- 2 years ago
The phrase "nearest and dearest" often evokes a sense of warmth, family, and close relationships. It's a term that brings to mind the people we hold closest to our hearts—our family, friends, and loved ones. However, in the context of British television, "Nearest and Dearest" takes on a different meaning, referring to a classic sitcom that captured the hearts of many.
"Nearest and Dearest" was a British television sitcom that aired from 1968 to 1973. The show starred Hylda Baker and Jimmy Jewel as Nellie and Eli Pledge, siblings who inherit their father's pickle business in Colne, Lancashire. The series was known for its humor derived from the characters' squabbles, malapropisms, and the unique dynamics of a family-run business.
The premise of the show was simple yet effective: Nellie, a hard-working spinster, and Eli, a womanizing slacker, must run the family business together to inherit their father's fortune. This setup led to comedic situations and memorable catchphrases that are still recognized by fans of classic British comedy.
Despite the on-screen chemistry between Baker and Jewel, it was widely reported that the two did not get along off-screen, adding a layer of intrigue to the show's history. Their tumultuous relationship is often cited as one of the most toxic in British sitcom history.
"Nearest and Dearest" also serves as a cultural touchstone, reflecting the era's social norms and the changing landscape of British comedy. It's a show that, while rooted in the 1960s and 70s, continues to find new audiences who appreciate its wit and charm.
For those who grew up watching "Nearest and Dearest," the show remains a nostalgic reminder of a bygone era of television. And for newcomers, it offers a glimpse into the rich tapestry of British humor and the timeless appeal of family dynamics in storytelling.
Whether you're revisiting the series or discovering it for the first time, "Nearest and Dearest" stands as a testament to the enduring nature of well-crafted comedy and the universal themes of family and ambition. It's a piece of television history that continues to be nearest and dearest to many viewers' hearts.
Listen to our radio station Old Time Radio https://link.radioking.com/otradio
Listen to other Shows at My Classic Radio https://www.myclassicradio.net/
Entertainment Radio | Broadcasting Classic Radio Shows | Patreon
Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
"Nearest and Dearest" was a British television sitcom that aired from 1968 to 1973. The show starred Hylda Baker and Jimmy Jewel as Nellie and Eli Pledge, siblings who inherit their father's pickle business in Colne, Lancashire. The series was known for its humor derived from the characters' squabbles, malapropisms, and the unique dynamics of a family-run business.
The premise of the show was simple yet effective: Nellie, a hard-working spinster, and Eli, a womanizing slacker, must run the family business together to inherit their father's fortune. This setup led to comedic situations and memorable catchphrases that are still recognized by fans of classic British comedy.
Despite the on-screen chemistry between Baker and Jewel, it was widely reported that the two did not get along off-screen, adding a layer of intrigue to the show's history. Their tumultuous relationship is often cited as one of the most toxic in British sitcom history.
"Nearest and Dearest" also serves as a cultural touchstone, reflecting the era's social norms and the changing landscape of British comedy. It's a show that, while rooted in the 1960s and 70s, continues to find new audiences who appreciate its wit and charm.
For those who grew up watching "Nearest and Dearest," the show remains a nostalgic reminder of a bygone era of television. And for newcomers, it offers a glimpse into the rich tapestry of British humor and the timeless appeal of family dynamics in storytelling.
Whether you're revisiting the series or discovering it for the first time, "Nearest and Dearest" stands as a testament to the enduring nature of well-crafted comedy and the universal themes of family and ambition. It's a piece of television history that continues to be nearest and dearest to many viewers' hearts.
Listen to our radio station Old Time Radio https://link.radioking.com/otradio
Listen to other Shows at My Classic Radio https://www.myclassicradio.net/
Entertainment Radio | Broadcasting Classic Radio Shows | Patreon
Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
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FunTranscript
00:30Oh, I'll have to start all over again.
00:375, 6, 1 and 7 is 5, 6, 8, and 8 is 5, 7, 6, and 7 is 5, 8, 3, no, and 3 is 8, 3, 5.
00:50No, 8, 3, 5, 3, 5, 8, I mean, no, I've lost it again.
00:54I'll never get these accounts straight.
00:56I've got to or else I'll have a financial distemper.
01:01Now, come on, Nelly, frame yourself, get a sock.
01:06Start again.
01:081 and 8 are 9.
01:109 and 3 are 12.
01:1312 times 5 are...
