- 9 months ago
Category
📺
TVTranscript
01:00I don't understand what's going on!
01:02I'll tell you what, my little girl.
01:04He loves you. He loves you.
01:06Why don't you go talk to him?
01:08No, I don't want to.
01:10No, I mean, what do you want?
01:12You're making excuses now.
01:14Excuses! Excuses!
01:16If you didn't love him, you wouldn't be here right now.
01:18That's why. Go inside, please.
01:20No, no, no.
01:22Let's go.
01:30Lola, c'est encore moi.
01:32J'ai beaucoup pensé à toi.
01:34Lola.
01:36Allô, Lola.
01:38Ne raccroche pas.
01:40Ne mets pas de hola.
01:42Lola, hola.
01:44Allô, Lola.
01:46Comme un garçon.
01:50Hector!
02:00Allô, Lola.
02:26All that's left
02:28is to solve one more problem.
02:30In order for my husband not to commit suicide
02:32and not to cause a scandal,
02:34I demand
02:36that you give him back his job
02:38and increase his salary
02:40very satisfactorily.
02:42How much?
02:44Double what he gets.
02:46And that you hire me in the company
02:48so that I can have him around
02:50so that he never dares to approach another woman again.
02:54That's the most important condition.
02:56What am I supposed to do?
02:58What am I supposed to do?
03:00Should I lock the door?
03:02You'd better kill him.
03:04You'd better leave him in front of me and beat him up.
03:06Argyris, Argyris.
03:08Think about it. Think about it.
03:10Calm down. Think about it.
03:12Go now and...
03:14Excuse me. Excuse me.
03:18All right.
03:20Deal.
03:22Lower your weapon and give me your hand.
03:26Deal.
03:34After so much agony,
03:36a pizza saved her.
03:40Glory be to God.
03:42My girl, I congratulate you once again.
03:44You handled this situation perfectly.
03:48Thank you very much, Argyris.
03:50Come, let me hug you.
03:52Whoa, whoa, whoa.
03:54I accelerated, didn't I?
03:56It's nothing.
03:58No, no, no.
04:00It's nothing.
04:02It's okay.
04:04Ah!
04:06Ah!
04:08Argyris?
04:10Was that the suicide attack you were telling me about?
04:12Do you remember suicides?
04:14I don't remember.
04:16Please, it's not what you think.
04:18It's a misunderstanding.
04:20You don't need imagination.
04:22It's just an image.
04:24No, no, no.
04:26You don't understand, Mrs. Ervira.
04:28We had a great time.
04:30Of course, I saw it.
04:32No, no, not now.
04:34Before that.
04:36After we had a great time,
04:38I'll explain it to you, Argyris.
04:40We said we'd have a drink to celebrate it.
04:42I brought the other drink,
04:44and all of a sudden...
04:46I don't care about the details.
04:48We were working together, and...
04:50And you told me to work, too.
04:52But, ma'am...
04:54That's exactly what I am, my dear.
04:56Ma'am.
04:58And I will deal with the situation with dignity,
05:00without any noise or hysteria.
05:02After all, you're not the first,
05:04or the last one to attack my husband.
05:06You think I don't know what's going on in here all these years?
05:08I don't know how many women
05:10are chasing Argyris to seduce him.
05:12Don't get carried away.
05:14They don't do it for your beauty
05:16or your age, they do it for your money.
05:18What are you talking about, Mrs. Elvira?
05:20Don't get carried away with these excuses, my dear.
05:22Argyris, let's go.
05:24Let's go.
05:26What am I going to say?
05:28That is,
05:30whatever I say...
05:32Listen to me,
05:34listen to me, Mrs. Elvira, please.
05:36Let me explain.
05:38It's not what you think it is.
05:40As you speak, you lose your mind.
05:42You're making up an incredible story.
05:44A man in my office
05:46was threatening to commit suicide.
05:48And you're still doing it. I'm sorry for you.
05:50Why don't you believe me?
05:52Argyris, I only believe in two things.
05:54In Liza's horoscope, father, and in my eyes.
05:56Listen, Mrs. Elvira, please.
05:58Ask anyone you want.
06:00I'm telling you that things were out of control.
06:02What are you saying? You were out of control, too?
06:04So much passion, that is.
06:06How can you say that, my dear?
06:08How can you say that?
