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APPLAUSE | 0:00:32 | 0:00:34 | |
Hello and welcome to QI. | 0:00:34 | 0:00:36 | |
Tonight's show is an other-worldly odyssey | 0:00:36 | 0:00:39 | |
through the mysterious occult. | 0:00:39 | 0:00:41 | |
Please offer up oblations to the Prince of Darkness - Russell Brand. | 0:00:41 | 0:00:45 | |
APPLAUSE AND CHEERING | 0:00:45 | 0:00:48 | |
The Beast of Revelations, Aisling Bea. | 0:00:49 | 0:00:52 | |
CHEERING AND APPLAUSE | 0:00:52 | 0:00:55 | |
The Lord of the Flies, Noel Fielding. | 0:00:56 | 0:00:59 | |
LAUGHTER CHEERING AND APPLAUSE | 0:00:59 | 0:01:01 | |
And, hell, yes, it's Alan Davies! | 0:01:04 | 0:01:05 | |
CHEERING AND APPLAUSE | 0:01:05 | 0:01:09 | |
Hey-hey! | 0:01:09 | 0:01:10 | |
That was a terrifying outfit. LAUGHTER | 0:01:15 | 0:01:17 | |
I was really hoping there'd be a new car under there, but it's just Alan. | 0:01:17 | 0:01:21 | |
And their buzzers are obligingly ominous. Russell goes... | 0:01:21 | 0:01:24 | |
WOLF HOWLS | 0:01:24 | 0:01:28 | |
Aisling goes... | 0:01:29 | 0:01:31 | |
EVIL CACKLING | 0:01:31 | 0:01:34 | |
And Noel goes... | 0:01:34 | 0:01:36 | |
EVIL LAUGHTER | 0:01:36 | 0:01:39 | |
And Alan goes... | 0:01:39 | 0:01:41 | |
OMINOUS ORGAN MUSIC | 0:01:41 | 0:01:45 | |
FAIRGROUND MUSIC PLAYS ON ORGAN | 0:01:48 | 0:01:51 | |
Hey, right. We're going to begin with some mind-reading, | 0:01:55 | 0:01:59 | |
but those of you who are psychic will already know that. | 0:01:59 | 0:02:02 | |
We have asked some members of our front row to write some | 0:02:02 | 0:02:04 | |
words on cards and put them in an envelope, which I have not seen. | 0:02:04 | 0:02:09 | |
So if the QI minion, this is our magic minion, | 0:02:09 | 0:02:13 | |
can please collect them, | 0:02:13 | 0:02:15 | |
then we're going to attempt some spooky mind-reading. | 0:02:15 | 0:02:19 | |
And what are they? Just facts, or? | 0:02:19 | 0:02:21 | |
It's just a word, a single word, is that right? | 0:02:21 | 0:02:23 | |
Each one's written a single word. | 0:02:23 | 0:02:24 | |
So the minion is going to give me the cards. | 0:02:24 | 0:02:27 | |
Do you believe in this kind of thing? | 0:02:27 | 0:02:28 | |
-Do you believe in mind-reading? -Yes. | 0:02:28 | 0:02:31 | |
OK. LAUGHTER | 0:02:31 | 0:02:33 | |
So in order for this to work, I need to make my mind a complete blank. | 0:02:33 | 0:02:36 | |
Alan, how do I do that? | 0:02:36 | 0:02:38 | |
LAUGHTER | 0:02:38 | 0:02:39 | |
Oh-ha-ha-ha-ha-ha-ha-ha-ha! | 0:02:39 | 0:02:42 | |
Now, some of you may know I have an ear piece, | 0:02:42 | 0:02:44 | |
I don't want you to think that in any way that anybody can | 0:02:44 | 0:02:46 | |
communicate with me, so I can't use that. | 0:02:46 | 0:02:48 | |
What's going to happen now is that I am going to place the card | 0:02:48 | 0:02:51 | |
to my head, and I need to concentrate. | 0:02:51 | 0:02:54 | |
I'm going to say...potato. Who said potato? | 0:02:54 | 0:02:58 | |
-Anybody say? You did say potato? -Did you? -OK. | 0:02:58 | 0:03:00 | |
Very, very good. Indeed. | 0:03:00 | 0:03:03 | |
OK, let's do the next one. LAUGHTER | 0:03:03 | 0:03:05 | |
Let's see. Oh, this one's difficult. | 0:03:05 | 0:03:09 | |
This one is very difficult. | 0:03:09 | 0:03:11 | |
I am going to say sin, something to do with sin... | 0:03:11 | 0:03:15 | |
..synchronicity? | 0:03:15 | 0:03:17 | |
It is, synchronicity is your word? | 0:03:17 | 0:03:19 | |
She's a witch, burn her! | 0:03:19 | 0:03:21 | |
Goodness. Oh, indeed, OK. | 0:03:22 | 0:03:25 | |
So, we'll just do one more and see if I can think. | 0:03:26 | 0:03:29 | |
Oh, this one's nice - mushroom. I think it's mushroom. | 0:03:29 | 0:03:32 | |
Yes. Absolutely. Well, there we go, that will do. | 0:03:32 | 0:03:34 | |
APPLAUSE | 0:03:34 | 0:03:36 | |
-So... -There was a real... | 0:03:38 | 0:03:41 | |
-There was a real disparity between what inspired you lot there. -Yeah. | 0:03:41 | 0:03:45 | |
As in, like, you really dug deep around mushroom, didn't you? | 0:03:45 | 0:03:48 | |
Yeah. So, anybody know how I did that? | 0:03:48 | 0:03:51 | |
Does anybody have any idea how that happens? | 0:03:51 | 0:03:53 | |
-Because you can read minds? -Yes, that's exactly what happened. | 0:03:53 | 0:03:55 | |
Basically, you can read menus, is what I got from that. | 0:03:55 | 0:03:58 | |
LAUGHTER | 0:03:58 | 0:03:59 | |
-Yeah, mushrooms and potatoes. -Mushroom, potato. -Yeah. | 0:03:59 | 0:04:01 | |
See, I love those tricks, I think they're fantastic, | 0:04:01 | 0:04:04 | |
-I mean, clearly they are a trick. And... -What?! | 0:04:04 | 0:04:06 | |
Of genius, a trick of genius, in some way. | 0:04:06 | 0:04:09 | |
Are you a fan of magic shows, Russell? | 0:04:09 | 0:04:11 | |
I'm astounded that we're all just sat here | 0:04:11 | 0:04:13 | |
while you have unravelled one of the great mysteries of the universe. | 0:04:13 | 0:04:17 | |
Now we're going to have to work out through which necromancy | 0:04:17 | 0:04:20 | |
you have taken over Bake-Off. | 0:04:20 | 0:04:22 | |
LAUGHTER | 0:04:22 | 0:04:24 | |
You've managed to install Noel Fielding, | 0:04:25 | 0:04:27 | |
an astonishing piece of casting. What's next? | 0:04:27 | 0:04:31 | |
I'm channelling Mrs Beeton, that's what's happening. | 0:04:31 | 0:04:34 | |
-You have powers beyond my comprehension. -I know, I know. | 0:04:34 | 0:04:37 | |
So what I'm going to do, I'm going to take a blank card like this | 0:04:37 | 0:04:40 | |
and I'm going to write a word myself on it, | 0:04:40 | 0:04:42 | |
and I'm going to stick it in an envelope. | 0:04:42 | 0:04:44 | |
And then we will place that in this big book, | 0:04:44 | 0:04:48 | |
so that it's not possible for me to change it. | 0:04:48 | 0:04:50 | |
Russell can see it from where you are. | 0:04:50 | 0:04:52 | |
I saw your eyes looking. He's cheating. | 0:04:52 | 0:04:53 | |
Yeah, but I would never use that knowledge to trick the QI audience. | 0:04:53 | 0:04:56 | |
OK, let's put it on there, let's put it on there | 0:04:56 | 0:04:58 | |
so that I can't cheat with it, you can all see it, it's in... | 0:04:58 | 0:05:01 | |
There it is, it's in plain sight, OK. | 0:05:01 | 0:05:03 | |
So, there used to be a thought that some people could read | 0:05:03 | 0:05:06 | |
through something other than their eyes. | 0:05:06 | 0:05:08 | |
It's called dermo-optical perception, or cutaneous perception. | 0:05:08 | 0:05:13 | |
And the idea is, so I put it against my head | 0:05:13 | 0:05:14 | |
so that you could read through your fingers | 0:05:14 | 0:05:16 | |
or you could read through your skin. | 0:05:16 | 0:05:18 | |
I've been warned about men where they come at you | 0:05:18 | 0:05:20 | |
in that sort of position. | 0:05:20 | 0:05:21 | |
It's like, "I'm going to read you!" | 0:05:21 | 0:05:23 | |
You're like, "Argh!" | 0:05:23 | 0:05:25 | |
Well, in World War I, there's a wonderful story. | 0:05:25 | 0:05:27 | |
There was a lot of paranoia in Europe, as you can imagine, | 0:05:27 | 0:05:29 | |
and there was a lady's maid, and she was stopped and strip-searched | 0:05:29 | 0:05:32 | |
in Germany, and they found secret writing on her bottom, OK. | 0:05:32 | 0:05:35 | |
And they arrested her, they photographed the writing, | 0:05:35 | 0:05:38 | |
and they sent it to German military intelligence. | 0:05:38 | 0:05:40 | |
Her bottom was much discussed and much looked at. | 0:05:40 | 0:05:42 | |
It turned out that the maid, on the train, had been worried | 0:05:42 | 0:05:45 | |
that the loo would be dirty, and she'd put newspaper on the seat. | 0:05:45 | 0:05:48 | |
LAUGHTER | 0:05:48 | 0:05:50 | |
And the writing was several articles from the Frankfurter Zeitung, | 0:05:50 | 0:05:53 | |
which I like. They were able to read the newspaper off her arse. | 0:05:53 | 0:05:56 | |
But, in fact, our mind-reading | 0:05:58 | 0:05:59 | |
was done by a completely different trick. | 0:05:59 | 0:06:01 | |
There was a mentalist who used to be known as Alexander - | 0:06:01 | 0:06:03 | |
The Man Who Knows. | 0:06:03 | 0:06:05 | |
-I've got that very poster. -Have you? -Yeah. | 0:06:05 | 0:06:07 | |
Do you know who he actually is, Alexander, The Man Who Knows? | 0:06:07 | 0:06:10 | |
