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APPLAUSE AND CHEERING | 0:00:26 | 0:00:28 | |
Hello, good evening, good evening, good evening, good evening, | 0:00:30 | 0:00:33 | |
good evening, good evening, | 0:00:33 | 0:00:35 | |
and welcome to QI, where tonight we are looking for our keys. | 0:00:35 | 0:00:39 | |
To help us we have a key man, Tim Minchin. | 0:00:39 | 0:00:42 | |
APPLAUSE AND CHEERING | 0:00:42 | 0:00:45 | |
A key woman, Isy Suttie! | 0:00:45 | 0:00:47 | |
APPLAUSE AND CHEERING | 0:00:47 | 0:00:50 | |
A key player, Bill Bailey. | 0:00:50 | 0:00:53 | |
APPLAUSE AND CHEERING | 0:00:53 | 0:00:55 | |
And an allen key, Alan Davies! | 0:00:55 | 0:00:59 | |
APPLAUSE AND CHEERING | 0:00:59 | 0:01:01 | |
Ah, you see what he did there. | 0:01:01 | 0:01:03 | |
So, they've all got their keyboards. Tim, give us an A. | 0:01:04 | 0:01:08 | |
"A" NOTE PLAYS | 0:01:08 | 0:01:09 | |
That's an A. | 0:01:09 | 0:01:11 | |
Isy, in the great tradition of Blockbusters, I'd like an E, please. | 0:01:11 | 0:01:15 | |
"E" NOTE PLAYS | 0:01:15 | 0:01:16 | |
Very nice. Bill, give us a G. | 0:01:16 | 0:01:18 | |
"G" NOTE PLAYS | 0:01:18 | 0:01:20 | |
And Alan, give us a B. | 0:01:20 | 0:01:22 | |
BEE BUZZES | 0:01:22 | 0:01:23 | |
LAUGHTER | 0:01:23 | 0:01:25 | |
Aaah. Aaaah. | 0:01:25 | 0:01:28 | |
We have given you a musical instrument. | 0:01:28 | 0:01:30 | |
I have got the thing here, but... | 0:01:30 | 0:01:31 | |
BILL: Oh. A glockenspiel? | 0:01:31 | 0:01:33 | |
We didn't trust you with anything electrical. | 0:01:33 | 0:01:37 | |
It's nice. It's something for you to keep yourself occupied | 0:01:37 | 0:01:40 | |
if you don't know any answers. | 0:01:40 | 0:01:42 | |
Bill could teach me a couple of tunes during the record. I bet Bill will, too. | 0:01:42 | 0:01:44 | |
Here's a good one. There you go. Here's a good one, look. | 0:01:44 | 0:01:47 | |
HE PLAYS TWO NOTES There you are. | 0:01:47 | 0:01:49 | |
LAUGHTER | 0:01:49 | 0:01:51 | |
It's Airport Announcement. | 0:01:51 | 0:01:53 | |
Airport Announcement, by Ravel. | 0:01:54 | 0:01:56 | |
By Ravel, yes. It's a beautiful piece. | 0:01:56 | 0:01:59 | |
Absolutely wonderful. | 0:01:59 | 0:02:00 | |
FRENCH ACCENT: "An announcement aeroport," yes. | 0:02:00 | 0:02:03 | |
Exactly. Do know any, any tunes? | 0:02:03 | 0:02:05 | |
French? No. I don't know any tunes. | 0:02:05 | 0:02:08 | |
HE PLAYS TWO NOTES | 0:02:08 | 0:02:09 | |
Doorbell. Same, similar. Oh, very good. | 0:02:09 | 0:02:11 | |
I don't know who wrote whose first, I imagine doorbell came first. | 0:02:11 | 0:02:14 | |
ISY: They're always in a major third, as if to herald good news. | 0:02:14 | 0:02:17 | |
Yes, exactly. Yeah. | 0:02:17 | 0:02:19 | |
TIM PLAYS TWO NOTES - MAJOR THIRD | 0:02:19 | 0:02:20 | |
"Your flight is delayed by eight hours." | 0:02:20 | 0:02:23 | |
"I don't feel so bad!" | 0:02:23 | 0:02:24 | |
TIM PLAYS TWO NOTES - MINOR THIRD "Boarding now." "Oh, no!" | 0:02:24 | 0:02:27 | |
BILL: The best doorbells always frighten people away. | 0:02:27 | 0:02:30 | |
PLAYS NOTES FROM "CLOSE ENCOUNTERS OF THE THIRD KIND" | 0:02:30 | 0:02:32 | |
LAUGHTER | 0:02:32 | 0:02:34 | |
Marvellous. You haven't played anything for us yet, Isy, | 0:02:34 | 0:02:37 | |
just get your fingers warm. | 0:02:37 | 0:02:38 | |
SHE PLAYS JAUNTY PIANO TUNE | 0:02:38 | 0:02:42 | |
That was the jazz version. Wow! Pretty good. | 0:02:42 | 0:02:46 | |
BILL: That was great. | 0:02:46 | 0:02:47 | |
Anyway, there we are. | 0:02:50 | 0:02:51 | |
So, I'll give you the keys to the city, all right? | 0:02:51 | 0:02:54 | |
What's the first thing you'll do? | 0:02:54 | 0:02:56 | |
NOTE PLAYS Yes? | 0:02:56 | 0:02:57 | |
I'd make a copy of them. | 0:02:57 | 0:02:59 | |
Clever. TIM: Yeah, good. | 0:02:59 | 0:03:01 | |
In case I lock myself out when I'm drunk. | 0:03:01 | 0:03:04 | |
And I'd give a copy to my cleaner. | 0:03:04 | 0:03:06 | |
Very, very smart. | 0:03:06 | 0:03:08 | |
What else can you do with the keys to the city? | 0:03:08 | 0:03:10 | |
Drive a sheep across a bridge. | 0:03:10 | 0:03:12 | |
KLAXON BLARES | 0:03:12 | 0:03:14 | |
Ah. What?! | 0:03:14 | 0:03:15 | |
No. I am a Freeman of the City of London, as it happens. | 0:03:17 | 0:03:20 | |
Quite right. Oh, thank you. Very disappointed if you weren't. | 0:03:20 | 0:03:23 | |
And I did drive, I did drive a sheep over, | 0:03:23 | 0:03:25 | |
though in fact it was flagrantly illegal. | 0:03:25 | 0:03:27 | |
It's just one of those myths. | 0:03:27 | 0:03:28 | |
Also that supposedly that you can bear a sword in the city, | 0:03:28 | 0:03:31 | |
but that's not true, either. | 0:03:31 | 0:03:33 | |
Is there an actual door that you can fit that in? | 0:03:33 | 0:03:35 | |
No. No, there really isn't. What do you actually get? | 0:03:35 | 0:03:38 | |
Do you actually get a key in a nice presentation case? | 0:03:38 | 0:03:40 | |
No, you get a long sort of parchment, | 0:03:40 | 0:03:42 | |
wherein, heretofore, let it be understood the City and Corporation... | 0:03:42 | 0:03:47 | |
There've been mayors since 1213 and I said | 0:03:47 | 0:03:49 | |
"You must feel pretty extraordinary to be in a position that hasn't | 0:03:49 | 0:03:53 | |
changed for 800 years" and there was a cough at my shoulder | 0:03:53 | 0:03:56 | |
and it was the sheriff of London. | 0:03:56 | 0:03:58 | |
He said "There were sheriffs of London 500 years | 0:03:58 | 0:04:01 | |
before the first mayor." | 0:04:01 | 0:04:03 | |
He was in the 8th century, the 700s. | 0:04:03 | 0:04:06 | |
Through plagues and fires and all that. It's pretty amazing. | 0:04:06 | 0:04:11 | |
What does he do? How does one sheriff these days? | 0:04:11 | 0:04:15 | |
You wear extraordinary shrieval - it's the adjective of sheriff - shrieval laces and wigs. | 0:04:15 | 0:04:21 | |
In London you're free to trade without having to pay a toll at the bridge. | 0:04:21 | 0:04:26 | |
Today, it's a purely symbolic honour. | 0:04:26 | 0:04:28 | |
The City of London Police do not permit sheep | 0:04:28 | 0:04:31 | |
to be taken across the bridge aside from the occasional publicity stunt. | 0:04:31 | 0:04:35 | |
The City of London Police are so boring. | 0:04:35 | 0:04:38 | |
You can't do that there. Oh, come on. Freedom. | 0:04:38 | 0:04:42 | |
BILL: Is there anything you can do? | 0:04:42 | 0:04:44 | |
I mean is there anything... You can go naked, or something, or...? | 0:04:44 | 0:04:47 | |
No, no real rights. | 0:04:47 | 0:04:48 | |
I mean if you are poor, you can access some | 0:04:48 | 0:04:50 | |
educational and charitable funds. | 0:04:50 | 0:04:51 | |
Dick Whittington, probably the most famous London Lord Mayor, | 0:04:51 | 0:04:54 | |
in the early 15th century, left money in trust for water troughs | 0:04:54 | 0:04:57 | |
and children's education, and that charity is still giving out money. | 0:04:57 | 0:05:01 | |
Really? It's been wisely invested. That's pretty amazing, isn't it? | 0:05:01 | 0:05:04 | |
There are other people to get freedoms of cities. | 0:05:04 | 0:05:07 | |
To whom do you think Detroit gave the key of their city in 1980? | 0:05:07 | 0:05:12 | |
Diana Ross. | 0:05:12 | 0:05:13 | |
No, it wasn't Diana Ross, you'd think it would be a... | 0:05:13 | 0:05:15 | |
Someone off of Motown. Gary Numan. | 0:05:15 | 0:05:17 | |
It should be a Motown star. Wasn't Gary Numan. | 0:05:17 | 0:05:19 | |
Gary Numan? No. What wrote Cars? | 0:05:19 | 0:05:21 | |
No. That would be good. No, it wasn't. | 0:05:21 | 0:05:23 | |
It was actually Saddam Hussein. | 0:05:23 | 0:05:25 | |
AUDIENCE LAUGH AND MURMUR | 0:05:25 | 0:05:27 | |
What? Well, they're sick of him. What?! | 0:05:27 | 0:05:28 | |
