Browse content similar to 10/04/2017. Check below for episodes and series from the same categories and more!
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Well, hello and welcome to a new week on the One Show with Michelle | :00:19. | :00:26. | |
Ackerley. And Matt Baker. Tonight we have a performance good enough to | :00:27. | :00:32. | |
stop traffic from the cast of running wild. They have made their | :00:33. | :00:36. | |
way across town and they will be through into the One Show studio | :00:37. | :00:42. | |
before we know it. We just saw the zebra crossing! Also with us is an | :00:43. | :00:51. | |
actress whose latest role is arguably her finest. It is Gemma | :00:52. | :00:53. | |
Arterton. APPLAUSE | :00:54. | :01:01. | |
How are you doing? Seeing those animals must have brought back | :01:02. | :01:05. | |
memories for your first-ever acting role because you played an ox? I was | :01:06. | :01:10. | |
given the role of the Ox in the school nativity which at the time I | :01:11. | :01:14. | |
was quite gutted about because I obviously wanted to be Mary, so I | :01:15. | :01:22. | |
made my ox be the best ox. What did you have to do? I just had to come | :01:23. | :01:29. | |
on and be an ox and then I was in the chorus so I was singing but I | :01:30. | :01:33. | |
sang really, really loudly. I was about five, I would say. I do | :01:34. | :01:38. | |
remember the teacher saying you were very loud, went to? You made a mark! | :01:39. | :01:45. | |
Perfect. It is now you have moved onto rabbits because you are going | :01:46. | :01:49. | |
to be part of the new remake of Watership Down. What can we expect? | :01:50. | :01:56. | |
It is really exciting. We are updating Watership Down. It will be | :01:57. | :01:59. | |
an Netflix at Christmas. It has an amazing cast with Ben McEvoy, | :02:00. | :02:10. | |
Nicholas Houghton and Olivia Colman. It is the same as dial of animation | :02:11. | :02:18. | |
-- style of animation. Quite relevant for these times. And we | :02:19. | :02:22. | |
will be chatting about your new movie. But first, more than 5000 | :02:23. | :02:27. | |
police officers from all over the country gathered in London this | :02:28. | :02:32. | |
morning for the funeral of police Constable Keith Palmer who died | :02:33. | :02:37. | |
during the terrorist attack at Westminster. One man had a special | :02:38. | :02:44. | |
role to play. His name is Sidney Mackay and this is his story. | :02:45. | :02:48. | |
I felt compelled to make this journey because I want to be there, | :02:49. | :02:53. | |
as a retired police officer, showing my support for the family and the | :02:54. | :03:02. | |
sacrifice that Keith has made. Today I am going to go to the National | :03:03. | :03:07. | |
Police Memorial in The Mall and update the memorial remembrance | :03:08. | :03:16. | |
book. I am a former Metropolitan Police officer. We are policing | :03:17. | :03:22. | |
family. My son is in the police. My daughter was in the police. Nina had | :03:23. | :03:33. | |
always wanted to go into the police. I wasn't particularly enthusiastic | :03:34. | :03:38. | |
for her to do it. In fact, I tried to dissuade her, but she was quite | :03:39. | :03:41. | |
determined and she was successful. She loved it. She and other officers | :03:42. | :03:53. | |
were tasked to go to a house to arrest an individual. An assailant | :03:54. | :03:56. | |
stabbed her through the chest when the door opened. She did not | :03:57. | :04:09. | |
survive. Nina is in our thoughts every day. The slightest nuance such | :04:10. | :04:16. | |
as a female voice saying behind me, dad, will still today turn my head | :04:17. | :04:23. | |
in the expectation that she is there. I think with Keith's family | :04:24. | :04:28. | |
that they will be going through a similar sort of thinking process. We | :04:29. | :04:36. | |
are so immensely proud to have it made a more formal process. I am | :04:37. | :04:40. | |
