02/07/1980 The Good Old Days
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Transcript
| Line | From | To | |
|---|---|---|---|
ORCHESTRA TUNES INSTRUMENTS | 0:00:04 | 0:00:07 | |
# Daddy wouldn't buy me a bow-wow Bow-wow | 0:00:18 | 0:00:22 | |
# Daddy wouldn't buy me a bow-wow Bow-wow | 0:00:22 | 0:00:26 | |
# I've got a little cat and I'm very fond of that | 0:00:26 | 0:00:30 | |
# But I'd rather have a bow-wow-wow. # | 0:00:30 | 0:00:36 | |
SINGERS ON STAGE WHOOP | 0:00:38 | 0:00:42 | |
# We're the toast of merry Monaco | 0:00:44 | 0:00:47 | |
# Known to all the visitors who go | 0:00:47 | 0:00:51 | |
# To the old casino every night | 0:00:51 | 0:00:54 | |
# We enjoy a Pinot, gay and bright | 0:00:54 | 0:00:58 | |
# Gamblers from Chicago to Berlin | 0:00:58 | 0:01:01 | |
# Chance their fortunes, hoping for a win | 0:01:01 | 0:01:05 | |
# Hearts beat fast with every single bet | 0:01:05 | 0:01:08 | |
# And share me your advice on what to bet | 0:01:08 | 0:01:12 | |
# Jack, queen or king The cards are so inviting | 0:01:12 | 0:01:15 | |
# Gambling's the thing We find it so exciting | 0:01:15 | 0:01:19 | |
# Quaffing champagne We put on such a show | 0:01:19 | 0:01:22 | |
# We'll break the bank or lose our francs before we go | 0:01:22 | 0:01:25 | |
# We'll break the bank or lose our francs before we go. # | 0:01:25 | 0:01:29 | |
# When a bad, bad boy like me | 0:01:37 | 0:01:40 | |
# Meets a good, good girl like you | 0:01:40 | 0:01:43 | |
# Well, a good little maid is a bit afraid | 0:01:43 | 0:01:46 | |
# And wonders what on earth to do | 0:01:46 | 0:01:49 | |
# If the bad, bad boy should speak | 0:01:49 | 0:01:53 | |
# Will the good, good girl reply? | 0:01:53 | 0:01:55 | |
# Well, it rather depends if the good girl's friends | 0:01:55 | 0:01:59 | |
# Are anywhere at all close by | 0:01:59 | 0:02:02 | |
# Such a bad, bad boy | 0:02:06 | 0:02:10 | |
# Such a good, good girl | 0:02:10 | 0:02:12 | |
# Oh, they do make a curious pair | 0:02:12 | 0:02:15 | |
# Though the good girl may turn her head away | 0:02:15 | 0:02:18 | |
# Still she knows that the bad boy's there | 0:02:18 | 0:02:21 | |
# If the bad boy walks by her side and talks | 0:02:21 | 0:02:24 | |
# Will she snub him as a maiden should? | 0:02:24 | 0:02:27 | |
# Well, I think he's a lad who is not so very bad | 0:02:27 | 0:02:31 | |
# And I'm not a bit too good | 0:02:31 | 0:02:35 | |
# No, we're not a bit too good. # | 0:02:35 | 0:02:38 | |
# As I walk along the Bois de Boulogne | 0:02:38 | 0:02:43 | |
# With an independent air | 0:02:43 | 0:02:45 | |
# You can hear the girls declare | 0:02:45 | 0:02:47 | |
# He must be a millionaire | 0:02:47 | 0:02:49 | |
# You can hear them sigh and wish to die | 0:02:49 | 0:02:51 | |
# You can see them wink the other eye | 0:02:51 | 0:02:53 | |
# At the man who broke the bank at Monte Carlo | 0:02:53 | 0:02:57 | |
# As I walk along the Bois de Boulogne | 0:02:57 | 0:02:59 | |
# With an independent air | 0:02:59 | 0:03:01 | |
# You can hear the girls declare | 0:03:01 | 0:03:03 | |
# He must be a millionaire | 0:03:03 | 0:03:04 | |
# You can hear them sigh and wish to die | 0:03:04 | 0:03:07 | |
# You can see them wink the other eye | 0:03:07 | 0:03:09 | |
# At the man who broke the bank at Monte Carlo. # | 0:03:09 | 0:03:12 | |
# Jack, queen or king The cards are so inviting | 0:03:16 | 0:03:19 | |
# Gambling's a thing We find it so exciting | 0:03:19 | 0:03:23 | |
# Quaffing champagne We'll put on such a show | 0:03:23 | 0:03:26 | |
# We'll break the bank or lose our francs before we go | 0:03:26 | 0:03:30 | |
# We'll break the bank or lose our francs before we go. # | 0:03:30 | 0:03:37 | |
APPLAUSE | 0:03:38 | 0:03:41 | |
CHEERING AND APPLAUSE | 0:03:51 | 0:03:54 | |
-AUDIENCE: -Whoo! | 0:04:02 | 0:04:04 | |
Once again, | 0:04:04 | 0:04:06 | |
good evening, ladies and gentlemen. | 0:04:06 | 0:04:11 | |
-AUDIENCE: -Good evening! | 0:04:11 | 0:04:13 | |
From France, hilarious in vertiginous | 0:04:13 | 0:04:17 | |
vocal virtuosity, Monsieur Marc Metral. | 0:04:17 | 0:04:22 | |
APPLAUSE | 0:04:25 | 0:04:28 | |
HE CLEARS HIS THROAT | 0:04:32 | 0:04:33 | |
Gentlemen... | 0:04:33 | 0:04:35 | |
GIGGLING ON STAGE | 0:04:37 | 0:04:39 | |
INDISTINCT MUMBLING ON STAGE | 0:04:44 | 0:04:46 | |
I'm sorry. Brigitte? | 0:04:47 | 0:04:49 | |
