- 9 months ago
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TVTranscript
00:30I want to know if you fired him.
00:34No, Melina, I didn't fire him.
00:36You're lying to me.
00:38I'm not lying. I'll explain what happened.
00:41Lola!
00:43Lola!
00:45Come here!
00:47It's important. Listen to me.
00:49But you're my dad's boss.
00:51If he didn't want you to leave, then why did he leave?
00:54My love, there are other bosses. I'm not the boss.
00:58It's important. Do you understand?
01:00I'm not the boss.
01:01Lola!
01:04It's very important.
01:05We'll have a problem if you don't come now.
01:07In the studio.
01:08I'm scared of this guy. He's a little weird.
01:10He's locked you in.
01:12Lola!
01:13I'm scared!
01:15I don't understand. Aren't you the boss?
01:18Listen, Melina.
01:20Your dad is the best photographer I've ever worked with.
01:24And he's the best colleague I've ever had.
01:27It's just that the bosses here, the owners, gave us an order.
01:32But you couldn't convince him.
01:35No, Melina.
01:36Believe me, I couldn't do it.
01:58After her conversation with Melina, Lola was even more worried about Fotis.
02:03In the end, the change of artistic director didn't do anyone any good.
02:19The day was coming to an end.
02:21And Lola's mind was spinning.
02:24It was the only thing that concerned her.
02:27But another surprise was waiting for her at the company.
02:33Girls!
02:34What happened? Why are you still here?
02:36We're waiting for Valeria. She's inside with Konstantinos.
02:39And because we're getting close, we're leaving together.
02:42I'm sorry. I didn't understand. What do you mean?
02:44Are the two of them still inside?
02:47Yes. We knock on the door, but they don't answer.
02:51Yes. We knock on the door, but they don't answer.
02:54The time has passed.
02:56Wait.
03:01Lola!
03:02She's gone!
03:04What am I going to do?
03:06What am I going to do?
03:09Lola!
03:20Thank you, Stefan.
03:36What's the matter? What's wrong?
03:40You seem very down today, and I don't know why.
03:43I have the closure of the year.
03:45The crazy guy who called and said he's in love with you in the air.
03:49Yes. He called 12 times.
03:51What are you saying? He called us?
03:54Yes, I don't know. He even said he wants to meet you.
03:58He said he's going to your house to wait for you outside the door.
04:03My house? Where did he find the address?
04:06Don't look at me. I didn't give it to him.
04:10Fine. That's what he'll say. He won't mean it.
04:14Anyway, if you want, I say if you want, I can come with you.
04:19For better or for worse. You never know what's going to happen.
04:22Stefan, thank you very much, but there's no need. I don't think anything's going to happen.
04:29Come on, Leonida. Lola, I wanted to tell you.
04:33What's going on?
04:35Are you bringing anything to eat?
04:38No, I'm leaving the station now and going home.
04:43Oh, you're coming too?
04:45Fine. We'll talk there in a bit.
04:48Yes, yes. Come on, kiss me.
04:54What's the matter? Did you change your mind?
04:57Baby, Lola is missing from home and it's better if we go together.
05:04Let her wait for me outside the door.
05:07I don't think anything's going to happen, but let's go together, if you want.
05:13I suggested it.
05:16You?
05:23That's it.
05:25Magnifique. Smile a little. Turn your head. Like that.
05:30That's it.
05:35You know you look very sexy.
05:37Mr. Karidi, can I go now?
05:39Ten minutes. Ten minutes.
05:41I want some flowers.
05:43Look at me.
05:47You know I'd pay anything to be in your place.
05:50Smile. Smile.
05:53Sweetheart. Relax.
05:56Relax and smile.
05:59Hm?
06:07Pano! Pano! Pano, wait!
06:10Pano, I need you.
06:12I can't make it.
06:13Pano, it's Konstantinos. Please, listen.
06:15He's locked in the studio with one of the girls. I'm afraid, Pano.
06:18What are you afraid of? Konstantinos knows what he's doing.
06:20He's locked in so he won't be bothered by something like you.
06:22He's got inspiration.
06:23What are you saying, Pano?
06:24He's got inspiration, he's locked in the studio and he's turning off his cell phone?
06:27Yes, my child. In France, star photographers have learned to lock up and turn off their cell phones.
06:32What do you care?
06:33I care, Pano. I care.
06:35Because they're not working in there. They're doing something else.
06:38We're all going to get involved.
06:40And he's going to turn off his cell phone.
06:41And you're going to be unemployed.
06:43That's too much.
06:45Come on. We'll call security. They're locked in the studio.
06:48They'll open the door for us and you'll be fine.
06:50Where are you going?
06:51Security.
06:52I'll call security.
06:59Come on, Lydia. Sit down.
07:01Thank you for coming.
07:03Thank you for standing by me.
