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Good evening and welcome to Would I Lie to You?, | 0:00:26 | 0:00:29 | |
the show where fibs and fancies are the order of the day. | 0:00:29 | 0:00:33 | |
And on Lee Mack's team tonight, the Springwatch TV presenter | 0:00:33 | 0:00:36 | |
who when she was younger, worked on a crocodile farm. | 0:00:36 | 0:00:39 | |
It's where she first got her love of animals... | 0:00:39 | 0:00:41 | |
and shoes and handbags. | 0:00:41 | 0:00:43 | |
Kate Humble. | 0:00:43 | 0:00:44 | |
CHEERING AND APPLAUSE | 0:00:44 | 0:00:47 | |
And in the hit sitcom Rev, he plays the lovable, | 0:00:49 | 0:00:53 | |
slightly odd, bookish nerd Nigel, and he's such a consummate actor, | 0:00:53 | 0:00:57 | |
he started getting into character 32 years ago. | 0:00:57 | 0:01:01 | |
It's Miles Jupp. | 0:01:01 | 0:01:02 | |
CHEERING AND APPLAUSE | 0:01:02 | 0:01:05 | |
On David Mitchell's team tonight, | 0:01:06 | 0:01:09 | |
an actor who stars in The Indian Doctor, | 0:01:09 | 0:01:11 | |
a show all about the first ever Indian doctor in Wales. | 0:01:11 | 0:01:14 | |
I'm not sure what part he plays, | 0:01:14 | 0:01:16 | |
I just hope his Welsh accent's up to it. Sanjeev Bhaskar. | 0:01:16 | 0:01:19 | |
CHEERING AND APPLAUSE | 0:01:19 | 0:01:22 | |
And it really is, it really is no exaggeration to say we have had | 0:01:23 | 0:01:27 | |
hundreds of letters saying, "You've got to get this guy on the show." | 0:01:27 | 0:01:31 | |
All from Judy, who just wants one night to herself. Richard Madeley. | 0:01:31 | 0:01:34 | |
CHEERING AND APPLAUSE | 0:01:34 | 0:01:37 | |
And so we begin with Round One. | 0:01:39 | 0:01:40 | |
It's Home Truths, where our panellists each read out | 0:01:40 | 0:01:43 | |
a statement from the card in front of them. To make things harder, | 0:01:43 | 0:01:47 | |
they've never seen the card before, | 0:01:47 | 0:01:48 | |
so they have no idea what they'll be faced with. It's up to the opposing team | 0:01:48 | 0:01:51 | |
to sort the fact from the fiction and Richard, you are first up. | 0:01:51 | 0:01:55 | |
One Christmas morning, | 0:01:58 | 0:02:00 | |
I woke up stark naked in our shoe cupboard, | 0:02:00 | 0:02:02 | |
clutching nothing but two cans of fake snow. | 0:02:02 | 0:02:07 | |
Lee Mack, what do you make of that? | 0:02:10 | 0:02:12 | |
-So, yeah, what year was this? -About 1993. | 0:02:12 | 0:02:16 | |
OK, and can you talk us through how this happened? | 0:02:16 | 0:02:19 | |
I, uh, went to bed very drunk on Christmas Eve, | 0:02:20 | 0:02:22 | |
actually, it was Christmas morning by then, about two in the morning, | 0:02:22 | 0:02:25 | |
and I woke up again in the cupboard under the stairs, | 0:02:25 | 0:02:28 | |
totally naked, with two, | 0:02:28 | 0:02:32 | |
as I realised when I picked them up, empty artificial snow spray cans in | 0:02:32 | 0:02:36 | |
each hand and the light was on and my face was in the Wellington boots. | 0:02:36 | 0:02:40 | |
What had you gone in there for? | 0:02:40 | 0:02:42 | |
I'd gone in to put the snow cans back | 0:02:43 | 0:02:45 | |
after what I then realised I'd done with them. | 0:02:45 | 0:02:47 | |
What had you done with them? | 0:02:47 | 0:02:50 | |
Two weeks earlier, we'd bought our family Christmas tree | 0:02:50 | 0:02:53 | |
and Judy and Chloe, my daughter, decided it wouldn't be | 0:02:53 | 0:02:55 | |
a good idea to put artificial snow on it and Jack, my son, and I, thought it would. | 0:02:55 | 0:02:59 | |
And we had a massive row | 0:02:59 | 0:03:00 | |
and of course the ladies won, so the spray was hidden | 0:03:00 | 0:03:03 | |
-at the back of the cupboard, but I saw where Judy hid it. -But you did this naked, presumably. | 0:03:03 | 0:03:08 | |
I did it in my sleep. | 0:03:08 | 0:03:10 | |
Can I just stop you there? | 0:03:10 | 0:03:11 | |
No-one's listening now, we're all just thinking, | 0:03:11 | 0:03:14 | |
"Ah, Richard Madeley sleeps naked." | 0:03:14 | 0:03:16 | |
LAUGHTER | 0:03:16 | 0:03:18 | |
And, uh, and clearly, I mean, I can only suppose what happened, | 0:03:18 | 0:03:21 | |
I'd gone downstairs in my sleep, taken the cans out, | 0:03:21 | 0:03:24 | |
covered the tree with fake foam, gone back in the thing and then woken up. | 0:03:24 | 0:03:27 | |
-You'd done the whole tree. -The whole tree. | 0:03:27 | 0:03:29 | |
Was it a good job? | 0:03:29 | 0:03:31 | |
It was terrible, it covered the lights, it covered the baubles, | 0:03:31 | 0:03:34 | |
