:00:14. > :00:17.Hello and welcome to the One Show with Matt Baker.
:00:18. > :00:19.And look who's danced her way back on the sofa
:00:20. > :00:23.for a second day in a row, it's Anita Rani!
:00:24. > :00:26.Now, if all the world really is a stage, then tonight's guest
:00:27. > :00:35.is more than just a mere player, he's Shakespearean royalty.
:00:36. > :00:48.And is a bit of a slot on the dance floor as well. -- hustler.
:00:49. > :00:58.Friends, Romans, countrymen, it's Adrian Lester!
:00:59. > :01:06.Goodness me! Adrian, having doubled in a bit myself, I can tell you,
:01:07. > :01:10.that is not easy, how long did it take you to train? We were in
:01:11. > :01:14.rehearsal for a while with Kenneth Branagh, we were in rehearsal for
:01:15. > :01:19.about three weeks, and it took that long to get the routine together.
:01:20. > :01:26.That move on the table... The splits, not in three weeks! You must
:01:27. > :01:32.be remarkably flexible! A bit, I do martial arts to keep fit. I nearly
:01:33. > :01:36.broke my leg in one take, my knee stayed on the table when my leg game
:01:37. > :01:42.off, I won't go into detail, but it hurt. We will be hearing about your
:01:43. > :01:48.latest project, Red Velvet, a little bit later. The images this child
:01:49. > :01:52.used by the so-called Islamic State a recent propaganda video has
:01:53. > :01:55.shocked the world. Lucy joins us now, because you have spent the
:01:56. > :02:00.afternoon with a grandmother who has started to realise that the images
:02:01. > :02:08.we are seeing good be her grandson. Yes indeed, so I spoke to the mother
:02:09. > :02:16.of Grace Dare, now called to DJ, who left for Syria in 2012 to become a
:02:17. > :02:21.so-called jihadi bride. -- could Giro. She has had a difficult few
:02:22. > :02:26.years and does not really look at the media, so we were showing some
:02:27. > :02:34.of the front pages for the first time, and this is how she responded.
:02:35. > :02:41.I know you have not seen much media deliberately, you tend not to do
:02:42. > :02:48.that, but I wanted you to look at a picture, the picture on the front of
:02:49. > :02:54.many papers. Are you confident that is your grandson? It is a long time,
:02:55. > :02:59.nearly three years, so he must have grown more than how I knew him. Tell
:03:00. > :03:08.me what you are seeing that makes you think that is your grandson. The
:03:09. > :03:18.eyeballs, the eyelashes, then the mouth, the lips. It looks like him.
:03:19. > :03:30.You are confident the images are him. But he is my grandson. Because,
:03:31. > :03:36.Victoria, it is the only way you can deal with the situation? I am not
:03:37. > :03:43.looking at my grandson. Naturally, it is my grandson, but this is not
:03:44. > :03:48.what God gave me. We cannot even begin to imagine what she must be
:03:49. > :03:52.living through right now. You saw how conflicted she was, she can see
:03:53. > :03:58.it is him, but you doesn't want to say it out loud. When you think
:03:59. > :04:02.about it, Victoria dropped off her daughter and grandson at the airport
:04:03. > :04:07.in 2012, thinking they were going to Egypt or Turkey for a short time,
:04:08. > :04:14.and she has not seen them since. She is so passionate about living in the
:04:15. > :04:17.UK, having moved from Nigeria, she has only had two holidays in the
:04:18. > :04:22.interim, and she was putting money aside for her grandson, so you think
:04:23. > :04:29.about how heartbreaking this is for her. I asked her about her daughter,
:04:30. > :04:36.Grace, as she remembered her. She was born here, and she grew up here
:04:37. > :04:42.until everything fell apart. Her name is Grace, I do not know where
:04:43. > :04:49.they got all these names. She changed her name... She changed it
:04:50. > :04:56.when she became Muslim, she changed it to Khadijah. Have you ever called
:04:57. > :05:05.her Khadijah? Do you know her as? Khadijah I still call her Grace.
:05:06. > :05:15.What is it like to miss your grandson? Is it a pain? I feel very
:05:16. > :05:22.unhappy, because I miss them a lot. Isa brought me joy, and the joy has
:05:23. > :05:25.been taken away from me, which is really devastating. I need my
:05:26. > :05:30.grandchildren, my daughter, I need them back. So many emotions must be
:05:31. > :05:36.rushing through her at the moment, did she give you any indication of
:05:37. > :05:40.what her hopes are? She is very definite, she wants them back home,
:05:41. > :05:50.and since Grace moved to Syria, she was married to a man who we think
:05:51. > :05:53.has been killed, she has had another child, and obviously Victoria has
:05:54. > :05:55.never met the other child, but she says, I want my grandchildren back.
