Faculteit Letteren & Wijsbegeerte
Isolde Dheedene
The translation of Irony in Dutch subtitles: A corpus based study of the British sitcoms Fawlty Towers and The Office.
Masterproef voorgedragen tot het behalen van de graad van
Master in het Vertalen
2014
Promotor Prof. Dr. Sonia Vandepitte Vakgroep Vertalen Tolken Communicatie
Acknowledgements I would like to thank Prof. Dr. Sonia Vandepitte for her advice and guidance in writing this Master's thesis. My thanks also go out to my friends and family for their continuous support and words of encouragement throughout my academic career. Special thanks go out Florian and Gio for providing me with the materials for my research.
Abstract This Master's thesis sets out to study the translation of verbal irony in the relatively young field of Audiovisual Translation. To that purpose, the different translation strategies used in the translation of verbal irony from English to Dutch were examined in two British sitcoms: Fawlty Towers and The Office (UK). A corpus was constructed with ironic utterances taken from the ST of these sitcoms. These utterances were analysed and the markers that were used to mark irony were defined. A qualitative analysis showed which irony markers were used to mark irony in ST and TT of both sitcoms and whether there was a significant difference in use between the two sitcoms. A quantitative analysis served to show how many irony markers were preserved in translation and, consequently, how much irony was successfully translated. It could be concluded that the two sitcoms made use of many of the same irony markers and that in most cases, irony was successfully translated in the subtitles. There were some cases where ironic utterances were not translated but in many of those cases, the nature of the utterances was so that a Dutch audience can still grasp the ironic meaning. In a few cases ironic meaning was lost. Finally, although this study provides valuable insights, further study is required before a more general conclusion can be made. Keywords: irony, subtitles, Audiovisual Translation
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Table of Contents
Acknowledgements ................................................................................................................................. 5 Abstract ................................................................................................................................................... 6 Table of Contents .................................................................................................................................... 4 1. INTRODUCTION ............................................................................................................................... 5 1.1 SUBJECT ...................................................................................................................................... 5 1.2 OUTLINE ...................................................................................................................................... 6 1.3 FAWLTY TOWERS ..................................................................................................................... 7 1.4 THE OFFICE (UK) ....................................................................................................................... 8 1.5 TRANSLATION SITUATION ..................................................................................................... 9 2. IRONY .............................................................................................................................................. 10 2.1 IRONIC THEORY ...................................................................................................................... 10 2.2 CLASSIFICATION..................................................................................................................... 15 2.3 IRONIC FACTORS AND MARKERS ...................................................................................... 17 2.3.1 Irony factors ......................................................................................................................... 17 2.3.2 Irony markers ....................................................................................................................... 19 2.4 TRANSLATION OF IRONY ..................................................................................................... 22 3. SUBTITLING & AUDIOVISUAL TRANSLATION ...................................................................... 23 3.1 CHARACTERISTICS AND DEFINITION ............................................................................... 23 3.2 SUBTITLING ............................................................................................................................. 25 3.3 SUBTITLING IRONY ................................................................................................................ 27 4. HYPOTHESIS & RESEARCH METHOD....................................................................................... 28 4.1 HYPOTHESIS............................................................................................................................. 28 4.2 RESEARCH METHOD .............................................................................................................. 28 5. RESULTS.......................................................................................................................................... 30 5.1 QUALITATIVELY ..................................................................................................................... 30 5.2.1 Source Text........................................................................................................................... 30 5.2.2 Target Text ........................................................................................................................... 41 5.2 QUANTITATIVELY .................................................................................................................. 47 6. CONCLUSION ................................................................................................................................. 51 BIBLIOGRAPHY ................................................................................................................................. 54 APPENDIX ........................................................................................................................................... 56
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1. INTRODUCTION 1.1 SUBJECT
Irony can be a fascinating subject to study. It is a way of playing with language and it can present itself in many different forms (verbal, dramatic, socratic,...). Irony is used in everyday language, where speakers use it and hearers correctly interpret the underlying meaning, yet researchers have not yet been able to reach a consensus on what irony actually is and what makes an utterance ironic. Grice (1975) proposes that it is the flouting of the maxim of Quality. Sperber and Wilson (1981) disagree and suggest that irony is echoic mention. Haverkate (1990) puts forward yet another analysis of irony, namely irony as the violation of the sincerity condition, a concept defined by Searle (1969). Since it appears to be quite a complex phenomenon, it stands to reason that the translation of irony can prove to be challenging. Something similar can be said about Audiovisual Translation (AVT). Audiovisual Translation is still a relatively young science, even younger than Translation Studies in general. It originated with the introduction of movies and television series, when the problem of the language barrier became apparent. To solve this problem, the film industry introduced Audiovisual Translation (AVT). Over the years, as technology evolved, Audiovisual Translation has evolved as well and now includes many different forms from subtitling to dubbing. Today, there is a vast offer of television entertainment that is spread around across the world and many programs and films need Audiovisual Translation so that non-native speakers can also enjoy them. As such, AVT has come to be an integral part of our society and it has earned its place in Translation Studies. As a form of translation, AVT is a complex phenomenon where a translator does not only have to take into account what is said but also what is shown and heard. In addition, the translator often has limited space to translate what is said, which makes AVT challenging. Studies have already been carried out on the translation of irony in literary translation but not so much in the field of Audiovisual Translation (AVT). Therefore, it can be interesting to study the translation of irony in subtitles as the field of Audiovisual Translation is an entirely different medium than literature because unlike in literature, both a visual and an auditory aspect are present. The audience can actually see and hear the dialogue, which may make it
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easier to identify those passages that are meant to be ironic and that depend on the tone of the speaker to identify the irony. That does not mean that there is nothing to be learnt from those studies of the translation of literary irony that can help in the translation of irony in AVT because AVT still had a textual component as well. Therefore, the translation of irony in subtitles promises to be an interesting subject. This thesis discusses the different translation strategies for translating irony in subtitles. For that purpose, a corpus of ironic expressions was construed from episodes of Fawlty Towers and The Office. Special attention was paid to which translation strategies were used and what influence space limitation and other conventions of Audiovisual Translation (AVT), for example the role of the audiovisual aspect, could have on the translation of irony.
1.2 OUTLINE
The remainder of this chapter will introduce the two series that have been used to construct the corpus: Fawlty Towers and The Office (UK). The main plot and characters will be briefly introduced because it will give a better understanding of the characters and the relationships they have with one another. This should make it clearer for the reader of this thesis to understand why the characters would use irony in a particular situation. Afterward, we move on to the discussion of irony in chapter two, entitled 'Ironic theory'. In this chapter the different theories of irony of Grice (1975), Sperber and Wilson (1981), Haverkate (1990) and Attardo (2000b) will be discussed in order to give a clear picture of what has been said about irony and which theories have been proposed. After that introduction to what irony is, the classification of the different types of irony as suggested by Attardo (2000a) and Gibbs (2000) will be discussed in the section titled 'Classification', as it is important to distinguish between these different types for the purpose of this paper. In the section 'Ironic markers' the markers that Attardo (2000a) and Burgers, Van Mulken and Schellens (2012) mentioned in their work will be discussed in order to get a better view on how to recognize irony. Finally, the section on irony will end with a discussion on the translation of irony and which strategies might be used. On this topic the works by Mateo (1995) and Chaume (2004) will be cited. After the discussion on irony, Audiovisual Translation (AVT) will be addressed in chapter three. First, in talking about the characteristics and definition of AVT , the works of Gottlieb (1994), O'Connell (1996) and Orero (2004) will be discussed. These researchers have pointed
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out the specific characteristics of Audiovisual Translation and the challenges it presents. After that, the final section of chapter three will deal with the translation of subtitles. Here, attention will be paid to the studies by Pelsmaekers and Van Besien (2002), Chaume (2004) and Ghaemi & Benyamin (2010). Specific attention will be paid to the different strategies they suggest and/or have used in their work. In the fourth chapter the hypothesis put forward in this paper will be presented and the research method that has been employed to study the corpus will be explained. Chapter five will then discuss the results of the analysis of the corpus. Each marker encountered will be presented and explained by discussing an example found in the corpus. Finally, in the sixth and final chapter a conclusion will be formulated.
1.3 FAWLTY TOWERS
Fawlty Towers is a sitcom about a fictional beach hotel in Torquay. There are twelve episodes, six that were produced in 1975 and later in 1979 (last 6 episodes). The series centers around Basil Fawlty (John Cleese), the owner of the hotel, his wife Sybil (Prunella Scales), the maid Polly Sherman (Connie Booth) and the waiter Manuel (Andrew Sachs). Basil Fawlty Basil is quite a snobbish and prejudiced man. Throughout the series Basil makes no secret of it that he prefers classier guests than ordinary working class people. He is stingy, quite traditional in his beliefs (he would sooner put faith in a scheming baron than a working class policeman) and he believes that everything he does is done right and everyone else's ideas are doomed to fail. Consequently, he believes the hotel cannot cope without him. Basil often jumps to the wrong conclusions about people that lead to amusing situations. Basil is married to Sybil and seems to be a little afraid of his wife but that does not stop him, however, from trying to go behind her back to do things how he feels they should be done, often with the help of Manuel and Polly. Sybil Fawlty Sybil is Basil's wife but it seems the love has long gone from their marriage. The couple is always bickering and calling each other names. However, Sybil knows that her husband is a
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little afraid of her and she orders him around. Sybil also seems to be more suited to the hotel business than her husband as she is more understanding towards the guests and their needs. She does not share her husband's old-fashioned ideas and is often the voice of reason. Polly Sherman Polly is the maid in the hotel and an aspiring artist as she tries to sell her drawings. She often tries to help her boss when he gets into trouble again. She is good at her job even though Basil believes he can always do it better. Basil is also quite ungrateful towards Polly and always insults her drawings. Manuel Manuel is the waiter from Barcelona. As such, he does not speak English very well which leads to many amusing misunderstandings and confusion between him and Mr. Fawlty. Basil has no patience with Manuel and often slaps him for his mistakes.
1.4 THE OFFICE (UK)
The Office is a sitcom about a fictional paper company in Slough, called Wernham-Hogg. The sitcom is filmed as a documentary ( a 'mockumentary') with interviews with the employees. The main characters are David Brent (Ricky Gervais), Gareth Keenan (Mackenzie Crook), Tim Canterbury (Martin Freeman) and Dawn Tinsley, the receptionist (Lucy Davis). David Brent David is the boss of the company. He thinks he is loved by his employees and that he is very funny but he is wrong on both accounts. His jokes are not funny but misplaced and his employees put up with him just because he is the boss (perhaps with the exception of Gareth). Gareth Keenan Gareth is the assistant regional manager and believes he is an important man within the company. He admires his boss and takes his job very seriously. He is one of the few people working at Wernham-Hogg who likes working there and believes he can make a career out of it.
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Tim Canterbury Tim is a nice guy with a boring job which he only does because he has nothing else. Even so, he tries to do his job well and manages to get through the day by making fun of Gareth for being so serious and playing jokes on him. Dawn Tinsley Dawn is the receptionist who has to put up with the bad taste and bad jokes of her boss David. She does not like her job and often joins Tim in complaining about the job and making fun of Gareth. 1.5 TRANSLATION SITUATION
Before the translation of irony in the subtitles of Fawlty Towers and The Office is discussed, it is prudent to take a look at the translation situation of both series. Both translation situations are presented here in a table to facilitate a comparison between the two series. FAWLTY TOWERS Source text commissioner
THE OFFICE (UK)
BBC
BBC
John Cleese & Connie Booth (script); unknown (subtitles) English speaking (mainly British) audience looking to watch comedy 1975 Britain Film, dialogue list and subtitles Entertaining
Ricky Gervais & Stephen Merchant (script); unknown (subtitles) English speaking (mainly British) audience looking to watch comedy 2002 (season 1) 2003 (season 2) Britain Film, dialogue list and subtitles Entertaining
12 659
38 155
Warner Home Video (Benelux) Unknown
Warner Home Video (Benelux) Unknown
Target text audience
Dutch speaking audience looking to watch comedy
Dutch speaking audience looking to watch comedy
Target time
2001
2006
Source text writer
Source text audience Source text time Source text place Source text text type Source text skopos Source text no. of words Target text commissioner Target text writer
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Target place Target text type Target skopos Target no. of subtitles Target no. of words
Nederland & België Subtitles Entertaining 1094 8046
Nederland & België Subtitles Entertaining 3565 28 098
As is clear from the table, the sitcoms have similar features, the main difference being of course the script writers and the period in which they were produced. Another interesting feature that should be mentioned, is that while the Dutch subtitles were produced almost simultaneously for The Office, this is not the case for Fawlty Towers. This has to do with the fact that the material used to construe the corpus in this paper was in DVD format and that did not yet exist at the time Fawlty Towers was first produced. Also important to mention is the fact that the ST of The Office has to be much larger than the ST of Fawlty Towers in order to find the same amount of ironic utterances (38 155 words to 12 659 words). Logically, this would mean that ironic utterances are more frequent in the latter than in the former.
2. IRONY
2.1 IRONIC THEORY
The concept of irony has been researched by many different people but there is still no consensus about the subject and the definition of irony. In the widest sense, irony can be perceived as saying something else than what you think, expressing contrast and incongruity. This basic definition of irony can be found in the online Merriam-Webster's dictionary (n.d.): "The use of words that mean the opposite of what you really think especially in order to be funny". In what follows, some theories will be presented that have been put forward by Grice (1975), Sperber and Wilson (1981), Haverkate (1990) and Attardo (2000b) in order to give a general idea of the different theories that have been proposed. Some researchers, like Grice (1975), say that irony is the flouting of the maxim of Quality of the Cooperation Principle. The maxim of Quality says that the speaker must make his contribution true and must tell no lies. Ironic expressions in which you say something that should not be taken literal could, as such, be perceived as a breach of this maxim. Yet, the audience is aware of the breach and understands that the speaker uses it to convey something
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else, something that must be related to his actual statement, i.e. the opposite of what he said. Grice's theory had a big influence on ironic theory as many other researchers that followed him cited him to either agree with him or point out the flaws in his theory and propose another. Sperber and Wilson (1981) contradict Grice's (1975) analysis of irony and believe that irony should be perceived as echoic mention. Unlike Grice, who perceives irony as a pragmatic phenomenon, Sperber and Wilson offer an approach that states that irony has a semantic condition. In their article they try to explain why irony is used and why ironic utterances sometimes mean the opposite of what is said, something that Grice failed to explain, they argue. To do that, they draw upon the distinction made in philosophy between 'use' and 'mention'. "USE of an expression involves reference to what the expression refers to; MENTION of an expression involves reference to the expression itself." (1981, p 303). The following two sentences are used by Sperber and Wilson to indicate the difference: (1) The examples are rare and marginal. (2) "Marginal" is a technical term. In (1) the word 'marginal' is used while in (2) it is mentioned. Sperber and Wilson (1981) believe that irony can be perceived as echoic mention. An utterance is echoic mention when it echoes a preceding utterance, like in the following example, copied from Sperber and Wilson (1981, p). (3)
a) I'm tired. b) You're tired. And what do you think I am?
Reply b) is echoed because it does not have the same illocutionary force it has in a). The purpose of this echoic mention is to express the hearer's reaction to the previous utterance. Sperber and Wilson state: "The speaker's choice of words, his tone (doubtful, questioning, scornful, contemptuous, approving, and so on), and the immediate context, all play a part in indicating his own attitude to the proposition mentioned." (1981, p 307). Sperber and Wilson (1981) believe that a speaker uses echoic mention in irony to reject a proposition as "ludicrously false, inappropriate, or irrelevant". The hearer must then recognize that the speaker is mentioning the utterance instead of using it and understand the speaker's attitude to the mentioned utterance. According to Sperber and Wilson, this is the best way to study irony as it can account for more instances of irony than Grice's approach (1975) could.
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Haverkate (1990) suggests a different approach and proposes that irony should be studied from the viewpoint of the theory of speech acts. He states that all studies of strategies in verbal interaction should be based on the componential analysis of the speech act. For that, a distinction must be made between the different "sub-acts" in a speech act: articulatory, illocutionary and propositional sub-act. In the articulatory sub-act, a speaker chooses the intonation pattern of his utterance. Whether or not he asks something directly or indirectly is decided in the illocutionary sub-act and at the level of the propositional sub-act, the speaker chooses the lexical items that will best convey the meaning. Irony is a complex strategy that can occur at all three sub-acts according to Haverkate but he focuses only on the propositional and the illocutionary level of speech acts. Haverkate (1990) bases his work on Searle's work on speech acts (1976) in which five classes of speech acts were distinguished: assertives, directives, commissives, expressives and declaratives. Haverkate points out that irony is most common in assertives, less in directives, commissives and expressives and does not occur in declaratives. In the speech act theory, sincerity is vital. Haverkate (1990) defines sincerity as "the psychological or intentional state of the speaker" (1990, p 87). For Haverkate this leads to a first distinction between sincere and insincere speech acts. Insincere speech acts are those in which the speaker violates the sincerity condition. Within the category of insincere speech acts, Haverkate distinguishes further between transparent and non-transparent forms of violation. Non-transparent forms like lies are used to deceive the hearer since the hearer is not aware that the speaker violates the sincerity condition. Transparent forms, on the other hand, are meant to be picked up on by the hearer. The speaker and the hearer are aware that the speaker is being insincere, thus there can be no talk of deception on the part of the speaker. Haverkate classifies irony as a transparent insincere speech act. According to Haverkate (1990), irony is the intentional violation of the sincerity condition and is different for each class of speech act (assertives, directives, commissives and expressives). Haverkate states: "An assertion is sincere if the speaker uttering it is in the intentional state of believing that the state of affairs described corresponds to factual reality." (1990, p 104). Assertive irony occurs when this sincerity condition is violated. Sometimes the internal structure of a proposition allows the hearer to infer that the speaker is insincere. Other times, the insincerity affects the entire proposition and the speaker means the opposite of what he says. Another possibility is that the hearer can recognize the speaker's insincerity because
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the context contradicts the speaker's proposition. In directive speech acts, Haverkate makes a distinction between impositive and non-impositive speech acts, in which the speaker wants the hearer to perform an action for the speaker's benefit or the hearer's benefit respectively. Haverkate states: "The performance of an impositive is sincere if the speaker is in the intentional state of wishing that the hearer carry out the action he asks him to carry out." (1990, p 105). In an ironic directive speech act, Haverkate states, the speaker does not really want the hearer to do as he asked. "The performance of a commissive speech act is sincere if the speaker is in the intentional state of having the intention of carrying out the action specified by the propositional content." (1990: 105). According to Haverkate, commissive irony occurs when the speaker promises to perform an action which both he and the hearer know he cannot do or when the speaker promises to perform an action which he knows is unacceptable to the hearer. Finally, because expressive speech acts are so heterogeneous in the illocutionary goals of their speaker, Haverkate argues that each case must be evaluated separately and that he cannot formulate a generic sincerity condition for expressive speech acts. Instead, he focuses on the prototypical expressive speech act, namely that of congratulating. He defines the sincerity condition for that act as followed: "The speaker who sincerely congratulates the hearer is in an intentional state of feeling a positive emotion with respect to a factual state of affairs that benefits the hearer." (1990, p 106). Ironic expressives then imply that the speaker does not feel a positive emotion but a negative one. One of the theorists that followed Grice's (1975) view was Attardo (2000b). Attardo agrees with Grice’s theory on irony that states that irony is the violation of the maxim of quality. However, Attardo claims that Grice’s theory is flawed and draws upon the work of Kaufer (1981), Sperber and Wilson (1981) and Holdcroft (1983). Attardo reports examples that show that in examples of irony, not the maxim of quality was being flouted but the one of quantity, manner and/or relevance. Thus, Attardo concludes that Grice’s theory is flawed because it is restricted in its definition of irony as solely the flouting of the maxim of quality. A second flaw in Grice’s theory, according to Attardo (2000b), is the fact that he discards the literal meaning of irony. Grice (1975) postulates that in irony there are two meanings: one literal meaning and one implied meaning. He states that in irony the literal meaning is discarded because it is not important for the correct interpretation of the utterance. As such, this would mean that the literal meaning is no longer available to the audience. Attardo draws upon the work of Giora et al. (1998) to show that irony maintains both meanings, that the audience has access to both the literal meaning as the ironical meaning.
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Attardo (2000b) proposes an approach to analyzing irony which is Gricean at the core but still differs from Grice's model. Attardo states that it is important to understand that “irony does not necessarily implicate the opposite or the converse of the literal meaning” (2000b, p 814). He agrees with Schaffer (1982) in that irony is essentially a pragmatic phenomenon with no "semantic correlates". This means that one does not recognize irony from the words but from the "conversational context" or the "nonverbal communication", including the speaker’s intentions and goals. Therefore, irony needs to be inferred from the text, according to Attardo. For recognizing and interpreting irony, the hearer must therefore depend on the active guidance of Grice's Cooperation Principle (CP). Attardo phrases it as followed: H[earer], upon noticing the disruption of the CP does not withdraw from the conversation (which would be a safe move, since his/her interlocutor has just given manifest proof of being untrustworthy) but assumes that the violation of the CP is the smallest possible and, therefore, that the violation must somehow refer to the context, and be meaningful. [...] In other words, after having recognized (a part of) a text as ironical, H assumes that the maxim of relevance holds and that the relevance of the irony lies in the direction of an antiphrastic meaning (i.e. in the direction of the opposite of what S[ayer] is saying) (Attardo, 2000b, p 815). This is what Attardo calls the 'Principle of least disruption'. The ironic utterance may violate a maxim but remains relevant to the conversation and the context. When talking about relevance and 'appropriateness' of irony in a context, Attardo (2000b) presents some examples and extrapolates from these the notion that irony is a relevant utterance but either "explicitly or implicitly violates the conditions for contextual appropriateness, either deictically or more broadly in terms of the knowledge by the participants of the opinions and belief systems of the speakers" (2000b, p 817). Thus, for Attardo, an utterance is ironical if it is relevant and contextually inappropriate, of which the speaker is aware and intends for the hearer to pick up on. By including the aspect of contextual (in)appropriateness, Attardo broadens the Gricean approach. With 'appropriateness' Attardo (2000b) means the following: An utterance u is contextually appropriate [if] all presuppositions of u are identical to or compatible with all the presuppositions of the context C in which u is uttered (cf. the notion of 'common ground'; Clark, 1996), except for any feature explicitly thematized and denied in u. (Attardo, 2000, p 818) Attardo shows that appropriateness is truth-sensitive through the following example:
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(1) John should leave the room. The utterance is appropriate if John is in the room. However, if John is not in the room, the utterance is inappropriate. To clarify the concept of relevant inappropriateness, an example from Fawlty Towers will be discussed. In this scene, Manuel, the Spanish waiter, is left in charge of the hotel for a couple of hours. A delivery man delivers a garden gnome but Manuel does not understand and thinks the man wants a room. Manuel: You want room 16? Delivery man: I don't want a room, mate. I'm just leaving [the gnome]. Manuel: You want room 16 for him? Delivery man: Yeah. With a bath, you dago twit. Here, the response of the delivery man is ironic and should thus be relevant inappropriate. It is relevant because the situation calls for an answer to Manuel's question. It is also inappropriate because the deliverer does not really want a room with a bath for the gnome. Thus, this utterance is relevant inappropriate and, as such, an example of irony according to Attardo's theory. Attardo’s (2000b) appropriateness theory is meant to be an expansion of Grice’s theory. It is broader and is context-based so that it can not only handle all instances of irony detectable by Grice’s model, but also ironical statements that violate the appropriateness condition and that are context-based. To conclude this section on ironic theory, a reference should be made to Gibbs (2000) whose observation provides food for thought: "These competing ideas about irony may not be mutually exclusive, as each proposal may contribute to a comprehensive theory of ironic language use." (2000, p 7). He states that since irony is used with such variety, to achieve a variety of communicative goals, from estrangement to gentle teasing among friends, that one theory cannot encompass all examples of irony. Instead of following one specific theory, Gibbs thus proposes that all these theories contribute to an overall understanding of irony.
2.2 CLASSIFICATION
Over the years, there have been several different classifications of irony. Haverkate (1990) points out that in the study of irony, scholars mostly focus on three types: verbal irony, dramatic irony and irony of fate. Haverkate states that verbal irony sets itself apart from the
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other two because it is intentional. The speaker purposefully makes his statement ironic, for example in "What a great idea!" uttered when the speaker actually thinks it is a bad idea. Dramatic irony occupies "an intermediate position between verbal irony and irony of fate because it verbally reflects the latter by describing events which take place contrary to the expectation of the protagonists." (1990, p 78). As such, dramatic irony occurs when a speaker's actions or words have meaning to the audience, but that is lost to the characters themselves. A typical example of dramatic irony is the story of Oedipus, when Oedipus looks for his father's murderer not realizing it is himself. Irony of fate, or situational irony as Attardo (2000b) calls it, is defined by Haverkate as followed: "the irony of unforeseen processes and situations, which falsify the expectations of the observer." (1990, p 78). A fire station burning down to the ground is the example of situational irony Attardo gives. In this paper the focus will lie on verbal irony. According to Gibbs (2000), there are different types of verbal irony. In his article he reports the results of a study of ironic utterances in conversations among friends. Gibbs recorded sixty-two 10-minute conversations, which later proved to contain 289 ironic expressions, and analysed them for the purpose of discovering different types of irony and the linguistic and social patterns on how, how often and why people use irony. Gibbs distinguishes between five types of irony: jocularity, sarcasm, hyperbole, rhetorical questions, and understatements. Jocularity is a type of verbal irony that is used to tease people in a humorous way. Gibbs (2000) gives an example taken from his corpus: a) Why you guys dissin' on Latin? b) What, wo-ah, you're dissin' my Latin. (repeated in a mocking tone). Here, b) is a jocular response to a) as the speaker of b) is making fun of the speaker of a. Sarcasm is the type of irony in which the speaker says something positive but actually means the opposite, in order to criticize. For example, someone says "Great idea!" when they actually mean it is a very stupid idea. Hyperbole, according to Gibbs is "where speakers expressed their non-literal meaning by exaggerating the reality of the situation" (2000, p 12). Gibbs gives an example from his corpus: "I was like the happiest person on earth" (2000, p 13). Rhetorical questions are questions to which the speaker does not expect an answer and are ironic because they imply humorous or critical assertion. An example from Gibbs' research: "Isn't it so nice to have guests here?". Finally, understatements are used to ironically say less than what actually occurred. "James was just a bit late with his rent," (said when James was really late with his
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rent) is another example that Gibbs gives. These types have in common, as Gibbs points out, that they are all based on the idea of the speaker expressing contrast between expectation and reality. Of the 289 utterances, Gibbs found 145 to be jocular, 80 sarcastic, 34 to be hyperboles, 24 to be rhetorical questions and 6 to be understatements. Although this paper will deal with all types of verbal irony, it would not seem necessary to distinguish here between sarcastic, jocular, hyperbolic, etc. in ironic utterances in Fawlty Towers and The Office. However, this distinction is still worth mentioning because it gives a clearer picture of what verbal irony is and how it can present itself. Knowing this can improve one's ability to recognize verbal irony and it can therefore be said that in some way this distinction performs the function of an ironic marker.
2.3 IRONIC FACTORS AND MARKERS
It can be challenging to recognize irony and to correctly identify it as such. Pelsmaekers and Van Besien (2002) state that when a speaker uses irony but the hearer does not pick up on it, that means that the speech act was unsuccessful with respect to the hearer and the perlocutionary effect was not realized. This means that when the hearer interprets the meaning literally instead of ironically, the ironic meaning goes lost. Therefore, ironists will use ironic cues or markers to help the hearer understand that the utterance should be interpreted as ironic. These cues or markers can be verbal or non-verbal signs (2002, p 345). Despite not having reached a consensus about what the phenomenon of irony is precisely, some authors have dedicated their studies to identifying these ironic markers and factors.
2.3.1 Irony factors
It is important to make a distinction between irony markers and irony factors, Attardo (2000a) points out in his article. He explains the difference as followed: An irony marker/indicator alerts the reader to the fact that a sentence is ironical. The sentence would, however, be ironical even without the marker. For example, a wink, before, during, or after a sentence meant as ironical will alert H[earer] (I.D.) to the fact that S[peaker] (I.D.) does not mean literally what he/she is saying. The sentence
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would, however, still be ironical even if S had not provided H with the indication of its ironical status. (2000a, p7) Attardo notes that there is often confusion surrounding the distinction between irony markers and irony factors in practise because irony factors like exaggeration, understatement or contextual inappropriateness can sometimes already alert the reader to the ironical meaning, without the help of irony markers. Thus, these irony factors then seem to behave as irony markers and the distinction between irony markers and irony factors seems to disappear. Burgers, Van Mulken and Schellens (2012) based itself on Attardo's distinction (2000a) and composed a list of irony factors with made-up examples of ironic comments on investment ideas. The various factors were taken from various studies of other researchers like Gibbs (1986), Wilson and Sperber (1992), Attardo, etc. What follows below is the list by Burgers et al (2012, p 294): Factor Evaluativeness Explicitly evaluative Implicitly evaluative Incongruence Incongruent info absent Incongruent info present Valence Ironic praise Ironic blame Target Sender Addressee Third party Combination Relevance Directly relevant Indirectly relevant
Example That was a great investment idea! Investing in company X really earned me a lot of money!
That was a great investment idea! I just filed for bankruptcy because of your suggestion to invest in company X. That was a great investment idea (latter utterance ironic, first utterance not) That was a great investment idea! (when it was very bad) That was a horrible investment idea! (when it was very good) I had a great investment idea! You had a great investment idea! Mark had a great investment idea! You and Mark have great investment ideas! That was a great investment idea! I am rich now!
Irony factors are listed here in this paper because, as Attardo (2000a) pointed out, sometimes the line between irony factors and irony markers gets blurred and irony factors can be said to perform the function of irony markers.
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2.3.2 Irony markers
When looking at irony markers, there is a distinction to be made. Haverkate (1990) suggests that in the study of irony there are two levels of analysis: intonation and syntax. He makes this distinction because on one hand, irony is often recognised by an ironic tone of voice and, as such, depends on intonation. However, on the other hand, as Haverkate points out, irony can be produced in written language as well and therefore, intonation "cannot be regarded as a necessary and sufficient condition for verbal irony to be created". (1990, p 80). Following Haverkate, the distinction will be made between linguistic irony markers and paralinguistic irony markers.
2.3.1 Linguistic irony markers
Pelsmaekers and Van Besien (2002), like Haverkate (1990), distinguish between verbal and non-verbal ironic cues. Examples of verbal cues, according to them, are the use of hyperbolic expressions, hyperformality, intensifiers ("That's simply brilliant"; said to a student who failed), repetitions (see previous example of Gibbs), interjections, etc. (2002, pp 245-246). Pelsmaekers and Van Besien also point out that an element that is markedly inappropriate in an otherwise non-marked sentence, can also be a cue for irony. They illustrate this with an example: "Let me congratulate you on this great lie." Here, they argue, "lie" is markedly inappropriate since you do not normally congratulate someone on telling a lie and thus alerts the reader that this sentence should not be taken literally. Another important study on linguistic irony markers was done by Burgers, Van Mulken and Schellens (2012). Burgers et al. studied the use of verbal irony in six different written genres of text. In order to do this, they compounded a list of (linguistic) irony markers, based on markers suggested by Muecke (1978), Barbe (1995), Haiman (1998), etc. Each marker is exemplified by a made-up example of ironic comments on a bad idea. What follows is an adjusted copy of this list (2012, p 296):
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Marker Tropes as irony markers Metaphor Hyperbole Understatement Rhetorical question Schematic irony markers Ironic repetition Ironic echo Change of register Morpho-syntactic irony markers Exclamation Tag question Focus topicalization Interjections Diminutives Typographic irony markers Different typography Capitalization Quotation marks Other punctuation marks Emoticons Crossed-out text Other special signs
Example You are a rocket scientist. That was the best idea in the history of mankind. That idea is quite OK. Could your idea be any better? "John will come up with a good idea" -> Indeed, that's a good idea. Indeed, that's a good idea. You may grant me the honor of listening to another one of your fine ideas (said to a friend).
Great idea! That's a great idea, isn't it? A great idea that is, I believe. Well, it is a great idea. "Dat was een goed ideetje." That was a great little idea. It is a great idea. It is a GREAT idea. It is a "great" idea. It is a great [!] idea. It is a great idea ;-) It is a terribly great idea. Your IdeaTM is great.
2.3.2 Paralinguistic irony markers
Paralinguistic irony markers are those markers that have nothing to do with written language but with spoken language, gestures and the tone of voice of the speaker. Haverkate (1990, pp 79-80) states that strengthening of the intensity accent, lengthening of syllabic quantity and nasal articulation are three important features of intonation required for recognizing irony. Pelsmaekers and Van Besien (2002, p 245-246) list nasalization, slow and emphatic speech, snorting sounds and marked intonation as examples of non-verbal cues of irony, or paralinguistic irony markers. Attardo (2000a) does not distinguish between the two categories of irony markers but does provide a list of markers, as defined and used by others (Muecke (1978); Schaffer (1982);
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Haiman (1998); etc). However, it must be said that he acknowledges that there are more than those he mentions and that the ones he lists are merely the most common. What follows is an abbreviated account of Attardo's list, including only those that can be counted as paralinguistic irony markers. 1. Intonation (using flat, rising, singsong melody, ... intonation) 2. Nasalization (using nasal voice) 3. Exaggerated stress (putting significantly more stress on part of the utterance) 4. Other phonological means (speaking at a slowed rate, lengthening syllables, using pauses, laughing or using flat intonation) 5. Kinesic markers (using winks, nudges, tongue-in-cheek gestures, etc.) (2000a, pp 711) Although Attardo classifies intonation and exaggerated stress as two different markers, it can be said that these markers are related. Intonation is caused by pitch movement in words and sentences. A distinction is made between falling and rising patterns, which are subdivided into high falls and low falls and high rises and low rises respectively. Next to those four patterns, there are 'broken' tones like fall-rise and rise-fall patterns. Exaggerated stress is related to intonation in that pitch variation can be used to stress a particular part of a sentence. In this thesis the distinction between these two markers is kept as intonation pertains more to a sentence and exaggerated stress more to a word or small word phrase and this distinction is noticeable in the corpus material. Furthermore, Attardo lists a marker that is not purely linguistic but not paralinguistic either. It is the marker of context and it is defined as a contrast between what is said and what is known about the speaker and his value systems or what is known about the referent. (2000a, pp 711). However, it must be said that even with all these means of identifying irony, it remains difficult to do so in practise, because, as Tannen (1984) stated in her study in which she studied irony in dinner conversations: "Clearly there is some subjectivity involved in classifying utterances as ironic or not ironic” (1984, p 130). This is due to the fact that irony allows for ambiguity and that verbal irony is intentional. On the one hand, ambiguity makes it possible that a hearer only grasps the surface meaning, not recognizing that there is an underlying meaning to the message, despite having an irony marker. On the other hand, verbal irony is intentional and the ironic intent depends on the speaker. It is, as such, perfectly possible that a hearer recognizes irony where there is none. Thus, the hearer interprets an
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utterance as ironic while the speaker did not mean for the utterance to be interpreted as such. For the correct interpretation of each utterance, it should therefore be necessary to look at the speaker's intent and thoughts in each utterance. However, this is not always possible.
2.4 TRANSLATION OF IRONY
As has been mentioned before, there is still no consensus about the definition of irony. Therefore, it is logical that the gross of the research on irony is concerned with finding a definition and defending a new approach to study irony and not with specific translation strategies for translating irony. One of the researchers who did focus on specific translation strategies for the translation of irony, is Mateo (1995). In her work Mateo (1995) studies a corpus of comedies with instances of verbal irony, dramatic irony and impersonal irony. She identifies the types of irony, according to Muecke's classification (1969) and composes a list of possible translation strategies: 1. 2. 3.
4. 5. 6. 7. 8. 9. 10. 11. 12. 13.
ST irony becomes TT irony with literal translation. ST irony becomes TT irony with "equivalent effect" translation. ST irony becomes TT irony through means different from those used in ST (e.g. verbal irony becomes kinetic irony, the use of intonation is replaced by lexical or grammatical units, etc.). ST irony is enhanced in TT with some word/expression. ST ironic innuendo becomes more restricted and explicit in TT. ST irony becomes TT sarcasm (criticism is overt now, no feeling of contradiction at all). The hidden meaning of ST irony comes to the surface in TT. No irony in TT therefore. ST ironic ambiguity has only one of the two meanings translated in TT. No double entendre or ambiguity in TT therefore. ST irony replaced by a "synonym" in TT with no two possible interpretations. ST irony explained in footnote in TT. ST irony has literal translation with no irony in TT. Ironic ST completely deleted in TT. No irony in ST becomes irony in TT. (1995, pp 175-177)
Mateo (1995) concludes by saying that irony depends both on context and on form and that translators sometimes choose to focus on transferring the form or semantic content of the ironic expression while others will choose to focus on the pragmatic content or the context of irony. The choice will always depend on the type of text, the translational, cultural and social conventions of the time, the type of receiver, the medium for translation, etc.
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3. SUBTITLING & AUDIOVISUAL TRANSLATION
3.1 CHARACTERISTICS AND DEFINITION
Audiovisual Translation or AVT is not limited to just subtitling but includes many different kinds of translation that have been developed over the years. Orero (2004) states that AVT encompasses "all translations - or multisemiotic transfer - for production or postproduction in any media or format, and also the new areas of media accesibility [sic]: subtitling for the deaf and the hard or [sic] hearing and audiodescription for the blind and the visually impaired" (2004, p VIII). Thus, AVT is a wide field that encompasses not only subtitling but also dubbing, audiodescription, voice-over and surtitling. Dubbing consists in erasing the original dialogue and replacing it with a translated version. The translator must take into account lip synchrony (lip movement must match the original as often as possible) and isochrony (as long as a character's lips are moving, dialogue must be produced). Audiodescription is the description of the plot for the blind and visually impaired, as already explained by Orero. In voice-over the original dialogue is still present but another person, often a narrator, talks over the original dialogue. Finally, surtitling is used in translating librettos for opera and theatre plays. Surtitles have different conventions and are situated above the scene, contrary to subtitles which are conventionally located at the bottom of the screen. This paper will focus only on subtitles (Vermeulen, 2013-2014). Within the category of subtitles, a distinction can be made between intralinguistic and interlinguistic subtitles. O'Connell (2007) states that subtitling "is defined as supplementing the original voice soundtrack by adding written text on screen". As O'Connell phrases it here, it could be perceived as a definition of intralinguistic subtitling where there is no element of translation. Interlinguistic subtitling is explained by Díaz Cintas (2010) as followed: "rendering in writing the translation into a [target language] of the original dialogue exchanges uttered by the different speakers, as well as of all other verbal information that is transmitted visually (letters, banners, inserts) or aurally (lyrics, voices off)." (2010, 344). Titford famously called subtitling constrained translation (Titford, 1982) because, probably more so than in other forms of translation, there are more translation challenges in subtitling. This does not mean that AVT or subtitling is more difficult than other forms of translation like literary translation. It simply means that in AVT the translator has to take into account
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other factors like space and time, while literary translators do not have to worry about those limitations. The main difference between a traditional text and an audiovisual text, including subtitles, is that within the field of AVT, the source text is not the collection of subtitles but the spoken dialogue that accompanies a visual image. This would mean that meaning is not only communicated through dialogue, but also through music and effects, picture and writing. As such, audiovisual texts, including subtitles, have two channels (image and sound), two registers (written and spoken) and two codes (verbal and non-verbal) which must be taken into account when translating. This was already pointed out by Rosa (2001), who acknowledged the different mediums and made a list of what subtitling involves: (1) change of medium: change from speech and gestures (both visual and audible) to writing; (2) change of channel: change from the mainly vocal-auditive channel to a visual channel; (3) change of the form of signals: change from phonetic substance to graphic substance; (4) change of code: change from spoken verbal language (and non-verbal language) to written verbal language. (2001, 214). Another challenge in AVT is the invisibility of subtitles. Gottlieb (1994) states that the nature of subtitling is "an amphibion: it flows with the current of speech, defining the pace of reception; it jumps at regular intervals, allowing a new text chunk to be read; and flying over the audiovisual landscape, it does not mingle with the human voices of that landscape: instead it provides the audience with a bird's-eye view of the scenery" (1994, p 101). Therefore, it is important for subtitling that the audience is not aware that there are subtitles, meaning that the subtitles cannot interrupt the image flow. Consequently, the language used must not be more marked than is required. As O'Connell (1996) says: "Subtitles should be drafted and imposed in such a way that they provide maximum information while causing the minimum of distraction from the main on-screen activity" (1996, p 155). O'Connell (1996) also points out the challenge of subtitling with regards to space limitation: "The subtitler, on the other hand, operates in the clear knowledge that we all read more slowly than we speak, so in most cases a subtitled text will have to be a summary of the original script and much is inevitably lost as a result." (1996, p 154). It can be said that this is true for both intralinguistic and interlinguistic subtitling. The subtitler must thus focus on transferring the primary meaning and often sacrifice the details in his work.
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3.2 SUBTITLING
Because of the different characteristics of subtitling and the audiovisual text and the way they are woven together to form the source text, translating subtitles becomes a challenging matter. First of all, the subtitles must flow with the original image and the audience must not be hindered in their understanding by marked language use or a faulty translation. Secondly, with translating subtitles there is the difficulty of having to restrict the translation because of space limitation. A further difficulty of this space limitation is that there is no room to make a translation explicit in the target text simply because there is not the space to do so. Thirdly, this paper focuses on a third challenge, namely the translation of irony in subtitles. This section will present the different strategies employed or suggested by researchers to translate subtitles. The work of Pelsmaekers and Van Besien (2002), Chaume (2004) and Ghaemi and Benyamin (2010) will be discussed. With regard to specific translation strategies for subtitling, Pelsmaekers and Van Besien (2002) refer to the work of Marleau (1982) and Hurt & Widler (1998) who made a list of language devices that disappear in subtitles: I. current expressions with an international character II. interjections and formulae of greeting, politeness, affirmation, negation, amazement, exclamation; question tags III. forms of address with a proper noun IV. forms of address with a common noun with a familiar sound V. incomplete sentences VI. explanations already known by the viewer, or explanations that are clear rom the image VII. phatic dialogue VIII. repetitions that are clear from the context. (2002, p 252) For Chaume (2004) an audiovisual text is "a semiotic construct comprising several signifying codes that operate simultaneously in the production of meaning" (2004, p 16). Chaume points out that the first articles that discussed audiovisual translation from the viewpoint of translation studies focussed mainly on what set audiovisual texts apart from other types of texts. In his article he wants to propose a strategy that can better explain audiovisual translation operations. In order to do that, he first discusses the different signifying codes in film language (linguistic code, paralinguistic code, musical code, iconographic code, etc.) and shows that they are also applicable to audiovisual texts. It is important for a translator to take all these codes into account when translating because, as Chaume points out: "The meaning of
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each code, and the extra meaning created when interacting with other signifying codes in every moment, gives an audiovisual text its particular idiosyncrasy and sums up the specificity of audiovisual texts from a translational viewpoint". (2004, p 23) Therefore, Chaume argues for translation strategies that take into account these different codes that characterize audiovisual texts: The translator finds himself/herself obliged to put into practice translation strategies capable of transmitting not only the information contained in each narrative and each code –as has been noted throughout this work– but the meaning that erupts as a result of this interaction: an added value (Chion, 1993) or an extra meaning (Fowler, 1986:69) that goes beyond the mere sum of both narrations. (2004, p 23) Ghaemi and Benyamin (2010) studied the interlinguistic strategies employed to translate English subtitles into Persian. They worked with a corpus that was made up of the Persian subtitles of five American films of different genres. The researchers worked in three steps: first, viewing the films, second, transcribing the English spoken dialogue and the Persian subtitles and third, determining the strategies that were used. Ghaemi and Benyamin use Gottlieb's (1992) translation strategies for subtitling. What follows are Gottlieb's ten translation strategies used by Ghaemi and Benyamin: 1. Expansion is used when the original text requires an explanation because of some cultural nuance not retrievable in the target language. 2. Paraphrase is resorted to in cases where the phraseology of the original cannot be reconstructed in the same syntactic way in the target language. 3. Transfer refers to the strategy of translating the source text completely and accurately. 4. Imitation maintains the same forms, typically with names of people and places. 5. Transcription is used in those cases where a term is unusual even in the source text, for example, the use of a third language or nonsense language. 6. Dislocation is adopted when the original employs some sort of special effect, e.g., a silly song in a cartoon film where the translation of the effect is more important than the content. 7. Condensation would seem to be the typical strategy used, that is, the shortening of the text in the least obtrusive way possible. 8. Decimation is an extreme form of condensation where perhaps for reasons of discourse speed, even potentially important elements are omitted. 9. Deletion refers to the total elimination of parts of a text. 10.Resignation describes the strategy adopted when no translation solution can be found and meaning is inevitably lost. (2010, p 42) The results showed that Gottlieb's (1992) subtitling strategies were actually used and that the strategy 'transfer' was used most frequently in all films.
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Although in Ghaemi and Benyamin (2010) the direction of the translation was EnglishPersian, it stands to reason that Gottlieb's (1992) subtitling strategies will be applicable in an English-Dutch translation as well.
3.3 SUBTITLING IRONY
Chaume (2004) states the following: "The remaining problems that an audiovisual text can present for a translator in the linguistic field (i.e. word play, the simultaneous use of several languages, cultural elements) are shared by other translation types (e.g. legal, scientific, technical, etc.), and should not be considered problems specific to audiovisual translation." (2004, 17). Irony can be considered as one of those problems a translator can be presented with in audiovisual translation. Since translating irony is not a translation problem limited to audiovisual translation but can present itself in almost any form of linguistic text, translation strategies for translating irony in general can be used when the space limitation and other conventions of AVT allow it, which is the question this study attempts to answer. Pelsmaekers and Van Besien (2002) have studied the translation of ironic humour in the subtitles of Blackadder. They found that in the majority of the subtitles, ironic potential was still present and that nearly all translations maintained the locutionary incongruity with the situation. The translations also made use of the same speech acts as in the target text to convey irony and retained the perlocutionary effect of trying to ridicule the intended target. However, they also found that in many instances the ironic cues were different in the subtitles and that in two thirds of the cases they were either altered or deleted. Pelsmaekers and Van Besien compare their study to Mateo's (1995) work and conclude that Mateo's strategies, except those of preservation or total loss of irony, implicate a shift towards more overt criticism, explicitness and a loss of ambiguity.
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4. HYPOTHESIS & RESEARCH METHOD
4.1 HYPOTHESIS
After discussing the many different ideas and theories on irony, the translation thereof and the translation of subtitles, it seems that while translating irony in subtitles, the translator has to take more factors into account in AVT than when he is translating irony in other text formats. Logically, these factors - space limitation and the presence of images - will likely have an influence on the translation of the ironic utterances in AVT in some way. The hypothesis is that irony will be translated in subtitles. However, it is hard to imagine that some ironic meaning will not get lost in translation in the subtitles because of space limitation and the difficulty to transfer ironic meaning into another culture. Some ironic utterances may not be translated at all. Therefore, the hypothesis is twofold: 1) For the irony utterances that are translated in subtitles, the existing translation strategies for subtitles and for irony by Ghaemi and Benyamin (2010) and Mateo (1995) respectively, will be applicable. However, the use of translation strategies for irony will probably be somewhat limited due to the limitation on available space and time. 2) As for the utterances in which irony is partially lost in the TT or ironic utterances that are not translated at all, the visual and auditory aspect of AVT will make up for the loss, at least in some cases. In other words, what is lost in meaning in the subtitles, can be recuperated by the actions and tone of voice of the characters. This way, the ironic meaning gets across to the Dutch speaking audience.
4.2 RESEARCH METHOD
In order to test the hypothesis, ironic utterances in two British sitcoms will be examined: Fawlty Towers and The Office. The source material existed in the episodes of both sitcoms which were released on DVD in 2001 (Fawlty Towers) and in 2006 (The Office). The source text (ST) will be the dialogue and image of these two series but it is of course difficult to put the episodes themselves into a corpus. Therefore, a corpus was composed containing the transcriptions of a number of episodes in which ironic utterances were indicated. Thus, the ST
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in this paper will be the transcribed dialogue list of Fawlty Towers and The Office. For Fawlty Towers a ST was used of 12 659 words, which corresponds with three episodes: A Touch of Class, The Builders and The Wedding Party. The ST for The Office counted 38 155 words, transcribed from ten episodes, episodes one through six from the first season and one through four from the second season. Some contextual indications between brackets were added in the transcriptions of both sitcoms so as to help the reader understand what is going on. The TT's of both sitcoms are the Dutch subtitles, downloaded from Ondertitel.com and verified through comparison with the ones used on the DVD. Fawlty Towers counted 1094 subtitles and 8046 words in the TT. For The Office this amounted to 3565 subtitles and 28 098 words. The actual analysis of the ironic utterances was done in a separate corpus and reference numbers were included in order to easily encounter the correct context of each utterance in the first corpus. The analysis itself was done in several stages. In a first stage examples of irony were spotted and 100 examples of each sitcom were put into a corpus. In a second stage the context of the ironic utterance was analysed through viewing the episodes a second time and the irony markers that are used were examined. This was done for the English ST as well as for the Dutch subtitles. Finally, in a third stage it was determined whether there was a meaning shift between ST and TT in both sitcoms. The results of the analysis were looked at both qualitatively and quantitatively. In a qualitative analysis, the different irony markers that were encountered in the corpus were discussed and explained by way of an example from each sitcom. This was done for both the ST and the TT to see if there is a difference in irony markers used. Subsequently, it was examined for each sitcom if there is a relation between the irony markers used in the ST and the ones used in the TT. In other words, it was determined whether different irony markers are used in the TT than in the ST. Finally, a brief comparison between the results for FT and those for TO was made to see if there were similarities in terms of types of irony markers. In the quantitative analysis, the frequency of each irony marker was determined in the ST as well as in the TT of each sitcom. By doing this it was possible to estimate how many irony markers are lost or added in translation. To end the quantitative analysis a brief comparison between the frequency of specific irony markers in Fawlty Towers and those in The Office showed if there were differences as to the quantity of irony used in both sitcoms. Finally, it was examined in how many examples irony was successfully translated and in how many cases it was not. Thus it could be determined how much irony was successfully
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translated and what translation strategies were used in the translation of ironic utterances in subtitles.
5. RESULTS
5.1 QUALITATIVELY
In the analysis a first distinction was made between linguistic markers like inappropriate element and rhetorical question and paralinguistic markers like intonation and kinesic marker. The marker 'context' occupies a special place and is therefore discussed separately. For the linguistic markers, a further distinction was made between morpho-syntactic markers and tropes on one hand and typographical markers on the other. First the paralinguistic markers in the ST will be discussed before moving on to the discussion of the linguistic markers in the ST. Secondly, the markers found in the TT will be discussed. The examples used to illustrate the use of a marker all come from the corpus of ironic expressions. Each example is provided with a reference indicator: [FT, No. of example in the corpus of ironic utterances] for examples from Fawlty Towers and [TO, No. of example in the corpus of ironic utterances] for examples from The Office.
5.2.1 Source Text
Analysis of the corpus showed that all examples of irony depended on context in Fawlty Towers (FT) and The Office (TO). For instance, in FT Sybil is criticizing Basil for listening to music instead of working and the following conversation takes place: (1)
S: You could have had them both done by now if you hadn't spent the whole morning skulking in there listening to that racket. B: Racket? That's Brahms! Brahms's Third racket! [FT, 15]
The audience knows this is an ironic utterance because they know Basil loves this music and would therefore not think that it is racket. As such, there is a contrast between what is known of Basil's values and what he states. Thus, Basil is indirectly, through use of irony, criticizing his wife for criticizing his taste in music.
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Context as irony marker was also an important marker in the corpus of irony of TO. When Dawn's boyfriend Lee talks about their wedding, Dawn says something funny and Tim laughs. Lee misinterprets it and thinks Tim is laughing at them. (2)
L: What's that? T: No, I was just laughing at what Dawn said. L: Because you're such a big high flyer?
[TO, 41]
As Tim is just an employee without an important function, Lee knows that what he is saying is not true. With his ironic statement he means something else than what he is saying, i.e. that Tim is not a big high flyer and he criticizes Tim for laughing.
5.2.1.1 Paralinguistic markers
Among paralinguistic markers examples of intonation, exaggerated stress, other phonological means and kinesic markers were encountered in the corpus. An example of each marker will be presented and discussed for each sitcom, if that marker was found in that corpus. In the corpus all the instances of irony were identified in which intonation was important for understanding that the utterance was meant as ironic. Intonation is, however, a broad term and could be subdivided into different types of intonation patterns. There are more patterns than are discussed in this section, where only those that were found to mark irony are mentioned. The most common of these patterns was low fall intonation, which is characterized by a fall in pitch from mid to low pitch. Many examples were found in FT in which low fall intonation was used to mark irony, as it does in the following example. (3)
Drive carefully, dear.
[FT, 10]
At the end of this sentence the pitch drops a little, producing a low fall which typically tends to express boredom and resignation. In other words, Basil uses intonation to indicate that in reality he does not care much if his wife drives carefully or not. He does not mean what he is saying and therefore the utterance can be perceived as ironic. Another pitch pattern that is used to mark irony is rise-fall, which is a pitch that goes from mid to high to low. It is a tone that is often used to mock or to put down. Basil uses this tone when he replies to a statement from Mr. Brown, whom he does not like. (4)
Oh, good, how nice, how very thoughtful.
[FT, 19]
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In this sentence the pitch goes up on 'Oh' and comes down on 'good', goes up again on 'how' and down again on 'nice'. Basil uses this pitch pattern to mock Mr. Brown and to indicate that he does not mean what he is saying. Therefore, the utterance can be perceived as ironic. Intonation as an irony marker occurs in The Office as well. The example below is taken from the corpus. Jennifer has just told David that one branch of the company will be closed down, which is bad news for David. (5)
J: No no, listen David. Don't panic. D: Should be good.
[TO, 3]
Obviously, David does not think it will be good and his utterance is therefore marked by intonation, specifically a low fall pattern. The tone, together with the context are indicative of irony. In the corpus of irony in TO, low fall is the most common intonation pattern that marked irony. Next to low fall, the tone rise-fall is also used in ironic utterances in TO, like in the following example. Here, David and Ricky are playing a joke on Dawn by pretending to fire her for stealing post-it notes. Dawn points out that they're only worth 12p. (6)
Oh, got your Bible on you, Ricky?
[TO, 10]
David uses rise-fall intonation to mock Dawn's response. The tone of the beginning of the sentence rises but then drops after 'Bible'. This, together with other markers, is indicative of irony. In TO there is a third intonation pattern that is used to mark irony, the high rise tone. In the following example the characters are at a training seminar and David has just stated that his greatest dream is to live forever. Tim responds as followed: (7)
I think I'm starting to know what that's like.
[TO, 50]
Tim's response is marked with a high rise tone in order to make it clear that it is not a sincere utterance but rather a statement to criticize the useless and boring seminar. Related to intonation is exaggerated stress, where a speaker puts noticeably more stress on a particular element, often a word, of a sentence. Both in FT as in TO examples of exaggerated stress as irony markers were found. An example of each corpus will serve to demonstrate this.
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In FT, Polly tells Basil that Lord Melbury is a confidence trickster and that Mr. Brown of the CID is waiting outside to arrest him because they do not want to cause Basil embarrassment. Basil responds as followed: (8)
Oh, how nice of him!
[FT, 31]
Basil does not believe it is nice at all of Mr. Brown to arrest his distinguished guest. To make this clear to the audience, he puts significantly more stress on 'nice' in order to indicate that his response should be interpreted as ironic. In TO speakers use exaggerated stress to mark irony as well. When David finds a sexist picture of himself circling around in the office, he asks Gareth to figure out who distributed it. Gareth investigates and finds the pictures originated from Tim's computer, causing David to blame Tim who defends himself because he was not actually the culprit. (9)
Colombo here figured it out, did he? Well yeah, gee sorry, I must be guilty if you've got your best man on the case! [TO, 26]
In this sentence, Tim puts exaggerated stress on 'best man' because he wants to make clear that he does not actually believe that Gareth is a good investigator. As such, he means the opposite of what he is saying and he is being ironic. In the corpus a type of marker was found that was classified as 'other phonological means'. This includes huffs, laughs, pauses and noises that cannot be considered as words but do express an attitude of the speaker towards what he is saying. This type of marker was found in ironic utterances in FT as well as in TO. In the following utterance in FT a pause is noticeable right before the word 'gentleman'. (10)
Uh, Manuel, would you fetch this gentleman's case from the car outside? [FT, 14]
Since Mr. Brown is a guest, Basil should be polite and refer to him as a gentleman. He does so but with this pause Basil makes clear that he is reluctant to say the word because he does not believe it applies to Mr. Brown. As such, the pause makes it clear that Basil does not mean what he is saying and that 'gentleman' is meant as ironic. This marker also occurs in TO, when the characters are at a quiz and Finch is trying to prove that he knows more than Ricky and Tim.
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(11)
F: Choose a topic. R: Sport. F: What's the capital of Iceland? R: Reykjavik. T: Is that still a sport?
[TO, 44]
Tim's response "Is that still a sport?" is accompanied by a chuckle, indicating that Tim is not being serious. His utterance is not meant as a real question but as a way to mock Finch and can be, as such, interpreted as ironic. The fifth ironic marker we encountered in the corpus of ironic utterances is the kinesic marker: gestures, winks, facial expressions, etc. Because the ST contains images, the kinesic markers must be taken into account. Examples of this marker were found in both sitcoms, sometimes as a wink, other times as a particular gesture. Even though there were different gestures, they were all classified under the same denominator of kinesic marker because they were all non-verbal markers that the speaker used to indicate that he meant something different than what he was saying. In FT, Lord Melbury has asked Basil to cash in a cheque for him. Basil gives him the money but later learns that Melbury is a confidence trickster. When Melbury returns to give him the cheque, Basil realizes it is a false cheque and replies as followed: (12)
Ah, thank you so much.
[FT, 34]
As he accepts the cheque from Melbury, Basil bites the cheque and then tosses it over his shoulder. This gesture helps the audience to understand that Basil is not at all happy with the cheque, that he thinks it is worthless and that therefore, he cannot mean what he is saying. As such, this gesture is a marker for irony. In TO kinesic markers are found as markers of irony as well, for instance in the following utterance. It is an example of the third episode in which the employees of Wernham-Hogg organize a quiz. Tim and Ricky have won, much to the displeasure of Finch, who thinks they did not deserve to win and tries to prove to Dawn that he is better. (13)
F: I could give you a list of 50 things I could beat them at. D: Like what? F: Like… Throwing. R: Throwing. No. Throwing's good.
[TO, 46]
Ricky does not mean what he is saying and makes that clear to the audience by rolling his eyes and frowning. That way, he expresses an attitude towards his utterance that is different
35
than what the utterance itself is expressing. Thus, the audience knows that he does not mean what he is saying and that he is being ironic.
5.2.1.2
Linguistic markers
As has been said, the category of linguistic markers was subdivided into morpho-syntactic markers and typographical markers. Because the ST is dialogue, however, examples of typographical markers could not be found in the corpus. Any typographical markers that are present in the ST of the corpus are own additions and should therefore not be taken into account.
5.2.1.2.1
Morpho-syntactic markers
Among the morpho-syntactic markers and tropes were counted inappropriate element, rhetorical question, ironic repetition, change of register, intensifier, diminutive, hyperbole, understatement, tag question and interjection. A number of examples of 'inappropriate element' as irony marker were found in the corpus. Part of an utterance is deemed inappropriate when is it contradictory to another part in the sentence or to a previous or following sentence. An example of this marker in FT occurs when Basil asks Sir Morris the following question: (14)
Any valuables to deposit, Sir Richard? Any bricks?
[FT, 37]
As bricks are not really considered to be valuables by anyone, this constitutes as an inappropriate element in the sentence. Basil utters this because he wants to criticize Melbury for passing on bricks as valuables in order to trick others into thinking he is a Lord. The sentence is, as such, not really directed at Sir Morris, who does not understand the reference, but at Melbury. Therefore, the question cannot be regarded as a real question but rather as a criticism directed at Melbury. Thus, Basil is saying something different than what he means and this sentence can be seen as ironic.
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An example of inappropriate element in TO occurs when David thinks Tim spread around photographs of him as a sex object in the office and he presents him with a copy of the photos. (15)
T: Sorry. What's that? D: I don't know. A dirty picture with my head on it, as a sex object. [TO, 25]
As the latter part of David's utterance shows, he does know what the object is. Therefore, the first part 'I don't know' is inappropriate. As such, it is possible to state that David means the opposite of what he is saying and consequently, this utterance can be interpreted as ironic. Among the ironic utterances instances were found where a rhetorical question was a marker for irony. These utterances were characterized by questions that were not intended to elicit an answer but rather to criticize or mock someone. As such, the intended meaning differs from the surface meaning and they can be considered as ironic. Rhetorical questions as markers for irony were found in ironic utterances in both FT and TO. An example of rhetorical question as irony marker was found in the following utterance in FT. Basil is criticizing and ridiculing Polly's drawings and asks what the point is of doing them. (16)
P: No point. B: No point? P: Well, what's the point in being alive?
[FT, 41]
With her second utterance, Polly is not really asking for an answer. Instead, she is criticizing Basil's attitude towards her work. As such, the intended meaning differs from the surface meaning and the utterance can be considered as ironic. In TO there were also several instances of rhetorical questions that were markers for ironic meaning. Among these was the following example in which Gareth has acquired a holster for his portable phone. Tim reacts to that as followed: (17)
Gareth, have you got a licence to carry that?
[TO, 12]
Tim knows that a license is not needed to carry a phone and as such, his utterance is not a real question in that he does not expect an answer. Furthermore, the rhetorical question serves to ridicule Gareth's holster for his portable phone. As the intended meaning (mocking) is
37
different than the surface meaning (asking a question), the utterance can be perceives as ironic. Another marker for irony that Burgers et al. listed and that has been encountered in the corpus, is ironic repetition. In these utterances something that was said is repeated but in an ironic way. In FT some examples of ironic repetition were encountered. This next example was taken from a scene where Lord Melbury has asked if Basil has any rooms left or if they are full. (18)
Oh no, we're not full, we're not full. Of course we're not full!
[FT, 21]
Basil repeats Lord Melbury's words to make fun of him, to mock him. Thus, the surface meaning differs from the intended meaning. Basil's response informs Melbury that they have a room for him while the intended meaning is to mock Melbury. In TO an example of ironic repetition was encountered as well. In this scene from episode 1.6, David is firing an employee. When the employee asks for an explanation as to why he is getting fired, David beats around the bush saying that it is not his fault and that it was imposed upon him. The employee replies as followed: (19)
"This has been imposed upon me!" "This has been imposed upon me!" [TO, 67]
The employee thus uses repetition to mock David and to indicate that he does not believe him. Another syntactic marker encountered in the corpus is change of register, when the speaker changes the register in order to mock the hearer. Few examples of this marker were found in the corpus of FT. One is used in the scene where Basil sees Melbury again after he has found out that Lord Melbury is a confidence trickster. While talking to him, Basil suddenly changes his speech register. (20)
'Ow are yer then? All right, mate? 'Ow's me old mucker?
[FT, 36]
Basil uses this dialect to indicate that he does not mean what he is saying. By addressing Lord Melbury this way, he is using the opposite type of language one would expect to use when addressing a lord. The audience knows this sentence is ironic because up until that point, Basil has tried to imitate the language of the upper class while in this sentence he deliberately does the opposite.
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An example of change of register was found in the corpus of TO as well. In this scene David and Ricky are playing a joke on Dawn, letting her think she is getting fired for stealing post-it notes. Dawn tries to explain that it is not an offence for which you should get fired because post-it notes are only worth 12p. David uses a change of register to ridicule Dawn's utterance. (21)
Thou shalt not steal unless it's only 12p.
[TO, 11]
David is quoting the Bible but instead of paraphrasing it, he chooses to use the register of Bible language in order to further mock Dawn's utterance and to indicate that there is a second ironic meaning to this utterance. Intensifiers as ironic markers are small additions to a sentence that make it clear to the audience that the utterance is ironic. In FT some intensifiers were found that marked irony, for example in the following utterance. In this scene, Sybil orders Basil to put up a painting and when he does it, his wife is giving instructions on where to put it. Her actions annoy Basil and he responds as followed. (22)
Thank you, dear. Thank you so much.
[FT, 4]
By adding 'so much', Basil intensifies the message in order to indicate that his utterance is meant to be ironic. By intensifying the message, Basil uses a form of exaggeration to indicate that he does not really mean to thank her but is instead mocking her. The same occurs in TO, where in the example below the word 'really' is used to intensify the message. (23)
Well, I really wouldn't want to be here when you bawl out Finchy. [TO, 27]
If 'really' were not there, the sentence would just be a declaration of Dawn, expressing her desire to not be there when David bawls out Finchy. However, by adding 'really' Dawn exaggerates the statement, marking to the audience that what she is saying should not be interpreted literally. As such, Dawn uses the intensifier to mark an ironic interpretation. Diminutives are the opposite of intensifiers but they can also serve to indicate instances of irony and operate in a similar manner. No examples of diminutives as markers for irony were found in the corpus of ironic utterances in TO but an example was found in the corpus of FT in the scene where Basil is talking to Miss Tibbs and Miss Gatsby. Basil and Sybil are going
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away for the weekend and the ladies advise him not to do anything they would not do, to which Basil replies the following: (24)
Just a little breathing, surely.
[FT, 39]
In this utterance, the diminutive 'little' serves to exaggerate so that the audience is alerted to the fact that this utterance has a second interpretation that is ironic and serves to mock the ladies Basil is talking to. Hyperbolic expressions can mark irony when a speaker uses exaggeration to alert the audience that his utterance should not be interpreted literally. No examples of this marker were found in TO but some examples of hyperboles as markers for irony were found in the corpus of FT. In the scene, Basil is complaining to his wife about the young couple that Sybil put in the room with a double bed. Basil disapproves because the couple is not yet married and uses a hyperbolic ironic expression to vent his frustration. (25)
Good Evening, welcome to Basil Fawlty Knocking Shops Limited. [FT, 93]
In this utterance, Basil's statement is so exaggerated that the audience knows it cannot be true. Nevertheless, Basil must have a reason for saying it, thus, the intended meaning must be sought elsewhere and the audience realizes this utterance is ironic. Hyperbole was also used in TO to mark irony. Example (9) that has been discussed before will serve as an example. (9)
Colombo here figured it out, did he? Well yeah, gee sorry, I must be guilty if you've got your best man on the case! [TO, 26]
Tim exaggerates here when he states that Gareth is David's 'best man'. The audience knows Gareth is not a very smart guy so 'best man' is exaggerated. Thus, the audience knows that Tim intended this utterance to be interpreted as ironic. Understatements are the opposite of hyperboles, where the speaker understates the utterance so that it does not concur with reality. Examples of understatement as marker for irony were not found in the corpus of FT but were found in that of TO. In the scene, Jennifer is explaining to David that she was promoted to partner.
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(26)
D: They've made you into a partner? So, that'll be Wernham-Hogg-TaylorClark. That's mental, they'll have to change the stationary. J: Yeah, I think we might get a discount seeing as though we're in the business. [TO, 70]
Here, the use of expressions like 'I think' and 'might' point to understatement. Jennifer knows full well that they will get a discount but she uses understatement to mock David a little, perhaps for his less than enthusiastic reaction. That is why this utterance can be interpreted as ironic. Burgers et al. (2012) indicate that tag questions can be markers of irony. Tag questions are used to repeat the information of the first part of the sentence and therefore are related to ironic repetition, that also relies on repetition. It must be said that tag questions that are indicative of irony are usually unbalanced tags in which the positive statement is followed by a positive tag. We have found several examples of tag questions as markers of an ironic utterance in both FT as in TO. The following example was found in FT. In this scene Basil catches Polly kissing her fiancée in the lobby and he interrupts them. Polly introduces the man as her friend to which Basil states the following: (27)
Oh! You know each other, do you?
[FT, 73]
The audience knows from the context that Basil knows they know each other because he just caught them kissing. The tag question serves to indicate that Basil is mocking them. He is not really asking a question but rather expressing his discontent through the use of an ironic question tag. An example of a tag question as a marker for irony is found in the scene in episode 2.1 where Tim and Gareth are arguing about who saw the attractive new employee first. Gareth argues he did and when Tim asks him to explain how that works, Gareth gestures with his fingers to his eyes and to the girl. Tim responds as followed: (28)
T: So you've won the argument doing that, have you?
[TO, 76]
The use of a positive tag following a positive sentence serves to make clear that Tim is being ironic. With the tag he makes clear that he does not think Gareth has won the argument with that gesture. As such, he means to say something different than what he is saying for the purpose of mocking, making the utterance ironic.
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A final morpho-syntactic marker that was found was interjection. Interjections are used to express a speaker's attitude towards an utterance. In ironic expressions this can therefore mark that the speaker is not being sincere in what he expresses and that the audience should look for another, ironic interpretation. Examples of this irony marker were found in both corpuses. When Basil asks Sybil if she can put Melbury's valuables in the safe, Sybil claims she cannot do it as she is going to the kitchen and Basil replies as followed: (29)
Yes, well, if you're too busy...
[FT, 25]
Basil uses the interjection 'well' to express that he does not agree with her, although he says he does. The audience is aware of Basil's attitude and realizes this sentence is ironic. For an example of TO, consider example (23) that was discussed before with regard to intensifiers as irony marker. (23)
Well, I really wouldn't want to be here when you bawl out Finchy. [TO, 27]
The interjection 'Well' is used here to mark to the audience that Dawn does not mean what she is saying. If the interjection were not present, the utterance could be perceived as not ironic. Together with the intensifier 'really' the interjection thus indicates irony.
5.2.2 Target Text
Looking at the translation of irony in the TT, it becomes apparent that some markers are kept while others are not. Those markers that do depend on sounds, gestures, tone and stress, i.e. paralinguistic markers, are easily transferred in translation. In other words, the target audience can still see and hear these markers of irony, regardless of the translation. Therefore, the markers intonation and exaggerated stress will only be briefly discussed because not much changes for these markers in translation. Kinesic markers and other phonological markers will not be discussed for the TT since they are identical in both ST and TT. In the TT 'context' seems to be a necessary condition for irony, as was the case in the ST. To illustrate this, the same examples that were used to illustrate this point for the ST are now compared with their translation in the subtitle.
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(1)
Brahms's Third racket! Brahms' derde herrie./
[FT, 15]
The condition for irony, i.e. a contrast between what is said and what we know the speaker intends, has not changed here. In the Dutch translation the contrast has remained so the irony of the utterance is successfully translated. The same holds true for a number of ironic expressions in the corpus of TO, as in the example below. (2)
Because you're such a big high flyer? - Omdat jij zo'n topfunctie hebt?/
[TO, 41]
Lee knows Tim does not have a top function and so does the audience. Therefore, the audience also knows that there must be another intended meaning that is different from the surface meaning. Lee utters this statement in order to criticize Tim for laughing. As such, the utterance is ironic.
5.2.2.1 Paralinguistic markers
Because with subtitles the original soundtrack and images are kept, nothing changes much for the paralinguistic markers in translation. Intonation patterns can still be heard, as well as exaggerated stress. As these paralinguistic markers do not depend on words, they become very important when part of the ST is not translated. The audience still hears the utterance and although they might not understand what is being said, they may understand that it was intended as ironic through the intonation pattern and the gestures the speaker makes. An example from both sitcoms will serve to demonstrate this. (30)
I wouldn't know about that.
[FT, 87]
Example (30) was not translated in the TT of FT. The utterance is ironic in the ST because the audience knows that Basil does know his wife arranged the rooms for the young couple. As such, Basil says something contradictory to what he knows and the audience is alerted to the fact that this utterance is meant to be ironic as Basil utters it to criticize the couple and his wife. In the TT the utterance is not translated but the audience can still hear it in the ST and can hear the low fall intonation Basil uses. The intonation is, as such, a marker for irony for the TT audience. Whether or not the audience grasps the irony, will depend on the audience's knowledge of the source language. Those who are fluent in the source language may
43
understand the ST and grasp the irony while others who depend solely on the subtitles will perhaps fail to grasp the irony. (31)
Yeah. That'd happen!
[TO, 48]
Something similar holds true for example (31) that was found in TO. This utterance relies on context (Tim does not believe that will happen) and on exaggerated stress on 'that' to mark the irony for the audience. However, the utterance is not translated in the TT. Nevertheless, the TT audience can still hear the exaggerated stress on 'that' which marks the irony. Whether or not the TT audience will correctly interpret the intended meaning of the utterance will again depend on the audience's knowledge of the source language.
5.2.2.2 Linguistic markers
5.2.2.2.1 Morpho-syntactic markers
The marker 'inappropriate element' is found in the TT as well. In the example below the ST was translated quite literally and so the element 'bakstenen' contrasts with 'kostbaarheden', like it did in the original ST. (14)
Any valuables to deposit, Sir Richard? Any bricks? Heeft u nog kostbaarheden, Sir Richard?/Bakstenen of zo?/
[FT, 37]
In TO there are also some examples in which the inappropriate element was kept in the TT. The next example will serve to demonstrate this. David and Finch are criticizing students in general, saying that they are lazy. When Ricky points out that he had a job while studying, Finch responds as followed: (32)
Professor in charge of watching "Countdown" every day? Hoogleraar Countdown kijken?/
[TO, 43]
The inappropriate element is here 'professor' in the ST, which was translated as 'hoogleraar' in the TT. Both words contrast with the rest of the sentence and , as such, mark irony in the ST, and in the TT respectively. In the TT, some examples of rhetorical questions were found that marked irony. Examples (16) and (17) that have previously been discussed can serve to illustrate this when they are compared to their translations.
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(16)
Well, what's the point in being alive? Wat heeft 't leven voor zin?/
[FT, 41]
This example from FT shows that the rhetorical question was used to mark irony in the translation as well. Polly does not really ask for an answer to her question, instead she is indirectly criticizing Basil's reaction to her drawings. The same holds true for the example from TO. (17)
Gareth, have you got a licence to carry that? Heb je daar een vergunning voor?/
[TO, 12]
Tim knows Gareth does not need a license to carry a cell phone, therefore, his question seems immaterial. Thus, the audience looks for another possible reason as to why Tim would say this and finds that the intended meaning of this utterance is to mock Gareth, making the utterance ironic. The corpus showed that ironic repetition is an ironic marker that occurred in the TT as well. An example in FT is the scene where the delivery man comes to deliver a garden gnome to "number 16" and Manuel misunderstands, thinking the man wants room 16. After the deliverer leaves, Manuel complains about him. (33)
For room 16. Kamer zestien
[FT, 49]
In the ST, Manuel repeats the delivery man's utterance with the intention to mock the man. This ironic repetition is reproduced in the translation where Manuel repeats de deliverer's utterance, also with the intent to mock the man. The following example from TO has been discussed previously for the ST. In the TT it is clear that David's sentence "Het is me opgedragen", is repeated by the employee in order to mock David and to criticize him for not giving the employee an explanation as to why the he is getting fired. (19)
"This has been imposed upon me!" "This has been imposed upon me!" 'Het is me opgedragen.'/ [TO, 67]
Furthermore, to make clear to the audience that this is an ironic utterance, the translator has used quotation marks in the TT. This type of typographical means as irony marker will be discussed more thoroughly in a later section.
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Another marker that was used in the TT to mark irony is change of register. The translation of the examples that have been discussed before can be used to illustrate this. (20)
'Ow are yer then? All right, mate? 'Ow's me old mucker? Alles kits, makker?/Hoe is 't met m'n ouwe rakker?/
[FT, 36]
In the Dutch translation, a change of register is used to mark that the utterance is ironic. Basil, who has been very polite to Lord Melbury before, now changes the speech register to indicate that he does not mean what he is saying and that he is actually criticizing Melbury for pulling a con trick on him. (21)
Thou shalt not steal unless it's only 12p. Gij zult niet stelen,/tenzij het maar 14 cent is./
[TO, 11]
In the example above from TO, David changes his speech register to mock Dawn. The change in register also appears in the TT, presenting the target audience with the same marker for irony as the audience of the ST was. A diminutive as irony marker indicates that the speaker is indirectly, through the use of irony, mocking the hearer as Basil does in the following example from FT that was discussed earlier on in this section. (24)
Just a little breathing, surely. Alleen wat ademhalen dus./
[FT, 39]
The diminutive alerts the audience that Basil is mocking the hearer, in this case Miss Tibbs and Miss Gatsby, just as it did in the ST. A couple of examples of a diminutive as a marker for irony were found in TO, for example in the following utterance. (34)
That'd be a quiet night in at the library. Een rustig avondje in de bieb./
[TO, 2]
In the ST the utterance is ironic because context (Gareth later says 'Not!') and a phonological marker (huffing) alert the audience to the fact that Gareth does not mean what he states. In the TT the subtitler has added an additional marker, a diminutive ('avondje'). The diminutive alerts the target audience to Gareth's derisive attitude towards his utterance, making the audience realize that there is a second, ironic meaning to the statement. In the TT of FT a few examples were found of hyperbole as irony marker, as in the translation of the following example that was discussed earlier.
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(25)
Good Evening, welcome to Basil Fawlty Knocking Shops Limited. 'Dag, dit is Bordeel Fawlty'./ [FT, 93]
In this example, Basil compares the hotel to a knocking shop. He exaggerates in his comparison, marking the utterance as ironic. The same occurs in the translation. 'knocking shop' is translated rather literally into 'bordeel', thus, the exaggerated comparison is maintained and the TT utterance is meant to be ironic. In the TT of TO, the hyperbole as irony marker was maintained as well, as the TT of example (9) demonstrates. (9)
Colombo here figured it out, did he? Well yeah, gee sorry, I must be guilty if you've got your best man on the case! Columbo heeft het/uitgevogeld, hè?/Ik moet wel schuldig zijn/als je beste man erbovenop zit./ [TO, 26]
In the ST, 'best man' is exaggerated. The audience knows that Tim hardly thinks Gareth is David's best man and is, as such, a marker for irony. In the TT, hyperbole is also used as a marker of irony as the ST is rather literally translated. 'beste man' thus performs the same function in the TT as 'best man' did in the ST, i.e. as a marker of irony. An example of understatement as a marker of irony in the TT was found in TO, in the scene where David not so subtly reminds Ricky that they had talked about Dostoyevsky. Ricky replies as followed: (35)
Yeah. I think we mentioned it, yeah. In het voorbijgaan./
[TO, 38]
Ricky's use of 'mentioned' is an understatement as he and David did more than mention it. As such, it does not concur with what the audience knows happened and understatement is used to show that Ricky is mocking David. In the TT, the understatement is also used to mark irony. The markers intensifier, tag question and interjection were not found in the TT of either corpus.
5.2.2.2.2 Typographical markers
The only type of typographical marker as a marker for irony encountered in the TT of FT and TO was the marker of quotation marks. An example of this type of marker in FT and in TO
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was already briefly discussed previously and will here be discussed more thoroughly. Example (25) is an example from FT while example (19) is one from TO. (25) (19)
'Dag, dit is Bordeel Fawlty'./ 'Het is me opgedragen.'/
[FT, 93] [TO, 67]
In both examples, the typographical marker lets the audience know that this sentence should not be interpreted literally. There is an underlying meaning to each of these utterances that is ironic in nature and serves to criticize and/or mock the hearer. The typographical marker thus helps the audience to grasp the ironic meaning. In comparing the types of irony markers used in Fawlty Towers with those used in The Office, it is clear that a lot of the same markers for irony are used, in the ST as well as in the TT. In both sitcoms, the subtitler has tried to use the irony marker from the ST in his translation, sometimes with success and sometimes not. Markers like tag question and interjection were not copied in the translation but in many cases markers like rhetorical question were. In both sitcoms, typographical markers are not used in the ST but are inserted in the TT, something that can point to a difference in the use of typographical markers between English and Dutch. As such, it is possible to state that, relatively speaking, there are not many differences between ST of FT and of TO or between the ST and TT of both sitcoms in terms of types of irony markers used.
5.2 QUANTITATIVELY
The analysis showed that many examples of ionic utterances were not marked by just one irony marker. It occurred that one ironic utterance had as much as four markers that indicated an ironic interpretation. The most common marker found was the marker of context, which was found in all instances of irony in the ST of FT and of TO. The quantitative results for both sitcoms can be found in table 2.
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Table 2 : Quantitative analysis of irony markers in Fawlty Towers and The Office.
Context Paralinguistic markers Intonation Exaggerated stress Other phonological means Kinesic marker Linguistic markers Inappropriate element Rhetorical question Ironic repetition Change of register Intensifier Diminutive Hyperbole Understatement Tag question Interjection Typographical means
Fawlty Towers ST TT 100 83
The Office ST TT 100 85
52 25 1 14
48 24 1 12
42 13 13 13
34 12 12 13
13 20 5 1 5 1 5 0 7 6 x
6 17 3 1 0 1 5 0 0 0 2
22 19 2 1 1 0 1 2 2 4 x
18 17 1 1 0 3 1 1 0 0 1
Overall, a loss of irony markers can be observed in the TT of both sitcoms. This can be due to the constraining factors of subtitling which limit the translation in time and space. Although there are more irony markers used in the ironic utterances in FT, the difference with TO is not that great and in translation both TT lose almost the same amount of markers. Because the ironic utterances in the corpus are not marked by just one irony marker, the loss of one marker does not necessarily mean that irony is lost in the translation and that the target audience does not correctly interpret the utterance. In the TT of FT, it was found that in 83 examples irony was successfully translated, like in the following example. (8)
Oh, how nice of him! Wat aardig./
[FT, 31]
Even though the interjection is lost in the TT, the exaggerated stress on 'nice' in the ST and the context (Basil does not think it is nice) make it clear to the audience that this utterance is ironic.
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Not included in the results of the TT are those utterances that were not translated. However, of the 7 ironic utterances in FT that were not translated, 6 were understandable to a Dutch audience and thus, the same irony markers from the ST could be applied. Consider for instance the following example. (12)
Ah, thank you so much.
[FT, 34]
Perhaps because of space or time limitation, this utterance is not subtitled in the TT. However, the original ST utterance is probably quite understandable to a Dutch audience, even to those who do not have extensive knowledge of English. As this utterance is accompanied by a kinesic marker for irony, the audience will probably interpret this utterance correctly as ironic. There was 1 ironic utterance in FT that was not translated (example 30) that was perhaps more difficult for a Dutch TT audience to understand. Yet, here too the ST low fall intonation was an indicator for irony and could still be heard, alerting the TT audience to a possible ironic interpretation. (30)
I wouldn't know about that.
[FT, 87]
There were 6 cases in which the ironic ST utterance was only partially translated but where the part that was not translated was understandable to the Dutch TT audience. (36)
I'm so sorry, it's not all done by magic. maar ik kan nou eenmaal niet toveren./
[FT, 5]
In example (36) "I'm so sorry" is not translated and the TT is not ironic. However, "I'm so sorry" can still be heard and there is exaggerated stress on "so". Thus, it is possible that not all ironic meaning is lost, though it is unclear whether or not the TT audience will hear the utterance while reading the subtitle. In FT there was one instance where the ironic utterance from the ST was made explicit in the TT by use of an insult ("zool"). (18)
Oh no, we're not full, we're not full. Of course we're not full! Natuurlijk zitten we niet vol, zool./Natuurlijk niet./
[FT, 21]
Since there is no other way to interpret the subtitle other than literally so the ironic utterance loses its ironic interpretation in translation. Finally, there were 3 cases in FT where the ironic ST was translated by a non-ironic subtitle. In these cases it is possible that the ironic interpretation is lost to the target audience. Even
50
though the ST can still be heard, it is unclear how much of the ST the target audience will process while they are reading the subtitle, especially when ST and TT are interpreted differently. The following example will serve to demonstrate this. (37)
I mean what sort of place do you think this is, a massage parlour? - Dit is geen bordeel./ [FT, 77]
The original ST utterance is ironic and is marked by a rhetorical question. Basil knows Polly does not think of the hotel as a massage parlour and he uses this utterance to criticize her. In the TT, the rhetorical question is lost and replaced by an assertive utterance that is not ironic but just a statement. Similar conclusions can be drawn from the analysis of the translation of the ironic utterances in TO. In the TT, it was found that in 84 examples irony was successfully transferred, as in the following example. (2)
Because you're such a big high flyer? - Omdat jij zo'n topfunctie hebt?/
[TO, 41]
The irony markers context, rhetorical question and exaggerated stress (on "you're") are present in both the ST and the TT, making it clear that this utterance should be interpreted as ironic. In 8 instances irony was not translated but the target audience could still understand that the original utterance was to be interpreted as ironic. (38)
Brilliant.
[TO, 58]
This utterance was not translated but can still be heard and understood by a Dutch target audience since the Dutch translation 'briljant' is very similar to the English 'brilliant'. The Dutch audience can also still hear the low fall intonation that is used and understand the context in which this utterance occurs. As such, the target audience should be able to correctly interpret the utterance as ironic. There were 2 cases in TO in which only part of the ironic ST was translated, causing a possible loss of ironic interpretation on the part of the TT audience. (39)
Sorry Malcolm, Dawn wants to speak. - Dawn wil wat zeggen./
[TO, 6]
51
Through context and intonation the ST audience knows that David is not really sorry. In the TT "sorry Malcolm" is not translated but the TT audience can still hear it and theoretically, interpret this subtitle correctly as ironic. Whether or not they do in practise is unknown and will probably depend on the target audience. Finally, there were 6 cases in which the ironic ST was translated by a non-ironic subtitle. In these cases it is probable that the ironic interpretation is lost to the target audience. (40)
And that's something we've all got to look forward to, so... en dat staat ons allemaal te wachten./
[TO, 33]
David is referring here to senility. As such, the ST is ironic and is marked by an inappropriate element (one does not look forward to senility). This is lost in the TT, where the utterance can only be interpreted as a factual statement. Thus, the target audience will possibly not interpret the TT as ironic.