-Yes. -Where are you? Where are you, please? | 0:04:49 | 0:04:52 | |
BRIGITTE WARBLES | 0:04:52 | 0:04:55 | |
-Here? -Oi! -BRIGITTE LAUGHS | 0:04:57 | 0:05:00 | |
-OK, come with me. -Ow! | 0:05:00 | 0:05:03 | |
LAUGHTER | 0:05:03 | 0:05:06 | |
-But what are you doing inside? MARC AS BRIGITTE: -I want to see. | 0:05:06 | 0:05:10 | |
-You want to see the concert? -Yes. -But I have to work. | 0:05:10 | 0:05:12 | |
-I don't care. -Oh, right, now. OK, come now. | 0:05:12 | 0:05:14 | |
Ladies and gentlemen, | 0:05:14 | 0:05:16 | |
-I am very pleased to present the extraordinary... -Ha-ha. | 0:05:16 | 0:05:18 | |
-..wonderful, fantastic Miss Brigitte. -Oh, yeah. | 0:05:18 | 0:05:23 | |
-It's me. -Oh, you are really beautiful tonight. | 0:05:24 | 0:05:27 | |
Ha-ha-ha. Uh? | 0:05:27 | 0:05:29 | |
I said, "Vous etes tres jolie." | 0:05:29 | 0:05:31 | |
Ha-ha-ha. Uh? | 0:05:31 | 0:05:33 | |
-Oui. Du bist schon. -Danke schon. -Bitte schon. | 0:05:33 | 0:05:35 | |
-Danke schon. -Bitte schon. -Danke schon. -Bitte schon. | 0:05:35 | 0:05:37 | |
-Danke schon. -Bitte schon. -That's enough! | 0:05:37 | 0:05:40 | |
-You must sing a song now. -No, no, no. -But why not? -My costume! | 0:05:43 | 0:05:47 | |
-But you are beautiful. You can sing like that. -No, no, no, no. | 0:05:47 | 0:05:50 | |
-Oh, I know, I know. -What? -You are a star, eh? Excuse me, Brigitte. | 0:05:50 | 0:05:56 | |
Oh, excuse me. I forgot. I am stupid. | 0:05:56 | 0:05:59 | |
Everybody knows that! | 0:05:59 | 0:06:01 | |
Right, now, just close your eyes. | 0:06:01 | 0:06:04 | |
Yeah... | 0:06:04 | 0:06:09 | |
Very nice. All right. | 0:06:09 | 0:06:11 | |
All right now, hurry up, hurry up. | 0:06:11 | 0:06:14 | |
# On dit que j'aime les aigrettes | 0:06:14 | 0:06:18 | |
# Les plumes et les toilettes | 0:06:18 | 0:06:20 | |
# C'est vrai | 0:06:20 | 0:06:21 | |
# On dit que j'ai la voix qui traine | 0:06:21 | 0:06:25 | |
# En chantant mes rengaines | 0:06:25 | 0:06:26 | |
# C'est vrai | 0:06:26 | 0:06:28 | |
# Lorsque ca monte trop haut Moi je m'arrete | 0:06:28 | 0:06:32 | |
-# Et d'ailleurs on n'est pas -Ici a l'Opera | 0:06:32 | 0:06:35 | |
-# On dit -Que j'ai l'nez en trompette | 0:06:35 | 0:06:38 | |
# Mais j'serais pas Mistinguett si j'etais pas comme ca. # | 0:06:38 | 0:06:42 | |
Yeah! | 0:06:42 | 0:06:43 | |
Thank you very much, ladies and gentlemen. | 0:06:52 | 0:06:54 | |
Do you want to know now how to be a ventriloquist, yes? | 0:06:54 | 0:06:57 | |
-AUDIENCE: -Yes. -OK, wonderful, marvellous. | 0:06:57 | 0:07:00 | |
I'm going to choose now somebody to help me on the stage. | 0:07:00 | 0:07:03 | |
I need a gentleman to help me on the stage. | 0:07:03 | 0:07:05 | |
Maybe, sir, will you come to help me? | 0:07:05 | 0:07:07 | |
Oh, thank you. A big hand, a big hand. | 0:07:07 | 0:07:10 | |
APPLAUSE | 0:07:10 | 0:07:13 | |
Thank you. Come by this way. | 0:07:13 | 0:07:15 | |
Thank you, can you wait for me on the stage? Thank you. | 0:07:15 | 0:07:18 | |
Thank you very much, sir, good evening. But I need a lady too. | 0:07:18 | 0:07:21 | |
Here we have a beautiful lady. Will you come to help me, please? Oui? | 0:07:21 | 0:07:25 | |
Ah! | 0:07:25 | 0:07:27 | |
Tres bien. | 0:07:27 | 0:07:29 | |
Give me your hand. | 0:07:29 | 0:07:30 | |
Thank you very much. Come onto the stage, please. | 0:07:35 | 0:07:37 | |
You are going to help me. Sir, you come here, all right? | 0:07:37 | 0:07:42 | |
On my right, thank you. You come here, on my left. | 0:07:42 | 0:07:45 | |
Thank you very much. | 0:07:45 | 0:07:46 | |
It's very easy, don't worry. Keep smiling. Thank you very much. | 0:07:46 | 0:07:50 | |
One of the things I have to ask you, ladies and gentlemen. | 0:07:50 | 0:07:53 | |
You have to open and close your mouth without speaking, only that. | 0:07:53 | 0:07:57 | |
It's possible? Yes? OK. Look at me, look at me. | 0:07:57 | 0:08:00 | |
It's possible we try? Oh, very good, very good. | 0:08:02 | 0:08:05 | |
Give me your hand. It will be easier. | 0:08:05 | 0:08:07 | |
When I squeeze one time your hand, you open one time your mouth. | 0:08:07 | 0:08:10 | |
We try. | 0:08:10 | 0:08:12 | |
OK. If I squeeze twice, you open twice. | 0:08:12 | 0:08:15 | |
You understand? Very good, very good! | 0:08:16 | 0:08:18 | |
Sir, the same thing. One time. | 0:08:18 | 0:08:20 | |
OK, more big. Oh, very good. Two times. | 0:08:20 | 0:08:24 | |
