WEBVTT - Episode 9: Fodor's Guide to Paris

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<v Speaker 1>There is an old familiar saying everyone has two countries

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<v Speaker 1>their own and France. For France is the land of individualism,

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<v Speaker 1>where you can allow your personal idiosyncrasies full play and

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<v Speaker 1>apologize for them with complete acceptability by the simple remark

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<v Speaker 1>jesuit com sa you are like that. It's all that

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<v Speaker 1>need be said. In France. Every person has a right

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<v Speaker 1>to be themselves. They needn't conform to the model of another.

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<v Speaker 1>It is this freedom that's made Paris the hoopla capital

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<v Speaker 1>of the world and one of the world's great cultural centers.

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<v Speaker 1>There is perhaps no other place in the world that

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<v Speaker 1>can contribute more to the spiritual development of the individual

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<v Speaker 1>By virtue of the influenced. Paris brings to bear upon

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<v Speaker 1>anyone sensitive to beauty, measure, and intellectual stimulation. The best

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<v Speaker 1>proof of this fact are the many expatriot that live

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<v Speaker 1>in Paris who come to admire but remain to praise.

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<v Speaker 1>But whether you visit Paris for a day or stay

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<v Speaker 1>a lifetime, the city will indelibly leave its mark.

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<v Speaker 2>Huh the audacity and ingenuity of some people.

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<v Speaker 1>What are you reading this morning's sight on?

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<v Speaker 2>I grabbed it from the airport. They have a story

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<v Speaker 2>about a daring escape from East Berlin. A vehicle spit

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<v Speaker 2>right below the gate of checkpoint Charlie.

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<v Speaker 1>Sounds daring, to say the least.

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<v Speaker 2>Well, you can't blame them, being trapped in a country

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<v Speaker 2>that takes away your voice, your independence, and keeps you

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<v Speaker 2>caged like an animal.

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<v Speaker 3>How could you not.

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<v Speaker 2>Want to escape?

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<v Speaker 1>Leaving East Germany for Paris feels like we are escaping ourselves,

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<v Speaker 1>doesn't it.

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<v Speaker 2>Hmm, absolutely, though Martin certainly keeps us on a night schedule.

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<v Speaker 2>How long are we here for this time?

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<v Speaker 1>I'm not sure yet, but booking us at the Ritz

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<v Speaker 1>is a good way to apologize.

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<v Speaker 2>He has been boiling us with hotel choices.

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<v Speaker 1>I'm not complaining as long as it doesn't affect our budget.

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<v Speaker 2>I'm looking forward to seeing a new side of Paris

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<v Speaker 2>I haven't yet. It will feel like being a tourist

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<v Speaker 2>in our own city.

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<v Speaker 1>Feeling like a tourist is right. Martin sent the list

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<v Speaker 1>of sites he wants me to hit with Rebecca, and

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<v Speaker 1>it's everything from Notre Dame to the Eiffel Tower.

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<v Speaker 2>Paris is one of the biggest tourist destinations in the

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<v Speaker 2>world and one of our best sellers.

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<v Speaker 1>And he wants it all captured in color.

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<v Speaker 2>But it can wait until tomorrow.

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<v Speaker 1>Yes, yes, but tomorrow will be a busy day.

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<v Speaker 2>I think I'll check in at the office in the morning,

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<v Speaker 2>maybe even start looking for new space with Lily already.

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<v Speaker 2>This new expansion is going to require more than just

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<v Speaker 2>adding a few desks.

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<v Speaker 4>We need offices, a reception.

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<v Speaker 1>I suppose you're right, better to be prepared. Do you

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<v Speaker 1>have places in mind?

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<v Speaker 2>I was thinking something in Montmartre would be nice.

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<v Speaker 1>I don't know. Perhaps it's too far. Maybe you should

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<v Speaker 1>look for something closer to the river.

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<v Speaker 2>Will debate neighbor's tomorrow. Tonight we check in, take a

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<v Speaker 2>bath and reeling.

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<v Speaker 1>We will monchuris vulvu couche avec mois this one?

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<v Speaker 2>But if you play your cards right, and here we are.

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<v Speaker 1>The Ritz Hotel is charmingly located and possibly the most

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<v Speaker 1>harmonious square in Paris, with the von Dome column rising

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<v Speaker 1>in its center and surrounded by luxury shopping and exceptional restaurants.

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<v Speaker 1>The hotel possesses two tiny bars, which are the most

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<v Speaker 1>elegant places in Paris to meet before lunch or dinner,

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<v Speaker 1>and a new attractive restaurant, the Espadont, which hosts a

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<v Speaker 1>celebrated weekly de jonet Monden. The Ritz has two hundred

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<v Speaker 1>and ten large, handsome rooms, the majority of which have baths,

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<v Speaker 1>attended to by a staff that's greater in number than

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<v Speaker 1>it's guests, and the service can be judged accordingly.

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<v Speaker 5>Venue.

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<v Speaker 6>How may I help you checking in, Monsieur and Madame

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<v Speaker 6>Fodor Caribbean. Here's your key and we will listen to

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<v Speaker 6>you with your bags and Monsieur, I have it Beckuters

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<v Speaker 6>for you.

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<v Speaker 1>It arrived this morning. More instructions from Martin. I'm sure, darling.

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<v Speaker 1>Why don't you go upstairs and start running that path.

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<v Speaker 1>I'll check my messages and be done with business.

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<v Speaker 5>For the night.

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<v Speaker 7>Sounds splendid.

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<v Speaker 5>We'll fight this way, Madame, Hello, Jean, welcome to Paris.

