Browse content similar to 30/10/2013. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Hello and welcome to the One Show news taxpayers. | :00:21. | :00:20. | |
job, I decided in the end... About news taxpayers. | :00:21. | :01:51. | |
follow and you can do them in 15 or news taxpayers. | :01:52. | :10:48. | |
the medical centre. The practice has news taxpayers. | :10:49. | :13:08. | |
The vote ends at 7:35 sharp. Richard and Judy, you are here because you | :13:09. | :18:49. | |
are searching for a bestseller. How does this work and what exactly are | :18:50. | :18:56. | |
you looking for? Basically, we are looking for a debut author. Anybody | :18:57. | :19:03. | |
can submit 10,000 words by January the 1st. This is a life changing | :19:04. | :19:08. | |
deal, they will get a ?50,000 grant, and if the book does really well | :19:09. | :19:12. | |
they will get royalties on top. They will get a publishing contract, PR | :19:13. | :19:15. | |
representation, we will launch them as a proper author. They will get a | :19:16. | :19:21. | |
lot of publicity when we find them. The entries are pouring in. How many | :19:22. | :19:26. | |
have you had? Thousands. The publishers say they have some very | :19:27. | :19:31. | |
promising ones already. The important thing is, it has to be a | :19:32. | :19:35. | |
debut writer, you cannot be published before already have an | :19:36. | :19:37. | |
agent or publisher. You must be somebody that has been sitting | :19:38. | :19:41. | |
there, maybe working on something for a while or thinking, goodness, I | :19:42. | :19:44. | |
could finish a novel and get it published. It is across all genres. | :19:45. | :19:49. | |
We don't care what it is, a crime story, romantic novel, comedy, | :19:50. | :20:01. | |
whatever. I was about to say! Go to the Richard and Judy website, and | :20:02. | :20:06. | |
you can enter. What is the difference between a good book and a | :20:07. | :20:10. | |
great book? Oh, my God, that is a big question. You know what, I don't | :20:11. | :20:15. | |
know. I think a great book stands the test of time and does not date, | :20:16. | :20:19. | |
becomes a classic. A good book, in its own right, does exactly what it | :20:20. | :20:27. | |
should say on the tin. Transports you, entertains you, takes away, | :20:28. | :20:32. | |
hope fully, in some way, transforms you. We are looking for good books, | :20:33. | :20:35. | |
not great books, books that are really good reads. Very readable? | :20:36. | :20:41. | |
That is the essence of The Richard And Judy Bookclub. Somebody said | :20:42. | :20:47. | |
that we have the Midas touch, we put our hands on a book and it works. We | :20:48. | :20:51. | |
are very lucky, we are sent the books by WH Smith, a send some out | :20:52. | :20:58. | |
of the hundreds that they get. We get the cream of the crop. We pick | :20:59. | :21:01. | |
the top eight that we think are the best. They will send the cream of | :21:02. | :21:06. | |
the crop and you read them? Cut down to a short list, and those are our | :21:07. | :21:11. | |
choices. We got confident with it, we've been doing it for ten years | :21:12. | :21:16. | |
and we trust each other's judgement. Looking back over the last ten | :21:17. | :21:19. | |
years, because it has been running for ten years, your favourites? The | :21:20. | :21:26. | |
top three each? After you. The Time Traveler's Wife, I Absolutely loved. | :21:27. | :21:34. | |
Your favourite one book has turned into three or four. Sorry! More | :21:35. | :21:45. | |
recently, One Girl, which has swept the world. We have very similar | :21:46. | :21:55. | |
tastes. I would add one more, Star Of The Sea, the first book that we | :21:56. | :22:01. | |
picked. It put on 1000% sales. Marvellous, Dickensian book. It | :22:02. | :22:04. | |
could have been written by Charles Dickens. People must continually, | :22:05. | :22:10. | |
the TV with bits of paper and say, read this? It is a rod we have | :22:11. | :22:15. | |
created for our own back. I read a minor script of a Cornish writer, | :22:16. | :22:20. | |
which was unpublished. I wrote a review to the would-be publisher and | :22:21. | :22:24. | |
said, you have got to print this. She took off. It got into the | :22:25. | :22:29. | |
papers. Now we get nothing but manuscripts and books. I had to | :22:30. | :22:33. | |
clear out our house in London. We had walls of books and manuscripts | :22:34. | :22:36. | |
everywhere. We gave over 1000 books to the local community library. That | :22:37. | :22:41. | |
is one of the reasons we have set this competition up. It is a way of | :22:42. | :22:45. | |
annoying, because we cannot read them, we just cannot read books that | :22:46. | :22:49. | |
are sent unsolicited. Send it to the competition. The world's biggest | :22:50. | :22:54. | |
recycling bin! You are both successful novelist in your own | :22:55. | :23:00. | |
right. Judy, Eloise, Richard, Someday I'll Find You. Michel Roux | :23:01. | :23:08. | |
