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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:04,434 --> 00:00:06,901 ( theme music playing ) 2 00:00:40,467 --> 00:00:42,534 MORNING, MRS. BUCKET. 3 00:00:42,534 --> 00:00:44,501 IT'S "BOUQUET." 4 00:00:44,501 --> 00:00:46,467 I NEVER KNEW THAT. 5 00:00:46,467 --> 00:00:48,033 TRUST ME. 6 00:00:48,033 --> 00:00:50,934 TO ME, PEOPLE ARE USUALLY JUST A NAME ON A NOTE. 7 00:00:50,934 --> 00:00:53,133 I WILL NOT HAVE MILKMEN 8 00:00:53,133 --> 00:00:55,267 REDUCING ME TO A PIECE OF PAPER. 9 00:00:59,267 --> 00:01:01,267 IS THERE SOMETHING WRONG MRS. BU--? 10 00:01:01,267 --> 00:01:03,234 "BOUQUET"? 11 00:01:03,234 --> 00:01:05,667 IT SEEMS ALL RIGHT. 12 00:01:05,667 --> 00:01:08,334 BUT IN FUTURE I WANT YOU TO BE QUITE SURE 13 00:01:08,334 --> 00:01:10,334 THAT I GET MY OWN BOTTLES BACK. 14 00:01:10,334 --> 00:01:13,100 I KNOW THAT MINE HAVE BEEN PROPERLY WASHED. 15 00:01:13,100 --> 00:01:15,467 AND I CAN'T BE QUITE SURE ABOUT OTHER BOTTLES. 16 00:01:15,467 --> 00:01:18,868 SO PLEASE INFORM THE PEOPLE AT THE DEPOT 17 00:01:18,868 --> 00:01:21,167 THAT I WANT MY OWN BOTTLES BACK. 18 00:01:21,167 --> 00:01:24,667 ALL BOTTLES ARE STERILIZED, MRS. BU-- 19 00:01:24,667 --> 00:01:27,667 "BOUQUET." THE MILK'S PASTEURIZED. 20 00:01:27,667 --> 00:01:29,834 IT'S A MATTER OF COMPLETE INDIFFERENCE TO ME 21 00:01:29,834 --> 00:01:33,367 WHETHER IT'S STERILIZED, PASTEURIZED, IMMUNIZED OR PRIVATIZED. 22 00:01:35,634 --> 00:01:38,501 JUST INFORM YOUR SUPERIORS 23 00:01:38,501 --> 00:01:40,501 THAT I WANT MY OWN BOTTLES BACK! 24 00:01:45,400 --> 00:01:47,734 ( whistling ) 25 00:02:07,167 --> 00:02:10,968 THERE'S A MAN-- NEXT DOOR-- IN ELIZABETH'S HOUSE. 26 00:02:10,968 --> 00:02:13,801 SORRY, I DON'T SEE THE SIGNIFICANCE. 27 00:02:13,801 --> 00:02:16,868 A MAN. 28 00:02:16,868 --> 00:02:18,968 YES, I HEARD THAT. 29 00:02:18,968 --> 00:02:20,901 BOLD AS YOU PLEASE. 30 00:02:20,901 --> 00:02:23,300 IF SHERIDAN WERE HERE HE'D BE APPALLED. 31 00:02:23,300 --> 00:02:25,801 STEADY ON, MAYBE SHE'S GOT THE DECORATOR IN. 32 00:02:25,801 --> 00:02:28,300 DRAPED IN A TOWEL? 33 00:02:28,300 --> 00:02:30,567 WELL, AT LEAST HE SOUNDS CLEAN. 34 00:02:30,567 --> 00:02:34,634 HYACINTH, PERHAPS HER HUSBAND'S COME BACK FROM SAUDI ARABIA. 35 00:02:34,634 --> 00:02:37,033 IT IS NOT HER HUSBAND. 36 00:02:38,467 --> 00:02:41,067 I WARNED HER AGAINST WATCHING CHANNEL 4. 37 00:02:43,100 --> 00:02:46,200 SHE'LL COME TO NO GOOD IDENTIFYING WITH THE CONTINENTAL CLASSES. 38 00:02:52,868 --> 00:02:54,868 ( sniffs ) 39 00:02:57,300 --> 00:02:59,300 ONSLOW. 40 00:02:59,300 --> 00:03:01,534 WHAT IS IT? 41 00:03:01,534 --> 00:03:04,601 IT LOOKS LIKE A BEAUTIFUL DAY. 42 00:03:04,601 --> 00:03:07,434 HOW NICE. 43 00:03:07,434 --> 00:03:10,400 WELL IT IS. LOOK AT IT. 44 00:03:10,400 --> 00:03:12,400 IT'S A BEAUTIFUL DAY. 45 00:03:15,033 --> 00:03:18,100 RIGHT-- GOT IT-- BEAUTIFUL DAY. 46 00:03:21,434 --> 00:03:25,434 WE HARDLY HAVE ANY CONVERSATION THESE DAYS. 47 00:03:25,434 --> 00:03:29,033 EVEN WHEN WE MAKE LOVE YOU RARELY SPEAK TO ME. 48 00:03:29,033 --> 00:03:32,934 ESPECIALLY WHEN WE MAKE LOVE YOU RARELY SPEAK TO ME. 49 00:03:34,501 --> 00:03:37,100 YOU THINK DOING TWO THINGS AT ONCE 50 00:03:37,100 --> 00:03:39,200 IS A FORMULA FOR SUCCESS. 51 00:03:41,367 --> 00:03:44,033 IT'S JUST THAT-- AT TIMES LIKE THAT 52 00:03:44,033 --> 00:03:46,067 A WOMAN LIKES A LITTLE CONFIRMATION 53 00:03:46,067 --> 00:03:48,801 THAT THERE'S ACTUALLY SOMEBODY THERE. 54 00:03:48,801 --> 00:03:51,901 IT'S THAT MEMORABLE, IS IT? 55 00:03:51,901 --> 00:03:53,834 I'LL TELL YOU WHY I DON'T LIKE CHATTING 56 00:03:53,834 --> 00:03:55,701 WHEN I'M MAKING LOVE TO YOU. 57 00:03:55,701 --> 00:03:58,834 BECAUSE THE LAST TIME, RIGHT IN THE MIDDLE OF THINGS, 58 00:03:58,834 --> 00:04:00,834 YOU SAID TO ME, "ONSLOW, 59 00:04:00,834 --> 00:04:02,834 IF I'D HAVE DIED IN CHILDBIRTH, 60 00:04:02,834 --> 00:04:05,067 WOULD YOU HAVE MARRIED AGAIN?" 