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Hello and welcome to The One Show | 0:00:00 | 0:00:02 | |
Best of Britain, with Michael Douglas... | 0:00:02 | 0:00:04 | |
..and the lovely Anita Rani, | 0:00:04 | 0:00:05 | |
with another chance to see some of our favourite One Show films. | 0:00:05 | 0:00:09 | |
# One! | 0:00:09 | 0:00:11 | |
# One! | 0:00:11 | 0:00:13 | |
# One! | 0:00:13 | 0:00:15 | |
# One! | 0:00:15 | 0:00:18 | |
# One! # | 0:00:18 | 0:00:20 | |
Today, we are high above the English Channel, | 0:00:20 | 0:00:23 | |
literally standing on the White Cliffs of Dover. | 0:00:23 | 0:00:25 | |
If that doesn't make you proud to be British, | 0:00:25 | 0:00:27 | |
with all this glorious sunshine, then you can move to France. | 0:00:27 | 0:00:30 | |
Tonight, Phil Tufnell meets an amazing artist, | 0:00:30 | 0:00:33 | |
and he can't believe his eyes. | 0:00:33 | 0:00:35 | |
It's funny how easily we can be tricked. | 0:00:35 | 0:00:37 | |
It's all about the eyes and the brain | 0:00:37 | 0:00:40 | |
getting a bit confused. | 0:00:40 | 0:00:41 | |
SPLASHING | 0:00:41 | 0:00:43 | |
When it comes to tricking us, some people have got it down to a fine art. | 0:00:43 | 0:00:47 | |
The lifeboat crew who were literally cut off from civilisation, | 0:00:47 | 0:00:51 | |
until I turn up and give them a trim, of course. | 0:00:51 | 0:00:53 | |
Wow - gel as well! | 0:00:53 | 0:00:55 | |
And we meet a young mother facing one of the most complicated | 0:00:55 | 0:00:58 | |
surgical procedures ever attempted. | 0:00:58 | 0:01:00 | |
This is as close to a medical miracle as you can get. | 0:01:00 | 0:01:04 | |
But first, The One Show's gardener, Christine Walkden, | 0:01:04 | 0:01:07 | |
travels down to the coast to meet a lady | 0:01:07 | 0:01:10 | |
who will be forever associated with this very spot. | 0:01:10 | 0:01:13 | |
MUSIC: "Dream (When You're Feeling Blue)" by Vera Lynn | 0:01:13 | 0:01:15 | |
I'm calling on someone who is, quite rightly, used to receiving beautiful bouquets of roses. | 0:01:15 | 0:01:21 | |
Just as well, then, that these aren't for indoors. | 0:01:21 | 0:01:24 | |
# Dream | 0:01:24 | 0:01:27 | |
# When you're feeling blue... # | 0:01:27 | 0:01:31 | |
"Evergreen" doesn't begin to describe Dame Vera Lynn. | 0:01:31 | 0:01:35 | |
She first became a star more than 70 years ago, | 0:01:35 | 0:01:38 | |
and for half of that time, she's enjoyed this garden | 0:01:38 | 0:01:41 | |
in Sussex. | 0:01:41 | 0:01:44 | |
I always loved the country. | 0:01:44 | 0:01:46 | |
I had an aunt who lived in the country and we always spent | 0:01:46 | 0:01:50 | |
our school holidays with her. | 0:01:50 | 0:01:52 | |
I just love it here. | 0:01:52 | 0:01:54 | |
I can see the Downs in the distance. | 0:01:54 | 0:01:57 | |
I've always loved being out in the air, | 0:01:57 | 0:02:00 | |
and seeing everything growing. | 0:02:00 | 0:02:03 | |
I don't care whether it's a cultivated plant or not. | 0:02:03 | 0:02:06 | |
If things pop up anywhere, | 0:02:06 | 0:02:07 | |
I just let them grow. | 0:02:07 | 0:02:09 | |
Excellent! | 0:02:09 | 0:02:10 | |
Live and let live? | 0:02:10 | 0:02:11 | |
Yes, I've got marigolds growing out of my veranda up there, | 0:02:11 | 0:02:15 | |
but they look so pretty, so I just leave them. | 0:02:15 | 0:02:17 | |
# You must remember this... # | 0:02:17 | 0:02:20 | |
Dame Vera is known locally as "the Queen Mother of Sussex," | 0:02:20 | 0:02:24 | |
but this splendid eight acres is a long way away from where she grew up, | 0:02:24 | 0:02:28 | |
in her grandmother's terrace in East Ham. | 0:02:28 | 0:02:31 | |
It was just a little back-yard garden. | 0:02:31 | 0:02:33 | |
My father was a plumber, | 0:02:33 | 0:02:35 | |
and my mother was a dressmaker. | 0:02:35 | 0:02:38 | |
I just took a liking to gardening | 0:02:38 | 0:02:42 | |
and I always wanted a rockery when I was little. | 0:02:42 | 0:02:45 | |
So I collected all the largest stones I could find in the garden | 0:02:45 | 0:02:49 | |
and built myself a little rockery | 0:02:49 | 0:02:51 | |
right at the bottom, against the fence. | 0:02:51 | 0:02:53 | |
And any little plant that I could find growing around | 0:02:53 | 0:02:57 | |
would go in the rockery. | 0:02:57 | 0:02:58 | |
-Splendid! -Yes. | 0:02:58 | 0:03:00 | |
I believe you used to do a bit of performing in that garden. | 0:03:00 | 0:03:03 | |
I used to sing my songs to the plants, | 0:03:03 | 0:03:07 | |
and do an exit and an entrance and a curtsy | 0:03:07 | 0:03:12 | |
to the array of plants. | 0:03:12 | 0:03:14 | |
That's why they grew so well! | 0:03:14 | 0:03:16 | |
THEY LAUGH | 0:03:16 | 0:03:17 | |
MUSIC: "White Cliffs of Dover" by Vera Lynn | 0:03:17 | 0:03:19 | |
# There'll be bluebirds over... # | 0:03:19 | 0:03:22 | |
The young Vera wasn't just a good gardener. | 0:03:22 | 0:03:25 | |
She was a child star who made enough money by the age of 21 | 0:03:25 | 0:03:28 | |
to buy her parents their first home. | 0:03:28 | 0:03:31 | |
And that was before the Second World War. | 0:03:31 | 0:03:34 | |
-I was seven... -Seven?! | 0:03:34 | 0:03:35 | |
