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Igra sudbine Epizoda 1819,Igra sudbine 1820,Igra sudbine 1819,Igra sudbine Epizoda 1820, Igra sudbine Epizoda 1819,Epizoda 1820 Igra sudbine ,Epizoda 1819 Igra sudbine
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00:19Okay.
00:22That means that we are not able to talk about it.
00:26How do we get to talk about things when we do something happens?
00:31Yes.
00:32What is your opinion and what is your attitude about children and family?
00:42Hello.
00:43Where did you get to?
00:44With which?
00:46What was your question with our job?
00:49Ah, with you.
00:51I still think about it.
00:54I have to look at the angles.
00:57Those are great things you talk about.
01:00To look at the angles.
01:05I'm here.
01:09Thank you, Petrovic.
01:19I know you have to try this one.
01:24I've been full of them.
01:26You know how many people do it.
01:27You're full of them.
01:27I'm like, you bought it for hours.
01:30No, no, no.
01:34Who is Relja Topić?
01:39Relja...
01:40You've certainly heard everything about him.
01:44I love him because he became a prince in white.
01:51I'm going to go to that place.
01:54He has the gift to take a trip to one kilometer.
02:00What kind of thing?
02:01The ones that appear.
02:03I'm not aware of the photographs.
02:06The most aware of the places I have.
02:08That means nothing.
02:13Now I've heard him with his dad.
02:15He said that Relja will be sent to the end of the day.
02:18Oh!
02:19Oh, he's beautiful!
02:22The king, thank you, dad.
02:24I pray for him.
02:25Love you, congratulations on me.
02:26That's what he said.
02:27He was funny and that everything will be okay.
02:31And that's right.
02:32And that's right.
02:33And that's right.
02:34And that's right.
02:34And that's right.
02:35Tell me again.
02:36Tell me everything.
02:37Tell me everything I want to know.
02:38I don't know.
02:39I don't know.
02:42God, why is this a mess?
02:43I don't know.
02:43I don't know.
02:44I don't know.
02:45I don't know.
02:46I'm going to press you.
02:47I'm going to press you.
02:48I'm going to press you.
02:49You know who I am.
02:50I don't know.
02:52I don't know.
02:52It sounds like a lot of the day.
02:54I don't know what I want to do before.
02:56The project is about the guys that I'm trying to ask with you.
02:57Yeah.
02:58No problem.
03:00No, I'm going to read it.
03:04And I'm going to read it.
03:08Cool!
03:10Yes.
03:10I don't get married to you.
03:12Your, Novinarčić.
03:15I think I could have been able to improve the conditions of war,
03:22where you feel like you are on Maldives. Do you understand?
03:26Do you know what I need to go there?
03:28And? You see?
03:31And then, like on Balio.
03:34Who?
03:36I said, I haven't seen anything, I don't know anyone, I haven't been anywhere.
03:44But he has a good counselor for me.
03:47I have and I.
03:50Do you have?
03:52So you want me to replace the clinic who is from Legia Stranaca
03:55and who doesn't know two streets in Belgrade.
03:59Is that right?
03:59I'm sorry, I'm sorry, I'm sorry.
04:03I'm sorry, I'm sorry.
04:11I'm sorry.
04:12I wanted to do something unusual, romantic.
04:16But if it's stupid or anything.
04:18No, no, no, it's not stupid.
04:20I mean, I really am upset.
04:21I'm just surprised.
04:23You're surprised?
04:24Yes.
04:25And then, suddenly, I remember some novinars.
04:30But I wanted to ask you,
04:33and will you give me the rules
04:35while I try to be a man?
04:37Do you have any questions?
04:57Because you're starting to fill my limits.
05:01At all, there's not some novinars in the of God.
05:02But, you're still starting to fill your boundaries.
05:03Some novinars in the of God.
05:04It says, I'm sorry, I'm sorry, I'm sorry.
