WEBVTT - Episode 10: Fodor's Guide to Prague

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<v Speaker 1>As important as choosing the right destination when traveling is

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<v Speaker 1>choosing the right travel partner. Much of the joy you

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<v Speaker 1>will find on the road comes from the person you

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<v Speaker 1>share it with. There is nothing better than to have

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<v Speaker 1>someone to appreciate the view with, enjoy a meal, discuss

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<v Speaker 1>the history, and navigate the world. But be careful and

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<v Speaker 1>choose your travel partner well and set correct expectations, because

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<v Speaker 1>the worst trips result when two partners have two different

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<v Speaker 1>agendas and don't leave room for compromise. Not everything has

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<v Speaker 1>to be perfect. You can have different tastes, beliefs, and habits,

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<v Speaker 1>and it's healthy to go off and venture alone. As

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<v Speaker 1>long as your needs are communicated and your partner's needs

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<v Speaker 1>are respected, every trip should be a joyous and harmonious occasion.

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<v Speaker 2>Jean was bud it would you please stop zoning out?

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<v Speaker 2>Are you even listening to me?

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<v Speaker 1>Of course I am, but it's been a long night.

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<v Speaker 1>I'm tired.

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<v Speaker 2>Yes, you must be exhausted keeping this double life a

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<v Speaker 2>secret from your wife.

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<v Speaker 1>That's not what I meant.

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<v Speaker 2>Well, I'm tired too, tired of traveling city to city

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<v Speaker 2>to support our business while you run around playing spy

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<v Speaker 2>with Rebecca. Also that you can track down the father

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<v Speaker 2>who you thought was dead and haven't seen for fifteen years.

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<v Speaker 2>Did you stop to think that perhaps he doesn't want

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<v Speaker 2>to be found.

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<v Speaker 1>I did many times. But I need to know the truth.

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<v Speaker 2>But at what cost our marriage, your life.

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<v Speaker 1>I'm not a spy, but Martin wasn't wrong. The skills

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<v Speaker 1>of a travel writer come in handy, and since the war,

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<v Speaker 1>I've forgotten I'm kind of good at this, and I

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<v Speaker 1>kind of like helping the good guys. If I can

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<v Speaker 1>save my father while helping prevent World War III and

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<v Speaker 1>sell a few books in the process, Maybe it's more.

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<v Speaker 2>I know what it is like to live under the

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<v Speaker 2>tyranny of Soviet rule, so of course I value freedom

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<v Speaker 2>above all else, and I understand what you say about

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<v Speaker 2>your father. I would want to know the same. I

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<v Speaker 2>suppose I am just being selfish. I thought this was

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<v Speaker 2>finally our chance to build the business and maybe our family.

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<v Speaker 2>But if all you say is true, we have to

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<v Speaker 2>do our part.

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<v Speaker 1>It is true, and I'll never keep anything from you again,

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<v Speaker 1>no matter the risks.

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<v Speaker 2>Well, then I guess if Martin can help us grow

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<v Speaker 2>our company while keeping the world free for democracy, who

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<v Speaker 2>am I to stand in the way.

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<v Speaker 1>You don't have to get involved, though it can stay

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<v Speaker 1>as it has been.

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<v Speaker 2>No now that I know, I want to help, but

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<v Speaker 2>first I want to speak with Martin. It's time we

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<v Speaker 2>renegotiate a few.

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<v Speaker 3>Things, permandex industries. How my director call.

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<v Speaker 2>Lust a photo for Martin blending, Tell him it's urgent.

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<v Speaker 3>One moment, please.

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<v Speaker 4>Bluster. How are you doing enjoying Paris?

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<v Speaker 2>Let's cut the crab, Martin. I know what's going on

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<v Speaker 2>with you and Jean. Are we on a secure line?

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<v Speaker 4>One moment? We are now good?

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<v Speaker 2>You should know Jean told me everything, and I don't

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<v Speaker 2>know who to be more angry with you or Yem.

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<v Speaker 2>I trusted you, Martin, and you put my husband in

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<v Speaker 2>danger and encouraged him to hide it from me while

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<v Speaker 2>lying to me every step of the way. But well,

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<v Speaker 2>I do not approve of your methods. I do understand

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<v Speaker 2>the importance of the work being done, although it seems

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<v Speaker 2>that for such a high level agency, these operations are

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<v Speaker 2>often sloppy and put GENE at unnecessary risk.

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<v Speaker 4>Flaster. I'm sorry you're upset, but I hope you understand.

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<v Speaker 4>We try to take every precaution and Gene has always

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<v Speaker 4>been able to stop at any time.

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<v Speaker 2>Oh and you know very well you'll never do that.

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<v Speaker 2>It isn't in his nature. But I'm sure you've known

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<v Speaker 2>which buttons to press all along, which is why I'm

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<v Speaker 2>here to tell you there will be some changes moving forward.

