:00:15. > :00:24.Good evening and welcome to the One Show.
:00:25. > :00:29.I'm Matt Baker and Angela Scanlon is here fresh from the debut of Robot
:00:30. > :00:33.Wars. Razor, what the hero from the last series 13 years ago. In the pit
:00:34. > :00:36.this seconds. First episode gone, goodness me. But
:00:37. > :00:40.nice to have you here. Let's start with a question. What's better than
:00:41. > :00:46.a Knight out on the town? Two Knights out on the town!
:00:47. > :00:52.Particularly when they are as close as these two Knights!
:00:53. > :00:56.Here they are at the fair. Still at the fair! And here they are
:00:57. > :01:01.just chilling by the rubbish, having a little sit down. Here they are
:01:02. > :01:06.telling Santa if they have been naughty or nice. Let's find out what
:01:07. > :01:17.mood they are in tonight, Ian McKellen and Patrick Stewart!
:01:18. > :01:21.They were fabulous! We went to see Father Christmas and they had a
:01:22. > :01:26.black Father Christmas for the black kids. That doesn't get much
:01:27. > :01:31.publicity, does it? It doesn't! And it was a much shorter queue.
:01:32. > :01:37.Delighted to get a mention on the One Show. Your friendship started in
:01:38. > :01:42.the '70s. Shh... You don't look a day over 30. Thank you. What
:01:43. > :01:47.situation did this all blossom in then? We were in the same company,
:01:48. > :01:52.the Royal Shakespeare company doing bits and bobs and we eyed each other
:01:53. > :01:55.from afar, Yorkshireman Lancashireman. We didn't become
:01:56. > :02:02.close friends until much later, did we? Much later. The main reason, I
:02:03. > :02:07.probably could have attempted a friendship, but I...
:02:08. > :02:15.LAUGHTER. I was so intimidated by my friend at that time. That's all gone
:02:16. > :02:20.now! You would have done better if you'd have been gay, you know.
:02:21. > :02:27.Listen, we've got some photos. You can say that about my entire career!
:02:28. > :02:33.We went on a little hunt and found some rather fetching pictures. Now,
:02:34. > :02:38.why are we seeing so much flesh? I can't believe that. This is like
:02:39. > :02:42.contouring before it became mainstream. I tell you, it doesn't
:02:43. > :02:51.change much and I know because I shared a dressing room with Patrick.
:02:52. > :02:57.Show us? That is me lying back. Visiting the witches as Macbeth.
:02:58. > :03:03.Your chest is also fabulous. I'm wearing drowse. The Letts boots are
:03:04. > :03:09.a bit risque. What was your workout regime like back then, Patrick? It
:03:10. > :03:15.was fairly extreme. It goes from role-to-role. I've just played a
:03:16. > :03:20.role where I needed to look gaunt and at death's door so I lost 20
:03:21. > :03:25.pounds and it worked. Then, you know, I now eat whatever I like, in
:03:26. > :03:38.the odd green room, glass of wine and potato chips. He is remarkable,
:03:39. > :03:42.he's as fit as he looks! Listen, you cannot be accused of blending into
:03:43. > :03:48.the background of those photographs unlike our dog in our favourite
:03:49. > :03:53.photo of the day. Oh, my goodness. Deb and Pete in Wigan, this is their
:03:54. > :03:58.dog. We are going to draw an outline, because for those who can't
:03:59. > :04:03.see it, there it is lying on their rug. It's phenomenal. I can look at
:04:04. > :04:08.that all day long, mesmerizing. If you have any pets that blend into
:04:09. > :04:12.the background at home, send us a photo and we'll see if we can spot
:04:13. > :04:14.it. Do you think the dog know it's vanished?
:04:15. > :04:20.LAUGHTER. I don't know. The mind boggles.
