Browse content similar to 04/11/2015. Check below for episodes and series from the same categories and more!
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Tonight, we have a world exclusive from | :00:29. | :00:49. | |
global superstar Adele, recorded live at the BBC, when she sang | :00:50. | :00:52. | |
in front of a TV audience for the first time in nearly three years. | :00:53. | :00:55. | |
That's not all, we have a whole evening packed with the | :00:56. | :00:58. | |
We're recreating one of Norman Wisdom's most dangerous | :00:59. | :01:01. | |
We're talking about the biggest TV talent show on telly with | :01:02. | :01:04. | |
Strictly Come Dancing's Anton and Katie. Joining us in the studio. | :01:05. | :01:06. | |
Please welcome the superstar singer who brought | :01:07. | :01:08. | |
soul to rock and roll and the world class comedian who has, hopefully, | :01:09. | :01:11. | |
brought some broadcastable one liners with him tonight, | :01:12. | :01:13. | |
You wouldn't want to be a Rangers fan in here tonight. Listen. Have | :01:14. | :01:24. | |
you met before you started singing together over there the pair of you? | :01:25. | :01:33. | |
We go back a long way. Do you? We have the drinks in. Yes. These are | :01:34. | :01:41. | |
rum and Coke. You are a fan. Oh. We know you are generous when it comes | :01:42. | :01:47. | |
to getting a round in. Really? Apparently so. That is not | :01:48. | :01:53. | |
reputation you have. I certainly haven't. How did yours happen. I was | :01:54. | :01:59. | |
late for a gig. The train was delayed. I was two-and-a-half hours | :02:00. | :02:04. | |
late for a show and 1,300 people waited because there is nothing else | :02:05. | :02:08. | |
to do in Blackburn, presumably. I bought them all of a drink. | :02:09. | :02:11. | |
APPLAUSE. Yours. Only two fans turned for me! | :02:12. | :02:18. | |
No. I was in Las Vegas. It was the last show. There were so many Celtic | :02:19. | :02:22. | |
supporters in the audience with their green and white shirts on. I I | :02:23. | :02:30. | |
said, meet you over the road at ramies he played for Rangers. I | :02:31. | :02:35. | |
think there was 60, 70. Cost me $5,000. Well worth it. Did it? | :02:36. | :02:42. | |
Ramsay's. Dave has been handing the drinks out. We don't know who is | :02:43. | :02:46. | |
paying for it. You can fight it out between the pair of you. We'll be | :02:47. | :02:48. | |
fine. That's number four. Send us a picture of you with Jimmy | :02:49. | :03:00. | |
or Rod and we'll see if they can tell whose fans are | :03:01. | :03:03. | |
whose at the end of the show. Just a few of weeks ago we showed | :03:04. | :03:06. | |
how farmers are using drones to Now, the police are getting in | :03:07. | :03:13. | |
on the act. But with police spending under | :03:14. | :03:16. | |
review, is it the kind of thing they Could this be the future of | :03:17. | :03:30. | |
policing? An offender on-the-run. Chased on foot, but also from the | :03:31. | :03:35. | |
air by a police drone. Can they really make a difference? Drones. A | :03:36. | :03:42. | |
clever tool for fighting crime or simply a new toy for the police? | :03:43. | :03:47. | |
I've been invited to Warwickshire Police headquarters as the force | :03:48. | :03:53. | |
here is the latest to trial drones. They have spent ?5,000 on equipment | :03:54. | :04:03. | |
alone. How useful are they? The Chief Inspector is heading the drone | :04:04. | :04:08. | |
patrol. About public safety It's and support prosecutions. They have | :04:09. | :04:16. | |
spent ?19,000 using drones. It has led to no arrests. Not money wisely | :04:17. | :04:22. | |
spent? I would question arrests for a measure of success of these | :04:23. | :04:27. | |
devices. We would say they have a part to play in catching criminals | :04:28. | :04:33. | |
and a wider value in dealing with finding missing people, evidential | :04:34. | :04:36. | |
purposes, all of which we currently use a helicopter for, which is a | :04:37. | :04:41. | |
very, very expensive resource. With police helicopters costing roughly | :04:42. | :04:45. | |
?800 an hour to fly. He has a point. Earlier this year it was announced | :04:46. | :04:49. | |
that the police air service is to cut ten air bases. It's no surprise | :04:50. | :04:52. | |
forces are looking for cheaper options. They are trialing drones in | :04:53. | :04:58. | |
Dorset, dovn and Cornwall Police, Cumbria and the Met. Can they | :04:59. | :05:02. | |
replace police helicopters? I'm not sure. You can't ply fly them at | :05:03. | :05:08. | |
night, in the rain or if there are strong winds. The police's history | :05:09. | :05:11. | |
of drone use has been patchy. Merseyside Police got a ticking off | :05:12. | :05:16. | |
from the Civil Aviation Authority back in 2010 for flying one without | :05:17. | :05:20. | |
the proper permission. The following year they crashed it into the | :05:21. | :05:28. | |
Mersey. It it brought their venture with drones to a sorry end. I have | :05:29. | :05:32. | |
broken into someone's house with microbar. I'm still quite fast. How | :05:33. | :05:39. | |
fast is that drone? This shed is the house I've just burgled. Now, it's | :05:40. | :05:43. | |
time for me to do a runner. This isn't real. In the new year this | :05:44. | :05:48. | |
force could use the drones to track criminals. Their cameras sending | :05:49. | :05:55. | |
back real time images of search areas up to a kilometer for the | :05:56. | :06:01. | |
operator. If it rains harder, the drone will be forced to land. I will | :06:02. | :06:08. | |
hide from the police. The drone is above me. Images from the drone help | :06:09. | :06:12. | |
the officers on the ground track me down. The police dog looks like she | :06:13. | :06:18. | |
means business. How did I do? I've been nicked. I may be fast, but I've | :06:19. | :06:25. | |
been rumbled by the drone. Rain stopped play for the drone today | :06:26. | :06:30. | |
much we head back indoors. At the controls were PC Mark Billingham and | :06:31. | :06:35. | |
Police Community Support officers, Andy Stephenson. Do you think there | :06:36. | :06:39. | |
will be a big use for the drones in the police force? In your scenario | :06:40. | :06:42. | |
we found you. We could identify quickly that you had a weapon in | :06:43. | :06:45. | |
your hands. That information could be passed on to officers in real | :06:46. | :06:49. | |
time on the ground. The other aspect of missing person searches and | :06:50. | :06:53. | |
things like that. That will just be another feather in the cap, if you | :06:54. | :06:57. | |
like. The Warwickshire drones will be chasing real crooks in the new | :06:58. | :07:00. | |
year. They certainly gave me a run for my money, but I don't like to be | :07:01. | :07:04. | |
