Browse content similar to Once Removed. Check below for episodes and series from the same categories and more!
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This programme contains some strong language | 0:00:13 | 0:00:18 | |
KNOCK ON DOOR | 0:00:25 | 0:00:28 | |
-Yes? -Hello. | 0:00:32 | 0:00:34 | |
Looking for a Mrs Falsham. | 0:00:34 | 0:00:36 | |
Yes, that's me. What do you want? | 0:00:36 | 0:00:38 | |
-Handle Me Gently. -Sorry? | 0:00:38 | 0:00:40 | |
The removals company - Handle Me Gently. I'm Spike. | 0:00:40 | 0:00:44 | |
We spoke on the phone? | 0:00:44 | 0:00:45 | |
-That's right, yes. -Yes, right. | 0:00:45 | 0:00:47 | |
So through here, is it? | 0:00:47 | 0:00:48 | |
Yes, but we're not quite... | 0:00:48 | 0:00:50 | |
No, no, this way. | 0:00:50 | 0:00:52 | |
You're a bit of a mouthful, aren't you? | 0:00:52 | 0:00:55 | |
-The name, I mean, of your company. -Oh, yes. It's my boss's idea. | 0:00:55 | 0:00:59 | |
He wanted to call us Van Man Style | 0:00:59 | 0:01:01 | |
but I managed to talk him out of that. | 0:01:01 | 0:01:04 | |
-SHE GIGGLES -Funny. | 0:01:04 | 0:01:07 | |
Well... | 0:01:08 | 0:01:10 | |
..these are all the things I want to be moved, all of this, | 0:01:11 | 0:01:14 | |
and, well, everything, really because that's what happens | 0:01:14 | 0:01:16 | |
-when you move, isn't it? -That's the idea. | 0:01:16 | 0:01:19 | |
Some people do leave a little something for the people | 0:01:19 | 0:01:21 | |
that are moving in. | 0:01:21 | 0:01:23 | |
-You got a buyer yet? -Not yet. | 0:01:23 | 0:01:25 | |
Some people leave a bottle of champagne, you know. | 0:01:25 | 0:01:28 | |
Lawn mower. | 0:01:28 | 0:01:29 | |
I know a couple that found a cardboard box on the kitchen table. | 0:01:29 | 0:01:33 | |
Inside the box was a paint pot. | 0:01:33 | 0:01:35 | |
Inside the paint pot was a human turd. | 0:01:35 | 0:01:37 | |
So, you know, people are funny, aren't they? | 0:01:37 | 0:01:40 | |
What do we have here? This is breakables, is it? | 0:01:41 | 0:01:43 | |
Yes, that's right. All... | 0:01:43 | 0:01:46 | |
..broken. | 0:01:47 | 0:01:49 | |
OK, I'm going to have to make a note of this. | 0:01:50 | 0:01:53 | |
Of course. | 0:01:53 | 0:01:55 | |
SHE WEEPS QUIETLY | 0:01:55 | 0:01:57 | |
Oh, I'm sorry. I didn't mean to upset you. | 0:01:57 | 0:01:59 | |
No, it's all right, I'm just... | 0:01:59 | 0:02:01 | |
It's all been a bit trying. | 0:02:01 | 0:02:03 | |
It's one of the most stressful things, isn't it? Moving house. | 0:02:05 | 0:02:08 | |
People often say that but, according to the Holmes and Rahe Stress Scale, | 0:02:08 | 0:02:12 | |
the top three are - death of a spouse, divorce and imprisonment. | 0:02:12 | 0:02:16 | |
-Moving home's only number 32. -Oh, well, that's something. | 0:02:16 | 0:02:20 | |
And erectile dysfunction isn't even on the list. | 0:02:20 | 0:02:23 | |
So I don't know what her problem is. | 0:02:23 | 0:02:25 | |
I'm just getting it out there, you know, talking about it. | 0:02:25 | 0:02:29 | |
It's no biggie. | 0:02:29 | 0:02:30 | |
Evidently not. | 0:02:30 | 0:02:32 | |
