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[no audio] [MUSIC PLAYING] ♪ (ominous music) [Music]

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I will live and survive and be asked how they slammed my head against a trestle, how I had to freeze at nights, how my hair started to turn grey. But I'll smile and we'll crack some joke and brush away the encroaching shadow. And I will render homage to the dry September that became my second birth.

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I'll be asked. doesn't it hurt you to remember? not being deceived by my outward flippancy. but the former names will detonate in my memory. magnificent as old canon. when did the poetry start becoming a serious passion in your life? it is

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difficult to say because as a young girl I took it as a play. It was my favorite secret game and I enjoyed it very much. I didn't need a reader. I enjoyed my ability to be creative so much that I didn't need any encouragement from outside. I didn't even keep written texts of my poems mostly because I was not

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interested in them when they were over. But the really deep poetry, define it for us. What is poetry? Well, it is difficult to say.

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Probably it is the calling things their own names. Sometimes it just overcomes me and I don't try to analyze what it is, because I remember this sad story about the centipede, which was asked how she dances, which leg she moves first. And I wouldn't like to analyse this.

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Yes, well I don't want to turn you into a centipede, but can I ask one more question about how you do it, because I'm fascinated by the whole process of creation, the way musicians, some musicians seem to hear it, some composers. Well, I think poems are like cats.

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They come when they want to come. They're like cats. Yes, and you just have to be nice and gentle with them, and they will stay with you. If not, they will go away.

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And you never know where they come from. What about sort of more mystical, spiritual ideas? When did they start invading your poetry? It came later, when I started to believe in God.

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I believed in God the first time when I prayed, when I was nine years old. And can you actually remember that moment? Yes, absolutely. And what had led you to prayer?

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The fact that it was the first time I realized that people don't only are atheists, they don't like God. I didn't believe that God does not exist because I wondered who does not exist with such power that people cannot stop talking about this. It was important for me to learn that we must struggle with religion.

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And I thought, oh, God is alone, and all our government, all our school teachers, and even director of school, everyone are against him, so I must be on his side, I thought.

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- So it was a kind of compassion for God, a pity for God. - Well, I think it is not fair when everyone attacks the same person. And of course, I couldn't believe

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that person who is attacked like this doesn't exist. So, my first prayers were not like prayers. I didn't know how to pray. I simply started to ask God questions.

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I wouldn't say it was in a very polite way, because the first thing I wanted to know is God kind or not. It was not very interesting for me how powerful he was

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because I was just a child and each one around could punish me. Each one around was more powerful than I was. So I was not interested in his power at all.

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I was interested in his love and kindness. And it was in my students years when I was able to read Bible first time. I was 23 years old when one of my friends

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borrowed me the Bible to read, because Bibles were not available like this in shops or libraries. Before starting reading it,

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I had to learn old Slavonic language, because the Bible was published in the beginning of 80th century. And it took me a month and a half to learn all the letters and the grammar.

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And then I started to read from the very beginning. And after reading this Bible, I discovered that I'm not only a believer, I'm a Christian. Now, at what point did you come out as a Christian? It was rather late.

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I was 25 years old. It took me two years between feeling like a Christian and behaving like a Christian. And during these two years,

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I just pulled together all my courage. I didn't have too much natural courage, I would say. I felt rather cowardly. And when my husband and I decided to get married,

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we decided to get married as Christians and we decided that we would behave like Christians the rest of our lives. Let's talk about your husband. You knew him from so high.

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When did you know that you were going to marry him? Well he informed me about that when I was twenty-five. He actually, he simply told you? He simply told me.

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I was a little bit surprised. You didn't see it coming? Well, it was sort of romantic feeling, but I didn't know he felt so strongly about that. So I was so much surprised that I didn't even agree or disagree.

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I didn't know how to react. I mean, did he ask you or simply tell you? He told me. He told me he knows how it will be.

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And he told me, well, he cannot force me, of course, but I cannot avoid it, he said. And he told me I was going to give up my work in Odessa and come to Kiev and settle down with him somewhere.

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We didn't have a house of our own. We didn't have any place for living there. It was so strange there that I thought, why shouldn't I try?

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- How did things move after that? I mean, you were obviously shocked that you agreed to it. And what was the sequence of events? - We went to Moscow and our friends

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organized the wedding for us. They found honest priest who really was a believer, not the KGB informer, which was very important for us because we had to confess before.

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But of course, our ignorance about small and big church rules was really very strange. We had to learn how to behave in the church from the very beginning, and we didn't have time to this.

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That's why, for instance, we came to the church without wedding rings. When the priest learned that we are without wedding rings, he said, I don't know how could I marry you without them.

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And then there were some believers in the church and old widows among them. And they started to put off their wedding rings and giving us, because they wanted us to be married.

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Exactly that day, it was something in the air of the church, which we couldn't stop. We had to be married now, and everyone around felt it. When Father Alexander saw what was going on, he commanded them to put on their rings back, and he married us without the rings.

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When I was arrested, I thought, "Oh, what a relief, I don't have wedding rings." When they arrest people, they confiscate wedding rings as well as watches and all these sorts of things. Let me back up a little bit. I mean, you were writing poetry by this time, and you were part of the samizat system, the sort of underground publication system, your works were being passed round.

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At what point, at what age, and under what circumstances were you first arrested, and for what? It was a surprise for me that I was arrested, not my husband, because he was one of the underground editors, which the KGB didn't know at the moment, but they could discover. And I was just a Samizdat underground author.

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But they arrested me when I was 28, three years after our marriage. Little bit less than three years. And they arrested me for writing poetry as well as for anti-Soviet activity. And then were you given a trial?

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Or what happened next? They kept me for more than half a year in the KGB prison, trying to interrogate. Untried, simply, as it were, detained? Yes, of course I was not allowed to see a lawyer, I was not allowed to see any of my friends or relatives.

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All this time I didn't know was my husband arrested or not, because it was the important part of the KGB blackmail. One day the interrogator said they already arrested him and he gave all the information about me. Another day he said that they are thinking about arresting him and so on.

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Were you tortured during this first six months? Not really. Of course the KGB used small things. For instance, when I needed a dentist, the lady came who said she was a dentist, and

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they took me to some room where there were plenty of stuff. I didn't realize why. And this lady simply drilled out my nerve without any injection. You cannot call it direct torture, but it was just an experiment how hard pain I can

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stand. And then what? And then trial, and it was a real celebration for me because I saw they called my husband as a witness.

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Of course, he refused even to talk to them. He started to shout all the information to me, and they pushed him out of the courtroom immediately. But at least I knew he was not arrested.

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What was he shouting to you? The trial was the day before my birthday. So he shouted that he congratulates me, that he loves me, that I am a member of Pen Club at the moment, which was good news for me.

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And he shouted, "Hold on, I love you." And with this words, they pushed him out. I, you know, not each wife should hear such, such words be shouted in the courtroom, and I felt good.

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You would. And what was the trial like, a complete farce? I decided instead of last word just to recite the poem for which I was convicted, because Because number one of my crimes was the poem about my motherland.

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And you got a few lines out, or didn't they let you say anything? I produced three and a half lines, and then they didn't allow me to continue. Why don't you say it now? I can say it now, but unfortunately not in English.

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Say it in Russian. [speaking in Russian] My hateful motherland. There's nothing more shameful than your knights.

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How lucky you were with your holy fools, your serfs and executioners. How good you were at spawning loyal subjects. how zealously you destroyed all those who could not be bought or sold but who were condemned to love you.

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if your frightened ones are innocent, why are your nightingales silent? why on the profaned crucifixes do your tears freeze? how I dream of your crucified ones.

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how quickly in their footsteps I must follow you akin, accursed, and go to a similar death by the most terrible road you possess the brink of hatred and love

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dishonored, wretched mother and stepmother bless me that's what you would have said

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you've said it now And then they sentenced you? And then they sentenced me and I felt honoured again because it was the maximum sentence they could ever give me.

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It was seven years of hard labour and five years of internal exile. At what point, Irina, did it start actually getting tough for you? I mean, you spent a lot of time in solitary, didn't you, in the punishment cell. What was that all about?

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Was it because they got frustrated because you wouldn't give them names and they decided really to put the heat on you? Not only names. The main idea of the KGB work is to make a dissident to renounce his views in public,

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In writing or in TV, that's the most preferable idea. If someone was convicted for being a Christian, for instance, one of our ladies in the labor camp was convicted for opening Sunday school, Catholic Sunday school for children in the city of Vilnius, she would regret this and renounce her views and so on.

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If someone is a poet, automatically it should be a renunciation of poetry of such sort. I didn't want to renounce my views. I didn't want to betray my God. I didn't want to betray my friends.

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And the KGB understood that if they would not win, it would be my victory. So I was under the pressure as well as all others. And of course, when Gorbachev came to power, they doubled the pressure immediately, because the idea was they knew they, sooner or later, they would have to release us.

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Were you physically beaten? Well, I was beaten when they tried to force-feed me, and luckily for me I got a concussion and lost my conscience immediately. You got a concussion because they banged your head against a wall?

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Yes, and that's why they didn't force-feed me. They didn't want to torture me when I didn't feel anything. Waste of their effort. Of course.

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Why waste torture on someone unconscious? Yes, by the way, they never tried again to force feed me, so the rest of my hunger strikes I managed to avoid it. I was the lucky one.

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And you continued to produce poetry, but were you actually writing it, smuggling it out, or was it simply kept inside you? Of course, the most important thing for me was compose poems the way I always did. But I was 28 and I knew already that other people want my poems.

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And of course I was not going to obey the KGB and this. So I did my best to not only to compose them, but to write them down and to smuggle out when the conditions were convenient for this. I cannot talk about this particular part too much because some people in the labour camp

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still use the same methods and I wouldn't like the KGB to know this method. During the time you were in the camp, how much contact did you have with your husband? Sometimes I didn't know was my husband arrested or not, was he alive or not, because the KGB promised me that the hooligans would kill him on the street if I don't behave.

