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NESSA: 'Who do you trust? How do you know?' | 0:00:02 | 0:00:04 | |
Stop looking for him. Let the police do it. | 0:00:04 | 0:00:07 | |
GUN COCKS, GUNSHOT | 0:00:07 | 0:00:09 | |
'By how they appear? | 0:00:09 | 0:00:11 | |
'Or what they say? | 0:00:11 | 0:00:14 | |
'What they do?' | 0:00:14 | 0:00:15 | |
# Mazel tov, mazel tov u'siman tov... # | 0:00:15 | 0:00:18 | |
The seeds of our educational investment programme | 0:00:18 | 0:00:20 | |
are finally beginning to flourish, | 0:00:20 | 0:00:22 | |
whilst our dear friend Shlomo Zahary | 0:00:22 | 0:00:24 | |
is about to roll out phase one of our telecommunications network | 0:00:24 | 0:00:28 | |
which will link it all together. | 0:00:28 | 0:00:30 | |
'We all have secrets.' | 0:00:30 | 0:00:31 | |
1.5 million dollars, | 0:00:33 | 0:00:35 | |
channelled through Ephra Stein's education charity. | 0:00:35 | 0:00:38 | |
To secure the release of an Israeli soldier. | 0:00:38 | 0:00:40 | |
'But mostly we tell lies.' | 0:00:40 | 0:00:42 | |
We cannot be compromised. | 0:00:42 | 0:00:44 | |
Don't be so naive. | 0:00:44 | 0:00:47 | |
'We hide our secrets from each other...' | 0:00:47 | 0:00:49 | |
Is Kasim mine? No. | 0:00:52 | 0:00:54 | |
It's hers. It's Nessa's. | 0:00:54 | 0:00:57 | |
'From ourselves. | 0:00:57 | 0:00:58 | |
'So, when you think about it like that...' | 0:01:00 | 0:01:03 | |
God may forgive you for what you've done. | 0:01:03 | 0:01:06 | |
But Israel won't. | 0:01:06 | 0:01:08 | |
If you kill the child, they kill me. | 0:01:12 | 0:01:14 | |
HE SPEAKS ARABIC | 0:01:14 | 0:01:17 | |
But if you have it, they're going to let you go home. | 0:01:17 | 0:01:20 | |
'..it's a wonder we trust anyone at all.' | 0:01:20 | 0:01:22 | |
SHE SIGHS | 0:01:31 | 0:01:33 | |
Where will I have it? | 0:01:40 | 0:01:41 | |
Here. | 0:01:47 | 0:01:48 | |
SHE CHORTLES | 0:01:51 | 0:01:52 | |
Your mother died in childbirth. | 0:01:56 | 0:01:58 | |
You won't. | 0:02:00 | 0:02:01 | |
I promise. | 0:02:02 | 0:02:03 | |
What if I don't? | 0:02:05 | 0:02:07 | |
It's not...it's... | 0:02:14 | 0:02:16 | |
It's what it means. | 0:02:20 | 0:02:23 | |
SHE INHALES | 0:02:26 | 0:02:28 | |
You know, I go home and I tell the world... | 0:02:31 | 0:02:34 | |
..and every single decision I ever make will be judged against it. | 0:02:35 | 0:02:39 | |
Do I hate them? | 0:02:42 | 0:02:43 | |
Do I love them? Do I want revenge? Am I secretly in their thrall? | 0:02:44 | 0:02:49 | |
Every single thing I do, that's what people will wonder. | 0:02:49 | 0:02:51 | |
I can give birth to a child. | 0:03:09 | 0:03:11 | |
That's not me. That's just biology. | 0:03:13 | 0:03:16 | |
What would I say or... | 0:03:23 | 0:03:26 | |
..do, or... | 0:03:28 | 0:03:29 | |
..think? | 0:03:31 | 0:03:32 | |
What I want... | 0:03:32 | 0:03:34 | |
..this company to achieve... | 0:03:35 | 0:03:37 | |
..that's me. | 0:03:40 | 0:03:41 | |
So, I can... | 0:03:48 | 0:03:49 | |
I can have this baby and I might live. | 0:03:49 | 0:03:52 | |
But whatever happens, I'm going to lose my life. | 0:03:52 | 0:03:55 | |
Give it to me. | 0:04:00 | 0:04:01 | |
Give it to me. | 0:04:06 | 0:04:07 | |
I owe it to you. | 0:04:09 | 0:04:11 | |
SHE LAUGHS | 0:04:13 | 0:04:14 | |
And...when we leave... | 0:04:14 | 0:04:17 | |
..let it always have been mine. | 0:04:20 | 0:04:22 | |
Hm? | 0:04:23 | 0:04:24 | |
(Give it to me.) | 0:04:28 | 0:04:30 | |
EPHRA: Modeh ani lefanecha. | 0:04:40 | 0:04:43 | |
ATIKA: Don't be afraid. | 0:04:55 | 0:04:56 | |
KASIM: I'm safe. | 0:04:59 | 0:05:01 | |
NESSA: I can't do this. | 0:05:01 | 0:05:04 | |
ATIKA: If it's the price for a nation. | 0:05:11 | 0:05:14 | |
MAN SPEAKS ARABIC | 0:05:19 | 0:05:21 | |
SHLOMO: What the fuck's going on here? | 0:05:36 | 0:05:38 | |
Sorry, Shlomo, but with Nessa away travelling... | 0:05:40 | 0:05:43 | |
Nessa? What's she got to do with it? | 0:05:43 | 0:05:46 | |
You're the one makes the decisions round here. | 0:05:46 | 0:05:50 | |
Maybe you could get someone else to pick it up. | 0:05:51 | 0:05:53 | |
Someone else? | 0:05:53 | 0:05:55 | |
I have over half a million drums of backbone cabling sitting in my factories. | 0:05:55 | 0:05:59 | |
There's no-one else to pick it up. There's no-one else wants to do this. | 0:05:59 | 0:06:03 | |
I'm about to dig up half of the fucking West Bank here. What the fuck's the... | 0:06:03 | 0:06:07 | |
Well, then, take it! | 0:06:07 | 0:06:09 | |
Take it all! | 0:06:09 | 0:06:11 | |
HE CRIES Just take it. | 0:06:14 | 0:06:16 | |
CONVERSATION OUTSIDE | 0:06:21 | 0:06:23 | |
What is it, boy? | 0:06:39 | 0:06:41 | |
What is it you're not telling me? | 0:06:42 | 0:06:44 | |
