Browse content similar to Episode 3. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
APPLAUSE | 0:00:18 | 0:00:22 | |
Good evening and welcome to Would I Lie To You?, | 0:00:22 | 0:00:25 | |
the show where deception is the dish of the day. | 0:00:25 | 0:00:28 | |
On Lee Mack's team tonight, the woman who is to Sue Perkins | 0:00:28 | 0:00:31 | |
what Sue Perkins is to Mel Giedroyc - it's Mel Giedroyc. | 0:00:31 | 0:00:35 | |
APPLAUSE AND CHEERING | 0:00:35 | 0:00:37 | |
Hello. That's really sweet. | 0:00:37 | 0:00:39 | |
And, a comedian who's been making people laugh for more than | 0:00:39 | 0:00:44 | |
a quarter of a century. To put that in context, when he started, | 0:00:44 | 0:00:48 | |
George Michael was straight, the Berlin Wall stood | 0:00:48 | 0:00:51 | |
and David Mitchell's jacket was in fashion. It's Bob Mortimer. | 0:00:51 | 0:00:55 | |
APPLAUSE AND CHEERING | 0:00:55 | 0:00:57 | |
Nothing wrong with it, nothing wrong with it. | 0:00:57 | 0:01:00 | |
And on David Mitchell's team tonight, he's the star of sitcom | 0:01:00 | 0:01:03 | |
Citizen Kahn, who came last when he appeared on Celebrity Mastermind. | 0:01:03 | 0:01:08 | |
It's that disregard for humiliation that makes him perfect for our show. | 0:01:08 | 0:01:12 | |
It's Adil Ray. | 0:01:12 | 0:01:14 | |
APPLAUSE AND CHEERING | 0:01:14 | 0:01:16 | |
And he's a former member of Westlife who recently | 0:01:16 | 0:01:21 | |
spent three weeks in the bush. | 0:01:21 | 0:01:23 | |
I'm sure there's a joke in there somewhere but this is a family show, | 0:01:23 | 0:01:26 | |
so work it out for yourselves. It's Kian Egan. | 0:01:26 | 0:01:29 | |
APPLAUSE AND CHEERING | 0:01:29 | 0:01:31 | |
We begin, of course, with Round 1. It's Home Truths. | 0:01:31 | 0:01:35 | |
Our panellists each read out a statement from the card | 0:01:35 | 0:01:38 | |
in front of them. | 0:01:38 | 0:01:39 | |
Now, to make things harder, they've never seen the card before, | 0:01:39 | 0:01:42 | |
they've no idea what they'll be faced with | 0:01:42 | 0:01:45 | |
and it's up to the opposing team to sort the fact from the fiction. | 0:01:45 | 0:01:48 | |
Mel, is first up tonight. | 0:01:48 | 0:01:50 | |
I once licked David Bowie's cake... | 0:01:53 | 0:01:56 | |
just to be close to him. | 0:01:56 | 0:01:59 | |
-David? -I would have thought that was not a good way of being close to him, | 0:01:59 | 0:02:03 | |
but that was a way of being forcibly removed from his presence. | 0:02:03 | 0:02:07 | |
So, how did licking his cake bring you close to him? | 0:02:07 | 0:02:11 | |
Right. So, um, it was the 1980s. | 0:02:11 | 0:02:14 | |
I believe it was the year of the Glass Spider Tour. | 0:02:14 | 0:02:17 | |
-Yeah. -I was working as a waitress... | 0:02:17 | 0:02:21 | |
in a cocktail bar. | 0:02:21 | 0:02:23 | |
-No. -Not a Bowie song. -I was going to say, I'm no expert | 0:02:23 | 0:02:27 | |
but that's not one of his. | 0:02:27 | 0:02:29 | |
-That much is true. -Right. | 0:02:29 | 0:02:31 | |
APPLAUSE | 0:02:31 | 0:02:33 | |
Thank you. | 0:02:33 | 0:02:35 | |
-So, Mel if you were working as a waitress. -It wasn't a cocktail bar. | 0:02:36 | 0:02:40 | |
It was a cappuccino bar, because it was the '80s. | 0:02:40 | 0:02:43 | |
So I was working as a waitress in a cappuccino bar. | 0:02:43 | 0:02:45 | |
Hang on, was cappuccino popular in the '80s? | 0:02:45 | 0:02:48 | |
Yeah, they came in in the '80s, didn't they? | 0:02:48 | 0:02:50 | |
They arrived in Port Talbot a week last Thursday. | 0:02:50 | 0:02:54 | |
Anyway, I'm not quite good looking enough, | 0:02:54 | 0:02:59 | |
slash slim enough to be serving at tables. | 0:02:59 | 0:03:03 | |
-Oh, right. -Did they tell you this? Did they say, | 0:03:03 | 0:03:06 | |
"I'm sorry, love, I can't have you serving the customers. I'm sorry." | 0:03:06 | 0:03:10 | |
"We're going to have to hide you round the back making the froth." | 0:03:10 | 0:03:13 | |
No, pretty... | 0:03:13 | 0:03:14 | |
Pretty much I was a washer-upper in the aforementioned cappuccino bar. | 0:03:14 | 0:03:20 | |
Now, massive excitement one day. I'm in the back doing the washing up, | 0:03:20 | 0:03:24 | |
the word is spreading like wildfire. | 0:03:24 | 0:03:27 | |
"Bowie's in, Bowie's in, Bowie's in." | 0:03:27 | 0:03:30 | |
-I saw him in profile, sitting... -How did you see him from the kitchen? | 0:03:30 | 0:03:32 | |
..at the cappuccino bar. Because I could look through the door. | 0:03:32 | 0:03:36 | |
-You were allowed? -Occasionally. | 0:03:36 | 0:03:38 | |
And all the customers went, "Ahhh!" | 0:03:38 | 0:03:40 | |
And she was grabbed back in again and manacled. "Argh!" | 0:03:41 | 0:03:46 | |
"Get back in the chocolate sprinkles bit!" | 0:03:47 | 0:03:51 | |
