:00:19. > :00:26.Hello and welcome to The One Show with Matt Baker. And Alex Jones.
:00:27. > :00:30.Tonight, we welcome back a worthy adversary, a man who has prompted
:00:31. > :00:35.the nation's best-known detective as well as masterminding the downfall
:00:36. > :00:41.of 007. But we have not seen him for a while. Did you miss him? Ladies
:00:42. > :00:46.and gentlemen, sorry, I'm interrupting? Every fairy tale needs
:00:47. > :00:52.a villain. I did tell you. Did you miss me? Did you not get the
:00:53. > :01:03.message? I gave you my number. I thought you might call. Of course we
:01:04. > :01:07.did. Please welcome Andrew Scott! We have picked up your villainous
:01:08. > :01:13.pedigree. You are doing your best these days to put that bad boy image
:01:14. > :01:17.behind you. I am, if I am honest. It's a very colourful past I have,
:01:18. > :01:23.so I am trying to be more virtuous. You're a nice bloke. It's easier
:01:24. > :01:28.that way. And it's a real relief, because you are playing Hamlet and
:01:29. > :01:33.for once, we can actually talk about the project. Every time you come on,
:01:34. > :01:37.you can't tell us any more. Sangakkara exactly, no spoilers. It
:01:38. > :01:41.has been around for 400 years, so everybody knows what happens to
:01:42. > :01:45.Hamlet. But your show is going so well that you are moving it.
:01:46. > :01:49.Sangakkara yes, we did it at the made at the beginning of the year
:01:50. > :01:54.and we are bringing to the End. Villa more on Hamlet bit later.
:01:55. > :01:58.After Saturday's terror attack in London, the Prime Minister said
:01:59. > :02:02.enough is enough, a comment later echoed by the Muslim Council of
:02:03. > :02:06.Britain. It's a bold phrase, but what does it mean? Or what should it
:02:07. > :02:17.mean? We ask people to tell us how they would interpret that message.
:02:18. > :02:18.Engagement with the right communities around the world is
:02:19. > :02:30.what we need. We don't need more violence to end violence. People who
:02:31. > :02:36.call themselves extremists who do these things, that is not religion.
:02:37. > :02:37.From the time of Genesis to this time, it is always religion causing
:02:38. > :02:55.most of the wars and fighting. I have had enough of the lack of
:02:56. > :03:01.police on the streets. It doesn't make us feel safe. Every time
:03:02. > :03:06.something happens, you then get reports through the press and the
:03:07. > :03:09.media saying that the police have had people under surveillance, and
:03:10. > :03:18.nothing was done about it to prevent it. The Christian heritage of this
:03:19. > :03:21.country is being forgotten. We have to decide what Great Britain was
:03:22. > :03:37.built on, and stand up for it. I think there are a lot of angry
:03:38. > :03:48.people around right now. I think if we communicate on a more personal
:03:49. > :03:54.level... The problem is that the young people have not enough
:03:55. > :03:59.communication with each other. The Islamic fund a fundamentalists
:04:00. > :04:02.should be educated into understanding what else goes on in
:04:03. > :04:10.the world. They should be brought out and educated. I have just had
:04:11. > :04:14.enough, basically, people blaming the Muslim people that are very
:04:15. > :04:21.peaceful, that work in this country, that they are terrorists. Hatred
:04:22. > :04:27.only leads to a path of destruction and violence. We need people to come
:04:28. > :04:36.together and overcome the hate and bring peace together. Well, the
:04:37. > :04:40.BBC's home affairs correspondent Dominic is with us here now. What do
:04:41. > :04:44.you think Theresa May meant by the phrase enough is enough? It is one
:04:45. > :04:48.of those difficult phases to decode. It is like saying Brexit means
:04:49. > :04:51.Brexit. We have to wait and see what the Prime Minister means. We did
:04:52. > :04:55.pick up a couple of things from the statement at Downing Street. She
:04:56. > :05:00.talks about sentencing. She talks about sending people to jail for
:05:01. > :05:03.longer. That is difficult, because I was speaking to a senior prosecutor
:05:04. > :05:07.this morning he was saying to be frank, we have the powers. If
:05:08. > :05:11.someone commits murder, we can send them to jail for life. If one of the
:05:12. > :05:16.attackers had survived on Saturday evening, that would have been his
:05:17. > :05:24.state. But she also hinted that this issue about national identity and
:05:25. > :05:27.countering extremism in ideology and society. That will be interesting,
:05:28. > :05:32.because she has talked about this before, as did David Cameron when he
:05:33. > :05:35.was Prime Minister. Maybe there will be some counter extremism measures
:05:36. > :05:38.if she wins the general election. One of the boards we saw being held
:05:39. > :05:43.up in the film was about deportation. How realistic is that?