very touched. It can be quite emotional. We have now got some 4000 | :04:41. | :04:51. | |
officers who have died on duty. Ladies and gentlemen, if we could | :04:52. | :04:57. | |
have a moment's silence in memory of fallen police officers? | :04:58. | :05:11. | |
Today will demonstrate to Keith's family that the police force are | :05:12. | :05:19. | |
there to support. There will be lots of other members of families there | :05:20. | :05:24. | |
who have lost a loved one while serving in the police. There to show | :05:25. | :05:31. | |
their solidarity with the family who are going through this tragic time | :05:32. | :05:37. | |
in their lives. Sidney joins us now in his capacity | :05:38. | :05:42. | |
as chairman of the police role of one trust and Lucy is here. You went | :05:43. | :05:50. | |
on to PC Palmer's funeral -- the police role of honour trust. There | :05:51. | :05:59. | |
were police officers from all across the country and indeed from Chicago | :06:00. | :06:03. | |
and New York. The Canadian Royal mounted police were there. It was | :06:04. | :06:09. | |
quite poignant, in that I never expected there to be so many police | :06:10. | :06:18. | |
officers and of course, the lining of the route was impressive from | :06:19. | :06:23. | |
Southwark to Westminster. Hundreds of police officers involved. But | :06:24. | :06:27. | |
more importantly I think for the police and the family was the | :06:28. | :06:32. | |
support of the public which has been demonstrated for the last nigh on | :06:33. | :06:37. | |
two weeks, in a variety of ways, an outpouring of sympathy for the poor | :06:38. | :06:45. | |
family that really had to witness an media the loss of a husband, in such | :06:46. | :06:52. | |
a cruel way. So it really was quite a poignant day and very reminiscent | :06:53. | :07:00. | |
of what happened to me nigh on 20 years ago. And incredibly emotional? | :07:01. | :07:07. | |
It was emotional and times like these are emotional and I have to be | :07:08. | :07:13. | |
careful I do trigger into words that caused me some distress. We will | :07:14. | :07:18. | |
leave it there, we do not need to go into any more detail, but Lucy, if | :07:19. | :07:22. | |
you could give us some numbers of the number of police officers who | :07:23. | :07:25. | |
have lost their lives in the line of duty this year? This year very sadly | :07:26. | :07:30. | |
five serving police officers have died will stop two of those have | :07:31. | :07:38. | |
been entered into the Roll of Honour today. Said beautifully described PC | :07:39. | :07:46. | |
Keith Palmer's funeral today. The other name that was entered was PC | :07:47. | :07:52. | |
Gareth Browning. He was hit by a car in November 2013 while executing his | :07:53. | :07:57. | |
duty, and he very tragically died on Saturday the 1st of April this year | :07:58. | :08:02. | |
aged 36. So entering those two names onto the role of -- Roll of Honour | :08:03. | :08:12. | |
brings that to nearly 1500 names of police officers who have lost their | :08:13. | :08:17. | |
lives in the line of duty. That Roll of Honour was started in the year | :08:18. | :08:23. | |
2000. Thank you. Much appreciated. Gemma, we are going to be speaking | :08:24. | :08:29. | |
to you very shortly about your new film Their Finest. And you play a | :08:30. | :08:34. | |
woman working in Amman's world fighting to be recognised? Yes. We | :08:35. | :08:41. | |
will get there shortly but first, is Emma Dabiri talking about a woman | :08:42. | :08:45. | |
working in a man's world, who went to extreme measures not to be | :08:46. | :08:48. | |
recognised. Women are now an integral part of | :08:49. | :08:54. | |
the Royal Navy and it is 100 years since the women's Royal Mable | :08:55. | :09:00. | |
service or Wrens officially recruited female sailors -- the | :09:01. | :09:04. | |
