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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!
01:32Mandela, give me a noodle.
02:01It's a striker wife, I can't believe I'm watching this!
02:07Find me a black one and learn to respect your father's memory!
02:20I will never forget the memory of your father.
02:23Bravo.
02:27Take my mother with you.
02:31What's her name?
02:33Martirio.
02:34Plintirio?
02:36For eight years we will keep the penthouse.
02:39Bravo.
02:41Not even the old man on the street will reach our army.
02:45The doors and the windows will be as if they were built.
02:50Bravo.
02:52You will have time to make your own house.
02:57This one?
02:58I have in my trunk twenty vases.
03:01For the chandeliers.
03:03And for your dressing rooms.
03:06Of course.
03:07Not like me.
03:09I have made four beautiful dolls for my daughter.
03:12I will make a white one for her.
03:14Bravo.
03:15It's not enough that you can't see.
03:17What can't you see?
03:18I have redone the whole house.
03:20This is the same as the story of the old woman's house.
03:23Is there a little one?
03:24Yes, it's like a baby.
03:27What baby?
03:28There were two sisters.
03:29The little one and the big one.
03:32And when the man of the house died,
03:35the old woman's house was gone.
03:37Don't start with the old woman's house again.
03:40I don't know what else to say.
03:41I'm done.
03:43And you, finally.
03:44So that they don't understand,
03:46not even the wild plants of our garden,
03:50how bitter you made me.
03:56I don't want to live locked up in this dark room.
04:03I don't want to live like you.
04:08I don't want my garden to be ruined
04:12by your love.
04:16Tomorrow morning,
04:19I will leave.
04:21Take me there.
04:23The next morning,
04:25I will leave my garden.
04:30I will go out to walk in the fields.
04:35I will go out to walk in the fields.
04:40I will go out to walk in the fields.
04:43Out!
04:45Out!
04:50I can't stand this heat.
04:53She's gone.
04:54What can we do? She'll come back.
04:56All of us are losers,
04:58and one of us is worse.
04:59Yes.
05:04I can't stand this heat.
05:08She's worse, my God.
05:14We're not talking about the play.
05:16The play is a farce.
05:17The show is a farce.
05:19The show is a farce.
05:21But the play doesn't say much between us.
05:23Eight women are crying and crying.
05:25If this was a TV series,
05:27it would be cut in the fifth episode.
05:29Is what you see better?
05:31Do you compare Titha Zaniata with this?
05:34No.
05:35But this is pleasant.
05:37What am I listening to, my God?
05:38The cast is not completely wrong.
05:40They put the closest city to be the mother.
05:43What's the matter?
05:44Is it possible for the mother to be closer to her children?
05:46Why, Mary?
05:47How much is Fasola's mother?
05:482.50?
05:49It doesn't matter.
05:50What's the point of the Saturday play?
05:52With them and everything.
05:54What are you saying?
05:55What do you mean?
05:56I've been listening to you for so long
05:57and I can't understand
05:58where you're coming from and where you're going.
06:02From what I see,
06:03they are confused because they don't understand anything.
06:06Let me tell you something.
06:07We'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.
06:13I'm going to tell the truth.
06:15Because I liked her anyway.
06:20Let me tell you something.
06:21What are we going to say?
06:23Let's tell the truth.
06:28Angela,
06:29you were...
06:31stupid.
06:32What can I say?
06:33I didn't believe what I saw.
06:35It was unbelievable, Angela.
06:37Really unbelievable.
06:39Really?
06:40Angela,
06:41to be honest,
06:42I'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?
06:51What's the truth?
06:52Zumbulia,
06:53did you like him?
06:54What?
06:55I get it.
06:56That's what you were saying all the time.
06:57Me?
06:58Yes, Zumbulia.
06:59You were talking.
07:00And you didn't leave us alone
07:01because we wanted to watch the play.
07:03I'll kill you.
07:04Yes, Zumbulia.
07:05I heard you from the stage.
07:06You were talking all the time.
07:07I wanted to know what you were saying.
07:09Because I was talking about Peter.
07:10The big one.
07:11Yes, the big one.
07:12When she lost her husband,
07:13she was locked up in her house
07:14with her daughters
07:15for three years.
07:16She hadn't seen her in the village
07:17for three years.
07:18I believe
07:19this play
07:20is her story.
