0:25:43 | 0:25:47 | |
-That was fantastic. -Thank you. -How are you feeling? | 0:26:08 | 0:26:11 | |
Erm, better. Much better. | 0:26:11 | 0:26:13 | |
I would have come for the beginning but they didn't let me out in time. | 0:26:13 | 0:26:16 | |
Are they charging you? | 0:26:16 | 0:26:17 | |
No. No, the drugs were what I said they were. | 0:26:17 | 0:26:19 | |
I'm sorry. | 0:26:22 | 0:26:23 | |
For what? | 0:26:23 | 0:26:24 | |
Enrolling here. | 0:26:26 | 0:26:27 | |
Forcing things. | 0:26:29 | 0:26:30 | |
But it was the only thing I could think of. | 0:26:32 | 0:26:34 | |
Maybe you needed to force things. | 0:26:36 | 0:26:39 | |
Husna. Erm... | 0:26:39 | 0:26:41 | |
This is Aashiq...my son. | 0:26:42 | 0:26:45 | |
Hello. | 0:26:46 | 0:26:47 | |
Shall we? | 0:26:51 | 0:26:52 | |
It, er, it sounds as if it is raining. | 0:26:57 | 0:27:00 | |
Perhaps you can | 0:27:00 | 0:27:02 | |
"command the elements to silence and work the peace of the present." | 0:27:02 | 0:27:06 | |
Well, I could try my best. | 0:27:06 | 0:27:09 | |
You always do. | 0:27:09 | 0:27:10 | |
Hello, Eric! | 0:27:16 | 0:27:17 | |
I hardly think that qualifies him for a job of this magnitude. | 0:27:21 | 0:27:24 | |
Well, Mrs Tembe rates him. | 0:27:24 | 0:27:25 | |
It sounds to me like he's being a slob who's not pulling his weight. | 0:27:25 | 0:27:29 | |
What have you done with Christine? | 0:27:29 | 0:27:31 | |
She's dead, Dad! | 0:27:31 | 0:27:32 | |
How many more times do I have to tell you? | 0:27:32 | 0:27:34 | |
Your wife, my mum, is dead, and she's not coming back! | 0:27:34 | 0:27:38 |