- 1 day ago
First broadcast 23rd February 1988.
Jack Lawrence and Jimmy Dunne were once, briefly, enemies at opposite ends of a gun on the Irish border; now their lives have become inextricably mixed.
T.P. McKenna - Michael
Maurice Roëves - Jack
David Calder - Douglas
Tim Brierley - Jimmy Dunne
Marsha Hunt - Elvi Rogers (as Marsha A. Hunt)
Nickolas Grace - Paul Mann
Kika Mirylees - Morag Stevenson
Emlyn Price - Greg
Maggie Ollerenshaw - Joan
Grace Glover - Paula
Malcolm Kaye - Ken
Nigel Lambert - Bill
Carl Rigg - Geoff
Andy Secombe - Simon
Alan Downer - Owen
Eric Allan - Len
Bill Caddick - Steady Eddie
Tara Ward - Mary
Jack Lawrence and Jimmy Dunne were once, briefly, enemies at opposite ends of a gun on the Irish border; now their lives have become inextricably mixed.
T.P. McKenna - Michael
Maurice Roëves - Jack
David Calder - Douglas
Tim Brierley - Jimmy Dunne
Marsha Hunt - Elvi Rogers (as Marsha A. Hunt)
Nickolas Grace - Paul Mann
Kika Mirylees - Morag Stevenson
Emlyn Price - Greg
Maggie Ollerenshaw - Joan
Grace Glover - Paula
Malcolm Kaye - Ken
Nigel Lambert - Bill
Carl Rigg - Geoff
Andy Secombe - Simon
Alan Downer - Owen
Eric Allan - Len
Bill Caddick - Steady Eddie
Tara Ward - Mary
Category
📺
TVTranscript
00:00:13This poor man arrived yet.
00:00:15Oh, right.
00:00:18Mr. Mann?
00:00:18Yes.
00:00:19Hello, Morag Stevenson.
00:00:21How do you do?
00:00:22Would you like to come this way?
00:00:23Yep.
00:00:25Could you bring that, please?
00:00:26Oh, right.
00:00:33On Titles, three next.
00:00:46Cue audience, and three.
00:00:48On three, one next.
00:00:52Cue announcer.
00:00:53It's the live show with Michael Flynn.
00:00:56Cue Michael.
00:00:58And one.
00:00:59On one, two next.
00:01:09Good evening.
00:01:10You're welcome to the show.
00:01:12Nothing like a live audience.
00:01:14Are you?
00:01:15Ask him to do the words.
00:01:16We know how funny he is.
00:01:34What are you for?
00:01:38Take care of it.
00:01:40Take care of it.
00:01:45How are you, Davros?
00:01:51For the live show.
00:01:54Cheers, Lawrence.
00:01:55Cheers, Don.
00:01:57Boom.
00:01:58Yeah, man.
00:01:59Boom, eh?
00:01:59This being the family show it is, tonight the guests I myself will be chatting about things
00:02:03dear to the hearts of millions of families up and down the land.
00:02:07Sex, money, death, politics, religion, and lunch.
00:02:12Oh, I was out to lunch today.
00:02:14Oh, mother.
00:02:16Yes, Michael.
00:02:18I might tinker with this.
00:02:20Oh, yes, Michael.
00:02:21For the more, I've been...
00:02:22Yes, Michael.
00:02:23...leafing through the script here, as is my wont of an afternoon.
00:02:28Oh, these, er...
00:02:31These two at the end.
00:02:32The wheelchair pair.
00:02:34You have the compassion of a nun.
00:02:37Page 23.
00:02:38Exactly how gagger is the boy.
00:02:41He makes noises, and, um, the other one, the corporal, understands some of the time.
00:02:48So long as it makes good television.
00:02:50According to Morag's notes, they do...
00:02:52Yeah, girl.
00:02:53They do a kind of double act.
00:03:18I think all that's required, Michael, all that we need do is for you to say hello.
00:03:25To, as it were, acknowledge his existence.
00:03:28Not to ignore him, but not to play on the embarrassment.
00:03:31And then to carry on through the other one, the corporal.
00:03:37You want me to talk to him?
00:03:39That's what you usually do, Michael.
00:03:41Usually, they reply.
00:03:49You want me to talk to him?
00:03:51Please, Michael.
00:03:53Fine.
00:03:54You want to hear the Irish crippled grunt?
00:03:57Fine.
00:03:59Eh?
00:04:00Eh, you are.
00:04:02No, you don't.
00:04:03Eh?
00:04:04You don't know anybody.
00:04:05You don't know anything.
00:04:07You.
00:04:10Sorry for you.
00:04:12Jimmy.
00:04:13Tell us in your own words.
00:04:15How does it feel like to have three, how was it, four bullets in the owl spine?
00:04:19I mean, has it affected your squash at all?
00:04:23How is that for level, Joan?
00:04:26If anyone wants me, I'll be with themself.
00:04:30Get Morag to speak to him.
00:04:33What size wobbly?
00:04:38Oh, they're here in reception.
00:04:42Tell Joan five minutes.
00:04:53A wheelchair pair.
00:04:58Sometimes I think the language is all we've got left.
00:05:01That's all you Irish bleeders ever have.
00:05:04Thanks to you, English bleeders.
00:05:07Well, I can't see what's wrong with it.
00:05:09A kid gets shot and the guy that does it ends up looking after him.
00:05:13It's not exactly war and peace, but it's all right from our point of view.
00:05:18It's a positive contribution.
00:05:20Mark Warren's stuck.
00:05:21The wax has melted.
00:05:27Let me start, Mark.
00:05:28No, boss.
00:05:33You knew there was something wrong with it, kid.
00:05:36I really pushed on your story.
00:05:38I think it's terrific.
00:05:40Hey.
00:05:40Hey, hey.
00:05:41Mr. Ray?
00:05:42He's here.
00:05:42Oh.
00:05:44Oh.
00:05:46Oh.
00:05:47Oh.
00:05:48Oh.
00:05:48Oh.
00:05:49Oh.
00:05:51Oh, he's great.
00:05:53Till you get to know him.
00:05:56Are you okay?
00:06:00Oh, it's moving all the time.
00:06:02He's like a kid at Christmas.
00:06:05I think there's something wrong with him.
00:06:10This way you're burnt.
00:06:11Don't worry.
00:06:12Come on.
00:06:36So, what do you think?
00:06:40Oh, really?
00:06:43Yeah.
00:06:45Yeah.
00:06:46You would.
00:06:49Boy, Hitler.
00:06:50The soap.
00:06:52Oh, come on.
00:06:56Bye.
00:07:16thing is going on.
00:07:17God, I'm going to flip it.
00:07:17Your heart, I get a little, and I'm going to go.
00:07:19Go, I want to go.
00:07:19Here is my heart.
