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Speaker 1: The setup, Episode two, Take the lead.

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Speaker 2: Okay, so by this time I was on draft. I

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Speaker 2: don't know a million of this text to Pernendo. Maybe

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Speaker 2: two million actually is that even? I don't know, but whatever,

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Speaker 2: but I'm about to hits in right, like so close

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Speaker 2: to pulling the trigger. And well, then this morning I

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Speaker 2: was thinking maybe maybe I should use more emojis, like

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Speaker 2: I should do the one with the smile and the

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Speaker 2: tongue sticky now because it's kind of playful, right, like,

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Speaker 2: you know, the one I'm talking about the way.

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Speaker 3: It's really cool.

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Speaker 2: I think it's cool.

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Speaker 4: Anyways, Juan, have you considered you might be overthinking things again?

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Speaker 3: Maybe?

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Speaker 1: Yeah, I guess I don't.

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Speaker 2: Oh oh, oh my god, Oh my god.

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Speaker 3: It's him. It's it's Pernental.

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Speaker 1: He texted me.

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Speaker 3: And I didn't even said. I didn't even send mine yet.

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Speaker 1: It's that good.

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Speaker 3: Breathe up.

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Speaker 5: Okay, excellent.

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Speaker 3: Now what did he write?

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Speaker 2: Okay, he wrote, I'd love to see you again.

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Speaker 1: Oh my god.

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Speaker 3: He he used the L word.

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Speaker 2: Maybe things are Maybe things are moving too quickly. I

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Speaker 2: didn't think about that. Maybe things hold on? Does that

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Speaker 2: mean let me we're dating?

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Speaker 3: Now? How do I even begin? And he used an emoji.

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Speaker 2: He used an emoji, the one with the face and

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Speaker 2: all the hearts, you know what, the around the face

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Speaker 2: and oh wow, oh wow?

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Speaker 3: Is it is it warming here?

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Speaker 2: Oh my god, Oh my god, I think I'm gonna

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Speaker 2: throw up.

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Speaker 1: Breathe in and out.

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Speaker 6: In for four.

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Speaker 7: Hold for for.

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Speaker 3: This is all within your control.

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Speaker 2: Horn it is. I'd like you to think of this

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Speaker 2: text exchange as an opportunity to lean into discomfort, step.

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Speaker 1: Off the canvas, and perhaps take a leap.

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Speaker 2: But what if I just to mess this all up?

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Speaker 7: You'll never know unless you take the chance.

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Speaker 2: And so the text Okay, okay, okay, okay, here goes nothing.

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Speaker 2: Are we super duper extra sure this is just right?

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Speaker 1: Right?

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Speaker 2: I was, yes, I was just asking.

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Speaker 3: All right. Now that's done.

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Speaker 2: Tell me how you.

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Speaker 3: Oh my god, oh my god, oh my god. He

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Speaker 3: wants to meet at the museum later today.

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Speaker 1: See how do you feel? I'm what sweaty?

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Speaker 2: I just I just think I might be moving a

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Speaker 2: little too faster than I thought I would, you know,

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Speaker 2: And yes, take take a leap.

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Speaker 3: Yes, I know, take a leap. I know, I know

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Speaker 3: you're right, You're right, take a leap, Take a leap,

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Speaker 3: all right?

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Speaker 5: Mister head curator, I want to hear everything about this

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Speaker 5: new exhibit of yours.

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Speaker 2: It's the opening isn't for another few days, but there's

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Speaker 2: a VIP preview tonight.

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Speaker 7: Okay, so you considered me a vi P.

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Speaker 1: Then finally, I've been looking all over for you.

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Speaker 3: Oh, good morning, Stephanie. How are you?

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Speaker 8: William needs to speak to you.

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Speaker 3: William, Yeah, William, William William?

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Speaker 1: Oh my god?

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Speaker 8: Do I need to spell it out for you?

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Speaker 1: No?

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Speaker 3: No, I got it, thank you.

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Speaker 2: Thanks, I'll pop over and just uh second you here,

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Speaker 2: thank you?

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Speaker 8: Okay, bye, bye bye.

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Speaker 5: Who's this?

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Speaker 3: Who's this? William?

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Speaker 7: Guy?

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Speaker 3: Who William?

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Speaker 2: He's just he's nobody. He's just our delivery guy, you know,

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Speaker 2: who delivers all the time.

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Speaker 3: That's what he's our delivery handling the piece.

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Speaker 1: But yeah, well I well why don't we.

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Speaker 2: You know what, Let's go check out the sculptures in

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Speaker 2: the east wing. Right speed, Yeah, let's just keep walking faster,

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Speaker 2: you know. There you go, Welcome to the sculpture gallery.

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Speaker 7: Oh wow, they're incredible.

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Speaker 2: Don't touch sorry, sorry, don't touch, just please don't don't touch.

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Speaker 2: Don't touch them. The oil on your fingers will tarnish

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Speaker 2: the surface.

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Speaker 7: I'm so sorry.

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Speaker 5: I wasn't thinking.

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Speaker 2: You know, it's okay, it just it just oh oh,

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Speaker 2: look look at this piece, this one, it's one of

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Speaker 2: my favorites. Look at the veins on her hands. Can

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Speaker 2: you believe the sculpture started out with a one ton

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Speaker 2: solid block of marble and carved out something so alive,

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Speaker 2: so organic.

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Speaker 7: Well, it's it's breathtaking.

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Speaker 3: Oh.

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Speaker 2: I've always felt like the subject of this piece was

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Speaker 2: right on the verge of spilling all of her deepest, darkest.

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Speaker 5: Secrets or desire. It's your mouth that slight hint of

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Speaker 5: a smile.

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Speaker 2: The sculptor Bandini was obsessed with capturing the inner lives

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Speaker 2: of his subjects, but he would always observe them from

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Speaker 2: a distance to remain undetected, then sculpt the version of

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Speaker 2: the person he believed was hiding underneath the surface.