06:10At three o'clock?
06:12It doesn't matter.
06:14I'm not crazy enough to run around like a woman
06:16and ask my colleagues
06:18to take me to another level.
06:20It's not enough that you're throwing me out
06:22because of your behavior.
06:24Who knows what bullshit they're talking about?
06:26Mrs. Elvira, please. It's not like that.
06:28Who gives you these ideas?
06:30No one bullshits you.
06:32Who gives you these ideas?
06:34What do you mean, who gives me these ideas?
06:36I don't have a brain? I don't have a brain?
06:38It's not enough that you did a one-night stand.
06:40But you want to get out of it and drive me crazy.
06:42You say, I'm crazy. Tell me I'm crazy.
06:44Tell me I'm crazy. Tell me
06:46that all that I implied...
06:48You don't get it. You don't get it.
06:50I don't get anything.
06:52You, on the contrary, got it.
06:54I'm going to kill you.
07:02What an academy.
07:04Such an academy.
07:06Elvira should have been in at that moment.
07:08Do you know what it's like with Argyris?
07:10When he's in a good mood,
07:12you don't want to leave his side.
07:14You.
07:16Maybe there's something going on between you two.
07:18How did that come to you?
07:20I don't know. How do you describe it?
07:22Since the first day I went to work at the company,
07:24my relationship with Argyris was like a father-son relationship.
07:26That's how he saw me.
07:28Yes, but now
07:30he sees something else.
07:32He sees a new, beautiful woman.
07:34What are you talking about?
07:36What are you talking about?
07:38Do you know how many models come out to Mr. Argyris?
07:40Argyris has never looked at anyone else.
07:42He's stuck there with Elvira.
07:44Elvira, Elvira, Elvira.
07:46The other time, we had a discussion
07:48and he didn't look at anyone else.
07:50He didn't look at anyone else.
07:52He's not like that.
07:54Yes, but you're not just a model.
07:56You're a smart,
07:58charming woman who appreciates her.
08:00And if she stays alone with you
08:02in a room
08:04and drinks, relaxes.
08:06Come on now, you know it.
08:08What am I telling you?
08:10Are you happy?
08:12No, no, no.
08:14Don't tell me that.
08:16I can't work like that.
08:20Good night, Elvira.
08:22Bad night, my bad.
08:24Aren't you going to sleep?
08:26Why?
08:28I've been sleeping well all this time.
08:30The same again.
08:32I've explained it to you so many times.
08:34Lola is like a second daughter.
08:36She's a charismatic professional.
08:38She's a cat in her work.
08:40And in bed, she's a kitten.
08:42I don't see her in a romantic way.
08:44I admire her professionally.
08:46The distance between admiration and love
08:48is so small.
08:50Elvira, please, do me a favor.
08:52I have to sleep. I'll get up early tomorrow.
08:54I have a lot of work.
08:56Should I turn off the light?
08:58Turn it off.
09:02Don't think you're going to get away so easily.
09:06Tell me that I'll swallow it.
09:08But I'll keep my eyes open.
09:10I'll keep watching you.
09:12Indiscriminately, of course.
09:14And at some point, if I can't,
09:16I'll catch you.
09:18Because when you're looking for something,
09:20the whole universe colludes to show it,
09:22as Coelho says.
09:24And don't think I'll throw the level
09:26with Chinese stereotypes.
09:28No, because as Castaneta says...
09:30He's a writer, a guru, a superior man.
09:32I'm not going to tell you anything
09:34about that kitten, Castaneta.
09:36Castaneta. And she never got married.
09:38Yes, tell me, so that I can understand.
09:40She never got married, and that's why
09:42she's a superior man.
09:44To have Elvira next to him every night
09:46for the kitten, I'm not going to tell you.
09:48Will she swallow the level or not?
09:50So, what you want to get out of it
09:52drives me crazy.
09:54So, I'm going to throw the level,
09:56and I'm going to throw you.
09:58Oh, my God, where do I sleep?
10:00I don't care, I don't care at all.
10:02In the living room, in the garden,
10:04in everything.
10:06In here, you're hurting me.
10:08Go, go, go.
10:10Go, go, go.
10:12Okay, okay.
10:14Okay.
10:29It was an ordinary day.
