- 11 hours ago
First broadcast 24th July 1984..
Peter is a songwriter, while his old friend Jimmy is an A & R man. But when Jimmy tries to sell one of Peter's songs, Peter is furious.
John Duttine - Jimmy Walker
Leonard Preston - Peter Lester
Peter Jonfield - Phil Stein
Karl Howman - Jerry Jackson
Brendan Brady - Gary
Diana Williams - Janet
Claire Lewis - Receptionist at Songstack
Caroline Quentin - Receptionist at Songstack
Paul Bacon - Older Man at Greenwich
Michael Keet - Younger Man at Greenwich
Peter is a songwriter, while his old friend Jimmy is an A & R man. But when Jimmy tries to sell one of Peter's songs, Peter is furious.
John Duttine - Jimmy Walker
Leonard Preston - Peter Lester
Peter Jonfield - Phil Stein
Karl Howman - Jerry Jackson
Brendan Brady - Gary
Diana Williams - Janet
Claire Lewis - Receptionist at Songstack
Caroline Quentin - Receptionist at Songstack
Paul Bacon - Older Man at Greenwich
Michael Keet - Younger Man at Greenwich
Category
πΊ
TVTranscript
00:16Once upon a time, a groundling hooked about unmoved.
00:26Then there came a timeless scrambling, found a kite he loved.
00:37I remember, I have seen them, late in love, another time, and a falling off between them.
00:51I'm the groundling, this my rhyme.
00:57Oh, yeah.
01:18I'm the groundling, this my rhyme.
01:47I'm a terrifying
01:49I am a firmer person who is terrified of flying, who is terrified of dying in an aeroplane.
01:56And lately I have found that there is simply no way round it, so I'd much rather be grounded than
02:02up there again.
02:04One's weakness tends to show up, despite immense restraint.
02:08I tell myself to grow up, then I throw up.
02:13And fate, I'd rather you than me, a ferry's more my style.
02:21A flight, I know it's true can be, good fun for some, but I'll, I will never...
02:32Hello. What are you doing up? Did I wake you?
02:39Sorry. It's finished.
02:43The song I've been working on, the one about me dread of aeroplanes, the one I couldn't get the words
02:47for, you remember?
02:49I've finished it.
02:51I got up early this morning thinking I'd do some marking, but the lyric began to flow.
02:58You see, all I had on paper yesterday...
03:02All I had on paper yesterday was this first stanza.
03:06After that, nothing. The words wouldn't come.
03:10But that first stanza kept going through my mind like a resty maggot.
03:14I couldn't sleep for thinking about it.
03:17That's the muse, of course. That's what she does.
03:21Delivers you of an idea, gives you two or three lines in, and then leaves you to finish the rest
03:26of the song by yourself, with a nag in lieu of inspiration.
03:32She's a deceptive bitch, is the muse.
03:37I presume she is a she, not a he.
03:43No, guile is a feminine trait.
03:47Girls are born plotting.
03:50They leave the womb with little strategies.
03:54Anyway, it's finished now, so Yabu sucks to you, Miss Muse.
04:06You want putting away, you do, before you do anyone any harm.
04:33You making breakfast?
04:37I fancy a bit of breakfast, after all that hard work.
05:04Well, toast'll do, I suppose.
05:29That's yesterday's.
05:32You've read that?
05:36Not as it matters, really, I suppose.
05:40Today's paper won't be much different, will it?
05:44They might as well reissue yesterday's for all the difference it would make.
05:49Mightn't there.
05:55It's all dreadful, isn't it?
05:57Mass unemployment.
06:01Rearmament.
06:03The rates are going up again.
06:04You either shut up or say something cheerful for once.
06:07Go on.
06:08Surprise us all.
06:14Your toast's burning.
06:17Why don't you do something about it, then?
06:19It's nothing to do with me.
06:23I'm not content with banging you away on the piano first thing of a Saturday morning.
06:27You have to sit by and watch my toast go up in flames.
06:30There's no need to shout at me.
06:32Shout at you?
06:35I bloody murder you for two pins!
06:37Do you see these?
06:39Neurosis causes badness.
06:40And what causes neurosis?
06:43Once, in a bloody blue moon, I get a free weekend in which to catch up on some sleep.
06:47Sleep, I lose.
06:48Because in my job, one day has a very nasty habit of careering into another without a wink of it.
06:53Do you think I enjoy walking around with a hundred weight of nutty slack under either eye?
06:58No, I do not!
07:00So when the opportunity arises to arrest their growth a little, I sleep late!
07:06Or at least I try to.
07:10It isn't exactly easy with you doing Ivan Avello impressions for the milkman.
07:17I thought you liked my songs.