07:21What are you saying, Zumbulia?
07:23You're sitting here
07:24writing a play
07:25for your villagers.
07:26This play
07:27is based on the characters
07:28of the entire
07:29female psychosynthesis.
07:30It makes clear references
07:31to the history
07:32of the three-dimensional society
07:33and its collapse.
07:34And because of Franco's dictatorship
07:35that was in full swing
07:36at that time,
07:37all the fascist institutions
07:38that violate the rights
07:39of their citizens
07:40and, on top of that,
07:41the human dignity
07:42are destroyed.
07:43Zumbulia?
07:45Because while you were
07:46looking for the seeds,
07:47she read the play.
07:49But how can Zumbulia
07:50understand a play?
07:53Kalamari!
07:54Come here, you fool!
07:56You went to a play
07:57and you heard nothing!
07:58You wasted all the time
07:59and now you're giving us
08:00a lecture?
08:01Who else would do that?
08:02The critics!
08:03Come on,
08:04the food is ready.
08:05Shall we go?
08:06I'm going to help you
08:07a lot with your play.
08:08A lot.
08:09I'm fed up with it.
08:10And you believe it?
08:11You idiot!
08:14I'm going for a drink.
08:15Do you want anything?
08:16It's...
08:27What are you thinking about?
08:29I just remembered something.
08:31What?
08:33Do you remember that night?
08:35When I talked to you?
08:38In the same place.
08:39We were the same.
08:41Yes.
08:42I'm sorry.
08:48I missed you all so much.
08:50Me too.
08:52Tell me,
08:53what have you been doing
08:54all this time
08:55that we're in the countryside?
08:56Oh,
08:57the same.
08:58A lot of shopping,
08:59shopping.
09:00You're so bored, aren't you?
09:01Yes, I am.
09:03I was busy with something
09:04that I liked a lot.
09:05What?
09:06I made an investment
09:07that I think
09:08was worth its money.
09:13What is this?
09:14The first three episodes
09:15of the new series.
09:16What do you mean?
09:17Oh,
09:18we talk together
09:19and we understand each other.
09:20From Consuela's tears,
09:21my child.
09:22Transformed and ready
09:23to play in Greece.
09:24This nonsense
09:25that you went to buy her in Mexico.
09:26Where did you get so much money from?
09:27Shut up!
09:28I heard nonsense.
09:29And who sent you?
09:30It's my studio.
09:31They won't send me
09:32because I'm writing the script.
09:33Yes, I know that.
09:35Here I'm asking you all
09:36to put a signature
09:37in the Pulse's contract
09:38and you
09:39can't and you can't.
09:40Because Consuela
09:41is working all night
09:42at the computer.
09:43Should I put it?
09:44Let's see.
09:45Don't lose it.
09:48The only reason
09:49I didn't stop you
09:50from doing
09:51the ridiculous
09:52business move
09:53that a person could ever do
09:54is because
09:55you were depressed
09:56at that time
09:57and I thought
09:58you needed support.
09:59I needed it.
10:00So now
10:01that you have found
10:02your friends again
10:03and you are happy
10:04we will sell them all.
10:05As much as
10:06the studio and the channel.
10:07What are you talking about,
10:08my child?
10:09First of all,
10:10I have signed five years
10:11of contracts
10:12with the people.
10:13How can I break them?
10:14Let's buy the studio
10:15and the translation
10:16so that we can
10:17do the right job.
10:18I will write them in Greek,
10:19we will translate them
10:20in Spanish,
10:21and I want you
10:22to see it
10:23and cooperate
10:24with these people.
10:25Me?
10:26Who?
10:27How?
10:28It's my ownership,
10:29isn't it?
10:30I just want you
10:31to look at some papers
10:32that were given to me
10:33by the production
10:34and I don't understand
10:35anything.
10:36As much as I think
10:37about the dreams
10:38I had
10:39when you appointed me
10:40as your financial advisor.
10:41This is Pepita,
10:42the bad one.
10:43I'm glad.
10:44The previous cycle
10:45ended with Consuela
10:46who broke up
10:47with Alfonso.
10:48From misunderstanding.
10:49Pepita was at fault.
10:50Now she will try
10:51to convince her
10:52to talk to Consuela
10:53and at the end
10:54of the show
10:55she will throw her
10:56in the trash.
10:57Why?
10:58Because I don't get her.
