TONY: I'll see you inside, Miss Gordon.
If you could just sign this, Nolly. Absolutely.
Who are you? I'm Poppy. I'm playing Honour.
Poppy, we did specify a Birmingham accent.
You might have. I did not.
Ready to record! Places, please, everyone!
Leave it to Nolly. Action in three...
Ah, Michael. Charles.
All good things must come to an end.
CHARLES: Meg is going to die.
Then it's true? Yes.
I've been sacked? Yes.
JANE: Sack Mother?! Why would anyone do that?!
Take centre stage, beat those bloody men!
JACK: But you're not dying. This is Meg we're talking about.
Is it?
SHE SCREAMS
Good afternoon. Oh!
Good afternoon, sir.
I'm really very sorry if I've kept you waiting.
Oh, not at all.
I can imagine you're rather busy. Mm.
And I must apologise.
It's all a bit ad hoc, but we had to seize the opportunity.
Well, I wish I could've given you more time, but...
London beckons.
Now, I am told they call you the Queen of the Midlands.
I think that might be treason. HE CHUCKLES
But it is worth pointing out, this is a moment in history.
It's the very first time a woman has interviewed the Prime Minister.
I'd wager, there were men who tried to stop that happening.
Oh, yes.
Tory Central Office weren't too pleased.
But you defeated them.
I did.
Well done.
Good evening, I'm Noele Gordon,
and it's my honour to be here in St Andrew's Stadium
with the Prime Minister, Harold Macmillan.
I'll never be a majority shareholder in Crossroads again.
Soon, I'll have nothing left.
And what will I do then?
THEME TUNE PLAYS
KEITH: And hold it.
Wait for the clear. Everyone, stay in positions.
Thank you.
TONY: Oh, here they come, next week's scripts.
HE CLEAR HIS THROAT Any more rumours?
I've heard a fire. Billy from Props says the motel burns down.
JANE: But who's inside it? All of us?
TONY: When I was here in the 1960s,
I played an estate agent, Mr Perkins.
And every Friday, they'd give out the scripts, just like today.
And then, one Friday, there was no envelope,
and I said, "Where's my scripts?"
They said, "You haven't got any."
And that's how I knew I'd been sacked.
Try getting pregnant. You disappear even faster.
KEITH: And that's a clear!
NOLLY: What does it say? JANE: Does it tell us?
TONY: What happens? What happens?
It doesn't say.
SUSAN: There's got to be clues.
You've only got two weeks left, Nolly.
How the hell are they writing you out?
All it says is that I'm making my will...
..and leaving everything to you.
Well, maybe I murder you.
IRIS: Well, if it's a murder with lots of blood,
Make-up will need ten days' warning. Plus multiple wigs.
I've asked the writers what's going to happen.
I've asked and asked.
Oh, come on, Ivor, you can tell me.
Do I die? Is it murder?
Suicide? Oh...
Heart attack?
Do I find a man? I mean, do I get married?
Oh...! Do I live happily ever after?
Peter, it is not fair. I demand you tell me what happens!
NOLLY: Nothing.
Not one word.
And guess whose fault it turns out to be?
I'm sorry, but it's your own fault. You went to the papers.
You crossed the line.
You told them things that were strictly confidential.
But tell me, do I live or do I die?
This is my problem.
Meg's exit has turned out to be a miracle.
The show's never been so popular!
We're everywhere. The whole country is talking about us.
So I can't say anything to anyone.
But you have a duty, towards me. Maybe.
Back in the old days, yes. But do you know what happened?
A shot rang out. A bullet that changed the world.
That gunshot in the office in Dallas, JR Ewing hit the floor,
and television will never be the same again.
Now, here's our chance...
to be as big as that.
To be bigger than "who shot JR?"
And I'm not gonna spoil that... for anyone.
Now... where were we?
Excuse me.
The press can speculate all they like.
But I am cleverer than them.
We have one script with one ending,
and I have that locked away where... no-one can see it.