00:07:36Exit Michael Flynn Michael who oh I'm in a mess so am I she must me deliver the
00:07:4525 what about so well Mel's 42 and she wants to have a baby what does Ann say oh you
00:07:58know Ann loves
00:07:59kids doesn't go a lot on husbands you know what I feel like saying too bad you didn't get away
00:08:09with
00:08:17son my apologies gentlemen I'm sorry there's no smoking on the studio floor no we are trying
00:08:26to rehearse under considerable difficulty Doug it's been real the older you get the bigger the mess
00:08:47anyway if he does sing it'd be a triumph of the human spirit or else he make a complete prat
00:08:51of
00:08:52himself British Army's already done that his mate did that come on Mike have a day off you're not
00:08:59Irish you're bourgeois just like the rest of us just so long as they keep talking about it in the
00:09:05pub
00:09:05you can open supermarkets at four grand a time thanks you get the car you get the flat you get
00:09:20the mistress she wants a baby life's one big adventure really isn't it you know the only fun
00:09:29of this job is when there's a strike on up the workers just a little bit on these yellow marks
00:09:37here it's for your lighting just we want to make sure we can see you right mr. Lawrence you're here
00:09:50no I need to stand behind them ah the thing is Jack you'll be doing most of the talking
00:09:59we really need you to be sitting down it's a technical thing is to do with camera angles and
00:10:05lighting and booms if you're standing it's um yeah the camera will be shooting up your nose oh see
00:10:15they won't have time to rechange the light so you're going to look like Boris Karloff the boom's going to
00:10:20be in shot the lighting if you could just try it thank you mr. Dunn mr. Lawrence thank you Morag
00:10:29Michael does not do interviews looking up at people ever oh my god well Jimmy how is she cutting then
00:10:39huh hey great stuff yeah all right Jack no phone hmm he wants to shake your hand mr. Flynn
00:10:49ah sure yeah yeah easiest money you'll ever earn bad sets to the lot of them huh four more
00:11:00your chair is set and lit here mr. Lawrence thank you so much Michael can I have a word with
00:11:06you in
00:11:08the office fine what the hell does he think he's playing at Greg get him over to the audience and
00:11:16tell
00:11:16him from me he is an ignorant unprofessional arrogant Irish git mr. Flynn the director sends her love
00:11:25excuse me Jimmy all right we'll have a jar later all right who do you have to suck to get
00:11:36a drink
00:11:36around here this is the green room ah the fridge appears to be stuck well I'm afraid it's locked mr.
00:11:46Mann
00:11:46ah I hate this place ten minutes I can get you some coffee miss Rogers the coffee my dear is
00:11:55speculent well I'll see what I can do the other guests charming I'm gonna bust this guy's hole
00:12:16hey look I think you'll be better off here fine with me makeup is about six if you want a
00:12:26drink you
00:12:26can get one then I'll say you're staying here I'll be with you from seven until you go on at
00:12:31about
00:12:3220 past so is anything I can get you coffee I'll just sit here great I'll talk to you soon
00:12:41bye Jimmy hey
00:12:58hey hey let's get you smart and don't
00:13:10Hi!
00:13:12Oh!
00:13:14Ah!
00:13:16I fell off my young man before he was found.
00:13:24Hey!
00:13:25Hey!
00:13:29Hey!
00:13:30Hey!
00:13:31Happy?
00:13:31Hey!
00:13:32Just shout if you fall off.
00:13:43Yeah. Watch some television.
00:13:46I think I've ever thought.
00:14:05Not Danny boy again, please, Jimmy.
00:14:08Danny boy.
00:14:10Yeah, I've already been born there.
00:14:20It's gonna be difficult, Jimmy.
00:14:23Everything.
00:14:28I mean, they've got us two or three feet apart.
00:14:32Make-up comes in at six.
00:14:35How long's that gonna be, eh?
00:14:36Yeah.
00:14:41Blokes hanging around everywhere.
00:14:44Like a bad day at the DHSS.
00:14:53I mean, I can't do a proper recce now, can I?
00:14:56Huh?
00:15:08Anyway.
00:15:12We do have the getaway car organised.
00:15:14Huh?
00:15:15Oh, you shit.
00:15:23Facts, Jimmy.
00:15:26Facts.
00:15:28Oi.
00:15:35Oi.
00:15:36Facts.
00:15:54Oh, how are you?
00:15:55Come.
00:16:09Hey, what are you, what are you?
00:16:11You're puddled enough.
00:16:12There you go, baby, mommy.
00:16:27Things can go wrong, Jimmy.
00:16:31That's all I'm seeing.
00:16:35Chai, chai, chum.
00:16:38How are you, man? Let's forget it.
00:16:40I mean, we've got 250 quid out of it.
00:16:42It'll all be over by half seven, and then we can both get legless.
00:16:45Chai, chum.
00:16:47Chai, chum.
00:16:49Your fighting days are over, man.
00:16:52Calm down.
00:16:54Chai, chum.
00:16:59All right.
00:17:01We do it.
00:17:02All right, mate.
00:17:03Do the show.
00:17:05He likes you, Jimmy.
00:17:07He does that kind of thing for a past.
00:17:12Cancer.
00:17:13Crippled kids.
00:17:15The public love it.
00:17:19Aye, when they hear what happened...
00:17:24What a terrific story.
00:17:26What an amazing relationship.
00:17:29And when they see you sitting there...
00:17:34How that boy can smile?
00:17:36Aye, I don't know.
00:17:38Look at him.
00:17:39Love him.
00:17:42Play it right.
00:17:44You could be another Ethiopian.
00:17:45Come, you're fucking a sham.
00:17:48So you are.
00:17:49You're a big boy.
00:17:51Shaggy, shaggy, shaggy.
00:17:53You know why we're fucking coming here.
00:17:56Yeah.
00:17:57You know what fucking money.
00:17:59Yeah, I know why we came here.
00:18:00Show the butter.
00:18:02I know something else, too.
00:18:05I was there.
00:18:08Wasn't I?
00:18:11Show the butter, all right.
00:18:18Right.
00:18:20Show the bastards.
00:18:22That's what you said.
00:18:32That's what you said.
00:18:39That's what you said.
00:18:41That's what you said.
00:18:41That's what you said.
00:18:42That's what you said.
00:18:43That's what you said.
00:18:43That's what you said.
00:18:44That's what you said.
00:18:44That's what you said.
00:18:45That's what you said.
00:18:50That's what you said.
00:18:53Rita.
00:18:55Hey.
00:19:29Physician, an intention, ten years minimum, right?
00:19:41Sir, we're real.
00:19:45Course it is.
00:19:50Forever, as far as I'm concerned.
00:19:55I mean, what have you got to lose, Jimmy?
00:19:58Stop it then.
00:20:03It's hopeless, mate.
00:20:04I said so, didn't I?
00:20:08Because unless I'm sitting right next to you, so I can...
00:20:11Stop it.
00:20:12Let me pick.
00:20:13All right.
00:20:34You all right?
00:20:35Why?
00:20:40Sometimes, you know, you can be a right liability.
00:20:44Oh, yeah.
00:20:46All right.
00:20:46All right.
00:20:47All right.
00:20:49All right.
00:20:52All right.
00:20:54All right.
00:20:56All right.
00:21:26All right.
00:21:27All right.
00:21:27All right.
00:21:33All right.
00:21:52All right.
00:21:55All right.
00:21:56All right.
00:21:56All right.
00:22:16All right.
00:22:17All right.
00:22:18All right.
00:22:19All right.
00:22:22All right.
00:22:22All right.
00:22:23All right.
00:22:28All right.
00:22:28Good evening.
00:22:29You're welcome to the show.
00:22:32Nice to see a friendly face.
00:22:34Two would be better.
00:22:35Treat your guests as friends of the family, they say, so tonight we're going to be talking
00:22:39about sex, death, money, politics, religion, and lunch.
00:22:44Oh, I was out to lunch today with himself and the board.
00:22:49Hmm.
00:22:50I was one of the board.
00:22:51Big, dusty old London club, the marble staircase, horse pictures, the clack of faded ivory balls,
00:22:58the shrunken little red-faced waiter and the shrunken little red-faced jacket.
00:23:03Will, sir, be having the chop?
00:23:05The featherless hawks of God and empire clutch their chairs and glare into the wallpaper.
00:23:11Good morning, General.
00:23:12How's the piles?
00:23:14Sorry, O Grace, did I wake you up?
00:23:15No, you fool.
00:23:16He's dead.
00:23:18Narrowly eyeing each other for the first sign of life as the gin creeps slowly across the
00:23:23floor to make it at the fourth attempt.
00:23:27And I'm there, nervously fingering the silk tie and, you know, shifting my feet in the
00:23:33dandruff.