10:59Kalamari Pepita,
11:00that's how you don't understand?
11:01What are these things?
11:02Kalamari Pepita,
11:03that's how
11:04you don't understand?
11:05Mexican dialect
11:06of the underworld.
11:07You let people
11:08break up
11:09because you
11:10are
11:11Zorlin.
11:12In the end,
11:13my child,
11:14you should watch
11:15a TV series
11:16as you want.
11:17I don't want to
11:18watch a TV series
11:19as you want.
11:21What can I say?
11:22I have no words.
11:23Not even Pepita
11:24has words in this scene.
11:25Why?
11:26I cut her, I cut her.
11:27Last season
11:28she was the main character.
11:29This year she will be humiliated.
11:32You're lying.
11:34So the new year
11:35found Dalia,
11:36Zumbulia,
11:37Foti,
11:38Spyro
11:39and Angela
11:40united again.
11:41A few months
11:42after the
11:43rare meeting
11:44with Sancerre
11:45and 15 years
11:46after his first meeting
11:48in the cold waiting room
11:49of an airport.
11:52And while Dalia
11:53was watching
11:54her favorite TV series
11:55without being afraid
11:56of unpleasant surprises
11:57in the script
11:58after she wrote it herself,
12:00Zumbulia
12:01was coming
12:02to confront Mia.
12:04Yes, my girl.
12:05Yes, I'm fine.
12:06You tell me
12:07how you are.
12:08I'm fine.
12:09I'm fine.
12:10Yes.
12:11And the baby
12:12and the Buddha
12:13and another
12:14that we have here.
12:15Say hello.
12:16Say hello.
12:17Say hello.
12:22No, Buddha.
12:24His girlfriend.
12:26You're crazy.
12:28Ask her
12:29if she liked
12:30that flat
12:31on 43rd Avenue.
12:32What?
12:33On 43rd Avenue.
12:35A flat
12:36that they wanted
12:37to see
12:38and rent.
12:39What did they do?
12:40I'll tell you, Anna.
12:41She said
12:42that flat
12:43is called
12:444444.
12:45Did you like it?
12:48You didn't like it.
12:49They didn't like it.
12:50Why?
12:51Was it too yuppie style?
12:53What do you mean?
12:56I'll tell you, Anna.
12:57That number
12:59of his
13:01was yuppie
13:02but in the end
13:03he...
13:04Leave me alone.
13:05You're making me
13:06speak English
13:07to my daughter.
13:08Here.
13:09Take it and say it
13:10as you like.
13:11Come on, Anna.
13:12Tell me.
13:13Aha.
13:14Aha.
13:16Aha.
13:18Aha.
13:19Look at him.
13:20Look here.
13:21Didn't you like it?
13:22You can talk
13:23once and...
13:24Come on, girl.
13:25Listen to me.
13:26No, give me a break.
13:28Leave me alone.
13:30Tell her
13:31we'll go to the theatre
13:32next week.
13:33I don't wanna see
13:34locked away.
13:36When you picked me up
13:37and everything changed
13:38time started encountering
13:39me again.
13:41She'll go to the theatre
13:42next week.
13:43I know one. She found it.
13:45Career, love and sushi.
13:47Don't say it.
13:48It's a big title.
13:50I'll tell you the other one, Anna.
13:52I went the other day and I saw a fantastic play.
13:54You won't believe it.
13:56Don't you think you remember the great Pitera at all in the village?
13:59Pitera?
14:01Pitera, the one with the big house in the village.
14:03There is no other story from this village. I can't stand it.
14:06Okay, okay, my girl. You're closing.
14:08Okay. Yes, yes, yes.
14:10I love you too.
14:12Fortunately.
14:14What is happening,
14:16hasn't gone away yet.
14:18When will it come, I say?
14:20You say more, unfortunately, but anyway.
14:24What can we do now?
14:26Patience.
14:28Patience until Easter.
14:30Because I'm telling you,
14:32I 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.
14:40You're Orthodox Christian, aren't you?
14:42No.
14:44What no?
14:46I'm not Orthodox Christian, I'm a Buddhist.
14:58What is Buddhism?
15:00Religion. What did you think it was?
15:06The one with the meat.
15:08If you don't eat meat, that's...
15:10It's a religion, Zumbulia.
15:12What is it?
15:14Millions of people in the world and my own, too.
