:00:24. > :00:30.Matt Baker and Alex Jones. Tonight, we are investigating some very, very
:00:30. > :00:35.strange goings on. This is the case of the spinning statue. Deep within
:00:35. > :00:39.a Manchester Museum sits this ancient Egyptian artefact. The
:00:39. > :00:43.statue of Neb-Senu. It sounds like we're joking, but it's all real. The
:00:43. > :00:49.question is, what is causing it to turn seemingly on its own? Look at
:00:49. > :00:55.this. This is a real time lapse taken by the museum. You can clearly
:00:55. > :01:04.see that the sculpture is turning around. It ends up facing completely
:01:04. > :01:10.the other way. Unaided! Could it be an ancient curse? Well, who better
:01:10. > :01:16.to help us investigate this than everyone's least-favourite defence
:01:16. > :01:23.against the dark art professor. You've been told that a certain dark
:01:24. > :01:31.wizard is at large once again. This is a lie. It's not a lie. I saw him.
:01:31. > :01:36.I fought him. Detention, Mr Potter. Please welcome Delores Umbridge, aka
:01:36. > :01:39.Imelda Staunton. APPLAUSE
:01:39. > :01:48.To be fair, you were quite kind in that little clip, because you were a
:01:48. > :01:54.bit of a wrong one to Harry? It had to be done. Does the character
:01:54. > :01:58.follow you? Do people boo you in the streets? Hang about? Not too much.
:01:58. > :02:05.Children must quake slightly though? I think they do. When they come up
:02:05. > :02:10.they get frightened, but that's job done. Have you heard of this
:02:10. > :02:17.spinning sculpture? I wonder if that is just not one of though Covent
:02:17. > :02:24.Garden entertainers? Just doing it slowly. It's pretty extraordinary,
:02:24. > :02:30.isn't it? It is.Dark forces. I think it's rather lovely. I it's
:02:30. > :02:36.nice that a statue has fought, "I've looked over there for 500 years. I'm
:02:36. > :02:43.going to look over here." We have sent our very own over-sized Harry
:02:43. > :02:50.Potter, Alex Reilly to investigate. Alex, is it spinning now?
:02:50. > :02:55.really. I can't see it moving, but the museum's specialist tells me it
:02:55. > :03:01.only started to move back in November when they moved it here. I
:03:01. > :03:04.will be speaking to a physicist from the company university of Central
:03:04. > :03:10.Lancashire and he has equipment that will help us get to the bottom of
:03:10. > :03:15.this. We can't wait to find out more. We'll be back with that. The
:03:15. > :03:17.Manchester Museum won't cost you a penny to visit, but with the
:03:17. > :03:21.Government's Spending Review threatening cuts to budgets can we
:03:21. > :03:28.still afford to keep them open without charging? Simon Calder has a
:03:28. > :03:35.radical plan. Last year, over half of adults in the UK visited a museum
:03:35. > :03:39.or gallery. I believe they are an important part of our culture. It's
:03:39. > :03:43.the miracle on the Mersey, the museum of Liverpool. It's only been
:03:43. > :03:48.open two years, but it's attracting one million people annually. Of
:03:48. > :03:55.course, the reason it's so popular, along with all the other national
:03:55. > :03:59.museums, it's free for everybody. Dr David Fleming runs Liverpool's eight
:03:59. > :04:04.national museums. He isn't expecting to come away unscathed from today's
:04:04. > :04:08.review, but he thinks not charging is the right thing to do. Because
:04:08. > :04:13.it's free, we get more people and my business is about trying to get as
:04:13. > :04:16.many people connected with what is in this museum as I can. I think we
:04:16. > :04:21.have an impact on society and it's worth having them that are busy.
