- 7 months ago
Bolji život (1987-1991) - Epizoda 14 - Domaća serija
U centru zbivanja serije je petočlana beogradska porodica Popadić, koju čine muž, žena, dva sina i kćerka. Oni se sukobljavaju sa svakodnevnim problemima u društvu. U ulozi glavnog junaka, Dragiše Popadića, glave porodice Popadić je Marko Nikolić. Njegovu suprugu Emiliju glumi Svetlana Bojković, starijeg sina Sašu, Boris Komnenić, kćerku Violetu Lidija Vukićević a najmlađeg Bobu, Dragan Bjelogrlić. Povremeni član domaćinstva je i Emilijin ujak, Kosta Pavlović koga glumi Predrag Laković, vlasnik idealne trećine njihovog porodičnog doma u koji se vratio iz Pariza.
U centru zbivanja serije je petočlana beogradska porodica Popadić, koju čine muž, žena, dva sina i kćerka. Oni se sukobljavaju sa svakodnevnim problemima u društvu. U ulozi glavnog junaka, Dragiše Popadića, glave porodice Popadić je Marko Nikolić. Njegovu suprugu Emiliju glumi Svetlana Bojković, starijeg sina Sašu, Boris Komnenić, kćerku Violetu Lidija Vukićević a najmlađeg Bobu, Dragan Bjelogrlić. Povremeni član domaćinstva je i Emilijin ujak, Kosta Pavlović koga glumi Predrag Laković, vlasnik idealne trećine njihovog porodičnog doma u koji se vratio iz Pariza.
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01:56Hello?
01:58Is that Professor Marković?
02:02Is it you?
02:06Emilio here.
02:08I'm sorry that I call you so early,
02:10but I would not be able to see you again.
02:13Mr. The end is practically finished.
02:16The opinions are already closed.
02:18Do you want me to go to the office or not?
02:20No, no, no.
02:22I know.
02:24I know.
02:26Do you hear what I'm asking?
02:28Can I finish this conversation?
02:30What are you talking about in seven hours?
02:32What are the conversations in the morning?
02:34I'm working, sir, I'm working.
02:36I'm working, I'm working.
02:38I'm not working.
02:40I'm not in the car car.
02:42Why are you in the car car?
02:44The reservoir is broken.
02:46What did you buy the new one?
02:48Why do I buy the new 25th of the month?
02:50Why did you buy the pomada Dunhill and the jumper of three and a half million?
02:54I'm working.
02:56I'm working.
02:58I'm working.
03:00You see how he talks with me.
03:02You know what, Marković?
03:03If you're working with me, you're going to help me.
03:05They're celebrating him.
03:07That's why he's not driving.
03:09Son, here's your taxi.
03:12Yes, you're going to help me.
03:13You see, you don't kill me.
03:14I'm going to help you.
03:15I'm going to help you.
03:17Yes.
03:18I'm going to help you.
03:20I'm going to help you.
03:21That's why I was going to help you.
03:22Can I help you?
03:24Yes, I'm going to help you.
03:25I'm going to help you.
03:27Sorry.
03:28I have to take my phone to the other side.
03:30I'm going to help you.
03:32All right, I'll go.
03:46The worker threw to the director.
03:48Where?
03:49In the leg, in the hand, in the phone, in the phone.
03:53Aha.
03:54It won't be anything.
03:56Five meters burned himself in the head.
03:59And of course.
04:00Of course.
04:01Pogodio.
04:02Da.
04:03Pogodio njega u fotelju, a sebe u glavu.
04:06Znam ja, Daro, te.
04:09Možete šefe neko da izazite?
04:11Morat ću.
04:12Sprema se neko slavlje.
04:14Biće slavlje, Daro.
04:16Svega će biti.
04:18Šta će biti sa mnom?
04:20Što?
04:22Dobila sam tužu.
04:24No, šta hoće?
04:26Hoće stan.
04:28Ometanje imovine.
04:29Ma nije to ništa.
04:30Ne znam samo, Davide, odmah napišem odgovor.
04:32Ja ću da ga napišem, ima da se pušim.
04:36Da?
04:38Moment.
04:39Za vas še.
04:40Alo?