07:05What are you saying?
07:07I'm devastated.
07:08It's like an entire truck has passed over me.
07:11Not even a small van.
07:13A three-axle one.
07:15I understand you. You're right. I understand you very well.
07:17To say that I don't understand you, you feel bitterly betrayed.
07:21Betrayed. Betrayed.
07:23That's the word I've been looking for since yesterday.
07:25Why? Why? How is it possible?
07:28Get up. Get up.
07:29How is it possible?
07:31How is it possible for Argyris, after so many years of marriage,
07:34to have everything in the air?
07:37I don't know, my love. But the issue is different.
07:40Why does Argyris have everything in the air?
07:42Why? Tell me. Tell me.
07:45For a younger woman.
07:47Or maybe for two younger women.
07:49Or maybe for three younger women.
07:53Why?
07:55Why do they kill horses when they get old?
07:59My love, you're not just a horse.
08:02You're a horse of Cursa.
08:06You don't know what sacrifices I've made for this marriage.
08:09It's not worth it.
08:11Of course it's not worth it.
08:13It's not worth it to any woman. Especially to you, a lady.
08:16And now look at me. No, look at me.
08:19All alone, devastated, betrayed.
08:23Well, I know something that will make you gain your dignity again.
08:28Something that will make you feel right.
08:31Something that will help you win.
08:37What is this?
08:39My eyes are full of tears.
08:42It's a call from a lawyer specializing in divorce cases.
08:46Divorce?
08:48I don't know. I'm worried about divorce.
08:51Elvira, I wish you were prepared for the worst.
08:55You see, this woman, the lawyer, is very confident.
08:58She's a specialist in crushing unfaithful men.
09:01But I beg you, don't expose me.
09:04Don't say I suggested it, because you don't know what this news might do.
09:08No, never. I'll take it with me to the grave.
09:10I'll never say it.
09:12And where are you?
09:14I'll call you.
09:29Come in.
09:33Nice. It's probably bluffing time.
09:36It seems so.
09:38He's as quiet as ever.
09:41Stefan.
09:43Thank you very much.
09:54Do you want to stay for a drink?
09:57Or should we order something to eat?
10:00Yes, if you want, I can cook. I'm a very good cook.
10:04We can order ice cream, watch TV, play board games.
10:09If you want, I can stay here tonight.
10:13And we can go to the station together in the morning.
10:16What? Stefan, you have a lot of humor.
10:20You're the only one who makes me laugh like this.
10:23No, really, I can stay.
10:26For this guy, so he doesn't come from here.
10:29No, no, Stefan, you really don't have to.
10:32I think the guy is not dangerous. He just wants to impress.
10:36Okay. But if you need anything, you'll call me, right?
10:40Don't be quiet.
10:42So, bye.
10:44Bye.
10:49Good night, Stefan.
10:51Good night?
10:53Yes. Bye.
10:56Bye.
10:58I'll call you tomorrow.
11:29What's going on?
11:31We're on fire!
11:35Lola, only you can stop it.
11:38Who?
11:39Konstantinos.
11:41Konstantinos, the studio is locked with a girl and it won't open.
11:44If he takes a picture of her.
11:46If he takes a picture of her, because we knock on the door and it doesn't open.
11:48Now we're waiting for the security and the keys.
11:50Wait, is it locked down with Valeria?
11:52Yes.
11:53Let's go.
11:58Konstantinos, open the door, please.
12:07Konstantinos!
12:09Don't worry, Lola, I'm working.
12:12Yes, but I'm working too, so open the door, please.
12:15I know how to work. I'll wait.
12:19Open the door, please.
12:21I'll wait.
12:23Open the door, please.
12:25I'll wait.
12:27Open the door, please.
12:38Can you tell me what's going on with you?
12:42Are you okay, my little girl?
12:46Hold this.
12:49What's going on here?
12:50I don't understand. What do you mean, what's going on?
12:52Listen to me. We don't take orders from a woman.
12:55Tell me, what do you mean?
12:57Do you know who I am and what I can do?
12:59I see what you can do.
13:01The bad thing for you is that you don't know who I am or what I can do.
13:07Come on, get up if you're a man.
13:09My little girl, have you gone mad?
13:11Seriously?
13:12Do it as hard as you can. Now. Now.
13:14Pull your hair back.
13:15Do you know who I am? A star. Konstantin.
13:17What do you mean, Konstantin?
13:19The old man that you play with every girl you find?
13:22Get up and get out of here. Now, pull your hair back.
13:24Pull your hair back. Are you crazy?
13:26Pull your hair back. Don't be crazy.
13:28Pull your hair back.
13:29What you did will pay dearly.
13:31Pull your hair back. Get out of here.
13:33Get out of here.
13:34Start looking for a job now.
13:36Pull your hair back.
13:38My little girl, are you okay?