It's the usual pattern. In 1980, he was our friend. | 0:05:28 | 0:05:31 | |
He was a friend. Yeah. Of course. | 0:05:31 | 0:05:32 | |
The City of Toronto has given the key to | 0:05:32 | 0:05:34 | |
Dalai Lama, Nelson Mandela and Mickey Mouse. | 0:05:34 | 0:05:37 | |
LAUGHTER | 0:05:37 | 0:05:39 | |
Never seen in the same room. Pathetic, the Dalai Lama?! Why him? | 0:05:39 | 0:05:42 | |
The Dalai Lama, what was it? | 0:05:42 | 0:05:43 | |
Nelson Mandela and Mickey Mouse. | 0:05:43 | 0:05:45 | |
Ah, my perfect Sunday. | 0:05:45 | 0:05:47 | |
LAUGHTER Those three round for dinner. | 0:05:47 | 0:05:50 | |
Corona, California, gave a cat the freedom of its city limits. | 0:05:50 | 0:05:55 | |
Oh, that's stupid, isn't it? | 0:05:55 | 0:05:57 | |
Because the cat had hit the Guinness Book of Records | 0:05:57 | 0:05:59 | |
by being the tallest cat in the world. | 0:05:59 | 0:06:01 | |
And, because we're QI, we rang up the city of Corona, and it's true. | 0:06:01 | 0:06:06 | |
They were very pleased to have it verified for us. | 0:06:06 | 0:06:09 | |
But Cher upset Australians in 2012, | 0:06:09 | 0:06:13 | |
when she sold her key to Adelaide on eBay. | 0:06:13 | 0:06:17 | |
Oh. She got 96,000 dollars for it. | 0:06:17 | 0:06:19 | |
Wow! What?! Yeah. | 0:06:19 | 0:06:21 | |
Someone paid 96 grand for a symbolic key to Adelaide? | 0:06:21 | 0:06:24 | |
To Adelaide, not even Melbourne or Sydney! | 0:06:24 | 0:06:27 | |
I mean, I like Adelaide, but that's... | 0:06:27 | 0:06:29 | |
BILL: It's a lot though, isn't it? I don't want a key. | 0:06:29 | 0:06:31 | |
She responded to the inevitable backlash on Twitter. | 0:06:31 | 0:06:35 | |
She said... | 0:06:35 | 0:06:36 | |
F'd up. Fudged. Fudged up, yeah. | 0:06:43 | 0:06:45 | |
Friend. So, there you are. Flowled. Flower-up. | 0:06:45 | 0:06:49 | |
Flagaba... | 0:06:49 | 0:06:51 | |
Keep guessing. I don't know. | 0:06:51 | 0:06:52 | |
Fruity. Flannel. Flannel up. | 0:06:52 | 0:06:56 | |
Flannel up and wait for me. | 0:06:56 | 0:06:58 | |
POSH VOICE: "Flannel up! | 0:06:58 | 0:07:00 | |
"Clean yourself and flannel up. I'll be up in five minutes! | 0:07:00 | 0:07:04 | |
I have to flannel you down! | 0:07:04 | 0:07:07 | |
"And put on the special ointment!" | 0:07:09 | 0:07:12 | |
Bring me another one, this one's flannelled-out. | 0:07:12 | 0:07:15 | |
Oh, dear. All right, OK. I like a flannel. | 0:07:15 | 0:07:18 | |
What key part did bigots play in the Second World War? | 0:07:18 | 0:07:23 | |
What do you mean...? You're talking... | 0:07:23 | 0:07:25 | |
Not that kind of bigot. BIGOT being a diversionary tactic. | 0:07:25 | 0:07:29 | |
That's a bit of a minor description. I think it is. | 0:07:29 | 0:07:33 | |
This word is... Oh, he was a bigot, was he? The more I hear about him... | 0:07:33 | 0:07:39 | |
Is it an acronym for something? "Big-oh". No, it's British. | 0:07:39 | 0:07:43 | |
Churchill chose it. Oh, really? | 0:07:43 | 0:07:45 | |
Beware, I've Got One...Trouser. | 0:07:45 | 0:07:51 | |
Beware, I've Got One Trouser? | 0:07:51 | 0:07:53 | |
I'm Going Out Tomorrow. | 0:07:54 | 0:07:58 | |
Blimey, I've Got..Owls...Turned. | 0:07:59 | 0:08:04 | |
He's so shit at I Spy. | 0:08:07 | 0:08:09 | |
BIGOT stands for British Invasion of German Occupied Territory. | 0:08:11 | 0:08:16 | |
So there's Monty and Winnie and they're looking at a map and planning... To flannel over there. | 0:08:16 | 0:08:21 | |
D-Day... Chaps, got your flannel? | 0:08:23 | 0:08:27 | |
Everybody got their flannel? | 0:08:27 | 0:08:29 | |
Churchill was the only person who Monty would let smoke. | 0:08:30 | 0:08:34 | |
It was so secret that anyone who knew any | 0:08:34 | 0:08:37 | |
details of the Normandy landings, they were on the BIGOT list | 0:08:37 | 0:08:41 | |
and they were not allowed under any circumstances to leave the country. | 0:08:41 | 0:08:44 | |
The only exception was Churchill himself. | 0:08:44 | 0:08:46 | |
No-one on the BIGOT list was allowed out of Britain. | 0:08:46 | 0:08:49 | |
Indeed, there was a rehearsal for the invasion | 0:08:49 | 0:08:52 | |
and ten people on the BIGOT list were killed accidentally. | 0:08:52 | 0:08:55 | |
All plans for the invasion were put on hold | 0:08:55 | 0:08:58 | |
until they could account for every single one of the bodies | 0:08:58 | 0:09:00 | |
just to be absolutely sure so the secret didn't get out. Well... | 0:09:00 | 0:09:04 | |
It's got out now, yes. | 0:09:04 | 0:09:08 | |
It wasn't that it was unlikely, that it wouldn't happen. England's there. France is there. | 0:09:08 | 0:09:13 | |
I know but we did everything we possibly could to | 0:09:13 | 0:09:15 | |
persuade them that it was going to be further across towards Belgium | 0:09:15 | 0:09:18 | |
and they withheld divisions further away from Normandy where we landed | 0:09:18 | 0:09:22 | |
precisely because... Fake landing. | 0:09:22 | 0:09:24 | |
..they fell for some of the spies - the Zigzag man | 0:09:24 | 0:09:27 | |
and that poor old chap who was a dead body | 0:09:27 | 0:09:30 | |
who was dressed as though he was an important officer | 0:09:30 | 0:09:32 | |
and dropped in the sea outside Gibraltar | 0:09:32 | 0:09:34 | |
with a chained briefcase with plans and they gave him a whole life. | 0:09:34 | 0:09:37 | |
He was called the man who never was. There was a film of it. | 0:09:37 | 0:09:40 | |
Who was he? | 0:09:40 | 0:09:42 | |
He was probably a very sad down and out Welsh chap who died very young | 0:09:42 | 0:09:45 | |
and had been found sleeping rough somewhere and they dressed him up | 0:09:45 | 0:09:48 | |
smartly to look like an officer. You wouldn't have to do that now. | 0:09:48 | 0:09:51 | |
You would just get someone from Big Brother. | 0:09:51 | 0:09:53 | |
People would volunteer for it. | 0:09:53 | 0:09:56 | |
Certainly the rest of us would. | 0:09:56 | 0:09:58 | |
The surprise is you're going to be killed and you're a fake general. | 0:09:58 | 0:10:02 | |
OMG! | 0:10:02 | 0:10:03 | |
It's a good film. If you ever see it coming round on Channel 4, | 0:10:05 | 0:10:08 | |
it's the sort of thing that pops up now and again. Yes, I will. | 0:10:08 | 0:10:11 | |
It's funny he didn't know when he was alive what a key part he'd play | 0:10:11 | 0:10:14 | |
when he was dead. | 0:10:14 | 0:10:15 | |
I know. Operation Mincemeat, it was called. | 0:10:15 | 0:10:18 | |
You can sign up to this service | 0:10:18 | 0:10:20 | |
when you're alive which monitors your Tweets and Facebook | 0:10:20 | 0:10:26 | |
and when you're dead, it continues to Tweet as you | 0:10:26 | 0:10:31 | |
until an executor of the will who you've nominated tells it to stop. | 0:10:31 | 0:10:35 | |
While you're alive, you give it feedback as to how good it is. What?! | 0:10:35 | 0:10:40 | |
I'm starting this business... No! | 0:10:40 | 0:10:42 | |
It already exists. That's bizarre. | 0:10:44 | 0:10:47 | |
And you can set how long it goes on till? | 0:10:47 | 0:10:49 | |
You give someone's name and say this person makes the decision as to when | 0:10:49 | 0:10:54 | |
the virtual me dies. | 0:10:54 | 0:10:56 | |
You give it feedback so if it's slightly funnier than you are, | 0:10:56 | 0:10:59 | |
you say, it's quite good, but bring it down a notch. | 0:10:59 | 0:11:02 | |
So somebody's employed to be you after you're dead. | 0:11:03 | 0:11:07 | |
Or just you going dead, dead, dead, still dead? | 0:11:07 | 0:11:10 | |
Then your followers go up. Ooh, he's dead, dead. | 0:11:11 | 0:11:15 | |
You know with one's contact list when people die, | 0:11:15 | 0:11:17 | |
I never have the heart to cut them out so I have | 0:11:17 | 0:11:20 | |
friends that have been dead 10, 12, | 0:11:20 | 0:11:22 | |
