Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:47,400 --> 00:00:49,499
HE'S GONE TO 35.
2
00:00:49,534 --> 00:00:52,234
WHO HAS?
- THE POSTMAN.
3
00:00:53,567 --> 00:00:58,365
THAT'S EVERY DAY THIS WEEK
HE'S BEEN TO 35.
4
00:00:58,400 --> 00:01:01,200
HE'S BOUND TO HAVE SOMETHING
FOR US THIS MORNING.
5
00:01:01,235 --> 00:01:03,367
WELL, IF HE HAS,
HE'LL DELIVER IT,
6
00:01:03,402 --> 00:01:04,998
IF NOT HE'LL GO
PAST AGAIN.
7
00:01:05,033 --> 00:01:08,232
I WON'T HAVE HIM
WALKING PAST AGAIN.
8
00:01:08,267 --> 00:01:12,334
NOT WHEN HE'S BEEN
EVERY DAY TO NUMBER 35.
9
00:01:12,369 --> 00:01:14,368
I LIKE HIM
WALKING PAST-
10
00:01:14,403 --> 00:01:16,332
ANOTHER DAY
WITHOUT A BILL.
11
00:01:16,367 --> 00:01:19,150
I FEEL QUITE FESTIVE
EVERY TIME HE WALKS PAST.
12
00:01:19,185 --> 00:01:21,934
I HAVE TO HOLD MY HEAD UP
IN THIS COMMUNITY.
13
00:01:21,969 --> 00:01:23,466
I'M LOOKED UP TO.
14
00:01:23,501 --> 00:01:27,300
WHAT ARE THEY GOING TO THINK
IF I GO THREE DAYS WITHOUT MAIL?
15
00:01:28,400 --> 00:01:31,200
IT'S PROBABLY ONLY JUNK MAIL GOING TO 35.
16
00:01:31,235 --> 00:01:33,965
RICHARD, THAT IS
NEITHER HERE NOR THERE.
17
00:01:34,000 --> 00:01:38,334
I WILL NOT HAVE MY JUNK MAIL
GOING TO OTHER PEOPLE'S HOUSES.
18
00:01:43,033 --> 00:01:45,534
ARE YOU FINISHED,
RICHARD? - I-
19
00:01:46,834 --> 00:01:49,934
I THOUGHT I'D JUST HAVE A
FEW MINUTES WITH THE PAPER.
20
00:01:49,969 --> 00:01:52,232
YES I THOUGHT
YOU'D FINISHED.
21
00:01:52,267 --> 00:01:54,132
NOT MUCH POINT
IN BEING EARLY RETIRED,
22
00:01:54,167 --> 00:01:56,968
IF YOU CAN'T FIND TIME FOR A FEW
MINUTES WITH THE MORNING PAPER.
23
00:01:57,003 --> 00:01:58,767
OFF YOU GO THEN.
24
00:02:00,901 --> 00:02:02,584
INTO YOUR GARDEN.
25
00:02:02,619 --> 00:02:04,232
NOT THE GARDEN?
26
00:02:04,267 --> 00:02:07,200
THERE MUST BE SOMETHING OUT
THERE YOU COULD BE DOING.
27
00:02:07,235 --> 00:02:08,767
NOT UNLESS YOU WANT ME
TO POLISH IT.
28
00:02:11,167 --> 00:02:13,566
I'VE OBLITERATED
EVERY WEED.
29
00:02:13,601 --> 00:02:16,151
THERE'S NO NEED TO TAKE
THAT TONE, RICHARD.
30
00:02:16,186 --> 00:02:18,210
I HOPE NOW YOU'VE
GOT ALL THIS LEISURE,
31
00:02:18,245 --> 00:02:20,689
YOU'RE NOT GOING
TO WASTE YOUR TIME
32
00:02:20,724 --> 00:02:23,133
BEING BELLIGERENT
AND ARGUMENTATIVE.
33
00:02:27,567 --> 00:02:29,165
"LEISURE."
34
00:02:29,200 --> 00:02:32,067
"ALL THIS LEISURE."
35
00:02:38,567 --> 00:02:39,632
MORNING, RICHARD.
36
00:02:39,667 --> 00:02:41,901
JUST OFF TO WORK, EMMET?
37
00:02:41,936 --> 00:02:43,399
'FRAID SO.
38
00:02:43,434 --> 00:02:46,400
IT'S ALL RIGHT FOR SOME,
LUCKY OLD DOG.
39
00:02:55,000 --> 00:02:58,801
* TIME ON MY HANDS... *
40
00:03:03,601 --> 00:03:06,767
I'M SORRY, RICHARD.
I WASN'T THINKING.
41
00:03:06,802 --> 00:03:08,601
IT'S NOT
ALL RIGHT, IS IT?
42
00:03:08,636 --> 00:03:11,399
OH, IT'S NOT SO BAD.
43
00:03:11,434 --> 00:03:14,300
I THINK THAT'S THE BRAVEST
THING I'VE EVER HEARD.
44
00:03:23,501 --> 00:03:26,467
ELIZABETH,
IT'S HYACINTH, DEAR.
45
00:03:29,033 --> 00:03:31,000
I JUST WANT TO REMIND YOU
WHAT DAY IT IS.
46
00:03:32,200 --> 00:03:33,699
WHAT DAY IS IT?
47
00:03:33,734 --> 00:03:37,434
WELL, IT'S THE DAY
THAT MRS. COUNCILOR NUGENT
48
00:03:37,469 --> 00:03:39,334
IS COMING
FOR AFTERNOON TEA.
