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'1911. The year of revolution in China | 0:00:02 | 0:00:06 | |
'and trigger-happy anarchists in London. | 0:00:06 | 0:00:08 | |
'The year the aeroplane changed history with the first airmail delivery | 0:00:08 | 0:00:12 | |
'and the world's first aerial bombing. | 0:00:12 | 0:00:15 | |
'And a year of discovery. In Marie Curie's laboratory in Paris | 0:00:15 | 0:00:18 | |
'and the blizzard-torn wastes of the South Pole. | 0:00:18 | 0:00:21 | |
'Today, we hear from the people who lived through history. | 0:00:22 | 0:00:27 | |
'They bear witness to an extraordinary year | 0:00:27 | 0:00:30 | |
'that shaped the modern world. | 0:00:30 | 0:00:33 | |
'As the year turns, the US cavalry | 0:00:43 | 0:00:46 | |
'are sent to secure the Rio Grande in the Mexican Revolution. | 0:00:46 | 0:00:50 | |
'America needs stability on her borders | 0:00:50 | 0:00:53 | |
'and she's determined to get it.' | 0:00:53 | 0:00:54 | |
There was a banging on the window. | 0:01:21 | 0:01:24 | |
We sleep on the ground floor. | 0:01:24 | 0:01:25 | |
And Sammy, my husband Samuel, he thought it was the milkman. | 0:01:27 | 0:01:30 | |
So he was shouting, "Not today! Not today!" | 0:01:30 | 0:01:34 | |
And then they kept on knocking. So I pushed open the window. | 0:01:34 | 0:01:37 | |
And there were all these coppers standing there in the dark. | 0:01:37 | 0:01:40 | |
This copper, he asked us who lives in the house. | 0:01:53 | 0:01:57 | |
It's our house. Sammy has his own tailor's workshop in the attic | 0:01:57 | 0:02:00 | |
and we let rooms out to the Clemers, the Shermans and Mrs Goujon. | 0:02:00 | 0:02:04 | |
He wanted me to go in Mrs Goujon's room and see if there was men there. | 0:02:04 | 0:02:07 | |
I said it was none of my business and none of his. | 0:02:07 | 0:02:10 | |
The coppers turned nasty. | 0:02:10 | 0:02:12 | |
"How long have you been in England? You could be aiding or abetting." | 0:02:12 | 0:02:16 | |
I was furious! Blackening our name! | 0:02:16 | 0:02:19 | |
The Fleishmans are well respected around here. | 0:02:19 | 0:02:22 | |
That's when I found out what was going on. | 0:02:37 | 0:02:39 | |
He said the men that killed those coppers were in my house upstairs. | 0:02:39 | 0:02:43 | |
The coppers had guns. | 0:02:45 | 0:02:46 | |
I didn't say anything. | 0:02:46 | 0:02:48 | |
I just got my children out of there as quick as I could. | 0:02:48 | 0:02:50 | |
I couldn't see much from next door, but I could hear the shots | 0:03:09 | 0:03:12 | |
and then I saw the copper go down. | 0:03:12 | 0:03:14 | |
I could see blood all over the cobbles. | 0:03:14 | 0:03:17 | |
I kept on hoping it would stop, but the gunmen kept on firing back. | 0:03:17 | 0:03:21 | |
There was a load of people gawping. Toffs, too. | 0:03:29 | 0:03:33 | |
I could see a man standing on the corner with a contraption. | 0:03:36 | 0:03:39 | |
Someone said it was a movie camera. | 0:03:39 | 0:03:42 | |
I could even hear a barrel organ with someone hawking hot chestnuts. | 0:03:42 | 0:03:46 | |
I thought the soldiers might finish it. | 0:03:57 | 0:04:00 | |
But I didn't see them make much difference. | 0:04:00 | 0:04:03 | |
This big, black car drives up. The coppers push the crowd aside and let it through. | 0:04:03 | 0:04:07 | |
And a man in a top hat gets out. | 0:04:07 | 0:04:09 | |
I didn't recognise him. Would you? | 0:04:18 | 0:04:21 | |
I never saw the coppers talk to the gunmen. They didn't have a megaphone. | 0:04:30 | 0:04:36 | |
They never shouted, "Give yourselves up or wave your white flag". Nothing. | 0:04:36 | 0:04:41 | |
It was about midday when Samuel saw the smoke. | 0:04:47 | 0:04:49 | |
Our house was on fire. | 0:04:55 | 0:04:57 | |
The police came in, said the fire was spreading and we needed to make a dash for it. | 0:05:01 | 0:05:05 | |
I've never run so fast in my life. | 0:05:07 | 0:05:08 | |
Then they pushed us into this crowd and they just left us there. | 0:05:12 | 0:05:15 | |
My home was in flames | 0:05:23 | 0:05:25 | |
and everyone just stood watching. | 0:05:25 | 0:05:28 | |
Wicked. | 0:05:29 | 0:05:30 | |
Our life was in that house. | 0:05:34 | 0:05:36 | |
The only photograph I had of my father. | 0:05:38 | 0:05:41 | |
Rachel's first pair of baby shoes. | 0:05:41 | 0:05:43 | |
All destroyed. And the coppers did nothing. | 0:05:43 | 0:05:46 | |
Nothing about it. | 0:05:46 | 0:05:48 | |
I thought it started to rain. | 0:06:14 | 0:06:15 | |
But they'd put the hoses on. | 0:06:17 | 0:06:18 | |
I saw Churchill. | 0:06:21 | 0:06:22 | |
He was as close to me as you are now. | 0:06:22 | 0:06:25 | |
He seemed to me like he was having a fine old time. | 0:06:25 | 0:06:29 | |
Then the firemen started to clear the house. | 0:06:37 | 0:06:39 | |
They just threw things onto the pavement. | 0:06:39 | 0:06:42 | |
Our bed, Rachel's cradle, our tin bath. | 0:06:42 | 0:06:45 | |
We lost Samuel's business, too. | 0:06:46 | 0:06:48 | |
And £900 worth of damage. | 0:06:50 | 0:06:51 | |
I've got it all itemised here. | 0:06:53 | 0:06:54 | |
That's all we're asking for. | 0:06:59 | 0:07:01 | |
Just some compensation. | 0:07:02 | 0:07:04 | |
I can't believe it. | 0:07:15 | 0:07:17 | |
I still can't believe it. | 0:07:18 | 0:07:20 | |
'These horses have an important job to do. | 0:07:39 | 0:07:41 | |
'And the Army make sure they're in tip-top condition. | 0:07:41 | 0:07:44 | |
'Men and horses have to be battle-ready. | 0:07:44 | 0:07:47 | |
'Watch out, Dobbin, that bank takes a bit of muscle power! | 0:07:47 | 0:07:50 | |
'And he's over. And ready to fight another day. | 0:07:50 | 0:07:54 | |
'After ten years of recession and falling wages, | 0:08:01 | 0:08:04 | |
'workers across Britain have had enough. | 0:08:04 | 0:08:06 | |
'In Glasgow, a strike threatens the mighty Singer factory.' | 0:08:06 | 0:08:11 | |
I've worked in this factory nearly all my life. | 0:08:16 | 0:08:19 | |
But I've never seen inside that room. | 0:08:19 | 0:08:22 | |
I've seen people come out of it, though. | 0:08:22 | 0:08:25 | |
They look smaller. | 0:08:25 | 0:08:26 | |
