0:00:02 > 0:00:03Once upon a time, in a land far, far away,
0:00:03 > 0:00:05Danish author Hans Christian Andersen
0:00:05 > 0:00:09wrote a fairy tale called The Most Incredible Thing.
0:00:09 > 0:00:14More than 140 years later, it inspired electronic pop legends
0:00:14 > 0:00:17The Pet Shop Boys to write a score for a brand new full-length dance work.
0:00:17 > 0:00:21Renowned choreographer Javier De Frutos
0:00:21 > 0:00:24was then tasked with bringing this magical story to life.
0:00:24 > 0:00:28At the heart of this is a pop group - The Pet Shop Boys -
0:00:28 > 0:00:31who want to do something more serious and that's a reflection
0:00:31 > 0:00:35of how boundaries are breaking down between classical and pop and rock.
0:00:35 > 0:00:38# When I look back upon my life... #
0:00:38 > 0:00:43Since 1989, we've tried to do shows that have film and dancing
0:00:43 > 0:00:46and this show, actually, is a very natural lineage
0:00:46 > 0:00:49from the show we did with Derek Jarman in 1989.
0:00:49 > 0:00:52# For everything I long to do... #
0:00:52 > 0:00:56What's interesting is to take the elements of classical ballet -
0:00:56 > 0:01:00the story telling - and do it in a different form of dance.
0:01:00 > 0:01:05We've written the score so that it can meet the world
0:01:05 > 0:01:11of contemporary dance and the fairy story brilliant world of Hans Christian Andersen.
0:01:11 > 0:01:12Having developed the idea
0:01:12 > 0:01:15with friend and former Royal Ballet star Ivan Putrov
0:01:15 > 0:01:18the three took it to Saddler's Wells Theatre in London
0:01:18 > 0:01:24where work began on transforming the original tale into 90 minutes of dance.
0:01:24 > 0:01:27We realised it would be impossible to write just to the three pages
0:01:27 > 0:01:33that Andersen had written, so we approached what's called a dramaturge.
0:01:33 > 0:01:36Is anyone familiar with that word? Ha! Anyway...
0:01:36 > 0:01:39Ooh, he's a right dramaturge! Dramaturge.
0:01:39 > 0:01:41Neil said something quite interesting.
0:01:41 > 0:01:45He said, "I want something that we can take to Vegas."
0:01:45 > 0:01:47It was quite liberating for me.
0:01:47 > 0:01:50I realised that I was writing into a very big canvas.
0:01:50 > 0:01:55It is trying to do something new with a narrative ballet, no doubt.
0:01:55 > 0:02:00And I think that's why Javier was interested in doing the project,
0:02:00 > 0:02:03because this is his chance to work with his contemporaries.
0:02:03 > 0:02:06I didn't want to treat it as a fairy tale.
0:02:06 > 0:02:09I wanted to treat it as a very good story.
0:02:09 > 0:02:13And therefore, what I felt was important was to really find
0:02:13 > 0:02:14the right vocabulary.
0:02:16 > 0:02:20It has a very classical structure, just painted in a different manner.
0:02:20 > 0:02:23The influences come thick and fast.
0:02:23 > 0:02:27I'm very Tarantino-esque when it comes to the things I like. I like my references.
0:02:27 > 0:02:31The creative team also referenced a lesser-known fact
0:02:31 > 0:02:36about the Danish writer. That he made beautiful paper cuts which he unfolded
0:02:36 > 0:02:38while telling his fantastic stories.
0:02:38 > 0:02:42This element of the writer's story-telling inspired the design.
0:02:42 > 0:02:45We developed a strong idea
0:02:45 > 0:02:50of the paperiness of Hans Christian Andersen's work.
0:02:50 > 0:02:52I didn't want anything too solid.
0:02:52 > 0:02:55We wanted to tap into a fairytale aesthetic.
0:02:55 > 0:03:00Another key contributor to the production was artist and film-maker Tal Rosner.
0:03:00 > 0:03:01His specially-created films
0:03:01 > 0:03:05and animations provide a further story-telling layer.
0:03:05 > 0:03:07The biggest challenge is not interfering too much
0:03:07 > 0:03:09with what's happening
0:03:09 > 0:03:12and still have a voice that, you know, stands out.
0:03:12 > 0:03:16It's very challenging but also really fun.
0:03:16 > 0:03:18You're thinking about it as part of an ensemble.
0:03:18 > 0:03:22It's part of an ensemble, you know, and that's what's fun about it.
