
Browse content similar to A Liar's Autobiography: The Untrue Story of Monty Python's Graham Chapman. Check below for episodes and series from the same categories and more!
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FEEDBACK | 0:00:08 | 0:00:10 | |
Is this fucking thing on? Oh... | 0:00:10 | 0:00:11 | |
Ladies and gentlemen. | 0:00:11 | 0:00:13 | |
He's wacky, he's zany, | 0:00:13 | 0:00:15 | |
he's one entire sixth of the greatest comedy team the world has ever seen. | 0:00:15 | 0:00:19 | |
Here to reveal all, please welcome Monty Python's Graham Chapman! | 0:00:19 | 0:00:24 | |
CHEERING AND APPLAUSE | 0:00:24 | 0:00:25 | |
Er, before I begin, | 0:00:25 | 0:00:28 | |
there is a favour I would like to ask of all of you, please. | 0:00:28 | 0:00:31 | |
And I do mean every single person in the room. | 0:00:31 | 0:00:34 | |
No opting out. I'd like everyone to join in with this, please. | 0:00:34 | 0:00:38 | |
I would like to ask you all for 30 seconds... | 0:00:38 | 0:00:41 | |
of abuse. | 0:00:41 | 0:00:43 | |
LAUGHTER | 0:00:43 | 0:00:44 | |
Go on! | 0:00:44 | 0:00:45 | |
AUDIENCE SHOUTS | 0:00:45 | 0:00:47 | |
-You piece of turd. -You arsehole! -Get off! | 0:00:47 | 0:00:52 | |
Thank you so much. | 0:00:52 | 0:00:54 | |
-Get off! -Wanker! | 0:00:54 | 0:00:57 | |
-Go home! -Get off! | 0:00:57 | 0:01:00 | |
Thank you. Thank you so much. | 0:01:00 | 0:01:02 | |
ABUSE CONTINUES | 0:01:02 | 0:01:05 | |
-You lazy liar! -You muff diver! | 0:01:08 | 0:01:10 | |
Thank you. Thank you so much. Thank you. | 0:01:10 | 0:01:12 | |
Chicken-plucker! | 0:01:12 | 0:01:13 | |
15 seconds to go! Thank you. Thank you so much. | 0:01:15 | 0:01:19 | |
I want my fucking money back! | 0:01:19 | 0:01:21 | |
Oh, thank you. Thank you. | 0:01:21 | 0:01:24 | |
Get off that stage! | 0:01:24 | 0:01:26 | |
-Thank you. -You suck! -Maggot! | 0:01:26 | 0:01:29 | |
You're a shit! | 0:01:30 | 0:01:32 | |
You-you-you-you... You miscreant! | 0:01:32 | 0:01:34 | |
I like you! | 0:01:34 | 0:01:36 | |
Thank you very much indeed. That was excellent abuse. | 0:01:36 | 0:01:40 | |
And it will certainly save a lot of time later on. | 0:01:40 | 0:01:44 | |
LAUGHTER AND APPLAUSE | 0:01:44 | 0:01:46 | |
New York, 1976. The City Center theatre. | 0:01:53 | 0:01:56 | |
Monty Python's Flying Circus is appearing. We are in mid-sketch. | 0:01:56 | 0:02:00 | |
I am playing Oscar Wilde. | 0:02:01 | 0:02:04 | |
My congratulations, Wilde. Your play is a great success. | 0:02:04 | 0:02:08 | |
The whole of London is talking about you. | 0:02:08 | 0:02:10 | |
There is only one thing in the world worse than being talked about | 0:02:10 | 0:02:14 | |
and that is NOT being talked about. | 0:02:14 | 0:02:16 | |
APPLAUSE | 0:02:16 | 0:02:17 | |
Very witty, Wilde. Very witty. | 0:02:19 | 0:02:22 | |
There is only one thing worse in the world than being witty | 0:02:22 | 0:02:25 | |
and that is not being witty. | 0:02:25 | 0:02:28 | |
APPLAUSE | 0:02:28 | 0:02:29 | |
I wish I had said that. | 0:02:32 | 0:02:35 | |
You will, Oscar. You will. | 0:02:35 | 0:02:37 | |
Your Highness, do you know James McNeill Whistler? | 0:02:37 | 0:02:41 | |
Yes. We play squash together. | 0:02:41 | 0:02:43 | |
There is only one thing worse than playing squash together | 0:02:43 | 0:02:47 | |
and that is playing it by yourself. | 0:02:47 | 0:02:50 | |
'He waits expectantly for the roars of laughter | 0:02:50 | 0:02:53 | |
'and the shrieks of glee. They do not come. | 0:02:53 | 0:02:56 | |
'The silence grows longer.' | 0:02:57 | 0:03:00 | |
I wish I hadn't said that. | 0:03:01 | 0:03:04 | |
You did, Oscar. You did. | 0:03:04 | 0:03:06 | |
You must forgive me, Wilde, but I must get back up the palace. | 0:03:08 | 0:03:11 | |
'Wilde is desperate. It's unheard of - | 0:03:11 | 0:03:13 | |
'the Prince of Wales is leaving with a smile on his face | 0:03:13 | 0:03:16 | |
'that had not been put there by Oscar Wilde. He blurts...' | 0:03:16 | 0:03:19 | |
Your Majesty, you are like a big jam doughnut with cream on top. | 0:03:19 | 0:03:24 | |
I beg your pardon? | 0:03:24 | 0:03:26 | |
Er...er... Erm, it was one of Whistler's. | 0:03:26 | 0:03:30 | |
-I didn't say that. -You did, James. You did. | 0:03:30 | 0:03:33 | |
I...I meant that, er, | 0:03:33 | 0:03:35 | |
like a doughnut, your arrival, Your Majesty, gives us pleasure, | 0:03:35 | 0:03:39 | |
and your departure only makes us hungry for more. | 0:03:39 | 0:03:43 | |
Your Majesty is like a stream of bat's piss. | 0:03:45 | 0:03:49 | |
-I beg your pardon? -It was one of Wilde's. | 0:03:50 | 0:03:52 | |
One of Wilde's. | 0:03:52 | 0:03:53 | |
Uh...uh...uh... | 0:03:53 | 0:03:56 | |
'I have just dried. I cannot remember the next line.' | 0:03:56 | 0:03:59 | |
I'm waiting, Wilde. I'm waiting. | 0:03:59 | 0:04:01 | |
'The entire theatre waits... and as they wait, so do I, | 0:04:03 | 0:04:07 | |
'for that damned line to enter my head. It refuses to come.' | 0:04:07 | 0:04:10 | |
Oh, get on with it. | 0:04:10 | 0:04:12 | |
Get on with it. | 0:04:14 | 0:04:15 | |
Dr Chapman? | 0:04:52 | 0:04:53 | |
We'll be landing in Los Angeles shortly. | 0:04:53 | 0:04:56 | |
Hello? Dr Chapman? | 0:04:56 | 0:04:59 | |
Are you all right, Dr Chapman? | 0:04:59 | 0:05:02 | |
Keep your seat belts fastened and all your luggage stowed safely. | 0:05:04 | 0:05:08 | |
Turn off your head sets and electrical equipment | 0:05:08 | 0:05:11 | |
until you see the seat belt sign turned off. | 0:05:11 | 0:05:13 | |
MONITOR BEEPS | 0:05:13 | 0:05:14 | |
Bleurgh! | 0:05:19 | 0:05:20 | |
'It's at moments like this when one thinks, | 0:05:23 | 0:05:25 | |
'"Oh, fuck it. Does it really matter? What are we all here for?' | 0:05:25 | 0:05:29 | |
"Are we predestined to take the paths we follow?" | 0:05:29 | 0:05:33 | |
I was born in Leamington, | 0:05:35 | 0:05:36 | |
now officially known as Royal Leamington Spa, | 0:05:36 | 0:05:39 | |
moderately famous for the manufacture of gas cookers. | 0:05:39 | 0:05:43 | |
The year was 1942 | 0:05:43 | 0:05:45 | |
and the period of gestation ended on the 7th of February, | 0:05:45 | 0:05:48 | |
during are rather botched-up air raid | 0:05:48 | 0:05:49 | |
in which the Germans thought they were hitting Coventry. | 0:05:49 | 0:05:52 | |
My parents, Tim and Beryl - | 0:05:55 | 0:05:57 | |
sorry, Tim and Betty - were outraged when I arrived | 0:05:57 | 0:06:01 | |
because they'd been expecting a heterosexual black Jew | 0:06:01 | 0:06:04 | |
with several rather amusing birth deformities, | 0:06:04 | 0:06:06 | |
as they needed the problems. | 0:06:06 | 0:06:08 | |
They lived in an enormous Gothic castle in the south of France | 0:06:10 | 0:06:14 | |
called Dundrinking- gin-and-slimline-tonic- with-ice-but-no-lemon-in, | 0:06:14 | 0:06:17 | |
which was originally built by Marco Polo for himself and a few friends | 0:06:17 | 0:06:21 | |
he wanted to invite round to his place after the pub closed. | 0:06:21 | 0:06:24 | |
BELL RINGS | 0:06:24 | 0:06:25 | |
I must admit so far | 0:06:31 | 0:06:34 | |
that this has not had much more than a grain of truth in it, | 0:06:34 | 0:06:39 | |
but it is more interesting | 0:06:39 | 0:06:41 | |
than all the usual humdrum wetting of nappies and, later, pants, | 0:06:41 | 0:06:45 | |
and not being allowed to sit next to Lottie the Czechoslovakian girl | 0:06:45 | 0:06:48 | |
because I once shat myself, | 0:06:48 | 0:06:50 | |
seeing bits of people hanging from trees... Oh! | 0:06:50 | 0:06:52 | |
That does sound interesting. Perhaps I should put that down. | 0:06:52 | 0:06:55 | |
I was three at the time | 0:06:56 | 0:06:57 | |
and my mother wanted to take me along to see my father. | 0:06:57 | 0:07:00 | |
Ooh, coochy-coochy-coo! | 0:07:01 | 0:07:04 | |
-Walter. -Sorry, dear. I'm busy. | 0:07:10 | 0:07:13 | |
Hey, you. That's sack's already got two legs in it. | 0:07:13 | 0:07:17 | |
Walter, dear, we were just out shopping | 0:07:18 | 0:07:20 | |
and I thought that Graham might like... | 0:07:20 | 0:07:23 | |
Look, dear, can't you come back later? | 0:07:23 | 0:07:25 | |
Has anyone found that head yet? | 0:07:25 | 0:07:27 | |
Has anyone in this street found a head? | 0:07:27 | 0:07:29 | |
Oh, come on. Someone must have it. | 0:07:29 | 0:07:32 | |
I know this street. | 0:07:32 | 0:07:33 | |
You'd steal anything. | 0:07:33 | 0:07:34 | |
I mean, what the bloody hell are you going to do with a head? | 0:07:34 | 0:07:37 | |
Oh, dear. | 0:07:40 | 0:07:41 | |
Perhaps we'll go and get your tea. | 0:07:41 | 0:07:42 | |
What? Oh, yes. | 0:07:42 | 0:07:44 | |
Egg on toast, please. | 0:07:44 | 0:07:45 | |
Left arm here. Anyone missing a left arm? | 0:07:45 | 0:07:48 | |
We haven't got any eggs. There is a war on. | 0:07:48 | 0:07:51 | |
Ask Harold. | 0:07:51 | 0:07:53 | |
Something's bound to have fallen off the back of a lorry. | 0:07:53 | 0:07:55 | |
All right, dear. Come on, Graham. | 0:07:55 | 0:07:57 | |
Stop staring at all that blood. It won't do you any good. | 0:07:57 | 0:08:00 | |
Oh, come on, Mum. This must be one of my major formative experiences. | 0:08:00 | 0:08:04 | |
Waah! | 0:08:04 | 0:08:05 | |
Moo! | 0:08:20 | 0:08:21 | |
Eton. | 0:08:23 | 0:08:25 | |
Summer term, or "wops" as we called it, | 0:08:25 | 0:08:28 | |
seemed to have dragged on endlessly. | 0:08:28 | 0:08:30 | |
The smell of freshly mown grass | 0:08:30 | 0:08:32 | |
wafted over from far-off Hayes meadow, | 0:08:32 | 0:08:35 | |
the village clock chimed in the distance | 0:08:35 | 0:08:38 | |
and somewhere, miles above our petty earth, | 0:08:38 | 0:08:41 | |
a wisp of cloud took flame from the dying embers of the setting sun. | 0:08:41 | 0:08:45 | |
They combined to produce an atmosphere | 0:08:45 | 0:08:47 | |
so redolent of this type of writing. | 0:08:47 | 0:08:49 | |
"Iam victoria tam facilis scrotum non valet". | 0:08:56 | 0:09:00 | |
We always beat Harrow anyway. Why bother? | 0:09:09 | 0:09:12 | |
Oh, Chapman, sir, may I clean your teeth tonight? Oh, please? | 0:09:16 | 0:09:20 | |
Why don't you bugger off, Shagspot? | 0:09:20 | 0:09:23 | |