15 years who are still in my address book. | 0:11:22 | 0:11:24 | |
Have they ever called? | 0:11:24 | 0:11:26 | |
They manifestly haven't called and I haven't called them | 0:11:26 | 0:11:29 | |
but the act of going delete seems so... | 0:11:29 | 0:11:32 | |
I've done the same thing but the good thing is | 0:11:32 | 0:11:35 | |
if someone dead does call you, you'll know it's them. | 0:11:35 | 0:11:38 | |
I'll know not to answer it. | 0:11:38 | 0:11:42 | |
Of course that number might be reused. They do recycle them | 0:11:42 | 0:11:46 | |
so it is possible that one day... | 0:11:46 | 0:11:47 | |
That would be the shock of one's life. | 0:11:47 | 0:11:49 | |
In fact it's probable that coincidence will happen. | 0:11:49 | 0:11:53 | |
Someone who's got the old number of a dead person will accidentally ring a person who... | 0:11:53 | 0:11:57 | |
I can't wait till that happens. | 0:11:57 | 0:11:59 | |
Very exciting. | 0:12:01 | 0:12:02 | |
Now, secrecy, in the least order upwards, | 0:12:02 | 0:12:04 | |
what's the word for the least secret document? | 0:12:04 | 0:12:06 | |
For anyone's eyes only. Yes, basically it's "unclassified". | 0:12:08 | 0:12:13 | |
Then "protect", then "restricted", then up to... Up to look over there! | 0:12:13 | 0:12:19 | |
"Confidential" and then... I'm going to have to kill you. | 0:12:21 | 0:12:26 | |
"Secret" then... Top secret. Top secret. Yes. | 0:12:26 | 0:12:30 | |
It used to be, not top secret but... | 0:12:30 | 0:12:32 | |
Most secret. Most secret. | 0:12:32 | 0:12:34 | |
We're going to use this Americanism now - top secret. | 0:12:34 | 0:12:37 | |
Most secret's so British, isn't it? | 0:12:37 | 0:12:39 | |
Most secret. | 0:12:39 | 0:12:41 | |
Totes secret. | 0:12:41 | 0:12:43 | |
NERDY VOICE: There are some UFO conspiracy theorists | 0:12:43 | 0:12:46 | |
who will tell you that there are 38, 38 levels of secrecy above | 0:12:46 | 0:12:52 | |
top secret. Why are you talking like this? | 0:12:52 | 0:12:54 | |
Because these are UFO conspiracy theories. Is that how they talk? | 0:12:54 | 0:12:59 | |
They all talk like that. | 0:12:59 | 0:13:00 | |
NERDY VOICE: They all talk like that. | 0:13:00 | 0:13:04 | |
You can laugh. All right, I will. Ha ha ha ha. | 0:13:04 | 0:13:06 | |
You'll be laughing on the other side of your face | 0:13:06 | 0:13:08 | |
when you've been probed. | 0:13:08 | 0:13:10 | |
Yes. | 0:13:10 | 0:13:12 | |
The next level is "cosmic". | 0:13:12 | 0:13:14 | |
Even the President of the US does not have cosmic clearance. | 0:13:17 | 0:13:20 | |
Really? Who does? Look it up. It's all there. It's true. Totally true. | 0:13:22 | 0:13:26 | |
That's my favourite thing about conspiracy theorists. | 0:13:26 | 0:13:29 | |
This is something that the president doesn't know but I've figured it out! | 0:13:29 | 0:13:34 | |
Typing away. | 0:13:34 | 0:13:35 | |
Fantastic, isn't it? | 0:13:35 | 0:13:37 | |
What is CANUKUS' eyes only? | 0:13:39 | 0:13:42 | |
I beg your pardon? CANUKUS' eyes only. | 0:13:42 | 0:13:44 | |
Is there a creature called a canukus | 0:13:44 | 0:13:46 | |
and it's the only thing that's allowed to look at it? | 0:13:46 | 0:13:48 | |
But it can't speak and therefore will never tell anyone. | 0:13:48 | 0:13:52 | |
United States? No. Not bad. Canada, UK and the United States. | 0:13:52 | 0:13:57 | |
CANUKUS. CANUKUS. There's AUSCANNZUKUS | 0:13:59 | 0:14:04 | |
which is known as the five eyes, | 0:14:04 | 0:14:07 | |
which is Australia, New Zealand, Canada, US and UK. | 0:14:07 | 0:14:10 | |
There's also, basically, don't tell the French. | 0:14:10 | 0:14:12 | |
LAUGHTER AND APPLAUSE | 0:14:12 | 0:14:14 | |
BIGOTS were the key men in planning the D-Day landings. | 0:14:20 | 0:14:23 | |
Now, what's the best way to keep | 0:14:23 | 0:14:24 | |
the Open Organisation of Lockpickers | 0:14:24 | 0:14:27 | |
out of your homes? | 0:14:27 | 0:14:29 | |
Bucket of water over the door, a rake on the floor, | 0:14:30 | 0:14:34 | |
two miniature beds of nails and a very hungry tiger. | 0:14:34 | 0:14:38 | |
And you put all that outside the potential lockpicker's door, | 0:14:38 | 0:14:41 | |
so that they can't even leave their home. | 0:14:41 | 0:14:43 | |
Ah. You don't need to, is the point, actually. | 0:14:43 | 0:14:46 | |
The fact is, they are incredibly moral and ethical. | 0:14:46 | 0:14:49 | |
This organisation, which is literally called TOOOL. | 0:14:49 | 0:14:53 | |
The Organisation - there it is. | 0:14:53 | 0:14:55 | |
The Open Organisation of Lockpickers. | 0:14:55 | 0:14:57 | |
BILL: No, this is made-up. It's Dutch. Is it? | 0:14:57 | 0:14:59 | |
It's a Dutch organisation of recreational lockpickers. | 0:14:59 | 0:15:02 | |
LAUGHTER | 0:15:02 | 0:15:05 | |
They claim to have a good purpose, | 0:15:05 | 0:15:07 | |
they help spread the word in security | 0:15:07 | 0:15:08 | |
and show how things can be picked, but the point is, you're not allowed | 0:15:08 | 0:15:12 | |
ever, in this organisation, to pick a lock that doesn't belong to you. | 0:15:12 | 0:15:15 | |
That's how moral they are. | 0:15:15 | 0:15:16 | |
Well, that's boring, isn't it? | 0:15:16 | 0:15:18 | |
Pick a lock... That's when they're meeting, | 0:15:18 | 0:15:20 | |
but when they're professionally being lockpickers... | 0:15:20 | 0:15:22 | |
DUTCH ACCENT: "Hey, what a crazy bunch of guys. | 0:15:22 | 0:15:24 | |
"Let's go and pick some locks, but not someone we don't know. | 0:15:24 | 0:15:28 | |
"OK. What a crazy time we're going to have." | 0:15:28 | 0:15:32 | |
"How come it's only me today?" | 0:15:32 | 0:15:34 | |
LAUGHTER | 0:15:34 | 0:15:35 | |
"I am such a toool." Yeah. | 0:15:37 | 0:15:39 | |
Many of TOOOL's members are obviously lock-makers | 0:15:39 | 0:15:42 | |
and locksmiths. | 0:15:42 | 0:15:43 | |
There they are, tools of their trade. Wow. | 0:15:43 | 0:15:46 | |
It's incredible how you can have such a specific skill in one area | 0:15:46 | 0:15:48 | |
and be so bad with fonts. | 0:15:48 | 0:15:51 | |
Yes. Very true. | 0:15:51 | 0:15:53 | |
It's non-overlapping magisteria. | 0:15:53 | 0:15:55 | |
It is not an overlapping magisterian. Lock picking and fonts. | 0:15:55 | 0:15:59 | |
There's probably a fonts organisation, as well. Yeah. | 0:15:59 | 0:16:02 | |
Let's be honest. | 0:16:02 | 0:16:03 | |
Who cannot get into their house. That's right. | 0:16:03 | 0:16:06 | |
Do you know about Alfred C Hobbs? | 0:16:06 | 0:16:08 | |
He was a great American lockpicker and lockmaker. | 0:16:08 | 0:16:10 | |
He came to Britain for the Great Exhibition | 0:16:10 | 0:16:13 | |
Our great safemaker, lockmaker was... | 0:16:13 | 0:16:16 | |
He was a nice stout-sounding name. Chubb. Chubb. | 0:16:16 | 0:16:19 | |
Chubb safes and Chubb locks and they had an amazing Chubb | 0:16:19 | 0:16:23 | |
detector lock which was so subtle | 0:16:23 | 0:16:26 | |
and clever in the mid-19th century that if it detected someone | 0:16:26 | 0:16:29 | |
was trying to pick it, its tumblers would all fall down and even | 0:16:29 | 0:16:32 | |
the key for it would no longer fit. | 0:16:32 | 0:16:33 | |
You'd have to destroy it to open it. He picked that in seven minutes. | 0:16:33 | 0:16:36 | |
Wow. Astonishing everybody and horrifying Chubb, of course, | 0:16:36 | 0:16:40 | |
because they had the Bank of England account, apart from anything else. | 0:16:40 | 0:16:43 | |
The Bank of England then replaced its Chubb locks with Hobbs locks. | 0:16:43 | 0:16:47 | |
Good old American huckstering salesmanship and know-how. | 0:16:47 | 0:16:50 | |
It was a highly successful visit for Mr Hobbs. | 0:16:50 | 0:16:53 | |
Yes, it was till he got locked in a toilet somewhere. | 0:16:53 | 0:16:56 | |
