|
Alien Autopsy
|
| 00:00:25 |
(Woman) Hello, Qwerty Films? |
| 00:00:27 |
Morgan Banner for Michael Kuhn. |
| 00:00:29 |
-(Buzzer) |
| 00:00:31 |
That works. Good. |
| 00:00:33 |
Oh, great. lt's dark. |
| 00:00:39 |
(Man) What is this story? |
| 00:00:41 |
Michael wouldn't tell me who these people are |
| 00:00:46 |
(Morgan) They're not here? |
| 00:00:48 |
They'll be up in a minute. |
| 00:00:50 |
Up in a minute? l've travelled |
| 00:00:54 |
l know, l know, but they won't come up |
| 00:00:59 |
and tell them that you've signed this. |
| 00:01:03 |
-lt's a confidentiality agreement. |
| 00:01:06 |
-l've had enough of this bullshit. |
| 00:01:09 |
Michael, what do you think l do? |
| 00:01:12 |
Just action. Just... |
| 00:01:15 |
l make documentaries. |
| 00:01:18 |
They put them in cinemas all over the world |
| 00:01:22 |
-l don't make confidential films. |
| 00:01:25 |
But this...this thing... |
| 00:01:29 |
this thing these people have done, |
| 00:01:33 |
they've kept it secret for ten years, they're |
| 00:01:38 |
and they simply want to know |
| 00:01:43 |
you won't tell their story to anyone else. |
| 00:01:56 |
This had better be so good. |
| 00:02:08 |
-(Footsteps) |
| 00:02:11 |
(Man #1 ) l'll do all the talking, yeah? |
| 00:02:15 |
(Man #1 ) What are you talking about? |
| 00:02:19 |
(Man #1 ) You've got to relax a bit more. |
| 00:02:23 |
(Knock on door) |
| 00:02:30 |
Hi. |
| 00:02:33 |
You all right? |
| 00:02:37 |
Uh...my name's Ray Santilli. |
| 00:02:40 |
-This is my friend, Gary Shoefield. |
| 00:02:43 |
You've...probably never heard |
| 00:02:47 |
Correct. |
| 00:02:49 |
Why don't you type Ray's name |
| 00:02:54 |
Uh...come on. |
| 00:03:06 |
-(Morgan) S-A-N-T-l... |
| 00:03:13 |
How many hits? |
| 00:03:19 |
Three million, nine hundred |
| 00:03:22 |
(All) Four hundred and seven. |
| 00:03:25 |
Yeah. |
| 00:03:26 |
( Supergrass.: Alright) |
| 00:03:29 |
Bet you want to hear their story now. |
| 00:03:32 |
We are young |
| 00:03:34 |
We run green |
| 00:03:38 |
See our friends, see the sights |
| 00:03:44 |
We wake up, we go out, smoke a fag |
| 00:03:50 |
See our friends, see the sights |
| 00:03:58 |
Are we like you? l can't be sure |
| 00:04:03 |
Of the scene, as she turns |
| 00:04:06 |
We are strange in our worlds |
| 00:04:09 |
But we are young, we get by |
| 00:04:13 |
Can't go mad, ain't got time |
| 00:04:16 |
Sleep around |
| 00:04:17 |
lf we like |
| 00:04:19 |
But we're alright... |
| 00:04:20 |
(Phone) |
| 00:04:23 |
-Gary, how you doing? |
| 00:04:26 |
-You took my car. |
| 00:04:30 |
Yes, Ray. We discussed it, and l said no. |
| 00:04:33 |
Gary, please. lt's only for one day. |
| 00:04:36 |
Look, whatever you do, don't eat in the car. |
| 00:04:41 |
OK, mate. |
| 00:04:43 |
Hey, thanks, Gary. |
| 00:04:46 |
l appreciate this. |
| 00:04:48 |
-Ray! |
| 00:04:51 |
Keep our teeth nice and clean |
| 00:04:54 |
See our friends, see the sights |
| 00:04:57 |
Feel alright... |
| 00:05:00 |
-(Man) lf you suspect this is a pirated video... |
| 00:05:05 |
l'm putting the new Woody Harrelson on. |
| 00:05:08 |
lt's called Natural Born Killers. |
| 00:05:12 |
Just, er...don't stop it |
| 00:05:16 |
-l'm taping it for a couple of friends. |
| 00:05:21 |
-l thought you wanted to watch the film. |
| 00:05:27 |
-Back from where? |
| 00:05:31 |
-Your date? |
| 00:05:36 |
-Where's he taking you? |
| 00:05:40 |
l haven't been on a date in 47 years. |
| 00:05:46 |
Now, just hold on. l don't know anything |
| 00:05:50 |
and if you've just met him, you don't either. |
| 00:05:53 |
l don't like this one little bit, Nan. |
| 00:05:55 |
(Doorbell) |
| 00:06:00 |
Ah... |
| 00:06:03 |
-Oh, hello. l'm... |
| 00:06:09 |
-This is a first date, yes? No funny business. |
| 00:06:14 |
l want her back by four o'clock, |
| 00:06:17 |
(Nan) Raymond, go, please. |
| 00:06:20 |
(Ray) Do we understand each other? |
| 00:06:23 |
Four o'clock. l'll be waiting. |
| 00:06:34 |
Nice one, Edgar. |
| 00:06:37 |
-You get them Babe tapes? |
| 00:06:51 |
(Ray) Come on, l've got cushions. |
| 00:06:54 |
T-shirts of the The King. What about you, |
| 00:06:58 |
Oh... |
| 00:07:00 |
So, are you saying |
| 00:07:03 |
Yes. l've got friends in the business. |
| 00:07:06 |
-You got friends in Hollywood? |
| 00:07:11 |
-That's me on top there, look. |
| 00:07:13 |
Got something for you. Here you go, |
| 00:07:17 |
Van Damme has never been better. |
| 00:07:19 |
l don't want one of your |
| 00:07:23 |
They're copied, with great care |
| 00:07:26 |
-You'll have no problem. |
| 00:07:30 |
lslington Council Trading Standards Officer. |
| 00:07:34 |
Oi! Arrest him. |
| 00:07:48 |
(He mouths) |
| 00:07:55 |
-l told you on the phone, l can't help you. |
| 00:07:58 |
l'm not your lawyer. l'm not anyone's lawyer... |
| 00:08:01 |
(Raises voice) ...because l'm not a lawyer. |
| 00:08:03 |
l'm a clerk, in a legal department. |
| 00:08:05 |
But they've impounded all me stock. |
| 00:08:09 |
This month's sales |
| 00:08:12 |
A buying trip that's gonna |
| 00:08:15 |
l'm sorry. Please go now. |
| 00:08:24 |
All right. |
| 00:08:25 |
Help me out of this, and l'll cut you in as well. |
| 00:08:29 |
You're sitting on my receipts. |
| 00:08:33 |
You can't want to be a legal clerk |
| 00:08:36 |
(Man) Gary, a word in your ear, please. |
| 00:08:42 |
l'm not going to be. |
| 00:08:45 |
(Man) Come on, chop-chop. |
| 00:08:51 |
l wanted to have a word with you, Gary, |
| 00:08:53 |
because there's going to be an opportunity |
| 00:08:57 |
that the firm is willing to send back to college |
| 00:09:00 |
and then put on a fast track |
| 00:09:03 |
l had heard some rumours. |
| 00:09:05 |
Because of your experience, |
| 00:09:07 |
your knowledge of this company, |
| 00:09:11 |
we wanted to ask you. |
| 00:09:15 |
Really? |
| 00:09:16 |
Who you'd choose. Marcus or Rachel? |
| 00:09:20 |
lt's not easy, is it? |
| 00:09:22 |
Who would you be |
| 00:09:26 |
(Woman) Yes, sir, two portions? OK. |
| 00:09:28 |
(Man) You all right, mate? |
| 00:09:31 |
Best thing that ever happened to you, Gary. |
| 00:09:34 |
Now you know you've got no future there, |
| 00:09:38 |
Look, how are you ever going to date |
| 00:09:44 |
working as a lawyer for a biscuit firm? |
| 00:09:46 |
l don't care what you say, |
| 00:09:50 |
Aren't you tired of playing it safe yet? |
| 00:09:54 |
l mean, take a risk, bet on yourself. |
| 00:10:00 |
Bet on myself? |
| 00:10:02 |
Yeah! |
| 00:10:07 |
-Maybe you're right. |
| 00:10:10 |
-Why do l need them? |
| 00:10:14 |
l could pay for myself to go to law school. |
| 00:10:18 |
What? |
| 00:10:20 |
Apply for a place myself, pay the fees myself. |
| 00:10:23 |
-After we get back from America? |
| 00:10:26 |
-But you haven't got any money. |
| 00:10:31 |
Do you have any idea |
| 00:10:34 |
1 97 4 Ford Capri goes for these days? |