So, Bowie had ordered, let's imagine, I think it was | 0:03:51 | 0:03:55 | |
something like a sort of, | 0:03:55 | 0:03:57 | |
-SINGSONG: -"A hot chocolate fudge slice, please." | 0:03:57 | 0:04:00 | |
Or something like that. | 0:04:00 | 0:04:02 | |
-Can we get on to the licking? -Let's get on to the licking. | 0:04:02 | 0:04:05 | |
It's like Friday night in my house. | 0:04:05 | 0:04:07 | |
I thought, "I'm not going to get to say hello to him, | 0:04:08 | 0:04:11 | |
"because I'm not allowed to go out front and serve the man, | 0:04:11 | 0:04:14 | |
-"so what can I do just to feel that I have entered him..." -Oh, my God. | 0:04:14 | 0:04:18 | |
.."in some way?" | 0:04:18 | 0:04:20 | |
-I mean, just... -So, some of your DNA... -I'm part of him. | 0:04:20 | 0:04:25 | |
..has been ingested by the great man. | 0:04:25 | 0:04:27 | |
Well, what sort of lick? Bearing in mind that this is very much | 0:04:27 | 0:04:31 | |
-a family show, do the lick for us. -Plate. | 0:04:31 | 0:04:33 | |
-Yeah. -Slice. -Yeah. -It would have been... | 0:04:33 | 0:04:37 | |
I'll just try and get back in the zone. | 0:04:37 | 0:04:39 | |
It would have just been a... | 0:04:39 | 0:04:41 | |
-Like a little cat, like a little cat. -That's not what I imagined. | 0:04:43 | 0:04:46 | |
-I thought you would go up and down it a couple of times. -No. | 0:04:46 | 0:04:51 | |
-Just a little, a polite lick. -Just a touch. | 0:04:51 | 0:04:54 | |
It was full of homage and reverence for the great man. | 0:04:54 | 0:04:58 | |
And then obviously it went out and I never saw him again. | 0:04:58 | 0:05:01 | |
It wasn't long after that he was hospitalised, wasn't it? | 0:05:01 | 0:05:05 | |
All right, David, what are you thinking, could this be true? | 0:05:05 | 0:05:09 | |
Um. Well, it could be true, but... | 0:05:09 | 0:05:12 | |
You know, she started off as a waitress then she became... | 0:05:12 | 0:05:15 | |
A washer-upper. | 0:05:15 | 0:05:16 | |
I think it sounds so absurd and she's been so random I think | 0:05:16 | 0:05:19 | |
there's an element of truth to it, personally. | 0:05:19 | 0:05:21 | |
So, what are you going to say, David? Is it truth or is it a lie? | 0:05:21 | 0:05:24 | |
Well, one or the other. | 0:05:24 | 0:05:26 | |
I think on balance it's a lie. | 0:05:26 | 0:05:29 | |
You're going to say lie. | 0:05:29 | 0:05:31 | |
So, Mel, licking David Bowie's cake, true or was it a lie? | 0:05:31 | 0:05:35 | |
It is... | 0:05:35 | 0:05:37 | |
a great fat true. | 0:05:37 | 0:05:39 | |
APPLAUSE | 0:05:39 | 0:05:41 | |
Sorry. | 0:05:41 | 0:05:42 | |
Yes, it's true, Mel did lick David Bowie's cake | 0:05:42 | 0:05:46 | |
so she could feel closer to him. Bob, it's your turn. | 0:05:46 | 0:05:50 | |
The police once ordered me to leave town - unspecified - | 0:05:50 | 0:05:56 | |
because I was frightening the locals. | 0:05:56 | 0:05:59 | |
David's team, what do you think? | 0:05:59 | 0:06:01 | |
Could you give us some context, Bob. | 0:06:01 | 0:06:03 | |
Um, I'll give you the name of the town, it was Castle Douglas. | 0:06:03 | 0:06:07 | |
-Ah. -Where is that? -South west Scotland. | 0:06:07 | 0:06:11 | |
-And why were you in Castle Douglas? -Um... -Was it a tour or something? | 0:06:11 | 0:06:16 | |
No, it was a long time ago. I was only um, | 0:06:16 | 0:06:19 | |
17, 18, that kind of age. And er... | 0:06:19 | 0:06:23 | |
-A numerical age, that kind. -Yeah. | 0:06:23 | 0:06:26 | |
Rather than iron or bronze. That's a different kind of age. | 0:06:26 | 0:06:33 | |
I was with two friends trying to get as close | 0:06:33 | 0:06:38 | |
to the Gulf Stream as I possibly could. | 0:06:38 | 0:06:40 | |
-What? -What do you mean you wanted to get close to the gulf stream? | 0:06:40 | 0:06:44 | |
It seemed such an appealing, far off miraculous thing, | 0:06:44 | 0:06:48 | |
this hot stream of water so near us, | 0:06:48 | 0:06:51 | |
that it was hard to believe in it just from the text books. | 0:06:51 | 0:06:54 | |
But it's not like a spa, it's a massive flow within the ocean. | 0:06:54 | 0:06:59 | |
-Yeah... -You can't see it. | 0:06:59 | 0:07:01 | |
Well, if you were at the Logan Botanical Gardens... | 0:07:01 | 0:07:05 | |
There's a lovely view of the Gulf stream? | 0:07:05 | 0:07:08 | |
No, no, but you can see the effects of the Gulf Stream, you know, | 0:07:08 | 0:07:12 | |
it's like a tropical gardens and so in that way you sense | 0:07:12 | 0:07:15 | |
the influence of the Gulf Stream. | 0:07:15 | 0:07:17 | |
ROB LAUGHS | 0:07:17 | 0:07:19 | |
I know all teenagers are absolutely mad on the Gulf Stream, | 0:07:19 | 0:07:23 | |
they can't get enough of it and its effect. | 0:07:23 | 0:07:27 | |
