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Get out of my pub! Some people never change. Shall we just go to the | :00:08. | :00:28. | |
chippy? Come on. Hello! Hello and welcome to Albert | :00:29. | :00:47. | |
Square for a very special EastEnders One Show with Alex Jones. And Matt | :00:48. | :00:50. | |
Baker. In 25 minutes, Dame Barbara Windsor will say a final farewell to | :00:51. | :00:54. | |
this place as Peggy Mitchell takes her last breath. We did get an | :00:55. | :01:02. | |
interview and we chatted all about her years on Albert Square. We will | :01:03. | :01:06. | |
be reliving some classic Peggy moments. Here we are outside Beale's | :01:07. | :01:10. | |
Plaice. I'm sure Ian Beale would agree she can be a feisty character. | :01:11. | :01:20. | |
Of all the nerve? That looked painful! We have lots of stars from | :01:21. | :01:26. | |
EastEnders here tonight. We have the launderette over here and look who | :01:27. | :01:33. | |
it is! It is June Brown, AKA Dot. Hello, Dot. Dot and Peggy had a fair | :01:34. | :01:39. | |
few fallings out. Look at this. Had you any idea what my fil has been | :01:40. | :01:44. | |
through in the last few months and never mind Paul Ronnie lying there | :01:45. | :01:48. | |
practically at death 's door. What have you got to say for yourself?! | :01:49. | :01:58. | |
Don't worry, she could not see it! Look who is outside the cafe. It is | :01:59. | :02:02. | |
Perry Fenwick. He will give us the scoop on what it is like to get all | :02:03. | :02:06. | |
the Mitchells back together again. It is so bizarre to be here. It is. | :02:07. | :02:14. | |
Get BTS macro in! And we have Lacey Turner outside the fruit and veg | :02:15. | :02:19. | |
stall which is now run by your fiance. Yes! This is what we can't | :02:20. | :02:26. | |
believe, these are actually real. You can actually eat it and it is | :02:27. | :02:29. | |
fresh. I can't believe I have just done that! Also Kellie Bright is | :02:30. | :02:36. | |
here. The current landlady. I have just eaten a real Apple, I cannot | :02:37. | :02:41. | |
believe it is real! You have this baseball bat because apparently | :02:42. | :02:45. | |
every landlady of the Queen Vic needs one? | :02:46. | :02:51. | |
Another very happy EastEnders moment. Have you eaten that pair? It | :02:52. | :03:02. | |
is not as good as the Apple. It has just gone down the wrong way | :03:03. | :03:06. | |
slightly but never mind. That is better! On this square somebody or | :03:07. | :03:12. | |
something reminds you of Peggy Mitchell. Do you remember that time | :03:13. | :03:17. | |
when... All right! Thank you, fair enough! The time when Peggy had a | :03:18. | :03:25. | |
water pistol and she was quite in everybody in Albert Square. Very | :03:26. | :03:30. | |
funny. Looking a bit sheepish at the end there. When we were invited to | :03:31. | :03:35. | |
the Mitchells' house for a cup of tea and to catch up with Dame | :03:36. | :03:38. | |
Barbara, we wanted to know everything but we started right at | :03:39. | :03:45. | |
the beginning. Hello, Dame Barbara, thank you for | :03:46. | :03:48. | |
agreeing for a chat with us. Let's take us back to 1994 to the very | :03:49. | :03:52. | |
beginning. You said this was a role which changed your life? It was | :03:53. | :03:58. | |
difficult. I wanted to play my age but every time I went up for a job | :03:59. | :04:08. | |
they always talked about the Carrie On films. They said why has nobody | :04:09. | :04:14. | |
had Barbara Windsor? She is so full of the East End and she looks like a | :04:15. | :04:19. | |
little matriarchal figure. How did you feel with that in mind, going | :04:20. | :04:26. | |
for the audition with Peggy? All I could think was please don't let | :04:27. | :04:30. | |
there be a Carry On the night before. I just went along and did my | :04:31. | :04:37. | |
best. There were three ladies there. One of them said, I liked your | :04:38. | :04:41. | |
vulnerability. I said, yes, I am very good at vulnerability. Such a | :04:42. | :04:47. | |
silly thing! I didn't know what the bloody word meant! | :04:48. | :04:54. | |
I can't take my eyes off you, can I? Like a kid you are. Yeah, yeah. Are | :04:55. | :05:01. | |
you telling the truth? Why would I lie about a thing like that? You | :05:02. | :05:07. | |
