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Everything we've heard about the notebook is true. | 0:00:11 | 0:00:15 | |
Many of this boy's designs are childish fantasy. | 0:00:15 | 0:00:20 | |
But others... | 0:00:23 | 0:00:25 | |
are magnifico. | 0:00:27 | 0:00:30 | |
What was that? | 0:01:07 | 0:01:09 | |
This is hopeless. | 0:01:09 | 0:01:10 | |
We'll never find a secret chamber. These catacombs go on for miles. | 0:01:10 | 0:01:14 | |
It would be amazing to map them properly. | 0:01:14 | 0:01:17 | |
We won't find your notebook like this. | 0:01:17 | 0:01:19 | |
Wait! | 0:01:19 | 0:01:21 | |
A clue? | 0:01:21 | 0:01:22 | |
Look. Silver denarius. Roman, I bet. No! Vespasian. Wow. | 0:01:22 | 0:01:27 | |
-That's over 1,400 years old. -The rats have had two of my toes. | 0:01:27 | 0:01:32 | |
Hang on. | 0:01:34 | 0:01:35 | |
Look at this. | 0:01:35 | 0:01:36 | |
Barely scratched. | 0:01:38 | 0:01:40 | |
These are nearly new. | 0:01:41 | 0:01:43 | |
Aargh! | 0:01:57 | 0:01:58 | |
THEY LAUGH | 0:01:58 | 0:02:00 | |
Very funny. | 0:02:01 | 0:02:03 | |
Idiots. | 0:02:06 | 0:02:07 | |
Boys! | 0:02:10 | 0:02:11 | |
So, if X is to the value of four, to what value must Y correspond? | 0:02:11 | 0:02:16 | |
Oh, cavelo! My spectacles. | 0:02:20 | 0:02:23 | |
Oh, young master, if X is four, how on earth can Y be three? | 0:02:27 | 0:02:32 | |
KNOCK ON DOOR | 0:02:32 | 0:02:33 | |
Entry. | 0:02:33 | 0:02:34 | |
My apologies. | 0:02:39 | 0:02:40 | |
Something unexpected at the family business. | 0:02:42 | 0:02:45 | |
Yes! | 0:02:45 | 0:02:47 | |
Homework. Page 43. | 0:02:48 | 0:02:50 | |
Abutre's elements. | 0:02:50 | 0:02:52 | |
From this notebook | 0:03:00 | 0:03:02 | |
we will conjure deadly weapons. | 0:03:02 | 0:03:05 | |
And bring the Duke of Florence to his knees. | 0:03:08 | 0:03:11 | |
Which, after all, is what we're here for. | 0:03:12 | 0:03:15 | |
His notes are in code. | 0:03:17 | 0:03:22 | |
Fortunately, we have among us Florence's finest mathematician. | 0:03:23 | 0:03:28 | |
A man without equal in the world of equations. | 0:03:28 | 0:03:31 | |
Professor. | 0:03:31 | 0:03:33 | |
THEY SPEAK LATIN | 0:03:35 | 0:03:39 | |
See? | 0:03:44 | 0:03:45 | |
They must have been dropped recently. | 0:03:45 | 0:03:48 | |
Maybe by one of the men who snatched Lisa. | 0:03:48 | 0:03:50 | |
Lisa! Sorry. Tom, ciao. | 0:03:51 | 0:03:54 | |
I found these in the catacombs. Was anyone wearing them? | 0:03:54 | 0:03:57 | |
I couldn't see their faces. | 0:03:58 | 0:04:00 | |
Sleep well? | 0:04:00 | 0:04:02 | |
First mattress in four weeks. What do you think? | 0:04:02 | 0:04:05 | |
You're... | 0:04:05 | 0:04:06 | |
I'll have to cut it. | 0:04:08 | 0:04:09 | |
Here. I can keep watch. | 0:04:11 | 0:04:14 | |
Thanks. I'll do it later. | 0:04:15 | 0:04:17 | |
-See if you can trace the owner. -Sure. | 0:04:17 | 0:04:19 | |