I wish I could, I can't crack open a safe.
I'm not Raffles!
So what the hell do we do?
The thing is, you're all looking at the wrong story.
You should look at me, look at Benny, right here on the farm.
Observe, green, scene two.
I'm being all friendly with a newcomer by the name of Sam Hurst.
Yellow, scene six, eight and ten.
Sam paints a mural on the wall over there,
but what's that got to do with Meg? Pink, scene ten.
In comes Meg. She looks at the painting.
And here's the interesting bit.
She recognises the artist. Where? Where, where?
Turns out, he's changed his name...
because he's got a mysterious past.
Oh...
He's hiding a secret. Well, like a murderer.
Oh, my God...!
Who's playing Sam Hurst...?
Brian Badcoe.
So, these are the sets, you'll get used to it.
You must be Brian Badcoe. Yes.
I am delighted to meet you.
I'm Noele Gordon. But you can call me Nolly.
Nolly, thank you very much.
In here? Absolutely. Welcome to Crossroads.
So, what did they say in the audition? Sam Hurst, who is he?
Well, they said he's escaping his past,
er, because his wife and children died...
in a fire.
A fire? Oh, my God!
Are you an arsonist?
I don't know. Am I?
Do you kill me?
Do I? What for?
Think about it.
Brian's final episode, guess when it transmits.
Bonfire Night. GASPS
DOORBELL RINGS
It turns out this Bonfire Night thing might be true.
Cos guess where I've been today. Filming.
On location.
On my own. On a Sunday?
Mm. They booked me last night.
Out of the blue. Sent a car at 6am.
And then, on the spot, gave me a script on white paper.
But we don't have white scripts. Oh, we do now.
I'm sorry, Mother.
I've been filming your funeral.
JANE: So, er, Make-up were there.
And Stephanie from Wardrobe.
I had this full costume, all in black.
It was rather nice.
And I said, "What's going on?"
And they all said, "No idea."
And it wasn't a real cemetery,
they'd got these old headstones out of Props.
And there it was...
..your coffin.
Do you have any idea what we're supposed to be doing?
I'm not paid to speak.
I did an episode of Rentaghost last year,
got paid £5 for burping.
RODNEY: Thanks, then, Jane.
Checks are good, if we could go for a take.
But what am I actually doing? What it says in the script.
JANE: "Jill stands at the grave and cries."
So that's what I did. For 20 minutes.
20 minutes? That was because of the helicopter.
LOUD WHIRRING OVERHEAD Shall we wait for it to pass?
RODNEY: I don't think it's going anywhere.
It's come here for you.
Is that the press?
Are they taking photos?
It's nothing to do with me, I'm just doing what I'm told.
And action!
So that's what I did.
I stood there and cried.
HELICOPTER WHIRS LOUDLY
SHE STARTS TO SOB
WHIRRING CONTINUES
And it was definitely my coffin? Yes.
Well... Meg's.
HELICOPTER WHIRS LOUDLY
TONY: Maybe it's fake. Cos I told you, Maggie,
they said they're shooting multiple endings.
What was the date of birth?
1919.
Bastards!
KEITH: Ready to record.
Places, please, fast as we can. A little bit of hush.
Scripts for next week.
There you go. And...
Can we have quiet over there, please?
Oh, fuck off!
LAUGHTER
KEITH: 30 seconds.
I can't work out if you're dead or not.
"Meg falls asleep in the chair, camera goes to a bottle of pills."
I mean, that's suicide, isn't it?
Yeah, but then page 18,
"Meg stands in the doorway, as if saying goodbye."
And then the motel burns down.
We're all outside at the bonfire, thank God.
Sorry, Nolly, but we are.
And then Meg goes missing.
So which one is it? What happens?
TONY: You see, they could use any one of those scenes.
They actually went and did it. Multiple endings.
Well, when do we find out? TONY: Next week, I suppose.
One more week.
