All language subtitles for Keeping.Up.Appearances.5x06.The.Country.House.Sale.(DVD).Tishbite75

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:03,734 --> 00:00:05,868 ( theme music playing ) 2 00:00:35,434 --> 00:00:38,667 OH DEAR, OH DEAR, OH DEAR. 3 00:00:42,200 --> 00:00:44,667 RICHARD, WHAT'S THE MATTER? 4 00:00:44,667 --> 00:00:48,534 YOU KNOW WHAT'S THE MATTER. IT'S THE SALE TOMORROW. 5 00:00:48,534 --> 00:00:52,701 AH, I KNOW. I'M EXCITED TOO. 6 00:00:52,701 --> 00:00:56,300 I'M NOT EXCITED, I'M TERRIFIED. 7 00:00:56,300 --> 00:00:58,667 - HMM? - THE THOUGHT OF YOU AT A SALE. 8 00:00:58,667 --> 00:01:01,000 OH, I DO LOVE A SALE. 9 00:01:01,000 --> 00:01:03,868 ESPECIALLY THE THOUGHT OF YOU AT A COUNTRY HOUSE SALE. 10 00:01:03,868 --> 00:01:06,534 ESPECIALLY COUNTRY HOUSE SALES. 11 00:01:06,534 --> 00:01:08,601 YOU GET CARRIED AWAY. 12 00:01:08,601 --> 00:01:11,968 YOU THINK THAT BECAUSE THINGS HAVE BELONGED TO THE ARISTOCRACY, 13 00:01:11,968 --> 00:01:14,968 - THEY MUST BE WORTH TWICE AS MUCH. - THE TRUTH IS, 14 00:01:14,968 --> 00:01:18,434 I ALWAYS THINK THAT BECAUSE THINGS HAVE BELONGED TO THE ARISTOCRACY, 15 00:01:18,434 --> 00:01:20,868 THEY MUST BE WORTH TWICE AS MUCH. 16 00:01:20,868 --> 00:01:26,501 THERE YOU GO. HYACINTH, YOU MUST NOT GO BEYOND OUR LIMIT! 17 00:01:26,501 --> 00:01:29,868 SHH, RICHARD. GO TO SLEEP, DEAR. 18 00:01:29,868 --> 00:01:32,634 YOU'LL NEED ALL YOUR ENERGY FOR TOMORROW. 19 00:01:35,267 --> 00:01:37,267 ( banging ) 20 00:01:38,934 --> 00:01:41,667 WHO'S THAT AT THIS HOUR? 21 00:01:42,968 --> 00:01:45,067 HADN'T YOU BETTER GO AND FIND OUT? 22 00:01:47,033 --> 00:01:49,100 ME? 23 00:01:49,100 --> 00:01:51,767 SUPPOSE IT'S A MAD STRANGLER? 24 00:01:51,767 --> 00:01:54,534 THEY DON'T USUALLY KNOCK ON THE DOOR. 25 00:01:55,701 --> 00:01:58,000 IF IT WAS A MAD STRANGLER, 26 00:01:58,000 --> 00:02:00,167 HE'D HAVE COME THROUGH THE WINDOW, WOULDN'T HE? 27 00:02:00,167 --> 00:02:02,300 YOU'D STILL SEND ME DOWN 28 00:02:02,300 --> 00:02:04,667 EVEN IF HE DID COME THROUGH THE WINDOW. 29 00:02:04,667 --> 00:02:07,367 WHY DON'T YOU GO? 30 00:02:07,367 --> 00:02:10,501 I'M BUSY KEEPING THE BED WARM FOR YOU. 31 00:02:12,667 --> 00:02:14,868 IT'S MRS. BRADDOCK. 32 00:02:14,868 --> 00:02:17,167 OH, NOT HER AGAIN. 33 00:02:17,167 --> 00:02:19,567 WHAT DOES SHE WANT NOW? 34 00:02:19,567 --> 00:02:22,968 SAME AS LAST TIME-- SHE SAY FATHER PROMISED TO MARRY HER. 35 00:02:22,968 --> 00:02:25,100 SEND YOUR FATHER DOWN. 36 00:02:25,100 --> 00:02:27,234 THERE'S NO REASON TO KEEP THE WHOLE HOUSE AWAKE 37 00:02:27,234 --> 00:02:29,167 JUST 'CAUSE HE'S GETTING MARRIED. 38 00:02:29,167 --> 00:02:31,033 HE CAN'T STAND HER. 39 00:02:31,033 --> 00:02:32,834 WHY DID HE PROMISE TO MARRY HER? 40 00:02:32,834 --> 00:02:34,801 HE SAYS HE DIDN'T. 41 00:02:34,801 --> 00:02:38,167 HE SAID HE ONLY OFFERED HER A TEMPORARY POSITION. 42 00:02:38,167 --> 00:02:41,300 I KNOW JUST HOW SHE FEELS. 43 00:02:43,267 --> 00:02:45,167 ( humming ) 44 00:02:46,434 --> 00:02:48,834 NOW HYACINTH, REMEMBER YOU PROMISED. 45 00:02:48,834 --> 00:02:50,968 YOU WON'T GO BEYOND OUR LIMIT. 46 00:02:50,968 --> 00:02:53,100 WHAT ABOUT THE HAT, DEAR? 47 00:02:53,100 --> 00:02:57,167 YES, WE MIGHT STRETCH AS FAR AS A SECONDHAND HAT. 48 00:02:57,167 --> 00:03:00,501 WHAT DO YOU MEAN, A "SECONDHAND" HAT? 49 00:03:00,501 --> 00:03:04,234 - I BOUGHT THIS ONE NEW. - OH, THAT HAT. 50 00:03:04,234 --> 00:03:06,667 NOW RICHARD I WANT YOU TO TELL ME 51 00:03:06,667 --> 00:03:11,334 IF THIS LOOKS LIKE A "MINGLING-WITH THE-ARISTOCRACY" HAT. 52 00:03:11,334 --> 00:03:15,267 - IT'S FINE. FINE. - NO, I DON'T WANT ANY SNAP JUDGMENTS. 