Lud, zbunjen, normalan - 182. epizoda (S7E14)
Lud, zbunjen, normalan - 183. epizoda (S7E15): (Sledeca epizoda)
Lud, zbunjen, normalan - 181. epizoda (S7E13): https://dai.ly/x91juek (Prethodna epizoda)
Lud, zbunjen, normalan - 181. epizoda (S7E13): https://dai.ly/x91juek (Prethodna epizoda)
Transcript
00:00Hmmm, this is not good.
00:10Really, it doesn't make sense to wait half an hour late.
00:14What a stupid girl.
00:15This really doesn't make sense.
00:16It's half an hour late, and you're just entering.
00:18I will lead my children when it suits me.
00:20Is that true?
00:21It is true!
00:22I won't eat only egg whites.
00:25I want an egg set.
00:27I don't want half an egg.
00:29You can't get a set of eggs, period.
00:31Then I won't even have breakfast in this house.
00:34I forgot what the taste of the yolk is like.
00:36Here, eat it, I'm worried.
00:38Who should I throw? Marshal?
00:41Yes, this is his photo.
00:43It's a pain for me to look at that bandit every time I come here.
00:46Now you've exceeded all limits.
00:49You know very well, for my confidence...
00:52Get out of there, actress!
00:55There are really few opportunities to grow up into a normal person.
01:19What's wrong with you?
01:21What's that about?
01:22It's about you, ugly, that's what.
01:24What does it have to do with me and you, ugly?
01:26What do you mean?
01:27The fact that you two are together is not good for your ass.
01:30Well, the fact that you and Barbara are not together,
01:33that's not good for your ass.
01:35You leave me and ugly alone.
01:37Come on, please.
01:39The child is totally confused.
01:41Grandfather and grandmother are in a relationship.
01:43How is that normal?
01:44That's almost normal.
01:46Get out.
01:47It's time for you and ugly to separate.
01:49You decide with whom I'm going to be in a relationship.
01:51Get out, that relationship is pure madness.
01:53Shut up.
01:54Cheers.
02:00But as things stand now,
02:03maybe your wish will come true.
02:06Do you want to say that you and ugly will break up?
02:09There are great chances for that.
02:12Shut up.
02:13There is an insurmountable ideological lie between us.
02:19Tito.
02:20Marshal Tito.
02:22I knew you would end up breaking up because of Jasip.
02:26Yesterday, my son set a very difficult task.
02:31What if I don't delete this photo from the shelf?
02:36Then I won't come to you anymore.
02:38If you love me, you will delete this photo.
02:41Either the photo or me.
02:43I can't believe it.
02:45You won't, right?
02:46I don't trust a smart heart.
02:49I could have expected everything,
02:51but that Izet Fazlinović would say no to the marshal,
02:54never.
02:56You look really crazy about her.
02:58I'm not crazy.
02:59No, I'm not.
03:00I'm not crazy.
03:02I'm absolutely crazy.
03:04I'm totally crazy.
03:06May God help us.
03:10No, save me, my dear son.
03:12No.
03:14Ruzica.
03:17My darling.
03:20Your Izet.
03:22Okay, nothing.
03:23Bye, bro.
03:24Maybe he won't go to you,
03:25but he's not very happy when I talk on the phone.
03:28Okay, I'll tell him.
03:30I remember, I remember.
03:32I know, I'll tell him that Renata wants to do an interview with him
03:37and that I have to...
03:39Look, you idiot.
03:42Did you talk to America again?
03:44I'm not crazy.
03:45Why would I talk to her in America?
03:47Do you know how expensive it is to talk to her in America?
03:50Then who did you talk to?
03:51Kufet.
03:52That's right.
03:53He has fresh ears,
03:56he has hair,
03:58he has a big mouth.
03:59I'll beat him up.
04:01Don't touch me.
04:02This conversation is about you.
04:04It's about me?
04:05Yes.
04:06Kufet and Chombe met Renata in America.
04:08She's a TV journalist.