But that was one reason amongst many. | 0:07:27 | 0:07:31 | |
But the police of Castle Douglas | 0:07:31 | 0:07:33 | |
don't mind that teenagers all flock there | 0:07:33 | 0:07:36 | |
to admire the effect of the Gulf stream. | 0:07:36 | 0:07:39 | |
So, what was it that you did that, that put their noses out of joint? | 0:07:39 | 0:07:43 | |
We scared the locals, apparently, | 0:07:43 | 0:07:45 | |
because we were wearing very grotesque masks. | 0:07:45 | 0:07:47 | |
Why were you wearing masks? | 0:07:47 | 0:07:49 | |
If you go to a gardens, why would you wear a mask? | 0:07:49 | 0:07:52 | |
Oh, well here's the thing. | 0:07:52 | 0:07:55 | |
That's a perfect question. | 0:07:55 | 0:07:56 | |
Just before you answer it. Have a minute. | 0:07:56 | 0:07:59 | |
We were travelling in a Morris Minor and we were sleeping in the car. | 0:08:02 | 0:08:07 | |
There was three of us. There's me mate Harry Harryman, and Steve... | 0:08:07 | 0:08:11 | |
Steve Steveyman. | 0:08:11 | 0:08:13 | |
No. Steve, Bytheway. | 0:08:13 | 0:08:17 | |
He was called Steve Bytheway. | 0:08:17 | 0:08:20 | |
He was! | 0:08:20 | 0:08:22 | |
-Steve by the way? As in "incidentally"? -Yes. | 0:08:22 | 0:08:26 | |
Anyway, we had these... | 0:08:26 | 0:08:29 | |
You're wearing these masks. Why were you wearing these masks? | 0:08:29 | 0:08:32 | |
Cos we didn't have anywhere to sleep and we were sleeping in the car. | 0:08:32 | 0:08:36 | |
-Right. -They'd been given us by Harry Harryman's mum. | 0:08:36 | 0:08:39 | |
Yeah? To keep us warm at night. | 0:08:39 | 0:08:41 | |
Because of the heat generated. | 0:08:41 | 0:08:44 | |
-What, grotesque latex masks? -Yes. | 0:08:44 | 0:08:48 | |
They were just old men masks but they were to keep us warm. | 0:08:48 | 0:08:51 | |
Harry Harryman's mum sold this stuff from home | 0:08:51 | 0:08:55 | |
and she sold another thing which was called a jobbletop, yeah? | 0:08:55 | 0:08:59 | |
Which was a bobble hat that made it into a jumper and the bobble | 0:08:59 | 0:09:03 | |
was at the back and it buttoned down the front and that was. | 0:09:03 | 0:09:06 | |
I'm telling you now, if this is a lie, and they end up saying lie, | 0:09:06 | 0:09:09 | |
I will say to you, "Why did you make it more difficult for yourself | 0:09:09 | 0:09:12 | |
"by mentioning the joggletop?" | 0:09:12 | 0:09:15 | |
Because I'm imagining my sleeping arrangements and thinking. | 0:09:15 | 0:09:18 | |
Yes, we had the latex masks on, and these giant, like, | 0:09:18 | 0:09:21 | |
-they were called jobbletops. -Right. | 0:09:21 | 0:09:25 | |
So, if you were in a sleeping mask and you're scaring the locals, | 0:09:25 | 0:09:28 | |
like, normally the locals will be in bed when you're going to sleep, | 0:09:28 | 0:09:32 | |
and it's dark and you're in your car | 0:09:32 | 0:09:34 | |
-and you've got a scary mask on, you know? -No, we were just... | 0:09:34 | 0:09:36 | |
-On our daytime drive from Dundee to Castle Douglas... -With masks on. | 0:09:36 | 0:09:40 | |
-..as we went past people... -To keep your faces warm. | 0:09:40 | 0:09:43 | |
..we were staring at 'em, with our scary masks on. | 0:09:43 | 0:09:45 | |
Why did you not remove, because I would say, | 0:09:45 | 0:09:47 | |
from my experience of sleeping all night in a classic car | 0:09:47 | 0:09:50 | |
in a Latex mask and a jobbletop | 0:09:50 | 0:09:52 | |
that you'd get quite clammy. | 0:09:52 | 0:09:54 | |
And so in many ways it's quite a relief to take the latex mask off | 0:09:54 | 0:09:59 | |
for the next day's drive. | 0:09:59 | 0:10:01 | |
Not to mention how it helps being able to see where you're going. | 0:10:01 | 0:10:05 | |
No, of course we take the masks off in the morning | 0:10:05 | 0:10:08 | |
but then round about midday, you wanted to put it back on. | 0:10:08 | 0:10:13 | |
At what point did the police get involved? | 0:10:13 | 0:10:15 | |
Didn't the police get involved? | 0:10:15 | 0:10:17 | |
We parked up in Castle Douglas, right next to a shop | 0:10:17 | 0:10:19 | |
because we wanted to get one of their famous Scotch pies. | 0:10:19 | 0:10:22 | |
As we came out of the shop I was grabbed by a policeman - | 0:10:22 | 0:10:25 | |
and it was a sergeant, by the way. | 0:10:25 | 0:10:28 | |
Sergeant Bytheway? | 0:10:28 | 0:10:30 | |
APPLAUSE | 0:10:30 | 0:10:33 | |
So that's how you got away with it, you said, | 0:10:33 | 0:10:36 | |
-"Don't worry that's me dad." -Maybe it was. | 0:10:36 | 0:10:38 | |
"I'm the sergeant by the way." "Daddy! Daddy!" | 0:10:38 | 0:10:42 | |
-So, the sergeant... -By the way. -By the way. | 0:10:45 | 0:10:47 | |
-He took me to the police station and... -He arrested you? | 0:10:47 | 0:10:52 | |