| 00:10:40 |
Ray, where's my car? |
| 00:10:48 |
(Ray) l can sell Elvis stuff |
| 00:10:51 |
Authentic memorabilia, |
| 00:10:57 |
You can't still be huffy about the car. |
| 00:10:59 |
-Why not? |
| 00:11:02 |
A stake in your own business. |
| 00:11:05 |
And this time, we're going right to the top. |
| 00:11:07 |
-Mm. |
| 00:11:09 |
-No. |
| 00:11:27 |
(Ray) The plan was perfect. |
| 00:11:29 |
Elvis had given a concert |
| 00:11:32 |
So, we stuck an ad in the local paper saying |
| 00:11:37 |
and we'd pay cash to anybody |
| 00:11:40 |
or, better still, film footage of the King himself |
| 00:11:46 |
Then the idea was we'd bring it all home, |
| 00:11:49 |
(Gary) Well, that was the idea. |
| 00:11:51 |
Gary! Gary, you've got to come |
| 00:12:03 |
-This is Harvey. |
| 00:12:06 |
(Whispers) Look! Look at that. |
| 00:12:08 |
lt's the King, |
| 00:12:12 |
And it's uncopyrighted. |
| 00:12:16 |
So, you think you might be interested? |
| 00:12:20 |
Uh, maybe...maybe. |
| 00:12:24 |
Condition's not great. |
| 00:12:26 |
-There's no sound, which is a problem. |
| 00:12:30 |
l'll tell you what, |
| 00:12:35 |
Why don't you go and get some more punch, |
| 00:12:41 |
Fine, fine. |
| 00:12:47 |
(Both chuckle) |
| 00:12:51 |
-Will it be expensive? |
| 00:12:54 |
(Gary) l feel so lonely, baby |
| 00:12:56 |
l feel so lonely |
| 00:13:00 |
Since my baby left, ooh-ooh |
| 00:13:02 |
l found a new place to dwell, ooh-ooh |
| 00:13:05 |
Down at the end of lonely street |
| 00:13:07 |
ls Heartbreak Hotel, oh, baby... |
| 00:13:10 |
Jesus! You scared the life out of me. |
| 00:13:16 |
Hang on a minute. lf you've come back |
| 00:13:21 |
-A deal's a deal. |
| 00:13:24 |
You see... |
| 00:13:26 |
l have another piece of film |
| 00:13:32 |
-Well, what is it? |
| 00:13:35 |
But you've really got to see it, |
| 00:13:59 |
-Did you just see that? |
| 00:14:01 |
There's a shooting star, |
| 00:14:04 |
Yeah, but it's gone now. |
| 00:14:09 |
Yeah... |
| 00:14:11 |
there are things up there so beautiful |
| 00:14:14 |
sometimes l've cried... |
| 00:14:16 |
just thinking about them. |
| 00:14:20 |
Beautiful and terrible... |
| 00:14:24 |
...both. |
| 00:14:26 |
Well, it's going to be |
| 00:14:31 |
Wild, wild ride. |
| 00:14:49 |
After you. |
| 00:14:55 |
(Door bangs shut) |
| 00:15:07 |
This is it. |
| 00:15:19 |
l was a combat photographer |
| 00:15:25 |
One night in 1 947... |
| 00:15:29 |
l was pulled out of bed |
| 00:15:31 |
and flown for five hours |
| 00:15:38 |
...where l was ordered to...film this. |
| 00:16:13 |
(Morgan) All right, just a minute... |
| 00:16:16 |
Can you say that again? |
| 00:16:18 |
The film showed the autopsy |
| 00:16:29 |
lt was carried out at Roswell Air Base, |
| 00:16:32 |
New Mexico in July 1 947. |
| 00:16:36 |
And you saw the footage? |
| 00:16:39 |
l didn't see it, you see. l'd had the early night, |
| 00:16:45 |
-Didn't you have jet lag? |
| 00:16:49 |
(Both) We had pretty strong punch. |
| 00:16:51 |
Oh, do me a favour. Do you have any idea |
| 00:16:56 |
lf you'd actually found documentary proof |
| 00:17:00 |
lt would be the most important |
| 00:17:04 |
lt would change everything forever. |
| 00:17:06 |
You're telling me |
| 00:17:09 |
you're the one who's been |
| 00:17:12 |
lsn't it brilliant? |
| 00:17:16 |
(Sighs) l can't deal with this. l can't deal |
| 00:17:21 |
But it's not a lie. |
| 00:17:22 |
Just sell your imaginary film, give me my |
| 00:17:28 |
l can't. Harvey wants $30,000 for the film. |
| 00:17:32 |
-Where am l gonna get $30,000 from? |
| 00:17:34 |
l need an investor to put up the money. |
| 00:17:38 |
lf you ask me, |
| 00:17:40 |
it was a nutcase who already |
| 00:17:43 |
Fortunately, just the right nutcase |
| 00:17:52 |
(Gary) Lazlo Voros. |
| 00:17:54 |
(Morgan) This guy was |
| 00:17:58 |
(Gary) No, he was |
| 00:18:02 |
who had a booming |
| 00:18:05 |
He lived with his Jamaican |
| 00:18:11 |
l'd met him at a car show in Birmingham, |
| 00:18:13 |
'cause we're both obsessed |
| 00:18:17 |
And, frankly, he scared the shit out of me. |
| 00:18:20 |
But Ray was desperate |
| 00:18:25 |
(Manic laughter) |
| 00:18:36 |
(Ray) So, Gary made the call. |
| 00:18:52 |
-Um...hi. Are you, er...? |
| 00:18:54 |
OK. |
| 00:18:58 |
This had better be good, Mr Santilli. |
| 00:19:01 |
(Muffled cries) |
| 00:19:04 |
ls there someone in the boot? |
| 00:19:06 |
Just concentrate on telling me about this film. |
| 00:19:13 |
Well, it's the most unbelievable thing |
| 00:19:21 |
There it is, in front of me, up on the screen. |
| 00:19:24 |
Proof that there is life on other planets. |
| 00:19:26 |
And all l need is thirty grand. |
| 00:19:29 |
(Voros) Hm. Why don't we get some air? |
| 00:19:34 |
(Muffled cries and banging) |
| 00:19:39 |
(Seagulls cry) |
| 00:19:50 |
(Voros laughs) |
| 00:19:52 |
Ah! |
| 00:19:55 |
You know what l like |
| 00:19:58 |
No. |
| 00:20:00 |
-All that beauty. You know what it is? |
| 00:20:04 |
Just the remnants of a massive explosion. |
| 00:20:07 |
Violence is everywhere, and l'm something |
| 00:20:12 |
(Click) |
| 00:20:14 |
-(Seagulls cry) |
| 00:20:18 |
-(Seagulls' cries intensify) |
| 00:20:22 |
l swear to you, everything |
| 00:20:28 |
-(Gunshot) |
| 00:20:29 |
(Splash) |
| 00:20:37 |
l like you, Ray. |
| 00:20:39 |
l really do. |
| 00:20:44 |
You'll have the money tomorrow, |
| 00:20:50 |
(Ray) l...l'm in pieces by this point. |
| 00:20:52 |
l am the most scared |
| 00:20:54 |
-You got the money. |
| 00:20:57 |
-Oh, no, l'm not. |
| 00:21:00 |
-But you got the money. |
| 00:21:04 |
(Morgan) Hang on. Hang on a minute. |
| 00:21:06 |
-You got the money and... |
| 00:21:10 |
-lt's all there? |
| 00:21:11 |
lt better be. |
| 00:21:14 |
l don't want anybody knowing |
| 00:21:18 |
l'm not signing anything, |
| 00:21:21 |
and there's nobody still alive |
| 00:21:26 |
And... l want it kept that way. |
| 00:21:29 |
(Ray) That was it, l'd got it. |
| 00:21:35 |
(Morgan) lf this is |
| 00:21:39 |
...why did the cameraman end up with it? |
| 00:21:41 |
l don't get that part. |
| 00:21:44 |
By mistake. |
| 00:21:47 |
There are eight prints made of the film. |
| 00:21:50 |
Four of them and the original |
| 00:21:54 |
Three more were sent |
| 00:21:59 |
The final print goes with Harvey to Florida, |
| 00:22:01 |
where he's told it's going to be picked up. |
| 00:22:05 |
A week later, the whole world |
| 00:22:09 |
is completely turned on its head. |
| 00:22:11 |
-The Air Force splits from the Army. |
| 00:22:15 |
The OSS is broken up |
| 00:22:19 |
(Ray) None of the cameraman's |
| 00:22:24 |
A year later, the film in Florida |
| 00:22:28 |
So, he hung onto it, thinking that some day |
| 00:22:34 |
(Gary) But no one ever did. |
| 00:22:38 |
-Right, OK. Take a seat, Jasmine. |
| 00:22:43 |
l'm sure you've all heard |
| 00:22:46 |
that l've just brought back from Florida. |