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<v Speaker 4>What kind of changes?

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<v Speaker 2>From now on, Each destination and all intended objectives for

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<v Speaker 2>that location will be run through my office. All information

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<v Speaker 2>will pass by my desk, and any country Gene steps

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<v Speaker 2>foot in will have the proper security and agenda plan

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<v Speaker 2>for a safe, pleasant and productive journey. No longer we'll

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<v Speaker 2>have baked schemes and ill thought that plans be the

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<v Speaker 2>basis for these missions that.

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<v Speaker 4>Can be arranged. You will be completely informed, though I

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<v Speaker 4>hope you understand, and we won't always be able to

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<v Speaker 4>accommodate every request.

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<v Speaker 2>Good now to business, as this revelation on Gen makes

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<v Speaker 2>me realize why all the writing samples you've been sending

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<v Speaker 2>have been barely literate. So in the future, if you

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<v Speaker 2>are going to try to populate our company with spies

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<v Speaker 2>like Rebecca, please start recruiting from journalism schools and literature

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<v Speaker 2>departments instead of civil engineers. These people might be able

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<v Speaker 2>to disarm a bomb, but they can barely complete a sentence.

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<v Speaker 4>Understood, I'll speak to hr and provide you with new

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<v Speaker 4>writing samples and new candidates of your choice.

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<v Speaker 2>How does that sound fine? And one last thing, Our

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<v Speaker 2>next travel guide destination is Pragg, Czechoslovakia, so start making

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<v Speaker 2>the reservations. We're going to find the pathfinder.

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<v Speaker 4>You'll be on a flight first thing tomorrow.

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<v Speaker 2>Thank you, Martin. I think this is going to be

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<v Speaker 2>a beautiful new chapter in our working relationship.

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<v Speaker 1>Sounds like you laid down the law. Did he take it? Okay?

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<v Speaker 2>Fine enough? Why don't you pack? He's sending us to Prague?

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<v Speaker 1>Are you sure you want to go back there?

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<v Speaker 2>If everything you said is true, then your father could

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<v Speaker 2>be in real danger, and who knows how long he'll

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<v Speaker 2>be there before they move him again. So the faster

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<v Speaker 2>the better, and you will certainly find him faster with

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<v Speaker 2>my help and my brothers.

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<v Speaker 1>You're going to call Gustave.

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<v Speaker 2>To let him know that we're arriving and see what

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<v Speaker 2>he can find out. If anyone can find something in Prag,

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<v Speaker 2>it's Gustave.

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<v Speaker 1>Then I better pack my bag and get some sleep.

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<v Speaker 1>You are a remarkable woman.

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<v Speaker 2>That's right, and you are a very lucky man. Now

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<v Speaker 2>off the pruge we Go.

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<v Speaker 1>As one of the city's most revered residence. Franz Kofko

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<v Speaker 1>once said, Prague never lets you go. This dear little

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<v Speaker 1>mother has sharp claws. Mozart even named a symphony after it.

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<v Speaker 1>The city is a political, cultural and economic hub of

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<v Speaker 1>Central Europe, with a rich history of Romanesque, Gothic, Renaissance

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<v Speaker 1>and Baroque architectures. It was the capital of the Kingdom

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<v Speaker 1>of Bohemia and residents of several Holy Roman emperors, most

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<v Speaker 1>notably Charles the Fourth. Prague is also home to a

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<v Speaker 1>number of well known cultural attractions, an astounding number of

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<v Speaker 1>which survived much of the destruction Europe has faced over

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<v Speaker 1>the decades. The main attractions include Prague Castle, Charles Bridge,

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<v Speaker 1>and the Old Town Square with its famous astronomical clock,

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<v Speaker 1>to name just a few. The city has more than

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<v Speaker 1>ten major museums, along with numerous theaters, galleries, cinemas and

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<v Speaker 1>other historic exhibits. But to simply walk around Prague is

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<v Speaker 1>to get lost in time.

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<v Speaker 2>Jean, there's my brother Alrooi Gustav.

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<v Speaker 5>Wait a second, he's a cop.

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<v Speaker 1>A firm hand runs in the family bluster. Jean, welcome,

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<v Speaker 1>great to see you.

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<v Speaker 2>Gustave, and this is only a photographer and assistant.

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<v Speaker 6>Rebecca Ai, Rebecca new assistant. That's this Capitalism has been

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<v Speaker 6>good to you.

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<v Speaker 1>He've hit the big time. Look at us now, our

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<v Speaker 1>very own police escort.

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<v Speaker 7>Whatever it takes to bring on my little sister.

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<v Speaker 2>It is good to see you, and I'm sorry for

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<v Speaker 2>the short notice. But this isn't a social visit.

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<v Speaker 7>You said there was something important. How can I help.

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<v Speaker 2>We have reason to believe Jean's father is being held

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<v Speaker 2>against his will somewhere in the city, and.

