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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:35,434 --> 00:00:38,667 OH DEAR, OH DEAR, OH DEAR. 2 00:00:42,200 --> 00:00:44,632 RICHARD, WHAT'S THE MATTER? 3 00:00:44,667 --> 00:00:48,534 YOU KNOW WHAT'S THE MATTER. IT'S THE SALE TOMORROW. 4 00:00:48,569 --> 00:00:52,434 AH, I KNOW. I'M EXCITED TOO. 5 00:00:52,469 --> 00:00:56,265 I'M NOT EXCITED, I'M TERRIFIED. 6 00:00:56,300 --> 00:00:58,667 HMM? - THE THOUGHT OF YOU AT A SALE. 7 00:00:58,702 --> 00:01:00,965 OH, I DO LOVE A SALE. 8 00:01:01,000 --> 00:01:03,868 ESPECIALLY THE THOUGHT OF YOU AT A COUNTRY HOUSE SALE. 9 00:01:03,903 --> 00:01:06,534 ESPECIALLY COUNTRY HOUSE SALES. 10 00:01:06,569 --> 00:01:08,566 YOU GET CARRIED AWAY. 11 00:01:08,601 --> 00:01:11,968 YOU THINK THAT BECAUSE THINGS HAVE BELONGED TO THE ARISTOCRACY, 12 00:01:12,003 --> 00:01:14,933 THEY MUST BE WORTH TWICE AS MUCH. - THE TRUTH IS, 13 00:01:14,968 --> 00:01:18,434 I ALWAYS THINK THAT BECAUSE THINGS HAVE BELONGED TO THE ARISTOCRACY, 14 00:01:18,469 --> 00:01:20,833 THEY MUST BE WORTH TWICE AS MUCH. 15 00:01:20,868 --> 00:01:26,501 THERE YOU GO. HYACINTH, YOU MUST NOT GO BEYOND OUR LIMIT! 16 00:01:26,536 --> 00:01:29,833 SHH, RICHARD. GO TO SLEEP, DEAR. 17 00:01:29,868 --> 00:01:32,634 YOU'LL NEED ALL YOUR ENERGY FOR TOMORROW. 18 00:01:38,934 --> 00:01:41,667 WHO'S THAT AT THIS HOUR? 19 00:01:42,968 --> 00:01:45,067 HADN'T YOU BETTER GO AND FIND OUT? 20 00:01:47,033 --> 00:01:49,065 ME? 21 00:01:49,100 --> 00:01:51,732 SUPPOSE IT'S A MAD STRANGLER? 22 00:01:51,767 --> 00:01:54,534 THEY DON'T USUALLY KNOCK ON THE DOOR. 23 00:01:55,701 --> 00:01:57,965 IF IT WAS A MAD STRANGLER, 24 00:01:58,000 --> 00:02:00,167 HE'D HAVE COME THROUGH THE WINDOW, WOULDN'T HE? 25 00:02:00,202 --> 00:02:02,265 YOU'D STILL SEND ME DOWN 26 00:02:02,300 --> 00:02:04,667 EVEN IF HE DID COME THROUGH THE WINDOW. 27 00:02:04,702 --> 00:02:07,332 WHY DON'T YOU GO? 28 00:02:07,367 --> 00:02:10,501 I'M BUSY KEEPING THE BED WARM FOR YOU. 29 00:02:12,667 --> 00:02:14,917 IT'S MRS. BRADDOCK. 30 00:02:14,952 --> 00:02:17,132 OH, NOT HER AGAIN. 31 00:02:17,167 --> 00:02:19,532 WHAT DOES SHE WANT NOW? 32 00:02:19,567 --> 00:02:22,968 SAME AS LAST TIME - SHE SAY FATHER PROMISED TO MARRY HER. 33 00:02:23,003 --> 00:02:25,065 SEND YOUR FATHER DOWN. 34 00:02:25,100 --> 00:02:27,234 THERE'S NO REASON TO KEEP THE WHOLE HOUSE AWAKE 35 00:02:27,269 --> 00:02:29,167 JUST 'CAUSE HE'S GETTING MARRIED. 36 00:02:29,202 --> 00:02:30,998 HE CAN'T STAND HER. 37 00:02:31,033 --> 00:02:32,834 WHY DID HE PROMISE TO MARRY HER? 38 00:02:32,869 --> 00:02:34,766 HE SAYS HE DIDN'T. 39 00:02:34,801 --> 00:02:38,167 HE SAID HE ONLY OFFERED HER A TEMPORARY POSITION. 40 00:02:38,202 --> 00:02:41,300 I KNOW JUST HOW SHE FEELS. 41 00:02:46,434 --> 00:02:48,834 NOW HYACINTH, REMEMBER YOU PROMISED. 42 00:02:48,869 --> 00:02:50,968 YOU WON'T GO BEYOND OUR LIMIT. 43 00:02:51,003 --> 00:02:53,065 WHAT ABOUT THE HAT, DEAR? 44 00:02:53,100 --> 00:02:57,167 YES, WE MIGHT STRETCH AS FAR AS A SECONDHAND HAT. 45 00:02:57,202 --> 00:03:00,466 WHAT DO YOU MEAN, A "SECONDHAND" HAT? 46 00:03:00,501 --> 00:03:04,234 I BOUGHT THIS ONE NEW. - OH, THAT HAT. 47 00:03:04,269 --> 00:03:06,632 NOW RICHARD I WANT YOU TO TELL ME 48 00:03:06,667 --> 00:03:10,967 IF THIS LOOKS LIKE A "MINGLING-WITH THE-ARISTOCRACY" HAT. 49 00:03:11,002 --> 00:03:15,267 IT'S FINE. FINE. - NO, I DON'T WANT ANY SNAP JUDGMENTS. 