61 00:04:06,067 --> 00:04:08,067 WELL, WOULD YOU? 62 00:04:08,067 --> 00:04:10,834 MARRIED AGAIN? I COULDN'T EVEN FINISH MAKING LOVE. 63 00:04:12,167 --> 00:04:14,100 YOU FORGET, YOU WOMEN, 64 00:04:14,100 --> 00:04:16,367 IT'S NOT ALWAYS EASY MAKING LOVE TO PEOPLE, 65 00:04:16,367 --> 00:04:19,234 ESPECIALLY WHEN YOU'RE MARRIED. 66 00:04:19,234 --> 00:04:22,267 AND THEN YOU COME UP WITH A QUESTION LIKE THAT, 67 00:04:22,267 --> 00:04:25,868 IT AMOUNTS TO OVERLOADING THE SYSTEM. 68 00:04:25,868 --> 00:04:28,367 ARE WE GOING TO GET UP? 69 00:04:28,367 --> 00:04:31,200 YOU DON'T HAVE TO GO TO PIECES 70 00:04:31,200 --> 00:04:33,267 JUST BECAUSE IT'S A BEAUTIFUL DAY. 71 00:04:37,200 --> 00:04:40,968 WOULD YOU PUT SOMETHING ON, ROSE? YOU'LL BE UPSETTING ONSLOW. 72 00:04:40,968 --> 00:04:43,434 NO SHE WON'T. NOT THIS TIME OF THE MORNING. 73 00:04:43,434 --> 00:04:46,701 DAD'S GONE AGAIN. HE LEFT A NOTE THIS TIME. 74 00:04:46,701 --> 00:04:50,100 "CONDITION RED, ENEMY AIRCRAFT APPROACHING. 75 00:04:50,100 --> 00:04:52,200 DON'T GET UP, I'LL HANDLE IT. 76 00:04:52,200 --> 00:04:54,400 HAVE YOU SEEN MY RATION BOOK? DAD." 77 00:04:55,400 --> 00:04:57,968 NOW WE'LL HAVE TO GET UP. 78 00:04:57,968 --> 00:05:00,534 I'LL KILL YOUR FATHER. 79 00:05:00,534 --> 00:05:02,734 HOW COULD SHE-- 80 00:05:02,734 --> 00:05:04,667 NEXT TO A HOUSE OF THIS CALIBER? 81 00:05:04,667 --> 00:05:06,734 HAD I KNOWN, I'D NEVER HAVE GONE 82 00:05:06,734 --> 00:05:08,701 TO THE EXPENSE OF DOUBLE GLAZING. 83 00:05:10,601 --> 00:05:12,334 THERE'S NO POINT IN GETTING UPSET. 84 00:05:12,334 --> 00:05:14,701 THERE'S PROBABLY SOME PERFECTLY HARMLESS EXPLANATION. 85 00:05:14,701 --> 00:05:17,167 HOW CAN THERE BE A HARMLESS EXPLANATION 86 00:05:17,167 --> 00:05:19,167 TO A STRANGE MAN IN THE HOUSE? 87 00:05:19,167 --> 00:05:22,534 INFORMALLY DRESSED WITH A DEBAUCHED EXPRESSION? 88 00:05:22,534 --> 00:05:25,033 AND OBVIOUSLY BEEN THERE ALL NIGHT. 89 00:05:25,033 --> 00:05:27,901 YOU DON'T KNOW THAT HE'S BEEN THERE ALL NIGHT. 90 00:05:27,901 --> 00:05:30,400 IF HE'S THERE DRAPED IN A TOWEL 91 00:05:30,400 --> 00:05:33,434 WHEN THE MILK ARRIVES, HE'S BEEN THERE ALL NIGHT. 92 00:05:33,434 --> 00:05:36,200 YES, IT'S A REASONABLE CONCLUSION. 93 00:05:36,200 --> 00:05:38,234 I MEAN, JUST IMAGINE, 94 00:05:38,234 --> 00:05:40,834 IF SHE KEEPS HIM, WE COULD BE SHARING MILK BOTTLES. 95 00:05:44,033 --> 00:05:47,000 I WILL NOT SHARE MILK BOTTLES WITH AN ILLICIT LOVE NEST. 96 00:05:49,267 --> 00:05:52,234 IT'S REALLY NONE OF OUR BUSINESS. 97 00:05:52,234 --> 00:05:55,400 OF COURSE IT'S MY BUSINESS. ELIZABETH IS MY FRIEND. 98 00:05:55,400 --> 00:05:57,567 I JUST CAN'T STAND IDLY BY 99 00:05:57,567 --> 00:05:59,734 WHEN SHE'S SINKING INTO MORAL TURPITUDE. 100 00:06:01,267 --> 00:06:03,234 I CAN'T SEE LIZ 101 00:06:03,234 --> 00:06:05,167 SINKING INTO MORAL TURPITUDE. 102 00:06:05,167 --> 00:06:07,167 I WON'T ALLOW IT. 103 00:06:07,167 --> 00:06:09,267 WE MUST SAVE HER FROM HERSELF. 104 00:06:09,267 --> 00:06:11,367 I CANNOT HAVE MY NEXT DOOR NEIGHBOR 105 00:06:11,367 --> 00:06:13,501 TURNING HER HOME INTO A HOUSE OF ILL REPUTE. 106 00:06:13,501 --> 00:06:15,434 HYACINTH! 107 00:06:15,434 --> 00:06:18,200 JUST THINK WHAT IT COULD DO TO THE PROPERTY VALUES. 108 00:06:22,634 --> 00:06:24,667 ( knocking ) 109 00:06:26,434 --> 00:06:28,567 ONSLOW, AREN'T YOU UP YET? 110 00:06:28,567 --> 00:06:30,567 I'M THINKING. 111 00:06:30,567 --> 00:06:32,567 IT'S NO GOOD GOING OFF 112 00:06:32,567 --> 00:06:35,100 HALF-COCKED IN THESE LITTLE EMERGENCIES. 113 00:06:35,100 --> 00:06:37,100 SOMEBODY'S GOT TO KEEP A COOL HEAD 114 00:06:37,100 --> 00:06:39,133 AND DO THE PLANNING. 115 00:06:39,133 --> 00:06:41,367 THERE'S NOBODY SEEN HIM IN THE STREET. 116 00:06:41,367 --> 00:06:44,868 HER AT THE SHOP HASN'T SEEN HIM, AND SHE NEVER MISSES A THING. 117 00:06:44,868 --> 00:06:47,334 IF YOU'RE GOING TO TRACK HIM DOWN THE FIRST THING TO DO 118 00:06:47,334 --> 00:06:49,434 IS FIND OUT WHAT HE'S WEARING. 