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00:00[♪ Music ♪ Voiceover, in Greek ♪♪♪ ♪♪♪ ♪♪♪♪♪♪♪♪♪♪♪♪♪∼♪♪♪♪♪
00:30Good-natured children, sing with heart
00:38Good-natured children, for joy
01:00Good-natured children, open the schools
01:08Good-natured children, read the books
01:16Good-natured children, read the books
01:24Good-natured children, sing with heart
01:32Good-natured children, for joy
01:54Good-natured children, open the schools
02:02Good-natured children, for joy
02:10Good-natured children, for joy
02:18Good-natured children, sing with heart
02:26Good-natured children, for joy
02:34Good-natured children, for joy
02:42Good-natured children, sing with heart
02:50Good-natured children, for joy
02:58Good-natured children, for joy
03:06Good-natured children, for joy
03:14Good-natured children, for joy
03:22Good-natured children, for joy
03:30Good-natured children, for joy
03:38Good-natured children, for joy
03:46Good-natured children, for joy
03:54Good-natured children, for joy
04:02Good-natured children, for joy
04:10487
04:23She's sending me to the mouth of the earth!
04:26How does she know?
04:27Stop it! She's not saying that.
04:29Why would she send you to the mouth of the earth?
04:31Didn't you want to go to Calistia?
04:33Yes, but now I'm afraid.
04:36I don't remember the answers.
04:38You've been reading them for days. How is it possible that you don't remember?
04:40I'm confused, the way you wrote them.
04:42Why shouldn't I say them the way I know them?
04:44I'll catch you from one side and the other one from the other side.
04:47I can't do that.
04:48Because she doesn't have a brain and I'll hit you in the head.
04:50Who are you talking to?
04:51Leave me alone, because I have a lot on my plate.
04:53Don't look at me, because I haven't spoken to you for so long.
04:55First of all, what job do you have?
04:56And why did you give your mother's address to me?
04:58I took it because I wanted to give you the wallet.
05:01What wallet?
05:02You don't speak.
05:03Why did you kick me out?
05:04What have I been doing for so long?
05:07Are you okay, Zoupoulia?
05:09No, Spyro. I have a lot of issues.
05:11Okay, let's solve our main issue first.
05:14And we'll see the rest later.
05:16Amalia, what happened?
05:19I can't say them the way you wrote them.
05:21I'll be jealous.
05:23Don't be jealous. Stop saying them the way you want to.
05:25Stop it, Angela.
05:26What's bothering you? Tell me.
05:28There are a lot. I don't remember them.
05:30Where are you confused? In which question?
05:32Tell me, Spyro, what are you saying now?
05:33They should be there in half an hour.
05:35Why would I take them now?
05:36It took me two days to write them.
05:38Amalia, tell me. Which questions are you confused about?
05:41I'm not confused about the questions.
05:43The answers are confusing me.
05:45Bring me the papers.
05:46Bring me my wallet.
05:47You're driving me crazy.
05:48Let's see what you're confused about.
05:50I don't have my glasses.
05:52Take them and ask a question.
05:54Do you know anything?
05:55Because I think I know what we did.
05:56Go to the wall. This one.
05:58Okay.
05:59So, question 22.
06:02What is the position of the modern Greek in today's society
06:05and how much do you think it has changed in recent years?
06:12The modern Greek has...
06:15Women in our country, we said.
06:17Not the modern Greek.
06:19I didn't remember that.
06:21She's going to be in our hands. How are we going to send her?
06:24She told us. She's been doing it for so many days.
06:26And I'm confused.
06:27Ask her an easy question and she'll answer it.
06:30Yes.
06:31So, Amalitsa, let's go to question 22.
06:34Let's go to...
06:37Here, question 38, which is easy.
06:39I see.
06:40So, which of the previous winners of the competition
06:43stands out in the modern Greek and why?
06:46All the modern Greeks. I liked them.
06:49The modern Greeks too, Amalia.
06:50We had the well-known problem.
06:52Are we going to be afraid of the grammar now?
06:53Amalia, focus and let's go.
06:55Toilet.
06:56You've been to the toilet five times since this morning.
07:01She didn't read them, I'm sure.
07:02It took her two days to write them.
07:04Think about the other thing.
07:06Amalia has panicked at the idea and only at the interview.
07:09What's going to happen when she turns 40?
07:11How are we going to send her? She'll die of fear.
07:14She'll be right.
07:15We found a good girl and we chose her.
07:17Are we going to take her in our group?
07:18We're exposing her to danger, you say?
07:20We're used to it. What does it matter to us?