50 00:03:15,302 --> 00:03:17,933 PLEASE TRY TO REMEMBER 51 00:03:17,968 --> 00:03:20,601 THAT THIS WILL BE AMONG SOME VERY ARISTOCRATIC HATS. 52 00:03:20,636 --> 00:03:23,965 IT'S FAY, FAY. - DON'T BE SILLY, DEAR. 53 00:03:24,000 --> 00:03:28,901 YES, THIS COULD EASILY BE MISTAKEN FOR AN ARISTOCRATIC HAT. 54 00:03:28,936 --> 00:03:31,667 JUST AS LONG AS YOU DON'T MISTAKE MY CHECKBOOK 55 00:03:31,702 --> 00:03:34,334 FOR AN ARISTOCRATIC CHECKBOOK. 56 00:03:36,901 --> 00:03:39,965 YOU READY? - I THINK THEY'RE GOING OUT. 57 00:03:40,000 --> 00:03:42,868 I'D RATHER WAIT UNTIL THE COAST IS CLEAR BEFORE WE STEP OUTSIDE. 58 00:03:42,903 --> 00:03:45,801 WHY DON'T WE JUST GO BEFORE THEY COME OUT? 59 00:03:48,601 --> 00:03:51,432 WE MIGHT BUMP INTO THEM. 60 00:03:51,467 --> 00:03:54,400 SHE'LL SING AT ME. SHE'LL RUIN MY DAY. 61 00:03:54,435 --> 00:03:56,817 YOU'VE REALLY GOT A THING ABOUT HYACINTH. 62 00:03:56,852 --> 00:03:59,076 THAT'S BECAUSE SHE'S THE KIND OF PERSON 63 00:03:59,111 --> 00:04:01,300 IT IS VERY EASY TO GET A THING ABOUT. 64 00:04:01,335 --> 00:04:03,265 YOU'RE A GROWN MAN. 65 00:04:03,300 --> 00:04:06,866 AND SHE'S A GROAN A MINUTE. 66 00:04:06,901 --> 00:04:10,901 HONESTLY, EMMET. JUST LET YOUR MIND GO BLANK. 67 00:04:10,936 --> 00:04:13,732 I DO. - OH, LIZ. LIZ. 68 00:04:13,767 --> 00:04:19,033 IT'S SO MUCH SIMPLER TO WAIT A FEW MOMENTS UNTIL THEY'VE GONE. 69 00:04:19,068 --> 00:04:21,868 THEN THEY CAN GO THEIR WAY, AND WE CAN GO OUR WAY, 70 00:04:21,903 --> 00:04:24,232 AND OUR DAY WILL BE COMPLETE. 71 00:04:24,267 --> 00:04:26,267 HOW DO YOU KNOW THEY'RE GOING OUT? 72 00:04:26,302 --> 00:04:28,267 BECAUSE RICHARD'S GOT THE CAR OUT. 73 00:04:33,601 --> 00:04:36,317 WELL? - VERY NICE. 74 00:04:36,352 --> 00:04:38,998 "NICE," HE SAYS. 75 00:04:39,033 --> 00:04:41,033 IS THAT THE BEST YOU CAN MANAGE? 76 00:04:41,068 --> 00:04:43,766 TODAY COULD BE THE DAY 77 00:04:43,801 --> 00:04:48,666 I'M MISTAKEN FOR SOMEONE IMPORTANT. 78 00:04:48,701 --> 00:04:52,033 IF ANYBODY SHOULD MISTAKE ME FOR SOMEONE IMPORTANT, 79 00:04:52,068 --> 00:04:54,899 LET THEM THINK WHAT THEY MAY. 80 00:04:54,934 --> 00:04:58,000 AFTER ALL, IT'S ONLY AN ACCIDENT OF BIRTH 81 00:04:58,035 --> 00:05:00,268 THAT I'M NOT SOMEONE IMPORTANT. 82 00:05:00,303 --> 00:05:02,885 WELL, I AM SOMEONE IMPORTANT. 83 00:05:02,920 --> 00:05:05,444 IT'S SIMPLY AN ACCIDENT OF BIRTH 84 00:05:05,479 --> 00:05:07,968 THAT I'M NOT EVEN MORE IMPORTANT. 85 00:05:08,003 --> 00:05:12,501 EVEN... ARISTOCRATIC. 86 00:05:14,133 --> 00:05:16,901 SHE SPENDS LIKE AN ARISTOCRAT. 87 00:05:29,167 --> 00:05:32,599 WHAT ARE WE GOING TO DO ABOUT MRS. BRADDOCK? 88 00:05:32,634 --> 00:05:35,467 IS SHE STILL HANGING ABOUT? - I HAVEN'T SEEN HER, 89 00:05:35,502 --> 00:05:37,699 BUT WHAT ARE WE GOING TO DO ABOUT HER? 90 00:05:37,734 --> 00:05:39,868 IF SHE'S GOING TO MAKE THAT RACKET EVERY NIGHT, 91 00:05:39,903 --> 00:05:42,000 YOUR FATHER'LL HAVE TO MARRY HER. 92 00:05:43,234 --> 00:05:45,332 OH, NICE. 93 00:05:45,367 --> 00:05:48,567 I HOPE YOU'RE GOING TO BE THE ONE TO BREAK IT TO OUR HYACINTH. 94 00:05:48,602 --> 00:05:50,666 FANCY HAVING TO TELL OUR HYACINTH 95 00:05:50,701 --> 00:05:54,000 FATHER'S GOT TO GET MARRIED AT HIS AGE. 96 00:05:56,334 --> 00:05:58,367 HOW COME HE DOESN'T WANT TO MARRY HER? 97 00:05:58,402 --> 00:06:00,400 HE USUALLY WANTS TO MARRY EVERYBODY. 98 00:06:00,435 --> 00:06:02,632 MRS. BRADDOCK'S HORRIBLE. 99 00:06:02,667 --> 00:06:06,167 EVERYBODY HE'S EVER BEEN INVOLVED WITH HAS BEEN HORRIBLE. 100 00:06:06,202 --> 00:06:09,432 MAYBE HE LIKES HORRIBLE. 101 00:06:09,467 --> 00:06:11,799 WELL, IT'S AMAZING HOW MANY DO. 102 00:06:11,834 --> 00:06:15,801 YOU SHOULD SEE WHAT SOME OF MY GENTLEMEN FRIENDS HAVE TO GO HOME TO. 103 00:06:17,133 --> 00:06:19,567 I COULD NEVER SETTLE FOR HORRIBLE. 