Yes, taken and put in a room, | 0:10:52 | 0:10:54 | |
and then the sergeant and a plain clothes detective came in. | 0:10:54 | 0:10:57 | |
-Plain clothes detective? -The CID have now got involved. | 0:10:57 | 0:11:02 | |
And then they said "You're going to have to wait here, we've sent for | 0:11:02 | 0:11:05 | |
"a specialist from Edinburgh." | 0:11:05 | 0:11:08 | |
And then, as we sat there, he came in and said, | 0:11:08 | 0:11:12 | |
"Right, what's with the funny faces?" | 0:11:12 | 0:11:15 | |
-They said, -SCOTTISH ACCENT: -"What's with the funny faces?" | 0:11:15 | 0:11:17 | |
-So what did you say? -We explained what had happened, that we had | 0:11:17 | 0:11:21 | |
these funny faces, that we slept in them | 0:11:21 | 0:11:23 | |
and that we're terribly sorry to have caused any offence. | 0:11:23 | 0:11:25 | |
So, presumably then they released you? | 0:11:25 | 0:11:28 | |
Sergeant Bytheway followed us | 0:11:28 | 0:11:32 | |
until we were out of the city limits. | 0:11:32 | 0:11:34 | |
That's my story. It was quite a holiday. | 0:11:34 | 0:11:37 | |
-What do you think? -I know what I think. | 0:11:38 | 0:11:41 | |
I think it's true. | 0:11:41 | 0:11:43 | |
-You think it's true? -Yeah. -That's not what I think. | 0:11:43 | 0:11:46 | |
Kian, what do you think? | 0:11:49 | 0:11:50 | |
I'm going to go untrue. | 0:11:50 | 0:11:51 | |
OK, Kian's going untrue, Adil's going true. David? | 0:11:51 | 0:11:55 | |
My initial reaction is it's a lie let's say it's a lie. | 0:11:55 | 0:11:57 | |
You're saying it's a lie. | 0:11:57 | 0:11:59 | |
-Bob Mortimer. -Yes? | 0:11:59 | 0:12:02 | |
Was that story true or was it a lie? | 0:12:02 | 0:12:06 | |
It was... | 0:12:06 | 0:12:07 | |
true. | 0:12:07 | 0:12:09 | |
APPLAUSE | 0:12:09 | 0:12:11 | |
No! No faith in me. That's twice now! | 0:12:11 | 0:12:14 | |
Yes, it was true, the police did order Bob to leave town | 0:12:14 | 0:12:18 | |
because he was frightening the locals. | 0:12:18 | 0:12:22 | |
Right, Kian is up next. | 0:12:22 | 0:12:23 | |
The first time Westlife sang on Top Of The Pops, Louis Walsh | 0:12:25 | 0:12:28 | |
made sure we stood up from our stools at the right time | 0:12:28 | 0:12:30 | |
by hiding in the crowd and waving a banana above his head. | 0:12:30 | 0:12:33 | |
-Lee's team. -What song were you singing? | 0:12:35 | 0:12:37 | |
-It was our first number one. -Which was? -Swear It Again. | 0:12:37 | 0:12:41 | |
-I know it, I'm just... I'm just.... -I'm sure you do. | 0:12:41 | 0:12:44 | |
So, I'm imagining you're on a stool, | 0:12:44 | 0:12:47 | |
-so you're doing a ballad. -Yes. All Westlife's songs are ballads, Lee. | 0:12:47 | 0:12:51 | |
Why did he not say to you, | 0:12:51 | 0:12:52 | |
"When you get to a key word in the song, all stand up." | 0:12:52 | 0:12:56 | |
Why could he not trust you to do it? | 0:12:56 | 0:12:57 | |
Don't you know that songs are extremely repetitive? | 0:12:57 | 0:13:00 | |
Oh, I know yours are. No, I'm sorry, sorry. | 0:13:00 | 0:13:03 | |
-That's what makes them work! -I'm joking, I'm joking. | 0:13:03 | 0:13:06 | |
They were moving. | 0:13:06 | 0:13:08 | |
I know! I'm a massive Westlife fan. I'm not in any way saying I wasn't. | 0:13:08 | 0:13:11 | |
I'm saying why couldn't you stand up at the key word to the song? | 0:13:11 | 0:13:14 | |
Oh, I see what you mean, cos you're saying the same words over and over. | 0:13:14 | 0:13:17 | |
Yeah. There's a certain point that he wanted us to do it, but like, | 0:13:17 | 0:13:20 | |
I think the problem for us is, you know, you're so nervous | 0:13:20 | 0:13:23 | |
you're on Top Of The Pops for the first time and we were number one. | 0:13:23 | 0:13:26 | |
In Top Of The Pops world, I remember they always had | 0:13:26 | 0:13:29 | |
really trendy people dancing to make the whole thing look sort of cool. | 0:13:29 | 0:13:33 | |
-Yeah. -Was Louis dressed trendily, did he fit in with the audience? | 0:13:33 | 0:13:36 | |
-Was he dancing? -He would. He was, like, behind the cameras. | 0:13:36 | 0:13:38 | |
He wouldn't be in front of the camera waving a banana, would he? | 0:13:38 | 0:13:42 | |
I thought he was in front of the camera waving a banana. | 0:13:42 | 0:13:44 | |
-No, no. -He wasn't doing that. -Because if everyone can see the cue | 0:13:44 | 0:13:48 | |
you might as well shout, "Get off your stool!" | 0:13:48 | 0:13:51 | |
That would do the same thing. | 0:13:51 | 0:13:53 | |
But how did he cover it in case you were looking in the camera | 0:13:53 | 0:13:55 | |
rather than looking behind the cameras? | 0:13:55 | 0:13:58 | |
No, you can see a banana in your peripheral vision. | 0:13:58 | 0:14:00 | |
Look out to the back of the crowd, Bob. | 0:14:00 | 0:14:02 | |