beaten. Not as young or fit as I used to be. I had a couple more | :07:05. | :07:09. | |
miles left in my legs. I reckon I could get away. We had you in our | :07:10. | :07:14. | |
sights. You had no chance. You might have wanted to wear a green jacket. | :07:15. | :07:22. | |
Red was vibrant. Gave it away. It's not just the police trialling | :07:23. | :07:26. | |
drones. Thinking of other emergency services, fire are grade? Fire and | :07:27. | :07:32. | |
Rescue in man chest, have 24/7 op call. Will not replace the Fire | :07:33. | :07:37. | |
Service. If they turn up to a call, shout out, it's bad, four or five | :07:38. | :07:42. | |
fire engines called, they can send a drone up in the air, it can assess | :07:43. | :07:48. | |
the situation. It can see where someone is lying, the heart of the | :07:49. | :07:52. | |
fire. Safe for the fire brigade to go up there. It sends thermal images | :07:53. | :07:56. | |
back as well. They can make decisions based on what they see | :07:57. | :08:00. | |
from the drone. It's going down well there. The Ambulance Service is | :08:01. | :08:06. | |
doing something similar. This is in Belgium. A drone that can take a | :08:07. | :08:10. | |
defibrulator to a scene. Imagine you are in London and you had a cardiac | :08:11. | :08:14. | |
arrest with traffic it could take ages to get there. The drone can | :08:15. | :08:18. | |
find its way by using the signal from the mobile phone that made the | :08:19. | :08:22. | |
emergency call. It can do 100 kilometers an hour. 12 kilometers in | :08:23. | :08:28. | |
one minute. It sends images back. It isn't replacing the paramedics. The | :08:29. | :08:31. | |
paramedics can look at the live footage and tell the person - It | :08:32. | :08:35. | |
talks to them? Through the drone. It says, this is what you need to do. | :08:36. | :08:38. | |
Place the pads here on the body. I think that happens in Casino Royale. | :08:39. | :08:44. | |
He has that in the car. The James Bond movie. They've nicked it. This | :08:45. | :08:49. | |
is James Bond with the rescue service. This is a rope bridge. A | :08:50. | :08:53. | |
drone in Zurich, two researchers have made this. They use drones to | :08:54. | :08:59. | |
actually build a bridge. It will be strong enough to support the weight | :09:00. | :09:03. | |
of a grown man to walk across. It uses 120 meters of rope. That binds | :09:04. | :09:10. | |
it altogether. The drone has a motor sized spool to adjust the tension. | :09:11. | :09:13. | |
That could be used if you are in the Peak District. Someone has broken | :09:14. | :09:17. | |
the leg. It would take two hours to walk around. You can build a bridge. | :09:18. | :09:24. | |
Brilliant. Absolutely brilliant. He didn't come up with it, you know | :09:25. | :09:31. | |
that? I know that. Great explanation. I still think bricks | :09:32. | :09:36. | |
and concrete have a while to play. They have to dry. I wouldn't drive a | :09:37. | :09:46. | |
car across it. My son is too young for that. As it walked away he | :09:47. | :09:51. | |
landed on my head. This drone landed on my head quite soft. You know, it | :09:52. | :09:58. | |
being loos like real hair! They have done a lovely job. He dyes it. I | :09:59. | :10:09. | |
don't. Be proud of your hair. They are using these drones to deliver | :10:10. | :10:18. | |
shopping now as well. The fourth emergency service. Where I go to my | :10:19. | :10:24. | |
clic and collect. It's a rough area. This can deliver the shopping to you | :10:25. | :10:29. | |
within half an hour's journey. Tell Rod's butler about it. You order | :10:30. | :10:35. | |
your food. It can turn up, do a half another journey. Two bags of | :10:36. | :10:39. | |
shopping. Hang on. Does she come with it? She has a nice birthday | :10:40. | :10:45. | |
cake. There is shoplifters. If you saw that going down the street you | :10:46. | :10:49. | |
would say, that is my shopping done. I'll have what they are having. You | :10:50. | :10:54. | |
can talk to that contraption. If someone tries to nick it. It will | :10:55. | :10:58. | |
talk to them. If you nick it, we're phoning the police. It's monitored | :10:59. | :11:03. | |
by a control centre. We are seeing the future here. This is the future. | :11:04. | :11:07. | |
It's striking, it really is. We want to talk to you about your model | :11:08. | :11:11. | |
trains? Me. At this point. Why do you want to talk to me about my | :11:12. | :11:17. | |
model trains. It's embarrassing. We got you a drone. That is why you | :11:18. | :11:24. | |
landed on my head. It fits into that same category. You playing with | :11:25. | :11:28. | |
trains. When you go on tour. You take your trains with you, is that | :11:29. | :11:33. | |
right? No. Hold on. I don't take my train set. It's a scale model | :11:34. | :11:39. | |
railroad. Oh, sorry. It's posh. When I go on tour, if I'm in a hotel | :11:40. | :11:43. | |
room, they will give me a spare hotel room. What happens is I have | :11:44. | :11:46. | |
tool kits, paints, you know, everything I need to build a project | :11:47. | :11:51. | |
if I want to - stop laughing. That's how most people travel, Rod. That is | :11:52. | :11:57. | |
how most people in this day and age will bring a spare room for their | :11:58. | :12:03. | |
model train. You are such a rock What else could star. I have been? | :12:04. | :12:08. | |
Look at this face. Let's change the subject. How big is your train set | :12:09. | :12:12. | |
at home No, don't talk about my train set. I heard it's the size of | :12:13. | :12:17. | |
a tennis court. It is. How do I get it up? How do you get it up! Shut | :12:18. | :12:20. | |
up, shut up. You are at an age... This time last year we used our | :12:21. | :12:28. | |
drone to film the firework display. Look at this footage. I bet you | :12:29. | :12:40. | |
didn't get that back! On that theme of being in a firework. | :12:41. | :12:47. | |
For Bonfire Night this year we've gone one better. | :12:48. | :12:59. | |
This man will be strapping fireworks to himself and leaping out | :13:00. | :13:01. | |
Tomorrow, I will be heading down to Land's End to prepare | :13:02. | :13:08. | |
for the Rickshaw Challenge which is setting off at dawn on Friday. | :13:09. | :13:13. | |
We've met five of the rickshaw riders already. | :13:14. | :13:15. | |
The last one is an incredibly brave and strong young woman who | :13:16. | :13:18. | |
A message of good luck. I want to wish all the people the luck in the | :13:19. | :13:32. | |
world on the Rickshaw Challenge. We're all thinking of you. You're | :13:33. | :13:39. | |
doing great. My name is Erin. I will take part in the Rickshaw Challenge | :13:40. | :13:43. | |
for children in need. This is where I live with my mum, dad, brother, | :13:44. | :13:51. | |