13:40Calm down. It's over.
13:42Call a taxi for your daughter, please.
13:44It's over.
13:45Are you okay?
13:47Pull your hair back.
13:55Leonida?
14:01Leonida, where are you?
14:05Leonida?
14:09Where are you? Are you kidding me?
14:20Who is it?
14:22Who is it?
14:28Where are you?
14:31I don't know you. I'm not afraid of you.
14:35Where are you, Leon?
14:39Come to me, Fiona.
14:41Come to me, Fiona.
14:43You scared me, my little girl.
14:49You naughty dog.
14:52You naughty dog.
14:58I'm going to report you for what happened, okay?
15:00Of course.
15:01Aren't you ashamed?
15:03Guys, this celebrity is a bit too much.
15:05And Konstantinos is a celebrity.
15:07I don't care. I don't accept these things.
15:09I remember when other people used to bother her.
15:11Shut up.
15:12Cut my hair, okay?
15:14No, Leon.
15:16I'm going.
15:19Cut her hair.
15:21I can't see her.
15:23I've changed my mind.
15:25You've changed your mind?
15:31I've changed my mind?
15:33No.
15:35I used to be a bit of a troublemaker.
15:37And now I've changed my mind.
15:39That's what I meant.
15:41What would I understand?
15:43That a man has become a woman.
15:45You are a woman.
15:47A woman, one hundred percent.
15:49One hundred, yes.
15:51You read a lot of books.
15:53And you want to be a man, one hundred percent.
15:55Panoulis.
15:57Son, I've heard that you like to share food.
15:59And you came to get your share.
16:01Come on, we were just kidding.
16:03What is this, my boy?
16:05You found a joke and a woman at the same time.
16:07A woman.
16:16Here, here.
16:18I've got these three suits.
16:20I'll take them to Vanitsa.
16:22And don't let her see them.
16:24I'm going to get out of here and calm down.
16:26The place will be empty.
16:28What place will be empty?
16:30The place where you take Anis and the ecologist.
16:32And you have three rows of closets full of dirty clothes.
16:34Why? The ecologists don't dress.
16:36You won't make her clean like that.
16:38You will be punished for your actions.
16:40Are you a vindictive person?
16:42I know that superior people are not vindictive.
16:44I'm not vindictive, Argyris.
16:46Myra is vindictive.
16:48Let Myra be.
16:50Myra was vindictive once when I met you for the first time.
16:52Yes, you were.
16:54You took me to my father's company.
16:56Company? What company?
16:58When I took her to the company, she was a high school girl.
17:00I took her to high school and gave her a high five.
17:02But you won't save her like that.
17:04We were all students.
17:06We were all professors and diplomats in our family.
17:08Well, well.
17:10Maybe we didn't have diplomas.
17:12And of course we didn't.
17:14Because we were all loafers.
17:16Loafers, of course.
17:18Your grandfather was a woodcutter.
17:20Woodcutter?
17:22Then you are the good Myra.
17:24Come on, let's get out of here.
17:26Let's separate our bags to calm down.
17:28Because I'm ruining your family library.
17:30I'm sorry you're leaving.
17:32No, no, no.
17:34Do you think I have to leave?
17:36Goodbye. I'm leaving.
17:38Natalia!
17:40Do you hear your father?
17:42It's not enough that he got involved with this old woman.
17:44Let him come out from above.
17:50What is this?
17:52Do you take it to the grill?
17:54Yes, I take it to the grill.
17:56That's how I see you right now.
17:58You only drink blood.
18:00And you drink blood from the coffee maker.
18:02Coffee maker?
18:04You know what coffee is?
18:06I almost cut him off with coffee.
18:08You don't drink coffee.
18:10You drink red bamboo.
18:12Natalia, do you see your father?
18:14Our house is being destroyed here.
18:16Our marriage, our family.
18:18They think of material goods.
18:20The people of Syriza.
18:22I'm not the people of Syriza.
18:24My things are filled with two whores all the time.
18:26The rest is all yours.
18:30Let's go.
18:34Don't!
18:36Please, don't!
18:38I'll do whatever you want.
18:40Don't get up.
18:42I'll do whatever you want.
18:44No, please.
18:46You ruined my family's life.
18:48What did I ruin?
18:50Now you'll see.
18:52Do you like it?
18:54My darling.
18:56I've never danced again.
18:58My darling.
19:00What can I do to help you?
19:02Keep an eye on him.
19:04Don't let the electricity strike.
19:06Come on, Leonida.
19:08Why are you so nervous?
19:10There was a little fire.
19:12And you thought the Satan came
19:14And cut off the electricity to strike you.
19:16Don't be crazy.
19:18The Satan is another one.
19:20Konstantinos Karidis.
19:22Do you know Karidis?
19:24No, you'll find out on Monday.
19:26Don't worry, he's a lord.