01:151 times 12 is 24, 6 times 12 is 60, yeah, 60, and 1 is 61, plus 30 is 30 days of September, April, June, and November.
01:29What am I talking about?
01:31When I say that, let me see, November, I mean 30, plus 61 equals 91, plus 11, there you are, adding 2.
01:41Adding 2, pickles, pounds, pickles, pounds, oh, I'm so diffused.
01:54Oh, the sprain of running this pickle factory is tolling its toll.
02:03I wouldn't care if our Eli was any help.
02:06Eli?
02:08It's half past and he hasn't had his breakfast.
02:11Eli?
02:15You gave me a fright.
02:17I gave you a fright, you should be sitting here.
02:22Where have you been?
02:24Eh, your breakfast is going cold.
02:26Cold?
02:27Yes.
02:28I haven't had hot meal in this house since the budgie flew into the R-level grill.
02:33What the hell's this?
02:35Genuine Aberdeen kipper.
02:37From Southport.
02:40You're lucky to get that, cats have it twice.
02:44I think we'll have it back again at home.
02:47No, waste not, want not.
02:51It's all very well for you, you know, I mean, we're nearly broke, our finances are in a terrible state.
02:58See, the whole factory is going to the pot.
03:02They can't, it's only a two-seater.
03:05It's all very well for you to laugh.
03:07Have you had a look lately into your, er, numericals?
03:13Mind your own business.
03:16They're showing a loss.
03:19They're not showing at all.
03:21You know what I mean.
03:23Well, I pull my weight.
03:25Yeah, at the pub.
03:27I can't see anything wrong with factory anyway.
03:29Course you can't, because you're never there.
03:31I'm losing money hand over fist.
03:33If our dad was alive, he'd turn over in his grave.
03:36Oh, well, I'll tell you what I'll do.
03:38I'll have me breakfast, then go over and give him a hand.
03:40What can I have?
03:42Three jumps at the cupboard door.
03:44What's for lunch?
03:45Same again, with knobs on.
03:49I don't know what's to become of us.
03:51I can't make ends meet.
03:53I'm going to end up walking the streets.
03:56I don't think you'll be much good at that either.
03:59You!
04:01Hello.
04:03It's Lem and Lily and the Clockwork Orange.
04:08Hello, Lily. You're soon.
04:11We just came out for a quick constitutional.
04:14Why? Why can't you go at home like anybody else?
04:19What's wrong with yours? Is it broke?
04:21I'm just saying, Walter, is yours broke?
04:24That's very hard to tell.
04:26At least my Walter doesn't send me out to walk the streets.
04:30Oh, you've been earwigged again, have you?
04:32Why don't you mind your own business?
04:34Our business is her business and her business is our business.
04:36And what's our business is nobody's business.
04:38So mind your own business.
04:40You, me and Lily are kith and kin.
04:43Well, give the kith then.
04:46Come and sit down, Lily.
04:48You're right, Nelly. A troubled shirt is a troubled heart.
04:51Yeah, and our trouble is the business is going to the dogs.
04:54Yeah, that's funny. That's just where I'm going this afternoon.
04:56He doesn't realise the anonymity of the situation, you see.
05:01We've got our backs to the grindstone and our noses to the wall.
05:06That reminds me. Have you been?
05:11I think he's been.
05:13We've had it, Lily, and we're not going to get it any more.
05:16You speak for yourself.
05:19She's trying to tell me we're losing money.
05:21Losing money? We're nearly bankrupted.
05:24Well, why is that, then?
05:26Well, the fact of the matter is, as a matter of fact,
05:29the workers are not doing enough work per man.
05:31That's because they're mostly women.
05:33There's not enough reproduction going on.
05:35Well, I'm doing my bit.
05:37Look, Eli, if we're not careful, our future will be behind us.
05:41Yours already is.
05:45Lily, I'm at the end of my feather.
05:48If things don't alter...
05:50They'll stay as they are.
05:52Why don't you get one of them chaps in that we had at the Umburg factory?
05:57You mean one of those fellas that go about putting their nose into everybody's business?
06:01Er, what's his name?
06:03Dan Dan, the lavatory man.
06:06No, I know what it is, because it was in the weekend colour suppository.
06:12I know.
06:14A deficiency excerpt.
06:18Oi, cloghead. Deficiency expert.
06:21That's it?
06:23That's it.
06:26That's what we need. A fella that'll put us right on our feet.