07:21You're always telling me I should take writing more seriously.
07:25Did you hear what I said?
07:28I was talking about me!
07:30You should be pleased I've written another.
07:32Pleased? Why should I be pleased?
07:34It's not as if you ever attempted to sell them or perform them when you've written them.
07:39No-one ever hears them apart from me.
07:42I don't want to perform them.
07:45The songs are personal.
07:46Like a diary.
07:49Samuel Pepys.
07:50Anne Frank.
07:51Mrs. Dale.
07:53Pardon?
07:55Other people publish their diaries.
07:57Uninhibited people, that is.
07:59You're just wasting yours.
08:01Laziness.
08:02And don't change the subject!
08:04You had no right to wake me up!
08:07I wanted to play it to see if it worked.
08:10I said I'm sorry.
08:12It's no good being sorry now, is it?
08:14I'm awake now, aren't I?
08:16You're not going to eat that, are you?
08:19It's my toast. I'll do what I like with it.
08:21It's mouldy, that bread.
08:25Spotted green all over. I can see it from here.
08:29I wouldn't eat it.
08:30And you wouldn't go to the shops to buy fresh, either.
08:33Too idle.
08:34There is nothing in this flat. Nothing.
08:37I mean, surely to God you could go to the shops once in a while.
08:40I go sometimes.
08:41What?
08:41What for?
08:42Cigarettes and jelly babies, that's what for.
08:47Milk in there.
08:51How do you fancy it black this morning?
08:53For a change.
09:06Once awake, his mood would alter
09:10And he was quick to start
09:15My turn then to fade and falter
09:20Just when he'd found heart
09:23Walk!
09:25Come on, walk.
09:27Walk?
09:28Why walk? Those shops are miles away.
09:30Park. Through the park.
09:32Do your good. Come on.
09:36He's ashamed of you.
09:39That's what it is.
09:51You never want to go anywhere.
09:53Here we are living in one of the most beautiful cities in the world.
09:56Steeped in history.
09:58Centuries of architecture and art.
10:01When was the last time you went to an art gallery?
10:04I went with the school not so long ago.
10:05Took a party of kids to the Tate.
10:08I think it was the Tate.
10:09And did you enjoy it?
10:10Not much.
10:11Gets on your nerves, all those people shuffling about and whispering.
10:15Like a room full of conspirators with speech impediments.
10:19Culturally retarded you are.
10:28I wouldn't let a child of mine within miles of you.
10:32I mean, people like you are supposed to enlighten future generations.
10:36Teach them to.
10:38Understand the world and appreciate.
10:41Nourish expectations and hope.
10:45Hope's no bloody good to them.
10:47Hope's what they need.
10:49An honest grounding in life.
10:52So they can look after themselves.
10:55Surely, Peter, kids are entitled to a few dreams.
10:58You supply those.
11:00You and your pop heroes.
11:02I'll teach them how to cope.
11:03That's my job.
11:05Teach them how to read the cards in the job centre.
11:07Sign the gyros properly.
11:09Not make pillocks of themselves when they get out there and join the scramble for a job.
11:16Did you mean what you said to me this morning?
11:18About me being lazy?
11:20About me wasting my song?
11:21Can we just keep off the subjects of songs and so forth?
11:24I have enough of that during the week.
11:26Work not good then.
11:28I just don't seem to be able to keep pace with it like I used to.
11:33Time for a change.
11:35You'll never leave the record business.
11:37I don't want to leave the record business.
11:40I just want to do something more creative, that's all.
11:43I don't know what just yet.
11:45I want to enjoy work like I used to.
11:48At least I don't dread it like I do now.
11:51I see.
11:52Well, I mean, I wouldn't have mentioned the songs if I'd known.
11:54Look, just put half a dozen songs on a cassette tape and give it to me.
11:59I'll play it to a few people.
12:02I wouldn't like them even if I did.
12:06There's too many words in my songs for you and your colleagues in the music business.
12:10Too much effort involved in listening.
12:13Big head.
12:16Fewer words, more grunts, doo-wop, doo-wops and shangalangs.
12:23Where do they come from?
12:24What do they mean?
12:25What are shangalangs?
12:28Someone ought to compile a dictionary so we know what these things mean.
12:33The Concise Language Dictionary of Pop.
12:38Wouldn't take them long.
12:41No, they'd hate my songs.
12:44Fair enough.
12:46Don't make a tape then, it's all the same to me.
12:49I might be a gift horse, but go ahead, look me in the mouth.
12:51I don't care.
12:53Don't you bother, Peter.
12:55It's so much more you these days.
13:11Look at that view.
13:14It's special, isn't it?
