Browse content similar to 31/10/2017. Check below for episodes and series from the same categories and more!
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Hello and welcome to
The One Show with Amol Rajan. | 0:00:16 | 0:00:18 | |
And Alex Jones. | 0:00:18 | 0:00:19 | |
Happy Halloween everyone! | 0:00:19 | 0:00:27 | |
And while we hope you're having
a suitably spine-tingling | 0:00:27 | 0:00:29 | |
Tuesday tonight's it's
all about magic and sparkle. | 0:00:29 | 0:00:31 | |
So please welcome the Queen
of Latin - Debbie McGee. | 0:00:31 | 0:00:37 | |
And her glamorous assistant, the
lovely Giovanni Pernice. | 0:00:37 | 0:00:41 | |
APPLAUSE | 0:00:41 | 0:00:45 | |
Lovely to see you. How are you?
Lovely to see you. Debbie! It's your | 0:00:50 | 0:00:59 | |
birthday. Thank you. Joe Panik
minute strike me as the most Italian | 0:00:59 | 0:01:05 | |
man I've ever met, the kind of man
who has been showering Debbie with | 0:01:05 | 0:01:09 | |
gifts all day. Absolutely, we have
been to lunch together and I | 0:01:09 | 0:01:13 | |
prepared a beautiful picture of us.
And flowers. Was it a lovely posh | 0:01:13 | 0:01:18 | |
lunch? No. It was a quick lunch. We
have been rehearsing all day. | 0:01:18 | 0:01:26 | |
Normally we don't stop for lunch, we
have bananas and chocolate to keep | 0:01:26 | 0:01:29 | |
us going. But because it was her
birthday we wanted to have lunch for | 0:01:29 | 0:01:33 | |
half an hour. One of those famous
coffee shops. You got away with | 0:01:33 | 0:01:38 | |
that! Debbie, you are doing
extremely well on Strictly and we | 0:01:38 | 0:01:44 | |
will chat everything Strictly in a
second but Shirley Ballas, the head | 0:01:44 | 0:01:47 | |
judge, said you're standing leg is
the best she has ever seen. Lots of | 0:01:47 | 0:01:51 | |
people including Amol might not know
what a standing leg is. What is a | 0:01:51 | 0:01:55 | |
standing leg? This is a picture of
Debbie doing it. If I did one of | 0:01:55 | 0:02:00 | |
those it would be very embarrassing.
It might be but we want our viewers | 0:02:00 | 0:02:05 | |
to recreate it will reinvent it at
least. If you are brave enough clap | 0:02:05 | 0:02:09 | |
a partner or a wall, that might be
safer, and send a photo of your best | 0:02:09 | 0:02:13 | |
standing legs and we will get
Giovanni to pick the best at the end | 0:02:13 | 0:02:16 | |
of the show. No pressure! More from
you in a second, guys. | 0:02:16 | 0:02:24 | |
It may surprise you to hear
that the scariest thing lurking | 0:02:24 | 0:02:27 | |
in the hedgerows tonight won't be
swarms of eight-year-olds hyped up | 0:02:27 | 0:02:29 | |
on food colouring and E numbers. | 0:02:29 | 0:02:31 | |
George has the full horror story. | 0:02:31 | 0:02:34 | |
Two years ago on The One Show went
to France to look at the devastation | 0:02:34 | 0:02:39 | |
invasive Asian Hornets were causing
to honeybee populations. At the time | 0:02:39 | 0:02:43 | |
there were none in the UK but it
seemed inevitable they would | 0:02:43 | 0:02:46 | |
eventually reach our shores. And I'm
now hightailing it down to an apiary | 0:02:46 | 0:02:52 | |
in Woolacombe because we've had the
tip-off that beekeepers and farmers | 0:02:52 | 0:02:57 | |
have been dreading. Just a few
hundred meters from the sea on the | 0:02:57 | 0:03:06 | |
North Devon coast and more than 150
miles from France Martin's apiary | 0:03:06 | 0:03:10 | |
was the last place he expected to
make a potentially catastrophic | 0:03:10 | 0:03:14 | |
destruction. I was disbelieving to
start with because I thought the | 0:03:14 | 0:03:19 | |
Asian hornet is in France, why would
they be here in an apiary in North | 0:03:19 | 0:03:24 | |
Devon? I just saw the key features,
yellow legs, large wings, orange | 0:03:24 | 0:03:29 | |
yellow segment on the last but one
bit of the abdomen and I thought, | 0:03:29 | 0:03:34 | |
yeah, you know, it's a hornet. You
were the first person to see this | 0:03:34 | 0:03:39 | |
Asian hornet. What did you feel
like? It gets personal when you see | 0:03:39 | 0:03:43 | |