is going into a shop, they are the last two in the shop, which ones | :23:09. | :23:13. | |
should he choose? Probably Richard's because a lot of it is set | :23:14. | :23:16. | |
in the South of France. Whereas mine is set in Cornwall and probably a | :23:17. | :23:22. | |
bit more mystical. Richard's is a real adventure thing. Plus you need | :23:23. | :23:31. | |
to bump up the sales. Hayes came out in October, mine came out in July, | :23:32. | :23:38. | |
give me a break! No, it is great. Had it flopped, and good books can | :23:39. | :23:42. | |
flop, it would be so embarrassing. We are talking about the bookclub, | :23:43. | :23:46. | |
you would have to say to us, what about yours? Richard and Judy's | :23:47. | :23:56. | |
Search For A Bestseller runs until the 1st of January. Now, Gyles is | :23:57. | :24:01. | |
here with a spooky story of an unlikely friendship between one of | :24:02. | :24:04. | |
our most famous authors and a legendary escape artist. | :24:05. | :24:11. | |
Sarah Arthur Conan Doyle, the creator of Sherlock Holmes, a | :24:12. | :24:14. | |
superstar of the post-Edwardian era and have many well-known | :24:15. | :24:18. | |
acquaintances. Among them, the American magician and escapologist | :24:19. | :24:26. | |
Harry Houdini. Houdini arrived for a tour of Britain in early 1920. | :24:27. | :24:30. | |
Drumming up publicity, he sent copies of his latest book to 200 | :24:31. | :24:34. | |
leading figures of the time. Arthur Conan Doyle was one of them. He read | :24:35. | :24:38. | |
it and wrote back saying he had enjoyed it. He went to see | :24:39. | :24:42. | |
Houdini's show at the London Palladium. To show his appreciation, | :24:43. | :24:51. | |
he invited Houdini for lunch, here at the manner in Sussex. Houdini | :24:52. | :24:55. | |
went to the lunch and noted in his diary, 14th of April, 1920, had | :24:56. | :25:01. | |
lunch. They believe implicitly in spiritualism. Arthur Conan Doyle | :25:02. | :25:07. | |
told me he had spoken six times to his son. Houdini was taken aback, | :25:08. | :25:11. | |
because he knew that his son had died two years earlier from wounds | :25:12. | :25:15. | |
sustained in the trenches of the First World War. The loss had | :25:16. | :25:20. | |
devastated Conan Doyle, who came to spiritualism for support. He had | :25:21. | :25:25. | |
been a miracle of the Society for psychological research, and | :25:26. | :25:30. | |
initially it seemed to be a passing interest. Now his son had passed | :25:31. | :25:36. | |
away, Conan Doyle became a complete advocate for spiritualism. | :25:37. | :25:41. | |
Spiritualists believe that they could communicate with the dead | :25:42. | :25:45. | |
through seances and mediums, but Houdini was having none of it. He | :25:46. | :25:50. | |
always had his doubts. Having performed spiritual affects early in | :25:51. | :25:54. | |
his career, he considered everything he encountered to be a parlour | :25:55. | :25:57. | |
trick. He felt people were being preyed on. Houdini made it his | :25:58. | :26:03. | |
mission to really challenge mediums. While Houdini to the world | :26:04. | :26:08. | |
with his act, Conan Doyle was attending up to six seances a week | :26:09. | :26:13. | |
here at the Manor. Often it was with his wife acting as the medium. In | :26:14. | :26:20. | |
the spring of 1922, Conan Doyle went on to himself, giving a series of | :26:21. | :26:25. | |
lectures on spiritualism. One date was in Houdini's hometown of New | :26:26. | :26:29. | |
York. Houdini invited his friend for lunch at his house in Harlem. | :26:30. | :26:35. | |
Houdini wanted to prove that the spiritual phenomena that Conan Doyle | :26:36. | :26:41. | |
was convinced he was experiencing could be explained by tricks and | :26:42. | :26:45. | |
simple allusions. So he played a trick? He played a trick on Conan | :26:46. | :26:52. | |
Doyle. Houdini produced a piece of suspended slate, a cork ball and | :26:53. | :26:56. | |
some white paint. Conan Doyle left the room and wrote a phrase on a | :26:57. | :26:59. | |
scrap of paper before returning to the room with it in his pocket. | :27:00. | :27:05. | |
Supposedly without any intervention, but cork ball started forming words. | :27:06. | :27:11. | |
Sure enough, they matched the words written by Conan Doyle on the paper | :27:12. | :27:17. | |
in his pocket. Unfortunately, it completely backfired. Conan Doyle | :27:18. | :27:20. | |
completely refuse to believe it was a fake, even when Houdini told him | :27:21. | :27:25. | |
it was magic. It was now Conan Doyle's turn for a demonstration of | :27:26. | :27:30. | |
his own. He arranged a seance with his wife to be the medium. She | :27:31. | :27:34. | |
claimed to be very good at automatic writing. They sat Houdini down and | :27:35. | :27:38. | |
said they would get in touch with his dead mother. Lady Doyle entered | :27:39. | :27:45. | |
a state of trance and began scribbling words she claimed had | :27:46. | :27:49. | |