53 00:03:15,267 --> 00:03:17,968 PLEASE TRY TO REMEMBER 54 00:03:17,968 --> 00:03:20,601 THAT THIS WILL BE AMONG SOME VERY ARISTOCRATIC HATS. 55 00:03:20,601 --> 00:03:24,000 - IT'S FAY, FAY. - DON'T BE SILLY, DEAR. 56 00:03:24,000 --> 00:03:28,901 YES, THIS COULD EASILY BE MISTAKEN FOR AN ARISTOCRATIC HAT. 57 00:03:28,901 --> 00:03:31,667 JUST AS LONG AS YOU DON'T MISTAKE MY CHECKBOOK 58 00:03:31,667 --> 00:03:34,334 FOR AN ARISTOCRATIC CHECKBOOK. 59 00:03:36,901 --> 00:03:40,000 - YOU READY? - I THINK THEY'RE GOING OUT. 60 00:03:40,000 --> 00:03:42,868 I'D RATHER WAIT UNTIL THE COAST IS CLEAR BEFORE WE STEP OUTSIDE. 61 00:03:42,868 --> 00:03:45,801 WHY DON'T WE JUST GO BEFORE THEY COME OUT? 62 00:03:48,601 --> 00:03:51,467 WE MIGHT BUMP INTO THEM. 63 00:03:51,467 --> 00:03:54,434 SHE'LL SING AT ME. SHE'LL RUIN MY DAY. 64 00:03:54,434 --> 00:03:57,334 YOU'VE REALLY GOT A THING ABOUT HYACINTH. 65 00:03:57,334 --> 00:03:59,200 THAT'S BECAUSE SHE'S THE KIND OF PERSON 66 00:03:59,200 --> 00:04:01,300 IT IS VERY EASY TO GET A THING ABOUT. 67 00:04:01,300 --> 00:04:03,300 YOU'RE A GROWN MAN. 68 00:04:03,300 --> 00:04:06,901 AND SHE'S A GROAN A MINUTE. 69 00:04:06,901 --> 00:04:10,901 HONESTLY, EMMET. JUST LET YOUR MIND GO BLANK. 70 00:04:10,901 --> 00:04:13,767 - I DO. - OH, LIZ. LIZ. 71 00:04:13,767 --> 00:04:19,033 IT'S SO MUCH SIMPLER TO WAIT A FEW MOMENTS UNTIL THEY'VE GONE. 72 00:04:19,033 --> 00:04:21,868 THEN THEY CAN GO THEIR WAY, AND WE CAN GO OUR WAY, 73 00:04:21,868 --> 00:04:24,267 AND OUR DAY WILL BE COMPLETE. 74 00:04:24,267 --> 00:04:26,300 HOW DO YOU KNOW THEY'RE GOING OUT? 75 00:04:26,300 --> 00:04:28,267 BECAUSE RICHARD'S GOT THE CAR OUT. 76 00:04:33,601 --> 00:04:36,767 - WELL? - VERY NICE. 77 00:04:36,767 --> 00:04:39,033 "NICE," HE SAYS. 78 00:04:39,033 --> 00:04:41,033 IS THAT THE BEST YOU CAN MANAGE? 79 00:04:41,033 --> 00:04:43,801 TODAY COULD BE THE DAY 80 00:04:43,801 --> 00:04:48,701 I'M MISTAKEN FOR SOMEONE IMPORTANT. 81 00:04:48,701 --> 00:04:52,033 IF ANYBODY SHOULD MISTAKE ME FOR SOMEONE IMPORTANT, 82 00:04:52,033 --> 00:04:54,934 LET THEM THINK WHAT THEY MAY. 83 00:04:54,934 --> 00:04:58,000 AFTER ALL, IT'S ONLY AN ACCIDENT OF BIRTH 84 00:04:58,000 --> 00:05:00,400 THAT I'M NOT SOMEONE IMPORTANT. 85 00:05:00,400 --> 00:05:02,501 WELL, I AM SOMEONE IMPORTANT. 86 00:05:02,501 --> 00:05:05,467 IT'S SIMPLY AN ACCIDENT OF BIRTH 87 00:05:05,467 --> 00:05:07,968 THAT I'M NOT EVEN MORE IMPORTANT. 88 00:05:07,968 --> 00:05:12,501 EVEN... ARISTOCRATIC. 89 00:05:14,133 --> 00:05:16,901 SHE SPENDS LIKE AN ARISTOCRAT. 90 00:05:29,167 --> 00:05:32,634 WHAT ARE WE GOING TO DO ABOUT MRS. BRADDOCK? 91 00:05:32,634 --> 00:05:35,467 - IS SHE STILL HANGING ABOUT? - I HAVEN'T SEEN HER, 92 00:05:35,467 --> 00:05:37,734 BUT WHAT ARE WE GOING TO DO ABOUT HER? 93 00:05:37,734 --> 00:05:39,868 IF SHE'S GOING TO MAKE THAT RACKET EVERY NIGHT, 94 00:05:39,868 --> 00:05:42,000 YOUR FATHER'LL HAVE TO MARRY HER. 95 00:05:43,234 --> 00:05:45,367 OH, NICE. 96 00:05:45,367 --> 00:05:48,567 I HOPE YOU'RE GOING TO BE THE ONE TO BREAK IT TO OUR HYACINTH. 97 00:05:48,567 --> 00:05:50,701 FANCY HAVING TO TELL OUR HYACINTH 98 00:05:50,701 --> 00:05:54,000 FATHER'S GOT TO GET MARRIED AT HIS AGE. 99 00:05:56,334 --> 00:05:58,501 HOW COME HE DOESN'T WANT TO MARRY HER? 100 00:05:58,501 --> 00:06:00,400 HE USUALLY WANTS TO MARRY EVERYBODY. 101 00:06:00,400 --> 00:06:02,667 MRS. BRADDOCK'S HORRIBLE. 102 00:06:02,667 --> 00:06:06,167 EVERYBODY HE'S EVER BEEN INVOLVED WITH HAS BEEN HORRIBLE. 103 00:06:06,167 --> 00:06:09,467 MAYBE HE LIKES HORRIBLE. 