06:30A fella that'll be stood standing there with a stopwatch, timing everybody's motions.
06:40Not you, Walter. Sit down.
06:43I remember. A management consultant.
06:47That's it. A management insultant.
06:51Eli will go and insult one today.
06:56So you see, that's our problem, you see.
06:58They're not turning out enough pickles to pay the costs.
07:01That's why we've come to a management consultive.
07:05Consultant.
07:07Bless you.
07:10Yes, you do seem to be in a bit of a pickle.
07:13I don't think that's very funny.
07:15Oh, I'm so sorry. What I mean is, you need to produce your pickles more economically.
07:19No, what we want to do is to do it cheaper.
07:23So I should think you need to enlarge your turnover.
07:26You wouldn't say that if you'd seen her in her nightie.
07:29Let me start at the beginning.
07:31How many people work in your factory?
07:33None.
07:36But you must have some employees.
07:38Fifteen, but none of them bloody work, do they?
07:41Fifteen?
07:42Yeah, there's Vinnie Gavira, B Troop Bertha, Onion Annie.
07:46Is it a closed shop?
07:48No, but we've got a lock on the lavatory door.
07:52I mean, do you have any troublesome labour relations?
07:56Oh, no. We're both single.
08:00Let me try to explain the nature of the service we provide.
08:05Oh, thank you very much.
08:07I will send one of my chaps into your factory with a stopwatch.
08:10And we will discover whether there's a more economically viable plan for reorganisation.
08:15Thus reducing the ratio of time spent on the ovatrial output of each individual pickle.
08:22What's she talking about?
08:24I've no idea.
08:27I'll show you.
08:29Let's pretend that I am Vinnie Gavira.
08:33You'll not get away with it. She's too well known.
08:37No, no. Just for now.
08:39Oh, just for now.
08:40Now, these drawing pins represent your pickles.
08:43I know our onions are sharp, but that's ridiculous.
08:47And this vase represents your jar.
08:49Oh, that reminds me. Would you hurry up? They're open.
08:51Shut up, you big girls' blouses.
08:53And now I, as Vinnie Gavira, have to walk with the jar to the pickles. Like this.
09:00Oh, no. No, no. She doesn't walk like that.
09:03No, she doesn't walk like that. Just a minute.
09:05I'll show you. She walks like this, you see.
09:07She has the jar under her arm like that.
09:09Then this leg is right straight down like that, see.
09:12Now, she has a cigarette stuck in the corner of her mouth, see.
09:15And she walks lopsided, like this, you see.
09:22Coffee!
09:29The way she walks is irrelevant.
09:32Oh, no. She's not a bit like an elephant.
09:35No, she's more like a hippopotamus.
09:38The object of time and motion is to eliminate all unnecessary movement and thus save time.
09:44Superfluous motions are tiring.
09:47Oh, that's very true. I mean, look at Walter and he's always tired.
09:51And if you save time, you save money.
09:53I wish you wouldn't keep saying time like that. It's very upsetting.
09:56Yes. And how much will it cost us to save money?
09:59It varies.
10:01Well, our Eli and me are well known for chucking it about.
10:05Well, he is. Any road.
10:07I tell you what, I'll give you five pounds in cash
10:10and as many jars of pickles as you can carry.
10:13Oh, we never accept a contract for less than a thousand.
10:16A thousand jars of pickles?
10:18You must have a stomach like a bloody horse.
10:21No, no, no. A thousand pounds.
10:23A thousand pounds?
10:25For clock-watching Vinnie Gaviria hobbling to and fro?
10:28I'm showing you how to save money.
10:30Oh, well, thank you. You already have.
10:32Really?
10:33Yes. You've just saved us a thousand pounds.
10:36Come, Eli. Let us away.
10:39We'll time our own motions.
10:45You know, we needn't have bought this stopwatch.
10:47I mean, they're that slow, we could have used our barometer.
10:53Hey, Mr Eli. Clock-watching won't get work done.
10:57We're not on a clock-watching stand.
10:59We're seeing how long it takes to put a lid on a jar of pickles.
11:02How long does it take, then?
11:04Too bloody long.
11:06Hey, that's yours. A watch clock never boils.
11:10That's no flaming excuse.
11:12What we're trying to do is to see that every unnecessary motion is illuminated.
11:19Why don't you switch more lights on, then?
11:21Hey, we've been clock-watching you for the last hour,
11:24and you know what we've found out?
