Lud, zbunjen, normalan - 174. epizoda (S7E6): https://dai.ly/x91jtju (Sledeca epizoda)
Lud, zbunjen, normalan - 172. epizoda (S7E4): https://dai.ly/x91jt8o (Prethodna epizoda)
Lud, zbunjen, normalan - 172. epizoda (S7E4): https://dai.ly/x91jt8o (Prethodna epizoda)
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MotorTranscript
00:00I don't know how to eat, it's like I have pancliÄar.
00:04What pancliÄar?
00:06It's like I have coffee and puffs in my stomach.
00:09Eat, grandpa, what do you have?
00:11Nothing, my dear son. I wasn't hungry.
00:14This is from Partizan, when we ate bark from a tree.
00:17It was very tasty.
00:19I don't know how to eat, it's like I have pancliÄar.
00:22What pancliÄar?
00:24It's like I have coffee and puffs in my stomach.
00:27Eat, grandpa, what do you have?
00:29Nothing, my dear son.
00:31It was very tasty.
00:33Grandpa, don't be silly.
00:35Seriously, understand what I told you.
00:39Why is this empty, FriŔida?
00:41Boja, I opened it in the morning and ate everything.
00:45This is my third sandwich.
00:47Sandwich?
00:49Look how much it fell on your foot.
00:51You're not alone in this house.
00:53I'm not alone?
00:55Did you see that video?
00:57I told you what's going to happen.
00:59I warned you.
01:01Grandpa, when did you start smoking?
01:03Relatively late.
01:05About 11, 11 and a half years.
01:0811, 11 and a half years.
01:10That's relatively late for you.
01:12When my son was with us in Herzegovina,
01:14he used to smoke a lot.
01:16And when a child is nervous,
01:18when he doesn't want to sleep,
01:20you give him a cigarette,
01:23and he falls asleep in a second.
01:26Grandpa, the time has come
01:28to forgive yourself for smoking.
01:30What do you mean?
01:31Fine.
01:32You smoked what you smoked.
01:34You can keep smoking,
01:36but you can't keep living.
01:38Look at your lungs, Bolan.
01:40It's like an electric shock.
01:42Really?
01:43Grandpa, there are no more cigarettes.
01:45Please, seriously understand what I'm telling you.
01:47Can I at least smoke?
01:49Get out!
01:50You don't understand the seriousness of this problem.
01:52If I stop smoking,
01:54I'll eat so much,
01:56that all of you will starve to death.
01:59It doesn't matter.
02:00We'll make a sacrifice.
02:01Just stop smoking.
02:02And how long does it take to stop smoking?
02:04Tomorrow will be a full two days.
02:06So, how's it going?
02:07Son, no way.
02:08I have a problem with maxazine.
02:10Why?
02:11Would you like me to ban you from maxazine?
02:13No, no, no.
02:14I wouldn't like that.
02:15But when I drink maxazine,
02:17I have a problem with cigarettes.
02:19Who's there?
02:20Are you looking for a cigarette?
02:21Here it is.
02:22It's the same as yours.
02:23You smoke, but you can't drink.
02:25Oh, okay.
02:26You don't have to be so picturesque.
02:27Okay.
02:28You smoke, but you can't fart.
02:30Okay, okay.
02:31I understand.
02:32Thank you for the picturesque description.
02:34You know what?
02:35You solved my breakfast problem.
02:37You made me sick.
02:38Enjoy.
02:39You're disgusting, of course.
02:42Just like a girl.
02:45What time is it?
02:469.12.
02:48God, I have to think about dinner.
02:51Let me chop some more tomatoes.
03:11What's wrong with you?
03:13I feel like fucking someone.
03:16I'm fucked.
03:17You're a total moron.
03:19Oh, what's up, my friend?
03:21Maybe it's better to say what's down, my friend.
03:24You sound more like down than up.
03:26That's not true.
03:27That's not true.
03:28That's not true.
03:30Mentor,
03:31now you sound like Calimero.
03:35Tell me,
03:36what do you do when you're nervous?
03:38How do you calm down?
03:39Okay, maybe it sounds a little crazy to you,
03:41but I bang my head against the table.
03:45Let me tell you the truth,
03:46nothing is crazy about me right now.
03:49Okay, I'll try.
03:53Fufe,
03:54stop it.
03:55What are you doing?
03:56I can't calm down.
03:57Don't worry.
03:58Just relax.
03:59It always helps me.
04:01Come on.
04:02Are you crazy?
04:04What did you do like this, Fufe?
04:06Oh, my God.
04:07What's wrong with me?
04:09Do you need anything better?
04:11Hey, my daughter,
04:13there you are.
04:15Yes, father.
04:16You have a fascinating ability for observation.
04:19Where is your brother?
04:23He's in English.
04:25Okay.
04:27Where is your brother?
04:32Yes, father.