0:03:27 > 0:03:31The first six minutes tells you everything about the basis of the story.
0:03:31 > 0:03:32It tells you there's a kingdom
0:03:32 > 0:03:37and there's people working daily in a hard fashion, having to just get by,
0:03:37 > 0:03:42and there's the announcement and everybody starts to try and create the most incredible things.
0:03:42 > 0:03:47We start in Act One with Leonardo in the factory. He's a nobody.
0:03:47 > 0:03:51He's an inventor. He loves getting back home to work on his creations.
0:03:53 > 0:03:58I play the princess. She's about 16, I think.
0:03:58 > 0:04:01She's incredibly head-strong. A free spirit.
0:04:01 > 0:04:02A bit of a rebel.
0:04:02 > 0:04:06She lives in a world that is incredibly strict
0:04:06 > 0:04:10and people have been programmed to think the same way,
0:04:10 > 0:04:15move the same way, work the same way, and she's not like that.
0:04:15 > 0:04:19It is important to set up a fractured relationship between the father and the daughter.
0:04:19 > 0:04:25To realise there are parental issues here because he's giving away half of the kingdom
0:04:25 > 0:04:28and giving the kid to get married to whoever wins.
0:04:28 > 0:04:30Good evening, ladies and gentlemen,
0:04:30 > 0:04:33and welcome to the show The Most Incredible Thing.
0:04:33 > 0:04:38Before, I had an obligation to present the futility
0:04:38 > 0:04:41of a competition that is going to achieve nothing.
0:04:43 > 0:04:44I think for Leo,
0:04:44 > 0:04:48this is his X-Factor moment where he sees his life could be opened up.
0:04:48 > 0:04:50It could change in an instant.
0:04:50 > 0:04:54She's told by her father that she's the prize for the person
0:04:54 > 0:04:57who can come up with the most incredible thing,
0:04:57 > 0:05:01so she runs away and bumps into this man who, at first,
0:05:01 > 0:05:02seems quite charming
0:05:02 > 0:05:08and sort of smiles and she thinks, "There can be love," you know?
0:05:08 > 0:05:15And quite quickly she realises that actually he's a bit of bad news.
0:05:17 > 0:05:22Karl is the villain and the destroyer. Very strong character.
0:05:22 > 0:05:26But Karl loses control of the world that he's in
0:05:26 > 0:05:29and he wants to keep it together.
0:05:29 > 0:05:33So anything that threatens it, he wants to destroy.
0:05:33 > 0:05:36Later on, she then meets Leonardo
0:05:36 > 0:05:40and suddenly she realises that there is a man that perhaps she's been
0:05:40 > 0:05:43dreaming about in a romantic way.
0:05:43 > 0:05:45There is actually that person who exists.
0:05:48 > 0:05:52On one level it's a very traditional fairy story, in a kingdom
0:05:52 > 0:05:53and a king and a princess
0:05:53 > 0:05:57and you can imagine Tchaikovsky writing a ballet for it.
0:05:57 > 0:06:00But also, it seemed to have more to it than just that
0:06:00 > 0:06:03and there'd be depth to it. It wasn't just a story for children.
0:06:03 > 0:06:06It was something that could appeal to people of all ages.
0:06:08 > 0:06:12The greatest strength of the story is the message underneath
0:06:12 > 0:06:14about the power of creativity.
0:06:14 > 0:06:18And that it can't be squashed by physical force.
0:06:26 > 0:06:28MUSIC BEGINS
0:08:06 > 0:08:07SCISSORS SNIP
0:08:12 > 0:08:14ELECTRONIC MUSIC
0:11:59 > 0:12:04# Wasn't in when you called
0:12:04 > 0:12:07# It's been so long since I heard from you
0:12:07 > 0:12:10# Play the message you loved
0:12:10 > 0:12:14# Sound fine about what to do
0:12:14 > 0:12:18# And all the good times we had
0:12:18 > 0:12:21# Why did they fade away?
0:12:21 > 0:12:25# Babe, you hurt me so bad
0:12:25 > 0:12:28# What have you got to say?
0:12:28 > 0:12:31# You call me baby
0:12:31 > 0:12:35# What do you want from me, baby?
0:12:35 > 0:12:41# You call me baby What do you want from me, baby...? #
0:12:41 > 0:12:42MUSIC STOPS ABRUPTLY
0:12:42 > 0:12:45ELECTRONIC MUSIC
0:21:53 > 0:21:55(Help me.)
