Browse content similar to 13/05/2013. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Ricky. We are talking to you about your record-braeblging show and you | :02:18. | :02:22. | |
have a world exclusive for us? I have indeed. | :02:22. | :02:27. | |
Now, criminals on the run in Spain must be feeling nervous after the | :02:27. | :02:32. | |
weekend's capture of Andrew Moran. Martin Bayfield reveals how a | :02:32. | :02:38. | |
slip-up by a drugs baron ended his Costa del Sol life. | :02:39. | :02:48. | |
In November, 2008, this yacht was in danger of sinking off the west coast | :02:48. | :02:53. | |
of Ireland. The Irish Navy spotted him and came to the rescue but this | :02:53. | :02:58. | |
was no ordinary vessel. When the authorities dashboarded the yacht, | :02:58. | :03:02. | |
they discovered an interesting cargo. Neatly wrapped in bales was | :03:02. | :03:11. | |
1. 5 tons of cocaine. The drugs had an estimated street value of �134 | :03:11. | :03:14. | |
million, but the yacht's British crew had an explanation for the | :03:14. | :03:19. | |
cargo. The skip her written that they had found the drugs at sea. | :03:19. | :03:25. | |
According to the log, the crew found the drugs tied to a buoy. It said to | :03:25. | :03:30. | |
discuss with the crew what to do, the best option to bring on | :03:30. | :03:34. | |
dashboard and head home to Liverpool to hand over to the authorities. The | :03:34. | :03:41. | |
captain said he wanted to do a good turn. Wrote that dumping this as sea | :03:41. | :03:45. | |
would be irresponsible. That they have a duty to keep the drugs off | :03:45. | :03:50. | |
the streets. The log suggest it is had nothing to do with them. Really? | :03:50. | :03:57. | |
It added that there may abreward. What a story. The skipper's creative | :03:57. | :04:00. | |
writing skills were impressive but in vain. The authorities had been | :04:00. | :04:05. | |
monitoring the yacht. They were suspicious as the boat had been | :04:05. | :04:09. | |
travelling a route along a route used by smugglers. Although the | :04:10. | :04:15. | |
drugs were seized by the Irish Navy, they were desinned for the UK. SOCA | :04:15. | :04:19. | |
was on the case. It was a significant seizure. One fr | :04:19. | :04:24. | |
the biggest we have had. Gary is a SOCA officer. He led the | :04:24. | :04:29. | |
investigation. He works under cover, so we have agreed not to show his | :04:29. | :04:31. | |
face. You have the drugs, the crew but | :04:31. | :04:36. | |
that could be it but you felt there was something more? There was a crew | :04:36. | :04:40. | |
on dashboard the vessel, there is was an even more interesting | :04:40. | :04:45. | |
character we had to investigate. Someone infrabiger behind this. | :04:45. | :04:50. | |
SOCA officers wanted Mr Big, the mastermind behind the plot. The | :04:50. | :04:54. | |
piece of puzzle was in this paper, found in the captain's chair in the | :04:54. | :05:01. | |
cabin. A hand-written note with a Spanish mobile phone number | :05:01. | :05:06. | |
telephone number was making calls to Spain to a satellite phone on | :05:06. | :05:10. | |
dashboard, whilst it was at sea. The SOCA team had to find out who | :05:11. | :05:15. | |
was making the calls to the yacht. They needed a name. They began by | :05:15. | :05:19. | |
tracing the owner of the boat. We dispatched some of our own | :05:19. | :05:24. | |
investigators to Trinidad. We dispatched them to the boat yard | :05:24. | :05:31. | |
where the vessel was purchased. We had name given to us of David | :05:31. | :05:39. | |
Harvey. Who was David Harvey? Was it even a real name or an alias? The | :05:39. | :05:46. | |
clue was closer to home. In 2007, someone calling himself David Harvey | :05:46. | :05:53. | |