| 00:22:49 |
And l'm sure a lot of you think it's just old Ray, |
| 00:22:54 |
(Laughter) |
| 00:22:57 |
-Preston, get the curtains. Run the film. |
| 00:23:00 |
-(Maurice) Get my specs... |
| 00:23:02 |
-(Man) lt's a good build-up, mate. |
| 00:23:08 |
-(Preston) Here we go. |
| 00:23:11 |
-(Man) Eight, seven, six... |
| 00:23:18 |
Just coming. lt's gonna take a minute. |
| 00:23:21 |
Just coming. |
| 00:23:33 |
ls that it? |
| 00:23:37 |
Hang on, what's happened to it? |
| 00:23:40 |
This is fine. The projector's working fine. |
| 00:23:44 |
No, that's not right. |
| 00:23:47 |
-l told you this would be a laugh. |
| 00:23:52 |
l saw American military |
| 00:23:57 |
-This body was an alien. lt was an alien. |
| 00:24:00 |
The alien is just lying there, and then |
| 00:24:05 |
You can see President Truman |
| 00:24:09 |
-Excuse me, where's the Rank Film Lab? |
| 00:24:12 |
On the left, thank you. |
| 00:24:14 |
You don't believe me. |
| 00:24:16 |
-Doesn't matter what l believe. |
| 00:24:23 |
l really appreciate this, Auntie P. |
| 00:24:25 |
Jeffrey! |
| 00:24:27 |
My nephew's got a problem with some film. |
| 00:24:30 |
Ohh. |
| 00:24:34 |
Walk this way. |
| 00:24:36 |
Ah. Ah-ah-ah. |
| 00:24:38 |
Ah, look at that. |
| 00:24:41 |
-1 940s Kodak safety stock. |
| 00:24:47 |
You know what the worst thing |
| 00:24:52 |
Keep it in sealed containers |
| 00:24:55 |
high-humidity environment |
| 00:25:01 |
Well, it's been kept in that can, |
| 00:25:04 |
For 50 years. |
| 00:25:07 |
There's your problem. |
| 00:25:13 |
-(Groans) Smell that? |
| 00:25:21 |
Sort of...vinegary. |
| 00:25:24 |
That's the film eating itself. Oh, yeah. |
| 00:25:27 |
From the moment that can was opened |
| 00:25:32 |
We'll do what we can |
| 00:25:35 |
Chances of rescuing anything |
| 00:25:46 |
-lt was gone? |
| 00:25:48 |
Meanwhile, l've got Lazlo Voros on the phone. |
| 00:25:53 |
-All the time ringing. |
| 00:25:59 |
-He's gonna kill me. What do l tell him? |
| 00:26:04 |
Oh, really? And how does that go? |
| 00:26:06 |
''Hey, Lazlo, l've spent $30,000 of your money |
| 00:26:11 |
''but now it's eaten itself.'' |
| 00:26:19 |
(Thunderclap) |
| 00:26:34 |
(Excited laughter) |
| 00:26:37 |
(Man talks quietly and woman laughs) |
| 00:26:40 |
(Excited laughter) |
| 00:26:45 |
-(Laughter) |
| 00:26:47 |
Oh, erm...hello, Raymond. |
| 00:26:51 |
Don't you ''Oh, hello, Raymond'' me. |
| 00:26:55 |
-(Both) Nothing. |
| 00:26:59 |
(Raucous laughter) |
| 00:27:02 |
What happens with my nan in my house |
| 00:27:05 |
-Whether you like it or not. |
| 00:27:08 |
l tho... l thought it was your nan's house. |
| 00:27:10 |
That's beside the point. |
| 00:27:13 |
A hundred and two. |
| 00:27:16 |
Have you got a job? Or a pension? |
| 00:27:19 |
-l run my own business. |
| 00:27:23 |
l make those. |
| 00:27:25 |
My family's been making them |
| 00:27:27 |
Harvey Nicks, Harrods, Selfridges... |
| 00:27:30 |
There's not a shape or size or shop in London |
| 00:27:33 |
we haven't supplied at some point |
| 00:27:37 |
lt's the most perfect idea. |
| 00:27:40 |
Last night the answer suddenly came to me. |
| 00:27:44 |
Maurice can make us an alien. |
| 00:27:49 |
Then l can film it. |
| 00:27:52 |
-Film it? |
| 00:27:56 |
You can't even take a photograph |
| 00:28:01 |
-How are you gonna shoot an alien autopsy? |
| 00:28:07 |
-Melik runs a kebab shop! |
| 00:28:13 |
( Stereo MCs.: Step lt Up) |
| 00:28:17 |
Preston can bring in some meat offcuts |
| 00:28:20 |
Edgar does up corpses for |
| 00:28:24 |
Jasmine's dad's in antiques. |
| 00:28:28 |
Hold on. |
| 00:28:30 |
Where are you going to shoot |
| 00:28:36 |
-Your sister's not back from lbiza till Sunday. |
| 00:28:40 |
-Her flat would be perfect. |
| 00:28:42 |
This is never going to work. Count me out. |
| 00:28:45 |
Thanks, Gary. And, hey, l appreciate it. |
| 00:28:48 |
-Jasmine, we're making a movie. |
| 00:28:54 |
Or seeing what l see |
| 00:28:58 |
Curves with destinations |
| 00:29:02 |
Poetic symmetry |
| 00:29:06 |
You cause an inflammation |
| 00:29:10 |
ln my anatomy, don't you see |
| 00:29:15 |
Yeah, yeah, yeah |
| 00:29:19 |
Yeah, yeah, yeah |
| 00:29:23 |
Yeah, yeah, yeah |
| 00:29:27 |
Yeah, yeah, yeah |
| 00:29:30 |
To the left |
| 00:29:32 |
To the right |
| 00:29:34 |
Keep it going, keep it going, it's alright |
| 00:29:38 |
To the left |
| 00:29:39 |
And to the right |
| 00:29:42 |
Step it up, step it up, it's alright |
| 00:29:47 |
We want flesh |
| 00:29:48 |
We want flesh |
| 00:29:50 |
We want flesh |
| 00:29:58 |
(Preston) All right? |
| 00:30:00 |
- All you gotta do is bounce it... |
| 00:30:05 |
To see just what goes where |
| 00:30:08 |
There ain't no way around it... |
| 00:30:11 |
Can't you just tell me? |
| 00:30:14 |
-l want to know if it's any good or not. |
| 00:30:17 |
You're working with the best. |
| 00:30:22 |
-Show me. |
| 00:30:26 |
And...open them. |
| 00:30:39 |
-l'm a genius. |
| 00:30:41 |
-(Gary) You what? |
| 00:30:45 |
-All of you, just all genius... |
| 00:30:51 |
Great. That's just half of it. |
| 00:30:55 |
We've still got |
| 00:30:59 |
but you'll get the basic idea. |
| 00:31:01 |
-Are you ready? |
| 00:31:04 |
-Ta-da! |
| 00:31:07 |
(Jasmine) Oh. |
| 00:31:09 |
We remoulded an old maternity mannequin |
| 00:31:13 |
Added an extra finger to each hand, |
| 00:31:17 |
And...see the skull? |
| 00:31:21 |
so we can peel the skin back on camera. |
| 00:31:24 |
We got some mince and some pig's blood |
| 00:31:29 |
lt'll look just like the exposed brain. |
| 00:31:32 |
-(Maurice) Are the crash wounds right? |
| 00:31:35 |
The whole thing is just... |
| 00:31:41 |
Exactly. |
| 00:31:43 |
So, we're on, then? For tonight? |
| 00:31:46 |
-Yeah. |
| 00:31:49 |
Oh, cheer up, Gary. |
| 00:31:51 |
Cheer up? What do you expect? |
| 00:31:53 |
l've got an alien lying |
| 00:32:05 |
-(Ray) Ready? |
| 00:32:08 |
-(Jasmine) Would you turn the light... |
| 00:32:12 |
Oh, is that...actual blood? |
| 00:32:15 |
-lt's pig's blood mixed with food dye. |
| 00:32:19 |
Got the rest of the guts in the corner, by the |
| 00:32:25 |
A few pounds of braising mince. |
| 00:32:29 |
-What's the ham for? |
| 00:32:33 |
Yeah, l'm a hyphenate. |
| 00:32:35 |
-Special effects...hyphen...location catering. |
| 00:32:42 |
-Hey, hey, hey! Look! |
| 00:32:46 |
-Yeah. |
| 00:32:48 |
That's well proper. lt looks authentic. |
| 00:32:51 |
Are you the director? No, me. Thank you. |
| 00:32:54 |
-Extras, could you clear the set, please? |
| 00:32:59 |
l need to talk to the actors. Right! |
| 00:33:02 |
Boys. This is your first look |
| 00:33:08 |
You two? You're at Roswell. Area 51 . |
| 00:33:12 |
So, what l want is a bit of pointing. |
| 00:33:15 |
You're a natural. Exactly, just like that. Bit |
| 00:33:19 |
Remember that you are professionals. |
| 00:33:23 |