04:10She would like to do an interview with the director of the series
04:14Don Juan from Ali Pasha's Field,
04:17but since I'm there, it's you, brother.
04:19Wow.
04:22Wow.
04:24American TV wants to do an interview with me.
04:30You knew about it, didn't you?
04:32You know what?
04:34It's not really American TV.
04:36It's for our villagers.
04:38You know.
04:39It's called The Ear of America.
04:41It's the show that airs in our language in America and here.
04:45Is that the show?
04:47What did they think?
04:48To send a journalist here to do an interview with me?
04:52What's wrong with you?
04:54They would do it via Skype.
04:57I thought it was the real American TV.
05:00I don't like these journalists.
05:03I'm afraid of the public.
05:05My hands are shaking.
05:07My voice is shaking.
05:09I have a cold.
05:12But in America, they can do it here.
05:16What's wrong with you?
05:18To give an interview is a real pussy smoke.
05:21It is a pussy smoke.
05:23For someone who has a developed brain like you,
05:26at the level of Sapace and Gage.
05:28When journalists say,
05:30you can't ask such a difficult question.
05:33It's a pussy smoke.
05:37Western, especially British, filmology
05:39is a deviation from the history of Eastern European cinema
05:42in the era of communism,
05:44interpreted through a typified ideological development scheme.
05:47What is your opinion on the accuracy of this filmological discourse?
05:53A cold sweat is pouring down on me.
05:57They ask me questions that I don't understand.
06:00Then we'll do this.
06:02We can tell Renato to send you questions.
06:04What do you mean?
06:06He'll send you questions that he thinks will help you prepare.
06:11Really? That's not bad at all.
06:14I can't believe how an imbecile
06:17can come up with such a good idea.
06:20What kind of imbecile, my friend?
06:23Tell Kufet and Combet to send questions
06:26so that the journalist can do the interview.
06:29I'll tell Kufet right away.
06:31Kufet, tell him.
06:33What does it have to do with anything?
06:35Stop it!
06:37On Skype?
06:39Talk to the Americans.
06:41Right away!
06:43Hi!
06:49My darling!
06:51You're here!
06:53I'm here? Did you do that?
06:55I did.
06:57So when we get in there, there won't be any more photos in the shelf?
07:00I'll be honest.
07:02It wasn't easy for me.
07:04My heart is heavy, but I got Marshal out of the shelf.
07:07You know there's nothing in the world
07:10that I wouldn't do for you.
07:12I'm so happy.
07:14I know it wasn't easy for you,
07:16but you proved that you love me.
07:18Oh, my darling!
07:21There's nothing in the world
07:24that could stand between us.
07:26Not even Marshal.
07:28You have no idea how happy I am
07:31that you finally saw
07:33and realized that Tito was...
07:35As you can see, my darling,
07:38I got Marshal out of the shelf.
07:41If you don't mind,
07:43there's nothing to look for in the shelf.
07:45Your word is law to me.
07:48Would you like some coffee?
07:54So, with this report
07:57on the employment of the work unit San Remo,
08:00we've finished the eleventh point of the agenda
08:03and we're moving on to the twelfth.
08:06And that's...
08:08Subjective or fluid questions.
08:11Does anyone have a word?
08:13When it comes to fluid questions,
08:15I'll make myself a fluid maxus.
08:18Let me have a drink.
08:20Well, I could be a fluid question, too.
08:27Okay.
08:29Since refreshment is served,
08:31let's continue.
08:33Damir, son, how are things with you and Barbara?
08:36Is there a war?
08:37With all the allowed and unallowed means,
08:40it's pure madness.
08:41When you didn't want to listen,
08:43and I talked to her nicely,
08:45she really told you nicely
08:47to get away from her.
08:51It didn't turn out as we planned.
08:54But it'll be better next time.
08:56I'm sure it won't go up.
09:00Here, see you.
09:02See you.
09:04You know, you're studying medicine.
09:06I want to become a plastic surgeon.
09:09That's ideal.
09:10An interest for us actors.