119 00:06:49,434 --> 00:06:52,267 RIGHT. 120 00:06:52,267 --> 00:06:55,634 SEE WHAT I MEAN ABOUT PLANNING? A COOL HEAD. 121 00:06:58,033 --> 00:07:01,300 ALL HIS STREET CLOTHES ARE THERE. HE'S NOT WEARING ANY OF THEM. 122 00:07:01,300 --> 00:07:03,400 SO NOW WE KNOW WHAT WE'RE LOOKING FOR-- 123 00:07:03,400 --> 00:07:06,467 AN OLD MAN IN PAJAMAS. 124 00:07:07,801 --> 00:07:09,734 WRONG. 125 00:07:09,734 --> 00:07:12,667 OH, NICE. 126 00:07:16,033 --> 00:07:18,033 WE'LL HAVE TO MOVE! 127 00:07:18,033 --> 00:07:20,334 MOVE?! 128 00:07:23,734 --> 00:07:27,234 I SHALL MISS THIS HOUSE. 129 00:07:27,234 --> 00:07:30,834 OVER THE YEARS, I HAVE MADE IT A CENTER OF CULTURE AND TASTE. 130 00:07:30,834 --> 00:07:32,834 ( blows nose ) 131 00:07:32,834 --> 00:07:35,200 WHY SHOULD WE HAVE TO MOVE? 132 00:07:35,200 --> 00:07:37,968 IF THIS AREA IS HEADING FOR A MORAL DECLINE, 133 00:07:37,968 --> 00:07:39,968 WHAT CHOICE HAVE WE? 134 00:07:39,968 --> 00:07:42,067 I WILL NOT RAISE SHERIDAN 135 00:07:42,067 --> 00:07:44,467 IN A CONTINENTAL ATMOSPHERE. 136 00:07:44,467 --> 00:07:46,667 I CAN'T BELIEVE ELIZABETH'S INVOLVED 137 00:07:46,667 --> 00:07:49,000 IN ANYTHING CONTINENTAL. 138 00:07:49,000 --> 00:07:51,200 WELL, I CAN'T BELIEVE IT, EITHER. 139 00:07:51,200 --> 00:07:54,100 HOW FORTUNATE YOU ARE, RICHARD, 140 00:07:54,100 --> 00:07:57,434 TO HAVE A WIFE OF IMPECCABLE MORAL RECTITUDE. 141 00:08:02,300 --> 00:08:05,467 - WHAT ARE WE GONNA DO? - WE'RE GONNA HAVE A CUP OF TEA, 142 00:08:05,467 --> 00:08:09,467 HAVE A FAG AND DECIDE ON A PLAN OF OPERATION. 143 00:08:09,467 --> 00:08:12,167 ONSLOW'S VERY GOOD IN EMERGENCIES. 144 00:08:13,167 --> 00:08:15,834 ( television turns on ) 145 00:08:15,834 --> 00:08:18,701 I SHOULD THINK SO. THE WAY HE LIVES-- 146 00:08:18,701 --> 00:08:20,734 LOOK AT THE PRACTICE HE'S HAD. 147 00:08:20,734 --> 00:08:23,033 HERE IT IS-- 148 00:08:23,033 --> 00:08:25,234 PLAN "A." 149 00:08:25,234 --> 00:08:28,901 I'LL STAY HERE IN CASE HE COMES HOME, YOU TWO GO AND LOOK FOR HIM. 150 00:08:30,434 --> 00:08:32,501 OH, I CAN'T GO. 151 00:08:32,501 --> 00:08:35,334 I'M EXPECTING A PHONE CALL FROM MR. BICKERSTAFF. 152 00:08:35,334 --> 00:08:38,701 - WHO'S MR. BICKERSTAFF? - WHO'S MR. BICKERSTAFF? 153 00:08:38,701 --> 00:08:42,634 HE'S ONLY THE BEST THING THAT EVER HAPPENED TO ME. 154 00:08:42,634 --> 00:08:45,334 A CHANCE TO START AGAIN, 155 00:08:45,334 --> 00:08:47,667 TO BUILD ON THE SECURITY... 156 00:08:47,667 --> 00:08:50,667 OF SOMEONE WHO CARES FOR ME. 157 00:08:50,667 --> 00:08:52,767 I THOUGHT THAT WAS MR. CRABTREE. 158 00:08:52,767 --> 00:08:54,901 DON'T SPEAK TO ME ABOUT THAT SWINE. 159 00:08:54,901 --> 00:08:57,434 YOU SAID YOU LOVED HIM MADLY. 160 00:08:57,434 --> 00:08:59,934 IN FACT, WE COULD HEAR YOU LOVING HIM MADLY. 161 00:09:02,033 --> 00:09:05,200 THAT WAS A TRAGIC MISTAKE. 162 00:09:05,200 --> 00:09:07,200 I DIDN'T KNOW WHAT LOVE WAS 163 00:09:07,200 --> 00:09:09,534 UNTIL ALONG CAME MR. BICKERSTAFF. 164 00:09:09,534 --> 00:09:12,601 I CAN'T GO ANYWHERE UNTIL I'VE HAD HIS PHONE CALL. 165 00:09:12,601 --> 00:09:15,167 HE'LL PANIC IF I'M NOT HERE TO TELL HIM I LOVE HIM. 166 00:09:15,167 --> 00:09:16,934 YOU GO WITH DAISY! 167 00:09:16,934 --> 00:09:19,968 IF A BICKERSTAFF RINGS, I'LL TELL HIM YOU LOVE HIM. 168 00:09:23,734 --> 00:09:25,734 I KNOW YOU DON'T BELIEVE ME, RICHARD. 169 00:09:25,734 --> 00:09:27,734 I HAVE TO GO TO WORK, HYACINTH. 170 00:09:27,734 --> 00:09:30,167 NOT UNTIL YOU'VE SEEN IT WITH YOUR OWN EYES. 171 00:09:30,167 --> 00:09:32,400 ELIZABETH HAS A MAN IN THE HOUSE. 172 00:09:32,400 --> 00:09:34,767 I STILL FEEL IT'S NONE OF OUR BUSINESS. 173 00:09:34,767 --> 00:09:38,467 THE TONE OF THIS NEIGHBORHOOD HAS ALWAYS BEEN MY BUSINESS. 174 00:09:38,467 --> 00:09:41,334 IT IS NOT WITHOUT ENORMOUS EFFORT ON MY PART 175 00:09:41,334 --> 00:09:44,901 THAT THIS DISTRICT HAS ONE OF THE MOST SOUGHT-AFTER POSTAL CODES. 