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CHEERING AND APPLAUSE | 0:00:16 | 0:00:20 | |
Good evening and welcome to Would I Lie To You? | 0:00:26 | 0:00:30 | |
The show with a lust for lies. On Lee Mack's team tonight, | 0:00:30 | 0:00:33 | |
a veteran comedian and writer, | 0:00:33 | 0:00:35 | |
who, after receiving his OBE, bantered with the Queen, | 0:00:35 | 0:00:39 | |
one of the few occasions on which Victoria was amused. | 0:00:39 | 0:00:42 | |
It's Barry Cryer. | 0:00:42 | 0:00:43 | |
Thank you. | 0:00:43 | 0:00:44 | |
CHEERING AND APPLAUSE | 0:00:44 | 0:00:47 | |
And the star of BBC series Supersizers, | 0:00:47 | 0:00:52 | |
who once had to eat the same sort of food that people lived on | 0:00:52 | 0:00:55 | |
during World War II when she went for lunch at Barry Cryer's house. | 0:00:55 | 0:00:59 | |
It's Sue Perkins. | 0:00:59 | 0:01:02 | |
CHEERING AND APPLAUSE | 0:01:02 | 0:01:05 | |
And joining David Mitchell tonight, | 0:01:05 | 0:01:08 | |
a comedian who left university with a degree in physics. | 0:01:08 | 0:01:11 | |
I mean, God knows who it belonged to, | 0:01:11 | 0:01:13 | |
but finder's keepers, I say. Dara O'Briain. | 0:01:13 | 0:01:15 | |
CHEERING AND APPLAUSE | 0:01:15 | 0:01:18 | |
And a TV presenter who, for Comic Relief, | 0:01:18 | 0:01:23 | |
took part in a gruelling trek across a bleak, African desert, | 0:01:23 | 0:01:27 | |
a journey she easily coped with | 0:01:27 | 0:01:29 | |
as she regularly gets the train from Dundee to London. | 0:01:29 | 0:01:32 | |
It's Lorraine Kelly. | 0:01:32 | 0:01:35 | |
CHEERING AND APPLAUSE | 0:01:35 | 0:01:37 | |
And so, we begin, as always, with Round One. | 0:01:37 | 0:01:40 | |
It's Home Truths, where our panellists each read out a statement | 0:01:40 | 0:01:43 | |
from the card in front of them. To make it harder, | 0:01:43 | 0:01:46 | |
they've never seen the card before, | 0:01:46 | 0:01:48 | |
so, they've no idea what they'll be faced with. | 0:01:48 | 0:01:50 | |
It's up to the opposing team to sift the truth from the lies. | 0:01:50 | 0:01:53 | |
Dara starts us off tonight. Dara, off you go. | 0:01:53 | 0:01:56 | |
OK. | 0:01:56 | 0:01:57 | |
On doctor's advice, I have to sleep in a cycle helmet | 0:01:57 | 0:02:01 | |
due to the violent nature of my dreams. | 0:02:01 | 0:02:04 | |
LAUGHTER | 0:02:04 | 0:02:06 | |
Well, Lee, where to begin? | 0:02:06 | 0:02:08 | |
Tell us about the violent nature of your dreams, Dara. | 0:02:08 | 0:02:12 | |
I move a lot within the dreams. | 0:02:12 | 0:02:14 | |
They're active rather than like hack and slash movie-type violent, | 0:02:14 | 0:02:18 | |
they're more, I'm playing a match or I'm running or something | 0:02:18 | 0:02:22 | |
and I move a lot in the bed. | 0:02:22 | 0:02:24 | |
Dara, what damage can you do to yourself with a pillow? | 0:02:24 | 0:02:27 | |
Well, I can snap, you know. | 0:02:27 | 0:02:29 | |
It can go back quite violent... You know, like, I can recoil. | 0:02:29 | 0:02:33 | |
What does your wife think? Does she...? Do you share a bed? | 0:02:33 | 0:02:36 | |
I do share a bed, yes. | 0:02:36 | 0:02:37 | |
When did the doctor prescribe the helmet? | 0:02:37 | 0:02:41 | |
It was during my late teens. Whenever that stage that it began... | 0:02:41 | 0:02:44 | |
That is the age when you start tossing and turning. | 0:02:44 | 0:02:47 | |
LAUGHTER | 0:02:47 | 0:02:49 | |
No, no, no, no, I'm not having... No, I'm not having that. | 0:02:49 | 0:02:52 | |
If I can't make an innocent comment... | 0:02:52 | 0:02:55 | |
Please, this isn't Never Mind Your Buzzcocks. | 0:02:55 | 0:03:00 | |
I dreamt, this is true, | 0:03:00 | 0:03:01 | |
I dreamt, the other night, that I was being spooned, | 0:03:01 | 0:03:04 | |
I was the spoonee with a lion. | 0:03:04 | 0:03:08 | |
LAUGHTER | 0:03:08 | 0:03:10 | |
Seriously, seriously. I could feel its big, hairy arms | 0:03:10 | 0:03:14 | |
and its leg... Well, they're all legs, aren't they? | 0:03:14 | 0:03:17 | |
All legs around me and I could feel it and I could smell it | 0:03:17 | 0:03:21 | |
and it was so vivid and I liked it. | 0:03:21 | 0:03:25 | |
LAUGHTER | 0:03:25 | 0:03:27 | |
So, the last thing I would have done is lash out because I was... | 0:03:27 | 0:03:30 | |
Feared for my life. | 0:03:30 | 0:03:31 | |
Yeah, but I didn't have that dream. | 0:03:31 | 0:03:34 | |
You feared for your life and you liked it? | 0:03:34 | 0:03:37 | |
It was a lion! | 0:03:37 | 0:03:38 | |
I thought you said you liked it. | 0:03:38 | 0:03:40 | |
You must have thought you were safe with this lion, | 0:03:40 | 0:03:43 | |
but it was actually the fear that you liked. | 0:03:43 | 0:03:45 | |
We've all had experiences in bed, David, | 0:03:45 | 0:03:48 | |