104 00:06:22,701 --> 00:06:26,165 IT ALWAYS HAS TO BE STYLISH. 105 00:06:26,200 --> 00:06:29,434 THAT WAS ALL RIGHT WHEN I WAS YOUNG, DAISE, 106 00:06:29,469 --> 00:06:32,265 BUT IT CAN BE A HECK OF A STRAIN- 107 00:06:32,300 --> 00:06:35,801 THE CONSTANT BATTLE TO REMAIN ATTRACTIVE. 108 00:06:37,667 --> 00:06:39,667 CHA-CHA-CHA-CHA! - AHH! 109 00:06:42,100 --> 00:06:45,299 YOU SAID LEFT. YOU SAID, "GO LEFT." 110 00:06:45,334 --> 00:06:48,667 YOU PROBABLY THOUGHT I SAID LEFT WHEN I SAID RIGHT. 111 00:06:48,702 --> 00:06:50,965 WHY WOULD I DO THAT? 112 00:06:51,000 --> 00:06:54,267 BECAUSE YOU'RE IN AN ARGUMENTATIVE MOOD, DEAR. 113 00:06:54,302 --> 00:06:57,085 I NOTICED IT FIRST THING THIS MORNING. 114 00:06:57,120 --> 00:06:59,833 YOU WERE VERY OFFHAND ABOUT MY HAT. 115 00:06:59,868 --> 00:07:02,567 ANYWAY, NOW YOU HAVE THE MAP OUT, DO YOU KNOW WHERE WE ARE? 116 00:07:02,602 --> 00:07:04,701 YES. 117 00:07:04,736 --> 00:07:06,801 LOST. 118 00:07:19,901 --> 00:07:24,701 FATHER SAYS, "WOULD YOU MAKE SURE MRS. BRADDOCK'S NOT ABOUT?" 119 00:07:24,736 --> 00:07:27,466 HE WANTS TO GO OUT. 120 00:07:27,501 --> 00:07:29,965 AND HE DAREN'T GO OUT IF MRS. BRADDOCK'S ABOUT. 121 00:07:30,000 --> 00:07:34,300 WHY DON'T YOU GO OUT AND CHECK IF MRS. BRADDOCK'S ABOUT? 122 00:07:34,335 --> 00:07:36,599 SHE BITES. 123 00:07:36,634 --> 00:07:39,834 AND SHE LOOKS TO ME LIKE SOMEONE WHO MIGHT POSSIBLY BE SEPTIC. 124 00:07:41,667 --> 00:07:44,833 AND THAT'S JUST HER FACE. 125 00:07:44,868 --> 00:07:48,232 ONSLOW, WILL YOU GO OUT AND SEE IF MRS. BRADDOCK'S ABOUT? 126 00:07:48,267 --> 00:07:52,801 OH, NICE. DOESN'T MATTER IF SHE BITES ME AND TURNS ME SEPTIC. 127 00:07:52,836 --> 00:07:56,467 BUT SHE WON'T BITE YOU. SHE LIKES MEN. 128 00:07:56,502 --> 00:07:59,367 SHE BITES ME. SHE LIKES MEN. 129 00:08:00,567 --> 00:08:04,501 THAT WAS BEFORE I DISCOVERED BACON SARNIES. 130 00:08:06,601 --> 00:08:08,666 OH, GO ON, ONSLOW. 131 00:08:08,701 --> 00:08:10,834 I'LL HOLD YOUR BACON SARNIE FOR YOU. 132 00:08:10,869 --> 00:08:13,165 NO, YOU WON'T. 133 00:08:13,200 --> 00:08:16,234 I'VE SEEN YOU BEFORE WITH BITS OF SOME POOR BLOKE'S BACON. 134 00:08:19,367 --> 00:08:22,634 I'LL GO OUT WHEN I'VE FINISHED MY SARNIE. 135 00:08:22,669 --> 00:08:24,734 Richard: WHICH WAY THIS TIME? 136 00:08:24,769 --> 00:08:26,901 LEFT OR RIGHT? 137 00:08:26,936 --> 00:08:29,033 RIGHT. 138 00:08:40,334 --> 00:08:43,067 NO, LEFT. LEFT. 139 00:08:52,334 --> 00:08:54,801 NO, AS YOU WERE. TURN RIGHT. 140 00:09:03,734 --> 00:09:05,833 WATCH OUT FOR ANIMALS. 141 00:09:05,868 --> 00:09:08,165 WHAT ANIMALS? I CAN'T SEE ANY ANIMALS. 142 00:09:08,200 --> 00:09:11,467 THIS IS THE COUNTRYSIDE. THERE ARE ALWAYS ANIMALS. 143 00:09:11,502 --> 00:09:13,466 NEVER MIND ABOUT THE ANIMALS. 144 00:09:13,501 --> 00:09:17,601 ARE YOU SURE THIS IS THE RIGHT WAY? - I'M QUITE SURE. 145 00:09:19,133 --> 00:09:21,367 STOP TRYING TO CONFUSE ME, RICHARD. 146 00:09:21,402 --> 00:09:24,132 I HATE IT WHEN YOU CONFUSE ME. 147 00:09:24,167 --> 00:09:26,300 MIND THE CAR. THERE'S A CAR COMING. 148 00:09:26,335 --> 00:09:28,933 I CAN SEE THE CAR COMING. 149 00:09:28,968 --> 00:09:31,234 I BELIEVE IT'S ELIZABETH AND EMMET. 150 00:09:31,269 --> 00:09:33,934 FLASH YOUR LIGHTS. 