your bees getting eaten and you are
helpless to do anything about it. | 0:03:43 | 0:03:47 | |
There might be 500,000 of them but
these are my extended family, I | 0:03:47 | 0:03:53 | |
refer to them as my girls, most
beekeepers do. How worried are you? | 0:03:53 | 0:03:58 | |
If this insect becomes established
in the UK, what effect will that | 0:03:58 | 0:04:02 | |
have on you? It's not overstating it
to say that beekeeping as we know it | 0:04:02 | 0:04:08 | |
would come to an end because 40% of
the colonies in France are destroyed | 0:04:08 | 0:04:13 | |
by the Asian hornet every year. And
Asian hornet can kill up to 50 | 0:04:13 | 0:04:18 | |
honeybees in a day. With an average
colony size of about 6000 | 0:04:18 | 0:04:25 | |
individuals, they could decimate the
British honeybee population. The | 0:04:25 | 0:04:32 | |
National bee unit acting on orders
from Defra made locating the | 0:04:32 | 0:04:35 | |
hornets' nest the top priority and
within 48 hours of receiving | 0:04:35 | 0:04:40 | |
Martin's photos they tracked it down
to an unassuming headship in a | 0:04:40 | 0:04:45 | |
residential area little more than
500 metres away. Now more is Defra's | 0:04:45 | 0:04:51 | |
Chief non-native species officer.
The hornets are flying into the | 0:04:51 | 0:04:55 | |
hedge. It's quite big. About three
feet up, about a foot and a bit in | 0:04:55 | 0:05:02 | |
diameter. This is a wasp which lives
normally in the far east. How did it | 0:05:02 | 0:05:06 | |
get into Western Europe? The French
actually think that how it arrived | 0:05:06 | 0:05:11 | |
is it came in on a consignment of
ceramic pots, just once native Queen | 0:05:11 | 0:05:16 | |
arrived in 2004 and from that the
whole invasion of Europe has | 0:05:16 | 0:05:19 | |
occurred. It is now in seven
European countries. Seven? From one | 0:05:19 | 0:05:25 | |
Queen? Probably from a single queen.
Why is everybody getting really | 0:05:25 | 0:05:29 | |
concerned about this Asian hornet?
This nest potentially could produce | 0:05:29 | 0:05:34 | |
dozens or hundreds of Queens, which
had off and hibernate for the winter | 0:05:34 | 0:05:37 | |
and each one found spending nest and
colony next year. It's really | 0:05:37 | 0:05:42 | |
important you get every colony
because if you miss one next year | 0:05:42 | 0:05:46 | |
there could be 15 colonies.
Absolutely. And then 100 and then | 0:05:46 | 0:05:52 | |
500. The main thing is we detect
them very fast and destroy them as | 0:05:52 | 0:05:55 | |
soon as we find them. But to ensure
the complete destruction of the | 0:05:55 | 0:05:59 | |
colony, his team have to wait until
dusk when all the workers have | 0:05:59 | 0:06:02 | |
returned to the nest. The team then
leap into action poisoning the nest | 0:06:02 | 0:06:09 | |
inside and out, taking care not to
harm other wildlife. It's essential | 0:06:09 | 0:06:14 | |
no Queen is capable of starting
another colony surviving. | 0:06:14 | 0:06:19 | |
I feel sort of sad about it because
these insects are remarkable and | 0:06:19 | 0:06:22 | |
fantastic animals but they do like
eating honeybees. And that's a | 0:06:22 | 0:06:27 | |
problem, and if we are going to save
our honeybees in the UK, we need to | 0:06:27 | 0:06:31 | |
be constantly vigilant and deal with
every incidence of this invader. | 0:06:31 | 0:06:36 | |
And we've had an update from George. | 0:06:36 | 0:06:39 | |
Now is apparently a vital time
in the fight against Asian hornets | 0:06:39 | 0:06:43 | |
so if you spot one or what you think
might be a nest you need to take | 0:06:43 | 0:06:47 | |
a photo and send it off
for analysis ASAP. | 0:06:47 | 0:06:51 | |
The details of who to contact
will be on our website - | 0:06:51 | 0:06:54 | |
so please do what you can
to save our honeybees. | 0:06:54 | 0:06:58 | |
Come on! Save our honeybees. Aside
from hornets and Halloween, is there | 0:06:58 | 0:07:05 | |
anything you are scared of? No but I
had a problem with Hornets the first | 0:07:05 | 0:07:11 | |
week of strictly. I don't know if
they were Asian ones but they were | 0:07:11 | 0:07:14 | |
