:00:24. > :00:29.Hello and welcome to The One Show with Count Baker. And Countess
:00:29. > :00:36.Jones. On a bona chilling Hallowe'en night, we need a guest
:00:36. > :00:40.to help warm things up. He he is not frightening, he isn't even that
:00:40. > :00:50.strange and hopefully it won't make any of us go bump in the night,
:00:50. > :00:55.
:00:55. > :01:01.please enter Lenny Henry! Happy Hallowe'en! Happy Hallowe'en! There
:01:01. > :01:10.really did say, mind your coat as you go in there. A we have moved
:01:10. > :01:16.our studio outside. It's not our usual home. Talk about BBC cuts! It
:01:16. > :01:23.is disgraceful, what are we paying our licence fee on - give them a
:01:23. > :01:32.studio! There's a little as something on the side for you, if
:01:32. > :01:37.you fancy it. You can get more dressed up. In the meantime we will
:01:37. > :01:42.take a look at these, David Turner made these pumpkins earlier and he
:01:42. > :01:48.is working on at Lenny Henry creation as we speak. I am going to
:01:48. > :01:54.be in a pumpkin? I love the show! Where else could you be in a
:01:54. > :01:57.pumpkin! Where else could you get an audience like this? Look how
:01:57. > :02:03.scary they are. We would like to see you at home if you are dressed
:02:03. > :02:11.up in honour Hallowe'en costumes, get your foot rose to us. Lenny
:02:11. > :02:14.Henry it will pick his favour at a later on. We're also going to be
:02:14. > :02:19.talking about Lenny's new play by the man who brought us Hubble,
:02:19. > :02:26.bubble, toil and trouble. But before all that, Angelica Bell is
:02:26. > :02:29.hearing voices from be on the grave. Or is she?
:02:29. > :02:35.By the mid- 80 hundreds, the explosion of scientific research in
:02:35. > :02:38.many areas began to present serious challenges to age old certainties.
:02:38. > :02:42.At the same time, there was a growing interest in proving the
:02:42. > :02:46.existence of life after death. Spiritualism, the belief that we
:02:46. > :02:51.can contact the dead, developed a popular following in the United
:02:51. > :02:56.States. In the mid- 19th century, spiritualism was introduced into
:02:56. > :02:59.Britain from America. Right at the centre of Victorian spiritualism
:02:59. > :03:04.was the seance which seemed to offer practical evidence of contact
:03:04. > :03:07.with the after life in an almost scientific way. It attracted a wide
:03:08. > :03:13.range of intellectuals, public figures and scientists. In those
:03:13. > :03:17.days, this was a predominantly Christian society and everyone
:03:17. > :03:23.accepted life after death as a reality so when Darwin published in
:03:23. > :03:26.1859, the origin of the species, then this really caused huge
:03:27. > :03:31.disruption. Suddenly there was another explanation for how we got
:03:31. > :03:36.here and it didn't rely on us being got's special creation. Many of the
:03:36. > :03:42.great thinkers of the day were taken end by this brutalist
:03:42. > :03:47.movement. Sir Arthur Conan Doyle and many schemas scientists.
:03:47. > :03:57.seances became more popular, audiences grew and so did this
:03:57. > :03:57.
:03:57. > :04:02.potential for or strange behaviour. What was it about the sales that
:04:02. > :04:06.worked so well for Victorian mediums? I think they stumbled on a
:04:06. > :04:09.great formula for playing tricks on people's minds. You are in complete
:04:09. > :04:14.darkness, there is the fear associated with contacting the dead,
:04:14. > :04:18.so it is a wonderful setting for being filled. What was a Victorian
:04:18. > :04:23.seance really like and what we still be susceptible to their
:04:23. > :04:27.tricks today? The professor is going to recreate the seance and
:04:27. > :04:31.using basic tricks, he will try to fill our volunteers into believing
:04:31. > :04:34.they are witnessing a paranormal event. He begins by passing around
:04:34. > :04:40.objects of which he says he will used to channel the spirits. He
:04:40. > :04:47.lowers the lights and changes his boys. If you are there, we want you
:04:47. > :04:51.to make your presence known. To drift back through time and join us.