Easy. Only 52 different lens makers in Florence. | 0:04:19 | 0:04:22 | |
Specs are two a florin in the marketplace. | 0:04:22 | 0:04:24 | |
-But you can't buy ivory in the marketplace. -Ivory? | 0:04:24 | 0:04:27 | |
Been at work since dawn, have we? | 0:04:27 | 0:04:30 | |
Claiming a well-earned rest? | 0:04:30 | 0:04:32 | |
Thought not. | 0:04:32 | 0:04:34 | |
Distracting my apprentices again. | 0:04:34 | 0:04:37 | |
Master Lorenzo, my apologies. | 0:04:38 | 0:04:41 | |
I hadn't realised we were graced by a Medici. | 0:04:41 | 0:04:43 | |
Forgive me, I must reclaim my charges. | 0:04:45 | 0:04:48 | |
Leonardo, canvas to complete. New boy, chance to prove yourself. | 0:04:50 | 0:04:55 | |
Presto! | 0:04:58 | 0:04:59 | |
-She's beautiful. -Thank you. | 0:05:06 | 0:05:08 | |
But flattery is no substitute for talent. | 0:05:08 | 0:05:12 | |
You have to prove your worth. | 0:05:12 | 0:05:14 | |
I want to be able | 0:05:14 | 0:05:15 | |
to reproduce her, life-size. | 0:05:15 | 0:05:18 | |
From that. | 0:05:19 | 0:05:20 | |
You want me to... | 0:05:23 | 0:05:25 | |
..carve this | 0:05:26 | 0:05:27 | |
from that with these? | 0:05:27 | 0:05:29 | |
Oh, dear. Do you see a blade? | 0:05:29 | 0:05:31 | |
No. This is a mathematical instrument. | 0:05:33 | 0:05:36 | |
Mathematics? | 0:05:36 | 0:05:38 | |
To map the proportions. | 0:05:38 | 0:05:40 | |
You can count, can't you? | 0:05:40 | 0:05:42 | |
Measuring isn't beyond you? | 0:05:42 | 0:05:44 | |
-Then I carve it with... -Then you pitch it, | 0:05:44 | 0:05:50 | |
with this, then you carve it, then I sculpt it. | 0:05:50 | 0:05:55 | |
-Tomorrow. -Tomorrow? | 0:05:56 | 0:05:59 | |
Don't forget, new boy, you're still on trial. | 0:05:59 | 0:06:03 | |
How are we getting on? | 0:06:12 | 0:06:13 | |
Excellency, I'm sorry, you surprised me. | 0:06:13 | 0:06:16 | |
Well? | 0:06:16 | 0:06:17 | |
I made an initial scan using Pythagoras. I've ruled out | 0:06:17 | 0:06:22 | |
Pasolini's theorem and Duseka's model of transfer of decimals. | 0:06:22 | 0:06:25 | |
There is alphabetically consistent | 0:06:25 | 0:06:27 | |
-recurrence, but no logic... -You can't do it, can you? | 0:06:27 | 0:06:31 | |
No... Yes, Excellency, of course I can, but these things take time. | 0:06:31 | 0:06:37 | |
It's a process | 0:06:37 | 0:06:38 | |
-of elimination. -It's a child's diary, Professor. | 0:06:38 | 0:06:42 | |
Yes, Excellency. | 0:06:42 | 0:06:44 | |
Tom. | 0:07:04 | 0:07:05 | |
Think about it. It's three-dimensional. | 0:07:06 | 0:07:09 | |
-Three di-what-imal? -It's called pointing. | 0:07:10 | 0:07:12 | |
If you mark three fixed points in space, you can plot a fourth. | 0:07:12 | 0:07:16 | |
Look. OK. Three points on the model. | 0:07:16 | 0:07:19 | |
Head, two feet. Replot on the block here, here and here. | 0:07:19 | 0:07:22 | |
If you want to know where | 0:07:22 | 0:07:23 | |
her belly button goes, | 0:07:23 | 0:07:26 | |