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I didn't know for months what has happened to him and it was the worst thing to me and of course it was the worst thing to him. Where are you my prince? On what plank bed?

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No, I won't cry. I promised after all. My eyes are drier than a fire. This is only the beginning.

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How are you coping? No, I know better than all the others. To take your hand. What about your own

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relationship with God during this period? Were you angry? Were you raging at him? Were you submissive? Resigned?

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When I was young, I felt God like a strict coach who organizes such circumstances for you that you go beyond your own limits. And that's the training you have for the future life. So I always was sure that God would not arrange for me such circumstances which I wouldn't

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be able to manage. Of course when I was arrested I felt, "Oh, God must think too high about me." He's really stretching you. Yes, I felt, "Oh, I'm honored that he thinks I can manage this."

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But I could manage somehow. And in a way the punishment cell is a good place to communicate with God because in such places people feel the real scale of values. Did you have any specific experiences of the presence of God that gave you strength at

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important moments, or was it a more generalized sense of God's presence? Well, I felt presence of God, but it is difficult to describe. It is more difficult than to describe the smell for instance. I didn't see things if you ask about this. I didn't hear voices but I felt God being with me and

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There were two moments where I was almost dying. I couldn't even move. I had second degree of dystrophy I was lying on the floor. I couldn't do anything at all and in this moments I felt that now, right now, I would be taken to heaven, but I was not allowed

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there then. So that was almost, that was a sort of pre-death moment? Yes. I felt, I felt happy.

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Did you perceive anything? Was it just an emotion? It wasn't an out-of-the-body experience? You weren't sort of...

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I saw my body from upstairs. It was like a bundle of dirty rugs. You were above it looking down? Yes.

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And then I was moving somewhere, and I felt it is so good there, but immediately I felt it is too early for me to be allowed there. So you came back. And I remembered my husband and came back.

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What about your feelings towards your guards, your interrogators? it must be very difficult to maintain a Christian attitude towards them, or was that not difficult? Each Christ's advice has two levels, I discovered. One is heavenly level, and another one is very practical thing.

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For instance, when Christ forbade us to hate, He saved our lives here, in this earth, because it was very practical advice. Once you start to hate your borders and the labor camp, you're over, because the prison and the labor camp are designed in such a way that one should have only negative emotions.

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One can find endless sources for hatred, endless reasons and excuses for hatred. If you want good emotions, you must produce it yourself. If you want to have fun, you must produce the fun for yourself and for your friends. And I knew that, from the very beginning I knew that once I allow myself to hate, I would

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burn myself from inside. I have seen people who were burned from inside by hatred. Consumed by it. Yes, they became crazy.

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They lost their personalities in the labor camp. And it is the way to be broken down. When you were coming to understand or think about God as a child, you were very interested to discover God's nature.

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Was he kind? Was he cruel? Did you in any sense have to rethink any of that early childhood thinking when you landed in prison camp?

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Is God still for you a kindly God or is there some darker side to him that you think you discovered there? I don't think God could be responsible for human crimes. And that's why when the KGB arrested me,

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I was clever enough not to blame God for the KGB activity. I know for sure that God is not a member of the KGB. And I know He's kind because I feel His support. I was never left alone. I know God is kind.

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You've had a near experience of death. Have you thought about your own death? Have you planned your funeral? I never thought about it.

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You know, funerals are not for those dead. They're for those who are alive. And they feel all bitterness of their departure. And, well, they should be allowed to do whatever they please to feel better, but it would have

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nothing in common with me. When you get to heaven, whom would you like to meet? Good question. If I get to heaven, you mean?

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First of all, I would like to meet God, if he would take me there. But of course I would like to meet there those people who helped me to survive and who saved my soul, like Serafim Sarovsky, our Russian stand, like people who were not saints but meant a lot for me, like Yanush Korchik.

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And of course all poets I used to love because it is our human way if we are created in a image of God. We should be creative. From other side, I would like to have pleasant surprises in heaven. I would like very much to see there some people who seem to me now enemies, because they continue their crimes now, they prosecute people, they keep people like slaves,

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And if they would change, there is always a chance for them to be changed. Do you ever idly speculate about what heaven might be like, whether there will still be creativity, whether you will still write poetry? Do you spend any time on that kind of stuff at all, thinking about heaven?

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Well, of course I thought about heaven, and I thought that probably the best things we can do, we would be able to practice there. And the best thing we can do is our ability to be creative. So I think the heaven is the place for more creativity, not less creativity.

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And of course, sometimes I think that dull work like paperwork or dishwashing would not be necessary there. We would do the most important job in the world. We would be creators.

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Sometimes people ask me what I consider my best poem. And I always think that my best poem is not written yet because my sight is not clear enough. probably it would be heaven where I would write my best poem.

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[MUSIC PLAYING] [Music] On Good Friday, Jeremy Irons stars in The Dream. [no audio]

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...hundred shops and fifty restaurants in one wall of the house. [music] Graphic design, Valerie Pye. [music]

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Researcher, Paul Vickers. [music] Actor John Woods. Producer Brian Armstrong.

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Bottom's up. [Groans] Why is there a crisis? Every time we have a bit of sunshine, it's a drought.

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Last year, 20 million Britons suffered water restrictions. Some lasted all winter. Three million car washes every week, two million dishwashers every day, and half a million washing machines every hour is growing affluence overloading Britain's ageing water mains.

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As 40 of Britain's rivers run dry, nature explores the crisis facing the water industry and asks whether water meters provide a solution. A drop to drink, Tuesday 8.30 on BBC2. The Gardener's World at 8.35 discovers the secrets of seed swapping among members of Derbyshire's Cottage Garden Society

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and takes a leaf out of Mrs Decker's book, A Keen Gardener in Belgium. Now on BBC Two, a concert of music for the evening of Good Friday from Hereford Cathedral. [ Music ] [music]

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Hello and welcome to this program of music for Good Friday, given by the London Festival Orchestra in the Cathedral Classics series of concerts sponsored by British Gas. Tonight we're in the medieval splendour of Hereford Cathedral, where the faithful have marked Christ's agony on the cross each Good Friday for more than 900 years. The music this evening takes on the mood of Good

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Friday and has within it sorrow and darkness, a sense of futility, of bright hopes turned to ashes, and yet there is also confidence in God's abiding presence and mercy and the certainty of the resurrection. Later in the concert, the London Festival Orchestra will be joined by the choir of Hereford Cathedral in a performance of the Requiem by John Rutter, one of the most popular

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of modern English composers. But we begin with Haydn's Symphony No. 49, La Passione. Haydn wrote this symphony in 1768 when he was in charge of music at the court of the Esterházy's, a rich and noble Hungarian family. He had a small orchestra at his disposal, certainly no bigger than the London Festival Orchestra, and so had enormous freedom to compose and experiment

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away from the mainstream musical world of his day. It's said that Haydn wrote this symphony especially for performance in Holy Week, as the title La Passione suggests. It begins with an emotional slow movement, when as one critic wrote, "we seem to sense the winding line of penitence before the cross."

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And so here is Ross Popel to conduct the London Festival Orchestra in Haydn's symphony number 49 in F minor, La Passione. [applause] [ Pause ]

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[music] [Music] [music] [Music]

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[music playing] [music] [Music] [Music]

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[Music] [music] [Music] [Music]

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[Music] [music] [music playing] ♪ (dramatic music)

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♪ (dramatic music) [music] ♪ (dramatic music) [Music]

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[Music] [Silence] [music] [Music]

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[music] [music] [music] [music]

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[Music] (dramatic music) ♪♪ ♪♪

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[Music] [music] ♪ (dramatic music) (dramatic music)

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♪ (dramatic music) ♪ (dramatic music) ♪ (dramatic music) [Music]

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[ Pause ] [MUSIC PLAYING] [Music] [Music]

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[Music] ♪ (dramatic music) ♪ (dramatic music) [music]

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♪ (dramatic music) ♪ (dramatic music) [music] [music]

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[music playing] [music playing] [music playing] [music]

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[music] [music] ♪ (romantic music) ♪ (ominous music)

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[Music] [music] [Music] ♪ (dramatic music)

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♪ (romantic music) [Pause] [music playing] ♪ (dramatic music)

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♪ (dramatic music) ♪ (dramatic music) ♪ (dramatic music) [Music]

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♪ (dramatic music) ♪ (dramatic music) ♪ (dramatic music) ♪ (dramatic music)

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[applause] Haydn's Symphony No. 49, La Passione, was played by the London Festival Orchestra, conducted by their director, Ross Popel. [applause]

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The second work this evening takes us from the 18th century to the 20th, and involves the strings of the orchestra on their own. The American composer Samuel Barber wrote his string quartet in Rome in 1936 and later turned the second movement into the work we're to hear now, his Adagio for Strings. It's a romantic and emotional work in which a simple melodic line moves gently and steadily to a climax that seems to shudder with pain and grief before relaxing into a mood of serene resignation.