Women's Royal Naval Service. The story of women in the Navy did not | :09:05. | :09:10. | |
Berlin in 1917. I have come to see a precious document which shows a very | :09:11. | :09:14. | |
different story of women in the Navy. Historian Joe 's Stanley is | :09:15. | :09:20. | |
showing me the 1815 ships register of HMS Queen Charlotte. I am curious | :09:21. | :09:30. | |
about this particular entry, William Brown, dismissed for being a female. | :09:31. | :09:33. | |
This is totally exciting. This is proof that there was a one called | :09:34. | :09:39. | |
William Brown sailing in 1815 on the Queen Charlotte. She was 21 years | :09:40. | :09:44. | |
old. She was from grenade in the Caribbean. There is writing that in | :09:45. | :09:49. | |
this column about why people were discharged and it says, being a | :09:50. | :09:54. | |
female. The incident drew the attention of the Times newspaper. | :09:55. | :09:58. | |
Brown is described as about five foot four with considerable strength | :09:59. | :10:02. | |
and all the traits of a British sailor. One of the things that cross | :10:03. | :10:11. | |
stressed women sailors did which was as well as chewing tobacco which | :10:12. | :10:13. | |
meant they had awful teeth and adopting a rolling gait, they did a | :10:14. | :10:16. | |
lot of drinking because they had to seem like one of the guys say this | :10:17. | :10:19. | |
is what William was reported as doing. There are conflicting reports | :10:20. | :10:26. | |
about how long Brown served, either 11 years or more likely, just a few | :10:27. | :10:31. | |
weeks. I would imagine I would stand out a lot on a Navy ship, how did | :10:32. | :10:36. | |
she go undiscovered, this black woman in the 1800 's? She got on | :10:37. | :10:41. | |
fine as far as colour was concerned because there were nine people from | :10:42. | :10:44. | |
the West Indies on board and a couple of Africans. It was quite | :10:45. | :10:50. | |
normal for a ship to have as much as 30% non-British crew. | :10:51. | :11:03. | |
Black, no problem, woman, big problem! How many women were there? | :11:04. | :11:06. | |
I am thinking this is not very common. I have found 44 women who | :11:07. | :11:09. | |
cross stressed to go to sea. 20 were in the Royal Navy. Dressing as a man | :11:10. | :11:12. | |
might have pulled the other sailors when they were on deck but surely | :11:13. | :11:15. | |
William Brown might have been rumbled when it came to Bath time? | :11:16. | :11:23. | |
Victoria Ingles is the curator of the Naval Museum in Portsmouth. By | :11:24. | :11:28. | |
modern standards people are not washing as much as we do today said | :11:29. | :11:31. | |
they are not changing their clothes in front of each other so there are | :11:32. | :11:36. | |
less opportunities to notice. But equally, on board ship there would | :11:37. | :11:40. | |
have been a lot of boys, said she would not have stood out necessarily | :11:41. | :11:44. | |
if she did not have a big strong physique. What would be appealing | :11:45. | :11:49. | |
about a woman going to see? Might be the romance and a chance to see the | :11:50. | :11:51. | |
world and it was probably the chance to escape from something at | :11:52. | :12:09. | |
home as well. By disguising yourself as a man, you are immediately | :12:10. | :12:12. | |
opening up the possibility of earning a lot more money than you | :12:13. | :12:15. | |
could have done as a woman. Even after being dismissed for being a | :12:16. | :12:17. | |
female, it was reported that William Brown was so drawn to the sea she | :12:18. | :12:19. | |
declared an intention to keep volunteering for the Navy. 200 years | :12:20. | :12:22. | |
after the curious Case of William Brown, and 100 years after the | :12:23. | :12:24. | |
establishment of the Wrens, the Royal Navy is a very different | :12:25. | :12:30. | |
place. Would you say there is a quality at see? 100% quality if not | :12:31. | :12:36. | |