13:17On a clear day, you can see Greenwich.
13:19That's where we're going tomorrow.
13:21Since when?
13:22Since now.
13:22Must we?
13:24I shall lead the horse to water.
13:27We're very full of equine clichΓ©s today.
13:30Come on, Dobbin.
13:33I'm knackered.
13:36You were born knackered.
13:47I used to have a kite.
13:51I used to fly it in Richmond Park.
13:54I remember running into the wind,
13:57looking back over my shoulder to see whether it was climbing.
14:01I let out a bit more string.
14:04And a bit more.
14:07And a bit more.
14:10Sometimes it would take a nosedive, it's true.
14:14But more often than not, it went higher.
14:18And higher.
14:21Until I had no string left.
14:26What then?
14:29A feeling of power, I suppose you'd call it.
14:33And freedom.
14:36Like it wasn't a kite at all.
14:38But a part of you.
14:41Sort of an illusion that you could see.
14:44What it could see from where it was.
14:49A little bit of you was up there with it.
14:54Somehow.
14:59You know?
15:02No.
15:05Anyway.
15:07I can't look at the sky for long.
15:13Makes me dizzy.
15:42He showed me every old location.
15:47He taught me when and why.
15:52He taxed my famed appreciation.
15:57How nice of him to try.
16:02And we saw much of so-called value
16:06Special, he'd say, and I believe it
16:11We saw buildings, we saw paintings
16:16I could take them or I could leave them
16:21But I saw, he saw much more
16:32I mean, it's surprising what you can do
16:34With a few pots of paint, isn't it?
16:37These tables, 150-year-old, they're the decks of old doors
16:40What?
16:43What have I said now?
16:45And the author's painted by an Englishman, Sir James Cornhill
16:50Who started the painting in 1707
16:52And finished it in 1727
17:16Jimmy, he did it again
17:20What?
17:21Touched his bum
17:25Leave him alone, Peter, can't you?
17:28Such a prude
17:31Well, it's unnatural a man like that with a laddie's edge
17:35I mean, what could they possibly find to do together?
17:43Doesn't bear thinking about it, really, does it?
17:47They might be very much in love
17:52Sorry?
17:53I said they might be very much in love
17:58What, those two?
18:00Yes, why not?
18:02You do come out with them sometimes
18:05They might be, you don't know
18:12That's the last thing you'd think of, isn't it?
18:14Nothing's nice in that warped little mine of yours, is it?
18:30Oh, come on, for God's sake
18:34What should he hear what I say about a couple of Nancy boys?
18:40Nancy boys?
18:44I'll never understand you, Peter
18:48There is no reason why you should be an awful person
18:51It's not that there's no kindness in you
18:53There is, I've seen it
18:55Well, you can understand those two guys
18:56But you'd rather poke fun
19:00What are you going to do with all your understanding, hmm?
19:05Hide it away with everything else you really feel
19:07Because it exists
19:09It's in the songs you write
19:12But you keep those to yourself as well, don't you?
19:15I was forgetting
19:19You're mean
19:20That's what you are
19:23Mean
19:31I tell you what
19:34I promise not to say anything bad about anybody
19:37For the rest of today
19:39How's that?
19:44What if I make you a tape?
19:48Put half a dozen of me songs on a cassette
19:53Seriously?
19:54If it'll cheer you up at all, yes
19:57Mind you
19:57I don't believe it'll come to anything
20:00And I don't believe your boss will like them
20:02But you're welcome to try
20:05All right?
20:07Done
20:20Many is the time
20:23And often
20:25Where differences abound
20:30That with the dusk
20:33Where edges soften
20:35Harbours can be found
20:41So we'd roll along
20:44To evening
20:45Two as one come night
20:51Little then
20:53To choose between
20:55The groundling
20:57And the kite
21:02Seeing
21:04Eye to eye
21:18I don't believe it, Peter
21:19You did it
21:20Not one disparaging word all the way home
21:22You see?
21:23You can do it if you try
21:28Do something else for me, would you?
21:31Say something good
21:33About somebody
21:34Doesn't matter who
21:35Anyone
21:36Bet you can't
21:41Something nice
21:44Like
21:45I love you
21:49Or two
21:59And that's us
22:00Off the residence committee
22:19And that's us off the residence committee
22:22Π¨ george
22:23Six thirty
22:23Reign is
22:24Falling
22:25In the skies
22:25I'm stuck
22:26In the skies
22:26I'm feeling
22:26During the skies
22:32I'm feeling
22:37In the skies
22:38And that's us
22:46I'm feeling
22:47Being
22:47Morning
22:47Morning, Jimmy
22:49Feel fine?
22:49Uh-huh.