6. CONCLUSION
The purpose of this paper was to see which translation strategies are used in the translation of irony in subtitles. Therefore, ironic utterances in Fawlty Towers (FT) and in The Office (TO) have been examined to see which irony markers are used in both ST and TT and if and how they are translated. The results showed that in the case of FT and TO, most of the ironic utterances in the ST were successfully translated to the TT. Some ironic utterances were not translated in the subtitle but were still understandable for the target audience while others were translated partially and either can or cannot be interpreted correctly by the target audience, depending on whether the target audience listens to the ST while reading the subtitle or not. In FT one example was found in which irony was made explicit through the use of an insult. Finally, some ironic utterances were found to be translated as non-ironic utterances. The results of this investigation showed correlation with the work of Ghaemi and Benyamin (2010). It was observed that several of the strategies for translating subtitles proposed by Ghaemi and Benyamin were used in the translation of the subtitles in FT and TO. Additionally, in comparing the results of this paper with Mateo's (1995) translation strategies
52
for the translation of irony, some correlations were found. The translation strategies used in FT and TO correlate to some of Mateo's strategies. In some ironic utterances in FT and TO in the ST, for instance, some form of irony was preserved in the TT. Mateo states that irony can be translated by means of a different irony marker, which also concurred with the results found in this paper. Although only one example was found where irony in the ST was made explicit in the TT, it also concurs with one of Mateo's strategies. In some cases, irony was also found to be deleted in translation, concurrent with Mateo's strategy of deletion of irony in the TT. One of Mateo's (1995) strategies was not found and will never be found in subtitles due to the conventions of subtitling, i.e. the strategy that states that irony is explained in a footnote. This conclusion concurs for the most part with what Pelsmaekers and Van Besien (2002) concluded in their work on translating irony in subtitles and gives a positive answer to the first and second hypothesis. Overall, this paper shows that much of the ironic utterances in FT and TO are successfully translated into the TT. Those utterances that are partially translated or not translated at all, could be explained by the constraining factors of AVT. With more space and time to translate these utterances, irony could be successfully translated. Nevertheless, it must be remarked that AVT does not have only constraining factors. The presence of image and sound helps the audience recognize irony. Because of the nature of subtitles, i.e. the audience can hear the ST while simultaneously read the translation, the audience can understand those utterances that are not subtitled and easy to understand for a Dutch speaking audience. Thus, the presence of image and sound can prove to be an asset in the correct (ironic) interpretation of translated ironic utterances. To conclude this paper, some limitations of this investigation and possible avenues for further research will be discussed. To determine whether translation or not of irony in subtitles depends on AVT, a study can be performed that compares the intralingual translation of the ST into English subtitles with the interlingual translation of the English subtitles with the Dutch subtitles. Such a study can provide better insight into what the extent of the influence of AVT is on the translation of irony in subtitles. Furthermore, this paper has not been able to determine whether or not the target audience fully understands the irony in utterances that are not or not completely translated in the subtitles. Further research that this the hypothesis against a focus group is required. A focus
53
group can consist of an audience varying in age and cultural background that have to indicate whether or not they interpret ironic utterances in the ST as ironic in the TT.
54
BIBLIOGRAPHY
Atalla A. (Producer), Gervais R. & Merchant S. (Directors). (2002). The Office (season 1) [DVD]. United Kingdom: British Broadcasting Corporation (BBC). ----. (2003). The Office (season 2) [DVD]. United Kingdom: British Broadcasting Corporation (BBC). Attardo, S. (2000a). Irony markers and functions: towards a goal-oriented theory of irony and its processing. Rask, 12, 3-20. ----. (2000b). Irony as relevant inappropriateness. Journal of Pragmatics, 32 (6), 793-826. Burgers, C., Van Mulken, M. & Schellens, P.J. (2012). Verbal irony: differences in usage across written genres. Journal of Language and Social Psychology, 31 (3), 290-310. Davies, J.H. (Producer). (1975). Fawlty Towers [DVD]. United Kingdom: British Broadcasting Corporation (BBC). Díaz Cintas, J. (2010). Subtitling. In Y. Gambier & L. Van Doorslaer (Eds.), Handbook of Translation Studies (pp. 441-445). Amsterdam: John Benjamins. Frederic, C. (2004). Film studies and translation studies: two disciplines at stake in audiovisual translation. Meta: Translators' Journal, 49 (1), 12-24. Ghaemi, F. & Benyamin, J. (2010). Strategies Used in the Translation of Interlinguistic Subtitling. Journal of English Studies, 1 (1), 39-49. Gibbs, R. (2000). Irony in talk among friends. Metaphor and Symbol, 15 (1-2), 5-27. Gottlieb, H. (1994). Subtitling: diagonal translation. Perspectives: Studies in Translatology, 2 (1), 101-121. Grice, P. (1975). Logic and conversation. In P. Cole and J. Morgan (Eds.), Syntax and semantics, Volume 3: Speech Acts (pp. 41–58). New York: Academic Press. Haverkate, H. (1990). A speech act analysis of irony. Journal of Pragmatics, 14, 77-109. Irony. (n.d.). In Merriams-Webster’s online dictionary. Consulted on 7 March 2014, via http://www.merriam-webster.com/dictionary/irony
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Mateo, M. (1995). The Translation of Irony. Meta: Translators' Journal, 40 (1), 171-178. O'Connell, E. (1996). Media translation and translation studies. In T. Hickey & J. Williams (Eds.), Language, Education, and Society in a Changing World (pp. 151-156). Great Britain: WBC Book Manufacturers Ltd. ----. (2007). Screen Translation. In P. Kuhiwczak & K. Littau (Eds.), A companion to translation studies (pp.120-133). Toronto: Multilingual Matters Ltd. Orero, P. (2004). Audiovisual translation: a new dynamic umbrella. In P. Orero (Ed.), Topics in Audiovisual Translation (pp. VII-XIII). Amsterdam : John Benjamins. Pelsmaekers, K. & Van Besien, F. (2002). Subtitling irony. The Translator, 8 (2), 241-266. Rosa, A.A. (2001). Features of Oral and Written Communication in Subtitling. In Y. Gambier & H. Gottlieb (Eds.), (Multi) Media Translation (pp. 213-221). Amsterdam & Philadelphia: John Benjamins Publishing Company. Sperber, D. & Wilson, D. (1981). Irony and the use-mention distinction. In P. Cole (Ed.), Radical Pragmatics (pp. 295-318). New York: Academic Press. Titford, C. (1992). Sub-titling: Constrained Translation. Lebende Sprachen, 37 (3), 113–166. Vermeulen, A. (2013). Vertalen voor film en televisie [course material]. Gent: Universiteit Gent.
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APPENDIX
Appendix 1 ............................................................................................................................................ 57 Appendix 1.1: Transcription A Touch of Class ................................................................................. 57 Appendix 1.2: Transcription The Builders ........................................................................................ 75 Appendix 1.3: Transcription The Wedding Party.............................................................................. 93 Appendix 2 .......................................................................................................................................... 115 Appendix 2.1: Transcription Downsize (1.1) .................................................................................. 115 Appendix 2.2: Transcription Work Experience (1.2) ...................................................................... 130 Appendix 2.3: Transcription The Quiz (1.3) ................................................................................... 146 Appendix 2.4: Transcription Training (1.4) .................................................................................... 162 Appendix 2.5: Transcription New Girl (1.5) ................................................................................... 177 Appendix 2.6: Transcription Judgement (1.6) ................................................................................. 189 Appendix 2.7: Transcription Merger (2.1) ...................................................................................... 203 Appendix 2.8: Transcription Appraisals (2.2) ................................................................................. 216 Appendix 2.9: Transcription Party (2.3) ......................................................................................... 231 Appendix 2.10: Transcription Motivation (2.4)............................................................................... 247 Appendix 3 .......................................................................................................................................... 262 Appendix 3.1: Ironic utterances in Fawlty Towers ......................................................................... 262 Appendix 3.2: Ironic utterances in The Office................................................................................. 277
57
Appendix 1 Appendix 1.1: Transcription A Touch of Class
No.
Speaker
Dialogue
Dutch subtitle
1
Basil
One double room without bath for the 16th, 17th and 18th. Yes, and if you'd be so good as to confirm by letter? Thank you so much, goodbye.
Een tweepersoonskamer/voor de 16e, 17e en 18e./Wilt u dat nog bevestigen?/Dank u./
2
Sybil
Have you made up the bill for room 12, Basil?
Is de rekening van kamer 12 klaar?/
3
Basil
No, I haven't yet, no.
- Nee./
4
Sybil
Well, they're in a hurry, Polly says they didn't get their alarm call. And Basil, please get that picture up, it's been there for a week.
Ze hebben haast./Volgens Polly zijn ze niet gewekt./Dat schilderij staat er al 'n week./
5
Basil
It's been there since Monday, Sybil. Tuesday, Wednesday, Thursday, good morning. Friday, Sat... Manuel! There is too much butter on those trays.
- Sinds maandag./Dinsdag, woensdag, donderdag,/goedemorgen, vrijdag, zater.../Manuel, er staat te veel boter/op die dienbladen./
6
Manuel
Que?
7
Basil
There is too much butter on those trays.
8
Manuel
No, no, no, Senor!
9
Basil
What?
10
Manuel
Not "on those trays." No Sir, "Uno dos tres." Uno, dos, tres.
11
Basil
No, no. Hay mucho burro alli!
12
Manuel
Que?
13
Basil
Hay mucho burro alli!
14
Manuel
Ah, mantequilla!
15
Basil
What? Que?
16
Manuel
Mantequilla. Burro is uhm … is uhm… hee-haw.
17
Basil
What?
18
Manuel
Burro burro is hee-haw, hee-haw.
19
Basil
Manuel, por favor. Uno momento.
20
Manuel
Si, si, si.
21
Sybil
What's the matter, Basil?
Er staat te veel boter/op die dienbladen./
Wat is er?/
58 22
Basil
Nothing, dear, I'm just dealing with it.
- Niks. Ik regel 't wel./
23
Manuel
He speak good - how do you say?
Hij spreekt goed.../
24
Sybil
English!
- Engels./
25
Basil
Mantequilla, solamente, dos.
26
Manuel
Dos?
27
Sybil
Well, don't look at me, you're the one whose supposed to be able to speak it.
Jij spreekt 't, ik niet./
28
Basil
Two pieces! Two each! Arriba, arriba!
Twee klontjes per blad./
29
Manuel
Si señor, gracias si.
30
Sybil
I don't know why you wanted to hire him, Basil.
Waarom heb je 'm aangenomen?/
31
Basil
Because he's cheap and keen to learn, dear.And in this day and age such...
- Hij is goedkoop en leergierig./
32
Sybil
But why did you say you could speak the language?
Waarom zei je dat je Spaans sprak?/
33
Basil
I learned classical Spanish, not the strange dialect he seems to have picked up.
- Ik spreek Spaans, geen dialect./
34
Sybil
It'd be quicker to train a monkey. Good morning, Miss Gatsby. Morning, Miss Tibbs.
Een aap leert sneller./Goedemorgen, dames./
35
Basil
Good morning, good morning.
36
Sybil
Basil!
Basil?/
37
Basil
Yes, dear?
- Ja, schat./
38
Sybil
Are you going to hang the picture?
Ga je 't schilderij ophangen?/
39
Basil
Yes I am, dear. Yes, yes.
- Ja./
40
Sybil
When?
Wanneer?/
41
Basil
When I've- when I've...
- Als ik.../
42
Sybil
Well, why don't you do it now?
Waarom nu niet?/
43
Basil
Well, I'm doing this, dear, I'm doing the menu.
- Eerst 't menu./
44
Sybil
You've got all morning to do the menu. Why don't you hang the picture now? Well?
Daar heb je nog de hele ochtend voor./Hang 't schilderij nu maar op./
45
Basil
Yes, all right, I won't do the menu. I don't think you realize how long it takes to do the menu, but Die menu's kosten veel tijd./Maar goed, ik hang 't schilderij wel op./Als de no, it doesn't matter, I'll hang the picture now. If the menus are late for lunch, it doesn't matter, menu's te laat klaar zijn,/kan men 't schilderij bekijken./ the guests can all come look at the picture till they are ready, right?
46
Sybil
Lower. Lower. Up a bit. There!
Lager./Lager. Ietsje hoger./
47
Basil
Thank you, dear. Thank you so much. I don't know where I'd be without you. In the land of the living, probably. Yes?
Dank je, schat./Waar zou ik zijn zonder jou?/Waarschijnlijk in 't land der levenden./
59 48
Customer
Uh, could we have our bill please?
Mogen we de rekening?/
49
Basil
Well, can you wait a minute?
- Kan dat even wachten?/
50
Customer
Well, I'm afraid we're a bit late for our train, we didn't get our alarm call.
We zijn laat voor de trein,/omdat we niet gewekt zijn./
51
Basil
Right. I was up at 5:00, you know, we do have staff problems, I'm so sorry, it's not all done by magic.
Ik was om 5 uur op,/maar ik kan nou eenmaal niet toveren./
52
Sybil
Basil, are you doing the menu?
Ben je 't menu aan het maken?/
53
Basil
No, I'm not doing the menu, dear. I am doing the bill for these charming people who are in a hurry.
- De rekening voor die haastige lui./
54
Customer
I'm sorry to cause all this trouble, but the reason we're late is we didn't get our alarm call.
Sorry, maar we hebben haast/omdat we niet gewekt zijn./
55
Sybil
Oh, dear, I am sorry. Basil, why didn't they get their alarm call?
Wat vervelend./Waarom zijn ze niet gewekt?/
56
Basil
Because I forgot. I am so sorry I am not perfect! There you are, there's the bill. Perhaps you'd pay my wife, I have to put the picture up. If there aren't any dustbins to be cleaned out.
Omdat ik 't vergeten ben./Sorry, maar ik ben ook niet volmaakt./Hier. Reken maar af met m'n vrouw./Ik ga 't schilderij ophangen./Tenzij er nog asbakken schoon moeten./
57
Delivery boy
Newspapers!
- Kranten./
58
Basil
Goodbye. See you again!
Dag, tot ziens./
59
Sybil
Don't forget the picture, Basil.
Vergeet 't schilderij niet./
60
Basil
I won't, dear, leave it to me.
- Nee./
61
Sybil
I'm going out now. I expect it to up when I come back.
Als ik terugkom,/moet het opgehangen zijn./
62
Basil
Drive carefully, dear. Good morning, Major.
Rij voorzichtig, schat./Morgen, majoor./
63
Major
Morning, Fawlty.
64
Basil
I do apologize for the tardiness of the arrival of your newspaper this morning, Major. I will speak to them again, see if something can be done.
Sorry dat uw krant zo laat is./Ik zal proberen er wat aan te doen./
65
Major
Ah, more strikes. Dustmen, post office.
Staking bij de vuilophaaldienst/en de post./
66
Basil
It makes you want to cry, doesn't it? What's happened to the old idea of doing something for your fellow man, of service? I mean, today people just...
Het is om te huilen. Waar is de/ouderwetste dienstbaarheid gebleven?/Tegenwoordig.../
67
Customer
Mr. Fawlty?
68
Basil
Yes, I'm coming! I'm coming. Wait a moment! They treat you like dirt, you know? Of course it's pure ignorance, but with the class of guests one gets nowadays...
Ja, ja, ik kom eraan./Ze behandelen je als vuil./Maar, wat wil je met dat plebs./
69
Sybil
Ah! D'olivera made a hundred!
D'Oliviera heeft gewonnen./
70
Basil
Did he? Did he really? Good for him, good old dolly. Well, well, well. Ah, thank you, Polly.
- Werkelijk? Goeie ouwe Dolly./
71
Customer
Uh, we're only staying till Sunday!
We blijven maar tot zondag./
60 72
Basil
Right, thank you.
73
Basil
Ah, I thought you were going out, dear.
Jij ging toch weg?/
74
Sybil
What's this?
- Wat is dit?/
75
Basil
I decided, Sybil, to advertise.
Ik heb 'n advertentie geplaatst./
76
Sybil
How much did it cost?
- Hoe duur was 't?/
77
Basil
Oh, I haven't ...15?
Vijftien?/
78
Sybil
Forty.
- Veertig./
79
Basil
Forty.
80
Sybil
I have told you where we advertise.
Je weet waar we in adverteren./
81
Basil
Sybil, I know the hotel business.
- Ik ken 't hotelwezen./
82
Sybil
No you don't, Basil.
Niet waar./
83
Basil
Sybil, we've got to try and attract a better class of person.
- We moeten beter volk aantrekken./
84
Sybil
Why?
Waarom?/
85
Basil
Well, we're losing tone.
- Het cachet gaat achteruit./
86
Sybil
We're making money.
We hebben toch winst gemaakt?/
87
Basil
Yes, yes.
88
Sybil
Just.
Amper./
89
Basil
Yes, but now we can try and build up a higher class of clientele! Turn away some of the riffraff.
- Ik wil 'n betere klantenkring.../...en 't schorem lozen./
90
Sybil
So long as they pay their bills, Basil.
- Als ze maar betalen./
91
Basil
Is that all that matters to you, Sybil? Money?
Is geld dan het enige dat telt?/
92
Sybil
This advertisement is a waste of £40.
- Je hebt 40 pond weggegooid./
93
Basil
One moment! One moment, please! Well?
Een momentje./
94
Sybil
Well?
95
Basil
My dear woman, Sir Richard and Lady Morris, arriving this evening. For two nights. You see, they saw our advertisement in country life.
Sir Richard en Lady Morris komen/naar aanleiding van de advertentie./
96
Sybil
I wish they were staying a week.
Als ze 'n week blijven,/
97
Basil
Well, so do I.
98
Sybil
Might pay for the ad then.
hebben we de advertentie eruit./
99
Basil
Sybil, look! If we can attract this class of customer, I mean, the sky's the limit!
Met dit soort klanten/zijn onze mogelijkheden onbegrensd./
61 100 Sybil
Basil, 22 rooms is the limit!
22 kamers is onze grens./
101 Basil
I mean, have you seen the people in room six? They've never even sat on chairs before. They are the commonest, vulgarest, most...
- Ken je die mensen van kamer 6?/Die hebben nog nooit op 'n stoel/gezeten. Zulke ordinaire.../
102 Mr. Brown
Allo! Got a room?
Hebbie 'n kamer?/
103 Basil
I beg your pardon?
104 Mr. Brown
Got a room for tonight, mate?
Hebbie 'n kamer voor vannacht, makker?/
105 Basil
I shall have to see, sir. A single?
Ik zal 's kijken, meneer./Eenpersoons?/
106 Mr. Brown
Yeah. No, make it a double, I feel lucky today! Hello.
Doe toch maar tweepersoons./Volgens mij heb ik mazzel vandaag./
107 Polly
Good morning.
108 Mr. Brown
Only joking.
Grapje./
109 Basil
No, we haven't.
- Nee. We hebben geen kamer./
110 Mr. Brown
What?
111 Basil
Haven't any rooms. Good day.
112 Sybil
Number seven is free, Basil.
Kamer 7 is vrij./
113 Basil
What? No, Mr. Tone is in number seven, dear.
- Nee, die heeft Mr Cachet./
114 Sybil
No, he left while you were putting the picture up, Basil. You have luggage, Sir?
Die is vertrokken/toen jij 't schilderij ophing. Bagage?/
115 Mr. Brown
Just one case. In the car. The white sports.
Eén koffer maar./In de auto. De witte sportwagen./
116 Sybil
Fill this in, would you, Sir?
Wilt u dit even invullen?/
117 Basil
If you can.
- Als dat lukt./
118 Sybil
Hope you enjoy your stay, Mr. Brown.
Een prettig verblijf hier, Mr Brown./
119 Basil
Uh, Manuel, would you fetch this gentleman's case from the car outside? Take it to room seven?
Wil je de koffer uit meneers auto halen/en naar kamer 7 brengen?/
120 Manuel
Is not easy for me.
Kan ik nie./
121 Basil
What?
122 Manuel
Is not easy for me entender.
Kannie entender./
123 Basil
It's not easy for you to understand. Manuel... we're training him. He's from Barcelona. In Spain. Obtener la valisa.
Je kunt het niet verstaan./We leiden hem op./Hij komt uit Barcelona./In Spanje./
124 Manuel
Que?
125 Basil
La valisa en el, er, auto bianco sportiv. Y a la sala siete por favor. Pronto.
126 Manuel
Is impossible.
Kannie./
62 127 Basil
What?
128 Manuel
Is impossible.
129 Basil
Look, it's perfectly simple!
130 Mr. Brown
Manuel sirvase buscar mi equipaje que esta en el automovil blanco y lo traer a la sala numero siete.
131 Manuel
Senor habla espanol!
132 Mr. Brown
Solo un poco, lo siento. Pero he olvidado mucho.
133 Manuel
No, senor, no, habla muy bien. Muy muy bien. Formidable!
134 Mr. Brown
Gracias, gracias.
135 Manuel
Lo voy a coger ahora.
136 Basil
Well, if there's anything else, I'm sure Manuel will be able to tell you, as you seem to get on so well together.
Manuel zal u verder van dienst zijn./Het klikt immers zo goed./
137 Mr. Brown
Uh, key?
Sleutel./
138 Basil
Hello, dear, just doing the picture.
Hallo, schat./Ik ben net met 't schilderij bezig./
139 Sybil
Don't forget the menu.
Vergeet 't menu niet./
140 Basil
I beg your pardon?
Pardon?/
141 Sybil
Don't forget the menu.
- Vergeet 't menu niet./
142 Basil
I thought you said you wanted... Right! I'll do the menu.
En ik moest... Prima, het menu./
143 Sybil
You could have had them both done by now if you hadn't spent the whole morning skulking in there listening to that racket.
Had dan ook niet de hele ochtend/naar die herrie geluisterd./
144 Basil
Racket? That's Brahms! Brahms's Third racket! The whole morning? I had two bars.
Herrie?/Dat is Brahms./Brahms' derde herrie./De hele ochtend.../Twee maten maar./
145 Polly
Ready to order?
Wilt u bestellen?/
146 Mr. Brown
Uh, yeah.What's a gralefrit?
- Wat is 'n grapefritt?/
147 Polly
Grapefruit.
Grapefruit./
148 Mr. Brown
And creme pot.. Pot rouge?
En Perto.../
149 Polly
Portugaise. Tomato soup.
- Portugese tomatensoep./
150 Mr. Brown
I'll have the gralefrit. Now balm carousel... Lamb?
Doe de greepfruit maar./En toofhotel?/
151 Polly
Casserole.
Stoofschotel./
152 Mr. Brown
Sounds good. Does it come with a smile?
- Met 'n lach?/
153 Polly
It comes with sprouts or carrots.
Spruitjes of worteltjes./
Het is toch zo simpel./
63 154 Mr. Brown
Oh, smile's extra, is it?
- De lach is extra?/
155 Polly
You'll get one if you eat up all your sprouts.
De lach krijgt u/als u al uw spruitjes opeet./
156 Mr. Brown
Waiter!
Ober./
157 Basil
I beg your pardon?
Hoe zegt u?/
158 Mr. Brown
Oh, hello. Can I have some wine, please?
Mag ik 'n wijntje?/
159 Basil
The waiter is busy, Sir, but I will bring you the carte des vins when I have finished attending to this Gentleman.
- De ober is bezig./Maar ik zal u zo/de carte des vins brengen./
160 Mr. Brown
Oh, fine. No hurry.
Prima. Haast je maar niet, hoor./
161 Basil
Oh, good, how nice, how very thoughtful. I trust the beer is to your satisfaction, Sir?
- Da's aardig./Is alles naar wens, meneer?/
162 Customer
Yes, fine.
Prima./
163 Basil
Ah, good. May I wish you bon apetit.
- Mooi. Bon appétit./
164 Customer
Thank you.
165 Basil
Manuel!
166 Manuel
Senor.
167 Basil
Would you fetch the wine list please?
168 Manuel
Si, Senor.
169 Basil
The wine list.
170 Manuel
Si?
171 Basil
The wine vino.
172 Manuel
Senor.
173 Basil
No, no. The list! There, there, the list! The list, there! The red there! There! Go away.
De kaart./Daar, de kaart./De kaart. Kijk dan./Hier./
174 Mr. Brown
Have you got a half bottle of the beaujolais?
Heeft u een half flesje Beaujolais?/
175 Basil
Yes.
- Ja./
176 Mr. Brown
Oh, fine.
Mooi./
177 Basil
Right! Never mind! Never mind! Manuel, another grapefruit for table 12. Please Manuel! I do beg your pardon. I apologize. I'm so sorry. Throw it away.
Geeft niks. Manuel./Nog 'n grapefruit voor tafel 12./Mijn verontschuldigingen./Weggooien.
178 Manuel
Que?
179 Basil
Throw it away!
Weg-gooi-en./
180 Manuel
Throw it away?
Weg-gooi-en./
Wil je de wijnkaart even halen?/
De wijnkaart./
64 181 Basil
Throw it away! Now! Sorry! Sorry, sorry! Sorry about that.
Nu./Wat bedoelt u dan met gooien?/
182 Polly
Sorry about that.
Sorry, hoor./
183 Mr. Brown
No, I like a bit of cabaret. You left your sketch.
- Ik hou wel van 'n sketch./Je hebt je schetsboek laten liggen./
184 Polly
Oh! Sorry.
185 Mr. Brown
It's very good. Do you sell any?
Het is goed. Verkoop je veel?/
186 Polly
Enough to keep me in waitressing.
- Genoeg om dit werk te doen./
187 Basil
One half bottle of beaujolais. Sybil!
Een klein flesje Beaujolais./
188 Sybil
Someone at reception, dear.
Er staat iemand bij de receptie, schat./
189 Basil
Yes, yes, well, yes?
190 Melbury
Well, I was wondering if you could offer me accommodation for a few nights?
Heeft u 'n kamer voor mij?/
191 Basil
Well, have you booked?
- Heeft u gereserveerd?/
192 Melbury
I'm sorry?
Pardon?/
193 Basil
Have you booked?
- Heeft u gereserveerd?/
194 Melbury
No.
Nee.
195 Basil
Oh, dear!
196 Melbury
Why, are you full?
Hoezo? Zit u dan vol?/
197 Basil
Oh no, we're not full, we're not full. Of course we're not full!
Natuurlijk zitten we niet vol, zool./Natuurlijk niet./
198 Melbury
Well, I'd like, ah --
Ik wil graag.../
199 Basil
One moment, one moment, please. Yes?
- Een momentje, alstublieft./
200 Melbury
A single room with a...
Een eenpersoonskamer.../
201 Basil
Your name please. Could I have your name?
- Uw naam?/
202 Melbury
Melbury.
203 Basil
One second, please. (on the phone) Hello? Ah, yes, Mr. O'Reilly, well, it's perfectly simple. When I asked you to build me a wall, I was rather hoping that instead of just dumping the bricks in a pile, you might have found time to cement them together, you know, one on top of the other, in the traditional fashion. (to Melbury) Could you fill it in, please? (on the phone) Oh, splendid! Ah, yes, yes, yes, but when, Mr. O'Reilly? (to Melbury) There, there, there! (on the phone) Yes, yes, yes, but when? Yes, yes, yes, yes, ah, the flu, yes. (to Melbury) Both names, please. (on the phone) Yes, I should have guessed, Mr.O'Reilly, that and the potato famine I suppose.
204 Melbury
I beg your pardon?
Een momentje./Ja, Mr O'Reilly./Even over die muur die u gebouwd heeft./U heeft de stenen opgestapeld.../...maar had u geen tijd om er heel/ouderwets wat cement tussen te doen?/Vult u dat even in?/Geweldig./Maar wanneer, Mr O'Reilly?/Daar, daar./Ja, maar wanneer?/Aha, griep./Voor- en achternaam./Ik had 't kunnen weten./Overgewaaid uit Timboektoe./
65
205 Basil
Would you put both your names, please? (on the phone) Well, will you give me a date?
Beide namen, graag./Kunt u me 'n datum geven?/
206 Melbury
Yeah, I only use one.
Ik gebruik er maar een./
207 Basil
You don't have a first name?
- Geen voornaam?/
208 Melbury
No, I am Lord Melbury, so I simply sign "Melbury."
Ik ben Lord Melbury,/maar ik onderteken met Melbury./
209 Basil
(on the phone) Go away. (to Melbury) I'm so sorry to have kept you waiting, your Lordship. I do apologize, please forgive me. Is there something, something, anything, that I can do for you? Anything at all?
Ga weg. Sorry dat ik u heb laten/wachten. Mijn welgemeende excuses./Kan ik u misschien/ergens mee van dienst zijn?/
210 Melbury
Yes, well, I have filled this in.
Ik heb dit ingevuld./
211 Basil
Oh, please don't bother with that. Now, a room? A special room, a single? A double? A suite? Well, we don't have any suites, but we have some beautiful doubles.
- Laat dit maar./Een eenpersoonskamer? Een suite?/Suites hebben we niet.../
212 Melbury
No, no, just a single.
- Gewoon 'n eenpersoonskamer./
213 Basil
Just a single. Absolutely! How very wise if I may say so, your honor.
Heel verstandig, edelachtbare./
214 Melbury
With a bath?
- Met bad./
215 Basil
Naturally, naturally! Naturellement!
Natuurlijk./Naturellement./
216 Melbury
I shall be staying for one or two nights.
Ik blijf een of twee nachten./
217 Basil
Oh please, please. Manuel! Well, it's rather grey today, isn't it?
Triest weer vandaag, hè?/
218 Melbury
Oh, yes, it is, rather.
219 Basil
Yes, of course usually down here it's quite beautiful, but today is a real old, uh, rotter. Manuel! Still, it's good for the wheat.
220 Melbury
Yes, I suppose so.
221 Basil
Oh yes, I hear it's coming along wonderfully at the moment! Thank God! I love the wheat. There's no sight like a field of wheat waving in the waving in... Manuel! Well, how are you? I mean if it's not a personal question.Well, it is a personal... Lord Melbury, let me get your cases for you.
Goed voor de tarwe./Die groeit prima heb ik gehoord./Goddank. Ik ben dol op tarwe./Niks is zo mooi als wuivend.../Hoe is 't met u?/Maar dat is een te persoonlijke vraag./Ik zal uw koffers halen./
222 Melbury
Oh, thank you very much. They're just outside.
- Ze staan buiten./
223 Basil
Splendid. Thank you so much. I won't be one moment. Ah, Lord Melbury. May I introduce my wife?
Ik ben zo terug./Mag ik u voorstellen aan m'n vrouw?/
224 Melbury
Yes, we have met.
- We hebben al kennisgemaakt./
225 Basil
My wife, may I introduce his Lordship.
Vrouw, ken je Lord.../
226 Sybil
Thank you, Basil, we've sorted it out now.
- Dank je, Basil. Het is wel goed./
227 Basil
Splendid, splendid.
Meestal is het hier prachtig,/maar vandaag is het echt pet./
66 228 Melbury
I wonder, could I deposit this case with you? It's just a few valuables?
Kan ik dit bij u achterlaten?/Er zitten wat kostbaarheden in./
229 Basil
Valuables, of course. Please let me take it now. I'll have it put in the safe straightaway. Sybil, would you put this in the safe, please?
Ik laat 't meteen in de kluis zetten./Zet jij 't in de kluis?/
230 Sybil
I'm just off to the kitchen, Basil.
Ik ga naar de keuken./
231 Basil
Yes, well, if you're too busy...
- Als je zo druk bent.../
232 Sybil
Nice to have met you, Lord Melbury. Hope you enjoy your stay.
Een prettig verblijf hier, Lord./
233 Melbury
Thank you so much.
234 Basil
I'll do it then, then I'll do the picture. I'll put this away in one moment, your Lord. Manuel, will you take these cases to room 21.
235 Manuel
Que?
236 Basil
Take to room 21.
237 Manuel
No entender.
238 Basil
Prenda las casos en... Oh, doesn't matter. I'll do it. Thank you, thank you Manuel.
Laat ook maar. Ik doe het zelf wel./
239 Manuel
I take them.
Ik pakken./
240 Basil
No, no, go away! Go and wait!
Ga bedienen./
241 Manuel
Wait?
Verdienen?/
242 Basil
Wait. In there! Go and wait in there! Go and be a waiter in there! I do apologize, your Lordship. I'm afraid he's only just joined us. It'd be quicker to train a monkey, ha ha ha! Do please follow me I mean, if you're ready. There's no hurry.
- Ook. Maar eerst binnen bedienen./Sorry, Lord. Hij is hier nog maar net./Een aap leert sneller./Komt u mee?/Als u zover bent, tenminste./Er is geen haast bij./
243 Melbury
Oh, yes, yes, fine.
244 Basil
Excuse me, I'm sorry to bother you. Would you mind moving to that table?
245 Mr. Wareing
What?
246 Basil
Could I ask you please, to move to that table over there?
247 Mr. Wareing
But...
248 Basil
I'm so sorry to trouble you.
249 Mr. Wareing
We're halfway through!
We zitten te eten./
250 Basil
Thank you so much. This is Lord Melbury's table, you see?
- Dit is Lord Melbury's tafel./
251 Mr. Wareing
What?
252 Basil
Lord Melbury. When he stays with us, he always sits at this table.
Dit is zijn vaste tafeltje./
253 Mr. Wareing
Well, why did they put us here?
- Waarom mochten wij er dan zitten?/
- Ik doe 't wel. En 't schilderij./Wil jij deze koffers/naar kamer 21 brengen?/
Brengen naar kamer 21./
Sorry, maar zou u aan die tafel/willen gaan zitten?/
Mag ik u verzoeken/aan die tafel plaats te nemen?/
67
254 Basil
Uh, an oversight on my wife's part. I'm so sorry. He's only just arrived, you see. Would you mind? Polly! Would you help these people move to that table? Thank you, thank you so much. Come on! Come on! Thank you.
255 Mr. Wareing
You… What?
256 Basil
Ah, Lord Melbury! Do please come this way, your Lordship, I have your table over here by the window. As usual … just here. Thank you so much.
257 Melbury
Thank you, thank you very much.
258 Basil
I'm so sorry! Oh my Lord! Oh, my God!
259 Mr. Wareing
I think he's killed him!
Volgens mij heeft ie 'm vermoord./
260 Basil
Get on with your meals! Thank you so much.
- Door-eten. Dank u wel./
261 Basil
Lord Melbury, I really must apologize again.
Lord, nogmaals m'n excuses.../
262 Melbury
Oh no, no, please, please, think nothing of it.
- Het geeft niks./
263 Basil
But it was so...
264 Melbury
No, no, no. It was the smallest of accidents. It could have occurred anywhere.
265 Basil
Yes, but I mean…
266 Melbury
I've forgotten all about it.
Ik ben het al vergeten./
267 Basil
That's most... You're really... Ah, your Lordship, would you allow me to offer you dinner here tonight, as our guest?
- Dat is zeer.../Mag ik u vanavond hier/een diner aanbieden?/
268 Melbury
That's extremely kind of you. Unfortunately, I have an engagement tonight.
Dat is heel aardig,/maar ik heb vanavond 'n afspraak./
269 Basil
Oh.
270 Melbury
Oh, actually...
271 Basil
Yes?
272 Melbury
There is one thing.
273 Basil
Good! Good!
274 Melbury
I was wondering... can you cash me a small check? I'm playing golf this afternoon...
Kunt u 'n cheque voor me verzilveren?/Ik ga vanmiddag golfen./
275 Basil
Oh, delighted!
Met genoegen./
276 Melbury
And I'd rather not go into the town.
- Ik ga liever niet naar de stad./
277 Basil
Absolutely! I mean, uh, how much? Uh, if it's not a rude question?
Hoeveel, als ik vragen mag?/
278 Melbury
Could you manage fift- oh, a hundred?
- Zou vijftig.../Honderd kunnen?/
279 Basil
A hundred? Oh, absolutely. Oh, yes, I mean, will 100 be enough? I mean 150, two, 160?
- Honderd?/Natuurlijk. Is honderd voldoende?/Honderdvijftig? Tweeho.../Honderdzestig?/
Een vergissinkje van m'n vrouw./Hij is net aangekomen./Wil jij deze mensen even helpen?/Schiet op./
Lord Melbury, deze kant op alstublieft./Uw tafeltje bij het raam, zoals altijd./Gaat u zitten./
Zo'n ongelukje kan altijd gebeuren./
U kunt wel wat voor me doen./
68
280 Melbury
Let's see, that's uh, dinner tonight, few tips. Oh, and it's the weekend, isn't it? Would 200 be all right?
Even rekenen. Diner, fooien,/en dit weekend. Zou 200 kunnen?/
281 Basil
Please! Yes! Oh, ha, ha! Oh, tremendous! Oh, I'm so happy! I'll send someone to the town straightaway and have it for you down here when you get back.
Natuurlijk. Reusachtig./Wat ben ik gelukkig./Ik stuur iemand naar de stad./Dan is 't er als u terugkomt./
282 Melbury
Yes, well, that would be splendid.
Dat zou geweldig zijn./
283 Basil
Thank you, thank you, your Lordship.
284 Melbury
Thank you so much.
- Dank u zeer./
285 Basil
Oh, not at all, my privilege. Breeding... I mean oh! Hello, dear.
Geen dank. Het is me een eer./Een geboren heer./Van 't zuiverste soort./Hallo, schat./
286 Sybil
What are you doing?
- Wat doe je nou?/
287 Basil
I'm kissing you, dear.
Ik kus je./
288 Sybil
Well, don't.
- Niet doen./
289 Basil
Just thought it might be nice to...
Het leek me wel aardig./
290 Sybil
I heard about lunch.
- Ik hoorde 't van de lunch./
291 Basil
What? Oh, that! Think nothing of it.
O, dat. Het stelde niks voor./
292 Sybil
What?
293 Basil
It was the smallest of accidents. Could have happened anywhere.
294 Sybil
Anywhere? First you move that nice family in the middle of their meal, and then you attack Lord Je verhuist dat leuke gezin/en dan val je de Lord aan met een stoel./ Melbury with a chair!
295 Basil
Look, Sybil, I've had a word with Lord Melbury about it. He was quite charming. Oh, it's delightful to have people like that staying here. Sheer class, golf, baths, engagements, a couple of hundr h h horses.
Ik heb er met hem over gesproken,/en hij was alleraardigst./Heerlijk om zulke gasten te hebben./Een echte heer./Golf, allerlei afspraken,/een paar hon... honden./
296 Sybil
Well, I've never seen such tatty cases.
Z'n koffers zijn anders wel aftands./
297 Basil
Of course you haven't. It's only the true upper class that would have tat like that. It's the whole point! Oh, you don't know what I'm talking about.
- Dat is toch typisch upperclass?/Dat snap je toch niet./
298 Sybil
No, I don't. But don't ever move guests in the middle of a meal again. And get that picture up.
- Nee./Maar laat de gasten voortaan/rustig eten. En hang dat schilderij op./
299 Basil
Sour old rat. Ah! Polly. Would you do me a favor? When you're down in the town this afternoon, would you just pop, just between ourselves, don't mention this to my wife, pop into the bank and just...
Ouwe zuurpruim./Wil je wat voor me doen?/Als je toch in de stad bent.../...wil je dan,/vertel dit niet aan m'n vrouw.../...bij de bank dit.../
300 301 Basil
Zo'n ongelukje kan altijd gebeuren./
JUWELIER/ Could somebody answer that, please? Hello! Is there nobody who can answer that? There must be someone. Not you. Right, I'll do it. I'll never get it up. I'll cancel my holiday, do it then. (on the phone) Hello, Fawlty Towers?
Wil iemand even opnemen?/Is er niemand die kan opnemen?/Er moet toch iemand zijn.../Jij niet./Ik annuleer m'n vakantie wel/om 't op te hangen./
69 302 Sybil
(on the phone) Hello, Fawlty Towers. Oh, hello, Brenda. (to Basil) Basil, it's 6:00.
Basil, het is zes uur./
303 Basil
Ah, Polly did you cash it?
Heb je 't geld gehaald?/
304 Polly
Yes, Mr. Fawlty?
305 Basil
Good, good.
306 Polly
Could I have a word with you?
307 Basil
What?
308 Polly
Could I speak to you in the office for just a minute?
309 Basil
Not now, polly!
- Niet nu./
310 Polly
It's very important.
Het is belangrijk./
311 Basil
Later! Later!
- Straks.
312 Sybil
Basil!
313 Basil
Yes, I'm just going, dear. Thank you, thank you so much, Polly. Ah, good evening, Major.
314 Major
Evening, Fawlty.
315 Basil
The usual?
Het gewone recept maar?/
316 Major
Oh, why not? Indeed, yes. Why not? I've just been watching one of those nature films on television.
Ja, waarom ook niet./Ik zag net zo'n natuurfilm op tv./
317 Basil
Oh, yes?
318 Major
Did you know the female gibbon gestates for seven months?
Wist u dat de draagtijd van/een vrouwtjesgibbon zeven maanden is?/
319 Basil
Seven months? Well I never. Here you are, Major. Seven? my word. Ah, Good Evening, Mr. Wareing.
Zeven maanden? Alsjemenou./Alstublieft, majoor./Zeven, niet te geloven./Goedenavond, Mr Waring./
320 Mr. Wareing
A gin and orange, a lemon squash and a scotch and water, please.
Jus met gin, citroenlimonade/en whisky met water./
321 Basil
Certainly.
322 Mr. Wareing
Is there any part of the room you'd like us to keep away from?
323 Basil
What?
324 Mr. Wareing
We'll be over there, then.
Dan zitten we daar./
325 Basil
Seven! Well, well.
Zeven. Nou, nou./
326 Melbury
Evening, Fawlty.
327 Basil
Ah, good evening, Lord Melbury.
Lord Melbury./
328 Mr. Wareing
Anywhere?
- Overal?/
Kan ik u even spreken?/
Ja, ik ga al./Goedenavond, majoor./
Is er nog 'n tafeltje/waar we niet mogen zitten?/
70
329 Basil
Yes, anywhere, anywhere. Lord Melbury, may I offer you a little apertif as our guest?
Mag ik u een aperitief aanbieden?/
330 Melbury
That's very kind of you. Dry sherry, if you please.
Een droge sherry alstublieft./
331 Basil
What else? Such oh, I don't know what.
- Ik had het kunnen weten./Zo'n... ik weet niet wat 't is./
332 Major
Je ne sais quoi?
Je ne sais quoi./
333 Basil
Exactly! Exactly! Ah, there you are, Sybil.
- Precies./Ach, daar ben je, Sybil./
334 Sybil
Good evening, Major.
335 Major
Evening, Mrs. Fawlty.
336 Basil
There you are, your Lordship.
337 Melbury
Ah, thank you very much.
338 Basil
I see my little collection of coins tickles your interest.
339 Melbury
What? Oh, yes, yes.
340 Basil
All British Empire of course. Used to be quite a hobby of mine. Little investment too.
Allemaal van het Britse Rijk./Een leuke hobby en 'n prima investering./
341 Melbury
Quite. Talking about, um, - did you manage to …
Nu u erover begint./Heeft u nog.../
342 Basil
Oh yes. There you are, your Lordship.
Alstublieft, Lord./
343 Melbury
Oh, Thank you, yes. Yes, you know, these sorts of things, their value's soared this last couple of years.
- Dank u./Dat soort dingen/zijn sterk in waarde toegenomen./
344 Basil
Have they really?
Echt waar?
345 Melbury
Oh, yes. You take my advice. You get them revalued, and insure them for the full amount.
- Ik zal u 'n raad geven./U moet ze laten taxeren/en opnieuw laten verzekeren./
346 Basil
Yes, yes, I will.
347 Melbury
You can't take any risks nowadays, I'm afraid.
348 Basil
No, no, quite.
349 Melbury
Well, I must be off.
350 Basil
Thank you very much, your Lordship.
351 Sybil
Basil!
352 Basil
Yes, yes, I was just talking to Lord Melbury, dear.
Ik praat met Lord Melbury./
353 Mr. Wareing
A gin and orange, a lemon squash and a scotch and water, please!
Waar blijven onze drankjes?/
354 Basil
I do apologize, I was just talking to Lord Melbury.
- Ik praatte even met Lord Melbury./
Alstublieft, Lord./
Heeft u interesse/in m'n muntenverzameling?/
Je moet tegenwoordig/zo voorzichtig zijn./
Ik moet nu gaan./
71
355 Melbury
Fawlty! I was thinking... You see, I am having dinner tonight with the duke of Buckleigh, do you know him?
Ik liep te denken.../Ik dineer vanavond met/de hertog van Buckleigh. Kent u hem?/
356 Basil
Not personally, no.
Niet persoonlijk, nee./
357 Melbury
Oh well, he's a great expert, you know, Sotheby's and all that.
Hij is echt 'n veilingdeskundige./
358 Basil
Is he? Now if you like, I could take them with me, ask him to have a quick look at them, and find their current value.
Ik wil ze wel meenemen, zodat hij ernaar/kan kijken om de waarde te bepalen./
360 Basil
Would you really?
Wilt u dat echt doen?/
361 Melbury
Yes, yes, certainly. Well, I'll be off in a few moments.
Ik moet nu echt gaan./
362 Basil
Well, that's really so ...
- Dat is echt.../
363 Sybil
Basil!
364 Basil
I'm talking to Lord Melbury!
Ik praat met Lord Melbury, schat./
365 Mr. Wareing
A gin and orange, a lemon squash and a scotch and water, please!
- Waar blijven onze drankjes?/
366 Basil
All right! All right!
367 Polly
Oh, Mr. Fawlty.
368 Basil
Was that Lord Melbury? Has he gone?
Is Lord Melbury weg?/
369 Polly
I rang, Mr. Fawlty, I must speak with you.
- Ik moet u spreken./
370 Basil
What? Can't you see I'm busy?
Ik heb het druk.
371 Polly
Please, it's very important. Can we talk in there?
- Het is erg belangrijk. Toe./
372 Basil
I can't.
373 Sybil
Basil!
374 Polly
It's very important!
375 Basil
I'm just dealing with something important out here, Sybil, thank you. Yes? Yes, right, well, yes, yes, what is it?
Ik ben even met iets belangrijks bezig./
376 Polly
It's about Lord Melbury.
Het gaat over Lord Melbury./
377 Basil
Yes?
378 Polly
He's not Lord Melbury, he's a confidence trickster.
Hij is geen Lord, maar 'n oplichter./
379 Basil
I beg your pardon?
Pardon?/
380 Polly
Mr. Brown told me.
- Dat zei Mr Brown./
381 Basil
Oh!
359 Melbury
72
382 Polly
Mr. Brown's from the C.I.D. They've been watching Melbury because he's pulling some big con trick in the town. They're going to arrest him when he leaves here, so as not to cause you embarrassment. But he asked me to tell you...
Hij is van de politie en houdt/die oplichter Melbury in de gaten./Ze arresteren 'm als ie weggaat,/om u narigheid te besparen./
383 Basil
Oh, how nice of him!
Wat aardig./
384 Polly
Please, Mr. Fawlty.
385 Basil
Oh, I don't know what other tales Mr. Brown of M.I.5 has been impressing you with.
Had Mr Brown nog meer stoere verhalen?/
386 Polly
He's a con man!
- Hij is een oplichter./
387 Basil
Oh, yes, of course, it stands out a mile, doesn't it? He's so common. Unlike that cockney git whose ulterior motive will soon no doubt become apparant to you, poor, innocent, misguided child that you are.
Ja, dat is overduidelijk./Hij is ordinair./Heel anders dan zo'n achterbuurttype.../...dat jij snel genoeg doorhebt/naïef kind dat je bent./
388 Sybil
Basil, what's going on?
Wat is er?/
389 Basil
Nothing, my dear, nothing at all.
- Niks, schat./
390 Polly
Mrs. Fawlty.
391 Basil
Now look…
392 Sybil
Yes, Polly?
393 Basil
I don't know what she's...
Wat ze ook zegt.../
394 Sybil
Basil!
- Basil./
395 Polly
Mr. Brown is from the C.I.D. He showed me identification. They're watching Melbury. He's a confidence trickster.
Mr Brown is van de politie./Echt waar. Hij houdt Melbury/in de gaten. Het is 'n oplichter./
396 Sybil
I see.
Aha./
397 Basil
What do you mean, you see?
- Hoezo, aha?/
398 Sybil
Let's have a look at these valuables.
Ik ga die kostbaarheden bekijken./
399 Basil
What are you doing, Sybil? Sybil, I forbid you to open that safe! Sybil, I forbid you to take that case out! Sybil, do not open that case, I forbid it! I have forbidden it! I never thought I would live to see the day when a peer of the realm, entrusts to us, a case of valuables in trust...
- Ik verbied je die kluis te openen./Ik verbied je dat koffertje te pakken./Ik verbied je dat koffertje te openen./Dat ik dit moet meemaken./Een man van stand vertrouwt ons/z'n koffertje met kostbaarheden toe.../
400 Sybil
I'll call the police.
Ik bel de politie./
401 Polly
They're already here, Mr. Brown's outside.
- Die staat al buiten./
402 Sybil
Someone at reception, Basil?
Er is iemand bij de receptie, Basil./
403 Basil
Ah! All right. Ah, good evening.
404 Mr. Morris
I believe you were expecting us.
U verwachtte ons./
73 405 Basil
No, I was expecting somebody else.
- Iemand anders./
406 Mr. Morris
Sir Richard and Lady Morris.
Sir Richard en Lady Morris./
407 Basil
Yes, yes, them as well.
- Die ook al./
408 Mr. Morris
I'm sorry?
409 Basil
How did you know?
410 Mr. Morris
What?
411 Basil
Oh you're Sir Richard and Lady Morris, I do beg your pardon. I was just think... Would you mind filling this out, please? We've given you room - aha!
412 Melbury
Ah, Fawlty!
413 Basil
Mr. Fawlty to you, Lord Melbury.
Menéér Fawlty voor u, Lord Melbury./
414 Melbury
I beg your pardon?
Pardon?/
415 Basil
Oh, nothing, please forget all about it.
- Niks. Laat maar zitten./
416 Melbury
Here's the check for £200.
Hier is de cheque voor 200 pond./
417 Basil
Ah, thank you so much. Now, about my priceless collection of coins?
Nog even over m'n munten./
418 Melbury
Oh, yes, ah, do you still...
419 Basil
Do I still want you to take them to be valued by the Duke of Buckleigh, my Lord?
420 Melbury
Ah, yes.
421 Basil
No, I don't. Because we've just heard that the duke of Buckleigh is dead! Yes, got his head knocked off by a golf ball. Tragic! Tragic! Well, how are you, Lord Melbury? 'Ow are yer then? All right, mate? 'Ow's me old mucker? Any valuables to deposit, Sir Richard? Any bricks? I do apologize. You bastard! We've given you room 12 with the view overlooking the park I'm sure you'll like it. We'll have your bags brought up and may I introduce your wife? Hello, Lord Melbury! Bastard!
422 Sybil
Basil!
423 Basil
Please think nothing of it. Do please excuse me one moment.
Dit heeft niks te betekenen./Excuseer me even./
424 Sybil
Basil, the Morrises are leaving.
De familie Morriss vertrekt./
425 Basil
Where are you going? Where are you going?
Wat gaat u doen?/
426 Mr. Morris
We're leaving!
- We vertrekken./
427 Basil
Oh, don't, please stay, you'll like it here.
Toe, blijft u nou./
428 Mr. Morris
I've never been in such a place in my life.
- Wat 'n vreselijk hotel./
Hoe wist u dat nou?/
U bent Sir Richard./Neemt u me niet kwalijk./Ik dacht even.../Wilt u dit even invullen?/U krijgt kamer.../
Neemt u ze nog mee naar de hertog?/
Nee. We hoorden net dat/de hertog van Buckleigh dood is./Z'n hoofd is eraf geslagen/met 'n golfbal. Diep triest./En hoe is het nu met u, Lord Melbury?/Alles kits, makker?/Hoe is 't met m'n ouwe rakker?/Heeft u nog kostbaarheden, Sir Richard?/Bakstenen of zo?/Mijn verontschuldigingen./Schoft die je bent./U krijgt kamer 12, met uitzicht/over 't park. Dit is mijn vrouw./Klootzak./
74 Snobs./Stomme, bekakte, verwaande, halfgare.../...upper class.../...etterbulten./
429 Basil
You snobs! You stupid, stuck-up, toffee-nosed, half-witted upper-class piles of pus! Just one.
430 Policeman
Sorry, Mr. Fawlty.
431 Basil
Just one, please.
432 Mr. Brown
Sorry, Mr. Fawlty.
433 Basil
Well, I'd better put the picture up. Oh, thank you, Polly, for the... Well done, Manuel.
434 Manuel
Que?
435 Basil
Oh... Ole.
436 Mr. Brown
Sorry about that, Mr. Fawlty. Can I buy you a drink?
Kan ik u iets te drinken aanbieden?/
437 Basil
No, no, I'd better put this up, I suppose.
Nee, laat ik dit maar 's ophangen./
438 Sybil
Basil!
439 Mr. Wareing
A gin and orange, a lemon squash and a scotch and water, please!
440 Basil
Right! Come on!
Eentje maar./
Laat ik 't schilderij maar 's/gaan ophangen./Bedankt, Polly. Voor.../Goed gedaan, Manuel./
En jus met gin,/een citroenlimonade.../...en 'n whisky met water, gráág./
75
Appendix 1.2: Transcription The Builders
No.
Speaker
Dialogue
Dutch subtitle
1
Customer
Sorry, I forgot my key.
Sorry, ik was de sleutels vergeten./
2
Polly
Oh, thanks. Hello, Fawlty Towers. Yes. Yes. No, this afternoon, that would be fine. No, it's 16 Elwood Avenue. 16, That's it.Thank you.
Vanmiddag? Dat is prima./Nee, het is Elwood Avenue 16./Zestien, ja. Dank u./
3
Basil
I'll put these outside, shall I, dear?
Ik zet ze buiten, hoor./
4
Sybil
Polly, this is where we'll be if you need us. There's the number. So if Mr. Stubbs wants to know anything when he comes, just ring, but don't if you don't have to, love. It's the first weekend we've had off since Audrey had her hysterectomy.
Dit is ons adres en telefoonnummer./Voor het geval Mr Stubbs iets wil weten./Maar 't is ons eerste weekend/sinds Audrey's hysterectomie./
5
Polly
Don't worry, I know what they've got to do. Somebody called about a garden gnome. They're going to deliver it this afternoon.
Maak je geen zorgen./Er is gebeld over 'n tuinkabouter./
6
Sybil
Oh yes?
7
Polly
Well, it's in and they're going to deliver it this afternoon.
Ze komen 'm vanmiddag leveren./
8
Sybil
Oh, good. Golf shoes. Good morning, Major.
- Mooi zo./Golfschoenen.../Goedemorgen, majoor./
9
Major
Very well, thank you.
- Prima, dank u./
10
Sybil
Does everyone know about dinner tonight?
Weet iedereen het van 't avondeten?/
11
Polly
I think so.
- Ja./
12
Sybil
But you'll be able to manage breakfast tomorrow?
En red je 't met 't ontbijt?/
13
Polly
There's just the ladies and the Major.
Alleen de dames en de majoor zijn er./
14
Sybil
Where are those shoes?
- Schoenen./
15
Manuel
"One moment, please. I will het your vill." Het your vill.
Ik zal uw gekening galen./
16
Polly
Manuel, "Get your bill."
Manuel, rekening halen./
17
Manuel
I will het your bill.
- Rekening galen./
18
Polly
Get. Get. Ga ga.
Halen, ha, ha./
19
Manuel
Get. Get. Ga ga.
20
Polly
That's it.
Zo ja./
21
Manuel
I will get your vill.
- Ik zal uw gekening halen./
22
Sybil
Polly oh, Manuel, put those in the cases, will you?
Wil je die even bij de koffers zetten?/
23
Basil
Ah, Manuel --
Manuel, als we.../
76 24
Manuel
"One moment, please. I will get your bill."
- Moment. Ik zal uw rekening halen./
25
Basil
What?
26
Manuel
"I will get your bill," Sí?
Ik zal uw rekening halen./
27
Basil
What are you talking about?
- Wat?/
28
Manuel
Listen. No, please. "Today we have veef, beal or sothages."
Vandaag gebben we wiefstuk/of schaugijsches./
29
Basil
What?
30
Manuel
Bangers.
Worschtjes./
31
Basil
Shut up.
- Hou je mond./
32
Manuel
Eh?
33
Basil
Shut up.
34
Manuel
Oh, Sí, sí, shut up. Yes, I understand.
Ja, ik begrijp, ja./
35
Basil
Well, will you please shut up?
- Hou je dan je mond?/
36
Manuel
Sí, sí, I shut up.
37
Basil
Now, while we're away
Als we weg zijn.../
38
Manuel
Shut up.
- Hou je mond./
39
Basil
Shut up! While we're away… gone.. Clean the windows. Oh, look. Cuando nosotoros somos away. What's "away" in Spanish? You know, "away." "away!"
Als we weg zijn,/moet je de ramen lappen./Wat is weg in 't Spaans?/Je weet wel, weg./
40
Manuel
Oh, sí, sí.
41
Basil
No, not you. While we're away, clean the windows.
Jij niet./Als wíj weg zijn, lap dan de ramen./
42
Manuel
Green?
Rap?/
43
Basil
No, no. Look… Clean the windows.
- Nee, kijk./De ramen lappen./
44
Basil
Clean the windows.
De ramen lappen./
45
Manuel
Clean.
46
Major
Good morning, Fawlty.
47
Basil
Good morning, Major. The window. See? Clean the windows.
48
Manuel
Comprendo. Comprendo.
49
Miss Tibbs
Oh, Mr. Fawlty.
50
Basil
Good morning, Ladies.
De ramen lappen. Begrepen?/
77
51
Miss Gatsby
Ursula and I think you're a very naughty boy. Don't we, Ursula?
Ursula en ik/vinden u 'n hele stoute jongen./
52
Basil
Oh, God. Oh, really?
Is dat zo?/
53
Miss Gatsby
Going away for the weekend, leaving us all alone.
- U laat ons zomaar alleen./
54
Miss Tibbs
Tsk, tsk, tsk.
55
Miss Gatsby
But we know where you're going. The cat's out of the bag.
Maar we weten waar u heen gaat./
56
Miss Tibbs
You and your wife.
- U en uw vrouw./
57
Basil
Well, it's only Paignton.
We gaan maar naar Paignton./
58
Miss Gatsby
Have a lovely time. It'll do you good. You need to get away from things.
Het zal u goeddoen./U moet alles 's even helemaal vergeten./
59
Basil
Yes, well, we're going together.
Maar we gaan samen./
60
Miss Tibbs
Don't you worry about us.
- Maak u geen zorgen om ons./
61
Basil
Oh, all right. Now, you know men are coming to do some work here?
De boel wordt hier opgeknapt./
62
Miss Tibbs
Yes.
63
Basil
You'll have to go to Gleneagles for your dindins tonight. Yes? And Polly will be in charge, if you need anything.
U eet vanavond in Glaneagles./Polly heeft de leiding./
64
Miss Gatsby
Have a lovely weekend.
- Een heel fijn weekend./
65
Miss Tibbs
And don't do anything we wouldn't do.
Doe niets wat wij niet zouden doen./
66
Basil
Just a little breathing, surely. Well, I must buzz off now.
Alleen wat ademhalen dus./Ik zoef nu weg, hoor./
67
Miss Gatsby
"Buzz"?
68
Miss Tibbs
Yes, you know, like babbitybumble.
Je weet wel, net als Zoef de Haas./
69
Miss Gatsby
Oh, buzzbuzzbuzz
- Zoef-zoef./
70
Basil
Polly, I have asked you, please, not to leave your strange drawings lying around. What is this supposed to be?
Laat die rare tekeningen van je/niet slingeren./Wat is dit?/
71
Polly
It's just a sketch.
- Zomaar 'n schets./
72
Basil
What is it? What are you trying to do? This is a junkyard, isn't it?
Dit is toch 'n schroothoop?/
78 73
Polly
Can I have it?
- Mag ik?/
74
Basil
Why's it got a collar and tie under it?
En die stropdas dan?/
75
Polly
Well, it's not finished.
- Het is niet af./
76
Basil
It's very good, you know. Old soup tins, broken down car, dustbins, mattresses, hoovers, and a nice smart collar and tie underneath. I mean, what's it supposed to be?
Heel goed. Soepkommen, autowrakken,/matrassen en een das eronder./Wat stelt 't voor?/
77
Polly
It's not important. Can I have it back?
- Da's niet belangrijk./
78
Basil
It's irritating. Do you ever sell any of those?
Irritant. Verkoop je wel 's wat?/
79
Polly
I sell a few portraits now and again, thank you. I haven't much hope for this one.
- Ik verkoop soms een portret./Hier heb ik weinig hoop voor./
80
Basil
Would you give me that stapler? What is the point of something like that?
- Wat voor zin heeft 't?/
81
Polly
No point.
Geen enkele./
82
Basil
No point?
83
Polly
Well, what's the point in being alive?
Wat heeft 't leven voor zin?/
84
Basil
Beats me. We're stuck with it, I suppose. Would you give me the stapler?
Geen idee. We moeten wel./Mag ik de nietmachine?/
85
Polly
If you don't go on at me.
Als je dan ophoudt./
86
Basil
The stapler.
- De nietmachine./
87
Polly
Sorry.
88
Basil
What's the matter with you today?
Wat heb jij?/
89
Polly
I didn't get much sleep last night.
- Ik heb slecht geslapen./
90
Basil
We are leaving you in charge.
Je hebt de leiding./
91
Polly
I didn't do it to spite you, I promise.
- Ik deed 't echt niet expres./
92
Basil
Good, you won't feel so tired, then, will you?
Dan is het goed./
93
Sybil
Fawlty Towers. Basil.
94
Basil
Who is it?
Wie is 't?/
95
Sybil
It's Mr. O'Reilly, Basil.
- Mr O'Reilly./
79
96
Basil
That's odd. It must be about the garden wall. Hello, O'Reilly? Now look, when are you coming to finish our garden wall? We are sick and tired of having that pile of bricks blocking-- Listen, I told you not to call. You know my wife thinks Stubbs is doing the doors. What time will they be here, then? All right, 4:00. Now listen. If there are any problems tell your men to get Polly to call me. Do you understand? So, next week's definite then, is it? Oh good. Well, that would be nice, won't it? I mean, we've waited for that wall about as long as Hadrian. No, Hadrian. The Emperor Hadrian. It doesn't matter. I'll explain next week. Thank you so much. Goodbye.
97
Sybil
You don't really believe all that, do you Basil? We've been waiting four months. Why should he do it now?
Dat geloof je toch niet?/Waarom zou ie nu ineens wel komen?/
98
Basil
I think he will this time, dear.
Hij komt wel./
99
Sybil
If you had used Stubbs…
- Stubbs is.../
100 Basil
We'd have had a huge bill.
Veel duurder./
101 Sybil
You get what you pay for. O'Reilly's a cutprice, cockup artist.
- Een vakman. O'Reilly is 'n beunhaas./
102 Basil
Oh, Sybil.
103 Sybil
With Stubbs you may pay a little more…
Stubbs kost dan iets meer.../
104 Basil
A "little more"?
- lets?/
105 Sybil
Yes, a little but he does a really professional job and he does it when he says he will. You'll see. When's he coming?
...maar hij levert vakwerk/en komt z'n afspraken na./Je zult 't wel zien./Hoe laat komt ie?/
106 Basil
About 4:00, I think dear.
Om 'n uur of vier, denk ik./
107 Sybil
You're going to wear that jacket?
En je houdt dit jasje aan?/
108 Basil
Yes, I am, thank you, dear, yes.
- Inderdaad, ja./
109 Sybil
You just haven't a clue, have you?
Je begrijpt er ook niets van, hè?/
110 Basil
You wouldn't understand dear. It's called style.
- Dat heet stijl. Dat snap jij niet./
111 Sybil
Yoohoo! They're here, Basil.
Ze zijn er, Basil./
112 Basil
How fabulous.
- Heerlijk./
113 Sybil
Do try to be agreeable this weekend, Basil. Have I got everything?
Hou je dit weekend een beetje in./Heb ik alles?/
114 Basil
Handbag, knuckle dusters, flick knife.
Handtas, boksbeugel, stiletto.../
115 Sybil
Come on, Basil, don't hang about.
Schiet nou op, Basil./
116 Basil
I'm just coming, dear. Quick, Polly. Now Polly, the men will be here at 4:00. You know what they're doing?
- Ik kom zo, schat./Snel, Polly./De mannen komen om vier uur./
117 Polly
They're putting the door through to the kitchen.
- Voor de nieuwe deur./
Vreemd./Het gaat zeker over de tuinmuur./Wanneer is het nu 's af?/Die stapel stenen.../M'n vrouw denkt/dat Stubbs de deuren doet./Hoe laat zijn ze hier?/Om vier uur?/Als er iets is,/laat je Polly mij bellen./Volgende week dus? Mooi, ik wil/niet tot Sint Juttemis wachten./Nee. Sint Juttemis. Eeuwig dus./Ach, ik leg 't volgende week wel uit./
80 118 Basil
At the bottom of the stairs, and?
Onder aan de trap en.../
119 Polly
And?
120 Basil
And blocking the drawing room door.
121 Polly
Blocking it?
122 Basil
yes, blocking it off so we can have privacy away from the plebs. Don't you take anything in? Where's my cap? All right, one other thing, when the men come, they won't be Stubbs', they'll be O'Reilly's. Where is it?
123 Polly
What? O'Reilly?
124 Basil
Yes! Yes!
125 Polly
Does Mrs. Fawlty know?
Weet Mrs Fawlty daarvan?/
126 Basil
I don't know, I wouldn't mention it. They don't quite hit off. I had to change it! Stubbs has a virus, or something.
Vast wel, maar zeg maar niks./Stubbs heeft 'n virus of zo./
127 Polly
She said you were never using him again. I don't want to be responsible…
Ze wilde 'm nooit meer./
128 Basil
He's sending his best man. All you have to do is take a quick look when they finish. Any problems, call me. Right? Have a nice weekend. Goodbye.
- Je hoeft alleen maar te controleren./Als er problemen zijn, bel je mij./
129 Polly
If she asks me, I'll tell her.
Als ze vragen stelt, zeg ik 't./
130 Basil
Oh thank you, thank you Polly so much. Yes, I've always been a great admirer of loyalty.
- Dank je. Heerlijk, die loyaliteit./
131 Manuel
I forget!
Vergeten./
132 Polly
It doesn't matter, Manuel. De nada.
Dat is niet erg, Manuel. De nada./
133 Manuel
Oh.Oh, is Mr. Fawlty.
134 Polly
Shh.
135 Manuel
Shh.
136 Polly
Windows, por favor.
De ramen, por favor./
137 Manuel
Oh, Polly, finish. I tired.
Polly, toe. Ik moe./
138 Polly
That's wonderful Manuel. Just hold it a second.
- Prachtig, Manuel. Even nog./
139 Manuel
Qué?
140 Polly
Quiero subir para dormir.
141 Manuel
No no no please, you must speak me English. Is good. I learn.
Nee, in 't Engels. Dan leer ik./
142 Polly
I want to go upstairs in a moment.
Ik wil zo naar boven./
143 Manuel
Er... Qué?
En ze maken die in de hal dicht./
Ja, dan worden we niet gestoord/door 't plebs. Luister dan ook 's./En ze komen niet van Stubbs,/maar van O'Reilly./
81 144 Polly
I - go - upstairs.
Ik ga naar boven./
145 Manuel
Ah, sí. Is easy.
- Si, makkelijk./
146 Polly
For a little sleep.
Voor 'n dutje.../
147 Manuel
Is difficult.
- Da's moeilijk./
148 Polly
For siesta.
Voor siësta./
149 Manuel
Siesta? Little sleep?
- Siësta, dutje?/
150 Polly
Yes.
151 Manuel
Ah, same in Spanish.
Net als in Spaans./
152 Polly
When O'Reilly's men come, you must wake me.
Als de mannen van O'Reilly/komen, wek je me./
153 Manuel
When orelly men come, Sí.
154 Polly
Manuel, listen. When men come here, Señor O'Reilly.
Luister. Als mannen komen./Señor O'Reilly.../
155 Manuel
Ah, when men come?
Als mannen komen.../
156 Polly
You come upstairs and wake me up. Despiérteme.
- Kom je me wakker maken./
157 Manuel
Sí. When men come, subiré a tu cuarto a despertarte.
158 Polly
Antes que empiecen a trabajar aquí. Sí?
159 Manuel
Comprendo. Comprendo.
160 Polly
Finished.
Klaar./
161 Manuel
Eh? Oh. Manuel! Manuel Towers. How are you? Is nice today? Good. Goodbye. Oh, good day. Hello. How are you?
Manuel Towers. Hoe maakt u 't?/Goed?/Tot ziens./Goeiedag./Hallo, hoe maakt u 't?/
162 Deliverer
Number 16.
Nummer zestien?/
163 Manuel
Sí, 16, but no eat.
- Si, maar geen eten./
164 Deliverer
What?
165 Manuel
16 is free but not possible…
Zestien is vrij maar.../
166 Deliverer
Is this number 16?
- Is dit nummer zestien?/
167 Manuel
No, no. This lobby. 16 up stairs and right.
Nee, dit is lobby./Zestien is boven./
168 Deliverer
Who's in charge here?
Roep iemand die wakkerder is./
169 Manuel
No, charge later. After sleep.
- Nee, eerst slapen./
170 Deliverer
Where's the boss?
Waar is de baas?/
171 Manuel
Boss is… Oh I boss.
- Baas is.../Ik ben baas./
82 172 Deliverer
No, no. Where's the real boss?
- Nee, waar is de echte baas?/
173 Manuel
Qué?
174 Deliverer
The generalissimo.
De generalissimo./
175 Manuel
In Madrid.
In Madrid./
176 Deliverer
Look, just sign this, will you?
Zet hier je handtekening maar onder./
177 Manuel
Sí, sí. 16.
Zestien.
178 Deliverer
What?
179 Manuel
You want room 16?
U wilt kamer zestien./
180 Deliverer
No I don't want a room, mate. I'm just leaving him. Right?
Nee, ik wil geen kamer./Ik kom alleen hem brengen./
181 Manuel
You want room 16 for him?
U wilt kamer zestien voor hem?/
182 Deliverer
Yeah. With a bath, you dago twit.
Ja, met bad, stomme sufferd./
183 Manuel
You mad. You mad! You pay for room first. He crazy. For room 16. No room 16. No pay, no room 16. (on the phone) Fawlty Towers, How are you? Nice day. What? No, no. He not here. He not here. Very sorry. Goodbye. Hello, men.
U gek. Eerst voor kamer betalen./Gek. Kamer zestien./Niet betalen, geen kamer zestien./Hoe maakt u 't? Prettige dag./Nee, hij niet hier. Niet hier./Sorry. Tot ziens./Hallo, mannen./
184 Man 1
Good day, now.
- Goeiedag./
185 Manuel
You are men.
Jullie zijn mannen./
186 Man 1
What?
- Wat?/
187 Manuel
You are men.
Jullie zijn mannen./
188 Man 1
Are you trying to be funny?
- Wou je grappig zijn?/
189 Manuel
Huh?
190 Man 1
I said, you trying to be funny?
191 Man 2
Not here, spud, not here.
Niet hier./
192 Manuel
You are men with orelly.
- Jullie Orally mannen./
193 Man 3
What?
194 Manuel
You orelly men.
Orally mannen.
195 Man 1
What does that mean?
196 Manuel
You orelly.
Jullie Orally./
197 Man 1
You watch it!
- Pas op./
198 Manuel
Where orelly?
Waar Orally?/
199 Man 3
What's he going on about?
- Wat wil ie nou?/
83 200 Man 2
He means O'Reilly.
Hij bedoelt O'Reilly./
201 Man 1
Oh... That's right, yeah. We are "orelly" men. Thick as a plank.
Ja, dat klopt./Wij zijn Orally mannen./Zo stom als 'n koe./
202 Manuel
Wait here, please. I go, you wait. (on the phone) You wait, too, please.
U hier wachten, alstublieft./Ik ga, u wacht./U ook wachten, alstublieft./
203 Manuel
Polly? Polly? Polly?
204 Manuel
(on the phone) Hello, Fawlty Towers. How are you? Is nice day. You again. I say, he not here. He not here. Very, very sorry. Goodbye. Wicked. You men know what to do?
Hoe maakt u 't? Prettige dag./U weer. Hij niet hier./Hij niet hier. Sorry./Tot ziens./Walgelijk./U weet wat u moet doen?/
205 Man 3
I think so. This is the dining room.
- Ja. Dit is de eetkamer./
206 Manuel
You are certain you know?
U weet zeker?/
207 Man 3
It looks pretty straightforward. We've just got to block this one off.
- Deze moet dus afgesloten./
208 Manuel
(on the phone) Yes, yes, yes! Is you again? Now, listen. He not here. How many times? Where are your ears, you great, big halfwit! He no here! Listen! Now you understand? He-- Oh! Oh, Mr. Fawlty! I very sorry. Very sorry. Is you! Yes, is me, Mr. Fawlty. Polly? No, no, she very busy. Men? Yes, men are here. Men are work - you work, men. Yes. What? Ah, yes. Man with beard. Please, which one is man with beard? Sí, sí. Hid agh ang Sí, comprendo. Sí. One moment, please. You are a hideous orangutang. Yeow!
U weer? Hij niet hier./Luister, hoe vaak?/Waar zijn je oren, stuk onnozel?/Hij niet hier. Luister./Nu begrepen?/Mr Fawlty. Sorry, sorry. Is u?/Met mij, Mr Fawlty. Polly?/Zij heeft erg druk./Ja, mannen zijn hier./Mannen werken. Werken, mannen./Ja, man met baard./Alstublieft, wie is man met baard?/Si, één moment./U bent een afgrijselijke orang-oetan./
209 Basil
Thank you Manuel, thank you very much.
Goed zo, Manuel. Dank je./
210 Basil
Polly? Polly?! Polly?! Polly!! Manuel! Polly, what have you done with my hotel? Polly, what have you done to my hotel?
Polly, wat heb je met m'n hotel gedaan?/Wat heb je met m'n hotel gedaan?/
211 Polly
What?
212 Basil
Look.
Kijk./
213 Polly
Oh, it's nice. I like it there. Ouch! You're hurting me!
Leuk. Ik vind 't mooi./Je doet me pijn./
214 Basil
What have you done with my dining room door? Where is it?
- Waar is de deur?/
215 Polly
I don't know.
Weet ik niet./
216 Basil
Why don't you know? I left you in charge!
- Jij had de leiding./
217 Polly
I fell asleep.
Ik sliep./
218 Basil
You fell asleep?
219 Polly
It's not my fault!
Het is niet mijn schuld./
220 Basil
You fell asleep, and it's not your fault?
Niet?/
221 Polly
He forgot to wake me.
- Hij heeft me niet gewekt./
84 222 Basil
Who forgot to wake you?
Wie?
223 Polly
It is my fault.
- Het is wel mijn schuld./
224 Basil
Manuel! I knew it! Manuel!!
Mauel. Ik wist 't./
225 Polly
Don't blame him!
- Neem 't hem niet kwalijk./
226 Basil
Why not?
Niet?/
227 Polly
It's not really his fault.
- Het is niet zijn schuld./
228 Basil
Whose fault is it then, you clotheared bint, Dennis Compton's?
Wiens schuld dan, stom wijf?/
229 Polly
Well, you hired O'Reilly, didn't you? We warned you. Who else would do something like this?
Jij hebt O'Reilly ingehuurd./Wie anders zou zoiets doen?/
230 Basil
I beg your pardon?
Pardon?/
231 Polly
You hired O'Reilly.
- Jij hebt O'Reilly ingehuurd./
232 Basil
Oh I see. It's my fault, is it? Oh of course. There I was thinking it was your fault because you'd been left in charge, or Manuel's fault for not waking you, and all the time, it was my fault. It so obvious now, I've seen the light. Well, I must be punished then, mustn't I? You're a naughty boy, Fawlty. Don't do it ag-- What am I gonna do?! She's going to be back at lunchtime!
Dus het is mijn schuld?/Ik dacht aan jou,/omdat jij de leiding had.../...of aan Manuel, die je niet wekte./Maar nee, het is mijn schuld./Nu snap ik 't./Tja, dan moet ik gestraft worden./Stoute jongen, Fawlty./Wat moet ik nu?/Ze komt met 't middageten terug./
233 Polly
Now, wait ...
Wacht./
234 Basil
I'm a dead man! Do you realize?
- Ik ben er geweest./
235 Polly
Easy…
Kalm./
236 Basil
You're dead, too! We're all dead!
- We zijn er allemaal geweest./
237 Polly
Don't panic!
Geen paniek./
238 Basil
What else is there to do?!
- Wat moet ik dan?/
239 Polly
We'll call O'Reilly. He made this mess, he can come and clear it up. Oh, just pull yourself together! Come on!
We bellen O'Reilly./Het is tenslotte zijn schuld./Rustig nou./
240 Basil
Again! Harder! Right! I'll call O'Reilly. What is this? What is this doing here? What is going on here?!
Nog 'n keer./Harder./Goed, ik bel O'Reilly./Wat is dit?/Wat is hier toch aan de hand?/
241 Polly
Your wife ordered it. Call O'Reilly.
Je vrouw heeft 'm besteld./
242 Basil
That golfing puff adder? What does she want?
- Wat? Die golfende adder?/
243 Polly
Call O'Reilly!
Bel O'Reilly.
244 Basil
What?
245 Polly
Shall I call him?
Zal ik?/
246 Basil
No, I'll do it. I'll call him. You go and see if the roof is still on. What are you doing?
Nee, ik bel wel./Ga jij kijken of 't dak er nog op zit./Wat doe je?/
85 247 Polly
Stay there.
- Sta stil./
248 Basil
You can't do that now.
Niet nu.
249 Polly
Hold it, hold it.
250 Basil
Go and see if they've started breakfast... now! Ah, hello, Mr. O'Reilly. How are you this morning? Oh, good. Good. No rare diseases or anything? I do beg your pardon. Basil Fawlty. You remember? The poor sod you do jobs for? How are things on your end? Oh Good. Good, good, good. Well then, how would you like to hear about things my end? Oh, up to your usual standard, I think I could say-- A few holes in the floor, the odd door missing, but nothing you can't be sued for.
251 Manuel
Good morning.
252 Basil
I beg your pardon?
Pardon?/
253 Manuel
Good morning.
- Goedemorgen./
254 Basil
(one the phone) One moment, please. (to Manuel) Did you say, "Good morning?"
Moment./Zei jij goedemorgen?/
255 Manuel
Sí.
256 Basil
I see. Well, what are you going to do now?
257 Manuel
Qué?
258 Basil
What… you... do… now?
Wat jij nu doen?/
259 Manuel
I serve breakfast.
Ik serveer ontbijt./
260 Basil
A well, let's see you, then.
- Laat maar 's zien./
261 Manuel
Sí. Where is door?
Waar is deur?/
262 Basil
Aha.
263 Manuel
Door is gone. Door was here!
Deur is weg./Deur was hier./
264 Basil
Where? Here? Or here? Or here?
- Waar?/Hier, of hier, of hier?/
265 Major
Morning, Fawlty.
266 Basil
Morning, Major. I'm so sorry, but I'm afraid the dining room door seems to have disappeared.
Majoor. Het spijt me./De deur schijnt te zijn verdwenen./
267 Major
Oh, yes, so it has. It used to be there.
Inderdaad, hij was hier./
268 Basil
Yes, well, I was silly enough to leave the hotel for a few minutes.
- Ik was zo stom even weg te gaan./
269 Major
These things happen, you know? I wonder where it's got to. Don't worry, it's bound to turn up. Have Dat kan gebeuren./Ik vraag me af waar ie gebleven is./Hij komt wel weer the newspapers arrived yet? boven water./Zijn de kranten er al?/
270 Basil
Not yet, Major. Manuel, would you please show the Major how to get into the dining room via the kitchen?
Ga kijken/of ze met 't ontbijt zijn begonnen. Nu./Dag, Mr O'Reilly./Hoe maakt u 't vandaag?/Geen zeldzame ziektes of zo?/Met Basil Fawlty. Die arme sul/waar u wel 's een klusje voor doet./En met u?/Mooi./Mooi, mooi, mooi./Wilt u weten hoe 't hier gaat?/Ach, zoals gewoonlijk./Wat gaten, een ontbrekende deur,/maar niet genoeg voor 'n rechtszaak./
Juist./Wat ga je nu doen?/
Nee, nog niet. Manuel,/breng de majoor even naar de eetzaal./
86 271 Manuel
Is difficult.
Is moeilijk./
272 Basil
Major, will you please show Manuel how to get into the dining room via the kitchen?
- Wilt u Manuel naar de eetzaal brengen?/
273 Major
Yes, of course. Come here. Come on. What's your name?
Natuurlijk. Kom maar./Hoe heet je?/
274 Basil
Now, look here, O'Reilly, I want my dining room door put back and this other one taken away by 1:00, do you understand? No, I don't want to debate about it. If you're not over here in 20 minutes with my door, I shall come over there and insert a large garden gnome in you. Good day.
Luister, O'Reilly./Maak alles weer in orde voor één uur./Als je hier niet binnen/20 minuten bent.../...prop ik 'n grote tuinkabouter in je./
275 O'Reilly
I'm sorry Mr. Fawlty, but my men just won't work on Sunday and that's the way it is. There's nothing I can do about it.
M'n mannen willen niet op zondag/werken. Ik kan er niks aan doen./
276 Basil
How long is it going to take you?
Hoe lang gaat 't duren?/
277 O'Reilly
I'm working as fast as I can.
- Ik doe m'n best./
278 Basil
It had better be fast enough. She's here in four hours.
Snel, ze komt over vier uur terug./
279 Polly
Tea up.
Thee./
280 Basil
What?
281 Polly
I brewed a cup for him.
Ik heb thee voor 'm./
282 Basil
He hasn't got time to drink that now.
- Daar is geen tijd voor./
283 Polly
Biscuits?
Koekje?/
284 O'Reilly
These look good.
285 Basil
Give them to me. Now, will you get on with it?
- Geef hier. Begin je nog?/
286 O'Reilly
Look, this lot here an hour and a half. This one easy lick of paint, lick of paint, lick of paint, one hour. What time is it now?
Dit hier, anderhalf uur./Dat daar is zo gepiept./Een likje verf./Een likje verf... één uur./Hoe laat is 't?/
287 Basil
Ten to 9:00.
- 10 voor 9./
288 O'Reilly
All right, 10 to 9:00 and two and a half hours is plenty of time. Give us a biscuit.
Plus tweeënhalf uur, da's genoeg./Mag ik een koekje?/
289 Basil
Not until you've done the door. Polly, take them away. You can have that when you've finished the door, too.
Als de deur klaar is./Neem mee. Dit krijg je ook straks./
290 O'Reilly
The trouble with you, Mr. Fawlty is that you worry too much. You keep it up like this, you'll have a stroke before you're 50. Stone dead you'll be.
U maakt zich te druk./Zo krijgt u 'n beroerte voor uw 50e./Dan bent u morsdood./
291 Basil
Suits me.
- Nou en?/
292 O'Reilly
That's a dreadful thing to say.
Dat mag u niet zeggen./
293 Basil
Not at all. I'll get a bit of peace.
- Eindelijk rust./
294 O'Reilly
Don't be so morbid. The good Lord made the world so we could all enjoy ourselves.
Niet zo morbide./God wil dat we ons vermaken./
295 Basil
Look, my wife enjoys herself, I worry.
M'n vrouw vermaakt zich,/ik maak me druk./
87
296 O'Reilly
Well, let me tell you. If the good Lord meant us to worry he would have given us things to worry about.
Dan had God ons wel iets gegeven/om ons druk om te maken./
297 Basil
He has! My wife! She will be back here in four hours, and she can kill a man at 10 paces with one blow of her tongue. How am I supposed not to worry?
Ja, m'n vrouw. En ze komt zo./Ze vermoordt iemand van afstand.../...met één tongbeweging./Mag ik me dan druk maken?/
298 O'Reilly
Just remember, Mr. Fawlty there's always someone worse off than yourself.
Er is altijd wel iemand/die 't slechter heeft./
299 Basil
Is there? Well, I'd like to meet him. I could do with a laugh.
Wie dan? Laat me 's lachen./
300 O'Reilly
You'll just have to worry for the both of us. I'm telling you, if the good Lord--
- Maakt u zich maar zorgen./Als de goede God.../
301 Basil
Is mentioned once more, I shall move you closer to him. Now, please!
Hou op, of ik stuur je naar Hem toe./
302 Polly
Mr. Fawlty, she's here.
Mr Fawlty, ze is er./
303 Basil
What?
- Wat?/
304 Polly
She's here.
Ik ben zo terug./
305 Basil
Oh, God. Quick! Hide! Hide! I'll try to get rid of her. Hide!
Verstop je./Ik raak 'r wel kwijt./
306 O'Reilly
Where?
Waar?/
307 Basil
In there. I'll try and stall her. God help me. Hello, Sybil.
- Daar. Ik probeer haar af te schepen./
308 Sybil
Hello, Basil.
309 Basil
Well, you finished your golf early.
Uitgespeeld?/
310 Sybil
We haven't started yet, Basil.
- We zijn nog niet begonnen./
311 Basil
Where are you going dear?
Waar ga je heen?/
312 Sybil
Up these steps.
- De trap op./
313 Basil
Oh, don't dear. It's such a lovely day. Let's go for a walk. We haven't done that for years. Oh Sybil, I nearly forgot. You're not going to believe this. Let me show you. There. Look at that. That's Stubbs for you. Mind you, I warned you, but still, a reputable builder like that. Tsk, tsk, tsk.
Laten we 'n eindje wandelen./Da's jaren geleden./Je zult 't niet geloven./Ik zal 't je laten zien./Moet je dat zien./Dat is die Stubbs van jou./Ik heb je gewaarschuwd, maar toch./Een man met zo'n reputatie./
314 Sybil
Stubbs?
315 Basil
Wicked. Pfft.
Walgelijk./
316 Sybil
Where's O'Reilly Basil?
Waar is O'Reilly?/
317 Basil
Criminal. Tsk. Pfff. Hmm?
- Het is misdadig./
318 Sybil
Where's O'Reilly?
Waar is O'Reilly?/
319 Basil
O'Reilly?
320 Sybil
Yes, O'Reilly.
88
321 Basil
Sybil, you never cease to amaze me. I mean, just because of this, you automatically assume it has to be O'Reilly. Right. You just assume that I have been lying all along. Right? I mean, why O'Reilly?
Je blijft me verbazen./Je neemt automatisch aan/dat het O'Reilly is./Je neemt aan dat ik steeds/heb gelogen. Waarom O'Reilly?/
322 Sybil
Because his van's outside.
Z'n wagen staat buiten./
323 Basil
Well, he's here now. Of course he's here now. He's here to clear up this mess your Stubbs has made! - Ja, nu is ie er./Hij komt de troep opruimen/die Stubbs heeft gemaakt./Op That's why his van's outside! On a Sunday. That's what I call service. zondag. Da's pas service./
324 Sybil
I agree.
- Mee eens./
325 Basil
You do?
Echt?/
326 Sybil
Yes, but if Stubbs has made this mess then I think they should come and clear it up.
Maar Stubbs moet 't zelf in orde maken./
327 Basil
But there's no point now that O'Reilly's here dear. I mean, we want it done straightaway.
Ach, O'Reilly is er toch./Het moet meteen gebeuren./
328 Sybil
Well there's no point in paying O'Reilly when Mr. Stubbs would have to do it for free. I'll call him now.
Ja, maar Stubbs doet 't gratis./Ik bel 'm meteen./
329 Basil
He won't be there on Sunday dear.
Het is zondag./
330 Sybil
Well then I'll call him at home.