measure it in relation to three points here | 0:07:26 | 0:07:28 | |
then do the same there. Big scale. OK? | 0:07:28 | 0:07:30 | |
Grazie. | 0:07:32 | 0:07:33 | |
It's all right. He's not here. | 0:07:35 | 0:07:37 | |
Good news. Found an optician who sells ivory frames. | 0:07:37 | 0:07:40 | |
It's very high-end. We'll need someone to give us an in. | 0:07:40 | 0:07:44 | |
-Anyone in mind? -Let me see. | 0:07:44 | 0:07:46 | |
How about the pampered teenage son of a wealthy and powerful nobleman? | 0:07:46 | 0:07:51 | |
What do you think of my new suit? Can I pull off this colour? | 0:07:53 | 0:07:56 | |
Definitely. Like you say, burnt orange is so now. | 0:07:56 | 0:07:59 | |
OK. Here it is. You go in. | 0:08:00 | 0:08:02 | |
-Keep him distracted while we look through the customers. -No problem. | 0:08:02 | 0:08:06 | |
Signor Medici. Master Lorenzo, this is indeed an honour. | 0:08:09 | 0:08:14 | |
Gilberto degli Specci, at your service. | 0:08:14 | 0:08:17 | |
My servants, they can come in. | 0:08:17 | 0:08:19 | |
They catch the cold easily. | 0:08:19 | 0:08:21 | |
-What can I do for the young master? -I think I need my eyes tested. | 0:08:27 | 0:08:31 | |
Of course, step this way, please. | 0:08:31 | 0:08:33 | |
You have many customers, Signor. | 0:08:35 | 0:08:37 | |
All of Florence's finest entrust their eyes to Gilberto. | 0:08:37 | 0:08:40 | |
Now, can you read the letters in front of you? | 0:08:40 | 0:08:43 | |
HE COUGHS | 0:08:45 | 0:08:46 | |
A, E, Z, L, D, O, | 0:08:48 | 0:08:52 | |
T, D, A, Ep. | 0:08:52 | 0:08:55 | |
Master Medici, your sight is excellent. | 0:08:55 | 0:08:59 | |
Oh! Can I try another one? | 0:09:02 | 0:09:04 | |
-Haven't a clue. -Really? How interesting. | 0:09:16 | 0:09:20 | |
Is it better with this or without? | 0:09:28 | 0:09:31 | |
-With or without? -With. | 0:09:31 | 0:09:35 | |
Gilberto! | 0:09:36 | 0:09:37 | |
Professore, I am with a very important client. | 0:09:38 | 0:09:41 | |
I've lost my new spectacles. | 0:09:41 | 0:09:43 | |
Get out of the way! | 0:09:44 | 0:09:46 | |
-Do you still want ivory? -Of course. | 0:09:51 | 0:09:53 | |
I'm waiting for a shipment from Africa. | 0:09:53 | 0:09:55 | |
-Is there nothing you can do? -Sorry, Signor. | 0:09:55 | 0:09:59 | |
Now, where were we? | 0:10:04 | 0:10:05 | |
With or without? | 0:10:11 | 0:10:13 | |
I've been looking all over. Couldn't get away. | 0:11:09 | 0:11:12 | |
I was desperate to tell you, that's poker-face Pico. | 0:11:12 | 0:11:15 | |
-He's my maths tutor. -Your maths tutor? | 0:11:15 | 0:11:17 | |
Is that what the optician gave you? | 0:11:19 | 0:11:21 | |
He nearly saw me. They're useless. | 0:11:21 | 0:11:23 | |
Could he be part of that weird secret society? | 0:11:23 | 0:11:26 | |
Doubt it. He's way too boring. | 0:11:26 | 0:11:28 | |
It's perfect. | 0:11:29 | 0:11:30 | |
A magnescope. | 0:11:35 | 0:11:36 | |
