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It was snowing, the day the memorial came down. | 0:00:34 | 0:00:37 | |
They'd sent in a builder from Chesterfield to do the job | 0:00:38 | 0:00:42 | |
because they said it wasn't safe for untrained men. | 0:00:42 | 0:00:44 | |
I said what we all felt. | 0:00:46 | 0:00:48 | |
It's our memorial and our dead and we'll be taking it down. | 0:00:48 | 0:00:52 | |
Remember. | 0:00:57 | 0:00:59 | |
BABY CRIES IN DISTANCE | 0:01:46 | 0:01:51 | |
BABY CRIES | 0:01:55 | 0:01:59 | |
Mr Hankin, Mr Allingham! | 0:02:04 | 0:02:10 | |
What, are we women now, huh? | 0:02:10 | 0:02:13 | |
Are we to stay at home | 0:02:13 | 0:02:15 | |
and do t'washing up now we've seen t'Kaiser off? | 0:02:15 | 0:02:17 | |
Ey, Mr Hankin? Mr Allingham? | 0:02:17 | 0:02:19 | |
Bang! | 0:02:19 | 0:02:20 | |
METAL CLANKS | 0:02:31 | 0:02:34 | |
What good is a man with one arm in a boot factory? | 0:02:40 | 0:02:43 | |
Is this boot well made? | 0:02:43 | 0:02:45 | |
We've worked hard for five years | 0:02:45 | 0:02:48 | |
and we've made sacrifices for this factory. | 0:02:48 | 0:02:51 | |
You've made good money on the back of that. | 0:02:51 | 0:02:53 | |
All I ask in return, is that we keep our jobs, | 0:02:53 | 0:02:57 | |
Mr Hankin, Mr Allingham. | 0:02:57 | 0:02:59 | |
A man with one arm, or a woman with a very big mouth? | 0:03:06 | 0:03:09 | |
Hmm. | 0:03:11 | 0:03:13 | |
HAMMERING | 0:03:13 | 0:03:15 | |
FROM CLASSROOM: Of course, it is people like me, | 0:03:15 | 0:03:18 | |
who have fought for your freedom, | 0:03:18 | 0:03:20 | |
yours and yours and yours and yours and yours and yours, everybody. | 0:03:20 | 0:03:25 | |
And one day you may be called upon to fight for future generations | 0:03:25 | 0:03:30 | |
and their freedom. | 0:03:30 | 0:03:32 | |
Like the bible says... | 0:03:32 | 0:03:33 | |
Who are you? | 0:03:33 | 0:03:35 | |
I used to teach here. | 0:03:40 | 0:03:41 | |
What's your name? | 0:03:42 | 0:03:44 | |
Mary Middleton. What's your name? | 0:03:44 | 0:03:47 | |
I haven't spoken to anyone in a long time. | 0:03:49 | 0:03:53 | |
FOOTSTEPS APPROACH | 0:03:53 | 0:03:55 | |
He doesn't know his name. | 0:03:58 | 0:03:59 | |
Well, I can't help him with that. | 0:03:59 | 0:04:02 | |
BABIES CRY | 0:04:08 | 0:04:13 | |
This hasn't been easy for me. | 0:04:16 | 0:04:19 | |
Should they all be on the same side? | 0:04:20 | 0:04:23 | |
Or front and back, with 56 on each. | 0:04:23 | 0:04:26 | |
Or four 28s? | 0:04:26 | 0:04:27 | |
Whiskey. | 0:04:28 | 0:04:30 | |
I wanted you to be the first to see these | 0:04:30 | 0:04:32 | |
ahead of tomorrow's meeting at the Institute. | 0:04:32 | 0:04:36 | |
Have you got a room? | 0:04:36 | 0:04:37 | |
137 men went to fight from this village, 25 come back. | 0:04:38 | 0:04:46 | |
And you? | 0:04:47 | 0:04:49 | |
CLEARS HER THROAT | 0:04:49 | 0:04:50 | |
As I was saying.. | 0:04:50 | 0:04:51 | |
RUSTLES PAPERS | 0:04:51 | 0:04:54 | |
No. | 0:04:57 | 0:04:58 | |
I've three brothers dead. | 0:05:01 | 0:05:03 | |
They were all in Pals wi' me. I won't have them separated now. | 0:05:04 | 0:05:08 | |
If I move your brother, | 0:05:08 | 0:05:10 | |
we'll have an even number on one side of the memorial | 0:05:10 | 0:05:13 | |
and an odd number on the other. | 0:05:13 | 0:05:15 | |
When men come, 100 years from now, to our village | 0:05:17 | 0:05:21 | |
and look upon our remembrance, what will they say? | 0:05:21 | 0:05:26 | |
That we didn't understand the rules of symmetry? | 0:05:26 | 0:05:29 | |
That we couldn't add up our dead? | 0:05:29 | 0:05:32 | |
Why don't you put them all on the front? | 0:05:32 | 0:05:35 | |
They don't fit! | 0:05:35 | 0:05:36 | |
Not without making the names far too small to read properly. | 0:05:36 | 0:05:40 | |
I said immediately I was given this task, uniformity would be better. | 0:05:40 | 0:05:44 | |
Every memorial to have the same design | 0:05:44 | 0:05:47 | |
then we wouldn't have this discord. | 0:05:47 | 0:05:49 | |
Lady Allingham will have the final say. | 0:05:52 | 0:05:55 | |
Is Joe Middleton on your list? | 0:05:58 | 0:06:01 | |
DOOR OPENS AND CLOSES | 0:06:06 | 0:06:08 | |