00:23:34Cardington's gone.
00:23:37Left his pacemaker in.
00:23:39Bang.
00:23:40Took out the back wall of a cram clean as a whistle.
00:23:44Ashes and dust everywhere.
00:23:46Feller always did put himself about a bit.
00:23:49Had more, you know, did he, my guy?
00:23:51Yes.
00:23:52Poor girl was most upset.
00:23:54Miss the tombola.
00:23:56So, I says to himself, emboldened by a glass and a half of Chateau Neutrable as well now.
00:24:05What's for lunch?
00:24:07Now picture the scene.
00:24:09Afternoon sun, colour of old champagne, slanting to the layered blue cigar smoke, glistening
00:24:16on his steel teeth.
00:24:18You are, he says.
00:24:21Which is what we televisual folk call a link to my first guest tonight.
00:24:26Stand by Miss Rogers.
00:24:26A young lady.
00:24:27Coming to you two.
00:24:28She prefers to be called.
00:24:29And two.
00:24:30On to three next.
00:24:31A film opening in London this week.
00:24:32A woman for whom there is definitely no such thing as a free lunch.
00:24:36Ladies and gentlemen, the girl who made pork a four letter word.
00:24:39Will you welcome, please, writer, producer, director and star, Miss Elvie Rogers.
00:24:53As Emi, you're welcome.
00:24:55Michael!
00:25:01As Emi Rogers, she's messed all his hair.
00:25:03Or do we have a doctor?
00:25:04Do you want to see my blood test?
00:25:05One three, two, give me a cluster of of her, three or two shot next.
00:25:07One three, two, please give me a cluster of her, three or two shot next.
00:25:08One three, on two.
00:25:08Can I tell you something about kissing Michael?
00:25:11No, but you're going to.
00:25:11Two.
00:25:12On three.
00:25:12In this context, your shirt?
00:25:13that's right i come on you kiss me i'm yours god forbid that's not affection that's ownership
00:25:23like sticking a brand on a heifer's ass great i'm feeling precisely one you come from cow country
00:25:28two overtone of minnesota one on one pigs up there two on two more than here michael
00:25:35actually mikey if you want to know it's grit for abrasives you've heard of three n's carbide
00:25:42no union no insurance no lungs
00:25:49yes ladies and gentlemen miss elvie robbins and three on three he's losing
00:26:02when they told me about my next guest i didn't believe it they said he's starring in a new
00:26:07soap opera i said fine a european co-production they said i said okay then they told me what
00:26:14it was i couldn't believe it ladies and gentlemen the series has yet to hit our screens and you won't
00:26:20know his name but i think you'll find the face familiar paul mann star of destiny
00:26:42the love life of adolf hitler the relationship between sex and power yes it isn't all
00:26:50i love you my little griffin can i take this off now no leave it on a minute why i'm
00:26:57sorry old blue
00:26:59eyes is bad not exactly blue well you know what i mean it's got to be one of the worst
00:27:02ideas ever
00:27:03why did you do it uh money what was it uh what was it like well on location it was
00:27:11fairly terrifying
00:27:12we filmed the exteriors in the ober salzberg where incidentally mrs thatcher goes for her holidays
00:27:17you didn't meet her did you no but it would have made a good photograph wouldn't it mrs frankenstein
00:27:23meets the wolfman yes well you said it was terrifying yes sir it begins with hitler coming out of jail
00:27:31in 1924 for the first year or so the nazi party was banned so we did that part without any
00:27:35uniforms or
00:27:36fostikers or anything it'll never work there we were see how many calls we got in the mountains in
00:27:41our homburgs long time to flog it in can yeah it's very good weird they got italy and finland
00:27:51but that was fine no problem um then we did the scene in the beer keller in 1926 where they
00:27:58all get
00:27:58their badges back and after that we had this triumphal drive through the villages and people actually
00:28:04came out of their houses and shook me by the hand they even saluted glad to have you back three
00:28:09but they did spit on me once or twice in munich ah just to uh even things up and one
00:28:19the trouble was
00:28:20that i'd actually grown my own moustache so i just couldn't go out until uh we got back to the
00:28:26uh
00:28:26chinachita studios where they built this exact replica of the berghof right and i i don't know whether
00:28:33you can see this um it's a little brown shirt on top of the lampshade can you see that yes
00:28:40well
00:28:42let us know what you think more later from paul man thank you much
00:28:50five minutes miss laverne cue michael and one
00:28:55my last guest tonight ladies and gentlemen will you welcome please jack lance
00:29:00jimmy dunn
00:29:18good evening jimmy
00:29:20good evening
00:29:23as you can see ladies and gentlemen jimmy dunn is severely disabled in everything except his
00:29:30spirit he can't walk he can't talk he can't feed himself he's in need of constant attention the reason
00:29:37for his disablement is that he had four bullets like these put into his spine tighter the man who put
00:29:44them there is the man who since his release from detention hospital has been looking after him
00:29:50corporal as he was then jack lawrence
00:29:55jack what
00:29:56jack tell us what happened
00:30:00well i was with this brick and uh which is what four men in the land rover basic patrol unit
00:30:06and we were down at the border it was night like we're going along like
00:30:11and we had this
00:30:14we were working on information then
00:30:18yes go on and the border slopes up to the irish side which is always bad you now because they
00:30:22can
00:30:22have a go at you and then just skedaddle off home anyway on the other side below the road
00:30:28uh bog stick like him yeah you've been dying to say that haven't you we are for more
00:30:36i don't know do i uh can you understand everything jimmy says unrepeatable most of it
00:30:45anyway we're going over this culvert this uh land drain under the road and i saw this bloke running
00:30:50away well we're supposed to shout stop army or a fire three times but he was running like
00:30:56up a slow
00:31:01so
00:31:04he was silhouetted
00:31:09then
00:31:12up she goes
00:31:14you never hear it you feel it god almighty bang hey hey anyway
00:31:21we're all over the place everywhere one block i'd had it and
00:31:29his up war didn't last long
00:31:33anyway i didn't see him till the hospital and they wheeled him in to the ward all the curtains and
00:31:38this
00:31:38orderly comes out steel kidney dish want these back up
00:31:44it was him
00:31:47they give you this jab like you cannot be all strapped up and your guts hanging out but
00:31:51you feel great one hundred percent carefree
00:31:58anyway i'm gonna get him on i i mean two blokes dead and all that so middle of the night
00:32:03crawling across
00:32:04the floor like all they had was this dinner knife under the curtains and there was this 17 year old
00:32:12kid plugged into all these tubes and bowls and you looked at me hey you
00:32:27god
00:32:28thank you
00:32:35michael and that ladies gentlemen is only the start more later from jack lawrence and jimmy dunn
00:32:41run vt nine eight and nine seven six five and queuing four in the meantime we have a steady
00:32:50one and take it on vt for three minutes 40.
00:32:56we're standing in the playground looking at it all all the names choked up on the bottom shed wall
00:33:06this jade for wine and darren for carrot who tries to stop
00:33:24yes yes go on
00:33:31get down
00:33:32down everyone
00:33:45stop transmission end of number stand by the stop transmission keep recording
00:33:51thank you
00:33:57as far as we know one man
00:33:59just get everyone out of the building as soon as you can
00:34:04see them all right
00:34:10then no we haven't
00:34:12yes we are speaking the police now listen to me we've got to have a studio feed
00:34:16All right, see what you've done? Join me in the comfort zone.
00:34:20You two, back under your seats before he runs you over. Move!
00:34:24No!
00:34:25Nobody move!
00:34:32All right, Jim?
00:34:34Stay exactly where you are!
00:34:38This is what it's like!
00:34:41Not talking about it anymore!
00:34:43Look!
00:34:44This is it!