04:41Izvolite, družde.
04:45Pa je mora baš sad.
04:49Pa mogu malo...
04:50Dobro, dobro, dobro, dobro.
04:55Dobar dan.
04:57Izvolite.
04:59Popadiću.
05:00Jeste li pročitali današnje novine?
05:02Nisam još stigao.
05:03Dođite.
05:04Pročitajte.
05:05Jedan ludak pucao u neposrednog rukovodioca.
05:08To sam čuo.
05:09Čuli ste.
05:10A šta ste preduzeli?
05:11U vezi sa čim?
05:12Pa popadiću i mi ovdje imamo ludaka.
05:15Šta čekate?
05:16Da uđe ovdje da me napuni olovom?
05:18Ja mislim, druže direktore, da je taj vaš strah malo pretjeran.
05:21To uopšte nije strah.
05:23To je samo neophodna opreznost.
05:25Ja se uopšte ne bojim.
05:27Da?
05:28Brankoviću, šta ćete vi ovdje?
05:31Sad ću da ti kažem.
05:32Brankoviću, da si...
05:33Ne mešaj se.
05:34Popadiću, pogledajte šta ima u džepu. Popadiću.
05:36Branković.
05:37Ne prelazim.
05:38Pokažite nam šta imate u džepu.
05:39Neću.
05:40A šta hoćete?
05:41Hoću stan.
05:42Svoj stan.
05:43Stan kojim je on smotao i drugome danas.
05:44Stan koji mi je on smotao i drugome dao.
05:46Šta se kezniš?
05:47Sve je u redu.
05:48Šta je u redu?
05:49Šta je u redu?
05:50Ništa ni u redu.
05:51Gdje je stan?
05:52Gdje ću decu?
05:53Deca mi na ulici.
05:54Zašto to vi pitate mene?
05:55Njega pitam.
05:56Gdje mi je stan?
05:57Kuda ću sa decom?
05:58Brankoviću, pa vašu decu još nikom nije vidjeti?
06:00Brankoviću, pa vašu decu još nikom nije vidjeti.
06:02Brankoviću, pa vašu decu još nikom nije vidjeti.
06:05Sada ću da ti kažem.
06:07Gdje ga pitam?
06:08Gdje nije stan?
06:09Kuda ću sa decom?
06:11Brankoviću, pa vašu decu još nikom nije vidjeti.
06:14A jel?
06:15Hoćeš da ih vidjetiš?
06:16Evo, sada ćeš.
06:18Ja imam zakazano tu za 11.30.
06:21A molim, ne vidim Romeo i Julije.
06:23Romeo je ovde, a Julija dolazi.
06:26Poslednje nere.
06:29Dajte namaknite kukuljicu.
06:31Kukuljicu?
06:32Da.
06:33Dobro, dobro, dobro.
06:38Mi si to dobro?
06:40Ma, dobro.
06:41A Kaluđer mora biti malo zgužvan.
06:43Malo pokratiti.
06:44No, ovo mi se dopada. To mi se zbilja dopada.
06:51A da li to znači da se mi ne dopadamo?
06:53Govorimo o njenom kostimu.
06:54Govorimo o kupusu, a gledamo meso.
06:55Kakvo meso?
06:56To je parafraza jedne stare poslovice.
06:58Nije to nikakva parafraza, upravniče.
06:59Nas ovde oblače, a nju svlače.
07:00Znala sam.
07:01Anita, moli vas, kostimi su prilagođeni jednoj modernoj rediteljskoj
07:03kakvu.
07:04No, ovo mi se dopada.
07:05No, ovo mi se dopada.
07:06To mi se zbilja dopada.
07:07To mi se zbilja dopada.
07:08A da li to znači da ovo se mi ne dopadamo?
07:10Govorimo o njenom kostimu.
07:11Govorimo o kupusu, a gledamo meso.
07:13Kakvo meso?
07:14To je parafraza jedne stare poslovice.
07:16Nije to nikakva parafraza, upravniče.
07:18Nas ovde oblače, a nju svlače.
07:21Znala sam.
07:22Anita, moli vas, kostimi su prilagođeni jednoj modernoj rediteljskoj
07:25koncepciji.
07:26A na što ovo liči?