-OK. Feel it. First positions. We'll do a take. |
| 00:33:28 |
Put your hat on. |
| 00:33:32 |
We'll start from here, then l'll call you in. |
| 00:33:36 |
-OK. And... |
| 00:33:39 |
-Get off! |
| 00:33:41 |
ls mine all right? |
| 00:33:45 |
(Melik) Edgar, take your position. |
| 00:33:48 |
That's good. |
| 00:33:49 |
No, don't wave. Muppet. |
| 00:33:52 |
-Try that pointing thing you do. |
| 00:33:54 |
Yeah, just like that. lt's wicked. |
| 00:33:58 |
-Cooee! |
| 00:34:01 |
-Play with the belly. |
| 00:34:04 |
(Ray) Do you have any idea |
| 00:34:07 |
Stop crying. Get on with it, will you? |
| 00:34:11 |
-(Melik) Prod it. |
| 00:34:13 |
-l'm out... |
| 00:34:17 |
-You're the director now, are you? |
| 00:34:21 |
-Shut up. |
| 00:34:24 |
Cut! You just ruined my shot. |
| 00:34:29 |
(Gary) Nice leg of lamb, this. |
| 00:34:32 |
-(Ray) Good traction on it, Preston. |
| 00:34:36 |
-(Ray) Nice one. |
| 00:34:39 |
-Oh! |
| 00:34:43 |
(Chuckles and sighs) |
| 00:34:46 |
-lt's all right. |
| 00:34:52 |
(Jasmine) Eugh. |
| 00:34:55 |
-(Ray) That looks good. |
| 00:34:59 |
-Would you like a biscuit? |
| 00:35:01 |
(Melik) Don't worry, |
| 00:35:07 |
Yeah, l will, as it happens. |
| 00:35:12 |
-(Ray) Get your fingers in there. |
| 00:35:17 |
Should we go for the heart next, Ray? |
| 00:35:19 |
Keep it going. |
| 00:35:30 |
What does he think he's doing? |
| 00:35:33 |
-ls he taking the piss? |
| 00:35:36 |
And...action. |
| 00:35:40 |
(Melik) Ray, come round the other side. |
| 00:35:43 |
Sausage on a stick? |
| 00:35:45 |
-Nan, please! |
| 00:35:50 |
-ls someone wrangling Ray's nan? |
| 00:35:53 |
-l can't hear you! |
| 00:35:56 |
-Keep her there. Has Jasmine spritzed? |
| 00:35:59 |
OK, now, let's get down and dirty |
| 00:36:03 |
Go on, Gary, get in there. |
| 00:36:06 |
(Gary) What on earth is that? lt stinks. |
| 00:36:09 |
Careful. l'm gonna use that in the shop |
| 00:36:14 |
(Jasmine) Eurgh. |
| 00:36:17 |
(Ray) Careful. |
| 00:36:19 |
(Melik) Right. That's good. |
| 00:36:25 |
(Ray) Easy. Careful with these. |
| 00:36:29 |
-l think it's too real. |
| 00:36:33 |
lt's looking at me. |
| 00:36:35 |
(Melik) OK, this is good. |
| 00:36:37 |
Right, let's...let's get ready to... |
| 00:36:42 |
-...peel back the skin. |
| 00:36:45 |
(Ray) Yeah. |
| 00:36:47 |
(Gary) lt looks like raspberry jelly. |
| 00:36:50 |
(Ray) Yeah, it is raspberry jelly. |
| 00:36:53 |
(Melik) Give it to Gary. |
| 00:36:55 |
Make out like there's a real tough, |
| 00:37:02 |
(Gary) Like that? |
| 00:37:06 |
There. |
| 00:37:08 |
(Melik) That's good. That's very good. |
| 00:37:11 |
Now, gently...place the brain on the tray. |
| 00:37:16 |
-Right. |
| 00:37:20 |
-(Gary) Ready? |
| 00:37:23 |
Oh, no! |
| 00:37:25 |
Mind the brain! |
| 00:37:27 |
(Gary) Ah... |
| 00:37:29 |
(Gary) Ah, the carpet! |
| 00:37:31 |
-Cut! Cut, cut, cut! |
| 00:37:35 |
Don't worry, Gaz. Put a bit of salt on that. |
| 00:37:37 |
-Are you sure? lsn't it salt and wine? |
| 00:37:42 |
-(Melik) lt's salt and white wine. |
| 00:37:47 |
l don't know what else is in the skull |
| 00:37:51 |
Brain's sorted. No more slippage. |
| 00:37:53 |
(Melik) OK. OK, good. |
| 00:37:57 |
Action! |
| 00:38:00 |
OK, easy does it, easy. |
| 00:38:03 |
OK, ready, Ray? Ready? |
| 00:38:05 |
Wait! Cut! |
| 00:38:08 |
-What the hell is that? |
| 00:38:12 |
Dash of garlic, 90 minutes at gas mark 4, |
| 00:38:18 |
That's great. Our alien travels millions |
| 00:38:23 |
with nothing but a haggis to guide him? |
| 00:38:26 |
-lt's not slipping, though, is it? |
| 00:38:31 |
(Gary) Uh! |
| 00:38:35 |
(He sighs) |
| 00:38:38 |
Doreen! |
| 00:38:41 |
How was lbiza? |
| 00:38:45 |
-(Ray) Now, Doreen, don't fly off the handle. |
| 00:38:50 |
-lt's not what it looks like, OK? |
| 00:38:52 |
l can explain everything. |
| 00:38:58 |
Shall we call that a day? |
| 00:39:06 |
-(Ray) lt won't fit. |
| 00:39:10 |
-What are we doing here? |
| 00:39:13 |
l don't just mean this. l mean the shoot. l |
| 00:39:19 |
lt's not a complete disaster. |
| 00:39:23 |
Bits of it? |
| 00:39:26 |
-Would you show that film to Lazlo Voros? |
| 00:39:29 |
No. l'm a dead man, aren't l? |
| 00:39:32 |
Not necessarily. |
| 00:39:34 |
You're the worst liar l have ever met. |
| 00:39:37 |
Yeah, but that's the difference |
| 00:39:41 |
That's why you stand a chance with Voros. |
| 00:39:44 |
Bet on yourself. lsn't that what you said? |
| 00:39:51 |
-What? |
| 00:40:22 |
(Dogs bark) |
| 00:40:36 |
(Heavy Caribbean accent) |
| 00:40:38 |
-Um...what? |
| 00:40:42 |
Follow me. |
| 00:40:47 |
(Sobbing) |
| 00:40:51 |
Follow me. |
| 00:40:57 |
Mr Voros, good evening. |
| 00:41:02 |
lf you speak to me again without being spoken |
| 00:41:07 |
while Zachary is breaking |
| 00:41:13 |
-Mm. |
| 00:41:16 |
-Mm-hm. |
| 00:41:22 |
-( Tricky.: Aftermath) |
| 00:41:25 |
Zachary, darling? |
| 00:41:28 |
Run it. |
| 00:41:56 |
For one poor boy |
| 00:41:59 |
There's someone |
| 00:42:01 |
For he |
| 00:42:04 |
For she |
| 00:42:07 |
For one poor boy |
| 00:42:10 |
There's someone... |
| 00:42:19 |
Um... |
| 00:42:21 |
Did...did you, er...? |
| 00:42:24 |
The... l mean, what did you...think? |
| 00:42:29 |
Oh, God. |
| 00:42:31 |
-Look, l'm sorry, Mr Voros. |
| 00:42:34 |
beautiful thing |
| 00:42:39 |
(Sobs) |
| 00:42:41 |
We are not alone. |
| 00:42:44 |
Ray, you proved it, |
| 00:42:46 |
once and for all. |
| 00:42:53 |
You proved it. |
| 00:42:55 |
( Tom Jones.: lf l Only Knew) |
| 00:42:58 |
Thank you, Ray. |
| 00:43:04 |
Yeah |
| 00:43:11 |
Home grown, on the bone |
| 00:43:13 |
All the channels show the same old war zone |
| 00:43:17 |
Making me an offer |
| 00:43:21 |
-Yes! |
| 00:43:23 |
Proper hugged me. |
| 00:43:27 |
You know what this means? lf Voros bought it, |
| 00:43:33 |
We should run off a few hundred copies for |
| 00:43:39 |
lf we got £1 0.99 a pop and shifted, say, |
| 00:43:44 |
-Eleven grand. |
| 00:43:47 |
-So, l had this idea. |
| 00:43:50 |
-Well... |
| 00:43:54 |
Gary's idea was to invite all of the cornershop |
| 00:43:58 |
but do it somewhere impressive. |
| 00:44:01 |
-To get the credibility up a little bit? |
| 00:44:05 |
See, l thought the grander the place was, |
| 00:44:07 |
the more excited the buyers might be |
| 00:44:11 |
Raise the price. |
| 00:44:13 |
And fortunately there was one very grand place |
| 00:44:17 |
The Natural History Museum. |
| 00:44:22 |
-No way. |
| 00:44:26 |
-Oh, not there? |
| 00:44:29 |
-So, we had to find somewhere else. |
| 00:44:37 |
-Don't know that place. |
| 00:44:40 |
But it was perfect. |
| 00:44:44 |
The key thing was to keep the screening quiet. |
| 00:44:47 |
-What you did is invite just a few? |
| 00:44:50 |
And apart from that |
| 00:44:58 |
-(Crowd shouting) |
| 00:45:01 |
The Chief Constable |
| 00:45:03 |
l don't care. This is my screening |
| 00:45:08 |
l'm not going to be blamed |