07:22It took her two days to write them.
07:24Okay, we said it.
07:25So, I say we leave her alone
07:27and we'll find another way to approach her.
07:29I agree.
07:30If anything happens, we'll keep it a secret.
07:32I agree.
07:33Me too.
07:34It took her two days to write them.
07:36Then you go to the toilet, you know what to do.
07:48How are you, Amalia?
07:49Better.
07:50Sit down.
07:51We need to talk.
07:52I want to talk to you too.
07:54No, we'll talk to you first.
07:56I'm leaving.
07:57What?
07:59I'm leaving.
08:00I'm okay now.
08:02I'm leaving.
08:03Are you sure?
08:04Yes.
08:23Excuse me, can I ask you something?
08:25Why are they all crying?
08:27The good thing is that they're alive.
08:29It doesn't matter if they're crying.
08:31As soon as the next one comes out, it's your turn.
08:41The next one is me!
08:44Come in.
08:45I'm going to kill you.
08:56They're like sheep in slaughter.
08:59I'm taking part because I believe that the institution of the Callistion
09:03shows women's beauty.
09:05And if you like it...
09:06You can blame me.
09:08Ale?
09:15What do we have here?
09:17Good morning.
09:18Good morning to you too.
09:19My name is Evelyn.
09:20I'm from Patras and I'm 24 years old.
09:24Without the PPA, I guess.
09:26Here you are.
09:27Ale?
09:34Good morning.
09:46Are you still here?
09:56Good morning.
10:01What's your name?
10:02Emy.
10:03It says Amalia here.
10:05Yes, but since I was a kid, they call me Emy.
10:08I see.
10:09I'm going to call you Amalia.
10:11As you wish.
10:13By appearance, you're nothing special.
10:16But in the eyes, you're unique.
10:20Did you study the questions from the office?
10:23Yes, I took a look.
10:25Is there anyone who made it difficult for you?
10:28One or two.
10:29Who made it more difficult for you, so I wouldn't ask?
10:33So, if I tell you, you won't ask me?
10:36No.
10:37Because I liked you.
10:39So?
10:40Is there anyone?
10:42Yes.
10:43Twenty-two.
10:48What is the position of the modern Greek in today's society
10:51and how much do you think it has changed in recent years?
10:56This one?
10:57Yes.
10:58I see.
10:59So...
11:01I don't know.
11:02I don't know.
11:03I don't know.
11:04I don't know.
11:05So...
11:08What is the position of the modern Greek in today's society
11:12and how much do you think it has changed in recent years?
11:15What?
11:16Are you deaf?
11:18No.
11:20So, are you asking me this now?
11:23Absolutely.
11:25So, I'm listening.
11:28The modern Greek
11:30has made great progress in today's society.
11:35She is involved in politics, which is very important for a woman
11:38to have her own voice in the parliament.
11:41And she does jobs that she couldn't do before.
11:49Women in our country have managed to change a lot of things in recent years.
11:53They participate in the public sphere and have acquired positions
11:56that used to be utopian even to think about.
11:59However, I don't think that the gap between the two sides has widened in Greece.
12:03Especially if we consider the situation in other European countries
12:07and especially in Scandinavia, where women have the same rights as men,
12:10if not more.
12:14Mrs. Ioannou,
12:15do you have a minute to change the tape?
12:18Do your job, my boy.
12:20Very good answer, Marlea.
12:22I think we'll talk again.
12:23Thank you very much.
12:25What did you say?
12:26When?
12:27Now, what did you say?
12:28I thanked you for the kind words you said.
12:32Okay, okay, go.
12:33Bye.
12:34Goodbye.
12:35Next.
12:39What do we have here?
12:41What number are you?
12:43102.
12:44102.
12:45And where do you come from?
12:47From Volos.
12:48From Volos.
12:49Do you live there?
12:50Yes.
12:52And how did you come to Athens?
12:54By driving or by bus?
12:56By bus.
12:57This morning.
12:59And what time does the next one leave for Volos?
13:01At three.
13:02Just in time.
13:05Bye.
13:10Six.
13:13Whose is this?
13:14Mine.
13:15Oh, are you going to build?
13:16Oh, I can't.
13:17Oh, how did I build you then?
13:19Oh, listen to me a little bit,
13:21because my nerves are not good either.
13:23Shall we make you a chamomile?
13:24No, I don't want chamomile.
13:25Look at me.
13:26Look at me.
13:27I don't want chamomile.
13:28Look at these little houses, little houses, little houses.
13:31These are all yours.
13:32And the money you keep is yours.