07:27Na bure.
07:28A vi ne igrate Juliju, nego Dadilju.
07:30Tačno, ja igram Dadilju, a ne Dojkinju.
07:32I Dadilja treba da bude šik.
07:34Upravniče, da li je uobičajeno u vašem asamblu da se
07:37diskutira o svakom dreku ili je to slučaj kad sam ja angažiran?
07:40Ne, to je samo kad sam ja angažovan.
07:42U pitanju je kostima, ne dreku.
07:44Koliko sam ja shvatio rediteljsku koncepciju,
07:47kostim mora da govori.
07:49Da otkrije ličnost.
07:50Ličnost, da.
07:51A ne zadnjicu.
07:52Pa kad me već povlačite za rep, kolegice,
07:55reći ću vam da Šekspir nije za djecu.
07:58To su strasti i osjetila koja ključaju poput vulkana
08:01i na kraju obavezno neko bude mrtav.
08:03Bude više mrtvih?
08:05Da, na kraju bude obavezno više mrtvih.
08:08Ali zato ja hoću da onaj tamo užagri očima u nju.
08:12Ma ne Romeo, ne, ne, ne.
08:14Onaj tamo šesti red, sjedano deset.
08:17Treba da je proštire očima.
08:19Ja nemam red, ali kad me već vučete za jezik,
08:22mogu da vam kažem da sam ja u svojej karijeri igrala
08:24i Opheliju i Juliju, ali ne u Donjem vešu.
08:27Pardon, molim vas.
08:29Izvinite, sve će biti ured.
08:30Šta je to sad?
08:31Pa izvinite vi mene? Šta ja ovdje radi?
08:33Možete povući za nos ako mi dočekamo ovu premijeru.
08:37Pa izvinite vi mene? Šta ja ovdje radi?
08:40Možete povući za nos ako mi dočekamo ovu premijeru.
08:44Pa izvinite vi mene?
08:50Podignite glavu.
08:54Pogledajte se ugledom.
08:59Usmeknite se.
09:01Mala, malo. Pa svi malo.
09:03Malo, malo. Tako.
09:06Isli vam sad jasno?
09:09Šta?
09:10Da će da uvijek biti predmed Renske zavisti.
09:14but also women's love, love, love and love.
09:34Let's leave the children when they play!
09:36They're not playing games.
09:37My children don't have other games.
09:38My children play with grays, with resoys, with jilets.
09:42What is this?
09:44It's a Zumba, Zumba, Zumba.
09:46These are so expensive.
09:48Zumba, Zumba, Zumba, Zumba.
09:50You hear a nice child, and I'm going to do it.
09:53And in ten, let's give them to you.
10:02Popadiću, don't be standing here like a pig.
10:05What are you doing?
10:07Daro, I'm going to hear them.
10:08I'm going to pray.
10:09What are they?
10:10I'm going to pray.
10:11I'm going to pray.
10:12I'm going to pray.
10:13Just look at that.
10:14You're going to pray.
10:15You're going to pray.
10:16Wait, don't worry.
10:17Don't worry, don't worry.
10:18There's nothing for you.
10:20Wait, don't worry.
10:21What are you doing?
10:22You're a cibar.
10:23Let's go.
10:24Don't worry, don't worry.
10:26You're going to be a bit of a hand.
10:27Let's go.
10:28That's right.
10:29You should give it.
10:31And they gave you two pettis.
10:33I didn't give them.
10:34I'm going to pray.
10:35I've got a lot of gifts for him.
10:36I've got a gift for him.
10:37I've got a gift for him.
10:38I've got a gift for him.
10:39You're going to pray for him because you were running out of the time.
10:42How did they make all of us?
10:44I've got a gift for him as a gift for him.
10:47It's a real thing for you.
10:58What do you say?
11:00What do you say to the man?
11:03What did you say to my wife?
11:05What did you say to my wife?
11:07Cwetclapden!
11:10звонer Rik rewarding
11:15What did you say to your wife?
11:18Grab a car.
11:20Grab a car.
11:22back on Drank of Warwick.
11:26I mean, what year students do you think?
11:29Living very unwell.
11:32Back again?
11:34Who take you from here?
