NOTE: Paul Merton's 150th appearance.

NICHOLAS PARSONS: Welcome to Just A Minute!


NP: Thank you, thank you, hello, my name is Nicholas Parsons. And as the Minute Waltz fades away once more it is my pleasure to welcome the many listeners, not only in this country but of course throughout the world. But also a huge pleasure to welcome to the show four distinguished, distinctive and determined players of the game. And it's always a pleasure to welcome back that outstanding player and amazing comedian, Paul Merton. And sitting beside him on my right, is our veteran player of the game who has such ingenious and provocative ways of interpreting the rules, that is Clement Freud. And seated on my left we have that engaging and delightful and charming comedienne, Linda Smith. And sitting beside her someone we welcome back after quite a long absence, that lyricist, writer and great cabaret performer, Kit Hesketh-Harvey. Would you please welcome all four of them! And as usual I'm going to ask them to speak on a subject that I will give them and they will try and do that without hesitation, repetition or deviation. And sitting beside me is Janet Staplehurst, she is going to help me make a note of the score, and she will blow a whistle when the 60 seconds are up. And this particular edition of Just A Minute is coming from the Rex Cinema which is a beautiful little bijou art deco cinema which has been revived only recently in that delightful town of Berkhamsted in Hertfordshire. And we have a delightful bijou art deco audience here to welcome us to the first live show they've done since it was resurrected as a cinema since 1988. So we're going to launch the cinema today as we launch into Just A Minute with Paul Merton. Paul the subject is how to attract someone's attention. Sixty seconds as usual and you start now.

PAUL MERTON: I'm sorry, were you talking to me?

NP: Yes, didn't you hear me?

PM: No, I'm sorry, what was the subject?

NP: Ah...

PM: Sorry, I was miles away. Sorry Nicholas, what were you saying?

NP: I know. Ah right, sorry, did I talk, did I send you to sleep?

PM: No, no, no.

NP: Right, there you are. So we'll start with Paul Merton. Paul the subject is how to attract someone's attention.

PM: Are you talking to me again?


NP: It's very difficult, isn't it Paul, yes. GIve him a bonus point to start with, all right, a bonus point then. Well played Paul, you got a laugh like that. But now would you try and talk on that subject, 60 seconds starting now.

PM: Me?

NP: Yes you!

PM: Okay! Many years ago I was trying to attract somebody's attention and I wondered about the best way of doing it. Of course it depends under what circumstances you're trying to attract someone's attention. If you're on a boat, that's sinking in the middle of the sea, then you need a flare that goes up into the sky. I don't mean rather unsightly trousers, but something that bursts into the heavens in a colourful way. That is possibly the best way of attracting somebody's attention when you are in that marine environment. If you are sitting in a remarkably looking beautiful cinema here in Berkhamsted, and you want to capture somebody's attention, all you do is you shine a light in their eyes. It happens, it helps if you've got a torch...


NP: Clement, Clement Freud you challenged, what was your challenge?

CLEMENT FREUD: Hesitation.

PM: No.

NP: No.

PM: There wasn't, was it Nicholas?

NP: Definitely not, no, he was going in fine style.

PM: Yeah.

NP: You have a point of course for an incorrect challenge Paul, you keep the subject, there are 26 seconds available, how to attract someone's attention, and don't do any gags on it now please, because I can't cope with any more, and you start now.

PM: Ouija boards are actually quite a good way of attracting somebody's attention if they have passed on. For example Charlie Chaplin whose face I see adorning one of the posters outside this beautiful little building would once...


NP: Clement challenged.

CF: Repetition of beautiful.

NP: Yes you did say beautiful cinema.

PM: Did I?

NP: You get a point for that of course, you take over the subject, and you have 15 seconds to tell us something about how to attract someone's attention starting now.

CF: Dropping down dead is a pretty safe way. Very seldom could you meet a quick demise without somebody noticing and saying "hey, look at him!"


NP: No wonder they paused, because they were dead! Right so Linda you challenged.

CF: Not hesitation.

LINDA SMITH: Yes, I thought someone should take his pulse, really there.

NP: Yeah I definitely agree with hesitation. And Linda you cleverly got in with two seconds to go on the subject and you start now.

LS: How to attract someone's attention is very...