:05:56. > :05:58.But the reality is the daughter is classified as a terrorist, but
:05:59. > :06:02.Victoria is clear she wants them back home.
:06:03. > :06:06.As we have been covering this week, parts of Britain are still coping
:06:07. > :06:10.with the devastation brought by the recent floods. What can you do to
:06:11. > :06:16.protect your home? Marty has been to meet a man who came up with an
:06:17. > :06:19.incredibly uplifting if rather expensive solution.
:06:20. > :06:25.Record-breaking rainfall and the worst floods in a generation hit
:06:26. > :06:32.Britain last winter. 5800 homes and businesses were ruined by the
:06:33. > :06:36.devastating effects. Back in 2013, this man watched in horror as
:06:37. > :06:42.Biblical floods poured into the island where he lives in Berkshire.
:06:43. > :06:49.His house suffered ?125,000 worth of damage. Left with an an insurable
:06:50. > :06:54.and unsellable house on a prime bit of real estate right next to the
:06:55. > :06:59.River Thames, he hit upon a plan to save his family home and raise it
:07:00. > :07:05.above the flood waters. Effectively, putting his house on stilts. Tell
:07:06. > :07:10.me, what happened when the floods came in? During these two weeks, I
:07:11. > :07:16.was trying to protect the house by pumping water out, silicone, by
:07:17. > :07:23.doing all kinds of things to stop the water coming in. And once the
:07:24. > :07:27.waters had receded, what options did you have? After evaluating a few
:07:28. > :07:33.options, I decided to jack up the house. Is thinking was entirely
:07:34. > :07:36.logical - jacking up the house would make it safe and insurable again,
:07:37. > :07:41.but where do you start lifting something as heavy as a house? The
:07:42. > :07:47.answer lies in hydraulics. At the heart of hydraulics is Pascal's law
:07:48. > :08:01.that says that if you have a closed liquid system, the pressure inside
:08:02. > :08:04.it is the same no matter where, so if I push on this piston here, it
:08:05. > :08:06.makes this piston go up. And not only that, but you get hydraulic
:08:07. > :08:09.multiplication, which is what I have got here supporting my house, four
:08:10. > :08:13.pistons and attached to one piston. As I push this one down, I begin to
:08:14. > :08:21.lift the entire house. And whilst it is not the most even of lifts, up
:08:22. > :08:26.she goes! You will notice that my piston system did not go up very
:08:27. > :08:29.evenly, which is fine with a wooden house, but if you have got a brick
:08:30. > :08:35.and mortar house, it could be catastrophic. So he listed the help
:08:36. > :08:39.of an engineer to achieve the seemingly impossible. When he came
:08:40. > :08:44.to you and ask you to lift up his house for him, presumably you had to
:08:45. > :08:48.put in some framework first. Yes, we used a steel grid, small holes
:08:49. > :08:53.through the building to slide them in and bolt them together. Once that
:08:54. > :08:57.was achieved, we went around and cut the brickwork away from the
:08:58. > :09:02.foundation. He filmed the remarkable procedure so we can see the team
:09:03. > :09:08.insert the steel base and cut the house from its foundations. But how
:09:09. > :09:14.do you jack up a whole brick house? Each of these hydraulic jacks can
:09:15. > :09:17.support an impressive 50 tonnes, the equivalent of ten full-grown African
:09:18. > :09:23.bull elephants balancing on just one of them. But the house ways a lot
:09:24. > :09:30.more than that and requires 28 jacks, or lifting the huge weight at
:09:31. > :09:35.exactly the same rate. The team used a computerised pump system to
:09:36. > :09:39.synchronise the jacks - just a few millimetres difference could crack
:09:40. > :09:45.the whole house. And here it is, the extraordinary image of the house
:09:46. > :09:49.being lifted 1.4 metres in the air. It must have been a fairly her
:09:50. > :09:54.raising thing to watch your house being lifted off the ground. I was
:09:55. > :09:58.very anxious, I did not know if the house would crack beyond repair, but
:09:59. > :10:02.we have done it in three weeks successfully. Now that they have
:10:03. > :10:07.lifted it up, they are putting the brickwork back, are you happy with
:10:08. > :10:11.the result? I know the property is safe, I know that I rescued the
:10:12. > :10:22.value of the property, and I can ensure it as well. With the house
:10:23. > :10:25.now just awaiting some much-needed stairs and decking, the family are
:10:26. > :10:27.back in their home, and the redevelopment appears to have worked
:10:28. > :10:31.a treat. People are at their most ingenious when given by a basic
:10:32. > :10:35.human need, and you do not get much more basic than a shelter from the
:10:36. > :10:39.elements. This determination combined with excellent engineering
:10:40. > :10:45.has given everyone around here a bit of a lift.
