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Are we sitting comfortably? | 0:00:31 | 0:00:33 | |
Then I'll begin. | 0:00:33 | 0:00:35 | |
-He's dead. -Who? | 0:00:36 | 0:00:39 | |
The oldest man in Britain, it's me now. | 0:00:39 | 0:00:42 | |
I'm the last Victorian. | 0:00:42 | 0:00:44 | |
You're scared, aren't you? | 0:00:46 | 0:00:48 | |
You're frightened I'll die before you finish filming. | 0:00:48 | 0:00:51 | |
It's not quite what you mean, is it? | 0:00:54 | 0:00:56 | |
What you really mean is that | 0:00:57 | 0:00:58 | |
YOU'RE frightened you might die before we're finished. | 0:00:58 | 0:01:01 | |
I can tell you about the Battle of Waterloo, | 0:01:02 | 0:01:05 | |
from what I was told by the daughter of a man who was there. | 0:01:05 | 0:01:09 | |
I can tell you about the General Strike, | 0:01:09 | 0:01:12 | |
the day Winston Churchill came | 0:01:12 | 0:01:15 | |
and the ice cream we made | 0:01:15 | 0:01:17 | |
and what happened to my teacher... | 0:01:17 | 0:01:20 | |
DISTANT KNOCK AT DOOR | 0:01:38 | 0:01:40 | |
Thank you very much. | 0:01:43 | 0:01:45 | |
Anything for Mr Eyre? | 0:01:45 | 0:01:48 | |
Oh? At last. | 0:02:11 | 0:02:14 | |
Willie, Willie, Harry, Steve, | 0:02:23 | 0:02:25 | |
Harry, Dick, John, Harry three, | 0:02:25 | 0:02:29 | |
Edward one, two... | 0:02:29 | 0:02:30 | |
three. | 0:02:30 | 0:02:32 | |
Willie, Willie, Harry, Steve. | 0:02:32 | 0:02:33 | |
Harry, Dick, John, Harry three, | 0:02:35 | 0:02:38 | |
Edward one, two, three, | 0:02:38 | 0:02:41 | |
Dick two, Henry four, five, six... | 0:02:41 | 0:02:43 | |
then who? | 0:02:43 | 0:02:45 | |
Pals together. | 0:02:48 | 0:02:49 | |
A great, great honour. | 0:02:49 | 0:02:53 | |
CHILDREN: 'Mary, Bessie, James the Vain. | 0:02:54 | 0:02:57 | |
'Charlie, Charlie, James again.' | 0:02:57 | 0:02:59 | |
John, Harry three... | 0:02:59 | 0:03:01 | |
I'll see you later? | 0:03:03 | 0:03:05 | |
Easy, girl, easy. | 0:03:08 | 0:03:10 | |
What greater honour... | 0:03:29 | 0:03:31 | |
What greater honour could there be? | 0:03:33 | 0:03:38 | |
Aaahhh! | 0:03:39 | 0:03:41 | |
Ahhh, dead! | 0:03:48 | 0:03:50 | |
CHILDREN: 'William and Victoria, Edward seven next, | 0:03:50 | 0:03:54 | |
'and then came George V in 1910.' | 0:03:54 | 0:03:58 | |
What's Rutter going to do with our land? | 0:04:22 | 0:04:24 | |
It's a field, not land. | 0:04:26 | 0:04:30 | |
It's our land. | 0:04:31 | 0:04:33 | |
Bert! | 0:04:55 | 0:04:56 | |
Bert! | 0:04:58 | 0:05:00 | |
Bert? | 0:05:01 | 0:05:03 | |
Boy! | 0:05:26 | 0:05:27 | |
Son! | 0:05:38 | 0:05:39 | |
I didn't want to sell the field. | 0:05:43 | 0:05:46 | |
Not to Rutter, not to anyone. | 0:05:47 | 0:05:50 | |
But we have to give ourselves a chance. | 0:05:50 | 0:05:52 | |
And a new start has to be paid for. | 0:05:54 | 0:05:56 | |
Come on, show me. | 0:06:03 | 0:06:07 | |
All right. | 0:06:14 | 0:06:15 | |
Left or right? | 0:06:18 | 0:06:19 | |
You going to lead with your left or your right? | 0:06:22 | 0:06:24 | |
You have to make your mind up. | 0:06:27 | 0:06:29 | |
Make your mind up. | 0:06:30 | 0:06:32 | |
Is it Joe? | 0:06:44 | 0:06:45 | |
Private Joe Middleton. | 0:06:48 | 0:06:49 | |
Two names and a rank. For a horse? | 0:06:49 | 0:06:52 | |
Molly?! | 0:06:52 | 0:06:53 | |
She pulls t'cart that takes milk to t'station for Sheffield train. | 0:07:01 | 0:07:04 | |
How many cows on the farm? | 0:07:06 | 0:07:07 | |
-Six. -Not much milk. | 0:07:08 | 0:07:11 | |
Enough. | 0:07:11 | 0:07:12 | |
We wouldn't survive without her. | 0:07:12 | 0:07:15 | |
Well, we're here for a few more days. Some other horses to look at. | 0:07:15 | 0:07:19 | |
We'll have a think about Molly. You should too. | 0:07:19 | 0:07:21 | |
What do you mean? | 0:07:23 | 0:07:24 | |
A horse like that, what is she? 16 hands? | 0:07:24 | 0:07:27 | |
Artillery are dying for big beasts like that. | 0:07:27 | 0:07:30 | |
Ask yourself, | 0:07:30 | 0:07:32 | |
do you really need her more than your country needs her? | 0:07:32 | 0:07:35 | |