04:33I was thinking about English classes.
04:36I'm surprised he's learning English
04:40at school.
04:41When they asked him
04:42which language he loved the most,
04:45your smart brother said
04:47the fat cook.
04:50What do you care?
04:52I have an intellectual job for him.
04:56The coal needs to be put
04:58two tons into the basement.
05:02Hello, my father.
05:04Here I am.
05:05Hey, son, good to see you.
05:07I have something to tell you.
05:10What?
05:11You can't do this.
05:13You can't do this.
05:15What is it?
05:16Fufe, Bono,
05:17what's wrong with you?
05:19You're like a horse
05:21on English classes.
05:23You know what?
05:24I talked to my mentor.
05:25He was very nervous.
05:26What?
05:27Can you see this?
05:28Yes, I can.
05:29You can see a man from the plane.
05:31Where is that stupid mentor?
05:33He's in production.
05:34He won't come.
05:35He's very angry at you.
05:36Angry at me?
05:38I got carried away.
05:39Listen, Fufe,
05:40go to the mentor
05:42and ask him to put some ointment
05:44on your head
05:46to calm you down.
05:47The shooting is over for today.
05:49I can't film you
05:50with this Fufe
05:51and this hole on your head.
05:53Get out!
05:54Get out!
05:55Did you hear what I said?
05:56Go to the mentor
05:58and ask him to put some ointment
06:00on your head.
06:01I understand, chief.
06:02Where will you get it?
06:03Where will you get the props?
06:04Where will you get the props?
06:05Hey, little props guy!
06:06Take this to the props
06:07and you'll lose everything.
06:08Hold your head like this
06:09so that your brain doesn't fall out.
06:14Boss,
06:15last night we forgot
06:16this ointment
06:17so we didn't put it in the fridge.
06:18Should I throw it away now?
06:19Throw it away if you dare.
06:21I'm not talking.
06:22My customers have a bad stomach.
06:24They don't like
06:25a little spoiled ointment.
06:26Put it in the pot.
06:27Like this.
06:28Now put it down.
06:30Come on.
06:31Like this.
06:32Do you have a chalk?
06:33Do you?
06:34Yes.
06:35What do I do with the chalk?
06:36I'll have to draw it for you.
06:38Go up on the sidewalk
06:39and write a nice sentence.
06:41The shame of the soul
06:42is half the price.
06:43The offer is worth
06:44as much as the flow.
06:46Hurry up.
06:47You're not normal.
06:49You're a big fool.
06:50Come on, my friend.
06:51Only the biggest fool
06:53can hit the table with his head.
06:56It's paid off.
06:57Look how calm you are now.
06:59Hitting the table with your head
07:00has a reliable therapeutic effect.
07:03Don't tell me
07:04what's wrong with you.
07:05Why did Faruk upset you?
07:07Let it go.
07:08You were like that this morning.
07:09It doesn't matter.
07:10He gave me a job to finish.
07:12My mentors
07:13should move out of this country.
07:15They did everything
07:17to make it harder for you.
07:19I come to them
07:20as a gentleman
07:21to pay the bill.
07:22He says,
07:23fix this,
07:24fix that.
07:25Then he goes
07:26to that room
07:27and then upstairs.
07:28Then he goes
07:29to the last room
07:30and then to the first room.
07:31Then to the middle room.
07:33They did everything
07:34to ruin your company.
07:36It's the same in Kosovo.
07:38That's why I came to Sarajevo
07:39to open a company.
07:40Why would you fly around Pristina
07:43when you have me here
07:44to fly instead of you?
07:46What does he say?
07:48You have to go somewhere.
07:49I never said I had to go.
07:51You have to.
07:52You just don't know yet.
07:54Hold these contracts
07:55and take them to production.
07:57You're just a small-time part-timer
07:59in this company.
08:01He gave you a piece of cake
08:03to bring contracts here.
08:04I don't understand
08:05why he got mad at you.
08:06I didn't get mad
08:07because he gave me a contract
08:08to bring to production.
08:10But when I came to production,
08:12that's when I got mad.
08:23The contract is over.
08:25In this contract,
08:26it's not obligatory
08:27that there will be...
08:29Yes.
08:31For a job done,
08:32you will be paid...
08:37That's not possible.
08:38Chivsha, no, no, no.
08:40Chivsha.
08:41In the contract,
08:42it says Chivsha, no, no.
08:44Chivsha, no, no.
08:45And that made you mad, right?
08:46It doesn't say that,
08:47you idiot.
08:48Wait.
08:49What did I say?
08:50Here, I'll quote.
08:51For a job done,
08:52you will be paid
08:53Chivsha, no, no.
08:54Chivsha, no, no.
08:55It doesn't say Chivsha,
08:56no, no.
08:57It says
08:58his percentage of earnings
08:59is higher than mine.