been written from beyond the grave. Now it was Conan Doyle's ten to feel | :27:50. | :27:54. | |
triumphant, until the note was seen by Houdini. It was written in | :27:55. | :28:00. | |
English. Houdini's late mother was Hungarian, and scarcely spoke | :28:01. | :28:04. | |
English. Conan Doyle had failed to convince Houdini. After a few | :28:05. | :28:10. | |
months, Houdini decides to publishes findings and says he has no evidence | :28:11. | :28:13. | |
to support spiritualism, including the seance with lady Doyle. Word | :28:14. | :28:19. | |
gets back to Sarah Arthur Conan Doyle, who naturally takes a bit of | :28:20. | :28:23. | |
offence that he is dismissing the seances, and it ultimately leads to | :28:24. | :28:28. | |
the demise of the French. They had honestly attempted to convince each | :28:29. | :28:33. | |
other. But both misfired. They parted, bloodied but unbowed, still | :28:34. | :28:38. | |
resolute in their own beliefs. A close and extraordinary friendship | :28:39. | :28:39. | |
was at an end. Gyles is here to tell us more but, | :28:40. | :28:50. | |
Richard, you are related to Arthur Conan Doyle's Secretary? This is a | :28:51. | :28:56. | |
story that has been our family, purely anecdotally, but as you say, | :28:57. | :29:00. | |
he left all these signs and symbols for people to pick up after his | :29:01. | :29:03. | |
death nothing happened. This woman was his BA, we would call today, and | :29:04. | :29:10. | |
a few days after his death, she was in his chambers, going through his | :29:11. | :29:14. | |
papers, upset that the boss had died, and she heard creaking noises | :29:15. | :29:18. | |
coming from the four above, where he had a billiards table. There was no | :29:19. | :29:22. | |
won else in the building, so she thought there was an intruder. She | :29:23. | :29:27. | |
could hear the sound of balls hitting the cushions, the clicking | :29:28. | :29:31. | |
of the balls and everything, and very unafraid, she went in, pushed | :29:32. | :29:35. | |
the door open, and there was nobody there. But she could still see the | :29:36. | :29:39. | |
white cube or bouncing around the question, coming to a rest. She went | :29:40. | :29:45. | |
out of the door, locked it and never returned. But Houdini did not | :29:46. | :29:52. | |
believe in any of this, did he? No, but he was intrigued by it. He | :29:53. | :29:56. | |
became obsessed with the possibility of life after death and he went to | :29:57. | :29:59. | |
seances because he loved his mother. And there he is, giving his mother a | :30:00. | :30:04. | |
case. When she died, he was very distressed, he wanted to get in | :30:05. | :30:09. | |
touch and said, can I communicate with the other side? People were | :30:10. | :30:13. | |
into the supernatural, could you communicate with the dead? He began | :30:14. | :30:17. | |
going to them, and he was a magician, he could see how it was | :30:18. | :30:23. | |
being done, and he thought people were taking advantage of the | :30:24. | :30:25. | |
vulnerability of people like himself, who were in mourning. He | :30:26. | :30:28. | |
began to expose these people who were conducting seances, simple | :30:29. | :30:32. | |
things, put your hand on the wooden table if you are there, ring a | :30:33. | :30:36. | |
bell, and a bell sounds. He would reveal that what the person was | :30:37. | :30:40. | |
doing, under the table, there was a little bell that the person was | :30:41. | :30:44. | |
ringing. Normally, there would be someone under the table. You began | :30:45. | :30:49. | |
to expose this. It is not rocket science, is it? It became his second | :30:50. | :30:55. | |
career, he would go around the country exposing local mystics and | :30:56. | :30:59. | |
showing what had happened. That is how he came to feel he had to rescue | :31:00. | :31:02. | |
Conan Doyle from being taken advantage of, but he didn't really | :31:03. | :31:07. | |
want to believe it himself. So when he died, before he died, he told his | :31:08. | :31:11. | |
wife, Bess, just in case it is true, here is a little secret | :31:12. | :31:18. | |
message. And if I wake up on the other side, I will communicate that | :31:19. | :31:22. | |
with you on the day of my death. So just tune in every anniversary of my | :31:23. | :31:28. | |
death. So for ten years, she would light a candle, by a photograph and | :31:29. | :31:33. | |
say, Harry, are you there? Give me the message, Harry. For ten years, | :31:34. | :31:38. | |
she went to this ritual, always on the anniversary of his death, | :31:39. | :31:43. | |
Halloween, the 31st of October. After ten years, having heard | :31:44. | :31:46. | |
nothing, she snuffed out the candle and said, ten years is long enough | :31:47. | :31:52. | |
to wait for any man! She looks like that! He is still trying to prove | :31:53. | :32:02. | |
that the we! Tomorrow in Halifax in the United States there will be | :32:03. | :32:06. | |