It's a question of conscience really. | 0:07:35 | 0:07:38 | |
£75. | 0:07:44 | 0:07:46 | |
Compensation. | 0:07:46 | 0:07:48 | |
Wait till we're married. | 0:08:05 | 0:08:07 | |
-Morning. -Morning. | 0:08:11 | 0:08:13 | |
Ah, here she comes. Hello, trouble. | 0:08:13 | 0:08:15 | |
Here we go. | 0:08:16 | 0:08:18 | |
BABY CRIES | 0:08:18 | 0:08:21 | |
Come on, love. | 0:08:21 | 0:08:23 | |
I had a letter from our Paul yesterday. | 0:08:25 | 0:08:27 | |
Good. That's... | 0:08:27 | 0:08:29 | |
What, what did he say? | 0:08:29 | 0:08:31 | |
"Hope this finds you in the pink as it leaves me." | 0:08:31 | 0:08:34 | |
Anything else? | 0:08:35 | 0:08:37 | |
No. | 0:08:37 | 0:08:38 | |
They don't sound themselves when they write, do they? | 0:08:39 | 0:08:42 | |
Now then, don't be late for work. | 0:08:42 | 0:08:45 | |
Come on, girls, inside. | 0:08:45 | 0:08:46 | |
Safe? | 0:08:55 | 0:08:56 | |
Oh. You. | 0:08:57 | 0:09:00 | |
-Take your time. -There's more than one column now | 0:09:00 | 0:09:03 | |
so I've to look at the top of the second column as well as... | 0:09:03 | 0:09:06 | |
Sometimes the...the Ms are in the first column | 0:09:06 | 0:09:09 | |
and sometimes in the second column and sometimes they're in both. | 0:09:09 | 0:09:12 | |
Why are you back here? | 0:09:14 | 0:09:15 | |
I'm working for the council. | 0:09:15 | 0:09:17 | |
Not a detective anymore? | 0:09:17 | 0:09:19 | |
No. | 0:09:20 | 0:09:21 | |
So what's your... | 0:09:23 | 0:09:24 | |
Taking an interest in local life and local history. | 0:09:24 | 0:09:28 | |
Middleton. | 0:09:46 | 0:09:47 | |
I can't have it. | 0:09:52 | 0:09:53 | |
If you're late, the process is missing a part... You. | 0:09:53 | 0:09:56 | |
Who's going to ink the boots if you don't? | 0:09:56 | 0:09:59 | |
I can't have lateness and I'm not going to have it. | 0:10:00 | 0:10:04 | |
-Leave immediately. -Leave? | 0:10:04 | 0:10:06 | |
-You can't do that! -It's done. | 0:10:07 | 0:10:09 | |
Do you know how much women like Grace sacrifice for you? | 0:10:11 | 0:10:15 | |
She goes 12 hours without feeding her baby. | 0:10:15 | 0:10:17 | |
No baby died because... | 0:10:17 | 0:10:19 | |
The mother, not the baby. | 0:10:19 | 0:10:21 | |
Where do you think the milk goes, if you don't feed? | 0:10:21 | 0:10:25 | |
The breast becomes engorged. | 0:10:25 | 0:10:26 | |
Can you imagine how painful that is? | 0:10:28 | 0:10:30 | |
And how do you think a woman feels? | 0:10:30 | 0:10:32 | |
All of that and now because she's late once... | 0:10:32 | 0:10:36 | |
-Who do you think you are? -Could I have a word? | 0:10:36 | 0:10:38 | |
I have to let her go. | 0:10:42 | 0:10:43 | |
-Mister Hankin... -I don't have the money. | 0:10:45 | 0:10:47 | |
You need Grace Middleton inking the boots tomorrow. | 0:10:47 | 0:10:50 | |
The inspection? | 0:10:51 | 0:10:53 | |
Now hold your nerve, Hankin. | 0:10:56 | 0:10:57 | |
She can go back to work. | 0:11:02 | 0:11:04 | |
So, when you think of men from this village doing their duty... | 0:11:09 | 0:11:16 | |
..fighting evil, protecting you, | 0:11:18 | 0:11:22 | |
isn't it good to know that we shall be together, | 0:11:22 | 0:11:28 | |
side by side in a Pals Battalion named for this village? | 0:11:28 | 0:11:34 | |
Conscription is not the right word for it! | 0:11:37 | 0:11:41 | |
Because it doesn't do justice to what we are being asked to do. | 0:11:43 | 0:11:47 | |
It is a great honour, that's what it is. | 0:11:48 | 0:11:53 | |
A great honour! | 0:11:53 | 0:11:54 | |
Isn't it, Mister Eyre? | 0:12:01 | 0:12:03 | |
Is it? | 0:12:04 | 0:12:05 | |
And, er, what would you call it? | 0:12:11 | 0:12:15 | |
Have you grown taller, sir? | 0:12:17 | 0:12:18 | |
SHOUTS: What did you say?! | 0:12:26 | 0:12:27 | |
The minimum height requirement for the army has come down, Bert. | 0:12:27 | 0:12:31 | |
Oh, perfect, they will fit. Eva, there you go, Eva. | 0:12:33 | 0:12:36 | |
Tommy, ready-made. Get them on your feet. | 0:12:37 | 0:12:41 | |
