- 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
00:30This is a nice one Lily. It says, Christmas is coming, the nights are getting murky. Don't
00:39be disappointed, put your name down for a turkey.
00:42Oh, very nice.
00:44Yes, it's from that butcher you know, in Shrewsbury Street. The one that wanted your Walter to
00:50stand, be stood standing in his window with an apple in his mouth.
00:54We haven't been for our bird yet. I'm sending Walter out for it tomorrow.
00:58All right Walter, going out tomorrow for a bird are you. I think he should get one
01:06already stuffed.
01:07Our Walter's got a lovely one you know. He'll show it to you if you like.
01:16You what?
01:17It's a beautiful Christmas card.
01:19Oh, a Christmas card.
01:22It's from the Doctor. Read the words Nelly.
01:25From the Doctor, how lovely. Christmas comes, but once a year, why don't you do the same?
01:35Any road Nelly, have you fixed that Christmas do up yet? You know, fit fit for workers.
01:39No, we're having a meeting you know. I was er, Stan you know, and now Eli and me, we're
01:45on the social committee.
01:47Only me and Walter wouldn't say no you know, to an invite.
01:50No.
01:51Walter loves a good do.
01:54All right Walter, love a good do.
01:57Well I can't rightly say you see, because it's the picklers money you know. And now
02:02Eli and Stan have gone down to the bank to get it out.
02:06That reminds me, has he been?
02:10Them picklers, they don't realise how much we've put in.
02:14That's very true. And I think it's about time we took a bit out, don't you?
02:18Aye.
02:19Charlie, we'll have two pints please.
02:21Coming up Eli.
02:22I'll put this down to travelling expenses.
02:24Aye, sixty quid. What sort of a do shall we have?
02:29Well I thought we'd start off here, you know, and finish up in that clubby and get on gas
02:32streets. The Golden Brassier.
02:34Aye.
02:35It's a bit expensive though, thirty bob to go in you know.
02:38What, like a cover charge?
02:40No, it's more like an uncover charge. It's a strip club.
02:46There you are. Well, cheers.
02:48Cheers.
02:49Good health.
02:52There we go Charlie. I'll put this down to postal expenses.
02:59Aye, what postal expenses have we had?
03:03Well there's this bloody envelope for a start.
03:07But it's not very much you know, I wish we had a bit more cash.
03:10Gentlemen say no more.
03:11What?
03:12I'm here to put money in thy purse.
03:14Who are you?
03:15Who am I sir? Who am I? Let me give you a clue.
03:19Friends, Romans, countrymen, lend me your ears.
03:23Oh, I've got it. You're an Italian hearing aid salesman.
03:27You jest sir, you jest. Take a look there sir. That is who I am.
03:32Oh, Cinderella?
03:33Yes, it's glorious. Rupert Tempest star upon the stage and silver screen.
03:37Your case sir, I'm prepared to be a fairy queen.
03:42Get off!
03:45Allow me to explain. I'm presenting a glorious new pantomime in your fair city.
03:49Invest your money in my production and after the first night's takings, I'll repay you double.
03:54Oh?
03:55And with the talent at my disposal, your investment is cast iron.
03:59Gloria, Dawn.
04:01Oh, I see what you mean about talent.
04:05Allow me to introduce two members of my glittering company.
04:08These gentlemen are thinking of investing in our production.
04:10Darling, have you had much experience in theatre circles?
04:14No, but I once had a bit of excitement in the back row of the stalls.
04:18The roar of the crowd, the smell of the grease paint, the show of our box office hit.
04:22Wouldn't you like a hand in that, sir?
04:28Yes, well I thought we'd have a knife and fork boiled am tea,
04:31and then we'd go out for a few drinks.
04:34You could go to the Copacabana. You know, in Orsage Street.
04:39The half cabaret. Me and Walter were there last night.
04:42Is that right, Walter? You were there last night?
04:46He had this hypnotist on and he put Walter under.
04:49Under what?
04:52No, Walter went up on the stage and he put Walter in a trance.
04:58Walter in a trance?
05:01How could he tell?
05:05Well, he went rigid.
05:07All over?
05:10Well, not all over.
05:13Well, you'll have to excuse me, Lily Love,
05:16but I've got to get down to the spread eagle to this committee meeting, you know.
05:19Because with our Eli Stanley, you know, and that.
05:22And I said I'd be there about six, you see.
05:25And look at the time, it's quarter past...