15:16So you, now...
15:20What, you have two?
15:22I don't have two, Lia, I have one.
15:24I'm not a Christian, I don't believe in Christ.
15:26Where do you believe?
15:28In the Buddha.
15:32The fat one?
15:34Yes.
15:38Why didn't I say it so long ago?
15:40To let her go for a walk in the house?
15:50Nepal Thivet at the World's Hostel.
15:5212 days.
15:54No.
15:56I don't like names, either.
16:00Around Italy?
16:02We'll go next door.
16:04No.
16:06No.
16:10Caribbean, 8 days.
16:12What's that?
16:20Spiro?
16:22South America.
16:28Under the carpet.
16:30No.
16:34Do you want to go to the island?
16:36No, you say?
16:38Let's go.
16:44Around Scandinavia?
16:54Days?
16:5614 days.
16:58Let's go.
17:02You'll pass all the capitals of Scandinavian countries.
17:06You'll travel to magical Lapland.
17:12You'll get to know the wonderful Norwegian fjords.
17:16What are fjords?
17:18Some animals that...
17:20Christ! Christ!
17:22Drink some water.
17:24Some animals, like skunks.
17:26Yes, yes.
17:28What else?
17:30You'll have the unique experience of traveling to the village of Saint Basil.
17:36Will Saint Basil be there, or will he have left after the holidays?
17:40Will Saint Basil be there, too?
17:44I don't know, Theopoula.
17:46You can call him, if he's there.
17:52What's all this?
17:54I'm an angel.
17:56We'll leave again.
17:58Saint Basil is nice, but only 4 days.
18:02Only 4 days, but everything is paid.
18:04How will you get there?
18:06We'll find a way.
18:08That's what I'm afraid of.
18:10Don't worry, we'll get there.
18:12Do whatever you want.
18:14Show me the photos from Saint Basil.
18:16Oh, yes.
18:18Did they come out?
18:20Yes, yes.
18:22Take a look, my boy.
18:30From the Moulin Rouge.
18:34And here at the Moulin Rouge.
18:36From another cabaret.
18:40From the party at the hotel.
18:44And here at the party.
18:46And here at the party.
18:48And here again at the party.
18:52I saw him on the street.
18:54I liked him.
18:56So I took him out.
19:00At the cabaret.
19:02At the cabaret.
19:04The tower at the Eiffel Tower.
19:06Slowly, now.
19:08Who is he?
19:10Oh, a retired dentist.
19:12He met Theopoula.
19:14Jean Pierre.
19:16We had a friend, Theopoula.
19:18And here is Jean Pierre.
19:20And here is Jean Pierre.
19:22Costume, sir.
19:24Then he takes it off.
19:26What do you mean?
19:28Here it is only with the underwear.
19:30And here without.
19:32What happened?
19:36Theopoula, what did you do in Paris?
19:38Drawing.
19:42The five had returned to their daily life.
19:46Those they had met before.
19:48They were together again.
19:50But not like before.
19:52Their investigations had stopped.
19:54And no one wanted to talk about this strange game of fate.
19:56That brought them together so suddenly.
19:58In two moments of their lives.
20:02It was an issue that no one dared to touch.
20:04They preferred to ignore it.
20:06They all claimed that it meant nothing.
20:10All except one.
20:14They won't come.
20:16Why?
20:18Why won't they come?
20:20Spyros says that he is on duty.
20:22And he prefers to stay at home.
20:24Talia has to deliver an episode.
20:26And Zumbulia told me about something strange.
20:28About Marinela.
20:30That she is the opposite.
20:32I didn't understand anything.
20:34They can't today.
20:36But they will be able to tomorrow.
20:38And if they will be able, what will happen?
20:40Will we get together again?
20:42To play at the table and cook like the other time?
20:44Angela.
20:46Are you doing the same with them?
20:48What?
20:50You don't understand.
20:52We can't meet after 15 years to eat and play.
20:54Can we not talk about this?
20:56Until when?
20:58Until when will we not talk about it?
21:00Until when will we pretend that it doesn't mean anything?
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...
21:12We can't deal with this issue.
21:14Don't you understand?
21:18I can.
21:20Good.
21:22But you can't force others to deal with it.
21:24What about you?
21:26What?
21:28Can I deal with you?
21:30Do you know how many times I have thought about all this?