151 00:09:39,234 --> 00:09:41,400 THANK HEAVENS THEY'RE GOING THE OTHER WAY. 152 00:09:42,667 --> 00:09:45,400 I DIDN'T LIKE HYACINTH'S HAT. 153 00:09:46,868 --> 00:09:49,801 I DIDN'T LIKE ELIZABETH'S HAT. 154 00:09:49,836 --> 00:09:52,199 NEVER MIND ABOUT THE HAT. 155 00:09:52,234 --> 00:09:54,700 CAN YOU SEE WHERE WE ARE ON THE MAP? 156 00:09:54,735 --> 00:09:57,067 YES, I HAVE MY FINGER ON THE SPOT. 157 00:09:57,102 --> 00:09:59,535 WE GO ALONG HERE FOR A LITTLE WHILE, 158 00:09:59,570 --> 00:10:01,968 AND THEN WE COME TO SOME CROSSROADS. 159 00:10:05,767 --> 00:10:07,834 SHE'S NOT OUT HERE. 160 00:10:07,869 --> 00:10:09,866 WHAT ARE YOU DOING? 161 00:10:09,901 --> 00:10:12,232 GO AND SEE IF SHE'S IN THE STREET. 162 00:10:12,267 --> 00:10:15,417 STREET? NOBODY SAID ANYTHING ABOUT THE STREETS. 163 00:10:15,452 --> 00:10:18,567 ALL YOU SAID WAS GO AND SEE IF SHE WAS OUTSIDE. 164 00:10:18,602 --> 00:10:21,918 JUST GO TO THE GATE, AND LOOK BOTH WAYS. 165 00:10:21,953 --> 00:10:25,234 AND IF YOU SEE HER, TELL HER TO GO AWAY. 166 00:10:25,269 --> 00:10:29,300 OH, NICE. THE PACE OF MODERN LIFE. 167 00:10:31,868 --> 00:10:33,965 BE CAREFUL. 168 00:10:34,000 --> 00:10:37,334 HE'S NOT PARACHUTING INTO OCCUPIED FRANCE. 169 00:10:37,369 --> 00:10:39,468 I DON'T WANT HIM INJURED. 170 00:10:39,503 --> 00:10:41,532 WHY? WHAT HAVE YOU HEARD? 171 00:10:41,567 --> 00:10:43,666 HOW FIERCE IS THIS MRS. BRADDOCK? 172 00:10:43,701 --> 00:10:47,567 SHE'S NOT FIERCE. SHE JUST GETS A BIT EXCITED. 173 00:10:48,901 --> 00:10:52,000 THINK HARD. YOU REMEMBER EXCITED. 174 00:11:05,868 --> 00:11:09,567 ALL CLEAR. - GREAT. 175 00:11:10,834 --> 00:11:13,467 Ol! 176 00:11:16,567 --> 00:11:19,000 HE PROMISED HE'D MARRY ME. 177 00:11:20,534 --> 00:11:24,400 MRS. BRADDOCK, WHAT ARE YOU DOING IN THE CAR? 178 00:11:24,435 --> 00:11:26,584 WHEN YOU'RE MY AGE, 179 00:11:26,619 --> 00:11:28,734 YOU LIKES TO SIT DOWN. 180 00:11:31,834 --> 00:11:34,617 WHERE'S MY DOG? - RAN AWAY YELPING. 181 00:11:34,652 --> 00:11:37,400 YOU HAVEN'T BEEN BITING MY DOG? 182 00:11:37,435 --> 00:11:39,934 NEVER TOUCHED HIM. 183 00:11:39,969 --> 00:11:42,232 OH... 184 00:11:42,267 --> 00:11:45,801 HERE, GIRL! HERE, GIRL! 185 00:11:48,267 --> 00:11:50,365 COME ON, GIRL. 186 00:11:50,400 --> 00:11:53,300 COME ON, GIRL. WHERE ARE YOU? 187 00:11:57,567 --> 00:12:00,767 I'M HERE, LOVE. 188 00:12:01,934 --> 00:12:04,501 NOT YOU, MRS. BRADDOCK. 189 00:12:05,501 --> 00:12:07,634 COME ON, GIRL. 190 00:12:09,868 --> 00:12:11,899 THAT LAST SIGNPOST, 191 00:12:11,934 --> 00:12:13,998 I'M SURE IT SAID NETTLEFORD WAS THAT WAY. 192 00:12:14,033 --> 00:12:17,699 I DIDN'T SEE IT. - I'M SURE I READ IT CORRECTLY. 193 00:12:17,734 --> 00:12:21,334 RICHARD, SHOULD YOU BE READING WHILE YOU'RE DRIVING? 194 00:12:24,033 --> 00:12:26,083 NOW, DO COME ALONG, DEAR. 195 00:12:26,118 --> 00:12:28,226 WE'LL NEVER REACH THE SALE. 196 00:12:28,261 --> 00:12:30,334 TIME IS NOT ON OUR SIDE. 197 00:12:31,367 --> 00:12:33,567 RICHARD... 198 00:12:33,602 --> 00:12:35,767 DOOR, DEAR. 199 00:12:54,267 --> 00:12:56,365 THERE YOU ARE, RICHARD. 200 00:12:56,400 --> 00:12:58,734 I TOLD YOU I'D FIND YOU THE WAY. 201 00:13:15,701 --> 00:13:18,317 Emmet: I'VE BEEN LOOKING FORWARD TO THIS, LIZ. 202 00:13:18,352 --> 00:13:20,899 IT'S BEEN A WHILE SINCE I'VE BEEN TO A SALE. 203 00:13:20,934 --> 00:13:25,868 TO TOP IT OFF, THERE'S THAT WONDERFUL FEELING OF PEACE AND SERENITY 204 00:13:25,903 --> 00:13:28,332 THAT COMES FROM KNOWING THAT HYACINTH 205 00:13:28,367 --> 00:13:31,267 IS TRAVELING SOMEWHERE IN THE OPPOSITE DIRECTION. 206 00:13:32,701 --> 00:13:35,299 YES, IT'S A RATHER SPECIAL FEELING. 207 00:13:35,334 --> 00:13:38,968 BIT LIKE WAKING UP AND THINKING IT'S ALL BEEN A BAD DREAM. 