-So, lived here long, have you? -In this house? Yeah, yonks. | 0:02:33 | 0:02:36 | |
Yonks and yonks. | 0:02:36 | 0:02:38 | |
-How long is a yonk? Often wondered. -Yeah, that's a good question. | 0:02:38 | 0:02:41 | |
I don't know actually. | 0:02:41 | 0:02:42 | |
Oh, here's my husband, he might know. Darling, how long is a yonk? | 0:02:42 | 0:02:46 | |
-A what? -A yonk. | 0:02:46 | 0:02:48 | |
Sorry, this is Spike from Squeeze Me Tightly. | 0:02:49 | 0:02:52 | |
-Handle Me Gently. -All right. | 0:02:52 | 0:02:54 | |
He was wondering how long a yonk is? | 0:02:54 | 0:02:57 | |
Er, it's short for donkey's years, isn't it? | 0:02:57 | 0:02:59 | |
Yeah, that would make sense. | 0:02:59 | 0:03:01 | |
Are you all ready to move house, darling? | 0:03:03 | 0:03:06 | |
Well, the cakes are still in the oven | 0:03:06 | 0:03:08 | |
so if Spike could come back another time. | 0:03:08 | 0:03:11 | |
Yes, we're making cakes for whoever moves in. Aren't we? | 0:03:11 | 0:03:14 | |
We decided against pooing in a paint pot. | 0:03:14 | 0:03:18 | |
-What? -I'll show you out. | 0:03:18 | 0:03:20 | |
Mrs Falsham, I don't think you understand. | 0:03:20 | 0:03:23 | |
We work on allocations only. | 0:03:23 | 0:03:25 | |
If I don't fill your slot today, | 0:03:25 | 0:03:27 | |
it might be weeks before I can get up again. | 0:03:27 | 0:03:29 | |
-Of course. Spike has erectile dysfunction. -Really? | 0:03:29 | 0:03:33 | |
-I'm sorry, is there a problem here? -No! | 0:03:34 | 0:03:36 | |
We're just a normal family moving house. | 0:03:36 | 0:03:38 | |
-What's going on? -Oh, it's all right, Dad, go back to bed. | 0:03:38 | 0:03:41 | |
I can't sleep my stomach's playing up. | 0:03:41 | 0:03:44 | |
Why are you dressed like a tart? | 0:03:44 | 0:03:47 | |
And what's Richard Stilgoe doing here? | 0:03:48 | 0:03:50 | |
I'm not taking any of those lyrics, Stilgoe! | 0:03:50 | 0:03:53 | |
So you can shove your roller skates up your arse, do you hear?! | 0:03:53 | 0:03:57 | |
-He thinks he's Andrew Lloyd Webber. -MOBILE PHONE RINGS | 0:03:57 | 0:04:00 | |
-Wha...? What's that racket? -Sorry, it's my phone. | 0:04:00 | 0:04:03 | |
-Come on, come with me. -Don't touch my penis! | 0:04:03 | 0:04:06 | |
Did you see that, people? | 0:04:06 | 0:04:08 | |
He's trying to play me like a cello! | 0:04:08 | 0:04:11 | |
STOMACH GURGLES | 0:04:11 | 0:04:13 | |
Oh, my God! | 0:04:13 | 0:04:15 | |
-What's wrong? Are you OK? -I'll get a towel. | 0:04:15 | 0:04:18 | |
Argh! | 0:04:21 | 0:04:22 | |
SHE SCREAMS | 0:04:22 | 0:04:24 | |
-Argh! -Jesus Christ! | 0:04:24 | 0:04:26 | |
SQUELCHING | 0:04:31 | 0:04:33 | |
I can explain. | 0:04:39 | 0:04:41 | |
Ah, Julian, there you are. | 0:05:10 | 0:05:12 | |
-You took your time. -Sorry. | 0:05:12 | 0:05:14 | |
Couldn't find any cocoa, she's packed everything away. | 0:05:14 | 0:05:16 | |
I hope she hasn't touched my bloody piano. | 0:05:16 | 0:05:19 | |
I didn't see it. | 0:05:19 | 0:05:20 | |
-Why aren't you wearing any clothes? -I've just been doing some painting. | 0:05:21 | 0:05:24 | |
Here. | 0:05:25 | 0:05:27 | |
Oh, God! It's too hot! | 0:05:27 | 0:05:29 | |
My mouth is not asbestos, you know. | 0:05:29 | 0:05:31 | |
