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00:00You're free to come and go as you please.
00:07Green for go, red for no, that kind of thing.
00:11There is rather an issue with the shareholders.
00:14Money.
00:15Mr. Pym, I'm on top of it. I have leverage.
00:17I'll be there in the morning.
00:19The lock's on.
00:20Disease and cure, eh?
00:21The leverage!
00:22It's about 4 million euros around Rome.
00:27Find it.
00:28This is real.
00:29Meet me in Rome and I will tell you everything.
00:32Am I speaking with Alfie Bird?
00:33If you're ever in London, feel free to drop by and I'll show you my files.
00:37It's kind of a diary.
00:38I've hidden it here in Rome.
00:40You have outdone yourself, my friend.
00:43Mr. Bird, do you have a place to stay?
00:46Can you take me there?
00:47Your diary is a puzzle.
00:49You haven't finished decoding it yet.
00:51One more code to crack, five more pages to read.
00:54I need you to find a man called Jensen.
00:57I need you to get some of his DNA for me.
01:00I need you to get some of his DNA for me.
01:02Eta.
01:03Ah.
01:04Thanks for coming.
01:05Well, you're looking well, Alfie.
01:08Oh, thank you.
01:09So, how's the novel coming along?
01:10Good.
01:11Finished it?
01:12Almost.
01:13I've been thinking if I shouldn't maybe rework it a bit.
01:14Make it more of a young adult sort of thing.
01:15Makes sense.
01:16There's a big market there.
01:17That's where the money is.
01:18Good on you.
01:19I've also been thinking maybe I could move into ghostwriting.
01:20You know, celebrity biographies.
01:21Sportsmen pop stars.
01:22Yeah.
01:23Exactly.
01:24You know, I'm not a man.
01:25I'm not a man.
01:26But I'm a man.
01:27I'm not a man.
01:28I'm a man.
01:29I'm a man.
01:30I'm a man.
01:31I'm a man.
01:32I'm not a man.
01:33I'm a man.
01:34I'm a man.
01:35I'm a man.
01:36I'm a man.
01:37of a young adult sort of thing makes sense there's a big market there that's where the money is good
01:42on you i've also been thinking maybe i could move into ghostwriting you know celebrity biographies
01:47sportsmen pop stars whatnot i mean i wrote enough profiles back in the day that they were good
01:53profiles it was the good profiles that got you in trouble because strictly speaking not all the
01:58good bits were yours i've got to move past that i've got to so i've been thinking yeah what about
02:05this i'll write amir culpa alfie no no no honestly i own it i was under pressure i took shortcuts you
02:14plagiarized and you lied i amplified because i was turning in four stories a day i didn't have time
02:22to check every single molecule of fact all right all your own words four stories a day etta do you
02:28think things have got better since you left it's a dying industry except all i've ever wanted to do
02:35is be a journalist okay listen so i've actually got a story an actual actual story oh come on alfie
02:46seriously okay so there's this thing nine horses it's like sort of an online mystery a puzzle
02:57like the crystal maze but not real and massive but um semi-secret like counter-cultural woo-woo and it
03:05is fucking awesome best will in the world so what a lot of people think it's a recruitment tool for kgb cia
03:13maybe some kind of a masonic type conspiracy thing what people what what people what people think this
03:21internet people it's rancid bollocks like this that killed newspapers in the first place you do
03:26know that there's something in this etta a woman is missing okay
03:36what woman iris something and she's missing under what circumstances she solved it
03:42nine horses and disappeared when at some point where is she did she disappear from unclear so
03:50what's the story what happened to her and why is it is it who basically even knows
03:58seriously alfie you're a good egg but if you just want to farm clicks and call it journalism
04:05go ahead do it live long and prosper and when you're rich because of your cliques and you prove
04:11that what's her name was murdered by the vatican because she's carrying bill gates's antichrist love
04:16child you can drive past my hovelina raston martin throw money from the windows and laugh at where my
04:22journalistic integrity got me but what you don't get is get a job on any newspaper i work on not ever
04:29again not if i've got a say in the matter
04:50this is five minutes to midnight
04:53this is five seconds to midnight
05:10my name is alfie bird this is two seconds to midnight
05:24oh here comes that day
05:26oh here comes the rain on your parade there's a price to pay
05:41for a life of insincerity
05:45and you pretend
05:49and you pretend
05:50and you pretend
05:51that it doesn't matter
05:53and that you're not scared
05:57oh here comes that day
06:02oh here comes that day
06:04oh here comes that rain on your parade
06:10and you pretend you're not scared
06:12ALFIE
06:19Alfie?