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Speaker 7: They're authentic sobs.

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Speaker 2: No frills, no glamour, just raw, pounding heart of the

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Speaker 2: person ready to burst through the surface of the marble. Well,

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Speaker 2: imagine being exactly who or what you always wanted to be,

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Speaker 2: without ever for a second doubting yourself.

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Speaker 5: While you're shaking.

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Speaker 2: I can't help it, it's riveting.

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Speaker 7: Along.

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Speaker 5: I imagine hiding in the shadows, never truly connecting with someone.

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Speaker 2: He traveled the world, barely ever left New.

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Speaker 5: York, but imagine having no one to share that experience with,

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Speaker 5: no partner, no companion.

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Speaker 8: One seriously willing is about to outvoke up his Khaki.

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Speaker 3: Don't get down there and talk to him right now?

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Speaker 6: Sh sh shit.

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Speaker 3: Okay, I'm so sorry. I'm so sorry for I. Okay,

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Speaker 3: I need to handle this. Okay.

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Speaker 2: If delivery and I gotta go, I'll come back, okay.

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Speaker 3: And then okay, we can see the Delano.

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Speaker 7: You take your time, Okay.

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Speaker 5: I think I want to spend a little more time

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Speaker 5: with Bendini's lady in Marble here. Maybe tell her a

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Speaker 5: few my secrets.

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Speaker 7: Yeah, do that?

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Speaker 2: Yeah yeah, stay here. Okay, you stay here and then,

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Speaker 2: but save something from me. Don't move though, don't just

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Speaker 2: stay here.

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Speaker 5: I'm a statue.

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Speaker 3: I don't Okay, I'll be.

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Speaker 2: Back, William. Hi, I'm so sorry to keep you waiting now.

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Speaker 2: It's actually thinking about move.

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Speaker 3: Did you bring my earl?

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Speaker 9: Gray?

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Speaker 1: You're wet?

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Speaker 2: I'm sorry.

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Speaker 1: I what no?

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Speaker 2: Was I supposed to? Doesn't Stephanie get your golfiection?

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Speaker 3: Well, that's disappointed. So so.

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Speaker 2: Stephanie said that you needed to speak with me, Sir.

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Speaker 9: Regrettably, I do, Jan As you can see, I'm back

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Speaker 9: a day earlier than I planned, and thank goodness because

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Speaker 9: I took a look at your layoff for the new

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Speaker 9: Automaal exhibit.

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Speaker 3: Yes, sir, it's Sarah. I am really proud of what

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Speaker 3: we've come up with.

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Speaker 2: I think the just a position of the paintings next

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Speaker 2: to the line drawings is a great touch.

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Speaker 7: It's all wrong.

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Speaker 9: I'm sorry, it's now what is the word I'm looking for?

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Speaker 5: Oh?

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Speaker 9: Yes, an atrocity. But sir, I thought that I've taken

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Speaker 9: a liberty of revamping it.

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Speaker 2: But Sir, I've been working on this exhibit for months

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Speaker 2: and I appreciate the effort, but I'm taking over what

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Speaker 2: it's not up for discuss now about my teeth, milk

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Speaker 2: and two sugars.

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Speaker 3: Please, yeah, yes, sir.

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Speaker 1: Take a leap, Take a leap.

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Speaker 3: What was that?

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Speaker 7: No?

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Speaker 2: No, I said, no, William, I don't think you should

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Speaker 2: change the exhibit. I think it's the best damn exhibit

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Speaker 2: we've ever had in the history of the museum.

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Speaker 3: It honors the work of an.

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Speaker 2: Entire generation of genre defining artists, changing it would would

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Speaker 2: be a huge mistake.

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Speaker 3: Oh one, Oh that's good.

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Speaker 1: Oh bravo.

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Speaker 3: I really believed you.

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Speaker 9: For a second there.

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Speaker 3: Wow. No, can you imagine, sir? I am telling you right, but.

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Speaker 2: Right, tea milk to sure.

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Speaker 3: What's up?

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Speaker 4: Art world?

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Speaker 8: It's a girl, Stephanie, and I'm about to show you

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Speaker 8: around the sculpture gallery. Come with me.

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Speaker 7: So that was your video of wan you walked into frame.

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Speaker 8: I'm gonna have to read you the entire post now.

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Speaker 7: Oh I'm sorry, my apologies. You are Stephanie. Stephanie right,

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Speaker 7: I'm Fernando.

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Speaker 8: Can I help you?

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Speaker 5: Well, I just I just wanted to tell you how

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Speaker 5: impressed I was with your command just now, I mean

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Speaker 5: with wand you are clearly forced.

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Speaker 8: To be reckoned with If you're trying to say I'm

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Speaker 8: good at my job, then yes, I am one.

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Speaker 7: Of the curators.

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Speaker 8: I'm actually intering here this summer. I just know how

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Speaker 8: to stand in my power. I'm like some people.

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Speaker 7: Clearly you like sculpture, then it's fine.

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Speaker 8: But I'm writing my thesis on renegade female artists post

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Speaker 8: nineteen seventy Barbara Krueger, Helen Franken, Taylor, Louise Nebelson. I'm

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Speaker 8: not familiar exactly why I'm writing my thesis on them.

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Speaker 7: I am familiar with Margaret Delano.

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Speaker 8: Though wrong period thought.

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Speaker 7: She's still a renegade female artist.

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Speaker 5: Vietri Somadi redefined the Impressionist movement in seventeenth century Europe.

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Speaker 8: Oh, you've clearly been hanging out with one. Why is

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Speaker 8: everyone gagging over that painting today?

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Speaker 2: Well?

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Speaker 7: Perhaps your TikTok following might.

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Speaker 8: Be the other lady was like obsessed to I was like,

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Speaker 8: first of all, hello, where did you get that red coat?

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Speaker 8: Because I am here for it. But secondly, the autumnal

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Speaker 8: exhibit isn't even open.

