Big Train (1998) s01e06 Episode Script
Episode 6
# Big Train # Big Train Be with you in just a second, Mr Stevens.
(John) Well, here we are.
We're all set.
It's a capacity crowd.
And we're ready for the World Championship Stare-Out Final.
Joining me in the commentary box is David Joyce.
Hello, David.
Hello, John.
Hello, everyone.
- (John) Got a bet on Kampagnola yet? - (laughs) Well, I wouldn't go that far.
(John) Let's have a look at both these finalists.
First Alessandro Kampagnola, seeded 1 4th.
It has to be said, a surprise finalist, not tipped by many to go all the way, but a great run of form brought him to this stage.
And no fluke - some big names have fallen to him, most notably the No.
6 seed, India's Anan Nanak, in a classic semifinal.
And his opponent, the defending champion.
Well, just look at those statistics - six times world champion.
Hugely impressive.
And he's only 32, but he's already among the all-time greats of this sport.
(David) Yes, some people are very surprised to find out he's only in his early thirties, but the concentration required at this level has obviously taken its toll to some extent, John.
(John) He really does eat, drink and breathe staring.
Um l've drawn a house, Jane's drawn a horse, - and Alex has drawn a smiley face.
- Smiley face.
Very good.
Well done.
You've all done very well.
(knocking) Come in.
Sir Douglas, Miss Florence Nightingale to see you.
Oh, God Very well, send her in.
Ah, Miss Nightingale, sit down.
How may l help you? Well, first of all you can get me a (bleep) drink.
Hurry up, you fat (bleep bleep).
What's the problem? The problem is that this hospital is run by a bunch of (bleep).
Miss Nightingale, you come into my office often, you use this strong language, yet l am always left unclear as to the exact nature of your problem.
- Are you unhappy with the staff? - The staff are a crowd of (bleep).
Sir Humphrey Lipton is a (bleep bleep), Dr Collins is a (bleep)face (bleep)bag, and you are the biggest (bleep bleep) l've ever met in my entire (bleep) life.
Sir Humphrey Lipton is the finest surgeon in London.
- No, he's a (bleep).
- This is the problem.
You express an obvious contempt for the man, and yet l am left unclear as to why you disapprove of him.
Because he's a (bleep).
Miss Nightingale, you earned a reputation in the Crimea The lady with the (bleep) lamp.
Who gives a (bleep)? That was ten years ago.
- lf you'll let me continue.
- (bleep bleep) You earned a reputation in the Crimea, you did sterling work with our casualties, you became a heroine, and that is why l am delighted to have you here at St Austin's, - one of the finest hospitals in London.
- No, it's not.
lt's a (bleep bleep)hole.
l must say your image in the press does not reflect your character in a realistic way.
The press are a bunch of (bleep) arse (bleep bleep).
When you say that, it portrays a certain lack of courtesy.
l don't give a (bleep) what you think, you (bleep) gerry-bag.
What is that? l don't even know what that is.
What is a gerry-bag? - lt's what you put your (bleep bleep) into.
- (bell) Miss Nightingale, l must ask you to leave.
l see no future for you here at St Austin's.
Don't you try and sack me, you (bleep) scumbag! (bleep) Get off me, you (bleep bleep).
Get off, (bleep) you (bleep).
(bleep) Get off me! Get off me! You (bleep).
Oh, (bleep).
l've had enough of this (bleep).
Get off me, you (bleep bleep).
Get off me, (bleep).
Get off me, you (bleep).
No! (bleep) You (bleep).
Aaaargh! You see, the thing is she's such a terribly, terribly good nurse.
Officer.
What? Excu - Excuse - What? Officer! l haven't done anything.
When Brian Epstein brought me the tape, he was very disillusioned.
He'd been taking it all around for a few months, and had absolutely no joy.
So l listened to it.
lt had a lot of potential, so l got them in for a session.
l remember they were a bit nervous, a bit wet behind the ears.
So l said to them, ''lf there's anything you don't like, don't forget to tell me.
'' And George Harrison looked at me and he said, - ''Well, l don't like your tie for a start.
'' - Get in the car! - Go on, get in the car! - Which absolutely But it was the kind of thing that warmed me to them immediately, really.
l mean, they had a tremendous sense of pride and marvellous personalities.
lt was Paul who originally came up with the idea for Sgt Pepper.
A lot of people think it's a concept album.
lt actually isn't.
The first two tracks give that impression - the segue from ''Sgt Pepper'' to ''With a Little Help from My Friends''.
l felt that George Harrison would have liked to have more of his own songs on the albums, but when you're competing against Lennon and McCartney, your work's cut out for you.
But John and Paul were always very encouraging.
This was one of the nice things about working with the Beatles - they didn't have this ego nonsense that you get with a lot of supergroups.
ln the early days, John and Paul had a very relaxed attitude towards songwriting.
For example, ''Can't Buy Me Love'' was written in a hotel room.
