- 9 months ago
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TVTranscript
00:00Konstantinos, are you still in Paris?
00:02Don't raise the volume here.
00:04Did you talk to anyone here?
00:06No, you were the first one I thought of picking up.
00:08Okay, listen, don't talk to anyone unless you pass the Mister first.
00:12The well-known Konstantinos, the photographer who lives in Paris, Konstantin.
00:17Whoever calls him exclusively, will do a golden deed.
00:22If we didn't have Foti now, we'd call him, right?
00:25We won't do Foti, we'll cancel him.
00:28Of course not.
00:29Does it bother him to work with Konstantinos?
00:31I think we should cancel Konstantinos.
00:34But we won't do Foti, right?
00:36Foti believes he'll lose a lot of money.
00:42Everything okay? Did you tell him?
00:44No, I didn't tell him.
00:46I can't handle this. I can't do this.
00:50That's why I called you, because I thought of something.
00:52Why don't you send them an email?
00:54Email? I'm sorry, should I call it an email?
00:57Yes, since I can't say it directly, the email is a solution.
01:01It's the 21st century correspondence.
01:03The phone died in the correspondence, the internet revived it.
01:06Yes, but the email shows cowardice.
01:08Now you're a woman and cowardice is a gift. It won't misunderstand you.
01:14I don't know, I don't know, I'll think about it.
01:24It's me again.
01:26I thought a lot about you.
01:32Don't hang up.
01:34Don't call me hola, hola, hola.
01:44Julia! The wedding dress!
01:47I know.
01:50Yes?
01:52Yes.
01:53When are you coming to fix it?
01:55We have a problem, the emails don't go away.
01:58Yes?
02:00Okay.
02:03You were right. I shouldn't eat croissant.
02:06That one?
02:08You mean that one? Does your belly hurt?
02:11A lot.
02:12You better be sick.
02:14Leave me alone now, because I have a problem.
02:16The internet doesn't work.
02:18I'll fix it.
02:21Come on, Bill Gates.
02:23Why? I'm illiterate, I have lessons.
02:26Where? In Korydallos?
02:28Because you read in the newspaper that there are some educational lessons there.
02:33I like you not to bother me.
02:35Don't tell me, if I fix the internet for you, will we both be online?
02:42Dear Foti, we are pleased to announce to you
02:49the termination of collaborations with the famous Konstantinos Karidis.
02:53What are we? What are we? I have to write something more personal.
03:00Are you going to send an email?
03:02Maybe, why?
03:03The internet doesn't work.
03:05Why?
03:06She has a problem.
03:07She has a problem again?
03:09Nikos is looking at it.
03:11Okay, it doesn't matter.
03:13But until I fix it, he should have fixed it.
03:16Okay, Julia?
03:17Okay.
03:18Bye now.
03:19Bye.
03:28Can you fix it? Or will you make it worse?
03:32Let me work, my girl.
03:36Bye, my doll.
03:38Good morning, Mrs. Elvira.
03:41Elvira, are you looking for Mr. Argyris?
03:44I'm looking for you.
03:45Let's go to the kitchen.
03:47Elvira, you know...
03:49Elvira, you know...
03:51Don't yell at me. I didn't have time to buy the biologicals.
03:54And I didn't have time to throw away the candles we were talking about.
03:57Don't worry, my love. We'll throw them away together.
04:00We have a lot of candles to throw away.
04:17No, no, no. It's too cold.
04:23Foti, what are you doing?
04:25I have news for you.
04:27Guess who's going to take pictures of the exes from now on.
04:30I think I'm working on it.
04:35Foti, it's hard for you.
04:38I'm not working on it.
04:40I'm not working on it.
04:42I'm not working on it.
04:44I'm not working on it.
04:46It's hard for you to know, but it hurts me too.
04:49It breaks my heart that I'm the one who's going to tell you.
04:52But that's how fate brought it to me.
04:54No, I gave it up. I cried my eyes out.
04:57What's the point of sending it to an e-mail?
05:00What's the point, Hara?
05:07Come on, Hara.
05:09No.
05:11No, no, I didn't send it.
05:13I don't know what to write about it.
05:16I've written some versions, but...
05:19Come on, Hara.
05:21Do you have time to read it and tell me what you think?
05:24Do you have work?
05:26Okay, fine. Leave it.