:04:51. > :04:55.It is absolutely terrifying in the dark. I cannot see a thing and I
:04:55. > :05:05.have no idea what will happen next. Suddenly, strange things start to
:05:05. > :05:05.
:05:05. > :05:12.happen. Excellent! The ball appears to shoot up of the table and float
:05:12. > :05:22.around the room. There are sceptics here, show them the ball! Hang on a
:05:22. > :05:23.
:05:23. > :05:27.minute, who is that in the corner? Drop the ball! A well-documented
:05:27. > :05:33.technique in fake seances was to hide an assistant who cannot be
:05:33. > :05:39.seen. The assistant hides behind the curtain bidding us to work out
:05:39. > :05:45.what has just happened. Did anyone believe there was a spread in
:05:45. > :05:50.there? Yes, it was very scary. you go in believing that these
:05:50. > :05:55.things are real, the effects would be very convincing. I do believe in
:05:55. > :06:00.the afterlife but I did also look for a string in the ball when it
:06:00. > :06:03.could be on the shoulders! But I couldn't find any. There are is no
:06:03. > :06:05.scientific evidence to suggest it is possible to contact the dead
:06:05. > :06:10.through the medium but some Victorians were drawn into
:06:10. > :06:13.believing that seances real just like those Victorians, our
:06:13. > :06:19.volunteers were equally susceptible to display a clever tricks and the
:06:19. > :06:22.dark. Before we judge the Victorians for their beliefs in
:06:22. > :06:32.spiritualism, we should put ourselves in their shoes and wonder,
:06:32. > :06:36.are we any better today than telling truth from fantasy?
:06:36. > :06:41.It is really strange that through that film, that light started
:06:41. > :06:48.flashing with no help from anyone, that is incredible. Oh, for
:06:48. > :06:52.goodness sake! He is just joining in with the spread of the programme.
:06:52. > :06:58.Before we talk about your new Shakespeare play, let's talk about
:06:58. > :07:08.your new comedy special, The One Lenny, coming up soon. That was
:07:08. > :07:08.
:07:09. > :07:18.just a firework. We're alright! OK, carry on. Yes, The One Lenny is a
:07:19. > :07:21.
:07:21. > :07:25.comedy programme. I think Jasper Carrot is doing one and mind is on
:07:25. > :07:31.later this year. I do some old characters, some new characters and
:07:31. > :07:38.we believe we are going to see a clip from something special. It is
:07:38. > :07:43.a spoof of twilight with a guest appearance from Ronnie Ancona.
:07:43. > :07:47.You are impossibly strong, her eyes change colour and sometimes you
:07:47. > :07:56.speak as if you are from a different world. Europe skin is
:07:56. > :08:06.pale white, yet black! I know where you're from. Go on? You are from
:08:06. > :08:11.Birmingham. Is it that obvious! Brilliant! My daughter loves
:08:11. > :08:16.twilight so that was for her. now has a blood dripping from his
:08:16. > :08:22.lips. That is very apt for Shakespeare because you are now in
:08:22. > :08:27.a second Shakespeare play? Yes, I am doing a comedy of errors at the
:08:27. > :08:32.National Theatre. We still have week for at rehearsals. There are
:08:32. > :08:38.26 of us in the cast. We're on a massive stage so they are making us
:08:38. > :08:42.run around a lot. I have to go to the gym every day to keep fit and
:08:42. > :08:46.we have lots of students in their pants eating crisps and I am
:08:46. > :08:52.working really hard but every morning, I am there to try and keep
:08:52. > :08:58.up with these young people on the show. It is called the Comedy of
:08:58. > :09:02.Errors, is it funny even today? writing is 400 years and it is
:09:02. > :09:06.incredibly resonant. It is all about money and credit and it is
:09:06. > :09:11.set in modern-day London. It is about transplanting people from one
:09:11. > :09:15.culture to another and it is about two sets of twins looking for each
:09:15. > :09:25.other and not finding it other until the very end. There are lots
:09:25. > :09:27.
