- 9 months ago
Category
📺
TVTranscript
00:01What is this?
00:03My resignation.
00:05Your resignation?
00:06Wait, I don't get it. Explain it to me.
00:09Don't give this to Fotis.
00:10What is it?
00:11Your resignation.
00:12What did he say?
00:13It's over. I've made my decision.
00:16I'll talk to my father.
00:17You won't talk to anyone.
00:20Let's start with our best partner.
00:21Don't tell me the best photographer we could ever have in the magazine.
00:24The best photographer we could ever have is Konstantinos Charitis.
00:27Please, please. I want to be accepted.
00:32I forbid you to write anything without my permission.
00:35Who told you that?
00:38So, you have the wrong information.
00:41I have ten different proposals from museums.
00:43But I'm still thinking about them.
00:45When I decide, I'll let you know.
00:47Until then, get out of here.
00:53Come here, girl.
00:58Come here.
01:02Who gave you permission to spread information about me?
01:07First of all, I don't speak French.
01:09And secondly, I don't know what you're talking about.
01:12You don't know, do you?
01:13I just received a phone call from a newspaper.
01:17They asked me about my exhibition at the Museum of Contemporary Art.
01:22Who told you?
01:24Do you want to hear it in your own language?
01:27When a journalist calls you, you open your mouth and you don't know what to say.
01:30And now Maria tells me in silence?
01:53I love you, love you.
01:58Be careful.
02:00If I find out that you're discriminating against others, I'll fire you.
02:04And then I'll see you cleaning tiles.
02:08Oh, my God.
02:09Oh, my God.
02:11Let's go inside.
02:18What's all this?
02:19Give it to me.
02:22What's going on?
02:25This is Konstantinos.
02:27I don't know who he is and he's talking to me like that.
02:30What?
02:31Sit down.
02:33Do you want me to slap him?
02:34Do you want me to blacken his face?
02:36Who do you think you are?
02:37Should I go?
02:38No.
02:39Nikos, leave him alone.
02:40He's a professor.
02:41Leave him alone.
02:42Don't bother him.
02:45I'll give it to him this time.
02:47But you should know,
02:48everything he does,
02:49one day, he'll pay for it.
02:52Everything we see here.
02:53Yeah, right.
02:55If the world was like this,
02:56it would be much better.
02:59The world would be much better
03:01and much sweeter
03:04if there were many girls like you.
03:18What are you doing?
03:19Cleaning up?
03:21My office is full of trash.
03:25Yes, the previous owner used to collect useless objects.
03:28Occupational syndrome.
03:29What can I say?
03:30What can I say, Gregory?
03:31Far from useless things.
03:32It's full of dust and space for no reason.
03:34And it's a source of bad energy.
03:48By the way,
03:49did you see the new design of the magazine?
03:52It's wonderful.
03:53Extraordinary.
03:54I think it's time to renew it.
03:57I like you.
03:59I hope you'll take over the renewal,
04:01CEO.
04:02Speaking of which,
04:03did you talk to Lola?
04:04Did she see the new design?
04:06Lola the artist?
04:10Lola drives me crazy.
04:11She's genius.
04:12Of course she didn't see anything.
04:13And I don't care about her opinion.
04:15The design is purely my business.
04:18Right.
04:19And when she sees it,
04:20she'll understand.
04:21We're talking about a large group.
04:23You understand how it started.
04:26But with a partner,
04:27I hope I'll take her place.
04:29But don't.
04:30Right now,
04:31there are others.
04:32I'm a fan of your kindness.
04:34You're welcome.
04:41Little one,
04:42come here.
04:43Come here.
04:44My name is Natalia.
04:45I didn't ask your name.
04:47Come here.
04:54Don't you do the casting for the models?
04:56Yes.
04:57I'm in the fashion department.
04:59Great.
05:00For the next photo,
05:01I want you to give me
05:02the feeling of freshness.
05:04Fresh girls.
05:05Smart,
05:06elegant.
05:07Do it,
05:08and quickly, please.
05:14What's wrong with him?
05:15Has he gone mad?
05:17I don't know.
05:18It's okay, Grigori.
05:24Look,
05:25I can't give you
05:26this kind of information.
05:28I can't even give you
05:29his phone number.
05:31I'm sorry.
05:32Bye.
05:33Bye.
05:37Did you use my computer?
05:39I used it for five minutes.
05:40It was fine.
05:41Hey,
05:42excuse me.
05:43What is it?
05:45The temperature
05:46between the employees
05:47of Hi-5 and Konstantinos
05:48is rising dangerously.
05:49There are a lot of people
05:50who want to kill him.
05:51It doesn't surprise me at all.
05:52As you behave.
05:53How can you behave?
05:55Konstantinos is a star.
05:59What?
06:00Did he take a picture
06:01of the other one?
06:02What?
06:03Tell me now.
06:04Yes.