49
00:03:39,369 --> 00:03:41,200
YOU REMEMBER, DEAR,
I TOLD YOU.
50
00:03:43,634 --> 00:03:47,100
SHE'S ON THE COMMITTEE
FOR SAVING SOMETHING.
51
00:03:47,135 --> 00:03:50,267
WHALES WAS IT?
OR COULD IT BE ENGLAND?
52
00:03:52,400 --> 00:03:55,132
ANYWAY, IT'S NOT
IMPORTANT DEAR.
53
00:03:55,167 --> 00:03:57,998
WHAT IS IMPORTANT IS
THAT I RATHER SUSPECT
54
00:03:58,033 --> 00:04:01,334
SHE'S GOING TO INVITE ME TO
SERVE WITH HER ON HER COMMITTEE,
55
00:04:01,369 --> 00:04:03,718
AND I'D LIKE YOU
TO BE HERE, DEAR.
56
00:04:03,753 --> 00:04:06,067
THAT'S VERY KIND OF YOU,
HYACINTH,
57
00:04:06,102 --> 00:04:07,499
BUT WHY DO YOU
NEED ME THERE?
58
00:04:07,534 --> 00:04:11,067
YOU COULD MAKE HER AWARE OF
THE LITTLE THINGS THAT MATTER.
59
00:04:11,102 --> 00:04:13,965
YOU KNOW, DETAILS
THAT WILL CONVINCE HER
60
00:04:14,000 --> 00:04:17,601
THAT I'M JUST THE SORT OF
PERSON SHE'S LOOKING FOR.
61
00:04:17,636 --> 00:04:19,165
DON'T OVERDO IT,
OF COURSE.
62
00:04:19,200 --> 00:04:21,167
I'M A GREAT BELIEVER
IN SUBTLETY, AS YOU KNOW.
63
00:04:24,200 --> 00:04:26,799
WELL, I'LL JUST HOVER
IN THE BACKGROUND.
64
00:04:26,834 --> 00:04:30,767
BUT YOU COULD PERHAPS DRAW HER
ATTENTION TO MY ROYAL DOULTON
65
00:04:30,802 --> 00:04:32,834
WITH THE HAND PAINTED
PERIWINKLES.
66
00:04:34,067 --> 00:04:36,784
OH, NOT YOUR PERIWINKLES,
HYACINTH.
67
00:04:36,819 --> 00:04:39,501
DON'T LET ME NEAR
YOUR ROYAL DOULTON.
68
00:04:39,536 --> 00:04:40,965
I'LL TELL YOU WHAT,
69
00:04:41,000 --> 00:04:44,033
I'LL STAY IN THE KITCHEN WITH
A BEAKER WHILE YOU TWO TALK.
70
00:04:44,068 --> 00:04:46,566
NO, NO, NO, DEAR.
I WOULDN'T HEAR OF IT.
71
00:04:46,601 --> 00:04:49,868
YOU'LL BE QUITE SAFE WITH
MY PERIWINKLES. GOODBYE.
72
00:04:51,934 --> 00:04:55,167
ONLY IF I TIED
MY HANDS BEHIND MY BACK.
73
00:05:05,200 --> 00:05:08,601
I'M WORRIED.
- ABOUT NOT GETTING UP?
74
00:05:11,868 --> 00:05:14,734
NO, I'M NOT WORRIED
ABOUT NOT GETTING UP.
75
00:05:14,769 --> 00:05:17,332
I ADMIRE YOU, ONSLOW,
76
00:05:17,367 --> 00:05:21,383
YOU CAN REALLY HANDLE THE
STRESS OF NOT GETTING UP.
77
00:05:21,418 --> 00:05:25,400
I HAD A TERRIBLE NIGHT.
- I KNOW. I WAS THERE.
78
00:05:26,601 --> 00:05:28,732
I KEPT THINKING
ABOUT RICHARD,
79
00:05:28,767 --> 00:05:31,717
ALONE IN THAT HOUSE
WITH YOUR HYACINTH.
80
00:05:31,752 --> 00:05:34,667
WELL, HE MUST BE
USED TO IT BY NOW.
81
00:05:34,702 --> 00:05:36,899
NOT DAY AND NIGHT.
82
00:05:36,934 --> 00:05:39,098
HE USED TO HAVE
TO GO TO WORK.
83
00:05:39,133 --> 00:05:42,000
NOW THE POOR DEVIL'S
GOT HER DAY AND NIGHT.
84
00:05:43,033 --> 00:05:45,701
OH, COME ON,
SHE'S NOT THAT BAD.
85
00:05:45,736 --> 00:05:48,735
HOW CAN YOU LIE LIKE THAT?
86
00:05:48,770 --> 00:05:51,734
BECAUSE SHE'S MY SISTER.
87
00:05:52,868 --> 00:05:56,866
THAT POOR TRAPPED
HUMAN BEING.
88
00:05:56,901 --> 00:05:59,834
I'M GOING TO HAVE TO DO
SOMETHING ABOUT RICHARD.
89
00:05:59,869 --> 00:06:02,167
GOOD, IT'S TIME
YOU WERE UP.
90
00:06:03,234 --> 00:06:05,133
ANY MORE TEA?
91
00:06:07,334 --> 00:06:09,399
AND A BACON BUTTIE
WOULD BE NICE.
92
00:06:09,434 --> 00:06:12,667
HELPING PEOPLE
REALLY GIVES YOU AN APPETITE.
93
00:06:33,801 --> 00:06:36,200
RICHARD!