:05:44. > :05:47.Well, you can deport someone if they commit a serious crime and they are
:05:48. > :05:51.a foreign national. That law exists. It is difficult to do if you are
:05:52. > :05:54.deporting them to a regime which is going to torture them. You can't
:05:55. > :05:58.deport British nationals. You can strip them of their nationality if
:05:59. > :06:02.they have another nationality, but it is difficult. On the theme of
:06:03. > :06:08.enough is enough, what worries me is the constant news footage. You worry
:06:09. > :06:12.that they are doing these attacks to get on the newswire, and you don't
:06:13. > :06:16.worry that the media are doing the job of spreading the terror for
:06:17. > :06:21.them. This is a big issue. We have been talking about this for years. I
:06:22. > :06:23.have been covering terrorism for ten years and I remember these
:06:24. > :06:29.conversations after 7/7 happened in London. I got home last night after
:06:30. > :06:32.a very hard day for my colleagues, trying to work out how we were
:06:33. > :06:36.reporting this, and I turned off the television. I had had enough
:06:37. > :06:40.personally. I am professionally paid to do this kind of thing. There are
:06:41. > :06:44.certain things you have to broadcast. We have to put out that
:06:45. > :06:47.the accurate information about what has happened. I think people learn
:06:48. > :06:51.from that. There were incredible tales of bravery and we saw that in
:06:52. > :06:54.the pictures from around London Bridge and Borough Market and the
:06:55. > :06:59.people want to see that. There are certain things people will never
:07:00. > :07:01.see. There are pictures which come into news organisations which we
:07:02. > :07:08.will never broadcast, because they are too harrowing. But it is a
:07:09. > :07:12.difficult balancing act. Thanks, Dominic. Coming up, we will meet the
:07:13. > :07:16.daughter of one of the world's most famous musicians. But can you guess
:07:17. > :07:23.who her rhinestone wearing father might be? All will be revealed
:07:24. > :07:29.shortly. Now, let's talk Hamlet. We have had Olivier. We have had
:07:30. > :07:36.Kenneth Branagh. We had Mark Rylance. We had Benedict
:07:37. > :07:38.Cumberbatch. So how would you like people to describe this Andrew Scott
:07:39. > :07:59.Hamlet? Unbelievably brilliant. I suppose what marks this one is
:08:00. > :08:05.unique is that we wanted it to be quite conversational. Sometimes, the
:08:06. > :08:10.way Shakespeare is taught in schools is that we learn it like this. He
:08:11. > :08:16.does say in the play, just speak it. He says that in his advice to the
:08:17. > :08:21.players. He says speak it on the tongue, the way we are having a
:08:22. > :08:27.conversation. So it is accessible in that sense and it is a modern
:08:28. > :08:29.version of Hamlet. Is it still in Shakespearean language? Absolutely,
:08:30. > :08:37.but all writers have a certain rhythm you have to adhere to,
:08:38. > :08:44.particularly Shakespeare. We had a weak at the Almeida theatre where we
:08:45. > :08:48.first did it for people under 25, free. We had a week where we invited
:08:49. > :08:52.people who were under 25 and they got in for free for the whole week.
:08:53. > :08:55.What is extraordinary is that it is really accessible. I am not one of
:08:56. > :08:59.those people who says you have to force young people to come to the
:09:00. > :09:08.theatre. If it is good, they will come. If they find it boring, they
:09:09. > :09:12.won't. It is three and a half hours. That is massive for you. Well, we
:09:13. > :09:16.live in the box that generation now, where people watch five hours of
:09:17. > :09:26.television because they are gripped. So we have two intervals, so it is
:09:27. > :09:31.only three hours of acting. People are totally gripped by it, which has
:09:32. > :09:35.been amazing. You have said in the past that any acting without humour
:09:36. > :09:44.in it, you would find mind numbingly boring. So how do you find the
:09:45. > :09:49.humour in Hamlet? Well, if there is no lightness, there is no tragedy.