-He was called Alexander. -LAUGHTER | 0:06:10 | 0:06:12 | |
And he worked as a psychic. | 0:06:12 | 0:06:15 | |
His real name was Claude Conlin and he was from South Dakota. | 0:06:15 | 0:06:18 | |
I got it in Coney Island. | 0:06:18 | 0:06:20 | |
And they still have contortionists | 0:06:20 | 0:06:22 | |
and people who stick nails in themselves. | 0:06:22 | 0:06:24 | |
They're people who do actual extraordinary things. | 0:06:24 | 0:06:27 | |
Get a real job! | 0:06:27 | 0:06:29 | |
There's one lad who can get himself through a tennis racket. | 0:06:29 | 0:06:32 | |
But there's no strings on it. | 0:06:32 | 0:06:34 | |
LAUGHTER | 0:06:34 | 0:06:35 | |
-Be a bit sick. -That would be a trick, wouldn't it? | 0:06:35 | 0:06:37 | |
He comes out like human chips! | 0:06:37 | 0:06:38 | |
But to do it, he has to dislocate his shoulder to get through it. | 0:06:38 | 0:06:42 | |
And he's 23, or something. | 0:06:42 | 0:06:44 | |
-And I said, "Are you not worried by long-term implications?" -Yeah. | 0:06:44 | 0:06:48 | |
And he said, "Well, I've been told that my shoulders will be ruined | 0:06:48 | 0:06:50 | |
"by the time I'm 40." | 0:06:50 | 0:06:52 | |
I said, "Well, stop doing it, then." And he wouldn't. | 0:06:52 | 0:06:54 | |
But he was quite a guy, Alexander. | 0:06:54 | 0:06:55 | |
He married 8 to 14 women, many at the same time. | 0:06:55 | 0:06:57 | |
We don't know exactly how many, maybe 14 women. | 0:06:57 | 0:07:00 | |
-14 women? -Yeah, it's quite a lot. | 0:07:00 | 0:07:02 | |
That's not that many, is it, Russell? | 0:07:02 | 0:07:04 | |
LAUGHTER | 0:07:04 | 0:07:06 | |
A conservative mind-bender! | 0:07:06 | 0:07:08 | |
I can't tell you how we read the mind of our front row, | 0:07:10 | 0:07:12 | |
but I can say that we have a plant in the audience. | 0:07:12 | 0:07:15 | |
-Yeah. -CHUCKLING | 0:07:15 | 0:07:18 | |
OK, so I've got an object here for you. | 0:07:18 | 0:07:21 | |
-There's one for you guys to share. -Thank you very much. | 0:07:21 | 0:07:24 | |
And one for you to share. | 0:07:24 | 0:07:25 | |
And I want you to tell me how you would use it to burgle a house. | 0:07:25 | 0:07:29 | |
-OK, so... -I... I've an idea. -Yes, go on, then. | 0:07:29 | 0:07:32 | |
Well, I think what you'd do is, you would melt the waxen tips. | 0:07:32 | 0:07:35 | |
-There are waxen tips. -There are. | 0:07:35 | 0:07:37 | |
You would get the finger prints of the person whose house it | 0:07:37 | 0:07:39 | |
was on their hi-tech James Bond style fingerprint system. | 0:07:39 | 0:07:42 | |
-Yeah. -I don't know how you get in that bit, | 0:07:42 | 0:07:44 | |
cos if you've got that kind of access to the person, | 0:07:44 | 0:07:46 | |
simply charm them into allowing you in to rob the safe at your leisure. | 0:07:46 | 0:07:51 | |
And then you put their fingerprints on there, | 0:07:51 | 0:07:54 | |
then you put this very discreet garment on your other hand | 0:07:54 | 0:07:58 | |
and wander into Canary Wharf, or wherever it is, and say - | 0:07:58 | 0:08:01 | |
"I'm just one of the people who happens to live here. | 0:08:01 | 0:08:04 | |
"Don't judge me by that. I move among you. | 0:08:04 | 0:08:07 | |
"I love you. I'm a banker, just like you." | 0:08:07 | 0:08:09 | |
Then you press all the buttons, you're in there, | 0:08:09 | 0:08:11 | |
-and that's how you rob their house. -And that's that sorted. | 0:08:11 | 0:08:13 | |
-Simple business. -Yeah. I don't know why we didn't think of that. | 0:08:13 | 0:08:16 | |
LAUGHTER | 0:08:16 | 0:08:17 | |
What we really needed was the pickled hand of a hang... | 0:08:17 | 0:08:20 | |
That one's gone rogue! | 0:08:22 | 0:08:23 | |
I think you could only rob a house if Freddy Krueger lived there. | 0:08:25 | 0:08:29 | |
Just put your hand through the letterbox and the dog lets you in. | 0:08:29 | 0:08:32 | |
We wanted to set fire to them, | 0:08:32 | 0:08:33 | |
but apparently it's a health and safety nightmare. | 0:08:33 | 0:08:35 | |
There's a fire there, though. | 0:08:35 | 0:08:37 | |
Why is fire allowed there and not near Noel? | 0:08:37 | 0:08:39 | |
-Now I understand. -I think the worry was that... | 0:08:39 | 0:08:41 | |
LAUGHTER | 0:08:41 | 0:08:42 | |
-Who wants me to try? -CHEERING | 0:08:42 | 0:08:45 | |
-OK. -Don't put it near your hair product, will you? | 0:08:45 | 0:08:48 | |
-Are you left or right handed? -Well, the glove is left handed. | 0:08:48 | 0:08:51 | |
Yeah, but... | 0:08:51 | 0:08:53 | |
LAUGHTER AND APPLAUSE | 0:08:53 | 0:08:57 | |
-OK. So hang on, is that it? -There we go. | 0:09:00 | 0:09:04 | |
Light the others. I used to do this with... | 0:09:04 | 0:09:07 | |
-AISLING: -So, in answer to your question, Sandi, | 0:09:07 | 0:09:09 | |
-while they're doing that, I go and burgle the house. -Yes. | 0:09:09 | 0:09:11 | |
Is that what it is? | 0:09:11 | 0:09:13 | |
LAUGHTER AND APPLAUSE | 0:09:13 | 0:09:15 | |
-Hi, nice to meet you. -OTHERS SING: -Happy birthday to you. | 0:09:17 | 0:09:20 | |
A really rubbish kid's thing. | 0:09:20 | 0:09:22 | |
CHEERING AND APPLAUSE | 0:09:22 | 0:09:24 | |
-Is it the flame that's significant? -Kind of. -Or the rubber? | 0:09:28 | 0:09:31 | |
So, you needed the pickled hand of a hanged man, OK? | 0:09:31 | 0:09:34 | |
-Oh, wow. -You then needed to make | 0:09:34 | 0:09:37 | |
a candle from the fat of the condemned man. | 0:09:37 | 0:09:40 | |
-Ugh! -And then, in an idea world, you would make the wick out of his hair. | 0:09:40 | 0:09:44 | |
It's called a Hand of Glory. | 0:09:44 | 0:09:46 | |
If you were holding the Hand of Glory, | 0:09:46 | 0:09:48 | |
and the Hand of Glory had a... | 0:09:48 | 0:09:49 | |
LAUGHTER | 0:09:49 | 0:09:51 | |
That's not the Hand of Glory, Sandi. That's the Hand of Glory. | 0:09:51 | 0:09:55 | |
It was a race. | 0:09:58 | 0:10:00 | |
It's sweet when boys are so pleased with themselves. | 0:10:00 | 0:10:03 | |
LAUGHTER | 0:10:03 | 0:10:05 | |
It's a good job this desk is here. | 0:10:05 | 0:10:07 | |
No, you're all right. Um... | 0:10:09 | 0:10:10 | |
So the idea was, if you held one of these | 0:10:12 | 0:10:14 | |
when you went into somebody's house, | 0:10:14 | 0:10:16 | |
it would have a stupefying effect upon them, and put them to sleep. | 0:10:16 | 0:10:19 | |
Now, the only photograph that we have of a genuine Hand of Glory | 0:10:19 | 0:10:23 | |
is courtesy of the Whitby Museum, | 0:10:23 | 0:10:24 | |
and that is probably the only one still in existence, and that was... | 0:10:24 | 0:10:28 | |
It's quite a wild pitch, like, for Dragons' Den, to go, | 0:10:28 | 0:10:30 | |
"I've got this idea, all we need is one hand | 0:10:30 | 0:10:32 | |
"of a hanged man, we stick his hair in there, | 0:10:32 | 0:10:34 | |
"make a candle out of his skin, the hair is going to be the wick. | 0:10:34 | 0:10:37 | |
"That's important. When we go into the house, | 0:10:37 | 0:10:39 | |
"it'll automatically send people to sleep | 0:10:39 | 0:10:41 | |
"and that's how we're going to burgle the house." | 0:10:41 | 0:10:43 | |
"I'm in, £250,000. I see nothing wrong with this idea." | 0:10:43 | 0:10:45 | |
-NOEL: -Or just wait till they go on holiday. | 0:10:45 | 0:10:48 | |
LAUGHTER | 0:10:48 | 0:10:49 | |
Well, the Observer, in 1831, | 0:10:49 | 0:10:51 | |
reported on the 16th of January, "Burglars entered a house | 0:10:51 | 0:10:55 | |
"in County Meath, armed with a dead man's hand | 0:10:55 | 0:10:57 | |
"with a lighted candle in it, believing in the superstitious | 0:10:57 | 0:10:59 | |
"notion that it would prevent those who may be asleep from awaking." | 0:10:59 | 0:11:02 | |
-Do you think it worked? -No. | 0:11:02 | 0:11:04 | |
No, they woke instantly and raised the alarm. | 0:11:04 | 0:11:06 | |
-Screamed their heads off. -Yeah, absolutely. | 0:11:06 | 0:11:08 | |
-He's got a burning hand! -LAUGHTER | 0:11:08 | 0:11:10 | |
Anybody know where the term Hand of Glory comes from? | 0:11:12 | 0:11:14 | |
-Russell! -LAUGHTER | 0:11:14 | 0:11:16 | |
I feel I'm looking the wrong way, really, for this... | 0:11:16 | 0:11:19 | |
I don't know, but I'm going to Google it | 0:11:19 | 0:11:21 | |
and see whose picture comes up. | 0:11:21 | 0:11:22 | |
-It's an old word for the mandrake root, mandragore. -Oh. | 0:11:24 | 0:11:27 | |