NP: In this game whoever is speaking when the whistle goes gains an extra point. On this occasion it was Linda Smith, she has two points, so has Paul Merton, Clement has one, Kit has yet to speak. And Kit will you take the next round. We're bringing you in right away with a subject here, which I don't know whether you can go on or not, it's called good cop bad cop. I don't know what it means but I've heard it so many times and perhaps you can tell us all starting now.

KIT HESKETH-HARVEY: Good cop bad cop is precisely the sort of stereotypical pigeonholing that the police force is trying to escape from at the moment. What about follically challenged cop or vertically obsolete cop or cop...


NP: Paul challenged.

PM: Vertically obsolete?

NP: No, I don't think that makes sense.

PM: It doesn't mean anything.

KHH: It's a very metaphysical thought isn't it.

LS: It means they haven't stood up for a long time.

PM: Yeah they're incapable of standing.

LS: They're undercover.

PM: Yeah, underground.

NP: No I think it's deviation from sense as we understand it.

KHH: Yes I'm sorry.

PM: Absolutely.

NP: Absolutely Paul, so you have a point, you have 46 seconds, tell us something about good cop bad cop starting now.

PM: Well apparently it's one of those things that the police do. They have somebody who is a good cop and a bad cop. So the good cop says to you "now come on, you know that I will... believe..."


NP: Linda you challenged first.

LS: A hesitation.

NP: Yes, all the fingers went on buzzers, your light came on first, so you have the subject and you have 36 seconds, good cop bad cop starting now.

LS: Good cop bad cop is something that happens in TV series. It's usually played as bad cop good cop actually, the other way round. However if you have a burglary in your house, you won't get good cop bad cop, or even bad cop good cop. You'll get stupid cop and brain-dead cop, is the people who will call around your home. I quite enjoy the convention of good cop bad cop, where one comes in and pretends to be your friend and says "well you know, why don't you..."


NP: Clement challenged.

CF: Two wells.

NP: Yes you had a well before.

LS: Yes.

NP: And Clement you got in...

LS: Bang to rights! I'll go quietly!

NP: No no no, you did very well, did very well, and the good cop... anyway nine seconds Clement, it's with you, good cop bad cop starting now.

CF: If you are a Liverpool football club supporter, there is only one cop and it's neither good nor bad, it is terracing from which you watch...


NP: So Clement Freud was then speaking as the whistle went, gained that extra point for doing so, and Paul Merton, Linda Smith and Clement Freud are equal in the lead. They're followed by Kit Hesketh-Harvey. Linda will you take the next round, a very apt subject for this beautiful little cinema here. Well it's quite a large one actually, three hundred and 50, three hundred and 50 thousand I nearly said. It's three hundred and 50 people...

LS: Oh I wouldn't want to sell choc ices there!

NP: No! It's the silver screen.

LS: Ah!

NP: What a lovely phrase! Talk about it in this game starting now.

LS: The silver screen, from my earliest days I've adored the silver screen, by which I mean, of course, the cinema. I used to love Saturday morning pictures, going along with my chums to the Erith classic, waiting in a queue outside, absolutely jacked up on pains, poppets and kia ora orange. The receptacle of which had a delightful way of imploding on itself if you sucked the straw hard enough, and then by blowing you could shoot it out to the front row and hit another child on the head! It was delightful! Then...


NP: Kit challenged.

KHH: I'm sorry, I think we've had two delightfuls.

LS: No, don't think so.

PM: No.

KHH: Did we not?

LS: No.

KHH: No?

NP: No, no, no. Linda has a point for an incorrect challenge, she keeps the subject, 28 seconds Linda, the silver screen starting now.

LS: The manager of the aforementioned establishment would come on to the stage in front of the silver screen, dressed as some amusing animal like a comedy lion, or something of that nature...


NP: Clement challenged.

CF: Two somethings.

NP: Correct challenge, and a point, 16 seconds for you, the silver screen starting now.

CF: I've never actually seen a silver screen. They tend to be made of linen or cotton or cardboard, and occasionally other materials. But silver, gold would be brilliant though more expensive. Platinum...


NP: So Paul you've challenged.

PM: Well he's moved away from silver screens, talking about gold screens and platinum screens but not silver screens.

NP: Well no I mean, it's a debatable point Paul, but when you think of it, I mean, the silver screen to us means the cinema screen.

PM: Mmmm.

NP: But no, he was talking about a screen with silver and gold...

PM: Made with gold!

NP: Yes, but why not, I mean it's another way...

