Browse content similar to 14/02/2013. Check below for episodes and series from the same categories and more!
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Happy Valentine's Day and welcome to The One Show. Tonight's guest | :00:22. | :00:25. | |
was Oscar-nominated for his very first film. He made Superman kneel | :00:25. | :00:34. | |
before him and he has been immortalised in song. Please | :00:34. | :00:38. | |
welcome Terry, or as he is better known, Terence Stamp. Good to see | :00:38. | :00:44. | |
you. If you could use your microphone, I think we have a few | :00:44. | :00:47. | |
problems with yours. I am so special that I have my own | :00:47. | :00:55. | |
microphone. We thought you were going to join in with the song. | :00:55. | :00:59. | |
says the one Terence! That song was about you and Julie Christie. We | :00:59. | :01:08. | |
would like to take you back to a different romance. Think the 1960s, | :01:08. | :01:12. | |
London. You moved in together. What was it about Michael Caine that | :01:12. | :01:17. | |
made him the perfect flatmate? very in experienced with mail love- | :01:17. | :01:25. | |
making. But you were good mates and you were actors. Were you starting | :01:25. | :01:29. | |
out together, was it quite competitive with scripts? I had | :01:29. | :01:34. | |
left drama school. I had done one job and I was spotted in this job. | :01:34. | :01:40. | |
He was on tour with a thing called the long, short and tall. He | :01:40. | :01:44. | |
understudied Peter O'Toole. And he had not got on, so he accepted the | :01:44. | :01:50. | |
tour. After a few weeks, they lost States. They let the actors go. And | :01:50. | :01:56. | |
then they got more dates. -- they lost dates. I knew the words, so I | :01:56. | :02:05. | |
got the part. Now I am on the road with the great Maurice Nicol writer. | :02:05. | :02:12. | |
He was very offhand with me. Unusually of hand. After a while, | :02:12. | :02:22. | |
:02:22. | :02:23. | ||
he saw that I was really into pulling birds, you know? He said, I | :02:23. | :02:33. | |
:02:33. | :02:37. | ||
thought he was a poof. There were many Valentines cards cent this | :02:37. | :02:40. | |
year from secret admirers. We are challenging you to come clean. | :02:40. | :02:46. | |
you have sent one anonymously today or on past Valentine's Days and you | :02:46. | :02:49. | |
are feeling brave enough to say that it was you, we need your name, | :02:49. | :02:54. | |
a photograph and the name of the person you sent it to. Do you think | :02:54. | :02:58. | |
anybody will come clean? About what? About sending a card. If they | :02:58. | :03:06. | |
had sent one anonymously. A to you? Not to me! I wish I had never asked. | :03:06. | :03:11. | |
They sent a card to somebody, you mean? This is good, explaining it, | :03:11. | :03:16. | |
maybe does at home didn't get it. If they have sent a card to | :03:16. | :03:22. | |
somebody, they don't know who it is, we would like them to write in. | :03:22. | :03:26. | |
That's what I did as a child. Hoping they would know it was me, | :03:26. | :03:30. | |
but I never signed it. Today is a day for grand romantic gestures. | :03:30. | :03:38. | |
Lucy Siegle is in Morley, near Leeds, to make what happened. She | :03:38. | :03:43. | |
is just looking at the Valentine's cards, wondering what might have | :03:43. | :03:45. | |
been? If we had a plan to prevent The One | :03:45. | :03:53. | |
Show viewer Tina Fox from spending Valentine's Day or her own, while a | :03:53. | :03:59. | |
love of her life, Scott, does his shift in Leeds. We can see that he | :03:59. | :04:04. | |
has started his ship and is hard at work. He doesn't know what is going | :04:04. | :04:09. | |
on. You work days, at the supermarket. Scott works nights. | :04:09. | :04:14. | |
How much do you see of each other? Not a lot, it is like passing ships | :04:14. | :04:18. | |
in the night. I know that you are very romantic? We like to spend a | :04:18. | :04:26. | |
lot of time together, as much as we can. You call him Mr wonderful, he | :04:26. | :04:30. | |