10:32Grigoris was driving with a rhythm,
10:34and like any confident kid,
10:36he was thinking about how to turn Lola around,
10:38punish Vicky,
10:40and become the master of the game.
10:42It was an ordinary day.
10:44Nevertheless,
10:46something would happen
10:48that would change things.
10:50Excuse me.
10:52Friend Grigoris.
10:54It's me, what are you doing?
10:56Where are you, my boy?
10:58How many years have we not seen each other?
11:00Are you still in Paris?
11:02In Paris, yes, but I'm thinking of going down.
11:04Oh, for how long?
11:06Probably forever.
11:08I missed my homeland.
11:10Besides, I need some sun.
11:12I'm tired of the rain.
11:14Konstantinos Karidis,
11:16also known as Konstantin,
11:18lived in Paris for the last ten years,
11:20and he was one of the most important
11:22photographers and art director.
11:24The people of Paris say
11:26that he had a connection with Carla Bruni.
11:28The weather is not helping me here.
11:30Are you busy? Did you talk to anyone here?
11:32No, you were the first one I thought of taking.
11:34Okay, listen, don't talk to anyone
11:36if you don't pass by Mister first.
11:38Where are you going to stay?
11:40Temporarily in a hotel.
11:42Of course, if you can help me find a studio,
11:44you know, somewhere artistic.
11:46Forget it, my boy.
11:48You go away from the French,
11:50and I'll get used to you, don't worry.
11:52It's done, come on, I'm waiting for you.
11:54Come on, come on, I'm waiting for you.
11:56Bye.
12:06For Grigoris, the arrival of Konstantinos Karidis
12:08in Greece was a gift from heaven.
12:10He would always be the only ally
12:12of Lola to Fotis,
12:14and he would have in the basic position
12:16of art director his own ally.
12:22Good morning, Mrs. Elvira.
12:24Is my husband in?
12:26He's in. He has a meeting with Lola.
12:28Shall I inform him?
12:30No, no, don't.
12:32Not at all, you don't have to.
12:34But...
12:38You imagined it well,
12:40this is a very foreign country.
12:42I thought we were going to sell a lot.
12:46Good morning.
12:48I see you're having a good time.
12:50I see you're having a good time.
12:52Welcome, welcome, welcome, my little Elvira.
12:54Here, my little girl,
12:56we were looking at some photos
12:58and we were saying ideas for the newspaper.
13:00Ah, wonderful, wonderful.
13:02Don't bother,
13:04go on.
13:06I'll sit down for a while.
13:08Maybe I'll say some ideas for an ex-boyfriend.
13:10Is something going on?
13:12No, no, of course not.
13:14I've also decided,
13:16everywhere,
13:18to design my newspaper.
13:20Because it's mine.
13:22Even if some people forget it.
13:24Mine.
13:26What are you doing, Elvira?
13:28Excuse me, I have to go in.
13:30I have a lot of work at the office.
13:34Good morning.
13:42Stop it, Gargalia.
13:44Stop it.
13:46Come on, Natalia.
14:02Good morning, Lolita.
14:04If you had fallen on me in the morning,
14:06I wouldn't have said good morning.
14:08Believe me, Lolita,
14:10if I had fallen on you,
14:12you would have seen a white day.
14:14No, I'm serious.
14:16The old people do it.
14:18Because until today,
14:20I thought I was beautiful.
14:22Should I put Gargalia on the spot?
14:24No, I'm not going to fight today.
14:26I'm not in the mood to fight.
14:28Yes, you're right.
14:30Today I feel great.
14:32Where is Argyris?
14:34In his office with his wife.
14:40My little girl,
14:42why are you so calm?
14:44Why are you so calm?
14:46Why? Because I'm innocent.
14:48I haven't done anything wrong.
14:50You're not innocent.
14:52Did you take Valeriana?
14:54Come on, Elvira.
14:56Who is she?
14:58She's a student, my dear.
15:00But you?
15:02You think of women.
15:04I'm going to be a porn star.
15:06Please, Elvira.
15:08What you said was great.
15:10Bonjour!
15:12I'm sorry to interrupt,
15:14but I have something very important to tell you.
15:16If it's very important,
15:18I'll let you work.
15:20Don't you want to participate in your magazine anymore?
15:24I have confidence in Grigori.
15:28We'll talk again.
15:30We'll talk again.
15:32I have great news.