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<v Speaker 1>We don't have much more information than that to go on,

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<v Speaker 1>so any assistance would be greatly appreciated.

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<v Speaker 7>If your father is here, we'll find him.

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<v Speaker 2>Thank you, Gustav, Jean, Rebecca, why don't you wait with

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<v Speaker 2>the bags, Gustav and I will bring the car around.

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<v Speaker 1>Great a cop Gene.

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<v Speaker 5>They are notoriously pro Soviet around here.

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<v Speaker 1>Gustav's no idealist. He's remained loyal to the Soviets because

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<v Speaker 1>they were the ones to push out the Nazis, but

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<v Speaker 1>he knows the stalinization has been slow and the country's

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<v Speaker 1>economy is struggling. Their parents died working twelve hour shifts

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<v Speaker 1>with nothing to show for it.

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<v Speaker 5>But are you sure we can trust him?

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<v Speaker 1>He's family and Velosta trusts him.

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<v Speaker 5>Well, I guess we need all the help we can get.

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<v Speaker 1>The Hotel International Prague is a four star hotel located

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<v Speaker 1>in the Davitz quarter of Prague. The hotel was the

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<v Speaker 1>idea of Alexi Chipichka, the Czechoslovakian Minister of Defense, who

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<v Speaker 1>envisioned a monument to the newly formed Fourth Czechoslovak Republic

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<v Speaker 1>that would reinforce ties with the Soviet Union due to

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<v Speaker 1>the socialist realism style. It is the largest stalin this

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<v Speaker 1>architecture building in Prague at eighty eight meters tall, and

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<v Speaker 1>was inspired by the Seven Sisters in Moscow. The hotel

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<v Speaker 1>is divided into two symmetrical wings, with a large tower

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<v Speaker 1>at the center. The entrance hall and the main staircase

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<v Speaker 1>include a stucco and painted ceiling, marble columns and artworks

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<v Speaker 1>on its walls to create a palatial atmosphere. It was

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<v Speaker 1>completed in nineteen fifty six and quickly became a Czech

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<v Speaker 1>cultural monument and has the largest capacity in the entire country.

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<v Speaker 6>Here we are the Hotel Intercontinental. You get checked in

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<v Speaker 6>and I will see what I can learn book at

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<v Speaker 6>the station discreetly, of course.

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<v Speaker 1>De kuyu, Gusti, Yes, thank you, Gustav.

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<v Speaker 5>Before we go inside the hotel, just remember it is

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<v Speaker 5>still government controlled. All rooms are guaranteed to be booked.

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<v Speaker 5>We should be careful not to threaten our.

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<v Speaker 2>Cover, right, we understand, Gene, Why don't you go check

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<v Speaker 2>us in. I want to have a word with Rebecca.

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<v Speaker 3>For a moment.

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<v Speaker 1>Sure, I'll be right back.

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<v Speaker 2>Rebecca, while we still have our privacy. I want to say,

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<v Speaker 2>I know you've been lying to me, but I also

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<v Speaker 2>know you are just following orders, so I don't blame

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<v Speaker 2>you for your deception. I know how hard it is

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<v Speaker 2>to be a woman working in a man's world. Okay,

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<v Speaker 2>thank you, But I want to make it clear to

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<v Speaker 2>you right now that I don't care if we are

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<v Speaker 2>rescuing Jean's father or even saving the world from nuclear annihilation.

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<v Speaker 2>All I really care about is Gene, and his safety

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<v Speaker 2>is more important to.

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<v Speaker 1>Me than any mission.

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<v Speaker 5>Funny, Jean said the same thing about protecting you when

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<v Speaker 5>we first started. But don't worry, my objectives are aligned

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<v Speaker 5>with yours to protect Gene and co fleet the mission.

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<v Speaker 2>As long as it is in that order without.

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<v Speaker 5>Jane, there is no mission.

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<v Speaker 2>Good, just wanted to make sure we're on the same page.

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<v Speaker 1>Ladies hate to interrupt, but the bags are being sent

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<v Speaker 1>to our rooms, and Gustav just called saying to meet

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<v Speaker 1>him at the Charles Bridge in an hour.

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<v Speaker 5>Good spot, nice and public.

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<v Speaker 2>Excellent. Then let's drop our things and go meet him.