My catapult. | 0:11:45 | 0:11:47 | |
And my code. He must have my notebook. | 0:11:47 | 0:11:49 | |
Leo. Hold on. It could be dangerous. | 0:11:49 | 0:11:52 | |
Scusi, Signore, Professore. | 0:11:52 | 0:11:55 | |
Go away, boy. Whatever you're selling, I'm not interested. | 0:11:55 | 0:11:58 | |
I have your spectacles. | 0:11:58 | 0:12:00 | |
And you have something of mine. | 0:12:00 | 0:12:02 | |
A notebook. | 0:12:02 | 0:12:03 | |
Yours? | 0:12:03 | 0:12:05 | |
Yeah. | 0:12:05 | 0:12:06 | |
So you have the code. | 0:12:06 | 0:12:09 | |
I didn't take your notebook. You must believe me. | 0:12:09 | 0:12:13 | |
-I had no idea it was stolen. -Who did, then? | 0:12:13 | 0:12:15 | |
I don't know. They blindfolded me. | 0:12:15 | 0:12:18 | |
-Did they take you to the catacombs? -I don't know. Perhaps. | 0:12:23 | 0:12:26 | |
They said if I didn't decode it by midnight they'd kill me. | 0:12:26 | 0:12:30 | |
We must report them. They must be stopped. | 0:12:30 | 0:12:33 | |
Please, I'm begging you. If we tell anyone, they'll kill me. | 0:12:33 | 0:12:37 | |
And not just me, my family. | 0:12:37 | 0:12:39 | |
My wife, my son - a boy your age. | 0:12:39 | 0:12:42 | |
And my little girl, Fiameta, she's only six. | 0:12:42 | 0:12:46 | |
I can't risk their lives. They're too precious. | 0:12:46 | 0:12:48 | |
-What do they want with my notebook? -I don't know. | 0:12:48 | 0:12:51 | |
If I don't decode your designs by midnight, that's it. | 0:12:51 | 0:12:56 | |
If only... | 0:12:56 | 0:12:57 | |
-No. I can't ask it of you. -You want me to give you the code. | 0:12:57 | 0:13:01 | |
You're the only one who can save my little girl. | 0:13:01 | 0:13:05 | |
OK. | 0:13:09 | 0:13:10 | |
OK, I'll give you the code. | 0:13:11 | 0:13:13 | |
Grazie. Grazie. | 0:13:13 | 0:13:15 | |
Meet me in my rooms. 44 via Ventura. | 0:13:15 | 0:13:19 | |
But come after dark. | 0:13:19 | 0:13:21 | |
If anyone sees us... | 0:13:21 | 0:13:22 | |
I don't trust him. Has he even got a family? | 0:13:29 | 0:13:31 | |
I don't know. Hang on. Yes, he has. | 0:13:31 | 0:13:34 | |
He cancelled my class. Said it was family business. | 0:13:34 | 0:13:37 | |
How are you going to get across town after dark? | 0:13:37 | 0:13:40 | |
You'll end up in prison if you get caught. | 0:13:40 | 0:13:41 | |
I'm not going to get caught. | 0:13:41 | 0:13:43 | |
Aristocrats don't get stopped. | 0:13:43 | 0:13:45 | |
I can't go out after curfew. My father would kill me. | 0:13:45 | 0:13:48 | |
It's OK. I'll find a way. | 0:13:48 | 0:13:51 | |
If you insist on going, we might as well get you there safe. | 0:13:51 | 0:13:54 | |
No-one would stop a priest. | 0:13:54 | 0:13:56 | |
Let me see if I can find something. | 0:13:56 | 0:13:59 | |
A priest? | 0:14:01 | 0:14:02 | |
CHURCH BELL CHIMES | 0:14:04 | 0:14:07 | |
That's it. That's the curfew. | 0:14:07 | 0:14:09 | |
No going outside now, you lot. | 0:14:09 | 0:14:11 | |
