- "at 5 (minutes) to (the hour)" is a Greek idiom, equivalent to "at the last minute".
- Fasoulas is a former basketball player. His height is 2.13m.
- The word "safrakiasmeni" is a colloquial word and not very common. It generally means a wrinkled person from old age or the sun or bad weather. Also, a thing that is old, cracked, spoiled, that has gone stale.
- Dora Bakoyianni is a female politician. Zouboulia's hairstyle, hair colour and the dark suit that she was trying on made her look like her.
All rights belong to their rightful owners. This video is for educational purposes only: to help learners of Modern Greek and also help non-Greek people understand the Greek culture. This is a fan translation, as no official professional translation of the show exists.
- Fasoulas is a former basketball player. His height is 2.13m.
- The word "safrakiasmeni" is a colloquial word and not very common. It generally means a wrinkled person from old age or the sun or bad weather. Also, a thing that is old, cracked, spoiled, that has gone stale.
- Dora Bakoyianni is a female politician. Zouboulia's hairstyle, hair colour and the dark suit that she was trying on made her look like her.
All rights belong to their rightful owners. This video is for educational purposes only: to help learners of Modern Greek and also help non-Greek people understand the Greek culture. This is a fan translation, as no official professional translation of the show exists.
Category
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LearningTranscript
00:00Why did Angela say she was going to do the show?
00:11Take a look behind you and you'll see.
00:15On the wall?
00:16Yes.
00:17There are signs that explain the reasons.
00:18Where?
00:19On the wall.
00:20Do you see that it's empty?
00:21The soul doesn't press.
00:22Oh.
00:23Why does it matter?
00:24You're the quality one.
00:25Huh?
00:26Leave it.
00:27What are you reading so late?
00:29The magazine they gave us.
00:31It's called a program.
00:32I see.
00:35It doesn't have animals.
00:36Does the theater program have animals?
00:39Why?
00:40It's on TV.
00:41How does it have them?
00:42Oh, and I thought I missed these discussions, but...
00:44It's not for many?
00:45No.
00:48My bag!
00:49Where is my bag?
00:50What did you say?
00:51My bag!
00:52Someone might pass by in the dark and take it.
00:53You know what happened?
00:54Kitsos and Kourambouras stole my bag.
00:56I'm going to kill him.
00:57Christos, go!
00:58Go!
00:59Go!
01:29Go!
01:30Go!
01:31Go!
01:33Adela, give me a bandana.
02:00Ventalia.
02:09Ah!
02:11It's right, poor woman, to keep such a ventalia.
02:16Find me a black one.
02:18So.
02:19And learn to respect your father's memory.
02:23Bravo.
02:24Ah!
02:25Ah!
02:26Ah!
02:26Find me a black one.
02:28So.
02:29And learn to respect your father's memory.
02:32Bravo.
02:33Ah!
02:34Ah!
02:35Ah!
02:36Ah!
02:36Ah!
02:37Ah!
02:38Ah!
02:39Ah!
02:40Ah!
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03:00Ah!
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03:47Ah!
03:48Ah!
03:49Ah!
03:49Ah!
03:50Ah!
03:51Ah!
03:52Ah!
03:53Ah!
04:24I beg you to help me.
04:31I want to see my son.
04:36I want to see my son.
04:40I want to see him.
04:43I want to see him.
04:45I want to see him.
04:51I can't stand this heat.
04:54He's gone.
04:55What can you do? He'll come back.
04:57All are bad, but ours is worse.
05:00Yes.
05:00I want to see my son.
05:02I want to see my son.
05:04I want to see my son.
05:08It's worse, my God.
05:14We're not talking about the play.
05:16The play is a ritual.
05:17The performance is an act.
05:20The performance is an act.
05:22But the play doesn't say much between us.
05:24Eight women cry and cry.
05:26If this was a TV series, it would have been cut in the fifth episode.
05:29Are the things you see better?
05:31Are the faces compared to this?
05:34No.
05:35But this is pleasant too.
05:37What am I listening to, my God?
05:38The cast is not completely wrong.
05:41They put the closest city to make the mother.
05:43What does it matter?
05:44Is it possible for the mother to be closer to her children?
05:46Why, Mary? How much is the mother of Fassoula? 2.50?
05:50What's the point of the play on Saturdays?
05:52With them and everything.
05:54What do you mean?
05:56I've been listening to you for so long and I don't understand where you're coming from and where you're going.
06:02From what I can see, they're confused because no one understands anything.
06:07Let me tell you, we'll tell Angela that we didn't like her.
06:09I'm not saying anything.
06:10Neither am I.
06:11Yes, but it's not right to lie.
06:12Do whatever you want.
06:14I'm going to tell the truth.
06:15Because I liked her anyway.
06:18I'm going to tell the truth.
06:21I'm going to tell you what we're going to say in the end.