It's my turn now. | 0:08:28 | 0:08:29 | |
Look at this. | 0:08:32 | 0:08:34 | |
It takes 41 pairs of hands just to make one. | 0:08:34 | 0:08:38 | |
You know, these things can go twice the speed of the best seamstress. | 0:08:40 | 0:08:44 | |
Nice, straight lines they make, too. | 0:08:44 | 0:08:47 | |
But the best stories are hand-stitched. | 0:08:52 | 0:08:57 | |
'I remember when this place was nothing but grass. | 0:08:58 | 0:09:02 | |
'Mammy took me here. | 0:09:02 | 0:09:04 | |
'There was no black dust then. No noise. | 0:09:04 | 0:09:07 | |
'Now the whole town comes this way. | 0:09:12 | 0:09:14 | |
'Cramming in before the 7:00am bell. | 0:09:14 | 0:09:16 | |
'The foreman, we call him Crippen, | 0:09:19 | 0:09:22 | |
'he's always on the lookout for stragglers. | 0:09:22 | 0:09:25 | |
'I work on the needles. | 0:09:28 | 0:09:30 | |
'Just one cog in a machine of 12,000. | 0:09:30 | 0:09:33 | |
'They wanted us to work harder, longer, for less.' | 0:09:39 | 0:09:44 | |
The women always catch it worse. | 0:09:44 | 0:09:47 | |
They chucked three girls out of the polishing. | 0:09:48 | 0:09:51 | |
Told the rest to take the slack. | 0:09:51 | 0:09:54 | |
It was all the same to them. But for us, that was the start. | 0:09:54 | 0:09:59 | |
Nancy shouted, "Polishers are out!" | 0:10:01 | 0:10:03 | |
I rushed to the window, and right enough. | 0:10:03 | 0:10:07 | |
Only 12 of them. | 0:10:07 | 0:10:09 | |
Made me think of David and Goliath. | 0:10:09 | 0:10:11 | |
Except David never wore a pinny. | 0:10:11 | 0:10:14 | |
That's when I felt the needle go right through. | 0:10:14 | 0:10:17 | |
Other folk felt it too. | 0:10:17 | 0:10:19 | |
The men came down and stood next to us. | 0:10:21 | 0:10:24 | |
Strange to see them mix in with us, | 0:10:24 | 0:10:26 | |
but we turned 12 into 10,000. | 0:10:26 | 0:10:30 | |
10,000 workers side by side, you'd never seen anything like it. | 0:10:30 | 0:10:35 | |
There were reporters down every day. | 0:10:42 | 0:10:46 | |
They took our pictures for the paper. | 0:10:46 | 0:10:49 | |
I put it next to Mammy's bed for her. | 0:10:49 | 0:10:51 | |
The whole world was watching. | 0:10:51 | 0:10:54 | |
He's in just now. | 0:10:57 | 0:10:59 | |
Critten. | 0:10:59 | 0:11:00 | |
Spinning tales about me. | 0:11:00 | 0:11:03 | |
The boss has been asking who he reckons are "fiery customers". | 0:11:03 | 0:11:07 | |
In the park, I jumped on the lorry. Couldn't help myself. | 0:11:09 | 0:11:13 | |
Started leading the chants. | 0:11:13 | 0:11:16 | |
Me mammy always tells me off for shouting, | 0:11:16 | 0:11:18 | |
says I've got a foghorn for a mouth. | 0:11:18 | 0:11:22 | |
That's not a bad thing when you've got 1,000 faces staring at you. | 0:11:22 | 0:11:25 | |
Aye, see, on a bitter cold morning out there, | 0:11:25 | 0:11:29 | |
it's a great thing to be fiery. | 0:11:29 | 0:11:32 | |
We were like an army at dawn. | 0:11:32 | 0:11:35 | |
Maybe it was just a trick of the light, but I thought I saw a wee spark in us. | 0:11:35 | 0:11:39 | |
A flame of hope, of unity. | 0:11:39 | 0:11:43 | |
The bosses had to listen. They HAD to see us now. | 0:11:45 | 0:11:48 | |
We felt like we had marched to America, to Singer himself. | 0:11:48 | 0:11:54 | |
Nothing. | 0:11:54 | 0:11:56 | |
Silence. | 0:11:56 | 0:11:58 | |
They refused to talk to us. | 0:11:58 | 0:12:01 | |
We couldn't work out if they were cowards or canny. | 0:12:01 | 0:12:05 | |
On the 4th April, we got an answer. | 0:12:09 | 0:12:12 | |
Not everybody got one. | 0:12:14 | 0:12:15 | |
"It would've been useless to send to everyone," they said. | 0:12:15 | 0:12:19 | |
They were addressed to "The former employees of the Singer Manufacturing Company". | 0:12:19 | 0:12:25 | |
"Former" | 0:12:25 | 0:12:26 | |
This isn't a letter. It's a threat. | 0:12:26 | 0:12:29 | |
To put you in your place, like the clocks and Crippen in that room. | 0:12:29 | 0:12:34 | |
To rob your pride, make you foolish, | 0:12:34 | 0:12:39 | |
"What are you going to do without work, an old spinster like you?" That's what this says. | 0:12:39 | 0:12:44 | |
Shame you don't have a man to look after you and your crippled mammy. | 0:12:44 | 0:12:48 | |
Sad, that. | 0:12:48 | 0:12:50 | |
Shame you'll be forced into sweatshops, the two of you, | 0:12:50 | 0:12:54 | |
to earn a crust between you. | 0:12:54 | 0:12:56 | |
We all thought about what we could lose. | 0:12:58 | 0:13:01 | |
-The letter poisoned us. -BABIES CRY, CHILDREN LAUGH | 0:13:01 | 0:13:05 | |
They needed 6,000 signatures to get the Singer machine going again. | 0:13:16 | 0:13:22 | |
Well, they weren't getting mine. | 0:13:22 | 0:13:25 | |
But what about the others? | 0:13:27 | 0:13:28 | |
See, if I'm a single thread, you can break me easy. | 0:13:32 | 0:13:36 | |
But a thread with hundreds more, or thousands, | 0:13:38 | 0:13:42 | |
all entwined together, | 0:13:42 | 0:13:45 | |
then I'm as strong as old rope. | 0:13:45 | 0:13:47 | |
Course, you'd be daft if you thought they'd play fair. | 0:13:50 | 0:13:54 | |
Ballots started to turn up everywhere. | 0:13:54 | 0:13:57 | |
People who hadn't worked at the factory for years. | 0:13:57 | 0:14:00 | |
Some for many more years than that. | 0:14:00 | 0:14:02 | |
WIND BLOWS | 0:14:02 | 0:14:05 | |
Others got more than one ballot, some got none at all. | 0:14:05 | 0:14:09 | |
It was the first time I'd ever voted. | 0:14:10 | 0:14:13 | |
Like the rest of the women, we'd waited a long time. | 0:14:13 | 0:14:17 | |
But, it was a fix. | 0:14:17 | 0:14:20 | |
They'd stolen our voices - | 0:14:20 | 0:14:22 | |
6,527 of them. | 0:14:22 | 0:14:26 | |
There were no words when the strike ended. Just blank faces. | 0:14:30 | 0:14:34 | |
A big turnout, but all I could hear was the wind in the trees. | 0:14:35 | 0:14:40 | |
Made me think of a funeral. | 0:14:40 | 0:14:41 | |
You know that feeling, that gnawing at the pit of your stomach? | 0:14:44 | 0:14:49 | |
That dryness in your mouth? | 0:14:49 | 0:14:51 | |
That's failure. | 0:14:51 | 0:14:53 | |
I thought I was a strong woman. | 0:14:54 | 0:14:57 | |