Which was supposed to look a bit like human beings. | 0:11:27 | 0:11:30 | |
But the good thing is, if you thought that somebody | 0:11:30 | 0:11:32 | |
was going to come at you with a Hand of Glory, | 0:11:32 | 0:11:33 | |
you could protect yourself. This is good. There's an unguent | 0:11:33 | 0:11:36 | |
which you can rub around the threshold | 0:11:36 | 0:11:38 | |
of your house, and it's very simple. You just need a... | 0:11:38 | 0:11:40 | |
-I'm glad you said "of your house," then. -Yes. | 0:11:40 | 0:11:42 | |
LAUGHTER | 0:11:42 | 0:11:44 | |
You need gall of black cat, fat of white hen and blood of screech owl. | 0:11:44 | 0:11:47 | |
And if you do those things, then that'll protect you. | 0:11:47 | 0:11:49 | |
What's a screech owl? | 0:11:49 | 0:11:51 | |
One of them. | 0:11:51 | 0:11:52 | |
The Irish were very keen on all these old folklores. | 0:11:54 | 0:11:56 | |
In fact, Irish butter makers would incorporate a dead man's hand | 0:11:56 | 0:12:00 | |
taken fresh from the graveyard in their recipes | 0:12:00 | 0:12:02 | |
and the milk would be stirred around nine times with the hand. | 0:12:02 | 0:12:05 | |
Erm, just on behalf of Ireland, that is no longer done. | 0:12:05 | 0:12:09 | |
Please continue to buy Irish butter, where and if you can. | 0:12:09 | 0:12:12 | |
LAUGHTER | 0:12:12 | 0:12:13 | |
-Shares in Kerrygold have just gone through the floor. -Yeah. | 0:12:13 | 0:12:16 | |
My favourite of these is from a book called Folklore Of Herefordshire. | 0:12:17 | 0:12:20 | |
The cure for whooping cough | 0:12:20 | 0:12:22 | |
was to make a child eat a slice of bread and butter | 0:12:22 | 0:12:25 | |
that had sat in the hand of a corpse. | 0:12:25 | 0:12:26 | |
LAUGHTER AND GROANS | 0:12:26 | 0:12:28 | |
"You'll eat it till it's finished, | 0:12:28 | 0:12:30 | |
"and then we'll return the corpse." | 0:12:30 | 0:12:31 | |
But I didn't mention, in the recipe for the Hand of Glory, | 0:12:33 | 0:12:35 | |
it needs to be the left hand. Why would that be? | 0:12:35 | 0:12:37 | |
Makes it feel like it's someone else. | 0:12:37 | 0:12:39 | |
LAUGHTER | 0:12:39 | 0:12:41 | |
So you can deny it was you burgling the house. | 0:12:43 | 0:12:45 | |
"It didn't feel like me!" | 0:12:46 | 0:12:48 | |
-NOEL: -Is it something to do with Satan? | 0:12:49 | 0:12:51 | |
It's to do with it being sinister. | 0:12:51 | 0:12:52 | |
-So, sinister is the Latin word for left. -Oh. | 0:12:52 | 0:12:55 | |
So that's where we get sinister from. | 0:12:55 | 0:12:56 | |
That's another thing, in Ireland they used to beat... | 0:12:56 | 0:12:59 | |
My mother was a left hand, with a left... "Was a left hand!" | 0:12:59 | 0:13:02 | |
LAUGHTER | 0:13:02 | 0:13:03 | |
Here she is! | 0:13:03 | 0:13:04 | |
"Oh, hiya, Mammy." "Hello, Aisling." | 0:13:04 | 0:13:07 | |
"I still love you and I never left." | 0:13:07 | 0:13:09 | |
"Oh, thanks, Mammy." | 0:13:09 | 0:13:10 | |
LAUGHTER | 0:13:10 | 0:13:12 | |
My mother was left handed, | 0:13:13 | 0:13:15 | |
and in Ireland, they think the devil is in your left hand. | 0:13:15 | 0:13:18 | |
They used to beat it out of kids and force them | 0:13:18 | 0:13:20 | |
to write with their right hand. | 0:13:20 | 0:13:21 | |
The... I don't want to say it, but, like... | 0:13:21 | 0:13:23 | |
It was the nuns! | 0:13:23 | 0:13:24 | |
LAUGHTER | 0:13:24 | 0:13:26 | |
But, yeah, they used to beat them across the hands, | 0:13:28 | 0:13:30 | |
and most kids were forced, probably, I'd say, until the '70s, | 0:13:30 | 0:13:34 | |
-to do everything with their right hand. -Wow. -Yeah. Yeah. | 0:13:34 | 0:13:38 | |
Well, the occult was also used against burglars. | 0:13:38 | 0:13:40 | |
So there used to be quite a lot of book curses, | 0:13:40 | 0:13:42 | |
because books were phenomenally expensive. | 0:13:42 | 0:13:44 | |
So in the Middle Ages they wanted to stop people from stealing books. | 0:13:44 | 0:13:47 | |
This is a fantastic one from a 15th-century manuscript | 0:13:47 | 0:13:50 | |
owned by Count Jean d'Orleans. | 0:13:50 | 0:13:52 | |
-He's covering a lot of bases, there. -He is really, yeah. | 0:14:02 | 0:14:05 | |
-He don't want that book stolen. -No, that's not going to... | 0:14:05 | 0:14:08 | |
-Look after it. -Yeah. | 0:14:08 | 0:14:09 | |
And, in fact, if you go to Edinburgh now, | 0:14:09 | 0:14:11 | |
you can go to the Writers' Museum. | 0:14:11 | 0:14:13 | |
It was built in 1622 by William Gray of Pittendrum. | 0:14:13 | 0:14:15 | |
And he was so worried about burglars, | 0:14:15 | 0:14:17 | |
if you look at the steps, they're all different heights, | 0:14:17 | 0:14:19 | |
because he knew that they were different heights, | 0:14:19 | 0:14:21 | |
he would have heard a burglar coming. | 0:14:21 | 0:14:23 | |
It's a rather clever idea, isn't it? | 0:14:23 | 0:14:24 | |
Because you'd hear them going, "These steps are ridiculous!" | 0:14:24 | 0:14:27 | |
It's actually called Lady Stair's House. Have you ever been? | 0:14:28 | 0:14:31 | |
I went there, but I found the stairs quite taxing. | 0:14:31 | 0:14:33 | |
So I turned around and went home. | 0:14:33 | 0:14:35 | |
It was midnight, no-one else was there, it was dark. | 0:14:35 | 0:14:37 | |
Now, which horny member of royalty | 0:14:38 | 0:14:41 | |
is immune from any form of legal prosecution? | 0:14:41 | 0:14:45 | |
EVIL CACKLING Yes? | 0:14:45 | 0:14:47 | |
Prince Andrew? | 0:14:47 | 0:14:49 | |
KLAXON Oh, no. | 0:14:49 | 0:14:52 | |
-It's going to be something with horns? -Yes. | 0:14:53 | 0:14:56 | |
Is it, like, a royal cow, or something? | 0:14:56 | 0:14:58 | |
-No. There should be, I think. -The Royal Cow. | 0:14:58 | 0:15:01 | |
-NOEL: -That's a snail, what you're doing. | 0:15:01 | 0:15:03 | |
LAUGHTER | 0:15:03 | 0:15:06 | |
-Brian from Magic Roundabout. -Magic Roundabout. -Hello. | 0:15:06 | 0:15:10 | |
-Who was it - Florence and Dougal? -Yeah. | 0:15:10 | 0:15:11 | |
And there was the one who's based on Bob Dylan, the rabbit. | 0:15:11 | 0:15:14 | |
Dylan. And he was stoned all the time. | 0:15:14 | 0:15:16 | |
Yeah, exactly, it was the '70s. | 0:15:16 | 0:15:18 | |
You were allowed to be stoned in a children's cartoon. | 0:15:18 | 0:15:21 | |
-AISLING: -Helen, did you say? | 0:15:21 | 0:15:23 | |
-AUDIENCE MEMBER: Dylan. -Dylan, yeah. -Dylan. -Dylan, yeah. | 0:15:23 | 0:15:25 | |
Yes, we just said that, thanks. We said that. | 0:15:25 | 0:15:27 | |
That person just woke up. "Dylan, they're talking about Dylan!" | 0:15:27 | 0:15:30 | |
LAUGHTER | 0:15:30 | 0:15:31 | |
"They're talking about Magic Roundabout! Dylan!" | 0:15:31 | 0:15:34 | |
The guy's just beginning to get the hang of mind-reading. | 0:15:37 | 0:15:39 | |
-"Mushroom! Mushroom!" -LAUGHTER | 0:15:41 | 0:15:44 | |
"Potato!" | 0:15:44 | 0:15:45 | |
Come on, now - horny member of royalty. | 0:15:45 | 0:15:47 | |
-In the context of the occult... -Yes. | 0:15:47 | 0:15:49 | |
-..who is a horny royal? -The Devil. | 0:15:49 | 0:15:51 | |
The Devil is exactly right. | 0:15:51 | 0:15:52 | |
The Devil. You can't prosecute the Devil? | 0:15:52 | 0:15:55 | |
No, so, in 1971, there was an American called Gerald Mayo, | 0:15:55 | 0:15:58 | |
attempted to sue the Devil. | 0:15:58 | 0:16:00 | |
And there is the case. | 0:16:00 | 0:16:02 | |
"United States ex rel. Gerald Mayo | 0:16:02 | 0:16:04 | |
"vs Satan and His Staff." | 0:16:04 | 0:16:07 | |
And it was heard by the US District Court | 0:16:07 | 0:16:10 | |
for the Western District of Pennsylvania. | 0:16:10 | 0:16:12 | |
Mr Mayo alleged, "Satan has on numerous occasions caused | 0:16:12 | 0:16:15 | |
"plaintiff misery and unwarranted threats. | 0:16:15 | 0:16:18 | |
"Against the will of the plaintiff, Satan has placed deliberate | 0:16:18 | 0:16:20 | |
"obstacles in his path and has caused the plaintiff's downfall." | 0:16:20 | 0:16:24 | |
The first point that was raised by the judge, | 0:16:24 | 0:16:26 | |
a man called Gerald J Weber, was that he wasn't sure that they | 0:16:26 | 0:16:30 | |
could prosecute Satan, as Satan was technically a foreign prince | 0:16:30 | 0:16:34 | |
and, if sued, he might be able to claim immunity. | 0:16:34 | 0:16:37 | |