:04:21. > :04:24.Now, imagine life throwing so many problems at you that you feel your
:04:25. > :04:30.only option is to walk away from everything and everyone that you
:04:31. > :04:34.know. Kevin Duala's been to find out what it takes to make that decision
:04:35. > :04:41.and how it affects those left behind. Every two minutes, someone's
:04:42. > :04:46.reported missing in the UK. Most are found quickly, within 48-hours. But
:04:47. > :04:52.others, several hundred a year, disappear without a trace. I had to
:04:53. > :04:57.run there and then. It's very hard to switch off. You're living with a
:04:58. > :05:02.lot of mystery all the time. So what happens to people who... Just
:05:03. > :05:07.vanish? I want to know what it takes to walk out on your own life. It was
:05:08. > :05:13.like something in my mind had switched. Nothing else mattered.
:05:14. > :05:19.Instantly I thought, I've got to go. Shelly ran away after wrapping up
:05:20. > :05:25.?150,000 in credit card debt and losing her job. What makes somebody
:05:26. > :05:28.leave their family and home? The devil on my shoulder said you should
:05:29. > :05:34.leave, you should go. It was louder than any other voice, it was louder
:05:35. > :05:38.than Shelly stay around and fix things and what about your family,
:05:39. > :05:42.it was louder than anything else. She disappeared with just ?40 in her
:05:43. > :05:46.pocket. I went to the coach station and asked for the next ticket
:05:47. > :05:50.leaving and the lady said to me, where do you want to go and I said
:05:51. > :05:54.anywhere. She said the next coach going out is Birmingham and I said
:05:55. > :05:58.fine, I'll take that one then. When I arrived in Birmingham, I needed
:05:59. > :06:01.somewhere to stay, so I came out of the coach station and found a
:06:02. > :06:04.bed-and-breakfast straight across the road.
:06:05. > :06:08.Because I'd given up on my old life it was like I could be anyone, I
:06:09. > :06:12.could choose any identity, I could be anything I wanted to be. That
:06:13. > :06:18.night was probably the first night I had a proper sleep in about a year.
:06:19. > :06:24.Academics are now talking to people like Shelly to find out why and how
:06:25. > :06:28.they disappear. Many said they deliberately went off
:06:29. > :06:32.grid, avoiding anything that could trace them, mobiles, bank cards,
:06:33. > :06:36.CCTV, and contact with the authorities like the police. I
:06:37. > :06:40.didn't get in contact with my family after I left because it was just the
:06:41. > :06:45.fear, the sheer fear of having to face the enormity of what I'd done.
:06:46. > :06:50.Shelly lived on her wits for 18 months. I done a lot of things I
:06:51. > :06:55.wasn't proud of, I lied, cheated, stole. I conned men into thinking
:06:56. > :07:00.they were on a promise and I'd get them to take me out to dinner and
:07:01. > :07:05.would make my excuses and leave. It was anything just to be able to get
:07:06. > :07:08.food, money for the next day. Researchers hope their work will
:07:09. > :07:13.also help anxious friends and family left behind.
:07:14. > :07:17.Last month, Robbie Gibson disappeared. He'd been at the heart
:07:18. > :07:22.of a bitter four-year fight to save libraries in South London from
:07:23. > :07:29.closure. I think it's shameful. It's an essential part of our community
:07:30. > :07:32.hub. But after taking part in a ten-day sit-in, he'd been feeling
:07:33. > :07:37.low with some libraries facing the axe. Friend Joe Duggan says he
:07:38. > :07:42.changed. I think that had an impact on him. I bumped into him and asked
:07:43. > :07:48.him how he was. He used words like panicky and anxious and
:07:49. > :07:52.vulnerable-looking. Two days later he was missing. The community
:07:53. > :07:58.response has been absolutely amazing and has been really moving, I'd have
:07:59. > :08:01.to say. We have generated leafments quickly, Facebook went into
:08:02. > :08:07.meltdown. There was excitement because there was a belief that we'd
:08:08. > :08:12.find him. CCTV image of Robbie on the Isle of Wight the day he went
:08:13. > :08:17.missing. A keen walker, it had been a favourite holiday destination.