It's over, Shlomo. | 0:06:49 | 0:06:50 | |
Fuck you, "this is over". | 0:06:50 | 0:06:53 | |
We've only just begun. | 0:06:53 | 0:06:56 | |
HE SOBS Hey, come here, come here, come here. | 0:06:56 | 0:06:59 | |
Give old Shlabala a hug. Come here. Ah! | 0:06:59 | 0:07:02 | |
CROWS CAW | 0:07:26 | 0:07:28 | |
Lay the cabling. | 0:07:45 | 0:07:46 | |
Why? Just do it. | 0:07:48 | 0:07:51 | |
Will it get her back? | 0:07:53 | 0:07:55 | |
Will it get her back? | 0:07:58 | 0:08:01 | |
Lay the cable. | 0:08:02 | 0:08:04 | |
And when they're down, there's something else we want you to do. | 0:08:06 | 0:08:10 | |
THUNDER RUMBLES | 0:08:12 | 0:08:13 | |
Move. | 0:08:15 | 0:08:16 | |
RACHEL: What are you doing out here? | 0:08:26 | 0:08:28 | |
We're laying the cabling. It's what Nessa would want. | 0:08:29 | 0:08:31 | |
Where is she, Ephra? It's all good. | 0:08:33 | 0:08:35 | |
Modeh ani lefanecha melech chai vekayam... | 0:09:49 | 0:09:53 | |
..shehechezarta bi nishmati b'chemla, | 0:09:55 | 0:09:58 | |
raba emunatecha. | 0:09:58 | 0:10:00 | |
HE SIGHS | 0:10:06 | 0:10:08 | |
SHE SIGHS | 0:10:30 | 0:10:32 | |
SHE LAUGHS | 0:10:47 | 0:10:49 | |
OK, another one's coming. | 0:11:10 | 0:11:12 | |
It's OK. | 0:11:12 | 0:11:14 | |
Oh. Oh. | 0:11:14 | 0:11:16 | |
Oh-h. | 0:11:16 | 0:11:18 | |
Oh. | 0:11:18 | 0:11:19 | |
Oh! | 0:11:19 | 0:11:21 | |
Oh. | 0:11:21 | 0:11:23 | |
SHE SCREAMS | 0:11:23 | 0:11:26 | |
Oh! | 0:11:26 | 0:11:28 | |
SHE MOANS | 0:11:28 | 0:11:31 | |
Oh! Oh! Now push. Push. | 0:11:31 | 0:11:33 | |
Oh! Push, Nessa, push! | 0:11:33 | 0:11:35 | |
BABY CRIES Oh! | 0:11:35 | 0:11:37 | |
Push! Oh! | 0:11:37 | 0:11:38 | |
Oh! Oh! | 0:11:38 | 0:11:40 | |
BABY CRIES | 0:11:42 | 0:11:44 | |
BABY CRIES | 0:11:47 | 0:11:49 | |
THEY LAUGH | 0:11:49 | 0:11:51 | |
Oh, yeah. | 0:11:53 | 0:11:55 | |
Let's see you. Let's see you. | 0:11:55 | 0:11:59 | |
BABY CRIES Let's see you. | 0:12:01 | 0:12:03 | |
There you are. | 0:12:04 | 0:12:07 | |
BABY SNEEZES Oh! | 0:12:10 | 0:12:12 | |
He sneezed. BOTH CHUCKLE | 0:12:12 | 0:12:15 | |
BIRDSONG | 0:12:24 | 0:12:26 | |
It's so slow, isn't it? | 0:12:29 | 0:12:31 | |
MONICA: What is? | 0:12:33 | 0:12:35 | |
Time. | 0:12:36 | 0:12:38 | |
I think I can help speed it up. | 0:12:39 | 0:12:41 | |
There's someone I can ask owes me a further favour. | 0:12:43 | 0:12:46 | |
Who? But if it works, | 0:12:46 | 0:12:49 | |
if it gets your sister out, there are things you have to do. | 0:12:49 | 0:12:53 | |
Anything. | 0:12:53 | 0:12:54 | |
You'll have to step down as head of the company. | 0:12:54 | 0:12:56 | |
You think I care about that? I'd get rid of the lot. | 0:12:56 | 0:12:59 | |
Everything. No, I don't want you to do that. | 0:12:59 | 0:13:01 | |
Then you'll have to get rid of any - all - evidence of what's happened. | 0:13:01 | 0:13:06 | |
In here. | 0:13:06 | 0:13:08 | |
And in here. | 0:13:08 | 0:13:10 | |
And then you have to put Nessa in your place. | 0:13:12 | 0:13:14 | |
Unaware and uncompromised. | 0:13:17 | 0:13:19 | |
Can you do that? | 0:13:21 | 0:13:22 | |
Easily. | 0:13:24 | 0:13:25 | |
Oh, and there's one last thing. | 0:13:28 | 0:13:30 | |
You have to tell me why the Israelis have allowed you to carry on laying that cable. | 0:13:30 | 0:13:36 | |
You said you'd do anything to get your sister out. | 0:13:44 | 0:13:46 | |
Mm. | 0:13:46 | 0:13:47 | |
So, if I do, that's what you'll tell me. | 0:13:47 | 0:13:51 | |
We applaud your altruism, Daniel. | 0:13:59 | 0:14:02 | |
Given recent events, we expected you to shut the Stein Group down. | 0:14:02 | 0:14:06 | |
It's a private company. Which needs your cooperation. | 0:14:06 | 0:14:09 | |
In every negotiation, there's always give as well as take. | 0:14:09 | 0:14:12 | |
Well, you're certainly giving the PLO an awful lot with these cables. | 0:14:12 | 0:14:15 | |
Not us. Ah, course. | 0:14:15 | 0:14:19 | |
The Stein Group. | 0:14:19 | 0:14:20 | |
Though I do wonder just how long that's going to continue. | 0:14:22 | 0:14:25 | |
It's not up to us to decide. | 0:14:26 | 0:14:29 | |
Have you seen Ephra Stein recently? | 0:14:29 | 0:14:31 | |
Carries on, pretty soon that company is going to collapse, | 0:14:31 | 0:14:34 | |
and I cannot think that's what you want, | 0:14:34 | 0:14:37 | |
whatever it is you want it for. | 0:14:37 | 0:14:39 | |
However, there is an alternative. | 0:14:39 | 0:14:42 | |
With all these bombs Hamas keep throwing into your country, | 0:14:42 | 0:14:45 | |
I suspect your forces are about to re-enter Gaza. | 0:14:45 | 0:14:48 | |
If they can't settle it for themselves, we'll do it for them. | 0:14:49 | 0:14:52 | |
That's an unfortunate reality. | 0:14:52 | 0:14:54 | |