placed an order for a RI B at the London Boat Show. RI Bs like the | :05:53. | :05:57. | |
ones that Harvey ordered are small, discreet and fast, perfect for all | :05:57. | :06:04. | |
sorts of thing, including drug smuggling. Harvey paid a deposit of | :06:04. | :06:08. | |
�15,000 but did not go through with the purchase. Instead he returned a | :06:08. | :06:13. | |
few months later to ask for the deposit back. It was then that the | :06:13. | :06:16. | |
boat enthusiast made a crucial error. | :06:16. | :06:19. | |
David Harvey asked for his money back in the form of a cheque but | :06:19. | :06:24. | |
asked for the money to be paid back in his real name, not in the name of | :06:24. | :06:31. | |
David Harvey but in the real name of John, Ellen Brooks. | :06:31. | :06:36. | |
John Alan Brook was on the police radar. A former used car dealer from | :06:36. | :06:42. | |
Blackpool, he lived in Spain with all of the trappings of wealth. | :06:42. | :06:45. | |
Expensive cars, yachts and a luxury villa. When the officers | :06:45. | :06:52. | |
investigated the number found on the paper found in the drug seizure, | :06:52. | :06:57. | |
they completed the link. They were yards from the villa of one John | :06:57. | :07:04. | |
Alan Brooks. It was Brooks, AK A David Harvey who bought the yacht | :07:04. | :07:09. | |
and masterminded the plot. Gary and he is tame had found Mr Big. In a | :07:09. | :07:14. | |
criminal career spanning three decades, Brooks made millions | :07:14. | :07:18. | |
smuggling drugs around the world, but despite the millions and the | :07:18. | :07:22. | |
flank was a small mistake that brought him down N September of last | :07:22. | :07:28. | |
year he said goodbye to the high life as he was convicted and | :07:28. | :07:33. | |
sentenced to 28 years. A fascinating story. Hard to believe that Martin | :07:33. | :07:37. | |
Bayfield got in that car. That is why they had the roof down. He would | :07:37. | :07:43. | |
not have gotten in otherwise. Ricky, it is hard to believe that The | :07:43. | :07:49. | |
Office came to our screens 12 years ago? Yes, the 9th of July, not that | :07:49. | :07:54. | |
I am a nerd. So, David Brent had a brief | :07:54. | :07:59. | |
appearance on Comic Relief and the good news is he is back? I am doing | :07:59. | :08:05. | |
a series on my internet Channel. Launching it as part of YouTube | :08:05. | :08:10. | |
Comedy Week. The reason I'm dabbling with David Brent, everyone I speak | :08:10. | :08:16. | |
to, their favourite episode was episode four of series one where | :08:16. | :08:21. | |
David Brent gets out the guitar. So this was the excuse. As failed pop | :08:21. | :08:27. | |
star myself, I have written a song for Bowie, I am a frustrated failed | :08:27. | :08:31. | |
pop star. I am reliving it through David Brent. | :08:31. | :08:37. | |
So, these guitar songs that are out, there David Brent is doing | :08:37. | :08:42. | |
tutorials? Exactly but being David Brent it is a good excuse to talk | :08:42. | :08:48. | |
about himself. Hissing songs on there, his philosophies, so he | :08:48. | :08:54. | |
hi-jacks the guitar to do these songs and the songs with, well, they | :08:54. | :08:58. | |
are cringe worthy. Well, we have a clip that has never | :08:58. | :09:03. | |
been seen before. I edited today to get it on the show. | :09:03. | :09:08. | |
So, here is David Brent with the first of his songs. This song a | :09:08. | :09:12. | |
very, very personal it is about my chosen profession of rapping. | :09:12. | :09:17. | |