06:20Alfie, if you can still hear me tug your earlobe.
06:23OK, listen, I know you're scared.
06:26Just trust me, I need that book.
06:32Look, I don't care what I have to do to get it back.
06:37Alfie, if you can understand me, just give me a signal, any signal.
06:41Anything.
06:43Do not take that book.
06:46Oh.
07:10Alfie, don't make me do this.
07:15Oh.
07:17I'm not sure.
07:18I'm not sure I can get it through this.
07:21Now I'm over here.
07:25Go on!
07:26Go!
07:27Go!
07:28Go!
07:29Go!
07:30Go!
07:31Go!
07:32Go!
07:33Go!
07:34Go!
07:35Go!
07:36Go!
07:37Yeah, when I'm ready, that...
07:42Go!
07:47Go!
07:48Go!
07:49Go!
07:50Go!
07:51Go!
07:52Go!
07:53Go!
07:54Caccio!
07:55Ma stai attento, no?
07:57Merda, è lei!
08:19Col cazzo che è lei.
08:21Potrebbe essere chiunque.
08:24Mandami una foto come si deve.
08:26Ce la giochiamo male,
08:27sequestriamo una turista a caso,
08:28siamo fottuti.
08:29Va bene, va bene.
08:31Cazzo, bra!
08:33Merda!
08:34Andiamo, dai, vai, vai, vai, vai!
08:45Ciao, Claudia.
08:46C'è una cazzo di micrania che non ti dico?
08:49Con l'occhio mezzo chiuso mi pare il buco del culo.
08:52Dimmi che ci sono buone notizie, dai.
08:54Potrebbero essere buone notizie.
08:56Dimmi un po'.
08:57Un sacco di informatori diversi mi hanno raccontato la stessa storia interessante di una voce che sta girando.
09:02Interessante quanto?
09:03Un coglione di mezza tacca di Torbella Monaca, Freddo Zonin.
09:06Ha liberato i suoi pischelli che stavano nella piazza di spaccio
09:09e li ha mandati a setacciare la città alla ricerca di una donna irlandese.
09:12Pare ci sia una grossa ricompensa in ballo.
09:14Ormai metà dei tempisteri locali stava sul pezzo.
09:17Credo che valga la pena fargli una visita.
09:19Vediamo se sa qualcosa.
09:20Oh, che Dio.
09:21Oh, che Dio.
09:22A Claudia.
09:23No ho perdite di vista.
09:24Che sta arrivando.
09:25Oh, che Dio.
09:55Oh, che Dio.
10:25Oh, che Dio.
10:55I don't know.
11:25I don't know.
11:55I don't know.
12:25I don't know.
12:37I don't know.
12:39I don't know.
12:41Sorry.
12:43Just planning my escape.
12:46It was a joke.
12:48I was joking.
12:49Okay.
12:50But they don't know that.
12:51They're not great at detecting sarcasm, okay?
12:53Who, the murder drones or...?
12:55Mesky, how's your nose for sarcasm?
12:58Very poor.
12:59Would you mind explaining that to Joy for me?
13:01Not at all.
13:02Joy, my nose for sarcasm is very poor.
13:05God, that must be awful.
13:07Not really.
13:08I'm fine with it.
13:09Okay, so I know you weren't trying to escape, but just for the sake of argument, say you were...
13:14Yeah, but I wasn't.
13:15Yes, I know, but say you were, you really, really can't, okay?
13:20Really, really please.
13:21Duh.
13:22Good.
13:23Excellent.
13:24Just be careful with the antithesis.
13:31You don't seem yourself today.
13:34How would you know?
13:36Well, because I think I'd know you well enough to know.
13:39Has she called yet?
13:41About stopping me for the diary?
13:44Not yet, no.
13:46I think I'm actually a bit scared that she won't call.
13:49She'll call.
13:50Except you said that she wouldn't.
13:52Yeah, and then you said she would.
13:54What if I was a role?
13:56Well, I don't think you were.
13:57I thought you made a very convincing case.
13:59Yeah, because he said he'd cut my hand off.
14:02What?
14:03Who said, who said what?
14:04That prick that called yesterday.
14:06Oh, my God, Joy, what are you a bat?
14:11Okay, look, that was completely, um...
14:15He, he was just saying that to scare me, okay?
14:18Fair play.
14:20Seemed to work.
14:21Fuck yes, but only for a minute, okay?