calls you Honey Bunny. We have a romantic meal for two in the | :04:30. | :04:36. | |
supermarket. We have a bottle of wine, we have a waiter and we have | :04:36. | :04:40. | |
the choir. We are keeping them under wraps. Remember, Scott knows | :04:40. | :04:44. | |
nothing about this. His reaction is going to be priceless. See you | :04:44. | :04:49. | |
later. Now, the Government says that over | :04:49. | :04:53. | |
100,000 more new homes are needed to meet demand. The question is, | :04:53. | :04:59. | |
where do you put them? Many are not happy with the answer, including | :04:59. | :05:03. | |
residents of a village 20 miles up the road from Morley. | :05:03. | :05:08. | |
If, like me, you have chosen to live in the countryside, you | :05:08. | :05:12. | |
probably think you're stunning view and rural way of life are protected. | :05:12. | :05:17. | |
Well, you and I could be in for a rude awakening. The Government is | :05:17. | :05:21. | |
determined to push ahead with plans to declassify green belts and | :05:21. | :05:25. | |
allowed the building of thousands of much-needed new homes in their | :05:25. | :05:30. | |
place, right across the country. Here in the picture-postcard | :05:30. | :05:35. | |
village of Menston in West Yorkshire, life in their real life | :05:35. | :05:42. | |
picture postcard could prove to be as much of a curse as a blessing. | :05:42. | :05:46. | |
The curse is this. These fields could soon become home to hundreds | :05:46. | :05:54. | |
of new houses. Developers have already submitted plans to build | :05:54. | :05:59. | |
900 new homes around the village, after Bradford Council began | :05:59. | :06:03. | |
detoxifying parts of the green belt several years ago. 900 homes means | :06:03. | :06:10. | |
3000 extra people. That is a 40% increase in the population that | :06:10. | :06:15. | |
locals claim they cannot cope with. There is one secondary school, but | :06:15. | :06:20. | |
it is a Roman Catholic school. So that restricts the intake. It takes | :06:20. | :06:26. | |
children from all over the district. We have 15 shops, a couple of | :06:26. | :06:30. | |
corner shops, a chemist and post office. We cannot create any more | :06:30. | :06:35. | |
shops because there was only one street. Would you say it is going | :06:35. | :06:40. | |
to be swamped? Can you cope? cannot cope with that number, it is | :06:40. | :06:44. | |
not possible. The Government has pledged to take into consideration | :06:44. | :06:49. | |
the public's view before allowing planning permission. But growing | :06:49. | :06:52. | |
numbers of demonstrators say this is not happening. This protest was | :06:52. | :06:59. | |
in West Yorkshire. Save our Green Belt! In Menston, they even | :06:59. | :07:03. | |
commissioned their own referendum. Of those that quoted, 98% were | :07:03. | :07:08. | |
against the development. -- voted. I am not going to stop until they | :07:08. | :07:11. | |
say the last house is not going to be built. We will keep fighting the | :07:11. | :07:16. | |
development as long as it takes. will never give up and nor will be | :07:16. | :07:19. | |
community. Alan and his neighbours have spent tens of thousands of | :07:19. | :07:22. | |
pounds of their own savings, commissioning reports on the | :07:22. | :07:27. | |
potential risk of flooding to local sewage mains. The run-off from the | :07:27. | :07:32. | |
Moore comes from dozens of different streams. It runs down to | :07:32. | :07:35. | |
the north of the village. Everything travels through the | :07:35. | :07:40. | |
village. What it means is if they build here, it will flood. What are | :07:40. | :07:43. | |
the council saying? They are looking at the expert's report done | :07:43. | :07:50. | |
by the developers. It is a bit galling, isn't it? We have asked | :07:50. | :07:53. | |
Bradford City Council for an interview about the development. | :07:53. | :07:57. | |
They tell us at city hall that nobody is available to give us one. | :07:57. | :08:00. | |