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<v Speaker 1>Charles Bridge is a medieval stone arch bridge decorated by

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<v Speaker 1>a continuous alley of Baroque styles, statues and statuaries that

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<v Speaker 1>crosses the Voltava River in the center of Prague. Its

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<v Speaker 1>construction started in thirteen fifty seven under the auspices of

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<v Speaker 1>King Charles the Fourth, a very superstitious man who believed

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<v Speaker 1>deeply in astrology and numerology. That's why the official inauguration

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<v Speaker 1>of the bridge was made at five thirty one am

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<v Speaker 1>on July ninth, thirteen fifty seven. The time and date

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<v Speaker 1>a palindrome a numerical seque you can read the same

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<v Speaker 1>way from both ends one three five seven nine seven

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<v Speaker 1>five three one year, day month time. As the only

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<v Speaker 1>means of crossing the Voltava River until eighteen forty one,

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<v Speaker 1>Charles Bridge was the most important connection between Prague Castle

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<v Speaker 1>and the city's old town and adjacent areas. This land

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<v Speaker 1>connection made Prague important as a trade route between Eastern

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<v Speaker 1>and Western Europe throughout its history. Charles Bridge has suffered

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<v Speaker 1>several disasters and witnessed many historic events, but has always

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<v Speaker 1>been dutifully restored and remains a crown jewel of Prague's architecture.

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<v Speaker 2>Jean, I siecle stuff up ahead.

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<v Speaker 1>Hello again, that was a quick turnaround. Did you learn

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<v Speaker 1>anything at the station?

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<v Speaker 7>Yes?

0:13:49.400 --> 0:13:52.240
<v Speaker 6>I learned not to ask too many questions. The moment

0:13:52.320 --> 0:13:54.800
<v Speaker 6>I mentioned the missing person held by the KGB, I

0:13:54.840 --> 0:13:57.720
<v Speaker 6>get called into the captain's office. I want to help you,

0:13:57.800 --> 0:13:59.520
<v Speaker 6>but it's not safe to talk there. Do you have

0:13:59.520 --> 0:14:00.959
<v Speaker 6>any clue besides the photo?

0:14:01.760 --> 0:14:04.400
<v Speaker 2>Just this postcard from his father. It's the reason we

0:14:04.480 --> 0:14:05.559
<v Speaker 2>think he's here in Prague.

0:14:05.800 --> 0:14:07.320
<v Speaker 1>There's a Kafka quote on the back.

0:14:08.679 --> 0:14:11.560
<v Speaker 6>From a certain point onward, there is no longer any

0:14:11.600 --> 0:14:14.400
<v Speaker 6>turning back. That is the point that must be reached.

0:14:14.840 --> 0:14:17.559
<v Speaker 1>It's from his book The Trial, about a man arrested

0:14:17.559 --> 0:14:21.320
<v Speaker 1>and prosecuted by a remote, inaccessible authority, with the nature

0:14:21.360 --> 0:14:23.480
<v Speaker 1>of his crime never revealed to him or the reader.

0:14:23.880 --> 0:14:25.680
<v Speaker 2>It feels like a clear cry for help.

0:14:26.080 --> 0:14:29.880
<v Speaker 6>I see well. Kofka lived in the Jewish Quarter. Perhaps

0:14:29.880 --> 0:14:32.560
<v Speaker 6>that is where we should start looking good idea, but

0:14:32.640 --> 0:14:35.840
<v Speaker 6>be careful though you are being watched. Your presence raised

0:14:35.880 --> 0:14:38.280
<v Speaker 6>a red flag, and the captain instructed me to escort

0:14:38.320 --> 0:14:40.440
<v Speaker 6>you on your sight seeing to make sure you only

0:14:40.480 --> 0:14:42.600
<v Speaker 6>see what the government wants, and that is all that

0:14:42.720 --> 0:14:43.840
<v Speaker 6>makes it into your book.

0:14:44.520 --> 0:14:46.720
<v Speaker 2>But of course we would never want you to do this

0:14:46.840 --> 0:14:49.400
<v Speaker 2>or our orders. We are just friend let tourists with

0:14:49.440 --> 0:14:52.280
<v Speaker 2>a guidebook business. Who better to show us around than

0:14:52.280 --> 0:14:52.720
<v Speaker 2>my brother?

0:14:53.080 --> 0:14:57.720
<v Speaker 5>Precisely, I have an idea, Gustav. How about I go

0:14:57.840 --> 0:15:00.040
<v Speaker 5>with you to photograph the major sites and establish the

0:15:00.120 --> 0:15:02.640
<v Speaker 5>shark cover, while Gene and Vlost to search for clues

0:15:02.640 --> 0:15:03.440
<v Speaker 5>in the Jewish Quarter.

0:15:04.040 --> 0:15:04.920
<v Speaker 7>That would help.

0:15:05.280 --> 0:15:07.479
<v Speaker 2>We'll be careful in staut of travel.

0:15:07.200 --> 0:15:09.280
<v Speaker 1>And if we learn anything, we'll leave word for you

0:15:09.320 --> 0:15:11.160
<v Speaker 1>at the hotel or meet you back there later.

0:15:11.440 --> 0:15:14.000
<v Speaker 7>That'll affect me, Rebecca, where would you like to go first?