Oh! Thank you, sir. | 0:09:23 | 0:09:26 | |
Plucky little squit, that young McMillan. Should go far. | 0:09:27 | 0:09:30 | |
In a few days, I would be in Nice, | 0:09:33 | 0:09:36 | |
soaking up the sun at the side of my father's pool, | 0:09:36 | 0:09:39 | |
while Jenkins hovered by with a tray of vodkatinis. | 0:09:39 | 0:09:42 | |
Would you like another sandwich, dear? | 0:09:47 | 0:09:50 | |
What? | 0:09:50 | 0:09:52 | |
They're your favourite, sandwich spread. | 0:09:52 | 0:09:54 | |
'So this is Nice?' | 0:09:56 | 0:09:58 | |
What do you mean, Nice? This is Scarborough. | 0:10:00 | 0:10:03 | |
You do too much reading. | 0:10:03 | 0:10:05 | |
It'll do you more good if you eat your tea. | 0:10:05 | 0:10:08 | |
Quite right. | 0:10:08 | 0:10:09 | |
You can't get through to him when he's got a book in his hand. | 0:10:09 | 0:10:11 | |
-What is it, anyway? -It's called Claudius the God, by Robert Graves. | 0:10:11 | 0:10:15 | |
A fine historical reconstruction of the life of Claudius, | 0:10:15 | 0:10:18 | |
the republican Roman emperor, | 0:10:18 | 0:10:19 | |
thought of in his time as a pitiful fool, | 0:10:19 | 0:10:21 | |
though the reign Mr Graves describes is far from folly. | 0:10:21 | 0:10:24 | |
Is it? | 0:10:24 | 0:10:26 | |
Hmph! | 0:10:28 | 0:10:30 | |
Anyway, finish your tea. We ought to get a haddock for Mrs Richers. | 0:10:30 | 0:10:34 | |
There's plenty time for that later on. | 0:10:34 | 0:10:36 | |
Thraxted's doesn't close till five. | 0:10:36 | 0:10:38 | |
They're bound to be out of haddock by then. | 0:10:38 | 0:10:40 | |
We'll get halibut. | 0:10:40 | 0:10:41 | |
Mrs Richers especially asked for the haddock. | 0:10:41 | 0:10:45 | |
Oh, haddock, halibut, cod. There's no difference. | 0:10:45 | 0:10:48 | |
It's all fish. | 0:10:48 | 0:10:49 | |
Let's just sit here for a bit and enjoy the view. | 0:10:49 | 0:10:52 | |
-It's raining. -It's bracing. | 0:10:52 | 0:10:55 | |
You should have your window open, lad. | 0:10:55 | 0:10:56 | |
Get a bit of ozone in your lungs. | 0:10:56 | 0:10:59 | |
Ozone is oxygen in a condensed state, | 0:11:00 | 0:11:03 | |
having three atoms to the molecule. O3. | 0:11:03 | 0:11:05 | |
-What you can smell is rotting seaweed. -Well, it's good for you. | 0:11:05 | 0:11:09 | |
-No, it isn't. -Don't argue with your father. | 0:11:09 | 0:11:11 | |
It's those fancy books he's been reading. | 0:11:11 | 0:11:13 | |
You can't learn everything out of books, my lad. | 0:11:13 | 0:11:16 | |
There's no argument. It's a fact. | 0:11:16 | 0:11:18 | |
Stop it, Graham. Now, come on. We'll go and get the fish. | 0:11:18 | 0:11:22 | |
No, we won't. We'll stay here. | 0:11:22 | 0:11:23 | |
I think we should go and get the fish. | 0:11:23 | 0:11:25 | |
Hm. That ship over there is bringing wood from Norway, | 0:11:28 | 0:11:32 | |
coniferous wood used in the paper manufacturing industry | 0:11:32 | 0:11:35 | |
since the late 15th century. | 0:11:35 | 0:11:37 | |
But the first paper mill in England was owned by John Tate in Hertford, | 0:11:38 | 0:11:42 | |
a manufacturer of continuous lengths, however, was... | 0:11:42 | 0:11:44 | |
Oh, the Tates. | 0:11:44 | 0:11:45 | |
Wasn't their youngest walking about with that Valerie Maskell? | 0:11:45 | 0:11:49 | |
No. | 0:11:49 | 0:11:51 | |
This process was developed | 0:11:51 | 0:11:52 | |
by the stationers Messrs H and S Fourdrinier. | 0:11:52 | 0:11:55 | |
It WAS her. You remember. | 0:11:55 | 0:11:57 | |
She was the one that got all the spots at secretarial college. | 0:11:57 | 0:12:00 | |
Quiet, Edith. | 0:12:00 | 0:12:02 | |
-HE MIMES -The Fourdriniers were assisted | 0:12:02 | 0:12:04 | |
in this by Mr Bryan Donkin, an inventor and engineer. | 0:12:04 | 0:12:07 | |
Donkin - wasn't his step-uncle Stephanie | 0:12:07 | 0:12:10 | |
a wholesale poulterer in Peatling Parva? | 0:12:10 | 0:12:12 | |
-No! -Yes, he was. | 0:12:12 | 0:12:14 | |
It was their youngest that moved downstairs | 0:12:14 | 0:12:17 | |
next door to the chemist in Wimbledon, | 0:12:17 | 0:12:18 | |
nearly opposite the Gantleys. | 0:12:18 | 0:12:20 | |
Shut up. | 0:12:20 | 0:12:21 | |
Do you realise that if you look out there on a very clear day, | 0:12:23 | 0:12:27 | |
you can't quite see Denmark? | 0:12:27 | 0:12:29 | |
I think we should get the haddock. | 0:12:29 | 0:12:31 | |
Will you shut up about the bloody haddock? | 0:12:31 | 0:12:34 | |
-Why is it that every bloody year... -Language. | 0:12:34 | 0:12:37 | |
Every year our summer holiday consists of two weeks | 0:12:37 | 0:12:40 | |
in Scarborough, Filey or Bridlington, | 0:12:40 | 0:12:43 | |
sitting in a car in the rain, bickering? | 0:12:43 | 0:12:45 | |
-Why don't we go to bloody Denmark? -Language! | 0:12:45 | 0:12:49 | |
-We did promise haddock. -Oh, all right! | 0:12:52 | 0:12:55 | |
We'll go and get your bloody, flaming, bloody haddock! | 0:12:55 | 0:12:58 | |
Trouble with you two is you don't appreciate the beauties of nature. | 0:12:58 | 0:13:02 | |
CAR BACKFIRES | 0:13:02 | 0:13:03 | |
What's that you've got back there? | 0:13:08 | 0:13:11 | |
-It's a book. -What book? -I, Biggles by Captain WE Graves. | 0:13:11 | 0:13:16 | |
Captain, eh? Mm. That sounds better. | 0:13:16 | 0:13:18 | |
ENGINE RUMBLES | 0:13:24 | 0:13:26 | |
MUSIC: "633 Squadron" by Ron Goodwin | 0:13:34 | 0:13:36 | |
Everything OK, skipper? | 0:14:41 | 0:14:43 | |
Tell you what, old man. Having a bit of trouble with this. | 0:14:43 | 0:14:47 | |
Could you just pop your hand down my Mae West, old tapir? | 0:14:47 | 0:14:51 | |
Well, if that's an order, old guillemot. | 0:14:51 | 0:14:53 | |
-It is. -Righty-o. | 0:14:53 | 0:14:55 | |
Here it comes, old bison. | 0:14:55 | 0:14:58 | |
Ooh! | 0:14:58 | 0:14:59 | |
THEY CHUCKLE | 0:14:59 | 0:15:01 | |
Ooh... | 0:15:01 | 0:15:03 | |
Ahhh! | 0:15:03 | 0:15:04 | |
-Don't stop now! I'm nearly there. -So am I! | 0:15:05 | 0:15:09 | |
Oh-oh-oh-ohhh! | 0:15:09 | 0:15:12 | |
-What about me? -Oh, fuck off, Ginger. | 0:15:38 | 0:15:42 | |
To heck with the lot of them. | 0:15:44 | 0:15:46 | |
THEY GIGGLE | 0:15:53 | 0:15:55 | |
I'll just jolly well sit down here | 0:16:05 | 0:16:06 | |
and improve the bally old mind a little, don't you know. | 0:16:06 | 0:16:11 | |
The Complete Works of Captain WE Johns. | 0:16:11 | 0:16:13 | |
How to speak English in other languages. | 0:16:13 | 0:16:16 | |
The Interpretation of Dreams, by Sigmund Freud. | 0:16:16 | 0:16:19 | |
In the following lecture, I, Sigmund Freud, | 0:16:21 | 0:16:25 | |
shall prove the entire psychology of man can only be understood | 0:16:25 | 0:16:29 | |
with a reference to the science of navigation. | 0:16:29 | 0:16:32 | |
Spot on. | 0:16:32 | 0:16:33 | |
In relation to this, I remember a young adolescent | 0:16:33 | 0:16:37 | |
who was having reoccurring dreams about flying. | 0:16:37 | 0:16:42 | |
A fictional aviator called Bigglesworth and his companions | 0:16:43 | 0:16:47 | |
are attempting to escape from a Focke-Wulf | 0:16:47 | 0:16:50 | |
which is pursuing them and shooting at them. | 0:16:50 | 0:16:53 | |
A typical dream recall of a particularly exciting episode | 0:16:53 | 0:16:56 | |
of an adventure story for boys. | 0:16:56 | 0:16:58 | |
Or so it would seem. | 0:16:58 | 0:17:00 | |
Let's look at the dream more closely. | 0:17:02 | 0:17:04 | |
The first thing we notice is that throughout the scene | 0:17:04 | 0:17:06 | |
we see navigational elements hidden not so far below the surface. | 0:17:06 | 0:17:11 | |
A compass, indicating the plane's direction of travel. | 0:17:12 | 0:17:16 | |
A map behind the aviators telling them where they are going. | 0:17:18 | 0:17:22 | |
All unmistakable symptoms of a navigational obsession. | 0:17:22 | 0:17:25 | |
Note also the use of zoological terminology | 0:17:27 | 0:17:31 | |
in their navigational exchange with one another. | 0:17:31 | 0:17:33 | |
"Old bison," "old tapir" and even "old guillemot" | 0:17:33 | 0:17:37 | |
clearly indicates a yearning for a pre-rational | 0:17:37 | 0:17:40 | |
animal state of existence | 0:17:40 | 0:17:41 | |
in which navigation is not yet distinguishable | 0:17:41 | 0:17:45 | |
from simply running around. | 0:17:45 | 0:17:47 | |
The boy patient clearly identifies himself with the minor character, | 0:17:47 | 0:17:51 | |
Ginger, | 0:17:51 | 0:17:52 | |
who is excluded from the adventure | 0:17:52 | 0:17:54 | |
because he is navigationally inadequate. | 0:17:54 | 0:17:58 | |
Ginger? That's me. | 0:17:58 | 0:18:01 | |
Inadequate? What a bally awful tone, don't you know, what ho, old chap. | 0:18:01 | 0:18:05 | |
-You've been bloody reading again. -I haven't. | 0:18:15 | 0:18:19 | |
Well, what's this in my hand? | 0:18:19 | 0:18:20 | |
Oh, it's The Interpretation of Dreams, by Sigmund Freud, | 0:18:20 | 0:18:23 | |
probably his most original work, | 0:18:23 | 0:18:25 | |
in which he discovered a way of exploring the unconscious | 0:18:25 | 0:18:28 | |
and found that neurotic symptoms are like dreams, | 0:18:28 | 0:18:30 | |
in that they are a product of conflict and compromise | 0:18:30 | 0:18:33 | |
between the conscious and unconscious states... | 0:18:33 | 0:18:35 | |
-He was able to... -Is it? | 0:18:35 | 0:18:37 | |
What's this? | 0:18:37 | 0:18:39 | |
"Sucking at the mother's breast | 0:18:39 | 0:18:41 | |
"is the starting point for the whole sexual life, | 0:18:41 | 0:18:46 | |
"the unmatched prototype of every latent sexual satisfaction"? | 0:18:46 | 0:18:51 | |
I've got the haddock. Now, what were you saying? | 0:18:51 | 0:18:54 | |
Oh, another book, dear? What is it this time? | 0:18:54 | 0:18:58 | |
Nothing. Just a road map. | 0:18:58 | 0:19:02 | |
Who's "Frood," then? | 0:19:02 | 0:19:04 | |
He's an expert on...navigation. Very interesting. | 0:19:04 | 0:19:08 | |
His theories on navigation, you see. Longitude and latitude. | 0:19:08 | 0:19:11 | |
-That sort of thing. -Ah, well. That's enough of that. | 0:19:11 | 0:19:15 | |
Let's get back to Mrs Richers with this haddock. | 0:19:15 | 0:19:17 | |
Right. | 0:19:17 | 0:19:19 | |
Quite a lot happened over the next few years. | 0:19:25 | 0:19:29 | |
