Browse content similar to Episode 6. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
CHEERING AND APPLAUSE | 0:00:14 | 0:00:19 | |
Good evening, welcome to Would I Lie To You?, | 0:00:22 | 0:00:24 | |
the show that sorts the facts from the fibs. | 0:00:24 | 0:00:28 | |
On David Mitchell's team tonight, | 0:00:28 | 0:00:30 | |
a comedian who admits to being | 0:00:30 | 0:00:32 | |
a huge hypochondriac - or at least that's what he thinks he is, | 0:00:32 | 0:00:36 | |
but what if it's something worse? Please welcome Joe Lycett. | 0:00:36 | 0:00:40 | |
CHEERING AND APPLAUSE | 0:00:40 | 0:00:42 | |
And a guest who called his first tour Who Is Nish Kumar? | 0:00:42 | 0:00:48 | |
and his second tour, Nish Kumar Is A Comedian. | 0:00:48 | 0:00:51 | |
Please welcome... He's spoilt the introduction, hasn't he? | 0:00:51 | 0:00:55 | |
It's Nish Kumar. | 0:00:55 | 0:00:56 | |
CHEERING AND APPLAUSE | 0:00:56 | 0:01:00 | |
And on Lee Mack's team tonight, | 0:01:00 | 0:01:02 | |
a host of Watchdog who is not only going to be entertaining us tonight, | 0:01:02 | 0:01:06 | |
but after the show is going to help me get my PPI back. Nikki Fox. | 0:01:06 | 0:01:11 | |
Thank you. | 0:01:11 | 0:01:13 | |
And I'm not saying he's posh, | 0:01:13 | 0:01:18 | |
but he describes the Royal Family as new money - it's Miles Jupp. | 0:01:18 | 0:01:22 | |
CHEERING AND APPLAUSE | 0:01:22 | 0:01:26 | |
And we begin with Round 1, Home Truths, where our panellists | 0:01:26 | 0:01:30 | |
each read out a statement from the card in front of them. | 0:01:30 | 0:01:33 | |
To make things harder, they've never seen the card before, | 0:01:33 | 0:01:36 | |
they have no idea what they'll be faced with. | 0:01:36 | 0:01:39 | |
It's up to the opposing team to sort the fact from the fiction | 0:01:39 | 0:01:42 | |
and Miles is first up this evening. | 0:01:42 | 0:01:45 | |
Whilst on holiday in South Africa I had a two-minute conversation | 0:01:46 | 0:01:51 | |
with what I thought was my wife, | 0:01:51 | 0:01:53 | |
only to discover that a small hippo had wandered into the bedroom. | 0:01:53 | 0:01:57 | |
David's team, what do you make of that? | 0:01:59 | 0:02:04 | |
Miles, describe your wife to us. | 0:02:04 | 0:02:07 | |
Tall, slender, statuesque. | 0:02:09 | 0:02:12 | |
So the hippo had a very similar voice to your wife? | 0:02:12 | 0:02:15 | |
The hippo was just sort of moving gently around. | 0:02:18 | 0:02:22 | |
They're known for that. | 0:02:25 | 0:02:27 | |
Not in an especially close proximity. | 0:02:30 | 0:02:32 | |
What was the conversation about and how did you go two minutes? | 0:02:32 | 0:02:35 | |
I'll tell you what the conversation was about, it was about me and I was doing most of the talking, | 0:02:35 | 0:02:39 | |
which obviously contributed to my confusion. | 0:02:39 | 0:02:41 | |
So where in fact was your wife? | 0:02:41 | 0:02:44 | |
My... I don't, I don't know where she was, she was just not... | 0:02:44 | 0:02:47 | |
Have you ever seen your wife again? | 0:02:47 | 0:02:50 | |
So where were you? I'm guessing that this is a safari scenario, | 0:02:50 | 0:02:54 | |
-am I right? -It was sort of on the outskirts of Cape Town. | 0:02:54 | 0:02:58 | |
Describe the nature of the structure you were in. | 0:02:58 | 0:03:02 | |
Right. | 0:03:02 | 0:03:03 | |
Is it a building, is it on the fourth floor of a...? | 0:03:03 | 0:03:06 | |
Did the hippo have to get in a lift? | 0:03:06 | 0:03:09 | |
OK, well, it's mainly bungalows. The resort is a collection | 0:03:14 | 0:03:17 | |
of sort of bungalow buildings, largely A-frame wooden buildings | 0:03:17 | 0:03:20 | |
with a kind of thatch roof. | 0:03:20 | 0:03:21 | |
Why were the doors so big a hippo could get in? | 0:03:21 | 0:03:24 | |
Well, it's a small hippo, isn't it? | 0:03:25 | 0:03:28 | |
How small is a small hippo? | 0:03:28 | 0:03:30 | |
Like George from Rainbow? | 0:03:30 | 0:03:33 | |
About yay big. | 0:03:35 | 0:03:37 | |
So, so, the hippo was only that big? | 0:03:37 | 0:03:39 | |
-Yeah. -So about the size of a Labrador? | 0:03:39 | 0:03:43 | |
Well, let's be clear, is that its width or its length? | 0:03:43 | 0:03:46 | |
That is its width, as viewed from behind and I suspect from the front. | 0:03:46 | 0:03:50 | |
This is worse, your wife's like the back end of a hippo! | 0:03:50 | 0:03:52 | |
This A-frame bungalow has how many rooms in it? | 0:03:55 | 0:03:57 | |
It's got two rooms, at one end there is a big bathroom | 0:03:57 | 0:04:02 | |