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Speaker 7: Stephanie, did you say a red coat?

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Speaker 8: Yeah, like sexy rothco red and this.

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Speaker 5: Woman she came in asking about the Delano painting, Vietri

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Speaker 5: somare specifically, did I stutter, Gee, she's trying to beat

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Speaker 5: me to it. I'm sorry, Oh, nothing, nothing, never mind.

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Speaker 5: I should probably go track down.

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Speaker 7: Long No need.

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Speaker 8: That's him right now with his I'm trying not to

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Speaker 8: cry face.

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Speaker 7: I can't even right.

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Speaker 5: Now, Stephanie, wee, hey, look about the Delana I really

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Speaker 5: need to see it's over?

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Speaker 7: What what are you talking?

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Speaker 3: Yeah? William changed everything.

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Speaker 2: He's revamping the entire exhibit, throwing two months of work

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Speaker 2: out the window.

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Speaker 7: Okay, wait, wait the delivery guy.

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Speaker 10: He's not the delivery guy. He's at the delivery guy,

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Speaker 10: and I'm not the head curator. Okay, William is he

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Speaker 10: was out of town sourcing one of the final pieces,

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Speaker 10: and now he wants to change everything. The countless hours

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Speaker 10: of the blood, sweat and tears. Literally I lost like

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Speaker 10: a pint of blood and paper guts opening those damp boxes.

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Speaker 7: And I'm sure that you can fix it.

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Speaker 5: Okay, Let's take William to the exhibit right now and

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Speaker 5: we can show it's poiless.

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Speaker 1: Okay, I don't know.

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Speaker 3: Take these huge leaves, make big moves, would be.

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Speaker 1: Bold, but I just I just can't. Okay. I'm always

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Speaker 1: stuck in the background, hiding.

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Speaker 2: Sometimes I wish I was someone else, completely entirely someone else.

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Speaker 7: What if you could be? I mean, what if you

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Speaker 7: could be someone else?

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Speaker 5: Won?

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Speaker 9: What?

250
00:12:17,559 --> 00:12:21,120
Speaker 3: Come here? What are you doing?

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Speaker 5: I need to tell you something in a generous clothing,

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Speaker 5: I lie to you too. Wait what You're not a

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Speaker 5: museum curator and I don't own the bookshop. This is

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Speaker 5: a con I'm conning you.

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Speaker 2: I'm sorry, I I think I think I'm having an aneurism.

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Speaker 3: Can you can you repeat that one?

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Speaker 5: God, what I'm about to say is going to sound

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Speaker 5: completely utterly insane, and I need you to trust me

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Speaker 5: on this.

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Speaker 3: Hey, you're freaking me out.

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Speaker 5: My family is part of a long line of multigenerational

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Speaker 5: con artists who it's a network that spans multiple countries,

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Speaker 5: multiple industries, and multiple clients. You are were you were

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Speaker 5: my mark to get the Dilata painting Beetrice Sumat, and

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Speaker 5: we're acquiring for a high profile client.

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Speaker 3: Okay, I I am I. I'm actually having an aneurism

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Speaker 3: right now.

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Speaker 5: Okay, I'm coming clean right now. I've never said this

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Speaker 5: to anyone, but I like you. I like you a lot.

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Speaker 5: And something you said back there about always being stuck

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Speaker 5: in the background, well it made me realize that maybe

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Speaker 5: with your access my skills, maybe we maybe we could

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Speaker 5: do this together.

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Speaker 2: Are you seriously seriously telling me that telling me this,

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Speaker 2: that that that that all of this was a lie

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Speaker 2: and that the date did the romantic walk through Manhattan?

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Speaker 3: You're just using me?

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Speaker 1: What?

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Speaker 3: What did you even call it a mark?

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Speaker 2: What?

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Speaker 3: It's still a painting?

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Speaker 1: Now you tell you want you would ruin my life.

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Speaker 1: You want to my career, so you know what you want.

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Speaker 3: It's just.

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Speaker 7: I understand what it feels like to have someone and

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Speaker 7: just come.

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Speaker 5: In and rip everything away from you, everything you've ever

288
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Speaker 5: worked for, and you you you don't deserve that.

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Speaker 1: You know what you're doing, that you're doing that to

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Speaker 1: me Right now?

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Speaker 3: I thought I thought this was genuine.

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Speaker 5: On this is the most genuine that I have ever

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Speaker 5: been in my entire life. Hearing you talk about Bandini

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Speaker 5: just now, it made me realize that maybe the thing

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Speaker 5: that we're missing, the thing that we need, is each other.

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Speaker 2: I don't know. I am even surprised. Why would anyone

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Speaker 2: like you actually have any feelings?

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Speaker 7: I'm trying to bet.

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Speaker 6: Don't stop, don't one, it's late, Sorry, don't you have

300
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Speaker 6: to work tomorrow morning?

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Speaker 3: Could more?

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Speaker 2: It's it's just it's really hard day. And actually I'm

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Speaker 2: considering taking some time off, maybe cashing the rest of

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Speaker 2: my sick days. He said that, William your boss.

305
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Speaker 7: I will climb out.

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Speaker 3: Of the zone.

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Speaker 2: I need to see you.

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Speaker 7: You've been crying, Jo.

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Speaker 2: I think maybe I am. Maybe I left I leapt

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Speaker 2: too high.

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Speaker 7: Hi, you didn't, Nurse Fernandez.

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Speaker 5: Nice to meet you.

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Speaker 3: Juan.

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Speaker 6: My grandson's name is Juan, Nurse Fernandez, and he's sinking one.

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Speaker 5: This is Nurse Fernandez.

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Speaker 3: He's been covering today.

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Speaker 2: He's aid travel nurse from San Diego and he's taking

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Speaker 2: me great. Oh wow, wow, I'm sure he is. Yeah, hey,

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Speaker 2: Nurse Fernandez, is it? Can I speak to you outside

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Speaker 2: for just a second?