15:34You must have heard
15:36about the famous photographer Konstantinos Karidis.
15:38Who is he?
15:40Come on, Argyris.
15:42The famous photographer Konstantinos
15:44who lives in Paris.
15:46Konstantin.
15:48I'm sorry, Grigori,
15:50but I have Elvira here.
15:52Didn't he come?
15:54Didn't he say that he had taken
15:56Carla Bruni exclusively?
15:58He did.
16:00But he must have been drunk
16:02and now he's coming to Greece.
16:04And you know,
16:06it's a golden job.
16:08If we didn't have Fotis,
16:10we would have fired him.
16:12Why should Fotis stop us?
16:14What are you talking about, Grigori?
16:16These things don't happen.
16:18Listen to what I have in mind.
16:24Are you talking to me, Argyris?
16:26Yes. Do you want a potato?
16:28Are you leaving?
16:30Yes, Chrysos. I have a lot of jobs.
16:32What are these?
16:34Potatoes.
16:36Potatoes.
16:38These, my girl, are like a slaughterhouse.
16:40Throw them away.
16:42Do you give them to Argyris to eat?
16:44Yes.
16:46To buy groceries.
16:48Potatoes, hamburgers, souvlaki.
16:50Throw them away.
16:52Next time I come,
16:54I'll check the kitchen.
16:56Where can I find groceries?
16:58There's a soya therapy here.
17:00I'm going there now.
17:02Crackers.
17:04That's all.
17:06Bye, Elvira.
17:08Bye.
17:12Potatoes.
17:14Did you hear what Elvira said?
17:16She will eat them all.
17:18He has won two awards
17:20at the Mondrian Fashion Festival.
17:22He has his own machines.
17:24The best digital machines.
17:26He has his way with the models.
17:28He relaxes them.
17:30He relaxes them the way he wants.
17:32He's your developer.
17:34Yes, but Fotis is just as good at his job.
17:36Yes, Argyris,
17:38but Greeks get on well with foreigners.
17:40If you have a well-known photographer
17:42in your magazine,
17:44everyone will want to relax.
17:46Even Tatiana
17:48will be a sexy ex.
17:50Very likely.
17:52What does Lola think about that?
17:54I haven't told you yet.
17:56Talk to her.
17:58Sit down.
18:00Lola,
18:02this man is crazy.
18:04He has won two awards
18:06at the Mondrian Fashion Festival.
18:08If we manage to get rid of him,
18:10imagine what he will sell.
18:12What can I say?
18:14We won't fire Fotis.
18:16Of course not.
18:18Does it bother him to work with Konstantinos?
18:20Do you agree?
18:22I don't know.
18:24Let me think about it.
18:26Soon.
18:28Now we have the chance to fire him.
18:30He's not well-known in Greece yet.
18:32Imagine what will happen
18:34if he loses all his magazines
18:36and is offered a double.
18:38Yes.
18:40Yes.
18:42Give me a drink.
18:56Why are you motorbiking?
18:58My stomach hurts.
19:00I ate some souvlaki last night
19:02and I was sick.
19:04Just two minutes.
19:06I'll take you to the medical office.
19:08I'm fine.
19:10No, I forbid you.
19:12You'll get worse with such a stomach.
19:14I'll make you a nice cup of tea.
19:17So you care about me?
19:19If that's the case, I'll get sick more often.
19:21Yes.
19:22But make sure you don't get used to it.
19:41Yes?
19:42Hey, what's up?
19:43What can I do for you?
19:44I'm getting ready to go to the laundry.
19:46Do you want me to get the coffee in the bag?
19:48No, let me tell you something.
19:49I need your opinion on a matter.
19:51You like her when you're around.
19:52I wish.
19:53I wish that was the case.
19:55No.
19:56It's something to do with Fotis.
19:58What about Fotis?
19:59You like her again?
20:00No, my child.
20:01It has nothing to do with me.
20:02I don't like anyone.
20:03I have everything.
20:04It's a different matter.
20:05Let me ask you something, Konstantina.
20:07Do you like him?
20:08No, my child.
20:09I don't like anyone.
20:10It's a different matter.
20:11He wants to come work for our magazine.
20:13Excuse me, but doesn't he live in Paris?
20:15Yes, but now he's coming to Greece.
20:17This is a great opportunity.
20:19What exactly is the problem?