Max and dog, Bonnie. It was my 18th birthday yesterday. I had all the | :13:52. | :13:55. | |
family around and a wee party in the house. I got loads of presents and | :13:56. | :14:03. | |
cards and a Pudsey cake. When I was younger I was really active. I loved | :14:04. | :14:08. | |
gymnastics. I was really sporty. When I was eight I got diagnosed | :14:09. | :14:14. | |
with arthritis. It's all over my body. Every morning my dad would | :14:15. | :14:18. | |
have to carry me out of my bed into a warm bath so I could start moving | :14:19. | :14:23. | |
again because I couldn't even open my hands or I couldn't straighten my | :14:24. | :14:30. | |
legs. My body was in shock with a lot of the pain. My body shakes | :14:31. | :14:35. | |
uncontrollably. I'm on strong pain kills. Horse tranquillisers. People | :14:36. | :14:43. | |
say it's an old person's disease and young kids don't get it. If they | :14:44. | :14:47. | |
could live a day in Erin's life it would open people's eyes. She went | :14:48. | :14:51. | |
through gruelling treatments. Hair falling out. Sickness. She's had | :14:52. | :14:57. | |
years of not being able to attend school. It changed the whole | :14:58. | :15:03. | |
family's life. It was quite quick. From being very mobile to having to | :15:04. | :15:07. | |
be lifted out of her bed. Constant pain. Up all night. Crying with pain | :15:08. | :15:16. | |
and stuff like that. We went from having someone who was bouncy. It | :15:17. | :15:20. | |
was quite a dramatic impact on the family. | :15:21. | :15:31. | |
Arthritis Care is a UK charity working with people of all ages. In | :15:32. | :15:38. | |
Scotland we have got a couple of projects and one has been funded by | :15:39. | :15:42. | |
children in need for a 10-18 -year-olds. It is hugely important | :15:43. | :15:48. | |
to young people because they do not get many chances to meet other young | :15:49. | :15:52. | |
people with arthritis and people who understand. The support that you get | :15:53. | :15:59. | |
here is amazing. They are another family I have got. I can phoned them | :16:00. | :16:03. | |
or text them whatever time in the night. I can meet up for copy or | :16:04. | :16:08. | |
dinner if I feel like I just need to talk. I do not know what she would | :16:09. | :16:14. | |
do without them because they are another lifeline. They teach a lot | :16:15. | :16:18. | |
of emotional and life skills to help cope and it has been a really | :16:19. | :16:25. | |
positive thing. I am so excited about taking part in the Rickshaw | :16:26. | :16:30. | |
Challenge, I cannot wait. It is massively important for me to give | :16:31. | :16:34. | |
something back. I do not know where I would be without them because they | :16:35. | :16:40. | |
gave me my life back. Erin is very good at challenging herself and | :16:41. | :16:43. | |
succeeding at things. It is made for her, it is perfect. I am looking to | :16:44. | :16:51. | |
working together and cheering each other on. My big thing will be the | :16:52. | :16:57. | |
pain of arthritis and knowing my limits and saying, that is enough, I | :16:58. | :17:03. | |
will get back on the rickshaw later. I push myself and push myself. I am | :17:04. | :17:10. | |
so proud of her. She will push herself, I can see her being bossy | :17:11. | :17:18. | |
boots and telling people of to save her pedalling. I am taking part in | :17:19. | :17:24. | |
the Rickshaw Challenge, but we need your help, so please donate. There | :17:25. | :17:30. | |
you have the team which is now complete. | :17:31. | :17:33. | |
Hope you feel better very soon, Erin. | :17:34. | :17:41. | |
Tell our viewers how they can donate. | :17:42. | :17:43. | |
To donate ?5 to Children in Need, text the word "team" to 7075. | :17:44. | :17:47. | |
Or to donate ?10 text "team" to 70710. | :17:48. | :17:51. | |
Texts will cost your donation, plus your standard network message | :17:52. | :17:53. | |
All of your donation will go to Children in Need. | :17:54. | :17:57. | |
You must be 16 or over and, please, ask for the bill payer's permission. | :17:58. | :18:01. | |
For more information and full terms and conditions go to | :18:02. | :18:03. | |
where you can also donate online if you want to give a different amount. | :18:04. | :18:08. | |
The lines are open now so, please, get on your phone and start texting. | :18:09. | :18:14. | |
Also remember, we are creating a gallery of givers so take a selfie | :18:15. | :18:18. | |
All the details on the Children in Need page. | :18:19. | :18:30. | |
We have been getting into the stunt recreation business and Gyles has | :18:31. | :18:36. | |
already staged this classic stand from Some Mothers Do 'Ave 'Em, | :18:37. | :18:42. | |
roller skating under a moving lorry. This week we are throwing a willing | :18:43. | :18:46. | |
stuntman called Theo down some stairs all in the name of comedy. | :18:47. | :18:51. | |
British film and television has a long-standing history with false and | :18:52. | :19:02. | |
the one man who embodied this like no other was Norman Wisdom. There | :19:03. | :19:06. | |
was one sequence the producers felt was too dangerous for the star to | :19:07. | :19:11. | |
perform. The film was called A Stitch In Time and was released in | :19:12. | :19:18. | |
1963. The sequence sees his character covered in bandages | :19:19. | :19:21. | |
hurtling down a set of stairs in a wheelchair through a wall and onto a | :19:22. | :19:27. | |
moving ambulance. It was in this movie filmed at Pinewood Studios | :19:28. | :19:32. | |
that stuntman Tex Fuller was tasked with performing the now notorious | :19:33. | :19:36. | |
sequence. But the experienced stuntman would not appear in the | :19:37. | :19:41. | |
film. Norman's son, Nicholas, remembers his father's account of | :19:42. | :19:46. | |
what happened that day. The most amazing story of the stitch in time, | :19:47. | :19:51. | |
Bob Asher, the director, called him over and said you are not going to | :19:52. | :19:58. | |
be happy, I have hired a stuntman. My father was flabbergasted because | :19:59. | :20:02. | |
he could not believe he would do that. He said, I have hired a | :20:03. | :20:07. | |
stuntman, this is far too dangerous. The stuntman came down | :20:08. | :20:11. | |
the stairs and went through the wall and landed on the ambulance and went | :20:12. | :20:16. | |
straight over the edge and injured himself so much he had to go to | :20:17. | :20:21. | |
hospital. The mood in the camp was not good as you can imagine. Bob | :20:22. | :20:27. | |
Asher came over to Norman and said, did you see that? What do you think? | :20:28. | :20:34. | |
Norman said it would be a shame to waste all this set that you have got | :20:35. | :20:40. | |
now, I will do it. Bob Asher was in a terrible position. He got | :20:41. | :20:46. | |