11:35This one night.
11:37Me.
11:45This is what, Stanković.
11:57On the spot.
11:59You believe that you have given me the answer to the question.
12:07I don't like them.
12:11I didn't say anything to you.
12:13Everyone has received what is deserved.
12:18You're right.
12:19Gigo, old man.
12:21What's up?
12:22Give me something for him.
12:23Come on.
12:24What are you doing?
12:28What are you doing?
12:29What are you doing?
12:30I'm saying, one drink.
12:32No, I didn't say who is.
12:34And you're doing the whole cafe.
12:36Yes, let's go.
12:38This is for him.
12:39Where to come and where to bring the information.
12:43And now it's done.
12:44A little bit.
12:46I'm going to say,
12:49I love my mother.
12:51Mother, don't love me.
12:53I love my mother.
12:55I'm not a good boy.
12:56You don't have to.
12:57You know what you did with me?
13:02This one is.
13:03What?
13:05I'm not a good entertainer.
13:07You want to bring the corn and milk.
13:08I'm not going to bring it on.
13:09I don't have to do that.
13:10You don't have to do it.
13:11You have to do it.
13:12You have to do it with food.
13:13You can do it with food.
13:14You have to do it with food.
13:16You are all right.
13:17I'm a good guy.
13:19I know.
13:20I know.
13:21Yes, we are other people.
13:23Is that right?
13:25Everything is ready.
13:27The thing is ready.
13:29Why are you going to buy a bunch of competition?
13:31No, there is no one.
13:33The thing is going to be a mess.
13:36Let's go, stay alive.
13:38Let's go.
13:40Let's go.
13:44Who is going to go?
13:46I don't know who.
13:48It's important to do something.
13:50What do you do?
13:52You can take them.
13:54What do you think?
13:56My son is a doctor.
13:58What's the doctor?
14:00I'm a doctor.
14:02What's the doctor?
14:04What's the doctor?
14:08What's the doctor?
14:10What's the doctor?
14:12My son is a doctor.
14:14He's not a doctor.
14:16Your son is Alexander.
14:18He's not a doctor.
14:20Two years, but he's not a doctor.
14:22He's not a doctor.
14:24He's a doctor.
14:26He's a doctor.
14:28And he's Alexander.
14:30He's not a doctor.
14:32Alexander Ristich.
14:34Wait, wait, wait.
14:36We'll do this now.
14:38What do you say?
14:40What are you talking about?
14:42What are you talking about?
14:44The information.
14:45What information for?
14:47From it.
14:48From it.
14:49From a cover.
14:50From the cover.
14:51From it.
14:52From it.
14:53From it.
14:54From it.
14:55And from it.
14:56You got me.
14:57You got me.
14:58What did you do?
14:59We worked while I was lost.
15:01What do you do?
15:03I need to remember all the numbers.
15:05In this house there is a total chaos.
15:09That's not going to happen anymore.
15:11Call me Rapovic.
15:15I'll do it.
15:17What will you do?
15:19If I say something, I'll do it.
15:21We'll do it.
15:23Who are we?
15:25I don't know.
15:27I didn't see him in the eyes.
15:29When we come to the house,
15:31when I came to the house,
15:33how is this life?
15:35I'm alive.
15:37I'm here.
15:39It's important
15:41that he's a horse.
15:43I'm not a horse.
15:45I live like a horse.
15:47Even if it's him,
15:49I'll do it again.
15:51Rapovic is on the way.
15:53On the way?
15:55I don't want to go to the house.
15:57There's to be a valentine.
15:59There's to be an official,
16:01there's to be an official and go to the house.
16:03Just tell me which day.
16:05when I help.
16:07When do you do it?
16:08Maybe spring?
16:09Maybe spring.
16:11It's not spring?
16:12I don't want to.
16:13I can't.
16:14I don't want to be a Sunday,
16:15I'll do it.
16:16In the middle,
16:18I'll take the hell out of the morning.
16:20In the little days.
16:21It's not the evening.
16:22We'll get a little bit.
16:23I'll go.
16:24On Wednesday.
16:26On Wednesday at 8.
16:29Here I am.
16:30I'll send you to my mother to get it.
16:34We'll do it.