..when I first went onto the stage. | 0:03:35 | 0:03:37 | |
My first salary was seven shillings and sixpence. | 0:03:37 | 0:03:40 | |
CHRISTINE WHISTLES | 0:03:40 | 0:03:42 | |
That was quite a lot of money in those days. | 0:03:42 | 0:03:44 | |
That was a little while ago. | 0:03:44 | 0:03:46 | |
Our "Forces' Sweetheart" is now a sprightly 94. | 0:03:46 | 0:03:50 | |
This little funny tree here is the Tree of Heaven | 0:03:50 | 0:03:53 | |
that Mountbatten gave me, cos he had one in his garden. | 0:03:53 | 0:03:57 | |
But it's never done anything. | 0:03:57 | 0:03:59 | |
It hasn't got any bigger than when I first planted it. | 0:03:59 | 0:04:03 | |
Maybe just a little bit dry for it. | 0:04:03 | 0:04:05 | |
-It has the competition of the oak. -That's right. | 0:04:05 | 0:04:09 | |
# Tomorrow is a lovely day... # | 0:04:09 | 0:04:12 | |
There's an orchard just over there, | 0:04:12 | 0:04:14 | |
and that's all lovely daffodils in the spring, | 0:04:14 | 0:04:17 | |
so that makes quite a different aspect to the garden | 0:04:17 | 0:04:20 | |
when they're there. | 0:04:20 | 0:04:22 | |
But the poor old trees suffered somewhat | 0:04:22 | 0:04:24 | |
in the '80s when we had the big storm. | 0:04:24 | 0:04:27 | |
How many trees did you lose in the storm? | 0:04:27 | 0:04:29 | |
Oh, about 80. | 0:04:29 | 0:04:31 | |
But now, you wouldn't notice them missing, | 0:04:31 | 0:04:34 | |
cos they re-shooted. They all popped up somewhere - little baby ones. | 0:04:34 | 0:04:38 | |
THEY LAUGH | 0:04:38 | 0:04:39 | |
I've noticed you've got some very old roses in the garden. | 0:04:39 | 0:04:43 | |
Yes, they must have been planted in the '20s. | 0:04:43 | 0:04:45 | |
They're getting rather ancient now. | 0:04:45 | 0:04:48 | |
I've brought you a little present, | 0:04:48 | 0:04:51 | |
and I'll show you a technique where you can put roses back | 0:04:51 | 0:04:53 | |
where roses have grown before. | 0:04:53 | 0:04:55 | |
Really?! | 0:04:55 | 0:04:56 | |
Ooh, you've got a secret! | 0:04:56 | 0:04:58 | |
MUSIC: "I'm Forever Blowing Bubbles" by Vera Lynn | 0:04:58 | 0:05:00 | |
'There was a time you couldn't plant roses where roses had been.' | 0:05:00 | 0:05:03 | |
But someone came up with the clever idea of planting them in fresh soil | 0:05:03 | 0:05:07 | |
in a cardboard box. | 0:05:07 | 0:05:09 | |
By the time the cardboard has rotted, the new rose is strong enough to withstand infection. | 0:05:09 | 0:05:13 | |
# I'm forever blowing bubbles... # | 0:05:13 | 0:05:15 | |
'So there it is. | 0:05:15 | 0:05:17 | |
'My own little contribution | 0:05:17 | 0:05:19 | |
'to Dame Vera's vast and varied garden.' | 0:05:19 | 0:05:22 | |
There we are. | 0:05:22 | 0:05:23 | |
Some new roses. | 0:05:23 | 0:05:24 | |
Oh, lovely! | 0:05:24 | 0:05:26 | |
They're beautiful. Thank you very much. | 0:05:26 | 0:05:28 | |
Great pleasure. | 0:05:28 | 0:05:30 | |
'I wonder if she'll let me come back next year to see how they look.' | 0:05:30 | 0:05:33 | |
MUSIC: "We'll Meet Again" by Vera Lynn | 0:05:33 | 0:05:36 | |
# Some sunny day. # | 0:05:36 | 0:05:38 | |
Dame Vera Lynn, there, with our Christine. | 0:05:39 | 0:05:42 | |
95 and still going strong. | 0:05:42 | 0:05:44 | |
That's Vera Lynn, that - not Christine. | 0:05:44 | 0:05:47 | |
Oh, very good! Look where we are! | 0:05:47 | 0:05:49 | |
It's just magnificent, isn't it? | 0:05:49 | 0:05:51 | |
The most iconic British landmark, | 0:05:51 | 0:05:54 | |
the White Cliffs of Dover. Stunning. | 0:05:54 | 0:05:56 | |
Why is that massive bit there much cleaner than all the rest of it? | 0:05:56 | 0:05:59 | |
It's a good question and luckily Gareth from the National Trust can answer it. | 0:05:59 | 0:06:02 | |
Thank goodness you're on this boat. | 0:06:02 | 0:06:04 | |
Why is that bit whiter than the rest? | 0:06:04 | 0:06:06 | |
We haven't painted it, if that's the first question you have to ask. | 0:06:06 | 0:06:09 | |
Recently, we've had quite a large cliff fall here | 0:06:09 | 0:06:12 | |
that's collapsed into the sea. | 0:06:12 | 0:06:13 | |
That's revealed the whiter chalk underneath. | 0:06:13 | 0:06:16 | |
A cliff fall sounds quite dangerous. Is that quite common? | 0:06:16 | 0:06:19 | |
Cliff falls are a perfectly natural erosion process that happens here. | 0:06:19 | 0:06:22 | |
You can see the large pile of chalk just over there | 0:06:22 | 0:06:25 | |
that's actually fallen into the sea, | 0:06:25 | 0:06:27 | |
and that's now creating a natural sea defence here. | 0:06:27 | 0:06:30 | |
How long is the White Cliffs of Dover? | 0:06:30 | 0:06:32 | |
About 14 kilometres, of which the National Trust | 0:06:32 | 0:06:34 | |
looks after seven. | 0:06:34 | 0:06:36 | |
Wow, amazing. | 0:06:36 | 0:06:37 | |
Good stuff. | 0:06:37 | 0:06:38 | |
Now, from one massive cliff to a massive man. | 0:06:38 | 0:06:41 | |
Here's Dan Snow telling us about a rather unusual recruit | 0:06:41 | 0:06:44 | |
to Britain's defences during the last war. | 0:06:44 | 0:06:48 | |
In World War II, the bulk of the fighting involved the Allies | 0:06:48 | 0:06:52 | |
using traditionally-trained soldiers, airmen | 0:06:52 | 0:06:54 | |