05:05I was feeling my feelings.
05:06But I'm sorry, I was feeling my feelings about life.
12:55It has to be related to the job.
12:56With the job.
12:57You see, this has to be related to the job.
12:59What are we going to do now?
13:02Sorry, Lukas.
13:04Hello?
13:05Don't listen to me.
13:07You have to quickly get to the hospital.
13:11What is it?
13:12What are you doing?
13:13There is no room for the zone.
13:16Okay, go.
13:19I have to go because of the job.
13:22I hope we will finish this conversation in a better position.
13:25I hope.
13:26I hope.
13:30I hope.
13:38I hope.
13:49I hope.
13:52I hope.
13:55I hope.
13:56I hope.
13:56I don't have any reason to hide myself.
14:00I don't know if we understood this situation.
14:06I believe that I can only do this conversation without an intermediary.
14:14What a intermediary?
14:15Is this film about the mafia?
14:18I need a intermediary.
14:20No.
14:21That's why I came to talk about it.
14:24That's what you said and you want to talk about it.
14:28That I want to talk about it.
14:30I'm afraid of it.
14:32What do you say?
14:34The issue is important to me.
14:37And together.
14:41I have to ask you about 10 minutes.
14:43I have to ask you about 10 minutes to put our own threat.
14:47Like the castle in the other side.
14:50We can try.
14:52We can try.
14:55We can.
14:58I am ready to try.
15:01But if you're promised, you will tell me the same thing.
15:07That's why you came to me.
15:11Did you have been difficult with Goran?
15:26Help me.
15:27No.
15:29No.
15:29This thing you have done is so false that I don't have any of the words.
15:35You have to undo all the time.
15:38You have to do it every step.
15:39See you?
15:41I have been listening to a really long time.
15:44And I haven't ever done that in the career,
15:46that two young colleagues would make such an entrepreneurial intrigue.
15:51This thing to do.
15:52To be warranty with a person's life, this is the essence of it.
15:54So you want to say that the insurance intrigues are reserved for only old colleagues?
16:00Or there is a gap for this?
16:02Or maybe 10 years of working jobs and we get a license for intrigues and surprises?
16:07I ask you to check how many books we have in the work books.
16:12I think we haven't reached that level yet.
16:15We don't have that experience.
16:17It's funny.
16:19It wouldn't be funny because this will be serious.
16:24I ask you, what will happen to us?
16:28What have we done?
16:29I'm really interested in it.
16:42What are you?
16:44What did you call me?
16:45I don't know where you are.
16:46I don't know where you are.
16:47I'm in my head.
16:49I'm in my head.
16:50I'm in my head.
16:51I want to change everything.
16:53And nothing.
16:54Okay, let's go.
16:55What happened?
16:57You understand that the victims are the usual tools that can be thrown at every time.
17:02Listen, do you understand that I give myself a whole life in this job?
17:09I'm in my head.
17:10I'm in my head.
17:11I'm in my head.
17:17What happened?
17:18What happened?
17:18Anything related to Reg'an Topić?
17:21What happened?
17:24What happened?
17:25I had to let him leave.
17:27You had to?
17:29Okay, you told me one minute.
17:32I was the absorbent workers.
17:39The carceler is a police officer, and my hands are broken.
17:43Aha, a police officer.
17:44It wasn't enough to intervene Vulička, but you should...
17:48Let's start looking at that.
17:51That balance doesn't hurt only one lawyer,
17:54but the whole system that we hear and protect.
18:01For my...
18:04Well, that's right, that nice cop.
18:09He says, when you take a drive from the street,
18:12there will be a new 10.
18:14After these new 10, there will be 150.
18:17Hey, Mukašina, let's go now.
18:20Let's go slow.
18:22What slow?
18:23When we can't do anything anymore.
18:25We can.
18:26When everything is set up,
18:29it will fly us like an autopilot.
18:32It can always be something.