05:28I'll look at it later.
05:30Yes.
05:32Yes. Bye.
05:43Yes.
05:49I'd like to have a little discussion.
05:53Yes, of course.
05:55Listen, my dear.
05:57There are some women in the company who don't get along.
06:01What do they do?
06:03How can I put it?
06:05They're cheating on Argyris.
06:07No.
06:08Of course, I can't get involved with them.
06:11I'd like you to inform me about the situation.
06:18To protect Argyris, of course.
06:20From what?
06:21From them?
06:22Who are they?
06:24You don't know anything.
06:26You haven't learned anything.
06:28You haven't realized anything.
06:30No.
06:32Listen, my dear.
06:34There's a woman in the company who sexually harasses my husband.
06:39And this woman is her closest associate.
06:42Don't tell me you didn't realize.
06:44Me?
06:46Are you saying that I...
06:48I swear to you, Mr. Elvira...
06:52I made it on the internet.
06:54Okay, fine. Leave now. Can't you see we're talking?
06:57Come on.
06:59Mr. Elvira, I see Mr. Argyris as my father.
07:02Okay, okay, okay, okay.
07:04Go. I won't take you away from him.
07:06I'm telling you the truth.
07:08And you, my mother.
07:10Go, my dear, you're going to annoy me in the morning.
07:20You can send the e-mails.
07:22The internet works.
07:25Lola?
07:29I'll send them.
07:38One, two, three...
08:08I'll send them.
08:26You should have sent an e-mail.
08:28Me?
08:29And three versions.
08:31A sad one, an ironic one, a professional one...
08:35What's going on?
08:38I didn't send them. I really didn't.
08:40Why didn't you tell me yourself?
08:42Because I couldn't find a way.
08:44I didn't know how to tell you.
08:46I was afraid you'd be sad, Fotis.
08:48And that you'd think that...
08:50That's why?
08:53Okay, okay. Don't worry.
08:55There's no problem.
08:57There isn't?
08:58No, no.
09:00I know that Konstantinos will be a very strong supporter of the magazine.
09:06Because he's one of the best photographers.
09:10And you are.
09:12Yes.
09:13That's exactly what I'm thinking.
09:15If I join forces with Konstantinos,
09:19then we can have a very strong result.
09:22Right?
09:23What?
09:24Wait a minute.
09:25So, in the end, collaborating with Konstantinos...
09:28I'm saying it's not that bad.
09:32Fotis!
09:34Bravo!
09:36Bravo!
09:38Bravo!
09:48Cheers!
09:50That's what he said, my boy.
09:52In French, pa mal, pa mal.
09:55Pa?
09:56Do we speak French now?
09:58I'd say a French word for you, but it's okay.
10:01Let's go.
10:02Let's go.
10:05It was easier than I thought.
10:07Yes, I'm not afraid of you, my boy.
10:09You're a boy.
10:10You go everywhere.
10:11You deserve a big kiss.
10:16I have to go.
10:17I have a date with a girl.
10:19Again?
10:20I have to go, too.
10:21Elvira is not feeling well.
10:23She's a bit weird lately.
10:25I understand.
10:26I'll sit here with a drink.
10:27Okay, as you wish, my boy.
10:33Many times, the same image has many interpretations in our minds.
10:38But in Elvira's mind, the image of Argyris leaving and Lola crying
10:44meant one and only thing, and no one could change their mind.
10:48Yes, cry.
10:49Cry, because your lover left you to go back home.
10:52Porn!
11:03Do you know what I'm saying?
11:05If Melina is not in Irini, I'll be here today.
11:11What are you thinking about?
11:14Nothing.
11:15Something about work.
11:19Did Lola tell you what she wanted?
11:22Yes.
11:23And she sent it to me by e-mail.
11:26I see.
11:27Let me tell you something.
11:29She sent it to me by e-mail.
11:31I see.
11:32She did it to break you.
11:34She saw that you don't dress up, so she sent it to the professional tailor.
11:38To see that she'll make it even fatter.
11:40I don't see it that way.
11:42Of course.
11:43Because you're not a woman, my light.
11:45While I can understand.
11:47And I know that if it was in her hands, she would throw you out.
11:51If she found someone better.
11:53But there is no better.
11:55Isn't that right?
11:57No.
11:58What you're saying is nonsense.