it was like a great big Mr Whippy. | 0:03:34 | 0:03:37 | |
I'm intrigued by this cupboard under the stairs, Richard. | 0:03:37 | 0:03:41 | |
Someone with your income would, by 1993 even, | 0:03:41 | 0:03:43 | |
during your, let's call it heyday, would have had... | 0:03:43 | 0:03:48 | |
LAUGHTER AND APPLAUSE | 0:03:48 | 0:03:50 | |
..I do think you would have had it converted into a, into a, | 0:03:51 | 0:03:54 | |
a downstairs, uh, facility. | 0:03:54 | 0:03:56 | |
Is that your view of opulence? | 0:03:56 | 0:03:58 | |
That any sort of space under stairs | 0:03:58 | 0:04:01 | |
must be fitted for immediate...egestion? | 0:04:01 | 0:04:03 | |
Any sort of unused space anywhere. | 0:04:03 | 0:04:05 | |
Any money at all, there's something about the combination of | 0:04:05 | 0:04:08 | |
wealth, career success and a little cubby hole that just says "poo". | 0:04:08 | 0:04:12 | |
What did Judy and Chloe have to say about this in the morning? | 0:04:13 | 0:04:16 | |
Christmas morning dawned | 0:04:16 | 0:04:18 | |
and I went down with Judy and there it was, looking awful and I just went, | 0:04:18 | 0:04:22 | |
"Jack, we told you not to do that and you went and..." | 0:04:22 | 0:04:26 | |
Kept it up for about a minute and then confessed. | 0:04:26 | 0:04:29 | |
-So you woke up at two in the morning. -I didn't wake up. | 0:04:29 | 0:04:31 | |
-I was sleep spraying, if you like. -Then you went into... | 0:04:31 | 0:04:34 | |
That has horrid connotations. | 0:04:34 | 0:04:36 | |
Please. Think of the children! | 0:04:36 | 0:04:39 | |
-We've all done it. -So you did the spraying... | 0:04:41 | 0:04:43 | |
What's your first conscious memory? Waking up in the cupboard or waking up in the bed? | 0:04:43 | 0:04:48 | |
No, waking up in the cupboard. | 0:04:48 | 0:04:49 | |
-Do you always sleep naked? -Yes. -Always? -Yeah. | 0:04:49 | 0:04:52 | |
How does Judy feel about, about that? | 0:04:52 | 0:04:55 | |
Well, so does she. | 0:04:55 | 0:04:57 | |
Blimey. Is it me, or is it getting hot in here? | 0:04:57 | 0:05:00 | |
Sorry, hang on, hang on, hang on. | 0:05:00 | 0:05:04 | |
No, no, no, give me a minute. | 0:05:04 | 0:05:06 | |
LAUGHTER AND APPLAUSE | 0:05:07 | 0:05:10 | |
Hands up, who sleeps naked? | 0:05:14 | 0:05:16 | |
David, keep your hands down. | 0:05:16 | 0:05:18 | |
It's got to be 40%. | 0:05:18 | 0:05:21 | |
I mean, obviously, I go to bed dressed as Scrooge. | 0:05:21 | 0:05:24 | |
So what are you thinking, Lee? | 0:05:24 | 0:05:26 | |
I definitely think it's plausible. What do you think, Kate? | 0:05:26 | 0:05:29 | |
What concerns me | 0:05:29 | 0:05:30 | |
is the gap between the waking up at two o'clock in the morning | 0:05:30 | 0:05:33 | |
and going to bed and not sort of | 0:05:33 | 0:05:37 | |
-doing anything about the tree. -Just leaving it. | 0:05:37 | 0:05:40 | |
Just leaving it. | 0:05:40 | 0:05:41 | |
-Miles? -I think it is true. -You do? | 0:05:41 | 0:05:43 | |
So what are you going to say? | 0:05:43 | 0:05:45 | |
OK, split decision, we will go with, I will go with Miles | 0:05:45 | 0:05:48 | |
-and say that's true. -It's true? | 0:05:48 | 0:05:50 | |
Richard Madeley, were you telling the truth or were you telling a lie? | 0:05:50 | 0:05:54 | |
I have to tell you guys, you've made a terrible start for us. | 0:05:54 | 0:05:57 | |
It's true. | 0:05:57 | 0:05:59 | |
Well done. | 0:05:59 | 0:06:01 | |
Yes, it's true. | 0:06:01 | 0:06:04 | |
One Christmas morning, Richard did wake up stark naked | 0:06:04 | 0:06:07 | |
in his shoe cupboard, clutching nothing but two cans of fake snow. | 0:06:07 | 0:06:11 | |
Judy was quite pleased when she came across Richard sitting there | 0:06:11 | 0:06:15 | |
stark naked, as it reminded her to put the turkey in the oven. | 0:06:15 | 0:06:19 | |
Miles, you're next. | 0:06:24 | 0:06:26 | |
Every time I shower, | 0:06:27 | 0:06:28 | |
I must adhere to my strict system for drying myself. | 0:06:28 | 0:06:32 | |
OK, quick as you can, | 0:06:32 | 0:06:33 | |
what's the system for drying yourself? | 0:06:33 | 0:06:35 | |
Well, I always use a towel... | 0:06:35 | 0:06:37 | |
You weird eccentric. | 0:06:38 | 0:06:41 | |
Well, actually, I don't start with a towel, I use, | 0:06:41 | 0:06:44 | |
I sort of brush water off this arm, I do that 20 times. | 0:06:44 | 0:06:48 | |
With your hand? | 0:06:48 | 0:06:50 | |
-With my hand. -Yeah. -And then 20 times that one. | 0:06:50 | 0:06:55 | |
Do you dry yourself between your legs with your hands? | 0:06:55 | 0:06:58 | |