# Half a tank should get me to Millbank | :09:17. | :09:19. | |
# I'm feeling rough, I head to Sidcup | :09:19. | :09:23. | |
# It is a need # It is only fleeting | :09:23. | :09:27. | |
# Sts a pitch, then I'm up to Ipswich | :09:27. | :09:31. | |
# Life on the road # Don't need a heavy load | :09:31. | :09:40. | |
# Foot down to the floor #07 miles an hour but no more... | :09:40. | :09:47. | |
That has to be an album! There must be! Secretly I have written about | :09:47. | :09:51. | |
ten songs. So maybe we will drip feed a few. I want to doe another | :09:51. | :09:57. | |
one, a Quality Street. It is a laugh but it is such great fun for me to | :09:57. | :10:01. | |
revisit it. Thank you for letting us show that. | :10:01. | :10:04. | |
David Brent has been seen on screen in over 100 countries but one place | :10:04. | :10:11. | |
he has not appeared is in theatre. Until now, in Dudley. | :10:11. | :10:15. | |
The Office, this is not Slough, I mean Dudley. | :10:15. | :10:18. | |
It is here that the first ever stage show of The Office is being | :10:19. | :10:26. | |
performed by the Dudley Little Theatre Amateur Dramatic Group. | :10:26. | :10:34. | |
Pru is the show's mast mastermind, she is behind the adaptation. Are | :10:34. | :10:38. | |
you frightened of putting on this show? No, I'm not frightened. I feel | :10:38. | :10:42. | |
no fear. Over ten years ago, Tim, Dawn and | :10:42. | :10:47. | |
David burst on to our screens to capture the nation's hearts. Claire | :10:47. | :10:53. | |
Heatherington, who plays Dawn is a machinist at a camera bank company. | :10:53. | :10:59. | |
She has been abting for three years. Do you want to do Dawn now? I do the | :10:59. | :11:02. | |
hair twiddling. When you have the blonde wig on. | :11:02. | :11:12. | |
:11:12. | :11:13. | ||
Is that Dawn's wave? Yes. I'm going into The Office... What if | :11:13. | :11:17. | |
you are spotted in the role and Hollywood comes calling are you | :11:17. | :11:22. | |
going to leave Ros in the lunch? would not anybody the lunch. It | :11:22. | :11:28. | |
would be nice to have a go at that. Would you let me have a go? | :11:28. | :11:31. | |
course. She would be proud of you. | :11:31. | :11:41. | |
:11:41. | :11:42. | ||
We are, any way. We are very proud. The boss, David Brent is played by | :11:42. | :11:47. | |
David How ings how close is he to the name sake? So, are you David | :11:47. | :11:51. | |
Brent now? When will you become David Brent? | :11:51. | :11:57. | |
When do you want me to? I don't know where you start and he begins? | :11:57. | :12:02. | |
he starts, 8. 30am. In the morning, in the door. Once the door is shut, | :12:02. | :12:08. | |
in sales, let's get on with it, so... It is uncanny. | :12:08. | :12:14. | |
Be gentle with me Dawn. Why is that? Oofrjts I've been out drinking. | :12:14. | :12:20. | |
What is Pru like as a director? is great, she knows what she wants | :12:20. | :12:25. | |
and gets what she wants. Are you scared of her when she is | :12:25. | :12:34. | |
directing? No, not Pru. Awkward! Awkward! No get an | :12:34. | :12:40. | |
agenda... Sorry?Did you get an agenda? I did fax you on this | :12:40. | :12:44. | |
morning. I didn't get a fax, did we? | :12:44. | :12:49. | |
might have. Why is it not in my hand? How do you | :12:49. | :12:55. | |
describe yourself as a director? Some would say I am a very hard nut. | :12:55. | :13:00. | |
Others would say I'm very easy going. So I suppose it depends on | :13:00. | :13:06. | |
whether you are doing a part well or not. What is that? I put that in | :13:06. | :13:12. | |
there so that the jelly gets... That is the third time he has done it. | :13:12. | :13:18. | |
Why has he done that? I told him I don't trust jelly. | :13:18. | :13:23. | |
I am nervous. It is my baby. I think that anybody would feel that | :13:23. | :13:29. | |
Ricky Gervais might say it is kind of his baby? Well it is his baby, | :13:29. | :13:36. | |