Ah Francis, look at those. They were made for you. | 0:12:41 | 0:12:45 | |
Mr Eyre, grab hold of those. | 0:12:48 | 0:12:49 | |
What's that for, sir? | 0:12:52 | 0:12:53 | |
This tells people that I'm ready... | 0:12:54 | 0:12:56 | |
..that I'm not a shirker. | 0:12:59 | 0:13:00 | |
You sound like Lord Kitchener. | 0:13:01 | 0:13:04 | |
Good. | 0:13:04 | 0:13:05 | |
Did you get a letter, sir? | 0:13:09 | 0:13:11 | |
Yes, I did. | 0:13:11 | 0:13:13 | |
Get it off. | 0:13:13 | 0:13:14 | |
Now, remember, everyone. | 0:13:14 | 0:13:17 | |
There's breakfast, dinner and tea. | 0:13:17 | 0:13:23 | |
Breakfast, dinner, tea, it's easy. | 0:13:23 | 0:13:26 | |
How old do you have to be? | 0:13:26 | 0:13:28 | |
You'd think a teacher would know the right date. | 0:14:27 | 0:14:29 | |
This is Mr Bairstow, | 0:14:34 | 0:14:37 | |
and he wants to find out all about us. | 0:14:37 | 0:14:39 | |
So, I want you to answer his questions accurately and honestly. | 0:14:40 | 0:14:48 | |
What did you have for breakfast this morning? | 0:15:05 | 0:15:07 | |
This morning? | 0:15:07 | 0:15:09 | |
-Yes. -Porridge. | 0:15:09 | 0:15:11 | |
You? | 0:15:17 | 0:15:18 | |
Porridge. | 0:15:18 | 0:15:20 | |
Anything else? | 0:15:20 | 0:15:21 | |
-Eggs. -Really? | 0:15:21 | 0:15:24 | |
Bread, jam, meat! | 0:15:24 | 0:15:26 | |
Suet pudding. | 0:15:29 | 0:15:30 | |
Anything else? | 0:15:35 | 0:15:36 | |
JOYFUL SHOUTING | 0:15:42 | 0:15:44 | |
Bert. Bert! | 0:15:55 | 0:15:57 | |
Oh, Bert's coming over. | 0:16:00 | 0:16:02 | |
It was you that told them about big Molly, wasn't it? | 0:16:02 | 0:16:04 | |
-She has to do her duty. -The farm needs her. She can't go. | 0:16:04 | 0:16:07 | |
While you've still got a farm. | 0:16:07 | 0:16:09 | |
Leave him alone. You! | 0:16:14 | 0:16:17 | |
Leave him alone. | 0:16:17 | 0:16:19 | |
Joe? | 0:16:23 | 0:16:25 | |
Shouldn't there be people? | 0:16:30 | 0:16:32 | |
What's the point in having a picture with nobody in it? | 0:16:32 | 0:16:36 | |
Well, you can capture a moment with a photograph. | 0:16:36 | 0:16:39 | |
A particular place at a particular time and then, you have it, | 0:16:41 | 0:16:44 | |
to look at, forever. | 0:16:44 | 0:16:47 | |
But you could come to the Dew Pond at any time. | 0:16:47 | 0:16:50 | |
Why do you have to catch it? | 0:16:50 | 0:16:52 | |
We all like to give things shape and form. | 0:16:55 | 0:17:00 | |
It's because we're all afraid of dying, Bert. | 0:17:04 | 0:17:06 | |
Are you all right, sir? | 0:17:08 | 0:17:09 | |
Sorry. | 0:17:13 | 0:17:14 | |
We saw a witch here, me and Joe. | 0:17:17 | 0:17:20 | |
She tried to pull me under. | 0:17:20 | 0:17:22 | |
-I would've drowned if I hadn't swam. -Swum. | 0:17:22 | 0:17:25 | |
Swum? | 0:17:28 | 0:17:30 | |
Swam? | 0:17:31 | 0:17:32 | |
There's something that I need to tell you. | 0:17:40 | 0:17:42 | |
And I haven't told you already | 0:17:42 | 0:17:46 | |
because I know you're going to be disappointed in me... | 0:17:46 | 0:17:49 | |
..which makes me a coward, really. | 0:17:52 | 0:17:54 | |
You're not a coward. | 0:17:54 | 0:17:55 | |
You would protect us, wouldn't you, if the Germans came? | 0:17:58 | 0:18:01 | |
Of course. | 0:18:02 | 0:18:04 | |
How does Hankin get the casualty list before The Times, Edmund? | 0:18:12 | 0:18:16 | |
Wrong question. WHY does he get it first? | 0:18:17 | 0:18:21 | |
And you're going to give me the answer? | 0:18:21 | 0:18:25 | |
And what do people do? | 0:18:25 | 0:18:27 | |
Hmm? They go to Hankins to look at the lists and when they see that | 0:18:27 | 0:18:30 | |
their son or father isn't dead, they buy their daily bread at Hankins. | 0:18:30 | 0:18:34 | |
Hmm, so the war is a business opportunity, is it? | 0:18:35 | 0:18:38 | |
According to my mathematics, based on the present rate of advance, | 0:18:38 | 0:18:41 | |
we should be on the Rhine, what, 180 years from now. | 0:18:41 | 0:18:45 | |
We can't all stop breathing for a couple of centuries, George. | 0:18:45 | 0:18:48 | |