people gathered around, candles lit, saying, Mr Houdini, come on | :32:07. | :32:10. | |
through, tonight is the night. How do they know the message he gave to | :32:11. | :32:15. | |
his wife? I have been trying to find a out, nobody knows! They were | :32:16. | :32:22. | |
really huge in Victorian days, and mediums used to pretend to have | :32:23. | :32:24. | |
extra pleasant coming out of their mouth. He exposed how they did that | :32:25. | :32:30. | |
as well, how there were hidden wires across the room, he really did | :32:31. | :32:34. | |
expose how they did it. Now Mike has been trying to get in contact with | :32:35. | :32:38. | |
the unknown himself for the past year. He is searching for an elusive | :32:39. | :32:43. | |
white aberration that is rumoured to live deep underground. | :32:44. | :32:50. | |
The Brecon Beacons are famous for rugged rolling hills, but there is a | :32:51. | :32:53. | |
magnificent dark side to this landscape, too. Many of the hills | :32:54. | :32:59. | |
are told with caves with hundreds of miles of passages. It is one of the | :33:00. | :33:03. | |
most extreme environments in the UK, and remarkably there are still | :33:04. | :33:06. | |
some animals that can survive down there. Gary has been exploring these | :33:07. | :33:14. | |
caves for around three decades. He made an amazing discovery. A | :33:15. | :33:22. | |
population of very unusual fish. So we are taking a trip underground to | :33:23. | :33:29. | |
try and find them. That is where we go in, down there. Down that tiny | :33:30. | :33:34. | |
dark coal? Will my shoulders fit? We will have to find out! There are | :33:35. | :33:40. | |
several entrances to the cave, and Gary issues me this is the easiest | :33:41. | :33:47. | |
one to get through. -- she was me. | :33:48. | :33:51. | |
It has been lovely working with you! The caves are lines come and these | :33:52. | :33:57. | |
passages have been carved out by and underground river flowing through | :33:58. | :34:01. | |
them over houses of years. -- limestone. Gary found the fish here. | :34:02. | :34:10. | |
These are brown trout, but they have turned white. It is a waste of time | :34:11. | :34:17. | |
for them to create pigment. It is even pitch dark, and it is debatable | :34:18. | :34:21. | |
whether they can see any more. These trout might not be able to see, but | :34:22. | :34:26. | |
they can pick up vibrations from us, so we need to move as quietly as | :34:27. | :34:31. | |
possible. We cannot afford to scare them off. That is a tight squeeze! | :34:32. | :34:37. | |
Good job I had a light lunch! Takes the meters in is the area | :34:38. | :34:40. | |
where Gary has been finding them on and off for the last ten years. -- | :34:41. | :34:46. | |
60 metres. Justineo is where we are likely to see fish, so we need to | :34:47. | :34:54. | |
move quietly. -- just in here. The fish are probably surviving on small | :34:55. | :34:57. | |
crustaceans with the river helping to watch in a few morsels, too. No | :34:58. | :35:01. | |
sign of them yet. And after four hours of searching, | :35:02. | :35:12. | |
the trout are still nowhere to be seen. It could be they heard us | :35:13. | :35:17. | |
coming up the river and have gone to hide somewhere. It could be that | :35:18. | :35:21. | |
they are just not here today, it is 50-50 whether you see them or not. | :35:22. | :35:27. | |
We decide to call it a day, but I am far too intrigued to give up that | :35:28. | :35:32. | |
easily. So ten months later, on a tip-off from Gary, we try again. I | :35:33. | :35:39. | |
have got a camera, Gary has got a powerful torch, this is the moment | :35:40. | :35:46. | |
of truth. Let's go for it. And at exactly the same spot as last | :35:47. | :35:51. | |
time, we finally get a glimpse. He is there! Swimming! I have just had | :35:52. | :35:58. | |
my first view of a completely white fish. He is quick, though, isn't | :35:59. | :36:05. | |
it? It has been a long wait, but it is incredible to finally see these | :36:06. | :36:09. | |
bizarre fish surviving in this top environment. There it is, there it | :36:10. | :36:16. | |
is! The problem is, the stones in the bottom, it is hidden. There we | :36:17. | :36:25. | |
go. I have kind of got a view of his tail and is backend. I cannot see | :36:26. | :36:32. | |
his head. Brown trout normally have dark spots on their belly, but these | :36:33. | :36:37. | |
ones seem to be reddish. How did he get in here and how long has he been | :36:38. | :36:43. | |
down here? Good question, did he get washed in, did he swim in? Is a part | :36:44. | :36:48. | |
of a group that has bred in here? These are things we do not know. | :36:49. | :36:53. | |
Gary managed to film footage days before of a different, larger fish, | :36:54. | :36:57. | |
so there is definitely more than one here and clearly more to discover. | :36:58. | :37:02. | |
We keep seeing the same photographs in books, I have never seen film | :37:03. | :37:06. | |