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<v Speaker 8>That was a bit of a hairy situation you left

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<v Speaker 8>back in East Germany, but I had no doubt you

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<v Speaker 8>get Sebago out. Upon his debrief with the JA, Zabago

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<v Speaker 8>revealed the photos of three men who entered France with

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<v Speaker 8>fake passports to assassinate President Charles de Gaul for changing

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<v Speaker 8>his position on Algeria and now supporting its independence. These

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<v Speaker 8>men believe they are working for the oas but they

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<v Speaker 8>are really being funded by the Soviets, who hope that

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<v Speaker 8>the death of de Gaulle and the turmoil that would

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<v Speaker 8>follow not only gives Communism a foothold in Algeria, but

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<v Speaker 8>threaten the very existence of the NATO Alliance. We obviously

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<v Speaker 8>can't allow that to happen. Your mission is to deliver

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<v Speaker 8>the photos to our contact at the sdece. French intelligence

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<v Speaker 8>has been warned of the threat. They should be able

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<v Speaker 8>to act on the intel and prevent any assassination attempt.

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<v Speaker 8>Rebecca will meet you at the Eiffel Tower at eighteen

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<v Speaker 8>hundred to help coordinate the exchange. Thanks, Gene, I'll be

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<v Speaker 8>in touch soon.

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<v Speaker 4>Apolate a room four They play in moment.

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<v Speaker 5>Hello, it's me.

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<v Speaker 2>Oh, this can't be good news.

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<v Speaker 1>Martin left even more assignments. Wants us to cover the

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<v Speaker 1>Paris nightlife for the new edition. Even the Moulin Rouge

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<v Speaker 1>thinks it will sell copies.

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<v Speaker 5>He's not wrong.

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<v Speaker 2>Sex sells, but this bath sure will feel lonely.

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<v Speaker 1>Enjoy it, order room service, spoil yourself. I'll catch up

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<v Speaker 1>as soon as I'm back.

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<v Speaker 5>Are you sure you deserve arrest?

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<v Speaker 2>After everything in Germany?

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<v Speaker 1>I just want to get this done, so it's not

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<v Speaker 1>hanging over my head. Don't wait up, I might be late, Okay,

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<v Speaker 1>I love you. The real marvel of Paris, for many

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<v Speaker 1>is the Eiffel Tower. If the Statue of Liberty is

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<v Speaker 1>New York, if Big Ben is London, if the Kremlin

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<v Speaker 1>is Moscow, then the Eiffel Tower is Paris. For two years,

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<v Speaker 1>a French engineer worked to a wrecked this strange and

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<v Speaker 1>ugly monument, which was designed to exalt the technical era

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<v Speaker 1>that had begun to shine in the lamp of Edison

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<v Speaker 1>and to stammer in the first phone call of Bell.

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<v Speaker 1>Eiffel used five thousand sheets of paper, each nearly a

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<v Speaker 1>yard square for his full scale plans of this enormous construction.

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<v Speaker 1>It was inaugurated on June tenth, eighteen eighty nine, by Edward,

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<v Speaker 1>the seventh Prince of Wales, and for years Parisians considered

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<v Speaker 1>it fashionable to call it hideous and to compare it

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<v Speaker 1>to a fifteen million pound giraffe whose head sort one

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<v Speaker 1>thousand feet high. But gradually it became part of the

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<v Speaker 1>Parisian landscape, and paperweights, ash trays and souvenirs spread its

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<v Speaker 1>reputation around the.

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<v Speaker 4>World from Asgeen. Sorry, I know you're never in photos,

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<v Speaker 4>but you looked so sweet standing there like a tourist

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<v Speaker 4>on holiday.

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<v Speaker 1>Well, hello to you too, Rebecca. What do you say

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<v Speaker 1>we hurry up and deliver these photo so we can

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<v Speaker 1>get a little holiday in ourselves.

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<v Speaker 4>Our contact from French intelligence should be waiting for us.

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<v Speaker 7>Let me see.

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<v Speaker 4>Yes, there that man across the park. That is our contact, Hugo.

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<v Speaker 1>So what's the plan?

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<v Speaker 4>Real simple, transfer the passports and go our separate ways.

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<v Speaker 1>Great, maybe I'll make it back in time to surprise blaster.

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<v Speaker 4>Bon soir, Rebecca, Hi, Hugo, Nice to see you again.

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<v Speaker 4>This is my colleague Jeane.

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<v Speaker 1>A pleasure. I think these are for.

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<v Speaker 3>You, Ello, Jean, I can't thank you enough for delivering.

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<v Speaker 7>These our pleasure. I hope they help.

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<v Speaker 3>Yes, now we can put faces to the names of

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<v Speaker 3>matamp provided and it confirms our identity.

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<v Speaker 4>You know who they are.

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<v Speaker 3>We tracked the names to a hotel on the right bank,

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<v Speaker 3>but the assassins were tipped off and escaped before we

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<v Speaker 3>could make the arrest. The problem is these men are

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<v Speaker 3>former French military and have helped Bonzi inside.

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<v Speaker 1>De Gale should leave the city immediately and go into

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<v Speaker 1>protective custody.

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<v Speaker 3>Goal is a stubborn of the world and refuses to

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<v Speaker 3>do anything. There have already been thirty one assassination attempts

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<v Speaker 3>on his life that have all failed, so now he

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<v Speaker 3>seems to think he is on voneble.

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<v Speaker 4>But if they're French military with help on the inside,

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<v Speaker 4>that means they're dangerous and difficult to.

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<v Speaker 3>Catch, exactly something the Goal does not understand and the

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<v Speaker 3>reason why we need your help tracking the assassins our help.

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<v Speaker 1>We just gave you the passports. That's all we were

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<v Speaker 1>asked to do. I'm not qualified, Jeane.

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<v Speaker 4>Now that's not true. You told me yourself. No one

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<v Speaker 4>knows the city better and it would just be one night.