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Speaker 7: Oh of course one? Right, yeah, And they're actually flowing

322
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Speaker 7: me back down at the yard.

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Speaker 5: Don you castill?

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Speaker 7: So I'm afraid this is goodbye from the oud.

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Speaker 5: Okay, last better, wan, make sure you get his number.

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Speaker 5: It looks like your baddy is about to get much

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Speaker 5: much better.

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Speaker 3: Okay, well, okay, have you ever read back?

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Speaker 7: Okay, get his number?

330
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Speaker 2: What the hell aren't you doing posing as a nurse?

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Speaker 7: I knew you'd come here and I had to find you.

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Speaker 3: You just left, Stay away from this.

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Speaker 7: This is what I can offer you.

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Speaker 1: Excuse me.

335
00:16:28,200 --> 00:16:30,600
Speaker 5: You said you hated hiding in the shadows, right, But

336
00:16:30,640 --> 00:16:33,440
Speaker 5: what if instead of hiding you made the shadows your domain?

337
00:16:34,560 --> 00:16:37,200
Speaker 5: What I can teach you to be anyone anything, A nurse,

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Speaker 5: a sculpture.

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Speaker 7: You're using me, I'm not using you. Won Yes, I

340
00:16:42,000 --> 00:16:44,720
Speaker 7: targeted you for a job, but the last forty eight hours.

341
00:16:44,400 --> 00:16:48,120
Speaker 5: Have been surprising, to say the least. You are smart

342
00:16:48,360 --> 00:16:52,479
Speaker 5: and driven and kind, and I think we understand.

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00:16:52,080 --> 00:16:53,520
Speaker 7: Each other on a real level.

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Speaker 2: That part wasn't a lot of wow wow, So what

345
00:16:55,640 --> 00:16:57,720
Speaker 2: so what you want me to just forget about everything

346
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Speaker 2: and and and be your lackey?

347
00:16:58,960 --> 00:17:02,000
Speaker 3: Potentially end up in literal prison. Literal prison. That's a

348
00:17:02,080 --> 00:17:03,360
Speaker 3: huge lead for Nanda, don't you think.

349
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Speaker 7: So let's start with a small lead. I'm off shift

350
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Speaker 7: in an hour.

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00:17:07,320 --> 00:17:09,560
Speaker 2: Wait, you're actually on a shift.

352
00:17:09,600 --> 00:17:11,840
Speaker 7: Eat me at that address in an hour. Oh, make

353
00:17:11,880 --> 00:17:12,879
Speaker 7: sure nobody follows you.

354
00:17:12,960 --> 00:17:13,160
Speaker 1: Wait?

355
00:17:13,160 --> 00:17:14,760
Speaker 3: Wait, wait, who who would follow one?

356
00:17:15,160 --> 00:17:18,320
Speaker 5: If you feel anything between us, anything at all, then

357
00:17:18,400 --> 00:17:20,520
Speaker 5: meet me there. You still don't want to do this?

358
00:17:20,560 --> 00:17:23,240
Speaker 7: After, I'll walk away.

359
00:17:24,200 --> 00:17:24,679
Speaker 5: I have to go.

360
00:17:24,840 --> 00:17:28,359
Speaker 2: They need me in the yeah, okay, but Berando, of

361
00:17:28,400 --> 00:17:31,399
Speaker 2: course they do meet him in there.

362
00:17:50,920 --> 00:17:51,639
Speaker 7: Thanks for coming.

363
00:17:51,840 --> 00:17:54,600
Speaker 2: Yeah, well you piqued my curiosity, nurse for Noane this

364
00:17:55,480 --> 00:17:58,919
Speaker 2: I have to admit. Mabola is completely spinning with you.

365
00:17:59,400 --> 00:18:02,400
Speaker 2: Guess you have us both fold after you?

366
00:18:04,880 --> 00:18:07,320
Speaker 6: What?

367
00:18:07,320 --> 00:18:08,280
Speaker 2: What is this place?

368
00:18:08,520 --> 00:18:13,240
Speaker 7: This is the facility. I've never brought anyone here before.

369
00:18:13,280 --> 00:18:14,000
Speaker 7: It's top secret.

370
00:18:14,200 --> 00:18:18,280
Speaker 5: That's where I keep my weaponry, disguises, tech gear, data logs,

371
00:18:18,320 --> 00:18:19,600
Speaker 5: you name it, it's here.

372
00:18:19,760 --> 00:18:22,920
Speaker 2: This is like some crazy Bond villain fantasy.

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00:18:22,960 --> 00:18:26,240
Speaker 5: Well I prefer crazy Bond entrepreneur fantasy, Thank you very much.

374
00:18:27,200 --> 00:18:28,640
Speaker 2: Cherry's still out on the villain part.

375
00:18:29,960 --> 00:18:30,320
Speaker 5: Okay.

376
00:18:31,000 --> 00:18:33,680
Speaker 7: First rule of the facility, don't touch all things.

377
00:18:33,760 --> 00:18:35,359
Speaker 3: Wow is this thing touching?

378
00:18:35,560 --> 00:18:35,760
Speaker 2: Right?

379
00:18:36,359 --> 00:18:38,919
Speaker 5: That's a model thirty eight hundred palm grenade drop that

380
00:18:39,000 --> 00:18:40,840
Speaker 5: the whole place goes up in a liquid flame.

381
00:18:40,960 --> 00:18:41,760
Speaker 2: Holy shit.

382
00:18:41,920 --> 00:18:43,679
Speaker 5: Now we need to decide how we're going to get

383
00:18:43,680 --> 00:18:44,920
Speaker 5: in and out of the exhibit under tech.

384
00:18:44,960 --> 00:18:46,840
Speaker 3: Wait just hold on, hold on, change bond.

385
00:18:47,119 --> 00:18:51,720
Speaker 2: Okay, I still haven't technically agreed to anything. Okay, but

386
00:18:51,720 --> 00:18:56,000
Speaker 2: but say I did choose to play into this delusional fantasy.