:09:50. > :09:55.That is the way life is. He is a very witty character. He's a
:09:56. > :10:03.student, so he is sarcastic. Not all students are sarcastic. You have to
:10:04. > :10:10.have the lightness in it, or there is no darkness. There is a
:10:11. > :10:16.surprising amount of comedy in it. When you think about those big lines
:10:17. > :10:20.in Hamlet, every night, do you worry about them? Or do you just throw
:10:21. > :10:25.them out there in conversation? We had this thing in rehearsal called
:10:26. > :10:32.the famous play buzzer. You have the B or not to be and all these famous
:10:33. > :10:38.lines. You have to go, what are they saying? And not be too reverent
:10:39. > :10:43.about them. You do get a sense sometimes when you say to be or not
:10:44. > :10:59.to be... How many times did you get buzzed in rehearsal? I can imagine
:11:00. > :11:02.that you couldn't do it casually. No danger of being typecast, because
:11:03. > :11:07.you are doing still country, a big Hollywood film. And you have said
:11:08. > :11:12.you would like to dip your little toe into musicals? I would love to
:11:13. > :11:21.be in a musical. I don't know if I have the pipes for it. Sherlock and
:11:22. > :11:25.James Bond and staff were very colourful characters, antagonists.
:11:26. > :11:31.So it is fair to say I'm trying to do things that are little to myself.
:11:32. > :11:39.What would be your ultimate musical role? Hamlet, the musical. Something
:11:40. > :11:45.where I could act. I can't really sing properly. Well, you did mention
:11:46. > :11:49.Sherlock. I know you can't talk about a lot of stuff, but what do
:11:50. > :11:53.you think is more likely to happen, another general election after the
:11:54. > :11:58.one on Thursday or another series of Sherlock? I don't think there is
:11:59. > :12:06.another series of Sherlock coming soon. Which would come first? The
:12:07. > :12:12.general election! While not doing it for another couple of years.
:12:13. > :12:19.Everybody got quite busy. And you want to keep it fresh. And even if
:12:20. > :12:24.there was, you wouldn't tell us. You could see Andrew in Hamlet at the
:12:25. > :12:27.Harold Pinter theatre here in London from Friday. Now, we are going to
:12:28. > :12:30.take you back to your roots now, Andrew. Is it right that when our
:12:31. > :12:34.team called you up and you heard that there was a constable film on
:12:35. > :12:41.tonight, you said that when you were a kid, you had a jigsaw? I did. You
:12:42. > :12:47.know how you remember things as a kid? We had a jigsaw of the hay
:12:48. > :12:51.when, so I know that image well. That must have been many joyful
:12:52. > :12:58.hours spent. You are in good company, because our reporter is a
:12:59. > :13:03.big fan too. It is not everyday you find out that
:13:04. > :13:07.famous lived in your house but that is exactly what happened to a One
:13:08. > :13:11.Show viewer here in Brighton. I am on a sort of pilgrimage, because
:13:12. > :13:17.this street was once home to one of Britain pulls my greatest artists, a
:13:18. > :13:23.real hero of mine. When Peter bought this house in 2010, he had no idea
:13:24. > :13:26.about its surprising history. After we have been here six months, my
:13:27. > :13:34.neighbour said do you realise this may be the house that John Constable
:13:35. > :13:39.lived in? Born in 1776, John Constable is one of the most iconic
:13:40. > :13:44.landscape painters in history. Works like the leaping horse and his most
:13:45. > :13:50.famous painting, the Haywain, perfectly captured the beauty of the
:13:51. > :13:54.English countryside. Between 1824 and 1828, Constable and his family
:13:55. > :13:59.rented a house in Brighton but the years, its location remained a
:14:00. > :14:04.mystery. You can't just say somebody famous lived here, you have to prove
:14:05. > :14:08.it. As a painter himself, Peter was desperate to find out the truth, but
:14:09. > :14:13.his search didn't start well. He found a letter in the Tate Gallery
:14:14. > :14:17.that suggested Constable lived at a different address. This is John
:14:18. > :14:23.Constable, Brighton. It seemed he had drawn a blank until further
:14:24. > :14:27.research revealed that both his street name and house number had
:14:28. > :14:31.changed since Constable's time. It was a real revelation. It made the
:14:32. > :14:36.hairs on the back of my neck stand on end. Peter's kids love living in
:14:37. > :14:39.a famous building, but it would have been crowded when the Constables
:14:40. > :14:44.were here, because they had seven children and staff to fit in. So
:14:45. > :14:51.while Peter has a dedicated studio, John Constable had to share. So why
:14:52. > :14:56.did Constable come to Brighton? Because his wife was unwell with
:14:57. > :14:59.tuberculosis. So while she was recuperating, he was out painting.