09:01I see.
09:02So his is higher than yours.
09:03Yes.
09:04Percentage.
09:05And I'm the co-owner of the company,
09:0620 percent.
09:07And he said
09:08that he has
09:09a percentage of earnings
09:10higher than me.
09:11Wait.
09:12Did you tell Faruk about that?
09:13Yes.
09:14I ran to Sanremo
09:15and I got even more mad.
09:17This is completely normal.
09:19How do you think
09:20this is normal?
09:21Because you know
09:22that I'm the co-owner of the company,
09:2320 percent.
09:24This is a practice.
09:25He is a script writer.
09:27And if we didn't have his script,
09:29we wouldn't have anything to film.
09:31This is a typical contract
09:33for a script writer.
09:34And I know that this is
09:35unfair,
09:36but in such jobs,
09:38in such series,
09:39the biggest role
09:41without any reason
09:43is taken by the script writers.
09:45Make peace with that, mentor.
09:46Well,
09:47those script writers are important.
09:48Oh,
09:49it's like they do something,
09:50they sit and write.
09:51That's the problem.
09:52I know what I'm doing
09:53to make peace.
09:54I'm going to drink a beer now.
09:55And please, Fufe,
09:56whoever is nervous,
09:58don't make peace
10:00with your method
10:01of sitting at the table.
10:02You have to film that scene tomorrow
10:03when the scene returns
10:04from English class.
10:05Okay,
10:06don't worry, my friend.
10:07Oh,
10:08you see,
10:09my dear,
10:10how much those script writers
10:11earn.
10:15Fuck,
10:16I didn't remember that before.
10:18Yo, Fufe,
10:19you're a genius.
10:20Yo, Fufe,
10:21you're a genius.
10:22Wait, wait,
10:23wait,
10:24let me see.
10:26Wait, wait,
10:27wait,
10:28wait,
10:29wait,
10:30Fufe,
10:31let me see,
10:32oh,
10:33how I'm going to get
10:34into this,
10:35oh,
10:36like a horse.
10:37Oh,
10:38I can't,
10:39Bala,
10:40pull more
10:41from the market.
10:42Where are you pointing at me,
10:43there?
10:44My arms are falling out
10:45of my shoulders,
10:46Far.
10:47What did you write?
10:48Well,
10:49my name is
10:50Maria Malogornik.
10:51Come on.
10:52Here he is.
10:55Farukh,
10:56no matter how much
10:57food I bring,
10:58there's nothing
10:59tomorrow.
11:00When the export
11:01stopped last time,
11:02Pusic Shefik
11:03left us.
11:04She got a job
11:05feeding
11:06a large
11:07flock
11:08on some farm.
11:09It was easier.
11:10The export
11:11is like a termite.
11:12No, Farukh,
11:13I think you have to
11:14brush your teeth
11:15and talk.
11:16But, Maria Duso,
11:17I can't,
11:18that's my dad.
11:19No, no, no,
11:20don't tell him
11:21to eat less,
11:22God forbid,
11:23but let him eat
11:24somewhere else.
11:25Let him settle,
11:26brother,
11:27he too, Damir.
11:28Okay, Maria,
11:29but
11:30he's healthy,
11:31you see,
11:32how much he can eat.
11:33And it's important
11:34that he's not
11:35a burden to us,
11:36right?
11:37Let him live
11:38and be healthy for us.
11:39Just somewhere else,
11:40Farukh.
11:41We can't
11:42do this anymore.
11:43Remember
11:44what happened last night.
11:45Where's the light?
11:46Wait, wait,
11:47I don't have it.
11:48I don't have it.
11:49I don't have it.
11:50He stopped
11:51pulling the rope.
11:52It's okay,
11:53just go on
11:54with your work.
11:55Don't let it get in the way.
11:56I don't have it.
11:57I just need to
11:58take one of Farukh's
11:59socks.
12:00I'm out of clean socks.
12:01Come on,
12:02come on, kids,
12:03just go on.
12:04Bravo, son,
12:05you're doing good.
12:06Show them
12:07who you are.
12:08Come on,
12:09put that down.
12:10You think you're
12:11getting ready?
12:12You're just
12:13pulling the rope.
12:15Do you remember
12:16last week,
12:17when my birthday
12:18was in the evening?
12:19I'm so glad
12:20we got to know each other,
12:22and that I finally
12:23got to know
12:24Marina Rojak,
12:25and of course,
12:26that you got to know
12:27me.
12:28You should know
12:29that FazlinoviÄ and I
12:30are a very
12:31cultured
12:32and very
12:33decent family.
12:34Please,
12:35take a seat.
12:38Oh,
12:39I'm sorry,
12:40I'm sorry,
12:41the rope is...
12:42Oh,
12:43it's a good sign.
12:44I won't get caught in the sun,
12:45I won't get caught,
12:46I won't get caught,
12:47I won't get caught,
12:48I won't get caught.
