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Lud Zbunjen Normalan (246 Epizoda) S10.E6 ∙ Osveta je najbolja kada se servira vrela
Lud Zbunjen Normalan (246 Epizoda) S10.E6 ∙ Osveta je najbolja kada se servira vrela
Lud Zbunjen Normalan (246 Epizoda) S10.E6 ∙ Osveta je najbolja kada se servira vrela
Lud Zbunjen Normalan (246 Epizoda) S10.E6 ∙ Osveta je najbolja kada se servira vrela
Lud Zbunjen Normalan (246 Epizoda) S10.E6 ∙ Osveta je najbolja kada se servira vrela
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00:00Transcription by ESO. Translation by —
00:30I have to say I'll jump with the horse from him from Afghanistan.
00:35He's not far away.
00:39This was really something different.
00:44I don't know. I don't know. Every time I'm on.
00:46I haven't. I had a few hundred men.
00:49But I'm running.
00:51Who says they're the same?
00:54No.
01:00Stop!
01:02This wasn't so gross.
01:05Just know that I made you a great crowd.
01:08I made you a great crowd.
01:11I made you a great crowd.
01:13I don't know who's your job is shooting.
01:16In the past take, I didn't look at you.
01:20You're not looking at me.
01:23You're a great crowd.
01:25You're a great crowd.
01:27You're a great crowd.
01:29I don't want to spend energy on the subject.
01:31And let it be cold.
01:32What are you doing today?
01:35I'm so confused.
01:37I understood what my life is.
01:40I understood that I don't need to be careful.
01:43I'm leaving.
01:45I'm leaving.
01:46I'm leaving.
01:47I'm leaving.
01:48I'm leaving.
01:49I'm leaving.
01:50I'm leaving.
01:51I'm leaving.
01:52I'm leaving.
01:53I'm leaving.
01:54I'm leaving.
01:55I'm leaving.
01:56I'm leaving.
01:57Okay.
01:58If you're going to be real, love never was your bad.
02:00But that's why my life is so important.
02:05Why are you doing it?
02:07I don't know when I'm going to be last time.
02:09How can I do that?
02:12You are the director, the clowns are waiting for the director to sleep with them.
02:17Absolutely not. That's just a good idea.
02:21That's just a simple story.
02:23The clowns will not be able to sleep with the directors to get a role.
02:27Absolutely not.
02:29Hello, my dear director. What do you have?
02:33I don't have any pause. Beer.
02:35I thought that we could be you and me...
02:39Something. Vino, loud music, that's it.
02:44I don't think so.
02:46I'm curious, what are the chances that my character will appear a little bit more?
02:50I'm still a girl, I'm a girl.
02:53There's a space for my role to expand.
02:57It's a complex character.
03:00It's necessary.
03:02It's smooth.
03:04It's deep.
03:06It's deep.
03:07It's deep.
03:08It's deep.
03:10It's deep.
03:11It's deep in the room.
03:13It's dark.
03:14It's dark.
03:15It's dark.
03:16It's dark.
03:17I'm very happy to see you.
03:18It's dark.
03:19It's dark.
03:20I'm not sure.
03:21That's dark.
03:22That's it.
03:25There's a new SIM card on the phone.
03:28Now we're going to send a message to our brother.
03:31Just to make sure that he would be more simple.
03:36It's more confident.
03:38The action is developing according to the plan.
03:44According to the plan.
03:52Zoran.
04:05Your brother Zoran.
04:07Yes, my brother Zoran and Suada are in connection.
04:10Suada, Marina Suada, what are you doing here?
04:12Yes, Marina Suada, what are you doing here?
04:14Brother, why are you so mad?
04:16You see, that Suada is so mad with your son as if she is so mad with me and you would be mad.
04:21Polan, she's stupid.
04:23She killed Faruka.
04:24She's not all her own.
04:25I know.
04:26That's why I'm so mad.
04:27You see, the young girl, as soon as she's doing it,
04:30she's the same as her mother Zoran.
04:32She's an emotional and sexual person.
04:36That's why I tell you.
04:38He needs someone who will be fine and polite.
04:43Here it is.
04:44I have to work.
04:46I don't want to.
