The Thick Red Line, Part One

How I experienced The Thin Blue Line originally is lost to the mists of time. Did I actually watch it on its first TX in 1995/6?

I can’t help but feel I must have done. But I have no memories of it. I was 14 when it first aired; I was probably too busy worrying about whether anybody would like to touch my testicles. No, my first real memory of watching the show was in 2004 – newly moved in with my girlfriend, and no longer worried about my testicles. I distinctly remember lying on her bed; we had no telly in the bedroom, so we just watched the DVD on her PC. I remember us both absolutely screaming in hysterics. It’s one of my fondest memories.

It perhaps explains why I can occasionally be so defensive about the show: however and whenever I first watched it, it’s now mine.

All of which means that my experience with the show is very much with the version released on DVD. And for Series 2, that version is really quite different from the originally transmitted versions of the show. Indeed, most of the episodes have at least three full minutes of additional material added. These extended versions were first released on VHS in 1997, and have become the generally familiar edits of these shows for most people over the years.¹ Indeed, for a fair amount of time, the original transmitted edits became genuinely obscure.

That is, until the BBC recently decided to upload the whole series to iPlayer. And sure enough, the iPlayer versions are the original broadcast versions, not the extended versions we’ve all been watching on DVD for years. Which gives us a nice easy way of seeing what the extra bits were on the VHS/DVD releases, without having to find off-airs from the time. It also gives us the chance to ask: is either edit clearly a superior version of the show?

Let’s find out. With this piece I’m assuming that people are most familiar with the DVD versions, so I’ve labelled things as [cut for broadcast/iPlayer], even though the broadcast versions were available first. All times are taken from the DVD versions. Programme synopses are taken from the Radio Times. Bad opinions are taken from my head.

Series 2, Episode 1: Court in the Act

TX: 14th November 1996

“Inspector Fowler prepares his force for the rigours of cross-examination in court, and Constable Goody tries out a fetching new uniform.”

(1:54) Our very first change is a short section snipped out of Grim’s deliberations:

GRIM: We know it’s him, Boyle. [We’ve seen him dealing, we’ve seen him scoring], we’ve got any amount of circumstantial evidence… but we still haven’t caught his red hands in an open and shut till.

From this, it’s already not a huge leap to suggest that the extended versions here are simply based on the first edits of the show, before it was cut down to length for transmission. You surely wouldn’t bother to patch that irrelevant line back in to create the longer edit from scratch.

(2:38) Some lines cut from the first briefing room scene:

FOWLER: Now, what I wish to discuss today are the new uniforms and equipment which the Home Office is considering introducing. [The police officers of tomorrow will look very different. They will be armed with long truncheons, incapacitating pepper sprays…]
GLADSTONE: Well, there was a time sir, when the only weapon a copper needed was character and authority.
[FOWLER: Well, there is much in what you say, Gladstone.]
GLADSTONE: I remember as a young Constable I faced a man with a huge knife. And all I had to defend myself was character character character, and authority authority authority.
FOWLER: Yes, well…
GLADSTONE: When I was a lad in Trinidad, sir, if you met a wild dog on the street, you never showed fear. You stared it out. [And what is a knifeman, sir, than a wild dog?] So, I fixed that young thug with a gaze and I walked straight up to him. “Give me the knife, lad”, I said.
FOWLER: And did he?
GLADSTONE: Oh yes, sir, he did. He stuck it in my shoulder. The dogs in Trinidad used to bite me too, you know.

As with a fair few of these cuts, nothing significant is lost here.

(6:21) A whole chunk from the end of the briefing room is deleted:

GRIM: Raymond, we are bringing in Harry the Spike.
FOWLER: Harry the Spike? Gasforth’s most notorious drug dealer? You mean you finally have evidence for an arrest?
GRIM: Yeah, well, I mean, when I say…
BOYLE: Don’t you worry about the evidence, sir, CID’ll handle that.
[GRIMM: Yeah, that’s right. All we need from you is a squad of plod to get into Harry’s place sharpish.
FOWLER: And you shall have it. Come on, form up everybody, quickly, form up, form up.

The gang do so.

GRIM: I am entrusting to you the critical, highly delicate task of front elevation, entry orifice obstruction displacement.
FOWLER: And for those of us who do not speak fluent twit?
BOYLE: Bashing the door down, sir.
FOWLER: Squad will assemble in ten minutes, in the personnel transportation facilitator.
GRIM: What?
FOWLER: The van.]

