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01:00I don't know how they're going to find me.
01:02I'll change my name at the hotel, of course.
01:04I'm a new owner, I can't make any changes.
01:07Right.
01:08How do you say it?
01:10Hotel Dahlia.
01:13What?
01:17Do you think they'll understand what an owner is if you say Hotel Dahlia?
01:20They won't understand from me.
01:21From the hotel?
01:23Dahlia is a lot then.
01:25Why don't I have a tape recorder to record them?
01:30What?
01:33Ah!
01:34You said it!
01:36But you...
01:38Yes?
01:39You thought of everything.
01:40Bravo!
01:41That's why they call you MacGyver.
01:42That's why.
01:53I saw it in my sleep, I was holding a gun
01:56and a lot of thieves were passing by me
01:58and in the storm and in the snow
02:01I was shooting and making shots
02:03and I was an angel of Charlie, of Charlie, of Charlie
02:06I was wearing golden earrings in my boots
02:09and I was an angel of Charlie, of Charlie, of Charlie
02:12I was chasing thieves in the mountains
02:20I saw it in my sleep, I was drinking tea
02:23and the boss was calling me
02:25and he told me how much he loved me
02:28and how I was going on a trip to the Pacific
02:30and I was an angel of Charlie, of Charlie, of Charlie
02:33I was wearing golden earrings in my boots
02:36and I was an angel of Charlie, of Charlie, of Charlie
02:39I was chasing thieves in the mountains
02:55Hello.
02:59Yes.
03:09Did you buy all of that?
03:11It's enormous.
03:14How do you remove polyol?
03:16I'm telling you, it's amazing.
03:18You enter the place and perhaps you're impressed
03:20by how I remove polyl.
03:22Why didn't you ask her when you first went to Parthenon?
03:26She didn't have a door.
03:30Look how dressed up everyone is.
03:33Let's not separate.
03:35Why didn't you tell me to dress up?
03:37We separated more.
03:39I feel like Beth Logan when she went to Forrester for the first time.
03:43Michael Thorne!
03:46Kid, two more champagnes, please.
03:50And strawberries, because they ran out.
03:52Put all the quesadillas, don't be shy.
03:57Hi, I'm here.
03:59Are we upstairs, in the pool?
04:00What did they tell you, kid?
04:02Is that why you brought us here? To hang out in the pool?
04:04Did you bring the papers from the dentist?
04:06Or did you forget about the champagnes and the physiotherapy?
04:08First look at the room and then talk.
04:10We're not in the pool like you.
04:12We're here for a mission.
04:15Where's the other one? I need to get her.
04:25The champagnes are great.
04:27Do you like the soup?
04:29You don't have any cream? Have some cream.
04:33Fedon brought us some red cream from Drama 1.
04:39I've never had better wine.
04:41You don't know what they put in it.
04:43Let me tell you something, kids.
04:45I only enjoy these simple daily pleasures with you.
04:48I've never been alone in our house, in the pool.
04:51Ever since I met you.
04:53And don't you think, before we met, we were bored.
04:57When they invited me to the mayor and the palace, I said no.
05:00Isn't the view amazing?
05:02With the Parthenon.
05:03Yes, it's good.
05:05Be careful, of course, that it doesn't have a door.
05:08When I said that...
05:10It's amazing.
05:12In my opinion, it's an overrated building.
05:16What?
05:17People prefer it.
05:19Really?
05:20I prefer pyramids.
05:22Have you been to Zoubi?
05:23Where is it?
05:24Can you see it from here?
05:25From the back balcony.
05:26I can't get up now.
05:27I've been there when I was a kid.
05:29These are old buildings.
05:30They don't have windows, of course.
05:32Why do they build them like that?
05:34One doesn't have windows, the other doesn't have doors.
05:36They wouldn't have discovered the vaults.
05:39I'm getting dizzy.
05:40From the drink?
05:41From the discussion.
05:42Let me tell you.
05:43Enough with the ancient architecture.
05:45The drink has hit you in the head and you don't know what to say.
05:47Come on, let's go inside, we have work to do.
05:49You used to call me Psonio.
05:57Santahionia.
05:58What's up?
05:59I'm fine.