everybody on set. Time was money. If anything happens to him, the film | :20:47. | :20:51. | |
would not be completed. So he then said he could do it. Here we are all | :20:52. | :20:57. | |
these years later remembering the sequence, what is the enduring | :20:58. | :21:03. | |
appeal? It is just good clean comedy. He gives his audience what | :21:04. | :21:09. | |
they wanted to see. I can remember watching A Stitch In Time at the | :21:10. | :21:15. | |
cinema. At the end of the film everybody applauded. That was a | :21:16. | :21:19. | |
fantastic feeling for me to hear that. Like many stunts, the seeming | :21:20. | :21:29. | |
ease with which they are accomplished belies reality. It took | :21:30. | :21:33. | |
a particular skill and some clever engineering to get that we'll show | :21:34. | :21:38. | |
to write down those stairs. With that in mind we brought in our very | :21:39. | :21:44. | |
own on show stunt team to try to recreate the famous steer sequence. | :21:45. | :21:52. | |
The stunt coordinator is tasked with working out the logistics before the | :21:53. | :21:59. | |
stuntman can attempt it. The stairs in the original sequence were | :22:00. | :22:03. | |
purpose-built for the stands at Pinewood Studios. If you look | :22:04. | :22:06. | |
closely you can see the shallow depth and gentle gradient of the | :22:07. | :22:11. | |
steps, giving the wheelchair are much easier dissent than our team | :22:12. | :22:16. | |
will have with the steps they have to work with. Jamie has discovered | :22:17. | :22:21. | |
another problem, the wheelchair. As we have seen in the movie, the way | :22:22. | :22:28. | |
the wheelchair was designed they ended up putting the front wheels on | :22:29. | :22:32. | |
the back of the wheelchair and we are going to do the same thing. We | :22:33. | :22:36. | |
are completely turning the wheelchair back on itself, reinforce | :22:37. | :22:42. | |
the frame and change the seat position. If we did not do that, the | :22:43. | :22:46. | |
performer would go down the stairs and tip up. With the initial tests | :22:47. | :22:51. | |
done, they have sent the wheelchair to be rebuilt to the design used in | :22:52. | :23:00. | |
A Stitch In Time. For as the steps are real and they are made of stone. | :23:01. | :23:07. | |
Part two is coming up very soon. Jimmy, you are back on tour. I am | :23:08. | :23:19. | |
always on tour. This is The Best Of Ultimate Gold Greatest Hits Tour. I | :23:20. | :23:23. | |
did not want to confuse anyone with the name. But you are doing | :23:24. | :23:27. | |
something quite brave, you are telling jokes you have already told | :23:28. | :23:34. | |
before. Brave is maybe not the right word. According to the Independent | :23:35. | :23:42. | |
it is either a genius or Acorn. Where do you stand? You go and see | :23:43. | :23:48. | |
rock and roll groups and they knocked out the hits. Where would | :23:49. | :23:51. | |
they be if you did not do Maggie May? There would be an uproar. But | :23:52. | :24:00. | |
with the greatest hits it kind of can signal the beginning of the | :24:01. | :24:05. | |
end. Oh, my God, she is retiring me. I thought it would be nice. | :24:06. | :24:11. | |
You'd do corporate gigs occasionally and you do a greatest hits there and | :24:12. | :24:14. | |
you knock out the old stuff that always works and you have a great | :24:15. | :24:20. | |
show. Then you think, why don't I do that for people who come and see me | :24:21. | :24:25. | |
every year. I have done about ten DVDs and 20 hours of jokes. I cannot | :24:26. | :24:30. | |
remember it all. I am sure the audience will be fine. Let's look | :24:31. | :24:36. | |
back. Do not play my stuff on your show, Ofcom will get involved. We | :24:37. | :24:44. | |
have picked carefully, it is fine. If somebody recommend a book and | :24:45. | :24:47. | |
they say, it is a page turner I think, I know how books work. | :24:48. | :24:52. | |
British people are one inch taller than we were 20 years ago and that | :24:53. | :24:57. | |
is because 20 years ago we were all children. I had this cab driver | :24:58. | :25:01. | |
driving a black cab whistling and smiling and he said, I love my job, | :25:02. | :25:07. | |
I am my own boss and nobody tells me what to do. I said, left here. | :25:08. | :25:18. | |
Absolutely brilliant. I have cut down on carbohydrates since I told | :25:19. | :25:22. | |
that joke. You have had to look back over the DVDs and what is the main | :25:23. | :25:29. | |
difference? For a long time I looked as if my face had been shoved in a | :25:30. | :25:34. | |
lift, it was slightly fatter. You get better as a performer. Do you | :25:35. | :25:40. | |
look back at the early 70s? Oh, do not tell me about the early 70s. How | :25:41. | :25:47. | |
you interpret the song and I know when you look back at the early | :25:48. | :25:52. | |
stuff I think, I threw away that one-liner because I was so nervous | :25:53. | :25:57. | |
on stage. I have got no training. You get better at what you do. And | :25:58. | :26:04. | |
it is nice to go back and revisit. You have written books and all | :26:05. | :26:10. | |
sorts. You are very thorough. It is a bit pseudo on occasion. I think I | :26:11. | :26:16. | |
have got more rude. On the early stuff there is plenty you can play | :26:17. | :26:20. | |
on the show, but now not so much. It is brutal. I do not swear that much. | :26:21. | :26:31. | |
Rod is terrible. I do not know what I am doing here. Normally you have a | :26:32. | :26:38. | |
deadpan expression, so when you are delivering all of these jokes, are | :26:39. | :26:43. | |
you laughing inside? I did not laugh early on in my career because my | :26:44. | :26:50. | |
love is so ridiculous. I laugh when I breathe in, so it is a strange | :26:51. | :26:58. | |
goose noise. If I try and suppress it, it sounds like somebody has | :26:59. | :27:03. | |
smuggled an owl into the room. It does. It is infectious. | :27:04. | :27:09. | |
You say you were nervous when you first started and you have honed | :27:10. | :27:14. | |
your skills, but your mum was a big believer. She said, you are good at | :27:15. | :27:20. | |
this, go for this. She was an incredibly funny woman and that is | :27:21. | :27:24. | |
why I wanted to get into it. She was so charismatic and she was a funny | :27:25. | :27:28. | |
woman and everybody gravitated towards her. I thought, I will do | :27:29. | :27:35. | |
that. It is a nice thing. Everybody asks what is your favourite joke, | :27:36. | :27:39. | |
but when you are looking back through the archives, which joke | :27:40. | :27:43. | |
were you more surprised by that you did not realise was funny at the | :27:44. | :27:48. | |
time? I don't know, I am thinking of my all-time favourite joke that | :27:49. | :27:52. | |