BRIAN: Well, at least it gets started by a firework. Not by me.
And I get a nice little moment.
I go running back inside to save Meg.
Look, page 21.
"I'm not afraid of fire any more, Benny."
And... And then you burn to death.
Well, yes.
Meg's bedroom collapses on top of you. Yes.
So, it made sense,
you being afraid of fire in the first place, didn't it?
Yes.
But it's going to be rubbish, isn't it? It's just gonna be shit.
We've done fires, and what do they look like?
HE COUGHS AND GROANS
SCOTTISH ACCENT: No! No, you save yourself, Miss Diane!
Don't worry about me! I've had my time!
NOLLY: It's just a tuppenny-ha'penny flame bar
put in front of the camera.
If they're killing me off, then that's my death.
Cheap and tacky and...
pathetic!
Have you seen? Have you been in the studio?
I was there all day.
They've sent this great big, team in tonight.
All done in 40 minutes flat.
Come and see, Nolly, it's gone. It's all gone.
IRIS: I couldn't believe what I was seeing.
It's not the Crossroads Motel without Reception, is it?
That set has been standing there for 18 years.
One of the men was from Special Effects,
he says they're gonna take it all to an airfield,
rebuild it on the tarmac, and then they're gonna burn it.
They're gonna burn the whole thing down to the ground.
All these years, they've never spent any money on this show.
And now they're gonna spend a fortune just to get rid of you.
I just wonder what...?
What did I do?
Why do they hate me so much?
DOORBELL RINGS
Yes, hello?
MAN: 'Package for Miss Gordon from ATV.'
Right, yes, coming down.
Thank you.
What...?
SHE STARTS TO SOB
SOBBING CONTINUES
SHE CONTINUES TO SOB
Nolly?!
Good evening. I phoned ahead. We've saved you a seat, Miss Gordon.
If you'd like to follow me, this way.
Thank you
LARRY GRAYSON: I got up this morning,
I pulled myself off the bed. LAUGHTER
I had my breakfast.
Complan and a lightly-boiled egg.
And then my friend Everard came round to oil the knocker.
LAUGHTER
In he walked, full of trouble. I got him a cup of beef tea.
I said, "You need some meat inside you."
LAUGHTER
He said, "Shall we have a game of chess?"
I said, "I'll not sit here and wait for you to lift your bishop."
LAUGHTER Ooh, my hair wants washing.
Anyway, there's a knock at the door. I said, "Friend or foe?"
Answer came there none. So I opened the door,
there's Slack Alice sweating like a bull.
LAUGHTER Trouser suit too tight.
She looked like she'd been lagged for t'winter.
LAUGHTER
I'd like to complain. My room was dreadful.
I got up, I fell over Amy Turtle's bucket.
I heard this scratching, I thought there were rats in the wall.
It turned out to be a couple of ferrets.
CHEERING
I do love you, Noele.
I keep asking him to marry me.
But he won't.
Oh, all right, then.
I will! Make an honest man of me.
I accept!
LAUGHTER AND APPLAUSE
Shall we name the date, everyone?
LAUGHTER
So the doctor said, "Everything's in perfect working order."
I said, "Oh, good. Noele Gordon will be pleased."
LAUGHTER
KNOCK ON THE DOOR
VIP guest for you, Mr Grayson.
Make way. Here she comes, the Queen of Sheba.
Oh, darling!
You were absolutely wonderful.
Nice little crowd, I thought. Now, you let me get changed.
Bruce, you're not in a hurry to lock up, are you?
No, we'll be a while, don't worry.
Erm, it's nice to meet you, Miss Gordon,
My mother loves you. She says you're the best-dressed woman on TV.
Well, tell her thank you very much.
She said it's terrible what they're doing to you.
And I agree.
Thank you.
Off you go, now, this is private.
Oh, and Bruce...
Shut that door.
Seems like a nice boy. He's got a boyfriend called Rudy.
I called him Trudy, but it didn't catch on.