21:32And what conclusion do you draw?
21:34That I can't know.
21:36Neither I nor anyone.
21:38There is no machine.
21:40There are some methods
21:42that man has discovered
21:44and he can distinguish
21:46what is coincidence and what is not.
21:48We have classified it
21:50into two categories
21:52on our own.
21:54Good.
21:56And what about what we experienced?
21:58Which category does it fall into?
22:00I told you I can't know.
22:02You told me that we classify it into categories.
22:04It's our case.
22:06How can you classify it?
22:08Then there is something else.
22:10What?
22:12It makes me mad that we are pawns in a story.
22:14We are not pawns.
22:16We are players.
22:18We are pawns.
22:20Someone.
22:22Maybe up there or I don't know.
22:24It doesn't matter what we want,
22:26what our goal is.
22:28Wait.
22:38What are you doing?
22:44You are here
22:46because I put you here.
22:50Put them down.
22:52What?
22:54Put them down.
23:02Are you buying them?
23:04I don't understand.
23:06I put you here
23:08without your will.
23:10Zari brought what he wanted
23:12and not what you wanted.
23:14But where you are
23:16is your decision.
23:18You can go back and forth
23:20without buying or selling anything
23:22just waiting to lose
23:24or if you play right, to win.
23:26What the hell are these?
23:28Do you think this is life?
23:30A gambling game?
23:32Come here.
23:34Come here.
23:38And this?
23:40Is this stupidity too?
23:42Angela, we shouldn't stop.
23:44As long as we were divorced
23:46I tried to tell you in the papers.
23:48But I couldn't because I didn't have
23:50a legal identity.
23:52I will go back to my father.
23:54When?
23:56As soon as possible.
23:58What I want from you
24:00is for you to accept the deal
24:02Will you do it?
24:04What exactly do you want?
24:06I will explain to you when we go there.
24:08Tell me now, can you help me?
24:10Of course.
24:12Yes, but I need a legal identity.
24:14Who says so?
24:16The law.
24:18My boy, the only point that our state mechanism
24:20overlaps with the rest of Europe
24:22is that the laws that it has established
24:24don't apply.
24:26What?
24:28Your cousin, for example,
24:30is free and has a show.
24:32What?
24:34Nothing. Tell me what you want from me.
24:36We are looking for a title for our show with Jack.
24:38What show?
24:40Are we starting a new show together?
24:42You? Yes.
24:44You are a technician, you are not a presenter.
24:46Why are you? We made you.
24:48So, uncle,
24:50what do you think about
24:52Frida and Jack
24:54coming to Parajak?
24:56It's not good, Frida.
24:58Are Frida and Jack
25:00stars?
25:02No.
25:04Jack and beans?
25:06Mine should be first.
25:08What did you say?
25:10And what kind of show will it be?
25:12Invited.
25:14And who will come?
25:16Actors, singers, politicians.
25:18Politicians don't come to my channel.
25:20Why, uncle?
25:22What can you do, Frida?
25:24It will be an opening in my career
25:26and the sound is like a loudspeaker.
25:28You can't speak or use anything else.
25:30You are young
25:32and you don't know.
25:34I don't like it.
25:36Maybe you are right.
25:38I am very young
25:40and I don't have your age, uncle.
25:42Well done.
25:44Go out now and we will find a title later.
25:46What did we say?
25:48Will you help me?
25:50You are great, dad.
25:52You can even command her.
25:54When do you want to go?
25:56Tomorrow.
25:58When we get there, I will explain everything to you.
26:00You don't need to.
26:02I trust you.
26:04Whatever you are looking for,
26:06I am sure it will be for good.
26:08The market price of new machines
26:10for the Klostoifantourgia Hatzia Alexandro
26:12is 850,000 euros.
26:14The market price of new machines
26:16for the Galaktokomikonidos industry
26:18in Thessaloniki
26:20is 850,000 euros.
26:24Buy four new aircraft
26:26from your airline
26:28Alitalia
26:30in the United States.
26:34My turn.
26:36Consuela.
26:38It's been a long time.
26:40I am very happy.
26:42It's been a long time.
26:44I told you the truth
26:46and you didn't tell me.
26:48And you didn't tell me.
26:50Perfect.
26:52As if you are not ashamed.
26:54You are a rotten dog
26:56of hell.
