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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 ghost writing, you know, celebrity biographies,
01:25So, how's the novel coming along?
01:28Good.
01:30Finished it?
01:31Almost.
01:33I've been thinking if I shouldn't maybe rework it a bit,
01:36make it more of a young adult sort of thing.
01:38Makes sense. There's a big market there.
01:41That's where the money is.
01:42Good on you.
01:43I've also been thinking maybe I could move into ghost writing.
01:46You know, celebrity biographies, sportsmen, pop stars, what not.
01:50I mean, I wrote enough profiles back in the day that they were good profiles.
01:54It was the good profiles that got you in trouble
01:56because, strictly speaking, not all the good bits were yours.
01:59I've got to move past that.
02:01I've got to.
02:03So I've been thinking, yeah, what about this?
02:06I'll write Amir Culper.
02:08Alfie.
02:09No, no, no, no. Honestly.
02:11I own it. I was under pressure. I took shortcuts.
02:14You plagiarized. And you lied.
02:16I amplified.
02:18Because I was turning in four stories a day.
02:21I didn't have time to check every single molecule of fact.
02:24Or write all your own words.
02:26Four stories a day, Etta.
02:28Do you think things have got better since you left?
02:31It's a dying industry.
02:33Except all I've ever wanted to do was be a journalist.
02:36Okay, listen. So, I've actually got a story.
02:42An actual, actual story.
02:44Oh, come on, Alfie.
02:46Seriously, okay.
02:48So there's this thing. Nine horses.
02:53It's like sort of an online mystery.
02:56A puzzle.
02:57Like the crystal maze.
02:58But not real.
02:59And massive.
03:00But, um, semi-secret.
03:03Like counter-cultural woo-woo.
03:05And it is fucking awesome.
03:06Best will in the world.
03:08So what?
03:09A lot of people think it's a recruitment tool.
03:11For?
03:12KGB.
03:13CIA.
03:14Maybe some kind of, um, a masonic type conspiracy thing.
03:17What people?
03:18What people, what?
03:19What people think this?
03:21Internet people.
03:22It's rancid bollocks like this that killed newspapers in the first place.
03:26You do know that?
03:27There's something in this, Etta.
03:29A woman is missing.
03:31Okay.
03:36What woman?
03:37Iris, something.
03:38And she's missing under what circumstances?
03:40She solved it.
03:41Nine horses.
03:43And?
03:44Disappeared.
03:45When?
03:46At some point.
03:47Where?
03:48Is she?
03:49Did she disappear from?
03:50Unclear.
03:51So, what's the story?
03:52What happened to her and why?
03:53I see.
03:54I see.
03:55Who basically even knows?
03:57Seriously, Alfie.
04:00You're a good egg.
04:02But if you just want to farm cliques and call it journalism, go ahead, do it.
04:07Live long and prosper.
04:08And when you're rich because of your cliques, and you prove that what's-her-name was murdered
04:13by the Vatican because she's carrying Bill Gates' Antichrist love child, you can drive
04:18past my hovel in Ruston Martin, throw money from the windows, and laugh at where my journalistic
04:23integrity got me.
04:24But what you don't get is get a job on any newspaper I work on.
04:29Not ever again.
04:30Not if I've got a say in the matter.
04:36I'm Alfie Bird.
04:37Hey.
04:40I'm Alfie.
04:41Alfie Bird.
04:42This is five minutes to midnight.
04:55Shit.
04:57This is five seconds to midnight.
05:01Oh!
05:02Oh!
05:03Oh!
05:04Oh!
05:05Oh!
05:06Oh!
05:07Oh!
05:08Oh!
05:09Oh!
05:10Oh!
05:11Oh!
05:12Oh!
05:13Oh!
05:14Oh!
05:15Oh!
05:16Oh!
05:17Oh!
05:18Oh!
05:19Oh!
05:20Oh!
05:21Oh!
05:22Oh!
05:23Oh!