- Dan bel ik 'm thuis./
331 Basil
Ooh! Ahhh! Getting a bit of gyp from the ol' leg this morning. Not to worry. Anyway, I've called him at home, and he's not there.
M'n been doet weer 's zeer. Maar goed./Ik heb gebeld en hij is er niet./
332 Sybil
When did you call him?
Wanneer heb je gebeld?/
333 Basil
First thing. Before I called O'Reilly.
- Voor ik O'Reilly belde./
334 Sybil
Wasn't that rather early for a Sunday?
Wel wat vroeg voor 'n zondag./
335 Basil
I called him just a few minutes ago, just before you arrived. There's nobody there. (on the phone) Yes, hello. Fawlty Towers. Yes? Who? Yes, I think you'd better have a word with my wife. Somebody from Mr. Stubbs, dear.
- Ik heb net gebeld, maar er is niemand./Met Fawlty Towers./Wie?/Praat maar even met m'n vrouw./Iemand van Stubbs, schat./
336 Sybil
Hello, Sybil Fawlty. Well, it is a complete mess. Well, could you come straight round and put it right? Would you like to deal with this, Basil?
Met Sybil Fawlty./Het is een grote puinhoop./Wilt u meteen komen en het/in orde maken? Regel jij 't, Basil?/
337 Polly
So you see, we couldn't possibly manage it for at least three weeks. But if you want it done straightaway, I suggest you try someone like, oh, what's his name? It's uh …
We konden dus zo'n drie weken/niet werken./Als u 't nu gedaan wilt hebben,/neem dan.../Hoe heet ie ook weer?/
338 Sybil
O'Reilly?
- O'Reilly?/
339 Basil
Bravo, Polly. Well done girl. But listen, where are you speaking from?
Goed gedaan, Polly./Waar bel je vandaan?/
340 Sybil
She's in here with me, Basil.
Ze is hier bij mij, Basil./
341 Polly
It's partly my fault.
342 Sybil
No, it isn't.
343 Polly
Well, I should have told you.
Ik had 't moeten zeggen./
89
344 Basil
Is somebody there trying to pretend they're from Mr. Stubbs' company? What sort of game do you think you're playing? I mean, really! Really! Would you believe what some of these people will do, Sybil?
Doet u soms net of u iemand/van Stubbs' bedrijf bent?/Wat sommige mensen al niet doen.../
345 Sybil
I'm going to make you regret this for the rest of your life, Basil.
- Dit zul je altijd blijven bezuren./
346 Basil
Well, fair enough, I suppose but I think Stubbs is partly to blame.
Goed, maar 't is ook Stubbs' schuld./
347 Sybil
Basil!
348 Basil
Yes, dear?
349 Sybil
Don't you dare, don't you dare give me any more of those pathetic lies.
350 Basil
Oh, right.
351 Sybil
What do you take me for? Did you really think that I would believe that this shambles is the work of professional builders? I mean, people who do it for a living?
Waar zie je me voor aan?/Dacht je dat ik zou geloven/dat dit 't werk van vakmensen is?/
352 Basil
No, not really, no.
Niet echt./
353 Sybil
Why did I trust you, Basil? Why did I let you make the arrangements? I could have seen what was going to happen. Why did I do it?
Waarom heb ik 't jou ook laten regelen?/Ik had 't kunnen voorzien./
354 Basil
Well, we all make mistakes, dear.
Iedereen maakt fouten./
355 Sybil
I'm sick to death of you. You never learn, do you? You never, ever, learn. We have used O'Reilly three times in the last year and each time it has been a fiasco! That wall out there is still not done! You got him in to change a washer in november and we didn't have any running water for two weeks!
Ik word doodziek van je./Je zult 't nooit leren./O'Reilly is steeds 'n fiasco./Die tuinmuur is nog steeds niet af./Laatst zaten we twee weken/zonder water./
356 Basil
He's not really a plumber, dear.
Hij is geen loodgieter./
357 Sybil
Well, then why did you hire him? Because he's cheap.
- Je neemt 'm omdat ie goedkoop is./
358 Basil
I wouldn't call him cheap.
Goedkoop is ie niet./
359 Sybil
What would you call him, then?
- Wat dan wel?/
360 Basil
Well, cheapish.
Vrij goedkoop./
361 Sybil
The reason he's cheapish is he's no bloody good!
- En waarom? Omdat ie niet goed is./
362 Basil
Oh Sybil, you do exaggerate. He's not brilliant.
Hij is niet echt geweldig./
363 Sybil
Not brilliant? He belongs in a zoo!
- Hij hoort thuis in 'n dierentuin./
364 Basil
You never give anyone the benefit of the doubt.
Gun hem 't voordeel van de twijfel./
365 Sybil
He's shoddy, he doesn't care, he's a liar, he's incompetent, he's lazy, he's nothing but a halfwitted, thick, Irish joke!
- Hij is slordig, incompetent, lui./Hij is 'n slechte Ierse mop./
366 Basil
Hello, O'Reilly. We were just talking about you and then we got on to another Irish builder we used to know. God, he was awful!
- We hadden 't net over je./En toen over 'n andere Ierse aannemer./Wat een ramp./
367 Sybil
I was talking about you, Mr. O'Reilly.
Ik had 't over u./
Heb niet 't lef/om ooit weer zo tegen me te liegen./
90 368 Basil
Were you, dear? I thought you were...
- O, ja? Ik dacht.../
369 O'Reilly
Come, come, Mrs. Fawlty --
Kom, kom.../
370 Sybil
I'm coming.
- Ik kom al./
371 O'Reilly
Dear me, what have I done now?
Wat heb ik gedaan?/
372 Sybil
That and that.
- Dat en dat./
373 O'Reilly
Not to worry. I'm putting it right.
Rustig maar./Dat kom ik rechtzetten./
374 Sybil
Not to worry?
375 O'Reilly
You've heard of the genie of the lamp? Well, that's me.
Kent u de geest in de lamp, Mrs Fawlty?/Dat ben ik./
376 Sybil
You think I'm joking, don't you?
U denkt dat ik 'n grapje maak./
377 Basil
Oh, don't smile.
- Niet lachen./
378 Sybil
Why are you smiling, Mr. O'Reilly?
Waarom lacht u, Mr O'Reilly?/
379 O'Reilly
Well, to be perfectly honest, Mrs. Fawlty, I like a woman with spirit.
- Ik hou van pittige vrouwen./
380 Sybil
Oh, do you? Is that what you like?
O, houdt u daarvan?/
381 O'Reilly
I do. I do.
- Nou en of./
382 Sybil
Oh, good.
Mooi./
383 Basil
Now, Sybil, that's enough.
Sybil, zo is 't genoeg./
384 Sybil
Come on, then. Give us a smile. O'Reilly I have seen more intelligent creatures lying on their backs at the bottom of ponds. I've seen better organized creatures than you running around farmyards with their heads cut off. Now collect your things, and get out. I never want to see you or any of your men in my hotel again. Now if you'll excuse me, I have to speak to a professional builder. (on the phone) Hello, Mr. Stubbs? It's Sybil Fawlty here. I'm sorry to disturb you on a Sunday morning. We have a slight problem with a couple of doors we'd like you to take care of. When do you think you could come round and take a look at them? Tomorrow morning at 9:00? That would be fine. See you then. Thank you very much. Goodbye. I think I shall go over to Audrey's now. I shan't be back till the morning. Oh, Basil.
Lach nu nog 's./Ik heb slimmere wezens/op meerbodems zien liggen./Zelfs kippen zonder kop/regelen hun zaken beter./Pak uw spullen en verdwijn./Ik wil u of uw mannen/hier nooit meer zien./Als u 't niet erg vindt,/bel ik nu een echte vakman./Sorry dat ik u stoor, maar ik heb/een probleempje met wat deuren./Wanneer kunt u er even/naar komen kijken?/Morgenochtend om negen uur?/Prima. Hartelijk dank./Ik ga nu naar Audrey./Ik ben morgenochtend terug./
385 Basil
Yes, dear?
386 Sybil
What is that doing here?
Wat doet dat daar?/
387 Basil
It's your garden gnome, dear. Isn't it nice?
- Dat is je tuinkabouter. Mooi hè?/
388 Sybil
Well, don't you think it would be better in the garden?
Denk je niet/dat ie in de tuin beter zal staan?/
389 Basil
Yes, dear. Good idea.
91
390 Sybil
Oh, no, no, Basil. Put him back. On second thought, I think I'll leave him in charge. I'm sure he's cheap and he'll certainly be better at it than you are.
Laat 'm maar staan./Ik geef hem de leiding./Hij is vast goedkoop/en zeker beter dan jij./
391 Basil
Have a nice day, dear. Don't drive over any mines or anything. Toxic midget. Where are you going O'Reilly? Would you please take your tools back and continue with the work.
Prettige dag, schat./Rij niet op 'n landmijn./Gifkabouter.../Waar ga jij heen?/Ga weer aan 't werk./
392 O'Reilly
Well, 'cause in view of what Mrs. Fawlty was saying...
- Na wat Mrs Fawlty zei.../
393 Basil
You're not going to take that seriously, are you?
Dat neem je toch niet serieus?/
394 O'Reilly
Well, I thought I might.
- Dat was ik wel van plan./
395 Basil
What sort of a man are you, O'Reilly? Are you going to let her speak to us like that?
Laat je haar zo tegen ons praten?/
396 O'Reilly
She did!
- Ze deed 't toch?/
397 Basil
No, she didn't. She thinks she did, but we'll show her. We're not going to just put that door back and We zetten alles terug en doen/ook waar je voor ingehuurd was./We leveren take that one out. We're gonna close that one off and put that one through as well. We're going to do 'n staaltje werk af/zoals je nog nooit gedaan hebt./ the best day's work you've ever done, O'Reilly.
398 Basil
Manuel, any sign?
399 Manuel
No, no.
400 Major
Morning, Fawlty.
Morgen, Fawlty./
401 Basil
Morning, Major. The papers are here.
- De kranten zijn er./
Manuel, zie je al iets?/
402 Major
Ah, good.
403 Basil
Notice anything new, Major?
Valt u niks op?/
404 Major
Another car strike.
- Weer 'n staking./
405 Basil
Oh, my.
Laat maar./
406 Polly
Morning, Major.
Morgen, majoor./
407 Major
Oh, good morning…
- Morgen.../
408 Polly
Never mind.
Laat maar./
409 Major
Oh, right. Ah! You've found it. I knew you would. He lost it, you know.
- Juist ja./Je hebt 'm weer gevonden./Ik wist 't wel./Hij was 'm kwijt./
410 Manuel
Mr. Fawlty, she come now! She come now!
Zij komt, zij komt./
411 Basil
Quick! Quick! Morning, dear. Did you have a pleasant evening, dear? Oh, good. Ah, Mr. Stubbs. My wife's just there.
- Snel./Morgen, schat./Leuke avond gehad?/Ah, Mr Stubbs./M'n vrouw is daar./
412 Stubbs
Thank you. Good morning, Mrs. Fawlty.
413 Sybil
Mr. Stubbs. This is most awkward. I'm afraid I have to apologize. My husband has put me in rather an embarrassing situation... Once again. I was going to ask you to do some work here.
Dit is hoogst vervelend./Ik moet m'n excuses aanbieden./M'n man brengt me weer/in 'n lastig parket. Ik wilde u inhuren./
92 414 Stubbs
Yes?
415 Sybil
But I was away last night, and when I came back just now, well, it appears to have been done.
Ik was even weg/en nu blijkt alles al gedaan te zijn./
416 Basil
Everything all right dear?
Alles in orde, schat?/
417 Stubbs
Oh, I see.
418 Sybil
I mean, it'll probably all fall down by lunchtime.
Het zal zo wel in elkaar storten./
419 Basil
Do you think so dear? Let's ask a real expert. Do you think it'll fall down by lunch, Mr. Stubbs?
Vraag het 'n expert./Mr Stubbs, stort het zo in elkaar?/
420 Stubbs
No, no.
Nee./
421 Basil
Mr. Stubbs wouldn't agree with you on that one, dear.
- Hij is 't niet met je eens./
422 Stubbs
It's a very good job.
Het is goed werk./
423 Basil
Did you hear that, dear? A very good job.
- Hoor je dat, schat? Goed werk./
424 Sybil
Hmmmm?
425 Basil
None of us likes being wrong, dear. I certainly don't. We knocked through this door, and we closed this one off.
Niemand heeft graag ongelijk./Deze is nieuw en die is afgesloten./
426 Stubbs
What did you use? An Rsj?
Een standaardbalkje?/
427 Basil
No, four by two. Not bad, eh, dear? And not expensive.
- Nee, vier bij twee./Niet slecht, hè? En niet duur./
428 Stubbs
I mean, for the Lintel. Did you use an Rsj? You know, an iron girder? Or did you use a concrete lintel?
- Nee, voor 't kalf./Heeft u een stalen draagbalk/of een betonnen kalf gebruikt?/
429 Basil
No, a wooden one.
Nee, een van hout./
430 Stubbs
But that's a supporting wall.
- Maar dat is 'n dragende muur./
431 Sybil
What?
432 Basil
Quite. Well, thank you very much for coming over this morning...
Inderdaad./Goed, bedankt voor uw komst./
433 Sybil
Just a minute. You mean that isn't strong enough?
Dus 't is niet stevig genoeg?/
434 Stubbs
That's a supporting wall, Mrs. Fawlty. It could give way at any moment.
- Het kan elk moment instorten./
435 Sybil
Any moment?
Elk moment?/
436 Stubbs
Yeah, God help the floors above. Look, keep this door shut until I can get a screwjack to prop it up before the bloody lot comes in. I don't know... Cowboys.
- Als het plafond 't maar houdt./Hou deze deur dicht/tot ik 'm kom stutten. Stomme idioten./
437 Sybil
Basil? Basil?! Basil! Where are you going?
Waar ga je heen?/
438 Basil
I'm going to see Mr. O'Reilly, dear. Then I think I might go to Canada.
Ik ga naar Mr O'Reilly, schat./En daarna ga ik maar naar Canada./
93
Appendix 1.3: Transcription The Wedding Party
No.
Speaker
Dialogue
Dutch subtitle
1
Major
By Jove! It's warm tonight, isn't it, Fawlty?
Warm vanavond, vind je niet?/
2
Basil
Certainly is, Major, yes.
- Nou en of, majoor./
3
Major
Very warm.
Heel warm./
4
Basil
Can I get you another one?
- Wilt u nog wat drinken?/
5
Major
What? Well, why not indeed? What a very nice idea.
Ja, waarom niet. Goed idee./
6
Basil
(Sybil laughs) Reminds me of somebody machine gunning a seal.
Net 'n zeehondje dat vermoord wordt./
7
Major
The heat?
De warmte?/
8
Basil
No, no. My wife's laugh.
- Nee, de lach van m'n vrouw./
9
Major
Ah, yes.
10
Basil
Ah, good evening, Mrs. Peignoir.
Goedenavond, Mrs Peignoir./
11
Mrs. Peignoir
Good evening. Thank you for your map. It was so useful. I must congratulate you. I had no idea how charming Torquay was.
Bedankt voor de kaart./Hij was erg nuttig./Gefeliciteerd. Ik wist niet dat Torquay/zo bekoorlijk was./
12
Basil
Enchanté. May I ask, did you find anything of interest?
Heeft u nog iets moois gezien?/
13
Mrs. Peignoir
Mmhmm. A few pieces I like very much. And one, oh I had to have it.
- Hele mooie dingen./En één stuk moest ik gewoon hebben./
14
Basil
Formidable. I'm so pleased. May I introduce Major Gowen, our longest standing resident? Mrs. Peignoir.
Formidabel. Dat doet me deugd./Mag ik u majoor Gowen voorstellen?/Hij logeert hier al 't langst./
15
Mrs. Peignoir
How do you do, Major?
16
Major
How do you do, Madam?
17
Basil
Mrs. Peignoir's an antique dealer. She's down here for a few days sniffing around for dainty relics. Please don't alarm yourself, it's only my wife laughing. I'm afraid her local finishing school was bombed.
18
Mrs. Peignoir
Oh, dear!
19
Basil
No, no, not really. Just a thought. Well now, what can I get you?
Niet echt. Wat wilt u drinken?/
20
Mrs. Peignoir
Do you have any Ricard?
Heeft u Ricard?/
21
Basil
I'm sorry?
- Pardon?/
22
Mrs. Peignoir
Any Ricard?
Ricard./
23
Basil
We're just out of it, I think.
Die is net op, geloof ik./
Mrs Peignoir is antiquair./Ze is op zoek naar mooie relikwieën./Schrik niet, dat is m'n vrouw maar./Haar school werd gebombardeerd./
94 24
Mrs. Peignoir
25
Basil
But of course.
26
Major
Tell me, are you, by any chance, French at all?
Bent u toevallig Française?/
27
Mrs. Peignoir
Yes, I am.
Inderdaad, ja./
28
Major
Good Lord!
29
Basil
Enjoying yourself, dear? We, uh we haven't put any nuts in the bowl, have we?
Vermaak je je, schat?/We hebben geen pinda's/in de bakjes gedaan./
30
Sybil
I haven't. I don't know about you.
Ik niet, nee./
31
Basil
Well, I'll do it then, shall I?
- Dan zal ik het maar doen./
32
Sybil
That would be the simplest solution, dear.
Da's wel zo makkelijk./
33
Basil
Where's Manuel?
Waar is Manuel?/
34
Sybil
We've given him the evening off, dear. It's his birthday.
- Hij heeft vrij. Hij is jarig./
35
Basil
I mean, how old is he? Two and a half? Excuse me, there are no nuts here, Sybil.
Hoe oud is ie geworden?/Tweeëneenhalf?/Sorry. Hier zijn geen noten, Sybil./
36
Customer
No nuts!
37
Sybil
You'll find them in the kitchen.
Ze liggen in de keuken./
38
Basil
Oh, will I?
- Is dat zo?/
39
Sybil
Well, if you can bear to tear yourself away from Mrs. Peignoir, you will. Do go on.
Als je je tenminste van Mrs Peignoir/kunt losrukken. Ga verder./
40
Major
In 1918, I think.
41
Basil
Did you ever see that film, "How to Murder your Wife"?
42
Major
"How to Murder Your Wife"?
43
Basil
Yes, awfully good. I saw it six times. Very funny!
Ja, ik heb 'm al zes keer gezien./Hij is heel leuk./
44
Miss Tibbs
Are you all right, Mr. Fawlty?
Alles goed, Mr Fawlty?/
45
Basil
What? Yes, thank you very much. You all right?
- Prima, en met u?/
46
Miss Gatsby
Yes.
47
Basil
Good, good. We're all all right, then.
Mooi, dan is alles goed/met ons allemaal./
48
Miss Gatsby
Must be the heat.
Vast de warmte./
49
Miss Tibbs
Yes, and he's getting taller, isn't he?
- Hij wordt ook groter./
50
Miss Gatsby
I don't think he's very well, dear. I think we ought to take care of him.
Het gaat vast niet goed met 'm./We moeten op 'm passen./
51
Miss Tibbs
Hello.
Just a sherry then.
- Een sherry dan./
Kent u de film/'Hoe vermoord ik m'n vrouw'?/
95 52
Polly
Hello. I think I left it over here somewhere. Hang on. Ah, here it is. See you tonight?
Ik geloof dat ik 'm hier/heb laten liggen./Ik heb 'm al. Tot vanavond./
53
Richard
Mmhmm. C'mon. (Kissing and Basil walks in)
54
Basil
Yes! A single for tonight, is it?
Een eenpersoonskamer?/
55
Polly
Mr. Fawlty, may I introduce Richard Turner?
Mr Fawlty, dit is Richard Turner./
56
Basil
I'm sorry?
57
Polly
He's a friend of mine.
Een vriend van me./
58
Basil
Oh! You know each other, do you? Just passing through, are you?
Dus jullie kennen elkaar?/Even op bezoek?/
59
Polly
There you go. See you tonight.
Hier. Tot vanavond./
60
Basil
Oh, we've opened a library, have we? How nice. Please don't leave on my account, Mr. Turnip.
- Hebben we nu 'n bibliotheek?/U gaat toch niet weg vanwege mij,/Mr Turnip?/
61
Polly
I'm sorry, Mr. Fawlty.
62
Basil
Now look, Polly.
63
Polly
We were just saying goodbye.
Ik zei alleen gedag./
64
Basil
I mean what sort of place do you think this is, a massage parlor? We are running a nice respectable high cl-- I'm sorry, did I say something funny?
- Dit is geen bordeel./Dit is 'n respectabel, eersteklas.../Zei ik soms iets grappigs?/
65
Polly
No, I was, uh, just looking...
- Nee, ik.../
66
Basil
No no, obviously I said something frightfully comic.
Het was vast dolkomisch./
67
Polly
No, it's just the heat.
- Het is de hitte./
68
Basil
Well, so long as I amuse the staff. I mean, that's all I'm here for.
Als ik de staf maar vermaak.../
69
Polly
I'll just take these in.
Ik breng dit even weg./
70
Basil
One other thing, Polly. I'm afraid we've abandoned the idea of the topless afternoon teas, so if you wouldn't mind changing before going where people may be trying to eat.
- We serveren niet meer topless./Verkleed je. De mensen proberen te eten./
71
Polly
I was going to.
Dat ging ik net doen./
72
Basil
Polly, would you come back here, please?
- Kom 's terug./
73
Polly
I'm on form tonight. Yes, Mr. Fawlty?
Ik ben de klos vanavond./
74
Basil
I know these kind of drawings are considered decent at art school. Would you please not leave them lying around on display at the reception?
De kunstacademie waardeert dit vast,/maar hou hier geen expositie./
75
Polly
I'll put them away when I've got some clothes on.
Ik ruim ze wel op,/als ik me aangekleed heb./
96
76
Basil
I mean, really! (On the telephone) Hello, Fawlty Titties. Yes, yes. Oh, it's you, Audrey. Yes. Oh, he's left you again, has he? Oh, dear oh, dear. How sad, hmm yes. Ah, good evening, Major. I'll be with you in just one moment. Well, I'll get her to call. Hmm yes, well, keep your pecker up. Bye. Dreadful.
77
Jean
Oh, stop it, Alan.
Hou toch op, Alan./
78
Alan
Rruff, ruffruff! Hello. We booked a room.
We hebben 'n kamer gereserveerd./
79
Basil
Have you?
80
Alan
Yes, a double one. The name is…
Een tweepersoonskamer. De naam.../
81
Basil
One moment, please.
- Moment./
82
Alan
That's a nice suit.
Mooi pak./
83
Basil
What?
- Wat?/
84
Alan
Nothing.
85
Basil
I thought you said something.
Ik dacht dat u iets zei./
86
Alan
No.
- Nee./
87
Basil
Are you all right?
Voelt u zich wel goed?/
88
Jean
Yes, thank you. Aah!
- Ja, dank u./
89
Basil
Are we ready?
Zijn we klaar?/
90
Alan
I think we are, yes.
- Wij wel, ja./
91
Basil
May I have your name, please?
Mag ik uw naam weten?/
92
Alan
Yes, it's Bruce.
- Bruce./
93
Basil
Mr. and Mrs. Bruce.
Meneer en mevrouw Bruce./
94
Alan
That's right.
95
Jean
Is it a double bed?
96
Basil
I beg your pardon?
97
Jean
Has our room got a double bed?
98
Basil
A double bed?
99
Jean
Yes.
Met Fawlty Tieten./O, ben jij 't, Audrey?/Heeft ie je weer verlaten?/Hemeltje toch./Hemeltje, wat triest./Goedenavond, majoor. Ik kom zo./Ik vraag of ze je belt. Kop op./
Is het 'n tweepersoonsbed?/
Heeft onze kamer 'n tweepersoonsbed?/
100 Basil
We've only got one double bed, I mean, do you want that?
We hebben er maar een. Wilt u die?/
101 Alan
Oh, very much indeed. Yes.
- Graag./
102 Basil
Well, I'll have to put you in number 12 then.
Dan moet ik u kamer 12 geven./
97 103 Alan
All right.
- Prima./
104 Basil
I mean oh, never mind. Yes, all right,
Maar... Ach, laat ook maar./
105 Jean
Has it got a breeze?
Waait 't er een beetje?/
106 Basil
Has it got a breeze?
Of het er waait?/
107 Jean
Well, is it airy?
- Is ie luchtig?/
108 Basil
Well, there's air in it. I mean, what the--
Ja, hoor. Lucht zat./
109 Jean
Oh, I think there's a letter for me.
Er ligt daar 'n brief voor me./
110 Basil
What?
111 Jean
There's a letter for me there.
112 Basil
No, there isn't.
- Nee, hoor./
113 Jean
Yes. Jean Wilson.
Jawel. Jean Wilson./
114 Basil
Jean Wilson, is this you?
Jean Wilson. Bent u dat?/
115 Jean
Mmhmm.
116 Alan
Heh heh heh!
117 Basil
Now, what's going on here? Well, I can't give you a double room, then.
118 Alan
Oh, look ...
119 Basil
It's against the law.
Dat is tegen de wet./
120 Alan
What law?
Welke wet?/
121 Basil
The law of England. Nothing to do with me.
- De Britse. Daar kan ik niks aan doen./
122 Alan
Nothing to do with you?
Kunt u daar niks aan doen?/
123 Basil
Nothing at all. I can give you two singles, if you like, but...
- Helemaal niks. Twee eenpersoons dan?/
124 Alan
Shall we go somewhere else?
Zullen we ergens anders heen gaan?/
125 Basil
Excuse me.
126 Mrs. Peignoir
There's my key. And now, I'm off to paint the town red.
127 Basil
Thank you so much.
128 Mrs. Peignoir
Well, uh perhaps I'll see you later this evening?
Misschien zie ik u vanavond nog?/
129 Basil
Yes, my wife and I will be up till quite late tonight, thank you.
- Ja, hoor, we zijn nog laat op./
130 Alan
I don't believe a word! Excuse me. We'll have two singles then, if that's all right with the police?
Niet te geloven./Twee eenpersoonskamers dan maar./Is dat wel legaal?/
Wat is hier aan de hand?/Geen tweepersoonskamer./
Hier is m'n sleutel./Ik ga de bloemetjes buiten zetten./
98 131 Basil
Two singles, certainly. Now...
Twee eenpersoonskamers. Even kijken./
132 Jean
Next to each other.
- Naast elkaar./
133 Basil
Next to each other. Oh dear, we can't do that. What a shame.
Nee, dat is niet mogelijk./Helaas./
134 Sybil
Good evening.
135 Alan & Jean
Good evening.
136 Sybil
A double, is it?
137 Jean
We'd like a double.
138 Basil
Two singles, dear. Not married. Now…
- Twee eenpersoons. Ongetrouwd./
139 Sybil
What?
Wat?/
140 Basil
Nothing, dear. I'm dealing with it.
- Niks. Ik regel 't wel./
141 Sybil
Well, 17 and 18 are free. You'd have to share a bath.
17 en 18 zijn vrij,/maar dan moet u het bad delen./
142 Basil
No... Oh, uh, Audrey called. I'll handle it. George has left her again.
Audrey belde. Ik regel dit./George is weer weg./
143 Sybil
Oh, no.
144 Basil
Now, we've got one on the first floor, one right up at the top.
Eén beneden, één helemaal boven./
145 Sybil
Shall I deal with this, Basil?
- Zal ik 't doen?/
146 Basil
I'm dealing with it, dear.
Ik doe 't./
147 Sybil
No dear, that's all right. Now, you wanted two singles?
- Twee kamers dus?/
148 Basil
I said I'd deal with it.
Ik regel dit./
149 Sybil
Do you mind sharing a bathroom?
- Wilt u de badkamer delen?/
150 Basil
Look, I was here first.
Ik was hier eerst./
151 Sybil
Well, it's my turn now.
- Dan mag ik nu./
152 Basil
I fought the Korean war, you know? I killed four men.
Ik heb in Korea gevochten./Ik heb vier man gedood./
153 Sybil
He was in the Catering Corps, he used to poison them.
Hij was kok. Hij vergiftigde ze./
154 Basil
(Knocking) Yes? Who is it?
Wie is daar?/
155 Manuel
It's Manuel.
156 Basil
What do you want?
Wat wil je?/
157 Manuel
Can I go now?
- Mag ik weg?/
158 Basil
I thought you'd gone.
Ik dacht dat je al weg was./
159 Manuel
Qué?
Een tweepersoonskamer?/
99 160 Basil
I thought you'd gone.
161 Manuel
No, I turned it off.
Nee, ik heb 'm uitgedaan./
162 Basil
What?
- Wat?/
163 Manuel
It was about so high.
Hij was ongeveer zo hoog./
164 Basil
No. I said, I thought a creduto... It doesn't matter.
- Nee, ik dacht... Laat maar./
165 Manuel
Qué?
166 Basil
It doesn't matter.
Laat maar./
167 Manuel
Oh, you think I gone.
- U denkt, ik al weg?/
168 Basil
Yes.
169 Manuel
No, no, I go now.
Nee, ik ga nu./
170 Basil
Wonderful.
- Prachtig./
171 Manuel
What? Is okay?
Is oké?/
172 Basil
It's okay.
- Is oké./
173 Manuel
Thank you.
174 Basil
Yes?
175 Manuel
Before I go...
Voor ik ga.../
176 Basil
What is it?
- Wat is er nou?/
177 Manuel
Is my birthday.
Is mijn verjaardag./
178 Basil
Yes, I know!
- Weet ik./
179 Manuel
"I want to thank you for beautiful present."
Ik wil u bedanken/voor prachtig cadeau./
180 Basil
Oh, yes. Fine.
181 Manuel
"And for your much kindness to me since I come here."
En omdat u altijd zo aardig bent.../
182 Basil
Not at all. My pleasure.
- Geen dank./
183 Manuel
"Since coming here from Spain, leaving my mother"
...sinds ik moeder achterlaat/in Spanje.../
184 Basil
Outside.
Eruit./
185 Manuel
Qué?
186 Basil
Outside. Thank you.
187 Manuel
"Since coming here from Spain, leaving my five brothers and four sisters"
En ook mijn vijf broers en vier zusters./
188 Basil
Give it to me. Thank you.
Geef maar./Dank je./
100 189 Sybil
Can I have it, Basil?
Mag ik 'm?/
190 Basil
What, dear?
- Wat?/
191 Sybil
I want that key.
De sleutel./
192 Basil
I've only got the key to room 12, dear.
- Ik heb alleen 12./
193 Sybil
That's the one.
Die ja./
194 Basil
Now look here, Sybil ...
- Luister.../
195 Sybil
Basil!
196 Basil
If you were my size...
Als je net zo groot was.../
197 Manuel
"Since coming"
Sinds.../
198 Sybil
Manuel.
199 Manuel
Sí, sí?
200 Sybil
Number 12, please. Basil!
Kamer 12, alsjeblieft./
201 Polly
Jean!
Jean. Wat doen jullie hier?/
202 Jean
Hello, Poll.
- Polly./
203 Polly
What are you doing here?
204 Jean
Well, we couldn't get in at the Bellevue.
We konden niet terecht in 't Bellevue./
205 Polly
Oh, no. Hello, Alan.
- Hallo, Alan./
206 Jean
It'll be fun. My parents arrive tomorrow.
M'n ouders komen morgen ook./
207 Polly
What, here? Well, I warned you.
- Hier?/Je bent gewaarschuwd./
208 Alan
Yes, we've already met the famous Fawlty.
- We hebben Fawlty ontmoet./
209 Polly
Shh, I'm not supposed to hobnob.
Ik mag niet praten met gasten./
210 Jean
I like your outfit.
- Enige jurk./
211 Polly
I'll give you the pattern.
Wil je 't patroon?/
212 Jean
Are you going to be at Fiona's wedding?
Ga je naar Fiona's bruiloft?/
213 Polly
I can't, but I'll be at the reception, in my very own Jean Wilson creation.
Naar de receptie./In 'n echte Jean Wilson./
214 Jean
I want you to try that on later.
Pas die jurk straks even./
215 Polly
Okay. How's that gorgeous stepfather?
Waar is je knappe stiefvader?/
216 Jean
I haven't seen him for a month. He's been in Singapore.
- Hij zit in Singapore./
101
217 Alan
Oh, blast! I forgot to get those batteries for my electric razor. Is there anywhere still open, Poll?
Batterijen vergeten./Is er nog iets open?/
218 Polly
You might find a chemist's.
De drogist, misschien./
219 Alan
I better have a look.
- Ik ga meteen. Tot zo./
220 Jean
Is Richard coming tonight?
Komt Richard ook?/
221 Polly
We'll be along about 10:00.
- We komen om 'n uur of tien./
222 Jean
Great!
223 Alan
Hello again. We managed to get it all sorted out with your wife.
Daar ben ik weer./Uw vrouw heeft alles geregeld./
224 Basil
I wouldn't know about that. Is there something you want?
- Verder nog iets?/
225 Alan
Yes. I know it's a bit late, do you know if there's a chemist still open?
Het is wat laat,/maar weet u of de drogist nog open is?/
226 Basil
I beg your pardon?
Pardon?/
227 Alan
Do you know if there's a chemist still open?
Of de drogist nog open is./
228 Basil
I suppose you think this is funny, do you?
- U vindt dit zeker grappig?/
229 Alan
Funny?
Grappig?/
230 Basil
Ha. Ha. Ha.
231 Alan
No, no. I really want to know.
Ik wil 't echt weten./
232 Basil
Oh do you? Well, I don't. So far as I know, all the chemists are shut. So you'll just have to wait till tomorrow. Sorry. Bit of a blow, I imagine.
Ik niet. Alles is dicht./U zult tot morgen moeten wachten./Dat is zeker wel 'n klap?/
233 Alan
What?
234 Basil
Nothing. You heard. Is that all?
Niks. U hebt 't wel gehoord./Is dat alles?/
235 Alan
Well...
Nou?/
236 Basil
Yes?
- Ja?/
237 Alan
I don't suppose you've got a couple...
U hebt zeker niet 'n paar.../
238 Basil
Now, look! Just don't push your luck! I have a breaking point, you know.
- Pas op. Je kunt ook te ver gaan./
239 Alan
Well, I only want some batteries.
Ik wil alleen 'n paar batterijen./
240 Basil
I don't believe it.
Niet te geloven./
241 Alan
What?
242 Basil
Batteries, huh? You know something? You disgust me. I know what people like you get up to, and I think it's disgusting!
Batterijen, hè?/U bent walgelijk./Ik weet wat mensen als jullie doen./Walgelijk./
243 Alan
Wh-what are you talking about? I want batteries for my electric razor. I want to shave!
Wat bedoelt u?/Het is voor m'n scheerapparaat./
102 244 Basil
Oh yes?
245 Alan
Yes! I haven't shaved today. Look, see?
Ik heb me nog niet geschoren./
246 Basil
Electric razor, huh?
- Een scheerapparaat?/
247 Alan
Right!
248 Basil
Well, that's what I was referring to when I said it was disgusting. It is, of course, disgusting that you haven't shaved, but, understandable. I mean, sometimes I don't shave either, and that's disgusting too. So I shall have a razor sent up to your room straightaway. Thank you so much, good night.
Dat bedoel ik. Het is walgelijk/dat u zich niet heeft geschoren./Maar ik doe het ook wel 's niet./Ook walgelijk./Ik laat meteen 'n scheerapparaat/naar uw kamer brengen./
249 Sybil
(In the bedroom, the telephone rings) Hello? Audrey, any news? Oh, dear. He hasn't? Oh, I know. He doesn't deserve you, Audrey. He really doesn't. Exactly. I know you have. I know. I know. Oh, I know.
Audrey. Is er nog nieuws?/Hemeltje toch, nog steeds niet?/Ja, ik weet 't./Hij verdient je niet, Audrey./Echt niet./Precies. Dat weet ik toch?/Ik weet 't./Ik weet 't./Ik weet 't./
250 Basil
Are you gonna go on like that all night?
- Gaat dat de hele nacht zo door?/
251 Sybil
(on the phone) What was that, Audrey? Oh, I know. I know.
Wat zei je, Audrey?/Ik weet 't./Ik weet 't./
252 Basil
Well, why is she telling you then?
- Waarom vertelt ze 't je dan?/
253 Sybil
(on the phone) I understand, dear, I really do.
Ik begrijp 't./
254 Basil
I can't stand it anymore. I'll go clean the roof or something. There's the front doorbell. Somebody's got back late.
- Ik kan er niet meer tegen./Ik ga 't dak schoonmaken of zo./De bel./Er komt nog iemand laat thuis./
255 Sybil
(on the phone) Yes, yes.
256 Basil
I expect they forgot to get their passkey.
Ze zijn zeker de loper vergeten./
257 Sybil
(on the phone) I know.
- Ik weet 't./
258 Basil
Somebody better go and let them in.
We moeten ze even binnenlaten./
259 Sybil
(on the phone) Yes.
260 Basil
I'll go then, shall I?
261 Sybil
(on the phone) Hmm.
262 Basil
Inderdaad, ik ga wel./Het is dat Kama Sutra-stel van je./'Dag, dit is Bordeel Yes, I agree. Right. I'll go then. I mean, you know who that is, don't you? I mean, that's your pair, the "Kama Sutra" set. "Good Evening, welcome to Basil Fawlty Knocking Shops Limited. " Fawlty'./
263 Sybil
No, dear. It's only Basil.
Nee, dat is Basil maar./
264 Basil
I'm coming, I'm coming. I mean, I suppose you know what time it is?
Ik kom al./Weten jullie wel hoe laat 't is?/
265 Mrs. Peignoir
Oh, Mr. Fawlty, I'm so sorry.
- Het spijt me zo./
266 Basil
Oh no. It's only a quarter past 11:00.
Het is pas kwart over elf./
267 Mrs. Peignoir
I got you out of your bed.
- Ik haal u uit bed./
Zal ik?/
103 268 Basil
Not at all. I had a few little jobs to do.
Nee hoor, ik moest nog wat doen./
269 Mrs. Peignoir
Oh, you're so kind.
- Wat bent u toch aardig./
270 Basil
Oh, well …
271 Mrs. Peignoir
I had just a lovely evening.
Ik heb toch zo'n enige avond gehad./
272 Basil
Did you? How very nice.
- Ja? Wat leuk./
273 Mrs. Peignoir
I saw some friends I hadn't seen for years. I had a little bit too much to drink, I'm afraid.
Ik kwam vrienden tegen/van jaren geleden en ik heb te veel op./
274 Basil
Oh no, I mean, what's life for if one can't get a bit ...
Da's toch niet erg, een beetje.../
275 Mrs. Peignoir
Blotto?
- Toeter?/
276 Basil
Well, hardly blotto.
Ach, niet echt toeter./
277 Mrs. Peignoir
Ah, Mr. Fawlty, you're so charming.
- Mr Fawlty, u bent zo charmant./
278 Basil
Well, one does one's best.
We doen ons best./
279 Mrs. Peignoir
I hope Mrs. Fawlty appreciates how lucky she is.
Beseft Mrs Fawlty wel hoezeer ze boft?/
280 Basil
Well, I think probably not, in fact.
Ik denk 't niet, eigenlijk./
281 Mrs. Peignoir
(She drops her bag) Oops!
282 Basil
O please, allow - Sorry, I beg your pardon. Ah, there we are.
283 Mrs. Peignoir
(She is sitting on his back like he is a horse) Ha ha ha!
284 Alan
Oh.
285 Basil
Oh, sorry! Sorry. Ha ha! There you are. Carry on.
286 Alan
We're awfully sorry.
287 Basil
No, it was quite extraordinary. The front doorbell went just a moment or two ago, and I thought to myself, "I expect that'll be Alan and uh" so, down I go, and lo and behold, it's not you at all, it's Mrs. Peignoir. Have you met? Alan and uh this is Mrs. Peignoir. She's an antique dealer you know, I mean, she deals in antiques. She's not frightfully old or anything. Ha, ha. So, I let her in just 10 secs ago, hardly five, I mean, hardly time to say good evening, in she comes, drops her thing, down I go and down she goes and there you are, bless my soul. Golly, is that the time? My goodness, I was thinking it was a quarter past 10:00. My God! I'd better get to bed. Can't stand around talking all night. Got to get an early night. Bye! Sorry!
Wat toevallig./De bel ging net en ik dacht,/daar hebben we Alan en.../Maar 't was Mrs Peignoir./Kent u elkaar?/Alan en... Dit is Mrs Peignoir,/antiquair. Niet dat ze antiek is./We kennen elkaar nog maar net./Ze is nog maar net binnen of ze laat/haar spullen vallen. Ik val, zij valt.../Is 't al zo laat?/Ik dacht dat 't kwart over 10 was./Dan moesten we maar naar bed./Ik kan niet blijven praten. Dag./
288 Alan
Are you all right?
Alles goed met u?/
289 Mrs. Peignoir
Yes, I am. Good night.
- Ja, hoor. Welterusten./
290 Jean
Good night.
Sorry, neem me niet kwalijk./Daar is ie al./
O, sorry. Daar bent u./
104 291 Mrs. Peignoir
Bonne nuit.
292 Alan
Jean, I'll just make that call.
Ik ga nog even bellen./
293 Jean
Don't be too long.
- Schiet wel op./
294 Alan
No.
295 Sybil
(Back in the bedroom) Well?
296 Basil
Hmm?
297 Sybil
Who was it?
Wie was 't?/
298 Basil
It was your, uh, your pair. Huh. Humph.
- Dat stel van jou./
299 Jean
(In the hallway) Good night.
Welterusten./
300 Mrs. Peignoir
Bonne nuit.
301 Basil
Oh, and that woman, uh...
O ja, en die vrouw.../
302 Sybil
Mrs. Peignoir?
Mrs Peignoir./
303 Basil
Ah, yes. Something like that.
- Ja, zoiets ja./
304 Mrs. Peignoir
Dormez bien, Mr. Fawlty.
305 Basil
How's Audrey?
Hoe gaat 't met Audrey?/
306 Sybil
She's in a terrible state.
- Ze is een wrak./
307 Basil
Ah, good, good. (Knocking on the door) There's someone at the door, Sybil!
Mooi./Werd daar geklopt?/
308 Sybil
Why are you shouting, Basil?
- Waarom schreeuw je?/
309 Basil
Was I shouting? Sorry, Sybil. Well, I'd better go see who that is then, Sybil. I expect it's some key who forgot to get the guest for their door. Or something like that, some innocent explanation. Ha, are you ready, Sybil?
Deed ik dat? Sorry./Ik ga wel. Zeker 'n sleutel/die de gast is vergeten./Vast zoiets onschuldigs. Klaar?/
310 Sybil
I'm ready.
- Ik ben klaar./
311 Basil
Right. I'll just see who that is then, Sybil. All right, Sybil? (Looks into the hallway) Hello? Hello? Ah.
Dan zal ik even kijken wie daar is./Goed?/
312 Manuel
(Jumps out) Ole! Oh, so sorry, Mr. Fawlty. Poor Mr. Fawlty.
Sorry, Mr Fawlty./Arme Mr Fawlty./
313 Sybil
Basil, are you all right?
Gaat 't?/
314 Basil
No, I'm dying, but don't get out of bed.
- Ik sterf, maar blijf maar liggen./
315 Manuel
I hurt you, and you so wonderful to me. Give me such beautiful present. Thank you!
En u mij nog wel mooi cadeau geven./
316 Basil
You're drunk, Manuel!
- Je bent dronken, Manuel./
317 Manuel
No, no. Is beautiful. Is my first one. Thank you.
Nee, is prachtig. Is mijn eerste./
105 318 Basil
Now listen argh!
319 Manuel
(Manuel lies on Basil) Oh, poor Mr. Fawlty. So sorry. Please, Mr. Fawlty, I love you, I love you! Arme Mr Fawlty. Sorry./Ik hou van u, Mr Fawlty./U zo aardig, u zo goed./Ik You so kind to me, you so good to me! I love you! hou van u./
320 Sybil
Basil, I'm trying to read In here.
Ik probeer te lezen./
321 Manuel
(Alan sees them lying there) Since I come here from Spain leaving my five mothers, and four aunties with no...
Sinds komst uit Spanje en vijf moeders/achterlaat en vier tantes./
322 Basil
(The follwing morning) Et maintenant, un peu de café?
323 Mrs. Peignoir
Ah, oui, s'll vous plâit. Café au lait.
324 Basil
Café what?
Café wat?/
325 Mrs. Peignoir
Au lait.
- Au lait./
326 Basil
Ah, olé. Quite. There we are. Voilà sommes nous. Café pour vous.
Olé. Juist, ja./Alstublieft. Café pour vous./
327 Mrs. Peignoir
"Vous"? Pas pour toi?
Pas pourtoi?/
328 Basil
Well, I'll probably have one later.
- Ik neem straks wel./
329 Mrs. Peignoir
Very funny.
Leuk./
330 Basil
Oh good, good.
331 Mrs. Peignoir
Oh, Mr. Fawlty, I forget. The window in my bedroom, I can't open it. Could you?
O, ik krijg 't raam in m'n kamer/niet open./
332 Basil
Oh, certainly, I'll pop up and fix it. Certainly.
Ik zal 't wel even snel maken./
333 Manuel
For you, and this one...
Is voor u, en dit.../
334 Basil
Thank you so much. Manuel?
Hartelijk dank./
335 Manuel
(Hungover) Oh, is terrible!
Vreselijk./
336 Basil
Go to the kitchen, Manuel.
- Ga naar de keuken./
337 Manuel
I cannot.
338 Basil
Manuel, go to the kitchen immediately. Come on, Manuel.
Ga onmiddellijk naar de keuken./
339 Manuel
No, no, please, I die here. Please.
- Nee, ik hier sterven./
340 Basil
Sorry about this. He's been overworking awfully hard recently.
Sorry, hij heeft de laatste tijd/te hard gewerkt./
341 Polly
Can I help?
342 Basil
No, I can manage. Thank you, Polly. Come on. (Carries Manuel)
343 Manuel
Oh, no, please.
344 Alan
He's at it again. Look.
Hij is weer bezig./
345 Jean
It's disgusting.
- Walgelijk./
Ik red 't wel, Polly./
106 346 Basil
I beg your pardon?
Pardon?/
347 Jean
Nothing.
- Niks./
348 Basil
I thought you said something?
U zei iets./
349 Alan
No, no, no. Carry on.
- Nee, ga door./
350 Basil
Well, get on with your meals.
Dooreten./
351 Sybil
(In the lobby) Thank you, Mr. Lloyd. And this is just for tonight, isn't it?
Dank u, Mr Lloyd./Alleen voor vannacht?/
352 Mr. Lloyd
That's right.
353 Sybil
Will you be taking lunch?
En luncht u mee?/
354 Mr. Lloyd
We won't have time, I'm afraid. We've got this wedding at half past 2:00.
- Nee, we hebben 'n bruiloft./
355 Mrs. Lloyd
I wonder, could I make a call?
Mag ik even bellen?/
356 Sybil
Please, use that phone.
- Gaat uw gang./
357 Mr. Lloyd
Would it be possible to have some sandwiches sent up to the room?
Kunt u wat broodjes brengen?/
358 Sybil
Certainly. Here's the key. I'll have your bags brought up in a moment. Would you like coffee with the sandwiches?
- Ja zeker. Hier is de sleutel./Uw bagage wordt zo gebracht./Wilt u koffie bij de broodjes?/
359 Mrs. Lloyd
Yes, please.
360 Jean
Mum!
361 Mrs. Lloyd
Hello, darling. Hello, Alan.
Hallo, schat. Hallo, Alan./
362 Alan
Hello, Rachel.
- Hallo, Rachel./
363 Jean
Where's Phillip? Did he have a good trip?
Heeft Philip 'n goede reis gehad?/
364 Mrs. Lloyd
Marvelous, he's upstairs. (On the telephone) Could I speak to Mrs. Brice, please?
- Hij is boven./Mag ik Mrs Brice spreken?/
365 Jean
I'll see you in a moment.
- Ik zie je zo./
366 Alan
I'm just going to finish my breakfast.
367 Sybil
There they are.
Daar./
368 Basil
Where's the key?
- Waar is de sleutel?/
369 Sybil
He's already taken it up, Basil.
Die heeft ie al meegenomen./
370 Basil
All right.
371 Mrs. Lloyd
Anne? It's Rachel Lloyd here. How's everything?
Anne? Hoe is 't?/
372 Basil
I'm going to take your cases upstairs.
- Ik breng uw koffers naar boven./
373 Mrs. Lloyd
(On the telephone) Yes, I know.
Ik weet 't./
107 374 Jean
Darling, it's beautiful, thank you. (She hugs Mr. Lloyd)
Prachtig, lieverd./Dank je wel./
375 Basil
(Basil sees them hugging) Sybil, Sybil. Ah, hello.
376 Mrs. Lloyd
Hello.
377 Basil
It's Mrs. Lloyd, isn't it?
378 Mrs. Lloyd
That's right.
379 Basil
How do you do? Fawlty, Basil Fawlty.
Hoe maakt u 't?/
380 Mrs. Lloyd
How do you do?
Hoe maakt u 't?/
381 Basil
Pretty well, can't complain.
- Ik mag niet klagen./
382 Mrs. Lloyd
Good.
383 Basil
Well, we had this door knocked through recently. Made a rather good job of it, don't you think?
Deze deur zit er net in./Mooi werk, hè?/
384 Mrs. Lloyd
Yes, yes. It's very nice.
Erg mooi./
385 Basil
Yes, marvelous. Changed our lives, really. Used to have to do the 100 yards through there and back again, but now we can just sort of open it and, oh dear, it isn't working as well as it usually does. Ha! You can go right in. Just like that. Marvelous. Really. Rather simple, but effective. Would you like to have a try, see the kitchen and...
- Het heeft ons leven veranderd./Eerst moesten we omlopen./Nu doe je 'm open en.../Hij doet 't niet zo goed als anders./Je gaat nu gewoon naar binnen./Zo. Prachtig, hè?/Wilt u ook eens?/
386 Mrs. Lloyd
I'd love to one day, but I think just now, I'd better get upstairs. So, I'll see you later. You all right?
Een andere keer, graag./Maar ik moet nu naar boven./Gaat 't wel?/
387 Basil
Bit of trouble with the old leg, I'd better just sit down here for a moment. Bit of shrapnel, Korean - M'n been weer. Even zitten./Een granaatscherf./Koreaanse oorlog./ war. Still in there.
388 Mrs. Lloyd
Can't they get it out?
Kunnen ze 'm niet verwijderen?/
389 Basil
No, too deep, too deep. Well, this is the kitchen, as you can see.
- Te diep./Dit is de keuken, zoals u kunt zien./
390 Mrs. Lloyd
What?
391 Basil
The kitchen, yes. We had it plastered about five years ago. We've got a few cracks up there now. (Manuel groans in the laundry basket) Oh, don't worry about him. He's just having a lie down. He's Spanish. From Barcelona. You know, sort of siesta. But he's fine. It was his birthday yesterday. We have a few cracks up there now, but nothing serious. As I say, it's not the Sistine Chapel, but we're very happy with it.
Hij is vijf jaar geleden gewit./Er zijn wat scheurtjes, maar.../Let maar niet op hem./Hij doet even 'n dutje./Hij komt uit Barcelona./Een siësta dus. Niks aan de hand./Hij was gisteren jarig./Een paar scheurtjes, dus./Geen Sixtijnse Kapel,/maar we zijn er blij mee./
392 Mrs. Lloyd
Are you sure he's all right?
Is ie echt wel in orde?/
393 Basil
Oh, yes. Yes, he's fine. Yes.
- Ja, hoor./
394 Mrs. Lloyd
But he's groaning.
Maar hij kreunt./
Mrs Lloyd, nietwaar?/
108 395 Basil
Is he? Is he?
- O, ja?/
396 Mrs. Lloyd
Can't you hear him?
Hoort u 't niet?/
397 Basil
So he is. Listen, I just remembered I left your cases just outside your room, by mistake. Would you mind if I went up and put them inside now? Unless there's anything else...
Ik bedenk net dat uw koffers/nog buiten uw kamer staan./Ik ga naar boven/en zet ze even binnen./
398 Mrs. Lloyd
Don't you think perhaps we should open...
Moet hij niet.../
399 Basil
No, no, no! Don't worry about that. My wife will deal with that. Sybil! So, if you'd like to, uh ...Come on! Come along.
- Geen zorgen, m'n vrouw kijkt wel./Wilt u nu... Kom op./
400 Mr. Lloyd
(A knock on the door) Come in.
Binnen./
401 Polly
Your sandwiches, Mr. Lloyd.
Uw broodjes, Mr Lloyd./
402 Mr. Lloyd
Polly!
403 Polly
Hello.
404 Mr. Lloyd
How are you?
405 Polly
Fantastic.
406 Mr. Lloyd
It's great to see you.
Geweldig je weer te zien./
407 Polly
You're still gorgeous.
- Je bent nog steeds knap./
408 Mr. Lloyd
Dear, dear, dear.
409 Mrs. Lloyd
(Basil sees them hugging. He closes the door to Mrs. Lloyd) Is anything the matter?
Is er soms iets?/
410 Basil
Mrs. Lloyd, could I have a word with you?
Mag ik u even spreken?/
411 Mrs. Lloyd
You are.
- Dat doet u al./
412 Basil
Yes. Well, there's something that I need to explain.
Ik moet u even iets uitleggen./
413 Mrs. Lloyd
Well?
414 Basil
Could we go in there? (points to another room)
Daarbinnen maar?/
415 Mrs. Lloyd
Oh, really, is it absolutely necessary?
- Is 't echt nodig?/
416 Basil
I'm afraid it is. Thank you. Mrs. Lloyd, I'm so sorry but this is a much nicer room than the one we've given you.
Ik ben bang van wel./Het spijt me vreselijk./Maar dit is.../...een veel mooiere kamer dan u heeft./
417 Mrs. Lloyd
What?
Hoe gaat 't?/
109
418 Basil
I'm sorry, I was just saying that this room is so much nicer than yours, and I wanted to bring you in here now, and show it to you and apologize, in case you found out about it later, and got rather cross. Now, um, the point is … What is? The point is if it turns out you don't like that room um, then we can always move you in here but I don't think it's worth doing until you've definitely decided you don't like that one as much as this one, then we can sit down, a round table, sort of discuss it, kind of chew it over, and, uh... And it'd be a piece of cake. Bob's your uncle. Okay? Fine. Oh, sorry. Sorry. Thank you.
Deze kamer is veel mooier./Ik wilde 'm u vast even laten zien./Anders komt u er later achter/en wordt u kwaad./Waar 't om gaat is.../Stel dat uw kamer u niet bevalt,/dan kunt u deze krijgen./Maar dat heeft pas zin/als u 't echt zeker weet./Dan gaan we om de tafel zitten/en bespreken we 't, en.../En dan is 't zo gepiept./Klaar is Kees./Mooi./
419 Mr. Lloyd
Oh, thank you. Thank you very much. I wondered where you were, darling. Darling? Darling, are you all right?
Dank u. Hartelijk dank./Ik vroeg me al af waar je was./Schat? Schat, alles in orde?/
420 Mrs. Lloyd
This room is exactly the same as the one that he just ...
Maar... dit is precies dezelfde/kamer als die.../
421 Polly
Oh, Jean, it's absolutely smashing!
Hij is prachtig./
422 Jean
A bit tight across the bust.
- Een beetje krap bij je boezem./
423 Polly
Oh, I love it.
Leuk juist./
424 Alan
(Jean is massaging Alan) Lower, lower.
- Lager, lager./
425 Jean
Are you sure?
426 Polly
Can I pick it up tonight?
Kan ik 'm vanavond ophalen?/
427 Alan
(Basil overhears Alan in the hallway) Lower, low ah! That's it, that's it. That is amazing! That is amazing! Aww, ha, ha ha! Hey, baby, have you been taking lessons?
- Lager, lager. Daar ja./Dit is verrukkelijk./Gewoon verrukkelijk./O schatje. Heb je soms lessen genomen?/
428 Polly
So, I'll see you tonight, huh? For 10 quid, that's absolutely fantastic.
Tot vanavond dan./En dat voor 10 pond. Fantastisch./
429 Basil
Oh. No, no, no. No, no, no. No! Polly, I want to see you at reception in one minute in your hat and coat.
Over één minuut bij de balie./Pak je jas maar./
430 Polly
I'm sorry?
431 Basil
I want to see you at reception in one minute in your hat and coat!
Pak je jas maar./
432 Polly
Will they fit you?
- Kunt u die dan aan?/
433 Basil
No. What? You, you! (to Sybil) They're going.
Ze vertrekken./
434 Sybil
What?
- Wat?/
435 Basil
They're going! (to an empty room) I'm sorry, but you'll have to go. We've made a mistake, all these rooms are taken.
Sorry, u moet weg./Alle kamers zijn bezet./
436 Jean
She was sitting on him.
Ze zat op 'm./
437 Alan
Five minutes later, I found him lying on the floor underneath the waiter.
Vijf minuten later zag ik 'm op/de grond liggen, onder de kelner./
110
438 Basil
I'm sorry, but ah, there you are. Got together, have you? Yes, yes. I might have guessed, mightn't I? Yes, I see. Of course, we're a bit behind the times down here in Torquay. I'm sorry, but you'll have to go. We made a mistake. All these rooms are taken. I'm so sorry. Well, actually, I'm not sorry. I mean, you come in here, just like that, and, well, to be perfectly blunt, you have a very good time at our expense. I mean, I think you know what I mean, hmm? I mean you have had a very, very good time, haven't you? Well, not here you don't, oh, no! Thank you and good night! Well that's taken care of that!
Sorry, maar.../U bent bij elkaar gaan zitten?/Ik had 't kunnen weten./We lopen hier wat achter. U moet weg,/de kamers zijn bezet. Sorry./Het spijt me helemaal niet./U trekt zich nergens wat van aan./U begrijpt wel wat ik bedoel./Lol gehad?/Nou, dat gaat hier mooi niet door./Zo, dat is geregeld./
439 Sybil
Basil, what is going on? Why did you tell Polly to get her hat and coat?
Waarom moet Polly haar jas pakken?/
440 Basil
Because she's going, along with the Lloyds and that pair you let in. I've never seen anything like it in my life. My God!
Ze vertrekt. En de Lloyds/en dat stel van jou ook./
441 Sybil
Basil, what are you on about? Why are they leaving?
Waarom dan?/
442 Basil
I'll tell you exactly why they're leaving. First of all, I go up there and I find that girl in his arms, in Lloyd's arms. Five minutes later, Polly's in there.
- Dat zal ik je vertellen./Eerst vind ik die meid/in Lloyds armen en daarna Polly./
443 Sybil
What girl?
Welke meid?/
444 Basil
Th-that girl.
- Die meid./
445 Sybil
She's his daughter.
Dat is z'n dochter./
446 Basil
What?
447 Sybil
She's Mr. Lloyd's stepdaughter. They're all one family.
Ze is Mr Lloyds stiefdochter./Ze zijn familie van elkaar./
448 Basil
Well, what about Polly?
En Polly dan?/
449 Sybil
She was at school with Jean. She's known them all for years.
Een schoolvriendin van Jean./Ze kent ze allemaal al jaren./
450 Basil
For years, huh?
451 Sybil
For years.
452 Basil
What have I done?
Wat heb ik gedaan?/
453 Sybil
What have you done?
- Nou?/
454 Basil
I've told them to leave.
Ik heb gezegd dat ze weg moeten./
455 Sybil
You've told them to leave?
456 Basil
Well, how was I supposed to know? Why didn't you tell me, you halfwit? Why didn't they tell me? You can't blame me for this!
Ik wist van niks./Had 't me dan verteld, oen./Het is niet mijn fout./
457 Sybil
Go and tell them they can stay.
- Zeg dat ze mogen blijven./
458 Basil
Why don't you go tell them?
Ga jij maar./
459 Sybil
I didn't tell them to go.
- Jij hebt ze weggestuurd./
111 460 Basil
Oh no, I suppose it's all my fault, isn't it?
Het is zeker mijn fout./
461 Sybil
Go and tell them. Now!
- Ga 't ze zeggen./
462 Basil
No, I won't.
Nee, ik doe 't niet./
463 Sybil
You will.
- Jawel./
464 Basil
No, no, I won't.
465 Sybil
Oh, yes, you will.
466 Basil
Yes, I will! Right. Yes, that's right, leave it to me, let me get you out of it. That's all I'm good - Ja, ik kan het weer opknappen./Daar ben ik goed voor. 'Basil Fawlty for, isn't it? "Basil Fawlty, Limited, other people's messes cleared up by appointment to my wife, BV,/knapt andermans troep op'./Wat moet ik zeggen?/ Sybil." I mean, what am I going to say?!
467 Sybil
Tell them you made a mistake.
Dat je 'n fout hebt gemaakt./
468 Basil
Oh, brilliant! Brilliant! Is that what made Britain great? "I'm so sorry, I made a mistake." What have you got for brains? Sponge cake?! (to Polly) Very nice, very nice. Take 'em off, get back to work. (To himself) I'm so sorry. I made a mistake. "I'm so sorry. I made a mistake." "I'm so sorry. I made a mistake." I'm sorry. (To Mrs. Lloyd, Alan and Jean) I'm so sorry, but my wife has made a mistake. I don't know how she did it, but she did. She's made a complete pudding of the whole thing, as usual. It'll be perfectly all right. I've sorted it all out. I'm frightfully sorry, but you know what women are like. They've got one brain between the lot of them, well not all of them, but some of them have, including my wife. So please, do stay, and see you all later on. Thank you so much. (walks into Mr. Lloyd) I was just saying please do stay, my wife made a most dreadful mistake.
- Briljant./Is Engeland zo groot geworden?/Sorry, ik heb 'n fout gemaakt./Heb je zaagsel in je kop?/Doe maar uit. Aan 't werk./Ik heb 'n fout gemaakt./Sorry, ik heb 'n fout gemaakt./M'n vrouw heeft 'n fout gemaakt./Ze heeft er weer eens 'n puinhoop/van gemaakt. U kunt blijven./Sorry. Vrouwen hebben ook/zo weinig hersens. Sommigen dan./Blijf dus alstublieft,/dan zie ik u straks./M'n vrouw heeft 'n vreselijke fout/gemaakt./
469 Mr. Lloyd
Yes, I think she probably did.
Dat denk ik ook, ja./
470 Major
Evening, Fawlty.
Goeienavond, Fawlty./
471 Basil
Ah, evening, Major.
472 Major
Papers arrived yet?
Zijn de kranten er al?/
473 Basil
Oh, yes. Sorry they're so late. Didn't get here till 5:00. Have to have a word with them again.
- Ja, ze waren er pas om vijf uur./
474 Major
Where's your lady wife this evening?
Waar is je vrouw?/
475 Basil
She's spending the night at Audrey's. George has walked out on her again, so she's in the usual state.
Ze slaapt bij Audrey./George is weer bij haar weggelopen./
476 Major
Still, it must have upset her a bit.
Ze zal wel overstuur zijn./
477 Basil
Yes, but she makes such a song and dance about it.
- Ze maakt er zo'n poeha van./
478 Major
You don't like Audrey very much, do you?
Je mag Audrey niet zo?/
479 Basil
Dreadful woman, dreadful.
- Vreselijke vrouw./
Jawel./
112 480 Major
I think it's very decent of your wife to go around there and listen to all that rubbish.
Het is heel netjes van je vrouw/dat ze die onzin aan gaat horen./
481 Basil
Couldn't do without her, Major.
Ik zou niet zonder haar kunnen./
482 Major
She's a fine woman, Mrs. Fawlty.
- Een fijne vrouw./
483 Basil
No, no. I wouldn't say that.
Dat zou ik niet willen zeggen./
484 Major
No, nor would I. Good night, Fawlty.
Nee, ik ook niet./
485 Basil
Good night, Major. (Basil puts on some music)
486 Mrs. Peignoir
Ah, Mr. Fawlty.
487 Basil
Good evening. Sorry.
Goeienavond. Sorry./
488 Mrs. Peignoir
No, no, don't switch it off. I love Chopin.
- Niet doen. Ik ben dol op Chopin./
489 Basil
oh Really? Ah, there's your key.
Echt?/Hier is uw sleutel./
490 Mrs. Peignoir
Ah, it's so romantic.
Het is zo romantisch./
491 Basil
Yes, exactly.
- Ja, inderdaad./
492 Mrs. Peignoir
Are you romantic, Mr. Fawlty?
Bent u romantisch, Mr Fawlty?/
493 Basil
No, God, no.
- Lieve help, nee./
494 Mrs. Peignoir
Well, I think you are. I think, beneath that English exterior throbs a passion that would make Lord Byron look like a tobacconist.
Ik denk 't wel./Achter die Engelse buitenkant.../...schuilt 'n passie/waar Lord Byron niet aan kan tippen./
495 Basil
No way. No, sorry.
Nee hoor. Het spijt me./
496 Mrs. Peignoir
Oh, don't look so bashful. I won't try and sit on you again. And where is your charming wife this evening?
- Kijk niet zo verlegen./Ik zal niet weer op u gaan zitten./Waar is uw charmante vrouw?/
497 Basil
She's spending the night with a friend.
- Ze logeert bij 'n kennis./
498 Mrs. Peignoir
Hmm.
499 Basil
A girl, a lady friend.
Nee, een vriendin./
500 Mrs. Peignoir
When the cat's away, eh?
- Als de kat van huis is.../
501 Basil
Oh, hardly. Too much to do. Well, good night.
Nee, hoor. Er is zo veel te doen./Welterusten./
502 Mrs. Peignoir
Bonne nuit. Oh, Mr. Fawlty?
503 Basil
Yes?
504 Mrs. Peignoir
Did you fix my window?
505 Basil
Oh uh, damn.
506 Mrs. Peignoir
If you could, please? It's so hot tonight.
Alstublieft. Het is zo warm vannacht./
507 Basil
Yes. Yes, okay. Right. (Opens the window) Ungh! Here we are.
Klaar./
Heeft u m'n raam gemaakt?/
113 508 Mrs. Peignoir
You're so strong.
- Wat bent u toch sterk./
509 Basil
Well, I'm sure you are, too, if you put your mind to it.
U vast ook, als u zou willen./
510 Mrs. Peignoir
Your wife shouldn't leave you with strange women.
En uw vrouw laat u/bij vreemde vrouwen achter?/
511 Basil
Well, I wouldn't call you that strange.
Zo vreemd bent u niet./
512 Mrs. Peignoir
Mr. Fawlty, you're so charming.
U bent zo charmant./
513 Basil
Only a little. Oh, well...
- Een beetje maar./
514 Mrs. Peignoir
Do you feel that breeze? Isn't it wonderful?
Is dat briesje niet heerlijk?/
515 Basil
Yes, it's nice, isn't it?
- Ja, lekker./
516 Mrs. Peignoir
I shall sleep au naturelle tonight.
Ik slaap vannacht au naturel./
517 Basil
Good idea, right.
Goed idee./
518 Mrs. Peignoir
Only it's not so much fun on your own.
Maar in je eentje is er niks aan./
519 Basil
Oh, well. One could always pretend. Ooh! Twinge from the old leg. Better go and lie down. Good night.
- Doet u maar alsof./Ik krijg weer last van m'n been./Ik kan beter gaan liggen./
520 Mrs. Peignoir
Good night.
521 Basil
Damn shrapnel. (Back in his room: someone knocks on the door) Uh, who is it?
522 Mrs. Peignoir
Mr. Fawlty?
523 Basil
Hello.
524 Mrs. Peignoir
I'm so sorry, but I have to leave early tomorrow. Could I have a call at 7:00, please?
Ik moet morgen vroeg weg./Wekt u me om 7 uur?/
525 Basil
Marvelous. Is that all? Absolutely. 7:00.
Prachtig. Is dat alles?/Natuurlijk./
526 Mrs. Peignoir
Please don't go yet. I think you've forgotten something.
Ga nog niet weg./U bent iets vergeten./
527 Basil
Did I? Damn… Well, there you go.
- Echt? Nou, dan.../
528 Mrs. Peignoir
Your recorder.
Uw bandrecorder./
529 Basil
Oh, thank you.
530 Mrs. Peignoir
You left it in my room.
Rotgranaat./Wie is daar?/
U had 'm in m'n kamer laten staan./
531 Basil
Thank you so much.
532 Mrs. Peignoir
You left it in my room so you could come and get it, didn't you? I'm not having you knocking on my door in the middle of the night.
U liet 'm daar staan/om 'm later op te komen halen, hè?/Ik wil niet dat u midden in de nacht/op m'n deur komt kloppen./
533 Basil
I should go--go.
Wat stom van me./
534 Mrs. Peignoir
You naughty man. Good night.
- Stoute man./Welterusten./
114
535 Basil
Good night. (Someone is knocking on the door again) Look, go to your room. I won't ask you again.
Ga naar uw kamer./Ik vraag 't niet nog eens./
536 Sybil
Open the door.
Doe open./
537 Basil
Listen, I can't. My wife has just got back unexpectedly. She's in the bathroom. What, dear? I think you'll find it on the second shelf, Sybil darling.
- Kan niet. M'n vrouw is terug./Ze is in de badkamer./Wat, schat?/Ik denk op de tweede plank, lieverd./
538 Sybil
Let me in, Basil.
Laat me erin./
539 Basil
Look, you'll meet somebody else sooner or later.
- Je komt wel 'n ander tegen./
540 Sybil
Basil!
541 Basil
Try to control yourself. Where do you think you are, Paris?
Hou je in. Dit is Parijs niet./
542 Sybil
Let me in!
Laat me erin./
543 Basil
Shut up, will you? You silly tart! Go away. My wife will hear us.
- Hou je kop, del./Ga weg. Straks hoort m'n vrouw ons./
544 Sybil
This is your wife.
Ik ben je vrouw./
545 Basil
(Opens the door) Oh, what a terrible dream!
Wat 'n nachtmerrie./
546 Sybil
There's a burglar downstairs.
Er is 'n inbreker beneden./
547 Basil
George got back, did he?
- Is George terug?/
548 Sybil
There's a burglar downstairs!
Er is 'n inbreker beneden.
549 Basil
What?
550 Sybil
A burglar. Quick!
551 Basil
(Hits the burglar with a pan and crawls over him to identify him) Manuel?
552 Mrs. Lloyd
Good night.
553 Mr. Lloyd
(Drunk) We've been to a wedding.
Snel./
Wij zijn naar 'n bruiloft geweest./
115
Appendix 2 Appendix 2.1: Transcription Downsize (1.1)
No.
Speaker
Dialogue
Dutch subtitle
David
I don't give shitty jobs. If a good man comes to me, and says, "Thank you, David, for the opportunity and continued support in the work-related arena, but I've done that, I want to better myself, I want to move on." Then I can make that dream come true to AKA, for you. The point is you talk the talk, but do not walk the walk, vis-a-vis you've not yet passed your forklift driver's test. The man who gives the jobs in the warehouse is a personal friend of mine. All right? I know you're the man for the job.
Ik geef geen stomme baantjes weg./Als 'n goede vent.../bij me komt en zegt: Bedankt,/David, voor deze kans en je steun.../op het gebied van de arbeidsmarkt,/maar ik ben toe aan een uitdaging.../dan kan ik die droom uit laten komen./Ook voor jou./Het punt is dat je niet doet/wat je zegt./Je hebt nog steeds/je vorkheftruck-rijbewijs niet./Ik ken degene die bij het magazijn/over personeelszaken gaat./Je bent geknipt voor deze baan./
2
David
(on the phone) Sammy, you old slag. It's the Brentmeister General. Have you advertised the forklift driver's job? No? Good, don't bother. I've got the man here. He's perfick. Has he passed his forklift driver's test? He gives the tests. Yeah, yeah. He's first-aid trained, yeah. Yeah. We'll get a C. V. over to you this afternoon. I'm seeing you Sunday, aren't I? For my sins. How is Elaine? She left you yet? All right. See you then. She has left him. I forgot about that. (on the phone) David Brent.
Sammy, oude rukker./Met de Brentmeister General./Zocht je nog/een vorkheftruckchauffeur?/Stop maar met zoeken./Ik heb de man die je zoekt./Of hij z'n examen al heeft gehaald?/Hij is de examinator./Ja, hij heeft een EHBO-diploma./Je krijgt deze middag nog/z'n cv opgestuurd./Ik kom toch zondag bij je biechten?/Is Elaine al bij je weg?/Tot dan./Ik was vergeten/dat ze al bij 'm weg was./
3
David
I've been in the business for twelve years. Been at Wernham-Hogg as General Manager for eight of those, so putting together my team. Lovely Dawn. Dawn Tinsley. Receptionist. Been with us for ages, haven't you?
Met David Brent./Ik doe dit werk al 12 jaar./Ik ben nu al acht jaar manager/bij Wernham Hogg.../samen met m'n team./De beeldschone Dawn./Dawn Tinsley. Onze receptioniste./Je werkt hier al een hele tijd, hè?/
4
Dawn
Yeah.
5
David
I'd say, at one time or another, every bloke in the office has woken up at the crack of Dawn!
6
Dawn
What?!
7
David
Can I have the mail, please?
Mag ik de post, alsjeblieft?/
8
Dawn
Yeah. Just a fax.
Ja, hoor./Er is alleen een fax./
9
David
Dawn, this is from Head Office.
Van het hoofdkantoor./
10
Dawn
I know.
- Weet ik./
11
David
How many times have I told you? There's a special filing cabinet for things from Head Office.
Er is een speciaal vak/voor post van het hoofdkantoor./
12
Dawn
You haven't--
1
Zo'n beetje iedereen hier.../heeft van Dawns/verboden vruchtje geproefd./
116
13
David
The wastepaper basket! Better get that back. People say I'm the best boss. They go, "We've never worked in a place like this before. You're such a laugh. You get the best out of us." And I go: C'est la vie. If that's true, excellent.
De papiermand./Geef maar weer terug./Ze vinden me een goeie baas./'Dit kantoor is echt uniek.'/'Je haalt het beste uit ons.'/En dan zeg ik:/C'est la vie./Als dat waar is: Fantastisch./
14
David
Be gentle with me today, Dawn.
Wees een beetje lief voor me./
15
Dawn
Why is that?
- Waarom?/
16
David
Oh, God, I had a skinful last night. I was out with Finchy, Chris Finch. Had us on a pub crawl. El vino did flow. I was blar tered. Bladdered. Blottoed. Don't ever come out with me and Finchy.
Ik heb te veel gezopen gisteren./Ik was op kroegentocht/met Finchy, Chris Finch./El vino vloeide rijkelijk./Ik was compleet.../bezopen./Lazarus./Ga nooit met mij en Finchy uit./
17
Dawn
No, I won't.
- Is goed, hoor./
18
David
You got to go for it. There's guys my age, and they look 50. How old do you think I look?
Het moet af en toe./Gasten van mijn leeftijd lijken wel 50./Hoe oud schat je mij?/
19
Dawn
Thirty si--
20
David
Thirty, yeah. About that. But I'm going to have to slow down. Drinking a bit too much. If every single night of the week's too much!
Dertig, ja./Ongeveer. Ik moet het rustiger aan gaan/doen. Ik drink een beetje te veel./Als elke avond zuipen te veel is./
21
Dawn
And every lunchtime!
En elke lunch./
22
David
How many have I had this week?
Hoeveel heb ik er gehad deze week?/
23
Dawn
What?
24
David
How many pints have I drunk this week, if you're counting?
Hoeveel biertjes heb je geteld?/
25
Dawn
I'm not counting.
Ik tel niet./
26
David
Aren't you? You seem to know a lot about my drinking. Does it offend you? You know, getting a little bit - little bit personal. Imagine if I started doing that with you. I could look at you and come up with something really witty and biting, like, "You're a bit". But I don't because I'm a professional. And professionalism is-- And that is what I want, OK? That's all. That's a shame.
- O nee?/Je lijkt er veel vanaf te weten./Heb je er last van?/Je wordt namelijk wel/een beetje persoonlijk./Stel je voor dat ik dat/bij jou zou doen./Ik zou ook iets geestigs/kunnen zeggen over jou./Maar ik ben professioneel./En professionalisme is.../Dat is wat ik wil. Meer niet./Echt zonde./
27
Gareth
Wassup?!
Hoe gaat ie?/
28
Tim
Don't do that!
- Niet doen./
29
Gareth
All right. What is it, time of the month? Just the eight pints for me last night then. That's all. Uh... Oh, no. Oh, God. "Boss and team leader in drunken night out shock horror," it says here. It's not like I'm out again tonight with Oggy. That'd be a quiet night in at the library. Not! I don't think.
Ben je ongesteld of zo?/Ik heb maar acht biertjes gedronken./Meer niet./Ach.../O, nee. Lieve hemel./'Baas en teamleider op walgelijke/kroegentocht', staat hier./Ik ga straks niet weer uit met Oggy./Een rustig avondje in de bieb./Nee dus./Dat dacht ik niet./
30
Tim
I'm a sales rep, which means that my job is to speak to clients on the phone about quantity and type of paper, and whether we can supply it with them, and whether they can pay for it. And I'm boring myself talking about it.
Ik ben vertegenwoordiger. Ik/informeer telefonisch bij klanten.../over de hoeveelheid/en soort papier.../en of wij het kunnen leveren/en of zij het kunnen betalen./En ik val bijna in slaap/als ik het erover heb./
31
David
Wassup?!
Hoe hangt ie?
32
Tim
Hey, wassup?! I love that.
- Hé, hoe hangt ie?/
117
Hoe hangt ie?/Je bent ontslagen, Keenan. Zatlap./Waarschuwing: Hypocriet./O, god./Wat heeft ie verteld?/Het klopt allemaal, ik geef het toe./We zijn uit geweest met vrienden/van hem. Hij zei: Je mag best mee.../maar ze kunnen nogal/onbehouwen zijn./'Ik kijk of ik het aankan.'/Ik bleek nog erger te zijn./Ze zeiden: 'Wie is die gek?'/'M'n baas.'/'We kunnen er niet tegen.'/En ze gingen./Jeetje, echt te gek./Foetsie./Wat?/
33
David
Wassup. You're fired, Keenan. Drunkard. Hypocrite warning. Oh, God. What's he been saying? It's all true. Guilty as charged. Oh yeah, went out with a few of his mates, didn't we? And he goes, "Well, tag along if you want, but I must warn you, David, they do get a bit rowdy after a few pints." And I went, "I'll see if I can stand it." Right? I was worse than them by the end! They're going, "Who's that nutter?" "That's my boss." "We can't stand it anymore, we're going." They just left! Didn't they? Oh, God. Absolutely mental. Resolve! What?
34
Tim
Nothing.
Niks./
35
David
See you later.
Tot straks./
36
Tim
See you later. Take care.
Hou je taai./
37
Jennifer
Listen, would you mind giving Maintenance a call? There's a nasty smell in the lift.
Bel Onderhoud even./Het stinkt vreselijk in de lift./
38
David
Head Office don't really interfere with me at all. Jennifer might come down once a week. Jennifer Taylor-Clark. We call her Camilla Parker-Bowles! Not to her face, but I mean-. Not 'cause I'm scared of her.
Het hoofdkantoor laat me/m'n gang gaan./Jennifer komt een keer/per week langs./Jennifer Taylor-Clarke. We noemen/haar Camilla Parker-Bowles./Niet in haar gezicht./Al durf ik best./
39
David
(To Jennifer) I got them off Nobby Burton who comes round with a suitcase. Two for a tenner. Yes, please, four. So OK. Meeting with Jennifer Taylor-Clarke present.
Ik heb 'm van Nobby Burton./Hij komt langs met een koffer./Twee voor een tientje./Doe er maar vier./Overleg./Jennifer Taylor-Clarke aanwezig./
40
Jennifer
Right.
Juist./
41
David
Shoot.
- Ga je gang./
42
Jennifer
Was there anything that you wanted to add to the agenda?
Wil je nog iets op de agenda zetten?/
43
David
Did no get an agenda.
- Ik heb geen agenda gehad./
44
Jennifer
Sorry?
45
David
Did not get an agenda, no.
Die heb ik niet gehad./
46
Jennifer
I did fax you one this morning.
Die heb ik je gefaxt./
47
David
Didn't get a fax, did we Dawn?
- Hebben we 'n fax ontvangen?/
48
Dawn
Yeah, we may have.
Ja, misschien./
49
David
Then why isn't it in my hand? Because a company runs on efficiency of communication.
Waarom heb ik 'm dan niet?/Want een bedrijf staat of valt/met efficiënte communicatie./
50
Dawn
You put it in the bin that was a special filing cabinet.
Je hebt 'm in de vuilnisbak gegooid./
51
David
As a joke, yeah. It's not even my joke, it's my borther's joke and it's meant to be bills. Doesn't really work with faxes.
Bij wijze van grap./En die is voor rekeningen/en niet voor faxen./
52
Jennifer
Do you want to have a look at mine?
Wil je de mijne even bekijken?/
53
David
Yeah.
118
54
David
Yeah, sure, she'd say she's the boss, but - There should be no ego when you're pulling together to do something good. Yeah? It's like Comic Relief. Yeah? I'm out here in Africa - I'm seeing the flies and the starvation - and she - if she is the boss - she's in the studio with, you know, Jonathan Ross and Lenny Henry. They've got their suits on. They're doing their bit counting the money, good luck to them but their hands are clean, while I'm down here in the office with little starving kids.
55
Jennifer
Right. Since the last meeting Alan and the board have decided that we can't justify a Swindon branch and a Slough branch.
56
David
Oh…OK, go on.
57
Jennifer
No no, listen David. Don't panic.
Zo erg is het niet.
58
David
Should be good. This is it. Go on. There are alarm bells.
Fijn, zeg./Ik hoor het alarm al./
59
Jennifer
Listen David. No, no. Don't panic. We haven't made any deci--
- Zo erg is 't niet. Er is nog niks beslo.../
60
David
Don't panic?
61
Jennifer
We haven't made any decisions yet. I've spoken to Neil in Swindon. I've told him the same as you and it's up to either you or him to convince me that your branch could incorporate the other.
Er is nog niks besloten./Ik heb Neil in Swindon hetzelfde verteld./Jij moet me ervan overtuigen dat jouw/filiaal het andere kan overnemen./
62
David
OK. No problem.
Geen probleem./
63
Jennifer
This does, however, mean that there are going to be redundancies.
- Dat betekent wel.../dat er mensen moeten afvloeien./
64
David
Oh you see? Did I no want to hear that, Jenny because redundancies are a tragedy always. I wouldn't wish that on Neil's men, I certainly don't wish it on my men or women. Present company excepted. Is Neil concerned about redundancies?
Dat hoor ik liever niet./Afvloeien leidt altijd tot drama's./Dat gun ik Neils mannen niet./En de mijne ook niet./Is Neil ook bezorgd/om eventuele ontslagen?/
65
Jennifer
Well, he is, of course, yes.
Tuurlijk./
66
David
Good. Because I'm very concerned about redundancies. Although I understand if they're absolutely necessary, as a businessman. Does he understand?
- Goed. Ik ben ook heel bezorgd./Maar als zakenman heb ik/er alle begrip voor./Begrijpt hij dat ook?/
67
Jennifer
David. Can we not talk about redundancies. We have to decide --
Daar wil ik het nu niet over hebben./
68
David
We have to sooner or later.
- Vroeg of laat wel./
69
Jennifer
Yes, but at the moment what we have to decide is do you take on Swindon's people at this branch or the other way round.
We moeten nu beslissen.../of jij mensen van Swindon/hierheen haalt of andersom./
70
David
Yeah, we'll take on theirs.
Laat ze maar komen, hoor./
71
Jennifer
No. No. You and I don't decide. I decide.
Wij beslissen niet samen./Ik beslis/
72
David
You do decide but --
73
Jennifer
Once you make your case.
Ja, ze zegt dat ze de baas is./Je moet je ego niet laten prevaleren/als je samen iets goeds wilt doen./Het is zoiets als Comic Relief./Snap je? Ik zit hier in Afrika./Tussen de vliegen en de honger./En zij, als ze de baas is.../zit in de studio/met Jonathan Ross en Lenny Henry./Zij tellen dus het geld./Hun handen zijn schoon,/maar ik ben ter plekke.../met hongerige koters./ Na de vorige vergadering/hebben Alan en de directie besloten.../dat twee filialen niet te verantwoorden is./
op grond van jouw argumenten./
119
74
David
Based on factors. OK. Is there a time limit on? (PHONE RINGS) Let it go onto the answering machine. (Answering machine) Hi, mate. Not around at the moment, so please leave a messARGE. (BLEEP)
Is er een tijdslimiet.../Het antwoordapparaat staat aan./Ik ben er even niet,/dus doe een boodschap./
75
Finch
Hello dog, it's Finch.
Met Finch./
76
David
Chris Finch. Bloody good rep.
- Goeie kracht./
77
Finch
You got a hangover, you big poof?
Heb je een kater, mietje?/
78
David
Ah, that's derogatory.
- Dat kan echt niet/
79
Finch
You're in with that Jennifer what's-her-face today, aren't you? Give her one for me, son.
Jennifer komt vandaag, hè./Paal d'r maar lekker./
80
David
Ah.
81
Finch
Cheers, big ears.
Toedeloe./
82
David
Awful. Awful man.
- Viespeuk./
83
Finch
Stop looking up her skirt.
Kijk niet onder haar rok./
84
Jennifer
David?
85
David
I wasn't.
- Ik deed niks./
86
Jennifer
Can we keep a lid on this for the time being? I really don't want to worry people unduly.
Nog even mondje dicht. Ik wil/niemand onnodig ongerust maken./
87
David
No. Under this regime, Jenny, this will not leave the office.
Zolang ik de baas ben,/blijft dit tussen deze vier muren./
88
Employee 1 So what does redundancy actually mean?
Wat betekent afvloeien eigenlijk?/
89
Jamie
So you'd just go, would you?
Zou jij dan zomaar gaan?/
90
Keith
Would you?
En jij?/
91
Jamie
Well, I don't know.
- Ik weet het niet./
92
Tim
Keith and Jamie are having these little...
Keith en Jamie hebben van die.../
93
Dawn
I know. They've all gone mad.
Ja, ze zijn gek geworden./
94
Tim
...clandestine little chats about that we're going to be out of work.
...van die gesprekken/over werkloos zijn./
95
Dawn
I couldn't really give a monkey's-- Do you?
96
Tim
I couldn't give a shit.
Kan me niet schelen./
97
Dawn
This is Mr Brent.
Dit is Mr Brent./
98
David
Guilty!
Dat ben ik./
99
Ricky
All right? Hi. Ricky Howard from the temping agency. Verna sent me down to start today.
- Hallo./Ricky Howard. Verna zei/dat ik vandaag moest beginnen./
120 100 David
Temporary. Staff only. Ricky?
Uitzendkracht./Alleen personeel./Ricky?/
101 Ricky
Yeah.
- Ja./
102 David
"Ricky!" "Ricky. No, Ricky!" What was his girlfriend's name on EastEnders?
Ricky./Ricky. Nee, Ricky. Hoe heette/z'n vriendin in EastEnders?/
103 Ricky
Bianca.