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<v Speaker 4>All we have to do is help find them. A

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<v Speaker 4>life literally might depend on it.

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<v Speaker 6>Many In fact, why do I even argue, fine, what

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<v Speaker 6>do we know about the men?

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<v Speaker 3>They are all as assassins organization are mes secret if

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<v Speaker 3>our write paramilitary terrorist organization intent on preventing a Aligerian independence.

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<v Speaker 3>Now that we can confirm our intelligence is correct, their

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<v Speaker 3>names are Jean Marie Bastian Theirie, a French Air Force

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<v Speaker 3>lieutenant colonel and military air weaponry engineer. Pierre Andre Magaard,

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<v Speaker 3>a twenty two year old Air Force des attire, and

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<v Speaker 3>the oping brute of a Pienoir named George Woitin, who

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<v Speaker 3>collected the ears of Algerian rebels he killed in a

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<v Speaker 3>glass jar. Charming, he told others in Algeria his fondest

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<v Speaker 3>wish was to add the Goal's ears to his collection.

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<v Speaker 3>They are all angry at the Goal for changing his

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<v Speaker 3>position on Algerian independence, calling him a tyrant and claiming

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<v Speaker 3>his assassination justified.

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<v Speaker 1>Look, they sound like some serious characters. Yes, I know

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<v Speaker 1>the city, but I must remind you both I'm just

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<v Speaker 1>a travel writer. You must have someone better suited for

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<v Speaker 1>the job.

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<v Speaker 3>We have the entire city looking for them, but with

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<v Speaker 3>their contacts on the inside, we need all the outside

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<v Speaker 3>help we can get.

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<v Speaker 7>We'll do whatever we can.

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<v Speaker 3>All I ask is please take a look at the

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<v Speaker 3>hotel rooms they deserted. See if you can find anything

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<v Speaker 3>in the evidence left behind. Martin said, you two are

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<v Speaker 3>good at solving puzzles.

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<v Speaker 1>We'll try our best.

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<v Speaker 7>Lead the way.

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<v Speaker 3>This is a room where the assassins have been staying.

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<v Speaker 3>They used the large passports to books or rooms.

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<v Speaker 1>Did they use the passports anywhere else? Any pattern to track.

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<v Speaker 3>They used them to enter Germany by trains six days ago,

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<v Speaker 3>but the trail ends here.

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<v Speaker 4>What about contacts in the city, any places they might.

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<v Speaker 3>Go too many? They are French and they have support,

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<v Speaker 3>They could be anywhere.

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<v Speaker 1>They clearly left in a hurry.

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<v Speaker 3>It seems they took everything with them other than the

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<v Speaker 3>few pieces of clothing you see.

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<v Speaker 1>And numerous cigarette butts, heavy smokers it looks.

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<v Speaker 4>Like, and drinkers.

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<v Speaker 3>As I said Zeya French.

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<v Speaker 1>Honestly, I could use a cigarette myself. You go mind

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<v Speaker 1>If I use those matches unlike our friends, I will

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<v Speaker 1>enjoy it on the balcony.

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<v Speaker 3>Of course, I need to make it fun. Called take

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<v Speaker 3>your time.

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<v Speaker 4>I'll join you.

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<v Speaker 7>Jean, What was that about?

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<v Speaker 4>You don't smoke?

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<v Speaker 1>See this symbol on the matchbook? I recognize it looks

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<v Speaker 1>like a music note it is, and I know a

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<v Speaker 1>club it came from. And if our guys went there,

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<v Speaker 1>I know who would have seen them.

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<v Speaker 4>Well that's great.

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<v Speaker 7>Why not tell Hugo.

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<v Speaker 1>Because he said it himself. There's someone on the inside

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<v Speaker 1>tipping them off, maybe even him. Yes, but look, if

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<v Speaker 1>my hunch is right and we get some info, we

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<v Speaker 1>can always loop him in. But better safe than sorry.

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<v Speaker 4>Right, well, look who's getting good at us?

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<v Speaker 1>Reluctantly, so where are we heading to? The best jazz

0:13:05.200 --> 0:13:10.960
<v Speaker 1>club in Paris. Paris is one city where no one

0:13:11.040 --> 0:13:15.679
<v Speaker 1>has ever had to ask what do you do at night? Fortunately,

0:13:16.160 --> 0:13:20.040
<v Speaker 1>a considerable proportion of the population of Paris is concerned

0:13:20.080 --> 0:13:24.200
<v Speaker 1>with providing distraction in the hours of darkness. Most of

0:13:24.240 --> 0:13:27.199
<v Speaker 1>it legal. All you have to do is sally forth

0:13:27.280 --> 0:13:30.680
<v Speaker 1>and let nature take its course. But if it's cutting

0:13:30.800 --> 0:13:34.320
<v Speaker 1>edge music you seek, there is no better place than

0:13:34.360 --> 0:13:39.560
<v Speaker 1>the Club Saint Jermon. Every night visiting an expatriate American

0:13:39.640 --> 0:13:44.880
<v Speaker 1>jazz musicians like Sidney Baschet, Charlie Parker, Bud Powell, James

0:13:44.880 --> 0:13:48.760
<v Speaker 1>Moody and Miles Davis hit the stage of the small,

0:13:48.920 --> 0:13:52.720
<v Speaker 1>smoke filled venue, showering the audience with the sounds of

0:13:52.880 --> 0:13:54.599
<v Speaker 1>improvisational artistry.

0:13:56.160 --> 0:13:57.920
<v Speaker 7>As much as I love live jazz.

0:13:58.080 --> 0:13:59.720
<v Speaker 4>When is your contact going to meet us?

