Original subtitles

All good things must come to an end.

Gentlemen, I have been sacked!

Why did they get rid of you? I don't know.

They've never spent any money on this show.

Now they're spending a fortune just to get rid of you.

Scene 14, farewell to Meg.

Nolly! You idiot.

It's Noele Gordon leaving behind her tatty old soap

and becoming the star she always was.

Do you think I'd let those bastards stop me? I've got plans!

JIMMY TARBUCK: He's got no magic powers,

he just can't get out of the bath. LAUGHTER

And the winner is...

it's no surprise, I give you, ladies and gentlemen,

Miss Noele Gordon! CHEERING AND APPLAUSE

Well done, Nolly. Bless you, sweetheart.

The inaugural member of the TV Times Hall Of Fame!

Now, they invented this award to get Nolly out of the way,

cos she keeps winning Best Actress every year!

You're a very naughty man, Jimmy.

I'm sure that's not true.

SHE CHUCKLES But, erm, still...

if I'm stepping aside, then maybe one of my dear friends

from the cast of Coronation Street might win.

AUDIENCE: Oooh...! At last.

If they're lucky.

Coronation Street, everyone.

CHEERING AND APPLAUSE

Morning, Nolls. All right, love? Fine. Yes.

Good morning, everyone.

Two, three, and one.

One, two, three. Again.

One, two, three.

One more.

And reach.

One, two, three, and onto the floor.

And legs. Right, then.

Over, one, two, three, four.

And one, two...

AEROBICS INSTRUCTOR: ..seven, eight, take it up.

And one.

And two.

Three.

And four. Keep it slow.

One, two, three, four,

five and six. Ooph!

One, two,

three, four, five,

six, seven, eight,

Don't give up, girls. Let's go. Two...

Oh, it's good. It's very good. I'm excited.

I mean, Gypsy is one of the greatest shows in the world.

Roger's a delight.

Fiona's a miracle. She's going to take a lot of people by surprise.

And, er, it's lavish. The sets are astonishing.

How big's the orchestra? 14.

Wow!

In Leicester?

Top notch. Mm.

And the company, it's very sweet. I'm the mother hen.

You were born to be adored by the male chorus.

And I include myself.

How's the show? Good. Fine, I think.

Adam's got religion.

Which amounts to me wandering around in a mac.

Hm. Do you ever...?

Do you still watch? No. Far too busy.

Mm.

CROSSROADS THEME TUNE PLAYS

How are the ratings?

Going down.

All the talk...

is about transferring to the West End.

That's all we hear, all day long.

Which theatre? The Adelphi.

But the point is, if we don't transfer,

I'll have failed. Not the show. Me.

I don't think that's fair. That's what people are waiting for.

The story writes itself.

"TV star sacked, goes on stage, dies."

They're in for a surprise, then. Because I can't shake it off.

"What happened?"

Every sodding day, I get asked the same question...

Why did they get rid of you, Nolly?

But why did Crossroads sack you?

I don't understand it. Why on earth were you sacked?

Oh, and here it comes again.

I'm sorry, I hope I'm not interrupting your meal,

but my mother's such a fan.

Do you think...? Could I have your autograph?

Of course, darling.

Any second now. And what's your mother's name?

Alice. "To Alice."

Three, two, one...

I hope you don't mind my asking, but why did they get rid of you?

I don't know, dear. I do not know.

I don't know, all right?

Sorry.

Mind you, why did they?

I still think there's something we've not been told.

Oh, and do you know what they're saying about me in Leicester?

GIGGLING

STIFLED LAUGHTER

TONY: I mean, if it's any consolation,

people often think I'm a lesbian, too.

It's my walk.

I like a heavy boot. Yes, madam?

Yes, erm, do you see the lady in the blue dress?

I'll pay her bill.

Sure, madam. Thank you.

Oh, not the wine. No problem.

No.

But the pressure is on me, and it's on me alone.

My first entrance,

he's got me coming in from the back of the auditorium.

Oh, very modern. They've all seen Cats.

Mm. Roger keeps on saying...

Nolly, you come in from there,

and the entire audience will be amazed.

But the entire audience will be facing the wrong way.

And you'll surprise them.

Gloriously!

Cora, you open the door. And, Nolly, you say the line.

AMERICAN ACCENT: Sing out, Louise. Sing out!

Bigger.

Sing out, Louise. Sing out!

Even bigger!

