:00:17. > :00:23.Hello. Welcome to The One Show with Alex Jones And my co-host for the
:00:24. > :00:27.week, the whole week, it's Ore Oduba. Oh, the whole week, stand by
:00:28. > :00:30.your hats, it's going to be a bumpy ride. I am happy to be here,
:00:31. > :00:34.especially because like so many people I am a huge fan of tonight's
:00:35. > :00:38.guest. He is one of our best-loved actors who at one time attracted
:00:39. > :00:43.almost half the entire country to sit down in front of their tellies
:00:44. > :00:49.and enjoy him delivering in his own words, zingers like this. One of my
:00:50. > :01:00.most favouritist meals is duck ala orange but I don't know how to say
:01:01. > :01:03.that in French. It's still genius, welcome to David Jason.
:01:04. > :01:11.APPLAUSE AND CHEERING Thank you. You have written a new
:01:12. > :01:14.memoir. It's not all about yourself this time, it's about the characters
:01:15. > :01:19.that you have played over the years. Yeah. So we have some people in the
:01:20. > :01:25.audience where it all started for you, they're the amateur dramatics
:01:26. > :01:29.group you used to go to in Barnet. Welcome you guys. There they are.
:01:30. > :01:37.That is where your acting career started? Yeah, Barnet. The Incognito
:01:38. > :01:42.Theatre group. That's right. Go on, I will give you a plug! A big
:01:43. > :01:46.welcome to you all and we will talk all things Granville, Pop Larkin,
:01:47. > :01:50.detective Jack Frost and of course Del Boy throughout the show. First,
:01:51. > :01:56.Nick has a story of inner city crime phenomenon that's spreading to the
:01:57. > :02:02.countryside with alarming results. In small towns up and down Britain a
:02:03. > :02:06.new wave of violent criminal networking is causing misery and
:02:07. > :02:09.harm. My colleague's going to arrest you in a minute, you served up drugs
:02:10. > :02:13.to an undercover police officer. Drugs gangs from the big cities are
:02:14. > :02:19.setting up targeted supply chains of heroin and crack cocaine into rural
:02:20. > :02:23.and coastal towns. The networks are known as County lines. They're
:02:24. > :02:26.operated by senior gang members based in big cities. They send
:02:27. > :02:34.runners out to rural towns where they deal drugs. And today the
:02:35. > :02:40.police in Exeter are cracking down. Sergeant Barrett reveals some of the
:02:41. > :02:43.gangs's brutal methods. We are talking knife crime, kidnapping and
:02:44. > :02:47.other really serious offences and all of this is about turf war, it's
:02:48. > :02:54.a different gang coming from further up in the UK that are trying to take
:02:55. > :02:58.ownership of the sale and drugs and supply in Exeter. Gang members will
:02:59. > :03:03.befriend vulnerable drug users or people with learning difficulties
:03:04. > :03:07.and start operating out of their premises, a ruthless practice. We
:03:08. > :03:12.are about to go and execute a raid at a premises within Exeter. Police
:03:13. > :03:16.are going to a flat they think has been taken over by a gang. Police,
:03:17. > :03:25.open the door! Or we will force entry.
:03:26. > :03:29.The occupant asked to remain anonymous. There are no drug dealers
:03:30. > :03:37.here but he tells officers he's recently been abused by them and is
:03:38. > :03:43.fearful. How do they abuse you? Verbals... Force me to do drugs for
:03:44. > :03:49.them. I am not in a position to say no.
:03:50. > :03:55.Jason is another victim in the area. I have had experience with it,
:03:56. > :03:58.basically they are taking over other people's flats, taking advantage of
:03:59. > :04:03.addicts, hurting people. Putting knifes to people. Women have been
:04:04. > :04:07.attacked. Several of my friends have been hurt. I am worried, sometimes a
:04:08. > :04:12.income on the door, normally I would just answer it. Now I have to look
:04:13. > :04:17.out the window before I answer it. They're ruthless people. Once you
:04:18. > :04:21.owe them, then you are in trouble. But there is an even more shocking
:04:22. > :04:26.side to this violent practice. I am about to meet the mother of a
:04:27. > :04:29.13-year-old boy groomed by a gang to become one of their drug runners.
:04:30. > :04:34.What was your son like before he came into contact with these gangs?