I can't do it! | 0:14:26 | 0:14:28 | |
I hate this. | 0:14:32 | 0:14:33 | |
I just want to paint. | 0:14:36 | 0:14:40 | |
SHE SOBS | 0:14:43 | 0:14:44 | |
I miss my mum. | 0:14:48 | 0:14:49 | |
I want to go home. | 0:14:52 | 0:14:54 | |
I've got a few minutes. I can help. | 0:14:57 | 0:15:00 | |
There's no point. | 0:15:02 | 0:15:03 | |
It's over. | 0:15:04 | 0:15:06 | |
I'll come with you. | 0:15:10 | 0:15:11 | |
I'll help you get across town. | 0:15:12 | 0:15:14 | |
It's all my fault anyway. | 0:15:17 | 0:15:19 | |
No, you can't risk being caught. | 0:15:19 | 0:15:22 | |
I know how to dodge the night watchmen. | 0:15:22 | 0:15:24 | |
I've slept on the streets. | 0:15:24 | 0:15:26 | |
-I'll just get cleaned up. -It's not a good idea. | 0:15:26 | 0:15:29 | |
Leo? | 0:15:38 | 0:15:39 | |
Leo, where are you? | 0:15:44 | 0:15:46 | |
CHURCH BELL CHIMES | 0:15:58 | 0:16:01 | |
You have done your maths homework, haven't you? | 0:16:16 | 0:16:18 | |
-Professor Pico didn't set any. -Really? | 0:16:18 | 0:16:21 | |
He didn't. He cancelled, said he had family business. | 0:16:21 | 0:16:24 | |
Lorenzo, enough. You're not even a good liar. | 0:16:24 | 0:16:28 | |
Pico doesn't have a family. | 0:16:28 | 0:16:29 | |
-Anyone can see the man's married to his maths. -What? | 0:16:29 | 0:16:33 | |
Get on with it, or I'll have him set you double for the weekend. | 0:16:33 | 0:16:38 | |
Hm... | 0:16:42 | 0:16:43 | |
Halt! Who goes there? | 0:16:53 | 0:16:55 | |
Sorry, Father, carry on. | 0:16:58 | 0:17:00 | |
-Well? -Good news, Excellency. | 0:17:08 | 0:17:10 | |
I need one number to complete the sequence. | 0:17:10 | 0:17:13 | |
For that I must return home to consult the relevant tables. | 0:17:13 | 0:17:17 | |
-You will have the code by midnight. -Midnight. | 0:17:17 | 0:17:20 | |
-Without fail. -Oh yes, without fail. | 0:17:20 | 0:17:23 | |
Professor, did you set the young master homework tonight? | 0:17:24 | 0:17:29 | |
Always, Excellency. | 0:17:29 | 0:17:30 | |
Not turning in? | 0:17:46 | 0:17:47 | |
In a minute. | 0:17:49 | 0:17:51 | |
KNOCK ON DOOR | 0:17:56 | 0:17:58 | |
-Where's Leo? -What? | 0:18:01 | 0:18:03 | |
Where is he? | 0:18:03 | 0:18:04 | |
-Something terrible. -Pico's lying. | 0:18:04 | 0:18:06 | |
-Leo's in danger. -It's a trap. -Leo's not here. | 0:18:06 | 0:18:09 | |
Oh, no. He's going to give him the code. | 0:18:09 | 0:18:12 | |
I'm coming with you. | 0:18:12 | 0:18:14 | |
-She can't come. It's too dangerous. -Whatever. | 0:18:14 | 0:18:18 | |
I've got to get back before my dad finds out. | 0:18:18 | 0:18:19 | |
-You're not coming with me? -He's on my case, Mac. | 0:18:19 | 0:18:23 | |
You don't understand. | 0:18:23 | 0:18:24 | |
Where are we going? | 0:18:27 | 0:18:29 | |
Fantastico! | 0:18:54 | 0:18:56 | |
I see you're impressed. | 0:18:56 | 0:18:57 | |
Everything I love is in this room. | 0:18:57 | 0:19:00 | |