12:00Of course there are better than me and worse than me.
12:04Let me tell you.
12:06If someone better comes, I'll be happy to cooperate with him.
12:11And to learn from him and to expand my knowledge.
12:14Do you think so?
12:16If another photographer came, would he show you the secrets of his work?
12:20I don't think so.
12:22I think he would fire you and do everything by himself.
12:25He's more competitive.
12:27Or am I wrong?
12:31What's wrong?
12:35Honestly?
12:36Yes.
12:37I want to be alone.
12:39Is that why you sent Melina to Irene?
12:42Of course. Why else?
12:46Light?
12:47Did something happen? Can I help?
12:49No, no. Nothing happened.
12:51It's just...
12:53It's a decision I have to make on my own.
12:56Okay.
12:57Call me if you need anything.
13:00You know I'm interested in you 24 hours a day.
13:07Good night.
13:08Good night.
13:24THE LAST DAYS
13:36Come on.
13:37You've pulled it off. What's wrong?
13:39I don't know.
13:40I do know.
13:41You've been in misery for so many days and now that things are going well, you're acting like a fool.
13:46You're right.
13:47Of course I'm right.
13:49Let me tell you something.
13:50You respect Light.
13:52The poor guy.
13:54Who's the poor guy?
13:55He's a professional and he does his job.
13:57And he's happy to work with you.
13:59And he's happy to work with Konstantinos.
14:01He'll have a good partner.
14:03He has Natalia, so he'll take care of him.
14:06I'm not lying.
14:07Yes.
14:08You just didn't see the messages.
14:10Especially the one about sending Melina to Irene.
14:13Because what did he write?
14:16It breaks my heart that I have to tell you this.
14:19I almost cried.
14:22It's okay, honey.
14:23Now that you're a woman, everyone forgives you.
14:45I'm sorry.
15:13Excuse me.
15:15What? Come on in.
15:19I came to give you this.
15:28What is this?
15:31My resignation.
15:35Your resignation?
15:37Wait, I don't understand. Explain it to me.
15:40I don't have anything to explain.
15:43You have in your hands my resignation.
15:46I think I'm clear.
15:50Wait, Fotis. Come on, let's talk about it.
15:53No, we don't have anything to talk about.
15:55Whatever we wanted to talk about, we talked about it.
15:57I don't have anything else to say.
15:59Okay, if you don't want to talk to me,
16:01at least talk to Argyris. We have to ask him.
16:04I don't have to ask anyone for anything.
16:07I didn't come to ask for your permission
16:09to inform you that I'm leaving.
16:11But, Fotis...
16:12What? Please, I've made up my mind.
16:14Let me tell you something. This is an obligation.
16:16Let's talk about it. You've thought it through.
16:19Yes, I've thought it through.
16:22And I'm sure this is how it should be.
16:27That's all.
16:28Let's go.
16:31This is for you.
16:33What? Another surprise?
16:35It's the job I've done for the next season.
16:38First of all, I'm not leaving to hang you up.
16:41Okay?
16:43So, I've fulfilled my last obligation
16:47to this magazine.
16:50Fotis, let me tell you something.
16:52Come on, you're being paranoid now.
16:54Let's talk about it and we'll find a solution.
16:56Lola, trust me.
16:58I've thought about you.
17:00I know it's better for you not to have me around.
17:04Why do you say that?
17:06Because...
17:08I don't want to cause you any trouble.
17:11What do you mean?
17:17Now...
17:19Forget it.
17:29Argyris, listen to me.
17:31I've thought it through.
17:33Argyris, give this to Fotis.
17:35What is this?
17:36His resignation.
17:37What did he say?
17:38We have to do something.
17:39We can't just sit around.
17:41We'll lose one of our best co-workers.
17:43Don't mention the best photographer we could ever have.
17:46I'm sorry, Lola. I don't want to upset you.
17:48But the best photographer we could ever have is Konstantinos Karidis.
17:52And we can't do anything about Fotis.
17:54He gave a written resignation.
17:56It's obvious that you've thought it through.
17:58You're wrong.
17:59It was just a hot-headed thought.
18:01We can do something.
18:03It was just a hot-headed thought.
18:05Of course it's a hot-headed thought.
18:07Anyone would do the same thing.
18:09It's not his fault.
18:10But we can't do anything about it.
18:12You're wrong.