20:21The problem...
20:22The problem is that...
20:24this suit of mine...
20:26that you're going to put back in the laundry...
20:28tell them to clean it well,
20:29because last time they sent it to me in a mess.
20:31Okay?
20:32Quickly.
20:35Can you take a look?
20:37It's a photo we took on the subject of cybersex.
20:40Tell me what you think.
20:41Yes, yes.
20:48Bravo.
20:49Bravo.
20:50Very, very good job.
20:52Bravo.
20:53Is it a family photo of Konstantinos Karidis?
20:55Look, Konstantinos uses...
20:57but I don't know.
20:59I don't know.
21:00I don't know.
21:01I don't know.
21:02I don't know.
21:03Other colors, other lights, other filters...
21:06You know it?
21:07Of course.
21:08It's well-known in the field.
21:10And...
21:11what is your opinion as a specialist?
21:13Do you appreciate him?
21:14Yes.
21:15I know.
21:16Everyone has their own style.
21:17I can't say.
21:18Do you appreciate him?
21:19Tell me about his work.
21:20We're talking among ourselves.
21:22Look.
21:23With the means he has at his disposal...
21:25and with the money he makes...
21:27not only me, but all Greek photographers...
21:29we could reach his results.
21:32Of course, he lives in Paris...
21:34a city that gives you countless opportunities...
21:36which doesn't happen here in Greece.
21:38So, do you like it?
21:39Konstantinos.
21:40Do you like the photos?
21:41Should we put them in the next issue?
21:43Of course.
21:44Of course.
21:45OK.
21:46Great.
21:47Anyway...
21:48Lola.
21:49Yes.
21:50I want to tell you that...
21:52we're really happy...
21:53that we can cooperate so well...
21:55after what happened between us.
21:58Yes.
21:59I hope that nothing else happened.
22:02What do you mean?
22:04Nothing.
22:05I was just kidding.
22:08You're kidding.
22:09I was just kidding.
22:11How am I going to decide?
22:20What are you doing here?
22:21If I'm not mistaken, you called me.
22:22Me?
22:23When?
22:24Before at the office.
22:25Didn't you say you'd come here to follow me?
22:27You seem insecure.
22:29Anyway, I'm going to stay.
22:31Why?
22:32To take care of you, Elvira.
22:34Argyris doesn't like you.
22:35It's obvious.
22:37So...
22:38what are we ordering?
22:39You order.
22:40I got milk.
22:41Since we're here...
22:42we have to be careful what we eat.
22:44One juice, please.
22:46Where are we?
22:47We're old.
22:48If you don't get it, I will.
22:50Come on, don't say that.
22:52You're the best age.
22:54The best.
22:55I can't resist a pizzeria.
22:57What do we care about pizzerias, Elvira?
22:59They're cold in front of you.
23:01You have the beauty of a pizzeria...
23:04and the beauty of a woman.
23:06You're mature.
23:07I'm ready to kill you.
23:08What's going on, Elvira?
23:10Did I miss an episode...
23:12of the Iranian lady in Apognosi?
23:16I know who you're dealing with.
23:25Look who's here.
23:27Who?
23:28Come in.
23:33Argyris.
23:34We need to talk.
23:36I think I know who it is.
23:37Konstantinos?
23:38Yes.
23:39What's your name?
23:40I brought you a magazine.
23:42You'll like it.
23:43Great.
23:49Where's Elvira?
23:50She left.
23:52Thank God.
23:54I'm sorry, but are you sure she's in the company?
23:57I saw them.
23:59You saw them?
24:01No, but I understood.
24:03It was obvious.
24:05Don't say that.
24:06There are many things you don't understand.
24:09Leave me alone.
24:11It's your fault.
24:12Why is it my fault?
24:13If it weren't for you, she wouldn't be in the company.
24:16Don't tell me.
24:17I don't want to get involved.
24:19I didn't know.
24:21Don't you know that Lola is trying to seduce my husband?
24:27He's done a great job.
24:30If Elvira saw you now, I'd tell you that we'd be in trouble.
24:33Look at her.
24:34She's so detailed.
24:37We need to find a way to deal with him.
24:40Are you talking about Konstantinos?
24:42No, I'm talking about Fotis.
24:44We need to be careful.
24:46He's doing a great job.
24:47Fotis?