but it has become my toddler, then. Do you know, I will applaud that I | :13:36. | :13:40. | |
think that they were great. We had a word with them, they were really | :13:40. | :13:44. | |
concerned about you seeing that. That is great. | :13:44. | :13:49. | |
But the guy that plays David Brent is amazing. I am flattered that | :13:49. | :13:52. | |
anyone would want to do it. That is great. | :13:52. | :13:58. | |
I will have to see that Can you see it working as a stage | :13:58. | :14:03. | |
play, The Office? I never did. I thought it would not work as I | :14:03. | :14:06. | |
thought that the important ingredient was that it was a fake | :14:06. | :14:10. | |
documentary it explained why David Brent was acting like that, he | :14:10. | :14:15. | |
wanted to be famous, but now that people get it, they underhim, I | :14:15. | :14:18. | |
don't see why not. It is interesting having the crew | :14:18. | :14:23. | |
down at the front. I think it reminds people why he is acting like | :14:23. | :14:28. | |
that. You are watching him on telly, trying to be famous. So as long as | :14:28. | :14:32. | |
you understand that, I think it can work. | :14:32. | :14:36. | |
And the musical with the guitar? Yes. | :14:36. | :14:41. | |
And after The Office came The Ricky Gervais Show. It was a massive | :14:41. | :14:47. | |
success. We could not believe it had been downloaded 470 million times. | :14:47. | :14:52. | |
That is crazy. That is a reflection of the inthir net it is amazing. It | :14:52. | :14:57. | |
is sort of the future. YouTube, next flex it accounts for a third of the | :14:57. | :15:01. | |
traffic in America. That is the future of TV and entertainment. | :15:01. | :15:05. | |
But obviously the key is keying in to what people want to hear or | :15:05. | :15:12. | |
listen to. What is the secret? it as an experiment. I h had herd of | :15:12. | :15:17. | |
podcasting in 2005, then it went crazy, but it is just mates talking. | :15:17. | :15:22. | |
It is sort of like radio, you know, you do a podcast of it, you can | :15:22. | :15:28. | |
listen to it, ironing, driving but with the podcast can do it any time. | :15:28. | :15:32. | |
You are downloading it or streaming it. So, the sky is the limit, | :15:32. | :15:36. | |
really. As you said it is a group of mates | :15:36. | :15:40. | |
moussing on different subjects. did not know if anyone would listen. | :15:40. | :15:43. | |
We didn't really care. Maybe that is the key. | :15:43. | :15:48. | |
I did know that they would probably never have heard any of the drivel | :15:48. | :15:53. | |
like the drivel that Karl Pilkinton came out with, in all seriousness. I | :15:53. | :15:57. | |
mean it shocked people at first, but people say that they listen to it | :15:57. | :16:02. | |
every night before going to sleep. Because he did it, the first in | :16:03. | :16:06. | |
2003, do you think that the subject matter is different now, ten years | :16:06. | :16:11. | |
on? No, because we picked on universal subjects it was always | :16:11. | :16:17. | |
about education, me trying to teach Karl Pilkinton philosophy. The mind | :16:18. | :16:22. | |
body problem, evolution, he still does not get it. It may not work | :16:22. | :16:28. | |
now, he iswiser, believe it or not. But he did have an interesting take | :16:28. | :16:36. | |
on a lot of life. Let's have a look. Underpants, tea towels and | :16:36. | :16:42. | |
aftershave, other people buy me. is bying you tea towels? My mam. I | :16:42. | :16:48. | |
have loads of them. I keep saying I don't need any of. This but she | :16:48. | :16:54. | |
always brings a box full of stuff. Brillow pads, towels, underpants. | :16:54. | :17:01. | |
The underpant size has not gone up since I was 14! What she is saying | :17:01. | :17:06. | |