Life doesn't just stand to attention | 0:18:48 | 0:18:50 | |
while the war walks past in its own time. | 0:18:50 | 0:18:53 | |
180 years is a lot of boots. | 0:18:53 | 0:18:55 | |
Throw a punch. | 0:18:59 | 0:19:01 | |
And again. | 0:19:03 | 0:19:04 | |
Keep it straight. | 0:19:05 | 0:19:07 | |
And again. | 0:19:07 | 0:19:08 | |
You're left-handed? | 0:19:12 | 0:19:14 | |
Boxing don't lie. | 0:19:15 | 0:19:17 | |
So, you lead with your right. | 0:19:21 | 0:19:23 | |
Throw a punch. | 0:19:24 | 0:19:26 | |
Keep it straight. Throw a punch. | 0:19:26 | 0:19:29 | |
OK. | 0:19:29 | 0:19:30 | |
And again. | 0:19:30 | 0:19:32 | |
That's it! Harder! | 0:19:32 | 0:19:33 | |
That's it! | 0:19:34 | 0:19:36 | |
BABY CRIES AND GRIZZLES | 0:19:36 | 0:19:40 | |
BABY WAILS WITH GUSTO | 0:20:00 | 0:20:03 | |
CRYING PAUSES | 0:20:17 | 0:20:20 | |
CRYING RESUMES | 0:20:20 | 0:20:22 | |
It's called Stockholm Tar. | 0:20:32 | 0:20:35 | |
Look, she has some cuts and grazes on her. | 0:20:35 | 0:20:37 | |
And the tar applied to... | 0:20:39 | 0:20:42 | |
Stops the flies. | 0:20:42 | 0:20:44 | |
They can cause mastitis, you see, | 0:20:44 | 0:20:46 | |
which would be very dangerous for her. | 0:20:46 | 0:20:50 | |
You have to be careful it doesn't get anywhere else. | 0:20:50 | 0:20:54 | |
Just the tips. | 0:20:55 | 0:20:57 | |
Oh, hello, Lottie and Daisy | 0:20:58 | 0:21:01 | |
and... Ah, what's the little one called, George? | 0:21:01 | 0:21:05 | |
I can never remember. | 0:21:05 | 0:21:06 | |
Martha. | 0:21:09 | 0:21:10 | |
Miss Lane. | 0:21:12 | 0:21:14 | |
Caro, I think... | 0:21:20 | 0:21:22 | |
The Minister's daughter not good enough for you, Mother? | 0:21:27 | 0:21:30 | |
That is what you're talking about? | 0:21:30 | 0:21:32 | |
If you will burst into rooms... | 0:21:34 | 0:21:36 | |
What were you saying? | 0:21:36 | 0:21:37 | |
-She's young. -Only two years younger than I am. | 0:21:37 | 0:21:40 | |
Do stop treading on everything I say! | 0:21:40 | 0:21:44 | |
Give a little space, George, so we can all breathe. | 0:21:44 | 0:21:48 | |
Hmm? | 0:21:48 | 0:21:50 | |
Mm-hm. | 0:21:50 | 0:21:51 | |
She's young. There's nothing so frightening than | 0:21:52 | 0:21:55 | |
the righteousness of people under 30. | 0:21:55 | 0:21:57 | |
You're patronising me! | 0:21:57 | 0:21:59 | |
Well, I'm your mother. I'll do whatever I like with you. | 0:21:59 | 0:22:02 | |
Well, I can't tell you how glad I am that conscription's finally here. | 0:22:02 | 0:22:06 | |
And what will fighting give you, George? Better poems?! | 0:22:06 | 0:22:10 | |
George is sick with love for the Minister's daughter | 0:22:19 | 0:22:23 | |
because he mistakes her righteousness for conviction. | 0:22:23 | 0:22:27 | |
He thinks that getting killed will impress her, | 0:22:27 | 0:22:30 | |
forgetting, of course, that the thing about getting killed | 0:22:30 | 0:22:32 | |
is that you're dead. | 0:22:32 | 0:22:34 | |
Sort out an exemption for him. | 0:22:37 | 0:22:39 | |
Lovesickness isn't generally enough. | 0:22:44 | 0:22:48 | |
-And if he wants to go... -Well, find a way. | 0:22:48 | 0:22:51 | |
Shoot him in the foot. | 0:22:51 | 0:22:52 | |
Something. | 0:22:54 | 0:22:55 | |
It's called Stockholm Tar. | 0:22:55 | 0:22:57 | |
Expensive? | 0:22:57 | 0:22:59 | |
I could get you some. | 0:22:59 | 0:23:00 | |
She was my first. | 0:23:04 | 0:23:06 | |
You should give her a name. | 0:23:06 | 0:23:08 | |
She's a cow. | 0:23:12 | 0:23:13 | |
The inspection's an hour away. | 0:23:21 | 0:23:23 | |
I think they might walk out if you don't agree to this. | 0:23:23 | 0:23:26 | |
These women need to go home and feed their babies. | 0:23:27 | 0:23:31 | |
Right now. | 0:23:31 | 0:23:32 | |
Ten minutes. | 0:23:37 | 0:23:39 | |
-Ten minutes? -That's what I said. | 0:23:39 | 0:23:40 | |
And if they're not back, this inspection fails, | 0:23:40 | 0:23:42 | |
I'm out of business and none of you will have any work. | 0:23:42 | 0:23:44 | |
Go and tell your engorged ladies that. | 0:23:44 | 0:23:47 | |