24:48No, Konstantinos.
24:49We shouldn't be too close.
24:52Konstantinos?
24:53Elvira.
24:54Don't bother me.
24:56Leave Elvira alone.
24:58The situation is out of my control.
25:01Say that again.
25:02Lola, I think we should fire Konstantinos.
25:07What are you talking about?
25:09What are you talking about?
25:11Oh, yes.
25:13I have my reasons.
25:15Don't you like his job?
25:17I like his job.
25:18But I don't know what to do with Fotis.
25:20Don't worry about Fotis.
25:21I'm sure he'll do a great job.
25:23I'm sure of it.
25:26I'm sure of it.
25:31Did Lola agree?
25:33Yes, she agreed.
25:35Bravo!
25:36Bravo!
25:37It seems that we can get involved in the details,
25:41but not in the substance.
25:45I have to find a way to tell Fotis.
25:48Can I tell him?
25:50No, I can tell him.
25:52Let me tell him.
25:54You said you'd tell him.
25:56Yes.
25:57Let's leave it for tomorrow.
25:58One of us will tell him.
26:00No, let's tell him.
26:02Let's not delay it.
26:03I can't look him in the eye.
26:05Yes.
26:14I can't look him in the eye.
26:44Good night.
26:45Good night.
26:46Good night.
26:47Good night.
26:48Good night.
27:14Good night.
27:15Good night.
27:16Good night.
27:17Oh
27:47Mm-hmm
28:17That's it, bravo! And one day you leave early.
28:21Why? Is that a good thing?
28:25Poor thing, she's exhausted. She works from early in the morning until late at night.
28:31Guys, we'll meet tomorrow, right? I'm leaving. I'm going to the bar. I told you not to come.
28:38This is not for you, Ethygeneia. You can come.
28:48If I'm lucky, the chancer will fall.
28:51No matter what you do, no matter what you say, you are deeply in love with him.
28:55Kid, you're stupid. I'm going down the stairs.
28:59He's dying! He's dying!
29:04Thank you very much. Just a minute.
29:07Excuse me, can I talk to you for a couple of minutes?
29:10Now you remember? We talked all day.
29:12I work all day.
29:14Okay, okay. Please go and I'll call you as soon as I'm done, okay?
29:18Okay, Foti.
29:23Please.
29:28You're not leaving?
29:30I don't know, I don't know, my dear. Foti might be waiting.
29:33Lola called him to talk. He remembered everything.
29:37All day...
29:41Mom?
29:44She left like crazy.
29:46She's your mother. How could you want her to leave?
29:48Kid, you're very stupid.
30:05Okay, let's go.
30:08You scared me, kid.
30:11What happened? Did you start snoring in the office?
30:14I almost had a heart attack.
30:16Don't be silly.
30:18I came to find Natalia. Where is my daughter?
30:20Mom?
30:22I was looking for you, kid. I came to find you.
30:25Mom, I was calling you and you weren't listening.
30:27Your snoring precedes me.
30:29What?
30:31Nothing, kid. I wanted to surprise you.
30:33Forget it. I came to see my daughter.
30:35You have no idea how proud I am that you work at her grandfather's company.
30:39Me too, my dear.
30:41Of course, they worked hard.
30:43They didn't snore all day in the office.
30:45Mom, I don't snore with Foti. It's a serious matter.
30:49I didn't mean Foti, my love. Foti is God.
30:52Let's go have a cup of tea. Tell me how your relationship is going.
30:56Now? Because I had...
30:58Now, now, now.
30:59Come on. You came to work once. Are you going to deny it?
31:02Let's go.
31:04You, here, immobile.
31:06Immobile.
31:12That's all.
31:14Yes, that and much more.
31:16But which one are we talking about?
31:18Yes.
31:21Foti.
31:23It's a little...
31:25It's a delicate matter that I wanted to talk to you about.
31:27What do you mean?
31:29Don't be afraid. Don't be afraid. It's just...
31:32Come on, my dear.
31:34How would you feel if someone who was exactly the same as you,
31:39but was more recognizable,
31:41and wanted to work at the company.
31:44So, what would I say if someone hired me?
31:49No.
31:51No, no, no. Wait, wait. You're making an excuse.
31:54I can do that too.
31:55I can do that too.
31:57My dear...
31:59Yes?
