A picture of a shed appears on the screen behind them.
INT: I see. And you're thinking of buying this second shed to write in.
JAC: No, no. Look, this shed business, it doesn't really matter at all, the sheds aren't important. It's just a few friends call me "Two-Sheds," and that's all there is to it. I wish you'd ask me about my music. I'm a composer. People always ask me about the sheds, they've got it out of proportion, I'm fed up with the sheds, I wish I'd never got it in the first place.
INT: I expect you're probably thinking of selling one.
JAC: I will sell one.
INT: Then you'd be Arthur "No-Sheds" Jackson.
JAC: Look forget about the sheds. They don't matter.
INT: Mr. Jackson I think with respect, we ought to talk about your symphony.
INT: Apparently your symphony was written for organ and tympani.
JAC: (Catches sight of the picture of the shed behind him.) What's that?
INT: What's what?
JAC: It's a shed. Get it off.
He points to BP screen shed. The picture of the shed disappears and is replaced by a picture of Jackson. Jackson looks at it carefully.
INT: Now then Mr. Jackson... your symphony.
Caption appears: "ARTHUR "TWO-SHEDS" JACKSON.
The picture of jackson is replaced by a picture of two sheds, one with a question mark over it.
INT: I understand that you used to be interested in train spotting.
INT: I understand that about thirty years ago you were extremely interested in train spotting.
JAC: What's this got to do with my bloody music?
Enter SECOND INTERVIEWER from earlier sketch.
2INT (John Cleese): Are you having any trouble from him?
INT: Yes, a little.
2INT: Well we interviewers are more than a match for the likes of you, "Two-Sheds."
INT: Yes make yourself scarce "Two-Sheds." This studio isn't big enough for the three of us.
They push him away and propel him out.
JAC: What are you doing? (He is pushed out of vision with a crash.)
2INT: Get your own Arts programme you fairy!
INT: (To camera) Arthur "Two-Sheds" Jackson.