Browse content similar to Keith at the Controls. Check below for episodes and series from the same categories and more!
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This programme contains very strong language. | 0:00:03 | 0:00:06 | |
This is a bootleg television wake-up call. | 0:00:06 | 0:00:09 | |
Do not adjust your set. | 0:00:09 | 0:00:11 | |
Repeat, do not adjust your set. | 0:00:11 | 0:00:14 | |
Normal service will not be resumed. | 0:00:14 | 0:00:17 | |
Welcome to the permanent night shift. | 0:00:17 | 0:00:19 | |
Keith Richards at the controls, calling all night owls and hipsters. | 0:00:20 | 0:00:25 | |
This is a reality hacking incident. | 0:00:25 | 0:00:27 | |
For the next nine hours, you're invited to ride with me | 0:00:27 | 0:00:31 | |
through the night and out the other side. | 0:00:31 | 0:00:33 | |
A random night flight across uncharted airwaves. | 0:00:33 | 0:00:36 | |
Fasten your safety belts - the weekend starts here. | 0:00:36 | 0:00:39 | |
Ready Steady Go! I'm going to play it. | 0:00:47 | 0:00:50 | |
After all, we were virtually the house band on that show. | 0:00:50 | 0:00:54 | |
# Sitting in my bedroom late last night | 0:01:03 | 0:01:07 | |
# Got into bed and turned out the light | 0:01:10 | 0:01:13 | |
# Decided to call my baby on the telephone | 0:01:16 | 0:01:19 | |
# All I got was an engaged tone | 0:01:22 | 0:01:25 | |
# It's off the hook | 0:01:25 | 0:01:26 | |
# It's off the hook | 0:01:28 | 0:01:30 | |
# It's off the hook | 0:01:31 | 0:01:33 | |
# It's off the hook | 0:01:34 | 0:01:36 | |
# It's off the hook | 0:01:38 | 0:01:39 | |
# Talking so long she upset my mind | 0:01:47 | 0:01:50 | |
# Why is she talking such a long time? | 0:01:54 | 0:01:57 | |
# Maybe she's sleeping Maybe she's ill | 0:02:00 | 0:02:03 | |
# Phone's disconnected, unpaid bill | 0:02:06 | 0:02:09 | |
# It's off the hook | 0:02:09 | 0:02:10 | |
# It's off the hook | 0:02:12 | 0:02:13 | |
# It's off the hook | 0:02:15 | 0:02:16 | |
# It's off the hook | 0:02:18 | 0:02:19 | |
# It's off the hook | 0:02:21 | 0:02:22 | |
# Don't want to see her Afraid of what I'd find | 0:02:31 | 0:02:34 | |
# Tired of letting her upset me all the time | 0:02:37 | 0:02:40 | |
# Back into bed Started reading my books | 0:02:43 | 0:02:47 | |
# Take my phone right off of the hook | 0:02:49 | 0:02:52 | |
# It's off the hook | 0:02:52 | 0:02:54 | |
# It's off the hook | 0:02:55 | 0:02:57 | |
# It's off the hook | 0:02:59 | 0:03:00 | |
# It's off the hook | 0:03:02 | 0:03:03 | |
# It's off the hook | 0:03:05 | 0:03:06 | |
# It's off the hook | 0:03:08 | 0:03:09 | |
# It's off the hook | 0:03:11 | 0:03:12 | |
# It's off the hook | 0:03:14 | 0:03:16 | |
# It's off the hook | 0:03:17 | 0:03:19 | |
# It's off the hook. # | 0:03:21 | 0:03:22 | |
CHEERING AND APPLAUSE | 0:03:22 | 0:03:25 | |
# I am the little red rooster | 0:03:37 | 0:03:39 | |
# Too lazy to crow for day | 0:03:40 | 0:03:42 | |
# I am the little red rooster | 0:03:49 | 0:03:51 | |
# Too lazy to crow for day | 0:03:53 | 0:03:56 | |
# Keep everything in the farmyard | 0:04:05 | 0:04:07 | |
# Upset in every way | 0:04:09 | 0:04:12 | |
# The dogs begin to bark | 0:04:22 | 0:04:24 | |
# Hounds begin to howl | 0:04:25 | 0:04:28 | |
# Dogs begin to bark | 0:04:35 | 0:04:36 | |
# Hounds begin to howl | 0:04:38 | 0:04:41 | |
# Watch out, strange cat people | 0:04:51 | 0:04:53 | |
# Little red rooster's on the prowl | 0:04:54 | 0:04:57 | |
# If you see my little red rooster | 0:05:04 | 0:05:06 | |
# Please drive him home | 0:05:09 | 0:05:12 | |
# If you see my little red rooster | 0:05:19 | 0:05:21 | |
# Please drive him home | 0:05:24 | 0:05:27 | |
# Ain't had no peace in the farmyard | 0:05:37 | 0:05:39 | |
# Since my little red rooster's been gone. # | 0:05:41 | 0:05:43 | |
CHEERING AND APPLAUSE | 0:06:23 | 0:06:25 | |
It happened so quickly | 0:06:25 | 0:06:27 | |
and it happened over a matter of, actually, six weeks | 0:06:27 | 0:06:31 | |
that the Rolling Stones became suddenly THE Rolling Stones. | 0:06:31 | 0:06:37 | |
And it happened to be on a tour and I'm working... | 0:06:37 | 0:06:40 | |
..with, like, heroes. | 0:06:41 | 0:06:43 | |
I'm working with Little Richard, Bo Diddley... | 0:06:43 | 0:06:46 | |
..the Everly Brothers and... | 0:06:47 | 0:06:49 | |
..I can't believe I'm on the same stage with these cats, you know? | 0:06:51 | 0:06:54 | |
And I'm still learning the game. | 0:06:54 | 0:06:55 | |
And I'm playing with... | 0:06:55 | 0:06:57 | |
..cats I've been listening to | 0:06:58 | 0:07:00 | |
and, like, trying to figure out them chords and their moves and the... | 0:07:00 | 0:07:04 | |
And they're so professional, you know? | 0:07:06 | 0:07:09 | |
And we'd just come out of the clubs. | 0:07:09 | 0:07:11 | |
We don't know what the hell we're doing and we're just banging away. | 0:07:11 | 0:07:15 | |
But over the six weeks of that tour, we suddenly became, | 0:07:15 | 0:07:21 | |
you know, the bee's knees... | 0:07:21 | 0:07:22 | |
..to the point where the Everly Brothers... | 0:07:24 | 0:07:26 | |
And the last show was at the Albert Hall | 0:07:26 | 0:07:29 | |
and the Everly Brothers said, | 0:07:29 | 0:07:30 | |
"Listen, you guys, you finish the show." | 0:07:30 | 0:07:33 | |
It was just the speed of the way it happened. | 0:07:33 | 0:07:37 | |
I'm sure, probably, the Beatles will tell you the same thing. | 0:07:37 | 0:07:41 | |
You know, the ones that are left. It's overwhelming, but... | 0:07:41 | 0:07:44 | |
..you've got another gig to do. | 0:07:45 | 0:07:46 | |
You're learning every day, you know? | 0:07:46 | 0:07:48 | |
You're learning this game and nobody's been there before, | 0:07:48 | 0:07:52 | |
so there's nobody to tell you, you know, "Oh, this is what you do." | 0:07:52 | 0:07:56 | |
Like, it's a phenomenon. | 0:07:56 | 0:07:58 | |
This is a little Stones special that we did for Ready Steady Go!. | 0:08:00 | 0:08:03 | |
Hello. Yes. | 0:08:03 | 0:08:05 | |
Well, the thing that I miss about Ready Steady Go!... | 0:08:05 | 0:08:07 | |
Stop screaming, boys. | 0:08:07 | 0:08:09 | |
..is the miming. | 0:08:09 | 0:08:10 | |
And we haven't had any miming competitions for a long time, | 0:08:10 | 0:08:13 | |
but here we've got a new lot from Leighton Buzzard, | 0:08:13 | 0:08:15 | |
who are going to do their best for you. | 0:08:15 | 0:08:17 | |
I Got You, Babe. | 0:08:17 | 0:08:18 | |
# They say we're young and we don't know | 0:08:23 | 0:08:26 | |
# We won't find out until we grow | 0:08:26 | 0:08:31 | |
# Well, I don't know if all that's true | 0:08:32 | 0:08:36 | |
# Cos you got me and, baby, I got you | 0:08:36 | 0:08:40 | |
# Babe | 0:08:42 | 0:08:44 | |
# I got you, babe | 0:08:45 | 0:08:47 | |
# I got you, babe | 0:08:48 | 0:08:50 | |
# They say our love won't pay the rent | 0:08:52 | 0:08:55 | |
# Before it's earned our money's all been spent | 0:08:55 | 0:08:59 | |
# I guess that's so We don't have a plot | 0:09:02 | 0:09:05 | |
# But at least I'm sure of all the things we've got | 0:09:05 | 0:09:09 | |
# Babe | 0:09:11 | 0:09:13 | |
# I got you, babe | 0:09:14 | 0:09:16 | |
# I got you, babe | 0:09:17 | 0:09:19 | |
# I got flowers | 0:09:20 | 0:09:22 | |
# In the spring | 0:09:24 | 0:09:26 | |
# I got you to wear my ring | 0:09:28 | 0:09:32 | |
# And when I'm sad, you're a clown | 0:09:34 | 0:09:38 | |
# And if I get scared you're always around | 0:09:40 | 0:09:47 | |
# Don't let them say your hair's too long | 0:09:47 | 0:09:50 | |
# Cos I don't care With you I can't go wrong | 0:09:50 | 0:09:55 | |
# Then put your little hand in mine | 0:09:57 | 0:10:00 | |
# There ain't no hill or mountain we can't climb | 0:10:00 | 0:10:05 | |
# Babe | 0:10:06 | 0:10:07 | |
# I got you, babe | 0:10:09 | 0:10:11 | |
# I got you, babe | 0:10:13 | 0:10:14 | |
# I got you to hold my hand | 0:10:23 | 0:10:26 | |
# I got you to understand | 0:10:26 | 0:10:29 | |
# I got you to walk with me | 0:10:29 | 0:10:33 | |
# I got you to talk with me | 0:10:33 | 0:10:36 | |
# I got you to kiss goodnight | 0:10:36 | 0:10:39 | |
# I got you to hold me tight | 0:10:39 | 0:10:42 | |
# I got you, I won't let go | 0:10:42 | 0:10:45 | |
# I got you to love me so | 0:10:45 | 0:10:49 | |
# Babe | 0:10:49 | 0:10:50 | |
# I got you, babe. # | 0:10:54 | 0:11:00 | |
# You may talk all about me | 0:11:04 | 0:11:07 | |
# And scandalise my name, oh, no | 0:11:08 | 0:11:11 | |
# But deep down inside me, baby | 0:11:11 | 0:11:14 | |
# I know I'm your only man | 0:11:14 | 0:11:16 | |
# So don't worry about me, baby | 0:11:18 | 0:11:21 | |
# Cos I'm right here at home | 0:11:21 | 0:11:23 | |
# Oh, baby, oh, baby | 0:11:24 | 0:11:26 | |
# We got a good thing going | 0:11:29 | 0:11:31 | |
# So maybe I knew her | 0:11:34 | 0:11:37 | |
# Once upon a time | 0:11:37 | 0:11:39 | |
# But that's all in the past, babe | 0:11:41 | 0:11:43 | |
# Baby, let me know you're mine All mine, all mine | 0:11:43 | 0:11:47 | |
# No matter how she wants me | 0:11:50 | 0:11:52 | |
# I'm not going nowhere, oh, no | 0:11:54 | 0:11:56 | |
# I'm gonna stick right here, baby | 0:11:56 | 0:11:59 | |
# I know how much you care | 0:12:00 | 0:12:02 | |
# So don't worry about me, baby | 0:12:04 | 0:12:07 | |
# Cos I'm right here at home | 0:12:07 | 0:12:08 | |
# Oh, baby, oh, baby | 0:12:08 | 0:12:12 | |
# We got a good thing going. # | 0:12:15 | 0:12:17 | |
Thank you very much indeed. Thank you. | 0:12:21 | 0:12:24 | |
Thank you. | 0:12:24 | 0:12:25 | |
CHEERING AND APPLAUSE | 0:12:25 | 0:12:28 | |
We are 18, and within a matter of months, | 0:12:28 | 0:12:31 | |
suddenly, you know, women are trying to tear your clothes off. | 0:12:31 | 0:12:35 | |
And in actual fact, they almost killed me a couple of times. | 0:12:35 | 0:12:38 | |
And also, killing themselves. They're jumping off of balconies. | 0:12:38 | 0:12:42 | |
I said, "This is not quite what I had in mind..." | 0:12:42 | 0:12:46 | |
GIRLS SCREAM | 0:12:50 | 0:12:52 | |
The only thing that you could hear, just shrieking teenage female... | 0:12:54 | 0:12:59 | |
And it's very impressive. | 0:13:01 | 0:13:03 | |
SHRIEKING | 0:13:03 | 0:13:06 | |
I can handle one at a time, you know? | 0:13:06 | 0:13:08 | |
But 3,000... | 0:13:08 | 0:13:10 | |
I'm still recovering, man. | 0:13:11 | 0:13:13 | |
It is really a mystery. | 0:13:15 | 0:13:16 | |
You never unlock this key. | 0:13:16 | 0:13:18 | |
If it wasn't for Charlie Watts, I wouldn't be here. | 0:13:18 | 0:13:21 | |
Without that beat, it wouldn't have worked. | 0:13:21 | 0:13:25 | |
It would have just been another rock and roll band. | 0:13:25 | 0:13:27 | |
What it does, of course, is, like, bonds guys together. | 0:13:27 | 0:13:31 | |
I mean, suddenly, you're just in this little bunch | 0:13:31 | 0:13:33 | |
and everybody's sort of going bananas over you. | 0:13:33 | 0:13:36 | |
You really rely on each other. | 0:13:36 | 0:13:39 | |
Mick and I and Charlie, especially, were, you know, tight. | 0:13:39 | 0:13:43 | |
Brian went very quickly off the handle. | 0:13:43 | 0:13:46 | |
But you've got to rely on each other a lot, you know? | 0:13:46 | 0:13:51 | |
MAN: Some of these motorists will be kicking themselves when they learn | 0:13:51 | 0:13:54 | |
they missed the chance of a lifetime of getting to know them. | 0:13:54 | 0:13:57 | |
And it's all ground-breaking stuff, boys. | 0:13:57 | 0:14:00 | |
Nobody's taken over a network before. | 0:14:01 | 0:14:04 | |
So we'll see how it flies. | 0:14:04 | 0:14:06 | |
EERIE ORGAN MUSIC | 0:14:08 | 0:14:11 | |
THUNDERCLAP | 0:14:11 | 0:14:12 | |
WOMAN SCREAMS | 0:14:12 | 0:14:14 | |
MAN LAUGHS EVILLY | 0:14:16 | 0:14:18 | |
WOMAN SCREAMS | 0:14:18 | 0:14:21 | |
THUNDERCLAP, SCREAMING | 0:14:21 | 0:14:22 | |
EVIL LAUGHTER | 0:14:22 | 0:14:23 | |
THUNDERCLAP | 0:14:23 | 0:14:25 | |
SCREAMING | 0:14:25 | 0:14:27 | |
EVIL LAUGHTER | 0:14:27 | 0:14:29 | |
THUNDERCLAP | 0:14:29 | 0:14:31 | |
Good evening, ladies and gentlemen. | 0:14:41 | 0:14:43 | |
Tonight, through the medium of the animated cartoon, | 0:14:43 | 0:14:45 | |
we present a murder mystery | 0:14:45 | 0:14:47 | |
condensed from authentic criminal records. | 0:14:47 | 0:14:49 | |
It is my sincere purpose | 0:14:49 | 0:14:51 | |
in exposing the brutal killer involved in this horrible case | 0:14:51 | 0:14:54 | |
to prove to you, beyond a shadow of a doubt, that crime does not pay. | 0:14:54 | 0:14:58 | |
Our story opens on a dark and stormy night... | 0:15:00 | 0:15:02 | |
THUNDERCLAP | 0:15:02 | 0:15:05 | |
EERIE ORGAN MUSIC | 0:15:13 | 0:15:18 | |
Hm, yay-yay yesssss. | 0:15:33 | 0:15:35 | |
If this picture is anything like the book, | 0:15:35 | 0:15:38 | |
I get bumped off. | 0:15:38 | 0:15:41 | |
Hm, why...this is terrible. | 0:15:45 | 0:15:48 | |
I can't die at 11:30. | 0:15:48 | 0:15:50 | |
HIS TEETH CHATTER | 0:15:54 | 0:15:56 | |
CLOCK CHIMES REPEATEDLY | 0:15:56 | 0:15:59 | |
At the sound of the gun, | 0:16:00 | 0:16:03 | |
it will be exactly 12 o'clock. | 0:16:03 | 0:16:06 | |
DOOR HINGES CREAK | 0:16:08 | 0:16:09 | |
LOUD BANGS | 0:16:10 | 0:16:14 | |
EERIE ORGAN MUSIC | 0:16:14 | 0:16:17 | |
KEITH LAUGHS | 0:16:23 | 0:16:25 | |
All right, everybody, stay where you are! | 0:16:27 | 0:16:29 | |
Don't nobody move! | 0:16:29 | 0:16:31 | |
LOUD THUMP | 0:16:36 | 0:16:37 | |
That goes for you, too, bub! | 0:16:37 | 0:16:39 | |
Now, let's not get nosy, bub. | 0:16:47 | 0:16:50 | |
BELL RINGS | 0:16:54 | 0:16:57 | |
OK, which one of you mugs bumped off the old boy? | 0:17:00 | 0:17:05 | |