and then there's, the rest of it is a very big open-plan bedroom | 0:04:02 | 0:04:05 | |
and it has a sort of seating area in the middle of it | 0:04:05 | 0:04:07 | |
and it has a bed at the far end, a very robust bed. | 0:04:07 | 0:04:12 | |
A bed you could make love to a hippo on? | 0:04:12 | 0:04:15 | |
That is speculation but I wouldn't bet against it. | 0:04:23 | 0:04:26 | |
OK, we're in the bungalow. | 0:04:28 | 0:04:30 | |
I'm in the en-suite end, OK? | 0:04:30 | 0:04:35 | |
And I'd been shaving and then, you know, shouting over my shoulder | 0:04:35 | 0:04:40 | |
and I realise after a while | 0:04:40 | 0:04:41 | |
I'm not getting a lot back here and I turned round and I saw that I | 0:04:41 | 0:04:46 | |
had not been moaning about my career to my wife, but to a baby hippo. | 0:04:46 | 0:04:52 | |
-How long was this baby hippo? -Yeah. | 0:04:52 | 0:04:55 | |
Well, I only saw it from the back, but I imagine statistically | 0:04:55 | 0:04:58 | |
-it'd be, what, probably three times as long as it was wide? -OK. | 0:04:58 | 0:05:02 | |
So, broadly, so it was a sort of as long as this desk. | 0:05:02 | 0:05:07 | |
Nobody measure animals by width. | 0:05:07 | 0:05:09 | |
"Oh, I saw a massive snake, it was this big." | 0:05:09 | 0:05:13 | |
LAUGHTER AND APPLAUSE | 0:05:13 | 0:05:15 | |
So what are you going to say, is he telling the truth? | 0:05:19 | 0:05:22 | |
I think based, on the width, it's a lie. | 0:05:22 | 0:05:24 | |
Yeah, I think that was a panicked reach for width. | 0:05:24 | 0:05:27 | |
On the basis of the panicked reach for width, | 0:05:27 | 0:05:29 | |
I think we'll say it's a lie. | 0:05:29 | 0:05:32 | |
You're going to say that's a lie. | 0:05:32 | 0:05:34 | |
OK, Miles, were you telling the truth or were you telling a lie? | 0:05:34 | 0:05:37 | |
It is... | 0:05:37 | 0:05:40 | |
..a lie. | 0:05:40 | 0:05:41 | |
APPLAUSE | 0:05:41 | 0:05:44 | |
Yes, it's a lie, | 0:05:47 | 0:05:48 | |
Miles didn't mistake his wife for a hippo whilst on holiday. | 0:05:48 | 0:05:53 | |
Joe, you're next. | 0:05:53 | 0:05:55 | |
"I also went to the same resort and skinned a cheetah. | 0:05:56 | 0:06:00 | |
"I am wearing it tonight." | 0:06:00 | 0:06:02 | |
LAUGHTER AND APPLAUSE | 0:06:02 | 0:06:04 | |
At the end of my first driving lesson, my instructor told me | 0:06:09 | 0:06:12 | |
I'd done pretty well but that I didn't need to make | 0:06:12 | 0:06:15 | |
-the noises of the car engine as I drove along. -Lee's team. | 0:06:15 | 0:06:19 | |
OK, so what kind of noises would you make? | 0:06:19 | 0:06:22 | |
I find it very sort of reassuring to make noises in the car | 0:06:22 | 0:06:26 | |
cos I find it quite stressful driving. | 0:06:26 | 0:06:28 | |
So on the first lesson this is when it started and I'd just go... | 0:06:28 | 0:06:32 | |
HE MIMICS CAR ENGINE | 0:06:32 | 0:06:37 | |
So you would replicate, | 0:06:37 | 0:06:38 | |
then, if you changed gear, you'd do what you just did then. | 0:06:38 | 0:06:41 | |
HE MIMICS CAR ENGINE | 0:06:41 | 0:06:43 | |
Yeah. | 0:06:43 | 0:06:45 | |
What's the reversing around a corner backwards noise? | 0:06:45 | 0:06:49 | |
I need to just get into the character, into the position. | 0:06:51 | 0:06:56 | |
I'd go... | 0:06:56 | 0:06:57 | |
HE SIGHS MECHANICALLY | 0:06:57 | 0:06:59 | |
What's weird about that? | 0:07:06 | 0:07:08 | |
Would you make all the noises? | 0:07:08 | 0:07:10 | |
Would you do indicators, for example? | 0:07:10 | 0:07:11 | |
No, no, let's not be silly. | 0:07:11 | 0:07:15 | |
Joe, just to get to the nitty-gritty - name of driving instructor. | 0:07:15 | 0:07:19 | |
Cos I remember mine - Norman - and we ate Percy Pigs. | 0:07:19 | 0:07:23 | |
I don't actually... Cos I had two cos the first one was a friend | 0:07:23 | 0:07:26 | |
of my dad's and he kept shouting, "Don't panic!" | 0:07:26 | 0:07:30 | |
It wasn't Clive Dunn, was it? | 0:07:30 | 0:07:33 | |
I don't know that reference. Who's Clive Dunn? | 0:07:34 | 0:07:38 | |
LAUGHTER | 0:07:38 | 0:07:40 | |
-Oh, Lee... -Clive Dunn played Corporal Jones in Dad's Army. | 0:07:40 | 0:07:43 | |
You've just fallen into the generation gap, Lee. | 0:07:43 | 0:07:45 | |
This audience actually oohed the fact that Joe didn't know who... | 0:07:45 | 0:07:48 | |
They were like, "Ohhh, you piece of work." | 0:07:48 | 0:07:50 | |
Well, you say they oohed, perhaps they were accelerating. | 0:07:50 | 0:07:53 | |
LAUGHTER AND APPLAUSE | 0:07:53 | 0:07:55 | |