16:46This is such a good friend.
16:48It's nice, nice, nice.
16:50What's nice?
16:52What's going on?
16:54What's going on?
16:55What's going on?
16:56With your difficulty.
16:58I mean, I'm difficult?
17:01The end of the second month.
17:04It's not okay to me.
17:06I'll ask you, I'll never do it.
17:08You're not okay to me.
17:10You're not okay to me.
17:12You're young, healthy.
17:14You're now in the age of the best treatment
17:17when you were born.
17:19Let me go, doctor.
17:20I won't let you go.
17:22I won't let you go.
17:24I won't let you go.
17:26Don't let you go.
17:28The fingers are broken.
17:30Do not go you.
17:31D suggestion.
17:32Oh, my.
17:33It's two man.
17:34THE DAY
17:36What are you laughing at?
17:38Whatever.
17:39I mean, good enough.
17:40Good enough.
17:41Let's go.
17:42You got the hammer.
17:43You can see it.
17:44Anything else?
17:45Well, I'm the first time to listen.
17:47You can see it.
17:49Here we go.
17:51You want the more so-pen?
17:52Yes.
17:53And why did you get the more so-pen?
17:56Yes.
17:57And if you want to get the more so-pen?
17:58Yes.
17:59And to you?
18:00Yes.
18:01You can see.
18:02There we go.
18:03Here we go.
18:04There we go.
18:06You do.
18:07Do you like the more so-pen?
18:09Yes.
18:10And let's play music through the door.
18:16And let's get a coffee for you.
18:19And let's go to the lake.
18:41Did you laugh at me?
18:42No.
18:44Huh?
18:46Did you call me or not?
18:49Did you laugh at me?
18:51Oh, no.
19:10How dare you?
19:13How come I do that?
19:15Didn't I have anything to do?
19:16There is no time to do that.
19:17So, you live here?
19:19I live on the scene, dear, ...
19:21and here?
19:24I'm a life criminal.
19:27I'm turning you,
19:29I'm singing,
19:31I'm passing a song and singing.
19:35And I'm?
19:37If it's time,
19:40It's not ready, but that's why the beer is always ready.
19:46The keyboard is ready, and I'm ready.
19:52You didn't expect me to accept your proposal?
19:57I didn't. I really didn't.
20:01Right.
20:03Good.
20:07Good.
20:10Your generation has something that I don't like.
20:13Openness, honestness, spontaneity.
20:16You are a generation that has a lot of promise.
20:19Yes, but I expect a lot.
20:24I don't have a word.
20:26I'm surprised, and I'm hurt with your behavior, and we expect an explanation.
20:45Why are you missing my look?
20:50When I look, I see a woman and a woman, and you, a croupier.
20:54A croupier.
20:56A croupier.
20:58From which you expect to put a bag two times a dollar and get a million dollars.
21:04What do you think about me?
21:07What do you think about me?
21:09You think it's all because of money?
21:12Your son, Emili, has been two years in my division.
21:16And I've seen you for the first time until I opened the testament.
21:19You're never going to go to the auction.
21:20You're going to go to the auction on one thing, but you're going to go back to the other one.
21:26What do you think about the auction?
21:29You're going to go back.
21:31The auction is the auction.
21:32The auction is the auction.
21:33The auction is the auction.
21:34And I'm whole.
21:35I'm, as a pumpkin is the auction.
21:36I'm interesting.
21:38You must be a pawn.
21:40And you're the auction.
21:41The auction is the auction.
21:42You're the auction.
21:43You're the auction.
21:44You're the auction.
21:45I grew up with our money in the auction.
21:46My father had six houses in Belgrade, two were destroyed by bombs, and the four were nationalized.
21:56I was still in childhood and operated against the grave.
22:01All of us are returning to the streets.
22:05I just wanted to enjoy my young age, and you, of course, will return to my childhood.
22:13It's not strange that teachers don't like you, Dušane Marković.
22:19It's very difficult to love you.
22:24It's very difficult to love you.
22:30Hello, Philip.
22:34Good morning.
22:35Vicky is not in the house.
22:36Yes, in the house.
22:37I'm with you.
22:38For the moment.