might work on this show. I asked a Welsh friend of mine how many | :27:53. | :27:56. | |
partners he had in his life and he started to count and he fell asleep. | :27:57. | :28:02. | |
That is just about all right, isn't it? I like the one about the stag | :28:03. | :28:12. | |
and the meat, the stag meat. Venison is dear, isn't it? I wrote a 2 word | :28:13. | :28:19. | |
joke which was to war shortage, so I could pack more jokes into the show. | :28:20. | :28:24. | |
If you are a dwarf and you are offended, grow up. The Best Of | :28:25. | :28:30. | |
Ultimate Gold Greatest Hits Tour starred in Peterborough on the 17th. | :28:31. | :28:39. | |
Jimmy is great at playing the fool and Rod produces musical gold, so | :28:40. | :28:44. | |
guess which mineral our Jim Hunter has been collecting in his latest | :28:45. | :28:54. | |
film? This is a crowbar. Today I am heading towards one of | :28:55. | :28:59. | |
the so-called Slate Islands on the West Coast of Scotland in search of | :29:00. | :29:04. | |
a special crystal. For centuries this island was a world centre for | :29:05. | :29:09. | |
slate quarrying and it is within those old quarries that I am | :29:10. | :29:14. | |
searching for a semi-specialist stone called pyrite, also known as | :29:15. | :29:21. | |
fool's gold. Despite measuring less than a mile long and wide, in its | :29:22. | :29:26. | |
heyday, Easdale had seven working quarries. Everywhere you look on the | :29:27. | :29:31. | |
island there is plenty of evidence of its industrial past, but what | :29:32. | :29:36. | |
happened to all the quarries? Donald has lived on the island most of his | :29:37. | :29:42. | |
life. Back in the day there were over 500 people living and working | :29:43. | :29:45. | |
in the quarries when they were in full production. It was the peak of | :29:46. | :29:52. | |
the industry, but in 1881 a massive storm hit the island and the tidal | :29:53. | :29:58. | |
wave devastated the quarries and the industry almost overnight. What did | :29:59. | :30:03. | |
the Quarry men do when they left? All the tools were in the bottom | :30:04. | :30:08. | |
covered with water and there were no tools and no pay and the island went | :30:09. | :30:13. | |
downhill at that point. Today Easdale has a population of around | :30:14. | :30:17. | |
60 people and is one of the smallest, inhabited islands in the | :30:18. | :30:23. | |
inner Hebrides. There are no roads, street lights or cars and the | :30:24. | :30:26. | |
official mode of transport is the humble wheelbarrow, | :30:27. | :30:31. | |
I am Rae off to the old slate quarry. What is special about the | :30:32. | :30:40. | |
slate is that as well as the pitch black colour it has a rippling | :30:41. | :30:46. | |
effect on its surface which distinguishes it from other British | :30:47. | :30:50. | |
smoother slates. The reason why I'm here is because of the real beauty | :30:51. | :30:55. | |
that lies within. Revealed by the simplest of taps. Beautiful. Once | :30:56. | :31:03. | |
opened, you can see these gorgeous crystals of pyre rite glistening in | :31:04. | :31:09. | |
the sun light. They naturally grow into these perfect cubic shapes. You | :31:10. | :31:12. | |
can see when it's glisenning in the sun light, like this, that a lot of | :31:13. | :31:16. | |
people were fooled into thinking it's gold. What I'm after are cube | :31:17. | :31:21. | |
that is are around half a centimetre in size which can be found in larger | :31:22. | :31:27. | |
pieces of slate. The best place to find them is in the undisturbed | :31:28. | :31:35. | |
water-logged quarries. Here we go! , luckily the water is very clear. I | :31:36. | :31:39. | |
can swim down the sloping quarry face to see if there are any big | :31:40. | :31:46. | |
pieces of slate that could contain a nice amount of pirite. I found this | :31:47. | :31:52. | |
piece of slate here. It's absolutely speckled with pirite. I hopefully I | :31:53. | :31:57. | |
will be able to split it open and find nice crystals inside. Once I | :31:58. | :32:00. | |
get the slate back Attapatu my workshop I can really start to | :32:01. | :32:05. | |
create my piece of jewellery. I'm using a soft hammer, not a steel | :32:06. | :32:09. | |
hammer, but a rubber hammer. That absorbs a bit of the impact so it's | :32:10. | :32:16. | |
less likely to damage the crystals. Then, it's a case of cutting the | :32:17. | :32:22. | |
slate down and choosing which cube to use. I had the idea of designing | :32:23. | :32:27. | |
a complicating piece of jowl are you and set it with other gem stones. | :32:28. | :32:32. | |
Now I've seen its raw beauty and I've changed my mind. You can see | :32:33. | :32:37. | |
the cubic shape of the pirite embedded in the slate. It's | :32:38. | :32:40. | |
naturally growing out of there. I'm going to leave leave it as it is | :32:41. | :32:44. | |
with a simple silver setting and keep it as a pendant. He does lovely | :32:45. | :32:57. | |
pendants as well. And lovely cufflinks all sorts. Rod, a new | :32:58. | :33:01. | |
album, Another Country. We have the first track here, it's called | :33:02. | :33:05. | |
Please. Let's hear it before we chat about it. | :33:06. | :33:07. | |
# Stay with me tonight # Lay your head down next to mine | :33:08. | :33:21. | |
# Stay with me tonight # Let's leave our troubles behind | :33:22. | :33:25. | |
# Please! # What a note, Rod! | :33:26. | :33:33. | |
APPLAUSE. A beautiful song. Try singing along | :33:34. | :33:38. | |
to that at home. There is going to be terrible noises coming out of | :33:39. | :33:43. | |
cars. Trying to hit the high note. That was a high one. You two are - | :33:44. | :33:50. | |
You shouldn't have given us... It's family television. Behave. Speaking | :33:51. | :33:57. | |
of which you are now singing in your own words age appropriate songs? | :33:58. | :34:01. | |
That one Please is, yeah. It's, for want of a better word, the wife is | :34:02. | :34:07. | |
watching. It's a pulling song. It's not Tonight's The Night, | :34:08. | :34:16. | |
it's not Stay with Me, it's not Do, You Think, I'm Sexy. How many | :34:17. | :34:21. | |
pulling songs did you write I had my moments. Write what you know. Have | :34:22. | :34:26. | |
you taken up the mantle again, you have done a whole am bum. What is | :34:27. | :34:29. | |
the difference. Did you have the moment when you thought - I can do | :34:30. | :34:35. | |
it get. I put the autobiography together, Rod, unusual title. I | :34:36. | :34:39. | |
thought, I had so many things to write about. It dawned on me I had | :34:40. | :34:44. | |
tonnes of stuff to write about. That was the catalyst. That was the | :34:45. | :34:48. | |
opening of the floodgates. I've continued. The song that you have | :34:49. | :34:54. | |
written for your son. That is the most wonderful. Batman, Superman. | :34:55. | :35:00. | |