13:34Yes.
13:35Yes.
13:36And from what's left,
13:37only this hotel is mine,
13:39which has not been used for 40 years.
13:42So I have money.
13:44The house here is mine,
13:46but I have stored it.
13:48I have been in prison for four years,
13:51and I do a better job,
13:52because if I go anywhere, I will pay.
13:54To whom?
13:55To you.
13:56Unless I bring 30,
13:57and I go straight to the hotel.
13:58But 30 with two bags,
13:59how much can you bring?
14:01And the only one of the four
14:02who has 20 euros is me.
14:04Ah, bravo.
14:05Bravo, she says.
14:06Call Zoula, she took it from the bank,
14:07you didn't see him.
14:08And you, when you saw him,
14:09why didn't you say anything?
14:10Because we took it too,
14:11before you go and see Prokopis,
14:12but where?
14:13Ah, so who wins?
14:15Ah, I'm going to drink the chamomile.
14:17You, my dear,
14:18where do you have all the money?
14:19So the goal is to collect money?
14:21Ah, silly game.
14:23He's crying, he's crying,
14:24he's crying and he's married.
14:26Amalia?
14:27Should I share it with all five of us?
14:29No, because we did it
14:30in the previous game,
14:31and we ended up at one again.
14:32What is this thing?
14:33Really?
14:34Is everything fake?
14:35Do you eat them like magnets?
14:36Leave it.
14:42What happened, Amalia?
14:43How did it go?
14:44Very well.
14:45Really?
14:46What did I ask you?
14:47About the modern Greek woman.
14:48I asked you about the modern Greek woman
14:50and you did very well.
14:51Yes.
14:52Are you sure?
14:53Yes.
14:54And they even told me that
14:55results will come out in a week.
14:57Well done, Amalia.
14:58Thank you.
14:59What are you doing here?
15:01We're playing at the table.
15:02Do you want to come and play with us?
15:07I do.
15:14So, we're finally going to play?
15:16It's time for our game,
15:17our favorite game,
15:18the fireworks game,
15:19which, from the first time we played it,
15:21was really, really scary.
15:22Find the lighter that lights up.
15:23Yes, yes, the lighter.
15:24And who will be our guest today?
15:26It's a big gift.
15:27It's a trip for two people,
15:29four days in Paris.
15:31Paris!
15:32We call it Paris at this time of the year.
15:34It's the country of...
15:37I prefer London.
15:39What did you say?
15:40I prefer London.
15:41Okay, wait.
15:42The telephone line.
15:43Let's go to the telephone line.
15:44I thought you would speak French,
15:45but you speak English.
15:46So, let's go and hear
15:47which lady is on the telephone line.
15:49Good morning.
15:50Good morning.
15:51How are you?
15:52Good.
15:53What's your name?
15:54Sofia.
15:55My lady, Sofia, are you well?
15:56I'm well, I'm fine.
15:57I hope you're well too.
15:59Thank you.
16:00And that you give us beautiful gifts.
16:02Thank you very much.
16:03Mrs. Sofia, let's see
16:04who will be your opponent.
16:06Why do all the women
16:07come to our show
16:08and you don't?
16:09I'm sure it will be a woman.
16:10Good morning.
16:11Good morning.
16:12Good morning.
16:13Good morning.
16:14Which lady is on the other telephone line?
16:16Me.
16:18What's your name?
16:19Theopoula.
16:20Theopoula.
16:21It's a strange name.
16:22You have a very nice name.
16:24How are you, my girl?
16:26You're a tall girl too.
16:28I see.
16:29Mrs. Sofia and Mrs. Theopoula.
16:31Mrs. Sofia, have you been to Paris again?
16:33No, but I really want to go.
16:35Perfect.
16:36Microphone, your TV.
16:37Lower the volume a bit.
16:39Lower.
16:40Mrs. Theopoula, you too.
16:42What should I do?
16:43Lower your TV.
16:45But I turned it off before I went up.
16:47I don't know if it turned on when I was downstairs.
16:49Maybe.
16:50I said I was going to cook,
16:51but who can trust her?
16:53What do you say, Theopoula?
16:54What does my TV say?
16:56No, dear.
16:57My TV said the girl.
16:58Oh, I'm telling you.
16:59I turned it down.
17:01I turned it down.
17:03I turned it down.
17:04They shouldn't realize that we're next to each other
17:06because they won't give us the gift.
17:08And so, whoever wins,
17:10we'll go to Paris together.
17:12Mrs. Sofia, if you win,
17:13who will you take to Paris?