06:23Let's tell the truth.
06:28Angela, you were...
06:31...ignorant.
06:33What can I say? I didn't believe what I saw.
06:35It was unacceptable, Angela. Really unacceptable.
06:39Really?
06:40Angela, to be honest, I've seen so many plays.
06:44I've never seen anything like it.
06:46Come on.
06:47Thank you very much.
06:49You're welcome.
06:50What are you saying?
06:51The truth.
06:52Zumbulia, did you like her?
06:54What?
06:55I get it. That's why you were talking all the time.
06:57Me?
06:58Yes, Zumbulia, you were talking.
07:00And you didn't leave us alone because we wanted to watch the play.
07:03I'm going to kill you.
07:04Yes, Zumbulia, I was listening to you from the stage.
07:06You were talking all the time.
07:07I want to know what you were saying.
07:08I was talking about Peter.
07:10The big one.
07:11Yes, the big one.
07:12She was locked in her house with her daughters for three years.
07:15She hadn't seen her for three years in the village.
07:17This play is her story, I believe.
07:21Oh, Zumbulia.
07:22Why did Lorca write a play for the villagers?
07:25This play is based on the characters of the entire female psychosynthesis.
07:29It makes clear references to the history of the three-dimensional society
07:32and its collapse.
07:33And it refers to Franco's dictatorship, which was raging at that time.
07:36And it coincides with all the fascist institutions
07:38that violate the rights of their citizens
07:40and, consequently, human dignity, Zumbulia.
07:45Because while you were looking for the seeds, she read the program.
07:49But how can Zumbulia understand a play?
07:53Kalamari!
07:54Aren't you ashamed?
07:55You went to a play and you didn't listen to anything.
07:58You ruined all of Lorca.
07:59Now you're doing the same to us.
08:00Who else did this to him?
08:02The critics.
08:03Come on, the food is ready.
08:04Shall we go?
08:05I'm going to help you a lot with your work.
08:07A lot.
08:08I was confused, wasn't I?
08:09And you believe it?
08:10You idiot!
08:14I'm going to drink.
08:15Do you want anything else?
08:29What are you thinking?
08:30I remembered something.
08:32What?
08:34Do you remember that night?
08:36Yes.
08:37I talked to you...
08:39...in the same position.
08:40We were the same.
08:42Yes.
08:44I'm sorry.
08:49I missed you all so much.
08:51Me too.
08:54Tell me, what have you been doing all this time?
08:56Oh, it's nothing.
08:58A lot of shopping, shopping.
09:00You're so bored, aren't you?
09:02I'm dying.
09:03I was busy with something I liked a lot.
09:05What?
09:06I made an investment that I think was worth its money.
09:13What is this?
09:14The first three episodes of the new series.
09:16What do you mean?
09:17Oh, we talk together and we understand each other.
09:19From the tears of Consuela, my child.
09:21Transformed and ready.
09:22They will play in Greece next year.
09:24That stupidity that you went and bought them in Mexico.
09:26Where did you get so much money?
09:27Shut up!
09:28Did you hear stupidity?
09:29And who will send them to you?
09:30It's my studio.
09:31They won't send them to me because I'm writing the script.
09:34Yes, I know that.
09:35Here I am asking you all to sign the contract of Paul Stewart.
09:39And you, you can't and you can't.
09:41Because Consuela, you're late.
09:43I'll put it here.
09:44Yes, don't lose it.
09:48The only reason I didn't stop you from doing the stupidest business move
09:52that a human could ever do
09:54is because you were depressed at that time
09:56and I thought you needed some support.
09:58I needed it, I needed it.
09:59So now that you have found your friends again
10:01and you are happy
10:02we will sell them all.
10:03Both the studio and the channel.
10:05What are you talking about, kid?
10:06First of all, I have signed contracts with people for five years.
10:09How can I break them?
10:10I have to buy the studio of the translation
10:12so that I can do a better job.
10:13I will write them in Greek,
10:14we will translate them in Spanish,
10:15we will send them back to Mexico
10:16and they will send us back to translate them.
10:18Shh!
10:19It's starting.
10:20Sit here.
10:21I want you to sit and watch
10:22because you are collaborating with these people.
10:23Me?
10:24From where?
10:25How?
10:26It's my ownership, isn't it?
10:27I want you to look at some papers
10:28that they gave us from the production
10:29and I don't understand anything.
10:31As much as I think about the dreams I had
10:32when you appointed me as your financial advisor...
10:34This is Pepita, the bad girl.
10:35I'm glad.
10:36The previous cycle ended with Consuela
10:38who broke up with Alfonso.
10:40Out of misunderstanding.
10:41Pepita was to blame.
10:42If she had explained to Consuela
10:43that there is nothing between her and Alfonso
10:45they would not have broken up.
10:46Very interesting.