is true! My underpants have not gone up in size, they are still | :17:06. | :17:12. | |
comfortable, that is worrying. Ic you picked up on the fact that I | :17:12. | :17:17. | |
was wearing a jumper like yours? Yes! Let's talk about the second | :17:17. | :17:21. | |
series of Derek. The first one we loved it is coming back. You said | :17:21. | :17:27. | |
that was the most fun thing you have done? It is my most favourite thing | :17:27. | :17:32. | |
I have ever done and Hannah is the rit character that I have created | :17:32. | :17:36. | |
that I could not play myself. So I have a lot of affection for it. I am | :17:36. | :17:40. | |
writing it now. It is going around the world. It will start in America | :17:40. | :17:45. | |
in the summer, the rest of the world will catch up, but writing it now. | :17:45. | :17:50. | |
It must be great to have all of that kreel over the little elements? | :17:50. | :17:58. | |
you saying I'm a control-freak! ? Well we did find this picture of you | :17:58. | :18:03. | |
and Simon Cowell, there are traits there, Ricky, there are traits! | :18:03. | :18:10. | |
my God! That is scary! Are you the control king of comedy? | :18:10. | :18:14. | |
controlling my stomach. I'm holding it in better than he is there! I | :18:14. | :18:20. | |
must have seen the photographer! Brilliant. Now the DVD of The Ricky | :18:20. | :18:24. | |
Gervais Show is out today. We know you are a big fan of Laurel | :18:24. | :18:31. | |
& Hardy. My favourite of all time. Gyles traces the last UK tour to | :18:31. | :18:37. | |
Birmingham and reveals how a local carpenter came to have a hand in the | :18:37. | :18:43. | |
ultimate custard pie fight. In the winter of 1953, Laurel & Hardy began | :18:43. | :18:51. | |
their last ever tour in Britain. Here came Stan Laurel and tagging on | :18:51. | :18:54. | |
behind, Oliver Hardy. Throughout their career, the British | :18:55. | :18:59. | |
public had a special bond with the pair. The tour brought them here to | :18:59. | :19:03. | |
Birmingham, this very street. Little did they know then, that Britain's | :19:04. | :19:08. | |
second city would come to play a great role in preserving their | :19:08. | :19:13. | |
legacy. Roy Edwards was one of those lucky enough to see them in the | :19:13. | :19:21. | |
flesh. Roy, you saw them six years before the final tour? I was 16. I | :19:21. | :19:27. | |
queued at the theatre from 6. 30am to 8. 30pm. What did it feel like to | :19:27. | :19:34. | |
be there? In the front row of the upper Gods, ing theme -- these | :19:34. | :19:39. | |
people? Well, it was amazing, we had only seen them in black and white, | :19:39. | :19:44. | |
now they were in living colour. What was the audience' action? | :19:45. | :19:48. | |
was the first Hollywood film stars we had seen. | :19:48. | :19:54. | |
What did you do when the curtain came down? We got outside to the | :19:54. | :20:00. | |
stage door as quick as we could. the snow? Yes, in the snow. Stan | :20:00. | :20:03. | |
came close to me before he got in the car. I managed to shake his | :20:03. | :20:06. | |
hand. This is as close as we are going to | :20:06. | :20:11. | |
get. This is the hand that shook the hand of Stan Laurel and this is the | :20:11. | :20:15. | |
guy who saw Laurel & Hardy in colour! On that final tour, they | :20:15. | :20:20. | |
stayed here in the beautiful Birmingham k Birmingham agenda | :20:20. | :20:25. | |
Palace, the Barton Arms. Another fellow was an American man who was | :20:25. | :20:31. | |
at the final show who went back stage to meet his heroes. It was | :20:31. | :20:38. | |
later that he would create a global aappreciation society for the pair | :20:38. | :20:45. | |
called The Sons Of The Dessert. John Allah is their founder. | :20:45. | :20:52. | |