If someone was to hold up a banana, do you think you'd see it? | 0:14:02 | 0:14:05 | |
-Somebody is! -Somebody's doing it. | 0:14:05 | 0:14:09 | |
Stand up, stand up! | 0:14:10 | 0:14:12 | |
-That's brilliant. -That is bizarre. | 0:14:17 | 0:14:19 | |
Why don't we try and recreate the moment? | 0:14:19 | 0:14:23 | |
Here's what would happen, the three of you would go out front... | 0:14:23 | 0:14:27 | |
-Out front? -..and you'd lean. | 0:14:27 | 0:14:30 | |
I'm not wearing any trousers! | 0:14:30 | 0:14:33 | |
And you'd lean on the desk, and when I wave my banana in the air | 0:14:33 | 0:14:37 | |
you three will stand up together. | 0:14:37 | 0:14:42 | |
One for you. One for you. | 0:14:42 | 0:14:46 | |
Enjoy it, David. Round to the front. | 0:14:46 | 0:14:49 | |
Come on, lads. I think I should be in the middle. | 0:14:49 | 0:14:52 | |
No, by all means. Please, I will cede the captaincy. | 0:14:52 | 0:14:56 | |
I did spend 14 years on the side, you know? | 0:14:56 | 0:14:58 | |
At least I should be in the middle now. | 0:14:58 | 0:15:00 | |
APPLAUSE | 0:15:00 | 0:15:03 | |
Are you going to wave the banana? | 0:15:03 | 0:15:05 | |
I'll tell you what, the girl who's got the banana can wave the banana. | 0:15:05 | 0:15:09 | |
OK, here they are, a newly formed Westlife, with You Raise Me Up. | 0:15:09 | 0:15:14 | |
SONG: You Raise Me Up | 0:15:14 | 0:15:16 | |
-Watch out for the banana. -Yeah, I am doing. | 0:15:16 | 0:15:19 | |
ALL: # You raise me up | 0:15:19 | 0:15:23 | |
# So I could stand on mountains | 0:15:23 | 0:15:26 | |
# You raise me up | 0:15:28 | 0:15:30 | |
# To walk on stormy seas... # | 0:15:30 | 0:15:36 | |
Well done, well done. | 0:15:36 | 0:15:38 | |
Beautiful. | 0:15:40 | 0:15:42 | |
Lee. What are you thinking? Was it true? Did Louis do that? | 0:15:44 | 0:15:47 | |
-You know when you think "I'm not sure, we need to see it again." -Yes. | 0:15:47 | 0:15:52 | |
Afraid we don't have the time, what's it going to be? Truth or lie. | 0:15:52 | 0:15:55 | |
-Bob, what do you think? -Well, when I recorded my first shows | 0:15:55 | 0:15:59 | |
I did on telly, my camera had a banana on it, so I knew what camera | 0:15:59 | 0:16:03 | |
to look at, so I'm thinking maybe it's true. | 0:16:03 | 0:16:06 | |
-You think it might be true. Mel? -I think it's a lie. | 0:16:06 | 0:16:09 | |
-OK, it's going to be a lie. -You're going to say lie. -Lie. | 0:16:09 | 0:16:11 | |
-I'm worried now. Pressure. -OK, Kian. Truth or lie? | 0:16:11 | 0:16:14 | |
It was, in fact... | 0:16:14 | 0:16:16 | |
a lie. | 0:16:16 | 0:16:17 | |
APPLAUSE | 0:16:17 | 0:16:20 | |
Yes, it was a lie. Louis Walsh didn't tell Westlife | 0:16:20 | 0:16:24 | |
when to stand up by waving his banana at them. | 0:16:24 | 0:16:27 | |
Our next round is called This Is My, where we bring on a mystery guest | 0:16:27 | 0:16:30 | |
who has a close connection to one of our panellists. | 0:16:30 | 0:16:32 | |
This week, each of David's team will claim it's them | 0:16:32 | 0:16:35 | |
that has the genuine connection to the guest | 0:16:35 | 0:16:37 | |
and it's up to Lee's team to spot who's telling the truth. | 0:16:37 | 0:16:41 | |
So, please welcome this week's special guest, Richard. | 0:16:41 | 0:16:43 | |
APPLAUSE | 0:16:43 | 0:16:46 | |
So, Adil what is Richard to you? | 0:16:50 | 0:16:54 | |
This is Richard and we had spent an entire holiday hiding | 0:16:54 | 0:16:57 | |
from an angry Greek man because we got lost at sea in his boat. | 0:16:57 | 0:17:02 | |
OK. Kian, how do you know Richard? | 0:17:02 | 0:17:05 | |
I know Richard because basically Richard out bid me | 0:17:05 | 0:17:08 | |
at an auction for a waxwork of myself. | 0:17:08 | 0:17:11 | |
And finally David, your relationship with Richard. | 0:17:13 | 0:17:17 | |
This is Richard. He recently let me take control of his crusher, | 0:17:17 | 0:17:21 | |
and destroy a car. | 0:17:21 | 0:17:24 | |
So, there we are, Adil's boating buddy, | 0:17:26 | 0:17:28 | |
Kian's waxwork winner or David's car crusher. | 0:17:28 | 0:17:31 | |
-Lee, where do you want to start? -Kian. -Shoot. | 0:17:31 | 0:17:34 | |
What were you doing bidding for your own waxwork? | 0:17:34 | 0:17:40 | |
Well, put it this way, in my house back in Ireland I have a nice room | 0:17:40 | 0:17:47 | |
full of trophies and awards and stuff and my waxwork | 0:17:47 | 0:17:51 | |
was pretty decent. I thought, you know, why not? | 0:17:51 | 0:17:53 | |
-Was it was it Madame Tussauds? -No. -What was the waxwork? | 0:17:53 | 0:17:56 | |
It was a place called World Of Wax in Cork. | 0:17:56 | 0:18:00 | |
As opposed to World of Cork in Wax. | 0:18:00 | 0:18:03 | |
Had you ever seen this waxwork before? | 0:18:05 | 0:18:07 | |