# Land of hope and glory | 0:06:08 | 0:06:14 | |
# Mother of the free | 0:06:14 | 0:06:17 | |
ALL: # How shall we extol thee | 0:06:19 | 0:06:24 | |
# Who are born of thee | 0:06:24 | 0:06:28 | |
# Wider still and wider | 0:06:29 | 0:06:35 | |
# Shall thy bounds be set | 0:06:35 | 0:06:39 | |
# God who made thee mighty | 0:06:40 | 0:06:46 | |
# Make thee mightier yet | 0:06:46 | 0:06:50 | |
# God, who made thee mighty | 0:06:51 | 0:06:57 | |
# Make thee mightier yet...# | 0:06:57 | 0:07:00 | |
Mr Eyre? | 0:07:00 | 0:07:02 | |
Yes. | 0:07:03 | 0:07:04 | |
You don't remember me? | 0:07:06 | 0:07:08 | |
Mr Ingham won. | 0:07:08 | 0:07:10 | |
What? | 0:07:10 | 0:07:12 | |
You're right-handed. | 0:07:12 | 0:07:14 | |
Are you, erm...? | 0:07:17 | 0:07:19 | |
No, no, I was just... | 0:07:19 | 0:07:22 | |
Why don't you come up to the farm and see my mother and father? | 0:07:22 | 0:07:24 | |
Er, conchies now, is it? | 0:07:28 | 0:07:30 | |
What you looking at, son? | 0:07:32 | 0:07:33 | |
Give me that. | 0:07:33 | 0:07:35 | |
Just leave him alone. | 0:07:35 | 0:07:36 | |
GASPS IN PAIN | 0:07:36 | 0:07:38 | |
Give me the camera. | 0:07:38 | 0:07:39 | |
-Why? -So I can smash it up. | 0:07:42 | 0:07:44 | |
I can't. It's got you in it and your baby. | 0:07:47 | 0:07:52 | |
BABY CRIES | 0:07:52 | 0:07:55 | |
BABIES CONTINUE TO CRY | 0:07:56 | 0:08:01 | |
Women under 30 can't vote, men over 21 can. | 0:08:26 | 0:08:30 | |
You don't need me to work out the mathematics. | 0:08:30 | 0:08:32 | |
Put the men back in work, they'll put you back in Parliament. | 0:08:32 | 0:08:35 | |
You need to tell the electorate you're a friend to demobbed man. | 0:08:35 | 0:08:38 | |
This was my father's study. | 0:08:38 | 0:08:40 | |
Is it a museum? | 0:08:41 | 0:08:43 | |
No. | 0:08:43 | 0:08:45 | |
Does Lady Allingham object? | 0:08:45 | 0:08:46 | |
Lady Allingham is in the room. | 0:08:46 | 0:08:48 | |
I'm going to change. | 0:08:52 | 0:08:53 | |
Hankin's looking at a cotton mill. | 0:09:10 | 0:09:12 | |
To buy? He's overstretching. | 0:09:12 | 0:09:14 | |
He's trying to prove his manhood outside the bedroom. | 0:09:14 | 0:09:17 | |
COCKS GUN | 0:09:18 | 0:09:20 | |
This needs putting away. | 0:09:26 | 0:09:27 | |
You were in The Lamb? | 0:09:35 | 0:09:38 | |
Outside, taking a photograph. | 0:09:38 | 0:09:40 | |
-Of what? -Babies in prams. | 0:09:42 | 0:09:44 | |
There was a line of them outside The Lamb | 0:09:44 | 0:09:47 | |
and their fathers were inside with Norma Hankin. | 0:09:47 | 0:09:50 | |
They were, erm, talking about the names for the war memorial. | 0:09:50 | 0:09:54 | |
Or Norma was. | 0:09:56 | 0:09:57 | |
So I was able to ask about Joe. | 0:09:57 | 0:10:01 | |
What's he up to? | 0:10:03 | 0:10:05 | |
Joe's dead. | 0:10:14 | 0:10:16 | |
-But, I... I thought... -He died. | 0:10:22 | 0:10:24 | |
November 11th, 1916. | 0:10:33 | 0:10:37 | |
-In the morning. -How did they treat you in prison? | 0:10:39 | 0:10:41 | |
Um... | 0:10:41 | 0:10:42 | |
There was a rule of silence. | 0:10:48 | 0:10:51 | |
In case what you said infected others. | 0:10:51 | 0:10:53 | |
Must have been terrible. | 0:10:55 | 0:10:57 | |
Having to keep all those opinions of yours to yourself. | 0:10:57 | 0:11:01 | |
Where are you staying? | 0:11:07 | 0:11:09 | |
He doesn't know. | 0:11:09 | 0:11:11 | |
What are you doing? | 0:11:33 | 0:11:34 | |
In Joe's bed? | 0:11:35 | 0:11:37 | |
Grace? | 0:11:42 | 0:11:43 | |
You been using it? | 0:11:53 | 0:11:54 | |
Every day. | 0:11:54 | 0:11:55 | |
You'll be wanting a bath. | 0:11:57 | 0:11:59 | |
-Do I, er...? -Oh, yes. | 0:12:01 | 0:12:04 | |
WATER SPLASHES AND TRICKLES | 0:12:07 | 0:12:11 | |
HE SNIFFS | 0:12:18 | 0:12:21 | |
HE SNEEZES | 0:12:21 | 0:12:23 | |
Bless you. | 0:12:23 | 0:12:24 | |
DOOR OPENS AND CLOSES | 0:12:54 | 0:12:59 | |
People don't like it. | 0:12:59 | 0:13:01 | |
So I've tried to make myself invisible. | 0:13:01 | 0:13:03 | |
They don't want to give themselves away, they think that a photograph | 0:13:03 | 0:13:08 | |
might steal whatever they want to keep hidden. | 0:13:08 | 0:13:11 | |
No, it's not that. It's me. The photographer, not the photograph. | 0:13:11 | 0:13:16 | |