where we're simultaneously afraid and excited. | 0:03:48 | 0:03:50 | |
LAUGHTER | 0:03:50 | 0:03:51 | |
So Dara, back to the... | 0:03:51 | 0:03:53 | |
Yeah, the plot. | 0:03:53 | 0:03:54 | |
..the image. What do you wear in bed? | 0:03:54 | 0:03:57 | |
What do...? Oh, other than that? Pyjamas and a T-shirt. | 0:03:57 | 0:04:00 | |
It's a lovely look. | 0:04:00 | 0:04:01 | |
LAUGHTER | 0:04:01 | 0:04:02 | |
The pyjama with the... | 0:04:02 | 0:04:04 | |
I don't wear the jacket, though. It's unnecessarily formal. | 0:04:04 | 0:04:09 | |
As if you'd wear a blazer in bed. It would clash with your helmet. | 0:04:09 | 0:04:13 | |
It is odd the way pyjamas have a collar that could take a tie. | 0:04:13 | 0:04:16 | |
LAUGHTER | 0:04:16 | 0:04:20 | |
-Back to the helmet. -You know Petr Cech, the Chelsea goalkeeper? | 0:04:20 | 0:04:24 | |
You better explain to David who... | 0:04:24 | 0:04:26 | |
He's a footballer who got kicked in the head. | 0:04:26 | 0:04:29 | |
-The goalkeeper's the one that owns the club, right? -That's him, yeah. | 0:04:29 | 0:04:33 | |
Anyway, he got kicked in the head | 0:04:33 | 0:04:35 | |
and he wears a padded... It's very similar to that. | 0:04:35 | 0:04:37 | |
If you've had a previous head injury | 0:04:37 | 0:04:39 | |
-and I've had a knock in the past. -Have you? | 0:04:39 | 0:04:42 | |
What was your head injury? | 0:04:42 | 0:04:43 | |
I fell off a bike when I was a teenager and... | 0:04:43 | 0:04:46 | |
How ironic! They make you wear a cycle helmet to remind you | 0:04:46 | 0:04:49 | |
of that terrible, terrible day. | 0:04:49 | 0:04:52 | |
When did you start wearing the cycle helmet in bed? | 0:04:52 | 0:04:55 | |
-That was when I was 16. -You've worn it since you were 16? -Yeah. | 0:04:55 | 0:04:58 | |
-How old are you now? -39. | 0:04:58 | 0:04:59 | |
So, on your honeymoon night, you wore it, did you? | 0:04:59 | 0:05:02 | |
She was used to that. She'd seen it. | 0:05:02 | 0:05:04 | |
So, every night. | 0:05:04 | 0:05:07 | |
I've heard of safe sex... | 0:05:07 | 0:05:08 | |
LAUGHTER | 0:05:08 | 0:05:10 | |
During sex, are you wearing it? | 0:05:10 | 0:05:11 | |
Cos then, you're really thrashing around, aren't you? | 0:05:11 | 0:05:15 | |
Do you presume that there's no gap between the end of sex and sleep | 0:05:15 | 0:05:19 | |
that I couldn't then go, | 0:05:19 | 0:05:20 | |
"Oh, that was magic. Do you mind if I put my hat on?" | 0:05:20 | 0:05:25 | |
Do you know what? That, to me, is more disturbing. | 0:05:25 | 0:05:28 | |
LAUGHTER | 0:05:28 | 0:05:29 | |
"That was marvellous. What the hell are you putting on your head?" | 0:05:29 | 0:05:33 | |
LAUGHTER | 0:05:33 | 0:05:36 | |
Lee, it's time to take a guess. What do you think? | 0:05:36 | 0:05:40 | |
If he's not telling the truth, he's made life hard for himself. | 0:05:40 | 0:05:43 | |
He didn't have to say he'd done it for 23 years. | 0:05:43 | 0:05:45 | |
-How long have you know him for? -I've never slept with him. | 0:05:45 | 0:05:49 | |
LAUGHTER | 0:05:49 | 0:05:51 | |
I don't think... | 0:05:51 | 0:05:53 | |
-It's a lie. Lie. -We're saying it's a lie. | 0:05:53 | 0:05:56 | |
So, Dara, are you telling the truth or was it a lie? | 0:05:56 | 0:05:59 | |
That scar that goes from there to there? | 0:05:59 | 0:06:01 | |
No, it's a lie. | 0:06:01 | 0:06:03 | |
LAUGHTER AND APPLAUSE | 0:06:03 | 0:06:07 | |
It's a lie. Dara wasn't advised to sleep in a cycle helmet | 0:06:07 | 0:06:12 | |
because of the violent nature of his dreams. | 0:06:12 | 0:06:14 | |
Lorraine, you're up next. | 0:06:14 | 0:06:16 | |
I once presented an episode of TV-am whilst drunk. | 0:06:16 | 0:06:22 | |
I don't think we need to discuss this any further. | 0:06:22 | 0:06:25 | |
LAUGHTER | 0:06:25 | 0:06:27 | |
OK. Why, what time do you start work on TV-am? | 0:06:27 | 0:06:31 | |
In those days, I would be getting up about three o'clock. | 0:06:31 | 0:06:35 | |
So, you're waking up at three... | 0:06:35 | 0:06:37 | |
Are you still hammered from the night before or topping up at three? | 0:06:37 | 0:06:41 | |
-If you're waking up sober, this is a tragic story. -This is a great story. | 0:06:41 | 0:06:45 | |
No, it was only the once. | 0:06:45 | 0:06:47 | |
What happened the night before or the...? | 0:06:47 | 0:06:49 | |
No, I went for lunch. | 0:06:49 | 0:06:51 | |
-A long lunch? -About 12. Well, aye. | 0:06:51 | 0:06:54 | |
"Well, aye." | 0:06:54 | 0:06:56 | |
What time does the lunch start? | 0:06:57 | 0:07:00 | |
About half past 12. | 0:07:00 | 0:07:03 | |
OK. What time did you finish drinking? | 0:07:03 | 0:07:05 | |
About three o'clock. | 0:07:05 | 0:07:06 | |
Three o'clock in the morning? | 0:07:06 | 0:07:09 | |