04:48I want to look at how you work.
04:52We can see her.
04:53We can see her.
04:54We can see her.
04:57Hey, two of them.
04:59What do we have?
05:00We can see her later.
05:02I'm going to tell you, Mama Zoran, you know this path?
05:04You're not normal.
05:06If Mama knows that I have a girl before marriage,
05:08she would kill me.
05:09This path would be on her side.
05:11What would you say, this fool?
05:13You're saying, you're going for me and I'm going for you, Damir.
05:16I think that's not a smart idea.
05:18Mama Zoran doesn't need to remember it.
05:20And of course, it doesn't need to remember Damir.
05:22Do whatever you want.
05:23Just so you know that this fool is already years ago.
05:26Farouk.
05:27Farouk?
05:28Yes.
05:29Farouk can be father's father.
05:31That's right because of that.
05:33Damir!
05:34I don't want to go.
05:35That's right.
05:36You're lying.
05:37You're lying.
05:38You're lying.
05:39You're lying like a dog.
05:44You're lying like a dog.
05:46100%.
05:47What do you do, Mama Zoran, don't touch it.
05:50I've been thinking a whole night.
05:54Did you have time to think about it?
05:58How could Angelica become the main villain in the series?
06:04To make intrigue, proofs and so on.
06:08I don't know why.
06:09You've played Angelica fantastic.
06:12Do you know what to do?
06:13How could it be?
06:15How could it be to talk to you with your team,
06:18to tell me a little bit, to expand my role?
06:25Why?
06:26That's not a standard.
06:28I think it's not unusual that Regija would suggest
06:31the dramatic development of character development,
06:34the development of the scenaristic peripetia,
06:37the development of character and the nutrients of each character.
06:45Regija is actually a projection of the paradigm in syntax.
06:49And why is a writer without the paradigm?
06:53Is it logical?
06:54It's logical.
06:55It's logical.
06:56It's logical.
06:57It's logical.
06:58It's logical.
06:59It's logical.
07:00You know what?
07:01I'm going to see you with my first assistant
07:03of my scenaristic team.
07:06Oh, my son.
07:08I've done a lot.
07:09I've done a lot.
07:11You're old.
07:12You can see that I'm not alone.
07:15I can see.
07:16I'm not a dog.
07:17Good morning, son.
07:19You're old or you're old.
07:20So you didn't have a dog,
07:21don't let us to be at peace.
07:22Look, I'm a dog,
07:23I'm a dog.
07:24I just saw this.
07:25You know what I've said?
07:26Afraid of an amazing size.
07:29Come and get to you.
07:30We have to talk about it.
07:31Come and come and get back.
07:32Come and get back.
07:33Go in and do it.
07:34No.
07:35Don't wait.
07:36I won't leave you front of your hand and go in.
07:38Come and get back to the trpezarizen.
07:40No more words.
07:45Here's a beer.
07:46Hello, Bona. You don't have to do that.
07:49What can I do?
07:51Well, I'm going to drink my drink.
07:53How should I do it?
07:55I've read it recently.
07:57The people who have sexy speech
07:59will get much better than others.
08:01Sexy speech? What does that mean?
08:03You know, when they get a little bit,
08:05when they get a little bit better than others.
08:07100% have much better than others.
08:11Do you want to pay attention?
08:13Hello, I want to pay you.
08:16I'm going to pay you.
08:1828.
08:21Here, 50.
08:23No, but...
08:25What did I say?
08:27What did my father say?
08:29I've never got any more money in my life.
08:32How will you get it when you do it?
08:34It's crazy that you have to do it.
08:3650.
08:38That's great.
08:40I'm not sure.
08:41I'm not sure.
08:42I can't wait for a second.
08:43What happened?
08:44I'm not sure.
08:45I'm not sure.
08:46I'm sure it's true.
08:47What happened?
08:51I'm not sure.
08:52I'm sure it's true.
08:53I'm sure it's true.
08:55It's true.
08:56I'm sure it's true.
08:57It's true.
08:58But it's true that Damir and Lada tell you that you and Faruk something...
09:02Ah, that's the old story.
09:05It's already finished.
09:07You mean you had something with him?