0:22:06 > 0:22:11ETHEREAL WHISPERING: (We'll sing the songs of creation.)
0:22:11 > 0:22:16(Invention flows like water from us through you.)
0:22:16 > 0:22:20(We're here to help you, Leo...)
0:22:22 > 0:22:28(Your memory of all you've seen, make manifest, all.
0:22:28 > 0:22:32(We'll aid your mind, genius.)
0:22:32 > 0:22:37(We'll sing songs of time and memory...)
0:22:37 > 0:22:39(Time...)
0:22:39 > 0:22:45(We're here to help you, Leo...)
0:22:45 > 0:22:48ELECTRONIC MUSIC
0:32:28 > 0:32:30Good evening, ladies and gentlemen,
0:32:30 > 0:32:33and welcome to the show The Most Incredible Thing.
0:32:33 > 0:32:36You look like an incredible audience this evening,
0:32:36 > 0:32:41which is no coincidence because this is an incredible show.
0:32:41 > 0:32:44Incredible set, incredible contestants, incredible orchestra.
0:32:44 > 0:32:47Looking jolly good down there, chaps.
0:32:47 > 0:32:51Somebody else incredible out there this evening is our king.
0:32:51 > 0:32:52CHEERING
0:32:52 > 0:32:55How are you this evening, your majesty?
0:32:55 > 0:32:58A big thank you to our sponsors, Makarov Vodka.
0:32:58 > 0:33:01Remember - Makarov Vodka is A-OK!
0:33:01 > 0:33:04Introducing our judges - Babushka,
0:33:04 > 0:33:06Batya,
0:33:06 > 0:33:08Maneesh.
0:33:08 > 0:33:09Good evening, judges.
0:33:09 > 0:33:14Tonight we're going to change one contestant's life with this big prize.
0:33:14 > 0:33:19So, without further ado, I introduce to you Tina and Sparkle.
0:33:19 > 0:33:21CHEERING
0:33:41 > 0:33:42Spiffing!
0:33:42 > 0:33:44Judges?
0:33:44 > 0:33:47Congratulations, you're in with a chance.
0:33:47 > 0:33:53Moving on to contestant number 27, it's Dimitri.
0:33:53 > 0:33:56How are you this evening, Dimitri? He's nervous.
0:33:56 > 0:34:00And what do you have for us? A dog?
0:34:00 > 0:34:03Ladies and gentlemen, this is our fourth dog this evening.
0:34:03 > 0:34:05Let's hope this one's incredible.
0:34:07 > 0:34:09Chop, chop, Dimitri.
0:34:14 > 0:34:16Incredible... Judges?
0:34:16 > 0:34:19Better luck next time, Dimitri.
0:34:19 > 0:34:23I have just heard that the fire-eater has been extinguished
0:34:23 > 0:34:26and is OK, which is incredible.
0:34:26 > 0:34:28Moving on to the next contestant,
0:34:28 > 0:34:31it's Monkey Elliott.
0:34:42 > 0:34:46Jolly good. How do you feel. Oh, steady on. Judges?
0:34:48 > 0:34:50Not incredible.
0:34:51 > 0:34:55Next, ladies and gentlemen, I introduce you to Pavlov.
0:34:55 > 0:34:58Hello, Pavlov, what are you going to do for us?
0:35:00 > 0:35:04He's going to turn a towel into a swan. Fascinating.
0:35:06 > 0:35:10Do you know what this reminds me of, ladies and gentlemen?
0:35:10 > 0:35:12How Jesus turned water into wine.
0:35:12 > 0:35:17How Christ walked on water and Lazarus rising from the dead.
0:35:17 > 0:35:20We've got our very own miracle right here in this theatre.
0:35:20 > 0:35:22Let's take a look, shall we?
0:35:24 > 0:35:27Yes, but it's still a towel, isn't it, Pavlov?
0:35:27 > 0:35:31Moving on to contestant 599,
0:35:31 > 0:35:33it's Rocky Man.
0:35:35 > 0:35:37How are you this evening, Rocky Man?
0:35:37 > 0:35:39And what are you doing here?
0:35:39 > 0:35:41Yes, he's balancing a rock on his head.
0:35:41 > 0:35:44How long have you been doing it for?
0:35:44 > 0:35:48For 25 years, apparently. And for heaven's sake, why?
0:35:50 > 0:35:51Oh, Rocky Man...