104 00:06:09,467 --> 00:06:11,834 WELL, IT'S AMAZING HOW MANY DO. 105 00:06:11,834 --> 00:06:15,801 YOU SHOULD SEE WHAT SOME OF MY GENTLEMEN FRIENDS HAVE TO GO HOME TO. 106 00:06:17,133 --> 00:06:19,567 I COULD NEVER SETTLE FOR HORRIBLE. 107 00:06:22,701 --> 00:06:26,200 IT ALWAYS HAS TO BE STYLISH. 108 00:06:26,200 --> 00:06:29,434 THAT WAS ALL RIGHT WHEN I WAS YOUNG, DAISE, 109 00:06:29,434 --> 00:06:32,300 BUT IT CAN BE A HECK OF A STRAIN-- 110 00:06:32,300 --> 00:06:35,801 THE CONSTANT BATTLE TO REMAIN ATTRACTIVE. 111 00:06:37,667 --> 00:06:39,667 - CHA-CHA-CHA-CHA! - AHH! 112 00:06:42,100 --> 00:06:45,334 YOU SAID LEFT. YOU SAID, "GO LEFT." 113 00:06:45,334 --> 00:06:48,667 YOU PROBABLY THOUGHT I SAID LEFT WHEN I SAID RIGHT. 114 00:06:48,667 --> 00:06:51,000 WHY WOULD I DO THAT? 115 00:06:51,000 --> 00:06:54,267 BECAUSE YOU'RE IN AN ARGUMENTATIVE MOOD, DEAR. 116 00:06:54,267 --> 00:06:56,968 I NOTICED IT FIRST THING THIS MORNING. 117 00:06:56,968 --> 00:06:59,868 YOU WERE VERY OFFHAND ABOUT MY HAT. 118 00:06:59,868 --> 00:07:02,567 ANYWAY, NOW YOU HAVE THE MAP OUT, DO YOU KNOW WHERE WE ARE? 119 00:07:02,567 --> 00:07:04,701 YES. 120 00:07:04,701 --> 00:07:06,801 LOST. 121 00:07:13,267 --> 00:07:15,767 ( TV plays ) 122 00:07:19,901 --> 00:07:24,701 FATHER SAYS, "WOULD YOU MAKE SURE MRS. BRADDOCK'S NOT ABOUT?" 123 00:07:24,701 --> 00:07:27,501 HE WANTS TO GO OUT. 124 00:07:27,501 --> 00:07:30,000 AND HE DAREN'T GO OUT IF MRS. BRADDOCK'S ABOUT. 125 00:07:30,000 --> 00:07:34,300 WHY DON'T YOU GO OUT AND CHECK IF MRS. BRADDOCK'S ABOUT? 126 00:07:34,300 --> 00:07:36,634 SHE BITES. 127 00:07:36,634 --> 00:07:39,834 AND SHE LOOKS TO ME LIKE SOMEONE WHO MIGHT POSSIBLY BE SEPTIC. 128 00:07:41,667 --> 00:07:44,868 AND THAT'S JUST HER FACE. 129 00:07:44,868 --> 00:07:48,267 ONSLOW, WILL YOU GO OUT AND SEE IF MRS. BRADDOCK'S ABOUT? 130 00:07:48,267 --> 00:07:52,801 OH, NICE. DOESN'T MATTER IF SHE BITES ME AND TURNS ME SEPTIC. 131 00:07:52,801 --> 00:07:56,467 BUT SHE WON'T BITE YOU. SHE LIKES MEN. 132 00:07:56,467 --> 00:07:59,367 SHE BITES ME. SHE LIKES MEN. 133 00:08:00,567 --> 00:08:04,501 THAT WAS BEFORE I DISCOVERED BACON SARNIES. 134 00:08:06,601 --> 00:08:08,701 OH, GO ON, ONSLOW. 135 00:08:08,701 --> 00:08:10,834 I'LL HOLD YOUR BACON SARNIE FOR YOU. 136 00:08:10,834 --> 00:08:13,200 NO, YOU WON'T. 137 00:08:13,200 --> 00:08:16,234 I'VE SEEN YOU BEFORE WITH BITS OF SOME POOR BLOKE'S BACON. 138 00:08:19,367 --> 00:08:22,634 I'LL GO OUT WHEN I'VE FINISHED MY SARNIE. 139 00:08:22,634 --> 00:08:24,734 Richard: WHICH WAY THIS TIME? 140 00:08:24,734 --> 00:08:26,901 LEFT OR RIGHT? 141 00:08:26,901 --> 00:08:29,033 RIGHT. 142 00:08:40,334 --> 00:08:43,067 NO, LEFT. LEFT. 143 00:08:52,334 --> 00:08:54,801 NO, AS YOU WERE. TURN RIGHT. 144 00:09:03,734 --> 00:09:05,868 WATCH OUT FOR ANIMALS. 145 00:09:05,868 --> 00:09:08,200 WHAT ANIMALS? I CAN'T SEE ANY ANIMALS. 146 00:09:08,200 --> 00:09:11,467 THIS IS THE COUNTRYSIDE. THERE ARE ALWAYS ANIMALS. 147 00:09:11,467 --> 00:09:13,501 NEVER MIND ABOUT THE ANIMALS. 148 00:09:13,501 --> 00:09:17,601 - ARE YOU SURE THIS IS THE RIGHT WAY? - I'M QUITE SURE. 149 00:09:19,133 --> 00:09:21,367 STOP TRYING TO CONFUSE ME, RICHARD. 150 00:09:21,367 --> 00:09:24,167 I HATE IT WHEN YOU CONFUSE ME. 151 00:09:24,167 --> 00:09:26,300 MIND THE CAR. THERE'S A CAR COMING. 152 00:09:26,300 --> 00:09:28,968 I CAN SEE THE CAR COMING. 153 00:09:28,968 --> 00:09:31,234 I BELIEVE IT'S ELIZABETH AND EMMET. 154 00:09:31,234 --> 00:09:33,934 FLASH YOUR LIGHTS. 