People think we wear a bowler hat but it is a Fez. In the film The | :20:52. | :21:00. | |
Sons of the Desert, this is the film. What are the tents called? | :21:00. | :21:06. | |
They were called Black and Great. Here, the connection runs deep with | :21:06. | :21:10. | |
Laurel & Hardy. Stan enjoyed a drink. Someone he | :21:10. | :21:16. | |
enjoyed having a drink with more than most was Charlie Hal, l who | :21:16. | :21:20. | |
appeared in 47 of the Laurel & Hardy films. | :21:20. | :21:26. | |
Charlie Hall was born in Birmingham in 1899, as a carpenter he decided | :21:26. | :21:31. | |
to try his luck in Hollywood. He became a guy of Stan Laurel. They | :21:31. | :21:37. | |
were friends all of their life. He was in a part of 47 of the Laurel | :21:37. | :21:42. | |
& Hardy films. So a Birmingham chippie in half of | :21:42. | :21:44. | |
the Laurel & Hardy films? That is right. | :21:44. | :21:50. | |
In the film Battle of the Century, Laurel & Hardy threw 3,000 pies. I | :21:50. | :21:55. | |
am proud to say that the first pie thrown in that film was thrown by a | :21:55. | :21:59. | |
young man from Birmingham, Charlie Hall. | :21:59. | :22:03. | |
The first pie thrown in a Laurel & Hardy film was thrown by somebody | :22:03. | :22:13. | |
:22:13. | :22:18. | ||
born and bred in Birmingham? ! is correct! The 53, 54 Tour of | :22:18. | :22:26. | |
Britain was to be the last a double act. Oliver then got ill and could | :22:26. | :22:30. | |
only appear for one last show in Plymouth. They made a final TV | :22:30. | :22:35. | |
appearance filmed in the States for the BBC. A poignant farewell to | :22:35. | :22:42. | |
their British fans. Goodbye British water rats and our | :22:42. | :22:47. | |
many friends and fans. Good luck. We will never forget you. That's right, | :22:47. | :22:52. | |
Stanley, we never shall. Today, the members of the Laurel & | :22:52. | :22:56. | |
Hardy fan club, remember them not worn down by performing but as | :22:56. | :23:00. | |
comedy legends. They are especially proud an happy as they know it was a | :23:00. | :23:05. | |
Birmingham boy who made movie history like this. | :23:05. | :23:10. | |
Very good, Gyles. Gyles is here to tell us more, but first, Ricky, it | :23:10. | :23:15. | |
is interesting that Laurel & Hardy's comedy lives on in yours? I am | :23:15. | :23:20. | |
obsessed by them. I was about five or six when I watched Laurel & | :23:21. | :23:26. | |
Hardy. Ollie looked down the lens to me, I was sold it is terrible for an | :23:26. | :23:30. | |
actor, I want to do it on everything. To look down the lens it | :23:31. | :23:37. | |
is so compelling to watch. Is that where the signs in The | :23:37. | :23:43. | |
Office come from? We were allowed to do it. All the time, me and Martin | :23:43. | :23:47. | |
used to have competition, who could do the best Ollie and quotes for | :23:47. | :23:53. | |
each other. He is obsessed as well. I absolutely love Laurel & Hardy. | :23:53. | :23:58. | |
We saw some of Battle of the Century, a big pie fight, but it was | :23:58. | :24:03. | |
not typical of their act? No, that was a spoof. They thought that pies | :24:03. | :24:09. | |
were overegging it, so they steered clear of pies, other than in that | :24:09. | :24:13. | |
feature, where they went pie berserk. The pie itself is old and | :24:13. | :24:17. | |
interesting, the origin of the pie it comes from the European circus | :24:17. | :24:25. | |
trad igs. It got to Hollywood in 09, a character called Been Turp inwho | :24:25. | :24:29. | |
flirts and a young lady gives him a custard pie. | :24:29. | :24:38. | |
Is he the one with the eye? That's the man, but it took off in 1913, a | :24:38. | :24:45. | |