PM: So you think talking about a gold screen is the same as talking about a silver screen?

NP: No no, I think in the cinema you have only one silver screen.

PM: Yes.

NP: But you could have a screen, it could be gold, it could be alabaster, it could be a screen...

PM: It could be what, ala-what?

CF: It's a very good decision, I think!

NP: It could be a screen of different kinds, you know.

PM: Yeah absolutely.

NP: So he has a correct, incorrect challenge, another point and half a second still left for you Clement, silver screen starting now.

CF: Silver screen starting now.


NP: So at the end of that round, Clement Freud was again speaking as the whistle went, and with the extra points he's now taken the lead over the others. And Clement it's also your turn to begin, the subject now is chasing rainbows. Tell us something about that subject in this game starting now.

CF: Vibgyor is not a word on everyone's lips, but stands for violet, indigo, blue, green, yellow, orange, red, which are the colours of the rainbow. If you saw The Wizard Of Oz which is a brilliant film and would fill this excellent cinema, there is a song which goes "somewhere over the rainbow..."


NP: Linda challenged.

LS: Two rainbows.

NP: Yes, it's in, it's in the subject...

LS: I know, rainbow.

KHH: Rainbow, singular.

NP: Chasing rainbows is the subject, somewhere over the rainbow, ah, two singulars.

KHH: Two singular rainbows.

NP: Yes two singular rainbows.

KHH: Ah very clever. She was waiting for that!

LS: Oh I don't know.

KHH: She knew it was going to happen.

NP: She was waiting yes, that's the experience of playing the game.

KHH: Poised like a tigress!

NP: Yes.

CF: But rainbow is included in rainbows.

NP: I know, but you've never come out with that particular point before Clement, and I'm not going to allow it this time. Thirty-nine seconds, chasing rainbows starting now.

LS: Chasing rainbows is a delightful subject which I like to hear Clement Freud talking about at length. I myself have very little to...


NP: Paul challenged.

PM: Well then why did you challenge him?

NP: What's your challenge?

PM: Well it's deviation. I like to hear Clement talking about the subject, and then buzzes straight away!

LS: I don't know that it is really!

NP: No she's not deviating, because she can still talk on...

LS: I'm still talking about chasing rainbows.

NP: ... chasing rainbows, and say that she'd like to hear Clement or you or anybody talk about the subject.

CF: He's not that good a chairman!

NP: You go off people so rapidly, don't you Clement. Right. So that was an incorrect challenge. We enjoyed your interruption Paul...

PM: Did you? Oh that's nice.

NP: So a bonus point to you...

PM: It wasn't wasted then.

NP: It wasn't wasted, no. But Linda has another point and she has the subject, chasing rainbows, you have 32 seconds Linda starting now.

LS: Paul Merton I'm less keen to hear on the subject now after that interjection...


NP: Clement challenged.

CF: Repetition of subject.

NP: Subject you see.

LS: Oh very good, you see, very good.

NP: So I'm a good chairman again Clement, because I listened and I heard the subject twice and you did as well. Twenty-eight seconds for you, chasing rainbows starting now.

CF: That's where dreams that I dream of really do come true. Chasing rainbows is another word for pursuing a target which is nominally beyond your reach. Unlike tilting at windmills which is pointless and useless, also obsolete. And I'm sure the 60 seconds should be up fairly soon because I find this...


NP: Kit challenged.

KHH: Deviation, they're not.

NP: Deviation from fact yes. Quite a subtle challenge, I...

CF: No, I think he is a very good chairman! No, I think...

NP: So on that basis, with Clement's generosity, we give you chasing rainbows Kit, four seconds starting now.

KHH: The Fantasy Impromptu by Chopin had lyrics set to it in C Sharp Minor...


NP: Right so Kit was then speaking as the whistle went, gained an extra point for doing so, thank goodness! Because he's now starting to move forward and the others are ahead of him. Paul, your turn to begin, the subject is in the mood. Sixty seconds on that subject starting now.

PM: Of course it was a Glenn Miller tune, and Joe Loss and his band had it as their theme tune for many years. (to tune of In The Mood) Diddle-a-dit-dit-dit-dit-da-little-little...


NP: Kit challenged.

KHH: Repetition of dit dit dit.

PM: No! No!

NP: There was a repetition of dit dit dit.

PM: I, I didn't write the music! I can't help that!

LS: I half thought he went dit-diddle.

PM: Yeah I did actually.