Rowan Atkinson delivers the word “van” in an extremely amusing manner, so it’s a shame to lose that. This cut is a good example of how the broadcast version can work a little better when telling the story, though: cutting directly from Boyle talking about the evidence straight to the next scene featuring the raid gives more importance to Boyle’s line, and creates a stronger link between the two scenes.

(10:09) The next day, back at the station:

[FOWLER: Well, you know, so often one’s efforts go unrewarded. I must say it makes a change to have a little media support. “Also present was intrepid Inspector Fowler.”
DAWKINS: It didn’t say intrepid!
FOWLER: Didn’t it? Oh, I rather thought it did. Well anyway,] what a celebration we had afterwards.
DAWKINS: I know, you told me.

(13:37) A gag near the start of the central briefing room scene, with “court” in session:

Fowler puts the mop on his head.

FOWLER: So, you you think this helps set the scene?
GOODY: Oh yes sir, that’s much better. [It’s just like Kavanagh QC.
HABIB: Oh, I think it’s more realistic than that.
FOWLER: Be quiet, Habib. Now then Goody, let us begin.
GOODY: Yes, let’s. Let us begin.] Now just remind me one more time. What are we doing?

I really like this joke, and it’s a shame it was cut for TX. And although it works as a character moment for Habib, that’s not what I really find funny about it. No, what I find funny is Ben Elton bothering to take a swipe at Kavanagh QC. I find writers being petty can be very, very funny.

(16:09) An entire Gladstone anecdote, cut:

FOWLER: Now then, Goody, you must be prepared for me to accuse you of all sorts of terrible things. The barristers can be absolutely ruthless.
[GLADSTONE: Oh, that’s very true, sir. I remember one barrister accusing me of terrible things, appalling things!
FOWLER: Ah, you see, Goody? Listen to the voice of experience. Share your story with us, Gladstone. What did this barrister try to accuse you of?
GLADSTONE: Showing my bottom to a coachload of nuns, sir. And throwing an entire chicken curry into an electric fan, sir.
FOWLER: Great heavenly haemorrhoids, the depths to which these people will sink! And what did you say?
GLADSTONE: I said guilty. The judge said: fined, 50 shillings. I tell you, sir, carnival nights in Trinidad were wild when I was a teenager.
FOWLER: Yes, thank you for sharing that with us, Gladstone. However, for the purposes of this exercise, can we please concentrate on our role in court as arresting constables, rather than delinquent defendants? Now then Goody,] are you ready? “I put it to you that you are a liar! I put it to you and your fellow officers have conspired to ruin an innocent man!”

Gladstone’s jokes are some of my favourite moments in the show, but I think this is one of the lesser ones.

(23:42) Another hefty chunk cut, this time from the start of a scene in reception:

[GLADSTONE: Here’s the commanding officer’s itinerary, and the log on those minor arson recurrences, Sarge. I’m off to the pub.
FOWLER: “geant”, Gladstone, “geant”. Sergeant Dawkins is a Sergeant. I will not have sloppy language in this station.
GLADSTONE: Just trying to speed things up, sir. A syllable here, a syllable there. By last orders I’ll have enough time saved up to get in an extra pint of Guinness.
FOWLER: English, Gladstone, is the language of Shakespeare. You wouldn’t find him going round chopping bits off words, would you?
DAWKINS: Faith my lord, ’twas ere so, and is ‘een so this morn.²
FOWLER: Yes, well. Shakespeare was a poet. You’re allowed to chop up words in poetry. But not in police work. It could lead to no end of confusion, look. Your commanding officer’s itinerary: chop off the second halves of the words and you get “come off it”. Minor arson recurrences becomes “my arse reeks”. Goodnight, Gladstone.]

Habib enters reception.

HABIB: Sir, I’m sorry to disturb you, but may I speak with you? It’s very, very important.

In some ways, it’s understandable that this was cut, as it’s extremely similar to a scene in Series 1’s “Night Shift”: “We might arrest a fellow for burglary, drop a couple of letters to save time, and end up charging him for buggery.” Still, Dawkins’ moment here is pretty much the best line they ever gave that character, so it’s a shame that went.