You've drunk all the way through till three o'clock. | 0:07:09 | 0:07:11 | |
That's your wake-up time. | 0:07:11 | 0:07:13 | |
So, you've not slept? It was an all-nighter. | 0:07:13 | 0:07:17 | |
So, you're drinking from 12 till three in the morning, and you go, | 0:07:17 | 0:07:20 | |
"Aye, got to go to work, now, lads." | 0:07:20 | 0:07:22 | |
"See you later, I'm on telly." | 0:07:24 | 0:07:26 | |
-Lorraine Kelly, who were you with? -Who was I with? | 0:07:29 | 0:07:33 | |
I was celebrating with John Hannah, the actor. | 0:07:33 | 0:07:35 | |
John Hannah, the actor? | 0:07:35 | 0:07:36 | |
ALL: Oooh! | 0:07:36 | 0:07:37 | |
Stop the clocks. | 0:07:37 | 0:07:39 | |
Exactly, and we kind of did. | 0:07:39 | 0:07:42 | |
He was celebrating the fact that he'd got the part | 0:07:42 | 0:07:44 | |
-in Four Weddings And A Funeral. -Was he? Wonderful! | 0:07:44 | 0:07:47 | |
I hope this is true, now, because that's a lovely story. | 0:07:47 | 0:07:50 | |
-I know. -And you went drinking... -It's a sort of lovely story, | 0:07:50 | 0:07:53 | |
that she turned up drunk on air | 0:07:53 | 0:07:55 | |
after a 19-hour drinking session. | 0:07:55 | 0:07:57 | |
It's quite heart-warming. | 0:07:57 | 0:08:00 | |
-A-a-a-h-h-h! -But, but, but I could... | 0:08:00 | 0:08:03 | |
I could have phoned in not well, I could have phoned in instead. | 0:08:03 | 0:08:07 | |
Yeah, we appreciate you're a professional. | 0:08:07 | 0:08:09 | |
Thank you. | 0:08:09 | 0:08:10 | |
What might we have noticed about Lorraine Kelly that morning? | 0:08:10 | 0:08:14 | |
Oh, nothing, absolutely.... | 0:08:14 | 0:08:16 | |
-Did you have your top on? -I did. | 0:08:16 | 0:08:17 | |
LAUGHTER | 0:08:17 | 0:08:20 | |
Nobody would ever have known. Nobody did know, only me. | 0:08:20 | 0:08:23 | |
When you say drunk it sounds like... I mean, drunk's a big word. | 0:08:23 | 0:08:26 | |
-You know that way you can drink yourself sober? -Yes, I do. | 0:08:26 | 0:08:30 | |
You're my kind of woman. | 0:08:30 | 0:08:31 | |
You can drink yourself sober, you can actually... | 0:08:31 | 0:08:34 | |
-I don't think you can. -You can! | 0:08:34 | 0:08:35 | |
I don't think you can, kids. | 0:08:35 | 0:08:38 | |
"Mummy, do you know what Lorraine Kelly's just said on television?" | 0:08:38 | 0:08:43 | |
You can't drink yourself sober. | 0:08:43 | 0:08:45 | |
-You can. -You're right, Lorraine. | 0:08:45 | 0:08:47 | |
-Thank you Barry, you can. -Yeah, you're right. | 0:08:47 | 0:08:50 | |
You can! | 0:08:50 | 0:08:52 | |
So, Lee's team, what do you think? | 0:08:52 | 0:08:55 | |
What do we think, Barry? | 0:08:55 | 0:08:57 | |
Is this true or a lie? | 0:08:57 | 0:08:58 | |
I'm an old-fashioned gent. | 0:08:58 | 0:09:00 | |
I'm sorry to say I think it's true. | 0:09:00 | 0:09:02 | |
LAUGHTER | 0:09:02 | 0:09:04 | |
-Sorry, Lorraine. -Do you think it's true? | 0:09:04 | 0:09:07 | |
-I think so, yeah. -OK, we'll say it's true. | 0:09:07 | 0:09:10 | |
-You saying it's true? Lorraine. -Shaking her head. | 0:09:10 | 0:09:13 | |
As if I would do such a thing as that! | 0:09:13 | 0:09:16 | |
It's true. | 0:09:16 | 0:09:18 | |
LAUGHTER AND APPLAUSE | 0:09:18 | 0:09:21 | |
Yes, it's true. | 0:09:23 | 0:09:24 | |
Lorraine did once present an episode of TV-am drunk. | 0:09:24 | 0:09:28 | |
It's astonishing, isn't it? | 0:09:28 | 0:09:29 | |
Only once. I mean, that's nothing. | 0:09:29 | 0:09:31 | |
I once got so drunk I WATCHED an episode of TV-am. | 0:09:31 | 0:09:34 | |
LAUGHTER | 0:09:34 | 0:09:37 | |
Barry. | 0:09:37 | 0:09:39 | |
I have written and had published a trilogy of romantic novels | 0:09:39 | 0:09:43 | |
under a female pen name. | 0:09:43 | 0:09:47 | |
David's team. | 0:09:47 | 0:09:48 | |
What's the female pen name, Barry? | 0:09:48 | 0:09:50 | |
Mary Windsor. | 0:09:50 | 0:09:51 | |
-Mary Windsor. -Oh, Mary Windsor. -Yeah. | 0:09:51 | 0:09:55 | |
And at what stage in your career was this? | 0:09:55 | 0:09:57 | |
Early. | 0:09:57 | 0:09:58 | |
LAUGHTER | 0:09:58 | 0:10:00 | |
I'd written... Done one book of anecdotes | 0:10:00 | 0:10:04 | |
and the publisher said that they fancied doing a sort of | 0:10:04 | 0:10:08 | |
sub-Barbara Cartland, you know? | 0:10:08 | 0:10:09 | |
A sort of... One of those. | 0:10:09 | 0:10:11 | |
Were the anecdotes romantic in your book? | 0:10:11 | 0:10:13 | |
No, no. I don't know why they chose me, | 0:10:13 | 0:10:15 | |
but I went for it and I got away with three of them, | 0:10:15 | 0:10:18 | |
which didn't sell, obviously. | 0:10:18 | 0:10:19 | |
Nobody's heard of them. | 0:10:19 | 0:10:21 | |
Were they linked, by the way? Was it a trilogy or was it the same story? | 0:10:21 | 0:10:24 | |