09:12I'm a stage artist.
09:14Third year.
09:16At the radio class.
09:19Here, see you.
09:21Hello, chief.
09:23There.
09:24See you.
09:29Oh, man, she's so pretty.
09:32Do you know if she has a boyfriend?
09:34Don't make a scene.
09:36Don't make a massacre with a motorbike
09:39in the Accord studio.
09:41Damir,
09:42get rid of these actresses.
09:45There's no bigger pain in the ass
09:48than actors and actresses.
09:51Wait.
09:52How did you meet Barbara?
09:55Don't beat around the bush, please.
09:57Do you remember what I had before
09:59I opened a video production?
10:01I do.
10:02I had a music studio.
10:04No, after that.
10:05After, after.
10:07Oh, I know.
10:08You opened a radio station.
10:10Radio Accord.
10:12Just one in a series of failed attempts
10:15of my genius Faruk.
10:17Trajla B, Trajla B,
10:19Trajla B, Trajla B,
10:21Trajla B, Trajla B,
10:23Trajla B, Trajla B,
10:25Trajla B, Trajla B,
10:27Trajla B, Trajla B,
10:29Trajla B, Trajla B,
10:31Refko and Combi are throwing bombs.
10:34Welcome to Radio Accord's
10:37first anniversary show,
10:40Refko and Combi are throwing bombs.
10:44Behind the microphone is me,
10:46that is, Combi,
10:48and our music producer,
10:50Raufik Refko Mehmed Mujkic,
10:53will play the music for you.
10:55As you can see,
10:57we already have the first phone.
11:00Oh, Faruk, your radio station
11:02was doomed to disappear.
11:04When you hired those two to run your show.
11:07What could I do, Marija?
11:09I had no one else.
11:11And when Damir met Barbara,
11:13it was my attempt to save the radio,
11:16to direct a show that would be listened to.
11:19Oh, sir, he's never directed anything in his life.
11:22Then he realized he was directing a radio drama.
11:25If the director was easy,
11:27everyone would understand the direction.
11:29Marija, don't listen to him at all.
11:31It was top-notchly directed.
11:34Except that I had actors, amateurs,
11:37and what was brilliant in that direction,
11:40this little one ruined it for me.
11:43Why are you hitting yourself, Bolan?
11:45I didn't know you were going live.
11:47Huh?
11:48You were emitting a radio drama live?
11:51Yes.
11:52That was a great, brave move.
11:56Brave and incredibly stupid.
11:59Okay, I think we're ready.
12:01How long do we have to go?
12:03Ten minutes.
12:05This is my first ever shoot.
12:07I'm nervous.
12:08I'm a student of acting.
12:10Was it Barbara?
12:13Yes. I mean, Barbara.
12:15Barbara, don't worry.
12:17Just be natural.
12:18You're talented and pretty.
12:20You'll be fine.
12:21We could go through that scene again
12:23when I walk into the room
12:25and catch the two of them in bed.
12:27I'm in.
12:28Come on, let's go, but quickly.
12:30First, you hear the creaking of the bed.
12:35Ah, ah, comrade Nagorevski.
12:38No, he's a comrade, but not a comrade,
12:41he's a comrade, that's different.
12:43Comrade.
12:44Ah, ah, comrade Nagorevski,
12:47that's what you're doing to me.
12:49Comrade, ah, ah, ah.
12:52Ah, ah, that's what you're doing to me.
12:56Ah, ah, ah, ah.
12:59Then you hear the door opening.
13:04Ah, the two of you in bed, comrade Nagorevski.
13:09How could you be with her?
13:12She's my wife, my love.
13:16Why, why with him?
13:21Love is not what it looks like.
13:24Comrade Vasjonović, put that gun down.
13:28Put the gun down, if you know God.
13:31It's over.
13:32Everything is over for me and for the two of you.
13:37Life is over.
13:39Goodbye, my love.
13:42Forgive me.
13:44No, don't shoot, don't shoot, love.
13:49Ah, I'm hit.