0:35:51 > 0:35:52Oh!
0:35:52 > 0:35:56Oh, dear. Ghastly. Dimitri, you're back.
0:35:56 > 0:35:58What do you have for us now?
0:35:59 > 0:36:02Fleas? From your dog, I suppose? Where are they?
0:36:04 > 0:36:06Oh, Dimitri.
0:36:08 > 0:36:16Moving on to contestant 1,999, it's Kristov. Let's hope he's good.
0:36:22 > 0:36:26Oh, I say, old chap? Are you all right? What's going on?
0:36:26 > 0:36:28Erm... What do I do now?
0:36:28 > 0:36:30Excuse me?
0:36:33 > 0:36:35Where's my cue card?
0:36:35 > 0:36:37Your Majesty?
0:36:38 > 0:36:41Oh, this is just ghastly...
0:36:43 > 0:36:44Are you all right?
0:36:46 > 0:36:50I've been here for three days and none of the acts are any good. Oh.
0:36:50 > 0:36:53It's all just rubbish.
0:40:39 > 0:40:43Tick-tock, tick-tock,
0:40:43 > 0:40:47tick-tock, tick...
0:40:49 > 0:40:52APPLAUSE
0:40:55 > 0:41:00Act Two, we've got Leo with what he's created as the most incredible thing.
0:41:00 > 0:41:04The idea is the clock is taking over Leonardo.
0:41:04 > 0:41:07He becomes the clock, almost.
0:41:07 > 0:41:11Then we open up to him revealing the clock to the whole audience.
0:41:12 > 0:41:15How do you create the most incredible thing?
0:41:15 > 0:41:19It's just like an impossible task, and terrifying, really.
0:41:21 > 0:41:24It felt wrong to try and create it as a solid object.
0:41:24 > 0:41:28It had to be elusive. It had to engage people's imaginations.
0:41:28 > 0:41:33He has invented something that no-one in that kingdom had seen before.
0:41:33 > 0:41:37What they hadn't seen before was the power of imagination,
0:41:37 > 0:41:41as they had been a very repressed society. That clock doesn't tell the time.
0:41:41 > 0:41:46He tells you the extraordinary things that have happened throughout time.
0:41:46 > 0:41:49One is Adam, two is Eve, three's the sun, the moon and the stars,
0:41:49 > 0:41:52four's the four season, ten is the Ten Commandments.
0:41:52 > 0:41:5411, my favourite, is Apollo 11.
0:41:57 > 0:42:01I sort of made equal the discovery of the most incredible thing
0:42:01 > 0:42:02with an emotional state.
0:42:02 > 0:42:05It's kind of, "Where were you when...?"
0:42:05 > 0:42:09So, for me, where were you when? I remember that very clearly.
0:42:09 > 0:42:13Watch the launch of Apollo 11 and then watch the walk on the moon.
0:42:13 > 0:42:17All the things that make you feel emotions in such a great way
0:42:17 > 0:42:19have to be the most incredible thing.
0:42:19 > 0:42:23I quite like the seven deadly sins now, actually.
0:42:23 > 0:42:29We just got so stuck on that. We didn't know what to do for ages.
0:42:29 > 0:42:31Ten, which is the Ten Commandments,
0:42:31 > 0:42:34which is a fantastic marriage between the live dancers on stage
0:42:34 > 0:42:38and their top shot in a Busby Berkeley style of what they're doing.
0:42:39 > 0:42:4412 is my favourite. I think it's a bit of a work of art in itself.
0:42:50 > 0:42:55Number 12 is actually a list of over 300 artists that we compiled
0:42:55 > 0:42:58among ourselves, in hoping to create and already start the debate of,
0:42:58 > 0:43:00"Oh, I didn't see so and so,"
0:43:00 > 0:43:03and "That person should have been there."
0:43:03 > 0:43:06And you start compiling your own, in a subliminal way,
0:43:06 > 0:43:09you start compiling your own incredible peoples list.
0:43:09 > 0:43:12The one that always springs out is Banksy.
0:43:12 > 0:43:14The Eagles, when I was young.
0:43:14 > 0:43:15Sergei Diaghilev.
0:43:15 > 0:43:17Robert Lepage.
0:43:17 > 0:43:20Definitely Pina Bausch.
0:43:20 > 0:43:23- Liza Minnelli.- David Bowie. - David Bowie probably is in there.
0:43:23 > 0:43:25He's not.
0:43:25 > 0:43:27I'd say my family.