:10:46. > :10:51.It is just remarkable, isn't it? The mind boggles! He has definitely got
:10:52. > :10:55.steps now, hasn't he? It does not come cheap, ?80,000, but he has been
:10:56. > :11:01.in touch today, there are steps, he can get up. And he did say, if
:11:02. > :11:07.anyone wants any information, get in contact through us. Great story!
:11:08. > :11:10.Adrian, at the end of the month, you will be appearing in Red Velvet, a
:11:11. > :11:15.play about an actor who plays Othello, but it is a remarkable
:11:16. > :11:20.story. Yes, it is about Ira Aldridge, the first black actor to
:11:21. > :11:24.play Othello in Britain in the legitimate theatres, two legitimate
:11:25. > :11:32.theatres, Covent Garden and the Theatre Royal Drury lane. He took
:11:33. > :11:39.over playing Othello at the Theatre Royal Covent Garden in 1833. 1833!
:11:40. > :11:43.Put this into context, what else was happening at the time? Why was it
:11:44. > :11:48.remarkable that a black man was playing Othello? In 1833, the
:11:49. > :11:51.abolition of slavery movement was pushing its petitions and laws
:11:52. > :11:56.through Parliament, and the debates were going on, people were speaking,
:11:57. > :12:00.there was unrest, people were wondering about properties abroad,
:12:01. > :12:04.wondering if they would have a workforce. All of this was happening
:12:05. > :12:09.at the same time, quite a turbulent period. And this has been written by
:12:10. > :12:14.your wife, that must have been an interesting process, were you part
:12:15. > :12:19.of the writing process? I like to think I was! She will correct me and
:12:20. > :12:24.tell me that I really wasn't. Was she writing it with you in mind? She
:12:25. > :12:28.was writing a... I was interested, she thought I would be perfect for
:12:29. > :12:33.the part, but in our industry who get jobs at the last minute, who
:12:34. > :12:38.knew when it was going to go on and who would be best to play the part?
:12:39. > :12:43.Happily, a theatre except that the play, and I was free to do it. And
:12:44. > :12:47.here you are playing Othello as Ira Aldridge played Othello, but you are
:12:48. > :12:50.played at the lower yourself. There is a tradition of white actors
:12:51. > :12:55.playing Othello, Laurence Olivier, Anthony Hopkins, what do you think
:12:56. > :13:01.about that? When I was thinking about going into acting, when I was
:13:02. > :13:06.14 or 15, seeing the images of white actors blacked up to play Othello,
:13:07. > :13:10.it is a strange feeling, really, it is a profession I loved, but it gave
:13:11. > :13:15.me a sense that, actually, this is not for you, this is ours, not
:13:16. > :13:19.yours. If your services are required in a classical form, we will do it
:13:20. > :13:23.ourselves. I am very glad by the time I go to drama school, that was
:13:24. > :13:27.a contentious point, wearing make-up, and by the time I started
:13:28. > :13:33.working, people were not really doing that. I think it has given us
:13:34. > :13:39.the opportunity to have a very different people playing characters,
:13:40. > :13:42.it has given drama a lift. Concentrating on the words, I was
:13:43. > :13:48.reading that Shakespeare was quite a challenge for you as a young lad, so
:13:49. > :13:53.what changed? What gave you the direction, one of our finest
:13:54. > :13:57.classical actors? Thanks. I kind of... It is a piece of advice I give
:13:58. > :14:01.to drama students, I thought it was best to work on your weaknesses,
:14:02. > :14:06.because your strengths will take care of themselves. And as I left on
:14:07. > :14:10.a school, I knew that I have been classically trained, but I really
:14:11. > :14:14.wasn't happy with my abilities with Shakespeare's work, and so I kind of
:14:15. > :14:20.tried to accept the jobs that came along that were in his plays,
:14:21. > :14:26.Hamlet, Henry V... What did you find in the text that made you love it?