huge. That is why we booked you,
Debbie. That's what we like on the | 0:07:14 | 0:07:19 | |
show. I had a real problem, they the
bedroom. I could hear them buzzing | 0:07:19 | 0:07:24 | |
under the lights. I had a couple of
dead ones and they were big so I was | 0:07:24 | 0:07:28 | |
frightened. But then I've been
training with Giovanni and I went | 0:07:28 | 0:07:31 | |
home and there was a carpet of about
40 I 40 I think I counted on my | 0:07:31 | 0:07:35 | |
bedroom carpet near the window. You
need to report this problem, you | 0:07:35 | 0:07:39 | |
need to mention it. I got the
exterminators in and they killed | 0:07:39 | 0:07:44 | |
off, they found a nest above the
office downstairs. Three days later | 0:07:44 | 0:07:50 | |
twice I have the same in my bedroom
and there was another nest above the | 0:07:50 | 0:07:53 | |
bedroom. Scary. Nothing scary about
your performances on strict Li so | 0:07:53 | 0:07:58 | |
far. They are, the Charleston last
week was. You have made it to the | 0:07:58 | 0:08:05 | |
halfway point and I'm sure you will
go all the way but let's look at | 0:08:05 | 0:08:08 | |
your highlights so far. | 0:08:08 | 0:08:12 | |
APPLAUSE | 0:08:38 | 0:08:40 | |
My heart was in my mouth. It is your
second week of the top of the | 0:08:41 | 0:08:49 | |
leaderboard after the Charleston at
Halloween. When you first saw | 0:08:49 | 0:08:54 | |
Debbie, Joe Bunney, did you have any
idea she would be this good? No. | 0:08:54 | 0:08:59 | |
Admire his honesty. When we meet all
of the celebrities, as you know, we | 0:08:59 | 0:09:04 | |
have a small part in the group
number altogether. I danced a little | 0:09:04 | 0:09:10 | |
bit with her and I thought a little
bit that something was going there. | 0:09:10 | 0:09:14 | |
Because, you can feel. But it was
when we started doing the proper | 0:09:14 | 0:09:17 | |
practising in week one when I
understood she could really do it. | 0:09:17 | 0:09:21 | |
You've got a good one. I have a good
one. Have you been blown away by the | 0:09:21 | 0:09:27 | |
public's reaction because even a
minute into your dance on Saturday | 0:09:27 | 0:09:30 | |
there were 20,000 tweets. That must
be so encouraging. I can't tell you, | 0:09:30 | 0:09:35 | |
Alex, for both of us, we are
completely blown away. We had no | 0:09:35 | 0:09:40 | |
idea that we would have this
reaction. It's fantastic for me | 0:09:40 | 0:09:43 | |
being an old woman, 59 today. But
the reaction has been right across | 0:09:43 | 0:09:51 | |
the age board. I get stopped in the
street by everybody and 20-year-olds | 0:09:51 | 0:09:55 | |
are coming up and saying we have
joined the gym, we want to look like | 0:09:55 | 0:09:59 | |
you when we are your age. It is such
a great feeling every week to get to | 0:09:59 | 0:10:02 | |
dance with him and also to know that
you are inspiring people. Did you | 0:10:02 | 0:10:07 | |
know only one person... No people
ever have won it over 40. One person | 0:10:07 | 0:10:15 | |
was 39 when he won it. No pressure!
It is funny you mention the pressure | 0:10:15 | 0:10:21 | |
because you have been dubbed Bendy
McGee and the bookmakers are | 0:10:21 | 0:10:24 | |
slashing the odds. Had he gone from
enjoying its Chuvaev feeling under | 0:10:24 | 0:10:27 | |
pressure you've got to stay at the
top of the leaderboard? -- have you | 0:10:27 | 0:10:33 | |
gone from enjoying it to feeling the
pressure was Mick no, I love it, I'm | 0:10:33 | 0:10:41 | |
grateful I got the opportunity to do
it and we have a great friendship | 0:10:41 | 0:10:45 | |
and we giggle most of the day when I
remember the steps. I need to make | 0:10:45 | 0:10:52 | |
her look good, so of course we have
to try and be the best but it is a | 0:10:52 | 0:10:57 | |
beautiful competition. Would just
need to do our best, that is what it | 0:10:57 | 0:11:02 | |
is. This morning Prue Leith made a
bit of an error, by accident she | 0:11:02 | 0:11:06 | |
announced the winner of this year's
Bake Off. Can you imagine, Debbie, | 0:11:06 | 0:11:12 | |
if you ever did something like that?