06:05He also has
06:06an impressionistic view
06:07of his colleagues
06:08in the new magazine
06:09that he collaborates with.
06:10Are you serious?
06:11Does he want us
06:12to come here
06:13barefoot?
06:14He doesn't like
06:15to see people
06:16next to him.
06:18It affects
06:19his mood.
06:20He wants to be
06:21dressed in style.
06:22Doesn't the devil
06:23do you a little
06:24in the evening?
06:25What can I say?
06:26I don't have a problem
06:27coming here
06:28dressed in style
06:29and having a good time.
06:30It's the way
06:31that bothers me.
06:32Honey,
06:33you can't do anything
06:34about it.
06:35The guy is the top
06:36in the field of photography.
06:37That's why I told him.
06:38Overcome it.
06:39Do you need anything?
06:40No.
06:41No,
06:42but he must be
06:43very sad.
06:44I'll call him
06:45later to see how he is.
06:46Come on.
06:47Bye.
06:48Bye.
06:59Can you please
07:00shut up?
07:01I can't concentrate.
07:02Mev!
07:10Yes!
07:11Yes!
07:13Yes!
07:14Yes!
07:19Where are you?
07:21Where are you?
07:25Watch me carefully.
07:26From tomorrow on
07:27the women will come
07:28to my office
07:29in sneakers.
07:30I get crazy
07:31when I hear
07:32the bang.
07:33Take off your sneakers
07:34now
07:35or I'll kick your ass!
07:36Go!
07:39She works hard for the money, so hard for it, honey She works hard for the money, so you better treat her right
07:55She works hard for the money, so hard for it, honey She works hard for the money, so you better treat her right
08:11She works hard for the money, so hard for it, honey She works hard for the money, so you better treat her right
08:19Twinkle, twinkle, little star
08:50I forgot, I want to tell you something, but you have to take it quietly
09:07What does it mean?
09:09Konstantinos changed the design of my magazine
09:16Leave me alone!
09:26Where is he? I want to talk to him. Where is he?
09:29In his office, and you have to go and see him, silently
09:34Silently?
09:36Where is he?
09:38In his office
09:46Hello, mom
09:49My dear, what brings you here at this hour? Is something wrong?
09:52I'm not in a good mood
09:54I can see that, but I'm waiting to hear the reason
09:57Sit down
10:01Marichel, bring a green one for Natalia
10:04She has a calm personality, my dear, you'll relax and tell me what's going on
10:08Mom, I can't tell you, because I promised Fotis that I wouldn't tell dad anything
10:13But I didn't say anything to mom, so I can't tell you
10:17Perfect, I'm all ears
10:19I'm very unhappy, mom
10:22Don't block your chakras
10:25Fotis left the company
10:28And dad didn't do anything to stop him
10:30What are you talking about? Fotis was one of our best collaborators
10:33I know that, mom, but that's how it always happens
10:35Respectable people are not valued as they should be
10:38Dad almost caused him to leave
10:40He dared to do such a thing without asking me?
10:43I saw it in the astrological chart, the opposite of his virtue, my dear
10:49Which means that, for his professional reasons, he will revive my inner world
10:54And he took someone else in his place
10:56He made a new invitation, behind my back
11:00This, by himself, is a cause for controversy
11:03Let alone that I have other affairs for his daughter
11:05But I don't want to bother you, my dear
11:06And you know how important my relationship with Fotis is to me
11:10I do everything to be a serious person
11:13And my dad gives me one and destroys everything
11:16I will never talk to him again in my life
11:18Shut up, my baby, shut up, my baby
11:20Let me tell you, don't pollute your aura with negative thoughts
11:24Hey, Marikel, where is that ginger tea that cleanses the aura?
11:27Go get it
11:29How can I go get it? I fired her
11:31Anyway, tell me, does your manager know all this?
11:36How can he not know?
11:38Is it possible that a new one came to the office and Lola hasn't been notified?
11:42Then, I have an explanation for everything
11:45Your father is negatively influenced by someone
11:49And I think I know who
11:55I don't know what will happen when it's too late
11:57I mean, this is not a good situation
11:59I'm asking you to give up one thing, Spook, and remember it
12:02You will end up alone in here, like a dead man
12:04What are you saying, Lola?
12:06Calm down, and tell me what's going on
12:08No, you tell me what's going on
12:10You tell me what's going on, because how did it look to you when the manager was in here
12:13to learn about the photography department
12:16and decide to approve the next concept by himself, huh?
12:18Wait, wait, wait, let's talk about it
12:21What can we talk about, my child?
12:23The design has already been approved and I learned it by chance from an employee
12:27I learned it from an employee, I've been here for so many years
12:31Please, I understand you, don't feel like you've been left out
12:33But I've been left out
12:36Please, Lola, let's be a little more humble
12:40What's humble?
12:42What's humble, my child?