:14:27. > :14:30.Or are you just good at it? I do like it, but it is a sort of
:14:31. > :14:35.concentrated form of speaking, you can find in three or four sentences
:14:36. > :14:38.about five or six different meanings, so every time you play
:14:39. > :14:42.those lines, every night you are trying to dance between the meanings
:14:43. > :14:47.and make sure you do not leave anything unclear. It is quite tricky
:14:48. > :14:55.technically, and the emotions are huge. So as and my tractor, it is
:14:56. > :15:00.like a work-out every night. -- as an actor. How would you encourage
:15:01. > :15:04.kids in the 400 anniversary of Shakespeare's death? As one of the
:15:05. > :15:05.country's finest Shakespearean actors, how would you encourage
:15:06. > :15:14.young kids today? Getting the plays out and reading it
:15:15. > :15:17.around the classroom is the worst thing you can do. The kids don't
:15:18. > :15:20.understand what they are reading. I would say look at the words.
:15:21. > :15:24.Understand the words that Shakespeare uses that we don't use
:15:25. > :15:35.today. Find out what they are so they don't seem weird to you. Talk
:15:36. > :15:43.about why there's verse and prose. Romeo and Juliet is a great one to
:15:44. > :15:47.start with. Othello is a great one. Stories in Shakespeare's day had
:15:48. > :15:51.contemporary themes to us. Young lovers running away. Red Velvet
:15:52. > :15:56.would be a great one. You are bouncing in and out of it. That must
:15:57. > :16:01.be quite a challenge anyway. It is a challenge, because Ira Aldridge was
:16:02. > :16:06.a fantastic actor and I have to act him acting fantastically. Was he a
:16:07. > :16:14.good actor? He was brilliant. The reviews in Russia are amazing of his
:16:15. > :16:24.performances. An actress who played opposite him... An actress in Russia
:16:25. > :16:29.noted while playing with him, she was playing opposite him in the play
:16:30. > :16:34.Othello, and it got to the point where he was supposed to go mad and
:16:35. > :16:39.get in a jealous rage and kill her. She got so worried because his
:16:40. > :16:45.acting was so realistic that she forgot her lines. He was acting in
:16:46. > :16:54.English and whispered to her in Russian, it's OK. She calmed down,
:16:55. > :16:58.because she realised he hadn't gone crazy and imagine that today, how
:16:59. > :17:03.good you would have to be. It is OK, because I play him!
:17:04. > :17:09.LAUGHTER. It opens in the Garrick Theatre in London on 23rd January.
:17:10. > :17:16.What do you do if you love wildlife but you can't go out in the daylight
:17:17. > :17:21.to see us? Call us and we send in our very own One Team. What a
:17:22. > :17:26.vehicle! Here's Miranda Krestovnikoff with all the details.
:17:27. > :17:30.Lucy is a ten-year-old who absolutely loves wildlife. This is
:17:31. > :17:36.an octopus. I have a chicken because chickens are fun and I like showing
:17:37. > :17:45.snails to my granny, because she hates snails. The side of my wall is
:17:46. > :17:49.nocturnal animals and this side is daytime animals. I look at this
:17:50. > :17:55.every night and I end up dreaming about nature, owls and things. But
:17:56. > :18:01.going outside the explore nature is much harder for Lucy than for other
:18:02. > :18:07.people. That's because she has a rare skin condition, EPP. Her skin
:18:08. > :18:12.is super sensitive to light and can become itchy, sore and swollen.
:18:13. > :18:16.Sometimes you can have it and it is not very bad but it still hurts.
:18:17. > :18:21.Whereas if you are out there and it happens but you are still out
:18:22. > :18:28.exposed for even longer, then it really, really hurts. It doesn't
:18:29. > :18:33.feel very nice. It is the complete opposite of niceness. There is no
:18:34. > :18:39.cure, so Lucy has learnt to live with the condition. If it's a really
:18:40. > :18:44.bright, sunny day, I have special cream. It doesn't have a name, so I
:18:45. > :18:51.call it Dundee cream, because that's where we get it from. On my hands I
:18:52. > :18:55.wear gloves and I wear a hat. Lucy loves wildlife but exposure to
:18:56. > :19:01.sunlight is a constant worry, so The One Show is on a mission to take
:19:02. > :19:06.this young enthusiast on an unforgettable British safari. Hi!