:15:00. > :15:03.Over the four years he spent here, Constable painted 150 landscape
:15:04. > :15:09.views, and Peter's new discovery gave him an idea - to reunite these
:15:10. > :15:15.extraordinary paintings in the town where they were created.
:15:16. > :15:21.Working from the pictures, Peter discovered that Constable made some
:15:22. > :15:25.regular walks and armed with reproductions of his paintings, we
:15:26. > :15:31.will follow in his footsteps. Our first stop is to try and find a
:15:32. > :15:36.viewpoint for one of his most famous paintings. That is the Royal Albion.
:15:37. > :15:43.That is that building. Then you have the sweep of Kemptown. The painting
:15:44. > :15:48.was further away, halfway between here and the marina. That was
:15:49. > :15:54.intended to take people to France. I can see what he must have seen but
:15:55. > :15:59.it has changed massively. With his wife critically ill, Constable's
:16:00. > :16:04.time in Brighton was difficult and this painting, rainstorm over the
:16:05. > :16:08.sea shows Constable experimenting, making spontaneous paintings that
:16:09. > :16:15.perhaps reflected his mood. This little bit there... It is Shoreham
:16:16. > :16:20.Harbour. I think it is one of the most dynamic pictures I have seen.
:16:21. > :16:26.Simple brushstrokes, he really captured the mood on this day. After
:16:27. > :16:31.four productive years, Constable's time in Brighton ended when his wife
:16:32. > :16:35.passed away in 1828 but the paintings he created here have given
:16:36. > :16:39.us a real insight into the way that he worked and for our final image, I
:16:40. > :16:47.am going to create something of my own by updating his picture of the
:16:48. > :16:52.beach. You can see the kill. That stood in the middle of Brunswick
:16:53. > :16:56.Square. We are in the right spot. Constable would often paint pictures
:16:57. > :17:03.in a couple of hours and I am setting myself the same time limit
:17:04. > :17:07.as a challenge. The colour, the weather, the mood, atmosphere,
:17:08. > :17:12.everything and that would chill right in his work. Nearly 200 years
:17:13. > :17:17.after he died, we are still learning about one of Britain's best loved
:17:18. > :17:21.painters and I just hope my own effort does him justice. And there
:17:22. > :17:31.you have it, my tribute to my artistic hero, John Constable. Not
:17:32. > :17:38.bad in a few minutes. APPLAUSE. And if you would like to
:17:39. > :17:42.see more of Constable's paintings, they are on display at the Brighton
:17:43. > :17:47.Museum until the 8th of October. Now, Andrew, interestingly, you have
:17:48. > :17:52.studied a lot and mother was an art teacher. Yes. Got into art school,
:17:53. > :17:59.but show business took be the other way. Why? What was that change for
:18:00. > :18:05.you? You thought Hamlet was in the offing. I would love to go back to
:18:06. > :18:10.it at some point. That suggests that you do not do it at all. I do a
:18:11. > :18:17.little bit, I draw people sometimes on the tube. Weirdly, our reporter
:18:18. > :18:22.said he does that as well. I give people the drawing. What do people
:18:23. > :18:34.make of it? I don't know, I just get off. It is just a nice way of being
:18:35. > :18:43.able to look out. As a Shakespearean actor, what is your pencil choice?
:18:44. > :18:50.To be or not to be? That hurt. I told you cannot do it casually. That
:18:51. > :18:54.is where you do it these days. We are known for being a nation of
:18:55. > :18:57.music lovers but the country music, not so much which is why Glen
:18:58. > :19:00.Campbell's success and the side of the Atlantic is all the more
:19:01. > :19:04.impressive. He started playing guitar for the likes of Elvis and
:19:05. > :19:10.Frank Sinatra and ended up being one of the biggest country stars of
:19:11. > :19:19.time. # Galveston, Paul Belverstone.
:19:20. > :19:28.# I am so crazy. Lyrics -- # And the Wichita Lineman.
:19:29. > :19:36.# Is still on the line... # Southern nights.