176 00:09:44,901 --> 00:09:47,300 I CAN'T JUST GO OUT THERE 177 00:09:47,300 --> 00:09:48,934 AND STARE AT ELIZABETH'S HOUSE. 178 00:09:48,934 --> 00:09:51,300 NO, OF COURSE YOU MUSTN'T STARE, DEAR. 179 00:09:51,300 --> 00:09:53,267 WE'RE NOT ONES TO PRY. 180 00:09:53,267 --> 00:09:56,534 NOW, I SHALL PRETEND 181 00:09:56,534 --> 00:09:58,534 TO SEE YOU OFF TO WORK. 182 00:09:58,534 --> 00:10:01,334 YOU WILL TURN AND WAVE AS YOU NORMALLY DO. 183 00:10:01,334 --> 00:10:03,534 DO I NORMALLY TURN AND WAVE? 184 00:10:03,534 --> 00:10:06,701 YOU WILL TURN AND WAVE, RICHARD. 185 00:10:06,701 --> 00:10:08,767 THIS WILL GIVE YOU AN OPPORTUNITY 186 00:10:08,767 --> 00:10:11,334 TO CAST YOUR EYE OVER ELIZABETH'S HOUSE. 187 00:10:12,901 --> 00:10:15,934 WELL, WHAT IF I DON'T SEE HIM? 188 00:10:15,934 --> 00:10:19,667 THEN YOU WILL PRETEND THAT YOU HAVE FORGOTTEN SOMETHING. 189 00:10:19,667 --> 00:10:21,901 AND YOU WILL RETURN TO THE HOUSE. 190 00:10:21,901 --> 00:10:24,801 AND THEN WE'LL DO IT ALL OVER AGAIN. 191 00:10:26,067 --> 00:10:27,868 OFF YOU GO, RICHARD. 192 00:11:18,367 --> 00:11:20,400 I'VE FORGOTTEN SOMETHING. 193 00:11:50,400 --> 00:11:52,734 I'VE FORGOTTEN SOMETHING AGAIN. 194 00:11:58,834 --> 00:12:00,834 LIZ, 195 00:12:00,834 --> 00:12:03,501 WHO'S THE IDIOT NEXT DOOR? 196 00:12:06,834 --> 00:12:08,868 OH, THAT'S RICHARD. 197 00:12:08,868 --> 00:12:10,901 OH, HE'S RATHER A DEAR, REALLY. 198 00:12:10,901 --> 00:12:12,767 A BIT FORGETFUL, ISN'T HE? 199 00:12:12,767 --> 00:12:16,367 THAT'S THREE TIMES HE'S BEEN BACK TO THE HOUSE. 200 00:12:16,367 --> 00:12:18,133 BEING MARRIED TO HYACINTH, 201 00:12:18,133 --> 00:12:19,901 IT'S A MIRACLE HE GOES BACK AT ALL. 202 00:12:24,601 --> 00:12:27,901 - NOW DID YOU SEE HIM THAT TIME? - I COULDN'T SEE A THING. 203 00:12:27,901 --> 00:12:30,334 OH, WHY IS IT MEN NEVER NOTICE THINGS? 204 00:12:30,334 --> 00:12:32,334 I NOTICE I'LL BE LATE FOR THE OFFICE. 205 00:12:32,334 --> 00:12:34,968 DON'T INTERRUPT ME WHILE I'M THINKING, DEAR. 206 00:12:34,968 --> 00:12:37,467 IF HE WON'T SHOW HIMSELF, 207 00:12:37,467 --> 00:12:39,367 WE MUST FLUSH HIM OUT. 208 00:12:40,934 --> 00:12:43,434 TEAR GAS? 209 00:12:43,434 --> 00:12:45,033 RICHARD? 210 00:12:45,033 --> 00:12:49,000 I WILL GO ROUND NOW TO ELIZABETH'S HOUSE 211 00:12:49,000 --> 00:12:51,601 ON SOME INNOCENT ERRAND. 212 00:12:51,601 --> 00:12:54,934 I'LL INVITE HER TO ANOTHER OF MY CANDLELIGHT SUPPERS. 213 00:12:54,934 --> 00:12:56,934 YOU WILL STAY HERE 214 00:12:56,934 --> 00:12:58,934 AND KEEP WATCH. 215 00:12:58,934 --> 00:13:01,434 AS SOON AS ELIZABETH HAS LET ME IN 216 00:13:01,434 --> 00:13:03,434 THROUGH THE FRONT DOOR, 217 00:13:03,434 --> 00:13:06,367 10 TO ONE, YOU'LL SEE THE MAN SNEAK OUT OF THE BACK 218 00:13:06,367 --> 00:13:08,100 SCURRYING AWAY. 219 00:13:08,100 --> 00:13:10,501 IT'S TIME THAT I WAS SCURRYING AWAY. 220 00:13:13,133 --> 00:13:15,968 SHE'S NOT LISTENING. HOW DOES SHE MANAGE NEVER TO LISTEN? 221 00:13:15,968 --> 00:13:17,968 I WISH I COULD GET THE HANG OF IT. 222 00:13:19,267 --> 00:13:21,200 RICHARD! WE MUST WARN HER 223 00:13:21,200 --> 00:13:23,567 AGAINST THE DANGERS OF STRANGE MEN. 224 00:13:24,767 --> 00:13:26,601 - ME? 225 00:13:26,601 --> 00:13:29,968 YES, YOU, DEAR. WHY AREN'T YOU LISTENING? 226 00:13:29,968 --> 00:13:32,033 AND YOU MUST DO IT TACTFULLY. 227 00:13:32,033 --> 00:13:35,200 WHILE I'VE CORNERED HER, YOU MUST MAKE YOUR APPEARANCE 228 00:13:35,200 --> 00:13:38,300 AND BEGIN TALKING CASUALLY ABOUT HOW YOU'VE SEEN IT IN THE PAPERS. 229 00:13:38,300 --> 00:13:42,701 - SEEN WHAT? - THE DANGERS OF GETTING INVOLVED WITH STRANGE MEN. 230 00:13:42,701 --> 00:13:44,968 SHE'LL THINK I'M THE STRANGE MAN. 231 00:13:44,968 --> 00:13:46,934 OH, NOW DON'T BE SILLY, DEAR. 232 00:13:46,934 --> 00:13:49,567 I AM RELYING ON YOU, RICHARD. 233 00:13:49,567 --> 00:13:51,567 DON'T FAIL ME. 234 00:13:52,801 --> 00:13:54,567 LET'S RESTORE THIS AREA 235 00:13:54,567 --> 00:13:56,601 TO A PLACE FIT FOR SHERIDAN TO LIVE IN. 236 00:13:57,767 --> 00:13:59,834 GO ON, TO YOUR POST. 237 00:14:01,100 --> 00:14:03,133 JAWOHL. 