weren't in a fight or anything? I worry about you, that is all. | :05:08. | :05:12. | |
How much input did you have into how Peggy turned out and how she was | :05:13. | :05:17. | |
loved by the audience? She was just right for me. I knew this woman. | :05:18. | :05:28. | |
She's the kind of woman who can be very sweet and very nice, and very | :05:29. | :05:31. | |
tough. There was a lot of toughness in my mother. Everything had to be | :05:32. | :05:35. | |
done the right way. The softness with her sons was based on the Cray | :05:36. | :05:39. | |
boys. My mother would have hated that character. Why'd you say that | :05:40. | :05:51. | |
will stop she was a cockney snob. She had elocution lessons. Peggy has | :05:52. | :05:56. | |
been involved in some major storylines, obviously the breast | :05:57. | :06:01. | |
cancer and dealing with Phil's alcoholism. That was awful for me to | :06:02. | :06:09. | |
do, the storyline about aids because I have so many gay friends. | :06:10. | :06:14. | |
You don't get aids from sitting at home with your family. Syringes in | :06:15. | :06:18. | |
the playground, druggies in our pub. It is all part of the same thing. If | :06:19. | :06:24. | |
you swim in the sewer then you catch something and Mark has! You don't | :06:25. | :06:31. | |
know what you are talking about. That was not good. Someone gave me a | :06:32. | :06:37. | |
hard time in Blackpool. I never thought you were like that! I went | :06:38. | :06:44. | |
through a bad time with that. They gave it to someone else and they | :06:45. | :06:48. | |
refused to do it so they gave it to me. I did a lot of PAs in gay clubs | :06:49. | :06:59. | |
to get them on side. How did it feel the Thursday when he stepped behind | :07:00. | :07:07. | |
the bar? I loved it. I have got it! Looks like it, ma'am. | :07:08. | :07:12. | |
Nice one. My name is going above that door in the biggest gold | :07:13. | :07:17. | |
lettering I can find. I felt like I was Shirley Bassey | :07:18. | :07:24. | |
almost! I loved it. I took it very seriously. I felt proud, I felt like | :07:25. | :07:30. | |
I was in charge. And we will have more chat with Dame | :07:31. | :07:35. | |
Barbara later on. We had quite a few cups of tea. Look at us outside | :07:36. | :07:44. | |
Cindi's cafe. This is the sign that Barbara was talking about which went | :07:45. | :07:50. | |
above the pub. That will be worth a fortune. The prop store here is | :07:51. | :07:57. | |
incredible. You have seen a lot of matriarch 's on the square come and | :07:58. | :08:01. | |
go, Pam, Pauline and now Peggy. How does that make you feel and how do | :08:02. | :08:08. | |
you feel that Peggy decided to leave in the end? Don't forget Lou Beale | :08:09. | :08:15. | |
was the first. Yes, she was. I knew she wanted to leave. We were having | :08:16. | :08:19. | |
one of our chats which we often did because we were very | :08:20. | :08:34. | |
good friends. She said she was tired of coming into the square and not | :08:35. | :08:38. | |
having a base, nowhere to go. She did not belong anywhere because | :08:39. | :08:40. | |
Peggy was the pub. If she was not Inbee Park with a get out of my pub, | :08:41. | :08:44. | |
where else would she be? -- if she was not in the pub. I thought it was | :08:45. | :08:47. | |
good for her to have a very good storyline to go out on. Perry, where | :08:48. | :08:53. | |
you wear it -- were you expecting it? I was on a break at the time. If | :08:54. | :08:58. | |
you are not here, you do not hear it first hand. I was driving along and | :08:59. | :09:03. | |
I heard it on the radio. It was something like that or somebody text | :09:04. | :09:10. | |
did me and I was like, that is just something and then it panned out | :09:11. | :09:15. | |
that it was true. I did not see it coming at all. She has come back a | :09:16. | :09:20. | |
couple of times, hasn't she? When you have the scripts and there is a | :09:21. | :09:25. | |
big episode like this tonight coming up, do you have the entire script or | :09:26. | :09:29. | |
just the scenes that you are in so they can keep secret what happens | :09:30. | :09:36. | |
until the end? Not in this case. Sometimes they do if there is a big | :09:37. | :09:40. | |