(30:19) One final small dialogue cut, during Grim’s confession:

GRIM: I’m sorry, Raymond.
FOWLER: I beg your pardon?
GRIM: [I hate myself.] There is nothing lower than a bent copper. It was just that I wanted that pull so badly.

(31:55) Now, this one is a bit strange. The end credits have a name change between the two versions:

iPlayer

DVD

The iPlayer/broadcast version gives the name “Charlie Philips” as one of the editors. Meanwhile, the DVD version gives “Charlie Fawcett”. I can’t actually figure out which is correct; both people have credits for editing comedy shows, although if it is Charlie Phillips, then the credits spelt their name wrong anyway!

This change also occurs in the remaining six episodes of the series.

Series 2, Episode 2: Ism Ism Ism

TX: 21st November 1996

“The Mayoress informs Fowler that an illegal asylum-seeker has taken refuge in the town. Grim meanwhile attempts to join a secret lodge.”

(4:14) From the opening scene in Fowler’s office, setting up the plot of the week:

DAWKINS: Raymond, this is serious. I’ve been studying the weekend tapes of the town centre closed-circuit TV cameras. There’s something I’m very worried about, now will you please concentrate?
[FOWLER: Yes, yes, of course, of course. Do you think there’s time to get my hair cut?]

The music sting into the next scene with Fowler and Dawkins examining the tapes is also cut in the broadcast version. The broadcast edit actually works a little better here; the additional joke isn’t good enough to make it worth undercutting the tension.

(5:21) From that tapes scene:

FOWLER: You’ve put me on the horns of a dilemma. One horn is personal inclination, the other horn is stern duty.
DAWKINS: Well, I’m quite pleased, really. It’s a long time since I put you on any sort of horn at all.
FOWLER: Don’t be so saucy, Patricia. Besides which, it’s just not true. I find you enormously exciting. But then I find bread and butter pudding exciting. And I wouldn’t want a portion every night, would I? [Because then it wouldn’t be special. Now, let’s return to this horn you’ve put me on.

Constable Habib walks in at this moment, obviously.

HABIB: Oh. I’m sorry sir. I’ll come back later.
DAWKINS: Don’t worry, Maggie. Inspector Fowler and I were just looking at some disgraceful illicit videos.
FOWLER: Yes, we were just discussing a very difficult position. Perhaps you’d like to join in?
HABIB: Well it’s a lovely thought, sir. But, you know. Two’s company. And I’d rather die. I only came in to say the Mayoress will be here at 1.
FOWLER: 1? But it’s 9:15 already, I’ve got to polish my buttons, I’ve got to polish my buttons!]

This is a sad loss, if only for the brilliantly delivered “But, you know. Two’s company. And I’d rather die” from Mina Anwar.

Straight after this, there’s some additional locker room business cut with Goody trying to sneak a Curly Wurly into his gob.

(7:42) Some fairly hefty snips to the scene between Dawkins, Fowler and the Mayoress in Fowler’s office. It starts off relatively lightly:

DAWKINS: Your ex-girlfriend’s here. [You know, I think she waxes her upper lip.]
FOWLER: For the final time, Patricia, the Mayoress was never my girlfriend. We just went to the same grammar school.
DAWKINS: [It’s no use lying to me, Raymond.] I can tell when you fancy someone. Your nose twitches.
[FOWLER: Oh don’t be ridiculous, Patricia.]
MAYORESS: Can’t wait around all day, Raymond. I’ve got a town to run.

Two of the amusing faces Dawkins pulls behind the Mayoress’ back are then removed:

But then we get into the real meat of the cuts:

MAYORESS: Gasforth is harbouring an illegal asylum-seeker. His time runs out at the end of the week and you’ll be required to arrest him for deportation.
[FOWLER: Yes. Hardly a pleasant job, your worshipful Mayoressiness, but duty is my master.]
MAYORESS: The problem is, that there is an observer from the European Parliament in town as well.
FOWLER: Well, that’s no concern of mine. I serve Her Majesty, not some soggy brussels sprout.
[MAYORESS: Shut up, Raymond. I’m talking. My sources tell me that this Euro-swine is an insufferably sobbing bleeding-heart liberal.
FOWLER: Tch, these continentals…
MAYORESS: I said shut up, Raymond! I’ve a good mind to discipline you.

Fowler’s nose twitches again.