That's what they don't like. | 0:13:17 | 0:13:19 | |
Look. | 0:13:23 | 0:13:25 | |
How many died? | 0:13:33 | 0:13:34 | |
Too many. | 0:13:35 | 0:13:37 | |
There are no photographs of the dead. | 0:13:37 | 0:13:39 | |
Where are they? | 0:13:41 | 0:13:42 | |
FOOTSTEPS | 0:13:47 | 0:13:50 | |
I don't want him here. | 0:13:54 | 0:13:55 | |
He's not going to be on the memorial. | 0:14:02 | 0:14:04 | |
No. | 0:14:07 | 0:14:08 | |
They're ashamed of him. | 0:14:08 | 0:14:10 | |
You want to forget. | 0:14:14 | 0:14:15 | |
You don't want to remember. | 0:14:18 | 0:14:20 | |
What are you going to do? Are you going to fight everyone? Hmm? | 0:14:20 | 0:14:25 | |
"Shirkers, deserters, come live with me | 0:14:27 | 0:14:29 | |
"and I'll fight anyone who says no!" | 0:14:29 | 0:14:32 | |
Joe said to me, "Make it a better world." | 0:14:32 | 0:14:36 | |
I won't let him down. | 0:14:38 | 0:14:39 | |
And Bert wants him here. | 0:14:42 | 0:14:44 | |
But why? | 0:14:48 | 0:14:49 | |
Because he's halfway between an older brother and a... | 0:14:51 | 0:14:53 | |
And a what? | 0:14:56 | 0:14:58 | |
And a father, John. | 0:14:58 | 0:15:00 | |
RUBS HANDS BRISKLY | 0:15:16 | 0:15:19 | |
I'll go with you. | 0:15:22 | 0:15:23 | |
What do you want, Father? | 0:15:35 | 0:15:37 | |
Are you cold? | 0:15:40 | 0:15:42 | |
They get it wrong, the painters. | 0:15:46 | 0:15:49 | |
They've not got it right. | 0:15:51 | 0:15:52 | |
Now, if there were a photograph, then we'd know. | 0:15:54 | 0:15:58 | |
We needed you there, son. | 0:15:58 | 0:15:59 | |
A photograph of what? | 0:15:59 | 0:16:01 | |
The nails. | 0:16:01 | 0:16:03 | |
They didn't go through his palms... | 0:16:04 | 0:16:06 | |
..because the flesh of the hand can't support a body on the cross. | 0:16:08 | 0:16:11 | |
No, they nailed him through the wrists...and the feet. | 0:16:14 | 0:16:18 | |
And the rib cage is stretched, which makes it impossible to breathe | 0:16:21 | 0:16:25 | |
unless you pull your arm or push down on the nail with your feet. | 0:16:25 | 0:16:30 | |
The pain he took. | 0:16:32 | 0:16:34 | |
Our suffering is nothing. | 0:16:35 | 0:16:36 | |
Cold? | 0:16:41 | 0:16:42 | |
This is not cold. | 0:16:44 | 0:16:46 | |
I'm not cold. | 0:16:50 | 0:16:51 | |
Come on cold! Do your worst! | 0:16:52 | 0:16:56 | |
We have nothing! | 0:16:56 | 0:16:59 | |
Nothing! | 0:17:00 | 0:17:02 | |
We have our name. | 0:17:11 | 0:17:12 | |
CHRUCH BELL CHIMES | 0:17:20 | 0:17:22 | |
To the left, quick, march! | 0:17:22 | 0:17:24 | |
Halt! | 0:17:26 | 0:17:28 | |
Every morning? | 0:17:28 | 0:17:29 | |
FROM OUTSIDE: Left! Left! | 0:17:29 | 0:17:31 | |
I'm not sure it will ever be over. | 0:17:31 | 0:17:33 | |
FROM OUTSIDE: Attention! And to the right. | 0:17:33 | 0:17:36 | |
I don't know... | 0:17:45 | 0:17:46 | |
..if the village would want me teaching its children. | 0:17:49 | 0:17:52 | |
Martha. | 0:18:01 | 0:18:03 | |
Our Mary says that you're a good teacher. Why are you stopping? | 0:18:03 | 0:18:07 | |
You know why. | 0:18:07 | 0:18:08 | |
I watched you living a life and filling it up with conviction | 0:18:08 | 0:18:13 | |
and action and then you stopped. | 0:18:13 | 0:18:15 | |
Joe died and you stopped living. | 0:18:17 | 0:18:20 | |
This is none of your business. | 0:18:20 | 0:18:22 | |
He was my brother. | 0:18:22 | 0:18:24 | |
The village is in pain. | 0:18:26 | 0:18:28 | |
It's been in pain for years. | 0:18:29 | 0:18:31 | |
In the middle of it all... | 0:18:33 | 0:18:35 | |
..I lost my faith. | 0:18:37 | 0:18:38 | |
So, I'm not the right man | 0:18:41 | 0:18:44 | |
for a man of exacting principle as yourself to come to for help. | 0:18:44 | 0:18:51 | |
Well, I'll take the man I know, rather than the man of God. | 0:18:51 | 0:18:56 | |
For what? | 0:18:56 | 0:18:58 | |
My confession. | 0:18:58 | 0:19:01 | |
Everything that I say about the war and killing, I believe to be true. | 0:19:01 | 0:19:08 | |
But I know that the stand that I took was also motivated by fear. | 0:19:10 | 0:19:15 | |
I didn't want to kill anyone and I didn't want to be killed. | 0:19:17 | 0:19:23 | |
I saw the men of this village go off to fight. | 0:19:23 | 0:19:25 | |