Bianca./
104 David
"Ricky! Leave it!" Did she tell you I was mad?
- Ricky! Niet doen!/Heeft ze gezegd dat ik gek was?/
105 Ricky
Yeah. She said you had a nervous breakdown.
- U had een zenuwinzinking./
106 David
I haven't had a nervous breakdown, so...
Niet waar./
107 Ricky
No sorry, that was a joke. She said you were a good laugh and, you know.
- Het was een grapje./Ze zei dat u humor had.../
108 David
Well, we all are, aren't we? Part of my job description now, innit? Unofficially. OK. Let's get you started. Into the fray!
Dat hebben we toch allemaal?/Dat hoort bij m'n werk./Onofficieel./Laten we maar beginnen./Naar het strijdperk./
109 David
What upsets me about the job? Um... Wasted talent, yeah? People could come to me and they could go, "Excuse me David, but you've been in the business twelve years.Can you just spare us a moment to tell us how to run a team? How to keep them taskorientated as well as, you know, happy." But they don't. That's the tragedy.
Wat me stoort aan m'n werk?/Verspild talent./Mensen zouden me kunnen vragen:/David, jij werkt hier al 12 jaar./Kun je ons vertellen/hoe je een team moet leiden?/Hoe hou je ze aan het werk/en tevreden?/Maar dat doen ze niet./Dat is het tragische./
110 David
This is the er... Accounts Department. All right? The number bods. Do not be fooled by their job descriptions. They are absolutely mad, all of them. Especially that one. He's mental. Not literally, obviously, that wouldn't work. Last place you'd want someone like that is in Accounts. This is the recycling bin.
Dit is de financiële afdeling./Alles goed?/De cijferaars. Laat je niet misleiden/door hun functieomschrijving./Ze zijn allemaal knettergek./Vooral hij daar./Hij is helemaal gestoord./Niet letterlijk, natuurlijk./Zo iemand wil je natuurlijk niet/bij de boekhouding./Dit is de papierbak./
111 Ricky
Right.
112 David
Obviously we get through a lot of paper. We make a lot! Actually, we sell it. Yeah. It doesn't grow on trees! You know it is pulp, yeah?
113 Ricky
Yeah.
114 Tim
(On the telephone) Mr Davis, can I just call you back? Something's just come up. Two minutes. Thanks very much. Bye. (to Gareth) What are you doing?
Mr Davis, kan ik u zo terugbellen?/Over twee minuten. Bedankt./Wat doe je?
115 Gareth
What?
Wat?/
116 Tim
Gareth, what are you doing?
- Wat doe je?/
117 Gareth
I'm just pushing this stuff off of my desk. I can't concentrate when --
Ik duw je spullen van m'n bureau./
118 Tim
It wasn't on your desk.
Het lag niet op je bureau./
119 Gareth
It was. It was all overlapping. It's all coming over the edge here. All right? One word, two syllables: demarcation. All right?
- Wel. Het komt over de rand heen./Eén woord, twee lettergrepen:/Begrenzing./
We verbruiken heel veel papier./We verdienen er goed aan./We verkopen het, natuurlijk./Het groeit niet aan de boom./Je weet dat het pulp is, hè?/
121
120 David
David Brent, I presume! That's just to cheer these lot up. I send them out to get the plants, the girls. It makes them a bit happier 'cause they can sometimes get a bit-- It's run out of batteries. Can we get some batteries for Billy Bigmouth? Take it out of petty cash. Can't put a price on comedy. Er...
Bent u David Brent?/Even die mensen opvrolijken./Die planten moeten de meisjes/wat opvrolijken./Soms zijn ze een beetje.../De batterijen zijn leeg./Haal je even batterijen?/Pak het geld maar uit de kas./Humor is onbetaalbaar./
121 Tim
You're a twat, Gareth. You're a twat and a knob end.
Je bent 'n zak, Gareth. En 'n eikel./
122 Gareth
I'm still not listening, so it's not offending me.
- Ik luister toch lekker niet./
123 Tim
All right, OK. So you won't hear this. You're a cock, you're a cock, you're a cock. You're a cock. Dit hoor je dus ook niet: Je bent/een lul, een lul, een lul./Je bent een lul./
124 David
Here y'are, look. This is the sort of work we're doing. Cartoons. "Does my bum look big in these?" It's not sexist. It's the bloke saying it. At last. So... All for that. All for that in the workplace.
Moet je kijken./Dit soort werk doen we hier./Cartoons./Lijkt m'n kont hier dik in?/Het is niet seksistisch./Die jongen zegt het./Moet allemaal kunnen/op de werkplek./
125 Ricky
Managed to scrape a first in the end.
Je hebt het hier aardig voor elkaar./
126 David
You've met Tim, haven't you?
Tim ken je al, hè?/
127 Tim
Hello.
128 Ricky
All right?
129 David
Oh, careful. Watch this one. Gareth Keenan in the area!
Pas op voor deze hier./Gareth Keenan is in de kamer./
130 Ricky
Ricky, the new temp. Good to see ye.
Ricky, de nieuwe uitzendkracht./
131 David
Introduce yourself.
132 Gareth
Gareth Keenan, Assistant Regional Manager.
Gareth Keenan,/assistent-regiomanager./
133 David
Assistant to the Regional Manager. Gareth's my righthand man. I need him beneath me... as an actress said to a bishop! No, he's not. Tell him about your car and your kung fu and everything.
Assistent van de regiomanager./M'n rechterhand./Ik heb hem onder me nodig,/zei de actrice tegen de bisschop./Vertel eens over je auto/en je kungfu en zo./
134 Gareth
Yeah. I've got a TR3. I bought it for 1,200, done it up, now it's worth three grand.
Ik heb een TR3./Gekocht voor 1200, opgeknapt,/en nu is ie 3000 waard./
135 David
The profit on that's just under...
Veel winst gemaakt.../
136 Gareth
New engine.
- Nieuwe motor./
137 David
A wreck...
138 Gareth
I've got some photos. Oh, what is that?!
Ik heb foto's bij me./Wat is dat nou?/
139 David
Whoa, whoa.
140 Gareth
That is it.
De maat is vol./
141 David
Slow down, you're moving too fast. Solomon's here. All part of the job. What's going on?
Rustig, niet zo snel./Wat is er aan de hand?/
142 Gareth
He put my stapler inside a jelly again. That's the third time he's done it. It wasn't funny the first time.
M'n nietmachine zit in de pudding. De/derde keer, en 't blijft 'n stomme grap./
122 143 David
Why has he done that?
Waarom doet hij dat?/
144 Gareth
I told him once that I don't like jelly. I don't trust the way it moves.
- Omdat ik niet van pudding hou./Het drilt zo./
145 David
Yeah you show him a weakness, he pounces. You should know that. What is in here?
Je weet dat hij je pakt/op je zwakheden./Wat zit erin?/
146 Gareth
My stapler.
- M'n nietmachine./
147 David
(Gareth digs his stapler out) Well, don't do that! Eat it out. There's people starving in the world, which I hate. So… and it's a waste, so... How do you know it's yours?
Niet doen. Eerst opeten./Er sterven mensen van de honger./Wat een verspilling./Hoe weet je dat ie van jou is?
148 Gareth
Because it's got my name on it in Tippex.
- M'n naam staat erop in Tipp-Ex./
149 David
Yeah. Don't eat it now. Chemicals.
Eet 't dan maar niet op./
150 Gareth
Right. You can be my witness. Give him an official warning.
Jij bent m'n getuige./Geef hem een waarschuwing./
151 Tim
How do you know it was me?
Waarom beschuldig je mij?/
152 Gareth
It's always you.
- Jij doet 't altijd./
153 David
Mad here.
154 Gareth
Can't you discipline him?
Kun je hem niet straffen?/
155 David
Ooh, kinky! No, the thing about practical jokes is you've got to know when to stop, as well as start and now's the time to stop putting Gareth's personal possessions in jelly, all right?
- Kinky, hoor./Je moet wel weten/wanneer je moet ophouden.../en nu moet je ophouden Gareths/spullen in pudding te stoppen./
156 Tim
Gareth, it's only a trifling matter.
Wees niet zo zwaar op de maag./
157 David
Here we go. Always like this. Oh God.
Hij is altijd zo./
158 Ricky
You should put him in custardy!
Je moet hem/voor het nagerecht slepen./
159 David
He's going to fit in here. We're like Vic and Bob, aren't we and an extra one. Oh, God.
Hij past hier wel. We zijn net/Vic en Bob... en eentje erbij./
160 Gareth
Yeah. I'm more worried really about damage to company property. That's all.
Ik wil niet dat bedrijfsgoederen/beschadigd raken./
161 David
Trifling. I'm just trying to think of other desserts to do.
Hij vlaflipt./Ik probeer andere toetjes/te bedenken./
162 Gareth
Yeah, it's all right here, but people do sometimes take advantage because it's so relaxed. You know, I like to have a laugh just as much as the next man, but this is a place of work. I was in the Territorial Army for three years, and you can't muck about there... that's one of the rules.
De sfeer best is goed.../maar soms maken mensen misbruik/van de ontspannen sfeer./Ik hou ook wel van een lolletje.../maar we zijn hier op het werk./Ik heb drie jaar/in het leger gezeten.../en daar mag je niet lummelen./Zo zijn de regels./
163 Tim
Hey dude.
164 Gareth
Give it back.
Geef terug./
165 Tim
I'm just using it for a second.
- Ik leen hem even./
166 Gareth
It's got my name on it: Gareth.
M'n naam staat erop: Gareth./
123 167 Tim
It says "Garet" actually.
Er staat Garet op./
168 Gareth
Ask if you want to borrow it.
Eerst even vragen./
169 Tim
You always say no, mate.
- Jij zegt altijd nee./
170 Gareth
Perhaps that's why you should ask.
Daarom moet je het vragen./
171 Tim
Gareth, it was just there, OK?
- Hij lag er gewoon./
172 Gareth
That's its home. Leave it there.
Daar hoort hij ook thuis./
173 Tim
OK. OK.
174 Gareth
Philip, get that off him!
Philip, pak hem af./
175 Tim
(Holding the stapler out of the window) I'm going to let this go unless you stop acting like a fool.
Ik laat hem los als je niet/ophoudt je zo aan te stellen./
176 Gareth
Well, you won't so...
Je doet het toch niet./
177 Tim
Well, I have, so...
- Ik heb het al gedaan./
178 Gareth
What if that killed someone?
En als je iemand hebt gedood?/
179 Tim
Oh killed-- Well, they'll think you're the murderer. It's got your name on it.
Dan word jij beschuldigd./Je naam staat erop./
180 Gareth
Why would a murderer put his name on a murder weapon?
Waarom zet de dader/z'n naam op een moordwapen?/
181 Tim
To stop people borrowing it.
Zodat niemand het leent./
182 Gareth
David.
183 Tim
I hate the fact you bring me down to this. I really do. I really resent it.
Ik vind het erg dat jij me/hiertoe hebt aangezet./
184 Gareth
I don't know why you're laughing.
Waarom lach je?/
185 Tim
Leave her out of it. You carry on. Listen, you bring me down to this, mate.
- Laat haar erbuiten./Jij hebt me hiertoe aangezet./
186 David
What's that? Popcorn. Ben Elton. Funny?
Welk boek is dat?/Popcorn. Ben Elton./Leuk?/
187 Dawn
It's all right, yeah.
- Gaat wel./
188 David
I had a bit of a scare earlier.
Ik ben me net doodgeschrokken./
189 Dawn
Did you?
O, ja?/
190 David
I thought I found a lump. I examine myself regularly but... It's fine. Terrifying. Testicular cancer. Cancer of them old testicles. What's that?
- Ik dacht dat ik een knobbel voelde./Ik controleer regelmatig./Maar er is niets aan de hand./Doodeng. Teelbalkanker./Kanker aan de testikels./Wat is dat?/
191 Dawn
It's a bit of brie.
- Een stukje brie./
192 David
From down there?
Van daar?/
193 Dawn
Mmm.
194 David
See you later.
Tot straks./
124
195 Gareth
Ik kreeg net een klacht/van een belangrijke cliënt./De cijfers die ik gegeven I've just got a complaint from a very important client, saying that the figures I gave him are wrong, and-- Yeah. Well, basically, I've checked all other possibilities and it's come down to the had,/waren onjuist.../Ik heb alle andere mogelijkheden/ gecontroleerd./Het ligt vast calculator. Well, I don't know. Circuitry? Who is this I'm talking to? aan de rekenmachine./Geen idee. De bedrading?/Met wie spreek ik?/
196 Employee
Redundancies. Now, it is true or not?
197 David
OK.
198 Employee
Last in, first out.
199 David
I don't know what source your little bird is from--
Ik weet niet van welke bron/jullie dat hebben vernomen.../
200 Gareth
All right. You give me a sum then. No. You give me a sum, I'll try it out. All right. Yeah. Plus…52. 141. All right. Well, that time it was correct.
Geef maar een som op./Geef maar een som op,/dan reken ik het uit./Plus... 52... is.../141./Nu is het wel goed.
201 David
There's nothing--
Er is niets.../
202 Employee
Be straight with us.
- Eerlijk zeggen./
203 David
I am. I am being straight with ye. I'm going to be straight with you now. I can't tell you at the moment.
Ik zal eerlijk zijn./Ik kan het nu niet zeggen./
204 Tim
(Stacking cardboard boxes between his desk and Gareth's) I don't like acting like a kid, do you know what I mean? But it's sort of the effect he has.
Ik gedraag me niet graag/kinderachtig./ Maar hij heeft dat effect op mij./
205 Gareth
What are you doing?
Wat doe je?/
206 Tim
I don't actually want to have to look at you, Gareth.
Ik wil je niet zien, Gareth./
207 Gareth
You can't do that.
Dat mag niet./
208 Tim
Why not?
- Hoezo?/
209 Gareth
Health and Safety.
Gezondheid en veiligheid./
210 Tim
Health and -- Why? Crushed by cardboard or what?
Bang dat het karton je zal verpletteren?/
211 Gareth
No. Number one, blocking out light. Number two, misuse of company files.
Nee. Je blokkeert het licht./Je maakt misbruik van documenten./
212 Tim
Misuse of files? Yeah, see? This is why the whole redundancy thing doesn't bother me, because if I have to work with him for another day, I will slit my throat.
- Misbruik van documenten./Die gedwongen ontslagen/interesseren me niet./Als ik nog één dag met hem moet/werken, maak ik me van kant./
213 Gareth
You won't do it like that though. You get the knife in behind the windpipe, pull it down like that.
Zo doe je dat helemaal niet./Je steekt het mes achter/de luchtpijp en trekt het omlaag./
214 Tim
Or I could just apply for another job.
Ik kan ook een andere baan zoeken./
215 Employee
Careful.
216 David
OK. Um... Thanks for coming in. This'll take a minute. Er... Right. I am aware of the rumours that have been circulating, and I just want to take this opportunity to put the record straight.
Fijn dat jullie er zijn./Het duurt niet lang./Ik weet dat er geruchten/de ronde doen./Ik zal 't een en ander rechtzetten./
217 Gareth
Da--!! I'm team leader! I should know first.
- De teamleider moet 't eerst horen./
Gedwongen ontslagen./Is het waar of niet?/
125 218 David
Yeah. I'm telling everyone now.
Ik vertel het iedereen./
219 Gareth
Just tell me quickly. Just whisper it to me.
- Fluister 't maar snel in m'n oor./
220 Employee
Can you just tell us?
Kun je het niet gewoon zeggen?/
221 Employees
Yeah.
222 Gareth
All right. Shall I tell them?
Zal ik het zeggen?/
223 David
You don't know what it is.
- Jij weet 't niet./
224 Gareth
All right. You tell them with my permission.
Zeg het dan maar./Je hebt m'n toestemming./
225 David
I don't need your permission.
Die heb ik niet nodig./
226 Gareth
Permission granted. You do as you wish.
Je hebt m'n toestemming. Ga je gang./
227 David
Head Office have deemed it appropriate to enforce an ultimatum upon me, and Jennifer is talking of either downsizing the Swindon branch or this branch.
Het hoofdkantoor achtte het juist/om mij een ultimatum op te leggen.../en Jennifer praat over inkrimping.../op het kantoor in Swindon/of op dit kantoor./
228 Malcolm
Are you going to let her?
Laat je dat toe?/
229 David
No, Malcolm. You didn't see me in there with her.
- Nee, Malcolm./Je hebt me daar niet gezien./
230 Gareth
For his eyes only!
231 David
I said, "If Head Office is going to come here and interfere, they've got me to contend with. OK? Ik zei: Het hoofdkantoor mag/'t tegen mij opnemen./Sol maar met Neils mensen./Ik You can go and fiddle with Neil's people, but I'm the head of this family. You're not going to ben het hoofd van deze familie./Met mijn kinderen/valt niet te sollen./ fiddle with my children, I am, if anyone does."
232 Jamie
Yeah but, David, if they do downsize here then --
Maar als ze hier gaan inkrimpen.../
233 David
Well, what? You think I'd let that happen? No way.
Dat laat ik niet gebeuren./
234 Malcolm
It'd be out of your hands.
- Het is niet aan jou./
235 David
It won't be out of my hands Malcolm, and that's a promise.
Ik laat het niet gebeuren./Beloofd./
236 Malcolm
Can you promise that?
Kun je dat beloven?/
237 Gareth
On his mother's grave.
- Op het graf van z'n moeder./
238 David
Well I have promised it. OK? And it insults me that you even have to ask.
Ik heb het beloofd./Ik ben beledigd dat je dat vraagt./
239 Malcolm
It's just that --
Ik wil alleen.../
240 David
Sorry Malcolm Dawn wants to speak. Go on Dawn.
- Dawn wil wat zeggen./
241 Dawn
It was just that I was in the meeting with Jennifer, and she said that it could be this branch that gets the chop.
Ik was bij de vergadering met Jennifer./Ze zei dat dit kantoor/de klos kon zijn./
242 David
Well, if you were in the meeting with Jennifer, then maybe you should adhere to the ongoing confidentiality agreement of meeting.
Als je bij de vergadering/met Jennifer was.../had je het vertrouwelijke karakter/van de vergadering moeten respecteren./
243 Gareth
Yeah. Information is power.
Informatie is macht./
126 244 Malcolm
So you can't say for certain whether it's going to be us or them, can you?
Dus je weet niet zeker/welk kantoor het wordt?/
245 David
This is my ship and I've asked you to trust me, and you can't go wrong.
Ik heb je gevraagd/mij te vertrouwen./
246 Malcolm
It's not a question of trust.
Het gaat niet om vertrouwen./
247 David
It is a questio of trust, Malcolm. It is a question of trust. Do you trust me? Do you trust me? Yes or no?
- Jawel./Daar gaat het wel om. Vertrouw je me?/Vertrouw je me? Ja of nee?/
248 Malcolm
Yes. I trust you.
- Ja./
249 David
He does. So... Meeting ajourned.
De vergadering is voorbij./
250 Gareth
Good. Excellent. I'd have said much the same. In fact-- Can I just ask? Do you trust me? Hands up if you trust me.
- Mooi zo./Ik had hetzelfde willen zeggen. Mag/ik wat vragen? Vertrouwen jullie me?/Steek je hand op./
251 David
You don't have to--
- Laat maar./
252 Gareth
Yeah but you asked them.
Jij vroeg 't ook./
253 David
Put your hand down.
- Zakken./
254 Gareth
No I need to know. I'm Assistant Regional Manager.
Ik ben assistent-regiomanager./
255 David
Assistant to the Regional Manager. They're gone.
Assistent van de regiomanager./Ze zijn weg./
256 Gareth
I'm not worried for me. I'll be all right. But if there does have to be a cull, then so be it. I mean, that's just natural selection. In the wild, some people wouldn't survive. I mean, imagine a warehouse where a little midget fella is driving a forklift. OK? He can't see over the top. He's got great big platform shoes on so he can reach the pedals because of his little legs. Anton's a lovely bloke, don't get me wrong, but should he be working here?
Ik maak me geen zorgen om mijzelf./Maar als er geschift moet worden,/dan zij het zo./Het is een natuurlijke selectie./In het wild overleven/sommige mensen het niet./Stel dat in een magazijn.../een dwerg een vorkheftruck bestuurt./Hij ziet niet waar hij rijdt, draagt plateau-/zolen om bij de pedalen te komen.../omdat hij korte benen heeft./Anton is een goeie kerel,/maar hoort hij hier wel te werken?/
257 Gareth
Have you got a price for mattcoated SRA1?
Weet je de prijs/van mat SRA1-papier?/
258 Tim
If I can't see you, I can't hear you, Gareth.
Ik kan je niet zien of horen./
259 Gareth
Just tell me, will you?
Zeg het nou maar./
260 Tim
No. I can't hear you.
- Ik kan je niet horen./
261 Gareth
Just tell me.
Zeg het./
262 Tim
If you want to speak to me, give me a ring, OK?
- Bel me maar, oké?/
263 Gareth
It's on voicemail.
Voicemail./
264 Tim
Leave a message.
- Spreek maar in./
265 Gareth
Hi. It's me, Gareth. I need a price on mattcoated-- This is stupid!
Met mij, Gareth./Ik moet de prijs weten van.../Dit is idioot./
266 Tim
Yes. It is st-- This is stupid. It's so... Sorry, mate, what do you want? (He walks away)
Ja, dat is het ook./Sorry, wat wil je weten?/
127
267 Gareth
Er... I need a tonnage price on mattcoated SRA1. I've got 160 down here, but I'm sure that isn't right because when I spoke to Glynn earlier on, he... Right. I know you're not there. Obviously you can't hear that, but I'm not talking to myself because they're filming.
Ik moet de prijs weten/van mat SRA1-papier./Ik heb hier 160 staan, maar/dat klopt niet, want Glynn zei.../Ik weet dat je er niet bent./Je hoort het niet,/maar ik praat niet tegen mezelf.../want ze zijn aan het filmen./
268 Tim
That feels nice, actually. Do that bit with your nails.
Dat voelt lekker./Doe het eens met je nagels./
269 Dawn
Sshh! That's no different. You can't do anything with your hair at all!
Ik zie geen verschil. Je kunt/niets met je haar beginnen./
270 Tim
Right.
271 David
Oh, no, trouble. Sanj. This is Sanj. This is Ricky.
O jee, problemen. Sanj./Dit is Sanj. Dit is Ricky./
272 Sanj
Hello, mate.
Hallo./
273 Ricky
Nice to see you.
- Aangenaam./
274 David
This guy does the best Ali G impersonation.
Hij kan Ali G. Zo goed nadoen./
275 Sanj
I can't.
Ik kan het niet. /
276 David
You do it. Go on.
Doe het 's./
277 Sanj
I don't - You're thinking of someone else.
- Ik kan 't niet./Je verwart me met iemand anders./
278 David
Oh! Sorry. No, it's not you, it's the other one.
Het is die andere./
279 Sanj
The other what?
- De andere wat?/
280 David
Um ...
281 Sanj
Paki?
Pakistaan?/
282 David
Ah. That's racist.
Dat is racistisch./
283 David
No, I don't have a great many ethnic employees, that's true, but it's not company policy. I haven't got a sign on the door that says, "White people only". You know. I don't care if you're black, brown, yellow... Orientals make very good workers, for example.
Ik heb niet veel etnische werknemers,/dat klopt./Dat is geen bedrijfspolitiek./Er hangt hier geen bordje/met 'Uitsluitend blanken' erop./Het maakt mij niet uit of je nu/zwart, bruin of geel bent./Aziaten zijn harde werkers./
284 Tim
Do you like a drink at the end of a week?
Wil je aan het einde van de week/wat gaan drinken?/
285 Dawn
Yup.
286 Tim
Well, this is why we're going out so we can have that ...
Daarom gaan we uit.../
287 Dawn
When are you going out?
Wanneer ga je uit?/
288 Tim
... end of the week drink.
- Om wat te gaan drinken./
289 Dawn
When are you going out then?
Wanneer?/
290 Tim
Tonight, hopefully, I thought.
- Vanavond?/
291 Dawn
Er, yeah.
128 292 Tim
Hi, mate.
Hallo./
293 Lee
Hi, sweetheart. Are you ready, yeah?
- Hoi, liefje./Ben je klaar?/
294 Dawn
Yeah. Would you mind if I went out for a drink with this lot?
- Ja./Vind je het erg als ik wat ga drinken?/
295 Lee
No no no, come on, let's go home, yeah?
- Nee, we gaan naar huis./
296 Dawn
OK. I'll be a couple of minutes because it's twenty past five.
Heb je even?/Het is tien voor half zes./
297 Tim
You should come. It'll be a laugh.
Kom ook. Het wordt leuk./
298 Lee
No. You're all right mate. Seriously, we got to get off.
- Nee. Gaan jullie maar./We moeten gaan./
299 Tim
Um... What's in the bag?
Wat zit er in die tas?/
300 Lee
Just tell her I'll see her later.
- Ik zie haar zo wel./
301 Tim
Certainly will, mate.
Oké. Tot ziens./
302 Lee
See you later.
303 Tim
All right mate, take care.
304 David
Dreaded first day.
305 Ricky
Yeah.
306 David
You all right?
Gaat het?/
307 Ricky
Yeah. All right, yeah.
- Jazeker./
308 David
You've seen the vibe. Yeah? Chilled out. Oh, dear. We work hard. I mean, we play hard. Play hard when we should be working hard sometimes, partly down to me. Sure. Um I let them get away with murder and they let me get away with murder. You know, the girls love me. Not in that way. But, er, you know, I suppose I've created an atmosphere where I'm a friend first and a boss second. Probably an entertainer third. Hold on! Practical jokes, yeah?
Je hebt de sfeer geproefd./Relaxed./ Lieve hemel./We werken hard./We spelen veel./Te veel als we eigenlijk moeten/werken. Dat komt ook door mij./Ze kunnen alles maken, en ik ook./De meiden zijn dol op me./Niet op die manier./De sfeer is zodanig dat ik op de/eerste plaats een vriend ben.../en dan pas de baas./En ook nog entertainer./Momentje./Practical jokes, snap je?/
309 Ricky
Right.
Goed. Oké./
310 David
OK. Practical joke. Don't give me away. Come in. And then Head Office said... Yeah.
Practical joke. Verraad me niet./Kom binnen./En toen zei het hoofdkantoor... Ja./
311 Dawn
Fax for you.
Een fax./
312 David
Thanks. Don't go, Dawn. Pull up a chair. I was going to call you in anyway. I need a quick word. Um... As you are aware, there are going to be redundancies and you've made my life easier inasmuch as I'm going to have to let you go first.
- Bedankt./Niet weggaan. Pak een stoel./Ik wilde je al roepen./Ik moet even met je praten./Je weet dat er gedwongen ontslagen/gaan vallen./Je hebt het me makkelijk gemaakt./Jij gaat er als eerste uit./
313 Dawn
What? Why?
Wat? Waarom?
314 David
Why? Stealing. Thieving.
Waarom?/- Jatten. Diefstal./
315 Dawn
Thieving?
Diefstal?/
Eng hè, zo'n eerste dag./
129 316 David
Yeah.
- Ja./
317 Dawn
Er... What am I meant to have stolen?
Wat zou ik dan gestolen hebben?/
318 David
PostIt notes.
Post-It-blaadjes./
319 Dawn
PostIt notes? What are they worth, about 12p?
- Post-It-blaadjes?/Wat zijn die waard, 14 cent?/
320 David
Oh, got your Bible on you, Ricky?
Heb jij een bijbel?/
321 Ricky
No.
- Nee./
322 David
Thou shalt not steal unless it's only worth 12p. You steal a thousand PostIt notes at 12p and you've made... profit.
Gij zult niet stelen,/tenzij het maar 14 cent is./Als je 1000 blaadjes steelt,/verdien je.../veel./
323 Dawn
Why would I steal PostIt notes?
- Waarom zou ik die stelen?/
324 David
To make the little things at the end of joints.
Om van die uiteinden/aan joints te maken.../
325 Ricky
Roaches.
Tipjes./
326 David
Roaches. Caught you, drug addict.
- Betrapt, junk./
327 Dawn
Are you serious?
Meen je dit?/
328 David
Yeah.
- Ja./
329 Dawn
I can't... God I've never stolen as much as a paper clip and you're firing me.
Ik kan het niet... God.../Ik heb zelfs nog nooit/een paperclip gestolen./
330 David
And the good news is I don't need to give you severance pay because it's gross misconduct. So you can go straight away. (Dawn starts to cry) Oh, now ... That was a joke there. Good girl. It was a joke we were doing. Well done. Settling in. Practical jokes for the good. "Thanks for these. Check them out." Better do these now actually.
Je krijgt geen afvloeiingspremie./Je hebt je ernstig misdragen./Je kunt nu gaan./Het was een grapje./Het was maar een grapje./Goed gedaan. Je went al./Practical jokes horen erbij./'Bedankt hiervoor. Bekijk ze even.'/Dat kan ik beter nu doen./
331 Dawn
You wanker.
Jij rotzak./
332 David
Come on.
Kom op./
333 Dawn
You're such a sad little man.
Je bent een zielig mannetje./
334 David
Am I? Didn't know that.
O, ja?/Dat wist ik niet./
335 David
What is the single most important thing for a company? Is it the building? Is it the stock? Is it the turnover? It's the people. Investment in people. Yeah? My proudest moment here wasn't when I increased profit by 17%, or cut expenditure without losing a single member of staff. No. A young Greek guy, first job in the country, hardly spoke a word of English, but he came to me and he went, "Mr Brent, will you be the godfather to my child?" So... Didn't happen. We had to let him go. He was rubbish. He was rubbish.
Wat is voor een bedrijf/het allerbelangrijkste?/Het gebouw? De voorraden?/De omzet?/Het zijn de mensen./Investeer daar in, oké?/M'n beste moment was niet/de winststijging met 17 %,/of die kostenreductie zonder iemand/te ontslaan. Nee./Dat was toen een jonge Griek,/hij sprak nauwelijks Engels.../me vroeg: Mr Brent, wilt u/peetvader worden van m'n kind?/Ging niet door. Hij moest weg./Hij was waardeloos. Echt./
130
Appendix 2.2: Transcription Work Experience (1.2)
No.
Speaker
Dialogue
Dutch subtitle Wat wil je weten?/Kijk, een klok/en rekenmachine tegelijk./Eentje voor niks./Daar gaan we.
1
David
What do you want to know? Um... See that? A clock, calculator in one. That's free. Thank you. Oh, here we go.
2
Answering machine
Three.
Drie./
3
Paul (on answering machine)
Hello David. Paul Shepherd. Can you give us a call mate? Cheers.
Paul Shepherd./Kun je even bellen?/
4
David
No!
5
Julian (on answering machine)
Dave, it's Julian. Can you give us a ring, please?
Met Julian./Kun je even bellen?/
6
David
Go away! Good bloke. Good laugh.
Ga weg. Kun je mee lachen./
7
Paul (on answering machine)
David, it's Paul again. I think...
Weer met Paul./
David
Leave me alone! It's fine. It is fine that one. That's OK. It doesn't matter. Take that there... That's the old office. So... let's get you started. No one is going to lose their jobs. Yes, Head Office are talking of downsizing, but they've said clearly that the most efficient branch will incorporate the other one. We are the most efficient branch - cogito ergo sum - we'll be fine.
- Laat me met rust./Niks aan de hand. Geeft niks./Daar sta je weer./Dat is dus het kantoor./Eens kijken wat je kunt doen./Niemand raakt z'n baan kwijt./Het hoofdkantoor wil mensen/ontslaan, maar ze hebben gezegd.../dat het efficiëntste kantoor/het andere opneemt./Wij zijn het efficiëntst, cogito/ergo sum, dus komt het goed./
9
David
Why should they be worried, yeah? They trust me implicitly. I said there's not gonna be redundancies, so that becomes gospel. Unconditional trust. It's nice. You know. Mutual. Likewise. Reciprocated. My only worry is that the powers that be don't come down here, pop their head round the door with their rule book, and go, "Oh, hold on, what's going on here? These people are mucking around." Right? Whilst getting the job done, they're having a laugh at work with the Sword of Damocles hanging over them, right? "This isn't in the rule book. Who's in charge here?" Guilty! Get a new rule book! All right?
Waarom zouden ze zich zorgen/moeten maken? Ze vertrouwen me./Ik zei: 'geen ontslagen',/dus dat wordt heilig./Onvoorwaardelijk vertrouwen./Andersom ook./Ik hoop alleen/dat de top niet hierheen komt.../hun kop om de deur steken/met hun regeltjes.../en zeggen: Wat gebeurt hier nou?/Ze doen hier maar wat./Tijdens het werken/maken ze plezier.../met het zwaard van Damocles/boven hun hoofd./Dit kan niet./Wie heeft de leiding?/Schuldig. Nieuwe regels graag./
10
David
It works with the turtle. OK. Um... Finally, this young lady is Donna... daughter of my best friends, Ron and Elaine. She's lodging with me, so she's my responsibility, and her dad's not only a copper, but he's a bloody big bugger, isn't he? So hands off.
Het werkt bij de schildpad./Deze jongedame is Donna.../de dochter van m'n beste/vrienden, Ron en Elaine./Ik ben verantwoordelijk voor haar./Haar vader is agent, een stevige,/dus handen thuis./
11
Employee 1
I've got something she could take down in evidence!
Ik heb wel wat bewijsmateriaal./
8
131 12
David
Don't worry about this.
- Geen zorgen./
13
Employee 2
Do you want to receive some swollen goods, love?
Wil je gezwollen goederen helen?/
14
Employee 3
Wouldn't mind escaping up her tunnel!
Ik wil haar tunneltje wel zien./
15
David
Get out. Get out. I mean it. Shame. I will not have her tunnel bandied around this office willy nilly. OK. Help her to settle in. If you do have any trouble from the men... What does she do, Dawn?
- Eruit./Eruit, ik meen het./Jammer./Ik wil niet dat haar tunneltje hier te/pas en te onpas over de tong gaat./Zorg dat ze zich thuis voelt./Als de kerels je lastig vallen.../Wat doet ze dan?/
16
Dawn
Uh… Kick them in the balls.
- Ze in de ballen schoppen./
17
David
Oh! Feminist.
Feministe./
18
Gareth
Get your bra off.
- Doe je beha uit./
19
David
Do you want to go out as well?
Wil je er ook uit?/
20
Gareth
Sorry. Burn your bra. Feminists.
- Verbrand je beha. Feministes./
21
David
Good point.
Goed punt./
22
Gareth
Obviously keep a T-shirt on, like Charlie Dimmock.
- Hou wel een T-shirtje aan./
23
David
OK. That's it.
Dat was het./
24
Tim
What are you doing? That's ridiculous.
Wat doe je? Dat is belachelijk./
25
Dawn
Hello. Wernham-Hogg. Yeah, hang on a minute. I'll put you through.
Met Wernham Hogg./Moment alstublieft./
26
David
That is ...You won't need to use that. You've met this lot. This is Gareth, who you saw in the meeting. Formal introductions.
Dat is... Dat heb je niet nodig./Deze drie ken je. Dit is Gareth,/van de vergadering./Even voorstellen./
27
Gareth
Hi. Gareth. Welcome.
Ik ben Gareth. Welkom./
28
David
Just a handshake's fine. And Ricky.
- Alleen een hand is prima./En Ricky./
29
Ricky
Hi. Nice to meet you.
- Aangenaam./
30
David
Even longer. And Tim.
Nog langer. En Tim./
31
Tim
Hello.
- Hallo./
32
David
Good. OK. Settle her in. Get her started. Show her the phones and everything. But first, methinks the lady dost need a chair! To sit down on.
Heel goed. Nou.../Wijs haar de weg./Laat haar alles zien./Maar eerst heeft ze een stoel nodig./Om op te zitten./
33
Gareth
Maybe she should sit down here. Then I could teach her the ropes. That's my responsibility as team leader. David? I'm just saying...
Als ze hier gaat zitten,/kan ik haar wegwijs maken./Dat is m'n taak als teamleider./David? Ik zei net.../
132
Als mensen zeggen:/'Wil je liever gezien worden/als grappig of een goede baas?'/Dan zeg ik altijd:/Dat sluit elkaar niet uit./Er zit veel intelligentie/achter m'n grappen./Als ik drie genieën moest noemen.../zou ik niet/Einstein of Newton zeggen./Ik zou Milligan,/Cleese en Everett zeggen./En Sessions./
34
David
When people say "Oh, would you rather be thought of as a funny man or a great boss?" my answer's always the same - to me, they're not mutually exclusive. There's a weight of intellect behind my comedy. Yeah? If you were to ask me to name three geniuses, I probably wouldn't say Einstein, Newton... You know. I'd go Milligan, Cleese, Everett. Sessions.
35
Tim
Gareth, have you got a licence to carry that?
Heb je daar een vergunning voor?/
36
Gareth
Portable phone. Right? Can you swap places with Donna, please?
Mobieltje, oké?/Kun je even met Donna ruilen?/
37
Tim
No I'm not moving.
Nee, ik blijf zitten./
38
Gareth
Do as you're told.
Doe wat je opgedragen wordt./
39
Tim
Why, what are you going to do, phone me?
- En anders? Bel je me dan?/
40
Gareth
I am team leader.
Ik ben de teamleider./
41
Tim
I don't give a monkey's.
- Boeiend./
42
Gareth
You're so immature.
Wat onvolwassen./
43
Tim
Oh, Gareth, if there's one thing that I'm not, it is immature.
Als ik iets niet ben,/dan is het onvolwassen./
44
Gareth
An immature little tosser. (on the phone) Gareth Keenan.
Een onvolwassen rukkertje./Gareth Keenan./
45
Tim
Cock.
- Lul./
46
David
So...
47
Gareth
David, I was just saying to Tim…
David, ik zei net tegen Tim.../
48
David
Looks like a... Doesn't it? Gun holster.
Zie je dat? Net een holster./
49
Gareth
It's just my portable telephone. I was just saying to Tim maybe--
- Die is voor m'n mobieltje./Ik zei net tegen Tim.../
50
David
Sorry. I just thought of something. I know what you're thinking, did I make five or six calls? The question is, do you feel lucky, punk? Well, do ya? Clint Eastwood.
- Ik bedacht net iets./Heb ik nou vijf of zes keer gebeld?/De vraag is, denk je/dat je geluk hebt, schooier?/Clint Eastwood./
51
Tim
Spot on.
- Sprekend./
52
David
Let's let them get on with it. OK. We're all on-line here. Hooked up to the Worldwide Web, Internet. No shopping.
We laten ze maar met rust./We zijn allemaal on line./Verbonden.../met het wereldwijde web: Internet./Niet winkelen./
53
Employee
No.
54
David
All right? Everyone's got e-mail. Have you used e-mail before?
55
Donna
Yeah.
56
David
Yeah. It's easy, isn't it? I'll just show her on here.
57
Employee
Yeah.
Iedereen heeft e-mail./Weet je hoe dat werkt?/
Makkelijk, hè?/Ik laat het haar even zien./
133
58
David
Oh, you got a new one. See where it says "New mail"? Just click on that. No. No, it's not... Yeah. Je hebt een nieuwe./Dat zie je daar./Je klikt daarop./Nee. Dat is niet It's not funny because Donna should not have to see me as a woman with two men doing that all grappig./Donna hoeft mij echt niet te zien.../als vrouw waar twee kerels/hun gang over me. mee gaan./
59
Employee
You've got nice boobs.
Mooie tietjes./
60
David
No. It's just my head. They've put it on there to... Who else has seen this filth? You know what I'm talking about. Who else has seen this filth? You haven't even got e-mail, Joan.
Dat is m'n hoofd. Ze hebben dat.../Wie heeft dit nog meer gezien?/Jullie weten best wat ik bedoel./Jij hebt niet eens e-mail./
61
Joan
Someone printed it out for me.
- Iemand heeft het voor me geprint./
62
David
Wie heeft dat gedaan?/Ik ben boos./Niet omdat ik het ben, maar/omdat het Who printed this out for Joan? Well I'm angry. And not because I'm in it, but because it degrades vrouwonvriendelijk is.../en dat vind ik vreselijk./En de schuldige is in deze women which I hate. And the culprit, whoever it is, is in this room. Or she. It could be a woman. kamer./Het kan ook een vrouw zijn./Die zijn net zo erg als mannen./Ik noem geen Women are as filthy as men. Naming no names - I don't know any - but women are dirty. namen, die weet ik niet,/maar vrouwen zijn schunnig./
63
David
Good friend of mine and a bloody good rep - Chris Finch. IQ of 142. One of the cleverest blokes I know. Certainly the cleverest bloke you know.
64
Gareth
Chris Finch, yeah.
65
David
He was in an argument once and he went, "How can I hate women? My mum's one." Yeah? There's a lot of truth in that. That's why when I see rubbish. I'm not annoyed because I'm in it or I'm a prude. It offends women.
Hij zei ooit in een discussie:/Hoe kan ik nou vrouwen haten?/M'n moeder is er een./Daar steekt veel waarheid in./Dus als ik zoiets zie... Troep./Ik baal niet omdat ik preuts ben of zo./Het beledigt vrouwen./
66
Gareth
And our mums.
- En onze moeders./
67
David
In a way. It's sexist, and I hate that.
In zekere zin. Het is seksistisch,/en dat haat ik./
68
Gareth
So do I.
Ik ook./
69
David
Yeah, but I've said it, haven't I?
- Maar ik zei het./
70
Gareth
We both siad it. We've had meetings where we've both said it.
We hebben het allebei wel gezegd.
71
David
Yeah, but, you know, I really hate it.
Ik vind het echt verschrikkelijk./
72
Gareth
I've always...
73
David
The point is this, yeah, we've got access to the Internet, yeah, but it is not censored. Is that a good or a bad thing?
Waar het om gaat is dat we het internet/op kunnen, maar ongecensureerd./Is dat goed of slecht?/
74
Gareth
Bad.
- Slecht./
75
David
Well, it's not for us to say. All I know is I can type in "Sex Fetish." Yeah? It takes a little while. 2230 matches. Yeah? Just click on one at random. Oh "Dutch girls must be punished for having big boobs." Now, you do not punish someone, Dutch or otherwise, for having big boobs.
Dat bepalen wij niet./Ik typ gewoon iets in./Seks./Fetisj./Het duurt even./2230 hits./Klik maar op eentje./Straf voor Hollandse meisjes/met grote tieten./Je straft iemand niet/omdat ze grote tieten heeft./
76
Gareth
If anything, they should be rewarded.
Ze moesten ze belonen./
77
David
They should be equal.
- Ze moeten gelijk zijn./
Een goede vriend en verkoper,/Chris Finch./Een IQ van 142. Een van/de slimste mannen die ik ken./De slimste die jij kent./
134 78
Gareth
Women are equal.
Vrouwen zijn gelijk./
79
David
I've always said that, so...
- Dat zeg ik altijd al./
80
Dawn
Do you want to play with my hair?
Wil je met m'n haar spelen?/
81
Tim
Huh?
82
Dawn
Play with my hair.
83
Tim
Play with your hair? All right, then. I've got kind of hot hands. Sorry.
Met je haar spelen? Oké./Ik heb wel hete handen. Sorry./
84
Dawn
That's all right. Just don't touch my head.
Kom dan niet aan m'n hoofd./
85
David
All it is... Well Donna. Yeah? My responsibility. Away from home. I know boys will be boys. Word from the top is...
Het is allemaal.../Wel.../Donna./Mijn verantwoordelijkheid./Onder moeders vleugels vandaan.../Mannen blijven mannen./M'n opdracht luidt.../
86
Gareth
Hands off.
Handen thuis./
87
David
Yeah.
- Ja./
88
Gareth
Out of bounds.
Taboe./
89
David
Yeah.
- Ja./
90
Gareth
Look, but don't touch.
Kijken, maar niet aankomen./
91
David
What do you mean by look?
- Wat bedoel je?/
92
Gareth
Talk to her, be friendly. Don't get any ideas.
Met haar praten, aardig zijn./Haal je niets in je hoofd./
93
David
Yeah. Good.
- Oké./
94
Gareth
Fine. What if she's up for it?
Goed./Maar als zij het wil?/
95
Tim
You want to get some of this sorted out then.
Doe hier 's wat aan./
96
Dawn
What can we play now?
Wat gaan we nu doen?/
97
Tim
I don't know.
- Geen idee./
98
David
Ask around. Find out who did the picture, yes. Discreetly.
Probeer erachter te komen/wie die foto maakte./Discreet./
99
Gareth
Undercover.
- Undercover./
100 David
Well, don't go steaming in accusing people. OK?
Ga geen wilde beschuldigingen uiten./
101 Gareth
I'm trained in this. When I was in the army.
Dit heb ik geleerd, in het leger./
102 David
Territorial.
Het reserveleger?/
103 Gareth
Territorial Army.
- Ja./
104 David
Yeah. Whatever. OK?
Oké. Prima. Oké?/
105 Gareth
OK. I will need some stuff.
Ik heb wat spullen nodig./
135 106 David
Like what?
Zoals?/
107 Gareth
An office.
- Een kantoor./
108 David
Use the meeting room for now.
Gebruik de vergaderzaal./
109 Gareth
I can say it's my office, can I?
- Dat is mijn kantoor?/
110 David
What?
111 Gareth
I can say to people, "Come into my office"?
Kan ik mensen in m'n kantoor/roepen?/
112 David
Well, while you're doing this, yeah.
Zolang je hiermee bezig bent, wel./
113 Gareth
Right. I'll make a sign.
- Goed./Ik maak een bordje./
114 David
You don't need to make a sign. And if I need the meeting room for a meeting, it's the meeting room again, so...
- Niet nodig./Als ik moet vergaderen,/is het weer de vergaderzaal./
115 Gareth
Right. I'll take the sign down.
Dan haal ik het bordje weg./
116 David
You don't need to make a sign. Well, don't make a sign.
- Dat heb je niet nodig./Maak geen bordje.
117 Gareth
(on the phone) Gareth Keenan.
118 David
Who's that?
Wie was dat?/
119 Gareth
No one.
- Niemand./
120 Dawn
No, I'm sorry, you've got the wrong number. Bye.
Sorry, verkeerd nummer./
121 Tim
That's that, OK? You go left, you go right, kick. It's ding ding da!
Zo gaat het, oké?/Links, rechts en schop./Het is dus 'ding ding da'./
122 Ricky
Yeah, but I never said that was...
Je hebt nooit gezegd dat.../
123 Tim
No, that was straight from "Thriller" though. Because "Eeeh hee! Ah! Show more!" It's that.
Dat komt uit Thriller./
124 David
Afternoon, Mr Jackson. I know you're a superstar, but have you sent that fax yet? Have you heard um? Have you heard er... Michael Jackson's new song? He's teamed up with West Ham football team, apparently. Doing, "I'm Forever Blowing Bubbles"! The chimp. (points to Donna) She doesn't know football. Tell her later. Have you heard George Michael's latest release?
Goedemiddag, Mr Jackson./Je bent een ster,/maar heb je die fax al verstuurd?/Heb je Michael Jacksons/nieuwe hit al gehoord?/Hij is nu samen met het elftal/van West Ham./Ik heb een mond vol Bubbles./De aap./Ze weet niets van voetbal./Leg straks maar uit./En de nieuwste/van George Michael?/
125 Tim
No.
Nee./
126 David
No it's George Michael's latest song. It's a release though…
- Z'n nieuwste liedje.../
127 Tim
Is it about blow jobs?
Over pijpen?/
128 David
Yeah, it was that thing in the toilet. It was a hand job.
- Trekken./
129 Donna
Is it "Wank Me Off Before You Go Go"?
Trek me af voordat je go-go?/
130 David
Um... What's white and slides down toilet walls?
Het is wit en glijdt/langs de wc-muur?/
136 131 Tim
I don't know.
Nou?/
132 David
Michael Jackson's latest release. George Michael's. Good, innit? Oh.
- Michael Jacksons solonummer is klaar./George Michaels./Leuk, hè?/
133 Tim
Can you moonwalk?
Kun je de moonwalk?/
134 David
Probably not anymore.
- Niet meer./
135 Tim
Give it a go?
Probeer eens./
136 David
Yeah. I used to...
137 Ricky
Drop your heels back.
Je hielen naar achteren./
138 David
No not on this though, you can't do it on this.
- Hier lukt het niet./
139 Tim
Oh, yeah, I know how to do it.
Ik weet hoe het moet./
140 David
No yeah, I used to do all that stuff as well. All that sort of stuff, yeah. Just like take control of the body. It's all that now, isn't it?
- Dat deed ik ook allemaal./Dat allemaal, ja. Laat je lichaam/doen wat je zegt./Dat is het allemaal?/
141 Jennifer
Busy?
Druk?/
142 David
Yes, er... Keeping up morale.
- Een peptalk./
143 Jennifer
Can we have a chat?
Kunnen we even praten?/
144 David
Yeah. "Boss." Ooh!
145 Gareth
Keith, Keith, Keith, Keith, Keith... Thanks for coming in. Now, you know what this is about. Obviously you've seen the picture. You know, David on the computer.
Goed dat je er bent./Je weet waar het over gaat./Je hebt de foto gezien./David op de computer.../
146 Keith
I saw it, I saw it.
- Ja./
147 Gareth
Yeah. And we've all had a bit of a laugh about it.
Ja, we moesten er/allemaal om lachen./
148 Keith
It was funny.
Het is grappig./
149 Gareth
Yeah, there's a time when the joking has to stop, though. Not only is it derogatory...
Maar soms is het genoeg/met die grappen./Het is vernederend./
150 Gareth
David has trusted me with this because not only have I got people skills, but I am trained in covert operations. You know the phrase "Softly softly catchee monkey"? I could catch a monkey. If I was starving, I could. I would make poison darts out of the poison off of deadly frogs. One milligram of that poison can kill a monkey, or a man. Prick yourself, you'll be dead within a day. Or longer. Different frogs, different times.
David vertrouwt me dit toe, omdat/ik goed met mensen kan omgaan.../en omdat ik zulke operaties/gewend ben./Ken je het gezegde 'Je weet niet/hoe een koe een haas vangt'?/Ik kan een haas vangen./Als ik honger had./Ik zou pijlen maken van het gif/van gifkikkers./Met 1 milligram kun je een haas/doden, of een mens./Je bent binnen een dag dood./Of later./Dat hangt af van de kikker./
151 Gareth
Do you know who done the picture?
Weet je wie die foto heeft gemaakt?/
152 Keith
Yup. No. I mean, no.
- Ja./Nee. Ik bedoel nee./
153 Gareth
Right. Your first answer was yeah. Wasn't it?
Goed. Eerst zei je van wel./Nietwaar?/
154 Keith
I meant no.
- Ik bedoelde nee./
137 155 Gareth
Well, why did you get?
Waarom zei je dan.../
156 Keith
I er don't know.
- Ik weet het niet./
157 Gareth
Am I making you nervous?
Word je nerveus van me?/
158 Keith
No. I mean, yeah.
Nee. Ik bedoel, ja./
159 Gareth
Hmm, that's interesting.
Interessant./
160 Jennifer
I've just spent two days in Swindon with Neil, and he's made some big changes. Now, when we spoke on Friday, you said you were going to instigate some changes of your own. I just wondered how that was going?
Ik was in Swindon bij Neil,/en hij heeft veel veranderd./Ik heb je vrijdag gesproken.../en toen had je het ook over/veranderingen. Hoe gaat dat?/
161 David
Great.
Goed./
162 Jennifer
Good. What have you done?
- Wat heb je gedaan?/
163 David
Changed many things, really. In a global sense, streamlining, the whole ongoing enterprise of it.
Ik heb veel veranderd./In het algemeen, efficiëntie.../de algemene gang van zaken./
164 Jennifer
I'm sorry, David, that sounds like management-speak to me. And I know you hate that.
Sorry David, dat is managerspraat./Dat haat je./
165 David
Yeah, I do. So...
Dat is waar./
166 Jennifer
Well, can you give me, let's say, five practical changes that you've actually made?
Kun je vijf veranderingen noemen?/
167 David
Five changes?
Vijf veranderingen?/
168 Jennifer
Mmm.
169 David
I'll give you three and then another two if you need them.
Ik noem er drie,/en als je meer wilt nog twee./
170 Jennifer
OK.
Oké./
171 David
Efficiency. Turnover. Profitability.
Efficiency. Omzet. Winstgevendheid./
172 Jennifer
I'm sorry David, that still sounds like management-speak.
Dat is nog steeds managerspraat./
173 David
No, because...
174 Jennifer
You hate that. Shall I tell you what Neil's done?
Daar heb je een hekel aan./Weet je wat Neil heeft gedaan?/
175 David
Can do.
- Toe maar./
176 Jennifer
He's frozen any wage increases. He's put a stop on all overtime. And any purchases of £100 or more now go through him.
Hij heeft de lonen bevroren./Geen overwerk meer./Inkopen boven de 100 pond/moet hij goedkeuren./
177 David
£100? I was going to make it 90, but £100 is all right.
100? Ik wilde er 90 van maken,/maar goed./
178 Jennifer
And he has started making redundancies, David.
En hij is/met de ontslagrondes bezig./
179 David
That's only four.
Dat zijn er maar vier./
180 Jennifer
Yeah. Whatever David. Have you made any redundancies?
- Wat jij wilt./Heb jij al iemand ontslagen?/
138
181 David
I gave a speech only this morning to my staff, assuring them there would not be cutbacks in this branch and there certainly wouldn't be redundancies, so…
Ik heb m'n mensen vandaag/toegesproken.../dat we niet bezuinigen.../en dat ik niemand ontsla./
182 Jennifer
Well, why on earth would you do that?
Waarom deed je dat?/
183 David
Why? Oh, don't know. A word that I think's important in management called morale.
- Weet ik niet./Ik denk omdat vooral het moreel/erg belangrijk is./
184 Jennifer
Well, surely it's going to be worse for morale in the long run when there are redundancies and you've told people that there won't be.
Uiteindelijk is het slechter/voor het moreel.../als er toch ontslagen vallen/ondanks wat jij gezegd hebt./
185 David
They won't remember.
Dat weten ze dan niet meer./
186 Donna
With your arms ...
187 Tim
Ah!
188 Donna
And then...
189 Ricky
That way?
Die kant?/
190 Tim
Ooh! Yeah, I know. Like a...
- Ja, ik weet het./
191 Ricky
Yeah. That is…
192 Jennifer
I'll be honest with you David, there have got to be cutbacks. Now, if you can't manage that yourself, that's why I'm your boss, I can do that for you.
David, je moet bezuinigen./Als je het zelf niet kunt,/zal ik dat voor je doen./
193 David
You're not the boss here, and you don't have to do anything for me 'cause I've already made cutbacks.
Ik heb al bezuinigd./
194 Jennifer
You've made cutbacks already?
Heb je al bezuinigd?/
195 David
Yeah. I didn't want to tell the staff, but you...
- Ja./Ik heb het m'n mensen niet verteld.../
196 Jennifer
Cutbacks where?
- Wat voor bezuinigingen?/
197 David
Staff.
Werknemers./
198 Jennifer
So there have been some redundancies?
- Er vallen al ontslagen?/
199 David
Yeah.
200 Jennifer
Well, have you let anyone go?
201 David
Yeah.
202 Jennifer
Who?
Wie?/
203 David
Julie.
Julie./
204 Jennifer
Where does Julie work?
- Waar werkt Julie?/
205 David
Warehouse.
Magazijn./
206 Jennifer
What does she do?
- Wat doet ze?/
207 David
She's a general warehouse in the warehouse. She was, so...
Ze is algemeen magazijn.../in het magazijn. Ze was.../
Heb je al iemand ontslagen?/
139
208 Jennifer
Well, I'm sorry David, I thought I knew everyone in the warehouse. What's her surname?
Ik dacht dat ik iedereen kende./Hoe heet ze verder?
209 David
Second name? Anderton.
Achternaam?/Anderton./
210 Tim
Um... It's signs that Gareth's made for the door of his office. He started off with "interrogation room". He went to "interrogation office", "investigation room" "investigation office", just for... He really lost it here. "Quiet please! Invetigation in process." hmm. "Silence. Interrogation." That's frightening. That's the one he's gone for. "Investigation and meeting room." Makes sense. My personal favourite though, has to be "Gareth Keenan investigates." So...
Dit Gareth z'n bordjes voor z'n kantoor./Hij begon met 'verhoorkamer'.Toen 'verhoorkantoor'./'Onderzoekskamer'./ 'Onderzoekskantoor'./ Hier draaft hij door:/'Stilte. Onderzoek in uitvoering'./'Stilte. Verhoor'. Dat is eng./Dit is het geworden./'Onderzoeks- en vergaderruimte'./Logisch./Mijn persoonlijke voorkeur:/'Gareth Keenan onderzoekt'./Dus.../
211 Gareth
There's a lot of um… I'm trying to work in here.
- Er is veel.../Ik probeer hier te werken./
212 Tim
Sorry, mate. How is the "invetigation" going?
- Sorry./Hoe verloopt het onderzoek?/
213 Gareth
Good. Very good.
- Goed./Heel goed./
214 Tim
Do you need a deputy at all?
Heb je nog een assistent nodig?/
215 Gareth
No. I've already got one.
Die heb ik al./
216 Tim
All right, Sheila?
Dag, Sheila./
217 Gareth
Keep it down.
Stilte, graag./
218 Jennifer
This is scary, David. Don't tie any more cash up in stock unless you have to. I'm sure you could lose more people from down here. Who's the foreman?
Dit is angstaanjagend, David./Vergroot je voorraden niet onnodig./Er kunnen hier meer mensen weg./Wie heeft de leiding?/
219 David
Taffy! Taffy! Glynn!
Taffy./Glynn./
220 Glynn
What?
- Wat?/
221 David
We all call him Taffy. The thing is though, no one's dispensable in my book. Yeah? We're like one big organism, one big animal. Yeah? The guys upstairs on the phone they're the mouth. The guys down here, the hands.
We noemen hem Taffy./Voor mij is iedereen onmisbaar./We zijn één organisme,/één groot dier./De jongens boven aan de telefoon/zijn de mond./De jongens beneden de handen./
222 Jennifer
Hmm. And what part are you?
En wat ben jij?/
223 David
Good question. Probably the humour.
- Goeie vraag./Ik denk de humor./
224 Gareth
With responsibility comes harsh things. Um... People look at me, they say, "Oh, he's tough.You know? He was in the army. He's going to be hard. By the book." But I am caring and sensitive. Isn't "Schindler's List" a brilliant film?
Verantwoordelijkheid noopt/tot harde maatregelen./Mensen zeggen over me:/Hij is hard. Hij zat in het leger./Hij is streng, volgens de regels./Maar ik ben zorgzaam en gevoelig./Was Schindler's List/geen briljante film?/
225 Donna
Um, yeah.
226 Gareth
See? People think a strong man can't be sensitive, but I'm thoughtful and caring...
Een sterke man zou niet gevoelig/kunnen zijn.../maar ik ben attent en zorgzaam./
227 Donna
Sorry, what's this about?
Waar gaat dit over?/
228 Gareth
About the picture of David with the two blokes jizzing on him.
De foto van David en die twee kerels/die hem namen./
229 Donna
Were they both jizzing on him? I thought he was sucking one of them off.
Namen ze hem allebei?/Ik dacht dat hij er eentje pijpte./
140 230 Gareth
I don't think... No, look, it's just jizzing.
Ik denk niet.../Nee hoor, kijk maar./
231 Donna
Well, I didn't do it.
Ik heb het niet gedaan./
232 Gareth
Good. Fine. Well, I'm glad we had this little chat. I don't want you to think of me as your boss...
Goed. Prima./Ik ben blij dat we even/gepraat hebben./Ik wil niet dat je me als je baas ziet./
233 Donna
Well, you're not.
Dat ben je ook niet./
234 Gareth
Well, I'm higher up than you, so I am. What I'm saying is, don't think of me as a boss, but know that I am.
Ik sta boven je./Denk niet aan me als je baas.../maar weet dat ik dat ben./
235 Donna
I don't think you are.
- Ik dacht het niet./
236 Gareth
I'm team leader, so I am. I'm higher up than you. (on the phone) Gareth Keenan. Right, seriously. Now, just stop it.
Ik ben groepshoofd, ik sta boven je./Gareth Keenan./Het moet nu echt afgelopen zijn./
237 Gareth
Yes. I've had office romances! Loads. Not here, another place I worked at. Good-looking ones as well. But they're not a good idea. Office romances. It's like shitting on your own doorstep. I've had loads of offers here, but I go, "No way." Distracting. And that's actually one of the major arguments against letting gay men into the army. I haven't got a problem with that - you know, a gay man's not going to put me off, I can handle myself - but if we were in battle, is he going to be looking at the enemy or is he gonna be looking at me going, "Oooh"? You know? "He looks tasty in his uniform." And I'm not homophobic, all right? Come around and take a look at my CD collection. You'll find Queen, George Michael, Pet Shop Boys. They're all bummers.
Ik heb affaires op het werk gehad./Massa's./Niet hier, ergens anders./Hele knappe ook nog./Het is nooit een goed idee./Relaties op je werk./Je gooit je eigen glazen in./Hier had ik ook aanbiedingen,/maar ik doe 't niet./Het leidt af. En daarom zouden homo's/niet het leger in mogen./Ik heb er geen problemen mee./Een homo weerhoudt mij niet./Ik red me wel./Maar als we strijden.../kijkt hij dan naar de vijand/of naar mij.../zo van 'oeh'?/'Dat ziet er lekker uit in uniform'./Ik ben geen homofoob./Kijk maar naar m'n cd-collectie. Queen,/George Michael, de Pet Shop Boys./Allemaal flikkers./
238 David
All right, lads? What are you watching?
Oké jongens, waar kijken jullie naar?/
239 Lee
It's my dog shagging his dog.
Mijn hond bespringt zijn hond./
240 David
Oh, yeah.
241 Jennifer
Glynn, I'm sure David's made it clear to you that you'll be losing personnel.
Glynn, David heeft gezegd/dat er mensen uit moeten./
242 Glynn
That's the funny bit. Look at his face!
Grappig. Kijk z'n snoet eens./
243 Jennifer
I'm sorry to interrupt, but do you think you can lose any more staff from down here? I know you lost Julie Anderton recently.
Sorry dat ik stoor, maar kun je/met minder mensen toe?/Julie Anderton is ook al weg./
244 Glynn
Oh! Who?
- Wie?/
245 David
Opening a can of worms there.
Gooi het maar op tafel./
246 Jennifer
Julie Anderton. David fired her.
- Julie. Ze is ontslagen./
247 Glynn
Never heard of her.
Nooit van gehoord./
248 David
Oh, loyalty. When someone goes from this organization, they no longer exist.
- Loyaal. Uit het oog, uit het hart./
249 Jennifer
She never existed, did she?
Ze bestaat niet, hè?/
250 David
Well...
141 251 Jennifer
You made her up.
Je hebt haar verzonnen./
252 David
You back me into a corner and I act ...
Je zette me klem, dus ik moest wel./
253 Jennifer
You lied.
Je loog./
254 David
It's a form of acting.
- Nee, ik acteerde./
255 Glynn
Can you take this upstairs? We're a bit busy.
Moet dit hier? We zijn bezig./
256 Jennifer
You don't look busy.
- Zo ziet het er niet uit./
257 Glynn
Do you want me to get busy, love?
Zullen we bezig gaan?/
258 Jennifer
Sorry?
- Sorry?/
259 Glynn
You'll be next. Gazza likes some posh.
Gazza houdt wel van kak./
260 Jennifer
A word with you now.
Ik wil je nu spreken./
261 David
Yup. That was out of order in a way.
- Ja./Dat ging iets te ver./
262 Glynn
Ooh!
263 David
No, I'm not in trouble.
Geen probleem./
264 Glynn
What she needs is a good shagging!
Ze moet nodig een beurt hebben./
265 David
I might bloody have to now. See you later.
Nu zal ik wel moeten./
266 Gareth
Now, then. You two. Dawn and Tim.
Oké, jullie twee./Dawn en Tim./
267 Dawn
What do you want, Gareth?
Wat wil je nou, Gareth?/
268 Gareth
I've been assigned to find out who did the picture.
Ik moet weten wie die foto/gemaakt heeft./
269 Tim
Right. Who was it?
Wie was het?/
270 Gareth
Well, I don't know.
Dat weet ik niet./
271 Tim
Will you get fired?
- Krijg je ontslag?/
272 Gareth
Will I get fired?
Hoezo?/
273 Tim
If you don't know who did it?
- Als je het niet weet./
274 Gareth
Well, I'm finding out right now. I'm doing investigations now. Was it one of you two?
Ik onderzoek het nu./Was het een van jullie?/
275 Dawn
Yes. Christ, you're good.
Ja. Wat ben jij goed./
276 Gareth
Was it?
- Echt waar?/
277 Dawn
No!
278 Gareth
I knew it wasn't. Listen, I'm not going to fire you if you know anything - because--
Dat wist ik ook wel./Ik ontsla je niet als je iets weet./
279 Tim
You couldn't.
- Dat kun je niet./
142 280 Gareth
I could.
Dat kan ik wel./
281 Tim
How would that work?
- Hoe dan?/
282 Gareth
I'd say, "You're fired. Clear your desk."
Ik zeg: Je bent ontslagen, eruit./
283 Tim
I would say you don't have the authority.
Ik zeg: Dat mag je niet./
284 Gareth
Not true, not true. Because in this room, I have special--
Niet waar. Want in dit kantoor/heb ik speciale.../
285 Tim
Needs?
Behoeften?/
286 Gareth
No. I am a special--
- Ik ben een speciaal.../
287 Tim
Needs child?
Behoeftig kind?/
288 Gareth
No, and that's not even funny. I won't have you fired because--
- Nee, niet grappig./Ik ontsla je niet, omdat.../
289 Tim
You couldn't.
- Je dat niet kan./
290 Gareth
Right, that's all.
Dat is alles./
291 Jennifer
I just can't believe their total lack of respect.
Ze hebben totaal geen respect./
292 David
Not only did they undermine you in an authoritative sense-- Come in, Gareth. but they left an image in my mind of you naked on all fours, being quite literally done doggie-style.
Ze hebben niet alleen/jouw autoriteit ondermijnd.../maar ze hebben mij met het beeld/achtergelaten.../van jou in je nakie op handen/en voeten, letterlijk op z'n hondjes./
293 Jennifer
David!
294 Gareth
Carry on.
Ga door./
295 Jennifer
What is it?
- Wat is er?/
296 Gareth
I've found the guilty man.
Ik heb de dader gevonden./
297 David
Have you indeed, Mr. Keenan?
Echt waar?/
298 Jennifer
Can this wait, David?
- Kan dit even wachten?/
299 David
Er, yeah, but if I tell you there's pornography, sexist pornography, - which I hate - going round the office, then do you want it to wait?
Maar als ik zeg dat er/seksistische porno.../in het kantoor circuleert,/wil je dan wachten?/
300 Jennifer
Pornography?
Porno?/
301 David
Who was it?
Wie is het?/
302 Gareth
Surprise, surprise. It was Tim.
- Verrassing. Tim./
303 David
Shame. Good man. How can you be sure?
Jammer, hij is een goeie./Hoe weet je het?/
304 Gareth
I found these pictures on his hard drive, downloaded from the Internet.
Deze foto's stonden op z'n computer./
143
305 David
After investigation, licensed by..., carried out by... Oh, no. Urgh. I don't want you to see this. I don't want to see this. That's worse than the one before. Oh, I hope there aren't any more. There are more. Well, he will have to be disciplined because when the disciplining has to be done, then the laughter stops for that amount of time, then continues, rehabilitation notwithstanding. It's everywhere. Oh. How did you find out?
- Na onderzoek.../in opdracht van..., uitgevoerd door.../Ik wil dit niet zien. Echt niet./Die is nog erger dan die vorige./Ik hoop dat er niet meer zijn./Wel dus./Er moeten disciplinaire maatregelen/genomen worden.../want als er maatregelen/genomen worden.../dan houdt het lachen op/en dan gaat het weer door.../ondanks rehabilitatie./Het is overal./Hoe kwam je erachter?/
306 Gareth
Well, I suspected the pictures probably came off the Internet, so I checked everyone's computer. There is a log of every web page you've visited. You just go to Internet Page and then hit History.
De foto's kwamen vast van internet,/dus ik heb alle computers gecheckt./Alle pagina's die je bezoekt/worden geregistreerd./Op internet ga je/naar 'geschiedenis'./
307 David
Well, it's not worth it ...
Laat maar zitten./
308 Gareth
It only takes a second.
- Het is zo gebeurd./
309 David
I don't even want to know how it's done, in a way. Can you delete the history thing on the computer? We should really.
Ik hoef niet te weten/hoe je dat doet./Kun je die geschiedenis ook/verwijderen? Dat is beter./
310 Jennifer
David, this is a meeting.
David, we zijn in vergadering./
311 David
Yeah, yeah. OK. That's all. Anything else?
Dat is alles. Nog iets?/
312 Gareth
Taffy phoned from the warehouse. He's got another funny video for you.
Taffy belde uit het magazijn./Hij heeft een leuke video voor je./
313 David
Thanks.
314 Jennifer
This is just one big boy's club, isn't it?
Dit is één grote jongensclub./
315 David
Not really, no.
- Niet echt./
316 Jennifer
Seedy little men with seedy little jokes. This morning, perfect example! I do not want to be put in that position again.
Ranzige mannen/met ranzige moppen./Vanmorgen bijvoorbeeld. Ik wil/zoiets niet nog eens meemaken./
317 David
Don't go down to the warehouse.
Ga dan niet naar het magazijn./
318 Jennifer
David, don't tell me where I can and can't go in my own company. You're on very thin ice as it is. You've already lied to me today. What's that? You lied to me becuase you don't have the guts to do your own job.
Ik kan gaan en staan/waar ik wil in m'n eigen bedrijf./Je begeeft je op glad ijs./Je hebt al gelogen./Wat is dat? Je hebt geen lef genoeg/om je werk te doen.
319 David
I don't have the guts?
320 Jennifer
If you're not man enough to do your job, I will do it for you.
Als jij niet mans genoeg bent,/doe ik het wel voor je./
321 David
Not man enough? Shh. OK. Come here. Busy at work?
Niet mans genoeg?/Kom eens mee./Druk aan het werk?/
322 Tim
Is there a problem?
Is er iets?/
323 David
Yeah. That.
- Ja, dit./
324 Tim
Sorry. What's that?
Wat is dat?/
325 David
Hmm. What's that. I don't know. A dirty picture with my head on it, as a sex object. And don't... You know I like a laugh, Tim. Porno laughs are not funny, OK? I'm disappointed.
Een vies plaatje met/mijn hoofd erop als lustobject./Je weet dat ik van een geintje hou,/Tim./Porno-geintjes zijn niet grappig./Begrepen?/Ik ben teleurgesteld./
144 326 Tim
You think I did this?
- Denk je dat dit van mij komt?/
327 David
Case closed.
Zaak gesloten./
328 Gareth
Shouldn't I say that as it was my investigation?
Dat moet ik toch zeggen?/Het is mijn onderzoek./
329 David
What annoys me is you obviously didn't do it in your own time.
Je hebt het duidelijk niet/in je eigen tijd gedaan.../
330 Tim
Whoa, whoa. Colombo here figured it out, did he? Well yeah, gee sorry, I must be guilty if you've got your best man on the case!
Ho, ho. Columbo heeft het/uitgevogeld, hè?/Ik moet wel schuldig zijn/als je beste man erbovenop zit./
331 David
Stop trying to be funny for one second, Tim, OK, and listen, OK? Stop taking advantage of my good nature. 'Cause I can be like every other boss in this situation. OK? Right? You're taking the piss and I'm getting sick of it.
Probeer nou even/niet leuk te doen.../en luister. En maak geen misbruik/van mijn aardigheid./Ik kan net zoals iedere andere baas/zijn in deze situatie./Jij belazert me/en daar word ik doodziek van./
332 Tim
David, it wasn't me, OK? It was your good friend Chris Finch. He used my computer. He said he was your best mate and you'd find it hilarious.
David, ik was het niet,/maar je goede vriend Chris Finch./Hij heeft mijn computer gebruikt./Hij zei dat je het lachen zou vinden./
333 David
Oh... No, it is. That was never in question. I think it's bloody hilarious. You're missing the...
Dat is het ook./Daar gaat het niet om./Ik vind het dik lachen. Je snapt er.../
334 Dawn
Are you going to apologise to Tim?
Ga je Tim je excuses aanbieden?/
335 David
I'll tell you about families. You don't have to, in a way. So...
Tegen familieleden/hoeft dat eigenlijk niet./
336 Dawn
Are you going to apologise to Tim?
Ga je Tim je excuses aanbieden?/
337 David
I have, in a way.
- Dat heb ik eigenlijk al gedaan./
338 Jennifer
Are you going to apologise now?
Ga je nu je excuses aanbieden?/
339 David
Yes! S-s-s sorry about that. You covered for it so well, as well. You were involved, but you covered. That's what I like about it.
Het spijt me./Je hebt hem zo goed gedekt./Je wist ervan, maar je dekte hem./
340 Dawn
Well, I really wouldn't want to be here when you bawl out Finchy.
Ik ben weg als je Finchy eruit gooit./
341 David
You won't be. It's not fair. Nor will you, so...
Je hoeft er niet bij te zijn./Jij ook niet./
342 Malcolm
So it's not offensive now it's Chris Finch?
Dus het is niet erg/als het Chris Finch is?/
343 David
Laten we daar niet/over gaan bakkeleien./Laten we ophouden/vrouwen te Let's not dwell on whether it is or isn't this or… Let's stop degrading women, please. Let's have a kleineren./Lach eens met ze,/in plaats van ze uit te lachen./Laten we lachen op het laugh with them, not at them. Let's have a laugh at work, with women at us. werk,/met vrouwen, die ons uitlachen./
344 Jennifer
So I trust you'll be telling Chris Finch he won't be working with us anymore?
Dus je zegt tegen Finch/dat hij hier niet meer werkt?/
345 David
Yeah that's a good idea - I'll get rid of a good rep because he's played a joke. Briliant.
Goed idee, iemand dumpen/vanwege een grap./
346 Jennifer
David, don't even start.
David, hou op./
347 David
No, no, fine. That's come from the top. Yeah. Hi, Chris. It's David here. Yeah. Bad news, mate. We're going to have to let you go. We can't use you any more. No... Yeah... 'Cause of the joke. No, I've got a sense of humour, but that was offensive towards women, and to be ho-- I can't tolerate that. I'll have to pass on...
- Prima./Orders van bovenaf./Hoi Chris, met David./Slecht nieuws, jongen./We moeten je laten gaan./We hebben je niet meer nodig./Vanwege die grap./Ik heb gevoel voor humor,/maar jij beledigde vrouwen.../en dat kan niet. Ik moet doorgeven.../
145
The time sponsored by Accurist will be 4.21 and 40 seconds.
De klok, die wordt gesponsord/door Accurist, geeft 4.21 uur aan.../en 40 seconden./
349 Jennifer
Pathetic.
Triest./
350 David
Is it?
- Vind je?/
At the third stroke, the time sponsored by Accurist will be 4.21 and 50 seconds.
De klok, die wordt gesponsord/door Accurist.../geeft 4.21 uur en 50 seconden aan./
Has anyone got the right time?
Heeft iemand de juiste tijd?/
348
351
Accurist voice
Accurist voice
352 Tim
146
Appendix 2.3: Transcription The Quiz (1.3)
No.
Dialogue
Dutch subtitle
Tim
I'm 30 today. My mum got me up really early this morning to give me my present. Yeah, this is it, actually. It's nice. I'm into... You know, I like ballet. I love the novels of Proust. I love the work of Alain Delon. And that's, I think, what influenced her into buying me Hat FM. I like the radio too. It's all right. I think it's quite a sweet present.
Vandaag word ik 30./M'n moeder haalde me al heel vroeg/uit bed om me m'n cadeau te geven./Dit is het. Ik ben er blij mee./Ik hou van ballet./Ik ben gek op de romans van Proust./Ik ben dol op de films/van Alain Delon./En volgens mij dacht ze daaraan/toen ze deze FM-pet gaf./Ik luister ook graag naar de radio./Best oké./Ik vind het een lief cadeau./
2
David
I have to make sure Finchy gets here on time for the quiz tonight. Seven o'clock on the dot. Six- Six years in a row. Winners. So... er you know... Finchy! Brent. All right? Don't forget tonight. Oh, here we go. Straight away. Go on, go on What's black and slides down Nelson's Column? Dunno. Winnie Mandela? Oh, yeah, that's good. No, it's not racist. I thought the column because he's-- Yeah. And she is black, and she's married. It's not even low. Seven. Cheers. Bye.
Ik moet zorgen dat Finchy/er vanavond op tijd is voor de quiz./Klokslag zeven uur./We winnen al zes jaar op rij, dus.../Finchy, met Brent. Alles oké?/Vergeet vanavond niet./Daar gaan we al. Ga door./Wat is zwart en glijdt/over Nelsons zuil? Geen idee./Winnie Mandela? Ja, heel leuk./Helemaal niet racistisch./De zuil omdat hij.../En zij is zwart, en getrouwd. Niks/ongepasts aan. Zeven uur. Ik zie je./
3
Joan
What you doing in so early? Shit the bed?
Wat ben jij vroeg./Heb je in bed gepoept?/
4
Tim
No. I haven't done that for weeks. No. My mum got me up at quarter to seven to give me a birthday present.
Nee, dat is me al/in weken niet gebeurd./M'n ma maakte me om kwart voor/zeven wakker voor m'n cadeautje./
5
Joan
Happy birthday.
Gefeliciteerd.
6
Tim
Thank you.
7
Joan
What did she get you?
Wat heb je/van haar gekregen?/
8
Tim
Something you can wear.
Iets om op te zetten./
9
Joan
The hat?
Die pet?/
10
Tim
The hat, yes. Well done.
- Klopt. Goed van je./
11
Tim
Hiya. All right?
Hoi. Alles oké?/
12
Dawn
Happy birthday.
Gefeliciteerd./
13
Tim
Thank you very much. Ta. Right.
- Dank je wel./Bedankt./
14
Dawn
Nice hat.
Leuke pet./
15
Tim
Thanks. Um... Good. That's all in order. (reading) What's the difference between your wages and your penis? I can find you lots of women who will blow your wages. What's that?
- Bedankt./Prima. Dat is allemaal in orde./Wat is het verschil tussen/je geld en je penis?/Vrouwen storten zich graag/op je geld./Wat moet dat voorstellen?/
16
Dawn
I don't know.
- Geen idee./
17
Tim
Why does that happen?
Wat moet ik daar nou weer mee?/
1
Speaker
147 Hou je dochters binnen./Finch is onderweg, voor de quiz./Chris Finch. Ja toch, Gareth?/
18
David
Lock up your daughters, as they say. Finch is on his way in for the quiz. Chris Finch. Innit, Gareth?
19
Gareth
Yeah.
20
David
Keep it that way and you'll only be able to use 20% of it when you get me and him together! Gareth, innit? Hat.
Je kunt er maar 20 % van gebruiken/als je mij en hem bij elkaar zet./Ja toch, Gareth?/Een pet./
21
Dawn
It's Tim's birthday.
Tim is vandaag jarig./
22
David
Oh, yeah?
- O ja?/
23
David
To be honest, I think you're mad to let me and Finchy on the bleedin' telly! We're like Morecambe and Wise when we get together. Actually, not Morecambe and Wise, because there's no straight man, so there's no dead wood. So, um I'm more sort of character based, and he's more of a gag man. I do gags as well. But I mean, we're good together by now. We sort of read each other's minds when we're doing a bit of stick. We just start cracking up, and people watching they go, "Why is that funny?" We tell them why and they go, "Yeah, yeah yeah. You are the best." It's their opinion.
Het is gekkenwerk om mij en Finchy/op tv te laten zien./We zijn net Morecambe en Wise./Nee, niet Morecambe en Wise,/want er is geen aangever./Ik ben meer van de typetjes,/en hij is meer een grappenmaker./Maar ik doe ook grappen. We doen/het goed samen, zo langzamerhand./We lezen elkaars gedachten/als we aan het geinen zijn./We komen niet meer bij, en anderen/zeggen: Wat is daar grappig aan?/Als we het uitleggen, zeggen ze:/Jullie zijn te gek./Dat vinden ze./
24
David
Happy birthday, by the way.
Gefeliciteerd./
25
Tim
Thank you.
- Bedankt./
26
David
Which one is it?
De hoeveelste?/
27
Tim
It's 30.
- De 30e./
28
David
The big 3-0. That's the worst one, isn't it? I know what you're thinking - "My youth's over." I mean, when I was 30, like you, I was going, "I'm in a rubbish job. My life's rubbish. Nothing good ever happens to me. When will it change?" But, you know - Things do change, so...
Dertig. Dat is de ergste, vind je niet?/Nu denk je vast: M'n jeugd is voorbij./Toen ik dertig was, vond ik/dat ik klotewerk deed./Mij overkomt nooit iets leuks./Wanneer gaat dat veranderen?/Er verandert echt wel wat.
29
Tim
Mmm.
30
David
And it could be worse. There's a neighbour of mine, Kelvin. He's 32 and he still lives with his parents.
Het kan/erger. Neem nou m'n buurman Kelvin./Hij is 32 en woont nog thuis./
31
Tim
I live with my parents.
Ik ook./
32
David
Cherish them. Really. 'Cause you will miss them when they're not around. Both um... Both of mine are dead.
- Geniet er maar van./Je zult ze missen als ze er niet/meer zijn. De mijne zijn al dood./
33
Tim
Oh.
34
David
So er... Dad isn't dead. He's in a home. So as good as. Shot to bits. He was... Oh, God. Called out the other night - three a.m.- by the nurses. He was convinced there was a Japanese sniper on the roof of Debenhams.
M'n vader is niet dood. Die zit/in een tehuis. Zo goed als dood dus./Zo dement als 'n deur. Laatst riep/hij om 3 uur 's nachts de verpleging./Hij dacht dat er een Japanse/sluipschutter bij Debenhams zat./
35
Gareth
Does that look into his room?
Kijkt dat op z'n kamer uit?/
36
David
The back of the roof looks directly into his room, yeah.
- De achterkant van het dak wel./
148 37
Gareth
Good spot. That's where I'd be if I had to take someone out that lived there.
Goede plek. Die zou ik kiezen/als ik iemand moest omleggen./
38
David
And I had to go up to the room with him, and go, "Look, Dad, there's no Japanese sniper."
Ik moest gaan zeggen/dat er geen sluipschutter zat./
39
Gareth
So, who was it? Who was up there?
Wie zat er dan op het dak?/
40
David
No one was up there. It was his imagination. There was just - there was no one there.
- Niemand. Het was z'n verbeelding./
41
Gareth
Lucky. That's lucky. If there was a sniper up there, you wouldn't see him. You'd be like, "Oh oh... No one there."
Gelukkig maar,/want een sluipschutter zie je niet./Dan denk je: Er zit niemand.../
42
David
Anyway, he is a vegetable now. And that's something we've all got to look forward to, so... Happy birthday. See you later.
Hij is nu een kasplantje/en dat staat ons allemaal te wachten./Gefeliciteerd nog en tot straks./
43
Lee
Wotcher. Would you uh … get him over.
Roep jij hem even?/
44
Dawn
Tim? Got you a pressie.
- Tim, cadeautje voor je./
45
Tim
Oh, thanks a lot. Thank you.
46
Lee
Happy birthday, mate.
47
Tim
Thanks very much, Lee. You're a good man. This is exciting. This is big. Big and exciting. It's a big, exciting, huge inflatable cock. God.
48
Lee
You can sit on that if you like.
49
Tim
Yes.
50
Lee
It's not just from me mate, it's from Dawn as well
51
Tim
God.
52
Dawn
God, you haven't got one already, have you?
Je hebt er toch nog geen?/
53
Tim
Um, no. You can never have too many anyway, I think.
- Daar heb je er nooit genoeg van./
54
Dawn
And you do prefer it to the money?
Had je niet liever geld gehad?/
55
Tim
Yeah, yeah. I'd only have spent it on a huge inflatable cock, Dawn. That is...
- Dan koop ik toch 'n opblaaspiemel./
56
David
Stop playing with it! Did you get him that? Brilliant. Oh, God, look at that.
Zit niet te spelen. Hebben jullie hem/die gegeven? Geweldig, zeg./
57
Gareth
Let's have a look.
58
David
Doing, doing! Ex-sperminate! Oh, no, no. Hello, Austin Powers. I'm the naked Mini Me.
59
Gareth
I've got one.
60
David
Thomas the Tank Engine rolled into town!
Thomas de Trein rolt de stad binnen./
61
Gareth
Dickhead.
- Eikel./
Hartstikke bedankt./Lee, je bent een goeie vent./Wat spannend./Het is groot en spannend./Het is een grote, spannende,/opblaaspiemel./
Hij is niet alleen van mij,/maar ook van Dawn./
Ik zal jullie spermificeren./Dag, Austin Powers. Ik ben Mini Me./
149 Ringo Starr. Van wie is die tekst nou?/Je moet wel tekst klaar hebben/als je hem pakt. Hij is geweldig./Gefeliciteerd.
62
David
Ringo Starr. Whose Line Is It Anyway? Don't grab it unless you've got one ready 'cause it slows you down. Oh, that is brilliant. Happy birthday.
63
Tim
Thank you.
64
David
Remember, you're only as old as the woman you feel.
Je bent zo oud/als de vrouw die je betast./
65
Gareth
I say that sometimes.
Dat zeg ik soms./
66
David
I just heard you the other day and I thought "ah, he's using one of my catch phrases." And I don't mind influencing a young comedian - you're not a comedian - but, you know, I usually credit someone if I use their comedy.
- Het is één van m'n vaste grappen./Ik beïnvloed graag cabaretiers./Ik vermeld meestal de bron erbij./
67
Gareth
What ones of yours do I use?
Wat gebruik ik dan van jou?/
68
David
Same shit, different day. That's mine. Ex-squeeze me, instead of excuse me.
- Zelfde zooi, andere dag./'Sorrei', in plaats van 'sorry'./
69
Tim
Oh, wank you very much.
'Bedankt, ouwe rukker.'/
70
David
Yeah. I invented that one. Say that to a waiter or something. Wank you very much! And here's one, right. Witnesses that I started this one. Right? If someone's unlucky, you go, "I'm not saying he's unlucky, but if he fell in a barrel full of tits, he'd come up sucking his own thumb."
- Die is van mij./Dat moet je eens/tegen een ober zeggen./Jullie zijn getuige van deze vondst./Van iemand die pech heeft, zeg je:/Als hij in een ton vol tieten valt,/zuigt hij nog op z'n eigen duim./
71
Gareth
Suck tits? I thought you sucked knobs.
Je zuigt toch alleen aan pikken?/
72
David
Do ya? Got you! They're cracking up. Oh, God...