17:14With my grandson.
17:17That's what I said, Theopoula.
17:18Didn't we say it?
17:19We'll go together,
17:20but I couldn't tell them.
17:22You, Mrs. Theopoula?
17:24With your husband.
17:25He's not alive.
17:26Yes, but they don't know.
17:27With my husband.
17:29Is your husband watching us right now?
17:33Maybe yes, maybe no.
17:35So, your husband isn't with you right now?
17:38No, no.
17:39If you'll excuse me,
17:40how old is your husband?
17:42If he was alive, he would be 75.
17:44What are you saying, Theopoula?
17:45You didn't have to say it.
17:46What do you want to say, Mrs. Theopoula?
17:48That you were joking.
17:50I was joking.
17:56Mrs. Sofia?
17:57Yes?
17:58Do you have a good feeling
17:59that I'll win the gift and you'll go to Paris?
18:02I don't know if I'll win,
18:03but I'm sure I'll go.
18:05You didn't tell us where you're taking us.
18:07From Patissia.
18:08And you, Mrs. Theopoula?
18:10Don't talk to me about Patissia.
18:11What should I say?
18:12Somewhere far away.
18:13From Japan?
18:15What are you saying, Theopoula?
18:16Somewhere far away?
18:17Hololulu?
18:19From where?
18:20Kalithea, Kalithea.
18:21Kalithea, Kalithea.
18:25Very good.
18:27Are you ready to play?
18:29Yes, yes, yes.
18:30So, Mrs. Sofia,
18:31choose a card.
18:32You and Sissi.
18:34Very good.
18:36So, Mrs. Theopoula,
18:37you'll play,
18:38we'll play,
18:39me and Rania.
18:40Don't get bored.
18:41Do whatever you want.
18:45So, the team that finds the lighter
18:47that lights up,
18:48wins, okay?
18:49Okay.
18:50Nice.
18:51Are you nervous?
18:52Very much.
18:53I really want to win.
18:54Me too, me too.
18:55Nice.
18:56So, are we ready?
18:57Take the control, are we ready?
18:58Music, please.
18:59I'll start.
19:00A few seconds, me.
19:01A few seconds, you.
19:02A few seconds, me.
19:03A few seconds, the girls.
19:04A few seconds.
19:05You'll be here.
19:06You'll be here.
19:07So, sit down.
19:08Sit down.
19:10Mrs. Sofia,
19:11say 3, 2, 1, let's go,
19:13to play the music.
19:153, 2, 1, let's go.
19:21What are we looking for?
19:22A lighter that lights up.
19:25Let's find the lighter.
19:37We found it.
19:38We found it.
19:39We found it.
19:40We found it, Mrs. Sofia.
19:41We found it.
19:42Well done, well done.
19:44Are you going to find your husband now
19:46to tell him?
19:47Move out of your way, Groussouza.
19:49Grigori.
19:50Yes?
19:51Please,
19:52I didn't win anything.
19:54Won't you give me a present?
19:56We'll give you, Mrs. Sofia,
19:58a dishwasher for Mrs. Sofia.
20:01Don't tell me, Grigori.
20:03Won't it be two?
20:05Why two?
20:06Give me two,
20:07and I'll find a way to get used to it.
20:10Two dishwashers, Mrs. Sofia.
20:13Well done.
20:15And you, Mrs. Sofia,
20:16how do you feel about winning?
20:18The dishwasher?
20:19What are you talking about?
20:20The taxi?
20:21I'm very happy.
20:22Finally.
20:23Because you should know that we,
20:25at the age of three,
20:26are completely isolated in this country.
20:29How long are we going to live on the outskirts?
20:31They're cutting our pensions.
20:32They're cutting our drugs.
20:34They're cutting our...
20:35Don't cut it.
20:36The FAPAX.
20:39Okay, Mrs. Sofia,
20:40have a good time with the two dishwashers.
20:42You don't have to win the taxi
20:43some other time.
20:44As for you, Mrs. Theopoula,
20:45have a good trip and have a good time.
20:48Bye.
20:49Bye.
20:50Bye.
20:54Theopoula, we won!
20:56We're going to Paris!
20:58We're going to Paris!
20:59We won the dishwasher, too!
21:11Hello.
21:12Hello.
21:13Hello.
21:14How are you doing?
21:15What's the matter?
21:16Nothing.
21:17We're all right.
21:18That's good.
21:19Has anything happened?
21:21Bah!
21:24What?
21:25Nothing, nothing.
21:27Ah, Mani came by.
21:29What did he want?
21:30I don't know, he left you something in your room.