06:02You won't leave again, will you?
06:05Yes, I quit.
06:08Everything went well.
06:10Did you get him ready?
06:13Him and his brother.
06:15He had a brother?
06:18What does the old man say?
06:20Did he find out about the accident?
06:22No.
06:23Will you tell him?
06:25Me?
06:26Tell him what?
06:27I don't know anything.
06:29He'll try to clear you up again.
06:32I know.
06:34That's why I have to find those five, no matter what.
06:37Has Makaritis found out?
06:40What if I tell you?
06:42What?
06:44I went to his house after the accident.
06:46I found strange things.
06:48Ropes, blood.
06:50And what does that mean?
06:52I don't know, but I can't get it out of my head that I moved faster than I should.
06:56I had to watch him first, learn all his movements.
07:00And then I had to send him to Paris.
07:02Maybe you didn't make it.
07:04And you were in his place now.
07:07You did well.
07:09Don't think about it.
07:11As for those five, we'll find a solution.
07:14How?
07:15We'll find it.
07:17Someone else has to take care of you right now.
07:21What?
07:22Don't let someone else kill you.
07:27Do you know I don't sleep at night?
07:29You have to tell him.
07:31Tell him what?
07:32That you know what I was planning.
07:34That you know how I was going to kill you.
07:36What?
07:37You're under attack.
07:38Show him your teeth.
07:40Show him that he needs you.
07:43If you're going to be so passive, tell him what you did.
07:48That you killed the other two.
07:51Only then will he trust you.
07:53If you make him afraid of you...
07:56He's not afraid of anything.
07:58He is.
08:00It's the truth.
08:02In the first and second rentals,
08:05the same name is mentioned.
08:08Kastelis Konstantinos.
08:09That's him.
08:10He killed her.
08:11Go get him.
08:12What? You're not coming?
08:14Martha!
08:15Come here. I need a favor.
08:17Stop it, Maria.
08:19We just found a fake ID.
08:22Martha!
08:23It's invalid.
08:24We don't know if this face exists or if it's fake.
08:28We'll start with the hope that it's not fake.
08:30We'll start with the hope.
08:32Where do we end?
08:33Zoumboulia Groussouzevis.
08:37Not this one again.
08:39Who is it?
08:40I'm coming.
08:42Yes?
08:43I haven't decided yet.
08:46Should I think about it today and call you tomorrow?
08:50Okay.
08:51Okay, bye.
08:53Who was it?
08:54From work.
08:55About the pots.
08:56What pots?
08:57I sell pots from house to house.
08:59I went yesterday and I didn't see him.
09:00I'm not sure.
09:01I found something else this morning.
09:03I share advertising from pizzerias.
09:05I like both.
09:07I would say yes to both.
09:08Can't you combine them?
09:10What should he do?
09:11Share pots in pizzerias?
09:12Does it exist?
09:13Come on.
09:14That's enough.
09:15How many Kastelis are in the list?
09:1762.
09:18With the name Konstantinos.
09:19Leave Konstantinos.
09:20It could be a son and the phone number is his father's name.
09:23Or the opposite.
09:24Exactly.
09:25Let's not exclude anyone.
09:27From what?
09:28From our researches.
09:29Ah!
09:30We'll research again.
09:32I like our researches.
09:34Stop it!
09:35And we'll research 62 Kastelis in Athens?
09:38That's the plan.
09:39I see.
09:40I see.
09:41Nice plan.
09:42And then we'll go somewhere else.
09:43Kastelis in Larissa, Kastelis in Trikala, Kastelis in New York.
09:45Perfect.
09:46I've never been there.
09:47In New York.
09:48In Trikala.
09:49What's New York?
09:50In New York I have a...
09:51Sky is gray.
09:53And we have to find an excuse to go to all of them.
09:56And we have to wait for everyone.
09:58To talk to them.
09:59How are we going to find out which one of them is involved in the accident?
10:06The pots!
10:09I'm glad you finally decided.
10:11Because a girl has appeared to you.
10:13And that matters a lot to our work.
10:15Thank you.
10:16Of course, you have to reconsider some things in your appearance.
10:19What things?
10:20You have to be more feminine.