They just sat down and knocked it out together.
They'd stopped writing together quite so much, but they'd still contribute to each other's songs.
''We Can Work lt Out'' is a good example.
So Lucy gets to Tokyo.
They're all rushing around in a blind panic.
''What's going on?'' She phones back to head office.
No one's got a clue.
lmagine how it looked.
- And now you say Edward knew all along? - Yeah.
He said the deal had gone through and there was no point in us following it up, - and their - (sound cuts out) Marie was like Actually, you're cutting out.
What was that? - He said that the way that the deal was - (cuts out) - And the only thing we could do was - You've gone again.
Try - The best thing we could do was Paris - (cuts out) l just got Paris, that's it.
lt's probably the buildings, actually.
They tend to cut out Yeah, it's gone again.
Shall we try again in a moment? OK.
Oh, hello, hello.
- Yeah? You're back? - Yeah, yeah.
Apparently Paris knew, Tokyo knew.
London didn't find out until Wednesday, which was why Hathaway didn't come in with the big offer.
The men of Chatterton and Weald and of Malmesbury and Meald, their collars loosed, their breeches frayed, they come to bid on market day.
On Tuesday we go to Malmesbury for the auctions.
The first took place here over 300 years ago.
Why didn't you put your foot on his tail? Greetings are exchanged.
There is hard bargaining to be done, but always time for talk.
l could hardly bloody write, but l could ride a horse.
The mood is seldom grim.
The sound of laughter drowns out the shuffling of the nervous herd.
Paddy tells a joke to Fred.
They shall drink in the Ship pub in Milbourne after the buying and selling is done.
Some of the men have been coming here for 50 years, and their fathers and grandfathers before them.
They come to buy, they come to sell, - to hear the sounding of the bell.
- (bell) The auctioneer must soon be heard.
Pray silence for his every word.
Good morning, ladies and gentlemen.
Welcome to the dispersal sale on behalf of Mr Richard Keen.
Nice to see such a good company of local buyers here.
Without further ado, we'll start lot No.
446.
lt is the six New Romantics.
Where would you start me for those? Put them in there.
400 l'm bid.
Five - 405.
Eight - 408 l'm bid.
1 0, 1 0 l'm bid.
1 2, 1 2 l'm bid.
1 4.
41 4.
1 6, 1 8, 41 8.
20's the bid.
At 422, 22, 25.
At 448, 50, 50, 52.
?482 is the bid.
l'm part of the way there.
85, 485.
485 Go on.
Back you go now.
At ?500 l'm bid.
508, 1 0, l'm bid 1 0.
A fresh face now, 92, 95, ?600.
?600 is the bid.
602, 602.
605, 605.
61 4, 1 6.
1 6 l'm bid, 1 8 l'm bid.
And there we go now, at 61 8.
l'm part of the way, at 61 8.
There we are, at 61 8.
Two, two.
Name Rio.
- Name Rio.
- (New Romantics) Rio.
Name Rio.
# Her name is Rio and she dances on the sand Three fifty, please.
OK, ladies and gentlemen.
We're about to start our press conference.
Mr Hooper and Mr Martin are extremely tired and we'll only be asking a few questions now.
(reporters) Mr Martin.
Mr Martin.
Mr Martin, were you ever afraid for your life? Well, the Beatles certainly never took drugs in front of me.
l was always vehemently against the drugs scene, particularly the heavier stuff - heroin, LSD.
But when we were in the studios, the lads would nip off to the loo for ten minutes, smoke a bit of pot, come back wreathed in smiles, there'd be some giggling, and then we'd carry on.
But generally, l tended to turn a blind eye.
(reporters) Mr Martin.
Do you think your release represents a positive shift towards the West, or was it just a publicity stunt? l never really understood the criticisms against Ringo's drumming.
For me, he was an inventive and powerful player.
You only have to listen to some tracks like, l don't know ''Tomorrow Never Knows'', ''Hey Jude'', ''Strawberry Fields'' l could go on - absolute tour de force.
(reporter) Mr Hooper.
Now that you're free, do you view your having been taken hostage as more of a political or a personal issue? Well, the feedback at the beginning of Well, you just go with it - you can always go with it.
lf it's no good, if it's at the beginning of the song, you can cut it off later.
- Mr Hooper - Yoko Ono was one of my favourite people.
l mean, as long as John was happy with her, l was happy with her.
l know you're tired.
l know you're strong.
l know we are but seven and they are 9,000.
And l know l have a tiny pony.
Well, it may be a tiny pony, but it's a Scottish pony, and l am Scottish and free, and l will always be free.
Anyone that seeks to take away my freedom will never do so, for l may die today, along with my tiny pony, but l will never bow to English rule.
So follow me! Follow in the hoofprints of my tiny pony for Scotland and for freedom! (hoofbeats) (woman) Come on, Siggy! (PA) Quiet, please.
(John) Well, that's the first idiot of the day.