What are you saying? You did do | 0:11:12 | 0:11:19 | |
something like that. I'm very sad to
see The Reverend Richard go much | 0:11:19 | 0:11:22 | |
going, he fell over at one point, so
he went, you know, and had to go and | 0:11:22 | 0:11:29 | |
be treated and everything else. So
now we're waiting to see what's | 0:11:29 | 0:11:33 | |
going to happen in the results show
tonight. | 0:11:33 | 0:11:37 | |
APPLAUSE
I can completely empathise, that's | 0:11:39 | 0:11:42 | |
just the type of thing I would do,
absolutely. Well, this isn't an | 0:11:42 | 0:11:46 | |
excuse because Giovanni is always
saying you are blonde, and I am very | 0:11:46 | 0:11:50 | |
blonde. But it was the first week,
and in my head I went into my radio | 0:11:50 | 0:11:55 | |
show on the Sunday morning having
had four hours sleep saying to | 0:11:55 | 0:11:58 | |
yourself, you mustn't give away who
it is and the first thing I did was | 0:11:58 | 0:12:02 | |
give it away and then I realised
what I'd done so it made it worse I | 0:12:02 | 0:12:06 | |
was trying to get out of it, by
saying he got knocked out and was | 0:12:06 | 0:12:10 | |
injured and had to see the
paramedics. It was so embarrassing. | 0:12:10 | 0:12:14 | |
What are you dancing this week? We
are dancing the tango. Yes, so it's | 0:12:14 | 0:12:22 | |
a completely different dance to the
Charleston. It has to be more sharp, | 0:12:22 | 0:12:27 | |
staccato, elegant, sophisticated, so
completely different character to | 0:12:27 | 0:12:31 | |
last week. It's much harder for me.
It's much easier for me to be a | 0:12:31 | 0:12:35 | |
cheeky Charleston. I have a feeling
they are going to be all right. Yes. | 0:12:35 | 0:12:40 | |
With shops selling fake blood
and fancy dress for months on end - | 0:12:40 | 0:12:44 | |
and costumes featuring everyone
from Forrest Gump to Donald Trump - | 0:12:44 | 0:12:46 | |
it's easy to become a little
cynical about Halloween. | 0:12:46 | 0:12:48 | |
But surely four-year-old Isla Nelson
can find the fun in fright night? | 0:12:48 | 0:12:53 | |
What are you up to, dad? Carving a
pumpkin. Make it look good this | 0:12:53 | 0:12:59 | |
year. They always look good.
Remember last year you tried to | 0:12:59 | 0:13:05 | |
carve us lightly and it ended up
looking like Schreck. Keeping it | 0:13:05 | 0:13:08 | |
simple this year, going to do the
Eiffel Tower. Does this mean we have | 0:13:08 | 0:13:12 | |
to lead pumpkin all week? Everyone
loves pumpkin. Every now and then | 0:13:12 | 0:13:17 | |
but not every meal for a month. No
one even likes pumpkin, dad. You | 0:13:17 | 0:13:22 | |
just eat it to get rid of it.
Looking forward to Halloween? Yeah, | 0:13:22 | 0:13:26 | |
I don't really get it, though. What
don't you get? You know how you said | 0:13:26 | 0:13:32 | |
don't speak to strangers? Yeah.
Never takes weeks from them. Have | 0:13:32 | 0:13:43 | |
come at Halloween you send me to
strangers' houses. The thing is... I | 0:13:43 | 0:13:48 | |
demand to know. You are
overthinking. It's just another | 0:13:48 | 0:13:55 | |
thing that confuses kids and don't
even get me started on bonfire | 0:13:55 | 0:13:58 | |
Night. Bonfire Night? Don't play
with fire, kids, but here, hold a | 0:13:58 | 0:14:03 | |
sparkle. But... Me and my pals have
been talking about this at nursery. | 0:14:03 | 0:14:10 | |
Honestly, dad, we don't know whether
we are coming or going. Well, I | 0:14:10 | 0:14:14 | |
suppose I'd better get lunch ready.