14:25Joy, nobody is going to be cutting anybody's hand off.
14:30Right?
14:31Cross my heart and hope to die.
14:33Turn around and touch the ground.
14:36What?
14:37Turn around and touch the ground.
14:39Why?
14:40How you're being sarcastic now is this irony.
14:42No.
14:43I'm really confused.
14:44What does that mean?
14:45It's in folklore or something, isn't it?
14:48It's a playground thing when you...
14:51None of this means anything to you.
14:53How could it?
14:54Nobody tells me anything.
14:55What?
14:56Okay.
14:57Should you get vertigo?
14:58No.
14:59Why?
15:00Why?
15:01Because he gives people vertigo sometimes.
15:04Can you play Minecraft on it?
15:05What is it with your generation and sincerity?
15:06Don't know.
15:07She was frightened too.
15:08Who was?
15:09Miss Brooke.
15:10Iris.
15:11She said we called him Charlie
15:12To diminish it.
15:14Who was it?
15:29She was frightened too.
15:31Who was?
15:39She said we called him Charlie to diminish him because he frightened us.
15:43She was probably right. Right?
15:48Well, I don't know about frightened. I know it makes me feel odd in a Clark's Third Law sort of a way.
15:57I don't know what that means.
15:59Any sufficiently advanced technology is indistinguishable from magic.
16:04We don't even know the extent of it. Not yet.
16:08We know it can simulate molecular structures and reactions with staggering speed and accuracy.
16:15It could cure cancer tomorrow. Cure dementia. Cure everything.
16:25It could mitigate climate change. Maybe even end it.
16:30It could let us peel back the surface of the world and see what's underneath.
16:35But he... it... it's asleep, right?
16:42Yes.
16:43And you can't wake it up. Not without the password.
16:49Which is what you needed from Miss Brooke.
16:52That's right. Iris.
16:55What is she so afraid of?
16:58Nothing. Phantasms. Old goblins. A madman's delusions.
17:06What, that bloke in the attic? The only one and what not.
17:11Yeah. That bloke, Jensen.
17:15I... saw him.
17:18Oh, yeah.
17:19Through the window this morning.
17:21When I wasn't escaping.
17:23Okay.
17:25Can I meet him?
17:27Why would you want to do that?
17:30He made Charlie baked potatoes. Why wouldn't I?
17:36Big potatoes.
17:37Exactly.
17:38Well, I wish you could meet him. I really do.
17:43At least I wish you could meet the man that he used to be.
17:46But what he is now, what's left of him, well, what's left of him is very, very dangerous.
17:59So, no, you can't meet him.
18:01What happened to him?
18:05All he did was think.
18:10And madness is thinking past the point where thinking starts to hurt.
18:16Okay, here it is. This won't take long.
18:39I am going.
18:46I am going.
18:48He is off.
18:52No, no, no, no, no.
18:54There we go.
18:55No, no!
18:56One more!
18:57No, no, no, no, you need to go.
19:00No, no, no, no, no.
19:02I don't know.
19:04I'll do it.
19:05No, no, no, no, no...
19:08Oh, my God.
19:38Clem, what does she say?
19:45I know so much that you are cold, right?
19:49Do you know who I am?
19:51I know who I am.
19:58How did you tell him?
20:00He sent you this photo?
20:05You have to tell me the name!
20:07You have to tell him!
20:09Don't miss this girl!
20:11If not, it's like in San Pietrimo.
20:14We understand?
20:38Okay, shit.
20:43He's coming.
20:45Let's go!
20:48Let's go!
20:49Let's go!
20:51Let's go!
20:52Let's go!
20:53Let's go!
20:54Let's go!
20:55Let's go!
20:56Let's go!
20:57Let's go!
20:58Let's go!
20:59Let's go!
21:00Let's go!
21:01Let's go!
21:02I'm not all the time to lose with these details!
21:05Let's go!
21:06What are you saying?
21:10Oh, friend, you've just entered the trip.
21:13Let's call the other one.
21:16Sure, it's just a sheparit, but what the hell did you do?
21:21What the hell are you doing?
21:28Frate, don't lose your mind.
21:31I'm serious.
21:32If you leave it, it's the last mistake you do.
21:34What are you doing?
21:36You can call all the other people.
21:38I want them all in front of the room to play when I'm not in my squadron.
21:42If you tell me this conversation with someone,
21:44how the hell is going to pull the ball to your sister?
21:47Do you understand?
21:49Seriously?