09:09No, no.
09:10No, no.
09:11No, no.
09:12No, no.
09:13No, no.
09:14No, no.
09:15No, no.
09:16No, no.
09:17You're normal.
09:18I'm now with you.
09:19Faruk and I are friends.
09:21No more.
09:22100%.
09:23100%.
09:24Let's drink something.
09:26You're a guest if you see you're standing there.
09:28Let's drink.
09:30You promised.
09:32I'm the leader.
09:36And the main producer of the series.
09:39When I promised something, I would do it.
09:42I'll talk about the stage with the team.
09:45I'll be careful about your role.
09:49And that's your main stage with the team.
09:52He listens to you, right?
09:54I'm a regime.
09:56And the regime is a law.
10:00I love you.
10:04We'll see.
10:06We'll see.
10:08We'll see.
10:10The main story.
10:14Here are these fools.
10:16They look like wolves in the regime.
10:20Where are you?
10:22Who should we figure out the files?
10:26Easy, old man.
10:28Where is it?
10:30There is.
10:31The water is up.
10:32The earth is up.
10:34The water is up.
10:35Everything is up.
10:37Easy.
10:38Easy.
10:39You'll tell me everything later.
10:41But listen, old man.
10:42There's a written explanation.
10:47I thought...
10:48I know, old man.
10:49What do you know?
10:50I'll increase the role.
10:51What do you know?
10:52I know you.
10:53I understand you with her.
10:55Every kid would be two and two.
10:58Okay, old man, but...
11:00Don't worry.
11:01I'll increase the role.
11:03Do you want to listen to me?
11:05Okay, let's talk.
11:06Faruk, son.
11:08S***.
11:09S***.
11:10S***.
11:11S***.
11:12Grandioznih razmjera.
11:13Milena.
11:14Milena?
11:15My uncle.
11:16One of them left me home,
11:18when he didn't need to leave.
11:20When?
11:21No, no, no.
11:22I left me home.
11:24You?
11:25I left me home.
11:28I left me home.
11:30I was like,
11:32when someone rang the door.
11:34S***.
11:35S***.
11:36S***.
11:37S***.
11:38S***.
11:39S***.
11:40S***.
11:41S***.
11:42S***.
11:43How long.
11:45Esto me a second.
11:46I siete.
11:48You?
11:49I do.
11:50I live world dead.
11:51I'm Richard Diokindi.
11:52I really am if she did.
11:56Who did you get on?
11:58S***.
12:02Is it?
12:03Nobody.
12:04Where?
12:05Are I getting hit?
12:06Are I going to send out a message?
12:07I believe I don't know who I'm going home.
12:12I sent a message.
12:15What did you say?
12:17I said this again.
12:19What is strange?
12:20He sent a message from a number of people.
12:23A number of people?
12:27A number of people?
12:29Look at this.
12:32This is not his number.
12:33Look at what it says.
12:34Dear Milena, this is my new number.
12:36This is your number.
12:38It's your name.
12:39I have to lose his mobile.
12:41I wasn't a liar.
12:43I didn't send a message.
12:45I didn't lose his mobile.
12:47Here he is.
12:50Don't worry about it.
12:52He has such a habit.
12:54I'm sorry.
12:56I have a daily break.
12:58You know what?
13:00Go to his house.
13:02He's there.
13:04I hope he doesn't do anything.
13:06I'm sorry.
13:08I'll ask him.
13:10Tell him.
13:11I have to get a horse right away.
13:12I'm not.
13:14I have to yell at you.
13:15I have just...
13:16That horse.
13:17I have to cry.
13:18The horse.
13:19That horse!
13:20That horse!
13:21That horse...
13:22That horse!
13:23That horse with a horse!
13:24That horse!
13:25That horse.
13:27You are wrong that you left me in my house.
13:32If I didn't let you, you would hurt me because I didn't let you.
13:36You are wrong.
13:38Why am I wrong?
13:40You are wrong because you left me in my room.
13:44Why did you left me in my room?
13:47I don't want to be scared.
13:49What did you do?
13:51Djiha, djiha, four legs, four feet.
13:55Oh, my mother, who did you do?
13:57Why did you do this?