387
00:18:56,640 --> 00:18:59,639
Speaker 2: I guess my invitation to the exhibits VIP preview this

388
00:18:59,680 --> 00:19:00,560
Speaker 2: evening would be.

389
00:19:00,840 --> 00:19:03,080
Speaker 7: Of high value to you, oh very much.

390
00:19:03,080 --> 00:19:07,200
Speaker 5: So. Drinks will be flowing, people will be excited, easily distracted.

391
00:19:07,200 --> 00:19:12,280
Speaker 2: It's a perfect and theoretically, but that's really really soon.

392
00:19:12,320 --> 00:19:15,159
Speaker 5: The second rule of the facility. Time is of the essence.

393
00:19:15,480 --> 00:19:19,240
Speaker 5: We have a deadline and competitors. Competitors will need to

394
00:19:19,280 --> 00:19:24,639
Speaker 5: cover Private investor Officionado International businessman.

395
00:19:26,240 --> 00:19:27,240
Speaker 7: I'm sorry, what's so funny?

396
00:19:29,480 --> 00:19:30,800
Speaker 3: Are you? Are you serious?

397
00:19:30,960 --> 00:19:31,080
Speaker 5: Oh?

398
00:19:31,080 --> 00:19:31,720
Speaker 3: You're serious?

399
00:19:32,040 --> 00:19:32,240
Speaker 9: Right?

400
00:19:32,400 --> 00:19:32,600
Speaker 6: Right?

401
00:19:32,680 --> 00:19:35,480
Speaker 3: Okay, oh, okay, sure, I'll play.

402
00:19:35,680 --> 00:19:39,040
Speaker 2: Well, the VIP event is invite only, so maybe I

403
00:19:39,320 --> 00:19:42,240
Speaker 2: know you're I don't know my plus one all.

404
00:19:42,240 --> 00:19:45,360
Speaker 5: Right, I think past phase one one? So we make

405
00:19:45,400 --> 00:19:47,720
Speaker 5: it inside. But why does William let me stay? What's

406
00:19:47,760 --> 00:19:48,200
Speaker 5: the angle?

407
00:19:48,480 --> 00:19:54,040
Speaker 2: Well, William's been desperate for donors lately. I guess we

408
00:19:54,240 --> 00:19:58,520
Speaker 2: convince him. You're a billionaire patron of the arts who's

409
00:19:58,640 --> 00:19:59,880
Speaker 2: interested in donating.

410
00:20:00,000 --> 00:20:03,720
Speaker 7: It's perfect. Okay, let's meet some donors. This would be

411
00:20:03,920 --> 00:20:04,240
Speaker 7: just good.

412
00:20:04,320 --> 00:20:07,080
Speaker 2: No, it looks like you're wearing a Pomeranian You.

413
00:20:11,440 --> 00:20:13,639
Speaker 3: Wait are you? Are you wearing leather pants?

414
00:20:13,640 --> 00:20:14,400
Speaker 7: Oh?

415
00:20:14,440 --> 00:20:17,639
Speaker 5: Well it's Downtown Artist five, you know, one of those

416
00:20:18,000 --> 00:20:20,280
Speaker 5: Lower east Side fashion Easter collectors.

417
00:20:20,320 --> 00:20:20,439
Speaker 9: Bro.

418
00:20:20,840 --> 00:20:29,080
Speaker 2: Okay, well that still doesn't explain the leather pants. Oh yeah, oh, actually,

419
00:20:30,040 --> 00:20:34,040
Speaker 2: this this might actually work. What do you think you

420
00:20:34,119 --> 00:20:35,679
Speaker 2: look believable?

421
00:20:35,840 --> 00:20:37,520
Speaker 7: My name is sir Nicholas de Colt.

422
00:20:37,920 --> 00:20:41,600
Speaker 5: Oh, my multi national tech conglomerate, Globex has an estimated

423
00:20:41,680 --> 00:20:44,120
Speaker 5: net worth of over six billion dollars.

424
00:20:44,280 --> 00:20:47,560
Speaker 2: Oh gloves, lovely to meet you, said Nicholas.

425
00:20:47,800 --> 00:20:50,280
Speaker 3: You are glasses or noise to chat?

426
00:20:50,400 --> 00:20:51,520
Speaker 7: Oh my god.

427
00:20:53,359 --> 00:20:56,400
Speaker 3: It's not better than my head trusts me. But it's much.

428
00:20:57,040 --> 00:20:58,840
Speaker 2: I'm a sucker for a British accent, I gotta say.

429
00:21:00,400 --> 00:21:03,560
Speaker 7: But it's not the only thing I'm good at. Oh?

430
00:21:04,560 --> 00:21:05,040
Speaker 6: Is that so.

431
00:21:08,119 --> 00:21:10,240
Speaker 3: Maybe we should get back to the plan, right, Yeah,

432
00:21:11,160 --> 00:21:11,520
Speaker 3: we should.

433
00:21:11,680 --> 00:21:14,359
Speaker 5: We should review the museum entry points against solidify the

434
00:21:14,440 --> 00:21:15,800
Speaker 5: escape protocols.

435
00:21:16,440 --> 00:21:18,600
Speaker 7: So does this mean you're in?

436
00:21:22,600 --> 00:21:26,399
Speaker 2: Yes? I think so. But but it's only because I

437
00:21:26,440 --> 00:21:30,720
Speaker 2: can't pass up on the opportunity to absolutely ruin William's night.

438
00:21:30,960 --> 00:21:33,719
Speaker 7: I can work with that, Okay.

439
00:21:34,119 --> 00:21:37,280
Speaker 5: Phase one, you introduce me to William as your plus one,

440
00:21:37,480 --> 00:21:40,480
Speaker 5: Nicholas de cult rumor is I'm planning on making a

441
00:21:40,560 --> 00:21:43,920
Speaker 5: very generous donation to the museum, enough for an entire way,

442
00:21:44,119 --> 00:21:44,480
Speaker 5: got it?

