All language subtitles for The.Affair.2021.1080p.WEB-DL.DD5.1.H.264-EVO-HI

Provided by explosiveskull
https://twitter.com/kaboomskull

WOMAN: It knows us,
this place.

Our young friend

watching as we grow old.

A mirror to our years.

Pulling us back.

Our center, our gravity.

[FOOTSTEPS CREAKING]

[LAUGHTER]

[CHATTERING]

Thank you, sir.

We have three days
to get to Milan.

LIESEL: We can take as long
as we like, can't we?

I'm afraid not.

We have an appointment.

[LAUGHS] What do you mean?

What kind of appointment?

Surprise.

Consider it
your wedding present.

[INDISTINCT CHATTER]

[INDISTINCT]

[GASPS]

- Excited? Me, too.
- Yes!

Thank you.

[WOMAN SPEAKING ITALIAN]

MAN: Aren't you worried that your
modern houses will spoil the landscape?

Viktor, we know this.

Mr. von Abt's in Stuttgart.

- WOMAN: Could I have an autograph, please?
- Of course.

MAN: Thank you, Herr von Abt.
We find your modern designs quite amazing.

There you go.

So,

Frau Landauer,

your husband tells me
you're in need of a house.

[CHUCKLES SOFTLY]

What did you have in mind?

Something like this?

Not exactly.

Why not?

- It's a wonderful room.
- Yes.

But of its time.

Two rich, young newlyweds.

Why should I bother?

Are the poor and elderly queuing
up for your services, Herr von Abt?

You will have the funds
you need,

and the chance
to do your best work.

The site is a problem.

- The slope.
- LIESEL: Yes.

But the slope gives height.
It faces south.

And the view of the city,
it's wonderful.

What do you want
from this building?

Simplicity,

clarity,

light.

A home true to the age.

And are you true to the age,
Frau Landauer?

It's not so easy.

We're pulled to the future,
but yearn for the past.

The cave, the darkness.

Are you ready
to live in the light?

[INSTRUMENTAL MUSIC PLAYING]

[INDISTINCT CHATTER]

I once had a Landauer, Viktor.

The best car you ever made.

I adored it. A '45.

- VIKTOR: The Torpedo?
- Yes.

Well,

I'm afraid I aimed it at a bus
that sank us both.

[LAUGHTER]

Don't you have something
to show us, Herr von Abt?

Poor Liesel looks
faint with anticipation.

RAINER: Indeed.

I'm a builder.

I deal with physical problems.
Not in style or form.

Form is not the goal.

It's the manner in which
a problem is addressed.

So...

From the street.

A single story. Low, discrete.

The servant's quarters
behind the garage, here.

And here, an opening
a glimpse of the city.

We enter not at the bottom,
but at the top.

There are bedrooms, bathrooms.

The hallway
encased in frosted glass.

And the staircase,
down to the heart of the house.

A single space,

large.

Areas to talk, to eat,
to be alone.

Each one separate,
and yet joined.

Part of the whole.
Glass and steel.

Skin and bone.

Walls melt into air,
into trees and sky.

It lets us move.

It changes as you walk.

It will take the breath away.

There is more.

[LIESEL SHRIEKS]

RAINER: I talk about the weather.
I ask about their holidays.

As little as possible about
the work they pay for.

That's my rule.

You, Liesel, are the exception.

Because you know what you want.

And now

we are in a race to see who
will be first to give birth.

[CHUCKLES]

I think we know
who's going to win.

It's as it should be.

You'll be a family.

Hmm.

You'll bring the house alive.

A family's an
interesting problem.

And why is that?

[SIGHS]

We aim for clarity,
transparency.

Freedom from compromise.

Can we construct
a family through that design?

Can we still have what we want?

Come to my room.

Rainer!

[CLICKS TONGUE]

Forgive me. Uh...

As I say,
an interesting problem.

Not one that can be solved.

[ENGINE STARTS]

HANA: Are you in love
with him?

With Rainer?

[LAUGHING] For heaven's sake.

Hana, I've only been married
five minutes.

So?

And look at me.
I'm like a whale.

No!

You're divine.

I've never seen
you more beautiful.

He kicks like a horse.

- He?
- Or she. Maybe she.

Shall we find out?

Back and forth for a boy.

Round and round for a girl.

My God, look at you.

Can I touch it?