Who done it? | 0:17:05 | 0:17:06 | |
TOGETHER: Oooooh, now, wouldn't you like to know? | 0:17:06 | 0:17:10 | |
One of you bums is guilty of shooting this guy! | 0:17:12 | 0:17:16 | |
I'm going to turn out the lights. | 0:17:16 | 0:17:18 | |
And when I turn them on, | 0:17:18 | 0:17:20 | |
I want to see the gun here on this table! | 0:17:20 | 0:17:24 | |
All right, cut out the funny stuff! | 0:17:32 | 0:17:35 | |
We'll try it again. | 0:17:35 | 0:17:37 | |
FRANTIC KNOCKING | 0:18:13 | 0:18:14 | |
I'll give you three to come out of there. | 0:18:16 | 0:18:20 | |
One, two, three... | 0:18:20 | 0:18:22 | |
Four, five, six, seven, eight, nine, ten, | 0:18:22 | 0:18:25 | |
11, 12, 13, 14, 15, 16, 17, 18, 19, 20! | 0:18:25 | 0:18:28 | |
EVIL CACKLE | 0:18:30 | 0:18:35 | |
IT SHRIEKS | 0:18:37 | 0:18:38 | |
Ah, yes, quite a bunch of us, isn't it? | 0:18:52 | 0:18:55 | |
KNOCKING | 0:19:16 | 0:19:18 | |
Who's there? | 0:19:18 | 0:19:19 | |
A skeleton. | 0:19:19 | 0:19:21 | |
Red skeleton! | 0:19:24 | 0:19:27 | |
LOUD BANGING | 0:19:38 | 0:19:41 | |
GUN PANTS | 0:19:41 | 0:19:43 | |
LOUD BANGING | 0:19:43 | 0:19:45 | |
DEEP VOICE: Ooooooooh-oh-oh! | 0:19:48 | 0:19:50 | |
HE CLEARS HIS THROAT | 0:19:50 | 0:19:51 | |
HE BLOWS A NOTE | 0:19:51 | 0:19:52 | |
HIGH-PITCHED VOICE: Aaarrrgggghhh! | 0:19:52 | 0:19:55 | |
Phew. | 0:20:00 | 0:20:01 | |
Whoops, I'm sorry. | 0:20:01 | 0:20:03 | |
Listen, Doc, can't you read? | 0:20:12 | 0:20:15 | |
LOUD CRASH | 0:20:24 | 0:20:32 | |
Stick 'em up. | 0:20:33 | 0:20:35 | |
Reach for the ceiling. | 0:20:35 | 0:20:38 | |
GUN CLICKS | 0:20:49 | 0:20:52 | |
WOLF-WHISTLE | 0:21:06 | 0:21:08 | |
Peekaboo! | 0:21:09 | 0:21:11 | |
Now we'll see who done it! | 0:21:16 | 0:21:18 | |
I doed it! | 0:21:21 | 0:21:22 | |
HE SOBS | 0:21:22 | 0:21:25 | |
Humour is probably the last bit of grease you get | 0:21:32 | 0:21:35 | |
before you get insane, you know what I mean? | 0:21:35 | 0:21:37 | |
It's probably one of the most important things in human life, | 0:21:37 | 0:21:42 | |
is being able to take the piss out of something or have a laugh. | 0:21:42 | 0:21:46 | |
Like, without that, I mean, really, I can't imagine a life worth living. | 0:21:46 | 0:21:53 | |
It could be just your mates. I don't know. Everybody is a comedian. | 0:21:53 | 0:21:56 | |
And there's guys that can make you laugh | 0:21:56 | 0:21:59 | |
and you love them for it. | 0:21:59 | 0:22:02 | |
There's a little mouse... | 0:22:02 | 0:22:03 | |
a little mouse walking along the pavement in Piccadilly there. | 0:22:03 | 0:22:06 | |
And a woman frightened it. | 0:22:06 | 0:22:07 | |
And it stepped off the curb and got knocked down by a bus. | 0:22:07 | 0:22:09 | |
Picked himself up, went across the road and went into a music shop. | 0:22:09 | 0:22:12 | |
Said to the man behind the counter, "Do you sell mouse organs?" | 0:22:12 | 0:22:14 | |
AUDIENCE CHUCKLES | 0:22:14 | 0:22:16 | |
And the man said, "That's funny... That's funny you should say that. | 0:22:16 | 0:22:19 | |
"We had a little mouse in here yesterday | 0:22:19 | 0:22:21 | |
"and she wanted mouse organs." | 0:22:21 | 0:22:22 | |
The little mouse said, "I know who that was. That was our Monica." | 0:22:22 | 0:22:25 | |
LAUGHTER AND APPLAUSE | 0:22:25 | 0:22:30 | |
Max Miller is still one of my faves. | 0:22:30 | 0:22:33 | |
Like, "Listen, listen." | 0:22:33 | 0:22:35 | |
He got banned in loads of places, just like me. | 0:22:35 | 0:22:38 | |
PAINO MUSIC | 0:22:39 | 0:22:41 | |
HE CACKLES | 0:22:51 | 0:22:54 | |
Tommy Cooper. You know, I mean... | 0:22:54 | 0:22:57 | |
The Goons. | 0:22:57 | 0:22:58 | |
"You can't get the wood, you know?" | 0:22:58 | 0:23:00 | |
The Pythons. | 0:23:00 | 0:23:01 | |
This is an ex-parrot. | 0:23:01 | 0:23:04 | |
Hancock. You must be joking! | 0:23:04 | 0:23:06 | |
Probably the first comedian that knew how to work TV. | 0:23:06 | 0:23:09 | |
Him and Sid James together, it was a must-see every week, you know? | 0:23:09 | 0:23:14 | |
BBC Television presents Tony Hancock in... | 0:23:16 | 0:23:19 | |
..Hancock's Half Hour. | 0:23:21 | 0:23:24 | |
APPLAUSE | 0:23:24 | 0:23:27 | |
In your own words, in the events leading up to the apprehension | 0:23:38 | 0:23:41 | |
of the prisoner, John Harrison Peabody. Certainly. | 0:23:41 | 0:23:45 | |
I was on patrol car duty on the night of the 27th when we received | 0:23:45 | 0:23:48 | |
a radio message that the offices of the Hathaway Jewellery Company | 0:23:48 | 0:23:51 | |
had been burgled. | 0:23:51 | 0:23:52 | |
We proceeded at once to their premises in Brook Street. | 0:23:52 | 0:23:54 | |
As we pulled up outside the store, the criminal leapt from the door | 0:23:54 | 0:23:57 | |
carrying numerous articles of jewellery. | 0:23:57 | 0:23:59 | |
Items one to 37, m'lud. | 0:23:59 | 0:24:01 | |
We immediately gave chase. | 0:24:01 | 0:24:03 | |
After a brief struggle he was taken into custody | 0:24:03 | 0:24:05 | |
and charged with a felony. | 0:24:05 | 0:24:06 | |
Thank you very much. No further questions. Your witness. | 0:24:06 | 0:24:09 | |
Very well done, isn't it? | 0:24:09 | 0:24:10 | |
LAUGHTER | 0:24:10 | 0:24:12 | |
Just like The Verdict Is Yours. | 0:24:12 | 0:24:14 | |
Inspector Jones, the prisoner made a statement when | 0:24:14 | 0:24:18 | |
he arrived at the police station, did he not? He did, sir. | 0:24:18 | 0:24:20 | |
Now, what did he say in that statement? | 0:24:20 | 0:24:23 | |
He said, "You've got the wrong bloke, guv. | 0:24:23 | 0:24:27 | |
"I was passing the shop when the burglar alarm went | 0:24:27 | 0:24:31 | |
"and this geezer rushed out and dropped the stuff. | 0:24:31 | 0:24:34 | |
"I was just about to go round to the police station with it | 0:24:34 | 0:24:37 | |
"when your lot arrived." | 0:24:37 | 0:24:39 | |
You were wearing plain clothes at the time, were you not? | 0:24:39 | 0:24:42 | |
Quite right, sir. Now, Inspector Jones, | 0:24:42 | 0:24:44 | |
what reason did the prisoner give for running away when you arrived? | 0:24:44 | 0:24:47 | |
He said he thought we were teddy boys. | 0:24:50 | 0:24:52 | |
LAUGHTER | 0:24:52 | 0:24:55 | |
Did you hear that? He said he thought they were teddy boys. | 0:24:55 | 0:24:57 | |
That's a smack in the eye! Oh, goodness gracious me! | 0:24:57 | 0:24:59 | |
GAVEL BANGS | 0:24:59 | 0:25:01 | |
Silence in court! I haven't laughed so much... | 0:25:01 | 0:25:03 | |
I'm surprised at the foreman of the jury setting such a bad example. | 0:25:05 | 0:25:09 | |
I thought at least he would show a little decorum. | 0:25:09 | 0:25:11 | |
Beg your pardon, Your Honour, | 0:25:11 | 0:25:12 | |
it's just that I thought it was rather amusing, that's all. | 0:25:12 | 0:25:14 | |
Just slipped out. I couldn't help it. | 0:25:14 | 0:25:16 | |
I mean, you had a little giggle yourself. | 0:25:16 | 0:25:18 | |
I did not have a little giggle! Yes, you did. I saw you. | 0:25:18 | 0:25:23 | |
Brought the end of your wig round to cover your mouth up! | 0:25:23 | 0:25:26 | |
Please be quiet. This is a very serious case. | 0:25:30 | 0:25:34 | |
It will shortly be your duty to judge this man. | 0:25:34 | 0:25:36 | |
Please show the necessary intelligence and restraint required | 0:25:36 | 0:25:39 | |
by the responsibility bestowed upon you. | 0:25:39 | 0:25:42 | |
You're not putting up with that. You're the foreman of the jury. | 0:25:46 | 0:25:49 | |
He shouldn't make you look a charlie in front of everybody. | 0:25:49 | 0:25:51 | |
Go on, tell him. | 0:25:51 | 0:25:52 | |
I beg to remind you, m'lud, that I am the foreman of the jury and, | 0:25:52 | 0:25:56 | |
as such, you shouldn't make me look a charlie in front of everybody! | 0:25:56 | 0:25:58 | |
LAUGHTER | 0:25:58 | 0:26:01 | |
Mr Foreman, I would remind you that I'm the judge in this courtroom and, | 0:26:01 | 0:26:05 | |
as such, I can replace you with somebody I regard as more competent. | 0:26:05 | 0:26:09 | |
Tell him he can't talk to you like that. | 0:26:12 | 0:26:15 | |
My friend says you can't talk to me like that! | 0:26:15 | 0:26:18 | |
I'm not the slightest bit interested in what your friend says. | 0:26:18 | 0:26:21 | |
I'm fully aware of my powers in this court. | 0:26:21 | 0:26:22 | |
I know exactly what I can or I can't do. | 0:26:22 | 0:26:25 | |
I've been a judge now for over 20 years and, furthermore, | 0:26:25 | 0:26:28 | |
if you and your friend do not behave yourselves | 0:26:28 | 0:26:31 | |
in a manner befitting members of the jury, I will have you both | 0:26:31 | 0:26:33 | |
turned out of this courtroom and charged with contempt. | 0:26:33 | 0:26:36 | |
Tell him you'd like to see him try. I'd like... YOU tell him! | 0:26:41 | 0:26:44 | |
LAUGHTER | 0:26:44 | 0:26:48 | |
You were going to say something? No, no, nothing at all, no, no, no. | 0:26:48 | 0:26:51 | |
May we continue? Yes, by all means. You carry on, mush. | 0:26:51 | 0:26:55 | |
Thank you. Please continue. Thank you, m'lud. | 0:26:55 | 0:26:59 | |
Exhibit number one, please. | 0:26:59 | 0:27:01 | |
Now those were the items of jewellery | 0:27:02 | 0:27:04 | |
found on the prisoner's person. | 0:27:04 | 0:27:06 | |
Those are the same ones, sir. Thank you, Inspector Jones. | 0:27:06 | 0:27:09 | |
Perhaps the jury would like to see them. | 0:27:09 | 0:27:11 | |
The jury have already seem them once | 0:27:11 | 0:27:13 | |
and, as we're pressed for time, I don't think we need see them again. | 0:27:13 | 0:27:16 | |
How do we know it's the ones we saw before? | 0:27:16 | 0:27:18 | |
Tell him we want to see them again. | 0:27:18 | 0:27:19 | |
How do we know they're the ones from before? We want to see them again. | 0:27:19 | 0:27:22 | |
I assure you they're the same ones you saw earlier. | 0:27:22 | 0:27:25 | |
He assures me they're the same ones we saw earlier. | 0:27:25 | 0:27:28 | |
That's up to us. We're the jury. That's up to us. We're the jury! | 0:27:28 | 0:27:30 | |
Ask him if he wants a fair trial or not. | 0:27:30 | 0:27:32 | |
Do you want a fair trial or not? | 0:27:32 | 0:27:34 | |
This IS a fair trial! | 0:27:34 | 0:27:35 | |
The prisoner's not complained. | 0:27:35 | 0:27:37 | |
With all due respect, m'lud, nobody's asked the poor blighter. | 0:27:37 | 0:27:40 | |
Don't you worry, mate, I'll see you get a fair trial. | 0:27:40 | 0:27:43 | |
There'll be no withholding evidence while I'm the foreman. | 0:27:43 | 0:27:45 | |
We are NOT withholding evidence. | 0:27:45 | 0:27:47 | |
No, well, what about another look at the exhibits, then? | 0:27:47 | 0:27:50 | |
Hands up anybody else who wants a butcher's at the evidence? | 0:27:50 | 0:27:53 | |
There you are. You're outvoted. | 0:27:53 | 0:27:55 | |
If that had been an election, you'd have lost your deposit there. | 0:27:55 | 0:27:58 | |
Very well, show the exhibits to the jury | 0:28:00 | 0:28:02 | |
and tell my wife I'll be a little late tonight. | 0:28:02 | 0:28:05 | |
Have you finished? | 0:28:15 | 0:28:16 | |
Time is pressing, and the rest of the jury want to examine it. | 0:28:16 | 0:28:18 | |
Please put it back on the tray. | 0:28:18 | 0:28:20 | |
Yes, of course. | 0:28:21 | 0:28:23 | |
LAUGHTER | 0:28:23 | 0:28:25 | |
Now what's wrong? | 0:28:25 | 0:28:27 | |
It's stuck, Your Honour. I can't get it off. Oh, no! | 0:28:27 | 0:28:29 | |
Why can't I have ordinary juries who do as I tell them like other judges? | 0:28:29 | 0:28:33 | |
Why does it always have to be me? | 0:28:33 | 0:28:35 | |
Pull it, man! I am pulling it, but it won't budge. | 0:28:35 | 0:28:38 | |
You got a bar of soap up there? | 0:28:38 | 0:28:41 | |
No, I haven't! | 0:28:41 | 0:28:43 | |
Oh, what a farce! | 0:28:43 | 0:28:45 | |
Very well, show it to the rest of the jury, then. | 0:28:45 | 0:28:47 | |
Try and get it off your finger. | 0:28:47 | 0:28:49 | |
Continue, Mr Pritchard. Thank you, m'lud. | 0:28:49 | 0:28:51 | |
I shall proceed with my final address to the jury. Very well. | 0:28:51 | 0:28:55 | |
M'lud, members of the jury, | 0:28:55 | 0:28:57 | |
it is the law of this land that in order to secure a conviction, | 0:28:57 | 0:29:02 | |
the prosecution must prove beyond any shadow of doubt | 0:29:02 | 0:29:07 | |
that the prisoner is guilty as charged. | 0:29:07 | 0:29:10 | |
Now this, I respectably beg to submit, | 0:29:10 | 0:29:12 | |
the prosecution has failed to do. | 0:29:12 | 0:29:14 | |
You must not... | 0:29:14 | 0:29:16 | |
Have you finished? I'm trying to get the ring off. | 0:29:18 | 0:29:22 | |
The defending counsel is talking to you. You must listen to the counsel. | 0:29:22 | 0:29:25 | |
Get the ring off afterwards. | 0:29:25 | 0:29:27 | |
Oh, very well, as long as I know where I stand. | 0:29:27 | 0:29:29 | |
Do you mind starting again, please? | 0:29:29 | 0:29:31 | |
Oh, really? Do I HAVE to? | 0:29:33 | 0:29:34 | |
Yes, I'm afraid so. | 0:29:34 | 0:29:36 | |
Well, I was saying that the prosecution | 0:29:36 | 0:29:39 | |
has failed to prove its conviction | 0:29:39 | 0:29:42 | |
and that if you are in any doubt whatsoever | 0:29:42 | 0:29:45 | |
you are bound by law to find my client not guilty. | 0:29:45 | 0:29:49 | |
I'm sure that's fair enough. I don't mind going along with that. | 0:29:49 | 0:29:52 | |
May I ask a question, m'lud? Yes, what is it? | 0:29:54 | 0:29:56 | |
Have you got a bit of butter? I could have this off... | 0:29:56 | 0:29:59 | |
Keep quiet and sit still! You're making a mockery of this courtroom! | 0:29:59 | 0:30:03 | |