-Sorry. -Ooh, I had a good bit of news this morning. | 0:05:32 | 0:05:35 | |
Roger has agreed to do Aspects. | 0:05:36 | 0:05:39 | |
-Roger? -Roger Moore. | 0:05:39 | 0:05:41 | |
James Bond in one of my musicals. | 0:05:42 | 0:05:44 | |
How about that then? Hm? | 0:05:44 | 0:05:45 | |
HE CHUCKLES | 0:05:45 | 0:05:47 | |
I hope he can sing. | 0:05:47 | 0:05:50 | |
That's great news. | 0:05:50 | 0:05:52 | |
Well, tell your face. | 0:05:52 | 0:05:55 | |
What's the matter with you? | 0:05:55 | 0:05:57 | |
Sorry, it's been a long day. | 0:05:57 | 0:05:59 | |
Have your cocoa. | 0:06:00 | 0:06:02 | |
You're my son, aren't you? | 0:06:09 | 0:06:11 | |
You're not Julian Lloyd Webber at all. | 0:06:12 | 0:06:14 | |
That's right. | 0:06:17 | 0:06:18 | |
And I have a daughter, don't I? | 0:06:18 | 0:06:20 | |
Yes. | 0:06:20 | 0:06:22 | |
That's good. | 0:06:22 | 0:06:24 | |
Well, you two must look after each other. | 0:06:25 | 0:06:28 | |
-I won't be here forever, you know. -I know. | 0:06:28 | 0:06:30 | |
Don't worry, Dad. Have your cocoa. | 0:06:32 | 0:06:34 | |
It'll be cooler now. | 0:06:34 | 0:06:36 | |
DOORBELL | 0:06:39 | 0:06:40 | |
What now? | 0:06:40 | 0:06:42 | |
If that's Julie Covington, tell her it's too late. | 0:06:42 | 0:06:45 | |
I've already offered the part to Elaine Paige. | 0:06:45 | 0:06:48 | |
Sorry. | 0:06:58 | 0:06:59 | |
Not interrupting anything, am I? | 0:07:00 | 0:07:02 | |
No, no. I was just upstairs with Dad. | 0:07:02 | 0:07:04 | |
-Andrew Lloyd Webber? -Yes. -Bless him. | 0:07:04 | 0:07:07 | |
He's really far gone now, isn't he? | 0:07:07 | 0:07:10 | |
Yes, yes. He's got no memory. | 0:07:10 | 0:07:12 | |
-Other than the one from Cats! -Exactly. | 0:07:12 | 0:07:15 | |
Is Natasha in? I'm a good friend of hers, I live just down the lane. | 0:07:17 | 0:07:21 | |
No, she's not here at the moment. | 0:07:21 | 0:07:23 | |
-She's just picking up the removal man. -Oh, I see. | 0:07:23 | 0:07:26 | |
Does he not have his own transport? | 0:07:27 | 0:07:30 | |
The removal man? | 0:07:30 | 0:07:32 | |
Yes, yes. He's just got lost. | 0:07:32 | 0:07:34 | |
I was going to say. It would be quite a slow move! | 0:07:34 | 0:07:36 | |
Natasha's been talking a lot about you, the mystery man. | 0:07:40 | 0:07:43 | |
-All good I hope. -Yes. She seems very much in love. | 0:07:44 | 0:07:48 | |
I hope you'll take good care of her. | 0:07:50 | 0:07:51 | |
I will. | 0:07:51 | 0:07:53 | |
Anyway, I don't want to keep you. I only popped round to return this. | 0:07:55 | 0:07:59 | |
-You know what she's like about people borrowing things. -Yes. | 0:07:59 | 0:08:02 | |
She didn't speak to Mrs Granger from months over that quiche plate. | 0:08:02 | 0:08:05 | |
So I believe. | 0:08:05 | 0:08:06 | |
SHOUTING | 0:08:06 | 0:08:09 | |
I'd better... | 0:08:09 | 0:08:10 | |
Wait there. | 0:08:11 | 0:08:13 | |
-What's wrong? -It's that bloody cocoa. It doesn't agree with me. | 0:08:21 | 0:08:26 | |
Just try to keep your voice down. | 0:08:26 | 0:08:28 | |
I haven't felt this bad since the press night of Love Never Dies. | 0:08:28 | 0:08:32 | |