footage. I do not think it has been studied at all, which is not | :37:07. | :37:10. | |
surprising in this environment! I have a sneaking admiration for this | :37:11. | :37:13. | |
really tough survivor, rather him than me! Where is the exit? | :37:14. | :37:22. | |
Assistance pays off every time. The vote has now closed, so please do | :37:23. | :37:27. | |
not vote because it will not count but you will still be charged. | :37:28. | :37:33. | |
You are dedicated if nothing else, you went there twice to almost see a | :37:34. | :37:38. | |
fish, we do not know what his face looks like. It is pitch black, the | :37:39. | :37:43. | |
blackest black you can ever imagine, add water and the squeezes, Gary | :37:44. | :37:48. | |
went down six times to try to find the fish. That is the worst shot of | :37:49. | :37:53. | |
the hardest animal I have ever filmed. Good effort! Year as a more | :37:54. | :37:58. | |
examples of creatures that have kind of involvement. -- here are. We are | :37:59. | :38:07. | |
starting with predatory glow-worms from a cave in New Zealand. These | :38:08. | :38:15. | |
worms live, these predatory worms live on the ceiling of the cave, and | :38:16. | :38:18. | |
they create chemical light in their tail. It is a light shining out of | :38:19. | :38:26. | |
their backside. There are long as dreams of globules hanging down, | :38:27. | :38:29. | |
insects are attracted, they get stuck, and then the parasitic worms | :38:30. | :38:33. | |
reel them in and eat them. It is horrific. Beautiful, they play | :38:34. | :38:43. | |
Phantom Of The Opera, but he won a boat and take you into the caves. | :38:44. | :38:49. | |
Onto the next one, talking of things that dangle, if you are having your | :38:50. | :38:54. | |
tea, look away now! These are called snottites, they are from caves in | :38:55. | :38:59. | |
Mexico, huge colonies of bacteria, and they actually make a living by | :39:00. | :39:03. | |
digesting hydrogen sulphide, which is the gas that makes the bad eggs | :39:04. | :39:08. | |
smell. Need I go further?! Because they eat this hydrogen sulphide, | :39:09. | :39:11. | |
they can grow incredibly quickly, about one centimetre per day. They | :39:12. | :39:17. | |
are producing sulphuric acid as a by-product of the slime, so the | :39:18. | :39:20. | |
liquid dripping off would actually burn your hand. Another reports of | :39:21. | :39:26. | |
cave dwelling creature! Tell us about the climbing fish. We are | :39:27. | :39:32. | |
finishing on a nice one, the blind cave angelfish, one of the most | :39:33. | :39:35. | |
specialised animals in the world, they only exist in two caves in | :39:36. | :39:39. | |
Thailand in fast flowing water, and they stick to the rock with tiny | :39:40. | :39:44. | |
little microscopic works under their pectoral fins. They kind of wonder | :39:45. | :39:49. | |
around on their belly, not much of a diet, Michel. They did look good! | :39:50. | :39:55. | |
What would you do with that? A little bit of flour, lots of butter, | :39:56. | :40:01. | |
lemon juice and garlic. That is an exceptionally rare creature, you | :40:02. | :40:06. | |
should not be eating it! Sorry! Let's talk snails, tonight under the | :40:07. | :40:12. | |
expert eye of Michel you will be cooking them, how does that feel? We | :40:13. | :40:17. | |
were having a nice chat beforehand, but being a harsh judge is another | :40:18. | :40:22. | |
thing. I am slightly nervous. You are good at cooking, you have told | :40:23. | :40:28. | |
us before. I am half days and! Look at Richard and Judy, they are ready | :40:29. | :40:39. | |
to go! Are you all said? No! It is time for you to US cargo! Point him | :40:40. | :40:44. | |
in the right direction. This time tomorrow night people up and down | :40:45. | :40:47. | |
the country will be running around dressed up as monsters and zombies. | :40:48. | :40:51. | |
But near the Olympic Stadium, it could be happening for real. | :40:52. | :40:57. | |
Not really! It is just a film! Here we go. | :40:58. | :41:07. | |
I am here on the streets of East London, where there have been | :41:08. | :41:13. | |
sightings of zombies. Now, I have come down to investigate, I just | :41:14. | :41:15. | |
hope I make it through the night. The undead are actually part of an | :41:16. | :41:29. | |
elaborate street game called 2.8 Hours Later, combining Tiger and | :41:30. | :41:32. | |
dramatic performances. The first event happened in Bristol but has | :41:33. | :41:37. | |
been run in ten cities across the UK. Thankfully, I will not be alone. | :41:38. | :41:44. | |
I have a group of horror fans to help me along the way. We have to | :41:45. | :41:49. | |
reach the end of the course without becoming infected. The first task is | :41:50. | :41:55. | |
to find some medical help in the multistorey car park. This is quite | :41:56. | :41:59. | |
scary now, we know that there are zombies on the next floor, so this | :42:00. | :42:03. | |