Come on, I'll race you. | 0:23:47 | 0:23:48 | |
Joe! | 0:23:56 | 0:23:58 | |
My Joe. | 0:23:58 | 0:24:00 | |
Oh! | 0:24:00 | 0:24:01 | |
SHE SOBS JOYFULLY | 0:24:01 | 0:24:03 | |
I was worried because Margaret had a letter from Paul | 0:24:23 | 0:24:26 | |
and I had nothing from you, silly. | 0:24:26 | 0:24:28 | |
You don't know? | 0:24:28 | 0:24:30 | |
What? | 0:24:32 | 0:24:34 | |
SPEECH DROWNED OUT BY MACHINERY | 0:24:34 | 0:24:36 | |
The inspection failed. | 0:25:19 | 0:25:21 | |
I don't understand it. | 0:25:23 | 0:25:25 | |
-Did they say why? -No. | 0:25:25 | 0:25:28 | |
Damn it. | 0:25:28 | 0:25:29 | |
Look, I can't survive paying a wage bill like this. | 0:25:29 | 0:25:33 | |
Not without the boot orders. | 0:25:33 | 0:25:35 | |
I'll pay it. | 0:25:35 | 0:25:36 | |
Why would you do that? | 0:25:40 | 0:25:42 | |
Because I believe the factory can succeed | 0:25:42 | 0:25:44 | |
and because, in exchange for saving it now, | 0:25:44 | 0:25:48 | |
I want half the business. | 0:25:48 | 0:25:50 | |
M'lady. | 0:26:12 | 0:26:13 | |
Rising above won't do any more. | 0:26:18 | 0:26:19 | |
My God, I'm bored of behaving well. | 0:26:19 | 0:26:23 | |
Now, gentlemen. | 0:26:28 | 0:26:29 | |
When is the date on which the appeal against your decision will succeed? | 0:26:31 | 0:26:35 | |
Sniper, through the heart. | 0:26:38 | 0:26:40 | |
He was alive and then he was dead. | 0:26:41 | 0:26:46 | |
Sniper, through the heart. | 0:26:46 | 0:26:48 | |
He was alive then dead. | 0:26:49 | 0:26:51 | |
Wait, for my husband. Please. | 0:27:09 | 0:27:11 | |
Milk. | 0:27:15 | 0:27:17 | |
Paul. | 0:27:21 | 0:27:23 | |
No, I'm Joe. | 0:27:23 | 0:27:27 | |
Paul. | 0:27:27 | 0:27:29 | |
Joe. | 0:27:29 | 0:27:30 | |
-Paul? -No, no, I'm Joe. | 0:27:30 | 0:27:34 | |
Don't forget to close your eyes. | 0:27:54 | 0:27:55 | |
Open your eyes. | 0:28:05 | 0:28:06 | |
So? | 0:28:11 | 0:28:12 | |
Agnes... | 0:28:19 | 0:28:20 | |
It was a sniper. | 0:28:24 | 0:28:26 | |
Through the heart. | 0:28:29 | 0:28:30 | |
He...he was alive and then he was dead. | 0:28:32 | 0:28:35 | |
The wedding will mean more now. | 0:28:37 | 0:28:39 | |
The village will come together. | 0:28:42 | 0:28:44 | |
SHE SOBS | 0:28:51 | 0:28:53 | |
KNOCKING ON DOOR | 0:29:12 | 0:29:13 | |
That'll be Margaret. | 0:29:16 | 0:29:17 | |
Sorry. | 0:29:24 | 0:29:25 | |
You must be... | 0:29:27 | 0:29:29 | |
At first we had three. Three more makes six. | 0:29:35 | 0:29:37 | |
Bert. | 0:29:37 | 0:29:38 | |
It's Mr Ingham's comb. | 0:29:40 | 0:29:42 | |
He used it on all of us and now we've all got them. | 0:29:42 | 0:29:45 | |
Whole school's scratching. | 0:29:45 | 0:29:47 | |
The cows have names. | 0:29:48 | 0:29:50 | |
Do you want to know them all? | 0:29:50 | 0:29:52 | |
Better - come out and meet them. | 0:29:52 | 0:29:55 | |
Come on! Father? | 0:29:56 | 0:29:58 | |
-My one's called Gertie. -Aye. | 0:30:02 | 0:30:04 | |
She's a kicker. She's used to me now. | 0:30:04 | 0:30:07 | |
It's rare that she kicks. | 0:30:07 | 0:30:09 | |
I'm from Glossops. It's about your milk. | 0:30:12 | 0:30:15 | |
-What about it? -Well, there's garlic in it. We can't have that. | 0:30:17 | 0:30:21 | |
I'm sorry. | 0:30:21 | 0:30:23 | |
No, no, wait. Please. | 0:30:23 | 0:30:24 | |
Sorry. | 0:30:26 | 0:30:28 | |
It won't happen again. I swear on me children's lives. | 0:30:28 | 0:30:31 | |
If it happens again we don't want your milk. | 0:30:31 | 0:30:33 | |
Deliver tomorrow. Clean and fresh. | 0:30:35 | 0:30:38 | |
Thank you. | 0:30:41 | 0:30:42 | |
Tomorrow? | 0:30:46 | 0:30:48 | |
It can't be done. | 0:30:48 | 0:30:49 | |
MOOING | 0:32:09 | 0:32:10 | |
Come on. Molly, hurry up. | 0:32:19 | 0:32:23 | |
-Stop, stop, stop! -Stand! | 0:32:29 | 0:32:30 | |
Come on, in with them quick or we won't catch our train. | 0:32:30 | 0:32:33 | |
Come on, let's get these loaded. | 0:32:33 | 0:32:35 | |
Come on, let's get these in. Get this to the station. | 0:32:43 | 0:32:46 | |
Fast as you can. | 0:32:46 | 0:32:47 | |