10:22What do you mean?
10:23First of all, the shoes.
10:24What kind of shoes are these?
10:25Are you going to wear heels?
10:26I don't have heels.
10:30We'll bring you another time.
10:32Tell her to accept it.
10:33If she doesn't accept it, I'll buy the company and I'll fire her.
10:37That's right.
10:38You have to charm the customer.
10:40You have to hypnotize him.
10:41And for God's sake, don't let him talk.
10:44I'll make him angry.
10:45You have to talk all the time.
10:46If the customer talks, it will be only to express your opinion.
10:51He will never say anything good about the product.
10:54So, make sure he doesn't talk at all.
10:57We don't want the opposite.
11:00The first contact.
11:01What happens on the phone is very important.
11:04He has to believe from the beginning.
11:06In order to open his house and make an appointment,
11:09you have to win him over on the phone.
11:11And then you won't have the appearance with your presence.
11:14He won't see you.
11:15So, in this conversation, you have to be very sweet and gentle.
11:20We're saved.
11:21Good, good.
11:22When do I start?
11:26So, as we said, we pick up the phone.
11:29The first thing we tell them is that they have won a set of pastas.
11:32Pasta dishes, that is.
11:34That's what they're looking for.
11:35And then we tell them the fairy tale about the appearance.
11:38Nice.
11:39We start to clean the pots.
11:42Have you read anything? Because I haven't.
11:44I couldn't, because it was very difficult.
11:46These are stainless steel pots.
11:47They are made in Norway by the number one cooking industry in Europe,
11:50with exports to America, Australia and Japan.
11:52They have a two-year warranty.
11:54They are easy to wash.
11:55They don't stick, thanks to the traditional coating with HN3,
11:58a material that protects them from scratches, hits, walls...
12:00Enough!
12:03Aren't you going to tell me?
12:04Will each one of them pick up the phone somewhere else?
12:06Until we get the set, we'll call once.
12:08We'll hear the voice and we'll act accordingly.
12:11You pick up the popular ones and the women of the village.
12:14I pick up the difficult ones and the difficult ones.
12:17And the women of the village pick up the Italian ones.
12:19Perfect.
12:20I pick up.
12:22Why do I pick up the women of the village?
12:29Hello!
12:30Congratulations!
12:32You just won a set of pasta dishes!
12:35Is that you, Eleni?
12:38I see you every day, Eleni.
12:40I want a plate of pasta dishes.
12:43Yours.
12:46Bye!
12:57I think you're on the wrong track, young man.
13:00Why do you say that?
13:02If you tell me to go out on the streets and sell pots,
13:05you're supposed to be looking for the killers of a girl.
13:09Yes, but I explained to you that these two could be connected.
13:12I believe you.
13:13And congratulations for discovering it.
13:15Your mistake is that you're not on the right track.
13:18You leave the murder and go elsewhere.
13:21Like your sister, who hasn't decided what she wants to be.
13:24Actress? Singer? Dancer?
13:26Right now, she's doing Madonna.
13:28And right after that, she'll start singing the song of happiness.
13:33I thought you'd find it smart.
13:36You have to continue from where you stopped.
13:40From here.
13:43What's this?
13:44You're looking for the killers, and you don't know who they are?
13:48Where did you find the photo?
13:50I went to the newspaper archives by myself and searched.
13:53Why?
13:54To help you.
13:56And I didn't just find this.
13:58I found more.
14:00What more?
14:01I don't know.
14:06Well done, my dear. It's very tasty.
14:08Thank you.
14:09Do you like your mother?
14:15Now that you're alone, why should you eat what's ready?
14:19When is your grandmother coming from the elementary school?
14:22Next week.
14:23You told me about marriage. Did she go?
14:25About marriage?
14:27You're a dreamer.
14:30What did you say, mother?
14:32She's getting married.
14:35Her sister's grandson is getting married.
14:38Why didn't you go?
14:40I was in a hurry.
14:41I wanted to go, too.
14:43Why are you in a hurry to go to the elementary school?
14:46You should stay here and get well.
14:48You think I'm in a hurry?
14:50After the adventure you had, you're not in a hurry to travel.
14:54First of all, you don't like marriages.