A disastrous sexual experiment with Rita Blake, | 0:19:29 | 0:19:32 | |
my first love affair with another boy. | 0:19:32 | 0:19:34 | |
Ooh! | 0:19:34 | 0:19:36 | |
Stuffing snails into a gatepost with Annette Hoy, | 0:19:36 | 0:19:39 | |
the hen-stealing nuns, | 0:19:39 | 0:19:41 | |
Pigshit Freeman, | 0:19:41 | 0:19:44 | |
Miss Chamberlain's three consecutive head girls pregnant, | 0:19:44 | 0:19:48 | |
my questions about ejaculation to the biology master, | 0:19:48 | 0:19:51 | |
Albert the groundsman, | 0:19:51 | 0:19:53 | |
me holding hands with Mark Collins in a maths class, | 0:19:53 | 0:19:56 | |
painting John Wilder black, | 0:19:56 | 0:19:58 | |
"Who knows Eskimo Nell?", | 0:19:58 | 0:20:00 | |
M'sieur le bog va pooh, | 0:20:00 | 0:20:03 | |
and elderly spinsters wanking off birthday cakes. | 0:20:03 | 0:20:07 | |
But such trivia needs no elaboration. | 0:20:07 | 0:20:10 | |
One childhood is much like another. | 0:20:10 | 0:20:12 | |
Amateur psychologists who think it clever | 0:20:12 | 0:20:14 | |
to explain the character of the later man | 0:20:14 | 0:20:16 | |
for a jumble of largely fictitious memories | 0:20:16 | 0:20:18 | |
can ferret for their filth in other people's autobiographies. | 0:20:18 | 0:20:22 | |
MONKEYS SCREECH | 0:20:22 | 0:20:23 | |
HORN HONKS | 0:20:24 | 0:20:26 | |
PFFRRRT! | 0:20:31 | 0:20:32 | |
MONKEY JABBERS | 0:20:36 | 0:20:38 | |
In the spring of nineteen sixty-splunge, | 0:20:38 | 0:20:41 | |
John Cleese and Graham Chapman | 0:20:41 | 0:20:44 | |
thought they might like to do another television programme. | 0:20:44 | 0:20:47 | |
In another part of London, Michael Palin, Terry Jones and Eric Idle, | 0:20:47 | 0:20:50 | |
and an American draft dodger - and who can blame him? - | 0:20:50 | 0:20:53 | |
called Terry Vance Gilliam thought they would too. | 0:20:53 | 0:20:57 | |
Me? Ahem. I still like Owl-Stretching Time. | 0:20:57 | 0:21:01 | |
Of course, it was my idea. Terry Jones. | 0:21:01 | 0:21:03 | |
PIANO TINKLES | 0:21:03 | 0:21:04 | |
And lots of noises only the Welsh can make. | 0:21:04 | 0:21:07 | |
I still like A Horse, A Bucket And A Spoon. | 0:21:07 | 0:21:09 | |
His suggestion. J Cleese. | 0:21:09 | 0:21:12 | |
Look, you Welsh git. We discarded that about two hours ago. | 0:21:12 | 0:21:15 | |
Oh, fucking hell! | 0:21:15 | 0:21:17 | |
I remember not being particularly interested | 0:21:17 | 0:21:19 | |
in the debate about titles. | 0:21:19 | 0:21:21 | |
Had I given up medicine for trivia such as this? | 0:21:21 | 0:21:24 | |
-Aren't we able to talk about things? -Yes. | 0:21:24 | 0:21:27 | |
But do we have to go on about it in such a high-pitched voice? | 0:21:27 | 0:21:30 | |
Eee! | 0:21:30 | 0:21:31 | |
John Cleese guffaws like a barrister having made his point. | 0:21:31 | 0:21:34 | |
This winds Terry Jones up to near violence. | 0:21:34 | 0:21:36 | |
Of course I go on about it. It's fucking important. | 0:21:36 | 0:21:40 | |
Terry, would you or would you not say | 0:21:40 | 0:21:42 | |
that the rest of us have already agreed that we don't like it? | 0:21:42 | 0:21:45 | |
Characteristic of his temperament, T Jones calms down instantly, | 0:21:45 | 0:21:50 | |
having vented his spleen on inanimate objects. | 0:21:50 | 0:21:53 | |
I still like Owl Stretching Time. M Palin. | 0:21:55 | 0:21:59 | |
No, I've gone off that a bit. I prefer Sex And Violence, | 0:21:59 | 0:22:02 | |
But I think Terry's got a point about A Horse, A Bucket And A Spoon. | 0:22:02 | 0:22:05 | |
Oh, sorry. Sorry, Graham. | 0:22:05 | 0:22:07 | |
You're doing all the voices in this bit, aren't you? | 0:22:07 | 0:22:09 | |
I'll shut up. | 0:22:09 | 0:22:11 | |
M Palin. | 0:22:12 | 0:22:14 | |
No, I've gone off that a bit. I prefer Sex And Violence, | 0:22:14 | 0:22:17 | |
but I do think Terry's got a point about A Horse, A Bucket And A Spoon. | 0:22:17 | 0:22:20 | |
Oh, come off it. | 0:22:20 | 0:22:22 | |
And so it was decided to call it... | 0:22:22 | 0:22:24 | |
Monty Python's Flying Circus. | 0:22:24 | 0:22:27 | |
MUSIC SWELLS | 0:22:27 | 0:22:29 | |
CLATTERING | 0:22:31 | 0:22:32 | |
MUSIC: "Zadok the Priest" by George Frideric Handel | 0:22:43 | 0:22:47 | |
Cambridge, a university town built in a featureless, flat landscape. | 0:22:52 | 0:22:57 | |
So featureless, in fact, | 0:22:59 | 0:23:01 | |
you wonder why anyone chose it as a location for anything. | 0:23:01 | 0:23:05 | |
The magnificence of St John's, | 0:23:06 | 0:23:09 | |
the noteworthy splendour of Trinity, | 0:23:09 | 0:23:11 | |
the sheer portliness of the banks | 0:23:11 | 0:23:14 | |
and some very high walls, behind which a semi-aristocratic elite | 0:23:14 | 0:23:18 | |
could hide from the outside world | 0:23:18 | 0:23:20 | |
and go to each other's rooms for sherry. | 0:23:20 | 0:23:22 | |
And gazing at the magnificent, | 0:23:28 | 0:23:30 | |
noteworthy, sheer splendour of the portly King's College chapel, | 0:23:30 | 0:23:34 | |
it would be a world-weary traveller indeed who did not pause to think, | 0:23:34 | 0:23:38 | |
"Why the fuck didn't they build the whole town two inches to the right?" | 0:23:38 | 0:23:42 | |
Sorry! | 0:23:42 | 0:23:43 | |
BELL TOLLS | 0:24:12 | 0:24:14 | |
Hmm. | 0:24:29 | 0:24:30 | |
Tsk. Hmm. | 0:24:33 | 0:24:35 | |
Hmm. | 0:24:40 | 0:24:41 | |
GLASS SHATTERS | 0:24:46 | 0:24:47 | |
Argh! | 0:24:50 | 0:24:51 | |
Stop! Everybody stop! Right. | 0:24:51 | 0:24:53 | |
If I find any more of you bloody idiots | 0:24:53 | 0:24:56 | |
heating up ether over an open flame, | 0:24:56 | 0:24:58 | |
I'll...I'll kill you! | 0:24:58 | 0:25:00 | |
I haven't been a munitions expert in two world wars | 0:25:00 | 0:25:03 | |
to get slaughtered by a load of ignorant tits! | 0:25:03 | 0:25:05 | |
If you don't know what you're doing, get out! | 0:25:05 | 0:25:08 | |
Ahem... | 0:25:16 | 0:25:18 | |
-So, Chapman... -Yes. -Let's see. | 0:25:20 | 0:25:23 | |
Oh, now, do you play rugby? | 0:25:24 | 0:25:28 | |
I play for Melton Mowbray Rugby Football Club, first team. | 0:25:28 | 0:25:31 | |
-What position do you play? -Second row. | 0:25:31 | 0:25:34 | |
That's good. We need a second row. | 0:25:34 | 0:25:37 | |
Absolutely. We'll see you in September. | 0:25:37 | 0:25:41 | |
Ahem, there is just one small matter, of course. Just a formality. | 0:25:42 | 0:25:48 | |
Your A-level results here. You're taking three A-levels? | 0:25:48 | 0:25:51 | |
-Oh, yes, yes. -Will you pass physics? | 0:25:51 | 0:25:54 | |
No. | 0:25:54 | 0:25:56 | |
Why not? | 0:25:56 | 0:25:58 | |
Uh...well, I'm not sure. | 0:25:58 | 0:26:00 | |
Not sure, eh? That means you're in doubt? | 0:26:00 | 0:26:03 | |
-Well, no... -Do you mean yes? | 0:26:03 | 0:26:06 | |
Uh...yes. | 0:26:06 | 0:26:08 | |
So a pass may be possible, eh? | 0:26:08 | 0:26:11 | |
Uh, yes. Possible. | 0:26:11 | 0:26:13 | |
-Probable, even? -Well, I, uh... | 0:26:13 | 0:26:15 | |
Let me put it another way. | 0:26:15 | 0:26:17 | |
Are you going to fail? | 0:26:17 | 0:26:20 | |
No. | 0:26:20 | 0:26:22 | |
No? | 0:26:24 | 0:26:25 | |
-How did it go? -Oh, fine. | 0:26:29 | 0:26:32 | |
Mind you, I've got to pass physics. | 0:26:32 | 0:26:33 | |
Well, you'll do that, won't you? | 0:26:33 | 0:26:36 | |
DOG BARKS | 0:26:40 | 0:26:41 | |
LAUGHTER ON TV | 0:26:42 | 0:26:43 | |
I think at about this juncture, | 0:26:43 | 0:26:46 | |
it would be wise to point out to those of you who haven't noticed, | 0:26:46 | 0:26:49 | |
and God knows it's apparent enough, | 0:26:49 | 0:26:50 | |
Jonathan Miller and myself come from good families | 0:26:50 | 0:26:54 | |
and have had the benefits of a public school education. | 0:26:54 | 0:26:57 | |
Whereas the other two members of the cast | 0:26:57 | 0:26:59 | |
have worked their way up from working-class origins. | 0:26:59 | 0:27:03 | |
And yet Jonathan and I are working together with them in the cast... | 0:27:03 | 0:27:07 | |
LAUGHTER | 0:27:07 | 0:27:09 | |
..and treating them as equals. | 0:27:12 | 0:27:14 | |
And I'd like to say it's proving to be a most enjoyable, | 0:27:16 | 0:27:20 | |
worthwhile and stimulating experience for both of us. | 0:27:20 | 0:27:23 | |
-Wouldn't you agree, Jonathan? -Certainly is. | 0:27:23 | 0:27:25 | |
I'm most impressed by the whole thing. | 0:27:25 | 0:27:26 | |
It's...it's your results. | 0:27:28 | 0:27:31 | |
Ah. | 0:27:32 | 0:27:33 | |
What... What does it... What does it say? | 0:27:41 | 0:27:45 | |
It says... It says... | 0:27:45 | 0:27:47 | |
Three passes! That means you're in, doesn't it? | 0:27:50 | 0:27:54 | |
Well done, Graham. | 0:27:54 | 0:27:55 | |
# Rejoice! Rejoice! # | 0:27:55 | 0:27:58 | |
I have been accepted by Emmanuel College. | 0:27:58 | 0:28:01 | |
I've bought a gown, several club ties, | 0:28:01 | 0:28:03 | |
walked around in a tweed suit with a pipe and tried to look clever. | 0:28:03 | 0:28:07 | |
The pipe was very useful, | 0:28:07 | 0:28:08 | |
because it meant that if anyone said anything I didn't understand, | 0:28:08 | 0:28:11 | |
I could puff on it and seem incredibly deep in thought. | 0:28:11 | 0:28:13 | |
The tweed suit didn't fool anybody, but the pipe worked a treat. | 0:28:13 | 0:28:17 | |
In tutorials, I was asked fewer questions. | 0:28:17 | 0:28:20 | |
It also helped clobber the stench of formalin in the dissecting rooms. | 0:28:20 | 0:28:23 | |
Describe the vagina. | 0:28:26 | 0:28:28 | |
-Kevin. -Um, right. | 0:28:33 | 0:28:36 | |
Well, it's a sensitive organ. | 0:28:36 | 0:28:39 | |
What do you mean? | 0:28:39 | 0:28:41 | |
Well, it's about four and a half inches long | 0:28:41 | 0:28:44 | |
and it's, uh...very sensitive. | 0:28:44 | 0:28:47 | |
Balls! | 0:28:47 | 0:28:48 | |
The only thing sensitive about the vagina is in the front of it, lad. | 0:28:48 | 0:28:52 | |
Apart from a certain sensation | 0:28:52 | 0:28:54 | |
because something has passed through the perineal musculature, | 0:28:54 | 0:28:58 | |
the vagina itself is virtually numb! | 0:28:58 | 0:29:01 | |
You answer shows not only a lack of anatomical knowledge, | 0:29:01 | 0:29:06 | |