:04:35. > :04:38.He was just a wonderful kid. He attended a top grammar school. Had
:04:39. > :04:44.an absolutely rosy future ahead of him. It all just completely
:04:45. > :04:49.disappeared. We started to see him go missing. We were advised by the
:04:50. > :04:53.police that he was groomed by a gang well known to them for extreme
:04:54. > :04:58.violence. You suddenly are seeing your little boy being pushed through
:04:59. > :05:04.a horrible frightening dangerous adult world. Of stabbings, coercion
:05:05. > :05:12.and debts. And you're just dreading that phone call that he's been
:05:13. > :05:15.found, he's been stabbed. 80% of the police forces affected by County
:05:16. > :05:22.lines have reported gangs using children as young as 12 as drug
:05:23. > :05:26.runners. The Home Office is giving ?300,000 to the St Gyles Trust and
:05:27. > :05:32.missing people charities to support youngsters who have been exploited.
:05:33. > :05:36.This is a nationwide problem now. There is about 700 lines being run
:05:37. > :05:42.at the moment, about 70% of police forces across England and Wales will
:05:43. > :05:47.pick up this activity. With this backing, 25-year-old daisy is
:05:48. > :05:51.mentoring at risk youngsters St Gyles Trust They're getting younger,
:05:52. > :05:55.talking about ten, 11-year-olds. A lot of our young people are referred
:05:56. > :05:59.from the hospital. I worked with a young person who was 14 years old
:06:00. > :06:04.when she got stabbed. They're not aware of the risks. I am here to
:06:05. > :06:09.deglam rice and demystify and tell them how it really is. And police
:06:10. > :06:13.continue to work around the clock in this fight against County lines.
:06:14. > :06:19.Children are easy soft targets for being given money to traffic drugs.
:06:20. > :06:22.You are giving access to all of this lifestyle which appears very
:06:23. > :06:24.glamorous on the front of it. I am worried about the increase of
:06:25. > :06:33.violence. It's not something you want your children to be exposed to.
:06:34. > :06:36.Thank you, Nick. David, your new book, Only Fools and Stories,
:06:37. > :06:40.demonstrated beautifully here. It's all about how you brought to life
:06:41. > :06:44.these famous roles. As we find out you didn't just play these roles but
:06:45. > :06:49.really contributed and created them. Oh, yeah. You have to. That's part
:06:50. > :06:55.of what you are asked to do. This part of the brief, I think. There is
:06:56. > :07:02.a lot more that goes into creating a character than what you see on the
:07:03. > :07:07.surface. You do get a lot of actors that are known for being what they
:07:08. > :07:12.are, for example, I mean, the one that I always quote is John Wayne.
:07:13. > :07:18.When John Wayne was a big American film star, used to go to the movies
:07:19. > :07:24.to see John Wayne in, but you never went to see John Wayne playing a
:07:25. > :07:29.character. Whereas I have always been interested more in creating a
:07:30. > :07:35.different person rather than sort of just being myself, if you like. That
:07:36. > :07:39.to me was the fascination. It's quite a complicated, it can be a
:07:40. > :07:43.complicated process. You make it look easy. All the characters are
:07:44. > :07:48.different. It's difficult to know really where to start. How about
:07:49. > :07:56.with Granville. A reminder of the playfulness between him and uncle
:07:57. > :08:08.Arkwright. It all started when we had... You know I can't understand
:08:09. > :08:12.morse code. You are playing alongside Ronnie Barker who you
:08:13. > :08:17.credit as not just opening all hours but a lot of doors fou for you.
:08:18. > :08:24.Exactly. One of the things with Ronnie, when I first was introduced
:08:25. > :08:29.to Ronnie, he was looking for somebody who could fall over a lot.
:08:30. > :08:34.You are perfect. Yeah, I spent a lot of my time in the theatre falling
:08:35. > :08:39.over a lot. When you do farce there is a lot of falling over, funnily
:08:40. > :08:44.enough. I sort of perfected the falling over. What happened was that
:08:45. > :08:51.he was doing this show and he needed someone to fall over and the
:08:52. > :08:57.character that he wanted me to do was a character called Abdul the
:08:58. > :09:01.filthy and the reason he wanted me, he played this Sheikh and he was
:09:02. > :09:08.eating bananas and my character was to back out from him and slip on the
:09:09. > :09:15.banana skin. Because I could do it I could fall without breaking my silly
:09:16. > :09:20.neck, I got to know him and he became very reliant on me because of
:09:21. > :09:25.my comedy timing. So from that introduction of falling over a lot,
:09:26. > :09:31.as he moved on into production, different productions, he always
:09:32. > :09:42.made sure that he found a character for me to play and the 100-year-old
:09:43. > :09:45.gardener, I played in Porridge, the 70-year-old Blanco, when I was about
:09:46. > :09:51.35 and I was playing 70 then. There is a great picture. There you are,
:09:52. > :09:56.you see. That tache came back. It was a BBC special. As soon as you
:09:57. > :10:01.finished the show, straight off! And in the box. Didn't get much from the
:10:02. > :10:06.Beeb, I tell you. In the note there is a lovely note from Ronnie about a
:10:07. > :10:10.television listings. We have a picture of the note here. Your agent
:10:11. > :10:20.is getting above himself, Ronnie. Yes. Well, what it was, it appeared
:10:21. > :10:27.in the Radio Times. It was listing that, I think it was open all hours,
:10:28. > :10:33.and it was - they say who was in it. Open all hours, watch it because so
:10:34. > :10:38.and so is in it. It said, watch open all hours, starring David Jason.