22:04That's it.
22:14Well, here we are.
22:23Can I get you a coffee?
22:24No.
22:27Oh, please.
22:28Sorry.
22:29Not Cindy.
22:30She's very expensive.
22:32Yeah.
22:33Of course.
22:34Sorry.
22:38This is a nice place.
22:41Well, when in Rome...
22:43I'm in Rome.
22:44I have a room at the Ibis.
22:46Copsalary.
22:50Would you like to sit down?
22:51Make yourself at home?
22:52Yes.
22:57So, what brings you to Rome?
22:59Fizzy water?
23:00I'm good, thank you.
23:01There's a minibar.
23:02Right.
23:03If you show her.
23:17Where are you, Alfie?
23:18Where are you?
23:19Where are you?
23:20Where are you?
23:21Where are you?
23:22Where are you?
23:23For Flora.
23:27For the...
23:33So...
23:52Is this your first time in Rome?
23:53It is.
23:56Are you here alone or...?
23:57All alone.
23:59Sadly.
24:00For work?
24:01No, no, no, no.
24:02Sightseeing.
24:03All the rest of it.
24:04The Dolce Vita.
24:05That...
24:06All this equipment.
24:07I was force of habit, really.
24:08Just in case.
24:09News never sleeps.
24:10I see.
24:12But all my days.
24:13Who...
24:14Who cares about work?
24:15Rome's amazing.
24:16There's so much history.
24:18You know, literally on every corner.
24:20Have you seen the Colosseum?
24:23Of course you have.
24:27There's no reason to be nervous.
24:28This ain't nervous.
24:29This has just been English.
24:32No, no, no, no.
24:33Not really.
24:34I'm much too boring for that.
24:35Alfie, have you had many dealings with the police over the years?
24:56No, no, no, not really. I'm much too boring for that.
25:00I mean, speeding tickets and all that,
25:02and my bike was stolen this one time. Fuck it.
25:07But yeah, that's it, really.
25:08But it's clear to me that you're a man with emotional intelligence.
25:11Thank you. I hope so.
25:13So I wonder if you could guess
25:15the thing a police officer hates more than anything else.
25:19Paperwork, maybe?
25:21Of course. Nobody likes paperwork, right?
25:24But what we hate is people who kill police officers.
25:28Right, of course.
25:29May I show you something?
25:33Absolutely.
25:33This is my good friend, Teo.
25:54This is his wife, Carlotta.
25:55They're little girls.
25:59They're a little bit older now.
26:01This is last summer.
26:02Oh.
26:03And Teo, here he's hiking.
26:08He was murdered by your friend Iris Nixon.
26:10Yes.
26:10Well, friend isn't really the word I'd use.
26:21She's more subject matter, to be fair.
26:23I think he was.
26:25Is it okay to say fucking?
26:26I think that's probably fine, yeah.
26:28Thank you, my English.
26:29It's actually very good.
26:30Better than mine.
26:33Well, he was fucking her.
26:37Now he's dead.
26:38I think maybe because he was fucking her.
26:45So, what I'm wondering, Alfie, is...
26:49Why did you tell me you were in London
26:51when you were actually in Rome?
26:52Uh...
26:54I mean, did I say that?
26:57I don't think I did.
26:58I think you probably sort of assumed...
27:01Oh.
27:01Perhaps you're right.
27:03Perhaps I was just, uh, hearing what I wanted to hear.
27:06But, um...
27:09Here you are, right?
27:12In Rome.
27:15With all your equipment.
27:18Arriving on a last-minute ticket.
27:21Staying in a...
27:23Last-minute, high-end apartment you can't afford
27:25because all the cheap ones were already booked.
27:27So...
27:29Why the urgency, Alfie?
27:34One more question for you, okay?
27:36Okay.
27:38Can you imagine who police officers
27:40hate as much as people who murder police officers?
27:45Maybe even more.
27:47No.
27:48We hate people who knowingly provide assistance
27:51to people who murder police officers.
27:53I could get in trouble for showing you this, but, um...
28:01I think you should understand
28:08what you're involved with here.
28:13This is tail.
28:14And these bits here...
28:23They were two detectives from Rome.
28:29This over here.
28:31That's her face.
28:32She didn't tell you any of this, did she?
28:46She didn't tell you she went to Teo for help.
28:49That he woke up that morning,
28:50a father to two young girls,
28:53and did it as six feet two of meat on dirt.
28:58Because that's what she does.
28:59She manipulates good people.
29:00Decent people.