Kings and Queens. | 0:33:18 | 0:33:19 | |
I won't be long. | 0:33:21 | 0:33:22 | |
Come on, let's hear you. | 0:33:26 | 0:33:28 | |
-ALL: -Willie, Willie, Harry, Steve, | 0:33:28 | 0:33:31 | |
Harry, Dick, John, Harry... | 0:33:31 | 0:33:34 | |
Edward... | 0:33:34 | 0:33:37 | |
Dick, Henry... | 0:33:37 | 0:33:40 | |
How old are you? | 0:33:43 | 0:33:44 | |
25. | 0:33:44 | 0:33:46 | |
Is that old enough to have a conscience? | 0:33:46 | 0:33:48 | |
It's common courtesy to include everyone in a room in a conversation. | 0:33:48 | 0:33:52 | |
I do it with my very youngest pupils | 0:33:54 | 0:33:56 | |
so I'll ask that you pay me the same respect. | 0:33:56 | 0:33:59 | |
So... | 0:34:07 | 0:34:09 | |
this conscience you claim to have is not a Christian conscience? | 0:34:09 | 0:34:15 | |
The Bible is full of God telling his tribe | 0:34:17 | 0:34:21 | |
to go and kill people belonging to other tribes. | 0:34:21 | 0:34:24 | |
And he's particular about ordering the murder of women and children. | 0:34:24 | 0:34:28 | |
Infants, I think he says. | 0:34:28 | 0:34:29 | |
And he's even more particular, on one occasion, | 0:34:32 | 0:34:35 | |
about sparing virgins so that they may be brought back as prizes. | 0:34:35 | 0:34:40 | |
He's not a peaceable God and it would be hypocrisy for me | 0:34:42 | 0:34:45 | |
to rely on the sixth commandment just as it's hypocrisy for Christians | 0:34:45 | 0:34:48 | |
to believe in it and then go and kill each other in France. | 0:34:48 | 0:34:51 | |
You're not helping yourself, Eyre. | 0:34:51 | 0:34:52 | |
I'm just telling the truth as I see it. | 0:34:52 | 0:34:55 | |
I don't have a strategy. | 0:34:56 | 0:34:57 | |
I'm not a politician. | 0:34:59 | 0:35:01 | |
Why did you write the wrong date up on the blackboard the other day? | 0:35:02 | 0:35:06 | |
I like to get my pupils to see things for themselves. | 0:35:09 | 0:35:12 | |
To question authority? | 0:35:12 | 0:35:14 | |
To question everything. | 0:35:15 | 0:35:17 | |
I don't like your smart answers and I think I speak for all of us | 0:35:17 | 0:35:22 | |
when I say that I suspect that your godlessness has quite a lot | 0:35:22 | 0:35:25 | |
to do with your shirking. | 0:35:25 | 0:35:27 | |
I'm quite happy to speak for myself, Colonel. | 0:35:27 | 0:35:30 | |
You have responsibility for our children. | 0:35:35 | 0:35:37 | |
Yes. | 0:35:39 | 0:35:42 | |
What if German soldiers walked into your classroom | 0:35:42 | 0:35:44 | |
and threatened to murder your pupils? | 0:35:44 | 0:35:46 | |
I would try to dissuade them. | 0:35:50 | 0:35:51 | |
They won't be dissuaded. Bayonets ready. It's going to happen. | 0:35:51 | 0:35:54 | |
-I would try and get the children out. -Doors locked. No way out. | 0:35:54 | 0:35:57 | |
This is all hypothetical. | 0:35:57 | 0:35:58 | |
Not in Belgium, it wasn't. Do you doubt they'd do it here? | 0:35:58 | 0:36:01 | |
If you had a revolver, would you use it? | 0:36:01 | 0:36:04 | |
Eyre? | 0:36:07 | 0:36:08 | |
I would put myself between them and the children. | 0:36:08 | 0:36:10 | |
The gun. Would you use it? | 0:36:10 | 0:36:12 | |
Let's make it easy. | 0:36:15 | 0:36:17 | |
Let's say it's one child, one German soldier, and you. | 0:36:17 | 0:36:20 | |
Now where there is a choice between a young boy entrusted in your care | 0:36:20 | 0:36:23 | |
and a German soldier - | 0:36:23 | 0:36:24 | |
now, please don't run away from the question here - | 0:36:24 | 0:36:27 | |
would you save a child of this village? | 0:36:27 | 0:36:29 | |
He told me. | 0:36:40 | 0:36:42 | |
Why don't you tell them? | 0:36:42 | 0:36:44 | |
He said if the Germans came he'd save me. | 0:36:44 | 0:36:48 | |
Of course he would. | 0:36:48 | 0:36:49 | |
He's our teacher. | 0:36:51 | 0:36:53 | |
Objection to compulsory enlistment on grounds of conscience... | 0:37:03 | 0:37:07 | |
denied. | 0:37:07 | 0:37:08 | |
You will report for service at the direction of the Constable. | 0:37:10 | 0:37:13 | |