No-one's doing that any more.
Now, I'd take you to dinner, but I'd better get home to Fan.
She'll only sit up waiting.
How is she? She's fine. She's very well.
She's limping.
You pour the drinks, I'll get changed.
They sit there hand in hand, Bruce and Trudy.
In front of anyone.
It's a new world, Nolly.
Well, good for them.
I still find it strange.
He's right, though, it's terrible, you.
They have treated you appallingly.
Have you found out what happens? Are they killing you off?
Are you wearing a girdle? How dare you?!
You cheeky thing! Well...
we all need help these days.
Oh... Do you remember that advert?
"My girdle is killing me."
Oh, I loved that.
Anyway, yes.
They have told me.
I just got the final script.
And? What happens?
I live. You do?
Mm-hm.
I survive. Well, that's good news!
I sail off on the QE2.
You do what?
I sail off on the QE2.
You sail off on the QE2?
I do. What for?
A new life.
Hold on.
It's all some sort of flimflam. Mm.
Meg is tired of the motel.
Erm, it's all rather silly, really.
She leaves a note for Jill.
But the motel burns down, so no-one sees the note.
Then she telephones and Jill rushes off to see her.
On the actual QE2.
The real thing.
There's a call sheet for Southampton.
We're driving down on Monday.
Could be rather impressive. For once.
You sail off... on the QE2?
I know.
That is so wonderful. It's... ridiculous!
THEY BOTH LAUGH
Oh, I couldn't be happier! Oh, Nolly!
You're alive! I am!
Hurrah!
THEY BOTH LAUGH
I can't help thinking, don't get cross...
but if he was still alive, he'd have helped,
he'd have come charging to your rescue.
That's very romantic.
But I don't think he ever followed Crossroads.
I'm sticking to my version.
I think he loved you right to the end.
Despite the evidence.
Do you miss him?
Life goes on.
Well, bright things ahead, darling.
Brightness and joy. You've been set free.
You're gonna be a bigger star than ever.
Oh, I don't think so. They'll be clamouring for you.
Brideshead Revisited, you could do that,
you could be a lady in a country house.
I can see it now.
You'll be on the BBC. No, I really don't think so.
You'll have your own show. No, I won't.
You can have anything you want. No, I won't, Larry.
Because I've tried and tried and tried.
And they won't have me.
The BBC. Granada.
Everyone. I've knocked on every, single door.
I'm just an old soap star...
who's been sacked.
You're far more than that. I know exactly who I am.
I'm just a middling actress in a middling show.
And that is fine.
I could have carried on for a hundred years.
But...
they took it all away.
I'm chucking it in.
What, The Generation Game? Yeah.
You are not!
It's done. I'm out.
But it's the most successful show on television.
Not any more.
We got beaten in the ratings by Game For A Laugh.
I wouldn't mind, but it's hosted by that man Jeremy Beadle.
He's only got half a hand.
I've been beaten by a man with half a hand.
It's time to say... goodbye.
Oh, my goodness.
Well, it's all got a bit coarse, hasn't it, TV?
A bit loud.
Well, what will you do?
I'll go back to Nuneaton with Fan.
She's looked after me all my life. Now I can look after her.
Ah, I give it five minutes, you'll be snapped up.
Like you?
That's us, darling, two old dinosaurs bellowing at the night,
while the boys sit hand in hand.
I still get cards congratulating us on our engagement.
I get it every day. People on the street say,
"When's the happy day?"
They think it's really true.
What do they see... when they look at me?
What do they actually see?
I'm not...
I don't know...
what I'll do.
Because you can go home and live with your sister.
That's what you've always done.
But, er...
..I wasted all those years.
I kept my life empty.
And waiting.
I was waiting for him.
But now...
..I stop filming...
..I've got nothing.
That...
is my life outside the show.
Nothing.
Oh, darling.
What am I going to do?
SHIP'S HORN BLARES
Come on, Mother.
Is there any word from Southampton? God knows.