So what do you think, then, Lee, | 0:08:00 | 0:08:02 | |
-what is your team thinking about this? -Nikki, what do we think? | 0:08:02 | 0:08:05 | |
-I reckon it might be the truth. -You think it's the truth. | 0:08:05 | 0:08:07 | |
Yeah, I would say that, do you, Miles? | 0:08:07 | 0:08:09 | |
I think just Joe is inherently believable, very trustworthy. | 0:08:09 | 0:08:11 | |
OK, well, we'll say it's the truth. | 0:08:11 | 0:08:13 | |
You're saying it's true. Joe, truth or lie? | 0:08:13 | 0:08:16 | |
It is...a lie. | 0:08:16 | 0:08:19 | |
Oh. I'm sorry. | 0:08:19 | 0:08:21 | |
So, our next round is called This Is My, where we bring on | 0:08:24 | 0:08:27 | |
a mystery guest who has a close connection to one of our panellists. | 0:08:27 | 0:08:31 | |
Now, this week, each of David's team will claim it's them | 0:08:31 | 0:08:34 | |
that has the genuine connection to the guest, | 0:08:34 | 0:08:36 | |
and it's up to Lee's team to spot who's telling the truth. | 0:08:36 | 0:08:39 | |
So please welcome this week's special guest - Amy. | 0:08:39 | 0:08:43 | |
So, Joe, what is Amy to you? | 0:08:50 | 0:08:53 | |
This is my friend Amy and I grossly offended her | 0:08:53 | 0:08:57 | |
when I made a less-than-perfect sculpture of her head. | 0:08:57 | 0:09:01 | |
Nish, how do you know Amy? | 0:09:01 | 0:09:03 | |
This is my friend Amy. We became friends after | 0:09:03 | 0:09:06 | |
I found her asleep in a box of volleyballs. | 0:09:06 | 0:09:10 | |
And finally, David, what is your relationship with Amy? | 0:09:10 | 0:09:13 | |
This is Amy, she is the charity shop worker who sold my shoes | 0:09:13 | 0:09:18 | |
whilst I was otherwise engaged trying on a pair of cowboy boots. | 0:09:18 | 0:09:23 | |
Lee, where do you want to start? | 0:09:25 | 0:09:27 | |
Nish, remind us again. | 0:09:27 | 0:09:29 | |
-I found her in a box of... -Oh, yes. -..volleyballs. | 0:09:29 | 0:09:31 | |
First of all, where were you where there was a box of volleyballs? | 0:09:31 | 0:09:34 | |
I was working at a leisure centre just after I left school | 0:09:34 | 0:09:37 | |
and Amy was also working there over the summer between school | 0:09:37 | 0:09:41 | |
and uni and they sent me to check on the volleyballs. | 0:09:41 | 0:09:44 | |
Whoa, whoa, to check on the volleyballs? | 0:09:44 | 0:09:47 | |
MILES: That's a good job for a new guy. | 0:09:47 | 0:09:49 | |
"Make sure the volleyballs aren't messing around." | 0:09:49 | 0:09:52 | |
Had your manager recently been watching Toy Story? | 0:09:52 | 0:09:55 | |
I believe the technical term was "conduct inventory". | 0:09:57 | 0:10:00 | |
-So I was just trying to make sure. -You're supposed to count them? | 0:10:00 | 0:10:03 | |
Yeah, you're supposed to count them and it turned out that what she was | 0:10:03 | 0:10:05 | |
doing was, because no-one really wanted to play volleyball, | 0:10:05 | 0:10:08 | |
she'd found the perfect spot to have a mid-work sleep in. | 0:10:08 | 0:10:11 | |
-How big was this box? -It was, like, woman-sized. | 0:10:11 | 0:10:14 | |
-Could she stretch...? Woman-size? -Yeah. | 0:10:14 | 0:10:17 | |
You've heard of a volleyball coffin. | 0:10:17 | 0:10:20 | |
You know, that's how they transport volleyballs. | 0:10:20 | 0:10:23 | |
So you opened it up and you saw...? | 0:10:23 | 0:10:25 | |
A sleeping woman. | 0:10:25 | 0:10:26 | |
Amongst all these volley balls. How many were there? | 0:10:26 | 0:10:28 | |
Like, I think probably, like, 35. | 0:10:28 | 0:10:31 | |
You see, you've just said to me that this box was woman-sized. | 0:10:31 | 0:10:33 | |
Now, the largest woman I've ever seen is still smaller | 0:10:33 | 0:10:36 | |
than 35 volleyballs. | 0:10:36 | 0:10:38 | |
I've used this as a chat-up line. | 0:10:38 | 0:10:41 | |
When a woman says, "Oh, I feel a bit fat in this," I'll always go, | 0:10:41 | 0:10:44 | |
"Don't be silly, you look less than 35 volleyballs to me." | 0:10:44 | 0:10:47 | |
So she's... Did you wake her up? | 0:10:49 | 0:10:50 | |
Yes, and so we became friends, | 0:10:50 | 0:10:52 | |
because then I would also often have a nap in the volleyballs. | 0:10:52 | 0:10:57 | |
What was her job...? | 0:10:57 | 0:10:59 | |
-What was she supposed to be doing at the time? -We, we, we were... | 0:10:59 | 0:11:02 | |
Perhaps she was sent to count the volleyballs earlier | 0:11:02 | 0:11:06 | |
and had become bored by the monotony of the process. | 0:11:06 | 0:11:09 | |
The boss - "I keep sending people to count the volleyballs | 0:11:09 | 0:11:12 | |