We'd seen pictures of them online and stuff like that, you know. | 0:18:07 | 0:18:10 | |
But aren't I right in saying that when you do a waxwork, | 0:18:10 | 0:18:12 | |
-you model for them, actually. -Well, if you go to Madame Tussauds, | 0:18:12 | 0:18:16 | |
that's what they do. But in the waxworks in... | 0:18:16 | 0:18:19 | |
In Cork they just get a candle and a hammer and go... | 0:18:19 | 0:18:22 | |
-IRISH ACCENT: -"Oh, jeez, that'll do, right. | 0:18:22 | 0:18:25 | |
"Get me another big candle and a hammer." | 0:18:25 | 0:18:28 | |
You haven't said why Richard was bidding against you. | 0:18:28 | 0:18:31 | |
He was trying to get it for his mother. | 0:18:31 | 0:18:33 | |
-His mother. -Why his mother? | 0:18:33 | 0:18:35 | |
-Cos his mother was a huge fan. -Right. And what price did it go for? | 0:18:35 | 0:18:40 | |
I think about 3,500 in the end. | 0:18:40 | 0:18:42 | |
£3,500? | 0:18:42 | 0:18:45 | |
I'm not being rude but how much would you charge per day | 0:18:45 | 0:18:47 | |
to go round to his mum's and just stand there? | 0:18:47 | 0:18:51 | |
Because I reckon for two and a half grand | 0:18:51 | 0:18:53 | |
he could have got the real thing for the day. | 0:18:53 | 0:18:56 | |
-Lee, who else do you want to question? -Adil. | 0:18:56 | 0:18:59 | |
You're in Greece you're on holiday, whereabouts in Greece? | 0:18:59 | 0:19:02 | |
-Um, Kavos. -In Kavos. -Yep. | 0:19:02 | 0:19:04 | |
-OK, and you rent a boat, do you? -Yeah, from the Greek man. | 0:19:04 | 0:19:08 | |
-Right. -Yeah. | 0:19:08 | 0:19:09 | |
-You go off, just the two of you. -No, there was two other guys. | 0:19:09 | 0:19:11 | |
-Four of you in total. -Yeah. -MEL: What sort of boat was it? | 0:19:11 | 0:19:14 | |
Um, a speed boat thing, | 0:19:14 | 0:19:16 | |
that, you know, you go on holiday, you hire these speed boats. | 0:19:16 | 0:19:19 | |
What went wrong? | 0:19:19 | 0:19:20 | |
Well, um, the Greek man he told us not to go too far | 0:19:20 | 0:19:24 | |
but, you know, being lads you're on holiday, you have a bit of a laugh, | 0:19:24 | 0:19:27 | |
don't you? So, we were on the boat and we went as far as we can. | 0:19:27 | 0:19:30 | |
-Out to sea? -Out to sea, past the buoys and all that. -What boys? | 0:19:30 | 0:19:34 | |
Not boys, buoys. | 0:19:34 | 0:19:36 | |
So, we went out too far and um, we ran out of petrol, so, yeah. | 0:19:36 | 0:19:43 | |
So, it's me and Richard and these two other guys, | 0:19:43 | 0:19:46 | |
-we're on the... -Can we have names for the other guys? | 0:19:46 | 0:19:50 | |
Can't remember. They were Scousers. You know, Scousers. | 0:19:50 | 0:19:52 | |
-SCOUSE ACCENT: Terry and Barry. -Yeah, probably. | 0:19:52 | 0:19:55 | |
So what happened? You eventually got back. | 0:19:55 | 0:19:57 | |
Well, eventually. Pitch black. And then we got rescued by a fisherman. | 0:19:57 | 0:20:03 | |
We got towed to the er, shore bit. | 0:20:03 | 0:20:07 | |
And then we got there and the Greek man - the angry Greek man - | 0:20:07 | 0:20:10 | |
was angry with us. | 0:20:10 | 0:20:12 | |
We couldn't understand him, he just kept on doing this to us. | 0:20:12 | 0:20:15 | |
That means your time's up, surely. | 0:20:15 | 0:20:18 | |
-Lee, what about David's story? -Oh, yes, David. | 0:20:18 | 0:20:21 | |
David, just remind us of your connection. | 0:20:21 | 0:20:23 | |
I said that Richard let me take control of his crusher. | 0:20:23 | 0:20:26 | |
-Oh, yeah. -And destroy a car. -Right. Where was this? | 0:20:26 | 0:20:30 | |
It was in London. | 0:20:30 | 0:20:31 | |
How did it come about that you were taking control of the crusher? | 0:20:31 | 0:20:34 | |
I was walking along one of London's streets. | 0:20:34 | 0:20:37 | |
And a football bounced out in front of me. | 0:20:37 | 0:20:41 | |
-Can you imagine that? -Yes. | 0:20:41 | 0:20:43 | |
You do know you're not reading | 0:20:43 | 0:20:45 | |
-the Bedtime Story on CBeebies, don't you? -Yeah, I know. | 0:20:45 | 0:20:48 | |
You had a magical tone to your voice then, it was lovely to see. | 0:20:48 | 0:20:51 | |
So, the ball has bounced out... | 0:20:51 | 0:20:53 | |
Yeah, and I sort of looked at where this ball's come from | 0:20:53 | 0:20:56 | |
and it's come from a sort of place where they crush cars, | 0:20:56 | 0:20:59 | |
-you know, a breakers yard. -So did you have the pressure of, | 0:20:59 | 0:21:02 | |
"Oh, no, I'm supposed to kick this back but I'll never be able | 0:21:02 | 0:21:05 | |
"to do it. I'll pick it up and hand it to them on a cushion." | 0:21:05 | 0:21:08 | |
No, no, I was keen to kick it back(!) | 0:21:08 | 0:21:10 | |
No, of course not! Yes, I picked it up | 0:21:10 | 0:21:12 | |