I saw the courage it took for them to offer themselves up to suffering. | 0:19:27 | 0:19:32 | |
None had the courage to reject suffering apart from you. | 0:19:33 | 0:19:37 | |
What happened to Joe Middleton? | 0:19:40 | 0:19:42 | |
Shot. | 0:19:45 | 0:19:46 | |
At dawn. | 0:19:49 | 0:19:50 | |
She doesn't love you. She loved my brother. | 0:20:02 | 0:20:06 | |
-She still does. -You mean you love her. | 0:20:06 | 0:20:08 | |
Cowardly thing to do, hiding behind your dead brother. | 0:20:10 | 0:20:13 | |
Sorry I'm late. | 0:20:20 | 0:20:22 | |
Now, the law says when Martha Lane becomes Mrs Allingham, | 0:20:23 | 0:20:28 | |
she's no longer permitted to teach. | 0:20:28 | 0:20:31 | |
So, there's a wedding coming and a job available. | 0:20:31 | 0:20:37 | |
You're invited to both. | 0:20:39 | 0:20:41 | |
SHEEP BLEAT | 0:20:43 | 0:20:47 | |
HE PANTS WITH EXERTION | 0:20:47 | 0:20:51 | |
I'd be your tenant? | 0:21:04 | 0:21:06 | |
Not much would change. | 0:21:07 | 0:21:09 | |
Only you wouldn't have to worry about losing your farm. | 0:21:09 | 0:21:12 | |
I'm offering you a secure job and lot of money. | 0:21:12 | 0:21:14 | |
But it'll be yours. | 0:21:14 | 0:21:16 | |
Yes. | 0:21:16 | 0:21:17 | |
And after that, it'll be his? | 0:21:17 | 0:21:19 | |
-Aye. -Not Bert's? | 0:21:19 | 0:21:21 | |
No. | 0:21:21 | 0:21:23 | |
I'll need to know soon. | 0:21:23 | 0:21:25 | |
Know what? | 0:21:31 | 0:21:32 | |
Oh, he just wants a right of access. | 0:21:36 | 0:21:38 | |
Son? | 0:21:43 | 0:21:44 | |
Would you show me your photographs? | 0:21:47 | 0:21:49 | |
I'm going to be married. | 0:21:51 | 0:21:53 | |
And that means you're to have a new teacher. Here he is. | 0:21:54 | 0:21:58 | |
Your husband? | 0:21:58 | 0:22:00 | |
Your teacher. | 0:22:01 | 0:22:03 | |
DOORS CREAK | 0:22:18 | 0:22:21 | |
SCRAPING AND TAPPING | 0:22:27 | 0:22:31 | |
SCRAPING ON BOARD | 0:22:42 | 0:22:45 | |
HE BREATHES JAGGEDLY | 0:22:45 | 0:22:48 | |
DOOR SHUTS LOUDLY | 0:22:53 | 0:22:55 | |
What have we here? | 0:23:02 | 0:23:04 | |
A teacher | 0:23:05 | 0:23:08 | |
who can't write his own name. | 0:23:08 | 0:23:10 | |
Why not? | 0:23:12 | 0:23:14 | |
Shall we ask him? | 0:23:15 | 0:23:16 | |
Why can't you do it? | 0:23:23 | 0:23:25 | |
Is it shame? | 0:23:28 | 0:23:29 | |
Or is it guilt? | 0:23:31 | 0:23:33 | |
I'll tell you his name. His name is Coward. | 0:23:34 | 0:23:40 | |
His name... | 0:23:43 | 0:23:44 | |
..is Shirker! | 0:23:44 | 0:23:46 | |
They're all of the village. | 0:24:26 | 0:24:28 | |
And none of me. | 0:24:30 | 0:24:32 | |
LOUD KNOCKING | 0:24:32 | 0:24:34 | |
DOOR OPENS | 0:24:34 | 0:24:37 | |
A beard. That's a beard. | 0:24:44 | 0:24:47 | |
Moustache is when it's there, not there. | 0:24:47 | 0:24:50 | |
I want to make it special, Grace, when he comes home. | 0:24:50 | 0:24:54 | |
I want a funeral that my little ones will remember. | 0:24:54 | 0:24:59 | |
I'm not sure, Margaret. | 0:24:59 | 0:25:00 | |
What about? | 0:25:00 | 0:25:02 | |
A funeral, like that. | 0:25:02 | 0:25:04 | |
MARGARET SIGHS | 0:25:06 | 0:25:09 | |
He's slipping away, my Paul. I can't hear him any more. | 0:25:12 | 0:25:18 | |
What was it like, Grace? What were their lives like, over there? | 0:25:20 | 0:25:24 | |
They won't tell us. | 0:25:24 | 0:25:25 | |
They don't want us to know anything. | 0:25:26 | 0:25:29 | |
I don't want to fight any more. | 0:25:29 | 0:25:32 | |
I want to grieve for my boy. | 0:25:32 | 0:25:34 | |
I know how Paul died. | 0:25:37 | 0:25:39 | |
There's room for some words. | 0:25:46 | 0:25:48 | |
-Hmm? -Here. Around the top. | 0:25:48 | 0:25:51 | |
What would they be, George? | 0:25:53 | 0:25:55 | |
-Sacrifice, honour, patriotism... Covers it. -Hmm. | 0:25:55 | 0:26:01 | |
And what do the four helmets represent? | 0:26:01 | 0:26:05 | |
Pathos? | 0:26:05 | 0:26:06 | |
And what would you have instead? | 0:26:08 | 0:26:10 | |
Erm... | 0:26:12 | 0:26:14 | |
Intestines, maybe? | 0:26:15 | 0:26:18 | |
Or bluebottles. There were great swarms of them everywhere, | 0:26:19 | 0:26:23 | |
living off human flesh. | 0:26:23 | 0:26:25 | |
They used to get in your nose and in your uniform. | 0:26:25 | 0:26:27 | |
Used to wonder where they'd been. | 0:26:27 | 0:26:29 | |