0:43:27 > 0:43:29Harry Worth.
0:43:29 > 0:43:32The whole creative team should be in cos they have been incredible.
0:43:35 > 0:43:38- We're not in it, are we? - I was worried in case...
0:43:38 > 0:43:40The last name is Hans Christian Andersen.
0:43:40 > 0:43:44It's a list that can never be finished, I believe.
1:00:37 > 1:00:40One...
1:00:40 > 1:00:41two...
1:00:41 > 1:00:43three...
1:00:43 > 1:00:45four...
1:00:45 > 1:00:46five...
1:00:46 > 1:00:48six...
1:00:49 > 1:00:50..seven...
1:00:51 > 1:00:52..eight...
1:00:52 > 1:00:54nine...
1:00:54 > 1:00:56ten...
1:01:13 > 1:01:14Ten,
1:01:14 > 1:01:15nine,
1:01:15 > 1:01:16eight,
1:01:16 > 1:01:17seven,
1:01:17 > 1:01:19six, five,
1:01:19 > 1:01:22four, three, two,
1:01:22 > 1:01:23one.
1:01:23 > 1:01:27You shall not covet thy neighbour's husband or wife.
1:01:30 > 1:01:34You shall not bear false witness against your neighbour.
1:01:38 > 1:01:40You shall not steal.
1:01:46 > 1:01:48You shall not commit adultery.
1:01:54 > 1:01:56You shall not murder.
1:02:02 > 1:02:04Respect your mother and father.
1:02:10 > 1:02:11Remember the Sabbath.
1:02:16 > 1:02:19You shall not blaspheme.
1:02:24 > 1:02:26You shall not worship false idols.
1:02:34 > 1:02:36I am the Lord, your God.
1:02:36 > 1:02:42Ten, nine, eight - ignition sequence - seven, six...
1:02:42 > 1:02:47five, four, three, two, one.
1:02:47 > 1:02:50Zero. Lift-off!
1:02:50 > 1:02:53We have a lift-off! 32 minutes past the hour.
1:02:53 > 1:02:56Lift-off of Apollo 11.
1:05:18 > 1:05:21CROWD SHOUTS: Three, two, one...
1:05:21 > 1:05:23BELL RINGS
1:06:30 > 1:06:36Golly. Gosh, that really was a rather unexpected turn of events, wasn't it?
1:06:36 > 1:06:40But, audience, you're still looking incredible.
1:06:40 > 1:06:44Chaps in the orchestra are still looking incredibly dashing.
1:06:44 > 1:06:48And our sponsors, who are still hanging in there.
1:06:48 > 1:06:52Remember, Makarov Vodka is A-OK.
1:06:52 > 1:06:54Let's go to our judges one final time
1:06:54 > 1:06:57because I am sure we've found our winner.
1:06:57 > 1:06:58Judges?
1:07:02 > 1:07:05Congratulations, Leonardo!
1:07:05 > 1:07:08Leonardo, how are you feeling?
1:07:08 > 1:07:10He's speechless!
1:07:10 > 1:07:15And how do you feel that you've won half of the kingdom and the princess' hand in marriage?
1:07:15 > 1:07:18He's totally lost for words!
1:07:18 > 1:07:20Is that the clock? Fascinating.
1:07:20 > 1:07:23Moving on with procedure,
1:07:23 > 1:07:26Your Majesty, if you would like to come to the stage
1:07:26 > 1:07:27to present your prize.
1:07:30 > 1:07:33APPLAUSE
1:07:33 > 1:07:36Are you happy with the outcome, Your Majesty?
1:07:39 > 1:07:42This is an historic moment, ladies and gentlemen,
1:07:42 > 1:07:45rather like the coronation of our good and kind king.
1:07:47 > 1:07:52So, Your Majesty, what will be happening now?
1:07:52 > 1:07:56THEY MIME
1:07:56 > 1:07:57Yes, thank you.
1:07:57 > 1:08:01And there they go.
1:08:01 > 1:08:04Ah, it's just come in from the PR department
1:08:04 > 1:08:08that the king has declared a public holiday,
1:08:08 > 1:08:09which will be called Leonardo Day.
1:08:09 > 1:08:13And the royal factory has just gone into production
1:08:13 > 1:08:15with royal wedding memorabilia,
1:08:15 > 1:08:18such as caps, cups, mugs, T-shirts,
1:08:18 > 1:08:20tea towels and napkins,
1:08:20 > 1:08:22all available from the royal factory.