is our first contact with potential contamination. In the panic, I am | :42:04. | :42:08. | |
separated from my team-mates. Luckily, Adam keeps his head and | :42:09. | :42:12. | |
grabs the medical supplies we needed. What did you do? | :42:13. | :42:19. | |
Well, first task complete with no casualties, this is easy! Maybe not! | :42:20. | :42:25. | |
There are definitely zombies down there, quite a lot. Shall we go | :42:26. | :42:27. | |
back? I have been infected! I have been | :42:28. | :42:37. | |
infected. There were so many of them. I could not see where to run. | :42:38. | :42:43. | |
Imagine if the zombies were not bad enough, the police have stopped us | :42:44. | :42:48. | |
from entering a restricted area. I do not know if you are infected or | :42:49. | :42:55. | |
not, I making myself clear?! Move it! Face the wall. | :42:56. | :43:02. | |
He is very cross, that policeman. The only way to safety is the route | :43:03. | :43:11. | |
the danger zone which, yes, you have guessed it, involves yet more | :43:12. | :43:16. | |
zombies. You have got four microseconds to get underneath the | :43:17. | :43:17. | |
fence. I was the first under the fence. All | :43:18. | :43:37. | |
of a sudden there was loads of zombies waiting to get me. I got | :43:38. | :43:40. | |
passed every single one apart from the last one and he infected me | :43:41. | :43:45. | |
again. To date, 50,000 people have taken part in this game in the UK. | :43:46. | :43:50. | |
But what is so appealing about being scared? Are you actually enjoying | :43:51. | :43:57. | |
this? Yeah! Why is it so measurable? The challenge, it's a | :43:58. | :44:05. | |
game, you got to try and win. Were you actually scared? Did you feel | :44:06. | :44:08. | |
frightened as Mark I did, and I don't scare that easily because I | :44:09. | :44:12. | |
watch horror films. But one was almost getting me. It's something | :44:13. | :44:18. | |
you don't get from the film. We finally made it to the end, all that | :44:19. | :44:23. | |
is left now is decontamination. Guys, didn't we make a fantastic | :44:24. | :44:27. | |
team? We went to the whole thing and not of us got infected... | :44:28. | :44:31. | |
What a horrendous end. We are now ready for the cook off. Look at | :44:32. | :44:45. | |
Gyles, poised and ready. You have the ingredients in front of you and | :44:46. | :44:48. | |
you have a little card telling you how to do it. Get cooking! | :44:49. | :44:55. | |
I can't read it either. This is the snails, basically, with Chartreuse | :44:56. | :45:08. | |
liqueur. Coincidently, it actually smells a little bit like snails, | :45:09. | :45:13. | |
because they teach the herbs that go into the Chartreuse. They are using | :45:14. | :45:21. | |
tinned snails, but you can't go outside and pick your own? I did as | :45:22. | :45:26. | |
a child, as soon as it was raining, my father would take me out. My | :45:27. | :45:29. | |
neighbours would say, look at those crazy foreigners. You can, but it is | :45:30. | :45:35. | |
long and the boreal is, so you can buy them tinned. Would you put them | :45:36. | :45:40. | |
in the pan alive, or drown them first? You have to purge them, so | :45:41. | :45:45. | |
they empty their stomachs, without going into too much detail... Let's | :45:46. | :45:47. | |
talk about the hazelnuts! So, how have you split your cooking | :45:48. | :45:58. | |
duties? I am sous chef, Gyles is creating. Doing it like a great | :45:59. | :46:03. | |
artist. Just throwing my ingredients onto the palate and hoping for the | :46:04. | :46:16. | |
best. Your chopping is horrendous. It seems like Judy is still on | :46:17. | :46:22. | |
strike. I'm watching. I haven't got my reading glasses. Garlic... It is | :46:23. | :46:31. | |
a mystery to me. I can't cook and talk at the same time. How are we | :46:32. | :46:39. | |
looking so far, Michel? Let's put it this way, thank goodness moniker is | :46:40. | :46:43. | |
not here. That's true, we will talk about her later. I think we are | :46:44. | :46:50. | |
almost ready for some snails. You are liking bind. They cooked very | :46:51. | :47:01. | |
slowly. We asked you at home to send in your ten word stories. We have | :47:02. | :47:08. | |
had loads of them. This is Eileen. She said, she looked in the mirror | :47:09. | :47:15. | |
with eyes that weren't hers. It is like we are back to that seance | :47:16. | :47:20. | |
thing. Aged eight, the cat enjoyed its meal, the Goldfish bowl was | :47:21. | :47:31. | |
empty. Flambe! Is this meant to happen? | :47:32. | :47:35. | |
You could have warned us beforehand. You have also set some photographs | :47:36. | :47:49. | |
on fire. Margaret says, water broken, contractions started, it's a | :47:50. | :47:57. | |
boy. This one is good, Sue Galway from Cheshire, hysterical acne | :47:58. | :48:03. | |
plagued the village, she died on the spot. Mike, would you put your | :48:04. | :48:11. | |
Chartreuse in, so we can see the flambe? Be careful, it is Halloween, | :48:12. | :48:19. | |