05:24Oh, here comes that day
05:28Here comes that day
05:30Oh, here comes the rain on your parade
05:35There's a price to pay
05:40For a life of insincerity
05:46And you pretend that it doesn't matter
05:54And that you're not scared
05:58Oh, here comes that day
06:03Here comes that day
06:05Oh, here comes that rain on your parade
06:16Alfie
06:20Alfie, if you can still hear me, tug your earlobe
06:24Okay, listen, I know you're scared
06:26Just trust me, I need that book
06:30Look, I don't care what I have to do to get it back
06:36Alfie, if you can understand me, just give me a signal, any signal
06:41Anything
06:42Do not take that book
06:45Do not do that
07:09Alfie, do not make me do this
07:15Oh, my God.
07:45Let's go!
07:47Go, brother!
07:49Go!
07:55Caccio!
07:57Ma stai attento, no?
07:59Merda, è meglio!
08:15Col cazzo che lei...
08:21Potrebbe essere chiunque.
08:23Mandiammi una foto come si deve.
08:25Ce la giochiamo male, sequestriamo una turista a caso,
08:29siamo fotti tutti.
08:31Va bene, va bene.
08:33Cazzo, bra!
08:35Merda, andiamo, dai, vai, vai, vai!
08:45Ciao, Claudia.
08:47C'è una cazzo di micrania che non ti dico.
08:50Tra l'occhio mezzo chiuso mi pare buco del culo.
08:53Dimmi che ci sono buone notizie, dai.
08:55Potrebbero essere buone notizie.
08:57Dimmi un po'.
08:58Un sacco di informatori diversi mi hanno raccontato
09:00la stessa storia interessante di una voce che sta girando.
09:03Interessante quanto?
09:04Un coglione di mezza tacca di Torbella Monaca, Freddo Zonin.
09:07Ha liberato i suoi pischelli che stavano nella piazza di spaccio
09:10e li ha mandati a setacciare la città
09:12alla ricerca di una donna irlandese.
09:14C'è una grossa ricompensa in ballo.
09:16Ormai metà dei tempisteri locali stanno sul pezzo.
09:18Credo che valga la pena fargli una visita.
09:20Vediamo se sa qualcosa.
09:22Oh, che via.
09:23La Claudia non ho perdito di vista che siamo arrivati.
09:44grazie a tutti.
09:50I don't know.
10:20I don't know.
10:50I don't know.
11:20I don't know.
11:49I don't know.
12:19I don't know.
12:49Okay, but they don't know that.
12:51They're not great at detecting sarcasm, okay?
12:54Who, the murder drones or...?
12:56Mesky, how's your nose for sarcasm?
12:58Very poor.
13:00Would you mind explaining that to Joy for me?
13:01Not at all.
13:02Joy, my nose for sarcasm is very poor.
13:06God, that must be awful.
13:07God, that must be awful.
13:08Not really.
13:09I'm fine with it.
13:10Okay, so I know you weren't trying to escape, but just for the sake of argument, say you were...
13:15Yeah, but I wasn't.
13:16Yes, I know, but say you were, you really, really can't, okay?
13:20Really, really, please.
13:22Duh.
13:24Good.
13:25Excellent.
13:26Just be careful with the antithesis.
13:29You don't seem yourself today.
13:35How would you know?
13:37Well, because I think I'd know you well enough to know.
13:40Has she called yet?
13:42About stopping me for the diary?
13:45Not yet, no.
13:46I think I'm actually a bit scared that she won't call.
13:50She'll call.
13:51Except you said that she wouldn't.
13:53Yeah, and then you said she would.
13:55What if I was a role?
13:56Well, I don't think you were.
13:58I thought you made a very convincing case.
14:00Yeah, because he said he'd cut my hand off.
14:02What?
14:03Who said what?
14:04That prick that called yesterday.
14:06Oh, my God, Joy, what are you, a bat?
14:11Uh, okay, look, that was completely, um...
14:15He, he was just saying that to scare me, okay?