reveal, sometimes scenes are censored like when we did the live | :09:41. | :09:46. | |
one. That is a bit unnerving, especially you are suspect for | :09:47. | :09:50. | |
something! You were involved in Peggy's trip around London? What was | :09:51. | :09:58. | |
the feeling like during those scenes? Was a celebratory? Did | :09:59. | :10:05. | |
Barbara turn up with cakes? It was terrifying for me, to be honest with | :10:06. | :10:12. | |
you! They gave me a 170 grand Rolls-Royce to drive around this | :10:13. | :10:20. | |
little square. I was like Parker with Dame Penelope in the back. What | :10:21. | :10:26. | |
if I pranged the motor with a game in the back? I could not wait to get | :10:27. | :10:32. | |
out of it! You are part of the Mitchell plan and we saw Grant | :10:33. | :10:38. | |
comeback at the end of last night's said which will be a big shock to | :10:39. | :10:46. | |
people. Didn't he looked like Phil? Yes, they look like brothers! It was | :10:47. | :10:57. | |
good to see him back. He is so good. -- she is so good in this. That is | :10:58. | :11:02. | |
what I am impressed with, her frailty. You can read everything in | :11:03. | :11:07. | |
her face, Herod soars to, the way she has two gather herself up. And | :11:08. | :11:18. | |
the relief when they have gone. I understand the storyline completely | :11:19. | :11:23. | |
that she does not want to go into this old, sad woman. What will | :11:24. | :11:29. | |
happen to her head? It might affect her personality and how she behaves. | :11:30. | :11:36. | |
And it is terminal. So, I know it is against my religion to say that, but | :11:37. | :11:40. | |
I think I quite understand why she would want to do what she does. Yes, | :11:41. | :11:50. | |
even in the promos, she really looks... It is brilliant. As June | :11:51. | :12:00. | |
touches on, Peggy's death tonight is because she is losing her battle | :12:01. | :12:05. | |
with breast cancer. But away from the sites, many can and do win their | :12:06. | :12:10. | |
fight against the diagnosis and many have a new lease of life. | :12:11. | :12:16. | |
When life throws you a curved ball, you have to make the best of it. | :12:17. | :12:19. | |
This is the last thing I thought I would be doing, leading a pig! | :12:20. | :12:25. | |
Breast cancer shown me that there is a big wide world out there, and I | :12:26. | :12:32. | |
want to see the most of it. With programmes like EastEnders, it is | :12:33. | :12:35. | |
portrayed like real life so people will get ill, but the end result is | :12:36. | :12:41. | |
quite often negative rather than a positive result like myself. We have | :12:42. | :12:45. | |
always talked about making a life changing move to the Highlands of | :12:46. | :12:51. | |
Scotland,, but you go on holiday, you enjoy it and come back and it | :12:52. | :12:56. | |
never happens. Once I had the treatment, that was a bit of a | :12:57. | :13:01. | |
wake-up call really. We have had this dream and we need to do it now. | :13:02. | :13:07. | |
Leaving Lancashire to come and live in Scotland was a huge decision. | :13:08. | :13:14. | |
Having cancer made us do that. It made us act quickly and make the | :13:15. | :13:16. | |
most of the time we have got. We're almost 42 years mag. There | :13:17. | :13:28. | |
can't be that many couples who have both had breast cancer. It dawned on | :13:29. | :13:33. | |
us and it must be pretty unusual. We got a phone call from Breast Cancer | :13:34. | :13:40. | |
Care elder fashion show and asked if we would take part. Ian and his | :13:41. | :13:48. | |
wife, may! Is not something I would ever have thought of doing. On the | :13:49. | :13:51. | |
day of the show, the atmosphere built and built and by the time we | :13:52. | :13:54. | |
got to the evening, the adrenaline was just pumping so high. Seeing May | :13:55. | :14:00. | |
and myself striding down the catwalk is not normally something I would | :14:01. | :14:05. | |
have done at all. We have had no offers of modelling contracts come | :14:06. | :14:09. | |
flooding in! Our little granddaughter has helped Ulster it | :14:10. | :14:14. | |
as well. She kept us and kept us busy -- helped us keep going as | :14:15. | :14:18. | |
well. She helped us pick up the threads of our life and it on with | :14:19. | :14:24. | |
