CM: Okay, let's look at the book. New edition. Here it is. Em, first of all, its size; it looks bigger than it is, which is quite a crafty move. Was that the intention?

AM: Well it is a big book. It's a lot bigger than . . .

CM: Than it is . . .

AM: Than the original one.

CM: But it does look bigger than it is as well. I mean I'm not comparing it to the original. I'm just saying `here's a book, you see it in the shop and it actually looks bigger than it is.'

AM: Well, I'm glad, I'm glad, you think that . . .

CM: Was that the intention?

AM: Eh, I think no, the intention was just to, to print a, a . . .

CM: Print a book?

AM: . . . a book of her life.

CM: Because it's carefully, it's carefully constructed isn't it?

AM: Well, I think it's, it's constructed in, in a, really, in a . . .

CM: I suppose the tragedy is you have to be . . .

AM: You have to be what?

CM: Now looking at the way the book works, you seem to have put your finger on things.

AM: Well, what I've tried to do is . . .

CM: Let me, let me give you an example . . .

AM: Sorry, go on . . .

CM: Here we are, `the tectonic plates which underpin society having shifted culturally, socially and politically in the previous few years.'

AM: Hmmm . . .

CM: Now that describes exactly what had happened after Diana's death, so many people struggled to put their finger on that. Was it something you worked hard on or did it just come out? I mean how on earth . . .

AM: Well, I, I. (Sigh).

CM: `The tectonic plates which underpin society having shifted culturally, socially and politically in the previous few years.'

AM: Well . . . I mean, sev . . . several people have, have, made a similar observation . . .

CM: Awh, they've made a bosh! Generally looked quite silly.

AM: Well, I, I, to my mind it seems that we've a seen a major shift in our society.

CM: So in your mind, when we look back to, say, 1982 you say `things are rather different . . . '

AM: Yes, I mean, I see, I see, I see the change quite profoundly, if you look at the news footage . . .

CM: It is . . . `The tectonic plates which underpin society having shifted culturally, socially and politically in the previous few years.'

AM: I mean, I felt that quite profoundly . . .

CM: And you thought, it's, it's the tectonics here.

CM: I think in the balance is `Andy Morton is a decent guy'. What I want to know is how you feel about other people who are feeding off the same . . . carcass. People who make computer games like `The Last Chase' where you play a paparazzo chasing a car through a tunnel subtitle of the game `Snap The Dying Bitch'.

AM: Does that really exist?

CM: Well, it's on the Internet.

AM: Good grief. Well I just hope nobody buys it, that's what I hope . . .

CM: But there are people in clubs, there are people in clubs, there's a Diana zombie doll . . .

AM: I don't see where you compare my book with . . .

CM: What's your moral position on Last Chase?

AM: Well, I find them very abhorrent because all you're doing is exploiting someone's death.

CM: Hmmm . . . I just wonder if I could read a section of the book?

AM: Okay. Yeah.

AM: Are we done? CM: Shsshhh! It's just longer than I thought. I'm just reading. I need quiet when I'm doing this. I had to start again there because you spoke when I was reading it. Andrew? AM: What? CM: Thank you. There's still a noise, though, you're still doing . . .

AM: I'm absolutely silent.

CM: I'm just getting down to `break her heart'. (Pause of 20 seconds). Very good. Nearly there. Good boy. Oh, little creak there, hang on, just do that last sentence again. Good, thank you very much.

AM: Thank you very much indeed.