26:58I would like to know how to translate
27:00the word rotten in Spanish.
27:02No problem.
27:04You open the parenthesis.
27:06Where did you find the doberman?
27:08It's a symbolism.
27:10You are a rotten dog of hell.
27:12Where was I?
27:14On the tree.
27:16What does the doberman do?
27:18No, no, no.
27:20He falls down
27:22and the scene ends.
27:24With the doberman on the floor?
27:26No, no, no.
27:28I won't make a final.
27:30Write.
27:32Close to the dog.
27:34End of scene 18.
27:36My turn.
27:38Do you know the two works?
27:40Yes, but I have to hear
27:42what is forbidden.
27:44Why? What do they have?
27:46A rotten dog.
27:48It's a good one.
27:50It's better than what you wrote.
27:52Yes.
27:54It's me.
27:56What are you doing?
27:58I am drowning.
28:00What do you want?
28:02I want to talk about something.
28:04I don't know if I can.
28:06I don't know if I can.
28:08What do you want to talk about?
28:10I was wondering if you wanted it too.
28:12Zoupoulia asked for it.
28:14The three of us to go shopping.
28:16To buy some clothes.
28:18Don't go around like a carnival.
28:20Yes, ok.
28:22What did you think I would say?
28:24No, nothing.
28:26Let's go.
28:28When?
28:30Tomorrow.
28:32Yes.
28:34I don't think
28:36we need any change.
28:38I don't think we need any change.
28:40What can I say?
28:42I don't think we need any change.
28:44I don't think we need any change.
28:46I know.
28:48I know.
28:50Ok.
28:52See you tomorrow.
28:54See you tomorrow.
28:56See you tomorrow.
29:02Hey, Foti.
29:04I can see you.
29:06How are you?
29:08Not so good.
29:10I will call you later.
29:14Who was it?
29:16Angela.
29:18Does she think I am a coward?
29:20No one thinks you are a coward.
29:22We were all scared when we found out
29:24what was uniting us.
29:26We all had the same reaction.
29:28The problem is now.
29:30We have overcome the first shock.
29:32I don't want to do anything.
29:34I don't want to lose you,
29:36but I want to stop looking.
29:38I want to live a normal life
29:40in a normal environment.
29:42And everything that happened to us
29:44is completely unnatural.
29:46I can't explain it,
29:48no matter how much I have tried.
29:50So I better leave it aside.
29:52Is that your last word?
29:54Yes.
30:02At a time like this,
30:04I should know the whole truth.
30:06What happened 30 years ago,
30:08who was that woman,
30:10what was my relationship with Stavrianidis,
30:12and I don't know anything else.
30:14If you still want to know,
30:16you know where to find me.
30:22Let's go.
30:30Wait a minute.
30:32Something is going wrong here.
30:34You mean she told you
30:36that I want to go to Psonas?
30:38Yes.
30:40You should have told me the opposite.
30:42It was your idea.
30:44No.
30:46Strange things.
30:48When did you get a call?
30:50I'll tell you before you come.
30:52I know, your husband is here.
30:54I can't.
30:56He's dying.
30:58You have to come.
31:00What's going on?
31:02What are we going to do?
31:04She lied to us for some reason.
31:06Lia?
31:10You're insane.
31:12You're insane.
31:14You have a bunch of garlic around your neck.
31:16We can't get out of the smell.
31:18Get ready.
31:20We have to go to the theater.
31:26What's going on?
31:28What's going on?
31:30Where do I start and where do I end?
31:32I'll tell you tomorrow.
31:34Why are we going?
31:36I don't know.
31:38I don't want to come.
31:40Me neither.
31:42But if we don't go, we won't know.
31:48SPIRO
31:58Spiro, if you find out what I do, you'll go crazy.
32:00Don't talk.
32:02I don't want anything else.
32:04We started with lessons.
32:06Lia didn't have a job.
32:08Do you know how many people were in front of the box and drew?
32:10Millions.
32:12That's where you got it.
32:14I met Jean Pierre there.
32:16We'll keep in touch. I don't want to be a nuisance.
32:21What are you going to do with the paint and the paintbrushes?
32:24Are we going to have them in the living room every day?
32:26Why? What's it to you?
32:27Anyway, they're better than the drums and the baglamas.
32:30They don't make any noise.
32:31Come and see our first lesson.
32:33In a biology school.