What are we having? Your favourite, | 0:14:14 | 0:14:19 | |
pumpkin sandwiches! Oh!
APPLAUSE | 0:14:19 | 0:14:25 | |
I love it, no, dad! | 0:14:25 | 0:14:31 | |
Thanks to Isla and her dad Mark. | 0:14:31 | 0:14:32 | |
Debbie, I bet Paul used to terrorise
the local trick or treaters | 0:14:32 | 0:14:35 | |
with his magic tricks? | 0:14:35 | 0:14:37 | |
No, our house, all the kids in the
area new Paul and so ours was the | 0:14:37 | 0:14:41 | |
house they came to because they
wanted a trick and they miss him. | 0:14:41 | 0:14:49 | |
She has a point, it is strange to be
sent to strangers Osterby houses. I | 0:14:49 | 0:14:53 | |
am on her side, definitely. What
about Halloween in Italy? Scary | 0:14:53 | 0:14:57 | |
pasta shapes? We don't have
Halloween in Italy. We are going to | 0:14:57 | 0:15:05 | |
talk more about Paul's magic in a
moment. You don't need to be a | 0:15:05 | 0:15:10 | |
magician to master the art of
illusion as The One Show's artist in | 0:15:10 | 0:15:22 | |
residence | 0:15:22 | 0:15:22 | |
Adebanji's
been finding out. | 0:15:22 | 0:15:23 | |
I would not normally be throwing
water as a flying chair while it | 0:15:23 | 0:15:29 | |
hangs in the air but today I'm doing
something pretty surreal, and I'm | 0:15:29 | 0:15:32 | |
doing it in tribute to the master of
surrealist art. Salvador Dali. Born | 0:15:32 | 0:15:38 | |
in Spain in 1904, Dali defined
serialism, bizarre and imaginative | 0:15:38 | 0:15:46 | |
interpretations of everyday
subjects. This painting, the | 0:15:46 | 0:15:49 | |
persistence of memory, is thought to
be a meditation on time -- | 0:15:49 | 0:15:53 | |
surrealism. It is another of Dali's
works that deals with time but I'm | 0:15:53 | 0:15:58 | |
hoping to recreate today. This 1948
piece Dali Atomicus, featured Dali | 0:15:58 | 0:16:04 | |
himself frozen in time surrounded by
flying cats and floating easels. It | 0:16:04 | 0:16:08 | |
was a collaboration with
photographer Philippe Halsman. That | 0:16:08 | 0:16:14 | |
image was captured long before photo
editing software had even been | 0:16:14 | 0:16:18 | |
dreamt of. So, how hard is it going
to be to recreate the exact same | 0:16:18 | 0:16:24 | |
shot using the exact same basic
techniques? Guernsey -based | 0:16:24 | 0:16:30 | |
photographer Mark Taylor is going to
give it a go. -- Karl Taylor. Karl, | 0:16:30 | 0:16:35 | |
why did you want to read this
picture? Well, this photo has really | 0:16:35 | 0:16:40 | |
inspired me and inspired my work and
my career in many ways. What really | 0:16:40 | 0:16:44 | |
interests me about it is the amount
of activity and motion that is | 0:16:44 | 0:16:48 | |
frozen in time. How did they get
this original shot? They had to | 0:16:48 | 0:16:54 | |
suspend everything on wires to make
it look like it was floating in the | 0:16:54 | 0:16:58 | |
air. But because they're throwing
water and cats into the picture it | 0:16:58 | 0:17:02 | |
took many, many attempts. What was
the most difficult thing to achieve | 0:17:02 | 0:17:06 | |
was everything happening at exactly
the same time. You can see in these | 0:17:06 | 0:17:10 | |
shots here where they failed, I
think it took them 28 attempts until | 0:17:10 | 0:17:14 | |
Dali was happy with the final
result. To recreate the photo | 0:17:14 | 0:17:18 | |
exactly Carl has spent weeks
building a replica of the set. Today | 0:17:18 | 0:17:23 | |
it's standing ready with its
floating props hanging in their | 0:17:23 | 0:17:27 | |
exact position is. The difficult
part was matching the lighting. What | 0:17:27 | 0:17:29 | |
I use is a technique called Ray
tracing where you find out where the | 0:17:29 | 0:17:35 | |
shadow point of an object is and
trace a line to the object, we can | 0:17:35 | 0:17:40 | |
determine approximately where the
light source was. The part of Dali | 0:17:40 | 0:17:44 | |
will be played by local actor Dave
Hyatt but there is one thing we | 0:17:44 | 0:17:48 | |
won't be retreating. So, obviously
we can't use cats, so what have you | 0:17:48 | 0:17:55 | |
used to replace them? Well, I've got
a toaster because I liked the energy | 0:17:55 | 0:17:59 | |
of things popping out of the
toaster, it was kind of similar to | 0:17:59 | 0:18:02 | |
the energy of the cats. Right. And
here I have used the melting clock | 0:18:02 | 0:18:08 | |
from another of Dali's famous
paintings The Persistence Of Memory. | 0:18:08 | 0:18:13 | |
With everything place we are set, my
role is to throw the water into the | 0:18:13 | 0:18:18 | |
shot just before Dave jumps and it
all has to be captured in the | 0:18:18 | 0:18:21 | |
millisecond it happens by Karl. Go! | 0:18:21 | 0:18:25 | |
Too high, too high.