13:59You are not doing this, Milena.
14:01You are a little bit.
14:04I got you, Milena, in my room.
14:10You are in the hypodrome.
14:13You, dear, what does this happen to me?
14:18You are a little bit of a life.
14:20What is my life?
14:21You are old enough because you are a little bit of a joke.
14:24You are a little bit of a joke.
14:27You are not a joke about that.
14:28My dear, I was a little bit of a joke.
14:30A few hours after a while,
14:31I got a drink in my room.
14:33I was not sure.
14:35What did I do to try to get a joke?
14:37My mother, I will not get that joke.
14:40What did you do to get that joke?
14:42Who?
14:43Who sent a SMS instead of me, Milena?
14:47My name is Milen.
14:49Who?
14:51Hello, boys.
14:53It was a pleasure to serve you.
14:55If you were two of us,
14:59I would be happy to be a little
15:01bagel between you.
15:0318 maraka.
15:07Here, it's okay.
15:09It's a lot,
15:11but if you insist.
15:15Mr. Milena, what are you doing?
15:23Nothing.
15:25Nothing.
15:27I know the symptoms.
15:29Love.
15:31I'm going to try it.
15:33I'm going to try it.
15:35I'm going to try it.
15:37I'm going to try it.
15:39I'm going to try it.
15:41I'm going to try it.
15:43I'm going to try it.
15:45What?
15:46I'm going to try it.
15:47I'm going to try it.
15:49I'm going to try it.
15:51You need to find a man.
15:53Not any man.
15:55You don't know what he will get.
15:57You are going to get into contact.
15:59You really?
16:01You think so?
16:03You will find someone from your friend. No, no, no, no.
16:07Someone who knows him to be a man.
16:10And then you will celebrate with him.
16:12That's what he deserved.
16:14Yes, he deserved.
16:18But who is that man?
16:20I don't know who I could be,
16:23but I would celebrate him.
16:26I don't know who he is so much.
16:29Oh!
16:32Why are these beautiful eyes so cute?
16:38Can you, Milorad,
16:40and what to do and return to your beautiful renaissance?
16:47If I don't lie, Mr. Milena, is it?
16:53The problem is solved.
16:55You are not going to die again.
16:57You will not go.
16:58Let me go.
16:59Let me listen.
17:00I can't hear you.
17:01You can't hear it all day long.
17:02I do not listen to the all-time love production.
17:04Hello!
17:05How do you do this in the repertoire?
17:06Well, my son,
17:08you are great.
17:09Come here and sit down.
17:10Come, let me go.
17:11Tell you about some love production.
17:12Please come down.
17:14Come on.
17:15Come on, let me sit down.
17:16I will tell you some love production.
17:18Come on, let me go!
17:19Come on, let me sit down.
17:20Come on, let me go!
17:21Come on, let me go!
17:22What do you say?
17:23What do you mean?
17:24You know what to do with Milena?
17:26Milena?
17:27See you soon.
17:30Well, I'll talk about all the details.
17:33Son, maybe I'll stay with Farka or do you want to start?
17:37No, no, no.
17:38Everything from the beginning.
17:39You don't have anything to leave.
17:40Let's go.
17:41It's tragic that Milena got into a trap.
17:46What a trap?
17:47In a trap.
17:48What a trap.
17:49You, Milorade, aren't you?
17:52How did I think about you?
17:54What did you think about me, dear Milena?
17:58I don't know.
18:00I don't have any words for you for you.
18:02Well, I don't know.
18:04Everyone knows how I don't know.
18:07He can't do anything that I am.
18:10He's a man of his own.
18:13And he's a poet.
18:15It's possible.
18:17I don't know.
18:18I don't know.
18:19It's a complex personality.
18:21And crazy.
18:23How many of you and me have in the community.
18:26This is incredible.
18:27What do you think?
18:29I'm going to swing from me.
18:30I have a great wine.
18:32A little dish like this Maria.
18:34A little sweet juice.
18:36A little sauce.
18:37A sauce.
18:38A nice music.
18:40I don't know, we just met him.
18:42I'm sure I know him.
18:44Exactly.
18:46What do you mean?
18:47Only 100 meters away from the street.