:09:27. > :09:33.of cases of false identity. It is a wonderful play, there is lots of
:09:33. > :09:38.laughter in rehearsals and we are enjoying it. You could get a jumbo
:09:38. > :09:44.jet in the rehearsal room, it is extraordinary. We start in mid-
:09:44. > :09:48.November and it is going to be on until March. Very exciting.
:09:48. > :09:55.Comedy Of Errors starts on 22nd November at the National Theatre in
:09:55. > :10:00.London and look out for The One Lenny which is on later this year.
:10:00. > :10:04.At a television set near you, viewers! Also coming up his
:10:04. > :10:07.Children in Need night on 18th November and to help raise money
:10:07. > :10:12.for disadvantaged children across the UK, I will be pedalling from
:10:12. > :10:21.Edinburgh to London on a rickshaw. Why are you doing that? To raise
:10:21. > :10:28.money. Of course. On a rickshaw? Will you be wearing a hat?
:10:28. > :10:38.hammered for most of it, I think. It is going to require blood,
:10:38. > :10:42.
:10:42. > :10:48.sweat... Just say the lines. Here is much in training. Mad has been
:10:48. > :10:53.training incredibly hard but things are a got -- about to get tougher.
:10:53. > :10:58.I know it is a very different experience from a normal bike and
:10:58. > :11:07.today is the first day I will get a chance to ride at. Here she is then,
:11:07. > :11:12.the beauty. Gavin will be putting mad through his paces. You can see
:11:12. > :11:18.how quickly it turns around. feels like a circus vehicle. With a
:11:18. > :11:24.passenger, it will weigh up to 25 stone, the equivalent of a female
:11:24. > :11:31.grizzly bear but Pudsey Bear will do for starters! Matt's children
:11:31. > :11:34.are here to see him off. Today, he is attempting at Trent mile
:11:34. > :11:42.training as a put it on the challenge he will be doing up to 70
:11:42. > :11:47.miles a day. You got it stages, some are mountain stages. It is
:11:47. > :11:54.like a mini Tour de France. Downhill is brilliant, we are
:11:54. > :12:01.hitting 15 miles an hour. But it is not downhill for long. Oh! Even
:12:01. > :12:06.this, it's hardly a hill. Matt will face over 60 Hills during the days.
:12:06. > :12:12.Added together, they are nearly as high as Mount Everest. O'Grady,
:12:13. > :12:17.another hill. His highest hill will be in County Durham, an
:12:17. > :12:25.excruciating five mile uphill Croll it will take nearly one art.
:12:25. > :12:30.thought of doing 80 miles a day, it is awful. The fatigue will build
:12:30. > :12:35.and that is when even the smaller hills it all seemed big. Much will
:12:35. > :12:45.also have to carry extra weight. How will he do with his first
:12:45. > :12:48.
:12:48. > :12:53.passenger? We are actually going slower than a walking pace. From
:12:53. > :12:57.Ikea, I can't take in the use of the English countryside. It has
:12:57. > :13:01.taken up Matt three hours to do just 10 miles. At this rate, is
:13:01. > :13:06.going to have to cycle 24 hours a day to complete the journey from
:13:06. > :13:13.Edinburgh to London. In mid- November, it will be cold, wet and
:13:13. > :13:17.very dark. The sheer scale of it is finally dawning on that. I know how
:13:17. > :13:21.horrendous it will be when I'm going up the hill and you just have
:13:21. > :13:27.to prepare yourself for that and take one step at a time were one
:13:27. > :13:35.tiny cycle at a time. It will be hard work, painful, but I'll do my
:13:35. > :13:45.best, that's all I can do. To support Matt's rickshaw
:13:45. > :13:59.
:13:59. > :14:09.Heavy going number Lenny Henry? I had a surprise for you, I've got
:14:09. > :14:10.
:14:10. > :14:16.the amount you have raised so far. �$41.60 Sana'a and 23.
:14:16. > :14:26.Congratulations! Thank you so much for your donations and keep them
:14:26. > :14:31.