Hm. | 0:14:54 | 0:14:55 | |
But it does offer one tiny, little silver lining. | 0:14:55 | 0:14:59 | |
Nessa Stein. | 0:15:00 | 0:15:02 | |
Are you trying to play us, Julia? | 0:15:03 | 0:15:05 | |
Daniel. | 0:15:07 | 0:15:09 | |
As her brother's dramatic weight-loss programme has clearly taught me, | 0:15:11 | 0:15:15 | |
when it comes to the Middle East, you never, ever try to play the Israelis. | 0:15:15 | 0:15:19 | |
LABOURED BREATHING | 0:15:24 | 0:15:26 | |
DOG BARKS | 0:15:55 | 0:15:57 | |
HELICOPTER BLADES WHIR | 0:15:57 | 0:15:59 | |
DOG BARKS | 0:16:02 | 0:16:04 | |
BABY FUSSES | 0:16:06 | 0:16:09 | |
DOG BARKS Atika? | 0:16:09 | 0:16:11 | |
RATTLING | 0:16:16 | 0:16:19 | |
HELICOPTER APPROACHES | 0:16:19 | 0:16:20 | |
GUNFIRE | 0:16:28 | 0:16:30 | |
SHOUTING | 0:16:30 | 0:16:32 | |
Nessa Stein? Yes. | 0:16:34 | 0:16:36 | |
Out! Harness. 20 seconds. You also. | 0:16:36 | 0:16:38 | |
Harness. 15 seconds. BABY CRIES | 0:16:38 | 0:16:42 | |
What's that? Baby. | 0:16:42 | 0:16:44 | |
What baby? Mine! Ten seconds! | 0:16:44 | 0:16:46 | |
Give him to me. Give me the baby! | 0:16:46 | 0:16:49 | |
Go! Go now! | 0:16:51 | 0:16:53 | |
WINGS FLUTTER | 0:17:39 | 0:17:40 | |
BIRDSONG | 0:17:40 | 0:17:43 | |
Who told you? | 0:17:43 | 0:17:44 | |
Ephra, who told you? | 0:17:50 | 0:17:52 | |
What, that his father's a Palestinian terrorist and his mother's... | 0:17:52 | 0:17:55 | |
..you? | 0:17:56 | 0:17:58 | |
Atika? | 0:18:02 | 0:18:03 | |
Why did she tell you? | 0:18:10 | 0:18:12 | |
I'm a little loose with my...affections. | 0:18:16 | 0:18:19 | |
Oh. | 0:18:21 | 0:18:22 | |
Hm. How? | 0:18:22 | 0:18:24 | |
Well, what do you expect me to say to that? | 0:18:26 | 0:18:28 | |
But in your own house or...? | 0:18:28 | 0:18:30 | |
The easy bit's because I'm a bastard, | 0:18:30 | 0:18:32 | |
but the more difficult bit I got from my therapist. | 0:18:32 | 0:18:35 | |
You're seeing a therapist? Yeah. Why? Why are you seeing a therapist? | 0:18:35 | 0:18:38 | |
I don't know, Nessa. Maybe it's cos I'm fucking my housekeeper. | 0:18:38 | 0:18:41 | |
And what did he say? She. | 0:18:41 | 0:18:43 | |
Well, I've gone way beyond guilt, but... | 0:18:43 | 0:18:46 | |
actually, where I've ended up, | 0:18:46 | 0:18:48 | |
I don't think you're going to like that either. It, um... | 0:18:48 | 0:18:51 | |
It makes me feel better. | 0:18:54 | 0:18:55 | |
Cheating on your wife? Having a secret. | 0:18:58 | 0:19:00 | |
One that I can call my own. | 0:19:01 | 0:19:03 | |
What if Atika tells Rachel? No, she won't. She can't. | 0:19:06 | 0:19:09 | |
Secrets are weird. People think you share them. | 0:19:09 | 0:19:12 | |
But you don't. | 0:19:12 | 0:19:14 | |
They have two sides. Either you own them or they own you. | 0:19:16 | 0:19:19 | |
And this secret, it owns her. | 0:19:20 | 0:19:22 | |
Why? Because she has so much more to lose. | 0:19:22 | 0:19:25 | |
Think about it. | 0:19:25 | 0:19:26 | |
So, the truth is, whatever I ask her to do, she has to do it, | 0:19:28 | 0:19:31 | |
because that's the way our secret works. | 0:19:31 | 0:19:33 | |
So, what about yours... | 0:19:34 | 0:19:36 | |
..Nessa? | 0:19:37 | 0:19:39 | |
Kasim's kidnappers. Have they made contact with you? | 0:19:40 | 0:19:43 | |
What do they want? | 0:19:46 | 0:19:48 | |
I don't know. | 0:19:52 | 0:19:54 | |
Why not? | 0:19:54 | 0:19:55 | |
SHE SIGHS I keep thinking about something... | 0:19:57 | 0:20:00 | |
..something that he said. | 0:20:02 | 0:20:05 | |
What do they know? | 0:20:05 | 0:20:07 | |
That they know everything. | 0:20:08 | 0:20:09 | |
Well, what's everything? | 0:20:11 | 0:20:12 | |
How did you think you were going to keep that one? | 0:20:19 | 0:20:21 | |
Ephra, how are we going to keep any of this, if I didn't? | 0:20:23 | 0:20:26 | |
Oh, boy, we're in trouble. | 0:20:33 | 0:20:35 | |
SHE LAUGHS | 0:20:39 | 0:20:41 | |
HE LAUGHS | 0:20:41 | 0:20:43 | |
So, when they tell you what they want, what are you going to do? | 0:20:45 | 0:20:49 | |
You're going to do exactly what they say, that's what. | 0:20:50 | 0:20:54 | |
Not until I know. No, no, we know already. | 0:20:54 | 0:20:57 | |
And believe me, speaking as someone who really knows about this shit, | 0:20:58 | 0:21:01 | |
you don't have the choice, not any more. | 0:21:01 | 0:21:04 | |
We don't know that. Yes, we do. | 0:21:04 | 0:21:06 | |
Because that's the side you're on, Nessa. | 0:21:09 | 0:21:11 | |
You don't own this secret. It owns you. | 0:21:13 | 0:21:16 | |
ATIKA: It's empty. HANNA: I know. | 0:21:19 | 0:21:22 | |
Now go to look along the water. | 0:21:22 | 0:21:24 | |
GENTLE TAPPING | 0:21:32 | 0:21:34 | |
MUFFLED CONVERSATION | 0:21:47 | 0:21:49 | |