Surely it's a typo, he meant "Stan." | 0:16:37 | 0:16:39 | |
LAUGHTER | 0:16:39 | 0:16:41 | |
And in the end they refused his request, | 0:16:43 | 0:16:45 | |
because nobody could find an address to serve Satan the papers. | 0:16:45 | 0:16:48 | |
You actually have to put it in their hand, don't you? | 0:16:48 | 0:16:50 | |
-Yeah. -Otherwise it doesn't count. | 0:16:50 | 0:16:51 | |
-Yeah. -Wow! | 0:16:51 | 0:16:52 | |
There was a guy who filed a suit against God, | 0:16:52 | 0:16:54 | |
seeking a permanent injunction against His harmful activities. | 0:16:54 | 0:16:57 | |
Nebraska State Senator Ernie Chambers. | 0:16:57 | 0:16:59 | |
Again, the suit dismissed cos God was not properly notified. | 0:16:59 | 0:17:02 | |
Although Chambers said, you know, | 0:17:03 | 0:17:05 | |
"His omniscience would surely mean that He knows already." | 0:17:05 | 0:17:08 | |
In fact, Ernie Chambers brought the case | 0:17:08 | 0:17:09 | |
to show that some court cases are frivolous. | 0:17:09 | 0:17:11 | |
But do you know about the Devil's Advocate? | 0:17:11 | 0:17:13 | |
-Do you know about that? -Avocado? -As in being one? | 0:17:13 | 0:17:15 | |
Well, it's a Roman Catholic thing, the Devil's Advocate. | 0:17:15 | 0:17:17 | |
Yeah, as in to play Devil's Advocate? | 0:17:17 | 0:17:19 | |
Well, that's where the phrase comes from, | 0:17:19 | 0:17:21 | |
but it used to be a proper job. | 0:17:21 | 0:17:22 | |
It was the job of the Devil's Advocate to argue the case | 0:17:22 | 0:17:25 | |
against proposed sainthoods. So his job was to say, | 0:17:25 | 0:17:28 | |
"This person is going to come up to be a saint, | 0:17:28 | 0:17:30 | |
"I don't think it's a good idea." | 0:17:30 | 0:17:31 | |
It was got rid of by Pope John Paul II in 1983, | 0:17:31 | 0:17:34 | |
and the number of saints just shot through the roof. | 0:17:34 | 0:17:36 | |
482 in his 27-year tenure, | 0:17:36 | 0:17:38 | |
compared with 98 for the rest of the 20th century, | 0:17:38 | 0:17:41 | |
and more than all his predecessors combined, | 0:17:41 | 0:17:43 | |
going back to the 16th century. | 0:17:43 | 0:17:44 | |
It's quite cool. It's like a casting, isn't it? | 0:17:44 | 0:17:46 | |
-Just went crazy, making saints. AISLING: -Yeah. | 0:17:46 | 0:17:48 | |
I think I should be a saint. Mm, not sure... | 0:17:48 | 0:17:50 | |
So, when Mother Teresa was nominated for the sainthood, | 0:17:50 | 0:17:52 | |
Christopher Hitchens was asked by the Roman Catholic Church | 0:17:52 | 0:17:55 | |
to say why it was a bad idea for her to be. | 0:17:55 | 0:17:56 | |
And he stood up and made a speech and said, basically, | 0:17:56 | 0:17:59 | |
-"She was a wrong 'un." -Wow. | 0:17:59 | 0:18:01 | |
-It's like a roast. -Yeah, it is exactly like that! | 0:18:01 | 0:18:04 | |
Anybody know the correct way to greet the Devil? | 0:18:05 | 0:18:07 | |
-High-five? -No. -I reckon there's got to be some deference in it, | 0:18:07 | 0:18:11 | |
you go down on one knee, little bit of a hornpipe, | 0:18:11 | 0:18:13 | |
stick an elbow out, two thumbs up, come on, | 0:18:13 | 0:18:16 | |
take us on a wild, giddy journey. | 0:18:16 | 0:18:18 | |
OK, yeah. Down on one knee is a good place to start. | 0:18:18 | 0:18:22 | |
-See? -Like, no, not a blowy. -LAUGHTER | 0:18:22 | 0:18:25 | |
It's the kiss of shame, you have to kiss the Devil's... | 0:18:27 | 0:18:29 | |
-You kiss his ring? -His arse, you have to kiss his arse. There it is. | 0:18:29 | 0:18:33 | |
-The Devil's arse? -What?! -Yeah. -Kiss his bum. | 0:18:33 | 0:18:35 | |
The Osculum Infame, the Kiss of Shame. Kissing the Devil's arse. | 0:18:35 | 0:18:39 | |
I like the idea of the Devil presenting his anus to you | 0:18:39 | 0:18:42 | |
and you not going for it, and just leaving, and him being embarrassed. | 0:18:42 | 0:18:45 | |
Do you think he lifts his own tail or do you have to lift his tail? | 0:18:45 | 0:18:49 | |
Flick that tail right up, reveal the anus, a little wink. | 0:18:49 | 0:18:52 | |
Give us a kiss. | 0:18:52 | 0:18:54 | |
I'd like it if it was like a Pez dispenser, | 0:18:54 | 0:18:55 | |
so, like, when it lifts up, you get a little Devil sweet. | 0:18:55 | 0:18:58 | |
You're like, yum-yum, thank you. | 0:18:58 | 0:18:59 | |
You've crossed... You've crossed the line, did you hear that noise? | 0:18:59 | 0:19:02 | |
LAUGHTER | 0:19:02 | 0:19:04 | |
-Sweets from the Devil's arse? No. -Not on the BBC. | 0:19:04 | 0:19:07 | |
The rest of that chat's fine, but we're drawing the line there. | 0:19:07 | 0:19:12 | |
We like Pez and you've ruined it for us! | 0:19:12 | 0:19:15 | |
-LAUGHTER -Mushroom! | 0:19:15 | 0:19:17 | |
Alan actually knows the parameters. | 0:19:19 | 0:19:21 | |
We think of you as a sort of a shambling, lovable figure, | 0:19:21 | 0:19:25 | |
but you actually are sensing stuff, like a shaman. | 0:19:25 | 0:19:28 | |
-You're reading their minds, Alan. -Yeah. | 0:19:28 | 0:19:31 | |
No, they just made a funny noise. | 0:19:31 | 0:19:33 | |
Now, over to O for Osterreich. | 0:19:34 | 0:19:37 | |
Here are four sculptures. | 0:19:37 | 0:19:40 | |
Which is the constipated one? | 0:19:40 | 0:19:43 | |
LAUGHTER | 0:19:43 | 0:19:44 | |
Hmm... | 0:19:44 | 0:19:45 | |
They look like the four stages of Victor Meldrew. | 0:19:45 | 0:19:48 | |
Are they done by the same person? | 0:19:49 | 0:19:51 | |
They're all done by exactly the same sculptor. | 0:19:51 | 0:19:53 | |
I can tell you what the other ones are called. | 0:19:53 | 0:19:55 | |
There's one called The Yawner. | 0:19:55 | 0:19:57 | |
There's one called The Strong Odour. | 0:19:57 | 0:19:59 | |
And there's one called The Vexed Man. | 0:19:59 | 0:20:00 | |
So let's have a look and see which ones they are. | 0:20:00 | 0:20:03 | |
The Constipated One is number three. | 0:20:03 | 0:20:06 | |
Strong Odour and the Vexed One. | 0:20:06 | 0:20:07 | |
And there's also one called the Incapable Bassoonist. | 0:20:07 | 0:20:10 | |
LAUGHTER | 0:20:10 | 0:20:11 | |
These are all by an 18th-century German sculptor | 0:20:11 | 0:20:14 | |
called Franz Messerschmidt. | 0:20:14 | 0:20:16 | |
There are 43 that survive today. | 0:20:16 | 0:20:18 | |
The man suffered from terrible digestive disorders, | 0:20:18 | 0:20:21 | |
and to distract himself during really painful episodes, | 0:20:21 | 0:20:24 | |
he would pinch himself all over. | 0:20:24 | 0:20:25 | |
And he noticed in the mirror the expressions that he would make, | 0:20:25 | 0:20:28 | |
and he decided to record what he referred to as | 0:20:28 | 0:20:30 | |
the 64 canonical grimaces of the human face with sculpture. | 0:20:30 | 0:20:34 | |
And he spent 11 years making those amazing heads. | 0:20:34 | 0:20:38 | |
But he had hallucinations, and he believed that he saw ghosts, | 0:20:38 | 0:20:41 | |
and he was much troubled, frankly. | 0:20:41 | 0:20:43 | |
I feel like that's the order of me waiting on a text back from a guy. | 0:20:43 | 0:20:47 | |
LAUGHTER | 0:20:47 | 0:20:49 | |
I love them, | 0:20:49 | 0:20:50 | |
because it's as though you can see inside the pain of somebody. | 0:20:50 | 0:20:53 | |
-I think they... -Did he do any cheerful ones? | 0:20:53 | 0:20:55 | |
-He wasn't given to... -Watching Morecambe and Wise. | 0:20:55 | 0:20:57 | |
Yeah, he wasn't really given to cheerfulness. | 0:20:57 | 0:20:59 | |
-How big are they? -They're proper busts, you know. -Right. | 0:20:59 | 0:21:02 | |
-There's... I mean, the man was a skilled Baroque sculptor. -Right. | 0:21:02 | 0:21:05 | |
And after his death, they were exhibited at the Citizens Hospital in Vienna. | 0:21:05 | 0:21:08 | |
You mentioned necromancy, he was very interested in that, | 0:21:08 | 0:21:10 | |
using magic to communicate with the dead, | 0:21:10 | 0:21:12 | |
it was one of the things that he was very interested in. | 0:21:12 | 0:21:14 | |
-He had a wide range of interests, didn't he, the fella? -Yeah. | 0:21:14 | 0:21:17 | |
He's sculpting faces, trying to depict mental illness, | 0:21:17 | 0:21:19 | |
-and still trying to summons up the dead. -Yeah. He was very busy. | 0:21:19 | 0:21:22 | |
-Where'd he find the time? -I know. | 0:21:22 | 0:21:24 | |
Now, time for mind-reading number two. | 0:21:24 | 0:21:28 | |
OK, so for this, I'm going to ask Aisling, please, to channel | 0:21:28 | 0:21:32 | |