00:34:46And don't look at me, lady! Look at the floor! Don't whisper!
00:34:49Don't look!
00:34:50And don't try to be funny!
00:34:55You! Move the chairs!
00:34:57You! Yeah, you!
00:34:58Which cameras take this picture?
00:35:00Camera one.
00:35:02Camera one on your feet!
00:35:03Move your camera! Move!
00:35:06Nobody else!
00:35:08Don't even think about it, can you lad?
00:35:1132 rounds left, 16 rounds a second!
00:35:15What a mess, eh?
00:35:19Now you!
00:35:21Get them out! Get them out! Get them out!
00:35:23And keep them calm!
00:35:24Because if I get excited...
00:35:27Right, just do everything he says!
00:35:29Walk slowly!
00:35:30Keep as calm and quiet as possible!
00:35:32Come on!
00:35:33Quietly as you can!
00:35:34Second row!
00:35:35Keep moving!
00:35:36You! You all right?
00:35:37Can you give him a hand there, please?
00:35:38Come on!
00:35:39Slowly!
00:35:40Calmly!
00:35:41Quietly!
00:35:41You'll all get out!
00:35:43Come on!
00:35:43Good!
00:35:44Good!
00:35:45Calmly!
00:35:46Quietly!
00:35:47All right!
00:35:49That's it!
00:35:50You'll all get out!
00:35:50Fine!
00:35:56And you!
00:35:58And you!
00:35:58And you!
00:35:59And you lot!
00:35:59Out!
00:36:00And you!
00:36:01And you!
00:36:03Oh, here! Move!
00:36:10And you security men!
00:36:12Oh!
00:36:13Out!
00:36:13Out!
00:36:15Come on!
00:36:15Move yourself!
00:36:18Is that it?
00:36:20Because if it's not, they've had it!
00:36:21Is anybody in the grid?
00:36:23Anyone?
00:36:24Anywhere else on the studio floor?
00:36:25If so, you must leave now!
00:36:27I'll use it!
00:36:28Your lives are in danger!
00:36:30You must leave!
00:36:30I repeat, you must leave now!
00:36:39The door's closed?
00:36:40Yeah.
00:36:40Except for the...
00:36:43Good!
00:36:46Camera one!
00:36:48How much can you see?
00:36:50I've got from him to two foot to your right!
00:36:53Good!
00:36:54Come on, then!
00:36:55Out you go!
00:36:56Cheers!
00:36:58You two!
00:36:59What?
00:37:00Go!
00:37:01See you then, Michael!
00:37:03Let's hope so!
00:37:10And you, lassie!
00:37:14Move!
00:37:16Move!
00:37:16And on his side, set a chance!
00:37:19And he's plenty for Dennis!
00:37:20And he's born for John!
00:37:23And he's caring for Mary!
00:37:25And now for Sal!
00:37:28And he's still for Bill!
00:37:30And last for...
00:37:33Nothing to do, Jimmy, eh?
00:37:34All right!
00:37:37Can I ask you something?
00:37:40Who are you?
00:37:45Fans!
00:37:50I read in the paper you reckon about, er...
00:37:53What?
00:37:53Half a million, all told?
00:37:55Should be good for at least another ten years.
00:37:58Barring axe foes.
00:38:00Good money, that!
00:38:04Easiest money you'll ever earn!
00:38:05Hmm?
00:38:12Bomb and a rubbish skip, apparently!
00:38:14Right next to the studio wall!
00:38:19With a nine-lot chop!
00:38:35Well, we apologize for this break in transmission.
00:38:38And hope to get you back into Michael...
00:38:40Hey!
00:38:41...in just a few moments.
00:38:43Meanwhile, some music.
00:38:45Not Mancini.
00:38:49It's just one of those nights.
00:38:52Just one of those...
00:38:54...fabulous nights.
00:38:58Audience.
00:38:59Audience is out.
00:38:59Do you know him up there?
00:39:03Where's the picture?
00:39:04What a daft you know!
00:39:06Where's the current picture?
00:39:09You hear me?
00:39:14I'm, er...
00:39:15Jack.
00:39:15I'm the director.
00:39:18I...
00:39:18I don't have the authority to...
00:39:22A minion, Jack.
00:39:24Ask for Douglas.
00:39:25Life of War.
00:39:27You heard.
00:39:29Get Douglas.
00:39:31Douglas!
00:39:32Are you there?
00:39:35Now that you're needed...
00:39:37I would just like to take this opportunity...
00:39:38...to announce my resignation.
00:39:43Well, either he's mad, he's lying, or he means it.
00:39:46So, I would like, like mind you...
00:39:49...the following people to stay.
00:39:50Geoff.
00:39:51Bill.
00:39:52Simon.
00:39:54Owen.
00:39:55Well, you'd never ask.
00:39:56Glenn, you stay close to me.
00:39:58We need some room to work.
00:40:00So, if anybody's got anything to contribute...
00:40:01...just give us five minutes, Bill.
00:40:07Okay.
00:40:08How are we doing on that list?
00:40:10Evacuation, yes.
00:40:11Fire, yes.
00:40:12Police, yes.
00:40:13Ambulance, yes.
00:40:14Bomb squadron, stiffer dogs are coming.
00:40:16Well, that's nice of them.
00:40:16What's going on?
00:40:17Isn't the first bomb alert?
00:40:18First to go off.
00:40:36One.
00:40:37One.
00:40:38One.
00:40:42One.
00:40:44One.
00:40:46One.
00:40:47One.
00:40:49One.
00:40:50One.
00:40:53One.
00:40:58One.
00:41:02One.
00:41:03precedes all other considerations and such access must be prevented at all
00:41:08costs. Who writes this crap?
00:41:13Exactly.
00:41:18Uh, it could take a moment or two, mate.
00:41:25All right, that's one. What's two? One device has already been downloaded.
00:41:32There's several others here and elsewhere.
00:41:37So, in return, we would like a helicopter.
00:41:41Six million pounds in news notes.
00:41:45Ken, are we recording this? Oh, yes.
00:41:47Ben, Joan.
00:41:50And destination? Yeah, well, when we reach our destination,
00:41:53satisfactorily, you will receive a phone call saying where the devices are and the timing.
00:41:57Oh, and are all the lads out?
00:41:59We haven't got any incipient Rambos up on the grid.
00:42:02In the event of any difficult... More fatal ends than Rambos,
00:42:04but no, we've counted them all out. Why have the audience had a heart attack?
00:42:08He's, uh, quite a young chap, apparently.
00:42:12Last, in the interest of the security of all concern,
00:42:16the negotiations... Not dramatic, is it?
00:42:17Hand over and departure.
00:42:20We'll be shown live...
00:42:21I'm going to zoom in.
00:42:24Right, they're working on a line aerial from the OB unit.
00:42:27Transmission limitation, thousand yards, meters, whatever.
00:42:30The studio, that's it.
00:42:32They use the OB as a signal source so he can watch it on his pocket job,
00:42:35think he's going out live?
00:42:36You have 20 minutes.
00:42:42All right, Jack.
00:42:43We're working on it.
00:42:53So, what do you think?
00:42:54No, I don't.
00:42:55Oh, to hell I would.
00:43:04Nerve-racking, eh?
00:43:09Jesus.
00:43:15I've smoked for three years.
00:43:17You only lived once?
00:43:20You hadn't a cat in hell's chance.
00:43:25Is that a fact?
00:43:37Jimmy.
00:43:40Watch them.
00:43:41Hey.
00:43:57Oh, fam.
00:44:01I'm on personal.
00:44:05It's you I feel sorry for, Jimmy.
00:44:08What do you hope to prove?
00:44:11Oh, butter.
00:44:24You always heard the one you love.
00:44:37Right, going for a test.
00:44:39Who's going to see this?