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[applause] Ross Popel now directs the London Festival Orchestra from the cello in the Adagio for strings by Samuel Barber. [ Applause ] [Music]

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[Music] [Music] [MUSIC PLAYING] ♪ (dramatic music)

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♪ (ominous music) ♪ (soft music) ♪ (sad music) [Music]

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[Music] [Music] [Music] [Music]

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[Music] [Music] [Music] [Music]

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[Music] ♪ (somber music) ♪ (ominous music) (dramatic music)

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[Music] [Music] [Music] [Music]

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[Music] (dramatic music) (somber music) [Music]

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[music] [Music] [music] [Music]

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[Music] [Music] [Music] [Music]

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[Music] [Music] [Music] [ Music ]

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[APPLAUSE] (applause) (applause) (applause)

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Barber's Adagio, played by the strings of the London Festival Orchestra, directed by Ross Popel. The final work in this evening's programme of Music for Good Friday, in the Cathedral Classics series of concerts, sponsored by British Gas, is by the modern British composer John Rutter, who's in the audience this evening. And even if you don't know his name, you probably do know some of his

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music. His tuneful carols such as the Star Carol and the Shepherd's Pipe Carol are heard in churches all over the world each Christmas. But today, Good Friday, we're to hear his Requiem, first performed in Dallas, Texas in October 1985. As you might expect of a work which meditates on the themes of life and death, the mood is predominantly serious, but the music is suffused with melodies

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whose beauty glows in affirmation of the certain life beyond the grave, and the simple trust in the goodness and love of God. The text mixes Latin and English with words taken from the Latin Mass for the Dead, the burial service of the Book of Common Prayer, and two psalms,

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including as the penultimate movement a setting of Psalm 23, "The Lord is my shepherd." Well the orchestra has now been joined by extra woodwind and percussion and with them too are the men and boys of Hereford Cathedral Choir who regularly sing the services here in the Cathedral. They're joined by the soprano Caroline Ashton for this performance of the Requiem by John Rutter

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which is conducted by the Cathedral organist and master of the choristers Roy Massey. [ Applause ] [silence] [MUSIC PLAYING]

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[music] (music) [MUSIC] ♪ In heaven they tell ♪

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♪ Dona eis homine ♪ ♪ Dona eis homine ♪ ♪ Dona eis homine ♪ ♪ Dona eis homine ♪

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[singing] (singing in foreign language) [Music] [Music]

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(singing in foreign language) (singing in foreign language) [ Music ] ♪ Every elegy now ♪

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♪ Luna eis domine ♪ ♪ Et ius peccator ♪ ♪ Luce aureae ♪ [singing]

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(singing in foreign language) (singing in foreign language) (singing in foreign language) ♪ Et luce divina ♪

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♪ Luce amore ♪ ♪ Caeli et caeli in full ♪ ♪ Deus in sio ♪ ♪ Et si ne venit nocosa ♪

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[Music] [music] [Music] (singing in foreign language)

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[MUSIC] (choir singing) [music] (choir singing)

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(choir singing) (choir singing) (choir singing) [Music]

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[Music] [music] [music] (choir singing)

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♪ (soft music) ♪ His blood...his water, His side of Earth, His breath ♪ [Music] [music]

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[Music] [Music] [Music] [Music]

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[Silence] [Music] [Music] [music]

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[Music] [Music] [choral singing] [choir singing]

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[music] ♪ But for my glory ♪ ♪ Have I fallen to thee, O Lord ♪ ♪ Lord, hear my call ♪

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♪ For let my knees concede ♪ ♪ Oh, let my ears ♪ ♪ Oh, let my ears ♪ ♪ Sing aware the voice ♪

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♪ Of my own native land ♪ ♪ Oh, let my ears ♪ ♪ Oh, let my ears ♪ [ Music ]

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♪ With our Lord which we extend to love ♪ ♪ Our eternal King ♪ ♪ Our Lord who may abide with us ♪ ♪ O where, O where art thou, my dear? ♪

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♪ ♪ O where is my spirit leading me? ♪ ♪ Their porches now we fill ♪ ♪ I look for a God ♪

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♪ My Son and Friend for me ♪ ♪ And in His glory ♪ ♪ My friend ♪ [music]

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[ Music ] ♪ Oh, we have come to the Lord ♪ ♪ Before the morning watch I say ♪ ♪ Before the morning watch ♪

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♪ Oh, we stand at last ♪ ♪ In the cross of the Lord ♪ ♪ The Lord there is mercy ♪ ♪ And redeems his men ♪

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♪ And he shall redeem his men ♪ [Music] [Music] [Music]

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[music] [Music] [Music] [ Pause ]

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[MUSIC PLAYING] [MUSIC PLAYING] (music) [singing in foreign language]

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(singing in foreign language) [singing] ♪ Requiem, requiem eterna ♪ ♪ Dona eis Domine ♪

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♪ Dona eis Domine ♪ ♪ Dona eis Domine ♪ (singing in foreign language) (singing in foreign language)

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(wind blowing) (singing in foreign language) (singing in foreign language) (singing in foreign language)

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[Music] [music] (singing in foreign language) [Music]

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(singing) [music] (singing in foreign language) [Music]

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(singing in foreign language) [Music] [Music] [Music]

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[Music] [music] (singing in foreign language) [Music]

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(singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language)

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[Music] [Music] [Music] [ Silence ]

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[MUSIC] ♪ Oh, little deer ♪ ♪ Come down, come down, come down ♪ ♪ Oh, little deer ♪

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♪ There is a tree ♪ [Music] (singing in foreign language) ♪ (singing in Italian)

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♪ (upbeat music) (singing in Italian) ♪ (upbeat music) ♪ (upbeat music) (choral music)

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(choir singing) ♪ (dramatic music) ♪ (choral music) (thunder rumbles)

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[ Silence ] [ Music ] [MUSIC] (singing in foreign language)

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(singing in foreign language) [music] (singing in foreign language) (singing in foreign language)

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[music] ♪ I was barely, I was barely ♪ ♪ Before this land I know ♪ ♪ And now I'm falling ♪

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♪ Your life is at the end ♪ ♪ Of our desperate struggle ♪ [ Music ] ♪ And that is born of a woman ♪

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♪ And that assured time to live ♪ ♪ And is born of women ♪ ♪ He come and go ♪ ♪ And is not found by the dog ♪

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[Music] [music] (wind blowing) [ Music ]

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[MUSIC] (singing in foreign language) ♪ And God hath told me ♪ ♪ No man can be saved ♪

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♪ Saved ♪ ♪ Saved ♪ ♪ No man can be saved ♪ ♪ No man can be saved ♪

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♪ No man can be saved ♪ ♪ No man can be saved ♪ ♪ No one can be saved ♪ ♪ No one can be saved ♪

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♪ Our God saves ♪ ♪ Our God saves ♪ ♪ We are in heaven above ♪ ♪ Heaven above ♪

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♪ How goodly ♪ ♪ How goodly ♪ [Music] [Music]

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[Music] [MUSIC] ♪ And our love ♪ ♪ And our love ♪

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♪ He that will give ♪ ♪ Let him give ♪ ♪ On the earth ♪ ♪ And there shall he live ♪

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[Music] ♪ And I'll be there ♪ ♪ And be there with thee ♪ ♪ Shall never ♪

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♪ Go ♪ ♪ Shall never ♪ [Music] [silence]

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[music playing] [Music] [Music] [Music]

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♪ The Lord is my shepherd ♪ ♪ He will guide and help me ♪ ♪ He shall be near every footstool ♪ ♪ And with me through this I know ♪

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♪ Heart of my heart ♪ ♪ He shall come as my son ♪ ♪ And bring me home in the heart of my heart ♪ ♪ For His name's sake ♪

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♪ For His name's sake ♪ ♪ For His name's sake ♪ ♪ Day by day I walk through the valley ♪ ♪ Of the shadow of death ♪

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♪ I will be, oh, be ♪ ♪ For thou art with me, my God ♪ ♪ And I shall come for thee ♪ ♪ Thou shalt prepare a table for me ♪

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♪ Against death that's troubling ♪ ♪ Love as the night ♪ ♪ May my every joy ♪ ♪ And my countenance be full ♪

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[ Music ] ♪ But I, the divine, that I love and see ♪ ♪ Shall follow thee all the days of my life ♪ ♪ And I will carry the cross of the Lord ♪

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♪ With love ♪ ♪ I am not alone ♪ ♪ No, I am not alone ♪ [Music]

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[ Music ] I heard a voice from heaven Saying unto me, "Blessed are you Blessed are you

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♪ Blessed love and death who died for love ♪ ♪ May all their hearts ♪ ♪ All their hearts ♪ ♪ All their hearts ♪

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♪ May all their hearts ♪ ♪ And all their lives have passed away ♪ ♪ And all their lives have passed away ♪ ♪ May all their hearts be buried with you ♪

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♪ (dramatic music) ♪ You and I are set to sing ♪ ♪ You and I are set to sing ♪ ♪ Oh, let it rise ♪

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♪ Let it rise ♪ [music] [Music] [Music]

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[singing] [Music] [Music] [Music]

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[music] (singing) [Music] [Chorus]

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[Music] [singing] [music] (singing in foreign language)

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[Music] (singing in foreign language) (singing in foreign language) [choir singing]

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[music] [Music] [Music] [music]

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(singing in foreign language) (singing in foreign language) ♪ (ethereal music) ♪ Hosanna in the highest ♪

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♪ In the highest ♪ ♪ Hosanna in the highest ♪ ♪ Hosanna in the highest ♪ ♪ Hallelujah ♪

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♪ Hallelujah ♪ (singing in foreign language) (singing in foreign language) (singing in foreign language)

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[Music] (singing in foreign language) ♪ ♪ ♪ ♪

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♪ And in the midst of the earth ♪ ♪ Let me dwell ♪ ♪ Let me dwell ♪ ♪ In the midst of the earth ♪

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♪ Let me dwell ♪ ♪ In the midst of the earth ♪ (audience applauds) (applause)

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(rain falling) (rain falling) (rain falling) (rain falling)

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(rain falling) (applause) [ Applause ] Tonight, Everyman presents an adaptation of a Dostoevsky short story, The Dream.

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I'm ridiculous. A ridiculous man. I've always been. Year by year, I became more aware of it in every possible way. But I kept it to myself, the fact that I knew. But his perceptions are changed by a dream.