22:58Phil Stein, as I live and breathe.
23:03What brings you here first thing on a Monday morning?
23:05Been working on a couple of new numbers.
23:09What, uh, writing them, you mean?
23:11There's no harm in trying, is there?
23:12I've been in this pucksie business nearly 20 years old
23:14to be able to write something of me own.
23:16Yeah, maybe.
23:18Well, do you want to hear him, or don't you?
23:20Sure.
23:28Love is a smoke made with the fume of sighs,
23:33being purged, a fire sparkling in lovers' eyes,
23:38being vexed, a sea nourished with lovers' tears.
23:42What else a mad...
23:44What is it else?
23:45What is it else of madness most discreet?
23:49A choking gal and a gall.
23:52A choking ghoul and a preserving sweet.
24:01Yes, anyone any comments that like a yes, Janet?
24:03It was terrible, sir.
24:05Oh, really, why?
24:06Well, he put no feeling to it at all.
24:08We'd all flat, didn't he?
24:09Yeah.
24:09Just like he normally does, dead rough.
24:11I see, yeah.
24:11He may not have a wall.
24:12He may not have said the way he made it.
24:14Yes, thank you, Janet.
24:14I think you've made your point.
24:19But never mind, Gary.
24:24And you'll get plenty of that if I hear you call Shakespeare and Elizabeth and wooft her again.
24:29Is that understood?
24:30Good. Sit down, then, lad.
24:37Right.
24:39Let's discuss the speeches we've been looking at for what remains of the lesson.
24:43And you can tell me why you think Shakespeare uses images like smoke, fire and madness.
24:52Who's going to set the ball rolling?
24:56Love you with my heart and not my head, girl
24:59Will you kiss me or you'll miss me when I'm dead?
25:16Well?
25:18It's OK.
25:20Nothing special, but it's OK.
25:22Is there a potential single there, or isn't there?
25:25No.
25:26No way.
25:31Nice try, though.
25:32Sure.
25:34Look, Phil, if we don't get you into the top 70 with the next one, people are going to start
25:41to lose interest.
25:42It's not just any old song we need.
25:44It's one that encompasses your new solo image as well.
25:47There's nothing original there.
25:49Dave Gregson doesn't think so.
25:50He's the new A&R guy at Acid.
25:52I know who he is.
25:54What's he got to do with it?
25:55He's been to a couple of my gigs lately.
25:59Has he now?
26:01And what else does he have to say?
26:03Just that he likes those songs and Acid are interested in signing me to do them if you guys won't.
26:09Yeah, well, like you said, he's new.
26:13They've made me an offer.
26:15Oh, serious?
26:20You have a contract here, Phil.
26:23Monster run.
26:24Leave it out, Jim.
26:26I didn't just get off to 420 from Toy Town.
26:28Some of these kids might fall for that kind of stuff, but not me.
26:31There'd be no point in keeping me if I didn't want to stay, and you know it.
26:35I thought you and I trusted one another.
26:39Bollocks.
26:41I haven't got time to wait for some dream song to turn up.
26:44I want to cut another single now.
26:46Anything.
26:46Just so people know I'm still alive, for Christ's sake.
26:50Week after week, nothing is happening.
26:53Oh, so that's what you think, is it?
26:54Nothing's happening.
26:56Do you have any idea how much time and effort I put into you?
26:59Do you?
26:59Don't lecture me like I was some beginner.
27:02And don't behave like one then.
27:03Have a bit of faith in me.
27:04I know what I'm doing, Phil.
27:09I'm a terra firmer person who is terrified of flying,
27:13who is terrified of dying in an aeroplane.
27:18And lately I have found that there is simply no way round it.
27:22So I'd much rather be grounded than up there again.
27:26One's weakness tends to show up, despite immense restraint.
27:30I tell myself to grow up, then I throw up.
27:35And faint.
27:37I'd rather you.
27:41See these?
27:45These?
27:46Now those are some of the songs I've waded through in search of your new single.
27:50Good songs don't walk through the bloody door, Phil.
27:52I find them.
27:54Minnie loves Mickey, but will that suffice?
27:57Since Mickey's been done for soliciting nice young mice.
28:03Lavender's blue, dilly dilly.
28:06How much longer do you think he's going to be?
28:10When does Gregson want your reply?
28:12End of this week, I'll do.
28:20Okay.
28:21Have it your own way.
28:22If we don't come up with a suitable song before the end of the week,
28:26we'll release you, if that's what you want.
28:30Nothing personal, mate.
28:37My friend called to say
28:41that he's left his wife.
28:45Hair's turning grey now
28:48With fans
28:51Carol, tell Jimmy, the poor little rich boy will see him in the office now.
