♪ ♪ Gentlemen, I have been sacked.

♪ ♪ LINDA: Why did they get rid of you?

I don't know.

JACK: Scene 14.

"Farewell to Meg."

NOLLY: Do you think I'd let them stop me?

I've got plans.

Nolly!

SUSAN: It's Noele Gordon leaving behind her tatty old soap and becoming the star she always was.

LARRY: Do you think you can do it?

Show everyone who ever doubted you?

Watch me.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ TARBUCK: He's got no magic powers, he just can't get out the bath.

(audience laughing and applauding) And the winner is...

It's no surprise, I give you, ladies and gentlemen, Miss Noele Gordon!

(audience cheering and applauding) (music playing) (music and applause continue) 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, 'cause she keeps winning Best Actress every year.

(audience laughs) You're a very naughty man, Jimmy.

I'm sure that's not true.

(chuckles) But, um, still...

If I'm stepping aside, then maybe one of my dear friends from the cast of "Coronation Street" might win.

AUDIENCE: Ooh... At last.

If they're lucky.

"Coronation Street," everyone.

(audience laughs and applauds, Nolly chuckles) (audience cheers and applauds) ♪ ♪ ♪ ♪ (siren blaring in distance) Morning, Nolls-- all right, love?

Fine, yes.

Good morning, everyone.

(dog barking in distance) Three, and then, one, two, three, the floor.

One, two, three, and then, and one, two... (Nolly grunts) And breathe.

(exhales) CHOREOGRAPHER: One, two...

Onto the floor.

And legs, and over, one, two, three, four.

And one, two...

FITNESS INSTRUCTOR (on TV): Seven, eight, take it up.

(Nolly grunting and panting) And one, and two, three, and four, keep it slow for two, three, four, five, and six.

(exhales) For 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, uh, it's lavish.

The sets are astonishing.

How big's the orchestra?

14.

Wow.

In Leicester.

Top-notch.

Mmm.

And the company is very sweet.

Hm.

I'm 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.

(chuckles) Do you ever... Do you still watch?

No.

Far too busy.

Mm.

("Crossroads" theme playing on TV) 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 theater?

The Adelphi.

Ooh!

But the point is, if we don't transfer, I'll have failed.

Not the show, me.

Oh, I don't think that's fair.

That's what people are waiting for.

The story writes itself.

TV star, sacked, goes on stage... (clicks tongue): Dies.

They're in for a surprise, then.

'Cause 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?

Ooh, and here it comes again.

WOMAN: I'm sorry, I hope I'm not interrupting your meal, but my mother's such a fan.

(chuckling) Do you think, could I have your autograph?

Of course, darling.

(softly): Any second now.

And what's your mother's name?

WOMAN: Alice.

To Alice.

(softly): Three, two, one...

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

(quickly): 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?

(laughing) TONY (voiceover): I mean, if it's any consolation, people often think I'm a lesbian, too.

(laughs) It's my walk.

I like a heavy boot.

Yes, madam.

Yes.

Um, do you see the lady in the blue dress?

I'll pay her bill, thank you.

Sure, madam.

Oh.

Not the wine.

No problem.

NOLLY: 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.

I mean, they've all seen "Cats."

Mmm.

Roger keeps on saying... Nolly, you come in from there and the entire audience will be amazed.

NOLLY: 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.

♪ ♪ Sing out, Louise, sing out!

Bigger.

(more loudly): Sing out, Louise, sing out!

Even bigger.

(calling, in deeper voice): 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 theater to see Miss Noele Gordon bring the house down.

It sounds rather marvelous.

No, no, no, but don't you see?

I can't-- I don't think I can do it.

The place will erupt.

Will you 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.

(people talking in background) Okay.

Sorry.

(music playing softly in background) Well.

(sighs) Mmm... 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.

Mmm, and I shouldn't smoke.

I can't do it, Tony.

(softly): I can't.

You can see it in their faces.

"That woman, off TV."

(voiceover): ♪ Well, someone tell me, when is it my turn?

♪ ♪ Don't I get a dream for myself?

♪ ♪ Starting now ♪ ♪ It's gonna be my turn ♪ ♪ Gangway, world ♪ ♪ Get off of my runway ♪ ♪ Starting now, I bat a thousand ♪ ♪ This time, boys, I'm takin' the bows and ♪ ♪ Everything's coming up Rose ♪ (piano continues) ♪ Everything's coming up roses ♪ ♪ Everything's coming up roses ♪ ♪ This time for me ♪ And it's huge, the Haymarket.

It's huge.

1,000 seats.

Watching me fail.

Have you said any of this?

Hmm?

Have you tried talking to them?

(snorts softly): It's a long time since you've been in proper rehearsals.

All they do is talk.

FIONA: 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?

Mmm?

Yes.

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

NOLLY (voiceover): And then off we go.

Non-stop.