155 00:09:39,234 --> 00:09:41,400 THANK HEAVENS THEY'RE GOING THE OTHER WAY. 156 00:09:42,667 --> 00:09:45,400 I DIDN'T LIKE HYACINTH'S HAT. 157 00:09:46,868 --> 00:09:49,801 I DIDN'T LIKE ELIZABETH'S HAT. 158 00:09:49,801 --> 00:09:52,234 NEVER MIND ABOUT THE HAT. 159 00:09:52,234 --> 00:09:54,367 CAN YOU SEE WHERE WE ARE ON THE MAP? 160 00:09:54,367 --> 00:09:57,167 YES, I HAVE MY FINGER ON THE SPOT. 161 00:09:57,167 --> 00:09:59,400 WE GO ALONG HERE FOR A LITTLE WHILE, 162 00:09:59,400 --> 00:10:01,968 AND THEN WE COME TO SOME CROSSROADS. 163 00:10:05,767 --> 00:10:07,834 SHE'S NOT OUT HERE. 164 00:10:07,834 --> 00:10:09,901 WHAT ARE YOU DOING? 165 00:10:09,901 --> 00:10:12,267 GO AND SEE IF SHE'S IN THE STREET. 166 00:10:12,267 --> 00:10:15,901 STREET? NOBODY SAID ANYTHING ABOUT THE STREETS. 167 00:10:15,901 --> 00:10:18,567 ALL YOU SAID WAS GO AND SEE IF SHE WAS OUTSIDE. 168 00:10:18,567 --> 00:10:22,734 JUST GO TO THE GATE, AND LOOK BOTH WAYS. 169 00:10:22,734 --> 00:10:25,234 AND IF YOU SEE HER, TELL HER TO GO AWAY. 170 00:10:25,234 --> 00:10:29,300 OH, NICE. THE PACE OF MODERN LIFE. 171 00:10:31,868 --> 00:10:34,000 BE CAREFUL. 172 00:10:34,000 --> 00:10:37,334 HE'S NOT PARACHUTING INTO OCCUPIED FRANCE. 173 00:10:37,334 --> 00:10:39,434 I DON'T WANT HIM INJURED. 174 00:10:39,434 --> 00:10:41,567 WHY? WHAT HAVE YOU HEARD? 175 00:10:41,567 --> 00:10:43,701 HOW FIERCE IS THIS MRS. BRADDOCK? 176 00:10:43,701 --> 00:10:47,567 SHE'S NOT FIERCE. SHE JUST GETS A BIT EXCITED. 177 00:10:48,901 --> 00:10:52,000 THINK HARD. YOU REMEMBER EXCITED. 178 00:11:05,868 --> 00:11:09,567 - ALL CLEAR. - GREAT. 179 00:11:10,834 --> 00:11:13,467 OI! 180 00:11:13,467 --> 00:11:15,267 ( laughing ) 181 00:11:16,567 --> 00:11:19,000 HE PROMISED HE'D MARRY ME. 182 00:11:20,534 --> 00:11:24,400 MRS. BRADDOCK, WHAT ARE YOU DOING IN THE CAR? 183 00:11:24,400 --> 00:11:26,634 WHEN YOU'RE MY AGE, 184 00:11:26,634 --> 00:11:28,734 YOU LIKES TO SIT DOWN. 185 00:11:31,834 --> 00:11:35,334 - WHERE'S MY DOG? - RAN AWAY YELPING. 186 00:11:35,334 --> 00:11:37,400 YOU HAVEN'T BEEN BITING MY DOG? 187 00:11:37,400 --> 00:11:39,934 NEVER TOUCHED HIM. 188 00:11:39,934 --> 00:11:42,267 OH... 189 00:11:42,267 --> 00:11:45,801 HERE, GIRL! HERE, GIRL! 190 00:11:48,267 --> 00:11:50,400 COME ON, GIRL. 191 00:11:50,400 --> 00:11:53,300 COME ON, GIRL. WHERE ARE YOU? 192 00:11:57,567 --> 00:12:00,767 I'M HERE, LOVE. 193 00:12:01,934 --> 00:12:04,501 NOT YOU, MRS. BRADDOCK. 194 00:12:05,501 --> 00:12:07,634 COME ON, GIRL. 195 00:12:09,868 --> 00:12:11,934 THAT LAST SIGNPOST, 196 00:12:11,934 --> 00:12:14,033 I'M SURE IT SAID NETTLEFORD WAS THAT WAY. 197 00:12:14,033 --> 00:12:17,734 - I DIDN'T SEE IT. - I'M SURE I READ IT CORRECTLY. 198 00:12:17,734 --> 00:12:21,334 RICHARD, SHOULD YOU BE READING WHILE YOU'RE DRIVING? 199 00:12:24,033 --> 00:12:26,100 NOW, DO COME ALONG, DEAR. 200 00:12:26,100 --> 00:12:28,133 WE'LL NEVER REACH THE SALE. 201 00:12:28,133 --> 00:12:30,334 TIME IS NOT ON OUR SIDE. 202 00:12:31,367 --> 00:12:33,634 RICHARD... 203 00:12:33,634 --> 00:12:35,767 DOOR, DEAR. 204 00:12:54,267 --> 00:12:56,400 THERE YOU ARE, RICHARD. 205 00:12:56,400 --> 00:12:58,734 I TOLD YOU I'D FIND YOU THE WAY. 206 00:13:02,000 --> 00:13:03,734 ( gears grind ) 207 00:13:15,701 --> 00:13:18,467 Emmet: I'VE BEEN LOOKING FORWARD TO THIS, LIZ. 208 00:13:18,467 --> 00:13:20,934 IT'S BEEN A WHILE SINCE I'VE BEEN TO A SALE. 209 00:13:20,934 --> 00:13:25,868 TO TOP IT OFF, THERE'S THAT WONDERFUL FEELING OF PEACE AND SERENITY 210 00:13:25,868 --> 00:13:28,367 THAT COMES FROM KNOWING THAT HYACINTH 211 00:13:28,367 --> 00:13:31,267 IS TRAVELING SOMEWHERE IN THE OPPOSITE DIRECTION. 212 00:13:32,701 --> 00:13:35,334 YES, IT'S A RATHER SPECIAL FEELING. 213 00:13:35,334 --> 00:13:38,968 BIT LIKE WAKING UP AND THINKING IT'S ALL BEEN A BAD DREAM. 