21:49The most beautiful man of our village.
21:57Pepe Romano is 25 years old and the most beautiful man of our village.
22:02He would suit you, Melia, or our Antella.
22:06But not the ugliest girl in the house.
22:12Bah!
22:13You were playing with the cats again?
22:16What did you want me to do?
22:18If your mother saw you like this, she would pull your hair out.
22:22I had such a dream about this scarf.
22:25It's very beautiful.
22:28Did you like the cats too?
22:31My feet are full of cats.
22:33Let me tell you why I'm saying this.
22:35Which one?
22:36About the cats.
22:37So you were full of cats, cats.
22:40Which cats?
22:41Supposedly you were a cat and you were playing with cats.
22:44Ah, I was playing with real cats.
22:46I thought I was talking about them.
22:49About us.
22:50That's why I was so excited.
22:53I thought I was out with them.
22:55No, Angela, you were alone.
22:57Let's go again.
22:58And I'm more excited this time.
23:00You're a new girl.
23:02In love.
23:03You've just put on a new dress.
23:07You have to look excited.
23:09Dance to your heart's content.
23:11For the dress?
23:12For everything.
23:13Let me tell you something.
23:14Why don't I play the servant?
23:17We should play the servant.
23:19The servant or Adela?
23:20If you say that I'm dancing because I'm wearing a dress,
23:23why?
23:24I'm wearing a suit.
23:25What are you talking about?
23:26Have some respect for the text.
23:27I didn't say anything about the text, Christian.
23:29I said about the dress.
23:30Angela!
23:43Angela!
23:44Hello.
23:45Spiro?
23:46The surgery went well.
23:48Really?
23:49Yes.
23:50Right now she's at Zana's for her first rehearsal.
23:52Perfect.
23:53Bring him here.
23:54Come on.
23:55It's me.
23:56What do we do now?
23:57Well,
23:58I'll tell Dalia and Zumbulia why I'm going out
24:00and we'll meet at home tonight to think about it.
24:03Come on.
24:05Is it possible, auntie, that I'm now in a show with Mastoremmata?
24:09My audience will see me and say,
24:11Come on, Frida.
24:12Go to hell.
24:14Why are you so happy?
24:16Do you remember the girl who came here the other day?
24:19Yes, I remember her.
24:20For a while.
24:21Yes.
24:22She spent a while at the 40th of this year's guests.
24:25I sent her.
24:26What?
24:27And you didn't tell me anything?
24:30She's right, auntie.
24:31You have to tell your cousin to go.
24:33In five,
24:34four,
24:35three,
24:36two,
24:37one.
24:38Let's go.
24:39Friends?
24:40Hello, friends.
24:41Here we are again with our Mastoremmata.
24:44With me, Fotis and Frida.
24:47Today, we're going to make a wonderful dress together.
24:51And you'll see how simple we're going to make it.
24:54Do we have our tools in the bag?
24:56Of course.
24:57Tell us, Frida, what do we need?
25:01A pot,
25:04a brush,
25:07and a French key.
25:10Oh, my God.
25:11What happened?
25:12He threw the key down.
25:16Oh, my God.
25:17He threw the key down.
25:19Who?
25:20Amalia.
25:23Fotis. Fotis!
25:32So, Amalia goes into Zana's office,
25:35takes the keys,
25:38Do you remember?
25:39Yes.
25:40Sonia.
25:41She throws them off the balcony, and we take them.
25:44And what do we do?
25:45To hell with it.
25:46What do we do? We take the keys out.
25:48How does Amalia go into Zana's office?
25:50She goes to her rehearsal earlier than usual.
25:52So, while Zana is rehearsing with the previous one,
25:55Amalia will have all the time to go into the office and get the keys.
25:59I have one thing to say.
26:00Oh, my God.
26:01Thank you.
26:02What about her writer?
26:03She is absent from the office for many hours.
26:05Zana keeps sending her to work.
26:07She can't eat.
26:08She can't eat.
26:09We have to find a way.
26:10No, no, no.
26:11Don't take it from me.
26:12Don't take it from me.
26:13Come on.
26:14But we have to put the keys back in their place.
26:17Because if not, they'll be absent.
26:19They'll suspect Amalia.
26:20She'll be alone in the office.
26:22Thank you.
26:23You're welcome.
26:24Is MacGyver dead?
26:26If he is, we'll throw him out.
26:28He'll be on the fifth floor.
26:34Then Amalia will throw us a rope.
26:36What?
26:37Yes, yes, yes.
26:38She'll have a rope with her.