208 00:13:47,033 --> 00:13:49,267 ANYWAY, YOU CAN FORGET ABOUT HER TODAY 209 00:13:49,302 --> 00:13:51,467 AND RELAX AND ENJOY YOURSELF. 210 00:13:51,502 --> 00:13:54,133 I INTEND TO. 211 00:14:04,033 --> 00:14:07,267 I DID LIKE DEREK. DEREK WAS A GENTLEMAN. 212 00:14:07,302 --> 00:14:09,566 HE NEVER WENT OUT IN A CAR 213 00:14:09,601 --> 00:14:14,334 WITHOUT SOMETHING TO PUT BETWEEN A PERSON AND THE DAMP GRASS. 214 00:14:14,369 --> 00:14:17,701 THANK HEAVENS YOU'RE HERE. CAN YOU CHANGE THE PROGRAM? 215 00:14:17,736 --> 00:14:20,400 WHAT CHANNEL DO YOU WANT? - TWO. 216 00:14:23,667 --> 00:14:26,901 THAT'S GREAT, DAISE. NOBODY DOES IT LIKE YOU. 217 00:14:28,801 --> 00:14:32,467 DO YOU THINK WE OUGHT TO TAKE SOME TEA OUT TO MRS. BRADDOCK? 218 00:14:32,502 --> 00:14:36,234 DON'T MAKE HER TOO COMFY. SHE'LL BE THERE FOREVER. 219 00:14:36,269 --> 00:14:38,365 IT JUST FEELS ROTTEN, 220 00:14:38,400 --> 00:14:40,900 DRINKING TEA AND THINKING OF HER 221 00:14:40,935 --> 00:14:43,184 SITTING OUT THERE IN THAT OLD CAR. 222 00:14:43,219 --> 00:14:45,434 HOW DO YOU THINK THE DOG FEELS? 223 00:14:47,334 --> 00:14:50,968 YOU TOOK MRS. BRADDOCK BREAKFAST. WHAT MORE DOES SHE WANT? 224 00:14:51,003 --> 00:14:53,866 I CAN'T ENJOY THINGS 225 00:14:53,901 --> 00:14:56,367 WHEN I KNOW SHE'S OUT THERE. 226 00:14:59,100 --> 00:15:02,300 JUST BEAR IN MIND, SHE'S GOT TO GO SOMETIME. 227 00:15:02,335 --> 00:15:04,634 I CAN'T LIVE FOREVER UNDER THIS DOG. 228 00:15:06,367 --> 00:15:10,534 WHY DON'T YOU PUT THE DOG DOWN AND NURSE ME? 229 00:15:12,033 --> 00:15:15,000 TAKE MRS. BRADDOCK A CUP OF TEA. 230 00:15:16,067 --> 00:15:18,165 I KNEW HE'D SAY THAT. 231 00:15:18,200 --> 00:15:21,701 LET FATHER TAKE HER A CUP OF TEA. IT'S HIS FAULT SHE'S HERE. 232 00:15:21,736 --> 00:15:23,951 WHY CAN'T THEY BOTH LIVE IN THE CAR? 233 00:15:23,986 --> 00:15:26,167 THEN WE COULD RENT THE SPARE BEDROOM. 234 00:15:26,202 --> 00:15:28,199 HE DOESN'T LIKE HER ENOUGH. 235 00:15:28,234 --> 00:15:30,868 HE JUST REGARDS HER AS A PLAYTHING. 236 00:15:30,903 --> 00:15:33,801 I KNOW THE FEELING. 237 00:15:35,367 --> 00:15:38,917 WE COULD LET HER IN AND PUT FATHER IN THE CAR. 238 00:15:38,952 --> 00:15:42,467 BLESS HER, I'M GOING TO TAKE HER A CUP OF TEA. 239 00:15:52,701 --> 00:15:56,267 THERE YOU ARE, YOU SEE? I BROUGHT YOU STRAIGHT HERE. 240 00:15:58,834 --> 00:16:01,367 I DON'T KNOW WHAT ALL THE FUSS WAS ABOUT. 241 00:16:03,400 --> 00:16:07,432 OH, YES. I DO LIKE THE HOUSE. 242 00:16:07,467 --> 00:16:10,567 THERE YOU GO, GETTING CARRIED AWAY. 243 00:16:10,602 --> 00:16:13,634 WE CANNOT AFFORD THE HOUSE. 244 00:16:18,601 --> 00:16:21,950 I THINK I'D DO SOMETHING ABOUT THE CURTAINS. 245 00:16:21,985 --> 00:16:25,300 I DO THINK THE CURTAINS ARE RATHER BOURGEOIS. 246 00:16:44,033 --> 00:16:47,634 AND IF PEOPLE SHOULD MISTAKE ME FOR SOMEONE ARISTOCRATIC, 247 00:16:47,669 --> 00:16:49,801 I DON'T WANT YOU TELLING THEM I'M NOT. 248 00:16:49,836 --> 00:16:51,899 IT WILL SIMPLY CONFUSE THEM. 249 00:16:51,934 --> 00:16:56,167 BUT HYACIN- - IT'S ONLY GOOD MANNERS TO LET THEM BELIEVE IT. 250 00:17:02,234 --> 00:17:04,466 EXCUSE ME, MY GOOD MAN. 251 00:17:04,501 --> 00:17:07,032 COULD YOU DIRECT ME TO THE AUCTION CHAMBER? 252 00:17:07,067 --> 00:17:10,100 THROUGH THE ARCH, MADAM, IT'S THE FIRST DOOR ON THE RIGHT. 253 00:17:10,135 --> 00:17:13,965 THANK YOU. HOW COURTEOUS. 254 00:17:14,000 --> 00:17:16,734 CLEARLY A FAITHFUL RETAINER OF THE OLD SCHOOL. 255 00:17:16,769 --> 00:17:19,401 YOU CAN ALWAYS TELL. SHOULD I TIP HIM? 256 00:17:19,436 --> 00:17:22,033 I WOULDN'T IF I WERE YOU, HYACINTH. 257 00:17:22,068 --> 00:17:24,132 NO, YOU'RE PROBABLY RIGHT. 