No, I don't, Richard. | 0:07:05 | 0:07:07 | |
Is it like an OCD thing, | 0:07:07 | 0:07:08 | |
where it is 20, or is it roughly 20? | 0:07:08 | 0:07:12 | |
-It can be multiples of 20. -You're not serious? | 0:07:12 | 0:07:16 | |
Yes, like 20 of those, one, two, | 0:07:16 | 0:07:18 | |
three, four, five, six, seven, eight, nine, ten, 11, 12... | 0:07:18 | 0:07:21 | |
-We know what 20 is. -Yeah, yeah. Um, and then the same on the other, and then 30 in the hair. | 0:07:21 | 0:07:25 | |
30 in the hair? | 0:07:25 | 0:07:27 | |
And then I think, I'd better move on to the towel phase. | 0:07:27 | 0:07:31 | |
I've done the arm and head thing, it's towel time. | 0:07:31 | 0:07:33 | |
And when, when did you start doing this? | 0:07:33 | 0:07:36 | |
Within the last, uh, two years. | 0:07:36 | 0:07:38 | |
When you reach for the towel, are there any other oddities | 0:07:38 | 0:07:40 | |
or do you basically then proceed in what | 0:07:40 | 0:07:43 | |
we would refer to as a conventional drying manner? | 0:07:43 | 0:07:46 | |
Well, I get the towel and I do 50 on the top of the head, | 0:07:46 | 0:07:50 | |
and then, this is quite a new development, actually, probably within the last... | 0:07:50 | 0:07:54 | |
The whole thing is quite a new development. | 0:07:54 | 0:07:57 | |
You clearly had some sort of breakdown a couple of years ago. | 0:07:57 | 0:08:00 | |
So now it's 50 on top and 50 behind, | 0:08:01 | 0:08:03 | |
whereas it just used to be 50 on top. | 0:08:03 | 0:08:06 | |
What was it about your drying policy before this point, two or three years ago, | 0:08:06 | 0:08:10 | |
that you considered inadequate? | 0:08:10 | 0:08:12 | |
I was getting through a lot of towels. | 0:08:12 | 0:08:15 | |
How much moisture do you hold?! | 0:08:15 | 0:08:19 | |
I am unbelievably absorbent. | 0:08:20 | 0:08:22 | |
One could wring me out like a sponge, I really... | 0:08:22 | 0:08:26 | |
Have you tried that? Because that might be a more efficient way of... | 0:08:26 | 0:08:29 | |
I don't see what it is about this system | 0:08:29 | 0:08:31 | |
that is hard to believe or understand. | 0:08:31 | 0:08:34 | |
-I don't like it... -Oh, no, don't do it. | 0:08:36 | 0:08:38 | |
If this turns out to be true, it's going to be a tense evening. | 0:08:40 | 0:08:44 | |
Have you ever washed your car by hand rather than going through the drive-through? | 0:08:47 | 0:08:50 | |
No, never. | 0:08:50 | 0:08:53 | |
Never? You are the most middle-class man I have ever met. | 0:08:53 | 0:08:57 | |
You've never washed your own car? | 0:08:57 | 0:08:59 | |
I've been to the, you know, the roly one. | 0:08:59 | 0:09:03 | |
That's not the same, Miles. Getting the coin | 0:09:03 | 0:09:05 | |
and putting it in the slot does not constitute manual labour. | 0:09:05 | 0:09:09 | |
I've only had a car for three years. | 0:09:09 | 0:09:11 | |
Did the purchase of the car coincide with the new shower policy? | 0:09:11 | 0:09:15 | |
Having seen the car go through the "roly thing" that you don't know the name of, | 0:09:15 | 0:09:20 | |
even though the name pretty much creates itself... | 0:09:20 | 0:09:23 | |
Did you think "I am going to create my own domestic version of this with my hands"? | 0:09:25 | 0:09:30 | |
Do you have a little sign when you go into the bathroom | 0:09:33 | 0:09:36 | |
that says "Stop" once you get there? Do you edge forward waiting... | 0:09:36 | 0:09:40 | |
Stop! And you've got to do it quickly because you know that it's | 0:09:40 | 0:09:46 | |
going to go "Peep-peep!" and you've got to get out again. | 0:09:46 | 0:09:50 | |
-David, it's time to take a guess. -What do you think? | 0:09:50 | 0:09:53 | |
It's truly horrible, but I want, I want it to be true and I, | 0:09:53 | 0:09:58 | |
and I'm an optimist in life, so I'll say it's true. | 0:09:58 | 0:10:01 | |
I can't, I can't go with that. I mean, if it is true, | 0:10:01 | 0:10:03 | |
then it's really disturbing and frightening, | 0:10:03 | 0:10:06 | |
and all those other things that you scare your kids with. | 0:10:06 | 0:10:09 | |
My instinct is that it's a lie. | 0:10:09 | 0:10:12 | |
OK, you're saying it's a lie. | 0:10:12 | 0:10:13 | |
Well, Miles, were you telling the truth or were you telling a lie? | 0:10:13 | 0:10:18 | |
It is true. | 0:10:18 | 0:10:20 | |
Yes, almost unbelievably, it's true. | 0:10:26 | 0:10:31 | |
Every times Miles showers, | 0:10:31 | 0:10:32 | |
he must adhere to his strict system for drying himself. | 0:10:32 | 0:10:37 | |