13:52Ah, me too.
13:54Why?
13:56Why, comrade Vasjonović, why?
14:00But who's shooting?
14:02It's not in the script that someone shoots at the door.
14:04Well, no one shoots in the script.
14:06It's that Refko and Čumbe, God forbid.
14:09What is it, moron, what do you want?
14:11I'm begging you, how?
14:13I told you nicely not to come here.
14:15Why are you coming here?
14:16Come on, untie one of the buttons, untie it.
14:18Look at him.
14:19Well, move your leg away from here, to close the door.
14:22And what do you want?
14:23What do you care who's a horse and who's not?
14:26Listen, go down to San Remo and check if I'm there.
14:30I know you're not in San Remo.
14:32Go down and tell Refko not to come here before three
14:35when the night show starts.
14:37Come on, go, go.
14:38I'm telling you nicely, go.
14:42Excuse me, please.
14:43This is a key that leads to the night show.
14:46Come on, we have to go.
14:48Yes, yes, yes.
14:49Come on, quickly.
14:50Everyone to their places.
14:52You're here.
14:53Okay, let's go.
14:55Five, four, three, two, one.
15:04Radio Drama.
15:07Love at Night in the Life of a Russian Revolutionary.
15:12Screenplay by Izet Fazlinović.
15:15Director Faruk Fazlinović.
15:18Actors Baraba Vranicki, Darko Kurtović and Izet Fazlinović.
15:25Sound effects by Faruk Fazlinović.
15:30Act I, 1938.
15:35This is a restaurant.
15:37On the train to Novosibirsk, Moscow.
16:00My dear Anaeva,
16:03who likes this black schnitzel?
16:10It's not bad, dear Vasjonović.
16:13I can tell you, my dear husband,
16:15this black schnitzel in this restaurant
16:18on the train to Novosibirsk, Moscow,
16:22is better than in many restaurants
16:24of our dear Soviet Union.
16:34Oh, is that you, dear comrade Vasjonović?
16:39What a coincidence to meet you on the train
16:42to Novosibirsk, Moscow.
16:46I am comrade Nagorevski.
16:50Do you know my wife Anaeva Vasjonović?
16:55Yes, I do.
16:59I have heard a lot about you, comrade Nagorevski.
17:03Why don't you sit down and join us?
17:06You see, all the tables are taken
17:09in this restaurant on the train to Novosibirsk, Moscow.
17:14I am very glad.
17:16I have heard a lot about you, comrade Vasjonović.
17:24I am very glad.
17:27I am very glad if comrade Vasjonović has nothing against it.
17:33Not at all, comrade Nagorevski.
17:36Here, I am pouring you some wine.
17:43What are you doing in Moscow, my dear Vasjonović?
17:47Comrade Stalin personally sent me to come to Depeche.
17:52Anaeva Vasjonović is just following me.
17:56It will be the first time I see Moscow.
17:59We are staying at the Red Star Hotel.
18:02You know, the hotel with five stars.
18:05Red.
18:13Comrade Vasjonović, I have to ask you something.
18:17Hey, old man, I really need my money.
18:20I have to pay for the examination of pathology.
18:23Oh, this is my son, Fyodor Vasjonović.
18:27He obviously needs rubles for vodka.
18:31Unfortunately, our son is an alcoholic.
18:35Yes, that's right, that's right.
18:38He constantly drinks beer.
18:41Vodka, vodka.
18:43For breakfast and lunch.
18:45And for dinner.
18:47And since Fyodor Vasjonović left the restaurant,
18:53old Vasjonović and Nagorevski continue the conversation.
19:00And you, comrade Nagorevski, why are you traveling to Moscow?
19:06I have to thank you, comrade Vasjonović.
19:10Comrade Trotsky called me to give me a phone.
19:14I will have a phone in my own apartment.
19:17Well, that's wonderful.
19:19Having a phone in your own apartment, that must be beautiful.
19:23Yes, yes, in the near future we will all have phones in our apartments.