10:47Anabella is coming in, Pepita's sister.
10:49Now she will try to convince her to talk to Consuela
10:52and at the end of the scene she will throw her in the trash.
10:54Why?
10:55Because I don't like her.
10:57Damn Pepita.
11:00That's how you don't understand?
11:03What the hell is this?
11:06Come on, Pepita.
11:07That's how you don't understand?
11:08Mexican dialect of the underworld.
11:11You let people break up
11:14because you are
11:15a whore!
11:17Anyway, my child.
11:18You should watch a series like you want it.
11:21What can I say?
11:22I have no words.
11:23Not even Pepita has words in this scene.
11:25Why?
11:26I cut her. I cut her.
11:27Last season she was the main character.
11:29This year she will be humiliated.
11:32You're lying!
11:34So the new year found Dalia, Zumbulia, Foti, Spyro and Angela
11:40and again united.
11:42A few months after the famous meeting at Sancerre
11:45and 15 years after his first meeting
11:48in the cold waiting room of an airport.
11:52And while Dalia was watching her favorite series
11:55without fear of unpleasant surprises in the script
11:58after she wrote it herself
12:00Zumbulia would come to confront Mia.
12:04Yes, my girl.
12:05Yes, I'm fine.
12:06You tell me how you are.
12:08We are fine.
12:09We are fine.
12:10Yes.
12:11And the baby, and Budas
12:13and another one that we have here.
12:15Say hello to her.
12:17She says hello.
12:22No, Budas.
12:23His girlfriend.
12:25You're crazy.
12:27Ask her.
12:28Did they like the apartment on 43rd Avenue?
12:32What?
12:33The apartment on 43rd Avenue.
12:35They wanted to rent it.
12:37What did they do?
12:38Let me tell you, Anna.
12:39She says the apartment is 4444.
12:43Did you see it? Did you like it?
12:47You didn't like it.
12:48They didn't like it.
12:49Why?
12:50Was it too happy style?
12:52What do you mean?
12:56Let me tell you, Anna.
12:57This...
12:58This number...
13:01It was for P.
13:02In the end, it was for...
13:03Leave me alone!
13:04Do you want me to sit and speak English with my daughter?
13:07Take it and say whatever you want.
13:09Come on, Anna. Say it.
13:11Aha.
13:13Aha.
13:15Aha.
13:18Aha.
13:19Give it to me.
13:20Give it to me.
13:21It was for P.
13:22They didn't like it.
13:23Aha.
13:24Aha.
13:25Come on, girl.
13:26No, listen to me.
13:27No, listen to me.
13:28Leave me alone.
13:29Leave me alone.
13:30Tell them we're going to the theater next week.
13:32Okay.
13:33Don't think I've locked you in the house.
13:35No.
13:36But you're picking up.
13:37As time went by, you started going out again.
13:40Yes, she says she's taking me to the theater next week.
13:43I know one.
13:44She found him.
13:45Career, love and sushi.
13:47Don't say it.
13:48It's a big title.
13:49It's a big title.
13:50Oh, I'll tell you something else, Anna.
13:52I went the other day and saw a fantastic theater.
13:54You won't believe it.
13:55Don't tell me you don't remember the old lady at all in the village?
13:59The old lady?
14:00The old lady who had the big house in the village?
14:02I told you she has another story from that village.
14:04I can't stand her.
14:05Okay, okay.
14:06Okay, my girl.
14:07You shut up.
14:08Okay.
14:09Yes, yes, yes.
14:10Me too.
14:11I love you too.
14:12Me too.
14:13And fortunately.
14:14What's done is done.
14:16She hasn't left yet.
14:17When will she come, I say?
14:18I don't know.
14:19You say other things, unfortunately.
14:20But anyway.
14:25What can we do now?
14:27Patience.
14:28Patience until Easter.
14:31Because I'm telling you, I can't celebrate Easter without my daughter.
14:34Easter is the biggest holiday of Orthodoxy.
14:36Bigger than Christmas, huh?
14:38It doesn't concern me.
14:39What doesn't concern you?
14:40Aren't you an Orthodox Christian?
14:42No.
14:43What no?
14:45I'm not an Orthodox Christian.
14:47I'm a Buddhist.
14:58What is Buddhism?
15:00Religion.
15:01What did you think it was?
15:05That thing with the meat.
15:08If you don't eat meat...
15:10It's a religion, Zouboulia.
15:12What is it?
15:13It's the belief of millions of people in the world and self-denial.
15:17So you're saying...
15:20What? You have two?
15:22I don't have two, Lia.
15:24I have one.
15:25I'm not a Christian.
15:26I don't believe in Christ.
15:27Where do you believe?
15:28In the Buddha.
15:31The fat one?
15:33Yes.
15:34Hello!
15:42Why didn't I say it so long ago?
15:44That Athens can't take a walk at home?