:19:07. > :19:14.Nice to meet you. You are wrapped up? Yes. Adventure time. Just up the
:19:15. > :19:19.road from Lucy's house Keith and Karen have devised the first ever
:19:20. > :19:22.nocturnal wildlife tour. The tour is usually open to the public but
:19:23. > :19:27.tonight is a special trip for Lucy. And as it is a night-time adventure
:19:28. > :19:31.it means she won't be expose to do so the light that would usually make
:19:32. > :19:40.her feel anxious and unwell. So this is the beast we are going out in? It
:19:41. > :19:48.has a thermal camera and drop down screens. Shall we head off? Yes.
:19:49. > :19:50.Outside it is completely dark but the nocturnal cameras reveal the
:19:51. > :20:06.landscape and the animals roaming there. Is that a couple of deer?
:20:07. > :20:11.Look at that. It has a really warm bottom. There's another one! Then
:20:12. > :20:20.just a short way up the track Lucy sees something she has never seen
:20:21. > :20:25.before. There it is. Look at it go! It is definitely a fox. There is the
:20:26. > :20:32.roof of the vehicle. He is only in the field ten yards away. Isn't that
:20:33. > :20:38.great how you can pick out the silhouette of him and you can see
:20:39. > :20:42.how warm his face and paws are? I've never seen a fox before. So you've
:20:43. > :20:46.just seen a fox. How does it feel? It feels good. This is already
:20:47. > :20:53.feeling like our lucky night, so it is time to leave the comfort of the
:20:54. > :20:57.truck and try out some more night vision gizmos. Can you see me? Yep.
:20:58. > :21:06.Excellent. Armed with our hand-held devices we head into the darkness.
:21:07. > :21:11.What is that? To the left is something in the middle of the
:21:12. > :21:15.field. We'll go around and might be able to get a closer look. As we
:21:16. > :21:20.carefully make our way across the field, we soon find the source of
:21:21. > :21:27.the heat we saw on the camera. Just here. There he is. Oh, bless him.
:21:28. > :21:32.Without these cameras we would have no idea he was there. Another one to
:21:33. > :21:36.put on our list. We are doing really well tonight aren't we? We don't
:21:37. > :21:45.want to disturb the head Hodge for long, so we quietly leave him to his
:21:46. > :21:52.night-time foraging. Bye-bye hedgy? Goodbye hedgehog. Lucy has now had a
:21:53. > :21:56.rare glimpse into the secret world of nocturnal wildlife. Just to see
:21:57. > :22:00.the joy on her face, it is wonderful. You don't need to see the
:22:01. > :22:08.comfort of your own home to see this nature. There are wildlife cameras
:22:09. > :22:13.galore. On the plasma we have a field in Lichfield. There was a fox
:22:14. > :22:24.literally like 20 seconds ago I saw its nose, so it might be back. Did
:22:25. > :22:28.you see an eye! Did! This is live. And Slimbridge in Gloucestershire,
:22:29. > :22:35.lots of wildfowl there bobbing about on the water. And here we've got
:22:36. > :22:46.hedgehog buffet bar in Rushmere St Andrew. Not much happening there.
:22:47. > :22:53.This is the kind of thing that would grip you Adrian. If you are having a
:22:54. > :22:57.stressful day in the office perhaps. Yes, go and sit and watch a buffet
:22:58. > :23:02.not being eaten. No disrespect, it is a bit like paint drying, at the
:23:03. > :23:13.moment. There is the possibility of seeing a fox. Let's keep going. If a
:23:14. > :23:19.fox does appear we'll cut to it quickly. And now the window into the
:23:20. > :23:23.world of a taxi driver. This is the tale of Stuart Bluman who in his
:23:24. > :23:30.first week picked up one passenger and yet found himself dropping off
:23:31. > :23:36.two. I'm married to Matt and this is our son Theo door, who we call
:23:37. > :23:41.Teddy. Matt had to bring Teddy to my sister's mum in law and had to book
:23:42. > :23:47.me a cab to get me to the Chelsea and Westminster Hospital. I'm Stuart
:23:48. > :23:51.Bluman. It was my first full week as a qualified private hire taxi
:23:52. > :23:57.driver. I pulled up outside the house and a man came out. He said, I
:23:58. > :24:00.would like you to take my wife to the hospital. She's in labour. I
:24:01. > :24:06.said, are you going to be coming with us? Us? He said no, I have to
:24:07. > :24:10.take my son to childcare, I will meet you at the hospital. He came
:24:11. > :24:15.out with a very heavily pregnant wife. She got into the car. I think
:24:16. > :24:19.the process of actually stepping into the vehicle caused her waters
:24:20. > :24:23.to break. She said, my waters have broken! And that got the panic bells
:24:24. > :24:27.ringing for Matt and Stuart. We had a small intense debate about whether
:24:28. > :24:35.to get an ambulance or stay in the taxi. We thought in the end we would
:24:36. > :24:38.stay in the taxi, let's go. It was onliable two miles to the Chelsea
:24:39. > :24:43.and Westminster Hospital. I was predicting nine minutes to get
:24:44. > :24:48.there. We got going. He offered me a bottle of water. I said no, don't
:24:49. > :24:54.need water, just need to... I don't know what I need to do, I don't need
:24:55. > :24:59.water. That's all I know. My own experience from going to NCT classes
:25:00. > :25:05.you will know you are in full labour when you start mooing. She was in
:25:06. > :25:11.full-on moo, and then bang, we hit traffic. The stress was on Stuart.