12:44You're fine, I mean, the guy came from Paris and gave it to Napoleon
12:46All he's missing is his hat
12:48Yes, you're right, you're right, and I look like a fool, to tell you the truth
12:50You look like a fool, don't you do anything?
12:52What are you leaving me for?
12:54Listen to me, my child, listen to me
12:56What are you saying?
12:58Listen to me, look, maybe I look like a fool, but anyway, that's how it is
13:00Artists are always like that, they say things like that, what can I say?
13:01I'm fed up with his nonsense
13:03Lola, be patient, give him some space, please, he's a firm, we need him
13:07Look, try to get to know him a little better, talk to him
13:11Not in here, get out, go out to eat
13:13You're going to tell me your way, you know it now
13:15No, no, I don't know, I don't know and I don't want to know
13:17Do you know what you're asking me for now?
13:19You're asking me to screw up a whole night with a walnut
13:21Leave the walnut, my child, leave the walnut, get over it
13:24I'm asking you to screw up a night for me
13:26Lola, please, I'm interested in the smooth operation of the company
13:28and the harmonious relations between my employees
13:32and I'm sure you can make sure of that
13:41What's all this, Lola?
13:43Why aren't you wearing shoes?
13:45Oh, you didn't know?
13:47Your extraordinary artist
13:49asked me not to wear shoes because the sound is annoying
13:52Do you understand? Did you say something?
13:54No
13:58Good evening, Mrs. Elvira
14:13Good evening, Mrs. Elvira
14:19Hello, my dear
14:21How are you?
14:23Fine
14:25Not at my best, of course
14:26You have the expression of a man, Armi
14:28That's probably my fault
14:30I should inform Mr. Argyros that you're here
14:33No, not yet, wait, don't be in a hurry
14:35Eugenia?
14:37What are you doing, Eugenia?
14:39How are you?
14:41We haven't seen each other in days
14:43Goodbye, Mrs. Elvira
14:45I'm fine, I'm fine
14:47But explain something to me
14:49Why are you all so sad here?
14:51Maybe the office layout isn't good enough?
14:53Maybe the office layout isn't good enough?
14:55I'll change it, we'll paint it as a moon
14:57Yes, it's not my fault
15:00But we're all quite stressed
15:03But why? There must be an explanation
15:05And why are you wearing shoes?
15:07Because there is an explanation
15:10Konstantinos Karidis
15:12What?
15:14The new Art Director
15:16It's impossible to work with him
15:18Impossible!
15:20He accused Vicky
15:22of being a slacker
15:24I don't know how many models she has
15:27And he told me
15:29that we should all adapt to his standards
15:32We're missing Fotis, Elvira
15:34He was very sweet
15:36I understand
15:38Everyone to the meeting room, now!
15:49Check it check it!
15:51Check!
15:53Check!
15:55Check!
15:57Check!
15:59Check!
16:01Check!
16:03Check!
16:05Check!
16:07Check!
16:09Check!
16:11Check!
16:13Very good, Vicky!
16:16That's enough
16:17And besides, I put you here to walk around.
16:20Get out of here.
16:22As far as I'm concerned.
16:39Argyris!
16:40Elvira, my love.
16:42What a pleasant surprise this is.
16:45A surprise is what you do in the company.
16:48What's going on, Elvira?
16:49I'm telling you something.
16:50You can't fire productive people,
16:52because these people are the ones who support my company.
16:55Elvira, I think you're making a mistake.
16:57I know you very well, Argyris.
16:59You're scaring me like this, so that Natalia doesn't want to work here anymore.
17:02How? What are you talking about?
17:04Why would I do such a thing, my child?
17:06So that you have freedom of movement,
17:08and you can walk around here with your loved ones,
17:10and you can take on every servant in high positions.
17:13I'm sorry, but now you're talking nonsense.
17:15I've had enough of your nonsense.
17:17I always say nonsense, I don't know what's happening to me,
17:19I mean things.
17:20My little Elvira, my dear, my gold.
17:22Calm down, please, calm down.
17:24All you say doesn't make any sense.
17:26Well, I'm leaving.
17:27I'm leaving, because I don't want to make a scene in here.
17:31But we'll talk about it at night, when you come home.
17:35You, me, and Natalia.
17:39My God, I can't stand it.
17:41Elvira and Natalia together.
17:43I can't stand it.
17:44Julia!
17:45My pills!
17:48I can't stand it, I can't stand it.
17:52Against her will, Lola decides to become a lady,
17:56and asks Konstantinos to go out for dinner.
18:09Of course, it was another inappropriate moment,
18:12but this one wasn't any inappropriate moment,
18:15because it was modern and sacred.
18:17Every afternoon, Konstantinos devoted 20 minutes to meditation.
18:32They were in there.
18:34But they said it would be perfect, this interruption.
18:36I was waiting for you for half an hour.
18:38Let's see what else we'll see in here.