15:52Nepal Thivet at the World's Hostel.
15:5512 days.
15:57No.
15:58I don't like names either.
16:00Let's see.
16:02Around Italy?
16:03We'll go around here.
16:05No.
16:06You're right.
16:07Let's see.
16:10Caribbean.
16:118 days.
16:12What is this?
16:20Spirou?
16:22South America.
16:28Under the carpet.
16:32Do you want to go to the island?
16:35No.
16:36Let's see.
16:42Around Scandinavia?
16:52Days?
16:5414 days.
16:56That's good.
17:01You'll visit all the Scandinavian capitals.
17:06You'll travel to magical Lapland.
17:11You'll get to know the wonderful Norwegian fjords.
17:16What are the fjords?
17:18Some animals that...
17:20Christos!
17:21Christos!
17:22Get some water.
17:23Some animals that are like squirrels.
17:26The sweet ones?
17:27Yes.
17:28What else?
17:29You'll have the unique experience of traveling to the village of St. Basil.
17:35Will St. Basil be there after the holidays?
17:39Will Spirou be there?
17:44I don't know, Theopoula.
17:46Call him if he's there.
17:51What is all this?
17:52Don't put me on the map.
17:54I'm in Gellanes.
17:55Spirou, we'll go again.
17:58Paris is great, but only four days.
18:01Only four days?
18:02But it's all paid.
18:03How will you get there?
18:04We'll find a way.
18:05That's what I'm afraid of.
18:06We'll be fine.
18:07Don't worry.
18:10Do whatever you want.
18:12Show me the pictures from Paris.
18:15Yes, show me.
18:17Are they out?
18:18Yes.
18:20I forgot.
18:21Come and see, my boy.
18:26Come.
18:29From the Moulin Rouge.
18:33And here at the Moulin Rouge.
18:36From another cabaret.
18:39From the party at the hotel.
18:43And here at the party.
18:46And here at the party.
18:48And here again at the party.
18:53I saw one on the street. I liked him.
18:56I took him out.
18:59At the cabaret.
19:02At the cabaret.
19:04The tower, the Eiffel Tower, nowhere.
19:06Slowly now.
19:09Who is he?
19:10A retired dentist who met Theopoula.
19:14Jean-Pierre.
19:17We had a flirt, Theopoula.
19:19And here is Jean-Pierre.
19:21Costume, sir.
19:23Then he takes it out.
19:25What do you mean?
19:28Here it is only with the underwear.
19:31And here without.
19:33What happened?
19:35Theopoula, what did you do in Paris?
19:37Writing.
19:42The five had returned to their everyday life.
19:45Those they had met before.
19:48They were together again, but not like before.
19:51Their investigations had stopped
19:53and no one wanted to talk about this strange game of fate
19:57that brought them together so suddenly
19:59in two moments of their lives.
20:01It was an issue that no one dared to touch.
20:04They preferred to ignore it.
20:06They all claimed that it meant nothing.
20:09All except one.
20:13They won't come.
20:14Now the three of them called me.
20:17Why won't they come?
20:20Spyros says he's on duty and he prefers to stay at home.
20:24Talia has to deliver an episode
20:26and Zumbulia told me something strange about Marinela.
20:29That she's the opposite.
20:31I didn't understand a thing.
20:33They can't today, but they'll be able to tomorrow.
20:35If they can, what will happen?
20:37Will we get together again to play board games
20:40and cook like the other time?
20:42Why? We had a good time the other time.
20:44Akela, do you agree with them?
20:47What?
20:48That you don't understand.
20:50We can't meet after 15 years to eat and play.
20:54Can we not talk about this?
20:56Until when?
20:57Until when will we not talk about it?
20:59Until when will we pretend that it means nothing?
21:02For some reason it happened.
21:04For some reason we found ourselves in this.
21:06You can't believe it was a coincidence.
21:08It wasn't a coincidence.
21:10For some reason.
21:11Cut it out.
21:12We can't deal with this issue if you don't understand.
21:19I can.
21:20Fine, but you can't force others to deal with it.
21:23What about you?
21:25What?
21:26Can I?
21:27Do you know how many times I've thought about this?
21:30And what conclusion do you draw?
21:32That I can't know.
21:34Neither I nor anyone else.
21:36There is no machine.
21:40No method that has discovered a person
21:43and can distinguish what is a coincidence and what is not.
21:48It's simple.
21:49We've classified them into two categories.
21:51That's it.
21:52By ourselves.
21:54Fine.
21:56And what about what we've been through?
21:58Which category does it belong to?
21:59I told you, I can't know.
22:00You told me, but you told me that we classify them into categories.
22:03It's our case.
22:04How can you classify it?
22:09And then there's the other thing.
22:10What?
22:11It pisses me off that we're pawns in a story...
22:14We're not pawns.
22:15We're players.