14:56Who said that?
14:57Don't you remember?
14:58You didn't want to come to my wedding with Vassilis.
15:00We forced you to come.
15:02Theopoulos has seen it, and I remember it, too.
15:04What are you talking about?
15:05I wouldn't go to my son's wedding.
15:07You didn't want to come.
15:10If I didn't go, we wouldn't get married.
15:13Because what did I say?
15:15I didn't understand.
15:16Better.
15:19But it was a nice wedding.
15:21And of course, I have to say it.
15:23The mother didn't go out.
15:25She invited a lot of people.
15:27For a performance.
15:29The church was full. Do you remember?
15:31Yes, yes.
15:32It's a pity that this happened to the orphan.
15:35Who?
15:36Don't you remember?
15:37He had a stone in the rice that we gave to the world.
15:40He didn't take it.
15:41He threw it and hit him in the buttock.
15:43The bad man.
15:45I wish he didn't die.
15:47He changed his position at the last moment.
15:49What does he have to do?
15:52He should have kept the stone.
15:54What?
15:55Theopoula.
15:57Should I bring the sweet?
15:59Yes, yes. Go, go.
16:01I'll be right back.
16:12I have to go to Aktel.
16:13I have to go to the municipality.
16:15Come on.
16:16You'll be back in a week, Theopoula.
16:18Don't make her feel bad.
16:20Why did she leave?
16:22She found out that Kondi is pregnant.
16:24How can I find out?
16:25Ask her.
16:26I don't ask such things.
16:28If she came, she'll say it herself.
16:29Of course, Kondi will have a baby.
16:32They'll lock us up everywhere.
16:34What a shame.
16:40Here it is.
16:42Nice.
16:44Bye.
16:45Aren't you going to eat?
16:46I don't want to.
16:47I'm going downstairs.
16:48Eat it yourself.
16:49I made it for you.
16:51I don't eat sweets because they make me fat.
16:53Eat as much as you want.
16:54You don't have to be fat.
16:56God will be sad and you'll throw up.
16:58The truth is, now that I see him,
17:00I'm a little drunk.
17:01What?
17:02Bring it here.
17:06Oh, I took it and I didn't have time to give it to you, Spiro.
17:09It's okay. I didn't want to.
17:12Spiro, I want to ask you something.
17:15About what we were talking about?
17:16Yes.
17:18Look, Garoufalia, I can't tell you more.
17:21The truth is, yes, Theopoula...
17:24they did go.
17:25That's exactly why we should go to the police.
17:27There's no need for that now.
17:31I wanted to ask you something else.
17:33Does it have to do with my mother's release?
17:36In a broader sense, yes.
17:38What?
17:41Would you ever buy pots from a flea market?
17:45What?
17:47We went to Makaritis' office.
17:49Yes.
17:50We also went to his house,
17:51where they were about to catch us.
17:53You ran me through the stairs to the cabin
17:55to play beach volleyball.
17:57We spent the night in Zana's office.
18:00We ran through the streets to the bank
18:02for someone to knock on the door
18:03and give the keys to Amalia.
18:04Do you remember that?
18:05Yes.
18:06What's the first thing that comes to mind?
18:08We went up to the rooftops,
18:10we pulled strings with the secretary of the minister,
18:12I don't even remember her name.
18:13Elena.
18:14But of all the plans you've come up with,
18:16this is the most stupid one,
18:18by far.
18:19Let's go.
18:35Yes?
18:36Yes, hello.
18:37From Lander.
18:38I called you about a set of pots and a set of pasta.
18:43Thank you. Is it open?
18:45Yes.
19:01I liked it better when we went to get some clothes
19:03and hid in the caravan.
19:12With the sound of music
19:16With songs they have sung
19:20For a thousand years
19:22How did you find all this?
19:24I told you, I looked for it.
19:26I didn't want to steal your joy from your own discoveries,
19:29but I couldn't leave you on the wrong path.
19:32My heart wants to sing
19:34Every song
19:36Who are you talking to?
19:37Spyros. He must have come from here.
19:38Let's see what we can do.
19:40Iota, my pharmacist, said it's the best.
19:43That's what you should do.