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

I thought, if men just see me as pretty, then okay, 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.

BECKY: I think it's sad.

For Rose.

She's missed her chance.

FIONA: 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 Mama 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?

♪ ♪ (inhales): Okay.

From the top.

If you want my opinion... (sets lighter down) I think you're a coward.

And a baby.

And a bore.

And yes, you're absolutely right, you've waded through (muted) 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 (muted) act!

(car door closes) (lock turns) (breathes deeply) ROGER (voiceover): 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, uh, jump to the end, so we could bring the whole of that last song much further downstage.

Right into the audience.

Right at them.

I suppose I just find that a bit exposing.

(chuckles) 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, uh... Did you know that I was the first woman in the world to appear on color television?

WOMAN: 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, that 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.

Well, I 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.

(gasps) Val Parnell.

Oh, really?

WOMAN: Is that a man?

Val?

Short for Valentine.

ROGER: Huge impresario.

Big, blonde giant.

He worked with everybody.

Judy Garland, Bob Hope, uh...

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.

WOMAN: Actually, my father had an affair for 12 years, and it destroyed my mother.

NOLLY: I know.

It completely destroyed her.

So...

I understand.

Good.

BECKY: Val Parnell set up ATV, didn't he?

Yes.

So he set up "Crossroads" for you.

NOLLY: No.

It wasn't like that.

BECKY: Nolly!

(chuckling) He bought you.

ROGER: All right, Becky.

NOLLY: 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.

"I am 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.

(inhales): 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.

(others gasp) I never saw him again.

FIONA: Oh, my God.

He died in 1972.

That greedy old heart stopped beating.

Bloody hell.

NOLLY: And I can see you girls all thinking, "Ooh, I'd never let a man do that to me."

Well, I wouldn't.

It's a different world now.

NOLLY: No.

They're clever.

They're cleverer than you'll ever know.

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

You, 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 around 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.

'Cause that is going to get us to the West End.

I will sing your bloody song, downstage, right here, in front of 1,000 people.

♪ Everything's coming up Rose ♪ ♪ Everything's coming up roses ♪ ♪ Everything's coming up roses ♪ ♪ This time for me!

♪ (orchestra playing) ♪ For me ♪ (orchestra continues) ♪ For me ♪ ♪ For me!

♪ ♪ For me!

♪ ♪ For me!

♪ (orchestra continues) ♪ For ♪ ♪ Me!

♪ (holding note, audience cheers and applauds) (song ends, cheering continues) (applause and cheering continue) MICHAEL: I'm afraid it's not happening.

The West End.

I'm sorry, darling.

You were absolutely sensational.

Okay.

We tried.

But we can't.

(exhales) (door opens, people talking in background) Okay.

TONY (calling): Nolly?

Ah, I've got to rush, Nolly.

Thanks for the drinks.

Mm, that's a godawful white wine.

Last train's at 11:00.

You were absolutely mesmerizing, darling.

A star is born.

Well, she was born an awfully long time ago, but thank you.

Now run.

I'll come 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 3,000 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.

ACTOR: ...with the rest of the crap.

Vladimir and his virtuoso violin!

George, that's what's gonna kill vaudeville.

The end, kiddo-- the end, professor.

Sing out, Louise!

Sing out!

(audience applauding and cheering) (audience cheering and whistling) ♪ ♪ You're behind, honey.

You're behind-- catch up.

I have done 100,000 shows.

(door opens in distance) 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, um, dive in.

(gasps): Oh, let's get pissed.

Thank you, Michael-- see you in there.

There is a chance-- Derek Nimmo.

He runs those tours abroad, Far East.

Mmm, 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."

Going to Bahrain, Kuala Lumpur, Abu Dhabi.

Well, what are the theaters like?

Are they any good?

(stammering): Well, it's dinner theater.

Okay.

You think about it.

No, I'll do it.

God knows, everyone's 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.

(kiss) Merry... (kiss) ...Christmas.

Oh, and therefore, happy birthday.

(chuckles) (door closes in distance) ♪ ♪ ♪ ♪ ♪ ♪ (wind blowing, waves lapping) (dog barking in distance) ♪ ♪ (exhales softly) TONY (voiceover, on phone): I used those checks for gas and electricity.

And there's quite a few charity requests, but nothing urgent, although the RNLI would like to know about July 31.

NOLLY: Oh, say yes.

I always say yes to them.

I'll be back July 10.

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.

(chuckles) 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.

(laughs) ♪ ♪ (cheering and applauding) FIONA: You can fly a plane?

Oh, I'm fully qualified.

I learned 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.

(audience cheers and laughs) Is that a hard-boiled egg?

(egg shell cracks) (audience gasps) 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.

(speaking Thai, music stops) (people shouting, clamoring) And now, it appears, I've been in a police raid.

(laughs) ♪ ♪ Well, they said about my career, I couldn't get arrested.