Who in poetic law laughs at locksmiths? | 0:16:58 | 0:17:01 | |
The Queen. | 0:17:01 | 0:17:03 | |
"Ha ha ha." No. | 0:17:04 | 0:17:07 | |
The first Tuesday of every month. | 0:17:07 | 0:17:11 | |
"The official laughing at locksmiths. | 0:17:11 | 0:17:12 | |
"Locksmiths are lining up. She is now braying in their faces, | 0:17:12 | 0:17:15 | |
"snorting derisively..." No. | 0:17:15 | 0:17:18 | |
"You can't open it. Ha ha ha!" | 0:17:18 | 0:17:21 | |
Audience, who laughs at locksmiths? | 0:17:21 | 0:17:23 | |
AUDIENCE MEMBERS: Love. | 0:17:23 | 0:17:25 | |
Love laughs at locksmiths. | 0:17:25 | 0:17:26 | |
Oh. You lock the girl up, you lock the boy up, or you put locked | 0:17:26 | 0:17:29 | |
barriers between them and they'll always find a way through to each other. BILL: Aww. | 0:17:29 | 0:17:33 | |
Except they don't, do they? No. | 0:17:33 | 0:17:34 | |
If you lock... They won't, will they? | 0:17:34 | 0:17:37 | |
No. That's the trouble with poetry. | 0:17:37 | 0:17:40 | |
It's bollocks. I hate it. | 0:17:40 | 0:17:42 | |
They just need a good lock. It raises false hopes. | 0:17:42 | 0:17:44 | |
All you need is your lock to be slightly smarter than the two | 0:17:44 | 0:17:47 | |
people in love and really dumb people are in love, | 0:17:47 | 0:17:49 | |
and there are really good locks. That's ridiculous! | 0:17:49 | 0:17:51 | |
You're right, you're right. | 0:17:51 | 0:17:53 | |
Oh, well. | 0:17:53 | 0:17:55 | |
Speaking of keys, what's the key part of an arch? | 0:17:55 | 0:17:58 | |
BILL PLAYS NOTES Yes, Bill? | 0:18:00 | 0:18:02 | |
Your light came on first. Was that you, sorry? | 0:18:02 | 0:18:04 | |
That's the trouble with these things. | 0:18:04 | 0:18:06 | |
You can't tell who it is. | 0:18:06 | 0:18:08 | |
Do that chord again and I'll know. We only know the same chord. | 0:18:08 | 0:18:10 | |
We're both... We play in C. The keystone is the... | 0:18:10 | 0:18:14 | |
KLAXON BLARES | 0:18:14 | 0:18:16 | |
I'm Alan Davies. | 0:18:17 | 0:18:19 | |
LAUGHTER AND APPLAUSE | 0:18:19 | 0:18:21 | |
It is commonplace to use the word keystone as being the thing | 0:18:24 | 0:18:28 | |
that makes the arch work, but it isn't true. | 0:18:28 | 0:18:30 | |
It's not the most important. | 0:18:30 | 0:18:32 | |
All the arch stones, or "voussoirs" are equally important. | 0:18:32 | 0:18:34 | |
But it is the last piece to go in and finishes rather | 0:18:34 | 0:18:37 | |
beautifully the arrangement, as it were. Yes. | 0:18:37 | 0:18:40 | |
In Roman times, they'd get the constructor of the arch to | 0:18:40 | 0:18:43 | |
stand right under the arch when the | 0:18:43 | 0:18:46 | |
support scaffolding was taken away, | 0:18:46 | 0:18:48 | |
just to show that he had faith enough in his own... | 0:18:48 | 0:18:51 | |
Well, it's natural selection of arch builders, isn't it? | 0:18:51 | 0:18:54 | |
"Is that guy any good?" Well, he's still here. Exactly. | 0:18:54 | 0:18:58 | |
I like that idea of getting people to test things. It's like going to a | 0:18:58 | 0:19:01 | |
barbecue and getting someone to try the sausage before you'll eat it. | 0:19:01 | 0:19:04 | |
Oh, don't. BILL: Oh, yeah. | 0:19:04 | 0:19:05 | |
There are certain things that you can only test by using. | 0:19:05 | 0:19:08 | |
So it's then useless. | 0:19:08 | 0:19:09 | |
I mean, a ring-pull, essentially, you say, "I wonder if this ring-pull will work." | 0:19:09 | 0:19:13 | |
Whoosh! "Oh, yes, it does. Good, now... Oh, you can't..." | 0:19:13 | 0:19:17 | |
Same with air bags, I suppose and other such things. | 0:19:17 | 0:19:19 | |
I've really tried to get the air bag to come out, but it's... | 0:19:19 | 0:19:22 | |
No? No luck? No, if you drive, really whack the dashboard | 0:19:22 | 0:19:26 | |
really hard with a mallet or something and... | 0:19:26 | 0:19:29 | |
Well, you realise how much force it is by just trying to | 0:19:29 | 0:19:32 | |
walk into a wall at two miles an hour and your body won't let you. | 0:19:32 | 0:19:35 | |
It just won't. | 0:19:35 | 0:19:36 | |
LAUGHTER | 0:19:36 | 0:19:38 | |
Hands will go up. No, no, no. I've done that. | 0:19:38 | 0:19:41 | |
By mistake when... | 0:19:41 | 0:19:42 | |
I did that after a night on here. | 0:19:42 | 0:19:44 | |
Yes, when drunk or texting or something. | 0:19:44 | 0:19:46 | |
But, I mean, if you actually consciously say, | 0:19:46 | 0:19:48 | |
"I'm going to walk into this wall..." | 0:19:48 | 0:19:50 | |
Only two miles an hour, not three miles an hour, | 0:19:50 | 0:19:52 | |
and you just, pah, your hand goes up. | 0:19:52 | 0:19:54 | |
You can't stop it. It's a reflex, it's so strong. | 0:19:54 | 0:19:56 | |
Is there a wall here? I'd like to see you not do that. | 0:19:56 | 0:19:58 | |
LAUGHTER | 0:19:58 | 0:20:00 | |
I've got this image of you not being able to walk at 2mph into a wall. | 0:20:00 | 0:20:03 | |
2mph, that's... What's a normal walking pace? 4mph? | 0:20:03 | 0:20:07 | |
So that's half speed. Half normal walking speed. | 0:20:07 | 0:20:10 | |
It's still enough to break your nose. | 0:20:10 | 0:20:12 | |
It would break your nose. | 0:20:12 | 0:20:14 | |
Is it the theory that, if you're walking at exactly 2mph, magic happens? | 0:20:14 | 0:20:19 | |
You've got to get it exactly right. I mean, just kind of slowly walk into a wall. | 0:20:19 | 0:20:24 | |
Try it at home. LAUGHTER | 0:20:24 | 0:20:26 | |
That's all I'm saying. Maybe it's just me being a coward. | 0:20:26 | 0:20:29 | |
It will take more than an hour to go two miles | 0:20:29 | 0:20:31 | |
if you keep walking into walls, wouldn't it? It's true. | 0:20:31 | 0:20:34 | |
That's the interesting thing about that. That's true. | 0:20:34 | 0:20:37 | |
So, the fact of the matter is that keystones are no more | 0:20:37 | 0:20:39 | |
important than any of the other stones in an arch. | 0:20:39 | 0:20:41 | |
Why were the keys in a QWERTY keyboard arranged the way they are? | 0:20:41 | 0:20:45 | |
Ah, now, this is that it makes it more difficult to type. | 0:20:45 | 0:20:50 | |
LAUGHTER | 0:20:50 | 0:20:51 | |
That's right. And they wanted to slow... | 0:20:51 | 0:20:53 | |
KLAXON BLARES | 0:20:53 | 0:20:55 | |
"They wanted to slow..." you were saying... | 0:20:55 | 0:20:58 | |
Typists down. Typists down. No. | 0:20:58 | 0:20:59 | |
What it is, is the ones that most commonly are done together | 0:20:59 | 0:21:02 | |
in English were put furthest apart, so they were less likely to jam. | 0:21:02 | 0:21:06 | |
So, in fact, it was in order to allow you to type | 0:21:06 | 0:21:08 | |
more smoothly and speedily, | 0:21:08 | 0:21:10 | |
so that you didn't get the jamming of the keys as they came up | 0:21:10 | 0:21:13 | |
and hit each other. Oh, I see. | 0:21:13 | 0:21:15 | |
Of course, these days, we don't use mechanical typewriters in that | 0:21:15 | 0:21:18 | |
way, with the keys flopping up. That's how I learnt to type. | 0:21:18 | 0:21:21 | |
Enormous typewriters. I was tiny. | 0:21:22 | 0:21:25 | |
LAUGHTER | 0:21:25 | 0:21:28 | |
I loved typewriters so much, I was obsessed with them. | 0:21:28 | 0:21:31 | |
Really? Absolutely adored them, yeah. | 0:21:31 | 0:21:34 | |
Stephen! Dinner's ready. Aaargh! | 0:21:34 | 0:21:37 | |
Do you know, it's true, | 0:21:37 | 0:21:39 | |
I once copied out a whole novel on the typewriter. | 0:21:39 | 0:21:41 | |
Did you? Just to practise. | 0:21:41 | 0:21:43 | |
Yeah, because I enjoyed the experience of typing so much. | 0:21:43 | 0:21:46 | |
Just to, yeah. While other people were getting on with their lives, you were doing that. | 0:21:46 | 0:21:49 | |
Yeah. What can I tell you? It's the sort of man you are. | 0:21:49 | 0:21:52 | |
I'm sad. I'm so modest. What, what novel was it? | 0:21:52 | 0:21:55 | |