28:56And I want you all to have another look at Romeo and Juliet tonight.
29:00Never mind all sirs.
29:02All sirs won't get you through your exams.
29:05The more familiar you are with the play, the better.
29:08Off you go.
29:20And Gary.
29:24Make sure you do look at it.
29:26Because tomorrow there'll be a little quiz, and guess what?
29:29What?
29:30Anyone achieving less than 50% in that quiz
29:32will read the balcony scene aloud with Janet.
29:36Goodbye, Gary.
29:42Why don't we just let Phil Stein go?
29:44He's over the hill anyway.
29:45That's just what makes him so unusual, Jerry.
29:48Unusual?
29:49This business needs people like Phil.
29:52You don't throw away accomplished vocalists
29:53just because they're past 30.
29:55He's been around, that's what makes him interesting.
29:58He isn't easy to package, I agree.
30:01But that's no excuse to let him go.
30:03He could have a whole new career.
30:05You think so?
30:06Given the right song, I know so.
30:08I've been listening to this cassette, Peter Lester.
30:12Oh, that.
30:13Yeah, well, I just wanted an opinion, really.
30:15I wasn't suggesting he'd be any use to this.
30:16Not with the materials it stands, perhaps,
30:18but there's talent there.
30:20He writes for himself, you see.
30:22I thought it was worth a listen to, that's all.
30:24Has he ever written a song for someone else?
30:27Not that I know of, no.
30:29Maybe he should try.
30:31Might come up with something more commercial.
30:33Well, it's possible, but I'm not sure he'd be interested.
30:37Ask him.
30:40Ask him to write something for Phil.
30:42It's a long shot, but you never know.
30:44Phil needs an up-tempo love song, Jerry.
30:47So?
30:49Well, I'm not sure that that's Peter's style.
30:51Don't know till you ask, do you?
30:52Well, I'm not sure that's Peter's style.
31:26What's all this in it, O?
31:32Revenge, is it?
31:36Because if it is, you can stop now.
31:37I'm awake.
31:40Why are you playing the piano?
31:42You never play the piano.
31:44This is my entire repertoire.
31:48Yes, well, I think you've heard it enough for one moment.
31:51It gets on your nerves at the best of times, that tune.
31:54Let alone 7am.
31:57Hey!
31:59That's my piano.
32:00I'll thank you not to take your temper out on it.
32:07Must be nice to be able to play the piano.
32:11And write, like you can.
32:15I envy those gifts.
32:18Look at her.
32:21Sphincter muscles going like bom doors.
32:26I spend my life hunting for songs for people to sing.
32:31You know a good song when I hear it.
32:33Oh, yes, I always know what I'm looking for.
32:35But I can't actually sit down and write one like you can.
32:44Now, that's a gift.
32:48If you say so.
32:51Flying rats.
32:54These last few months, for instance,
32:56I've been looking for a song for Phil Stein to put out as a single.
33:01Phil Stein?
33:03He used to be a member of a band called Exodus.
33:05Did you ever hear of Exodus?
33:06No.
33:09Well, anyway, he's gone solo now,
33:12and it's up to me to find the material for him.
33:14Oh!
33:17And if I had the ability,
33:20I would sit down
33:23and write Phil a song myself.
33:26Yeah.
33:27Well, it would help, wouldn't it?
33:32Bugger off, you bloody crap sprayers!
33:38Sods.
33:41Yes, it would.
33:44But I can't.
33:46And, which is worse,
33:48he is threatening to leave Songstack
33:50if I don't come up with something by the end of the week.
33:54Is he now?
33:56Yes, he is.
34:01Well, you'd better get looking then, haven't you?
34:04Where are you going?
34:06Wash me car, since I'm up early.
34:09Peter!
34:10I am trying to talk to you!
34:12It will be sprouting bloody mushrooms
34:13if those pigeons don't find alternative toilet facilities before long.
34:19What?
34:21Pigeon shit.
34:23Peter!
34:25What?
34:27Write me an out-tempo love song for Phil Stein.
34:36Peter!
34:37Please!
34:38No!
34:39Now, go away.
34:40You'll wake the entire street.
34:42You care more about that, Heath,
34:43than you do about me.
34:45Did you hear me?
34:46Everybody heard you.
34:48I don't care.
34:49It's true.
34:50Will you either jump
34:52or go away?
35:08Peter, please.
35:10Just a song.
35:12An up-tempo, breathless,
35:14butterflies-in-the-stomach sort of song.
35:16Something with a bit of drive.
35:18Something punchy.
35:19You know this sort of thing, I mean.
35:22Be my, be my baby.
35:24My one and only baby.