19:28Voila! The lamp is ready.
19:33Well done, Leonida.
19:35Sometimes I really understand why a man is needed in a house.
19:43Haroula, remind my daughter that Leonida was a phallocrat.
19:47And?
19:48And!
19:49Excuse me, do you know how phallocrats change their lamps?
19:52How?
19:53They don't change them.
19:55Let her work in the dark, useless.
19:59I was laughing.
20:05And this is mine, and I'll break it!
20:09And this is mine!
20:12And I'll chop it!
20:16Natalia! Natalia, do you see your father? He wants to destroy our house!
20:21Natalia, tell your mother that before I leave, I'll destroy everything in here.
20:25I won't leave anything of my own.
20:27I won't leave even the dust.
20:32You dare! You dare to do this?
20:36When you answered me with the hate for Athens?
20:38What are you saying? Who gives you these ideas?
20:41No one gives me these ideas. And don't underestimate my intelligence.
20:44What are you saying? Let me laugh.
20:47I don't listen to anyone.
20:48I'm the only one who does my homework. What am I supposed to do? Break it?
20:51Yes, I'll break it!
20:54See? He doesn't listen to me.
20:56Now you'll see. And I, to avenge you, I'm throwing gifts and gifts.
21:01And you, like me, I'm going to throw garbage.
21:05Nice.
21:06Garbage.
21:07And I'm going to tear the posters you loved.
21:10And I'm going to put curtains on the things you hated.
21:15You don't listen to anyone, do you?
21:17You're the only one who gives you ideas.
21:29In a divorce, the biggest victims are always the children.
21:34Natalia was shocked and sad.
21:37And the first one she thought of leaving was Fotis.
21:45Natalia? What happened? What happened to you?
21:49They broke up.
21:50They broke up?
21:52Come on, come on. Don't be like that. Come on, please.
21:56When my love is with you...
22:00Oh, I get it. Give me your finger.
22:02No, no.
22:03Please.
22:05One last time. That's enough. Come on.
22:07In the courtyard of your father...
22:11Sit down.
22:12In the courtyard of your father...
22:18Come on, don't be like that. You're not a baby.
22:20These things happen. Natalia?
22:22Yes.
22:23Come on.
22:24Men can't resist crying.
22:26Natalia was vulnerable.
22:28But Fotis felt more vulnerable.
22:31And even though they had broken up,
22:34that night, they were very close.
22:43Lola
22:46Oh, my God, Grigori. What kind of hand does Lola have? She gave me one.
22:49Yes, Konstantini. But you too, so unpretentious.
22:51And I'm the opposite of the other.
22:53Hold me.
22:54Yes, but you'll protect me, huh?
22:56One thing, another thing.
22:57As you wish.
22:58Although I don't think I can cover you with my own back,
23:02I need someone with power.
23:04Lola won't let it go like this. I'm sure she'll fix it.
23:07This woman moves all the time.
23:09She's in the wrong place at the wrong time.
23:11Yes, damn it. And it cost me the best.
23:14I had to leave her alone.
23:16I don't know about you, but I'm a big shot in this business.
23:20And the only thing I didn't need at that moment...
23:24This is what you needed.
23:28Well, you're not in my place.
23:30One thing, another thing, we said.
23:32Whatever you are, you're vulnerable.
23:34But whatever I need you, I need you.
23:38No, Lola, she's not here yet.
23:43Argyri!
23:44What is it, Lola?
23:46I want to talk to you.
23:48Wait, I'll order a coffee.
23:49What? There's no coffee now.
23:51What does it matter? Come on, let's go.
23:53Let's go, let's go, let's go.
23:54Come on, let's go.
23:59Argyri, something terrible is happening today.
24:01What is it, girl? Tell me, please.
24:03My nerves are not very good today.
24:05Listen, we have someone in here who's bothering Odella.
24:09He's bothering her, how can I tell you?
24:11Who is he? Tell me his name, I'll call him.
24:14Konstantinos Garidis.
24:16Konstantinos?
24:18He was bothering Valeria, he was bothering the girl downstairs.
24:21Lola, are you sure?
24:23Maybe he moved her around a little too.
24:25What? Are you kidding me?
24:27He moved her around?
24:28We're bothering whoever we find in front of us?
24:30He and his grandmother?
24:32Has he ever bothered you too?
24:34Don't talk nonsense, please leave me alone.
24:36Leave me alone, I'm not like that, please.
24:38With all this mess we've got in here, you can expect anything.
24:41Hey, girl.
24:42Yes?
24:43Are you sure? I saw it with my own eyes.
24:45I have witnesses.
24:46Witnesses.
24:47Be careful, Lola.
24:48If you need an explanation, I can't take it anymore.
24:50I'm in a very bad situation right now.
24:53I'm going through a very bad personal period,
24:55where my nerves are not good at all.