There were three separate stories. | 0:10:24 | 0:10:26 | |
Great, so, that's all three plots, please, off the cuff. | 0:10:26 | 0:10:30 | |
LAUGHTER | 0:10:30 | 0:10:32 | |
Let's go for book number one. | 0:10:32 | 0:10:33 | |
Book number one was a shameless rip-off of Lady Chatterley's Lover. | 0:10:33 | 0:10:37 | |
It was about a guy | 0:10:37 | 0:10:39 | |
who worked on the estate and the lady of the manor. | 0:10:39 | 0:10:42 | |
It was just blatant. | 0:10:42 | 0:10:43 | |
-And what was it called, Barry? What was the title? -My Land. | 0:10:43 | 0:10:47 | |
It was a quotation from the lady of the manor | 0:10:47 | 0:10:50 | |
who said it at a crucial point in the plot. | 0:10:50 | 0:10:52 | |
Oh, how crucial? | 0:10:52 | 0:10:54 | |
On their first falling out, they become lovers | 0:10:54 | 0:10:57 | |
and then, it became very tense | 0:10:57 | 0:10:58 | |
and then, she became very autocratic with him | 0:10:58 | 0:11:00 | |
and it was a very moving moment, if I say so myself. | 0:11:00 | 0:11:04 | |
LAUGHTER | 0:11:04 | 0:11:08 | |
-And book two? -Book two was set in Spain and a bullfighter is involved. | 0:11:09 | 0:11:14 | |
-Oh, right. -But same plot, I'm not kidding you. | 0:11:14 | 0:11:17 | |
LAUGHTER | 0:11:17 | 0:11:20 | |
Was book two called My Bull? | 0:11:20 | 0:11:23 | |
No, no. I'm ashamed to say it was called Hasta La Vista. | 0:11:23 | 0:11:28 | |
LAUGHTER | 0:11:28 | 0:11:31 | |
I wish you wouldn't go on about this, I'm not proud of them. | 0:11:31 | 0:11:34 | |
I think I want to read them. | 0:11:34 | 0:11:37 | |
And book three? | 0:11:37 | 0:11:39 | |
-One Year, it was called. -One Year. -One Year. | 0:11:39 | 0:11:43 | |
You didn't go overboard on the titles, did you? | 0:11:43 | 0:11:45 | |
No, simple, self-explanatory titles. | 0:11:45 | 0:11:49 | |
What was the plot of book three? | 0:11:49 | 0:11:51 | |
The plot of book three was on board a liner. | 0:11:51 | 0:11:55 | |
-On board a liner? -My Liner! | 0:11:55 | 0:11:58 | |
This posh, frustrated woman went on a liner and met this steward. | 0:11:58 | 0:12:05 | |
LAUGHTER | 0:12:05 | 0:12:08 | |
Why did they stop this? This is gold! | 0:12:08 | 0:12:12 | |
Which one, now that you look back, Barry, | 0:12:12 | 0:12:15 | |
-with the wisdom that you've accrued over the years... -Yes. | 0:12:15 | 0:12:18 | |
Which one are you proudest of? | 0:12:18 | 0:12:20 | |
The third one because I was starting to get the hang of it. | 0:12:20 | 0:12:24 | |
LAUGHTER AND APPLAUSE | 0:12:24 | 0:12:30 | |
The publishers disagreed. | 0:12:34 | 0:12:36 | |
They thought you were losing what hang of it you'd ever had. | 0:12:36 | 0:12:39 | |
-What are you thinking, David's team? -What do you think, Lorraine? -Och, no. | 0:12:40 | 0:12:45 | |
I just don't see Barry having the time to do it and if... | 0:12:45 | 0:12:49 | |
I could write those drunk in the morning. | 0:12:49 | 0:12:53 | |
LAUGHTER AND APPLAUSE | 0:12:53 | 0:12:57 | |
We think it's a lie, don't we? Yeah, yeah. | 0:13:00 | 0:13:02 | |
You sure? Think it's a lie. | 0:13:02 | 0:13:04 | |
Barry Cryer, truth or lie? | 0:13:04 | 0:13:06 | |
Dramatic pause. Music is heard in the background. | 0:13:06 | 0:13:11 | |
It was... | 0:13:11 | 0:13:13 | |
..a lie. | 0:13:13 | 0:13:15 | |
APPLAUSE | 0:13:15 | 0:13:18 | |
It's a lie. Barry hasn't written a trilogy of romantic novels | 0:13:23 | 0:13:27 | |
under a female pen name. | 0:13:27 | 0:13:29 | |
I love romantic fiction. | 0:13:29 | 0:13:30 | |
The new Jilly Cooper book features a highly-sexed woman | 0:13:30 | 0:13:33 | |
who makes love in the strangest places. | 0:13:33 | 0:13:35 | |
It's on the shelves Monday, hanging from a chandelier Tuesday, | 0:13:35 | 0:13:39 | |
on top of the wardrobe Wednesday. | 0:13:39 | 0:13:42 | |
Our next round is called This Is My... | 0:13:42 | 0:13:44 | |
where we bring on a mystery guest | 0:13:44 | 0:13:46 | |
who has a close connection to one of our panellists. | 0:13:46 | 0:13:49 | |
So, please welcome this week's special guest, Rod. | 0:13:49 | 0:13:52 | |
APPLAUSE | 0:13:52 | 0:13:58 | |
So, Barry first of all. What is Rod to you? | 0:13:59 | 0:14:02 | |
This is Rod. He drives my favourite bus | 0:14:02 | 0:14:08 | |
and whenever I see it, I shout, "Hello, darling". | 0:14:08 | 0:14:12 | |
LAUGHTER | 0:14:12 | 0:14:15 | |
Sue, how do you know Rod? | 0:14:15 | 0:14:16 | |
This is lovely Rod who's my local butcher | 0:14:16 | 0:14:19 | |
and when I won Maestro, | 0:14:19 | 0:14:21 | |
he had a whole pig in the window and he stuck my face on its face | 0:14:21 | 0:14:25 | |
and he put a little conducting baton in its trotters to celebrate. | 0:14:25 | 0:14:29 | |
ALL: Awww. | 0:14:29 | 0:14:30 | |