They're on a tight schedule.
Got to shoot everything before the boat sails.
Ship. It's called a ship.
My mother once owned a fishing trawler,
and she always said...
Actually, can you move it to here? Thank you.
I thought you'd be...
Never mention the Scottish Play. Never whistle backstage.
And never sit in Nolly's chair.
These things remain...
..inviolable. Mm.
PAUL: You'd think ATV would arrange something,
like goodbye drinks and a gold clock.
All they gave her...
was a fruit bowl.
She was so nice to me. Every single day.
Taught me everything.
Funny to think of her on the QE2.
Two stately royal barges!
SHE LAUGHS
SUSAN: She's all on her own.
Jane's with her. I know, but...
she's spent decades in this studio.
I mean, she knows everyone.
Not just us. I mean, the cleaners and the security guards,
the girls on reception. Everyone.
Knows all their birthdays.
But then her final day's in Southampton.
Miles away.
I asked. They said the last shot is her sailing away.
The camera's on land, she's on board,
and the QE2 can't turn back.
So she goes all the way to Cherbourg on her own.
And then she has to fly back, no-one with her.
It's wrong!
Yeah.
Rodney, love, I was thinking.
I'm only in scenes seven and nine with the greens.
All my big stuff's tomorrow.
Can we rehearse that first? I just need to slip off.
Erm, no, to be honest.
It's just something's cropped up. Yes, it's a ridiculous week.
I think we need to stick to the schedule.
OK.
Sorry. It's OK.
No.
It's not OK. It's absolutely not.
Sorry, look, scene seven, I'll stand there.
Scene nine, I'll stand here.
Put a chair in my place, nobody'll notice the difference
because it never sodding changes.
I do the same thing every day, every week, every year.
I've done it five thousand times.
Get a performing monkey, he'll be much better than me.
Now, I really have to go
cos I've got something much more important to do. Bye-bye!
Can I have your autograph? Sorry!
JACK: Right, that seems to work.
SHIP'S HORN BLARES
We're good to go. Everyone, thanks very much.
Nolly, are you happy?
Am I happy? Yes. Is everything OK?
Well, it depends.
You promised me the biggest suite on the QE2.
But you didn't promise me enough kit
to light the biggest suite on the QE2, did you?
So we end up shooting in a tiny, little corner.
It's a box. It's a crate.
It's only marginally better than a hammock in steerage.
If you look under the bed, you might find two refugee stowaways.
Let alone what happens to Meg when she gets to New York.
Has she got a visa?
Can she get a job? Can she live there?
Has anyone in the office actually sat down and thought this through?
So, if you ask me if I'm happy,
then the answer is no.
You're going to miss me, Jack.
I apologise.
I wish things were better.
Now, can we go?
Yes. OK. Ready?
Jane? Yes.
Nolly? Ready.
Break a leg. Thank you.
Checks, happy? Happy.
Turn over. Turning.
Sound speed. Stand by.
Scene 14. Farewell to Meg.
And...
..action.
Mum!
I thought you were... Darling.
Oh! What's wrong?
Mr Adams, sir. I've not seen you for a while.
No, I've been busy. You're in a hurry.
I'm meeting an old friend.
JACK: Right, so...
you've got this bit to yourself.
If anyone tries to say hello,
we've got the crew to keep an eye on you.
I will need you to stand here. Does that work?
Whatever you say. We'll be down there.
And as soon as the ship moves off, I will give a cue to Jane.
When she starts waving, you wave back.
I will cue the brass band.
We'll keep recording for as long as we can,
just keep waving all the way into the distance.
What are they playing? Er... Oh, Life On The Ocean Wave.
A bit celebratory. Glad to see me go?
OK, I suppose this is it. We'll say goodbye.
Final checks, Iris?
You don't need me, you never did. You look lovely.
Thank you for everything. I love you, Nolly.
Careful. I won't spoil it.
Liz.
Oh!
We had such good times.