24:57I mean, if it's true, I'll tell you now.
24:59It's true, but relax.
25:01I'll tell you now, I'll beat him up.
25:03I'll beat him up with my own hands.
25:04No, no, no, I'll take care of it.
25:06Leave everything to me, okay?
25:08Come on.
25:13That's what I'm talking about.
25:18Listen, Teo.
25:19You owe me a favor.
25:21I sent you the actress you asked me for,
25:23even though I don't know if she really was useful to you.
25:26But now you have to help us.
25:28I want you to cover for Konstantinos.
25:30Of course.
25:31After all, Konstantinos didn't do anything.
25:33Isn't that right, Konstantinos?
25:35Exactly.
25:36On the contrary, the girl was the one who bothered you,
25:38she rushed to you, and Konstantinos, as a gentleman,
25:40tried to keep her away.
25:42I know you're with us.
25:44Don't tell me, Konstantinos, that this girl
25:45has confessed to anyone,
25:46maybe she opened her mouth to any journalists.
25:49Not at all.
25:50Nice. Okay.
25:52Grigori, take care of the issue, don't let it get out.
25:55Of course.
25:56I'll take over and talk to the girl's agent who sent her.
25:59I'll talk to Panos.
26:00I don't understand.
26:01Where is Panos now?
26:03He was in front of...
26:04When the girl rushed to you.
26:06Let's not forget that, Konstantinos.
26:08So, be careful, it's important.
26:10In order to convince others,
26:12we have to believe it.
26:14When the girl bothered me.
26:17Good morning.
26:18I won't bother you,
26:19I want to see something in Grigori's computer.
26:29Good morning.
26:37Dear God,
26:38we rely on your support.
26:40We said that.
26:41There is no need for support.
26:43It was an insignificant event.
26:44Insignificant.
26:45I appreciate it very much.
26:46I mean insignificant.
26:48Nothing should escape us.
26:51Your word.
26:52I promise.
26:53Me too.
26:54Me too.
26:56Let me tell you.
26:57Aren't we going to my office to look at the next issue?
27:00Yes, yes.
27:01Let's go, let's go.
27:02Let's go.
27:06It's not a shame.
27:07Vito Corleone and his gang.
27:09The mobsters gave him a hard time.
27:11They cover one of the advantages of the other now.
27:20What happened?
27:21Did Bebis drink his milk?
27:23I can't catch you.
27:24What am I doing?
27:25These are not for men.
27:27What do you want, my boy?
27:28Do you want me to drink Frapo?
27:29Do you want me to smell like a barbecue?
27:31You haven't been around lately, have you?
27:33They are fooling you.
27:35Why do you take the little girl's place?
27:36Oh, poor little girl.
27:37And you, little girl.
27:38Did you become one?
27:39Let me tell you.
27:40I'm not talking about this, right?
27:41I was in front of her and I saw it with my own eyes.
27:43And the first one you found to put them on was Konstantinos.
27:45Didn't you think that she might want them too?
27:48No, my boy.
27:49Because, as I told you,
27:50I was in front of her and I saw it with my own eyes.
27:52And the little girl was young.
27:53And if they ask me, I'll tell them what I saw.
27:55After that, let them find their identities
27:57to find out the truth.
27:58It's not my business.
27:59And after you find a job,
28:01it's not your business?
28:02Why?
28:03Come on, man.
28:04Why?
28:05Don't you know how these things are?
28:06Konstantinos is a name.
28:08God wants Konstantinos.
28:10Argyris depends on God.
28:11All this is a chain.
28:13And what are you in the chain?
28:14What am I?
28:15The weakest link.
28:16They will put them in you.
28:18You say?
28:19I'll beat them up
28:21and then you'll be proud
28:23that you were the first to name the magazine.
28:25That's not how it usually happens.
28:27You're right.
28:29That's why I'm telling you, my boy.
28:30Keep your mouth shut and don't say a word.
28:33I didn't see, I don't know.
28:35Yes, but it was a wedding in front.
28:37Don't tell me now that you can't cook at a wedding.
28:40Come on.
28:41Stand at your height.
28:43Come on, please.
28:45And leave it.
28:46We said it.
28:48Bravo, my boy.
28:50We are men.
28:52Barbatilas.
29:03Grigoris was already handling the issue
29:05and Teo will take over the model agency.
29:08And don't forget that our magazine
29:10is what saved your agency.
29:12And if I want, I can destroy you.
29:15What?
29:17I don't get it.
29:19I'm asking you for the rest.
29:21Oh, you didn't get that.
29:23So, pray for your girls.
29:26I mean, to be more humble.
29:28Not when they see Diassimon
29:30going to eat him, or Lysares.
29:32What else can I say, damn it?
29:35Well, don't think about this girl.
29:38But that's why I'm worried, sir.
29:41Something happened now.