not bonfire night. Is it going to happen? | :48:20. | :48:25. | |
I almost lost my hair. Health and safety are having kittens. There we | :48:26. | :48:41. | |
are, everybody. Now, from your short stories to a much longer classic. | :48:42. | :48:45. | |
Cerys Matthews continues her journey around Britain, visiting the | :48:46. | :48:49. | |
landscapes that inspired our greatest novels. | :48:50. | :48:56. | |
In the 1960s, this corner of the Cotswolds earned a place on the | :48:57. | :49:02. | |
literary map of Britain. It was all thanks to a local lad. One of the | :49:03. | :49:09. | |
most popular British writers of the last century. His autobiographical | :49:10. | :49:14. | |
novels sold in their millions. His first book, Cider With Rosie was set | :49:15. | :49:24. | |
here, and it's all about growing up in the 1930s. The stories about | :49:25. | :49:28. | |
helping out with haymaking or skating on the village pond, are | :49:29. | :49:33. | |
interwoven with stories about family drama like the death of his sister. | :49:34. | :49:37. | |
It's a wonderful insight of coming of age in a bygone era. In my great | :49:38. | :49:43. | |
grandfather's day, only a cart track late year. The author's earliest | :49:44. | :49:51. | |
memory is age three, when his family moved into the village. Lee gets | :49:52. | :49:58. | |
lost in a thicket of tall grass and begins to panic. I was lost, and | :49:59. | :50:02. | |
didn't know where to move. Sharp odours of roots and nettles. | :50:03. | :50:08. | |
Overhead, frenzied larks were screaming out of the sky was tearing | :50:09. | :50:13. | |
apart. Soon enough, he was rescued and brought back to the new house. | :50:14. | :50:17. | |
And this is it. It was a good place to be, rooks in the chimneys, | :50:18. | :50:22. | |
mushrooms on the ceiling, all for three and 6p a week. He paints a | :50:23. | :50:28. | |
wonderful picture of his chaotic, madcap family, his brothers, | :50:29. | :50:32. | |
sisters, and scatty, larger-than-life mother. It follows | :50:33. | :50:36. | |
his scrapes and adventures as he grows up. At the centre of village | :50:37. | :50:44. | |
life, you have the local pub. Across the road, the holy Trinity Church. | :50:45. | :50:47. | |
It was here, at the start of the book, that Lee describes herself as | :50:48. | :50:53. | |
a scruffy choirboy, singing heartily but not always in June. By the end | :50:54. | :50:57. | |
he's having his first taste of cider and about to become a young man when | :50:58. | :51:02. | |
he encounters the Rosy in the book's title. Never to be forgotten, | :51:03. | :51:08. | |
that first long, secret drink of golden fire. Juice of those valleys | :51:09. | :51:16. | |
and of that time, wine of Russet summer, plump red apples and | :51:17. | :51:24. | |
Rosie's burning cheeks. Adam grew up in the village and new Lee as a | :51:25. | :51:30. | |
child. I asked him what he knew about Rosie. He never revealed in | :51:31. | :51:35. | |
his lifetime who Rosie was. It could have been a distant cousin, it could | :51:36. | :51:40. | |
have been a woman that lived in the Valley with no electricity and | :51:41. | :51:43. | |
baby-sat me as a baby. There are some new people it could have been | :51:44. | :51:46. | |
and I don't think he ever wanted to reveal it. He wanted her to be as | :51:47. | :51:50. | |
archetypal as the value. He didn't write it here? He moved to London | :51:51. | :51:58. | |
early on. I think the sense of nostalgia about the lost childhood, | :51:59. | :52:02. | |
the way things changed after the Second World War, it started to come | :52:03. | :52:05. | |
back. This lyrical, beautiful book came flooding out. He used to drink | :52:06. | :52:13. | |
just around here? Yes, there is a story about a tourist that accosted | :52:14. | :52:16. | |
him outside the pub, not knowing who he was. He said, can you tell me | :52:17. | :52:25. | |
where Laurie Lee is buried? He said, going there and you will find him | :52:26. | :52:30. | |
buried in a pint. With his royalties from Cider With Rosie, he lived his | :52:31. | :52:40. | |
last years here. This year, the Woods opened as a protected nature | :52:41. | :52:43. | |
reserve thanks to donations from fans of the book. We put out this | :52:44. | :52:53. | |
public appeal and we were blown away by the response we had. Grannies | :52:54. | :52:56. | |
that were giving part of their pension, right the way through to | :52:57. | :52:59. | |
Americans that had read the book. It shows you the link between the | :53:00. | :53:02. | |
landscape and the book is really powerful. Said his first location, | :53:03. | :53:07. | |
CiderWith Rosie has never been out of print. He has made the magical | :53:08. | :53:15. | |
valley famous, but he has also been instrumental in preserving the | :53:16. | :53:23. | |
Valley for years to come. Two minutes before you plate up. Are | :53:24. | :53:29. | |
you with us? We are finished. Finished? Put it on the hot plate | :53:30. | :53:35. | |