:04:21. > :04:25.It's not the same value when there's nobody in them. But the cuts are
:04:25. > :04:29.beginning to bite. What effect are they having? It's been tough for
:04:29. > :04:33.three years. I am trying to work out how best to manage with less public
:04:34. > :04:39.money. You have got quite a number of museums. Which ones are you going
:04:39. > :04:43.to close? I hope we don't have to close any, but we are thinking about
:04:43. > :04:48.closing on days of the week because we can't be assured that we can keep
:04:48. > :04:51.them open. I'm not here to talk about the rights or wrongs of cuts.
:04:51. > :04:57.They're our elected representatives and it's up to them what they do.
:04:57. > :05:01.But, I do care about museums. These are the places that enlighten and
:05:01. > :05:05.inspire and entertain us and if we are running out of money for them,
:05:05. > :05:10.maybe we need to think of more creative ways of funding them.
:05:11. > :05:15.Otherwise, museums might start to close down. Our national heritage
:05:15. > :05:23.would be eroded and we would be completely stuffed. It's our taxes
:05:23. > :05:28.that fund them to the tune of �425 million a year. Almost 20 million
:05:28. > :05:33.overseas visitors also benefit from that. They visit for nothing. So,
:05:33. > :05:36.here's my cunning plan. We can -- confess, terribly sorry, we are run
:05:36. > :05:42.out of money, so foreign tourists are now going to have to pay
:05:42. > :05:45.admission to our great museums. It might sound radical, but in the UK
:05:45. > :05:51.we have a national policy that is unique and I have travelled all over
:05:51. > :05:56.the world and coughed up a lot of cash to visits other galleries,
:05:56. > :06:01.often paying more than the locals. For example, Russia's greatest art
:06:01. > :06:06.museum The Hermitage, is the rouble equivalent of �8 for you and me but
:06:06. > :06:11.just a fiver for Russians. Under European law we have to treat all EU
:06:11. > :06:17.citizens the same. But would non-EU visitors to our museums be willing
:06:17. > :06:22.to pay so we don't have to? I think so. I'm used to paying. Probably.
:06:22. > :06:31.That sounds perfectly reasonable. Sure, definitely. I'm not sure.
:06:31. > :06:39.Yes. It's nice to come to here and see the beauty and not pay. �5 is
:06:39. > :06:45.reasonable. Even �10? Maybe not. It's a little too high. Probably. We
:06:45. > :06:50.pay that back home. I must say, I'm amazed and very pleased by this. Of
:06:50. > :06:56.course, it's not a scientific survey, but for every person who
:06:56. > :07:00.says they're not paying, we have 12 who are saying, yeah, five -- �5 no
:07:00. > :07:07.problem at all. If you extrapolate that across the UK, I would reckon
:07:07. > :07:11.you would have �50 a year extra a year. -- �50 million a year extra.
:07:11. > :07:14.would like to see it working in action. I've got a feeling we might
:07:14. > :07:18.lose more than you expect when it comes to paying. We have a voluntary
:07:18. > :07:21.admission charge. We only ask for �3, but we only get an average of
:07:21. > :07:25.six pence per person, so people might say they're prepared to pay
:07:26. > :07:30.and actually when they are given the opportunity they would rather like
:07:30. > :07:35.the idea that it's free. When I'm travelling abroad and I hear the
:07:36. > :07:39.world culture I reach for my wallet and I don't suppose our lovely
:07:39. > :07:48.foreign visitors would mind doing the same here. If it means we can
:07:48. > :07:54.keep our great museums open to enrich and maybe enchant the world.
:07:54. > :07:59.If they are willing to pay, then charge. Definitely. You pay �5 for a
:07:59. > :08:03.cup of tea or coffee or whatever in a big city, nothing is cheap in
:08:03. > :08:08.London or New York or wherever. If I was abroad I would be happy to pay
:08:08. > :08:15.that, but there will be people who can't afford that. I also think that
:08:15. > :08:21.�5 or �10, you think �5 yes, but ten might be a bit much. It's all good
:08:21. > :08:26.stuff in there. Exactly. It's money well spent over the centuries.
:08:26. > :08:30.talk about your new play, because that will be money well spent.