If you really want to.

[OBJECTS CLATTERING]

Your architect wrote to me.

He wants to take me to dinner
the next time he's here.

Do you mind?

Why should I mind?

[BABY GURGLING]

MAN: The glass is superb,
isn't it?

Almost nothing.

Quite the opposite,
it's everything.

- Liesel, it's beautiful.
- Thank you. We're very happy.

And what does my little
Otilie think of this?

- [BABY GURGLING]
- VIKTOR: I don't like the look of this.

There is water on the terrace.

I promise you that the
terrace and roof are waterproof.

But we can add a pitch too,
if you like.

- Couple of towers and a...
- I made him bring me.

Please, don't be angry.

I would hate
to spoil this for you.

Ladies!

[WHIRRING]

[LIESEL LAUGHS]

The ebony for the curved partition
is already in the workshop.

For the second partition,

I have a proposal.

It's gorgeous!

What is it?

Onyx. From the Atlas Mountains.

- VIKTOR: Mmm-hmm. How much?
- Look, Viktor,

the veins, the color.

Like something alive.

And when the sun sets,
it'll glow red, like a flame.

The beating heart of your home.

- How much?
- $15,000.

You're insane.

You can buy an entire
house for $15,000.

Viktor, I know it's a lot.

Liesel! People are
already talking about it.

- Our extravagance.
- Let them!

Rainer's built
something extraordinary.

Something that will
outlast all of us.

Let him finish his work.

LIESEL: You're in
Die Bildung again.

Critics adore its fewer lines
and austere harmony,

but what kind of life is possible in
Herr von Abt's modernist masterpiece?

[SCOFFS] Bloody cheek.

How do you and your brother
like it, Mrs. Lanikova,

- to live in a masterpiece?
- Very pleasant, thank you.

As long as I don't have
to wash the windows.

[CHUCKLES]

- Should I take her up?
- Thank you.

- [BABY GURGLING]
- Excuse me.

- Have you seen him?
- No.

Have you forgiven me?

He talked about you
incessantly, by the way.

When he wasn't
talking about himself.

He turned out to be
surprisingly dull.

[HANA CHUCKLES]

- I hate being cross with you.
- I know.

But I probably deserved it.

I think I'm pregnant.

My God! Really?

- And are you pleased?
- Of course.

[SIGHS] It's just rather soon.

Well, you do
make it look terribly easy.

It's not that easy
for everyone, you know.

We tried and tried and tried...

But it seems I just...

I just can't have children.

Hana,

I had no idea.

You think it
would be a disaster.

No, no!

You should have said something.

You're my best friend.

I know how lucky I am.

And I'm really, really
happy for you.

Promise never to think
that I'm not.

- That I don't love you and your beautiful children.
- No.

[CHILDREN LAUGHING]

- Martin, it's Marika's turn.
- [INDISTINCT SHOUTING]

- Watch me, Kata!
- Yes.

LIESEL: They left with nothing.
Just got on the first train.

Things she saw.

The kosher butcher on the street
had his throat cut.

Beatings. Old men made
to scrub the pavements.

But there are thousands of them.

Aren't you scared?

It won't happen here.

But, what if it does?

Liesel, we are both
married to Jews.

It's happening
50 kilometers away.

Bring the fish, will you?

[ALL LAUGHING]

- I sometimes go like this.
- [MARTIN LAUGHS]

VIKTOR: I used
to look at all this

and imagine everything
out there was calm.

MAN: Shall we? Three copies.

Transferring ownership of the
firm to your father-in-law.

It's a formality,
but a sensible one.

And I've spoken to Bohmer.
He's transferring funds to Zurich.

Do you know when you will go?

I still hope we won't have to.

The tricky part will be knowing
the moment when it comes.

The tricky part will be
persuading my wife.

She refuses to discuss it.

She's rather lovely, isn't she?

- I'm hungry.
- Let's go!

There you go.

- It looks very nice
- What about this?

LIESEL: No, it's lunch.
Now is not the time.

You can go out later.

OSKAR: Can you pass me
the food, please?

- VIKTOR: Oskar, so annoyed you stayed for lunch.
- My pleasure.

Otilie, stop it.

[INDISTINCT]

LIESEL: Come on!

[KIDS SHRIEKING AND LAUGHING]

[CAMERA SHUTTER CLICKS]

Viktor.