OK, so we go again. I went to early. | 0:18:42 | 0:19:00 | |
So dam close! | 0:19:00 | 0:19:03 | |
So what is the news, Karl? On our
29th attempt we captured that and it | 0:19:19 | 0:19:28 | |
is so close to the original. Come
on, boys! Dali and Housman took | 0:19:28 | 0:19:38 | |
their shot on the 28th take and
hours to just one more. Not about | 0:19:38 | 0:19:43 | |
result at all. -- not a bad result
at all. | 0:19:43 | 0:19:54 | |
Thank you, Adebanji. Debbie, tell us
about the trick that Paul did back | 0:19:54 | 0:20:01 | |
in 1987. Paul was asked to create
something which would cause a few | 0:20:01 | 0:20:06 | |
raw. He hated bland television. We
created this big Iron Maiden | 0:20:06 | 0:20:12 | |
illusion which is where there were
big spikes. Paul was put in it which | 0:20:12 | 0:20:17 | |
you can see now. He shows that they
are real spikes and then he gets | 0:20:17 | 0:20:23 | |
handcuffed with metal handcuffs and
foot cuffs in it. There are some | 0:20:23 | 0:20:27 | |
ball bearings which start going
down. He has to get out of it by the | 0:20:27 | 0:20:32 | |
time the ball bearings go down. If
they clear, the door closes and he | 0:20:32 | 0:20:37 | |
will be pierced. It sounds
terrifying. Through rehearsals, he | 0:20:37 | 0:20:43 | |
always got out, even the dress run.
But the live show at night, what | 0:20:43 | 0:20:53 | |
nobody knew except for a few of us
that he created a second mechanism. | 0:20:53 | 0:20:56 | |
This is how the show ended. Tell us
what you are seeing and what you are | 0:20:56 | 0:20:59 | |
thinking? Phone with a close this,
the ball bearings are going, | 0:20:59 | 0:21:02 | |
everyone in the studio are so tense
because they know he has to get out | 0:21:02 | 0:21:07 | |
before all the ball bearings go
down. You can see something has gone | 0:21:07 | 0:21:13 | |
through the ball bearings and the
door closes and he hasn't got out. | 0:21:13 | 0:21:18 | |
It was all planned. There is no
music at the end of the show. | 0:21:18 | 0:21:23 | |
Normally he would say is the next
week on the end of the magic show. | 0:21:23 | 0:21:27 | |
The credits would roll and it all
went quiet. I knew, the director and | 0:21:27 | 0:21:34 | |
producer new, Paul new and a couple
of the special effects people who | 0:21:34 | 0:21:38 | |
built the second mechanism that that
is it. The audience in the studio | 0:21:38 | 0:21:43 | |
who were live, somewhere
journalists. One was Anne Robinson | 0:21:43 | 0:21:47 | |
before people knew who she was. Paul
said he made how horrible because | 0:21:47 | 0:21:54 | |
she was furious. Because he got her
and she tried to run to get her | 0:21:54 | 0:21:57 | |
phone in another room, he stopped
her and would not let her ring her | 0:21:57 | 0:22:04 | |
editor! Every switchboard was jammed
for three days because people didn't | 0:22:04 | 0:22:08 | |
know what channel they were
watching. In those days they didn't | 0:22:08 | 0:22:12 | |
and it caused this great big thing.