The council did eventually sent a statement saying that their | :08:00. | :08:04. | |
priority is to build on brownfield sites and protect green belt and | :08:04. | :08:10. | |
quality landscape. If possible. The Government is determined to create | :08:10. | :08:15. | |
up to 70,000 new homes by 2020. It believes communities like Menston | :08:15. | :08:19. | |
will benefit from these plans. There are many, many improvements | :08:19. | :08:23. | |
that this will bring, as well as the investment into the village, | :08:23. | :08:29. | |
assisting businesses, further support for public transport, the | :08:29. | :08:35. | |
fields beyond that tree belt will become a public open space, which | :08:35. | :08:39. | |
will link with other open spaces in the middle of this site. You are | :08:39. | :08:44. | |
going to build new countryside? Effectively, we are enhancing parts | :08:44. | :08:51. | |
of the countryside. The let her look at this magnificent view. Like | :08:51. | :08:55. | |
many in the countryside, Alan wants to preserve the view from his | :08:55. | :09:00. | |
garden for as long as he can. If, as expected, the developers get the | :09:00. | :09:02. | |
go-ahead to start building in early summer, Alan and his neighbours | :09:02. | :09:11. | |
will have little choice but to bow to progress. Nowhere is ever forth | :09:11. | :09:15. | |
across and -- sacrosanct forever. But is it proportional and | :09:15. | :09:21. | |
sustainable? As far as Menston is concerned, no. | :09:21. | :09:26. | |
They would say it is nimbyism. I don't want it here, everybody else | :09:26. | :09:30. | |
doesn't want to have their view spoiled? It's not just about me, it | :09:30. | :09:35. | |
is about future generations. We will carry on. The council have | :09:35. | :09:39. | |
told us that the developers will have to provide affordable housing | :09:39. | :09:46. | |
and improvements to local schools, highways, and sports facilities. | :09:46. | :09:49. | |
With government regulations, they are not allowed to take the | :09:49. | :09:55. | |
referendum into account. Let's talk about Song For Marion, the new film | :09:55. | :10:00. | |
opening on Friday. 20 minutes in, we were both in tears. It is | :10:00. | :10:04. | |
trailed as a light comedy, but it is a emotionally charged, a love | :10:04. | :10:12. | |
story between yourself and Vanessa Redgrave? Why is this film so | :10:12. | :10:22. | |
:10:22. | :10:27. | ||
important? It deals with a subject I am familiar with, two people meet | :10:27. | :10:32. | |
and it is that for life. Romeo and Juliet, as well. Are you talking | :10:32. | :10:38. | |
about your parents? When I decided that I felt confident enough to | :10:38. | :10:45. | |
play it, they were ordinary and that is what made it unusual. They | :10:45. | :10:51. | |
were ordinary. What can I relate to? I thought, my mum and dad. They | :10:51. | :10:56. | |
never wanted other lovers. They never wanted... He only ever got | :10:56. | :11:01. | |
�12 per week. They had five children. They just loved each | :11:01. | :11:06. | |
other, you know? He was very, very handsome. She worships him, you | :11:06. | :11:12. | |
know what I mean? But he was closed down, the war had dropped him off | :11:12. | :11:17. | |
the grace of his nature. That is what makes it even more emotional, | :11:17. | :11:21. | |
watching it and knowing you are going through this. It is so | :11:21. | :11:26. | |
beautifully shot and so real at the same time. I think people watching | :11:26. | :11:31. | |
it feel they are looking through the window of that bungalow. They | :11:31. | :11:36. | |
got the right people. It was a pleasure just to report for work in | :11:36. | :11:42. | |
the morning. We all knew the real emotions that were happening to us. | :11:42. | :11:50. | |
It all revolves around a community choir. Here is the time that Arthur | :11:50. | :12:00. | |
:12:00. | :12:02. | ||
gets to sing for the first time in # Hey, if you happen to see the | :12:02. | :12:05. | |