[KNOCKING AT DOOR]

Viktor?

Ah, you, you can't come in,
I'm afraid.

Oh, I didn't know
where you were.

I won't be long.

Where you off to today?

A recital at the Philharmonic.

- And then drinks at Hillshire.
- Hillshire.

Of course. Life goes on.

You're taking her away.

Listen, I know how much
you mean to each other.

When do you leave?

We're still in negotiation.
But soon.

What about Kata and the girl?

They'll come with us.

Liesel insists.

[DOOR OPENS]

[FOOTSTEPS APPROACHING]

LIESEL: There you are.

I'm sorry.

Shall we go?

- Yes.
- LIESEL: I won't be late.

I've told Kata I'll pick up
the children on the way back.

Save them trudging
through the snow.

[LIESEL SIGHS]

Damn it! I've forgotten
the tickets.

Sorry, Lanik.
we'll have to go back.

Why?

They'll let us in,
we'll explain.

There's plenty of time.

But, Frau Landauer, the snow.

LIESEL: Lanik, please.
I'd like to go back.

[INDISTINCT CHATTER]

[OBJECTS CLATTERING IN DISTANCE]

[WOMAN MOANING FAINTLY]

[WOMAN MOANS]

[GASPING]

- Liesel.
- Not now!

KATA: Hey.

It's cold outside, Kata.
Mama says we can have hot chocolate.

Okay.

KATA: You came back.

I forgot something.

Does he like it?
That noise you make?

When did it start?

[EXHALES]

In the summer.

August, I think.

I'm sorry.

I... I... I don't understand.

- I tried to be your friend.
- I know.

I gave you a home,
you were safe.

I know. I'm sorry.

Did you feel
some sort of obligation?

No.

I wanted it.

It was wrong.

And I was grateful to you.
So grateful.

But that wasn't all I was.

Your grateful refugee.

It wasn't what I needed.

Take Marika.

I beg you. Take her with you.

Did you hear what she said?

She wants us to take Marika
with us when we leave.

What are we going to do?

I don't know.

Coward.

The tickets are picked up.
I won't stay.

[EXHALES]

He doesn't deserve you.

I know.

But the children, they do.

You can't stay.

You have to persuade him,

- and if you can't, then...
- I will.

We'll come and find you.

I can't.

[SNAPS]

[BABY CRYING IN THE DISTANCE]

Take the page.

MRS. LANIKOVA:
Fancy them leaving it so late.

Will they let them go?

Of course they will.

It's what they want, isn't it?

They want to get rid of them.

He wants this covered up.

Says he doesn't want someone
turning it into ashtrays.

But these are
worth a bit as well.

What if they come back?

They are not coming back.

INSPECTOR: Miss, I'm sorry.
It's just not enough.

That is perfectly in order.

It was issued
by the League of Nations.

Move along, sir.

- Come on.
- You.

- Wait just a moment.
- Christ, we don't have time for this.

I'll catch you up, Marika.

She's with us.

Come on, Viktor.

[ENGINE STARTING]

[BARKING]

- Come on, sir. It's time to go.
- Please. We're waiting for someone.

For Christ's sake,
get on the plane!

Come on!

Viktor!

Halt! Come back!

Leave me!

Someone else is missing.
I have to get her! Leave me!

[GRUNTS]

[DOGS BARKING]

You'll kill all of us, Viktor!

Why'd you do it?

Get up!

[DOG BARKING]

Go!

Where's Marika?

[BIRDS CHIRPING]

[CHILDREN SQUEALING]

[ALL LAUGHING]

Get in, Martin. Go!

LIESEL:
It's a horrible old pile.

But it's on the lake,
and there's a garden.

Children like it.

There's a rowing boat
and skiing in the winter.

If we're still here.

Look, Mama, look!

I can see, darling.
That's very good.

I make it sound like a holiday.

But a holiday
only lasts so long.

And when it ends, you go home.

Viktor spends most of his time
in Zurich.

I gather there are
visits to the German consulate,

and I see letters addressed to
every kind of relief organization

or refugee committee.

He's trying to find her.

I have a feeling
it's all he thinks about.

Of course, the matter is
undiscussed.

What on Earth would I say?

Dear God, I miss you.

Can't you come?

[BELL DINGS]

HANA: Our accounts are frozen.