0:14:00.120 --> 0:14:01.959
<v Speaker 1>We are on a bit of a clock. He'll be

0:14:02.040 --> 0:14:14.040
<v Speaker 1>here in a minute. Amazing, right, yeah, still got it

0:14:17.160 --> 0:14:20.000
<v Speaker 1>here he comes, great set, Kenny.

0:14:19.880 --> 0:14:21.960
<v Speaker 7>It's the drummer, mean Jean.

0:14:22.200 --> 0:14:23.680
<v Speaker 3>It's been a long time, my.

0:14:23.560 --> 0:14:27.560
<v Speaker 1>Man, Kenny. Please meet my colleague Rebecca. Rebecca the great

0:14:27.680 --> 0:14:28.360
<v Speaker 1>Kenny Clark.

0:14:28.600 --> 0:14:29.960
<v Speaker 3>It's a pleasure, mademoiselle.

0:14:30.080 --> 0:14:31.400
<v Speaker 7>You really were fantastic.

0:14:31.680 --> 0:14:34.960
<v Speaker 1>He's the best, always has been. Kenny used to keep

0:14:35.040 --> 0:14:37.000
<v Speaker 1>us entertained during the war when we were part of

0:14:37.040 --> 0:14:40.240
<v Speaker 1>the Special Services. He had a nasty habit of going

0:14:40.240 --> 0:14:42.440
<v Speaker 1>a wall whenever there was a good gig nearby.

0:14:42.760 --> 0:14:43.680
<v Speaker 5>Yeah, I mean, Jane.

0:14:43.720 --> 0:14:45.280
<v Speaker 3>He would always helped talk me out of.

0:14:45.240 --> 0:14:48.800
<v Speaker 1>Trouble my patriotic duty. Losing a drummer like you would

0:14:48.800 --> 0:14:50.840
<v Speaker 1>have been a hit to morale and it would have

0:14:50.880 --> 0:14:53.040
<v Speaker 1>been a damn shame to see you playing tin cans

0:14:53.040 --> 0:14:53.520
<v Speaker 1>in the brig.

0:14:55.400 --> 0:14:58.960
<v Speaker 4>I've actually seen you play before. Oh yeah, the Newport

0:14:59.000 --> 0:15:01.520
<v Speaker 4>Jazz Festival in fIF Thank you. And I loved your

0:15:01.520 --> 0:15:03.640
<v Speaker 4>work with Miles Davis on Birth of the Cool.

0:15:04.120 --> 0:15:05.360
<v Speaker 3>She knows her jazz, Jean.

0:15:05.960 --> 0:15:09.440
<v Speaker 1>She'll keep impressing you. Don't you worry. But in truth,

0:15:09.840 --> 0:15:12.960
<v Speaker 1>we aren't just here for the music, Kenny. We need your.

0:15:12.800 --> 0:15:16.040
<v Speaker 3>Help, anything you need, Jean. You know that what's going on.

0:15:16.480 --> 0:15:19.160
<v Speaker 1>We're looking for three French guys that came in recently,

0:15:19.600 --> 0:15:20.760
<v Speaker 1>probably a few nights ago.

0:15:21.040 --> 0:15:23.240
<v Speaker 4>Here are their photos. Do you recognize them?

0:15:23.640 --> 0:15:26.160
<v Speaker 3>Hell, yeah, I do. I can survey the whole crowd

0:15:26.200 --> 0:15:28.000
<v Speaker 3>from behind my kit. They were sitting off to the

0:15:28.040 --> 0:15:30.880
<v Speaker 3>side over there, drinking heavy, looking for trouble.

0:15:31.360 --> 0:15:36.720
<v Speaker 1>That type they are. They're Organizacion Almescret Assassins wanted by

0:15:36.720 --> 0:15:37.240
<v Speaker 1>the police.

0:15:37.880 --> 0:15:40.160
<v Speaker 3>That group has been terrorizing this city for months with

0:15:40.200 --> 0:15:43.080
<v Speaker 3>their cafe wars. Who would blow up in some people

0:15:43.200 --> 0:15:45.160
<v Speaker 3>just sitting down to have a coffee.

0:15:45.000 --> 0:15:47.040
<v Speaker 1>And we think they're planning something bigger.

0:15:47.320 --> 0:15:49.800
<v Speaker 3>Shit, And these sons of bitches are staying at my hotel.

0:15:50.640 --> 0:15:52.320
<v Speaker 3>I got a warm daisy. They might be trying to

0:15:52.320 --> 0:15:53.040
<v Speaker 3>blow it up too.

0:15:53.360 --> 0:15:56.640
<v Speaker 1>Don't worry, these aren't bombers. But you're sure they're staying

0:15:56.640 --> 0:15:57.560
<v Speaker 1>at your hotel?

0:15:57.840 --> 0:16:00.960
<v Speaker 3>They were. I saw him stumble in after the last set.

0:16:01.520 --> 0:16:03.800
<v Speaker 3>I think they asked the bartender for a local place

0:16:03.840 --> 0:16:04.360
<v Speaker 3>to stay.

0:16:04.520 --> 0:16:06.160
<v Speaker 7>It all lines up.

0:16:06.720 --> 0:16:09.640
<v Speaker 3>What's the Hotel La Louisianne, just down the street.

0:16:09.800 --> 0:16:10.640
<v Speaker 7>Let's go Geene.

0:16:10.640 --> 0:16:14.720
<v Speaker 1>Thanks Kenny, that's all we needed. Hell, that's everything we needed.

0:16:15.080 --> 0:16:16.760
<v Speaker 1>I'm just sorry we'll have to miss your next set.

0:16:17.080 --> 0:16:19.560
<v Speaker 3>Glad to help, But next time you're in Pirie, we

0:16:19.640 --> 0:16:21.880
<v Speaker 3>grab a drink and you tell me how this story ends.