32:01Hara.
32:03Oh, about Hara.
32:05Yes, Hara. Hara has a problem and I need your opinion.
32:09Don't confuse me. Tell me about Hara.
32:12Give me an example.
32:14Yes, yes. That's right.
32:16So, Christian. Hara, you know, works at the station.
32:19And at the station they want to hire a new, well-known radio station.
32:23Yes, yes.
32:25I see, I see.
32:27And she, yes, she admires her a lot,
32:30but she feels that she's being rejected.
32:33Yes. She's wrong.
32:35She's wrong?
32:37Yes, yes. I think that...
32:39First of all, I understand that the person who will come is more experienced than Hara.
32:42Yes.
32:44Good. So, I think that Hara can take advantage of it.
32:47In the good sense, she can take advantage of it.
32:49If the person is more experienced, Hara can learn a lot of new things.
32:53So, she won't be misunderstood. She shouldn't be misunderstood.
32:56That's what I think.
32:58Good. Well done, Fotis.
33:00Thank you very much.
33:02No, well done.
33:04That's it?
33:06Yes. Nothing else?
33:08Nothing. Thank you very much.
33:10You're welcome.
33:12You're great.
33:14You don't need me.
33:17You're welcome.
33:21He's very sweet.
33:23He's a gentleman.
33:25He's kind. He's considerate.
33:27Fotis, all this?
33:29Yes, mom.
33:31He's calm. He's an artist.
33:33He has the looks, the talent.
33:35Yes, but he also has the sweetest girl in the world next to him.
33:38Manoula.
33:40What?
33:42I think that he has a serious purpose.
33:44Well done, my love.
33:45But you love him.
33:47It's very important for your happiness in life and your physical balance
33:51to marry the one you love.
33:53Like you.
33:56Why are you sighing, my love?
33:58You? Why?
34:00Nothing. I was thinking about your father.
34:03Do you know how much we loved each other in the first years?
34:07I was thinking about Fotis, too.
34:09You know, Lola doesn't leave him alone.
34:13What? Him, too?
34:15Nothing.
34:17No one.
34:19But he's the star of Athens.
34:21He's always with her.
34:23He doesn't leave him alone for a second.
34:26When we left together, he told them not to see me.
34:29Now he remembers.
34:31He has our whole family in his sight.
34:33But you don't know what Elvira will say.
34:35She'll find me in front of her, in this life and in the next.
34:38In the next?
34:40The one in which he will turn into flesh after I kill her.
34:45I'm sorry.
34:56A beer.
34:59Cheers.
35:04You don't usually come to these places.
35:07How come you're here?
35:09I came to have a drink.
35:11I came to have a drink, too.
35:13I drank the whole bottle.
35:15I'm going to bed.
35:17Problems?
35:19When you want someone and he avoids you, how do you say it?
35:24Package.
35:28Good night.
35:30Bye, Swift.
35:42How's Fotis?
35:44He didn't pick up.
35:46You haven't talked to him yet?
35:48Look, I haven't thought of a way to deal with this.
35:51And I don't think Fotis will have problems with Konstantinos.
35:54No.
35:56Konstantinos will come first.
35:58Let's clear this up.
36:00There's no first or second.
36:02I said I'd work as two good co-workers.
36:05Yes, and Nikolakis in the office who does our errands,
36:08we call him a co-worker.
36:10What happened?
36:14Stop drinking.
36:16You've emptied the bottle.
36:18What's changed with this attitude?
36:20It's good news.
36:22Good news?
36:24Do you realize how big of a dilemma I'm in?
36:26Argyris is excited about the idea of hiring Karidis.
36:29But I don't want to do this to Fotis.
36:31I mean, it's...
36:33How can I explain it to you?
36:35It's like I'm offending the whole company.
36:37It's awful.
36:39I don't recognize you.
36:41You've never had such feelings.
36:43Work is work.
36:45Do you remember?
36:47Yes, of course I remember.
36:49But I've changed my mind.
36:51Work shouldn't be like this.
36:53It should be an interest for the co-worker.
36:55It can't be like this.
36:57I can't be so cold.
36:59Why are you whining now?
37:01Don't tell me about Fotis.
37:03It's good to tell you something.
37:05If Leonidas wasn't in me,
37:08I'd do anything to be with Fotis.
37:11And I can't stand this situation.