14:19Fair play.
14:20It seemed to work.
14:22Fuck yes, but only for a minute, okay?
14:26Joy, nobody is going to be cutting anybody's hand off.
14:31Right?
14:32Cross my heart, no to die.
14:34Turn around, touch the ground.
14:37What?
14:38Turn around and touch the ground.
14:40Why?
14:40I think you're being sarcastic now.
14:42It's this irony.
14:43No, I'm really confused.
14:45What does that mean?
14:47It's in folklore or something, isn't it?
14:50It's a playground thing when you...
14:53None of this means anything to you.
14:58How could it?
14:59Nobody tells me anything.
15:03What?
15:06Okay.
15:09Should we get vertigo?
15:10No.
15:10Why?
15:11Because he gives people vertigo sometimes.
15:20Can you play Minecraft on it?
15:23What is it with your generation and sincerity?
15:26Don't know.
15:27She was frightened, too.
15:32She was frightened, too.
15:34Who was?
15:35Miss Brooke, Iris.
15:38She said we called him Charlie to diminish him because he frightened us.
15:43She was probably right.
15:46Right?
15:48Well, I don't know about frightened.
15:50I know he 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.
16:02We don't even know the extent of it.
16:06Not yet.
16:08We know it can simulate molecular structures and reactions with staggering speed and accuracy.
16:15It could cure cancer tomorrow.
16:19Cure dementia.
16:22Cure everything.
16:23It could mitigate climate change.
16:28Maybe even end it.
16:30It could let us peel back the surface of the world and see what's underneath.
16:35But he...
16:37It...
16:39It's asleep, right?
16:42Yes.
16:43And you can't wake it up.
16:46Not without the password.
16:49Which is what you needed from this, Brooke.
16:52That's right.
16:54Iris.
16:55What is she so afraid of?
16:58Nothing.
17:00Phantasms.
17:02Old goblins.
17:05A madman's delusions.
17:07What, that bloke in the attic?
17:09The alien one and whatnot?
17:12Yeah.
17:13That bloke, Jensen.
17:15I saw him.
17:18Oh, yeah?
17:19Through the window this morning.
17:21When I wasn't escaping.
17:24Okay.
17:25Can I meet him?
17:28Why would you want to do that?
17:30He made Charlie baked potatoes.
17:35Why wouldn't I?
17:37Big potatoes.
17:38Exactly.
17:38Well, I wish you could meet him.
17:43I really do.
17:45Yes, I wish you could meet the man that he used to be.
17:49But what he is now,
17:51what's left of him,
17:54well, what's left of him is very, very dangerous.
17:57So, no, you can't meet him.
18:01What happened to him?
18:05All he did was think.
18:07And madness
18:11is thinking past the point
18:14where thinking starts to hurt.
18:16Okay, here it is.
18:37This won't take long.
18:38This won't take her!
18:53Really?
18:58This won't kill me.
19:01I'll be right back here.
19:03What's left of him?
19:04We'll get you guys closer.
19:04We'll start tonight.
19:05We'll doxyCube.
19:06Oh, my God.
19:36What do you say?
19:41I know that you are cold, right?
19:48Do you know who I am?
19:51I know who I am.
19:53Do you know who you are?
19:58Do you know who you are?
20:01Do you know who you are?
20:09Don't miss this girl.
20:11If not, it's like in San Pietrino.
20:13Do you understand?
20:31Okay, shit.
20:43Who's coming?
20:49Come on.
20:51Come on.
21:01Come on.
21:02I'm not going to lose time with you.
21:04Come on.
21:09What are you saying?
21:11Oh, you're just in the trip.
21:13Let's call the other.
21:17Sure, it's just a fool.
21:19What the hell did you do?
21:21What the hell did you do?
21:23What the hell did you do?
21:29Don't lose it.
21:31I'm serious.
21:32If you let me escape,
21:33it's the last mistake you did.
21:35You call all the other pischelit.
21:37I want you all in front of the room
21:39to go to my squadron.