They took Oskar's firm
and handed it

to a Sudeten halfwit
called Schneider.

There's a word
for this procedure.

They call it Aryanization.

I must be careful
with what I write.

Things have changed in the
protectorate of Bohemia and Moravia,

this proud and grateful corner
of the German Reich.

[HORN TOOTING]

[TRAM BELL DINGS]

What does Hana say?

It's about Kata.

HANA: She needed money.

Just enough to get her
and Marika to Prague.

They're putting children
on trains to England.

Mothers and fathers are putting
the children onto trains

and waving goodbye.

Can you imagine?

Where is she? Where's Kata?

I don't know. She doesn't say.

[GASPS]

[PROJECTOR REEL RUNNING]

LIESEL: I go there in my
dreams, across the hallway,

everything just as it was.

Down the stairs,
12 steps to the turn.

And it's the strangest thing.

You are there.

Always.

It's as if I am visiting you.

[THUNDER RUMBLING]

You're there, waiting for me.

Waiting for me
in the classroom.

[THUNDER RUMBLING]

Are you reading this?

It's months
since your last reply.

And still I write, not knowing.

[PARTY MUSIC PLAYING IN VENUE]

[INDISTINCT CHATTERING]

The Landauer house?

I know it very well.
I watched it being built.

Liesel Landauer
was my greatest friend.

MAN: The house was empty.

I have given it a purpose.

I'm an engineer.

I have a team,
draftsmen and designers.

More than that,
I'm not permitted to say.

HANA: They took everything.

The paintings.

The Klee, the Miro.

It was all very polite.

One of them was once
a clerk at the firm.

Oskar asked after
his wife and children.

I could have scratched
the little shit's eyes out.

And your gift,

you remember?

I hid it from them. It's safe.

Oskar hasn't left
the apartment in almost a year.

He won't.

Not with the star
on his jacket.

But he took good care of me,
didn't he?

For all those years.

Now, I must take care of him.

And so, to my news.

Wherever you are,
whenever you might read this.

I've been to the house.

In the company
of its new occupant.

[CUTLERY CLATTERING]

MAN: There is more.

HANA: No, thank you.

It was very good.

This was the children's room.

Do you know their names?

MAN: No.

Otilie and Martin.

Am I supposed to feel guilt
for their absence?

You could look
a little embarrassed.

I do my work.

The circumstances
are far from us to choose.

My husband is a Jew.

I know.

The caretaker thought
that I should be told.

Is it good to be back?

It's terrible.

You chose Liesel's room.

Did I?

So this is your work?

- Airplanes?
- MAN: You shouldn't be in here.

I see what you meant.

It's all very lovely.

One could almost forget
what it's really about.

The bombs and the killing.

There are no supporting walls
here, did you know that?

Everything is suspended
from the frame.

I knew the architect.
We were lovers.

My staff will be here soon.

Tell me about your wife.

I don't have a wife.

I saw her picture.

She's dead.

HANA: I'm his whore.

This is how we live.

An entire country
doing what it must.

And you're here, somewhere.

That's how I keep you close.

LIESEL: Three years,

how is it possible?

As if my life here has been
happening to someone else.

We're far apart,

Viktor and I.

We play our roles, of course.

For the children.

For one another.

But I'm alone.

And so is he.

Except that
every now and then,

he asks me to spend
the night with him.

[VIKTOR GASPING]

[VIKTOR GRUNTING]

[MAN MOANING]

[GASPING]

[VIKTOR PANTING]

[VIKTOR GASPING]

[LIESEL MOANING]

LIESEL: He's thinking
of her, of course.

And I...

I think of you.

[VIKTOR MOANING]

They're taking him away.

All he can do is wait his turn.

Please.

I wondered
when this would come up.

Where are they taking them?

I don't know.

Why should I have any more
idea about it than you?

You can help us.

You know the people to talk to.

Should I tell you about
the people I talk to?

The people I talk to

want to shut this place down
and send us home.

What do you mean?

- What happened?
- We're governed by morons.

All of them terrified.

Looking for
someone else to blame.

I'm sorry.

So, no, I can't help
your fucking husband.

You should have left
with your friends.

I know.

[OPENS DOOR]

For Christ's sake, shut it!

[MACHINE WHIRRING]

Get out of my house.

This is not your house.

I think you should leave.

This might be the last time.