Sing out, Louise! Sing out!

Bigger, Nolly.

Fill the space, make everyone turn around.

Sing out, Louise! Sing out!

Sing out, Louise! Sing out!

Sing out, Louise! Sing out!

He keeps on saying, "Bigger, and bigger, and bigger."

And I can't.

I don't just want people turning their heads.

I want them to burst into applause.

I want this whole theatre to see Miss Noele Gordon

bring the house down!

It sounds rather marvellous. Yeah, but don't you see, I can't?

I don't think I can do it. The place will erupt!

Just listen to me for a second! I didn't bring you here

to tell me that everything's going to be all right.

I am saying no-one is going to clap,

because I can't do it.

This part is a monster.

She is a legend. She is a major piece of work.

And I'm not good enough!

OK.

Sorry.

SHE SIGHS HEAVILY

Rose has been played by Ethel Merman, for God's sake.

Angela Lansbury.

I'm someone who's wasted their time in a motel for 18 years.

The most exciting thing I had to do was sack the chef.

Mm.

And I shouldn't smoke.

I can't do it, Tony.

I can't.

You can see it in their faces.

"That woman off TV."

NOLLY: ♪ Well, someone tell me When is it my turn?

♪ Don't I get a dream for myself

♪ Startin' now It's gonna be my turn

♪ Gangway, world Get off of my runway

♪ Startin' now, I bat a thousand

♪ This time, boys I'm takin' the bows and...

♪ Everything's coming up Rose

♪ Everything's coming up roses

♪ Everything's coming up roses

♪ This time for me... ♪

And it's huge, The Haymarket.

It's huge.

One thousand seats.

Watching me fail.

Have you said any of this? Hm?

Have you tried talking to them? SHE SCOFFS

It's a long time since you've been in proper rehearsals.

All they do is talk.

I love it! I love every second of it!

And I'll be damned if you're going to take it away from me!

I am Gypsy Rose Lee.

I love her. And if you don't, you can clear out now!

But do you think she's sad as well? Oh, yes, she's very sad.

I mean, she's proud and she's angry,

but she's still very sad.

Don't you think, Nolly? Hm?

Yes.

I can't help thinking of myself when I was just starting out.

'And then off we go.'

Nonstop!

FIONA: That's what I felt when I was 18.

I thought, "If men just see me as pretty,

"then, OK, I'll be pretty, but I'll be clever as well."

I thought, "You just watch me."

That's why this show says so much to me.

It's all about taking control of your body.

I think it's sad, for Rose.

She's missed her chance.

You've had things taken away from you, Nolly.

You've been robbed of opportunities, don't you think?

I think...

..it's all in the script.

But it's 1933, and you were there, Nolly.

You were on stage in 1933.

You've actually survived it.

I'm just asking you how. Well, does it matter?

But Momma Rose loves Herbie,

and you must've had someone who you loved...

..once, didn't you?

Everything we need is on the page. Shall we just get on with it?

OK.

From the top.

If you want my opinion...

..I think you're a coward. And a baby.

And a bore.

And, yes, you're absolutely right,

you've waded through shit dialogue for 18 years.

So now you're presented with one of the greatest scripts on God's Earth,

then, yes, you're going to fail.

You're determined to. Hugely.

Visibly. Lavishly.

Or...

you can go back to Leicester...

..do your job...

..and fucking act!

ROGER: Well, it was only a stagger through.

And it wasn't exactly staggering.

But we're getting there, bit by bit.

I still think, Nolly, to, er, jump to the end...

So, we could bring the whole of that last song much further downstage,

right into the audience, right as!

I suppose I just find that a bit exposing.

That's how she feels. Yes.

I get that. I do understand.

I suppose it's the one thing I've been fighting.

After, you know, all these years.

I was, er...

Did you know...

that I was the first woman in the world

to appear on colour television? Really?

And that is where I stayed, on camera.

And I was happy there for a long, long time.

It's no wonder you gossip.

I can hear you talking about me.

Everybody says I'm a dyke.

I often think it's not fair.

Patty, when a woman hasn't got a man,

they say that she's failed, she's lacking, she's odd.

Which means she's a lesbian.

You must find that very offensive.

I've never really thought about it. But the point still stands.

When you are a woman with no husband,

no partner, no children,

society doesn't know who you are.

There's no place for us.

This silent army of women with no name.

Actually, that is offensive. Thank you.