I chose work over love. | 0:14:57 | 0:15:00 | |
Wages instead of family. | 0:15:01 | 0:15:04 | |
To stand for myself. | 0:15:05 | 0:15:07 | |
To stand for everyone. | 0:15:08 | 0:15:10 | |
So, what did we end up with? | 0:15:11 | 0:15:13 | |
A bad living made worse? | 0:15:14 | 0:15:17 | |
Working under bullies | 0:15:17 | 0:15:19 | |
if you're lucky... | 0:15:19 | 0:15:21 | |
Why tell this story? | 0:15:23 | 0:15:25 | |
To show us how hope dies. | 0:15:27 | 0:15:30 | |
But, no... | 0:15:37 | 0:15:38 | |
Do you see it? | 0:15:38 | 0:15:40 | |
Is it a trick of the light? | 0:15:40 | 0:15:42 | |
We know now, what's been denied us. | 0:15:44 | 0:15:47 | |
< Jane Rae? | 0:15:51 | 0:15:52 | |
We'll remember. | 0:16:00 | 0:16:02 | |
Pierre Prier is the first man to fly non-stop from London to Paris. | 0:16:16 | 0:16:21 | |
Just look at this beauty. It only took him three hours 56 minutes. | 0:16:21 | 0:16:25 | |
So plenty of time to get to the Champs-Elysees for a spot of lunch. | 0:16:25 | 0:16:29 | |
Up and down the country, families struggle to fill in the census. | 0:16:29 | 0:16:32 | |
Except for the Suffragettes who boycott the form. | 0:16:32 | 0:16:36 | |
"Why should the man always be head of the household?" They say. | 0:16:36 | 0:16:39 | |
And when all the paperwork's complete, what do we learn? | 0:16:39 | 0:16:43 | |
Well, among other things, that there are 45,307,530 of us in these islands - | 0:16:43 | 0:16:48 | |
give or take the odd Suffragette. | 0:16:48 | 0:16:51 | |
And one in seven of us is a domestic servant. | 0:16:51 | 0:16:54 | |
At 26,000 tonnes, this ship is the biggest object ever moved by man | 0:17:02 | 0:17:06 | |
and a triumph of modern technology. | 0:17:06 | 0:17:09 | |
It takes 22 tonnes of tallow and soap | 0:17:09 | 0:17:11 | |
just to smooth her passage down the slipway in Belfast. | 0:17:11 | 0:17:14 | |
They name her the Titanic. | 0:17:14 | 0:17:16 | |
The country comes together in a day of national celebration. | 0:17:25 | 0:17:29 | |
George V is crowned in Westminster Abbey, | 0:17:29 | 0:17:33 | |
with all the pomp and ceremony such an occasion demands. | 0:17:33 | 0:17:37 | |
Temperatures soar to 92 degrees | 0:17:45 | 0:17:47 | |
as Britain faces the warmest summer on record. | 0:17:47 | 0:17:51 | |
These city children know how to keep cool. | 0:17:51 | 0:17:53 | |
But for the rest of us, it's just too hot for comfort. | 0:17:53 | 0:17:57 | |
Unrest among the workers continues through the long, hot summer, | 0:18:05 | 0:18:09 | |
exploding into violence in Liverpool | 0:18:09 | 0:18:11 | |
as Police and Army are sent to break a transport strike. | 0:18:11 | 0:18:15 | |
Across the Channel, the Mona Lisa goes missing | 0:18:16 | 0:18:20 | |
and the whole of Paris plays cherchez la femme. | 0:18:20 | 0:18:23 | |
I arrived early, ahead of the public who are not admitted until nine. | 0:18:27 | 0:18:32 | |
You see, as a professional artist. I have an official dispensation. | 0:18:33 | 0:18:38 | |
I made my way to my usual spot in the salon and greeted Frederick. | 0:18:39 | 0:18:43 | |
But SHE wasn't there. | 0:18:43 | 0:18:46 | |
We stared at the empty space on the wall. | 0:18:46 | 0:18:49 | |
This was a nuisance. | 0:18:51 | 0:18:52 | |
Fred was supposed to be working on an engraving and I had my painting, | 0:18:52 | 0:18:56 | |
but without our subject... | 0:18:56 | 0:18:58 | |
I left my materials and went to find that buffoon of a guard. | 0:19:00 | 0:19:04 | |
He said, he thought she was probably in the photography studio, as was often the case. | 0:19:04 | 0:19:08 | |
But after an hour, she still wasn't back. | 0:19:08 | 0:19:11 | |
And I was getting more and more impatient. | 0:19:11 | 0:19:13 | |
The guard sent someone to find out what had happened. | 0:19:13 | 0:19:17 | |
And shortly afterwards, people started rushing about, | 0:19:17 | 0:19:21 | |
backwards and forwards. | 0:19:21 | 0:19:23 | |
The normal hush of the museum was replaced | 0:19:23 | 0:19:26 | |
with a great deal of calamity. | 0:19:26 | 0:19:28 | |
And I knew then something really strange had happened. | 0:19:28 | 0:19:32 | |
Ready? | 0:19:35 | 0:19:36 | |
SHUTTER CLICKS | 0:19:36 | 0:19:38 | |
Most people thought that somebody had taken the painting | 0:19:38 | 0:19:41 | |
to be photographed. This was the early days of photography. | 0:19:41 | 0:19:43 | |
Or taken it for conservation work. | 0:19:43 | 0:19:46 | |
Or perhaps they were just cleaning the room. | 0:19:46 | 0:19:48 | |
So everybody thought somebody else had taken it, | 0:19:48 | 0:19:51 | |
which is why they were so blind to this missing painting. | 0:19:51 | 0:19:54 | |
The Undersecretary for Fine Arts in France, | 0:19:54 | 0:19:57 | |
just before leaving Paris on holiday | 0:19:57 | 0:20:02 | |
had said, "Don't call me unless the Louvre burns down | 0:20:02 | 0:20:06 | |
"or the Mona Lisa gets stolen." | 0:20:06 | 0:20:08 | |
Of course, when he heard the news, he thought it was a joke. | 0:20:12 | 0:20:17 | |
When the Mona Lisa went missing, it was like a person had disappeared. | 0:20:17 | 0:20:22 | |
And the Police's instinct, rather amazingly, a mug-shot - a photograph of the Mona Lisa. | 0:20:24 | 0:20:31 | |
6,500 copies were released to the streets of Paris. | 0:20:31 | 0:20:36 | |
It was glued on walls and so on. | 0:20:36 | 0:20:37 | |
And it went right across the world. | 0:20:39 | 0:20:40 | |
Her photograph appeared on the front pages. | 0:20:40 | 0:20:43 | |
She had centrefolds. She was in every nation. | 0:20:43 | 0:20:46 | |
And since arriving from France, | 0:20:48 | 0:20:51 | |
they were afraid that the painting was already taken abroad. | 0:20:51 | 0:20:54 | |
She was in Russia, Australia, Canada, America - everywhere. | 0:20:54 | 0:20:58 | |
And that is how she came to be so familiar to us now. | 0:20:58 | 0:21:03 | |
She was a global edition. | 0:21:03 | 0:21:05 | |
When the news of the disappearance of the Mona Lisa broke out, | 0:21:05 | 0:21:12 | |
the world realised how poor was the security inside the Louvre Museum. | 0:21:12 | 0:21:17 | |