94
00:06:37,367 --> 00:06:39,098
WHAT ARE YOU DOING, DEAR?
95
00:06:39,133 --> 00:06:41,234
WAITING FOR SOMETHING
TO GROW OUT OF PLACE.
96
00:06:41,269 --> 00:06:43,165
SOON AS IT MOVES,
I'LL HAVE IT.
97
00:06:43,200 --> 00:06:46,634
I HOPE YOU WON'T BE GOING
THROUGH THIS KIND OF PERFORMANCE
98
00:06:46,669 --> 00:06:48,801
WHEN MRS. COUNCILOR
NUGENT COMES.
99
00:06:49,801 --> 00:06:54,199
CAN'T YOU FIND
SOMETHING MORE ACTIVE?
100
00:06:54,234 --> 00:06:57,601
I'VE BEEN THINKING ABOUT THAT.
NOW I'VE GOT ALL THIS TIME,
101
00:06:57,636 --> 00:07:01,400
I THOUGHT I MIGHT SAIL
ROUND THE WORLD SINGLE-HANDED.
102
00:07:01,435 --> 00:07:05,400
OH, RICHARD!
WHO'D DO ALL YOUR WASHING?
103
00:07:06,567 --> 00:07:07,866
I'D DO MY OWN.
104
00:07:07,901 --> 00:07:10,517
THEN WHO'D BE STEERING
THE BOAT, DEAR?
105
00:07:10,552 --> 00:07:13,133
THEY HAVE AUTOMATIC
STEERING THINGS.
106
00:07:13,168 --> 00:07:17,367
THAT'S MUCH EASIER.
107
00:07:19,567 --> 00:07:22,834
WHAT YOU NEED
IS A SENSIBLE HOBBY.
108
00:07:22,869 --> 00:07:24,901
FOLLOW ME.
109
00:07:26,667 --> 00:07:28,265
"FOLLOW ME."
110
00:07:28,300 --> 00:07:31,601
THAT'S NOT A HOBBY, IT'S
A FULL-TIME OCCUPATION.
111
00:07:36,367 --> 00:07:37,833
NOW...
112
00:07:37,868 --> 00:07:41,100
STAND THERE
TILL I RETURN.
113
00:07:41,135 --> 00:07:42,466
WHERE ARE YOU GOING?
114
00:07:42,501 --> 00:07:44,901
I'LL BE BACK IN A MOMENT.
JUST STAND THERE.
115
00:07:44,936 --> 00:07:46,299
UNTIL WHEN?
116
00:07:46,334 --> 00:07:48,933
UNTIL I COME BACK
117
00:07:48,968 --> 00:07:51,466
AND PRESENT YOU
WITH YOUR HOBBY.
118
00:07:51,501 --> 00:07:55,133
I HAVEN'T GOT A HOBBY.
- YOU HAVE NOW.
119
00:07:56,968 --> 00:07:58,566
I PROBABLY COULD.
120
00:07:58,601 --> 00:08:02,067
I PROBABLY COULD SAIL ROUND
THE WORLD SINGLE-HANDED.
121
00:08:02,102 --> 00:08:05,334
ALL ALONE IN THE MIDDLE
OF A VAST OCEAN.
122
00:08:05,369 --> 00:08:07,334
MUST BE HEAVEN.
123
00:08:08,601 --> 00:08:12,067
SHE'S RIGHT ABOUT
THE SHIRTS THOUGH.
124
00:08:14,300 --> 00:08:15,899
DON'T MOVE, RICHARD.
125
00:08:15,934 --> 00:08:18,000
STAY WHERE YOU ARE, DEAR.
I HAVEN'T FORGOTTEN YOU.
126
00:08:20,033 --> 00:08:21,566
OR I COULD BUY
A BICYCLE,
127
00:08:21,601 --> 00:08:25,667
GO FROM LAND'S END TO
JOHN O' GROATS BY BICYCLE.
128
00:08:25,702 --> 00:08:28,801
SAME OLD PROBLEM.
WHO DOES YOUR WASHING?
129
00:08:31,234 --> 00:08:32,732
CLOSE YOUR EYES.
130
00:08:32,767 --> 00:08:36,667
OH, IS THAT IT? CLOSING MY
EYES? IS THAT GONNA BE MY HOBBY?
131
00:08:36,702 --> 00:08:39,518
RICHARD, I AM ABOUT
TO PLACE IN YOUR HANDS
132
00:08:39,553 --> 00:08:42,334
SOMETHING WHICH COULD
CHANGE YOUR LIFE.
133
00:08:43,367 --> 00:08:44,667
MY OWN KEY?
134
00:08:47,801 --> 00:08:49,817
DON'T BE SILLY, RICHARD.
135
00:08:49,852 --> 00:08:51,834
NOW CLOSE YOUR EYES, DEAR.
136
00:08:56,734 --> 00:08:59,265
OHHH!
WHAT IS IT?
137
00:08:59,300 --> 00:09:01,534
IT'S YOUR
RETIREMENT GIFT.
138
00:09:01,569 --> 00:09:03,918
THERE IS YOUR HOBBY.
139
00:09:03,953 --> 00:09:06,232
THE VIDEO CAMERA.
140
00:09:06,267 --> 00:09:07,984
THEY GAVE IT TO YOU
WHEN YOU LEFT,
141
00:09:08,019 --> 00:09:09,666
AND YOU'VE NEVER
BOTHERED WITH IT.
142
00:09:09,701 --> 00:09:12,534
I SUPPOSE I WAS SAVING IT UNTIL
SOMETHING INTERESTING HAPPENED.