treated a bit better. Males and females do the same thing. What was | :12:37. | :12:38. | |
it about the Navy that made you want to | :12:39. | :12:55. | |
join? I wanted to join purely for the travel but also my dad was in | :12:56. | :12:57. | |
the Navy, and listening to him telling stories about when he was | :12:58. | :13:00. | |
away, really appealed to me. So I thought, why not give it a go? What | :13:01. | :13:03. | |
places have you seen? Just Scotland so far! The other women on board | :13:04. | :13:06. | |
become like your sisters and best friends. You spend all your time | :13:07. | :13:10. | |
with them and they literally are your family. Gemma, you were just | :13:11. | :13:16. | |
saying that your Nan was a really keen sailor? She was, she lived on a | :13:17. | :13:20. | |
boat and she sailed across the world. She and her partner just went | :13:21. | :13:26. | |
off and sailed everywhere. How often did you see her? Whenever she was | :13:27. | :13:34. | |
docked in Ramsgate! What a life! Very inspiring but it is | :13:35. | :13:38. | |
interesting, talking about inspirational women, it is like a | :13:39. | :13:43. | |
golden age for TV drama at the moment, we have semi-fantastic | :13:44. | :13:46. | |
female writers, Sally Wainwright, Heidi Thomas, K Mellor, but what are | :13:47. | :13:52. | |
your opinions about the film industry? Is it lagging behind at | :13:53. | :13:58. | |
all? I think there is so much room for improvement, it is definitely | :13:59. | :14:02. | |
better than it was. Our film is written by a one and it is something | :14:03. | :14:07. | |
that, I have set up a production company, it is something we are | :14:08. | :14:12. | |
conscientious about, giving a voice to female writers. Last year I was | :14:13. | :14:16. | |
on the Venice film Festival's Drury and there was only one film written | :14:17. | :14:22. | |
by a woman in the competition. -- the jury. What are you trying to do? | :14:23. | :14:28. | |
It is giving an opportunity. There are so mini women trying to write. | :14:29. | :14:35. | |
Our film is about a female screenwriter. It is about getting | :14:36. | :14:40. | |
them made and, it is tricky getting films made in general but it is | :14:41. | :14:45. | |
about making female centric movies with women behind them as writers is | :14:46. | :14:50. | |
what we are trying to do but it is tricky! | :14:51. | :14:54. | |
It does link nicely to your current film, a young screenwriter in a | :14:55. | :15:01. | |
man's world, is that why you became attracted to the role? She is | :15:02. | :15:08. | |
strong, but this film is set during the Blitz in World War II, and this | :15:09. | :15:11. | |
was such an interesting time for women, because the majority of the | :15:12. | :15:16. | |
men were away, so there was this gap, and women were needed. They'd | :15:17. | :15:20. | |
never be needed in this way before, so suddenly women were driving | :15:21. | :15:23. | |
buses, going into munitions factories and making, working, doing | :15:24. | :15:29. | |
manual labour, and suddenly there was an influx of work. And what I | :15:30. | :15:33. | |
liked about my character that she only gets the job, she think it is a | :15:34. | :15:39. | |
secretarial job, but you only get it because she is there to write the | :15:40. | :15:46. | |
slop, the women's dialogue in films, basically. Her voice comes, and she | :15:47. | :15:51. | |
gets confident through the experiences that she has. But yeah, | :15:52. | :15:56. | |
it was a time for women that is not necessarily that she is strong in a | :15:57. | :16:00. | |
kind of typical sense, it is something that emerges within her, | :16:01. | :16:04. | |
and I think that is why I was attracted to it. Let's have a look | :16:05. | :16:08. | |
at your character, one of the moments she realises she has got | :16:09. | :16:13. | |