MAYORESS: God, I hate them. These garlic-gorging snail-suckers. But Gasforth is expecting a huge regional grant from the EC, and this illegal immigrant business could make us look very bad. The sight of gangs of rozzers hurling weeping refugees into vans offends some people. God knows why.
FOWLER: I can assure you that my men will be as gentle as a bottle of lemon-scented fabric conditioner.
MAYORESS: Shut up Raymond, I won’t tell you again!] The point is that there have been so many reports recently about thuggery and racism in the police that PR-wise, we’re vulnerable. You have to work on your image. [Do you have any anti-racism initiatives underway in the station? Briefings? Discussion groups? That kind of thing?
FOWLER: Erm… can I speak?
MAYORESS: Yes!
FOWLER: No we haven’t.
MAYORESS: Well get some. And when you’ve done racism, get on to all the other isms. Sexism, poofterism, lesoism.] When you nick this snivelling alien, I want to be able to show that greasy Euro-bastard just how tolerant and balanced we are.

There’s then a missing musical sting into the next scene.

I would argue that these cuts actually soften the character of the Mayoress significantly, and hurt the episode a fair bit. “The sight of gangs of rozzers hurling weeping refugees into vans offends some people. God knows why” seems to be a particularly pertinent line which is sad to lose in the broadcast version. The point about her thinking “anti-racism initiatives” are more important than not actually being racist is also a nice bit of satire, completely removed.

(11:13) Again, the central briefing room scene of the episode has plenty of cuts. Paul Condon gets a bit of extra abuse:

HABIB: I’d like to talk about Sir Paul Condon’s report about policing and race, sir.
FOWLER: Oh, well that sounds like a good idea. Which part of the report would you like to discuss?
[HABIB: The disgusting, fascist racist bit, sir.
FOWLER: Oh. Strangely, that part of the report seems to have been omitted from my copy Habib.]
HABIB: I’m talking about his decision to make public the statistic that street crime and mugging in the capital are disproportionately committed by young black men.

Again, the removal of this exchange softens the scene really quite significantly, I would argue.

(13:23) Shortly afterwards:

FOWLER: We are discussing the problems of race, Habib. [The fact that the Metropolitan force seems to consist almost entirely of swaggering, ill-mannered louts who think that every officer stationed outside the M25 has manure on his trousers, rides a penny farthing and says “Ooo-arrr my flower” instead of “Hello”, is irrelevant.] Sir Paul Condon cannot…

Goody starts laughing.

(17:46) Once Fowler starts up his Martian impression:

FOWLER: I have applied for asylum.
[HABIB: You’ll have a wait, sir. There’s 65 thousand in front of you. And only 1 in 25 stand a chance.] What are your grounds?
FOWLER: I am a Martian dissident, Habib. Who has incurred the displeasure of the Martian authorities, by protesting against the Americans taking any more fuzzy photographs of our gaseous emissions. If I return to Mars, I will be murdered.
HABIB: The Home Office will expect you to prove you’ll be murdered, sir. The normal method is to send you back, and if you get murdered, they’ll admit you were telling the truth.
[FOWLER: Yes, alright, Habib. Great simmering sausages, it’s like sharing a police station with Leon Trotsky.] Alright. I have beamed down in my podule, applied for asylum, been refused, taken refuge in a church, and become the focus of a major protest campaign funded by a charity concert performed by unpleasant comedians who think it’s clever to swear.

(21:00) And yet more from the same scene:

FOWLER: And so my point is illustrated. Goody can only consider my shape.
GOODY: Ah, not so, sir. I’m also thinking about how green you are.
FOWLER: And that is not acceptable either. You must be colour blind. [You may call me a dirty swine. But you may not call me a dirty green swine.
GOODY: Why thank you, sir. You’re a dirty swine.
FOWLER: Don’t be cheeky, boy.
GOODY: Well that’s easy for you to say Zog, you have six cheeks and I haven’t even started counting your bottoms yet.
FOWLER: Look, look, you’re considering only appearance. Concentrating on the fact that I’m different from you. Gladstone?
GLADSTONE: Yes sir.
FOWLER: Can you forget about the fact that I’m green and have three heads?
GLADSTONE: I don’t think I could, sir. Does that make me a racist?
HABIB: Sir,] I think you should be celebrating your greenness. Not hoping that we’ll ignore it.