Shit. | 0:08:36 | 0:08:38 | |
Looks like the removal van. | 0:08:49 | 0:08:51 | |
Listen to me bitch, you do exactly as I say. | 0:08:51 | 0:08:54 | |
Hello? Anybody in? | 0:09:09 | 0:09:10 | |
Sorry I'm late. | 0:09:10 | 0:09:12 | |
Hi. Hugo Brevington JSQ. | 0:09:19 | 0:09:21 | |
I had a message from the lady of the house saying she was going to let you in. | 0:09:21 | 0:09:24 | |
-That's right, yes. -Well, here are the property deeds. | 0:09:24 | 0:09:27 | |
You can peruse these at your leisure as and when. | 0:09:27 | 0:09:30 | |
Headlines are, four-bed farmhouse. | 0:09:30 | 0:09:32 | |
Two outbuildings with planning pending. | 0:09:32 | 0:09:35 | |
Country kitchen with a five-door Aga. Period features. | 0:09:35 | 0:09:38 | |
-Don't know if you're arsed. -Not really. -No, me neither. | 0:09:38 | 0:09:40 | |
Obviously in need of a lick of paint. | 0:09:40 | 0:09:42 | |
You can see they've made a start already, | 0:09:42 | 0:09:44 | |
but, to be perfectly honest with you, it will be sold before that's dry. | 0:09:44 | 0:09:47 | |
Is your wife able to view today? I'd strongly recommend it. | 0:09:47 | 0:09:50 | |
She's actually looking at some other properties at the moment. | 0:09:50 | 0:09:52 | |
-Which ones? -Not Pennington Lane? | 0:09:52 | 0:09:55 | |
It's sinking. | 0:09:55 | 0:09:56 | |
It'll be a basement in two years, but you didn't hear it from me. | 0:09:56 | 0:09:59 | |
So have we got the deal? Are we rocking? | 0:09:59 | 0:10:02 | |
-Well, I haven't really looked around it yet. -Absolutely. Be my guest. | 0:10:02 | 0:10:05 | |
Any questions, don't hesitate. I will leave you alone. | 0:10:05 | 0:10:08 | |
Thanks. | 0:10:09 | 0:10:11 | |
Storage. | 0:10:19 | 0:10:20 | |
Lovely door action there. | 0:10:34 | 0:10:36 | |
No lock. Very free and easy. | 0:10:38 | 0:10:40 | |
Imagine coming down those stairs every morning. | 0:10:42 | 0:10:45 | |
Cup of coffee. Dog padding through with the paper. | 0:10:45 | 0:10:47 | |
Wife, smell of bacon. | 0:10:48 | 0:10:50 | |
Cooking it, she doesn't smell of it. | 0:10:50 | 0:10:52 | |
-I'm vegetarian. -Me too. Good call, we will live longer my friend. | 0:10:52 | 0:10:55 | |
Let them choke on their sausages, eh? | 0:10:55 | 0:10:57 | |
Well... Thanks very much. | 0:10:58 | 0:11:00 | |
One second. I've got the call coming through. | 0:11:00 | 0:11:03 | |
Hello. | 0:11:03 | 0:11:05 | |
Really? That is very interesting, | 0:11:05 | 0:11:07 | |
because I've got a gentleman here at the property at the moment. | 0:11:07 | 0:11:10 | |
Well, let me relay that to him. | 0:11:10 | 0:11:13 | |
What's happened is, someone's put an offer in. | 0:11:13 | 0:11:15 | |
Not asking price but close to, and the vendor is considering it. | 0:11:15 | 0:11:18 | |
Now, we have a window of five minutes if you want to secure this... | 0:11:18 | 0:11:22 | |
MOBILE PHONE RINGS | 0:11:22 | 0:11:23 | |
That's weird. I was just talking to someone. What's happened there then? | 0:11:25 | 0:11:28 | |
Hello? | 0:11:28 | 0:11:30 | |
Hi, Mum. | 0:11:30 | 0:11:31 | |
I can't talk right now. I'm with a client. | 0:11:31 | 0:11:33 | |
Anything. I'm not fussed. | 0:11:36 | 0:11:38 | |