21:41If you tell me this conversation
21:43I'm not going to be a fool.
21:45I'm not going to be a fool.
21:47You understand?
21:48Do you know what I'm saying?
21:49I'm serious, huh?
21:51I don't know what I'm saying.
21:52I'll do it.
21:57I don't know what I'm saying.
22:05That's it.
22:13Well, here we are.
22:15Here we are.
22:23Can I get you a coffee?
22:24No, thank you.
22:28Oh, please, sorry, not Cindy.
22:31She's very expensive.
22:33Of course, sorry.
22:38This is a nice place.
22:41Well, when in Rome.
22:44I'm in Rome, and I have a room at the Ibis.
22:46Cop salary.
22:50Would you like to sit down?
22:52Make yourself at home?
22:53Yes, thank you.
22:57So, what brings you to Rome?
22:59Fizzy water?
23:00I'm good, thank you.
23:02There's a mini bar.
23:03Right.
23:04If you're sure.
23:14All right.
23:17Where are you, Alvy?
23:18Where are you?
23:19Where are you?
23:20Okay, where are you?
23:21Where are you?
23:22Where are you?
23:22Where are you?
23:23Fifth floor.
23:27Fifth floor.
23:44so is this your first time in a row it is are you here alone or all alone sadly for work no no no
24:01no just fun sightseeing all the rest of it the dolce vita that all this equipment i was force of
24:08habit really just in case news never sleeps i see but all my days who cares about work
24:15rome's amazing there's so much history you know literally on every corner have you seen the
24:21coliseum of course you have there's no reason to be nervous this ain't nervous this has just been
24:30english
24:30healthy have you had many dealings with the police all the years no no no no not really i'm much too
24:59boring for that i mean speeding tickets and all that and um my bike was stolen this one time
25:05fucker but yeah that's it really but it's clear to me that you're a man with emotional intelligence
25:11thank you i hope so so i wonder if you could guess the thing a police officer hates more than anything
25:18else paperwork maybe of course nobody likes paperwork right but what we hate is people who kill police
25:27officers right of course may i show you something absolutely
25:33this is my good friend teo this is his wife carlota they're little girls they're a little bit older now
26:00this is last summer and tail here he's hiking he was murdered by your friend iris nixon
26:10well friend isn't really the word i'd use she's more subject matter to be fair i think he was
26:24is it okay to say fucking i think that's probably fine yeah thank you my english it's actually very
26:30good better than mine thank you well he was fucking her
26:34now he's dead
26:38i think maybe because he was fucking her so what i'm wondering of is why did you tell me you were in
26:51london when you were actually well uh i mean did i say that i don't think i did i think you probably
26:59certainly sort of assumed oh perhaps you're right perhaps 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 last minute high-end apartment you can't afford because all the cheap ones were already booked
27:28so
27:30why the urgency Alfie
27:34one more question for you okay
27:36okay
27:37can you imagine who police officers
27:40hate as much as people who murder police officers
27:44maybe even more
27:46no
27:47we hate people who knowingly provide assistance to people who murder police officers
27:53i could get in trouble for showing you this but um
28:01i think
28:06you should understand what you're involved with here
28:11that's his tail
28:18ooh
28:20and these bits here
28:22they were two detectives from rome
28:25this over here
28:29that's a face
28:31yeah
28:32she didn't tell you any of this did she
28:44she didn't tell you she went to tail for help
28:47that he woke up that morning a father to two young girls
28:51and did it as six feet two of meat on dirt
28:55because that's what she does
28:58she manipulates good people
29:00decent people
29:02into helping her
29:03oh