18:34We'll find something.
18:35What?
18:35What are we going to find out?
18:37What if we're going to find out
18:38that the only autopilot we had in our hands
18:40will be thrown into the bed?
18:42That's it.
18:43Listen, listen.
18:44But we have to go step by step.
18:58You hear?
19:02I'm waiting for the answer.
19:10Gorin was very nice to me at the beginning.
19:14He was very nice.
19:17He was very nice to me.
19:20And finally, I'm going to love him.
19:24Fantastic.
19:26Like in Spanish series.
19:28I'm going to ask you to finish.
19:32I'm aware of his own nature.
19:39I'm aware of his own nature.
19:54I'm aware of his own nature.
20:01I'm aware of his own nature.
20:03His nature is very nice to me.
20:05And he's very nice to me.
20:09But he's very nice to me.
20:12He's very nice to me.
20:14I don't care about it!
20:18Analyze of the psyche of the young Goran is in the center,
20:24but I didn't get the answer to the question.
20:28Is it going to be difficult with Goran?
20:32If you don't, it's nice to tell me.
20:39If you don't know what to do with Goran is,
20:41then you would have played only so that he would stay with you.
20:45Is that right?
20:59Let's just hear what will happen.
21:00I don't know what to do.
21:01No, nothing.
21:03You can go to Alex on a meal.
21:07So, you will send us to the director on a conversation.
21:14I will send you to the director,
21:15and he will hear everything you do.
21:17What you do, how you do it, how you do it,
21:19how you do it, how you do it,
21:20how you do it at all.
21:22I will tell you everything.
21:23Just that he will not be able to do it.
21:25It's not the first time.
21:27Well, okay.
21:28But I don't understand what you do exactly
21:31to tell us that we are doing.
21:33I will tell you everything.
21:35Literally everything.
21:37Look at this.
21:38Alex is a good idea,
21:40but his belief has a limit.
21:42You have managed to go to that limit.
21:45You have managed to go to Alex's belief.
21:47You have managed to go to that limit.
21:48So, you will talk to him about Galinom Otkazu,
21:51and about the whole place.
21:53About the Sado Mazo story,
21:55about the Kvazi Novinarčić.
21:56Is that right?
21:58I don't know what she will talk about.
22:00She doesn't know what I am talking about.
22:02She doesn't know.
22:04Okay.
22:04Then I will go to Alex's house,
22:06and then I will tell him about what Lea and I are talking about.
22:10About Galinom Otkazu,
22:12and how you have been placed all the time,
22:15and you have to get the news.
22:17and you have to get the news.
22:19And for all that you have to pay.
22:20Who knows how much?
22:22And that you are Gabrielina's right hand,
22:25and we all know what happens with the right hand.
22:28Yes.
22:29The hand is first tied.
22:30Someone is doing it.
22:31We have to go to that.
22:33We have to go to Gabrielina's house.
22:35It is a train.
22:36It is a train.
22:38And I will not hear more.
22:40I will hear the cold tears.
22:42And I think it would be the best to all hear.
22:47She hears.
22:48We hear.
22:50We hear.
22:51And that's it.
22:53Okay.
22:54We hear.
22:56We hear.
22:57We hear.
22:58And that's it.
23:00And that's it.
23:03Only without cold tears,
23:05as you can see in the future.
23:19What's happening?
23:21Here.
23:23A bird has come to kiss me.
23:26To open my eyes.
23:29To explain her who my son is.
23:33Okay.
23:34Let's just keep it slow.
23:34There's nothing to say.
23:36She will tell me who I was born. I don't know what to do.
23:41And I can't give a answer to a simple question.
23:45I didn't want her to be a snake. I don't want her to be.
23:48Then tell the truth.
23:50Do you want the truth?
23:53Okay.
23:58I didn't have any trouble, and I didn't have anything to do.
24:02Stop! Stop! Stop!
24:04I want to explain to you. Stop!