:19:37. > :19:42.# Have you ever felt the Southern nights?
:19:43. > :19:48.# Like Rhinestone Cowboy. # Riding out on a horse in a
:19:49. > :19:50.star-spangled rodeo. And Glen's youngest daughter Ashley is here
:19:51. > :19:58.with us now. APPLAUSE. How proud you must be of
:19:59. > :20:04.your dad to see that and to hear that? Absolutely. It is amazing to
:20:05. > :20:09.see him back in the 1970s and 1960s and how amazing he was. He is still
:20:10. > :20:13.just crashing it today. His new album is just beautiful. A lot of
:20:14. > :20:16.people may not know that he is suffering from Alzheimer's and that
:20:17. > :20:21.is why he cannot be here tonight, he is not well enough at the moment.
:20:22. > :20:26.How is he doing? He is in the late stages of Alzheimer 's, so it is
:20:27. > :20:32.very sad to see him like that and he is not able to communicate any more.
:20:33. > :20:35.He cannot really use language and he has trouble receiving and
:20:36. > :20:40.understanding language. It could be a lot worse. He is doing so well for
:20:41. > :20:44.someone in his stage of the disease, he is happy most of the time and he
:20:45. > :20:49.is enjoying everyday and enjoys eating desert! Which the opposite
:20:50. > :20:54.could be, he could be confused and scared most of the time and we are
:20:55. > :20:59.thankful that he is very happy. And the album that you mentioned, it
:21:00. > :21:04.makes it all the more special, there are 16 tracks on it and it has been
:21:05. > :21:09.four years in the making. Give us an idea of what you have decided to put
:21:10. > :21:13.on the album and why? The songs on the album, the new ones are songs
:21:14. > :21:16.that he has always loved and they have been in his heart and they are
:21:17. > :21:19.the songs that if he is sitting down at home and playing for friends and
:21:20. > :21:24.family, those are the songs they would play. What is interesting is
:21:25. > :21:39.that even after he was diagnosed with Alzheimer
:21:40. > :21:44.'s and he started to lose a lot of present memories and things like
:21:45. > :21:47.that, these are the songs that stuck with them and they sat down with a
:21:48. > :21:50.guitar, even if they could not hold a conversation, he would play one of
:21:51. > :21:52.these songs. When he was diagnosed, you made the decision as a family to
:21:53. > :21:55.allow the cameras to follow the tour and some people criticised it, but
:21:56. > :21:58.why did you feel it was right? What did you hope you would get out of
:21:59. > :22:01.it? He wanted to two and keep singing because that is what he
:22:02. > :22:03.loved to do. Imagine if you got diagnosed with the disease and you
:22:04. > :22:06.knew you would lose your memory is eventually, but I am not going to
:22:07. > :22:12.let you perform. It would be like, wait a minute, I can still do this
:22:13. > :22:15.and that is what he said. Also, we thought, it turned into this
:22:16. > :22:20.beautiful therapy and I think it kept him mentally with us for
:22:21. > :22:25.longer. I guess, the band is made up of so many family members, what was
:22:26. > :22:29.it like as an experience to go out on to? Parts of you must have been
:22:30. > :22:36.concerned about what was going to happen? Our first show, after
:22:37. > :22:41.announcing that he had Alzheimer 's, we were terrified wondering if
:22:42. > :22:46.anyone would be show up and if they would judge him. But it was amazing
:22:47. > :22:49.and it sold out and the second he came on stage, everyone in the
:22:50. > :22:55.audience started cheering and we knew it was going to be OK. You said
:22:56. > :23:00.that his memory was quite bad, but that when he picked up the guitar,
:23:01. > :23:01.he would absolutely nail it. We have got this lovely clip that really
:23:02. > :23:34.sums that up. CHEERING AND APPLAUSE. You say in
:23:35. > :23:37.the documentary, which is so engaging to watch, that because the
:23:38. > :23:41.music was so rooted deep within him, that is why you believe that that
:23:42. > :23:48.was the last thing to leave him, if you like. Definitely. It is amazing
:23:49. > :23:55.the change that we would see from backstage to onstage. My dad's bus
:23:56. > :24:01.driver is a dear friend and he tells the story of the squirting my dad
:24:02. > :24:06.onto the stage and he was, having a rambling mood and not making any
:24:07. > :24:10.sense and the guards were like, OK and then he went on stage and