more about. I might say that we'll be the first clever thing April has | :16:14. | :16:17. | |
ever done in her life. Do you see? Just a -- just a word -- of humour. | :16:18. | :16:31. | |
Excuse me. It is just that the caption at the end is going to be | :16:32. | :16:34. | |
coming he is not listening, but the enemy might be, it is a joke for | :16:35. | :16:37. | |
women who think their husbands never pay attention. If you start | :16:38. | :16:41. | |
answering, the caption will not make sense. I wrote it. I will be in my | :16:42. | :16:53. | |
dressing room if anyone needs me. APPLAUSE | :16:54. | :16:57. | |
Great partnership with Bill Nighy, and your accent as well. | :16:58. | :17:05. | |
It is great! Thank you! I am used to working with somebody was quite a | :17:06. | :17:09. | |
strong Welsh accent so... We did actually listen to her when I was | :17:10. | :17:17. | |
trying to get it! She was in there, then on Thursday, I was doing her | :17:18. | :17:21. | |
accent, and the producer, I remember being answered, all these heads were | :17:22. | :17:25. | |
looking around, I was worried, and they said, I think we need to tone | :17:26. | :17:32. | |
it down a bit. Just like the One Show, it is bang on! Interestingly, | :17:33. | :17:39. | |
you were very enchanted by the year of the 1940s as well, not just the | :17:40. | :17:42. | |
fashion but everything that it stood for. Yeah, it was a really | :17:43. | :17:48. | |
interesting time, because it was a war zone in London, and people were | :17:49. | :17:53. | |
losing people daily, their houses were being destroyed, and yet they | :17:54. | :17:57. | |
had this sense of pride in the way they presented themselves to the | :17:58. | :18:01. | |
world. It was like a way of saying, we are still going. The way that the | :18:02. | :18:07. | |
dress was... I mean, all of my clothes were original 1940s, all of | :18:08. | :18:11. | |
ours were. There was a real pride in the way that they looked after | :18:12. | :18:20. | |
themselves, very chic. It is all encompassed in the title, Their | :18:21. | :18:24. | |
Finest is out on April the 21st. Soon we will be meeting the Thiem | :18:25. | :18:30. | |
behind War Horse, who are bringing a new cast of characters to life. That | :18:31. | :18:38. | |
is after we meet a man who's going one better, storing the power of | :18:39. | :18:42. | |
flight two birds who would never otherwise fly again. -- restoring. A | :18:43. | :18:47. | |
raptor demonstrating a bird's mastery of flight. The secret is in | :18:48. | :19:00. | |
their bones. Bird skeletons are as light as possible so they can get | :19:01. | :19:03. | |
airborne with a minimum of effort. The bones need to be strong enough | :19:04. | :19:08. | |
to take flight but they need a very light construction to enable | :19:09. | :19:13. | |
take-off. Two pieces of bone have been cut in half here, this is from | :19:14. | :19:19. | |
a mammal, a fox. This is from a bird, a Peregrine file can, and you | :19:20. | :19:24. | |
can see the differences. The bird bone has a much thinner | :19:25. | :19:27. | |
cross-section and looks as though it is hollow inside. The strong but | :19:28. | :19:31. | |
lightweight bird bones come at a cost. If the bird injures itself, | :19:32. | :19:37. | |
often the bones just shatter. And shattered bone is extremely | :19:38. | :19:42. | |
difficult to repair. Every year, millions of birds break limbs | :19:43. | :19:44. | |
colliding with cars, pylons and buildings. Accidents that would | :19:45. | :19:53. | |
normally lead to death. But orthopaedic vet Neil is on a mission | :19:54. | :19:58. | |
to experiment with a revolutionary technique. Metal supports both | :19:59. | :20:04. | |
inside and outside the bone keep the fragments fixed precisely in place | :20:05. | :20:10. | |
until they have healed. So who have we got here? This is an injured wild | :20:11. | :20:15. | |