143
00:09:12,569 --> 00:09:15,968
OFF YOU GO THEN, DEAR, AND
FILM SOMETHING INTERESTING.
144
00:09:16,003 --> 00:09:20,167
BE ARTISTIC. I'M ARTISTIC.
SHERIDAN'S ARTISTIC.
145
00:09:20,202 --> 00:09:22,200
I'M NOT BEING
THAT ARTISTIC.
146
00:09:24,801 --> 00:09:28,133
OH! THAT'S PROBABLY
SOMEBODY IMPORTANT.
147
00:09:30,400 --> 00:09:34,667
THE "BOUQUET" RESIDENCE,
THE LADY OF THE HOUSE SPEAKING.
148
00:09:34,702 --> 00:09:37,365
SHERIDAN!
149
00:09:37,400 --> 00:09:40,998
HOW UNCANNY OF YOU
TO CALL MUMMY
150
00:09:41,033 --> 00:09:43,533
JUST AS WE WERE
TALKING OF YOU, DEAR.
151
00:09:43,568 --> 00:09:46,033
WHAT A DEEP
PSYCHIC BOND WE HAVE.
152
00:09:46,068 --> 00:09:47,632
IT'S ALMOST
FRIGHTENING.
153
00:09:47,667 --> 00:09:50,300
IF HE WANTS MONEY AGAIN,
IT'S TERRIFYING.
154
00:09:50,335 --> 00:09:51,501
RICHARD!
155
00:09:52,934 --> 00:09:56,834
I'M SO GLAD
YOU TELEPHONED, SHERIDAN.
156
00:09:56,869 --> 00:09:59,098
I'VE BEEN
MEANING TO ASK, DEAR,
157
00:09:59,133 --> 00:10:02,133
ARE YOU STILL WEARING
YOUR KNEE BANDAGE?
158
00:10:02,168 --> 00:10:03,799
AHH!
159
00:10:03,834 --> 00:10:07,000
WHY SHOULD PEOPLE LAUGH
AT YOU IN A KNEE BANDAGE?
160
00:10:07,035 --> 00:10:09,965
I'VE NEVER LAUGHED AT YOU
IN A KNEE BANDAGE.
161
00:10:10,000 --> 00:10:14,334
I'VE ALWAYS THOUGHT YOU LOOKED
LIKE MUMMY'S BRAVE LITTLE SOLDIER.
162
00:10:14,369 --> 00:10:16,232
WELL, PERHAPS
NOT SOLDIER, DEAR.
163
00:10:16,267 --> 00:10:19,901
MORE LIKE MUMMY'S BRAVE LITTLE
POET OR INTERIOR DESIGNER.
164
00:10:22,534 --> 00:10:26,133
AND NOW DADDY'S
BECOMING ARTISTIC, TOO. YES.
165
00:10:26,168 --> 00:10:28,499
AFTER ALL THESE YEARS.
166
00:10:28,534 --> 00:10:30,434
YES, HE'S TAKEN UP
FILMING.
167
00:10:31,434 --> 00:10:32,666
MMM.
168
00:10:32,701 --> 00:10:36,232
IT'S VERY EXCITING.
GETS HIM OUT OF THE HOUSE.
169
00:10:36,267 --> 00:10:40,100
YES, I THOUGHT YOU'D
BE INTERESTED.
170
00:10:42,100 --> 00:10:44,799
YES, OF COURSE
IT ALL STARTED
171
00:10:44,834 --> 00:10:49,200
WHEN HE WAS PRESENTED WITH A
VIDEO CAMERA FOR HIS RETIREMENT.
172
00:10:49,235 --> 00:10:53,201
YES. NOT QUITE THE ACCOLADE
HE DESERVES, OF COURSE.
173
00:10:53,236 --> 00:10:57,132
NO, HE'S NOT DOING IT
PROFESSIONALLY YET, DEAR.
174
00:10:57,167 --> 00:11:01,334
I WOULD SAY AT THE MOMENT
HE'S SIMPLY A GIFTED AMATEUR.
175
00:11:03,100 --> 00:11:07,132
WELL, IT COULD
LEAD TO THAT. YES.
176
00:11:07,167 --> 00:11:10,167
NO, I SEE NO HARM
IN YOU TELLING YOUR FRIENDS
177
00:11:10,202 --> 00:11:12,767
THAT DADDY
IS A FILMMAKER.
178
00:11:14,434 --> 00:11:17,467
WELL, IT'S-
IT'S PERFECTLY TRUE.
179
00:11:17,502 --> 00:11:20,201
SO TELL DADDY
WHAT DEAR?
180
00:11:20,236 --> 00:11:22,866
OH, YES, I CAN SEE THAT.
181
00:11:22,901 --> 00:11:26,432
YES, IF THEY THINK
THAT DADDY IS A FILMMAKER,
182
00:11:26,467 --> 00:11:29,400
THEN OF COURSE WE SHALL PROBABLY
HAVE TO INCREASE YOUR ALLOWANCE.
183
00:11:37,000 --> 00:11:38,965
NOW, RICHARD,
184
00:11:39,000 --> 00:11:40,599
WHAT I WANT YOU
TO DO
185
00:11:40,634 --> 00:11:43,534
IS FILM SOMETHING
BRILLIANTLY FOR A BEGINNER.
186
00:11:43,569 --> 00:11:45,632
AND THEN COME BACK
AND SHOW IT TO US
187
00:11:45,667 --> 00:11:47,799
WHILE COUNCILOR
MRS. NUGENT'S STILL HERE.