"and they never come back." | 0:11:12 | 0:11:14 | |
Working at the leisure centre, | 0:11:14 | 0:11:16 | |
Nish, what else did your job demand of you? | 0:11:16 | 0:11:19 | |
Basically, all-round dogsbody, | 0:11:19 | 0:11:22 | |
so I would work on the front desk sometimes. | 0:11:22 | 0:11:24 | |
I thought you were going to say all round ball games. | 0:11:24 | 0:11:27 | |
So, everything except rugby. | 0:11:27 | 0:11:29 | |
-Bowls, David. -What? | 0:11:32 | 0:11:34 | |
They're not totally spherical in bowls, that's why they curve. | 0:11:34 | 0:11:38 | |
I would say colloquially they're still round, though. | 0:11:38 | 0:11:41 | |
Oh, hello, it's all kicking off at bridge club. | 0:11:41 | 0:11:44 | |
All right, who else would you like to quiz? | 0:11:48 | 0:11:51 | |
OK, Joe, what situation were you in where you were sculpting her head? | 0:11:51 | 0:11:55 | |
We... I-I have an office in Birmingham where I live. | 0:11:55 | 0:12:00 | |
That'll do. | 0:12:00 | 0:12:02 | |
So, yeah, I totally believe this, I mean that, that makes it, | 0:12:02 | 0:12:05 | |
you can answer any question you like, I don't mind. | 0:12:05 | 0:12:08 | |
-You have an office in Birmingham? -Yeah. | 0:12:08 | 0:12:11 | |
Why? | 0:12:11 | 0:12:12 | |
Just to...to write jokes and be creative in. | 0:12:12 | 0:12:16 | |
So, you went to this office to write jokes | 0:12:16 | 0:12:21 | |
and said to your friend, "Would you like to come along, | 0:12:21 | 0:12:23 | |
"sit in a corner and I'll sculpt your head"? | 0:12:23 | 0:12:26 | |
"I've been looking for a use for all that clay I keep in my office." | 0:12:26 | 0:12:29 | |
Had you just been watching a Lionel Richie video? | 0:12:29 | 0:12:32 | |
Hello? | 0:12:34 | 0:12:35 | |
-So did you know how to do this? -No. | 0:12:39 | 0:12:42 | |
But, yeah, I thought practice makes perfect, so I called Amy and... | 0:12:42 | 0:12:46 | |
How long did you spend doing it? | 0:12:46 | 0:12:48 | |
Maybe an hour or so. | 0:12:48 | 0:12:50 | |
Weren't you tempted to just make it really soft, get her face, | 0:12:50 | 0:12:54 | |
push it into it... | 0:12:54 | 0:12:55 | |
..then do the back of her head and then go, | 0:12:56 | 0:12:58 | |
"Well, at least I've got a mould"? | 0:12:58 | 0:13:00 | |
-You said she was offended by this sculpture. -Yes, she was offended. | 0:13:00 | 0:13:04 | |
So what did you end up with? | 0:13:04 | 0:13:06 | |
-It didn't look like her. -What did it look like? | 0:13:06 | 0:13:09 | |
It looked more like Ainsley Harriott. | 0:13:09 | 0:13:13 | |
OK, now, what about David? I'm looking forward to this. | 0:13:13 | 0:13:17 | |
What was it you claimed, David? | 0:13:17 | 0:13:19 | |
-That-that Amy is the charity shop worker... -That's right. -Oh, yes. | 0:13:19 | 0:13:23 | |
..who sold my shoes whilst I was otherwise engaged | 0:13:23 | 0:13:26 | |
trying on a pair of cowboy boots. | 0:13:26 | 0:13:28 | |
Can you talk us through the incident, please? | 0:13:28 | 0:13:30 | |
-Well, I was in the charity shop. -Which charity shop? | 0:13:30 | 0:13:33 | |
-It was a Marie Curie charity shop near where I live. -OK. | 0:13:33 | 0:13:38 | |
I'm setting the scene before this, you're at home, you're thinking, | 0:13:38 | 0:13:41 | |
"It's about time I got myself some cowboy boots, | 0:13:41 | 0:13:44 | |
"but I'm not willing to commit to a new pair in case I go off the idea." | 0:13:44 | 0:13:49 | |
"Just on the very slightest off-chance | 0:13:49 | 0:13:51 | |
"they don't turn out to suit me and my personality." | 0:13:51 | 0:13:53 | |
Cowboy boots, I'll be honest with you, don't particularly appeal | 0:13:58 | 0:14:01 | |
-to me aesthetically. -Wow, that surprises me. | 0:14:01 | 0:14:04 | |
I don't think they go with what I like to call my style. | 0:14:04 | 0:14:07 | |
Well, how would you describe that style, David? | 0:14:07 | 0:14:09 | |
I-I don't... I think my style is indescribable. | 0:14:09 | 0:14:12 | |
Oh, no, I could describe it. | 0:14:12 | 0:14:14 | |
-Well, let's... I think it's best left undescribed. -OK. | 0:14:14 | 0:14:18 | |
I wasn't sitting at home plotting the purchase of some cowboy boots. | 0:14:18 | 0:14:22 | |
I was pottering around near my house and I saw the Marie Curie shop | 0:14:22 | 0:14:26 | |
and I saw in the window what looked like a nice selection | 0:14:26 | 0:14:30 | |
-of second-hand novels. -Right. | 0:14:30 | 0:14:33 | |
And I went in and it wasn't a nice selection of second-hand novels, | 0:14:33 | 0:14:37 | |