:10:39. > :10:44.Didn't mention Ronnie Barker at all. So as I just played the boy, you
:10:45. > :10:49.know, I was just a subordinate, Ronnie wrote that to me. He was
:10:50. > :10:53.worried. I was already on his case! We have to talk about Darling Buds
:10:54. > :11:01.of May. You write a lot about Pop Larkin. It was your mum's favourite
:11:02. > :11:08.series. Yeah. It would be, because if you remember any of it, it is
:11:09. > :11:12.such a gentle wonderful nostalgic piece of the 50s and of course that
:11:13. > :11:20.would have been my mother's sort of era, if you like, part of her era.
:11:21. > :11:25.Probably the late 30s and 40s, but she remembered that sort of
:11:26. > :11:29.gentleness that the characters brought out in Darling Buds of May.
:11:30. > :11:36.That's one of the things about Darling Buds that resonates still I
:11:37. > :11:43.think, that a lot of people still love it, it's because it is a story
:11:44. > :11:49.of hope and people who love their life and live happily without all
:11:50. > :11:56.the stress and strain and angst you get on dramas today. It was just,
:11:57. > :12:00.it's just a joy. Not only was it a joy to play, but it was a joy to see
:12:01. > :12:06.audiences react and respond to it. It was lovely on a Sunday night.
:12:07. > :12:10.Let's just see your favourite scene from the Darling Buds of May.
:12:11. > :12:14.MrSydney Larkin. That's me, Larkin by name, Larkin by nature. What can
:12:15. > :12:18.I do for you? Nice weather. I am from the office of the inspector of
:12:19. > :12:30.taxes. Inspector of what? Taxes. Inland Revenue. No, you must have
:12:31. > :12:33.come to the wrong house. We have to move on to Jack Frost. It's hard to
:12:34. > :12:37.go through it in a short space of time, but you were worried about
:12:38. > :12:42.being typecast and understandably so, after playing Del Boy for so
:12:43. > :12:45.long, but is it true that it was John Thaw's transition from The
:12:46. > :12:49.Sweeney to playing Inspector Morse is what helped you and inspired you
:12:50. > :12:58.and you thought this is going to work? It did in a way, what happened
:12:59. > :13:05.was that I was a keen follower of drama series of detectives, the
:13:06. > :13:09.genre. John Thaw played that character in The Sweeney and then as
:13:10. > :13:18.you rightly said, he moved on to Morse. Because I loved the genre so
:13:19. > :13:24.much I realised that he had made the transition between this tough hard
:13:25. > :13:28.nut, if you like, into a more soft and more appreciative sort of, a
:13:29. > :13:32.lover of classical music, for example, which was sort of the
:13:33. > :13:39.opposite of what he played in The Sweeney. So, when that opportunity
:13:40. > :13:47.arose for me it was a challenge because I loved the idea of a
:13:48. > :13:51.detective series and then playing Derek Trotter and moving into a
:13:52. > :13:55.tough environment, the detective genre was going to be a big
:13:56. > :13:59.challenge. I have always been up for a big challenge. It was a risk. It
:14:00. > :14:05.was dangerous. But it paid off. It paid off. It went on for years. Del
:14:06. > :14:08.Boy's still to come. Now here is proof that a long country walk is
:14:09. > :14:12.perfect if you are looking for inspiration. Yes, Marty has the
:14:13. > :14:18.story of a brilliantly simple invention that's saving lives around
:14:19. > :14:22.the world. Today vaccines for once fatal
:14:23. > :14:27.conditions such as polio are saving the lives of thousands around the
:14:28. > :14:30.world. However, a common fate often awaits these medicines on their
:14:31. > :14:37.far-flung journeys to the people that need them most. It's important
:14:38. > :14:40.to store vaccines within a tightly controlled temperature range.