One thing worth noting: there’s a clear edit point in both versions of the episode after this, following a Goody line about Inspector Fowler “whipping his Curly Wurly”, which looks – and sounds – suspiciously like something else was snipped around this point of the episode. If it was, the material clearly wasn’t deemed good enough to include even in the extended version.

(23:57) A short exchange between Fowler and Dawkins:

FOWLER: Patricia, I require your support. Constable Habib and I are discussing sexual positions. And I want you to assure her that I know only one.
[DAWKINS: Well, there’s no need to tell the whole world.
FOWLER: And that is the upright one.
DAWKINS: What?
FOWLER: In which men and women are interchangeable.]
DAWKINS: Raymond, what are you talking about?

I like this exchange, because I am a twat.

Amusingly enough, this cut means that Goody’s knowing reaction shot is referring to a different line in both versions. In the broadcast edit, it’s reacting to “I want you to assure her that I know only one”, but in the extended version, it’s on the line “men and women are interchangeable”.

(24:53) Oh dear, Grim has got involved in the conversation.

GRIM: Boyle! [Do you think they do a uniform in your size?]
FOWLER: Isms are a very important part of police work, Inspector Grim. People of all races and sexual orientations must feel at home at Gasforth police station. White people. Black people. Hetrosexuals.
GRIM: Well of course, we’re not bigots.
FOWLER: Homosexualists.
GRIM: Steady on.
FOWLER: Yes. Gaysexuals should be able to serve her majesty without fear of harassment.
[GRIM: Only if they’re quiet about it.
FOWLER: No, not if they’re quiet about it. I believe that sexual relations are a diverse and many-splendoured thing.
DAWKINS: Can’t say I’d noticed.
FOWLER: What is more, in order that we might become better educated and more tolerant, I have arranged for an officer of the persuasion under discussion to come and speak to us.
GRIM: You haven’t.
FOWLER: Yes I have.
GRIM: Well I’m not talking to him. Why should I?] It’s all part of this creeping, crawling, poncy, namby, stick-it-up-your-pansy, pardon me for being a fascist, but I just don’t happen to have time to discuss interior design, quiche recipes, and Kylie Minogue hits with Constable Whoopsie.

Note that the mention of the “officer of the persuasion under discussion” is cut here. Why? Because they’re about to remove this entire plot point completely…

(26:53) Yes, the whole ending of the briefing room scene is cut – and with it, the only studio appearance of Melvyn Hayes as Detective Sergeant Quentin Courvoisier:

It really is very sad to lose this huge chunk of Melvyn Hayes in the broadcast version. This removal also has repercussions later on in the episode, as we shall see.

(29:43) Back in reception, as the gang prepare for the raid:

HABIB: This country’s always been absorbing different cultures, different tribes. Immigration’s nothing new.
FOWLER: [Yes, that’s true.] Although invaders have tended to steer clear of the Scots. Nobody wanted to go there, I suppose. Boiled oats and sheep’s stomach are scarcely likely to appeal to French or Italians, are they? And they’re certainly hard fighters. Well, if you live in a country where the thistles are waist-high and nobody’s invented trousers, you’re going to toughen up a bit, aren’t you?
GLADSTONE: Well, like it or not sir, Britain is a melting pot.
[GOODY: My mother says I have some Spanish in me, because of my lovely hair and long lashes. And also she had a rather interesting holiday in Torremolinos in 1973.]
FOWLER: Yes, well, none of this relieves us of a very difficult duty. Come on everybody.

So we can now work out using BASIC MATHEMATICS that Goody is 23, give or take a year. Treasure this information.

(34:03) Back in Fowler’s bedroom, and our final cuts of the episode. This one is particularly interesting because unlike all previous cuts, we actually get some different angles used in the two different versions to make things work, even though the actual takes are identical.

I thought this comparison video would be the best way to show this:³

Obviously, the reference to “the homosexual officer turned out to be a Todger” had to be cut, as that entire plot has been deleted in the broadcast edit. And here is where it becomes obvious the damage removing this thread has caused. Because the whole episode is based around mistaken identity. By removing that extra layer of confusion from the episode, the episode suffers thematically as well as comedically.

Indeed, let’s be clear about this: the episode isn’t merely about mistaken identity. It’s very specifically about “people assuming too much about others through prejudice, causing the mistaken identity”. (The episode – bravely – has Fowler guilty of this too, rather than just pinning it all on Grim. No perfect heroes here.) Thus the episode goes beyond platitudes about “racism/homophobia are bad, mmmkay”, into something a little more interesting.