OK, and so on. | 0:08:25 | 0:08:26 | |
Look at the audience, please. Thank you very much. | 0:08:26 | 0:08:29 | |
-So, sir, are you ready? AS GENTLEMAN: -Yeah! | 0:08:29 | 0:08:32 | |
-That's very good, eh? -Yeah! | 0:08:32 | 0:08:34 | |
-Oh, you are a ventriloquist? -Yes! -Good, good. | 0:08:34 | 0:08:37 | |
Ladies and gentlemen, we have, tonight here, a beautiful lady. | 0:08:37 | 0:08:41 | |
-AS LADY: -Yeah! -LAUGHTER | 0:08:41 | 0:08:43 | |
-Ca va? -Ah, oui. -You have a beautiful voice, eh? -Oui! -Very nice, OK. | 0:08:44 | 0:08:49 | |
-You are a good artist too. -Yes. -Yes, you are not too shy, yeah? -No! | 0:08:49 | 0:08:55 | |
No, no. LAUGHTER | 0:08:55 | 0:08:57 | |
OK, we'll sing a song now. | 0:08:57 | 0:08:59 | |
Please, maestro, we are going to sing a song now. Alegria, vamos. | 0:08:59 | 0:09:02 | |
# Alouette, gentille alouette | 0:09:03 | 0:09:07 | |
# Alouette, je te plumerai | 0:09:07 | 0:09:10 | |
# Je te plumerai la tete | 0:09:10 | 0:09:12 | |
# Je te plumerai la tete | 0:09:12 | 0:09:13 | |
-# Et la tete -Et la tete | 0:09:13 | 0:09:15 | |
-# Et la tete -Et la tete... # | 0:09:15 | 0:09:17 | |
-Very good. -# Et la tete -Et la tete | 0:09:17 | 0:09:19 | |
-# Et la tete -Et la tete | 0:09:19 | 0:09:20 | |
-# Et la tete -Et la tete | 0:09:20 | 0:09:22 | |
# Alouette, alouette... # | 0:09:22 | 0:09:24 | |
-All right now. # Alouette -Alouette | 0:09:24 | 0:09:26 | |
-# Alouette -Alouette -Alouette -Alouette | 0:09:26 | 0:09:29 | |
-# Alouette -Alouette -Alouette... | 0:09:29 | 0:09:31 | |
# Alouette! # | 0:09:31 | 0:09:33 | |
APPLAUSE | 0:09:33 | 0:09:36 | |
Ineluctably melodious, | 0:09:49 | 0:09:54 | |
deliquescent in dithyrambic descant. | 0:09:54 | 0:09:59 | |
-AUDIENCE: -Oh! | 0:09:59 | 0:10:01 | |
-S... -LAUGHTER | 0:10:01 | 0:10:04 | |
Singing. | 0:10:04 | 0:10:06 | |
Your own, your very own, Miss Moira Anderson! | 0:10:06 | 0:10:11 | |
APPLAUSE | 0:10:11 | 0:10:13 | |
SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN | 0:10:18 | 0:10:22 | |
SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN | 0:10:44 | 0:10:48 | |
SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN | 0:10:58 | 0:11:02 | |
SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN | 0:11:25 | 0:11:30 | |
SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN | 0:11:43 | 0:11:47 | |
APPLAUSE | 0:12:01 | 0:12:05 | |
# One day when we were young | 0:12:23 | 0:12:30 | |
# One wonderful morning in May | 0:12:30 | 0:12:35 | |
# You told me you loved me | 0:12:35 | 0:12:43 | |
# When we were young one day | 0:12:43 | 0:12:50 | |
# Sweet songs of spring were sung | 0:12:50 | 0:12:56 | |
# And music was never so gay | 0:12:56 | 0:13:02 | |
# You told me you loved me | 0:13:02 | 0:13:09 | |
# When we were young one day | 0:13:09 | 0:13:14 | |
# You told me you loved me | 0:13:15 | 0:13:21 | |
# You held me close to your heart | 0:13:21 | 0:13:27 | |
# We laughed then, we cried then | 0:13:27 | 0:13:33 | |
# Then came the time to part | 0:13:33 | 0:13:40 | |
# When songs of spring were sung | 0:13:41 | 0:13:47 | |
# Remember that morning in May | 0:13:47 | 0:13:54 | |
# Remember you loved me | 0:13:54 | 0:14:01 | |
# When we were young one day | 0:14:01 | 0:14:10 | |
# Remember you loved me | 0:14:18 | 0:14:25 | |
# When we were young one day | 0:14:25 | 0:14:31 | |
# You told me you loved me | 0:14:31 | 0:14:36 | |
# You held me close to your heart | 0:14:36 | 0:14:43 | |
# We laughed then, we cried then | 0:14:43 | 0:14:49 | |
# Then came the time to part | 0:14:49 | 0:14:56 | |
# When songs of spring were sung | 0:14:57 | 0:15:03 | |
# Remember that morning in May | 0:15:03 | 0:15:10 | |
# Remember you loved me | 0:15:10 | 0:15:19 | |
# When we were young | 0:15:19 | 0:15:25 | |
# One day. # | 0:15:25 | 0:15:32 | |
CHEERING AND APPLAUSE | 0:15:32 | 0:15:34 | |
Unequivocally uplifting | 0:15:51 | 0:15:55 | |
in dignified imperial dedication, | 0:15:55 | 0:15:59 | |
the high priestess of culture, | 0:15:59 | 0:16:03 | |
Miss Audrey Jeans. | 0:16:03 | 0:16:07 | |
ORCHESTRA PLAYS LAND OF HOPE AND GLORY | 0:16:07 | 0:16:10 | |
APPLAUSE | 0:16:10 | 0:16:13 | |
Ladies and gentlemen, tonight, I have written a monologue | 0:16:16 | 0:16:21 | |
and dedicated it to our dear Queen Victoria. | 0:16:21 | 0:16:24 | |
SHE COUGHS Thank you. | 0:16:24 | 0:16:26 | |
