is is a bit of a mess, what trump needs is a 60 vote support in the senate, so he has to have 60—40 vote and the problem is he only had 51 senators so he has to say something nice to the democrats. is that going to come easily, do you think?m nice to the democrats. is that going to come easily, do you think? it is interesting because he styled himself as this great deal broker, the guy who wasn't sort of mired in the guy who wasn't sort of mired in the infighting of politics, he was above that. but he has not been able to... the democrats say we will do a deal but we need you to go the republicans and say, they say he is too weak to do that, to stand up to the republican, who knows what the truth is, that what they are saying. he will have to come of politics, he was above that. but he has not been able to... the democrats say we will doa able to... the democrats say we will do a deal but we need you to go the republicans and say, they say he is too weak to do that, to stand up to the republican, who knows what the truth is, that what they are saying. he will have to come pro—mize, but he isa he will have to come pro—mize, but he is a "deal maker" he will sort it. let us finish with the daily telegraph. we have heard a lot about big ben. it is looking a bit sad at

the moment, covered in scaffolding. this headline says eurosceptics big ben will not bong britain out of the eu because they did resurrect it for new year eves, didn't they, but that is what they are clearly concerned about. do people care about this?” am sure some people care deeply.” care. i bet they will do it. you know, what david lidington, the cabinet minister said today. if you get enough people to sign a petition, regardless of how many, what proportion of the country care, if enough people make out they care, then that i will probably happen, we should have big ben bonging us out of the eu. would you be standing there in parliament square? unless they go up to rochdale town hall where the bells are similar. let us go there. regional rebalancing. we should have some stamps as well.” have read about this. royal mail disgrace, how, if people want to

make a case for stamps, is there a mechanism. there were stamps when we joined the eec, they are tucked away. have you got them? of course. on the exit we... i treasure thresh yourthem, asi on the exit we... i treasure thresh yourthem, as i do on the exit we... i treasure thresh your them, as i do all my stamps. you can collect a set. to make the story complete you need the exiting sta m ps story complete you need the exiting stamps as well. we must leave it there for this hour, that is it for the papers for this hour. you can see the front—pages of the papers online. it's all there for you, seven days a week at bbc.co.uk/papers, and if you miss the programme any evening, you can watch it later on bbc iplayer. a car bomb in paris.

a widow returns to the western isles, joined before long by a french detective on her trail. the two women try to work out what has happened and why and their lives as a result are intertwined. a thriller by peter may, called i'll keep you safe, that moves from a contemporary world of crime and violence to a place where apparently they still cling to many of the old ways. another puzzle, another story that twists and turns, and for him, another international bestseller. welcome. a rather obvious question. what makes a good thriller, peter? a good question. i've no idea! imean...

you know it when you see it? i think that's exactly right because there's no formula and if you knew what the formula was, you'd have a bestseller with every book you wrote. i think engaging the reader, more than anything else. i think it's notjust even about thrillers. it's about any story that you're telling. you set yourself a problem because what you've got to do over a couple of pages at the very beginning of this book is give us a scottish gaelic glossary, otherwise no one would understand the names because most of it, a large part of it is set in the western isles. yes. so you needed to give that guide. it's quite a thing to have to do, isn't it? it is. you know, from my days working in television, i've filmed up in the western isles for five months a year for five years and got very familiar with the sound of gaelic. i still don't speak it. no. but i generally know how to pronounce names and words but most people don't, because, you know, ithink the gaelic alphabet is only 18 letters, you know, so it's all these strange combinations of letters to make a single sound.

two of the main characters, niamh and ruairidh, with the gaelic spelling of ruairidh of course, which a lot of irish people will be familiar with as well, but you need to get people into the sound world, don't you? you do, yes, otherwise they are repeating in their own heads a mispronunciation right from the start. and that would be unfortunate because what you want to do in evoking the place, its strange, largely flat contours, its kind of bleakness but its beauty that can hold you, you know, in a trance on a fine day, which... there aren't that many of on the west coast of lewis. no! but it's a very haunting place, isn't it? it is. you know, as i say, ifilmed up there and we had a daily schedule and you were at the mercy of the elements the whole time. and they were very rarely in your favour. so it was hard, hard work and it makes such an impression on you. i mean, the minute you step off the plane, there, you are struck by the wind and the wind never stops and it's there the entire time.

very few trees. yeah. let's talk about the plot. as said at the beginning, there's an explosion, a car explosion, a bomb in paris. we can say that much. and then we're off and what we have is a contrast between a contemporary world with which we are very familiar, strange, violent events interrupting the modern pattern of life, and then we go back to a different way of life, where people are clinging to, well, making cloth in the old way, talking with a language which, you know, is shrinking in its usage quite fast. there is a wonderful contrast between these two worlds. it was of great interest to me. i mean, i first went there 30 years ago so it is kind of going back to the way i knew the islands when i first went and the way they were and they hadn't really changed in whole centuries. it is sad to say that in a way, it has changed quite a bit over the last 30 years.