:08:18. > :08:23.We have been wanting to put a story on what's happened but in reality we
:08:24. > :08:28.genuinely don't know anything apart from the last confirmed CCTV footage
:08:29. > :08:33.so you are constantly having your mind in overdrive trying to live
:08:34. > :08:40.with all the possibilities. In Birmingham, Shelly became pregnant
:08:41. > :08:44.with her daughter, now 12. It was time to let her old life back in.
:08:45. > :08:48.After I had my daughter, I felt strong enough to be able to contact
:08:49. > :08:54.my family again. I called them and it took all my courage and I'm
:08:55. > :08:58.scared they'd have a go at me. My nan answered the phone and she was
:08:59. > :09:05.so happy. I was so shocked that she didn't hate me. She was just happy
:09:06. > :09:10.to know I was alive. No longer one of the disappeared, Shelly and her
:09:11. > :09:16.daughter have settled in Birmingham. For Joe, not knowing his friend's
:09:17. > :09:20.whereabouts is a constant worry. It's really almost impossible to get
:09:21. > :09:24.on with the rest of your life. You're living with that limbo. I
:09:25. > :09:34.really hope he knows how much people care about him.
:09:35. > :09:40.Shelly that we saw in the film, she's been part of that study into
:09:41. > :09:43.those that have gone missing, Kevin, so what are the main reasons that
:09:44. > :09:49.people feel the need to leave everything they know in life behind
:09:50. > :09:54.and go missing? We have been asking a Professor from the University of
:09:55. > :09:58.Glasgow and the ESRC who's conducted extensive research on this, we are
:09:59. > :10:03.talking about people who're feeling under pressure in an intolerable
:10:04. > :10:08.situation, it can range from anything from financial situations
:10:09. > :10:15.or whatever. However, the most prominent issue is mental health.
:10:16. > :10:17.80% will have mental health issues, whether diagnosed or undiagnosed, it
:10:18. > :10:27.can range from depression, anxiety or stress. Is there any way that
:10:28. > :10:30.friends or family might be able to identify somebody's triggers who
:10:31. > :10:35.might consider going missing? It's hard to point at one specific thing.
:10:36. > :10:38.If people are feeling under pressure, if they are behaving in an
:10:39. > :10:43.unusual way, it's really important to speak toe them. If their
:10:44. > :10:46.behaviour is changing, ask the right questions. A key significant factor
:10:47. > :10:52.is, if somebody's gone missing before, speak to them because 40%
:10:53. > :10:55.who go missing are likely to go missing again. Sit down, ask them
:10:56. > :10:59.about their journey, what happened, what was going on in their mind, why
:11:00. > :11:03.did they want to leave, they're the people that will significantly need
:11:04. > :11:07.the help. Is it down to family and friends then or is there kind of a
:11:08. > :11:11.support network set up so people don't leave again? Matt, it's more
:11:12. > :11:16.down to family and friends. The police's job is to find them. Once
:11:17. > :11:20.they've found them, they've done their job. If the police worked
:11:21. > :11:23.closely with the mental Health Services, that is the key. Once
:11:24. > :11:28.people go missing and then they return, if they work together, the
:11:29. > :11:31.local police are conducting interviews and pointing vulnerable
:11:32. > :11:36.people to the best help they need. If they work in conjunction together
:11:37. > :11:41.and help the missing people get the help they need, that is the key. If
:11:42. > :11:44.anyone out there has anyone information on Robbie, is there
:11:45. > :11:48.anywhere they should contact? The best thing to do is to go to the
:11:49. > :11:51.website, all of the information is on there for you. There is another
:11:52. > :11:57.person we are going to try and find? Yes, I would like to do a call out.