Carol Vorderman for me, if you don't mind. | 0:21:32 | 0:21:35 | |
-Vr-o-o-o-p. -So here is a pen. | 0:21:35 | 0:21:37 | |
So you've got to hold it up so that everybody can see. | 0:21:37 | 0:21:40 | |
-Yes. -So maybe Alan can help you with that. | 0:21:40 | 0:21:42 | |
Well, I think I'm all right. | 0:21:42 | 0:21:44 | |
No, no, I mean hold it up so that the audience can see | 0:21:44 | 0:21:47 | |
what you're writing. | 0:21:47 | 0:21:48 | |
-Oh, I see what you mean. Yes. -LAUGHTER | 0:21:48 | 0:21:51 | |
-AMERICAN ACCENT: -Thank God I got this big strong man with me | 0:21:52 | 0:21:55 | |
to carry this heavy old board. | 0:21:55 | 0:21:57 | |
-Oh! -LAUGHTER | 0:21:57 | 0:21:59 | |
There's a gentleman wearing a T-shirt | 0:22:01 | 0:22:02 | |
that says "Love Is" something. | 0:22:02 | 0:22:04 | |
Any random number, please. | 0:22:04 | 0:22:06 | |
-Just single-digit number. -Eight. -It wasn't a difficult question. | 0:22:06 | 0:22:10 | |
-LAUGHTER -Eight. -He's gone eight. | 0:22:10 | 0:22:13 | |
-Write that down, please. -OK. | 0:22:13 | 0:22:15 | |
Just to warn you, you're going to write a three-digit number | 0:22:15 | 0:22:17 | |
and there's going to be quite a lot of numbers. | 0:22:17 | 0:22:19 | |
-So, eight. -Oh, dear God. LAUGHTER | 0:22:19 | 0:22:22 | |
Could you just start again? OK. | 0:22:29 | 0:22:31 | |
That was just me having a gentle laugh with you, Sandi. | 0:22:31 | 0:22:34 | |
I love it. There is... Let's go right up the back there, | 0:22:34 | 0:22:37 | |
first row at the very back. | 0:22:37 | 0:22:39 | |
-The blue shirt at the end? -Two. -Two, number two. | 0:22:39 | 0:22:42 | |
-OK, two. -OK, there we go. | 0:22:42 | 0:22:45 | |
-Squeaky. -Shut up, Debbie McGee! | 0:22:45 | 0:22:49 | |
And let's go over here, lady with a patterned top? | 0:22:49 | 0:22:51 | |
-Seven. -Seven. 827. OK. | 0:22:51 | 0:22:54 | |
-Whoa. -So what I want you to do now is reverse the digits underneath. | 0:22:54 | 0:22:58 | |
Oh, yes. Oh... | 0:22:59 | 0:23:02 | |
..but that's always going to be two in the middle. | 0:23:02 | 0:23:04 | |
Yeah, that's fine, keep going. | 0:23:04 | 0:23:05 | |
-That's still... -Put it upside down. | 0:23:05 | 0:23:07 | |
It's not really complicated, what I'm asking you to do. | 0:23:07 | 0:23:10 | |
-LAUGHTER -Yes, yes, yes. | 0:23:10 | 0:23:11 | |
Could you now subtract the smaller | 0:23:11 | 0:23:14 | |
number from the larger? | 0:23:14 | 0:23:15 | |
Right, yeah. OK, | 0:23:17 | 0:23:18 | |
so we're going to do this now. | 0:23:18 | 0:23:20 | |
SANDI LAUGHS | 0:23:20 | 0:23:22 | |
So we take eight from seven, just not possible, | 0:23:22 | 0:23:24 | |
I think we all know that. | 0:23:24 | 0:23:26 | |
OK. Yes, so we're going to do... | 0:23:26 | 0:23:30 | |
-Wow! -I mean, I'm in the arts, you see, so... | 0:23:30 | 0:23:33 | |
-Yeah. -It's just... -Nine, nine, nine! | 0:23:33 | 0:23:35 | |
-Um...um... -Stop saying "no" at me in German | 0:23:35 | 0:23:38 | |
-and tell me what this is. -LAUGHTER | 0:23:38 | 0:23:40 | |
-Nine. -Yeah, and then it's going to be nine again. | 0:23:41 | 0:23:43 | |
-And then this one comes down here... -It's going to be nine again. | 0:23:43 | 0:23:46 | |
So it's three from nine, God! | 0:23:46 | 0:23:47 | |
So I need to have three numbers, so put a zero now please. | 0:23:47 | 0:23:50 | |
So you have three numbers. | 0:23:50 | 0:23:52 | |
Now reverse those digits, please. | 0:23:52 | 0:23:54 | |
-Zero... -Always nine. | 0:23:54 | 0:23:57 | |
And please could you add them together? | 0:23:57 | 0:23:59 | |
-Um... -LAUGHTER | 0:23:59 | 0:24:03 | |
-So, 18. -No. So... LAUGHTER | 0:24:03 | 0:24:06 | |
-So nine and zero, start again. -Oh! | 0:24:07 | 0:24:10 | |
Nine and zero is nine. Nine and nine is eight, carry one. | 0:24:10 | 0:24:13 | |
-18. -So the answer is...? -1,089. | 0:24:13 | 0:24:16 | |
OK, so we've come to 1,089. OK, thank you very much. | 0:24:16 | 0:24:18 | |
AISLING SIGHS Wow, that was painful. | 0:24:18 | 0:24:21 | |
CHEERING AND APPLAUSE Really painful. | 0:24:21 | 0:24:23 | |
So what was the number that we had? We had 1,089. | 0:24:26 | 0:24:29 | |
So, Noel, I'm going to pass you a copy of 1,342 QI Facts | 0:24:29 | 0:24:33 | |
To Leave You Flabbergasted. LAUGHTER | 0:24:33 | 0:24:37 | |
-Noel? -Yes? -Could you, let's see, 1089, | 0:24:37 | 0:24:41 | |
take the tenth word on page 89 | 0:24:41 | 0:24:44 | |
-and tell me what it is. -Yeah. | 0:24:44 | 0:24:46 | |
-What is it? -French. | 0:24:46 | 0:24:48 | |
French. Here is the envelope that I did earlier. | 0:24:48 | 0:24:52 | |
-And there is the word French. -No! -APPLAUSE AND CHEERING | 0:24:52 | 0:24:56 | |
-Whoa! -Isn't that fab? -That's a very good trick. | 0:25:03 | 0:25:08 | |
-I mean, that's nuts. -Yeah. | 0:25:08 | 0:25:09 | |
I feel like you've taken Bake Off, you've taken QI, | 0:25:09 | 0:25:11 | |
-and now, you're going to take Derren Brown shows. -Yeah. | 0:25:11 | 0:25:14 | |
-It's over, Brown. -Amazing. | 0:25:14 | 0:25:15 | |
Sandi, you clearly are Satan born again, show me | 0:25:15 | 0:25:17 | |
-the correct greeting once more. -LAUGHTER | 0:25:17 | 0:25:22 | |
APPLAUSE | 0:25:22 | 0:25:25 | |
I'm ready. | 0:25:26 | 0:25:28 | |
And the powers it will surely imbue. | 0:25:28 | 0:25:30 | |
Anyway, thank you very much to our audience, | 0:25:32 | 0:25:35 | |
and very well done to Carol, there. Very good. | 0:25:35 | 0:25:37 | |
APPLAUSE | 0:25:37 | 0:25:38 | |
-Why was...? -Yeah? | 0:25:41 | 0:25:43 | |
Why was six afraid of seven? | 0:25:43 | 0:25:45 | |
I don't know. | 0:25:45 | 0:25:46 | |
Because seven ATE nine. | 0:25:46 | 0:25:47 | |
LAUGHTER | 0:25:47 | 0:25:49 | |
And that's brought us right back to the level... | 0:25:49 | 0:25:52 | |
..that we're normally used to. | 0:25:52 | 0:25:54 | |
-Does anybody want to know how I did it? -Yes. | 0:25:54 | 0:25:56 | |
Nah, I'm not telling. | 0:25:56 | 0:25:57 | |
Can you tell me the final title in Shakespeare's oeuvre? | 0:25:59 | 0:26:03 | |
-Anybody know? -He was very cranial, wasn't he? | 0:26:03 | 0:26:06 | |
-Big forehead. -Yes. Receding. | 0:26:06 | 0:26:07 | |
Really, you'd like to hit him with a teaspoon. | 0:26:07 | 0:26:10 | |
Dip a soldier in him. | 0:26:10 | 0:26:12 | |
It would come out with sonnets on it. | 0:26:13 | 0:26:15 | |
The sonnets would be in his mind in the form of a fluid | 0:26:17 | 0:26:19 | |
that you could access with soldiers. | 0:26:19 | 0:26:22 | |
He is a genius. Make him a saint, or should we? | 0:26:22 | 0:26:26 | |
I'm hungry and Noel's hungry too. | 0:26:28 | 0:26:30 | |
Has anyone got a banana? | 0:26:31 | 0:26:33 | |
Someone's usually got a banana. | 0:26:33 | 0:26:35 | |
Has anybody got a banana? | 0:26:35 | 0:26:37 | |
-There, that lady's got one. -Is that mind-reading? | 0:26:37 | 0:26:39 | |
-Yes. -There it is. -Oh, yes. | 0:26:39 | 0:26:42 | |
-NOEL: -Don't throw it! -Two people have got bananas! | 0:26:42 | 0:26:45 | |
There's two bananas. How many...? | 0:26:45 | 0:26:46 | |
Can we do a whole hand of bananas amongst all the audience? | 0:26:46 | 0:26:49 | |
I've never stopped to have a banana during the show. | 0:26:49 | 0:26:52 | |
That's never been... | 0:26:52 | 0:26:53 | |
Why has the whole audience got bananas? | 0:26:53 | 0:26:56 | |
LAUGHTER AND APPLAUSE | 0:26:58 | 0:27:01 | |
Has anyone got a bit of toast with Marmite on it? | 0:27:02 | 0:27:05 | |
LAUGHTER | 0:27:05 | 0:27:06 | |
Never mind that, who's got a Scotch? | 0:27:06 | 0:27:08 | |
Seriously. LAUGHTER | 0:27:08 | 0:27:09 | |
Do you feel better now? | 0:27:09 | 0:27:10 | |
Yeah, thank you. It was starting to affect my consciousness. | 0:27:10 | 0:27:14 | |
Well, the good thing is, it didn't show, so... | 0:27:14 | 0:27:16 | |
LAUGHTER | 0:27:16 | 0:27:18 | |
I once spent a whole day in Stratford | 0:27:18 | 0:27:20 | |
trying to ask everybody how Shakespeare died. | 0:27:20 | 0:27:23 | |
And they don't like to tell you. | 0:27:23 | 0:27:24 | |
Does anybody know how Shakespeare died? | 0:27:24 | 0:27:26 | |
-NOEL: -Kissing Satan's arse. | 0:27:26 | 0:27:28 | |
LAUGHTER | 0:27:28 | 0:27:29 | |
Someone cracked his head and put a soldier in it. | 0:27:29 | 0:27:32 | |