We did. We really did.
Bad times, too. Yeah.
1973, do you remember?
My parents died in a car crash.
They were on their way to see me, and they died.
And...
I had to go back to work on Crossroads,
and the cast were so nice to me.
You were all so nice.
And on the day I got married, Nolly offered me her Rolls-Royce.
And she drove me.
I had no-one to give me away.
Nolly drove me to my wedding.
I know.
Well, make sure they know upstairs.
Because it shouldn't be forgotten...
..we worked with an absolute star.
Thank you.
Jack.
Thank you.
Right, if we could make tracks?
You'll take your cue off Jane. I know how it works.
Off we go, then.
SHIP'S HORN BLARES And cue Jane.
Cue the brass band!
BAND PLAYS: 'Life On The Ocean Wave'
JACK: No, we need a bit more.
SCREAMS: Give it a bit more!
Give it a bit more, Jane!
I am.
It's not really working.
Well, what am I supposed to do?
Give it... Just give it more oomph!
SCREAMS: Oomph!
So stupid.
TONY: Nolly!
Nolly!
SHIP'S HORN BLARES
Nolly!
SHE LAUGHS
SHIP'S HORN BLARES
You idiot!
That's it.
Over here!
Yes!
And cut!
MUSIC PLAYS ON THE TELEVISION
MUSIC STOPS
MAN: After the News at 5:45, we'll have all the headlines
from ATV Today at 6 o'clock.
At 6:25, there's another edition of Help.
And at 6:35, it's the one you've all been waiting for.
Did Meg survive the fire?
Find out the truth on tonight's Crossroads.
MUSIC PLAYS ON THE TELEVISION
Hm.
SHE HUMS SOFTLY
Now? Now!
Ah, I wanted to watch it go out.
I don't trust those bastards. They might change the ending.
Let them. I don't care.
I thought you wanted me to drive.
We're going shopping the old way.
Like we used to.
HE LAUGHS
Oh, my God!
We're gonna have to run. I'll get it. I'll get it.
Stop!
After you, Miss Gordon.
Hello. Good evening.
Good evening. Evening.
Hello. Good evening.
Hello.
Good evening. Good evening.
Hello.
Hello. Good evening.
Next stop, the Crossroads Motel! BELL DINGS
LAUGHTER
It's you, isn't it? Yes, I'm afraid it is.
I thought you'd be at home tonight watching TV.
Why? Is there something on?
LAUGHTER
Isn't it lovely about Princess Diana?
Oh, it's wonderful. A bonny little baby to cheer us all up.
Oh, but I can't wait, though. What happens to Meg?
Is she alive? Oh, can't you tell us, please?
Now, don't be naughty. You'll just have to watch.
I will. I rush home every night,
I get in at bang on 06:30, just in time.
A cup of tea and Crossroads, that's my treat.
I've got a VHS machine.
I bought a brand-new tape so I won't miss a second, Nolly.
Well, I hope you enjoy it.
Oh, I'm only watching for him!
Oh, steady on, girls! Is he spoken for, Nolly?
Er, well, he's spoken about. LAUGHTER
I'd take my teeth out for him!
LAUGHTER
I feel a bit left out over here.
I never watch Coronation Street. It's Crossroads.
I don't know who you are.
Yes, and why should you?
I hope you don't mind my saying, Miss Gordon,
but I've read everything in the papers and I still don't understand.
Why did they get rid of you?
Yeah, why? They must be mad!
We've been watching you in our house ever since I was a kid.
Nolly, you put this city on the map.
So, why did they do it?
Well, I don't know. I wish I knew.
They must have given you a reason. I don't know.
I mean, I'm sober, I'm clean.
I'm quiet-living and I learn my lines.
And then, suddenly, they...
Oh, it's disgraceful, Nolly. Shame on them.
But who did it? Who was it?
Who did it to you? Well, who do you think it was?
Who is it always? Men!
Oh... No surprises there!
I knew it!