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it revealed the truth. Oh, my dream revealed to me a different reality, a new life, glorious and perfect. Jeremy Irons stars in The Dream,

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tonight at 9.35 on BBC Two. Over on BBC One in ten minutes, Martin Lewis presents the day's news. Here on Two in half an hour,

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politicians and showbiz personalities step out in droves to deliver self-parodying satire, and all, strangely enough, bearing an uncanny resemblance to Rory Bremner. [music]

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First on two, we peek through the hole in the fence at the delights of the gardener's world. [music] (upbeat music)

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♪ ♪ [Music] Well Easter is traditionally the start of the gardening season and even here in the chilly East Midlands the daffodils are out to welcome it in and there's

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nothing more cheering than that believe me. It's a good time now to get round doing a bit of tidying up in the garden and that's just what I'm doing here in my little scree garden, just trimming off some of the odd dead flower heads here and of course doing a bit of weeding too. I've got a rather nice little problem

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here actually in that I'm absolutely covered with soft-sown seedlings of this white arabis. They look rather nice now so I'm going to leave them but of course they'll have to come out later on otherwise I'm going to be totally covered with them. And a host of famous faces are captured on this BBC video. The best of Rory Bramner,

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available now. Britain's darkest days. Get yourself into some civvies, pretty yourself up, then prattle away at some free French. A young woman privileged to work in the world of men.

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They know you're working for Section 18, they know I'm your boss. And I know what it is they want to know, and that's the only thing you're not to let them know. You know perfectly well what I'm talking about. Fatty Puffs and Sinifers from your Section 18, from your Commander Scott.

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That must be top secret info. If I get caught, I... You can't. And the selfless leader, a man of steel. Because of you, three fine men, one of them a woman, will probably go to hideous deaths and for nothing, for nothing!

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They Never Slept, by Simon Gray. Screen 2 on Sunday at 10 o'clock on BBC 2. In 35 minutes on 2, a psychiatrist becomes an unwitting pawn in the world of a professional gambler. House of Games, written and directed by the celebrated playwright, David Mamet.

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And now to an Everyman special presents Oscar winner Jeremy Irons in Murray Watts' adaptation of a Dostoevsky short story, The Dream. [MUSIC PLAYING] (soft music)

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(ominous music) (dramatic music) (somber music) (somber music)

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(dramatic music) (somber music) (somber music) (eerie music)

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(dramatic music) (dramatic music) (horse neighing) (footsteps thudding)

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(footsteps) (footsteps thudding) (birds chirping) (wind howling)

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(eerie music) [Music] (ominous music) (slow, dramatic music)

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[MUSIC PLAYING] (eerie music) (crow cawing) (crying)

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[crying] I'm ridiculous. a ridiculous man. oh they call me a madman now.

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but I don't mind. you see I love them. yes I do especially when they're laughing at me. I'd like to share the joke with them, I would.

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I'd laugh at myself too. If only I didn't feel so sad. What is it that makes me sad? Well, you see...

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They don't know the truth. And I do. [MUSIC PLAYING] I used to get upset at appearing to be ridiculous.

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Well, I didn't appear to be I was. I've always been. Actually, I think I've known this since the moment I was born.

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I went to school and university, but the more I learned, the more I realized how ridiculous I was. The harder I studied, the more obvious it became. And so the entire outcome of my education

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was simply to prove that I was absurd. meanwhile life was teaching me the same thing. year by year I became more aware of it in every possible way. but I kept it to myself the fact that I knew.

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and yet as I reached manhood I began to face things more calmly. I think this was because it was dawning on me more clearly every day that it didn't matter. that I didn't matter. that nothing mattered. it was then that I stopped worrying about my fellow human beings. in fact I

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stopped noticing them altogether. I'd walked down the street bumping into people. wasn't that I was lost in thought. I'd long since given up thought. there was nothing worth thinking about and nothing I could do would make any difference. no it was simply that I'd stopped caring.

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you see? but then that was before I knew the truth. it all happened in November. on the 3rd of November to be precise. and since that day every moment of my life has been printed indelibly on my mind.

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It was a terrible night. Dreadful weather. Pouring rain. Cold, relentless, piercing through. A sort of rain which has a distinct animosity toward people. The city where I live is a pretty depressing place at the best of times. But that night it was the gloomiest hole on earth.

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At 11 o'clock, the rain suddenly stopped. It gave way to a horrible dampness, freezing cold damp, piercing through. It made a sort of steam rise up from the gutters and the pavements. I glanced up at the sky. It was pitch black.

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I could make out the torn wisps of clouds and between them, fathomless dark chasms. In the depths of one of those pits, I noticed a tiny star. It sparkled. Lonely, beautiful.

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I gazed at it for a long while. I was transfixed by it. Because that tiny star had given me an idea. I would kill myself that night.

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Oh, I decided to kill myself long before that. At least two months before. In fact, despite my financial predicament, I'd splashed out on a revolver.

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I'd taken it home and loaded it immediately. So you see, each night for two months, I had returned to my rooms with the firm intention of shooting myself.

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It was just a question of finding the perfect moment. And now, that tiny star had given me the clue. It had to be that night. No question about it.

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I had to do it that night. Now you're asking, why did that little star clinch the matter? I've no idea. Anyway, there I stood staring up at the sky,

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when suddenly this little girl grabbed hold of my arm. she must have been about eight. all she had on in this cold was a thin cotton dress. hardly torn.

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she was soaked to the skin. but I particularly remember her broken sandals. I remember them even now. It struck me particularly.

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She seemed terrified by something. She clutched hold of my elbow. And she was crying. Crying, no, no, crying out.

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Babbling. Mama, my mama. I turned and walked away. I said nothing. But she came after me.

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Tugging at my coat, making that odd sound, that strangulated sound. The final moment of despair. I know that sound. She was choking on her words but it was quite clear that her mother lay dying or somewhere

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nearby or some other disaster had happened to the woman and the girl had run into the street to find help. I didn't go on the contrary I tried to get rid of her. I told her to call the police.

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She grabbed hold of my hand. I shook it away. She ran after me. [music]

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well that was when I turned, stamped my foot and I screamed at her. [music] all she did was to cry out sir

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please please [music] when she stopped she left me. she ran across the road. [music]

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Somebody must have been turning the corner and she ran from me to him. I arrived home. I went straight to my room.

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I sat down at my table. I opened the drawer and I took out my revolver. [knocking]

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I looked at it. I lifted it. I pressed the barrel against my lips. It was very cold. My breath hung in the air.

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Very carefully, I pulled back the couch. And as I did so, I remember asking myself, "Is this it?" And replying with absolute certainty,

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"Oh yes, this is it." And then I remembered the little girl. Well, I was in a dilemma, you can see that. She had created a problem.

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If I were going to kill myself in a few minutes, why should I be bothered with her? Why bother with anything in the whole world? And yet, I felt pity. She had touched me.

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She appeared to need me, as if I mattered. But why? Hmm? Why? All right. So why did I scream at her?

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How could such a tiny voice challenge all the conclusions I come to? Question all my arguments? All these things went round and round in my head. I just sat there, staring at my gun,

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turning these questions over and over in my mind. That little girl saved my life, because then, something that's never happened to me before, I fell asleep in my chair.

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Well, they all laugh at me now. They say it was just a dream. A dream, was it? Is that what it was, just a dream?

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Well, it makes no difference, dream or not, To me, to me, it revealed the truth. Oh, my dream revealed to me a different reality, a new life, glorious and perfect.

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I dreamed that I picked up a gun and pointed it straight at my heart. My heart, not my head, although I had planned to shoot myself in the head,

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in fact, through my right temple. But strangely, I pointed it at my heart. I waited one moment, two. Suddenly the room began to sway.

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My candle, the table, the wall in front of me rocking, swaying. Quickly I pulled the trigger and everything went out. Total blackness all around me. I was lying on something hard.

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I was flat on my back, stretched out. I was moving, jolting. I was being carried. Everywhere, people were walking, shouting.

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And I was stuck in my coffin with the lid shut fast. Suddenly, it struck me. I was dead. Quite dead. Well, there was no doubt about that.

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And they were piling sod into my brain. Then, nothing. Everyone had left. I was alone.

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Totally alone. I don't know how long I lay there. An hour perhaps. A day. Maybe several days.

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But suddenly a drop of water seeping through the lid of the coffin dropped onto my left eyelid. One minute later, another drop. Another minute, another drop.

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And so on and so on. Regular drops at timed intervals. It made me furious. Indignation welled up inside me.

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And I screamed out to him, the one I assumed was responsible for my fate. fate. Whoever you are and if you are and if there is some great mind behind all this then reveal your plan. But if you are punishing me because of my stupid little suicide then let me tell you that no torture you can devise will compare

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with the contempt I shall feel for you though you make me suffer billions of years of silent martyrdom. I've made my position clear. Oh, then I kept quiet.

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Oh, then I kept quiet. Deep silence lasted nearly a minute. Another drop fell. But somehow I knew that from now on, everything would change.

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And that was when my tomb was ripped open. I was lifted out of my grave by some dark and strange being. Suddenly, I could see, I could see. He swept me up onto his shoulders.

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I climbed up to him, dazed, angry, because I didn't believe in an afterlife. And here, my beliefs were being confounded, exploded. With great wings or some other way, I don't know how.

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We flew up into the sky. Into deep darkness. I've never never seen such darkness. I know of course this journey had a purpose.

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It was for my benefit entirely. That's what made me so afraid. Because something told me I could not escape the pain that lay ahead of me. Nor the love that carried me towards it.

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Suddenly I was overcome with such familiar feeling. So stirring. I saw our sun. Oh, I knew it couldn't be our sun, but my whole being cried out that it was a sun exactly like ours.

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A twin, a duplicate. I was filled with longing, with ecstasy, because if this was the sun, I mean, if this was a sun exactly like ours, then where was the earth? My companion pointed to a star twinkling in the darkness. Lonely, beautiful, twinkling in the deep darkness like an emerald.

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You were headed straight towards it. I don't know how it happened exactly. I was hardly aware, but suddenly... Suddenly I found myself on this other earth,

02:00:54.740 - 02:01:12.740

in the bright sunlight of a day as lovely as paradise. My companion had gone. I couldn't believe it. Everything all around me was exactly like our earth,

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only brighter, richer, and somehow more real. The sea lapped the shore, loving it, caressing it, or so it seemed. The trees, in all their glory, waved to me with thousands of shimmering leaves. Everything welcomed me, everything beckoned.