0:15:18.800 --> 0:15:22.080
<v Speaker 1>The Jewish Quarter in Prague is located between the old

0:15:22.160 --> 0:15:26.200
<v Speaker 1>town square and Voltava River. Jews are believed to have

0:15:26.240 --> 0:15:28.960
<v Speaker 1>first settled in Prague as early as the tenth century,

0:15:29.480 --> 0:15:32.480
<v Speaker 1>soon followed by the first pogram in ten ninety six,

0:15:32.680 --> 0:15:35.800
<v Speaker 1>which eventually led to the community being concentrated within a

0:15:35.840 --> 0:15:39.720
<v Speaker 1>walled ghetto. In the thirteenth century, when Jewish people were

0:15:39.800 --> 0:15:42.640
<v Speaker 1>ordered to vacate their disparate homes and settle in this

0:15:42.680 --> 0:15:46.360
<v Speaker 1>one area, the ghetto grew in size, but it also

0:15:46.440 --> 0:15:50.560
<v Speaker 1>grew in prosperity. The ghetto was most prosperous towards the

0:15:50.720 --> 0:15:54.360
<v Speaker 1>end of the sixteenth century, when the Jewish mayor Mordecai

0:15:54.440 --> 0:15:58.200
<v Speaker 1>Masel became the Minister of Finance and a very wealthy man.

0:15:58.880 --> 0:16:03.280
<v Speaker 1>His money helped develop the ghetto. Over the centuries, With

0:16:03.440 --> 0:16:06.200
<v Speaker 1>Jews banned from living elsewhere in Prague, and with new

0:16:06.280 --> 0:16:11.720
<v Speaker 1>arrivals expelled from Moravia, Germany, Austria and Spain joining them,

0:16:11.760 --> 0:16:15.720
<v Speaker 1>even more people crowded into the quarter. To add to this,

0:16:16.280 --> 0:16:19.400
<v Speaker 1>inhabitants of the ghetto were forced to endure structural changes

0:16:19.600 --> 0:16:22.760
<v Speaker 1>at the whim of the Emperor or whichever ruler exercised

0:16:22.760 --> 0:16:26.960
<v Speaker 1>control over them. Most of the quarter was demolished between

0:16:27.000 --> 0:16:30.080
<v Speaker 1>eighteen ninety three and nineteen thirteen as part of an

0:16:30.120 --> 0:16:33.680
<v Speaker 1>initiative to model the city on Paris. What was left

0:16:33.920 --> 0:16:37.680
<v Speaker 1>were only six synagogues, the old cemetery, and the old

0:16:37.760 --> 0:16:42.320
<v Speaker 1>Jewish town hall. Despite the horrors of World War II.

0:16:43.120 --> 0:16:46.640
<v Speaker 1>Much of Prague's architecture managed to survive the conflict and

0:16:46.760 --> 0:16:50.760
<v Speaker 1>encroaching Nazi rule. How did the buildings of the Jewish

0:16:50.840 --> 0:16:53.560
<v Speaker 1>Quarriter in the heart of one of Hitler's most desired

0:16:53.600 --> 0:16:57.560
<v Speaker 1>cities manage to survive. It is believed that Hitler wanted

0:16:57.600 --> 0:17:01.600
<v Speaker 1>to establish a museum of an extinct race here once

0:17:01.600 --> 0:17:05.159
<v Speaker 1>the war was over, and hundreds of thousands of Jewish

0:17:05.240 --> 0:17:10.080
<v Speaker 1>artifacts were transported to Prague from all over Europe in preparation.

0:17:11.720 --> 0:17:15.320
<v Speaker 2>It is such a beautiful neighborhood. Where do we start looking?

0:17:16.040 --> 0:17:18.520
<v Speaker 1>I think I know a good place, and I could

0:17:18.560 --> 0:17:22.040
<v Speaker 1>sure use a cup of coffee. Where is that Cafe Louver,

0:17:22.440 --> 0:17:25.600
<v Speaker 1>where Kafka wrote many of his novels. It's just around

0:17:25.640 --> 0:17:26.080
<v Speaker 1>the corner.

0:17:26.560 --> 0:17:28.560
<v Speaker 2>Seems like the perfect place to start.

0:17:29.640 --> 0:17:33.600
<v Speaker 1>Cafe Louver, opened in nineteen oh two, may be filled

0:17:33.600 --> 0:17:36.760
<v Speaker 1>with tourists now, but it was once the favorite haunt

0:17:36.920 --> 0:17:40.879
<v Speaker 1>of the Prague cultural elite, including Franz Kofka, who had

0:17:40.960 --> 0:17:44.240
<v Speaker 1>come here to write, discuss philosophy, and meet with his

0:17:44.320 --> 0:17:48.920
<v Speaker 1>friend Max Brode. Broade was Kafka's best friend and closest confidant,

0:17:49.240 --> 0:17:51.639
<v Speaker 1>and would eventually go on to publish much of Kafka's

0:17:51.640 --> 0:17:55.159
<v Speaker 1>work after the writer's death. Other famous visitors to the

0:17:55.200 --> 0:17:59.399
<v Speaker 1>cafe throughout the years include Albert Einstein and Check play right,

0:17:59.560 --> 0:18:00.439
<v Speaker 1>Karel Chopic.