:08:30. > :08:33.Circle Mirror Transformation. It's by the Royal Court. You are actually
:08:33. > :08:40.performing it in a community centre which is perfect? Yeah. We are
:08:40. > :08:44.cutting edge! Keep your West End! How are you getting the seats in
:08:44. > :08:48.there? Putting them in mate, shipping them in. Yeah, they are
:08:48. > :08:53.putting the seats in. It's a wonderful play. The play is set in a
:08:53. > :08:59.community centre, so they cleverly found one in East London. Here's the
:08:59. > :09:02.venue. There it is.Lovely. Lavish. I haven't been there yet. Where are
:09:02. > :09:07.you rehearsing? The Royal Court for to weeks and now we are in Clapham
:09:07. > :09:12.and then we end up in the show next week. What is it about? You do a lot
:09:12. > :09:17.of lie about on the floor we have noticed from the photograph.
:09:17. > :09:24.personal life is my own. Don't drag it in here. There I am. I'm with
:09:24. > :09:29.Toby Jones. It's set in a drama workshop in America and it's set
:09:29. > :09:32.over six weeks. And they do all the drama games and you think it's
:09:32. > :09:38.boring, but what happens in the six weeks and to those characters, what
:09:38. > :09:43.happens to the story, is pretty amazing. There is something where
:09:43. > :09:47.you think where is it going? Copy me doing this and that, but there's a
:09:47. > :09:51.lot more happening and it's really cleverly written. Annie Baker wrote
:09:51. > :09:56.it and it's surprising, I think. This time you are playing again
:09:56. > :10:03.against Toby Jones, who you were in The Girl with. What is it like being
:10:03. > :10:07.with him? Too funny. The play is funny, that helped. Not a -- a lot
:10:07. > :10:13.of laughing. I'm a bit overtired. I should have had a lie down. Too much
:10:13. > :10:23.laughing. It's very funny and moving and it's an extraordinary piece of
:10:23. > :10:23.
:10:23. > :10:29.work. You played his Lady Hitchcock. What was that like? Was great. Mr
:10:29. > :10:33.Hitchcock was the power. She was the strong woman? She was the script
:10:33. > :10:38.editor and advised him on everything. That silent power and he
:10:38. > :10:41.listened and it was great. We filmed that last year in Cape Town and we
:10:41. > :10:47.were with Siena and it was a privilege and I was very happy to be
:10:47. > :10:52.part of that. Looking back over the career, you say that your big
:10:52. > :10:56.success was Vera Drake, which I would agree with. With Oscar
:10:56. > :11:06.nominations - but before we talk about it we'll remind ourselves why.
:11:06. > :11:07.
:11:07. > :11:17.I know why you're here. Why?Because of what I do. Because of what you
:11:17. > :11:19.
:11:19. > :11:26.do? Yes.What is it that you do, Mr Drake? -- Mrs Drake? I help young
:11:26. > :11:32.girls out. It's heart-breaking. The aim of an actor is to make it as
:11:32. > :11:37.real as possible and that was incredibly convincing and it was -
:11:37. > :11:42.it was improvised, wasn't it? all Mike Leigh's work you improvise
:11:42. > :11:46.it all, but not on camera and again unlike any other piece of filming,
:11:46. > :11:51.we rehearsed for six months and filmed for three, so we knew it. I
:11:51. > :11:56.know the character inside out. But once you are on film I've never felt
:11:56. > :12:02.so safe. It's not like - people think it's like OK, you be funny and
:12:02. > :12:06.you be sad and off you go. It's not like that. In his hands you feel
:12:06. > :12:10.totally safe and I think that was just a great piece of work whoever
:12:10. > :12:16.was in it of film-making and story telling with a very difficult
:12:17. > :12:23.subject. It was. Very well done. We have noticed that you are quite
:12:23. > :12:32.little? I'm standing upactually!We have a lovely picture of you and
:12:32. > :12:37.your family with you and your husband Jim. Look at the size. I
:12:37. > :12:43.look like something that has fallen out of their pockets. That's our
:12:43. > :12:47.daughter. : Look at that. This is the thing, we know there is a big
:12:47. > :12:53.height difference, but we know lots of families out there who do not -
:12:53. > :12:58.well they have small children in them. We have been talking about
:12:58. > :13:04.This earlier on. Are your parents a lot smaller than you are? If so,
:13:04. > :13:09.send us a picture. Circle Mirror Transformation is at the Rose Lipman
:13:09. > :13:13.Building in London on 5th July. It's time to meet another great actor,
:13:13. > :13:22.main who successfully played the part of a loyal MI6 agent for over
:13:22. > :13:30.20 years. That is despite be a ait traitor. Giles has the real story
:13:30. > :13:34.about the real Ferdinand. The last time I spoke to a Communist was some
:13:34. > :13:40.time in 1934. This is the press conference held by Kim fill by,
:13:40. > :13:47.British spy and former head of the MI6 section to deny he was a
:13:47. > :13:57.card-carrying Communist. He was one of the 20th century's greatest
:13:57. > :13:59.