Is she watching it?

Your poor dead wife.

[GASPS]

Don't ever come back.

[SOBBING]

[GRUNTS]

[GRUNTS]

[CRYING]

[INDISTINCT CHATTERING]

[INDISTINCT SHOUTING]

[SIGHS]

HANA: It's a miracle, Liesel.

Or a joke.

- Excuse me...
- [INDISTINCT]

[INDISTINCT CHATTER]

I'm under arrest.

For profiteering or sabotage.

They can't seem to decide.

[FOOTSTEPS APPROACHING]

Why did you come?

It doesn't matter.

Please.

You're pregnant.

Am I the father?

Or wasn't I?

There was a child.

It died inside her.

I thought we could carry on.

The day she leaves hospital...

She ran a bath.

Used my razor to open her veins.

I wish there was something...

Forgive me,

but,

I think I'm glad.

Is this her?

The one with the Jew husband.

Oskar, isn't it?

You don't have to worry,

it's Herr Stahl
we're here to see.

You should run along home.

Home to Oskar.

Did they come?

Did they take him?

There was no answer.

They broke down the door.

Oskar!

Oskar!

[GASPS]

[BABY CRYING]

[BABY CRYING]

Take it down.

Someone said you had baby milk.

Have you got money?

It is a sculptor
called Maillol.

There's his mark on the base.

It's worth a fair amount.

Liesel gave it to me
on her wedding day.

What is it, Hana? Bronze?

- [SIREN BLARING]
- [BOMB BLASTS]

Bloody hell.
Better come with me.

Let's get in here.

Martha!

[BABY CRYING]

Christ, Martha!

- [BLASTS]
- [SHATTERING]

Martha!

Martha!

- [BOMB BLASTS]
- Martha!

[BABY COOING]

[BABY CRYING]

[CRYING]

[BABY CRYING]

[BABY CRYING]

[VEHICLES PASSING BY]

[RAPID KNOCKING ON DOOR]

[INDISTINCT SHOUTING]

[INDISTINCT SHOUTING]

[GUNFIRE]

[INDISTINCT CHATTER]

[OPERATIC MUSIC PLAYING ON PA]

HANA: Have I found you?

Not Landauer, but Landor?

Elisabeth Landor. Is that you?

[MAN COUGHING]

Perhaps in the end
you choose to forget.

Or do you remember it still?

The house on the hill.

Those bright, foolish days.

The old friend
who loved you too much.

[UPBEAT MUSIC PLAYING
ON RECORD PLAYER]

[KNOCK AT DOOR]

[KNOCKING AT DOOR]

- Oskar.
- All right.

- This is for your mom.
- Thanks.

A special delivery
from state security.

Hello, I received a summons.

I sent that six months ago.

As you can see, it suffers
in your absence,

your beautiful house.

MAN: Whose house?

Whose house?

Can't I write to my friends?

Your friend's a cunt.

WOMAN: Well, you write,

"The address is the same.

"Although the apartment
is a little smaller now,

"there's a wall down the middle.

"Our neighbor is dying.

"I hear him coughing
through the night.

"He was once
a professor of theology.

"But then they sent him
down to coal mine

"to complete his education."

This is the bit I like.

"I longed for you.

"I felt you

"here and not here,

"like a missing limb.

"Ached for you in every nerve
and muscle."

They tried to get it back
in the 1946, did she tell you?

She stopped writing to me.

MAN: Out loud.

[SNIFFLES]

Go on.

I want to hear it.

[SNIFFLES]

WOMAN: You don't want
to read it?

[DOOR CLOSES]

You're a school teacher.

And you've got a son.

I gather he's a good student
full of plans, I'm sure.

Full of hopes.

[OPERATIC MUSIC PLAYING ON PA]

[UPBEAT MUSIC PLAYING ON RADIO]

I might have some people
around later. Is that all right?

Oh, that's okay.

I'm going out, remember?

Shit. Yeah.

Good luck.

You look great.

There's a woman upstairs.

Something to do with the
Department of Urban Planning.

Said she's a friend of Grusa.

There seems to be
a problem here.

Only when it rains.

Maybe Viktor was right.

He never really liked
the idea of a flat roof.

The reception
doesn't start till 6:00.

I hoped I might have
a look around first.

Didn't Grusa warn you?

I'm writing an article.