:11:58. > :12:04.We are looking for Rebecca Carr, 23 when she went missing, she's now 35,
:12:05. > :12:09.5'8", mousey brown hair, last seen at Gillingham train station in Kent
:12:10. > :12:16.on 25th November, 2002. You are overriding feeling from
:12:17. > :12:20.this, it's not just people desperately in need of something and
:12:21. > :12:24.that is why they're going but the family left behind as well, it's
:12:25. > :12:28.agony on both sides? Yes. Having spoken to Shelly in great detail
:12:29. > :12:32.when we did the film, she loved her nan to bits and unfortunately, her
:12:33. > :12:36.nan passed away, so she said it was a breath of fresh air, that she went
:12:37. > :12:45.home, met her nan and could say goodbye to her. What the family go
:12:46. > :12:49.through is terrible. Thanks ever so much indeed. If you have anyone on
:12:50. > :12:53.Robbie, Rebecca or have been affected by anything you have seen
:12:54. > :12:56.on here or need somebody to talk to, there's more information on the
:12:57. > :13:00.website. Before we talk about Ian and
:13:01. > :13:03.Patrick's new play, here is a look at another performance, one that
:13:04. > :13:07.helps prevent local voices being lost forever. Carrie has been to see
:13:08. > :13:11.a musical project that takes inspiration from the forgotten women
:13:12. > :13:16.of the factory floor. In the years after the Second World
:13:17. > :13:26.War, South Wales rang with the clamour of the male-dominated coal
:13:27. > :13:30.and steel industries. Meanwhile, an army of women were playing a role in
:13:31. > :13:36.the industrial recovery in Wales. The post-war years saw a consumer
:13:37. > :13:38.revolution when zips and watches, fizzy drinks, were being
:13:39. > :13:43.manufacturered in their thousands and all by women.
:13:44. > :13:50.For many, this taste of communal work was some of the best times of
:13:51. > :13:57.their lives. Marion Jones was 16 when she started working at a
:13:58. > :14:03.lingerie factory in Merthyr did fill in 1951. I was hemming the bottom of
:14:04. > :14:10.the slips. What was the atmosphere like? It was lovely. Everybody knew
:14:11. > :14:15.everyone. -- Merthyr Tydfil. It was different for the men, as heavy
:14:16. > :14:19.industry went into decline. The arrival of factories like Marion's
:14:20. > :14:22.saved many communities from going under, with one brand in particular
:14:23. > :14:28.providing work for thousands of women. Hoover have gone and found
:14:29. > :14:34.the washing machine that means the end of wash days. Wash day? Just
:14:35. > :14:40.forget it. In 1963, Marion switched to manufacturing white goods. Those
:14:41. > :14:44.were the good years of my life. One of the best jobs I've ever had.
:14:45. > :14:49.Today, although many of the factories are long gone, the voices
:14:50. > :14:57.of those who worked in them are not. We had to wear overalls and clocks
:14:58. > :15:02.because of all the broken glass -- clogs. They could hear us coming a
:15:03. > :15:07.mile. Two years ago, 200 women, including Marion, took part in an
:15:08. > :15:12.oral history project, providing their stories to Chronicle Wales's
:15:13. > :15:19.crucial workforce. These machines are going brrrrr...