No blinking, so it remains all square.
Let's go to the stare-cam to see what Kampagnola has to deal with.
(David) Ho ho ho.
(John) Look at that.
It's a fearsome sight.
Look at the level of concentration in those eyes.
(David) Yes.
(John) I'm sure there's a part of the Italian now saying, ''I've had enough of this.
'' But of course he can't afford to think like that now.
I certainly wouldn't like to be in his place, David.
What can Kampagnola do to combat this attack? Oh, well, John, he'll be digging very deep at the moment, calling on all his resources to combat this onslaught from Spatsky.
But he is holding up very well Sorry to interrupt you, John.
I think Kampagnola's starting to sweat.
Yes, there it is.
The pressure's starting to get Kampagnola after nine minutes, just as you were saying how well he was holding up.
(David) Spatsky's gaining the initiative and it will be important for Alessandro to maintain his concentration.
He'll know he's behind, but he's a gutsy campaigner, and he certainly, I would think, will have something left.
- Yes, there it is.
- (John) Yes, incredible, David.
Spatsky produced an attack from nowhere when we were least expecting it.
Great example for any young people watching.
Well, it's not over yet, John.
It'll be interesting to see how Kampagnola responds.
Such a beautiful day.
The gardens are lovely.
''And the glory of the Lord shone round about them.
'' lt was on a day such as this that l decided to join the religious life.
When l was a child l was put into care with my aunt in Kent.
She was a rather cruel woman and l was not happy there.
Her husband, a woodcutter, had sadly taken to the bottle, and as you know Oh, why was that? lt's not important why.
My days were long and unhappy, and one afternoon l was walking in a forest and l met Brother Francis.
- He was a rather old man, or at least - l'm sorry.
This is your uncle? No, this was my This is Brother Francis.
Oh.
He spoke to me for several hours, and he had a wisdom l have rarely come across in men.
Forgive me, Brother Dominic.
l'm confused.
You said you'd gone to live with your aunt Forget about the aunt and uncle.
lt's not the important part.
- But did you say that he was your brother? - Yes.
No, no, sorry.
He was not.
My brother, l'm afraid, died with my mother at birth.
Which is why you went to live with your aunt.
- No.
Yes, that's it.
- Right.
- Forgive me.
l just want to get it clear.
- Of course, yes.
- lt's just, um Brother Francis - Mm.
Well, work back.
Mere child of 1 5 Oh, l have it.
Brother Francis spoke to me of God and the world, - of great philosophers and artists, and - Sorry to keep bothering you As he spoke it seemed to me the birds themselves stopped singing - so as to better hear him speak.
- (laughs) That's brilliant.
''To hear him speak.
'' Oh, l'm sorry.
Um And when he had finished speaking, l felt a sense of serenity and peace that l have not felt before or since.
And from that moment Thank you.
From that moment l decided to be like Brother Francis and dedicate my life to God.
Oh, right.
Oh, that's it.
Oh.
That was a great story.
This is no ordinary retrovirus, Bill.
l swear to God, it's like it knows.
The mitogens are adapting with every new strain.
lf it breaches quarantine, it will engulf the planet.
We have to locate an antibody that can replicate with aggression, or we are facing a global killer.
- What sort of timescale? - Five weeks maximum contagion.
- We have to work fast.
- l know.
Perhaps we should come in at 1 0 tomorrow.
No, someone's delivering a sofa.
l can't put it off.
- l don't want to work on my own.
- Tomorrow's Friday, so that's the weekend.
- Why not just make it Monday? - Monday morning.
No, midday.
lt's nice to have a lie-in on Mondays.
l like a lie-in.
- See you in two weeks then, lads.
- Bye! (chatter) Everyone, can l have your attention please? Thank you for your patience.
l think you know what this is about - the office manager.
A decision has been reached and it is Tom Henderson.
- No way! - Oh, no, not him.
- You must be joking.
- The guy is a wanker! OK, l know he's not a popular decision, but the board felt that Tom Henderson - No way! - Oh, no, not him.
- You must be joking.
- The guy is a wanker! l hear you, but it was a close call.
lt was between Mary Wilkinson and Tom Henderson.
- No way! - Oh, no, not him.
- You must be joking.
- The guy's a wanker! We decided fairly and squarely that Tom Henderson - No way! - Oh, no, not him.
- You must be joking.
- The guy's a wanker! l personally would have preferred Tom Harvester.
Oh, no But after a lot of discussion, particularly with my senior colleagues, we did feel that Tom Henderson - No way! - Oh, no, not him.
- You must be joking.
- The guy's a wanker! l do realise that most of you would have preferred Tom Benderson.
- Oh, no, not him - He said Tom Benderson.
Oh, right.
l thought he said Tom Henderson.
- No way! - Oh, no, not him.
- You must be joking.
- The guy's a wanker! l don't want to have to say any more, but it could have been worse.
- lt could have been Mandy Ward.