22:39I've been looking for the old lady, Mr. Emilio.
22:42Where did you look?
22:43In the school, there is no place.
22:45I don't know where they are.
22:47Maybe.
22:48Vicky is not in the house, there is no connection.
22:50Yes, in the house.
22:51Please, please.
22:52I was looking for Mrs. Emilio.
22:54Where did you look for?
22:55Well, in the school, but there is no one.
22:58Maybe they know where it is.
22:59No, no one knows.
23:02Please, please, I will.
23:04Just a little bit.
23:07Tell me, what is happening?
23:09I can tell you and I can tell you.
23:11Yes?
23:12You see, I don't care where she is and what is happening.
23:17I just want to welcome you.
23:20Who is she?
23:22Who are you talking about?
23:24O Violet?
23:27Do you understand? I don't speak for myself.
23:30I have to overcome it.
23:32Sit down first.
23:33No, I don't want to.
23:34I wouldn't have been wrong with her.
23:36I would have to find her.
23:38Not that Kupler-majstora.
23:41I would have to worry about what she is doing in the house.
23:43She has been killed three times.
23:45She has a daughter.
23:47She has a son.
23:48She has a son.
23:49She has a son.
23:50She has a son so fast,
23:51she has been able to be able to grow.
23:52Three times I have a right one.
23:54I understand.
23:55I can tell you what the relationship is.
23:57I have a son.
23:58What a costume.
23:59She has been caught up for her.
24:01She has been caught up for her.
24:04Who is she?
24:05She needs to be married.
24:06She has a son.
24:07She has a son.
24:08She is old than Violeta.
24:09She is not alone.
24:10That's the time.
24:11I am.
24:12My dear.
24:13You don't know who she is born.
24:15Who is a son.
24:16Who is a son.
24:17Who is a mother.
24:18Who is a mother.
24:19Who is a mother.
24:20Who is a mother.
24:21Who is a son.
24:22That's true.
24:23What do I want to say?
24:24The friend of this house.
24:25And Violeta has no idea.
24:27Where is your sister?
24:31Where is your mother?
24:35What do I ask?
24:39Where is your brother?
24:41What do I know?
24:43Where is your house?
24:45Do you know who works and who goes?
24:49I'm here.
24:51Where are you?
24:53Where are you?
24:55What do I know?
24:57What do I know?
24:59Why do I know?
25:01Yes, sorry.
25:03Metropol.
25:05Good.
25:25Good morning.
25:27Good morning.
25:29Good morning.
25:31Good morning.
25:33Exotic food.
25:35Toast with caviar.
25:37Ananas with fried bread.
25:39And a Turkish coffee.
25:41I didn't expect something in the kitchen.
25:43I know I was expecting something else.
25:45But since I was forced.
25:47Who says that you were forced?
25:49No one has to say that.
25:51I know when I played my role.
25:53I don't have to wait for criticism.
25:55Wait.
25:56Okay.
25:57Why would I criticize you?
25:59It's a good thing.
26:01It's a complete body of spirit and body.
26:05Maybe I'm not so inspiring.
26:09No?
26:10No.
26:11No, no.
26:12For me, it's aesthetic.
26:14It's a great thing.
26:16It's a great thing.
26:17It's aesthetic.
26:18It's a great thing.
26:19It's a great thing.
26:21It's a great thing.
26:23Oh, my God.
26:25Oh, my God.
26:27Do you want to go to the show?
26:57Who are you talking about?
26:59I am.
27:00Just with my home.
27:01Until I buy you.
27:06It's 8.20.
27:07Your sister still doesn't have.
27:09She's a lot, Tata.
27:11It was nice when you were a little.
27:13It was nice when you were a little.
27:15Let's see.
27:17What is it?
27:18This is a tree for me.
27:21This is for me international.
27:23This is a music.
27:25These are the money from the sale.
27:27Which is some money.
27:29120.
27:31Wait.
27:331200.
27:35Yes.
27:36In the head.
27:37It's about that one.
27:39It's about 120.
27:41It's about 120.
27:42It's about my head and my Tinder.
27:44You're crazy!
27:45What are you saying?
27:46We're going there.
27:47I'm saying that you're going there.
27:49You're going there.