A few years ago, a man hid overnight in an Egyptian sarcophagus. | 0:21:18 | 0:21:23 | |
You know what, not one person noticed. | 0:21:23 | 0:21:28 | |
No-one. | 0:21:28 | 0:21:29 | |
The guards here are appointed by the Ministry of War, | 0:21:31 | 0:21:34 | |
you'd think they know something about security. | 0:21:34 | 0:21:38 | |
What a joke. | 0:21:38 | 0:21:40 | |
Those decrepit old soldiers couldn't catch a cold, never mind a thief. | 0:21:40 | 0:21:44 | |
A week after the Mona Lisa disappeared, the museum reopened, | 0:21:47 | 0:21:51 | |
after the boss had been fired and everyone had been given a reprimand | 0:21:51 | 0:21:55 | |
and after the police had piled in and piled out. | 0:21:55 | 0:21:58 | |
They opened again and they opened now, with a gap. | 0:21:58 | 0:22:03 | |
It was a very strange thing to see all these people | 0:22:03 | 0:22:07 | |
staring at a black space with the four nails! | 0:22:07 | 0:22:11 | |
To me, it seems like the first example of conceptual art. | 0:22:16 | 0:22:21 | |
The exhibition of the absence of the masterpiece. | 0:22:21 | 0:22:25 | |
We also know that Kafka, for example, visited the museum | 0:22:27 | 0:22:31 | |
and was quite amused by this craze for the famous four nails of the Mona Lisa. | 0:22:31 | 0:22:37 | |
Before the Mona Lisa was stolen, | 0:22:37 | 0:22:39 | |
she was not the global image, by any means, that she is now. | 0:22:39 | 0:22:43 | |
There were a few photographs, but they were in black and white. | 0:22:43 | 0:22:47 | |
People didn't even know what colour she was. | 0:22:47 | 0:22:49 | |
That strange, murky sub-aqueous glow that she has. | 0:22:49 | 0:22:52 | |
People didn't know about that. | 0:22:52 | 0:22:54 | |
When she was stolen, however, he face became this very famous... | 0:22:54 | 0:22:58 | |
She's a poster, almost, and everybody knew what she looked like. | 0:22:58 | 0:23:01 | |
So, she started having a new life as a cartoon. | 0:23:01 | 0:23:06 | |
Very early cartoons would show her smirking or winking. | 0:23:06 | 0:23:11 | |
In Montmartre cabarets in Paris, | 0:23:11 | 0:23:15 | |
there were routines telling the story of the abduction of Mona Lisa. | 0:23:15 | 0:23:21 | |
I mean, from the beginning of its disappearance, | 0:23:29 | 0:23:36 | |
the painting became part of popular culture. | 0:23:36 | 0:23:40 | |
What is very strange, and yet persuasive, I think, | 0:23:44 | 0:23:49 | |
is that the early theories about who might've taken Mona Lisa | 0:23:49 | 0:23:53 | |
were that it must've been taken by someone who really appreciated painting. | 0:23:53 | 0:23:58 | |
And one of the very first suspects was Pablo Picasso - | 0:23:58 | 0:24:01 | |
already very famous, of course. | 0:24:01 | 0:24:02 | |
They went to his house and knocked on the door, | 0:24:02 | 0:24:06 | |
and tried to arrest him. | 0:24:06 | 0:24:08 | |
He happened to have in his flat, unbeknownst to the police at the time, | 0:24:10 | 0:24:15 | |
some works of art which actually HAD been stolen from the Louvre. | 0:24:15 | 0:24:20 | |
These were sculptures. | 0:24:20 | 0:24:22 | |
By night, stealthily, he thinks to himself, | 0:24:22 | 0:24:24 | |
"I've got to get rid of this evidence of the theft!" | 0:24:24 | 0:24:28 | |
Picasso had decided to throw the two statues into the Seine! | 0:24:31 | 0:24:35 | |
And that, after hesitating for a while, decided not to. | 0:24:37 | 0:24:40 | |
The Mona Lisa was found in Florence in the winter of 1913, | 0:24:44 | 0:24:49 | |
because the thieves had written to an antique dealer of the town. | 0:24:49 | 0:24:56 | |
telling him that he had a famous painting for sale. | 0:24:56 | 0:25:00 | |
And he was very easily arrested. | 0:25:00 | 0:25:05 | |
The experts have many different ways in which they can tell whether a painting is genuine or not. | 0:25:06 | 0:25:12 | |
They felt the need to look, to see if the exact pattern of cracks, | 0:25:12 | 0:25:16 | |
which you can still see on her face were there. | 0:25:16 | 0:25:20 | |
She, effectively, was identified by her wrinkles, if you like. | 0:25:20 | 0:25:25 | |
Vincenzo Peruggia, the Italian thief who stole the painting, | 0:25:25 | 0:25:29 | |
claimed that he was trying to return the Mona Lisa | 0:25:29 | 0:25:31 | |
to the motherland, back to Italy, where she came from. | 0:25:31 | 0:25:36 | |
He had actually worked in the Louvre Museum. | 0:25:36 | 0:25:40 | |
He was the man responsible | 0:25:40 | 0:25:43 | |
for fixing the glass pane on the painting in 1910. | 0:25:43 | 0:25:47 | |
And for two years, the painting was hidden in Vincenzo Peruggia's room in Paris. | 0:25:49 | 0:25:57 | |
There was one comic feature about this, | 0:25:58 | 0:26:01 | |
which is that he must have been rather proud of his secret. | 0:26:01 | 0:26:05 | |
Because he had a postcard of the Mona Lisa | 0:26:07 | 0:26:10 | |
which he kept on the mantelpiece in his flat all the time. | 0:26:10 | 0:26:14 | |
It seems, from his own testimony that what Peruggia did | 0:26:15 | 0:26:20 | |
was he had hidden in a cupboard between two galleries. | 0:26:20 | 0:26:23 | |
He stayed there all night in the dark, with his heart racing, wondering if he'd be found. | 0:26:26 | 0:26:31 | |
And in the morning, very early, | 0:26:31 | 0:26:34 | |
when just cleaners were in, he listened and waited until there was a silence | 0:26:34 | 0:26:39 | |
and then he just quietly got himself out of this cupboard, | 0:26:39 | 0:26:43 | |
and very quietly walked up to the painting, took her and hid her under his smock. | 0:26:43 | 0:26:50 | |
He went from the cupboard, to the painting, to the street, | 0:26:50 | 0:26:54 | |
I would guess, probably, in about 21 minutes. All over. | 0:26:54 | 0:26:57 | |
The whole thing was a complete fiasco from start to finish. | 0:27:05 | 0:27:10 | |
You know, the police found the left thumbprint of the thief on the glass frame. | 0:27:10 | 0:27:17 | |
It was no good, because back then, they only kept right hands on file. | 0:27:17 | 0:27:23 | |
Not left. | 0:27:23 | 0:27:24 | |
Still, she's back now. | 0:27:26 | 0:27:28 | |
We can be thankful for that at least. | 0:27:29 | 0:27:32 | |