35:28You're going to have to write something jolly one of these days,
35:30even if it's only by accident,
35:31instead of all that musical misery you churn out.
35:39Peter, please.
35:41Help me.
35:42I've never asked you before, and I won't again.
35:45But just this once.
35:46Have a go for me.
35:48Look, I would if I could,
35:49but you know as well as I do,
35:50I could no more write a love song than fly.
35:53Still less of, what did you call it?
35:54Breathless butterflies-
35:55Butterflies in the stomach sort of-
35:56Well, there you are, then.
35:57I couldn't.
35:57I wouldn't know where to begin.
35:58What I write, I write from experience.
36:01And I've never felt like that.
36:05That's a lie.
36:07Okay, so it's a lie.
36:10What about when we first got together?
36:11That was three years ago.
36:13Don't you love me any more, then?
36:14Do we have to talk about this in the street?
36:17Answer me!
36:18Well, of course I do.
36:20But differently.
36:22I mean, not in a frenzied way any more.
36:24No butterflies now.
36:25Not any less.
36:26Just differently.
36:29Butterflies are only to begin with.
36:31Like the first signs of a cold.
36:33And nobody runs a temperature forever, thank God.
36:36I can't remember all that nonsense.
36:59I can't remember all that nonsense.
37:06Look, I'd like to help.
37:06No, it's all right.
37:08I shouldn't have asked.
37:11I should have known better.
37:14Can't get blood out of a stone.
37:49Well, say something, then.
37:51Even if it's only goodbye.
37:54Goodbye.
37:56Jimmy.
37:58Jimmy, wait!
38:00What's the matter?
38:05Tell me.
38:06I live with an iceberg.
38:08That's what's the matter.
38:09You don't.
38:10Yes, I do.
38:11You're cold.
38:12I am not.
38:15There is no sentimental side to you.
38:18There is.
38:19You say you can't remember.
38:21Of course I can.
38:22Then prove it.
38:24Backdate it if necessary.
38:25Cringe all the way to the piano if you must.
38:28But prove it.
38:33No sentimental side to me.
38:40Of course there's a sentimental side to me.
38:47There's a sentimental side to me.
38:53Of me.
38:57To me.
39:01Of me.
39:04Of me.
39:08Of me.
39:10There's a sentimental side of me.
39:37Right then.
39:38Did we all revise Romeo and Juliet last night?
39:41Yes.
39:42Yes.
39:42Did we by Joe?
39:45So everyone's confident of high marks if we have a little quiz about the plot, are they?
39:49Yes.
39:49Yes.
39:51You too, Gary?
39:52Yes, sir.
39:53Have no point then, is there?
39:55We'll do something else.
39:56Yes.
39:57The work, the work you did last night will come in useful anyway.
40:01Listen.
40:04I think we've become too detached from the heart of this play, and so I want to try a little
40:10experiment.
40:12It's time to invest our appraisal of it with a little soul searching of our own.
40:18I want you all to write about something or someone that you've loved, or if not loved, then felt
40:28very, very strongly about.
40:30It might help you to understand the characters of Romeo and Juliet a little better.
40:35You might even learn something about yourselves.
40:38Go to it anyway and see what you come up with.
40:47Yeah, Tuesday, four o'clock.
40:48Well, I've got to meet him with Dave, isn't it, so I can't do anything.
40:51Have you spoken to Peter Lester about that love song yet?
40:53Hang on a second, did you?
40:54I have, Jerry, yeah.
40:56And?
40:57He's going to do it, I think.
40:59What did I tell you?
41:00All you had to do was ask.
41:01I don't know what I'd do without you, Jerry.
41:03You're such an inspiration.
41:10Sorry about that, somebody came in.
41:14Finish it off tonight, hand it in tomorrow.
41:30How's your soul search going then, Gary?
41:33It isn't easy, sir.
41:39You're telling me.
41:43And so at last
41:45I tried to score
41:47A story new begun
41:53Gathering words from years before
41:56I borrowed back the sum
42:02What I did to keep the peace
42:06Seemed harder than the fight
42:11What I did to keep the peace
42:15Went on into the night
42:40I don't want to write a bloody song anyway
42:47I don't want to write a bloody song anyway
43:13There's a sentimental sign of me
43:17There's a sentimental sign of me
43:19There's a sentimental sign of me
43:21That's risen to the four
43:25The four
43:28I'm in love with you
43:31And no, no mistake
43:34At all
43:38And this sweet and
43:42Gentle side of me
43:45Takes over more
43:48And more
43:51And it's not like me
43:56And it's not like me
43:57It's not like me
44:02At all
44:08Old ladies
44:10I've assisted
44:11And I smile at what I hate
44:13I was bitter
44:15I was twisted
44:16But I have not been of late
44:18I don't know
44:20Who I am
44:21Or where I am
44:22Or whether you're sincere
44:24But I'm
44:26Here
44:27I am
44:28Here
44:28I am
44:29Here
44:31Middle eight
44:33What?