-because I thought I would present it back to them like a vase. -Well done. | 0:21:12 | 0:21:16 | |
Anything not to have to interact with it in a sporty way. | 0:21:16 | 0:21:19 | |
And, at this point, Richard was wandering out of the breakers yard | 0:21:19 | 0:21:23 | |
and I, you know, sort of, awkwardly hand him the ball. | 0:21:23 | 0:21:26 | |
-And he recognises me from television. -Oh, big head. -Yeah. | 0:21:26 | 0:21:32 | |
And him and his friends ask if they could have a photo with me, | 0:21:32 | 0:21:36 | |
because of my fame. And, I think, beauty. | 0:21:36 | 0:21:40 | |
And so they take a photo and, you know, all fine and then he says, | 0:21:40 | 0:21:47 | |
"Would you like a go on the crusher?" | 0:21:47 | 0:21:49 | |
And the reason he says this, he said, | 0:21:49 | 0:21:53 | |
"It would be a good thing to say you'd done on Would I Lie To You?", | 0:21:53 | 0:21:58 | |
and it occurred to me that he was right. | 0:21:58 | 0:22:02 | |
And it's very easy. | 0:22:02 | 0:22:04 | |
The car got plonked in and you press the crusher button. | 0:22:04 | 0:22:08 | |
-And what actually happens? -And it is just remarkable. | 0:22:08 | 0:22:10 | |
Is it just like Jaws? | 0:22:10 | 0:22:12 | |
I don't mean the film. I mean, is it like that, is that how it works? | 0:22:12 | 0:22:16 | |
-Yes, exactly. -That's an epic moment in your life. I agree that would be | 0:22:16 | 0:22:18 | |
a big thing to be able to say. I'd remember it really clearly if it | 0:22:18 | 0:22:21 | |
happened to me, I wouldn't even hesitate if I was asked | 0:22:21 | 0:22:24 | |
the next question, I'd be able to say it straightaway, what kind of car was it? | 0:22:24 | 0:22:28 | |
It was...it was a Citroen Picasso. | 0:22:28 | 0:22:30 | |
Right, and what colour was it? | 0:22:30 | 0:22:33 | |
Green. | 0:22:33 | 0:22:34 | |
There was something about the way he said that where your lips | 0:22:34 | 0:22:38 | |
committed to it before your brain had. | 0:22:38 | 0:22:41 | |
"Green." | 0:22:41 | 0:22:43 | |
We need an answer here. Lee's team, is Richard | 0:22:43 | 0:22:47 | |
Adil's boating buddy, Kian's waxwork winner, | 0:22:47 | 0:22:51 | |
or David's car crusher? | 0:22:51 | 0:22:53 | |
-Look at Richard's face. -Yes. -He says many things, doesn't he? | 0:22:53 | 0:22:56 | |
But what he doesn't say to me is car crusher. | 0:22:56 | 0:23:00 | |
Absolutely. I think he's Adil's friend. | 0:23:00 | 0:23:02 | |
-You think he's Adil's friend based on? -They're neat, they're both neat. | 0:23:02 | 0:23:06 | |
-They're neat. -Mel is going for Adil. Bob's going for? -Adil. | 0:23:06 | 0:23:09 | |
We're going to have to go for Adil. I'm not going to argue with team. | 0:23:09 | 0:23:12 | |
Richard, would you please reveal your true identity. | 0:23:12 | 0:23:15 | |
Hi, I'm Richard. Adil and I upset a Greek man | 0:23:15 | 0:23:19 | |
when we got lost at sea in his boat. | 0:23:19 | 0:23:21 | |
APPLAUSE | 0:23:21 | 0:23:24 | |
Thank you very much, Richard. | 0:23:24 | 0:23:25 | |
Which brings us to our final round, Quick Fire Lies, | 0:23:28 | 0:23:31 | |
and we start with... | 0:23:31 | 0:23:33 | |
It is Lee. | 0:23:35 | 0:23:37 | |
When my kids were younger, I designed a special system | 0:23:37 | 0:23:40 | |
for remembering which Teletubby was which. | 0:23:40 | 0:23:43 | |
David's team. | 0:23:45 | 0:23:47 | |
-OK. -Name the Teletubbies. | 0:23:47 | 0:23:49 | |
-Name the Teletubbies? -Yeah. | 0:23:49 | 0:23:51 | |
All right. Right. You had...Kian - | 0:23:51 | 0:23:54 | |
no, that's Westlife, hang on. | 0:23:54 | 0:23:55 | |
Po, Laa-Laa, | 0:23:55 | 0:23:59 | |
Tinky Winky, and Dipsy. | 0:23:59 | 0:24:03 | |
And, Stuart Sutcliffe but he left before Ringo. | 0:24:03 | 0:24:06 | |
-Do you know what colours each of them are? -Oh, you... | 0:24:08 | 0:24:11 | |
bet. | 0:24:11 | 0:24:13 | |
You've got Po who is red. | 0:24:13 | 0:24:16 | |
Po is red, OK. | 0:24:16 | 0:24:18 | |
Yes. Er...Dipsy isn't. | 0:24:18 | 0:24:20 | |
-Neither's Tinky Winky. -Tinky Winky. | 0:24:22 | 0:24:24 | |
And I'll say the same about Laa-Laa. | 0:24:24 | 0:24:26 | |
So this system for your kids was just to find out which one was red? | 0:24:26 | 0:24:29 | |
No, Po was the red one, the green one is Dipsy, Laa-Laa is yellow. | 0:24:29 | 0:24:33 | |
-And who have I missed? -Tinky Winky. | 0:24:33 | 0:24:35 | |
-Tinky Winky is like a purple. -But how would you know? | 0:24:35 | 0:24:38 | |
How do you know that they're those colours? You said you had a system. | 0:24:38 | 0:24:42 | |
-I have got a system, do you want to know the system? -Yes. | 0:24:42 | 0:24:44 | |
Right, Po, I remember as being like a postbox, so that's red. | 0:24:44 | 0:24:49 | |