Kate, you're next. | 0:10:38 | 0:10:39 | |
Every time I have a haircut, I ask to keep the hair, | 0:10:41 | 0:10:45 | |
which I then take to London | 0:10:45 | 0:10:46 | |
and scatter for the pigeons to make nests with. | 0:10:46 | 0:10:50 | |
There we are. All right, David, what do you think? | 0:10:51 | 0:10:56 | |
What is it that makes you think the pigeons of London are short of... | 0:10:56 | 0:10:59 | |
-Hair. -..stuff? | 0:10:59 | 0:11:01 | |
Yeah, hair, I mean, there's just a lot of | 0:11:01 | 0:11:03 | |
nest making stuff in London, surely. | 0:11:03 | 0:11:05 | |
Actually, there isn't that much, there has been this big drive to keep London tidy. | 0:11:05 | 0:11:11 | |
And Kate do you, do you believe, | 0:11:11 | 0:11:14 | |
do you believe that pigeons prefer blondes? | 0:11:14 | 0:11:16 | |
No, but I think they do like curls. | 0:11:16 | 0:11:18 | |
How do you know that? | 0:11:18 | 0:11:19 | |
Well, you know, I've... when I scatter it, I then just | 0:11:19 | 0:11:22 | |
sort of stand back, make sure it's appreciated and, and you know... | 0:11:22 | 0:11:27 | |
Because it immediately gets snapped up! | 0:11:27 | 0:11:29 | |
Amazingly. | 0:11:29 | 0:11:31 | |
So if somebody else is feeding them some bread, they go, "Oh!" | 0:11:31 | 0:11:34 | |
Who wants a bit of old Hovis? | 0:11:34 | 0:11:36 | |
How much of your hair do you get cut for the curl to be included? | 0:11:36 | 0:11:39 | |
About an inch and a half. I don't have it cut very often. | 0:11:39 | 0:11:43 | |
Where in London do you go to to distribute your clippings? | 0:11:43 | 0:11:49 | |
Can I ask you a question, David, have you ever met a woman before? | 0:11:49 | 0:11:53 | |
I really hope that's the kind of thing you say to random strangers. | 0:11:56 | 0:12:01 | |
It's not a thing I've ever said before, | 0:12:01 | 0:12:04 | |
but you can't say it isn't pertinent to the circumstances. | 0:12:04 | 0:12:08 | |
Do you secretly hope | 0:12:09 | 0:12:12 | |
that one day, a very clever pigeon would make a tiny little wig? | 0:12:12 | 0:12:17 | |
If he did, what might he sound like, Richard? | 0:12:17 | 0:12:19 | |
Because I've been told that you do a very good pi... | 0:12:19 | 0:12:23 | |
Oh, he's doing it now! | 0:12:23 | 0:12:24 | |
IMITATES PIGEON CALL | 0:12:24 | 0:12:27 | |
That's a wood pigeon, isn't it? | 0:12:27 | 0:12:30 | |
CHEERING AND APPLAUSE | 0:12:30 | 0:12:34 | |
And for the aficionados of bird land amongst you, | 0:12:35 | 0:12:37 | |
not to be confused with the ringed dove. | 0:12:37 | 0:12:40 | |
IMITATES DOVE CALL | 0:12:40 | 0:12:44 | |
And also, not to be confused with the parrot. | 0:12:46 | 0:12:49 | |
Pretty Polly! Pretty Polly! | 0:12:49 | 0:12:53 | |
-Very good. -This programme is getting more and more like The One Show. | 0:12:59 | 0:13:03 | |
Well, actually I did want to ask Miles a question, | 0:13:05 | 0:13:08 | |
if you don't mind, Miles, if you were to do what she does, | 0:13:08 | 0:13:11 | |
would you wash the cuttings and hand dry them before you put them...? | 0:13:11 | 0:13:15 | |
If I were to collect Kate Humble's hair, | 0:13:17 | 0:13:20 | |
and then get on a bus? No, I'd just, I'd go to the hairdressers | 0:13:20 | 0:13:23 | |
and say, "Have you cut Kate Humble's hair?" | 0:13:23 | 0:13:25 | |
-With that voice? -"Well, put it in a bag for me!" | 0:13:27 | 0:13:32 | |
And then I'd catch a bus and I'd go straight to the top deck | 0:13:32 | 0:13:35 | |
and tell everyone exactly what I had in my bag. | 0:13:35 | 0:13:37 | |
"Who watches Springwatch? Got her hair in my bag. | 0:13:39 | 0:13:44 | |
"It's not for me, it's for the pigeons." | 0:13:46 | 0:13:48 | |
Um, what do you think, David? | 0:13:51 | 0:13:52 | |
I think more of Kate than this. I have a higher opinion of her than this. | 0:13:52 | 0:13:56 | |
I think a lot of her, I mean it's... Oh, sorry, in that sense, yeah. | 0:13:56 | 0:13:58 | |
I think she's telling us a lie. | 0:14:00 | 0:14:02 | |
I think, yeah, I think we all think it's a lie. | 0:14:02 | 0:14:04 | |
You think it's a lie, pretty unanimous. OK, Kate, fact or fiction? | 0:14:04 | 0:14:08 | |
It's a lie. | 0:14:10 | 0:14:12 | |
I really hoped that was true. | 0:14:14 | 0:14:16 | |
Yes, it was a lie - every time Kate has a haircut, | 0:14:16 | 0:14:20 | |
she doesn't take the hair cuttings to London to scatter to | 0:14:20 | 0:14:22 | |
the pigeons for them to make nests with. | 0:14:22 | 0:14:24 | |