| 00:45:12 |
The national press are here? |
| 00:45:14 |
The Sun, the Mirror, two television crews. |
| 00:45:18 |
(Crowd) Let us in! Let us in! |
| 00:45:23 |
Not bad for a little press release |
| 00:45:26 |
You idiot! There's no way this many people |
| 00:45:31 |
The national press'll see right through it. |
| 00:45:34 |
lt's a chance worth taking. |
| 00:45:37 |
-(Klaxon) |
| 00:45:40 |
No. Absolutely, categorically... |
| 00:45:43 |
Yes, £5 a seat, madam. |
| 00:46:09 |
(Tutting) |
| 00:46:21 |
-You hear that? |
| 00:46:25 |
Exactly. |
| 00:46:28 |
They're not laughing. |
| 00:46:34 |
( Audience gasps) |
| 00:46:42 |
(Excited chatter) |
| 00:46:52 |
(Shouting) |
| 00:47:07 |
This just came in from London. |
| 00:47:17 |
-Director know about this? |
| 00:47:20 |
And the next day... |
| 00:47:25 |
Our alien, full of sausages, was on the front |
| 00:47:31 |
Raymond, there's a man |
| 00:47:35 |
-Take a number, Nan. l'll call him back. |
| 00:47:38 |
-(Melik) l've got a woman from ltalian TV. |
| 00:47:42 |
-l'm going to have to get back to them. |
| 00:47:46 |
-l appreciate your interest. |
| 00:47:49 |
-Can l call you back? |
| 00:47:52 |
-No, l promise. All right. OK, bye-bye. |
| 00:47:54 |
-That's us on the telly. |
| 00:47:58 |
Every TV station in the world |
| 00:48:01 |
-There's hundreds of them. |
| 00:48:05 |
l have absolutely no idea how we've done this. |
| 00:48:08 |
But since we have, and it's the only opportunity |
| 00:48:14 |
-we have to do it right. |
| 00:48:18 |
Make them compete against each other |
| 00:48:22 |
No, not the one highest bidder. You sell it to the |
| 00:48:28 |
You're saying... |
| 00:48:31 |
-...sell it over and over... |
| 00:48:36 |
We really are gonna be rich! |
| 00:48:38 |
(Laughter) |
| 00:48:41 |
( The Beloved.: Sweet Harmony) |
| 00:48:48 |
-l'm sorry, we're right in the middle of things. |
| 00:48:52 |
Here you go. |
| 00:48:59 |
ls it right or wrong |
| 00:49:01 |
Try to find a place |
| 00:49:03 |
We can all belong |
| 00:49:06 |
Be as one |
| 00:49:08 |
Try to get on by |
| 00:49:10 |
lf we unify |
| 00:49:12 |
We should really try... |
| 00:49:14 |
Um...AOB. Any other business. |
| 00:49:19 |
Mm. |
| 00:49:21 |
Seven days later, representatives from |
| 00:49:27 |
arrived in London ready to start negotiations. |
| 00:49:30 |
So, we hired a room |
| 00:49:33 |
-lt was a business suite. |
| 00:49:37 |
We had free tea and coffee all day. |
| 00:49:41 |
l mean, we looked great. |
| 00:49:46 |
Oh, yeah |
| 00:49:49 |
ln sweet harmony |
| 00:49:51 |
Let's come together right now... |
| 00:49:54 |
(Gary) Loads of people turned up. People |
| 00:50:01 |
Where else did they come from? |
| 00:50:04 |
-You've said Argentina. |
| 00:50:06 |
Yeah. |
| 00:50:08 |
-China didn't come, did they? |
| 00:50:11 |
Quite a few countries. |
| 00:50:12 |
Time is running out |
| 00:50:16 |
We should sort things out |
| 00:50:21 |
l appreciate the offer, Mr González, |
| 00:50:26 |
once we've seen the offers |
| 00:50:30 |
You're talking |
| 00:50:32 |
Three of them, yes, seem very keen. |
| 00:50:34 |
-But, thanks for this. |
| 00:50:38 |
We don't have any more buyers |
| 00:50:42 |
Wait a minute! |
| 00:50:45 |
Let's come together |
| 00:50:48 |
Right now |
| 00:50:50 |
Oh, yeah |
| 00:50:53 |
ln sweet harmony |
| 00:50:54 |
Let's come together |
| 00:50:57 |
Right now... |
| 00:50:59 |
So, if you sign here... |
| 00:51:02 |
Oui. |
| 00:51:04 |
Thank you very much. |
| 00:51:07 |
Cheque? He told me to bring cash. |
| 00:51:10 |
ln sweet harmony, let's come together... |
| 00:51:13 |
Did he? |
| 00:51:15 |
Right now, oh, yeah... |
| 00:51:18 |
Excusez-moi. |
| 00:51:20 |
ln sweet harmony... |
| 00:51:23 |
Why did you tell her |
| 00:51:26 |
Have they all been bringing cash? |
| 00:51:31 |
UFO nutcases, Hungarian psychos, |
| 00:51:35 |
but there is one thing |
| 00:51:38 |
and that's the lnland Revenue. |
| 00:51:41 |
-The cash isn't about me fiddling my taxes. |
| 00:51:45 |
You said it yourself. |
| 00:51:47 |
This might be the only time in our lives |
| 00:51:51 |
and l just want to see it. l want to feel it, Gary, |
| 00:51:54 |
you know, l want to... |
| 00:51:58 |
l know it sounds stupid but there it is. |
| 00:52:02 |
Seven hundred and... |
| 00:52:04 |
And forty-six thousand, |
| 00:52:07 |
Seven hundred |
| 00:52:12 |
Oh, yeah |
| 00:52:14 |
ln sweet harmony |
| 00:52:16 |
Let's come together right now |
| 00:52:21 |
Oh, yeah |
| 00:52:23 |
ln sweet harmony |
| 00:52:26 |
Let's come together right now... |
| 00:52:30 |
(Morgan) Beautifull |
| 00:52:33 |
-We were sitting on a good sum of money. |
| 00:52:37 |
-(Ray) ln cash. |
| 00:52:40 |
l mean, it was...it was all perfect. And then |
| 00:52:46 |
(Gary) Yeah, well, you see, |
| 00:53:10 |
(Morgan) Are you alleging covert surveillance |
| 00:53:16 |
Your words, not mine. |
| 00:53:19 |
(Morgan) Was there a ClA file on them, then? |
| 00:53:24 |
Almost certainly. |
| 00:53:25 |
And, generally speaking, |
| 00:53:29 |
Generally speaking. |
| 00:53:34 |
-So, the US military thought the film was real? |
| 00:53:41 |
Don't know who he is, but l keep seeing him. |
| 00:53:45 |
Do you know what it probably is? |
| 00:53:50 |
-l don't have any weirdo ex-girlfriends. |
| 00:53:53 |
What about that one from Basildon? |
| 00:54:00 |
-Janet. |
| 00:54:03 |
-(Train rumbles) |
| 00:54:10 |
-lt's not Janet. |
| 00:54:13 |
put it out of your mind, at least for now. |
| 00:54:16 |
Think about it. |
| 00:54:18 |
ln two days' time, our film goes out |
| 00:54:23 |
-We're going to be famous! |
| 00:54:26 |
Everyone on the planet |
| 00:54:29 |
Yeah... |
| 00:54:30 |
rich liars, though. |
| 00:54:32 |
(Phone) |
| 00:54:36 |
-(Train rumbles and clatters) |
| 00:54:40 |
There was no deal |
| 00:54:45 |
and simply pay me a cut of the profits. |
| 00:54:50 |
But there was. We talked about it. |
| 00:54:53 |
-That was the understanding. |
| 00:54:57 |
Unless you have, er...some signed paperwork |
| 00:55:10 |
(Whispers) Ray. |
| 00:55:12 |
(Dog barks) |
| 00:55:14 |
Now that we've cleared that up, |
| 00:55:20 |
l now control all the deals |
| 00:55:22 |
and we split any cash 80 to 20 to me. |
| 00:55:25 |
l want to review any agreement |
| 00:55:29 |
and l alone will decide |
| 00:55:34 |
(Dog barking) |
| 00:55:37 |
But...it's going out tomorrow night. |
| 00:55:42 |
That would be |
| 00:55:46 |
(Dog barking) |
| 00:55:53 |
(Growls and barks like a dog) |
| 00:55:58 |
So, what did you do? |
| 00:56:01 |
The only thing we could do. |
| 00:56:03 |
Which is when it happened. |
| 00:56:09 |
What? |
| 00:56:10 |
(Ray) Voros was in the middle of a crop circle |
| 00:56:15 |
hoping for some sort |
| 00:56:17 |
lt just came out of nowhere. |
| 00:56:23 |
Alien spacecraft? |
| 00:56:25 |
No. A green Land Rover. |
| 00:56:26 |