You're right. Thank you.

Bastards. Exactly.

But I did have someone.

I gave him 20 years of my life.

Val...

Parnell.

Oh, really?

Is that a man? Val? Short for Valentine.

Huge impresario.

Big, blond giant. He worked with everybody,

Judy Garland. Bob Hope.

He signed up Julie Andrews when she was 12.

And he was married.

Which means you've all got an opinion.

No, it happens, darling.

Actually, my father had an affair for 12 years

and it destroyed my mother. I know.

It completely destroyed her. So...

I understand. Good.

Val Parnell set up ATV, didn't he? Yes.

So he set up Crossroads for you? No.

It wasn't like that.

Nolly, he bought you. ROGER: All right, Becky.

He told his wife. And then he came to me and he said,

"Helen knows all about you."

And he said, "I need you both.

"I want you to be friends."

And she accepted that? Yes, she did.

Was she mad? No, she loved him.

And I loved him.

That's the bit you have to understand.

I absolutely loved him with all of my heart.

So, we had dinner, the three of us.

And she took me to one side, and she said,

"He is a wonderful man,

"and I'm prepared to accept you as his mistress...

"if you are prepared to accept me as his wife."

And I said...

"I will."

And then, from then on, we shared him.

That's how we lived for years.

He bought an apartment in the South of France

overlooking the Mediterranean.

It was all white and gold.

And he flew us out.

And we sat there one night, having dinner.

Me, Val and Helen.

And he looked at Helen and he looked at me...

..and he raised his champagne in a toast and he said,

"I've always wanted this, you two, sitting either side of me.

"And I want you to know...

"that you are the two great loves of my life."

And then, the next day, he flew home

and ran off with a third woman called Aileen.

CAST AND CREW GASP I never saw him again.

Oh, my God!

He died in 1972.

That greedy old heart stopped beating.

Bloody hell...

And I can see you, girls, all thinking,

"Oh, I'd never let a man do that to me."

Well, I wouldn't.

It's a different world now. No.

They're clever.

They're cleverer than you'll ever know.

And they play games on levels you can't even see.

You don't believe me now

because you're young,

and you're tough, and you're brilliant.

But I promise you,

you will turn round at 40, or 60, or 80...

..and you'll say, "Oh, my God.

"He got me.

"He got me."

I thought all of this was me.

Turns out, it was him.

All the things that I could've become

were taken by him.

All my life...

..was him.

And you ask me why I was sacked.

Every single day,

every single person asks me why I was sacked.

And that is the reason.

They know.

The herd.

The pack. The instinct.

They can smell a victim.

I was sacked because I was sackable.

Those men just did what they always do,

they singled me out, they bared their teeth,

and they brought me down.

And then they raised a glass of champagne

and moved on to the next!

And, yes, I will sing your song downstage.

Cos that is going to get us to the West End.

I will sing your bloody song downstage,

right here,

in front of one thousand people!

♪ Everything's coming up Rose

♪ Everything's coming up roses

♪ Everything's coming up roses

♪ This time for me!

♪ For me!

♪ For me!

♪ For me! For me!

♪ For me!

♪ For

♪ Me! ♪

CHEERING AND APPLAUSE

MICHAEL: I'm afraid it's not happening.

The West End.

I'm sorry, darling. You were absolutely sensational.

OK. We tried.

But we can't.

OK.

TONY: Nolly?

Ah, I've got to rush, Nolly. Thanks for the drinks.

That's a godawful white wine.

The last train's at 11:00.

You were absolutely mesmerising, darling.

A star is born.

Well, she was born an awfully long time ago.

But, thank you. Now, run. I'll come and see it again.

I'll come see it in London! Bye-bye!

It's not you. It's contractual. What does that mean?

They are reviving Gypsy on Broadway,

which means, legally, there can't be another production.

We're three thousand miles away!

I know, I've asked, we've checked, there's nothing we can do.

And I swear, it is not your performance.

You were absolutely splendid.

You had that round of applause when you first walked in.

Oh, don't be so stupid, that was easy.

You start the clapping.

Clap like hell and do not stop.

All right, go.

INDISTINCT DIALOGUE ON STAGE

Sing out, Louise!

Sing out!

CHEERING AND APPLAUSE

You're behind, honey. You're behind. Catch up.

I have done one hundred thousand shows.

If I want applause, I'll get it.

But that is the limit of my talent, it seems.