:15:20. > :15:26.They decided to put me on to black bras. It wasn't easy to sew black on
:15:27. > :15:34.black, so there was a lot of mistakes. Magical, if I want to use
:15:35. > :15:37.a word. These memories have been
:15:38. > :15:41.incorporated into a new musical composition. Musician ingoo Thompson
:15:42. > :15:45.has been commissioned by the Cardiff Festival of Voice to create a unique
:15:46. > :15:52.arrangement using the women's recordings. When she heard the ash
:15:53. > :15:55.cave, she was captivated -- Inga. Can you play me some examples? I
:15:56. > :16:07.can. It is just lovely and the accent is
:16:08. > :16:11.beautiful. I've not long worked at the factory and I was immediately
:16:12. > :16:18.attracted to her because initially, the name of the factory because it
:16:19. > :16:26.is such a cool name. What is that? Her phone number? The numbers of the
:16:27. > :16:29.zip, the colours, white and black. Isn't it fascinating, even with the
:16:30. > :16:34.spoken voice, how you can feel someone's character from that? I
:16:35. > :16:38.think she would be proper strong, no-nonsense. Marion and Avril are
:16:39. > :16:50.coming to hear the work's Premier and it is time to take our seats. --
:16:51. > :16:58.premiere. It was heated to a super heat and it was forced through... It
:16:59. > :17:03.was like a shower head... You wonder how on earth she put all that
:17:04. > :17:10.together, to come out as good as it is. I never thought it had anything
:17:11. > :17:13.to do with history but the more I am listening to things now, I do think,
:17:14. > :17:23.oh, yes, you did play a little part in it. A lot of things I have
:17:24. > :17:29.forgotten but it has brought a lot of memories back, you know.
:17:30. > :17:36.# This is your song. # And thanks to the women's archive of
:17:37. > :17:39.Wales, these memories have been preserved for generations to come.
:17:40. > :17:45.One way of keeping the memory arrived. You were both watching that
:17:46. > :17:49.very intently. A similar background, your mother worked in a textile
:17:50. > :17:54.factory? She did, she worked in the mill all her life, during the war
:17:55. > :17:58.and afterwards, when I was a teenager. She loved it. She would
:17:59. > :18:04.not give it up, even though I think she was paid ?3 and five shillings a
:18:05. > :18:11.week for the work she did and the conditions were horrible. But she
:18:12. > :18:17.would not turn her back on her workmates and the place and the
:18:18. > :18:20.companionship she felt. It was a community. Hearing about the words
:18:21. > :18:27.and the dialect and everything, do you miss that part of your life?
:18:28. > :18:32.Patrick, they would be weaving, wouldn't they? Everyone and weaving,
:18:33. > :18:36.spinning cotton. I remember going past the biggest factor in Europe
:18:37. > :18:40.every day, walking to school. It took about 20 minutes to walk down
:18:41. > :18:43.one side of it. And you could hear it all going on inside, voices
:18:44. > :18:49.raised above the rattle of the machinery. I never went inside. And
:18:50. > :18:53.Harold Pinter's No Man's Land is what you are here to chat about and
:18:54. > :18:57.the language and the use of language and how elegant and lyrical it
:18:58. > :19:03.almost is on is that the massive part of the attraction? It is. He's
:19:04. > :19:10.a great master of words and a wonderful wordsmith. He began his
:19:11. > :19:16.life writing reviews, sketches to be done in variety shows. You can tell
:19:17. > :19:21.because he has an eye for a gag. A little routine that we love doing
:19:22. > :19:24.all that stuff, as well as the serious stuff. Patrick I was reading
:19:25. > :19:31.that this play has been a real passion of yours since you first saw
:19:32. > :19:34.it in 19... 75. We both saw it, not together, not at the same time
:19:35. > :19:39.because we did not know one another then, I think. I went on a Monday
:19:40. > :19:46.night. I was so dazzled by the performances but also by the script,
:19:47. > :19:50.the text. Much of which I could not fully understand. So I bought a
:19:51. > :19:57.ticket for the next night and then for the birthday as well! I saw it
:19:58. > :20:02.three times. -- for the Thursday. I would have gone on a Saturday night
:20:03. > :20:05.but I could not afford it. So it affected you straightaway? I had
:20:06. > :20:09.been in two Harold Pinter plays already when I saw it but there was
:20:10. > :20:14.something about this play, the fact that they are very clever people who
:20:15. > :20:17.are speaking the language, it is actually, I think one of his plays
:20:18. > :20:25.that comes closest to Tom Stoppard's work in that dextrous, brilliant use
:20:26. > :20:29.of language. It is very complex. Even the chatter between you, but it
:20:30. > :20:34.does not seem like you are likely to tribute other up at any point or do
:20:35. > :20:38.you, just for kicks? We have very long speeches so we have do play,
:20:39. > :20:41.not doing the long speeches ourselves but sitting back and
:20:42. > :20:45.listening to the other one. It's a pain but you have to be so alert
:20:46. > :20:49.when you are listening and Patrick is a brilliant listener. Every so
:20:50. > :20:52.often, his eyes glanced up at me and there the whole world going on
:20:53. > :20:58.inside, unspoken. That is part of the fun of the play. But how could
:20:59. > :21:01.you recommend this play? It's one of the great plays of the last
:21:02. > :21:05.centuries and one of the great base for two actors of the same age.