12:51We're here!
12:53We're finally here,
12:54my children!
12:56I'm in hell.
12:57Oh,
12:58only me.
12:59It's not my fault.
13:00I don't know,
13:01Marina,
13:02I don't know
13:03what to do.
13:04Maybe
13:05you should talk
13:06to Damir first.
13:07You think?
13:08I think.
13:09He's a sensible person.
13:10You think?
13:11I think he's
13:12a sensible person.
13:13You should
13:14talk to him.
13:15You think
13:16Damir?
13:17He's your family,
13:18Faruk.
13:19You have to
13:20solve this.
13:21Find Damir
13:22and solve it.
13:23There's nothing
13:24to worry about.
13:25What are you doing?
13:26Nothing,
13:27Marina,
13:28I got a little drunk
13:29so I told myself
13:30not to get drunk.
13:31Come on,
13:32please,
13:33we can't do that now.
13:34I'll put this cream
13:35on your chin later,
13:36I'll powder you,
13:37but now
13:38find Damir first,
13:39solve it,
13:40there's nothing
13:42to worry about.
13:43Okay,
13:44okay,
13:45Damir,
13:46I don't care
13:47why you're late.
13:48Just tell me this,
13:49do you think
13:50he'll come
13:51or not?
13:52Then hurry up,
13:53we'll wait
13:54five more minutes,
13:55if you don't come,
13:56we're gone.
13:57He'll come now,
13:58dad,
13:59he's always late.
14:00You know him.
14:01What are you writing?
14:02This is
14:03my new script.
14:04New?
14:05Yes,
14:06it's the second one.
14:07You've already
14:08done one,
14:09and now you're
14:10writing a new one.
14:11You know,
14:12I read that
14:13other scripts
14:14are usually better,
14:15so I decided
14:16to write a new one,
14:17because I feel
14:18that the first one
14:19wouldn't work.
14:20And this one,
14:21this is the second one,
14:22he's really mature.
14:23Listen to me,
14:24you know what,
14:25it's very important
14:26to observe the world
14:27around you,
14:28you know,
14:29you think,
14:30you look,
14:31you watch,
14:32you write,
14:33you know,
14:34that's the key
14:35to every good script.
14:36Yeah,
14:37and if it's not a secret,
14:38can you tell me
14:39what the secret is?
14:40Listen,
14:41you see,
14:42Barbara,
14:43this Barbara,
14:44she's not Barbara,
14:45she's Barbina,
14:46Barbina,
14:47yes,
14:48Barbina,
14:49she's with her kid,
14:50she's waiting
14:51for her husband
14:52in the cafe
14:53San...
14:54Prevo.
14:55Monte Carlo,
14:56San Monte Carlo,
14:57and you see,
14:58she's waiting
14:59for her husband
15:00to...
15:01Mira.
15:02No,
15:03what is it,
15:04Darca,
15:05no,
15:06no,
15:07no,
15:08Darca,
15:09her husband,
15:10Darca,
15:11and their...
15:12and their
15:13common child,
15:14this...
15:15Jay,
15:16you see,
15:17it's a drama,
15:18you know,
15:19and now,
15:20she tells him
15:21something
15:22on the phone,
15:23wait,
15:24what is she telling him,
15:25see,
15:26something is written.
15:27She's telling him
15:28that she'll wait
15:29for him for five minutes,
15:30if he doesn't come,
15:31she'll leave,
15:32is that what it says?
15:33Yes,
15:34that's what I'm telling him,
15:35how do you know?
15:36Leave me,
15:37I'm writing it down,
15:38you know?
15:39Why would you care
15:40about yourself,
15:41every similarity
15:42with real people
15:43is a coincidence.
15:45Damir,
15:46son,
15:47you're not mad
15:48that Maria and I
15:49will be moving out?
15:51What's wrong with you,
15:52why would I be mad,
15:53dear man,
15:54I'm making a bet,
15:55I know a lot of people
15:56from this apartment,
15:57I'll find another apartment,
15:58but,
15:59to be honest,
16:00it's a bit awkward.
16:01You think?
16:02I think
16:03there's no point
16:04in asking him
16:05to move out.
16:06I think there's no point,
16:07he's put up with you
16:08for decades in this apartment,
16:09and now that you,
16:10Maria,
16:11are the head of the apartment,
16:12you want to throw him out,
16:13there's no point.
16:14You think
16:15it's a problem?
16:16I think
16:17he's put up with you,
16:18now you put up with him.
16:19Listen,
16:20I really have to go,
16:21you know how crazy
16:22Barbara is,
16:23give me a ride,
16:24bye.
16:25Come on,
16:26son,
16:27hurry up,
16:28and thank you
16:29for the thought.
16:30This little Damir
16:31doesn't think
16:32anything through.