238 00:14:11,567 --> 00:14:14,267 - GOOD MORNING. - OH, GOOD MORNING. 239 00:14:19,367 --> 00:14:21,534 ( bell rings ) 240 00:14:38,434 --> 00:14:41,334 ( phone ringing ) 241 00:14:46,501 --> 00:14:49,300 HELLO, CAN YOU HANG ON A MINUTE, PLEASE? 242 00:14:59,234 --> 00:15:01,300 I'M SORRY ABOUT THAT. 243 00:15:01,300 --> 00:15:03,300 OH, IT'S YOU, DAISY. 244 00:15:03,300 --> 00:15:05,234 NO, SHE'S JUST POPPED NEXT DOOR. 245 00:15:05,234 --> 00:15:07,234 WHICH REMINDS ME, HANG ON. 246 00:15:21,267 --> 00:15:23,601 I DON'T EXPECT SHE'LL BE LONG. IS IT URGENT? 247 00:15:23,601 --> 00:15:25,567 OH, YOUR FATHER, YES. 248 00:15:25,567 --> 00:15:28,234 NO, I'LL TELL HER. I'VE GOT TO POP NEXT DOOR MYSELF. 249 00:15:28,234 --> 00:15:30,167 YES, BYE. 250 00:15:40,000 --> 00:15:42,033 YOU SEE IT IN THE PAPERS. 251 00:15:42,033 --> 00:15:44,367 TERRIBLE. WOMEN LIVING ALONE. 252 00:15:44,367 --> 00:15:47,100 GETTING INVOLVED WITH STRANGE MEN. VERY UNWISE. 253 00:15:47,100 --> 00:15:49,467 SOUNDS BARMY. 254 00:15:49,467 --> 00:15:52,968 YOU CAN'T OPEN A CONVERSATION LIKE THAT. 255 00:15:56,801 --> 00:16:00,434 HELLO, LIZ. HAVE YOU SEEN IT IN THE PAPERS? 256 00:16:00,434 --> 00:16:03,334 WOMEN LIVING ALONE GETTING INVOLVED WITH STRANGE MEN. 257 00:16:03,334 --> 00:16:06,300 OH, I CAN'T SAY THAT. 258 00:16:06,300 --> 00:16:08,667 ( bell rings ) 259 00:16:08,667 --> 00:16:11,167 ON THE OTHER HAND, HYACINTH WILL BE 260 00:16:11,167 --> 00:16:14,000 STANDING THERE WAITING FOR ME TO SAY THAT. 261 00:16:14,000 --> 00:16:16,767 I CAN SAY THAT. 262 00:16:18,067 --> 00:16:20,100 HELLO, RICHARD. 263 00:16:20,100 --> 00:16:21,801 ELIZABETH, HI. 264 00:16:21,801 --> 00:16:24,968 - WHAT IS IT? - ELIZABETH, I-- 265 00:16:24,968 --> 00:16:26,501 YES, RICHARD? 266 00:16:26,501 --> 00:16:29,400 I HAVE TO SPEAK TO YOU. 267 00:16:29,400 --> 00:16:32,067 OH, WELL, COME IN. 268 00:16:32,067 --> 00:16:34,601 FORCES OVER WHICH I HAVE NO CONTROL 269 00:16:34,601 --> 00:16:37,400 - ARE INSISTING THAT I SPEAK TO YOU. - YES, RICHARD. 270 00:16:37,400 --> 00:16:40,200 HAVE YOU SEEN IT IN THE PAPERS? 271 00:16:40,200 --> 00:16:42,100 HAVE I SEEN WHAT? 272 00:16:42,100 --> 00:16:45,601 - ABOUT STRANGE MEN-- - RICHARD! RICHARD! 273 00:16:45,601 --> 00:16:48,868 YOU HAVEN'T MET ELIZABETH'S BROTHER, HAVE YOU? 274 00:16:48,868 --> 00:16:52,000 - BROTHER? - ELIZABETH'S BROTHER! 275 00:16:52,000 --> 00:16:54,801 OH, I'M SORRY. 276 00:16:54,801 --> 00:16:57,434 I'VE JUST BEEN TELLING EMMET ALL ABOUT YOU. 277 00:16:57,434 --> 00:17:00,567 EMMET, THIS IS RICHARD. RICHARD, MY BROTHER EMMET. 278 00:17:00,567 --> 00:17:02,734 - HELLO, RICHARD. - HE'LL BE STAYING HERE FOR A WHILE. 279 00:17:02,734 --> 00:17:06,434 I CAN'T TELL YOU HOW GLAD I AM TO HEAR THAT. 280 00:17:06,434 --> 00:17:08,634 THAT I SHALL BE STAYING HERE FOR A WHILE? 281 00:17:08,634 --> 00:17:10,534 NO, THAT YOU'RE HER BROTHER. 282 00:17:10,534 --> 00:17:12,367 - WELL, HYACINTH-- 283 00:17:12,367 --> 00:17:14,801 NO! NOW STOP BABBLING, RICHARD. 284 00:17:14,801 --> 00:17:16,834 IT'S TIME YOU GOT BACK TO THE OFFICE. 285 00:17:16,834 --> 00:17:19,067 HE HAS VERY LARGE RESPONSIBILITIES. 286 00:17:19,067 --> 00:17:21,801 I DON'T LIKE HIM BEING LATE FOR THE OFFICE. 287 00:17:21,801 --> 00:17:23,801 HYACINTH, YOUR SISTER'S BEEN ON THE PHONE. 288 00:17:23,801 --> 00:17:25,934 OH, MY SISTER VIOLET. 289 00:17:25,934 --> 00:17:28,567 SHE MARRIED A TURF ACCOUNTANT. THEY HAVE A VERY LARGE HOUSE, 290 00:17:28,567 --> 00:17:31,501 A SWIMMING POOL AND ROOM FOR A PONY. 291 00:17:31,501 --> 00:17:34,100 - NO, DAISY. - OH, DAISY. 292 00:17:34,100 --> 00:17:35,634 EXCUSE ME, DEAR. 293 00:17:35,634 --> 00:17:38,100 EMMET. 294 00:17:38,100 --> 00:17:40,367 AND LATER ON THERE'LL BE 295 00:17:40,367 --> 00:17:43,467 A LITTLE CANDLELIGHT SUPPER SOMETIME, TO LOOK FORWARD TO. 296 00:17:44,934 --> 00:17:47,901 EMMET. 297 00:17:47,901 --> 00:17:51,267 JUST A SMALL SELECT GATHERING. 