258 00:17:24,167 --> 00:17:28,868 ANYTHING AS COARSE AS MONEY WOULD OBVIOUSLY SHOCK. 259 00:17:28,903 --> 00:17:30,965 MY LORD? 260 00:17:31,000 --> 00:17:33,783 HER LADYSHIP WOULD LIKE A WORD. 261 00:17:33,818 --> 00:17:36,567 SHE'S IN THE BLUE DRAWING ROOM. 262 00:17:37,834 --> 00:17:41,234 YOU SEE? I KNEW HE WAS QUALITY. 263 00:17:46,701 --> 00:17:49,567 I WOULDN'T BOTHER LOOKING AT ANY OF THESE. 264 00:17:49,602 --> 00:17:53,332 HAVE YOU SEEN THE ESTIMATED PRICES? 265 00:17:53,367 --> 00:17:56,599 OF COURSE, THESE ARE NOT REALLY TO MY TASTE. 266 00:17:56,634 --> 00:18:00,767 I WAS LOOKING FOR SOMETHING MORE LIKE GAINSBOROUGH'S "BLUE BOY." 267 00:18:00,802 --> 00:18:01,998 WHAT? 268 00:18:02,033 --> 00:18:03,699 ONLY CHEAPER, DEAR. 269 00:18:03,734 --> 00:18:07,467 EXCUSE ME. - YES, MADAM. 270 00:18:07,502 --> 00:18:09,699 WE WERE WONDERING 271 00:18:09,734 --> 00:18:12,601 IF YOU HAD ANYTHING LIKE GAINSBOROUGH'S "BLUE BOY." 272 00:18:12,636 --> 00:18:15,167 I'M AFRAID NOT, MADAM. 273 00:18:15,202 --> 00:18:17,199 OH, PITY. 274 00:18:17,234 --> 00:18:21,100 WHAT ABOUT A BEAUTIFUL PAINTING OF A BASKET OF FLOWERS? 275 00:18:21,135 --> 00:18:22,632 I THINK NOT, MADAM. 276 00:18:22,667 --> 00:18:26,467 ISN'T ANYONE PAINTING BASKETS OF FLOWERS ANYMORE? 277 00:18:26,502 --> 00:18:29,965 I HAVE A BEAUTIFUL ONE AT HOME. 278 00:18:30,000 --> 00:18:33,232 IT'S THE WORK OF A MISS PATIENCE FULLERTON. 279 00:18:33,267 --> 00:18:36,200 ARE YOU FAMILIAR WITH THE WORK OF MISS PATIENCE FULLERTON? 280 00:18:36,235 --> 00:18:38,365 I DON'T THINK SO, MADAM. 281 00:18:38,400 --> 00:18:42,167 SHE'S VERY TALENTED. YOU CAN ALMOST... 282 00:18:43,234 --> 00:18:46,000 ...SMELL THE FLOWERS. 283 00:18:47,767 --> 00:18:50,265 OH, I KNOW. WHAT ABOUT SOMETHING 284 00:18:50,300 --> 00:18:53,100 LIKE "THE SUNSET" BY MR. VAN COUGH? 285 00:18:54,734 --> 00:18:56,868 COME ALONG, HYACINTH. 286 00:19:04,434 --> 00:19:08,334 A LITTLE LIKE DADDY WHEN HE WAS YOUNGER. 287 00:19:08,369 --> 00:19:10,634 GOOD AFTERNOON. 288 00:19:18,434 --> 00:19:20,467 THERE ARE SOME LOVELY THINGS HERE, LIZ. 289 00:19:20,502 --> 00:19:23,165 BEAUTIFUL. - I'M GLAD WE CAME. 290 00:19:23,200 --> 00:19:25,267 SO AM I. WHAT ARE YOU GOING TO BID FOR? 291 00:19:25,302 --> 00:19:26,899 PRACTICALLY EVERYTHING. 292 00:19:26,934 --> 00:19:29,033 Hyacinth: OH LOOK, RICHARD. 293 00:19:29,068 --> 00:19:31,098 APART FROM THE FAMILY CREST, 294 00:19:31,133 --> 00:19:35,601 THAT'S ALMOST IDENTICAL TO MY OWN DEAR ROYAL DOULTON. 295 00:19:35,636 --> 00:19:38,432 HYACINTH! - HYACINTH! 296 00:19:38,467 --> 00:19:41,833 I THINK I WAS HAPPIEST WITH DEREK... 297 00:19:41,868 --> 00:19:46,033 UNTIL TRAGEDY STRUCK. - HIS WIFE FOUND OUT. 298 00:19:46,068 --> 00:19:48,334 SHE WAS SO SELFISH. 299 00:19:48,369 --> 00:19:50,601 HE WAS CROSS-EYED. 300 00:19:50,636 --> 00:19:52,766 HE WASN'T. 301 00:19:52,801 --> 00:19:55,801 HE JUST HAD AN ATTRACTIVE LAZY EYE. 302 00:19:55,836 --> 00:19:58,365 ONSLOW'S GOT ONE. 303 00:19:58,400 --> 00:20:00,868 IT GOES ALL THE WAY DOWN TO HIS BOOTS. 304 00:20:03,901 --> 00:20:07,033 JUST PLAY THE CARD, DAISE. 305 00:20:07,068 --> 00:20:09,367 SNAP! 306 00:20:11,734 --> 00:20:15,667 NOW, LADIES AND GENTLEMEN, LOT 83 IN YOUR CATALOGUES: 307 00:20:15,702 --> 00:20:18,934 A FINE PAIR OF ORNAMENTAL VASES. 308 00:20:18,969 --> 00:20:20,998 OH, RICHARD, I LIKE THOSE. 309 00:20:21,033 --> 00:20:23,167 NO, YOU DON'T. NOT AT THESE PRICES. 310 00:20:23,202 --> 00:20:25,265 BUT THAT'S JUST AN ESTIMATE. 311 00:20:25,300 --> 00:20:29,399 THEY COULD WELL REALIZE MORE. - EXACTLY. 