Victoria... | 0:16:26 | 0:16:28 | |
COMMOTION IN THE AUDIENCE AND LAUGHTER | 0:16:28 | 0:16:31 | |
Welcome and may we wish you... | 0:16:31 | 0:16:34 | |
827. What number seat are you? | 0:16:34 | 0:16:37 | |
-LAUGHTER -Can you stand up a minute? 827. | 0:16:37 | 0:16:41 | |
I'm trying to find 827. Well, I don't know where it is. | 0:16:41 | 0:16:44 | |
-Excuse me! -Pardon? | 0:16:44 | 0:16:46 | |
I said excuse me. | 0:16:46 | 0:16:48 | |
Why, what have you done? | 0:16:48 | 0:16:50 | |
LAUGHTER | 0:16:50 | 0:16:53 | |
How do you do? Can I just get past here? Sorry. | 0:16:53 | 0:16:56 | |
-Excuse me! -Yes. -Have you a seat? | 0:16:56 | 0:16:59 | |
Aye, but nowhere to put it. | 0:16:59 | 0:17:01 | |
LAUGHTER Who is this man? | 0:17:01 | 0:17:04 | |
-How do you do? -Excuse me, I can't talk to you from there. | 0:17:07 | 0:17:11 | |
-Would you come up here? -What, on the planks? | 0:17:11 | 0:17:13 | |
-On the platform. -Oh, yes... Get off. | 0:17:13 | 0:17:16 | |
LAUGHTER | 0:17:16 | 0:17:19 | |
Steady. | 0:17:19 | 0:17:20 | |
LAUGHTER | 0:17:26 | 0:17:28 | |
Yes, leave it. | 0:17:28 | 0:17:30 | |
Yes, yes... How... Hey... | 0:17:35 | 0:17:38 | |
Do you know you've ruined my performance? | 0:17:43 | 0:17:46 | |
I never touched you. | 0:17:46 | 0:17:47 | |
I am trying to do a dramatic monologue. | 0:17:48 | 0:17:51 | |
I...I...I was... Huh. Wey! | 0:17:51 | 0:17:55 | |
I was just trying to... | 0:17:55 | 0:17:56 | |
I was just trying to find my seat, you see, and then you said... | 0:17:58 | 0:18:02 | |
You have no seat here, you know. | 0:18:02 | 0:18:04 | |
Neither have I, that's what I'm telling you. | 0:18:04 | 0:18:06 | |
I am doing a monologue to Her Majesty Queen Victoria. | 0:18:06 | 0:18:10 | |
-Oh, I didn't see her in. -She isn't here, dear. -Oh, I'm sorry. | 0:18:10 | 0:18:14 | |
No, no. This is a very dramatic thing. Would you please go away? | 0:18:14 | 0:18:17 | |
Yes. No. Well, I can't now I'm here, can I? I mean, maybe... I... | 0:18:17 | 0:18:21 | |
-Huh. I...I...can... -HE SNEEZES | 0:18:21 | 0:18:24 | |
-Sir, as you are here... -Yes. | 0:18:27 | 0:18:29 | |
-Have you ever performed on a stage before? -Ha-ha. | 0:18:29 | 0:18:33 | |
-Um, I do do a bit of singing at clubs. -Oh, you sing. -So do I, yes. | 0:18:33 | 0:18:38 | |
-Have you a group? -No, I get the wind a lot. | 0:18:38 | 0:18:40 | |
LAUGHTER | 0:18:40 | 0:18:42 | |
-Yes, such a shame, you know, before the show. -Excuse me. -Yes. | 0:18:46 | 0:18:50 | |
-Do you do anything else but sing? -Ah, yes. | 0:18:50 | 0:18:53 | |
-Funnily enough, I do monologues. -Monologues? -Yes, sir, yes. | 0:18:53 | 0:18:57 | |
-No, I'm madam. -Oh, yes, I tumbled that, mmm. | 0:18:57 | 0:19:00 | |
Would you perform one for us this evening? | 0:19:00 | 0:19:03 | |
-Well, in front of these people? -Yes, of course. | 0:19:03 | 0:19:06 | |
Well, I'd love to, if I could. Oh... I'd like to... | 0:19:06 | 0:19:10 | |
-Why do you keep doing that? -Doing what? | 0:19:10 | 0:19:13 | |
Oh... I... Wa-hey! LAUGHTER | 0:19:13 | 0:19:16 | |
-Hey, there's something up with you. -How dare you! -You... | 0:19:16 | 0:19:21 | |
APPLAUSE | 0:19:21 | 0:19:24 | |
-Yeah. -Would you like to do the monologue now? | 0:19:24 | 0:19:26 | |
-Well, if it's all right, yeah. -Please do. -Well, I'll put that down. | 0:19:26 | 0:19:30 | |
-Cos I work hard, you see. -Do you really? -Yes... | 0:19:30 | 0:19:32 | |
The Green Eye Of The Little Yellow God. | 0:19:32 | 0:19:34 | |
HE MUTTERS THE MONOLOGUE | 0:19:34 | 0:19:37 | |
-Can you hear it? AUDIENCE: -No. | 0:19:39 | 0:19:42 | |
Excuse me, nobody can hear you? | 0:19:42 | 0:19:44 | |
-Can't they? -No, of course they can't. -Oh, I didn't know that. | 0:19:44 | 0:19:47 | |
No, you are not... Where is your articulation? | 0:19:47 | 0:19:50 | |
LAUGHTER | 0:19:50 | 0:19:53 | |
I think she knows down there. Hey-hey, hey-hey. | 0:19:53 | 0:19:56 | |
No, when you do monologues, you must absolutely sell it. Sell it! | 0:19:56 | 0:20:01 | |
-Sell it. -Yes. -The Green Eye Of The Little Yellow God. 30 bob. | 0:20:01 | 0:20:04 | |
LAUGHTER | 0:20:04 | 0:20:06 | |
-Not that sort of selling. -Sorry. -Now, I want you... -Yes. | 0:20:06 | 0:20:11 | |
-..to use your hands. -I don't understand. Can you show me? | 0:20:11 | 0:20:13 | |
-Watch my hands, watch them closely. -Right. -Watch them. -Yes. -Watch them. | 0:20:13 | 0:20:17 | |