:14:41. > :14:45.Normally between 2 and eight degrees Celsius. Any hotter or colder and
:14:46. > :14:51.their life-preserving qualities are destroyed.
:14:52. > :14:58.Electricity isn't reliable in some parts of the world. Without reliable
:14:59. > :15:04.fridges many vaccines are spoiled. A British engineer has come to the
:15:05. > :15:12.rescue with a pioneering invention. It's a fridge but with a difference.
:15:13. > :15:16.Because while the interior of the fridge is at about four degrees,
:15:17. > :15:22.it's not plugged in. It hasn't been for days.
:15:23. > :15:31.Soho is it possible for this fridge to stay as cold as a conventional
:15:32. > :15:34.one for to ten days without electricity? Inventor Ian Tansley
:15:35. > :15:38.got his inspiration during a frosty walk with some friends in the Welsh
:15:39. > :15:43.mountains. Walking past a frozen lake, they started to discuss the
:15:44. > :15:48.unique physics of water. I started to explain to my friends while ice
:15:49. > :15:50.was sitting on top of the lake and not sinking to the bottom and they
:15:51. > :15:56.were saying surely as things get colder, they get heavier and more
:15:57. > :16:06.dense and the ice should be at the bottom of the lake? The reason as to
:16:07. > :16:09.why ice floats instead of sinks set him on the journey to invent his
:16:10. > :16:11.fridge. Ian's friends were partly right. As water gets colder, it does
:16:12. > :16:15.get denser and heavier as the molecules pack together but
:16:16. > :16:21.remarkably, this process reverses just before it freezes. As the water
:16:22. > :16:27.is on its way to turning into eyes, those molecules begin to spread out
:16:28. > :16:34.again, so it gets less dense and that is why ice floats on top of
:16:35. > :16:38.water. So ice is lighter than liquid water because the molecules are
:16:39. > :16:42.actually more spread out. Interesting in itself but Ian's real
:16:43. > :16:47.breakthrough was to realise that when there is ice on top of water,
:16:48. > :16:51.the water below is in a constant cycle. It rises and falls as it
:16:52. > :16:55.changes temperature and this circulation means the water is
:16:56. > :17:00.continually cooling itself. It is similar to what happens in a normal
:17:01. > :17:07.fridge. There you have a coolant which is pumped around the pipes to
:17:08. > :17:09.absorb the heat from inside. But unlike a fridge, which takes a
:17:10. > :17:16.constant input of electricity to keep it cold, this system remains
:17:17. > :17:21.cold without any extra input of electricity, so long as there is a
:17:22. > :17:26.layer of ice on top. With Ian's fridge, some electricity is required
:17:27. > :17:29.to form the ice at the top in the first place. It is so well
:17:30. > :17:35.insulated, that it will last for ten days, even in the tropics. But once
:17:36. > :17:40.in place, the water will circulate on its own and keep the inside of
:17:41. > :17:45.the fridge chilled. It took Ian a year of development but he finally
:17:46. > :17:50.got a working model in 2011. So when you got your first prototype up and
:17:51. > :17:54.running, how was that? That was amazing. It took quite a long time
:17:55. > :17:58.and quite a few experiments to get the technology write and understand
:17:59. > :18:01.it, but once I understood how it worked and how we could exploit that
:18:02. > :18:06.property of water, that was incredible. But for three years, Ian
:18:07. > :18:10.couldn't get people excited about his idea, until he was contacted by
:18:11. > :18:15.the Bill Gates foundation, founded by the richest man on the planet, to
:18:16. > :18:20.cure disease in the developing world. Gates loved Ian's technology
:18:21. > :18:26.and helped him bring it to the market. Today, 4,000 Ian's fridges
:18:27. > :18:30.is chilling vaccines in 44 countries around the globe, saving countless
:18:31. > :18:33.lives in the process, and there are plans to make a version for your
:18:34. > :18:43.home, saving you money on your electricity bill.
