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No. But I had been on the board maybe--it was three to four months after I went on the board.

I see.

We were reaching for these people and reaching at the same time for money so that the commitment, which was I think for three years for each of them at a hundred thousand dollars a year plus expenses, was there. And of course, as it will come out later we made a bad mistake by starting up with no money. If you're going to start an enterprise of that size you should have had kitty of five million dollars. On the other hand, how the hell do you get a kitty of five million dollars on a theatre that's been black for four years? The answer is no.

I'm gonna, allow me to interrupt your sequence here. Remember where you are in your story because before we go on I want to go back a little bit. O.K.?

I know very little about the background.

I know. But you do know what the situation was once you joined the board. Now you just stated very simply that the problem was at that point to get the theatre up and running. Now, for the previous many, many years the argument apparently had been, on the part of the, let's refer to it for clarity's sake as The Beaumont board, O.K? On the part of The Beaumont Board and it's director Richard Crinkley