:25:12. > :25:17.What am I going to do if we are completely stuck in traffic. I said,
:25:18. > :25:22.what's the latest? She said, the baby's coming, the baby's coming! I
:25:23. > :25:28.threw then it was action stations. My dream was I would go to the
:25:29. > :25:34.hospital, everyone was pack me on the back and here are some drugs and
:25:35. > :25:40.out comes the baby. But I was caught by surprise. I couldn't believe it
:25:41. > :25:43.was going to happen here. I grabbed the wheelchair, opened the back door
:25:44. > :25:47.and she said, the head is out, the head is out! At that point I
:25:48. > :25:54.thought, this baby is coming in the car. What I had not realised is I
:25:55. > :26:04.had driven straight past an ambulance parked behind me. He
:26:05. > :26:09.arrived to we arrived to transfer a baby, and we had a knock on the door
:26:10. > :26:15.to say a baby was being delivered in a taxi. I opened the door of the cab
:26:16. > :26:22.and a lady said, give me some pain relief. I had to say, sorry, there
:26:23. > :26:26.is no pain relief here. I felt comforted that there was someone
:26:27. > :26:30.there who knew what she was doing. She had a wonderful, gentle warm,
:26:31. > :26:39.sweet manner, and said, we are going to do it. Nearly there. I heard
:26:40. > :26:45.Rafael cry out. I looked to my left and I saw the dashboard clock and it
:26:46. > :26:49.said 6.50. I said guys, bunch together for a little picture. It is
:26:50. > :26:57.a special picture. Josie is smiling in the front and Peter is holding
:26:58. > :27:02.Raffy, and Stuart looking as white as a sheet. If it hadn't been for
:27:03. > :27:08.Stuart our quick thinking taxi driver and Peter, I don't know what
:27:09. > :27:16.would happen. I can't wait too meet them. Josie, hello! I'm so happy to
:27:17. > :27:21.meet you! It is amazing to get the chance to meet Rafael for the first
:27:22. > :27:24.time since he was born. I am privileged to have been there at the
:27:25. > :27:29.time and bring him into the world. It is nice to meet mum and baby
:27:30. > :27:34.after such a traumatic event for mum in the back of a taxi. I'm really
:27:35. > :27:39.proud of what I did that day. Any decent human being would do the same
:27:40. > :27:45.thing. These people really are very special to myself, of course, in my
:27:46. > :27:50.hour of need, but to Rafael. They helped him come safely into the
:27:51. > :28:00.world. They are his Guardian Angels after all. I just love Stuart. What
:28:01. > :28:07.a man! What a man! Adrian, you had a close call with one of yours in a
:28:08. > :28:11.taxi? Our second child, Jasmine, was close. Lolita was very close to
:28:12. > :28:18.giving birth and the cab driver was worried. We made it just in time. I
:28:19. > :28:23.I have to ask, any chance of any more Hustle? I very much doubt it.
:28:24. > :28:29.Not as far as I'm concerned. But the next James Bond, yes? If they would
:28:30. > :28:35.ask me? No more Hustle at all? No, no. It was brilliant. Apart from
:28:36. > :28:38.that. We'd some good news today, because The One Show has been
:28:39. > :28:41.short-list ford a National Television Award, which are now
:28:42. > :28:43.decided by the public. So if you would like to share your support,
:28:44. > :28:47.you can find all the details online. That's all we've got
:28:48. > :28:49.time for tonight. Red Velvet opens at the Garrick
:28:50. > :28:53.Theatre in London on 23rd January. I'll be back tomorrow
:28:54. > :28:58.with a newly wedded Alex.