it. I wanted to go and travel. I have always loved travelling. I | :14:25. | :14:28. | |
always wanted to go more exotic and further afield but I never had | :14:29. | :14:31. | |
thought about jumping out of a plane or diving with great white sharks. | :14:32. | :14:36. | |
But they seemed like a really good idea after cancer treatment. When I | :14:37. | :14:40. | |
told people I was going to jump out of a plane, they just thought I was | :14:41. | :14:45. | |
mad. But I was living my dreams instead of just talking about them. | :14:46. | :14:51. | |
When I went to book my skydive, she was like, "There's two options, | :14:52. | :14:57. | |
12,000 feet or 15,000 feet". I was like, "OK!" Are not that great with | :14:58. | :15:05. | |
heights. Feeling good, confident? I requested an instructor that could | :15:06. | :15:08. | |
do with really nervous people and told him, "I've got through cancer | :15:09. | :15:12. | |
so I can get through anything!" I've learned not to be scared. I'm | :15:13. | :15:16. | |
probably more confident than I thought I was. Going on the catwalk | :15:17. | :15:26. | |
helped me tremendously. Cancer gave us all the shahs. It made us sit up | :15:27. | :15:30. | |
and think, we don't know what time we've got, let's just do it. And a | :15:31. | :15:37. | |
big thank you to Jane, Ian, May and Clare and for sharing those stories. | :15:38. | :15:42. | |
And talking sharing stories we are with Sarah Phelps, who is the writer | :15:43. | :15:46. | |
of tonight's episode. Less than ten minutes to go before your story | :15:47. | :15:51. | |
starts. How are you feeling right now? I'm feeling quite emotional, | :15:52. | :15:56. | |
actually, quite emotional and hoping that everyone enjoys it, that it | :15:57. | :16:00. | |
goes really well and people don't hate it and hate what I've done. | :16:01. | :16:05. | |
Yes, emotional, I think is the best way to say it. Give us the lowdown | :16:06. | :16:09. | |
because when Dame Barbara said she had and a dark -- an idea about how | :16:10. | :16:13. | |
she would like to leave, what happened from there and how did the | :16:14. | :16:16. | |
process bring you into it and how much input did she have in the final | :16:17. | :16:22. | |
script for tonight? The process of being me into it was Dominick, the | :16:23. | :16:26. | |
executive producer rang up and said, "You are coming to write an | :16:27. | :16:31. | |
episode". I said I was a bit busy and he said, "You don't know what | :16:32. | :16:34. | |
busy is, you are just sitting there, you are doing it". He sent me the | :16:35. | :16:39. | |
story and obviously, I had to do it, no question. I looked at it and I | :16:40. | :16:43. | |
thought, "I want to do it like this, I know where we have to go but I | :16:44. | :16:47. | |
want to get there like this". We went round to see Barbara and Scott | :16:48. | :16:56. | |
and I said, "This is how I would like to her and when I had finished | :16:57. | :17:00. | |
talking, which took quite a long time, when I looked up, she had | :17:01. | :17:04. | |
tears in her eyes and I knew it had kind of worked. I had such a clear | :17:05. | :17:09. | |
idea of what I wanted to be in it and what I wanted to see and what I | :17:10. | :17:13. | |
wanted for the character of Peggy Mitchell but also, what I wanted for | :17:14. | :17:17. | |
Barbara. I was overjoyed that she really liked it and wanted to go | :17:18. | :17:22. | |
with it. Obviously, you are writing her final words as well. Did they | :17:23. | :17:25. | |
come to you quickly? Did you know what they were? How many drafts did | :17:26. | :17:30. | |
you do? Were you whipping them up and throwing it away? Almost | :17:31. | :17:34. | |
immediately, I knew what I wanted. It was almost working backwards from | :17:35. | :17:40. | |
that moment. -- ripping them up. As soon as I read the story document, I | :17:41. | :17:45. | |
thought, "I know what I want, I'm going to do that". Everyone now is | :17:46. | :17:49. | |
trying to get the final words we hear from Peggy but earlier, you | :17:50. | :17:53. | |
gave a little clue, something significant happens by this tree. | :17:54. | :17:57. | |
There is a key moment that happens kind of in this area. Not only are | :17:58. | :18:01. | |