18:53You know what?
18:54It's possible.
18:56Let's go for wine and some salt.
19:00It's a slow music, please.
19:10It's a slow music.
19:13It's a slow music.
19:15It's a slow music.
19:17It's a slow music.
19:19It's a slow music.
19:21It's a slow music.
19:23It's a slow music.
19:25It's a slow music.
19:27Okay.
19:29Let's talk to you.
19:31What?
19:33She's Nesca.
19:35What's her?
19:36Do you think you're a serious one?
19:38I don't know.
19:39I think.
19:40Maybe.
19:41I don't know.
19:42What?
19:43Faruk, she's not the woman for you.
19:45No, she's for you.
19:47Don't let me go.
19:48I know those things.
19:50Listen to me.
19:51She's a ghost.
19:53It's a little lovey.
19:56Who?
19:57Me?
19:58What?
19:59Me?
20:00Me?
20:01Me?
20:02Me?
20:03Me?
20:04Me?
20:05Me?
20:06The woman's ghost.
20:08I remember she's not the King of the Moon.
20:11It's okay.
20:12What?
20:13Come on.
20:14Let me tell you.
20:15She's not the King of the Moon.
20:16I love you for nothing.
20:18That's right.
20:20That's weird.
20:21I like that.
20:23It's a funny thing.
20:24It's nice.
20:25But a somewhat,
20:26I felt something about you,
20:28I realized something.
20:29I got to do something.
20:30What, Neco? You said yesterday that I love you.
20:32Yesterday, yesterday, yesterday. It was yesterday.
20:34Do you know how many things changed from yesterday?
20:37I changed myself. My emotions changed.
20:41But you'll be okay. You'll be okay.
20:44You won't have a decade.
20:46You'll have to find me and forget.
20:49Let's see.
20:50Neco, don't forget it.
20:51Don't forget it.
20:53I'll have espresso with a little vanilla, a little bourbon,
20:56with a little chocolate and a little chocolate on the side.
21:00No, really? Just that?
21:03Neskice of love. I left them.
21:07You're Igor.
21:10Yes, Neskice. Your Igor.
21:11What do you say, Igor? Who left me?
21:15Who? Who?
21:16I'm a wife and children. I did it exactly how I said.
21:20I left me. I left my car.
21:22Here you go.
21:23I left my home.
21:27I left my home.
21:28I left my home.
21:29I left my car.
21:30I left my car.
21:31I love you.
21:32I don't need anything.
21:33Just that I'm with you.
21:34I hope this is full of eur.
21:36Eur?
21:37What?
21:38What eur?
21:39Farmers, gadgets, a couple of bags.
21:41I left the bankers.
21:43I left my wife.
21:44Igor, Igor.
21:45I don't understand anything.
21:47You didn't understand me.
21:49I didn't understand anything.
21:50I had to do it correctly.
21:52You and her children.
21:53I left my car.
21:54Then only me and I had a bright future.
21:57This way.
21:58I don't see you with me.
22:00Even in that bright future.
22:03Don't worry.
22:05You're a woman.
22:07Everything will be fine.
22:08I don't even see you.
22:10Did you find this situation?
22:11I didn't understand anything.
22:12And those girls are biting off.
22:13Why are you going to push them off?
22:14I don't see.
22:15Mary, what kind of impression are you going to do?
22:17Maybe.
22:17Amen.
22:18My cousin is going to push them off.
22:19All of them.
22:20Here is your buy-up.
22:21You're going to push them off.
22:21I have to push them off.
22:22You don't want to push them off.
22:23You're going to push them off.
22:24You're going to push them off.
22:25Oh, that's right.
22:26Oh, I can't push them off.
22:28And then I'm going to push them off.
22:29In my car.
22:30You're going to go.
22:31I hope they're going to push them off.
22:32I'm going to push them off.
22:33Ljubomora!
22:35Ljubomora!
22:37What are you talking about?
22:39Ljubomora!
22:41Ljubomora!
22:43I have to go.
22:45Ljubomora!
22:49What does it happen?
22:51Faruk
22:53is going to fight
22:55with Nesko.
22:57He will harm him.
22:59He will be better than
23:01Fap hit him.