but a complete social ignorance. | 0:29:06 | 0:29:08 | |
You've obviously never slept with a woman! | 0:29:08 | 0:29:13 | |
Ooh! | 0:29:13 | 0:29:14 | |
No! Aah! | 0:29:15 | 0:29:19 | |
Ooh... Not that bit! | 0:29:19 | 0:29:21 | |
Agh! | 0:29:23 | 0:29:24 | |
I'm awfully sorry, old chap, | 0:29:24 | 0:29:26 | |
but sex is a rather difficult subject | 0:29:26 | 0:29:28 | |
and I don't know what came over me. | 0:29:28 | 0:29:30 | |
Oh, well. Better go and have lunch, I suppose. | 0:29:30 | 0:29:32 | |
Anyone coming to the bun shop? | 0:29:32 | 0:29:34 | |
Oh, thank God. That was a short tutorial. | 0:29:35 | 0:29:38 | |
In my first year at Cambridge, | 0:29:42 | 0:29:44 | |
I tried to join the Footlights Club, | 0:29:44 | 0:29:46 | |
realising that the only reason I'd gone there in the first place | 0:29:46 | 0:29:48 | |
was that I'd seen a television version | 0:29:48 | 0:29:51 | |
of a Footlights annual revue. | 0:29:51 | 0:29:53 | |
I impersonated a carrot | 0:29:53 | 0:29:55 | |
and a man with iron fingertips being pulled offstage | 0:29:55 | 0:29:58 | |
by an enormous magnet. | 0:29:58 | 0:30:00 | |
Really super. | 0:30:03 | 0:30:05 | |
In the same set of auditions, | 0:30:05 | 0:30:07 | |
John Cleese did a routine of trampling on hamsters | 0:30:07 | 0:30:11 | |
and can still do a good pain-ridden squeak. | 0:30:11 | 0:30:14 | |
SQUELCH | 0:30:14 | 0:30:15 | |
SQUEAK | 0:30:15 | 0:30:16 | |
SQUELCH | 0:30:16 | 0:30:17 | |
SQUEAK | 0:30:17 | 0:30:19 | |
SQUELCH | 0:30:19 | 0:30:20 | |
SQUEAK | 0:30:20 | 0:30:21 | |
How about that? | 0:30:22 | 0:30:24 | |
LAUGHTER | 0:30:24 | 0:30:26 | |
We were both selected | 0:30:26 | 0:30:28 | |
and very soon were able to wear black taffeta sashes | 0:30:28 | 0:30:31 | |
with "Ars Est Celare Artem" on them, | 0:30:31 | 0:30:34 | |
"The art is to conceal the art." | 0:30:34 | 0:30:36 | |
March 1964. The new biochemistry and physiology block | 0:30:40 | 0:30:44 | |
was being opened by Her Majesty the Queen Mother. | 0:30:44 | 0:30:47 | |
At the time, being secretary of the Students' Union, | 0:30:47 | 0:30:50 | |
I was invited to join Her Majesty for tea | 0:30:50 | 0:30:52 | |
with other representatives of the student body | 0:30:52 | 0:30:55 | |
after her tour of the new premises. | 0:30:55 | 0:30:57 | |
I was very pleased to find out | 0:30:57 | 0:30:58 | |
that she had asked to come to tea with the students | 0:30:58 | 0:31:01 | |
and not with a lot of old gits in red gowns and stupid floppy hats. | 0:31:01 | 0:31:05 | |
-Ah, yes. -How do you take yours? | 0:31:16 | 0:31:18 | |
Gin and Slimline tonic with ice but no lemon in, Your Majesty. | 0:31:18 | 0:31:22 | |
Cheers. | 0:31:24 | 0:31:25 | |
During tea, I explained to Her Majesty | 0:31:25 | 0:31:28 | |
that I had the offer of going to New Zealand | 0:31:28 | 0:31:30 | |
as a member of the cast of Cambridge Circus, a revue, | 0:31:30 | 0:31:32 | |
but that this would mean taking six months off medicine, | 0:31:32 | 0:31:35 | |
and my parents had yelped strongly against this. | 0:31:35 | 0:31:38 | |
SLURS: You really must see New Zealand. | 0:31:38 | 0:31:41 | |
It's a very beautiful place. | 0:31:41 | 0:31:43 | |
My sexual life consisted of going to bed with women | 0:31:49 | 0:31:52 | |
while dreaming about men. | 0:31:52 | 0:31:54 | |
The first one was the student's traditional friend, a nurse. | 0:31:54 | 0:31:58 | |
She was rather podgy and extremely repellent, | 0:31:58 | 0:32:01 | |
but I just wanted to get my end away. | 0:32:01 | 0:32:04 | |
She was a real "lie down and think of hockey and England" type, | 0:32:04 | 0:32:08 | |
and after a brief grope that was not enthusiastically received, | 0:32:08 | 0:32:12 | |
I looked her hard in the breasts and thought, "Yuck. | 0:32:12 | 0:32:14 | |
"The bar's still open. I'll get rid of her." | 0:32:14 | 0:32:17 | |
There was another female student. | 0:32:19 | 0:32:21 | |
She was getting a lot of attention from the lads, | 0:32:21 | 0:32:24 | |
but of a rather fawning, not daring to ask nature. | 0:32:24 | 0:32:27 | |
I sat down at her table. | 0:32:27 | 0:32:29 | |
Ignoring her minions, | 0:32:29 | 0:32:30 | |
I boldly passed her a plate of sandwich spread sandwiches | 0:32:30 | 0:32:33 | |
and asked her if she'd go. | 0:32:33 | 0:32:35 | |
She was intelligent enough to say, "See you in my room tonight." | 0:32:35 | 0:32:38 | |
We had a bloody good time for a whole year. | 0:32:38 | 0:32:41 | |
She was athletic and imaginative. | 0:32:41 | 0:32:42 | |
We went right through the card. | 0:32:42 | 0:32:44 | |
It wasn't just British missionary, but doggie on the floor, | 0:32:44 | 0:32:47 | |
on the floor standing, on the desk, in the shower, in the bath, | 0:32:47 | 0:32:50 | |
near the bath, at someone else's place while they weren't looking, | 0:32:50 | 0:32:54 | |
and in a guard's van through the whole of Birmingham. | 0:32:54 | 0:32:56 | |
The description of this passage has made me feel... | 0:32:56 | 0:32:59 | |
Excuse me. | 0:32:59 | 0:33:00 | |
Ahem... | 0:33:00 | 0:33:02 | |
Phew, that's better. | 0:33:02 | 0:33:04 | |
I liked the experience, but after nine months or so, it began to pall | 0:33:04 | 0:33:09 | |
and I felt I would rather spend more time in the bar | 0:33:09 | 0:33:12 | |
drinking with the lads. | 0:33:12 | 0:33:13 | |
This is hardly even partly true, in retrospect. | 0:33:13 | 0:33:15 | |
It's just that I definitely do remember once or twice | 0:33:15 | 0:33:18 | |
thoughts of men's bodies creeping into my mind while in coitus. | 0:33:18 | 0:33:21 | |
I decided that I should do some clinical tests on myself, | 0:33:31 | 0:33:35 | |
so whenever I went in a taxicab, tube, train or bus, | 0:33:35 | 0:33:38 | |
I looked at each passer-by | 0:33:38 | 0:33:39 | |
and tried to tell myself honestly | 0:33:39 | 0:33:41 | |
which ones I would like to go to bed with. | 0:33:41 | 0:33:44 | |
And the ratio of boys to girls was something like seven to three, | 0:33:46 | 0:33:49 | |
which puts me clearly on the homosexual side of the scale, | 0:33:49 | 0:33:52 | |
-as suggested in the Kinsey Report. -SIREN BLARES | 0:33:52 | 0:33:55 | |
Look. He says he's on tour | 0:34:01 | 0:34:03 | |
with something called Cambridge Circus, a revue. | 0:34:03 | 0:34:07 | |
The Queen Mother told him, you know, | 0:34:07 | 0:34:09 | |
and, as Her Majesty was telling Graham, | 0:34:09 | 0:34:12 | |
New Zealand is such a beautiful place. | 0:34:12 | 0:34:14 | |
She said he really had to go and see it. | 0:34:14 | 0:34:17 | |
It's by royal command, really. | 0:34:17 | 0:34:19 | |
A trip to New Zealand and America | 0:34:27 | 0:34:29 | |
made me a little more broad-minded about myself, | 0:34:29 | 0:34:31 | |
and immediately after qualifying, | 0:34:31 | 0:34:33 | |
I gave up medicine and became a raging poof. | 0:34:33 | 0:34:35 | |
But no mincing - a butch one, with a pipe. | 0:34:35 | 0:34:38 | |
FANFARE | 0:34:38 | 0:34:39 | |
Graham, taxi's here for the BBC! | 0:34:45 | 0:34:48 | |
MUSIC: "The Frost Report Theme" by Johnny Dankworth | 0:35:12 | 0:35:15 | |
APPLAUSE | 0:35:34 | 0:35:36 | |
Thank you very much indeed. Tonight - class. | 0:35:44 | 0:35:46 | |
Some people say it's disappearing, but if modern advertising... | 0:35:46 | 0:35:51 | |
Action! | 0:35:53 | 0:35:54 | |
KNOCK AT DOOR | 0:35:56 | 0:35:57 | |
Come in. | 0:35:57 | 0:35:59 | |
Ah, come in, Thompson. Nice to see you. It's time we had a little chat. | 0:36:01 | 0:36:04 | |
-Thank you, sir. -Good. | 0:36:04 | 0:36:07 | |
Don't sit on the floor, Thompson. Sit on the chair. | 0:36:07 | 0:36:10 | |
-Good, well... -Thank you. -How are you, Thompson? | 0:36:10 | 0:36:13 | |
-Fine, sir. -Good. Splendid. You look well. | 0:36:13 | 0:36:15 | |
I was talking this morning to Mr Evans about your Latin verse. | 0:36:15 | 0:36:19 | |
-Bit shaky. Prose is all right, but verse is weak. -Yes, sir. | 0:36:19 | 0:36:21 | |
You've got to do something about it, it's very important. | 0:36:21 | 0:36:24 | |
-Yes, sir. -Hmm. | 0:36:24 | 0:36:26 | |
Thompson, have you been shot? | 0:36:28 | 0:36:30 | |
Yes, sir. Just a bit. | 0:36:30 | 0:36:33 | |
Well, who shot you? A master or a boy? | 0:36:33 | 0:36:36 | |
-A boy, sir. -Oh, good. | 0:36:36 | 0:36:38 | |
Hi, guys. Hello. Super show tonight. Super. | 0:36:44 | 0:36:47 | |
Look, I can't stop. Got a flight to catch. | 0:36:47 | 0:36:49 | |
I was thinking you boys ought to write a film script. | 0:36:49 | 0:36:52 | |
It'd be super, absolutely super. | 0:36:52 | 0:36:55 | |
I'm sending you off to Spain to write the script. It'll be great fun. | 0:36:55 | 0:36:58 | |
Anyway, I've got to go. They're calling my flight. Byeee! | 0:36:58 | 0:37:01 | |
Super. | 0:37:01 | 0:37:02 | |
BELL RINGS | 0:37:10 | 0:37:12 | |
Well, now we're here, | 0:37:14 | 0:37:16 | |
the first thing we should do is examine all the beaches | 0:37:16 | 0:37:19 | |
to find out which will be the best place to write a film set in London. | 0:37:19 | 0:37:23 | |
Well, it usually takes me two weeks to get acclimatised | 0:37:23 | 0:37:27 | |
and I still haven't thrown off this throat. | 0:37:27 | 0:37:29 | |
It is rather hot, isn't it? I'm feeling a bit groggy myself. | 0:37:29 | 0:37:33 | |
Perhaps a couple of weeks' rest might be a good idea. | 0:37:33 | 0:37:36 | |
But do you think we should? I mean, David frost and all that. | 0:37:36 | 0:37:39 | |
-He has paid us, Graham. -Yes, I suppose you're right. | 0:37:39 | 0:37:43 | |
Yes, well, I'll probably be all right tomorrow. | 0:37:43 | 0:37:47 | |
Yes, right. That's fine. | 0:37:47 | 0:37:48 | |
Yes, we'll start tomorrow, first thing in the morning. | 0:37:48 | 0:37:51 | |
Right. Yes, yes, yes. Fine, then. | 0:37:51 | 0:37:53 | |
I'll sit in the shade with the typewriter | 0:37:53 | 0:37:55 | |
and you can sit out on the balcony in the sun sunning yourself | 0:37:55 | 0:37:58 | |
and shout a few lines in, right? | 0:37:58 | 0:38:00 | |
Fine. Great. | 0:38:00 | 0:38:01 | |
Oh, bugger. | 0:38:04 | 0:38:05 | |
Graham, do you mind if we don't start till the evening, actually? | 0:38:05 | 0:38:08 | |