312 00:20:29,434 --> 00:20:32,200 NOW WHERE CAN WE BEGIN, LADIES AND GENTLEMEN? �100? 313 00:20:34,133 --> 00:20:36,399 SIT ON YOUR HANDS. 314 00:20:36,434 --> 00:20:39,250 WILL ANYONE START ME ON �100? 315 00:20:39,285 --> 00:20:42,067 - 75? - THEY'RE GETTING CHEAPER. 316 00:20:43,434 --> 00:20:47,199 SIT ON YOUR HANDS. - �50. 317 00:20:47,234 --> 00:20:49,334 �50 I'M BID. YOUR BID, SIR, BY THE WINDOW. 318 00:20:49,369 --> 00:20:51,732 �50 I'M BID. �60? 319 00:20:51,767 --> 00:20:54,267 YOUR BID, MADAM. �60 I'M BID. 320 00:20:54,302 --> 00:20:56,418 �70. �70 I'M BID. 321 00:20:56,453 --> 00:20:58,499 �80? �80. 322 00:20:58,534 --> 00:21:01,801 �90. �100 I'M BID. 323 00:21:01,836 --> 00:21:03,951 �110 I'M BID. 324 00:21:03,986 --> 00:21:06,032 ALL DONE AT 110. 325 00:21:06,067 --> 00:21:08,200 SOLD TO THE GENTLEMAN BY THE WINDOW. 326 00:21:08,235 --> 00:21:09,934 OH... 327 00:21:24,934 --> 00:21:28,367 AND NOW, LADIES AND GENTLEMEN, LOT 142 IN YOUR CATALOGUES: 328 00:21:28,402 --> 00:21:30,968 THIS VICTORIAN ORNAMENTAL SCREEN. 329 00:21:38,334 --> 00:21:41,300 LOOK, RICHARD. IT'S ELIZABETH AND EMMET. 330 00:21:42,701 --> 00:21:44,901 ARE YOU OPENING THE BIDDING, MADAM? 331 00:21:44,936 --> 00:21:47,868 NO! NO, STOP WAVING. 332 00:21:50,667 --> 00:21:52,766 YE GODS. 333 00:21:52,801 --> 00:21:55,734 WE OUGHT TO HAVE BID FOR THAT SCREEN. 334 00:21:55,769 --> 00:21:58,335 IT WAS BEGINNING TO FEEL JUST LIKE HOME. 335 00:21:58,370 --> 00:22:00,901 YOUR NEXT ITEM, LADIES AND GENTLEMEN, 336 00:22:00,936 --> 00:22:03,132 IS SOMETHING OF A FAMILY CURIO- 337 00:22:03,167 --> 00:22:05,467 SIX BOTTLES OF THE DOWAGER LADY URSULA'S 338 00:22:05,502 --> 00:22:07,566 HOMEMADE GOOSEBERRY WINE. 339 00:22:07,601 --> 00:22:10,100 APPARENTLY, THE OLD LADY WAS SOMETHING OF AN EXPERT 340 00:22:10,135 --> 00:22:12,199 IN THE PRODUCTION OF COUNTRY WINES, 341 00:22:12,234 --> 00:22:16,267 AND THESE HAVE BEEN IN BOTTLE FOR A CONSIDERABLE NUMBER OF YEARS. 342 00:22:16,302 --> 00:22:20,065 THE DOWAGER LADY URSULA'S HOMEMADE GOOSEBERRY WINE. 343 00:22:20,100 --> 00:22:24,567 ALL RIGHT. I THINK THAT MIGHT JUST BE WITHIN OUR RANGE. 344 00:22:24,602 --> 00:22:28,901 NOW, WILL ANYBODY START ME AT �10? 345 00:22:28,936 --> 00:22:30,934 YES! 346 00:22:33,067 --> 00:22:35,100 SOLD! 347 00:22:41,467 --> 00:22:43,532 OH, RICHARD, 348 00:22:43,567 --> 00:22:47,467 IT'LL BE THE CROWNING MOMENT OF MY NEXT CANDLELIGHT SUPPER. 349 00:22:47,502 --> 00:22:49,432 WHEN I OFFER MY GUESTS 350 00:22:49,467 --> 00:22:53,400 A GLASS OF THE DOWAGER LADY URSULA'S HOMEMADE GOOSEBERRY WINE. 351 00:22:56,367 --> 00:22:58,998 DON'T DROP ANY, RICHARD. 352 00:22:59,033 --> 00:23:01,167 OH LOOK, THERE'S HIS LORDSHIP. 353 00:23:01,202 --> 00:23:04,200 HELLO, YOUR LORDSHIP! 354 00:23:04,235 --> 00:23:06,132 OH, HELLO. 355 00:23:06,167 --> 00:23:09,234 I SEE YOU BOUGHT OLD MUMSY'S DYNAMITE. 356 00:23:09,269 --> 00:23:11,232 YES. 357 00:23:11,267 --> 00:23:13,466 I'VE ALWAYS HAD AN EYE FOR QUALITY. 358 00:23:13,501 --> 00:23:16,701 ONE WAY TO RUIN YOUR EYE IS DRINKING TOO MUCH OF THAT STUFF. 359 00:23:16,736 --> 00:23:19,065 REALLY? 360 00:23:19,100 --> 00:23:21,717 AND IT'S ENTIRELY HANDMADE 361 00:23:21,752 --> 00:23:24,334 BY THE DOWAGER LADY URSULA? 362 00:23:24,369 --> 00:23:26,432 ABSOLUTELY. 363 00:23:26,467 --> 00:23:28,767 THE REST OF US RAN A MILE FROM OLD MUMSY'S SCRUMPY. 364 00:23:31,167 --> 00:23:34,633 I THINK PERHAPS WE OUGHT TO BE GOING, HYACINTH. 