18:13There's always room for a co-worker.
18:15Isn't that right, Argyris?
18:16Lola, Grigoris is right.
18:18On the one hand, Konstantinos Karidis' resignation will be a good thing.
18:24But on the other hand, it's a cold-shoulder for Fotis.
18:27It won't only cause me professional problems, but also personal ones.
18:31Personal?
18:32Yes.
18:33What's your relationship with Fotis?
18:34I don't have one.
18:35My daughter has one.
18:36She's Italian.
18:37And I don't even want to think about when she'll find out that Fotis left the company.
18:40Wait, wait.
18:41I'm sorry.
18:42I didn't know that their relationship was so advanced.
18:44Yes, Lola.
18:45Things are very advanced.
18:46And nothing else.
18:47My daughter will take it very seriously.
18:49He's a very difficult kid.
18:50She's taken it from her mother.
18:59Please, Fotis.
19:00Listen to me, please.
19:01It's not a decision that you can make in a moment.
19:04Natalia, what's going to happen?
19:06Are you going to give me an excuse?
19:08Why? Who else spoke to you?
19:10It doesn't matter.
19:11So, it's over.
19:12I've made my decision.
19:14I'm going to talk to my father.
19:16You're not going to talk to anyone.
19:18You have to understand that I didn't resign.
19:21I quit.
19:22Okay?
19:23And this decision was made after a long thought.
19:27I'm very sure about what I'm doing.
19:29Did you hear me?
19:30No, no, no.
19:31I've heard a lot so far.
19:33So, I'm an adult.
19:35And I can decide for myself both my life and my job.
19:38But your father...
19:39Please, Natalia.
19:40If you talk to him, I'll be very angry.
19:44Promise me now that you won't do it.
19:49Natalia.
19:51Promise me.
19:54I promise.
19:56But what am I going to do when you leave this job?
19:59I come here and you make my day.
20:01I don't want to ever step foot in here again.
20:04Come on, don't be sad.
20:06We'll find each other.
20:08We'll go dancing together.
20:10You don't like clubbing.
20:12Okay, we'll go to the clarinet.
20:14Huh?
20:23He quit or they quit him.
20:25What do you mean?
20:26What do I mean?
20:27That he quit the next day he found out that someone else was replacing him.
20:30Isn't it obvious?
20:31No.
20:32It's logical.
20:33His pride was hurt.
20:34Something that won't happen to you because you don't have pride.
20:40Why are you looking at me like that?
20:42Why? Because I'm telling the truth?
20:44I'm looking at you like that because I may not have pride, as you say, but you don't have pride.
20:50The only thing you know how to do is to kick your brother's ass and drag him under your feet.
20:56What's up, guys?
20:59The crazy guy went out with a woman and woke up.
21:02But you don't call this woman a woman.
21:05Look at your face first, got it?
21:13Stop it!
21:14Stop it!
21:15Stop it!
21:16Stop it!
21:17Stop it!
21:18Stop it!
21:19You're destroying the office, okay?
21:21He's right.
21:22Why are you letting him in here?
21:23Ring?
21:25Guys, I came to say goodbye.
21:28Fotis!
21:29Fotis, you're leaving.
21:32Fotis, take care.
21:34My partner.
21:36Take care, my boy.
21:39I missed you.
21:42Good luck, Fotis.
21:46It's a shame, Fotis. It's a shame.
21:48Even though we started talking to each other.
21:52Fotis.
21:54I'm really sorry. It's a shame.
21:57I think you were very important in what you did.
21:59We will miss you. Your absence is not an excuse.
22:01Thank you, Teo.
22:04Tara.
22:05We never had a close relationship, but...
22:08you were one of the best in the company.
22:10I will miss you.
22:12Thank you, Pano.
22:14Bye, Fotis.
22:15Bye.
22:19Nothing would be the same without you.
22:22Come on, let's go. Don't cry now.
22:24You were a balance for the office.
22:30Fotis.
22:33I love you.
22:46That's all.
22:57Please, please.
22:58I want you to welcome me.
23:01Where is the band?
23:04My friend.
23:05My little girl.
23:08Welcome, welcome.
23:11Ladies and gentlemen.
23:12Dear colleagues.
23:15From here, Konstantinos Karidis.
23:17Of course, there is no need for introductions.