- O ja?/Ze liggen dubbel./
73
David
Yeah. There are limits to my comedy. There are things that I would never laugh at. Um... The handicapped because there's nothing funny about them. Or any deformity. Yeah? Um... It's like when you see someone look at a little handicapped and go, "Oh, look at him. He's not ablebodied. I am. I'm prejudiced." Yeah? Well, at least the little handicapped fella is able-minded. Unless he's not. It's difficult to tell with the wheelchair ones. So just give generously to all of them.
Ik ken m'n grenzen. Er zijn dingen/waar ik nooit de draak mee steek./Gehandicapten,/omdat daar niets grappigs aan is./Of welke misvorming dan ook./Stel, je ziet een gehandicapte/en je zegt:/'Moet je hem zien. Hij is niet valide.'/Dat is een vooroordeel./Die minder valide heeft tenminste/een gezonde geest./Als ie in een rolstoel zit,/weet je het soms niet. Geef gul./
74
Dawn
Guys? Don't forget to say happy birthday to Tim. And, also, we'll be going out for drinks later.
Vergeet Tim niet te feliciteren./We gaan vanavond samen borrelen./
75
David
Not tonight. Not tonight.
Vanavond niet.
76
Dawn
Why?
77
David
Quiz.
Dan is de quiz./
78
Dawn
Well, we can go out before. When does it start?
- En daarvoor? Hoe laat begint die?/
79
David
Seven. Always. So…
Altijd om 7 uur./
80
Dawn
OK. Drinks at six. Did you get him a gift?
- Dan gaan we om 6 uur./Heb je een cadeau?/
81
David
No. But it starts at seven.
- Nee. Het begint om 7 uur./
82
Dawn
I know. Well, OK. Drinks at six. Shall I get him a card from you?
Weet ik. Dan borrelen we om 6 uur./Zal ik een kaart kopen namens jou?/
150 83
David
Whatever. Finch is coming down, so got be ready to go at seven.
Finch komt. We gaan om 7 uur weg./
84
Dawn
Drinks at six.
- We borrelen om 6 uur./
85
David
But starts at seven.
86
Dawn
Drinks at six.
87
David
Studying? Quiz. Are you a team again? Just three of you, is it?
88
Employees Yeah.
89
David
Are you excited? First big quiz.
Heb je er zin in?/
90
Ricky
Yeah, looking forward to it. It's not the first though. I er... was on "Blockbusters".
- Nou en of./Het is niet m'n eerste keer./Ik heb aan Blockbusters meegedaan./
91
David
What, on the telly?
Op tv, bedoel je?/
92
Ricky
Yeah.
93
David
Were you the two or by yourself? If there's two of you, it's cheating a bit.
94
Ricky
Yeah. Just one.
95
David
Just one. Did you win anything or?
Nog iets gewonnen?/
96
Ricky
Yeah. Two Gold Runs. Camping equipment, Walkman.
- 2 gouden dukaten en een walkman./
97
David
I usually get five, to be honest.
Ik heb er meestal vijf./
98
Ricky
Five Gold Runs? But you know you have to answer loads of questions before--?
- Gouden dukaten?/Daarvoor moet je veel vragen goed/beantwoorden.
99
David
Yeah, I do.
Blokken jullie voor de quiz?/Werken jullie weer samen?/Alleen jullie drieën?/
Was je met z'n tweeën of alleen?/Met z'n tweeën is net vals spelen./
100 Ricky
… you get to the -- You'd get them all?
Dat lukt je ook?/
101 David
Give me one of the ones you had. Fingers on the buzzers.
Doe eens één van jouw vragen./Vinger aan de knop./
102 Ricky
Um... OK. Right. Which Y was... Which Y had a hit single with "The Only Way Is Up" - and sang with Plastic Population?
Welke Y had er een hit met de single/The Only Way Is Up.../samen met de Plastic Population?/
103 David
Yazoo!
- Yazoo./
104 Ricky
Yazz.
Nee, Yazz.
105 David
Yup.
106 Ricky
You said Yazoo.
Jij zei Yazoo./
107 David
I know. What's your cut-off point though? Yazz.
- En waar breek je dat af? Na Yazz./
108 Ricky
But you said Yazoo first. You would have got it wrong on Blockbusters.
Toch zei je Yazoo en dus is het fout./
109 David
I wouldn't have said that on Blockbusters, so ...
Maar dat had ik nooit gezegd./
151 110 Ricky
Well, you would have been all right, then.
- Dan is het geen punt./
111 David
I'll give you one, a proper one.
Ik heb er een voor jou./
112 Ricky
Do you want a hand?
Moet ik je helpen?/
113 David
No, no.
114 Tim
Are you getting it?
Kun je het horen?/
115 Dawn
Yeah. It's a tiny bit loud.
- Ja. Het is wel wat hard./
116 Tim
Sorry.
117 Dawn
Can I have it when you've finished?
118 Tim
Yeah, you can have it.
119 Dawn
When will you be finished?
Wanneer ben je ermee klaar?/
120 Tim
I don't know when I'll be finished. Maybe we could share it.
Geen idee. We kunnen hem delen./
121 Dawn
OK then. I'll just have it on weekends!
- Neem ik 'm wel in de weekends./
122 Tim
OK.
123 Ricky
Is this going to take…
124 David
No, it was going to be what D, and the answer was going to be Dostoyevsky. I couldn't think of the question.
Ik wilde vragen: Welke D.../Het antwoord zou Dostojevski zijn./Ik kon niet op de vraag komen./
125 Ricky
All right. OK. What D was a Russian dissident who wrote "Crime and Punishment"?
Welke Russische dissident/schreef Schuld en boete?/
126 David
Would you have got that?
Zou je die goed hebben?/
127 Ricky
I'd have had a guess.
- Ik zou gokken./
128 David
You don't get prizes for guessing. Unlucky. See you later.
Met gokken win je geen prijzen./Jammer, joh. Tot straks./
129 Gareth
You can't come in here. Quiz officials only.
Alleen quizorganisatoren/mogen hier binnen./
130 Tim
What are you doing?
131 Gareth
I'm the quizmaster, I'm doing the questions. Get out now or I'll report you, it's as simple as that.
Ik stel de vragen op./Eruit of ik ga dit melden./
132 Dawn
Are these the questions?
Zijn dit de vragen?/
133 Gareth
Do not look at those! Right, diqualification. You're both disqualified.
- Niet kijken. Jullie zijn gediskwalificeerd./
134 Tim
Gareth, we're having an argument. We need your help.
We hebben je hulp nodig/bij een discussie./
135 Gareth
Yeah, not interested.
Dat wil ik niet./
136 Tim
Well, no, listen 'cause you can help.
- Je kunt ons helpen./
Mag ik hem hebben na jou?/
152 137 Gareth
No. I don't want to help, I haven't got time to help. All right?
Daar heb ik geen tijd voor./
138 Tim
It's about the army.
Het gaat over het leger./
139 Gareth
Go on, then, quick.
- Snel dan./
140 Tim
Thank you. I was wondering if a military man like you - a soldier - could you give a man a lethal blow?
Kan een oud-soldaat zoals jij.../iemand 'n dodelijke klap toedienen?/
141 Gareth
If I was forced to. I could if it was absolutely necessary. If he was attacking me.
Als het echt niet anders kan/en hij me aanvalt./
142 Tim
If he was coming really hard.
Stel, hij valt je echt aan./
143 Gareth
Yeah. If my life was in danger, yeah.
- Als m'n leven in gevaar is, wel./
144 Dawn
And do you always imagine doing it face to face with a bloke or could you take a man from behind?
Val je 'm dan van voren aan/of kan het ook van achteren?/
145 Gareth
Either way is easy.
Dat kan allebei./
146 Dawn
Either way. And so you could do a man from behind?
- Jij kunt iemand van achter pakken?/
147 Gareth
Yeah.
148 Dawn
Yeah. Lovely.
149 Ricky
It's got an error - an offline error 324. So I'm going to have to take the paper out. That comes out.
150 David
Hiya.
151 Ricky
Hiya. Do you know about these? I'm trying to fix the -- It's got an offline 243 error and I just --
152 David
No.
153 Ricky
I don't really know what that is, so...
Ik weet niet wat dat betekent./
154 David
You know we were talking earlier about Dostoyevsky, weren't we?
Weet je nog dat we het over/Dostojevski hadden?/
155 Ricky
Oh, yeah?
156 David
Fyodor Mikhailovich Dostoyevsky. Born 1821. Died 1881.
157 Ricky
That's right.
158 David
Just interested in that stuff about him being exiled in Siberia for four years, wasn't it.
Ik vroeg me iets af/over z'n ballingschap in Siberië./
159 Ricky
Well, I don't know much about that. I didn't cover it, really.
Daar weet ik eigenlijk niets van./
160 David
All it is is that he was a member of a secret political party, and they put him in a Siberian labour camp for four years, so you know.
Hij was lid van een geheime partij en/daarvoor kreeg hij 4 jaar werkkamp./
161 Ricky
Hang on. I read about it in er... He wrote "House of the Dead". I think he put all his memoirs in that. Didn't he?
Daar heb ik iets over gelezen in/Aantekeningen uit het dodenhuis./Daar staan toch al z'n memoires in?/
Hij geeft een fout: Offline 324./Ik moet het papier eruit halen./Dat gaat eraf./
Weet jij hier iets van?/Hij geeft een offline-243-fout.
Fjodor Michajlovitsj Dostojevski./Geboren 1821, gestorven 1881./
153 162 David
Yup. Oh, well.
163 Tim
So you've dug your foxhole, and you've pitched your tent they've discovered your camp, and you're lying there and they've caught you with your trousers down, and they've all entered your hole without you knowing.
Je hebt je mangat gegraven/en je puptent opgezet./Ze hebben je kamp ontdekt en ze/vinden je met je broek op je enkels./Ze penetreren ongemerkt je gat./
164 Gareth
No, because I'd be ready for them.
- Nee, want ik heb ze opgewacht./
165 Tim
You'd just be lying there waiting for it?
Lig je ze gewoon op te wachten?/
166 Gareth
Yeah. Well, no. It's more likely that I wouldn't be there if I knew they knew where I was. I'd be hiding, watching the hole, using it as a trap.
Ik zou er niet zijn, als ik wist/dat ze wisten waar ik was./Ik zou me verstoppen/en m'n gat als val gebruiken./
167 Tim
So, you'd be using your hole as bait?
Dus je zou je gat gebruiken/om ze te lokken?/
168 Gareth
Yeah.
169 Dawn
You're 30, and you're getting off on pretending Gareth's gay.
170 Gareth
What?
171 Tim
What?!
172 Gareth
I think she's been on the waccy baccy!
173 Tim
Oh whassup?
174 Ricky
It's very complicated. You open that, put that in there, put that down there, and you...
En jij bent 30 en je vindt het leuk/om te doen of Gareth homo is?/
Ze heeft zeker gesnoven./
Het is lastig. Je doet de klep open./Leg het neer, doe de klep dicht.../
175 David
Hiya.
176 Ricky
...push the green button.
en je drukt op de knop./
177 David
Were we talking earlier about Dostoyevsky's "House of the Dead"?
We hadden het net/over het Dodenhuis./
178 Ricky
Yeah. I think we mentioned it, yeah.
In het voorbijgaan./
179 David
Which he wrote in 1862. I was just going to say that, of course, it wasn't his first major work.
- Dat schreef hij in 1862./Dat was natuurlijk niet/z'n eerste grote werk./
180 Ricky
Wasn't it?
181 David
No. His first major work was "Notes from the Underground," which he wrote when he got back in St Petersburg in 1859.
182 Ricky
Really?
183 David
Yup. Definitely.
184 Ricky
Well, of course, my favourite is "The Raw Youth". It's basically where Dostoyevsky goes on to explain how science can't really find answers for the deeper human need.
Mijn lievelingsboek is De jongeling./Daarin legt hij uit dat de wetenschap/de menselijke noden niet lenigt./
185 David
He does.
Dat is ook zo./
Nee, dat was Aantekeningen/uit het ondergrondse uit 1859./
154 186 Lee
It ain't going to be a flashy wedding.
Het wordt geen protserig huwelijk./
187 Dawn
Heaven forbid.
- God verhoede./
188 Lee
No. It'll just be a registry office. You know, save money. And then what we''l probably do is move in with my mum for a few months.
We doen 't voor de gemeente en dan/trekken we tijdelijk in bij m'n moeder./
189 Employee
Save on rent.
Om huur uit te sparen?/
190 Lee
Yeah. Let Dawn get a few kiddies under her belt. Which'll be nice because then my mum can look after them. And then you'll probably get a part-time cleaning job or something.
- Dan kan Dawn kinderen krijgen./M'n moeder zorgt voor ze en jij neemt/een baantje als schoonmaakster./
191 Dawn
Got to dream a dream.
Iedereen heeft zo z'n droom./
192 Lee
What's that?
193 Tim
No, I was just laughing at what Dawn said.
Ik moest lachen om wat ze zei./
194 Lee
Because you're such a big high flyer?
- Omdat jij zo'n topfunctie hebt?/
195 Tim
No. I was laughing at her joke, that's all.
Ik moest lachen om haar grapje./
196 Lee
When you start getting a life, mate, you can take the mickey out of ours.
- Doe maar als je zelf 'n leven hebt./
197 Tim
Me? I'm not having a go, I'm just...
Ik zit je niet te jennen./
198 Lee
No, it doesn't matter. I don't mean to have a go at you. You're fine. You're fine all right? No worries.
- Geen punt./Ik heb het niet op jou gemunt./
199 Tim
We've all had a coffee.
200 Lee
No worries.
Maak je geen zorgen./
201 David
Is it questions? Is it an intro? What I'm saying is... Oi! Finchy!
Is dat een vraag of de inleiding?/
202 Finch
When's it due?
Wanneer is de bevalling?/
203 David
Here we go. Fasten your seatbelts.
- Maak je borst maar nat./
204 Finch
There's not a seatbelt big enough for you, you fat bastard!
Daar is de jouwe te groot voor./
205 David
All bought and paid for, innit?
206 Finch
I'm not saying he's fat, but when he jumps in the air, he gets stuck. I'm David Brent. I'm David Brent.
Hij is niet dik, maar als hij springt,/blijft hij hangen./Ik ben David Brent./
207 David
Jim Carrey on acid!
- Jim Carrey met ecstasy op./
208 Finch
You know what they say, there's none so queer as folk. Or David Brent.
Mensen zijn rare lui,/David Brent voorop./
209 David
Oh, speak to yourself.
Wat je zegt, ben je zelf./
210 Finch
Spit it out as your boyfriend said last night!
- Dat zei je vriend vannacht ook./
211 David
I was just going to say it back to you.
Dat wou ik net zeggen./
155 212 Finch
Yeah, but I don't have a boyfriend. You do.
- Maar ik heb geen vriend./
213 David
Can't get a bloody word in edgeways!
Ik kom er niet tussen, kletsmajoor./
214 Finch
A what?
215 David
Ooh, matron!
216 Finch
You can have that one, lad.
- Punt voor jou, maat./
217 David
Oh, that one always... Oh, God. Finchy.
Altijd hetzelfde./
218 David
Come and check out the opposition. Ricky, this is Chris.
Even naar de tegenstander kijken./Ricky, dit is nou Chris./
219 Ricky
Hello, mate.
220 Finch
Chris Finch. I heard about "Blockbusters". You'll need more than that tonight. I heard about you and Dostoyevsky. I read a book a week, so a question like that won't catch me out. While you're down there, love!
- Ik hoorde al van Blockbusters./Daar red je het niet mee,/jij en je Dostojevski./Ik lees een boek per week./Mij pak je niet./Als je toch bezig bent.../
221 David
Close, but harmless.
- Hij is onschuldig./
222 Finch
Give me half hour with her, I'll be up to my nuts in guts.
Geef me een half uur met haar./
223 Tim
Sorry. Exactly which books do you read every week?
Wat voor boeken lees je dan?/
224 David
Science, Science and nature. Everything on the Trivia board. All those different subjects. In books. This lot sound like they haven't read a book between them! College boys.
- Over wetenschap en natuur./Boeken over alles/wat ze bij Triviant vragen./Ze hebben nog nooit/een boek gelezen, dit zootje./
225 Finch
Bloody students. Waste of space. "Oh, I don't do anything all day, but I need more money to do it."
Suffe studenten. Nergens goed voor./Ik doe geen klap,/maar ik heb meer geld nodig./
226 David
Political.
227 Ricky
Yeah. I had a job when I was studying, so...
Ik had een baan naast m'n studie./
228 Finch
Yeah, right! And what was your job? Professor in charge of watching "Countdown" every day?
En wat voor baan dan wel?/Hoogleraar Countdown kijken?/
229 David
That's clever and funny. I bloody hate him. That's why we get on. Innit? Similar.
Bij de pinken en grappig./Daarom mogen we elkaar./We lijken op elkaar./
230 Gareth
Can I have everyone's attention, please? Welcome to the seventh annual Wernham-Hogg quiz night. Current champions are this team here - The Dead Parrots.
Mag ik jullie aandacht?/Welkom bij de zevende/Wernham Hogg quizavond./De huidige kampioen is dit team hier:/De dode papegaaien./
231 Finch
Fit enough to fly.
Fit genoeg om te vliegen./
232 David
He sleeps.
233 Finch
If you hadn't nailed him to the perch, he'd be pushing up the daisies!
Als hij niet vastzat,/lag hij nu onder de groene zoden./
234 Gareth
Monty Python. Question one. All right
Monty Python./Vraag één./
235 Dawn
Hang on. David …
- Wacht even./David, we hebben geen.../
156 236 Gareth
We haven't got--
237 David
Oh, yeah. Tim's birthday today. He's 30 years young - as I always say. So what better way to celebrate than a battle of wits?
O ja. Tim is vandaag jarig./Hij is 30 jaar jong geworden./Hoe vier je dat beter/dan met een leuke quiz./
238 Dawn
Speech!
Speech./
239 Gareth
OK. Question one. In the mid 1960s, the U.S. Army replaced all existing infantry guns with the M-16 rifle, and which fixed-rate, repeat-fire machine gun?
Goed, vraag één./Halverwege de jaren '60.../verving het Amerikaanse leger de/bestaande geweren door de M-16.../en welk ander machinegeweer?/
240 Tim
You what?
Pardon?/
241 Gareth
Just write the answer if you know it.
- Schrijf het op als je het weet./
242 David
Next.
Volgende./
243 David
We've been quiz champions for six years now. We nearly lost it two years ago, unjustly because Gareth was quizmaster then and the question was, what type of alien is Mr Spock? Everyone put Vulcan, which is incorrect. Mr Spock is half Vulcan, half human, OK? And Gareth went, "Oh, look just everyone gets one point," but I said, "No no, everyone does not get one point! Carpet Munchers don't get a point, Dr Wankenstein doesn't get a point. Steven Hawking's Football Boots don't get a point. I do." I had to go home to get a book to prove it. And they went, "Oh, yeah, you're right again. Well done. You've won. Sorry". No apologies necessary. Let's get on with the quiz. Remember. Learn.
We zijn nu al zes jaar kampioen./Eén keer verloren we bijna,/onterecht./Gareth was quizleider/en de vraag was:/Wat voor soort buitenaards wezen/is Mr Spock?/Iedereen antwoordde Vulcan,/maar dat is fout./Mr Spock is half Vulcan, half mens./Gareth wilde iedereen 'n punt geven,/maar ik zei: Niemand krijgt een punt./De Tapijtkauwers niet,/Dr Wankenstein evenmin. Alleen ik./Moest ik thuis een boek halen/om het te bewijzen./En ze zeiden: Goed, je hebt weer/gelijk. Goed gedaan. Sorry./Verontschuldigen hoeft niet.Door met de quiz./Onthoud het en leer ervan./
244 Gareth
OK. Question two. In the song "19" by Paul Hardcastle, he told us that the average age of a soldier in the Vietnam war was 19. Hardcastle also told us the average age of a soldier in the Second World War. What was it?
Vraag twee./In 19 van Paul Hardcastle.../vertelt hij dat de gemiddelde soldaat/in Vietnam 19 was./Hij zegt ook hoe oud de gemiddelde/soldaat tijdens WO II was. En dat was?/
245 Tim
Gareth, are all these going to be about war?
Gaan alle vragen over oorlog?/
246 Gareth
No. I got loads of - I got one on tennis, one on the Suez Canal. Loads. OK. Question three. Which canal links the Mediterranean with the Red Sea?
Nee, ik heb van alles.../Een vraag over tennis,/één over het Suezkanaal. Van alles./Vraag drie./Welk kanaal verbindt de/Middellandse Zee met de Rode Zee?/
247 Gareth
Oh, I don't want to talk about Mr Spock. That was all sorted out then. OK? Questions were asked. Certain parties were unhappy. The questions were solved. End of discussion. All right? Don't rake up old graves. I don't want to go through all that again about whether he's a Vulcan or a human or vice versa. All I will say is what I said at the time. OK? Look at his ears.
Ik wil het nu echt niet meer/over Mr Spock hebben./Er werden vragen gesteld./Sommigen waren niet blij./Het werd opgelost. Einde discussie./Geen oude koeien, graag./Ik wil niet weer een discussie over/of hij nou Vulcan of mens was./Ik zeg wat ik toen ook al gezegd heb:/Kijk naar z'n oren./
248 David
How could you confuse Howard Jones with Nick Kershaw? Shame on you. Nick Kershaw's the little bloke --
Hoe kon je Howard Jones met Nick/Kershaw verwarren? Ga je schamen./Nick Kershaw is dat ventje.../
249 Finch
Howard Jones is the one with the ...
- Howard Jones heeft die.../
250 Ricky
That round's about old entertainment. It's about old entertainment. It's all about like …like late '60s, early '70s. Which insect produces gossamer?
Die ronde ging over amusement/uit het verleden./Eind jaren '60, begin jaren '70./Welk insect maakt rag?/
157 251 Tim
Sshh! Come on, man.
- Stil eens even./
252 Ricky
Which insect produces gossamer?
Welk insect maakt rag?/
253 David
Well, what is it?
- Zeg het maar./
254 Ricky
I want you to answer, Finchy!
Ik wil dat jij antwoordt, Finchy./
255 David
What is it?
256 Ricky
It's a spider.
Een spin./
257 Finch
A spider is an arachnid and not an insect.
Een spin behoort tot de arachniden/en niet tot de insecten./
258 David
Ha, yes!
259 Finch
Six legs or eight legs. Thank you. Yeah? Am I right?
Bedankt. Heb ik gelijk?/
260 David
Two out. Shame on you. Ha! Eight legs, six legs. Eight legs, six legs.
- Twee uit. Schaam je./Acht poten, zes poten./
261 Finch
You two just need to spend a few a terms at the university of life.
Volg wat vakken/aan de universiteit van het leven./
262 David
A spider is not an insect officially. Thank you.
Een spin is officieel gezien/geen insect./
263 Ricky
We'll see, we'll see, we'll see. We'll see when this is over.
Dat zullen we nog wel eens zien./
264 David
People go, "Why is it important, a question about Mr Spock?" I go, "It's like saying, I've got a new pedigree dog breed."It's half Alsatian, half labrador". I go to Crufts, "Can I have this dog in the labrador section?" "No." "Why?" "Because it's not a labrador." "Correct." "Can I enter it in the Alsatian section?" "No. For the same reasons." "Now, get that dog out of my sight." "Thanks, I will. You've proved my point." And that's Crufts.
Mensen zeggen wel: Wat maakt/het uit, zo'n vraag over Mr Spock?/Alsof je zegt dat je/een nieuwe rashond hebt:/Half Duitse herder, half labrador./Als ik hem dan als labrador mee wil/laten doen aan een hondenshow.../mag het niet. Omdat het/geen labrador is. Zo is het./Mag hij dan meedoen als herder?/Nee./Rot op met die hond./En weg ben ik, m'n gelijk bewezen./Zo gaat dat bij een hondenshow./
265 Gareth
Who had a hit single with "Don't Speak"?
Wie had een hit met Don't Speak?/
266 David
No Doubt. I thought it might be No Doubt.
No Doubt. Ik dacht al/dat het No Doubt was./
267 Finch
Why did you say Four Non Blondes, then?
Waarom zei je dan Four Non Blondes?/
268 David
I got Hooty the Blowfish, so let's move on.
Ik wist Hooty and the Blowfish,/laten we verder gaan./
269 Tim
East... East Side. Oi.
East... East Side./
270 Dawn
I didn't know.
Ik weet van niks./
271 Tim
You do know.
272 Dawn
Didn't know. Missed.
Niks gezien./Mis./
273 Tim
Did I?
- Echt?/
274 Finch
I said No Doubt. That was the first thing that came in. Then you're putting this thing in my mind. Poison with your bloody Four Non Blondes. Eh?
Ik zei No Doubt./Ik wist het meteen./Maar nu breng jij/me aan het twijfelen./Je vergiftigt me/met Four Non Blondes./
275 David
Both good groups.
Allebei goede groepen./
158 276 Finch
Just don't guess. Think logical. Think.
Niet raden./Denk gewoon logisch na./
277 David
There's no logic to music, it's art.
Muziek is niet logisch. Het is kunst./
278 Tim
Is this the first time you've lost?
Is dit de eerste keer dat je verliest?/
279 Finch
We're not losing. The right questions aren't coming up.
Het zijn gewoon geen goede vragen./
280 Ricky
It's all part of a quiz, isn't it? Isn't it supposed to be random?
Een quiz is toch willekeurig?/
281 Finch
Yeah well, randomly awful. I'll tell you what, next time, I'll choose the questions.
Een willekeurige rotzooi./Ik kies de vragen wel./
282 David
Good quizmaster.
- Goede quizleider./
283 Finch
Choose a topic.
Kies maar een onderwerp./
284 Ricky
Sport.
- Sport./
285 Finch
What's the capital of Iceland?
Wat is de hoofdstad van IJsland?/
286 Ricky
Reykjavik.
- Reykjavik./
287 Tim
Is that still a sport?
Is dat een sport?/
288 Finch
All right. You. Capital of Borneo?
- Jij dan. Hoofdstad van Borneo?/
289 Tim
I don't care.
Kan mij wat schelen./
290 Finch
See? It doesn't have one. You didn't get any of those.
- Dat heeft geen hoofdstad./Die wist je niet./
291 David
Yeah that was -- And they were random, yeah.
Die waren hartstikke willekeurig./
292 Ricky
It wasn't really random.
- Niet echt./
293 David
Hello, Doctor. He's asking after me? No. There's no way I can get away now. I'm snowed under at work. Can't you give him something to help him sleep? OK. Yeah. OK. Thanks. Oh... You don't know who sang "In the Summertime" do you? Mungo Jerry. OK. Yup, yup. Cheers.
Hallo, dokter./Vraagt hij naar me?/Nee. Ik kan nu echt niet weg./Ik kom om in het werk./Kunt u hem geen slaappilletje geven?/U weet toevallig niet wie/In the Summertime zong?/Mungo Jerry. Bedankt./
294 Gareth
Ha ha! Very funny. Do you want to hear the results or not? OK. In position number four, Universally Challenged. Third place goes to Malcolm and Dennis! Er, which means that... Well... It's a dead heat between the Dead Parrots and The Tits. So tie-breaker situation. Could you send one member of each of your teams up for a tie-breaker. All right. Come and stand here. Tie-breaker question. Are you ready? First person to shout out the correct answer wins. All right? So, if you're ready. Which Shakespeare play features a character called Caliban?
Heel grappig. Willen jullie/de uitslag horen of niet?/Goed. Op de vierde plaats:/Universally Challenged./De derde plaats is voor.../Malcolm en Dennis./Dus dat betekent... Nou.../Dat de Dead Parrots en de Tits/gelijk geëindigd zijn./Het wordt dus een tiebreak./Elk team kiest één lid/voor de tiebreak./Kom hier maar staan. De beslissende/vraag. Zijn jullie er klaar voor?/De eerste die het juiste antwoord/geeft, wint./Goed? Iedereen klaar?/In welk stuk van Shakespeare/zit het personage Caliban?/
295 Finch
"Macbeth."
Macbeth./
296 Gareth
No. Ricky?
- Nee. Ricky?/
297 Finch
"Midsummer Night's Dream." "Hamlet."
Midsummer Night's Dream. Hamlet./
159 298 Gareth
You've had your go.
- Je hebt al geantwoord./
299 Finch
No, you said the first person to shout the answer wins. You didn't say you only had one chance.
Je zei de eerste die zou antwoorden./Je zei niks over maar één kans./
300 Ricky
"The Tempest."
The Tempest./
301 Gareth
"The Tempest." He's got it! There it is. Ladies and gentlemen, the winners.
- Hij heeft hem./Dames en heren, de winnaars./
302 Ricky
That's Blockbusters!
Dat is nou Blockbusters./
303 Finch
You didn't say you only had one go. You said the first person to shout out the answer wins, yeah? First person. That's my point. OK?
Je was niet duidelijk. Je zei: De eerste/die het goede antwoord geeft, wint./De eerste. Dat bedoel ik./
304 Ricky
Here he is. Chris Finch. Or is it Hamlet? Or is it Macbeth?
Daar is hij. Chris Finch./Of is het Hamlet? Is het Macbeth?/
305 Finch
Yeah, well maybe I'll write the questions next time and you can have this fat bastard.
Ik schrijf de vragen volgende keer,/dan mag jij met die dikzak./
306 David
Banter.
Wat een grapjas./
307 Finch
No, it's not banter.
- Het is geen grap./
308 David
It's not banter, not now.
Nu niet./
309 Finch
All right, OK. So when we had the question, name the Cuban leader who's been in power since the revolution of 1959--
- Toen de vraag was:/Noem de Cubaanse leider die/al sinds 1959 aan de macht is.../
310 David
Fidel Castro.
Fidel Castro./
311 Finch
You know it now yeah. But what did you say then?
- Nu weet je 't. Maar wat zei je toen?/
312 David
It's in that situation…
In die situatie.../
313 Finch
No go on. Tell them. What did you say then? What did you say then? Go on. Who's the Cuban leader?
- Nee, vertel maar wat je toen zei./Wat zei je toen? Kom op./Wie is de Cubaanse leider?/
314 David
Fray Bentos.
Fray Bentos./
315 Finch
No wonder this place is going down the pan. You're a waste of bloody space.
Geen wonder dat dit bedrijf/naar de kloten gaat./
316 Dawn
Oi, don't get at him just 'cause they beat you.
Word nou niet kwaad op hem/omdat ze van je gewonnen hebben./
317 Finch
They beat me?
318 Dawn
Yes.
319 Finch
I could give you a list of 50 things I could beat them at.
Er zijn wel 50 dingen waarin ik beter ben./
320 Dawn
Like what?
- Zoals?/
321 Finch
Like… Throwing.
Gooien./
322 Ricky
Throwing. No. Throwing's good.
- Gooien. Dat is goed./
160
323 Finch
The landlord of the Lamb pub in Chichester challenges me to throw one of these little copper kettles over his pub. So I go outside, take off my tie, tie it to the handle.... (whistles)
De eigenaar van een pub/in Chichester.../daagde me uit zo'n koperen keteltje/over z'n pub heen te gooien./Dus ik doe m'n stropdas af,/bind hem om het handvat.../
324 Gareth
Did it go over? Obviously yeah. That's actually an official Territorial Army method if you're in the jungle, except you wouldn't use a tie, you'd use vines from the trees.
Ging hij eroverheen?/Natuurlijk. Dat is een officiële/methode van het leger./Voor als je in de jungle bent./Alleen gebruik je dan lianen./
325 Dawn
Or do you use a kettle?
Of een ketel?/
326 Gareth
No, the equivalent. Coconut.
- Nee, het equivalent. Een kokosnoot./
327 Finch
I will throw anything you choose over this building. If I do it, we win the quiz.
Ik gooi wat je maar wilt/over dit gebouw./En dan win ik de quiz./
328 David
New challenge. Double or quits.
- Een nieuwe uitdaging./Alles of niks./
329 Finch
It's a challenge.
- Een uitdaging./
330 David
So you can choose anything, if he can throw it over, we've won the champagne and that was the real quiz. That was the real quiz. So choose one thing.
Als hij het kan gooien,/winnen wij de champagne.../en is dat de echte quiz./Kies maar iets./
331 Ricky
You really are a couple of sad little men, aren't you?
Wat zijn jullie/een stel zielige mannetjes./
332 Gareth
They're sad little men? He's thrown a kettle over a pub, what have you done?
Hij heeft een ketel over een pub/gegooid, en jij?/
333 David
Do you want a challenge or not?
Ga je de uitdaging aan?/
334 Finch
If I do it, we win the quiz and the prize.
Als ik het doe, winnen wij de quiz./
335 David
Yeah, exactly, that's the real quiz.
Dat telt dan als de echte quiz./
336 Finch
Choose something.
Kies maar iets./
337 Gareth
A chair?
Een stoel?/
338 Ricky
No, not a chair. No Gareth, throw Gareth over.
- Nee, geen stoel./Gooi Gareth maar./
339 David
No, seriously--
- Nee, serieus.../
340 Lee
No I know. How about birthday boy? Throw him over. Throw his shoes over. His shoes.
De jarige Job? Gooi hem maar./Gooi z'n schoenen./
341 Tim
No, no!
342 Ricky
It's just a challenge.
Het is maar een uitdaging./
343 David
Tickle him! Tickle him!
Kietel hem./
344 Tim
Can I have it back? Can I have it back? Oi!
345 Gareth
Using the tie method?
Met de dasmethode?/
346 Finch
Oh, no. The shoelaces.
- Nee. De veters./
347 Gareth
He's using the laces.
Hij gebruikt de veters./
348 David
Bastard! I knew he would! I knew he would. Typical. That'll work!
- Ik wist het wel./Dat lukt wel./
161 349 Employee
So, Finch ...
- Dus, Finch.../
350 Lee
Thank you very much.
351 Employee
You'll get it back. You'll get it back. How are we going to know if it goes over?
Je krijgt hem wel terug./Hoe weten we/of hij eroverheen gaat?/
352 David
Go and check. Sussed. Go on. Right. Here we go. Two and three and four …
Ga maar kijken. Geregeld. Toe maar./Goed. Daar gaan we./Twee en drie en vier.../
353 Everyone
Hooray!
Hoera./
354 Finch
Oh, yes! Looking good. Come on now.
Dat ziet er goed uit./Kom op./
355 Employee
Did it go over?
- Is hij eroverheen?/
356 Lee
Did it go over?
Is hij eroverheen?/
357 Sheila
Yeah. It came right past me.
- Hij vloog vlak langs me heen./
358 David
The Wonder Horse!
359 Finch
Screw "Blockbusters"! Screw Bob Holness and screw your Gold Run.
Stik toch met je Blockbusters./Met je Bob Holness/en je gouden dukaten./
360 Ricky
I'm a loser.
Ik ben een loser./
361 David
You're shit, you're shit!
- Je bent niks./
362 Dawn
That's the boss.
Dat is de baas./
363 David
Yes, I am the boss. Like Springsteen. Born to run. The Slough branch.
- Ik ben de Boss./Net als Springsteen. Born to run./Afdeling Slough./
364 Finch
Your university education didn't help you now, did it? Let that be a lesson to you. Respect your elders and do not fuck with the big boys.
Dat hebben ze je niet geleerd,/op de universiteit./Laat dat een lesje zijn. Heb respect/voor ouderen en ken je plaats./
365 David
Life! Life!
Het leven./
366 Gareth
Chuck his hat over.
- Gooi z'n pet eens./
367 Tim
No, don't chuck the hat over! It's a radio as well.
Niet doen. Het is ook een radio./
368 David
What an office. What an office!
Wat een kantoor./
369 Dawn
Do you want any?
Wil je geen.../
370 Lee
Dawn, let's go. See you, Tim.
- Kom op. Tot ziens, Tim./
371 Tim
See you later.
Tot later./
162
Appendix 2.4: Transcription Training (1.4)
No. 1
Speaker
Dialogue
Dutch subtitle
Lee
What's that about? Tell me.
Wat moet dit voorstellen?/
2
Dawn
Because, you know, at the end of the day, you can say something and then it doesn't mean that you can't ever change your mind.
- Je kunt best iets zeggen.../en dan van gedachten veranderen./
3
Lee
It's not me that's changing my mind, it's you that's changing your mind.
- Jij bent degene die dat doet./
4
Dawn
Fine! But what's wrong with that?
Nou en? Wat is daar mis mee?/
5
Gareth
Yeah, I feel sorry for Dawn and Lee. If they have to call off the wedding then you know, sure it'll be upsetting now, but in the end, it's for the best. The thing about long-term marriage is that, inevitably, the sex suffers. You constantly have to find new and erotic ways of spicing things up in the bedroom.
Ik heb met Dawn en Lee te doen./Als ze de bruiloft afzeggen.../dan zal dat nu best erg zijn, maar/uiteindelijk is het maar het beste./Het probleem met langdurige/huwelijken is dat de seks eronder lijdt./Je moet de hele tijd dingen bedenken/om de boel in bed op te peppen./
6
David
It's a gift and a training. I mean, you can... It's like I was good at it before I was trained, but now Het is aanleg en oefening. Ik was/al goed voor ik die training kreeg.../maar nu ben ik I'm trained I'm better than people who weren't good before. beter dan/mensen die meteen al slecht waren./
7
David
Today's our staff training. I do a couple a year. This is Rowan, our facilitator for the day. It's good to get in an outsider now and again. It helps to keep them sort of interested, you know.
Vandaag is er een cursus./Ik geef er een paar per jaar./Rowan doet het vandaag. Je moet af/en toe iemand van buiten aantrekken./Het helpt om mensen/bij de les te houden./
8
Rowan
And it's what I'm trained in. I have an MBA from Bradford.
Ik ben ervoor opgeleid./Ik heb een MBA./
9
David
I'm trained in it as well. I could have done this myself. Let me tell you what today is all about.
Ik ben er ook voor opgeleid./Ik had het zelf kunnen doen./Ik vertel waar het vandaag over gaat./
10
Rowan
I can do that.
- Dat kan ik.../
11
David
Well, it's my thing. It's about customer care, really. Investment in people - i.e. the staff. Letting them know that they are our most important commodity, and if they've got a problem, it's my problem. Er... It's like if you're cleaning a floor and you're up against it, then come to me and I'll help us clean our floor together. So... Not literally. See you in there.
Het is mijn ding. Het gaat eigenlijk/over omgaan met klanten./Investeren in mensen,/in het personeel./Laten weten dat ze onmisbaar zijn,/en dat hun problemen de mijne zijn./Stel, je ziet ertegen op om de vloer/te schrobben. Dan doen we het samen./Bij wijze van spreken./
12
Tim
I'm really sorry. Things will be OK between you and Lee, you know, because you and Lee are going to be together, and he knows that, and if he doesn't appreciate that, then he's mad. If he doesn't appreciate it, I'll marry you!
Ik vind het heel naar./Het komt wel weer goed. Lee weet/ook wel dat jullie bij elkaar horen./En als hij dat niet weet te waarderen,/is hij gek. Dan trouw ik zelf met je./
13
Keith
Hello. You're through to Keith. I will be at training all day today. Please call me or leave a message and I will call you tomorrow.
Hallo. Hier spreekt Keith./Ik ben de hele dag op cursus./Bel alsjeblieft, of laat/een boodschap achter. Ik bel terug./
14
Dawn
You're so lovely.
Je bent zo'n schat./
15
Tim
No, I'm not lovely. You are.
- Dat ben ik niet. Jij bent een schat./
16
Dawn
No, you are. I'm snotty.
Ik ben snotterig./
163 17
Tim
You're snotty and lovely. I'd marry your snot.
18
Gareth
Boys.
19
Tim
All right, mate.
20
Gareth
What's going on?
Hallo, wat is er aan de hand?/
21
Tim
Nothing, it's fine.
- Niets./
22
Gareth
You're upset. About Lee, is it? Hey, don't worry, all right? 'Cause you know Monkey Alan down in the warehouse, he fancies you even if no one else does, so…
Je bent verdrietig, hè? Om Lee./Maak je geen zorgen, hoor./Monkey Alan van het magazijn/ziet wel wat in je./
23
Tim
What was that?
Wat moest dat voorstellen?/
24
Gareth
Just can't say anything when they're like that.
Je kunt ook werkelijk niks zeggen./
25
Tim
No, you can't. You can't. I was doing OK. What are you doing with the Monkey Alan business?
- Nee, jij niet. Ik redde me heel aardig./Wat was dat nou over Monkey Alan?/
26
Gareth
Well, he fancies her. I'm just saying.
- Die valt op haar./
27
Tim
She didn't need to know that, mate. It's Monkey Alan. Even the name... I don't know who Monkey Alan is, but you know what I bet Monkey Alan--
Daarom hoeft zij dat nog niet te weten./Ik weet niet wie 't is, maar die naam.../
28
Gareth
He's a little bloke.
Het is een klein kereltje./
29
Tim
I don't need to know. Go away, please. Go over there.
- Laat maar. Ga nou maar weg./
30
Rowan
My name's Rowan, and I'm going to be leading us through today's sessions, so…
Ik ben Rowan./Ik begeleid jullie vandaag./
31
David
Under me. Go on.
Onder mij./
32
Rowan
Well, as David actually has briefed me and says a lot of this you'll be familiar with, but it's not a bad idea to recap anyway, and I hope a few new ideas will be sort of thrown into the pan as well. We're going to start by watching a video - a nice gentle start. It's a bit cheesy and a bit '80s, but I think a lot of the ideas are still pretty valid. OK?
David heeft gezegd dat jullie veel/van wat je vandaag hoort, al weten./Maar herhalen kan geen kwaad./En wie weet, hoor je iets nieuws./We beginnen met een video. Het is een/beetje knullig, en helemaal jaren '80./Maar ik denk dat veel/van de ideeën nog gelden./
33
David
A good idea is a good idea forever.
Een goed idee blijft een goed idee./
34
Rowan
Yeah. OK.
35
David
Philosophy.
Filosofie./
36
(WRITING)
WHO CARES WINS presented by Peter Purves
Wie zorgt, wint/met Peter Purves/
37
Peter Purves Hi. What's the single most important thing to your business?
Wat is in uw bedrijf/het allerbelangrijkste?/
38
David
Personeel./
39
Peter Purves That's right. The customer.
Staff.
- Dan trouw ik wel met je snot./
- Inderdaad. De klant./
164 40
David
41
These are your profits for this year. And this is what you're doing to those profits if you Peter Purves underestimate the value of customer care.
- Dit is uw winst van dit jaar./En dit doet u met die winst, als u/de zorg voor de klanten verwaarloost./
42
David
That's not real money. Do you know why?
Dat is geen echt geld./Weet je ook waarom?
43
Tim
Cause he'd be mad to burn it.
44
David
No. 'Cause it's illegal to destroy or burn anything containing the Queen's image of the realm on it.
Omdat het/verboden is om iets te verbranden.../waarop de koningin is afgebeeld./
45
Rowan
Can we just watch the video?
- Zullen we naar de video kijken?/
46
David
Yeah. That's true.
47
Peter Purves
Statistics show that if you're treated well as a customer you'll tell five people. If you're treated badly, you'll tell nine.
Als je als klant goed behandeld wordt,/vertel je dat aan vijf mensen./Als je slecht behandeld wordt,/aan negen./
48
Gareth
So can you set fire to a postage stamp?
Mag je een postzegel in brand steken?/
49
David
No. In fact, a postage stamp is legal tender. A bus driver would have to accept that as currency.
- Een postzegel is een betaalmiddel./Een buschauffeur moet die accepteren./
50
Tim
Yeah. That'd happen!
51
David
If he doesn't, report him.
Als hij dat niet doet, geef je hem aan./
52
Tim
Yeah I'll report him when I'm walking home.
Terwijl ik naar huis loop./
53
Gareth
Get a taxi if you've got enough stamps.
- Neem een taxi, met genoeg zegels./
54
Dawn
Or cash them in at a post office.
Of je wisselt ze op het postkantoor in./
55
David
Shouldn't have to. Shouldn't have to.
- Dat zou niet nodig moeten zijn./
56
Peter Purves Here's a typical office.
Dit is een typisch kantoor./
57
Receptionist (in video)
Yeah? Oh, yeah. Awful, isn't it? Yeah? Really? I said to him...
Ja, wat vreselijk, hè?/Echt waar? Ik vroeg hem nog.../
58
Man (in video)
Excuse me. I'm in a hurry.
Pardon. Ik heb nogal haast./
59
Receptionist (in video)
I'm on the phone. God, aren't people rude? I must tell you about George. It all started about a year ago--
- Ik zit te bellen. Wat onbeleefd./Ken je dat verhaal over George?/Een jaar geleden.../
60
Peter Purves
Well done. That customer won't be bothering you again. Ever. Let's see what should have happened.
Goed zo. Die klant zal u/nooit meer lastigvallen./Zo had het moeten gaan./
61
Receptionist (in video)
Yeah. Yeah. Awful, isn't it? Yeah? Really? You know, I said to him-- Oh I'm sorry, sir. I'll be with you in a moment. Sorry, Jean. I'm gonna have to go. I have a customer. I'll call you back at a more convenient time.
Ja, wat vreselijk, hè?/Echt waar? Ik vroeg hem nog.../Een ogenblikje, meneer./Sorry, Jean. Er is een klant./Ik bel je straks nog wel./
62
Peter Purves
All she had to do was acknowledge the customer's presence and end her personal call as quickly Ze hoefde alleen maar zo snel mogelijk/haar telefoontje te beëindigen./Dit is wat je as possible. This is what we call the Customer Care Tree. noemt/zorg voor de klanten./
A different angle.
Andere benadering./
165
63
Apothecary (in video)
Your prescription will be ready on Friday, madam.
Uw recept ligt/op vrijdag klaar, mevrouw./
64
Hardhearing Client (in video)
Fine. See you Tuesday.
Tot dinsdag, dan./
65
Peter Purves
So if you've put together a crack team, don't let your business get taken hostage by complacency. Make your motto "Who Cares, Wins".
Pas ervoor op dat u niet door/zelfvoldaanheid wordt overvallen./Maak 'Wie zorgt, wint' tot uw motto./
Hey, I know you. Can I have your autograph?
Hé, ik ken u. Mag ik een/handtekening van u hebben?/
66
Hardhearing Client (in video)
67
Peter Purves Of course you can.
68
Hardhearing Client (in video)
Thank you, Mr Noakes.
Dank u wel, Mr Noakes./
69
Rowan
Very good. Very good. OK, then. Right. That's that.
Heel goed. Dat was het dan weer./
70
Gareth
John Noakes.
John Noakes./
71
David
Yeah. They worked together on "Blue Peter". That was what the reference--
Ze zaten met z'n tweeën/bij Blue Peter.
72
Rowan
Can I?
73
David
She was short-sighted. Yeah.
Die was bijziend./
74
Rowan
OK. Right. Well, you've all seen the video. Now it's time for the dreaded role play. We'll kick off with your leader, David Brent. David, if you'd like to come up here. Round of applause for David.
Dat was de video, en nu komt/het gevreesde rollenspel./We beginnen met de voorman,/David Brent. Een applausje voor David./
75
David
No, no, no. I'm cheating really. I have done this before.
Ik heb dit eerder gedaan./
76
Rowan
Good. That should make it a lot easier for us. OK, well, nice and simple to start with.
- Dat maakt het makkelijker voor ons./We beginnen met iets eenvoudigs./
77
David
Hard as you like.
- Maak het maar moeilijk./
78
Rowan
Well, let's kick off with something nice and easy. I want us to play out a scenario that highlights Ik wil iets doen waarin de omgang/met klanten benadrukt wordt./ customer care.
79
David
OK.
80
Rowan
All of you deal with people ...
81
David
All the time.
Jullie gaan steeds met mensen om, en/
166
82
Rowan
…and it's always possible to improve your people skills. Right. In this scenario - We'll start with something nice and easy. I'm going to play a - and this will be the wrong way to do it - I'm going to play a very bad hotel manager who just doesn't care and --
daar is altijd iets aan te verbeteren./We beginnen met iets eenvoudigs. Dit/wordt de foute manier om het te doen./Ik speel een heel/slechte hotelmanager.../
83
David
If it's a Basil Fawlty character, maybe I should do it for the comedy.
Als het een soort Basil Fawlty is,/wordt het leuker als ik hem speel./
84
Rowan
Let me just play it now just to kick things off, OK?
Laat mij het nou maar doen./
85
David
I'll probably bring that to this role anyway, so...
- Ik maak van deze rol vast ook iets./
86
Rowan
Right. You've got a complaint. Come and complain and I'll show you the wrong way to handle it. This will be the wrong way.
Jij komt met een klacht bij mij/en ik laat zien hoe het niet moet./
87
David
OK.
88
Rowan
So off we go.
Goed zo, daar gaan we dan./
89
David
Sorry. What's the complaint?
Wat is de klacht?/
90
Rowan
Just make it up.
- Bedenk maar wat./
91
David
Anything because there's no right or wrong thing in this scenario. Then we'll tell you the right thing afterwards, so...
Wat dan ook. In dit scenario/is er niets goed of verkeerd./Achteraf hoor je wel wat goed was./
92
Rowan
You complain.
- Klaag jij nou maar./
93
David
Right. OK. I'd like to make a complaint please.
Ik wil een klacht indienen./
94
Rowan
I don't care.
- Interesseert me niet./
95
David
Well, I am staying in the hotel--
Ik zit in dit hotel.../
96
Rowan
It's not my shift.
97
David
Well, you're an ambassador for the hotel.
U bent de ambassadeur van het hotel./
98
Rowan
I don't care.
Interesseert me niet./
99
David
I think you'll care when I tell you what the complaint is. I think there's been a rape up there! I got his attention. Get their attention. OK?
- Er is iemand verkracht./Nou heb ik z'n aandacht/getrokken. Moet je altijd doen./
100 Rowan
Right. Some interesting points.
Een paar interessante punten./
101 David
Very interesting points.
102 Rowan
It's not quite the point I was trying to make.
Het was niet helemaal wat ik beoogde./
103 David
Different points to be made.
- Nog wat punten./
104 Rowan
I'm more interested really in customer care.
Het gaat mij om de zorg voor de klant./
105 David
So am I.
106 Rowan
And the way we'd deal with--
En dat pakken we als volgt aan./
167
107 David
I fazed you. Maybe I should - as I thought - play the manager as I'm used to that. I fazed you. You have a go. See if you can faze me. OK?
Ik doe de manager. Probeer jij mij met/m'n mond vol tanden te laten staan./
108 Rowan
Yeah. All right. Hello. I wish to make a complaint.
Ik wil een klacht indienen./
109 David
Not interested.
110 Rowan
My room is an absolute disgrace.
111 David
Don't care.
112 Rowan
The bathroom doesn't appear to have been cleaned---
De badkamer is vies.../
113 David
What room are you in?
- Welke kamer heeft u?/
114 Rowan
362.
362./
115 David
There is no 362 in this hotel. Sometimes the complaints will be false. OK? Good.
- Er is hier geen kamer 362./Soms zijn het valse klachten./
116 Rowan
Today is really about all of you getting to know and trust each other. So before the next exercise, what I want us to do is just spend a few minutes--
Het gaat er vandaag om/dat jullie elkaar leren vertrouwen./Dus ik wil dat we nu even.../
117 Lee
Sorry. Can I have a quick word with Dawn?
Kan ik Dawn even spreken?/
118 Rowan
Dawn? What I want us to do is for everyone to tell me their name and their ultimate dream their ultimate fantasy in life. I'll kick things off. My name's Rowan, and my dream is that I would love to have my own island. David.
Ik wil dat iedereen zijn naam noemt,/en vertelt wat z'n grootste droom is./Ik begin. Ik heet Rowan, en ik droom/ervan om een eigen eiland te hebben./
119 David
It depends what you mean by ultimate fantasy because time travel's actually impossible...
Wat noem je een droom? Tijdreizen/is nu eenmaal onmogelijk.../
120 Rowan
Just interpret it any way you like.
Interpreteer het maar zoals je wilt./
121 David
Yeah. If you're talking about anything that could or could not be possible, actually. You know, anything that could be conceived of to happen or not, within my realm, you know then probably some sort of everlasting life. I don't just mean in a spiritual or religious sense, but I mean actually to experience the future and live, you know, on and on and on, and you know, know what it's like to live forever.
Als je het hebt over alles wat er/maar mogelijk of niet mogelijk is.../alles wat je je maar kunt voorstellen/dat er maar zou kunnen gebeuren.../dan kies ik voor een soort eeuwig/leven. En dan niet in religieuze zin./Maar echt de toekomst ervaren/en maar doorleven./En echt weten wat het is/om eeuwig te leven./
122 Tim
I think I'm starting to know what that's like.
Volgens mij begin ik dat/al aardig door te krijgen./
123 Dawn
I'm saying--
Ik zeg alleen.../
124 Lee
No, hang on. You always have your say.
Jij hebt zo vaak wat te zeggen./
125 Dawn
I don't always have my say. When have I had my say?!
- Wanneer dan?/
126 Dawn
I've been engaged to Lee for um... God! about three years. He proposed on a Valentine's Day. He didn't do it face to face. He did it in one of the Valentine's message bits in the paper. Um... I think he had to pay for it by the word because it just said, "Lee love Dawn. Marriage?" Which I like. It's not often you get something that's both romantic and thrifty.
Lee en ik zijn nu.../een jaar of drie verloofd./Hij vroeg me op een Valentijnsdag./Hij deed het niet persoonlijk./Hij deed het in zo'n/Valentijnsadvertentie in de krant./Hij moest vast per woord betalen,/want er stond alleen:/Lee bemint Dawn. Trouwen?/Ik vond het leuk./Je krijgt niet vaak iets/dat romantisch en zuinig is./
127 Dawn
And don't phone my mum again!
Je moet m'n moeder niet bellen./
M'n kamer is niet om aan te zien./
168 128 Rowan
Dawn, do you want?
- Wil jij misschien.../
129 Dawn
Don't.
130 Rowan
OK. Um Gareth, a quick trust exercise. Ultimate fantasy?
131 Gareth
Hmm?
132 David
We're doing the ultimate fantasy.
Het gaat over je grootste droom./
133 Gareth
Two lesbians, probably. Sisters. I'm just watching.
Twee lesbo's, denk ik./Zussen. Ik kijk alleen./
134 Rowan
OK. Um... Tim? Do you have one?
Tim? Heb jij er een?/
135 Tim
I never thought I'd say this, but can I hear more from Gareth please?
Ik wil eigenlijk wel/meer van Gareth horen./
136 Rowan
OK. Well, this next exercise is all about motivation. That's going to be a key word today motivation. So Keith? What would you say was your motivation for working here?
De volgende oefening/gaat over motivatie./Dat is vandaag een sleutelwoord./Wat was jouw motivatie/om hier te komen werken?/
137 David
Being part of a team I would've thought.
Lid van een team zijn.
138 Rowan
Let him answer.
139 David
No, I'm just saying, that's probably what he'll say if you ask him.
Dat zegt hij,/als je het hem vraagt./
140 Rowan
Well, I am asking him and I'd really like him to answer.
Ik wil graag dat hij antwoord geeft./
141 David
Do you want to answer him?
- Wil jij antwoord geven?/
142 Keith
This job's just a stop-gap, really. The job's not difficult. I don't take my work home with me. It's pretty brainless.
Het is maar een baantje. Makkelijk/werk dat ik niet mee naar huis neem./
143 David
At your level maybe.
Op jouw niveau./
144 Keith
But, ultimately, I want to play music, write music and play in a band.
Maar ik wil eigenlijk muziek/schrijven en in een band spelen./
145 David
Good luck! Been there, done that, bought the T shirt. Next!
Succes. Heb ik gedaan,/heb het T-shirt gekocht./
146 Dawn
You were in a band? Lika a… a rock band?
147 David
Yeah.
148 Dawn
What were you called?
Hoe heette die band van jou?/
149 David
Foregone Conclusion.
- Foregone Conclusion./
150 Rowan
David, I'm not sure this is the right time.
Dit lijkt me niet het goede moment.../
151 David
I've got to field the questions.
- Ik moet vragen beantwoorden./
152 Tim
David. What did you do in the group?
Wat deed je?/
153 David
Singer-songwriter. Lyrics man, mainly, but you know, the music came easy as well, so...
- Zanger-songwriter./Vooral teksten, maar de muziek/kwam eigenlijk ook vanzelf./
154 Rowan
OK. Right. So, are there any more questions for David? No? Good.
Goed. Zijn er verder/nog vragen voor David?/Nee? Mooi./
Even een oefening in vertrouwen,/Gareth. Wat is jouw droom?/
169 155 David
You didn't give them a chance. Did you want to say something?
- Je geeft ze geen kans./Wil jij nog iets zeggen?/
156 Dawn
Were you successful?
- Hadden jullie succes?/
157 David
Were we successful? I'll let you be the judge of that when I tell you that we were once supported by a little-known Scottish outfit called Texas.
Dat mag je zelf uitmaken als ik je/vertel dat we in het voorprogramma.../eens de Schotse groep Texas hadden./
158 David
Yeah, I get all this, "Oh, David, you're a brilliant singer-songwriter. You're stuck in Slough while Texas are off making all the money, and they're rubbish compared to you." and I go, "Don't slag them off." I say, "I've been there, I've done that. That's behind me." And I respect-The thing is, we're both good in our own fields. I'm sure Texas couldn't run and manage a successful paper merchants. I couldn't do what-- Actually, I could do what they do, and I think they knew it back then. Probably what spurred them on.
Het was de hele tijd van:/Jij bent zo briljant, David.../maar je zit vast in Slough,/terwijl Texas bakken geld verdient./En die zijn stukken slechter./En ik van: Niet zo onaardig./Ik zeg: Dat heb ik gehad, en dat heb ik/achter me gelaten. En ik heb respect.../We zijn elk op ons eigen terrein goed./Texas kan vast geen bloeiende/papierhandel leiden. En ik kan niet.../Ik kan wel wat zij doen, en dat/wisten zij ook. Vandaar hun ambities./
159 David
I wrote this. I only play songs I've written myself.
Dit is van mij./Ik zing alleen eigen teksten./
160 Tim
He went home to get it.
Hij is hem thuis gaan halen./
161 David
(on the guitar) # A spaceman came down to answer some things # The world gathered round from paupers to kings # I'll answer your questions, I'll answer them true # I'll show you the way, you know what to do # Who is wrong and who is right? # Yellow, brown, black or white # The spaceman he answered, you no longer mind # I've opened your eyes, you're now colourblind # Racial. So... # She's the serpent who guards the gates of Hell #
De ruimteman kwam antwoorden geven/de hele wereld zat erom verlegen/ik beantwoord je vragen spontaan/en toon je de weg die je moet gaan/wie is goed, wie brengt smart/geel, bruin, blank of zwart/ik zorg dat je er niets meer van vindt/ik open je ogen, je bent kleurenblind/lets met rassen./Ze is een slang/die de hellepoort bewaakt/
162 Tim
Yeah. Good stuff.
163 David
# Pretty girl on the hood of a Cadillac, yeah # She's broken down on Freeway Nine # Take a look at her engine, start it and # Gave a purr and then I rolled on by, bye bye # Free love on the free love freeway...
164 Gareth
Everybody
165 David
# Love is free and the freeway's long # I've got some hot love on the hot love highway # I ain't going home 'cause my baby's gone.
liefde is vrij en de snelweg is lang/ik bied je hete liefde/op de hete snelweg van de liefde/ik ga niet naar huis/want mijn liefste is weg/
166 Gareth
She's dead.
die is dood/
167 David
She's not dead. # Long time later, see a cowboy crying # I says, hey buddy, what can I do? # He says, I lived a good life, had about a thousand women # I said, why the tears? # He says, 'cause none of them was you #
- Niet waar./Veel later, zie ik een cowboy huilen/hé jongen, wat kan ik voor je doen?/Hij zegt: Ik heb/wel duizend vrouwen bemind/waarom dan die tranen?/Hij zegt: Jij was er niet één van/
168 Tim
What, you?
Hè, jij?/
169 David
No. He's looking at a photograph.
- Hij kijkt naar een foto./
170 Tim
Of you?
Van jou?/
171 David
No. Of his girlfriend. The video would show it.
- Nee, van z'n vriendin./Op de videoclip zie je het./
172 Tim
Sorry. Sounds a bit gay.
Het klinkt homofiel./
mooi meisje op de motorkap/van een Cadillac/ze staat met panne op snelweg negen/keek naar haar motor/startte hem weer/even ronken en ik reed weer door/vrije liefde op de vrije snelweg/
170
173 David
It's not gay. # Free love on the free love freeway # Love is free and the freeway's long # I got some hot love on the hot love highway # Going home 'cause my baby's gone # Free love on the free love freeway # Love is free and the freeway's long # I got some hot love on the hot love highway # Going home 'cause my baby's gone, she's gone, yeah # My baby's gone, she's gone, yeah # Gone away, she's gone, she's gone, yeah # She's just gone away.
174 Tim
# She's gone! # That's brilliant, David. Really good.
175 David
I'm trying to think of other ones.
Welke weet ik nog meer?/
176 Rowan
Right. That's lunch.
- Tijd voor de lunch./
177 David
OK.
178 Tim
What, in the name of jumping Jehosaphat, was that song about? I mean, what was that about? What's he doing? What's Warren doing telling people to say please? If they don't know, I'm sorry then they don't deserve a job. After you.
179 Dawn
Thank you.
180 Tim
Are you all right?
Gaat het wel?/
181 Dawn
Yes, thank you.
- Jawel./
182 Tim
Good.
183 Donna
Are you OK? Forget all about him. He's not worth it. I go through this sort of thing all the time. Although it's usually me who dumps them.
Gaat het een beetje? Vergeet hem/gewoon, hij verdient niet beter./Ik heb dit zo vaak. Hoewel, meestal/ben ik degene die het uitmaakt./
184 Dawn
He didn't -- No one dumped anyone. It was just an argument.
We hebben gewoon ruzie gekregen./
185 Donna
You should come out with me. I'll find you a new bloke.
- Ik regel wel een ander vriendje./
186 Dawn
It was just an argument.
Het was gewoon ruzie./
187 Donna
Well, I'm just saying.
- Nou, mocht het nodig zijn./
188 Dawn
Thanks. That's nice.
Heel aardig van je./
189 David
You OK?
190 Dawn
Yeah.
191 David
Sit down. Now, I don't want to pry, but I mean, I am aware of your personal problem, and I wouldn't be the boss or the man that I am if I didn't lend , you know, some words of encouragement. This is something I wrote. I hope it helps.
Ik wil me er niet mee bemoeien,/maar ik weet van je privé-problemen./En ik zou niet de baas en de man/zijn die ik ben, als ik niet.../iets bemoedigends zou zeggen. Ik heb/het geschreven. Misschien helpt het./
192 David
# Rose, you never used your thorns # The ones you loved abandoned you # Your angel face made hearts so warm # You helped the sick, but who helped you? # Then rushing through the Paris night # They hounded you, you lost control # We prayed that you would be all right # The news came through, your body cold # Goodnight, my sweet princess #
Je hebt nooit je doornen gebruikt/je beminden lieten je in de steek/je gezicht verwarmde menig hart/je hielp de zieken, maar wie hielp jou?/En op een nacht vloog je door Parijs/ze achtervolgden je/je verloor de controle/we baden dat je het zou redden/het nieuws kwam, je lichaam was koud/vaarwel, lieve prinses/
Vrije liefde op de vrije snelweg/liefde is vrij en de snelweg is lang/
Waar ging dat nummer/in Jehosaphats naam over?/Vertel me dat nou eens./En waarom moeten we van Warren/alsjeblieft leren zeggen?/Want anders verdien je/je baan niet. Na jou./
171 193 Dawn
Was that originally about Princess Diana?
Gaat dat over prinses Diana?/
194 David
Originally. But it fits perfectly, doesn't it?
Jawel. Maar het klopt precies, hè?/
195 Dawn
Not the car crash bit.
- Dat van die botsing niet./
196 David
Well...
197 Gareth
Your relationship with Lee is a bit like a car crash.
Je relatie met Lee heeft/iets van een botsing./
198 Dawn
In Paris?
In Parijs?/
199 Gareth
City of love.
- De stad van de liefde./
200 Dawn
You're right. It fits perfectly. Thank you.
Je hebt gelijk. Het klopt helemaal./
201 David
# Every breath you take # Every move you make, yeah #
202 Donna
Being dumped is the perfect excuse to do all the things you want to do.
Het is een excuus om precies/te doen waar je zin in hebt./
203 Dawn
I wasn't dumped. And, actually, I have been thinking of leaving.
Ik was eigenlijk toch al/van plan om weg te gaan./
204 Tim
How long have you been thinking of leaving?
Hoe lang was je dat al van plan?/
205 Gareth
Who's leaving?
Wie gaat er weg?/
206 Dawn
I am.
- Ik./
207 Gareth
Well, that's just stupid. You've got a job here for life.
Stom. Je hebt hier/een baan voor het leven./
208 Dawn
Yeah. Actually, I don't want to spend my life answering phones in some crappy sub-branch paper merchants.
Ik heb geen zin meer om de telefoon/te beantwoorden bij zo'n ballentent./
209 Gareth
Dawn, work hard you could be answering those phones in Head Office or a better paper merchants.
Wie weet kom je op het hoofdkantoor/terecht, of bij een betere zaak./
210 Tim
Gareth, she don't want to waste her life in paper.
Ze wil haar leven/niet aan papier verspillen./
211 Gareth
Not a waste, actually, not a waste. Look at Jeff Lamp. He's 42, he's got his own Porsche. That's from paper.
Neem Jeff Lamp. Die heeft/een Porsche. Dankzij papier./
212 Tim
How long you been thinking about leaving?
Hoe lang wil je al weg?/
213 Gareth
And are you going to lay down any of those tracks, you think?
Ga je wat met die nummers doen?/
214 David
Well, I've got a lot on one demo from the band days, but they're about ten years old, so if I want to send them out, I'd have to, you know, bring them up to date, lay down some drummer and bass shit on 'em. Sample shit.
- Ik heb nog een demo van de band./Maar die is tien jaar oud, dus daar zal/ik nog wel wat aan moeten sleutelen./Samplen./
215 Gareth
And iIf you go back on the road, are you going to need any help with that?
Als je weer gaat toeren,/heb je dan hulp nodig?/
216 Rowan
Look, I'm sorry to--
Sorry, maar.../
217 David
Hold on mate. What were you saying?
- Momentje. Ga door./
218 Gareth
You know, are you going to need a manager?
Heb je dan een manager nodig?/
172 219 David
Well, I'll probably manage myself.
- Ik denk dat ik dat zelf doe./
220 Gareth
I could be your Assistant Manager.
Ik zou je assistent-manager/kunnen zijn./
221 David
You could be Assistant to the Manager. Hold on, man. Shoot.
Goed, wat wou jij zeggen?/
222 Rowan
Yeah, it's just…we've got a lot to get through and no one's back.
- Er is nog niemand terug./
223 David
Yeah, I'm hearing you. Do you want to get them over because Rowan wants to crack on with this.
Haal ze hierheen. Rowan wil door./
224 Gareth
Do you want me to discipline them?
- Zal ik ze uitfoeteren?/
225 David
No. Just get them over here. Imagine him in a band. Bald old git. The glasses would be stupid, so... What's the vibe in the second half? 'Cause...
Stel je die ouwe kerel in een band/voor. Die bril zou zo stom staan./Waar gaat het/zo'n beetje heen, verder?/
226 Rowan
Yeah. Not always for this company. I've worked for various - Hi - various companies over the years.
Maar niet altijd voor dit bedrijf./Ik heb voor diverse bedrijven gewerkt./
227 Employee
How did you get into doing this? How did you start?
Hoe ben je in dit werk/terechtgekomen?/
228 Rowan
Doing what I do? There are lots of ways, really. Are you thinking of doing it?
Dat kan op heel veel manieren./Denk je in die richting?/
229 Employee
I wouldn't mind, actually. It looks like quite good fun.
Ik zou er geen bezwaar tegen hebben./Het lijkt me heel interessant./
230 Rowan
Does it?
231 Employee
Yeah. Quite interesting.
232 Rowan
Right. This next exercise is all about forward planning and team work. I'm going to need to put you into pairs for this. So um... Gareth, if you can go with Tim.
233 Tim
Oh, God!
234 Gareth
Yeah, all right smart ass. I wouldn't want to be stuck with you in a situation either.
Ik zou ook niet graag/met jou opgezadeld zitten./
235 Tim
A situation? What situation? Who would you rather be on a desert island with then Gareth with some whittling wood and berries?
Met wie zit jij dan liever op/een verlaten eiland bessen te zoeken?/
236 Gareth
Daley Thompson.
Daley Thompson./
237 Rowan
OK. Let me give you the problem. A farmer - not pictured - has a chicken, a bag of grain and a fox, and he needs to get them from one side of the river to the other, but - and here's the rub his boat is only big enough to take one item at a time. So I want you to work out in what order he takes them across the river.
Ik leg jullie het probleem voor./Een boer, die niet staat afgebeeld.../heeft een kip, een zak graan en/een vos die moeten worden overgezet./Maar hij kan met z'n boot/maar één ding per keer overzetten./Jullie moeten bedenken/in welke volgorde hij ze overzet./
238 David
Remember--
239 Rowan
Five minutes, OK?
Je hebt vijf minuten./
240 Employee
He can't take the fox first because then the chicken will eat the seed.
De vos kan niet eerst, want/dan eet de kip het graan op./
241 Tim
OK. He can't take the grain first because he can't leave the fox and the chicken together.
Het graan kan niet eerst, dan/blijven de vos en de kip achter./
242 Gareth
Fox and the chicken together? Bloodbath.
Vos en kip? Dat wordt een bloedbad./
Deze oefening gaat over/vooruit plannen en teamwerk./Daarvoor vormen we paren./Gareth, ga jij maar met Tim samen./
173 243 Tim
Yeah, I know. He can't leave the chicken with the grain.
En de kip met het graan kan ook niet./
244 Gareth
Er, hello? I'm a chicken. Thank you Tim for leaving me with my favourite food.
Hallo, ik ben de kip. Dank je dat je me/bij m'n lievelingshapje achterlaat./
245 Tim
I'm saying Gareth you can't do that.
246 Gareth
How big is this chicken? Is it the same size as a bag of grain?
Hoe groot is die kip?/Even groot als een zak graan?/
247 Tim
I don't know. Big chicken.
Geen idee. Een grote kip./
248 Gareth
How big?
249 Tim
Big. It's a super-chicken.
Een hele grote superkip./
250 Gareth
What's the farmer doing with a fox? A fox is a farmer's worst enemy. He should just drown the fox in the river.
Wat moet die boer met een vos?/Die zou hij moeten verzuipen./
251 Tim
Gareth, it's a puzzle. It's just a puzzle.
Het is maar een puzzel./
252 Gareth
Yeah. Well, it's stupid. Doesn't mean anything. What are we learning from this?
- Wat een stom gedoe./Wat leer je hier nou van?/
253 Tim
It's not about learning. It's just a problem to be solved.
- Het is gewoon iets om op te lossen./
254 Gareth
Put the grain on a wall.
Zet dat graan op een muur./
255 Tim
There's no wall.
- Er zijn daar geen muren./
256 Gareth
There's always walls.
257 Tim
Not here, there isn't.
258 Gareth
There's nothing? There's just a farm and a river? Get his wife to help.
259 Tim
He ain't got a wife.
260 Gareth
All farmers have wives.
261 Tim
Not this one, he's gay.
- Heeft hij niet. Het is een homo./
262 Gareth
Then he shouldn't be allowed near animals, should he?
Dan hoort hij niet/met dieren te werken./
263 Employee
Then take the grain next.
Dan neem je het graan mee./
264 Employee
Then the grain.
- Dus dan het graan./
265 Employee
Yeah.
266 Employee
He's got to take the chicken first, so he can leave the fox with the grain.
Hij moet eerst de kip overzetten,/dan blijft de vos bij het graan./
267 David
Shall I tell them?
Zal ik het zeggen?/
268 Rowan
No, that's ok, I'll do it.
269 David
They're more receptive to me.
Dus er is niks? Alleen/een boerderij en een rivier?/Laat z'n vrouw helpen./
Ze staan meer voor mij open./
174
Laat maar. Daar gaat ie./Hier komt het antwoord./Hij zet de kip over en/laat de vos bij het graan./Dan zet hij de vos over, maar/hij neemt de kip mee terug./Dan zet hij het graan over./En dan gaat hij de kip ophalen./Jullie zijn er vast allemaal uitgekomen./
270 Rowan
It's straightforward. OK. Right everybody. Here's the answer. First he takes the chicken across, leaving the fox with the grain. Then he comes back and brings the fox across, but he brings the chicken back with him. Then he takes the grain across, leaves it with the fox, and finally he comes back for the chicken and he's done it. Now, I'm sure you all got the answer--
271 David
Easy.
272 Rowan
Yeah, but you see the important thing here is that you were all working as a team. Sorry. Gareth?
Maar het ging om het samenwerken./
273 Gareth
Yeah. Some questions.
Ik heb wat vragen./
274 Rowan
I hope that what the exercise demonstrated was that it's vital - that every member of a team--
Ik hoop dat nu duidelijk is/dat elk lid van het team.../
275 David
Follows a leader.
De leider volgt./
276 Rowan
Well, knows their place within that structure. Some may be leaders
- Z'n plaats in het geheel moet kennen./
277 David
He knows best, or she.
Hij weet het het best. Of zij./
278 Rowan
Whoever is in charge may be the person that--
- Wie de leiding heeft.../
279 David
In a team of women, for example.
In een vrouwenteam./
280 Rowan
It may be women or men, of course. Somebody ultimately may be scoring the goals--
- Vrouwen of mannen, maakt niet uit./Iemand scoort de doelpunten./
281 David
Can't stress that enough.
- Dat is van groot belang./
282 Rowan
No, of course. Absolutely. But, it doesn't matter- You may not be the person who--
Jij bent misschien niet degene.../
283 David
Unconditional trust is returned in leadership.
- Loyaliteit wordt beloond./
284 Rowan
It's important that you know your place and that you are supported by - Maybe we should just move on at this stage--
Het is belangrijk/dat je gesteund wordt.../Laten we maar doorgaan/
285 David
Move on.
286 Rowan
To another exercise. What about this one? What do we think might be the lesson here?
met een andere oefening./Deze bijvoorbeeld. Wat zou/hier de les kunnen zijn?/
287 Gareth
Dogs?
Honden?/
288 Tim
Say what you see, Gareth.
- Beschrijf eens wat je ziet./
289 Gareth
Give a dog a bone.
Dat je een hond een bot moet geven./
290 Tim
I don't believe it. He's not Roy Walker, Gareth.
- Het is geen quiz./
291 Gareth
Alright then, what is it?
292 Tim
If we pull together in the same direction, it's better for all of us.
We kunnen beter samen/in dezelfde richting trekken./
293 Gareth
They could be fighting over them bones.
Ze zijn aan het vechten./
175 294 Tim
They're not fighting, they're smiling.
- Welnee, ze lachen./
295 Gareth
In the picture, maybe, but in reality...
Op het plaatje, ja,/maar in werkelijkheid.../
296 Rowan
Look, the point here is that if the team is focused on its objectives, and those of the individual members, then it's easier for everyone to achieve their goals.
Waar het om draait is, dat als het team/de doelstellingen in het oog houdt.../en die van de leden zelf,/het makkelijker is om die te bereiken./
297 David
Exactly. Like the fable. You know the one where the dog's got a bone and he goes down to the lake to get a drink and he sees his reflection. He goes, "That dog's got a better bone than mine. I'll have his as well." And when he opens his mouth to get the bone that's a reflection, he drops the real bone and he loses both.
Net als in die fabel/van de hond die een bot heeft./Bij het meer denkt hij dat hij/in het water een groter bot ziet./Hij doet z'n bek open om dat bot ook/te pakken en raakt ze allebei kwijt./
298 Rowan
And what's that got to do with this?
Wat heeft dat hiermee te maken?/
299 David
It's what Gareth was saying about if we've got our bones, don't go for other people's bones, fight Als je een bot hebt, moet je niet/achter dat van een ander aan gaan./ over it because you'll lose your own.
300 Rowan
What does that mean?
En wat mag dat betekenen?/
301 David
Oh, don't you know? I thought it was...
Snap je het niet? Het leek me.../
302 Gareth
Bones.
- Botten./
303 Tim
I'm bored of this. I am so bored.
Ik verveel me te pletter./
304 Rowan
Yeah. So am I.
- Nou, ik ook./
305 Tim
No sorry, I don't mean this. I mean everything. The job. I'm bored of the job. Sorry, Rowan, no disrespect. This is a waste of time.
Ik heb het over het werk./Niet persoonlijk bedoeld, Rowan./Wat een tijdverspilling./
306 Rowan
Yeah, I know how you feel.
- Ik snap het./
307 David
Let's get on with this.
Laten we gewoon doorgaan./
308 Tim
I can't take any more of this nonsense. I can't take another boring call about spa wide index board at 230 a ton.
- Ik heb hier genoeg van./Ik heb geen zin in telefoontjes/over karton voor 2,30 per ton./
309 Gareth
260.
2,60./
310 Tim
You're a twat, OK? Shut up. Shut up. I'll give you my-- We'll work out my notice. Right now, I'm going. Goodbye.
- Hou jij je mond./We hebben het nog wel over m'n/ontslag. Maar nu ga ik ervandoor./
311 David
He'll be fine.
Komt wel goed./
312 Rowan
A waste of time. It was all a waste of time.
Een en al tijdverspilling./
313 David
Oh, see? Pressure. Not as easy as it looks. Sometimes the experience outweighs the...
Dat krijg je met die druk./Het is moeilijker dan het lijkt./Soms weegt ervaring zwaarder dan.../
314 Tim
Sorry, David. Go on. I was just wondering. Now you've split up with Lee, would you like to come out for a drink with me?
Ga je wat met me drinken,/nu Lee en jij uit elkaar zijn?/
315 Dawn
I haven't split up with him.
We zijn niet uit elkaar./
316 Tim
No. God no, I know. I meant as a friend. I did mean as a friend. Yeah, OK. See you later. Yeah.
Weet ik. Ik bedoel als vrienden./
176
317 David
Go and get the guitar. I'll probably write a song about this one day. # So what becomes of you, my love, whoa # When they have finally stripped you of # The handbags and the gladrags # That your granddad had to sweat so you could buy, yeah! # We used to have a political reggae one called Equality Street. OK.
Ga de gitaar eens halen./Ik schrijf hier nog eens/een nummer over./We hadden een politiek reggae-/nummer dat Equality Street heette./
177
Appendix 2.5: Transcription New Girl (1.5)
No.
Speaker
Dialogue
Dutch subtitle M'n besluit staat vast./Ik ga weer studeren./Ik wil meer weten dan de prijs van/opti-bright laser-kopieerpapier./
1
Tim
I'm not thinking about it, I'm doing it. I'm leaving to go back to university to learn about more than the price of opti-bright laser copy paper.
2
Gareth
298 a gram.
2,98 per gram./
3
Tim
240 a gram. Check the list.
- 2,40. Kijk maar na./
4
Gareth
I thought you said something different. What are you going to study?
Wat zei je nou dat je gaat studeren?/
5
Tim
Psychology.
- Psychologie./
6
Gareth
Why do you want to be a psychiatrist for? They're all mad themselves, aren't they?
Waarom wil je psychiater/worden? Die zijn gek./
7
Tim
I want to be a psychologist.
Ik wil psycholoog worden./
8
Gareth
Same difference. If you're so clever, what am I thinking about now?
Maakt niet uit. Raad eens/wat ik aan het denken ben?/
9
Tim
You're thinking, "How could I kill a tiger armed only with a biro?"
Jij denkt: Hoe leg ik een tijger om/met een ballpoint?/
10
Gareth
No.
11
Tim
No. You're thinking, "If I crash land in a jungle, will I be able to eat my own shoes?"
Of: Als ik in de jungle neerstort,/kan ik dan m'n schoenen opeten?/
12
Gareth
No, and you can't.
Nee, en dat kan niet./
13
Tim
Right. What are you thinking Gareth?
- Wat denk je dan?/
14
Gareth
I was just thinking, "Will there ever be a boy born who can swim faster than a shark?"
Ik dacht: Wordt er ooit/een jongen geboren.../die sneller kan zwemmen/dan een haai?/
15
Gareth
All right? Oh, midday. Are you just getting in?
Twaalf uur. Kom je net binnen?/
16
Donna
No. I should be here in about an hour.
- Nee, over een uur pas./
17
Gareth
About an hour. You're already here.
Over een uur. Maar je bent er al./
18
David
Who am I, then, Dixon of Dock Green?
Wie ben ik, boertje van buiten?/
19
Donna
What?
20
David
Evening, all.
Goeienavond, saam./
21
Donna
Brilliant. Sorry I'm late.
Sorry dat ik te laat ben./
David
Yeah, not so worried about that, but while you're lodging with me, your parents have entrusted me with their most valuable possession - you. Yeah? Ipso facto. Trust received, responsibility given and taken. Yeah? I'm your guardian. You stayed out all night. OK. You stayed with a friend, fine. That's fine. I'm a little bit annoyed at her parents for not calling me.
- Dat geeft niet./Maar je ouders hebben me hun/kostbaarste bezit toevertrouwd: Jou./Het is een kwestie van het uitwisselen/van verantwoordelijkheid./Je bent de hele nacht/niet thuis geweest./Je hebt bij een vriendin geslapen./Haar ouders hadden moeten bellen./
22
178 23
Donna
His parents weren't in.
Z'n ouders waren er niet./
24
David
His parents… It's a bloke, so what? Come on. God. Chill out, shall we, please? You know... Girlfriend happens to be a boy. I could stay at Dawn's--
- Het is een jongen. Geeft niks./Even chillen, jongens. Dan is/dat vriendinnetje een vriendje./Ik kan bij Dawn gaan logeren./
25
Dawn
No, you couldn't.
26
David
I could if I got off - with off with... Got off at the wrong bus stop. I could. I'd be on the floor--
Als ik... Als ik bij de verkeerde/halte zou uitstappen./Ik zou op de grond slapen.../
27
Donna
Yeah, we spent some time on the floor.
- We lagen op de grond./
28
David
For a good reason, probably. More room. Just go free. Come on. Jesus. But if I did stay at Dawn's--
Om een goede reden? Meer ruimte./Ga je gang ook maar./Maar als ik bij Dawn bleef.../
29
Dawn
Which you couldn't.
- Wat niet kan./
30
Gareth
You could stay at mine, if you wanted.
Je kunt bij mij logeren./
31
David
I don't want to stay at yours. The point is, if I did stay at Dawn's there'd be no funny business. There was no funny business, fine--
- Dat wil ik niet./Maar als ik bij Dawn sliep.../zou er niet gerotzooid worden./
32
Donna
Apart from all the sex, but we'll do it at your place next time so you don't have to worry.
- We doen het voortaan bij jou./
33
David
Was it no -- It wasn't anyone in the office, was it?
Het was toch niet iemand van kantoor?/
34
Donna
It was actually. I slept with someone in the office, everybody!
- Ja hoor. Hebben jullie het gehoord?/
35
David
Show's over. Good. Alright. Well done. That's fine. Don't even... It's not that-- Oh... Oh I'd let you De show is afgelopen. Heel leuk, hoor./Nou is het wel genoeg geweest./Je zou bij stay at mine. mij mogen slapen./
36
David
Well, I'm getting a secretary because I need one. So... The lucky contestants are... All right?
Ik neem een secretaresse./Omdat ik er een nodig heb./De kandidaten zijn.../
37
Dawn
This is Stuart Foot.
Dit is Stuart Foot./
38
David
Hello, Stuart.
39
Dawn
And Karen Roper.
Karen Roper./
40
Karen
Mr Brent.
- Mr Brent./
41
David
I don't know a Mr Brent. David. She'll brighten up the place, won't she? If she gets the job. So will you. If he gets it. Because you're both equal. It's all on the -- No foregone conclusion. Based on interview and merit. I mean, it is up to me, ultimately, but good luck. You'll do well to impress me. Nurse, the Polaroid! Just for um... Just for er... Sit down. To take a snapshot. Just for the files, just to keep on record. I'll do it. I'll do it. Let's get that lovely smile on. I'll come down here. That's nice. Oh, the hair all... Lovely. That looks nice. Lovely blue eyes. OK. Big smile. That was lovely. Just give that a minute. Look at that. Do one of you. Good. Good.
Ik ken geen Mr Brent. David./Ze zal het zonnetje in huis zijn./Als ze de baan krijgt./En jij ook. Jullie zijn gelijk./We baseren ons uiteraard/op het gesprek... en jullie cv./De keus is aan mij, dus doe je best om/indruk te maken. De polaroid, graag./Alleen maar voor... Ga zitten./We maken even een kiekje./Voor het archief. Ik doe het zelf wel./Waar is die schattige glimlach dan?/Ik ga hier wel even zitten./Dat is mooi. En dan je haar nog.../Schattig. Prachtige blauwe ogen./En nu lachen./Heel mooi. Ogenblikje./Kijk nou toch. En nu jij nog even./
42
Dawn
We're doing Stuart first.
We doen Stuart eerst./
43
David
Let's get him out the way. Come on, follow me. Good. Stuart Foot.
- Die werken we even weg. Kom mee./
179 44
Stuart
What is that?
Wat is dat?/
45
David
Money don't make my world go round. I'm reaching out to a higher ground.
Geld laat mij volledig koud./Het hogere is waar ik van houd./
46
Stuart
Is that a philosopher?
Is dat van een filosoof?/
47
David
Desree.
- Des'ree./
48
Stuart
The singer?
De zangeres?/
49
David
# Money don't make my world go round # I'm reaching out to a higher ground # To a warm and peaceful place # l-l-I I can rest my weary face.#
50
Stuart
I don't think I --
Ik geloof niet dat ik.../
51
David
# 'Cause we're living # In a crazy maze.# Why do you want to work here? Shoot.
Waarom wil je hier werken? Vertel./
52
David
Yeah. The "bosses" are panicking. They're going, "Oh, cut back, lose staff. That's the way forward. That'll save us money." Will it? Who's to say that hiring staff won't save money in the long run? Does a struggling salesman start turning up on a bicycle? No. He turns up in a newer car. Perception, yeah? They've got to trust me. I'm taking these guys into battle, and I'm doing my own stapling. A sergeant major spends all his time training his men to be killers. He doesn't polish his own boots. He probably does polish his own boots, but, you know, that doesn't mean... It doesn't mean I have to do my own filing.
De bazen worden nerveus. Die zeuren/maar van: 'Je moet mensen ontslaan./Dat is de manier./Zo bespaar je geld.' Is dat zo?/Wie weet bespaar je wel geld/door mensen aan te nemen./Komt een verkoper ineens/op een fiets aanzetten?/Nee, met een nieuwe auto./Kwestie van kijken./Ze moeten me vertrouwen. Ik voer ze/ten strijde, en ik moet zelf nieten./Een sergeant-majoor traint de mannen./Die poetst z'n eigen schoenen niet./Of misschien wel, maar daarom/hoef ik nog niet zelf te archiveren./
53
David
Hi.