and sailors against their German counterparts. | 0:06:54 | 0:06:58 | |
But there were times when officers needed to think unconventionally - | 0:06:58 | 0:07:02 | |
to escape the narrow confines of accepted military doctrine. | 0:07:02 | 0:07:06 | |
And that gave us some of the most extraordinary stories from the Second World War. | 0:07:06 | 0:07:10 | |
One of them started right here | 0:07:10 | 0:07:12 | |
in what's traditionally one of the hardest areas of Glasgow - | 0:07:12 | 0:07:15 | |
the Gorbals. | 0:07:15 | 0:07:17 | |
'It was here in 1916 that a man called Johnny Ramensky | 0:07:17 | 0:07:20 | |
'began a long criminal career. | 0:07:20 | 0:07:22 | |
'A career that took him inside prisons across Scotland, | 0:07:22 | 0:07:25 | |
'serving more than 45 years behind bars.' | 0:07:25 | 0:07:29 | |
But Johnny was more than just a villain. He became a soldier. | 0:07:29 | 0:07:32 | |
He joined the elite Commandos unit. | 0:07:32 | 0:07:35 | |
Remarkably, his criminal skills | 0:07:35 | 0:07:38 | |
were an integral part of his military service. | 0:07:38 | 0:07:41 | |
Johnny was a safe-breaker. | 0:07:41 | 0:07:43 | |
'John Mitchell was a safe expert who worked for the police | 0:07:43 | 0:07:46 | |
'and crossed paths with Johnny.' | 0:07:46 | 0:07:48 | |
So, how did Johnny Ramensky learn his trade, his unique skill? | 0:07:48 | 0:07:53 | |
I understand that he learned the tricks of his trade | 0:07:53 | 0:07:57 | |
from fellow prisoners in Peterhead. | 0:07:57 | 0:07:59 | |
Particularly Scotch Jimmy, who was a real old hand. | 0:07:59 | 0:08:03 | |
I mean, he started way back in the 1800s. | 0:08:03 | 0:08:05 | |
'Ramensky applied the same techniques John Mitchell used | 0:08:05 | 0:08:08 | |
'in his demonstrations to the police.' | 0:08:08 | 0:08:11 | |
The idea is to remove the key lock. | 0:08:11 | 0:08:13 | |
If you can put the right charge of explosives through the keyhole | 0:08:13 | 0:08:16 | |
to take this lock off neatly, | 0:08:16 | 0:08:18 | |
then the handle should turn and the door should open. | 0:08:18 | 0:08:21 | |
Ramensky wasn't just an expert safe-breaker, | 0:08:22 | 0:08:25 | |
he was also an accomplished escape artist. | 0:08:25 | 0:08:28 | |
He managed to break out five times. | 0:08:28 | 0:08:30 | |
He was a thorn in the side of the authorities and a public enemy | 0:08:30 | 0:08:35 | |
until Britain declared war on Germany. | 0:08:35 | 0:08:37 | |
'Coinciding with the outbreak of the war, | 0:08:37 | 0:08:40 | |
'Ramensky began a long campaign of letter writing | 0:08:40 | 0:08:42 | |
'to his Prison Governor, pleading to be allowed to join the Army. | 0:08:42 | 0:08:45 | |
'One extract reads, "I beg you to overlook my past record | 0:08:45 | 0:08:50 | |
' "and give me a chance to serve my country. | 0:08:50 | 0:08:52 | |
' "I am willing to make the supreme sacrifice." | 0:08:52 | 0:08:55 | |
'Bob Jeffrey has written a book on Ramensky.' | 0:08:55 | 0:08:58 | |
So, how did this bad lad end up fighting for King and country? | 0:08:58 | 0:09:01 | |
The Chief Constable of Aberdeen and the Governor of Peterhead | 0:09:01 | 0:09:04 | |
both alerted the Secret Services | 0:09:04 | 0:09:06 | |
to the fact that there was this remarkable man | 0:09:06 | 0:09:09 | |
who was an extremely skilful safe-breaker. | 0:09:09 | 0:09:11 | |
He did serve his full sentence. | 0:09:11 | 0:09:13 | |
When it ended, he was immediately met outside the gates | 0:09:13 | 0:09:17 | |
by the Secret Service agents and whisked to London. | 0:09:17 | 0:09:20 | |
'He was put in the Commandos, the ideal unit for him. | 0:09:20 | 0:09:24 | |
'Created in 1940 with the express intention of breaching enemy lines on secret missions, | 0:09:24 | 0:09:29 | |
'Ramensky's skills in explosives fitted the bill perfectly. | 0:09:29 | 0:09:33 | |
'One of his achievements was to invent a new method | 0:09:33 | 0:09:36 | |
'of blowing up railway lines | 0:09:36 | 0:09:38 | |
'to thwart German attempts to minimise repair time.' | 0:09:38 | 0:09:41 | |
The Germans had put wagons in front of the locomotives | 0:09:41 | 0:09:45 | |
to blow them up and then they just repaired the track. | 0:09:45 | 0:09:48 | |
But he detonated the explosives underneath the locomotives | 0:09:48 | 0:09:52 | |
so that was a much better act of sabotage. | 0:09:52 | 0:09:55 | |
He, more or less, invented that delayed fuse technique. | 0:09:55 | 0:09:58 | |
What else did he do during the war? | 0:09:58 | 0:10:00 | |
He actually went to Rome and it was quite quickly realised | 0:10:00 | 0:10:03 | |
that there'd be a lot of valuable information | 0:10:03 | 0:10:05 | |
in German safes and who was the guy to open these safes? | 0:10:05 | 0:10:08 | |
Johnny Ramensky. | 0:10:08 | 0:10:10 | |
He did actually break into the German Embassy and open safes there. | 0:10:10 | 0:10:14 | |
Johnny returned from his wartime exploits | 0:10:14 | 0:10:16 | |
with some extraordinary souvenirs of top-secret missions. | 0:10:16 | 0:10:20 | |
These two banners, they were brought home from Rome and, in fact, | 0:10:20 | 0:10:24 | |