29:04Alfie
29:06i think you're a decent person
29:10i think you're a good person
29:13what did she ask you to do
29:15Alfie
29:17you have to decide which side you're on here
29:19and i don't mean in terms of law and order
29:22i mean in terms of your personal safety
29:25because four policemen are dead
29:27and if you choose the wrong side in a fight like that
29:30how do you think that ends for you
29:52i want the rights to the story
29:58exclusive
30:03all mine
30:04all of it
30:05you keep me in the loop
30:07you don't speak to anyone else
30:09you're my exclusive source
30:11give me everything right
30:13whatever it takes
30:18she forced me to steal this from a library
30:29she's obsessed with this book
30:31i don't know why
30:33don't you move
30:46fucking judith
30:50is she
30:51oh my god you've killed her
30:53but no somebody knows that i'm here
30:56we need to go now
30:57i am not a judith
30:59fine
31:00let's go
31:01i was playing for time
31:02okay
31:03yeah
31:04i knew you'd come
31:05and i
31:06i left the bloody door unlocked
31:07i am not a judith
31:09and bollocks to you for even saying that
31:11bollocks to you
31:12a massive fat bag of bollocks
31:14you wanker
31:15you just literally did someone in
31:16right in front of my face
31:17like you were buttering toast
31:19so why would i ever ever help you now
31:22bollocks to you
31:23get some other sap to help you
31:25some other pillock
31:26who wastes the money
31:27his nan left him on an airbnb
31:29for you to
31:30just do someone in
31:32she's actually
31:33really nice actually
31:35oh
31:40shit
31:41oh shit
31:47oh vittor
31:48ci abbiamo davanti il caseggiato
31:49nessuno si muova fin quando non arrivo io
31:51fra quanto
31:52bravo questione dei minuti
31:53se prova a darsela nel frattempo
31:55se puoi fermala
31:56altrimenti piantale una pallotto là nella nuca
31:58in entrambi i casi non lasciate il palazzo
32:00stammarivà
32:11what's happening
32:17well it turns out i killed her too soon
32:19we need her alive to get us out of here
32:21so what are you gonna do
32:23i'm killer
32:24it's naloxone
32:26they use it to treat overdoses
32:41come on come on come on
32:46come on come on
33:09controlamo tuta appartamenti
33:11Come on, come on.
33:13Come on.
33:19Guys, don't worry. We'll cover it.
33:23Come on, come on.
33:41Let's go.
34:11Okay, she's on the move.
34:33We've left the doors unlocked.
34:41She's heading to the upper floor.
34:51Be patient.
35:11She's entering Jensen's suite.
35:22Let's see what she's up to.
35:41Let's go.
36:11Let's go.
36:41Let's go.
37:11Let's go.
37:23Move the drones.
37:26Eyes on Jensen's suite.
37:28Overhead pass.
37:29Can you take this?
37:41Can you take this?
37:53Let's go.
37:54Everyone...
38:08Wait.
38:10Who are you?
38:26Joy?
38:27I'm Jensen.
38:33It's nice to meet you.
38:39Would you like some water?
38:44Oh, no, really.
38:46I should get going.
38:47There's juice.
38:48They insist on providing juice.
38:50I know.
38:50I shouldn't.
38:51Take it.
38:52I'm sorry.
38:53I 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.
39:03Oh.
39:04Long time.
39:05There's no such thing as time.
39:09Any distinction between past, present, and future is only a stubbornly persistent illusion.
39:15Sorry?
39:16Heck, you know I said that.
39:18Albert Einstein.
39:22Did someone send you here?
39:28No.
39:29No.
39:30No.
39:31No, I just...
39:35No.
39:36No.
39:37I just...
39:38It's okay.
39:41Yeah.
39:42Yeah.
39:43Yeah, they did.
39:44Sorry.
39:45Yeah.
39:46Sorry.
39:47And that would be Iris, I expect?
39:50Yep.
39:51She's very clever.
39:53Yeah.
39:54There's so much she wants to know.
39:59Yeah.
40:00How much did she tell you about the device?
40:03Not much.
40:04Cameron did say some words, but they weren't really words I understood.
40:09I know that you invented it.
40:11Oh, no.
40:12Not at all.
40:13Oh.
40:14Sorry.
40:15I thought Cameron said.