Our next round is called This Is My, | 0:14:24 | 0:14:26 | |
where we bring on a mystery guest who has a close connection to | 0:14:26 | 0:14:29 | |
one of our panellists. This week, each of Lee's team will claim | 0:14:29 | 0:14:33 | |
it's them that has the connection to the guest, | 0:14:33 | 0:14:35 | |
and it's up to David's team to spot who's telling the truth. | 0:14:35 | 0:14:38 | |
So please, welcome this week's special guest, John. | 0:14:38 | 0:14:41 | |
CHEERING AND APPLAUSE | 0:14:41 | 0:14:44 | |
Right, Miles, first of all, what is John to you? | 0:14:47 | 0:14:53 | |
Er, John and I were paid to fight together in a supermarket, | 0:14:53 | 0:14:58 | |
dressed as... | 0:14:58 | 0:15:00 | |
..dressed as gladiators. | 0:15:01 | 0:15:03 | |
-Kate, how do you know John? -This is John, | 0:15:05 | 0:15:08 | |
and, er, when I was in Africa, | 0:15:08 | 0:15:10 | |
he and I dressed up in a pantomime giraffe costume | 0:15:10 | 0:15:14 | |
in order to get close-up shots of giraffes in the wild. | 0:15:14 | 0:15:19 | |
-Lee, what's your relationship with John? -This is John. | 0:15:19 | 0:15:22 | |
Despite being total strangers, we were once forced | 0:15:22 | 0:15:25 | |
to share a bed when we were double booked into the same hotel room. | 0:15:25 | 0:15:29 | |
David, where do you want to start? | 0:15:29 | 0:15:32 | |
Um, well, maybe with Kate, | 0:15:32 | 0:15:34 | |
because what I'm reluctant to believe | 0:15:34 | 0:15:37 | |
is that the best way of lulling giraffes | 0:15:37 | 0:15:41 | |
into a false sense of security | 0:15:41 | 0:15:43 | |
is to try and disguise yourself as a giraffe, | 0:15:43 | 0:15:47 | |
because I reckon they'd... | 0:15:47 | 0:15:49 | |
I mean a giraffe, it takes one to know one. | 0:15:49 | 0:15:52 | |
He thought that if we dressed up as a giraffe | 0:15:52 | 0:15:55 | |
then he could put a camera on a kind of periscope thing up the neck | 0:15:55 | 0:16:01 | |
of the giraffe and get that evening shot | 0:16:01 | 0:16:03 | |
of the giraffes against the sunset. | 0:16:03 | 0:16:07 | |
Now, you said, very astutely, | 0:16:07 | 0:16:08 | |
that it takes a giraffe to know a giraffe. | 0:16:08 | 0:16:12 | |
If we did this in daylight, it would have failed completely | 0:16:12 | 0:16:16 | |
because giraffes have extremely good day vision, but their night vision | 0:16:16 | 0:16:20 | |
isn't very good and that's why we decided to try it. | 0:16:20 | 0:16:23 | |
Why is it then necessary to disguise as a giraffe at all? | 0:16:23 | 0:16:27 | |
Why not just take a stepladder? | 0:16:27 | 0:16:30 | |
They are not completely blind, | 0:16:31 | 0:16:33 | |
they're just not necessarily going to worry too much | 0:16:33 | 0:16:36 | |
about whether you're made out of polyester or real fur. | 0:16:36 | 0:16:39 | |
Could you just show us how you did this? | 0:16:39 | 0:16:42 | |
How it worked? Would you like me to do that with John? | 0:16:42 | 0:16:44 | |
-Lee will be the perfect partner for this. -Lee, OK, Lee, if you come... | 0:16:44 | 0:16:47 | |
He has the look of the wild about him. | 0:16:47 | 0:16:50 | |
Kate's going to demonstrate the whole giraffe doppelganger | 0:16:50 | 0:16:54 | |
with you, Lee. | 0:16:54 | 0:16:55 | |
So you are in the front, OK? You need to stand about there, | 0:16:55 | 0:16:59 | |
and, um, actually, could you three stand up | 0:16:59 | 0:17:01 | |
and all just be giraffes in the wild with the sun behind you? | 0:17:01 | 0:17:04 | |
Do you ever get the feeling she's mocking us? | 0:17:06 | 0:17:10 | |
OK, so you've got this big giraffe costume on | 0:17:10 | 0:17:12 | |
and it's got a kind of pole up the back of its spine. | 0:17:12 | 0:17:14 | |
You have got a camera | 0:17:14 | 0:17:16 | |
on a pole poking out of the mouth of the giraffe, right towards them. | 0:17:16 | 0:17:19 | |
-OK? -Right. | 0:17:19 | 0:17:21 | |
I am behind you... | 0:17:21 | 0:17:24 | |
LAUGHTER | 0:17:24 | 0:17:26 | |
Kate, Kate at what point do you say, action? | 0:17:29 | 0:17:32 | |
I've got the laptop here, so I'm checking the focus | 0:17:32 | 0:17:35 | |
and saying to John, | 0:17:35 | 0:17:37 | |
"OK, you're nicely framed up, that's looking lovely." | 0:17:37 | 0:17:42 | |
By the way, I'm a meerkat. | 0:17:42 | 0:17:44 | |
Excellent. You're doing a very good job. | 0:17:44 | 0:17:47 | |
APPLAUSE | 0:17:47 | 0:17:50 | |
All right, I think that's made it a lot clearer. | 0:17:53 | 0:17:56 | |
Let's say a big thank you to our giraffes. | 0:17:56 | 0:17:59 | |