:13:59. > :14:03.liars, who rose to the top of the secret service. His secret and lies
:14:03. > :14:07.shook the British establishment to its core. The press conference was
:14:07. > :14:10.held here in a flat in Kensington, the home of his mother, Dora. By the
:14:10. > :14:11.time of the conference, he had served in some of MI6's key
:14:11. > :14:16.positions. He had been stationed in Washington, where he was the crucial
:14:16. > :14:23.figure in transatlantic Cold War intelligence. Gordon Corera is an
:14:23. > :14:26.author. Who is Kim Philby? He had joined the British secret service in
:14:26. > :14:31.the Second World War. He was ambitious and he was social and he
:14:31. > :14:37.used to drink and hold parties. People liked him. A lot of people
:14:37. > :14:47.thought he was heading for the top, to be chief of MI6. He had been
:14:47. > :14:51.
:14:51. > :14:55.recruited in 1940 at this hotel by his Cambridge friend Guy Bur --
:14:55. > :15:00.Burgess. They celebrated the job offer with a weekend of drinking
:15:00. > :15:04.here in this bar. Donald McClean would drink here too. What their MI6
:15:04. > :15:09.bosses didn't know was that all three of them, since their Cambridge
:15:09. > :15:15.days, had been drawn to Communism and were in fact working as double
:15:15. > :15:20.agents, supplying Britain's Cold War secrets to the Soviet Union. He ran
:15:20. > :15:24.a lot of operations and he was the liaison between MI6 and the CIA. He
:15:24. > :15:29.was privy to a huge amount of information and he passed all of
:15:29. > :15:33.this on to his KGB handlers, leading to the deaths of many of the agents
:15:33. > :15:37.who were sent Ianed the Iron Curtain. In 1951 he discovered that
:15:37. > :15:44.Donald McClean was under suspicion of being a Communist. He sent fellow
:15:44. > :15:49.double agent, Guy to tip off McClean. They both fled to Moscow,
:15:49. > :15:52.leaving Philby alone and in danger of ex-posture. People suspected a
:15:52. > :15:56.mole -- expose tour. Almost immediately people suspected a mole,
:15:56. > :16:00.a third man. He was under suspicion and despite his denials he was
:16:00. > :16:06.forced to leave the secret service and resume life as a journalist.