27:55What are you doing?
28:02What are you doing?
28:04Three questions. Where were you, who were you and who allowed me?
28:09Father, I'm a lot of fun. I've finished it.
28:11I've done it. I've done it.
28:12I've done it.
28:13You've done it.
28:14But you're still eating my food.
28:16And it's good.
28:17Why would I want a sweet life with that?
28:20Three things.
28:21First, he's a man.
28:22He's a great artist.
28:24He's my colleague.
28:25Third, you know what?
28:26He's teaching me now.
28:27In the night.
28:28But it's not what you think.
28:30He's my spirit.
28:32No, don't you.
28:33You didn't have to be in a spiritual session?
28:36I'm going to go.
28:37I'm going to go.
28:38I'm going to go.
28:39I'm going to go.
28:40I'm going to go.
28:41Look at this, sister.
28:43Here, everything is done.
28:44What is it?
28:45What is it?
28:46You're going to go home.
28:49Where is it?
28:51Where is it?
28:52You know where is it?
28:53Where is it?
28:54Yes, it's just part of the night.
28:55The night-sand-sand-sand-sand-sand-sand-sand-sand-sand-sand-sand-sand.
28:58and on the podium, from the podium, from the podium, from the podium, from the reflector.
29:01Do you have to tell us your experience?
29:04I don't have such experience, but I know what it is.
29:07Ah, you're ready, and you're just your impassation, maštarije.
29:10You have to be all your impassation, you have to be all your impassation.
29:13You have to be all your impassation, you have to be all your impassation.
29:16What's that, please?
29:17We are again coming to Motike.
29:19We are only coming to Motike.
29:20Only we are coming to see how we work and how we live.
29:23Motike, we don't have to go.
29:24Lupa.
29:25Manjek, lupa, bre, crkoda, Bogda.
29:27And you, stop going to go with these papers.
29:29120 džabolebaroša mjena tovario na moju jadnu glavu.
29:33He made an international hand, and his father went to the trcanim papuča.
29:38In our marriage, the trcanim was much more important than your papuča.
29:42I'm still here, I've been the highest of the line.
29:45Stop, Greg, I'm going to get out of the house.
29:47What do you want?
29:48You don't teach me, you can't do it.
29:49We have enough to do it for you to do it.
29:51What do you do?
29:52Wait, wait, mama is talking about Terminator.
29:55There's enough to do it.
29:57What do you do?
29:58What do you do?
29:59And my husband will do it for you.
30:00What do you do?
30:01You want to do it for you?
30:02You don't have to do it for you.
30:03You can do it for me.
30:05And I have such a weekend.
30:06I'll be in the Sunday, Sunday and Sunday and all the national holidays.
30:09And I will do it for me.
30:12I'll be in the house all the time.
30:14And I'll be in the house.
30:15And I'll be in the house.
30:16And I'll be in the house.
30:17And I'll be in the house.
30:18You're right, you're right, son.
30:21We don't know how much wealth we have left behind our knees.
30:23We don't know how much we can do it.
30:24We'll deal with it.
30:25We'll deal with it.
30:26We'll deal with it.
30:27We'll deal with it.
30:28Good morning.
30:29Good morning.
30:30Excuse me.
30:33Do you want something special?
30:35A bag for a bottle.
30:37Is this something?
30:39Something bigger.
30:41A bag for 12 people, if you have it in hand.
30:46I don't know anything like that.
30:48Do you know where you can find it?
30:50No, sir.
30:51I don't think so.
30:53Yes.
30:54How much would you like this one?
31:06The lady is a great deal.
31:09You understand both in the market and in the market.
31:11What do you think?
31:12How much would I get for him?
31:15I don't care about anything.
31:18For such a thing, people don't have a lot of money.
31:21Okay.
31:22I'll try it on the other side.
31:24A moment.
31:25I propose to leave him as a sentence.
31:27Maybe you'll find someone else.
31:28I know, but I'd be needed money.
31:31I think I'd give him something cheaper.
31:34I'll risk it.
31:40And then I'll pass you in the back in the car to the other side.
31:41But I didn't see him coming in.
31:43But he didn't.
31:44And I'd be looking at the storage and car to the other side.