How you were ever elected foreman I shall never know. | 0:30:03 | 0:30:05 | |
That's not very nice, is it? Ask him how he got to be made a judge. | 0:30:05 | 0:30:08 | |
How did you get to be made a judge? That shook him! | 0:30:08 | 0:30:12 | |
Carry on, Mr Pritchard, and no more interruptions, please. | 0:30:12 | 0:30:15 | |
Thank you, m'lud. And so, members of the jury, | 0:30:15 | 0:30:18 | |
I submit that the evidence put forward by the prosecution | 0:30:18 | 0:30:22 | |
is not conclusive of guilt and I further submit that | 0:30:22 | 0:30:27 | |
no jury could be asked to convict on such flimsy grounds | 0:30:27 | 0:30:32 | |
and, with that fact established, I suggest that you have no alternative | 0:30:32 | 0:30:36 | |
but to find my client not guilty, that he be discharged from | 0:30:36 | 0:30:40 | |
this court a free man without a stain on his character. | 0:30:40 | 0:30:45 | |
THEY APPLAUD | 0:30:45 | 0:30:47 | |
Very good. That was an excellent speech, my good man. You'll go far. | 0:30:47 | 0:30:51 | |
Got a very engaging personality. Oh, thank you very much. | 0:30:51 | 0:30:54 | |
Right, next! | 0:30:56 | 0:30:57 | |
LAUGHTER | 0:30:57 | 0:30:59 | |
May I be permitted to decide on the procedure of this court | 0:30:59 | 0:31:02 | |
or perhaps you'd like to borrow my wig and take over? | 0:31:02 | 0:31:05 | |
If you've had enough, I don't mind. Sit down! | 0:31:05 | 0:31:08 | |
Mr Spooner, would you care to sum up for the prosecution? | 0:31:11 | 0:31:14 | |
Certainly, m'lud. Oh, I don't like him. | 0:31:14 | 0:31:17 | |
He's dead smarmy. "Certainly, m'lud." | 0:31:17 | 0:31:20 | |
Swipe me, here's a crawler for you. | 0:31:20 | 0:31:23 | |
I was very much impressed with my learned friend's appe-e-eal | 0:31:23 | 0:31:26 | |
for this man's innocence. | 0:31:26 | 0:31:28 | |
MIMICS HIM | 0:31:28 | 0:31:31 | |
I'd give him a kick up the wig. | 0:31:31 | 0:31:33 | |
LAUGHTER | 0:31:33 | 0:31:36 | |
Very moving, eloquent, sentimental, maudlin rubbish. | 0:31:36 | 0:31:40 | |
I object! It's not up to you to object or not to object. | 0:31:40 | 0:31:44 | |
Mind your own business. | 0:31:44 | 0:31:45 | |
Forgive me, Mr Spooner. Thank you, m'lud. | 0:31:45 | 0:31:48 | |
The facts are quite plain. This man was caught red-handed | 0:31:48 | 0:31:50 | |
outside the shop with the proceeds on him. | 0:31:50 | 0:31:52 | |
He was also identified by the night-watchman. | 0:31:52 | 0:31:54 | |
It's an open-and-shut case. | 0:31:54 | 0:31:56 | |
I therefore submit that you have | 0:31:56 | 0:31:57 | |
no alternative but to find him guilty as charged and to put | 0:31:57 | 0:32:00 | |
this vicious criminal beyond the reach of decent society. | 0:32:00 | 0:32:04 | |
Members of the jury, you have heard the evidence in this case. | 0:32:04 | 0:32:08 | |
I would remind you that you are the sole judges of the fact. | 0:32:08 | 0:32:12 | |
I will now ask you to retire and consider your verdict. | 0:32:12 | 0:32:16 | |
May I ask a question, m'lud? Oh, what is it? | 0:32:16 | 0:32:19 | |
How long we got? I don't understand you. | 0:32:19 | 0:32:21 | |
Well, I've seen this on television, you know. | 0:32:21 | 0:32:23 | |
We go out and then the bloke with the earphones comes on | 0:32:23 | 0:32:26 | |
and then we come in and tell you our verdict. | 0:32:26 | 0:32:29 | |
Actually, how long have we got? | 0:32:29 | 0:32:31 | |
As long as you want. That can't be right. | 0:32:31 | 0:32:33 | |
They only get two minutes on television. | 0:32:33 | 0:32:35 | |
I don't care how long they get on television. | 0:32:35 | 0:32:38 | |
This is not the same thing. And they said their programme was authentic! | 0:32:38 | 0:32:41 | |
You don't know where you are these days, do you? | 0:32:41 | 0:32:43 | |
Will you please go and consider your verdict? Usher, please. | 0:32:43 | 0:32:46 | |
I will take this jury to some private and convenient place | 0:32:46 | 0:32:49 | |
and shall not suffer anyone to speak to them. | 0:32:49 | 0:32:51 | |
Neither shall I speak to them lest it be to ask them if they be | 0:32:51 | 0:32:54 | |
agreed upon their verdict. | 0:32:54 | 0:32:56 | |
Have a bar of soap sent in, would you? | 0:32:56 | 0:32:58 | |
Bit of hair cream or something. Perhaps you've got an idea. | 0:32:58 | 0:33:01 | |
What do you think? | 0:33:01 | 0:33:03 | |
There you are, ladies and gentlemen, you heard what the judge said. | 0:33:19 | 0:33:22 | |
There's no hurry. We can take as long as we like. | 0:33:22 | 0:33:24 | |
We shan't be disturbed. Our time is our own. | 0:33:24 | 0:33:26 | |
Oh, good, let's have a game of cards. Put those things away. | 0:33:26 | 0:33:29 | |
We're here to decide whether that poor wretch out there | 0:33:29 | 0:33:31 | |
is innocent or guilty. Oh, let's cut for it and get off home. | 0:33:31 | 0:33:34 | |
Anything under a seven, he's guilty. | 0:33:34 | 0:33:36 | |
What do you mean, "Anything under a seven, he's guilty?" | 0:33:36 | 0:33:39 | |
What sort of justice is that? | 0:33:39 | 0:33:40 | |
What's the point of all that going on out there with lawyers | 0:33:40 | 0:33:43 | |
and wigs and things if all you've got to do | 0:33:43 | 0:33:45 | |
is cut for a seven or under? | 0:33:45 | 0:33:46 | |
This is the Old Bailey, mate, not Dodge House! | 0:33:46 | 0:33:48 | |
Come on, hurry up, we don't want to be here all day. | 0:33:48 | 0:33:50 | |
Wait a minute, we mustn't be hasty. | 0:33:50 | 0:33:52 | |
It is essential for the course of justice that we deliberate this | 0:33:52 | 0:33:55 | |
slowly and carefully before reaching a decision. | 0:33:55 | 0:33:57 | |
Agreed? Agreed. Right. | 0:33:57 | 0:33:59 | |
Guilty. | 0:33:59 | 0:34:01 | |
Oh. | 0:34:01 | 0:34:03 | |
Well, you didn't wait long about that, did you? | 0:34:03 | 0:34:05 | |
In my opinion, it's an open-and-shut case. The man's obviously guilty. | 0:34:05 | 0:34:08 | |
Well, I think he's innocent. What do the rest of you think? | 0:34:08 | 0:34:10 | |
Guilty. Guilty. Guilty. Guilty. Guilty. Guilty. | 0:34:10 | 0:34:13 | |
Guilty. Guilty. Guilty. | 0:34:13 | 0:34:15 | |
Guilty. Et tu, Brute? | 0:34:15 | 0:34:18 | |
Let's face it, they all say guilty. | 0:34:18 | 0:34:20 | |
We'd be here for weeks if we disagree. Guilty. | 0:34:20 | 0:34:24 | |
Come on, let's get down to the pub, | 0:34:24 | 0:34:26 | |
have a couple of pints at The Wig and Gavel. | 0:34:26 | 0:34:28 | |
That is not the attitude. We're here to ensure that justice is done. | 0:34:28 | 0:34:31 | |
That's what we're being paid for. | 0:34:31 | 0:34:34 | |
We're getting paid? | 0:34:34 | 0:34:35 | |
Of course we're getting paid. 30 shillings a day. | 0:34:35 | 0:34:37 | |
30 bob a day? Well, that's seven-and-a-half quid a week. | 0:34:37 | 0:34:40 | |
That's more than I get outside. In that case, not guilty. | 0:34:40 | 0:34:43 | |
Let's keep it going as long as we can. | 0:34:43 | 0:34:46 | |
I love Sid James. | 0:34:46 | 0:34:48 | |
I can't say I agree with your motives, | 0:34:48 | 0:34:50 | |
but I agree with your decision. | 0:34:50 | 0:34:52 | |
Right, two not guiltys. Any advance on two not guiltys? | 0:34:52 | 0:34:54 | |
This is ridiculous. | 0:34:54 | 0:34:56 | |
30 shillings a day may be more than you earn, sir, but I am | 0:34:56 | 0:34:58 | |
a company director and I am losing a fortune while this thing goes on! | 0:34:58 | 0:35:01 | |
How DARE you put your personal gain before your duty as a citizen! | 0:35:01 | 0:35:05 | |
You unfeeling swine! Haven't you got any sense of duty? | 0:35:05 | 0:35:08 | |
Yes, of course I've got a sense of justice, | 0:35:08 | 0:35:10 | |
but this is a watertight case. | 0:35:10 | 0:35:13 | |
I can't see that there's anything to discuss. | 0:35:13 | 0:35:14 | |
But there's loads to discuss. | 0:35:14 | 0:35:16 | |
I reckon we've got a good six or seven days of nonstop chat | 0:35:16 | 0:35:18 | |
in front of us. | 0:35:18 | 0:35:20 | |
Really, this is too much! He MUST be guilty. | 0:35:20 | 0:35:22 | |
He is not guilty. Of course he is. He isn't! He is. | 0:35:22 | 0:35:25 | |
Are you looking for a punch-up? | 0:35:25 | 0:35:28 | |
Please, please, please, please! | 0:35:28 | 0:35:30 | |
Sidney, please, you'll have the wallopers in here in a minute. | 0:35:30 | 0:35:33 | |
A punch-up at the Old Bailey, whatever next? | 0:35:33 | 0:35:35 | |
Ladies and gentlemen, control yourselves | 0:35:35 | 0:35:37 | |
and realise that I am the foreman. | 0:35:37 | 0:35:39 | |
But he's talking a lot of nonsense. He wants to keep up here all week. | 0:35:39 | 0:35:42 | |
The man is obviously guilty and I demand... Ah, ah, ah. | 0:35:42 | 0:35:45 | |
Who's the foreman? | 0:35:46 | 0:35:48 | |
You are. There we are then. | 0:35:48 | 0:35:50 | |
Yes, but I can't... Ah, ah, ah. | 0:35:50 | 0:35:53 | |
Yes, but I... Ah, ah. | 0:35:53 | 0:35:55 | |
But I... Ah. | 0:35:55 | 0:35:58 | |
You're not leaving this jury room till we've reached | 0:35:58 | 0:36:01 | |
a unanimous decision... from all of us. Now then... | 0:36:01 | 0:36:04 | |
LAUGHTER | 0:36:04 | 0:36:06 | |
..have a look at the score. | 0:36:06 | 0:36:08 | |
Two not guiltys and ten say guilty. | 0:36:08 | 0:36:11 | |
I think a discussion is called for to elaborate our points of view. | 0:36:11 | 0:36:13 | |
Guilty! I'll slosh you! | 0:36:13 | 0:36:16 | |
I am the foreman. I shall speak. | 0:36:16 | 0:36:18 | |
Ladies and gentlemen, | 0:36:18 | 0:36:20 | |
we are gathered here today to witness the joining together... No! | 0:36:20 | 0:36:23 | |
LAUGHTER | 0:36:23 | 0:36:25 | |
Ladies and gentlemen, | 0:36:25 | 0:36:27 | |
we are gathered here today to sit in judgment of | 0:36:27 | 0:36:29 | |
a fellow human being, but before we have the temerity, | 0:36:29 | 0:36:32 | |
nay, audacity, to take it upon ourselves to judge another, | 0:36:32 | 0:36:39 | |
surely we must first judge ourselves? | 0:36:39 | 0:36:42 | |
LAUGHTER | 0:36:42 | 0:36:45 | |
Are there any of us so pure, | 0:36:46 | 0:36:50 | |
so free from sin in our own personal wives... | 0:36:50 | 0:36:53 | |
LIVES! | 0:36:53 | 0:36:56 | |
LAUGHTER | 0:36:56 | 0:36:58 | |
..that we can, dispassionately, nay, objectively... | 0:37:00 | 0:37:05 | |
..nay... | 0:37:07 | 0:37:09 | |
..dispassionately, judge another? And therefore I submit... | 0:37:13 | 0:37:17 | |
Oh, get on with it! Oh, don't do that, please! | 0:37:17 | 0:37:20 | |
I was just working up to a crescendo then. | 0:37:20 | 0:37:22 | |
Never interrupt anybody when they're getting to a crescendo, | 0:37:22 | 0:37:25 | |
it can be very nasty. | 0:37:25 | 0:37:27 | |
Please don't do that again. Where was I? | 0:37:27 | 0:37:29 | |
You were submitting. Yes, therefore I submit... What was I submitting? | 0:37:29 | 0:37:32 | |
I don't know. There it is, it's gone now. | 0:37:32 | 0:37:34 | |
I've forgotten what I was submitting. | 0:37:34 | 0:37:36 | |
Good - now perhaps you'll be quiet and let somebody else have a go. | 0:37:36 | 0:37:38 | |
All right, then, I shall extend to him... | 0:37:38 | 0:37:42 | |
the courtesy that he didn't extend to me. | 0:37:42 | 0:37:44 | |
That will show you how much better brought up I am than he was, | 0:37:44 | 0:37:48 | |
out of the two of us in comparison with each other. | 0:37:48 | 0:37:53 | |
Carry on. | 0:37:53 | 0:37:55 | |
Ladies and gentlemen, | 0:37:55 | 0:37:56 | |
all I have to say is the evidence points unequivocally... | 0:37:56 | 0:38:00 | |
Do you mind? There's ladies here. | 0:38:00 | 0:38:03 | |
Unequivocally. Oh, yes, all right, just watch it. Go on, carry on. | 0:38:03 | 0:38:07 | |
Unequivocally to this man's guilt. | 0:38:07 | 0:38:09 | |
Now, ten of us believe him to be guilty. | 0:38:09 | 0:38:11 | |
The will of the majority should prevail, as in any democracy, and | 0:38:11 | 0:38:15 | |
therefore, sir, you should reverse your verdict to one of guilty. | 0:38:15 | 0:38:18 | |
Hear, hear. I see, that's the way the wind's blowing, is it? | 0:38:18 | 0:38:22 | |
We'll have a go round the table. What about you, madam? | 0:38:22 | 0:38:24 | |
You with the hat on. Yes. What do you think? | 0:38:24 | 0:38:26 | |
Guilty, guilty, guilty. Put him away, he's a menace! | 0:38:26 | 0:38:29 | |
Send him away for as long as the law allows. Make an example of him. | 0:38:29 | 0:38:32 | |
There's too much namby-pamby treatment of these thugs. | 0:38:32 | 0:38:35 | |
Bring back the Cat. That'd show them. | 0:38:35 | 0:38:37 | |
I'd do it myself if you men haven't got the courage. | 0:38:37 | 0:38:41 | |
Put him away. Guilty! Guilty! | 0:38:41 | 0:38:43 | |
So much for the gentler sex(!) | 0:38:44 | 0:38:47 | |
Right, now you. Well, really, I don't know. | 0:38:47 | 0:38:50 | |
No, no, I'm not sure, but I always felt that he was guilty. | 0:38:50 | 0:38:53 | |
But that is not good enough. You must be sure. | 0:38:53 | 0:38:58 | |
This could have been your own boy. | 0:38:58 | 0:39:00 | |
Your own flesh and blood. | 0:39:00 | 0:39:02 | |
The little boy you bounced upon your knee. | 0:39:02 | 0:39:05 | |
It could be him sent away for 15 years to a darkened cell. | 0:39:05 | 0:39:09 | |
No sun to light his morning. | 0:39:09 | 0:39:12 | |
Out on the moors with the mists | 0:39:12 | 0:39:14 | |
swirling around his ball and chain... | 0:39:14 | 0:39:16 | |
..breaking up huge boulders into little pieces and then | 0:39:19 | 0:39:22 | |
cementing little pieces back into big boulders so he can bash it. | 0:39:22 | 0:39:26 | |
LAUGHTER | 0:39:26 | 0:39:29 | |
And what of his child at home? | 0:39:29 | 0:39:32 | |