22:16We're pawns.
22:17Players?
22:18Maybe up there, I don't know.
22:21But moving from place to place doesn't matter.
22:23What we want, what our goal is...
22:25Wait a minute.
22:39What are you doing?
22:46Why are you here?
22:47Because they put you here.
22:51Throw them down.
22:52What?
22:55Throw them down.
23:03Are you buying them?
23:04I don't understand.
23:06I put you here because you didn't want to.
23:09Zari brought what he wanted.
23:11And not what you wanted.
23:13But here, where you are, it's up to you what you're going to do.
23:17You can keep going without buying or selling anything.
23:20Just waiting to lose.
23:22Or maybe if you play right, you'll win.
23:25What kind of bullshit is this?
23:27Do you think this is life?
23:29A gambling game?
23:32Come here.
23:33Come.
23:38And this?
23:39Is this bullshit too?
23:42Angela, we can't stop.
23:44As long as we've been divorced, I've been trying to tell the press.
23:48But I couldn't, because I didn't have a record.
23:51We'll go again, my father.
23:53When?
23:54As soon as possible.
23:55What I want from you, is for you to accept the deal.
23:59I told you I could do it on my own.
24:02Will you do it?
24:05What exactly are you looking for?
24:07I'll explain to you when we get there.
24:09Can I help you?
24:10Of course.
24:11Yes, but you need the press identity.
24:13Who says so?
24:14The regulations.
24:15My boy, the only thing that our state-owned machinery is superior to the rest of Europe
24:20is that the rules it has established do not apply.
24:24What?
24:25Here.
24:26Your cousin, for example.
24:27In any other part of the world, she would be in a foundation.
24:30Here she is released and has a show.
24:33What?
24:34Nothing.
24:35Tell me, what do you want from me?
24:36I want Jack as a title for our show.
24:39What show?
24:40Are we starting a new show together?
24:42You?
24:43Yes.
24:44From where to where?
24:45You are a technician, you are not a presenter.
24:46Why are you?
24:47We made you.
24:49So, uncle, how do you see Frida and Jack coming to Parachak?
24:56It's not good, my Frida.
24:58Are Frida and Jack stars?
25:01Neither.
25:03Jack and beans?
25:04Mine should be first.
25:07What did you say?
25:08Time.
25:09And what kind of show will it be?
25:11With guests.
25:12And who will come?
25:13Actors, singers, politicians.
25:15Politicians do not enter my channel.
25:17Why, uncle?
25:19What can you do, my Frida?
25:21It will be an opening in my career to get an interview from a politician.
25:25My Frida, the politician is like Loxingar.
25:27He does not let you speak and does not use anything else.
25:30I'm telling you, you are young and you do not know.
25:34What are you saying?
25:35Anyway, maybe you are right.
25:37I am very young and I do not have your age, uncle.
25:42That's right.
25:43Go out now and we'll find a title later.
25:55What did we say?
25:56So, will you help me?
25:57You are great, dad.
25:59You can even command her from time to time.
26:01When are we going?
26:02Tomorrow.
26:03And as soon as we get there, I'll explain everything to you.
26:05You do not need to.
26:06I trust you.
26:07Whatever you are looking for, I'm sure it will be for the best.
26:10The market price of new machines for the Hatz Alexander factory is 850,000 euros.
26:19Designation of a new manager in the milk production industry of Thessaloniki.
26:28Purchase four new aircraft of your airline Alitalia in the United States.
26:38It's my turn.
26:40Consuela.
26:43You knew so long, you had told me the truth and you did not tell me?
26:46And you did not tell me?
26:49Perfect.
26:50Perfect.
26:51As if you were not ashamed.
26:53You know what I said?
26:54The rabid dog of hell.
26:57I wanted to know how to translate rabid into Spanish.
27:00Problem.
27:01You open a parenthesis.
27:03A rabid doberman rushes and bites Pepita.
27:06Where did you find the doberman?
27:08It's a symbolism.
27:09Because you called her the dog of hell.
27:12Where was I?
27:13On the date.
27:14What does Pepita do?
27:15Does she shout?
27:16No, no, no.
27:17She has a deep pain.
27:18She falls down and the scene ends.
27:22With Pepita on the floor?
27:23Yes.
27:24No, no, no.
27:25She will not do the finale.
27:26Write.
27:27Close to the dog.
27:28End of scene 18.
27:30Is it over?
27:31Yes.
27:32It's my turn.
27:33Now the calculation of Halko.
27:35Anyway, you have no complaints.
27:36One me, one you.
27:37The two jobs are over.
27:39Yes, only I have to listen and those that are forbidden.
27:41Why? What do they have?
27:42Did you hear?
27:43She bites a rabid dog.
27:44It's fine.
27:45It's a prototype.
27:46We are in love and in love triangle.
27:49But what you wrote is better.