188
00:11:47,834 --> 00:11:51,000
I CAN'T JUST GO POINTING A
CAMERA AT COMPLETE STRANGERS.
189
00:11:51,035 --> 00:11:53,051
OF COURSE YOU CAN.
190
00:11:53,086 --> 00:11:55,032
THEY'LL BE DELIGHTED.
191
00:11:55,067 --> 00:11:57,667
THEY'LL THINK YOU'RE
SOMETHING FROM THE BBC.
192
00:11:57,702 --> 00:11:59,965
OOH, JUST A MINUTE.
193
00:12:00,000 --> 00:12:04,534
WELL, MAYBE THIS IS
HOW ALFRED HITCHCOCK BEGAN.
194
00:12:06,734 --> 00:12:09,801
OH, IS THIS REALLY
NECESSARY?
195
00:12:09,836 --> 00:12:11,734
TRUST ME.
196
00:12:13,100 --> 00:12:15,833
NOW YOU LOOK THE PART.
197
00:12:15,868 --> 00:12:17,968
NOW, I WANT YOU
TO BRING ME BACK
198
00:12:18,003 --> 00:12:20,018
SOME LITTLE HUMAN CAMEO,
199
00:12:20,053 --> 00:12:22,076
SOMETHING UPLIFTING.
200
00:12:22,111 --> 00:12:24,100
OFF YOU GO, DEAR.
201
00:12:26,534 --> 00:12:29,801
NOTHING VIOLENT, OF COURSE,
OR DISTASTEFUL.
202
00:12:29,836 --> 00:12:32,301
REMEMBER, YOU'RE NOT
CHANNEL FOUR.
203
00:12:32,336 --> 00:12:34,767
I STILL SAY
I CAN'T GO POKING A CAMERA
204
00:12:34,802 --> 00:12:37,133
INTO OTHER PEOPLE'S AFFAIRS.
205
00:12:37,168 --> 00:12:39,466
THEN BE A SHADOW.
206
00:12:39,501 --> 00:12:42,232
THE PHANTOM FILMMAKER.
207
00:12:42,267 --> 00:12:45,734
DO IT FROM A PLACE
OF CONCEALMENT.
208
00:12:47,000 --> 00:12:48,499
SEE?
209
00:12:48,534 --> 00:12:51,734
OH, IT WILL BE FROM A PLACE
OF CONCEALMENT,
210
00:12:51,769 --> 00:12:53,734
YOU CAN RELY ON THAT.
211
00:13:05,534 --> 00:13:07,934
HE SAID HE'D RING.
212
00:13:07,969 --> 00:13:10,368
HE SWORE HE'D RING.
213
00:13:10,403 --> 00:13:12,767
WELL, SEE IF I CARE.
214
00:13:15,167 --> 00:13:18,867
HAVE YOU NOTICED HOW SOME
DAYS YOU JUST GET WASHED OVER
215
00:13:18,902 --> 00:13:22,567
BY THIS SENSE OF COSMIC
EMPTINESS AND LACK OF MEANING?
216
00:13:25,334 --> 00:13:29,232
HAS HE RUN OUT
OF BEER, AGAIN?
217
00:13:29,267 --> 00:13:33,399
IT'S NOT THE BEER. I JUST CAN'T
SETTLE MY MIND TO ANYTHING.
218
00:13:33,434 --> 00:13:37,133
THAT'S WHAT THEY ALWAYS SAY ABOUT
YOU DOWN THE SOCIAL SECURITY.
219
00:13:38,734 --> 00:13:42,000
WHY CAN'T YOU SETTLE
YOUR MIND TO ANYTHING?
220
00:13:42,035 --> 00:13:45,267
I KEEP THINKING
ABOUT POOR OLD RICHARD...
221
00:13:45,302 --> 00:13:47,834
WITH YOUR HYACINTH
DAY AND NIGHT.
222
00:13:47,869 --> 00:13:50,666
THEY COULD GET
TWIN BEDS.
223
00:13:50,701 --> 00:13:52,934
I'D HAVE HAD THEM
FROM DAY ONE.
224
00:13:53,968 --> 00:13:56,532
YOU THINK
YOU'RE HARD DONE BY,
225
00:13:56,567 --> 00:13:59,868
AND THEN YOU HEAR
ABOUT SOME OTHER POOR DEVIL.
226
00:13:59,903 --> 00:14:02,935
IT MUST
MAKE YOU REALIZE
227
00:14:02,970 --> 00:14:05,933
JUST HOW FORTUNATE
YOU ARE.
228
00:14:05,968 --> 00:14:08,200
I'M GOING TO SEE
IF RICHARD'S ALL RIGHT.
229
00:14:09,234 --> 00:14:11,434
YOU CAN GIVE ME
A LIFT.
230
00:14:17,634 --> 00:14:21,133
I WONDER IF PEOPLE REALIZE
HOW EXPENSIVE YOU WERE.
231
00:14:22,200 --> 00:14:25,033
IT SOMETIMES
WORRIES ME.
232
00:14:25,068 --> 00:14:27,365
I STAND YOU THERE
233
00:14:27,400 --> 00:14:32,200
AND STILL THERE ARE PEOPLE WHO
HAVE NO IDEA HOW EXPENSIVE YOU WERE.
234
00:14:39,834 --> 00:14:41,167
NO.
235
00:14:48,334 --> 00:14:49,868
AH!
236
00:14:54,033 --> 00:14:57,450
IS THAT YOU ELIZABETH?