:24:11. > :24:17.started singing. At the guards looked at him and went, what was
:24:18. > :24:25.that! Was it your Father who taught you how to play the banjo? I learned
:24:26. > :24:31.from watching him. I did it on my own, I have some teachers and after
:24:32. > :24:36.I got to a certain level, he was one of those people, you would ask to
:24:37. > :24:42.teach you, and he would just start playing and ask you to try and then
:24:43. > :24:47.want to record you. Ashley, it is a pleasure to meet you. Thank you for
:24:48. > :24:52.being on the show. The album, Adios, is released on Friday. It is a joy
:24:53. > :24:55.to listen to. Ahead of Thursday but a good general election we have
:24:56. > :24:59.given party leaders the opportunity to speak in their own words about
:25:00. > :25:10.their political roots. Tonight Tim Farron from the Liberal Democrats
:25:11. > :25:16.takes us back to Preston. Becoming leader is not that I started off
:25:17. > :25:19.intending to do. You do not join the Liberals as a fast-track career
:25:20. > :25:23.move. This is my old house and I grew up here with my mother and my
:25:24. > :25:30.sister and various cats over the years. One of them is buried right
:25:31. > :25:36.there! Was a great family time. I remember being with their lads
:25:37. > :25:44.watching the 1990 penalty shoot out. We were upstairs to my tiny room,
:25:45. > :25:49.just enough space to fit the Subbuteo final and we re-enacted the
:25:50. > :25:57.semifinal. There was a field behind there. I got paid for hay bailing
:25:58. > :26:04.and we used to play on the farm. A little bit smarter. Policy does not
:26:05. > :26:11.smell of cigarettes any more. This seat here, I was with my friend
:26:12. > :26:18.David in the autumn of 1998, I actually began to work up the
:26:19. > :26:22.courage to ask Rosie to marry me. We met at work, my first proper job
:26:23. > :26:29.after leaving university was at the university of Lancaster. I have got
:26:30. > :26:32.four lovely kids. There is no more important job than being a father
:26:33. > :26:37.and a husband. Everything has happened here, I revise for an exam,
:26:38. > :26:45.wrote songs for my mates, round the corner, I was dumped. You do not
:26:46. > :26:49.realise you live in poverty until many years later. My parents split
:26:50. > :26:54.up when I was young, my dad inspired my love of music, he worked in a
:26:55. > :27:06.building company, but at the weekend, he was a DJ. The band had
:27:07. > :27:11.various names. The only write-up we had was that we were a fourth rate
:27:12. > :27:17.new order, but that was not a bad then to be a fourth rate version of!
:27:18. > :27:24.I remember many rows, because I was the only person here who wanted to
:27:25. > :27:30.listen to prefab Sprout. Adi Baglan, Britain's greatest poet. I support
:27:31. > :27:37.Blackburn Rovers. I managed not to get my head kicked in. I want to
:27:38. > :27:43.apologise to everyone in Preston, but if you get the bug early, you're
:27:44. > :27:48.saddled with your team for life. I was very moved by what I saw around
:27:49. > :27:56.me watching the repeat of Cathy Come Home At. It made me cry. That tale
:27:57. > :27:59.of homelessness and desperation was deeply distressing, particularly
:28:00. > :28:04.when I could link it to the lives of people around me. It sounds corny...
:28:05. > :28:08.I think what drew me to the Liberals, was that we were an
:28:09. > :28:12.outsider party and I felt like an outsider. Half of my mates parents
:28:13. > :28:16.were out of work a lot of the time. They began to feel that our
:28:17. > :28:23.community was overlooked and taken for granted. The perfect day for me
:28:24. > :28:27.with would-be me with my kids and the dog running up a hill, it is
:28:28. > :28:32.that sense of distance, space, utterly beautiful. When I go running
:28:33. > :28:36.up the hill, I might not be first, but I never fail to get to the top
:28:37. > :28:41.even if I am on my hands and knees. I am the worst person to describe
:28:42. > :28:49.myself. Other people can do that for me. But I think, I am not a quitter.
:28:50. > :28:54.Not a quitter. And that rounds off our interviews with the party
:28:55. > :28:59.leaders. We did invite Paul Nuttall to take part but he declined. That
:29:00. > :29:09.is it for tonight, thank you to our gas, and risk's hamlet opens on
:29:10. > :29:10.Friday. -- thank you to our guests, and Andrew's Hamlet