:16:07. > :16:13.After four years of rumours, culminating in an MP outing him in
:16:13. > :16:18.Parliament, he called his infamous press conference. Would you regard
:16:18. > :16:21.Burgess as a friend? I consider the action deplorable. On the subject of
:16:21. > :16:25.friendship, I prefer to say a little as possible. It would be eight years
:16:25. > :16:30.before he was named as the third man by a Russian defector, so what made
:16:30. > :16:35.him such a good liar? Dr Donna Youngs is an investigative
:16:35. > :16:41.psychologist. What do you make of that? He's completely mastered a
:16:41. > :16:46.number of the things that normally give liars away. People think that
:16:46. > :16:51.liars don't look at the person they're talking to. They stare at
:16:51. > :16:56.the person they are trying to convince of something. He is subtle,
:16:56. > :16:59.but his pattern of eye contact is none the less is unnatural. There
:16:59. > :17:03.are points when he's genuine and they contrast markedly where the
:17:03. > :17:08.points he's telling the story and his lie, when he becomes much more
:17:08. > :17:11.focussed and controlled. There is a rigidity and self-consciousness and
:17:11. > :17:15.awkwardness, that really jars with the smoothness of the way he is
:17:15. > :17:20.saying what he is saying. Examples? His face becomes that of a naughty
:17:20. > :17:25.child that has been found with their hand in the tin. There is another
:17:25. > :17:31.moment when you see a smirk across his face. There is nothing that
:17:31. > :17:36.indicates truthfullness. What are they? Emotionality. Extra details
:17:36. > :17:42.for example. Items out of order. press conference bought him some
:17:42. > :17:47.time. He even went on to work as an agent while employed by The Observer
:17:47. > :17:51.in Beirut. But when MI6 confronted him with the truth the game was up.
:17:51. > :17:55.He vanished and ended his days in Moscow, where he followed the
:17:55. > :18:03.cricket scores on the BBC World Service and read the London Times.
:18:03. > :18:10.His treachery cast a long shadow over the story of espionage. In
:18:10. > :18:15.fact, an in fiction. -- and in fiction. Looking very dapper there.
:18:15. > :18:21.You starred in a dramatisation of that very story. I did.We have got
:18:21. > :18:29.a picture of you. I played our very own Queen Mother. Looking good.
:18:29. > :18:32.good! Justin is here to talk a little more, because obviously
:18:32. > :18:36.Philby very good there. Uncomfortable moment in a press
:18:36. > :18:39.conference there. We have a selection of some other very
:18:39. > :18:42.uncomfortable ones, but it's delightful. David Cameron's first
:18:42. > :18:46.press conference with his new partner in Government, Nick Clegg.
:18:46. > :18:53.This is good fun. It's a little like a wedding. They are out there and
:18:53. > :18:57.decided to leave and they are out in the garden. Everybody is sitting on
:18:57. > :19:04.lovely chairs there. The couple are going through their vows and talking
:19:04. > :19:07.it through and one of the guests unfortunately starts behaving badly.
:19:07. > :19:12.Prime Minister, do you now regret when once asked what your favourite
:19:12. > :19:22.joke was you replied, "Nick Clegg." ? And Deputy Prime Minister, what do
:19:22. > :19:26.
:19:26. > :19:30.you think of that? I'm afraid I did once say that! Aim off!-- I'm off.
:19:30. > :19:35.He does it well. He goes on to score a point and said there are going to
:19:35. > :19:39.be differences between the two of us. I think he handled that really
:19:39. > :19:44.well. He did well. This one is not so easy to talk your way out of.
:19:44. > :19:48.This is December 2008, President Bush's last visit to Iraq. As far as
:19:48. > :19:58.he's concerned, he's won the war and this is a victory celebration. Once
:19:58. > :20:03.
:20:03. > :20:07.again, not everyone in the audience agrees with him. Look at this.
:20:07. > :20:13.was a good bit of ducking action there. Throwing shoes, that is a
:20:13. > :20:16.terrible insult in the Arab world, so that is very bad. The journalist,
:20:16. > :20:21.Muntazer al-Zaidi said, "This is a farewell gift from the Iraqi people,
:20:21. > :20:23.dog. This is for the widows and orphans of all those killed." Not
:20:23. > :20:27.really the message that President Bush was looking for at that moment.
:20:27. > :20:31.He said after he thought it was an amusing incident. Odd
:20:31. > :20:36.interpretation. He said he didn't know what the guy's beef was. It was
:20:36. > :20:40.a bit odd. At that point, 90,000 Iraqis had been killed and there
:20:40. > :20:45.were over four million refugees. Possibly a little insensitive there.