29:43Yes, yes.
29:44Because you are human.
29:46And I support your humanity.
29:49Because all our jobs from now on
29:51will be given to your agency.
29:53Exclusively.
29:55But of course, all the jobs of HIFI
29:58will be given to your agency.
30:00What?
30:02Will Mr. Paraskevopoulos agree?
30:05But Mr. Paraskevopoulos is no longer
30:07the number one of the company, my dear.
30:10Or maybe he won't be as he used to be.
30:13Did we agree?
30:15And the issue of Konstantinos
30:17will end with the incident.
30:19We can't deal with Konstantinos.
30:21He's protected by Tio, Zarkozis, Carla Bruni.
30:24And Zamanfou, Zamanfou, and Pineapple McGee.
30:27My dear, they'll deal with us later,
30:29you don't understand.
30:30We'll lose our job, we'll have consequences.
30:32So what?
30:33Tell me, what logic is this?
30:35To defend a...
30:37Just so we don't lose our job?
30:39I can't stand it.
30:40I can't stand it and they'll fire us a thousand times.
30:44Okay, okay, Vicky.
30:45No, I'm with you, I understand you.
30:47I've broken your heart.
30:48Okay.
30:50But why do you care?
30:51Because you have money, right?
30:53But you think of me?
30:54You think of me when I'm hungry?
30:56What am I going to be then?
30:58I'm going to be a sad panellist.
31:00I'm going to go out on the windows
31:02with the president and say what I think
31:04about Martakis' favorites.
31:05About Giulia's string.
31:06About Kostas' hair.
31:08About what Gogoulinis is going to put on the right.
31:10Yes, don't cry, my dear.
31:12You're too naive for that.
31:14Yes, but Konstantinos won't let me
31:16get a first-class channel.
31:17I see myself as a deep-rooted countryman.
31:19And then, how can I see you?
31:21How can I see you when I can't live far away from you?
31:23No, no, I can't do that.
31:25I'll stay here.
31:26And I'll be a roustrakos.
31:27A child of the lanterns.
31:28I'll ask the children of the lanterns for you.
31:30No, no.
31:31Or even Kastanas if you want it that way.
31:33And in Kastanas' mouth
31:34No, no, no, no.
31:36No, no, no, no, no, no, no, no, no, no, no, no, no.
31:41Listen, Mrs.
31:42I've been used to being opposed.
31:44But I didn't expect such a sudden weight.
31:47Things are not that complicated.
31:49Nothing happened, Mrs.
31:51And it's sad for me and Konstantinos
31:53to be on the committee and to be excluded.
31:55It was crazy.
31:57Excuse me, Mrs.
31:59What a cute little boy he is!
32:01He's nothing, he's sweet.
32:03I always speak in French.
32:05Don't make me start speaking in French too.
32:07I'm not going to wake you up either.
32:09Are you paranoid, Lola?
32:11Or are you blaming him for taking Fotis' place?
32:14What did you say?
32:15What?
32:16Calm down.
32:17Lola, please.
32:18You said there are other witnesses.
32:19Of course there are.
32:20Panos.
32:21Eugenia.
32:22Guys, come in.
32:26Out.
32:27Come, come.
32:31Come on, guys.
32:34Panos.
32:35Tell Argyris what happened last night with Konstantinos.
32:40Yes.
32:41Basically, last night...
32:44Konstantinos photographed Valeria.
32:49We know that.
32:50We know that.
32:52What else can I say?
32:54What else can you say?
32:55Tell me what happened with Valeria.
32:56I'm starting.
32:57Are you going to tell me everything?
32:58Yes.
32:59Valeria was...
33:01She was...
33:02I mean, I think she seemed a little upset.
33:05And she started crying for a moment.
33:12That was it?
33:14I saw that.
33:15You saw that?
33:16You're lying.
33:17You're lying.
33:18Come here.
33:19Come here, Eugenia.
33:20Speak.
33:21Tell them.
33:22What?
33:23What happened, Eugenia?
33:24What happened?
33:25Speak.
33:26Tell them.
33:27What...
33:28What can I say?
33:29Valeria was...
33:31very...
33:32upset.
33:34That's the truth.
33:36The other girls, however...
33:39were comfortable and happy.
33:42Could it be that Valeria was provoking him to create trouble in our circle?
33:47I don't know.
33:50Could it be that this girl had in mind to rape us?
33:54I don't know.
33:55No, no, no.
33:56I saw it.
33:57I saw it.
33:58I mean, I saw it.
33:59I don't understand.
34:00Are you doubting me?
34:01I never lie.
34:02Calm down.
34:03Calm down.
34:04I said, calm down.
34:07Could it be that this girl was in a hurry to find Konstantinos?
34:11I don't know.
34:12Tell them, Eugenia.
34:13I don't know.
34:14I don't know.