Well, it gives it away that he was born and died on the same day. | 0:27:32 | 0:27:35 | |
-April 23rd. -April 23rd. He was born and died on the same... | 0:27:35 | 0:27:38 | |
Oh, something happened with his birthday cake. | 0:27:38 | 0:27:40 | |
We think he possibly had too much to drink on his birthday! | 0:27:40 | 0:27:43 | |
# Happy birthday to you! # | 0:27:43 | 0:27:45 | |
LAUGHTER | 0:27:45 | 0:27:46 | |
-Yeah, it killed him. NOEL: -Wow, that's a lot to drink. | 0:27:47 | 0:27:49 | |
I know, but they don't like to say, "Oh, yeah, drunk on his birthday." | 0:27:49 | 0:27:52 | |
They don't want to say, "You know Shakespeare - lightweight!" | 0:27:52 | 0:27:55 | |
Yeah, really, yeah. | 0:27:55 | 0:27:56 | |
-Come on. Last work authored by Shakespeare? -Tempest, ain't it? | 0:27:56 | 0:27:59 | |
-The Tempest. -Oh. -BELLS RING, KLAXON HOOTS | 0:27:59 | 0:28:03 | |
-No. -You've been in that? | 0:28:03 | 0:28:05 | |
Is it definitely a play, or could it have been a poem? | 0:28:06 | 0:28:09 | |
It's not a play, it is a work authored by Shakespeare. | 0:28:09 | 0:28:12 | |
Did he have a diary or something? | 0:28:12 | 0:28:14 | |
I can tell you it was written in 1920. | 0:28:14 | 0:28:16 | |
-OK... -Yeah. And we're doing the occult. | 0:28:17 | 0:28:19 | |
-Did someone channel him? -That's exactly right. | 0:28:19 | 0:28:21 | |
-That's what they used to do, didn't they? -According to a wonderful book | 0:28:21 | 0:28:24 | |
called Essential Cataloguing: The Basics, it's the guide | 0:28:24 | 0:28:27 | |
followed by the British Library and the US Library of Congress, | 0:28:27 | 0:28:29 | |
books written by authors after their death | 0:28:29 | 0:28:31 | |
are still catalogued under their own name. | 0:28:31 | 0:28:34 | |
So his last work, published in 1920, | 0:28:34 | 0:28:36 | |
The Book For Him I Name For Jesus' Sake, | 0:28:36 | 0:28:39 | |
by William Shakespeare (spirit)... | 0:28:39 | 0:28:42 | |
LAUGHTER | 0:28:42 | 0:28:43 | |
-Wow. -..is in fact the last listed work by William Shakespeare | 0:28:43 | 0:28:46 | |
in the British Library. | 0:28:46 | 0:28:47 | |
So, the royalties of that go to his family? | 0:28:47 | 0:28:49 | |
Sadly not, I think they go to Sarah Taylor Shatford, who wrote it. | 0:28:49 | 0:28:52 | |
-Shatford? -Shatford. LAUGHTER | 0:28:52 | 0:28:55 | |
She deserves some cash. | 0:28:55 | 0:28:57 | |
Mark Twain wrote a book seven years after his death entitled | 0:28:57 | 0:28:59 | |
Jap Herron: A Novel Written From The Ouija Board. | 0:28:59 | 0:29:03 | |
And noted spiritualist and dead person Sir Arthur Conan Doyle | 0:29:03 | 0:29:05 | |
got in touch in 1983 to write The Great Mystery of Life Beyond Death. | 0:29:05 | 0:29:10 | |
Are these all by a Ouija board, or are some of them | 0:29:10 | 0:29:12 | |
with automatic writing? That was a thing, wasn't it? | 0:29:12 | 0:29:14 | |
Some of them are automatic writing, so they're a kind of a mix. | 0:29:14 | 0:29:16 | |
That is a weird Ouija board scenario, | 0:29:16 | 0:29:19 | |
that's a gingham shirt and they're clearly on public transport. | 0:29:19 | 0:29:21 | |
LAUGHTER | 0:29:21 | 0:29:24 | |
First we summons the dead, then a hoedown. | 0:29:24 | 0:29:26 | |
And Thomas Edison, too, he tried to invent a spirit telephone. | 0:29:28 | 0:29:31 | |
He revealed it in 1920 and then he denied it in 1926, | 0:29:31 | 0:29:34 | |
saying he was playing a joke. | 0:29:34 | 0:29:35 | |
But, in fact, after he died, they discovered | 0:29:35 | 0:29:37 | |
The Diary And Sundry Observations Of Thomas Edison, | 0:29:37 | 0:29:40 | |
and it does talk about him trying to use a valve | 0:29:40 | 0:29:42 | |
to amplify and capture voices of spirits. It wasn't really a joke. | 0:29:42 | 0:29:45 | |
But it's no sillier than anything else. | 0:29:45 | 0:29:46 | |
-Like you were saying, we do want to believe in magic. -Yeah. | 0:29:46 | 0:29:49 | |
I remember this blind lady who came to Dublin, | 0:29:49 | 0:29:51 | |
and she said that she could talk to the dead. | 0:29:51 | 0:29:53 | |
And it's really odd, because you do get swept away by it. | 0:29:53 | 0:29:56 | |
Because she starts feeling people out, and you all get swept up, | 0:29:56 | 0:29:58 | |
-thinking it could be... -Yeah. Cos you want to believe it. -You want to believe it. -Sure. | 0:29:58 | 0:30:02 | |
Everyone in the room is there because they want to believe. | 0:30:02 | 0:30:04 | |
No-one's a true sceptic, I think, if they're in the room. | 0:30:04 | 0:30:06 | |
There was a very famous Irish medium called Geraldine Cummins, | 0:30:06 | 0:30:09 | |
and my great aunt, Signe Toksvig, edited her book of automatic writing. | 0:30:09 | 0:30:11 | |
So there's my Aunt Signe and her husband. | 0:30:11 | 0:30:13 | |
And she wrote a book called Swan On A Black Sea, | 0:30:13 | 0:30:15 | |
it's all about automatic writing. | 0:30:15 | 0:30:17 | |
-Anyway, Signe... -Automatic writing, quickly, is...? | 0:30:17 | 0:30:19 | |
-Is when you just sit down with a pen... -And you're channelling a spirit. | 0:30:19 | 0:30:22 | |
And you're channelling the spirit, and the spirit is telling you what to write. | 0:30:22 | 0:30:25 | |
-Oh. -Like when you was doing that maths. -Yeah. | 0:30:25 | 0:30:27 | |
LAUGHTER | 0:30:27 | 0:30:28 | |
Just like that. | 0:30:28 | 0:30:29 | |
Anyway, when Signe died, she left very clear instructions | 0:30:29 | 0:30:33 | |
for the family, how we were to contact her after death. | 0:30:33 | 0:30:36 | |
So my mother very kindly did exactly what she said, | 0:30:36 | 0:30:38 | |
and she went along to meet this particular woman, | 0:30:38 | 0:30:40 | |
who was apparently very good at getting in touch with the dead. | 0:30:40 | 0:30:43 | |
And the woman said... So, this is my father's side of the family, | 0:30:43 | 0:30:46 | |
but it's my mother who's gone, right. | 0:30:46 | 0:30:47 | |
"I'm seeing an old lady and she's sitting, | 0:30:47 | 0:30:49 | |
"she's got her cup of tea in one hand | 0:30:49 | 0:30:51 | |
"and a piece of cheese in the other." | 0:30:51 | 0:30:53 | |
And my mother went, "Oh, my God, that's MY grandmother." | 0:30:53 | 0:30:56 | |
And the woman went, "Oh, isn't it typical? | 0:30:56 | 0:30:58 | |
"You finally get through and you get the wrong old woman!" | 0:30:58 | 0:31:00 | |
LAUGHTER | 0:31:00 | 0:31:02 | |
Look at that jumper. That's automatic knitting, right there. | 0:31:02 | 0:31:06 | |
LAUGHTER | 0:31:06 | 0:31:07 | |
William Shakespeare's last work was written | 0:31:07 | 0:31:09 | |
through the medium of a medium. | 0:31:09 | 0:31:11 | |
What did the yoghurt say to the CIA interrogator? | 0:31:11 | 0:31:15 | |
Probably saying, "This will get rid of your thrush in two days." | 0:31:15 | 0:31:18 | |
LAUGHTER | 0:31:18 | 0:31:20 | |
So, there was an interrogation specialist for the CIA. | 0:31:21 | 0:31:25 | |
He's the man who's claimed to have founded the agency's polygraph programme. | 0:31:25 | 0:31:28 | |
He's called Cleve Backster. | 0:31:28 | 0:31:30 | |
And in 1966, on a rather strange whim, | 0:31:30 | 0:31:33 | |
he hooked up a house plant to a lie detector. | 0:31:33 | 0:31:36 | |
And here he is, doing it. | 0:31:36 | 0:31:38 | |
And he was looking for an anxiety response, so he got a match, | 0:31:38 | 0:31:41 | |
and he didn't actually set fire to the leaf, | 0:31:41 | 0:31:43 | |
he just thought about doing it. | 0:31:43 | 0:31:44 | |
And he said the levels on the lie detector suddenly spiked, OK. | 0:31:44 | 0:31:48 | |
And he took this as a sign | 0:31:48 | 0:31:50 | |
that plants had what he called primary perception. | 0:31:50 | 0:31:53 | |
In other words, they were sentient, almost as if they had ESP. | 0:31:53 | 0:31:55 | |
This caused a sensation, and he expanded his research further, | 0:31:55 | 0:31:58 | |
and he hooked up the polygraph machine to lettuce, to onions, | 0:31:58 | 0:32:01 | |
to oranges, bananas, chicken, eggs, | 0:32:01 | 0:32:03 | |
sperm... | 0:32:03 | 0:32:05 | |
-..and yoghurt. -Very chatty. -Never shuts up. -Yeah. | 0:32:05 | 0:32:08 | |
It says here, "One sample of yoghurt, for example, | 0:32:08 | 0:32:11 | |
"will react when another is being fed, as if to say, | 0:32:11 | 0:32:13 | |