29:03Into helping her.
29:06Alfie?
29:09I think you're a decent person.
29:13I think you're a good person.
29:15What did she ask you to do?
29:18Alfie?
29:18You have to decide which side you're on here.
29:21And I don't mean in terms of law and order.
29:24I mean in terms of your personal safety.
29:26Because four policemen are dead.
29:27And if you choose the wrong side in a fight like that,
29:31how do you think that ends for you?
29:32I want the rights to the story.
29:58Exclusive.
30:04All mine.
30:05All of it.
30:06You keep me in the loop.
30:08You don't speak to anyone else.
30:10You're my exclusive source.
30:12Give me everything right.
30:13Whatever it takes.
30:19Whatever it takes.
30:28She forced me to steal this from a library.
30:31She's obsessed with this book.
30:33I don't know why.
30:34Don't you move.
30:48Fucking Judas.
30:51Is she?
30:52Oh my God.
30:53You've killed her.
30:55But no.
30:56Somebody knows that I'm here.
30:57We need to go now.
30:58I am not a Judas.
31:00Fine.
31:01Let's go.
31:02I was playing for time.
31:04Okay.
31:05Yeah.
31:05I knew you'd come.
31:06And I left the bloody door unlocked.
31:09I am not a Judas.
31:11And bollocks to you for even saying that.
31:13Bollocks to you.
31:14A massive fat bag of bollocks.
31:15You wanker.
31:16You just literally did someone in right in front of my face like you were buttering toast.
31:20So why would I ever, ever help you now?
31:23Bollocks to you.
31:24Get some other sap to help you.
31:26Some other pillock.
31:26Waste of money as Nan left him on an Airbnb.
31:30You just do someone in.
31:33She's actually really nice actually.
31:36Oh.
31:41Shit.
31:42Oh, Vittor.
31:48Ci abbiamo davanti al caseggiato.
31:50Nessuno si muova fin quando non arrivo io.
31:52Tra quanto?
31:53No, questione di minuti.
31:54Si prova a darsela nel frattempo?
31:56Se puoi, fermala.
31:57Altrimenti piantale una pallotto là nella nuca.
32:00In entrambi i casi non lasciate il palazzo.
32:02Stamare va?
32:02Stamare va?
32:16What's happening?
32:17Well, it turns out I killed her too soon.
32:20We need her alive to get us out of here.
32:22So what are you going to do?
32:24I'm killer.
32:25It's Naloxone.
32:26They use it to treat overdoses.
32:32Come on, come on, come on.
33:02Come on, come on, come on.
33:32Come on, come on.
34:02Come on, come on.
34:04Come on, come on.
34:06Come on, come on.
34:10Okay, she's on the move.
34:33We've left the doors unlocked.
34:40She's heading to the upper floor.
34:51Be patient.
35:10She's entering Jensen's suite.
35:21Let's see what she's up to.
35:25Let's see what she's up to.
35:55Let's see what she's up to.
36:25Let's see what she's up to.
36:55Let's see what she's up to.
37:25Move the drones.
37:26Eyes on Jensen's suite.
37:28Overhead pass.
37:29Can you take this?
37:33Can you take this?
37:53Everyone.
37:54Wait.
37:55Shit.
37:57Everyone.
37:58Wait.
37:59Shit.
38:00Wait.
38:01Shit.
38:02Wait.
38:03Shit.
38:04Who are you?
38:08Joy.
38:09I'm Joy.
38:10I'm Joy.
38:11I'm Jensen.
38:12I'm Jensen.
38:13It's nice to meet you.
38:14It's nice to meet you.
38:15Would you like some water?
38:16I don't know.
38:17I don't know.
38:18I don't know.
38:19I don't know.
38:20I don't know.
38:21I should go.
38:22go.
38:23I don't know.
38:24I don't know.
38:26I'm Jensen.
38:27Um, Joy?
38:33I'm Jensen.
38:38It's nice to meet you.
38:42Would you like some water?
38:45Oh, no, really. I should get going.
38:47There's juice. They insist on providing juice.
38:49Fine, I'm really sorry, I...
38:50I know, I shouldn't...
38:54I'm sorry.
38:55I didn't know this was actually somebody's room.
38:58The door was open.
38:59I've not been here for a long time, really.
39:02Oh.
39:03Long time.
39:06There's no such thing as time.
39:08Any distinction between past, present and future
39:11is only a stubbornly persistent illusion.
39:14Sorry?
39:15You know who said that?
39:18Albert Einstein?