23:20The famous Konstantin.
23:22The new star of the company.
23:25Of course, there is no need for introductions.
23:27They need introductions.
23:29Completely.
23:30Completely.
23:32I'm leaving, but...
23:33I would like to apologize for your work.
23:39Fotis Stergios.
23:40Photographer.
23:42He works with us until today.
23:44Photographer, huh?
23:46I don't know you.
23:49But you work with strangers.
23:54I see.
23:55You still keep your smile.
23:59From here, let me introduce you.
24:02Panos.
24:04In psychology.
24:06Eugenia.
24:08In fashion.
24:09Vicky.
24:10In economics.
24:12Julia is our secretary.
24:14And Mr. Theopapas.
24:17He is in charge of our investors.
24:21I see.
24:22And I am Nikos.
24:23The kid for all intents and purposes.
24:27No one knew what exactly Konstantin's absence meant.
24:31Some were excited by the event.
24:34Some seemed more restrained.
24:36One thing was certain.
24:38None of them were ready for what was to follow.
24:50From here.
24:52Lola.
24:53Where have you been?
24:54Let me introduce you.
24:55It would have been better if you had come in before.
24:59What is your name?
25:00Lola Lalo.
25:02The editor-in-chief.
25:04You have a wife-editor-in-chief.
25:06Wife.
25:07Now, how do you say it?
25:08Wife, this thing?
25:09Lola doesn't look like a wife.
25:12Grigori!
25:15Don't tell me this is Konstantinos.
25:19Who are you, sir?
25:20Agiris Paraskevopoulos.
25:21The owner of Hi5.
25:23I am glad to meet you, my dear.
25:25I am glad too.
25:26I mean, we are all glad to have you here.
25:29I won't be able to take it.
25:31Enough with the introductions.
25:32Besides, I don't keep names.
25:34So, we're wasting time.
25:36I want to work.
25:37Is my office ready?
25:38Of course it's ready.
25:39Come on in.
25:40This way.
25:41I'm sorry.
25:42I'm sorry.
25:43Please.
25:44After you.
25:45After you.
25:47Lola.
25:48Come on.
25:49Let's go show Konstantinos the office.
25:51You go.
25:52I have work to do.
25:53Please.
25:54This is part of your job.
25:55Do me a favor.
25:56Please, Lola.
25:57Don't make me feel even worse than I already do.
25:59You are a special person.
26:00I want you to understand me.
26:01Oh.
26:02OK.
26:03OK.
26:04Sweetheart.
26:05Sweetheart.
26:06Come on.
26:11Come on.
26:19Here we are.
26:20What do you think?
26:22I don't like it at all.
26:24Please, paint the walls again.
26:26I can't work with such banal colors.
26:29Paint them again.
26:30Paint them again.
26:31Whatever our star wants.
26:32By Monday, they'll have the color I want.
26:34Julia, tell Nikos to do it, please.
26:37What should I tell him?
26:38To paint the walls?
26:39Yes, sweetheart.
26:40I'll tell Nikos to paint them and it won't be banal.
26:48I'm so sorry.
26:49I'm OK, honey.
26:50I'm OK.
26:51I can do it.
26:52I can do it.
26:53It's all right.
26:54It's OK.
26:55I can do it.
26:56It's OK.
26:57It's OK.
26:58I can do it.
26:59I can do it.
27:00I can do it.
27:01I can do it.
27:02It's OK.
27:03It's OK.
27:04And who are these people?
27:05They're from the gaol.
27:07It's the team of Foti, the one you were working for, and he's left.
27:09They can work together.
27:10You won't have any problem.
27:11So that means ...
27:13Foti lost his job.
27:14Because of me.
27:15What kind of honor?
27:16If you don't do it, I'll fire you.
27:18You can go now.
27:19Bye-bye.
27:40I don't know anything.
27:41Who are you?
27:42I don't know anything.
27:43I don't know anything.
27:45I don't know anything.
27:46Who are you?
27:47So?
27:48What so?
27:49Didn't you see the guy?
27:51We saw him.
27:52You saw him a little more.
27:53Tell me, what does he say?
27:54Let me see.
27:55I haven't read his biography.
27:57I haven't even heard his name again.
27:59I don't know if he's famous.
28:01But what I do know is that he has a great reputation
28:03and bad behavior towards everyone.