most beautiful girl that walked out on me. | :12:05. | :12:10. | |
The rig tell her I'm sorry, tell her I need my baby. | :12:10. | :12:20. | |
:12:20. | :12:26. | ||
Everybody that watches it will be able to take something away from | :12:26. | :12:33. | |
it? Everybody I have spoken to that has seen it, they have not just | :12:33. | :12:37. | |
related to it, they have empathised with it. Everybody has lost | :12:37. | :12:47. | |
somebody. We do not think about it, do we? What is important for me is | :12:47. | :12:52. | |
that everybody has to die, but not everybody lives. This is about the | :12:52. | :12:56. | |
redemption of a man, you know? different to the sets you are used | :12:56. | :13:01. | |
to filming on in Hollywood, the little bungalow? Did it feel like a | :13:01. | :13:11. | |
world away? Yes. There is a trend, isn't there, of films that focus on | :13:11. | :13:14. | |
problems that effect may be more mature people? You have the exotic | :13:14. | :13:21. | |
marigold Hotel, It's Complicated, do you think it will start a new | :13:21. | :13:28. | |
trend? When the film closed the Toronto Festival, when I was at the | :13:28. | :13:32. | |
front of the cinema, the exit and entrance was at the back. It was a | :13:32. | :13:36. | |
big room. At the end of the film, hundreds of people came to the | :13:36. | :13:41. | |
front row, to tell make, make more movies like this. There are no | :13:41. | :13:50. | |
movies being made for us. What is important for me is that that | :13:50. | :13:56. | |
generation likes to go to the cinema. I was at a birthday party | :13:56. | :14:00. | |
for the Queen Mother, some years ago. It is always a bit awkward, | :14:00. | :14:06. | |
when you have to say hello, and she said, you are an actor? It said, | :14:06. | :14:12. | |
yes. She said, what would I have seen you in? I said, have you got a | :14:12. | :14:18. | |
video? She said, yes, but I like to go to the cinema. I like it when | :14:18. | :14:25. | |
the lights go down. I thought, yes. That is what it is about. So, your | :14:25. | :14:33. | |
individuality becomes at one worth the whole, you know? Song For | :14:34. | :14:43. | |
:14:44. | :15:05. | ||
dog house. ever made without nothing what it | :15:05. | :15:14. | |
is about. I have a miss tear jous - no idea what this is about. It is a | :15:14. | :15:19. | |
piece of paper it says on it that a leading forensic artist is at your | :15:19. | :15:23. | |
home. Together we have to create a picture of my wife's face. Doing | :15:23. | :15:26. | |
this will establish how accurately someone can remember a face that | :15:26. | :15:31. | |
they think that they know well. You may not refer to photos. Good luck! | :15:31. | :15:36. | |
Oh, dear! Argh! What will Clare think? We've been married 25 years. | :15:36. | :15:44. | |
I really don't want to muck it up! Mike's not that observant. I have | :15:44. | :15:49. | |
heard him. When we were fairly newly married, strike me as blue- | :15:49. | :15:55. | |
I'd blonde, I am barely blonde, I am certainly not blue-eyed. I'm | :15:56. | :16:01. | |
intrigued! I meet Stiev Driver, a forensic artist with the Yorkshire | :16:01. | :16:05. | |
Police for 40 years. This test presents a challenge even for him. | :16:06. | :16:10. | |
If I were working with a witness I would try to take them back menally | :16:10. | :16:15. | |
to the scene. Have you met my wife, Clare? I have | :16:15. | :16:18. | |
no idea. I cannot help you in that respect. | :16:18. | :16:23. | |
A team of psychologists have been looking in the area in the study of | :16:23. | :16:27. | |
relationships. One theory is much as you may love your partner, your | :16:27. | :16:30. | |
mental picture is divorced from reality. | :16:30. | :16:37. | |
OK. So she has blonde hair. Kind of falling to her shoulders. | :16:37. | :16:43. | |
Steve starts with a sketch. How to describe her. It is only the start | :16:43. | :16:51. | |
and already I'm getting stuck. A lovely smile... Pale... From my | :16:51. | :16:56. | |