Only I promised to take Connie to Cala Bassa tomorrow, | 0:38:08 | 0:38:10 | |
and she's only got a few more days here. | 0:38:10 | 0:38:12 | |
Bit awkward to get out of it now, you know? Damn! | 0:38:12 | 0:38:15 | |
Oh, that's fine by me. We have done a synopsis of the film. | 0:38:15 | 0:38:18 | |
I mean, I wouldn't mind taking a bit of time off. | 0:38:18 | 0:38:20 | |
-So, we'll start on Friday, yes? -Yes. Right. | 0:38:20 | 0:38:23 | |
Um... Be a bit noisy, but we can shut ourselves away. | 0:38:23 | 0:38:27 | |
-Noisy? -Well, there's the fiesta this weekend. | 0:38:27 | 0:38:30 | |
Lots of dancing, fireworks, wine and that sort of thing. | 0:38:30 | 0:38:33 | |
Oh. I've never been to Spain before. | 0:38:33 | 0:38:35 | |
Haven't you? Oh, well. You must, then. | 0:38:35 | 0:38:37 | |
You must go to the fiesta. So let's have a drink. | 0:38:37 | 0:38:40 | |
That brings us to Monday. We'll start on Monday. | 0:38:40 | 0:38:43 | |
No, Monday and Tuesday are Connie's last two days | 0:38:43 | 0:38:46 | |
and I'd like to see her off at the airport on Wednesday, | 0:38:46 | 0:38:49 | |
so let's start Thursday. | 0:38:49 | 0:38:50 | |
Look, why don't we make it two weeks? | 0:38:50 | 0:38:53 | |
Done. | 0:38:53 | 0:38:54 | |
I say... | 0:38:59 | 0:39:02 | |
Just look at that. | 0:39:02 | 0:39:04 | |
BELL RINGS | 0:39:22 | 0:39:24 | |
CHICKEN CLUCKS | 0:39:24 | 0:39:25 | |
I spent the next two weeks searching for something | 0:39:27 | 0:39:30 | |
that I knew was probably very sexy. | 0:39:30 | 0:39:32 | |
ROMANTIC MUSIC | 0:39:46 | 0:39:47 | |
RECORD SCRATCHES | 0:39:52 | 0:39:53 | |
MUSIC RESUMES | 0:39:56 | 0:39:57 | |
HE TITTERS | 0:40:36 | 0:40:38 | |
STRANGLED GIGGLING | 0:40:39 | 0:40:40 | |
Super, boys, super. Really super. | 0:40:42 | 0:40:46 | |
I look forward to reading more than ten pages. | 0:40:46 | 0:40:49 | |
Ooh, got to fly - byeee! | 0:40:49 | 0:40:51 | |
'Brring-brring, brring-brring...' | 0:40:58 | 0:41:01 | |
Hello? | 0:41:03 | 0:41:04 | |
'Who was that?' | 0:41:06 | 0:41:07 | |
Oh, it was one of the painters. | 0:41:07 | 0:41:09 | |
'It sounded like one of the painters I've spoken to before.' | 0:41:09 | 0:41:12 | |
Well, yes, it probably did a bit. | 0:41:12 | 0:41:14 | |
'It's a bit late for painting, isn't it?' | 0:41:14 | 0:41:16 | |
No, no. You just don't understand London, mother. | 0:41:16 | 0:41:19 | |
This is not like Leicester. | 0:41:19 | 0:41:21 | |
For a whole year, I've lived in terror, an almost Thorpean terror, | 0:41:21 | 0:41:25 | |
of being found out for what I was. A poof. | 0:41:25 | 0:41:28 | |
"Fuck it," I thought. "Why go through all this agony?" | 0:41:28 | 0:41:31 | |
I decided that I would invite my closest friends to a party | 0:41:31 | 0:41:34 | |
to meet David and explain to them all that I was a bit bent. | 0:41:34 | 0:41:38 | |
This was a coming-out party. | 0:41:38 | 0:41:40 | |
DOORBELL RINGS | 0:41:40 | 0:41:41 | |
No, Graham, you don't understand. | 0:41:49 | 0:41:51 | |
I'm just very surprised. | 0:41:51 | 0:41:53 | |
Ever since I've known you, you've played rugby, drank a lot of beer, | 0:41:53 | 0:41:57 | |
you smoked a pipe, you wore a tweed suit and brogues | 0:41:57 | 0:42:00 | |
and this is not a standard gay profile. | 0:42:00 | 0:42:04 | |
HE CACKLES | 0:42:06 | 0:42:08 | |
Yes. | 0:42:09 | 0:42:11 | |
Ooh! | 0:42:11 | 0:42:12 | |
CACKLING CONTINUES | 0:42:12 | 0:42:14 | |
The other extraordinary reaction was from Keith Moon, | 0:42:19 | 0:42:22 | |
who was quite stunned. Obviously, he was quite young then, | 0:42:22 | 0:42:26 | |
but I had to explain to him what it all meant - | 0:42:26 | 0:42:29 | |
that I actually did go to bed with people of the same sex, | 0:42:29 | 0:42:32 | |
and that it was quite fun and we actually loved each other. | 0:42:32 | 0:42:35 | |
It wasn't at all naughty. | 0:42:35 | 0:42:37 | |
-GUESTS: Bye, Graham. -Bye, Graham. -Bye, Graham. -Bye! | 0:42:37 | 0:42:39 | |
DOOR CLOSES | 0:42:39 | 0:42:40 | |
'Come in.' | 0:42:52 | 0:42:54 | |
-YORKSHIRE ACCENT: -Trouble at mill. -Oh, no. What sort of trouble? | 0:42:55 | 0:42:58 | |
One of t' crossbeams gone out of skew on treadle. | 0:42:58 | 0:43:01 | |
Pardon? | 0:43:01 | 0:43:02 | |
One of t' crossbeams gone out of skew on treadle. | 0:43:02 | 0:43:04 | |
I don't understand. | 0:43:04 | 0:43:06 | |
-RP ACCENT: -One of the crossbeams has gone out of skew on the treadle. | 0:43:06 | 0:43:10 | |
-But what on earth does that mean? -I don't know, | 0:43:10 | 0:43:12 | |
Mr Wentworth just told me to come in | 0:43:12 | 0:43:14 | |
and say there was trouble at the mill, that's all. | 0:43:14 | 0:43:16 | |
I didn't expect a kind of Spanish inquisition. | 0:43:16 | 0:43:18 | |
Suddenly I feel like digressing for another moment about morality. | 0:43:22 | 0:43:26 | |
I intend to publish here for the first time | 0:43:27 | 0:43:29 | |
what I believe to be a missing portion of the New Testament. | 0:43:29 | 0:43:33 | |
MUFFLED TANNOY ANNOUNCEMENT | 0:43:36 | 0:43:37 | |
The papyrus manuscript, translated here from the original Greek, | 0:43:42 | 0:43:46 | |
was discovered in 1979 by the author at Auckland airport. | 0:43:46 | 0:43:51 | |
It was there, in transit to Sydney, Australia, | 0:43:53 | 0:43:55 | |
whiling away a few moments, | 0:43:55 | 0:43:57 | |
when the manuscript was given to him | 0:43:57 | 0:43:59 | |
by a Maori chieftain toilet attendant. | 0:43:59 | 0:44:02 | |
The first epistle of Paul the Apostle | 0:44:02 | 0:44:04 | |
to the New Zealanders, AD 59. | 0:44:04 | 0:44:06 | |
Chapter 1, | 0:44:06 | 0:44:08 | |
in which Paul castigated | 0:44:08 | 0:44:10 | |
the Antipodeans' empty showing of holiness, | 0:44:10 | 0:44:12 | |
of fornicators and abusers of mankind, | 0:44:12 | 0:44:15 | |
of poverty and tolerance, | 0:44:15 | 0:44:17 | |
exorteth them to beware of false prophets. | 0:44:17 | 0:44:20 | |
"Dear New Zealanders, what is all this nonsense | 0:44:20 | 0:44:22 | |
"about certain of your number kneeling down in front of crosses? | 0:44:22 | 0:44:26 | |
"That is naughty in the extreme. | 0:44:26 | 0:44:29 | |
"You've changed the glory of an incorruptible god into an image. | 0:44:29 | 0:44:32 | |
"I understand that the very same people collect together in churches | 0:44:32 | 0:44:36 | |
for the purpose of worship. Who needs it? | 0:44:36 | 0:44:39 | |
"God doesn't. I've asked him. | 0:44:39 | 0:44:41 | |
"He's fed up with it, especially the psalms. | 0:44:41 | 0:44:43 | |
"They give him a headache and cause his teeth to strike together. | 0:44:43 | 0:44:46 | |
"Don't they realise their praise is meaningless? | 0:44:46 | 0:44:49 | |
"Why can't they concentrate on being better behaved towards one another | 0:44:49 | 0:44:53 | |
"and forget about this empty show of holiness? | 0:44:53 | 0:44:55 | |
"He says, though don't quote me on this, | 0:44:55 | 0:44:57 | |
"'They can stuff it up their arses.' | 0:44:57 | 0:45:00 | |
"He said that, not I. | 0:45:00 | 0:45:02 | |
"I, a mere mortal, would not have put it quite like that. | 0:45:02 | 0:45:05 | |
"I'm afraid I think too much about my earthly reputation, | 0:45:05 | 0:45:09 | |
"but I cannot help agreeing with him | 0:45:09 | 0:45:10 | |
"about fornicators, adulterers, | 0:45:10 | 0:45:13 | |
"effeminates and abusers of mankind. | 0:45:13 | 0:45:16 | |
"I'm constantly being misquoted on this point. | 0:45:16 | 0:45:18 | |
"I would like to state quite clearly that sex is nothing more | 0:45:18 | 0:45:22 | |
"than the way in which two or more people | 0:45:22 | 0:45:24 | |
"can have lots of harmless, cheap fun, | 0:45:24 | 0:45:26 | |
"provided that they are clean and that the aim is not reproduction. | 0:45:26 | 0:45:30 | |
"The betterment of the lot of mankind is impossible | 0:45:32 | 0:45:35 | |
"without strict limits on reproduction, | 0:45:35 | 0:45:37 | |
"so don't make the mistake the rest of the world has made | 0:45:37 | 0:45:39 | |
"and overpopulate yourselves. | 0:45:39 | 0:45:41 | |
"Not everyone has to have children, for Christ's sake. | 0:45:41 | 0:45:44 | |
"He didn't have any and I should know. | 0:45:44 | 0:45:46 | |
"If you really feel you have to have children, | 0:45:46 | 0:45:49 | |
"then make sure that, as parents, | 0:45:49 | 0:45:51 | |
"you have no more than you can properly look after. | 0:45:51 | 0:45:54 | |
"I exhort you to be empathetic, | 0:45:54 | 0:45:57 | |
"be splendid, be aware of your own ignorance, | 0:45:57 | 0:46:00 | |
"and, as always, beware of those who claim to lead you | 0:46:00 | 0:46:03 | |
"to better self-knowledge by taking your money. | 0:46:03 | 0:46:06 | |
"Must finish now as I have to catch the post. | 0:46:07 | 0:46:10 | |
"Lots of love, P. Kiss, kiss, kiss." | 0:46:10 | 0:46:13 | |
MUFFLED: # Aristotle, Aristotle was a bugger for the bottle | 0:46:16 | 0:46:18 | |
# Hobbes was fond of his dram, | 0:46:18 | 0:46:20 | |
# And Rene Descartes was a drunken fart | 0:46:20 | 0:46:23 | |
# "I drink, therefore I am." | 0:46:23 | 0:46:25 | |
# Yes, Socrates himself is particularly missed | 0:46:25 | 0:46:31 | |
# A lovely little thinker, but a bugger when he's pissed. # | 0:46:31 | 0:46:35 | |
Mr Chapman? Two minutes till act two, Mr Chapman. | 0:46:38 | 0:46:42 | |
Full of gin and the feeling of superiority over mortals | 0:46:42 | 0:46:45 | |
which commonly afflicts the adulated, | 0:46:45 | 0:46:47 | |
I'd reached my zenith in a naughty and, to this day, illegal act | 0:46:47 | 0:46:51 | |
upon the floor of an empty dressing room. | 0:46:51 | 0:46:53 | |
# Sit on my face And tell me that you love me | 0:46:53 | 0:46:57 | |
# I'll sit on your face And tell you I love you | 0:46:57 | 0:47:01 | |
# I love to hear you oralise | 0:47:01 | 0:47:04 | |
# When I'm between your thighs You blow me away | 0:47:04 | 0:47:08 | |
# Sit on my face And let my lips embrace you | 0:47:08 | 0:47:13 | |
# I'll sit on your face And then I'll love you truly | 0:47:13 | 0:47:17 | |
# Life can be fine If we both 69 | 0:47:17 | 0:47:20 | |
# If we sit on our faces In all sorts of places | 0:47:20 | 0:47:22 | |
# And play till we're blown away. # | 0:47:22 | 0:47:27 | |
What kind of a fellow is Monty Python, by the way? | 0:47:28 | 0:47:31 | |