POPPY: Oh, my God, Nolly!

You were absolutely amazing!

Oh, I can't believe I even know you!

I was crying my eyes out at the end.

I know Poppy. I've known her for years.

We were at Mountview. Oh, that's lovely.

Well, there's drinks for everyone in the green room.

This is Michael, my agent. I've decided to charge it all to him.

So, erm, dive in!

Oh, let's get pissed! Thank you, Michael!

See you in there!

There is a chance. Derek Nimmo.

He runs those tours abroad. The Far East.

Hm. Am I so bad I have to leave the country?

Come now, it's good work.

He said, if Gypsy isn't picked up, he'd take the whole company,

Fiona and everybody.

And you've been a good team, haven't you?

What's the show? The Boy Friend.

It's going to Bahrain, Kuala Lumpur, Abu Dhabi.

Well, what are the theatres like? Are they any good?

Well, it's dinner theatre.

OK.

You think about it. No, I'll do it.

God knows, everyone staring at me.

Maybe I need to go somewhere where I can't be seen.

I have to go. But, look...

I will telephone you on Sunday afternoon

and we can talk about it.

And really, you were magnificent.

Merry Christmas, darling.

Merry Christmas.

Oh! And, therefore, happy birthday!

TONY: 'I used those cheques for gas and electricity.

'And there's quite a few charity requests.'

But nothing urgent. Although...

the RNLI would like to know about July 31st.

NOLLY: 'Oh, say, yes.'

I always say yes to them. I'll be back July 10th.

'So, how is it? What's the hotel like?'

Oh, it's nice enough.

Well, there's not much choice, there's only one hotel in Abu Dhabi.

'But still...

'everyone's pleased to see us, we're like visiting dignitaries.'

Where do you go next?

Bangkok.

Fiona says it's wonderful.

She keeps saying she's going to take me to a strip club.

I think they imagine that I'm shockable.

Lord, what fools these mortals be.

ROWDY LAUGHTER AND CHATTER

You can fly a plane? Oh, I'm fully qualified.

I learnt for television.

If we're flying back and we get into trouble

and someone says, "Is there anyone who can fly the plane?"

look for Nolly.

Is that a hard-boiled egg?

SQUELCHING Oh, not hard-boiled.

No. I've been a director, a producer, an executive.

I've had my own chat show.

I have done it all.

HE SHOUTS IN THAI

And now, it appears, I've been in a police raid.

Well, they said about my career, I couldn't get arrested.

But look at me now, Mother!

NOLLY LAUGHS

THEY ALL LAUGH

MAN: Miss Gordon, Miss Fullerton, come with me.

There you are. I am sorry it took so long.

I'm from the Consulate. My name's Hansa.

I've got a car outside, and I can get you back to the hotel.

But I just need you to sign a couple of forms first.

Miss Fullerton, you needed to use the phone?

If I could. I'd better tell them I'm still alive.

HANSA SPEAKS IN THAI

If I could just get you to sign on the line,

on all five pages, thank you.

Sorry. It's basically a promise not to sue the authorities.

Mm... I must say,

it's nice to say hello.

I feel like I already know you, even though we've never met.

I used to work at Cumberland Place for ATV.

Huh!

That's funny. I left a couple of years ago.

My mother's not very well, and this job came up, so...

time to come home. Mm.

Now I have to deal with drug trafficking and military violence.

It's a lot easier than television. Oh, I bet!

But I've got to say...

I thought what they did to you was terrible.

Oh, that's very kind. But it's all in the past, darling.

Everyone keeps asking me why I was sacked.

And I worked it out long ago.

It was men.

Just men being men.

Well, yes.

But that man in particular.

What man? What did they tell you?

Well, they didn't. But I want to know, what man?

What did he say? I'm sorry.

It's none of my business. Except, I was there.

I heard every word.

I'm sorry, Miss Gordon, but I know exactly why you were sacked.

Good to see you. You look wonderful.

Thank you.

Excuse me.

Hello, yes. Erm...

Coffee for me with milk, thank you.

Nolly? Nothing.

Are you sure? Absolutely.

Is that just the one coffee, then?

Yes, thank you. OK.

Sorry, but I'm a very big fan.

Thank you. I hope you don't mind me asking,

but why did they get rid of you?

Hm.

Ask him.

OK.

One coffee. JACK COUGHS AWKWARDLY

So...

why did you want to see me? Oh, a few things.