26:39And after we take out the keys, she'll throw it to us,
26:41we'll tie it and she'll pull it up.
26:43Wow, perfect.
26:45Isn't it nice?
26:47How nice is it?
26:48It's nice.
26:49It sounds nice.
26:51It's nice.
26:52It's nice.
26:53Will Amalia accept to do all this?
26:55Why not?
26:56She promised us.
26:57I don't know.
26:58Now that she's in her forties, she may have other things on her mind.
27:01What other things?
27:03Nothing.
27:09Good evening.
27:10My name is Amalia Donopoulou and I come from the beautiful Greece.
27:15No, I didn't say it right.
27:17I'll do it again.
27:31Good evening.
27:32My name is Amalia Donopoulou and I represent the beautiful island of Greece.
27:38Huh?
27:39Huh?
27:40It's better now, isn't it?
27:41And I'm thinking of throwing down a thumbnail,
27:44to make it more sensual.
27:46Where?
27:47In the middle of a kiss.
27:48Ah, good.
27:49You remind me of that.
27:50Oh, good.
27:51You, Marie, until yesterday,
27:52you were listening to Kallisteia and running to the toilet.
27:54Now you're not a kisser.
27:55Were you dreaming?
27:56Why?
27:57Since I'm going out.
27:58I saw the others, how they are.
28:00Smart and cute.
28:02Well done, Amalia.
28:05I'll tell you, cutie,
28:06Greece is not an island.
28:08No, but it has a lot.
28:10Do you like the history of your Germany?
28:13I have Thracian,
28:14and Epirus.
28:15And Colombia.
28:16No, and Maniatis.
28:18Okay, now sit down and we'll tell you what we want.
28:21Sit down, Marie.
28:22Leave the thumbnail.
28:23Concentrate so we can finish because I have work to do.
28:25What work?
28:27I left the baby alone at home.
28:29Didn't you say you got a wife?
28:32Oh, I get it.
28:35What?
28:37Nothing.
28:43Congratulations, you made it.
28:45It's very tasty.
28:46Thank you very much.
28:47I made it, of course.
28:48No one else cooks in this house.
28:50One zero.
28:52The truth is that Lea is very good in the kitchen.
28:55In the other rooms,
28:56I still don't know why she goes around.
28:59One, one.
29:01You made it, Mrs. Marilena.
29:03Yes, Marinela has left a lot of people.
29:06Watch out, the next one is coming.
29:08What did you say?
29:09Nothing, nothing.
29:10Really, talk to us about the channel.
29:12How did you decide to deal with mass media?
29:16Is your field really so competitive?
29:19And what difference do you see
29:21in relation to all these TV stations
29:24that have surrounded us?
29:26Very interesting questions.
29:28When you have such an interesting person in front of you,
29:31it makes sense to ask interesting questions.
29:34Thank you.
29:36And I'm sure we'll get the same answers.
29:40I'll try.
29:42In plain Greek, if you want,
29:44so that Lea understands them.
29:47Oh, oh, oh, look at her.
29:49Can I help you?
29:50No, no, no, no, no, no, Marinela won't move.
29:54Come here, Marinela.
29:55Wipe your skirt.
29:57What is this?
29:59Oh, look at her.
30:00Her towel was like a towel.
30:02Your skirt has become a butt,
30:04in plain Greek.
30:07So the wedding is going well?
30:09How is it going well, Mari, with Marinela at my feet?
30:11Well, Marilena is running late.
30:13We'll get her out of the way.
30:14When?
30:15While we're running all the time from here to there?
30:17In the end, I'll get a invitation.
30:18At the happiest moment of our lives,
30:20we want you to be present at our wedding, Marinela,
30:22and then I'll wake up.
30:23So that's what you want.
30:25I don't want this wedding, anyway.
30:27Okay, wait a minute.
30:28What are you looking at, my child?
30:30One, two, three, four,
30:31Metropolis street, my house,
30:32four houses, 937 euros.
30:34Did they pay?
30:35You don't know from the outside.
30:36Oh, I'm past that.
30:37Tell me.
30:38What can I say?
30:39She invited us to the channel,
30:40both of us.
30:41What we have become,
30:42the brothers, the ancestors,
30:43the well-to-do people,
30:44I can't spoil it with anything.
30:45Okay.
30:46Let's go there first,
30:47before we go tomorrow,
30:48and I'll tell you later
30:49what we're going to do at the wedding.
30:50Ah, okay.
30:51But don't believe me.
30:52Bye.
30:58What did you say?
30:59An order.
31:00I was reading.