18:40We have a lot to see from Konstantinos Karidis.
18:43He's a Buddhist, too.
18:45What do you think?
18:46He's a Buddhist, too.
18:47Good?
18:48Yes.
18:49Yes.
18:50Let's go.
19:07Dad, aren't we going to the movies?
19:11My love, I'm sorry, but it can't be today,
19:15because I have a terrible headache.
19:18But how can I bring you an aspirin?
19:22No.
19:23Come here, I'll give you a hug, and everything will be fine.
19:37Now, I'm much better.
19:41I'll tell you a fairy tale, and you'll like it.
19:45Tell me.
19:47Once upon a time, there was a prince,
19:52and they called him...
19:54...Konstantinos.
19:56Konstantinos.
19:57Konstantinos.
19:59Konstantinos.
20:01Konstantinos.
20:03Konstantinos.
20:05And they called him...
20:06...Foti.
20:19Julia.
20:20Julia, my dear, I want you to do me a favor.
20:22You don't have to, Mr. Algiris.
20:24Just tell me what you want me to do, and I'll do it.
20:27Why are you paying me?
20:28To do my job.
20:29And my job is to do what you want me to do.
20:32I see.
20:33Did you have a fight with Konstantinos?
20:35I wish I had a fight.
20:37Believe me, I would have felt much better.
20:39But in my case, I just let him humiliate me.
20:42Don't take it personally, my dear.
20:44This man is trying to adapt to a new environment.
20:47It makes sense for him to be a bit excited.
20:51How can he be a bit excited?
20:53He's always with me, I don't know.
20:55Oh, and Livani, and Livani,
20:59is coming from his office.
21:01Oh, my God, oh, my God.
21:03Livani is coming?
21:04Yes.
21:05That's why I'm so confused.
21:06I don't understand what's going on.
21:08Slow down, my dear, slow down.
21:09Don't make me nervous.
21:10You did it.
21:11Mr. Algiris, I'm sorry.
21:13What?
21:14Livani...
21:15What can I say?
21:17I don't think what he smells like is Livani.
21:21Many people will hear him soon.
21:23We're not doing well.
21:24We're not doing well at all.
21:25Look at this mess.
21:27Mr. Algiris, my dear,
21:28we have to adapt to the new conditions.
21:30As you can see,
21:31we have a world-famous artist here.
21:34And like all these people,
21:36he has an explosive personality.
21:38You understand?
21:39And every artist, as you know very well,
21:41is a bit eccentric.
21:43I'm sorry to tell you this,
21:45but the so-called eccentricity of artists
21:47is just nonsense.
21:49Julia, how can I make you understand?
21:51Konstantinos is a very important transcriber for our magazine.
21:54I suppose.
21:55And Foti's loss was very big.
21:57But for everyone to admire him and worship him,
22:00there must be a reason.
22:02That's right, that's right.
22:03Patience, my dear, patience.
22:04All I'm asking for is a little patience.
22:06Julia, please,
22:07since we're talking about patience,
22:09I want you to call Elvira
22:11and find an excuse for me
22:12because I want to stay in my office until late.
22:15I can't stand it.
22:16I can't stand the idea
22:17that I'm going home
22:18and my two beloved women,
22:20the two women of my life,
22:21are ready to destroy me,
22:23to eat me alive.
22:24I can't stand it.
22:25I can't stand it.
22:26Don't worry.
22:27I'll take care of it.
22:34Konstantinos,
22:35how are you, my boy?
22:44Patience, Mr. Argyris.
22:46Patience.
22:47What?
22:53I came to tell you
22:54about that important thing
22:56that made you interrupt my conversation.
22:58I interrupted your conversation, too,
23:00but it's not as serious as yours.
23:02Okay, I don't have much time for jokes.
23:04Tell me what you want.
23:07Konstantinos,
23:09I was saying
23:11that since we're co-workers,
23:13maybe we should go out for dinner
23:15to get to know each other better,
23:16to know us better.
23:17Me and you?
23:18You and me.
23:19The two of us?
23:20Are you proposing to me?
23:22Come on, tell him.
23:23You want us to go out,
23:24the two of us.
23:26The editor-in-chief of the newspaper
23:27wants to go out with Konstantinos Karidis.
23:30The truth is,
23:31I didn't expect it to happen so soon.
23:32I believe
23:33they'll last at least a week.
23:36And let me tell you,
23:39aren't you afraid
23:41that you'll like him
23:42and want more?
23:43You know,
23:44all the girls who had the chance
23:45to go out one night
23:46with Konstantinos Karidis
23:47Yes.
23:48want more.
23:49Really?
23:50Okay, then,
23:51let's go out this time
23:52and we'll see what happens next.
23:53Yes?
23:54Okay, okay, okay.
23:55Don't bother me anymore.
23:57I'll see you
23:58somewhere in my schedule.
24:00Thank you very much.