What of his mother putting him to bed? | 0:39:32 | 0:39:35 | |
"Where's Daddy, Mummy? Is he coming home tonight?" | 0:39:36 | 0:39:39 | |
"Hush, child. | 0:39:39 | 0:39:40 | |
"Eat your crust of dry bread and don't drop crumbs on the sacking | 0:39:40 | 0:39:43 | |
"that forms your bedclothes." | 0:39:43 | 0:39:46 | |
"Mummy, is that a tear I see | 0:39:46 | 0:39:47 | |
"trickling down your thin, pale face?" | 0:39:47 | 0:39:50 | |
"'Tis nothing, child. Drink up your spoonful of milk, go to sleep." | 0:39:50 | 0:39:54 | |
"But where's my daddy? Where did they put my daddy?" | 0:39:56 | 0:39:58 | |
SID WAILS | 0:39:58 | 0:40:00 | |
LAUGHTER | 0:40:00 | 0:40:03 | |
I've already got you. I'm after him. | 0:40:04 | 0:40:08 | |
"Where is my daddy? When are they going to bring my daddy back to me?" | 0:40:08 | 0:40:12 | |
Not guilty. Got him! | 0:40:12 | 0:40:14 | |
LAUGHTER | 0:40:14 | 0:40:17 | |
9-3. Right, anybody else coming over to our side? | 0:40:17 | 0:40:19 | |
You won't get me - guilty! | 0:40:19 | 0:40:22 | |
You won't get me with your cheap tricks. Nor I. Guilty! | 0:40:22 | 0:40:25 | |
I see - that's the way things are shaping, is it? Stalemate. | 0:40:26 | 0:40:29 | |
Good, let's have a game of cards. A small party? Get some booze in. | 0:40:29 | 0:40:33 | |
Get some more birds. | 0:40:33 | 0:40:35 | |
Oh, shut up, you licentious fool! | 0:40:35 | 0:40:37 | |
Look, I suggest we go back and tell them we can't agree on a verdict. | 0:40:37 | 0:40:40 | |
Then what happens? We can all go home. Oh, mate, I'm not having that. | 0:40:40 | 0:40:43 | |
Go home, 30 bob a day, is he kidding? | 0:40:43 | 0:40:46 | |
I can't stop here forever. I've got a farm to run. | 0:40:46 | 0:40:48 | |
There's crops to get in. That's charming, isn't it? | 0:40:48 | 0:40:50 | |
You're prepared to send a man to jail for 15 years | 0:40:50 | 0:40:52 | |
so you can get your spuds in? | 0:40:52 | 0:40:54 | |
The equation of human kindness - | 0:40:54 | 0:40:56 | |
15 years in jug equals two tonne of King Edwards. | 0:40:56 | 0:41:00 | |
LAUGHTER | 0:41:00 | 0:41:01 | |
But he's guilty. He deserves to go to prison. | 0:41:01 | 0:41:03 | |
Well, I think he's innocent. Good heavens, why, man? | 0:41:03 | 0:41:06 | |
Why do you persist in saying he's innocent | 0:41:06 | 0:41:08 | |
in light of all the evidence against him? | 0:41:08 | 0:41:11 | |
Caught red-handed, identified. Why? Why? WHY? | 0:41:11 | 0:41:15 | |
Well, he's got such a nice face. | 0:41:18 | 0:41:21 | |
Look, the man's impossible. We'll be here all night. | 0:41:21 | 0:41:24 | |
Send in 12 dinners, will you? | 0:41:24 | 0:41:26 | |
Ask them if they'll send a bit of lard in, will you? | 0:41:26 | 0:41:28 | |
A bit of lard too, yes. | 0:41:28 | 0:41:31 | |
Good grief, man, how COULD it have been his twin brother?! | 0:41:54 | 0:41:58 | |
It's happened before. What about the Corsican Brothers? | 0:42:00 | 0:42:02 | |
One was good, one was bad, and I say we've got the good one. | 0:42:02 | 0:42:05 | |
But he hasn't even got a brother. That doesn't matter. | 0:42:05 | 0:42:08 | |
We've all got doubles. | 0:42:08 | 0:42:09 | |
There's a bookie's runner down our way looks exactly like you. | 0:42:09 | 0:42:13 | |
Thank you very much. | 0:42:13 | 0:42:16 | |
It isn't you, is it? No, it isn't! | 0:42:16 | 0:42:19 | |
Well, there you are, then. | 0:42:19 | 0:42:21 | |
Oh, this is ridiculous. We're getting absolutely nowhere. | 0:42:21 | 0:42:24 | |
We've been locked in this confounded room for seven hours now. | 0:42:24 | 0:42:27 | |
Seven hours! | 0:42:27 | 0:42:28 | |
And what theories have you concocted? Twin brothers. | 0:42:28 | 0:42:34 | |
Doubles. | 0:42:34 | 0:42:36 | |
Blackouts. | 0:42:36 | 0:42:38 | |
He was drugged by a gang of international crooks. | 0:42:38 | 0:42:41 | |
He's a rightful heir to a European throne | 0:42:41 | 0:42:43 | |
and they want him out of the way so they can put his uncle on. | 0:42:43 | 0:42:48 | |
It's quite possible. His father used to sell onions. | 0:42:48 | 0:42:51 | |
We don't know anything about his family background. | 0:42:51 | 0:42:54 | |
We don't know what his father did | 0:42:54 | 0:42:55 | |
when he got off his bike at Boulogne. | 0:42:55 | 0:42:57 | |
Probably went straight up to the chateau, put the crown on, | 0:42:57 | 0:43:00 | |
ran the flag up, Grand Duke of Burgundy! You never know. | 0:43:00 | 0:43:02 | |
What do you mean, Duke of Burgundy? They all come from Brixton. | 0:43:02 | 0:43:06 | |
He might have been exiled. | 0:43:06 | 0:43:08 | |
I give up. I give up. I don't want to talk to him any more. | 0:43:10 | 0:43:12 | |
Keep him out of my sight. | 0:43:12 | 0:43:15 | |
Well, that's 8-3. One retired hurt. | 0:43:15 | 0:43:17 | |
This room's getting me down. I want some fresh air. | 0:43:17 | 0:43:20 | |
I'm suffocating in here. | 0:43:20 | 0:43:23 | |
Lovely view, isn't it, London at midnight? | 0:43:29 | 0:43:31 | |
I'd sooner see it over my farm. How much longer are we going to be? | 0:43:31 | 0:43:33 | |
Hard to tell. Rate things are going, it could be weeks. Weeks?! | 0:43:33 | 0:43:36 | |
But I've got to be on my farm tomorrow. | 0:43:36 | 0:43:38 | |
There we are, deadlock, isn't it, 9-3? | 0:43:38 | 0:43:40 | |
Your lead. How much longer do you think we'll be? | 0:43:40 | 0:43:43 | |
Oh, 9-3, could take months. I knew a case in Mexico took three years. | 0:43:43 | 0:43:46 | |
Three years?! That's impossible. No, straight up. | 0:43:46 | 0:43:50 | |
Went through three revolutions and nine changes of government. | 0:43:50 | 0:43:53 | |
Two of the jury went bonkers with claustrophobia, three died of | 0:43:53 | 0:43:56 | |
old age, and four were divorced by their wives for desertion. | 0:43:56 | 0:44:00 | |
You married? Yes, I am. Hmm, then I hope she's patient. | 0:44:00 | 0:44:03 | |
Three years is a long time, isn't it? Your lead. | 0:44:03 | 0:44:06 | |
Who's looking after the farm while you're away, then? | 0:44:08 | 0:44:11 | |
My wife. | 0:44:11 | 0:44:13 | |
Oh, country girl? No, she's a Londoner. | 0:44:13 | 0:44:15 | |
Oh, a Londoner, eh? | 0:44:15 | 0:44:17 | |
Don't suppose she knows much about farms, then? No, she doesn't. Hmm. | 0:44:17 | 0:44:21 | |
I expect it'll be a right mess when you get back. | 0:44:21 | 0:44:25 | |
Dead chickens all over the place. | 0:44:25 | 0:44:29 | |
Cattle lying on their backs with their legs sticking up in the air. | 0:44:29 | 0:44:31 | |
LAUGHTER | 0:44:31 | 0:44:34 | |
How long you been married, then? A week. Week, eh? | 0:44:34 | 0:44:37 | |
I wouldn't worry about it. | 0:44:37 | 0:44:39 | |
If she loves you, you know, | 0:44:39 | 0:44:41 | |
three years ain't so long for a hot-blooded young bride of 21. | 0:44:41 | 0:44:44 | |
Your lead. | 0:44:44 | 0:44:46 | |
Londoner, eh? | 0:44:46 | 0:44:48 | |
I suspect she's probably ploughed up the cornfields | 0:44:48 | 0:44:50 | |
and put the pigs out to graze. Complete chaos, financial ruin. | 0:44:50 | 0:44:55 | |
Still, I must admire you. You stick to your principles. | 0:44:55 | 0:44:58 | |
You're a brave man. | 0:44:58 | 0:45:00 | |
You could be out there in ten minutes | 0:45:00 | 0:45:01 | |
if everybody said not guilty, but you stick to your principles. | 0:45:01 | 0:45:05 | |
Highly commendable. | 0:45:05 | 0:45:07 | |
Ruined, but not dishonoured. | 0:45:07 | 0:45:11 | |
Good luck to you. | 0:45:14 | 0:45:16 | |
Poor devil. | 0:45:16 | 0:45:19 | |
I've changed my mind. Yes, so have I. There's not enough evidence. | 0:45:19 | 0:45:22 | |
Not guilty. Well done. 7-5. Anybody else wavering? | 0:45:22 | 0:45:25 | |
You won't get the rest of us. We're determined as you are. | 0:45:25 | 0:45:28 | |
All right, then, we shall just stay here and sit it out. | 0:45:30 | 0:45:34 | |
# Oh, it's a long, long time from May to September | 0:45:39 | 0:45:44 | |
# Bom-bom-bom-bom, la-de-de-dum. # | 0:45:44 | 0:45:47 | |
CLOCK TICKS | 0:45:48 | 0:45:52 | |
I can't stand it any longer! This room is driving me mad! | 0:46:11 | 0:46:15 | |
Let me out! Let me out! | 0:46:15 | 0:46:17 | |
I want to go home! Let me out! Please, let me out! | 0:46:17 | 0:46:20 | |
HE SOBS | 0:46:23 | 0:46:27 | |
I want to go home to my mother! | 0:46:27 | 0:46:29 | |
Six-all, I think. | 0:46:31 | 0:46:33 | |
LAUGHTER | 0:46:33 | 0:46:36 | |
I think they're beginning to crack. Have another go. | 0:46:38 | 0:46:41 | |
Yes, I think that's a good idea. | 0:46:41 | 0:46:42 | |
Ladies and gentlemen, the score is now six-all. | 0:46:42 | 0:46:46 | |
I shall not go through the facts of this case again, safe to | 0:46:46 | 0:46:48 | |
suggest to you there is some element of doubt in this boy's guilt. | 0:46:48 | 0:46:52 | |
As Shakespeare said in The Merchant of Vienna... | 0:46:52 | 0:46:57 | |
when Portion accused Shylock Holmes of pinching a pound of meat... | 0:46:57 | 0:47:00 | |
.."The quality of mercy is not strained. | 0:47:03 | 0:47:08 | |
"It droppeth as the gentle rain from Heaven | 0:47:09 | 0:47:13 | |
"upon the place beneath. | 0:47:13 | 0:47:16 | |
"It is twice blest. Twice blest. The sign of..." No! | 0:47:16 | 0:47:19 | |
"Blesseth him that gives and him that takes." | 0:47:23 | 0:47:26 | |
Take the case of doubting Thomas, who was sent to Coventry | 0:47:26 | 0:47:28 | |
for looking through a keyhole at Lady Godiva. | 0:47:28 | 0:47:32 | |
Can anybody prove he was looking at her? | 0:47:32 | 0:47:34 | |
Can anybody prove it was he who shouted out, "Get your hair cut?" | 0:47:34 | 0:47:39 | |
Of course not. This is sheer supposition. | 0:47:39 | 0:47:42 | |
Does Magna Carta mean nothing to you? | 0:47:43 | 0:47:46 | |
Did she die in vain?! | 0:47:47 | 0:47:49 | |
LAUGHTER | 0:47:49 | 0:47:52 | |
Brave Hungarian peasant girl | 0:47:55 | 0:47:57 | |
who forced King John to sign the pledge at Runnymede | 0:47:57 | 0:48:00 | |
and closed the boozers at half past ten! | 0:48:00 | 0:48:03 | |
Is all this to be forgotten? | 0:48:05 | 0:48:07 | |
My friends, it is not John Harrison Peabody who is on trail here today, | 0:48:07 | 0:48:10 | |
but the fair name of British justice, and I ask you to send that | 0:48:10 | 0:48:14 | |
poor boy back to the loving arms of his poor white-haired old mother | 0:48:14 | 0:48:17 | |
a free man. | 0:48:17 | 0:48:18 | |
I thank you. | 0:48:18 | 0:48:21 | |
All right, then, hands up all those who say not guilty. | 0:48:22 | 0:48:26 | |
Right, 10-2, we're leading. Just these two to go. | 0:48:26 | 0:48:29 | |
Come on, who do you think you are? The man is innocent. | 0:48:29 | 0:48:31 | |
Obviously, obviously. Oh, very well, I can't stand it any more. | 0:48:31 | 0:48:35 | |
All right, all right, have it your own way. | 0:48:35 | 0:48:38 | |
Let the criminal go free. I don't care. | 0:48:38 | 0:48:41 | |
Let him loose so that he can rob other people's shops, | 0:48:41 | 0:48:43 | |
other people's houses. | 0:48:43 | 0:48:45 | |
Your house, maybe. I don't mind. Not guilty, then? Oh, anything you like. | 0:48:45 | 0:48:48 | |
That's 11-1. Here, Curly, what about you? | 0:48:48 | 0:48:50 | |
Oh, do what you like. I don't care. There you are. | 0:48:50 | 0:48:53 | |
A unanimous verdict of not guilty. We can all go home. | 0:48:53 | 0:48:56 | |
What's the matter now? | 0:48:58 | 0:49:01 | |
I've just been thinking about what he said | 0:49:03 | 0:49:06 | |
about letting him loose to rob people's shops | 0:49:06 | 0:49:09 | |
and other people's houses. | 0:49:09 | 0:49:11 | |
I couldn't have that on my conscience. | 0:49:11 | 0:49:13 | |
I'll have to change my mind. Guilty! | 0:49:13 | 0:49:15 | |
LAUGHTER | 0:49:15 | 0:49:18 | |
What a good boy you are. | 0:49:18 | 0:49:20 | |
11-1, we're off again. | 0:49:20 | 0:49:21 | |
No, no, let's go back to guilty. That's all right with me. | 0:49:21 | 0:49:24 | |
I'll go along with that. Guilty. Now, who says guilty? | 0:49:24 | 0:49:26 | |
ALL: Yes! | 0:49:26 | 0:49:28 | |
There you are, we all agree guilty. Now it's over, we can all go. | 0:49:28 | 0:49:32 | |
Wait a minute. | 0:49:32 | 0:49:34 | |
The caper isn't up yet. Not guilty. | 0:49:34 | 0:49:36 | |
But he IS guilty. We all agree he's guilty. | 0:49:36 | 0:49:39 | |
Your friend says he's guilty! I don't care what he says. | 0:49:39 | 0:49:41 | |
I've got another five days' work here. Not guilty. | 0:49:41 | 0:49:44 | |
We can not go through this again. No, no, no, no! | 0:49:44 | 0:49:46 | |
I'll tell you what I'll do. | 0:49:46 | 0:49:48 | |
If everybody chips in 30 bob | 0:49:48 | 0:49:49 | |
to compensate for me loss of earnings, | 0:49:49 | 0:49:52 | |
I'll come in with you lot. | 0:49:52 | 0:49:53 | |
Gentlemen, gentlemen, | 0:49:57 | 0:49:59 | |
we have reached a unanimous verdict. | 0:49:59 | 0:50:02 | |
British justice has triumphed again. | 0:50:02 | 0:50:04 | |
Court will rise. | 0:50:24 | 0:50:25 | |
Carry on. Who speaks as your foreman? | 0:50:29 | 0:50:31 | |
I'm the foreman. | 0:50:31 | 0:50:32 | |
Have you agreed on your verdict? We have. | 0:50:32 | 0:50:34 | |
How finds you the prisoner? Guilty or not guilty? | 0:50:34 | 0:50:36 | |
Guilty. 12-0. | 0:50:36 | 0:50:38 | |
LAUGHTER | 0:50:38 | 0:50:40 | |
And that is the verdict of you all? It is. | 0:50:40 | 0:50:43 | |
I will pass sentence after the recess. | 0:50:43 | 0:50:45 | |
Court is adjourned. | 0:50:45 | 0:50:47 | |
Just one moment. | 0:50:47 | 0:50:48 | |
Mr Foreman, the ring, if you please. | 0:50:49 | 0:50:51 | |
Oh, yes, certainly, M'lord. | 0:50:51 | 0:50:54 | |
It's gone. | 0:50:54 | 0:50:56 | |
But I had it on my finger. | 0:50:56 | 0:50:57 | |