Nice to catch up.

And there's that charity night thing for Birmingham City Council...

The funny thing is I wanted to see you.

In fact, I think it's very important that we talk because...

I found out something.

By chance. Someone told me.

The reason for my sacking.

In fact, I wrote it down.

I was given this piece of paper by a policeman in Bangkok.

It's far too long a story.

I was sacked...

..because I'm "a bully".

Because I'm "a prima donna".

Because I'm "delusional".

I make people "go through hell".

I'm "a fly in the ointment".

It appears I was sacked because I am "a difficult asset".

Who said so?

Charles Denton, that's who.

Your boss. The man in charge.

Well, if he did, if he was actually...

Oh, I'm sorry, am I being "a difficult asset"?

"Noele Gordon is a difficult asset," those were his exact words.

Well, he might have said...

There were problems with the show. But...

how did he know anything about me?

I mean, he was never in studio.

He would never see rehearsals.

I don't imagine he's watched a single episode of Crossroads

in his entire life.

So where did his information come from, Jack?

Who told him this...

..version of me?

I never said those exact things.

A bully? I didn't say that.

Delusional? I didn't say that.

Prima donna? I did not say that.

Difficult asset? Oh, by Christ, you are difficult!

Of course you are. Who are we kidding?

Every day, every scene, every decision, you're a nightmare!

And don't sit there and pretend you didn't know.

You're very hard work. Then tell me this.

If I was such a monster,

then why the hell didn't you tell me?

A lunch. For God's sake, Jack, a dinner.

A meeting with my agent.

Consult me.

Confront me. Tell me what is going wrong.

But, no, what do you do? You sack me.

Without a word.

You axe me.

In public.

Now, look me in the eye

and tell me that is the right thing to do.

Is it?

No.

Do you think it's fair? No.

Do you think it's professional?

No.

Would you have done that to a man?

And let me tell you the answer to that,

the answer to that is no!

I just don't understand...

..why you were so...

..unkind.

I'm sorry.

Were you so scared of me? No.

All right.

I would complain to Charles.

That's how it works, it goes upwards.

You complain to me, I complain to him.

But I never thought he'd listen.

That's where it all went wrong.

I was used to old-school ATV, where they would puff on cigars

and pass the port and do sod all.

And then, suddenly, I had this brand-new boss

who takes me at my word and does something about it.

I mean, a boss actually doing something?

My God!

And I couldn't backtrack.

I'd said what I said, so...

..here we are.

So it was an accident?

In a way, yes.

My life was destroyed...

..by accident.

Oh...

It never really worked, Crossroads.

What, says the producer?

Coronation Street, it's about the working class.

Emmerdale Farm, is about...

..a farm.

But Crossroads...

it's about a motel.

We don't have motels.

People don't know what a motel is. They think it's a typo.

The whole thing is based on a mistake.

But we couldn't stop.

The one thing that machine can never do is stop.

So on we went.

Episode after episode after episode.

God alive, no wonder we fight.

And I suggest the fight goes on.

Come back, Nolly.

Ha! No, I mean it.

That's why I wanted to see you today.

I miss you. I want you to come back.

Let me make this perfectly clear.

I will never, ever work with you again.

I thought, "Venice."

Meg in Venice.

Adam and Jill get married, they go on honeymoon to Venice.

And I thought, "What could be better

"if Adam arranged a little surprise?"

They walk into a restaurant in Venice...

and there is her mother.

Meg.

In all her glory.

In Venice.

Real Venice?

Or Venice in studio?

Real Venice.

MUSIC: 'Funiculi funicula' by Luigi Denza

♪ Aissera, Nannine Me ne sagliette tu saie addo?

♪ Tu saie addo?

♪ Addo

♪ 'Stu core 'ngrato cchiu dispietto Farme nun po!

♪ Farme nun po!

♪ Addo lo fuoco coce Ma si fuie te lassa sta!

♪ Te lassa sta!

♪ E nun te corre appriesso Nun te struie sulo a guarda

♪ Sulo a guarda

♪ Jamme, jamme 'ncoppa!

♪ Jamme ja funiculi, funicula!

♪ Jamme, jamme 'ncoppa Jamme ja... ♪

SHE CRIES OUT IN PAIN

DIALOGUE IS MUTED

TONY LAUGHS

It's all rather splendid. Thanks to you.

I normally travel in steerage, sitting on a box of chickens.