:14:31. > :14:39.Trick or treat! Right, trick or treat. Let's turn the telly off.
:14:39. > :14:46.Hello, you lot. How are things? we don't want tricks, do we Matt?
:14:46. > :14:53.But Lenny has lots of treats, so, Peter, how will you scare us.
:14:54. > :15:03.tell a scary jokes. Why don't mummies take holidays? Why? They
:15:04. > :15:07.
:15:07. > :15:11.Now, how are you going to scare Henny? I am going to give him a
:15:11. > :15:15.scary face. OK, look into the camera and pull
:15:15. > :15:19.your scary face. Terrifying! Very good.
:15:19. > :15:27.Go on, get yourself a treat. You deserve one for that. Now, then,
:15:27. > :15:29.Freddie, what are you going to do? I'm going to howl, like a wolf.
:15:29. > :15:33.Very good! Brilliant stuff. Thank you very much.
:15:33. > :15:38.Now, then, of course, Hallowe'en would not be Hallowe'en without
:15:38. > :15:43.scary sounds. Of course! There they are.
:15:43. > :15:49.Argh! Now, then, these guys are showing us how some of the earie
:15:49. > :15:59.tunes are created for the movies, but first, Carrie Grant has been
:15:59. > :16:02.
:16:02. > :16:06.finding out why some chords lead to dischord! These surroundings at
:16:06. > :16:09.King's College Chapel in London are magnificent, but that music is
:16:09. > :16:19.setting my teeth on edge. And that's because of something
:16:19. > :16:23.known as the the devil's chord! This arrangement of notes which
:16:23. > :16:33.when combined sound unsettling appeared in the scariest sequence
:16:33. > :16:35.
:16:35. > :16:41.in the scariest film ever made. Argh! And the devil's chord is
:16:41. > :16:49.reckoned by some to be at the heart of what gives heavy metal music its
:16:49. > :16:55.unique appeal. Indeed, Black Sabbath's Osie Osbourne remembers
:16:55. > :17:01.it having a great effect on their audience.
:17:01. > :17:08.P would scare people out. We probably here the devil's chord
:17:08. > :17:17.used as an accompaniment to drama, whether it is on stage, cinema or
:17:17. > :17:22.television. Sam Watts writes music for TV. He uses the devil's chord
:17:22. > :17:26.to write the characters for the Dr Who spin-off.
:17:26. > :17:30.We had a Charles Kennedy called Spelman who dressed up as a
:17:30. > :17:34.ringmaster. There is something about those
:17:34. > :17:39.melodies that sound slightly wrong, almost? It is funny to use that
:17:39. > :17:44.word wrong in music, but it does sound wrong? Yes, because I think
:17:44. > :17:50.that the devil's chord is not a traditional harm ony it does sway
:17:51. > :17:56.things to feeling slightly wrong. So, what exactly is the devil's
:17:56. > :18:04.chord? It got its name after tales that the medieval church would
:18:04. > :18:09.excommunicate musicians that used I need an expert to explain the
:18:09. > :18:13.musical technicalities. Professor John Deathridge knows it by its
:18:13. > :18:17.proper flame. The interval is the distorlted
:18:17. > :18:23.version of the five-note scale. Which then if you lower the top
:18:23. > :18:31.note it becomes... The devil's interval. That does not sound too
:18:31. > :18:36.threatening, however if you do it like this... It sounds more
:18:36. > :18:42.sinister. So, give examples of it being used
:18:42. > :18:46.in music? One of the best examples is in The Ring by Wagner. He
:18:46. > :18:56.created one of the most evil characters, the way he did it was
:18:56. > :18:58.
:18:58. > :19:08.to give him the devil's interval. That does sound sufficiently eeily,
:19:08. > :19:24.
:19:24. > :19:29.doesn't it? It does. Oh! Pure evil! It's evil and
:19:29. > :19:33.splendid at the same time! I don't know about that! Much of the evil
:19:33. > :19:40.power of the devil's chord is because of its association with
:19:40. > :19:47.scary stuff. For example in Hollywood tpw you
:19:47. > :19:52.wanted a -- if you wanted a film with Boris Karloff in it, you would
:19:52. > :19:56.use this music. The interval can be used for a
:19:56. > :20:06.benign reason, it can be the most beautiful sound in the world. The
:20:06. > :20:09.