0:18:05.400 --> 0:18:08.840
<v Speaker 2>Ohoi, what can I get for you to espressos? Please

0:18:09.080 --> 0:18:12.240
<v Speaker 2>keep the change, TAKHOI, I'll bring them to your table.

0:18:12.680 --> 0:18:15.879
<v Speaker 1>Excuse me. I'm a writer and I've heard this cafe

0:18:15.960 --> 0:18:17.680
<v Speaker 1>is famous for all the writers who have worked here.

0:18:18.160 --> 0:18:20.600
<v Speaker 1>Do you happen to know which table Kafka used to

0:18:20.640 --> 0:18:21.359
<v Speaker 1>sit at to write?

0:18:21.680 --> 0:18:21.960
<v Speaker 5>Oh?

0:18:22.160 --> 0:18:24.360
<v Speaker 2>Yes, that's one in the back corner.

0:18:24.840 --> 0:18:26.640
<v Speaker 1>Thank you, I'm a big fan.

0:18:31.760 --> 0:18:33.680
<v Speaker 2>Did you think there would be a clue taped under

0:18:33.720 --> 0:18:34.199
<v Speaker 2>the table?

0:18:34.840 --> 0:18:37.160
<v Speaker 1>I don't know what I thought, but I don't see

0:18:37.160 --> 0:18:41.199
<v Speaker 1>anything helpful yet. It's a nice table, though. You can

0:18:41.240 --> 0:18:42.400
<v Speaker 1>see the whole cafe from here.

0:18:43.119 --> 0:18:47.760
<v Speaker 2>Here you are to espressos, JIKOI do you feel inspired

0:18:47.800 --> 0:18:48.160
<v Speaker 2>to write?

0:18:48.240 --> 0:18:48.440
<v Speaker 4>Yet?

0:18:49.080 --> 0:18:51.760
<v Speaker 1>Still working on it? But I guess Kafka was a

0:18:51.760 --> 0:18:54.800
<v Speaker 1>people watcher. I can enjoy my espresso and observe the

0:18:54.840 --> 0:18:55.680
<v Speaker 1>whole place from here.

0:18:56.200 --> 0:18:58.680
<v Speaker 2>Not Kofka. He hated to be bothered.

0:18:58.920 --> 0:19:01.399
<v Speaker 3>That's why he always sat in that chair facing the

0:19:01.440 --> 0:19:04.280
<v Speaker 3>wall so he wouldn't be disturbed or distracted the ball

0:19:04.359 --> 0:19:06.000
<v Speaker 3>he worked.

0:19:06.359 --> 0:19:09.399
<v Speaker 1>Facing the wall. Huh, let's see.

0:19:11.080 --> 0:19:12.879
<v Speaker 5>Hmm.

0:19:13.520 --> 0:19:17.560
<v Speaker 2>Certainly not as nice a view, but definitely less distractions

0:19:18.119 --> 0:19:20.879
<v Speaker 2>unless you like the west gribblings of a child.

0:19:21.960 --> 0:19:25.960
<v Speaker 1>Wait a second, what's that in the corner there? The drawing?

0:19:26.920 --> 0:19:30.480
<v Speaker 2>This thing here? It looks like some kind of monster.

0:19:30.720 --> 0:19:33.840
<v Speaker 1>Oh, that's not just a monster. That's a gollum. I

0:19:33.880 --> 0:19:36.680
<v Speaker 1>remember it from when I was a kid. My father

0:19:36.800 --> 0:19:40.680
<v Speaker 1>used to draw that. What it looks exactly the same,

0:19:41.600 --> 0:19:46.200
<v Speaker 1>and look on his chest, my father's secret signature. It's

0:19:46.200 --> 0:19:46.879
<v Speaker 1>a clue.

0:19:48.440 --> 0:19:52.480
<v Speaker 2>Oh, you're actually serious. Why does it of what kind

0:19:52.480 --> 0:19:52.959
<v Speaker 2>of monster?

0:19:53.240 --> 0:19:56.520
<v Speaker 1>It's a gollumn, a mystical creature from the Jewish religion,

0:19:56.640 --> 0:19:58.760
<v Speaker 1>created to protect the Jews in a time of need.

0:19:59.400 --> 0:20:01.040
<v Speaker 1>My father used to tell me the story of the

0:20:01.040 --> 0:20:03.919
<v Speaker 1>gollum of Prague when I was a boy. That's probably

0:20:03.920 --> 0:20:06.040
<v Speaker 1>where Mary Shelley got her idea for Frankenstein.

0:20:06.520 --> 0:20:07.440
<v Speaker 2>But what does it mean?