you thinking about the character of Peggy Mitchell but all the other | :18:02. | :18:05. | |
characters around her, and you want to honour them as well. I wanted to | :18:06. | :18:10. | |
bring in other characters she has interacted with and had very long, | :18:11. | :18:12. | |
tangled and sometimes quite difficult histories with, and just | :18:13. | :18:16. | |
bringing them into that moment as well. Yeah, it is quite momentous | :18:17. | :18:26. | |
that we are standing here, in the shadow of the Mitchell residents. | :18:27. | :18:30. | |
Yes, but everywhere you stand on this lot, something has happened. | :18:31. | :18:33. | |
There's always something that has happened. You think," that happened | :18:34. | :18:39. | |
over there!" Every door and window has a story. It is real but isn't | :18:40. | :18:46. | |
it? Thank you for joining us. We look forward to the episode. I'm | :18:47. | :18:50. | |
sure you are looking forward to it. I'm going for Zampa Dzagoev! Good | :18:51. | :18:55. | |
idea, well, in about eight minutes, Peggy Mitchell will be saying her | :18:56. | :18:59. | |
final goodbye. It's time to the second part of our scooted into view | :19:00. | :19:01. | |
and here, Barbara Windsor reveals what it was like during her | :19:02. | :19:06. | |
emotional exit. Here we are now, 22 years on the | :19:07. | :19:11. | |
square and it is the end. When they burned me, I thought it was, when | :19:12. | :19:15. | |
they burnt up the Queen Vic. You haven't got the nerve! You haven't! | :19:16. | :19:27. | |
I was going, "My Vic, my Vic! " But they decided to save me. I thought | :19:28. | :19:31. | |
that was the end but then it wasn't and then I started to come back and | :19:32. | :19:36. | |
do the odd ones. I thought I had to say goodbye to her. It's no secret | :19:37. | :19:40. | |
that tonight is the last time we will see Peggy Mitchell on the | :19:41. | :19:42. | |
square which will be really sad for yourself and all the viewers | :19:43. | :19:47. | |
watching. But how did the conversation come about with | :19:48. | :19:50. | |
Dominick, the boss of East Enders? I heard on the grapevine that he might | :19:51. | :19:54. | |
be leaving and I thought, "Well, he will want a good storyline", so what | :19:55. | :20:00. | |
about if I go? I said I could get grant back, if he killed me off and | :20:01. | :20:05. | |
he could have a good going away storyline. Add you spoken to Grant | :20:06. | :20:12. | |
before? No, but I'm very friendly with Ross and I knew. We bumped into | :20:13. | :20:17. | |
each other in Majorca, funnily enough and he said he would give it | :20:18. | :20:24. | |
a go. Phil? Ma'am? Guess my invite got lost in the post. And he loved | :20:25. | :20:31. | |
it. We had a wonderful time. And a treat for the audience. And he was | :20:32. | :20:34. | |
nervous, what was great, I was nervous and he was nervous but Steve | :20:35. | :20:39. | |
was not, be staunch old warrior. I got this funny feeling when I did | :20:40. | :20:42. | |
the scene with them either side of me,... I'm getting a bit tearful, I | :20:43. | :20:47. | |
mustn't, there you go. It was lovely! What was it like when they | :20:48. | :20:54. | |
finally said "Cut"? You have two hold everything in. Your stomach, | :20:55. | :20:57. | |
your bottom, everything, so you don't go... Like that! It is not a | :20:58. | :21:05. | |
nice picture, I know, but you just think, your stomach is turning over | :21:06. | :21:10. | |
and churning. It is turning now, talking about it. Well, people are | :21:11. | :21:15. | |
going to be absolutely heartbroken tonight. No, because the show is | :21:16. | :21:19. | |
good and it still goes on and Phil is still there. But for how long, | :21:20. | :21:24. | |
the way he is carrying on with the drinking? It is awful, isn't it? I | :21:25. | :21:29. | |
think Ross, they could tempt him back again. You can, obviously. "Go | :21:30. | :21:38. | |
On, get yourself back there", because he enjoyed it and we had | :21:39. | :21:42. | |
such fun, such a laugh, we really did. Would you ever come back? As a | :21:43. | :21:49. | |
ghost? Already! It has started already! I have not even gone! I | :21:50. | :21:55. | |
shall come flying back. If you could write Peggy's epitaph... Oh, gosh. | :21:56. | :22:02. | |