All right, then, biryani. Stop... | 0:11:38 | 0:11:40 | |
I don't know. Lamb. | 0:11:40 | 0:11:42 | |
I've got to go. I'll speak to you later, OK. Bye. | 0:11:43 | 0:11:46 | |
So like I say, it's deal or no deal. | 0:11:47 | 0:11:50 | |
-I'll think about it. -Please. | 0:11:50 | 0:11:52 | |
Please, I need this sale. | 0:11:53 | 0:11:55 | |
I just need to get something up on the board, that's all. | 0:11:55 | 0:11:58 | |
Get over this dry patch. How about it? I feel like we've connected. | 0:11:58 | 0:12:01 | |
-I mean, for fuck's sake, a five-door Aga. -OK. | 0:12:01 | 0:12:04 | |
-What? -OK, I'll buy it. What's the asking price? -860. -Fine. | 0:12:05 | 0:12:09 | |
I'll go and speak to my mortgage provider. | 0:12:09 | 0:12:11 | |
You have saved a man's life today. You will not regret this. | 0:12:14 | 0:12:17 | |
And as a thank-you gesture, I have permission from the vendor | 0:12:17 | 0:12:20 | |
to throw in all these items of furniture. | 0:12:20 | 0:12:23 | |
-Well, that's not... -I think you just lost this sale. | 0:12:24 | 0:12:28 | |
Argh! | 0:13:14 | 0:13:16 | |
-Come out of there! -No, leave me alone. | 0:13:31 | 0:13:34 | |
Listen up. | 0:13:35 | 0:13:36 | |
-I just want to talk to. -I don't believe you. | 0:13:36 | 0:13:39 | |
You killed Mrs Falsham. | 0:13:41 | 0:13:43 | |
Do you have any idea how that's going to affect the asking price? | 0:13:43 | 0:13:46 | |
Look, Hugo. | 0:13:46 | 0:13:47 | |
There's no lock on this door. You just told me that. | 0:13:48 | 0:13:52 | |
Please. | 0:13:53 | 0:13:54 | |
Let me go home. | 0:13:54 | 0:13:57 | |
My mum's ordered me biryani. | 0:13:57 | 0:13:59 | |
Come out, then! | 0:13:59 | 0:14:01 | |
I'm not going to hurt you. I promise. | 0:14:05 | 0:14:08 | |
Hello! Sarah? Water's getting cold! | 0:15:43 | 0:15:46 | |
Not another one. | 0:15:46 | 0:15:48 | |
Sarah? | 0:15:56 | 0:15:57 | |
Is that you? | 0:15:59 | 0:16:01 | |
Well, well, well. | 0:16:13 | 0:16:15 | |
If it isn't the great Julian Lloyd Webber | 0:16:15 | 0:16:17 | |
come to see his older brother. | 0:16:17 | 0:16:19 | |
Now look. I've already given you the theme to the South Bank Show. | 0:16:19 | 0:16:23 | |
-That's all you're going to get out of me. -Who the fuck are you? | 0:16:23 | 0:16:27 | |
You know damn well who I am, Julian. | 0:16:27 | 0:16:30 | |
Come on now. Help me out of this bath. | 0:16:31 | 0:16:33 | |
All right. Fine. | 0:16:34 | 0:16:36 | |
And then I'll make you a nice cup of cocoa. | 0:16:36 | 0:16:39 | |
Warm you up. | 0:16:39 | 0:16:40 | |
Are you in yet, Daddy? | 0:16:50 | 0:16:52 | |
All right, all right, don't rush me. | 0:16:52 | 0:16:54 | |
Just let me know when everything's under the bubbles. | 0:16:54 | 0:16:57 | |
Oh, good grief. | 0:16:57 | 0:16:58 | |
That reminds me, I must get some sun-dried tomatoes. | 0:17:00 | 0:17:02 | |
-Now, is there anything else I can do for you? -No, thank you. | 0:17:03 | 0:17:07 | |
-I am not an invalid. -Right. | 0:17:07 | 0:17:09 | |
Well, I'm going down to finish the packing. | 0:17:09 | 0:17:12 | |
You remember we're moving the furniture today. | 0:17:12 | 0:17:15 | |