- Hocter, hocter, hocter.
Are you happy doing the driving? l'm knackered.
l always do the driving.
(boy) Oh, that must have hurt.
That's nice, that new Rover, isn't it.
? - Bob's got one of those.
- Bob who? Bob at work.
- How are we doing for petrol? - Oi, you.
Get off me.
- Empty, nearly.
- You can have this one.
Oi! Keep it quiet, you two.
- Get off me! - Get off! - Quiet! - Stop it.
We'll be home in half an hour.
Just cool it, will you? Go back to your side.
Jordan! l won't tell you again, leave him alone! - Ain't me! - Don't answer back.
- Get off! - Right, that's it.
Paula, take the wheel.
- What's going on? - l didn't do anything.
You've been doing this all day and it's frankly irritating! - lt's him! - l don't care who it is.
- Will you both just stop it? - Don't be too hard.
lt's him.
He whacked me right in the leg.
- Did you hit him? - Because he hit me.
- Did you hit him? - He started it.
- Patrick started it.
- You wait, you! Don't answer your father back.
Just shut up! - Why don't you come and sort it out, Paula? - l will.
Send Jordan up.
- Jordan, get up there and drive the car.
- (Patrick) Why can't l? Don't start whining again.
You've been whining all day long.
You were whining all day at Grandma's.
Why do you have to do it? - Because - Because you whine all the time.
What's going on? Did you hit him? - You're not supposed to hit people.
- No, but l didn't do it.
- l saw you do it.
- Don't tell lies.
- Now, you go and apologise to him.
- But he hit me.
Go up the front and say sorry.
Jordan, keep your eyes on the road, please.
- Say sorry to your brother.
- l don't want to.
- Now! - Do it.
- l'm sorry.
- lt's all right.
- He gets it from you.
- Oh, be quiet.
You fill him with chocolate, and what do you expect? - Oh, come on! - l didn't do anything! - That's not fair! - Why punish me when l didn't do anything? - Bitch.
- What did you say? What did you say? What did you say? - Don't hit me.
Ow! - You'd better be quiet back there! - He called me a bitch! - l'm trying to concentrate, you hear me? l can't do that with you bickering at the back.
(David) .
.
measures that have helped to curb this worrying problem of drugs in the game.
I would guess that David, I must stop you there.
I think we're seeing some developments in the match.
Yes, some head movements from Kampagnola.
Signs that his challenge is beginning to weaken.
He's in trouble.
And Kampagnola has started to sweat again.
(David) Yes.
(John) I think he'll know he's down.
The pressure really now beginning to tell.
And Spatsky just pummelling Kampagnola into submission.
David, is there any way back for Kampagnola? He's certainly in trouble, John.
He's cracking under the pressure now.
Definite head movements.
I really can't see him pulling out of this.
He's weakening fast.
He's all over the place.
(John) Spatsky pummelling the Italian into submission.
Unrelenting, ruthless aggression from Spatsky.
He's tearing Kampagnola's tattered defences apart.
Grinding his man down and showing absolutely no mercy.
How much longer can this last? Look how ungainly he looks now.
He's falling apart piece by piece.
You've got to have sympathy for the man.
(David) Credit must go to Spatsky.
It's been an honour to witness this spectacular match.
And a real master in Spatsky.
Such true quality.
Will this man ever be beaten? (John) Look at him now.
He's going down fighting and the crowd are going wild.
There he goes.
He's gone, he's gone.
Kampagnola blinks and it comes to an end.
It's all over.
Spatsky has retained his world title in masterful fashion.
What a classic final this has been.
(monitor bleeping) # Uptown girl # You've been living in an uptown world Don't try to sing.
# Hot legs make me scream and shout # l love you, honey, oh-oh oh-oh Please, you are so weak.
Don't try to sing.
# Jet! # Oh-oh-oh-oh-oh-oh-oh # Jet! # Oh-oh No.
No! No! (# ''Virginia Plain'') # Make me a deal and make it straight # All signed and sealed, l'll take it # To Robert E Lee l'll show it # l hope and pray he don't blow it, cos # We've been around a long time # Just try, try, try, try, trying to make, make the big time # Take me on a roller coaster # Take me for an airplane ride # Take me for a six-day wonder, but don't you # Don't you throw my pride aside, besides # What's real and make-believe? # Baby Jane's in Acapulco # We are flying down to Rio # Throw me a line, l'm sinking fast # Clutching at straws, can't make it # Havana sound we're trying # Hard edge the hipster jiving, but # Last picture show down the drive-in # You're so sheer, you're so chic # Teenage rebel of the week # Flavours of the mountain streamline # Midnight-blue casino floors # Dance the cha-cha through till sunrise # Opens up exclusive doors, oh wow! # Just like flamingos look the same, so # Me and you, just we two, got to search for something new # Far beyond the pale horizon # Someplace near the desert strand # Where my Studebaker takes me # That's where l'll make my stand, but wait # Can't you see that Holzer mane? # What's her name? Virginia Plain
(John) Well, here we are.