Lee, your relationship with Rod? | 0:14:30 | 0:14:32 | |
This is Rod, and after we accidentally | 0:14:32 | 0:14:34 | |
took each other's baggage from the carousel, | 0:14:34 | 0:14:37 | |
I ended up having to wear his clothes for three days on holiday. | 0:14:37 | 0:14:41 | |
So, there we have it. | 0:14:41 | 0:14:43 | |
Barry's bus driver, Sue's butcher or Lee's unlucky holiday-goer. | 0:14:43 | 0:14:47 | |
-David, off you go. -So, your local butcher... -Yes. | 0:14:47 | 0:14:51 | |
You got to know him quite well before this... | 0:14:51 | 0:14:53 | |
Before you were sort of represented in pig form. | 0:14:53 | 0:14:57 | |
Yes, for about seven years, off and on. | 0:14:57 | 0:15:00 | |
Is this, like, a posh butchers, basically? | 0:15:00 | 0:15:02 | |
Well, no, how...? what do you mean by posh butcher? | 0:15:02 | 0:15:05 | |
I basically think going to a butcher's is quite posh now, | 0:15:05 | 0:15:08 | |
on the basis that most people buy meat at supermarkets. | 0:15:08 | 0:15:10 | |
Well, no, the butcher's en route to the tube, | 0:15:10 | 0:15:12 | |
so I've always gone and also I've got... | 0:15:12 | 0:15:14 | |
If you need some meat to gnaw on the tube... | 0:15:14 | 0:15:17 | |
Basically, he's on that route so I always say hello | 0:15:17 | 0:15:19 | |
and there's three of them that work there, Rod's one, | 0:15:19 | 0:15:22 | |
and also I've got dogs so they give me bones... | 0:15:22 | 0:15:25 | |
-So this is sort of a 1950s idyll you're living in. -Yeah, exactly so. | 0:15:25 | 0:15:29 | |
Sue, this was done, so you say, | 0:15:29 | 0:15:31 | |
in honour of the programme Maestro. | 0:15:31 | 0:15:33 | |
Tell us what that was. | 0:15:33 | 0:15:35 | |
A programme where you learned how to be an orchestral conductor. | 0:15:35 | 0:15:39 | |
So why the leap? "Ah! An orchestral conductor - a pig!" | 0:15:39 | 0:15:44 | |
Well, to be fair, I mean, he is a butcher, | 0:15:44 | 0:15:46 | |
he can't say shall we put it on | 0:15:46 | 0:15:47 | |
the face of the pig or the dead body of Andre Previn in the back there? | 0:15:47 | 0:15:51 | |
How was your face done? Was it like a colour printout? | 0:15:53 | 0:15:56 | |
Yeah, like something they'd got off, off the internet, | 0:15:56 | 0:15:59 | |
so it was quite, quite pixelated. | 0:15:59 | 0:16:01 | |
Not pixelated, I think you mean low resolution. | 0:16:01 | 0:16:04 | |
That's what I mean. Not like smiley face. | 0:16:04 | 0:16:07 | |
Otherwise, people would go, | 0:16:07 | 0:16:08 | |
"That's clearly the pixelated face of Sue Perkins on that pig." | 0:16:08 | 0:16:11 | |
Right so moving on...what number bus is it, Barry? | 0:16:12 | 0:16:16 | |
H14. H14 Hatch End to Northwick Park Hospital. | 0:16:16 | 0:16:19 | |
-Right. -And, and in reverse. No, he doesn't drive in reverse... | 0:16:19 | 0:16:23 | |
And I don't shout, "Hello, darling," at Rod - nothing personal, Rod. | 0:16:25 | 0:16:29 | |
I shout it at the bus, because it's my friend. | 0:16:29 | 0:16:33 | |
You shout it when the H14 drives past. | 0:16:33 | 0:16:36 | |
-So when, when you're planning to get on it.. -Yes. | 0:16:36 | 0:16:38 | |
..then at what point do you shout, "Hello darling." | 0:16:38 | 0:16:41 | |
I'm a creature of whim. | 0:16:41 | 0:16:43 | |
It might be early, it might be late, it might be | 0:16:45 | 0:16:48 | |
when I'm getting on, I don't... I want to vary it. | 0:16:48 | 0:16:51 | |
Do you add, "I'm coming in, darling." | 0:16:51 | 0:16:53 | |
No, no. No, there's no foreplay. | 0:16:53 | 0:16:56 | |
David, what about Lee's? | 0:17:00 | 0:17:02 | |
-So where were you going on holiday? -Thailand. -Right. | 0:17:03 | 0:17:08 | |
Me and Rod got our bags mixed up | 0:17:08 | 0:17:09 | |
on the carousel and so as a result of that | 0:17:09 | 0:17:11 | |
I had to wear his clothes for three days. | 0:17:11 | 0:17:13 | |
-Where did you fly to, Bangkok? -Flew to Bangkok. | 0:17:13 | 0:17:17 | |
-You didn't have labels on your case? -Correct. -That was very remiss. | 0:17:17 | 0:17:20 | |
Well, it was remiss, it was... | 0:17:20 | 0:17:22 | |
Lorraine, it was remiss or I'm lying! | 0:17:22 | 0:17:25 | |
-Aye. -Yeah. -In which case it wasn't remiss. | 0:17:25 | 0:17:29 | |
OK. I think it will be remiss. | 0:17:29 | 0:17:30 | |
So just, just to clarify, Lee, | 0:17:30 | 0:17:32 | |
are you still saying this is true | 0:17:32 | 0:17:35 | |
or has the very suggestion you might be remiss, | 0:17:35 | 0:17:37 | |
made you abandon any attempt at playing this game. | 0:17:37 | 0:17:40 | |
-I will not be... -"I'm not going to be called remiss, | 0:17:40 | 0:17:43 | |
"OK, it's nonsense, it's nonsense. | 0:17:43 | 0:17:45 | |