What bloody furniture? | 0:17:15 | 0:17:17 | |
Who are you anyway? | 0:17:17 | 0:17:19 | |
I'm Natasha, Daddy. I'm your daughter. | 0:17:19 | 0:17:22 | |
Don't be ridiculous! You're far too old to be my daughter. | 0:17:22 | 0:17:26 | |
You better get out of here before Sarah gets back. | 0:17:27 | 0:17:30 | |
-She's auditioning for Hot Gossip today. -Daddy, listen. | 0:17:30 | 0:17:33 | |
I know you won't understand but I have to tell you something. | 0:17:36 | 0:17:39 | |
Charles and I are moving to Portugal. | 0:17:40 | 0:17:43 | |
You remember Portugal? | 0:17:43 | 0:17:45 | |
We had that holiday there when I was a girl. | 0:17:45 | 0:17:48 | |
Yes, yes. Albufeira. | 0:17:48 | 0:17:50 | |
That's right. Well... | 0:17:50 | 0:17:53 | |
We need to get away. | 0:17:54 | 0:17:56 | |
Make a fresh start. | 0:17:56 | 0:17:58 | |
We've found a lovely home for you not far from here. | 0:17:59 | 0:18:03 | |
There's lots of people there with your.... | 0:18:03 | 0:18:05 | |
Well... | 0:18:05 | 0:18:06 | |
Who I'm sure you'll get on with. | 0:18:06 | 0:18:08 | |
I won't share a room with Tim Rice. | 0:18:08 | 0:18:12 | |
No, you get your own room. | 0:18:12 | 0:18:14 | |
The problem is, I won't be able to contact you. | 0:18:14 | 0:18:17 | |
That's the deal. | 0:18:18 | 0:18:20 | |
Because Charles and I... | 0:18:20 | 0:18:22 | |
Well, let's just say it'll be better all-round if we disappeared. | 0:18:24 | 0:18:29 | |
Right. | 0:18:31 | 0:18:32 | |
Have you finished? | 0:18:33 | 0:18:35 | |
-Yes. -Oh, good. Go on, get out. | 0:18:36 | 0:18:39 | |
Close every door to me. | 0:18:41 | 0:18:43 | |
Hugo, it's Natasha. | 0:18:52 | 0:18:54 | |
I'm just checking you're your way over for the viewing. | 0:18:54 | 0:18:57 | |
Like I say, I've got someone who's very interested. | 0:18:57 | 0:19:00 | |
I'll let them in if they get here before you. | 0:19:00 | 0:19:02 | |
And I hope you don't think I'm being patronising, | 0:19:02 | 0:19:04 | |
but please try not to appear so desperate. | 0:19:04 | 0:19:07 | |
It's very off-putting. | 0:19:07 | 0:19:09 | |
You were sweating so much last time you looked like Lee Evans at the O2. | 0:19:09 | 0:19:13 | |
Anyway, I'll see you shortly. | 0:19:13 | 0:19:15 | |
And just so you know, my father's in the upstairs bathroom, | 0:19:15 | 0:19:18 | |
so you might want to warn them about the whole Andrew Lloyd Webber thing. | 0:19:18 | 0:19:22 | |
OK, bye. | 0:19:22 | 0:19:24 | |
Oh, good. You've made a start. Spike, isn't it? | 0:20:09 | 0:20:12 | |
-Erm... -You're Spike from Handle Me Gently? We spoke on the phone. | 0:20:14 | 0:20:18 | |
-That's right, we did. -Good. | 0:20:19 | 0:20:21 | |
So I've managed to fill most of these boxes | 0:20:21 | 0:20:24 | |
but there are a few more breakables to go in. | 0:20:24 | 0:20:26 | |
-You can bubble wrap them, can't you? -Yes. -Very good. | 0:20:26 | 0:20:29 | |
Can I take your jacket? | 0:20:31 | 0:20:32 | |
-Would you like a cut of tea? -No, thank you. | 0:20:39 | 0:20:42 | |
So you live here? | 0:20:42 | 0:20:44 | |
This is your house? | 0:20:44 | 0:20:46 | |