We're all set.
It's a capacity crowd.
And we're ready for the World Championship Stare-Out Final.
Joining me in the commentary box is David Joyce.
Hello, David.
Hello, John.
Hello, everyone.
- (John) Got a bet on Kampagnola yet? - (laughs) Well, I wouldn't go that far.
(John) Let's have a look at both these finalists.
First Alessandro Kampagnola, seeded 1 4th.
It has to be said, a surprise finalist, not tipped by many to go all the way, but a great run of form brought him to this stage.
And no fluke - some big names have fallen to him, most notably the No.
6 seed, India's Anan Nanak, in a classic semifinal.
And his opponent, the defending champion.
Well, just look at those statistics - six times world champion.
Hugely impressive.
And he's only 32, but he's already among the all-time greats of this sport.
(David) Yes, some people are very surprised to find out he's only in his early thirties, but the concentration required at this level has obviously taken its toll to some extent, John.
(John) He really does eat, drink and breathe staring.
Um l've drawn a house, Jane's drawn a horse, - and Alex has drawn a smiley face.
- Smiley face.
Very good.
Well done.
You've all done very well.
(knocking) Come in.
Sir Douglas, Miss Florence Nightingale to see you.
Oh, God Very well, send her in.
Ah, Miss Nightingale, sit down.
How may l help you? Well, first of all you can get me a (bleep) drink.
Hurry up, you fat (bleep bleep).
What's the problem? The problem is that this hospital is run by a bunch of (bleep).
Miss Nightingale, you come into my office often, you use this strong language, yet l am always left unclear as to the exact nature of your problem.
- Are you unhappy with the staff? - The staff are a crowd of (bleep).
Sir Humphrey Lipton is a (bleep bleep), Dr Collins is a (bleep)face (bleep)bag, and you are the biggest (bleep bleep) l've ever met in my entire (bleep) life.
Sir Humphrey Lipton is the finest surgeon in London.
- No, he's a (bleep).
- This is the problem.
You express an obvious contempt for the man, and yet l am left unclear as to why you disapprove of him.
Because he's a (bleep).
Miss Nightingale, you earned a reputation in the Crimea The lady with the (bleep) lamp.
Who gives a (bleep)? That was ten years ago.
- lf you'll let me continue.
- (bleep bleep) You earned a reputation in the Crimea, you did sterling work with our casualties, you became a heroine, and that is why l am delighted to have you here at St Austin's, - one of the finest hospitals in London.
- No, it's not.
lt's a (bleep bleep)hole.
l must say your image in the press does not reflect your character in a realistic way.
The press are a bunch of (bleep) arse (bleep bleep).
When you say that, it portrays a certain lack of courtesy.
l don't give a (bleep) what you think, you (bleep) gerry-bag.
What is that? l don't even know what that is.
What is a gerry-bag? - lt's what you put your (bleep bleep) into.
- (bell) Miss Nightingale, l must ask you to leave.
l see no future for you here at St Austin's.
Don't you try and sack me, you (bleep) scumbag! (bleep) Get off me, you (bleep bleep).
Get off, (bleep) you (bleep).
(bleep) Get off me! Get off me! You (bleep).
Oh, (bleep).
l've had enough of this (bleep).
Get off me, you (bleep bleep).
Get off me, (bleep).
Get off me, you (bleep).
No! (bleep) You (bleep).
Aaaargh! You see, the thing is she's such a terribly, terribly good nurse.
Officer.
What? Excu - Excuse - What? Officer! l haven't done anything.
When Brian Epstein brought me the tape, he was very disillusioned.
He'd been taking it all around for a few months, and had absolutely no joy.
So l listened to it.
lt had a lot of potential, so l got them in for a session.
l remember they were a bit nervous, a bit wet behind the ears.
So l said to them, ''lf there's anything you don't like, don't forget to tell me.
'' And George Harrison looked at me and he said, - ''Well, l don't like your tie for a start.
'' - Get in the car! - Go on, get in the car! - Which absolutely But it was the kind of thing that warmed me to them immediately, really.
l mean, they had a tremendous sense of pride and marvellous personalities.
lt was Paul who originally came up with the idea for Sgt Pepper.
A lot of people think it's a concept album.
lt actually isn't.
The first two tracks give that impression - the segue from ''Sgt Pepper'' to ''With a Little Help from My Friends''.
l felt that George Harrison would have liked to have more of his own songs on the albums, but when you're competing against Lennon and McCartney, your work's cut out for you.
But John and Paul were always very encouraging.
This was one of the nice things about working with the Beatles - they didn't have this ego nonsense that you get with a lot of supergroups.
ln the early days, John and Paul had a very relaxed attitude towards songwriting.
For example, ''Can't Buy Me Love'' was written in a hotel room.
They just sat down and knocked it out together.