"I'm not a fool, I actually label my luggage very carefully cos I think | 0:17:45 | 0:17:48 | |
"that's very important and I'm not for a moment | 0:17:48 | 0:17:51 | |
"going to pretend otherwise!" | 0:17:51 | 0:17:53 | |
What sort of case was it? Was it just...what kind of case was it? | 0:17:55 | 0:17:59 | |
-It was actually leopard skin. -Oh, please. | 0:17:59 | 0:18:02 | |
Not leopard skin as in animal fur, | 0:18:02 | 0:18:03 | |
it was plastic but it had, had the effect. | 0:18:03 | 0:18:05 | |
No, blokes don't have leopard skin. | 0:18:05 | 0:18:08 | |
You're right, It was my wife, my wife's zany idea. | 0:18:08 | 0:18:11 | |
-Rod's a proper bloke, I mean... -So am I, Lorraine, thank you! | 0:18:11 | 0:18:14 | |
-But you're kind of showbiz. -What d'you mean "kind of showbiz"? | 0:18:14 | 0:18:17 | |
How about I AM showbiz? | 0:18:17 | 0:18:18 | |
I don't think Rod would have... | 0:18:18 | 0:18:21 | |
Remiss, kind of showbiz? I'm really coming for you. | 0:18:21 | 0:18:24 | |
-SUE: -Not a proper man! | 0:18:24 | 0:18:26 | |
BARRY: What barbs! | 0:18:26 | 0:18:27 | |
Hang on so there's two men... TWO MEN of exact same build, | 0:18:27 | 0:18:32 | |
both travelling to Bangkok on the same flight | 0:18:32 | 0:18:35 | |
with leopard skin suitcases. | 0:18:35 | 0:18:37 | |
LAUGHTER | 0:18:37 | 0:18:39 | |
People swap bags all the time, | 0:18:39 | 0:18:41 | |
but they bring them back to the airport | 0:18:41 | 0:18:43 | |
or they get somebody at the hotel to bring them back | 0:18:43 | 0:18:45 | |
and they buy replacement clothes. They don't go, | 0:18:45 | 0:18:48 | |
"I will now assume the identity of the man whose suitcase I have." | 0:18:48 | 0:18:51 | |
LAUGHTER AND APPLAUSE | 0:18:51 | 0:18:56 | |
No, but I have to be honest, that is the rules of the games, | 0:18:56 | 0:18:59 | |
I didn't...I wasn't in Bangkok, | 0:18:59 | 0:19:00 | |
I had to fly again from Bangkok to a place called Krabi | 0:19:00 | 0:19:03 | |
-and then we got on a boat to an island resort... -Yeah. | 0:19:03 | 0:19:06 | |
..so it was a long way back to Bangkok. | 0:19:06 | 0:19:09 | |
-So you didn't open your case until your final destination? -Yes. | 0:19:09 | 0:19:12 | |
What were Rod's clothes like? | 0:19:12 | 0:19:14 | |
Were you happy to wear them, did they fit you? | 0:19:14 | 0:19:16 | |
I think you can look at Rod and you can see he's a stylish man. | 0:19:16 | 0:19:20 | |
-Mmm-hmm. -His...his wigs weren't great... | 0:19:20 | 0:19:23 | |
but his... | 0:19:23 | 0:19:24 | |
LAUGHTER | 0:19:24 | 0:19:25 | |
Let's say some of the things I wouldn't have worn. | 0:19:25 | 0:19:28 | |
For example his, his bus conductor's outfit. | 0:19:28 | 0:19:30 | |
I wouldn't have worn that! | 0:19:30 | 0:19:32 | |
And as for his butcher's outfit...well. | 0:19:32 | 0:19:35 | |
What are you thinking, David, I mean, it's... | 0:19:35 | 0:19:37 | |
it's a tricky one I think, this week. | 0:19:37 | 0:19:39 | |
I think, I think it's Sue. | 0:19:39 | 0:19:41 | |
-Really? -I think it's probably Sue. | 0:19:41 | 0:19:44 | |
Do you? I think it's Lee. | 0:19:44 | 0:19:46 | |
You think it's Lee?! | 0:19:46 | 0:19:48 | |
What did I say? | 0:19:48 | 0:19:50 | |
Lorraine, Lorraine, can I just say, even I don't think it's me. | 0:19:50 | 0:19:54 | |
LAUGHTER | 0:19:54 | 0:19:55 | |
-No, it's two against one, go for it. -Ok, well, we think it's Sue. | 0:19:55 | 0:20:00 | |
Right. Rod, would you please reveal your true identity. | 0:20:00 | 0:20:04 | |
I'm Rod and I'm Barry's H14 driver. | 0:20:04 | 0:20:07 | |
CHEERING AND APPLAUSE | 0:20:07 | 0:20:11 | |
Ladies and gentlemen, Rod. Thank you, Rod. | 0:20:13 | 0:20:15 | |
Time now for some high-speed lying in our final round, Quick-Fire Lies. | 0:20:22 | 0:20:25 | |
Our panellists don't know | 0:20:25 | 0:20:27 | |
whether they're about to read out a true fact | 0:20:27 | 0:20:29 | |
about themselves or a made-up lie they've never seen before. | 0:20:29 | 0:20:33 | |
David is currently behind, so really has to work hard | 0:20:33 | 0:20:36 | |
to grab some extra points, if they want to win. | 0:20:36 | 0:20:38 | |
We will start with... | 0:20:38 | 0:20:40 | |
Oh, David. | 0:20:40 | 0:20:42 | |
Possession. | 0:20:43 | 0:20:45 | |
-You know the form... -This could be anything. | 0:20:46 | 0:20:49 | |
Take out the object, show us first and then read out the card, please. | 0:20:49 | 0:20:52 | |
Awww. | 0:20:53 | 0:20:55 | |
It's true, it's true! | 0:20:55 | 0:20:58 | |
Move on! | 0:20:58 | 0:21:00 | |
We don't even need to hear it. | 0:21:00 | 0:21:02 | |
This-this is my bear, Tablecloth. | 0:21:02 | 0:21:04 | |
LAUGHTER | 0:21:04 | 0:21:08 | |
Customs officers once cut his head off | 0:21:08 | 0:21:10 | |