28:06Girls!
28:07Are we talking?
28:08You have to see what happens at the entrance of the building.
28:10Madness!
28:11Full of canals!
28:12It seems that Konstantinos' reputation is more important than we thought.
28:16Do you understand?
28:17We're talking.
28:18We're going to be a very popular news.
28:20Let's go tell Argyris.
28:21He'll be happy, won't he?
28:25Let me tell you.
28:26You know him better.
28:28He's always so happy.
28:31He has celebrity syndrome.
28:33He's influenced by famous channels.
28:35He had announced his participation in the first Big Brother.
28:38His reality show.
28:41If I say something about your choices,
28:43I'll be the bad one.
28:54Leave it to me.
29:06Excuse me.
29:07I'm so sorry.
29:09Thank you very much.
29:10You interrupted us.
29:11I hope you have something important to say.
29:13Very important, boss.
29:15Journalists have gathered downstairs
29:17because they learned about Konstantinos' resignation
29:19and they want to interview him.
29:21Great. And what are you waiting for?
29:22To fire them?
29:23Zona.
29:24Dear Konstantinos,
29:25I was thinking of having a press conference
29:27but I don't want to find you to say what we are.
29:29That's why if this situation makes you feel uncomfortable...
29:32Don't worry, Argyris.
29:33I'm used to such reactions.
29:35Publicity is part of my job.
29:37I'm not just a photographer.
29:39I'm a star.
29:40Celebrity.
29:41V.I.P.
29:43Can you hear that?
29:44He's a star.
29:45He's a celebrity.
29:46He's a V.I.P.
29:47Is it true what they say about you
29:49and Carla Bruni?
29:51My dear,
29:52I can't expose a lady.
29:54But I can tell you
29:55that as soon as Nikolas saw the photos I took of her,
29:58he fainted.
30:00He fainted.
30:01Nikolas fainted.
30:03Nikolas fainted.
30:04You see, I'm not just a star.
30:06V.I.P.
30:08V.I.P.
30:12I worked in Paris
30:13and I was making millions.
30:15But I was bored
30:17because I had no problem.
30:19So one day I said to myself,
30:21Konstantinos,
30:23why don't you go back to your little country
30:25and work for free?
30:28You'll get your life back
30:30from your misery.
30:35Questions, please.
30:37The gentleman...
30:38Thank you very much.
30:40Konstantinos,
30:41what changes do you intend to make
30:42in the new magazine you've just released?
30:44Risks.
30:45This is not a new magazine.
30:48Fortunately,
30:49the editor-in-chief of the magazine
30:50is my good friend,
30:51Grigoris Exartos.
30:53I can rely on him
30:55to change the second class
30:56of my predecessor's work.
30:58From what I see,
30:59I'll need to take a step back
31:01and rebuild.
31:04You know,
31:06my mother used to read
31:08a lot of Thesaurus.
31:11The way I see the magazine now,
31:13if we put in
31:14Zacharias and Chondris,
31:16it'll be a hit.
31:20What can I say?
31:21Maybe that way
31:22the magazine will acquire
31:24a nostalgic, retro character.
31:34Konstantinos,
31:35regarding the latest news
31:37about your relationship
31:38with Carla Bruni,
31:39a few words?
31:40I mean,
31:41after all this time,
31:42you're going to be with a Zacharias
31:43and a Chondris.
31:44What can I say?
31:46Man is selfish.
31:48Everyone hangs from his mouth.
31:50He's jealous.
31:51He has an opinion.
31:53What opinion,
31:54son of a bitch?
31:55What does he say
31:56to get me so upset?
31:57Konstantinos Karaitis
31:58can say whatever he wants.
32:00It's our duty
32:02to help him.
32:03Help him?
32:04What are you talking about?
32:05Can't he just go
32:06and get drunk?
32:07Please,
32:08Konstantinos Karaitis,
32:09for God's sake.
32:10Calm down,
32:11calm down, my dear.
32:12You, please,
32:13as the editor of the magazine,
32:14you have to take care
32:15of creating those conditions
32:16so that our friendship
32:18can feel safe.
32:19What should I do?
32:20What you have to do.
32:21Do you know what I mean?
32:22No.
32:23You have to take care
32:24of creating those conditions
32:25so that our best actor
32:26can work comfortably
32:27and creatively.
32:28Okay?