44:34Middle eight
44:35Give me a bloody chance, will you?
44:41It seems that I am ill-prepared
44:44To love you as I must
44:46Though I couldn't give you
44:48Two good reasons why
44:51It isn't that my sight's impaired
44:54It's not through lack of trust
44:55I just need time to catch my breath
44:59But meantime we'll get by
45:01I don't know
45:02What it is
45:03A lot it is
45:04That much is understood
45:06And it's good
45:08Yes, it's good
45:09Ooh, it's good
45:13Not keeping you up, are they?
45:21Can I ask you then to bide with me
45:23Until I find my feet
45:25Which hopefully I'll never do again
45:28Can I have you by the side of me
45:31Turn down the street
45:32Do you love me here and there both
45:35Now and then?
45:36I love you so uniquely
45:38Well, what more can I say?
45:40I used to phone you weekly
45:42Now I call three times a day
45:44I don't know who you are
45:45But who you are
45:47A splendid waste of time
45:48And you're mine
45:49Yes, you're mine
45:50You're mine
45:51I don't know who you are
45:53But who you are
45:54A splendid waste of time
45:56And you're mine
45:58Yes, you're mine
46:01Yes, you're mine
46:02You are mine
46:10Yeah, well, once jigging up a bit generally
46:16It just needs arranging to suit your style, Phil
46:18That's all
46:19No problem
46:20Nice song, Peter
46:22Jimmy
46:23A word in your shell, like
46:30Sorry I didn't know who you were
46:33Why on earth should you?
46:34I thought I knew everyone in this game
46:36Up till Jimmy said Peter Lester had written a song especially for me
46:39Oh, I don't want to disillusion you, Phil
46:40But I didn't write it for you
46:43Someone turned it down, did I?
46:44Oh, no
46:45No, that's not what I meant
46:46Come on, Jerry
46:46Give the song a chance
46:47You've only heard it once
46:49Not a contemporary sound
46:51Not as it stands, I agree
46:53But given the right arrangement and production, it could be
46:56Too rigid
46:58Too wordy
47:00I write for myself, you see
47:01I'm a teacher by profession
47:03Oh, I see
47:04Gotcha now
47:06Teacher, eh?
47:06Yes
47:09Teacher
47:14Takes all sorts to make a single, I suppose
47:20It's the best available right now, Jerry
47:24Phil likes it
47:25We can trim the lyric
47:26No contemporary producer worth his salt would touch it
47:28Let me produce it
47:30You?
47:31Yes, why not?
47:32You're not a producer
47:35I know enough by now to handle a single
47:37Jerry
47:37And besides, it's time I was moving into that area
47:40It's a fairly inexpensive trial
47:53All right
47:54If it'll keep you quiet
47:58There's just one more thing, Jerry
48:01You see, I think Peter had more in mind than just this single for Phil
48:06He'd like the opportunity, if the single is successful, to record some of his songs himself
48:10Hold it
48:10Hold it
48:11A risk is one thing, certain loss is another
48:13Now, obviously, we'll have to tie up the other songs along with this one, just in case
48:17That's the deal I want
48:18But I can promise you one thing
48:20He won't be fronting the material, whatever happens
48:22The pubescent punters wouldn't wear it
48:25He's a teacher
48:27Not a singer
48:28They don't know that
48:30He even looks like one
48:33I mean, who'd hang a picture of that on their bedroom wall?
48:38No, put him under contract
48:39Our option, no promises
48:42All the same, there'll be a few green ones in it for him
48:45He'll bite
48:46You watch
48:51Not now, Jerry
48:52Please
48:52I'll talk to him later
48:56All right
49:08Of all the nerve
49:11Do you think
49:13I put considered pen to paper
49:15Time and time again
49:17Just to surrender the songs up to some
49:20Latter-day spiv
49:21With the brain of a bloody aniseed ball
49:25I should cocoa
49:26Peter, listen
49:27No, you listen to me
49:29They're my songs
49:30And if I don't get to record them
49:32They're not for sale
49:33They can stay at home with me
49:35What did you expect?
49:36Did you expect Jerry Jackson to finance a record for your own amusement?
49:39Did you?
49:39Because that's what it would be
49:42You are not a commercial proposition
49:46Jerry's a businessman
49:46He's out to make money
49:47Yes, I think I got the gist of him
49:49Thank you
49:49It is a real world, Peter
49:51Money makes it turn
49:54Look
49:56There is just the possibility
49:58If the single goes down well
50:00That you may be able to make a record later on
50:02Did Jerry Jackson say that?