LS: Like diddle as a whole word.

KHH: But after that, it was dah dah dah.

LS: Oh yeah, well, you're the musician.

NP: Yeah it definitely was a repetition. And Kit you have the subject, and you have 53...


NP: I'm sorry, those are the rules! And I have to be fair within the rules. Fifty-three seconds Kit, in the mood starting now.

KHH: I so wish Paul Merton had the subject back because I don't know very much about...


NP: Paul challenged.

PM: What's all this about people wishing that somebody had the subject, but they're the people who challenge and get the subject?

NP: I know.

PM: So it's deviation! Deviation again! I wish Paul Merton had the subject...

NP: It's deviation, because that's got nothing to do with in the mood.

LS: But this is, you know, the human condition, more tears over answered prayers.

PM: Yes.

NP: You've suddenly changed the whole mood of the show!

LS: Well just a philosophical note.

KHH: That was metaphysical.

LS: That was thought for the day, and now back to Just A Minute!

NP: So Paul we give you the benefit of the doubt, we give you 50 seconds, in the mood with you again starting now.

PM: Bah-dah-a-dee-a-dardle-ah...


PM: Oh not again surely?

NP: Yes.

KHH: A repetition of dee there.

NP: Yes, dee and bah! Yes you definitely repeated it. Right, 48 seconds, back with you Kit, in the mood starting now.

KHH: He doubled his saxophone with his clarinet which is what is so clever about the orchestration of that particular author of this song. And he was killed, I think, in a plane crash, wasn't he, above...


NP: Clement challenged.

CF: They found him in a brothel!

KHH: Oh did they? (laughs)

NP: According to the press reports of the time, he was killed in a plane crash and that's how everybody believes him. I think we give you the benefit of the doubt Kit and say that ah 38 seconds is still for you, in the mood starting now.

KHH: I long to know which airline it was he was flying with that has in-flight brothels, because that would really pass the time of day more effectively than...


NP: Paul challenged.

PM: Well we know it wasn't Virgin!


NP: So what I do on those occasions, when we get interjections like that, I give a bonus point. But Kit was interrupted so he gets a point for that, and he keeps the subject, in the mood, with you Kit starting now.

KHH: Mister Whatcha-call-him, what you're doing tonight. Hopefully you're in the room...


NP: Clement challenged.

CF: Repetition of what.

NP: Mister Whatcha-call-him, what you're...

KHH: You're quite right!

NP: Yes.

PM: Yes.

KHH: How clumsy of that lyricist!

NP: Yes! So Clement you've got in the mood, 30 seconds starting now.

CF: In The Mood is a fox-trot. Slow, quick, slowly, slower, quicker, quickly, quickest. I used to do this quite often in my dancing days which are now long gone. At a cinema which was then a dance hall. And what fun we had. That's all.


NP: Paul you challenged.

PM: Um a dignified stop.

NP: Yes.

PM: Hesitation.

NP: Hesitation yes, so you got in with 10 seconds on in the mood starting now.

PM: I used to play trumpet in fact, when I was a very young boy. And I can still remember the opening notes to In The Mood. I don't know if you can, but they went something like this. All together now, one, two...


NP: So Paul Merton speaking as the whistle went, gained that extra point. He's still in the lead, he's one ahead of... no! Clement Freud's in the lead, he's one ahead of Paul Merton. But Kit Hesketh-Harvey has caught up with Linda Smith in third place.

KHH: Oh!

NP: Yes, and by the way surely In The Mood is a quickstep and not a fox-trot? Thank you very much, the audience agree with me. And...

KHH: If only we'd known!

NP: What's that?

KHH: If only we'd known! We could have leapt ahead!

NP: You could have challenged Clement Freud and got another point and the subject back, couldn't you.

CF: I could have danced differently, if I'd known!

NP: Kit it's your turn to begin, the subject is my fans. Tell us something about my fans starting now.

KHH: There's a perfectly lovely building, at the foot of Crunes Hill in Greenwich, SE10. Two Georgian establishments knocked together, a museum of fans. It contains about three thousand of them. I offered to donate my own paltry collection of the same article. One I picked up in Malaga off a torem... da-door...


KHH: Sorry!

NP: Toreador.

KHH: Toreador, I got a bit, yes... I'm sorry.

NP: You got muddled between your matadors and your toreadors.

KHH: One does.

NP: Right.