It was Frozen Assets, by PG Wodehouse. | 0:21:55 | 0:21:57 | |
It's not one of his best-known novels. BILL SNIGGERS | 0:21:57 | 0:22:00 | |
Look, I'm sorry! | 0:22:00 | 0:22:02 | |
It's amazing you've come so far, isn't it? | 0:22:04 | 0:22:06 | |
What should I have been doing? Anything else! | 0:22:08 | 0:22:11 | |
Listening to Flink Poyd or something? | 0:22:11 | 0:22:13 | |
Yes. Clearly I was just lying somewhere wasting my life | 0:22:13 | 0:22:19 | |
when I should have been copying out novels on some archaic old bit of kit. | 0:22:19 | 0:22:24 | |
"Yes, what I like to do in my spare time, | 0:22:24 | 0:22:27 | |
"I write out Proust, I use my nail and I chip it into an old flint." | 0:22:27 | 0:22:35 | |
I can't help it. "No, get off, Nanny, I haven't finished yet." | 0:22:35 | 0:22:38 | |
You're such a bully! | 0:22:38 | 0:22:41 | |
You're mean. Sir, sir, Fry's copying out novels again. | 0:22:42 | 0:22:47 | |
Sir, he's chipping them, he's using a hammer and a chisel, | 0:22:47 | 0:22:51 | |
he's chiselled out War And Peace on the South Downs. | 0:22:51 | 0:22:57 | |
You really do live a different life to all the rest, | 0:22:57 | 0:23:01 | |
you're not like us, are you? | 0:23:01 | 0:23:03 | |
You're another, you're not a mortal. Clearly not. | 0:23:03 | 0:23:06 | |
You're like sent from some other planet. | 0:23:06 | 0:23:08 | |
You are, the planet Aesthete, that's what you are. | 0:23:08 | 0:23:11 | |
I have cosmic clearance. Yes, you do. You know when it's all going to end. | 0:23:11 | 0:23:16 | |
I always thought I was normal, and now I... No, you're not. | 0:23:16 | 0:23:18 | |
Oh, well, anyway... You're a freak. | 0:23:18 | 0:23:21 | |
You can reprieve my fury at you by telling me | 0:23:23 | 0:23:26 | |
a word that can be typed on the top line. | 0:23:26 | 0:23:29 | |
It's quite pleasing. | 0:23:29 | 0:23:31 | |
Twiquminator... | 0:23:31 | 0:23:33 | |
Typewriter. | 0:23:33 | 0:23:35 | |
Ah! It's nice, isn't it? | 0:23:35 | 0:23:40 | |
It's just a coincidence, typewriter across the top? | 0:23:40 | 0:23:42 | |
Yes, I believe so. There are a lot of people who believe... A lot of conspiracy theory. | 0:23:42 | 0:23:48 | |
People who believe it was brought to us by falcons from the planet Bletch. | 0:23:48 | 0:23:53 | |
Now, what starts with K and is killed by curiosity? | 0:23:53 | 0:23:58 | |
A kitten. | 0:23:58 | 0:24:00 | |
Oh! Oh, no. I'm sorry. | 0:24:00 | 0:24:05 | |
It's an animal species, but not a cat. | 0:24:05 | 0:24:08 | |
A lot of these begin with Ks... Kangaroo. | 0:24:08 | 0:24:10 | |
No, but you're in the right hemisphere. Koala. | 0:24:10 | 0:24:12 | |
Again, right hemisphere, not the right country. Kiwi. | 0:24:12 | 0:24:14 | |
Sorry? Kiwi? Kiwi. You're the right type of animal. | 0:24:14 | 0:24:17 | |
Kora. A kea. Kea is the right answer. Very good. | 0:24:17 | 0:24:20 | |
A kea is? A New Zealand parrot. A flightless bird. | 0:24:20 | 0:24:23 | |
No, it's not flightless, oddly enough, it's a parrot. | 0:24:23 | 0:24:26 | |
And there was a bounty put on them some years ago. | 0:24:26 | 0:24:28 | |
Kea, which as you can see, look quite ravenous, | 0:24:28 | 0:24:30 | |
they look almost like eagles, but they are parrots, | 0:24:30 | 0:24:33 | |
would ride the sheep, peck at them and eat the fat off the poor sheep. | 0:24:33 | 0:24:37 | |
And so there was a bounty put on their heads | 0:24:37 | 0:24:40 | |
and New Zealanders found keas were very curious animals. | 0:24:40 | 0:24:44 | |
It's partly a result of having grown up in a country with no mammals | 0:24:44 | 0:24:48 | |
for millions of years. | 0:24:48 | 0:24:49 | |
Anyway, what you do is, you stand behind a rock and wait for a kea | 0:24:49 | 0:24:53 | |
to come along, and then you drop behind the rock and disappear. | 0:24:53 | 0:24:56 | |
And the kea thinks, that's odd. | 0:24:56 | 0:24:59 | |
And he wanders up and he takes a look over, | 0:24:59 | 0:25:01 | |
and you just, with your club, just go bang, like that. | 0:25:01 | 0:25:04 | |
Then, that's the beauty of it, you've only just started, | 0:25:04 | 0:25:07 | |
because you don't have to move, you take the kea and you put it down. | 0:25:07 | 0:25:11 | |
The kea's friend goes, "Where's Kevin?" | 0:25:11 | 0:25:13 | |
Where's Kevin! Wanders round, comes along like that. | 0:25:13 | 0:25:16 | |
Are they all called Kevin? Then you drop down and disappear, and he goes, "What happened there? | 0:25:16 | 0:25:20 | |
"There was someone, then there wasn't. How does that happen?" | 0:25:20 | 0:25:22 | |
And he looks over, bash, like that. | 0:25:22 | 0:25:24 | |
"Where's Keith?" And so on, all the way through. | 0:25:24 | 0:25:27 | |
All the Ks. You get a huge swag bag of kea. | 0:25:27 | 0:25:30 | |
They're not the brightest of birds. They're not the brightest. | 0:25:30 | 0:25:33 | |
But the point is, they never needed to be. | 0:25:33 | 0:25:35 | |
Because New Zealand, just apart from a few bats, never had any mammals... | 0:25:35 | 0:25:39 | |
That's true. All they needed to do was mate and survive. | 0:25:39 | 0:25:41 | |
The kakapo, for example, another type of parrot, | 0:25:41 | 0:25:44 | |
the only thing likely to predate on it was a vast eagle | 0:25:44 | 0:25:47 | |
that used to live in New Zealand called the Haast's eagle | 0:25:47 | 0:25:51 | |
and so the kakapo solved that by becoming nocturnal like the kiwi. | 0:25:51 | 0:25:54 | |
So it could be afraid of nothing. | 0:25:54 | 0:25:56 | |
It developed this extraordinary mating ritual which is just beyond belief. | 0:25:56 | 0:26:01 | |
It's called the bowl and track. It's the only example of this particular version. | 0:26:01 | 0:26:06 | |
It would dig a bowl, a crater then a path towards it, the track that it would immaculately pick clean | 0:26:06 | 0:26:13 | |
and then it would sit for months during the mating season. | 0:26:13 | 0:26:16 | |
It has this huge booming sac. | 0:26:16 | 0:26:18 | |
It sounds like a giant blowing across a beer bottle. Whoo noise. | 0:26:18 | 0:26:23 | |
It would boom and boom and the females in the valley | 0:26:23 | 0:26:26 | |
below would listen to the boom they most liked and waddle up. | 0:26:26 | 0:26:29 | |
If by some terrible chance, a leaf had fallen on the track, | 0:26:29 | 0:26:32 | |
the female would turn and walk away. | 0:26:32 | 0:26:34 | |
The poor old male would have to pick it clean | 0:26:34 | 0:26:37 | |
and go back to booming again. | 0:26:37 | 0:26:38 | |
Sometimes three years would pass, booming away, | 0:26:38 | 0:26:41 | |
not getting his rocks off. | 0:26:41 | 0:26:43 | |
The only evolutionary pressure on this bird is to get laid. That's it. | 0:26:43 | 0:26:47 | |
There's nothing else. | 0:26:47 | 0:26:49 | |
It's fat, stupid, nocturnal horny bird and he couldn't even get laid. | 0:26:49 | 0:26:53 | |
That's like my life. | 0:26:53 | 0:26:56 | |
Kiwis aren't the most exciting birds, I have seen kiwis. | 0:26:56 | 0:26:59 | |
Have you burrowed into one of their dens? No, I haven't bothered to do that. | 0:26:59 | 0:27:03 | |
I did. It's exciting. | 0:27:03 | 0:27:05 | |
There's one on YouTube playing the piano. | 0:27:05 | 0:27:08 | |
Oh! No, no. Falling down an escalator. | 0:27:08 | 0:27:11 | |
I've seen them in special areas, you know. | 0:27:11 | 0:27:13 | |
I went out with this guide and he found one, and he said, | 0:27:13 | 0:27:16 | |
"Get in there, get in there." | 0:27:16 | 0:27:17 | |
And so I burrowed and burrowed and burrowed and burrowed. | 0:27:17 | 0:27:20 | |
And you just see this little eye winking at you, | 0:27:20 | 0:27:23 | |
and that long wonderful beak, and it just winked. | 0:27:23 | 0:27:26 | |