00:44:40Well, a radius of half a mile, all office blocks all gone home.
00:44:43Oh, you hope.
00:44:45How long?
00:44:46As long as it takes to line up.
00:44:51Oh, look, then, it's not good enough.
00:44:52It's like alley-pally.
00:44:53Try another line feed.
00:45:01Hey.
00:45:02Ah.
00:45:03Thanks, lads.
00:45:10Must think.
00:45:15Stand by, studio.
00:45:21One Irish joke.
00:45:22Then you're on.
00:45:34Coming to you in ten, nine, eight, seven, six, five, four.
00:45:40And now we rejoin Michael and his guests live.
00:45:46So, as I was saying, for technical reasons, we are unable to rejoin Michael and his guests live.
00:45:52Instead, we are repeating when...
00:45:55We apologize.
00:45:56Your flight to Moscow has been delayed, apparently.
00:46:00The pilot, co-pilot, cabin crew, all defected, went straight to the Irish embassy.
00:46:05Your man opens the door.
00:46:07Yes.
00:46:08You can help us, please, says the captain.
00:46:11Yes.
00:46:13We are looking for political asylum.
00:46:17Right, Mr. Chemin.
00:46:19Second on your left, down by the river, big stone building with a clock on.
00:46:27Yes, yes.
00:46:31Welcome again, Miss Elvie Rogers, and of course, Paul Mann.
00:46:38Okay.
00:46:38Elvie.
00:46:39He's back on the script.
00:46:40Do we have V.T.?
00:46:41Stand by, V.T.
00:46:44Because that's what this film, Pork, is all about, isn't it?
00:46:47Man-eating monsters in the jungle of Manhattan.
00:46:53Are we gonna do this?
00:46:55We are doing it.
00:47:00The men are the monsters, Michael.
00:47:03Would you say, Elvie, that pork is a feminist horror movie?
00:47:09No, you would.
00:47:10You don't see yourself exploiting women's fears?
00:47:15These things happen.
00:47:16You know, you look at the streets.
00:47:19The streets are full of muggers, junkies, rapists,
00:47:28sex murderers, child molesters, and buttoned-down psychopaths.
00:47:35And that's only the cops.
00:47:38You know, as you know, you have to eat a hell of a lot of other stuff besides lunch in
00:47:43this business.
00:47:44But in the film, it's the women who, shall we say, get the best parts.
00:47:47They eat the men.
00:47:49Yeah, sure.
00:47:50Life is a struggle.
00:47:52It certainly is here tonight.
00:47:54You know, you go to a dance, a kid's disco, what do they say?
00:47:58Come on, guys, let's check out the meat.
00:48:02Thirteen, fourteen years old.
00:48:05White pork.
00:48:06It's what happens to pigs, Michael.
00:48:11Before we have a look at the clip, I should explain at this point that,
00:48:14for people who, like myself, are feeling slightly nervous here,
00:48:18that, as in all the best horror films...
00:48:20Well, thank you, Michael.
00:48:22Not at all.
00:48:23It's all in the mind.
00:48:25Almost.
00:48:26At this point that...
00:48:28Run, VT.
00:48:29Nine, eight, seven, six, five, four...
00:48:35Three, two, one, take it.
00:49:05Sir, what's the union position?
00:49:07You said 20 minutes.
00:49:08You've got 20 minutes.
00:49:09Fair enough.
00:49:09Security firm needs to boot up the bus.
00:49:11Yes, sir.
00:49:11We'll leave the bitch here.
00:49:22Douglas Harrison.
00:49:24Yes, sir.
00:49:25Judah.
00:49:30Thanks.
00:49:32The superintendent Olford's on his way.
00:49:33Good.
00:49:34There's a committee for the central clearing banks.
00:49:35Can we get through the chairman?
00:49:37Well, they want guarantees on any cash release.
00:49:39Six million quid.
00:49:40Ah, if they've got it, then we...
00:49:41Yeah.
00:49:42Blow the place up for nothing, gladly.
00:49:43Bill?
00:49:44Right, to pass the parcel.
00:49:45I mean, do we have a flight path and destination?
00:49:47Do we have a helicopter?
00:49:48Well, at this precise moment, no.
00:49:49We've got to have something, Bill.
00:49:50Look, we're all getting our act together.
00:49:52Simon.
00:49:52And, of course, it's happy hour.
00:49:54Yeah, Olford's going to talk to you as soon as he gets here.
00:49:56He's put 50 men around the building and the dogs are in.
00:50:00Good.
00:50:00Apart from that, he's keeping a low profile on this one.
00:50:03What's that supposed to mean?
00:50:04It's safer, apparently.
00:50:05Safer?
00:50:05Safer for who?
00:50:06Give them time to calm down.
00:50:08Let them think they've won.
00:50:10And there's a complication over the possible deployment of explosive devices.
00:50:16When's he taking over?
00:50:17Apparently, it's going to take some time for their special negotiating team to arise.
00:50:21Oh, my God.
00:50:21What, more than 20 minutes?
00:50:2215.
00:50:2315?
00:50:24He will brief you.
00:50:25I left his sweetbreads in the micro wing.
00:50:32Pork.
00:50:33So, what's the next project?
00:50:35Insurance people are concerned.
00:50:36We're still in the building.
00:50:37Oh, it's a little goth virgin.
00:50:39Let's assume I'm going to talk to this bloke in 50 minutes with some sort of deal.
00:50:42I wouldn't push it, Douglas.
00:50:44He's an absolute bag of nerves.
00:50:45Yeah, well, I'll put that in.
00:50:46Dead alley.
00:50:48Sounds appropriate.
00:50:49What happens is...
00:50:52Yes, go on.
00:50:56Well, there's this kind of force, you know.
00:50:59This night of darkness rolls over the earth at midday.
00:51:05People going to lunch and all of a sudden, it's dark.
00:51:12And when the daylight comes back, all the adults, anybody who's had any sexual experience at all, whatever kind, you
00:51:25know, male, female, whatever, gone.
00:51:29Only the innocent remain.
00:51:32And, well, this kid and this girl and their parents, they're in two separate cars in Death Valley.
00:51:48And so they, so they find each other.
00:51:52They team up.
00:51:54Where the hell is everybody?
00:51:56You know, they make their way into town.
00:52:00And, well, you know...
00:52:02No, I don't.
00:52:03Go on.
00:52:03They have adventures!
00:52:06The, uh, the weird creep.
00:52:11The strange house.
00:52:13You know, strange kids, nuns already.
00:52:19And, um, and, and this kid and this girl, you know, they're trying to find out and they're falling in
00:52:30love.
00:52:30Tricky.
00:52:31Sure.
00:52:33You know, on the surface, it's a horror movie.
00:52:35But underneath, it's all about AIDS.
00:52:40Run, VT.
00:52:42Nine, eight, seven, six, five, four, three, two, one.
00:52:50Take it.
00:52:53What do we do next?
00:52:54Carry on with him.
00:52:56All I do, Paul?
00:52:57What then?
00:52:58Then it's her turn.
00:52:59Edge him.
00:53:00All right, all right.
00:53:02What do you want me to talk about?
00:53:04I don't know.
00:53:05Looking after Jimmy,
00:53:07trouble with the neighbours, DHSS, IRA, what?
00:53:09I don't know.
00:53:10You must have some idea.
00:53:11I don't know, do I?
00:53:12Do you want me to explain?
00:53:13I don't know.
00:53:15Your boss had better be here.
00:53:17That's all.
00:53:19Right.
00:53:19Paul.
00:53:21What am I going to tell him?
00:53:21Is it supposed to be funny?
00:53:23He doesn't think the banks have got the money.
00:53:27What a bloke about the chopper.
00:53:28I've got the home office.
00:53:29Payroll day.