443
00:21:44,800 --> 00:21:45,440
Speaker 7: Phase two?

444
00:21:45,880 --> 00:21:48,560
Speaker 5: The reception will last just under an hour, which means

445
00:21:48,640 --> 00:21:51,680
Speaker 5: that the exhibit itself will be empty and lightly guarded.

446
00:21:51,520 --> 00:21:52,920
Speaker 7: From eight to nine pm.

447
00:21:53,119 --> 00:21:55,600
Speaker 2: This is our window, which leaves us with Phase three.

448
00:21:56,080 --> 00:21:59,480
Speaker 2: Grab Vietri su mare and get out the pain small

449
00:21:59,520 --> 00:22:02,240
Speaker 2: eight by ten maybe twelve pounds. The box number is

450
00:22:02,240 --> 00:22:05,040
Speaker 2: thirty three alk nine Z. It's right in between two

451
00:22:05,040 --> 00:22:07,760
Speaker 2: sculptures and under the third displayed light from the left corner.

452
00:22:10,640 --> 00:22:12,400
Speaker 7: That was That was impressive.

453
00:22:13,800 --> 00:22:18,960
Speaker 2: Thanks. This exhibit was basically my entire life. I could

454
00:22:19,080 --> 00:22:20,640
Speaker 2: literally draw you a map for memory.

455
00:22:21,119 --> 00:22:21,960
Speaker 7: What about alarms?

456
00:22:22,119 --> 00:22:22,560
Speaker 3: They'll be on?

457
00:22:22,640 --> 00:22:25,840
Speaker 5: But well they're weight based, meaning we need to swap

458
00:22:25,920 --> 00:22:27,240
Speaker 5: the piece out for a painting.

459
00:22:26,920 --> 00:22:28,120
Speaker 7: Of similar weight exactly.

460
00:22:28,440 --> 00:22:33,520
Speaker 2: And also well I have the disarm code perks of

461
00:22:33,640 --> 00:22:36,200
Speaker 2: being one of the curing. Oh yes, I have the

462
00:22:36,280 --> 00:22:38,280
Speaker 2: key to the back exit, so we can swap the

463
00:22:38,280 --> 00:22:42,560
Speaker 2: paint and sneak out before anyone notices. But is is

464
00:22:42,600 --> 00:22:43,320
Speaker 2: that really everything?

465
00:22:43,480 --> 00:22:44,800
Speaker 7: Third rule of the facility.

466
00:22:45,280 --> 00:22:48,119
Speaker 5: Sometimes the easiest dansier is right in front of you.

467
00:22:48,640 --> 00:22:50,720
Speaker 5: Most museums are woefully undersecured.

468
00:22:51,040 --> 00:22:53,800
Speaker 2: Wow, you really are a con man again.

469
00:22:53,880 --> 00:22:55,120
Speaker 7: I prefer entrepreneurs.

470
00:22:55,119 --> 00:22:56,840
Speaker 3: Okay, so what now?

471
00:22:57,040 --> 00:22:57,720
Speaker 5: Now?

472
00:22:59,160 --> 00:22:59,840
Speaker 7: No, we get you a.

473
00:23:05,560 --> 00:23:08,040
Speaker 2: Stairs jack, nervous, erratic, Nashis.

474
00:23:08,480 --> 00:23:09,080
Speaker 5: Do you trust me?

475
00:23:09,320 --> 00:23:11,520
Speaker 2: Not sure? But I guess this is taking a leap

476
00:23:14,040 --> 00:23:19,040
Speaker 2: names gentlemen, Pan Castillo, m don't see you.

477
00:23:19,440 --> 00:23:20,880
Speaker 3: Sorry, I work here.

478
00:23:21,080 --> 00:23:24,520
Speaker 2: I'm the assistant to the head curator, William Montgomery.

479
00:23:24,920 --> 00:23:27,760
Speaker 3: No name, no entry, I work here.

480
00:23:27,840 --> 00:23:29,840
Speaker 1: I think I hired you.

481
00:23:29,920 --> 00:23:30,520
Speaker 7: What a shame?

482
00:23:30,720 --> 00:23:31,399
Speaker 3: The excuse me?

483
00:23:31,520 --> 00:23:34,439
Speaker 5: I'm sure the museum board would be deeply disappointed to

484
00:23:34,480 --> 00:23:37,320
Speaker 5: hear that you've denied entry to Sir Nicholas to Colt.

485
00:23:37,640 --> 00:23:40,000
Speaker 7: And you're Sir Nicholas to Colt.

486
00:23:40,080 --> 00:23:43,080
Speaker 5: Oh, marvelous detective work. So now do you know who's

487
00:23:43,080 --> 00:23:45,480
Speaker 5: funding the exhibit this evening? Uh?

488
00:23:45,880 --> 00:23:48,160
Speaker 7: You precisely, sir.

489
00:23:48,240 --> 00:23:50,959
Speaker 5: Now, I suggest you unhook that stanchion and offer us

490
00:23:51,080 --> 00:23:54,840
Speaker 5: entry immediately, or I can make a quick call to

491
00:23:54,880 --> 00:23:56,200
Speaker 5: the head curator and.

492
00:23:56,240 --> 00:23:57,480
Speaker 7: Ask him to join us out here.

493
00:23:58,080 --> 00:23:59,560
Speaker 5: William Montgomery, Is that right?

494
00:24:00,040 --> 00:24:00,159
Speaker 2: Uh?

495
00:24:00,600 --> 00:24:02,080
Speaker 3: No, no, no, no, no, that's okay.

496
00:24:02,320 --> 00:24:04,720
Speaker 2: Go on inside, gentlemen, enjoy the exhibit.

497
00:24:13,040 --> 00:24:14,320
Speaker 3: That was exhilarating.