54
Dawn
Are you ready to see Karen Roper now?
55
David
Yeah.
56
Karen
Thank you.
57
David
Hi.
58
Karen
Hello.
59
David
Sit down.
60
Karen
OK.
61
David
No. I've got one over here ready. Good. Good. Right. The interview. What have we got here? Hmm. Karen Roper. Curriculum vitae. Just looking at this. Checking it out. Good. Tell me about yourself.
Nee, ik heb er/hier een voor je neergezet./Het sollicitatiegesprek./Wat hebben we hier?/Curriculum vitae./Ik bekijk hem gewoon even./Vertel me eens wat over jezelf./
62
Karen
Um... Well, I did GCSEs and A-levels and--
Ik heb eindexamen gedaan, en.../
63
David
Too boring. Tell me about yourself.
- Veel te saai. Vertel over jezelf./
64
Karen
OK. Well, I'm quite into films and music.
Ik ben gek op films en op muziek./
65
David
Yeah? Desree?
Des'ree?/
Kan ik Karen Roper/naar binnen sturen?/
Ga zitten.
180 66
Karen
I don't really know--
Die ken ik eigenlijk.../
67
David
Let's put that down.
- Dat leggen we even neer./
68
Karen
Last year, I took a year out and I went travelling. Exploring--
Ik ben een jaar gestopt/met werken om te reizen./Op ontdekking uit./
69
David
Exploring yourself.
- Om jezelf te ontdekken./
70
Karen
And Asia.
En Azië./
71
David
Just with your boyfriend?
Heb je dat met je vriend gedaan?/
72
Karen
No. On my own.
- Alleen./
73
David
Good. Just by yourself out there. Free. Getting what you can while you're young.
Helemaal alleen op stap. Vrij./Doen wat je kunt zolang je jong bent./
74
Karen
I don't know when...
Ik weet niet wanneer.../
75
David
You've charmed me, yeah? You've got the job. Think of a decision, I make it. Good. Work out your notice with the place you are now and I'll put you on a month's probation. That's just to see if we--
Je hebt me betoverd. Jij krijgt/de baan. Ik hak graag knopen door./Neem ontslag. Je komt hier een maand/op proef. Gewoon om te zien of wij.../
76
Karen
OK.
77
David
Yeah? Good. Good. Out tonight celebrating, I suppose?
Je gaat vanavond zeker feest vieren?/
78
Karen
Er, yeah. Going to.. Do you know the Chasers?
- Ik ga... Ken je Chasers?/
79
David
Oh, I don't believe it. If you see three debauched drunkards in the corner, keep away from us! No, come over. The drinks will be on me. In me! What time are you going to cruise down there?
Niet te geloven./Als je drie dronkaards ziet zitten,/blijf dan uit de buurt./Of nee, kom erbij./De drankjes zijn voor mij, in mij./Hoe laat ben je er?/
80
Karen
It's not definite--
- Ik weet nog niet.../
81
David
No. Come down. Definitely. What's your tipple?
Je moet komen. Wat drink je?/
82
Karen
Vodka and coke.
- Wodka en cola./
83
David
Me - lager. Finchy - lager. Gareth - lager, sometimes cider. So... Different drinks for different needs. Yeah. Good. Well done. Congratulations.
Ik bier, Finchy bier, Gareth soms bier/en soms cider. Al naar behoefte./Goed zo. Goed gedaan. Gefeliciteerd./
84
Karen
Thank you.
85
David
New secretary. Good. Efficient.
Nieuwe secretaresse./Efficiënt./
86
Keith
So have you resigned, then?
Heb je ontslag genomen?/
87
Tim
Yeah. I just got to hand in my notice, make it official.
- Ik moet het officieel nog doen./
88
Keith
You embarrassed yourself and all asking Dawn out.
Je hebt jezelf voor gek gezet/door Dawn mee uit te vragen./
89
Tim
I didn't. I was just... Why does everyone think? It was as a friend.
Waarom denkt iedereen dat toch?/Het was vriendschappelijk bedoeld./
90
Keith
Right. Right.
91
Tim
Just as a friend.
181 Hallo Donna. Raak je al gewend?/Wie heeft dat daar laten liggen?/Er is straks een seminar/over gezondheid en veiligheid./Daar moet je verplicht naar toe./Maar het kan best leuk zijn./Ik maak er graag iets aardigs van./Om twee uur in de vergaderzaal./ Zit je een boekje te bekijken?/
92
Gareth
Hi, Donna. How's it going? Settling in? Who left that there? Um... Yeah. There's going to be a health and safety seminar later on, which I'd like you to attend. Compulsory, I'm afraid. That's not to say it won't be fun. I like to inject my own sense of fun into the proceedings. So... two o'clock in the meeting room, all right? See you there.
93
Keith
Just looking at the booklet at the moment?
94
Tim
Yeah.
95
Keith
What did you see on TV last night?
Wat heb je op tv gezien?/
96
Tim
I didn't watch tele, I watched a video.
- Een video./
97
Keith
I watched "Peak Practice".
Ik heb naar Peak Practice gekeken./
98
Tim
I've never seen it.
99
Keith
Bloody repeat.
Het was verdorie een herhaling./
100 Tim
Yeah. Annoying, isn't it?
101 Keith
Not for me. I hadn't seen it. Boring, isn't it? Just staying in watching "Peak Practice" with your life.
102 Tim
Yeah.
103 Keith
Not for me. I like it.
Ik kijk er graag naar./
104 Tim
Yeah. I just stayed in, had a big wank.
- Ik heb met mezelf zitten spelen./
105 Karen
That should be enough, shouldn't it.
Zo is het wel goed, hè?/
106 Dawn
Yeah. Fine.
- Prima./
107 Karen
The information's elsewhere.
Staat niets in./
108 Dawn
He won't read it. Despite having done it twice.
- Hij leest het toch niet./Al heeft hij het twee keer gedaan./
109 Karen
I'll have to get my P45 from my other job.
- Ik moet m'n andere baan opzeggen./
110 Dawn
OK.
111 David
Brent, just Roper to beat! I bloody love football, don't I? Service, barman. Lager. Vodka and coke. Gave her the gig. Oh God, the dreaded form. Does it say on there whether you're married or single? It doesn't matter, whatever. Bring your boyfriend tonight.
Nou nog even Roper passeren./Wat ben ik toch gek op voetbal./Kan ik wat bestellen?/Bier. Wodka en cola./Ze heeft het baantje./Dat vreselijke formulier./Staat erin of je getrouwd bent?/Maakt niet uit./Neem vanavond je vriend mee./
112 Karen
I don't have a boyfriend.
Ik heb geen vriend./
113 David
Whatever. (Accidentily hits her) Oh, sorry! Oh! Sorry. It is a man's game. That is... That is.. Yeah.
Neem me niet kwalijk./Het is een echte mannensport./
114 Karen
I can't see.
Ik zie niets./
115 David
Accidental. Sorry. That's why they shouldn't get involved, really.
- Ongelukje./Daarom horen ze niet op het veld thuis./
Gaf niks. Ik kende 'm nog niet./Saai, hè? Op de bank naar/Peak Practice zitten kijken./
182 116 Dawn
Hi.
117 Tim
Hello. All right?
118 Dawn
Yeah. I was just--
Ik wilde alleen even.../
119 Tim
I've got to go in a sec, so...
- Ik ga zo weg./
120 Dawn
No. I can eat here?
Kan ik hier eten?/
121 Tim
Of course.
- Ja hoor./
122 Dawn
So we should go for that drink.
Gaan we wat drinken? Jij, ik en Lee?/
123 Tim
Oh, yeah, yeah.
124 Dawn
You, me and Lee.
125 Tim
The three of us, yeah. I can probably get someone to come along.
- Met z'n drieën./Ik kan nog wel iemand meekrijgen./
126 Dawn
Good. Er, in the next few weeks?
- In de loop van de komende weken?/
127 Tim
Definitely.
128 Dawn
Right. I'll just check with Lee.
Ik neem het even met Lee op./
129 Tim
Yeah. Absolutely. Of course. Gareth.
- Moet je zeker doen./
130 Gareth
All right?
131 Tim
How are you, mate? Good to see you.
Hoe gaat ie, kerel?/Het is me een genoegen./
132 Gareth
You weren't trying to get off with her, were you?
Probeerde je haar te versieren?/
133 Gareth
OK. Welcome to Wernham-Hogg Health and Safety Training with Gareth Keenan. OK? That's me. Pleased to meet you. There are many hidden dangers in the workspace and today we're going to find out what those dangers are together. Starting off with your workstation. Now, I want you to imagine that this is a mug of hot coffee. It's not, OK, because that would be dangerous even in a training situation. What we're going to do is play a little fun game that I've made up. I like to have a bit of fun when I'm teaching people. I like a laugh most of the time - in and out of work. In fact, a few us are going out tonight...
Welkom bij de gezondheids-/en veiligheidstraining.../met Gareth Keenan./Het is me een genoegen./Er zijn veel verborgen gevaren op de/werkplek, en die gaan we behandelen./We beginnen met jouw werkplek. Stel/je voor dat dit een mok hete koffie is./Dat is het niet, want/dat zou te gevaarlijk zijn./En nu gaan we een spelletje doen/dat ik bedacht heb./Dat doe ik graag als ik lesgeef./Ik lach graag, op m'n werk en privé./We gaan met een stel uit./
134 Donna
Shall we crack on?
- Schiet eens op./
135 Gareth
Good. Keen. Excellent. All right. Now watch where I place this mug in order to simulate where someone might put a mug in real life. What I want you to do is shout out - and shout, mind "safe" or "dangerous." Think you could manage that? OK. Let's go.
Goed zo. Jij bent gretig./Let op waar ik deze mok neerzet./Ik doe na waar iemand in het echt/een mok kan neerzetten./En nu moet jij keihard 'veilig'/of 'gevaarlijk' roepen. Lukt dat?/
136 Donna
Dangerous. Dangerous.
Gevaarlijk./Gevaarlijk./
137 Gareth
So, what have we learnt there?
Wat hebben we geleerd?/
183 138 Donna
Don't pour coffee on the computer?
- Geen koffie over de computer gooien./
139 Gareth
Any fluids. Right? Good.
140 Tim
First-class, please.
Versturen, graag./
141 Dawn
Are you all right?
Gaat het wel met je?/
142 Tim
Eh?
143 Dawn
Are you all right?
144 Tim
Yeah. Fine, thanks.
- Ja hoor, bedankt./
145 Dawn
Have you had a good morning or a bad morning?
Heb je een goede of/een slechte ochtend?/
146 Tim
A bit of a... Oh, God, a bit of a mad morning.
Eerder een waanzinnige ochtend./
147 Dawn
Never mind.
- Laat maar zitten./
148 Tim
See you later.
149 Dawn
OK.
150 Gareth
Basically, there's a correct way and an incorrect way to lift stuff. All right? This is the incorrect way. OK? Incorrect. The correct way. Two things to remember. First of all, keep your back nice and straight. Straight back. And--
Er is een goede en een verkeerde/manier om te tillen. Dit is verkeerd./Gezien? De goede manier:/Twee dingen niet vergeten./Hou je rug netjes recht./
151 Donna
bend your knees.
- En buig je knieën./
152 Gareth
Keep your back straight and bend your knees. Right? Very important. That's the correct way. Do you want to try that with me?
Hou je rug recht en buig je knieën./Heel belangrijk./Wil je het even proberen?/
153 Donna
I'm fine.
- Nee, dank je./
154 Gareth
I'm supposed to witness you do it so I can tick the box. Just do it with me a couple of times. Right. So nice straight back, bend your knees... Up. That's it. Down again. Same on the way down as on the way up. Down again. Good. One more time. Nice straight back. That's it. That's it. Great. One more time. So have you got that?
Ik moet het zien, dan kan ik het/hokje afvinken. Doe het nou maar./Rug recht houden, knieën buigen.../En omhoog. Mooi zo./Omlaag net als omhoog./En weer omlaag./Goed zo. En nu nog één keer./Rug netjes recht. Goed zo./En nog eens. Heb je het te pakken?/
155 Donna
I'll practise it at home.
- Ik oefen thuis wel./
156 Gareth
Excellent. Good. Well done. If there's any questions to want to ask or if you want to talk about anything at all I know you've um - You slept with Jeff.
Heel goed gedaan./Als je nog vragen hebt.../of als je over iets anders/wilt praten... Ik weet dat je.../Je hebt met Jeff geslapen./
157 Donna
Are we done then?
- Klaar?/
158 Gareth
You made a mistake--
Je hebt een vergissing gemaakt.
159 Donna
No, I haven't made a mistake.
160 Gareth
I'm just checking whether you're going to be sleeping with him again or are you spreading it around...
161 Donna
Right. Bye.
Ben je/van plan om dat nog eens te doen?/
184
162 Gareth
Good. Yeah. Excellent pupil. Fast learner. She won't be spilling any fluids or lifting things incorrectly. "A" I'm going to give her. "A."
Snelle leerling./Die gaat geen vloeistoffen morsen/of dingen verkeerd optillen./Ze krijgt een tien van me. Een tien./
163 Ricky
Hi Gareth, Quick question, mate. I've got these invoices to file and I don't know--
Ik moet deze facturen/opbergen, maar ik weet niet.../
164 Gareth
Yes?
165 Ricky
Where do I file these?
Waar moet ik deze opbergen?/
166 Gareth
I don't know.
- Geen idee./
167 Ricky
Excellent. Thanks.
168 Gareth
It's not as if she's your daughter or anything, yeah?
Het is je dochter niet./
169 David
But that's not the point. It's the principle. It was about respect.
Daar gaat het niet om./
170 Gareth
Showing a bit of respect.
- Het is een kwestie van respect tonen./
171 David
And while she's under my roof, she will obey my laws. So...
Zolang ze bij mij woont, moet ze/zich aan mijn wetten houden./
172 Gareth
Showing respect by being the law. She's legal though. When cherries are red, they're ready for plucking, - when girls are 16, they're ready--
Dus jij moet haar/de wet voorschrijven./Ze is meerderjarig. Als kersen/rood zijn, kun je ze plukken./Als meisjes 16 zijn.../
173 David
Gareth.
174 Gareth
You heard that one then.
175 David
Well ...
176 Gareth
So, are you going to fire the person she shag... slept with?
Ga je degene die/met haar slaapt ontslaan?/
177 David
It's a free country. I can't do anything about it, so…
Daar kan ik niets tegen doen./
178 Gareth
So you won't fire them, as such?
- Dus die ga je niet ontslaan?/
179 David
I won't look on him favourably, let's put it that way.
Ik zou hem niet gunstig gezind zijn./
180 Gareth
Or her. It could be a girl.
- Of haar./
181 David
She's not a lesbian, Gareth. I think I'd know if a woman living under my roof liked to roll around with other women. Gareth? Don't you?
Ze is niet lesbisch. Ik zou het echt wel/weten als 'n vrouw die bij mij woont.../met andere vrouwen rollebolt./Denk je niet?/
182 Gareth
Yup. Most probably.
Waarschijnlijk wel./
183 Finch
Spoke to you at five, get the call at six from the lads, drinks at eight in the Chasers. Spare bird going.
Om zes uur word ik gebeld. Om/acht uur afgesproken bij Chasers./Er kwam een extra grietje mee./
184 David
Not for long!
185 Finch
So I get there, she's aged 19. Ferrari chassis, fantastic-sized shelves, and legs up to her arse. Muchos tequilas later, I'm in a cab with her. Not only that, but my mate's bird wants to get a lift with me and this nympho.
186 David
Finchy!
Kende je die al?/
Dus ik kom daar. Ze is 19./Ferrari-chassis.../joekels, benen tot aan haar gat./Later zit ik met haar in een taxi./De griet van m'n vriend wil/met mij en die sekspoes meerijden./
185
187 Finch
So there I am, back of the cab, both of them got their laughing gear round the old single pumpaction rifle. Got back to mine, two hours sleep, yeah? Today, I bump into the mate whose bird I've done... sold him two ton of high white rolls. He says to me, "You look knackered." And I'm thinking "Yeah, and you look like you had a Pot Noodle and a wank." I'd have said that to him. I shit you not. I'm seeing both of them tomorrow night.
Dus daar zit ik, zij met z'n tweeën/met hun waffel rond de spuit./Naar mijn huis. Twee uur slaap./Kom ik vandaag die vriend tegen.../En die zegt tegen me:/'Je ziet er doodmoe uit.'/Maar hij ziet eruit alsof hij zich voor/de tv een potje heeft zitten aftrekken./Ik zie ze morgen weer./
188 David
Coming out tonight though?
- Maar ga je vanavond nog mee?/
189 Finch
Definitely. Are you coming, jobless?
Kom jij ook, werkloze?/
190 Tim
Yeah. If only for the conversation.
- Ik ben gek op goede gesprekken./
191 David
Pot Noodle and a wank!
Een potje aftrekken./
192 Tim
I don't know where we're going tonight. Obviously, Finchy's a sophisticated guy, and Gareth's a culture vulture. So, you know, will it be opera, ballet? I don't know. I know the RSC's in town, so... But having said that, at Chasers, it's a Hooch for a pound and Wonderbras get in free night, so I don't know. It's exciting. I'm staying out of it.
Ik weet niet waar we heen gaan./Finchy is een man van de wereld./Gareth is verslingerd aan cultuur./Wordt het opera, ballet? Geen idee./Of een toneelstuk./Trouwens, bij Chasers.../is het 'één pond per drankje en/gratis voor Wonder Bra's'-avond./Spannend. Ik zie wel wat het wordt./
193 Finch
Garçon! Who wants a Finch pinch?
Garçon./Wie wil er een Finch Pinch?/
194 Girl
What?
195 Finch
Chris Finch, good to meet you. This is a very good friend of mine, Sir David Brent. Joking. The only knighthood he's got's a condom.
196 David
Night-hood.
197 Finch
Condom.
Van het condoom./
198 David
I'm saying the joke works.
- Heel leuk./
199 Gareth
Condoms come in all different flavours now, don't they? Like strawberry and curry and that. Do you like curry?
Je hebt condooms met allerlei/smaakjes. Wat vind je van kerrie?/
200 Finch
What are your names?
Hoe heten jullie?/
201 Girl
I'm Lorna. This is Lindsey and Heather.
- Lorna. Dit zijn Lindsey en Heather./
202 Finch
Pleased to meet you.
203 David
Nice to meet you.
Aangenaam./
204 Finch
Nice to meet you. And very nice to meet you.
- Het is me een groot genoegen./
205 David
Nice to meet all of you. Anyone's fine.
Aangenaam. Maakt niet uit wie./
206 David
Nice shirt.
Mooi overhemd./
207 Finch
Cheers. Ciro Citterio. While you're down there, love. You know what they say - one up the bum, no harm done. You not heard that before?
Bedankt. Ciro Citterio./Als je toch beneden bent.../Een in de reet, geeft geen scheet./Kende je die nog niet?/
208 David
Yeah.
Chris Finch. En dit is m'n vriend,/Sir David Brent./Grapje. Hij is alleen/van het Gulden Vlies./
186 209 Finch
Christ, that'll do. If you're looking for a seat, love, you can sit on my face!
Allemachtig, die kan ermee door./Jij mag best op m'n gezicht zitten./
210 David
Not her. Don't, please. She's staying with me. Her dad'll kill me. Leave it.
Die logeert bij mij./Haar vader vermoordt me./
211 Finch
You lucky bastard. Cheers love. Hey, do you want something harder?
Jij boft. Hé, jij daar,/heb je zin in iets hards?/
212 David
Don't. Do it to other girls. That's fine. Please, just...
Doe dat nou maar bij andere meisjes./
213 Gareth
Yeah, we go there every Wednesday night. It's a fun place, but it's full of loose women. And my only problem with that is venereal disease, which is disabilitating. Especially for a soldier. And it's irresponsible to the rest of your unit as well. You've been under attack for days, there's a soldier down, he's wounded, gangrene's setting in."Who's used all the penicillin?" "Mark Paxton, sir. He's got knob rot off some tart."
We gaan er elke woensdagavond heen./Het is wel vol losgeslagen wijven./En dan heb je zo/een geslachtsziekte te pakken./En dat is heel ongezond./Vooral voor een militair./Dat kun je niet maken tegenover je/eenheid. Stel, je wordt aangevallen./Soldaat raakt gewond, krijgt gangreen./'Waar is alle penicilline gebleven?'/'Mark Paxton heeft/een druiper, meneer.'/
214 David
Coming through. R-aargh! Don't worry. I haven't got any balls. Vodka and coke. Remembered. What am I drinking?
Uit de weg./Maak je geen zorgen./Ik heb geen ballen./Wodka en cola. Ik wist/het nog. En wat drink ik?/
215 Karen
Lager?
Bier./
216 David
A pint thereof. They're coming up to me one at a time and they're going, "Will we be made redundant, David?" I'm going, "No. Over my dead body." They're going, "Don't put your neck on the line for us." "I will if I want to." Because, well... They bend over backwards for me, you know, and not because they're scared of me, but because they love me and I love them. You know? You'll grow to love me as well - not because of what is am, not because of anything sexual-
- Een pintje daarvan./Dan komen ze bij me vragen:/'Worden wij ontslagen, David?'/En ik: 'Over m'n lijk.' En zij: 'Steek je/nek nou niet uit.' En ik: 'Doe ik wel.'/Ze gaan voor me door het vuur,/en niet omdat ze bang voor me zijn./Ze houden gewoon van me en ik van/hen. Jij gaat vast ook van me houden./
217 Gareth
Hey, David. (sees Donna and Ricky kiss)
218 David
Yeah, yeah, yeah. Hey, what bike you got?
Wat voor motor heb jij?/
219 Girl
A Matchless 500.
Een Matchless 500./
220 David
What's that? A Harley Davidson? I love all that.
- Is dat een Harley Davidson? Te gek./
221 Gareth
Leave it.
222 Tim
Slough's nightlife is incredible. It's got two nightclubs - Chasers and New York New York. They call it "The nightclub that never sleeps." That closes at one. There is- There was - Oh, my God, a themed nightclub called Henry VIII's, right? It was incredible. It had the Ann Bow-ling Alley. This is true. As you went into the loo, there was a sign that said "Mind Your Head." Nice. And underneath someone had written "Don't get your Hampton Court." Yeah. It's not there anymore. But there is not a day that goes by that I don't think about it.
Het nachtleven hier is geweldig./Er zijn twee nachtclubs: Chasers.../en New York New York. 'De nachtclub/die niet slaapt.' Gaat om één uur dicht./En dan heb... had je een/thema-nachtclub, Henry VIII./Die was te gek. Met een/'Ann Bow-lingbaan'. Echt waar./Bij de wc hing een kaartje/met: Pas op je hoofd./En eronder stond:/Hou het hier Hampton Court./Die is er dus niet meer, maar/ik moet er nog elke dag aan denken./
223 Gareth
Who are you?
Wie ben jij?/
224 Girl
Have you not met my husband Paul?
- Dit is m'n man, Paul./
225 Gareth
Husband?
187 226 Girl
Paul, is it all right if Gareth comes back with us?
Is het goed als Gareth meekomt?/
227 Paul
Fine.
- Mij best./
228 Gareth
Husband? No way. No. I don't... Not interested. No. I'm not having another fella involved. Another girl, maybe. Not another bloke. I wouldn't even want him watching. No way.
Sorry, maar ik ben/niet geïnteresseerd./Ik wil er geen andere vent bij./Een meisje, vooruit./Ik zou niet eens willen dat hij toekeek./
229 Donna
Hi.
230 Everyone Hey. 231 Tim
All right, mate. How's it going? Good to see you.
232 Donna
So now you know.
233 David
Yeah. Brilliant.
234 Donna
What? You got a problem with Ricky?
Heb je wat tegen Ricky?/
235 David
No no. Sleep with everyone in the office. He's not even permanent member of staff. I'd have preferred it if you slept with Gareth.
Ga maar naar bed met wie je wilt./Al had ik liever Gareth gehad./
236 Donna
Wouldn't happen.
237 David
Oh why? 'Cause he didn't go to university?
Omdat hij niet gestudeerd heeft?/
238 Donna
No, because he's a little weasel-faced arse.
- Omdat het een zeikerd is./
239 David
You could do worse than Gareth. He hasn't missed one day from this office becuase of ill health. And don't call my second in command an arse-faced weasel.
Je zou het slechter kunnen treffen./Hij is nooit ziek./En noem hem geen slijmerd./
240 Donna
A weasel-faced arse.
- Ik zei zeikerd./
241 David
Same thing.
242 Donna
No, it's isn't. Would you rather have a face like an arse or a face like a weasel?
Wat wil je liever zijn:/Een zeikerd of een slijmerd?/
243 Gareth
A weasel, probably.
Een slijmerd./
244 Donna
Anyway, fuck this. Don't tell me who I can and can't see. I hope you're not going to sleep with a woman David because obviously you find sex so disgusting.
- Bemoei je er trouwens niet mee./Vrij jij dan niet,/als je het zo smerig vindt./
245 Finch
Fat chance. He couldn't pull in a brothel.
Dat kan hij wel vergeten./
246 David
I could and I have! And yes I will take her home with me if I want.
- Ik neem haar gewoon mee naar huis./
247 Girl
I don't want to come home.
Dat wil ik niet./
248 David
She doesn't want to come home with me. I don't want you to come home with me. That's a waste of an hour.
- Ze wil niet. Weer een uur verspild./
249 Girl
So the only reason you've been talking to me is because you want to shag me?
Dus je wilt met me vrijen?/
250 David
Yeah, and from behind because your breath stinks of onions. And I didn't tell you that, did I?
- Van achteren. Je adem stinkt./
Nou weet je het./
188 251 Finch
Whoo! One up the bum, no harm done.
Een in de reet geeft geen scheet./
252 David
No. Not up the arse.
- Nee, niet in haar reet./
253 David
This is the poem "Slough" by Sir John Betjeman. Probably never been here in his life. "Come, friendly bombs, and fall on Slough. It isn't fit for humans now." Right, I don't think you solve town planning problems by dropping bombs all over the place, so he's embarrassed himself there. Next. "In labour-saving homes with care Their wives frizz out peroxide hair, and dry it in synthetic air, and paint their nails." They want to look nice.Why's he got a--? Doesn't he like girls? "And talk of sports and makes of cars in various bogus Tudor bars, and daren't look up and see the stars, but belch instead." What's he on about? What? He's never burped?
Dit is het gedicht Slough van Sir John/Betjeman. Die is hier nooit geweest./Kom, bommen, daal op Slough neer/want hier horen geen mensen meer/Wie lost er nou planologische/problemen met bommen op?/In arbeidsbesparende huizen daar/verzorgen vrouwen hun gebleekte haar/ze drogen hun haren/lakken hun nagels/Die willen er mooi uitzien./Houdt hij soms niet van meisjes?/hoor ze over auto's snoeven/in hun namaak-bruine kroegen/ze willen niet naar sterren kijken/ze boeren/Wat zeurt hij nou? Boert hij nooit?/
254 David
Where are we going?
Waar gaan we heen?/
255 Tim
What do you mean? I'm going home, mate.
- Ik ga naar huis./
256 David
One more drink.
Nog één glas./
257 Tim
No I'm going home, David.
- Ik ga naar huis./
258 David
One more drink. # Life! Oh, life! #
Nog eentje./
259 Tim
Shut up. Shut up,
260 David
# Oh, life! #
261 Tim
Don't do that.
262 David
"Come, friendly bombs, and fall on Slough, to get it ready for the plough. The cabbages are coming now. The earth exhales" He's the only cabbage around here. And they made him a knight of the realm. Overrated.
Kom, daal op Slough neer/we moeten met ploegen in de weer/de kool komt op, de aarde ademt uit/Die vent is de enige kool hier./Ze hebben hem nog geridderd./Zwaar overschat./
189
Appendix 2.6: Transcription Judgement (1.6)
No.
Speaker
Dialogue
Dutch subtitle
1
David
This is the worst part of my job, you know. I do not want to lose a good man. But it's out of my hands, and if it were in my hands, my hands are tied. It's nothing personal it's just based on factors--
Dit vind ik het ergste van m'n baan./Ik verlies liever geen goede kracht./Ik heb er niets over te vertellen./Ik sta met m'n rug tegen de muur./Het is niet persoonlijk./
2
Employee
Why am I getting fired?
Waarom ontsla je mij?/
3
David
You're not getting fired. It's redundancy. It's nothing personal. It's cutbacks being what they are, you are one of the unlucky ones. Or one of the lucky ones in my opinion!
Het is een afvloeiingsregeling./We moeten bezuinigen en/jij hebt gewoon pech./Of juist mazzel, naar mijn idee./
4
Employee
Now I'm gonna ask you David, why, when there are three other forklift operators, do you decide to fire me and not Anton? Is this positive discrimination? Do you have disability quotas to fill?
David, er zijn nog/drie vorkheftruckbestuurders./Waarom ontsla je mij en niet Anton?/Is dit positieve discriminatie?/Kom je gehandicapten te kort?/
5
David
I don't know what you mean.
Ik weet niet wat je bedoelt./
6
Employee
Are you keeping Anton on because he's disabled?
Blijft Anton omdat hij/gehandicapt is?/
7
David
Anton's not disabled.
Gehandicapt?/
8
Employee
He's a midget, David.
- Het is een lilliputter./
9
David
Yeah, but you're not disabled if you're a midget, are you? That's not a disability, that's just small. Ronnie Corbett doesn't get special treatment, does he?
Dan ben je nog niet gehandicapt./Dan ben je alleen klein./Ronnie krijgt ook geen/speciale behandeling./
10
Employee
Ronnie Corbett's five foot. Anton's three foot four.
Hij is 1.60 m. Anton is 1.10 m./
11
David
So are some children. Children don't get special favors, children aren't disabled, are they?
Kinderen vaak ook,/die zijn toch ook niet gehandicapt./
12
Employee
Children don't work in warehouses.
Kinderen werken niet in pakhuizen./
13
David
Look, whether or not Anton is indeed a midget or a dwarf--
Of Anton nu een lilliputter/of een dwerg is.../
14
Employee
No, he's a midget.
Het is een lilliputter./
15
David
What's the difference?
- Wat is het verschil?/
16
Employee
A dwarf is someone who has disproportionately short arms and legs.
Een dwerg heeft verhoudingsgewijs/korte armen en benen./
17
David
Oh, I know the ones.
O ja, die ken ik./
18
Employee
It's caused by a hormone deficiency.
Dat is een hormonenkwestie./
19
David
Yeah. Bloody hormones.
Ja, stomme hormonen./
20
Employee
A midget is still a dwarf, but their arms and legs are in proportion.
Bij een lilliputter zijn de ledematen/wel in verhouding./
21
Gareth
So what's an elf?
Wat is dan een elf?/
190 22
David
Do you want to answer that?
Wil je antwoord geven?/
23
Employee
An elf is a supernatural being. Sometimes they're invisible, they're like fairies.
Een elf is een bovennatuurlijk wezen./Soms zijn ze onzichtbaar,/net als feeën./
24
David
They don't actually exist, do they? In real life? Do you think I enjoy this? This has been imposed upon me.
Die bestaan toch niet echt, hè?/Denk je dat ik dit leuk vind?/Het is me opgedragen./
25
Employee
"This has been imposed upon me!" "This has been imposed upon me!"
'Het is me opgedragen.'/
26
David
Yeah. Yeah it has. What do you want me to say, I'm sorry?
Wil je soms dat ik zeg dat het me spijt?/
27
Employee
Yeah. I want you to say you're sorry. I want you to apologize and stop passing the buck!
Ja, zeg maar dat het je spijt./Nu schuif je het af./
28
David
I'm not passing the buck. This is someone else's decision. I didn't want to do this. You know, go above my head if you don't believe me.
Nietwaar, dit is mijn beslissing niet,/ik wil het niet./Ga dan maar hogerop./
29
Employee
Oh, I will go over your head.
- Dat zal ik doen./
30
David
Fine. Good luck. It's your prerogative.
Daar heb je recht op./
31
Employee
Yeah, it is. It's my prerogative.
- Zeker weten. M'n goed recht./
32
Gareth
So is a pixie the same thing as an elf?
Is een kabouter hetzelfde als een elf?
33
David
Hold on, Gareth.
34
Gareth
What? I just want to know how come he knows so much about midgets.
Ik wil weten hoe hij zo veel weet/over dwergen./
35
Employee
It's called an education.
Dat heet scholing./
36
Maintenance man
So what's a goblin?
Wat is een kobold?/
37
David
How long are you gonna be, mate?
- Duurt dit nog lang?/
38
David
Ik kom misschien indrukwekkend/over.../je weet wel, de grote baas./Als je I know I probably seem like quite an imposing figure now - you know, the slick boss - but get to me beter kent,/ben ik lekker gek./Dat heb ik meegebracht./Dus./Ha, daar know me, you'll see I'm mad. I brought that in. So... Oh, here we go. Malcolm. This is Malcolm. gaan we dan./Dit is Karen Roper,/m'n nieuwe secretaresse./Jullie mogen haar This is Karen Roper, my new secretary. You can all use her - as an actress said to a bishop. allemaal gebruiken./
39
Malcolm
Nice to meet you.
Aangenaam./
40
Karen
Hello.
- Hallo./
41
Malcolm
David, can I just ask why you've hired yourself a new secretary when you're having to fire people like Alex this morning?
Waarom heb je een/nieuwe secretaresse aangenomen.../terwijl mensen als Alex/ontslagen worden?/
42
David
Different people, different jobs, isn't it? To whit, the answer to the question, is it people or task is - well, you know - people. Like this person. Kojak.
Andere mensen, andere banen./De vraag is:/Gaat het om mensen of de klus?/Het gaat om mensen, snap je?/Net als deze man. Kojak./
43
Malcolm
David, what I want to know--
David, wat ik wil weten.../
44
David
Kojak we call him. Not to his face. Who loves you baby?
- We noemen hem Kojak./
191 45
Malcolm
Am I going to be fired? When will we know what's happening?
Word ik ontslagen?/Wanneer horen we dat?/
46
David
Good question. Jennifer is coming in midday today, Greenwich Mean Time. She will have the verdict then. OK. I was just tryiong to keep the troops happy.
Goede vraag. Jennifer komt/vanmiddag om twaalf uur precies./Zij zal uitspraak doen./Ik houd de troepen tevreden./
47
Malcolm
Well, they'd be happier if they knew they'd got jobs.
Ze zijn tevreden/als ze hun baan behouden./
48
David
Yeah. I'm thinking of other weird-looking bald people we could do.
Tuurlijk./Zijn er niet nog meer/rare kaalkoppen?/
49
Karen
That one on Benny Hill?
Die vent in Benny Hill?/
50
David
Oh, yeah. I don't know if you met Tim. He's thinking of leaving. He's feeling bad about himself. I'm going to have a chat to him, make him feel good about himself, turn it round. You know. Look and learn. So... Timothy!
O ja, die./Ken je Tim al?/Hij gaat hier misschien weg./Hij zit niet lekker in z'n vel./Ik praat wel met hem, zorg/dat hij zich lekker gaat voelen./Je weet wel, kijken en leren./
51
Tim
Hi.
52
David
Can I have a quick word?
53
Tim
Sure.
54
David
In the office. Walk this way. Quack, quack, quack! Always start with a joke. You might want to make notes. Hiya. Come in. How are you doing?
In m'n kantoor. Kom maar mee./Altijd met een grap beginnen./Je mag aantekeningen maken./Hallo, kom binnen./Hoe is het?/
55
Tim
All right, thanks.
- Prima, dank je./
56
David
You don't mind if Karen sits in just to learn the ropes firsthand?
Vind je het erg als Karen/erbij blijft?/
57
Tim
No, not at all. What are we doing?
Nee, hoor. Wat gaan we doen?/
58
David
I just wanted to know why you're thinking of leaving, mate.
Ik vraag me af waarom je overweegt/te vertrekken./
59
Tim
I got to tell you, I'm not thinking of leaving, I am leaving.
Ik overweeg het niet, ik ga weg./
60
David
Sure. Sure. I don't mean to stitch anyone up, but it's nothing I've said or done, is it?
Natuurlijk./Het is toch niet om iets/wat ik heb gezegd, hoop ik?/
61
Tim
No, not at all, David. No.
Helemaal niet./
62
David
Definitely not. Put that down. No way. I don't want to put words in your mouth, but what sort of a boss would you say I am? I'm a ...
- Absoluut niet, hoe kom je erbij?/Ik wil je geen woorden/in de mond leggen.../maar wat voor soort baas vind je mij?/Ik ben een.../
63
Tim
Good boss, yeah.
- Goede baas./
64
David
Put down good, he said good.
Hij zei goed./
65
Tim
No. You're a great boss. It's just that I'm not in a position anymore...
- Een geweldige baas./Ik ben niet in de positie.../
66
David
It's not because you asked Dawn out in front of everyone and she said no, is it?
Is het omdat Dawn niks met je wilde?/
67
Tim
I didn't ask her out. It was as a friend. It was as a friend. Why does everyone think -- Put friend. We zijn gewoon vrienden./Vrienden. Gewoon vrienden./Schrijf dat op./ Put friend down.
68
David
So why the move?
Waarom ga je dan weg?/
69
Tim
It's not one thing, David, it's lots of little --
Er zijn meerdere redenen./
70
David
Go on.
Kan ik je even spreken?/
192 71
Tim
Can I?
Mag ik?/
72
David
Sure.
- Natuurlijk./
73
Tim
OK. I don't really enjoy the work I do here. I'm sorry, but I feel a little bit like I'm wasting my time.
Goed. Ik vind het werk hier/niet zo leuk. Het spijt me./Ik zit hier m'n tijd te verdoen./
74
Karen
That life's too short.
Het leven is te kort./
75
Tim
Yeah, exactly. Thank you. Let's be honest, David, I am 30. I want to retire with some stories to tell.
- Precies, dank je./Laten we eerlijk zijn, ik ben 30./Ik wil later verhalen kunnen vertellen./
76
Karen
Not about paper.
- Niet over papier./
77
David
I can give you paper stories that'll crack you up, so...
Ik heb dolle verhalen over papier./
78
Tim
That's true. They are hilarious.
Klopt. Hilarisch./
79
David
Hilarious. Put down hilarious.
- Schrijf dat op./
80
Tim
Do you want me to go on?
Zal ik doorgaan?/
81
David
How many have you got?
- Toe maar./
82
Tim
It's like an alarm clock's gone off and I've just got to get away. I think it was John Lennon who said "Life is what happens when you're making other plans." And that's how I feel. Although he also said, "I am the walrus, I am the eggman", so I don't know what to believe!
Het is net of de wekker afgaat en/ik echt moet opstappen./John Lennon zei:/'Het leven gaat voorbij/terwijl je plannen maakt.'/Dat is precies hoe ik me voel./Hij zei ook:/'Ik ben de walrus, de eierenman...'/dus wat moet je nou geloven?/
83
Tim
David, listen to me ...
David, luister.../
84
David
No, you listen to me, "Tim". When you first came here, you didn't know about the paper industry. I showed you the ropes, I nurtured you, I gave you a good job.
- Nee, luister jij maar naar mij./Toen je hier kwam werken,/wist je niets van papier./Ik heb je alles geleerd en/je een baan gegeven./
85
Karen
That he doesn't want!
Die hij niet wil./
86
David
I didn't ask you.
- Vroeg ik jou iets?/
87
Tim
You did ask me how I felt and I'm telling you--
Je vroeg me hoe ik me voel./
88
David
I don't want to know now.
- Ik wil het niet weten./
89
Tim
What do you mean you don't want to know?
90
David
This has been a waste of time.
91
Tim
It's not a waste of time.
92
David
Yeah. I tell you what, why don't you both go and do some work instead of whinging, please?
Gaan jullie nu allebei/maar weer aan het werk./Vooruit./
93
Tim
This is silly.
- Dit is onzin./
94
David
No, go on. Don't say out there what you said in here, apart from the good boss. I don't want you spreading bad vibes around my office, all right? If you'll be like that at the party, that'll be fun! You try and do a good deed and that…
Alles blijft onder ons,/behalve dat ik een goede baas ben./Ik wil geen slechte sfeer/in m'n kantoor, begrepen?/Gezellig, dat gedrag van je./Doe je eens een goede daad.../en dan.../
Wat een tijdverspilling./
193 95
Dawn
You all right?
Alles in orde?/
96
Tim
Yeah. Hello.
Ja, hallo./
97
Dawn
Are you going to the party?
Ga je ook naar het feest?/
98
Tim
Yeah, yeah. Of course. I wouldn't miss it. And you?
Natuurlijk, dat wil ik niet missen./En jij?/
99
Dawn
Er, yes.
- Jawel./
100 Tim
Good.
Mooi./
101 Dawn
Hooray. See you later.
Hoera./Tot straks./
102 Tim
Yeah.
103 Dawn
I hope they get rid of me. Because then I might actually get off my arse and do something. I don't think it's many little girls' dream to be a receptionist. I don't know what I'll do, but whatever it is, it's got to be a career move and not just another arbitrary job. Um... Tim's advice is that it's better to be at the bottom of a ladder that you want to climb than halfway up one you don't. But I don't I just don't want to be treading water and then wake up in another five years time and say, "Shit! Done it again."
Ik hoop dat ik word ontslagen./Dan kan ik eindelijk eens/echt iets gaan doen./Welk meisje droomt er nu van/om receptioniste te worden?/Ik moet een carrièresprong maken.../en niet zomaar iets aannemen./Volgens Tim kun je beter onderaan/beginnen in een leuke baan.../dan hogerop in een saaie baan./Ik wil niet nogmaals/pas op de plaats maken.../om over vijf jaar te denken,/'weer verkeerd gedaan'./
104 Tim
Do you think you could--? Could you not do that here, mate? Sorry, just - not do that here?
Denk je dat je?/Kun je dat even/ergens anders gaan doen?/
105 Gareth
I've got to do it, mate. Really.
Het moet wel./
106 Tim
No chance you could throw it in the bin?
Kan het de prullenbak niet in?/
107 Gareth
Yeah, and maybe I should just take them round to rival companies and just hand them out.
Ik kan het ook meteen/naar onze concurrenten brengen./
108 Tim
Good point, but could you just throw it in the bin?
Mij best. Wil je het/in de prullenbak gooien?/
109 Donna
Gareth, can you keep it down a bit?
Gareth, kan het wat rustiger?/
110 Gareth
Hmm?
111 Donna
Can you stop it?
Hou even op./
112 Gareth
Yeah. I'll just do it like this.
Oké, dan doe ik het wel zo./
113 David
Hiya.
114 Jennifer
Hi, David. Are you ready?
Ha, David. Ben je klaar?/
115 David
Yeah.
Ja./
116 Jennifer
Who's she?
Wie is dat?/
117 David
Don't know.
- Geen idee./
194
118 Jennifer
Now I know I promised you some kind of answer today. I don't think it's the one you're expecting. Firstly, I'm moving on.
Ik heb je een antwoord beloofd./Het is niet precies wat je verwacht./Ik ga iets anders doen./
119 David
Have you been fired?
Ben je ontslagen?/
120 Jennifer
No.
121 David
No.
122 Jennifer
No, I've been made into a partner.
- Nee, ik word partner./
123 David
They've made you into a partner? So, that'll be Wernham-Hogg-Taylor-Clark. That's mental, they'll have to change the stationary.
Partner? Dan wordt het/Wernham Hogg Taylor-Clark./Ander postpapier, dus./
124 Jennifer
Yeah, I think we might get a discount though as we're in the business.
We krijgen wel korting./
125 David
40% sometimes.
- Soms wel 40 %./
126 Jennifer
The point is, David, my job is now available and the board thought that either you or Neil should take over the role. I can tell you now the board have voted 5 to 2 in favor of you taking the job.
Mijn functie komt vrij.../en het bestuur vond het wel/iets voor jou of voor Neil./Ze hebben gestemd en het was/vijf tegen twee voor jou./
127 David
Voted for me 5-2? There's only seven on the board, isn't there?
Vijf tegen twee?/Het bestuur bestaat uit zeven man./
128 Jennifer
Yes.
129 David
So it's five out of seven.
130 Jennifer
Now I did--
131 David
That's a landslide.
dat is nogal wat./
132 Jennifer
David.
David.../
133 David
Go on.
- Ga door./
134 Jennifer
You've always made it very clear that you're 100% committed to your branch.
Jij zet je voor 100 procent in/voor jouw afdeling./
135 David
Probably why got the--
136 Jennifer
You do understand that if you take on my job, Neil will stay in Swindon and your branch will be downsized and incorporated into his?
Als je mijn baan overneemt,/blijft Neil in Swindon./Jouw afdeling wordt ingelijfd/bij de zijne./
137 David
Yup.
Snap ik./
138 Jennifer
Well, I know that you're very loyal to your family here--
Ik weet hoe loyaal je bent/tegenover je club./
139 David
I'd be loyal to the whole family. It's one big family.
Ik blijf loyaal,/het is één grote familie./
140 Jennifer
Yes, I'm just sensitive to the fact that you have strong, let's say emotional ties to your team.
Je voelt je/emotioneel betrokken bij je team./
141 David
Well, yeah, but there is the emotion as "good in business" syndrome, sure, notwithstanding the cruel to be kind scenario--
Er is ook nog zoiets als/het 'goed in zaken'-syndroom.../en zachte heelmeesters/maken stinkende wonden./
142 Jennifer
I'm sorry David, you've lost me.
Waar heb je het over?/
Vijf van de zeven,
195
143 David
Well, you're not looking at the whole pie, Jenny. Wernham-Hogg is one big pie and if they've left me in charge of that one big pie, I'll be in charge of the pie - The people are the fruit and I--
Het geheel. Wernham Hogg is/een grote taart./Als ik verantwoordelijk ben/voor de taart.../ben ik... is het personeel het fruit./
144 Jennifer
I don't have time for the pie thing, David.
Ik heb geen tijd voor dat taartgedoe./
145 David
Don't want it? No. I'm saying, yeah OK, I'll take the job, please.
Wat ik wil zeggen is/dat ik de baan neem./
146 Jennifer
Good. OK. Well, the first step is to meet with Alan and the board.
Prima. Dan moet je een afspraak/maken met het bestuur./
147 David
Yup. What's five out of seven as a percentage?
Hoeveel procent is vijf van de zeven?/
148 Jennifer
Er ...70%.
70 %./
149 David
71.4 so...
71.4. Dus.../
150 Jennifer
Call Susan and arrange to meet the board and finalise all the details. Congratulations and good luck.
Laat Susan een afspraak maken en/alle details uitwerken./Gefeliciteerd en veel succes./
151 David
You don't need luck when you've got 71.4% of the population behind you.
Dat heb je niet nodig als je 71 %/van de stemmen hebt./
152 Jennifer
She's still here.
Ze is er nog steeds./
153 Dawn
Bye, Jennifer.
Tot ziens, Jennifer./
154 Employee
What do you think?
Wat denk je?/
155 Employee
He looked all right.
- Volgens mij komt het goed./
156 Sheila
How did it go?
Hoe ging het?/
157 Employee
What did she say?
- Wat zei ze?/
158 David
Fine.
Goed./
159 Malcolm
What's the damage?
Wat is de schade?/
160 David
It's complicated.
Het ligt gecompliceerd./
161 Malcolm
Are you going to tell us?
Ga je het ons nog vertellen of niet?/
162 David
Yeah. (closes the door)
163 Malcolm
David? (knocks on the door) We'd like to know now.
We willen het nu weten./
164 David
OK. All right. OK. Gather. Um... Well, there's good news and bad news. The bad news is Neil will be taking over both branches and some of you will lose your jobs. Those of you who are kept on will have to relocate to Swindon if you want to... stay. I know, I know. Gutting. Gutting. You didn't see me. On a more positive note, the good news is I've been promoted. So every cloud... You're still thinking about the bad news, aren't you?
Ja, goed./Verzamelen./Ik heb goed nieuws en/ik heb slecht nieuws./Het slechte nieuws is dat Neil/beide afdelingen overneemt./Dat houdt enkele ontslagen in./Degenen die blijven/worden overgeplaatst naar Swindon./Ik weet het, vreselijk./Dat zei ik ook./Nu nog iets positiefs. Het goede/nieuws is dat ik promotie heb gemaakt./Dus, achter de wolken.../Jullie denken aan/het slechte nieuws./
165 Malcolm
There's no good news, David. It's only bad news and irrelevant news.
Er is alleen slecht nieuws en/irrelevant nieuws./
196
166 David
Yeah, that's not a phrase though, is it? I couldn't come out and go "I've got some bad news and some irrelevant news."
Dat zeg je niet: Ik heb slecht nieuws/en irrelevant nieuws./
167 Malcolm
You could just have told us about Neil and kept your promotion to yourself.
Je had je mond kunnen houden/over die promotie./
168 David
I should have told you the good news first, got you happy --
Eerst het goede nieuws.../
169 Malcolm
There is no good news, David.
Er is geen goed nieuws, David./
170 David
Hmm, I think promotion is generally considered good news.
Een promotie is over het algemeen/goed nieuws./
171 Malcolm
We're going to lose our jobs!
We raken onze baan kwijt./
172 David
You're not all going to lose your jobs. God! Just... All right? You're not going to lose your job. You're not going to lose your job. You know... You're not going to lose your job. So just get it in perspective, yeah? Come on. You know there's only seven people on the board yeah?
- Niet allemaal./Jij raakt je baan niet kwijt/en jij ook niet./Jij raakt je baan niet kwijt./Probeer het te relativeren./Kom op./Het bestuur bestaat uit/slechts zeven personen./
173 Employee
When are the rest of us going to find out?
Wanneer horen we de rest?/
174 Jamie
I can't believe it. After all the things he said, it's just... I'm in shock.
Ik geloof het gewoon niet./Na alles wat hij gezegd heeft./Ik ben in shock./
175 Employee
Sold us out.
Afgedankt./
176 Employee
Wanker.
Dilettant./
177 Gareth
What? David Brent's leaving?
Wat? Gaat David Brent weg?/
178 Gareth
So you're definitely leaving then?
Dus je gaat ons echt verlaten?/
179 David
Yup, it would appear so.
Daar lijkt het wel op./
180 Gareth
What about us?
En wij dan?/
181 David
There's nothing going on between us.
Hebben we iets samen?/
182 Gareth
Not like that.
- Dat bedoel ik niet./
183 David
No not like that.
184 Gareth
You know, but we're a team. I'm Assistant Regional Manager.
We vormen een team./Ik ben assistent-regiomanager./
185 David
Assistant to the Regional Manager. Yeah.
Assistent van de regiomanager./
186 Gareth
So I can still be your assistant if you're going off to the--?
Kan ik dan nog steeds/jouw assistent zijn als je.../
187 David
No. I'll be getting a proper assistant - a P.A.
Ik neem een echte assistent./Een persoonlijke assistent./
188 Gareth
A lady?
Een vrouw?/
189 David
Hopefully, yeah. Not 'cause of that, just...
- Hopelijk wel./Niet dat dat iets uitmaakt./
190 Gareth
What about Neil? Does he need an? I could be his assistant.
Heeft Neil misschien/een assistent nodig?/
197
191 David
Neil's bringing his man with him. Bloody good guy. Good assistant. Bloke called Terry someone. You'd like him. He's ex-army.
Neil neemt z'n eigen assistent mee./Een hele goeie vent, Terry nog iets./Goeie vent, komt uit het leger./
192 Gareth
Territorial?
Territoriaal?/
193 David
No.
Nee./
194 Gareth
Regular?
- Beroepssoldaat?/
195 David
Yeah.
Ja./
196 Gareth
What rank?
Welke rang?/
197 David
Sergeant, I think. What are you?
- Sergeant, geloof ik./En jij?/
198 Gareth
Lieutenant, sir.
Luitenant, sir./
199 David
Anyway...
Hoe dan ook.../
200 Gareth
That's it, then, is it? The old team on the scrapheap. It's all gone.
Dat was het dan, hè?/Het oude team is afgedankt./Alles is voorbij./
201 David
Gareth come on. You're a soldier. Yeah? Eh? Yeah? Stiff upper lip and all that, eh? Spirit of the Dambusters. Yeah? The squadron never dies, does it? Seen that film?
Gareth, toe nou./Je bent toch soldaat?/Nooit je gevoelens tonen, toch?/In de geest van The Dambusters./Het squadron geeft het nooit op./Heb je die film gezien?/
202 Gareth
Yeah. I've got it on video.
- Ik heb hem op video./
203 David
Well then, yeah? Before he goes into battle, he's playing with his dog and everything.
Nou dan./Voordat hij vertrekt,/speelt hij met z'n hond./
204 Gareth
Nigger.
Nigger./
205 David
That's not offensive. That's the dog's name. It was the '40s as well, before racism was bad, isn't it? So…
- Dat is niet kwaad bedoeld./Zo heette die hond./In de jaren '40, vóór het racisme./
206 Gareth
The dog was called Nigger.
Die hond heette Nigger./
207 David
Don't keep saying it. Eh? So, take anything. Choose one thing. Choose a memento. From me to you. Take anything you want.
- Nu weet ik het wel./Neem wat je wilt./Kies iets uit, een herinnering./Iets van mij voor jou./Neem wat je wilt./
208 Gareth
To keep?
- Om te houden?/
209 David
Yup.
210 Gareth
I'll have the guitar.
Dan neem ik de gitaar./
211 David
Not the guitar. I meant stationery. Something I can re-order.
Die niet. Postpapier./Iets wat ik kan nabestellen./
212 Gareth
The hole punch. That's always handy.
Altijd handig./
213 David
All right?
Goed?/
214 Gareth
Yeah?
- Ja./
215 David
Bloody good one, that.
Het is een hele goeie./
216 Gareth
Like confetti.
Net confetti./
198 Je kunt het als confetti gebruiken./Eerst met de priester overleggen./Strooi het niet op het tapijt./
217 David
Could be used as confetti, yeah. Check with the vicar first, always. Don't get it on the carpet, Gareth. It's just...
218 Gareth
Sorry.
219 David
Put it there.
Leg het daar maar neer./
220 David
I don't see it as letting people down. If we're a family, then maybe it's time to cut the apron strings, let them stand on their own two feet. Because you can be sure that if they were in my position, they'd take the job and go "Thanks we're off, thanks for the opportunity and the great jokes." But, you know, this is a business. Right? I'm not doing this for an Esther Rantzen Heart of Gold, or if Esther's handing out awards, then do it for my charity work. Five fun runs in two years. So why don't you ask Philippa Norris or you know, Simon Coleman at Mencap what they think of David Brent? So...
Ik laat ze niet in de steek./We zijn een gezin, ze moeten leren/om op eigen benen te staan./Als zij in mijn schoenen stonden,/zouden ze de baan nemen./'Bedankt voor de kans en/de leuke moppen.'/Dit is wel een bedrijf, hoor./Ik sta hier niet voor Heart of Gold/van Esther Rantzen./Als Esther me een prijs geeft,/is het voor m'n liefdadigheid./Vijf recreatielopen in twee jaar./Vraag maar aan Philippa Norris of/Simon Coleman van Mencap.../wat ze van David Brent vinden./
221 Keith
It's the end of the financial year and Spirits Are In The Sky.
Het financiële jaar is afgerond en/Spirits In The Sky./
222 Gareth
You're all smug now. You're moving away. But think of me. The shoe could be on the other foot.
Kijk niet zo zelfvoldaan,/denk ook eens aan mij./Stel dat het andersom was./
223 Tim
You're going to be all right, aren't you?
Het komt wel goed met je./
224 Gareth
Yeah. I work hard. I earn my keep. But unfortunately, the history books are full of just people who toil and fight for worthy causes and the freedom of others and...
- Ik werk hard, ik verdien m'n brood./Maar in de geschiedenis wemelt het/van de mensen.../die voor een nobele zaak of/andermans vrijheid strijden en toch.../
225 Tim
That's the most profound thing you've ever said, mate.
Zoiets diepzinnigs heb je/nog nooit gezegd./
226 Gareth
You do all that only for foreigners, women or the disabled take advantage of it.
Buitenlanders en/gehandicapten maken er misbruik van./
227 Tim
Can I withdraw my last comment?
Ik neem m'n woorden terug./
228 Gareth
What do you think of her?
Wat vind je van haar?/
229 Tim
A bit out of your league, mate.
230 Ricky
Definitely out of your league.
- Te hoog gegrepen voor je./
231 Gareth
No. Smug. You think you're so... Just 'cause you got a bit of Donna, and because I played by the rules 'cause she was out of bounds. You nipped in behind everyone's back. I'd have got a bit if I'd known it was up for grabs. I'd have done her, but that would be shitting on your own doorstep. Anyway, I don't do sloppy seconds.
Pedante kwast./Alleen omdat jij even aan Donna/hebt mogen ruiken./Ik hield me aan de regels,/ze was niet vrij./Had ik geweten dat ze ervoor in was,/was het mij ook gelukt./Dan had ik haar gehad,/maar had ik m'n eigen stoep bevuild./Ik kom niet graag op de tweede plaats./
232 Tim
Yeah, you see, it's phrases like sloppy seconds which make her out of your league.
Met dat soort teksten bewijs je/dat ze te hoog gegrepen is./
199
233 David
Hello! Welcome, everybody. Just a few things. See the raffle over there? That's going to start later and you can win a printer. Something I'd bloody love. Although if I win it, I'd probably put the ticket back or give it to charity or something, but that's..., you know. No pressure. Good luck to Ricky, who's off pursuing his career starting Monday. So... have we got him a collection or a gift or something? You haven't been here long, have ye? Should have seen what we got Pete Gibbons. Oooh! He'll tell you. We all remember that. So... Just come from a meeting at Head Office, where I was officially offered the job as UK Manager. And as you know, taking that job would mean a lot of you will lose your jobs, and I'd just like to say that's why I've told them to shove their job up their arses!
Welkom. Een paar dingen./De loterij begint straks./Je kunt een printer winnen./Geweldig, toch?/Zelf zou ik hem/aan een instantie schenken.../maar ik wil niets opdringen./Ik wens Ricky veel succes./Hij zet z'n carrière/elders voort./Hebben we een cadeau voor hem?/Je hebt hier niet lang gewerkt./Je had moeten zien/wat Pete Gibbons kreeg./Dat zal niemand ooit vergeten./Ik ben net terug van/het hoofdkantoor.../waar ze me tot landelijk manager/wilden promoveren./Die baan houdt in dat velen/van jullie hun baan verliezen./Ik heb ze dus gezegd.../dat ze die baan in hun reet/mogen steken./
234 Employee
So you're staying here?
Blijf je hier?/
235 David
Yes. We all are. We'll incorporate Swindon. So... you know, hip hip hooray for David Brent! Hip hip... hooray. No, stop it. Seriously. Move on. Let's move on. So have a good-- Let's rock! Smashey and Nicey! Kick it in there. Put the record on when I do that. Clumsy.
- Ja, wij allemaal./We lijven Swindon in./Eén hoeraatje voor David Brent./Hou op. Ik meen het, we gaan door./En nu gaan we feestvieren./Als ik dit doe, moet je/de plaat opzetten./Klungel./
236 Lee
Tim!
237 Tim
Hey! All right, mate?
Alles goed, jongen/
238 Lee
Did you ask my girlfriend out?
Heb jij m'n vriendin/mee uit gevraagd?/
239 Tim
Eh? No. What?
240 Lee
You hit on someone's girlfriend and you don't expect to get--
241 Tim
No no no no no mate, listen.
242 Lee
What sort of bloke would I be if I let that go eh?
243 Tim
No. Listen, can I just--
244 Lee
We've got a problem.
We hebben een probleem./
245 Tim
No, we haven't got a problem here.
- Niks hoor./
246 Lee
What are we going to do?
Wat nu?/
247 Tim
Lee, please, can I get a word in 'cause I asked her out as a friend. It was a friend, it wasn't as a girlfriend. It was just a soldier to cry on.
- Het was alleen als goede vrienden./Ik bood een soldaat om uit te huilen./
248 Lee
A soldier?
Een soldaat?/
249 Tim
Shoulder.
- Een schouder./
250 Lee
You want a soldier to cry on? Are you bent or something?
Een soldaat? Ben je wel goed wijs?/
251 Tim
Is this a wind-up?
Neem je me in de maling?/
252 Lee
Yeah. Sorry, mate.
- Ja. Sorry./
Heb je zitten rommelen?/
Dat laat ik niet over m'n kant gaan./
200 253 Tim
Don't do that, man!
Doe dat toch niet./
254 Lee
Having a bit of a laugh at you. I'm sorry. I wouldn't blame you, she's a good-looking girl.
- Grapje, sorry./Het is een mooie meid./
255 Tim
Yeah, she is.
- Nou en of./
256 David
That's the thing about leadership. Sometimes you've got to sacrifice yourself.
Dat is goed leiderschap,/soms moet je jezelf opofferen./
257 Donna
We just wanted to say we thought that was a really good thing you did.
We vinden het geweldig/wat je gedaan hebt./
258 Ricky
Yeah man. Really impressive.
We zijn onder de indruk./
259 David
I'd prefer your respect individually, but cheers.
Ik heb liever jullie respect./
260 Donna
You've got our respect individually.
Je hebt ons respect./
261 David
I'd believe that a little bit more if he hadn't jumped on top of you. When my back was turned.
Dat zou ik geloven, als hij niet/boven op je was gesprongen./
262 Donna
Actually, I was on top!
Ik sprong boven op hém./
263 David
All right. OK.
264 Donna
We just wanted to say well done.
We wilden je alleen bedanken./
265 Gareth
And they probably did oral.
Ze doen vast aan orale seks./
266 David
Hey. All right? Enjoying the party?
Heb je het naar je zin?/
267 Malcolm
So they offered you the job?
Boden ze je die baan aan?/
268 David
Yeah. The thing is I've been with this nutty lot way too long to sell them down the river for a couple of extra quid a year, so not interested.
Ja, maar ik zit al te lang/met deze mafketels opgezadeld./Ik laat ze niet in de steek,/dus ik doe het niet./
269 Malcolm
Right. It's just that I was speaking to Paula and she seems to think that--
Ik sprak net met Paula en zij.../
270 David
Paula?
Paula?/
271 Malcolm
Alan's assistant. Adn she seems to thinks the reason you didn't take the job is not because you didn't want it, but because you failed the medical because of high blood pressure.
- Alans assistente./Volgens haar heb je/de baan niet hebt gekregen.../omdat het onderzoek uitwees/dat je bloeddruk te hoog is./
272 David
You've got to ask yourself why did I get high blood pressure on the day of the medical, I can't--
En waarom was m'n bloeddruk/zo hoog op de dag van het onderzoek?/
273 Malcolm
Are you saying you cheated science and faked high blood pressure so that you could remain in the job?
Heb je de artsen bedrogen/en net gedaan alsof.../zodat je je baan kon aanhouden?/
274 David
You've got to ask yourself that.
Dat kun je jezelf afvragen./
275 Malcolm
Did you?
- Nou?/
201
276 David
What's worse - cheating medical science or cheating friends? The board of directors come to me and they go, "David, you're the best man for the job. You've got to take the job and we won't take no for an answer. Oh, you failed the medical. Oh, all right, stay with your" You know, for all your mole knows, they may or may not have said that to me. They may or may not have.
Wie bedrieg je liever,/de artsen of je vrienden?/Het bestuur zei: 'David, je bent/de beste kandidaat voor die baan./Je kunt dit niet weigeren./Je bent niet door de medische/controle gekomen, laat dan maar.'/Dat kunnen ze gezegd hebben,/maar het kan ook zijn van niet./Wie zal het zeggen?/
277 Malcolm
So you faked high blood pressure in order to fail a medical test?
Dus je hebt net gedaan/of je bloeddruk te hoog was?/
278 David
Oh, no. See you later.
Nee, toch./Tot straks./
279 Dawn
So when are you leaving me?
Wanneer ga je me verlaten?/
280 Tim
It probably won't be for quite a while.
Voorlopig nog niet./
281 Dawn
Autumn?
In de herfst./
282 Tim
Probably not.
- Waarschijnlijk niet./
283 Dawn
Oh. I thought you wanted to go back to university and everything.
Ik dacht dat je/weer wilde gaan studeren./
284 Tim
Yeah, I will, but there's a slight, bit of a change of plan.
Dat is ook zo,/maar de plannen zijn gewijzigd./
285 Dawn
Oh, right.
286 Tim
David's made me Senior Sales Clerk.
Ik ben benoemd tot/eerste secretaris./
287 Dawn
Wow. Um... I thought you wanted to be a psychologist.
Tjonge./Je wilde toch psycholoog worden?/
288 Tim
Oh, yeah. But Senior Sales Clerk is... Well, it's 500 quid guaranteed extra a year. And if I do a bit of networking, then there's every chance I could be in David's chair in three years. So...
Klopt, maar eerste secretaris is.../in elk geval 500 pond extra/op jaarbasis./Als ik het goed speel,/is de kans groot.../dat ik over drie jaar/in Davids stoel zit./
289 Dawn
Um... All that talk about, like, moving on in the world...
Al die babbels/over vooruitkomen in de wereld./
290 Tim
No. Moving up. Yeah? Moving up. Moving up can mean within an internal ladder, framework, or sideways to external, then up. You've got to look at the whole pie vis-a-vis my current life situation, you know?
Vooruitkomen? Opklimmen./Opklimmen kan via/een interne ladder.../of een externe. Zijwaarts en omhoog./Je moet de taart bekijken/vis-à-vis m'n huidige situatie./
291 Dawn
Vis-a? Pie?
Vis-à... Taart?/
292 Tim
Which means, of course, that my old job is free. So, you know... Have a word.
M'n oude baan is vrijgekomen./Ik zou zeggen, ga eens praten./
293 David
Timothy!
202
294 David
You grow up, you work half a century, you get a golden handshake, you rest a couple of years, and you're dead. And the only thing that makes that crazy ride worthwhile is "Did I enjoy it? What did I learn, what was the point?" That's where I come in. You've seen how I react to people, I make them feel good, make them think that anything's possible. If I make them laugh along the way, sue me. I don't do it so they turn around and say, "Oh thank you David for the opportunity. Thank you for the wisdom. Thank you for the laughs." I do it so one day, someone will go, "There goes David Brent. I must remember to thank him."
Je groeit op, werkt 50 jaar,/krijgt een gouden handdruk.../rust een paar jaar uit en/dan ga je dood./Het enige wat het/de moeite waard maakt is.../'Vond ik het leuk? Waar ging het om?'/Dan moet je mij hebben./Je ziet dat ik zorg/dat mensen zich goed voelen./Ik laat ze denken dat alles mogelijk is./Als ik ze ook nog laat lachen,/het zij zo./Het gaat er niet om dat ze zeggen:/'Bedankt voor de kans.../bedankt voor de wijsheid,/voor de geintjes.'/Ik doe het opdat iemand op een dag/denkt: Daar heb je David Brent./Ik moet niet vergeten hem/te bedanken./
203
Appendix 2.7: Transcription Merger (2.1)
No.
Speaker
Dialogue
Dutch subtitle
1
Tim
Morning, Gareth.
2
Gareth
# Mnamanah doo doo do-do-do # Mnamanah doo doo do-do # Mnamanah doo doo do do-do do do-do do do-do do do do-do-do-do-do #
3
Employee + Gareth
Mnamanah doo doo do-do-do # Mnamanah doo doo do-do # Mnamanah doo doo do do-do do do-do do do-do do do do-do-do-do-do #
4
David
Mnamanah na na-na na-na mnamanah na na na-na #
5
Employee + Gareth + David
Mnamanah doo doo do-do-do # Mnamanah doo doo do-do # Mnamanah doo doo do do-do do do-do do do-do do do do-do-do-do-do! #
6
David
Muppets.
7
Tim
No, I've not given up the idea of going to university. It's not like I'm never going to go, it's just Ik wil nog steeds/naar de universiteit.../maar ik ben net that I've been made senior sales rep, which is a great opportunity for me. There's people coming senior/vertegenwoordiger geworden./Er komen nu mensen uit Swindon./Dat is in now from Swindon, which is a new and exciting sort of, venture for me as well. I'm 30. Time nieuw en spannend voor mij./Ik ben dertig./Hoog tijd om volwassen te worden./ to grow up, basically. It's that simple.
8
Tim
(on the phone) Listen, I suggest we put this stuff down as a lesson. You have this stuff over to me by three o'clock today. Three o'clock today please. All right? Then we'll say no harm done. All right? OK, see ye.
We beschouwen het maar als een les./Ik wil het om drie uur hebben./Om drie uur, graag./Dan vergeten we het verder./
9
Gareth
Gareth Keenan. Who's that? Oggy! Oggy oggy oggy! Oink oink oink! Oggy oggy oggy! Oink oink oink! Oggy Oggy Oggy oggy oggy! Oink oink oink! See you later.
Gareth Keenan. Met wie spreek ik?/Ik zie je./
10
Tim
Do you still keep in touch with Oggy?
Heb jij nog contact met Oggy?/
11
Gareth
That was Oggy just then.
- Hij belde net./
12
Tim
Was it? How is he?
Hoe is het met hem?/
13
Gareth
He's fine. You don't even know him.
- Prima. Je kent hem niet eens./
14
Tim
No, I wish I did. He sounds great.
Hij lijkt me geweldig./
15
Gareth
He is actually.
- Dat is hij ook./
16
Tim
One thing Gareth, when you're on the phone, could you keep the pig impersonations down to a minimum?
Eén ding: Kun je de varkensimitaties/tot een minimum beperken?/
17
Gareth
Yeah. Here we go. I've told you before, you can't tell me what to do, I'm team leader.
Je hebt niets over me te vertellen/want ik ben teamleider./
18
Tim
Well Gareth, I'm senior sales rep, so yes I can.
Ik ben senior vertegenwoordiger./
204 19
Gareth
Team leader beats senior sales rep.
De teamleider staat daarboven./
20
Tim
No, it doesn't. My job title actually means something Gareth. Yeah? I got a pay rise. I'm on a new scale. Team leader don't mean anything, mate.
- Nee, mijn baan is belangrijker./Ik zit in een hogere schaal./Teamleider is niets./
21
Gareth
Excuse me, it means I'm leader of a team.
Ik leid een team./
22
Tim
No it doesn't. It's a title someone's given you to get you to do something they don't want to do for free. Right, It's like making the div kid at school milk monitor. No one respects it.
- Nee hoor./Je heet zo omdat je werk doet/waar zij geen zin in hebben./Niemand respecteert de jongen/op school die de melk uitdeelt./
23
Gareth
I think they do.
Jawel./
24
Tim
No they don't Gareth.
- Echt niet, Gareth./
25
Gareth
Yes, they do 'cause if people were rude to me, then I used to give them their milk last, so it was warm. Right?
Als ze onaardig tegen me deden,/kregen ze pas als laatste hun melk./
26
David
Oh, no I found that in "Inside Paper". It's the trade magazine for the paper industry. My ugly mug on the front! Embarrassing. All right. He's put me off what I was doing now. Oh, yeah... Making the phone calls.
Kijk wat ik gevonden heb./Het vakblad voor de papierindustrie./Mijn rotkop staat voorop./Wat gênant./Wat was ik ook alweer aan het doen?/Telefoontjes./
27
Lee
Don't. Give it.
28
Tim
Hello. Dawn, someone's coming to collect that later, so if you could... Lee, I wouldn't get caught behind there today, mate. 'Cause there's new people coming in and top brass are milling about.
Dit wordt straks opgehaald./Ik zou daar vandaag niet zitten./Er komen allemaal hoge piefen./
29
Lee
I'm going anyway, mate.
Ik ging toch net weg./
30
Tim
All right.
31
Lee
See ya.
32
Dawn
Bye.
33
Tim
I'm sorry about that. It's just that, I've got to supervise everything and make sure it's all sort of, you know...
Het spijt me, maar ik moet/alles in goed banen leiden./
34
Dawn
You haven't visited for ages.
Je komt nooit meer langs./
35
Tim
Yeah. Well, I'm busy now, sort of uh, bit snowed under.
- Ik heb het nu erg druk./
36
Dawn
But you're all right then ?
Maar het gaat wel goed met je?/
37
Tim
Yeah, yeah. I'm fine. You?
- Ja, prima./
38
Dawn
Mmm. Did you--?
Vind je het ook zo leuk als.../
39
Tim
Your phone.
- Telefoon./
40
David
It's all go!
Daar gaan we dan./
41
Dawn
This is Neil.
Dit is Neil./
42
David
Neil Godwin.
205 43
Neil
Hi.
44
David
Neil is Jennifer's replacement. He's sort of overseeing--
Neil vervangt Jennifer./
45
Neil
I'm David's boss.
- Ik ben Davids baas./
46
David
Well, just a tiny, a little bit above me--
Hij staat ietsje boven mij./
47
Neil
I'm the UK manager. I was sort of David's equivalent in Swindon, doing the same kind of job as him. Obviously, my branch closed and now my staff are coming here. So... I'm essentially David's boss, looking after him.
- Ik ben landelijk manager./Ik had dezelfde baan als David,/maar dan in Swindon./Dat filiaal is gesloten/en m'n personeel komt hierheen./Dus ik ben Davids baas./Ik moet voor hem zorgen./
48
David
Looking after's the wrong term to use because we're both - Good to meet you though.
Niet echt, want we zijn allebei.../Maar leuk je te ontmoeten./
49
Neil
We have met before.
- We hebben elkaar al ontmoet./
50
David
Have we?
51
Neil
Ipswich conference.
Op het congres in Ipswich./
52
David
Oh, God. I was a leetle bit drunk!
- Toen was ik een beetje dronken./
53
Neil
For most of the week as I recall.
De hele week, volgens mij./
54
David
Doesn't sound like me, does it Dawn? Anyway... Come into my boudoir. Ooh! Is Jennifer with you?
- Niets voor mij, hè?/Kom mee naar m'n boudoir./Is Jennifer er al?/
55
Neil
No. She's on her way, apparently.
- Ze is onderweg./
56
David
Part-timer. Monkey! Just an example of the laughs we have here - for one.
Parttimer./Monkey./We hebben hier altijd zoveel lol./
57
David
Sure, we're in potentially traumatic times, but they are exciting times with the merger. Things move fast. Only two weeks ago, I was telling them at the party I'd decided to stay after all, and you saw how relieved they were at that. But we've had a personnel change of 20-25%, you know, people coming and going. Redundancies - some voluntary, some involuntary, which is always hard. I had to let my PA go. Last in, first out. Which, you know, was really sad. That was upsetting. I'm coping. I rolled with the punch, you know. And it turns out Dawn can do a lot of it anyway, so...
Het kan problematisch worden./Maar het is zeker ook spannend,/vanwege die fusie./Twee weken geleden, op een feestje,/kondigde ik aan dat ik toch bleef./Je hebt gezien hoe opgelucht/iedereen was./In de afgelopen tijd is 25 procent/van het personeel veranderd./Overtallig of gedwongen/ontslag. Dat is altijd moeilijk./Ik moest ook m'n assistente ontslaan./Laatste in, eerste uit./Dat ging me wel aan het hart./Maar ik sla me er wel doorheen./Ik heb me er maar bij neergelegd./En Dawn kon veel taken overnemen./
58
Neil
I'm sure there's gonna be plenty of time for this later, but I just thought I'd give you some of it now.
Omdat er straks misschien geen tijd/voor is, geef ik het je nu./
59
David
Oh sorry, is that in your way? You can put some of it down there 'cause I'll move that. Oh, God. Look at that. Stupid. Get UK Manager of the Month, Inside Paper, and pull a daft face. Typical.
Ligt dit in de weg? Anders haal ik/het wel even weg, hoor. Jeetje.../Moet je zien: Ben ik manager/van de maand, trek ik een gekke bek./
60
Neil
You look quite young there.
Je ziet er wel nog jong uit./
61
David
Photogenic, sort of natural.
- Ik ben fotogeniek./
62
Neil
It's 18 months old.
Hij is anderhalf jaar oud./
206 63
David
Yeah. I mean to throw it - got it out today to throw it away. Definitely.
Ik had hem weg willen gooien./Dat moet ik vandaag echt doen./
64
Neil
Look at that.
Bekijk dat even./
65
David
Inside Paper inside the paper bin! Recycle that. It's a shame 'cause--
- In de prullenbak hoort ie thuis./Gewoon recyclen./Het is wel jammer dat.../
66
Puppet
Stop! Move away from the cookie jar! Stop! Move away from the cookie jar!
Ho, blijf met je fikken/van de koekjestrommel./
67
David
Hello.
68
Gareth
Want a biscuit? Want a biscuit?
Wil je een koekje?/
69
David
What is it?
- Wat is dit?/
70
Puppet
Stop! Move away from the cookie jar!
71
David
Good, innit? You know this little thing we're doing lunchtime? Just a welcome do for the Swindon lot. Just to meet and greet. I'll be doing a speech, so no heckling.
Geestig, hè?/We zouden die lui uit Swindon toch/een welkomstlunch aanbieden?/Ik hou een speech. Niks roepen./
72
Gareth
I've got a joke you can use.
- Ik weet wel een grap./
73
David
You don't need to do jokes but go on.
Dat lijkt me niet zo gepast./
74
Gareth
All right. It's Christmas dinner, royal family having a christmas dinner. Camilla Parker-Bowles goes, "OK. We'll play twenty questions. I'll think of something, you have to ask me questions to guess what it is." So what she's thinking is a black man's cock.
- De koningin zit aan het kerstmaal./Camilla zegt: Ik bedenk iets/en jullie moeten raden wat het is./Ze heeft 'n zwarte pik in haar hoofd./
75
David
Trust Camilla. It's not racist, is it?
- Is het niet racistisch?/
76
Gareth
No. So Prince Philip goes, "Is it bigger than the bread bin?" She goes, "Yeah." Prince Charles goes, "Is it something I can put in my mouth?" She goes "Yeah." The Queen goes, "Is it a black man's cock?"
Prins Philip zegt: Is het groter/dan de broodtrommel? Ze zegt ja./Charles zegt: Kan ik het/in m'n mond doen? Ze zegt ja./De koningin zegt:/Is het een zwarte pik?/
77
David
She's guessed it from those clues!
Ze raadde het zo./
78
Gareth
Straightaway.
- Meteen./
79
David
Oh God. That's the sort of stuff I write. But, I mean, you didn't write it, you just told it but you know, well done. So, do it again.
Dat soort dingen schrijf ik. Jij hebt/dit niet geschreven, alleen verteld./Goed gedaan. Nog een keer./
80
Puppet
Stop! Move away from the cookie jar!
Ho, blijf met je fikken/van de koekjestrommel./
81
David
Look forward to this!
Ik heb er zin in./
82
David
Big day today. The Swindon mob are arriving. I've laid on a little do for them. Part of the job.
Vandaag is een grote dag./De mensen uit Swindon zijn er./Ik heb een ontvangst georganiseerd./
83
Sheila
Sheila.
84
Brenda
Hi, Sheila.
85
David
If you're asking what vibe I'll lay down, it's going to be a very much, just a chill-out, let's get to know each other type of vibe.
Welke sfeer wil ik creëren?/Het moet relaxed zijn, zodat de/mensen elkaar kunnen leren kennen./
207 86
Jennifer
Nice to see you.
Goed je te zien./
87
Neil
Good to see you.
88
David
Kisses everyone. Means less.
89
Jennifer
You settling in all right?
90
Neil
Yeah, yeah.
91
David
Jennifer's coming back just to oversee the transition. Checking out the vibe and that. Very much holding Neil's hand. Daunting for him. Sure.
Jennifer is terug/om de overgang te begeleiden./Ze houdt Neils handje vast./Het is eng voor hem./
92
David
Ooh no. Dawn, you know I don't drink! Eh? She gave me some wine and I went, "You know I don't drink!"
Dawn, je weet dat ik niet drink./Ze gaf me een glas wijn en ik zei:/Je weet toch dat ik niet drink?/
93
Employee
Do you not drink?
Drink jij niet?/
94
David
He says, "Do I not drink?"
Hij zegt: Drink jij niet?/
95
Employee
Yeah. He drinks.
Ja, hij drinkt./
96
Employee
Right. OK.
97
David
Just a little bit. Take a chair - not literally! Ladies first. Here we go.
Een beetje maar./Pak een stoel. Niet letterlijk./Dames eerst./
98
Neil
You put the chairs out yourself?
Heb je de stoelen neergezet?/
99
David
Yeah, yeah.
- Ze zoent iedereen./
100 Neil
It's great.
101 David
You're saying a few words?
Ga je een praatje houden?/
102 Neil
Just a few. Nothing much.
- Een kort praatje./
103 David
Don't be nervous. Just keep it short and bring me on and enjoy the show.
Niet zenuwachtig zijn./Hou het kort en introduceer me./
104 Neil
OK.
105 David
Some people are intimidated when talking to large numbers of people in an entertaining way. You know. Not me. I've had experience, so... At one of the Coventry conferences, some of us put on a review, I was the main thing and I did impressions of the conference co-ordinator, Eric Hitchmo. He talks like this and he always says one thing. "I don't agree with that in the workplace." Ask them. I did him as famous people. The compere would go, "Lt Colombo" and I'd come out in a mac. "Yeah one final thing. My wife loves you but I don't agree with that in the workplace!" That's great. And I did him as Basil Fawlty. "I think I mentioned it once but I got away with it but I don't agree with that in the workplace!" And they were cracking up and he loved it because there was nothing vicious. You know. Some "comedians" would have picked other stuff, been more nasty. Like, he's got a little withered hand, like Jeremy Beadle. I didn't mention it. No need.
Sommige mensen vinden 't vervelend/een groep mensen te entertainen./Ik niet. Ik heb ervaring./Op een congres in Coventry/moesten we spreken.../en ik imiteerde de coördinator/van het congres, Eric Hitchmo./Hij zegt altijd:/'Dat is ongepast op het werk.'/En ik deed hem als bekend persoon./De gastheer zei: Hier is Columbo/en dan kwam ik op in regenjas./M'n vrouw is dol op je, maar/ik vind het ongepast op het werk./En ik deed ook Basil Fawlty./Ik denk dat ik ermee wegkom, maar/ik vind het ongepast op het werk./Hij vond het te gek, want/het was niet kwaadaardig bedoeld./Andere 'komieken'/waren veel onaardiger geweest./Hij heeft een verschrompeld handje./Ik heb er niets van gezegd./
208 106 Neil
OK. Hello, everyone. For those who don't know me, my name's Neil Godwin.
Voor wie me niet kent:/Ik ben Neil Godwin./
107 Everyone
Hello Neil.
108 Neil
For those of you that do know me, keep shtum. I'm a man of simple pleasures. I don't need lovely houses, beautiful girls and classy restaurants, so it's a good job I moved to Slough! No, it's great to be in Slough. really, it is. I've just spent a year in Beirut. I know that David is feeling a bit worried about taking on all these new staff because as manager, it's gonna mean a lot more responsibility - he'll now have to delegate twice as much work! But there will be perks for him. I'm sure he's looking forward to having a whole new group of men underneath him. Anyway, here's the man at the top of the pile, David Brent.
En voor de anderen:/Hou je mond./Ik hou van simpele dingen./Ik geef niet om mooie dingen./Maar goed dat ik in Slough woon./Nee, Slough is geweldig. Ik ben/net een jaar in Beiroet geweest./David maakt zich zorgen/over zoveel nieuw personeel.../want hij zal een grote/verantwoordelijkheid dragen./Hij moet twee keer/zoveel werk delegeren./Er zijn ook voordelen. Hij krijgt/tenslotte meer mannen onder zich./Dit is de man/die aan het hoofd staat: David Brent./
109 David
Thanks. What he was saying there about me being top of the pile of men - saying I'm gay. I'm not gay. In fact, I can honestly say I've never come over a little queer! Let's...get to the real stuff. That was just... He's putting me off. Welcome to Slough to the new people. My name's David Brent. And I've always been in the paper industry, haven't I? My parents owned a paper shop - until it blew away! The paper - There's better ones than that. OK. I'm not used to public squeaking. I piss pronunciate a lot of my worms.
Bedankt. Hij bedoelde net te zeggen/dat ik homoseksueel ben./Dat ben ik niet. Ik kom zelfs niet/over als een flikker./Nu het echte werk./Hij zette me op het verkeerde been./Welkom in Slough./Ik ben David Brent./Ik heb altijd al in het papier gezeten./M'n ouders hadden een papierwinkel,/totdat hij werd weggeblazen./Ik heb nog betere./Ik spreek weinig in het openbaar./Ik spreek veel wormen verkeerd uit./
110 Tim
Ooh.
111 David
That's "The Two Ronnies". You know, that is classic stuff. Turn the phone off. That's part of it. If you're not concentrating, you're not gonna enjoy it as much. Focus. OK. Anyway, good to have you all here from Swindon 'cause I hear they dropped an atomic bomb on Swindon - did about £15 worth of damage. Right. OK. That's... Right. Good job Eric Hitchmo isn't here. 'Cause you know what he'd say, "I don't agree with that in the workplace." Wouldn't he? Imagine if Eric was a Los Angeles detective. It'd be a bit weird, wouldn't it? "Uhm, yeah, one final thing. My wife loves you but I don't agree with that in the workplace." What's that, Eric? You've given up being a Los Angeles detective and you started running a hotel in Torquay? "Yes. Don't mention the war. I mentioned it once but I think I got away with it and I don't agree with that in the workplace!" I don't agree with that in the workplace! Do you not know who Eric Hitchmo is? Who's been to the Coventry conference? Right, so do you not know Eric Hitchmo?
Dat komt uit The Two Ronnies./Klassiekertje./Doe je telefoon uit. Als je je niet/concentreert, is het minder leuk./Concentreer je./Fijn dan jullie hier zijn./Er is een atoombom op Swindon/gevallen. Er was 15 pond schade./Gelukkig is Eric Hitchmo er niet./'Dat is ongepast op het werk.'/Stel je voor dat Eric/een rechercheur uit LA was./M'n vrouw is dol op je... maar/ik vind het ongepast op het werk./Wat zeg je nou? Ben je/een hotel begonnen in Torquay?/Niets zeggen over de oorlog./Ik vind het ongepast op het werk./Ik vind het ongepast op het werk./Jullie kennen Eric Hitchmo toch?/Wie was op het congres in Coventry?/Ken je Eric Hitchmo niet?/
112 Employee
Yeah, but he doesn't talk like that.
- Jawel, maar zo praat hij niet./
113 David
He talks exactly like that, doesn't he Gareth?
Jawel. Nietwaar, Gareth?/
114 Gareth
I prefer the stuff you do about his little hand.
- Je handenimitatie is leuker./
115 David
I don't do stuff 'bout his little hand.
Dat doe ik niet./
116 Gareth
Yeah, you do. The wanking claw.
- Jawel, de aftrek-klauw./
209 117 David
Don't. Has everyone heard of Harry Enfield? Has anyone heard of Harry Enfield?
Kent iedereen Harry Enfield?/
118 Everyone
Yes.