They'd stopped writing together quite so much, but they'd still contribute to each other's songs.
''We Can Work lt Out'' is a good example.
So Lucy gets to Tokyo.
They're all rushing around in a blind panic.
''What's going on?'' She phones back to head office.
No one's got a clue.
lmagine how it looked.
- And now you say Edward knew all along? - Yeah.
He said the deal had gone through and there was no point in us following it up, - and their - (sound cuts out) Marie was like Actually, you're cutting out.
What was that? - He said that the way that the deal was - (cuts out) - And the only thing we could do was - You've gone again.
Try - The best thing we could do was Paris - (cuts out) l just got Paris, that's it.
lt's probably the buildings, actually.
They tend to cut out Yeah, it's gone again.
Shall we try again in a moment? OK.
Oh, hello, hello.
- Yeah? You're back? - Yeah, yeah.
Apparently Paris knew, Tokyo knew.
London didn't find out until Wednesday, which was why Hathaway didn't come in with the big offer.
The men of Chatterton and Weald and of Malmesbury and Meald, their collars loosed, their breeches frayed, they come to bid on market day.
On Tuesday we go to Malmesbury for the auctions.
The first took place here over 300 years ago.
Why didn't you put your foot on his tail? Greetings are exchanged.
There is hard bargaining to be done, but always time for talk.
l could hardly bloody write, but l could ride a horse.
The mood is seldom grim.
The sound of laughter drowns out the shuffling of the nervous herd.
Paddy tells a joke to Fred.
They shall drink in the Ship pub in Milbourne after the buying and selling is done.
Some of the men have been coming here for 50 years, and their fathers and grandfathers before them.
They come to buy, they come to sell, - to hear the sounding of the bell.
- (bell) The auctioneer must soon be heard.
Pray silence for his every word.
Good morning, ladies and gentlemen.
Welcome to the dispersal sale on behalf of Mr Richard Keen.
Nice to see such a good company of local buyers here.
Without further ado, we'll start lot No.
446.
lt is the six New Romantics.
Where would you start me for those? Put them in there.
400 l'm bid.
Five - 405.
Eight - 408 l'm bid.
1 0, 1 0 l'm bid.
1 2, 1 2 l'm bid.
1 4.
41 4.
1 6, 1 8, 41 8.
20's the bid.
At 422, 22, 25.
At 448, 50, 50, 52.
?482 is the bid.
l'm part of the way there.
85, 485.
485 Go on.
Back you go now.
At ?500 l'm bid.
508, 1 0, l'm bid 1 0.
A fresh face now, 92, 95, ?600.
?600 is the bid.
602, 602.
605, 605.
61 4, 1 6.
1 6 l'm bid, 1 8 l'm bid.
And there we go now, at 61 8.
l'm part of the way, at 61 8.
There we are, at 61 8.
Two, two.
Name Rio.
- Name Rio.
- (New Romantics) Rio.
Name Rio.
# Her name is Rio and she dances on the sand Three fifty, please.
OK, ladies and gentlemen.
We're about to start our press conference.
Mr Hooper and Mr Martin are extremely tired and we'll only be asking a few questions now.
(reporters) Mr Martin.
Mr Martin.
Mr Martin, were you ever afraid for your life? Well, the Beatles certainly never took drugs in front of me.
l was always vehemently against the drugs scene, particularly the heavier stuff - heroin, LSD.
But when we were in the studios, the lads would nip off to the loo for ten minutes, smoke a bit of pot, come back wreathed in smiles, there'd be some giggling, and then we'd carry on.
But generally, l tended to turn a blind eye.
(reporters) Mr Martin.
Do you think your release represents a positive shift towards the West, or was it just a publicity stunt? l never really understood the criticisms against Ringo's drumming.
For me, he was an inventive and powerful player.
You only have to listen to some tracks like, l don't know ''Tomorrow Never Knows'', ''Hey Jude'', ''Strawberry Fields'' l could go on - absolute tour de force.
(reporter) Mr Hooper.
Now that you're free, do you view your having been taken hostage as more of a political or a personal issue? Well, the feedback at the beginning of Well, you just go with it - you can always go with it.
lf it's no good, if it's at the beginning of the song, you can cut it off later.
- Mr Hooper - Yoko Ono was one of my favourite people.
l mean, as long as John was happy with her, l was happy with her.
l know you're tired.
l know you're strong.
l know we are but seven and they are 9,000.
And l know l have a tiny pony.
Well, it may be a tiny pony, but it's a Scottish pony, and l am Scottish and free, and l will always be free.
Anyone that seeks to take away my freedom will never do so, for l may die today, along with my tiny pony, but l will never bow to English rule.
So follow me! Follow in the hoofprints of my tiny pony for Scotland and for freedom! (hoofbeats) (woman) Come on, Siggy! (PA) Quiet, please.
(John) Well, that's the first idiot of the day.
No blinking, so it remains all square.
Let's go to the stare-cam to see what Kampagnola has to deal with.