498
00:24:14,440 --> 00:24:17,439
Speaker 2: Holy crap, I'm still Nash's, but like a good naches

499
00:24:17,480 --> 00:24:18,080
Speaker 2: is some things.

500
00:24:17,960 --> 00:24:20,880
Speaker 5: O kiss Walnut entering phase two eyes on the entry

501
00:24:20,880 --> 00:24:21,840
Speaker 5: point to the exhibit, and.

502
00:24:21,880 --> 00:24:26,560
Speaker 9: One is that you how dare you show your face

503
00:24:26,600 --> 00:24:29,600
Speaker 9: here after skipping work, no email, no warning.

504
00:24:30,240 --> 00:24:32,560
Speaker 7: I removed you from the list and we'll be speaking

505
00:24:32,560 --> 00:24:35,560
Speaker 7: about this tomorrow. William Well, I was all the easiest

506
00:24:35,560 --> 00:24:36,560
Speaker 7: answers right in front of you.

507
00:24:36,640 --> 00:24:40,920
Speaker 9: Will respectfully, sir, I still work here right regrettably, Yes,

508
00:24:41,520 --> 00:24:43,800
Speaker 9: you're still currently employed by the museum.

509
00:24:43,920 --> 00:24:46,119
Speaker 3: Feel for how much longer is to be determined.

510
00:24:46,280 --> 00:24:48,840
Speaker 2: Then, as an employee of the museum, I'd like you

511
00:24:48,880 --> 00:24:49,880
Speaker 2: to meet someone.

512
00:24:49,760 --> 00:24:53,160
Speaker 5: So Nicholas de Coult, founder and CEO of Globec's holdings.

513
00:24:53,560 --> 00:24:56,800
Speaker 5: Your assistant curator, mister Castillo, happens to be a former

514
00:24:56,880 --> 00:24:59,560
Speaker 5: lover of mine. I've always had an eye for Margaret

515
00:24:59,560 --> 00:25:04,080
Speaker 5: Delano's work. I recently targeted Globe's philanthropic efforts towards the

516
00:25:04,119 --> 00:25:07,159
Speaker 5: fine arts. We have a substantial endowment of over twenty

517
00:25:07,359 --> 00:25:08,800
Speaker 5: five million dollars.

518
00:25:08,840 --> 00:25:10,840
Speaker 3: This all is that so?

519
00:25:11,480 --> 00:25:14,320
Speaker 5: Oh indeed, and it would be such a shame to

520
00:25:14,440 --> 00:25:18,359
Speaker 5: enjoy Delano's Vietri So Marie without my dear friend mister

521
00:25:18,440 --> 00:25:21,000
Speaker 5: Castillo by my side, isn't that right? What?

522
00:25:21,800 --> 00:25:27,399
Speaker 9: Yeh? Yes, wow, mister d Colt, May I first say

523
00:25:27,440 --> 00:25:29,640
Speaker 9: that it is the museum's utmost pleasure to.

524
00:25:29,560 --> 00:25:30,639
Speaker 7: Have you and attendance with us.

525
00:25:30,640 --> 00:25:33,879
Speaker 3: To know, I'm sure my apologies for the confusion, and

526
00:25:33,920 --> 00:25:34,159
Speaker 3: though it.

527
00:25:34,160 --> 00:25:37,120
Speaker 9: Would be my deepest honor to show you Vitri sol

528
00:25:37,240 --> 00:25:41,159
Speaker 9: Madi this evening, hmm, unfortunately it's just not possible.

529
00:25:41,800 --> 00:25:43,880
Speaker 2: Pardon me, what what do you mean?

530
00:25:44,160 --> 00:25:45,440
Speaker 3: I'll let you see for yourself.

531
00:25:49,880 --> 00:25:53,119
Speaker 9: Thank you all for joining us. Tonight for this exclusive event.

532
00:25:53,600 --> 00:25:56,880
Speaker 9: The museum board and all of us employees are honored

533
00:25:57,040 --> 00:26:00,440
Speaker 9: to have you here for this glorious evening. Now, I

534
00:26:00,520 --> 00:26:02,720
Speaker 9: understand we still have a few minutes left in the reception,

535
00:26:02,800 --> 00:26:04,240
Speaker 9: but I just can't help myself.

536
00:26:04,520 --> 00:26:07,080
Speaker 3: Ladies and gentlemen, May I present.

537
00:26:06,800 --> 00:26:08,240
Speaker 5: To you what is happening right?

538
00:26:09,440 --> 00:26:10,679
Speaker 3: A sneak peek.

539
00:26:10,640 --> 00:26:15,040
Speaker 9: At the museum's highly anticipated A tumill exhibit.

540
00:26:15,280 --> 00:26:17,800
Speaker 3: What where's fitted?

541
00:26:17,880 --> 00:26:18,280
Speaker 5: Some morning?

542
00:26:18,480 --> 00:26:19,760
Speaker 3: It's centerpiece for the exhibit.

543
00:26:19,800 --> 00:26:20,919
Speaker 7: It's where it's gone.

544
00:26:21,920 --> 00:26:25,400
Speaker 9: Unfortunately, the painting was recalled by the private collector.

545
00:26:24,960 --> 00:26:27,639
Speaker 3: Who loaned it to the museum. What to tell you

546
00:26:27,720 --> 00:26:29,080
Speaker 3: the truth, mister de Colt.

547
00:26:29,040 --> 00:26:31,879
Speaker 7: I'm still not sure why Wan selected this for the exhibit.

548
00:26:32,119 --> 00:26:32,720
Speaker 1: White God.

549
00:26:32,880 --> 00:26:35,400
Speaker 3: As far as the Delano goes, good riddance.

550
00:26:35,760 --> 00:26:37,119
Speaker 7: We have to go now.

551
00:26:37,560 --> 00:26:39,840
Speaker 5: If you'll excuse me, mister Montgomery, I think I've had

552
00:26:39,880 --> 00:26:41,400
Speaker 5: one too many glasses of champagne.