Today, for the first time ever, the mail arrives by air. | 0:27:55 | 0:28:00 | |
This truly is a modern age. | 0:28:00 | 0:28:02 | |
One day, we may all receive our letters like this. | 0:28:02 | 0:28:05 | |
This autumn, the world is at war. | 0:28:12 | 0:28:14 | |
In China, there is bloody rebellion as the people lose patience with the centuries-old Qing dynasty. | 0:28:14 | 0:28:20 | |
Italy is at war with Turkey. The quarrel - sovereignty over a little-known corner of Africa. | 0:28:20 | 0:28:26 | |
MAN LAUGHS | 0:28:31 | 0:28:34 | |
Si, nessun problema! | 0:28:34 | 0:28:37 | |
Arrivederci! | 0:28:39 | 0:28:41 | |
HE GRUNTS | 0:28:41 | 0:28:44 | |
HE SIGHS | 0:28:46 | 0:28:47 | |
It's done, | 0:28:47 | 0:28:49 | |
for the first time in history. | 0:28:49 | 0:28:52 | |
The first time and it was me that did it! | 0:28:52 | 0:28:57 | |
Me, Giulio Gavotti! | 0:28:57 | 0:29:00 | |
HE LAUGHS | 0:29:00 | 0:29:05 | |
A couple of weeks ago, we sailed from Napoli. | 0:29:05 | 0:29:09 | |
The whole Servicio Aeronautico. | 0:29:09 | 0:29:11 | |
30 men, 9 planes, 11 pilots. | 0:29:11 | 0:29:15 | |
Piazzo and Luizzo had been up a few times. | 0:29:15 | 0:29:19 | |
They got right over the Turks | 0:29:19 | 0:29:20 | |
and came back with details about the enemy positions, | 0:29:20 | 0:29:24 | |
so our boys could get at them properly. | 0:29:24 | 0:29:26 | |
Piazzo said he just swooped down, | 0:29:26 | 0:29:29 | |
said you could see their faces just looking up at them. | 0:29:29 | 0:29:32 | |
I'm just amazed that they'd never seen anything like it before. | 0:29:32 | 0:29:36 | |
One journalist said that the Turks are telling the Arabs that our machines are magical creatures. | 0:29:36 | 0:29:41 | |
Monsters, genies with wings. | 0:29:41 | 0:29:45 | |
Evidently, they've come all the way from Constantinople. Special orders from the Sultan himself. | 0:29:45 | 0:29:50 | |
Damn fools, they think we're on their side. | 0:29:50 | 0:29:54 | |
-Well, not any more they don't. -HE LAUGHS | 0:29:54 | 0:29:58 | |
Once upon a time... | 0:30:03 | 0:30:05 | |
all this was Rome. | 0:30:05 | 0:30:07 | |
Tripolitania here in the west... | 0:30:09 | 0:30:11 | |
Cyrenaica to the south... | 0:30:11 | 0:30:13 | |
past Benghazi... | 0:30:13 | 0:30:15 | |
Derna, Tobruk. | 0:30:15 | 0:30:18 | |
All the way to Egypt. | 0:30:18 | 0:30:20 | |
And now it's ours again. | 0:30:20 | 0:30:22 | |
Nostra quarta sponda. | 0:30:22 | 0:30:25 | |
Our fourth shore. Just as it was in Roman times. | 0:30:26 | 0:30:29 | |
From here, we can control the seas | 0:30:32 | 0:30:34 | |
and stand head-to-head with Germany and France. | 0:30:34 | 0:30:37 | |
They have their colonies and ours show the way. | 0:30:37 | 0:30:40 | |
And the land is good, too. Well, at least at the coast. | 0:30:40 | 0:30:43 | |
Nothing to the south. Just dirt and sand. | 0:30:43 | 0:30:47 | |
No industry to speak of, but we can change that. | 0:30:47 | 0:30:50 | |
Italians can do anything. Prego. | 0:30:50 | 0:30:52 | |
HE CHUCKLES | 0:30:54 | 0:30:56 | |
I was up most of the night. | 0:30:56 | 0:30:58 | |
I was too keyed up to sleep. Buzzing! | 0:30:58 | 0:31:02 | |
In the morning, it's overcast. | 0:31:02 | 0:31:04 | |
But as soon as it clears, I'm on the beach. | 0:31:04 | 0:31:06 | |
The lads are all ready. I'm flying the Taube. | 0:31:06 | 0:31:09 | |
Not as fast as the Newport, but nice and light. | 0:31:09 | 0:31:12 | |
I dug out this case. Got it ready the night before. | 0:31:13 | 0:31:17 | |
I make little pockets. | 0:31:17 | 0:31:20 | |
Then...! | 0:31:20 | 0:31:22 | |
They're Italian. Invented by Cappelli. | 0:31:24 | 0:31:28 | |
From the navy. | 0:31:28 | 0:31:29 | |
A steel shell filled with some kind of explosive. | 0:31:29 | 0:31:32 | |
There's a small iron ball in the centre | 0:31:32 | 0:31:34 | |
which smacks against the detonator when the bomb hits the ground, | 0:31:34 | 0:31:37 | |
setting the whole thing off. | 0:31:37 | 0:31:39 | |
The ball's kept in place by a pin, | 0:31:39 | 0:31:40 | |
which has to be pulled out before you throw it. | 0:31:40 | 0:31:43 | |
There's a tiny lever which has to be held onto | 0:31:43 | 0:31:46 | |
to stop the ball shifting | 0:31:46 | 0:31:48 | |
in the moment between taking out the pin and chucking the grenade. | 0:31:48 | 0:31:52 | |
They're not ideal. | 0:31:52 | 0:31:53 | |
Well, too heavy, for a start. | 0:31:53 | 0:31:56 | |
Plus they don't always explode on impact. | 0:31:56 | 0:31:59 | |
-But when they do go off... -HE CHUCKLES | 0:31:59 | 0:32:02 | |
Cappelli himself, the guy who invented them... | 0:32:02 | 0:32:05 | |
BANG! Goes off in his hand. | 0:32:05 | 0:32:07 | |
Adios, Fratello Cappelli. | 0:32:07 | 0:32:09 | |
Plus you're doing all this with one hand | 0:32:09 | 0:32:13 | |
cos you've got to fly the plane with the other one. | 0:32:13 | 0:32:15 | |
I've got three in the case...and one in my jacket. | 0:32:15 | 0:32:18 | |
Then you've got to have detonators. | 0:32:18 | 0:32:20 | |
They go in another pocket. | 0:32:20 | 0:32:22 | |
Be careful when you're throwing them over the side. | 0:32:22 | 0:32:25 | |
You don't want to hit the wings. Not a good idea. | 0:32:25 | 0:32:27 | |
Anyway, like I said, | 0:32:27 | 0:32:30 | |
this is the first time anyone's done something like this. | 0:32:30 | 0:32:33 | |
I'm sure they'll think of something better. | 0:32:33 | 0:32:36 | |
Right! | 0:32:36 | 0:32:38 | |
I take off, I head out over the sea. | 0:32:38 | 0:32:41 | |
Below me, I can see our ships. | 0:32:41 | 0:32:43 | |
The Sicily anchored west of the Tripoli Oasis. | 0:32:43 | 0:32:46 | |
Brin, Saint Bon and Filiberto anchored in the harbour. | 0:32:46 | 0:32:49 | |
Sailors waving up at me. I'm still climbing. | 0:32:49 | 0:32:52 | |
As soon as I get to 700 metres, I turn and head inland. | 0:32:52 | 0:32:56 | |
Our lads are tucked in in the outskirts of the city. | 0:32:56 | 0:32:58 | |
Beyond that is desert. | 0:32:58 | 0:33:00 | |
I'm heading for Ain Zara, where we'd spotted the enemy the day before. | 0:33:00 | 0:33:05 | |