HE LAUGHS | 0:20:17 | 0:20:19 | |
There's no lens in those glasses! | 0:20:24 | 0:20:27 | |
I know. They hurt my eyes, so I took them out. | 0:20:28 | 0:20:30 | |
LAUGHTER | 0:20:30 | 0:20:32 | |
-Get off. -Are you ready? -So am I. | 0:20:39 | 0:20:42 | |
There's a green-eyed yellow idol to the north of Kathmandu. | 0:20:42 | 0:20:44 | |
There's a little marble cross beneath the town. | 0:20:44 | 0:20:47 | |
-Did you see it? -No, did it come on? | 0:20:47 | 0:20:49 | |
See, I can't do all them hand movements like that. | 0:20:49 | 0:20:52 | |
-I can do the monologue but... -Just a moment. -What? -Look. | 0:20:52 | 0:20:56 | |
These are your hands. | 0:20:56 | 0:20:59 | |
They're a damn sight cleaner than mine! | 0:20:59 | 0:21:02 | |
-Come here. Stand there. -Yes. -I'll show you what I mean. | 0:21:02 | 0:21:05 | |
-Oh, you'll do the actions for me and they'll think it's me. -Correct. | 0:21:05 | 0:21:08 | |
Oh, right, yes. Thank you. Recitation. | 0:21:08 | 0:21:12 | |
HE CLEARS HIS THROAT | 0:21:12 | 0:21:14 | |
Hey. Hey... | 0:21:15 | 0:21:18 | |
I see. The green eye of... | 0:21:18 | 0:21:21 | |
The green eye of... | 0:21:23 | 0:21:25 | |
The green eye of the... Hey! | 0:21:26 | 0:21:29 | |
LAUGHTER | 0:21:29 | 0:21:31 | |
The green eye of... Oh! | 0:21:37 | 0:21:39 | |
-HE LAUGHS -No, don't. I'm ticklish. | 0:21:39 | 0:21:42 | |
Seriously now. | 0:21:42 | 0:21:44 | |
There's a green-eyed yellow idol to the north of... | 0:21:44 | 0:21:47 | |
LAUGHTER | 0:21:47 | 0:21:50 | |
..to the north of Kathmandu. There's a little marble cross below the... | 0:21:51 | 0:21:56 | |
..below the town. | 0:22:02 | 0:22:04 | |
There's a broken-hearted woman tends the grave of Mad Car... Ooh! | 0:22:04 | 0:22:10 | |
..while the yellow god forever gazes down. Down! | 0:22:10 | 0:22:14 | |
He was known as Mad Car... Ooh! ..by the subs at Kathmandu. | 0:22:15 | 0:22:20 | |
He was hotter than they felt inclined to tell. But... | 0:22:20 | 0:22:24 | |
..for all his foolish pranks, he... | 0:22:27 | 0:22:29 | |
..he... Shut up! | 0:22:33 | 0:22:35 | |
..he was worshipped in the ranks | 0:22:35 | 0:22:37 | |
and the colonel's daughter smiled on him as well. | 0:22:37 | 0:22:40 | |
INDISTINCT | 0:22:40 | 0:22:43 | |
He had loved her all along with a passion that was strong... | 0:22:43 | 0:22:47 | |
That she loved him was plain to see for all. | 0:22:49 | 0:22:52 | |
She was nearly 21 and arrangements had begun | 0:22:52 | 0:22:55 | |
to celebrate her birthday with a ball. | 0:22:55 | 0:22:57 | |
LAUGHTER | 0:22:57 | 0:23:00 | |
On the... On the... | 0:23:00 | 0:23:03 | |
Could we have our ball back, please? | 0:23:03 | 0:23:05 | |
Butterfingers. | 0:23:06 | 0:23:08 | |
On the night before the dance, Mad Carew stood in a trance, | 0:23:08 | 0:23:11 | |
and the... | 0:23:11 | 0:23:13 | |
Seems like a nice boy. | 0:23:15 | 0:23:17 | |
And they chaffed him as they puffed at their cigars. | 0:23:18 | 0:23:21 | |
But for once he failed to smile, as he sat - ooh! - alone awhile, | 0:23:21 | 0:23:26 | |
then went out into the night among the stars. | 0:23:26 | 0:23:29 | |
He returned at break of dawn with his coat and tunic torn and... | 0:23:29 | 0:23:33 | |
Wait... Get... | 0:23:33 | 0:23:36 | |
Eh... | 0:23:38 | 0:23:40 | |
LAUGHTER | 0:23:43 | 0:23:44 | |
What are you playing at? | 0:23:46 | 0:23:48 | |
Hey, that's my best shirt! | 0:23:50 | 0:23:52 | |
Oh, oh, look. You've torn a button off. | 0:23:52 | 0:23:56 | |
LAUGHTER | 0:23:56 | 0:23:58 | |
No, I don't reckon that. No, that's vandalism, that is. | 0:23:58 | 0:24:02 | |
I don't reckon that at all. No, no, I... | 0:24:02 | 0:24:05 | |
LAUGHTER | 0:24:05 | 0:24:08 | |
-With a gash... -LAUGHTER | 0:24:12 | 0:24:15 | |
I thought she was going to let them go for a minute. | 0:24:16 | 0:24:18 | |
Ow! Ha! | 0:24:18 | 0:24:21 | |
With a gash above his temple dripping red. | 0:24:21 | 0:24:25 | |
In... | 0:24:25 | 0:24:27 | |
LAUGHTER | 0:24:27 | 0:24:29 | |
Hey-hey. | 0:24:29 | 0:24:31 | |
Do you know, without my glasses, I'd swear that was a chookie egg. | 0:24:31 | 0:24:35 | |
-It IS a chookie egg. -Get off! Really? -Yes. | 0:24:35 | 0:24:39 | |
-What the hell am -I -laughing at? | 0:24:39 | 0:24:41 | |
With a gash above his temple dripping red... Oh, please don't. | 0:24:41 | 0:24:47 | |