:18:44. > :18:48.We have moved over now, then, to our Only Fools and Horses area and we
:18:49. > :18:52.have talked about how you created some of your other characters from
:18:53. > :18:56.scratch but with Del Boy, you actually based him on somebody,
:18:57. > :19:03.didn't you? That man must have been a bit of a legend. He was. I mean,
:19:04. > :19:10.it is a well-known fact that when I was working as an electrician, my
:19:11. > :19:17.partner and I, we were desperate for work and we went around all through
:19:18. > :19:23.London, the West End, the East End, to knock out all of the builders'
:19:24. > :19:27.doors and see if they could give us some work. And we knocked out one
:19:28. > :19:33.door down in the East End and it was called William Hockley and son
:19:34. > :19:38.builders and we were shown into this office and they said, come and meet
:19:39. > :19:45.Eric Hockley, and this guy came out to meet us and I will never forget
:19:46. > :19:51.him -- Derek Hockley. He was dressed absolutely immaculately. I mean,
:19:52. > :19:57.everything about him was perfect, except you could cut his accent with
:19:58. > :20:03.a knife. You never saw an East End or a Londoner that would talk like
:20:04. > :20:09.that, he was really right out, like that, but they were always costas
:20:10. > :20:15.and a rough clothes and flat hats and all that, and he was Derek
:20:16. > :20:22.Hockley, looking like a lord... This is the man himself. And he talks
:20:23. > :20:26.like a costermonger. And it so fascinated me that many, many years
:20:27. > :20:31.later when I was constructing the character of Derek Trotter, I think
:20:32. > :20:34.it is a well-known fact, that John Sullivan, I asked him how he saw the
:20:35. > :20:43.character and he said that he saw him with a flat Cap and a pot belly,
:20:44. > :20:50.a beer belly and rough trousers and scruffy and I said, no, I don't see
:20:51. > :20:54.him like that and John said, how do you mean? And I said I'd met this
:20:55. > :20:59.character years ago and he has stuck in my mind and why can't he be an
:21:00. > :21:04.immaculate dresser but, you know, still be a Cockney, still be a
:21:05. > :21:10.Londoner? Because he had big ideas, didn't he? So that suited him. Yeah,
:21:11. > :21:14.so that is how I went and John Sullivan said if that makes you
:21:15. > :21:18.happy and you feel comfortable like that, let's go with that. So I then
:21:19. > :21:27.constructed the character around Derek Trotter who was always a sharp
:21:28. > :21:32.macro you know, Jack the Lad. And the other thing was the body
:21:33. > :21:38.language is very important in the characters that I play and the thing
:21:39. > :21:43.that fascinated me again is when you construct a character, you draw on
:21:44. > :21:47.real-life. I drew on real-life and one of the things that fascinated me
:21:48. > :21:55.and you can still see them today, is the Jack the Lads. I have this body
:21:56. > :21:59.language, you know? And when they walked, a swing from the shoulders.
:22:00. > :22:06.They have got the swagger, haven't they? Swagger, that is it. You can
:22:07. > :22:15.do it, he has got it. Just a click of the neck. That was certainly not
:22:16. > :22:19.worth a clap. It certainly wasn't! Here we are surrounded by this only
:22:20. > :22:24.falls and horses memorabilia and you write in the book about some of the
:22:25. > :22:27.touches you added to make it even more humorous, things like adding
:22:28. > :22:31.plastic covering to the sofa. Which I love and I am going to do it
:22:32. > :22:37.at home! It is not for her baby, she has a
:22:38. > :22:44.wonderful husband called Charlie. But, yes... Just got it. You added
:22:45. > :22:48.all of these trinkets. How that came about was again the fact that we
:22:49. > :22:52.realised there was a lot of stuff that kept moving through the flat.
:22:53. > :22:57.In other words, Del Boy was a mover and shaker and stuff that fell off
:22:58. > :23:05.the back of a lorry or whatever and he would do a deal and then shifted
:23:06. > :23:09.and more stuff would come in. -- shift it. So I thought, if we do
:23:10. > :23:13.that, why don't we do it with the furniture? So we had new furniture
:23:14. > :23:19.come in and we kept the plastic on it so that when they moved it, we
:23:20. > :23:24.didn't stain it. So we did that for a while, then removed the furniture.
:23:25. > :23:29.The furniture changed. We were in a sort of constant change and you are
:23:30. > :23:37.always looking for things that you can give to an audience that they
:23:38. > :23:43.can enjoy without actually telling them, that if you put the plastic,
:23:44. > :23:46.as we did, on the furniture, what we did is, I would say, don't say
:23:47. > :23:51.anything, we don't have to say anything, just do it and let the
:23:52. > :23:56.audience do some work. And to me, it's always been very important that
:23:57. > :23:59.when you are doing a comedy show, particularly a comedy show, you've
:24:00. > :24:02.got to leave spaces for the audience to do some work. In other words,
:24:03. > :24:08.they have got to sit there and go, did you see that? Look, they have
:24:09. > :24:14.moved the furniture, he's got plastic on the furniture. And they
:24:15. > :24:19.enjoy it. Audiences enjoy that. So I knew that about what audiences liked
:24:20. > :24:25.and so I've always peppered my work with human moments that I think
:24:26. > :24:30.people will enjoy, they have to look for it and get the reward. They
:24:31. > :24:33.definitely enjoyed it. Let's make the audience work, shall
:24:34. > :24:38.we? What better on Monday that is a bit
:24:39. > :24:42.miserable than a few classic clips from Only Fools and Horses?