214 00:13:47,033 --> 00:13:49,267 ANYWAY, YOU CAN FORGET ABOUT HER TODAY 215 00:13:49,267 --> 00:13:51,467 AND RELAX AND ENJOY YOURSELF. 216 00:13:51,467 --> 00:13:54,133 I INTEND TO. 217 00:14:04,033 --> 00:14:07,267 I DID LIKE DEREK. DEREK WAS A GENTLEMAN. 218 00:14:07,267 --> 00:14:09,601 HE NEVER WENT OUT IN A CAR 219 00:14:09,601 --> 00:14:14,334 WITHOUT SOMETHING TO PUT BETWEEN A PERSON AND THE DAMP GRASS. 220 00:14:14,334 --> 00:14:17,701 THANK HEAVENS YOU'RE HERE. CAN YOU CHANGE THE PROGRAM? 221 00:14:17,701 --> 00:14:20,400 - WHAT CHANNEL DO YOU WANT? - TWO. 222 00:14:23,667 --> 00:14:26,901 THAT'S GREAT, DAISE. NOBODY DOES IT LIKE YOU. 223 00:14:28,801 --> 00:14:32,467 DO YOU THINK WE OUGHT TO TAKE SOME TEA OUT TO MRS. BRADDOCK? 224 00:14:32,467 --> 00:14:36,234 DON'T MAKE HER TOO COMFY. SHE'LL BE THERE FOREVER. 225 00:14:36,234 --> 00:14:38,400 IT JUST FEELS ROTTEN, 226 00:14:38,400 --> 00:14:40,534 DRINKING TEA AND THINKING OF HER 227 00:14:40,534 --> 00:14:43,400 SITTING OUT THERE IN THAT OLD CAR. 228 00:14:43,400 --> 00:14:45,434 HOW DO YOU THINK THE DOG FEELS? 229 00:14:47,334 --> 00:14:50,968 YOU TOOK MRS. BRADDOCK BREAKFAST. WHAT MORE DOES SHE WANT? 230 00:14:50,968 --> 00:14:53,901 I CAN'T ENJOY THINGS 231 00:14:53,901 --> 00:14:56,367 WHEN I KNOW SHE'S OUT THERE. 232 00:14:59,100 --> 00:15:02,300 JUST BEAR IN MIND, SHE'S GOT TO GO SOMETIME. 233 00:15:02,300 --> 00:15:04,634 I CAN'T LIVE FOREVER UNDER THIS DOG. 234 00:15:06,367 --> 00:15:10,534 WHY DON'T YOU PUT THE DOG DOWN AND NURSE ME? 235 00:15:12,033 --> 00:15:15,000 TAKE MRS. BRADDOCK A CUP OF TEA. 236 00:15:16,067 --> 00:15:18,200 I KNEW HE'D SAY THAT. 237 00:15:18,200 --> 00:15:21,701 LET FATHER TAKE HER A CUP OF TEA. IT'S HIS FAULT SHE'S HERE. 238 00:15:21,701 --> 00:15:23,834 WHY CAN'T THEY BOTH LIVE IN THE CAR? 239 00:15:23,834 --> 00:15:26,167 THEN WE COULD RENT THE SPARE BEDROOM. 240 00:15:26,167 --> 00:15:28,234 HE DOESN'T LIKE HER ENOUGH. 241 00:15:28,234 --> 00:15:30,868 HE JUST REGARDS HER AS A PLAYTHING. 242 00:15:30,868 --> 00:15:33,801 I KNOW THE FEELING. 243 00:15:35,367 --> 00:15:38,634 WE COULD LET HER IN AND PUT FATHER IN THE CAR. 244 00:15:38,634 --> 00:15:42,467 BLESS HER, I'M GOING TO TAKE HER A CUP OF TEA. 245 00:15:52,701 --> 00:15:56,267 THERE YOU ARE, YOU SEE? I BROUGHT YOU STRAIGHT HERE. 246 00:15:58,834 --> 00:16:01,367 I DON'T KNOW WHAT ALL THE FUSS WAS ABOUT. 247 00:16:03,400 --> 00:16:07,467 OH, YES. I DO LIKE THE HOUSE. 248 00:16:07,467 --> 00:16:10,567 THERE YOU GO, GETTING CARRIED AWAY. 249 00:16:10,567 --> 00:16:13,634 WE CANNOT AFFORD THE HOUSE. 250 00:16:18,601 --> 00:16:21,868 I THINK I'D DO SOMETHING ABOUT THE CURTAINS. 251 00:16:21,868 --> 00:16:25,300 I DO THINK THE CURTAINS ARE RATHER BOURGEOIS. 252 00:16:44,033 --> 00:16:47,634 AND IF PEOPLE SHOULD MISTAKE ME FOR SOMEONE ARISTOCRATIC, 253 00:16:47,634 --> 00:16:49,801 I DON'T WANT YOU TELLING THEM I'M NOT. 254 00:16:49,801 --> 00:16:51,934 IT WILL SIMPLY CONFUSE THEM. 255 00:16:51,934 --> 00:16:56,167 - BUT HYACIN-- - IT'S ONLY GOOD MANNERS TO LET THEM BELIEVE IT. 256 00:17:02,234 --> 00:17:04,501 EXCUSE ME, MY GOOD MAN. 257 00:17:04,501 --> 00:17:07,067 COULD YOU DIRECT ME TO THE AUCTION CHAMBER? 258 00:17:07,067 --> 00:17:10,100 THROUGH THE ARCH, MADAM, IT'S THE FIRST DOOR ON THE RIGHT. 259 00:17:10,100 --> 00:17:14,000 THANK YOU. HOW COURTEOUS. 260 00:17:14,000 --> 00:17:16,734 CLEARLY A FAITHFUL RETAINER OF THE OLD SCHOOL. 261 00:17:16,734 --> 00:17:19,334 YOU CAN ALWAYS TELL. SHOULD I TIP HIM? 262 00:17:19,334 --> 00:17:22,033 I WOULDN'T IF I WERE YOU, HYACINTH. 263 00:17:22,033 --> 00:17:24,167 NO, YOU'RE PROBABLY RIGHT. 