Soon I can see the dark shape of the oasis in front of me. | 0:33:05 | 0:33:08 | |
I fly the plane with one hand | 0:33:08 | 0:33:10 | |
and with the other, I take the strap off the box. | 0:33:10 | 0:33:13 | |
I take a bomb out and I put it between my legs. | 0:33:13 | 0:33:16 | |
I swap hands to get at the detonators. | 0:33:16 | 0:33:19 | |
I grab one, I stick it in my mouth. | 0:33:19 | 0:33:22 | |
I'm about a mile from the oasis. | 0:33:22 | 0:33:23 | |
I can see it all perfectly. | 0:33:23 | 0:33:26 | |
A small, square white house and two camps of tents. | 0:33:26 | 0:33:29 | |
One must be about 200 men, the other about 50 or so. I'm right overhead. | 0:33:29 | 0:33:33 | |
I can imagine them looking up at me. "What's all this then, eh?" | 0:33:33 | 0:33:36 | |
Like I said, the plane's a Taube. It's German. It means dove. | 0:33:36 | 0:33:42 | |
Up here, you can see the wires and pulleys, the whole control system that operates the plane. | 0:33:42 | 0:33:47 | |
But from underneath, it just looks like a big, wide pair of wings. | 0:33:47 | 0:33:51 | |
And the rudder at the back. Like feathers. Like a tail. | 0:33:51 | 0:33:55 | |
It's a beautiful thing. | 0:33:55 | 0:33:57 | |
I'm right over the camp now. I can hear firing. | 0:33:57 | 0:33:59 | |
They must be shooting at me. | 0:33:59 | 0:34:01 | |
I take the bomb in my right hand and I pull out the pin. | 0:34:01 | 0:34:04 | |
Throw the bomb, making sure it's well clear of the wing. | 0:34:04 | 0:34:08 | |
I watch it fall for a few seconds and then it disappears! | 0:34:08 | 0:34:12 | |
A dark cloud appears above one of the smaller camps. | 0:34:14 | 0:34:18 | |
I'd been aiming for the bigger camp, but still, a direct hit! | 0:34:18 | 0:34:21 | |
I turn the plane, I head back. | 0:34:21 | 0:34:23 | |
I drop two more bombs, then I head back for the beach. | 0:34:23 | 0:34:26 | |
I've still got one bomb left. The one in my jacket. | 0:34:26 | 0:34:29 | |
I take it out, I pull the pin and I throw it! I head back. | 0:34:29 | 0:34:33 | |
Coming in low over Tripoli. | 0:34:33 | 0:34:35 | |
Perfect landing! All the lads are there! | 0:34:35 | 0:34:39 | |
Captain Piazza shaking my hand. | 0:34:39 | 0:34:41 | |
Rossi and Mazzini laughing their heads off. | 0:34:41 | 0:34:44 | |
I report to the division and to General Canever. | 0:34:44 | 0:34:47 | |
The whole mission was a total success! | 0:34:47 | 0:34:50 | |
Some reporters want to talk to me. "You are a hero", they tell me. | 0:34:50 | 0:34:54 | |
Everyone will read about you in Giornale d'Italia, | 0:34:54 | 0:34:57 | |
the Corriere Della Sera! | 0:34:57 | 0:34:58 | |
All of Italy will know your name! | 0:34:58 | 0:35:01 | |
Me, Sottotenente Giulio Gavotti! | 0:35:01 | 0:35:04 | |
FAINT CHANTING | 0:35:22 | 0:35:25 | |
The wells are running dry. | 0:35:31 | 0:35:33 | |
They're sending bullets from Napoli. | 0:35:36 | 0:35:39 | |
Some of the men have cholera. | 0:35:39 | 0:35:41 | |
The fighting's messy. | 0:35:43 | 0:35:45 | |
Civilians getting caught up in it. | 0:35:46 | 0:35:49 | |
It'll be good to be done here. | 0:35:52 | 0:35:55 | |
Get back home. | 0:35:55 | 0:35:56 | |
What times we live in. | 0:36:02 | 0:36:03 | |
How lucky we are. | 0:36:06 | 0:36:07 | |
Only eight years since the Wright brothers. | 0:36:09 | 0:36:12 | |
The first flight. | 0:36:12 | 0:36:14 | |
Two years since Bleriot crossed the English Channel. | 0:36:14 | 0:36:18 | |
And now us! | 0:36:20 | 0:36:22 | |
We are the first! Huh! | 0:36:23 | 0:36:26 | |
HE SPEAKS ITALIAN | 0:36:26 | 0:36:29 | |
And every day, we make our own little piece of history. | 0:36:29 | 0:36:32 | |
Last week, Piazza flew the first ever reconnaissance mission. | 0:36:32 | 0:36:36 | |
Today, I threw the first bomb. | 0:36:36 | 0:36:38 | |
Control the skies and you win the war. | 0:36:38 | 0:36:41 | |
Hit them first, then they'll submit. | 0:36:43 | 0:36:45 | |
Get it over with, nice and quick. | 0:36:49 | 0:36:51 | |
We need bigger planes. | 0:36:58 | 0:36:59 | |
70, 80, 100 horsepower. | 0:37:01 | 0:37:03 | |
And two people. | 0:37:04 | 0:37:06 | |
A pilot and someone to throw the bombs. | 0:37:06 | 0:37:09 | |
Or a machine. | 0:37:09 | 0:37:11 | |
Some kind of system. | 0:37:11 | 0:37:13 | |
And different bombs. Bigger. More accurate. | 0:37:14 | 0:37:18 | |
Poisoned gas, maybe. | 0:37:18 | 0:37:19 | |
I'm sure they'll think of something. | 0:37:23 | 0:37:25 | |
If there's one thing we know, it's that they will think of something. | 0:37:26 | 0:37:30 | |
That's progress. | 0:37:32 | 0:37:33 | |
'Thousands of women join a demonstration demanding the vote. | 0:37:52 | 0:37:56 | |
'Then things turn ugly.' | 0:37:59 | 0:38:00 | |
They just came out of nowhere! | 0:38:37 | 0:38:39 | |
I could see they were going to be bottling us in, | 0:38:42 | 0:38:44 | |
and so six of us broke rank and went down a side street | 0:38:44 | 0:38:48 | |
away from the rest of them in Parliament Square. | 0:38:48 | 0:38:51 | |
We turned a corner and there they were. | 0:38:52 | 0:38:55 | |
I was on the ground again. | 0:39:03 | 0:39:04 | |
Curled up to protect you. | 0:39:06 | 0:39:08 | |
You're doing fine. | 0:39:12 | 0:39:13 | |
That horse never kicked my belly. | 0:39:13 | 0:39:16 | |
Lying on the ground and for a moment... | 0:39:19 | 0:39:22 | |
..I felt nothing. | 0:39:22 | 0:39:24 | |
Sore now. | 0:39:25 | 0:39:28 | |
And then I felt the stone in my hand. | 0:39:28 | 0:39:31 | |
A stripy stone they brought off Ferry Beach. | 0:39:33 | 0:39:36 | |
He told me, he gave it to me and he says, | 0:39:38 | 0:39:40 | |
"Ma, can you take this to London so you don't forget me?" | 0:39:40 | 0:39:44 | |
I said to him, "Tommy, I'm only going away for three days". | 0:39:44 | 0:39:49 | |
Never been away. | 0:39:55 | 0:39:56 | |
I nearly laughed out loud when I seen they fine London ladies | 0:40:22 | 0:40:25 | |
getting out old rocks to smash windows with. | 0:40:25 | 0:40:30 | |
My father's a window cleaner. | 0:40:32 | 0:40:34 | |
Never broken a pane of glass in my life. | 0:40:36 | 0:40:39 | |
Skelped my arse and nae mistake if I got up to any high jinks as a bairn. | 0:40:40 | 0:40:45 | |