-Knocked him over, killed him. |
| 00:56:30 |
He was naked. |
| 00:56:36 |
Are you saying that |
| 00:56:39 |
had Lazlo Voros killed? |
| 00:56:42 |
Think about it. |
| 00:56:43 |
lf there really was |
| 00:56:47 |
then when Ray Santilli popped up |
| 00:56:49 |
US military would have |
| 00:56:52 |
All of a sudden there's an extra print of a film |
| 00:56:57 |
a print they didn't even know existed. |
| 00:56:59 |
The biggest secret in the history |
| 00:57:05 |
Then they see Santilli's film. |
| 00:57:11 |
Once they realise the film's a fraud, |
| 00:57:15 |
then he and the film become the best possible |
| 00:57:21 |
All the time that people are looking |
| 00:57:25 |
they're not looking at them, and the real film. |
| 00:57:31 |
They know that |
| 00:57:34 |
which will just bury |
| 00:57:38 |
Or, of course, it could |
| 00:57:50 |
(Screams) |
| 00:58:01 |
Do you ever wonder if there's someone |
| 00:58:08 |
Someone. Or something. |
| 00:58:16 |
(Ray) Widescreen. Got it in specially... |
| 00:58:19 |
(Jasmine) l can't believe it. This is so exciting. |
| 00:58:23 |
Could you budge up, Skeletor? |
| 00:58:26 |
-Here's Maurice. |
| 00:58:30 |
(Nan) Raymond, did you set the video |
| 00:58:34 |
-All sorted. They put it on at the same time! |
| 00:58:39 |
l still can't believe that our little film is about |
| 00:58:44 |
-l know! |
| 00:58:47 |
-...based on all available information. |
| 00:58:50 |
lf what you are about to see is real, |
| 00:58:53 |
it's the most startling film footage in history. |
| 00:58:56 |
Although we remain sceptical, some believe |
| 00:59:01 |
Real or not, l must warn you, |
| 00:59:06 |
and some of the footage you will see |
| 00:59:09 |
(TV presenter speaks Russian) |
| 00:59:15 |
(TV presenter speaks French) |
| 00:59:19 |
(TV presenter speaks Swedish) |
| 00:59:21 |
(TV presenter speaks German) |
| 00:59:24 |
(Frakes) Alien Autopsy.: fact or fiction? |
| 00:59:40 |
Here outside Roswell is where the alleged |
| 00:59:45 |
Was it a flying saucer? |
| 00:59:49 |
People still come |
| 00:59:52 |
But the evidence of the alien crash |
| 00:59:55 |
lt was revealed halfway around the world. |
| 01:00:01 |
What Santilli saw and purchased |
| 01:00:04 |
showing an autopsy being performed |
| 01:00:08 |
The cameraman, who claims |
| 01:00:12 |
told Santilli that in 1 947 |
| 01:00:16 |
where he filmed the recovery of several |
| 01:00:21 |
as well as the autopsy of one of them. |
| 01:00:24 |
This could be the world's first look |
| 01:00:40 |
The strange body appears intact |
| 01:00:46 |
Two mysterious doctors wearing |
| 01:00:51 |
What the fuck is that? |
| 01:00:53 |
They are either pathologists |
| 01:00:56 |
or they are surgeons |
| 01:00:58 |
This supposedly was filmed in 1 947 |
| 01:01:02 |
and, while things haven't changed, |
| 01:01:04 |
we see some things that |
| 01:01:07 |
such as the use of a handsaw |
| 01:01:10 |
(Frakes) A third person wearing a mask |
| 01:01:15 |
ls this indeed a top-secret military autopsy |
| 01:01:17 |
performed on an alien in 1 947? |
| 01:01:20 |
(Man) This is a structure |
| 01:01:23 |
if it is a human being. |
| 01:01:25 |
lt looks like no brain that l have ever seen, |
| 01:01:28 |
whether it's a brain filled with tumour, |
| 01:01:32 |
a brain that has been traumatised |
| 01:01:35 |
What is this? |
| 01:01:37 |
l would prefer to say for the time being |
| 01:01:40 |
But l cannot say that |
| 01:01:45 |
as you and l know the human race. |
| 01:01:48 |
What if? What if? |
| 01:01:54 |
What if the alien is real? Let's consider. |
| 01:01:57 |
He was an explorer, perhaps a scientist. |
| 01:02:00 |
Crashed and died on a distant blue planet, |
| 01:02:05 |
A frightened race of beings |
| 01:02:08 |
performed experiments and hid the results. |
| 01:02:12 |
Why did he come to our planet? |
| 01:02:17 |
Obviously his own mission failed |
| 01:02:19 |
but in his death |
| 01:02:22 |
he may have delivered the most important |
| 01:02:27 |
We are not alone. |
| 01:02:29 |
They believe it! |
| 01:02:35 |
Gary, where have you been? |
| 01:02:37 |
-What's happened? |
| 01:02:41 |
-Right, you ready for this? |
| 01:02:45 |
( Vic Reeves and the Wonderstuff.: Dizzy) |
| 01:02:48 |
Nan! |
| 01:02:51 |
Have you seen these overnights? |
| 01:02:55 |
Sh... |
| 01:02:56 |
Dizzy |
| 01:02:59 |
l'm so dizzy, my head is spinning |
| 01:03:03 |
Like a whirlpool, it never ends |
| 01:03:08 |
And it's you, girl... |
| 01:03:09 |
Have you seen these overnights? |
| 01:03:12 |
(TV) ...surrounded a TV station |
| 01:03:16 |
and confiscated the film. |
| 01:03:17 |
TlME magazine has described the film, |
| 01:03:21 |
and gained the biggest television |
| 01:03:25 |
as the most important |
| 01:03:28 |
Have you seen these overnights? |
| 01:03:33 |
-lt's not possible. |
| 01:03:40 |
Clear the schedules. |
| 01:03:41 |
We're running it again. |
| 01:03:43 |
When? |
| 01:03:46 |
Tonight. |
| 01:03:47 |
(Reporters shout) |
| 01:03:50 |
My God. |
| 01:03:53 |
And it's you, girl, making it spin |
| 01:03:55 |
You're making me dizzy... |
| 01:04:01 |
Bloody hell. |
| 01:04:08 |
-Hundreds of them. |
| 01:04:10 |
-(Doorbell) |
| 01:04:13 |
Do you have any idea |
| 01:04:15 |
-Don't tell me someone actually shagged you? |
| 01:04:19 |
-(Phone) |
| 01:04:22 |
Five nutcases got up on the roof... |
| 01:04:24 |
-(Doorbell) |
| 01:04:27 |
the phone hasn't stopped ringing for 1 2 hours. |
| 01:04:30 |
-Everyone wants to see the original film. |
| 01:04:33 |
-That's fantastic. |
| 01:04:37 |
because we don't have |
| 01:04:39 |
The only film we ever did have |
| 01:04:42 |
-and that is still in Lazlo Voros's safe. |
| 01:04:47 |
Maybe we could make another one. |
| 01:04:49 |
You don't get this, do you? |
| 01:04:51 |
This film means so much |
| 01:04:54 |
-Scary people, clinically disturbed people. |
| 01:04:59 |
Can you imagine what will happen |
| 01:05:03 |
You know, strictly speaking, |
| 01:05:07 |
lt's more of a remake. |
| 01:05:10 |
And you've got to relax a bit more, Gary. |
| 01:05:15 |
-What are you doing, anyway? |
| 01:05:18 |
-For what? |
| 01:05:22 |
-What? |
| 01:05:25 |
in Buenos Aires, in Lima, Rio, yeah. |
| 01:05:29 |
They want me to go over, all expenses paid. |
| 01:05:32 |
-But you can't start going on chat shows. |
| 01:05:36 |
Has nothing l've said made any sense to you? |
| 01:05:38 |
They'll ask you questions |
| 01:05:41 |
-l can answer anything. |
| 01:05:45 |
-They can't keep changing. |
| 01:05:48 |
-And how do you know they won't? |
| 01:05:53 |
( Stakka Bo.: Here We Go Again) |
| 01:05:55 |
Here we go, go, go |
| 01:05:58 |
Get your gear and start to spend... |
| 01:06:00 |
Gracias. Bienvenido. |
| 01:06:02 |
-57 C, sir. All the way to the back. |
| 01:06:05 |
-All the way to the back. |
| 01:06:06 |
Hello. Bienvenido. |
| 01:06:10 |
Mr Santilli? You have been |