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The birds flocked in the sky, fluttering all around me, and beating the air with their soft wings, and settling without fear on my shoulders and hands. And then, oh, then, I came to know the people of this world.

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Slowly, they emerged from the forest. Down from the hills they came, one by one. They surrounded me. They welcomed me.

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Children of the sun, of their own sun, so beautiful. I've never, ever seen such beauty, Only in our very youngest children, maybe, maybe you can see a reflection of that beauty. I understood everything the moment I looked into their eyes.

02:02:31.060 - 02:02:38.580

For instance, it seemed incredible to me with my modern progressive mind that they had no science. There was no room for it. They had everything.

02:02:38.580 - 02:02:49.140

They didn't need to improve their knowledge. They didn't investigate life. They lived. They didn't inquire, research, analyze, probe.

02:02:49.140 - 02:03:00.580

They lived, they lived. They enjoyed life. And their knowledge was finer and far more profound than our science. Oh, mysterious.

02:03:00.580 - 02:03:17.380

Mysterious. I knew I would never be able to enter the depths of that wisdom. If only I could convey something to you, a fragment. just a fragment of that life, for instance their trees now

02:03:17.380 - 02:03:38.740

they showed me their trees and I was baffled by the love they had for them as if and I don't think I'm exaggerating here as if they were talking to them holding conversations with beings like themselves all of nature was in communion with them the animals lived at one with the people

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living in peace with no need to attack anyone. oh how can people from our earth understand this? ridiculous. every night they would sing songs. haunting songs. many of them were far

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beyond me. far beyond my comprehension. but some beautiful simple melodies i could understand. They expressed the sensations the parting day had given them. They praised it and they did farewell.

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Oh, everyone laughs in my face now. Everyone argues that no one could dream in such detail. No dream could be so definite. It was a feeling, a vague sensation.

02:04:32.420 - 02:04:48.420

And when I woke up, well, I made up the rest, didn't I? And when I've admitted that yes, well, yes, yes, that may well be so, oh Lord, the uproar, the hilarity, the endless fun at my expense. All right, all right then.

02:04:48.420 - 02:05:02.420

It was a dream. But all of this was. It had to be. Has something happened next?

02:05:03.780 - 02:05:18.720

Something so frighteningly true, it could never be invented. I've hidden this till now, but now I'll tell you. I'll offer you this truth as well. The fact is, you see,

02:05:18.720 - 02:05:33.580

I corrupted them all. Don't ask me how it happened, I only know that it did. I spread contamination into that world. Approaches and recriminations began.

02:05:33.580 - 02:05:48.820

They came to understand guilt and made it their choice. The people learned from me how to lie. They came to love lying, to appreciate the beauty of lies. But soon, very soon, I know, blood was shed for the first time.

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The people were shocked and frightened. They began to separate. They formed alliances, movements, unions, parties. They were all violently opposed.

02:05:58.420 - 02:06:13.420

Oh, now they were talking in different languages. As the bacteria spread, they began talking of humanity and fraternity, the environment. And the more depraved they became, the more they applauded these ideas. And as they became criminals, they invented the idea of justice.

02:06:13.420 - 02:06:25.420

And they drew up huge codes of law. And to maintain their law, they erected scaffolds. And the notion that they had been once so happy made them laugh. And they called it a dream.

02:06:27.420 - 02:06:43.020

And great leaders appeared, claiming to know how to bring everyone together again. How to build a world based on unity and freedom. Freedom. Freedom for everyone to love himself far more than everybody else.

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Great wars were fought for this idea, and so it went on. Systems, creeds, speeches, declarations, on and on. Books and series and orators and governments. On and on the illusion of peace went.

02:07:01.660 - 02:07:16.020

Intellect, reason, self-preservation. Everything would force mankind to unite. Everyone would serve the great idea. Meanwhile, the wise exterminated the unwise

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in case they should get in the way of the idea's final and absolute triumph. Bitterly disillusioned, The people threw themselves into sensuality at any cost,

02:07:26.620 - 02:07:43.620

resorting to violence to satisfy their appetites. At last, at last, they were worn out with their meaningless existence. Suffering lined their faces.

02:07:43.620 - 02:07:53.220

I wandered among them, crying, pleading. I held out my arms to them in despair, accusing, hating myself.

02:07:53.220 - 02:08:00.920

I had done it, I said. I was responsible. I had infected them with contamination, corruption, and lies.

02:08:00.920 - 02:08:10.120

I begged them to crucify me. I taught them how to make a cross. I wanted my blood to be drained every drop, every drop.

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Go to the torment, they were suffering. And that's where I came to my senses. It was already morning, but before dawn, about five o'clock, I woke up in my chair.

02:08:39.120 - 02:08:55.120

There was deep silence all around me. I saw my revolver lying in front of me, loaded, ready. I pushed it away. No!

02:08:55.120 - 02:08:59.120

It gave me life! Life! I was elated. I was on fire with hope and I wanted to live!

02:08:59.120 - 02:09:09.120

It's a shout, yes, yes, the shout out to tell everybody. What? You want to know what? I'll tell you.

02:09:09.120 - 02:09:25.120

The truth. For I have seen it. I've seen it with my own eyes, and living image has taken hold of me forever. Oh, granted, I don't know how to build paradise on earth. I've no idea, but that doesn't matter.

02:09:25.120 - 02:09:41.420

I'll go on. I'll go ahead. I'll speak out, for I have seen it with my own eyes. Oh, the muckers fail to appreciate that. They're so proud of themselves. Just a dream, they say.

02:09:41.420 - 02:09:55.420

They dismiss it all as a dream. A dream. But what is a dream? Isn't our own life a dream?

02:09:55.420 - 02:10:00.520

Well? Well? I'll go on. I'll go further.

02:10:00.520 - 02:10:11.120

All right, all right. What if paradise is never achieved? What if it never happens? What then? Hmm?

02:10:11.120 - 02:10:24.120

Then I'll still go ahead. I'll admit what I did. And what I must do. Admit.

02:10:24.120 - 02:10:39.120

Accept responsibility for my actions. Conceal nothing. and... and...

02:10:39.120 - 02:10:47.120

and... and then it could be done so easily in a single day, in a single hour it could be done.

02:10:47.120 - 02:10:55.120

surely we could love each other as we love ourselves. that's the main thing. that's it. nothing else. absolutely nothing else is necessary.

02:10:55.120 - 02:11:03.120

do that and the way forward is clear. isn't it? isn't it?

02:11:03.120 - 02:11:20.080

isn't it? all right so it's nothing but an old truth repeated said billions of times well why hasn't it taken root then? if only we all wanted it

02:11:20.080 - 02:11:36.800

then everything could begin again ah yes And I... And I find the little girl.

02:11:36.800 - 02:11:58.880

And I shall find her. I shall find her. And then... Then...

02:11:58.880 - 02:12:07.460

I can't begin. I can't begin. (gentle music) [laughing]

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(eerie music) (gentle music) (gentle music) (gentle music)

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(gentle music) (gentle music) (gentle music) (gentle music)

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(gentle music) (eerie music) (gentle music) [Music]

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[Music] (soft music) [Music] [Music]

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[Music] [Music] [Music] On BBC1 at five past eleven, continuing their character studies of Holy Week's

02:13:45.980 - 02:14:05.980

biblical figures, Ronald Eyre and actors turn the spotlight on Juliet Stevenson's interpretation of Mary Magdalene that week in Jerusalem. Before that on one in five minutes, Omnibus profiles Tom Jones asking whether on route from the Welsh Valleys to Las Vegas stardom the popular image hasn't been

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[Applause] [applause] [Music] [Music]

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[Music] [Music] [music] [Music]

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(music) (music) (music) (music)

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♪ (soft music) [Music] [Music] (gentle music)

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[Music] [Music] [Music] ♪ (ominous music)

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♪ (dramatic orchestral music) (audience applauds) (upbeat music) (upbeat orchestral music)

02:17:34.860 - 02:18:08.260

(upbeat orchestral music) [Music] ♪ (theme music) [music]

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[music] ♪ (theme music) [applause] (orchestral music)

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[Music] (Music) [Music] [Music]

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[Music] [Music] [music] [music]

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[music] [applause] (audience applauding) [music]

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[Music] (upbeat music) [Music] (music)

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(upbeat orchestral music) [music] [music] ♪ (dramatic music)

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[music] (audience applauding) (rain falling) (rain falling)

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(rain falling) (rain falling) (rain falling) [applause]

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[silence] ♪ (dramatic music) [Music] (upbeat music)

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[Music] ♪ (whimsical music) [Music] [Music]

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[Music] [Music] [Music] [Music]

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[Music] [music] [Music] ♪ (soft music)

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[music] (upbeat music) (music) (upbeat music)

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(upbeat music) [Music] [Music] ♪ (soft music)

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♪ (soft music) [music] [music] [music]

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♪ (ominous music) ♪ (dramatic music) (orchestral music) [applause]

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[MUSIC PLAYING] ♪ (theme music) (upbeat orchestral music) (upbeat music)

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(orchestral music) [music] [Music] [applause]

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[music] (upbeat music) (upbeat music) (upbeat music)

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[music] [music] [applause] [music]

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[music] [applause] [MUSIC PLAYING] (orchestral music)

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(orchestral music) (orchestral music) [Music] (orchestral music)

02:31:34.760 - 02:31:49.860

[music] (upbeat music) (dramatic music) (dramatic music)

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(dramatic music) (dramatic music) [Music] (audience applauding)

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(audience applauding) [applause] [music] [Music]

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[Music] ♪ (theme music) (orchestral music) (audience applauding)

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(orchestral music) [Music] (dramatic music) (dramatic music)

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[music] (orchestral music) [music] (orchestral music)

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[Music] [ Music ] [applause] [MUSIC PLAYING]