and keep it warm. So, Michel, back with the sixth series of Masterchef | :53:36. | :53:43. | |
Professionals. How is it working? 32 from the beginning, and whittle it | :53:44. | :53:46. | |
down throughout the weeks. The first few weeks are just elimination | :53:47. | :53:50. | |
test. That kind of thing, putting the pressure on. It's back next | :53:51. | :54:01. | |
Monday. Let's have a look. Matt is portraying a very confident | :54:02. | :54:04. | |
chef look and he says he wants to win this. | :54:05. | :54:12. | |
That's not really like you. You are usually quite nice to the | :54:13. | :54:24. | |
contestants, quite constructive? Fair enough, yes, I am. But that | :54:25. | :54:29. | |
really wound me up. That upset me. I love my pastry. The difference this | :54:30. | :54:34. | |
year is that we give them the ingredients for the classic test, | :54:35. | :54:38. | |
but we don't give them the weights and measures. If you are a | :54:39. | :54:44. | |
professional chef, you should know the recipe off by heart. This guy | :54:45. | :54:48. | |
did not. That upset me. If that was your reaction, what was Monica's? | :54:49. | :54:57. | |
She is a very strict with the contestants? She is, but she is such | :54:58. | :55:02. | |
a warm, lovely lady outside of the kitchen. At her in the kitchen and | :55:03. | :55:05. | |
she is a true professional. That is why she is one of my staff, my | :55:06. | :55:10. | |
Lieutenant, as it were. She is strict. They obviously have a career | :55:11. | :55:17. | |
before they come on. For those that win it, I am talking about Steve | :55:18. | :55:21. | |
Groves, he is now a head chef in your restaurant? Absolutely, he won | :55:22. | :55:28. | |
series two. An unbelievable talent. I took him on and he is now head | :55:29. | :55:32. | |
chef in one of my restaurants in London. Yes, he actually featured in | :55:33. | :55:41. | |
the celebrity Masterchef as well. We cooked in his kitchen. He is tough | :55:42. | :55:45. | |
as well, he calls it as is. Looking at the 32, do any of them show | :55:46. | :55:52. | |
promise? Absolutely. It's become a bit of a cliche, every year gets | :55:53. | :55:56. | |
better. This year, yet again. I think the reason why, because it | :55:57. | :56:03. | |
gets better, proper, aspiring chefs see that and they see the quality of | :56:04. | :56:06. | |
the competition. They say, we want to have a go at this. We aspire to | :56:07. | :56:10. | |
becoming the next Masterchef Professional. A brilliant way for | :56:11. | :56:20. | |
you to find your staff. Well, Masterchef the Professional starts | :56:21. | :56:22. | |
next Monday on BBC Two. They have plated up. Bring over your dishes. | :56:23. | :56:29. | |
If you have done this well, you might be in with a chance of being a | :56:30. | :56:34. | |
head chef at a restaurant. This is one of the reasons I don't cook with | :56:35. | :56:37. | |
Richard. He is so bad-tempered in the kitchen! It's true. Come on, | :56:38. | :56:45. | |
Michel. Get in there. Let's have a look. I do like the presentation. A | :56:46. | :56:55. | |
bit of chopped parsley. That is Mike and Gyles's effort. | :56:56. | :57:00. | |
That was a shell? A hazelnut? That was very crunchy. We thought it was | :57:01. | :57:11. | |
a Christmas pudding and put a 2p piece in. Try Richard and Judy's. A | :57:12. | :57:30. | |
bit sweet? No? We haven't got any Jeopardy music. Who is the winner? I | :57:31. | :57:36. | |
like the chopped parsley on top, but there is no seasoning, lacking in | :57:37. | :57:39. | |
salt and pepper. Also, very roughly chopped. Nice skills, zero. This | :57:40. | :57:49. | |
one, I like the lemon. Really nice. Brings out the flavour of the | :57:50. | :57:57. | |
source. Well done, Richard and Judy. Earlier, we asked you to take part | :57:58. | :58:02. | |
in our vote. It is by no means scientific, just a flavour of what | :58:03. | :58:07. | |
you are thinking at home. We asked, should visitors from outside Europe | :58:08. | :58:11. | |
have to pay an annual fee before they can see a GP? You have been | :58:12. | :58:16. | |
voting. Matt will reveal the result. It is an absolute landslide, to be | :58:17. | :58:18. | |
honest. I'm not surprised by that. Clearly, | :58:19. | :58:33. | |
it represents the strength of feeling on the whole issue. That is | :58:34. | :58:38. | |
all we have time for. Thank you to Richard and Judy. Good luck with | :58:39. | :58:41. | |
your search for the bestselling author. Good luck with your French | :58:42. | :58:48. | |
Kitchen cookbook and with Masterchef the Professionals. Thanks again to | :58:49. | :58:53. | |
Mike and Gyles. Next week, Sanjeev Bhaskar joins us for a Halloween | :58:54. | :58:56. | |
special. Get your make-up on! Hello, I'm Riz Lateef with your 90 | :58:57. | :59:07. | |
second update. Murdered on his last shift. Police | :59:08. | :59:16. | |
are hunting for the killer of a pizza delivery | :59:17. | :59:17. |