:20:45. > :20:53.This is the most uncomfortable moment. This is February 2010. Tiger
:20:53. > :20:57.Woods' big apology. This is the world's greatest sportsman and first
:20:57. > :21:00.millionaire sportsman. Greatest golfer ever. Various women come out
:21:00. > :21:04.and say they've had affairs. He crashes into a fire hydrant and
:21:04. > :21:08.arrested by the police. He feels he needs to apologise and he sets up
:21:08. > :21:13.this odd press conference, because he's in one room with his mum and a
:21:13. > :21:17.few selected journalists and then there is another huge room, so it's
:21:17. > :21:25.very managed. Obviously, he felt he needed to say something, so this is
:21:25. > :21:31.what he said. I am deeply sorry for my irresponsible and selfish
:21:31. > :21:37.behaviour I engaged in. I was unfaithful. I had affairs. I
:21:37. > :21:43.cheated. What I did is not acceptable. And I am the only person
:21:43. > :21:48.to blame. What do you think? didn't realise he was in a room with
:21:48. > :21:52.his mum. And others. You can look around. He is catching people's
:21:52. > :21:57.eyes. He said after, I have worked so hard for it and then there are
:21:57. > :22:02.all the temptationsen and I thought they were my right. -- temptations
:22:02. > :22:08.and I thought they were all my right. Did you, Tiger? It was your
:22:08. > :22:13.right, was it? OK. Thank you, Justin.
:22:13. > :22:17.It's time to dig out your brushes, oils or watercolours and kick-start
:22:17. > :22:27.your imagination, because tonight we're launching a big new art
:22:27. > :22:27.
:22:27. > :22:31.competition. Here is Tuffers with all of the details. In the UK
:22:31. > :22:41.drawing and painting is one of most popular pasttimes and this summer
:22:41. > :22:43.we'll be showcasing some of the best amateur art in the country. What is
:22:43. > :22:46.it that you love? The feeling of freedom it gives me to be creative
:22:46. > :22:52.and express myself. This is fantastic. What do you get out of
:22:53. > :22:56.it? Everything. I really enjoy it. Today, we are launching the One Show
:22:56. > :23:02.Art Competition 2013. We want to see your drawings and paintings. They
:23:02. > :23:06.can be in ink, pencil, watercolour, acrylic, whatever you like. The only
:23:06. > :23:10.thing is, it has to be your own, original artwork. No copies of
:23:10. > :23:17.artworks are allowed. We want to see your very moan masterpiece and to
:23:17. > :23:21.make it easier, we are setting a theme. Where I live. How you choose
:23:22. > :23:26.to interpret the theme is up to you. It could be a painting of an inside
:23:26. > :23:31.or outside. Your next door neighbour or anything that catches your eye.
:23:31. > :23:37.It could be East London or anything. It could be where I live inside my
:23:37. > :23:42.head. I would, for example, paint a person or some people. Find
:23:42. > :23:47.something that insurance spires you and set up and paint. What else do
:23:47. > :23:51.you need to know? The competition is open to amateurs over the age of 18.
:23:51. > :23:56.So, no professional artists, please. Because we want the work to be
:23:56. > :24:01.original, the work could not have won any other competitions. Drawings
:24:01. > :24:05.and paintings will only be considered so no computer art. The
:24:05. > :24:10.One Show team will select the 24 best entries to be on display in
:24:10. > :24:14.July and August at the One Show Summer Art Exhibition in Salford
:24:14. > :24:19.Quays. The 24 will be brought down to four by experts and professionals
:24:19. > :24:23.who will then set the four a brand new challenge to decide the overall
:24:23. > :24:28.winner. I want to see an individual's personality. I would
:24:28. > :24:34.want to see some technical skill, a strong come mowsition and exciting
:24:34. > :24:38.use of colour. -- composition and exciting use of colour. Murks, na is
:24:38. > :24:48.a exrudge who knows what she is looking for. Something that stops me
:24:48. > :24:50.