Shirker. | 0:37:22 | 0:37:23 | |
INDISTINCT CONVERSATIONS | 0:37:33 | 0:37:35 | |
PUB FALLS SILENT | 0:37:35 | 0:37:37 | |
Shirker. | 0:37:40 | 0:37:41 | |
Whisky, please. | 0:37:43 | 0:37:45 | |
Hey, Joe. | 0:37:49 | 0:37:51 | |
How do? | 0:37:51 | 0:37:52 | |
No, no. Free in my pub to men home on leave. | 0:37:55 | 0:37:59 | |
Are you all right? | 0:38:09 | 0:38:10 | |
I'm a shirker. | 0:38:13 | 0:38:14 | |
I'll have another. | 0:38:20 | 0:38:21 | |
Drink it. | 0:38:36 | 0:38:37 | |
FAINT SOBBING | 0:39:26 | 0:39:28 | |
SOBBING GROWS LOUDER | 0:39:36 | 0:39:38 | |
HE SOBS | 0:39:48 | 0:39:50 | |
Robert Browning. If you can manage that then... | 0:40:28 | 0:40:32 | |
Anyway. | 0:40:35 | 0:40:36 | |
Is it the Pals? | 0:40:40 | 0:40:41 | |
Will you be with Joe? | 0:40:43 | 0:40:44 | |
Here. | 0:40:53 | 0:40:54 | |
Look at the world. | 0:41:02 | 0:41:03 | |
Don't flinch. | 0:41:05 | 0:41:07 | |
Record what you see, truthfully. | 0:41:08 | 0:41:12 | |
And stand by it. | 0:41:16 | 0:41:17 | |
UP-TEMPO FIDDLE MUSIC | 0:42:07 | 0:42:10 | |
Promise me the next dance is mine. | 0:42:37 | 0:42:39 | |
APPLAUSE | 0:43:03 | 0:43:04 | |
# Oh, blows the winter wind my true love | 0:43:11 | 0:43:17 | |
# With grey, heavy cold showers of rain | 0:43:17 | 0:43:23 | |
# The first true love that ever I had | 0:43:23 | 0:43:29 | |
# In greenwood he was slain | 0:43:29 | 0:43:34 | |
# I'll do as much for you my true love | 0:43:34 | 0:43:40 | |
# As any young woman may | 0:43:40 | 0:43:45 | |
# I'll sit and mourn on his grave | 0:43:45 | 0:43:50 | |
# At 12 month and a day... # | 0:43:50 | 0:43:55 | |
She had a child, you know. | 0:43:55 | 0:43:57 | |
# At 12 month and a day | 0:43:57 | 0:44:00 | |
# The ghost began to speak | 0:44:00 | 0:44:06 | |
# Why dost thou sit here on my grave | 0:44:06 | 0:44:11 | |
# And never let me sleep? # | 0:44:11 | 0:44:15 | |
Just a little longer. | 0:44:15 | 0:44:17 | |
# What dost thou want from me, true love? | 0:44:17 | 0:44:21 | |
# What dost thou want from me? | 0:44:21 | 0:44:26 | |
# I'll have a kiss of the clay cold lips | 0:44:26 | 0:44:31 | |
# That's all I request of thee | 0:44:31 | 0:44:35 | |
# My lily white lips are clay cold | 0:44:37 | 0:44:42 | |
# My breath smells earthly strong | 0:44:42 | 0:44:48 | |
# And if I kiss all of your lips | 0:44:48 | 0:44:53 | |
# Your time will not be long | 0:44:53 | 0:44:57 | |
# Don't grieve, don't grieve for me, true love | 0:44:58 | 0:45:03 | |
# No morning do I pray | 0:45:03 | 0:45:07 | |
# I must leave you and all the world | 0:45:08 | 0:45:13 | |
# And sink down in my grave. # | 0:45:13 | 0:45:18 | |
APPLAUSE | 0:45:22 | 0:45:25 | |
MOURNFUL FIDDLE MUSIC | 0:45:30 | 0:45:32 | |
Joe. | 0:45:41 | 0:45:42 | |
Joe, you can talk to me if you want to. | 0:45:51 | 0:45:54 | |
And if it helps, you can tell me what it's really like. | 0:45:57 | 0:46:00 | |
A piece of shrapnel in his throat. | 0:46:05 | 0:46:07 | |
It's always surprise. | 0:46:08 | 0:46:11 | |
The look on their faces, | 0:46:11 | 0:46:12 | |
which is funny really because the last thing it is | 0:46:12 | 0:46:15 | |
is a bloody surprise! | 0:46:15 | 0:46:17 | |
He drowned in his own blood. | 0:46:17 | 0:46:19 | |
But before he died, he fell forwards onto a shell hole filled with water. | 0:46:19 | 0:46:24 | |
He couldn't move. His greatcoat, the weight. | 0:46:24 | 0:46:28 | |
He would have drowned quicker but I pulled him out. I don't know why. | 0:46:28 | 0:46:32 | |
I held him up. | 0:46:34 | 0:46:36 | |
And he...and he stared at me | 0:46:37 | 0:46:39 | |
and then he goes to put his hand to his throat. | 0:46:39 | 0:46:41 | |
To do what? | 0:46:41 | 0:46:43 | |
To do what?! | 0:46:43 | 0:46:46 | |
To stop the blood? | 0:46:46 | 0:46:48 | |
That's how he died. | 0:46:48 | 0:46:49 | |
It's pathetic. | 0:46:51 | 0:46:52 | |
Where are you going? | 0:46:57 | 0:46:58 | |
Don't. Don't! | 0:47:06 | 0:47:07 | |
You don't understand. | 0:47:12 | 0:47:13 | |
None of you understand. | 0:47:18 | 0:47:19 | |