19:29Believe me, the USSR industry is simply superior.
19:37Telephone ringing.
19:40Hello, hello, hello.
19:42And since the music from the restaurant coupe has been heard,
19:46which entertained the guests ...
19:49Don't you dare, orchestra!
19:52I don't want music when we have such an important conversation.
19:57And since Vasjonović left the restaurant, orchestra!
20:07Then, old Vasjonović and Nagorevski continue the dialogue.
20:17That is, Annela Vasjonović joins the conversation.
20:24Comrade Nagorevski, as far as I can hear, you are very close to comrade Trotsky.
20:30I was, I was.
20:33But I heard that there is a conflict between comrade Trotsky and comrade Stalin.
20:40Yes, yes, the question is who has the prettiest moustache.
20:46Ha, ha, ha, ha.
20:50This little one ruined everything with his entrance and cell phone.
20:55Paruk!
20:56Why are you hitting yourself, grandpa, tell him?
20:58Leave the kid alone, do you hear?
21:01There is no need to hit him.
21:03He's been hit since he met Barbara.
21:06Hey, that's romantic for me.
21:08So, you and Barbara would never have agreed that it wasn't that radio drama.
21:11Well, that day was crucial. The rest is a known story.
21:15The rest is a disaster.
21:18What are you talking about, Bolan, like you're any better with women?
21:22Oh, have you seen what the daily schedule looks like?
21:25Tito's Museum of Revolution!
21:27We'll talk about that in the next session.
21:30Really, Izete, you never told us how Ruža reacted when he was brought into the museum.
21:37She was waving at Josip.
21:39She was a little squirrel.
21:44Izete, what is this supposed to mean?
21:47What do you mean, what is this supposed to mean?
21:49You said you were going to throw the marshal out of the shelf,
21:51and I threw him out, I don't see where the problem is.
21:54Izete, don't play dumb, what is all this supposed to mean?
21:58This!
22:00I rearranged the room a little, so there's a change.
22:05How did you come up with the idea
22:09that I would give up the marshal for anyone?
22:14The marshal is the only one in the world for me.
22:19Marshalbeck.
22:21So?
22:22So, if you can't watch the marshal, you don't love me either.
22:27So, goodbye.
22:29I guess you know where your brother is.
22:33Grandpa, master, come here, I'll kiss you.
22:38You know what, I'll take you out for dinner.
22:40This has to be famous.
22:42I'm very glad.
22:44I'm going to cook a carp from the yellow ones.
22:48We'll see about that, love.
22:50I know a great restaurant.
22:52Great food, great service, and very reasonable prices.
22:56Damir, it's very cheap, you'll pass.
22:58Grandpa, what's the name of that restaurant?
23:01Sanremo, you fool.
23:02Let the money stay in the family.
23:04I'm going to change now.
23:05I'm going to change.
23:06I'll be ready in five minutes.
23:07You won't have to wait long.
23:08I'm finishing my seat.
23:09Let's go.
23:14Son, this is your mother.
23:16She's a pharmacist.
23:18Thank you.
23:33A question for Faruk Fazlinović.
23:36First, introduce yourself.
23:38Second, when did you start filming the series?
23:40Great, great.
23:42I've been working hard, Damir didn't spare any money.
23:46Your hand.
23:49You've done a good job.
23:51Tell me, did this journalist from Washington call you?
23:54She just sent you a question.
23:56Let me see.
23:58It's an easy question, you'll see.
24:00If it's an easy question for you,
24:02then there's no reason to worry.
24:06Let's see, what's first?
24:08First, introduce yourself.
24:11Yes.
24:12Second, when did you start filming the series?
24:16Yes.
24:17And then about me.
24:18How old am I?
24:20Yes, how old am I?
24:22This is a real question.
24:24Who's acting?
24:25It's a question for Logan.
24:27There's nothing to tell you.
24:29Tell me, when did she say she'd call?
24:33Look, it's them.
24:35Come on, they're calling.
24:36Come on, pick up the phone.
24:37What?