23:03Yes, I am.
23:13Oh, the sun.
23:15You are the best.
23:17You should have to do this.
23:23It's because of the doubt.
23:25But it's nothing.
23:27That Fap
23:29It's not a relaxation massage.
23:31How will he feel now
23:33when he goes through my fingers?
23:35She is evil.
23:37The name is turned out.
23:39What?
23:41What are you talking about?
23:43I have to see who is.
23:49Nesko!
23:51She calls me Rospija.
23:53I have to see who is.
23:55I have to see who is.
23:56What are you talking about?
23:59Hello.
24:01Who is it?
24:02I don't know.
24:03Faruk
24:05who is Ezivan
24:22I have to see who is InON.
24:25Here you go.
24:28A little flower...
24:31Bravo!
24:33Shut up, shut up, shut up.
24:38What did you say?
24:40What did you say here?
24:43Let's do something in the room.
24:45Hurry up!
24:46I don't want to tear up.
24:47Hurry up!
24:49Let's do it!
24:55So, that's the jihad-jihad situation.
24:58I don't know.
25:01Wait, I didn't understand you.
25:03Who was the woman with you when Milena came to the hospital?
25:05I don't know, son, dear.
25:07I'll have a little bit of a hug,
25:10when she's in front of me.
25:20I've been looking for a while
25:23I don't know how you do it.
25:25I've never seen someone
25:28in such a sexy way
25:30to drink the drink.
25:31In such a sexy way?
25:32Yeah.
25:33It's very sexy
25:35when someone
25:36does it.
25:38Give her a little girl
25:40to see her.
25:41A little girl.
25:45You know what I'm going to say?
25:47Come on, come on, come on.
25:49Come on, come on, come on.
25:50You said that the woman
25:51had a black hole
25:52with a black hole here.
25:53Yes.
25:54Exactly.
25:55That's a black hole.
25:56Oh my God.
25:57I've seen the woman.
25:58Yes.
25:59I've seen her.
26:00Come on, dear.
26:02That woman is a prostitute.
26:03How did you know that?
26:05I saw her with Milorad
26:07in Sanremo
26:08and if I heard her
26:10well, she didn't organize her for her.
26:12Here are three hundred
26:14as we agreed.
26:16It wasn't necessary.
26:18The prostitution is banned here.
26:21That's right, everything is clear.
26:23No problem.
26:24For three hundred
26:25your friend
26:26will be able
26:27to get more treatment.
26:31Ah.
26:32You're obviously
26:33that friend.
26:35I don't understand.
26:37I don't understand anything.
26:40Why would Milorad
26:42pay a prostitute
26:43to be with me?
26:47Who did you do?
26:48You.
26:49You did.
26:50You did.
26:51And on the phone
26:52there was someone
26:53who was in your bed.
26:54Today is afternoon.
26:56And everyone knows
26:57that I'm not doing
26:58afternoon because of my bed.
27:00In my bed.
27:01You saw that
27:03I don't have bed.
27:04I'm sleeping
27:05on the couch
27:06on the couch
27:07in the morning.
27:08So,
27:09you don't have anything
27:10with the animator
27:11Faruk?
27:12Nothing.
27:13It was just a hundred years
27:14that was finished.
27:15I have to do it.
27:17If Marija sees me
27:18that I'm sitting
27:19with Gromić.
27:20Stop.
27:21We haven't finished
27:22this conversation.
27:23We haven't finished.
27:24I have to do it.
27:25Stop.
27:26Stop.
27:27Wait wait.
27:28I wish I could
27:31have spent it
27:32l hard
27:34working for a beer?
27:35Stop.
27:40Bye.
27:42Hi!
27:43She was in your neck!
27:45What is Suada?
27:47What is Suada?
27:49In her neck!
27:51Is that true? Suada, please, that's not true!
27:54Wait, what is happening here?
27:56What is happening here?
27:58It's happening here that I have known to her.
28:02I can imagine it in a thousand words.
28:04You were with her, she was with you, she was with you!
28:07But what? Why, Suada? Why?
28:12Oh my God!
28:14No!
28:15Wait, Suada! Stop it! Stop it! Stop it!
