Tin Dancing Shoes It's My Shout: Short Films from Wales


Tin Dancing Shoes

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-WOMAN:

-Hi, love.

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Catrin.

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Yes, Stanley?

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I saved you this, if you'd like some.

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Erm, we could go together.

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If you like.

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Before I leave.

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-I'd like that.

-SHE LAUGHS

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If you're sure you can get your feet in order.

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SHE LAUGHS

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MAN LAUGHS

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You have picked a hell of a partner for your final dance.

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Mm-hm.

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Hey, there's a foreigner advertising dancing lessons

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at the end of my street, if you're interested.

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A foreigner? No.

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Fine, mess up in front of Catrin and the whole village, then.

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HE LAUGHS

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Dancing lessons from a foreigner?

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-What are you thinking?

-I'm not thrilled about it either.

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People will talk, Stanley.

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Look, it's for the best, Mum.

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Don't you think it's a bit of an insult to your father?

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What would he say?

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He's not here, is he?

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Well, if you feel that strongly, take the lessons.

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But why go to all this trouble and money

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when you're just going to leave anyway?

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Good evening.

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Erm, I've heard you're advertising dancing lessons.

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For girls.

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I only give lessons to girls.

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How much are they?

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I told you.

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Please.

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So, the key to the waltz are three steps.

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One,

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two, three.

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One, two, three.

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One, two, three. One, two, three.

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One, two, three.

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One, two, three. You understand?

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-Erm...

-Good. You try.

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One...

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two, three.

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One, two, three.

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One, two, three.

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One, two... Uh.

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-Sorry.

-Silly boy.

-Sorry, sorry.

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No wonder you need my help. You are all feet.

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And again.

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One...

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So why are you in this dump?

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I mean, nothing ever happens.

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It's stifling. It's just the same maddening routine.

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But it's safe.

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That's important, surely.

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Can't we dance to something more modern?

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My son played this for our anniversary.

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Such a talented boy.

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Just like his father.

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Oh, Dietrich.

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Hold on, that's a German name.

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-You're German, aren't you?

-Stanley, it's not that simple.

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I think it's time we finish early, don't you?

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Let me explain.

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Nah, you've done all the explaining, Jerry.

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Bad enough you're getting lessons from a foreigner, but a Jerry?

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-People are gossiping already.

-I know it looks bad.

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You're joining up to fight them,

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not getting dancing tips from them.

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Do you know the trouble you're getting into?

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Just calm down.

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I will not be made a pariah by association, Stanley.

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Drop her or drop me.

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My husband got this for our engagement.

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Before the regime change.

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Before they crushed us for being different.

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We were able to escape.

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They got my family.

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And this...

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This reminds me they are always with me.

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Those are your father's shoes.

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You're not wearing them.

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You'll ruin them.

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Stop treating Dad like he's a ghost!

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They're all I've got left of him, Stanley!

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Dad was right to join up.

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Just like I am.

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There's another woman living a few streets away, just like you.

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Obsessed with keepsakes of loved ones.

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I wouldn't talk to one of those people.

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People your father fought against!

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If you understood,

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that's why I've got to fight THOSE people.

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I'm going to do the right thing tonight.

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UPBEAT MUSIC PLAYS

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PEOPLE LAUGH AND TALK

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APPLAUSE

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SLOW MUSIC PLAYS

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TALKING AND LAUGHTER STOPS

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PEOPLE RESUME TALKING

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Tin Dancing Shoes is unusual in having been shot in 1940s style,

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utilising the historical village of Laugharne, west Wales.

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Authenticity is key to the film,

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especially when it comes to period detail.

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Hi, I'm the director for Tin Dancing Shoes,

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which is It's My Shout's first-ever film set in the Second World War.

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When I applied to be a director for It's My Shout this year,

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there was a particular script that jumped out at me,

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which was Tin Dancing Shoes.

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And the first reason was because it was set in the 1940s

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and I've always had a weird gravitation towards that era.

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Erm, I think because I'm really interested in

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the genealogy of my family and their connection to World War II.

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Mess up in front of Catrin and the whole village, then.

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Cut there, thank you.

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The instant thing that jumped out to me of the script was

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this lovely, homely feel of everything feeling quite rural,

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quite small, close-knit kind of community,

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as opposed to a, kind of, big cityscape

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or a big Hollywood '40s film.

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I wanted it to feel a lot more low-key,

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just so they could really concentrate on the relationships.

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Homely is a fair description of the set

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chosen for the final dance scene,

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Laugharne's very own museum of '40s memorabilia,

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known as the Tin Shed.

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Seimon Pugh-Jones at the Tin Shed Museum is

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a long-term family friend of ours

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and when I started studying film many moons ago,

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erm, I knew that he would be really helpful

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because he's worked in the industry himself

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and he's also got this same love of this era.

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Also, because we're very passionate

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about film-making, and theatre, and music,

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we found that the Tin Shed, as a location,

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has worked really well for quite a few productions.

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We're not setting it in a place which is particularly affluent.

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It's a village which is, you know, very make-do-and-mend,

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and no-one's got a lot of money rolling about

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so it's all, kind of, you wear one dress over and over again

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and you wear, you know, one tie over and over again.

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Everything's worn to the hilt.

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It was a lot more uniform.

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Everybody wore the same kind of style.

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Whereas nowadays,

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you can wear anything, literally.

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Trying to find original vintage clothing is quite hard.

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It's quite hard to find good original stuff

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that's in the condition where it can be worn for actors.

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So you had these lovely tea dresses that were all very dull colours,

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your hair was always shoved up in a headscarf or whatever

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cos you needed it out of your face

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if you're going to be working in ammunitions.

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So there were so many little touches like that

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that me and the art department

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and the costume department have had to keep a really close communication

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because I'm a real stickler for authenticity

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and I'll be really upset if I notice something's wrong.

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SHE LAUGH

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Here we are on the set of the final scene of the film.

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It's the village barn dance

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and we're very fortunate in the fact that we've got this location,

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which is absolutely ideal.

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The sort of thing's we've had to do, though, is take out of vision

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any 21st-century stuff.

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And in creating an authentic feel for the scene,

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Ellen was able to draw on

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the memories of people who lived in Laugharne in the '40s

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and remembered the wartime dances.

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That was the part of the week, of the year,

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or however often they'd have a village dance,

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that everyone would come together

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and everyone would just have a real moment of happiness.

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And in those times, as well, especially in the Second World War,

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you know, people didn't know what was going to happen

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-the next day, did they?

-No, no, no.

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As I said, dancing, that's all we had.

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-We had to go to church, as well, on a Sunday, mind you.

-Yeah.

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But...

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..there was nothing else to do.

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-You know, phoning boys in the kiosk.

-SHE LAUGHS

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Music and dancing and a bit of romancing.

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-Oh, yeah, yeah.

-HE LAUGHS

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-Good days.

-Good days, happy times.

-Yeah.

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-Cut!

-Wonderful.

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-Thank you.

-We loved it.

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Give yourselves a round of applause.

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-Thank you, everyone, so much.

-That's a wrap.

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CHEERING AND APPLAUSE

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