00:53:29The big firm's to take it out.
00:53:30It doesn't start coming back in until after the weekend.
00:53:33He hasn't done his homework, has he?
00:53:34No, we're near six.
00:53:35More like two and a half.
00:53:36What am I supposed to do?
00:53:37Beat him down?
00:53:37Yeah, one bloke I spoke to said, would he take a check?
00:53:39Ah, Superintendent Olford in reception.
00:53:42Thank God for that.
00:53:43Now we can all go home and watch it on the television.
00:53:45Hello, Superintendent.
00:53:46Why?
00:53:47Why, Philip?
00:53:47A year of your life imitating Adolf Hitler.
00:53:50I'm going to take this off, okay?
00:53:53I suppose the actor's answer would be that it's a good part and it's a year's work.
00:53:56Is that enough?
00:53:57I don't think you quite understand.
00:53:58You're right, I don't.
00:53:59This series is about a love affair, sure.
00:54:00I have all its obscene.
00:54:01Look, can I finish?
00:54:03Geli Rabal was 17.
00:54:04Hitler was 35.
00:54:05She was his niece.
00:54:07Her mother was his housekeeper.
00:54:08He became infatuated with her, obsessed if you like, jealous, more and more possessive
00:54:13until finally in 1931, when this series ends, she's a virtual prisoner in his apartment in Munich.
00:54:17She's fat.
00:54:18She can't go out.
00:54:20She's humiliated.
00:54:21She's degraded.
00:54:21She shoots herself through the heart with his pistol.
00:54:24She was 23.
00:54:26He loved her and he destroyed her.
00:54:28She was his first victim.
00:54:29What do you think he'll do when he finds out it's only us watching?
00:54:32Yeah, not covered for acts of God, riot, war, civil insurrection and terrorism.
00:54:37Canly, the police have been on to him.
00:54:38The Home Office is sending a Wessex.
00:54:40They're not releasing the money.
00:54:41He doesn't need a Wessex, does he?
00:54:43Ah, yes.
00:54:44Let's bring in the official negotiators.
00:54:46When?
00:54:47By Hereford.
00:54:48Yes, sir.
00:54:49You spoke to me, yeah.
00:54:49Nothing in Hereford, is there?
00:54:51Ah, it's Home Office here.
00:54:53Talk to him.
00:54:54London says we're covering it from outside.
00:54:56On film?
00:54:57In case anything happens.
00:54:59All E.N.G.
00:55:01Right, the official line is that no ransom is to be offered or paid.
00:55:05What?
00:55:06And would I bear that in mind?
00:55:07Douglas, I've just had the Home Office.
00:55:08I'm supposed to go and talk to this fellow.
00:55:09I thought Alford was taking over.
00:55:12Complications about the bomb, mate.
00:55:13Douglas.
00:55:14There's said procedures for the police to negotiate for the release of the hostages.
00:55:17The general idea is that you befriend them and then you bore them to death.
00:55:22But A.
00:55:22They know that he's been in Northern Ireland so they think he's familiar with C's procedure
00:55:26and B.
00:55:27He wants to deal with us, so...
00:55:28The Home Office authorizes you to give them everything they want.
00:55:31Comply with all demands.
00:55:34Morag Stevenson.
00:55:36Sally Flynn.
00:55:41Hello, Sal.
00:55:42Yes.
00:55:43Oh yes, yes, Mike's fine, yes.
00:55:45I'm looking at him right now.
00:55:46Get old, Phil.
00:55:47Yes, he's working well.
00:55:49Why do it a soap opera?
00:55:50Because it is a soap opera.
00:55:51He is the man you love to hate and it is sex and power in South Forkenstein.
00:55:55But what's a soap opera?
00:55:57It's a story about a group of insanely self-centered, emotionally crippled hairdressers
00:56:03trying to dominate and destroy each other for sex, power and money.
00:56:07Goebbels' wife claimed that Hitler was the father of Hussein Helmut.
00:56:11Five of the six women he was involved with committed suicide and the sixth tried to.
00:56:16Goering was a junkie, Himmler was a psychopath, Goebbels was a sex maniac and the SS was full
00:56:22of perverts.
00:56:22Not exactly the home life of our own dear Queen.
00:56:25How did they get away with it?
00:56:26Because as Hitler said, people don't want the truth, they want the answer, propaganda.
00:56:31I asked the writer, Gunther Eckhart, who incidentally lost most of his family during the war,
00:56:35and he said, what is the most powerful form of propaganda in the world today?
00:56:41Television soap opera. So we turn the Nazis into soap. Revenge.
00:56:46But the ideas will still be there. The drama...
00:56:49Ideas don't kill people. Men kill people. Men obeying orders kill people.
00:56:53Obedience to authority. And that's what the German people still can't take.
00:56:57Superintendent, with the greatest possible respect,
00:56:59what the hell is going on here?
00:57:02Well, you have?
00:57:04Yeah, so have we. Just.
00:57:08Yes.
00:57:09Who?
00:57:12All right. I see.
00:57:18I'm going to give this bloke anything he wants.
00:57:20Money, access, helicopter, the lot. And he can do anything he wants.
00:57:23The power of decision no longer rests with the superintendent.
00:57:26Because of the bombs?
00:57:27Cobra's taken over.
00:57:29Who?
00:57:30Cobra. Cabinet Office, Briefing Room, something or other.
00:57:34Anywhere they call themselves Cobra.
00:57:35What does the A stand for? Our association.
00:57:38So, as the inspector says, can they let him go without knowing where the bombs are?
00:57:44And if they know where the bombs are, will they let him go?
00:57:47If there are any bombs.
00:57:51So, will I go down and tell this bloke a pack of lies?
00:57:58Nobody pinches that chair.
00:58:00Did you enjoy playing Adolf Hitler?
00:58:03I asked Gunther Eckhart how I should play him.
00:58:06And he said,
00:58:09Do you think people over there still have a sneaking regard for him?
00:58:12I'm sure of it. We're still living in the world he left us.
00:58:16The Führer, said Goebbels, has the capacity to think the unthinkable.
00:58:24He's a good dog.
00:58:26Was Hitler mad?
00:58:29Playing him was like being locked in a cell with a violent criminal.
00:58:34Geli Raubal stuck it for six years.
00:58:36Six years with a sadomasochistic coprophiliac.
00:58:39Will there be another series?
00:58:41After Hitler committed suicide in the bunker, Goebbels and his wife poisoned their six children.
00:58:46I think Gunther Eckhart wants to show that as well.
00:58:49I bet he does.
00:58:50Do you believe in this guy, Eckhart?
00:58:52Nine, eight, seven, six, five, four, three, two, one.
00:59:00Take it.
00:59:12I have to do this.
00:59:16What did we do now?
00:59:18I thought this bloke was your mate.
00:59:33Not there yet.
00:59:35He's moving the cameras.
00:59:36That's it then, everybody out.
00:59:38Coming to studio in ten, nine, eight, seven, six, five, four, three.
00:59:53Jack Lawrence.
00:59:58Right, while we're waiting,
01:00:03the effects of blast in a confined space.
01:00:06Anybody?
01:00:12The effects of blast.
01:00:16One, the shock wave travels at 13,000 miles per hour, turns solids into gases, tears off limbs.
01:00:25Two, the energy wave enters the mouth and nasal passages,
01:00:30and lifts off the top of the skull.
01:00:34Three, the blast wave, 6,000 miles per hour.
01:00:40Disintegrates glass and metal, fills the air with needle sharp fragments.
01:00:45Four, the fireball, hair and clothing.
01:00:48Five, the blast rebound, reinforces the original, causing structural collapse,
01:00:54all in a second and a bit.
01:00:57One, shock, two, energy, three, blast, four, fireball, five, rebound.
01:01:05And it happens every day.