05:27Oh, I must get a little hand cut off.
05:30So be it. A very shrewd investment, gentlemen.
05:34I only hope my sister thinks so.
05:36You have a sister, sir? What is she like?
05:40Well, you remember Vivian Leigh in The Streetcar Named Desire.
05:44She's like Vivian Leigh?
05:46No, she's like the streetcar.
05:51Excuse me, gentlemen.
05:56Once more into the breach, dear friends.
06:03Right, I'm here.
06:05Let's get on with it.
06:08Now, as president of Pledge's Piddles Social Committee,
06:14I declare this meeting open.
06:16We shall all now rise and sing nearer thy God to thee.
06:20Sit down, you big fleas armpit.
06:24I want to get one thing straight now, Stan.
06:26And let's understand it from there.
06:28I want you to take everything down.
06:30Right, Miss Nelly.
06:32On paper, you four-eyed barn pot.
06:36You're the secretary, aren't you?
06:38Hey, it's no good asking him.
06:40He hasn't got any lead in his pencil.
06:42Oh, I see.
06:45Right.
06:47Now, there's a request from the beetroot boiling section.
06:51They want a new toilet roll in the lavvy.
06:55See that? Give them an inch, they take a mile.
06:58Request refused.
07:01Ah, well, the next thing is about the Christmas stew.
07:05Now, we've sounded out the opinion on the shop floor, Brother Nelly,
07:08and the feeling is a strip club.
07:12We want none of that feeling this Christmas.
07:15We're going to have a ham tea,
07:19and we're going to have a few drinks somewhere else.
07:22That's it.
07:23And where's the money?
07:24He's invested it, Miss Nelly.
07:26He's what?
07:27Yes, I've invested it.
07:29I put it in that pantomime that's opening at Empire.
07:33The girl that's putting it on says we'll double our money.
07:35Oh, is it? You agreeing?
07:39Ah, for this relief, much thanks.
07:44Meet my sister Nelly, will you? Don't laugh.
07:46Oh, how very charming.
07:50You haven't had the pleasure of me yet, have you?
07:53I am Miss Nelly Pledge.
07:55Rupert Tempest Mounds, star of stage and screen.
07:58I thought your face was strangely formidable.
08:02Possibly you saw my Coriolanus.
08:04Oh, give over.
08:07Hey, he's talking about one of his parts.
08:10That's enough of that.
08:13I'm very fond of the theatre myself, you know.
08:16I've done a bit, you know, in the amateurs.
08:18You've heard of the play The Cat on the Hot Tin Roof?
08:22Well, I played the title role in that.
08:25Oh, you played the cat?
08:27No, the hot tin roof.
08:29Shut up, you big pig's ear.
08:32Inhale him, Mr. Cloudburst.
08:34You have invested in my production, Miss Pledge.
08:36Which means you are an angel.
08:41You're a bit of a cherub yourself.
08:46Where shall I put this holly?
08:50If you get it any further up them ducks, they'll take off.
08:56I said, where shall I put it?
08:59If I told you, you wouldn't do it.
09:02And there's this mistletoe.
09:04Ah, you remember me, ma'am?
09:07She always used to put it over the fireplace.
09:10Ah, until that time, me dad's shirt-lap caught fire.
09:14Cori!
09:15Bloody hell, it's Mission Impossible.
09:19No, no, no, we were not stopping.
09:21We only popped in because of them nasty rumours.
09:24What, about Walter's fancy woman?
09:26I mean about Rupert Tempest.
09:29They say that he owes money all over town.
09:32There's going to be no pantomime because he's going to do a bunk.
09:35Oh, that's rickety-doodlers.
09:37I mean, he's such a gentleman, that Mr. Tempest.
09:40I mean, he says we can have all the seats we want, anywhere in the theatre.
09:44And Walter, you can have a box.
09:47One with brass handles.
09:50Hey, hey, hey, have you heard?
09:52What?
09:53It's about how Christmas got money, Miss Nelly.
09:56Oh, what about it? You'll get it back double when pantomime starts.
09:59Yes, that's it. This here isn't going to start.
10:02What do you mean, it's not going to start? That's silly. It's rubbish.
10:05This here, this fella Tempest, he's a right swindler.
10:09Oh, no, I mean, I can't believe that.
10:11There must be some perfectly simple explanation.
10:15Oh, Flemming, well, tell him!
10:21And you can stick your engagement rope at Tempest.