16:34He's gone.
16:35Yes,
16:36Maria,
16:37he's gone,
16:38Barbara is waiting for him.
16:39And?
16:40What does he think?
16:41Well,
16:42as far as Damir is concerned,
16:43he thinks
16:44he'll move out,
16:45but,
16:46Maria,
16:47it's a problem.
16:48It's awkward
16:49for me
16:50to tell him
16:51to move out,
16:52I can't,
16:53he's my dad.
16:54The worst thing
16:55is that he's your dad.
16:57I'll have to.
16:59Hey,
17:00Maria,
17:01you know what,
17:02find a convenient moment,
17:03a place
17:04when he's excited,
17:05when he's excited,
17:06you know,
17:07to tell him,
17:09because I'm afraid
17:10he'll hit you.
17:11It's hard for him
17:12to get scared,
17:13he jumps on every
17:14little thing.
17:15Yesterday,
17:16remember,
17:17when you had breakfast.
17:18Good morning.
17:19This is the sky
17:20above us.
17:22How are you,
17:23boys,
17:24what's up?
17:25A beautiful day?
17:26A beautiful day?
17:27How
17:28can you
17:29just die?
17:30Aren't you ashamed
17:31to say
17:32it's a beautiful day
17:33when you don't know
17:34what it's like
17:35for other people?
17:36Maybe it's beautiful for you,
17:37but that doesn't mean
17:38it's beautiful for us,
17:39because selfish people
17:40can't do that.
17:44Yuck!
17:46Well, Maria,
17:47you know he was nervous,
17:48he had to do
17:49a colonoscopy
17:50on three quarters of a cell,
17:51not half a cell
17:52like all normal people.
17:54The worst thing
17:55is that he jumps on
17:56every little thing
17:57that doesn't suit him.
17:58Maria,
17:59darling,
18:00you'll have to
18:01find a way
18:02to tell him
18:03we knocked him down,
18:04because I'm afraid
18:05he'll get scared.
18:06I'll do everything
18:07I can.
18:08I'll handle it.
18:09I'll make sure
18:10I catch him
18:11when he's in the best mood.
18:12When he's in
18:13this mood.
18:14Maria,
18:15but I still
18:16want to kiss him.
18:17What,
18:18you want to kiss Faruk?
18:19Huh?
18:21Goodbye.
18:24Sorry,
18:25I'm late,
18:26I couldn't make it earlier.
18:2730 more seconds
18:28and he wouldn't find us.
18:29Are you ready
18:30to go to the circus?
18:31Do you see it
18:32as your home?
18:33Haha,
18:34are you a little spiritual?
18:35Look,
18:36I took a little one.
18:37Goodbye.
18:38When are you coming back?
18:39In three,
18:40we're here until five.
18:41Okay,
18:42see you in...
18:43Didn't I tell you
18:44not to write?
18:45This is a free country,
18:46so writing is allowed
18:47both in the Constitution
18:48and legal acts
18:49according to the law,
18:50legal amendments
18:51and clauses.
18:52I'm writing,
18:53so I exist.
18:54What the hell are you writing?
18:55The script.
18:56He's looking at
18:57what we're doing
18:58and writing it.
18:59Well,
19:00I love you,
19:01but I can't give you
19:02the script,
19:03got it?
19:04See you.
19:05See you,
19:06have a good time.
19:07Okay?
19:08Okay.
19:17After Darko and Jay
19:21come out...
19:31Tell me, Faruk.
19:32Mare, Mare,
19:33have you seen him?
19:34I have.
19:35I'm just looking at him.
19:36And?
19:37Tell me,
19:38how does he look to you?
19:39Is he nervous?
19:40Not less,
19:41not more,
19:42but otherwise.
19:43Listen, Mare,
19:44first,
19:45you have to
19:46talk to him,
19:47and if it seems
19:48to you
19:49that he is
19:50afraid,
19:51stop the action
19:52right away.
19:53I have nothing
19:54to delay.
19:55Why do I tell him
19:56that before?
19:57It's good
19:58that you're in public,
19:59so that Vileni
20:00knows
20:01how he knows.
20:02Come on,
20:03wish me luck.
20:08Let's go, Mare.
20:11What is it?
20:12Okay,
20:13it's important
20:14that we fell in love,
20:15and now,
20:16what God gave me.
20:17Go out.
20:18I thought,
20:19if you don't mind,
20:21I had something there,
20:23so,
20:24I mean,
20:25you don't have to now.
20:27What the fuck,
20:28what happened?
20:29If you have something to say,
20:30say it.
20:31Okay,
20:32I will.
20:34Go out.
20:35I thought,
20:38I was thinking,
20:39why don't we
20:40talk?
20:41I mean,
20:42why don't we
20:43talk sometime?
20:44Not necessarily,
20:45but,
20:46not necessarily.