27:52Yes.
27:53Come, it's me.
27:54What are you doing?
27:55I'm drowning, my angel.
27:56I'm drowning.
27:57What do you want?
27:58I wanted to talk about something.
28:00I don't know if I can.
28:01Not now from the phone.
28:03To meet.
28:05Yes, I don't know if I can.
28:07Why do you want to talk?
28:09Well, I was saying if you wanted it too.
28:12Zouboulia asked me, that is.
28:14The three of us should go shopping.
28:16Buy some clothes.
28:17Don't go around like a carnival.
28:20Yes, okay.
28:21Why?
28:22What did you think I would say?
28:24No, no, nothing.
28:25Yes, let's go, let's go.
28:26When?
28:27Tomorrow.
28:29Yes.
28:30It was for Dalia.
28:32I don't know now.
28:33Leave me alone.
28:37Although I don't think we need any change.
28:41What should I tell you now?
28:45I don't know either.
28:48Okay, okay.
28:50Okay.
28:51See you tomorrow.
28:52Bye.
29:02Hey, Foti.
29:04I can see you well.
29:05How are you?
29:06Not so well.
29:07I'll call you later.
29:08Bye.
29:09Bye.
29:14Who was it?
29:15Angela.
29:17Do you think I'm a coward?
29:19No one thinks you're a coward.
29:21We were all scared when we found out what was uniting us.
29:25We all had the same reaction.
29:27The thing is, now that we've overcome the first shock, what do we do?
29:31I don't want to do anything.
29:33I don't want to lose you, but I want to stop looking.
29:36I want to live a normal life in a normal environment.
29:39And everything that happened to us is completely unnatural.
29:43I can't explain it, even though I've tried all this time.
29:48So it's better if I leave it aside.
29:51Is that your last word?
29:55Yes.
30:01At a time like this, I might know the whole truth.
30:04What happened 30 years ago, who that woman was,
30:07what my relationship with Fabriani was, and I don't know anything else.
30:11If you're still interested in learning, you know where to find me.
30:30Wait a minute.
30:32Something's not right here.
30:34So you're the one who said I wanted to go fishing?
30:37Yes.
30:38Don't be afraid.
30:39You should have told me the opposite. It was your idea.
30:42No.
30:44Oh, strange things.
30:48What time did you pick up the phone?
30:51I'll tell you before you come. I know your husband is here.
30:54I can't.
30:55You're suffocating in the end. Turn off the TV so we can talk.
30:58You have to come.
30:59It's happening.
31:01Okay, tell me now. What are we doing?
31:03Apparently, he lied to us for some reason.
31:07Lia!
31:10You're insane. You're insane!
31:13Hang yourself with a bunch of garlic around your neck
31:15so we can't get out of the smell inside the house.
31:18Get ready slowly. We have to go to the theater.
31:27What happened?
31:28What do you mean?
31:29Where do I start and where do I end?
31:32Okay, I'll tell you tomorrow.
31:33Why are we going?
31:35I don't know.
31:36I don't want to come if it's over.
31:40Me neither.
31:41But if we don't go, we won't find out.
31:43I don't know.
31:57Spiro!
31:58If you find out what I'm doing, you'll go crazy.
32:00Don't get worked up. I don't want anything else.
32:03We started lessons.
32:04The devil doesn't speak.
32:06Do you know how many people were in front of the painting?
32:09Millions!
32:10That's where it's coming from.
32:11That's where I met Jean-Pierre.
32:13Well done.
32:14What are you going to do now?
32:16We'll call each other.
32:18I don't want to get involved.
32:20What are you going to do with the paint and the paintbrushes?
32:23Are we going to have them in the living room every day?
32:25Why? What's it to you?
32:27Anyway, they're better than the drums and the baglamas.
32:29They don't make any noise.
32:30Come and see our first lesson.
32:33In a biology school.
32:35And the teacher says you had to take a cabalette and mousamades from the first lesson?
32:39They sent you the wrong letter.
32:41Look!
32:44What?
32:45It's torn.
32:46I can see that.
32:48Thank God there's no river in Athens.
32:50Otherwise, I'd tell you, we'd have to expose our works.
32:53There is.
32:54Where?
32:55In Kifissos.
32:56Where? In Baza?
32:57Grandmother, don't go there.
32:59They caught the rain there.
33:00Expose them here.
33:01But isn't it nice for a first lesson?
33:05I don't know.
33:06Don't put your feet on the floor.
33:08It doesn't matter.
33:13What did you draw, Theopoula?
33:16One.
33:17I don't know.
33:18I saw it somewhere, but I don't remember where.
33:28Is she smiling?
33:29I don't know.
33:30You should have decided, my dear Theopoula.
33:33It's like she's just had an abortion.
33:36It's a waste.
33:37It's not good.
33:44I'll draw her.
33:46Great!