0:20:08.280 --> 0:20:11.560
<v Speaker 1>The most famous gallum narrative involves Judah Low, the late

0:20:11.640 --> 0:20:15.399
<v Speaker 1>sixteenth century rabbi of Prague, who, legend has it, created

0:20:15.440 --> 0:20:17.359
<v Speaker 1>a gollumn out of clay from the banks of the

0:20:17.520 --> 0:20:20.480
<v Speaker 1>Latava River and brought it to life. Through Hebrew rituals

0:20:20.720 --> 0:20:23.919
<v Speaker 1>to defend the proge Ghetto from antisemitic attacks and pograms.

0:20:24.600 --> 0:20:26.840
<v Speaker 1>At that time, the Jews in Prague were to be

0:20:26.880 --> 0:20:30.159
<v Speaker 1>either expelled or massacred under the rule of Rudolph the second,

0:20:30.320 --> 0:20:34.119
<v Speaker 1>the Holy Roman Emperor. The gollum was called Joseph and

0:20:34.280 --> 0:20:36.560
<v Speaker 1>was said to be able to make himself invisible and

0:20:36.600 --> 0:20:40.040
<v Speaker 1>summon spirits from the dead. But Rabbi Low deactivated the

0:20:40.080 --> 0:20:43.159
<v Speaker 1>Gollum on Friday evenings by removing the shem before the

0:20:43.200 --> 0:20:46.680
<v Speaker 1>Sabbath began so as to let it rest. But one

0:20:46.800 --> 0:20:50.320
<v Speaker 1>Friday evening Rabbi Low forgot to remove the shem, and

0:20:50.400 --> 0:20:54.200
<v Speaker 1>the Gollum went on a murderous rampage until the rabbi

0:20:54.280 --> 0:20:56.480
<v Speaker 1>was able to remove the shem and the collumn fell

0:20:56.520 --> 0:20:59.760
<v Speaker 1>to pieces. The Gollum's body was stored in the attic

0:21:00.119 --> 0:21:02.600
<v Speaker 1>nisa of the old New Synagogue, where it would be

0:21:02.640 --> 0:21:06.120
<v Speaker 1>restored to life if ever needed, but kept locked away

0:21:06.160 --> 0:21:10.320
<v Speaker 1>so it wouldn't cause harm ever again. According to legend,

0:21:10.720 --> 0:21:13.080
<v Speaker 1>the body of the column still lies there and the

0:21:13.119 --> 0:21:14.359
<v Speaker 1>attic is closed to the public.

0:21:15.520 --> 0:21:17.600
<v Speaker 2>Where is the synagogue.

0:21:17.280 --> 0:21:18.480
<v Speaker 1>Just around the corner from here.

0:21:19.680 --> 0:21:21.560
<v Speaker 2>Let me guess finish.

0:21:21.240 --> 0:21:37.000
<v Speaker 1>Your espresso, darling, we're going to temple. The Old New Synagogue,

0:21:37.119 --> 0:21:43.080
<v Speaker 1>also called the Altnushul, is Europe's oldest active synagogue, completed

0:21:43.119 --> 0:21:46.080
<v Speaker 1>in twelve seventy in Gothic style and known as the

0:21:46.119 --> 0:21:49.840
<v Speaker 1>Old Synagogue, It was one of Prague's first Gothic buildings.

0:21:50.440 --> 0:21:53.960
<v Speaker 1>This synagogue was demolished in eighteen sixty seven and replaced

0:21:53.960 --> 0:21:58.920
<v Speaker 1>by the New Spanish Synagogue. Hence the name, or another explanation,

0:21:59.080 --> 0:22:02.800
<v Speaker 1>derives the name from the Hebrew Altnae, which means on

0:22:02.960 --> 0:22:07.480
<v Speaker 1>condition and sounds identical to the Yiddish Altnae or Old New.

0:22:08.359 --> 0:22:12.119
<v Speaker 1>According to that legend, angels brought stones from the Temple

0:22:12.160 --> 0:22:15.919
<v Speaker 1>of Jerusalem to build the Synagogue in Prague on the

0:22:16.000 --> 0:22:21.400
<v Speaker 1>condition that they be returned when the Messiah comes. The Nazis,

0:22:21.560 --> 0:22:24.520
<v Speaker 1>wanting to use the synagogue as a museum, did not

0:22:24.640 --> 0:22:28.280
<v Speaker 1>destroy the building, and forbid any soldier enter the attic,

0:22:28.800 --> 0:22:32.239
<v Speaker 1>where it is said the body of the Gollum is

0:22:32.359 --> 0:22:33.120
<v Speaker 1>still hidden.

0:22:35.040 --> 0:22:38.240
<v Speaker 2>Where should we look first? And don't tell me the attic,

0:22:38.280 --> 0:22:40.480
<v Speaker 2>because there is no way I'm going up there.