"'That one's getting food, where's mine?'" | 0:32:13 | 0:32:16 | |
LAUGHTER | 0:32:16 | 0:32:17 | |
He was absolutely convinced of this, | 0:32:17 | 0:32:19 | |
and his assertions basically hindered science for years. | 0:32:19 | 0:32:23 | |
Now, what's the worst omen you can see on a football pitch? | 0:32:23 | 0:32:27 | |
-An omen? -Yeah. Are footballers superstitious? | 0:32:27 | 0:32:31 | |
-Yes! -Is it a young woman with a list of allegations? | 0:32:31 | 0:32:34 | |
LAUGHTER AND APPLAUSE | 0:32:34 | 0:32:37 | |
But is there something about the markings on the field | 0:32:42 | 0:32:44 | |
that are significant to occultists? | 0:32:44 | 0:32:47 | |
It's to do with the many superstitions | 0:32:47 | 0:32:49 | |
that are associated with football. 1990 World Cup... | 0:32:49 | 0:32:52 | |
-Right. -..there was an Argentine goalkeeper called Sergio Goycochea. | 0:32:52 | 0:32:56 | |
Did he have a body part of an animal or something in the goal net? | 0:32:56 | 0:32:59 | |
No, what happened to him was, Argentina's quarterfinal | 0:32:59 | 0:33:02 | |
was against Yugoslavia, and it ended in a draw, which meant? | 0:33:02 | 0:33:05 | |
-Penalty shoot-out. -They had to do a penalty shoot-out. | 0:33:05 | 0:33:08 | |
He needed to wee, but he wasn't allowed to leave the field. | 0:33:08 | 0:33:11 | |
So his team-mates surrounded him | 0:33:11 | 0:33:12 | |
and he had a wee and he then blocked two penalty shots. | 0:33:12 | 0:33:15 | |
So, the coach thought this was a marvellous thing, | 0:33:15 | 0:33:18 | |
took it as an omen, | 0:33:18 | 0:33:19 | |
and he went on to urinate on the field again, with his team-mates | 0:33:19 | 0:33:23 | |
around him, before the semifinal penalty shoot-out against Italy. | 0:33:23 | 0:33:26 | |
He blocked two shots and they went on into the finals, | 0:33:26 | 0:33:29 | |
but they lost the finals against West Germany, because...? | 0:33:29 | 0:33:31 | |
-He didn't urinate. -He didn't wee, because...? | 0:33:31 | 0:33:34 | |
-It didn't go to a shoot-out. -It didn't go to a shoot-out. | 0:33:34 | 0:33:36 | |
But wasn't Germany's winning goal a penalty? | 0:33:36 | 0:33:38 | |
It was a late penalty and it was in the main body of the game, | 0:33:38 | 0:33:41 | |
-so he didn't have time to wee. -Didn't have time for a wee. -No. | 0:33:41 | 0:33:43 | |
When they stood around him, did they look in or out, do you know? | 0:33:43 | 0:33:47 | |
Do you know, I always think I've got all the information | 0:33:47 | 0:33:50 | |
I need for this show. | 0:33:50 | 0:33:51 | |
Do you think he was a bit self-conscious? | 0:33:51 | 0:33:53 | |
-His team-mates around him. -Well, because he might have been wearing somebody else's underpants - | 0:33:53 | 0:33:57 | |
apparently that's a very common footballer thing, | 0:33:57 | 0:34:00 | |
is that they swap underpants. Some of them wear them inside out. | 0:34:00 | 0:34:02 | |
-They do not! -Yeah. | 0:34:02 | 0:34:04 | |
Was it Barry Fry who weed in all four corners of the ground? | 0:34:04 | 0:34:06 | |
-Do you remember that? -Yes, I believe that is a fact, | 0:34:06 | 0:34:09 | |
that Barry Fry, whilst manager of Birmingham, | 0:34:09 | 0:34:11 | |
perhaps, weed in every corner of the ground. | 0:34:11 | 0:34:14 | |
I thought you said Barry Cryer! | 0:34:14 | 0:34:16 | |
No, not Barry Cryer. | 0:34:16 | 0:34:19 | |
He's weed in all four corners of the Just A Minute studio. | 0:34:19 | 0:34:22 | |
Yeah, just for that. | 0:34:22 | 0:34:24 | |
And he thought... No, it was a superstitious thing. | 0:34:24 | 0:34:26 | |
-NOEL: -During the game? -No, I think he did it in his own time. | 0:34:26 | 0:34:30 | |
Birmingham City Football Club had a belief for a while | 0:34:30 | 0:34:33 | |
that they were cursed by gypsies evacuated from the ground in 1906. | 0:34:33 | 0:34:37 | |
I was just worried about the men | 0:34:37 | 0:34:39 | |
who do the grass for the football pitches, | 0:34:39 | 0:34:41 | |
if everyone's weeing on them all the time. | 0:34:41 | 0:34:43 | |
-Yes, it's going to go a horrible colour. -It's going to go a horrible colour. | 0:34:43 | 0:34:46 | |
So, big shout-out to those guys at home listening, we feel your pain. | 0:34:46 | 0:34:48 | |
No, no, that's dogs, that do that. | 0:34:48 | 0:34:50 | |
I don't know, I've left some crazy marks on some exes' lawns. | 0:34:50 | 0:34:53 | |
LAUGHTER | 0:34:53 | 0:34:55 | |
Does this photo go back to the times where you had to | 0:34:56 | 0:34:59 | |
blow the ball up before the match? | 0:34:59 | 0:35:00 | |
Now, it's time for the ritual sacrifice of rationality | 0:35:02 | 0:35:05 | |
that we call General Ignorance. | 0:35:05 | 0:35:07 | |
Fingers on buzzers, please. Take a look at this. | 0:35:07 | 0:35:11 | |
This is Tommaso, the world's richest cat. | 0:35:11 | 0:35:13 | |
According to legend, how many lives does he have? | 0:35:13 | 0:35:16 | |
-Well, now, usually, they have... -Yes? | 0:35:16 | 0:35:19 | |
-..one less than ten. -Yes? LAUGHTER | 0:35:19 | 0:35:22 | |
BELLS RING KLAXON WAILS | 0:35:22 | 0:35:25 | |
That isn't fair! I was being so clever. | 0:35:26 | 0:35:30 | |
So, I can tell you that he is Italian, and that has a bearing. | 0:35:30 | 0:35:34 | |
-He's Italian? That cat? -Yes. -Where's his mouth? | 0:35:34 | 0:35:37 | |
So, why would it matter that he's Italian? | 0:35:39 | 0:35:41 | |
Why would that make a difference? | 0:35:41 | 0:35:42 | |
Because he has got so many past-a lives. | 0:35:42 | 0:35:45 | |
COLLECTIVE GROAN | 0:35:45 | 0:35:48 | |
Look, that is actually professional comedy you just witnessed. | 0:35:48 | 0:35:51 | |
LAUGHTER | 0:35:51 | 0:35:53 | |
Are they superstitious, Italians, about cats? | 0:35:53 | 0:35:55 | |
Yeah, but the number of lives that a cat has in superstition | 0:35:55 | 0:35:58 | |
varies from culture to culture. | 0:35:58 | 0:35:59 | |
So the Italians believe it is seven. | 0:35:59 | 0:36:01 | |
In Turkish and Arabic tradition, it's six. | 0:36:01 | 0:36:04 | |
Germany, Greece, Brazil, | 0:36:04 | 0:36:05 | |
a few Spanish-speaking places, it's seven as well. We have nine. | 0:36:05 | 0:36:08 | |
Tommaso is possibly just one of the world's richest cats. | 0:36:08 | 0:36:11 | |
He was a stray adopted by an elderly Italian woman named | 0:36:11 | 0:36:14 | |
Maria Assunta, and when she died in 2011, she bequeathed him | 0:36:14 | 0:36:18 | |
13,000,000 | 0:36:18 | 0:36:20 | |
to make sure he would be loved and cuddled. | 0:36:20 | 0:36:24 | |
I would totally do it, and I don't like cats. I'm... | 0:36:24 | 0:36:27 | |
I'd sit at the bottom of an old man's bed | 0:36:27 | 0:36:30 | |
and drink milk naked for 13,000,000. | 0:36:30 | 0:36:32 | |
-For probably 20 quid. -Just for 20... | 0:36:32 | 0:36:34 | |
Why do so many cultures have an idea that cats always come back? | 0:36:36 | 0:36:39 | |
It's more they're cheating death, isn't that the thing? | 0:36:39 | 0:36:42 | |
-Yeah, they cheat death. -They fall off a roof and they walk away. | 0:36:42 | 0:36:44 | |
Lots of people think that they... | 0:36:44 | 0:36:46 | |
-But, if you put them in a tumble dryer, they will die. -They will. | 0:36:46 | 0:36:48 | |
-LAUGHTER -Eventually. | 0:36:48 | 0:36:51 | |
On the ninth time. "He's still alive! | 0:36:53 | 0:36:56 | |
-"Go again!" -This is the eighth cycle! | 0:36:56 | 0:36:59 | |
"I can't even touch him, he's so hot! | 0:37:01 | 0:37:04 | |
"Arrgh, boof!" | 0:37:04 | 0:37:06 | |
"Meow, bang, meow, bang." | 0:37:06 | 0:37:08 | |
-NOEL: -Can you put my socks in with it? | 0:37:10 | 0:37:12 | |
Cats are sometimes associated with bad luck, | 0:37:12 | 0:37:14 | |
but naval traditional generally believes they protect vessels, | 0:37:14 | 0:37:17 | |
and that even extended to airships. | 0:37:17 | 0:37:18 | |
So the America was a dirigible, it was built in 1906, | 0:37:18 | 0:37:22 | |
for a newsman called Walter Wellman. | 0:37:22 | 0:37:24 | |
He was trying to reach the North Pole. | 0:37:24 | 0:37:26 | |
And they brought along a cat called Kiddo, and it was a mascot. | 0:37:26 | 0:37:29 | |
And Kiddo hated being on a dirigible, | 0:37:29 | 0:37:32 | |
and he just skittered all over the place. | 0:37:32 | 0:37:34 | |
He loathed it. | 0:37:34 | 0:37:36 | |