31:01You'll pay 13 euros for each house,
31:04and 27 euros for each hotel.
31:06So, 4 times 13 is 52,
31:083 times 27 is 81,
31:10that's 133 euros.
31:11Did they pay?
31:12How did you calculate it so fast?
31:13I'm past that.
31:14I don't have any business.
31:15Do you have an allergy to numbers?
31:16Once.
31:17Now I have an allergy.
31:19What can I say?
31:21Anything missing from the office?
31:22What do you want?
31:23You gave it to me last week.
31:25It's about that factory in China.
31:28Ah, yes.
31:29You finally signed it.
31:30No, because it's wrong.
31:32Here it is.
31:33Listen to me.
31:34If our headquarters are in Beijing,
31:35the cost of production increases by 25%
31:37more than if it were in any other city or province.
31:40It's not good for us.
31:41Not on the basis of property,
31:42not on the basis of labor.
31:43I'm not signing it for you.
31:44We'll look elsewhere
31:45to find a cheaper offer.
31:46Play.
31:48Your turn.
31:51Congratulations.
31:52I told you that everything would go well.
31:54It seems that Thessaloniki is your lucky city.
31:57Athens again?
31:58We'll have a clean break in the case of Stavrianidis.
32:01I promise you.
32:02I hope so.
32:03Otherwise, the success with Aslan will mean nothing to Lourdes.
32:09I'll be there.
32:10I'll be there.
32:11I'll be there.
32:12I'll be there.
32:13I'll be there.
32:14I'll be there.
32:15I'll be there.
32:16I'll be there.
32:17I'll be there.
32:18I'll be there.
32:19I'll be there.
32:21When we were supposed to meet two people
32:23and solve this case,
32:25suddenly five appear.
32:29Are you at least sure
32:30that it's just these five?
32:32All the evidence I've gathered
32:34shows that.
32:36Three women
32:39and two men.
32:40Exactly.
32:41I've actually seen four of the five.
32:43Three women and one man.
32:45And the truth is that...
32:47What?
32:49My eyes aren't filling up.
32:52I don't know.
32:53We're filling it up, we're filling it up.
32:55They've done it to us.
32:57And that's what matters.
32:59You'll keep looking in all the places
33:01they might be looking.
33:03I see.
33:04Maybe these four birds
33:06are just the performance instruments.
33:09Maybe the brain,
33:10the one that moves the nerves,
33:12is the fifth.
33:14Maybe.
33:15And we don't know
33:16what it might be preparing right now.
33:20What's moving it?
33:21Is it enough?
33:22Oh, it's more than enough.
33:24Where are you?
33:25In Amalia.
33:26What's it doing?
33:27Is it nervous?
33:28I wouldn't say so.
33:30It's got a lot going on here.
33:42Judge number five.
33:44Miss Elyndion.
33:46Miss Ely.
33:47Bravo, very nice.
33:49What time is the rehearsal tomorrow?
33:51At two.
33:52Perfect.
33:53I'm hanging up now,
33:54I've got to go.
33:55OK, bye.
34:01It slipped.
34:03The stamen doesn't matter.
34:05The stage will slip tomorrow.
34:14The stage will slip tomorrow.
34:20A cut!
34:21A cut!
34:22You're hurt!
34:23Where are you going?
34:24Where else?
34:34The paper tape is over.
34:44Oh
34:47This but it
35:14Oh
35:44My
36:14Hostile Valley alarm cap a minute a syndrome. No, I'm fair. Oh, Papoots. Yeah
36:20Can I pass kiss the drop is a p.s. Oh, yeah. Oh, yeah
36:24People this if he is a very menace a pro. Oh
36:28Yeah, I hear a friend. Oh, I'm gonna bra
36:34Evident a net got to go. Okay. Oh, that's a phone. I see pass, Mesa
36:44I
37:14I
37:16I
37:31Talk to you
37:33I
37:40Must be sunny the boys that are going to sit in it for our hostel top of it. I hope that's a
37:53Daddy come on, son, I've done
37:55Get it. I don't know
37:58I'll throw it off your ghost. Yeah, I do. Oh
38:00Thanks, you can use them a couple of color
38:03Yeah, you better man with a little monkey
38:14Papa Papa Papa by the idea
38:18You know, I'm a little dirty
38:22Party can I run it's a gun. I'm gonna fix it. Oh, I'm hope I was I'm gonna do me
38:30Yeah, baby, and I love my phone pigeon a pigeon a
38:34pigeon
38:49I'm gonna see them as we go to the party
38:52Do you have a key for each of us?