:24:43. > :24:50.We have got a few clips, some of the famous ones. Any ideas what you
:24:51. > :24:56.would like us to show? Chandelier! General shouting from the audience.
:24:57. > :25:04.I think I heard chandelier. Let's hear the chandelier?
:25:05. > :25:11.APPLAUSE It is lovely to see your face,
:25:12. > :25:16.because you still have a little chuckle yourself. Yes, because I
:25:17. > :25:19.know how it was constructed. The thing about that, of course, you
:25:20. > :25:30.didn't show it because you can't afford it, was the build-up to it
:25:31. > :25:32.and a lot of the gags of in the shape of the construction, again
:25:33. > :25:37.making the audience work, so what we did with that one was that when we
:25:38. > :25:42.had the blanket holding underneath the chandelier, you will notice, and
:25:43. > :25:47.I said this technique when we were recording it, I'll tell you what
:25:48. > :25:53.we've got to do, is to say Brace yourself, Rodney, Brugge herself,
:25:54. > :25:59.because it will come down. I can't remember the exact words. The reason
:26:00. > :26:03.was to take your audience's eyes to get them to work out what was going
:26:04. > :26:08.to happen. What they thought was "Brace yourself, Rodney," and the
:26:09. > :26:11.audience thought, it is going to come down and they will fall off the
:26:12. > :26:16.ladders. And they were so busy working all that out, when he goes
:26:17. > :26:20.like that than the one behind... That takes them by complete surprise
:26:21. > :26:27.and that is the joke and that is what makes it fun. We are just going
:26:28. > :26:34.to have one more. What do you want? It is a no-brainer, it is the bar.
:26:35. > :26:38.I think we are on a winner here, trig, all right? Play it nice and
:26:39. > :26:42.cool, Sun, nice and cool, you know what I mean?
:26:43. > :26:51.CHEERING It is all in the eye line, right?
:26:52. > :26:54.Thank you so much for all of those, the trips down memory lane,
:26:55. > :26:58.brilliant. Let's take a look now at a film that
:26:59. > :27:01.you have made for us, which was very kind of you.
:27:02. > :27:04.In July, we asked viewers who love wildlife to film something which
:27:05. > :27:05.summed up the summer. Then it was just a question of finding the right
:27:06. > :27:20.music. # Fish in the sea
:27:21. > :27:25.# You know how I feel # River running three
:27:26. > :27:30.# You know how I feel # Blossom on the tree
:27:31. > :27:34.# You know how I feel # It's a new dawn, it's a new day
:27:35. > :27:38.# It's a new life # For me
:27:39. > :27:53.# And I'm feeling good # Dragonfly out in the sun
:27:54. > :27:56.# You know what I mean, don't you know?
:27:57. > :28:03.# Butterflies all having fun # You know what I mean
:28:04. > :28:09.# Sleep in peace when day is done # That's what I mean
:28:10. > :28:18.# And this old world is a new world # And a bold world
:28:19. > :28:25.# For me # Freedom is mine
:28:26. > :28:29.# And I know how I feel # It's a new dawn, it's a new day
:28:30. > :28:34.# It's a new life # For me
:28:35. > :28:48.# And feeling good that was absolutely lovely. Doesn't
:28:49. > :28:51.it bring back the summer? Apart from the frog.
:28:52. > :28:58.And the snake, it is the circle of life. But we have the producer of
:28:59. > :29:02.Blue Planet To coming in next week, that the viewers are taking their
:29:03. > :29:08.jobs. Thank you for coming in David, it has been a real pleasure.
:29:09. > :29:10.Sir David Jason, everyone. CHEERING
:29:11. > :29:14.Only Fools and Stories is out on the 5th of October.
:29:15. > :29:18.And tomorrow, Ore and I will be joined by the one and only Michael
:29:19. > :29:20.Ball and his sidekick Alfie Boe. See you tomorrow.