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[Music] [Music] [music] (upbeat music)

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(orchestral music) [music] (orchestral music) (upbeat music)

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(orchestral music) (audience applauding) (orchestral music) [music]

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(orchestral music) [MUSIC] (music) (rain falling)

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(water rushing) [Machinery noise] [applause] [ Applause ]

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[music] [applause] [applause] (audience applauding)

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[Music] [Music] [Music] [Music]

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[Music] [Music] [Music] [Music]

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(dramatic music) [Music] ♪ (dramatic music) [Music]

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(upbeat music) [music] [music] ♪♪

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♪♪ ♪ (ominous music) ♪ (dramatic music) [Music]

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[Music] (soft music) (gentle music) [Music]

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(gentle music) (music) [Music] [Music]

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[Music] [Music] [Music] [Music]

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[APPLAUSE] (rain falling) (rain falling) (applause)

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(rain falling) (rain falling) (rain falling) (applause)

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(applause continues) [APPLAUSE] [ Applause ] [ Applause ]

02:43:59.880 - 02:44:55.900

[MUSIC PLAYING] [Music] ♪ (dramatic music) [music]

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[applause] [Music] [Music] [Music]

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[Music] [Music] [Music] [Music]

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[Music] [Music] [Music] [Music]

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[Music] [Music] [music] (gentle music)

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(upbeat music) [Music] (gentle music) (gentle music)

02:47:57.100 - 02:48:11.260

(gentle music) [Music] (gentle music) (music)

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[Music] (gentle music) [Music] [Music]

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♪ (soft music) [Music] [Music] [Music]

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[Music] (upbeat music) (upbeat music) [Music]

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[Music] [Music] [Music] [Music]

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♪ ♪ [Music] [Music] ♪ (soft music)

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(somber music) [Music] [music] (music)

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[Music] [Music] [Music] [music]

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[music] [Music] (applause) (applause)

02:53:03.100 - 02:53:11.100

(applause) (applause) (applause) (applause)

02:53:11.100 - 02:53:19.100

(applause) (applause) (applause) (applause)

02:53:19.100 - 02:53:27.100

(applause) (applause) (applause) (applause)

02:53:27.100 - 02:53:43.100

(applause) [applause] (applause) (applause)

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(applause) (applause) [APPLAUSE] (applause)

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(applause) [applause] [inaudible] [music playing]

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[Music] [music playing] [music playing] [Music]

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(music) ♪ (dramatic music) ♪ (dramatic orchestral music) [applause]

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[MUSIC PLAYING] [Music] [Music] [Music]

02:56:45.640 - 02:57:51.320

[Music] ♪ (dramatic music) ♪ (ominous music) [music]

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♪ (sentimental music) (thunder rumbles) [Music] You shall never know.

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[Music] ♪ (ominous music) ♪ (dramatic music) (applause)

02:59:49.780 - 02:59:59.520

(applause) (rain falling) (rain falling) (rain falling)

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(rain falling) (rain falling) (rain falling) (rain falling)

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(applause) [silence] (dramatic orchestral music) [music]

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[music] (dramatic music) [music] [music]

03:01:42.240 - 03:02:18.400

[applause] (gentle music) [Music] (upbeat music)

03:02:18.400 - 03:02:28.900

(upbeat music) (upbeat music) (dramatic music) (upbeat music)

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(upbeat music) (upbeat music) (upbeat music) (upbeat music)

03:02:39.220 - 03:03:25.300

(upbeat music) (upbeat music) [music] (applause)

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[music] [theme music] ♪ (dramatic music) [applause]

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[applause] [MUSIC PLAYING] [ Music ] [applause]

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[music playing] [music] [MUSIC PLAYING] [music]

03:05:38.020 - 03:05:46.020

(applause) (applause) (applause) (applause)

03:05:46.020 - 03:06:02.020

(applause) (applause) (applause) [applause]

03:06:02.100 - 03:06:25.000

[Cheers] (applause) (applause) (applause)

03:06:25.000 - 03:06:33.000

(applause) (applause) (applause) (applause)

03:06:33.000 - 03:07:15.000

[applause] The third part of this afternoon's program is a suite of dances assembled from Petipa's Le Corsaire. The Kirov danced this work in full during the third week of their season, and it turned out to be an endearingly kitsch and jolly work.

03:07:15.000 - 03:07:36.800

It's set in a highly coloured version of Greece under Turkish rule, and centres on a group of pirates who are trying to rescue their girlfriends from the local harem. What holds together its outrageously implausible plot is Petipa's elegant choreography. including the ballet's famous Pas de Deux. This is danced by two of the Kirov's most remarkable

03:07:36.800 - 03:08:09.520

dancers, Altinay Aslomaratova and Farukh Ruzimatov. Theirs is a brilliant partnership, both of them exotically beautiful, both of them possessing a formidable technique. It's in this new generation of dancers that the great Kirov tradition both proves and renews itself. [silence]

03:08:09.520 - 03:08:25.040

(dramatic music) [music] (dramatic music) [music playing]

03:08:25.040 - 03:08:36.060

(music) (dramatic music) [music playing] (dramatic music)

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(dramatic music) [music] [music] [music playing]

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[music] (dramatic music) [Music] (dramatic music)

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♪ (dramatic music) [Music] [Music] (upbeat music)

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♪ (dramatic music) ♪ (dramatic music) (thunder rumbles) [applause]

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(audience applauding) (gentle music) [Music] [music playing]

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[music] (gentle music) [music] [music]

03:11:45.560 - 03:11:55.060

(dramatic music) [music] (dramatic music) [music]

03:11:55.060 - 03:13:12.640

♪ (ominous music) ♪ (dramatic music) ♪ (dramatic music) [MUSIC PLAYING]

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♪ (dramatic music) ♪ (dramatic music) (thunder rumbling) (audience applauding)

03:13:57.740 - 03:14:41.200

(gentle music) [Music] [music] [Music]

03:14:41.200 - 03:14:55.360

[music] (music) (upbeat music) (upbeat music)

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[Music] [Applause] [music] [music]

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[music playing] ♪ (dramatic music) [Music] (applause)

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[MUSIC PLAYING] ♪ (ominous music) ♪ (ominous music) ♪ (dramatic music)

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♪ (ominous music) [Music] (dramatic music) [Music]

03:18:12.180 - 03:18:38.180

[Music] [music] [Music] [Music]

03:18:38.180 - 03:19:03.180

[Music] [music] [music] [music]

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[Music] (upbeat music) (upbeat music continues) (dramatic music)

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♪ (dramatic music) (audience applauding) [applause] [applause]

03:19:59.780 - 03:20:18.360

[Music] (upbeat music) [music] [Music]

03:20:18.360 - 03:21:09.980

[music] [music] [applause] [applause]

03:21:09.980 - 03:21:24.140

[music] (upbeat music) (upbeat music) [Music]

03:21:24.140 - 03:22:13.100

(upbeat music) [music] (music) (applause)

03:22:13.100 - 03:22:32.260

[music] (upbeat music) (upbeat music) [music]

03:22:32.260 - 03:22:47.000

(upbeat music) (upbeat music) [music] (upbeat music)

03:22:47.000 - 03:23:43.660

[music] [applause] [Music] [music]

03:23:43.660 - 03:24:02.820

[Music] [music] (upbeat music) (upbeat music)

03:24:02.820 - 03:24:42.980

(upbeat music) (upbeat music) [music] [music]

03:24:42.980 - 03:25:34.140

[applause] [Music] (audience applauding) [Music]

03:25:34.140 - 03:26:15.140

[Music] [Music] [Music] [Music]

03:26:15.140 - 03:26:36.160

[Music] [music] (gentle music) (gentle music continues)

03:26:36.160 - 03:26:46.980

(gentle music) (dramatic music) (dramatic music) (dramatic music)

03:26:46.980 - 03:27:06.940

(gentle music) (gentle music) [music] [music]

03:27:06.940 - 03:27:59.920

♪ (ominous music) ♪ (ominous music) [music] ♪ (dramatic music)

03:27:59.920 - 03:28:45.180

(thunder rumbles) ♪ (dramatic mental music) ♪ (soft music) [APPLAUSE]

03:28:45.180 - 03:29:44.640

[ Applause ] [ Applause ] [THEME MUSIC] ♪ (theme music)

03:29:44.640 - 03:30:21.840

(upbeat music) (upbeat music) (upbeat music) (music)

03:30:21.840 - 03:30:33.340

(audience applauding) (audience applauding) (audience applauding) [Music]

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[Music] [Music] (orchestral music) (orchestral music)

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[MUSIC PLAYING] (upbeat music) (upbeat music) [music]

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♪ (theme music) [ Music ] [applause] [music]

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[music] (upbeat music) (upbeat music) (upbeat music)

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[music] (upbeat music) [music] (audience applauding)

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(audience applauding) (audience applauding) (orchestral music) [ Music ]

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[ Applause ] [ Silence ] [THEME MUSIC] [music]

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[APPLAUSE] [applause] (applause) [applause]

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[applause] [applause] [music playing] [music]

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(dramatic music) [music] (somber music) (music)

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(music) [music] [music] ♪ (dramatic music)

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(upbeat music) (upbeat music) ♪ (dramatic music) ♪ (dramatic music)

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(dramatic music) ♪ (dramatic music) [music] ♪ (dramatic music)

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(dramatic music) [music] [music] (rain falling)

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(rain falling) (rain falling) (rain falling) (rain falling)

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(applause) (rain falling) (rain falling) (rain falling)

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(rain falling) (rain falling) [applause] (rain falling)

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(rain falling) (rain falling) (rain falling) (rain falling)

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(applause) [music stops] - See to that! - Won't be a moment. [music resumes]

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[music] [screams] [music] - Derek, me mum and dad are here!