Oh. In the... Argh! | 0:24:48 | 0:24:52 | |
Argh! That's it! I'm not having that! No! | 0:24:52 | 0:24:56 | |
APPLAUSE | 0:24:56 | 0:24:59 | |
That, of course, was Mr Jack Douglas. | 0:25:11 | 0:25:15 | |
Esoteric oriental occultism, | 0:25:16 | 0:25:20 | |
non-parial necromancy... | 0:25:20 | 0:25:25 | |
Black magic. | 0:25:25 | 0:25:28 | |
The amazing Omar Pasha! | 0:25:28 | 0:25:32 | |
APPLAUSE | 0:25:32 | 0:25:35 | |
APPLAUSE | 0:26:04 | 0:26:06 | |
APPLAUSE | 0:27:34 | 0:27:37 | |
LAUGHTER | 0:28:06 | 0:28:08 | |
-AUDIENCE: -Ooh! | 0:28:12 | 0:28:14 | |
APPLAUSE | 0:28:14 | 0:28:17 | |
APPLAUSE | 0:28:34 | 0:28:37 | |
APPLAUSE | 0:29:14 | 0:29:17 | |
APPLAUSE | 0:30:04 | 0:30:07 | |
APPLAUSE | 0:30:37 | 0:30:40 | |
Magisterial masculinity... | 0:31:18 | 0:31:23 | |
..miraculously mellifluous, | 0:31:24 | 0:31:26 | |
from America, Mr Robert White! | 0:31:26 | 0:31:31 | |
APPLAUSE | 0:31:31 | 0:31:33 | |
# Near to Banbridge town in the County Down | 0:31:39 | 0:31:43 | |
# One morning in July | 0:31:43 | 0:31:45 | |
# Down a boreen green came a sweet colleen | 0:31:45 | 0:31:49 | |
# And she smiled as she passed me by | 0:31:49 | 0:31:51 | |
# Oh, she looked so sweet from her snow-white feet | 0:31:51 | 0:31:55 | |
# To the sheen of her nut-brown hair | 0:31:55 | 0:31:58 | |
# Such a coaxing elf I had to shake myself | 0:31:58 | 0:32:01 | |
# To make sure I was really there | 0:32:01 | 0:32:04 | |
# Oh, from Bantry Bay up to Derry Quay | 0:32:04 | 0:32:07 | |
# And from Galway to Dublin town | 0:32:07 | 0:32:10 | |
# No maid I've seen like the brown colleen | 0:32:10 | 0:32:13 | |
# That I met in the County Down | 0:32:13 | 0:32:18 | |
# As she onward sped sure I scratched my head | 0:32:23 | 0:32:26 | |
# And I gazed with a feeling rare | 0:32:26 | 0:32:29 | |
# And I said, says I, to a passer-by | 0:32:29 | 0:32:32 | |
# "Who's the maid with the nut-brown hair?" | 0:32:32 | 0:32:35 | |
# Oh, he smiled at me and, with pride, says he | 0:32:35 | 0:32:38 | |
# "That's the gem of Ireland's crown | 0:32:38 | 0:32:41 | |
# "Young Rosie McCann from the banks of the Bann | 0:32:41 | 0:32:45 | |
# "She's the star of the County Down" | 0:32:45 | 0:32:48 | |
# At the harvest fair, she'll be surely there | 0:32:53 | 0:32:57 | |
# So I'll dress in my Sunday clothes | 0:32:57 | 0:32:59 | |
# And I'll try sheep's eyes and deludering lies | 0:32:59 | 0:33:02 | |
# On the heart of the nut-brown Rose | 0:33:02 | 0:33:05 | |
# No pipe I'll smoke and no horse I'll yoke | 0:33:05 | 0:33:09 | |
# Though my plough turn a rust-coloured brown | 0:33:09 | 0:33:11 | |
# Till a smiling bride at my own fireside | 0:33:11 | 0:33:15 | |
# Sits the star of the County Down | 0:33:15 | 0:33:19 | |
# From Bantry Bay up to Derry Quay | 0:33:19 | 0:33:22 | |
# And from Galway to Dublin town | 0:33:22 | 0:33:25 | |
# No maid I've seen like the brown colleen | 0:33:25 | 0:33:30 | |
# That I met in the County Down. # | 0:33:30 | 0:33:34 | |
# When I was a little lad | 0:33:46 | 0:33:51 | |
# With folly on my lips | 0:33:51 | 0:33:54 | |
# Fain was I for journeying | 0:33:54 | 0:33:58 | |
# All the seas in ships | 0:33:58 | 0:34:02 | |
# But now across the southern swell | 0:34:02 | 0:34:06 | |
# Every dawn I hear | 0:34:06 | 0:34:10 | |
# The little streams of Duna | 0:34:10 | 0:34:14 | |
# Running clear | 0:34:14 | 0:34:22 | |
# The little streams of Duna | 0:34:22 | 0:34:26 | |
# Running clear | 0:34:26 | 0:34:32 | |
# When I was a young man | 0:34:38 | 0:34:41 | |
# Before my beard was grey | 0:34:41 | 0:34:44 | |
# All to ships and sailoring | 0:34:44 | 0:34:48 | |
# I gave my heart away | 0:34:48 | 0:34:52 | |
# But I'm weary of the sea wind | 0:34:52 | 0:34:56 | |
# I'm weary of the foam | 0:34:56 | 0:35:01 | |
# And the little stars of Duna | 0:35:01 | 0:35:05 | |
# Call me home | 0:35:05 | 0:35:14 | |
# The little stars of Duna | 0:35:14 | 0:35:17 | |
# Call me home | 0:35:17 | 0:35:25 | |
# The little stars of Duna | 0:35:25 | 0:35:30 | |
# Call me home. # | 0:35:30 | 0:35:45 | |
APPLAUSE | 0:35:50 | 0:35:53 | |