APPLAUSE | 0:17:59 | 0:18:01 | |
But most of all, a big round of applause for our meerkat. | 0:18:01 | 0:18:05 | |
APPLAUSE AND CHEERING | 0:18:05 | 0:18:07 | |
Right. Who would you like to question next? | 0:18:07 | 0:18:10 | |
Er, yes, Miles, you had to dress up as a... | 0:18:10 | 0:18:12 | |
A gladiator. | 0:18:12 | 0:18:13 | |
A gladiator? As in a Roman gladiator? | 0:18:13 | 0:18:16 | |
Or as in from the TV show Gladiators? | 0:18:16 | 0:18:19 | |
-A Roman gladiator. -So, sort of sword and sandals? | 0:18:21 | 0:18:25 | |
Yeah, and breastplates. | 0:18:25 | 0:18:27 | |
What sort of a gladiator were you? | 0:18:27 | 0:18:29 | |
We each had a sword and shield and we did battle. | 0:18:29 | 0:18:31 | |
-And this was in a supermarket? -Yes. | 0:18:31 | 0:18:35 | |
Were you employed or was this just...? | 0:18:35 | 0:18:38 | |
A distraction technique so someone else could steal biscuits and cakes! | 0:18:38 | 0:18:43 | |
We were promoting a range of foods. | 0:18:46 | 0:18:48 | |
Fresh lion meat, you know, the usual! | 0:18:48 | 0:18:52 | |
We were promoting, er, a range of foods - | 0:18:53 | 0:18:58 | |
the Viva Italia delicatessen range, I don't know if you remember | 0:18:58 | 0:19:01 | |
when Safeway rolled that out, er... | 0:19:01 | 0:19:03 | |
But we would have this fight and then one of us would die, | 0:19:05 | 0:19:09 | |
er, or be beaten, be vanquished, | 0:19:09 | 0:19:11 | |
and the other one would say, "Oh, how did you get the strength to beat me?" | 0:19:11 | 0:19:15 | |
And you'd say, "From aisle 7, where..." | 0:19:15 | 0:19:18 | |
LAUGHTER | 0:19:18 | 0:19:22 | |
"..Where I've been... Where I've been | 0:19:22 | 0:19:25 | |
"feasting on the Viva Italia delicatessen range." | 0:19:25 | 0:19:30 | |
What about Lee? | 0:19:30 | 0:19:31 | |
Lee, remind us, what is your link to John, I've forgotten. | 0:19:31 | 0:19:35 | |
Er, this is John and we were once | 0:19:35 | 0:19:37 | |
forced to share a hotel room together, | 0:19:37 | 0:19:40 | |
or share a bed in a hotel room, because we'd been double booked. | 0:19:40 | 0:19:44 | |
OK. Um, so where was the hotel, Lee? | 0:19:44 | 0:19:47 | |
The hotel was in Scotland. | 0:19:47 | 0:19:49 | |
OK, and any... Do you want to be more specific than that? | 0:19:49 | 0:19:52 | |
OK, it was right in Scotland. | 0:19:52 | 0:19:54 | |
LAUGHTER | 0:19:54 | 0:19:56 | |
Be more specific. | 0:19:56 | 0:19:58 | |
More specific? | 0:19:58 | 0:20:01 | |
We, it was... Isle of Skye. | 0:20:01 | 0:20:04 | |
OK! Oh, yeah, fine, I believe you. What were you doing? | 0:20:04 | 0:20:09 | |
I was, er, at a wedding. | 0:20:09 | 0:20:11 | |
Yeah, when was this wedding? | 0:20:11 | 0:20:13 | |
Nine years ago. | 0:20:13 | 0:20:14 | |
You came back from the wedding, so it was late. | 0:20:14 | 0:20:18 | |
So, I came back from the wedding. Got to the hotel. | 0:20:18 | 0:20:21 | |
I'd had a bit too much to drink. So I go to reception. I say, "Hello, I'm..." | 0:20:21 | 0:20:24 | |
Well, I didn't have to say. | 0:20:24 | 0:20:27 | |
Nine years ago? Yes, you bloody did! | 0:20:27 | 0:20:31 | |
So she leans round, she gives me the key, I go upstairs, no lift. | 0:20:31 | 0:20:35 | |
She doesn't in any way go, | 0:20:35 | 0:20:37 | |
"By the way, there is a large man already in this room?" | 0:20:37 | 0:20:40 | |
No, obviously she wasn't aware of the mix-up, | 0:20:40 | 0:20:43 | |
otherwise she would have stopped me, wouldn't she, | 0:20:43 | 0:20:45 | |
as I walked off. She didn't go... | 0:20:45 | 0:20:48 | |
"What?" | 0:20:48 | 0:20:49 | |
"Nothing. Nothing, you'll see!" | 0:20:49 | 0:20:51 | |
So what happened, you... You were given the key by reception | 0:20:51 | 0:20:56 | |
and then opened the door and he was in there? | 0:20:56 | 0:20:59 | |
Correct. | 0:20:59 | 0:21:00 | |
At which point you said...? | 0:21:02 | 0:21:04 | |
I was a bit drunk | 0:21:04 | 0:21:05 | |
so I just assumed that there'd been a mix-up. Wrong key, I was in the wrong room, | 0:21:05 | 0:21:09 | |
so I went, "Oh, sorry," and he went... | 0:21:09 | 0:21:11 | |
HE MUMBLES INCOHERENTLY | 0:21:11 | 0:21:13 | |
He said what? | 0:21:13 | 0:21:14 | |
HE MUMBLES | 0:21:14 | 0:21:15 | |
Don't mock him, wait till he opens his mouth in a minute. | 0:21:15 | 0:21:19 | |
"Come on, who are you?" and he goes... | 0:21:19 | 0:21:22 | |
HE MUMBLES | 0:21:22 | 0:21:25 | |
Then you go back down to reception? | 0:21:26 | 0:21:29 | |
I go back down. I said "You've given me the wrong key." | 0:21:29 | 0:21:32 | |