He's watching. Let me tell him. I'm bringing this home for you my old | :35:01. | :35:05. | |
mate. Talking about setting the scene and creating the image. It | :35:06. | :35:08. | |
hits it perfectly. How was that process writing that song and | :35:09. | :35:12. | |
putting that feeling down in words? Every night I'm the last one to say | :35:13. | :35:16. | |
good night to him. He says - dad, read me a story much I go, what | :35:17. | :35:21. | |
about? He says, make it up. What about? Bat Macman Superman or | :35:22. | :35:27. | |
Spider-Man. So the song was written. He plays it when I'm away from home. | :35:28. | :35:33. | |
When I'm on tur or something. When I come home he never plays it. It's | :35:34. | :35:40. | |
weird. Bless him. Aidan. I never get to put my song to bed much I was | :35:41. | :35:46. | |
listening to it and I got sad on the way Did you? Home. I'm going to cry. | :35:47. | :35:54. | |
Have you got any kids? No. Plenty of time. You go through the writing | :35:55. | :35:59. | |
process. You have to write loads of jokes they are one liners. You have | :36:00. | :36:05. | |
to write 1,000 to get 250 good ones, is that true? The audience decide. | :36:06. | :36:10. | |
There is a quote by an American comedian called Lenny Bruce he said, | :36:11. | :36:14. | |
the audience is a genius. . Side what is and isn't funny. You tell | :36:15. | :36:18. | |
and audience they will tell you what they like. Instantly. I bet Rod gets | :36:19. | :36:27. | |
it. You will say this is the single. The audience will tell you what they | :36:28. | :36:31. | |
are core keen on. As far as your venues, the size of them is | :36:32. | :36:35. | |
concerned, they differ greatly. You do intimate. They are all stadiums? | :36:36. | :36:41. | |
Next June, they are. Yeah. All my boys will be there. That feeling for | :36:42. | :36:48. | |
you, do you prefer it. Is it getting loads of people in one place at one | :36:49. | :36:54. | |
time or do you prefer the feeling. It's an outdoor show and the weather | :36:55. | :36:57. | |
is great it has a carnival atmosphere. Everyone has a few | :36:58. | :37:02. | |
tipples. They enjoy the show. When it's raining the British are great. | :37:03. | :37:05. | |
They don't care. They are used to it. It's... I prefer both. I love | :37:06. | :37:13. | |
the outdoor shows. I love the intimacy of, let's say - That venue | :37:14. | :37:17. | |
in Las Vegas is incredible. People spend their lives in front of | :37:18. | :37:22. | |
screens, computers and TVs. They like going out to stuff. To feel | :37:23. | :37:26. | |
part of a crowd and sing-a-long. It's a will havely experience. You | :37:27. | :37:32. | |
like to hear the ad libs. You don't like the big stages because of that? | :37:33. | :37:36. | |
It's different with comedy. I want people at the back of the theatre to | :37:37. | :37:40. | |
be able to shout out and be part of the show. The audience are a big | :37:41. | :37:46. | |
part of it. I will write jokes, 70% 80%. On a good night it's the | :37:47. | :37:50. | |
audience heckling and being rude to me. How do you go about writing a | :37:51. | :37:58. | |
joke? Backwards. How do you mean The punch line and go back. How about my | :37:59. | :38:06. | |
socks? Stripy jocks. They are absolutely useless and don't go with | :38:07. | :38:10. | |
anything else I'm wearing. I just noticed. A sock joke. I'll work on | :38:11. | :38:15. | |
it. We will get there. We will give you time. Thank you for the photos | :38:16. | :38:18. | |
coming in with either of these two. We will do something with them. Is | :38:19. | :38:20. | |
there anything we can show? Yes. Rod's tour starts in Norwich | :38:21. | :38:25. | |
on the 4th June. Time now to return to that lethal | :38:26. | :38:29. | |
looking stone staircase This is the moment that Gyles | :38:30. | :38:32. | |
recreated the famous scene from Can our stunt team recreate the | :38:33. | :38:54. | |
legendary Norman Wisdom stunt on a set of stone steps without breaking | :38:55. | :38:59. | |
any bones? A special effects team has redesigned the wheelchair and | :39:00. | :39:02. | |
run tests on it is durability ready for Theo and Jamie to plan the | :39:03. | :39:08. | |
safest way to perform the stunt. I put a huge amount of trust in Jamie. | :39:09. | :39:14. | |
He has more experience than I do. Once he feels that he has looked at | :39:15. | :39:19. | |
every aspect safety wise, he's confident with that, that puts a | :39:20. | :39:23. | |
huge amount of confidence in me to just do my job. Biggest issue we'll | :39:24. | :39:29. | |
have is the chair flipping. Maybe catching the edge of the railing. | :39:30. | :39:32. | |
Maybe the wheel getting caught and flipping me out of the chair. | :39:33. | :39:36. | |
Throwing you down. You don't have brakes on there. If things start to | :39:37. | :39:41. | |
go wrong, it's probably going to be a lot harder to sort things out. | :39:42. | :39:47. | |
Then you are committed. I think it's very much getting the alignment | :39:48. | :39:50. | |
right. Making sure the wheels are on track and then doing the best job. | :39:51. | :39:55. | |
With the serious issue of not being able to control the wheelchair's | :39:56. | :40:01. | |
speed, Jamie has deviced a safety system using rope -- devise. The | :40:02. | :40:07. | |
rope will be attached to a 4x4. It will run through a series of Pulis | :40:08. | :40:12. | |
before being fastened to the back of the wheelchair. The wheelchair speed | :40:13. | :40:16. | |
can then be kept constant. With each rehearsal Theo is gaining confidence | :40:17. | :40:19. | |
to attempt the stone steps without the rope system. Jamie has his | :40:20. | :40:26. | |
concerns. I think what you're going to get now, looking at what you're | :40:27. | :40:30. | |
doing now, you go from the top you will just be... I think it will be | :40:31. | :40:39. | |
out of control. The teamsome now concerned that the wheelchair is | :40:40. | :40:43. | |
taking a lot of punishment on the hard stone. There's no more time for | :40:44. | :40:48. | |
rehearsals. Can Theo make it down from the top in one piece and | :40:49. | :40:51. | |
without the rope? There's a lot of fuss about nothing | :40:52. | :41:02. | |
going on here. I think it's about time that a true professional, like | :41:03. | :41:07. | |
myself, showed these boys how to entertain an audience. This goes | :41:08. | :41:10. | |
around here. That goes there. I'm telling you, Norman Wisdom | :41:11. | :42:16. | |
earned that knighthood. Oh, anyone got a cushion! | :42:17. | :42:21. | |
APPLAUSE. It worked! Very good. Have you two | :42:22. | :42:36. | |
taken out insurance on Gyles, are you trying to kill him? | :42:37. | :42:40. | |
In a moment we'll be meeting two of the stars of the biggest show | :42:41. | :42:43. | |