11:26What?
11:27None of you do any bloody work.
11:29Hang on a minute, Mr Eli.
11:32Listen, we don't want any trouble.
11:34Now, we'll say no more about it if you'll just admit
11:37that you're just a load of idle layabouts.
11:41Miss Nelly, I've no quarrel with you.
11:44This is man's talk.
11:47Girls, come over here.
11:52He says we're not working hard enough.
11:56Hey, that's how we work,
11:59so if we don't get a full apology, we'll go out on strike.
12:03Now, when our Eli said,
12:06you're not working hard enough,
12:08he doesn't mean you're not working hard enough.
12:11He means you're not working at all hard enough.
12:18We'll have a vote, then.
12:20All right.
12:21All in favour of a strike, hands up.
12:24At what?
12:25Right.
12:26Everybody out.
12:28Hey, they can't go on strike.
12:30No, hey, hey, hey, hey,
12:31we could pay you good money to pick our gherkins.
12:34You know what you can do with your money?
12:36And you can do the same with your gherkins.
12:39Ah, go on, off you lot of you.
12:42Hey, Nelly.
12:46What, er, what are we going to do now, then?
12:50Well, you've always known what to do with your money.
12:54But what are you going to do with that?
12:58APPLAUSE
13:18Look at that piglin shed.
13:20Full of emptiness.
13:22All there is is a load of olives waiting to be stuffed.
13:26Well, I can't manage all that lot.
13:28You cloth-headed pike, and don't you realise we're ruined?
13:31Oh, they'll be back when the money runs out.
13:33Supposing our money runs out first, eh?
13:36They're not coming back, you know, we've hurt their pride.
13:39I mean, once we had a low output, now we've got no output.
13:42Well, I must say I'm very put out.
13:44Yes, and so will we be put out by the bay leaf.
13:47That's Stan's the shop steward, you know.
13:49I mean, and he says they're not going back unless you apologise.
13:52I didn't know Stan was the shop steward.
13:54Oh, yeah. He showed me his credentials.
13:58I'm not apologising to them, Nellie.
14:00They're an idle lot, that's what they are,
14:02and I'm telling you, I could pickle quicker than they do.
14:04Oh, no, you can't.
14:06Oh, yes, I can.
14:07Oh, no, you can't.
14:08Oh, yes, I can.
14:10All right, then, get in that pickling shed and get pickled.
14:13All right. Oh, no, I can't.
14:15Oh, yes, you can.
14:20Nellie, Nellie, get off me.
14:21Nellie, ooh, ooh, Nellie, get off.
14:23Ooh, ooh, ooh, ooh, ooh, ooh.
14:25Get into this big girl's apron. Come on.
14:27Oh, Nellie, I don't have to put that on, do I?
14:29Yes, well, Vinnie Gaviria didn't.
14:31That's why she walks with a limp.
14:34Hey, look, I might be a bit out of practice, you know.
14:37Oh, yes, well, you won't be by the end of the day.
14:39Well, it's a few years, long time since I did any pickling, you know.
14:42You said it right the first time, a few years.
14:44Now, come on.
14:45Why can't you be like our dad?
14:46I mean, there's a pickler for you.
14:48A great pickler.
14:49A pickler amongst picklers.
14:52Until he pickled his last pickle
14:54and went to that everlasting pickling shed in the sky.
14:58He was so desiccated, he died pickling.
15:03Yeah, well, we managed to keep it quiet, didn't we?
15:06Ah, come on. Let's get on with it.
15:08If you're so good as you think you are.
15:10I should have kept me big mouth shut.
15:11Yeah, well, uh, are you ready?
15:13Yeah.
15:14Right.
15:16You've had five seconds.
15:18Have I?
15:19Yeah.
15:20Do something!
15:21Do something?
15:22Yeah.
15:25Now your turn.
15:26Yeah, daft piece.
15:27Do some pickling.
15:28All right.
15:29Are you ready?
15:30Yeah.
15:34Don't forget, there's a little hand on this watch.
15:38Go!
15:46Hmm.
15:53You haven't a clue what to do with that cauliflower, have you?
16:00That is a very leading question.
16:05Start over here.
16:06Now, that is an onion.
16:10Get away.
16:11You must be a detective.
16:14And that is a jar.
16:15A jar.
16:17This is a jug of vinegar.
16:22Vinegar.
16:24And this is a lid.