normal work we try to produce a type lightness of a person that | :16:56. | :16:59. | |
witness may have seen somebody for two or three seconds. They encode | :16:59. | :17:07. | |
the basic geem tri of the face into the memory but don't know the finer | :17:07. | :17:13. | |
details. It is difficult for you as you want to produce the final image. | :17:13. | :17:20. | |
Her eyebrows? I have not a clue. Never thought about her eyebrows? | :17:20. | :17:26. | |
Does she pluck snem I don't think Her eyes, brownish, Hazel with a | :17:26. | :17:31. | |
little bit of green in them. The sketch is done. We move to the | :17:31. | :17:34. | |
computer to get the fine detail or try to. | :17:34. | :17:39. | |
More hair around there. And her forehead looks too big. | :17:39. | :17:43. | |
The odd thing is that I am beginning to question what she | :17:43. | :17:53. | |
:17:53. | :17:54. | ||
looks like at all! So, the moment of truth is it Clare? I think I | :17:54. | :17:58. | |
have done quite well. The psychologist doing similar work | :17:59. | :18:03. | |
discovered we don't see our partners as others see them. Our | :18:03. | :18:07. | |
picture may even be frozen from the day of that first encounter. | :18:07. | :18:12. | |
There is is a expression that love is blind. Do you think that is | :18:12. | :18:18. | |
true? I don't think it is so much blind as wearing rose-tinted | :18:18. | :18:24. | |
glasses. There is a tendency among romantic couples to idealise their | :18:24. | :18:30. | |
partners. I think that Clare is warmer, Gent | :18:30. | :18:35. | |
had -- gentler and nicer than she really is? That has a positive | :18:35. | :18:39. | |
effect. It has a beneficial effect in your relationship. | :18:39. | :18:42. | |
You have invested in your relationship. You think nicely of | :18:42. | :18:45. | |
her, but it tends to stabilise the relationship as well. | :18:45. | :18:52. | |
Now, obviously I prefer the real thing, but what will Clare make of | :18:52. | :18:58. | |
my imagined wife? Meet your doppleganger! Oh, my goodness! | :18:58. | :19:05. | |
There is is a likeness there. A defendant likeness. Can you see it? | :19:05. | :19:09. | |
This is where I discover if Mike loves me or not. | :19:09. | :19:14. | |
The lips are about right. The chin is not bad. The nose is a bit | :19:14. | :19:17. | |
pointy. That is meant to be good, is it? | :19:18. | :19:21. | |
Yes. It is not unflattering, to be fair. | :19:21. | :19:29. | |
I don't think. I forgive you for it! Thank you! | :19:29. | :19:34. | |
Michael, I didn't think that was too bad? I thought it was OK. | :19:34. | :19:38. | |
Yes. So do you think that your results back up what the study | :19:38. | :19:44. | |
said? To some degree. The original study, the idea is that you are | :19:44. | :19:49. | |
blind to your partner's defects. They got blokes cruelly to judge | :19:49. | :19:54. | |
their wives, give them a score of ten and then they got the general | :19:54. | :19:58. | |
public to give them a score out of ten. Generally the blokes give a | :19:58. | :20:04. | |
bigger score than the wife. I'm sure that they were frightened! | :20:04. | :20:08. | |
Are you a romantic guy, Michael? try to be. | :20:08. | :20:15. | |
Let's find account, Clare is in the audience. Clare, what is the most | :20:15. | :20:18. | |
remonthic thing that mike Hal has done for you? Probably when he | :20:18. | :20:24. | |
followed me. Got a plane and a canoe to follow me up the Amazon to | :20:24. | :20:29. | |
propose. Michael! That is full on! Wonderful. | :20:29. | :20:33. | |
So, all of these scientists are coming out with theories about | :20:33. | :20:38. | |
where we fall in love, how we fall in love. Give us the best two. | :20:38. | :20:42. | |
OK. One is the two people who are in love. | :20:42. | :20:46. | |
They took them in a brain scanner to show them pictures of their | :20:46. | :20:50. | |
beloved. Measures the brains and came back three years later to see | :20:50. | :20:55. | |