| 01:06:13 |
Your seat is 3A, |
| 01:06:18 |
-Upgrade. |
| 01:06:20 |
-Yeah! |
| 01:06:24 |
Hello. Thank you. Yes, that way, thank you. |
| 01:06:29 |
Here we go again |
| 01:06:31 |
Here we go, go, go |
| 01:06:34 |
Get your gear and start to spend |
| 01:06:36 |
Here we go, go, go |
| 01:06:38 |
Here we go again |
| 01:06:40 |
Here we go, go, go |
| 01:06:43 |
Get your gear and start to spend |
| 01:06:45 |
Here we go, here we go |
| 01:06:47 |
Here we go |
| 01:06:56 |
The moon and the stars |
| 01:06:59 |
Would it be OK for me to sit here? |
| 01:07:04 |
No, help yourself. |
| 01:07:06 |
(Clears throat) OK, thank you. |
| 01:07:13 |
(She clears throat) |
| 01:07:16 |
You should, er...get yourself a drink. |
| 01:07:20 |
lt's free. |
| 01:07:23 |
Oh! |
| 01:07:27 |
(Speaks Spanish) |
| 01:07:29 |
( Nouvelle Vague.: Just Can't Get Enough) |
| 01:07:35 |
(TV presenter speaks Spanish) |
| 01:07:37 |
Mr Santilli, welcome back. Now, the |
| 01:07:43 |
He was a dangerous |
| 01:07:49 |
who, quite frankly, scared the living daylights |
| 01:07:53 |
(Speaks Spanish) |
| 01:07:58 |
(Speaks Spanish) |
| 01:08:06 |
( American accent) Put the cocktail down, son, |
| 01:08:09 |
or you'll be picking up your teeth |
| 01:08:11 |
-(lnterviewer) ...cameraman says... |
| 01:08:15 |
''Hey, now, Manolitol |
| 01:08:17 |
''Let's just cool our jets here, compadre. |
| 01:08:20 |
''Otherwise you and me |
| 01:08:28 |
Why can't you grasp this? There's reporters |
| 01:08:33 |
Relax. They're all enjoying it |
| 01:08:37 |
-(Speaks Spanish) |
| 01:08:41 |
-Hi. |
| 01:08:45 |
-You've been upgraded. |
| 01:08:48 |
-l'm here. |
| 01:08:52 |
-To the back, next to the toilets. |
| 01:08:58 |
-Señor Santilli. |
| 01:09:03 |
(Gary) Ow! |
| 01:09:07 |
Oh! Hmph! |
| 01:09:11 |
l just can't get enough |
| 01:09:16 |
Well, hello, you. |
| 01:09:18 |
No way! |
| 01:09:21 |
-How are you? |
| 01:09:23 |
Are you following me around? |
| 01:09:25 |
You got me. |
| 01:09:30 |
Oh, wait, OK. |
| 01:09:32 |
-Oooh! |
| 01:09:35 |
Oh, thank you very much. |
| 01:09:38 |
(Both) Cheers. |
| 01:09:40 |
Hey... |
| 01:09:42 |
(Woman) Oh, Rayl Oh, Ray, Rayl |
| 01:09:45 |
Rayl |
| 01:09:47 |
Ooh, yesl Oh, my God. Oh, my God. |
| 01:09:50 |
-Oh, my God. Ohl Yesl |
| 01:09:53 |
(Woman) No. Oh. |
| 01:09:55 |
(They scream and shout) |
| 01:09:59 |
Pack it in, Santilli! |
| 01:10:01 |
(Woman) Come on, baby. |
| 01:10:03 |
Right, l swear to God, |
| 01:10:06 |
if you don't pack it in, l'm going to kill you! |
| 01:10:09 |
-(Ray) Shh-shh-shhl |
| 01:10:14 |
At last. |
| 01:10:17 |
(Ray) Amber. |
| 01:10:19 |
Pretty girl, actually, she was. |
| 01:10:22 |
-Yeah. |
| 01:10:23 |
How did that feel? Having the attention? |
| 01:10:29 |
l didn't like it. |
| 01:10:32 |
Yeah, l mean, l did. |
| 01:10:35 |
You didn't have to do that, though. |
| 01:10:39 |
-No, l think you have to do that. |
| 01:10:42 |
The whole fame thing, |
| 01:10:45 |
You did too many, wouldn't you say? |
| 01:10:48 |
You've probably |
| 01:10:53 |
( Applause and cheering) |
| 01:10:58 |
OK, OK, so we're back. |
| 01:11:00 |
And you were telling me |
| 01:11:04 |
That's right, yeah. |
| 01:11:07 |
(Chuckles) That's me on top. |
| 01:11:12 |
Well, OK, l just...have one final question. |
| 01:11:16 |
Why have you never produced |
| 01:11:22 |
-Excuse me? The original footage? |
| 01:11:26 |
Ha! Exactly. |
| 01:11:31 |
-Er... |
| 01:11:33 |
-lt's a simple enough question. |
| 01:11:35 |
-Yeah, yeah. |
| 01:11:39 |
(TV off) |
| 01:11:56 |
-What are you doing? |
| 01:11:58 |
That's Ray's stuff. |
| 01:12:02 |
Ah, here. |
| 01:12:04 |
l was looking for a cigarette. |
| 01:12:06 |
Are you a journalist? |
| 01:12:11 |
(Gary) What did l tell you? What did l say? |
| 01:12:14 |
''Don't do it, Ray.'' l said, ''Don't go on chat |
| 01:12:19 |
Do you have any idea how exhausting it is |
| 01:12:22 |
always being right |
| 01:12:26 |
When you get angry like this |
| 01:12:29 |
Shut up! |
| 01:12:34 |
Thanks to Casanova here, some of the TV |
| 01:12:39 |
lf they do, the rest'll follow |
| 01:12:45 |
-What you talking about, prison? |
| 01:12:49 |
Preston? |
| 01:12:51 |
-Anyone want the last pink wafer? |
| 01:12:55 |
Well, the only chance we've got |
| 01:12:57 |
is for everyone to stay absolutely silent. |
| 01:13:02 |
From now on, no one says |
| 01:13:06 |
lf we can all do that, then there's just |
| 01:13:11 |
and we can all |
| 01:13:14 |
Quietly's good. |
| 01:13:17 |
l like quietly. |
| 01:13:20 |
He's a weirdo. l told you so. |
| 01:13:22 |
Hey, you know what else |
| 01:13:27 |
That is just what we need, another biscuit. |
| 01:13:30 |
We could all, really quietly |
| 01:13:34 |
(Laughter) |
| 01:13:37 |
No. No. No. |
| 01:13:41 |
-Why not? |
| 01:13:45 |
-And the one thing any robber knows... |
| 01:13:50 |
Exactly. lt just draws attention to yourself. |
| 01:13:54 |
Look, if we want to get away with this, we're |
| 01:14:01 |
No more talk about the money till l say so. |
| 01:14:04 |
When did your say-so become so much |
| 01:14:13 |
(Snorts) |
| 01:14:24 |
(Door shuts) |
| 01:14:27 |
-(Laser fire) |
| 01:14:44 |
(Knock at door) |
| 01:14:48 |
-Who is it? |
| 01:14:51 |
-(Knock at door) |
| 01:14:57 |
Hi. Hi, there. |
| 01:15:01 |
Thank you. Hi, l'm Amber Fuentes |
| 01:15:05 |
and we are looking for a Harvey Jarrold |
| 01:15:08 |
and we feel that he may live |
| 01:15:11 |
Oh, Harvey, yeah. l'll see if he's available. |
| 01:15:15 |
-Well, maybe we could wait inside. |
| 01:15:18 |
Come on! |
| 01:15:21 |
Stupid idiots! |
| 01:15:33 |
Slimy bastards. |
| 01:15:42 |
Gary! |
| 01:15:50 |
Gary! |
| 01:15:55 |
Gary? |
| 01:15:58 |
Gary? |
| 01:16:03 |
There you are. You've got to help me. |
| 01:16:06 |
l'm not talking to you, Ray. |
| 01:16:08 |
-Where have you been? |
| 01:16:12 |
-We're in real trouble here, Gary. |
| 01:16:15 |
Sorry, sorry. |
| 01:16:19 |
(Hoover on) |
| 01:16:25 |
(Hoover off) |
| 01:16:27 |
-Are you listening now? |
| 01:16:30 |
The press have found Harvey. |
| 01:16:33 |
Oh. |
| 01:16:34 |
Now l'm in the middle of God knows where |
| 01:16:39 |
all because of that pile of horse shit |
| 01:16:43 |
You get rid of that bitch within 48 hours. |
| 01:16:45 |
And if any other reporters show up, |
| 01:16:47 |
-l'll blow the whistle on all your asses. |
| 01:16:54 |
Bastards! |
| 01:16:55 |
(Morgan) You were busted. |
| 01:16:58 |
So, effectively, the game was up. |
| 01:17:01 |
There was only one thing l could do. |
| 01:17:05 |
Kill yourself? |
| 01:17:07 |
(Both) No. |
| 01:17:10 |
-He's offering us what? |
| 01:17:13 |
-With the cameraman who shot the... |
| 01:17:19 |
Clear the schedules. |
| 01:17:24 |
But how were you gonna get an interview |
| 01:17:40 |
-(Gary) What about him? |
| 01:17:47 |
Hey, look. That guy. |
| 01:17:50 |
No, not right. |
| 01:17:53 |