28:17Stop it! Stop it! Stop it!
28:19You don't have to tell me anything!
28:21Everything is clear as a day!
28:23But nothing is clear as a day!
28:26Unfortunately, for me, it is!
28:29Wait, Suada!
28:31Do you have any sense about this?
28:33Maria! Maria is all wrong!
28:36Djiha, djiha, cheetiri noge, sa czetiri krute!
28:40Djiha, djiha mi idemo na dalekhe pute!
28:51Parambašo moj!
28:52What is the truth?
28:55What is the truth?
28:57What is the truth?
28:58What is the truth?
29:00Who has big bones?
29:01Who has big bones?
29:02Who has other parts of the body?
29:04I'd let them be more.
29:06I'm not afraid of women.
29:08We're afraid of short.
29:10I'm not afraid of long.
29:12We don't fear when it's big.
29:14I'm going to take my shoes.
29:16Let's take it.
29:17Look at him.
29:22Let's go for a moment.
29:24Balegbeže.
29:26Balegbeže.
29:28Balegbeže.
29:30My house is mine.
29:32My house is mine.
29:33What house is mine?
29:35Do you remember Balegbeže when you slept with my wife Angelica?
29:38When I told you I would have to house house.
29:41What would you do when I have only sons?
29:43But you have women.
29:44I'd met a little girl in her life.
29:47I've had four feet.
29:50Four times, four times, four.
29:5216 times.
29:54You, Balegbeže.
29:56Do you hear me?
29:57I don't understand.
29:58If you don't understand how I'm going to be with her tomorrow.
30:00I have seven wives.
30:02I'm working every day.
30:03Here's your baby.
30:04Here's your baby.
30:05Here's your baby.
30:06Thank you, Arane.
30:08I've freed me tomorrow tomorrow.
30:10I don't have any word.
30:11Here's it.
30:14Oh, my dear friend, what are you doing?
30:21Oh, my dear friend, why don't we talk?
30:26Well, why don't we talk?
30:28Well, I don't think we would talk because of those stones.
30:33You think of those stones with me,
30:36but you, Hinski, flew away and flew away.
30:39I think because of those stones.
30:41Oh, my dear friend,
30:43I've been to her, my mother,
30:46and I'm going to sleep with you.
30:49Well, you see, Milorad,
30:51there's no secret before me.
30:53Although, sometimes,
30:55because of the pain,
30:57it's different.
30:59Emanuela, 1978,
31:04the fourth part.
31:06Oh, my dear friend,
31:08it's gone.
31:10It's gone.
31:12It's gone.
31:14It's gone.
31:15It's gone.
31:17There's no secret.
31:18It's gone.
31:19It's gone.
31:20It's gone.
31:21Oh, no.
31:24It's gone.
31:26It's gone, man,
31:27it's gone,
31:28and it's gone.
31:29Besides it,
31:30you can see what I said
31:32When I realized for you and my desire.
31:36And remember, Izete.
31:38Remember, well.
31:40I will shine you when, then.
31:42When, then.
31:43When, then.
31:44Now, now.
31:47Well, Izete, the shine was mine.
31:51My, Izete.
32:02I will pen you well, I can't just pull out my hands, for me.
32:08Oh...
32:11Let's go to check the doors.
32:13What the women's employment is.
32:14Well, no, I have some money here.
32:15I'll give you something here.
32:16I'm giving you something for a bit of money.
32:18Well, have a lot more time to spare all the things, as you say,
32:21twenty-seven, the huddle and goodwill.
32:22You won't have any money for you.
32:26Let's go.
32:28I will help you with that.
32:30Let's go.
32:32How do I say?
32:34Monday and Sunday,
32:36there are Mubera and Aziza.
32:38Look, Aziza and Mali,
32:40I don't believe you.
32:42I'm a man.
32:44I'm a man.
32:46I'm a man.
32:48I'm a man.
32:50I'm a man.
32:52Pustite me da živim,
32:54samo ti da preživim.
32:56Malo duge i sreće,
32:58život čekati neće.
33:00Pustite me da živim,
33:02samo ti da preživim.
33:04Malo strasi i boli,
33:08život je da se voli.
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