24:01That's what I'll do.
24:11Elvira,
24:12it's Julia.
24:14Yes, yes, yes.
24:15I got it.
24:16Thank you very much
24:17for the interest.
24:18Yes, yes, yes.
24:19I don't know.
24:20Maybe it was because
24:21of the sudden change.
24:23Yes, yes.
24:24Yes, yes, yes.
24:26We have to adjust.
24:28Yes, yes.
24:29For the good of the company.
24:31Yes, because...
24:32Yes.
24:33Hernetic energy
24:35blocks the...
24:36the...
24:37the...
24:38the...
24:39Anyway,
24:40that's what they say.
24:41I don't know.
24:43I'll call you back.
24:45Yes?
24:46Elvira?
24:48I have some work.
24:51I just got to tell you
24:52that Mr. Argyris
24:53will be late today
24:54because he has
24:55a TV interview
24:56with a group of investors.
24:58Yes.
24:59What...
25:00What can I tell you?
25:02Ten, eleven.
25:03It doesn't depend on us.
25:04It depends on them.
25:07Yes.
25:08Okay?
25:10Bye.
25:11Yes, yes.
25:12Bye, bye.
25:13You have a mail
25:14from...
25:18Where did it go?
25:33A woman in the early years
25:34of the recession
25:35found the solution
25:36in her pots.
25:39Cooking
25:40cooking
25:41is the best therapy
25:42for stress.
25:43I suggest you try it.
25:47Fortunately,
25:48in the transition
25:49there are no
25:50domestic chores.
25:52It looks nice
25:53when you cook.
25:54Darling,
25:55when you start cooking
25:56you see how
25:57all the psychological
25:58leave you.
25:59My child,
26:00especially when you
26:01start and succeed
26:02in food,
26:03you feel
26:04a completion,
26:05a confidence
26:06for yourself
26:07doing it and you'll remember me.
26:08Leave it.
26:10For now,
26:11I go to the quick solution.
26:16Ah,
26:17I want a drink too.
26:25So,
26:26we'll have a drink
26:27and then I'll serve
26:28to eat.
26:29Ah, I won't eat here.
26:31Why?
26:32Because today
26:33is a big day.
26:34I'll go out
26:35with this great lady,
26:36Konstantinos Kaidis.
26:40I see that you have started
26:41and developed
26:42a chemistry between you.
26:43Yes, of course,
26:44an excellent chemistry
26:45like that
26:46of nitro
26:47and glycerine.
26:48The surprise will come soon.
26:49I'm jealous of him,
26:50my child.
26:51I hated him
26:52from the first 5 minutes
26:53I saw him.
27:02Don't you dare
27:04to compare him
27:05with Fotis?
27:07What?
27:08How can I compare him,
27:09my child?
27:10He is incomparable.
27:11Fotis is
27:12a wonderful artist.
27:13He is an excellent person.
27:14The other one
27:15is a piece of bread,
27:16a masterpiece.
27:18So,
27:19there is no return
27:20for Fotis?
27:22I don't know.
27:23I mean,
27:24even if I unload
27:25the piece of bread,
27:26Fotis has lost
27:27a lot of ideas
27:28about me.
27:29Do you understand?
27:30It's logical.
27:31I'm alone.
27:32I didn't do anything
27:33to support him.
27:34You don't have
27:35enough blood.
27:36Yes,
27:37but
27:38I didn't support him
27:39from the moment
27:40I found him.
27:41And he doesn't deserve
27:42this.
27:43I don't know
27:44what to say.
27:45Maybe,
27:46all this
27:47is good for you.
27:48Because
27:49you will be away
27:50from Fotis.
27:51Of course,
27:54I don't know
27:55if he wanted this.
27:56What do you mean
27:57you don't know?
28:00What does it mean,
28:01love?
28:03Did Lallos leave
28:04forever
28:05and Lola is in love?
28:06What?
28:07Don't say that again.
28:08It's not true.
28:09I won't say it again.
28:10I won't say it again.
28:35I hope you have
28:36a good reason
28:37to put me
28:38in jail.
28:39I don't want
28:40to be behind your back
28:41if you do me a favor.
28:42I need evidence.
28:44And why do you think
28:45I have this evidence?
28:46Because you are
28:47very well known
28:48and you know
28:49people and things.
28:50As you know,
28:51I came recently
28:52to Athens
28:53and I don't know
28:54the situation.
28:55Thank God
28:56you know me
28:57completely.
28:58Say what you want.
28:59I need an actor.
29:00Not a famous one.
29:01Unemployed,
29:02but he can say it.
29:03You are in charge
29:04of the right person
29:05for the women's sector.
29:07What do you want?
29:08To play a role
29:09and to say
29:10that someone is in love.
29:11And if I tell you?
29:12I can't tell you.
29:13It's a state secret.
29:15I see.
29:17And why should I
29:18risk getting involved
29:19in a government scandal?