0:16:22.280 --> 0:16:22.960
<v Speaker 1>You have a deal.

0:16:23.320 --> 0:16:24.080
<v Speaker 7>Thanks so much.

0:16:26.480 --> 0:16:30.520
<v Speaker 1>Hotel La Louisiane is a Parisian hotel located in the

0:16:30.560 --> 0:16:33.160
<v Speaker 1>heart of Saint German de Prey, one of the most

0:16:33.240 --> 0:16:36.680
<v Speaker 1>artistic neighborhoods in the city. You can find the hotel

0:16:36.720 --> 0:16:39.680
<v Speaker 1>at the intersection of Rue de Bussi, where it has

0:16:39.720 --> 0:16:42.920
<v Speaker 1>a side entrance and Rue Descent, with its main entrance

0:16:43.120 --> 0:16:46.760
<v Speaker 1>in the sixth arrondisement. It's well known as a home

0:16:46.800 --> 0:16:49.680
<v Speaker 1>in Paris for many of the world's famous jazz musicians.

0:16:50.080 --> 0:16:55.320
<v Speaker 1>Oscar Peterson, Miles Davis, Bud Powell, Max Roach, Dizzy Gillespie,

0:16:55.440 --> 0:16:59.600
<v Speaker 1>Art Blakey, Billie Holliday, Lester Young, and Charlie Parker all

0:16:59.600 --> 0:17:04.320
<v Speaker 1>were guests. In fact, Jean Paul Satre set up Juliette

0:17:04.359 --> 0:17:07.480
<v Speaker 1>Greco in Room ten and moved to Room nineteen, which

0:17:07.520 --> 0:17:11.400
<v Speaker 1>he kept in his name until nineteen fifty. Juliette Greco

0:17:11.640 --> 0:17:14.960
<v Speaker 1>and Miles Davis later met in the hotel, which became

0:17:15.000 --> 0:17:19.000
<v Speaker 1>the setting of their infamous love story. It also drew

0:17:19.080 --> 0:17:23.600
<v Speaker 1>in writers such as Ernest Hemingway, Antoine de st Experis,

0:17:23.680 --> 0:17:29.920
<v Speaker 1>Henry Miller, Cyril Connolly, Peter Berling, and Albertine Sarazan, all

0:17:29.960 --> 0:17:33.399
<v Speaker 1>who called La Louisiana home at one point or another.

0:17:39.400 --> 0:17:40.119
<v Speaker 1>How may I help you?

0:17:40.240 --> 0:17:40.600
<v Speaker 9>Monsieur.

0:17:40.840 --> 0:17:43.560
<v Speaker 1>Hello, We're looking for three men who I believe are

0:17:43.560 --> 0:17:44.040
<v Speaker 1>staying here.

0:17:44.080 --> 0:17:46.200
<v Speaker 7>These are their photos.

0:17:47.400 --> 0:17:50.959
<v Speaker 6>Yes, I knows his men, but unfortunately they are not

0:17:51.040 --> 0:17:52.000
<v Speaker 6>currently in zeroom.

0:17:52.200 --> 0:17:54.000
<v Speaker 4>Do you know where they are when they'll be back?

0:17:54.720 --> 0:17:57.520
<v Speaker 6>I don't, but I'm also not permitted to give out

0:17:57.560 --> 0:17:59.000
<v Speaker 6>information on guests.

0:17:59.240 --> 0:18:02.440
<v Speaker 1>Look, these men are members of the terrorist organization behind

0:18:02.480 --> 0:18:05.639
<v Speaker 1>the Cafe Wars that have been destroying this city. We

0:18:05.760 --> 0:18:09.080
<v Speaker 1>understand your policy, but this could help prevent another attack.

0:18:09.880 --> 0:18:12.040
<v Speaker 1>And who are you?

0:18:12.040 --> 0:18:15.160
<v Speaker 4>You've seen James Bond, right, he's the real thing.

0:18:16.240 --> 0:18:20.520
<v Speaker 6>M This does feel like a movie and you do

0:18:20.600 --> 0:18:23.800
<v Speaker 6>look like a bomb girl. All right, I'll show you

0:18:23.920 --> 0:18:26.160
<v Speaker 6>the rooms so we can catch these bastards.

0:18:29.480 --> 0:18:30.600
<v Speaker 9>You are free to look around.

0:18:31.080 --> 0:18:33.280
<v Speaker 1>I'll be back downstairs to keep a lookout in case

0:18:33.280 --> 0:18:34.120
<v Speaker 1>you need me.

0:18:34.119 --> 0:18:39.639
<v Speaker 4>Mercy.

0:18:43.680 --> 0:18:47.199
<v Speaker 1>They definitely haven't checked out yet. We should tell Hugo.

0:18:48.320 --> 0:18:55.480
<v Speaker 7>Hmm, Jeane, look at this? What is it with a briefcase?

0:18:55.520 --> 0:18:57.760
<v Speaker 4>It has a false bottom.

0:18:58.000 --> 0:18:58.800
<v Speaker 3>I just got.

0:18:58.560 --> 0:19:03.200
<v Speaker 4>A jimmy it an. I think it's papers.

0:19:03.680 --> 0:19:07.159
<v Speaker 1>No, no, no, they're maps. See look it's maps of

0:19:07.200 --> 0:19:10.840
<v Speaker 1>the same section outside Paris, only with different locations marked

0:19:10.880 --> 0:19:15.800
<v Speaker 1>and different routes. The routes are between Elise Palace and

0:19:15.840 --> 0:19:16.440
<v Speaker 1>the airport.

0:19:16.520 --> 0:19:19.840
<v Speaker 4>Gelise Palace is where de Gaul has his cabinet meetings,

0:19:20.040 --> 0:19:21.960
<v Speaker 4>and he always goes straight to the airport after.