33:52Come on, dad.
33:54I'm here.
33:55Are you late?
33:58Great.
33:59I'll wait for you downstairs.
34:02Bye.
34:09Are you here?
34:10Yes.
34:11How?
34:12Theopoula drew Mona Lisa yesterday.
34:14How normal can life be in this house?
34:17I don't understand.
34:18Never mind.
34:19It doesn't matter that I'm here.
34:21Your father?
34:22Wherever he is, he'll come.
34:24There he is.
34:30What happened?
34:31Dad, this is Spyros.
34:33Spyros, my dad.
34:34Nice to meet you.
34:35Nice to meet you, too.
34:37Shall we go?
34:38Yes.
34:42She's not a Christian.
34:43How can I say that?
34:44She's been wearing a mask since this morning.
34:47It's not that bad.
34:49It's not that bad.
34:51She was possessed in my house.
34:53She wanted us to go to the theater.
34:55I was sitting next to her in the dark.
34:57I left her downstairs.
34:58I threw her upstairs in my room.
35:00What did we see?
35:01I know what we saw.
35:02A career.
35:03Love and Suzy.
35:04I didn't see Suzy.
35:05I didn't know who she was.
35:06Suzy, baby.
35:07Suzy.
35:08She's food.
35:09She's a fish.
35:10She's a moth.
35:11She's a fly.
35:12That's right.
35:13There's no such thing.
35:15Good morning.
35:16Good morning.
35:17How can I help you?
35:19We want a complete transformation of the lady.
35:22When we say transformation, we mean the clothes she's wearing.
35:25It's time for them to transform into modern pieces of clothing
35:29that highlight her personality and her features.
35:33But we're keeping the lady, right?
35:36Yes, we're keeping the lady.
35:38The clothes are coming.
35:44So, what date are we looking for?
35:46April 1975.
35:48So old.
35:49And what exactly?
35:51A murder.
35:52I remember a woman in Thessaloniki.
35:54Let's see.
35:55Mom!
35:56I'm almost done.
35:57What are you doing?
35:59Did you kill her?
36:00What did she say?
36:01I'm going to kill her.
36:02Did she say anything?
36:04Nothing.
36:05I'm done.
36:12Why don't you say anything?
36:14Why did you lie to us that you didn't want to marry me for money?
36:18How do you know?
36:19Tell me.
36:21Fotis is looking for evidence in the archives of the newspapers.
36:25And then he arranged for us to meet in the square opposite.
36:28Bad.
36:29Don't you care about what he might find?
36:31I'm not saying that.
36:32But?
36:41It's time.
36:45I found it!
36:46Are you sure?
36:47Yes, son, I'm telling you.
36:49It matches the statement that was made with the murder.
36:52Eleftheria Aslanoglou.
36:54Note it down.
36:55Our first element.
36:57Wait a minute.
36:58Aslanoglou?
37:00You said that it happened in Thessaloniki?
37:02Yes.
37:03Look for the names of her relatives.
37:05Why?
37:07Look if she was related to a Pericles Aslanoglou.
37:10Dad, what are you saying?
37:12I know what I'm saying.
37:13Look.
37:14She had.
37:15What?
37:16She had a brother who called him that.
37:19It's written here.
37:21According to information,
37:23in the last years she lived in Thessaloniki
37:25with her brother Pericles Aslanoglou.
37:30I'm glad you knew that.
37:32How do you say it, young man?
37:33Did I say it wrong?
37:36Yes.
37:37Leave it now and let's go to fresher news.
37:40October 2005.
37:47Zumbulia is perfect.
37:49I don't like it.
37:50You're not right.
37:51It's the last word of fashion.
37:53She said it and then she got mad.
37:55Zumbulia will take this.
37:56She's gone and it's over.
37:57What are you doing?
37:58Can you tell me what you're doing?
38:00We're looking for clothes.
38:01That's why we didn't come.
38:02No, we didn't come for that.
38:03We came to convince you to continue the research.
38:05You told us on the phone.
38:07And you didn't understand.
38:08You came here to the women and you're looking at my skirt and my shirt.
38:11You brought us here and now you're going to tell us women?
38:14I'm glad you decided to go back.
38:16I'm going back because I have a child.
38:18Let's not start again about what you had and what you lost.
38:20Every woman has an accident.
38:22The point is that we have the right to restore it.
38:25How? By chasing some strangers?
38:27Until recently we were chasing some strangers.
38:30And to finish.
38:32I have the same fears as you.
38:34I feel like a victim of a game, but I decided to play.
38:37To play and to win.
38:39Here.
38:40The well-known businessman of Thessaloniki, Periklis Aslanovlou, was killed in a car accident.
38:45At first there were rumors that it wasn't a car accident, but a criminal act.
38:49I didn't remember that.
38:51Who writes the news on the channel, my boy?