But this...this naen't a game. | 0:40:49 | 0:40:52 | |
We need to make them pay attention. | 0:40:55 | 0:40:59 | |
I took the biggest stones they had. | 0:41:03 | 0:41:05 | |
I was full of what I could do. | 0:41:06 | 0:41:09 | |
They were impressed, those fine London ladies. | 0:41:11 | 0:41:15 | |
We marched down strong to the government offices. | 0:41:24 | 0:41:28 | |
And then the first woman - I dinnae ken about her, | 0:41:30 | 0:41:35 | |
she'd been on the platform at the Albert Hall... | 0:41:35 | 0:41:38 | |
She hurls this rock - hard - and it smashes. | 0:41:40 | 0:41:45 | |
And all I could think of as they look at us...run! | 0:41:47 | 0:41:51 | |
RUN! | 0:41:53 | 0:41:55 | |
And she just stands there... | 0:41:56 | 0:41:58 | |
..calm... | 0:42:00 | 0:42:02 | |
dignified, waiting. | 0:42:02 | 0:42:05 | |
Wanting to be arrested. | 0:42:05 | 0:42:08 | |
Then she is. | 0:42:10 | 0:42:11 | |
I ken it sounds daft, but... | 0:42:17 | 0:42:20 | |
That bit... | 0:42:20 | 0:42:22 | |
..and what happens after... | 0:42:23 | 0:42:25 | |
Never thought that bit through before. | 0:42:29 | 0:42:31 | |
God, I'm standing with rocks, | 0:42:34 | 0:42:37 | |
ready to smash up London on my very first visit and... | 0:42:37 | 0:42:40 | |
..and that'll mean no going hame to Dundee. | 0:42:42 | 0:42:45 | |
To Tommy, or...to my good man, | 0:42:47 | 0:42:51 | |
who's waiting for me, proud as anything. | 0:42:51 | 0:42:54 | |
That'll mean going to Holloway. | 0:42:57 | 0:42:59 | |
The stories you hear of that place. | 0:43:03 | 0:43:05 | |
Am I strong enough to do that? | 0:43:08 | 0:43:11 | |
KNOCK AT DOOR | 0:43:11 | 0:43:12 | |
Er... Two minutes, sorry - I'll be right with you. | 0:43:12 | 0:43:16 | |
He's waiting for us outside the door. | 0:43:25 | 0:43:27 | |
The policeman. | 0:43:29 | 0:43:30 | |
He saved my life, I suppose. | 0:43:32 | 0:43:35 | |
Picked me up off the floor, any road. | 0:43:35 | 0:43:37 | |
Let me come in here and sort myself out before we get into the back of the Black Maria. | 0:43:38 | 0:43:43 | |
He's only young like me, maybe I cou... | 0:43:50 | 0:43:52 | |
Maybe I could charm him into clemency. | 0:43:54 | 0:43:57 | |
Leave my rocks in the sink, leave my sash on the floor... | 0:43:58 | 0:44:03 | |
White for purity, green for fertility. | 0:44:03 | 0:44:08 | |
Purple for dignity. | 0:44:10 | 0:44:12 | |
Oh, I love they colours now. | 0:44:18 | 0:44:20 | |
But they took them off - I'm just another innocent... | 0:44:28 | 0:44:32 | |
I could say I just got caught up with all the hundreds of others, | 0:44:34 | 0:44:38 | |
I had nae idea what was going on. | 0:44:38 | 0:44:40 | |
If he'd let me go hame. | 0:44:41 | 0:44:44 | |
Back to Dundee. Back to the jute mill... | 0:44:44 | 0:44:47 | |
And back to being what, exactly? | 0:44:50 | 0:44:52 | |
Someone who isn't worth counting on the Census. | 0:44:56 | 0:44:59 | |
Someone who doesn't count at all. | 0:45:02 | 0:45:05 | |
I've got four big brothers. | 0:45:18 | 0:45:20 | |
And they've never fought a battle for me. | 0:45:23 | 0:45:26 | |
Even in the playground, I fought my own corner. | 0:45:30 | 0:45:33 | |
"Dinnae cross Maggie", the other bairns'd say. | 0:45:34 | 0:45:37 | |
"You'll live to regret that". | 0:45:38 | 0:45:40 | |
Well, Mr Prime Minister... | 0:45:44 | 0:45:46 | |
..you crossed me. | 0:45:48 | 0:45:50 | |
And if I had five minutes in your office, Mr Asquith, | 0:45:51 | 0:45:58 | |
I'd give you a piece of my mind. | 0:45:58 | 0:46:00 | |
I'd make you change your intentions, that's for sure. | 0:46:02 | 0:46:06 | |
You've let me down. | 0:46:06 | 0:46:07 | |
Ah! | 0:46:07 | 0:46:09 | |
I will not have my bairns brought into a world | 0:46:14 | 0:46:19 | |
where the boy is a person and the girl is a possession. | 0:46:19 | 0:46:23 | |
Miss Pankhurst said it tonight. | 0:46:25 | 0:46:27 | |
"Men alone getting the vote | 0:46:28 | 0:46:31 | |
"only serves as one more rivet in the chains of half the human race." | 0:46:31 | 0:46:38 | |
I'll take what's coming if it makes way for change. | 0:46:45 | 0:46:48 | |
KNOCK AT DOOR | 0:46:48 | 0:46:49 | |
-Miss! Do you want me to come and fetch you? -No, sir - that's me. | 0:46:49 | 0:46:53 | |
Oh, please, God. | 0:47:04 | 0:47:07 | |
Let there be one big window waiting out there for me | 0:47:07 | 0:47:11 | |
before they take me away in the back of that Black Maria. | 0:47:11 | 0:47:14 | |
Today, we celebrate a thoroughly modern woman, | 0:47:53 | 0:47:56 | |
as Marie Curie wins her second Nobel Prize. | 0:47:56 | 0:48:00 | |
She developed her theory of radioactivity | 0:48:00 | 0:48:03 | |
and discovered two new elements - Polonium and Radium. | 0:48:03 | 0:48:07 | |
Our sincere congratulations, madam. | 0:48:07 | 0:48:10 | |
But not all great discoveries happen down a microscope. | 0:48:12 | 0:48:16 | |
As the year draws to a close, two fearless explorers, | 0:48:16 | 0:48:21 | |
our own Captain Robert Falcon Scott | 0:48:21 | 0:48:23 | |
and the Norwegian Roald Amundsen, race for the South Pole. | 0:48:23 | 0:48:26 | |
We set off today. | 0:48:31 | 0:48:33 | |
I missed out on the North Pole by a few months - | 0:48:33 | 0:48:36 | |
I will not let that damned Englishman take the South Pole from me. | 0:48:36 | 0:48:40 | |
We have no idea what faces us between here and the Pole. | 0:48:46 | 0:48:50 | |
This is the last uncharted wilderness. | 0:48:52 | 0:48:54 | |
An hour in, I'd already thought about turning back. | 0:49:02 | 0:49:05 | |
Three puppies followed us. If we went on, we'd have to shoot them. | 0:49:07 | 0:49:12 | |
But they turned back so soon. | 0:49:17 | 0:49:19 | |
Three days' good progress. | 0:49:31 | 0:49:33 | |
Then the temperature dropped. | 0:49:35 | 0:49:38 | |
It's minus 61 degrees out there. | 0:49:38 | 0:49:40 | |
As we sat around the tent, Hanssen suddenly said, | 0:49:43 | 0:49:47 | |
"Why, I think my foot's gone". | 0:49:47 | 0:49:50 | |
Off came his stockings | 0:49:50 | 0:49:52 | |
and there was this big, dead heel, | 0:49:52 | 0:49:56 | |