People just wanted to know that Paul | 0:22:12 | 0:22:17 | |
was a cave. They always said he had
to go back and record something and | 0:22:17 | 0:22:21 | |
say everybody I am fine, but he had
pre-recorded that. As TV goes, it | 0:22:21 | 0:22:29 | |
was riveting. | 0:22:29 | 0:22:33 | |
It's time to meet -
the fourth member of Team Rickshaw | 0:22:33 | 0:22:35 | |
who'll be setting-off on their epic
500-mile ride to the Clyde | 0:22:35 | 0:22:38 | |
in just nine days' time. | 0:22:38 | 0:22:39 | |
It's all to raise money
for Children in Need. | 0:22:39 | 0:22:41 | |
And this is Greg's story. | 0:22:41 | 0:22:44 | |
My name is Greg and I live in dumb
Firmin. -- Dunfermline. I live close | 0:22:44 | 0:22:54 | |
to my family so I often pop around.
I was born in Poland. When I was | 0:22:54 | 0:23:03 | |
nine my dad died. My mum and her new
boyfriend moved to Scotland. I did | 0:23:03 | 0:23:09 | |
not want to leave my friends and my
school. I could not even speak | 0:23:09 | 0:23:16 | |
English. My mum bought a one-bedroom
house so she made me sleep in the | 0:23:16 | 0:23:20 | |
living room. I slept the two years
on an old sofa with just a blanket | 0:23:20 | 0:23:26 | |
on top of me. My mum would buy
herself dinners and make herself | 0:23:26 | 0:23:31 | |
dinner but when I came back from
school I had to make food myself. | 0:23:31 | 0:23:36 | |
She seemed to lock herself in her
room and didn't want to talk to me. | 0:23:36 | 0:23:40 | |
I still had no friends at that
point. They were thinking I was a | 0:23:40 | 0:23:44 | |
bit different because they would try
to talk to me that I did not even | 0:23:44 | 0:23:48 | |
know what they were trying to say to
me. That was I think the lowest | 0:23:48 | 0:23:52 | |
time. When I was 13 or 14, I met two
friends at school. Teachers said to | 0:23:52 | 0:24:00 | |
them he is new, he needs friends, go
and speak to him. One of them said | 0:24:00 | 0:24:05 | |
they were going to play basketball
and I said basketball, I could try | 0:24:05 | 0:24:10 | |
it. Every session he came in, it was
the same clothing, the same shoes, | 0:24:10 | 0:24:17 | |
just getting more rapid, more dirty.
Bells started to ring when he went | 0:24:17 | 0:24:23 | |
really quiet and then flew off the
handle. Me and Greg had a | 0:24:23 | 0:24:28 | |
conversation about everything that
was going on. From there it went to | 0:24:28 | 0:24:32 | |
child protection, to social
services. That is when everything | 0:24:32 | 0:24:36 | |
started getting better. I started
Twilight basketball and met my | 0:24:36 | 0:24:43 | |
foster family. The first time I met
Greg was through my two boys Jackie | 0:24:43 | 0:24:49 | |
and Lewis. He was really quiet. He
is not like he is now. We went for | 0:24:49 | 0:24:55 | |
some shoes for Greg and they would
two sizes smaller than he was | 0:24:55 | 0:25:03 | |
wearing. The shoes he was wearing
were five and he was seven. I could | 0:25:03 | 0:25:09 | |
not believe how he squeezed his feet
into them. I got a chance to move | 0:25:09 | 0:25:15 | |
from my house and I was collected.
He came into my room and said, can I | 0:25:15 | 0:25:26 | |
call you don't? I said, you can call
you anything -- I said you can call | 0:25:26 | 0:25:33 | |
me anything. He asked to call her
mum. He was looking for something. | 0:25:33 | 0:25:37 | |
He has never really had a mum and
dad. If it was not for Twilight | 0:25:37 | 0:25:42 | |
basketball, my life would be very
different. We use sport and | 0:25:42 | 0:25:51 | |
basketball to engage with
disadvantaged children across | 0:25:51 | 0:25:52 | |
Scotland. Greg got so much in terms
of Twilight from finding a new | 0:25:52 | 0:25:58 | |
family so he wanted to give back to
the programme so he started doing | 0:25:58 | 0:26:02 | |
some coaching. When I heard I got
picked for the rickshaw challenge I | 0:26:02 | 0:26:11 | |
was like, yes, I've got this, I can
do it. The training I have been | 0:26:11 | 0:26:16 | |
doing is just cycling from my work
and back. It will be really | 0:26:16 | 0:26:21 | |
different but I will just think
about going back to my family. It | 0:26:21 | 0:26:24 | |
will get me thinking that I am doing
this for a good cause so I should | 0:26:24 | 0:26:29 | |
keep going. Greg, I know you will be
awesome that this challenge. You | 0:26:29 | 0:26:34 | |
will put your heart and soul into
it. Good luck, buddy. I just hope | 0:26:34 | 0:26:39 | |
you do well on the rickshaw and do
us proud. We are really proud of | 0:26:39 | 0:26:45 | |
you, Greg. Good luck! I'm taking
part in the rickshaw challenge but | 0:26:45 | 0:26:50 | |
we need your help so please donate.
