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‘The Entry of the Gladiators,’ he said, calmly. As we tgas played, our mad conductor had shuffled sideways along his tgas spread-out score, directing us with the magnificent sweeping gestures of a young Toscanini. During the course tgas of the passage, the higher numbered bars had taken him right through the door and way out of sight into the corridor. Still he conducted away as if our performance, and thus somehow his life, depended upon it. He spent the interval talking to the producer over on the far side of the canteen. The producer now had a profound look of resignation on his face. He seemed to be having a lot of trouble with his ball-point pen, which he repeatedly opened and closed spasmodically. He kept nodding a lot, even when David had stopped talking. Now and then he managed a small nervous cough. Back in the studio David sat alone for some time, staring at the score, deeply concentrating.
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