Yes. Though, not for much longer. Obviously. | 0:20:46 | 0:20:50 | |
It can get quite isolated. | 0:20:50 | 0:20:51 | |
But I've been very lucky with my neighbours. | 0:20:51 | 0:20:55 | |
That's good. | 0:20:55 | 0:20:56 | |
So do you enjoy doing removals? | 0:20:58 | 0:21:01 | |
I wouldn't say I enjoy it but... | 0:21:01 | 0:21:04 | |
Thanks. | 0:21:04 | 0:21:06 | |
-..someone's got to do it, haven't they? -Yes. | 0:21:06 | 0:21:09 | |
I'd hate to do it on my own. | 0:21:09 | 0:21:11 | |
I just try to make it as painless as possible. | 0:21:11 | 0:21:14 | |
For everyone involved. | 0:21:16 | 0:21:18 | |
-I meant to ask you, do you do disposals as well? -Can do. | 0:21:18 | 0:21:21 | |
Because I'm not taking the tumble drier | 0:21:21 | 0:21:23 | |
so it'll need driving to the tip. | 0:21:23 | 0:21:25 | |
I'll take care of everything. There won't be any loose ends. | 0:21:26 | 0:21:29 | |
-What a professional young man you are. -I do try. | 0:21:29 | 0:21:33 | |
Argh! | 0:21:37 | 0:21:38 | |
Oh, no. Have you burned yourself? Agas are terrible for that. | 0:21:40 | 0:21:44 | |
Here, run it under the tap. | 0:21:44 | 0:21:46 | |
-Argh. -I can get you some anti-septic cream. | 0:21:48 | 0:21:51 | |
-No, it's all right. I'll use this. -Honestly, it's no bother. | 0:21:51 | 0:21:53 | |
I have to keep my medical box handy | 0:21:53 | 0:21:56 | |
as I've an elderly father who's very accident prone. | 0:21:56 | 0:21:59 | |
In another life I could have been a nurse. | 0:22:01 | 0:22:04 | |
There's something very satisfying about taking care of people. | 0:22:05 | 0:22:09 | |
-Don't you think? -Absolutely. | 0:22:09 | 0:22:11 | |
Hello? Anybody in? | 0:22:44 | 0:22:46 | |
Sorry I'm late. | 0:22:47 | 0:22:49 | |
Sod it. | 0:23:15 | 0:23:17 | |
DOORBELL | 0:23:21 | 0:23:23 | |
May. What are you doing here? I thought you had to stay in today. | 0:23:37 | 0:23:41 | |
I know. I'm sorry but I need to talk to someone or I'll go mad. | 0:23:41 | 0:23:44 | |
-Of course. Come in. -Thanks. | 0:23:44 | 0:23:47 | |
I know you're busy with the move and your dad and everything. | 0:23:47 | 0:23:50 | |
It's all right. Come through. | 0:23:50 | 0:23:52 | |
So what's happened? | 0:23:56 | 0:23:58 | |
It's Charles. I think he's having an affair. | 0:24:00 | 0:24:02 | |
Charles? | 0:24:04 | 0:24:05 | |
Yes. | 0:24:05 | 0:24:07 | |
I bought him some cufflinks for his birthday. | 0:24:07 | 0:24:10 | |
I can't even remember when it is now. | 0:24:10 | 0:24:12 | |
-What? -Charles's birthday. | 0:24:12 | 0:24:15 | |
It's May, isn't it? | 0:24:15 | 0:24:16 | |
That's right. | 0:24:16 | 0:24:18 | |
So I wrapped them up and hid them in one of the drawers | 0:24:18 | 0:24:21 | |
of the utility room and that's when I found this. | 0:24:21 | 0:24:24 | |
"She knows about our affair." | 0:24:29 | 0:24:31 | |
Well, that doesn't prove anything. | 0:24:32 | 0:24:34 | |
But he's been behaving so strangely, | 0:24:34 | 0:24:36 | |
it makes perfect sense. | 0:24:36 | 0:24:38 | |
All those conferences in Dusseldorf, | 0:24:38 | 0:24:40 | |
he never once brought me back a bratwurst. | 0:24:40 | 0:24:43 | |