For this reason alone, “Ism Ism Ism” is well worth watching in its extended edit, rather than the original broadcast version. And that’s not forgetting the extra material earlier in the episode, which packs rather more of a punch when it comes to the material on race.

Series 2, Episode 3: Fly on the Wall

TX: 28th November 1996

“A television crew come to Gasforth to make a documentary about policing in the raw – and they don’t come much more raw than Fowler’s force.”

(4:07) A section removed from the first briefing room scene:

GOODY: Did you see Crimewatch UK on the telly last night? God, it was good. Sometimes when I’m watching I think “Ooooh, that looks so exciting, I wish I was a copper. And then I remember I am one, which is so silly, isn’t it?
[FOWLER: Get on with your work, boy.
GOODY: Yes, yes. (To Habib) I love Jill Dando. She can take down my particulars any time she likes. So serious, so firm. Lovely jackets. I don’t know what she does to the crooks, but she certainly scares me. Yes, I’m afraid the fact of the matter is that crime is just so much better on the television.]
FOWLER: Well, I don’t approve of this current broadcasting trend that turns police work and video surveillance into entertainment.

So, there’s an obvious question here, and I’m not going to mince words. Jill Dando was murdered on the 26th April 1999; two and a half years after this episode first aired. When exactly was this edit made?

I’ve done some rooting around, and can confirm that the broadcast version of this episode never included this dialogue, even on its very first TX. It was only ever present in the extended version.

(14:50) Everyone turns up in silly costumes, just in case you’d forgotten that this series was inspired by David Croft.

GLADSTONE: Sir. You think it’s alright if I wore my father’s Trinidad police dress uniform? [Well, it is part of the Commonwealth after all.]
FOWLER: Now listen to me. All of you. This is a serious documentary about serious police work. [I will not tolerate these vain, unworthy attempts to attract the camera.] We will present ourselves as God made us, and as the Queen expects.

(18:12) A gag cut from the main briefing room scene:

FOWLER: The knife and weapons amnesty which we’ve been running has been at least a partial success. A hacksaw blade, a corkscrew, and a vicious pair of toenail clippers have already been handed in.
[GOODY: And I’ve brought this in, Inspector. It’s a Swiss Army penknife.
FOWLER: Ah, well done, Goody. Confiscated from some juvenile ne’er-do-well no doubt.
GOODY: Oh no, sir, that’s mine. That was a birthday present. And I’ve also brought these in for you as well. It’s six butter knives. Now my Mum says you can have the spoons and forks as well if you like, because the plastic handles crack in the dishwasher.
FOWLER: Goody, when I asked you to look our for knives, I didn’t mean any old knives. I meant those belonging to the criminal classes.
GOODY: Oh. Oh I see, I thought this was some Blue Peter appeal.]
HABIB: Knife amnesties are a waste of time, sir. They’re just publicity stunts.

Not as funny as the “drugs amnesty” joke in Hippies.

(24:38) Oh-ho-ho-ho, what have we here?

Up until now, every single edit we’ve seen has been extra material in the extended VHS/DVD version, cut for broadcast (and iPlayer). But here, there is an entire scene present in the iPlayer version, which isn’t on DVD!

And as soon as you watch it, the reason why becomes obvious.

Yes, there were clearly rights issues with using “My Way” on DVD, so it got snipped out. The subsequent scene between Goody, his puppet, and Fowler on that video is on the DVD, but with Habib’s singing in the background mixed off the soundtrack.⁴ This latter detail almost hurts the episode as much as cutting the scene itself; the feel of mounting chaos at the station is lessened somewhat.

And that’s your lot for “Fly on the Wall”, an episode which clearly didn’t have an awful lot of extra material available. Which very much is not something that can be said for the remaining four episodes.

More next time.

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1. Let’s not discuss the bastardised widescreen versions sitting on Amazon Prime. Not today, anyway. ↩

2. Faithfully, it was ever so, and remains so. ↩

3. Many thanks to Ant, who inspired me to actually learn how to do this through his own brilliant videos. ↩

4. Mixed off very well, incidentally – they either prepared this version when editing the original episode, or went back to the original footage when making this version. ↩

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edits, the thick red line, the thin blue line