Yes, Strictly Come Dancing's Anton and Katie are standing by | :42:44. | :42:46. | |
and they're about to hear what two Strictly Superfans really think | :42:47. | :42:49. | |
First, Mike is giving his own judgement | :42:50. | :42:52. | |
Please welcome to the dancefloor, the Rufus Grasshopper. | :42:53. | :42:58. | |
Across the UK the mating season brings out some pretty nifty dance | :42:59. | :43:04. | |
moves. It isn't just the larger animals who strut their stuff in | :43:05. | :43:09. | |
search of love. Deep in the undergrowth, here on the Devon | :43:10. | :43:13. | |
coast, there is a tiny creature with a dance to rival any animal in the | :43:14. | :43:21. | |
country. The grasshopper. There are over 10,000 species worldwide. Their | :43:22. | :43:27. | |
preference for warmer cloy mates mean only 11 call the UK their home | :43:28. | :43:33. | |
thechl are some of the most easily identified of all British insects | :43:34. | :43:37. | |
thech have strong back legs, able to jump over 20 times their own body | :43:38. | :43:41. | |
length. If you're not actually able to see them, you will certainly be | :43:42. | :43:47. | |
able to hear them. Each species has its own unique sound. They make | :43:48. | :43:52. | |
their sounds by rubbing their legs against their wings. Today I'm on | :43:53. | :43:58. | |
the search for the Rufus Grasshopper. Their song is the key | :43:59. | :44:03. | |
to finding them. There is no-one better at recognising this serenade | :44:04. | :44:08. | |
than insect expert, John Walters. John, top tips for looking for this | :44:09. | :44:12. | |
rare specialised grasshopper? It looks similar to the grasshoppers | :44:13. | :44:18. | |
you would find in your garden. This has some amazing antennae, which you | :44:19. | :44:24. | |
will see in a minute. It likes warm south facing grasslands with sun | :44:25. | :44:29. | |
pockets in. With their distinctive call all around we split up to try | :44:30. | :44:34. | |
and find some. Most grasshoppers pursue their mates purely with song. | :44:35. | :44:38. | |
The Rufus Grasshopper has an extraordinary dance routine that I'm | :44:39. | :44:44. | |
hoping to see. We soon hit the jackpot. Rod sets up his specialist | :44:45. | :44:50. | |
micro camera. There is a female with a male waiting in the wings. We | :44:51. | :44:55. | |
sneak in for a front row seat hoping to watch the romance build. They | :44:56. | :44:59. | |
love living on these steep south-facing banks like this because | :45:00. | :45:04. | |
it's a bit tricky to keep in position, almost sliding down here. | :45:05. | :45:07. | |
These are sun traps, particularly this time of year. Here we go. He's | :45:08. | :45:13. | |
going for it. He spotted the female. Trying to get head on so she can see | :45:14. | :45:18. | |
the pouts. He is trying to get her attention. There we go. There we go. | :45:19. | :45:23. | |
He has spotted her. Now will he do the display? Wonderful. Straight | :45:24. | :45:30. | |
head on there. Now starting the lug clockwork motion. I love the way he | :45:31. | :45:33. | |
ticks his head from side to side. It's gorgeous. Here we go, waggle of | :45:34. | :45:40. | |
the pouts. There we go. He flicks them down. A little bit of a song. | :45:41. | :45:45. | |
Chirping there. He is working his magic. What a dance. | :45:46. | :46:18. | |
Despite his best effort it seems the mail's dance moves do not quite | :46:19. | :46:25. | |
sweet this female off her feet. I have watched these hundreds of times | :46:26. | :46:29. | |
and I have never ever seen the mail successfully caught the female. She | :46:30. | :46:34. | |
is sitting there and letting him do a super display today. Look at that. | :46:35. | :46:39. | |
Despite his best moves they were unlucky. | :46:40. | :46:41. | |
Despite his best moves, unlucky grasshopper, I'm going to have to | :46:42. | :46:43. | |
Talking of Strictly, we're joined by Anton and Katie now. | :46:44. | :46:55. | |
It's been up and down for you two, but let's have a look | :46:56. | :46:58. | |
at the dance that saw you top the leaderboard, the Waltz. | :46:59. | :47:06. | |
CHEERING Oh, happy days. | :47:07. | :47:30. | |
That was a good night. What is the planned for this weekend? More of | :47:31. | :47:36. | |
the same. The quick step this weekend. How is that going? Not bad, | :47:37. | :47:47. | |
I think he is quite good at it. You know you have to do a thing called a | :47:48. | :47:54. | |
director's take and, look like you are interested, so we filmed it and | :47:55. | :47:58. | |
sent it off to the director of the show. And we did it today for the | :47:59. | :48:04. | |
first time and it went well. Normally it is an nightmare. It | :48:05. | :48:07. | |
looked good, with all the steps in the right order. Go for it. It is OK | :48:08. | :48:17. | |
for you. Because this has not happened a lot to you. Apart from | :48:18. | :48:25. | |
when you were with Ann Widdecombe, what dads are you looking forward to | :48:26. | :48:31. | |
doing with Katie? The quick step. I am looking forward to the quick step | :48:32. | :48:35. | |
this week and there is a dance I have never had the opportunity to do | :48:36. | :48:39. | |
on a Strictly Come Dancing, and that is the showdowns. Don't patronise | :48:40. | :48:50. | |
me. I have never had the chance because I have never made the final. | :48:51. | :49:01. | |
I have so much... So much to give. It is actually 15 minutes long and | :49:02. | :49:04. | |
it will be a lovely surprise for Katie. Tonight you are going | :49:05. | :49:09. | |
to be judged by members of the public. | :49:10. | :49:13. | |
Please welcome Strictly Superfans, Carol and Derek Lea from Wigan. | :49:14. | :49:21. | |
They know what they are talking about. | :49:22. | :49:26. | |
You have been watching with interest as you do every year. Come over | :49:27. | :49:34. | |
here, so we can see you. Top tips for Katie and Anton for this | :49:35. | :49:41. | |
weekend. Katie and Anton, with Len being a purist, make sure that you | :49:42. | :49:48. | |
can identify the dance that you are doing straightaway, not too much | :49:49. | :49:53. | |
faffing about. OK, good. That is technical. Katie, I think you should | :49:54. | :50:03. | |
loosen up, and you must feel the music and let it flow all through | :50:04. | :50:07. | |
your body. You have got to feel the music. Right. This is 44 years of | :50:08. | :50:17. | |
experience and we have got a wonderful picture of you both when | :50:18. | :50:21. | |
you first met and you go dancing every week? I was 15 and he was 17 | :50:22. | :50:28. | |
and we met on the dance floor. And the first dance was a waltz. When | :50:29. | :50:37. | |
Anton was born. We would love to see a cha-cha. You are good at that. | :50:38. | :51:06. | |