237
00:14:57,485 --> 00:15:00,868
IT'S OPEN, DEAR.
COME IN.
238
00:15:12,634 --> 00:15:15,199
OH!
- OH! I'M SORRY. AM I EARLY?
239
00:15:15,234 --> 00:15:19,701
NO, I WANTED YOU TO COME BEFORE
MRS. COUNCILOR NUGENT ARRIVES.
240
00:15:19,736 --> 00:15:23,234
I WANTED US TO HAVE TIME
TO PREPARE OUR PLANS.
241
00:15:23,269 --> 00:15:24,265
PLANS?
242
00:15:24,300 --> 00:15:26,400
FOR GETTING ME
ON THE COMMITTEE.
243
00:15:31,234 --> 00:15:33,334
ARE YOU WEARING THAT DEAR?
244
00:15:34,901 --> 00:15:36,566
WHAT'S WRONG WITH IT?
245
00:15:36,601 --> 00:15:40,868
OH, NOTHING DEAR. NO,
I'M SURE IT'S... CHARMING.
246
00:15:43,200 --> 00:15:44,799
I CAN CHANGE
IF YOU LIKE.
247
00:15:44,834 --> 00:15:48,901
NO, NO, NO. I WOULDN'T DREAM
OF ASKING YOU TO DO THAT.
248
00:15:48,936 --> 00:15:51,901
NO, I'M SURE
IT LOOKS PERFECT.
249
00:15:53,067 --> 00:15:55,667
HOW LONG WOULD IT
TAKE YOU TO CHANGE?
250
00:15:56,701 --> 00:15:58,434
TWO MINUTES.
251
00:15:59,767 --> 00:16:03,701
NO, YOU'RE FINE.
I'M GETTING USED TO IT.
252
00:16:04,734 --> 00:16:06,734
OH, EXCUSE ME,
I MUST ANSWER THAT.
253
00:16:06,769 --> 00:16:08,734
IT'S PROBABLY
SOMEBODY IMPORTANT.
254
00:16:10,434 --> 00:16:13,434
THE "BOUQUET" RESIDENCE. THE
LADY OF THE HOUSE SPEAKING.
255
00:16:13,469 --> 00:16:16,085
OH, IT'S YOU VIOLET.
256
00:16:16,120 --> 00:16:18,143
IT'S MY SISTER VIOLET.
257
00:16:18,178 --> 00:16:20,132
YOU REMEMBER VIOLET?
258
00:16:20,167 --> 00:16:22,767
THE ONE WITH THE MERCEDES
AND THE JACUZZI-
259
00:16:22,802 --> 00:16:26,199
AND ROOM FOR A PONY.
260
00:16:26,234 --> 00:16:28,767
THOUGH NOT IN THE JACUZZI,
OF COURSE.
261
00:16:30,300 --> 00:16:35,734
VIOLET YOU SOUND EXCITED, DEAR.
HOW ARE YOU? YES.
262
00:16:35,769 --> 00:16:38,065
BRUCE HAS WHAT?
263
00:16:38,100 --> 00:16:41,334
TAKEN UP
SYNCHRONIZED SWIMMING?
264
00:16:41,369 --> 00:16:43,585
YES, VERY HEALTHY.
MMM.
265
00:16:43,620 --> 00:16:46,677
HE WANTS TO DO WHAT, DEAR?
266
00:16:46,712 --> 00:16:49,699
BORROW A FLORAL BIKINI?
267
00:16:49,734 --> 00:16:51,866
OH, DEAR.
YOU KNOW PERFECTLY WELL
268
00:16:51,901 --> 00:16:55,033
I HAVE NO SUCH GARMENT
IN MY WARDROBE. LOOK...
269
00:16:57,133 --> 00:16:59,899
NO, IT'S TOTALLY
OUT OF THE QUESTION.
270
00:16:59,934 --> 00:17:05,334
NO, DEAR. I'VE NEVER HEARD OF
ANYTHING SO RIDICULOUS IN ALL MY LIFE.
271
00:17:09,200 --> 00:17:14,998
UP, ONE, TWO.
DOWN, ONE, TWO.
272
00:17:15,033 --> 00:17:17,400
IT'S AN EXERCISE, YOU KNOW?
FOR THE HIPS.
273
00:17:17,435 --> 00:17:19,200
VERY GOOD.
OHHH!
274
00:17:25,200 --> 00:17:26,801
CLOSE THE DOOR, DEAR,
WILL YOU?
275
00:17:26,836 --> 00:17:27,868
THERE'S A DRAFT.
276
00:17:29,767 --> 00:17:32,767
NO, I WILL NOT GO
WITH HIM TO A FITTING.
277
00:18:11,067 --> 00:18:12,968
RICHARD?
278
00:18:15,934 --> 00:18:17,566
HELLO, EMMET.
279
00:18:17,601 --> 00:18:19,132
I THOUGHT IT WAS YOU.
280
00:18:19,167 --> 00:18:22,834
I'M GLAD IT STILL LOOKS LIKE
ME. I DON'T FEEL LIKE ME.
281
00:18:22,869 --> 00:18:23,968
ISN'T IT A BIT HOT
IN THERE?
282
00:18:24,003 --> 00:18:27,232
SWELTERING. OH!
283
00:18:27,267 --> 00:18:29,566
WHAT ON EARTH
ARE YOU DOING?
284
00:18:29,601 --> 00:18:32,284
FILMING. HYACINTH
DISCOVERED A HOBBY FOR ME.