it was all Ken Follett crap. | 0:14:37 | 0:14:40 | |
But I did notice the array of shoes | 0:14:40 | 0:14:43 | |
and I tend to take my shoes off at home and maybe wear slippers | 0:14:43 | 0:14:47 | |
or socks - I don't want this to get too sexy. | 0:14:47 | 0:14:50 | |
Hang on, I need my inhaler again. | 0:14:52 | 0:14:54 | |
So what I vaguely was on the lookout for was a pair of everyday, | 0:14:57 | 0:15:02 | |
easy-to-put-on, non-lacing shoes that I could keep by the back door | 0:15:02 | 0:15:06 | |
in case I needed to pop into the garden for some gardening. | 0:15:06 | 0:15:10 | |
But you said you'd taken some of your shoes to the charity shop. | 0:15:10 | 0:15:13 | |
I was, I was wearing shoes. | 0:15:13 | 0:15:16 | |
You decided to take them off in the shop and hand them to her? | 0:15:16 | 0:15:21 | |
When you go shoe shopping do you go barefoot? | 0:15:21 | 0:15:24 | |
-When I take shoes... -Does somebody take you seriously? | 0:15:25 | 0:15:28 | |
When I take shoes... | 0:15:28 | 0:15:29 | |
"Don't keep me waiting, look how badly I need them!" | 0:15:29 | 0:15:32 | |
But when I take shoes to the Sue Ryder shop, I choose shoes | 0:15:32 | 0:15:38 | |
that I no longer want. I don't wander round | 0:15:38 | 0:15:40 | |
and then go, "Do you know what? "You can have these if you want." | 0:15:40 | 0:15:43 | |
Why would you do that? You take them ready to give. | 0:15:43 | 0:15:45 | |
I wasn't, it was not my plan... | 0:15:45 | 0:15:48 | |
Can I just say, Rob, you're the only person in the whole | 0:15:48 | 0:15:51 | |
of the United Kingdom watching this that isn't following this story. | 0:15:51 | 0:15:54 | |
APPLAUSE Well, he said... | 0:15:54 | 0:15:57 | |
He said he took off his shoes. | 0:15:57 | 0:15:59 | |
Why do you think he took his shoes off? | 0:15:59 | 0:16:01 | |
-To try the other ones! -To try the cowboy shoes on. | 0:16:01 | 0:16:04 | |
Ohhh! | 0:16:04 | 0:16:06 | |
Right, sorry, sorry. | 0:16:06 | 0:16:08 | |
-Well, David... David, I owe you an apology. -Thank you. | 0:16:08 | 0:16:13 | |
-There you are in the shop... -Yeah. | 0:16:13 | 0:16:16 | |
I'm in the shop and I spot these cowboy boots and to me they look | 0:16:16 | 0:16:20 | |
-sort of quite loose and easy to slip on. -What length? | 0:16:20 | 0:16:24 | |
-Um... -Not width, length. -Well, I'd say that long. | 0:16:24 | 0:16:28 | |
About that, so they're coming up to just below the knee? | 0:16:28 | 0:16:31 | |
-They're not, you know... -How tall are you, Rob? | 0:16:31 | 0:16:33 | |
They're not going to... | 0:16:33 | 0:16:35 | |
-For me, they'd be thigh length. -"I can't see over these." | 0:16:35 | 0:16:38 | |
"Aaah!" | 0:16:43 | 0:16:46 | |
No, I would say they're, for a cowboy, | 0:16:46 | 0:16:48 | |
-they're shortish... -Leather or suede? | 0:16:48 | 0:16:50 | |
-..but they're not ankle boots. -Leather or suede? | 0:16:50 | 0:16:53 | |
Leather and with a sort of, bit of, | 0:16:53 | 0:16:55 | |
you see, I don't know the technical shoe terms, but sort of like, | 0:16:55 | 0:16:58 | |
like a bit of crenulation sort of flapping underneath. | 0:16:58 | 0:17:02 | |
I'm just going to have to use the terminology of the medieval castle, | 0:17:02 | 0:17:06 | |
it's the only way I have of describing it. | 0:17:06 | 0:17:08 | |
Anyway, they look like... | 0:17:08 | 0:17:09 | |
-So, you saw them, you saw the boots? -Yeah, I saw them. -OK. | 0:17:09 | 0:17:12 | |
-So I thought, you know, "I'll try them on." -Yeah. | 0:17:12 | 0:17:14 | |
-But they were slightly harder to get on than I imagined. -Ah. | 0:17:14 | 0:17:18 | |
People in the shop, I imagine, were going, | 0:17:18 | 0:17:19 | |
"Why is David Mitchell trying on cowboy boots?" | 0:17:19 | 0:17:22 | |
The shop wasn't as packed as you're imagining. | 0:17:22 | 0:17:25 | |
-In fact, I thought myself to be the only customer there. -Right. | 0:17:25 | 0:17:28 | |
I was soon disabused of that. | 0:17:28 | 0:17:30 | |
When did you notice that your own shoes had been sold? | 0:17:34 | 0:17:39 | |
I think, well, I-I remember I walked to the back of the shop | 0:17:39 | 0:17:43 | |
in the cowboy boots, restraining an urge to walk like John Wayne, | 0:17:43 | 0:17:46 | |
and when I came back towards the shoe area | 0:17:46 | 0:17:50 | |
I noticed that my shoes weren't there. | 0:17:50 | 0:17:52 | |
-And did you see who'd bought them? -I didn't, no. | 0:17:52 | 0:17:55 | |
I'm picturing a scene where you walk out the shop and you walk home | 0:17:55 | 0:17:58 | |