10:24And as soon as I get back to London, I'm going to put your name on the equity blacklist.
10:27Six years too late, darling.
10:29And 18 quid you owe me, bed and breakfast.
10:32Oh, how like a fawning publican he looks.
10:35Hey, now, what about our money?
10:37Oh, it's too brutie.
10:39Never mind the too brutie bit.
10:41I mean, you will give us us back, you know, when you get the pantomime going.
10:45All that's going is me.
10:47Ah, and the rest of the company.
10:49Goodbye.
10:51Oh, sorry, you can't leave me. We've only just got to know each other.
10:53Oh, stop striking, you big girl's blows.
10:56Now, where's your botany? We want our money.
10:59Miss Pledge, you must be brave.
11:01My cast have walked out, although some trifling delay with their overgenerous salaries.
11:05Now, the cast, there can be no show.
11:07And I cannot pay out of the takings, because there will be no takings.
11:12What about our Christmas due? All that money we've saved up?
11:18As they say, sir, that is show business.
11:20Yes, but what do they also say as well, too?
11:24They also say the show must go on.
11:27You've got a cast. Us.
11:29You have?
11:30Well, I've done a bit.
11:32And our Lily, she's done quite a lot with small parts.
11:38You can say that again.
11:42Well, it would certainly give me a marvellous pair of ugly sisters.
11:45Exactly. What do you mean?
11:47Our Walter was in a pantomime for the primitive Methodists.
11:50You say that he put the sin in Sinbad the Sailor.
11:54Wasn't quite as good in Dick Whittington.
11:59It might be done, I suppose.
12:01Hey, you're doing Cinderella, aren't you?
12:04Walter's a certainty for buttons.
12:06That's right. Oh, no. You know how he is with buttons.
12:10He might be all right with zips.
12:17Remember?
12:19It's a dress rehearsal.
12:21I want you all to try very hard.
12:23Think of tomorrow night.
12:25The lights are dimmed.
12:27The audience is hushed.
12:29The curtain rises.
12:31The curtain rises.
12:33The curtain rises.
12:35The curtain rises.
12:37The curtain rises.
12:39The curtain rises.
12:41The curtain rises.
12:43The curtain rises.
12:46The curtain rises.
12:48And enter Cinderella.
12:56Enter Cinderella.
13:00Miss Pledge, I'm waiting.
13:02Now?
13:04Now.
13:10Oh, dear. I'm so tired.
13:16My sisters get me up early in the morning
13:19and I am down in the pickling shed pickling
13:22until it goes dark.
13:24It's all bed and work.
13:27And I'm only a woman.
13:29Miss Pledge, none of that is in the script.
13:32No. Well, you see, I thought, you know,
13:35that would make it a bit better, you see.
13:37Look, I paid an enormous sum for this script.
13:39Kindly stick to it, will you?
13:41Oh, I'm sorry.
13:43Shall I set off again?
13:46Oh, dear.
13:51I am so tired.
13:53I've been all morning queuing up
13:56for a bit of whale meat.
13:58And my sisters have stolen all my sweet coupons.
14:05How much did he say you paid for this script?
14:10A fortune, dear lady, a fortune.
14:12Terence Radican doesn't work for peanuts, you know.
14:16Monkeys do, though.
14:20I went for a walk in the woods.
14:22Did you?
14:24That is the line.
14:26I went for a walk in the woods.
14:28Yes. Sorry. I beg your pardon.
14:31I went for a walk in the woods
14:34and I met a handsome stranger.
14:37He smiled at me and he said...
14:40Hey, Nelly, give us a hand with these trousers.
14:42Hey, Nelly, give us a hand with these trousers.
14:44I didn't...
14:46Will you kindly leave the stage?
14:48These clothes, cock, they make me feel stupid.
14:51Look, the feeling has nothing at all to do with the clothes.
14:53Kindly get off, will you, please?
14:55Oh, very well, then.
14:58Now, carry on, please, Miss Pledge.
15:04Here I am, all alone, by myself,
15:07with nobody with me.
15:09And we are so poor.
15:11Until I was 15,
15:14I thought knives and forks were jewellery.
15:19Times are hard at Heart of Hall.
15:37Walter, you don't come on
15:40until I say
15:43I wish I could go to the ball.
15:46I wish I could go to the ball.
15:48That's when he'd come on.
15:50He thought when I said hall, I said ball, you see.
15:55Tell him he'll know when to come on
15:57because there will be a flash.