285
00:18:32,319 --> 00:18:34,968
I DAREN'T GO HOME WITHOUT
DOING SOME FILMING.
286
00:18:35,003 --> 00:18:36,666
SHE WANTS TO SEE
THE RESULTS.
287
00:18:36,701 --> 00:18:40,300
IT'S A NICE CAMERA.
- IS IT? I SCARCELY KNOW THE RIGHT END.
288
00:18:40,335 --> 00:18:42,734
WHY DIDN'T YOU TRY
THE PARK, RICHARD?
289
00:18:42,769 --> 00:18:44,199
WHAT FOR?
290
00:18:44,234 --> 00:18:46,234
THERE ARE BETTER PLACES
TO HIDE IN THE PARK
291
00:18:46,269 --> 00:18:47,632
WHILST YOU'RE FILMING.
292
00:18:47,667 --> 00:18:50,600
OH, I MIGHT JUST DO THAT.
I COULD DO THE DUCKS.
293
00:18:50,635 --> 00:18:53,534
NOW I'VE GOT A FEELING
THAT I COULD DO DUCKS.
294
00:18:55,968 --> 00:19:02,300
I THINK THE BEST PLACE FOR
YOU TO SIT IS THERE. WOOPS!
295
00:19:02,335 --> 00:19:04,165
YES, THAT'S RIGHT.
THERE.
296
00:19:04,200 --> 00:19:08,033
DON'T LEAN TOO CLOSE TO MY
EXPENSIVE PIECE OF PORCELAIN.
297
00:19:08,068 --> 00:19:10,332
THERE, THERE, THERE.
298
00:19:10,367 --> 00:19:15,265
VERY FEW PEOPLE REALIZE
HOW EXPENSIVE THAT WAS.
299
00:19:15,300 --> 00:19:17,901
PERHAPS YOU'D LIKE TO DROP
A HINT TO MRS. COUNCILOR NUGENT
300
00:19:17,936 --> 00:19:19,299
WHILE I'M OUT OF THE ROOM.
301
00:19:19,334 --> 00:19:21,732
YOU'RE GOING OUT OF THE ROOM?
- OF COURSE.
302
00:19:21,767 --> 00:19:24,434
YOU'RE GOING TO LEAVE ME ALONE
WITH MRS. COUNCILOR NUGENT?
303
00:19:24,469 --> 00:19:28,000
ONLY FOR A MOMENT, DEAR,
WHILE I MAKE THE TEA.
304
00:19:28,035 --> 00:19:30,367
I'LL MAKE THE TEA.
- NO, NO, NO.
305
00:19:30,402 --> 00:19:33,699
OH, BE CAREFUL!
306
00:19:33,734 --> 00:19:36,766
NO, WHAT I WANT YOU TO DO
IS TAKE THE OPPORTUNITY
307
00:19:36,801 --> 00:19:41,265
OF INSERTING AN IDEA INTO
MRS. COUNCILOR NUGENT'S MIND.
308
00:19:41,300 --> 00:19:45,500
I'LL GET IT WRONG.
- YOU WON'T GET IT WRONG, DEAR, YOU CAN'T.
309
00:19:45,535 --> 00:19:49,518
ALL YOU HAVE TO DO IS OFFER
MY SERVICES TO HER COMMITTEE.
310
00:19:49,553 --> 00:19:53,466
TELL HER THAT YOU THINK I
COULD BE PERSUADED TO SERVE.
311
00:19:53,501 --> 00:19:56,968
WHY DON'T YOU TELL HER?
- OH NO, DEAR, I COULDN'T DO THAT.
312
00:19:59,934 --> 00:20:03,767
THERE SHE IS-
RIGHT ON TIME.
313
00:20:03,802 --> 00:20:07,065
DOESN'T BREEDING TELL?
314
00:20:07,100 --> 00:20:10,801
I SHALL LET HER IN WHILE
YOU PRACTICE YOUR SPEECH.
315
00:20:12,000 --> 00:20:14,567
AND DON'T FORGET
TO MENTION MY ORNAMENT.
316
00:20:27,267 --> 00:20:31,801
OH, ONSLOW. WHAT A PLEASANT SURPRISE.
317
00:20:31,836 --> 00:20:33,299
OH, AND THE OLD CAR.
318
00:20:33,334 --> 00:20:37,067
ISN'T IT AMAZING HOW IT
KEEPS GOING AND COMING?
319
00:20:37,102 --> 00:20:39,599
AND ROSE THERE.
WELL, WELL, WELL.
320
00:20:39,634 --> 00:20:42,968
WELL, ONSLOW, IS THERE
ANYTHING I CAN DO FOR YOU?
321
00:20:43,003 --> 00:20:45,065
LEND YOU A PULLOVER
FOR EXAMPLE?
322
00:20:45,100 --> 00:20:48,634
I CAN'T DO WITH BEING BUNDLED
UP WITH TOO MANY CLOTHES.
323
00:20:48,669 --> 00:20:51,901
YOU DON'T SEEM TO BE
IN ANY IMMEDIATE DANGER.
324
00:20:53,067 --> 00:20:54,817
I JUST WANTED A WORD
WITH RICHARD.
325
00:20:54,852 --> 00:20:57,442
RICHARD! OH NO,
YOU'RE TOO LATE.
326
00:20:57,477 --> 00:21:00,033
NO, YOU'RE TOO LATE.
HE'S GONE OFF.
327
00:21:00,068 --> 00:21:01,965
HE'S GONE OFF
TO MAKE A FILM.
328
00:21:02,000 --> 00:21:04,767
A FILM?