298 00:17:51,267 --> 00:17:53,601 LIVING NEXT DOOR TO US, YOU'LL SOON LEARN 299 00:17:53,601 --> 00:17:55,200 THAT YOU'RE AT THE CENTER 300 00:17:55,200 --> 00:17:57,234 OF THE CULTURAL HUB OF THINGS ROUND HERE. 301 00:17:57,234 --> 00:18:01,000 - I MUST BE LEAVING FOR THE OFFICE. - AGAIN. 302 00:18:01,000 --> 00:18:04,667 AS THE FRENCH SAY. ( laughs ) 303 00:18:04,667 --> 00:18:07,868 TE44TE-A00-TE44TE 304 00:18:14,300 --> 00:18:16,801 YE GODS! 305 00:18:16,801 --> 00:18:19,133 IS THE WOMAN ALWAYS LIKE THAT? 306 00:18:21,167 --> 00:18:23,868 IT WAS HER BROTHER ALL THE TIME. 307 00:18:23,868 --> 00:18:25,734 HE'S LOST HIS HOUSE IN A MESSY DIVORCE 308 00:18:25,734 --> 00:18:27,734 AND HE NEEDS SOMEWHERE TO LIVE. 309 00:18:31,968 --> 00:18:35,601 I KNEW ELIZABETH WAS BEYOND MORAL REPROACH. 310 00:18:35,601 --> 00:18:38,701 I DON'T KNOW WHY YOU PUT THAT IDEA IN MY HEAD IN THE FIRST PLACE. 311 00:18:40,667 --> 00:18:43,767 YOU DON'T IMAGINE I COULD HAVE BEEN FRIENDS ALL THESE YEARS, 312 00:18:43,767 --> 00:18:46,234 WITH A PERSON OF LOW MORAL FIBRE? 313 00:18:46,234 --> 00:18:48,801 IT WAS SHORT-SIGHTED OF YOU, RICHARD. 314 00:18:48,801 --> 00:18:51,067 ACTUALLY, IT WAS YOU WHO SAID-- 315 00:18:51,067 --> 00:18:53,067 YES, I DID, DIDN'T I? 316 00:18:53,067 --> 00:18:55,701 AND YOU SEE HOW RIGHT I WAS. 317 00:18:57,000 --> 00:18:59,601 I MUST GO TO THE OFFICE. 318 00:19:00,868 --> 00:19:02,868 COME INSIDE FOR A MOMENT, RICHARD. 319 00:19:02,868 --> 00:19:05,501 THERE'S SOMETHING I HAVE TO TELL YOU. 320 00:19:05,501 --> 00:19:07,667 IT'S QUITE EXCITING. 321 00:19:07,667 --> 00:19:09,300 TELL ME HERE. 322 00:19:10,834 --> 00:19:13,200 I THINK CHATTING IN THE STREET 323 00:19:13,200 --> 00:19:16,167 IS VERY COMMON, DON'T YOU? 324 00:19:16,167 --> 00:19:18,067 ( whines ) 325 00:19:21,367 --> 00:19:23,767 - HYACINTH--! - NO, NO, NO! 326 00:19:23,767 --> 00:19:25,501 - WILL IT BE LONG-- - SHH! SHH! 327 00:19:29,601 --> 00:19:32,100 - I'M TELLING YOU-- - ( verbalizing ) 328 00:19:37,300 --> 00:19:40,834 EMMET IS A MUSICIAN. 329 00:19:42,834 --> 00:19:44,767 HE TEACHES MUSIC. 330 00:19:46,200 --> 00:19:49,901 A CLASSICALLY TRAINED MUSICIAN. 331 00:19:49,901 --> 00:19:53,000 A CLASSICALLY TRAINED MUSICIAN. 332 00:19:53,000 --> 00:19:55,300 DON'T YOU REALIZE WHAT THAT MEANS? 333 00:19:55,300 --> 00:19:58,200 ABOUT �25 AN HOUR, I SHOULD THINK. 334 00:19:58,200 --> 00:20:01,534 CAN'T YOU SEE WHAT AN ASSET HE'LL BE 335 00:20:01,534 --> 00:20:03,434 AT MY LITTLE MUSICAL SOIRE!!ES? 336 00:20:03,434 --> 00:20:05,634 OH, THOSE, YES. 337 00:20:05,634 --> 00:20:08,100 DOES HE KNOW THAT YOU GIVE LITTLE MUSICAL SOIRE!!ES? 338 00:20:08,100 --> 00:20:10,868 NO, DEAR, NOT YET. 339 00:20:10,868 --> 00:20:13,167 BUT I'M NOT ONE TO PUSH MY TALENTS FORWARD. 340 00:20:13,167 --> 00:20:16,834 - I'LL LET THAT JUST EMERGE NATURALLY. - YEAH. 341 00:20:16,834 --> 00:20:19,100 BUT YOU HAVEN'T HEARD THE BEST BIT. 342 00:20:19,100 --> 00:20:21,367 REALLY? 343 00:20:21,367 --> 00:20:25,067 HE PRODUCES AND DIRECTS THE AMATEUR OPERATIC SOCIETY! 344 00:20:26,434 --> 00:20:29,267 IT'S A WONDER HE FOUND TIME TO GET DIVORCED. 345 00:20:29,267 --> 00:20:32,901 SO YOU MUST BE PREPARED, RICHARD. 346 00:20:32,901 --> 00:20:35,000 AS SOON AS HE HEARS ME SING, 347 00:20:35,000 --> 00:20:37,467 HE'LL START PESTERING ME TO PLAY A LEADING ROLE. 348 00:20:37,467 --> 00:20:40,334 AND THAT'S WHAT I WANT TO ASK YOU, DEAR. 349 00:20:40,334 --> 00:20:42,667 WILL IT BE FAIR TO SHERIDAN, 350 00:20:42,667 --> 00:20:44,734 A MOTHER ON THE STAGE? 351 00:20:48,167 --> 00:20:51,634 WHERE DID YOU PUT MY BRIEFCASE? 352 00:20:51,634 --> 00:20:55,067 BECAUSE I'M HAVING HIM ROUND FOR COFFEE AND THE QUESTION MAY ARISE. 353 00:20:55,067 --> 00:20:57,033 DON'T FORGET TO RING YOUR DAISY. 354 00:20:57,033 --> 00:20:59,400 OH, YES, DEAR, YES, I WILL WHEN I'VE GOT A MOMENT. 355 00:20:59,400 --> 00:21:03,100 - AH. - WHEN I'VE DECIDED THE DETAILS OF MY DEBUT. 