119 David
Right. OK. Then, who's this? "I do not believe you wanted to do that. Only me!" Oh, come on! You try something and that's--
Wie is dit dan?/Ik geloof niet dat je dat wilde doen./Ik ben het maar./Kom op./Je probeert iets, en.../
120 Neil
Thanks, David.
Bedankt, David./
121 David
Eh?
122 Neil
Thanks.
Bedankt./
123 David
Whatever. Just ...
- Ja hoor./
124 Neil
OK. There's plenty of wine and snacks left through there, so, if you want to help yourselves to anything else.
Er is nog genoeg wijn en/er zijn nog hapjes, dus ga je gang./
125 Everyone
Cheers. Thanks.
126 Gareth
I see you've got the wheelchair.
Ik zie dat je een rolstoel hebt./
127 Brenda
I have, yeah.
- Dat klopt./
128 Gareth
I've got a mate who's got a wheelchair. He's not really a mate, I don't like him much.
Een vriend van me zit/in een rolstoel. Ik mag hem niet./
129 Tim
I feel all right, yeah.
Ik voel me prima./
130 Jennifer
It looks good, very smart.
- Je ziet er goed uit./
131 Tim
Well, cheers. Thank you. Thank you very much. Sorry. Excuse me, Jennifer. Dawn. I've just realized. You've been off reception for an hour and I don't know if we're missing calls or what. Could you check? Check the messages. Is that all right? Thanks very much, mate. Cheers. As long as it's comfy...
Heel erg bedankt./Dawn, je zit al een uur/niet bij de receptie./Misschien lopen we wel telefoontjes/mis. Kun je even gaan kijken?/Even de boodschappen afluisteren./Mooi, bedankt./
132 David
Hi. Lunchtime gigs are the worst, aren't they? I don't think Neil warmed you up, to be honest. He's not a professional comedian, so...
Tijdens de lunch lukt het niet./Neil heeft jullie niet opgewarmd./Hij is geen professionele komiek./
133 Employee
He was funny though.
Hij was wel grappig./
134 David
Yeah but often an amateur will stitch up a professional. Here's one I should have told you. The Royal family. Yeah? Christmas Day. At lunch. Camilla goes, "Let's play a game. Let's play 20 Questions. I'll think of something and you've got to guess what I'm thinking of." And what she's thinking of is a black man's cock. So Charles goes, "Is it bigger than the bread bin?" She goes "Yes." Philip goes, "Can I put it in my mouth?" She goes "Yes." So the Queen goes, "Is it a black--?" Hiya.
- Beginnersgeluk./Deze had ik moeten vertellen:/De koninklijke familie viert kerst./Camilla zegt: We gaan 'n spel doen./Ik neem een woord in gedachten./Ze neemt een zwarte pik/in gedachten./Charles zegt: Is het groter/dan de broodtrommel? Ja./Philip zegt: Past het in m'n mond?/Ja./De koningin zegt:/Is het een zwarte... Hallo daar./
135 Oliver
Sorry. Were you telling a joke?
Was je een grap aan het vertellen?/
136 David
No. That was it.
- Nee, dat was het./
137 Employee
What did the Queen say?
Wat zei de koningin?/
138 Oliver
Come on, what was the joke?
Welke grap was het?/
210 139 Employee
It was about the Royal family playing "20 Questions".
- De koningin doet een raadspel./
140 Oliver
It's not the black man's cock one, is it?
Die over die zwarte pik?/
141 David
It might be, but-- Bad, isn't it?
Misschien, maar hij is slecht, hè?/
142 Oliver
It's all right. It's funny.
- Hij is best grappig./
143 David
Harmless. Well done. Have you all met this little lady, this lady?
Onschuldig grapje. Goed gedaan./Hebben jullie/deze kleine dame ontmoet?/
144 Jennifer
Well, it's a shame this had to happen on Neil's first day, but I've just had a complaint from one of the new intake.
Het is naar dat dit op Neils eerste/dag gebeurt, maar er is een klacht./
145 David
What complaint?
Wat voor klacht?/
146 Jennifer
I can't believe that you think the way to welcome people is to tell racist jokes.
- Je hebt racistische moppen verteld./
147 David
Wrong. No way. He'd heard it before. He thought it was funny, so I don't know why he's complaining now.
Nee hoor. Hij vond hem grappig./Ik snap niet waarom hij nu klaagt./
148 Jennifer
He? It was a woman.
Hij? Het was een vrouw./
149 David
I thought, I assumed it was the new guy. Whoever it was is wrong because it isn't racist.
Ik dacht dat het die nieuwe... was./Maar het is niet racistisch./
150 Jennifer
What is it?
- Hoe gaat het?/
151 David
What? The joke?
De grap?/
152 Jennifer
The gist of it.
- De korte versie./
153 David
It won't be funny now, will it?
Nu is het niet grappig meer./
154 Jennifer
I don't care. What's the content?
- Waar gaat het over?/
155 David
Royal family sitting at home, Christmas Day and Camilla goes, "Let's play a game. I'll think of something and you have to guess what I'm thinking of." And what she's actually thinking of is a black man's cock. So Charles goes, "Is it bigger than the bread bin?" Camilla goes, "Yup". So Philip goes, "Can I put it in my mouth?" Camilla goes "Yup". So the Queen goes, "Is it a black man's cock?" And he's heard it before. So that's the sort of yeah.
De koninklijke familie viert kerst./Camilla wil een spel doen./Je moet raden waar ik aan denk./Ze denkt aan een zwarte pik./Charles zegt: Is het groter dan/de broodtrommel? Camilla zegt: Ja./Philip zegt:/Kan ik hem in m'n mond stoppen? Ja./De koningin zegt:/Is het een zwarte pik?/Hij kent hem al./Zo'n mop is het./
156 Jennifer
I can see why someone would find that offensive.
Ik begrijp/dat men daar aanstoot aan neemt./
157 David
It's not racist though, is it. I don't say anything bad about black people.
Ik zeg niets slechts over zwarten./
158 Jennifer
It's about a black man's cock.
Het gaat over een zwarte pik./
159 David
Why is that racist? It just happens to be a black man's cock. It could easily--
- Dat is gewoon toevallig./
160 Jennifer
No, you're using the ethnic stereotype that all black men have large penises because you think that makes it funnier.
Je gebruikt het cliché/dat zwarten een grote penis hebben./
161 David
It's not an insult though, is it. It's a compliment, if anything.
Het is geen belediging/maar een compliment./
211
162 Jennifer
So what you're saying is that black people ought to be flattered that their only achievement in this world is having oversized genitalia?
Dus ze moeten gevleid zijn dat hun/enige verdienste hun grote penis is?/
163 David
I'm saying they shouldn't be ashamed of them.
Ze hoeven zich niet te schamen./
164 Jennifer
It's a myth.
- Het is niet waar./
165 Gareth
I don't know Jennifer. I could show you a magazine where literally--
Ik kan je een foto laten zien van.../
166 Jennifer
Could you?
- Is dat zo?/
167 Gareth
Well, I haven't got it with me but when are you next in?
Ik heb hem niet bij me./Wanneer ben je er weer?/
168 David
I could change it. I could just say big cock and not mention the colour.
Ik kan gewoon grote pik zeggen,/zonder de kleur erbij./
169 Jennifer
Well you could. Or you could save those jokes for your free time and not tell them in the workplace.
Of je kunt deze grappen voor thuis/bewaren en ze hier niet vertellen./
170 David
It was his joke. He told me.
Het was zijn grap./
171 Jennifer
Whatever, David. Let's leave it. You've heard my opinion on the matter. Now, shall we go back outside?
Je weet nu hoe ik erover denk./Zullen we weer naar buiten gaan?/
172 David
Yeah. You ought to be careful because some of them can be a little bit sensitive, you know so...
Je moet voorzichtig zijn, want/sommige mensen zijn nogal gevoelig./
173 Neil
Sorry? Who can?
Wie?/
174 David
Some people can take things the wrong way - as an actress said to a bishop! That's not a gay stereotype. I'm not saying that is the wrong way. I'm saying it's a way. Some women like it the wrong way. And they're straight. It doesn't matter, straight or gay. A lot of people are. One in ten, apparently. That seems a bit high, doesn't it? But if you - You might be - If you are, good luck to you, you know? Just make sure it's legal and be safe. OK?
- Sommige mensen.../bekijken dingen van de verkeerde/kant. Zei de acteur tot de bisschop./Dat is geen homo-cliché. Ik zeg/alleen maar dat het ook bestaat./Sommige vrouwen houden er ook van./Het maakt niet uit als je homo bent./Eén op de tien. Dat lijkt me veel./Misschien ben jij wel.../Nou, veel geluk./Hou het wel legaal/en zorg ervoor dat je het veilig doet./
175 Gareth
That's it. See, a lot of people can't keep up with what words are acceptable these days and what words aren't. My dad, for example, he's not as cosmopolitan or as educated as me and it can be embarrassing. You know, he doesn't understand new trendy words. He'll say "poofs" instead of "gays". "Birds" instead of "women", "darkies" instead of "coloureds".
Heel veel mensen/houden niet meer bij.../welke woorden wel/en welke niet politiek correct zijn./M'n vader, bijvoorbeeld, is niet zo/wereldwijs en hoog opgeleid als ik.../en dat kan gênant zijn./Hij begrijpt de nieuwe woorden niet./Hij zegt flikker in plaats van homo./Wijven in plaats van vrouwen./Negers in plaats van allochtonen./
176 Keith
All right, Tim?
Alles goed, Tim?/
177 Tim
Yes, thanks, Keith.
- Ja, bedankt. Keith./
178 Rachel
Hi.
179 Tim
Sorry. I didn't mean to... Your T-shirt's got "Pot my pink" on it.
Sorry. Ik wilde niet.../Er staat 'Pot m'n roze bal'/op je T-shirt./
180 Rachel
Play snooker?
Speel je snooker?/
181 Tim
Not that way. So it's Rachel, isn't it?
- Niet op die manier./Jij heet Rachel, nietwaar?/
182 Rachel
Tim.
- En jij Tim./
212 183 Tim
Well done.
184 Gareth
Gareth Keenan.
185 Rachel
Hiya.
186 Keith
Keith.
187 Jennifer
Thanks very much. Good luck.
Bedankt. Succes./
188 David
Hey, Jenny. So you've met Oliver?
Jenny. Heb je Oliver ontmoet?/
189 Jennifer
Yes.
190 David
Good lad. We were having a laugh earlier, weren't we?
191 Oliver
Oh yeah.
We hebben net gelachen, hè?/
192 David
Did you like that joke I told about the royal family?
Vond je die mop leuk?/
193 Oliver
Yeah. I mean, it was funny.
- Ja, best grappig./
194 Jennifer
David, we've talked about this and I think I've made myself perfectly clear.
We hebben het hier al over gehad./
195 David
Yup. Interesting.
- Interessant./
196 Jennifer
I'll see you later, David. Goodbye.
Tot straks. Dag./
197 David
Goodbye. She should chill out a bit more, shouldn't she? Maybe a bit of the old ganja, know what I mean? Course you do. Meetings would be different, wouldn't it? "Yes David, I've called this meeting because I want you to go down to the 24 garage and get me some Hobnobs"! Like in Scooby Doo, all those Scooby Snacks that's because he's got the munchies, isn't it? Dooby dooby doo! "Raggy!"
Die moet een beetje relaxen./Met een beetje wiet, je weet wel./Dan zouden de vergaderingen/heel anders zijn./Ik roep deze vergadering bijeen/omdat je koekjes voor me moet halen./Net als in Scooby Doo. Hij eet/zoveel omdat hij een vreetkick heeft./
198 David
I was not advocating the use of drugs. I was talking to someone on their level 'cause I can communicate with people from all walks of life.
Ik pleitte niet voor drugs. Ik praatte/met iemand op z'n eigen niveau./Ik kan met alle/rangen en standen overweg./
199 Tim
Olive?
Olijf?/
200 Rachel
Mm.
201 Gareth
Snacks.
Snacks./
202 Tim
So when did you come up?
- Wanneer ben je hierheen gekomen?/
203 Rachel
Saturday.
Zaterdag./
204 Gareth
Saturday.
Zaterdag./
205 Tim
Was it your mum or your boyfriend or whatever that drove you?
Heeft je moeder je gebracht?/Of je vriendje?/
206 Rachel
No. My brother came up with me.
Nee, ik ben met m'n broer/meegereden./
207 Tim
OK. Have you got a lot of ties in Swindon or are you starting again up here?
Is er iets dat je aan Swindon bindt,/of begin je opnieuw?/
208 Rachel
I'll be going back weekends.
Ik ga de weekends terug./
213 209 Tim
Oh all right. OK.
210 Gareth
Sorry. So have you got a boyfriend or not?
Heb je nou een vriendje of niet?/
211 Rachel
No, I haven't. I think I left my drink over there… I'm just gonna…
Nee./M'n drankje staat nog daar./
212 Tim
Oh yeah, see you in a bit.
- Zie je./
213 Gareth
Tim, I know you don't mean to but you were sort of cramping my style a bit.
Ik weet dat je het niet zo bedoelt,/maar je doorkruist m'n plannen./
214 Tim
What?
Wat?/
215 Gareth
I'm kind of planning to get off with her, so...
- Ik wil wat met haar./
216 Tim
Are you jo--? And what if I liked her?
En als ik haar nou ook leuk vind?/
217 Gareth
I saw her first, mate.
- Ik zag haar het eerst./
218 Tim
And how does that work? (Gareth makes a gesture) So you've won the argument doing that, have you? Yeah, of course. That's won the argument.
Hoe werkt dat dan precies?/Nu heb je zeker de discussie/gewonnen? Door dat te doen?/
219 Jamie
Everyone's nice.
220 Dawn
Hi.
221 Tim
Hi.
222 Dawn
They came for their package.
Ze kwamen het pakje ophalen./
223 Tim
Oh, they came did they?
- Ja?/
224 Dawn
Yeah? No problem.
Alles was goed./
225 Tim
Cool.
- Mooi./
226 Dawn
I'm so bored.
Ik verveel me suf./
227 Tim
Are you? Right OK.
- Ja?/
228 Dawn
Do you want to wind up Gareth for a bit?
Zullen we Gareth/in de maling nemen?/
229 Tim
I don't think we should. He's a bit busy.
Doe maar niet. Hij is bezig./
230 Dawn
So?
En?/
231 Tim
So am I, Dawn, actually. So should you be.
- Ik ben eigenlijk ook bezig./Jij zou ook bezig moeten zijn./
232 Jamie
Is that where you're going to?
Ga jij daar ook heen?/
233 Rachel
Mh-hm. A few things I need.
- Voor een paar dingen./
234 Tim
Dawn. Hello. I've been checking my diary. I've been overlooking something. So have you actually. There's a 20 minute window I've got here. It says to "Wind up Gareth with Dawn." So shall we do that? Shall we? This way, please, madam.
Ik heb in de agenda gekeken. Ik heb/iets over het hoofd gezien. Jij ook./Hier staan 20 minuten voor 'Gareth/in de maling nemen met Dawn'./Zullen we dan maar?/Komt u maar verder, mevrouw./
235 Gareth
Oh no please, I'm not in the mood. I'm working.
Ik heb er geen trek in./
214 236 Tim
Just a quick one. Did you see that film last night "Gay Lords Say No"?
- Het duurt maar even./Ken je die film: Homo's zeggen nee?/
237 Gareth
No.
- Nee./
238 David
Sorry. Could I have a - Hello. Could I have a quick word with everyone? I'm mainly talking to the Swindon lot here. Some of you seem to have got off on the wrong foot with me. Yeah? I don't think - You didn't like some of the jokes I told earlier. You've got to chill out. Yeah? Trust me. This is what I do. All right? You will never work in a place like this again. This is brilliant. Fact. And you'll never have another boss like me - someone who's basically a chilledout entertainer. Yeah? Now, some of you maybe didn't understand the jokes I was making and misinterpreted one and went to Jennifer. OK. I'm a little bit annoyed that you thought you'd go to Jennifer and not me. Who was it that complained? And it's not a witch hunt, just who was it? OK, welll, two of you. Good. Right, um, why did you think you could go to Jennifer but not me?
Neem me niet kwalijk. Mag ik even?/Ik heb het nu vooral/tegen de mensen uit Swindon./Met sommigen van jullie/klikte het niet meteen lekker./Jullie konden een paar/van m'n grappen niet waarderen./Ontspan je gewoon. Vertrouw me/maar. Hier ben ik goed in./Je zult nooit weer zo'n werkplek/hebben. Briljant. Dat is een feit./Je zult ook nooit weer zo'n baas/hebben. Een relaxte entertainer./Iemand heeft m'n grappen verkeerd/begrepen en ging naar Jennifer./Het zit me dwars dat die persoon/niet naar mij toe is gekomen./Wie was het eigenlijk?/Niet dat dit een heksenjacht is, hoor./Twee mensen. Prima./Waarom zijn jullie naar Jennifer/gegaan en niet naar mij?/
239 Trudy
Because I don't know you and I didn't like the joke you were telling. And I don't think someone in your position should be laughing at black people.
Ik ken je niet/en je grappen stonden me niet aan./Je mag niet spotten met huidskleur./
240 David
Funny that only two of you thought that out of everyone. But you know...
- Wel vreemd dat alleen jullie dat vonden./
I didn't like it either.
Ik vond het ook niet kunnen./
242 David
Right. Proves my point. Swindon. You're new. You don't know me.
- Precies. Jullie kennen me nog niet./
243 Employee
I'm not new and I find it quite offensive.
Ik vond het ook aanstootgevend./
244 David
(points to Oliver) Right, well, he didn't.
- Hij niet./
245 Trudy
Well, what's he got to do with it?
Wat heeft hij ermee te maken?/
246 David
Well, if he doesn't mind us laughing at him, what harm's been done?
- Hij vindt het zelf niet erg./
247 Trudy
Well why is it that only black people should be offended by racism?
Waarom zouden alleen zwarten/racisme aanstootgevend vinden?/
248 David
Good point. Yeah? First sensible thing you've said all day. Because I say, come one, come all, we're all the same. Yeah? Let's...
Goed punt. Voor het eerst vandaag/dat je iets verstandigs zegt./Ik zeg altijd: Kom allemaal bij elkaar./We zijn allemaal hetzelfde./
249 Trudy
So is that's why you've only got one black guy in the whole organization?
En daarom werkt hier ook maar/één zwart persoon?/
250 David
Wrong. Yeah? Indian fella in the warehouse. And there used to be one Indian fella used to work up here. Lovely chap. He left. Didn't like it. Up to him, you know. If I had my way the place would be full of 'em. Wouldn't it, Gareth?
Mis. Er werkt een Indiase man/in het magazijn./En hier heeft er ook een gewerkt. Hij/ging weg, maar dat moet hij weten./Als het aan mij lag, stikte het ervan./Toch, Gareth?/
251 Gareth
Yeah, well, half and half.
Half-om-half./
252 David
You are half and half, aren't you?
- Jij bent toch ook half-om-half?/
253 Oliver
I'm mixed race yes .
Ik ben van gemengd ras./
254 David
That is my favourite. That is what I'm trying to achieve. That's the melting pot. Please. So there's your racist for you. So...
- Dat is m'n favoriet./Dat is de smeltkroes. Oké?/Zo'n racist ben ik dus./Dus./
241
Male employee
215 255 Tim
He said melting pot! Oh, my God!
Hij zei 'smeltkroes'./
256 Dawn
He did! He didn't actually do the fingers.
- Echt waar./Hij deed het zelfs met z'n vingers./
257 Tim
Come on, let's just get on. Come on please, let's just love each other. # What David needs is a great big melting pot #
- Laten we lief zijn voor elkaar./We moeten van elkaar houden./David heeft/een grote smeltkroes nodig./
258 Dawn
Lee!
259 Tim
Dawn? All right.
Niets aan de hand./
216
Appendix 2.8: Transcription Appraisals (2.2)
No. Speaker
Dialogue
Dutch subtitle
1
David
Hello. You all right?
Hallo. Alles goed?/
2
Oliver
Yeah. Good, thanks.
- Prima, dank je./
3
David
See that film last night? Denzil Washington?
Heb je gisteren die film gezien/met Denzel Washington?/
4
Oliver
No.
5
David
He's brilliant. He's a brilliant actor.
Wat een briljante acteur./
6
Oliver
He's very good. Very good.
Hij is geweldig./
7
David
Oh, dear.
- Nou./
8
Oliver
I like him.
Hij is goed./
9
David
He's great. See you later.
- Geweldig./
10
Oliver
See you later.
Zie je later./
11
David
He's not my favourite actor of all time by the way.
Hij is niet m'n favoriete acteur./
12
Oliver
No?
- Nee?/
13
David
No. My favourite actor of all time is Mr Sidney Poitier.
M'n favoriete acteur aller tijden/is Mr Sidney Poitier./
14
Oliver
Well.
Kijk eens aan./
15
David
So that's... All right?
- Goed?/
16
Oliver
Yeah. Amazing.
Fantastisch./
17
Tim
Gareth, are you building up your wrists?
Train je je polsen, Gareth?/
18
Gareth
Yes.
19
Tim
When is the charity wank-athon?
Wanneer is dat rukken/voor een goed doel?/
20
Gareth
I don't know, but you'd win it.
Geen idee, maar jij zou het winnen./
21
Tim
That's good. Good. No seriously, what are you doing?
- Raak./Serieus. Wat doe je?/
22
Gareth
Orienteering with the TAs.
Trainen voor de reservisten./
23
Tim
All right?
Alles goed?/
24
Lee
Yeah. I've just come to apologise.
Ik kom m'n excuses aanbieden./
25
Tim
Don't worry about it.
- Het is al goed./
217
26
Lee
No no look, I was out of order. I'd had a bad day and I was really wound up. I shouldn't have done it.
27
Tim
Well...
28
Lee
So we're cool, yeah?
Even goede vrienden?/
29
Tim
Yeah, absolutely. Totally cool. What's that? Is that for me?
- Absoluut. Geen probleem./Wat is dat? Is dat voor mij?/
30
Lee
Yeah.
31
Tim
Cheers. Thanks.
32
Gareth
Just put your mind at rest. There's nothing going on between them. 'Cause I would know. I've been watching him like a hawk and I imagine you've been watching her at your end, so between us we've got it covered.
Wees gerust, er is niets gaande./Ik hou hem scherp in de gaten,/en dat doe jij vast ook aan jouw kant./Daar zitten we dus samen bovenop./
33
Lee
See you later, mate.
Zie je later./
34
Tim
Yeah. Thanks for that. Cheers.
- Nog bedankt. Zie je./
35
Gareth
Probably a bottle of something.
Zal wel een fles zijn./
36
Tim
You reckon?
- Denk je?/
37
Gareth
Look at the shape.
Kijk maar naar de vorm./
38
David
Today I'm doing our staff appraisals. Some people can get a little bit nervous about that - 'cause they think they're walking the long march with their head on the block, which is wrong. They fill out a form in advance and they don't only sort of, list their strengths and weaknesses, but also mine as a boss. You know. So it's a chance for them to tell me where we're going wrong. It's very much an opportunity --
Vandaag hebben we/functioneringsgesprekken./Sommigen worden daar nerveus van.../omdat ze bang zijn dat het ze de kop/kan kosten, maar dat is niet zo./Ze vullen een formulier in.../met hun eigen sterke en zwakke/punten en die van mij als baas./Zo kunnen ze aangeven/waar we het niet goed doen./Het is een kans.../
39
Gareth
To separate the wheat from the chaff.
- Om het kaf van 't koren te scheiden./
40
David
No. That sounds bad. It's not a witch hunt. We're not trying to find out who the worst people are.
Nee, dat is negatief. We proberen/niet te ontdekken wie er slecht zijn./
41
Gareth
Well, we know who they are already.
Dat weten we al./
42
David
Well, no.
43
Gareth
I've written them on my form.
Ik heb hun namen opgeschreven./
44
David
You shouldn't have written them on your form.
Dat is niet de bedoeling./
45
Gareth
I've underlined the worst ones.
- Onderstreept./
46
David
You're missing the point. Yeah.
Daar gaat het helemaal niet om./
47
Tim
Hello, David.
Hallo, David./
48
David
Here he is. Tim Canterbury. A good man. "The Canterbury Tales." Of Chaucer.
- Daar is hij dan./Tim Canterbury. Een goede man./The Canterbury Tales./Chaucer.
Nee, ik ging te ver. Ik had 'n slechte/dag en dat had ik niet mogen doen./
218 49
Tim
Yup.
50
David
And Shakespeare. Pleased with you.
51
Tim
Thank you.
52
David
Very proud. New leaf, et cetera. Trust, encouragement, reward, loyalty, satisfaction. That's what I'm - you know. Probably wondering why I am so generous with encouragement? Trust people and they'll be true to you. Treat them greatly and they will show themselves to be great. So happier now? No looking back?
Een nieuwe bladzijde, et cetera./Vertrouwen, aanmoediging, beloning,/loyaliteit, tevredenheid./Je vraagt je vast af/waarom ik mensen zo aanmoedig?/Als je mensen vertrouwen geeft,/blijven ze je trouw./Als je hen groots behandelt,/zullen ze zich groots tonen./Ben je tevreden? Geen spijt?/
53
Tim
Well, I am still eventually going to go back to uni and do a psychology degree, but--
Ooit wil ik een graad/in psychologie halen.../
54
David
No point. No point. No point. No point. Sure, 18-19, go to university, get it out of your system. Waste time mucking around, getting drunk, getting up at midday.
Dat heeft geen zin. 18, 19,/ga studeren, leef je uit./Verspil je tijd, klooi wat aan,/drink te veel.../
55
Tim
Having casual sex.
Duik met iedereen het bed in./
56
David
But we're in our 30s now.
- Maar we zijn nu in de dertig./
57
Tim
Well, I'm only just 30. You're 39?
Ik ben net 30. En jij bent 39?/
58
David
No. Both in our 30s is the fact. Yeah? Who's to say? You keep your head down. In a few years time, you could be in the hot seat like me.
- Allebei in de dertig. Dat is een feit./Misschien dat je over een paar jaar/wel aan de top staat. Net als ik./
59
Tim
When I'm nearly 40.
Als ik bijna 40 ben./
60
David
We're both in our 30s at the moment. Just chewing the fat. Good. You're on the right lines. Can I just? If we're facing in the right direction, all we have to do is keep on walking.
- We zijn allebei in de dertig./Ik schets een situatie. Goed./Je bent op de juiste weg./Mag ik alleen even.../Als we de goede kant op gaan.../hoeven we alleen maar/te blijven lopen./
61
Tim
Yep. Very nice. You're quite a philosopher.
Heel goed. Je bent me een filosoof./
62
David
It's just that I think our greatest glory is not in never falling, but in rising every time we fall.
De grootst mogelijke glorie/behalen we niet.../door nooit te vallen,/maar door weer op te staan./
63
Tim
Are you reading these?
Lees je dit op?/
64
David
Am I what?
- Wat?/
65
Tim
Reading the quotes. Confucius. Oh Bernard Shaw--
Confucius. Bernard Shaw.../
66
David
It doesn't matter who said them first. I'm passing on my wisdom to you.
Het maakt niet uit wie het het eerst/zei. Ik geef m'n wijsheid door./
67
Tim
Cool.
68
David
And don't tell those I've just been --
69
Tim
I'm not gonna -
70
David
reading these. It's an insult. I'll put it down there if it's obvious.
En Shakespeare./Ik ben tevreden. Trots./
Niet verder vertellen.
Dat is/een belediging. Ik leg het wel weg.
219
Ik wilde illustrator/van kinderboeken worden./Als men vroeg wat voor werk ik deed,/zei ik:/Ik ben illustrator,/maar ik klus bij als receptioniste./Jarenlang was ik een illustrator/die ook als receptioniste werkte./Toen leek het Lee verstandig dat we/allebei fulltime zouden gaan werken./Dan ben je bekaf, na het werk, en/heb je geen tijd meer om te tekenen./Dus als ze me nu vragen wat ik doe,/zeg ik dat ik receptioniste ben./
71
Dawn
I always wanted to be a children's illustrator. And when people said to me what do you do, I would say, "Well, I'm an illustrator, but I do some reception work for a bit of extra cash." And for years I was an illustrator who did some reception work. And then Lee thought it would be a good idea for us to both get full-time jobs. And then you know, you're knackered after work and it's hard to fit in time for illustrating. You know so... Now, when people say what do you do, I say, "I'm a receptionist."
72
David
And a bloody good one. You know and uh... You'll always have the art. Keep up the doodling always, you know. Pipe dreams are good in a way.
En een goeie ook./Je kunst blijft./Blijf altijd wat kliederen./Luchtkastelen zijn goed./
73
Dawn
Well, I still hope it will happen to be honest.
- Ik hoop nog steeds dat het lukt./
74
David
Keep the dream alive because, you know, otherwise one day you'll go, "Oh, could I have made it?"
Hou die droom levend, anders/blijf je denken: Had ik het gekund?/
75
Dawn
Yeah.
76
David
And if you keep trying, at least then, when it doesn't happen, you know, you can go, "At least I gave it a go." You know?
Zo kun je tenminste nog zeggen, als/het mislukt: Ik heb het geprobeerd./Weet je wel?/
77
Tim
Are you settling in all right?
Kun je je draai goed vinden?/
78
Rachel
Yeah. I think it's--
79
Tim
Having fun?
80
Rachel
Yeah.
81
Tim
Well not fun. As much fun as you can have at Wernham-Hogg. How long were you at Swindon?
Voor zover iets leuk kan zijn/bij Wernham-Hogg./Hoe lang zat je in Swindon?/
82
Rachel
Two years. Two years yeah.
- Twee jaar./
83
David
OK. If you had to name a role model, someone who's influenced you, who would it be?
Als je iemand/als voorbeeld moest kiezen.../wie zou het dan zijn?/
84
Dawn
What, like a historical person?
Een historische figuur?/
85
David
No, someone sort of in general life. Just someone who's been an influence on you.
- Gewoon iemand die je kent./
86
Dawn
Well, I suppose my mum. She's just… she's strong, calm in the face of adversity. God, I remember when she had her hysterectomy --
M'n moeder. Ze is sterk,/ze blijft rustig als het tegenzit./Toen ze haar baarmoeder/liet verwijderen.../
87
David
If it wasn't your mother, though. I mean, it doesn't even have to be a woman. It could be a--
Maar als het niet je moeder was. Het/hoeft niet eens een vrouw te zijn./
88
Dawn
A man? OK. Well, I suppose if it was a man it'd be my father.
Een man? Goed. Dan zou het/m'n vader zijn, denk ik./
89
David
Not your father. Let's take your parents as read. I'm looking for someone in the sort of workrelated arena who's influenced--.
Niet je vader. Los van je ouders. Ik/bedoel iemand uit je werkomgeving./
90
Dawn
Right. OK. Well, I suppose Tim, then. He's always--
Goed. Tim dan, denk ik. Hij is altijd.../
Vind je het een beetje leuk?/
220
91
David
Well, he's a friend, isn't he. Not a friend. Someone in authority. Maybe I didn't, you know--
Dat is een vriend van je. Geen vriend./Een leidinggevend iemand./
92
Dawn
Well, then, I suppose Jennifer.
Jennifer dan maar./
93
David
I thought we said not a woman, didn't we? Or am I?
- Geen vrouwen, zeiden we toch./
94
Dawn
Er... OK. Well, I suppose you're the only one who...
Oké. Dan ben jij/denk ik de enige die.../
95
David
Embarrassing. It's backfired, hasn't it. Oh, dear. Very flattering. Can we put me as a...?
Wat gênant. Dit wilde ik nou juist/niet. Hemel. Wat een compliment./Zullen we mij opschrijven als.../
96
Dawn
OK. Tim, then.
- Tim dan./
97
David
We said not Tim. So do you want to put me or not?
Niet Tim. Wil je mij hebben?/
98
Dawn
OK.
99
David
Right. So shall I put "strong role model"?
Zal ik 'invloedrijk voorbeeld' neerzetten?/
100 Dawn
OK.
101 David
Yeah.
102 David
(FIRE ALARM RINGS) Just a drill. Do not panic. OK? He's trained. Good man.
Het is maar een oefening./Geen paniek./Hij is getraind. Heel goed./
103 Gareth
Come on, people, let's get moving. Just treat this drill as if it was real.
- Kom op, mensen. In de benen./
104 David
I'll be the last one out.
Ik ga als laatste weg./
105 Gareth
Do not run and do not panic.
- Niet rennen en geen paniek./
106 David
It's not in my job description.
107 Gareth
Leave your personal possessions. Come on.
108 David
That's just what I do. I do these every couple of months. We have to by law, but that's not why I do them --
109 Gareth
Treat this as if it was real.
110 David
It's because even though I'm always cool in a situation like this, some people are not, and so I try to make sure - I'll do that. It's all right.
111 Oliver
We were --
112 David
No, no. No. I've got it. Go. I'm going to get you out of here. All right? So ... Obviously the lifts are out of bounds in a fire situation, so the important thing is - Put her down a minute. This isn't worth it. It's stupid. Obviously in a real situation, we'd take her all the way down but this is just a drill, so we can leave her here.
Ik regel het wel./Ik breng je wel naar buiten./De lift mag niet gebruikt worden/in geval van brand./Dus het belangrijkste is.../Zet even neer./Dit is het niet waard./Het slaat nergens op./Het is maar een oefening, dus we/kunnen haar hier wel achterlaten./
113 Brenda
Can't I just use the lift?
Kan ik de lift niet gebruiken?/
114 Gareth
No, not even in a drill. Never use a lift.
- Zelfs niet bij een oefening./
115 David
We'll be out one minute. We'll be back.
We zijn zo weer terug./
Zo hoort dat. We doen dit elke twee/maanden. Niet omdat het moet./
Want hoewel ik altijd het hoofd koel/hou, kunnen sommigen dat niet.../dus ik probeer ervoor te zorgen.../Dat doe ik wel./
221
116 Tim
I've got no problem at all with him visiting every single child in the world in a single night, but what I can't believe is that he's gonna stand up there in Barnardo's arguing with old women.
Ik wil best geloven dat hij elk kind/op aarde in één nacht bezoekt.../maar niet dat hij bij Barnardo's/met oude vrouwen ruziet./
117 Gareth
I don't know if you're aware of the situation that's arising here. I usually steer clear of the ladies at work, but there's someone I've got my eye on. I won't say who. I don't know what Tim's playing at, moving in. He's already embarrassed himself once before asking Dawn out so this is only gonna end in tears. Whereas I, you probably notice, play it cool. He's not a man of the world like me. I can read women. You've got to know their wants and their needs and that can be anything from making sure she's got enough money to buy groceries each week to making sure she's gratified sexually after intercourse.
Ik weet niet of je beseft wat voor/situatie er aan het ontstaan is./Ik laat vrouwelijke collega's meestal/links liggen, maar nu ben ik verliefd./Ik zal niet zeggen op wie./Ik weet niet waar Tim mee bezig is./Hij zette zichzelf voor schut toen hij/Dawn mee uit vroeg. Dit loopt fout af./Terwijl ik subtieler ben,/dat zul je wel gezien hebben./Hij is geen man van de wereld,/zoals ik./Ik doorzie vrouwen meteen./Je moet weten wat ze willen./Je moet zorgen dat ze genoeg geld/hebben voor de boodschappen.../en dat ze seksueel bevredigd zijn/na de geslachtsgemeenschap./
118 Dawn
(ALARM CONTINUES) I see you were using all your best lines on Rachel.
Je liet al je beste teksten los/op Rachel./
119 Tim
Best lines! Just being friendly.
Beste teksten./Ik wou gewoon aardig zijn./
120 Dawn
Yeah. It was friendly, sort of, but more than.
Het was aardig, en nog iets meer./
121 Tim
More than?
Meer?/
122 Dawn
Friendly.
- Dan vriendelijk./
123 David
Under "strengths", you've just put "accounts".
Onder 'sterke punten' heb je/alleen 'boekhouding' staan./
124 Keith
Yeah.
125 David
That's your job, though. That's just-- No, Keith. I'm sort of looking for your skills within your job. So, is there anything else you could have put there?
Dat is gewoon je werk./Dat is alleen.../Ik wilde wat extra vaardigheden/weten. Weet je niks anders?/
126 Keith
No.
Nee./
127 David
OK. Under "weaknesses", you've put "eczema".
- Goed./Bij 'zwakke punten'/heb je eczeem staan./
128 Dawn
You had a fantastically welcoming buffet.
Dat buffet was een warm welkom./
129 Rachel
The wine was something else.
Die wijn was heel bijzonder./
130 Dawn
Everyone's sort of quite friendly.
- Iedereen is heel aardig./
131 Rachel
Yeah everyone's... And Tim! Tim seems nice.
Iedereen. En Tim is ook heel lief./
132 Dawn
Yeah.
133 Rachel
He's a good laugh. I've just got to - Has he got a girlfriend or --?
Je kan met hem lachen./Ik moet alleen.../Heeft hij een vriendin?/
134 Dawn
Tim? No.
Tim? Nee./
135 Rachel
Why? What's up with him?
- Hoezo? Wat is er?/
136 Dawn
Oh nothing.
Niks./
137 Rachel
Why? Would you? Mm?
- Hoezo? Zou jij.../
222 138 Dawn
Out of the equation.
Ik ben niet meer beschikbaar./
139 Rachel
Yeah, I know, but if you weren't, would he be?
Maar zou je hem anders.../
140 Dawn
If I weren't? Madness.
Anders? Krankzinnig./
141 David
Keith. Right, you've left this section completely blank Keith. You haven't done the Q&A.
Dit stuk is nog leeg./Je hebt de vragen niet beantwoord./
142 Keith
I thought that you filled that in.
Ik dacht dat jij dat zou invullen./
143 David
No no no no. This is aimed at you. "To what extent do you believe that you have the skills acknowledged to perform your job effectively?" And then, you just tick one of the boxes. "Not at all. To some extent. Very much so. Don't know." What would you tick?
- Nee, dit is voor jou bedoeld./Beschik je over alle vaardigheden/die nodig zijn om efficiënt te werken?/Totaal niet. Tot op zekere/hoogte. Absoluut. Ik weet het niet./Wat zou je kiezen?/
144 Keith
Don't know.
- Ik weet het niet./
145 David
OK. Question two. "Do you feel you have received adequate training to use your computer effectively?"
Ben je voldoende opgeleid om/je computer efficiënt te gebruiken?/
146 Keith
What are the options?
Wat zijn de mogelijkheden?/
147 David
The same as - They're always the same, always the same. "Not at all. To some extent. Very much so. Don't know."
- Die zijn steeds hetzelfde./Totaal niet. Tot op zekere hoogte./Absoluut. Ik weet het niet./
148 Keith
Don't know.
Ik weet het niet./
149 David
Don't know again. OK. "Do you feel you are given the flexibility to decide how best to accomplish your goals?" Do you want the options again?
- Alweer./Krijg je de ruimte om zelf te beslissen/hoe je je doelen verwezenlijkt?/Wil je de mogelijkheden horen?/
150 Keith
Yeah.
151 David
"Not at all. To some extent"- Always the same.- "Very much so. Don't know."
Totaal niet. Tot op zekere hoogte./Steeds hetzelfde./Absoluut. Ik weet het niet./
152 Keith
Don't know.
- Ik weet het niet./
153 David
If "Don't know" wasn't there, what would you put?
Als dat er niet bij stond,/wat zou je dan zeggen?/
154 Keith
What are the options?
Wat zijn de mogelijkheden?/
155 David
"Not at all. To some extent. Very much so. Don't know."
- Totaal niet. Tot op zekere hoogte./Absoluut. Ik weet het niet./
156 Keith
Very much so.
- Absoluut./
157 David
Do you remember the question was?
Weet je de vraag nog?/
158 Keith
No.
- Nee./
159 David
OK. "Do you?" Let's - We're going to leave that there.
Krijg je.../Daar laten we het even bij./
160 David
Just going to give the new Swindon lot a bit of a - I mean, it's not an appraisal as such, but you know (LAUGHTER)
Ik ga de nieuwen van Swindon... Het/is geen echte beoordeling, maar.../
161 Neil
Sorry. Just showing them --
Sorry. Ik laat ze net zien.../
223
162 David
Keep them occupied before the main event. I hope you warmed them up better than last time! Doesn't look like it.
- Je houdt ze even bezig./Hopelijk heb je ze dit keer wel/opgewarmd. Al ziet 't er niet naar uit./
163 Neil
OK. See you later.
Goed. Tot straks./
See you. Bye.
- Doei./
165 David
Anyway good. Hello. Obviously, I can't give you an appraisal as such - you've only been here a week - but I did want to try and get a flavour of how you're settling in. I know it's probably not the same vibe you're used to. Neil ruled with a bit more of an iron fist, didn't he? But ah... Settling in? Having a good time? How is it different? More laid back, presumably. Do you think it's more laid back? Yeah?
Goed. Hallo./Ik kan jullie niet beoordelen,/jullie zijn er pas een week.../maar ik wilde even weten/hoe het tot nu toe bevalt./De sfeer is vast een beetje anders./Neil regeerde met ijzeren hand./Zijn jullie al gewend?/Vinden jullie het leuk?/Wat is het verschil?/We zijn meer relaxed, neem ik aan./Vind je het hier meer relaxed? Ja?/
166 Employee
Yeah.
167 David
Say yes, then, if you think it's more laid back. More fun.
Zeg dat dan, als het hier/meer relaxed en leuker is./
168 Trudy
Well -
Nou.../
169 David
Eh?
- Hè?/
170 Trudy
Nothing.
Niks./
171 David
Go on.
- Toe maar./
172 Trudy
Well, we're actually used to doing stuff, like working hard, you know, being motivated. There's not much dynamism out there, is there? No, I mean people look like they're getting away with murder.
We zijn gewend om hard te werken,/gemotiveerd bezig te zijn./De dynamiek is hier ver te zoeken./Mensen kunnen hier alles maken./
173 David
Having a laugh, yes.
Wat lol trappen, ja./
174 Trudy
Well, I think quite a few of us are bored.
- Een aantal van ons verveelt zich./
175 David
What, you prefer Swindon?
Vond je het leuker in Swindon?/
176 Employee
More of a laugh.
Daar was het leuker./
177 David
You're having a laugh saying that. What's so good about Swindon? Neil?
- Dat is zeker een grapje./Wat was er dan zo leuk/aan Swindon? Neil?/
178 Employee
Yeah, for one.
Bijvoorbeeld./
179 David
What, you prefer Neil to me? Who thinks Neil's more of a laugh than me? Hands up. That's mental! Come off it. You... We're going to have a drink - Come out for a drink with me and see who's more of a laugh. Yeah, put your money where your mouth is. We'll go for a drink lunchtime. We go-- Right. Right. Here we are. There's an outing, lunchtime. Show them what the Slough lot are like. Keith, what are you doing lunchtime?
- Jullie hebben liever Neil?/Wie vindt Neil leuker dan mij?/Dat slaat nergens op. Kom nou./Ga eens wat met me drinken, dan/zul je zien met wie je kunt lachen./We gaan in de lunchpauze/wel even wat drinken./Goed. Daar gaan we. In de/lunchpauze gaan we iets doen./We zullen ze laten zien hoe het er in/Slough aan toegaat. Wat doe jij?/
164
Swindon employees
224
180 David
Welkom bij Anonieme Alcoholisten./Nee. Alleen sociaal./Ik ken een alcoholist Welcome to Alcoholic's Anonymous! No. Purely social. I know someone who is an alcoholic and en dat is niet/grappig. Vooral niet voor z'n vrouw./Ze heeft zelf last van it's no laughing matter - particularly for his wife, so... She's got alopecia, so not a happy home haaruitval,/dus geen gelukkig gezinnetje./Hun oudste kind is net/Dustin life. Their eldest is like that Dustin Hoffman in "Rain Man", so... That's probably what's turned Hoffman in Rain Man./Daarom is hij waarschijnlijk ook/gaan drinken./Hebben him to it in the first place. So, looking forward to the weekend? jullie al zin in het weekend?/
181 Employees
Yeah.
Ja./
182 David
Cheers.
- Proost./
183 Employees
Cheers.
184 David
That's a lovely drop. That's Courage. You get a lot of that round here because the main brewery's in Reading, so... They do it in London and everything, so... What's the brewery in Swindon? Is there a big--? It might be Courage actually.
Dat is lekker. Courage, heet het./Dat drinken ze hier veel,/omdat de brouwerij in Reading zit./Maar ze brouwen het ook in Londen./Welke brouwerij zit er in Swindon?/Zit daar een grote?/Misschien dat dat ook Courage is./
185 Employee
Dunno.
- Ik weet het niet./
186 David
No. This is all right, though, isn't it?
Dit is wel leuk, niet?/
Swindon 187 employee
Nice pub.
Leuke pub. Wat?/
188 David
Eh?
189
Swindon employee
No, just a private joke.
- Gewoon een grapje onderling./
I was saying this is nice. There's a lovely pub near me - the Gardener's Arms. What? What are you doing?
Leuk, hier. Bij mij in de buurt zit/ook een goede, de Gardener's Arms./Wat doen jullie?/
It's just, that bloke over there looks like someone we know.
- Die kerel komt ons bekend voor./
192 David
OK. One at a time. Focus, yeah? You'll get more out of it in the long run, I promise you that. I forgot what I was saying then. That's what happens when you - Courage...
Eén ding tegelijk. Concentreer je./Uiteindelijk heb je daar meer aan./Ik weet niet meer waar ik het/over had. Dat krijg je als.../Courage.../
193 Tim
Three points. Immediately.
Drie punten./
194 Dawn
What? Don't do that on my head.
- Niet naar mij gooien./
195 Tim
Yeah, unless you've changed into a dartboard, that's not your head.
Je bent toch geen dartbord?/
196 Dawn
The dartboard being there makes no difference to you whatsoever.
- Dat bord maakt nooit enig verschil./
197 Tim
Listen, I could be here and I would still get 180.
Zelfs als ik hier zit, gooi ik 180./
198 Rachel
Hiya. You all right?
Gaat het?/
199 Tim
Straight.
- Recht erin./
200 Rachel
A couple of mates of mine are going down to Yates's--
Een paar vrienden van me/gaan naar Yates's.../
190 David 191
Swindon employee
225 201 Tim
The wine lodge? Classy. Joking.
Die wijntent? Wat chique. Grapje./
202 Rachel
I was wondering if you would like to come down with us. Or not. And you, Dawn. You can bring Lee, if you like.
- Ik vroeg me af of je mee wou./Of niet. En jij, Dawn. Neem Lee mee./
203 Dawn
Oh, I don't think we'll be able to because--
Ik denk niet dat we kunnen./
204 Rachel
OK. But…you can come?
- Goed. Kom je?/
205 Tim
Yeah, That'd be great. Thanks.
Ik kan wel./
206 Rachel
Great. OK.
- Mooi. Goed./
207 Tim
You're talking about tonight?
Vanavond?/
208 Rachel
Yeah. Just after work.
- Ja, gewoon na het werk./
209 Tim
Yeah alright, we'll have a couple of drinks, yeah.
Even wat drinken./
210 Rachel
Cool.
- Cool./
211 Tim
Excellent.
212 Rachel
OK. See you later.
Dan zie ik je straks./
213 Tim
See you in a bit. All right.
- Tot straks./
214 Dawn
That'll be fun.
Dat is vast gezellig./
215 Tim
Yeah. Yes. It'll be cool. Cool as a cucumber.
Zeker. Supergezellig./
216 David
Good?
Lekker?/
217 Keith
It was all right.
- Ging wel./
218 David
I've eaten here, so - If you want a really good pie - The Gardeners. It's been a washout, hasn't it? I Ik heb hier wel eens gegeten./Voor echt lekker eten/moet je bij The Gardener's don't know why I bother - If no one else is going to make the effort. zijn./Wat een flop. Als niemand/er moeite voor wil doen.../
219
Swindon employee
We have made the effort.
We hebben wel moeite gedaan./
220 David
Eh?
Swindon 221 employee
We have made the effort.
We hebben wel moeite gedaan./
222 David
Yeah. I'm not having a go at you. It's just - Obviously the best people haven't turned up. It's just-I'm going to shoot back to the office. See you later.
- Ik heb het ook niet tegen jou./De beste mensen zijn duidelijk niet/gekomen. Ik ga terug naar kantoor./Tot straks./
223 Employee
Come on, Neil.
Kom op, Neil./
224 Neil
Are you all right?
- Goed./
225 Employee
Gareth.
Gareth./
226 Employee
That's it.
226 227 Neil
Nearly.
- Bijna./
228 David
Excuse me. What are you doing?
Wat doen jullie?/
229 Gareth
Having a laugh.
- We trappen wat lol./
230 David
Are you? You could have had a laugh in the pub at lunchtime, selfish. A bit dangerous, isn't it, in an office? If you want to work. Maybe you should work as it's quarter past two.
Dat had je ook in de pub kunnen/doen. Is dat niet gevaarlijk?/Moet je niet werken? Het is 14.15 uur./
231 Neil
Yeah, all right. We're just finishing off.
- We zijn bijna klaar./
232 David
"Just finishing off". Just want to be popular as the new boss. Oh, love me! Pathetic!
Je wilt gewoon de populaire baas/uithangen. Hou van me. Triest, hoor./
233 Neil
I think we should call it a day there. Tim, would you mind putting those away? Guys, can we go back to work? David, can I have a word please?
We moeten het maar voor gezien/houden. Ruim jij even op?/Gaan jullie weer aan het werk?/Kan ik je even spreken?/
234 David
If you want.
- Als je wilt./
235 Neil
I'm confused, I don't know what just happened there but obviously you've got a problem with something, what is it?
Het is duidelijk dat je ergens mee zit./Wat is er?/
236 David
No. Time for work, wasn't it? That's what you say, let's work, stop mucking around the office.
Het was toch tijd/om aan het werk te gaan?/
237 Neil
Your attitude confuses me. If you don't want to tell me what the problem is, then fine, but don't speak to me like that in front of staff. OK? Because you're acting like a petulant kid.
Dan vertel je het niet. Maar zo praat je/niet tegen me als er personeel bij is./Je gedraagt je als een verwend kind./
238 David
Young of heart.
- Jong van geest./
239 Neil
Yeah. You've got a problem? Speak to me but don't stand out there and embarrass me and yourself, because I will not stand for it. OK? I've been trying to be nice. I've been trying to deal with this situation delicately because I was mildly embarrassed that we were equivalents and now I'm your boss, but that's the deal, live with it. I don't let anyone talk to me the way you just did. Not my staff, not my boss, no one and certainly not you. Do you understand?
Ik wil niet dat je mij of jezelf/voor schut zet. Dat zal ik niet pikken./Ik heb geprobeerd tactvol/met de situatie om te gaan.../omdat ik het gênant vond dat ik nu je/baas ben, maar zo is 't nou eenmaal./Zo wens ik niet toegesproken te/worden en al helemaal niet door jou./Begrepen?
240 David
Yeah.
241 Neil
Do you understand? Good. Look, you're a good bloke, Dave, and if there's a problem I'd rather discuss it sensibly than have to have these little chats. All right? Shake on it? Great. Thank you.
Mooi./Je bent een goeie vent, Dave. Als/er iets is, moeten we erover praten./Spreken we dat af?/Goed. Dank je./
242 Neil
I'll see you guys later. Take care.
Tot ziens maar weer. De mazzel./
243 Tim
Cheers, Neil. Have a good night.
244 David
Did you hear that?
245 Tim
What?
246 David
Did you hear any of that conversation in there?
Hebben jullie daar iets van/kunnen volgen?/
227 247 Tim
No.
248 David
I had it out with Neil. He showed his true colours, didn't he?
Ik had het aan de stok met Neil./Hij liet z'n ware aard blijken./
249 Tim
What do you mean? He seems like a good bloke.
Het lijkt me wel een aardige vent./
250 David
Do you think? I'd better not say anything, then. Watch your back. Slagging you off.
Dan zal ik maar niks zeggen./Pas maar op. Hij kraakt je af./
251 Tim
What?
252 David
Slagging you off.
Hij kraakt je af./
253 Gareth
Me personally?
- Mij persoonlijk?/
254 David
Yeah.
255 Gareth
Just me?
Alleen mij?/
256 David
Yeah. And you. Slagging all you lot off.
- En jou. Hij kraakt jullie allemaal af./
257 Gareth
What's he saying?
Wat zegt hij dan?/
258 David
Just... going "you lot were rubbish." I was going, "Our lot is rubbish? Your Swindon lot are shit." He got aggressive and I went berserk.
- Dat jullie niks waard zijn./Ik zei: Dat zootje uit Swindon/is waardeloos./Hij werd agressief en ik werd razend./
259 Gareth
Did you hit him?
- Heb je hem geslagen?/
260 David
If I had done, he'd have come through that wall.
Dan was hij door die muur gevolgen./
261 Tim
Well, I don't know. He's pretty trim, mate.
- Nou, hij is best fit./
262 David
Yeah? Against karate?
Ja? Als ik karate doe?/
263 Tim
So, hang on. David, what did he actually say about us?
Wat zei hij nou over ons?/
264 David
Just slagging you lot off. I went, "Your Swindon lot are little slugs, little slugs with no personality. You're just jealous that we're better at everything than you." I tell you what, seriously, if it did kick off with him, get out. I don't want you lot getting hurt. It's not worth it.
- Hij kraakte jullie gewoon af./Ik zei: Jullie uit Swindon/zijn een stel zeurkousen./Jullie zijn gewoon jaloers/dat wij overal beter in zijn./Als we echt gaan vechten, smeer 'm/dan. Ik wil jullie niet gewond zien./
265 Gareth
Well, I'd step in if you want.
Ik zou je helpen./
266 David
This is big boy shit, mate. Cheers.
- Dit is voor de zware jongens./
267 Gareth
You'd want to hit him really hard right above the ears because the vacuum in the brain kills him instantly.
Sla hem op z'n oren. Door 't vacuüm/in z'n hersenen is hij op slag dood./
268 David
I wouldn't want him to die. I'd want to keep the twat alive with the shit I was going to pull on him.
Ik zou hem in leven willen houden,/hem laten lijden./
269 Gareth
All right? Hello.
Gaat het?/
270 Rachel
Hello.
- Hallo./
271 Gareth
You don't have a boyfriend, do you?
Je hebt toch geen vriendje?
228 272 Rachel
No.
273 Gareth
Any kids from previous marriages, or anything?
274 Rachel
No.
275 Gareth
Would you like to come out for a drink with me tonight?
Wil je dan iets met me gaan drinken?/
276 Rachel
I can't I'm afraid. I'm going to go out with Tim, so...
- Ik ga vanavond al met Tim op stap./
277 Gareth
Tonight?
Vanavond?/
278 Rachel
Yeah.
279 Gareth
Can I come?
Mag ik mee?/
280 Rachel
Not really.
- Liever niet./
281 Gareth
You're not planning getting off with him or anything?
Je duikt toch niet 't bed met hem in?/
282 Rachel
I don't think this is any of your business.
- Dat gaat je niks aan./
283 Gareth
Sorry. It's none of my business. You go out and have a drink, by all means. Enjoy yourself. Just know that, if you don't go all the way with Tim, I will still be interested. All right?
Het gaat me niks aan./Ga maar lekker iets drinken./Maar als je het niet doet met Tim,/wil ik nog wel./
284 Rachel
Thanks. It's good to know I have something to fall back on. What if I do go all the way with Tim but I want a little bit more with you?
Dank je. Fijn om te weten dat/ik iets heb om op terug te vallen./Wat als ik wel doe met Tim,/maar nog meer wil met jou?/
285 Gareth
I don't usually do sloppy seconds, but I judge everything on its individual merit, so we'll cross that river when we come to it.
Ik hou normaal niet zo/van afdankertjes.../maar ik beoordeel elk geval apart,/dus dat zien we dan wel./
286 Rachel
Thanks. That's… That's good to know.
Dat is fijn om te weten./
287 Gareth
No problem.
- Geen probleem./
288 Employee
One in the kettle?
Is er nog thee?/
289 Rachel
Yeah. It's actually just boiled.
- Het water heeft net gekookt./
290 Gareth
One amendment. If you do go all the way with Tim and you expect me to go in there afterwards, make sure he wears a condom. All right? It's sort of a rule.
Nog even dit. Als je het wel doet Tim.../en dan nog wil dat ik hem erin hang,/laat hem dan een condoom dragen./Dat is een soort van regel./
291 Employee
Is there any milk?
Is er nog melk?/
292 Rachel
Yeah. It's in the fridge.
- Ja. In de koelkast./
293 Rachel
See ya.
294 Tim
See you later, mate.
295 Employee
You going home?
296 Employee
Yup.
297 Dawn
That's for you.
Kinderen uit een vorig huwelijk?/
Ga je naar huis?/
Die is voor jou./
229
298 David
Cheers. Can you call Neilson's and get that credit rate down faxed over or emailed or whatever?
Wil jij Neilson's even bellen.../en zorgen dat ze die kredietanalyse/faxen of emailen?/
299 Dawn
Sure.
Tuurlijk./
300 David
And do you mind typing up those appraisal contracts, I just want to get them back to him?
Zou je die beoordelingsformulieren/ook even kunnen uittikken?/
301 Dawn
Sure. See you Monday.
Tuurlijk. Tot maandag./
302 David
See you. Dawn, I'm fed up. I'm fed up, to be honest. It's just--
Dawn, ik ben het zat./Ik ben het zat, eerlijk gezegd./
303 Dawn
Why?
Waarom?/
304 David
This place. I don't say anything but sometimes I think it's a right shit hole.
- Ik vind dit echt een klerekantoor./
305 Dawn
Do you?
Echt?/
306 David
Yeah. Do you think I'm funny?
Vind je me grappig?/
307 Dawn
Mmm. Yup.
- Jawel./
308 David
Do you think Neil's funny? Sit down.
Vind je Neil grappig? Ga zitten./
309 Dawn
Do I think Neil's funny? I don't really know him, David.
Of ik Neil grappig vind?/Ik ken hem niet echt, David./
310 David
But he's not funnier than me?
Maar hij is niet grappiger dan ik?/
311 Dawn
No, definitely not.
- Zeker weten van niet./
312 David
I wish you'd tell that to the Swindon lot - miserable bunch of-- Aren't they? Boring. What's your favourite stuff that I do, comedy-wise?
Zeg dat eens tegen die van Swindon,/dat stelletje... Toch? Stelletje druiloren./Wat is het leukste dat ik doe,/wat komedie betreft?/
313 Dawn
Um... Oh, there's too much.
Teveel om op te noemen./
314 David
The impressions?
De imitaties?/
315 Dawn
Yeah.
316 David
Which ones?
Welke?/
317 Dawn
Er... Which ones are there again?
- Welke waren het ook weer?/
318 David
Kermit?
Kermit?/
319 Dawn
Brilliant.
- Geniaal./
320 David
"Welcome to the er... Muppet Show." "Hai-ya, Frog!" Miss Piggy. Do you know Kermit's nephew, Robin? # Halfway up the stair is the stair where I sit #
Welkom bij de Muppet Show./Hé, kikker./Miss Piggy./Ken je Kermits neefje, Robin?/Halverwege de trap/zit de tree waar ik zit.../
321 Dawn
Do you do Gonzo?
Doe je Gonzo ook na?/
322 David
No. Do you want a beer?
- Nee. Wil je een biertje?/
323 Dawn
Er... I can't go to the pub.
Ik kan niet mee naar de pub./
230
324 David
I've got some here ready. For emergencies. Cheers. I was looking through some old poems I used to do.
- Ik heb er hier een paar./Voor noodgevallen./Proost./Ik zat net te kijken.../naar wat oude gedichten van me./
325 Dawn
Oh? I didn't know. Yeah. What sort of--?
Dat wist ik niet./Wat voor?/
326 David
Quite sort of powerful. Here's one. Shall I read one to you? This one's called "Excalibur". "I froze - Hele heftige. Dit is er eentje./Zal ik er een voorlezen?/Deze heet 'Excalibur'./Ik your tears and made a dagger and stabbed it in my cock forever. It stays there like Excalibur. Are heb van je bevroren tranen/een dolk gemaakt.../en hem voor eeuwig/in m'n you my Arthur? Say you are." pik gestoken./Hij blijft er zitten, als Excalibur./Ben jij m'n Arthur? Zeg ja./
327 Dawn
Good.
Goed./
328 David
"Take this cool, dark, steeled blade. Steal it, sheath it in your lake. I'd drown with you to be together. Must you breathe? 'Cause I need heaven."
- Neem 't koele, donkere, stalen mes./Steel hem, begraaf hem in je meer./Ik zou met je verdrinken/om samen te zijn./Moet je ademen?/Ik heb de hemel nodig./
329 Dawn
Um... It's powerful.
Heel heftig./
330 David
Very. And double meanings. Did you get the double meanings?
- Ja, hè?/Snapte je de dubbele betekenis?/
331 Dawn
I did.
- Ja./
231
Appendix 2.9: Transcription Party (2.3)
No. Speaker
Dialogue
Dutch subtitle
1
Dawn
He's sort of --
Hij is wat.../
2
Neil
It's ten to ten.
- Het is al tien voor tien./
3
Dawn
Pardon?
Wat zeg je?/
4
Neil
It's ten to ten.
- Het is tien voor tien./
5
Dawn
Well, I can't speak - Here he is.
Stil, daar komt hij./
6
David
Hiya.
- Hallo./
7
Neil
Hiya. Nice jacket.
Mooi jasje./
8
David
Whatever.
- Je zegt maar wat./
9
Neil
Looks a bit like mine.
Het lijkt op het mijne./
10
David
What make's yours?
- Welk merk?/
11
Neil
Armani.
Armani./
12
David
Expensive.
- Duur./
13
Neil
And yours?
En het jouwe?/
14
David
Sergio Georgini.
- Sergio Georgini./
15
Neil
New shoes as well. Quite a heel on them.
En nieuwe schoenen./Wat een hakken./
16
David
We still on for ten?
Zien we elkaar om 10 uur?/
17
Neil
Yup.
18
David
People see me and they see the suit, and they go you're not foolin' anyone. They know I'm rock and roll through and through. But you know that old thing "live fast, die young"? Not my way. Live fast, sure. Live too bloody fast sometimes! But die young? Die old. I'm not orthodox. I don't live by "the rules". You know. And if there's one other person who's influenced me in that way of thinking - someone who's a maverick, someone who does that to the system - it's lan Botham. Because Beefy will happily say, "That's what I think of your selection policy. Yes, I've hit the odd copper, yes, I've enjoyed the odd doobie. But will you piss off and leave me alone. I'm walking to John O'Groats for some spastics."
Ze zien me in een pak, maar weten/dat ik een oude rocker ben./Leef snel, sterf jong./Daar geloof ik niet in./Snel leven, oké. Soms te snel./Maar ik sterf liever oud./Ik ben niet orthodox./Ik hou me niet aan 'de regels'./Als er één persoon is/die me heeft beïnvloed.../dan is dat Ian Botham./Hij heeft lak aan het systeem./Beefy zegt gewoon recht voor z'n raap/wat hij ervan vindt./Ja, ik heb die agent geslagen/en hou van een stickie op z'n tijd./Rot op, ik loop me uit de naad/voor spastische mensen./
19
Neil
You been reorganising stuff out there?
Ben je aan het reorganiseren?/
20
David
Uh, just been --
232 21
Neil
It just looks a bit chaotic, that's all.
Het ziet er wat chaotisch uit./
22
David
Assimilating. We're assimilating and uh--
We zijn aan het assimileren./
23
Neil
Assimilating what?
- Wat bedoel je daarmee?/
24
David
Just taking on people and putting them --
We beoordelen iedereen.../
25
Neil
Into lots?
- En je deelt ze in./
26
David
Yeah. Just categorising. Not in any sort of like, you know "label me" But just, you know, "That's your vibe. That's your vibe."
Zoiets, maar we plakken/er geen label op./We weten waar ze/affiniteit mee hebben./
27
Trudy
What's in here, then? Oh, my God. A leather basque. Fantastic.
Wat zit daarin?/Lieve hemel. Een leren topje./Geweldig./
28
Gareth
Try it on.
29
Trudy
I've always wanted one of these actually, a leather basque. Cheers, guys. Let's try it on. See if it fits.
Dat heb ik nou altijd willen hebben./Dank jullie wel. Even proberen./Past hij ook?/
30
Gareth
You should try it on properly in case you have to take it back. Try it on without that stuff underneath.
Je moet hem echt passen,/misschien moet je hem ruilen./Je moet de rest eerst uittrekken./
31
Trudy
It fits!
32
Rachel
Happy birthday.
Gefeliciteerd./
33
Trudy
Oh, my God! It's disgusting.
Allemachtig, dit is walgelijk./
34
Tim
Even I'm shocked.
- Zelfs ik sta paf./
35
Trudy
You dirty mare! Does it work?
Viespeuk. Doet hij het?/
36
Employee
One size fits all.
- Hij past altijd./
37
Tim
Can I just - Sorry. Can I just? Look at the face. Gareth, look at the face.
Mag ik even?/Gareth, kijk hem in de ogen./
38
Gareth
I'm not touching that.
Ik raak hem niet aan./
39
Tim
Why? Look.
- Kijk dan./
40
Gareth
You don't know where that's been, mate.
Weet jij waar die is geweest?/
41
Tim
Well, I do know - It's been in a box, Gareth.
- In die doos./
42
Gareth
In the factory.
In de fabriek./
43
Tim
The factory. Your amazing mind again.
- Je bent briljant./
44
Gareth
In my experience, women who work in factories are slappers. So...
Vrouwen die in fabrieken werken,/zijn sloeries./
45
Trudy
Thank you everybody for my lovely presents.
Ik ben blij met m'n cadeaus./
233 Ze zijn meegaand./Dat is heel prettig./Ik hou niet van mensen/die zeggen hoe iets moet./Ik vind dat mensen moeten doen/wat ze zelf leuk vinden./Het individu binnen het team./Dat is een stijl van leiding geven./Onconventioneel, klaag me maar aan./
46
David
They're malleable and, you know, that's what I like, really. I don't like people coming here with, "We do it this way, we do it that way." I just want to go, "Do it this way if you like. If you don't" Team playing. I call it "team individuality". It's a new - It's like a management style. Guilty. Unorthodox. Sue me.
47
Neil
It is.
- Dat is het wel./
48
David
You know, but nothing ever changes by staying the same. Quite literally.
Er verandert niets/als alles bij het oude blijft./Dat bedoel ik letterlijk./
49
Rachel
Hi, guys.
Hoe gaat het hier?
50
Tim
Hello.
51
Rachel
You like that, don't you?
52
Tim
What?
53
Rachel
Is that because it looks like yours?
Lijkt hij op de jouwe?/
54
Tim
Yeah. It's identical. Mine's not that size - it's very, very tiny - but it is made of plastic.
Als twee druppels water. De mijne is/veel kleiner, maar wel van plastic./
55
Gareth
Mine's massive and it ain't made of plastic.
Ik heb een joekel, levensecht./
56
Rachel
I dare you to go and put it in Brent's office.
Durf je hem mee te nemen/Brents kantoor in?/
57
Tim
Why?
Waarom?/
58
Rachel
As a dare.
- Ik daag je uit./
59
Tim
Yeah I know, but he's having a meeting with Neil. I can't--
Hij is in vergadering met Neil./
60
Rachel
Well, that's kind of the challenge, mate.
- Dat is de uitdaging./
61
Tim
Why would I do that?
Waarom zou ik?/
62
Rachel
'Cause it would make me laugh.
- Voor de gein./
63
Gareth
I'll do it.
Geef maar./
64
Tim
No, I'll do it, it's all right.
- Nee, ik doe het wel./
65
Rachel
All you got to do, is just go in there and hide it in there somewhere.
Hij hoeft hem nu niet te zien./
66
Tim
Just hide it?
- Mag ik hem verstoppen?/
67
Rachel
Yeah.
Ja./
68
Tim
Simple. It couldn't be easier. Straightforward.
- Dat wordt dan een makkie./Een kind kan de was doen./
69
David
(KNOCKING) Come in.
Binnen./
70
Tim
Sorry to interrupt. I just wondered if - That's embarrassing. I've completely forgotten what I came Het spijt me, maar ik vroeg me af.../Nou vergeet ik helemaal/wat ik wilde in for. vragen./
71
Neil
I'm sorry.
Je hebt hier iets mee./
234
72
Tim
Come on, come on Tim. Get it back. No, too many late nights. No, sorry. It's totally gone.
Kom op, Tim./Concentreer je./Sorry, ik slaap te weinig./Ik ben het echt kwijt./
73
Neil
Don't worry about it.
74
Tim
I'm holding your folder. Sorry. It's gone. I just - No, it's gone. Sorry. BSE.
75
David
Don't worry. Come back.
76
Tim
No more beef.
Ik eet geen vlees meer./
77
Neil
As you're here. There's something you can do for me.
Mag ik je wat vragen?
78
Tim
OK.
79
Neil
My lot haven't been down to the warehouse yet. It'd be -- Would you mind taking them down, just familiarize them?
M'n mensen/zijn nog niet in het magazijn geweest./Wil jij ze rondleiden?/
80
Tim
Not at all.
- Met plezier./
81
David
There's really no point. There's not a lot to see.
Er is weinig te zien./
82
Neil
In an organization, I think it'd be a good idea for everyone to know everyone else. Just tell Glynn I said it's OK.
- Ze moeten iedereen leren kennen./Zeg je het even tegen Glynn?/
83
David
Tell Taffy that I said it was OK and Neil agrees with me.
Ja, zeg dat maar tegen Taffy./Neil is het met me eens./
84
Tim
OK.
Oké./
85
Neil
That's great thanks, Tim.
- Dank je, Tim./
86
Tim
Sorry. That was brilliant. Did you see where it went? It went under the folder? Gareth, out of ten?
Meesterlijk. Hij ligt onder een map./Gareth, rapportcijfer?/
87
Gareth
I'll give you a three.
Een drie?/
88
Tim
Three?!
- Drie?/
89
Rachel
Three?!
90
David
"You can't beat a bit of bully!" "Bullseye"! Here they are. Likely lads.
Je moet soms streng zijn./In de roos. Aardige jongens./
91
Employees
Hi.
Hallo./
92
Employee
New shoes.
- Nieuwe schoenen?/
93
David
Fashion.
Mode./
94
Employee
Do you want a game?
- Wil jij even?/
95
David
Yeah. "Up to the oche. Let Tu-oni look after you." "Nothing in this game for two in a bed." Shit flights on those. No wonder. A bit fuddy-duddy, darts, for a couple of young lads.
Naar de oche./Op Tony kun je rekenen./Nu spant het erom./Rotpijlen. Even darten met de maten./
96
Employee
Not young. 29.
Ik ben al 29./
97
David
Over the hill. How old would you say I was if you didn't know me?
- En op je retour./Hoe oud schat je me?/
Ik leg je map terug./De BSE slaat toe./
235 98
Employee
40?
40?/
99
David
No. How old do you think I look?
- Nee, hoe oud lijk ik?/
100 Employee
39.
39./
101 David
Most people think I look about 30.
- De meesten schatten me rond de 30./
102 Employee
Definitely not.
Maak 't een beetje./
103 David
Are you calling them liars? What do you think?
- Denk je soms dat ze liegen?/Wat denk jij?/
104 Oliver
Well, between 30 and 40.
- Tussen de 30 en 40./
105 David
Yes. More honest.
Hij is eerlijker./
106 Tim
OK. Now guys, we're about to enter a warehouse environment. Now I must warn you that some of the people here will be working-class. There may be arse-cleavage, so... Find a partner. Hold hands. Don't talk to anyone though. Are you chewing? OK. Let's go. Here we are, here's the hub of the operation. Working hard as usual. All right?
Oké, we gaan zo meteen/een magazijn binnen./Er werken arbeiders./Schrik niet van een bilnaad./Hou elkaars hand vast/en spreek niemand aan./Heb je kauwgum?/Oké, volg me maar./Hier gebeurt het allemaal./Het is weer eens druk./
The stripper's arrived.
Daar hebben we de stripper./
108 Tim
OK. I'll tell you what. You can get five minutes, but no touching.
Vijf minuten, niets aanraken./
Warehouse 109 employee 1
I always knew you were bent.
- Ik wist 't wel: Van de verkeerde kant./
110 Lee
Don't worry, she'll get the old milkers out for a tenner.
Voor een tientje laat ze ze zien./
111 Dawn
Fuck off.
- Rot op./
112 Lee
What? What?
Wat is er?/
107
Warehouse employee 1
113
Warehouse employee 1
Oi, lend us a tenner!
- Kan ik een tientje van je lenen?/
114
Warehouse employee 2
You won't be seeing them tonight.
Dat wordt niks vanavond./
115 Lee
That's all right, I've got cable.
- Ik heb kabel-tv./
116 Tim
OK. I'll show you this aisle first.
We nemen dit gangpad eerst./
Bender!
Homo./
118 Trudy
(on the phone) No! Get lost, you cheeky bastard. No!
Schei uit, mij niet gezien./
119 Dawn
David. This is Ray and Jude. Ray and Jude - Sorry. Forgotten where you're from.
Dit zijn Ray en Jude./Waar zijn jullie ook weer van?/
120 Ray
From Cooper & Webb - consultants.
Cooper & Webb, consultants./
121 David
Who's Cooper and who's Webb?
- Wie is Cooper en wie is Webb?/
117
Warehouse employee 1
236 122 Ray
Neither of us.
Geen van beiden./
123 David
I bet you get that all the time.
- Dat zul je wel vaker horen./
124 Ray
No. Anyway.
Hoe dan ook.../
125 David
First things first. Any more mail? Mr D. Brent. That's me. Come through. Must just... Shoot.
Wacht even. Is er nog post?/Mr D. Brent. Dat ben ik./Ik ga even voor./Ik moet even.../Zeg het maar./
126 Ray
Well, are you aware of what we do?
Weet u wat we doen?/
127 David
No.
- Nee./
128 Ray
Basically, we organise training days for corporations and individuals who pay to get an advantage in business. But it's not just telling the boring facts. We also have business experts who train them how to act, how to walk into a room and say, "I'm the guy you're going to do business with."
We organiseren bedrijfsopleidingen./Men betaalt ons/om beter te kunnen concurreren./We gaan verder dan de saaie feiten./We trainen mensen zodanig/dat ze alles voor elkaar krijgen./
129 David
OK. I'll stop you there. I really don't need anything like that. I do all my own house training.
Schei maar uit./Ik geef hier alle trainingen zelf./
130 Ray
Sorry. No... We're not trying to get your business. We'd very much like you to be one of our experts.
We zitten niet te vissen/naar een opdracht./We willen u als deskundige./
131 David
Good choice. Why did you dudes swing by here in the first place?
Een perfecte keuze,/maar waarom komen jullie hier?/
132 Ray
We'd heard a lot of good things about Wernham-Hogg. We also got your name from a guy we worked with, called Andy Hitchcock.
Van horen zeggen en we hebben/uw naam van Andy Hitchcock./
133 David
Oh, God. Cockles. Cocky. The Big Cock. Next time you're talking to him, just ask him if he got the grass stains out of his trousers - not in front of his wife. 'Cause - 'Cause - What sort of tip would you want me on? If I was to -
Allemachtig, onze kruisridder./Vraag hem maar of hij de grasvlekken/uit z'n broek heeft gekregen.../maar laat z'n vrouw 't niet horen./Wat verwachten jullie precies van me?/
134 Ray
We're looking for people who are dynamic, who are also good communicators. It's a corporate message but obviously we're after people who can communicate with young people - 20somethings. You don't see heels like those much nowadays.
We zoeken dynamische personen/die kunnen communiceren./Met name communicatie/met jongeren, twintigers./Zulke hakken zie je niet vaak meer./
135 David
You can still find them. Uhm, what sort of bunce would I be looking at?
- Zoekt en gij zult vinden./Wat schuift het?/
136 Ray
Sorry? Well, to start with --
Om te beginnen.../
137 David
Bunsen burner. Bunsen burner - nice little earner. Hence the... Bunce.
- Een schep./Een schep, dat schuift sneller./Vandaar.../Schuiven./
138 Ray
Well, to begin with we'd put you on about £300.
We beginnen met 300 pond./
139 David
£300 just for an hour's work?
300 pond voor een uur werk?/
140 Jude
Well no, you'd only talk for about 15 minutes.
- U praat maar een kwartier./
141 David
15 min -? That's £1,200 an hour pro rata. That's the sort of fee I'd be looking at for this, so... You know. Yeah. When would you want me to do it?
Een kwartier. Dat is dan.../1200 pond per uur./Dat klinkt al een stuk beter./Wanneer speelt dit?/
142 Jude
Well, soon.
- Spoedig./
143 David
Count me in. Thank you.
U kunt op me rekenen. Bedankt./
237 144 Jude
Sorry, do you have a diary? We could make some dates now.
We kunnen al datums prikken./
145 David
Absolutement. What's that?
- Mooi. Wat is dat?/
146 Jude
It's a dildo.
Dat is een dildo./
147 David
Is it yours?
- Is die van u?/
148 Jude
No!
Nee./
149 David
- Ik snap het niet. M'n excuses./Een interessant probleem./Hoe pak ik dat No. No. Well, I don't know - Sorry. This is an example of problems. Let's have a look. OK, aan?/Attentie, iedereen./Wat moet die dildo in m'n kantoor?/Zij zegt dat hij everybody. What am I doing in there with a dildo? She says it's not hers and I for one believe her, niet van haar is/en dat geloof ik. Van wie is hij?/Goed. Wat doet dat ding/in so whose is it? Right. What's it doing in there? m'n kantoor?/
150 Trudy
It's a birthday present, but I don't know what it's doing in there.
151 David
OK. Good harmless fun. But, you know. Is it today your birthday? Many happy returns, but what Een onschuldig geintje./Gefeliciteerd,/maar wat hebben we nu geleerd?/ have we learnt from this?
152 Trudy
Not to leave your dildo lying around?
Laat je dildo niet slingeren?/
153 David
Don't let it out of your sight because it can wind up anywhere. Oh. What's that? Just ... Sorry. How do you? Oh, it's worse. What do you do when that happens? Well, you probably do - Can you make sure that gets back to--?
- Hou hem in het oog./Je weet nooit wat ermee gebeurt./Wat is dat nou?/Ik moet.../Sorry. Hoe werkt dit?/Hij gaat sneller. Wat moet je dan doen?/Wil je zorgen dat zij hem terugkrijgt?/
154 Jude
Can we put some dates in?
Zullen we datums prikken?/
155 David
Yeah, sure. We're in the middle of something. So, and that --
- Ja. We waren bezig./
156 Tim
You've got to smuggle this somewhere about your person. I'm not saying anything about it, but you got to--
Je moet dit ongezien/op je persoon dragen./Ik zeg er verder niets over./
157 Rachel
What does that mean "about your person"?
158 Tim
You've got to--
159 Gareth
If you want to see bravery, come to me. I'll do a dare.
- Ik wil de uitdaging wel aangaan.
160 Tim
Bravery?
Iets waar moed voor nodig is?/
161 Gareth
Yeah, come on.
162 Tim
All right.
163 Rachel
OK. I'm going to phone Dave, no. I'm going to write things for you to say. Come here. Then I'm going to phone David and I want you to say exactly what I write down, OK?
- Ik weet wat./Ik bel Dave. Nee, ik schrijf op/wat jij moet zeggen./Daarna bel ik David en moet je zeggen/wat hier op papier staat./
164 Gareth
No way. You'll make me sound like a bender.
Straks denkt hij dat ik homo ben./
165 Rachel
No, look. I swear I won't.
- Echt niet./
166 Gareth
No way. No.
Geen sprake van./
Het is een verjaarscadeau./Ik weet niet hoe hij daar komt./
238 167 Rachel
It'll just be funny things. It'll come out cute. Come on Gareth.
- Alleen leuke dingen./
168 Gareth
I'm not going to say anything that makes me sound like a bender.
Ik zeg niks flikkerachtigs./
169 David
Hello?
Hallo?/
170 Gareth
Hi, it's Gareth.
- Met Gareth./
171 David
Hiya. I'm in a meeting at the moment Gareth.
Ik ben in vergadering./
172 Gareth
Yeah. Just going to say a few things.
- Ik wil een paar dingen kwijt./
173 David
All right.
Ga je gang./
174 Gareth
You're doing a great job.
Ik bewonder je werk./
175 David
OK. Just an employee saying what a superb job I'm doing. Is that it?
- Oké./Ik krijg een geweldig compliment/van een werknemer. Was dat het?/
176 Gareth
No. I like your little beard.
Nee. Je hebt een leuk baardje./
177 David
OK. Is that it?
Was dat alles?/
178 Gareth
One more thing.
- Nog één ding./
179 David
What?
Wat dan?/
180 Gareth
You should wear tighter trousers.
Je zou strakkere broeken moeten dragen./
181 David
Can I give you a call back?
Kan ik je straks terugbellen?/
182 Gareth
Yeah. Bye.
- Oké, dag./
183 Tim
That was genius!
Geweldig.
184 Gareth
Thank you.
185 Tim
Genius. Genius.
Dat was geniaal./
186 Gareth
Brilliant.
Briljant./
187 Jude
We have a website with profiles of all our speakers on them. Would you mind answering a few questions?
Onze sprekers staan op onze website./Mag ik een paar vragen stellen?/
188 David
No. Go for it.
Natuurlijk./
189 Jude
OK. "If you could have a working lunch with anyone, living or dead, who would it be?"
Met wie zou u het liefst lunchen?/Het mag iemand zijn die er niet meer is./
190 David
Martin Luther King and the Dalai Lama and Rory Bremner. Just to - cause they could get a bit heavy, couldn't they? The two of them, and he'd lighten things up. Probably do impressions of them and me!
Martin Luther King, de dalai lama/en Rory Bremner./De eerste twee zijn serieus./Hij zorgt voor een lichtere noot./Hij gaat imitaties van ze doen,/en van mij./
191 Jude
"What's your biggest disappointment?"
Wat is uw grootste teleurstelling?/
192 David
Alton Towers.
Pretpark Alton Towers./
239 193 Jude
Oh. I've never been.
- Daar ben ik nooit heen geweest./
194 David
It's rubbish. Next.
Waardeloos. Volgende vraag./
195 Dawn
Hello.
Hallo./
196 Tim
Hiya.
- Hoi./
197 Dawn
Still doing your practical jokes?
Verzin je nog meer grappen?/
198 Tim
Yeah. I'm trying to do some work now. I should be giving them a rest.
- Ik probeer nu te werken./
199 Dawn
I've got some.
Ik weet er nog een paar./
200 Tim
Have you?
- Echt waar?/
201 Dawn
Yeah.
202 Tim
What you got?
Vertel./
203 Dawn
Oh I used to do loads - What were they? But, you know, we can think of some.
Ik kende er zoveel./Wat was het ook weer?/We kunnen er een paar bedenken./
204 Tim
We could… yeah, absolutely.
Natuurlijk./
205 Dawn
Some new ones.
- Nieuwe./
206 Tim
Yeah OK, let's think of some good ones. For? What about Gareth? It's about time he had some tricks played on him.
Goede./- Voor wie?/Wat dacht je van Gareth?/Hij is echt weer eens aan de beurt./
207 Jude
What would your motto be?
Wat zou uw lijfspreuk kunnen zijn?/
208 David
Well, I've noticed that some bosses are intimidated by training their staff up too well. They don't - I don't mind it. I actually like my staff to be better than me. That way - keeps me on my toes. So my motto would be "Be careful because there's always somebody ready to step into your shoes and do your job better than you do it."
Sommige bazen zijn bang/om hun personeel te goed op te leiden./Ik heb juist graag mensen/die het beter weten dan ik./Dat houdt me alert./M'n lijfspreuk zou dus zijn:/Pas op. Er staat altijd iemand klaar/om je functie over te nemen.../en je werk beter te doen dan jij./
209 Tim
Heh heh. I'm gluing the phone. In the name of fun.
Ik lijm z'n telefoon vast./Grapje./
210 Dawn
He will hate you.
- Hij doet je wat./
211 Oliver
Here you go. Happy birthday.
212 Neil
Here you go Des.
213 Sheila
What's in it?
Wat zit erin?/
214 David
What's this?
- Wat gebeurt hier?/
215 Oliver
Sorry. It's just a little birthday bash for Trudy. It's her birthday.
Een verjaarsfeestje voor Trudy./
216 David
Who organised this?
- Op wiens initiatief?/
217 Neil
I did.
Het mijne./
218 David
Bit over the top, innit? How much did that cost ye? Are we paying you too much?
Beetje overdreven./Wat heeft dat gekost?/
240 219 Neil
I made it myself.
- Ik heb het zelf gemaakt./
220 Jamie
Made it yourself?
Zelf gemaakt?/
221 Oliver
Every year he does. He makes them.
- Dat doet hij elk jaar./
222 David
Bit sweet, innit? Too rich.
Te zoet en te vet./
223 Jamie
That's really nice.
Heerlijk./
224 Oliver
His lemon drizzle cake tastes even better.
- Z'n lemon drizzle is nog lekkerder./
225 David
I prefer a flan.
Ik heb liever flan./
226 Trudy
Whoo!
227 Rachel
It's a pleasure to watch you. She's a prude.
Aardige meid, maar wel preuts./
228 Tim
No, she's not.
Hoe kom je erbij?/
229 Rachel
She is.
- Echt waar./
230 Tim
What, for real? Really?
Meen je dat?/
231 Rachel
She's very --
- Ze is.../
232 Employee
Not 40?
Nog geen 40?/
233 Employee
It's true. I mean, every time that does happen --
- Elke keer dat zoiets gebeurt.../
234 David
You both in a meeting? I've just had an interesting meeting. See those two people over there? They're business people. And a - They're quite important. They've got a business and they arrange sort of seminars, management training seminars where they get expert speakers to come and - sort of John Harvey Jones type figures. They've asked me. So... Yeah. Perfect for me though, because not only do I know all that sort of stuff, I've also got natural authority with people, but I'm an allround entertainer, so... Those qualities. Keep it under your hat. See those two business people under there?
Zijn jullie in vergadering?/Ik heb een interessant gesprek gehad./Dat zijn twee zakenlui./Ze organiseren seminars/voor managers.../met deskundigen als sprekers./Van die John Harvey-Jones-types./Ze willen mij ook als spreker./Ik ben ervoor geknipt./Ik heb natuurlijk gezag.../en ik kan mensen vermaken./Dat soort kwaliteiten./Hou het nog even voor je./Zie je daar die twee zakenmensen?/
235 Gareth
Is that you?
Was dat jouw idee?/
236 Tim
Yeah.
237 Gareth
You're funny. Could have had my eye out. Hello. Gareth Keenan.
Dat had me een oog kunnen kosten./Met Gareth Keenan./
238 Tim
Cock! Thank you! Thank you. Oh, glorious! Did you see that? He still picked it up.
- Zak./Dank je. Je was geweldig./Hij pakte hem nog op ook./
239 Rachel
Was that you?
Wat was er?/
240 Tim
We glued it.