24:38You pick up the phone.
24:39You pick up the phone.
24:40You know what?
24:41I don't understand Skype technology and science.
24:45You don't understand?
24:47Then how did you call Kufet and Combet?
24:50By phone?
24:52Oh, I'm going to crush you.
24:55I'm telling you.
24:57Let's see.
24:59This one's green.
25:01Hello?
25:02This is the Accord production.
25:05I'm calling from the UHO America show.
25:07Did you get the questions, Faruk?
25:09There's a ton of them.
25:12But I'm here.
25:14I'm holding them in my hands.
25:16Great.
25:17I'll send you the questions.
25:19We're going to ETHER.
25:21Stay in touch.
25:23Please.
25:25Okay.
25:26Okay, all right.
25:28Tell me, what kind of hairstyle do you like?
25:31Black.
25:33Don't touch me, man.
25:35I'm not asking you that.
25:36I'm asking you how my hair is.
25:38Mr. Faruk, we're going 5, 4, 3, 2, 1.
25:41Good afternoon and welcome to the UHO America show.
25:45Tonight we have a connection with Sarajevo.
25:47They're waiting for us.
25:49She's not a kid.
25:51What is she doing?
25:54Look at her.
25:55She's talking.
25:56Okay, I can see that she's talking.
25:58But what is she talking about?
26:00What is she talking about?
26:01She's asking questions.
26:03You think so?
26:04She said she was going to ask questions.
26:07All right, answer the first question.
26:11How do I know that she can hear me?
26:14America is that.
26:16They see and hear everything.
26:19You answer when you see that her lips can't be heard.
26:22Dear viewers, it looks like we have some technical problems with the tone.
26:26Sarajevo, can you hear me?
26:28She shut her mouth.
26:30The first question is for you to introduce yourself.
26:32Come on, answer.
26:34Good evening from Sarajevo.
26:36My name is Faruk Fazlinović.
26:38I'm the director of the Don Juan series from Alipasha Field.
26:42I've been doing music, directing, radio for years.
26:48For American viewers, it will certainly be interesting
26:54for me to win a second place in Travoltiada at the national competition.
27:02There she is, she's opening her mouth now.
27:04You know what? She's definitely asking you a different question.
27:07Do you see that this is working?
27:10We're still using the tone from Sarajevo,
27:12but I've been told that you can hear our guest.
27:17I hope Sarajevo can hear me, too, so I'll start with the questions.
27:21Good evening, Sarajevo.
27:23Can you introduce yourself to our viewers in America and around the world?
27:27Look, she shut her mouth.
27:29Now you answer the second question.
27:32When did you start filming the series?
27:38I have to think about it.
27:41If I remember correctly...
27:45August, September.
27:48Has it started?
27:50You look like a total loser.
27:52The wife asks him what his name is.
27:54He says he has to think about it.
27:56August, September, is his name.
27:58That's all your white people eat.
28:01What are you talking about?
28:03I can't hear you.
28:05When did you start filming the series?
28:09In March 1961.
28:14That's exactly 50 years ago.
28:18Thank you for the compliments.
28:21Oh, Faruk.
28:23August, not Faruk.
28:26Or September.
28:27You look very young.
28:30When were you born?
28:32That was this year.
28:36Exactly 5 or 6 months ago.
28:41But you have to know that the preparations for this
28:45took a long time.
28:47My father took part in the preparations.
28:50If it wasn't for my father,
28:53you probably wouldn't have made it.
28:55How did you manage in this difficult financial situation
29:01to get the money for such an expensive project
29:05as your series?
29:07You know, there are scams,
29:10robberies,
29:12rockets,
29:14and even murders.
29:17It's crazy.
29:19For our viewers in America,
29:22who don't have the opportunity to watch your series,
29:25tell us what exactly your series is about.
29:28To make a joke,
29:31film tricks are necessary
29:34if you want to produce a TV series.
29:38And who are the main actors in your series?
29:42Oh, that.
29:44That's from the evil father and the evil mother.