I shook hands with everybody. | 0:50:57 | 0:51:00 | |
I had it on my finger, but it's disappeared. | 0:51:00 | 0:51:02 | |
Where could it have gone to? It can't have flown away. | 0:51:02 | 0:51:04 | |
The ring has disappeared? This is a very serious affair. | 0:51:04 | 0:51:07 | |
This ring was exceedingly valuable. | 0:51:07 | 0:51:10 | |
Is the police inspector in court? | 0:51:10 | 0:51:11 | |
Court will rise. | 0:51:28 | 0:51:29 | |
Carry on, Mr Farnsworth. | 0:51:31 | 0:51:32 | |
Put up the accused. | 0:51:32 | 0:51:34 | |
You are charged with conspiring | 0:51:45 | 0:51:46 | |
to steal a diamond ring, valued at ?20,000. | 0:51:46 | 0:51:50 | |
How do you plead? I'm the foreman. Guilty. | 0:51:50 | 0:51:53 | |
A prison sentence would be shorter than this trial. | 0:51:53 | 0:51:55 | |
I want to get back to my pigs. | 0:51:55 | 0:51:56 | |
What about my wife? It's not my fault. | 0:51:56 | 0:51:58 | |
Who has the ring? Who's got it? | 0:51:58 | 0:52:01 | |
THEY SHOUT OVER EACH OTHER | 0:52:01 | 0:52:04 | |
A lot of comedians... | 0:52:51 | 0:52:53 | |
are very dark people, unfortunately. | 0:52:53 | 0:52:58 | |
I don't know... You know, | 0:52:58 | 0:52:59 | |
I'm not in the business of making people laugh, except in private. | 0:52:59 | 0:53:03 | |
To do it as a business, | 0:53:03 | 0:53:05 | |
it is obviously... | 0:53:05 | 0:53:07 | |
You know, it's a hard task. | 0:53:07 | 0:53:08 | |
It can do you in. | 0:53:08 | 0:53:10 | |
Especially Tony. Yeah. | 0:53:10 | 0:53:11 | |
Right... | 0:53:14 | 0:53:15 | |
let's sort out the chaff from the corn and see how many of you... | 0:53:15 | 0:53:19 | |
can stay up with me for the next three nights | 0:53:19 | 0:53:22 | |
and make it out the other side. | 0:53:22 | 0:53:24 | |
Of course, TV does keep you up late | 0:53:24 | 0:53:26 | |
for those night owl shows. | 0:53:26 | 0:53:28 | |
# When the night falls | 0:53:38 | 0:53:41 | |
# When the night falls | 0:53:45 | 0:53:47 | |
# I've told you many times before | 0:53:49 | 0:53:53 | |
# If you deceive me I'll want you no more | 0:53:53 | 0:53:56 | |
# People thought that I was foolin' round | 0:53:56 | 0:53:59 | |
# But I've got both my feet on the ground | 0:53:59 | 0:54:02 | |
# I don't regret the things I've done | 0:54:02 | 0:54:06 | |
# Although I miss your lovin' | 0:54:06 | 0:54:08 | |
# When the night falls | 0:54:08 | 0:54:11 | |
# When the night falls. # | 0:54:11 | 0:54:14 | |
Spending a lot of your life | 0:54:59 | 0:55:02 | |
as a nocturnal creature, | 0:55:02 | 0:55:04 | |
you get a certain affinity for... | 0:55:04 | 0:55:07 | |
nightingales and owls, | 0:55:07 | 0:55:09 | |
and little furry things you can't quite describe, you know? | 0:55:09 | 0:55:14 | |
Badgers and...you know. | 0:55:17 | 0:55:20 | |
# When the night falls | 0:55:20 | 0:55:22 | |
# When the night falls. # | 0:55:22 | 0:55:24 | |
The fox is, yeah... I mean... | 0:55:26 | 0:55:28 | |
He's a smart guy, you know. | 0:55:29 | 0:55:31 | |
Why flash yourself when you don't need to? | 0:55:33 | 0:55:35 | |
Guys that work at night have always intrigued me. | 0:55:39 | 0:55:42 | |
"What are you doing up at this time of day?" | 0:55:43 | 0:55:45 | |
HE GRUNTS: "Working." | 0:55:45 | 0:55:46 | |
# Tell Automatic Slim | 0:55:51 | 0:55:55 | |
# To tell razor-totin' Jim | 0:55:55 | 0:55:58 | |
# To tell butcher knife-totin' Annie | 0:55:58 | 0:56:01 | |
# To tell fast-talking Fanny | 0:56:01 | 0:56:05 | |
# We gonna pitch a ball | 0:56:05 | 0:56:08 | |
# Down to that union hall | 0:56:08 | 0:56:11 | |
# We gonna romp and tromp till midnight | 0:56:11 | 0:56:15 | |
# We gonna fuss and fight till daylight | 0:56:15 | 0:56:17 | |
# We gonna pitch a wang dang doodle all night long | 0:56:17 | 0:56:22 | |
# All night long | 0:56:24 | 0:56:28 | |
# All night long | 0:56:28 | 0:56:31 | |
# All night long | 0:56:31 | 0:56:34 | |
# All night long | 0:56:34 | 0:56:37 | |
# We gonna pitch a wang dang doodle all night long | 0:56:37 | 0:56:42 | |
# Tell kudu-crawlin' Red | 0:56:43 | 0:56:47 | |
# Tell Abyssinian Ned | 0:56:47 | 0:56:50 | |
# Tell ol' Pistol Pete | 0:56:50 | 0:56:53 | |
# He'll tell everybody he meets | 0:56:53 | 0:56:56 | |
# Tonight, we need no rest | 0:56:56 | 0:56:59 | |
# We gonna really throw a mess | 0:56:59 | 0:57:02 | |
# We gonna knock down all the windows | 0:57:02 | 0:57:06 | |
# We gonna kick down all the doors | 0:57:06 | 0:57:09 | |
# We gonna pitch a wang dang doodle all night long | 0:57:09 | 0:57:14 | |
# All night long | 0:57:16 | 0:57:19 | |
# All night long | 0:57:19 | 0:57:22 | |
# All night long | 0:57:22 | 0:57:25 | |
# All night long | 0:57:25 | 0:57:27 | |
# We gonna pitch a wang dang doodle all night long | 0:57:27 | 0:57:32 | |
# Tell Fats and Washboard Sam | 0:57:34 | 0:57:37 | |
# That everybody gonna jam | 0:57:37 | 0:57:41 | |
# Tell Shaky and Boxcar Joe | 0:57:41 | 0:57:43 | |
# We got sawdust on the floor | 0:57:43 | 0:57:46 | |
# Tell Peg and Caroline Dye | 0:57:46 | 0:57:50 | |
# We gonna have a heck of a time | 0:57:50 | 0:57:52 | |
# And when the fish scent fills the air | 0:57:52 | 0:57:56 | |
# There'll be snuff juice everywhere | 0:57:56 | 0:57:58 | |
# We gonna pitch a wang dang doodle all night long | 0:57:58 | 0:58:03 | |
# All night long | 0:58:06 | 0:58:09 | |
# All night long | 0:58:09 | 0:58:12 | |
# All night long | 0:58:12 | 0:58:15 | |
# All night long | 0:58:15 | 0:58:17 | |
# We gonna pitch a wang dang doodle all night long. # | 0:58:17 | 0:58:22 | |
MUSIC: Child Of The Moon by The Rolling Stones | 0:58:35 | 0:58:39 | |
Night-time has a certain effect on us. | 0:58:49 | 0:58:51 | |
It's kind of, like, er, | 0:58:51 | 0:58:53 | |
I suppose, the moon or something, you know? | 0:58:53 | 0:58:56 | |
It affects us. | 0:58:56 | 0:58:57 | |
# The sun glows | 0:58:57 | 0:59:00 | |
# At the end of the highway | 0:59:00 | 0:59:05 | |
It changes your water. | 0:59:07 | 0:59:09 | |
Lunatic, lunar. | 0:59:09 | 0:59:11 | |
I mean, yes, madness. | 0:59:11 | 0:59:13 | |
# Child of the moon | 0:59:13 | 0:59:17 | |
# Rub your rainy eyes | 0:59:17 | 0:59:21 | |
# Oh, child of the moon | 0:59:21 | 0:59:26 | |
# Give me a wide-awake crescent-shaped smile | 0:59:26 | 0:59:33 | |
# She shivers | 0:59:42 | 0:59:45 | |
# By the light, she is hidden | 0:59:45 | 0:59:52 | |
# She flickers | 0:59:52 | 0:59:55 | |
# Like a lamp lady vision | 0:59:55 | 1:00:01 | |
# Child of the moon | 1:00:01 | 1:00:06 | |
# Rub your rainy eyes | 1:00:06 | 1:00:11 | |
# Child of the moon | 1:00:11 | 1:00:15 | |
# Give me a wide-awake crescent-shaped smile. # | 1:00:15 | 1:00:21 | |
Spike, the errant genius. | 1:00:23 | 1:00:26 | |
# The wind blows | 1:00:29 | 1:00:33 | |
# Rain into my face | 1:00:33 | 1:00:39 | |
# The sun glows | 1:00:39 | 1:00:42 | |
# At the end of the highway... # | 1:00:42 | 1:00:48 | |
Yeah, he was crazy. | 1:00:48 | 1:00:50 | |
He's probably pissed all the others off, but at the same time, | 1:00:52 | 1:00:56 | |
there was flashes of genius and brilliance in there that... | 1:00:56 | 1:01:00 | |
maybe you can only do if you're nuts, you know. | 1:01:00 | 1:01:04 | |
There's nothing wrong with being nuts... | 1:01:06 | 1:01:08 | |
as long as you don't kill somebody. | 1:01:08 | 1:01:11 | |
Good evening. | 1:01:14 | 1:01:16 | |
I was watching the television this evening and I thought, | 1:01:16 | 1:01:21 | |
"There's nothing like a good laugh." | 1:01:21 | 1:01:23 | |
Take two. | 1:01:25 | 1:01:28 | |
Good evening. | 1:01:28 | 1:01:29 | |
I was watching the television this evening and I thought, | 1:01:29 | 1:01:33 | |
"There's nothing like a good laugh." | 1:01:33 | 1:01:36 | |
Take three. | 1:01:37 | 1:01:38 | |
I was watching the television this evening and I thought, | 1:01:39 | 1:01:44 | |
"There's nothing like a good laugh." | 1:01:44 | 1:01:46 | |
Take four. | 1:01:48 | 1:01:49 | |
I was watching... | 1:01:49 | 1:01:51 | |
the television this evening | 1:01:51 | 1:01:53 | |
and I thought, | 1:01:53 | 1:01:55 | |
"There's nothing like a good laugh." | 1:01:55 | 1:01:58 | |
Oh, ... religion! | 1:01:58 | 1:02:00 | |
Hi, everybody. | 1:02:11 | 1:02:12 | |
This show is called... | 1:02:12 | 1:02:14 | |
MEN HUM What? What's it called? | 1:02:14 | 1:02:16 | |
HE RAMBLES | 1:02:16 | 1:02:17 | |
Agh! | 1:02:17 | 1:02:19 | |
You've got to stop doing that. | 1:02:26 | 1:02:28 | |
You've got to stop that habit. | 1:02:28 | 1:02:30 | |
Ready to go in. Right. | 1:02:30 | 1:02:32 | |
Right. OK, Spike. Ready? | 1:02:32 | 1:02:33 | |
Yes? | 1:02:43 | 1:02:44 | |
Good morning, madam. Morning. | 1:02:47 | 1:02:49 | |
Morning, madam. Morning. | 1:02:49 | 1:02:52 | |
I am... | 1:02:56 | 1:02:59 | |
I'm Herbert Screckle, | 1:02:59 | 1:03:01 | |
a salesman. | 1:03:01 | 1:03:03 | |
Er, me and my fellow directors | 1:03:03 | 1:03:06 | |
would like to know if... | 1:03:06 | 1:03:09 | |
you are getting sufficient sympathy and understanding in your life? | 1:03:09 | 1:03:13 | |
Not much. Why? | 1:03:13 | 1:03:15 | |
Do you mind if we come in, madam? | 1:03:15 | 1:03:16 | |
No. Ta. | 1:03:16 | 1:03:18 | |
Supposing you had been out for a hard day's shopping. Tired out. | 1:03:18 | 1:03:23 | |
You get on the Tube. | 1:03:23 | 1:03:25 | |
Does anybody...? Does anybody get up for you? | 1:03:25 | 1:03:28 | |
No fear, not these days! You'd have to drop bleeding dead! | 1:03:28 | 1:03:32 | |
There's no need for you to drop bleeding dead, madam. | 1:03:32 | 1:03:36 | |
Me and my company have invented something for ladies | 1:03:36 | 1:03:39 | |
that guarantees to get the maximum sympathy and understanding. | 1:03:39 | 1:03:42 | |
What is it, divorce? | 1:03:42 | 1:03:44 | |
No. No, madam. | 1:03:46 | 1:03:48 | |
It is not a divorce. Tom... | 1:03:48 | 1:03:51 | |
Ow! Christ! | 1:03:51 | 1:03:53 | |
This is the Mark I | 1:03:55 | 1:03:58 | |
plastic, inflatable sympathy hump. | 1:03:58 | 1:04:01 | |
Say you are on a crowded Tube... | 1:04:01 | 1:04:03 | |
"I'm on a crowded Tube." You're on a crowded Tube. | 1:04:03 | 1:04:06 | |
You want to sit down, but no-one is getting up for you. | 1:04:06 | 1:04:09 | |
Beforehand, you have taken the precaution | 1:04:09 | 1:04:12 | |
of placing this bladder up your back, so... | 1:04:12 | 1:04:15 | |
Now, then... | 1:04:15 | 1:04:17 | |
all you have to do is to inflate it. | 1:04:17 | 1:04:19 | |
They are infallible, madam. | 1:04:29 | 1:04:31 | |
They're tried out by 20 of our humpy-back inspectors... | 1:04:31 | 1:04:35 | |
..on the modern Edgware line. | 1:04:36 | 1:04:38 | |
Well, it looks real, but I don't fancy it. | 1:04:38 | 1:04:40 | |
No, of course you do not fancy it, madam. | 1:04:40 | 1:04:43 | |
Of course you do not. | 1:04:43 | 1:04:44 | |
This is the Quasimodo model... | 1:04:44 | 1:04:46 | |
..for men and boys. No... | 1:04:48 | 1:04:50 | |
For the lady, we have something more delicate, eh, Tom? | 1:04:50 | 1:04:54 | |
Ow! Will you pardon me, madam? Would you open your jacket, please? | 1:04:54 | 1:04:58 | |
Now, then. Once again, just imagine you are on a crowded Tube | 1:04:58 | 1:05:02 | |
and you want to get a seat. | 1:05:02 | 1:05:06 | |
Then all you have to do is to inflate this. | 1:05:06 | 1:05:09 | |
Twins?! | 1:05:14 | 1:05:15 | |
Triplets. There. | 1:05:16 | 1:05:18 | |
It is the infallible | 1:05:18 | 1:05:20 | |
false pregnancy hump, madam. | 1:05:20 | 1:05:22 | |
Now, then, if, on the other hand... | 1:05:22 | 1:05:24 | |
Oh, hello, John. Dear, oh, dear! | 1:05:24 | 1:05:27 | |
Have you had a bad day? I had to stand all the way on the Tube. | 1:05:27 | 1:05:31 | |
GIGGLING | 1:05:38 | 1:05:40 | |
Er, that is the end of that bit. | 1:05:42 | 1:05:44 | |
Now, all stand for the national anthem. | 1:05:46 | 1:05:49 | |
CASH REGISTER RINGS | 1:05:49 | 1:05:51 | |
IN DEEP VOICE: # God save our gracious Queen | 1:05:53 | 1:05:58 | |
# Long live our noble Queen | 1:05:58 | 1:06:02 | |
# God save our Queen. # | 1:06:02 | 1:06:06 | |
What a wonderful tune that is. | 1:06:06 | 1:06:08 | |
Lovely tune. My wife and I often sing it of an evening, you know? | 1:06:08 | 1:06:11 | |
I say to her, "Molly, shall we go down to the lounge | 1:06:11 | 1:06:14 | |
"and sing God Save The Queen?" She says, "Yes, John." | 1:06:14 | 1:06:17 | |
And we go down and sing it. | 1:06:17 | 1:06:18 | |
We often invite Ted and his mother to come over and sing it with us. | 1:06:18 | 1:06:21 | |
It really is a lovely tune. | 1:06:21 | 1:06:22 | |
# God save our... # | 1:06:22 | 1:06:25 | |
I can't understand why it isn't in the charts, you know. | 1:06:25 | 1:06:28 | |
But seriously, folks, is it, in fact, | 1:06:28 | 1:06:31 | |
like a dead palm tree? | 1:06:31 | 1:06:32 | |
Out of date. | 1:06:32 | 1:06:34 | |
HE CHUCKLES | 1:06:38 | 1:06:41 | |
Well, I think I got the best out of that joke. | 1:06:44 | 1:06:47 | |
Get the best out of this one, sailor. Whoopee! | 1:06:47 | 1:06:51 | |
Erm... | 1:06:51 | 1:06:52 | |
That was John Wells in a censored excerpt from the Mountbatten story. | 1:06:55 | 1:06:59 | |
To find out whether people | 1:07:01 | 1:07:03 | |
actually did stand for the national anthem, | 1:07:03 | 1:07:05 | |
we tried this simple experiment. | 1:07:05 | 1:07:07 | |
Example one. Kew Gardens. | 1:07:07 | 1:07:09 | |
GOD SAVE THE QUEEN PLAYS | 1:07:11 | 1:07:15 | |
MUSIC SWELLS | 1:07:27 | 1:07:30 | |
And number two, The Mall. | 1:07:57 | 1:07:59 | |
GOD SAVE THE QUEEN PLAYS | 1:07:59 | 1:08:02 | |