20:47Come on, Mare,
20:48you're crazy,
20:49I mean,
20:50why are you so confused?
20:51I'm not,
20:52I'm not,
20:53on the contrary,
20:54on the contrary,
20:55I want to say,
20:56I was thinking,
20:59there are some things
21:00that a person in life
21:01simply doesn't know
21:02whether to say it
21:03or not,
21:04and life goes on,
21:05whether to let it
21:06carry all the water,
21:07or,
21:08I mean,
21:09no one lives forever,
21:10right?
21:11Except me.
21:12That's what I'm afraid of.
21:13Mare,
21:14I don't understand you,
21:15you're the same in Chinese.
21:17Go out.
21:18I want to tell you,
21:19I have to tell you,
21:23what's that in your plate?
21:25What's that?
21:26What's that, sarma?
21:27Oh, fuck it,
21:28it's none of your business.
21:30Leave me the sarma,
21:31woman's head.
21:32I can't,
21:33believe me,
21:34it's not good
21:35to eat this sarma,
21:36although,
21:37I'm getting the feeling
21:38to let you eat this sarma,
21:39and I'll solve
21:40some of my problems that way.
21:41Tell me,
21:42what's the matter?
21:43Did I make it clear
21:44that you serve this sarma
21:45only to your guests?
21:47It's a family business,
21:48by God,
21:49not to him,
21:50take it away.
21:51What's that,
21:52good sarma?
21:53Sarma,
21:54you're a pig,
21:55like a dog.
21:56You're lucky,
21:57you didn't eat
21:58a lot of plates.
21:59This was my third plate,
22:00Bulon.
22:02Oh, my God.
22:04Excuse me.
22:08Here we are.
22:09Come on, son,
22:10tell mom how it was
22:11at the circus.
22:12Mom doesn't care
22:13how it was at the circus.
22:14Where have you been?
22:15I just told you,
22:16we were at the circus.
22:17You said you'd be there
22:18at four.
22:19No, I said
22:20we'd be there
22:21by five.
22:22Damir,
22:23we agreed
22:24to meet at four.
22:25I've been waiting
22:26for an hour.
22:27I don't know,
22:28are you stupid?
22:29Maybe I am,
22:30I wouldn't interfere,
22:31but I said
22:32we'd be there
22:33by five.
22:34Four.
22:35Five.
22:36Four.
22:37Five.
22:38Four.
22:39Five.
22:40Five.
22:41Five.
22:42Five.
22:43Five.
22:44Five.
22:45Five.
22:46Five.
22:47Five.
22:48Five.
22:49Five.
22:50Five.
22:51Five.
22:52One more question.
22:53We were
22:54discussing
22:55when I came
22:56pick up the comb.
22:57How could you
22:58write down
22:59what you talked about?
23:00My writers
23:01and I
23:02are not related.
23:03My character
23:04is totally different.
23:05My main character
23:06is not even
23:07a plastic surgeon
23:08but a ceramic surgeon.
23:09Tell us
23:10what this
23:11barbarine girl
23:12is doing
23:13She's not a late
23:14girl soon,
23:15she's Bar-Bina.
23:17Bar-Bina,
23:18Darko,
23:19and little Jake.
23:20They beat
23:21in San Remo.
23:22It's not San Remo, it's San Monte Carlo.
23:25They are like this.
23:27Darko took Barbina's baby
23:29and she asks him when he'll return it.
23:32The dialogue ends with them agreeing
23:34for a certain time when he'll return the baby.
23:37A certain time? What time?
23:39I haven't specified that yet.
23:41I'll do that later.
23:42Everything written here is...
23:44Since they didn't agree on the time,
23:47there's a misunderstanding.
23:48That's why Barbina waited for an hour.
23:51That's why they argue.
23:52That's what it says.
23:53It's just a misunderstanding.
23:54I'll do the dialogue later.
23:55You idiot, why didn't you write
23:57when they agreed?
23:58Listen, Barbina.
24:00This is a synopsis, a draft.
24:02If you want, buy the tickets,
24:04come to the cinema and find out
24:06what's going on with you.
24:15I don't get it.
24:16I don't get it.
24:17Marija wants to kill you?
24:19Yes, son.
24:20A thousand percent.
24:23Oh, brother, my dear.
24:26Look how much my stomach hurts.
24:29From Sarma?
24:30Sarma was the weapon
24:32they want to kill me with.
24:37Why is it burning me?
24:39I haven't experienced this in my life.
24:41Oh, brother, my dear.
24:43I can't walk.
24:46Grandpa, are you okay?
24:47I'm not okay.
24:49Give me a drink, son.
24:59Son, my dear.
25:00That little wind is blowing
25:03down there.
25:05It's blowing, but it's not going to do anything.
25:08If I ate the third plate,
25:11I would have a heart attack.
25:13Wait.