Aah. And I winked back and then sort of... | 0:27:26 | 0:27:29 | |
With a little look that just says, "you just destroyed my house." | 0:27:29 | 0:27:32 | |
Yeah. I was careful not to. | 0:27:32 | 0:27:35 | |
Aaah. Aah, lovely! It took three years to make this. | 0:27:35 | 0:27:39 | |
The New Zealand government, | 0:27:39 | 0:27:41 | |
they were given two pandas by the Chinese government in return for | 0:27:41 | 0:27:44 | |
two kiwis, and I just thought it was a bit of a swiz, you know. | 0:27:44 | 0:27:48 | |
It's like New Zealand, you know, the zoo in Auckland, all these | 0:27:48 | 0:27:52 | |
people going, aah, look at them, look at the pandas, and aah! | 0:27:52 | 0:27:55 | |
Some zoo in Beijing, people going, what? | 0:27:55 | 0:27:57 | |
What are they? These kiwis don't even sneeze. They don't, nothing. | 0:27:57 | 0:28:02 | |
Very good, very good, very good. | 0:28:02 | 0:28:03 | |
Now, what is this woman doing, though? | 0:28:03 | 0:28:06 | |
What the...? Is this Lady Gaga's new album cover, is it? | 0:28:07 | 0:28:12 | |
She's wearing a... It's an experiment. | 0:28:14 | 0:28:17 | |
No, she's using a device that's for sale, or was for sale, | 0:28:17 | 0:28:20 | |
it was built in 1929. | 0:28:20 | 0:28:22 | |
A new device. Knitting jumpers? | 0:28:22 | 0:28:25 | |
Patented by Dr Kurt Johnen, it records the motions | 0:28:25 | 0:28:28 | |
and bodily reactions. | 0:28:28 | 0:28:29 | |
A lady is pictured being examined by the device. | 0:28:29 | 0:28:32 | |
A pneumatic belt records the change of the circumference of her chest. | 0:28:32 | 0:28:36 | |
Pneumatic cuffs above the upper arms control the changes of muscle tension. | 0:28:36 | 0:28:41 | |
Through a hose is recorded the rhythms of respiration, | 0:28:41 | 0:28:44 | |
and another hose transfers the strength of touch. | 0:28:44 | 0:28:47 | |
It's a sex toy. You would think, wouldn't you? | 0:28:47 | 0:28:49 | |
But what about her hands? That's the clue, and our theme today? | 0:28:49 | 0:28:53 | |
Piano, she's learning piano. | 0:28:53 | 0:28:54 | |
Piano? A keyboard. Yes, it's a piano teaching machine. | 0:28:54 | 0:28:58 | |
Oh. Oh. Extraordinary, isn't it? | 0:28:58 | 0:29:00 | |
Wow. It's supposed to help you with your piano playing. | 0:29:00 | 0:29:03 | |
Your posture, your breathing. | 0:29:03 | 0:29:05 | |
There have been many others along those lines. | 0:29:05 | 0:29:07 | |
There was the Chiroplast, which was clamped to the piano | 0:29:07 | 0:29:10 | |
and trapped the player's arms, that's the one on the left, | 0:29:10 | 0:29:13 | |
so you were forced to play using only your wrist and finger action. | 0:29:13 | 0:29:16 | |
You were then crippled. | 0:29:16 | 0:29:18 | |
The one in the middle was the Dactylion, from the Greek "dactyl", meaning finger. | 0:29:18 | 0:29:22 | |
A contraption designed to strengthen the fingers, because | 0:29:22 | 0:29:25 | |
they're springs that you're going against in that middle picture. | 0:29:25 | 0:29:28 | |
And it's said that Robert Schumann used that | 0:29:28 | 0:29:30 | |
and it actually hurt his fingers. | 0:29:30 | 0:29:33 | |
Though others say that was syphilis. | 0:29:33 | 0:29:36 | |
It's a fine line, isn't it? It is a fine line. Oh, always. | 0:29:36 | 0:29:39 | |
When you're into fingering, syphilis is never far away. | 0:29:39 | 0:29:44 | |
Next to that is the Chiro, or the Chirogymnaste, | 0:29:44 | 0:29:47 | |
which is a tiny finger gym, | 0:29:47 | 0:29:48 | |
which has got little finger events and you can see them. | 0:29:48 | 0:29:51 | |
They still encourage you to do that. | 0:29:51 | 0:29:53 | |
There's little spring-loaded strengthening things | 0:29:53 | 0:29:57 | |
that I was given in the brief time I got someone to teach me the piano | 0:29:57 | 0:30:01 | |
and they said "You should strengthen your fingers." | 0:30:01 | 0:30:03 | |
I thought "I might as well be playing the piano." | 0:30:03 | 0:30:06 | |
My old piano teacher, she would be much better than that cos she'd use a ruler | 0:30:06 | 0:30:11 | |
and if you got it wrong, she'd whack you on the top of the... | 0:30:11 | 0:30:14 | |
That is more of a powerful incentive than any of this... | 0:30:14 | 0:30:18 | |
But if you do harm yourself by using one of these things, | 0:30:18 | 0:30:21 | |
you can always use the bed piano, for bedridden people. | 0:30:21 | 0:30:24 | |
Wow. Which is a rather splendid device. I think you'll agree. | 0:30:24 | 0:30:29 | |
I hope that's securely attached. | 0:30:29 | 0:30:30 | |
That is the laziest keyboard player in the world. | 0:30:33 | 0:30:36 | |
And as you see, it rolls up, pushes away neatly. | 0:30:36 | 0:30:39 | |
That's fantastic. It's great, isn't it? I want one. | 0:30:39 | 0:30:42 | |
You can slide pizzas down from the back. | 0:30:42 | 0:30:45 | |
Yes. Bill's sitting there going "I am going to get one of those." | 0:30:45 | 0:30:49 | |
I will, I'm going to get one. Bill will have one of those. | 0:30:49 | 0:30:52 | |
That's the piano for the bedroom. Ha-ha! | 0:30:52 | 0:30:54 | |
The upside-down piano, virtual. That's magic. | 0:30:54 | 0:30:56 | |
Be easier to strap yourself into bed and tilt the bed up to a normal piano. Yeah. | 0:30:56 | 0:31:01 | |
How would a left-handed piano work? | 0:31:01 | 0:31:03 | |
It would be high notes at the left. | 0:31:03 | 0:31:05 | |
There it is. And there it is. That is a left-handed piano. Wow. | 0:31:05 | 0:31:08 | |
It would take a hell of a lot of unlearning for you to play on that, wouldn't it? Good God! | 0:31:08 | 0:31:12 | |
Can you imagine? It would drive you mad. It would. | 0:31:12 | 0:31:15 | |
Transposing pianos, have you ever played with one of those? | 0:31:15 | 0:31:17 | |
Well, there's a device on the keyboard that will do that for you. | 0:31:17 | 0:31:20 | |
On an electric keyboard. On an electric one. | 0:31:20 | 0:31:23 | |
There are pianos with a mechanism that can... It's a lever on it. | 0:31:23 | 0:31:26 | |
It moves it across to the next string. Oh, right. | 0:31:26 | 0:31:28 | |
Irving Berlin used one, because he only composed in F sharp. | 0:31:28 | 0:31:31 | |
He's like Stevie Wonder, who likes the black notes. He couldn't read music, | 0:31:31 | 0:31:35 | |
but was the most successful songwriter of his age. | 0:31:35 | 0:31:37 | |
Really? Yeah. He couldn't read music, he was fantastically talented, | 0:31:37 | 0:31:40 | |
He wrote White Christmas, let alone Top Hat, White Tie. | 0:31:40 | 0:31:44 | |
He lived long enough to be able to see his own songs go | 0:31:44 | 0:31:47 | |
out of copyright, because his first hit was in 1911, | 0:31:47 | 0:31:50 | |
with Alexander's Ragtime Band. | 0:31:50 | 0:31:51 | |
You know, "Come on and hear, come on and hear Alexander's Ragtime Band." | 0:31:51 | 0:31:55 | |
They only go out of copyright after you're dead. | 0:31:55 | 0:31:57 | |
No, they do now, but in his day, it was 75 years after it was written. | 0:31:57 | 0:32:00 | |
Right. So he lived long enough to see some of his songs | 0:32:00 | 0:32:03 | |
go into the public domain. Now it's 70 years after you've died. | 0:32:03 | 0:32:05 | |
How old was he when he wrote it? Early twenties. But had this extraordinary talent. Amazing. | 0:32:05 | 0:32:09 | |
There's a long list of things I have to get after this show. | 0:32:09 | 0:32:12 | |
There's the upside-down piano, the upside-down dinner, I mean, everything, yeah. | 0:32:12 | 0:32:16 | |
It's funny you should say a list of things cos that brings me to Franz Liszt. | 0:32:16 | 0:32:20 | |
Ho ho! # Accidental segue! # | 0:32:20 | 0:32:24 | |
How did he change the piano? Did he have huge hands, Liszt? | 0:32:24 | 0:32:29 | |
He did. He could expand them, long, long span. | 0:32:29 | 0:32:32 | |