But then, suddenly, it's the Queen. GOD SAVE THE QUEEN PLAYS | 1:08:11 | 1:08:15 | |
Number four, a sewers. | 1:08:19 | 1:08:21 | |
GOD SAVE THE QUEEN PLAYS | 1:08:25 | 1:08:27 | |
CLANG Ow! | 1:08:27 | 1:08:29 | |
Finally... | 1:08:29 | 1:08:32 | |
GOD SAVE THE QUEEN PLAYS | 1:08:32 | 1:08:34 | |
MUSIC SWELLS | 1:08:44 | 1:08:47 | |
(Screwdrivers? Screwdrivers?) | 1:08:56 | 1:08:59 | |
Well, there you see, there are those people who just won't! | 1:09:05 | 1:09:09 | |
But most people generally do stand for the national anthem. | 1:09:09 | 1:09:12 | |
What we can't understand is why they stand for Harold Wilson, | 1:09:12 | 1:09:15 | |
Edward Heath | 1:09:15 | 1:09:17 | |
and Mrs Enid Stone. | 1:09:17 | 1:09:19 | |
I'm Enid Stone and I'm 62. | 1:09:19 | 1:09:22 | |
62, isn't that wonderful, ladies and gentlemen? | 1:09:22 | 1:09:25 | |
She's 62. Great big hand for Enid Stone, | 1:09:25 | 1:09:28 | |
who's 62 and scratching on the... APPLAUSE DROWNS HIM OUT | 1:09:28 | 1:09:30 | |
But what of those expatriates | 1:09:35 | 1:09:36 | |
who are beyond the earshot of God Save The Queen? | 1:09:36 | 1:09:39 | |
There they lie, in the corner of some foreign suit | 1:09:39 | 1:09:41 | |
that is forever ignorant. | 1:09:41 | 1:09:43 | |
We carried out a national anthem survey with Lord Louis Mountbatten | 1:09:43 | 1:09:46 | |
who had taken time off from filming Ben Hur with a cast of sailors. | 1:09:46 | 1:09:48 | |
Hello, sailor! | 1:09:48 | 1:09:51 | |
HE LAUGHS | 1:09:51 | 1:09:52 | |
Using GPO national anthem detectors, | 1:09:54 | 1:09:57 | |
we discovered that all people living in these areas - here, | 1:09:57 | 1:10:01 | |
there and there - | 1:10:01 | 1:10:03 | |
were totally without GSTQ - | 1:10:03 | 1:10:06 | |
God Save The Queen. | 1:10:06 | 1:10:08 | |
Yes, we at the Foreign and Commonwealth Office | 1:10:08 | 1:10:10 | |
decided to invent a pill | 1:10:10 | 1:10:12 | |
which would make you hear the national anthem in your mind. | 1:10:12 | 1:10:16 | |
It's wonderful. Very good. | 1:10:32 | 1:10:34 | |
I heard every...every note. | 1:10:34 | 1:10:35 | |
# God save... # | 1:10:35 | 1:10:37 | |
HE CLUCKS | 1:10:37 | 1:10:39 | |
HOWLING | 1:10:39 | 1:10:40 | |
WOOFING | 1:10:40 | 1:10:42 | |
Of course, these national anthem pills | 1:10:42 | 1:10:45 | |
have got very, very nasty side effects. | 1:10:45 | 1:10:47 | |
But there are other, far worse problems. | 1:10:47 | 1:10:50 | |
Let us visit the National Anthem Addiction Centre at Sandringham. | 1:10:50 | 1:10:54 | |
Here, we see many sufferings the advanced thralls | 1:10:59 | 1:11:02 | |
and acute agonies of national anthem mania. | 1:11:02 | 1:11:05 | |
PATIENTS CHATTER | 1:11:05 | 1:11:08 | |
God save the queen. The queen! | 1:11:08 | 1:11:10 | |
The Queen, God bless her! The Queen, God bless her! | 1:11:10 | 1:11:12 | |
Queen! Queen! QUEEN! Queen! Queen! | 1:11:12 | 1:11:16 | |
God save the queen, god bless her. The Queen! The Queen! The Queen. | 1:11:16 | 1:11:19 | |
The queen, God bless her! The queen, god bless her! | 1:11:19 | 1:11:22 | |
PATIENTS BABBLE | 1:11:22 | 1:11:24 | |
These are the withdrawal symptoms of compulsive patriotism, | 1:11:24 | 1:11:27 | |
even though these people have not heard | 1:11:27 | 1:11:30 | |
the national anthem for three weeks. | 1:11:30 | 1:11:32 | |
Fortunately, the GPO has came up with a dial-an-anthem service. | 1:11:32 | 1:11:35 | |
LA MARSEILLAISE BLARES | 1:11:39 | 1:11:43 | |
Operator, I've got a wrong anthem. Hello? | 1:11:43 | 1:11:46 | |
Let that give comfort to those who scoff at The Patriot, | 1:11:46 | 1:11:49 | |
the well-known restaurant which serves brown Windsor soup | 1:11:49 | 1:11:51 | |
in the shape of the Duke of Edinburgh. | 1:11:51 | 1:11:54 | |
This week saw the start of the South London Unorthodox, | 1:11:54 | 1:11:58 | |
Amateur Athletics Association sport week. | 1:11:58 | 1:12:00 | |
Here, we see competitors from the Bromley Operatic Society | 1:12:00 | 1:12:04 | |
in the 100 metres singing relay. | 1:12:04 | 1:12:07 | |
THEY SING SCALES | 1:12:07 | 1:12:09 | |
On your marks... | 1:12:09 | 1:12:10 | |
GUNSHOT | 1:12:10 | 1:12:11 | |
JERUSALEM: # And did those feet | 1:12:11 | 1:12:13 | |
FASCINATING RHYTHM: # Fascinating rhythm, you've got me on the run | 1:12:13 | 1:12:16 | |
# In ancient time # Fascinating rhythm | 1:12:16 | 1:12:18 | |
# What a mess you're making The neighbours want to know | 1:12:18 | 1:12:20 | |
# Walk upon England's mountains green? | 1:12:20 | 1:12:21 | |
# Why am I shaking like a flivver? | 1:12:21 | 1:12:23 | |
# Each morning I get up with the sun | 1:12:23 | 1:12:24 | |
# And was the holy Lamb of God | 1:12:24 | 1:12:25 | |
# To find at night no work has been done. | 1:12:25 | 1:12:28 | |
# On England's pleasant pastures seen? | 1:12:28 | 1:12:30 | |
THEY CONTINUE TO SING | 1:12:30 | 1:12:33 | |
# And did the Countenance Divine | 1:12:37 | 1:12:38 | |
# Won't you take a day off? | 1:12:38 | 1:12:39 | |
# Decide to run along | 1:12:39 | 1:12:40 | |
# Somewhere far away off and make it snappy | 1:12:40 | 1:12:42 | |
# Shine forth upon our clouded hills? | 1:12:42 | 1:12:44 | |
# Oh, how I long to be the girl I used to be | 1:12:44 | 1:12:47 | |
# What a mess you're making | 1:12:57 | 1:12:58 | |
# The neighbours want to know why | 1:12:58 | 1:13:00 | |
# I'm always shaking | 1:13:00 | 1:13:01 | |
THE OTHER SINGS JERUSALEM | 1:13:01 | 1:13:02 | |
# Fascinating rhythm | 1:13:02 | 1:13:05 | |
# Oh, won't you stop picking on ME! # | 1:13:05 | 1:13:08 | |
Today sees the finale | 1:13:08 | 1:13:09 | |
of the annual grandmother-hurling contest at Beachy Head. | 1:13:09 | 1:13:12 | |
The grandmothers and contestants | 1:13:12 | 1:13:14 | |
are just warming up for the final throws. | 1:13:14 | 1:13:17 | |
So, over to Ivor Pulcock. | 1:13:17 | 1:13:18 | |
Hello, it's a great day for the grandmother-hurling finals | 1:13:18 | 1:13:23 | |
here at Beachy Head. In the last three eliminations, | 1:13:23 | 1:13:25 | |
over 100 grandmothers were successfully thrown out to sea, | 1:13:25 | 1:13:29 | |
out of which, only two returned back in the penalty time | 1:13:29 | 1:13:33 | |
of one-and-a-half minutes. | 1:13:33 | 1:13:35 | |
Let's go over to last year's champion hurler and grandmother. | 1:13:35 | 1:13:39 | |
Hello, this is Mr John Squonk, and his grandmother, Mrs Ethel Squonk. | 1:13:41 | 1:13:45 | |
Good morning. Could you tell us, how old are you? | 1:13:45 | 1:13:48 | |
Five-feet-three. | 1:13:48 | 1:13:51 | |
And what made you offer yourself for this hurling contest? | 1:13:51 | 1:13:54 | |
Well, I am a widow | 1:13:54 | 1:13:56 | |
and my husband died, | 1:13:56 | 1:13:59 | |
my cat died, but... | 1:13:59 | 1:14:01 | |
I didn't. | 1:14:01 | 1:14:03 | |
So, my gardener came and did this. | 1:14:03 | 1:14:06 | |
Yes, my word. We come down here in the good weather, | 1:14:06 | 1:14:09 | |
I give her several good hurls off the cliff on the weekend. | 1:14:09 | 1:14:12 | |
We have some great fun and the money comes in handy. | 1:14:12 | 1:14:14 | |
Hello, this is Mr Arthur Grainger and his 80-year-old grandmother. | 1:14:14 | 1:14:19 | |
Major. Major... I think... Grandmother and teacher. | 1:14:19 | 1:14:23 | |
And 91. 91? 91. | 1:14:23 | 1:14:25 | |
Well, well, well, goodness me, 91 years of age. 91. | 1:14:25 | 1:14:29 | |
And the coroner said she was dead, but... | 1:14:29 | 1:14:33 | |
I got a second opinion, | 1:14:33 | 1:14:36 | |
mine, | 1:14:36 | 1:14:38 | |
and she was in a... | 1:14:38 | 1:14:40 | |
She looked all right, so I put her... | 1:14:40 | 1:14:42 | |
She's 91, you see, and they go that way in the end. | 1:14:42 | 1:14:46 | |
Major... They can't help it. When you say, "They go that way..." | 1:14:46 | 1:14:50 | |
91. Because she's 91? Yeah, and a major... Yourself? | 1:14:50 | 1:14:54 | |
You are...? A major. | 1:14:54 | 1:14:56 | |
HE MUMBLES | 1:14:56 | 1:14:58 | |
Could you tell us this? Why are you...? | 1:14:58 | 1:15:01 | |
HE MUMBLES I beg your pardon? | 1:15:01 | 1:15:03 | |
The wind blows rough. What I wanted to know, Major... | 1:15:03 | 1:15:06 | |
Put a ramp on her, Derek! Yes... Put a ramp on her! Yes. | 1:15:06 | 1:15:10 | |
Major? Oh, we haven't got any blocks for the wheel. | 1:15:10 | 1:15:13 | |
I'm telling him that you're 91. | 1:15:13 | 1:15:15 | |
I'd like to... 91. Why are you using apparatus? | 1:15:15 | 1:15:19 | |
Well, she's got, er... She's got these, er... | 1:15:19 | 1:15:22 | |
weak ankles, you see, and, er, | 1:15:22 | 1:15:24 | |
she's had them more than a week, actually. Two weeks. | 1:15:24 | 1:15:27 | |
I suppose the straps will go round... | 1:15:27 | 1:15:29 | |
The particular straps... The scrabsons on the blink. | 1:15:29 | 1:15:31 | |
Because of the scrabsons on the blink? ..A scrabson on the blink. | 1:15:31 | 1:15:34 | |
We've got these hairy socks and I don't like the hand-held one. | 1:15:34 | 1:15:38 | |
And you prefer the traditional meth...? No, I like the hurl method. | 1:15:38 | 1:15:44 | |
Hurl out to sea. | 1:15:44 | 1:15:46 | |
She's left me money in the will and there's the cottage. I see. | 1:15:46 | 1:15:49 | |
And, er... And this is...? I'm telling you... Yes. | 1:15:49 | 1:15:52 | |
I see. So, I think we're ready... | 1:15:52 | 1:15:54 | |
BELL CLANGS That sounds... She's 91 and ready. | 1:15:54 | 1:15:57 | |
Right, you are. I think we're ready for the first... | 1:15:57 | 1:16:00 | |
I mean...for the first hurl. | 1:16:00 | 1:16:03 | |
The major is just making sure that the straps are... | 1:16:03 | 1:16:05 | |
Get your fingers in your ears, Granny. | 1:16:05 | 1:16:07 | |
I'll put my fingers in my ears. And clench your teeth so they don't pop. | 1:16:07 | 1:16:11 | |
She's clenching her teeth now... See the rocks? | 1:16:11 | 1:16:14 | |
Flatten out! He has instructed her... | 1:16:14 | 1:16:18 | |
He's instructed her now to flatten out over the rocks when... | 1:16:18 | 1:16:22 | |
as she's about to go. Now... | 1:16:22 | 1:16:24 | |
Ready, dear? I'm ready. | 1:16:24 | 1:16:26 | |
I think he's ready now. Looking at his watch, he's... | 1:16:29 | 1:16:33 | |
SHE SCREAMS | 1:16:33 | 1:16:36 | |
Oh, Major, that really was quite wonderful. | 1:16:36 | 1:16:39 | |
I'd like to congratulate you. | 1:16:39 | 1:16:41 | |
It was really a wonderful hurl. A wonderful hurl. Good for her! | 1:16:41 | 1:16:45 | |
And now, John Squonk OBE with his traditional freestyle hurl. | 1:16:45 | 1:16:49 | |
Don't worry, darling, the rocks will break your fault. All right, love. | 1:16:49 | 1:16:52 | |
He's ready now. | 1:16:52 | 1:16:53 | |
He wheels her out once, twice... | 1:16:53 | 1:16:55 | |
He's building up into a powerful loop, into ever-increasing circles. | 1:16:55 | 1:16:58 | |
And it's... WOMAN SCREAMS | 1:16:58 | 1:17:00 | |
That was a beauty! It certainly could be a close thing. | 1:17:02 | 1:17:05 | |
UPBEAT PIANO TUNE | 1:17:07 | 1:17:09 | |
# Yesterday, all my troubles seemed so far away | 1:17:13 | 1:17:17 | |
# Now it looks as though they're here to stay | 1:17:17 | 1:17:20 | |
# Oh, I believe in yesterday | 1:17:20 | 1:17:23 | |
# Suddenly... | 1:17:25 | 1:17:26 | |
# Suddenly, I'm just half the man I used... | 1:17:26 | 1:17:31 | |
# There's a shadow hanging over me | 1:17:31 | 1:17:34 | |
# Oh, yesterday came suddenly | 1:17:34 | 1:17:37 | |
# Why she had to go I don't know | 1:17:37 | 1:17:39 | |
# She wouldn't say | 1:17:39 | 1:17:41 | |
# I said something wrong Now I think of yesterday... # | 1:17:43 | 1:17:48 | |
Agh! | 1:17:48 | 1:17:49 | |
PIANO STOPS ABRUPTLY | 1:17:49 | 1:17:51 | |
# Yesterday HE PLAYS TWO NOTES | 1:17:53 | 1:17:56 | |
# All my troubles seemed so far... | 1:17:59 | 1:18:01 | |
# Far away | 1:18:02 | 1:18:04 | |
# Now I need a place to... | 1:18:04 | 1:18:07 | |
# Hide away | 1:18:07 | 1:18:08 | |
# Oh, I believe... | 1:18:08 | 1:18:10 | |
# In yester... Agh! Agh! | 1:18:15 | 1:18:17 | |
# Yester... Agh! | 1:18:20 | 1:18:22 | |
# I bel... Agh! # | 1:18:25 | 1:18:27 | |
What you are seeing, at this very moment, | 1:18:34 | 1:18:36 | |
is the smallest police station in the world, | 1:18:36 | 1:18:39 | |
and I am but a voice-over. | 1:18:39 | 1:18:42 | |
Oh, no, it isn't. | 1:18:43 | 1:18:44 | |
This is the smallest police station in the world. | 1:18:44 | 1:18:46 | |
Yes, it will hold three fully grown policemen, | 1:18:46 | 1:18:50 | |
or eight large constables. | 1:18:50 | 1:18:52 | |
Lies! That man is lying! | 1:18:52 | 1:18:55 | |
I'm not, I'm standing on my head. | 1:18:55 | 1:18:56 | |
Groans! Groans! | 1:18:59 | 1:19:00 | |
No, this is the smallest police station in the world. | 1:19:00 | 1:19:05 | |
And I should know. | 1:19:05 | 1:19:07 | |
Let us put an end to these rumours. | 1:19:07 | 1:19:10 | |
This is definitely the smallest police station in the world. | 1:19:10 | 1:19:14 | |
I am about to incarcerate a criminal in it. | 1:19:15 | 1:19:19 | |
HE SPEAKS GIBBERISH | 1:19:19 | 1:19:21 | |
Elementary, my dear Watson. | 1:19:26 | 1:19:28 | |
Brilliant. | 1:19:28 | 1:19:29 | |
I see there's only a skeleton service running tonight. Brilliant. | 1:19:32 | 1:19:36 | |
OK, you dirty rat! | 1:19:36 | 1:19:38 | |
Hands together! Kneel down! | 1:19:38 | 1:19:41 | |
Now listen, blue eyes. | 1:19:41 | 1:19:43 | |
HE SPEAKS LATIN | 1:19:43 | 1:19:46 | |
Amen. | 1:19:46 | 1:19:48 | |
HE WAILS | 1:19:48 | 1:19:50 | |
This man is laying on his back, cutting his throat, | 1:19:50 | 1:19:53 | |
groaning and overacting. | 1:19:53 | 1:19:55 | |