37:14I can't stand myself.
37:20You've said enough.
37:23Yes, that's it.
37:25I'm sure.
37:27You've said enough.
37:29Tomorrow you'll think more clearly.
37:31I'm glad there's no one to help me think more clearly.
37:34Ever.
37:36Let's go, Fiona.
37:38Come on, Fiona.
37:40Let's go.
37:43I couldn't think clearly either.
37:46Leonidas, the man I loved,
37:49not only had become a woman,
37:52but he was also a woman in love.
37:55I love you.
38:10I know what's going to happen.
38:12Romeo is going to drink the potion.
38:15Or Juliet is going to drink it first.
38:18Dad, in the ballet,
38:20it doesn't matter.
38:22What does matter?
38:23You're young.
38:25That's what you see.
38:27The figures, the pirouettes,
38:29and everything.
38:32She's a professional and she learns everything.
38:35Everything.
38:37I'm definitely going to be a ballerina.
38:39Whatever you want, my dear,
38:41whatever you want, you'll be.
38:43As long as you love what you do.
38:45That's what matters.
38:47Do you love your job?
38:49Don't ask me.
38:51It's my life.
38:53It's my life.
38:55It's my life.
38:57It's my life.
39:23You don't need it anymore.
39:25You don't need it anymore.
39:27Get out.
39:30Constantine is the best.
39:32Get out.
39:34Get out.
39:36Get out.
39:38Get out.
39:40Get out.
39:42Get out.
39:44Get out.
39:46Get out.
39:48Get out.
39:50Get out.
39:51Get out.
39:53Constantine.
40:22Welcome.
40:24Wow, I have a head of a cauldron.
40:27You didn't sleep well, did you?
40:29Why would I sleep?
40:31I had a nightmare all night long.
40:33I was telling my dad.
40:35Look, your nightmare will come true today.
40:37Cut the crap.
40:39If I decide it,
40:41I'll tell him.
40:43Who's going to tell him?
40:45Me.
40:47Hold me.
40:48Me.
40:50Drink a cup of coffee.
40:52With the mind you have,
40:54no matter what you tell him,
40:56he won't believe you.
41:03What's up?
41:05Did we have a meeting?
41:07No, just...
41:09Foti, I want to talk to you in private.
41:11Go ahead, I'm listening.
41:13So...
41:15What?
41:16Me too.
41:18You told me you wanted to tell me something.
41:20Yes, of course.
41:22Natalia!
41:24Hi.
41:26Hi, Natalia.
41:28We'll talk later.
41:30Bye.
41:36What did she want?
41:38I don't get it.
41:40I get it.
41:42She wanted to get in between us.
41:44She even told my mother.
41:46It's not a big deal.
41:48I'm the last man on earth
41:50who would care about Lola.
41:52Get out of my way.
42:00Croissants?
42:02Do you want some croissants?
42:04We eat croissants.
42:06Doesn't your stomach hurt?
42:09Don't say that.
42:11Can I have a bite?
42:13You're so stupid.
42:14When I hear that from you,
42:16it's the best compliment.
42:22Did you talk to him?
42:24Not yet.
42:26What are you waiting for?
42:28Konstantinos is coming here.
42:30Here? What do you mean here?
42:32Here in Athens?
42:34Here in Athens.
42:36As soon as he gets here,
42:38he'll see us.
42:40So, here is literal.
42:41The thing with Fotis is sensitive.
42:43You're a sensitive woman too.
42:45You have to find a way
42:47to tell him without hurting him.
42:49I love him.
42:51I'm crazy about him.
42:53I'm hurting him.
42:55That's why I'm telling you.
42:57So many years.
42:59Come on, Lola.
43:01Come on, Grigori.
43:03Coffee?
43:05What a shame.
43:12Hello?
43:18How are you?
43:20Did you tell him?
43:22No, I didn't.
43:24I can't tell him.
43:26I can't do that.
43:28That's why I called you.
43:30Why don't you send him an e-mail?
43:32E-mail?
43:34I'll tell him by e-mail.
43:36I can't tell him directly.
43:38E-mail is a solution.
43:39The phone is dead.
43:41The internet is back.
43:43But e-mail is a solution.
43:45You're a woman and a solution is a gift.
43:47He won't misunderstand you.
43:50I don't know what to think.
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