Algebra, theorems, calculus, trigonometry. | 0:19:00 | 0:19:04 | |
Nothing else matters. Right? | 0:19:04 | 0:19:06 | |
And your son, does he come in here? | 0:19:10 | 0:19:12 | |
Hm? Oh, Alfredo? Of course. | 0:19:13 | 0:19:16 | |
-Wow! -The hours we spend here together. | 0:19:17 | 0:19:20 | |
He's the image of you. | 0:19:21 | 0:19:23 | |
Brilliant, curious. I'd love you to meet him. | 0:19:23 | 0:19:27 | |
If I can get out of this. | 0:19:27 | 0:19:29 | |
I may never see Alfredo again. | 0:19:30 | 0:19:33 | |
Or Francesca. I need that code. | 0:19:33 | 0:19:36 | |
I'm desperate. | 0:19:36 | 0:19:37 | |
Don't worry, I will not let your children die. | 0:19:41 | 0:19:45 | |
DRAMATIC MUSIC | 0:19:45 | 0:19:48 | |
Thank you. We're scientists. We share a bond, don't you think? | 0:19:56 | 0:20:01 | |
-Halt! -I've got no money. All I've got is the shirt on my back. | 0:20:21 | 0:20:25 | |
Of course. The Fibonnaci sequence | 0:20:29 | 0:20:32 | |
as inverted matrix. How stupid of me! | 0:20:32 | 0:20:35 | |
I'd have got there in the end. | 0:20:35 | 0:20:37 | |
I'm sorry, truly I am, | 0:20:39 | 0:20:41 | |
but I can't risk my leader finding out how I got the code. | 0:20:41 | 0:20:45 | |
But the Luminari will always be grateful for your designs. | 0:20:45 | 0:20:50 | |
Your leader? The...Luminari? Who are you? | 0:20:50 | 0:20:53 | |
You won't live long enough to find out. | 0:20:53 | 0:20:56 | |
Leo! Open up! | 0:20:57 | 0:20:59 | |
-Now is not the time to say I told you so, Leo... -You're right. | 0:21:19 | 0:21:23 | |
CHURCH CLOCK CHIMES | 0:21:38 | 0:21:39 | |
Midnight. Saved by the bell. For now. | 0:21:40 | 0:21:44 | |
But I know where you live, boy. | 0:21:44 | 0:21:47 | |
Was I too late? Did you give it to him, the code? | 0:21:57 | 0:22:00 | |
Bear with me, Excellency. | 0:22:06 | 0:22:08 | |
It's a matter of the correct column. | 0:22:08 | 0:22:10 | |
The sequence isn't quite transmitting the way it should. | 0:22:10 | 0:22:16 | |
I'm not sure what he's done. Just give me a moment. | 0:22:16 | 0:22:19 | |
I'm sorry, Professor. We've no place for amateurs. | 0:22:19 | 0:22:23 | |
Goodbye. | 0:22:25 | 0:22:27 | |
MUSIC: Someone Watching Over Me by The Zutons | 0:23:00 | 0:23:03 | |
DOOR OPENS | 0:23:13 | 0:23:14 | |
# I'm gonna wait alone under my sheets | 0:23:23 | 0:23:27 | |
# And pretend to close my eyes | 0:23:27 | 0:23:31 | |
# And I will wait until the sun comes up | 0:23:31 | 0:23:35 | |
# I will wait all night | 0:23:35 | 0:23:39 | |
# I don't care if you don't come and show yourself | 0:23:39 | 0:23:43 | |
# Cos I know you're always near me | 0:23:43 | 0:23:46 | |
# And when it's dark again I'll count to ten | 0:23:46 | 0:23:51 | |
# And you'll be standing by me... # | 0:23:51 | 0:23:54 | |
How did you know it was a trick? | 0:23:55 | 0:23:56 | |
In the cafe he called her Fiameta. | 0:23:57 | 0:23:58 | |