03:41:19.660 - 03:41:27.660

- It's okay. No one can see us. Uh, Thoreau? - If an engine could choose its own oil,

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it couldn't choose a better oil than Duckham's Hypergrade. [music] ♪ The Sprite's here, the Shea Sprite ♪

03:41:36.660 - 03:41:52.660

♪ The taste of Sprite is here ♪ ♪ Shea taste, Shea Sprite ♪ ♪ With a squeeze of real lemon and lime ♪ ♪ To let the taste live free ♪

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♪ I tried the taste, and now my choice is clear ♪ ♪ Shea taste, Shea Sprite ♪ Some poor souls really know it when they're visited by indigestion. Remember.

03:42:09.460 - 03:42:34.960

New Settler's Extra Strength are powerful, long-lasting, and bring express relief. Settler's Extra Strength. Let your food rest in peace. It costs £3.15 for a ticket to see England win the '66 World Cup. 20 years later, a ticket for the '86 World Cup cost over £30.

03:42:34.960 - 03:42:50.960

So by the time he's scoring for England, just how much will a ticket cost? Make sure you can afford to enjoy the future. Talk to your financial advisor about a commercial union pension, because CU Life is for living.

03:42:50.960 - 03:43:02.680

Hi, Willie. I just bought this Alston Pils. Most of the sugar turns to alcohol, you know. It's a remarkable process.

03:43:02.680 - 03:43:09.400

Ah, I'll see you later, Dick. Where are you going, Wally? Where do you think I'm going? Please, uh, this one, Wally.

03:43:09.400 - 03:43:17.080

No, no, no. Here's a nopper. Farman charged me a quid for that. He's a bigger cowboy than you are.

03:43:17.080 - 03:43:24.960

[LAUGHS] Shut up. A Holston Films production. [music]

03:43:24.960 - 03:43:37.320

[music playing] Attention! Emergency! All security personnel! Babcock, Turner and Diane have escaped! Apprehend them and get the rest of that formula off Babcock's mind and I don't care how!

03:43:37.320 - 03:43:45.140

Turner and Diane have escaped. Apprehend them and get the rest of that formula off Babcock's mind, and I don't care how. (dramatic music)

03:43:45.140 - 03:44:10.120

(dramatic music) ♪ (dramatic music) (motorcycle engine rumbles) ♪ (dramatic music)

03:44:10.120 - 03:44:22.800

(tires screech) ♪ (dramatic music) Go to that side and you go up there. Quick, over there!

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We've got to get out of these clothes. Yeah, if we could only get something like that. Oh, that's no problem. Hey! Special effects!

03:44:31.300 - 03:44:40.300

Us! Them! Gosh! Hey, thanks! You saved us doing the whole scene! You see, we'd have to...

03:44:40.300 - 03:45:12.100

Shh! Nick! Here they are! (men chattering) - We've gotta get to the police.

03:45:12.100 - 03:45:18.160

- How far? - Two blocks. - Oh, no! - No way to get through there. - There must be something we can do.

03:45:18.160 - 03:45:26.140

The rickshaw! - Yeah. - It's our only chance! - Yeah, grab the poles. - Okay. - Put it in there.

03:45:26.140 - 03:45:30.800

- Yeah, fine. Hey, wait a minute, wait a minute! - What's the matter? - How come I'm always doing the pulling and you're doing the right?

03:45:30.800 - 03:45:36.020

- Why, it's the nature of the relationship. Brains versus-- - Go on! What makes you think you got all the brains? - How much is two and two? - Four.

03:45:36.020 - 03:45:42.380

- Four and four. - Eight. - Eight and eight. Get in. Hey!

03:45:42.380 - 03:45:54.580

- Which way? - This way. - Do you have a match? - No. Never mind. Hung up, huh?

03:45:54.580 - 03:46:04.700

That's what you get for playing in the Chinese Westerns. They'll string him up every time. Here we go again. Let's hide in here.

03:46:04.700 - 03:46:14.820

There's only one thing to do. You have to get Chester out of Hong Kong. Go to the airport and take the first plane. But how? We have no money.

03:46:14.820 - 03:46:24.100

I have 500 dollars in a locker at the airport. Take the key. I'll try to get to the police. Meanwhile, good luck and goodbye. - And you too, Chester. - Take care of yourself.

03:46:24.100 - 03:46:33.220

If anything happens to your... ...thrust-propellant ratio of the atmospheric density... - Chester! - ...for the wings... - Come on, Chester. - Good luck.

03:46:33.220 - 03:46:56.880

♪ (dramatic music) - You two cover that side of the street. Come on, in here. ♪ (dramatic music)

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- You sit at the wishy-fishy one, I'll give you a good Chinese meal. - I'll take that one. Come on, let's get out of here. There must be a back way.

03:47:04.780 - 03:47:10.160

- You got the key? - Right here. - Well give it to me. - What's wrong? - I'm still the treasurer, right? - So? - So if the stuff's still in the treasurer's head,

03:47:10.160 - 03:47:16.700

the key can be in the treasurer's hands, so give it. (water bubbling) - Very clever. - Why didn't you hand it to me? - You blew the whole store.

03:47:16.700 - 03:47:20.760

- Who's got it? - I think that-- - That one that looks like-- - He's a little heavier. Look it, see the way he's acting? - That one looks like Jackie Gleason.

03:47:20.760 - 03:47:26.800

- No, no, he's got a-- - That fat kid. That one may have it though, that pinker-- I think this is a tree. They work like a tree.

03:47:26.800 - 03:47:30.800

He's ill. He's ill. He doesn't feel-- [SPLASHING]

03:47:30.800 - 03:47:35.480

I think it was that-- which one was it? Which one's got the key? Who knows? We'll have to buy them all.

03:47:35.480 - 03:47:39.560

With what? We haven't got any money. We'll borrow them. This one, right here.

03:47:39.560 - 03:47:44.680

That one right there. You think it's that one? Whoops. Hey, what you do with my fish?

03:47:44.680 - 03:47:49.480

Oh, you the proprietor here? I saw. Oh, Mr. I saw. Say, you got pretty filthy joint here.

03:47:49.480 - 03:47:54.000

How many cockroaches you got in your kitchen here? Cockroaches? Yeah, 400, 500? I don't have 400 cockroaches.

03:47:54.000 - 03:48:03.760

Let's say 300. How long have you been cleaning your chopsticks? Border Health is going crazy. - Border Health? - We're here to protect you.

03:48:03.760 - 03:48:12.040

- Where is the FBI? - I saw FBI. Fish Protectors Incorporated. Fish Protector F.P.I. What do you want? Spelling or protection?

03:48:12.040 - 03:48:24.900

That's what you want. - Do you want to dance? - No, I'm just nervous. I'm nervous about the halibut mob. They come down from a cow with a big load of smelt here.

03:48:24.900 - 03:48:33.880

- Oh, smelt? - Hee hee! Oh, oh...you smell smelt here? - I know smelt, smelt. - You know smelt, smelt? Of all the smelt I ever smelt, this is the smeltiest.

03:48:33.880 - 03:48:41.120

Smelt--aah! - Yes...I know smelt, smelt. - You don't? Well, there's some wrong with your smelt, smelt. I tell you that.

03:48:41.120 - 03:48:49.460

- There's something funny here. - I know! - How come you dress like a Chiney? You're no Chiney. - I'm no Chiney! - You're no Rooker Chiney. - Oh, what you say, I no look Chiney.

03:48:49.460 - 03:48:58.460

Your eyes aren't crooked, your hair isn't crooked. I have a very expensive operation. I have my eyes fixed, my hair is fixed. - You should have your nose fixed. - Yes.

03:48:58.460 - 03:49:16.660

You stick to your cock, you understand? - The boat is loaded. - I see. Don't get your protection from anyone else. There they are, come on.

03:49:16.660 - 03:49:25.640

♪ (soft music) - Come on, this way! - We're cooked. - The end of the road. - No way out. ♪ (soft music)

03:49:25.640 - 03:49:30.280

- You hear what I hear? - It's Dorothy! - Dorothy Lamour! - She'll get us out of this! - You think so? - Certainly! You can't finish the fish in the alley.

03:49:30.280 - 03:49:37.180

Come on! - Right! ♪ (soft music) (speaking in foreign language) - Okay, Pa, I'm just looking for somebody.

03:49:37.180 - 03:49:43.420

- We know Charlie's here. - There she is! - Dottie! - Well boys, what in the world are you doing

03:49:43.420 - 03:49:50.840

over here in Hong Kong? - Dottie, we're in a terrible jam. You have to help us. Some guys are after us. If you don't help us, there will be blood all over the screen.

03:49:50.840 - 03:49:59.880

Don't fight it, boys. Look what it did to Spartacus. You have to help us. We're still friends. You can't forget the pictures we took together. Neither can anyone else. That's why I'm working here.

03:49:59.880 - 03:50:14.960

They're after us. They're murderers. Besides, they're unfriendly. The key is in the fish.

03:50:15.120 - 03:50:27.520

We're trying to get a locket. Is that the plot of the picture? - I'd better hide you. - From the killers? From the critics. There's only one safe place.

03:50:27.520 - 03:50:36.320

On stage. - Come on, get in. - Okay. - Right in there. - Yeah, in there. You never want to have any fun.

03:50:36.320 - 03:51:02.140

Check the front of the house. ♪ (sentimental music) ♪ The world is a shimmering thing ♪ My lover is hastening to me

03:51:02.140 - 03:51:22.540

♪ The night is a glimmering thing And I, the envy of all who view me. Soon the music will start. Is that the dawn

03:51:22.540 - 03:51:55.460

or my heart? (dramatic music) (dramatic music) ♪ (dramatic music)

03:51:55.460 - 03:52:18.580

(gunshot) ♪ (soft music) ♪ You smile, that angel smile at me ♪ And presto, there's that chemistry

03:52:18.580 - 03:52:45.820

♪ I'm warmer than a whisper I don't know what it is you do, but every time I'm close to you, I'm warmer than a whisper. [whistling] On the outside, it could be December, winter just having its bling.