the suggestion is that these came from the Goering's office. | 0:10:24 | 0:10:29 | |
He had a lust for adventure and excitement. | 0:10:29 | 0:10:32 | |
He did thieve, we cannot argue about that but he was very, very driven | 0:10:32 | 0:10:37 | |
to do something for Britain in time of war. | 0:10:37 | 0:10:40 | |
One of the most remarkable Scots of the 20th century. | 0:10:40 | 0:10:44 | |
An unsung hero whose story really deserves to be told. | 0:10:44 | 0:10:49 | |
Despite his wartime heroics, after he was demobbed | 0:10:49 | 0:10:52 | |
Johnny slipped back into a life of crime and died in prison in 1972. | 0:10:52 | 0:10:57 | |
His life was a fascinating one that shows how, in a battle for survival, | 0:10:58 | 0:11:01 | |
desperate times call for desperate measures. | 0:11:01 | 0:11:05 | |
Now, Michael, are you afraid of the dark? | 0:11:05 | 0:11:07 | |
Of course I am, I'm a hairdresser, darling. You know. | 0:11:07 | 0:11:10 | |
Cos these are the tunnels underneath Dover Castle | 0:11:10 | 0:11:13 | |
that were built during the Napoleonic Wars | 0:11:13 | 0:11:15 | |
but used during World War II as a bombproof HQ and they even had a hospital down here. | 0:11:15 | 0:11:19 | |
-Really? -Mm. | 0:11:19 | 0:11:21 | |
Well, I have cut hair in a hospital. | 0:11:21 | 0:11:22 | |
I've also cut hair underground and also on a boat. | 0:11:22 | 0:11:25 | |
Not out at sea, though, just in the harbour. You'll see what I mean. | 0:11:25 | 0:11:29 | |
Well, back there is England. | 0:11:35 | 0:11:37 | |
Over there is Norway and this is the narrowest part of Britain. | 0:11:37 | 0:11:40 | |
This is Spurn Point. | 0:11:40 | 0:11:42 | |
From the air you can see what an extraordinary shape it is. | 0:11:42 | 0:11:45 | |
This spit of land extends from the east coast of England | 0:11:45 | 0:11:48 | |
right out into the widest part of the Humber Estuary. | 0:11:48 | 0:11:52 | |
Now, it is home to a special group of people | 0:11:52 | 0:11:54 | |
that live here, miles away from anyone else. | 0:11:54 | 0:11:57 | |
I might get there by teatime(!) | 0:11:57 | 0:12:00 | |
'Spurn Point is the home to the seven-strong crew | 0:12:02 | 0:12:04 | |
'of the RNLI Humber Lifeboat. | 0:12:04 | 0:12:07 | |
'The only full-manned, full-time lifeboat crew in the British Isles.' | 0:12:07 | 0:12:11 | |
INAUDIBLE | 0:12:11 | 0:12:12 | |
That's obviously some kind of sailing-speak for, | 0:12:12 | 0:12:15 | |
"We're nearly there." | 0:12:15 | 0:12:16 | |
Because it is so remote, wives and family live here too. | 0:12:16 | 0:12:19 | |
So, getting to the barber is not easy. | 0:12:19 | 0:12:23 | |
-So, Dave, you're the coxswain here, meaning that you're in control, basically. -Absolutely. | 0:12:23 | 0:12:27 | |
I'm guessing that the weather is not normally this good. | 0:12:27 | 0:12:30 | |
This is one of the two days of nice weather we get per year. | 0:12:30 | 0:12:33 | |
I can see you're a man of the world cos you've got some fancy tattoos. | 0:12:33 | 0:12:36 | |
-My fishing past. -What've you got here? | 0:12:36 | 0:12:38 | |
Well, that one is Top Cat, | 0:12:38 | 0:12:39 | |
but what it's actually doing is covering up a few girls' names, you know, so... | 0:12:39 | 0:12:43 | |
When you come here, you're given a house to live in along with the job. | 0:12:43 | 0:12:46 | |
And it's always been operated the same way. Every single penny is funded by charitable donations. | 0:12:46 | 0:12:51 | |
-What's the longest you've been out for? -Just before Christmas, we had a 17 hour shout | 0:12:51 | 0:12:55 | |
but that was in a Force 11. | 0:12:55 | 0:12:57 | |
When you're at sea, one hand's for you and one hand's for the boss. | 0:12:57 | 0:13:00 | |
But when it gets to Force 11, the boss is on his own | 0:13:00 | 0:13:03 | |
and it's both hands for you. | 0:13:03 | 0:13:04 | |
-Most of us on the crew have been rescued in the past. -Have you? | 0:13:04 | 0:13:07 | |
When I was a fisherman, I was rescued by Skegness Lifeboat. | 0:13:07 | 0:13:10 | |
And they never let me forget it. | 0:13:10 | 0:13:12 | |
Colin, my mechanic, has been rescued by this boat. | 0:13:12 | 0:13:15 | |
You can't spend your life on the sea | 0:13:15 | 0:13:17 | |
without needing some help or assistance. | 0:13:17 | 0:13:19 | |
The gel. Dun-dun-dun! | 0:13:19 | 0:13:22 | |
We're ready for anything the North Sea can throw at us, now. | 0:13:22 | 0:13:25 | |
Take a look. | 0:13:25 | 0:13:26 | |
Wow. Gel as well. | 0:13:26 | 0:13:28 | |
'All I need now is a day off to go and show it off.' | 0:13:28 | 0:13:30 | |
'I can see why this job is important | 0:13:35 | 0:13:37 | |
'but I'm not sure every family could, or would, live here. | 0:13:37 | 0:13:40 | |
'I want to meet the wives. | 0:13:40 | 0:13:42 | |
'They aren't the rough, tough, brave lifeboatmen | 0:13:42 | 0:13:44 | |
'but they're still stuck out here on the edge of England.' | 0:13:44 | 0:13:47 | |
This is Karen. It was your husband's hair we cut earlier, was it? | 0:13:47 | 0:13:50 | |
-Yeah. -Where do you go and get your hair cut? | 0:13:50 | 0:13:52 | |
I normally go into Hull, which is, like, a 68 mile round trip. | 0:13:52 | 0:13:57 | |