39:26Did someone send you here?
39:30No. No, I just...
39:34No.
39:35No.
39:36I just...
39:38It's okay.
39:41Yeah.
39:42Yeah.
39:43Yeah, they did. Sorry.
39:45Yeah.
39:46Sorry.
39:47And that would be Iris, I expect?
39:50Yep.
39:52She's very clever.
39:54Yeah.
39:56There's so much she wants to know.
39:59Yeah.
40:00How much did she tell you about the device?
40:03Not much.
40:05Cameron did say some words, but...
40:07they weren't really words I understood.
40:10I know that you invented it.
40:11Oh, no. Not at all.
40:13Oh.
40:14Sorry, I thought Cameron said.
40:17Yeah, he probably did, but...
40:19he likes to think it's true.
40:20But I'm not clever enough to have invented it,
40:23and I'm not sure anyone is.
40:26I built it, I built it for sure,
40:28but the device was its own invention.
40:31What does that mean?
40:33I mean, it came to me like a memory.
40:36Except perhaps a memory of the future.
40:39Because time-future is contained in time-past,
40:42and time-past and time-future.
40:45Yeah, I accept that only works if you know the poem.
40:48I didn't read the poem.
40:49No, but it's a great poem by a very troubled man.
40:55But Einstein and his poet are saying the same thing,
40:58expressing the same truth,
41:01which is that the laws of physics are symmetric and reversible.
41:05The rules are the same,
41:07whether time runs forward or backwards.
41:10All time is one.
41:12So I think of the device as a kind of recursive causal loop.
41:18It created itself.
41:20Bootstrapped itself into existence from nothing.
41:24It's beautiful.
41:28And I was like its composer.
41:30Like I was transcribing a melody.
41:32No, I know what you mean.
41:35I feel like that sometimes.
41:37When I write music.
41:39You write music?
41:40Just a bit, yeah.
41:41But some days it feels like...
41:44I'm not actually writing this.
41:46It's already out there.
41:48Just tapping into something.
41:50Then I understand.
41:51How long have you been alone here?
42:06Oh, luckily there's no such thing as time.
42:10Or else I'll be tempted to say something like it.
42:14Feels like forever.
42:15Who was the last person you spoke to?
42:18Iris must never know the things she seeks to know.
42:22Joy.
42:24Charlie mustn't wake.
42:27Why not?
42:29Why not?
42:33Because it's very dangerous.
42:35How?
42:36Mustn't wake.
42:37Mustn't wake.
42:39No, that's okay.
42:41No!
42:42No!
42:43No!
42:44No!
42:45Masky, no!
42:46Masky!
42:47No!
42:48No!
42:49No!
42:50No!
42:55What do you think?
42:58I think what you think.
42:59What do I think?
43:00You think it was a good idea to leave the door of Jensen's room open because you wanted to know she'd go in.
43:07And she went in, so now you know.
43:10And what else do I think?
43:12That given the specific warning it gave her about not going in, she could only have done it because Iris Nixon told her to.
43:21Do I know the reason why Iris told her to?
43:24Not yet.
43:26But it does tell us that if Iris is willing to go to such lengths to have Joy return to her,
43:35she's not doing it from an excess of feeling for the girl.
43:41So what do I think we should do?
43:44You think if Joy is doing something for Iris, there's a way to use that knowledge to your own advantage?
43:51I do think that.
43:53Because there is a way to use it, isn't there?
43:57Yes.
44:01That's what I was thinking.
44:03Helicopter approaching.
44:06Helicopter approaching.
44:08He's here.
44:22Helicopter approaching.
44:23Hyativas wal Maine.
44:24Got it.
44:25It'sлюд Europa.
44:26Uncle Sam.
44:31Dr. W barns잖아요.
44:34ают � Scouts.
44:36You look at it.
44:37Anything else?
44:42It's not available here, these days.
44:44It's not.
44:45It's amazing...
44:47Mr. and Jen something.
44:48Mr. Pipp.
44:49to the name looking forward to meeting this special girl is going to solve all
44:55our problems
45:19listen to me none of this is what you think it is i didn't kill tail but i know who did
45:35the man responsible for all of it is called cameron beck cameron also abducted joy baxter
45:41you met joy you know what a vulnerable young woman she is fuck you liar
45:48and
45:55and
45:57and
46:03and
46:08I
46:23Iris
46:38So if you actually want to know what happened to Teo, I need you to help get me out of here
46:50Up to you Nico
46:58Please you're here
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