32:36And the teacher says you had to take a cabaletto and mousamades from the first lesson?
32:40They sent you the wrong letter.
32:42Look.
32:44What?
32:45It's a bit off.
32:47I can see that.
32:48It's a good thing there's no river in Athens.
32:50Otherwise, we'd have to expose our works.
32:53There is a river.
32:54Where?
32:55In Kifissos.
32:56Where? In Baza?
32:58Grandmother, don't go there.
32:59They caught the rain there. Expose them here.
33:01But isn't it nice for a first lesson?
33:05I don't know. Don't put your feet on the floor.
33:07I don't care about anything else.
33:13What did you draw, Theopoula?
33:16One. I don't know.
33:19I saw it somewhere, but I don't remember where.
33:28Is she smiling?
33:30I don't know.
33:31You should have decided, Theopoula.
33:33It's like she's just had an abortion.
33:36It's for a throw-up.
33:38Isn't it nice?
33:44I'm going to draw a sailor.
33:46Great!
33:53Come on, Dad.
33:55I'm here. Are you late?
33:58Great.
34:00I'll be waiting for you downstairs.
34:02Bye.
34:09You're here.
34:11How?
34:12Tell me, Theopoula. You only drew Lisa.
34:15How normal can life be in this house?
34:18I don't understand.
34:19It doesn't matter. It's important that I came.
34:22Where's your father?
34:23Wherever he is, he'll come.
34:25There he is.
34:31What happened?
34:32Dad, this is Spyros.
34:33Spyros, my dad.
34:35Nice to meet you.
34:36Nice to meet you, too.
34:37So, shall we go?
34:39Yes.
34:43She's not a Christian.
34:44How can I say that?
34:45She's been wearing a mask since this morning.
34:47It's not that bad.
34:50It's not bad?
34:51I want her to be demonized in my house.
34:54I want us to go to the theater.
34:55I want to sit next to her in the dark.
34:57I left her downstairs and I threw her on my bed.
35:00What did you see?
35:01What did we see? I know what we saw.
35:02A career, love and Suzy.
35:05I didn't see Suzy, nor did I know who she was.
35:07Suzy?
35:09She's food.
35:10She's a fish, a moth, a lizard, a moth.
35:13That's right.
35:14There's no such thing.
35:16Good morning.
35:18Good morning.
35:19How can I help you?
35:21We want a complete transformation of the lady.
35:23When we say transformation, we mean the clothes she's wearing.
35:26We want them to be modern,
35:29to show her personality and to highlight her features.
35:33Very nice.
35:34But we're keeping the lady, right?
35:37Yes, we're keeping the lady.
35:38The clothes are coming out.
35:44So, what date are we looking for?
35:46April 1975.
35:49So old. And what exactly?
35:51A murder.
35:52I remember a woman in Thessaloniki.
35:55Let's see.
35:56Mom!
35:57I'm almost done.
35:58What are you doing so late?
36:00Did you kill them?
36:02What did she say? I'm going to kill them.
36:04Did she say anything?
36:05Nothing. I'm almost done.
36:09What's your name?
36:11I'm going to kill them.
36:13Why don't you listen to the talk?
36:16Why did you lie to our daughter about going shopping?
36:19You don't know.
36:20Tell me.
36:22Fotis is looking for evidence in the archives.
36:26We're supposed to meet in the square.
36:28Bad.
36:29Don't you care about what he might find?
36:31I'm not saying that.
36:33Then what?
36:38♪ No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
37:08no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no
37:38no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no
38:08I came here to see the women and you're looking at me like I'm a fool
38:11Oh, you brought us here and now you're going to tell us about the women?
38:15I'm glad I told you that you're going to go back
38:16I'm going back because I have a child
38:18Let's not start again about what he had and what I didn't have
38:20Every woman has her own destiny
38:22The point is that we have the right to restore it
38:25How? By chasing some irrelevant people?
38:27Yes, and until recently we were chasing some irrelevant people
38:31And 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
38:39There you go
38:40The famous businessman of Thessaloniki, Periklis Aslanovlou, was killed in a car accident
38:46And in fact, at first there were rumors that it wasn't a car accident, but a criminal act
38:50How did they find out?
38:52Who writes the news on the channel, my boy?
38:55Oh, dad, I was sure you would help
38:57Yes, but in the end it turned out to be a car accident
38:59So?