:20:09. > :20:18.famous song, Maria. But despite friendly uses of the
:20:18. > :20:27.devil's chord, it has not lost its power to unnerve and unsettle.
:20:27. > :20:34.Don't have nightmares... Will you?! Well, as we mentioned before that
:20:34. > :20:38.film, we have Kevin and James from the Purcell Music School in
:20:38. > :20:42.Hertfordshire, they are here to create some bold chilling sounds.
:20:42. > :20:46.You have a variety of instruments, James is, we hope, playing dead
:20:46. > :20:51.here. So, what have you got there, Kevin?
:20:51. > :20:58.We thought we would go to the disused oil refinery. It is big,
:20:59. > :21:08.dirty, smelly, slippery, and, Matt... We're going in! Fair enough.
:21:09. > :21:10.
:21:10. > :21:18.Oh! That is earie. Oh, gosh! Then! Right? The awful
:21:18. > :21:24.moment... The hanging! Oh, I felt a chill in my bottom area then.
:21:24. > :21:34.Then he wakes up the assistant to give us some wind through the
:21:34. > :21:34.
:21:34. > :21:44.broken window. Come on, James.
:21:44. > :21:48.What about that? Horror of horrors, she falls! I'll get that
:21:48. > :21:53.I'll get that, don't worry. This is supposed to be serious!
:21:53. > :22:00.Sorry, I was interpretting the door bell! Very good. Thank you very
:22:00. > :22:06.much. Are you awake now? Alive? Now, voices from the depths of your
:22:06. > :22:11.rubbish bin! No! Oh, yes. Phil Tufnell has been finding out
:22:11. > :22:20.about a new way to exercise the litter-throwing demon that may lurk
:22:20. > :22:26.inside of you. Getting popular celebrities of the
:22:26. > :22:30.day to sing about the virtues of throwing away your rubbish is not
:22:30. > :22:39.new. Nice T-shirts, guys.
:22:39. > :22:47.Rubbish! But being sung to when you do it is something different all
:22:47. > :22:54.together. Introducing the new singing,
:22:54. > :22:59.talking and even burping bins! When you chuck a can into one of these
:23:00. > :23:05.fellows mouths there is a recorded greeting from a celebrity.
:23:05. > :23:11.It may be Amanda Holden. I'm Amanda Holden that was rubbish!
:23:12. > :23:16.Or Kenny Logan. Or, even me! That was straight in! Every year we drop
:23:16. > :23:21.more than 30 tonnes of litter on our streets. The cost of what we
:23:21. > :23:24.throw out of our pockets will be hitting us as the council spends
:23:24. > :23:29.over �855 million per year cleaning up after us.
:23:29. > :23:32.Collette has been working on the talking bins campaign. She thing it
:23:32. > :23:37.is is time to get tough on the littler bugs.
:23:37. > :23:42.In New York, where I am from, if you drop litter, 20 people will tap
:23:42. > :23:48.you on the shoulder and tell you not to do that. You can travel for
:23:48. > :23:51.a month in Manhattan and almost see none, but in this capital city, you
:23:51. > :23:54.can walk 20 steps before encountering the next piece of
:23:54. > :23:58.litter. Who should be blamed? Well, I
:23:58. > :24:04.really think we have to blame the councils. The answer is not having
:24:04. > :24:09.more street cleaners, it is time for the councils to slap on some
:24:09. > :24:13.fines. We are issues people with fixed penalty notes, which is like
:24:13. > :24:17.a parking fine. We would rather warn people to ask them to pick it
:24:17. > :24:22.up themselves and ask them not to do it again.
:24:22. > :24:27.OK it is time to come clean, I have a vested interest. If you come down
:24:27. > :24:31.here and use this bin in Soho, you will be in for a Phil Tufnell
:24:31. > :24:38.surprise! Having a recorded message is one thing, but wigging up one
:24:38. > :24:42.that talks back, now that sounds more fun! -- but rigging one up
:24:42. > :24:47.that talks back, that is so much more fun.