01:01:12Doesn't it, Jimmy?
01:01:14Aye.
01:01:16Two other people.
01:01:18They don't say a lot about it, though.
01:01:21So,
01:01:24I thought I'd mention it.
01:01:26No, Michael.
01:01:28Everything okay?
01:01:30Two.
01:01:31The police have arrived.
01:01:34There's going to be a short delay, so I'm going to speak to him.
01:01:37What it's like.
01:01:38Unless, of course, anybody else.
01:01:40No.
01:01:42So, where is he?
01:01:44Cheers.
01:01:51This is what happens.
01:01:54I see.
01:01:58Monarch Steve.
01:02:01Oh, hello, Mrs. Harrison.
01:02:04He's not here at the moment.
01:02:06In a meeting.
01:02:08Yes, he is.
01:02:11Yes, I will.
01:02:14Hello?
01:02:16Hello, this is Douglas Harrison.
01:02:20Watch them, Jimmy.
01:02:36Hold it there.
01:02:38Arms shoulder level.
01:02:40Palms to the ceiling.
01:03:05All right, move forward.
01:03:21What can we do for you?
01:03:24What?
01:03:25Say it.
01:03:29What can we do for you?
01:03:32Put your hands on your kneecaps, Mr. Harrison.
01:03:35Oh, Jesus, God, no!
01:03:44Now sit.
01:03:55Shut up.
01:03:58Feel it.
01:04:00Feel what?
01:04:08And now you.
01:04:11Tell them.
01:04:14Go on.
01:04:17Go on.
01:04:19Ladies and gentlemen,
01:04:22what you're watching is happening now.
01:04:25Well, the studio has been taken over.
01:04:28Three of us are being held hostage.
01:04:31No one, audience or staff, has been injured.
01:04:35One of the conditions is that the negotiations and the departure be shown live.
01:04:43For the safety of all those involved, which is what you're seeing now, which is what you're seeing now.
01:05:15Well?
01:05:17Well?
01:05:18Well, what?
01:05:19Of course, you're...
01:05:20oh yes and the uh the money's on its way it's a van load but uh but what what no
01:05:33i want people
01:05:35to hear this what it's not your lucky day nor your sunshine now get on with it what it's two
01:05:44and a half million not six it's it's the day most firms make up their wages but we can get
01:05:49the rest
01:05:49from london what do you think be a short delay hour and a half that's all mr harrison
01:05:57i told you you see
01:06:03not coming back next week are you hey who's handling this yeah sorry what was that shut up you
01:06:14his wife rang that's all well she wants to know what's going on that's all
01:06:23the old bat thanks god yeah
01:06:38now tell me about the chopper
01:06:42it's uh it's a wessex because of the bulk i know the carrying capacity of a wessex don't i
01:06:49army all right i don't know where's it coming from i don't know you don't know much about nothing do
01:06:55you when i don't know look the home officer handling this my concern is just for these people
01:07:04and the studio
01:07:07they're going to screw us over this chopper jimmy this is what they do
01:07:11what do you reckon tap the van
01:07:19how many police out there
01:07:2250. are they armed are they armed tell them yes i would think they were wouldn't you
01:07:30look what do you want me to do
01:07:42get the van in here let them see what two and a half million looks like
01:07:49yes that's all right anything else when the chopper gets here i'll tell you that's it
01:07:56look mr lawrence you can see that she's hysterical why don't you let her go
01:08:01no it's okay no
01:08:05jimmy no go jimmy can't do something
01:08:13now get that van in here and then we'll talk fine
01:08:24backwards
01:08:26can i say something you're sure rings how back will you
01:08:33yes yes sure
01:08:39hey
01:08:43anybody hurt
01:08:48yes yes one man had a heart attack he's been taken to hospital
01:08:52is he all right
01:08:54i don't know
01:09:06now shut up it won't be long now
01:09:10yes thank you
01:09:12yes thank you
01:09:25How are we, then?
01:09:27Out with it.
01:09:30Nothing to do with the money.
01:09:32Isn't it?
01:09:36He might think it is.
01:09:39Nowhere near.
01:09:40What, then? Revenge?
01:09:43Redress, Mr. Flynn.
01:09:52That right?
01:09:52Your missus can't afford to tell you, then.
01:10:00All right, everybody, just leave it now.
01:10:01Everybody out, quick as you can now.
01:10:02Come, ladies and gentlemen. Out, out, out.
01:10:04Quickly.
01:10:07God, I wish this were going out.
01:10:15Where's the tash?
01:10:16Huh.
01:10:19Yeah, yeah.
01:10:20Be it, or...
01:10:22You, or her?
01:10:23Yeah.
01:10:28Come in.
01:10:30Be right.
01:10:34I'll reach me.
01:10:36Yeah, eh?
01:10:39It's his Irish sense of humour.
01:10:47Yeah?
01:10:49Give up, Jack.
01:10:52You'll never make it.
01:10:53No?
01:10:55Well, if we don't, you don't.
01:10:58Because you are coming with us.
01:11:02And that thing is going to go off.
01:11:06Oh, Jesus.
01:11:08Yep.
01:11:27You know it's hopeless, don't you?
01:11:34He don't.
01:11:36He thinks he's still on television.
01:11:45Come in, Jimmy.
01:11:46Hey.
01:11:48You're on.
01:11:49Yeah.
01:11:51Yes.
01:11:52You do.
01:11:52Come.
01:11:57Hey.
01:11:58Hey, mother.
01:11:59Eh?
01:12:02Hey, mother.
01:12:03We.
01:12:05We.
01:12:06Hey.
01:12:07Hey.
01:12:10Hello, mother.
01:12:12Hey.
01:12:13Why don't you wait till you wake up, Stephen?
01:12:19Hey. Hey, Jimmy.
01:12:21Hey. Give her Danny boy.
01:12:22Hey, what if I have a moan, huh?
01:12:34Poor fly boy.
01:12:37No one's watching either.
01:12:39The ring's sound.
01:12:41Nobody's up there now, either.
01:12:45Something is going on.
01:12:48We don't know what it is.
01:12:50This is what it's like, you know.
01:12:53What it does to you.
01:12:55Give up.
01:12:58It's not like that.
01:12:59This.
01:13:03He's enjoying himself.
01:13:06All this is done.
01:13:09You should hear her say it.
01:13:12You'll hear it.
01:13:14You get it in the milk round, don't you?
01:13:16Love it.
01:13:18Drive on it.
01:13:21Would it?
01:13:23Soon I hang on to that than their own children.
01:13:27She would.
01:13:28She would.
01:13:28Mrs Dunn.
01:13:31Fierce big woman she is.
01:13:33Face like raw meat.
01:13:36Eyes like rivets.
01:13:39Hates me.
01:13:40What are you, boy?
01:13:44Danny boy is dead, you know.
01:13:45What are you, boy?
01:13:47Death, my dear.
01:13:49You ought to know.
01:13:52There used to be one.
01:13:59Very nice.
01:14:02Two and a half million quid.
01:14:05We'll show them, eh?
01:14:07All right, eh?
01:14:10Is that what it's about?
01:14:13The mother?
01:14:16Whee!
01:14:17You father!
01:14:18Shut up!
01:14:21Three years in hospital.
01:14:23How many times did she come to see you?
01:14:25Four.
01:14:26Twice!
01:14:30You have to be dead before they love you over there.
01:14:33Not crippled.
01:14:36I can understand that.
01:14:38But why all this?
01:14:40Hm?
01:14:42I did it.
01:14:46I owe him one.
01:14:47But!
01:14:48Gobbles to you and all.
01:14:51That's the difference, you see.
01:14:52See between you and Seos.
01:14:54What have we got to lose?
01:14:58See?
01:15:02I owe him.
01:15:05Won.