That was beautiful. Derek and Carol Lea from Wigan. | :51:07. | :51:15. | |
Now, Anita will be dancing the Jive this weekend on Strictly. | :51:16. | :51:18. | |
First, here she is meeting a soldier who fully deserves the George Cross | :51:19. | :51:27. | |
He's called Chris Finney and just wait until you hear his story. | :51:28. | :51:39. | |
The 21st of March we went into Iraq. We were with the squad and within | :51:40. | :51:49. | |
our troop of four vehicles, we were going very slowly between a small | :51:50. | :51:56. | |
village and a river and it was a relatively straightforward task. | :51:57. | :51:59. | |
What nobody realised was that flying overhead were two US tank buster | :52:00. | :52:10. | |
aircrafts. The US crew had spotted that Chris and his convoy could not | :52:11. | :52:14. | |
make up their minds as to who they were, where they friend or foe? | :52:15. | :52:24. | |
Despite the pilot's concerns, the decision was taken to open fire. The | :52:25. | :52:33. | |
ban was huge. There was an explosion and spots and flames all around and | :52:34. | :52:38. | |
I did not know what was happening. Clearly our vehicle was destroyed or | :52:39. | :52:43. | |
going to be. I heard Alan shouting, he was my gunner on the same vehicle | :52:44. | :52:49. | |
is me. Alan had been shot in the leg and was trapped in the gun turret. | :52:50. | :52:53. | |
Now engulfed in flames Chris made a snap decision to return to the | :52:54. | :52:58. | |
vehicle. I grabbed Alan by his shirt and I dragged him around the front | :52:59. | :53:05. | |
of the vehicle and I tapped him in so the vehicles would go over the | :53:06. | :53:10. | |
top of us. The troops set up red smoke to signal they were allied | :53:11. | :53:14. | |
force, but it was not enough and the tank busters return for another | :53:15. | :53:18. | |
attack. Alan would have died if he had been left. This time Chris was | :53:19. | :53:24. | |
hit as he shielded his comrades. I was losing a fair bit of blood and I | :53:25. | :53:29. | |
lay down with Alan and I put my arm around him. I thought he was dead at | :53:30. | :53:34. | |
the time. Despite his injuries Chris again thought of someone other than | :53:35. | :53:39. | |
himself. The symmetry tank behind him was also on fire. I could still | :53:40. | :53:44. | |
hear the gunner from that vehicle. He was clearly in trouble. Chris | :53:45. | :53:50. | |
attempted a second rescue but the flames were too much. We went to | :53:51. | :53:55. | |
have a look and you could not go in there. You wanted to give a shot to | :53:56. | :54:03. | |
try and help, but unfortunately I could not. To help allied forces | :54:04. | :54:09. | |
recognise one another each vehicle displays an agreed colour, but the | :54:10. | :54:14. | |
Americans had mistaken the panels on Chris's convoy as rocket used by the | :54:15. | :54:21. | |
enemy. Alan no longer wants to relive the event, but for the first | :54:22. | :54:25. | |
time in six years Chris is being reunited with Paul Scott whose | :54:26. | :54:29. | |
convoy was alongside Chris's when he saved Alan's life. Neither will | :54:30. | :54:37. | |
forget that day. How are you doing? All right? Not bad. What was the | :54:38. | :54:47. | |
first you knew something was up? I heard the attack and I assumed they | :54:48. | :54:51. | |
were helping us out. Everyone was in shock trying to understand what had | :54:52. | :54:57. | |
happened. The moment the US pilot realised their mistake is also on | :54:58. | :55:06. | |
tape. British soldier Matty Hull lost his life. They overstepped the | :55:07. | :55:16. | |
mark, it was just a day at the office. At 19 Chris Finney became | :55:17. | :55:21. | |
the youngest ever military recipient of the George Cross. Instituted by | :55:22. | :55:27. | |
King George VI at the height of the Blitz, it recognises civilian | :55:28. | :55:30. | |
bravery and was awarded to Chris for an act of courage performed in the | :55:31. | :55:39. | |
absence of the enemy. It is such a young age to do such a remarkable | :55:40. | :55:44. | |
thing. It was pretty amazing. What did the Queen say to you? She said | :55:45. | :55:50. | |
it had been a long time since she had given one before. If it were not | :55:51. | :55:58. | |
for Chris's bravery that they more lives would have been lost. 75 years | :55:59. | :56:04. | |
after the creation of the George Cross King George himself would say | :56:05. | :56:07. | |
that Chris had done his country proud. | :56:08. | :56:09. | |
There will be a Royal British Legion Festival of Rememberance this | :56:10. | :56:12. | |
Rod, you are performing at the Royal Albert Hall, it must be a big | :56:13. | :56:22. | |
honour. Of course it is. I have written a song. From all the stories | :56:23. | :56:32. | |
my brothers and sisters Toby about my mum and dad and what London was | :56:33. | :56:36. | |
like during the war, I have written a song about that. It is on the | :56:37. | :56:43. | |
album. Yes. And that moment when the poppies fall. Do not tell me, I am | :56:44. | :56:52. | |
going to cry. How can you do that without crying? There are plenty of | :56:53. | :56:58. | |
rehearsals, so I get used to it. Are we finished? I have missed the | :56:59. | :57:05. | |
football. We asked everybody to send in photos if they had met you. | :57:06. | :57:10. | |
We have had hundreds. We are going to guess. Here is a picture of | :57:11. | :57:18. | |
somebody, a lovely lady called Lillian. Who is it? It could be | :57:19. | :57:31. | |
Anton? We are going Rod. Who could this be? Gemma has met somebody. | :57:32. | :57:41. | |
With that bloody, old tweed jacket, it has to be you. The last one. This | :57:42. | :57:56. | |
is Michael. It is on a train, so it is not him. Are you saying it is | :57:57. | :58:06. | |
you? I have got to show this one that has come in. Dave's wide Pat | :58:07. | :58:12. | |
has sent this one end. Why are you looking at me? There is my old mate | :58:13. | :58:18. | |
at the end. And there is a little Rod Stewart. Where did you get that | :58:19. | :58:26. | |
from? You can take that home. Can I really? | :58:27. | :58:31. | |
Thanks to Rod Jimmy, Katie and Anton. | :58:32. | :58:33. | |
Tickets for Jimmy and Rod's tours are on sale now, | :58:34. | :58:35. | |
Rod's album Another Country is out now and of course Strictly will be | :58:36. | :58:39. | |
If any thing that Rod or Jimmy have let slip tonight, we apologise. | :58:40. | :58:51. | |
Tomorrow I'll be here with James Martin and Alexander Armstrong. | :58:52. | :58:53. | |
I'm off to Lands End to start the Rickshaw Challenge so I'll see you | :58:54. | :58:57. | |
Hello, I'm Sophie Long with your 90-second update. | :58:58. | :59:10. | |
Flights to the UK from Sharm el-Sheikh in Egypt | :59:11. | :59:13. |