By the time you get back it probably needs cut again(!) | 0:13:57 | 0:14:00 | |
It's one bell if it's not life at risk, basically. | 0:14:00 | 0:14:03 | |
But if it's two it means life at risk. | 0:14:03 | 0:14:05 | |
That must mean more risk to your fella', doesn't it? | 0:14:05 | 0:14:08 | |
Oh, absolutely. | 0:14:08 | 0:14:09 | |
I don't say I don't worry, because I do but, | 0:14:09 | 0:14:12 | |
after 21 years, you do get used to it. | 0:14:12 | 0:14:15 | |
Do you get the chance to, kind of, go, "Good luck!" | 0:14:15 | 0:14:18 | |
He'll let me come to the door but he won't let me see him off | 0:14:18 | 0:14:20 | |
any further than that cos he always says, "It's unlucky." | 0:14:20 | 0:14:23 | |
So, what about when there isn't a bell? What does he get up to? | 0:14:23 | 0:14:25 | |
He loves cooking but that's about... | 0:14:25 | 0:14:27 | |
-Not cleaning? -No, no. | 0:14:27 | 0:14:28 | |
I don't suppose he even knows where the Hoover is, any more. | 0:14:28 | 0:14:31 | |
You want to sort him out, you know. | 0:14:31 | 0:14:33 | |
You want to get him, you know, on it. | 0:14:33 | 0:14:35 | |
Take a look. | 0:14:35 | 0:14:36 | |
Oh, wow. | 0:14:36 | 0:14:38 | |
That's better than a trip to Hull. | 0:14:38 | 0:14:40 | |
I could live here, you know. | 0:14:45 | 0:14:46 | |
I mean, not for 15 years, but I know a man who can. | 0:14:46 | 0:14:50 | |
This is Colin. You're the mechanic. | 0:14:50 | 0:14:52 | |
Best job on the boat, till something goes wrong then everybody looks at you. | 0:14:52 | 0:14:56 | |
Once the station, with all the lifeboating side of things, is done | 0:14:56 | 0:14:59 | |
then you've become a househusband, really. | 0:14:59 | 0:15:01 | |
-You go and do the ironing and the washing. -Are you any good at it? | 0:15:01 | 0:15:04 | |
-Well, look at my hands. -Soft as a baby's bum. Eh? | 0:15:04 | 0:15:07 | |
What I find is, even if you do it, you've not done it properly, anyway. | 0:15:07 | 0:15:10 | |
My responsibility is hanging washing out. | 0:15:10 | 0:15:12 | |
If I hang it out one way, Steph will come up behind me and hang it out another way. | 0:15:12 | 0:15:16 | |
-I get that as well. -You can't win, can you? -What's that all about? | 0:15:16 | 0:15:18 | |
Take a look. | 0:15:18 | 0:15:20 | |
Oh, fantastic. | 0:15:20 | 0:15:22 | |
-What you doing next week? -Is that a date you're asking me on? | 0:15:22 | 0:15:25 | |
I love the outfit. | 0:15:28 | 0:15:29 | |
I'd also love the job as well, actually, but I don't think I could get the family to make the move. | 0:15:29 | 0:15:34 | |
But, as a place, the people and the work they do here is amazing. | 0:15:34 | 0:15:39 | |
If I set off now, I'll be home in about six weeks. | 0:15:41 | 0:15:43 | |
Amazing those guys, aren't they, down at Spurn Point? | 0:15:45 | 0:15:48 | |
They're the only full-time lifeboat operators on the coast | 0:15:48 | 0:15:50 | |
and they've done some massive rescue missions out there. | 0:15:50 | 0:15:53 | |
Really scary stuff. | 0:15:53 | 0:15:54 | |
Well, thank goodness they exist because in years gone by, | 0:15:54 | 0:15:56 | |
sailors round these parts had to rely on this. | 0:15:56 | 0:16:00 | |
the South Foreland Lighthouse. | 0:16:00 | 0:16:02 | |
The first to use an electric light | 0:16:02 | 0:16:04 | |
and the first to receive a ship-to-shore transmission. | 0:16:04 | 0:16:07 | |
BOTH: Help! Help! | 0:16:07 | 0:16:09 | |
Groundbreaking stuff, eh? | 0:16:09 | 0:16:11 | |
Well, it's time now for Phil Tufnell. | 0:16:11 | 0:16:13 | |
And he's with an artist whose work is, well, | 0:16:13 | 0:16:16 | |
confusing, to say the least. | 0:16:16 | 0:16:18 | |
Sorry, you've caught me at a little bit of a bad time. | 0:16:18 | 0:16:21 | |
I should be having a coffee break. | 0:16:21 | 0:16:23 | |
It's funny how easily we can be tricked. | 0:16:23 | 0:16:25 | |
It's all about the eyes and the brain getting a bit confused. | 0:16:25 | 0:16:29 | |
'And when it comes to tricking us, | 0:16:30 | 0:16:32 | |
'some people have got it down to a fine art.' | 0:16:32 | 0:16:35 | |
'Joe Hill specialises in designs that turn a flat area | 0:16:36 | 0:16:39 | |
'into a three-dimensional world.' | 0:16:39 | 0:16:41 | |
'He's making a special design for The One Show. | 0:16:43 | 0:16:45 | |
'It's taken two days of drawing, painting and measuring, | 0:16:45 | 0:16:48 | |
'using a mixture of paints and chalk.' | 0:16:48 | 0:16:50 | |
I want to find out more about this. | 0:16:59 | 0:17:01 | |
So I'm going to ask this little fellow. | 0:17:01 | 0:17:03 | |
Tell us a bit more about this picture. | 0:17:06 | 0:17:09 | |
Well, it's a 3-D illusion of a big hole in the ground | 0:17:09 | 0:17:12 | |
and people are going to be sitting in a barrel which is going over | 0:17:12 | 0:17:16 | |
a waterfall and hopefully it will look like | 0:17:16 | 0:17:18 | |
they're about to plunge down into the pool at the bottom. | 0:17:18 | 0:17:21 | |
Joe Hill and his old school friend, Max Lowry, | 0:17:21 | 0:17:24 | |
started creating unique 3-D street art seven years ago. | 0:17:24 | 0:17:28 | |