My father bought this for my mother... | 0:21:54 | 0:21:57 | |
..so she'd have somewhere to escape to. | 0:21:58 | 0:22:01 | |
I think Rachel feels the same. | 0:22:02 | 0:22:04 | |
And you? | 0:22:06 | 0:22:07 | |
It's not for me to choose. | 0:22:08 | 0:22:10 | |
Where would you go if you could? | 0:22:12 | 0:22:14 | |
I don't know. | 0:22:15 | 0:22:17 | |
It doesn't exist, not yet. | 0:22:17 | 0:22:19 | |
So, now you're the wandering Arab | 0:22:20 | 0:22:22 | |
who'll do anything she has to, just to survive? | 0:22:22 | 0:22:25 | |
You feel betrayed. | 0:22:34 | 0:22:35 | |
Are you surprised? | 0:22:35 | 0:22:37 | |
No. | 0:22:40 | 0:22:41 | |
You know everything about me. | 0:22:44 | 0:22:46 | |
I couldn't tell you. Yes, you could. | 0:22:48 | 0:22:51 | |
It wasn't mine to say. | 0:22:51 | 0:22:53 | |
Was it Ephra and his fucking secrets? | 0:22:53 | 0:22:56 | |
SHE LAUGHS He's so full of shit. | 0:22:56 | 0:22:58 | |
I didn't think you'd ever have to know. | 0:23:02 | 0:23:04 | |
Well, just don't say you didn't have a choice. | 0:23:07 | 0:23:09 | |
I didn't, Nessa. | 0:23:09 | 0:23:11 | |
You did. You could have chosen me. | 0:23:11 | 0:23:14 | |
I couldn't. | 0:23:14 | 0:23:15 | |
CHILDREN LAUGH | 0:23:15 | 0:23:17 | |
What happened between us, no-one else can ever understand. | 0:23:23 | 0:23:27 | |
That's what we have. | 0:23:29 | 0:23:31 | |
NESSA SOBS And that's what you're feeling. | 0:23:31 | 0:23:34 | |
I wouldn't have survived without you! | 0:23:34 | 0:23:37 | |
We did it together. NESSA CRIES | 0:23:37 | 0:23:40 | |
But you don't love the rock that saves you from the sea. | 0:23:40 | 0:23:43 | |
I do. No. Don't tell me how I am. Don't. | 0:23:43 | 0:23:46 | |
No. I know how I am. I know. | 0:23:46 | 0:23:49 | |
I've known from the first moment I saw you at that fucking checkpoint. | 0:23:49 | 0:23:52 | |
I know how I am. | 0:23:52 | 0:23:53 | |
Then I'm telling you how you must be. | 0:24:02 | 0:24:05 | |
For Kasim. You love him? | 0:24:06 | 0:24:09 | |
For your son. | 0:24:11 | 0:24:13 | |
You're right. | 0:24:19 | 0:24:20 | |
I am a wandering Arab. | 0:24:20 | 0:24:23 | |
It's what the world has made me. | 0:24:24 | 0:24:26 | |
(I'm sorry.) | 0:24:29 | 0:24:30 | |
Judah, are you going to help me out here? | 0:24:42 | 0:24:44 | |
As I remember, if I were you, I'd consider moving your knight from C3 to D5. | 0:24:44 | 0:24:50 | |
The child of one of your most celebrated patriots | 0:24:53 | 0:24:55 | |
gets kidnapped in Gaza seven years ago. | 0:24:55 | 0:24:58 | |
For 11 months, stalemate, | 0:24:58 | 0:25:00 | |
then in goes your Unit 13, and, bang, | 0:25:00 | 0:25:03 | |
she and her translator are out in a trice. | 0:25:03 | 0:25:05 | |
Now, I would have thought that was cause for huge national celebration, | 0:25:05 | 0:25:09 | |
but you're telling me that until I just told you, you'd never even heard of it? | 0:25:09 | 0:25:14 | |
No, I'm not saying that. | 0:25:14 | 0:25:17 | |
Ah. | 0:25:17 | 0:25:19 | |
I'm saying, even now, after you told me... | 0:25:19 | 0:25:22 | |
..I still haven't heard of it. | 0:25:23 | 0:25:25 | |
Then I think you should listen. | 0:25:27 | 0:25:29 | |
You know, apparently, | 0:25:30 | 0:25:32 | |
there are as many possibilities in chess | 0:25:32 | 0:25:35 | |
as there are atoms in the universe. | 0:25:35 | 0:25:38 | |
But I think they must have excluded the Middle East. | 0:25:39 | 0:25:42 | |
PHONE RINGS | 0:25:44 | 0:25:45 | |
PHONE BEEPS | 0:25:50 | 0:25:53 | |
SALEH AL-ZAHID: 'Is your secret safe?' Yes, it is. | 0:25:53 | 0:25:57 | |
'Someone will come to you.' | 0:25:58 | 0:26:00 | |
PHONE BEEPS | 0:26:02 | 0:26:03 | |
Jalal El-Amin. To what do I owe this honour? | 0:26:41 | 0:26:44 | |
Your third-phase cabling contract into the West Bank. | 0:26:46 | 0:26:50 | |
We're now in a position to bid for this. | 0:26:52 | 0:26:54 | |
A very good position. | 0:26:57 | 0:26:59 | |
I'll look into it. | 0:27:03 | 0:27:04 | |
Where is Mr Bloom? | 0:27:05 | 0:27:07 | |
I don't know. | 0:27:10 | 0:27:11 | |
He is no longer in your employ? | 0:27:11 | 0:27:13 | |
No. | 0:27:13 | 0:27:15 | |
Is he connectable? | 0:27:15 | 0:27:16 | |
I don't believe he is, no. | 0:27:18 | 0:27:20 | |
This is a shame. | 0:27:20 | 0:27:22 | |
I...I have something else to show you. | 0:27:22 | 0:27:24 | |
HE UNZIPS CASE | 0:27:26 | 0:27:28 | |
Three months ago, Mr Bloom, he is receiving a call from a strange number. | 0:27:31 | 0:27:36 | |
Whose? Wait, please. | 0:27:36 | 0:27:39 | |
This is a story with an order. | 0:27:39 | 0:27:41 | |
After this call, Mr Bloom, he is going somewhere. | 0:27:42 | 0:27:47 | |
Here. | 0:27:47 | 0:27:49 | |