He's wearing a greasy bowler. Brilliantine! | 1:19:55 | 1:19:57 | |
But, God, he's been... | 1:20:00 | 1:20:03 | |
ordained! | 1:20:03 | 1:20:05 | |
MUSIC: Toccata and Fugue in D Minor by JS Bach | 1:20:05 | 1:20:09 | |
Ordained? But who do you suspect? | 1:20:09 | 1:20:11 | |
It looks like a typical 6?-inch collar, | 1:20:11 | 1:20:13 | |
Archbishop of Canterbury job to me. | 1:20:13 | 1:20:15 | |
I'm Jewish! There, there. Now, you're... | 1:20:15 | 1:20:19 | |
Christian. | 1:20:19 | 1:20:21 | |
Oh, my... | 1:20:21 | 1:20:22 | |
We must get him to the de-ordination hospital as soon as possible. | 1:20:22 | 1:20:26 | |
And lo, he came to the mountain and fell down... | 1:20:33 | 1:20:37 | |
Oy! | 1:20:38 | 1:20:41 | |
And so it came to pass that they all spake out... | 1:20:41 | 1:20:46 | |
Oy! | 1:20:46 | 1:20:47 | |
One more time! | 1:20:47 | 1:20:49 | |
And all tribes... | 1:20:49 | 1:20:52 | |
Oy! He doesn't know when he's beaten. | 1:20:52 | 1:20:54 | |
Are you the Jewish mother? | 1:20:55 | 1:20:58 | |
Well, no, actually I'm a Catholic, but I'll do anything for money. | 1:20:58 | 1:21:01 | |
This is the worst case of ordination I've seen | 1:21:02 | 1:21:05 | |
since Pope Pius did the Archbishop of Canterbury job. | 1:21:05 | 1:21:08 | |
Remember Harley Street. | 1:21:08 | 1:21:10 | |
Ha! | 1:21:10 | 1:21:12 | |
Good God! | 1:21:12 | 1:21:14 | |
HE GROANS | 1:21:14 | 1:21:16 | |
It's taken! | 1:21:19 | 1:21:20 | |
MUSIC: Toccata and Fugue in D Minor by JS Bach | 1:21:20 | 1:21:25 | |
Abie! Abie! | 1:21:25 | 1:21:28 | |
My name's Dick. | 1:21:28 | 1:21:30 | |
Dick! Dick! Anything for money. | 1:21:30 | 1:21:33 | |
WHISTLE BLOWS | 1:21:33 | 1:21:35 | |
Sherlock Holmes? | 1:21:35 | 1:21:37 | |
Listen to me, sergeant. | 1:21:37 | 1:21:38 | |
I must warn you that anything you say that is funnier than me, | 1:21:40 | 1:21:44 | |
will be cut out in the edited repeats. | 1:21:44 | 1:21:47 | |
Here is a newsflash. It's been reported that | 1:21:47 | 1:21:49 | |
the Archbishop of Canterbury is holding out in Lewisham. | 1:21:49 | 1:21:53 | |
Exactly what he is holding out, the police will not say. | 1:21:53 | 1:21:57 | |
It's also reported that he's holding an atheist hostage. | 1:21:57 | 1:22:00 | |
And here is another flash. | 1:22:00 | 1:22:02 | |
Archbishop of Canterbury, we know you're in there | 1:22:04 | 1:22:07 | |
and we know we're out here. | 1:22:07 | 1:22:09 | |
Throw out your crosiers or we'll send in the Jesuits. | 1:22:09 | 1:22:12 | |
Get back, copper, I've got Margaret Thatcher prisoner. | 1:22:13 | 1:22:17 | |
One step nearer, and she gets ordained. | 1:22:17 | 1:22:20 | |
You fiend out of hell! | 1:22:21 | 1:22:23 | |
One step nearer, and I'll kill myself. | 1:22:23 | 1:22:26 | |
This is an opportunity not to be missed. | 1:22:26 | 1:22:28 | |
SHE SCREAMS | 1:22:29 | 1:22:30 | |
Mrs Thatcher, darling, are you all right? | 1:22:33 | 1:22:35 | |
Speak to me, Mrs Thatcher. | 1:22:37 | 1:22:38 | |
Speak to me! Can you hear me? | 1:22:38 | 1:22:40 | |
She's deaf! | 1:22:41 | 1:22:43 | |
KEITH LAUGHS | 1:22:43 | 1:22:45 | |
APPLAUSE | 1:23:05 | 1:23:09 | |
Mr and Mrs Aaagh. Ah. | 1:23:12 | 1:23:15 | |
Come in... | 1:23:15 | 1:23:16 | |
Now, then... | 1:23:29 | 1:23:30 | |
which one of you two is Mr and Mrs Aaagh? | 1:23:30 | 1:23:33 | |
We are. | 1:23:33 | 1:23:35 | |
Do you want this privately? | 1:23:37 | 1:23:39 | |
Or on the National Health? | 1:23:39 | 1:23:41 | |
National 'Ealth. | 1:23:41 | 1:23:42 | |
Now, then, what appears to be the trouble? | 1:23:54 | 1:23:57 | |
It's me husband. | 1:23:57 | 1:23:59 | |
HUSBAND QUACKS | 1:23:59 | 1:24:01 | |
Husband? | 1:24:04 | 1:24:05 | |
You want a solicitor, not a doctor. | 1:24:05 | 1:24:08 | |
No, me husband is ill, seriously. | 1:24:08 | 1:24:11 | |
Suddenly, he can't talk proper, like. | 1:24:11 | 1:24:13 | |
HE QUACKS | 1:24:13 | 1:24:15 | |
Has he ever talked proper, like? Oh, yes... | 1:24:19 | 1:24:22 | |
HE QUACKS | 1:24:22 | 1:24:23 | |
But recently, he's become very difficult to live with. | 1:24:25 | 1:24:29 | |
Do you find him trying? Aye. | 1:24:29 | 1:24:32 | |
Last night, I found him trying with Mrs Soper on the back step. | 1:24:32 | 1:24:36 | |
That's not an illness. Aye, he soon had one, though, | 1:24:36 | 1:24:39 | |
I fetched him one on the back of his nut with a coal shovel. | 1:24:39 | 1:24:43 | |
HE QUACKS | 1:24:43 | 1:24:44 | |
She screams and I belted him on the back of his nut again. | 1:24:44 | 1:24:47 | |
HE QUACKS | 1:24:47 | 1:24:48 | |
I said, "Bert, will you stop doing it while I'm trying to talk to her?" | 1:24:48 | 1:24:52 | |
It were that last blow that done something to his voice. What? | 1:24:54 | 1:24:58 | |
You tell him, Bert. | 1:24:58 | 1:25:00 | |
VOICE BEEPS LIKE A SYNTHESISER | 1:25:01 | 1:25:05 | |
Good heavens, the which of like I never have I not seen, | 1:25:10 | 1:25:14 | |
which in my whole career, etc... | 1:25:14 | 1:25:15 | |
Say, "The quick brown fox jumped over the lazy cow." | 1:25:15 | 1:25:19 | |
VOICE BEEPS LIKE A SYNTHESISER | 1:25:19 | 1:25:21 | |
Does he know Little Jack Horner? | 1:25:23 | 1:25:25 | |
If he lives in Deptford, yes. | 1:25:25 | 1:25:27 | |
No, I mean the nursery rhyme. | 1:25:28 | 1:25:30 | |
VOICE BEEPS LIKE A SYNTHESISER | 1:25:30 | 1:25:33 | |
Ladies and gentlemen, there is no known cure for this disease, | 1:25:46 | 1:25:50 | |
therefore there can be no known ending to this sketch. | 1:25:50 | 1:25:53 | |
HE QUACKS | 1:25:53 | 1:25:55 | |
AUDIENCE APPLAUDS | 1:26:11 | 1:26:13 | |
Here's a way of breaking eggs | 1:26:25 | 1:26:27 | |
without dirtying your hands. | 1:26:27 | 1:26:29 | |
Right? | 1:26:29 | 1:26:31 | |
And here's a way of losing weight rapidly. | 1:26:31 | 1:26:33 | |
Another thing - stains. Now, here's a way of saving money | 1:26:36 | 1:26:39 | |
on stains by not buying washing powder. | 1:26:39 | 1:26:42 | |
Now, food bills - here's a way of cutting down on family food bills. | 1:26:47 | 1:26:51 | |
THEY SCREAM | 1:26:52 | 1:26:54 | |
Steady now, steady now, now... | 1:27:00 | 1:27:02 | |
Take all your clothes off, stand in front of a mirror naked... | 1:27:02 | 1:27:05 | |
WOMAN IN AUDIENCE SHRIEKS | 1:27:05 | 1:27:07 | |
..and when you've stopped screaming...see if you can do this, | 1:27:08 | 1:27:12 | |
watch this, watch the monitor. | 1:27:12 | 1:27:14 | |
You fool, camera two! | 1:27:20 | 1:27:22 | |
You've given away the secret of a year. | 1:27:22 | 1:27:24 | |
It's all they do give away at the BBC. | 1:27:24 | 1:27:26 | |
HE SNIFFS | 1:27:26 | 1:27:27 | |
Get the Odour Eaters, the Odour Eaters! | 1:27:27 | 1:27:29 | |
SWING MUSIC PLAYS | 1:27:29 | 1:27:33 | |
# In a little town where life goes on | 1:27:37 | 1:27:40 | |
# There's a most fantastic fellow | 1:27:40 | 1:27:43 | |
# He's the leader of the village choir | 1:27:43 | 1:27:45 | |
# And his voice is warm and mellow | 1:27:45 | 1:27:47 | |
# He drives a fruit cart around the street | 1:27:47 | 1:27:50 | |
# And everybody knows it | 1:27:50 | 1:27:52 | |
# He doesn't sing or rave about his fruit | 1:27:52 | 1:27:55 | |
# He simply blows it... # | 1:27:55 | 1:27:57 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:28:00 | 1:28:03 | |
# Doing it all day long... # | 1:28:03 | 1:28:05 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:28:05 | 1:28:08 | |
# It's better than any song | 1:28:08 | 1:28:10 | |
# Though it isn't very pretty | 1:28:10 | 1:28:12 | |
# You've got to admit it's cute | 1:28:12 | 1:28:14 | |
# So all together let it go... # | 1:28:14 | 1:28:17 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:28:17 | 1:28:19 | |
# Eat more fruit... # | 1:28:19 | 1:28:20 | |
THEY ALL BLOW RASPBERRIES | 1:28:20 | 1:28:22 | |
# It's certainly come to stay... # | 1:28:22 | 1:28:25 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:28:25 | 1:28:26 | |
# You can hear him say | 1:28:26 | 1:28:29 | |
# Hey, fruit's in season | 1:28:29 | 1:28:31 | |
# Plenty of berries, apples, plums and the old raspberries... # | 1:28:31 | 1:28:34 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:28:34 | 1:28:36 | |
# Let's eat the best today | 1:28:36 | 1:28:38 | |
# Every Friday night when work is done | 1:28:44 | 1:28:47 | |
# He never wastes a minute | 1:28:47 | 1:28:49 | |
# To the village hall he hurries round | 1:28:49 | 1:28:52 | |
# Where he sings just like a linnet | 1:28:52 | 1:28:54 | |
# To hear him blow a melody | 1:28:54 | 1:28:57 | |
# It's great, you can't deny it | 1:28:57 | 1:28:59 | |
# And if you've nothing else to do | 1:28:59 | 1:29:02 | |
# I'd like you all to try it... # | 1:29:02 | 1:29:04 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:29:07 | 1:29:09 | |
# Get ready and do it now... # | 1:29:09 | 1:29:12 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:29:12 | 1:29:14 | |
# It's easy when you know how | 1:29:14 | 1:29:17 | |
# Though it isn't very pretty | 1:29:17 | 1:29:19 | |
# You've got to admit it's cute | 1:29:19 | 1:29:21 | |
# So all together let it go... # | 1:29:21 | 1:29:24 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:29:24 | 1:29:25 | |
# Eat more fruit | 1:29:25 | 1:29:27 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:29:27 | 1:29:29 | |
# It's certainly come to stay... # | 1:29:29 | 1:29:31 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:29:31 | 1:29:33 | |
# It's a treat to hear him say | 1:29:33 | 1:29:35 | |
# Hey, do, te, la, so, fa, me, ray, do... # | 1:29:35 | 1:29:39 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:29:39 | 1:29:41 | |
# Everything is fresh today... # | 1:29:42 | 1:29:45 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:30:06 | 1:30:08 | |
# It's certainly come to stay | 1:30:08 | 1:30:11 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:30:11 | 1:30:12 | |
# It's a treat to hear him say | 1:30:12 | 1:30:14 | |
# Hey, fruit's in season | 1:30:14 | 1:30:17 | |
# Plenty there, apples, plums and the old raspberries... # | 1:30:17 | 1:30:20 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:30:20 | 1:30:22 | |
# Everything is fresh today... # | 1:30:22 | 1:30:25 | |
HE BLOWS A TUNEFUL RASPBERRY | 1:30:25 | 1:30:29 | |
APPLAUSE | 1:30:31 | 1:30:32 | |
# Land of hope and glory | 1:30:32 | 1:30:38 | |
# Mother of the free | 1:30:38 | 1:30:43 | |
# God, who made thee mighty | 1:30:45 | 1:30:50 | |
# Make thee mightier yet | 1:30:50 | 1:30:55 | |
# Wider still and wider | 1:30:55 | 1:31:00 | |
# May the power... # | 1:31:00 | 1:31:04 | |
HE SPLUTTERS | 1:31:04 | 1:31:05 | |
# The song played forever | 1:31:05 | 1:31:10 | |
# Make thee mightier yet | 1:31:10 | 1:31:15 | |
# God, who made thee mighty | 1:31:15 | 1:31:21 | |
# Make thee mightier yet. # | 1:31:21 | 1:31:25 | |
You've talked about TV, but what about this world now? | 1:31:27 | 1:31:29 | |
The whole internet, computer world? I know nothing. | 1:31:29 | 1:31:32 | |
All I can tell you, it is going to screw us up. | 1:31:32 | 1:31:35 | |
FOX CRIES | 1:31:37 | 1:31:39 | |
The attention span, sort of thing, is going to be... | 1:31:47 | 1:31:51 | |
I think they're already noticing that kids are losing that... | 1:31:51 | 1:31:55 | |
FOX CRIES | 1:31:59 | 1:32:01 | |
I mean, I like a book, you know, I like the smell of 'em, you know, | 1:32:03 | 1:32:07 | |
I like the paper. I come from a way back, you know, so... | 1:32:07 | 1:32:11 | |
To possess something and have something meant having... | 1:32:11 | 1:32:15 | |
having it in your hand, you know, whether it was a record, a book. | 1:32:15 | 1:32:19 | |
And you put it on a shelf, you knew where it was. | 1:32:19 | 1:32:22 | |
I'm just a little antsy about thinking it's just somewhere | 1:32:22 | 1:32:25 | |
in the airwaves... | 1:32:25 | 1:32:26 | |
And I just do that and I hear it once. | 1:32:26 | 1:32:29 | |
"Oh, great..." I want to look at it. | 1:32:29 | 1:32:32 | |
I want to touch it, I want to feel it and I want to smell it. | 1:32:32 | 1:32:36 | |
And you're not going to get a lot of that out of a phone. | 1:32:36 | 1:32:40 | |
Probably... You'll find a resurgence of desire for books in a few years. | 1:32:40 | 1:32:48 | |
You're going through a technological revolution right now. | 1:32:48 | 1:32:52 | |
And everybody's fallen for it like suckers. | 1:32:52 | 1:32:56 | |
And...they'll get over it, you know... | 1:32:56 | 1:32:59 | |
When the electricity runs out. | 1:32:59 | 1:33:01 | |
MUSIC: Fire by The Crazy World Of Arthur Brown | 1:33:01 | 1:33:03 | |