38:54Dad, I was sure you would help.
38:56Yes, but in the end it turned out to be a car accident.
38:59So what?
39:00And about Nikos, they said he lost his heart.
39:02Who is your Nikos?
39:04Stavrianidis.
39:05The minister?
39:07And what?
39:08Leave dad for another time. It's a long story.
39:11Anyway, I believe that the same people who did one thing, did the other.
39:15But there is no connection between these two.
39:17No, there isn't. We haven't found it.
39:19And we have to leave, because they close in five minutes.
39:22At least you found what you were looking for.
39:24Yes.
39:29What were you thinking? What we found?
39:31No.
39:32But?
39:34Where are the others?
39:36For shopping.
39:37Supposedly.
39:38Why?
39:39I don't know. I just had a feeling this morning.
39:43I don't believe this.
39:48Are they in safe places?
39:49Yes, I'm telling you. Why?
39:51Listen to this, Angela.
39:58Oh, it's her.
39:59Don't pick it up.
40:00It's Elena.
40:01Yes, yes, it's her.
40:02Leave him alone.
40:03What was I saying?
40:04Oh, yes. Listen to this, Angela.
40:06I haven't had this conversation in a long time.
40:08Why?
40:09I don't know what to say, what to think.
40:11Me neither.
40:12But you, no matter how long it takes, you won't know.
40:15I understand everything you're saying.
40:17What I know is that luck, fate, fate, whatever you want to call it...
40:22Karma.
40:23...you can't control it.
40:25If you want to eat your own head, that's your business.
40:28But I'm telling you that Fotis might be in danger right now,
40:31because I've had a bad feeling since I woke up.
40:33And I believe that.
40:34I don't.
40:35Listen to me.
40:36I know that we're fine.
40:37We're not in danger.
40:38The clothes you found for me are all a mess.
40:40So, pack up and let's go home.
40:42What's wrong?
40:53Just a bag and some pants.
40:54And some pants?
40:55You said black, right?
40:56Yes, yes.
41:00So, this is the bag.
41:03It's fine.
41:04Take a look at it in the mirror,
41:06and I'll bring you the pants in half a minute.
41:09Okay?
41:10Okay.
41:18I had a bad feeling.
41:19I thought he was going to tell us who's in trouble and who's not.
41:24I had a bad feeling about Fotis.
41:25Vonga now, vonga, vonga.
41:26I can't breathe.
41:27I can't breathe.
41:28I can't breathe.
41:29I can't breathe, I'm telling you.
41:30I can't breathe.
41:31Where did you go?
41:32What did you do?
41:33Do you have a hair tie?
41:34You can't do this to me.
41:35Get out of here.
41:36I can't get out.
41:37Don't worry, I'll help you.
41:40Pull it, Margis.
41:41Pull it so I can see where it is.
41:42How?
41:43Pull the belt.
41:44Take your head out and look.
41:45It might be a ring.
41:46My head out?
41:47Should I go?
41:48No, no, you.
41:49No, you.
41:50You're going to take it all out.
41:51You're going to take it all out.
41:52You're trying.
41:53I can't take it all out.
41:55Anyway, girls, as we're sitting here,
41:57you know what I realized?
41:58What?
41:59If we make it today,
42:00I'm going to continue.
42:01What?
42:02Why?
42:03Because, I don't know,
42:04St. Joseph and St. Paisios
42:05are doing fine,
42:06but those suspenders,
42:07that agony,
42:08and all the goals in my life
42:09that I've missed,
42:10those girls will send me to hell.
42:11They won't get rid of me.
42:12They and the other guy outside.
42:13From my dad's death,
42:14from the beating,
42:15from the beating,
42:16they won't get rid of me.
42:17I'm going to get rid of them now.
42:20Something's coming.
42:21Close it.
42:22Hold on.
42:23I'm going to close it.
42:24I'm going to close it.
42:25Hold on.
42:26I'm going to close it.
42:27Let's go.
42:28Let's go.
42:29Look at the kids.
42:30They'll find a way to get us out.
42:31I'm sure they'll find a way to get us out.
42:34Eat shit!
42:38What did he say?
42:40You're doing great.
42:42Here's the pants.
42:44Can I try it on?
42:45Yes, of course.
42:46Come in.
43:01What do you think?
43:02I like it.
43:03I like it.
43:04I like it.
43:05I like it.
43:06I like it.
43:07I like it.
43:08I like it.
43:09I like it.
43:10I like it.
43:11I like it.
43:12I like it.
43:13I like it.
43:14I like it.
43:15I like it.
43:16I like it.
43:17I like it.
43:18I like it.
43:19I like it.
43:20I like it.
43:21I like it.
43:22I like it.
43:23I like it.
43:24I like it.
43:25I like it.
43:26I like it.
43:27I like it.
43:28I like it.
43:29I like it.