264 00:17:24,167 --> 00:17:28,868 ANYTHING AS COARSE AS MONEY WOULD OBVIOUSLY SHOCK. 265 00:17:28,868 --> 00:17:31,000 MY LORD? 266 00:17:31,000 --> 00:17:33,734 HER LADYSHIP WOULD LIKE A WORD. 267 00:17:33,734 --> 00:17:36,567 SHE'S IN THE BLUE DRAWING ROOM. 268 00:17:37,834 --> 00:17:41,234 YOU SEE? I KNEW HE WAS QUALITY. 269 00:17:46,701 --> 00:17:49,567 I WOULDN'T BOTHER LOOKING AT ANY OF THESE. 270 00:17:49,567 --> 00:17:53,367 HAVE YOU SEEN THE ESTIMATED PRICES? 271 00:17:53,367 --> 00:17:56,634 OF COURSE, THESE ARE NOT REALLY TO MY TASTE. 272 00:17:56,634 --> 00:18:00,767 I WAS LOOKING FOR SOMETHING MORE LIKE GAINSBOROUGH'S "BLUE BOY." 273 00:18:00,767 --> 00:18:02,033 WHAT? 274 00:18:02,033 --> 00:18:03,734 ( low ) ONLY CHEAPER, DEAR. 275 00:18:03,734 --> 00:18:07,467 - EXCUSE ME. - YES, MADAM. 276 00:18:07,467 --> 00:18:09,734 WE WERE WONDERING 277 00:18:09,734 --> 00:18:12,601 IF YOU HAD ANYTHING LIKE GAINSBOROUGH'S "BLUE BOY." 278 00:18:12,601 --> 00:18:15,167 I'M AFRAID NOT, MADAM. 279 00:18:15,167 --> 00:18:17,234 OH, PITY. 280 00:18:17,234 --> 00:18:21,100 WHAT ABOUT A BEAUTIFUL PAINTING OF A BASKET OF FLOWERS? 281 00:18:21,100 --> 00:18:22,667 I THINK NOT, MADAM. 282 00:18:22,667 --> 00:18:26,467 ISN'T ANYONE PAINTING BASKETS OF FLOWERS ANYMORE? 283 00:18:26,467 --> 00:18:30,000 I HAVE A BEAUTIFUL ONE AT HOME. 284 00:18:30,000 --> 00:18:33,267 IT'S THE WORK OF A MISS PATIENCE FULLERTON. 285 00:18:33,267 --> 00:18:36,200 ARE YOU FAMILIAR WITH THE WORK OF MISS PATIENCE FULLERTON? 286 00:18:36,200 --> 00:18:38,400 I DON'T THINK SO, MADAM. 287 00:18:38,400 --> 00:18:42,167 SHE'S VERY TALENTED. YOU CAN ALMOST... 288 00:18:42,167 --> 00:18:43,234 ( sniffs ) 289 00:18:43,234 --> 00:18:46,000 ...SMELL THE FLOWERS. 290 00:18:47,767 --> 00:18:50,300 OH, I KNOW. WHAT ABOUT SOMETHING 291 00:18:50,300 --> 00:18:53,100 LIKE "THE SUNSET" BY MR. VAN COUGH? 292 00:18:54,734 --> 00:18:56,868 COME ALONG, HYACINTH. 293 00:19:04,434 --> 00:19:08,334 A LITTLE LIKE DADDY WHEN HE WAS YOUNGER. 294 00:19:08,334 --> 00:19:10,634 GOOD AFTERNOON. 295 00:19:18,434 --> 00:19:20,467 THERE ARE SOME LOVELY THINGS HERE, LIZ. 296 00:19:20,467 --> 00:19:23,200 - BEAUTIFUL. - I'M GLAD WE CAME. 297 00:19:23,200 --> 00:19:25,267 SO AM I. WHAT ARE YOU GOING TO BID FOR? 298 00:19:25,267 --> 00:19:26,934 PRACTICALLY EVERYTHING. 299 00:19:26,934 --> 00:19:29,133 Hyacinth: OH LOOK, RICHARD. 300 00:19:29,133 --> 00:19:31,133 APART FROM THE FAMILY CREST, 301 00:19:31,133 --> 00:19:35,601 THAT'S ALMOST IDENTICAL TO MY OWN DEAR ROYAL DOULTON. 302 00:19:35,601 --> 00:19:38,467 - HYACINTH! - HYACINTH! 303 00:19:38,467 --> 00:19:41,868 I THINK I WAS HAPPIEST WITH DEREK... 304 00:19:41,868 --> 00:19:46,033 - UNTIL TRAGEDY STRUCK. - HIS WIFE FOUND OUT. 305 00:19:46,033 --> 00:19:48,467 SHE WAS SO SELFISH. 306 00:19:48,467 --> 00:19:50,601 HE WAS CROSS-EYED. 307 00:19:50,601 --> 00:19:52,801 HE WASN'T. 308 00:19:52,801 --> 00:19:55,801 HE JUST HAD AN ATTRACTIVE LAZY EYE. 309 00:19:55,801 --> 00:19:58,400 ONSLOW'S GOT ONE. 310 00:19:58,400 --> 00:20:00,868 IT GOES ALL THE WAY DOWN TO HIS BOOTS. 311 00:20:03,901 --> 00:20:07,033 JUST PLAY THE CARD, DAISE. 312 00:20:07,033 --> 00:20:09,367 SNAP! 313 00:20:11,734 --> 00:20:15,667 NOW, LADIES AND GENTLEMEN, LOT 83 IN YOUR CATALOGUES: 314 00:20:15,667 --> 00:20:18,934 A FINE PAIR OF ORNAMENTAL VASES. 315 00:20:18,934 --> 00:20:21,033 OH, RICHARD, I LIKE THOSE. 316 00:20:21,033 --> 00:20:23,167 NO, YOU DON'T. NOT AT THESE PRICES. 317 00:20:23,167 --> 00:20:25,300 BUT THAT'S JUST AN ESTIMATE. 318 00:20:25,300 --> 00:20:29,434 - THEY COULD WELL REALIZE MORE. - EXACTLY. 319 00:20:29,434 --> 00:20:32,200 NOW WHERE CAN WE BEGIN, LADIES AND GENTLEMEN? �100? 