Look, darling, you can't be worrying about sausages. | 0:24:43 | 0:24:46 | |
I'm sure there's a perfectly innocent explanation. | 0:24:46 | 0:24:50 | |
And this isn't even Charles's handwriting. | 0:24:50 | 0:24:52 | |
How do you know? | 0:24:52 | 0:24:54 | |
I can tell. | 0:24:54 | 0:24:56 | |
Just from the birthday and Christmas cards he's written me | 0:24:56 | 0:24:58 | |
over the years. | 0:24:58 | 0:25:00 | |
I didn't think of that. | 0:25:00 | 0:25:01 | |
And if you're that worried about it, | 0:25:01 | 0:25:04 | |
ask him about it tonight | 0:25:04 | 0:25:05 | |
when he gets home from work. | 0:25:05 | 0:25:07 | |
You mustn't bottle it up, | 0:25:07 | 0:25:09 | |
that's the worst thing you can do. | 0:25:09 | 0:25:11 | |
Thanks, Natasha. | 0:25:11 | 0:25:12 | |
You're such a dear friend. | 0:25:14 | 0:25:16 | |
I don't know what I'd do without you. | 0:25:16 | 0:25:18 | |
Now, come on, you should get back home. | 0:25:19 | 0:25:22 | |
I'd hate for you to miss that package. | 0:25:22 | 0:25:24 | |
You're right. It's probably my overactive imagination. | 0:25:24 | 0:25:27 | |
Sarah! These pyjamas are leaking again. | 0:25:28 | 0:25:31 | |
I think we should send them back. | 0:25:31 | 0:25:33 | |
Look, I've got to go. I'll need to put him in the bath. | 0:25:33 | 0:25:36 | |
Of course, you go. | 0:25:36 | 0:25:37 | |
I'll let myself out. | 0:25:37 | 0:25:38 | |
Thanks. | 0:25:40 | 0:25:41 | |
Goodbye, May. | 0:25:41 | 0:25:43 | |
Of course, you go. | 0:25:59 | 0:26:00 | |
I'll let myself out. | 0:26:00 | 0:26:01 | |
Hello? | 0:26:17 | 0:26:19 | |
Charles? | 0:26:19 | 0:26:21 | |
Why are you calling from the landline? | 0:26:21 | 0:26:23 | |
I told you not to use it. | 0:26:23 | 0:26:25 | |
Is everything all right? | 0:26:25 | 0:26:26 | |
It's May, isn't it? | 0:26:28 | 0:26:30 | |
What about May? | 0:26:30 | 0:26:31 | |
She's not been round, has she? | 0:26:31 | 0:26:33 | |
I told her she had to stay in for a delivery. | 0:26:33 | 0:26:35 | |
She knows about our affair. | 0:26:37 | 0:26:39 | |
Why? What did you say? | 0:26:39 | 0:26:42 | |
Natasha, are you still there, darling? | 0:26:42 | 0:26:44 | |
Tell me what she said. | 0:26:44 | 0:26:46 | |
Natasha! | 0:26:46 | 0:26:47 | |
Look, darling, you can't be worrying about sausages. | 0:26:49 | 0:26:51 | |
What? What are you talking about? | 0:26:51 | 0:26:54 | |
Listen, I know this is stressful but we just have to hold our nerve. | 0:26:54 | 0:26:58 | |
In about half an hour she'll be out of our lives for good. | 0:26:58 | 0:27:01 | |
The man I'm using is very professional. | 0:27:01 | 0:27:04 | |
He comes highly recommended. | 0:27:04 | 0:27:06 | |
You just make sure you're with your estate agent so you've got an alibi | 0:27:06 | 0:27:09 | |
and when the police come round and say there's been a murder, | 0:27:09 | 0:27:12 | |
you can prove exactly where you were. | 0:27:12 | 0:27:14 | |
Look, I'm going to go. | 0:27:14 | 0:27:15 | |
I'm in a meeting. I love you. | 0:27:15 | 0:27:18 | |
I'll see you in Portugal. | 0:27:18 | 0:27:21 | |
Natasha? | 0:27:21 | 0:27:22 | |
Goodbye, May. | 0:27:24 | 0:27:25 | |
What? | 0:27:25 | 0:27:26 |