-Erm, he's black. -Black, and... -..and he's homosexual. | 0:47:31 | 0:47:35 | |
That's all you can say about him, really. | 0:47:35 | 0:47:38 | |
He's a pretty easy person to sum up. | 0:47:38 | 0:47:40 | |
Good grief. There's no-one to go to bed with. | 0:47:45 | 0:47:48 | |
Where are all the young men around here? This is absolutely dreadful. | 0:47:48 | 0:47:51 | |
KNOCK AT DOOR | 0:47:53 | 0:47:55 | |
Ta-da! | 0:47:55 | 0:47:57 | |
Oh, all right. | 0:47:57 | 0:47:59 | |
# Sit on my face And tell me that you love me... # | 0:48:01 | 0:48:04 | |
Could you try and keep the noise down?! | 0:48:04 | 0:48:07 | |
'Knock it off!' | 0:48:08 | 0:48:10 | |
-# When I'm between your thighs -You blow me away... # | 0:48:11 | 0:48:15 | |
'Be quiet!' | 0:48:15 | 0:48:17 | |
COCK CROWS | 0:48:17 | 0:48:18 | |
# Sit on my face, mama | 0:48:20 | 0:48:23 | |
# Sit on my face Baby, baby | 0:48:23 | 0:48:26 | |
# Ooh-ooh-ooh | 0:48:26 | 0:48:30 | |
# Sit on my face In all sorts of places | 0:48:30 | 0:48:34 | |
# Yeah, yeah, yeah, yeah. # | 0:48:34 | 0:48:38 | |
What's it like being a film star? | 0:48:38 | 0:48:40 | |
I'm not. I'm just an extra. | 0:48:40 | 0:48:44 | |
-You're just an extra? -Yes. | 0:48:44 | 0:48:46 | |
It's the crown and this that probably... | 0:48:46 | 0:48:49 | |
Yeah, I was looking for Graham Fink. | 0:48:49 | 0:48:51 | |
-Ah, yes. He's around somewhere. -Is he? | 0:48:51 | 0:48:53 | |
DISCO VERSION: # Sit on my face Come on, baby | 0:48:54 | 0:48:59 | |
# Let my lips embrace | 0:48:59 | 0:49:03 | |
# Tell me that you love me | 0:49:03 | 0:49:08 | |
# Sit on my face And tell me that you love me | 0:49:14 | 0:49:18 | |
# I'll sit on your face And tell you I love you too | 0:49:18 | 0:49:22 | |
# I love to hear you oralise | 0:49:22 | 0:49:25 | |
# When I'm between your thighs You blow me away | 0:49:25 | 0:49:28 | |
# Sit on my face and let my lips embrace you | 0:49:28 | 0:49:32 | |
# I'll sit on your face And then I'll love you truly | 0:49:32 | 0:49:36 | |
# Life can be fine If we both 69 | 0:49:36 | 0:49:39 | |
# If we sit on our faces In all sorts of places | 0:49:39 | 0:49:41 | |
# And play till we're blown away # | 0:49:41 | 0:49:47 | |
RINGING TONE | 0:50:20 | 0:50:22 | |
'Good afternoon. Beverly Hills Hotel reception.' | 0:50:22 | 0:50:25 | |
Ugh! Los Angeles. | 0:50:25 | 0:50:27 | |
-TV: -Up, down. Up, down. | 0:50:27 | 0:50:30 | |
Up, down. Up, down. | 0:50:33 | 0:50:37 | |
Up, down. | 0:50:37 | 0:50:39 | |
Up, down. Up, down... | 0:50:42 | 0:50:44 | |
Up, down. Up, down... | 0:50:46 | 0:50:48 | |
-Hi! -Hi. | 0:51:01 | 0:51:04 | |
Oh! Ain't you that guy? | 0:51:04 | 0:51:07 | |
I'm so thrilled to meet you! | 0:51:07 | 0:51:10 | |
I love your Monty Python. | 0:51:10 | 0:51:15 | |
-Shall we go up to my room? -Sure! | 0:51:15 | 0:51:17 | |
Ah. There. You enjoying that? | 0:51:32 | 0:51:36 | |
Ooh, yeah. Do you feel that? | 0:51:36 | 0:51:39 | |
I feel that. | 0:51:39 | 0:51:41 | |
Just get right in there. | 0:51:41 | 0:51:44 | |
Ahhh... Uh! | 0:51:45 | 0:51:47 | |
Bye, Graham. | 0:51:50 | 0:51:52 | |
Oh, and do say hello to Monty for me. | 0:51:52 | 0:51:56 | |
Tell him I'm his biggest fan! | 0:51:56 | 0:51:59 | |
That was fun. Zoom. | 0:52:04 | 0:52:06 | |
Um, excuse me. | 0:52:11 | 0:52:13 | |
Is there a telephone around here I can use? | 0:52:13 | 0:52:16 | |
Sure. Use the one in my room. | 0:52:16 | 0:52:19 | |
But it's my mother who needs to use the phone. | 0:52:19 | 0:52:22 | |
Well, bring her up too. I don't mind if it's a local call. | 0:52:22 | 0:52:26 | |
SHE CHATTERS | 0:52:26 | 0:52:28 | |
Ooh, aah. | 0:52:28 | 0:52:32 | |
Do that to me. Ooh. | 0:52:32 | 0:52:34 | |
If it's an order, old guillemot. | 0:52:34 | 0:52:36 | |
Ooh, big boy. Mm. | 0:52:36 | 0:52:39 | |
Aah! Touch me here. | 0:52:39 | 0:52:41 | |
Oh, my God. Do it to me there! | 0:52:41 | 0:52:44 | |
-Right-o. Here it comes. -Ooh! Right there. | 0:52:44 | 0:52:47 | |
Oh, my God. Yes! | 0:52:47 | 0:52:49 | |
Oh, do that to me! Ooh! | 0:52:49 | 0:52:52 | |
Big boy! Oh, my God! | 0:52:52 | 0:52:54 | |
Oh, yeah. | 0:52:54 | 0:52:55 | |
SHE MOANS | 0:52:55 | 0:52:57 | |
Yes! Oh, my God! | 0:52:57 | 0:53:00 | |
You, in fact, were more than... | 0:53:00 | 0:53:02 | |
..than drunk on one occasion. You were in fact an alcoholic. | 0:53:02 | 0:53:05 | |
Yes, I did a lot of drinking, a great deal. | 0:53:05 | 0:53:07 | |
-A very great deal indeed, Michael. Yes. -You were an alcoholic? | 0:53:07 | 0:53:09 | |
You can safely say I did do a very great deal. | 0:53:09 | 0:53:13 | |
And how much at your peak, so to speak, were you drinking? | 0:53:13 | 0:53:17 | |
Four pints of gin a day. | 0:53:17 | 0:53:19 | |
Four pints of gin a day? | 0:53:19 | 0:53:21 | |
I didn't know Graham was an alcoholic. Did you? | 0:53:21 | 0:53:24 | |
-Why was that, do you think? -Er... | 0:53:24 | 0:53:27 | |
I think... Well, I don't know, really, the answer to that. | 0:53:27 | 0:53:31 | |
Deep inside I think, actually, that I was insecure. | 0:53:31 | 0:53:36 | |
I didn't really feel that I'd deserved the success | 0:53:36 | 0:53:39 | |
that I'd achieved. | 0:53:39 | 0:53:40 | |
How difficult was it? | 0:53:40 | 0:53:43 | |
Actually, once the decision had been made, | 0:53:43 | 0:53:45 | |
once I decided to stop, | 0:53:45 | 0:53:46 | |
it was easy, | 0:53:46 | 0:53:48 | |
except for the three days of unpleasantness... | 0:53:48 | 0:53:52 | |
VOICE ECHOES | 0:53:52 | 0:53:54 | |
Oh, get on with it. | 0:53:59 | 0:54:01 | |
HEAVY BREATHING | 0:54:01 | 0:54:03 | |
'Language!' | 0:54:28 | 0:54:29 | |
FLY BUZZES | 0:54:32 | 0:54:33 | |
-ECHOES: -'You can't learn everything out of books.' | 0:54:50 | 0:54:54 | |
'Come, Patsy!' | 0:54:54 | 0:54:55 | |
Graham? Are you all right? You look a bit pale. | 0:55:03 | 0:55:08 | |
Would you like a cup of tea and maybe a bit of toast? | 0:55:08 | 0:55:11 | |
-With a nice poached egg on top? -No. I'm... I'll... | 0:55:11 | 0:55:14 | |
J-Just a...m-moment. | 0:55:14 | 0:55:18 | |
Later. I'll get up, be fine. | 0:55:18 | 0:55:22 | |
-Uh, Vichy water? -N... Yes, yes. | 0:55:22 | 0:55:26 | |
There. | 0:55:26 | 0:55:27 | |
-Da-David, the curtains. -Sorry. | 0:55:33 | 0:55:37 | |
HE PANTS | 0:56:06 | 0:56:08 | |
# Silent night | 0:56:19 | 0:56:23 | |
# Holy night | 0:56:23 | 0:56:26 | |
# All is calm... # | 0:56:26 | 0:56:29 | |
There. | 0:56:29 | 0:56:31 | |
# All is bright... # | 0:56:31 | 0:56:33 | |
Introducing, ladies and gentlemen, tonight, | 0:56:38 | 0:56:40 | |
all the way from a mud-wrestling tour of the OPEC countries, | 0:56:40 | 0:56:45 | |
in the red corner, Colin "Bomber" Harris! | 0:56:45 | 0:56:49 | |
And, ladies and gentlemen, in the blue corner, Colin "Bomber" Harris! | 0:56:51 | 0:56:55 | |
MUSIC: "The Blue Danube" by Johann Strauss II | 0:56:55 | 0:56:58 | |
Well now, ladies and gentlemen, this is the first time | 0:56:58 | 0:57:00 | |
that Colin "Bomber" Harris has met himself. | 0:57:00 | 0:57:04 | |
A few formalities and we'll be ready for round one. | 0:57:04 | 0:57:07 | |
There goes the bell. | 0:57:07 | 0:57:09 | |
He just made it to the rope! | 0:57:09 | 0:57:12 | |
Colin moves to the middle of the ring. He's looking for an opening. | 0:57:12 | 0:57:15 | |
Going for the hand hold. He's got it. | 0:57:15 | 0:57:18 | |
Into the head squeeze. | 0:57:18 | 0:57:20 | |
A favourite move of Colin's. Fine there. | 0:57:21 | 0:57:25 | |
Double overhead nostril. Should be able to twist out of this. | 0:57:25 | 0:57:28 | |
And he does! He's looking pretty groggy. | 0:57:28 | 0:57:30 | |
A lovely move there! And he's caught himself by surprise! | 0:57:30 | 0:57:33 | |
Colin must be pretty pleased with himself, | 0:57:33 | 0:57:35 | |
having caught himself out with that one. | 0:57:35 | 0:57:38 | |
The strawberry whip! A vanilla whip! | 0:57:39 | 0:57:42 | |
Chocolate whip! There it is. | 0:57:42 | 0:57:46 | |
Colin's most famous whip. And there it is. | 0:57:46 | 0:57:48 | |
He just got a little lucky, there. | 0:57:48 | 0:57:51 | |
A double Eydie Gorme. There it is. | 0:57:51 | 0:57:54 | |
Colin's most famous hold! | 0:57:54 | 0:57:55 | |
The one-leg-over-shoulder Jerry Ford! | 0:57:55 | 0:57:58 | |
And he's caught himself there, | 0:57:58 | 0:58:00 | |
and Colin's in real trouble! | 0:58:00 | 0:58:01 | |
And Colin did not like that one little bit! | 0:58:03 | 0:58:05 | |
Double overhead back-kick and Colin must be pretty pleased with himself. | 0:58:07 | 0:58:12 | |
A lovely move there! He's caught himself by surprise! | 0:58:12 | 0:58:15 | |
And into the crayfish. No, it's a crawfish. | 0:58:15 | 0:58:19 | |
And Colin bit himself on purpose there | 0:58:19 | 0:58:21 | |
and has been given a public warning by the referee. | 0:58:21 | 0:58:24 | |
'Look, you stupid bastard, you've got no arms left.' | 0:58:36 | 0:58:39 | |
He's looking pretty groggy. And that is it! | 0:58:39 | 0:58:42 | |
Colin "Bomber" Harris has knocked himself out | 0:58:42 | 0:58:44 | |
and so he is the winner and he goes on next week | 0:58:44 | 0:58:47 | |
to meet himself in the final. | 0:58:47 | 0:58:50 | |
-Graham, you're an alcoholic. -Uh, yes. | 0:59:01 | 0:59:05 | |
-Do you want not to be? -Yes. | 0:59:05 | 0:59:08 | |
Right. We'll start the treatment. | 0:59:08 | 0:59:10 | |
Your liver function tests are appalling. | 0:59:10 | 0:59:13 | |
-Ten times over the acceptable norm of the gamma GTP, for instance. -Oh. | 0:59:13 | 0:59:16 | |
But there's no sign of enlargement and, with a bit of luck, | 0:59:16 | 0:59:21 | |
there's a chance you may not have damaged your liver permanently. | 0:59:21 | 0:59:24 | |
We'll phase out the Heminevrin and Valium gradually | 0:59:24 | 0:59:27 | |
and you can take an abstem tablet | 0:59:27 | 0:59:29 | |
in the morning and one in the evening, | 0:59:29 | 0:59:31 | |
so that if you drink any alcohol, | 0:59:31 | 0:59:33 | |
you'll feel as ill as you were five days ago. | 0:59:33 | 0:59:37 | |