0:19:22.280 --> 0:19:24.840
<v Speaker 1>They must be targeting his two primary routes to the airport.

0:19:25.760 --> 0:19:29.320
<v Speaker 4>But why too, because he would never let the chosen

0:19:29.400 --> 0:19:32.360
<v Speaker 4>route be known until he was underway for security reasons.

0:19:32.760 --> 0:19:34.960
<v Speaker 1>So they must have someone on the inside tipping them

0:19:34.960 --> 0:19:37.520
<v Speaker 1>off when he leaves, and they position their scouts here

0:19:37.920 --> 0:19:40.720
<v Speaker 1>and here so they can phone in the chosen path

0:19:41.240 --> 0:19:44.080
<v Speaker 1>and then easily prepare an ambush at this intersection. See

0:19:44.160 --> 0:19:47.160
<v Speaker 1>at Petit Timon. As a military man, it's the perfect

0:19:47.200 --> 0:19:48.480
<v Speaker 1>position for an ambush.

0:19:48.600 --> 0:19:50.720
<v Speaker 4>Degaull's cabinet meeting should be finishing any minute.

0:19:50.960 --> 0:19:53.280
<v Speaker 1>Let's call Hugo and get to Petit Clement before it's

0:19:53.280 --> 0:19:53.680
<v Speaker 1>too late.

0:20:00.080 --> 0:20:08.879
<v Speaker 2>M D.

0:20:09.680 --> 0:20:12.520
<v Speaker 5>This is Max. The dogget has left the palace. Make

0:20:12.560 --> 0:20:13.920
<v Speaker 5>sure the girls are in position.

0:20:14.160 --> 0:20:26.080
<v Speaker 9>We too, sweet, Hello, this is d d A.

0:20:26.520 --> 0:20:28.919
<v Speaker 3>Convoys en roots should be arriving at the junction in

0:20:28.920 --> 0:20:29.480
<v Speaker 3>any minute.

0:20:29.720 --> 0:20:30.600
<v Speaker 9>Confirm direction.

0:20:30.840 --> 0:20:31.600
<v Speaker 5>We here they come.

0:20:33.800 --> 0:20:36.040
<v Speaker 9>They took lute a repeat ruth as they go.

0:20:36.480 --> 0:20:46.560
<v Speaker 1>They're on the way to Petty lament. Suck out of

0:20:46.640 --> 0:20:47.000
<v Speaker 1>the way.

0:20:47.720 --> 0:20:49.760
<v Speaker 3>If you're right, scenes will be at Petite Clamar and

0:20:49.800 --> 0:20:50.639
<v Speaker 3>only a few minutes.

0:20:50.760 --> 0:20:52.760
<v Speaker 1>We have to get there first and divert the convoy

0:20:52.760 --> 0:20:54.840
<v Speaker 1>from the ambush spot. It's just a couple of blocks away.

0:20:54.840 --> 0:21:00.679
<v Speaker 1>Should go step on it. There it is ahead we

0:21:00.840 --> 0:21:01.359
<v Speaker 1>and that's the go.

0:21:01.560 --> 0:21:02.040
<v Speaker 9>Sit three on.

0:21:02.119 --> 0:21:05.280
<v Speaker 1>Approaching the intersection. You see that man waving that newspaper.

0:21:05.800 --> 0:21:08.080
<v Speaker 4>He must be signaling the ambush. We have to warn

0:21:08.119 --> 0:21:10.200
<v Speaker 4>them along the horn. Flash your lights.

0:21:12.160 --> 0:21:14.639
<v Speaker 1>Keep pressing, Hugo, it's working. You got their attention.

0:21:14.760 --> 0:21:15.720
<v Speaker 4>I think they see the gunman.

0:21:16.400 --> 0:21:17.440
<v Speaker 7>I hope it's not too late.

0:21:20.080 --> 0:21:24.960
<v Speaker 1>Take Okay, they made it through turn luck before we're next.

0:21:26.320 --> 0:21:27.240
<v Speaker 9>Let's get out of here.

0:21:27.400 --> 0:21:28.960
<v Speaker 3>The police should be right behind us.

0:21:45.680 --> 0:21:47.760
<v Speaker 1>Man Lucky, sure, kim blow that horn.

0:21:48.080 --> 0:21:50.320
<v Speaker 4>That sack solo took longer than it did to solve

0:21:50.359 --> 0:21:50.840
<v Speaker 4>our case.

0:21:51.440 --> 0:21:55.840
<v Speaker 3>Hello, my American friends, I am back with news and drinks.

0:21:55.920 --> 0:21:57.440
<v Speaker 3>Go to see it's a French government.

0:21:57.480 --> 0:21:59.080
<v Speaker 4>Thanks, Hugo, take a seat.

0:21:59.359 --> 0:22:01.280
<v Speaker 1>What did you learn? How's the goal?

0:22:01.680 --> 0:22:04.719
<v Speaker 3>The goal and his wife made it safely to Villacouble

0:22:04.880 --> 0:22:08.280
<v Speaker 3>air base. Miraculously no one was injured.

0:22:08.320 --> 0:22:09.080
<v Speaker 4>Oh thank god.

0:22:09.520 --> 0:22:12.600
<v Speaker 3>They found one hundred and eighty seven sharecasings at the

0:22:12.640 --> 0:22:15.240
<v Speaker 3>crime scene, and there were fourteen bullet holes in his

0:22:15.320 --> 0:22:19.960
<v Speaker 3>citry on the gal said Citi when he exited the car.

0:22:21.359 --> 0:22:23.639
<v Speaker 1>It means this time it was close.