What would you put? That she was a good bird, a good bird, a good, | :22:03. | :22:07. | |
kind, strong bird. Do the line one more time. Of course. Get out of my | :22:08. | :22:19. | |
part! -- pub. My mother would rather it has been in a posh voice. That it | :22:20. | :22:27. | |
wasn't. -- but it wasn't. APPLAUSE And her laugh is tremendous. That | :22:28. | :22:33. | |
was hilarious, Perry Dan Rowe because he thought she was stood | :22:34. | :22:36. | |
behind him! We have set up the servers outside the spur job of | :22:37. | :22:41. | |
Peggy, the Queen Vic. Everyone has a drink apart from us. They are | :22:42. | :22:45. | |
waiting for us to come off air. We have been joined by Lacey Turner and | :22:46. | :22:48. | |
Kellie Bright. Thank you for joining us. Lacey, you had a huge storyline | :22:49. | :22:52. | |
with Dame Barbara because in the end, you killed Archie. How was it | :22:53. | :22:58. | |
to act those scenes with her because they were really intense and you | :22:59. | :23:00. | |
must have been onset quite a lot together around that time? Yes, it | :23:01. | :23:06. | |
was quite a surprise because it was during the first live episode. I had | :23:07. | :23:09. | |
no idea it was happening until half an hour before and I don't think | :23:10. | :23:14. | |
anyone else did. But it was really, it was quite a shock at the time and | :23:15. | :23:18. | |
then it came so quickly after that we filmed all of that stuff. It was | :23:19. | :23:22. | |
great and I love working with Barbara, she's such a legend, and it | :23:23. | :23:29. | |
is just you know, she is just fantastic. She gives so much and it | :23:30. | :23:35. | |
is just easy to back. We have seen you quietly burying the hatchet with | :23:36. | :23:38. | |
her recently but do you prefer those quiet seems all the more shouting | :23:39. | :23:44. | |
and screaming ones with her? -- quiet scenes. It is always nice to | :23:45. | :23:49. | |
have a row... There's history there! She does have a good row so that is | :23:50. | :23:54. | |
always good but it was lovely, I had one scene with Barbara before she | :23:55. | :23:59. | |
left and it was just lovely, it was a really heartfelt scene. I really | :24:00. | :24:02. | |
enjoyed it. I was really happy that I got to say a final goodbye to | :24:03. | :24:09. | |
Peggy. Kellie, you only recently did your first scenes with Peggy. In the | :24:10. | :24:14. | |
final episode, the one that goes out the night. No spoilers! I won't say. | :24:15. | :24:20. | |
How does that feel because it's your name above the door now and things | :24:21. | :24:25. | |
have switched over? Was it lovely? She was so... She has been so | :24:26. | :24:29. | |
supportive, I will say, of me and Danny White from the beginning, when | :24:30. | :24:33. | |
we joined, and particularly for me, she has always been really warm and | :24:34. | :24:38. | |
what struck me, working with her, she is professional to her core. But | :24:39. | :24:43. | |
she is the ultimate leading lady. It is something you don't get much any | :24:44. | :24:49. | |
more. She really, it makes everybody onset feel as important as each | :24:50. | :24:54. | |
other. She has time for everybody. And just, honestly, I loved my scene | :24:55. | :25:01. | |
with her. I loved it. I felt very lucky to be part of it and as soon | :25:02. | :25:05. | |
as I read the script, I text Dominick and said, "I'm so excited | :25:06. | :25:13. | |
about this! Thank you so much! ". Perry, as they mature, this place is | :25:14. | :25:17. | |
not going to be the same. No, it's not! It will be very strange. Shall | :25:18. | :25:25. | |
we have a drink? She's done 1662 episodes over 22 years we are going | :25:26. | :25:29. | |
to raise a glass, and here is Tracey, the barmaid. To the landlady | :25:30. | :25:35. | |
of the Queen Vic, the best ma'am in Walford and probably the best pub | :25:36. | :25:40. | |
landlady of all time, to Peggy! -- the best mummy. And we will leave | :25:41. | :25:45. | |
you with Dame Barbara Windsor. Dear viewers, thank you so much for | :25:46. | :25:48. | |
having Peggy Mitchell in your living rooms for the last 22 years. And | :25:49. | :25:54. | |
now, for the very last time, I would like to | :25:55. | :25:55. |