356 00:21:10,534 --> 00:21:13,200 - DADDY'S NOWHERE ROUND THE BLOCK! - NOBODY'S SEEN HIM. 357 00:21:13,200 --> 00:21:14,968 - DID OUR HYACINTH RING? - NO. 358 00:21:14,968 --> 00:21:17,100 - DID MR. BICKERSTAFF RING? - NOBODY RANG. 359 00:21:17,100 --> 00:21:21,067 ONSLOW, YOU'VE GOT TO GET THE CAR OUT, LOVE. WE HAVE TO GO AND TELL HER. 360 00:21:21,067 --> 00:21:23,100 WHAT IF MR. BICKERSTAFF RINGS? 361 00:21:23,100 --> 00:21:25,367 YOU CAN PHONE MR. BICKERSTAFF AT OUR HYACINTH'S. 362 00:21:25,367 --> 00:21:28,901 ON A WHITE SLIMLINE PUSH-BUTTON TELEPHONE. 363 00:21:32,534 --> 00:21:34,567 ( television goes off ) 364 00:21:36,067 --> 00:21:38,667 GOODBYE, DEAR. 365 00:21:38,667 --> 00:21:40,968 HAVE A NICE DAY. 366 00:21:40,968 --> 00:21:43,133 WHAT'S LEFT OF IT. 367 00:21:46,834 --> 00:21:49,534 ( Hyacinth sings opera ) 368 00:21:52,033 --> 00:21:54,567 - WHY ARE YOU SINGING? - HMM? 369 00:21:54,567 --> 00:21:56,467 OUT HERE IN THE OPEN LIKE THAT? 370 00:21:56,467 --> 00:21:59,133 RICHARD, WHAT A QUESTION, DEAR. 371 00:21:59,133 --> 00:22:01,033 YOU KNOW I LOVE TO SING. 372 00:22:01,033 --> 00:22:03,267 ( sings ) 373 00:22:10,234 --> 00:22:12,801 OH, ELIZABETH, DEAR. 374 00:22:12,801 --> 00:22:16,067 DON'T FORGET COFFEE AT 10:45, WILL YOU? 375 00:22:16,067 --> 00:22:18,901 * ALL THROUGH THE NIGHT... * 376 00:22:28,734 --> 00:22:31,100 MAYBE YOU SHOULD'VE PUT ON A SHIRT. 377 00:22:31,100 --> 00:22:33,901 NOBODY SAID IT WAS FORMAL. 378 00:22:33,901 --> 00:22:36,801 I'LL DIE IF I MISS MR. BICKERSTAFF. 379 00:22:36,801 --> 00:22:41,367 Both: OH, SHUT UP, ROSE! 380 00:22:43,334 --> 00:22:46,100 COME ON, EMMET, SHE SAID 10:45. 381 00:22:46,100 --> 00:22:49,367 IT HAS TO BE EXACTLY 10:45? 382 00:22:49,367 --> 00:22:51,167 BELIEVE ME, IT'S EASIER. 383 00:22:52,534 --> 00:22:55,100 ( bell rings ) 384 00:23:00,000 --> 00:23:02,033 AH, THERE YOU ARE. 385 00:23:02,033 --> 00:23:04,334 AND ALMOST ON TIME. 386 00:23:06,834 --> 00:23:08,434 COME IN. 387 00:23:08,434 --> 00:23:10,467 ( loudly ) * COME IN. * 388 00:23:14,567 --> 00:23:17,801 AND THERE'S SHERIDAN AT SHERINGHAM IN HIS LITTLE SAILOR SUIT. 389 00:23:17,801 --> 00:23:20,968 SUPER. 390 00:23:20,968 --> 00:23:24,067 AND THERE HE IS DAWDLING ON A DONKEY AT DAWLISH. 391 00:23:24,067 --> 00:23:26,234 BLESS HIM, HE WAS FEARLESS. 392 00:23:26,234 --> 00:23:28,434 THEN WHY IS HE CRYING? 393 00:23:28,434 --> 00:23:30,167 WELL-- 394 00:23:30,167 --> 00:23:33,334 BECAUSE THE DONKEY WAS CARRYING HIM AWAY FROM HIS MOMMY. 395 00:23:35,567 --> 00:23:37,400 WE WERE ALWAYS VERY CLOSE. 396 00:23:38,634 --> 00:23:41,100 ANOTHER CUP OF AROMATIC NUT-ROASTED SPECIAL? 397 00:23:41,100 --> 00:23:42,934 NO! 398 00:23:42,934 --> 00:23:45,767 NO, THANK YOU. I'M FINE. 399 00:23:45,767 --> 00:23:47,901 ELIZABETH, YOURS MUST BE COLD. 400 00:23:47,901 --> 00:23:49,801 NO, NO! THANK YOU, HYACINTH. 401 00:23:49,801 --> 00:23:53,667 I'M ALWAYS A BIT UNEASY WITH YOUR BEST CHINA. 402 00:23:53,667 --> 00:23:55,501 NO, I'M QUITE HAPPY WITH MY BISCUIT. 403 00:23:55,501 --> 00:23:57,868 GOOD, BUT JUST WATCH THE CRUMBS, WON'T YOU? 404 00:24:00,601 --> 00:24:03,300 MY ROYAL DOULTON HAND-PAINTED PERIWINKLE 405 00:24:03,300 --> 00:24:05,133 IS NOT REALLY MY BEST CHINA. 406 00:24:05,133 --> 00:24:07,067 IT'S JUST MY EVERYDAY BEST. 407 00:24:07,067 --> 00:24:10,300 MY REALLY BEST BEST, I SHALL KEEP FOR ANOTHER TIME. 408 00:24:10,300 --> 00:24:12,567 WHEN YOU COME FOR A MORE FORMAL OCCASION. 409 00:24:12,567 --> 00:24:16,033 PERHAPS A LITTLE MUSICAL SOIRE!!E, 410 00:24:16,033 --> 00:24:18,234 FOLLOWED BY A LITTLE CANDLELIGHT SUPPER. 411 00:24:19,267 --> 00:24:21,801 NOW, I'VE GOT ANOTHER ALBUM SOMEWHERE. 412 00:24:27,801 --> 00:24:30,100 ( backfires ) 413 00:24:33,167 --> 00:24:34,801 WELL, THANK YOU FOR THE COFFEE 414 00:24:34,801 --> 00:24:37,501 AND THE TOUR THROUGH YOUR ALBUMS, BUT WE HAVE TO BE GOING. 415 00:24:37,501 --> 00:24:39,667 NO, YOU CAN'T GO NOW! 416 00:24:39,667 --> 00:24:41,701 NOT NOW. NOT RIGHT NOW. 417 00:24:41,701 --> 00:24:44,434 NOT UNTIL YOU'VE SEEN THE OTHER ALBUM. 