50:04Not exactly
50:05Then no
50:09We have to have control over the rest of your material
50:13If we don't have that
50:15Then Jerry won't make the single either
50:17That's his loss
50:19It's all the same to me
50:24Now
50:26If you don't mind
50:29I'd like to get on with this marking
50:45It's my birthday next week
50:50Did you hear?
50:54Yes, I hadn't forgotten
50:58Thirty-five next Saturday
51:01Halfway house
51:03Isn't that what they say?
51:05Thirty-five?
51:08I seem to remember promising myself
51:12An achievement or two
51:13By the time I reached thirty-five
51:15Nothing much
51:17Just a few gentle indications
51:19To reassure me
51:20That the next thirty-five years
51:23Could be better
51:27That somewhere between here
51:29And the pension plan
51:31Life might ease up a little
51:38I sometimes wonder
51:40Whether all my grafting
51:41Will ever amount to anything
51:46I've seen no visible indication of it
51:48In my life to date
51:52Not even a whiff of one
52:00Until today, that is
52:11I'm tired of being an A&R man, Peter
52:18I'm like an ageing footballer
52:20I still enjoy the game
52:22But I've begun to look silly in shorts
52:28My job belongs to a whiz kid
52:30And I've used up
52:33All my whiz
52:38And I'm not a kid any longer
52:43So today
52:44When Jerry said he would let me produce my first single
52:47With Phil singing your song
52:50I thought change at last
52:53Now this is progress
52:54Who knows where this might lead
52:57This could pay out thirty-five
53:01Nicely
53:04Are you going to rob me of that?
53:10Don't blackmail me
53:17I am sick and tired
53:19Of intransigence
53:20And doer excuses
53:23If you could hear yourself sometime
53:24It's pathetic
53:25Yeah, well piss off then
53:26If you don't like it
53:26Oh, I will, matey
53:28Don't you worry on that score
53:29With pleasure
53:32Do you know what you are, Peter?
53:34Do you know what you've become?
53:36A killjoy
53:38A moaning, groaning
53:40Pain in the neck
53:43You can only get out of life
53:45What you're prepared
53:45Oh, for goodness sake
53:46No, Peter
53:47For my sake
53:49For our sakes
53:56Well, if you are not prepared to change
53:57Then I will
54:00I'd rather get out among the living
54:01Than stagnate here with you
54:13Once a groundling
54:16Made to choose
54:18Was set to search his soul
54:24Part or parcel
54:26Stand to lose
54:29Or let the good times roll
54:34But there without him
54:37What would I do?
54:40Groundlings need their kites
54:43To fly
54:46Ones they cannot say goodbye to
54:50Ones they need
54:52To touch the sky
55:19I know I'm a bit previous
55:21And, er, it's only brown paper
55:25But
55:29Go on
55:41Happy birthday
55:47I was gonna buy you socks, actually
55:49Or a shirt
55:52Or both
55:56Difficult to know what to buy
55:57An ageing footballer
55:59Except a pair of long trousers
56:00I suppose
56:01And, er, anyway
56:02I'm not familiar with your inside leg
56:04From a tailor's point of view
56:05I mean
56:05And those didn't cost me anything
56:07So I thought, you know
56:08Yes, they did
56:11There's a lot of love in these songs
56:17Well
56:20What's a little love between friends
56:24Except a bloody nuisance sometimes
56:36Would you have gone?
56:41Why did I frighten you?
56:43Oh, no, no, no
56:44I'm not frightened, exactly
56:46Would have been very inconvenient
56:50See, I don't think you fully comprehend
56:52The seriousness of divorce
56:53It's a terrible thing, divorces
56:57All those possessions to sort
57:00Furniture
57:01Pictures, books
57:03Pots and pans
57:04And the children, don't forget
57:07Well, what have they ever done for us?
57:11And then after all that stocktaking
57:16There'd be this awful silence
57:20No noises off
57:21No one shouting from another room
57:24Asking for things
57:27No one to, er
57:30Irritate the predictability of it all
57:35That's what decided me
57:37I see
57:40You mean the habit?
57:44Yes
57:46Why not?
57:47The habit
57:54And the hope
57:55And the hope
58:08From the ground
58:10The groundling hiding
58:13Sees the cut
58:14Upon the wing
58:18And though I may not
58:20Glide beside him
58:23I can hold
58:27The stream
58:28ited and the hope
58:31Of the wind
58:32Now
58:57Let's
59:15ΒΆΒΆ
59:42ΒΆΒΆ
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