15:59There'll be a flash when he come on!
16:03A flash!
16:05Miss Pledge, remind him to wave his wand, will you?
16:09When he come on, wave it about a bit.
16:13Go on, wave it about a bit. That's right.
16:16That's all right. Off you go.
16:20Hope he'll be all right in those tights.
16:23Can't get them down in a hurry.
16:26Miss Pledge, strengthen her.
16:28I'm so lonely.
16:30Are you?
16:31No, that is the line.
16:33I'm so lonely.
16:35I am so lonely.
16:37There is only, my friend Buttons,
16:40what I can turn to.
16:43Hello, kiddies.
16:47Oh, bloody hell.
16:49Hello, kiddies.
16:51Hello.
16:53What are you doing?
16:55I'm practising shouting at the kiddies.
16:57You have to do that, you know.
16:59You have to be friendly with the little so-and-sos.
17:01Isn't that right, Squire?
17:03Indubitably, yes.
17:05Yes, you see, that's my part.
17:07I'm the friendly Buttons.
17:09More like a belly button.
17:11I would like to fire, but we have no coal.
17:13Oh, that'll be just great.
17:23Yes, well, if I had enough money for a stamp,
17:26I would write to Mr. Attlee.
17:32Are you sure this is a new play?
17:34Well, some parts are newer than others, you see.
17:37You're telling me.
17:40There's a line later on that says,
17:42cross out Dixie Deed, substitute Stanley Matthews.
17:45Which line is that, Mr. Denton?
17:47The one where the footballer comes in the theatre
17:49and gets kicked in the orchestra stall.
17:51No, no.
17:57Get on with the song, will you, Mr. Pledge,
17:59and I will accompany you.
18:01I see, the song, yes.
18:03Do not worry.
18:05I know times are hard, Cinderella,
18:07but look for a silver lining.
18:10Not yet.
18:12Finished.
18:14No, no, Cinderella.
18:16Although skies are grey, do not worry.
18:18Soon there will be blue skies.
18:20Blue skies shining for me.
18:22Shut up, short house.
18:24I'm finished, have I?
18:26Do not cry, Cinderella.
18:28Nobody loves you when you are crying.
18:30They only love you when you are smiling.
18:32You speak very true.
18:34That's it.
18:36What's it?
18:39The song, When You Are Smiling.
18:41Oh, the song.
18:43When you're smiling.
18:45When you're smiling,
18:47the whole world smiles with you.
18:49When you're laughing,
18:51when you're laughing,
18:53the sun comes shining through.
18:55When you're flying,
18:57you bring out the rays
18:59of your flying.
19:01When you're smiling,
19:03when you're smiling,
19:05the whole world
19:07smiles with you.
19:19Cinderella,
19:21things look brighter already.
19:23Yes.
19:25Oh, but those are my sisters.
19:27Those are her sisters.
19:29I wouldn't say they were ugly,
19:31but if they lived in India,
19:33they'd be sacred.
19:37Hello, Miss Nelly.
19:39Hey, you recognize these?
19:41You specky-eyed men
19:43in your carrier.
19:45Those are my best bloomers.
19:47How dare you
19:49go through my smalls?
19:51No, no.
19:53I said,
19:55don't go through my smalls.
19:57You come on when I say
19:59go through my smalls.
20:01I said,
20:03don't go through my smalls.
20:06You come on when I say
20:08go to the ball.
20:10Well, Tinders,
20:12don't be so flaming idle.
20:14You're supposed to be
20:16doing odd jobs.
20:18Yes, go and milk the bull.
20:20That's a very odd job.
20:22Nelly, Nelly,
20:24that's a pantomime.
20:26Oh, why is it
20:28that I have always got
20:30to do the chores?
20:32What chores?
20:35Starting buttons.
20:37These buttons, I love to play a game.
20:39Ah, well, we'll have a game
20:41of Coldman's Knock.
20:43How do you play that?
20:45Same as Postman's Knock, only dirtier.
20:47Ah!
20:49Louie!
20:553,000 miles
20:57and still no sign of Dick.
21:05Oi!
21:07Sparrowlegs!
21:09You're in the wrong pantomime.
21:11You will pay for that impertinence
21:13or my name is not Prince Charming.
21:15Prince Charming looked more like
21:17Prince Monolulu.
21:19They said I would find beauty
21:21here at Harderpol.
21:23Let's play.