Isn't it, though?
Upstairs in their suits.
And their pipes. And their looks.
The looks they give you, girls, that roll of the eyes
every time you say something.
I'm rather worried about Jim.
That is Mrs Dale's Diary!
They're all the same. No, they're not!
All right, love, I don't know what you're getting so worked up about.
It's just a programme. Excuse me?
It's a programme I've been watching for 20 years.
Yeah, it means an awful lot to me.
My mother loves it. My sister loves it.
Both my daughters love it. Well, that says it all, doesn't it?
It's for women.
And what does that mean? OK, let's...
No, no, no, what does that mean?
Well, no offence, love.
But... it's a load of old rubbish, isn't it?
I mean, it's just silly.
Oh, is it? Is that how it works?
Cos women, we sit there with our soap operas...
and we're all just a bit ridiculous, aren't we?
Aren't we stupid? Aren't we soft?
While men have the pub,
and football, and beer.
Oh, and those are important things, aren't they?
They're serious, they're valid, they are worthwhile.
So men can sit back and spread their legs
and look at the things that we love with contempt.
With a curl of the lip. With a sneer.
Well, let me tell you...
..we feel contempt.
We can sneer.
We curl our lips in disgust.
And do you know when that is?
When you walk into the bedroom and drop your trousers
and stand there in saggy, yellowing underpants!
LAUGHTER
Isn't that right, girls? ALL: Yes!
And then it gets worse. Then you take them off.
HOWLS OF LAUGHTER
No charge, Nolly. No charge.
Thank you.
BELL DINGS
Don't forget to watch!
Bye!
Well, that was fun. Oh, much fun.
They've got a story for the grandchildren. Yes.
Where do you fancy shopping, Rackhams?
Oh, no, sod that. I want steak.
And I want red wine. And I want Black Forest gateau.
And you can let me pay for once. Good God!
Just the once. No starter.
But I would like to congratulate you, Miss Gordon.
You were absolutely magnificent for 18 years.
Well, I tried.
No, you were wonderful.
I still can't work it out, darling. Why did they get rid of you?
I'm going to have to sell your flat.
And the Rolls is going to have to go back.
That's all right. We'll blunder on.
God, we'll miss you.
No, you won't. And that's an order.
You will go in to work and carry on like you always have.
TONY: I think so.
NOLLY: And, you, be careful.
Because it's a machine, that programme.
Mm. And the machine...
is ruthless.
Next week's scripts.
KEITH: Positions, please. Keep it quiet.
Let's have less of the chat.
We are on green, scene 40A, picking up from the top.
Thank you.
Where's mine? Sorry, nothing for you.
In five, four...
MAN: And I speak the truth. I don't mean to upset you, Miss Diane.
But that man was telling a lie.
TONY: And what about you?
NOLLY: Oh, time to fade away, I think.
Like...
nice, little cottage. Roses over the door.
Kettle on the hob.
Really?
Oh, fuck off, dear. I'm only just getting started.
Do you think I'd let those bastards stop me? I've got plans.
What am I going to do?
Come with me. Come on.
Up. Don't sit there grizzling.
Come and see.
Bruce, could we have some lights on? Yeah, sure.
Len!
Can we get some lights on, please?
Oh, I don't think so. Hush!
There, now.
This is where you started. And this is where you belong.
Larry, I am exhausted.
Nonsense.
I am 61 years old.
Perfect age. Says the man who's retiring.
I was born middle-aged.
And you were born for this.
Who was the first Meg you ever played?
Meg Brockie in Brigadoon. The village tart.
How many performances?
One thousand.
You auditioned in front of Frederick Loewe himself.
And what did he say?
He said, "Marry me."
Because he thought you were so wonderful.
He could see it.
I can see it right now.
What about you, Nolly?
Do you think you can do it, start all over again...
..and show them?
All those men.
Everyone who ever doubted you.
What do you think?
Oh, watch me.
Subtitles by accessibility@itv.com