and searched him for smuggled goods. | 0:21:10 | 0:21:13 | |
Can we see, is there proof? | 0:21:14 | 0:21:16 | |
-Is there any way of telling? -There's some stitching. | 0:21:16 | 0:21:19 | |
Oh, just tilt, tilt his chin up so we can see the stitching. | 0:21:19 | 0:21:22 | |
Not too much, don't want to upset him. | 0:21:22 | 0:21:25 | |
-All right. -Can we have a look at the bear? -Yes, you can have the bear. | 0:21:25 | 0:21:28 | |
-Throw him over violently. -No, don't throw him. | 0:21:28 | 0:21:30 | |
I couldn't possibly. | 0:21:30 | 0:21:32 | |
-SUE: -He's been decapitated, he's seen worse. | 0:21:32 | 0:21:34 | |
You can't throw the bear, that'd be a shame. | 0:21:34 | 0:21:37 | |
Thank you, Lorraine. | 0:21:37 | 0:21:38 | |
Sorry, I meant you to pass it to Rob, I've now made you | 0:21:38 | 0:21:41 | |
do the whole journey, like, "Take the bear over there please, Lorraine. | 0:21:41 | 0:21:45 | |
"It's in my contract I never leave, I never leave the desk." | 0:21:45 | 0:21:49 | |
-David, just look at me... -I, I didn't... | 0:21:50 | 0:21:52 | |
How is this making you feel? | 0:21:52 | 0:21:54 | |
-LORRAINE: -That's terrible. You are horrible! | 0:21:54 | 0:21:58 | |
Stop it! That's really terrible! | 0:21:58 | 0:22:01 | |
Isn't it awful?! | 0:22:01 | 0:22:04 | |
He's had his head cut off and his thing ripped out, | 0:22:04 | 0:22:06 | |
how can that possibly upset him? | 0:22:06 | 0:22:08 | |
David why, why did you call this bear Tablecloth? | 0:22:08 | 0:22:13 | |
-BARRY: -Yes. | 0:22:13 | 0:22:14 | |
Because, when I was very little, | 0:22:14 | 0:22:16 | |
he had a little jacket made out of a tablecloth. | 0:22:16 | 0:22:19 | |
AUDIENCE SIGHS | 0:22:19 | 0:22:22 | |
If this turns out to be a lie, | 0:22:24 | 0:22:25 | |
you are a shameless little light entertainer. | 0:22:25 | 0:22:27 | |
Coming from you, Lee, that is a compliment. | 0:22:29 | 0:22:33 | |
What...where was the customs, where were you going from or to? | 0:22:34 | 0:22:38 | |
We were going back from Minorca. | 0:22:38 | 0:22:42 | |
What were they looking for? | 0:22:42 | 0:22:44 | |
I imagine it was just, sort of, a spot check. | 0:22:44 | 0:22:47 | |
Did you see them carve the head off? Was it happening in front of you, | 0:22:47 | 0:22:50 | |
on the table, on the... | 0:22:50 | 0:22:51 | |
No. I'm glad to say I was shielded from that moment. | 0:22:51 | 0:22:54 | |
David, I'm going off this story. | 0:22:54 | 0:22:57 | |
You heartless bastard. | 0:22:58 | 0:23:00 | |
Huh-ho! | 0:23:00 | 0:23:02 | |
Sorry, Tablecloth. | 0:23:02 | 0:23:03 | |
-What? Do it to him, smash his face on the... -Give me the bear. | 0:23:03 | 0:23:07 | |
I'm taking the bear into care. | 0:23:07 | 0:23:09 | |
You looks like you're about to do an appeal. | 0:23:11 | 0:23:14 | |
Why didn't they check the arms and legs? | 0:23:14 | 0:23:17 | |
I don't know, I should have asked them to. | 0:23:17 | 0:23:20 | |
I should have said, "Call that thorough?" | 0:23:23 | 0:23:25 | |
I'd have done this here. | 0:23:27 | 0:23:29 | |
What's that you say? | 0:23:29 | 0:23:30 | |
You say it's time for Lee's team to take a guess? | 0:23:30 | 0:23:34 | |
Erm...what do you think? | 0:23:35 | 0:23:36 | |
Maybe he's in denial | 0:23:36 | 0:23:38 | |
and the truth is he, as an adult, was searched for drugs | 0:23:38 | 0:23:41 | |
and he's so traumatised by what they did to him | 0:23:41 | 0:23:44 | |
he's had to create a teddy bear and put it all on to him. | 0:23:44 | 0:23:47 | |
Show us on the teddy bear what they did to you at customs. | 0:23:47 | 0:23:50 | |
Show us on the teddy bear where they shoved their fist. | 0:23:50 | 0:23:53 | |
That's why the bear's hands are like that. | 0:23:58 | 0:24:00 | |
Oh... | 0:24:00 | 0:24:01 | |
APPLAUSE | 0:24:01 | 0:24:03 | |
-OK, we're going to say lie are we, Sue? -I think so. -Lie. -OK. -Lie. | 0:24:03 | 0:24:06 | |
I don't think I can argue with that. | 0:24:06 | 0:24:08 | |
OK, David. | 0:24:08 | 0:24:09 | |
Well, it is a lie. | 0:24:09 | 0:24:11 | |
APPLAUSE | 0:24:13 | 0:24:17 | |
Yes, it's a lie. | 0:24:19 | 0:24:20 | |
David's teddy bear didn't have his head cut off by customs officers, | 0:24:20 | 0:24:24 | |
as they searched for smuggled goods. | 0:24:24 | 0:24:26 | |
When I was a rebellious young man, | 0:24:26 | 0:24:27 | |
I once stuck two fingers up to a customs officer, | 0:24:27 | 0:24:30 | |
who pulled me aside, put on a rubber glove and returned the favour. | 0:24:30 | 0:24:34 | |
AUDIENCE LAUGHS AND GROANS | 0:24:34 | 0:24:36 | |
Next. | 0:24:36 | 0:24:37 | |
Oh, it's Lee, Lee's go. | 0:24:37 | 0:24:39 | |
-Possession. -Right, box under the desk, Lee. | 0:24:40 | 0:24:43 | |