40:16Yeah, he probably did, but he 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.
40:25I built it.
40:26I built it for sure.
40:27But the device was its own invention.
40:30What does that mean?
40:32I mean, it came to me like a memory.
40:35Except perhaps a memory of the future.
40:38Because time and future is contained in time past and time past and time future.
40:44Yeah, I accept that only works if you know the poem.
40:47I didn't know the poem.
40:48No, but it's a great poem by a very troubled man.
40:52Erm.
40:53But Einstein and his poet are saying the same thing.
40:58Expressing the same truth.
41:00Which is that the laws of physics are symmetric and reversible.
41:05The rules are the same whether time runs forward or backwards.
41:09All time is one.
41:11So I think of the device as a kind of recursive causal loop.
41:16It created itself.
41:19Bootstrapped itself into existence from nothing.
41:23It's beautiful.
41:25And I was like its composer.
41:29Like I was transcribing a melody.
41:31No, I know what you mean.
41:34I feel like that sometimes.
41:37When I write music.
41:38You write music?
41:39Just a bit, yeah.
41:40But some days it feels like...
41:42I'm not actually writing this.
41:45It's already out there.
41:47Just tapping into something.
41:49Then you understand.
42:04How long have you been alone here?
42:06Oh, luckily there's no such thing as time.
42:09Or 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.
42:21Joy.
42:24Charlie mustn't wake.
42:28Why not?
42:29Because it's very dangerous.
42:34How?
42:35Mustn't wake.
42:36Mustn't wake.
42:37Mustn't wake.
42:38No, no, that's okay.
42:40Stop!
42:41No!
42:42No!
42:43No!
42:44No!
42:45No!
42:46No!
42:47No!
42:48No!
42:49No!
42:50No!
42:51No!
42:56What'd you think?
42:57I think what you think.
42:59What do I think?
43:01You think it was a good idea to leave the door of Jensen's room open
43:05because you wanted to know she'd go in.
43:07And she went in, so now you know.
43:10And what else do I think?
43:13That given the specific warning it gave her about not going in,
43:17she could only have done it because Iris Nixon told her to.
43:21Do I know the reason why Iris told her to?
43:23Not yet.
43:26But it does tell us that if Iris is willing to go to such lengths
43:32to 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?
43:43You think if Joy is doing something for Iris,
43:47there's a way to use that knowledge to your own advantage?
43:50I 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.
44:07He's here.
44:13Helicopter approaching.
44:14Yeah.
44:15Helicopter approaching.
44:16Steve.
44:17He's here.
44:19I'm with saying excuse me they're gonna go to a close person.
44:24He's here...
44:26Jay.
44:28He's here.
44:30He's going in and out on this просто surgery again,
44:32he's doing a своей life that's not doing yet,
44:33so it isn't up.
44:35He's doing something Queκεak generations.
44:36He's doing something for the one to be on such an empty the sea
44:38in the roof.
44:39So you're here.
44:40Mr. Beck!
44:45Mr. Pym!
44:47Nice to put a face to the name.
44:49Looking forward to meeting this special girl who's going to solve all our problems.
45:10Hello!
45:16Come on now.
45:18Bring her on to the couch!
45:30Listen to me, none of this is what you think it is.
45:33I didn't kill Tao, but I know who did.
45:36The man responsible for all of it is called Cameron Beck.
45:39Cameron also abducted Joy Baxter.
45:42You met Joy.
45:43You know what a vulnerable young woman she is.
45:45Fuck you.
45:47Liar.
46:09There she is.
46:23Iris.
46:35Come on, I see. Come on, I see.
46:37Thank you so much.
46:40So if you actually want to know what happened to Teo,
46:43I need you to help get me out of here.
46:50Up to you, Nico.
46:58The police are here.
47:07You know, house.
47:09You know,
47:10Robbie,
47:13we're about to think.
47:14It's a bit more room.
47:15We're going to help you find me getting shot.
47:17We.
47:20Me.
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