like a lump of wax. | 0:49:56 | 0:49:59 | |
I poked it... | 0:49:59 | 0:50:01 | |
It was frostbite. | 0:50:02 | 0:50:03 | |
If we are to win this game, every move must be made carefully. | 0:50:06 | 0:50:12 | |
It'd be really easy to freeze to death out here. | 0:50:15 | 0:50:18 | |
To risk the lives of the men and the dogs out of stubbornness... | 0:50:19 | 0:50:25 | |
(Damn it.) | 0:50:30 | 0:50:32 | |
We're heading back to base. | 0:50:34 | 0:50:36 | |
The last sledge arrived back eight hours late. | 0:50:46 | 0:50:49 | |
When they came in, I naturally asked Johansen what took him so long. | 0:50:49 | 0:50:53 | |
He swore at me. | 0:50:54 | 0:50:56 | |
In front of everyone. | 0:50:56 | 0:50:57 | |
Said that we'd abandoned them, that they'd only just made it back. | 0:50:59 | 0:51:02 | |
That we should have never started off this early in the season. | 0:51:02 | 0:51:06 | |
That my obsession with Scott was making me a danger to them all. | 0:51:06 | 0:51:11 | |
I can't talk to him when he's like that! | 0:51:11 | 0:51:14 | |
I've written him a letter, | 0:51:14 | 0:51:15 | |
explaining to him that he is no longer part of this expedition team. | 0:51:15 | 0:51:20 | |
What else can I do? | 0:51:24 | 0:51:26 | |
GRAMOPHONE PLAYS "Remember" by Irving Berlin | 0:51:27 | 0:51:30 | |
# One little kiss, a moment of bliss | 0:51:30 | 0:51:32 | |
# Then hours of deep regret | 0:51:32 | 0:51:37 | |
# One little smile... # | 0:51:37 | 0:51:39 | |
'Still waiting for better weather.' | 0:51:39 | 0:51:41 | |
# After a while, a longing to forget | 0:51:41 | 0:51:47 | |
# One little heartache left as a token | 0:51:47 | 0:51:53 | |
# One little plaything carelessly broken | 0:51:53 | 0:51:59 | |
# Remember the night | 0:52:00 | 0:52:03 | |
# The night you said, "I love you" | 0:52:03 | 0:52:08 | |
# Remember | 0:52:08 | 0:52:11 | |
# Remember you vowed... # | 0:52:11 | 0:52:14 | |
Bjaaland spotted a flight of petrels. | 0:52:14 | 0:52:17 | |
Wonderful sight! We tumbled out of the hut to greet them. | 0:52:17 | 0:52:21 | |
Spring has finally arrived. | 0:52:22 | 0:52:25 | |
17 miles we covered yesterday. | 0:52:31 | 0:52:34 | |
The dogs were fantastic, magnificent. | 0:52:35 | 0:52:37 | |
And then, suddenly, Bjaaland's sledge started sinking. | 0:52:40 | 0:52:44 | |
The sledge disappeared. Completely! | 0:52:47 | 0:52:49 | |
The huskies dug their claws in and Bjaaland's shouting, | 0:52:51 | 0:52:55 | |
"I cannot hold it". | 0:52:55 | 0:52:57 | |
And inch by inch, the sledge is slipping into the abyss, | 0:52:57 | 0:53:02 | |
taking the dogs with it, | 0:53:02 | 0:53:04 | |
so I threw myself at him and grabbed him. | 0:53:04 | 0:53:07 | |
They threw a rope around the sledge, | 0:53:07 | 0:53:10 | |
but we could not haul the sledge up. | 0:53:10 | 0:53:13 | |
Someone would have to go down. | 0:53:14 | 0:53:17 | |
On a rope. | 0:53:17 | 0:53:19 | |
So they all volunteered. | 0:53:21 | 0:53:23 | |
All of them. | 0:53:23 | 0:53:24 | |
I chose Wisting. | 0:53:26 | 0:53:27 | |
He's dextrous. | 0:53:28 | 0:53:30 | |
And light. | 0:53:30 | 0:53:32 | |
He shouted up that the ice that we were standing on | 0:53:34 | 0:53:37 | |
was only a few inches thick. | 0:53:37 | 0:53:38 | |
We worked as fast as we could, | 0:53:38 | 0:53:40 | |
but it took a long hour and a half before everything was up. | 0:53:40 | 0:53:43 | |
That was a treat, | 0:53:47 | 0:53:49 | |
to get back into the tent tonight. | 0:53:49 | 0:53:51 | |
For the day has been a bitter one. | 0:53:53 | 0:53:55 | |
Now we finally see what faces us. | 0:54:00 | 0:54:03 | |
I have named one of the peaks Mount Betty, after my nursemaid. | 0:54:03 | 0:54:07 | |
She would be proud. | 0:54:07 | 0:54:09 | |
I think. | 0:54:09 | 0:54:11 | |
A terrible climb. | 0:54:16 | 0:54:18 | |
The hardest day we've had. | 0:54:18 | 0:54:20 | |
The dogs worked so well today. | 0:54:45 | 0:54:47 | |
Tonight, 24 of them are dead. | 0:54:49 | 0:54:51 | |
They did not deserve this. | 0:54:53 | 0:54:55 | |
But we only need 18 of them for the final journey. | 0:54:58 | 0:55:01 | |
We're calling this ridge the Butcher's Shop. | 0:55:04 | 0:55:07 | |
Tomorrow we will skin them and eat fresh meat. | 0:55:09 | 0:55:11 | |
Tonight, none of us can face it. | 0:55:14 | 0:55:16 | |
We are grown so fond of these dogs. | 0:55:17 | 0:55:20 | |
We'd left our crampons at the Butcher's Shop. | 0:55:33 | 0:55:36 | |
Without them, climbing on sheer ice is almost impossible. | 0:55:36 | 0:55:39 | |
A thousand thoughts ran through my brain. How stupid, idiotic... | 0:55:44 | 0:55:48 | |
This blunder may lose me the Pole. | 0:55:49 | 0:55:51 | |
Everybody's tired. | 0:56:00 | 0:56:01 | |
Hunger makes the dogs eat their own mess. | 0:56:04 | 0:56:07 | |
Tonight I dreamed I'd reached the Pole | 0:56:10 | 0:56:13 | |
and Scott was there, | 0:56:13 | 0:56:16 | |
arms outstretched, smiling, waiting to greet me. | 0:56:16 | 0:56:22 | |
I woke up, sweating... | 0:56:22 | 0:56:25 | |
and shouting. | 0:56:25 | 0:56:27 | |
Five miles to go. If Scott has been there, we'll see a British flag. | 0:56:34 | 0:56:40 | |
No-one mentions this, but we're all looking. | 0:56:42 | 0:56:45 | |
We have made it! | 0:56:51 | 0:56:53 | |
The five of us together drive the Norwegian flag into the snow. | 0:56:53 | 0:56:58 | |
The sun circles above our head day and night | 0:57:00 | 0:57:03 | |
and we're the first to ever see it. | 0:57:03 | 0:57:05 | |
Never has a man's goal been so opposite to his wishes. | 0:57:09 | 0:57:13 | |
The NORTH Pole, devil take it! | 0:57:13 | 0:57:17 | |
HE LAUGHS | 0:57:17 | 0:57:19 | |
It fascinated me since childhood, now here I am - | 0:57:20 | 0:57:25 | |
at the South. | 0:57:25 | 0:57:27 | |
I'm writing a letter to Scott to leave here. | 0:57:30 | 0:57:33 | |
He will be the next man to encounter this godforsaken spot. | 0:57:33 | 0:57:38 | |
And if we have trouble on our journey home, | 0:57:38 | 0:57:41 | |
he may well make it back before us. | 0:57:41 | 0:57:44 | |
Subtitles by Red Bee Media Ltd | 0:58:30 | 0:58:33 | |
E-mail [email protected] | 0:58:33 | 0:58:35 |