320 00:20:34,133 --> 00:20:36,434 SIT ON YOUR HANDS. 321 00:20:36,434 --> 00:20:38,901 WILL ANYONE START ME ON �100? 322 00:20:38,901 --> 00:20:42,067 - 75? - THEY'RE GETTING CHEAPER. 323 00:20:43,434 --> 00:20:47,234 - SIT ON YOUR HANDS. - �50. 324 00:20:47,234 --> 00:20:49,334 �50 I'M BID. YOUR BID, SIR, BY THE WINDOW. 325 00:20:49,334 --> 00:20:51,767 �50 I'M BID. �60? 326 00:20:51,767 --> 00:20:54,267 YOUR BID, MADAM. �60 I'M BID. 327 00:20:54,267 --> 00:20:56,601 �70. �70 I'M BID. 328 00:20:56,601 --> 00:20:58,534 �80? �80. 329 00:20:58,534 --> 00:21:01,801 �90. �100 I'M BID. 330 00:21:01,801 --> 00:21:04,033 �110 I'M BID. 331 00:21:04,033 --> 00:21:06,067 ALL DONE AT 110. 332 00:21:06,067 --> 00:21:08,200 SOLD TO THE GENTLEMAN BY THE WINDOW. 333 00:21:08,200 --> 00:21:09,934 OH... 334 00:21:24,934 --> 00:21:28,367 AND NOW, LADIES AND GENTLEMEN, LOT 142 IN YOUR CATALOGUES: 335 00:21:28,367 --> 00:21:30,968 THIS VICTORIAN ORNAMENTAL SCREEN. 336 00:21:38,334 --> 00:21:41,300 LOOK, RICHARD. IT'S ELIZABETH AND EMMET. 337 00:21:42,701 --> 00:21:44,901 ARE YOU OPENING THE BIDDING, MADAM? 338 00:21:44,901 --> 00:21:47,868 NO! NO, STOP WAVING. 339 00:21:50,667 --> 00:21:52,801 YE GODS. 340 00:21:52,801 --> 00:21:55,167 WE OUGHT TO HAVE BID FOR THAT SCREEN. 341 00:21:55,167 --> 00:21:58,667 IT WAS BEGINNING TO FEEL JUST LIKE HOME. 342 00:21:58,667 --> 00:22:00,901 YOUR NEXT ITEM, LADIES AND GENTLEMEN, 343 00:22:00,901 --> 00:22:03,167 IS SOMETHING OF A FAMILY CURIO-- 344 00:22:03,167 --> 00:22:05,467 SIX BOTTLES OF THE DOWAGER LADY URSULA'S 345 00:22:05,467 --> 00:22:07,601 HOMEMADE GOOSEBERRY WINE. 346 00:22:07,601 --> 00:22:10,100 APPARENTLY, THE OLD LADY WAS SOMETHING OF AN EXPERT 347 00:22:10,100 --> 00:22:12,234 IN THE PRODUCTION OF COUNTRY WINES, 348 00:22:12,234 --> 00:22:16,267 AND THESE HAVE BEEN IN BOTTLE FOR A CONSIDERABLE NUMBER OF YEARS. 349 00:22:16,267 --> 00:22:20,100 THE DOWAGER LADY URSULA'S HOMEMADE GOOSEBERRY WINE. 350 00:22:20,100 --> 00:22:24,567 ALL RIGHT. I THINK THAT MIGHT JUST BE WITHIN OUR RANGE. 351 00:22:24,567 --> 00:22:28,901 NOW, WILL ANYBODY START ME AT �10? 352 00:22:28,901 --> 00:22:30,934 YES! 353 00:22:33,067 --> 00:22:35,100 SOLD! 354 00:22:41,467 --> 00:22:43,567 OH, RICHARD, 355 00:22:43,567 --> 00:22:47,467 IT'LL BE THE CROWNING MOMENT OF MY NEXT CANDLELIGHT SUPPER. 356 00:22:47,467 --> 00:22:49,467 WHEN I OFFER MY GUESTS 357 00:22:49,467 --> 00:22:53,400 A GLASS OF THE DOWAGER LADY URSULA'S HOMEMADE GOOSEBERRY WINE. 358 00:22:56,367 --> 00:22:59,033 DON'T DROP ANY, RICHARD. 359 00:22:59,033 --> 00:23:01,167 OH LOOK, THERE'S HIS LORDSHIP. 360 00:23:01,167 --> 00:23:04,200 HELLO, YOUR LORDSHIP! 361 00:23:04,200 --> 00:23:06,167 OH, HELLO. 362 00:23:06,167 --> 00:23:09,234 I SEE YOU BOUGHT OLD MUMSY'S DYNAMITE. 363 00:23:09,234 --> 00:23:11,267 YES. 364 00:23:11,267 --> 00:23:13,501 I'VE ALWAYS HAD AN EYE FOR QUALITY. 365 00:23:13,501 --> 00:23:16,701 ONE WAY TO RUIN YOUR EYE IS DRINKING TOO MUCH OF THAT STUFF. 366 00:23:16,701 --> 00:23:19,100 REALLY? ( chuckles ) 367 00:23:19,100 --> 00:23:22,133 AND IT'S ENTIRELY HANDMADE 368 00:23:22,133 --> 00:23:24,334 BY THE DOWAGER LADY URSULA? 369 00:23:24,334 --> 00:23:26,467 ABSOLUTELY. 370 00:23:26,467 --> 00:23:28,767 THE REST OF US RAN A MILE FROM OLD MUMSY'S SCRUMPY. 371 00:23:31,167 --> 00:23:34,601 I THINK PERHAPS WE OUGHT TO BE GOING, HYACINTH. 372 00:23:34,601 --> 00:23:38,100 OH, RICHARD, NOT BEFORE WE'VE INVITED HIS LORDSHIP 373 00:23:38,100 --> 00:23:42,033 TO JOIN US IN A TOAST TO THE GOOD LADY RESPONSIBLE FOR ALL THIS. 374 00:23:42,033 --> 00:23:44,167 - A TOAST TO MUMSY? - MMM. 375 00:23:44,167 --> 00:23:47,667 ONE CAN HARDLY DECLINE THAT. LET'S GO INSIDE. 