This is nothing new, darling.

In 1967, Crossroads went to Tunisia.

The motel was blown up by a newly-discovered World War II bomb.

So, while we were being rebuilt, we all went to Tunisia.

As one does.

This programme can be a little bit mad at times.

Oh, it's bloody nuts!

TONY LAUGHS

Good morning, Nolly. Morning, Jim.

Hello, Sanjay. Hello, Miss Gordon.

Good morning, Michael.

And how's the family? They're great, Nolly...

How's Emily? Give her my love. Will do.

Hello, Tim.

JACK: Good morning, Miss Gordon!

So, everyone!

Scene 15.

I think Adam and Jill arrive in the doorway, and they stand there.

Adam says he's booked a special table.

But, damn it, there's somebody sitting there!

And that's you, Nolly.

You're over here.

You'll be in this chair, if that works for you.

Mm-hm. Thanks.

With your back to the camera.

Oh, nice angle, Bob, with the fountain in foreground.

So, Adam says, "I'll have a word with whoever she is."

He crosses the floor.

OK, Tony? OK, yeah.

And I stay by the fountain? Yes, that's right.

You stay over there, just watching.

So, Tony, come to the table. You talk to the woman.

You stand here. OK.

There's no actual dialogue? No, no, it's silent.

Because we're seeing it from Jill's point of view.

We don't need to cover this, Jim.

Just say, "Excuse me," or something.

Because Adam's pretending.

Say, er, "Excuse me, the table is booked for that lady over there."

And you can indicate Jane.

And then, Nolly, you turn.

You simply turn around.

And that's it, the return of Meg Mortimer.

You turn around, you look at your daughter...

..and the entire nation...

gasps.

So...

Tony says, "That lady over there?"

Or you can do it with a gesture. I can do it with a gesture.

Is that OK? What do you think, Nolly?

Does that work for you? Is that all right?

We can move it. We, could, er...

We could choose a different table.

Or we could shoot from another angle, but...

What do you think?

I think...

..it's fine.

Right.

Good.

OK, if we can set that up, please!

Now, if you're feeling tired... No, don't fuss.

No, if you're feeling tired, just say.

No-one's going to suspect anything. They'll just think it's the heat.

You worry too much.

Always.

It's a very happy shoot, though, isn't it?

All that silly nonsense.

Will we ever know why you were sacked?

Oh, I know why.

Really? Mm.

I can tell you the reason. Which is...?

It was a story.

That's all.

I was just a good story.

And every story ends.

We are taking you to that specialist.

Everything is going to be fine. The past few days...

..I can't help looking back. Don't talk like that.

No, but I was thinking.

About Val.

And all those men. You've had a few, darling.

Mm.

Clive the soldier.

I was only 18.

He proposed to me in the cellar of the Adelphi Hotel

in the middle of an air raid.

Then he jilted me.

Because I was an actress.

Then there was the stockbroker who wanted me.

But only if I gave everything up.

So I said, "No."

And then that agent.

Ben.

Do you know, I can't even remember his surname.

So many years ago.

It's been a very...

long life.

But the funny thing is, out of all of them...

..I love...

..you.

Oh, Miss Gordon!

JACK: Tony! Opening positions, please!

Get on with it.

Oh, yes, it's lovely.

Excellent.

Everyone, I think we'll record this one.

Final checks, please!

Everyone set?

Guys, good?

And...

action!

You're absolutely beautiful.

They said I might be too frivolous. Bah!

TELEPHONE RINGS

Crossroads Motel, can I help you?

Are you trying to poison me?

CHEERING AND APPLAUSE

Mwah!

Smile, you miserable bastard.

Is this some sort of soap opera?

Because I only watch TV for the news and the wildlife.

Well, then, you're a fucking idiot.

Thank you.

Now, there are a number of approaches we can take.

Although it's got to be said,

I consider this to be urgent, Miss Gordon.

We try not to give an exact prognosis in cases like this.

But still...

I'd say we're talking about a small number of years, at best.

APPLAUSE

APPLAUSE CONTINUES

Oh! Nolly, are you all right?

And cut!

Check it.

Was that all right? It was lovely.

Did it work? JACK: Good for sound?

Yeah, I think so.

Everyone!

I think I can say, on behalf of us all...

..welcome back, Miss Noele Gordon.

CHEERING

Bravo!

Bravo!

Bravo!

Bravo!

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