:21:06. > :21:08.There aren't many like that. People ask why we are doing it again having
:21:09. > :21:12.done it in New York? No one has written anything for us since!
:21:13. > :21:17.LAUGHTER We are back with the old material.
:21:18. > :21:21.From Broadway, you are going on tour, starting in Sheffield... Next
:21:22. > :21:25.week. You are so well known you could do the West End but it is
:21:26. > :21:30.really important for you. This man will tell you why taking a show into
:21:31. > :21:38.the regions and the provinces is so important. Go! In the 16th century
:21:39. > :21:43.when young William Shakespeare was living in Stratford, how did he get
:21:44. > :21:47.to know anything about the theatre? Because the actors would tour. And
:21:48. > :21:51.he saw them and he fell another with the double stop how did you fall in
:21:52. > :21:55.the theatre? Same as me, I saw the actors, they arrived, they were in
:21:56. > :22:00.the weekly company and they toured to Manchester and Liverpool, big
:22:01. > :22:05.actors of my youth. I was so grateful to them and I sort of
:22:06. > :22:11.expected that that is what actors did, rogues and vagabonds. So it is
:22:12. > :22:20.with a joyful heart that we are off to... Sheffield the start!
:22:21. > :22:24.Newcastle. Then Cardiff and London. Lovely, but it is not just age, you
:22:25. > :22:34.are both very busy, you are going to be playing a clock soon as Jim yes,
:22:35. > :22:40.Cogsworth in Beauty And The Beast. Wonderful movie. Can you tell the
:22:41. > :22:49.time? I can't answer that but I have written one," my name is Cogsworth
:22:50. > :22:52.and I'm a clock, tick-tock... " but it did not get into the film. We
:22:53. > :23:03.have do ask why we'll -- while we are on the movies... Wolverine. I
:23:04. > :23:08.have reprised my role. I don't understand it, or is it about
:23:09. > :23:13.Professor X that he has to appear in every subsequent film? We wanted to
:23:14. > :23:17.give you the opportunity. It was a sensible answer. I would have given
:23:18. > :23:23.anything to have walked on in Lord of the rings! But not call, not an
:23:24. > :23:28.e-mail, nothing! Given that into Gestede you should not do Star Trek,
:23:29. > :23:32.I think his career advice is best kept to himself. -- given that Ian
:23:33. > :23:38.suggested you should not do. I would have been a dreadful agent. No Man's
:23:39. > :23:43.Land begins its UK tour next Wednesday in Sheffield. I'm no! And
:23:44. > :23:46.then it goes to the Wyndham 's Theatre which is where you both saw
:23:47. > :23:51.it in London before on the 8th of September.
:23:52. > :23:54.Time to talk to housemate and girlfriends. Asda has been to
:23:55. > :23:56.Southampton to see if she can get an answer about one of your tricky
:23:57. > :24:03.problems. This should be interesting. This week's dilemma
:24:04. > :24:07.comes from Lucy in London who says, "My housemate has a new girlfriend
:24:08. > :24:14.who he always has round the house but I don't like. How do I confront
:24:15. > :24:22.this issue?" Good question. Let's see what the people of Southampton
:24:23. > :24:26.have to say. What does she do? It depends how long they have been
:24:27. > :24:29.together. If it is like a month, you could be like, "We are good flatmate
:24:30. > :24:35.and I don't like this girl friend of yours, maybe have a think about it".