There were pianos made specifically for him. | 0:32:32 | 0:32:35 | |
Well, yes, then they became the standard type. | 0:32:35 | 0:32:37 | |
He gave it so much bloody welly that they made it out of an iron frame. | 0:32:37 | 0:32:41 | |
Before that, they'd been a wooden frame. | 0:32:41 | 0:32:44 | |
In Jane Campion's film The Piano, | 0:32:44 | 0:32:46 | |
when the piano is thrown out to sea, it should have floated. | 0:32:46 | 0:32:50 | |
instead of sinking because the film's set in 1850. | 0:32:50 | 0:32:52 | |
It would have been a pre-Lisztian piano. | 0:32:52 | 0:32:55 | |
Did that ruin it for you? | 0:32:55 | 0:32:57 | |
You won't be copying that film out. What's this rubbish?! | 0:32:59 | 0:33:02 | |
Plainly not possible! | 0:33:02 | 0:33:05 | |
Right, so... Good. | 0:33:05 | 0:33:10 | |
So, what did the man who knew everything think cats were good for? | 0:33:10 | 0:33:14 | |
Well... | 0:33:14 | 0:33:16 | |
Catching mice. | 0:33:16 | 0:33:18 | |
Catching mice. Isn't the man who knew everything Thomas Young? | 0:33:18 | 0:33:22 | |
Well, there's various people who were given | 0:33:22 | 0:33:24 | |
the title of the last man to know everything there was to know. | 0:33:24 | 0:33:27 | |
Erasmus, Leibnitz, Von Humboldt, and this man here, Kircher, his name is. | 0:33:27 | 0:33:31 | |
He was a German Jesuit, Athanasius Kircher. | 0:33:31 | 0:33:34 | |
And he certainly was very interested in lots of things. | 0:33:34 | 0:33:37 | |
He was lowered into Vesuvius. He believed the bubonic plague | 0:33:37 | 0:33:40 | |
was caused by microbes, well ahead of germ theory. | 0:33:40 | 0:33:43 | |
Claimed falsely to have interpreted Egyptian hieroglyphics. | 0:33:43 | 0:33:46 | |
He regarded things like magnetism | 0:33:46 | 0:33:48 | |
and love as branches of the same topic, attraction, | 0:33:48 | 0:33:51 | |
which is a very QI way of looking at things, I like that. Yeah. | 0:33:51 | 0:33:55 | |
But what are the cats doing? | 0:33:55 | 0:33:56 | |
Well, we'll come to that. Some things he got right. | 0:33:56 | 0:33:59 | |
He denied the possibility of flying tortoises. | 0:33:59 | 0:34:01 | |
I don't know who'd raised the possibility, | 0:34:01 | 0:34:04 | |
but he damn well squashed it and said, no, | 0:34:04 | 0:34:06 | |
there won't be such a thing as a flying tortoise. | 0:34:06 | 0:34:09 | |
Rubbish. But he did invent the megaphone, and the Katzenklavier. | 0:34:09 | 0:34:14 | |
Klavier is in fact German for key, from clavis, Latin, key, | 0:34:14 | 0:34:17 | |
but it's a keyboard instrument. The cat playing the piano. He invented You Tube. | 0:34:17 | 0:34:22 | |
I'm afraid, for cat-lovers, it's a bit more disturbing than that. | 0:34:22 | 0:34:27 | |
Oh, cat string, gut string. | 0:34:27 | 0:34:28 | |
No, not cat gut, no, arrange live cats in the right order, | 0:34:28 | 0:34:31 | |
according to their voice. Oh. And you play... Drums. | 0:34:31 | 0:34:34 | |
And there you go. Oh, brilliant. | 0:34:34 | 0:34:36 | |
That's awesome! | 0:34:37 | 0:34:39 | |
Oh, if only they had YouTube back then. | 0:34:40 | 0:34:43 | |
The outrage on the comments page. | 0:34:43 | 0:34:45 | |
It's another thing for your list, isn't it. | 0:34:45 | 0:34:47 | |
It's on the list. Yes, right up there. | 0:34:47 | 0:34:50 | |
You've got to get one of those. | 0:34:50 | 0:34:52 | |
Their tails are fixed in place underneath hammers. | 0:34:52 | 0:34:54 | |
When a key is pressed, the hammer hits the corresponding... | 0:34:54 | 0:34:57 | |
you can even get chords and of course there's dynamics. | 0:34:57 | 0:34:59 | |
The harder you hit, it the more of a yowl. | 0:34:59 | 0:35:01 | |
It wouldn't necessarily have to be cruel. | 0:35:01 | 0:35:04 | |
You could get the same mechanism, | 0:35:04 | 0:35:05 | |
but just have it sort of tickle the bollocks of a cat. | 0:35:05 | 0:35:08 | |
So it's more like...YAAH! As opposed to...YEAGHH! | 0:35:08 | 0:35:10 | |
For a trill. Yeah. | 0:35:10 | 0:35:12 | |
MIMICS CATS PLAYING "HOW MUCH IS THAT DOGGY IN THE WINDOW?" | 0:35:12 | 0:35:16 | |
What do they think, that you have an A cat and a B cat? | 0:35:16 | 0:35:19 | |
Yeah. And a C cat? I guess you just go round. | 0:35:19 | 0:35:22 | |
But there are only six cats and there are more than six keys, so... | 0:35:22 | 0:35:25 | |
Well, that's true, that's a limited range, it's very... | 0:35:25 | 0:35:28 | |
Experimental music. Experimental music. | 0:35:28 | 0:35:30 | |
All the other keys hit mice inside the box. | 0:35:30 | 0:35:33 | |
It's doubtful he actually built it, | 0:35:34 | 0:35:36 | |
but he certainly wrote out the plans for one. | 0:35:36 | 0:35:38 | |
There are reports for comparable devices for Philip II of Spain | 0:35:38 | 0:35:41 | |
which had the additional layer of hilarity by being played by a bear(!) | 0:35:41 | 0:35:44 | |
There are comparable records of pig organs, | 0:35:44 | 0:35:46 | |
that Louis XI of France, had one made by the Abbot of Baigne. | 0:35:46 | 0:35:51 | |
There you are, getting ascending order of pig, pig, pig. | 0:35:51 | 0:35:54 | |
That's fantastic. | 0:35:54 | 0:35:55 | |
I like the woman singing along with them as well. | 0:35:55 | 0:35:58 | |
You think she's playing the pigs, but the pigs are playing her. | 0:35:58 | 0:36:01 | |
And as late as the mid-19th century, | 0:36:03 | 0:36:05 | |
there was some instruments known variously as the Pig Organ, | 0:36:05 | 0:36:08 | |
the Hog Harmonium, Pigano, the Porkoforte, | 0:36:08 | 0:36:12 | |
or worst of all, the Swineway Grand. | 0:36:12 | 0:36:15 | |
So there you are, yes, | 0:36:17 | 0:36:18 | |
several people have tried to make musical instruments | 0:36:18 | 0:36:20 | |
out of live animals, | 0:36:20 | 0:36:22 | |
although it doesn't really work very well in practice. | 0:36:22 | 0:36:24 | |
And now for the welcome return of a keynote of QI, | 0:36:24 | 0:36:26 | |
a bit of General Ignorance very quickly. Fingers on keypads. | 0:36:26 | 0:36:29 | |
Nicely flexed and name something written by Winston Churchill? | 0:36:29 | 0:36:33 | |
Who was that? Yes? | 0:36:33 | 0:36:35 | |
The Second World War. Oh! | 0:36:35 | 0:36:37 | |
Have another go. | 0:36:39 | 0:36:40 | |
He won the Nobel Prize, didn't he? | 0:36:42 | 0:36:43 | |
He won the Nobel Prize for Literature. Yes, he did. | 0:36:43 | 0:36:45 | |
He wrote so much. | 0:36:45 | 0:36:46 | |
Our Prime Minister won the Nobel Prize for Literature, no question. | 0:36:46 | 0:36:50 | |
Can you out of interest name the only person to have won the Nobel Prize and an Oscar? | 0:36:50 | 0:36:53 | |
People wrongly say Al Gore because there was an Oscar given | 0:36:53 | 0:36:56 | |
to An Inconvenient Truth and he was given a Nobel Peace Prize, | 0:36:56 | 0:36:58 | |
but he didn't win the Oscar personally. | 0:36:58 | 0:37:01 | |
Any offers, punters? Sean Connery. | 0:37:01 | 0:37:04 | |
Shaw is the answer. George Bernard Shaw. | 0:37:04 | 0:37:07 | |
George Bernard Shaw came through the door. | 0:37:07 | 0:37:12 | |
He had a ladies' public conveniences built. | 0:37:12 | 0:37:17 | |
Yeah, he was very interested in stuff like that. | 0:37:17 | 0:37:20 | |
People said it was outrageous and disgusting | 0:37:20 | 0:37:21 | |
that there should be a public convenience for women. How appalling? | 0:37:21 | 0:37:24 | |
And he said, "No, I think women need to go too." | 0:37:24 | 0:37:28 | |
The first ladies' loos in London. | 0:37:28 | 0:37:32 | |
Winston Churchill did not write under the name Winston Churchill. | 0:37:32 | 0:37:35 | |
Our Prime Minister didn't. Oh, that's right. | 0:37:35 | 0:37:37 | |
What did he write under the name of? Anne Bronte. | 0:37:37 | 0:37:40 | |