and then, a few minutes later, a cowboy goes up to the counter | 0:17:58 | 0:18:01 | |
and says, "Excuse me, I was just trying on a pair of..." | 0:18:01 | 0:18:05 | |
And then behind him, a clown and a sailor... | 0:18:05 | 0:18:09 | |
This just goes on all day. Round and round. | 0:18:09 | 0:18:13 | |
David, David, I don't know you, I've just got to know you today, | 0:18:13 | 0:18:17 | |
and I admire you very much, but what I know of you from watching you | 0:18:17 | 0:18:20 | |
on TV, the cowboy boots are just... I can't buy it. | 0:18:20 | 0:18:25 | |
I can't imagine you'd even try them on. | 0:18:25 | 0:18:27 | |
Well, in which case, then, you should say that I'm lying. | 0:18:27 | 0:18:30 | |
That I might do. | 0:18:33 | 0:18:35 | |
So, we need an answer. | 0:18:35 | 0:18:38 | |
Lee's team, is Amy Joe's miffed model, | 0:18:38 | 0:18:43 | |
Nish's sleepy sidekick | 0:18:43 | 0:18:45 | |
or David's sneaky shoe seller? | 0:18:45 | 0:18:48 | |
-I'm more inclined to believe Nish, myself. -You believe Nish. -Yeah. | 0:18:48 | 0:18:51 | |
-Because? -Because, I dunno, I just think Amy | 0:18:51 | 0:18:53 | |
and Nish look like they could be really good mates. | 0:18:53 | 0:18:56 | |
-Miles, you think? -Well, I was looking at her very closely | 0:18:56 | 0:18:59 | |
while Joe was talking about sculpting her, she looked quite icy | 0:18:59 | 0:19:03 | |
about the whole thing and, of course, | 0:19:03 | 0:19:05 | |
she was very offended in the story, | 0:19:05 | 0:19:07 | |
but during David's story she looked, I mean, understandably, baffled. | 0:19:07 | 0:19:12 | |
I think it might be Joe, actually. What do you think? | 0:19:14 | 0:19:17 | |
Well, I'm not... I'm beginning to think, | 0:19:17 | 0:19:19 | |
I mean, it doesn't even matter what I think. I mean, your own... | 0:19:19 | 0:19:23 | |
I mean, my job really is to agree with you. I mean, you are a man... | 0:19:23 | 0:19:27 | |
Are we trying to re-enact Dad's Army here? | 0:19:27 | 0:19:30 | |
"Do you think that's wise, sir?" | 0:19:30 | 0:19:33 | |
LAUGHTER AND APPLAUSE | 0:19:33 | 0:19:36 | |
I think Nish is telling the truth. | 0:19:38 | 0:19:40 | |
You think Nish is telling the truth. You think Nish is telling the truth. | 0:19:40 | 0:19:43 | |
-Yeah. -Right, in that case... I'll go with what my team say. | 0:19:43 | 0:19:47 | |
You're saying it's Nish. | 0:19:47 | 0:19:48 | |
No, I'm overruling! I'm going with Joe. | 0:19:48 | 0:19:52 | |
-Are you seriously? -I feel it's Joe. -All right. | 0:19:53 | 0:19:56 | |
Amy, would you please reveal your true identity? | 0:19:56 | 0:20:00 | |
I'm Amy, and I'm Joe's friend. | 0:20:00 | 0:20:02 | |
This is the sculpture that Joe... | 0:20:16 | 0:20:19 | |
HE LAUGHS Good Lord! | 0:20:19 | 0:20:22 | |
This is the sculpture - get ready for this. | 0:20:22 | 0:20:25 | |
You will never in your lifetime | 0:20:25 | 0:20:29 | |
witness a worse sculpture than this. | 0:20:29 | 0:20:32 | |
You poor, poor woman. | 0:20:49 | 0:20:52 | |
Yes, Amy is Joe's miffed model. | 0:20:52 | 0:20:56 | |
-Thank you very much, Amy. -Thank you. | 0:20:56 | 0:20:58 | |
Which brings us to our final round, Quick-Fire Lies, | 0:21:05 | 0:21:07 | |
and we start with... | 0:21:07 | 0:21:08 | |
-It's Nikki. -Right. | 0:21:11 | 0:21:13 | |
I love gravy so much that I freeze it into ice lollies | 0:21:15 | 0:21:20 | |
to suck in the summertime. | 0:21:20 | 0:21:22 | |
David. | 0:21:24 | 0:21:25 | |
You maniac! | 0:21:25 | 0:21:28 | |
What sort of gravy - beef, chicken or vegetable? | 0:21:28 | 0:21:31 | |
Beef gravy would be my gravy of choice. | 0:21:31 | 0:21:34 | |
Do you only make lollies out of the beef gravy? | 0:21:34 | 0:21:37 | |
If I'm desperate... | 0:21:37 | 0:21:39 | |
Yeah, you do sound desperate. | 0:21:39 | 0:21:41 | |
..I might possibly choose another gravy. | 0:21:41 | 0:21:45 | |
Do you use granules? | 0:21:45 | 0:21:47 | |
I try and avoid granules. | 0:21:47 | 0:21:49 | |
Cos I think, if you're going to have a gravy ice lolly, | 0:21:49 | 0:21:52 | |
-you might as well do a posh one. -Yeah. | 0:21:52 | 0:21:54 | |
Everybody thinks it's strange, yeah, everyone thinks it's strange. | 0:21:54 | 0:21:57 | |
-It is strange. -Do you think it's strange? | 0:21:57 | 0:22:00 | |
No, because I think if I made you one, you'd suck that gravy lolly... | 0:22:00 | 0:22:05 | |
Need the inhaler again. | 0:22:05 | 0:22:08 | |
Yeah. | 0:22:10 | 0:22:11 | |