1:08:22 > 1:08:26So, ladies and gentlemen, that's the end of this incredible event.
1:08:26 > 1:08:28And for our viewers across the globe,
1:08:28 > 1:08:31arrivederci, dasvidaniya,
1:08:31 > 1:08:33a bientot,
1:08:33 > 1:08:34cheerio.
1:10:33 > 1:10:35SHE CRIES OUT
1:12:48 > 1:12:52APPLAUSE AND CHEERING
1:12:54 > 1:12:57Act Three brings us back to the beginning, but worse,
1:12:57 > 1:13:01because those people had a glimpse of happiness.
1:13:01 > 1:13:05At one point, they saw the possibility of a country changing in the hands of a dreamer,
1:13:05 > 1:13:09and that's now not going to happen.
1:13:09 > 1:13:13We've kind of opened up the space, it's much starker,
1:13:13 > 1:13:17much more about the people and the kind of rhythm of their movement.
1:13:17 > 1:13:19The kingdom itself is split
1:13:19 > 1:13:22and we've also got the paper-cutting hands
1:13:22 > 1:13:26and they're all plastered and bloody.
1:13:26 > 1:13:29Visual signals that kind of say that things have shifted.
1:13:29 > 1:13:34I use a lot of red
1:13:34 > 1:13:37which is to symbolise that there's death and destruction
1:13:37 > 1:13:42and blood and kind of the horror of the world.
1:13:42 > 1:13:47You see the townspeople mourning for the fact that they've lost the inspiration
1:13:47 > 1:13:50that might have come from the most incredible thing.
1:13:50 > 1:13:51We see the black wedding,
1:13:51 > 1:13:54when the princess is just about to get married to Karl.
1:13:55 > 1:13:58Doom, gloom and depression.
1:13:58 > 1:14:01You know, for her, life's over.
1:14:01 > 1:14:03The black wedding ends with her being taken off
1:14:03 > 1:14:08and supposedly being prepared for the first night of marriage.
1:14:11 > 1:14:15At the end of that wedding, when they try to taunt Leonardo
1:14:15 > 1:14:16who was been sent to jail,
1:14:16 > 1:14:19the reappearance of the clock
1:14:19 > 1:14:21which has actively reformed.
1:14:23 > 1:14:25All the pieces that were broken and destroyed
1:14:25 > 1:14:27have reformed in a new formation
1:14:27 > 1:14:30and it literally eats Karl alive
1:14:30 > 1:14:33with the help of the three muses.
1:14:33 > 1:14:35The death is metaphorical.
1:14:35 > 1:14:38His biggest punishment -
1:14:38 > 1:14:41he's now part of the hour that he hated so much.
1:14:46 > 1:14:51The muses kind of come back and they release me from prison
1:14:51 > 1:14:54and they basically lead me back to the princess, in her room.
1:14:56 > 1:15:00She comes on expecting Karl to walk into the room
1:15:00 > 1:15:04and, erm...she gets a surprise tap on the shoulder
1:15:04 > 1:15:05and it's Leonardo.
1:15:09 > 1:15:13In that incredible moment, she actually gets on her knees
1:15:13 > 1:15:16and asks him to marry her.
1:15:17 > 1:15:20The 21st-century feminist has arrived.
1:15:22 > 1:15:27The king announces the wedding almost with tears in his eyes.
1:15:27 > 1:15:30You discover that he has repented, he has regretted
1:15:30 > 1:15:32and is an incredibly proud father.
1:15:32 > 1:15:34The daughter has taught him to relax more
1:15:34 > 1:15:37and the kingdom will heal itself.
1:26:29 > 1:26:30Five.
1:26:32 > 1:26:34Eight.
1:26:37 > 1:26:38Two.
1:26:41 > 1:26:42One.
1:26:45 > 1:26:46Ten.
1:26:49 > 1:26:50Six.
1:26:53 > 1:26:54Three.
1:26:57 > 1:26:58Nine.
1:27:01 > 1:27:03Four.
1:27:05 > 1:27:06Seven.
1:27:13 > 1:27:16GONG SOUNDS
1:32:49 > 1:32:50APPLAUSE
1:33:23 > 1:33:25BELLS RING
1:35:45 > 1:35:48CUCKOO CLOCK CHIMES
1:36:04 > 1:36:06CHEERING AND APPLAUSE
1:37:02 > 1:37:04Subtitles by Red Bee Media Ltd