Ten minutes later, we are seeing... | 0:27:49 | 0:27:52 | |
this. | 0:27:52 | 0:27:53 | |
SHE BREATHES DEEPLY | 0:27:54 | 0:27:56 | |
Monica Chatwin. | 0:27:56 | 0:27:58 | |
So, two coffees, one savoury, and 19 minutes later, she is leaving. | 0:27:58 | 0:28:03 | |
Bye-bye, pecan pie. | 0:28:03 | 0:28:05 | |
Four minutes after, he is the same. | 0:28:05 | 0:28:08 | |
But this time, | 0:28:08 | 0:28:10 | |
you see what he is carrying? | 0:28:10 | 0:28:12 | |
This is the report Mr Bloom gave to you | 0:28:16 | 0:28:20 | |
saying Shlomo Zahary | 0:28:20 | 0:28:22 | |
has links with Hezbollah. | 0:28:22 | 0:28:24 | |
Because of this, you did not give him your contract. | 0:28:24 | 0:28:28 | |
And this is the one Zahary gave | 0:28:28 | 0:28:31 | |
to you to be proving his innocence. | 0:28:31 | 0:28:34 | |
We are being carefully analysing both. | 0:28:36 | 0:28:38 | |
Very good, each, excepting | 0:28:39 | 0:28:42 | |
one tiny error on this one. | 0:28:42 | 0:28:45 | |
There is a date | 0:28:47 | 0:28:48 | |
on this financial transfer here, | 0:28:48 | 0:28:52 | |
which is being impossible. | 0:28:52 | 0:28:54 | |
This date is a Lebanese banking holiday. | 0:28:54 | 0:28:59 | |
This day, the banks shutting. | 0:28:59 | 0:29:01 | |
SHE LAUGHS | 0:29:01 | 0:29:03 | |
This transfer was not happening. | 0:29:03 | 0:29:06 | |
This report is being a liar. | 0:29:08 | 0:29:12 | |
This report is being truthfulness. | 0:29:12 | 0:29:15 | |
Mr Bloom, I think, | 0:29:15 | 0:29:16 | |
is making the big mistake. | 0:29:16 | 0:29:18 | |
And do you think that's what it is, or... | 0:29:21 | 0:29:24 | |
do you think he's complicit in some way? | 0:29:24 | 0:29:28 | |
This is for him to say | 0:29:30 | 0:29:32 | |
and for you to feel. | 0:29:32 | 0:29:34 | |
But Shlomo's innocent. | 0:29:39 | 0:29:40 | |
This I can be saying. | 0:29:43 | 0:29:44 | |
I could have given him the contract. | 0:29:45 | 0:29:47 | |
This you can be saying also. | 0:29:48 | 0:29:51 | |
SHE LAUGHS | 0:29:53 | 0:29:55 | |
Rarrrgh! Rarrrgh! | 0:29:57 | 0:30:01 | |
Rarrrgh! Whoo! | 0:30:01 | 0:30:03 | |
GIRLS SQUEAL AND LAUGH | 0:30:03 | 0:30:05 | |
Rarrrgh! Rarrrgh! Ha-ha! | 0:30:05 | 0:30:08 | |
SQUEALING AND LAUGHTER | 0:30:08 | 0:30:10 | |
Rarrrgh! Ha-ha! | 0:30:10 | 0:30:12 | |
HE LAUGHS | 0:30:15 | 0:30:17 | |
Phew! | 0:30:18 | 0:30:20 | |
You were right. | 0:30:27 | 0:30:29 | |
GIRLS SQUEAL AND LAUGH | 0:30:29 | 0:30:31 | |
Does that mean I get the contract? | 0:30:32 | 0:30:34 | |
It means you get my apology. | 0:30:36 | 0:30:38 | |
But not the contract. | 0:30:39 | 0:30:41 | |
You know how much my company's worth? | 0:30:46 | 0:30:49 | |
Three billion dollars. | 0:30:50 | 0:30:53 | |
I provide billing, directory services, | 0:30:54 | 0:30:56 | |
credit checks for 53 of the world's leading telephone companies. | 0:30:56 | 0:31:01 | |
In America, in the UK, Europe, Hotzenplotz. | 0:31:01 | 0:31:06 | |
I suck it all from all over the world. | 0:31:06 | 0:31:08 | |
They all come to me. | 0:31:10 | 0:31:13 | |
And how much is your contract worth? | 0:31:14 | 0:31:18 | |
About 75 million. | 0:31:18 | 0:31:20 | |
Gross. | 0:31:21 | 0:31:22 | |
So, you might as well pay me loose change. | 0:31:24 | 0:31:27 | |
But do you know why I want to do it? | 0:31:29 | 0:31:32 | |
Because I love you. | 0:31:36 | 0:31:37 | |
And I love what you're trying to do. | 0:31:38 | 0:31:42 | |
It's that simple. | 0:31:42 | 0:31:44 | |
Don't make it any harder. | 0:31:45 | 0:31:47 | |
Grandpa! Grandpa! | 0:31:49 | 0:31:52 | |
The monster is coming back! | 0:31:52 | 0:31:55 | |
Rarrrgh! | 0:31:55 | 0:31:58 | |
Rarrrgh! Rarrrgh! GIRLS SQUEAL | 0:31:58 | 0:32:00 | |
You want to help me? I do. | 0:32:14 | 0:32:17 | |
So, what is this? And this? And this? That's what you call help? | 0:32:17 | 0:32:22 | |
Why did Nathaniel listen to you? | 0:32:26 | 0:32:28 | |
Because it's true. I do want to help. | 0:32:28 | 0:32:30 | |
You shouldn't be working with Shlomo Zahary. | 0:32:31 | 0:32:33 | |
Why? | 0:32:35 | 0:32:35 | |
SHE SIGHS | 0:32:38 | 0:32:39 | |
Because he will compromise you. | 0:32:39 | 0:32:42 | |
He doesn't have a Hezbollah connection. | 0:32:42 | 0:32:44 | |
No, he doesn't. You lied. | 0:32:44 | 0:32:45 | |
Yes, I did. Why? | 0:32:45 | 0:32:47 | |
Because what he's actually done is far, far worse. | 0:32:48 | 0:32:51 | |
You have to think very carefully now about what I'm about to tell you, | 0:32:56 | 0:33:00 | |
because if you decide to tell everyone else what I'm about to say, | 0:33:00 | 0:33:04 | |
there won't be a phase three, there won't be anything. | 0:33:04 | 0:33:07 | |
Cos if the world finds out what Shlomo Zahary has done... | 0:33:08 | 0:33:12 | |