What kind of article?

About the architecture.

And the story.

I never knew what
all the fuss was about.

Is it true that half the people
of these things are informants?

Half of them?

That seems unlikely.

- You are late.
- Hello, everyone.

Over here. Move it.

[PLAYING UPBEAT MUSIC]

[INDISTINCT CHATTER]

Lanik.

- [INDISTINCT]
- Yes, sir.

Very interesting.

There's a place
for such opinions, of course.

Although, we must
avoid confusion.

We mustn't allow the public
to become demoralized.

We must speak up
for our achievements.

[EXCLAIMING]

[PEOPLE CHEERING]

[INDISTINCT, DRUNKEN CHATTER]

People like...

You're just a vicious...

You're trying to destroy us.

You are trying to destroy
everything that this party has done.

[GLASS SHATTERING]

LANIK: You are leaving?

I think I've seen enough.

This article,
what's it going to say?

That the house
is falling to pieces.

Mostly that.

Mostly, I advise against
embarrassing the party.

[CHUCKLES] Well, Lanik.

Don't you see? It's all over.

Who knows what
will happen, comrade?

Not me. Not you.

[CHEERING]

[LAUGHTER]

[THUNDER RUMBLING]

VESELY: You know
better than anyone

how the house was made,

what was intended.

LIESEL: I can't imagine
going back.

VESELY: The event,
we hope you'll attend,

will launch
a charitable foundation

seeking funds around the world.

The house
has countless admirers.

It will operate as part
of the city museum.

LIESEL: I'm grateful
for your visit, Mr. Vesely.

But I'm not sure how I can help.

There's one other thing.
An article

written by a friend of yours...

Someone else who remembers
the house as it was.

Hana.

She gave me a letter.

Insisted that I put it
in your hand.

Could I have a moment, please?

[EXCLAIMS]

[SNIFFLES, SOBS]

[SLOW MUSIC PLAYING ON RADIO]

Ma?

Mr. Vesely. Martin.
So sorry I'm late.

Your mother asked
for a moment alone.

HANA: And you're here,
somewhere.

It's how I keep you close.

[CAR DOOR CLOSES]

[CAR DOOR CLOSES]

[INAUDIBLE]

[INAUDIBLE]

[INAUDIBLE]

This is Oskar.

My son.

Oskar. I'm so glad to meet you.

Welcome back to Czechoslovakia.

LIESEL: It's bigger
than I remember.

Maybe it's too big.

Maybe they're right
to turn it into a museum.

I realize something terrible.

I never knew Lanik's first name.

[EXHALES]

What do you suppose
will happen to him?

I don't know.

But he'll manage.

You can be fairly sure of that.

Do you think he'll let me stay
just for tonight?

I don't want
to sleep in a hotel.

I'll make sure of it.

I thought we should have
some more of this dreadful wine.

LIESEL: He built himself
a yacht, was out on his own.

Squall...

It felt...

Like the end of everything.

[UPBEAT MUSIC PLAYING IN CLUB]

Good evening.

Hi. Nice to meet you.

We sat here. Do you remember?

Of course I remember.

I never stopped
thinking about it.

How you wanted me,
how I refused.

Because I had to leave
and thought I'd fall apart.

And now I'm afraid
it's too late.

[CHUCKLES]

How could it ever be too late?

[CHUCKLING]

[HELICOPTER HOVERING]

[SIREN WAILS]

[SIGHS]

The Russians.
Ma, we've got to go.

Oskar found a guy who can
take us to the border.

But we have to go now.

[HELICOPTER CONTINUES HOVERING]

[SIREN WAILING]

[PANTING]

I know.

Ma, we've gotta go.

Please, wait.

I can't go.

If I stay,

will you have me?

Of course.

The house, the plans.
None of it's gonna happen.

I know.

Doesn't matter.

It was so beautiful.

Yes.

Yes, it was.

[INDISTINCT CHATTER]

She said, "Rainer,

"My clothes?
Where do I put my clothes?"

I said, "It's a weekend house.

"You only need one dress.

"Hang it on the back
of the bedroom door."

[LAUGHTER]

Wait.

The sun.

Come on.

Any moment now.

Let's see the wall.

Look.

- Here it comes.
- [GASPING]

Here it comes.

It's beautiful.

Provided by explosiveskull
https://twitter.com/kaboomskull