:24:47. > :24:51.Thank you very much for putting your rubbish in the bin. Hello,
:24:51. > :24:56.what is your name? Mark. Do you think there should be more
:24:56. > :25:02.bins in London? Yeah! You know what you have made it when you are the
:25:02. > :25:07.voice of a rubbish bin. Help! I'm in the bin! Help! Hello, boys!
:25:08. > :25:12.Where are you going? Stay for a while, have a chat. Don't go! I
:25:12. > :25:16.need rubbish. I'm hungry. Hello, are you having a good day? Yeah.
:25:16. > :25:21.Do you think there are enough rubbish bins in London?
:25:21. > :25:25.Should we have more on the street corners and stuff? Definitely.
:25:25. > :25:31.Talking bins may be the hi-tech way to solve the problem, but some
:25:31. > :25:35.people prefer the good old fashioned way, just pick it up. Tim
:25:35. > :25:39.Barnes was so annoyed about the state of the litter around his home,
:25:39. > :25:43.he began to pick it up himself and set up a website to encourage
:25:43. > :25:49.others to do the same. We are betting to the limit to what
:25:49. > :25:53.the council can do. It is easy, it takes 15 pins -- minutes to pick up
:25:53. > :25:58.the litter on my street. I don't see why others don't do that.
:25:58. > :26:01.Education and direct action are a way of tackling our nation's litter
:26:01. > :26:07.problem, but I still like my talking bin.
:26:07. > :26:12.Oi, it is the talking bin here. Anyone got anything to eat. I'm
:26:12. > :26:16.feeling hungry. Hello, do you think we need more talking bins?
:26:16. > :26:20.definitely think so. Especially in areas like this.
:26:20. > :26:27.It is a bit of social conscious? Yeah, we should be proud of it.
:26:27. > :26:32.Yeah, keeping the country tidy. Yeah, keep Britain tidy, alright!
:26:32. > :26:36.Lovely. What a random conversation to
:26:36. > :26:42.finish on, but thank you very much. Lenny is looking a little worse for
:26:42. > :26:49.wear. I don't feel well! Lenny... This is
:26:49. > :26:53.hour lieu ie Walsh wakes up every day.
:26:53. > :26:57.David Turner has been carving pumpkins all day, now he has
:26:57. > :27:06.finished one of you. Let's have a look.
:27:06. > :27:12.Oh, brilliant! Oh, my goodness. Isn't that fantastic!? Can he take
:27:12. > :27:16.it home? I don't want to take it home! Are you nuts.
:27:16. > :27:23.Also, thank you very much for the photos you have been sending of you
:27:23. > :27:27.in your Hallowe'en attire. Lenny, what do you have there?
:27:27. > :27:34.is Rosie from Dundee and Ellie from Swansea.
:27:34. > :27:38.I'm calling Social Services! I have Louise, Becky, Maddie, Scarlett,
:27:38. > :27:44.all off to scare the people of Bristol.
:27:44. > :27:52.Look at Amelia here. She has broken her arm, dressed up as a pumpkin.
:27:52. > :28:02.That is all the way from Leicester. This is from 11 week old daughter
:28:02. > :28:09.of Amanda, Marlie. This is a little 16-month-old
:28:09. > :28:14.getting into the swing of things. This is Lisa Downie getting dressed
:28:14. > :28:18.So, lots of characters, Lenny, you have had 30 years in the business
:28:18. > :28:22.if you could choose one character, what is your favourite? It would
:28:22. > :28:31.have to be Delbert Wilkins. It started off as a character talking
:28:31. > :28:37.about the Brixton riots and suddenly he has his own TV V series,
:28:37. > :28:43.-- TV series. Get me! Oh, no, the door bell.
:28:43. > :28:47.We haven't any sweets left, Lenny has eaten them! Lenny, thank you
:28:47. > :28:53.very much for joining us and all of the bes with -- best with the The