What's interesting about the America, | 0:37:36 | 0:37:38 | |
it was the very first airborne vessel to be fitted with a radio. | 0:37:38 | 0:37:42 | |
And the first-ever air-to-ground radio communication from an aircraft was, | 0:37:42 | 0:37:47 | |
"Roy, come and get this goddamn cat!" | 0:37:47 | 0:37:50 | |
LAUGHTER | 0:37:50 | 0:37:52 | |
And the second one was that bloke in the back going, | 0:37:52 | 0:37:55 | |
"I've lost half my glasses." | 0:37:55 | 0:37:57 | |
LAUGHTER | 0:37:57 | 0:37:59 | |
Now, what should you use to make a traditional jack-o'-lantern? | 0:38:02 | 0:38:07 | |
-NOEL: -Pumpkin. | 0:38:07 | 0:38:08 | |
BELL RINGS KLAXON BLARES | 0:38:08 | 0:38:11 | |
No, it's not a pumpkin. | 0:38:12 | 0:38:14 | |
EVIL GIGGLING Yes? | 0:38:14 | 0:38:15 | |
A turnip. | 0:38:15 | 0:38:17 | |
A turnip is exactly right. Yes, very good. | 0:38:17 | 0:38:19 | |
So turnips there on the left, and if you can't get a turnip, | 0:38:19 | 0:38:21 | |
something called a mangelwurzel, which is on the right. | 0:38:21 | 0:38:24 | |
And if you go to south Somerset, | 0:38:24 | 0:38:25 | |
the last Thursday of October every year, they have Punkie Night, | 0:38:25 | 0:38:28 | |
which is celebrated, | 0:38:28 | 0:38:29 | |
and the children carry around lanterns called punkies, | 0:38:29 | 0:38:31 | |
and those are hollowed-out mangelwurzels. | 0:38:31 | 0:38:34 | |
Do you know where the tradition of Halloween comes from? | 0:38:34 | 0:38:37 | |
-I'm looking at Aisling. -Best country in the world, Sandi. | 0:38:37 | 0:38:40 | |
-Denmark. -Oh, no. -No? | 0:38:40 | 0:38:43 | |
Ireland, it came from Ireland, from Samhain, S-A-M-H-A-I-N, | 0:38:43 | 0:38:47 | |
which is Halloween, All Hallows Eve, we celebrate our dead. | 0:38:47 | 0:38:51 | |
How do you say it? Because it looks like sam-hain. | 0:38:51 | 0:38:53 | |
-Yeah, sow-an. -Sow-an. -Samhain. | 0:38:53 | 0:38:55 | |
-Just haven't got time to say the whole thing properly. -Yeah. Very busy people. | 0:38:55 | 0:38:58 | |
So it's actually about respecting the dead | 0:38:58 | 0:39:00 | |
and letting them all hang around, | 0:39:00 | 0:39:02 | |
and then, the next day, they get buried, | 0:39:02 | 0:39:04 | |
so the first of November is where... It's All Saints' Day. | 0:39:04 | 0:39:06 | |
But it's all over the world. | 0:39:06 | 0:39:07 | |
In England, they used to carve turnips into something | 0:39:07 | 0:39:10 | |
rather similar called Hoberdy's Lantern, and put them on... | 0:39:10 | 0:39:12 | |
LAUGHTER | 0:39:12 | 0:39:13 | |
That looks like someone had an infection after a long weekend. | 0:39:13 | 0:39:16 | |
-Yeah. NOEL: -That is... | 0:39:16 | 0:39:18 | |
-You can see why they moved on to pumpkins. -Yeah. | 0:39:18 | 0:39:20 | |
So, the first jack-o'-lanterns were carved from turnips. | 0:39:22 | 0:39:25 | |
Now, I've got each of you some magic sticks, | 0:39:25 | 0:39:28 | |
but I want you to tell me which of these sticks is a wand. | 0:39:28 | 0:39:33 | |
So I'm going to give this one to Aisling, there we go. | 0:39:33 | 0:39:36 | |
I am going to give this one to Noel. | 0:39:36 | 0:39:41 | |
-There we go. -That's it. | 0:39:41 | 0:39:43 | |
I'm going to give this one to Russell. | 0:39:43 | 0:39:45 | |
Oh, they're getting bigger and bigger. There we go. | 0:39:45 | 0:39:48 | |
And, ah. LAUGHTER | 0:39:48 | 0:39:51 | |
That's for Alan. | 0:39:51 | 0:39:53 | |
-Aw. -Actually, I've got two for you. | 0:39:53 | 0:39:55 | |
You can have that one, as well. | 0:39:55 | 0:39:57 | |
-Anybody know what a wand used to be? -A walking stick? | 0:39:57 | 0:40:00 | |
It's a unit of length. | 0:40:00 | 0:40:02 | |
This was originally equivalent to a modern metre. | 0:40:02 | 0:40:05 | |
So, in fact, Aisling has the original wand. | 0:40:05 | 0:40:07 | |
Ooph! LAUGHTER | 0:40:09 | 0:40:12 | |
Now, they're all old lengths. | 0:40:14 | 0:40:16 | |
So, Noel, you've got something, it's called an "ars." | 0:40:16 | 0:40:19 | |
LAUGHTER | 0:40:19 | 0:40:21 | |
It's an old Turkish unit meaning forearm. | 0:40:21 | 0:40:23 | |
So, you know in the Bible, it says Noah builds the ark using cubits? | 0:40:23 | 0:40:26 | |
-Yes, by cubits. -That's that measure. That's the one you've got there. | 0:40:26 | 0:40:29 | |
-OK. -And the one you've got, Russell, is Mongolian, it's an "ald", | 0:40:29 | 0:40:32 | |
so it's the width of a man's arms outstretched. | 0:40:32 | 0:40:34 | |
It was used in the time of Genghis Khan. | 0:40:34 | 0:40:36 | |
I don't know if your arms would be the same as that span? | 0:40:36 | 0:40:38 | |
Yeah. So it's roughly about... | 0:40:38 | 0:40:40 | |
In his own world, with Genghis and his army, | 0:40:40 | 0:40:41 | |
out there on the plains, fighting on horseback, bows and arrows, | 0:40:41 | 0:40:44 | |
up against the Chinese, why the hell not? | 0:40:44 | 0:40:46 | |
What else are you going to do, just sit quietly? | 0:40:46 | 0:40:48 | |
To hell with it, we've got me wand, I'm off out there. | 0:40:48 | 0:40:51 | |
LAUGHTER | 0:40:51 | 0:40:52 | |
-Alan, your little one is actually a measure. -Oh. | 0:40:54 | 0:40:57 | |
It's a pyramid inch, which briefly in the 19th century | 0:40:57 | 0:41:00 | |
they believed was the measure that had been used by the Egyptians | 0:41:00 | 0:41:03 | |
to build their pyramids. And it was a sort of sacred measure. | 0:41:03 | 0:41:05 | |
The theory in fact fell out of popularity in 1880. | 0:41:05 | 0:41:07 | |
The Egyptologist Flinders Petrie re-measured and thought it wasn't quite... | 0:41:07 | 0:41:11 | |
The other one you've got, Alan, is a Scandinavian measure, | 0:41:11 | 0:41:13 | |
and do you know what it's called? It's 60cm long. | 0:41:13 | 0:41:15 | |
A...er... No. | 0:41:15 | 0:41:18 | |
-It's called an "alen." -Aw. | 0:41:20 | 0:41:22 | |
-Is it? -None of them are in fact magic wands. | 0:41:22 | 0:41:25 | |
Does anybody know what you have to say in order to get a magic wand? | 0:41:25 | 0:41:28 | |
Please. | 0:41:28 | 0:41:29 | |
-GASPING -Ah! Ah! | 0:41:29 | 0:41:32 | |
-She's a witch! Witch! -APPLAUSE | 0:41:32 | 0:41:35 | |
-That was genuinely alarming. -Genuinely. | 0:41:37 | 0:41:40 | |
Which brings us to the hellfire and damnation of the scores, | 0:41:40 | 0:41:43 | |
and, oh, my. Last place, with minus 17 - | 0:41:43 | 0:41:47 | |
Noel Fielding. APPLAUSE AND CHEERING | 0:41:47 | 0:41:49 | |
In a very creditable third place - | 0:41:52 | 0:41:55 | |
Russell! | 0:41:55 | 0:41:57 | |
CHEERING AND APPLAUSE | 0:41:57 | 0:41:59 | |
In second place, with minus two - | 0:42:02 | 0:42:04 | |
it's Alan! | 0:42:04 | 0:42:06 | |
CHEERING AND APPLAUSE | 0:42:06 | 0:42:10 | |
And that means... | 0:42:10 | 0:42:11 | |
SHE GASPS | 0:42:11 | 0:42:13 | |
Oh, my God! | 0:42:13 | 0:42:14 | |
This week, I've won! No, it means... | 0:42:14 | 0:42:17 | |
..with no points at all, this week's winner is Aisling. | 0:42:17 | 0:42:22 | |
CHEERING AND APPLAUSE | 0:42:22 | 0:42:25 | |
And that means that Aisling is the winner | 0:42:31 | 0:42:33 | |
of tonight's objectionable object. | 0:42:33 | 0:42:35 | |
This is the skull of one of the QI researchers, as a matter of fact. | 0:42:35 | 0:42:39 | |
So, there you are, Aisling, there is your object to take home. | 0:42:39 | 0:42:42 | |
-Oh, goodness me. -Is it a real skull? | 0:42:42 | 0:42:43 | |
-Yes, of course, darling, look at the size of it. -Oh. | 0:42:43 | 0:42:46 | |
Just... Your biology as good as your maths. | 0:42:46 | 0:42:49 | |
LAUGHTER | 0:42:49 | 0:42:52 | |
Thank you to Russell, Noel, Aisling and Alan. | 0:42:52 | 0:42:55 | |
And I leave you with this - | 0:42:55 | 0:42:57 | |
the great French zoologist Georges Cuvier was irritatingly logical. | 0:42:57 | 0:43:01 | |
One day, to teach him a lesson, | 0:43:01 | 0:43:02 | |
a colleague broke into his bedroom dressed as a devil with | 0:43:02 | 0:43:05 | |
horns on his head, and shouted, "Mr Cuvier, I'm going to eat you!" | 0:43:05 | 0:43:08 | |
To which he replied, | 0:43:08 | 0:43:09 | |
"All animals with horns and hooves are herbivorous." | 0:43:09 | 0:43:12 | |
And he went back to sleep. LAUGHTER | 0:43:12 | 0:43:14 | |
Thank you and good night. | 0:43:14 | 0:43:16 | |
APPLAUSE | 0:43:16 | 0:43:17 |