(David) Ho ho ho.
(John) Look at that.
It's a fearsome sight.
Look at the level of concentration in those eyes.
(David) Yes.
(John) I'm sure there's a part of the Italian now saying, ''I've had enough of this.
'' But of course he can't afford to think like that now.
I certainly wouldn't like to be in his place, David.
What can Kampagnola do to combat this attack? Oh, well, John, he'll be digging very deep at the moment, calling on all his resources to combat this onslaught from Spatsky.
But he is holding up very well Sorry to interrupt you, John.
I think Kampagnola's starting to sweat.
Yes, there it is.
The pressure's starting to get Kampagnola after nine minutes, just as you were saying how well he was holding up.
(David) Spatsky's gaining the initiative and it will be important for Alessandro to maintain his concentration.
He'll know he's behind, but he's a gutsy campaigner, and he certainly, I would think, will have something left.
- Yes, there it is.
- (John) Yes, incredible, David.
Spatsky produced an attack from nowhere when we were least expecting it.
Great example for any young people watching.
Well, it's not over yet, John.
It'll be interesting to see how Kampagnola responds.
Such a beautiful day.
The gardens are lovely.
''And the glory of the Lord shone round about them.
'' lt was on a day such as this that l decided to join the religious life.
When l was a child l was put into care with my aunt in Kent.
She was a rather cruel woman and l was not happy there.
Her husband, a woodcutter, had sadly taken to the bottle, and as you know Oh, why was that? lt's not important why.
My days were long and unhappy, and one afternoon l was walking in a forest and l met Brother Francis.
- He was a rather old man, or at least - l'm sorry.
This is your uncle? No, this was my This is Brother Francis.
Oh.
He spoke to me for several hours, and he had a wisdom l have rarely come across in men.
Forgive me, Brother Dominic.
l'm confused.
You said you'd gone to live with your aunt Forget about the aunt and uncle.
lt's not the important part.
- But did you say that he was your brother? - Yes.
No, no, sorry.
He was not.
My brother, l'm afraid, died with my mother at birth.
Which is why you went to live with your aunt.
- No.
Yes, that's it.
- Right.
- Forgive me.
l just want to get it clear.
- Of course, yes.
- lt's just, um Brother Francis - Mm.
Well, work back.
Mere child of 1 5 Oh, l have it.
Brother Francis spoke to me of God and the world, - of great philosophers and artists, and - Sorry to keep bothering you As he spoke it seemed to me the birds themselves stopped singing - so as to better hear him speak.
- (laughs) That's brilliant.
''To hear him speak.
'' Oh, l'm sorry.
Um And when he had finished speaking, l felt a sense of serenity and peace that l have not felt before or since.
And from that moment Thank you.
From that moment l decided to be like Brother Francis and dedicate my life to God.
Oh, right.
Oh, that's it.
Oh.
That was a great story.
This is no ordinary retrovirus, Bill.
l swear to God, it's like it knows.
The mitogens are adapting with every new strain.
lf it breaches quarantine, it will engulf the planet.
We have to locate an antibody that can replicate with aggression, or we are facing a global killer.
- What sort of timescale? - Five weeks maximum contagion.
- We have to work fast.
- l know.
Perhaps we should come in at 1 0 tomorrow.
No, someone's delivering a sofa.
l can't put it off.
- l don't want to work on my own.
- Tomorrow's Friday, so that's the weekend.
- Why not just make it Monday? - Monday morning.
No, midday.
lt's nice to have a lie-in on Mondays.
l like a lie-in.
- See you in two weeks then, lads.
- Bye! (chatter) Everyone, can l have your attention please? Thank you for your patience.
l think you know what this is about - the office manager.
A decision has been reached and it is Tom Henderson.
- No way! - Oh, no, not him.
- You must be joking.
- The guy is a wanker! OK, l know he's not a popular decision, but the board felt that Tom Henderson - No way! - Oh, no, not him.
- You must be joking.
- The guy is a wanker! l hear you, but it was a close call.
lt was between Mary Wilkinson and Tom Henderson.
- No way! - Oh, no, not him.
- You must be joking.
- The guy's a wanker! We decided fairly and squarely that Tom Henderson - No way! - Oh, no, not him.
- You must be joking.
- The guy's a wanker! l personally would have preferred Tom Harvester.
Oh, no But after a lot of discussion, particularly with my senior colleagues, we did feel that Tom Henderson - No way! - Oh, no, not him.
- You must be joking.
- The guy's a wanker! l do realise that most of you would have preferred Tom Benderson.
- Oh, no, not him - He said Tom Benderson.
Oh, right.
l thought he said Tom Henderson.
- No way! - Oh, no, not him.
- You must be joking.
- The guy's a wanker! l don't want to have to say any more, but it could have been worse.
- lt could have been Mandy Ward.
- Hocter, hocter, hocter.
Are you happy doing the driving? l'm knackered.
l always do the driving.