And my little girl, Fiameta. | 0:23:58 | 0:24:01 | |
Then he forget, he called her something else. | 0:24:01 | 0:24:04 | |
I may never see Francesca again. | 0:24:04 | 0:24:06 | |
But something was off. | 0:24:06 | 0:24:08 | |
He said everything he loved was in that room. | 0:24:08 | 0:24:11 | |
Yet there was no sign of his family. | 0:24:11 | 0:24:13 | |
He didn't seem like a dad. | 0:24:13 | 0:24:15 | |
So you gave him a fake sequence? | 0:24:17 | 0:24:19 | |
Of course. It had to be good enough to believe. | 0:24:19 | 0:24:21 | |
By the time he got to his leader, half the alphabet would be missing. | 0:24:21 | 0:24:26 | |
So Florence's top mathematicians couldn't crack your code? | 0:24:27 | 0:24:30 | |
Good. Means they can't use your designs. | 0:24:31 | 0:24:35 | |
KNOCK ON DOOR | 0:24:35 | 0:24:37 | |
Yes? Ah, Lorenzo. Sad news, I'm afraid. | 0:24:37 | 0:24:43 | |
Professor Pico has left us. | 0:24:43 | 0:24:45 | |
Yes, he's had to leave Florence on personal business. | 0:24:45 | 0:24:49 | |
Unexpectedly. | 0:24:49 | 0:24:51 | |
He won't be coming back. | 0:24:52 | 0:24:55 | |
Great. Father, you've cut yourself, on the left. | 0:24:55 | 0:24:59 | |
You mean my right. Thank you. | 0:25:02 | 0:25:04 | |
Of course! | 0:25:09 | 0:25:10 | |
Backwards. | 0:25:12 | 0:25:13 | |
It's written | 0:25:15 | 0:25:17 | |
backwards. | 0:25:17 | 0:25:18 | |
HE LAUGHS | 0:25:21 | 0:25:24 | |
-Maybe you should tell your dad about the Luminari. -I can't. | 0:25:28 | 0:25:32 | |
If he knew I hung around here... Besides, he'd never believe it. | 0:25:32 | 0:25:35 | |
And with Pico gone, so has any chance of us finding out. | 0:25:35 | 0:25:38 | |
-And your designs, all that research lost forever. -No. | 0:25:38 | 0:25:41 | |
No way. I'll redo them, everything. | 0:25:41 | 0:25:44 | |
-Whoever they are, they are not going to stop me. -Yes! | 0:25:44 | 0:25:50 | |
Come on. I'll do it. | 0:25:50 | 0:25:52 | |
No point. After the mess I made of that stone, | 0:25:52 | 0:25:55 | |
I won't be here much longer. | 0:25:55 | 0:25:58 | |
Good morning, Master Lorenzo. You two, inside. | 0:25:58 | 0:26:02 | |
A mess. One long catalogue of errors. | 0:26:10 | 0:26:14 | |
Judging from the way you stayed on your feet, | 0:26:17 | 0:26:20 | |
plugging away until dawn. | 0:26:20 | 0:26:23 | |
HE CHUCKLES | 0:26:23 | 0:26:24 | |
You want to learn! | 0:26:26 | 0:26:27 | |
It's all I needed to know. | 0:26:29 | 0:26:31 | |
SHE LAUGHS NERVOUSLY | 0:26:40 | 0:26:42 | |
-Come on. -Wait! | 0:26:49 | 0:26:51 | |
My mum used to brush it every morning for as long as I remember. | 0:26:54 | 0:26:58 | |
OK, just do it. | 0:27:02 | 0:27:04 | |
Stop! Don't cut it. | 0:27:07 | 0:27:09 | |
What? | 0:27:11 | 0:27:13 | |
Oh-ho! | 0:27:20 | 0:27:22 | |
THEY LAUGH | 0:27:23 | 0:27:25 | |
Subtitles by Red Bee Media Ltd | 0:27:55 | 0:27:57 | |
E-mail [email protected] | 0:27:57 | 0:27:58 |