0:22:23.880 --> 0:22:27.239
<v Speaker 4>That's an understatement. Do you think he'll start taking these

0:22:27.280 --> 0:22:28.280
<v Speaker 4>threats more seriously?

0:22:28.640 --> 0:22:29.880
<v Speaker 3>Oh, very doubtful.

0:22:30.640 --> 0:22:33.080
<v Speaker 1>And the assassins, did you catch them?

0:22:33.440 --> 0:22:36.080
<v Speaker 3>We've already arrested the couple. It won't be long before

0:22:36.080 --> 0:22:38.879
<v Speaker 3>we've captured the arrest So I think it's time we

0:22:38.920 --> 0:22:40.960
<v Speaker 3>celebrate Sante.

0:22:41.040 --> 0:22:43.840
<v Speaker 1>Two close calls and closer friends.

0:22:44.600 --> 0:22:45.040
<v Speaker 4>Cheers.

0:23:00.880 --> 0:23:02.840
<v Speaker 2>You're back late again, Darling.

0:23:02.920 --> 0:23:05.919
<v Speaker 1>You're up. I thought you'd be asleep. I was trying

0:23:05.920 --> 0:23:06.480
<v Speaker 1>not to wake you.

0:23:06.760 --> 0:23:07.440
<v Speaker 10>Where have you been?

0:23:07.960 --> 0:23:12.119
<v Speaker 1>Oh? You know the French transportation system. The metro was

0:23:12.160 --> 0:23:15.120
<v Speaker 1>down and we had a difficult time getting back from Montmart.

0:23:15.960 --> 0:23:16.920
<v Speaker 1>Walked most of the way.

0:23:17.119 --> 0:23:18.160
<v Speaker 7>Don't lie to meet Jean.

0:23:19.280 --> 0:23:19.840
<v Speaker 1>What do you mean?

0:23:20.320 --> 0:23:22.200
<v Speaker 2>I know you weren't in Monmart.

0:23:23.440 --> 0:23:23.760
<v Speaker 1>Really?

0:23:25.160 --> 0:23:29.480
<v Speaker 10>How Because I'm not stupid, Geane, but I am bored.

0:23:30.080 --> 0:23:32.560
<v Speaker 10>So instead of just sitting in the hotel room all

0:23:32.640 --> 0:23:35.520
<v Speaker 10>night like I have been the last few cities, I

0:23:35.640 --> 0:23:37.160
<v Speaker 10>decided to meet Lily.

0:23:36.960 --> 0:23:37.520
<v Speaker 2>For a drink.

0:23:38.320 --> 0:23:40.720
<v Speaker 1>I'm so sorry. I wanted to meet you for dinner,

0:23:40.760 --> 0:23:41.080
<v Speaker 1>but but.

0:23:41.119 --> 0:23:44.200
<v Speaker 10>Instead Lily said she saw you earlier with a young

0:23:44.280 --> 0:23:45.800
<v Speaker 10>girl at club Saint Janmain.

0:23:47.000 --> 0:23:49.359
<v Speaker 1>I can explain Rebecca and I And.

0:23:49.240 --> 0:23:52.359
<v Speaker 10>Then Lily said she followed you to a hotel after.

0:23:52.640 --> 0:23:54.800
<v Speaker 1>Now, wait, this is completely insane.

0:23:54.880 --> 0:23:56.400
<v Speaker 10>Are you cheating on me with Rebecca?

0:23:56.960 --> 0:23:57.200
<v Speaker 9>What?

0:23:57.560 --> 0:24:02.800
<v Speaker 1>No, of course not, I would never. I love you,

0:24:03.600 --> 0:24:04.240
<v Speaker 1>It's not like that.

0:24:04.320 --> 0:24:06.879
<v Speaker 10>I swear something has been going on, Jean, and I

0:24:06.920 --> 0:24:10.640
<v Speaker 10>want the truth. You show up bruised and better than Rome,

0:24:10.720 --> 0:24:13.760
<v Speaker 10>you disappear for a night in Berlin, and now I

0:24:13.840 --> 0:24:14.960
<v Speaker 10>catch you lying.

0:24:14.720 --> 0:24:15.840
<v Speaker 9>To me in Paris.

0:24:16.080 --> 0:24:19.280
<v Speaker 1>There are very reasonable explanations for all of those things.

0:24:19.720 --> 0:24:23.040
<v Speaker 10>I know you better than I know myself. Something is

0:24:23.080 --> 0:24:25.399
<v Speaker 10>going on, and it's high time you tell me the truth.

0:24:25.840 --> 0:24:30.080
<v Speaker 10>I will ask you one more time. Are you having

0:24:30.160 --> 0:24:31.480
<v Speaker 10>an affair with Rebecca?

0:24:32.160 --> 0:24:38.200
<v Speaker 1>No? I promise that's not it, Jean. I promise it's

0:24:38.200 --> 0:24:44.720
<v Speaker 1>nothing that bad. Or maybe I don't know, maybe it's worse.

0:24:46.000 --> 0:24:48.199
<v Speaker 1>But I promise you I am not having an affair.

0:24:49.760 --> 0:24:50.520
<v Speaker 10>Then what is it?

0:24:54.280 --> 0:24:58.119
<v Speaker 1>I'm sorry. I thought I was protecting you by not

0:24:58.160 --> 0:25:01.040
<v Speaker 1>telling you. Maybe I was scared I might lose you,

0:25:02.200 --> 0:25:05.480
<v Speaker 1>no matter what it was I realize now I was wrong.

0:25:06.800 --> 0:25:09.160
<v Speaker 1>You deserve to know everything and make your own choice.

0:25:09.960 --> 0:25:13.159
<v Speaker 10>Choice about what? What are you talking about? What on

0:25:13.200 --> 0:25:14.280
<v Speaker 10>earth is going on?