29:22Because if you help me,
29:24I will help you
29:25when you need me.
29:27And I'm sure
29:28you will need me soon.
29:30Your friend the photographer
29:31is getting ready
29:32to kill you.
29:33Lola hates you.
29:34So you need
29:35a signal.
29:37Especially
29:38the investor's representative.
30:01I was thinking
30:02that the only way
30:03to find you
30:04is to make a deal.
30:15You are not well.
30:17I'm sorry
30:18about my father's behavior.
30:19Come on.
30:20And I want to tell you
30:21that I feel guilty.
30:22Please.
30:23The same again?
30:24He values you
30:25very much, my dear.
30:26I know that
30:27it's an exaggeration
30:28that is obviously true.
30:29Look,
30:30I'm trying to think
30:31about other things,
30:32OK?
30:33And I would ask you
30:34not to talk about it anymore.
30:35OK.
30:36I'm sorry.
30:37It's OK.
30:39Anyway,
30:40I came here
30:41for a purpose.
30:43And what is that purpose?
30:45To tell you
30:46that we are going out.
30:47Oh,
30:48OK.
30:49So,
30:50look,
30:51I'm not a good company.
30:52I'm not in the mood.
30:54I think that
30:55staying inside
30:56is not the best thing.
30:57You have to get out
30:58and get out of your mind.
30:59Look,
31:00especially today,
31:01I can't.
31:02Even if I wanted to,
31:03I can't.
31:04It's impossible.
31:05Irini
31:06has an all-nighter
31:07in the church
31:08and I have to
31:09put the little one to sleep
31:10and tomorrow
31:11I have to go to school.
31:12Melina didn't show
31:13any sympathy
31:14for Natalia.
31:15But,
31:16above all,
31:17she wanted to see
31:18her dad happy again.
31:19And if this
31:20could happen
31:21with Natalia's help,
31:23she would have
31:24tears in her eyes.
31:25So,
31:26I have no hope,
31:27right?
31:28I'm sorry.
31:29Look,
31:30I'm sorry.
31:31What can I say?
31:33Hi.
31:34Hi, sweetie.
31:35I didn't see you.
31:37My mom
31:38told me
31:39to sleep at her house
31:40tonight.
31:41Can I go?
31:42I have my car
31:43downstairs.
31:44We can go
31:45if you want.
31:46Ok, I'm going
31:47to bring my bag.
31:51I see.
32:04I didn't expect
32:05this surprise.
32:06You have me
32:07on the phone
32:08for more than
32:09two years.
32:10Did I disappoint you?
32:11So many things
32:12have happened
32:13since we've met
32:14that I didn't even
32:15have time
32:16to understand
32:17your disappointment.
32:18How did you get a job?
32:19I was looking for you.
32:20You see,
32:21I'm not in the circles.
32:22I don't have
32:23a producer
32:24or a director
32:25or I'm not even
32:26a member
32:27of the government.
32:28And I don't know
32:29if you heard the news,
32:30but I have a child.
32:31Come on,
32:32you got married.
32:33Yes,
32:34yes.
32:35But six months ago
32:36the guy went
32:37for a smoke
32:38and he had a fever.
32:39Don't see him
32:40and don't answer him.
32:41Leave him alone,
32:42I'm telling you,
32:43it's a very difficult situation.
32:44Unfortunately,
32:45not all men
32:46are ready for me.
32:47I'm sorry.
32:48But things will change.
32:49That's why
32:50I'm here.
32:51Tell me,
32:52what do I owe
32:53the honor
32:54of your reappearance?
32:56I have a job for you.
32:58An opportunity
32:59to close your hole.
33:00Because the expenses
33:01will have drowned you.
33:03Don't talk about it.
33:04But what is it
33:05about?
33:06I'll tell you.
33:07National?
33:08Voyagee?
33:09Father?
33:10Antipa?
33:12Because you know me,
33:13I mean quality.
33:14Yes.
33:15It doesn't take you
33:16for a multi-talented person.
33:17It's just a joke.
33:19Take off
33:20your erotic monologue
33:22and take this phone.
33:25It will tell you
33:26where you're going
33:27and what you're doing.
33:28A producer?
33:29A producer
33:30will make you laugh.
33:32Take this phone
33:34and it will tell you
33:35where you're going.
34:01I love what you mind
34:02Tell me
34:03Did you?
34:06Hello, beautiful.
34:07I beg you, God,
34:08can you leave them alone?
34:10We won't be alone.
34:12I'm telling you, God,
34:13you're beautiful, my sweet.
34:14Very beautiful.
34:15My dear,
34:16I'm not in the mood.
34:17I'm trying to
34:18make my house look decent.
34:19You see,
34:20our designer,
34:21apart from being
34:22vulgar and disgusting,
34:23he's also arrogant.
34:25Anyway,
34:26if you want my husband,
34:27he's not here.