You knew, of course you knew where they'd been. | 0:26:29 | 0:26:32 | |
A buzzing cloud of happy, busy bluebottles above every shithole. | 0:26:32 | 0:26:36 | |
In the summer, I'd put my best sniper on lav duty, we called it. | 0:26:38 | 0:26:43 | |
Sights on his rifle set just below | 0:26:43 | 0:26:45 | |
the most intensely buzzing cloud on the German trenches. | 0:26:45 | 0:26:49 | |
And when the cloud lifted for a moment... | 0:26:51 | 0:26:55 | |
IMITATES GUNSHOT | 0:26:55 | 0:26:57 | |
..you squeeze the trigger. | 0:26:57 | 0:26:59 | |
One in five times you'd bag a Hun having a careless evacuation. | 0:27:01 | 0:27:05 | |
You have to remember, this is about remembering. | 0:27:05 | 0:27:09 | |
That yes, we went to France to die for our country, | 0:27:09 | 0:27:11 | |
we also went to France to kill for our country. | 0:27:11 | 0:27:14 | |
CHILDREN CHATTER FAINTLY IN THE BACKGROUND | 0:27:20 | 0:27:26 | |
DOORBELL TINKLES SOFTLY | 0:27:48 | 0:27:50 | |
DOOR CLICKS SHUT | 0:27:51 | 0:27:53 | |
LEGS THUD HEAVILY | 0:27:59 | 0:28:02 | |
HE MOANS | 0:28:02 | 0:28:04 | |
KNIFE BEING SHARPENED | 0:28:05 | 0:28:09 | |
LOUDER SHARPENING | 0:28:11 | 0:28:17 | |
What? What is it you want? | 0:28:20 | 0:28:22 | |
Do you believe that Joe was a coward? | 0:28:22 | 0:28:24 | |
You say that again and I'll kill you. | 0:28:29 | 0:28:33 | |
You wouldn't be frightened of me | 0:28:33 | 0:28:35 | |
if you didn't believe that Joe was a coward. | 0:28:35 | 0:28:38 | |
Frightened? | 0:28:38 | 0:28:39 | |
Frightened of a shirker? | 0:28:41 | 0:28:43 | |
KNIFE CLINKS LOUDLY | 0:28:49 | 0:28:50 | |
You be gone when I get back. | 0:28:54 | 0:28:56 | |
RASPING BREATHING | 0:29:04 | 0:29:08 | |
RASPING INCREASES | 0:29:11 | 0:29:15 | |
HE STRUGGLES TO BREATHE | 0:29:19 | 0:29:22 | |
-What are we doing? -We're embracing grief. | 0:29:29 | 0:29:31 | |
-Whose grief is it? -It belongs to us all. | 0:29:31 | 0:29:33 | |
-Who were the dead? -They're ours. | 0:29:33 | 0:29:36 | |
PEOPLE TALK QUIETLY | 0:29:38 | 0:29:41 | |
-Ladies and gentlemen... -Sit down. | 0:29:52 | 0:29:55 | |
..friends. Our great project, | 0:29:55 | 0:29:58 | |
this testament in stone, our memorial to those we have lost, | 0:29:58 | 0:30:02 | |
has just taken on even greater significance. | 0:30:02 | 0:30:06 | |
The government, in consultation with the king | 0:30:06 | 0:30:09 | |
and with the most senior figures in our armed forces, | 0:30:09 | 0:30:12 | |
has decided that there will be no repatriation of the fallen. | 0:30:12 | 0:30:16 | |
Our glorious dead will remain together in France, | 0:30:16 | 0:30:19 | |
united as one in our memory. | 0:30:19 | 0:30:22 | |
No! | 0:30:22 | 0:30:23 | |
I want him home! | 0:30:23 | 0:30:26 | |
November the 11th will serve as a day of remembrance for us all. | 0:30:33 | 0:30:38 | |
That's wrong. Everyone's grief is different. | 0:30:40 | 0:30:44 | |
It's more meaningful if we join together. | 0:30:44 | 0:30:47 | |
It costs less. | 0:30:47 | 0:30:49 | |
And they can tell us what the history is going to be. | 0:30:49 | 0:30:52 | |
Do you want the politicians and the generals who took us | 0:30:52 | 0:30:55 | |
into this war to tell us how to mourn our dead after it? | 0:30:55 | 0:30:58 | |
We know why you're saying this, Grace. | 0:30:58 | 0:31:00 | |
Then come on, Norma. Say it! | 0:31:00 | 0:31:04 | |
Out with it! | 0:31:04 | 0:31:05 | |
It, it might help if we talked about the day itself, the plans. | 0:31:07 | 0:31:13 | |
The 11th hour, of the 11th day, of the 11th month. | 0:31:15 | 0:31:20 | |
Men died at 10.30. | 0:31:23 | 0:31:26 | |
Men died at 10.50 so that the war's end would have | 0:31:26 | 0:31:29 | |
more of a ring to it in the history books. | 0:31:29 | 0:31:31 | |
My brother... | 0:31:33 | 0:31:36 | |
was shot dead on another 11th of November... | 0:31:36 | 0:31:39 | |
..two years before, at 4.00 in the morning. | 0:31:40 | 0:31:44 | |
Will you be awake at dawn? | 0:31:44 | 0:31:47 | |
Will you wake up and remember him? | 0:31:47 | 0:31:50 | |
This is not about individual loss. | 0:31:52 | 0:31:54 | |
This is common grief, shared bereavement. | 0:31:54 | 0:31:57 | |