And ended up travelling the world, showing their talent. | 0:17:28 | 0:17:32 | |
They both studied A-level art at school and started developing | 0:17:35 | 0:17:39 | |
this unusual style after the offer of some work promoting whiskey in Spain. | 0:17:39 | 0:17:44 | |
Max died suddenly last year, but Joe's decided to keep the work going. | 0:17:46 | 0:17:52 | |
-Do you mind if I have a little go? -Definitely, yes. Take that. | 0:17:52 | 0:17:56 | |
-We need the eye, the vulture's eye. -Fantastic. | 0:17:56 | 0:17:59 | |
It's not going to be round, it's got to be long and thin. | 0:17:59 | 0:18:03 | |
Yes, why is everything sort of stretched out? | 0:18:03 | 0:18:05 | |
Because it's an illusion. | 0:18:05 | 0:18:07 | |
You have to stretch everything out to make it look like it's standing upright. | 0:18:07 | 0:18:10 | |
-Yeah. -So you give it a single perspective and then stretch everything, | 0:18:10 | 0:18:14 | |
so you get these really weird kind of alien shapes. | 0:18:14 | 0:18:18 | |
So that means the illusion only works | 0:18:18 | 0:18:21 | |
when it's viewed from one point. | 0:18:21 | 0:18:23 | |
The technique is called trompe l'oeil, or tricking the eye, | 0:18:23 | 0:18:27 | |
and can be traced back 2,500 years to ancient Greece. | 0:18:27 | 0:18:31 | |
The art of 3-D painting features in many British stately homes. | 0:18:31 | 0:18:35 | |
These fake arches and vases at Wimpole Hall near Peterborough | 0:18:35 | 0:18:39 | |
were drawn 200 years ago to make the chapel look grander than it really is. | 0:18:39 | 0:18:44 | |
-So, how's that? -That's spot on. Glittering and evil. -Fantastic. | 0:18:44 | 0:18:49 | |
Now, I reckon the best bit now would be if you get the white | 0:18:49 | 0:18:53 | |
-and create the ruff of furry feathers around his neck. -Yeah. | 0:18:53 | 0:18:57 | |
Don't be shy, just really go for it. | 0:18:57 | 0:18:59 | |
-Get into it, you've got to get into it. -That's it. | 0:18:59 | 0:19:02 | |
And then, just to really highlight it, | 0:19:02 | 0:19:05 | |
we are going to put in some texture. | 0:19:05 | 0:19:08 | |
So underneath here, like that, you're going to do nice dark. | 0:19:08 | 0:19:12 | |
Yeah, rub it in. | 0:19:12 | 0:19:13 | |
And then on top, you're just going to blend this a little bit, | 0:19:13 | 0:19:18 | |
just so that you've got a feathery kind of feel to it, like that. | 0:19:18 | 0:19:21 | |
Fantastic. What about the councils, do they get a bit annoyed with it? | 0:19:21 | 0:19:24 | |
Well yeah, it used to be a problem when we would do chalk straight onto the pavement. | 0:19:24 | 0:19:28 | |
And we'd have to wash it off afterwards with mops and brooms and all stuff. | 0:19:28 | 0:19:31 | |
But now we do it on canvas, we can just roll it up at the end of the day and everyone's happy. | 0:19:31 | 0:19:36 | |
In a lot of Joe's pictures, he draws a position | 0:19:36 | 0:19:39 | |
so that he can stand in and really bring the artwork to life. | 0:19:39 | 0:19:42 | |
So how does this one work? | 0:19:44 | 0:19:46 | |
OK, we painted the area of the barrel really dark | 0:19:46 | 0:19:50 | |
so that people can kneel on it and hopefully, | 0:19:50 | 0:19:53 | |
it will look like their legs are going straight down into the barrel | 0:19:53 | 0:19:56 | |
and then they can pretend that they're falling down into this gorge. | 0:19:56 | 0:20:01 | |
Well, we're pretty much done, aren't we, now? | 0:20:01 | 0:20:03 | |
-Shall we have a look? -I want to have a look! | 0:20:03 | 0:20:04 | |
I've been dying to go and have a look! Let's go. | 0:20:04 | 0:20:06 | |
OK, now it's time for the moment of truth. Let's see if this really works. | 0:20:08 | 0:20:13 | |
Wooooah! | 0:20:14 | 0:20:15 | |
-One, two, three. Got it! -Wooah! | 0:20:15 | 0:20:18 | |
And look, street artist extraordinaire, Joe, | 0:20:20 | 0:20:22 | |
is with us in Dover. | 0:20:22 | 0:20:23 | |
Great, what are you up to here, Joe? | 0:20:23 | 0:20:25 | |
Well, it's a bit of a surprise, | 0:20:25 | 0:20:26 | |
-but it's something to do with the white cliffs. -Nice. | 0:20:26 | 0:20:29 | |
So we'll see this later, no doubt. | 0:20:29 | 0:20:31 | |
And what have you been up to since we last saw you? | 0:20:31 | 0:20:33 | |
Well, at the end of last year, we broke two world records | 0:20:33 | 0:20:37 | |
for the largest piece and the longest piece of 3-D street art. | 0:20:37 | 0:20:40 | |
It was a huge canyon dropping down into the ground in Canary Wharf. | 0:20:40 | 0:20:44 | |
Wow! That's awesome. Well, you carry on, because you've got a lot to do. | 0:20:44 | 0:20:48 | |
Now, this next story is incredible. | 0:20:48 | 0:20:50 | |
It's about a young mum who had some surgery that's so complicated, | 0:20:50 | 0:20:53 | |
there are only a few hospitals in the world that can do it. | 0:20:53 | 0:20:57 | |
29-year-old Sue Buckle has everything to live for. | 0:20:59 | 0:21:02 | |
I tried for Amelia for three and a half years. | 0:21:04 | 0:21:06 | |
I had to lose quite a lot of weight and I had some medical help, | 0:21:06 | 0:21:10 | |
hormones and different things, to conceive. But, it's amazing. | 0:21:10 | 0:21:14 | |