The Gathering Storm, by Anne Bronte. | 0:37:42 | 0:37:45 | |
Daphne du Maurier. | 0:37:45 | 0:37:47 | |
My early years. | 0:37:47 | 0:37:48 | |
Katie Price. | 0:37:48 | 0:37:50 | |
No, what's his full name? Do you remember his full...? | 0:37:53 | 0:37:55 | |
Spencer. William Leonard Spencer Churchill. | 0:37:55 | 0:37:57 | |
Oh, Leonard. So he wrote under the name of Winston S Churchill. | 0:37:57 | 0:38:00 | |
Because when he started writing, | 0:38:00 | 0:38:02 | |
there was a very successful American novelist called Winston Churchill. | 0:38:02 | 0:38:05 | |
And so out of politeness to him | 0:38:05 | 0:38:07 | |
he wrote to him this very complicated letter, | 0:38:07 | 0:38:09 | |
which was sort of jokey, I think, he says - | 0:38:09 | 0:38:10 | |
"Winston Churchill has no doubt that Mr Winston Churchill will recognise from this letter, | 0:38:10 | 0:38:14 | |
"if indeed by no other means, | 0:38:14 | 0:38:16 | |
"that there is grave danger of his works being mistaken for those of Mr Winston Churchill. | 0:38:16 | 0:38:20 | |
"He feels sure that Mr Winston Churchill desires this as little as he does himself. | 0:38:20 | 0:38:24 | |
"In future to avoid mistakes as far as possible, | 0:38:24 | 0:38:26 | |
"Mr Winston Churchill has decided to sign all published articles, stories or other works, | 0:38:26 | 0:38:30 | |
"Winston Spencer Churchill and not Winston Churchill as formerly. | 0:38:30 | 0:38:33 | |
"He trusts that this arrangement will commend itself to Mr Winston Churchill." | 0:38:33 | 0:38:37 | |
And Winston Churchill replied, | 0:38:37 | 0:38:38 | |
"Mr Winston Churchill appreciates the courtesy of Mr Winston Churchill | 0:38:38 | 0:38:41 | |
"in adopting the name of Winston Spencer Churchill in his books, articles, etc. | 0:38:41 | 0:38:45 | |
"Mr Winston Churchill makes haste to add that had he possessed any other names, | 0:38:45 | 0:38:48 | |
"he would certainly have adopted one of them." | 0:38:48 | 0:38:50 | |
There you go. So how polite. That's so lovely. | 0:38:50 | 0:38:53 | |
I like the fact they refer to themselves in the third person. | 0:38:53 | 0:38:55 | |
Mr Churchill all the time, I know. | 0:38:55 | 0:38:57 | |
Clement Freud had a very good story he used to tell about when he was an MP. | 0:38:57 | 0:39:01 | |
He went to China on a fact-finding visit with other | 0:39:01 | 0:39:04 | |
parliamentarians including Winston Churchill Jr, | 0:39:04 | 0:39:07 | |
i.e. the grandson of Winston Spencer Churchill | 0:39:07 | 0:39:09 | |
who was a Tory MP. | 0:39:09 | 0:39:12 | |
One day Winston Churchill invited him | 0:39:12 | 0:39:14 | |
back to his room at the hotel for a nightcap. | 0:39:14 | 0:39:16 | |
Freud saw that his room was so much better than his. | 0:39:16 | 0:39:19 | |
So the next day, Freud said to the guide, "I'm not complaining. | 0:39:19 | 0:39:22 | |
"I just wondered why Mr Churchill's room is so much bigger than mine." | 0:39:22 | 0:39:26 | |
And the Chinese person said, "Because he has famous grandfather." | 0:39:26 | 0:39:30 | |
Clement Freud said "It's the only time I've even been out-grandfathered." | 0:39:30 | 0:39:35 | |
You'd think if your grandfather was Sigmund Freud, you were safe. | 0:39:36 | 0:39:40 | |
No-one could out-grandfather you. | 0:39:40 | 0:39:42 | |
You'd have the executive suite. | 0:39:42 | 0:39:44 | |
You should have seen Steve Hitler's room. It's enormous. | 0:39:44 | 0:39:48 | |
Now, what truly grim reading matter was banned in Germany after the War? | 0:39:51 | 0:39:55 | |
Romantic comedies? Mills and Boon? | 0:39:57 | 0:40:00 | |
"Say what you hear. The clue is in the question." | 0:40:00 | 0:40:02 | |
What was the question again? Say the question again. | 0:40:02 | 0:40:05 | |
What truly grim reading matter was...? | 0:40:05 | 0:40:07 | |
The Brothers Grimm. | 0:40:07 | 0:40:08 | |
Brothers Grimm. Oh, right. | 0:40:08 | 0:40:10 | |
Because people believed that real savagery of the Grimm fairy tales | 0:40:10 | 0:40:14 | |
had contributed to something that had turned the German people nasty, | 0:40:14 | 0:40:18 | |
the perceived barbarity of the people. | 0:40:18 | 0:40:20 | |
The argument they'd fostered obedience, discipline, | 0:40:20 | 0:40:24 | |
authoritarianism, nationalism, glorification of violence, | 0:40:24 | 0:40:28 | |
all that kind of thing, became part of the national character. | 0:40:28 | 0:40:31 | |
According to a British Major, TJ Leonard, | 0:40:31 | 0:40:32 | |
he said the fairytales had helped teach German children | 0:40:32 | 0:40:35 | |
"all the varieties of barbarousness." | 0:40:35 | 0:40:38 | |
Including light flannelling. | 0:40:38 | 0:40:40 | |
And it made them easy to fit the role of hangman, | 0:40:42 | 0:40:45 | |
and so on and so forth. | 0:40:45 | 0:40:46 | |
One of the stories was called | 0:40:46 | 0:40:48 | |
How Children Played Butcher With Each Other, | 0:40:48 | 0:40:51 | |
which was really savage. | 0:40:51 | 0:40:52 | |
That was removed from the second edition. | 0:40:52 | 0:40:55 | |
And in the Frog King, the frog is not kissed by the princess, | 0:40:55 | 0:40:58 | |
he's hurled against a wall with all the strength she has, | 0:40:58 | 0:41:02 | |
to turn him into a prince. A rather battered, bruised prince. | 0:41:02 | 0:41:05 | |
That'll do it. Yeah. At two miles an hour. | 0:41:05 | 0:41:07 | |
Two miles an hour, against a... | 0:41:07 | 0:41:09 | |
And he goes like that... Argh! | 0:41:10 | 0:41:12 | |
It was all he could do. | 0:41:13 | 0:41:14 | |
He's got little froggy arms. Yeah. | 0:41:14 | 0:41:16 | |
On the other hand, there is a lyrical quality. | 0:41:18 | 0:41:20 | |
The last in the collection, you'll love this story. | 0:41:20 | 0:41:23 | |
There's a little poor boy goes out into a wintry forest | 0:41:23 | 0:41:25 | |
to collect wood on a sled. | 0:41:25 | 0:41:27 | |
In the snow he finds a tiny key and next to it, an iron box. | 0:41:28 | 0:41:33 | |
The boy inserts the key, he turns it, he lifts the lid. | 0:41:34 | 0:41:39 | |
SUSPENSEFUL TUNE PLAYS | 0:41:39 | 0:41:42 | |
He lifts the lid... | 0:41:46 | 0:41:49 | |
TUNE CONTINUES | 0:41:49 | 0:41:52 | |
End of story. | 0:41:55 | 0:41:57 | |
Oh, really? | 0:41:57 | 0:41:59 | |
That's Pulp Fiction. | 0:41:59 | 0:42:00 | |
Exactly, it's the suitcase in Pulp Fiction, | 0:42:00 | 0:42:02 | |
exactly what I thought of it. | 0:42:02 | 0:42:03 | |
The rest is up to your imagination, boys and girls. | 0:42:03 | 0:42:06 | |
What do you think was in that box? A frog. Porn. | 0:42:06 | 0:42:08 | |
I think it was a stash of porn. Yeah. A flannel. | 0:42:08 | 0:42:11 | |
That's why I used to go into the woods. | 0:42:12 | 0:42:14 | |
Well, we've ended on a sour, bitter and very rude note. | 0:42:17 | 0:42:20 | |
Which is the way we like to end on QI. | 0:42:20 | 0:42:22 | |
Once again. Yes, hurrah. | 0:42:22 | 0:42:23 | |
Which brings us to the scores. And let's have a look. | 0:42:23 | 0:42:25 | |
My word, my goodness, my gracious, my goodness and my everything, | 0:42:25 | 0:42:29 | |
in first place, with plus three, is Bill Bailey! | 0:42:29 | 0:42:32 | |
Wow. I've never won! | 0:42:34 | 0:42:37 | |
How did you end up with plus three? | 0:42:37 | 0:42:39 | |
Second place for a first timer, with minus eight, it's Isy. | 0:42:40 | 0:42:43 | |
Oh, well done. | 0:42:43 | 0:42:45 | |
Third place, on his first appearance, is really not bad, | 0:42:49 | 0:42:52 | |
it's Tim Minchin. | 0:42:52 | 0:42:53 | |
And yes, in fourth place is Alan Davies! | 0:42:56 | 0:43:00 | |
So that's it from Isy, Tim, Bill, Alan and me. | 0:43:08 | 0:43:10 | |
And good night. | 0:43:10 | 0:43:12 | |
Subtitles by Red Bee Media Ltd | 0:43:34 | 0:43:37 |