01:15:15Jimmy.
01:15:17None of this is going out.
01:15:20Michael!
01:15:22Britney.
01:15:23Oh.
01:15:24Why a bit.
01:15:26What do you want me to do?
01:15:30For him!
01:15:40Where's the van, Mr Harris?
01:15:41I'm going to put this out live.
01:15:47Home office negotiator?
01:15:50PHONE RINGS
01:15:56PHONE RINGS
01:16:01PHONE RINGS
01:16:03PHONE RINGS
01:16:04PHONE RINGS
01:16:05PHONE RINGS
01:16:05PHONE RINGS
01:16:07PHONE RINGS
01:16:08PHONE RINGS
01:16:22PHONE RINGS
01:16:23PHONE RINGS
01:16:36PHONE RINGS
01:16:38PHONE RINGS
01:16:40PHONE RINGS
01:16:47PHONE RINGS
01:16:50PHONE RINGS
01:16:53PHONE RINGS
01:16:56PHONE RINGS
01:16:58PHONE RINGS
01:17:00PHONE RINGS
01:17:04PHONE RINGS
01:17:06I think we're out the money, son.
01:17:11PHONE RINGS
01:17:11PHONE RINGS
01:17:15PHONE RINGS
01:17:17PHONE RINGS
01:17:18PHONE RINGS
01:17:20PHONE RINGS
01:17:20PHONE RINGS
01:17:23PHONE RINGS
01:17:24PHONE RINGS
01:17:27PHONE RINGS
01:17:28You know, Mr. Flynn,
01:17:30when a night goes by without me thinking of doing him in,
01:17:36various ways,
01:17:41locking the door,
01:17:43walking away.
01:17:46People do it all the time.
01:17:48To their own kids.
01:17:54You can have enough, you know.
01:17:57I'm not his bloody mother.
01:17:59I'm not his bloody mother.
01:17:59I'm a Mrs. Dunn!
01:18:01Shhh!
01:18:02You're bad!
01:18:06Shall I tell them what really happened?
01:18:08You!
01:18:09You!
01:18:12Who are you?
01:18:13Send it off!
01:18:14Now, away we go!
01:18:16You!
01:18:17You!
01:18:17You've done it before, haven't you?
01:18:18Shhh!
01:18:19Huh?
01:18:20Shhh!
01:18:20Shall I tell them?
01:18:22Shhh!
01:18:23What?
01:18:25Oh?
01:18:29Even his lot ran away from it!
01:18:31Even his lot ran away from it!
01:18:32Didn't they?
01:18:33Oh!
01:18:35Everybody did!
01:18:38Another unreported incident.
01:18:51We had a woman with us that night.
01:18:53Ford!
01:18:54I should have put one through your skull years ago.
01:18:57Who on then?
01:18:58You see, Mr. Flynn?
01:19:00He's still got a lot of fight left in him.
01:19:02But what for?
01:19:04His legs have gone.
01:19:06His arse is going.
01:19:08Shhh!
01:19:10So I had this thought, you know.
01:19:13Top him.
01:19:14On the box.
01:19:16Show the bastards.
01:19:19Make a point of the fact that there's no point at all.
01:19:23Let them all have a look.
01:19:28Finish the job.
01:19:30Yeah, you fucking fat, eh?
01:19:41I love you, Jimmy's son.
01:19:48But it's hopeless.
01:19:52You don't have to be doing who somebody is.
01:19:53Oh, I'm gonna wait.
01:20:06I'm so tired.
01:20:07I don't remember that.
01:20:07I mean, what we do?
01:20:20How do you feel?
01:20:21So, with this on your hands on your own side,
01:20:24We should never have joined Seamus.
01:20:30Neither of us.
01:20:48Come on, go on, screw the nut, screw the nut.
01:20:51Come on.
01:20:54Come on.
01:20:55Come on.
01:20:56Come on.
01:20:58Come on.
01:21:05Come on.
01:21:07At 05.45 hours, Sunday 24th of August,
01:21:10it appeared that the condition of Mrs Mary Cunningham had begun to deteriorate.
01:21:14Mrs Cunningham had gone into labour at 1800 hours the previous evening,
01:21:18but owing to security alerts, no doctor or midwifery nurse had been in attendance.
01:21:24Trooper Gostolo, signaller with number seven break monitoring CB traffic,
01:21:28reported the situation to me at intervals during the on-watch between 0200 or 400.
01:21:35It appears that in attempting to manoeuvre the child from a shoulder presentation
01:21:39to a normal head engagement,
01:21:40the woman attending the 19-year-old Mrs Cunningham had inadvertently succeeded in,
01:21:45so far as I can understand,
01:21:47wrapping the umbilical cord around the child's neck.
01:21:52In their subsequent efforts to right the position,
01:21:55Mrs Cunningham had begun to haemorrhage.
01:21:56Her breathing became irregular,
01:21:58and there was difficulty in finding any trace of a heartbeat in the child.
01:22:03At 0600 hours, husband Brian Cunningham made appeals by telephone and CB radio for assistance.
01:22:08He sounded distraught.
01:22:11I instructed Trooper Gostolo to prepare Burstmore's transmission,
01:22:14requesting a case evac helicopter on immediate standby
01:22:17and confirmation of a bonifide emergency.
01:22:22At 0630, the local populace incensed at the refusal of the police and regular army units
01:22:27to compromise their own operations,
01:22:29had assembled a convoy of cars outside 21 Invereri Close.
01:22:33I reported this and received orders to intervene.
01:22:38Flight Lieutenant Ransliff contacted us at 0634,
01:22:42requesting a safe case evac zone as near as possible to Invereri Close.
01:22:49Trooper Freeth, on visual surveillance,
01:22:51reported that Mrs Cunningham was being brought out of the house on an improvised stretcher.
01:22:55She was loaded into the back of the Volvo, owned by the local solicitor.
01:23:02At 0638 hours, we left the Murray Cross barn.
01:23:06Wearing full combat gear, we deployed to the nearest safe H zone.
01:23:10The sight would mean that the Volvo would have some 200 yards of narrow lane to traverse
01:23:14before entering the field.
01:23:18Leaving Trooper Batch at the zone, we intercepted the convoy at the main road.
01:23:24Hostility fuelled by the real nature of the emergency,
01:23:26as well as local partisan feeling, mounted within seconds.
01:23:30I was able to convince them that a helicopter was on its way.
01:23:34A delay of some four minutes ensued while the matter was debated.
01:23:38I can only assume that the brief delay was deliberately orchestrated.
01:23:41In view of subsequent events, there is no other explanation.
01:23:46I took this opportunity to have a look at Mrs Cunningham.
01:23:49She had lost a considerable amount of blood and was no more than semi-conscious.
01:23:54The helicopter made its approach and then remained on hover.
01:23:58I gave orders to proceed and kept the rest of the convoy back.
01:24:15I have no idea.
01:24:16I had no idea.
01:24:16I had no idea what I thought about.
01:24:17Dorothy's the first one was probably under the bearing of her.
01:24:18I had no idea what the pressure is.
01:24:18I had no idea what the pressure is.
01:24:18It's just my idea in the bottom and the resistance is now.
01:24:18No idea what I'm doing.
01:24:24Please say.
01:24:24That's the next day.
01:24:25The back is the power and the resistance is now at the bottom.
01:24:48Stop, Amir!
01:24:51Stop, Amir!
01:24:55Stop, Amir!
01:25:28Stop, Amir!
01:25:53I saw an arm of the unborn child move briefly in the flames and then it was gone.
01:26:01The helicopter, thought to have been the target, received only slight damage.
01:26:32To be continued...
01:27:02To be continued...
01:27:05To be continued...
01:27:08To be continued...
01:27:08To be continued...
01:27:09To be continued...
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