39:00And about Nikos, they said he lost his heart
39:03Who is Nikos?
39:04Stavrianidis
39:06The minister?
39:07Oh, and what?
39:09Forget it, dad, next time
39:10It's a long story
39:12Anyway, I believe that the same people who did one thing, did the other
39:15But there is no connection between these two
39:18No, there isn't, we haven't found it
39:20And we have to go, because they close in five minutes
39:23At least you found what you were looking for
39:25Yes
39:29What were you thinking? What we found?
39:32No
39:33But?
39:35Where are the others?
39:37For shopping
39:38Supposedly
39:39Why?
39:40I don't know, I just have a feeling this morning
39:44But I don't believe in these things
39:49They are in safe places
39:50Yes, I'm telling you, why?
39:52Listen to this, Angela
39:58Oh, it's Valentina
39:59I won't pick it up
40:00It's Marilena
40:01Yes, yes, it's her
40:02Leave it, leave it, don't bother
40:03What was I saying?
40:05Yes, listen to this, Angela
40:07I haven't asked her this question in a long time, because
40:10I don't know what to say, what to think
40:12Me neither
40:13But you, no matter how long it takes, you won't know
40:16I understand everything you're saying
40:17What I know is that
40:19Luck, risk, fate, whatever you want to call it
40:23Karma
40:24You can't control them
40:26If you want to eat your own head, that's your business
40:29But I'm telling you that Fotis might be in danger right now
40:31Because I have a bad feeling since I woke up
40:33And I believe that
40:34And I don't
40:35You're right
40:36I know that we're fine, we're not in danger
40:39The clothes you found for me are all ruined
40:41So pack up and let's go home
40:43What happened?
40:53Only a bag and pants
40:55And pants?
40:56You told me in black, right?
40:57Yes, yes
40:58Let's go
41:01So
41:02This is the bag
41:04Great
41:05Check it out in the mirror
41:07And I'll bring you the pants in half a minute, ok?
41:10Ok
41:19And a girl like me
41:20Who wanted to tell us who's in danger
41:22And to whom
41:24She had a feeling for Fotis
41:26Vonga, now, vonga, vonga
41:27I can't breathe
41:28Pull me out of here
41:29I can't breathe
41:30I'm trying
41:31Where are you going?
41:32What are you doing?
41:33Do you have a hair tie?
41:34You can't do this
41:35Get out
41:36What can I do?
41:37I can't breathe
41:40Pull me out
41:41Pull me
41:43How?
41:44Pull the jacket
41:45And take your head out
41:46It might come off
41:47And take me out?
41:48I'm not going
41:49No, no, you are
41:50To take your clothes off
41:51You have to take it off
41:52You're trying
41:53I can't take it off
41:54Girls, as we're sitting here
41:56Do you know what I realized?
41:57What?
41:58If we make it today
41:59I'm going to continue
42:00What?
42:01Yes
42:02Because, I'm not saying
42:03Come on, it's Christmas
42:04And the shopping is fine
42:05But this suspense
42:06This anxiety
42:07And the goal in my life
42:08That I'm missing
42:09This girl will send me to hell
42:11I won't make it
42:12This one and the other one
42:13From the inside
42:14From the outside
42:15From the inside
42:16Anyway, I won't make it
42:17I'm going out now
42:20Something's coming
42:21Close it
42:22Hold me
42:24I'm going to close it
42:25Hold me
42:26I'm going
42:27Look at the kids
42:28Find a way to get us out
42:29Yes
42:30Jesus Christ
42:32She's going to do it
42:33I'm sure
42:35Eat shit
42:39What did he say?
42:41It suits you very much
42:44Here's the pants
42:45Can I try it on?
42:46Yes, yes, of course
42:47Come in
42:54I'm going
42:55I'm going
42:56I'm going
42:57I'm going
42:58I'm going
42:59I'm going
43:00I'm going
43:01I'm going
43:02I'm going
43:03I'm going
43:04I'm going
43:05I'm going
43:06I'm going
43:07I'm going
43:08I'm going
43:09I'm going
43:10I'm going
43:11I'm going
43:12I'm going
43:13I'm going
43:14I'm going
43:15I'm going
43:16I'm going
43:17I'm going
43:18I'm going
43:19I'm going
43:20I'm going
43:21I'm going
43:22I'm going