They're bringing home the Unknown Warrior and giving him | 0:31:57 | 0:32:00 | |
a funeral fit for a king. | 0:32:00 | 0:32:01 | |
One of the pall bearers is Field Marshall Haig himself? | 0:32:01 | 0:32:05 | |
Yes, I believe so. | 0:32:05 | 0:32:07 | |
The man who signed my brother's death warrant! | 0:32:07 | 0:32:10 | |
We're all making big adjustments. | 0:32:10 | 0:32:13 | |
We all remember before the war as being another time. | 0:32:13 | 0:32:17 | |
A kind of...golden age. | 0:32:17 | 0:32:20 | |
You had more servants. That's what was golden about it. | 0:32:20 | 0:32:23 | |
It wasn't, it wasn't a golden age for me or for Margaret Boden | 0:32:23 | 0:32:27 | |
or for Agnes or for anyone else I've ever spoke to outside of your class. | 0:32:27 | 0:32:32 | |
Right, why don't we limit our argument to the memorial? | 0:32:32 | 0:32:35 | |
That's why we're here, | 0:32:35 | 0:32:36 | |
to establish the most fitting way to remember those... | 0:32:36 | 0:32:40 | |
Remember those who paid the ultimate sacrifice. | 0:32:40 | 0:32:43 | |
I think we can at least agree all men are equal | 0:32:43 | 0:32:45 | |
when they confront their maker. | 0:32:45 | 0:32:47 | |
Then you can tell me. | 0:32:47 | 0:32:49 | |
Is my son in heaven... | 0:32:50 | 0:32:52 | |
..or is he in hell? | 0:32:55 | 0:32:57 | |
Where is he? | 0:32:59 | 0:33:01 | |
Where's he gone? | 0:33:02 | 0:33:04 | |
Whatever Rutter's offering you, I'll match it. | 0:33:29 | 0:33:33 | |
What? | 0:33:33 | 0:33:35 | |
But I don't want your farm. | 0:33:35 | 0:33:37 | |
I want to talk about Grace. | 0:33:39 | 0:33:41 | |
Now? | 0:33:42 | 0:33:44 | |
No, no. From time to time, you and me. | 0:33:44 | 0:33:49 | |
We have to work quietly, us men, | 0:33:49 | 0:33:52 | |
to return her to the home, | 0:33:52 | 0:33:54 | |
to soothe her rage. | 0:33:54 | 0:33:57 | |
You keep the farm and nobody need know about our arrangement. | 0:33:57 | 0:34:02 | |
You know, true acts of charity, | 0:34:03 | 0:34:07 | |
when men are pure with motive, | 0:34:07 | 0:34:09 | |
are always privately made and privately achieved, Mr Middleton. | 0:34:09 | 0:34:13 | |
FOOTSTEPS APPROACH | 0:34:13 | 0:34:15 | |
She's your wife. What kind of a man are you? | 0:34:23 | 0:34:26 | |
Hello, love. I just left me cap. | 0:34:36 | 0:34:39 | |
Hell. Of course. Someone should have just said it. | 0:34:42 | 0:34:46 | |
You didn't. | 0:34:46 | 0:34:48 | |
Why not? Were you wrong about Joe Middleton, Dr Wylie? | 0:34:48 | 0:34:53 | |
Is his death on your conscience? | 0:34:53 | 0:34:56 | |
He was a coward. | 0:34:56 | 0:34:57 | |
Oh, yes, of course - bad, not mad. Yes, beyond help. Not your field. | 0:34:57 | 0:35:03 | |
What do you think, Miss Lane? | 0:35:05 | 0:35:08 | |
Is there such a thing as a collective conscience? | 0:35:08 | 0:35:12 | |
Beyond rules and law and doctors? | 0:35:13 | 0:35:16 | |
We've killed a man. | 0:35:16 | 0:35:18 | |
We think about his death - we can't stop thinking about it - | 0:35:18 | 0:35:22 | |
but...but we have to resolve it or it'll destroy us. | 0:35:22 | 0:35:26 | |
Joe Middleton is our problem. His name is our conscience. | 0:35:27 | 0:35:32 | |
Well, where's the damn car? | 0:35:43 | 0:35:45 | |
Why don't we walk, hmm? Let's walk. | 0:35:45 | 0:35:49 | |
Do you love Caro? | 0:35:55 | 0:35:57 | |
Of course. | 0:35:58 | 0:36:00 | |
Stupid question. | 0:36:00 | 0:36:02 | |
Yes, you invented her, you made her into...whatever she is now. | 0:36:02 | 0:36:07 | |
So it would be surprising if you didn't love what you've made. | 0:36:07 | 0:36:10 | |
I understand your daughter better than you could possibly hope to. | 0:36:10 | 0:36:13 | |
You understand her? I asked you about love. | 0:36:13 | 0:36:16 | |
All you've got is feeling. | 0:36:16 | 0:36:18 | |
I have insight and that gives me the whole picture. | 0:36:18 | 0:36:22 | |
Then imagine how much of a fool you'd feel if you were wrong. | 0:36:22 | 0:36:26 | |
What have you said to him? | 0:36:33 | 0:36:35 | |
Nothing. | 0:36:37 | 0:36:38 | |
CAMERA CLICKS | 0:36:51 | 0:36:53 | |
Thank you. | 0:37:14 | 0:37:16 | |
Hello? | 0:37:31 | 0:37:32 | |
He's gone. | 0:37:34 | 0:37:35 | |