# I hear you calling me | 0:36:07 | 0:36:15 | |
# You called me | 0:36:19 | 0:36:22 | |
# When the moon had veiled her light | 0:36:22 | 0:36:27 | |
# Before I went from you | 0:36:27 | 0:36:31 | |
# Into the night | 0:36:31 | 0:36:35 | |
# I came | 0:36:35 | 0:36:38 | |
# Do you remember | 0:36:38 | 0:36:42 | |
# Back to you | 0:36:42 | 0:36:47 | |
# For one last kiss | 0:36:47 | 0:36:52 | |
# Beneath the kind stars' light | 0:36:52 | 0:37:02 | |
# I hear you calling me | 0:37:07 | 0:37:15 | |
# And, oh, the ringing gladness | 0:37:15 | 0:37:20 | |
# Of your voice | 0:37:20 | 0:37:23 | |
# The words that made | 0:37:23 | 0:37:26 | |
# My longing heart rejoice | 0:37:26 | 0:37:30 | |
# You spoke | 0:37:30 | 0:37:34 | |
# Do you remember | 0:37:34 | 0:37:37 | |
# And my heart | 0:37:37 | 0:37:42 | |
# Still hears the distant music | 0:37:42 | 0:37:49 | |
# Of your voice | 0:37:49 | 0:37:58 | |
# I hear you calling me | 0:38:02 | 0:38:11 | |
# Though years have stretched | 0:38:11 | 0:38:17 | |
# Their weary length between | 0:38:17 | 0:38:22 | |
# And on your grave | 0:38:22 | 0:38:28 | |
# The mossy grass is green | 0:38:28 | 0:38:33 | |
# I stand | 0:38:33 | 0:38:36 | |
# Do you behold me | 0:38:36 | 0:38:40 | |
# Listening here? | 0:38:40 | 0:38:45 | |
# Hearing your voice | 0:38:47 | 0:38:50 | |
# Through all the years between | 0:38:50 | 0:38:55 | |
# I hear you | 0:39:04 | 0:39:08 | |
# Calling me. # | 0:39:08 | 0:39:25 | |
APPLAUSE | 0:39:31 | 0:39:34 | |
Transcendent in tribute to Miss Vesta Tilley, | 0:39:48 | 0:39:54 | |
once again, the Players Theatre | 0:39:54 | 0:39:56 | |
plus Miss Jenny Till! | 0:39:56 | 0:40:00 | |
APPLAUSE | 0:40:00 | 0:40:03 | |
# Jolly good luck to the girl who loves a soldier | 0:40:07 | 0:40:10 | |
# Girls, have you been there? | 0:40:10 | 0:40:14 | |
# You know we military men | 0:40:14 | 0:40:17 | |
# Always do our duty everywhere | 0:40:17 | 0:40:21 | |
# Jolly good luck to the girl who loves a soldier | 0:40:21 | 0:40:24 | |
# Real good boys are we | 0:40:24 | 0:40:28 | |
# Girls, if you'd like to love a soldier | 0:40:28 | 0:40:31 | |
# You can all love me. # | 0:40:31 | 0:40:34 | |
Find the military man who's really worthy of the name | 0:40:34 | 0:40:38 | |
He's never behind hand when duty's to be done | 0:40:38 | 0:40:41 | |
He's the fellow that you can trust to try and win the game | 0:40:41 | 0:40:45 | |
Whatever the prize waiting to be won | 0:40:45 | 0:40:47 | |
By jingo, don't the girls know that as well as I do? | 0:40:47 | 0:40:51 | |
Isn't the fact made plain every day? | 0:40:51 | 0:40:55 | |
When you see them strolling by a soldier's side | 0:40:55 | 0:40:58 | |
Who could ever be more proud than they? | 0:40:58 | 0:41:02 | |
# Jolly good luck to the girl who loves a soldier | 0:41:02 | 0:41:06 | |
# Girls, have you been there? | 0:41:06 | 0:41:09 | |
# You know we military men | 0:41:09 | 0:41:13 | |
# Always do our duty everywhere | 0:41:13 | 0:41:16 | |
# Jolly good luck to the girl who loves a soldier | 0:41:16 | 0:41:20 | |
# Real good boys are we | 0:41:20 | 0:41:23 | |
# Girls, if you'd like to love a soldier | 0:41:23 | 0:41:27 | |
# You can all love me. # | 0:41:27 | 0:41:30 | |
Every Christmas time we went | 0:41:35 | 0:41:37 | |
To Uncle Ned's, on pleasure bent | 0:41:37 | 0:41:40 | |
As sure as e'er the time came round | 0:41:40 | 0:41:43 | |
A jolly party could be found | 0:41:43 | 0:41:46 | |
Eating cakes, drinking wine | 0:41:46 | 0:41:49 | |
All the ladies looked divine | 0:41:49 | 0:41:52 | |
All the tables cleared away | 0:41:52 | 0:41:54 | |
And then the band began to play | 0:41:54 | 0:41:59 | |
And some danced the lancers | 0:41:59 | 0:42:02 | |
Some the gay quadrille | 0:42:02 | 0:42:05 | |
Others danced the polka | 0:42:05 | 0:42:06 | |
And danced it with a will | 0:42:06 | 0:42:09 | |
Uncle Ned was nearly dead | 0:42:09 | 0:42:11 | |
And Aunty lost her wig | 0:42:11 | 0:42:13 | |
They got into a corner | 0:42:13 | 0:42:15 | |
And they danced the Irish jig. | 0:42:15 | 0:42:18 | |
# Some danced the lancers | 0:42:18 | 0:42:20 | |
# And some the gay quadrille | 0:42:20 | 0:42:22 | |
# Others danced the polka | 0:42:22 | 0:42:24 | |
# And danced it with a will | 0:42:24 | 0:42:26 | |
# Uncle Ned was nearly dead | 0:42:26 | 0:42:28 | |
# And Aunty lost her wig | 0:42:28 | 0:42:30 | |
# They got into a corner | 0:42:30 | 0:42:31 | |
# And they danced the Irish jig | 0:42:31 | 0:42:33 | |
# They got into a corner | 0:42:33 | 0:42:35 | |
# And they danced the Irish jig. # | 0:42:35 | 0:42:39 | |
# Sweetheart May | 0:42:42 | 0:42:46 | |
# When you grow up one day | 0:42:46 | 0:42:51 | |
# You may marry another | 0:42:51 | 0:42:55 | |
# And my heart betray | 0:42:55 | 0:42:59 | |
# But I'll wait for you | 0:42:59 | 0:43:03 | |
# And then we shall see | 0:43:03 | 0:43:08 | |
# What you will do when I ask you to marry me. # | 0:43:08 | 0:43:16 | |
But I'll wait for you | 0:43:18 | 0:43:20 | |