There's something wrong in him. | 0:47:33 | 0:47:36 | |
My sister has his child. | 0:47:40 | 0:47:42 | |
SLOW FIDDLE MUSIC | 0:48:01 | 0:48:03 | |
Where is he? Where is he? | 0:48:38 | 0:48:39 | |
Where's my baby? | 0:48:41 | 0:48:42 | |
We've been thinking, Middleton. If you don't need your horse to | 0:48:47 | 0:48:50 | |
take your milk to the station, what do you need her for? | 0:48:50 | 0:48:53 | |
We'll be round for her tomorrow afternoon. | 0:48:53 | 0:48:56 | |
As we're honourable men, we'll let you have the money. | 0:48:56 | 0:48:59 | |
Corporal Molly Middleton. Royal Horse Artillery. | 0:49:00 | 0:49:03 | |
The great thing about conscription is that it's everyone. | 0:49:21 | 0:49:24 | |
Unless you're exempt. | 0:49:24 | 0:49:25 | |
What? | 0:49:25 | 0:49:27 | |
-Farmers are exempt. -What? | 0:49:27 | 0:49:30 | |
Well, how would the estate farm survive without George? | 0:49:30 | 0:49:32 | |
Don't be ridiculous. | 0:49:32 | 0:49:34 | |
Here's your exemption. | 0:49:36 | 0:49:37 | |
I'm going. | 0:49:50 | 0:49:51 | |
KNOCK ON DOOR | 0:49:56 | 0:49:57 | |
It's Miss Caro. | 0:49:59 | 0:50:01 | |
Oh, please don't go, George! | 0:50:01 | 0:50:04 | |
Please don't go! I'll die if you go. | 0:50:06 | 0:50:11 | |
SHE WAILS | 0:50:11 | 0:50:13 | |
What should I do? | 0:50:40 | 0:50:41 | |
Stay. | 0:50:47 | 0:50:48 | |
When I write, we can have our own secret code, you and me. | 0:51:04 | 0:51:08 | |
Now get me an old postcard. | 0:51:08 | 0:51:09 | |
And a pencil. | 0:51:17 | 0:51:19 | |
Right, I'll cross things out, as we're meant to | 0:51:29 | 0:51:33 | |
but I'll do it in such a way that you can read more into it. | 0:51:33 | 0:51:36 | |
So a single line crossing out | 0:51:37 | 0:51:40 | |
means I'm at the front line. | 0:51:40 | 0:51:42 | |
Two lines in the crossing out | 0:51:45 | 0:51:48 | |
means I'm going up the line. | 0:51:48 | 0:51:50 | |
Three... | 0:51:53 | 0:51:54 | |
..means I'm out of it. | 0:51:58 | 0:52:00 | |
Out of it? | 0:52:00 | 0:52:02 | |
Out the front line. | 0:52:02 | 0:52:04 | |
What about if there's an attack? | 0:52:04 | 0:52:06 | |
If you're going to attack? | 0:52:06 | 0:52:08 | |
What was the last one? The...the attack? | 0:52:24 | 0:52:27 | |
A wiggly line. | 0:52:27 | 0:52:28 | |
A wiggly line if we're going over the top. | 0:52:31 | 0:52:33 | |
Yeah. | 0:52:49 | 0:52:51 | |
Shoes on. | 0:52:52 | 0:52:53 | |
Back straight. | 0:53:10 | 0:53:12 | |
That'll do us. | 0:53:13 | 0:53:15 | |
KNOCKING ON DOOR | 0:53:23 | 0:53:24 | |
DOOR LATCH OPENS | 0:53:36 | 0:53:37 | |
On your feet. | 0:53:44 | 0:53:45 | |
On your feet! | 0:53:47 | 0:53:48 | |
LONE HORN PLAYS "JERUSALEM" | 0:53:53 | 0:53:55 | |
Corporal. | 0:53:55 | 0:53:56 | |
You will be taken at dawn to a suitable place where | 0:53:59 | 0:54:02 | |
you will be shot by firing squad. | 0:54:02 | 0:54:06 | |
Do you understand? | 0:54:06 | 0:54:07 | |
Driver John William Hasemore. | 0:54:11 | 0:54:14 | |
It's the sentence that he received for disobeying an order. | 0:54:14 | 0:54:17 | |
Put this on. | 0:54:20 | 0:54:21 | |
No. | 0:54:27 | 0:54:28 | |
Step outside please, Constable. | 0:54:29 | 0:54:31 | |
Put this on. | 0:54:38 | 0:54:40 | |
-CHILD: -Where's he going? Follow him. | 0:55:02 | 0:55:05 | |
MORE HORNS JOIN IN "JERUSALEM" | 0:55:05 | 0:55:07 | |
Will you step back from me a little? I want to walk. | 0:55:17 | 0:55:20 | |
I'll march down the hill properly. | 0:55:23 | 0:55:25 | |
My first picture, sir. | 0:55:47 | 0:55:48 | |
Hey. | 0:56:20 | 0:56:21 | |
So...so what's it like then? | 0:56:29 | 0:56:31 | |
The first time you shoot a Hun? | 0:56:35 | 0:56:36 | |
TRUCK APPROACHES | 0:56:40 | 0:56:42 | |
TRUCK HORN SOUNDS | 0:56:42 | 0:56:44 | |
TRUCK HORN | 0:56:47 | 0:56:50 | |
TRUCK ENGINE FADES AWAY | 0:56:57 | 0:57:00 | |
Please, please. | 0:57:14 | 0:57:15 | |
INDISTINCT PUB CONVERSATIONS | 0:57:36 | 0:57:38 | |
HORSE SNORTS | 0:58:14 | 0:58:16 | |
Subtitles by Red Bee Media Ltd | 0:58:35 | 0:58:38 |