It's up to you whether you drink or not. | 0:59:37 | 0:59:39 | |
It's your liver. It's your life. | 0:59:39 | 0:59:41 | |
CHEERING | 0:59:41 | 0:59:43 | |
Oh, dear puss, London is far behind us. What shall we do now? | 0:59:47 | 0:59:51 | |
-Meow. -What's that? Sing a song? | 0:59:51 | 0:59:54 | |
-Meow. -What, now? For all the children? | 0:59:54 | 0:59:57 | |
-Meow. -Shall we sing a song, children? | 0:59:57 | 1:00:00 | |
ALL: Yes! | 1:00:00 | 1:00:02 | |
# Of all the organs the body contains | 1:00:04 | 1:00:07 | |
# The liver's the one for me | 1:00:07 | 1:00:08 | |
# It processes food It deals with the waste | 1:00:08 | 1:00:10 | |
# It's cleverer than a knee | 1:00:10 | 1:00:13 | |
# When it throws up its hands at alcohol and makes you extremely ill | 1:00:13 | 1:00:17 | |
# It's best to take heed You're not being a weed | 1:00:17 | 1:00:19 | |
# You're just being sensible. # | 1:00:19 | 1:00:21 | |
WOMAN: You've only got two stations! | 1:00:26 | 1:00:29 | |
-MAN: -I bought Marylebone from you | 1:00:29 | 1:00:30 | |
last time you landed on Graham's hotel on the Old Kent Road. | 1:00:30 | 1:00:33 | |
-I'll give you the Water Works. -I don't want it. | 1:00:33 | 1:00:35 | |
Perhaps Graham does. Graham? Do you want the Water Works? | 1:00:35 | 1:00:38 | |
-No, I'll buy the camelopard. -What? | 1:00:38 | 1:00:40 | |
It's a camel that looks like a leopard. A giraffe. | 1:00:40 | 1:00:44 | |
He's gone again! | 1:00:44 | 1:00:46 | |
Oh, Graham. | 1:00:46 | 1:00:49 | |
# It's Christmas in heaven | 1:00:49 | 1:00:52 | |
# Snow falls from the sky... # | 1:00:52 | 1:00:55 | |
Do you know, last time I was in Paris, | 1:00:55 | 1:00:56 | |
I really did ring John-Paul Sartre? | 1:00:56 | 1:00:58 | |
And Simone de Beauvoir answered the phone | 1:00:58 | 1:01:00 | |
and said that he was out distributing leaflets. | 1:01:00 | 1:01:03 | |
Or was that a sketch? | 1:01:03 | 1:01:04 | |
# It's Christmas in heaven | 1:01:10 | 1:01:14 | |
# There's great films on TV... # | 1:01:14 | 1:01:17 | |
Do I talk here? | 1:01:19 | 1:01:22 | |
-No, Graham. That's the table lamp. -Oh... | 1:01:22 | 1:01:24 | |
-The microphone's on your right. -Right. Good. | 1:01:24 | 1:01:28 | |
Take 59. | 1:01:28 | 1:01:29 | |
You bastards! We've been planning this for months! | 1:01:29 | 1:01:32 | |
Well, tough titty for you, fish-face. | 1:01:32 | 1:01:34 | |
The raid backfires. | 1:01:34 | 1:01:35 | |
Brian is captured and all the rest are killed. | 1:01:35 | 1:01:37 | |
Brian, beaten, bruised and bleeding, | 1:01:37 | 1:01:39 | |
is thrown into Pilate's darkest stinking dungeon. | 1:01:39 | 1:01:42 | |
Marvellous. Let's move on. | 1:01:42 | 1:01:45 | |
Oh, you lucky bastard. | 1:01:49 | 1:01:51 | |
'Brian is on the run from the Romans | 1:01:53 | 1:01:56 | |
'and to avoid capture pretends to be a lobster.' | 1:01:56 | 1:01:58 | |
Sorry, Graham. We had a rogue lobster in there. | 1:01:58 | 1:02:01 | |
Oh, I'm sorry about that. Are we ready? | 1:02:01 | 1:02:03 | |
Brian trailer, take 60. | 1:02:03 | 1:02:05 | |
Brian is on the run from the Romans and to avoid lobster... | 1:02:05 | 1:02:08 | |
Sorry, we seem to have a colony of lobsters in there, Graham. | 1:02:08 | 1:02:12 | |
-Well, all right. -Take 61. | 1:02:12 | 1:02:13 | |
Brian is on the run from the Romans and, to avoid capture, | 1:02:13 | 1:02:16 | |
pretends to lob... Oh... Let's start it again. Sorry. | 1:02:16 | 1:02:20 | |
-Let's move on. -It's certainly clean. | 1:02:20 | 1:02:22 | |
An unbeliever! | 1:02:23 | 1:02:24 | |
ALL: An unbeliever! | 1:02:24 | 1:02:25 | |
Persecute! Kill the heretic! | 1:02:26 | 1:02:29 | |
Leave him alone! Leave him alone! | 1:02:33 | 1:02:36 | |
Brian seizes the opportunity to escape from the crowd | 1:02:36 | 1:02:39 | |
and goes home with Judith. | 1:02:39 | 1:02:41 | |
Alone together at last, the two rush naked at each other | 1:02:41 | 1:02:43 | |
and meet in a frenzy of darting tongues... | 1:02:43 | 1:02:45 | |
-Grabbing her... -Sorry, Graham. That bit's been cut. | 1:02:45 | 1:02:48 | |
-Has it? -Yes. All of it, I'm afraid. -Even this bit here? | 1:02:48 | 1:02:50 | |
Yes. The boys loved the lobster idea, | 1:02:50 | 1:02:52 | |
-so they're going to re-shoot that bit. -Oh. | 1:02:52 | 1:02:55 | |
OK, next bit, Graham, please. Take 62. | 1:02:55 | 1:02:58 | |
You're fucking nicked, me old beauty! | 1:02:58 | 1:03:01 | |
Brian is arrested and taken before Pilate, | 1:03:01 | 1:03:03 | |
where he is sentenced to be crucified. | 1:03:03 | 1:03:05 | |
Could we try one a little lighter, please? | 1:03:05 | 1:03:07 | |
-CHUCKLES: -Brian is arrested and taken before Pilate, | 1:03:07 | 1:03:10 | |
where he's sentenced to be... to be crucified. | 1:03:10 | 1:03:14 | |
-Yes, I think that's a little too light. -Well, what shall I try? | 1:03:14 | 1:03:17 | |
No problem, we'll use the take before. | 1:03:17 | 1:03:19 | |
Thanks, Graham. We'll be able to make all that work. | 1:03:19 | 1:03:21 | |
-Thanks for coming in. -That's it, is it? | 1:03:21 | 1:03:23 | |
Yes, that's it. If you want to collect your £30 on the way out. | 1:03:23 | 1:03:26 | |
Yeah. £30... | 1:03:26 | 1:03:28 | |
Ahem, yes, well, uh... | 1:03:28 | 1:03:31 | |
HE WHISTLES | 1:03:31 | 1:03:33 | |
I was led to believe that probably it might be a little, um... | 1:03:33 | 1:03:38 | |
Yes, look. It's not a big budget movie, you know. | 1:03:38 | 1:03:41 | |
-Hm, £30... -I tell you what, | 1:03:41 | 1:03:42 | |
we'll have a whip round and see what loose change we've got | 1:03:42 | 1:03:45 | |
-and we should be able to give you another two pounds. -Ah, yes. | 1:03:45 | 1:03:47 | |
All right, yes. | 1:03:47 | 1:03:49 | |
Ahem. Goodbye. | 1:03:49 | 1:03:51 | |
# Friday night, Saturday morning | 1:03:54 | 1:03:58 | |
# Sit back and relax There's a weekend dawning | 1:03:58 | 1:04:02 | |
# Friday night, Saturday morning at last | 1:04:02 | 1:04:07 | |
# You've waited all this time | 1:04:09 | 1:04:13 | |
# So leave your problems behind... # | 1:04:13 | 1:04:15 | |
Will you please welcome hard-working mother of one, Graham Chapman. | 1:04:15 | 1:04:20 | |
Who's mummy's little baby? | 1:04:21 | 1:04:23 | |
-How beautifully you are clad. -And so are you. | 1:04:27 | 1:04:31 | |
-You're still butch, aren't you? -Oh, yeah. | 1:04:31 | 1:04:33 | |
Even though you go about telling people who haven't asked | 1:04:33 | 1:04:37 | |
-that you're gay. -Yes. | 1:04:37 | 1:04:39 | |
No! Oh, no! | 1:04:39 | 1:04:42 | |
Aah! | 1:04:42 | 1:04:43 | |
SHE SOBS | 1:04:43 | 1:04:45 | |
Graham, please don't tell your father. It'll kill him. | 1:04:46 | 1:04:50 | |
It won't kill him - of course it won't kill him. | 1:04:50 | 1:04:52 | |
It will! It'll kill him! | 1:04:52 | 1:04:53 | |
Of course it won't. Shut up. | 1:04:54 | 1:04:56 | |
Never mind. Let's go on to your manifesto. | 1:04:56 | 1:04:59 | |
You said that you would like to state quite clearly | 1:04:59 | 1:05:03 | |
that sex is nothing more than a way in which two or more people | 1:05:03 | 1:05:07 | |
can have lots of harmless, cheap fun, | 1:05:07 | 1:05:11 | |
provided that they are clean and that the aim is not reproduction. | 1:05:11 | 1:05:16 | |
Yes. | 1:05:16 | 1:05:17 | |
Look, Graham, your mother's told me why she's upset. | 1:05:17 | 1:05:20 | |
Don't worry about it. | 1:05:20 | 1:05:22 | |
If you want to go around talking about this stuff, it's fine. | 1:05:22 | 1:05:25 | |
She just doesn't understand these things. | 1:05:25 | 1:05:28 | |
ANNOUNCEMENT: Ladies and gentlemen, it is now two years later, | 1:05:33 | 1:05:36 | |
and we'll be shortly arriving at Los Angeles airport. | 1:05:36 | 1:05:39 | |
Would you please extinguish all cigarettes | 1:05:39 | 1:05:42 | |
and fasten your safety belts? | 1:05:42 | 1:05:43 | |
HE REPEATS IN SPANISH | 1:05:45 | 1:05:47 | |
HE REPEATS IN FRENCH | 1:05:55 | 1:05:58 | |
MOTOR APPROACHES | 1:06:26 | 1:06:27 | |
Hmm. This is the place. | 1:06:32 | 1:06:35 | |
DOORBELL RINGS | 1:06:35 | 1:06:37 | |
Come on. Open the door. | 1:06:38 | 1:06:40 | |
'Hello. Starlight emergency 24-hour luxury door-opening service. | 1:06:42 | 1:06:46 | |
'Opening doors to the stars.' | 1:06:46 | 1:06:49 | |
Yes. We need someone here straightaway to open our door. | 1:06:49 | 1:06:52 | |
It's account number 2248. | 1:06:53 | 1:06:57 | |
Hi! | 1:07:02 | 1:07:04 | |
Thank you, thank you. | 1:07:09 | 1:07:11 | |
Now, grip the teat and whet the micro-tome. | 1:07:11 | 1:07:15 | |
If tea party there be, | 1:07:15 | 1:07:17 | |
let cucumber be slivered to the thinnest with precision | 1:07:17 | 1:07:21 | |
and pressed twixt finest slices of good bread. | 1:07:21 | 1:07:25 | |
BOTH SHOUT | 1:07:25 | 1:07:28 | |
Bravo! Bravo! | 1:07:36 | 1:07:38 | |
Graham, isn't that George Lazenby over there, | 1:07:50 | 1:07:52 | |
seen enjoying a can of specially imported Foster's lager? | 1:07:52 | 1:07:55 | |
What, you mean behind Christopher Isherwood and Georgia Brown, | 1:07:55 | 1:07:58 | |
seen there enjoying a joke with Ian La Frenais? | 1:07:58 | 1:08:01 | |
Yes, between Peter Cook, Dudley Moore, Bo Diddley and the piano, | 1:08:01 | 1:08:04 | |
all seen enjoying a brief rest in a tight schedule. | 1:08:04 | 1:08:07 | |
And who's that with the Hollywood psychiatrist, Dr Stuart Lerner? | 1:08:09 | 1:08:14 | |
It could be either Jane Seymour, Jenny Agutter, | 1:08:14 | 1:08:16 | |
Susan George, Shelly Duvall or Victor Borge. | 1:08:16 | 1:08:20 | |
-Victor Borge?! -Sorry. Did I say Victor Borge? | 1:08:20 | 1:08:23 | |
Only, I also thought I caught sight of Victor Borge | 1:08:23 | 1:08:26 | |
enjoying a quiet word with Charlton "Chuck" Heston | 1:08:26 | 1:08:29 | |
and screenwriter companion Alan Katz. | 1:08:29 | 1:08:31 | |
Yes, but who's the girl with Stuart Lerner? | 1:08:31 | 1:08:33 | |
Hmm. Ah! That's Sylvia Kristel. | 1:08:33 | 1:08:37 | |
Good God! | 1:08:37 | 1:08:39 | |
Graham, do you realise that in the last few minutes alone, | 1:08:39 | 1:08:43 | |
you've dropped no less than 17 famous names? | 1:08:43 | 1:08:46 | |