So then she said, "Sorry, there's been a mix-up." | 0:21:32 | 0:21:36 | |
There's been a mix-up... | 0:21:36 | 0:21:38 | |
"You're going to have to go back in there." | 0:21:38 | 0:21:42 | |
He was in the wrong room but he'd checked in earlier on so it wasn't her mistake, | 0:21:42 | 0:21:45 | |
it was a mistake earlier on by somebody else. | 0:21:45 | 0:21:47 | |
-Why didn't you investigate the possibility of sharing with the person in the other room? -Oh, yeah. | 0:21:47 | 0:21:52 | |
What I did was, I went round all the rooms and I went... | 0:21:52 | 0:21:55 | |
"I don't think so, do you?" | 0:21:58 | 0:22:01 | |
"It's your lucky night, soldier!" | 0:22:01 | 0:22:05 | |
When you realised, when the two of you realised that you were going | 0:22:05 | 0:22:08 | |
to have to share a bed together, | 0:22:08 | 0:22:09 | |
did you have a kind of negotiation? | 0:22:09 | 0:22:11 | |
I have never been to bed with anyone where negotiations have been involved. | 0:22:11 | 0:22:15 | |
That's not completely true. | 0:22:15 | 0:22:16 | |
No, what I mean is, did you say, for example, "I like to sleep on this side of the bed, | 0:22:19 | 0:22:24 | |
"I'm happiest on the right hand side?" | 0:22:24 | 0:22:26 | |
Before we even got to that point, | 0:22:26 | 0:22:28 | |
we both tried to not sleep in the same bed. I didn't just go, | 0:22:28 | 0:22:31 | |
"What the hell are you doing? | 0:22:31 | 0:22:32 | |
"I'm going to sleep on the left and you can sleep on the right." | 0:22:32 | 0:22:35 | |
Right, so we need an answer, what do you think? | 0:22:35 | 0:22:39 | |
I really don't know! Whatever we say, if we get it wrong | 0:22:39 | 0:22:43 | |
we'll look like we've believed something ridiculous! | 0:22:43 | 0:22:46 | |
I don't believe that the best way of photographing | 0:22:46 | 0:22:50 | |
giraffes at sunset is to disguise yourself as a giraffe. | 0:22:50 | 0:22:54 | |
I don't... I don't... Just, two actors, | 0:22:54 | 0:22:56 | |
fighting in a supermarket, | 0:22:56 | 0:22:58 | |
but why, if you're pushing a range of sort of Italian delicatessen foods, | 0:22:58 | 0:23:03 | |
are you going to imply that they give you gladiatorial strength? | 0:23:03 | 0:23:07 | |
Strength to kill somebody. | 0:23:07 | 0:23:09 | |
That's what people are looking for in a nice bit of pastrami - | 0:23:09 | 0:23:13 | |
"But will it give me the strength to murder?" | 0:23:13 | 0:23:15 | |
Also, don't you think | 0:23:15 | 0:23:18 | |
John looks like the kind of bloke you'd bump into at a Scottish wedding? | 0:23:18 | 0:23:23 | |
I know it sounds weird, but I kind of believe Kate's version more. | 0:23:23 | 0:23:27 | |
You think Lee, I think Lee, but what if it's Miles then? | 0:23:27 | 0:23:30 | |
That's awful if it's Miles! We're going to say Lee. | 0:23:30 | 0:23:34 | |
You're going to say Lee. | 0:23:34 | 0:23:36 | |
The wedding, the bed, the night together? | 0:23:36 | 0:23:39 | |
Yes! | 0:23:39 | 0:23:41 | |
So, John, would you please reveal your true identity. | 0:23:41 | 0:23:44 | |
I'm John and I was once paid to fight Miles in a supermarket. | 0:23:44 | 0:23:48 | |
APPLAUSE | 0:23:48 | 0:23:51 | |
Yeah. John and Miles were paid to fight each other in a supermarket | 0:23:57 | 0:24:01 | |
while dressed as gladiators. | 0:24:01 | 0:24:02 | |
This is a horrible, stupid game! | 0:24:02 | 0:24:04 | |
Thank you very much, John, thank you. | 0:24:07 | 0:24:08 | |
APPLAUSE | 0:24:08 | 0:24:10 | |
Which brings us to our final round - Quickfire Lies, | 0:24:10 | 0:24:13 | |
in which our panellists lie not only through their teeth, but against the clock. | 0:24:13 | 0:24:17 | |
We will start with... | 0:24:17 | 0:24:20 | |
Uh, David. | 0:24:20 | 0:24:22 | |
I like pens. | 0:24:22 | 0:24:27 | |
-I know this! It's true. -I like pens. | 0:24:27 | 0:24:32 | |
And I... And I like to know where my pens are. | 0:24:32 | 0:24:36 | |
For this reason, I have a three point pen policy. | 0:24:36 | 0:24:41 | |
-What's your three point pen policy? -Er, well, point one, | 0:24:43 | 0:24:46 | |
I find it important to know where my pens are at any time. | 0:24:46 | 0:24:50 | |
Um, for example... | 0:24:50 | 0:24:52 | |
That...that covers all three, doesn't it? | 0:24:53 | 0:24:55 | |
No, no, no, no. | 0:24:55 | 0:24:57 | |
LAUGHTER | 0:24:57 | 0:25:00 | |
-Point two. -Yeah? | 0:25:00 | 0:25:02 | |
Is to, um, is to be hyper-aware of any pen that I've lent out. | 0:25:02 | 0:25:07 | |