32:29I leave you to it.
32:30Be careful.
32:31I want you to bring
32:32dinner from the embassy.
32:54Enjoy your meal.
32:55Are you going to eat all of this
32:56by yourself?
32:57Yes.
32:58Since I came here,
32:59the building needs
33:00a lot of cleaning
33:01so that it can stand up
33:02on its feet again.
33:03And as a worker,
33:04we need energy.
33:06So, tell me,
33:07what do you want
33:08and don't bother me.
33:09You asked for a very
33:10increased budget
33:11and I don't know
33:12if I can approve it.
33:13And who are you
33:14to approve it?
33:15The financial director.
33:16Didn't we meet in the morning?
33:17I can't remember
33:18each one of them.
33:20Don't tell me.
33:23What kind of a woman
33:24are you
33:25that you found yourself
33:26here?
33:27I don't want to spend
33:28a night of my life.
33:29I don't like girls like you
33:30to bother me.
33:33Now, go back to your work
33:34and think about it
33:35very carefully
33:36before you bother me again.
33:40Ali!
33:46No respect.
33:48But it doesn't matter.
33:50I'll fix you up.
33:58So, in today's show,
33:59I'll give the title
34:00''Any lamp is not gold''.
34:03I have a lot of examples
34:04to tell you,
34:05but I can't wait
34:06to hear yours.
34:07So, I'm waiting
34:08for your calls.
34:14And we have
34:15our first call.
34:16Good evening.
34:17Hello, Gara.
34:18How are you?
34:19I'm fine.
34:20How are you?
34:21I'm fine.
34:22How are you?
34:23I'm fine.
34:24How are you?
34:25I'm fine.
34:26Stop it
34:27or I'll be upset.
34:29I want to tell you
34:30that any lamp
34:31is not gold.
34:33I had the experience
34:34recently to work.
34:36A new guy came
34:38and presented
34:39like the solution
34:40to all our problems
34:42but in the end
34:43he turned out to be
34:44a big bust.
34:46Let me guess,
34:47he wasn't a good colleague?
34:48Not only that,
34:50but he is definitely
34:51the worst thing
34:52when working with people
34:53and unfortunately
34:54brotherhood
34:55You can't teach it in the universities.
34:57It exists and it's worse.
34:59When you're irrelevant and you play it because you're great.
35:02Whoever is great doesn't need to play it.
35:04It's obvious.
35:05Stay on the line, please, because we have another one
35:08and I want to air her out.
35:10Yes, good evening.
35:11Good evening.
35:12Congratulations for your show, Hara.
35:14I'm Yiannis from New World.
35:16Hello, Yiannis. We're listening.
35:18I'm like Stamatis.
35:20He came to our office and presented that he was the best of his kind.
35:23The only thing he knew how to do well
35:25was to reduce the rest of the employees.
35:27And from work, he was a real gem.
35:30And what does this tell us, Yiannis?
35:33That, of course, any lamp is not gold.
35:46And because I'm very good at moral lessons, I have more for you.
35:51Dialogue between colleagues is just as important as dialogue between couples.
35:57But something like that probably wasn't on Constantine's menu.
36:04What's going on?
36:07Who are you and what are you doing here?
36:09Can't you see I'm working?
36:13I'm Ephygenia.
36:15Ephygenia?
36:17What a name, my God.
36:19Do you remember the job you used to eat at the kids' school?
36:22How can you become a...
36:24ugly...
36:26complex...
36:28grammar teacher?
36:30I'm not a grammar teacher.
36:32I'm the fashion manager.
36:34I'm sorry, I don't remember. We met this morning.
36:37What's gotten into you all and you're waiting for me to remember you?
36:40Who do you think you are?
36:41Get a little closer.
36:43Mon dieu.
36:44Anyway, I came to show you the work we've done...
36:48No, no, no.
36:50No, my dear.
36:52I'll say it once and I hope you don't have to repeat it.
36:55I don't adapt to the work everyone else does.
36:59Others adapt to me.
37:01Others.
37:02Do you understand?
37:03Or should I draw it for you?
37:06What's the rush?
37:13Come on now. You're a grammar teacher.
37:16Let me tell you.
37:18She can't.
37:19Especially you, you'll know more.
37:21The only thing I can tell you is that there's an exhibition of Konstantinos' work...