CHEERING | 0:26:50 | 0:26:53 | |
APPLAUSE
What an inspirational guy. | 0:26:53 | 0:27:05 | |
He is so mature. He is a credit to
the lovely couple who wrought him | 0:27:05 | 0:27:10 | |
up. I would love to meet him. It
would be a privilege. | 0:27:10 | 0:27:18 | |
And if you want to support Greg,
Team Rickshaw and Children in Need, | 0:27:18 | 0:27:21 | |
you can donate by sending
a simple text message - | 0:27:21 | 0:27:24 | |
Debbie has the numbers you need. | 0:27:24 | 0:27:25 | |
You can donate £5 by texting
the word TEAM to 70405. | 0:27:25 | 0:27:28 | |
To donate £10, just text
the word TEAM to 70410. | 0:27:28 | 0:27:30 | |
And to donate £20 text
the word TEAM to 70420. | 0:27:30 | 0:27:36 | |
You have done this before! Thank you
very much. | 0:27:36 | 0:27:39 | |
Those texts will cost your donation
plus your standard network message | 0:27:39 | 0:27:42 | |
charge and all of your donation
will go to BBC Children in Need. | 0:27:42 | 0:27:45 | |
You must be 16 or over and please
ask for the bill payer's permission. | 0:27:45 | 0:27:49 | |
For full terms and conditions,
please go to bbc.co.uk/pudsey - | 0:27:49 | 0:27:51 | |
where you can also donate online
if you want to give | 0:27:51 | 0:27:54 | |
a different amount. | 0:27:54 | 0:27:55 | |
And don't forget -
that's also the website to go | 0:27:55 | 0:27:57 | |
to if you want to sign up
for our virtual rickshaw. | 0:27:57 | 0:28:00 | |
You can use your own pedal
power to help raise | 0:28:00 | 0:28:02 | |
money for Team Rickshaw
and Children in Need. | 0:28:02 | 0:28:06 | |
Yes. Early on we asked to see your
standing legs because Debbie is a | 0:28:06 | 0:28:11 | |
master of it, and we have some
brilliant ones in. Here we are. This | 0:28:11 | 0:28:18 | |
is a her dad. That is very good.
This is Claire and Milly doing their | 0:28:18 | 0:28:27 | |
standing legs. Very good. This is
12-year-old Grace. That is good! I | 0:28:27 | 0:28:36 | |
like the ghost as well. I think this
is fantastic. Who is this? This is | 0:28:36 | 0:28:47 | |
ridiculous. This is Mandy and her
daughter doing her standing legs. | 0:28:47 | 0:28:52 | |
Let's bring the cake in because it
is your birthday! | 0:28:52 | 0:29:03 | |
# Happy birthday to you, happy
birthday to you, happy birthday dear | 0:29:03 | 0:29:08 | |
Debbie! | 0:29:08 | 0:29:09 | |
That's it for tonight's show -
thanks to our guests | 0:29:09 | 0:29:11 | |
Debbie and Giovanni. | 0:29:11 | 0:29:13 | |
They'll be back in action
on the Strictly dance floor | 0:29:13 | 0:29:15 | |
on Saturday night at 6:50pm,
here on BBC One. | 0:29:15 | 0:29:18 | |
If you do see something which you
think is an Asian hornet nest, do | 0:29:18 | 0:29:23 | |
not attack it because they are
dangerous. | 0:29:23 | 0:29:25 | |
On tomorrow's show - Liza Tarbuck,
Victoria Coren-Mitchell | 0:29:25 | 0:29:27 | |
and Andrew Marr will all be here. | 0:29:27 | 0:29:28 | |
We'll see you then! | 0:29:28 | 0:29:30 |