418 00:24:44,434 --> 00:24:47,067 DESOLATE AS I AM I NOT TO SEE ANOTHER ALBUM-- 419 00:24:47,067 --> 00:24:49,300 - EXCUSE ME, DON'T MOVE! 420 00:24:51,334 --> 00:24:52,601 JUST SIT THERE. 421 00:24:56,601 --> 00:24:58,300 I'LL BE BACK. 422 00:25:00,400 --> 00:25:02,400 WHATEVER YOU THINK! 423 00:25:06,767 --> 00:25:08,434 OH, LET'S GO. 424 00:25:08,434 --> 00:25:10,634 I DON'T THINK I CAN FACE YET ANOTHER ALBUM. 425 00:25:10,634 --> 00:25:14,067 NO, SHE SAID DON'T MOVE. 426 00:25:14,067 --> 00:25:17,100 WE CAN'T EXACTLY BE UNDER HOUSE ARREST. 427 00:25:20,834 --> 00:25:23,133 CAN WE? 428 00:25:23,133 --> 00:25:26,400 - GO AND FIND DADDY IMMEDIATELY. - WE'VE BEEN DOING THAT. 429 00:25:26,400 --> 00:25:28,634 CAN'T I MAKE A PHONE CALL TO MR. BICKERSTAFF? 430 00:25:28,634 --> 00:25:30,767 NO, ROSE. 431 00:25:30,767 --> 00:25:34,100 NOT TO ONE OF YOUR GENTLEMEN FRIENDS ON MY WHITE SLIMLINE TELEPHONE, 432 00:25:34,100 --> 00:25:37,534 THE INSTRUMENT THROUGH WHICH I HAVE TO SPEAK TO SHERIDAN. 433 00:25:37,534 --> 00:25:39,200 SUPPOSING THERE WERE A CROSSED LINE 434 00:25:39,200 --> 00:25:42,634 AND HE PICKED UP SOME RESIDUE OF YOUR CONVERSATION? 435 00:25:42,634 --> 00:25:45,734 YOU MUST GO AND FIND DADDY NOW. 436 00:25:45,734 --> 00:25:47,334 WE THOUGHT HE MIGHT BE HERE. 437 00:25:47,334 --> 00:25:49,400 DADDY WOULD NEVER COME HERE 438 00:25:49,400 --> 00:25:51,834 LOOKING FOR HIS RATION BOOK. 439 00:25:51,834 --> 00:25:54,234 NOT IN HIS LONGJOHNS. 440 00:25:55,367 --> 00:25:58,434 NOW, GO AND FIND HIM IMMEDIATELY. 441 00:26:00,100 --> 00:26:03,234 WILL YOU GET INTO THE CAR, ONSLOW? 442 00:26:03,234 --> 00:26:05,667 NOW, ONSLOW. 443 00:26:05,667 --> 00:26:08,400 SHE COULD DO WITH A DROP OF WATER FOR THE RADIATOR. 444 00:26:08,400 --> 00:26:10,200 THE WATER HERE WOULDN'T BE SUITABLE 445 00:26:10,200 --> 00:26:12,133 FOR YOUR KIND OF RADIATOR. 446 00:26:15,601 --> 00:26:17,601 ( engine sputters ) 447 00:26:17,601 --> 00:26:19,601 THAT'S IT. THAT SOUNDS FINE. 448 00:26:19,601 --> 00:26:21,133 OFF YOU GO, ONSLOW. 449 00:26:21,133 --> 00:26:23,667 BUT HYACINTH, SUPPOSING DADDY-- 450 00:26:23,667 --> 00:26:26,601 GOODBYE, DEAR. GIVE ME A RING IF YOU FIND DADDY. 451 00:26:31,701 --> 00:26:33,367 POOR DADDY. 452 00:26:33,367 --> 00:26:35,367 OUT THERE SOMEWHERE, 453 00:26:35,367 --> 00:26:37,968 LUFTWAFFE. 454 00:26:43,300 --> 00:26:45,200 WE'LL HAVE TO BE GOING, HYACINTH. 455 00:26:45,200 --> 00:26:46,801 EMMET HAS WORK TO DO. 456 00:26:46,801 --> 00:26:49,067 NEVER MIND, DEAR. 457 00:26:49,067 --> 00:26:51,100 THERE'LL BE MANY OTHER OCCASIONS. 458 00:26:51,100 --> 00:26:53,067 OH... SPLENDID. 459 00:26:53,067 --> 00:26:55,601 ( bicycle bell ringing ) 460 00:27:06,067 --> 00:27:07,567 DID YOU SEE THAT? 461 00:27:07,567 --> 00:27:10,601 - WHO IS HE? - IT WAS DADDY. 462 00:27:10,601 --> 00:27:12,601 MY FATHER'S A LEADING COMPETITOR 463 00:27:12,601 --> 00:27:14,767 IN THE OVER 70s BICYCLE RACE. 464 00:27:16,434 --> 00:27:18,834 I EXPECT HIS NUMBER FELL OFF IN THE EXCITEMENT. 465 00:27:20,367 --> 00:27:24,167 WHY IS HE WEARING LONGJOHNS AND A STEEL HELMET? 466 00:27:24,167 --> 00:27:26,934 FANCY DRESS-- FOR CHARITY. 467 00:27:26,934 --> 00:27:28,801 BRAVE DADDY. 468 00:27:28,801 --> 00:27:32,033 RISKING THE ELEMENTS AT HIS AGE FOR CHARITABLE PURPOSES. 469 00:27:33,367 --> 00:27:35,534 THE OLD SCHOOL, YOU KNOW. 470 00:27:35,534 --> 00:27:37,934 COMING, DADDY. 471 00:27:37,934 --> 00:27:39,701 I MUST REFRESH HIM WITH ORANGE JUICE 472 00:27:39,701 --> 00:27:41,968 BEFORE HE TACKLES THE NEXT 100 LAPS. 473 00:27:43,534 --> 00:27:45,934 YES, THE OLD SCHOOL. 474 00:27:45,934 --> 00:27:48,601 IT'S HIS KIND OF SPIRIT THAT KEEPS ONE GOING 475 00:27:48,601 --> 00:27:50,834 WHEN EVERYTHING APPEARS TO BE COLLAPSING. 476 00:27:50,834 --> 00:27:53,734 * THERE'LL ALWAYS BE... * 477 00:27:55,601 --> 00:27:58,567 ( singing continues ) 478 00:28:03,601 --> 00:28:05,601 ( theme music playing ) 35725