(boy) Oh, that must have hurt.
That's nice, that new Rover, isn't it.
? - Bob's got one of those.
- Bob who? Bob at work.
- How are we doing for petrol? - Oi, you.
Get off me.
- Empty, nearly.
- You can have this one.
Oi! Keep it quiet, you two.
- Get off me! - Get off! - Quiet! - Stop it.
We'll be home in half an hour.
Just cool it, will you? Go back to your side.
Jordan! l won't tell you again, leave him alone! - Ain't me! - Don't answer back.
- Get off! - Right, that's it.
Paula, take the wheel.
- What's going on? - l didn't do anything.
You've been doing this all day and it's frankly irritating! - lt's him! - l don't care who it is.
- Will you both just stop it? - Don't be too hard.
lt's him.
He whacked me right in the leg.
- Did you hit him? - Because he hit me.
- Did you hit him? - He started it.
- Patrick started it.
- You wait, you! Don't answer your father back.
Just shut up! - Why don't you come and sort it out, Paula? - l will.
Send Jordan up.
- Jordan, get up there and drive the car.
- (Patrick) Why can't l? Don't start whining again.
You've been whining all day long.
You were whining all day at Grandma's.
Why do you have to do it? - Because - Because you whine all the time.
What's going on? Did you hit him? - You're not supposed to hit people.
- No, but l didn't do it.
- l saw you do it.
- Don't tell lies.
- Now, you go and apologise to him.
- But he hit me.
Go up the front and say sorry.
Jordan, keep your eyes on the road, please.
- Say sorry to your brother.
- l don't want to.
- Now! - Do it.
- l'm sorry.
- lt's all right.
- He gets it from you.
- Oh, be quiet.
You fill him with chocolate, and what do you expect? - Oh, come on! - l didn't do anything! - That's not fair! - Why punish me when l didn't do anything? - Bitch.
- What did you say? What did you say? What did you say? - Don't hit me.
Ow! - You'd better be quiet back there! - He called me a bitch! - l'm trying to concentrate, you hear me? l can't do that with you bickering at the back.
(David) .
.
measures that have helped to curb this worrying problem of drugs in the game.
I would guess that David, I must stop you there.
I think we're seeing some developments in the match.
Yes, some head movements from Kampagnola.
Signs that his challenge is beginning to weaken.
He's in trouble.
And Kampagnola has started to sweat again.
(David) Yes.
(John) I think he'll know he's down.
The pressure really now beginning to tell.
And Spatsky just pummelling Kampagnola into submission.
David, is there any way back for Kampagnola? He's certainly in trouble, John.
He's cracking under the pressure now.
Definite head movements.
I really can't see him pulling out of this.
He's weakening fast.
He's all over the place.
(John) Spatsky pummelling the Italian into submission.
Unrelenting, ruthless aggression from Spatsky.
He's tearing Kampagnola's tattered defences apart.
Grinding his man down and showing absolutely no mercy.
How much longer can this last? Look how ungainly he looks now.
He's falling apart piece by piece.
You've got to have sympathy for the man.
(David) Credit must go to Spatsky.
It's been an honour to witness this spectacular match.
And a real master in Spatsky.
Such true quality.
Will this man ever be beaten? (John) Look at him now.
He's going down fighting and the crowd are going wild.
There he goes.
He's gone, he's gone.
Kampagnola blinks and it comes to an end.
It's all over.
Spatsky has retained his world title in masterful fashion.
What a classic final this has been.
(monitor bleeping) # Uptown girl # You've been living in an uptown world Don't try to sing.
# Hot legs make me scream and shout # l love you, honey, oh-oh oh-oh Please, you are so weak.
Don't try to sing.
# Jet! # Oh-oh-oh-oh-oh-oh-oh # Jet! # Oh-oh No.
No! No! (# ''Virginia Plain'') # Make me a deal and make it straight # All signed and sealed, l'll take it # To Robert E Lee l'll show it # l hope and pray he don't blow it, cos # We've been around a long time # Just try, try, try, try, trying to make, make the big time # Take me on a roller coaster # Take me for an airplane ride # Take me for a six-day wonder, but don't you # Don't you throw my pride aside, besides # What's real and make-believe? # Baby Jane's in Acapulco # We are flying down to Rio # Throw me a line, l'm sinking fast # Clutching at straws, can't make it # Havana sound we're trying # Hard edge the hipster jiving, but # Last picture show down the drive-in # You're so sheer, you're so chic # Teenage rebel of the week # Flavours of the mountain streamline # Midnight-blue casino floors # Dance the cha-cha through till sunrise # Opens up exclusive doors, oh wow! # Just like flamingos look the same, so # Me and you, just we two, got to search for something new # Far beyond the pale horizon # Someplace near the desert strand # Where my Studebaker takes me # That's where l'll make my stand, but wait # Can't you see that Holzer mane? # What's her name? Virginia Plain