34:28Okay, I went to see
34:29what you're doing
34:30but it seems
34:31you're busy.
34:32We're not all
34:33so willing
34:34to live your
34:35easy life.
34:36Easy life?
34:37I left the company
34:38an hour ago.
34:39If the electricity
34:40hadn't been cut off,
34:41I would have been
34:42in a teleconference
34:43with the investors
34:44and I don't know
34:45what time it is.
34:46What do you mean?
34:47A teleconference
34:48was broadcast?
34:49Yes,
34:50for my good luck, yes.
34:51So,
34:52my idea
34:53gave me
34:54a few hours of life.
34:56I won't let you
34:57take my place,
34:58you old whore.
35:02Me?
35:03I would really like
35:04to meet this guy.
35:05What a weird guy he is.
35:06Believe me,
35:07I'll kick his ass
35:08in a fight.
35:09The guy
35:10doesn't fight,
35:11my little girl.
35:12He's relentless,
35:13self-centered,
35:14cocky,
35:15I mean...
35:16No, no,
35:17I'm just joking,
35:18okay?
35:19I'm just kidding.
35:20You know what?
35:21The way you describe
35:22the guy,
35:23I have the impression
35:24he would have
35:25a great time
35:26with the other guy.
35:27You know,
35:28we talked about
35:29your friend,
35:30okay?
35:31Okay, honey,
35:32you're right.
35:33Lallos was...
35:34Yes,
35:35yes,
35:36Lallos,
35:37yes,
35:38he's self-centered,
35:39but he's so sweet.
35:40He was arrogant,
35:41but...
35:42but nowadays
35:43he's so brave,
35:44isn't he?
35:45A little arrogant,
35:46yes,
35:47but you can see
35:48it in the corner of your eye.
35:50I wanted to tell you something.
35:51As soon as Lornidas
35:52came back,
35:53a lot of things have changed.
35:54First of all,
35:55he's a better man,
35:56so,
35:57I have to go,
35:58because the show
35:59has to go on.
36:00I'm going to listen to
36:01Konstantinos
36:02talking about
36:03his favorite subject,
36:04himself.
36:19Who are you,
36:20kid?
36:21What are you doing here?
36:22I'm an English teacher.
36:23Nice to meet you.
36:24I'm ready.
36:25Let's go.
36:35Why do you say
36:36you kiss the ground
36:37I step on?
36:38What am I doing?
36:39I want darkness.
36:41Oh,
36:42I'm so tired.
36:44I wish I could
36:45rest.
36:46I wish I could
36:47calm down.
36:48I'm weak.
36:49Calm down?
36:50Don't be a coward.
36:51Oh,
36:52I see.
36:53You didn't like it,
36:54did you?
37:05What is the name?
37:07It's not a hand,
37:08it's not a foot,
37:09it's not anything
37:10that man has.
37:12The name
37:13of Rhodes,
37:14no matter what name
37:15you give it,
37:16it will be the same.
37:18In the wild mountains,
37:19in the wild mountains.
37:20Don't you like
37:21the Shakespeare?
37:22It doesn't matter,
37:23I'll do something better
37:24and in the countryside.
37:36Oh,
37:37holy light of the sky,
37:39and you,
37:40wind that
37:41roams the earth,
37:42tell me,
37:43how many times
37:44have you heard me,
37:45how many times
37:46have I been stung
37:47by a bitter thorn?
37:49My God,
37:50who is this crazy woman?
37:51Do you want
37:52something in exchange?
37:53Why,
37:54all this time
37:55you haven't seen
37:56anything in the dictionary?
37:57Ah,
37:58I also have a good voice.
37:59In this boat
38:00I am alone
38:02and I have
38:03a companion,
38:04a white bird.
38:06I throw the flag
38:07in the sand
38:08and I want
38:09to tell you
38:10that you are
38:11a star
38:12far away.
38:13At night
38:14I kiss you.
38:16Who is this star
38:17that found us?
38:18Oh,
38:19no,
38:20star,
38:21star,
38:22star star?
38:23Don't hang up,
38:24don't hang up,
38:25give me a chance,
38:26I can call you.
38:27What are you doing,
38:28girl?
38:29Have you gone mad?
38:30Yes.
38:31I have gone mad
38:32with the debts,
38:33I have to take this role.
38:34What do I get
38:35so many years
38:36with the poverty
38:37and the ignorance of morality
38:38while the others
38:39make a career
38:40just because they get it from everywhere?
38:42I'll give it to you
38:43too.
38:44Do you want
38:45me to sit?
38:46Do I give you a seat?
38:47Take me,
38:48I am yours.
38:49Take me,
38:50Argini! Elvira!
38:53What are you doing there?
39:11The menu you brought me here is from the world heritage of French cuisine.
39:17It's okay. Don't eat, Konstantinos. I'll eat. You look after yourself.