34:15Come on, tell them.
34:16I'm telling you, I don't know.
34:17I don't know.
34:20Now that I think about it...
34:23now that I think about it...
34:25maybe...
34:26I mean, it's possible that Valeria...
34:30fell in love with Konstantinos...
34:32and he...
34:33rejected her...
34:34and...
34:35that's when we got in...
34:36and...
34:37Lola...
34:38lost her mind.
34:39What are you talking about, Karagiozis?
34:41Karagiozis, you son of a bitch!
34:43What are you talking about?
34:44Did that happen?
34:45I didn't expect it from you.
34:46Shame on you.
34:47Not even from you, Eugenia.
34:48I'm sorry, but I can't believe that Lola doesn't know what she's saying.
34:51Avgidis...
34:52I think that Lola's anger...
34:54is a woman's jealousy.
34:55Jealousy?
34:56Because I despise her.
34:57Especially your daughter, who saw her falling for me the day before yesterday.
35:00How?
35:01Don't be ridiculous, Elias.
35:02I apologize for the behavior of our director.
35:05Konstantinos, forgive us.
35:07I'm sorry.
35:08Forgive us.
35:09But you see, when a woman takes a step back,
35:12she becomes a nuisance.
35:13I agree.
35:14I agree, but...
35:15I'm used to it.
35:16I don't believe you believe that either.
35:18No, Lola, no, my girl.
35:20I believe that this is also part of the misunderstanding.
35:23Anyway, I say that we consider the incident over
35:25and that we return to our jobs.
35:27Konstantinos, I'm terribly sorry.
35:30I'm very sorry that we put you in all this trouble.
35:33It's okay, sir.
35:34No problem.
35:51Yes?
35:52I'm sick of killing people.
35:54I'm sick of killing people.
35:55I'm sick of killing people.
35:56Who did they kill?
35:57They didn't kill any girl, but I want to kill them.
35:59With this stupid, useless, stupid,
36:03ridiculous, I mean, this brat.
36:06I want to kill him.
36:08I want to kill him with my own hands.
36:10But what happened?
36:11Did you tell Argyris?
36:12And when I told Argyris?
36:13And when I told him?
36:14What happened, my dear?
36:15Panos and Lola were dead.
36:17What happened?
36:18It's over.
36:19I don't know.
36:20I don't know.
36:21I don't know.
36:22I don't know.
36:23I don't know.
36:24I don't know.
36:25I don't know.
36:26I don't know.
36:27I don't know.
36:28I don't know.
36:29I don't know.
36:30I don't know.
36:31I don't know.
36:32I don't know.
36:33I don't know.
36:34I don't know.
36:35I don't know.
36:36I don't know.
36:37I don't know.
36:38I don't know.
36:39I don't know.
36:40I don't know.
36:41I don't know.
36:42I don't know.
36:43I don't know.
36:44I don't know.
36:45I don't know.
36:46I don't know.
36:47I don't know.
36:48I don't know.
36:49I don't know.
36:50I don't know.
36:51I don't know.
36:52I don't know.
36:53I don't know.
36:54I don't know.
36:55I don't know.
36:56I don't know.
36:57I don't know.
36:58I don't know.
36:59I don't know.
37:00I don't know.
37:01I don't know.
37:02I don't know.
37:03I don't know.
37:04I don't know.
37:05I don't know.
37:06I don't know.
37:07I don't know.
37:08I don't know.
37:09I don't know.
37:10I don't know.
37:11I don't know.
37:12I don't know.
37:13I don't know.
37:14I don't know.
37:15I don't know.
37:16I don't know.
37:17I don't know.
37:18I don't know.
37:19I don't know.
37:20I don't...
37:21I don't know.
37:22I don't know.
37:23I don't know.
37:24Listen, a divorce isn't initially a path, though, as these few are convinced.
37:25It's a detailed matter that involves face-to-face hooksup.
37:26That's why I'm coming to you, since you are the rightful foundation.
37:28And naturally, we always continue in the framework of the law.
37:32Of course.
37:33Is your husband stay around you now?
37:34No.
37:35He's gone.
37:36Good to hear.
37:37We do have a rightful foundation.
37:38Basically, I forced him off.
37:39Not since he was a kid, dear.
37:40Tom was an orphan.
37:41No, no, no, I mean he was a boy, now.
37:42Wow, wow, wow.
37:43It's an abandonment of family dignity.
37:45Basically, I'm the one who kicked him out.
37:47With the keys, actually.
37:48This has nothing to do with the law, my dear.
37:50It's a fact.
37:51He left.
37:52It's an abandonment of family dignity.
37:54You know...
37:55My husband answers to me.
37:57This is certainly very positive.
37:58Positive?
37:59I'm talking about the case of the divorce.
38:01But isn't it enough to put the case in its place?
38:05Look.