Have I? I didn't intend to. | 1:08:46 | 1:08:47 | |
It's just that I just happen to know these people - | 1:08:47 | 1:08:50 | |
they're friends of mine. Uh...they live here. | 1:08:50 | 1:08:53 | |
I want you to repeat what you've just said to yourself | 1:08:53 | 1:08:56 | |
and think about it as a medical man. | 1:08:56 | 1:08:59 | |
-You mean I've got... -Yes. | 1:08:59 | 1:09:01 | |
Niven-ism. It's a common enough complication of angelitis. | 1:09:01 | 1:09:06 | |
It's an endemic autobiographical complaint | 1:09:06 | 1:09:08 | |
whereby people live vicariously | 1:09:08 | 1:09:11 | |
through the fame of other people. | 1:09:11 | 1:09:14 | |
Ahh. | 1:09:14 | 1:09:16 | |
It was, coincidentally, David Frost's 40th birthday party, | 1:09:19 | 1:09:22 | |
his third that afternoon, | 1:09:22 | 1:09:25 | |
and I'd promised to try and look in for a moment or two. | 1:09:25 | 1:09:27 | |
Super! | 1:09:31 | 1:09:33 | |
Super, super. Super! | 1:09:33 | 1:09:36 | |
HE TITTERS | 1:09:38 | 1:09:39 | |
Really super. | 1:09:42 | 1:09:45 | |
# Happy birthday | 1:09:45 | 1:09:48 | |
-# Dear...David Frost! # -Super! | 1:09:48 | 1:09:51 | |
# We think you're swell | 1:09:51 | 1:09:55 | |
# You've achieved so much | 1:09:55 | 1:09:59 | |
# And done so well | 1:09:59 | 1:10:03 | |
# That everybody here agrees You deserve more OBEs | 1:10:03 | 1:10:07 | |
# And that was the message That was - oh! # | 1:10:07 | 1:10:11 | |
Super, super, super. Super. | 1:10:12 | 1:10:15 | |
Super. | 1:10:15 | 1:10:17 | |
On the way out, | 1:10:20 | 1:10:21 | |
I consoled an agitated Rod Stewart, | 1:10:21 | 1:10:23 | |
who unfortunately had had to come | 1:10:23 | 1:10:24 | |
to the party in person. | 1:10:24 | 1:10:26 | |
He'd only got married that morning | 1:10:26 | 1:10:28 | |
and the blow-ups of the happy couple | 1:10:28 | 1:10:29 | |
could not be processed in time. | 1:10:29 | 1:10:31 | |
GIRLS GIGGLE | 1:10:45 | 1:10:46 | |
FLIES BUZZ | 1:10:50 | 1:10:51 | |
PHONE RINGS | 1:10:54 | 1:10:55 | |
-Hello, Keith. -Hello, Graham. What do you want? | 1:10:57 | 1:11:00 | |
Would you like to come to a party at my place later on? | 1:11:00 | 1:11:02 | |
-I think I'm already at one. -George said he'd drop by. | 1:11:02 | 1:11:05 | |
-And Harry and Richard will be there. -Can I bring Mick and Ronnie? | 1:11:05 | 1:11:08 | |
-All right. See you later. -And Pete and Ringo? | 1:11:08 | 1:11:11 | |
Sure, OK. See you later. | 1:11:11 | 1:11:12 | |
I'm just going to nip off down through Boys Town on the way back. | 1:11:12 | 1:11:15 | |
-I want to pick up some zoom. -I'll bet that's not all. | 1:11:15 | 1:11:18 | |
Graham, you must face up to this name-dropping problem. | 1:11:21 | 1:11:26 | |
What should I do? Move to Finland? | 1:11:26 | 1:11:27 | |
You'll just have to sweat it out. | 1:11:27 | 1:11:30 | |
Isn't there anything I can do to speed up my recovery? | 1:11:30 | 1:11:33 | |
There is, but it isn't going to be pleasant, I'm afraid. | 1:11:33 | 1:11:36 | |
Revulsion therapy. | 1:11:36 | 1:11:38 | |
I'm going to prescribe an intensive course of Hollywood parties for you. | 1:11:38 | 1:11:43 | |
It's your only hope. | 1:11:43 | 1:11:46 | |
Hello, Graham... | 1:12:05 | 1:12:08 | |
Is that young lady all right over there, Graham? | 1:12:17 | 1:12:19 | |
It's working, Graham. Stick with it. | 1:12:19 | 1:12:23 | |
Good evening, Mr Chapman. I am Jose. | 1:12:54 | 1:12:57 | |
I'll be your star to bed tucker-inner to the stars this evening. | 1:12:57 | 1:13:01 | |
Jolly good. | 1:13:01 | 1:13:02 | |
HARP GLISSANDOS | 1:13:04 | 1:13:06 | |
I had slipped into a state of inertia. | 1:13:09 | 1:13:11 | |
All further activities seemed pointless. | 1:13:11 | 1:13:14 | |
I decided to have a farewell party. | 1:13:14 | 1:13:17 | |
David made the cucumber sandwiches | 1:13:17 | 1:13:19 | |
and I slipped out in my beige spacesuit | 1:13:19 | 1:13:22 | |
to see if the others would be prepared to pop along. | 1:13:22 | 1:13:24 | |
I stepped up nimbly through the air lock | 1:13:24 | 1:13:26 | |
and deftly percolated past Elton John's piano-shaped moon buggy. | 1:13:26 | 1:13:30 | |
He was obviously entertaining David Bowie and Ken Liberace, | 1:13:30 | 1:13:33 | |
so I passed on. | 1:13:33 | 1:13:36 | |
I knew the next space vehicle was occupied for an at-home evening | 1:13:37 | 1:13:40 | |
by David Hockney and Alan Bennett, comparing the size of their accents. | 1:13:40 | 1:13:44 | |
Custard cream, David? | 1:13:44 | 1:13:46 | |
Just a weak Darjeeling, please, Alan. | 1:13:46 | 1:13:49 | |
So I didn't bother with them. | 1:13:49 | 1:13:51 | |
-Can you come to our party? -No! | 1:13:57 | 1:13:59 | |
I have got to do the hoovering! | 1:13:59 | 1:14:03 | |
PHONES RING | 1:14:12 | 1:14:14 | |
-Can you come to our party? -Sorry, Gray. | 1:14:16 | 1:14:18 | |
Diary's absolutely chock-a-block. | 1:14:18 | 1:14:21 | |
"Here lies Oscar Fingal O'Flahertie Wilde. | 1:14:38 | 1:14:42 | |
"Gone out for good." | 1:14:42 | 1:14:44 | |
Can you come to our party? | 1:14:58 | 1:15:00 | |
There is a time in the affairs of greed, | 1:15:09 | 1:15:11 | |
which, taken at the kludge, leads on to brutalness. | 1:15:11 | 1:15:14 | |
A man is not a wasp, nor Dusseldorf built in a day. | 1:15:14 | 1:15:18 | |
Damon Runyon had a bunion. For all, they say, hey I. | 1:15:18 | 1:15:22 | |
What's that supposed to mean? | 1:15:22 | 1:15:24 | |
My heart bakes. A drowsy numbness fills me... | 1:15:24 | 1:15:28 | |
Let it be. Let it be. | 1:15:28 | 1:15:30 | |
Oh, come on, Wilde. What does that mean? | 1:15:32 | 1:15:35 | |
It means, Your Majesty, it means... | 1:15:35 | 1:15:38 | |
Pffrrrt! | 1:15:38 | 1:15:40 | |
LAUGHTER AND APPLAUSE | 1:15:40 | 1:15:41 | |
Learn your lines. You had us waiting for hours. | 1:15:46 | 1:15:49 | |
I didn't think anyone noticed. | 1:15:49 | 1:15:51 | |
No, I suppose they didn't. | 1:15:51 | 1:15:53 | |
The end. | 1:15:53 | 1:15:55 | |
Graham Chapman, co-author of the parrot sketch, | 1:16:01 | 1:16:05 | |
is no more. He has ceased to be. | 1:16:05 | 1:16:09 | |
Bereft of life, he rests in peace. | 1:16:09 | 1:16:13 | |
He's kicked the bucket, hopped the twig, | 1:16:13 | 1:16:16 | |
bit the dust, snuffed it, wheezed his last | 1:16:16 | 1:16:21 | |
and gone to meet the great Head of Light Entertainment in the sky. | 1:16:21 | 1:16:26 | |
And I guess that we're all thinking how sad it is | 1:16:27 | 1:16:30 | |
that a man of such talent, | 1:16:30 | 1:16:32 | |
of such capability for kindness, | 1:16:32 | 1:16:37 | |
of such unusual intelligence, | 1:16:37 | 1:16:40 | |
should now so suddenly be spirited away at the age of only 48 | 1:16:40 | 1:16:45 | |
before he'd achieved many of the things of which he was capable | 1:16:45 | 1:16:50 | |
and before he'd had enough fun. | 1:16:50 | 1:16:53 | |
Well, I feel that I should say, "Nonsense. | 1:16:54 | 1:16:58 | |
"Good riddance to him, the freeloading bastard. | 1:16:58 | 1:17:00 | |
"I hope he fries." | 1:17:00 | 1:17:02 | |
And the reason I feel I should say this... | 1:17:04 | 1:17:07 | |
..is he would never forgive me if I didn't, | 1:17:09 | 1:17:12 | |
if I threw away this glorious opportunity | 1:17:12 | 1:17:16 | |
to shock you all on his behalf. | 1:17:16 | 1:17:20 | |
Anything, for him, but mindless good taste. | 1:17:20 | 1:17:24 | |
# Inflammation of the foreskin | 1:17:34 | 1:17:39 | |
# Reminds me of your smile | 1:17:39 | 1:17:42 | |
# I've had ballanital chancroids | 1:17:42 | 1:17:46 | |
# For quite a little while | 1:17:46 | 1:17:50 | |
# I gave my heart to NSU | 1:17:50 | 1:17:54 | |
# That lovely night in June | 1:17:54 | 1:17:58 | |
# I ache for you, my darling | 1:17:58 | 1:18:02 | |
# And I hope you'll get well soon | 1:18:02 | 1:18:06 | |
# My penile warts | 1:18:06 | 1:18:10 | |
# Your herpes My syphilitic sores | 1:18:10 | 1:18:15 | |
# Your monilial infection | 1:18:15 | 1:18:19 | |
# How I miss you more and more | 1:18:19 | 1:18:22 | |
# Your Dhobi's itch My scrumpox | 1:18:22 | 1:18:26 | |
# Our lovely gonorrhoea | 1:18:26 | 1:18:29 | |
# And at least we both were lying | 1:18:29 | 1:18:33 | |
# When we said that we were clear | 1:18:33 | 1:18:37 | |
# Our syphilitic kisses | 1:18:37 | 1:18:40 | |
# Sealed the secret of our tryst | 1:18:40 | 1:18:43 | |
# You gave me scrotal pustules | 1:18:43 | 1:18:47 | |
# With a quick flick of your wrist | 1:18:47 | 1:18:50 | |
# Your trichovaginitis | 1:18:50 | 1:18:54 | |
# Sent shivers down my spine | 1:18:54 | 1:18:57 | |
# I got snail tracks in my anus | 1:18:57 | 1:19:01 | |
# When your spirochetes met mine | 1:19:01 | 1:19:04 | |
# Gonococcal urethritis | 1:19:04 | 1:19:08 | |
# Streptococcal balanitis | 1:19:08 | 1:19:12 | |
# Meningomyelitis | 1:19:12 | 1:19:15 | |
# Diplococcal cephalitis | 1:19:15 | 1:19:19 | |
# Epididymitis | 1:19:19 | 1:19:22 | |
# Interstitial keratitis | 1:19:22 | 1:19:26 | |
# Syphilitic choroiditis | 1:19:26 | 1:19:29 | |
# And anterior uveitis | 1:19:29 | 1:19:33 | |
# Gonococcal urethritis | 1:19:35 | 1:19:38 | |
# Streptococcal balanitis | 1:19:38 | 1:19:42 | |
# Meningomyelitis | 1:19:42 | 1:19:45 | |
# Diplococcal cephalitis | 1:19:45 | 1:19:49 | |
# Epididymitis | 1:19:49 | 1:19:52 | |
# Interstitial keratitis | 1:19:52 | 1:19:56 | |
# Syphilitic choroiditis | 1:19:56 | 1:19:59 | |
# And anterior uveitis. # | 1:19:59 | 1:20:04 | |
# Sit on my face And tell me that you love me | 1:20:10 | 1:20:16 | |
# I'll sit on your face And tell you I love you too | 1:20:16 | 1:20:20 | |
# I love to hear you oralise | 1:20:20 | 1:20:24 | |
# When I'm between your thighs You blow me away | 1:20:24 | 1:20:29 | |
# Sit on my face And let my lips embrace you | 1:20:29 | 1:20:34 | |
# I'll sit on your face And then I'll love you truly | 1:20:34 | 1:20:38 | |
# Life can be fine If we all 69 | 1:20:38 | 1:20:43 | |
# If we sit on our faces In all sorts of places | 1:20:43 | 1:20:45 | |
# And play till we're blown | 1:20:45 | 1:20:47 | |
# awaaaaaay. # | 1:20:47 | 1:20:54 | |
HE COUGHS | 1:20:54 | 1:20:56 | |
Ooh. Terribly sorry. | 1:20:56 | 1:20:58 |