Best thing I've ever done, definitely! | 0:21:14 | 0:21:17 | |
But Sue's health deteriorated rapidly after Amelia was born. | 0:21:20 | 0:21:23 | |
Sue came out of hospital and just couldn't get out of bed. | 0:21:24 | 0:21:28 | |
And I just said, this isn't right. | 0:21:28 | 0:21:30 | |
You go on adrenaline when you've had a child, you know, | 0:21:30 | 0:21:32 | |
it keeps you going. But I knew something wasn't right | 0:21:32 | 0:21:35 | |
and she came to answer the door to a health visitor and lost her breath. | 0:21:35 | 0:21:39 | |
And that was when we took her into hospital, because that wasn't right. | 0:21:39 | 0:21:42 | |
Sue has developed pulmonary hypertension, | 0:21:42 | 0:21:45 | |
dangerously high blood pressure in her lungs. | 0:21:45 | 0:21:48 | |
She's now permanently attached to an oxygen tent | 0:21:48 | 0:21:51 | |
and barely able to lift her own daughter. | 0:21:51 | 0:21:53 | |
I have my days where I'm unbelievably frustrated. | 0:21:53 | 0:21:56 | |
I just want to shut the door and just be a mum and say, | 0:21:56 | 0:22:00 | |
you know, "I'll do it on my own." | 0:22:00 | 0:22:01 | |
And there's been a couple of mornings I've tried it, | 0:22:01 | 0:22:03 | |
and regretted it. | 0:22:03 | 0:22:05 | |
And that's made me feel even more anxious, and angry as well. | 0:22:05 | 0:22:08 | |
Because I just want to do it, I want to do it on my terms. | 0:22:08 | 0:22:12 | |
But the surgery that could save her | 0:22:13 | 0:22:15 | |
is only performed at a handful of hospitals in the world. | 0:22:15 | 0:22:17 | |
It's incredibly complex. Without it, Sue will die. | 0:22:18 | 0:22:22 | |
SHE COUGHS | 0:22:22 | 0:22:24 | |
The arteries in her lungs are clogged with blood clots, | 0:22:26 | 0:22:29 | |
putting unbearable pressure on her heart. | 0:22:29 | 0:22:32 | |
In the scan here, Mrs Buckle's lungs, in the upper lobes, | 0:22:32 | 0:22:36 | |
the branches are reasonably smooth and relatively normal. | 0:22:36 | 0:22:39 | |
But in the lower lobes, the branches are narrowed | 0:22:39 | 0:22:42 | |
and blocked in lots of places. | 0:22:42 | 0:22:44 | |
So that means the right side of the heart has to work harder to get the blood round? | 0:22:44 | 0:22:48 | |
-That's exactly right. -What happens in the long-term? | 0:22:48 | 0:22:50 | |
Well, as the right side of the heart, | 0:22:50 | 0:22:53 | |
which is designed to pump against the low pressure | 0:22:53 | 0:22:55 | |
in the lung circulation, initially tries to compensate. | 0:22:55 | 0:22:59 | |
But eventually it gets bigger and more dilated and less efficient | 0:22:59 | 0:23:05 | |
and eventually, people get right heart failure | 0:23:05 | 0:23:07 | |
and become extremely unwell. | 0:23:07 | 0:23:09 | |
And eventually, unfortunately, die. | 0:23:09 | 0:23:11 | |
Sue knew her chances of surviving more than a couple of years were slim. | 0:23:11 | 0:23:16 | |
The more I read, the more terrified I was at the condition, | 0:23:17 | 0:23:20 | |
and the more I realised that I'd had a beautiful baby girl | 0:23:20 | 0:23:24 | |
and would I see her grow up? | 0:23:24 | 0:23:25 | |
I wasn't sure. And it was just devastating. | 0:23:25 | 0:23:28 | |
But Sue has been offered a lifeline by Papworth Hospital near Cambridge. | 0:23:28 | 0:23:34 | |
It's the only centre in the UK to perform the surgery that might cure her. | 0:23:34 | 0:23:37 | |
But it's one of the most difficult heart and lung operations undertaken anywhere. | 0:23:37 | 0:23:43 | |
The intricate surgery that could save her will involve putting her into a state of suspended animation. | 0:23:43 | 0:23:49 | |
So her body can be completely drained of blood. | 0:23:49 | 0:23:52 | |
It's her only chance of seeing Amelia grow up. | 0:23:52 | 0:23:56 | |
Over 90 percent of patients, after this operation, | 0:23:56 | 0:23:59 | |
are alive in five years. | 0:23:59 | 0:24:00 | |
Over two thirds of patients, it can offer a complete cure. | 0:24:00 | 0:24:04 | |
There's a good chance she hopefully we'll get back to a very good quality of life. | 0:24:04 | 0:24:09 | |
It takes nearly an hour to open Sue's chest. | 0:24:12 | 0:24:16 | |
They're going to reach her lungs through an artery in her heart. | 0:24:16 | 0:24:19 | |
A machine will take over the work of her heart and lungs. | 0:24:19 | 0:24:23 | |
The machine takes over the breathing and the circulation of the patient. | 0:24:24 | 0:24:27 | |
So the blood comes out of the body, bypasses the heart and lungs, | 0:24:29 | 0:24:32 | |
goes into this machine there and comes back oxygenated. | 0:24:32 | 0:24:36 | |
In most cardiothoracic operations, that would be enough to allow for surgery. | 0:24:37 | 0:24:41 | |
But not in this one. | 0:24:41 | 0:24:43 | |
Mr Jenkins' operating field is a hole about an inch across. | 0:24:43 | 0:24:47 | |
We need to switch the heart-lung machine off | 0:24:47 | 0:24:49 | |
because if we didn't, | 0:24:49 | 0:24:50 | |
you would always have a blood flow coming through. | 0:24:50 | 0:24:53 | |
So it would actually impede his vision. | 0:24:53 | 0:24:55 | |
The only way the team can do the operation without killing Sue | 0:24:55 | 0:24:59 | |