which couples were together. Then they went back to the original | :20:55. | :20:59. | |
brain image to see if they had something in common. What they had | :20:59. | :21:06. | |
in common is the area of the brain had been switched off when they saw | :21:06. | :21:11. | |
their beloved. So love is blind. Is that cynical? Well, let's try | :21:11. | :21:15. | |
the divorce drug. The idea there is you are a couple, | :21:15. | :21:22. | |
struggling. There will is a team in Oxford who give you a concoction of | :21:22. | :21:29. | |
hormones and if you take it you fall back in love again! You are | :21:29. | :21:33. | |
not buying it, are you? What if you start cuddling other people? How | :21:33. | :21:38. | |
does it make you focus on your wife? Brilliant. | :21:38. | :21:42. | |
I can't believe you canoeed up the Amazon? | :21:42. | :21:47. | |
And when I saw Clare there I proposed on the spot. | :21:47. | :21:54. | |
We bet you have something amazing planned for tonight, then? Love is | :21:54. | :21:58. | |
when thought isn't. That appears to be what the | :21:58. | :22:02. | |
research is, or at least it appears beyond thought. | :22:03. | :22:05. | |
Right. If you have only put Valentine's plans together today, | :22:05. | :22:11. | |
you are about to meet a man that puts you to shame. | :22:11. | :22:18. | |
I nobody somebody like that. Well, he has been working on this | :22:18. | :22:21. | |
for ten months but the girl in question has particular needs. | :22:21. | :22:26. | |
These are the Fred and the Ginger of the fish world. A courtship that | :22:26. | :22:30. | |
is a delicate dance where they spiral around each other and hold | :22:30. | :22:35. | |
tails for hours on end. I'm hoping to see some of this behaviour | :22:35. | :22:41. | |
first-hand, but this time I'm heading indoors. Here in Plymouth, | :22:41. | :22:45. | |
the biologists are busy putting sea horses into the spotlight. They | :22:45. | :22:49. | |
want British sea horses into every aquarium in the country. To do that, | :22:49. | :22:55. | |
they have to breed them, but it is a tricky task. Sea horses are | :22:55. | :22:59. | |
incredibly fussy creatures. Marcus Williams, the senior biologist here | :22:59. | :23:03. | |
lass spent ten months trying to get everything just right. | :23:03. | :23:08. | |
The water quality must be right. All elements of the PH temperature. | :23:08. | :23:12. | |
The diet. We have to ensure that is right for the babies if we have | :23:12. | :23:17. | |
them, also for the adults. The tanks have to be set up correctly. | :23:17. | :23:23. | |
Whether it is the tanks the depths or for them to hold on to something. | :23:23. | :23:29. | |
In the wild, the sea horses cling to seagrass. It stops them being | :23:29. | :23:33. | |
washed away by the currents. Here they have to find the right | :23:33. | :23:37. | |
thickness of rope to make them feel secure. | :23:37. | :23:42. | |
If we don't get the elements right, the sea horses will not be happy, | :23:42. | :23:46. | |
they will not be interested in breeding. | :23:46. | :23:50. | |
Now after ten months, Marcus has to guess which of the fussy animals | :23:50. | :23:54. | |
may like each other enough to breed. I have taken the strongest-looking | :23:54. | :23:59. | |
fish. The ones that look feisty, who feed well, but what I try to do | :23:59. | :24:04. | |
is to pick out pairs. Usually it is a bit pot-luck. | :24:04. | :24:09. | |
To give the hopeful councils space, he has to move the others to | :24:09. | :24:13. | |
another tank. With the delicate creatures holding on fast, there is | :24:13. | :24:20. | |
another set of things to do. What we will do is gently take hold | :24:20. | :24:30. | |
:24:30. | :24:40. | ||
of the base of the tail holding on be moved in stages. | :24:40. | :24:44. | |
Water from the new tank must be sioned into the buckets and the | :24:44. | :24:49. | |
temperature matched to acclimatise. It is very much like if a person | :24:49. | :24:53. | |
were to go from a hot to a cold climate. You would be in shock. You | :24:53. | :24:58. | |