376 00:23:47,667 --> 00:23:49,834 OH, HOW NICE. 377 00:23:51,367 --> 00:23:54,968 I'VE HAD A VERY INTERESTING DAY, YOUR LORDSHIP. 378 00:23:54,968 --> 00:23:57,167 THOUGH THERE WEREN'T QUITE ENOUGH 379 00:23:57,167 --> 00:24:00,434 OF OUR SORT ABOUT THE PLACE. 380 00:24:03,300 --> 00:24:06,801 STAND BY TO CRACK OPEN A BOTTLE, RICHARD. 381 00:24:12,167 --> 00:24:14,167 STANDING BY... 382 00:24:14,167 --> 00:24:16,234 TO CRACK. 383 00:24:18,200 --> 00:24:22,701 ( Hyacinth singing drunkenly ) 384 00:24:25,167 --> 00:24:28,167 I DID WARN HER ABOUT OLD MUMSY'S DYNAMITE. 385 00:24:29,434 --> 00:24:32,000 YOU KNOW, TO TELL THE TRUTH I WOULDN'T BE SURPRISED 386 00:24:32,000 --> 00:24:34,667 IF THAT'S NOT WHAT KILLED HER. 387 00:24:34,667 --> 00:24:36,734 I'M SO SORRY. 388 00:24:36,734 --> 00:24:39,934 IT SHOULD BE ALL RIGHT ONCE WE GET HER INTO THE CAR. 389 00:24:39,934 --> 00:24:42,133 THANK YOU. 390 00:24:42,133 --> 00:24:44,667 OH, I DO HOPE, YOUR LORDSHIP, 391 00:24:44,667 --> 00:24:47,100 THAT SOMEDAY YOU'LL GIVE ME THE PLEASURE 392 00:24:47,100 --> 00:24:50,434 OF ENTERTAINING YOU AT ONE OF MY CANDLELIGHT SLIPPERS. 393 00:24:52,100 --> 00:24:55,701 WE SHALL MOST "DEFORABLY" BE HAVING A GLASS OR TWO 394 00:24:55,701 --> 00:25:00,267 OF THE DOWAGER LADY URSULA'S HOME GOOSEWADE-BERRY MINE. 395 00:25:00,267 --> 00:25:02,367 SLOW LEARNER, IS SHE? 396 00:25:04,400 --> 00:25:06,534 OH! 397 00:25:06,534 --> 00:25:10,167 WHY-- WHY IS HE TYING ME UP? 398 00:25:10,167 --> 00:25:14,133 WHY IS THIS CHURL TYING ME UP? 399 00:25:14,133 --> 00:25:17,234 I'M BEING HELD A PRISONER, YOUR LORDSHIP. 400 00:25:19,200 --> 00:25:23,300 A WHITE WOMAN WEARING A HAT, WHAT IS THE WORLD COMING TO? 401 00:25:24,868 --> 00:25:27,901 UNHAND ME, VARLET! 402 00:25:30,968 --> 00:25:36,067 I AM PUTTING YOUR SEATBELT ON. 403 00:25:36,067 --> 00:25:38,901 ( laughs ) OH, RICHARD, 404 00:25:38,901 --> 00:25:42,334 THANK HEAVENS YOU GOT HERE IN THE NICK OF TIME. 405 00:25:44,434 --> 00:25:46,434 GOODBYE. 406 00:25:46,434 --> 00:25:48,734 Hyacinth: GOODBYE. 407 00:25:54,167 --> 00:25:56,167 DON'T TURN LEFT, RICHARD, 408 00:25:56,167 --> 00:25:58,167 STRAIGHT ON! 409 00:25:58,167 --> 00:25:59,934 BUT WHY? 410 00:25:59,934 --> 00:26:02,133 I WANT TO TAKE A LITTLE GIFT TO DADDY. 411 00:26:02,133 --> 00:26:05,434 A BOTTLE OF THE DOWAGER LADY URSULA'S 412 00:26:05,434 --> 00:26:08,067 GOMEMADE WOOSEBERRY HINE. 413 00:26:09,534 --> 00:26:11,667 MIND THE PILLAR BOX! 414 00:26:11,667 --> 00:26:13,968 MINDING THE PILLAR BOX. 415 00:26:13,968 --> 00:26:18,567 * DRINK TO ME ONLY WITH THINE EYES... * 416 00:26:22,200 --> 00:26:24,033 ARE WE HERE ALREADY? 417 00:26:46,868 --> 00:26:50,100 YOU'RE SURE THAT YOU WANT TO DO THIS? 418 00:26:50,100 --> 00:26:54,801 RICHARD, I'M PERFECTLY CAPABLE OF KNOWING MY OWN MIND. 419 00:26:57,133 --> 00:26:59,234 HY-- HYACINTH! 420 00:26:59,234 --> 00:27:02,634 - YES, DEAR. - IT'S THIS WAY. 421 00:27:17,267 --> 00:27:19,267 SHH. 422 00:27:19,267 --> 00:27:21,701 WHAT ARE YOU DOING NOW? 423 00:27:21,701 --> 00:27:24,467 NOT A WORD, RICHARD. 424 00:27:33,267 --> 00:27:36,934 ( barks ) THAT'LL TEACH IT! 425 00:27:36,934 --> 00:27:38,033 WOOF! 426 00:27:40,868 --> 00:27:42,501 ( barking ) 427 00:27:56,701 --> 00:27:58,868 I DO HOPE YOU'LL ALL JOIN ME 428 00:27:58,868 --> 00:28:01,567 IN A BOTTLE OF THE DOWAGER LADY URSULA'S 429 00:28:01,567 --> 00:28:03,701 HEYMODE GEESBERRY WOONE. 430 00:28:05,601 --> 00:28:07,901 HELLO. 431 00:28:11,634 --> 00:28:14,901 ( theme music playing ) 32060

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