:24:50. > :24:53.in my tracks and makes me looks twice. Also casting his eye over is
:24:53. > :24:56.professional artist, Leo Stevens. How do you think people will
:24:56. > :25:02.interpret it? It's important that the place is somewhere that is
:25:02. > :25:06.important to them. You think of landscape painters like Turner and
:25:06. > :25:10.Constable, but there is Van Gogh's bedroom, which was his place. There
:25:10. > :25:15.is a lot of people out there and there is a lot of people with
:25:15. > :25:18.important things to say. This is the opportunity. Entering the
:25:18. > :25:22.competition couldn't be easier. Simply take a photograph of your
:25:22. > :25:31.work and with a form from the One Show website send it to this
:25:31. > :25:37.address: The deadline for entries is 5.00pm on Monday, 8th July. The work
:25:37. > :25:42.is A1, 33 inches by 23 inches in old money. If your work is shortlisted
:25:42. > :25:46.we'll get in contact and ask you to send the actual painting or drawing.
:25:46. > :25:53.Only one piece of work per entry, so put your name and address on the
:25:54. > :25:58.back. Don't send by e-mail, because they won't be considered. Are you
:25:58. > :26:02.happy with that? I am. A few more touches. You obviously will be
:26:02. > :26:12.entering the competition? Of course. Good stuff. What are you waiting
:26:12. > :26:14.
:26:14. > :26:17.for? Get the pencils and paints out and good luck. Cheers, Phil. All the
:26:17. > :26:21.details and forms are on the website. Don't oh go sending in
:26:21. > :26:25.photographs of other people's work because you will have to send your
:26:25. > :26:29.original in. It's the bit that we've all been looking forward to. It's
:26:29. > :26:35.time to go back to the Manchester Museum, where this Egyptian
:26:35. > :26:41.sculpture, look, it's been moving on its own accord. We'll look at this.
:26:41. > :26:48.This is a live shot. Has it moved at all? Maybe a littlement Alex, you
:26:48. > :26:53.are very close. -- a little bit. Alex, you are very close. Has it
:26:53. > :26:57.moved? It's a 4,000-year-old statue and it has started turning on its
:26:57. > :27:03.own. Anna, you are the specialist here. What do we know about the
:27:03. > :27:06.statue? So, the statue dates to around 800 BC and it depicts a man
:27:06. > :27:10.called Neb-Senu and we don't know where the statue is from, but it's
:27:11. > :27:14.likely that it came from Neb-Senu's tomb and the Egyptians put statues
:27:14. > :27:18.in so if The Mummy was damaged or destroyed then the spirit had
:27:18. > :27:21.somewhere else to live, so it would live inside the statue. Basically,
:27:21. > :27:25.The Mummy in Egypt could have been destroyed and then the spirits come
:27:25. > :27:31.all the way to Manchester and it's looking around saying, "This doesn't
:27:31. > :27:36.look like a pyramid." Is it a hoax to bring punters in? Absolutely not,
:27:36. > :27:41.no. You can see here and from the video that the case is locked.
:27:41. > :27:47.a mystery. We need to find out what is causing it. Over now to Stewart
:27:47. > :27:55.Ayres. What do you think? I have viewed the video and I noticed
:27:55. > :28:05.during the day when people were walking past there were x-ray braGSs
:28:05. > :28:07.
:28:07. > :28:17.-- vibrations. Pef picked it up now. It is fairly calm now. In the day we
:28:17. > :28:21.
:28:21. > :28:26.measured vibration as as people -- as it vibrates it rotates. We can
:28:26. > :28:33.see it is working. It's a physical situation. Differential friction.
:28:33. > :28:35.It's nothing to do with some It's nothing to do with some
:28:35. > :28:41.ridiculous mummy's curse. We hope he's all right. Thank you to Alex
:28:41. > :28:47.and all of you for sending in your picks. Joe and Nicky here.That's
:28:47. > :28:51.all. Thank you and good luck with Circle Mirror Transformation at the