would not like it. It is the same with a sea horse but the effects | :24:58. | :25:05. | |
can be worse. They can be stressed and become ill. | :25:05. | :25:09. | |
But all of the attention to detail seems to be paying off. Sea horses | :25:09. | :25:14. | |
tend to do their courting early in the morning. Dawn is the best time | :25:14. | :25:21. | |
to sneak in the aware yum to have a look. At first we are not sure -- | :25:21. | :25:26. | |
aquarium. At first we are not sure, but these are subtle creatures. | :25:26. | :25:32. | |
There, there is interest there. He is bending around the female now. | :25:32. | :25:37. | |
She has really changed colour. She has gone paler. The pale sign is a | :25:37. | :25:41. | |
really good sign that they are wanting to pair and are ready to | :25:41. | :25:47. | |
pair. They are holding tails there. | :25:47. | :25:53. | |
Yes, the tails are intertwined. You cannot imagine a fish being | :25:53. | :25:58. | |
affection nait, but this is a fish being affectionate. This is lovely. | :25:58. | :26:02. | |
It is the beginning but there is definitely a romance in the water. | :26:02. | :26:07. | |
Given time, there could be the patter of tiny fins. | :26:07. | :26:17. | |
Now, then, it is time to play our Valentine's Day surprise on the | :26:17. | :26:23. | |
unsuspecting Scot. Lucy, is all in place? It is going to plan. The | :26:23. | :26:28. | |
scene is set. Scot is in aisle two working on greeting cards. He does | :26:28. | :26:33. | |
not know that this is happening, but Honey Bunny is about to summon | :26:33. | :26:39. | |
him. Take away, Tina. | :26:39. | :26:44. | |
Scot, please come to the foyer, I have a surprise for you. Come on, | :26:44. | :26:51. | |
Mr Wonderful. Your Honey Bunny wants to see you! He is going to be | :26:52. | :26:57. | |
in shock now. Tina, take your place at the table. He is coming around | :26:57. | :27:03. | |
know. -- now, he will not know what to make of this, will he? Mr | :27:03. | :27:07. | |
Wonderful. Good evening. Please, take your place. | :27:07. | :27:13. | |
Sit down there. Scot, anything you would like to say to Honey Bunny, | :27:13. | :27:18. | |
to Tina? Are you lost for words? I am a little bit. | :27:18. | :27:22. | |
I know you are a romantic. I will discuss it later. | :27:23. | :27:27. | |
Very well said. We need a drink here. Is this what | :27:28. | :27:33. | |
you expected. Dinner, champagne, and a choir. Is | :27:33. | :27:36. | |
it what you expected? No it is brilliant. | :27:36. | :27:40. | |
Quick, get going on the starters. We have another surprise for you. | :27:40. | :27:46. | |
Tina does not know about this. Have your starters, we have a limbo | :27:46. | :27:54. | |
waiting, ready to whisk you both off to one of leed's -- Leeds top | :27:54. | :27:57. | |
restaurants. You don't have to which are about a thing. All of the | :27:57. | :28:03. | |
food is paid for. You are going to have a lovely evening. Are you lost | :28:03. | :28:07. | |
for words, now? Yes. Is this a beautiful moment? All I | :28:07. | :28:14. | |
would like to say on behalf of the One Show and everyone here, Happy | :28:14. | :28:20. | |
Valentine's Day to Honey Bunny and Mr Wonderful. Hurry up, you have a | :28:20. | :28:28. | |
limbo to catch! How romantic at work in the foyer. I know, and Scot | :28:28. | :28:33. | |
said they would discuss it later! Hopefully they will make up. | :28:33. | :28:40. | |
We asked you to send in Valentine's day cards. Lily has sent a card to | :28:40. | :28:45. | |
Emma, Chloe and Lauren. They had no idea who they are from but that is | :28:45. | :28:50. | |
a nice one from Brenda. And a Valentine's message from Joe. | :28:50. | :28:55. | |
Joe says, "Deer Suzie, I always get on the same train as you, although | :28:55. | :29:00. | |
we have not spoken, I would like to get to know you better. I want to | :29:00. | :29:08. | |
wish you a happy Valentine's Day, and hope to see you soon.". | :29:08. | :29:14. | |
Come on, Suzie. On that nofplt | :29:14. | :29:18. |