buzzard that was brought in with a fractured forearm, the break is just | :20:16. | :20:19. | |
underneath here, I am checking how it is doing. This is a brilliant | :20:20. | :20:23. | |
technique, inside and outside scaffolders. Yes, we have a number | :20:24. | :20:29. | |
of rods, one in the middle of the bone, others from the outside, and | :20:30. | :20:32. | |
they are all bolted together, and that gives us a really rigid repair, | :20:33. | :20:38. | |
which allows us to get them back in the air afterwards. Neil is doing | :20:39. | :20:42. | |
this work as a passion project, as he believes it could help some of | :20:43. | :20:48. | |
the world's rarest birds. But for now, his latest patient is another | :20:49. | :20:54. | |
buzzard, found injured on the M25. So can this operation restore the | :20:55. | :20:58. | |
bird's flight and even return it to the wild? The whole principle now is | :20:59. | :21:05. | |
to repair the bone so well that the bird can move its joints and move | :21:06. | :21:08. | |
its wings within 48 hours of surgery to prevent stiffening occurring. So | :21:09. | :21:16. | |
what we have to do is get two pins in either end piece, in order to | :21:17. | :21:22. | |
achieve proper stability. Cutting off the sharp end is now, there we | :21:23. | :21:29. | |
are. Six weeks after surgery, we are back disease of the buzzard is | :21:30. | :21:33. | |
getting on at the international centre for birds of prey with Holly, | :21:34. | :21:38. | |
who has been caring for it. How is he doing? Really well, we're so | :21:39. | :21:43. | |
pleased with his progress. And he wasn't an easy patient. Certainly | :21:44. | :21:48. | |
not easy, we got infection in the bone, but we got him on the right | :21:49. | :21:52. | |
antibiotics, and four and a half weeks afterwards we could take the | :21:53. | :21:58. | |
pins out. Was case case of buzzard physio? Yes, we did a little bit of | :21:59. | :22:02. | |
physio when we were handling him, and then he can fly in here, do his | :22:03. | :22:09. | |
own physio, extend his wings. Is he ready for release? Absolutely, yeah. | :22:10. | :22:16. | |
For Neil, this is a big moment - has the wing healed well enough for | :22:17. | :22:21. | |
flying in the wild? I am quite excited, how does it feel for you | :22:22. | :22:26. | |
releasing him? This is the very first time I have released a bird | :22:27. | :22:30. | |
that I have fixed, I am really quite emotional about it. Let's go for it. | :22:31. | :22:37. | |
Right, Mr Buzzard, good luck, sweetheart! | :22:38. | :22:48. | |
I cannot believe it is already sparring with another buzzard. | :22:49. | :22:58. | |
Absolutely fantastic! Stooping and soaring, aeronautical acrobatics | :22:59. | :23:02. | |
just for the sheer fun of it. I am thrilled. All that is left now is to | :23:03. | :23:10. | |
wish our bus good luck. -- our buzzard. | :23:11. | :23:13. | |
We have seen some animal releases on this show, that was a good one! From | :23:14. | :23:19. | |
flying wild to Running Wild, a spectacular show based on Michael | :23:20. | :23:22. | |
Morpurgo's book of the same name in which a young child is saved from a | :23:23. | :23:26. | |
tsunami by escaping on the back of an elephant. It might sound like | :23:27. | :23:31. | |
fiction, but Amber is real, and she is here tonight, along with the | :23:32. | :23:35. | |
puppets director of the show, Toby Olie. Your story is amazing, but | :23:36. | :23:39. | |
talk us through what you remember about the day. On the morning it | :23:40. | :23:44. | |
happened, we felt an earthquake, and we went down to the hotel, but we | :23:45. | :23:48. | |
didn't think anything had happened. I went to play with the elephants, I | :23:49. | :23:53. | |
was riding the elephant on the beach, just walking along, the sea | :23:54. | :23:58. | |
had gone really far back, and it was picking up all the fish, putting | :23:59. | :24:03. | |