0:25:17.119 --> 0:25:23.520
<v Speaker 1>Okay? Here it is? Martin is more than just our publisher.

0:25:24.840 --> 0:25:28.040
<v Speaker 1>He also works for the CIA, and he asked me

0:25:28.080 --> 0:25:30.720
<v Speaker 1>to help them on some urgent and important business and

0:25:30.880 --> 0:25:36.240
<v Speaker 1>I agreed. And then well things got complicated.

0:25:37.200 --> 0:25:40.919
<v Speaker 10>So you help him in exchange for what him helping

0:25:41.000 --> 0:25:43.440
<v Speaker 10>us with the business. Oh, I knew this was too

0:25:43.440 --> 0:25:44.280
<v Speaker 10>good to be true.

0:25:45.040 --> 0:25:46.640
<v Speaker 1>It's more complicated than that.

0:25:46.800 --> 0:25:50.000
<v Speaker 10>No, it isn't. What's fabian? A part of this is Rebecca.

0:25:50.800 --> 0:25:53.000
<v Speaker 10>I don't want you risking your life so we can

0:25:53.040 --> 0:25:57.320
<v Speaker 10>get what worldwide distribution and stay at some ritzy hotels.

0:25:57.960 --> 0:26:01.760
<v Speaker 10>It's not worth it. You can tell Martin we're out,

0:26:02.160 --> 0:26:04.199
<v Speaker 10>which is exactly what I would have said if you

0:26:04.200 --> 0:26:06.479
<v Speaker 10>had told me in the beginning, like you should have.

0:26:06.800 --> 0:26:11.840
<v Speaker 1>I know, maybe that's why I didn't. But there's more

0:26:11.840 --> 0:26:12.200
<v Speaker 1>than that.

0:26:13.760 --> 0:26:14.320
<v Speaker 9>What is it?

0:26:14.640 --> 0:26:18.160
<v Speaker 1>What do they have on you? That's not me? It's

0:26:18.200 --> 0:26:21.320
<v Speaker 1>my father here? Look at this?

0:26:23.000 --> 0:26:24.199
<v Speaker 7>Whose passport is this?

0:26:24.560 --> 0:26:24.840
<v Speaker 2>Wait?

0:26:25.920 --> 0:26:26.960
<v Speaker 3>This is your father?

0:26:27.160 --> 0:26:30.480
<v Speaker 1>But he's dead? So why it turns out he might

0:26:30.520 --> 0:26:34.200
<v Speaker 1>still be alive? And the Soviets might have him. Now,

0:26:34.240 --> 0:26:39.560
<v Speaker 1>after some digging, I finally might know where to find him. Oh,

0:26:39.600 --> 0:26:43.840
<v Speaker 1>I see. I know it sounds crazy, but what I'm

0:26:43.880 --> 0:26:46.760
<v Speaker 1>doing with Martin might help save my father. It might

0:26:46.800 --> 0:26:49.840
<v Speaker 1>save a lot of people. In fact, I think we've

0:26:49.840 --> 0:26:53.879
<v Speaker 1>saved a lot of people already. The real truth is

0:26:54.640 --> 0:26:58.800
<v Speaker 1>this is more important than just me. But nothing is

0:26:58.800 --> 0:26:59.639
<v Speaker 1>more important to me.

0:27:00.480 --> 0:27:00.880
<v Speaker 9>And you.

0:27:04.800 --> 0:27:09.000
<v Speaker 2>Then never lie to me again. I won't.

0:27:10.200 --> 0:27:12.720
<v Speaker 7>Ever good.

0:27:13.359 --> 0:27:17.320
<v Speaker 2>Now, sit down and tell me everything starting from the beginning.

0:27:18.359 --> 0:27:19.240
<v Speaker 2>I'm ready to help.

0:27:27.200 --> 0:27:31.560
<v Speaker 11>Phodor's Guide to Espionage is created by Lars Jacobson, written

0:27:31.560 --> 0:27:35.960
<v Speaker 11>by Lars Jacobson and Sabrina Jagulin, and directed by Sabrina Jacklin,

0:27:36.560 --> 0:27:40.479
<v Speaker 11>produced by Lars Jacobson and Sabrina Jaguline, and executive produced

0:27:40.480 --> 0:27:45.040
<v Speaker 11>by Noel Brown for iHeartRadio. Fodor's Guide to Espionage stars

0:27:45.080 --> 0:27:49.320
<v Speaker 11>Ethan Korn as Eugene Fodor, Wilia Symington as vlost to Phodor,

0:27:49.680 --> 0:27:54.040
<v Speaker 11>and Jackie Emerson as Rebecca Ralston, with additional performances by

0:27:54.560 --> 0:27:59.800
<v Speaker 11>Chase Mullins, George Rivera, Matt Linton, Dylan McCollum, Gade Greenspan,

0:28:00.119 --> 0:28:05.639
<v Speaker 11>Chris Capple, Duncan Kaladine, Dana, Melanie, Alex Gombadi, Noam Thomaschoff,

0:28:05.880 --> 0:28:09.960
<v Speaker 11>Katrina Aaron, and Simon Jagulin. Sound design and editing by

0:28:10.119 --> 0:28:14.080
<v Speaker 11>Chris Childs. Original theme song by Jack Blavelt and Chris

0:28:14.160 --> 0:28:18.600
<v Speaker 11>Childs with additional scoring by Chris Childs. Sound engineering by

0:28:18.840 --> 0:28:23.120
<v Speaker 11>Chris sek Sodor's Guide to Espionage is an iHeartRadio production.

0:28:23.800 --> 0:28:28.800
<v Speaker 11>For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

0:28:28.920 --> 0:28:30.440
<v Speaker 11>or wherever you get your podcasts