when i first went, there were no flights on a sunday. there were no ferries on a sunday. nothing was open on a sunday. you couldn't eat. you couldn't get petrol. everything was shut and now that's all changed. and in a way, it's a shame, the loss of the lewis sabbath because it was a kind of special day. well, they held onto that in a way that no one else had. the contrast in the book is very much part of it because what we've got, the plot that develops is the picture of two women. one, niamh, who has lost her man in this explosion, who's gone back and of course, is grief—stricken, and the detective, also a woman, who follows her, and of course, has her in her sights. so they are opposing women but they find themselves, at the end of the day, drawn onto the same path. it is a sort of classic plot device. i don't mean it's fake or anything but it's one

of the fundamental plot devices, isn't it? well, yes, two women from very, very different backgrounds and experiences, arriving ultimately in the same landscape, in the same culture. and having to function. yes, well, absolutely, niamh, who is suffering from gried, obviously, that deeply—felt grief, and re—examining everything. as a writer of this kind of novel, you know, a good page—turner and one where people are involved in inextricable events that they have to work very hard to unravel, frankly, how do you keep the tension going? it is about what makes you tense as a writer. i mean, it is a journey. i think when you are writing a book, it is a journey you go on yourself and if it is boring or dull, it's not going to work for the reader, is it?

that's right. you've got to feel some of that excitement? exactly. imean... you know, i was doing an interview with. .. it was bbc radio scotland and we were doing one of those location radio interviews up on the isle of lewis, talking about the blackhouse, which is the first book that i set up there. and we went to this slipway in a tiny harbour on the north—east coast. and i had set a scene there in the book and it was a scene that i had never originally planned to do. it was a kind of bridging scene between two other scenes that i had worked out that i was going to write about. and it turned into an extraordinarily emotional experience for me, writing it. i mean, because i remember sitting there in my study with the tears running down my face, you know, and my wife saying, "dinner is ready". i went down the stairs and she said, "what's wrong with your face?" isaid, "well, you know... i've written this thing". yes.

and when we went back there to do the location interview... yes. it was built around a couple of boats and they were the same boats that had been there when i was there nearly ten years earlier, sort of thing. and i choked up talking about it and the emotion was that real. that's really interesting, because what you're saying really is a very fundamental thing, that in writing this kind of book, particularly one in which place is so important, the atmospherics of a territory are so important, you can't fake it and if you try, you'll fail. yes, i think that's absolutely right. and do you know, because i'm not from the islands, there was always a risk, i suppose, that what i was doing was some kind of parody of what i saw and what i'd experienced. so i remember very clearly when the blackhouse came out, worrying about how it would be received on the islands. never mind about the critics, you know? no, no. how were the islanders going to receive it? and you know, there's a sequence that happens in that book that involves ten men on ness

in the northern part of the island, that go every year to a rock out in the atlantic and slaughter 2000 gannets, sulairean as they call them in the gaelic. and i'd done a lot of research with them and i'd written about that experience and all of the rest of it. just literally two weeks after the book came out, i got an e—mailfrom the guy who is the head of that group. year. i saw it was from him, dods mcfarlane, and i thought... you held your breath? i opened it up, and he said, "peter, me and the boys have read the book. we love it!" and... big sigh of relief, you know? that's all you need. just to remind people, when they begin this book, they should make an effort with the gaelic glossary at the beginning because it will make all the difference. indeed. peter may, author of i'll keep you safe, thank you very much. thank you,jim. it has opinion a day of big changes

in the atmosphere and change is not a lwa ys in the atmosphere and change is not always easy, we have swapped this very cold airfor always easy, we have swapped this very cold air for much always easy, we have swapped this very cold airfor much milder air from the south—west, a sharp contrast between those two air mass, and that has brought some problems with snow in some place, significant snow at that, and then in other places with the mild air pushing in some heavy rain which has caused issues with flooding, during tonight that milder air is going to sweep across the country, not before we see the risk of icy stretches in north east england. by the time we get to tomorrow morning we will be waking up to temperatures between three and nine degree, showers into 0 scotland but notice this stage most of the showers falling as rain. temperatures of four degrees in inverness, six in glasgow, higher than all day today. northern ireland, mostly dry if rather

cloudy, and that is the west we have across much of england and wales, some sunny across much of england and wales, some sunny spells here and there. the odd showerfor some sunny spells here and there. the odd shower for hills and coasts in the west, one area of heavy rain continuing to affect parts of the souse coast, that —— south coast. that should scoot off and monday a decent day. breezy, windy in the far north, a scattering of showers for other western area, elsewhere spells of sunshine and temperatures of six to 11 degree, very different to how it felt for many during today. monday into tuesday, low pressure is in charge of the scene up here to the north—west. south—westerly winds which will be pumping very mild air across all areas so tuesday probably on balance the mildest day of the week for many, with that we will see some outbreaks of rain, most especially up to the north—west, northern ireland, scotland,er northern england, parts of wale,

patchy rain, best weather sheltered high ground. 12, 13 in cardiff and london. a bit of a change on wednesday, there could be gale, that will work southwards and eastwards, mild in the south—east. a bit chillier coming into the north—west but nothing like as cold as it has been. there will be a cooler air with frequent heavy showers. this is bbc news. the headlines at 11: turkish troops advance into northern syria, opening up a complex —— opening up a complex new front in the conflict. ukip's ruling committee unanimously backs a vote of no confidence in leader henry bolton. henry was offered the opportunity to resign, but he has made clear that he feels he is the right man to lead the party forward. fourteen foreigners are among 18 people killed in the attack on a kabul hotel. they're thought to have been deliberately targeted. a man is arrested in connection

with the death of eight year old mylee billingham, stabbed to death in the west midlands. and victory down—under for kyle edmund in the australian open. the 23 year old books his place in his first grand slam quarter