39:21Anyway, I'll give way to Orgy because I'm hungry.
39:24Let's find something to eat.
39:27So...
39:29I'll take escargots with sauce bernaise and you'll take a...
39:33filet mignon with petit volauban.
39:35And for wine...
39:36we'll take a cabernet sauvignon from 1994.
39:39Very good. I'm sorry, but will you tell me what I'm going to eat?
39:41Calm down. Calm down. I know about French cuisine.
39:44And I also know about women.
39:50Isn't she Mr. Oli's daughter?
39:52Who was his name?
39:53Argini.
39:54Well done.
39:55And he's the one I replaced, right?
40:04Guys!
40:08What a coincidence.
40:10Indeed. What a coincidence.
40:12Have a seat. It's an opportunity to get to know each other.
40:14What do you say, Maseri?
40:16Thank you very much for the invitation, but we've already made a reservation.
40:20I'm not used to accepting rejections.
40:22I hired you. At least let me set the table for you.
40:25Let's clear something up first.
40:27You didn't hire me.
40:29I quit on my own.
40:31Really?
40:32Then your co-workers are bad brothers, because otherwise I would listen.
40:35The truth is that sometimes certain information is distorted.
40:39Yes, indeed. It's distorted.
40:41Depending on the person, of course.
40:44Please, no professional arguments.
40:47Let's have a nice evening. Since we're here, let's not miss the opportunity.
40:51Kostantina, let me tell you something.
40:54Do the kids have other plans?
40:56Do they want to spend a romantic evening together?
41:01Let them go first and flirt later.
41:03A secret couple doesn't flirt.
41:05Right.
41:08Yes, right.
41:11Natalia, please.
41:13I don't mean to offend you.
41:15I just want to feel the taste of the satobriand in the sky.
41:17Where?
41:18Lala?
41:21I think we deserve a drunken dinner.
41:23What do you say?
41:32I can't believe it. I can't believe it.
41:34Wait a minute, my dear. Wait a minute.
41:36There's a misunderstanding. I don't know this woman anymore.
41:38She's crazy.
41:39I'm the crazy one.
41:40I gave you permission when I had sex with Lola.
41:42Are you giving her permission too?
41:44Get out of here.
41:46What kind of work is this?
41:48He looks like a strong monologue.
41:50I swear, I don't know this woman anymore.
41:52Where do you sell these?
41:54I got it. Play me Ionesco.
41:56Okay, because I don't give a damn.
41:58Here, here.
41:59Hey, little bird, get in here, I'm telling you.
42:01What's the name? In the hand, the other foot.
42:04Classic sex-peer.
42:06I don't listen to anything about sex.
42:08She's crazy.
42:09I swear, I don't know this woman anymore.
42:11It's the first time.
42:12It's the first time, and you got it right away.
42:14Ah, now I got it.
42:16We're planning it tonight, right?
42:18Who knows how many years you've been cheating on me?
42:20Or maybe you're a crazy cat.
42:22Shut up!
42:23Argyris, Argyris, this won't pass.
42:25That's why you say it.
42:26How many years have you been involved?
42:28I'm not cheating on you, my girl.
42:29I'm not cheating on you.
42:30All this is a false assumption.
42:31False assumption?
42:32I have the ability.
42:33Yes, yes, yes, yes.
42:34I have the ability to tell you that the girl doesn't exist.
42:37False assumption.
42:38But false assumptions don't hurt.
42:40And the one you lost, Argyris, hurts a lot.
42:43I'm not in love, my little heart.
42:45That's right, that's right.
42:46You're not in love, you're in love.
42:48A small number.
42:49A whole bunch.
42:50Who are you, baby?
42:51All of you.
42:52Listen to me, Elvira.
42:53No.
42:54No.
42:55I don't listen to anything.
42:56Whatever you have to say, you'll say it to my lawyers.
43:02What the hell happened now?
43:04What was all that?
43:06In the end, I'm going to get the part.
43:08Leave me alone.
43:09Leave me alone.
43:10Leave me alone.
43:11Leave me alone.
43:12Come on.
43:36Leave me alone.
43:37Leave me alone.
43:38Leave me alone.
43:39Leave me alone.
43:40Leave me alone.
43:41Leave me alone.
43:42Leave me alone.
43:43Leave me alone.
43:44Leave me alone.
43:45Leave me alone.
43:46Leave me alone.
43:47Leave me alone.
43:48Leave me alone.
43:49Leave me alone.
43:50Leave me alone.
43:51Leave me alone.
43:52Leave me alone.
43:53Leave me alone.
43:54Leave me alone.
43:55Leave me alone.
43:56Leave me alone.
43:57Leave me alone.
43:58Leave me alone.
43:59Leave me alone.
44:00Leave me alone.
44:01Leave me alone.
44:02Leave me alone.
44:03Leave me alone.
44:04Leave me alone.
Comments