19:45Theopoula, leave me alone. I can't find my phone.
19:50Yes?
19:51Come on, Spyros, light me up.
19:52Come on.
19:53What time are we going?
19:54Come on, straight to the channel.
19:55To the channel?
19:57Theopoula!
20:00Aren't we going to see what the others are doing?
20:02Come on, I'm telling you, it's urgent.
20:04All right, all right.
20:05Come on, bye.
20:11I wanted to see Iota's face
20:13when you went and asked her for a pregnancy test.
20:16I told her it was for you.
20:25He's gone.
20:26Wasn't he?
20:27No.
20:28How many of us are here now?
20:29Twelve.
20:30Are we up to sixty-two?
20:31Not yet.
20:32Where's the next one?
20:34I don't know.
20:35I'll call you later.
20:40Come on.
20:47Marie!
21:10Come on.
21:40Come on.
21:53I don't want you to get in trouble.
21:55It might be my idea, but I think someone is following us.
21:59That's exactly what I meant, don't get in trouble.
22:01Who?
22:02I don't know.
22:03There's a car behind us.
22:05What are we going to do?
22:07Nothing.
22:08We're driving normally.
22:09If it stops where we stop, we're in trouble.
22:13Can you hear it back there?
22:33Was that it?
22:34Yes.
22:36It's gone.
22:37Look.
22:45Marie!
22:49That's it.
23:06It's back.
23:08Where do I start?
23:09Wherever you want.
23:10Just don't fall.
23:12Come here.
23:13Come here.
23:14Take this.
23:15Take this.
23:16What?
23:17Let's go.
23:22Isn't that the boss?
23:24Yes.
23:25What does she want?
23:26What are you doing here?
23:28Are you crazy?
23:29I thought you were going to Haidari and Peristeri.
23:31I've been watching you since this morning.
23:33You've been all over Athens, except for the areas you had to go to.
23:36I wanted to go to other places.
23:38Does it matter?
23:39I was about to tell you.
23:40Give me the bag.
23:41You're fired.
23:42What?
23:43What you heard.
23:44Give me the bag.
23:45If you take the bag, what are we going to do?
23:47We have a mission.
23:48I'll sell it, don't you want it?
23:50What's your problem?
23:51Why?
23:52Did you sell it?
23:53Yes.
23:54To whom?
23:55To her.
23:56Really?
23:57Did you buy it?
23:58Girls say that.
23:59How many did you buy?
24:00All of them.
24:01All of them?
24:02All of them have 1,000 euros.
24:05Two MOVs.
24:06Are you kidding me?
24:08All this money is for two MOVs?
24:14Here you go.
24:15Take it and don't bother us anymore.
24:17You followed us and my soul went to hell?
24:20It's my job.
24:21Who else was watching you?
24:23Murderers, rapists, extortionists.
24:24We know so many people.
24:26And after you bought them, why are you still here?
24:28To show them to my friends.
24:30And who are they?
24:31I'm her friend and I see them.
24:33Very nice, very nice.
24:36Do you understand?
24:38Get out of my way now.
24:40And bring a 10% deposit.
24:42Didn't you say?
24:43Get out of my way.
24:44Go ahead, I'm coming.
24:46I'm going to kill you.
24:50Anyway, if you don't mind, we're having a great time.
24:56The man who killed this girl was arrested.
24:58When?
24:59A little while after the murder.
25:01He has been arrested and sentenced to life imprisonment.
25:04In 1976.
25:06Here it is.
25:07There is also his name.
25:09Venatopoulos Gerasimos.
25:12So who are we looking for?
25:14Maybe we're looking for him too.
25:16Since you tell me, they've arrested him.
25:18What can I tell you? I don't know.
25:20I read everything I could find about this case.
25:22The truth is that I didn't look at all the newspapers of the time,
25:25but what I found is also important.
25:28Are you sure?
25:30Do we know where he could be now?
25:32Either in prison or...
25:33Or he's dead.
25:34Or he's out of prison after 20 years.
25:36And who knows?
25:38Maybe he's the one who killed Stavrianidis.
25:40For what reason?
25:43I don't know.
25:44I don't understand anything.
25:47Uncle?