But look at me now, Mother.

♪ ♪ (both laughing) (keys rattling) OFFICER: Miss Gordon, Miss Fullerton.

Come with me.

(phones ringing, people talking in background) HANSA: There you are.

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.

(speaking Thai) If I could just get you to sign on the line.

Mm-hmm.

On all five pages, thank you.

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

(chuckles) 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 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.

(people talking in background) ♪ ♪ (phone ringing in background) Good to see you.

You look wonderful.

Thank you.

(kissing) (bell dings in background) Excuse me.

Hello, yes, um... Coffee for me, with milk, thank you.

Nolly?

Nothing.

Are you sure?

Absolutely.

Is that just the one coffee, then?

Yes, thank you.

Okay.

Sorry, but I'm a very big fan.

Thank you.

I hope you don't mind me asking, but... Mm?

Why'd they get rid of you?

Mm!

Ask him.

(chuckles): Okay, one coffee.

(coughs, clears throat) 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 I...

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.

(handbag unsnaps) 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'm 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, uh... 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, 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?

(softly): 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?

(whispers): No, I... All right.

I would complain.

To Charles-- that's how it works, it goes upwards.

You'd complain to me, I'd 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, this brand-new boss who takes me at my word and does something about it.

I mean, a boss actually doing something?

(chuckles): My God.

And I couldn't backtrack.

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

Here we are.

♪ ♪ So it was an accident?

In a way, yes.

My life was destroyed by accident.

(groans) 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.

Whole thing is based on a mistake, but we couldn't stop.

The one thing that machine could 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.

Huh!

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.

♪ ♪ (humming) (blowing) (orchestra playing "Funiculì, Funiculà") (song continues) (man singing) (chorus repeats line) (soloist resumes) (chorus repeats line) (soloist resumes) (chorus repeats line) (soloist resumes) (Nolly exclaiming) (chorus resumes) (soloist singing refrain, Nolly singing along) (gasping, yelping) ♪ ♪ ♪ ♪ TONY (voiceover, laughing): It's all rather splendid, thanks to you.

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

NOLLY: This is nothing new, darling.

1967, "Crossroads" went to Tunisia.

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

So, while we're being rebuilt, we all went to Tunisia.

As one does.

This program can be a little bit mad at times.

Oh, it's bloody nuts.

(laughs) (bells tolling) ♪ ♪ 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... Uh-huh.

...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-hmm.

Thanks.

With your back to the camera.

Uh, nice angle, Bob.

With the fountain in foreground?

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

TONY: Mm-hmm.

JACK: He crosses the floor, okay, Tony?

Okay, yeah.

And I stay by the fountain?

JACK: Yes, that's right.

You stay over there, just watching.

So Tony, come to the table, you talk to the woman, you stand here.

TONY: Okay.

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, uh, "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... (softly): Gasps.

So Tony says, "That lady over there"?

Or he can do it with a gesture.

TONY: I can do it with a gesture.

Is that okay?

What do you think, Nolly?

Does that work for you?

Is that all right?

We can move it.

We, we could, uh, we could choose a different table, or we could shoot from another angle, but... What do you think?

(bell tolling in distance) I think it's fine.

JACK: Right.

Good.

Okay, if we could set that up, please.

(claps) (exhales) 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.

(Jack talking softly) It's a very happy shoot, though, isn't it?

Guys... (continues softly) 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.

Past few days, I can't help looking back.

(whispers): 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.

(whispers, voice trembling): Oh, Miss Gordon.

JACK: Tony, opening positions, please!

Get on with it.

(clears throat) JACK: Oh, yes, it's lovely.

Excellent.

Okay.

Everyone!

I think we'll record this one.

Final checks, please.

♪ ♪ Everyone set?

Guys?

Good?

And... Action!

♪ ♪ ♪ ♪ You're absolutely beautiful.

(Nolly laughs) They said I might be too frivolous.

(laughs): Frivolous!

♪ ♪ (phone ringing) Crossroads Motel, can I help you?

Are you trying to poison me?

(crowd cheers and applauds) (laughs, blows kiss) Smile, you miserable bastard.

(church bells ringing, cheering continues) Is this some sort of soap opera?

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

Well, then, you're a (muted) idiot.

♪ ♪ Thank you.

DOCTOR (voiceover): 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.

(audience applauding) (applause continues) (gasps) Nolly.

You all right?

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (crying) ♪ ♪ And cut.

Check it.

(people talking in background) Was that all right?

(whispering): It was lovely.

Did it work?

JACK: Good for sound?

Yeah, I think so.

Mm-hmm.

Everyone!

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

Welcome back, Miss Noele Gordon.

(cheering and clapping) JACK: Bravo!

(cheering and clapping) TONY: Bravo!

(cheering and clapping) ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ANNOUNCER: Visit our website for videos, newsletters, podcasts, and more.

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♪ ♪