KHH: It's the heat!

NP: Linda, you challenged first. What was it? I need to know just in case I disagree.

LS: It was, ah, well, it's any number of things really Nicholas.

NP: I know. Hesitation...

LS: It seems so long ago now!

NP: Anyway I agree...

LS: It was hesitation, was what it was Nicholas.

NP: Right you have my fans Linda and you have 41 seconds starting now.

LS: My fans, I like to think of my fans as sophisticated, intelligent, witty, rather (unintelligible) people who swan about and look very elegant. However when I meet them, they very often have a tendency to wear Star Wars sweatshirts tucked into their trousers. This somewhat destroys the illusion. However it doesn't make them any less charming to speak to. And it's always a pleasure to encounter such people. I don't wish...


NP: Paul challenged.

PM: Was that a repetition of people.

NP: Yes.

LS: Have we? Oh.

NP: Yes.

LS: Well you can't have too many people Paul.

NP: No, but you can in Just A Minute, if you use the word again. So Paul you have my fans, you have 13 seconds starting now.

PM: The audience were with me all the way, but I managed to throw them off at the station! Was an old remark made by Michael Bentine, and I, when I was growing up, imagined what my fans would be like. And now that I look out on this magnificent auditorium, I can see just what a ropey old lot...


NP: Paul as you said that, one of them got up and left!

PM: Yes.

NP: But you...

PM: She's gone to tell her friends how much she's enjoying it!

NP: I know! You were speaking as the whistle went so you gained that extra point. You've now taken the lead, one ahead of Clement Freud, a little ahead of the other two. And Linda your turn to begin, the subject now is a needle in a haystack. Sixty seconds as usual starting now.

LS: A Needle In A Haystack is the title of a rather nice song by a group called the Velvets. Motown artistes and they recorded this item in 1964. It was penned by Norman Whitfield, who wrote so many fine... ah...


NP: Kit you challenged first.

KHH: I'm sorry, there as a hesitation.

NP: There was a hesitation, so Kit you...

LS: But they learnt so much!

KHH: They did! I had no idea it was a Motown number.

NP: Nor did I. But you see what happens on Just A Minute, you learn so much! Forty-five seconds, with you Kit, a needle in a haystack starting now.

KHH: It's a perfectly stupid place to look for a needle, if you think about it. Much more sensible to go to your sewing box, or possibly to your local drug dealer. The um...


NP: Well you might pause after that! So Linda you were first in with a buzzer.

LS: Yes just a little hesitation.

NP: Yes there was.

LS: Just a touch.

NP: He collapsed actually! Thirty-five seconds, a needle in a haystack back with you Linda starting now.

LS: A needle in a haystack, the most important thing to remember about needles is not to share them. So if you encounter one in a haystack, keep it to yourself, that's the main thing. I think the expression generally means that something's very difficult er to find...


NP: Paul challenged.

PM: There was an er there.

NP: There was an er.

LS: Yeah I meant there to be actually.

PM: Oh yes, you succeeded!

LS: Yeah!

NP: You succeeded, but it wasn't valuable in just A Minute because it means it's hesitation. And Paul you have the subject, 18 seconds, a needle in a haystack starting now.

PM: If you were to look for Nicholas Parsons in the middle of the Gobi Desert, that would be akin to searching for a needle in a haystack.


NP: Linda challenged.

LS: You'd see the cravat!

PM: You would see that from a mile off, wouldn't you.

NP: Yeah. But on the other hand Linda, what Paul said was not deviation from the rules of Just A Minute. But what you said the audience enjoyed it. So we give you a bonus point for that. Paul, Paul, Paul has a point for being interrupted, he has 10 seconds more on a needle in a haystack starting now.

PM: Of course, one wonders how did this particular implement find itself in a haystack in the first place. Was there some kind of accident in a sewing shop where perhaps a burglar...


NP: Ah Clement challenged.

CF: I haven't said anything for a long time!

PM: No! I thought I'd gone deaf!

NP: (laughs) Right, well Clement the audience enjoyed your interjection there, so give him a bonus point. But Paul was interrupted...


NP: And it's endorsed by the audience. Paul was interrupted, he gets a point for that and you've got half a second left on a needle in a haystack Paul starting now.

PM: Pork pie...


NP: So Paul's increased his lead at the end of that round, including one for speaking as the whistle went, Clement's in second place, and then Linda Smith and Kit Hesketh-Harvey in that order. And Clement, back with you to begin, the subject, the best excuse I ever had. Tell us something about that subject in this game starting now.