And point three | 0:25:07 | 0:25:11 | |
is to take any opportunity | 0:25:11 | 0:25:13 | |
within the bounds of a reasonable interpretation of the law, | 0:25:13 | 0:25:19 | |
to purloin or otherwise obtain pens. | 0:25:19 | 0:25:23 | |
Name three people who have currently got pens of yours that you want back? | 0:25:25 | 0:25:28 | |
There are no people who have pens of mine. | 0:25:29 | 0:25:32 | |
A key part of point two | 0:25:32 | 0:25:33 | |
is to get a pen back as soon as possible. | 0:25:33 | 0:25:37 | |
When people say, "Oh, can I borrow you pen?", | 0:25:37 | 0:25:39 | |
what I want to say is "Absolutely NOT, | 0:25:39 | 0:25:44 | |
"get your own pen, this is mine!" | 0:25:44 | 0:25:46 | |
However, as part of a scheme I'm working on to try and seem, | 0:25:48 | 0:25:52 | |
normal would be an exaggeration, but, you know, at least | 0:25:52 | 0:25:57 | |
acceptable in broader society, I try not to say that, I try and seem | 0:25:57 | 0:26:00 | |
casual about it, "Oh, yeah, borrow my pen, that's fine," | 0:26:00 | 0:26:02 | |
and then I'm thinking about it constantly until it is returned. | 0:26:02 | 0:26:07 | |
The pen that you've got with you, sorry, is that your own pen, or is that a BBC pen? | 0:26:07 | 0:26:11 | |
-This is now my pen. -Pass me the pen. | 0:26:11 | 0:26:13 | |
-I'd rather not. -But you have to! You have to pass me it. I will give it you back... | 0:26:13 | 0:26:17 | |
I will promise to give you the pen back within five minutes. | 0:26:17 | 0:26:20 | |
-All right. -I'll... Let's meet halfway. | 0:26:20 | 0:26:23 | |
It'll be the first time we've made physical contact in five years. | 0:26:23 | 0:26:26 | |
Right, put the pen on the floor and step away. | 0:26:26 | 0:26:31 | |
-Step away from the pen. -You're going to destroy the pen, aren't you? | 0:26:31 | 0:26:34 | |
I'm not going to destroy the pen, you've got such a cynical mind. | 0:26:34 | 0:26:37 | |
He's going to destroy it. | 0:26:37 | 0:26:39 | |
I'm not going to destroy the pen, that would be infantile. | 0:26:39 | 0:26:42 | |
-So this is a pen you got from the BBC today? -Yeah. | 0:26:42 | 0:26:45 | |
If I take this pen and say I'm keeping this pen, | 0:26:45 | 0:26:47 | |
what will you do to get the pen back off me? | 0:26:47 | 0:26:50 | |
I will not fight you. | 0:26:50 | 0:26:52 | |
So what are you thinking, Lee? | 0:26:53 | 0:26:55 | |
It didn't seem much of a system, did it? | 0:26:55 | 0:26:57 | |
You ask me to have the pen back, I'm going to say no and he's going to leave it at that. | 0:26:57 | 0:27:01 | |
AUDIENCE: Oooh! | 0:27:03 | 0:27:05 | |
I'm so sorry. | 0:27:05 | 0:27:09 | |
It is fair to say we have created drama. | 0:27:09 | 0:27:11 | |
You had explicitly reassured him, | 0:27:13 | 0:27:15 | |
in front of witnesses, that you would not break the pen. | 0:27:15 | 0:27:19 | |
I didn't believe him. | 0:27:19 | 0:27:20 | |
That is correct, that is true. | 0:27:20 | 0:27:22 | |
I didn't believe him. I knew he'd break the pen. | 0:27:22 | 0:27:25 | |
That pen, I'm afraid to say, | 0:27:25 | 0:27:26 | |
and I hope this doesn't make me sound heartless, | 0:27:26 | 0:27:29 | |
when I put that pen down there, it was dead to me. | 0:27:29 | 0:27:32 | |
LAUGHTER AND APPLAUSE | 0:27:32 | 0:27:34 | |
Right, Lee, which way are you going? Is he telling the truth or a lie? | 0:27:38 | 0:27:41 | |
I bet you love pens, I bet you're pretty crazy about pens | 0:27:41 | 0:27:44 | |
but you do not have a three point system. | 0:27:44 | 0:27:46 | |
I think he might. | 0:27:46 | 0:27:48 | |
OK, Lee, take a guess, truth or lie? | 0:27:49 | 0:27:52 | |
-We'll say it's a lie. -You say it's a lie. | 0:27:52 | 0:27:54 | |
David Mitchell - the truth or a lie? | 0:27:54 | 0:27:58 | |
It is in fact...true. | 0:27:58 | 0:27:59 | |
Yes, it's true, David does have a three point pen policy, | 0:28:06 | 0:28:10 | |
-so he knows where they are. -BUZZER | 0:28:10 | 0:28:12 | |
Oh, that noise signals that time is up and it's the end of the show, | 0:28:12 | 0:28:15 | |
and I can reveal that Lee's team have won by three points to two. | 0:28:15 | 0:28:19 | |
APPLAUSE AND CHEERING | 0:28:19 | 0:28:23 | |
But it's not just a team game, | 0:28:25 | 0:28:28 | |
and my individual liar of the week this week is Miles Jupp. | 0:28:28 | 0:28:33 | |
Yes, Miles Jupp, he has the face of a choirboy | 0:28:36 | 0:28:40 | |
and the morals of a choirmaster. Good night. | 0:28:40 | 0:28:44 | |
Subtitles by Red Bee Media Ltd | 0:28:58 | 0:29:00 |