29:48Believe me.
29:50They have no idea.
29:52It's better if we don't mention them.
29:55In Bosnia and Herzegovina,
29:58we say that it's halaša.
30:01Let's move on from artistic topics
30:04to everyday life questions.
30:10What do you think about the politicians
30:13who rule your country?
30:15Oh, that.
30:17That's a series of interesting characters
30:22who make the viewers of Bosnia and Herzegovina
30:28and even the whole region laugh.
30:32I can't list them now,
30:34because someone would surely skip them.
30:37But I can say just one thing.
30:41It's a happy country with such talented people.
30:46I told you.
30:48A thousand percent on the scale.
30:51Those integral bastards.
30:58THE HAPPY COUNTRY
31:09Did you bring it?
31:10I did.
31:11Give it to me.
31:12I don't know.
31:13If Faruk finds out, he'll kill me.
31:16Just a moment.
31:22Grilled.
31:23Hot.
31:25Fifteen pieces.
31:31You know what?
31:32If he finds out I took this from the archives,
31:35you'll carry me on your back.
31:37Don't worry.
31:38I'm a goat, not a sheep.
31:39On three.
31:41One, two, three.
31:45Sorry, but I'm going to take a leak.
31:47Go ahead.
31:49Let's hear it.
31:56Radio drama.
31:59Love at night in the life of a Russian revolutionary.
32:04Screenplay by Izet Fazlinović.
32:07Director Faruk Fazlinović.
32:10Narrator...
32:11This doesn't sound bad at all.
32:13Faruk Fazlinović.
32:19Oh, my dear husband,
32:21we are completely lost in this forest.
32:23Even the night is falling.
32:25I'm scared.
32:26My dear Anaeva,
32:29don't worry.
32:31Moscow is not far away.
32:34Just a few thousand kilometers
32:37in that direction.
32:39We'll wait until dawn,
32:42and then we'll go.
32:48Oh, hold me,
32:50hug me tight, Vasiljanović.
32:52I'm so scared when I think
32:54that there is no living corpse around us.
32:56Alone.
32:57We are completely alone
32:59in this huge forest,
33:00in this inconspicuous wilderness.
33:09There are no people,
33:10only us and wolves
33:11in this Russian steppe.
33:14The mail has arrived.
33:15Take care of yourself.
33:17Thank you.
33:20This was an advertising message
33:22from our sponsor,
33:24our mail.
33:26We deliver letters
33:28to the most inaccessible areas,
33:30such as steppes and tundra.
33:33We continue our radio drama,
33:36The Love Night
33:38in the Life of a Russian Revolutionary.
33:48Vasiljanović, can you hear it over there?
33:52The sound of a truck.
33:54Where did the truck come from,
33:56here in the steppe?
33:58Well, that's the truck
34:00of our Red Army.
34:02Let's hurry.
34:04Maybe we'll make it,
34:06my dear Anaeva.
34:10Oh, I'm sorry.
34:11I thought you were done.
34:12I heard the mailman.
34:16We heard the voice
34:18of some animal.
34:20Maria.
34:21Yes?
34:22I've thrown this away.
34:25This is great.
34:27This is genius.
34:29This is a discovery for me.
34:30I can use this
34:31instead of a vacuum cleaner.
34:33I can use this
34:34instead of a vacuum cleaner.
34:36I can use this
34:37instead of a vacuum cleaner.
34:39Faruk!
34:40You're a genius.
34:41My love.
34:43You're a multi-talented man.
34:45Whatever you want,
34:46you turn it into gold.
34:48My golden hands,
34:50my brain,
34:51my genius.
34:52My soul,
34:53your hair is beautiful today.
34:54Unbutton your buttons,
34:55undress, whatever you want.
34:56What are you doing?
34:57Huh?
35:00You're throwing foil.
35:08I am, I am...
35:10What a smell.
35:11Who is it from?
35:37It's a little scary and it hurts, life is a flower, love it
35:42It's a little scary and it hurts, life is a flower, love it