..you'd suck that gravy lolly and you'll be like, "Nikki..." | 0:22:11 | 0:22:14 | |
There's the slogan right there. It markets itself. | 0:22:14 | 0:22:19 | |
"You suck that gravy lolly." | 0:22:19 | 0:22:22 | |
So, David, what are you going to say, is this the truth | 0:22:22 | 0:22:24 | |
-or is Nikki telling a lie? -What do you think? -I think it's true. | 0:22:24 | 0:22:28 | |
-You think it's true. -I think she's off her nut. | 0:22:28 | 0:22:31 | |
And I think she's made a gravy lolly. | 0:22:31 | 0:22:33 | |
I think it's a lie because I think... No, I can't believe | 0:22:33 | 0:22:38 | |
I'm having to justify this, it's a gravy lolly, I think it's a lie. | 0:22:38 | 0:22:41 | |
-I think, overall, I think it's a lie. -Think it's a lie, OK. | 0:22:41 | 0:22:45 | |
Nikki, was it the truth or was it a lie? | 0:22:45 | 0:22:48 | |
It is, in fact, a lie. | 0:22:48 | 0:22:50 | |
But I'm glad you believed it. | 0:22:54 | 0:22:56 | |
Yes, it's a lie. Nikki doesn't freeze gravy to use as ice lollies. | 0:22:56 | 0:23:00 | |
Next. | 0:23:00 | 0:23:02 | |
It's Lee. | 0:23:02 | 0:23:04 | |
On a recent train journey, under cover of darkness in a tunnel, | 0:23:04 | 0:23:07 | |
I secretly switched bananas with the stranger opposite | 0:23:07 | 0:23:10 | |
because his looked better than mine. | 0:23:10 | 0:23:13 | |
David. | 0:23:13 | 0:23:14 | |
So, why was there no lighting in this train? | 0:23:14 | 0:23:17 | |
Were you perhaps travelling in the 1870s? | 0:23:17 | 0:23:20 | |
Because it was daytime | 0:23:25 | 0:23:28 | |
and in daytime they don't turn the lights on in a train. | 0:23:28 | 0:23:31 | |
So they were unaware of the tunnel on their route? | 0:23:31 | 0:23:34 | |
The tunnel was so brief and so quick they didn't bother. | 0:23:34 | 0:23:37 | |
So it was very brief, so it's basically like an extended bridge. | 0:23:37 | 0:23:40 | |
It was a short cut. | 0:23:40 | 0:23:42 | |
So it was a very quick tunnel, but nevertheless you had time... | 0:23:42 | 0:23:45 | |
-Very quick tunnel, I would say... -..to swap bananas. | 0:23:45 | 0:23:47 | |
No more than five seconds. | 0:23:47 | 0:23:49 | |
Can you demonstrate how you did it? | 0:23:49 | 0:23:51 | |
Yeah, I had my banana and I was looking at it thinking... | 0:23:51 | 0:23:54 | |
You know when yours is just a bit, it's not... | 0:23:54 | 0:23:57 | |
I like them really yellow. I don't like that bit where they're | 0:23:57 | 0:23:59 | |
just starting to go a little bit black, you know what I mean, | 0:23:59 | 0:24:02 | |
just a little bit. But it was close enough where I thought, | 0:24:02 | 0:24:05 | |
"Given an opportunity, I reckon I could swap that banana," | 0:24:05 | 0:24:07 | |
cos he was reading his paper. I thought, "He's not concentrating | 0:24:07 | 0:24:10 | |
"on that banana, he hasn't fully engaged with the colour." | 0:24:10 | 0:24:13 | |
So he was reading his paper, he was holding a newspaper | 0:24:13 | 0:24:16 | |
with two hands and then, in one of the hands, he also had a banana? | 0:24:16 | 0:24:20 | |
No, no, it was on the table in front of him. | 0:24:20 | 0:24:22 | |
Have you been on a train recently? | 0:24:22 | 0:24:24 | |
-The point is he wasn't holding the banana. -I'm not that bold. | 0:24:24 | 0:24:27 | |
-No, fine. -I'm not that bold. | 0:24:27 | 0:24:28 | |
That would have been awkward in the darkness. | 0:24:28 | 0:24:30 | |
"Oi, what's going on, what's going on? | 0:24:30 | 0:24:32 | |
"Hey, hey, what's going on?" And then the lights go on and I go... | 0:24:32 | 0:24:34 | |
HE WHISTLES NONCHALANTLY | 0:24:34 | 0:24:36 | |
Mine was sitting on the table, his was sitting on the table. | 0:24:36 | 0:24:39 | |
OK, and you saw the two bananas, yours has gone a bit manky, | 0:24:39 | 0:24:41 | |
-his is pristine. -Just a fraction. -Just on the turn. | 0:24:41 | 0:24:44 | |
Just enough that I could get away with swapping it. | 0:24:44 | 0:24:47 | |
Yeah, so it's plausible that he might think, "Oh, I thought this banana was fresher than this"? | 0:24:47 | 0:24:50 | |
-Yeah, but it was like a film... -"It's been 14 seconds later, maybe it's just turned." | 0:24:50 | 0:24:55 | |
Did you have any reading materials or were you just sat? | 0:24:55 | 0:24:58 | |
Don't mock me, you know I can't read. | 0:24:58 | 0:25:01 | |
I was simply entertaining myself, as ever, with my Etch A Sketch | 0:25:01 | 0:25:04 | |
and I remember thinking... | 0:25:04 | 0:25:08 | |
I'm looking and thinking, "He's not looked at that banana once, | 0:25:16 | 0:25:19 | |