is too slow her metabolism down to a virtual standstill. | 0:24:59 | 0:25:02 | |
We need to cool the patient slowly, to about 20 degrees. | 0:25:03 | 0:25:08 | |
And then that gives us the safe period of 20 or 30 minutes | 0:25:08 | 0:25:11 | |
when we can drain all her blood out | 0:25:11 | 0:25:13 | |
and have a very good view to do the actual operation. | 0:25:13 | 0:25:15 | |
Sue's blood is very gradually chilled | 0:25:15 | 0:25:18 | |
as it runs through the bypass machine, | 0:25:18 | 0:25:21 | |
reducing her body temperature to half its normal level. | 0:25:21 | 0:25:24 | |
She'll be entering a state of suspended animation. | 0:25:24 | 0:25:28 | |
It's all designed to try and protect the brain from the periods | 0:25:28 | 0:25:31 | |
where we switch the pump off completely. | 0:25:31 | 0:25:34 | |
If you didn't do that, how long would it take for her to be brain damaged? | 0:25:34 | 0:25:38 | |
At normal body temperature, like you or I now, | 0:25:38 | 0:25:40 | |
three to four minutes, | 0:25:40 | 0:25:42 | |
and already we would start to see irreversible brain damage. | 0:25:42 | 0:25:45 | |
OK, so, Nick, you can stop the circulation now and drain out, please. | 0:25:45 | 0:25:50 | |
This is an extraordinary moment. | 0:25:52 | 0:25:55 | |
The heart-lung machine's just been switched off. | 0:25:55 | 0:25:58 | |
And all the blood is draining from Susie's body, | 0:25:58 | 0:26:01 | |
right in front of our eyes. | 0:26:01 | 0:26:04 | |
This is as close to being dead as you can get and still be revived. | 0:26:04 | 0:26:08 | |
They've now got just 20 minutes to tease out the blood clots | 0:26:08 | 0:26:12 | |
before her organs start to fail. | 0:26:12 | 0:26:15 | |
There is no way of knowing how easy or desperate it's going to be. | 0:26:15 | 0:26:18 | |
Hers is actually quite stubborn. | 0:26:18 | 0:26:20 | |
They've managed to remove the major blockages from the right side, | 0:26:20 | 0:26:24 | |
but time has run out. | 0:26:24 | 0:26:26 | |
So, we've just reached 20 minutes. | 0:26:26 | 0:26:28 | |
Sue will now briefly go back on bypass to refresh her brain | 0:26:28 | 0:26:33 | |
and body with a life saving cycle of blood, | 0:26:33 | 0:26:35 | |
then Mr Jenkins will have to start all over again on her other lung. | 0:26:35 | 0:26:40 | |
We only get the final proof when we come off bypass | 0:26:40 | 0:26:43 | |
and see what the pressures are like and see how she is. | 0:26:43 | 0:26:46 | |
Mr Jenkins is pleased with the results. | 0:26:46 | 0:26:48 | |
And it's looking, for this stage, it's looking pretty good. | 0:26:48 | 0:26:53 | |
I think she's going to be all right. | 0:26:53 | 0:26:55 | |
Sue will now go into intensive care. | 0:26:57 | 0:26:58 | |
If the recovery goes well, she could be home in a couple of weeks, | 0:26:58 | 0:27:02 | |
with a new life ahead of her. | 0:27:02 | 0:27:05 | |
When I was a medical student, this was the stuff of science fiction. | 0:27:05 | 0:27:08 | |
From my perspective, this is as close to a medical miracle as you can get. | 0:27:08 | 0:27:14 | |
That was amazing, wasn't it? I mean, how is she getting on? | 0:27:14 | 0:27:17 | |
Well, we did catch up with her, and she is recovering well. | 0:27:17 | 0:27:19 | |
See for yourselves. | 0:27:19 | 0:27:21 | |
I just wanted to give you an update on how I'm doing. | 0:27:21 | 0:27:24 | |
Coming home was incredible. | 0:27:25 | 0:27:26 | |
It was just amazing to see Amelia, | 0:27:26 | 0:27:28 | |
who had been here waiting for me to come home. | 0:27:28 | 0:27:32 | |
Having a cuddle. | 0:27:32 | 0:27:33 | |
Now I've had my operation, I'm able to dress Amelia | 0:27:33 | 0:27:37 | |
and change her nappy. | 0:27:37 | 0:27:38 | |
All those things that some parents would go, urgh, yeah, | 0:27:38 | 0:27:41 | |
mundane things. | 0:27:41 | 0:27:42 | |
But to me, every one is so special. | 0:27:42 | 0:27:44 | |
And pushing her in a pushchair is just lovely. | 0:27:44 | 0:27:47 | |
And not having an oxygen cylinder and being breathless, | 0:27:47 | 0:27:50 | |
just being able to do it on my own, is incredible. | 0:27:50 | 0:27:54 | |
I just want to say a humongous thank you to David Jenkins | 0:27:54 | 0:27:57 | |
and everyone that helped look after me at Papworth. | 0:27:57 | 0:27:59 | |
Before the operation, | 0:27:59 | 0:28:01 | |
and being told my life expectancy wasn't particularly great, | 0:28:01 | 0:28:05 | |
I viewed everything, birthdays, Christmases, Mother's Days, as a countdown. | 0:28:05 | 0:28:10 | |
You know, this might be the last one. | 0:28:10 | 0:28:12 | |
And now, it's incredible that I haven't got that over my shoulders. | 0:28:12 | 0:28:17 | |
Well, that is fantastic news, isn't it? | 0:28:17 | 0:28:19 | |
-I mean, good luck to Sue and her family. -Yeah, an incredible story. | 0:28:19 | 0:28:22 | |
And look, Michael, look what Joe has left us behind. Our ride home. | 0:28:22 | 0:28:25 | |
-It's a seagull! -Where are we going first? -To the North! -Yee hah! | 0:28:25 | 0:28:29 | |
See you later! | 0:28:29 | 0:28:31 | |
-Don't kick it. -All right. | 0:28:31 | 0:28:33 |