24:08She was angry.
24:12She didn't have a phone call. I thought she would leave me.
24:16Is it right to do what I did? No.
24:19That's why I came. That's why I want to be honest.
24:23And with you and with him.
24:25Is it right?
24:28And I'll pray for you only one thing.
24:33To allow me to tell me to tell him.
24:35I'll show you.
24:46Good.
24:50I said that Edie is my coach,
24:52and that's my frustration, David.
24:55Nice.
25:09You think we should stop this?
25:11Let's go! I'm not scared.
25:12OK, because she is scared.
25:14I'm scared a little, Smear.
25:15I am scared, I am scared.
25:16And I am scared to be scared.
25:17I have scared, I am scared to be scared.
25:18I have to be scared.
25:19Don't allow me to be scared,
25:20or an injury or something else above it.
25:23I'm not knowing KKK's man.
25:25You've laid an old man back,
25:26Look,
25:27I'm scared of topizing.
25:29If he is dead,
25:31then we need to take off another's room.
25:34Who is the one? Who is the one?
25:36Who is the one? I think Alexander Šešova.
25:41He is the one who needs to give us new information.
25:45What Grkljan wants from him.
25:50And more important,
25:53who has sent Grkljan to look for him.
25:55That's right.
25:58You're good to understand.
25:58You're good to understand.
25:59He is the one who is missing us now.
26:03Yes, he is.
26:05You don't thank me.
26:06No.
26:08But I know that I will remember Šešova.
26:11Yes, you know everything and you can imagine everything.
26:14Yes.
26:15I don't remember that.
26:17It's not just that simple as someone thinks.
26:22Why isn't it simple?
26:26If Alexander Šešova and Grkljana
26:28we're going to do...
26:32I think we'll get something
26:36that's why we're going to have huge problems.
26:40If we're going to do the same as I think.
26:54Every time, how did you play it well with Vanja?
26:59I had to go back and leave it.
27:01There was a lot more place.
27:04How did she get us from the beginning?
27:07Let's see.
27:07Let's see.
27:08We're not fine, cultural, normal.
27:11But now she really touched on where she didn't need to.
27:14She said everything.
27:15And...
27:17What at the end?
27:18Do you think she said she was good?
27:20I wasn't shy.
27:21Or I was a little tired?
27:22Yes, yes.
27:24But again...
27:25You kept the level.
27:26And everything was nice.
27:28And you didn't say anything.
27:30And you regret it.
27:31Yes, at the end.
27:34That's what I learned from my mom.
27:35You know me?
27:36She taught me to be a woman.
27:40To be a woman.
27:41To hold myself.
27:42To not be a woman.
27:43To always know my level.
27:46To not allow anyone to go to a level that doesn't fit.
27:53What did you do?
27:55Did I say something wrong?
27:57No.
27:58You're not.
27:59I don't know.
28:01The whole situation, the tension...
28:04I don't know.
28:05It's okay.
28:07It's okay.
28:08It's okay.
28:08Everything will be okay.
28:09We will be together with everyone.
28:11Believe me.
28:12Nobody can do anything.
28:17Hello?
28:19It's not a woman.
28:20It's not a woman.
28:22It's not a woman.
28:23Yes.
28:24Tell me.
28:25I'll tell you.
28:26I'll tell you.
28:27I'll tell you.
28:27I'll tell you.
28:30Come on.
28:30Come on.
28:31Come on.
28:39Okay.
28:40You want me to tell you what you're looking at?
28:43Yes. I told you that it was known to me even earlier
28:46from the military operations in Paris.
28:50Good, I know that.
28:53The first generation was there,
28:57who was the first generation after the war.
29:01He was connected with the Kremi Šlag
29:05of Yugoslavia criminals.
29:07Listen to that.
29:08Lepi Marinkovići, Branislav Bielic, Sajla, Miško, Makedonac.
29:13Why are you kidding me?