And then, then we shall see. | 0:43:21 | 0:43:24 | |
# What you will do when I ask you to marry me. # | 0:43:25 | 0:43:34 | |
He's very well-known is Algy | 0:43:38 | 0:43:41 | |
To the ladies on the stage | 0:43:41 | 0:43:44 | |
Such a jolly fine chap is Algy | 0:43:44 | 0:43:47 | |
Just now he's all the rage | 0:43:47 | 0:43:50 | |
And a jolly big favourite, Algy | 0:43:50 | 0:43:53 | |
With the barmaids at the Cri | 0:43:53 | 0:43:56 | |
He's very well-known is Algy | 0:43:56 | 0:43:59 | |
As the Piccadilly Johnny with the little glass eye. | 0:43:59 | 0:44:03 | |
# I'm following in Father's footsteps | 0:44:04 | 0:44:09 | |
# Following the dear old dad | 0:44:09 | 0:44:12 | |
# He's travelling now for his firm, you see | 0:44:12 | 0:44:15 | |
# In fancy goods, it seems to me | 0:44:15 | 0:44:17 | |
# I don't know where he's going | 0:44:17 | 0:44:20 | |
# But when he gets there I'll be glad | 0:44:20 | 0:44:23 | |
# I'm following in Father's footsteps | 0:44:23 | 0:44:26 | |
# Yes, I'm following the dear old dad. # | 0:44:26 | 0:44:30 | |
For I know the Prince of Monaco | 0:44:30 | 0:44:34 | |
He's a bosom friend of mine | 0:44:34 | 0:44:37 | |
I've had cigars and ginger ales | 0:44:38 | 0:44:41 | |
With the Duke of Baden-Baden and the Prince of Wales | 0:44:41 | 0:44:45 | |
I know the Emperor of Japan | 0:44:45 | 0:44:48 | |
I've met the King of Spain, I do declare | 0:44:48 | 0:44:51 | |
In fact, I know every public house | 0:44:51 | 0:44:55 | |
From Marble Arch to Leicester Square. | 0:44:55 | 0:44:58 | |
# I know the Prince of Monaco | 0:44:58 | 0:45:02 | |
# He's a bosom friend of mine | 0:45:02 | 0:45:06 | |
# I've had cigars and ginger ales | 0:45:06 | 0:45:09 | |
# With the Duke of Baden-Baden and the Prince of Wales | 0:45:09 | 0:45:13 | |
# I know the Emperor of Japan | 0:45:13 | 0:45:16 | |
# I've met the King of Spain, I do declare | 0:45:16 | 0:45:20 | |
# In fact, I know every public house | 0:45:20 | 0:45:23 | |
# From Marble Arch to Leicester Square | 0:45:23 | 0:45:26 | |
# From Marble Arch to Leicester Square. # | 0:45:26 | 0:45:32 | |
APPLAUSE | 0:45:32 | 0:45:34 | |
After the ball is over | 0:45:47 | 0:45:50 | |
After the break of dawn | 0:45:52 | 0:45:54 | |
After the dancer's leaving | 0:45:57 | 0:45:59 | |
After the stars are gone | 0:46:02 | 0:46:04 | |
Many a heart is aching | 0:46:06 | 0:46:09 | |
If you could read them all | 0:46:10 | 0:46:13 | |
Many the hopes that have vanished | 0:46:14 | 0:46:18 | |
After the ball. | 0:46:20 | 0:46:23 | |
# After the ball is over | 0:46:24 | 0:46:28 | |
# After the break of dawn | 0:46:28 | 0:46:33 | |
# After the dancer's leaving | 0:46:33 | 0:46:37 | |
# After the stars are gone | 0:46:37 | 0:46:42 | |
# Many a heart is aching | 0:46:42 | 0:46:46 | |
# If you could read them all | 0:46:46 | 0:46:51 | |
# Many the hopes that have vanished | 0:46:51 | 0:46:56 | |
# After the ball. # | 0:46:56 | 0:47:05 | |
APPLAUSE | 0:47:05 | 0:47:08 | |
And now, there's just time to ask Miss Moira Anderson | 0:47:22 | 0:47:26 | |
to lead the company and yourselves in the last chorus for tonight, | 0:47:26 | 0:47:30 | |
Down At The Old Bull And Bush. | 0:47:30 | 0:47:32 | |
Ladies and gentlemen, Miss Moira Anderson, the entire company, | 0:47:32 | 0:47:35 | |
Mr Bernard Herrmann, the entire and indefatigable orchestra. | 0:47:35 | 0:47:40 | |
APPLAUSE | 0:47:40 | 0:47:44 | |
But this time, chiefly yourselves. | 0:47:44 | 0:47:49 | |
# Come, come, come and make eyes at me | 0:47:52 | 0:47:56 | |
# Down at the Old Bull And Bush La-la-la-la-la | 0:47:56 | 0:48:00 | |
# Come, come, drink some port wine with me | 0:48:00 | 0:48:04 | |
# Down at the Old Bull And Bush | 0:48:04 | 0:48:06 | |
# Hear the little German band Da-da-da-da-da-da-da | 0:48:08 | 0:48:11 | |
# Just let me hold your hand, dear | 0:48:11 | 0:48:15 | |
# Come, come, come and have a drink or two | 0:48:15 | 0:48:19 | |
# Down at the Old Bull And Bush Bush, Bush. # | 0:48:19 | 0:48:24 |