- We hadden hem vastgelijmd./
241 Rachel
Was that... Was that superglue?
Met superlijm?
242 Tim
He still picked that up!
241 243 Rachel
Oh, my God.
Allemachtig./
244 Tim
Oh yes.
245 Ray
Obviously it wouldn't take very much of your time.
Het duurt maar even./
246 Neil
I really appreciate your interest, but I'm just so busy at the moment.
Ik ben zeer gevleid,/maar heb het veel te druk./
247 David
What are we talking about?
Waar hebben jullie het over?/
248 Ray
We're just trying to involve this chap in motivation.
- We willen hem er ook bij hebben./
249 David
But you could have asked me. It's a bit rude, innit? It's a bit rude.
Nadat je het mij hebt gevraagd./
250 Ray
We'd use both of you for different --
- We gebruiken jullie allebei./
251 David
I can do them both.
Ik spreek voor twee./
252 Neil
I can't anyway.
- Ik kan toch niet./
253 David
Can't do it anyway.
254 Ray
Can I have your card just in case?
Mag ik wel je kaartje?/
255 David
No point, is there?
- Dat heeft geen zin./
256 Jude
We might be able to persuade you.
Misschien halen we je nog over./
257 David
He said no once. If he goes back on it, he's weak. Innit? So...
- Dat zou slap zijn./
258 Ray
Well, anyway... We ought to be going.
We moeten maar eens opstappen./
259 David
Yeah. Leave it as it was. Yeah, as agreed. OK.
- Onze afspraak staat./
260 Ray
We'll be in touch. David. Nice to meet you.
Je hoort nog van ons./
261 Neil
Nice to meet you.
- Prettig kennis te maken./
262 Ray
Bye.
263 David
So you're definitely not doing it? You said that. I thought you were trying to worm your way in.
Je doet het toch echt niet? Ik dacht/dat je onder m'n duiven zat te schieten./
264 Neil
No, I'm not interested.
Ik ben niet geïnteresseerd./
265 David
Why? Beneath you, is it?
- Ben je er te goed voor?/
266 Neil
No. I just don't think you can teach people that sort of thing. You can do it or you can't.
Ik geloof niet dat ik/dat soort kennis kan overdragen./
267 David
Depends who the guru is.
Dat ligt inderdaad aan de goeroe./
268 Neil
Beware of false prophets!
- Hoed u voor valse profeten./
269 David
That's my point. It's not all about profits.
Dat bedoel ik./Niet alles draait om profijt./
270 Neil
I meant prophets --
Ik bedoel profeten.../
242
271 David
"I meant, I meant, I meant." "If only, if only." If only me auntie had bollocks, she'd be me uncle.
- Ik bedoel, als, als, als.../Als m'n tante ballen had,/was ze m'n oom./
272 Trudy
Every time in one.
In één keer leeg./
273 Tim
What are we doing?
274 Rachel
OK. Top Trumps.
275 Tim
Top Trumps.
276 Rachel
Pop stars.
Popsterren./
277 Tim
Pop stars?
- Popsterren?/
278 Rachel
Do you know how to play?
Weet je hoe dit spel gaat?/
279 Tim
Yeah I know how to play pop stars.
- Ja./
280 Tim
I don't talk about my love life for a very good reason and that reason is: I don't have one. Which is good news for the ladies, I suppose. I am still available. I'm a heck of a catch. 'Cause I - Well let's look at it, I live in Slough, in a lovely house with my parents. I have my own room, which I've had since... Yeah, since I was born. That's seen a lot of action, I'll tell you. Mainly dusting. But eh, I went to university for a year as well before I dropped out, so I'm a quitter. So, yeah, form an orderly queue, ladies.
Ik praat niet over m'n liefdesleven/omdat dat niet bestaat./Dat is goed nieuws voor de dames./Ik ben nog beschikbaar./Ik ben een goede partij./Ik woon in Slough, in een mooi huis.../bij m'n ouders./Ik heb vanaf m'n geboorte/al m'n eigen kamer./Daar is al veel in gebeurd./Vooral afstoffen./Ik heb een jaar gestudeerd./Ik geef het snel op./Niet voordringen, dames./
281 Tim
Look at him though. Right. I've been on safari and I've never seen anything like that. That is preposterous. I've got 94. I have got 94! I do. Well, I've been known to do that.
Kijk hem./Ik ben op safari geweest,/maar zoiets heb ik nog nooit gezien./Ik heb 94./Echt waar./Dat doe ik wel vaker./
282 Rachel
Are you complaining?
Heb je klachten?/
283 Tim
No. I'm not complaining. Number of haircuts. Is that a valid thing? Are you getting mullered?
Aantal keren haren geknipt. Kan dat?/Ben je nog bij de les?/
284 Rachel
Not really.
Niet echt./
285 Tim
Right, you've spilt some on your ...
- Je hebt wat gemorst./
286 Rachel
Yeah, I know I have. Shall we carry on with the game please?
Zullen we doorspelen?/
287 Tim
I want to carry on. I wish you would. Can I have? Stop that.
- Ik wou dat je dat ook deed./Mag ik? Schei uit./
288 David
If anyone will pay me that for 15 minutes work, that is their prerogative. (MOBILE RINGS) Sorry. Chris Finch. (on the phone) Finchy! All right? Go on. What's the difference between a fox and a dog? About eight pints of lager! It's party time here, mate. You coming in? Why not?
Als iemand me dat wil betalen/voor een kwartier werk./Chris Finch./Finchy, hoe gaat het? Ja, vertel maar./Hoe maak je van een slang een poes?/Met acht glazen bier./Het is hier feest. Kom je ook?/Waarom niet?/
289 Finch
'Cause I'm already here, you fat twat!
- Omdat ik er al ben, vetzak./
290 David
Finchy, Chris Finch. Here he is. Neil, my very good friend, Chris Finch.
Neil, m'n goede vriend, Chris Finch./
291 Neil
I know Chris. Nicks all my jokes.
- Ik ken hem. Hij jat m'n moppen./
Top Trump.
243 292 Finch
I do not nick them, I borrow them. Has that Lisa moved up here?
Niet waar. Ik leen ze. Is Lisa er?/
293 Neil
No. She left. She's looking for a job.
Nee, ze zoekt werk./
294 Finch
Well, if it's a blow job, I can help her.
Als ze kan pijpen, help ik haar wel./
295 Neil
She's not that desperate for money.
- Zo wanhopig is ze niet./
296 Finch
Tell her I'll take her up the dole office!
Ik help haar met de steun./
297 Neil
Dole orifice!
- Haar gat vullen./
298 David
Rubbish.
Kul./
299 Finch
I've got a vacancy she can fill!
- Ik heb wel een klusje voor haar./
300 David
That's better. His work. Don't try and--
Dat klinkt beter. Probeer niet.../
301 Oliver
What are you like?
Jij gaat lekker./
302 Trudy
Another one. Once a year, kid. Once a year. Cheers, cheers, cheers to me.
- En nog één./Eens per jaar. Gezondheid./
303 Gareth
If you like Top Trumps, you should come to me. I've got about five different sets. Don't try to beat me at Monster Trucks though 'cause you won't. It's my speciality.
Voor Top Trumps moet je bij mij zijn./Ik heb vijf sets./Maar met Monster Trucks/ben ik niet te verslaan./
304 Rachel
It's a game of chance, though, innit?
Het is een geluksspel./
305 Gareth
It's not. I'd know which cards you'd got immediately just through by which cards I'd got. I used to play it, like just by myself with a dummy hand, testing out every different scenario which cards beat which other cards, for hours sometimes. Three or four hours at a time, but put in the work, the rewards are obvious. So I know exactly which cards you've got in your hand from what cards I've got, and I would know probability-wise exactly what feature to pick on my card to defeat statistically any card that you could have in your hand at that precise moment. You will never win. It could still be fun, though.
- Helemaal niet./Aan m'n eigen hand zie ik/welke kaarten je hebt./Ik speelde vroeger tegen mezelf.../om achter de winnende combinaties/te komen, urenlang./Drie uur achter elkaar,/maar het werpt vruchten af./Ik weet welke kaarten je hebt/op basis van m'n eigen hand./Ik kan dus de juiste kaart kiezen.../om te winnen van welke kaart/dan ook die jij hebt./Je kunt niet van me winnen./Maar het blijft leuk./
306 David
Do you know what I'm getting - what they're paying me for this?
Enig idee wat het schuift?/
307 Keith
No.
- Nee./
308 David
Right. 15 minutes work, yeah? 300 quid.
Een kwartier werk, 300 pond./
309 Keith
£1,200 an hour.
1200 pond per uur./
310 David
You do the math.
- Goed zo./
311 Keith
Yeah. It'd be £1,200 an hour.
Ja, 1200 pond per uur./
312 David
That's the sort of--
313 Trudy
Can I have a birthday kiss please?
Krijg ik een verjaarszoen?/
314 Employee
You certainly can.
- Kom maar hier./
244 315 Finch
All right. No tongues.
Geen tong./
316 Trudy
Oh.
317 David
Oh That's good, isn't it? Didn't ask me out of respect. Knows I'd say no. That's good. Didn't cross a boundary and that's- Good girl.
Ze respecteert me omdat ze weet/dat ik nee zou zeggen./Ze kent haar plaats./
318 Oliver
Go on.
Ga door.
319 Finch
That's a good idea. I always do it from behind if I don't like their face.
Ik doe het van achteren/als ze een rotkop hebben./
320 Trudy
Cheeky bastard! You like my face, don't you love?
Bal gehakt. Wat vind je van me?/
321 Oliver
I love your face. I think you're beautiful.
- Ik vind je prachtig, een schoonheid./
322 Trudy
You can still do me from behind.
Je mag best van achteren./
323 Oliver
Ooh! I'll do it then.
324 Gareth
I'll do you from behind if you want, if it's a quick in and out, no strings attached.
Ik neem je wel van achteren,/een vluggertje, zonder verder gedoe./
325 Trudy
That's really sweet. Why don't you put that in an email to me?
Wat lief van je./Stuur me maar een e-mail./
326 Gareth
All right.
327 Trudy
One kiss, two kiss, three kiss, four - Five kiss, seven kiss, eight kiss, more.
Eén kus, twee kussen, drie, vier,/vijf, zes, zeven, acht, veel./
328 David
Birthday girl.
Hallo, jarige./
329 Trudy
Hello.
330 David
Hello. You all right?
Hoe voel je je?/
331 Trudy
Mmm. Great.
- Geweldig./
332 David
I'm just going to have a quick word. I know it's your birthday and you're flirting with everyone. You're mucking around. You know, I know you wouldn't take it further--
Even iets onder ons./Ik weet dat je jarig bent/en zie je met iedereen flirten./Je gaat natuurlijk niet te ver./
333 Trudy
I would!
- Ik wel./
334 David
Why not? It's all equal.
Waarom ook niet? Gelijke monniken.../
335 Trudy
I'm just having a laugh.
- Ik amuseer me kostelijk./
336 David
I know you are. I don't know what you're after.
Wat zoek je eigenlijk?/
337 Trudy
A man! Hung like a shire horse!
- Een man, geschapen als een paard.
338 David
Ooh big! Aren't they big magnificent animals? You say what you mean, don't you?
Dat zijn enorme, prachtige dieren./Je zegt wat er in je opkomt, nietwaar?/
339 Trudy
Mmm.
340 David
I'm just not sure you're going to find what you're after in here.
Ik denk niet dat je hier vindt/wat je zoekt./
341 Trudy
Well... I'd ask you, but you're a bit old.
Jij bent wat te oud voor me./
245 342 David
In my 30s, give me a break.
- In de 30./
343 Trudy
Born in the '30s!
Uit de jaren '30./
344 David
I'm 30 something. I'm 30s.
30 en nog wat. Ik ben een dertiger./
345 Trudy
But you've let yourself go a bit, didn't you?
- Je zorgt slecht voor jezelf./
346 David
I've let myself go a bit? Look at yourself? You're an embarrassment, love, to be honest.
Kijk naar jezelf./Daar zit ook van alles te veel aan./
347 Tim
Bull rags?
Stierenballen?/
348 Employee
What?
- Wat?/
349 Tim
No, I thought you said bull rags.
Je zei toch stierenballen?/
350 Employee
No. Raw eggs. If you keep eating raw eggs, it makes you randy, but at the same time it allows you to do as many reps as you want.
- Nee, rauwe eieren./Van rauwe eieren word je geil./Je kunt het zo vaak als je wilt./
351 David
So, how's the old car business?
Hoe gaat het met de oldtimers?/
352 Gareth
All right.
- Best./
353 Neil
Who's this?
Wie zijn dit?/
354 Finch
The Corrs, innit?
- The Corrs./
355 Neil
Yeah, they're all right. They've done some good tunes.
Mooie liedjes./
356 David
Didn't write that one, though.
- Dit hebben ze niet geschreven./
357 Neil
No?
358 David
No.
359 Neil
Who's that then?
Wie dan wel?/
360 David
Don't you know?
- Weet je dat niet?/
361 Neil
No.
362 David
Not into pop music, I suppose?
Heb je niks met popmuziek?/
363 Neil
I prefer R&B really. So who wrote that?
Nee, r&b. Van wie is dat dan?/
364 David
Fleetwood Mac and I prefer their version as well.
- Fleetwood Mac. Die zijn ook beter./
365 Neil
I know who I'd rather wake up with!
Ik weet met wie ik wakker wil worden./
366 David
Oh, sexist Neil.
- Seksist./
367 Finch
They can play my instrument any day!
Ze mogen m'n instrument bespelen./
368 David
Boardy. I don't think you could pull women like Corrs with that sort of attitude Chris.
- Daar krijg je de Corrs niet voor./
369 Finch
Yeah, 'cause you'd know!
Daar weet jij alles van./
246 370 David
Why, I don't know why you're laughing? 'Cause I'm a dark horse, so you don't--
- Lach maar. Ik ben de lachende derde./
371 Finch
Yeah, like you could get anyone like the Corrs!
Jij krijgt niemand als de Corrs./
372 David
Just 'cause I don't kiss and tell, doesn't mean I don't--
- Ik klap alleen niet uit de school./
373 Finch
You don't normally kiss, there's nothing to tell.
Er is niks om voor te klappen./
374 David
No no.
375 Neil
He'd end up with the brother!
- Nee, de broer blijft voor hem over./
376 David
No. No, I wouldn't I'd push the brother out of the room, I'd get the other three and bend them all over, do the drummer, the lead singer, and that one who plays violin. See? Your fault. Putting filth in people's minds.
Die duw ik de kamer uit/en ik laat de rest voorover bukken./Ik pak de drummer, de zangeres/en die violiste./Jij indoctrineert ons/met je gore verhalen./
377 Trudy
My knees hurt.
M'n knieën doen pijn./
378 Finch
Nearly done.
- Ik ben zo klaar./
247
Appendix 2.10: Transcription Motivation (2.4)
No. Speaker
Dialogue
Dutch subtitle
1
Dawn
2
Employee No problem. No problem. Um... half an hour?
Geen probleem. Een half uur?/
3
David
Another day, another dollar. Any mail?
Een nieuwe dag, een nieuw geluid./Is er post?/
4
Dawn
That's your... That's an earring.
Hier. Hé, een oorbel./
5
David
Whatever. Get over it.
- Nou en? Niets bijzonders./
6
Dawn
How long have you had that?
Hoe lang heb je die al?/
7
David
Too long, baby.
- Te lang./
8
Dawn
It's bleeding.
Je bloedt./
Sorry.
9
David
Really stings.
- Het doet pijn./
10
Dawn
Blimey. Is it an old one that you had to--?
Is het gaatje al oud?/
11
David
Yeah. I had to push really hard.
- Ja, ik moest hard duwen./
12
Dawn
They heal over.
Ze gaan weer dicht./
13
David
It had healed over. So I was just like, I opened a... sore. You know those - What are you looking at?
- Het was dicht, daarom bloedt het nu./Waar kijk je naar?/
14
Dawn
I'm not looking at anything.
- Nergens naar./
15
David
You know those people who came in? Ray and Jude that I had the meeting with?
Weet je nog dat ik Ray en Jude/heb gesproken?/
16
Dawn
I know.
17
David
Yeah they do, well you know they do sort of training seminars and use expert speakers, don't they. They're using me for my, you know...
Ze organiseren trainingsseminars/met deskundigen als sprekers./Ze maken gebruik van mij vanwege.../
18
Dawn
Expertise?
- Je deskundigheid./
19
David
The good news for you, young lady, is you're involved.
Je boft. Jij kunt ook meehelpen./
20
Dawn
Me? How?
21
David
I'm doing one tonight. I'm getting quite a bit of money for it. About £300. So I'll need someone just to carry my bag or something and organise--
Vanavond heb ik een seminar./Ik krijg er nota bene 300 pond voor./Ik heb iemand nodig die m'n tas/draagt en de boel regelt./
22
Dawn
I'm not --
Ik weet niet.../
23
David
£100 for an hour's work tonight.
- 100 pond voor een uurtje./
24
Dawn
£100 for an hour? That is a lot.
100 voor een uur? Dat is veel./
248 25
David
80.
- 80./
26
Dawn
You just said 100.
Je zei 100./
27
David
90.
- 90./
28
Dawn
You just said 100.
Je zei 100./
29
David
All right. Get there early, then. Sharing the wealth, see? Looking after - That is silly money. 100 for that, I should have -
- Goed. Je moet wel vroeg komen./Ik laat je in m'n rijkdom delen./Het is belachelijk veel, 100 pond./
30
David
Very exciting. It's what I've, you know, always wanted to do. And it's that work - I've had these cards made up. "David Brent. Assertiveness and guidance training in business. If it's in you, I'll find it." Look at that. 'Cause that's actually what I do. I go along and I just point out what you've already got. I'm like a spiritual guide. The reason I put "lf it's in you, I'll find it" is if I waste good time and money looking for it and I can see it's definitely not in you, I don't want to be sued because you haven't got it. So... You know... You're not going to get me on that.
Erg spannend./Eigenlijk wilde ik dit altijd al./Ik heb nu een visitekaartje./'David Brent,/assertiviteitstraining in bedrijven./Als het in je zit, vind ik het.'/Dat is precies wat ik doe./Ik vertel je wat je al hebt./Ik ben een spirituele gids./Er staat 'als', want stel dat ik/moeite doe om het te vinden.../en zie dat je het niet hebt,/dan wil ik geen klachten krijgen./Daar kun je me niet op pakken./
31
Gareth
What's going on here?
Wat doen jullie daar?/
32
Tim
What does it look like?
- Dat lijkt me duidelijk./
33
Gareth
How long has this been going on? When were you going to tell me?
Wanneer was je van plan/het me te zeggen?/
34
Tim
Huh?
35
Rachel
Get out of here.
36
Gareth
I can't believe you'd get off with a bird that I fancy.
Ik snap het niet./Een meid op wie ik val./
37
Tim
Why can't you believe that Gareth?
Waarom niet?/
38
Gareth
I can't believe there's a bird that fancies you over me for a start. He's a weird little bloke. Look at his cartoon face and his hair. He looks like a Fisher Price man. His rubbish clothes. It makes me think there's something wrong with you for a start, but yeah, in my head I'd still do you, so I'm confused. All right, I'll ask you straight. Is there anything that could happen between us two while this is going on?
Ik snap niet dat ze op jou valt./Hij is een raar ventje./Dat kapsel, net een Fisher Price-/poppetje. Die stomme kleren./Er zit bij jou 'n steekje los. Maar ik wil je/evengoed wel pakken, heel verwarrend./Kan er tussen ons iets gebeuren/terwijl dit aan de gang is?/
39
Rachel
Like what?
Zoals?/
40
Gareth
What? Specifically?
- Specifiek?/
41
Rachel
Yeah.
42
Gareth
Hand job? Don't answer. Think about it.
Aftrekken? Zeg niets, denk erover na./
43
Tim
Do I look like a Fisher Price man?
Zie ik eruit/als een Fisher Price-poppetje?/
44
Rachel
Yeah!
45
Tim
Do I? Don't say yeah.
46
Tim
Hi, Dawn.
Zeg nou niet ja./
249 47
Dawn
Hi. Your favourite computer geek is here.
Je favoriete computerfreak is er./
48
Tim
Jesus! All right, Simon? How's it going? What are you doing with my computer?
Hallo, Simon. Hoe gaat het?/Wat doe je met m'n computer?/
49
Simon
It's not your computer, is it? It's Wernham-Hogg's.
Hij is niet van jou,/maar van Wernham-Hogg./
50
Tim
All right. What are you doing with Wernham-Hogg's computer?
Wat doe je met de computer/van Wernham-Hogg?/
51
Simon
You don't need to know.
Dat hoef je niet te weten./
52
Tim
No I don't need to know, but could you tell me anyway?
- Zeg het toch maar./
53
Simon
I'm installing a firewall.
Ik installeer een firewall./
54
Tim
OK. What's that?
- Wat is dat?/
55
Simon
Protects your computer against script kiddies, data collectors, viruses, worms and Trojan horses and it limits your outbound Internet communications. Any more questions?
Beveiliging tegen virussen,/wormen en Trojaanse paarden./Beperking van internetgebruik./
56
Tim
Yes. How long will it take?
Hoe lang duurt dat?/
57
Simon
Why? Do you want to do it yourself?
- Hoezo?/
58
Tim
No I can't do it myself. How long will it take you, out of interest.
Uit belangstelling./
59
Simon
It will take as long as it takes.
- Het duurt zolang als het duurt./
60
Tim
Right. How long did it take last time you did this?
Hoe lang duurde het vorige keer?/
61
Simon
It's done.
- Het is klaar./
62
Tim
All right. Thank you.
63
Simon
Now I'm going to switch it off. When it comes back on it'll ask you to hit yes, no or cancel. Hit cancel. Do not hit yes or no.
64
Tim
Right.
65
Simon
Did you hear what I said?
66
Tim
Yup.
67
Simon
What did I say?
Wat zei ik?/
68
Tim
Hit cancel.
- Klik op Annuleren./
69
Simon
Good.
70
Tim
Thanks.
Straks vraagt hij om op Ja,/Nee of Annuleren te klikken./Klik op Annuleren. Niet op Ja of Nee./
Heb je gehoord wat ik zei?/
250
71
David
Um... I'm an educator. I'm a motivator of people. I excite their imaginations. It's like bloody "Dead Poet's Society" sometimes out there. You know, in the end when they all stand on the tables - I wouldn't want them on the tables literally - it's against Health and Safety for one thing but my point is this. Life is about communication. We live for threescore year and ten and it's "Did I communicate?" "Yes. You did." "Did I get something across?" "Yes. You did." "Are you going to pay me for it?" "Yes. Lots." Thanks very much. Not why I do it, but thank you.
72
Gareth
Going to go karting this weekend again with the lads.
We gaan dit weekend karten./
73
Simon
What, down Super Karts?
- Bij Super Karts?/
74
Gareth
Mm.
Ja./
75
Simon
You any good?
- Kun je het een beetje?/
76
Gareth
Came first last time I went. 8 min 31, got a certificate.
Laatst kwam ik als eerste binnen./Ik heb een oorkonde./
77
Simon
Yeah, well I went down there the first they opened, right? I did a couple of laps, pulled over. The bloke that runs the thing came over and said, "Oi, no professionals." I took my helmet off and said, "I'm not a professional." He said, "You're not a professional?" I said "No" "Well, you should be. If I was you, I'd take up Formula One. And if you drive like that, you'll probably be the best in the country." I said, "I'm not interested. I'm making shitloads out of computers."
Ik ben er geweest toen hij net/open was. Na een paar rondjes.../zei de eigenaar: We willen hier/geen profs. Ik zei: Dat ben ik niet./Hij zei: O nee?/Dan moet je het worden./Ga Formule 1 rijden./Je wordt nationaal kampioen./Ik zei: Nee, dank je. Ik verdien/genoeg met computers./
78
Gareth
You ever tried speedway?
Heb je ooit speedway gereden?/
79
Simon
Have you?
- Jij?/
80
Gareth
Yeah.
81
Simon
Right, well I was doing it once, and I was bombing it round and some idiot had left like a ramp thing out.
82
Tim
Litterbugs.
83
Simon
I could see the people going, "Oh my god. If that guy hits that ramp going at that speed, he's definitely dead." I hit the ramp, I took off in the air, I turned over in the air. They were going, "He's definitely dead now." I landed on my wheels and pulled over and said "What are you worried about?"
84
Neil
About five?
85
Dawn
Five.
Om een uur of vijf./
86
Neil
Who's this chat with?
Een praatje met wie?/
87
David
What's this then? Mothers' meeting?
- Theekransje?/
88
Neil
Dawn tells me she's shutting down reception at five.
Dawn zegt dat ze om 5 uur weggaat./
89
David
Well, just half an hour early today.
- Een half uurtje eerder./
Ik breng mensen iets bij./Ik motiveer mensen./Ik prikkel hun fantasie./Net als in Dead Poet's Society/als ze op de tafels staan./Ik wil niet dat ze op tafel staan./Dat mag officieel niet./Alles draait om communicatie./Aan het eind van je leven.../vraag je je af of je een boodschap/hebt weten over te brengen./Ik word ervoor betaald. Dat is/niet de reden voor mij, maar toch./
Ik was een keer aan het rondrazen./Er stond een schans op de baan./
Iedereen dacht, als hij daarop/klapt, vertelt hij het niet na./Ik kwam erop en ging in de lucht over/de kop. Nu is hij dood, dachten ze./Ik landde gewoon op m'n wielen./
251 90
Neil
Do you think you can run OK without her?
Kunnen ze wel zonder haar?/
91
David
Yeah. They can answer their own phones. They're doing their own post tonight.
- Ze nemen zelf de telefoon wel op./
92
Neil
That's good so we can probably lose her altogether, can we?
Dan kunnen we haar wel ontslaan./
93
David
What do you mean?
- Hoezo?/
94
Neil
Well, if we don't need a receptionist, we might as well let her go. Either she's needed or she's not.
Is ze hier nou nodig of niet?/
95
David
We do need a receptionist.
- Wel als receptioniste./
96
Neil
My point is David, you haven't put a system in place. For your own needs you've told Dawn to shut down reception at five. You haven't told these people they can pick up the phone if it rings. Does Dawn know that they can do their own post?
Je hebt niets geregeld./Je hebt de mensen niet gezegd dat/ze de telefoon moeten aannemen./Weet Dawn van de post?/
97
David
Dawn, they can do their own post tonight.
- Ze moeten zelf de post doen./
98
Neil
It's no use telling her now. There's no system in place. You're not thinking things through. I'm tired of this fuzzy thinking David.
Nu ben je te laat./Je hebt er geen systeem voor./Je bent rommelig bezig./
99
David
All right, chill out. Don't have a cow, mate.
- Relax. Maak er niet zo'n drama van./
100 Neil
Don't talk to me like you've forgotten who's in charge. Let me remind you. I'm your boss. OK?
Sla niet zo'n toon aan./Je hebt het tegen je baas./
101 David
Yeah.
Oké./
102 Neil
Just try and think things through.
- Denk voortaan beter na./
103 David
That was your fault. I took the rap for you, didn't I?
Het was jouw schuld/en ik ben ervoor opgedraaid./
104 Simon
Once right, when Bruce Lee was filming, one of the extras just came over and just started a fight.
Bruce Lee werd een keer/aangevallen door een figurant./
105 Gareth
Yeah I know this. He was amazing at Kung Fu but Bruce Lee did a roundhouse on him.
Die was goed in kungfu, maar/Lee kwam met een swing./
106 Simon
Well, no. He smashed him through a wall. Instead of firing him, he said, "Go back to what you were, let's get on with the filming."
Nee, hij ramde hem door een muur./De figurant werd niet eens ontslagen./
107 Tim
Man, those cats was fast as lightning.
Ze waren bliksemsnel./
108 Gareth
You know when he fights Chuck Norris in "Enter The Dragon"?
Lee tegen Chuck Norris in Enter/the Dragon, heb je dat gezien?/
109 Simon
No.
Nee./
110 Gareth
You've not seen that?
111 Simon
No.
112 Gareth
Have you not? I can't - That is a classic.
113 Simon
No, I've not seen him fight Chuck Norris in "Enter the Dragon', I've seen him fight Chuck Norris Ik heb hem met Chuck Norris zien/vechten in Way of the Dragon./ in "Way Of The Dragon."
- Nee? Die film is klassiek./
252 114 Gareth
That's what I meant.
Die bedoelde ik./
115 Simon
Is it? Why did you say you saw him fight Chuck Norris in "Enter The Dragon". He fights Bob Wall in both, but Norris is only in "Way Of The Dragon."
Je zei dat Norris/in Enter the Dragon zat./Bob Wall zit in beide,/Norris alleen in Way of the Dragon./
116 Gareth
Yeah I know. So when he's fighting Chuck Norris in--
Als hij met Norris vecht.../
117 Simon
In what?
- Waarin?/
118 Gareth
In "Way Of The Dragon."
In Way of the Dragon./
119 Simon
Correct. At last.
- Juist. Hè, hè./
120 Gareth
Um ...
121 Simon
You know Bruce Lee's not really dead, don't you? Yeah, it's in a book. What he did was he faked his own death so he could work undercover for the Hong Kong police - infiltrating drugs gangs and the Triads.
Weet je dat Bruce Lee niet dood is?/Hij deed alsof, om undercoveragent/in Hongkong te kunnen worden.../en in triades te infiltreren./
122 Gareth
I reckon that's true.
- Dat kan./
123 Tim
Yeah, I reckon that's true because if you were sending someone undercover to investigate the Triads, you'd probably want the world's most famous Chinese film star!
Want als je er iemand/undercover heen wilt sturen.../neem je een wereldberoemde/Chinese filmster./
124 Simon
Gone off Dawn now, have you?
Hoef je Dawn ineens niet meer?/
125 Rachel
What?
Wat?/
126 Tim
What? What are you talking about? Just shut up. Shut up.
- Waar heb je het over?/Hou toch je mond./
127 Employee Do a credit check. 'Cause we haven't worked with them for ages.
Kijk maar eerst of ze/kredietwaardig zijn./
128 Lee
I said we'd go round about four o'clock, is that all right?
Ik heb gezegd dat we/om vier uur weggaan./
129 Dawn
Yeah.
130 Lee
Oi, Tim.
131 Tim
Mm?
132 Lee
You shagged her yet or what?
133 Tim
What?
134 Lee
Your bird, what's her name?
Met je meid./
135 Dawn
Rachel?
- Rachel./
136 Lee
Yeah Rachel. Have you done her yet or what?
Heb je het al gedaan?/
137 Dawn
Course he hasn't.
- Vast niet./
138 Tim
I don't kiss and tell, Lee.
Daar zeg ik niks over, Lee./
139 Lee
I bet you bloody have, haven't ye?
Ik wil wedden van wel./
Heb je al een wip gemaakt?/
253 140 Tim
Lips are sealed. Don't ask me.
Ik hou m'n mond erover./Vraag me maar niks./
141 Lee
He's done well there.
Hij heeft het goed voor elkaar./
142 Dawn
What do you mean "done well"?
- Hoezo?/
143 Lee
She's tasty. She's nice.
Het is een lekkere meid. Aardig./
144 Dawn
You don't even know her.
Je kent haar niet./
145 Lee
No, I mean she's very attractive.
- Ze is aantrekkelijk./
146 Dawn
She's not very attractive.
Ze is niet aantrekkelijk./
147 David
I think - Ray will introduce me and I'll come out and do a bit of - a few gags, then I'll go, "Right. You have to be thickskinned in business. It doesn't matter if you're the teaboy or the general manager, people will try and rock your confidence and shake your spirit. Do not listen to them. Yeah? Let's try a little exercise." Then I just go into the audience and I'll pick on someone at random. I'll just go "You sir. What's your name?" Say your name.
Ray introduceert me, ik kom naar/voren en maak een paar grappen./Dan zeg ik: Je moet/een dikke huid hebben./Of je nu de thee rondbrengt of baas bent,/ze beuken op je in./Negeer dat. We doen een oefening./Dan kies ik iemand uit en vraag:/Hoe heet je?/Zeg je naam./
148 Gareth
Leroy.
- Leroy./
149 David
Where's Leroy come from?
Wie is Leroy?/
150 Gareth
The coloured fellow off of "Fame".
- Die kleurling in Fame./
151 David
Well, use your own name.
Zeg je eigen naam./
152 Gareth
Gareth.
- Gareth./
153 David
"Hi, Gareth. Gareth, insult me, yeah. Let me show you that sticks and stones may break my bones "but names will never hurt me." Just throw some insults at me and just, you know, I'll show you how to roll with the punches.
Gareth, beledig me maar. Je kunt/me fysiek in elkaar trappen.../maar schelden doet geen pijn./Zeg iets beledigends,/dan pareer ik het./
154 Gareth
The Swindon lot don't seem to respect you.
De lui uit Swindon respecteren je niet./
155 David
Why would they say that? They don't know me, they're not going to know - And it's not true. Do Ze kennen me niet. Het is niet waar./Verzin iets anders./ something else.
156 Gareth
A lot of people are laughing at the heels on your shoes.
Ze lachen je uit om je hakken./
157 David
I'm not going to be wearing the shoes, am I!
- Die schoenen trek ik niet aan./
158 Gareth
Are you going to be wearing the earring?
En je oorbel?/
159 David
What? They're having a go at that as well, are they?
- Lachen ze daarom? Wat nog meer?/
160 Gareth
Some of them are.
161 David
What else?
162 Gareth
They've given you a nickname.
Je hebt een bijnaam./
163 David
What, the Swindon lot?
- Van de lui uit Swindon?/
254 164 Gareth
Yeah but everyone's using it.
Iedereen zegt 't./
165 David
What is it?
- Wat is die dan?/
166 Gareth
Well, I don't really--
Ik denk niet.../
167 David
No come on, what is it?
- Vooruit./
168 Gareth
Bluto.
Brutus./
169 David
The villain from Popeye? 'Cause of the beard?
- De boef in Popeye?/Vanwege m'n baard?/
170 Gareth
Because he's--
- Omdat.../
171 David
What's that? That's - I can't believe this.
Allemachtig. Niet te geloven./
172 Gareth
Don't go - They'll know it was me that told you! David!
- Straks worden ze kwaad op mij./
173 David
Hello. Sorry, everybody. Look, we are one big happy family here. Yeah? Now, I've been trying to welcome you new guys. You know, I didn't want you here, but you're here now, so well done. Welcome. But if there's one thing I don't like, it's nicknames. Yeah? Because nicknames are bad names. Yeah? They're not helpful. Yeah? They can be very hurtful. Not to me- it's like water off a duck's back, but--
Luister even, allemaal./We zijn hier één grote,/gelukkige familie./Ik heb de nieuwe mensen/hartelijk ontvangen./Ik wilde jullie er niet bij, maar je bent/er nu. Goed gedaan, welkom./Als ik ergens een hekel aan heb,/zijn het bijnamen./Want bijnamen zijn slechte namen./Snap je? Je hebt er niets aan./Ze kunnen kwetsend zijn./Niet voor mij, ik kan ertegen./
174 Employee You used to call Malcolm "Kojak".
Je noemde Malcolm altijd Kojak./
175 David
That was affectionate. He was a great detective and a fine actor.
- Uit affectie./Ik waardeer die figuur./
176 Employee
Well, maybe "Mr Toad" is affectionate.
- 'Pad' kan ook affectief zijn./
177 David
Who's Mr Toad?
Wie is Pad?/
178 Gareth
Some people call you that as well.
- Zo word je ook genoemd./
179 David
I thought I was Bluto?
Ik was toch Brutus?/
180 Gareth
Yeah. Bluto and Mr Toad.
- Ja, Brutus en Pad./
181 David
Why am I Mr Toad? There's the face again. What - It's an insult, isn't it? Very - Body fascism that's what that is. The toad is the ugliest of all the amphibians. I've got - If we're handing out insults for being fat, let's have a go at him. Look at him. And he's got glasses. Let's call him FourEyes as well. Why don't we call him Fatty Fatty Toad Boy, if we're -? You know, at least start on him and then move on - Mr Toad! I can't --
Waarom ben ik Pad?/Het slaat weer op het uiterlijk./Het is een belediging./Het is fysiek fascisme./Padden zijn de lelijkste amfibieën./Gaan we dikke mensen uitschelden?/Neem hem dan./Hij draagt ook een bril./We noemen hem 'jampotglazen'./Waarom wordt hij niet Dikke Pad/genoemd? Begin met hem en daarna.../Pad. Krijg nou wat./
182 Neil
Everything adding up?
Klopt het nu?/
183 Oliver
Yeah, just about. It was a real mess beforehand.
- Ja, maar het was een puinhoop./
184 Neil
Was it?
185 Oliver
Oh yeah.
255 186 Neil
On top of it now?
Alles onder controle?/
187 Oliver
Yes.
188 Neil
How about you, Brenda?
Bij jou ook, Brenda?/
189 Brenda
All right, but I didn't get my wages through again.
- Ik heb geen loon ontvangen./
190 Neil
Did you not? Really? Did you tell David?
Heb je het tegen David gezegd?/
191 Brenda
Yes. I told him in time.
- Ik heb het tijdig gezegd./
192 Neil
I'm really sorry about that. Let me sort that out for you now.
Dat spijt me. Ik ga het uitzoeken./
193 Brenda
I don't want to cause--
Ik wil geen.../
194 Neil
Don't worry. It's fine. Working hard?
- Maak je geen zorgen./Hard aan het werk?/
195 David
Working out. Fit body. Fit mind.
- Met het lijf./Gezond lichaam, gezonde geest./
196 Neil
Good. Couple of things. Couple of things David. Did your wages go through OK this month?
- Even een paar dingen./Heb je deze maand salaris ontvangen?/
197 David
Yeah.
198 Neil
Yours, Gareth?
199 Gareth
Yup. Fine.
200 Neil
Good. So you two are OK. Phew. Why, then, has one of your team come to me saying they've not been paid this month?
201 David
Oh. Eh? No.
202 David
He fears my methods because he doesn't understand my methods. Human nature, the unknown sure but relax. You know, I don't want all this, "What are you doing? How are you doing it?" No. Judge me by my results.
Hij vreest m'n methodes omdat/hij ze niet snapt. Dat is menselijk./Maar ik wil dat gezeur niet:/Wat doe je? Hoe doe je dat?/Beoordeel me op resultaten./
203 Neil
This is not the first time you've forgotten something important. It's not the first time this week. It worries me when someone feels they have to go over your head and come to me.
Het is niet de eerste keer/dat je iets belangrijks vergeet./De mensen komen naar mij toe./
204 David
Snitches.
- Klikspanen./
205 Neil
Do you know I've never seen you write anything down. You've got two computers. I don't think you know what to use them for. You've got to have some sort of system.
Ik zie je nooit iets opschrijven./Gebruik je de computers?/Je hebt toch een systeem?/
206 David
It's all up there.
- Hier binnenin./
207 Neil
Yeah but it's not all up there, is it?
Daar zit het niet./
208 David
Most of it is.
- Het meeste wel./
209 Neil
Look David, I'll tell you now. When I was managing the Swindon branch, our perception of your branch was "They're having a laugh."
Toen ik chef was in Swindon,/dachten we dat jullie je kapot lachten./
En jij, Gareth?/
Mooi zo. Waarom heeft iemand van/je team deze maand niets ontvangen?/
256 210 David
Thanks very much.
Dank je./
211 Neil
No, not in a good way. Having a laugh, mucking around at the expense of Wernham-Hogg.
- Niet in positieve zin./Klungelen/ten koste van Wernham-Hogg./
212 David
Who's to say if they weren't mucking around, having a laugh, all the time, it would be much worse --
Als we niet hadden gelachen,/was het misschien.../
213 Neil
I'm not interested in that David. Look, I get the impression you'd rather be popular than steer the ship in the right direction.
Ik denk dat je liever populair wilt zijn/dan een juiste koers varen./
214 David
Rubbish. And I resent the accusation because this branch has performed very well. So...
Onzin. Ons filiaal heeft/uitstekende resultaten./
215 Neil
It performed OK. I want it to perform a lot better.
Ik wil betere resultaten./
216 David
There you go... What is "better?" 'Cause I could show you a graph of people versus task, and where does the line go?
Wat is beter? Gaat het dan/over mensen of over taakstelling?/
217 Neil
The line goes where I want it to go. Now, if you can't improve your margin and your volume sales - with or without making people laugh - if you can't do that, you and I will have to have a very serious chat.
Dat bepaal ik. Als de omzet niet stijgt,/met of zonder lachende mensen.../moeten jij en ik eens/heel serieus praten./
218 David
Is this why you're always around all the time? Keeping tabs on me 'cause I don't need a babysitter.
Ben je er daarom steeds?/Ik heb geen oppas nodig./
219 Neil
Well, with respect, David, I think you do. I'm aware of this management thing you're doing tonight and I'm worried it's going to affect your performance at work.
Sorry, volgens mij wel./Ik ben bang dat je seminar/je werk beïnvloedt./
220 David
It's extracurricular, you know, some people play golf.
Het is ontspanning, net als golfen./
221 Neil
Well, I play golf.
- Ik golf ook./
222 David
There you go. So...
223 Neil
Yes, but I'm performing as I want me to perform. You're not performing as I want you to perform.
Dat beïnvloedt m'n prestaties niet./Bij jou wel./
224 David
I'm performing as I want me to perform.
M'n prestaties zijn uitstekend./
225 Neil
I don't want you to perform like that.
226 David
It's a good performance. Let's agree to disagree.
We denken er verschillend over./
227 Neil
No. Let's agree that you agree with me.
Je moet denken zoals ik./
228 David
Ooh. You're hard. Showing off because --
Wat ben je hard./Je slooft je uit omdat.../
229 Neil
I think I've made my point, David. I'll see you later.
Het lijkt me duidelijk, David. Tot ziens./
230 David
What are you doing?
Wat doe je?/
231 Gareth
You looked a bit tense.
- Je bent gespannen./
232 David
I am with him--
Ja, als hij er is./
233 Gareth
Does that feel nice?
Is dat lekker?/
257 234 David
Yeah, but--
- Ja, maar.../
235 Gareth
Do some more work on your abs?
Nog wat buikspieroefeningen?/
236 David
Not now.
- Nu even niet./
237 Dawn
Is he ready yet?
Is hij klaar?/
238 Tim
Who?
- Wie?/
239 Dawn
David.
David./
240 Tim
I dunno.
- Ik weet het niet./
241 Dawn
So, what are you doing tonight?
Wat doe je vanavond?/
242 Tim
I think we're just going to go to the pub.
- We gaan naar de pub./
243 Dawn
"We" is?
Wie?/
244 Tim
Me and Rachel.
- Rachel en ik./
245 Dawn
Rachel. Excellent. Just a couple of pints.
Lekker, gewoon een paar biertjes./
246 Tim
Couple of pints. We won't go mad.
- Geen gekke dingen./
247 Dawn
Well, think of me, stuck with - Oh, you should come for a laugh.
Ik zit opgescheept met.../Ga mee, dan kun je lachen./
248 Tim
I think we'd better stay out of it.
Het lijkt me beter van niet./
249 Dawn
Definitely. Wise. All right, babes.
- Heel verstandig./
250 Tim
All right mate.
Oké, maatje./
251 Dawn
I'll see you--
252 Tim
Have a good night. See you later.
- Veel plezier./
253 David
See you later. Wish us luck on our date.
Tot ziens. We hebben een afspraakje./
254 Tim
Yeah, good night.
255 David
It's not a date, is it. She's got a boyfriend. And I'm paying her. What sort of date would that be? I think you know. And £100. What would I get for that? Not that I would 'cause I'm a good bloke. Everything, I imagine. I'm not imagining any of it, but I do know what sort of - I'm just OK then , there we go, I'll just carry that. That's what you're being paid for.
256 Tim
See you.
257 Ray
Tonight you've got two groups. They're both from Reading I think. The other three guys have all done it before, so... I'll introduce you when they get here.
Er zijn twee groepen vanavond,/allebei uit Reading./De drie andere sprekers hebben/dit al eerder gedaan./Ik zal je straks voorstellen./
258 David
I love being backstage.
- Fijn om achter het toneel te zijn./
259 Ray
Can we just take a photo? It's for the website and the newsletter, if that's OK?
Mag ik een foto maken voor de website/en de nieuwsbrief?/
Trouwens, ik betaal haar./Wat voor afspraakje is dat?/Wat zou ik voor 100 pond krijgen?/Ik stel me voor/dat je er alles voor krijgt./Ik stel het me niet voor,/maar ik weet dat het.../Draag jij dat maar./Daar word je voor betaald./
258 260 David
No problem. You got to take a light reading?
Dat is goed. Meet je het licht?/
261 Ray
I think it'll be OK. If you just--
- Dat is wel in orde./Ga maar gewoon.../
262 David
Yeah.
263 Ray
I mean, just be yourself.
264 David
Yeah.
265 Ray
A bit more relaxed.
Iets meer ontspannen./
266 David
Something like that?
Zoiets?/
267 Ray
Not quite.
Nou, nee./
268 David
OK. Just...
269 Ray
Maybe if you just sit down.
Ga maar gewoon zitten./
270 David
You're the boss.
- Jij mag het zeggen./
271 Mark
I'm looking forward to this. I think it'll be quite a good one.
Ik kijk ernaar uit. Het wordt/een goede presentatie./
272 David
Hi.
273 Mark
Hello, mate.
Hallo, jongen./
274 David
Are you guys talking at this gig as well?
- Houden jullie hier ook een praatje?/
275 Mark
Yeah. We're just having a sneaky joint.
Ja, we roken stiekem een joint./
276 David
Well, partially decriminalised now anyway, isn't it? At last. Go for it.
Het is niet meer in alle gevallen/strafbaar. Dat werd tijd./Ga gerust je gang./
277 Mark
OK.
278 David
Is it skunk?
Is het hasj?/
279 Mark
Just weed. You want a taste? You sure?
- Nee, wiet. Wil je een trekje?Zeker weten?/
280 David
Yeah. No. I'm on a diet. When I get wasted, I go to munchiecity, so, you know, I'm mad enough without the gear as well, so... I'll take a rain check. Catch you later.
- Ik zit op dieet./Als ik high ben,/krijg ik een vreetkick, dus.../Ik ben van mezelf al maf genoeg./Een andere keer graag./
281 Mark
Yeah.
Wees jezelf.
282 David
Chill.
283 Ray
Uhm, well, we've got four speakers for you tonight, so no messing about. To begin with, from Sound Investments, Mr Mark Found.
Er zijn vier sprekers vanavond,/we gaan meteen aan de slag./Allereerst van Sound Investments:/Mr Mark Found./
284 Mark
Let me dispel a myth. Just because you're a success in your life, some people will tell you you shouldn't be able to sleep at night. You should. Why? Because this is a business.
Ik ga een mythe ontzenuwen./Als u geslaagd bent, krijgt u/te horen dat u slecht kunt slapen./U moet wel goed slapen./Dat is onderdeel van uw taak./
285 Richard
Your future hasn't happened yet. You shape it. You're in the driving seat. Thanks.
Uw toekomst is nog niet gekomen./U maakt hem zelf. U bent de baas./Dank u./
259
286 Ray
Thanks to Richard Clark there from Stockport Graphics. Now some words of advice on motivational techniques. From Wernham-Hogg, Mr David Brent.
Bedankt, Richard Clark/van Stockport Graphics./Advies over motivatietechnieken:/Mr David Brent van Wernham-Hogg./
287 David
Get out. Go on. I've opened the door for you. Yeah? If you're not going to make it, go now. Yeah? Save us all a bit of time. Yeah? If you don't think you can cut it. No? Good.
Ga maar weg./Toe maar, ik heb de deur opengezet./Ga maar weg/als je toch geen succes wordt./Dat bespaart ons wat tijd/als je denkt dat het niet lukt./Nee? Mooi zo./
You finished in there?
Bent u hier klaar?/
No. OK. You're all looking at me and going, "Well, yeah, you're a success. You've achieved your goals. Yeah? You're reaping the rewards." Sure but "Oi, Brent! Is all you care about chasing the Yankee dollar?" Let me show you something that I always keep with me. Just a little book. "Collective Meditations." It's a, It's a collection of philosophers, writers, thinkers. Native American wisdom, which I - And it's really showing you that the spiritual side needs as much attention as the physical side. Yes. It's about feeding the soul, yeah? Evolving spirituality. In a foreword by Duncan Goodhew. So... Can I read one of which I think - ?
- Nee./Jullie denken: Jij bent een succes.../je doel is bereikt,/je strijkt de beloning op./Maar Brent, gaat het je/alleen om de dollars?/Kijk, dit heb ik altijd bij me./Collective Meditations, woorden/van filosofen, schrijvers, denkers.../en wijsheden van indianen./Daaruit blijkt duidelijk.../dat de geest evenveel aandacht/nodig heeft als het lichaam./Je moet de ziel voeden,/spiritualiteit ontwikkelen./Duncan Goodhew heeft/het voorwoord geschreven./Zal ik er een voorlezen?/
If all men were to bring their miseries together in one place, most would be glad to take each his own home again rather than take a portion out of the common stock. It's saying for the first time, you know, the grass isn't always greener on the other side. Don't look over your neighbour's fence and go, "Ooh, he's got a better car than me. Ooh, he's got a more attractive wife." We all wake up and go, "Oh, I ache. I'm not 18 anymore." You know, I'm 39, you know, I'm in my 30s. But so what? At least I've got my health. If you haven't got your health, if you've got one leg, at least you haven't got two legs missing. If you have lost both legs and both arms, just go, "At least I'm not dead!" I'd rather be dead in that situation, to be honest. I'm not saying people like that should be, you know, put down. I'm saying that in my life, I'd rather not live without arms and legs because I'm just getting into yoga, for one thing. In my opinion, so...
Als alle mensen hun ellende/op één hoop gooiden.../namen de meesten liever/hun eigen ellende weer mee.../dan een gedeelte/van de gezamenlijke hoop./Oftewel, het gras is aan de andere/kant echt niet altijd groener./Staar je niet blind op de snelle auto/of de mooie vrouw van de buurman./We klagen dat we pijn hebben/en geen 18 meer zijn./Ik ben 39. Ik ben in de 30./Nou en? Ik ben tenminste gezond./Als je maar één been hebt,/hoef je er geen twee te missen./Als je beide armen en benen kwijt/bent, wees dan blij dat je leeft./Eerlijk gezegd zou ik in dat geval/liever dood zijn./Ik zeg niet dat ze die mensen/een spuitje moeten geven./Ik zeg alleen dat ik liever niet/zonder armen en benen wil leven./Ik ben net met yoga begonnen./
290 David
Are you familiar with the term, "laughter is the best medicine"? Well it's true, yeah. When you laugh, your brain releases endorphins, yeah, your stress hormones are reduced and the oxygen supply to your blood is increased. So, you feel - I try to laugh several times a day just because it makes you feel good. So, let's... Let's try that. Whohoohoo. Just... Come on, trust me, you'll feel - Yeah? (laughing)
Heb je wel eens gehoord/dat lachen de beste medicijn is?/Het is echt zo./Als je lacht, scheiden je hersenen/endorfine af, je stress vermindert.../en er komt meer zuurstof in je bloed./Ik probeer geregeld te lachen,/want dan voel je je goed./Doe maar allemaal mee./Toe maar./Geloof me, je wordt totaal.../
291 Dawn
I'd be lying if I said my life had turned out exactly as I'd expected. My old school just recently had a school reunion, which I didn't go to, but one girl in my class, it turns out, right, that she is now running her own Internet auction website, making a fortune and is happily married to a marine biologist. She used to eat chalk.
M'n leven is niet helemaal zo/gelopen als ik verwacht had./Laatst was er een reünie van m'n/oude school. Ik ben niet geweest./Maar een meisje uit m'n klas.../heeft een eigen veilingwebsite,/verdient schatten.../en is getrouwd met een oceanoloog./Vroeger at ze krijt./
288
Cleaning lady
289 David
260
292 David
OK, well, that's about it from yours truly. Thanks for taking all I had to throw at you. I'm spent. I am now going to make like a banana and split! He got it. OK. Before I go, though, promise me you'll remember one thing. Yeah? Just remember... (You're the best by Tina Turner) Listen to her. Come on. Get into it. Yeah? I've been David Brent. You've been the best. Goodnight.
Dat was het. Fijn dat jullie alles over je/heen lieten komen. Ik ben bekaf./Nu ga ik voor de fruitmand. Ik peer 'm./Hij snapt het./Maar eerst moeten jullie me/beloven dat je één ding onthoudt./Denk eraan:/jij bent de beste/je bent beter dan de rest/beter dan iedereen/Luister naar haar./die ik ooit ontmoet heb/Vooruit, doe mee./Ik ben David Brent./Jullie zijn de besten. Tot ziens./
293 Jude
Er yes... Our thanks to David--
We willen David bedanken./
294 David
Who stopped it?
Wie heeft hem afgezet?/
295 Jude
I did.
- Ik./
296 David
No, don't stop it. Leave it going right to the end till I get - Don't do that again next time.
Laat hem tot het eind doorspelen./Volgende keer niet afzetten./
297 Jude
Sorry.
- Sorry./
298 David
OK. Yeah?
299 Jude
David Brent from Wernham-Hogg.
David Brent van Wernham-Hogg./
300 David
I'll let you into a little secret now, right? before I went out there, I was worried whether I still had it. I'll let you be the judge of that. High five. Do you know what I mean? Hanging, Dawn. Oh, jeez! Here he is. Tina a bit too much for you?
Ik ga een geheim verklappen./Ik wist niet of ik het nog wel kon./Zeg jij het maar. High five./Dank je, Dawn./Jemig. Daar is hij./Werd Tina je te veel?/
301 Ray
Possibly.
- Zou kunnen./
302 David
That's your job. Hold me back, because when I'm out there I am - And it's like - So that's up to you, I'm afraid. Oh gee. Tell you what, they seemed to go for it though.
Hou me tegen./Want als ik daar sta, ben ik.../Dan heb ik zoiets van.../Jij moet me in toom houden./Ze vonden het wel leuk, hè?/
303 Jude
Knock knock.
Klop, klop./
304 David
You all right?
- Alles in orde?/
305 Jude
Yeah. Well done.
Ja. Goed gedaan./
306 David
What did you think?
- Wat vond je ervan?/
307 Jude
My tastes are quite traditional--
Ik ben traditioneel ingesteld./
308 David
A bit too rock and roll for ye?
- Te popi?/
309 Jude
Possibly.
Misschien./
310 David
Each his own. Each his own. I'll better warn you now. That was me on a seven. So, wait till you see me on a nine or ten!
- Ieder z'n meug./Dit was stand zeven./Je moet me op negen of tien zien./
311 Ray
Here's your cheque.
Hier is je cheque./
312 David
Thanking you. Well, there you go. More importantly though, what pub we going to? More important than that, £300? I don't think so! Where we going?
- Dank je wel./Belangrijker is:/Naar welke pub gaan we?/Belangrijker dan 300 pond? Welnee./Waar gaan we heen?/
313 Ray
We can't. We're just going to grab some food and go home.
Een hapje eten en dan naar huis./
261
314 David
Pizza? Yeah? Never mind Pizza Express, what about beer express first? "Next stop, drunkenness!" Doesn't have to be. We can go anywhere you want. Chinese? Indian? As long as it's, you know - It's on me! Here we go, the Three Musketeers!
- Een pizza?/Vergeet de Pizza Express,/eerst de bier-expres./Volgende halte, lazarus./Zeg maar waar je heen wilt./Chinees, Indiaas?/In elk geval betaal ik./We zijn de drie musketiers./
315 Jude
Oh, I just remembered, I can't.
Ik bedenk ineens dat ik niet kan./
316 Ray
What do you mean?
317 Jude
I've just remembered, something I've got to do.
Ik moet nog iets doen./
318 David
Just us two, then. What sort of clubs are round here?
Wij tweeën dan./Zijn hier clubs in de buurt?/
319 Ray
I'm not going to a club.
Ik ga niet naar een club./
320 David
You bloody are!
- Reken maar van yes./
262
Appendix 3
2
3
4
TC
TC
TC
35
Good morning, good morning.
45
47
it doesn't matter, I'll hang the picture now. If the menus are late for lunch, it doesn't matter, the guests can all come look at the picture till they are ready, right? Thank you, dear. Thank you so much. I don't know where I'd be without you.
v
v
v
v
v
- Engels./
v
(not translated)
v
Maar goed, ik hang 't schilderij wel op./Als de menu's te laat klaar zijn,/kan men 't schilderij bekijken./
v
v
Dank je, schat./Waar zou ik zijn zonder jou?/Waarschijnlijk in 't land der levenden./
v
v
Meaning shift
Typographical means
diminutive
hyperbole
change of register
ironic repetition
phonological means
rhetorical question
kinesic markers
inapproproate element
context v
no The TT audience can possibly understand this without a subtitle.
v
v
exaggerated stress
intonation
Subtitle (TT)
diminutive
hyperbole
interjection
change of register
ironic repetition
phonological means
tag question
rhetorical question
intensifier
kinesic markers
English!
inapproproate element
Dialogue (ST)
24
context
Reference No.
TC
exaggerated stress
Episode
1
intonation
No.
Appendix 3.1: Ironic utterances in Fawlty Towers
v
v
v
no
v
no
263 In the land of the living, probably.
5
TC
51
6
TC
53
7
TC
56
8
TC
56
9
TC
58
10
TC
62
11
TC
71
I'm so sorry, it's not all done by magic.
I am doing the bill for these charming people who are in a hurry. I am so sorry I am not perfect! If there aren't any dustbins to be cleaned out. Goodbye. See you again! Drive carefully, dear. Uh, we're only staying till Sunday!
maar ik kan nou eenmaal niet toveren./
v
v
- De rekening voor die haastige lui./
v
v
Sorry, maar ik ben ook niet volmaakt./
v
v
v
v
v
v
v
v
v
v
v
Some irony is lost but some is transferred through intonation (exaggerate d stress) + Dutch audience will understand "I'm SO sorry" even without subtitle. TT is not really ironic, yet the exaggerated stress can still be heard. v
no
Tenzij er nog asbakken schoon moeten./
v
no
Dag, tot ziens./
v
v
Rij voorzichtig, schat./
v
We blijven maar tot zondag./
v
v
no
v
no
v
no
264
12
TC
72
Right, thank you.
13
TC
11 7
If you can.
14
TC
11 9
15
TC
14 4
16
TC
15 0
17
TC
15 2
18
TC
15 4
19
TC
16 1
20
TC
18 6
21
TC
19 7
Uh, Manuel, would you fetch this gentleman's case from the car outside? Brahms's Third racket! I'll have the gralefrit. Does it come with a smile? Oh, smile's extra, is it? Oh, good, how nice, how very thoughtful. Enough to keep me in waitressing. Oh no, we're not full, we're not full. Of course we're not full!
v
v
v
v
v
v
v v
v
The TT audience can understand this even without subtitle.
(not translated)
v
v
- Als dat lukt./
v
v
Wil je de koffer uit meneers auto halen/
v
v
Brahms' derde herrie./
v
v
v
v
v
v
v
Doe de greepfruit maar./
v v
no
v
no
v
no
v
v v
no
- Met 'n lach?/
v
no
- De lach is extra?/
v
no
v
v
- Da's aardig./
v
v
no
v
v
- Genoeg om dit werk te doen./
v
v
no
v
v
v
Natuurlijk zitten we niet vol, zool./Natuurlijk niet./
v
Irony is made explicit by 'zool' (= insult)
265
22
TC
20 3
23
TC
20 3
24
TC
22 6
25
TC
23 1
26
TC
23 8
When I asked you to build me a wall, I was rather hoping that instead of just dumping the bricks in a pile, you might have found time to cement them together, you know, one on top of the other, in the traditional fashion. Yes, I should have guessed, Mr.O'Reilly, that and the potato famine I suppose. Thank you, Basil, we've sorted it out. Yes, well, if you're too busy...
Thank you, thank you Manuel.
v
Even over die muur die u gebouwd heeft./U heeft de stenen opgestapeld.../...maar had u geen tijd om er heel/ouderwets wat cement tussen te doen?/
v
v
v
v
v
- Dank je, Basil. Het is wel goed./
v
v
v
Ik had 't kunnen weten./Overgewaaid uit Timboektoe./
v
v
v
v
v
- Als je zo druk bent.../
(not translated)
v
v
v
no
v
no
v
v
v
v
no
no Even though this is not subtitled, the TT audience will probably understand what is being said.
266
27
TC
28 1
28
TC
30 1
29
TC
32 2
30
TC
32 8 38 3
31
TC
32
TC
38 7
33
TC
41 5
34
35
TC
TC
Oh, I'm so happy! I'll never get it up. I'll cancel my holiday, do it then. Is there any part of the room you'd like us to keep away from? Anywhere?
v
v
v
v
v
v
v
v
v
Oh, how nice of him! Oh, yes, of course, it stands out a mile, doesn't it? He's so common. Oh, nothing, please forget all about it.
41 7
Ah, thank you so much.
42 1
Because we've just heard that the duke of Buckleigh is dead! Yes, got his head knocked off by a golf ball. Tragic!
v
v
v
v
v
Wat ben ik gelukkig./
v
v
v
no
v
v
v
Is er nog 'n tafeltje/waar we niet mogen zitten?/
v
v
v
v
no
v
- Overal?/
v
v
v
v
no
v
v
v
v
Ik annuleer m'n vakantie wel/om 't op te hangen./
v
v
v
Wat aardig./
v
v
no
Ja, dat is overduidelijk./Hij is ordinair./
v
v
no
v
no
- Niks. Laat maar zitten./
v
no
Even though this is not subtitled, the TT audience will probably understand what is being said.
(not translated)
v
We hoorden net dat/de hertog van Buckleigh dood is./Z'n hoofd is eraf geslagen/met 'n golfbal. Diep triest./
v
v
v
no
267 Tragic!
36
TC
42 1
37
TC
42 1
38
B
59
39
B
66
40
B
76
41
B
83
42
B
92
43
B
10 4
Ow are yer then? All right, mate? 'Ow's me old mucker? Any valuables to deposit, Sir Richard? Any bricks? Yes. Well, we're going together. Just a little breathing, surely. It's very good, you know. Old soup tins, broken down car, dustbins, mattresses, hoovers, and a nice smart collar and tie underneath. Well, what's the point in being alive? Good, you won't feel so tired, then, will you? A little more?
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
Heeft u nog kostbaarheden, Sir Richard?/Bakstenen of zo?/
v
Maar we gaan samen./
v
v
Alles kits, makker?/Hoe is 't met m'n ouwe rakker?/
v
v
v
no
v
Alleen wat ademhalen dus./
v
Heel goed. Soepkommen, autowrakken,/matrassen en een das eronder./
v
v
Wat heeft 't leven voor zin?/
v
v
no
v
v
- lets?/
no
no
v
no TT is not ironic
Dan is het goed./
v
no
v
v
v
no
268
44
B
10 8
Yes, I am, thank you, dear, yes.
45
B
11 2
46
B
11 4
47
B
13 0
48
B
18 2
49
B
18 3
50
B
22 0
How fabulous. Handbag, knuckle dusters, flick knife. Oh thank you, thank you Polly so much. Yes, I've always been a great admirer of loyalty. Yeah. With a bath, you dago twit. For room 16. You fell asleep, and it's not your fault?
51
B
22 8
Whose fault is it then, you clotheared bint, Dennis Compton's?
v
v
v
v
v
- Inderdaad, ja./
v
v
- Heerlijk./
v
v
no
v
Handtas, boksbeugel, stiletto.../
v
v
no
v
v
v
v
v
v
v
v
"Thank you dear" can probably be understood by the TT audience, even without subtitle
v
- Dank je. Heerlijk, die loyaliteit./
v
v
v
v
v
Ja, met bad, stomme sufferd./
v
v
v
Kamer zestien
v
v
v
Niet?/
Wiens schuld dan, stom wijf?/
v
v
no
no v
v
no
no ironic meaning is lost in TT because 'Dennis Compton' is not translated
269
52
B
23 2
53
B
24 6
Oh I see. It's my fault, is it? Oh of course. There I was thinking it was your fault because you'd been left in charge, or Manuel's fault for not waking you, and all the time, it was my fault. It so obvious now, I've seen the light. Well, I must be punished then, mustn't I? You're a naughty boy, Fawlty. Don't do it ag-See if the roof is still on.
v
v
v
v
v
v
v
Dus het is mijn schuld?/Ik dacht aan jou,/omdat jij de leiding had.../...of aan Manuel, die je niet wekte./Maar nee, het is mijn schuld./Nu snap ik 't./Tja, dan moet ik gestraft worden./Stoute jongen, Fawlty./
Ga jij kijken of 't dak er nog op zit./
v
v
v
v
v
v
v
no
no
270
54
B
25 0
55
B
26 0
56
B
26 4
Ah, hello, Mr. O'Reilly. How are you this morning? Oh, good. Good. No rare diseases or anything? I do beg your pardon. Basil Fawlty. You remember? The poor sod you do jobs for? How are things on your end? Good. Good, good, good. How would you like to hear about things my end? Up to your usual standard, I think I could say-- A few holes in the floor, the odd door missing, but nothing you can't be sued for. A well, let's see you, then. Where? Here? Or here? Or here?
v
v
v
Dag, Mr O'Reilly./Hoe maakt u 't vandaag?/Geen zeldzame ziektes of zo?/Met Basil Fawlty. Die arme sul/waar u wel 's een klusje voor doet./En met u?/Mooi./Mooi, mooi, mooi./Wilt u weten hoe 't hier gaat?/Ach, zoals gewoonlijk./Wat gaten, een ontbrekende deur,/maar niet genoeg voor 'n rechtszaak./
v
- Laat maar 's zien./
v
v
- Waar?/Hier, of hier, of hier?/
v
v
v
no
v
no
v
v
no
271
57
B
29 3
Not at all. I'll get a bit of peace.
v
v
v
v
58
B
29 9
Is there? Well, I'd like to meet him. I could do with a laugh.
59
B
38 7
Isn't it nice?
60
B
39 0
61
B
39 1
62
B
41 6
63
B
43 8
64
W P
17
65
W P
17
66
W P
23
On second thought, I think I'll leave him in charge. I'm sure he's cheap and he'll certainly be better at it than you are. Have a nice day, dear. Don't drive over any mines or anything. Everything all right dear? Then I think I might go to Canada. Please don't alarm yourself, it's only my wife laughing. I'm afraid her local finishing school was bombed. We're just out of it, I
v
v
v
v
v
v
v
v
v
Wie dan? Laat me 's lachen./
v
v
no
v
no
Ik geef hem de leiding./Hij is vast goedkoop/en zeker beter dan jij./
v
v
Prettige dag, schat./Rij niet op 'n landmijn./
v
v
Alles in orde, schat?/
v
v
no
no
v
En daarna ga ik maar naar Canada./
v
v
v
no
no
Schrik niet, dat is m'n vrouw maar./
v
v
v
Haar school werd gebombardeerd./
v
v
no
v
Die is net op, geloof ik./
v
no
v
v
v
v
v
Mooi hè?/
v
v
- Eindelijk rust./
Some ironic meaning is lost by not translating 'Not at all'.
v
v
v
no
272 think.
67
68 69
W P W P W P
35
I mean, how old is he? Two and a half?
v
v
v
38
Oh, will I?
v
v
v
43
Very funny!
70
W P
45
71
W P
47
72
W P
54
73
W P
58
74
W P
58
75
W P
60
76
W P
60
77
W P
64
v
Yes, thank you very much.
Good, good. We're all all right, then. Yes! A single for tonight, is it? Oh! You know each other, do you? Just passing through, are you? Oh, we've opened a library, have we? How nice. Please don't leave on my account, Mr. Turnip. I mean what sort of place do you think this is, a massage
v
v
v
v
v
v
v
v
no
- Is dat zo?/
v
v
v
no
Mooi, dan is alles goed/met ons allemaal./ v
v
v
Dus jullie kennen elkaar?/
v
v
v
v
v
v
v
- Hebben we nu 'n bibliotheek?/
v
U gaat toch niet weg vanwege mij,/Mr Turnip?/
v
- Dit is geen bordeel./
thank you very much' is not translated but can still be understood by the TT audience
v
Even op bezoek?/
v
no
v
Een eenpersoonskamer?/
v
v
v
- Prima
v
v
v
Hij is heel leuk./
v
v
v
v
Hoe oud is ie geworden?/Tweeëneenhalf? /
v
no
v
v
no
v
v
no
v
v
no
v
v
no
v
no
TT is not ironic
273 parlour?
78
W P
66
79
W P
68
80
W P
70
No no, obviously I said something frightfully comic. Well, so long as I amuse the staff. I mean, that's all I'm here for. One other thing, Polly. I'm afraid we've abandoned the idea of the topless afternoon teas, so if you wouldn't mind changing before going where people may be trying to eat.
v
v
v
v
v
v
W P
73
I'm on form tonight.
v
82
W P
75
I'll put them away when I've got some clothes
v
v
Als ik de staf maar vermaak.../
v
- We serveren niet meer topless./Verkleed je. De mensen proberen te eten./
v
81
Het was vast dolkomisch./
v
v
v
no
v
no
v
no
Irony is lost in translation by the translation of the positive 'on form' by the negative 'de klos'.
Ik ben de klos vanavond./
v
Ik ruim ze wel op,/als ik me aangekleed heb./
v
v
no
274 on.
83 84
W P W P
76 82
85
W P
13 0
86
W P
13 3
How sad, hmm yes. That's a nice suit. Excuse me. We'll have two singles then, if that's all right with the police? What a shame.
v v
v
v
Hemeltje, wat triest./
v
v
Mooi pak./
v
Twee eenpersoonskamers dan maar./Is dat wel legaal?/
v
v
Helaas./
v
v
v
v
v
v
v
v
87
W P
22 4
I wouldn't know about that.
v
v
(not translated)
88
W P
23 0
Ha. Ha. Ha.
v
v
(not translated)
v
v
no
v
no
v
v
no
no ST is not translated and it is possible that TT audience does not understand. However, TT audience does hear the intonation, which can indicate irony It is not translated probably because laughter is the same in every language. The audience hears it so the same irony markers apply.
275
89
W P
23 2
90
W P
25 2
91
W P
25 4
92
W P
26 0
93
W P
26 2
94
W P
31 4
W P W P
43 2 43 8
W P
46 0
95 96
97
Sorry.
Well, why is she telling you then? I'll go clean the roof or something. I'll go then, shall I? Good Evening, welcome to Basil Fawlty Knocking Shops Limited. No, I'm dying, but don't get out of bed. Will they fit you?
v
v
v
v
v v
v
(not translated)
v
v
v
- Waarom vertelt ze 't je dan?/
v
v
Ik ga 't dak schoonmaken of zo./
v
v
Zal ik?/
v
v
no no
v
no
v
v
v
'Dag, dit is Bordeel Fawlty'./
v
v
v
v
v
v
- Ik sterf, maar blijf maar liggen./
v
v
v
v
v
- Kunt u die dan aan?/
v
v
v
v
I'm so sorry. Oh no, I suppose it's all my fault, isn't it?
v
It is not translated probably because 'sorry' is the same in DU as it is in EN. The audience hears it so the same irony markers apply.
v
v
v
Sorry./
v
Het is zeker mijn fout./
v
v
v
v
no
no
no
v
no
v
no
276
98
W P
46 6
99
W P
46 8
100
W P
48 1
That's right, leave it to me, let me get you out of it. That's all I'm good for, isn't it? "Basil Fawlty, Limited, other people's messes cleared up by appointmen t to my wife, Sybil." Oh, brilliant! Brilliant. Is that what made Britain great? "I'm so sorry, I made a mistake." Couldn't do without her, Major.
v
v
v
v
v
v
v
v
v
- Ja, ik kan het weer opknappen./Daar ben ik goed voor. 'Basil Fawlty BV,/knapt andermans troep op'./
v
- Briljant./Is Engeland zo groot geworden?/Sorry, ik heb 'n fout gemaakt./
Ik zou niet zonder haar kunnen./
v
v
v
v
v
v
v
v
no
no
no
277
7
1.1
24 0
Sorry Malcolm Dawn wants to speak.
v
Meaning shift
typographocal
hyperbole
diminutive
change of register
ironic repetition
understatement
phonological means
rhetorical question
inapproproate element
v
kinesic markers
context
21 0
Een rustig avondje in de bieb./
exaggerated stress
1.1
v
intonation
6
v
Subtitle (TT)
18 3
Ben je ongesteld of zo?/
hyperbole
1.1
interjection
5
v
change of register
12 3
v
ironic repetition
1.1
v
understatement
4
phonological means
58
tag question
1.1
rhetorical question
3
v
intensifier
29
v
kinesic markers
1.1
inapproproate element
2
What is it, time of the month? That'd be a quiet night in at the library. Should be good. All right, OK. So you won't hear this. I hate the fact you bring me down to this. I really do. I really resent it. Why? Crushed by cardboard or what?
context
29
exaggerated stress
Reference No.
1.1
intonation
Episode
1
Dialogue (ST)
No.
Appendix 3.2: Ironic utterances in The Office
no
v
v
no
v
v
Fijn, zeg./
v
v
no
v
v
Dit hoor je dus ook niet:
v
v
no
v
v
v
v
v
v
v
Ik vind het erg dat jij me/hiertoe hebt aangezet./
Bang dat het karton je zal verpletteren?/
- Dawn wil wat zeggen./
v
v
v
v
v
v
v
no
no sorry Malcolm' is not translated but can perhaps still be understoo d by the TT audience
278
8
1.1
26 6
9
1.1
31 9
10
1.1
32 0
11
1.1
32 2
12
1.2
35
13
1.2
39
14
1.2
59
15
1.2
16
1.2
17
1.2
14 1 18 3 21 0
18
1.2
21 2
19
1.2
21 4
20
1.2
22 2
Yes. It is st-This is stupid. It's so... Sorry, mate, what do you want? (He walks away) What are they worth, about 12p? Oh, got your Bible on you, Ricky? Thou shalt not steal unless it's only 12p. Gareth, have you got a licence to carry that? Why, what are you going to do, phone me? You've got nice boobs.
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
v
Busy?
v v
Makes sense.
v
How is the "invetigation " going?
v
v v
v
v
v v
v
Ja, dat is het ook./Sorry, wat wil je weten?/
v
Wat zijn die waard, 14 cent?/
v
v
v
v
Heb jij een bijbel?/
v
v
v
Gij zult niet stelen,/tenzij het maar 14 cent is./
v
v
Heb je daar een vergunning voor?/
v
v
- En anders? Bel je me dan?/
v
v
Oh, don't know.
Do you need a deputy at all? Hmm. And what part are you?
v
v
v
v
no
v
no
no
v
v
v
v
no
no
no
Mooie tietjes./
v
Druk?/
v
- Weet ik niet./
v
no
Logisch./
v
no
Hoe verloopt het onderzoek?/
v
Some irony is lost through correctly spelling 'onderzoek '
Heb je nog een assistent nodig?/
v
no
En wat ben jij?/
v
v
no v
no
v
no
279
21
1.2
24 3
22
1.2
24 8
23
1.2
27 5
24
1.2
30 2
25
1.2
32 5
26
1.2
33 0
27
1.2
34 0
I'm sorry to interrupt, but do you think you can lose any more staff from down here? Oh, loyalty. When someone goes from this organization, they no longer exist. Yes. Christ, you're good. Surprise, surprise. It was Tim.
v
v
v
v
v
- Loyaal. Uit het oog, uit het hart./
v
v
no
v
no
v
v
Ja. Wat ben jij goed./
v
v
no
v
v
- Verrassing. Tim./
v
v
no
I don't know.
Colombo here figured it out, did he? Well yeah, gee sorry, I must be guilty if you've got your best man on the case! Well, I really wouldn't want to be here when you bawl out Finchy.
Sorry dat ik stoor, maar kun je/met minder mensen toe?/
v
v
v
v
v
(not translated)
v
v
The TT audience can probably understan d the ironic ST utterance
v
v
v
Columbo heeft het/uitgevogeld, hè?/Ik moet wel schuldig zijn/als je beste man erbovenop zit./
Ik ben weg als je Finchy eruit gooit./
v
v
v
v
no
TT is not ironic
280
28
1.2
34 7
29
1.2
34 7
30
1.2
35 2
31
1.3
1
32
1.3
4
33
1.3
42
34
1.3
53
Yeah that's a good idea I'll get rid of a good rep because he's played a joke.
Briliant.
Has anyone got the right time? I like ballet. I love the novels of Proust. I love the work of Alain Delon. And that's, I think, what influenced her into buying me Hat FM. No. I haven't done that for weeks. And that's something we've all got to look forward to, so... Um, no. You can never have too many anyway, I think.
v
v
v
Goed idee, iemand dumpen/vanwege een grap./
v
v
(not translated)
v
Heeft iemand de juiste tijd?/
v
Ik hou van ballet./Ik ben gek op de romans van Proust./Ik ben dol op de films/van Alain Delon./En volgens mij dacht ze daaraan/toen ze deze FM-pet gaf./
v
v
v
v
no
The TT audience can probably understan d the ironic ST utterance v
v
Nee, dat is me al/in weken niet gebeurd./
v
v
v
v
no
v
no
v
no
en dat staat ons allemaal te wachten./
v
v
- Daar heb je er nooit genoeg van./
TT is not ironic
v
v
v
no
281
35
1.3
36
1.3
37
1.3
38
1.3
39
1.3
40
1.3
41
1.3
19 4
42
1.3
20 2
43
1.3
22 8
44
1.3
45
1.3
46
1.3
32 2
47
1.3
32 5
48
1.4
55
12 7 17 4 17 8 18 7 19 1
28 7 29 4
50
I'd only have spent it on a huge inflatable cock, Dawn. I'd have had a guess. It's very complicated. Yeah. I think we mentioned it, yeah. Heaven forbid. Got to dream a dream. Because you're such a big high flyer? When's it due? Professor in charge of watching "Countdown " every day? Is that still a sport? Ha ha! Very funny. Throwing. No. Throwing's good. Or do you use a kettle?
Yeah. That'd happen!
v
v
- Dan koop ik toch 'n opblaaspiemel./
v
v
no
v
v
- Ik zou gokken./
v
v
no
v
v
v
v
v
v
v
v
v
v
v
v
In het voorbijgaan./
v
- God verhoede./
v
v
Iedereen heeft zo z'n droom./
v
v
v
- Omdat jij zo'n topfunctie hebt?/
v
v
no
v
v
no
no v
v
v
no
v
no
v
v
Wanneer is de bevalling?/
v
v
v
no
v
v
v
Hoogleraar Countdown kijken?/
v
v
v
no
Is dat een sport?/
v
v
v
v
v
v
v
v
v v
v
Het is lastig.
v
v
Heel grappig.
v
v
v
v
- Gooien. Dat is goed./
v
Of een ketel?/
v
(not translated)
v
v
no no
v
no
v
no TT audience can understan d the ironic meaning
282 49
1.4
60
50
1.4
12 2
51
1.4
23 5
52
1.4
24 4
53
1.4
24 9
54
1.4
55
1.4
56
1.5
16
57
1.5
18
58
1.5
26 1 28 8
21
Well done. I think I'm starting to know what that's like. A situation? What situation? Who would you rather be on a desert island with then Gareth with some whittling wood and berries? Er, hello? I'm a chicken. Thank you Tim for leaving me with my favourite food. Big. It's a superchicken. Not this one, he's gay. Say what you see, Gareth. No. I should be here in about an hour. Who am I, then, Dixon of Dock Green?
Brilliant.
v
v
v
v
v
v
v
Goed zo
v
v
Volgens mij begin ik dat/al aardig door te krijgen./
v
v
Met wie zit jij dan liever op/een verlaten eiland bessen te zoeken?/
v
v
v
Hallo, ik ben de kip. Dank je dat je me/bij m'n lievelingshapje achterlaat./
v
v
Een hele grote superkip./
v
v v
v
v
v
v
v
v
Wie ben ik, boertje van buiten?/
(not translated)
v
no
v
v
no
v
v
no
v
v
no
v
no
- Heeft hij niet. Het is een homo./ - Beschrijf eens wat je ziet./ - Nee, over een uur pas./
v
v
no
v
v
v
no
v
v
no
v
v
no TT audience can probably understan d the ironic ST
283 utterance
59
1.5
32
60
1.5
10 4
61
1.5
15 5
Apart from all the sex, but we'll do it at your place next time so you don't have to worry. Yeah. I just stayed in, had a big wank. I'll practise it at home.
62
1.5
16 7
Excellent. Thanks.
63
1.5
19 0
Yeah. If only for the conversation. Obviously, Finchy's a sophisticated guy, and Gareth's a culture vulture. So, you know, will it be opera, ballet? I don't know. I know the RSC's in town, so...
64
1.5
19 2
v
v
v
v
v
- We doen het voortaan bij jou./
v
- Ik heb met mezelf zitten spelen./
v
- Ik oefen thuis wel./
v
v
v
v
v
v
v
no
v
no
v
v
no TT audience can probably understan d the ironic ST utterance
(not translated)
v
- Ik ben gek op goede gesprekken./
v
no
v
Finchy is een man van de wereld./Gareth is verslingerd aan cultuur./Wordt het opera, ballet? Geen idee./Of een toneelstuk./
v
no
284
65
1.5
23 3
66
1.5
23 5
67
1.6
25
68
1.6
90
69
1.6
10 7
70
1.6
12 4
71
1.6
17 0
Yeah. Brilliant.
No no. Sleep with everyone in the office. "This has been imposed upon me!" "This has been imposed upon me!" If you'll be like that at the party, that'll be fun! Yeah, and maybe I should just take them round to rival companies and just hand them out. Yeah, I think we might get a discount seeing as though we're in the business. Hmm, I think promotion is generally considered good news.
v
v
(not translated)
v
Ga maar naar bed met wie je wilt./
v
v
v
v
v
v
v
v
v
v
v
v
v
v
TT audience can probably understan d the ironic ST utterance v
Het is me opgedragen.'/
v
v
Gezellig, dat gedrag van je./
v
v
Ik kan het ook meteen/naar onze concurrenten brengen./
v
v
no
v
v
v
no
no
v
no
We krijgen wel korting./
TT is not ironic
Een promotie is over het algemeen/goed nieuws./
Ironic meaning is lost, David does not mean anything different than what
v
285 he is saying.
72
1.6
29 4
73
2.1
10
74
2.1
12
75
2.1
14
76
2.1
21 8
77
2.1
24 0
78
2.1
25 4
79
2.1
25 7
If I make them laugh along the way, sue me. Do you still keep in touch with Oggy?
Was it?
No, I wish I did. He sounds great. So you've won the argument doing that, have you? Yeah, of course. That's won the argument. Funny that only two of you thought that out of everyone. So there's your racist for you. Come on, let's just get on. Come on please, let's just love each other. # What
v
Heb jij nog contact met Oggy?/
v
v
v
(not translated)
v
v
Hij lijkt me geweldig./
v
v
v
v
v
v
v
v
v
Ironic meaning is lost
Als ik ze ook nog laat lachen,/het zij zo./
v
v
no TT audience can probably understan d the ironic ST utterance
v
v
no
Nu heb je zeker de discussie/gewonnen? Door dat te doen?/
v
v
no
- Wel vreemd dat alleen jullie dat vonden./
v
v
no
v
Zo'n racist ben ik dus./
v
- Laten we lief zijn voor elkaar./We moeten van elkaar houden./David heeft/een grote smeltkroes nodig./
v
v
v
v
v
v
v
no
v
no
286 David needs is a great big melting pot #
80
2.2
19
When is the charity wank-athon?
81
2.2
36
You reckon?
82
2.2
18 7
Nice pub.
83
2.2
20 1
84
2.2
32 3
The wine lodge? Classy. "Just finishing off." Just want to be popular as the new boss. Oh, love me! Thanks. It's good to know I have something to fall back on. What if I do go all the way with Tim but I want a little bit more with you? The factory. Your amazing mind again.
85
2.2
28 4
86
2.3
43
87
2.3
46
Sue me.
54
Yeah. It's identical. Mine's not that size - it's very, very tiny - but it is made of
88
2.3
v
v
Wanneer is dat rukken/voor een goed doel?/
v
v
v
- Denk je?/
v
v
v
v
v
v
v
v
v
v
v
no
v
v
v
no
Leuke pub.
v
v
no
Die wijntent? Wat chique.
v
v
no
Je wilt gewoon de populaire baas/uithangen. Hou van me.
v
v
v
Dank je. Fijn om te weten dat/ik iets heb om op terug te vallen./Wat als ik wel doe met Tim,/maar nog meer wil met jou?/
v
- Je bent briljant./
v
v
v
klaag me maar aan./
v
Als twee druppels water. De mijne is/veel kleiner, maar wel van plastic./
v
v
v
no
v
no
v
no
v
v
v
no
v
no
287 plastic.
89
90
91
2.3
2.3
2.3
10 6
Working hard as usual.
23 7
You're funny.
28 0
I'm a heck of a catch. 'Cause I Well let's look at it, I live in Slough, in a lovely house with my parents. I have my own room, which I've had since... Yeah, since I was born. That's seen a lot of action, I'll tell you. Mainly dusting. But eh, I went to university for a year as well before I dropped out, so I'm a quitter. So, yeah, form an orderly queue, ladies.
v
v
v
Het is weer eens druk./
v
(not translated)
v
Ik ben een goede partij./Ik woon in Slough, in een mooi huis.../bij m'n ouders./Ik heb vanaf m'n geboorte/al m'n eigen kamer./Daar is al veel in gebeurd./Vooral afstoffen./Ik heb een jaar gestudeerd./Ik geef het snel op./Niet voordringen, dames./
v
v
v
no The TT audience can still hear the ironic ST utterance
v
v
no
288
92
2.3
32 5
93
2.3
36 9
94
2.4
32
95
2.4
47
96
2.4
87
97
2.4
92
98
2.4
10 7
2.4
12 3
100 2.4
19 4
99
That's really sweet. Why don't you put that in an email to me? Yeah, 'cause you'd know!
v
v
What does it look like? Your favourite computer geek is here. What's this then? Mothers' meeting? That's good so we can probably lose her altogether, can we? Man, those cats was fast as lightning. Yeah, I reckon that's true because if you were sending someone undercover to investigate the Triads, you'd probably want the world's most famous Chinese film star! Working hard?
Wat lief van je./Stuur me maar een e-mail./
v
v
v
v
v
v
v
v
v
v
v
v
v
v
Dan kunnen we haar wel ontslaan./
v
Ze waren bliksemsnel./
v
v
v
- Theekransje?/
v
v
v
no Ironic meaning is lost
Je favoriete computerfreak is er./
v
v
v
no
- Dat lijkt me duidelijk./
v
v
v
Daar weet jij alles van./
v
v
v
no
v
v
no
no
v
v
Want als je er iemand/undercover heen wilt sturen.../neem je een wereldberoemde/Chines e filmster./
v
v
Hard aan het werk?/
v
no
v
v
no
no
289