25:48Not now, Frida.
25:49I want to ask you...
25:50I said not now, Frida.
25:52When will you get married?
25:53I'm preparing a ballet night, uncle.
25:56And where is the rest of the ballet?
25:58Did you eat it?
25:59He called me fat!
26:01Frida, go away, please. He didn't call you fat.
26:03Fine.
26:09Did you talk to the others?
26:10In the morning.
26:11They've taken to the streets with the kitchen utensils.
26:13Great.
26:14We have to find Venetopoulos.
26:16Maybe they should stop going to the castles
26:18and catch Venetopoulos.
26:20Oh...
26:21Tell them that now.
26:24Are you Venetopoulos?
26:26Yes.
26:27I'm sending you to someone who might know.
26:31Who?
26:32Wait, I'll make a phone call first.
26:43Welcome.
26:47You seemed strange on the phone.
26:51Was it necessary for me to talk to you about this?
26:56You have no idea what's going on.
26:58He hasn't been answering for two days.
27:00And he's never going to answer you.
27:04Why?
27:05Because he's not alive.
27:08What's going on?
27:12I'm running.
27:14What?
27:16How?
27:17As you told me.
27:19What?
27:20I've done so many services for you.
27:25I thought I'd do one for myself this time.
27:29What do you mean?
27:33I mean it was the only way to save my brother.
27:38You're kidding.
27:41I brought him to help you.
27:43Where did you get the idea?
27:45Exactly where you got it.
27:48I overheard you offering him the triple amount of money
27:51so he could catch the five of us first and then get rid of me.
27:56So?
27:59I didn't do well by leaving him without a break, did I?
28:03It's the last one for today.
28:04Then we're going home. You promised me.
28:06If you hadn't been so late, we would have been done by now.
28:08Who's late, Marie?
28:10We have time to go and talk to the guy.
28:12To see what he's up to.
28:13That he came to Athens.
28:14How much time does he need?
28:15Doesn't he need a little time?
28:16How do we know he's the one we're looking for?
28:18Okay, but if I didn't like the house, I'd give him the money.
28:21Why didn't you tell them?
28:23Good morning.
28:24You've won a set of pastas.
28:26Is there a Mr. Kastelis living here
28:28who was once involved in a company that made money from the world?
28:31The 90s?
28:33Come on, Marie.
28:34Don't you have a brain?
28:36Is that why you're always tired after a minute?
28:40How many houses have you been to?
28:42Not many.
28:43We have to go again.
28:44We have to go.
28:45I'm not coming.
28:46She's going.
28:47She made a mistake.
28:48She's going to fix it.
28:49It's been a failure all day.
28:52The only good thing is that I left early and didn't see Dracula.
28:55Lia!
29:01Why, God?
29:02She's an antichrist.
29:03She's torturing me.
29:05She didn't say anything.
29:06She knows enough so far.
29:07Lia, what are you doing here with the pot in your hand?
29:10I'll tell you, Marie.
29:12Engella got a new job and we're helping her.
29:15She's selling some rust-free pastas from Norway.
29:18Lia, are you serious?
29:19What rust-free pastas and what Norway are you talking about?
29:22Is it possible for me to go around the center of Kolonaki with a pot in my hand?
29:27Why don't you do it?
29:28Do you want to embarrass me?
29:30There you go again.
29:31Why do I like to embarrass myself?
29:33Don't you embarrass me?
29:34Don't you say that we accepted and opened our house
29:37so that you and your daughter could come down from the mountains?
29:39You talk too much.
29:40And what about your great-grandfather, Marinella?
29:42I'm not talking about my great-grandfather, Lia.
29:45Look at the situation.
29:47Engella and Toti are coming wherever they are.
29:50Do you want us to hit you with the pots on the road?
29:52Engella and Toti are coming wherever they are.
29:55Do you want us to hit you with a frying pan on your head?
29:58Are you threatening me?
29:59No.
30:00I'm being nice to you.
30:01Because I was supposed to give you the pot, which is heavier.
30:10I was supposed to give you the pot, which is heavier.
30:26Do you know that if I want to, I'll kill you right now?
30:30You won't do it.
30:31Why?
30:33Because you don't care.