31:45Okay.
31:46Let's go.
31:47No.
31:48I want you to go.
31:49No, that's the other side.
31:50I want you to go.
31:51I want you to go.
31:52You're going to go.
31:53Wait a minute, young man. Do you have a plan for pre-tres?
31:57When I am pre-tresing and pre-tresing,
32:00you can only bring yourself to yourself.
32:03The pensioner in the pension.
32:09Put this picture to me.
32:10That's my picture. I'm the picture.
32:13My trust.
32:16In Palma de Mallorca.
32:18My package is called.
32:19This shopkeeper's costume.
32:21I bought it.
32:23What are you interested in?
32:25What are you interested in?
32:27What are you looking for?
32:29I'm looking for a second bag.
32:31Like God in the shop.
32:39I know.
32:41The coffee besides the coffee.
32:43I know her, Carmen.
32:45I'm not going to be able to get the money.
32:47I'm not going to get the money.
32:49I'm not going to get the money.
32:51You won't get the money.
32:54When are we going to get the money?
32:56When we have the women.
32:58You've come to the end.
33:00I see you've sent the money, the oranges and the rest of the wine.
33:06You can return to the power of the various people.
33:10It's hard.
33:11You've come to the money.
33:12You've been trying to get the money.
33:13You only wanted to kill myself.
33:17You were of course lost.
33:19I wanted to kill her.
33:20I wanted to kill her.
33:21And now you want to kill me?
33:24Right.
33:25Exactly.
33:55This time, you will cry.
33:58Without warning.
34:00And after that, nothing.
34:02Silence.
34:03There is no audience.
34:05There is no applause.
34:09There is no flowers.
34:11Don't worry.
34:12If you fall out of the cage,
34:14the real spectacle starts.
34:18My image will appear in your day.
34:20In special edition, my friends and friends will talk about the tragedy.
34:24I will thank you to all of you who have hurt me.
34:27In front of me, I will wear my many awards.
34:30Do you want to see them?
34:32Why not?
34:33I have come to see you and your awards.
34:45They will keep the public and cultural workers.
34:48And those who love me, they will cry.
34:51How do you think of it?
34:52You won't see all of it.
34:54You won't see it.
34:55You won't see it.
34:56You won't see it.
34:57You won't see it in the attic.
34:58But she will see it.
35:00And she will cry.
35:01What do you think?
35:03You are Rudolf Valentino, I think?
35:05I will see it.
35:06My death will keep the emotional intake of emotions.
35:08I can't see it.
35:09It's not the issue of hysteria.
35:12Even when, it's女's woman.
35:14What is the crazy boy?
35:16When I know that my face will bite.
35:18Which woman?
35:19There are three kinds.
35:22One who has loved the light in the lights.
35:27One who has loved my purpose.
35:28And the other who has loved mine.
35:31There's one hand.
35:33There's one hand.
35:35I'm sorry.
35:37Intimating clothes.
35:39I'm going to take pictures.
35:41And I'm taking pictures.
35:43I'm just interested in one thing.
35:45How did anyone else get caught?
35:47I'm not getting caught.
35:49I'm going to kill you.
35:51I'm going to kill you.
35:53If you kill me, I'm going to live in legends, stories, anecdotes.
35:59The most tragic thing is that the myth is more.
36:01Why are you mad at me?
36:03Who are you mad at me?
36:05I'm going to fall into your mind.
36:07Look how you're hurt.
36:09I'm afraid of death.
36:11From old age and disease.
36:13My life was very powerful.
36:17And death may be so.
36:19With music, Debussy, Schumann,
36:23or Wolfgang, Amadeus, Mozart.
36:29A ruka drhti tebi.
36:33Pred krivično veće petorice izvršćete bez pertli i bez kajša.
36:39A ona će odvraćati oči od tvog ugašenog pogleda i obrijane glave.
36:47Tj passio krivično, što je jedFP?
36:49No.
37:05Mmm.
37:07I want to live a better life
37:25To build it like a game
37:31Life is not a game
37:38I want to live a better life
37:44I want to live a better life
37:48I want to live a better life
37:52What will I do when I fall
37:55To build it like a game
37:57For the life wants better people
38:02You
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