21:25Is that not that
21:27pretty girl I saw in the woods
21:29just now?
21:31That is that handsome
21:34prince that I met in the woods
21:36that wanted me to have a ride
21:38on his bike
21:40and promise me a jelly baby.
21:44I have come from the palace
21:46to bring you all tickets for the royal ball.
21:48Oh, I either dance or a raffle.
21:50How lovely to go to a ball.
21:54No!
21:58Look, he's your husband,
22:00you know, Lily.
22:03Why are you telling me when he's not doing it right?
22:05He's not doing anything at all.
22:07See, I can't be looking after Walter.
22:09After all, I am the principal boy.
22:11And you've got just the right chest for it.
22:15You nail him, Lily.
22:17Let's go on with the pantomime.
22:21How come a handsome prince like you
22:23should be interested in a poor girl
22:25like me?
22:27Well, you see, Cinderella,
22:29as soon as I first saw you,
22:31I knew that you were meant for me.
22:33You are meant for me.
22:37You see, Cinderella,
22:39it's just that somehow
22:41you made me love you.
22:49I just thought
22:51how wonderful it would be
22:53if you were the only girl in the world.
22:55You do look nice when you say that.
22:58That's the song.
23:00What's the song?
23:02What did he say was the song?
23:04If you were the only girl.
23:06If you were the only girl, boy, in the world.
23:08And you were the only girl.
23:14We're supposed to have a piano
23:16accomplishment to this.
23:18Where's Mr. Foulpest?
23:20Mr. Foulpest!
23:22What are you doing about this song?
23:24What the hell are you doing?
23:27We're the broker's men.
23:29Broker's men? Just a minute, I'll see Mr. Foulpest.
23:31If you mean Mr. Rupert Tempest,
23:33we've just seen him getting on a train for London.
23:35He can't. We're doing a pantomime.
23:37Oh, no, not here, mate. Rent's not been paid.
23:39That's a possession order.
23:41In other words, hop it.
23:43Do you mean to say we've gone to all this trouble
23:45for nothing?
23:47Try and keep calm, little old boy.
23:49And we're not going to get our Christmas Club money back.
23:51It's no good going on like that.
23:53It's no good looking on the dance.
23:56It's no good looking on the silver lining.
23:58That's a song to get us on.
24:00The silver lining.
24:02The silver lining.
24:04The silver lining.
24:25♪♪
24:35♪♪
24:45♪♪
24:55♪♪
25:05♪♪
25:15♪♪
25:25♪♪
25:35This is a nice one, Lily.
25:37It says, Christmas is coming.
25:39The nights are getting murky.
25:41Don't be disappointed.
25:43Put your name down for a turkey.
25:45Oh, very nice.
25:47Yes, it's from that butcher, you know,
25:49in Shrewsbury Street.
25:51The one that wanted your Walter
25:53to be stood standing in his window
25:55with an apple in his mouth.
25:57We haven't been for our bird yet.
25:59I'm sending Walter out for it tomorrow.
26:01All right, Walter.
26:03Going out tomorrow for a bird,
26:05are you?
26:07I think he should get
26:09one already stuffed.
26:13Our Walter's got a lovely one, you know.
26:15Eh?
26:17He'll show it to you if you like.
26:19You what?
26:21It's a beautiful Christmas card.
26:23Oh.
26:25It's from the doctor.
26:27Read the words, Nellie.
26:29Oh, lovely.
26:31Christmas comes, but once a year,
26:33why don't you do the same?
26:37Any road, Nellie?
26:39Have you fixed that Christmas do up yet?
26:41You know, for Pickle Workers.
26:43No, we're having a meeting, you know.
26:45I was, er, Stan, you know,
26:47and now Eli and me, we're on the, er,
26:49Social Committee.
26:51Only me and Walter wouldn't say no, you know,
26:53to an invite. No.
26:55Walter loves a good do.
26:57All right, Walter. Love a good do.
26:59Well, I can't rightly say,
27:01see, because it's the Picklers' money,
27:03you know, and now Eli and Stan
27:05have gone down to the bank
27:07to get it out.
27:09That reminds me, has he been?
27:13Them Picklers, they don't realise
27:15how much we put in.
27:17Well, that's very true.
27:19And I think it's about time we took a bit out,
27:21don't you?
27:23Charlie, we'll have two pints, please.
27:25I'll put this down to travelling expenses.
27:27Hey,
27:2960 quid.
27:31What sort of a do shall we have?
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