37:25at the Museum of Contemporary Art.
37:28Contemporary... Art.
37:31Nice.
37:32Anything else?
37:33No. That's all.
37:35Okay. Thank you.
37:36Take care.
37:37Bye.
37:38Bye.
37:39What did he want?
37:40Information about Konstantinos. They've been pestering me since this morning.
37:43Be patient.
37:44Let me tell you something, Julia.
37:47Did Fotis call you?
37:49No, he didn't.
37:51But trust me.
37:52As soon as he calls me, you'll be the first to know.
37:56Eugenia?
37:58Eugenia, what's going on?
38:01Nothing.
38:02What do you mean nothing? You've seen her in the mirror.
38:05Okay.
38:06I went to see Konstantinos.
38:08To show him the material we've prepared for the next exhibition.
38:11And he was very rude to me.
38:13What do you mean rude? As a crazy artist or as a crazy baker?
38:17The latter.
38:18I see. Okay. He'll adjust. Don't worry.
38:21Don't say that.
38:22Because he told me that we'll adjust according to his measures.
38:26Oh, really?
38:28Don't get on my nerves and start talking nonsense.
38:31I don't know about nonsense, but you have to do something, Lola.
38:34You're the manager here and you have to put him in his place.
38:38Listen, my dear, let's clear up a few things.
38:41I don't accept terms and conditions in my work.
38:44And I don't care if you're a manager, a director, or a prime minister.
38:47I don't care about titles. I don't care.
38:54I don't care.
39:07I don't care.
39:13Did you see what Konstantinos did to Lola? I love him.
39:16What do you love? This crazy woman?
39:18But of course. Show me your friend and I'll tell you who you are.
39:21Okay, say whatever you want.
39:22I want to see Lola humiliated.
39:24I don't care about your purpose, not the media.
39:26Yes, but these aren't the media. They're his character.
39:29Can I tell you something?
39:30Do you think he'll humiliate Lola and everyone else?
39:33One day, it will be your turn.
39:35And I'll be very happy.
39:36This day will never dawn, Vickaki. Konstantinos is my friend.
39:40Oh, yes? And do you think he knows about this?
39:43Sometimes men are very stupid. I wonder how you've been ruling us all these years.
39:47Do you want me to show you how?
39:49No, my dear. I've seen the movie and I fell asleep.
39:52Of course. Now we like the socialist realism.
39:56We like the workers.
39:59For you, the workers are proud and immortal.
40:06Yes.
40:08Look, if you want, I can send you a CD with various photos I've taken for Mister.
40:13And for other magazines.
40:16What? A biography?
40:19Ah.
40:21Yes, yes. No, there's no problem.
40:23I can also print out a biography for you.
40:27Why did I leave Mister?
40:30I didn't leave. I resigned.
40:33Yes. For personal reasons.
40:38Anyway, I'm sorry for your time. Goodbye.
40:53Dad?
40:58Tsaki.
41:00Why did you come back so early from work today?
41:03I came back early because I wanted to spend more time with you.
41:07Are you not feeling well?
41:09No, my little girl. I'm fine.
41:12And I remember that you came back only twice early from work,
41:16when you had a fever and when you had a stomach ache.
41:19Well, today neither of those things happen.
41:23I just came back earlier from work
41:27because I want you to work here, at home.
41:31But, once I'm done, if you want, we can go to the movies together.
41:39Yes!
41:41Well done, my little girl.
41:43So, you can read now and then we'll go to the movies.
41:58I didn't tell her anything so she wouldn't be sad.
42:02You did well. She's a good kid.
42:05Anyway, those people at the movie theater,
42:08they're big-headed people and they don't understand what's going on.
42:12To leave such a talent, such a young man.
42:16Let it go, boy. Let it go. They'll lose.
42:19They'll find it in front of them. You'll see.
42:21Please, stop. This story is over for me. It's in the past, okay?
42:26Well done, boy. Well done.
42:28Don't be sad about anything. God is with you.
42:33Should I make you two eggs to eat?
42:36No, no, I'm not hungry.
42:37Please, let me make some phone calls, okay?
42:40You can do that, boy.
42:42But, you should eat something, too, right?
42:46Really, don't you think this new guy they hired is a good kid?
42:52What can I tell you?
42:54You can't buy it in the shops, but you can get it in the theaters.
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