..you'll be ruined. | 0:33:14 | 0:33:15 | |
CAMERA SHUTTER CLICKS RAPIDLY | 0:33:20 | 0:33:23 | |
CAMERA SHUTTER CLICKS RAPIDLY | 0:33:25 | 0:33:27 | |
INTERCOM BEEPS | 0:33:37 | 0:33:38 | |
I need to speak to Aron Yavin. | 0:33:39 | 0:33:42 | |
PHONE RINGS | 0:33:46 | 0:33:48 | |
'Aron Yavin. | 0:33:49 | 0:33:52 | |
'Hold, please, for Nessa Stein.' | 0:33:52 | 0:33:54 | |
You're losing weight. | 0:34:01 | 0:34:02 | |
It's the worry. | 0:34:02 | 0:34:04 | |
I thought I was the one supposed to be sniffing round Nessa Stein. | 0:34:05 | 0:34:09 | |
You are. | 0:34:09 | 0:34:10 | |
So, how come she's got in front of the trail? | 0:34:10 | 0:34:12 | |
Like the gorgeous Americans, | 0:34:13 | 0:34:15 | |
she believes that Nessa Stein deserves our unconditional support. | 0:34:15 | 0:34:18 | |
She's worried that what you are doing may undermine that. | 0:34:18 | 0:34:22 | |
So, you're running two dogs after the same ball. | 0:34:22 | 0:34:25 | |
Exactly. | 0:34:25 | 0:34:26 | |
What does she want Nessa Stein to achieve? | 0:34:26 | 0:34:28 | |
What the noble Baroness has always said she wanted - | 0:34:28 | 0:34:32 | |
equality of opportunity between Palestine and Israel. | 0:34:32 | 0:34:35 | |
And Chatwin thinks laying a few cables is going to do that? | 0:34:35 | 0:34:39 | |
I agree. | 0:34:41 | 0:34:43 | |
There must be something more to it than that. Such as? | 0:34:44 | 0:34:47 | |
I don't know, Hugh. The ball is still out there. | 0:34:48 | 0:34:51 | |
I'm just waiting to see which one of you brings it back. | 0:34:51 | 0:34:54 | |
The young pup... | 0:34:54 | 0:34:55 | |
Or the old dog. | 0:34:55 | 0:34:57 | |
HE PANTS | 0:34:59 | 0:35:00 | |
SHE CHUCKLES | 0:35:00 | 0:35:01 | |
Try not to piss it all up against the wall. | 0:35:06 | 0:35:09 | |
Thank you for flying in so promptly and thank you for your discretion. | 0:35:17 | 0:35:21 | |
What's so important it can't be said on the phone? | 0:35:21 | 0:35:24 | |
These are permissions for you | 0:35:25 | 0:35:27 | |
to enter every telephone exchange on the Israeli/West Bank border, | 0:35:27 | 0:35:31 | |
although I suggest you focus on the main exchange. | 0:35:31 | 0:35:34 | |
Why those? | 0:35:34 | 0:35:35 | |
We own the cables. Shlomo Zahary owns the buildings. | 0:35:35 | 0:35:38 | |
Then forgive me, but why not just ask him? | 0:35:38 | 0:35:41 | |
We don't want to raise suspicions. | 0:35:41 | 0:35:43 | |
For routine maintenance? | 0:35:45 | 0:35:46 | |
What I want you to do is not routine. | 0:35:46 | 0:35:50 | |
HE SIGHS | 0:37:49 | 0:37:51 | |
Samir Altif. | 0:40:15 | 0:40:17 | |
Hm. | 0:40:28 | 0:40:29 | |
DOOR CREAKS | 0:40:32 | 0:40:34 | |
DOOR CLOSES | 0:40:35 | 0:40:37 | |
FOOTSTEPS | 0:40:55 | 0:40:56 | |
DOOR CREAKS | 0:41:14 | 0:41:16 | |
DOOR CREAKS | 0:41:19 | 0:41:21 | |
FAINT RATTLING | 0:41:30 | 0:41:32 | |
CONVERSATION ON HEADPHONES | 0:41:42 | 0:41:45 | |
CONVERSATION ON HEADPHONES | 0:42:39 | 0:42:41 | |
HE EXHALES | 0:43:20 | 0:43:21 | |
The Stein Foundation is paying my wages. | 0:43:36 | 0:43:38 | |
That's why I came here, to get away from this sort of bullshit. | 0:43:38 | 0:43:41 | |
And how do you think Nessa Stein is going to react | 0:43:42 | 0:43:44 | |
when she finds out that even here - even here! - we are covered in it? | 0:43:44 | 0:43:47 | |
Oh, I wish he would have spoken to me first. | 0:44:23 | 0:44:26 | |
Or you. | 0:44:26 | 0:44:28 | |
Went straight in on the press. Didn't give us a chance. | 0:44:28 | 0:44:31 | |
So, is he right? | 0:44:31 | 0:44:33 | |
There does appear to have been a mistake. | 0:44:33 | 0:44:35 | |
From what I'm hearing, that's all it is. | 0:44:35 | 0:44:37 | |
If we take a step back, it's just two kids and an administrative error. | 0:44:37 | 0:44:42 | |
That's all it is. It's not so unusual. | 0:44:42 | 0:44:44 | |
Except one's an Israeli and the other's an Arab. | 0:44:44 | 0:44:46 | |
Exactly. That's what lit it up. It doesn't mean it's really the cause. | 0:44:46 | 0:44:51 | |
So, are there other examples? I don't know. Not yet. But... | 0:44:51 | 0:44:54 | |
We've got to recognise that thousands of these exams are taken every year. | 0:44:55 | 0:44:59 | |
There are bound to be a few...discrepancies, you know. | 0:44:59 | 0:45:02 | |
It's a mathematical certainty. | 0:45:02 | 0:45:05 | |
He does appear to have jumped the gun. | 0:45:05 | 0:45:07 | |
Why would he do that? He's been struggling with his job. | 0:45:07 | 0:45:10 | |
His graduates' grades have been...consistently low. | 0:45:10 | 0:45:13 | |
So, you think he's looking for an excuse? Yes, it's possible. | 0:45:13 | 0:45:16 | |
Although he could also be telling the truth, | 0:45:16 | 0:45:18 | |
