1:21:02
then I don't have to move.
1:21:04
I can stay here
1:21:04
right until miss Crichton's exit.
1:21:06
to thunderous
applause, I've no doubt. hmm?
1:21:08
well, I'm--I'm quite
happy to try it.
1:21:13
go from the top.
1:21:17
how was your
interview with sir Philip?
1:21:22
oh!
1:21:23
it was like a scene out of dickens.
1:21:25
he had
the most dread--
1:21:27
you see? it's much better
with me here, isn't it?
1:21:30
well, yes, it is,
1:21:31
as long as you don't mind being
stuck down there for 10 minutes.
1:21:34
mind? why should I mind? I suggested it.
1:21:39
lower. lower.
1:21:43
that's right.
1:21:51
it was like a scene out of dickens.
1:21:54
he had the most dreadful cold.
1:21:56
so I said,
1:21:58
"should I come back another time?
1:22:00
and he said:
1:22:02
"no, no, no, no, no, no."
1:22:18
thank you,
1:22:19
and then give me all
the light you've got.
1:22:21
can't do comedy in the dark.
1:22:23
dolly, darling.
1:22:24
how's it all going?
1:22:25
splendid. how was--
how was France?
1:22:28
splendid. how's Julia?
1:22:29
splendid. and the new girl?
1:22:30
we're ready, Mr. Gosselyn.
thank you, Mr. turnbull.
1:22:33
dolly, have a seat.
1:22:34
thank you, uh, miss Lambert,
1:22:36
Mr. Dexter, miss Crichton on the stage.
1:22:39
hold the banging.
1:22:43
Michael.
1:22:46
I say, that's awfully plain, Julia.
1:22:48
precisely. but I want it for 2 reasons.
1:22:49
firstly, it's awfully
good for the quick change,
1:22:52
just hooks up the back.
1:22:53
second, I simply don't want in any way
1:22:55
to distract from miss Crichton.