# I am the God of hell fire And I bring you | 1:33:03 | 1:33:05 | |
# Fire | 1:33:05 | 1:33:07 | |
# I'll take you to burn | 1:33:07 | 1:33:09 | |
# Fire | 1:33:11 | 1:33:12 | |
# I'll take you to learn | 1:33:14 | 1:33:15 | |
# I'll see you burn | 1:33:18 | 1:33:20 | |
# You've fought hard and you've saved and earned | 1:33:24 | 1:33:29 | |
# But all of it's going to burn | 1:33:29 | 1:33:32 | |
# And your mind, your tiny mind | 1:33:32 | 1:33:34 | |
# You know you've really been so blind | 1:33:34 | 1:33:36 | |
# Now's your time, burn your mind You're falling far too far behind | 1:33:36 | 1:33:39 | |
# Oh, no | 1:33:39 | 1:33:41 | |
# Oh, no | 1:33:41 | 1:33:43 | |
# Oh, no | 1:33:43 | 1:33:44 | |
# You're gonna burn! | 1:33:45 | 1:33:47 | |
# Fire | 1:33:50 | 1:33:52 | |
# To destroy all you've done | 1:33:52 | 1:33:54 | |
# Fire | 1:33:57 | 1:33:58 | |
# To end all you've become | 1:33:59 | 1:34:01 | |
# I'll feel you burn | 1:34:03 | 1:34:06 | |
# You've been living like a little girl | 1:34:10 | 1:34:15 | |
# In the middle of your little world | 1:34:15 | 1:34:19 | |
# And your mind, your tiny mind, you know you've really been so blind | 1:34:21 | 1:34:25 | |
# Now's your time, burn your mind You're falling far too far behind | 1:34:25 | 1:34:30 | |
# Ooooooooh | 1:34:30 | 1:34:35 | |
# Fire | 1:34:35 | 1:34:36 | |
# I'll take you to burn | 1:34:38 | 1:34:40 | |
# Fire | 1:34:42 | 1:34:43 | |
# I'll take you to learn | 1:34:44 | 1:34:47 | |
# You're gonna burn | 1:34:50 | 1:34:52 | |
# You're gonna burn | 1:34:53 | 1:34:55 | |
# You're gonna burn | 1:34:57 | 1:34:58 | |
# Burn, burn, burn, burn | 1:34:58 | 1:35:02 | |
# Burn, burn, burn, burn | 1:35:02 | 1:35:04 | |
# Burn, burn, burn, burn | 1:35:04 | 1:35:07 | |
# Ahhhh, ha-ha-ha... | 1:35:07 | 1:35:12 | |
# Fire | 1:35:17 | 1:35:19 | |
# I'll take you to burn | 1:35:20 | 1:35:22 | |
# Fire | 1:35:24 | 1:35:25 | |
# I'll take you to learn | 1:35:27 | 1:35:29 | |
# Fire | 1:35:31 | 1:35:32 | |
# I'll take to burn | 1:35:33 | 1:35:35 | |
# Fire | 1:35:38 | 1:35:39 | |
# Fire... # | 1:35:41 | 1:35:44 | |
I don't want to be that connected to everybody, | 1:35:44 | 1:35:46 | |
which is why I don't have a phone or a computer. | 1:35:46 | 1:35:49 | |
Mind you, I have people that do, but... | 1:35:49 | 1:35:52 | |
But surely there's some good things about the internet? | 1:35:52 | 1:35:55 | |
Isn't it a good way of absorbing information? | 1:35:55 | 1:35:57 | |
Yeah, but how much can you absorb - what are you, | 1:35:57 | 1:35:59 | |
a piece of blotting paper, or what, Julien? | 1:35:59 | 1:36:01 | |
HE CHUCKLES | 1:36:01 | 1:36:03 | |
Things that people used to keep to themselves | 1:36:03 | 1:36:06 | |
and work out and figure out themselves, | 1:36:06 | 1:36:08 | |
are now sort of done online, | 1:36:08 | 1:36:10 | |
which is sort of second-hand living, to me. | 1:36:10 | 1:36:13 | |
Bloody...thing...won't work... | 1:36:14 | 1:36:17 | |
ANNOUNCER: Here's an announcement about reception conditions... | 1:36:19 | 1:36:22 | |
INTERFERENCE | 1:36:28 | 1:36:31 | |
The weird fascination with gossip. I don't have time for it, man. | 1:36:34 | 1:36:39 | |
They'll tell you, any of those Apples and Verizons - | 1:36:39 | 1:36:44 | |
"Where's the money in this? Gossip." | 1:36:44 | 1:36:46 | |
10% business, 90% yap, yap. | 1:36:46 | 1:36:49 | |
It's like going to dinner when people, you know... | 1:36:49 | 1:36:52 | |
You sit around a table and everybody's going like this. | 1:36:52 | 1:36:56 | |
You think, "What's the point of sitting around a table with yous?" | 1:36:56 | 1:37:00 | |
And I see it as almost like an addiction now, | 1:37:00 | 1:37:03 | |
that nobody's gonna get out of. | 1:37:03 | 1:37:05 | |
Me, I can cure myself. | 1:37:05 | 1:37:07 | |
Of whatever I'm hooked on. | 1:37:07 | 1:37:09 | |
But I don't think the world will be able to cure itself of the computer. | 1:37:09 | 1:37:14 | |
I hope you'll get over it, you know. | 1:37:14 | 1:37:17 | |
It ain't as hard as cold turkey. | 1:37:17 | 1:37:19 | |
And then all I've got to do is just squeeze until the bird's full. | 1:37:20 | 1:37:26 | |
INTERFERENCE | 1:37:26 | 1:37:27 | |
A blast of static. | 1:37:27 | 1:37:30 | |
It's up to you, guys, if you want to talk to each other that much but... | 1:37:30 | 1:37:34 | |
don't call me. I got no number. | 1:37:34 | 1:37:37 | |
MUSIC: Shake For Me by Howlin' Wolf | 1:37:38 | 1:37:44 | |
# Sure look good, you don't mean a thing | 1:37:44 | 1:37:50 | |
# Sure look good | 1:37:53 | 1:37:55 | |
# You don't mean a thing | 1:37:55 | 1:37:58 | |
# I got a crazy woman | 1:38:00 | 1:38:03 | |
# Shake like a willow tree | 1:38:03 | 1:38:06 | |
# Well, shake it, baby | 1:38:08 | 1:38:10 | |
# Shake it for me | 1:38:12 | 1:38:13 | |
# Oh, shake it, baby | 1:38:16 | 1:38:19 | |
# Shake it for me | 1:38:19 | 1:38:22 | |
# I got a crazy woman | 1:38:25 | 1:38:28 | |
# Sweet as she can be | 1:38:28 | 1:38:30 | |
# You'd better wait | 1:38:33 | 1:38:36 | |
# You got back too late | 1:38:36 | 1:38:38 | |
# Oh, you went away and left | 1:38:41 | 1:38:44 | |
# You done got back too late | 1:38:44 | 1:38:47 | |
# Now I got me another woman | 1:38:49 | 1:38:52 | |
# Shake like Jell-O | 1:38:52 | 1:38:55 | |
# Well... | 1:38:57 | 1:38:58 | |
# She's my baby | 1:39:22 | 1:39:25 | |
# You know she's fine | 1:39:25 | 1:39:27 | |
# Oh, she's my baby woman | 1:39:29 | 1:39:32 | |
# You know she's fine, you know | 1:39:32 | 1:39:35 | |
# Every time she shake | 1:39:38 | 1:39:40 | |
# Her flesh shake like jelly | 1:39:40 | 1:39:43 | |
# Well, shake | 1:39:45 | 1:39:47 | |
# Shake, shake | 1:39:49 | 1:39:50 | |
# Oh | 1:39:53 | 1:39:55 | |
# The way you shake it for me | 1:39:56 | 1:39:59 | |
# I got a crazy woman | 1:40:02 | 1:40:04 | |
# Shake like jelly on a plate. # | 1:40:04 | 1:40:07 | |
This is Ron Wood. And Keith Richards. | 1:41:02 | 1:41:05 | |
And, er... | 1:41:05 | 1:41:06 | |
we're watching MTV in stereo | 1:41:06 | 1:41:10 | |
and you'll never look at TV the same way again. Start it again. | 1:41:10 | 1:41:14 | |
THEY LAUGH | 1:41:14 | 1:41:16 | |
"Never look at music." | 1:41:16 | 1:41:17 | |
This is Keith Richards. This is Ron Wood. | 1:41:18 | 1:41:21 | |
We're watching MTV... | 1:41:21 | 1:41:22 | |
BOTH: ..in stereo! | 1:41:22 | 1:41:24 | |
And we'll never look at music the same way again. | 1:41:24 | 1:41:29 | |
DIRECTOR: Perfect. | 1:41:29 | 1:41:30 | |
Trust a pro. | 1:41:30 | 1:41:31 | |
The music video thing... | 1:41:31 | 1:41:33 | |
Let's face it, Julien, 30-odd years ago, | 1:41:33 | 1:41:36 | |
that's what we did together, right? | 1:41:36 | 1:41:38 | |
I don't think anybody saw that coming, | 1:41:38 | 1:41:40 | |
that you would, like, hook visuals to sound. | 1:41:40 | 1:41:45 | |
You make a record and they say, "And now, the video..." | 1:41:45 | 1:41:49 | |
The musicians and the guys that have made the record... OK... | 1:41:49 | 1:41:54 | |
And then they go and talk to a director... | 1:41:54 | 1:41:57 | |
who has his own vision of what this piece of music's about | 1:41:57 | 1:42:04 | |
and you're kind of like, "Mm, maybe, you know, why not?" | 1:42:04 | 1:42:08 | |
But at the same time, that's interesting, you know... | 1:42:08 | 1:42:12 | |
Sometimes... A guy's written a song | 1:42:12 | 1:42:15 | |
and the director has taken it totally the other way and... | 1:42:15 | 1:42:19 | |
you say, "What the hell's going on here?" | 1:42:19 | 1:42:22 | |
And then, of course, there's all of that over-the-top stuff, | 1:42:22 | 1:42:25 | |
just trying to excite the eyes and the song goes bye-bye. | 1:42:25 | 1:42:29 | |
Our eyeballs will go for anything, they're the whores of our senses. | 1:42:32 | 1:42:36 | |
The ears are a little more discriminating. | 1:42:36 | 1:42:39 | |
But the eyes... Just show it to them and they'll go for it. | 1:42:39 | 1:42:43 | |
And sometimes it can counter...react to what you're trying to play. | 1:42:48 | 1:42:52 | |
Hey, when it works, it really works. | 1:42:52 | 1:42:55 | |
There was some great videos made and we made a couple of good'uns. | 1:42:55 | 1:42:58 | |
DISTANT GUNSHOTS | 1:43:03 | 1:43:07 | |
MACHINE GUNFIRE | 1:43:14 | 1:43:15 | |
MUSIC: Undercover Of The Night by The Rolling Stones | 1:43:15 | 1:43:19 | |
# Heard the screams of Centre 42 | 1:43:41 | 1:43:43 | |
# Loud enough to bust your brains out | 1:43:44 | 1:43:47 | |
# The opposition's tongue is cut in two | 1:43:49 | 1:43:53 | |
# Keep off the street cos you're in danger | 1:43:53 | 1:43:55 | |
# 100,000 disparus | 1:43:57 | 1:44:01 | |
# Lost in the jails in South America | 1:44:01 | 1:44:03 | |
# Cuddle up, baby | 1:44:04 | 1:44:07 | |
# Cuddle up tight | 1:44:07 | 1:44:09 | |
# Cuddle up, baby | 1:44:09 | 1:44:11 | |
# Keep it all out of sight | 1:44:11 | 1:44:13 | |
# Undercover | 1:44:13 | 1:44:15 | |
# Keep it all out of sight | 1:44:15 | 1:44:16 | |
# Undercover of the night | 1:44:16 | 1:44:19 | |
# The sex police are out there on the streets | 1:44:28 | 1:44:32 | |
# Make sure the pass laws are not broken | 1:44:32 | 1:44:35 | |
# The race militia has got itchy fingers | 1:44:36 | 1:44:40 | |
# All the way from New York back to Africa | 1:44:40 | 1:44:44 | |
# Cuddle up, baby | 1:44:44 | 1:44:46 | |
# Keep it all out of sight | 1:44:46 | 1:44:48 | |
# Cuddle up, baby | 1:44:48 | 1:44:50 | |
# Keep it all out of sight | 1:44:50 | 1:44:52 | |
# Cuddle up, baby | 1:44:52 | 1:44:54 | |
# Keep it all out of sight | 1:44:54 | 1:44:56 | |
# Undercover | 1:44:56 | 1:44:58 | |
# Undercover | 1:44:58 | 1:45:00 | |
# Undercover | 1:45:00 | 1:45:02 | |
# Keep it all out of sight | 1:45:02 | 1:45:04 | |
# Undercover of the night | 1:45:04 | 1:45:07 | |
# All the young men they've been rounded up | 1:45:16 | 1:45:20 | |
# And sent to camps back in the jungle | 1:45:20 | 1:45:22 | |
# And people whisper People double-talk | 1:45:23 | 1:45:27 | |
# And once-proud fathers act so humble | 1:45:28 | 1:45:31 | |
# All the young girls They have got the blues | 1:45:31 | 1:45:35 | |
# They're heading on back to Centre 42 | 1:45:35 | 1:45:38 | |
# Keep it undercover | 1:45:38 | 1:45:41 | |
# Keep it all out of sight | 1:45:41 | 1:45:42 | |
# Keep it undercover | 1:45:42 | 1:45:45 | |
# Keep it all out of sight # | 1:45:45 | 1:45:47 | |
# Undercover | 1:45:47 | 1:45:49 | |
# Keep it all out of sight | 1:45:49 | 1:45:51 | |
# Undercover | 1:45:51 | 1:45:53 | |
# Keep it all out of sight | 1:45:57 | 1:45:59 | |
# Undercover of the night | 1:45:59 | 1:46:02 | |
# Down in the bars The girls are painted blue | 1:46:49 | 1:46:53 | |
# Done up in lace, done up in rubber | 1:46:53 | 1:46:57 | |
# The johns are jerky little GI Joes | 1:46:57 | 1:47:01 | |
# On R from Cuba and Russia | 1:47:01 | 1:47:04 | |
# The smell of sex, the smell of suicide | 1:47:05 | 1:47:08 | |
# All these dream things I can't keep inside | 1:47:10 | 1:47:13 | |
# Undercover | 1:47:13 | 1:47:15 | |
# Keep it all out of sight | 1:47:15 | 1:47:17 | |
# Undercover of the night | 1:47:17 | 1:47:20 | |
# Undercover of the night | 1:47:29 | 1:47:31 | |
# Undercover of the night | 1:47:33 | 1:47:35 | |
# Doo-doo-doo, doo-doo-doo-doo Doo-doo, doo-doo-doo | 1:47:37 | 1:47:40 | |
# Ow | 1:47:40 | 1:47:41 | |
# Doo-doo-doo, doo-doo-doo-doo Doo-doo, doo-doo-doo | 1:47:41 | 1:47:44 | |
# Ow | 1:47:44 | 1:47:45 | |
# Doo-doo-doo, doo-doo-doo-doo Doo-doo, doo-doo-doo | 1:47:45 | 1:47:48 | |
# Ow | 1:47:48 | 1:47:49 | |
# Doo-doo-doo, doo-doo-doo-doo Doo-doo, doo-doo-doo | 1:47:49 | 1:47:52 | |
# Undercover, undercover | 1:47:52 | 1:47:55 | |
# Undercover of the night. # | 1:47:55 | 1:47:58 | |
When we made that video, | 1:48:02 | 1:48:04 | |
I remember you taking me for a ride around Paris | 1:48:04 | 1:48:06 | |
in your mothballed Ferrari, you had then. | 1:48:06 | 1:48:08 | |
I don't believe I did it... | 1:48:08 | 1:48:10 | |
THEY LAUGH | 1:48:10 | 1:48:12 | |
ENGINE ROARS | 1:48:12 | 1:48:15 | |
TYRES SQUEAL | 1:48:28 | 1:48:30 | |
TYRES SQUEAL | 1:49:12 | 1:49:14 | |
TYRES SQUEAL | 1:50:25 | 1:50:29 | |
TYRES SQUEAL | 1:52:43 | 1:52:46 | |
TYRES SQUEAL | 1:54:59 | 1:55:01 | |
TYRES SQUEAL | 1:55:44 | 1:55:47 | |
DISTANT BELLS TOLL | 1:56:05 | 1:56:08 | |
Don't try that at home, folks. | 1:56:12 | 1:56:14 | |
What about when you wrote your book? Was there any sense | 1:56:17 | 1:56:20 | |
that you want to cover anything up or...? | 1:56:20 | 1:56:22 | |
You should see the blue pages, baby... | 1:56:22 | 1:56:25 | |
THEY LAUGH | 1:56:25 | 1:56:27 | |
The real book ended up on the editing room floor. | 1:56:27 | 1:56:31 | |
HE LAUGHS | 1:56:31 | 1:56:34 | |
You couldn't prove some of the things I said, | 1:56:35 | 1:56:38 | |
although I know they were true... | 1:56:38 | 1:56:39 | |
Yeah. ..especially about Scotland Yard. | 1:56:39 | 1:56:42 | |
FOX CRIES | 1:56:46 | 1:56:48 | |
Doing the book was like reliving your life twice, | 1:56:51 | 1:56:54 | |
and it actually took me a year or two after the book came out | 1:56:54 | 1:56:58 | |
to sort of...get out of that head...you know... | 1:56:58 | 1:57:03 | |
Because, yeah, it affected me more than I had imagined. | 1:57:03 | 1:57:07 | |
Remembering everything and dragging things out of the attic - | 1:57:07 | 1:57:10 | |
"I wish I'd forgotten that." Most people don't have to do that. | 1:57:10 | 1:57:14 | |
HE CHUCKLES | 1:57:14 | 1:57:16 | |
Some people would block it out, yeah... | 1:57:16 | 1:57:18 | |
I don't think you can ever forget, do you? | 1:57:18 | 1:57:21 | |
You just, like, rub it out. | 1:57:21 | 1:57:23 | |
Oblivion to the things you wanna forget, right? | 1:57:23 | 1:57:27 | |
And all the nice bits, you remember and... | 1:57:27 | 1:57:29 | |
When you've actually got to put it down on a page - | 1:57:29 | 1:57:34 | |
it was a piece of work for me... | 1:57:34 | 1:57:36 | |
And thank God for James Fox for being able to articulate | 1:57:36 | 1:57:41 | |
the stuff that was coming out, and.... | 1:57:41 | 1:57:43 | |
You know, I love it dearly. I'm glad I did it | 1:57:43 | 1:57:46 | |
but it was a... | 1:57:46 | 1:57:49 | |
Yeah...it was a process. | 1:57:49 | 1:57:50 | |
One really poetic phrase used in the book is, | 1:57:52 | 1:57:55 | |
"The past is like a broken mirror." I love that. | 1:57:55 | 1:57:58 | |
Well, have you looked at yours? | 1:57:58 | 1:58:00 | |
THEY LAUGH | 1:58:00 | 1:58:03 | |
You'll know exactly what it means! RAT SQUEAKS | 1:58:03 | 1:58:05 |