"that's wasted on him." But that's irritated me and then I just | 0:25:19 | 0:25:23 | |
thought, like that, put it back in its case - I'm very protective | 0:25:23 | 0:25:27 | |
of it - and I thought, "Could I...?" | 0:25:27 | 0:25:29 | |
I was tempted to do it, I thought, "No, I'll never get away with this." | 0:25:29 | 0:25:31 | |
And then suddenly it was pitch-black. | 0:25:31 | 0:25:34 | |
I'm struggling to envision a tunnel that takes five seconds | 0:25:34 | 0:25:37 | |
to get through but is... | 0:25:37 | 0:25:39 | |
-Well, do you know those really long tunnels? -Yeah. | 0:25:39 | 0:25:41 | |
Imagine one of them but really short. | 0:25:41 | 0:25:44 | |
But that renders the whole carriage, it just, complete blackout. | 0:25:44 | 0:25:47 | |
Well, you know, all I can say, there's one important factor | 0:25:47 | 0:25:50 | |
you're missing - bright sunshine, eye adjustment. | 0:25:50 | 0:25:53 | |
Because the effect of the bright sunlight directly on your eyes... | 0:25:53 | 0:25:56 | |
Did I not mention how bright it was? | 0:25:56 | 0:25:58 | |
-Very, very bright? -Oh, it was bright, I can't help thinking | 0:25:58 | 0:26:00 | |
he wasn't reading that paper, it was shielding him! | 0:26:00 | 0:26:03 | |
In fact, it was so bright | 0:26:03 | 0:26:05 | |
-I think the bananas actually grew on the train. -Yeah. | 0:26:05 | 0:26:09 | |
-So it's a moment of complete blackness. -Black. | 0:26:09 | 0:26:11 | |
-You're almost... -Black as night. | 0:26:11 | 0:26:13 | |
You're almost blinded in this blackness. | 0:26:13 | 0:26:15 | |
I'm so blinded! And do you know, it was so dark, you know | 0:26:15 | 0:26:18 | |
when it's so dark you think, "God, it's dark, I could nick a banana"? | 0:26:18 | 0:26:22 | |
But that's my whole point, how did you manage... | 0:26:22 | 0:26:25 | |
Yeah, how did you see the banana? | 0:26:25 | 0:26:26 | |
..to put your hand on his banana if it's so...? | 0:26:26 | 0:26:30 | |
You must have rummaged around. | 0:26:30 | 0:26:32 | |
No, I didn't rummage. Picture the scene, the Etch A Sketch | 0:26:32 | 0:26:34 | |
is away, he's behind his paper, and I'm looking and his banana's | 0:26:34 | 0:26:37 | |
definitely reachable, and he's not looking and it's there and | 0:26:37 | 0:26:40 | |
even before we go through the tunnel I'm tempted, I'm going, | 0:26:40 | 0:26:42 | |
"Could I? No. Could I? No." There's no-one looking here, there's no-one looking... | 0:26:42 | 0:26:46 | |
And I'm so close to making that decision - it goes black! | 0:26:46 | 0:26:48 | |
"Get it, get it, go!" | 0:26:48 | 0:26:50 | |
APPLAUSE | 0:26:50 | 0:26:53 | |
And I'll never forget his face. | 0:26:56 | 0:26:59 | |
I will never forget his face, he literally... | 0:26:59 | 0:27:01 | |
It made a bit of a noise, bit of a kafuffle, and the lights came on, | 0:27:01 | 0:27:04 | |
and he literally went... | 0:27:04 | 0:27:05 | |
-And I knew I'd got away with it. -So what do you think, David? | 0:27:10 | 0:27:13 | |
What do you think? | 0:27:13 | 0:27:14 | |
-Absolute nonsense. -All right! -What do you think? | 0:27:14 | 0:27:17 | |
Listen, give me another go. | 0:27:17 | 0:27:19 | |
It was a pomegranate on a rickshaw! | 0:27:19 | 0:27:22 | |
I mean, it's a very, very rich, complete picture | 0:27:25 | 0:27:28 | |
-that Lee has painted. -Yes. | 0:27:28 | 0:27:29 | |
But I don't think he... I simply don't think... | 0:27:29 | 0:27:31 | |
-Grapefruit in a brothel? -..he would steal someone else's banana. | 0:27:31 | 0:27:35 | |
I think he looks low on potassium as well. | 0:27:35 | 0:27:38 | |
-So, for you, it is a lie. -Yeah. | 0:27:38 | 0:27:41 | |
Lee, were you - everybody's on tenterhooks to find out - | 0:27:41 | 0:27:45 | |
were you telling the truth? | 0:27:45 | 0:27:47 | |
Or was it maybe a lie? | 0:27:47 | 0:27:49 | |
Hmm, what do we think, team? | 0:27:49 | 0:27:51 | |
LAUGHTER | 0:27:51 | 0:27:53 | |
This is the one where you know the answer and you say. | 0:27:56 | 0:27:58 | |
Oh, I see. In that case, it's a lie. | 0:27:58 | 0:28:00 | |
Yes, amazingly, it's a lie. | 0:28:03 | 0:28:05 | |
Lee didn't secretly switch bananas with a stranger on the train. | 0:28:05 | 0:28:09 | |
BUZZER | 0:28:09 | 0:28:10 | |
Well, that noise signals time is up, it's the end of the show. | 0:28:10 | 0:28:13 | |
I can reveal that David's team have won by 4 points to 1. | 0:28:13 | 0:28:17 | |
APPLAUSE | 0:28:17 | 0:28:20 | |
Thank you for watching. Goodnight. | 0:28:20 | 0:28:22 |