03:52:45.820 - 03:53:02.440

[whistling] But you've got me glowing like an ember. For here in your eyes, it's spring. And when you bring your lips to mine,

03:53:02.440 - 03:53:22.440

I'm blushing like a valentine and sighing like a willow. Although it sounds a bit insane, I'm ♪ Misty just like summer rain ♪ ♪ From above ♪

03:53:22.440 - 03:53:41.860

(kissing) ♪ If they ask me to explain the magic ♪ ♪ The wonders your kisses perform ♪ ♪ I'll simply say it's always May ♪

03:53:41.860 - 03:53:57.240

♪ So let the winds get crisper ♪ I'm warmer than a whisper, and all because you whisper. I'm warmer than a whisper, and all because you whisper of love.

03:54:13.120 - 03:54:31.920

♪ On the outside it could be December ♪ ♪ Winter just having its bling ♪ ♪ But you've got me glowing like an ember ♪ ♪ For here in your arms it's spring ♪

03:54:31.920 - 03:54:44.620

(alarm blaring) ♪ The thrust propellant ratio to atmospheric density ♪ ♪ Is six, four, three, two, seven ♪ Operator, this is an emergency. Get me the American Security Headquarters.

03:54:44.620 - 03:55:11.120

Specific gravitation has a pole that is equivalent to 93511. But he's given the formula to them now. Listen. For the final setting of the mixture at hydrogen 6 to n, then. The rocket's ready now to blast off set ignition lever and start the final countdown from 10.

03:55:11.120 - 03:55:19.120

[applause] [music] [applause] [music]

03:55:19.120 - 03:55:26.120

[applause] Come on, come on, come on. No, no, no, no. Come on, before they blow up the world. What world?

03:55:26.120 - 03:55:30.120

You sang them the formula. I did? Yes, and in my key. No.

03:55:30.120 - 03:55:32.120

Yes. Really? A little flap too, you copycat. Come on.

03:55:32.120 - 03:55:36.120

Out here. Who's that? Oh, come on. Get in there where I hung your clothes up. Hurry up.

03:55:36.120 - 03:55:41.680

Hey, it's dark in here. Say, watch the window, will you? See if the coast is clear. Okay. You have the coldest hands.

03:55:41.680 - 03:55:59.800

They are leaving in their cars. Hurry up. - Hello, my dear. - Hello, Mary. You look so funny, Justin. You're kidding me.

03:55:59.800 - 03:56:08.320

Let's change to our right clothes. You won't have time. Change in the car. - What car? - Mine, a tan Buick. We'll never forget you for this.

03:56:08.480 - 03:56:27.680

- I'll call on us any time. - Next time I need fresh fish. We'll have these cleaned and send them back. What's the matter? Didn't you ever see a Buick before? - This is absolute madness. - You heard what he said.

03:56:27.680 - 03:56:44.280

They've got the formula and we've got to stop that rocket. Two cars. You lead the way. [music] Gentlemen, I wish you the best of luck.

03:56:44.280 - 03:56:50.280

The rocket is ready for countdown. We await only the formula... Sir! I have it! The formula?

03:56:50.280 - 03:56:56.280

Every word completely. How long will it take you to adjust the fuel mixture? A matter of seconds. Very well. Gentlemen, in a few moments you will be entering the rocket.

03:56:56.280 - 03:57:02.280

I shall trigger the bombs from here. All set. Take your position in the rocket. Not today, Porky.

03:57:02.280 - 03:57:09.780

You're going to get it from your sister's cat, Lavalier. [YELLING] Oh, boy. Hey, wait!

03:57:09.780 - 03:57:38.220

Get them. [MUSIC PLAYING] [MUSIC PLAYING] Oh, thank heavens!

03:57:38.220 - 03:57:48.720

Hey, wait a minute! Here they are! [YELLING] Get away from that paddle!

03:57:48.720 - 03:58:05.020

[GUNSHOT] [MUSIC PLAYING] [EXPLOSION] Do something.

03:58:05.020 - 03:58:13.740

That rocket's loaded with atomic bombs. Sorry, sir. Can't do a thing. (rumbling)

03:58:13.740 - 03:58:37.100

- We've gotta change course or we'll blow up the world. Help me. - They've turned it. Look, they're heading for another planet.

03:58:37.100 - 03:58:41.840

- Yeah, it's Plutonius. - Plutonius? Can they live there? - Possible.

03:58:41.840 - 03:58:47.620

- Tell me, is there any chance of ever getting them back again? - Not a chance. I'm afraid they'll be there

03:58:47.620 - 03:59:01.940

for the rest of their natural lives. - Well, all we can do then is wish 'em luck. - Nothing but rocks. What a spot for an Irish picnic.

03:59:01.940 - 03:59:11.080

- Lot of fresh water up there. Crazy looking plants. Outside of that, nothingville, South Dakota. I'm going to have to get you out of here.

03:59:11.080 - 03:59:16.880

I'm going to have to get you out of here. I'm going to have to get you out of here. I'm going to have to get you out of here. I'm going to have to get you out of here.

03:59:16.880 - 03:59:22.680

I'm going to have to get you out of here. I'm going to have to get you out of here. I'm going to have to get you out of here. I'm going to have to get you out of here.

03:59:22.680 - 03:59:28.680

I'm going to have to get you out of here. I'm going to have to get you out of here. I'm going to have to get you out of here. I'm going to have to get you out of here.

03:59:28.680 - 03:59:36.180

I'm going to have to get you out of here. I'm going to have to get you out of here. Climb a peak, see if you can flag down a goonie bird or something. Wait a minute, Jester. The lady's been asking.

03:59:36.180 - 03:59:42.180

Don't tear it. Wait a minute! Wait a minute. There must be some sensible solution to this problem.

03:59:42.180 - 03:59:50.780

Well, of course there is. Two fellas, one girl. Monday, Wednesdays and Fridays you come to my house. Yeah, Tuesdays, Thursdays and Saturdays my house. What about Sunday?

03:59:50.780 - 04:00:00.780

Everybody rests. Ah, yes. That housework is murder. I'm not sure I quite understand. Well, really it's all very simple.

04:00:00.780 - 04:00:36.680

We three wind up together, it's teamwork. In foul or sunny weather, it's teamwork. This strange design for living does not seem right. It's gonna take teamwork. Day and night. As you're a pal, this time we share the gal. You've lifted my morale. Can't it be done? Oh, what fun. The team is now a trio, it's teamwork. ♪ It's teamwork ♪ Two Caesars and one Cleo ♪ It's teamwork

04:00:36.680 - 04:00:46.680

♪ This time it's 50-50 like friend to friend ♪ It's gonna be teamwork ♪ Like pizzas and cream work ♪ That makes your eyes gleam work

04:00:46.680 - 04:00:56.680

♪ That doesn't quite seem work ♪ That's why I love... Look at here. Thanks.

04:00:56.680 - 04:01:06.820

The Italians have landed. - That's the grape and the twig, isn't it? - Yeah, and they got the bar open. - Let's break it up, those tourists. - Hey, hey, what's going on here?

04:01:06.820 - 04:01:14.660

- Hey, what are you two guys doing here? - This is a local stop, isn't it? Just dropping by to refuel. - We heard you were stuck for an ending, so we came over here to pull a few threads together.

04:01:14.660 - 04:01:24.640

- Yeah, well do it on your own loom, huh? - Say, this is a lost planet. How'd you guys get here? - Special effects. - Oh, special effects!

04:01:24.640 - 04:01:31.300

- How long are you fixing to stay? - I hadn't even thought about it. - Shall we think about it? Let's. That's long enough.

04:01:31.300 - 04:01:44.300

Hey, special effects! [siren] ♪ I said it's 50/50 like friend to friend ♪ ♪ It's gonna be teamwork ♪

04:01:44.300 - 04:01:52.800

♪ At Peaches and Cream work ♪ ♪ You can't beat at teamwork ♪ ♪ Ha, two fellas with teamwork ♪ ♪ Those buddies with teamwork ♪

04:01:52.800 - 04:02:02.400

♪ Ha, two chappies with teamwork ♪ ♪ Oh, ho, hey, wait, oh, ho ♪ No. Hey, wait a minute. Remember what we said? Hey, you, you, hey, look. You got your 80, at least give me 20.

04:02:02.400 - 04:02:15.400

Hey, I breathe a while. Hey, you, you, the phone. You want it on the phone. Oh, yeah. Hey, special effects. [screams] No, not me. Him, you fool. How many times have I told you? You know that 80, 20, huh?

04:02:15.400 - 04:02:25.400

♪ You gotta have teamwork ♪ ♪ That means you can dream work ♪ ♪ You gotta have teamwork ♪ ♪ To the end ♪

04:02:25.400 - 04:03:04.400

[music] [Music] A musical appeal to save the rainforests. Fragile Earth, tonight 7.15 on Four.

04:03:04.400 - 04:03:19.400

[music ends] Well, next on 4, Cliff comes under the spell of the great Rudini, whilst Theo tries to influence his sister Vanessa with terrible tales of what boys talk about in the locker room. The Cosby Show, after this break.

04:03:19.400 - 04:03:38.580

Imagine if your morning paper could come alive, bringing you world news reports direct from Washington, Tokyo and London. Making you streetwise to get the best deal out of life. A box office opening up the world of entertainment. Making sure small investor and big businessman have the latest figures.

04:03:38.580 - 04:03:47.460

Sharpening your wits with the Countdown Masters. And giving the kids some fun, too. Imagine all this at regular times. Plus headlines, travel and weather.

04:03:47.460 - 04:04:21.520

And call it the Channel 4 Daily. [Music] British Telecom International handled up to half a million business calls to over 180 countries every day.

04:04:21.520 - 04:04:35.820

[Music] And using satellites, cables, microwave links, and optical fibers, they select the best available route for each one, even before you finish dialing.

04:04:35.820 - 04:04:52.820

[Music] Make sure you're making the most of the network. [Music] [BLANK_AUDIO]