38:06We have to go with all the evidence.
38:09According to the law.
38:10Always according to the law.
38:13I mean...
38:16Read something from here.
38:20He came home drunk at four o'clock at night.
38:25And he was hitting on me.
38:27And he was talking to me with unintelligible expressions in front of the child.
38:31And specifically...
38:33You are the devil, baby.
38:35Where?
38:36Where did you find this?
38:37It's a general form that I suggest to my clients.
38:40You are paid only here where you have wrinkles.
38:43But what should I pay you?
38:44If you don't know what to pay, I will forbid you some.
38:47Look.
38:48You have to trust me.
38:50I am a specialist in divorce.
38:53The most famous divorces have started from this office.
38:57Yes, I know.
38:58A friend introduced me to you.
39:00And in our case, Mrs. Kavoukidou.
39:02She told me the best words.
39:04Kavoukidou, Kavoukidou.
39:06Yes, of course.
39:07I remember her.
39:08Oh, poor thing.
39:09Her husband was a merchant.
39:11Kavoukidou, the doctor?
39:13You are denying.
39:14What are you saying?
39:15You are denying.
39:16That's how the court judged him.
39:18Of course, we had put some revolvers in his jeep before.
39:22Let me tell you.
39:23There is no reason to drag it so much.
39:26The truth is enough.
39:27I'm telling you.
39:28He was lying.
39:29And because he lied to you,
39:31you think the law considers it a serious matter to take safety measures?
39:35To take him from the company?
39:36To exclude him from his daughter?
39:38To banish him to the Panhellenic?
39:41To make him unable to go with a woman for the next 30 years?
39:46That's not very interesting.
39:48Of course.
39:49Because after 30 years, Arginis will be,
39:51Oh, my poor thing.
39:56Look.
39:58I'm also disappointed.
40:00I don't understand women's psychology.
40:03We will choose the best way to avenge you.
40:07Let's not say revenge.
40:09The only thing I'm asking for is justice.
40:11Of course, I'm talking about justice.
40:14Under the Hebrew concept.
40:17And there is a better justice than revenge.
40:26Lola started the investigation from the model office.
40:29There, Valeria had to confess what had happened.
40:37I'm sorry for the delay.
40:39But we have a lot of castings today and we're drowning in work.
40:41No, no, it's okay.
40:43I came here to apologize.
40:45Yes, to tell you the truth, I'm a little anxious.
40:48Is something going on?
40:50Didn't Valeria tell you what happened to Kostantinos Karidis?
40:53Of course.
40:55She was very happy.
40:57And of course, it's a great honor for our office
40:59that Kostantinos photographed some of our models.
41:02Valeria?
41:03Yes, yes, Kostantinos is a very good professional.
41:07Yes, of course, of course, he is.
41:09He is excellent.
41:11Professional.
41:14Hello.
41:15Hello.
41:22So, here, here is my baby Melina.
41:26Oh, how beautiful she was.
41:29Here, here is about three years old.
41:32And we had to go on vacation in Syros.
41:35Look, look how happy she looks.
41:38Natalia, the previous night, had found out
41:41what was Foti's sensitive point.
41:43The unprotected and wounded women.
41:46And now that she has discovered it,
41:48she would take advantage of it for her own benefit.
41:50She would call it a bad omen and a consolation,
41:53even though it wasn't just a bad omen.
41:56You can't imagine what awful years I've been through.
41:59Why?
42:00Didn't you go on vacation?
42:02No.
42:04You don't call it a vacation when you go to the Centre Ope
42:07and you can't play in your little box
42:09and you run from what others say to what others say.
42:12Of course, I understand you.
42:14It's very difficult at the Centre Ope.
42:16The old wine, the black wine.
42:18No, no, no, no, Foti.
42:20I mean Storgi.
42:22You never mentioned my mother's wine.
42:25My child, I think your mother is a very sensitive person.
42:29Yes, she is.
42:31We just went from guru to guru and from good to good.
42:35She has never read me a fairytale.
42:38Only the biography of Coco Chanel and Vela Elam.
42:41Is this life for a child?
42:44No, no.
42:45But you also had your father.
42:47He was always at work.
42:49He was never close to me.
42:51Now it's as if I hear that I'm Greek.
42:54It's hard for me to be at work all the time
42:57and I can't take care of her.
42:59But I can't tell her what to do.
43:01That's how fathers are.
43:03Yes, but you never think of us, the girls.
43:06Little girl, we never think of you.
43:09Poor thing.
43:12FOTI
43:22Foti, I'm sorry, I'm sorry.
43:24I know I shouldn't have come.
43:26But I really didn't want to hear anyone else say Foti.
43:29I have a big problem at the company.
43:31Only you can help me.
43:33What's the problem?
43:35Natalia.
43:37Let me get this straight.
43:39Natalia is your problem?
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