29:14You know what I mean?
29:15What do you mean?
29:16What do you mean?
29:18What do you mean?
29:18What do you mean, Sajla and Makedonac?
29:20That's what they call them.
29:21What is the problem?
29:22Is there a problem in that,
29:23or is there a diplomatic scandal?
29:25It's not a crime.
29:27It's not a crime.
29:27It's a crime in that the family of Šešova
29:31was left in Beograd.
29:33What?
29:34He left a very beautiful village.
29:37What?
29:40He left a village in Žegović.
29:43Aha, in the village that was called Kanački.
29:47That's right, village Šešova.
29:49He left a village in Žegović.
30:00He left a village in Žegović.
30:01Kanački svi, hvala vam što ste okupili velikom broju.
30:04Došao je trenutadak da vam sa obštim nešto.
30:06I seljamam se?
30:07Nee, nee, ta mama posla pa...
30:09Ovo je mnogo veća od seli...
30:11... Marijana?
30:12What did I do?
30:15My happiness is all.
30:21There was a moment to tell you the truth about me.
30:26I am a singer.
30:29Like a rapper?
30:31No, like a rapper. I am a real singer with a rhythm and a soul.
30:35And when?
30:36When I saw my Gertrude, I started to write songs.
30:40And now it's time to tell you those songs.
30:44Maybe we wouldn't have to listen to this poem, maybe only your Gertrude.
30:48Okay, Biljana, it's time to start.
31:06When they were Kanaki and the Shesho?
31:08The Apoid of Žežegovice was Kanački, was Sho shoots.
31:10Why?
31:11The Apoid of Žežegovice was Kanački, was Kanački.
31:19But we know how the communists went into the trade.
31:25But he realized that one of a foreign citizens and the trade became Schwartz.
31:31And then he emigrated to Paris?
31:33Yes, yes. It started everything from the beginning.
31:37He turned into the underground.
31:40Wait, Sajla and this Slovenian?
31:44Makedonac. Miško, Makedonac.
31:47He was in the middle of Tuttkala.
31:50How did Tuttkala?
31:52Listen to something. He was not even better than him.
31:58The finger of his hand, where he hit it, did not stop.
32:01Ah, what do you know?
32:04Maturje Šešoje believed his son and his son.
32:07He believed his son.
32:09Then they made a small one and made the top of Hunskog Lopola.
32:15Yes.
32:16What do you want to do with his team?
32:31When she wore a hat, she would look at the inside.
32:36If she looks better, she will see it in the wild.
32:41If she was a little, she was a little, she was a little help.
32:45And she would like to love me.
32:47She would like to say to me.
32:49You're beautiful.
32:50You're beautiful.
32:51You're beautiful in the middle of the white,
32:52you're beautiful.
32:53You're beautiful in the love.
32:54She was a strong one.
32:56You're beautiful.
32:57Oh, the soul of the heart,
32:58that is strong and the fire in the fire.
33:00Oh, my God, I can't even tell you.
33:02I can't even tell you.
33:03Really, you're a fool of a fool.
33:05Really?
33:05Stvarno!
33:06A, Deda, is this poetry?
33:10Yes, it is.
33:11It is a kind of poetry.
33:13But, Jika needs to be done on the style of my mother.
33:16Marula, she can't put myself in my emotions.
33:18No, no, Jiko.
33:20These poetry comparisons are really bad.
33:22You have to write something simple,
33:24so that it doesn't include meat, chicken, chicken,
33:27and you understand?
33:27It's crazy.
33:28I don't believe that I've forgotten this.
33:31A, Deda,
33:33there is a book about songs that can help him.
33:37Yes, yes, yes.
33:38It's the same.
33:39It's not the same when you read other songs.
33:42This is something of mine.
33:44It's the right thing.
33:45You see, Jiko,
33:46I'll help you,
33:47but you have to get rid of these food.