553
00:26:41,480 --> 00:26:46,719
Speaker 9: Shall we no, of course, and Juan we'll be speaking tomorrow.

554
00:26:47,960 --> 00:26:56,080
Speaker 1: Yes, this is all my fault.

555
00:26:56,240 --> 00:26:59,160
Speaker 3: Of course, William pult the painting. I'm such an idiot,

556
00:26:59,000 --> 00:26:59,399
Speaker 3: and that.

557
00:26:59,440 --> 00:27:01,640
Speaker 2: We have nothing, that the paint has gone, and williams

558
00:27:01,720 --> 00:27:02,240
Speaker 2: furious at me.

559
00:27:03,880 --> 00:27:04,920
Speaker 3: Wait, wait wait, wait did you wait?

560
00:27:04,960 --> 00:27:08,160
Speaker 5: You just comment though, Yeah, this is far from over

561
00:27:08,560 --> 00:27:10,560
Speaker 5: All we have to do is find the private collector

562
00:27:10,560 --> 00:27:11,719
Speaker 5: who remanded the painting.

563
00:27:11,760 --> 00:27:13,959
Speaker 7: You have access to the museum service, right.

564
00:27:14,520 --> 00:27:14,639
Speaker 2: Uh.

565
00:27:15,000 --> 00:27:16,760
Speaker 7: There has to be a list of the collectors on

566
00:27:16,840 --> 00:27:17,399
Speaker 7: there somewhere.

567
00:27:17,400 --> 00:27:20,160
Speaker 2: Well, those servers are are only accessible from William's computer.

568
00:27:20,200 --> 00:27:22,200
Speaker 3: There's no way I'm getting anywhere near the computer.

569
00:27:22,320 --> 00:27:22,919
Speaker 7: Focus.

570
00:27:23,320 --> 00:27:25,879
Speaker 5: There must be another way. It was your exhibit. You

571
00:27:25,960 --> 00:27:27,959
Speaker 5: have to remember something that can help us. Close your

572
00:27:27,960 --> 00:27:29,480
Speaker 5: eyes and think.

573
00:27:29,640 --> 00:27:34,639
Speaker 2: Okay, okay, okay, focus full and the blue mixed together

574
00:27:34,720 --> 00:27:39,760
Speaker 2: to make the waves and the select. The white carperd

575
00:27:39,760 --> 00:27:44,120
Speaker 2: boxes piled up underneath the adventure amatory code thirty three

576
00:27:44,160 --> 00:27:45,119
Speaker 2: al K nine.

577
00:27:45,040 --> 00:27:47,320
Speaker 3: Z and under the serial number was a name. There

578
00:27:47,320 --> 00:27:47,640
Speaker 3: was a name.

579
00:27:48,080 --> 00:27:49,840
Speaker 2: It reminded me of that the Jimmy Buffetts song that

580
00:27:49,880 --> 00:27:53,119
Speaker 2: the U let Meston.

581
00:27:57,920 --> 00:27:59,920
Speaker 1: We're late, I'm leaving, We're actually leading.

582
00:28:00,240 --> 00:28:04,200
Speaker 3: Oh my gods, who am I right now? Yes?

583
00:28:04,440 --> 00:28:07,680
Speaker 1: Yes you are?

584
00:28:07,800 --> 00:28:11,720
Speaker 7: Comment Now let's go find Elizabeth Livingstone.

585
00:28:12,240 --> 00:28:14,359
Speaker 2: Yeah, plumber kids.

586
00:28:23,560 --> 00:28:27,080
Speaker 4: The setup was produced by SO in partnership with Iheart's

587
00:28:27,080 --> 00:28:31,560
Speaker 4: Michael Tura podcast network. Created and written by Ivy Marie

588
00:28:31,640 --> 00:28:37,879
Speaker 4: and Philippe Baujan, directed by Bettina Lopez, Produced by Luis

589
00:28:38,000 --> 00:28:44,560
Speaker 4: Luardo Castillo, Developed by Bettina Lopez, Story editing by Nick Milanz.

590
00:28:45,680 --> 00:28:50,080
Speaker 4: Executive produced by Harvey Gien and Christian Navarro. Connel Byrne

591
00:28:50,120 --> 00:28:53,920
Speaker 4: and Giselle Bances for iHeart and Camilla Victoriano and Joshua

592
00:28:54,000 --> 00:29:00,000
Speaker 4: Weinstein for So. Performances in this episode by Harvey g Yeah,

593
00:29:00,960 --> 00:29:07,560
Speaker 4: Christian Navarro, Daniela Alonso, Sila, Sheila corci Sofina le Jesus,

594
00:29:08,280 --> 00:29:15,160
Speaker 4: Philippe Baujan, and Jackson gutierres Our. Production and supervising managers

595
00:29:15,160 --> 00:29:19,880
Speaker 4: are gustav Woa, Rila and Keren Sa Chaidis. Recording engineering

596
00:29:19,960 --> 00:29:24,120
Speaker 4: and sound design by Luin Idigoying, Juan Dias and Andres Bayena.

597
00:29:25,400 --> 00:29:30,800
Speaker 4: Casting and coordination by Ansley Martinez and Alex Gonzalez. Voices

598
00:29:30,840 --> 00:29:34,200
Speaker 4: recorded at the Invisible Studios in Los Angeles, the Relic

599
00:29:34,280 --> 00:29:37,800
Speaker 4: Room in New York, and Cabby Sound Studios in Albuquerque,

600
00:29:37,840 --> 00:29:42,360
Speaker 4: New Mexico, with engineering by Lester Danglar, Brett Tubin, and

601
00:29:42,480 --> 00:29:48,080
Speaker 4: Colin Hunkerlier. If you're enjoying the setup, please subscribe, rate,

602
00:29:48,120 --> 00:29:50,320
Speaker 4: and review our show wherever you're listening