25:14I don't understand your conspiracy theories.
25:17You say Marija wants to kill you,
25:19but you just said she took the third plate from Sarma
25:22and didn't give it to you to eat.
25:24I think she burned it herself.
25:26Did you see how she burned herself?
25:30She could barely put together a sentence.
25:33It was clear that she was doubting
25:36whether to tell me or not.
25:40Go away.
25:41Believe me, paranoia is shooting you.
25:43What kind of paranoia when it hurts like this?
25:46Son, my dear.
25:47I remember what she told me.
25:50I quote.
25:52I'm trying to...
25:55Let me deal with Sarma.
25:58That's how I solve some of my problems.
26:00That's exactly what she said.
26:03There's no dilemma.
26:05She wanted to kill me.
26:07She prepared Sarma.
26:09And then, at the last minute,
26:11she killed me.
26:14Son, I repeat.
26:16You are paranoid.
26:18Go away.
26:19Just go away.
26:21But if your grandfather dies,
26:23know that it wasn't a natural death.
26:26She begged me to live in this house
26:30alone with Faruk.
26:34Hey, old man.
26:37What's up?
26:39Tell me, what's up?
26:41Did you fight with Mario?
26:43Unfortunately, I did.
26:45Did you talk?
26:47We did.
26:49Terribly.
26:50I can't sleep a day.
26:52My stomach is turning upside down.
26:55Well, yeah.
26:56Your stomach is aching from everything, right?
26:59A little, son. It's aching.
27:02Just so you know, dad.
27:04Dad, I have nothing to do with it.
27:07I know, son, that you don't.
27:09Wait, stop.
27:12You knew about her plan?
27:15I knew, but I kept it to myself.
27:18Because I could never do that to you.
27:21And you let her do it?
27:24What could I do, dad?
27:26You know how it is when something happens to me.
27:28You could at least give me a sign.
27:31And not send me to a certain death.
27:34Come on, old man, don't exaggerate.
27:37No, no, no, that's not true.
27:39I can't believe it.
27:41My own son knew what the witch was doing
27:45to his own father,
27:48and he didn't tell me anything.
27:50Don't be like that. She's not a witch.
27:53She just wants the two of us to live alone.
27:56What's wrong with that?
27:58I'm going to the hospital.
28:00You're going to the hospital?
28:01If it's not a hospital, it's just a grave.
28:04Look, dad, I told Maria.
28:07I even lied to her.
28:09Maria, I'm begging you.
28:11I'm begging you to make it as painless as possible for dad.
28:14Painless?
28:16We didn't want to hurt you.
28:18So you didn't agree to drag me
28:21and throw me into the septic tank, did you?
28:24What do you mean, septic tank?
28:27If I were you, I'd find a waitress for you.
28:31Yes, yes, you gave up on the septic tank
28:34and decided to poison me.
28:37Wait, stop. What kind of waitress are you talking about?
28:40You stop.
28:42What kind of poison are you talking about?
28:44Go to hell if you don't know anything.
28:47I don't give a damn.
28:49You know what?
28:51I'm going to call the police.
28:53What kind of police?
28:55Leave the phone.
28:57What kind of police? What kind of shame?
28:59Leave the phone.
29:01Attempted murder.
29:03Shame is a serious offense.
29:05You don't know what you're talking about.
29:08Do we just need the police?
29:10You're wrong.
29:12For this, you'll be in prison for 10 years.
29:15Okay, I won't call the police.
29:18Only on one condition.
29:20What condition?
29:22That we no longer live together.
29:24Come on, my dear.
29:26That's what Maria and I want.
29:28That's our goal.
29:30Let's get along like people.
29:33That's right.
29:35That's right, daddy.
29:37Now you're talking like a sensible man.
29:40Great. No hurry.
29:42There's no hurry.
29:44Take it easy.
29:46If not today, then tomorrow.
29:48Why should we take it easy?
29:50Pack up slowly.
29:52Don't be in a hurry.
29:54Just go as soon as possible.
29:56Otherwise, I'll call the police.
30:00Wait a minute.
30:02Why should we go?
30:04Barbina turns around and leaves.
30:07Darko looks after her and lets go of one heavy man.
30:10The heaviest man.
30:12He blows out the gas he has in Maramica.
30:15Darko whistles after him.
30:17Darko, two dots.
30:19Take care of him.
30:21Take care of Jeya, too.
30:23And tell them about me.
30:25The camera is moving.
30:30Oh, my God, what a dark script.
30:35It's not what I wrote.
30:38I really wrote it.
30:40Hey, man. What's up?
30:42Where are you, mentor?
30:44I'm hanging out with a friend.
30:46I wrote a script for a play.
30:48It's a play with elements of drama.
30:51Shut up. You wrote it?
30:53100% of the people who read the script say it's great.
30:58How many people have read it?