- MMM, YOU MAY WELL LOOK SURPRISED.
329
00:21:04,802 --> 00:21:06,718
RICHARD'S BECOME
VERY ARTISTIC.
330
00:21:06,753 --> 00:21:08,599
HE'S ALL RIGHT THEN?
- ALL RIGHT?
331
00:21:08,634 --> 00:21:11,601
I MEAN, HE'S BEARING UP IN A
REASONABLE MENTAL FRAME OF MIND?
332
00:21:11,636 --> 00:21:14,567
HE'S FINE. WHY SHOULDN'T HE BE?
- OH, NO REASON.
333
00:21:14,602 --> 00:21:17,132
I WOULD INVITE YOU
TO STOP,
334
00:21:17,167 --> 00:21:21,133
ONLY I'M EXPECTING A VERY
IMPORTANT PERSON UPON THE HOUR.
335
00:21:21,168 --> 00:21:24,650
I'LL POP IN AGAIN SOMETIME,
WHEN RICHARD'S IN.
336
00:21:24,685 --> 00:21:28,133
OH GOOD! ACTUALLY HE'S
HARDLY EVER IN. GOODBYE.
337
00:21:29,234 --> 00:21:31,200
I CAN UNDERSTAND THAT.
338
00:21:33,634 --> 00:21:36,284
OH! MRS. NUGENT
NOT COMING IN?
339
00:21:36,319 --> 00:21:38,926
OF COURSE,
SHE'S COMING IN.
340
00:21:38,961 --> 00:21:41,499
OH, THAT WASN'T HER.
341
00:21:41,534 --> 00:21:43,234
THAT WAS JUST
SOMEBODY AT THE DOOR.
342
00:21:44,400 --> 00:21:46,601
WHO I'M GLAD TO SAY
HAS GONE ON HIS WAY
343
00:21:46,636 --> 00:21:48,167
BEFORE HE CLASHES
WITH MY GUEST.
344
00:21:55,200 --> 00:21:57,167
OH, NO!
345
00:22:06,000 --> 00:22:08,532
ONSLOW, MOVE THIS CAR.
346
00:22:08,567 --> 00:22:10,833
I'M TRYING TO MOVE THE CAR.
347
00:22:10,868 --> 00:22:14,234
ROSE, HOW NICE TO SEE YOU.
GET BACK IN THE CAR, DEAR.
348
00:22:14,269 --> 00:22:16,267
WHAT'S THE POINT OF
GETTING BACK IN THE CAR?
349
00:22:16,302 --> 00:22:19,300
I CAN THINK
OF SEVERAL REASONS.
350
00:22:20,667 --> 00:22:24,584
THERE'S A SHOVE.
MAYBE, IF YOU GIVE US A SHOVE.
351
00:22:24,619 --> 00:22:28,501
YOU DO THE SHOVING,
ONSLOW, I'LL SUPERVISE.
352
00:22:34,601 --> 00:22:37,501
I CAN DO IT
WHEN THERE'S NO ONE HERE.
353
00:22:37,536 --> 00:22:39,365
WHEN HYACINTH'S
NOT WATCHING,
354
00:22:39,400 --> 00:22:42,767
I CAN HANDLE ROYAL DOULTON
AS WELL AS THE NEXT PERSON.
355
00:22:42,802 --> 00:22:44,132
IT'S PERFECTLY SIMPLE.
356
00:22:44,167 --> 00:22:48,000
YOU TAKE HOLD OF IT
FIRMLY BUT GENTLY,
357
00:22:48,035 --> 00:22:50,167
YOU RAISE IT
CAREFULLY.
358
00:22:52,167 --> 00:22:54,332
SEE? IT DOESN'T
EVEN WOBBLE.
359
00:22:54,367 --> 00:22:57,267
SO WHY CAN'T I DO IT
WHEN HYACINTH'S HERE?
360
00:22:57,302 --> 00:22:58,033
ELIZABETH!
- OHH!
26977
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.
Afrikaans
Akan
Albanian
Amharic
Arabic
Armenian
Azerbaijani
Basque
Belarusian
Bemba
Bengali
Bihari
Bosnian
Breton
Bulgarian
Cambodian
Catalan
Cebuano
Cherokee
Chichewa
Chinese (Simplified)
Chinese (Traditional)
Corsican
Croatian
Czech
Danish
Esperanto
Estonian
Faroese
Finnish
Frisian
Galician
Georgian
German
Greek
Guarani
Haitian Creole
Hausa
Hawaiian
Hebrew
Hmong
Hungarian
Icelandic
Indonesian
Irish
Italian
Japanese
Kazakh
Kinyarwanda
Kirundi
Kongo
Korean
Krio (Sierra Leone)
Kurdish
Kyrgyz
Laothian
Latin
Latvian
Lithuanian
Luganda
Luo
Luxembourgish
Macedonian
Malagasy
Malay
Maltese
Maori
Mauritian Creole
Moldavian
Mongolian
Myanmar (Burmese)
Montenegrin
Nepali
Norwegian
Pashto
Persian
Polish
Portuguese (Brazil)
Portuguese (Portugal)
Quechua
Romanian
Romansh
Russian
Samoan
Scots Gaelic
Serbian
Sesotho
Setswana
Seychellois Creole
Shona
Sindhi
Sinhalese
Slovak
Slovenian
Somali
Spanish (Latin American)
Tajik
Thai
Tigrinya
Tonga
Turkish
Turkmen
Ukrainian
Uzbek
Vietnamese
Welsh
Wolof