Mr Eyre? | 0:37:43 | 0:37:45 | |
HE PANTS, SHIVERS | 0:37:50 | 0:37:52 | |
What about the children? | 0:37:52 | 0:37:54 | |
What about...the children? | 0:37:54 | 0:37:56 | |
Sssh. Sssh. | 0:37:56 | 0:37:58 | |
You know what this is, don't you? | 0:37:58 | 0:38:00 | |
And he brings it here, to this village, | 0:38:03 | 0:38:07 | |
to this house, to his bed. | 0:38:07 | 0:38:09 | |
What have you done?! | 0:38:09 | 0:38:12 | |
Not at work? | 0:38:15 | 0:38:16 | |
No. | 0:38:16 | 0:38:18 | |
Strange pudding. | 0:38:18 | 0:38:20 | |
Can I have it on the tab, please? | 0:38:20 | 0:38:22 | |
Is this what I think it is? | 0:38:22 | 0:38:25 | |
Who is it? | 0:38:27 | 0:38:29 | |
Grace? | 0:38:30 | 0:38:32 | |
No. I'm not having you catching it. | 0:38:46 | 0:38:49 | |
-That's for me... -No, it is not. | 0:38:49 | 0:38:51 | |
You'd risk catching it and passing it on to Mary? To Bert? | 0:38:51 | 0:38:56 | |
No, enough. He's on his own. | 0:38:56 | 0:38:58 | |
KNOCK ON DOOR | 0:39:02 | 0:39:04 | |
Sorry. | 0:39:13 | 0:39:14 | |
Margaret? | 0:39:14 | 0:39:16 | |
Some rhubarb and some treacle. | 0:39:16 | 0:39:19 | |
It's my girls. | 0:39:22 | 0:39:23 | |
All my girls. | 0:39:23 | 0:39:26 | |
THEY ALL COUGH | 0:39:33 | 0:39:35 | |
HE BREATHES ROUGHLY | 0:39:47 | 0:39:49 | |
Mr Hankin. | 0:39:57 | 0:39:58 | |
Doctor. | 0:39:58 | 0:40:00 | |
Ah, the stonemason's here, if you'll excuse me. | 0:40:01 | 0:40:05 | |
Er, how, how many are there? | 0:40:09 | 0:40:11 | |
I saw 40 cases this morning. | 0:40:11 | 0:40:14 | |
57 names down to Mellor T on the front | 0:40:14 | 0:40:18 | |
and the remaining 55 names on the back. | 0:40:18 | 0:40:21 | |
What can I get for you, Doctor? | 0:40:21 | 0:40:23 | |
Half a bottle of rum. | 0:40:23 | 0:40:25 | |
Is rum something that might, erm...? | 0:40:25 | 0:40:28 | |
Decent corpse reviver. | 0:40:28 | 0:40:30 | |
Best friend to influenza, Mrs Hankin. | 0:40:31 | 0:40:34 | |
-Is? -Fear. | 0:40:34 | 0:40:37 | |
If you want to reduce your chances of catching it, don't be frightened. | 0:40:37 | 0:40:41 | |
And the poem on the side, same lettering. | 0:40:41 | 0:40:44 | |
Is that right, Norma? | 0:40:44 | 0:40:46 | |
Norma? | 0:40:48 | 0:40:50 | |
I think he's going to die. | 0:41:12 | 0:41:13 | |
I'm very sorry. Why are you here? | 0:41:17 | 0:41:20 | |
-It's all worked out. -Keep away from her. | 0:41:22 | 0:41:25 | |
I had a little bird. | 0:41:25 | 0:41:27 | |
Its name was Enza. | 0:41:27 | 0:41:29 | |
I opened the window and... in flew Enza. | 0:41:30 | 0:41:34 | |
Is this a joke? | 0:41:34 | 0:41:35 | |
All over England, people are singing songs about it | 0:41:35 | 0:41:38 | |
because they think it's over. | 0:41:38 | 0:41:40 | |
And our village had escaped it, hadn't we? | 0:41:40 | 0:41:43 | |
Not many villages in England can say that. | 0:41:43 | 0:41:45 | |
Why don't you stop clearing your throat and say what you think? | 0:41:45 | 0:41:49 | |
We can't let it start again. | 0:41:49 | 0:41:51 | |
-It's here. -And that's where it has to stay. | 0:41:51 | 0:41:53 | |
No. Quarantine the village? No. | 0:41:58 | 0:41:59 | |
Apart from anything else, I need to be at Westminster. | 0:41:59 | 0:42:01 | |
My bill is being debated on Tuesday. | 0:42:01 | 0:42:03 | |
You could return, live out the life of this parliament. | 0:42:03 | 0:42:06 | |
You might retain your seat at the next election, you might not. | 0:42:06 | 0:42:09 | |
Do this, you will be guaranteed a long life in politics. | 0:42:09 | 0:42:13 | |
High office is virtually assured and you'll have a place in history. | 0:42:13 | 0:42:17 | |
Bairstow, I just... | 0:42:17 | 0:42:18 | |
You're 36 years old. You've been promising quite a few years now. | 0:42:18 | 0:42:23 | |
This is your moment, brought to you on a plate by a farm boy. | 0:42:23 | 0:42:27 | |
It was his idea. | 0:42:27 | 0:42:28 | |
If you lead the village in this, people, newspapers, history, | 0:42:28 | 0:42:33 | |
will all say that it was yours. | 0:42:33 | 0:42:35 | |
The losses this village took in the war | 0:42:35 | 0:42:37 | |
will make it an even bigger story. | 0:42:37 | 0:42:39 | |
We'll go from plucky to heroic, overnight. | 0:42:39 | 0:42:42 | |