and that's why his department's struggling. | 0:45:18 | 0:45:20 | |
Yes, but...but we don't know. | 0:45:20 | 0:45:23 | |
SHE SIGHS | 0:45:28 | 0:45:30 | |
OK, for the moment, we make no public comment. | 0:45:32 | 0:45:34 | |
None, Ephra. Clear? | 0:45:34 | 0:45:37 | |
Why do you feel you even have to say that? | 0:45:37 | 0:45:39 | |
OK. Frances, I want you to go over there and talk to him. | 0:45:39 | 0:45:43 | |
Find out why he went straight to the press. | 0:45:43 | 0:45:46 | |
Yes, find out why he didn't come to us. | 0:45:46 | 0:45:49 | |
BEN REUVEN ON RADIO: | 0:45:50 | 0:45:54 | |
FOOTSTEPS APPROACH | 0:45:59 | 0:46:03 | |
BEN REUVEN: 'What I discovered, it seems that the, er...Kidma Academy, | 0:46:21 | 0:46:25 | |
'funded by the Stein Foundation, | 0:46:25 | 0:46:28 | |
'is running a discriminatory selection process | 0:46:28 | 0:46:30 | |
'against Israeli Arabs and in favour... | 0:46:30 | 0:46:32 | |
PHONE RINGS '..of Israeli military veterans. | 0:46:32 | 0:46:35 | |
'And where's your evidence? | 0:46:35 | 0:46:38 | |
'Education is a meritocracy by function. | 0:46:39 | 0:46:43 | |
'As soon as you use it as a tool | 0:46:43 | 0:46:45 | |
'for social engineering on race grounds, | 0:46:45 | 0:46:48 | |
'you're simply creating an apartheid system.' | 0:46:48 | 0:46:50 | |
Thank you. | 0:47:02 | 0:47:04 | |
BIRDSONG | 0:47:10 | 0:47:12 | |
How nice of you to let me in the front door. | 0:47:16 | 0:47:18 | |
Is that some sort of vampire thing? | 0:47:18 | 0:47:21 | |
Ah, the dark arts. | 0:47:21 | 0:47:24 | |
Did you strike a deal with the Israelis? | 0:47:27 | 0:47:29 | |
Which one? The secret one. | 0:47:31 | 0:47:34 | |
No, we don't carry secrets. We can't afford them. | 0:47:34 | 0:47:36 | |
Maybe not now, but seven years ago. | 0:47:36 | 0:47:38 | |
What was the price on your sister, to get her out of Gaza? | 0:47:38 | 0:47:41 | |
Nothing, because she wasn't there. | 0:47:41 | 0:47:43 | |
I know how important it is to get a story straight. | 0:47:46 | 0:47:50 | |
But to save you having to wash down your front door twice, | 0:47:51 | 0:47:55 | |
why don't you just tell me | 0:47:55 | 0:47:56 | |
whether this positive prejudice for military veterans | 0:47:56 | 0:47:59 | |
is what it cost you to get her out? | 0:47:59 | 0:48:01 | |
A - that never happened, and, B - if it had, | 0:48:01 | 0:48:06 | |
do you really think that knocking around a few exam marks is all they'd ask for? | 0:48:06 | 0:48:10 | |
So, what did they ask for? They didn't. | 0:48:11 | 0:48:14 | |
I'm just saying if they did, it wouldn't be for that. | 0:48:15 | 0:48:18 | |
HE SIGHS | 0:48:25 | 0:48:27 | |
You see, I think it's all connected - | 0:48:29 | 0:48:31 | |
your sister's kidnapping, the child's kidnapping, your academy. | 0:48:31 | 0:48:36 | |
I even think Samir Meshal's suicide is in there somewhere. | 0:48:38 | 0:48:43 | |
You should set the Times crossword. I hear there's a vacancy coming up. | 0:48:47 | 0:48:52 | |
You know what "clue" is in Ancient Greek? | 0:48:55 | 0:48:58 | |
It's "thread". | 0:48:59 | 0:49:00 | |
That educational enough for you? | 0:49:02 | 0:49:03 | |
No, wait, I'll get a pen. | 0:49:03 | 0:49:06 | |
One thread to pull it all together. | 0:49:06 | 0:49:09 | |
And all I have to do is find it. | 0:49:10 | 0:49:12 | |
Does that include an overnight stay on the Orient Express, Mr Poirot(?) | 0:49:12 | 0:49:16 | |
Wow, you're confident. | 0:49:18 | 0:49:19 | |
So, how it must have hurt to have your sister steal your job... | 0:49:21 | 0:49:24 | |
..or was it simply because you weren't up to it in the first place? | 0:49:27 | 0:49:31 | |
I'll use the door. | 0:49:37 | 0:49:39 | |
But just to let you know, I can climb the walls. | 0:49:40 | 0:49:44 | |
LOCKS RATTLE | 0:50:17 | 0:50:20 | |
(OK.) | 0:50:43 | 0:50:45 | |
FAINT WHIRRING | 0:50:45 | 0:50:48 | |
WHIRRING AND BEEPING | 0:50:58 | 0:51:00 | |
WHIRRING AND BEEPING | 0:51:07 | 0:51:10 | |
DOOR SHUTS | 0:51:14 | 0:51:15 | |
So? | 0:51:19 | 0:51:21 | |
YAVIN: You were right. | 0:51:21 | 0:51:22 | |
We have a problem. | 0:51:24 | 0:51:25 | |
They never come alone. | 0:51:28 | 0:51:30 | |
Thank you. | 0:51:35 | 0:51:36 | |
PROJECTOR WHIRS | 0:51:39 | 0:51:41 | |
CLICKS TONGUE What now? | 0:51:47 | 0:51:50 | |
YAVIN: So, you want to know about switches and nodes and shit like that | 0:51:54 | 0:51:57 | |
or you just want me to keep it simple? | 0:51:57 | 0:51:59 | |
HE CLEARS HIS THROAT | 0:52:01 | 0:52:03 | |
OK, so, ten years ago, we start with phase one, | 0:52:03 | 0:52:07 | |
laying future-proofed fibre-optic telecommunication cabling | 0:52:07 | 0:52:10 | |
throughout the West Bank. It took three years to complete. | 0:52:10 | 0:52:12 | |