365 00:23:34,668 --> 00:23:38,065 OH, RICHARD, NOT BEFORE WE'VE INVITED HIS LORDSHIP 366 00:23:38,100 --> 00:23:42,033 TO JOIN US IN A TOAST TO THE GOOD LADY RESPONSIBLE FOR ALL THIS. 367 00:23:42,068 --> 00:23:44,132 A TOAST TO MUMSY? - MMM. 368 00:23:44,167 --> 00:23:47,667 ONE CAN HARDLY DECLINE THAT. LET'S GO INSIDE. 369 00:23:47,702 --> 00:23:49,834 OH, HOW NICE. 370 00:23:51,367 --> 00:23:54,968 I'VE HAD A VERY INTERESTING DAY, YOUR LORDSHIP. 371 00:23:55,003 --> 00:23:57,167 THOUGH THERE WEREN'T QUITE ENOUGH 372 00:23:57,202 --> 00:24:00,434 OF OUR SORT ABOUT THE PLACE. 373 00:24:03,300 --> 00:24:06,801 STAND BY TO CRACK OPEN A BOTTLE, RICHARD. 374 00:24:12,167 --> 00:24:14,167 STANDING BY... 375 00:24:14,202 --> 00:24:16,234 TO CRACK. 376 00:24:25,167 --> 00:24:28,167 I DID WARN HER ABOUT OLD MUMSY'S DYNAMITE. 377 00:24:29,434 --> 00:24:32,000 YOU KNOW, TO TELL THE TRUTH I WOULDN'T BE SURPRISED 378 00:24:32,035 --> 00:24:34,667 IF THAT'S NOT WHAT KILLED HER. 379 00:24:34,702 --> 00:24:36,699 I'M SO SORRY. 380 00:24:36,734 --> 00:24:39,934 IT SHOULD BE ALL RIGHT ONCE WE GET HER INTO THE CAR. 381 00:24:39,969 --> 00:24:42,098 THANK YOU. 382 00:24:42,133 --> 00:24:44,632 OH, I DO HOPE, YOUR LORDSHIP, 383 00:24:44,667 --> 00:24:47,065 THAT SOMEDAY YOU'LL GIVE ME THE PLEASURE 384 00:24:47,100 --> 00:24:50,434 OF ENTERTAINING YOU AT ONE OF MY CANDLELIGHT SLIPPERS. 385 00:24:52,100 --> 00:24:55,666 WE SHALL MOST "DEFORABLY" BE HAVING A GLASS OR TWO 386 00:24:55,701 --> 00:25:00,267 OF THE DOWAGER LADY URSULA'S HOME GOOSEWADE-BERRY MINE. 387 00:25:00,302 --> 00:25:02,367 SLOW LEARNER, IS SHE? 388 00:25:04,400 --> 00:25:06,499 OH! 389 00:25:06,534 --> 00:25:10,333 WHY-WHY IS HE TYING ME UP? 390 00:25:10,368 --> 00:25:14,098 WHY IS THIS CHURL TYING ME UP? 391 00:25:14,133 --> 00:25:17,234 I'M BEING HELD A PRISONER, YOUR LORDSHIP. 392 00:25:19,200 --> 00:25:23,300 A WHITE WOMAN WEARING A HAT, WHAT IS THE WORLD COMING TO? 393 00:25:24,868 --> 00:25:27,901 UNHAND ME, VARLET! 394 00:25:30,968 --> 00:25:36,067 I AM PUTTING YOUR SEATBELT ON. 395 00:25:36,102 --> 00:25:38,866 OH, RICHARD, 396 00:25:38,901 --> 00:25:42,334 THANK HEAVENS YOU GOT HERE IN THE NICK OF TIME. 397 00:25:44,434 --> 00:25:46,399 GOODBYE. 398 00:25:46,434 --> 00:25:48,734 Hyacinth: GOODBYE. 399 00:25:54,167 --> 00:25:56,167 DON'T TURN LEFT, RICHARD, 400 00:25:56,202 --> 00:25:58,068 STRAIGHT ON! 401 00:25:58,103 --> 00:25:59,899 BUT WHY? 402 00:25:59,934 --> 00:26:02,684 I WANT TO TAKE A LITTLE GIFT TO DADDY. 403 00:26:02,719 --> 00:26:05,434 A BOTTLE OF THE DOWAGER LADY URSULA'S 404 00:26:05,469 --> 00:26:08,067 GOMEMADE WOOSEBERRY HINE. 405 00:26:09,534 --> 00:26:11,751 MIND THE PILLAR BOX! 406 00:26:11,786 --> 00:26:13,933 MINDING THE PILLAR BOX. 407 00:26:13,968 --> 00:26:18,567 * DRINK TO ME ONLY WITH THINE EYES... * 408 00:26:22,200 --> 00:26:24,033 ARE WE HERE ALREADY? 409 00:26:46,868 --> 00:26:50,065 YOU'RE SURE THAT YOU WANT TO DO THIS? 410 00:26:50,100 --> 00:26:54,801 RICHARD, I'M PERFECTLY CAPABLE OF KNOWING MY OWN MIND. 411 00:26:57,133 --> 00:26:59,199 HY-HYACINTH! 412 00:26:59,234 --> 00:27:02,634 YES, DEAR. - IT'S THIS WAY. 413 00:27:17,267 --> 00:27:19,232 SHH. 414 00:27:19,267 --> 00:27:21,867 WHAT ARE YOU DOING NOW? 415 00:27:21,902 --> 00:27:24,467 NOT A WORD, RICHARD. 416 00:27:33,267 --> 00:27:36,934 THAT'LL TEACH IT! 417 00:27:36,969 --> 00:27:38,033 WOOF! 418 00:27:56,701 --> 00:27:58,833 I DO HOPE YOU'LL ALL JOIN ME 419 00:27:58,868 --> 00:28:01,567 IN A BOTTLE OF THE DOWAGER LADY URSULA'S 420 00:28:01,602 --> 00:28:03,701 HEYMODE GEESBERRY WOONE. 421 00:28:05,601 --> 00:28:07,901 HELLO. 31122

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