Him? |
| 01:17:54 |
(Tyres screech) |
| 01:18:00 |
Excuse me. How would you like to make $500 |
| 01:18:04 |
and have a night in a clean hotel room? |
| 01:18:06 |
What do l have to do? |
| 01:18:09 |
Just...learn these lines |
| 01:18:12 |
and say them in front of a camera. |
| 01:18:16 |
During the Second World War, |
| 01:18:20 |
(Coughs) ...tographer |
| 01:18:24 |
a few months after getting... |
| 01:18:26 |
-Whoa! |
| 01:18:30 |
...flown to an airbase l'd never heard of. |
| 01:18:32 |
An airbase that turned out to be Ros...well. |
| 01:18:37 |
l was a combat photographer for the... |
| 01:18:41 |
United States Airforce. |
| 01:18:43 |
A few months |
| 01:18:46 |
l was rudely awakened |
| 01:18:50 |
and l was flown through the night |
| 01:18:57 |
An airbase that turned out |
| 01:19:02 |
Shit. |
| 01:19:03 |
And there in Roswell, l was ordered to film |
| 01:19:08 |
(Sighs) |
| 01:19:10 |
...on a wretched alien creature |
| 01:19:14 |
apparently extracted from a crashed UFO. |
| 01:19:17 |
Who the fuck is that? |
| 01:19:20 |
l'll never forget it. |
| 01:19:22 |
The stench was unbearable, |
| 01:19:25 |
although l suppose |
| 01:19:28 |
Others of his like were in the back... |
| 01:19:31 |
-This guy's good. |
| 01:19:40 |
Turns out, he used to be an actor. |
| 01:19:43 |
-An actor? Perfect. |
| 01:19:46 |
He'd made two movies with Lionel Barrymore |
| 01:19:51 |
When we met him, he hadn't |
| 01:19:56 |
-You're lucky. You're very, very lucky. |
| 01:19:59 |
And there we were sitting upstairs |
| 01:20:03 |
with seven hundred and forty-seven thousand |
| 01:20:08 |
-Bigger, even. |
| 01:20:14 |
And, one seventh of it is yours. |
| 01:20:17 |
Ninety-seven thousand dollars. |
| 01:20:21 |
There you are, Gary. Merry Christmas. Ha-ha! |
| 01:20:24 |
Thanks. |
| 01:20:27 |
A seventh of 7 47,000 |
| 01:20:30 |
is about 1 06,700, Ray. |
| 01:20:35 |
ls it? |
| 01:20:40 |
l know! Look, l had it all ready for you! |
| 01:20:43 |
-Get out! |
| 01:20:46 |
You expect me to believe that? |
| 01:21:06 |
You know what? |
| 01:21:09 |
l have just one more question. |
| 01:21:13 |
What was it that you actually saw |
| 01:21:17 |
l mean, there's no way that it was an alien. |
| 01:21:20 |
So, what was it that gave you the idea? |
| 01:21:23 |
-l told you. No one ever believes me. |
| 01:21:27 |
There's one tiny bit of the story |
| 01:21:33 |
-(Doorbell) |
| 01:21:41 |
-lt's the guy from the film lab. |
| 01:21:44 |
And according to him, he'd managed |
| 01:21:49 |
Right. |
| 01:22:18 |
(Voice echoes) |
| 01:22:27 |
...for the United States Air Corp. |
| 01:22:34 |
One night in 1 947, |
| 01:22:37 |
l was pulled out of bed |
| 01:22:40 |
and flown for five hours |
| 01:22:43 |
to an airbase that l'd never heard of... |
| 01:22:47 |
...where l was ordered to... |
| 01:22:50 |
film this. |
| 01:22:52 |
Film this. Film this. |
| 01:22:55 |
One night in 1 947... |
| 01:22:59 |
One night in 1 947... |
| 01:23:02 |
...to an airbase l'd never heard of... |
| 01:23:44 |
Told you. |
| 01:23:49 |
(Snorts) |
| 01:23:51 |
You know something? |
| 01:23:55 |
(Snorts) Me neither. |
| 01:23:58 |
( The Monkees.: l'm A Believer) |
| 01:24:03 |
l thought love was only true in fairytales |
| 01:24:08 |
Meant for someone else but not for me |
| 01:24:14 |
Love was out to get me |
| 01:24:17 |
That's the way it seemed |
| 01:24:20 |
Disappointment haunted all my dreams |
| 01:24:24 |
Then l saw her face |
| 01:24:27 |
Now l'm a believer |
| 01:24:30 |
(Ray) That was ten years ago. |
| 01:24:34 |
(Morgan) The world doesn't know this? |
| 01:24:38 |
So, the film is still there? |
| 01:24:41 |
-Right? |
| 01:24:45 |
Well, let's go get it. |
| 01:24:48 |
Michael! |
| 01:24:51 |
Getting it is exactly |
| 01:24:54 |
Just as soon as you've signed |
| 01:24:57 |
What's the use in trying? |
| 01:25:00 |
All you get is pain |
| 01:25:03 |
When l needed sunshine l got rain |
| 01:25:07 |
Oh, then l saw her face |
| 01:25:10 |
Now l'm a believer |
| 01:25:14 |
Not a trace of doubt in my mind |
| 01:25:20 |
l'm in love... |
| 01:25:22 |
-l thought you birds was good at multi-tasking. |
| 01:25:29 |
Ohl |
| 01:25:36 |
Sorry there. lt's just instinct. |
| 01:25:39 |
Looks good, though. First civilian reaction. |
| 01:25:42 |
Love was out to get me |
| 01:25:43 |
That's the way it seemed |
| 01:25:46 |
(Man on TV) l'll never forget it. |
| 01:25:49 |
Fucking guy doesn't even look like me! |
| 01:25:51 |
Then l saw her face... |
| 01:25:55 |
One can't help but wonder |
| 01:26:00 |
...of doubt in my mind |
| 01:26:03 |
l'm in love |
| 01:26:07 |
Maybe we both should have a cigarette? |
| 01:26:10 |
Eh? |
| 01:26:12 |
Yes, l saw her face... |
| 01:26:15 |
-Would you like a biscuit? |
| 01:26:18 |
Not a trace of doubt in my mind |
| 01:26:23 |
Said l'm a believer... |
| 01:26:27 |
But as it rolled out around the world, |
| 01:26:29 |
one of the things that...didn't come back |
| 01:26:33 |
was that the cameraman |
| 01:26:36 |
he had a view that Ray was a foreigner and that |
| 01:26:42 |
( Son of Dork.: We're Not Alone) |
| 01:27:05 |
Standing in crop circles naked |
| 01:27:10 |
'Cause there's a possibility |
| 01:27:16 |
l hope they'll bring back Elvis |
| 01:27:21 |
l know he's up there somewhere |
| 01:27:27 |
The truth the Pentagon ignored |
| 01:27:33 |
The lies that you've been reassured |
| 01:27:39 |
- lf the universe is a place that we call home |
| 01:27:45 |
Why should we believe |
| 01:27:49 |
We're not alone |
| 01:27:51 |
ls there anyone here |
| 01:27:53 |
ls there anyone too blind |
| 01:27:56 |
Realise we're not alone, we're not alone |
| 01:28:05 |
We've all been abducted |
| 01:28:11 |
They zap us with their red light |
| 01:28:16 |
The proof is in the backyard |
| 01:28:22 |
So beam me up like Scotty |
| 01:28:27 |
The truth the Pentagon ignored |
| 01:28:33 |
The lies that you've been reassured |
| 01:28:36 |
lt just can't be denied |
| 01:28:39 |
- lf the universe is a place that we call home |
| 01:28:44 |
Why should we believe |
| 01:28:48 |
We're not alone |
| 01:28:55 |
Gol |
| 01:29:02 |
ls there a place that we can go? |
| 01:29:04 |
They've taken everyone we know |
| 01:29:13 |
We're not alone |
| 01:29:16 |
We're not alone |
| 01:29:23 |
- lf the universe is a place that we call home |
| 01:29:29 |
ls there anyone here |
| 01:29:32 |
ls there anyone |
| 01:29:35 |
Realise we're not alone |
| 01:29:37 |
We're not alone |
| 01:29:40 |
- lf the universe is a place that we call home |
| 01:29:46 |
Why should we believe |
| 01:29:50 |
We're not alone |
| 01:29:52 |
We're not, we're not |
| 01:29:55 |
We're not alone |
| 01:29:58 |
We're not, we're not |
| 01:30:01 |
We're not alone |
| 01:30:58 |
Ray, bless his heart, would sell anything |
| 01:31:05 |
That's not entirely true. |
| 01:31:07 |
-That's not entirely true |