16:26A lid.
16:27Now you've got all that.
16:28Oh, yeah, I think I can remember that, yeah.
16:29Can remember.
16:30Very good, yeah.
16:31Well, we're off then.
16:32I take the...
16:34Onion.
16:36Put it in the...
16:38Jar.
16:39Then I take the jar.
16:41Jar.
16:42And...
16:44Top it up with...
16:45Vinegar.
16:48Now I take the...
16:50Lid.
16:51Put it on the...
16:53Jar.
16:55And screw it...
16:56Up.
16:59By George, you've got it.
17:04I think I have now, yeah.
17:09I've got it.
17:10Now, Fleming, well, get on with it.
17:11All right, then.
17:12Pickles.
17:13Jar.
17:14Vinegar.
17:15Lid.
17:16All right.
17:17Wait a minute, get it on there.
17:18Pickles.
17:19Jar.
17:27Right.
17:28Knocking off time.
17:29Oh.
17:37Knocked off, eh?
17:39Knocked off?
17:40Yes.
17:41I'm Fleming well knocked up.
17:44What a fine sight.
17:45I throw up everything I've said about you.
17:49You are a prince among picklers.
17:51If only our dad could see you now.
17:53The way I feel he very soon will.
17:57Oh.
17:59We have proof to the world that we can run Pledges Pure of Picklers by ourselves.
18:03Just the two of us.
18:04The two of us?
18:05Yes, you on the pickles and me on the stopwatch.
18:09That's a lot of help, that is.
18:11You don't know what work is, you flaming slave driver.
18:14How long do you think I can keep this up?
18:16I'm telling you, they were right, I was wrong.
18:19Eli.
18:20Never mind Eli and me.
18:21You're all the same, you employers.
18:22Capitalists.
18:23Exploiters of the working person.
18:26I've never explored a working person in my life.
18:29This is the first day's work you've done in 27 years.
18:31And it's the last day's work I'm going to do for 27 years.
18:34We've got to get them back.
18:35How?
18:36Well, I'll apologise to them.
18:39Are you sure?
18:40Yes, I mean, I've had it, haven't I?
18:42We've got to talk to them.
18:43Well, if you insist.
18:46But we'll have to talk to them on neutral territory.
18:50How about the spread eagle?
18:53Spread eagle, that's not neutral territory.
18:55That's your home ground.
18:59What's this meeting for then, Stan?
19:02I don't know yet.
19:04But we're not going to call it strike off
19:06till we make Eli pledge he humble pie.
19:10He'll have only got Cornish pasties.
19:14Now, you all know how hard we work.
19:17And we must be given proper credit.
19:20Credit?
19:21Who's asking for credit?
19:24Oh, calm down, Harold.
19:25Can't you read?
19:27Please don't ask for credit as refusal often offends.
19:31Hey, up the summit coming in now I often offend.
19:35Don't forget, be polite.
19:37Try and get your worm into their confidence.
19:41Otherwise, you'll end up a non-stop pickler.
19:44Don't worry, Nellie.
19:45I'll treat him as I would my own mother.
19:46Right.
19:47No, we want them to come back.
19:50Don't worry, I know it.
19:51Leave it to Eli.
19:54Hello, Stanley.
19:55Mr Chairman, if you don't mind.
19:58What?
19:59I'm the hon chairman of the strike committee.
20:02Aren't I, comrades?
20:03Aye.
20:06Oh, very well, Mr Chairman.
20:08Who's that, then?
20:09Miss Woe?
20:11No, she's a picket.
20:13Well, I hope she doesn't picket at work.
20:15It's very unhygienic.
20:18Hey, if you don't alter your tune, Mr Eli,
20:20none of us will be back at work.
20:22Now, look here, Stan.
20:23Mr Chairman.
20:25Mr Chairman.
20:26Just a minute, just a minute.
20:27How are Eli's only having his little joke?
20:30Well, we've had enough of his little jokes.
20:32There's one or two things we've got to get straightened out once and for all.
20:37Oh, very well.
20:38Ah, well, before we start, it's my round.
20:42Girls, what are you going to have half of?
20:44Bitter.
20:46Five halves of bitter.
20:48Mine's a pint.
20:49You can pay for your own.
20:50That's a very likely stick, wasn't it, Mr Chairman?
20:54No, no, no, no, no.
20:55Now, now.
20:56Let me pay for the round, eh?
20:58And now, what is it?