And you'll be the man taking us there. | 0:42:42 | 0:42:44 | |
This is our time. | 0:42:46 | 0:42:48 | |
And those are the first four words of your speech. | 0:42:48 | 0:42:51 | |
This is the last of it. | 0:43:21 | 0:43:23 | |
That's it. | 0:43:26 | 0:43:27 | |
There's nobody here. | 0:43:36 | 0:43:37 | |
We're alone. What is it? | 0:43:42 | 0:43:44 | |
I don't love you. | 0:43:46 | 0:43:48 | |
I can never win, can I? | 0:44:03 | 0:44:05 | |
Because he's dead. | 0:44:05 | 0:44:08 | |
You will always love him. | 0:44:09 | 0:44:10 | |
I should have died. | 0:44:15 | 0:44:17 | |
It's my fault. | 0:44:20 | 0:44:22 | |
What is? | 0:44:23 | 0:44:25 | |
If Joe had remained perfect to you, you might have found space for me. | 0:44:25 | 0:44:29 | |
I think when I told you about Joe and Caro... | 0:44:32 | 0:44:35 | |
..I tarnished him. | 0:44:38 | 0:44:39 | |
And I lost you. | 0:44:41 | 0:44:42 | |
23 years you were alive before we met. | 0:44:59 | 0:45:03 | |
It's hard to imagine. | 0:45:03 | 0:45:06 | |
You were waiting for me. | 0:45:06 | 0:45:08 | |
Yes! | 0:45:08 | 0:45:10 | |
Go ahead. Eat your soup. | 0:45:15 | 0:45:18 | |
You don't have to. | 0:45:19 | 0:45:20 | |
You can choose. | 0:45:22 | 0:45:24 | |
Just as you can choose whether to tell Dr Wylie about your baby. | 0:45:26 | 0:45:32 | |
KNOCKING ON DOOR | 0:46:18 | 0:46:20 | |
HE BREATHES SHAKILY | 0:46:35 | 0:46:37 | |
You know what you've done? Nothing goes out of t'village. | 0:47:46 | 0:47:50 | |
So I pour it all away. | 0:47:50 | 0:47:51 | |
A few days without our milk, dairy'll drop us, | 0:47:51 | 0:47:54 | |
they'll not take us back. | 0:47:54 | 0:47:56 | |
They're calling it t'plague. They want to stop the memorial ceremony. | 0:47:58 | 0:48:03 | |
They? | 0:48:05 | 0:48:07 | |
The village. | 0:48:07 | 0:48:09 | |
What did you say? | 0:48:11 | 0:48:14 | |
The village. | 0:48:14 | 0:48:15 | |
No. Before, in the field. | 0:48:15 | 0:48:19 | |
We have nothing? | 0:48:20 | 0:48:23 | |
But we have our name. | 0:48:23 | 0:48:25 | |
No milk, no income. | 0:48:56 | 0:48:59 | |
What will you do? | 0:49:00 | 0:49:02 | |
Slaughter them now for the meat? | 0:49:02 | 0:49:06 | |
Now be a man and shake hands with me. | 0:49:06 | 0:49:08 | |
You've nothing left, Middleton. | 0:49:08 | 0:49:10 | |
Hey, what do you want? | 0:49:38 | 0:49:40 | |
Is there a man here who has not lost a son, or a brother, or a father? | 0:49:45 | 0:49:49 | |
Hey, what do you want?! | 0:49:49 | 0:49:51 | |
I want us all to stand together tomorrow. | 0:49:51 | 0:49:54 | |
Every single one of us. | 0:49:54 | 0:49:57 | |
I want ALL the living to remember ALL the dead. | 0:49:57 | 0:50:00 | |
What can I do for you? | 0:50:10 | 0:50:12 | |
What day is it? | 0:51:26 | 0:51:27 | |
Thursday morning. | 0:51:31 | 0:51:32 | |
Date? | 0:51:35 | 0:51:36 | |
The 11th of November. | 0:51:37 | 0:51:39 | |
-But it... -I'm not going. | 0:51:39 | 0:51:41 | |
There's a few more people to come. Well, it's a good turnout, really. | 0:52:42 | 0:52:46 | |
Yes, the whole village is here. | 0:52:46 | 0:52:49 | |
Yes, nearly. | 0:52:49 | 0:52:50 | |
Well, you could do, that...that's not a bad idea. | 0:52:56 | 0:52:59 | |
May some silence or something before, you know? | 0:52:59 | 0:53:02 | |
-You freezing cold, are you? -I'll manage, thank you. | 0:53:03 | 0:53:06 | |
Yeah, I saw him. | 0:53:10 | 0:53:12 | |
CLOCK CHIMES | 0:53:12 | 0:53:15 | |
You have to come. | 0:54:34 | 0:54:36 | |
They don't want him. | 0:54:36 | 0:54:38 | |
Mellor, Mellor, Mellor, Mitchell, Mumford. | 0:54:39 | 0:54:44 | |
Where is he? | 0:54:44 | 0:54:45 | |
I can't be part of something that chooses to ignore my son's life | 0:54:45 | 0:54:49 | |
and his death whilst remembering everyone else's. | 0:54:49 | 0:54:52 | |
I understand. | 0:54:52 | 0:54:54 | |
How can you? | 0:54:54 | 0:54:55 | |
Joe had a child. | 0:55:00 | 0:55:02 | |
My daughter... | 0:55:05 | 0:55:07 | |
had a child. | 0:55:07 | 0:55:09 | |
A boy. | 0:55:09 | 0:55:10 | |
He's yours and he's mine. | 0:55:13 | 0:55:17 | |
Excuse me. Thank you. | 0:55:50 | 0:55:53 | |
PEOPLE MURMUR | 0:55:59 | 0:56:01 | |
Subtitles by Red Bee Media Ltd | 0:58:40 | 0:58:43 |