:24:36. > :24:41.Just tell him not to bring her over any more. I'm him, "Hello community
:24:42. > :24:46.is though you have something on your mind?" Either she goes and you goes.
:24:47. > :24:56.Whoever was in the flat first, may be the best thing to do is for the
:24:57. > :25:01.other one to move out. I don't want you to tell me that but it's very
:25:02. > :25:05.kind. It's a fantastic game, it gets you talking to people. Know,
:25:06. > :25:14.different question. What is the question? Hello, both, this is the
:25:15. > :25:17.dilemma. If you don't say it as it is, how is he going to know and how
:25:18. > :25:22.are you going to work around it? It will just be awkward at all time.
:25:23. > :25:25.Definitely but always stay polite because you never know when you
:25:26. > :25:32.might see her again. And be nice because you won't come off like a
:25:33. > :25:37.bad person. I've always wanted to do that, sorry! It's fine because you
:25:38. > :25:42.appreciate the flatmate and you want to learn to get on with people that
:25:43. > :25:48.you did not originally like. Have you ever had a flatmate? Yes. Was it
:25:49. > :25:54.annoying? Not really but I did fall out in the end. What about? My
:25:55. > :25:57.boyfriend. She did not think much of him but I've now been married to
:25:58. > :26:01.infinitely 40 years so she was wrong. She was totally wrong. You
:26:02. > :26:05.have do have valid reasons for not wanting a person coming in. That's
:26:06. > :26:11.the thing, and if the valid reason is that you don't get on... You need
:26:12. > :26:15.to back off and allow your friend to have their friend. It is supposed to
:26:16. > :26:21.be tolerant but it is only when it starts to impede on your life
:26:22. > :26:28.significantly. Do you live together? Yes. Do you get an all right? Yes.
:26:29. > :26:34.Does he have any bad habits? You just get on my nerves, don't you? I
:26:35. > :26:39.hope that makes light of it. As we have got you both here, we thought
:26:40. > :26:41.we would play a little game, asking a few questions about what using
:26:42. > :26:50.about each other or who the question may refer to. We have a paddle each
:26:51. > :26:53.and all you have to do it and it around. We did this with Rod Stewart
:26:54. > :27:01.and his wife and it worked ready well. They are still married? Yes,
:27:02. > :27:06.there is hope! The tension! Who the funniest? Who is the snappiest
:27:07. > :27:12.dresser? Who is the most punctual when you
:27:13. > :27:29.meet up? Who secretly enjoys being a knight
:27:30. > :27:37.the most. A knight of old? View know what I mean. Who most enjoys being
:27:38. > :27:44.served? I don't know. Who's most likely to lose the knighthood for
:27:45. > :27:45.bad behaviour? I suspect both of you together. Who generally makes the
:27:46. > :28:04.most demands. Who makes the best looking woman? My
:28:05. > :28:13.word! Never mind. We will finish on that. Extraordinary. Look at you...
:28:14. > :28:16.From those lovely photos to the once you have been sending into night of
:28:17. > :28:22.your camouflaged pets. Go one, Angela, start us off with this one
:28:23. > :28:29.which is beautiful. I think it's a cat. Read the back. This is Nicky's,
:28:30. > :28:34.sorry, it is a dog, not a cat, in Dorset, quite feline. Desmond from
:28:35. > :28:45.Manchester on his favourite throw. This was sent from Cronje of her
:28:46. > :28:49.dog. And we have to say goodbye now. A big bangs to you, Angela. I will
:28:50. > :28:53.be back tomorrow with duathlete who famously clashed in the 1984
:28:54. > :28:56.Olympics, Zola Budd and Mary Decker. We will leave you with Lulu on her
:28:57. > :28:59.blanket. There we are.