33:51You have to get love like that.
33:54Why do you hate him?
33:56You see that he's not mine.
33:57Mariana, my happiness, my love,
34:00my destiny,
34:02get out of here.
34:03Don't forget me,
34:05you're welcome.
34:06I'm going to go to the house.
34:08We're going to eat dinner.
34:09I'm going to eat dinner.
34:10Do you have to cook in the fridge?
34:14Well, Ivana, this is a joke.
34:17See,
34:18don't worry about you being scared.
34:20You're always mad at me.
34:21You know what?
34:33I don't know what Krkljan wants from him,
34:37but I'm going to show you a scenario.
34:42Who?
34:43I'm going to be back here,
34:45I'm going to be back here,
34:46so that he's going to be back here,
34:48and he's going to be back here.
34:50I'm going to be back here.
34:52I'll just give you a chance.
34:52Yes,
34:52yes,
34:53it would be a joke on this dish,
34:55which we eat every day.
34:57What do you think?
34:59Do we need to tell Alex about this?
35:01No.
35:02No,
35:03we don't need to be aware of a person,
35:04because I think it's only our
35:07purpose and purpose.
35:09Oh,
35:10here are my connections
35:12from the other side of the law.
35:15Hello.
35:16Hello.
35:17Hello.
35:17What is it?
35:19Well,
35:19it's clear that I'm on Drndan.
35:21I don't know
35:22what are you going to do.
35:23What are you going to do?
35:25Well,
35:28I'm going to be a minor
35:28for me.
35:29Let's go.
35:31Let's go.
35:36Let's go.
35:39When I think about what I could do,
35:42I thought it was not bad to say
35:44that I could give you a lighted candle.
35:49A candle on each other,
35:51I put it all out of my side.
35:52A little magic.
35:55Just tell me to speak.
35:56Just when you decided that you say magic,
35:58This is a little bit of stress.
36:09What's the name of the drums?
36:11I'm singing.
36:12I'm singing.
36:13I'm singing.
36:14What's singing?
36:16Well...
36:16You're holding me on a tank of the boat.
36:18You're listening to me.
36:20You're listening to me.
36:21No, don't do that.
36:23Don't do that.
36:36Hey.
36:39How do they go off, how do they get deeper?
36:43How long are they?
36:44Let me turn this door.
36:46I'm singing.
36:46I don't know if they are mistaken.
36:47I don't think I know who thinks of anyone.
36:58Look how old are you?
37:00I have to hear my image.
37:03Because if I don't hear the image, then I don't hear any life.
37:09So, I'm not sure if I can tell you anything.
37:25As soon as I can tell you, I'll take care of my husband.
37:32I have to take care of my husband.
37:34It's hard to say to me.
37:37It's hard to say to me.
37:40It's our home.
37:41You have to get up.
37:44That person will not work for me until he will know why he will do it.
38:05Why are you looking for a light lead?
38:08And who?
38:29Are you getting up?
38:30I am not going to lie.
38:32I am not going to lie to me.
38:34Turn it back.
38:35As long as you are looking for me.
38:35Are you sure I am how to hurt myself?
38:38I know how I am now.
38:40Because I know you well, because I'm telling you to get married.
38:45And I'm not going to do that.
38:47Now, you don't. You don't. You don't. You don't.
38:50You don't. You don't. You don't.
38:52Where are you?
39:04I thought you were on a good location.
39:07I thought you were on a good location.
39:11Okay.
39:12And?
39:14Only we have to live to see you.
39:17Live?
39:17Yes, yes.
39:18Wait, brother.
39:20That's not a good location.
39:21Why not?
39:22Why not?
39:22It's not a good location.
39:23Why not?
39:24It's not a good location.
39:37It's not a good location.
39:38Why not?
39:39Why not?
39:42Why not?
39:43Why not?
39:46Why not?
39:48Why not?
39:51Why not?
39:51Why not?
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