30:35I've taken my measures.
30:38If something happens to me,
30:40at the same time, a letter will arrive in all the newspapers of the country
30:43that will say everything I know.
30:46And about the crime in Thessaloniki,
30:48and about the scandal in Exeter, and about everything else.
30:53You shouldn't have done this.
30:55You shouldn't have betrayed me.
30:58I've endured a lot, Lia.
31:00Much more than I was willing to endure
31:03when I decided to host you.
31:06You mean to bring me as a waitress?
31:08I inform you that all the waitresses I had
31:11underwent a thorough examination before entering the house.
31:15Unfortunately, I couldn't do the same with you.
31:18You took care of me, mother and daughter.
31:20You took care of my son.
31:21And you brought me as a first-time waitress.
31:23What did she want to tell us now?
31:25I'm tired.
31:26Should I listen to her?
31:27Should I listen to her? Should I walk?
31:29Zumbulia was right.
31:30The plan was wrong.
31:32We weren't going to discover anything like this.
31:34Should I tell the kids to stop?
31:36We're here now.
31:37Here it is.
31:38Let's go here and then...
31:39I think I've made a mistake here.
31:41Should I come too?
31:42We're not sitting in this street.
31:44I think your son, Straboulia, would get along better with my daughter.
31:47You won't catch my son in your mouth again.
31:50And you won't catch my daughter in your mouth again.
31:53And besides my son, you won't catch me in your mouth again.
31:56And you won't catch me either.
31:58Fine.
31:59And what are we going to say then?
32:02Brr!
32:03Girls, we're going in.
32:07Be careful.
32:08You pay for it.
32:10Brr!
32:14Brr!
32:22Where are we?
32:23I'm so confused.
32:25Don't let them in.
32:28It's over.
32:30After today, I'm leaving.
32:32I'm going back to my village.
32:46Good morning.
32:48Good morning.
32:53Oh, you know...
32:56I told you on the phone.
32:58I'm not interested.
32:59Don't you like cooking?
33:01It's not that, but...
33:03I'm a single woman.
33:05Why do I have to cook so much?
33:07Aren't you married?
33:08No.
33:09Because the fortune teller said Konstantinos Kastelis,
33:12you said he was your husband.
33:14No, no, I have a father.
33:16Who doesn't live here?
33:17No.
33:18He's dead.
33:19Ah, a sad story.
33:22How old is he?
33:23Seven.
33:24And you left his name in the fortune teller.
33:27And a friend of mine.
33:29Her father was a doctor.
33:30And even though he doesn't live anymore,
33:32the fortune teller writes his name on the outside
33:34and the doctor on the inside.
33:36That's how it is.
33:37Some things don't change.
33:43So, you live here alone?
33:46Absolutely.
33:48A big house for a person.
33:50It's big.
33:52Well done, well done.
33:53You have it clean.
33:55Really?
33:56We're the landlady.
33:58Right.
33:59And on top of that, is there more?
34:01Yes.
34:02This is my dream.
34:04To make money and buy an old two-story house
34:07and make it the way I want it.
34:10I wish you could make it, my dear.
34:12I'm sorry for my indifference.
34:14I'll tell you.
34:15Every time I enter a house like this,
34:18I want to ask,
34:19could I see it?
34:21Who?
34:22The one upstairs.
34:23Ah, the one upstairs.
34:25I've locked it.
34:26Locked.
34:27Ah.
34:28Yes.
34:29I'm a single woman.
34:31Do you understand?
34:32Could I have some water?
34:34Right away.
34:42What?
34:43She's not the only one living here.
34:45These are men.
34:52Here you are.
34:53Thank you very much.
34:57What was that?
34:58I heard it from upstairs.
35:00The cat.
35:01It must have done some damage again.
35:04You have a cat upstairs?
35:06Yes.
35:07Because you said that the upstairs is locked.
35:10A cat can have keys.
35:13What are you doing here?
35:15I won't let you appear like this all of a sudden
35:18in the square
35:19and not be able to go out the next day.
35:22As soon as they come out,
35:23you'll tell them to throw our cars
35:25into the house
35:26and then we'll have something to talk about.
35:28I have nothing to say.