Now, any telecommunication in the region, | 0:52:12 | 0:52:15 | |
it doesn't matter where it starts from, even if it's a cellphone, | 0:52:15 | 0:52:18 | |
everything eventually enters our fibre-optic system. | 0:52:18 | 0:52:23 | |
Now, the critical point of our interest here is that, | 0:52:23 | 0:52:26 | |
except into Egypt, all traffic on that system has to cross over | 0:52:26 | 0:52:30 | |
from the Palestinian territories into Israel. | 0:52:30 | 0:52:33 | |
Now this is because, historically, the main cable, the Neptune Optical cable, | 0:52:33 | 0:52:37 | |
carries all the international traffic | 0:52:37 | 0:52:40 | |
underneath the Mediterranean from Israel to Italy, | 0:52:40 | 0:52:44 | |
and then into the international grid. | 0:52:44 | 0:52:46 | |
Everything. | 0:52:46 | 0:52:48 | |
It's 95% of the traffic going to Western Europe and to the United States, | 0:52:48 | 0:52:52 | |
excluding satellite. | 0:52:52 | 0:52:54 | |
Then, eight years ago, | 0:52:54 | 0:52:56 | |
when the Israeli government opened up competition, | 0:52:56 | 0:52:59 | |
your company, Z Com, bought up a 30% stake | 0:52:59 | 0:53:03 | |
in the Israeli exchange network, | 0:53:03 | 0:53:05 | |
including the Last Point main exchange | 0:53:05 | 0:53:09 | |
that carries the Palestinian system onto the Neptune cable. | 0:53:09 | 0:53:13 | |
And to think I didn't even graduate from high school. | 0:53:13 | 0:53:16 | |
And it's at this point... | 0:53:16 | 0:53:19 | |
that we found this. | 0:53:19 | 0:53:22 | |
What's that? You don't know? | 0:53:23 | 0:53:25 | |
I want to change a plug, I call an electrician. | 0:53:25 | 0:53:28 | |
It's a form of sniffer. | 0:53:28 | 0:53:30 | |
Well, now I know. What the fuck's a sniffer? | 0:53:30 | 0:53:33 | |
It's a wiretap, Mr Zahary, a big one. | 0:53:34 | 0:53:38 | |
Capable of listening to international calls that emanate from the West Bank. | 0:53:38 | 0:53:43 | |
HE TUTS Oh, balls. | 0:53:46 | 0:53:49 | |
But we always knew the Israelis might try to do that. | 0:53:49 | 0:53:53 | |
So we've had our cables regularly swept. | 0:53:54 | 0:53:56 | |
Well, so did we. | 0:53:56 | 0:53:58 | |
So, how come no-one looked there? I don't know. | 0:53:59 | 0:54:02 | |
Who put it there? Not me. | 0:54:05 | 0:54:08 | |
It's seven years old. | 0:54:08 | 0:54:10 | |
And you've been there for eight years. | 0:54:12 | 0:54:14 | |
So? Mossad? | 0:54:14 | 0:54:16 | |
I don't know. | 0:54:16 | 0:54:18 | |
Shin Bet? I don't know. You want to go through | 0:54:18 | 0:54:20 | |
the whole fucking list? Because I still won't know. | 0:54:20 | 0:54:23 | |
Did you do this for my father? Once in the Irgun... | 0:54:23 | 0:54:26 | |
I'm not a military man, Nessa. | 0:54:26 | 0:54:28 | |
But you could always smell a deal, couldn't you? | 0:54:28 | 0:54:31 | |
You always knew how to do that. | 0:54:32 | 0:54:35 | |
I don't know anything. | 0:54:35 | 0:54:37 | |
This is the Middle East, Shlomo. You've got to know it all. | 0:54:37 | 0:54:40 | |
But I didn't know this! | 0:54:40 | 0:54:42 | |
It's on your fucking... It's on your fucking site! | 0:54:42 | 0:54:45 | |
But I didn't put it there! You asked me to trust you! | 0:54:45 | 0:54:48 | |
And you should! You should! | 0:54:48 | 0:54:51 | |
Not this time. For Christ's sakes, Nessa, come on. | 0:54:52 | 0:54:55 | |
DOOR SLAMS | 0:54:56 | 0:54:58 | |
DOOR SHUTS | 0:55:02 | 0:55:03 | |
PHONE RINGS | 0:55:08 | 0:55:10 | |
PHONE BEEPS | 0:55:16 | 0:55:17 | |
Hello? | 0:55:18 | 0:55:19 | |
HE SIGHS | 0:55:24 | 0:55:26 | |
Bye-bye. PHONE BEEPS | 0:56:07 | 0:56:09 | |
PHONE BEEPS | 0:56:11 | 0:56:13 | |
Open this fucking gate! | 0:56:32 | 0:56:34 | |
GATE BEEPS | 0:56:34 | 0:56:36 | |
Nessa Stein's leaving her house... | 0:56:48 | 0:56:50 | |
alone. | 0:56:50 | 0:56:52 | |
HE GASPS | 0:57:11 | 0:57:12 | |
Ssh! | 0:57:14 | 0:57:16 | |
DISTANT THUD | 0:57:34 | 0:57:36 | |
CONVERSATION ON HEADPHONES | 0:57:55 | 0:57:57 | |
SWITCH CLICKS | 0:58:09 | 0:58:11 | |
I am Charles Edward Montague. | 0:58:42 | 0:58:44 | |
I, Sarah Macnaughtan, am Scottish. | 0:58:44 | 0:58:46 | |
My name is Elfriede Kuhr. I have begun to write a war diary. | 0:58:46 | 0:58:49 | |
Today, I see men so broken | 0:58:49 | 0:58:51 | |
that their own mothers would hardly recognise them. | 0:58:51 | 0:58:53 | |
I just wanted to fight, like the rest of the country. | 0:58:53 | 0:58:56 | |
We women are desperately needed to work in the factories. | 0:58:56 | 0:59:00 | |
I am Yves Congar. | 0:59:00 | 0:59:01 | |
I am Kaethe Kollwitz. | 0:59:01 | 0:59:02 | |
I am Marina Yurlova. | 0:59:02 | 0:59:04 | |
Together, they are the humans behind the history. | 0:59:04 | 0:59:07 |