laid called Mable Normand. She was in the studio, saw a lemon pie on | :24:45. | :24:50. | |
the table, saw Fatty Arbuckle, legend has it, the cameras were | :24:50. | :24:54. | |
rolling and she picked it up to give it to Fatty Arbuckle. | :24:54. | :25:01. | |
Why did you look at me when talking about Fatty Arbuckle? Because he is | :25:01. | :25:07. | |
an iconic figure. He was also ambidexterous. He could throw two | :25:07. | :25:10. | |
pies, simultaneous and in two different directions and hit the | :25:10. | :25:15. | |
target. It could not be done by many! One of the loveliest things in | :25:15. | :25:20. | |
that film is that when you said that guy was the least to see Laurel & | :25:21. | :25:25. | |
Hardy in colour, so many people are used to seeing them in black and | :25:25. | :25:31. | |
white. We have a pie here it is a perfect example of how they were | :25:31. | :25:36. | |
made for black and white telly. When it was black and white, a pale | :25:36. | :25:42. | |
pie could not be seen. So they added blackberries, blueberries, to make | :25:42. | :25:48. | |
the pie stand out in black and white if you were a blonde or wearing | :25:48. | :25:53. | |
light-coloured clothes you got a darker pie if you were dark-haired | :25:53. | :25:58. | |
they Gay you the lemon meringue with lots of cream on the top, but they | :25:58. | :26:03. | |
never threw a pie with a plate! advice. | :26:03. | :26:08. | |
And always a nice soft crust. We get all of this from Buster Keaton, the | :26:08. | :26:14. | |
great authority N the 1906s, he was still alive and revealed the | :26:14. | :26:18. | |
secrets. He kept the secrets all of these years. Then it came out. How | :26:18. | :26:23. | |
it was done, how it was made. Mack Sennet said you can throw a pie at a | :26:23. | :26:28. | |
mother-in-law but never at a mother. Fair enough. Now we have pies over | :26:28. | :26:32. | |
there, as you can see. Gyles is going to tell us about different | :26:32. | :26:37. | |
custard pie moves, so let's go over... The first one is the shot | :26:37. | :26:42. | |
put. According to Buster Keaton, this is thrown from a distance of | :26:42. | :26:47. | |
three to five feet and then you need to make sure that the pie is the | :26:47. | :26:54. | |
right weight to fly as it leaves. See which one you fancy, but before | :26:54. | :27:00. | |
you throw it, we need r target. we thought, who could be better than | :27:00. | :27:06. | |
Karl Pilkinton. Whoea! This is the shot put. Off we | :27:06. | :27:13. | |
go, Ricky. Good luck with this. is going to end in tears. We are all | :27:13. | :27:23. | |
:27:23. | :27:25. | ||
going to join in! Get the rate right! Bull's eye! Next sup the | :27:25. | :27:30. | |
ancient Roman discus throw. Spinning halfway around, then letting go, | :27:30. | :27:37. | |
hitting the victim square in the face! OK. Ready? I have a degree in | :27:37. | :27:47. | |
:27:47. | :27:47. | ||
philosophy! Right, ready? Yeah, go! Oh! Nearly. Nearly. I think you will | :27:47. | :27:51. | |
do better with the walking thrust. This was Buster Keaton's favourite. | :27:52. | :27:57. | |
Walking up to the person, pushing the pie in their face and before you | :27:57. | :28:01. | |
walk away, give it to the person with a little twist. This makes the | :28:01. | :28:07. | |
pie cling to the person. This is the last one, make it count. | :28:08. | :28:15. | |
LAUGHTER! Thank you very much indeed! Ricky, | :28:15. | :28:24. | |
honestly, thank you, mate. Thank you very much! | :28:24. | :28:26. | |
LAUGHTER It tastes nice, though it really | :28:26. | :28:31. | |
does. That is unfair, do you want to get | :28:31. | :28:37. | |
me back? ! Go on? Do you mind if I do the walking | :28:37. | :28:45. | |
thrust? ! What? !Good lad. Excellent. | :28:45. | :28:49. |