31:00I'm the only one who read it.
31:02I really liked it.
31:04I want you to let me read it.
31:06And we'll split the 100% right away.
31:09Of course, my friend.
31:11I wrote it by hand.
31:13It's not a big deal.
31:15You know what?
31:17I'll cut it out so you can read it in peace.
31:21So, you two were thinking...
31:25I'll move out of here.
31:28No, I have nothing to do with it.
31:31I'm his observer.
31:33You're his enemy.
31:36I totally agree with you.
31:39Well, kids, is there any news for you?
31:43There's no way I'm moving out of here.
31:48You have to turn your head.
31:51I'm not moving out of this apartment.
31:54Wait a minute.
31:56I didn't mean to interrupt.
31:58But I want to say something.
32:00Finally.
32:01Maria is the owner of the apartment.
32:05And from a legal point of view,
32:08the legal power is on Maria's side.
32:11She can fire me and you.
32:14You know I studied law for two weeks.
32:17Don't tell me...
32:19And not only that,
32:21I was the best student of those two weeks.
32:24Now we'll see how things stand on the legal side.
32:30With a real lawyer.
32:33Hello?
32:35Who is this?
32:37Oh, it's you, Maria.
32:39Listen.
32:40I need your legal advice.
32:42If someone lives in the apartment for several years,
32:46can the owner throw him out on the street?
32:51Aha.
32:52So, ten years.
32:55If you live in the apartment longer than ten years,
32:58the owner can...
33:02I see.
33:03I understand.
33:05Thank you very much.
33:06You helped me a lot.
33:08Goodbye.
33:09Well, my dear children,
33:11I've been living here for a little longer than ten years.
33:15About fifty years.
33:18God, this Mariophile is a par excellence lawyer.
33:23Here's the camera.
33:25Here you go.
33:26I'm going to do some business here.
33:29What about the camera?
33:31He said you'd take a picture together with your idea
33:36that I move out of this apartment
33:39and that it's nice to live in.
33:43I'll move out of this apartment tomorrow.
33:50Well, Maria, let's take a picture.
33:53Let's go.
34:01Look at him.
34:02Stop it, Mentor!
34:04Look, I brought you the script.
34:07What was it, Pupo?
34:08I told you about the script.
34:10We made a deal.
34:11I can't wait for you to read it.
34:13I want to hear what you have to say.
34:15Come on, read it. I'll be here.
34:18Give me the script.
34:21Here's the script.
34:23It's just a page of text.
34:26I'll make it shorter.
34:28A script should have a hundred pages,
34:31at least ninety.
34:35So, in this world, there's no lay bread, death, I eat you.
34:40Lay bread what?
34:42Lay bread, death, I eat you.
34:45Get out of here, I'm going to eat you.
34:48Today, we're going to prepare a cold section.
34:51How's the shooting going?
34:53Do you know what he did?
34:55He took the script and wrote that in every scene,
34:59Don Juan smokes.
35:01He smokes one after the other.
35:03He smokes five cigarettes at a time.
35:05So?
35:06As soon as I say action, he takes it and lights a cigarette.
35:11Who?
35:12He's smoking on set, just like Chiroki the Indian.
35:17Faruk, did you ask him about us?
35:21Yes, Maria.
35:23We had a long and extensive conversation.
35:27And?
35:29He told me that he doesn't want to move out,
35:33but that he wants to live here with us,
35:36so that we don't notice him at all,
35:39and that he'll be a peaceful man.
35:47He's not a peaceful man, he's a scoundrel.
35:54Dad, I've decided, I'm moving out.
35:57My dear, I'm so happy for myself.
36:01Dad, you mean for me, not for yourself.
36:05No, no, I'm happy for myself.
36:08I'll finally have this apartment all to myself.
36:12But dad, Moamer and I have decided to live here,
36:16and you're moving out.
36:19Moamer?
36:21Moamer from phase C?
36:23Yes, Moamer from phase C.
36:25I've decided to marry him.
36:28But I can't, dad.
36:30I was in a relationship with his mother.
36:34Moamer is your half-brother.
36:37To hell with you, dad.
36:39I'll have to marry Nikola.
36:41No, no, I can't do that either.
36:44I was in a terrible relationship with Nikola's mother,
36:48and he's your half-brother.
36:50Well, those who cut down trees,
36:53and don't let them die,
36:55can't do that.
36:57He just jumps and screams,
37:00and that's when he completely
37:03harasses and harasses a man.
37:06Mom.
37:08What does that little witch want?
37:11Thank you, mom.
37:13It's nothing, Duda.
37:15Dad told me I can't marry Nikola or Moamer.
37:19They're both my half-brothers.
37:23What are you saying?
37:25I can marry Moamer and Nikola.
37:29Bye.
37:31She told me I can't marry Nikola.
37:34Because you're not my father.
38:04THE END