Laa-Laa sounds like yellow - well, it doesn't | 0:24:49 | 0:24:52 | |
but it sounds more like yellow than Po, Tinky Winky or Dipsy. | 0:24:52 | 0:24:55 | |
Tinky Winky, I sort of have a visual picture of him. | 0:24:58 | 0:25:02 | |
-A visual picture? -Yeah. Yeah, visual picture of him with his willy out, | 0:25:02 | 0:25:06 | |
which I picture of him as his little Tinky Winky. | 0:25:06 | 0:25:10 | |
-Purple. -Urgent and purple. | 0:25:10 | 0:25:13 | |
Dipsy sounds a bit like the deep sea, which is green. | 0:25:13 | 0:25:18 | |
It isn't, it's usually blue, but the deep sea is definitely more green | 0:25:18 | 0:25:21 | |
than it is purple, red or yellow. | 0:25:21 | 0:25:24 | |
APPLAUSE | 0:25:24 | 0:25:27 | |
I'm not sure about this willy thing | 0:25:27 | 0:25:29 | |
cos you were teaching your kids, weren't you? | 0:25:29 | 0:25:31 | |
No, I didn't say I was teaching my kids. | 0:25:31 | 0:25:33 | |
There's one thing that my family never do, | 0:25:33 | 0:25:35 | |
is we don't teach our kids anything. | 0:25:35 | 0:25:38 | |
My father before me, his father before him. | 0:25:38 | 0:25:41 | |
We haven't got where we are today by teaching each other things. | 0:25:41 | 0:25:46 | |
No, this was to just help me remember because I would often | 0:25:46 | 0:25:49 | |
say to the kids, "Pick Po up." | 0:25:49 | 0:25:51 | |
And the kid would go, "Ha, loser, it's Laa-Laa." | 0:25:51 | 0:25:54 | |
The tragedy of this moment is that as a result of this | 0:25:54 | 0:25:57 | |
I will now remember the colours of the Teletubbies. | 0:25:57 | 0:26:00 | |
-Thus proving the system works. -Yeah. You've certainly got a system now. | 0:26:00 | 0:26:04 | |
I've got a system. | 0:26:04 | 0:26:05 | |
I will remember Po is red, because of a postbox, Dipsy is green | 0:26:05 | 0:26:09 | |
because it's like deep sea, which isn't green but might be, | 0:26:09 | 0:26:12 | |
Tinky Winky's got an urgent purple member, Laa-Laa is yellow | 0:26:12 | 0:26:15 | |
because it sounds more like yellow than the others even though | 0:26:15 | 0:26:19 | |
none of them sound like yellow. | 0:26:19 | 0:26:21 | |
I will never be able to forget that. | 0:26:21 | 0:26:23 | |
I'm not saying he's a purple member. | 0:26:23 | 0:26:26 | |
David, is the telling the truth? | 0:26:26 | 0:26:29 | |
What do you think? | 0:26:29 | 0:26:31 | |
You know, the thing that gets me is, like, of course | 0:26:31 | 0:26:34 | |
the system's completely and utterly daft, but he's pretty daft, | 0:26:34 | 0:26:37 | |
and, on top of that, he didn't get any of it wrong any time he said it. | 0:26:37 | 0:26:43 | |
He may just know the colour of the Teletubbies. | 0:26:43 | 0:26:47 | |
Because I think the system, effective though it's proved to be, | 0:26:47 | 0:26:51 | |
is just something he's invented. I think we've SEEN him invent it. | 0:26:51 | 0:26:57 | |
-Do you think it's true? -No, I don't think it is, I agree with you, | 0:26:57 | 0:26:59 | |
I think he knows the colours of the Teletubbies because he probably has | 0:26:59 | 0:27:02 | |
watched it with his kids but I don't think he actually has a system. | 0:27:02 | 0:27:06 | |
-You think it's true. -Oh, no, let's not go down this road again. | 0:27:06 | 0:27:10 | |
Well, basically I'm going with you, whatever. | 0:27:10 | 0:27:15 | |
I'm just not good at this game. | 0:27:15 | 0:27:17 | |
And I think if I go with you and it turns out you're wrong this time, | 0:27:17 | 0:27:21 | |
the only time I go with you, then I'm just going to find that funny. | 0:27:21 | 0:27:26 | |
I'm just going find it, you know, for like the very end, | 0:27:26 | 0:27:29 | |
like it's gone beyond tragedy and you just laugh at death. | 0:27:29 | 0:27:34 | |
So you're going to say lie. | 0:27:34 | 0:27:36 | |
Regardless of Kian. OK, you're saying a lie. | 0:27:36 | 0:27:39 | |
They're saying it's a lie. | 0:27:39 | 0:27:41 | |
-Lee, was it the truth or was it a lie? -It was, in fact... | 0:27:41 | 0:27:46 | |
true. | 0:27:46 | 0:27:47 | |
DAVID LAUGHS MANICALLY | 0:27:47 | 0:27:50 | |
HE CONTINUES LAUGHING MANICALLY | 0:27:55 | 0:27:59 | |
-Calm yourself. -I am so merry! | 0:28:06 | 0:28:09 | |
KLAXON BLARES | 0:28:09 | 0:28:11 | |
And that noise signals time is up, it's the end of the show, | 0:28:11 | 0:28:14 | |
and I can reveal that Lee's team have won by five points to nil. | 0:28:14 | 0:28:18 | |
APPLAUSE | 0:28:18 | 0:28:19 | |
But it's not just a team game. | 0:28:19 | 0:28:22 | |
My individual liar of the week this week is Bob Mortimer. | 0:28:22 | 0:28:24 | |
APPLAUSE | 0:28:24 | 0:28:27 | |
Yes, Bob Mortimer, who is what we call an excellent liar, | 0:28:27 | 0:28:30 | |
or what estate agents call a beginner. Good night. | 0:28:30 | 0:28:34 |