38:54Of course.
39:02Come on.
39:03What happened?
39:04Some idiot parked the car and we couldn't leave.
39:07What did they say? Did they catch them?
39:09Who would catch them? The keyman?
39:11They would be ready in five minutes.
39:13Ok, bye.
39:17Yes?
39:18Come on, Malia. Can you talk?
39:20Yes. I'm on my own.
39:22Good. How are you?
39:24I'm fine. I have no problem. I'm very comfortable.
39:27Are you ready?
39:28Of course.
39:29Good.
39:30As soon as the kids arrive, you take the keys, as we said, and put them back in their place.
39:34And all with milk.
39:35With milk. With milk.
39:36That's right.
39:44How's the other one, Pano?
39:45She's fine. She has no problem. She's very comfortable.
39:49Come on, Martha.
39:51Come on, Rita.
39:52I'm reading here, in the context of today's episode,
39:54Clary warns Amira about the trap set by the army,
39:57while Regina receives a strange phone call from Vlas.
40:00I saw it yesterday.
40:02Do you think she made a mistake in the newspaper?
40:04The other one, Murlikita.
40:06Come on, Marcy. You're not a psychic.
40:08Here, when the time is right, terrible disasters can happen.
40:10They can catch Malia or Zana, or the accountant.
40:12They can put her down and ask her who put her there.
40:14We can't afford to put the keys in their place.
40:16And you're sitting there, and Amira and...
40:18Clary.
40:19Clary.
40:20That's how it is, you see?
40:21Come on, Rita.
40:22I'm hanging up, because this is probably going to be a world of history.
40:25Write it down, Martha.
40:29Thank you very much.
40:32Bye.
40:39They're late, though. Why are they late?
40:41They might have fallen in motion.
40:42What motion, Mary? They're coming on their feet.
40:44Whatever I say is wrong.
40:50They're coming.
40:51Notify Amalia.
40:55Yes.
40:56Come on, Amalia.
40:57Are you ready?
40:58Yes.
40:59Well done, guys.
41:00What boys we have.
41:01What boys we have.
41:02Are we going for pizza later?
41:03Stop it, Mary.
41:04Even when we're half-way there, you're dreaming about pizza.
41:06What's the other one doing up there?
41:07Amalia.
41:08Yes.
41:09Throw it.
41:10Wasn't it always nice what we thought with the stage?
41:15No.
41:17No.
41:18Amalia, are you sure there's no more?
41:22Yes.
41:23Good.
41:24Didn't we tell you we need 25 meters?
41:26Did you count it?
41:27I counted it.
41:28And how did you get it?
41:2925 meters.
41:30Yes, but this isn't 25.
41:31It's 25.
41:32How is it?
41:33Well, I counted it.
41:34Let me tell you something.
41:35I've had this conversation with men again and I hear the same things.
41:38This isn't 25.
41:39This isn't 25.
41:40It isn't.
41:41We're screwed.
41:42Let's go.
41:43No, no, no.
41:44I'll find the customer.
41:45The others will discover that the keys are missing.
41:47Come here.
41:48Step on it.
41:49What?
41:50Step on it.
41:51You'll get there and you'll tie it.
41:55Slowly.
41:56Slowly.
41:57We'll fall.
41:58You'll learn it and you'll do it.
41:59At school.
42:00Oh, come on.
42:01School was so expensive in the end.
42:03We only learned how to shoot and cricket.
42:05And we paid so much money.
42:08I can't.
42:09What's going on?
42:10Bend.
42:11Bend.
42:12Hold it.
42:13Hold it.
42:14Come on.
42:16No, no, no.
42:17Not like that.
42:18You have to lift your shoulders.
42:19Your shoulders.
42:20Come on.
42:21Your shoulders.
42:22Your shoulders.
42:23Can you lift it?
42:24I'll try.
42:25The keys.
42:26The keys.
42:27The keys.
42:30Mary!
42:31What?
42:32Look.
42:33The button.
42:34The bank.
42:42The bank.
42:43The bank.
42:44The bank.
42:45The bank.
42:46The bank.
42:47The bank.
42:48The bank.
42:49The bank.
42:50The bank.
42:51The bank.
42:52The bank.
42:53The bank.
42:54The bank.
42:55The bank.
42:56The bank.
42:57The bank.
42:58The bank.
42:59The bank.
43:00The bank.
43:01The bank.
43:02The bank.
43:03The bank.
43:04The bank.
43:05The bank.
43:06The bank.
43:07The bank.
43:08The bank.
43:09The bank.
43:10The bank.