them in the bat, then the elephant steered to safety. He carried on | :24:04. | :24:09. | |
walking, then all of a sudden the tsunami came rushing in, I was on | :24:10. | :24:13. | |
his back, we ran off to a high stage, and then I was put in safety. | :24:14. | :24:22. | |
Wow. Toby, the story was picked up by Michael Morpurgo, it is now on | :24:23. | :24:25. | |
stage with all of these beautiful puppet characters, talk us through, | :24:26. | :24:33. | |
how is the elephant working? Are you all right, Gemma?! We have got four | :24:34. | :24:40. | |
property is on Oona, and they synchronise the elephant's, and they | :24:41. | :24:45. | |
all have a different emotional indicator. -- or puppeteers. One is | :24:46. | :24:55. | |
vocalising the nostrils of the elephant, James is operating the | :24:56. | :24:59. | |
head, he has got bicycle brakes to operate the years, he is in charge | :25:00. | :25:04. | |
of the eyeliner and the mouth. So she can open her mouth! Gary is in | :25:05. | :25:10. | |
the chest of the elephant, he is in charge of the breath, bending his | :25:11. | :25:13. | |
knees to tune into the emotional state. And Scarlet is in the mind of | :25:14. | :25:21. | |
Oona, in charge of the tail, very important! It is so complex, just | :25:22. | :25:28. | |
how challenging is it, taking a puppets like this on tour? We are | :25:29. | :25:33. | |
touring most major cities in the country, and it is a challenge, I | :25:34. | :25:36. | |
often referred to the puppets being more like musical instruments, they | :25:37. | :25:41. | |
need fine-tuning, bits of them wear, some of them need tightening. All of | :25:42. | :25:47. | |
them have a dedicated stage manager to look at them. Amber, how much | :25:48. | :25:51. | |
were you into elephants before your holiday? And what is it like to have | :25:52. | :25:56. | |
your story on stage? I really liked elephants, but I had never seen them | :25:57. | :26:00. | |
before, but I fell in love with them on holiday. It is amazing, the book | :26:01. | :26:04. | |
and the play are amazing, I feel honoured to be part of the | :26:05. | :26:09. | |
inspiration behind it. It is remarkable, really, Toby, how we | :26:10. | :26:14. | |
have got into this state of ignoring, in the nicest possible | :26:15. | :26:25. | |
way, the puppeteers. Absolutely, we can direct them in the rehearsal | :26:26. | :26:29. | |
room, so if Oona wants to be aggressive, or anxious... Can she | :26:30. | :26:35. | |
say goodbye? We need to leave you to get into position and get ready for | :26:36. | :26:40. | |
your performance. Gemma, you are coming with us! That is all we have | :26:41. | :26:44. | |
got time for, Their Finest is in cinemas from April the 21st. We are | :26:45. | :26:49. | |
going to be back tomorrow with funnyman Micky Flanagan. Two and a | :26:50. | :26:54. | |
show, this is when Amber was saved by Oona the elephant, this is | :26:55. | :26:55. | |
Running Wild. Oh, hello, orangutan! What is your | :26:56. | :27:09. | |
game? Are you following us? Don't think I haven't seen you watching | :27:10. | :27:16. | |
me! It is all right. I am not going to hurt you. I promise. See? I am | :27:17. | :27:27. | |
your friend. Whoever you are, you are beautiful. Yes, Oona, you are | :27:28. | :27:32. | |
quite pretty too! Oona, watch out! No! No, get away, | :27:33. | :28:11. | |
get away. Oona, please get away, Oona! | :28:12. | :28:35. | |
Oona, you saved my life - again! You did it, you just stood up to the | :28:36. | :28:43. | |
biggest killer in the world! He didn't stand a chance. You are the | :28:44. | :28:48. | |
smartest elephant, the Queen of the Jungle! We have to find my mum, we | :28:49. | :28:55. | |
will go back to the coast and find her, both of us. | :28:56. | :28:58. | |
CHEERING AND APPLAUSE CHILD: This is | :28:59. | :29:09. | |
a major scientific breakthrough. | :29:10. | :29:14. |