35:29I have something to say.
35:31I have nothing to say.
35:33I have nothing to say.
35:35I have nothing to say.
35:37I have nothing to say.
35:39I have nothing to say.
35:42I have nothing to say.
35:44I have nothing to say.
35:50I have nothing to say.
35:52I have nothing to say.
36:02Hello?
36:03Zvoulios?
36:04I was wondering who I was going to find.
36:06Is Aros there?
36:07Yes, Spiros. We're together.
36:09We're in a hurry, too. We've got a problem.
36:10We've got a problem.
36:12It's okay. Listen to me carefully.
36:14Stop everything. We need to meet urgently.
36:16Where are the others?
36:17In a house.
36:18And I'm outside with Marinela.
36:20What is she doing there?
36:21She's getting prettier.
36:22We're outside the prison.
36:24The man who killed this girl was imprisoned in 1976.
36:27And 20 years later, when the sentence for imprisonment was abolished,
36:30he escaped.
36:32What?
36:32His name is Venetopoulos Gerasimos. That's what we're looking for.
36:35Really?
36:36My father has a friend who works in Coridalo.
36:38He sent us here.
36:40Thomas?
36:41Who is he?
36:42You. I heard you running in, Thomas.
36:44Don't remind me of that now.
36:46Let's go.
36:48And where is Venetopoulos now?
36:49No one knows. He's a rapist.
36:51That's what we need to find.
36:53Tell the others to stop. We're changing the shipping line.
36:55What do we do?
36:57You've been with me since morning. I'm a dog in one hand and a pig in the other.
37:00And I turn the whole window.
37:01And now you tell me we're going to change the shipping line?
37:03It's okay. Nothing will happen.
37:05So, see you at the hotel?
37:06No.
37:08We'll meet you here.
37:09If you want to come, you can find me here.
37:10You've been harassing me all over Athens.
37:12What's he saying?
37:13He's not going anywhere. He's drunk.
37:14Okay, we'll go. Where is he?
37:16I'll tell you. Where are you?
37:18You let an innocent man rot in prison for 20 years
37:21for a crime he never committed.
37:23For a crime you and your company committed.
37:26And now, with the same ease, you'll send me to hell.
37:29You've tripled him.
37:30I just wanted to test him to see what he would say.
37:33And you're a fool. Where are you?
37:35You went and killed him.
37:37Lies.
37:45You're afraid.
37:50You're afraid.
37:52For the first time, I see you're afraid.
37:56I'll do it.
37:58If you try to sell me again,
38:00everything will be over.
38:01If you kill me, you'll die too.
38:03And your death will be worse.
38:08Can you imagine your life
38:10if everything was revealed?
38:13And you'd be the one to suffer the greatest damage, not anyone else.
38:18We're tied to this story.
38:20We're hanging from the same rope.
38:23If you cut mine,
38:25you cut yours too.
38:29I'm sorry you got involved in this mess, Adika.
38:32It's okay. We can talk about it another time.
38:35Another time?
38:36We can bring you something you'd be more interested in.
38:39We can.
38:40And you can still have the upper floor open.
38:43Or you can have your own two-story house
38:46and not be so curious about strangers.
38:48We can.
38:49Goodbye.
38:50Goodbye.
38:52Angela?
38:53What?
38:54What's wrong?
38:59Are you going to leave or not?
39:03I'm going to leave.
39:04Are you going to leave or not?
39:07Stop!
39:09Stop!
39:14Come on, I'm not leaving.
39:24Open up.
39:26Open up, I said.
39:28I'm going to call the police.
39:32Open up!
39:35Open up!
39:59Who is it?
40:01It's Fotini.
40:02Two women have come to the house.
40:04What do they want?
40:05I don't know.
40:06Come right away. They're upstairs.
40:08Upstairs?
40:09Yes. I couldn't stop them.
40:11What happened?
40:13Two women have come to Kastelou's house.
40:18How many are there?
40:19One with thick hair and the other with red hair.
40:23A little girl.
40:25Go.
40:27Now!
40:32KASTELOU'S HOUSE
40:55What happened?
40:56Start the car. Hurry up.
41:02KASTELOU'S HOUSE