21:00Half a pint off?
21:01No, no, no.
21:02Mine was a double scotch.
21:05What was yours, Grenville?
21:07Oh, a pot of lemon.
21:10Double brandy.
21:11I'll take him next.
21:13Is there anything else you'd like to go with it?
21:15I mean, five packets of crisps as well?
21:18All right, if you're twisting his arms.
21:21Yes, twisting their arms.
21:22I'll twist them bloody next.
21:25Hey, Millie, what about my drink?
21:27Oh, you'll have your drink when you've said your piece.
21:30Now, before Eli says his piece, I'd like to say something myself.
21:35On behalf of myself and Eli.
21:38You all know this is a family business.
21:40You all knew our dad, and our dad knew all your mums.
21:46Bertha, I knew you before you were born.
21:51Your dad pickled and your grandad pickled.
21:53In fact, your dad was always pickled.
21:57That's how you were born.
21:59Now, Mr. Stan, I mean Charvelman, Mr. German.
22:03Let us not bear ourselves any animalosity.
22:06And let us go back to work with renewed vinegar.
22:10I'm sure our Eli shares with me the fact that you are all good picklers.
22:15And we can't do without you.
22:19Well, Mr. Eli, I've always said it takes a big man to admit when he's wrong.
22:25So, on behalf of the committee, we all agree to carry on working just as we did before.
22:31Well, that's better than nothing.
22:35Hey, Nellie, you don't think you're going to be late, do you?
22:38Oh, don't start that clock watching again.
22:40Else I'll be out before they come in.
22:42We agreed to leave everything as it was.
22:44And then there'll be no complaints.
22:46You're right.
22:48Here we are, all ready for work.
22:50Morning. Morning. Morning.
22:55Hey, hey, what's all this?
22:57What's all what?
22:59This great pile of pickles.
23:01Well, how are you? I did that yesterday.
23:03All on me very own.
23:04Yeah.
23:05Oh, you did, did you?
23:07Yes.
23:08Right, everybody out.
23:11Go on.
23:13We're not working in a factory that uses blackleg labour.
23:17Just a minute, you specky-eyed manual carrier.
23:22Don't you call our Eli a blackhead.
23:24Steady on, Nellie. Steady on. Steady on.
23:26Look here, don't stand there and be rude to our Eli.
23:29We're not going to stand here at all.
23:32We're going out on strike.
23:34Go on, lads. Everybody out. Everybody out.
23:39Nellie, thank you for protecting me against their insults.
23:43It's quite all right. Blood is thicker than vinegar.
23:46Right.
23:48And after all, you are my brother.
23:50I am, yes.
23:53First you take her...
23:54Jerking.
24:08APPLAUSE
24:38MUSIC
25:08BELL RINGS
25:31Oh, I'll have to start all over again.
25:355, 6, 1 and 7 is 5, 6, 8.
25:38And 8 is 5, 7, 6.
25:41And 7 is 5, 8, 3.
25:44No. And 3 is 8, 3, 5.
25:47No. 8, 3, 5. 3, 5, 8. I mean...
25:50No, I've lost it again. I'll never get these accounts straight.
25:54I've got to or else I'll have a financial distemper.
25:58Come on, Nellie. Frame yourself.
26:01Get a suck.
26:02Get a suck.
26:04Start again.
26:071 and 8 are 9.
26:099 and 3 are 12.
26:1112 times 5 are...
26:131 times 12 is 12, 2 times 12 is 24...
26:1860, yeah, 60.
26:19And 60 and 1 is 61.
26:22Plus 30 is 30 days of September, April, June and November.
26:27What am I talking about?
26:29When I say that, let me see.
26:31November. I mean 30.
26:34Plus 61 equals 91.
26:37Plus 11. There you are.
26:39Add in 2. Add in 2.
26:41Pickles. Pounds.
26:43Pickles. Pounds.
26:46Oh, I'm so diffused.
26:53Oh, the sprain of running this pickle factory.
26:59It's tolling its toll.
27:02I wouldn't care if our Eli was any help.
27:04Eli!
27:07It's half past and he hasn't had his breakfast.
27:09Eli!
27:13You gave me a fright.
27:15I gave you a fright because you were still here.
27:21Where have you been?
27:22Eh? Your breakfast is going cold.
27:24Cold?
27:25Yes.
27:26I haven't had a hot meal in this house since the budgie flew into the house.
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