Please read the card first and then show us what's in there. | 0:24:45 | 0:24:48 | |
I spent an entire year in a plastic work class at school | 0:24:48 | 0:24:51 | |
and this is the only thing I managed to make. | 0:24:51 | 0:24:54 | |
Plastic work. | 0:24:54 | 0:24:55 | |
Plastic work. What is it? | 0:24:55 | 0:24:58 | |
What is it? | 0:25:00 | 0:25:02 | |
I don't know. Can we have a look, can we... | 0:25:02 | 0:25:04 | |
-Can you bring it over? -Lee, what is that, though? | 0:25:04 | 0:25:07 | |
Thank you. | 0:25:07 | 0:25:08 | |
It's shit. | 0:25:08 | 0:25:10 | |
LAUGHTER | 0:25:10 | 0:25:12 | |
You bastard. And I treated your teddy bear with such respect. | 0:25:14 | 0:25:18 | |
What is it, though? | 0:25:18 | 0:25:20 | |
-Ironically, it's a luggage tag. -Is it a luggage tag? | 0:25:20 | 0:25:23 | |
It's a key ring. | 0:25:24 | 0:25:26 | |
-Oh, is it a key ring? -Are you a big sports fan? | 0:25:26 | 0:25:29 | |
-I follow football. -Yeah, which team d'you follow? | 0:25:29 | 0:25:32 | |
-Blackburn Rovers. -Blackburn Rovers? | 0:25:32 | 0:25:34 | |
Blackburn doesn't begin with an L, does it? | 0:25:35 | 0:25:39 | |
So what was the LFC? | 0:25:41 | 0:25:43 | |
Erm...it was Liberace for Chancellor. | 0:25:43 | 0:25:45 | |
LAUGHTER | 0:25:45 | 0:25:48 | |
It stands for Liverpool Football Club. | 0:25:51 | 0:25:53 | |
-Yes, it does. -Yeah, yeah. | 0:25:53 | 0:25:55 | |
Why did you make a Liverpool key ring in plastic work? | 0:25:55 | 0:26:00 | |
Because they didn't have blue and white plastic, | 0:26:00 | 0:26:03 | |
Blackburn Rovers, they had red plastic, so I thought, | 0:26:03 | 0:26:06 | |
"Well, I'll give it the Liverpool Football Club", cos it's red! | 0:26:06 | 0:26:10 | |
-Right. -When did you do it, | 0:26:10 | 0:26:12 | |
what age were you when you did that? Was it at school then? | 0:26:12 | 0:26:15 | |
No, it was in Broadmoor. | 0:26:15 | 0:26:17 | |
You say it took you a year. | 0:26:20 | 0:26:23 | |
-DIFFERENT PRONOUNCIATION: -No, a y-EAR. | 0:26:23 | 0:26:25 | |
-LAUGHTER -Oh...! | 0:26:25 | 0:26:27 | |
APPLAUSE | 0:26:27 | 0:26:30 | |
I've never heard of plastic work. | 0:26:32 | 0:26:35 | |
Well, the thing is, in 1982, plastic was the future. | 0:26:35 | 0:26:38 | |
Well, I don't, I don't in any way disparage plastic, | 0:26:39 | 0:26:42 | |
that's fine, I like plastic, plastic's very useful. | 0:26:42 | 0:26:45 | |
But a class at school doing... for plastic work? | 0:26:45 | 0:26:48 | |
How did you cut it? What did you use? | 0:26:48 | 0:26:50 | |
Well, not like that. | 0:26:50 | 0:26:51 | |
I don't think you're in any position to get all haughty about your | 0:26:53 | 0:26:56 | |
plastic cutting technique if THIS is the only thing that you have. | 0:26:56 | 0:27:01 | |
APPLAUSE | 0:27:01 | 0:27:04 | |
I must say I, I don't believe this. | 0:27:06 | 0:27:08 | |
I'd love to know what this object is, who made it and why | 0:27:08 | 0:27:12 | |
-but I think we think it's a lie. -All lies. -Totally. | 0:27:12 | 0:27:16 | |
OK, they say it's a lie. Lee, is it the truth or is it a lie. | 0:27:16 | 0:27:19 | |
It is in fact true. | 0:27:19 | 0:27:21 | |
THEY GROAN IN DISBELIEF | 0:27:21 | 0:27:24 | |
LORRAINE: Oh, my God! | 0:27:24 | 0:27:27 | |
Plastic work. That was a lesson that never caught on, plastic work. | 0:27:28 | 0:27:32 | |
-Plastic work. -Did anyone else do plastic work? -AUDIENCE WHOOPS | 0:27:32 | 0:27:36 | |
Did you get marked on that, submitted for examination? | 0:27:36 | 0:27:39 | |
-Yes, I did get. -What was your grade? | 0:27:39 | 0:27:40 | |
I got a 2:1 and went straight to Oxford. What do you think? | 0:27:40 | 0:27:43 | |
LAUGHTER | 0:27:43 | 0:27:45 | |
Yes, it's true. | 0:27:45 | 0:27:47 | |
I don't know exactly what LFC stands for, | 0:27:47 | 0:27:49 | |
but I'm guessing the first word is lazy. | 0:27:49 | 0:27:52 | |
LAUGHTER | 0:27:52 | 0:27:55 | |
BUZZER | 0:27:55 | 0:27:56 | |
And that noise signals time is up and it's the end of the show | 0:27:56 | 0:28:00 | |
and I can reveal that David's team have a pathetic three points | 0:28:00 | 0:28:05 | |
and Lee's team has trounced home with eight! | 0:28:05 | 0:28:08 | |
APPLAUSE AND CHEERING | 0:28:08 | 0:28:13 | |
But, of course, it's not just a team game | 0:28:13 | 0:28:15 | |
and my individual liar of the week this week, is Barry Cryer. | 0:28:15 | 0:28:19 | |
Oh, shucks! | 0:28:19 | 0:28:21 | |
Bazza. | 0:28:21 | 0:28:23 | |
Yes, Barry Cryer, who hasn't lied so much since he typed the words | 0:28:23 | 0:28:27 | |
"new material" at the top of a page of jokes. | 0:28:27 | 0:28:30 | |
Good night! | 0:28:30 | 0:28:31 | |
Subtitles by Red Bee Media Ltd | 0:28:38 | 0:28:41 | |
E-mail [email protected] | 0:28:41 | 0:28:44 |