CF: When I was a Member of Parliament, and drove home, or to my constituency, I was frequently stopped by police who decreed that I was going too quickly. And I made the excuse that I was speeding for no other reason than to go to Westminster in order to vote for a pay rise for policemen! And it worked extremely well! They said "it's 3AM in the morning". And I said "yes we, we work all hours, there's no stopping us. We believe that you chaps are the most underpaid persons, and you're so good looking and may I have your autograph?" And for years I never got a ticket for anything. My driving licence is wholly free of impediments, points, notes, letters, figures, numbers, numerals. And I'm very glad to be here in Berkhamsted tonight, because Grahame Greene came from here. I met him in a pool in the south of France where he was called...


NP: Well that hasn't happened for a while. Somebody took the subject to begin with, and went the full 60 seconds without interruption, without hesitation, repetition or deviation. And he not only gets a point for speaking as the whistle went, but a bonus point because you did the full 60 seconds without interruption. But you're still in second place Clement, you're two behind Paul Merton, and you're three ahead of Linda Smith and Kit Hesketh-Harvey. Oh we're moving into the last round I've just seen. We've no more time. Kit Hesketh-Harvey...

KHH: Yes?

NP: It's your turn to begin, let's give you the situation as we go into the final round.

KHH: Oh dear!

NP: Well Paul Merton has a lead, but he's only three ahead of Clement Freud. And he's ah four or five ahead of Linda Smith and Kit Hesketh-Harvey in that order. Kit the subject now is Cupid. Tell us something about Cupid, that enchanting character in this game starting now.

KHH: Cupid fell in love with Psyche and came to her at night in the darkness, and left by morning. How like a man...


NP: Clement challenged.

CF: Disgusting!

PM: I was shocked, were you?

KHH: What? By him leaving before morning?

LS: This is a family show! Nicholas will have letters!

PM: Yeah.

KHH: It's in the myth, isn't it.

NP: That's the myth but I think most of us have experienced it.

KHH: I think so. I think you've been largely responsible Nicholas, in your time, you wicked old Lothario, you!

NP: Right, no it was, it was not a challenge of any substance. So you have another point er Kit...

KHH: I certainly need it.

NP: And you have 53 seconds, Cupid starting now.

KHH: And she became very interested in what he might look like. And so she lit her torch, which in those days wasn't an Eveready battery affair, but a thing of oil and wick. And she spilt boiling unguent on to his shoulder, he yelped and ran away and fled. And ever since then, she has been wandering all over the world, under Venus's harsh diktat, looking for her lost love, who nowadays is represented largely as a small boy with cherubic cheeks and little wings, causing havoc with his quiver of arrows. Lead ones for dirty, down, dusty love, and golden ones for the more virtuous variety which is that which I feel for Linda Smith as she sits here on my right. I'm now beginning to flounder, but I can feel the darts piercing my heart as I hope I'm heading towards the 60 second finale, because Lord knows that I do need these points. And if Cupid is out there...


NP: So Kit Hesketh-Harvey started with the subject and continued in spite of interruptions till the end, still had the subject, and brought the end of the show, brought the show to and end, I should say, with a flourish! And he got a deserved round of applause, but he still finished in fourth place. I'm so sorry! There's no justice or fairness in this game but that's how it works. Kit, great value, but lovely to have you with us and thank you for the Cupid. And just ahead of him was Linda Smith in third place. And just ahead of her was Clement Freud in second place. But out in the lead, a few points ahead of him was Paul Merton so we say Paul you are the winner this week! So it only remains for me to say thank you to these four delightful players of the game, Paul Merton, Linda Smith, Kit Hesketh-Harvey and Clement Freud. I thank Janet Staplehurst, who has helped me with the score, she's blown her whistle with such charm every time the 60 seconds elapsed. We also thank our producer who is Claire Jones. We are indebted to Ian Messiter who created this amazing game. And also we are very grateful to this lovely audience here in the Rex Cinema in Berkhamsted, who have been drinking themselves solid out in the fjords! But in spite of that they managed to pick up some of the humour and wit and enjoy themselves as they just, they're all stoatious I can tell you, but enjoying it. And we've had a wonderful time, I hope you have too. From them, from me Nicholas Parsons, tune in the next time we play Just A Minute!