0:22:41.560 --> 0:22:44.480
<v Speaker 1>Let's check for closer symbols on the walls. That's what

0:22:44.600 --> 0:22:45.560
<v Speaker 1>my father did best.

0:22:46.119 --> 0:22:47.960
<v Speaker 2>But there are symbols everywhere.

0:22:48.359 --> 0:22:58.960
<v Speaker 1>M I'm gonna go check by the Bema, Eugene.

0:23:00.119 --> 0:23:00.560
<v Speaker 4>Is that you?

0:23:02.560 --> 0:23:02.720
<v Speaker 1>Oh?

0:23:02.760 --> 0:23:07.800
<v Speaker 8>Pooh, my god, it is you, son.

0:23:08.760 --> 0:23:09.080
<v Speaker 4>Father.

0:23:11.000 --> 0:23:14.960
<v Speaker 1>I can't believe you found me. I thought you were dead.

0:23:15.400 --> 0:23:18.359
<v Speaker 8>I know if anyone could find me, it would be you.

0:23:19.320 --> 0:23:21.719
<v Speaker 8>I left those clues like a message in a bottle.

0:23:22.359 --> 0:23:28.919
<v Speaker 1>But here you are, Bosta, Come here, father, this is

0:23:28.960 --> 0:23:30.280
<v Speaker 1>my wife, Floster.

0:23:31.400 --> 0:23:34.320
<v Speaker 8>Your wife is so wonderful to meet you.

0:23:34.960 --> 0:23:36.080
<v Speaker 2>I heard so much.

0:23:37.560 --> 0:23:40.200
<v Speaker 1>I can't believe this. What are you doing here?

0:23:41.080 --> 0:23:44.000
<v Speaker 8>This synagogue is the one place the Soviets let me

0:23:44.040 --> 0:23:47.560
<v Speaker 8>come alone. I tell them I come to pray, even

0:23:47.600 --> 0:23:50.960
<v Speaker 8>though I'm not Jewish. It gives me space and time

0:23:51.000 --> 0:23:53.760
<v Speaker 8>to think and read. And I know if anyone ever

0:23:53.800 --> 0:23:56.760
<v Speaker 8>did track me down, it's the one place they wouldn't

0:23:56.800 --> 0:24:00.640
<v Speaker 8>be looking. And look, my prayers have answered.

0:24:01.119 --> 0:24:04.800
<v Speaker 1>I'm floss at Darling. Go contact Rebecca. Let her know

0:24:04.880 --> 0:24:07.800
<v Speaker 1>we found him. We can't take him back to the hotel,

0:24:07.840 --> 0:24:09.680
<v Speaker 1>but she should know a secure place we can meet.

0:24:09.960 --> 0:24:13.280
<v Speaker 2>By the way, stay here and stay safe until I return.

0:24:15.080 --> 0:24:17.120
<v Speaker 8>She's beautiful, like your mother.

0:24:18.440 --> 0:24:20.560
<v Speaker 1>I would have invited you to the wedding if I

0:24:20.680 --> 0:24:24.400
<v Speaker 1>known you were alive. What the hell happened to you?

0:24:25.320 --> 0:24:27.800
<v Speaker 1>Why didn't you ever contact me? What the hell are

0:24:27.800 --> 0:24:30.080
<v Speaker 1>you doing working for the Soviet Slow down, son.

0:24:31.520 --> 0:24:34.480
<v Speaker 8>I know you have questions, but what you need to

0:24:34.560 --> 0:24:37.280
<v Speaker 8>understand is that I never had a choice.

0:24:38.080 --> 0:24:39.000
<v Speaker 1>After the war, the.

0:24:38.960 --> 0:24:43.000
<v Speaker 8>Soviets controlled Hungry and most of Eastern Europe. The KGB

0:24:43.160 --> 0:24:45.800
<v Speaker 8>came to me and promised as long as I cooperated,

0:24:46.320 --> 0:24:50.080
<v Speaker 8>my family would be safe, including.

0:24:49.600 --> 0:24:53.119
<v Speaker 1>You, and they forced you to work as Pathfinder.

0:24:53.600 --> 0:24:56.360
<v Speaker 8>I figured drawing a few maps was worth your safety.

0:24:57.400 --> 0:25:00.680
<v Speaker 8>I never know what they had planned, But how did

0:25:00.720 --> 0:25:01.720
<v Speaker 8>you know about all of this?

0:25:03.000 --> 0:25:06.800
<v Speaker 1>Martin Blanding from the OSS during the war, now works

0:25:06.840 --> 0:25:09.720
<v Speaker 1>for the CIA. He told me that you were alive

0:25:09.760 --> 0:25:12.040
<v Speaker 1>and promised if I helped find you and bring you in,

0:25:12.760 --> 0:25:15.720
<v Speaker 1>he'd be given a fair trial. I'm sure if you

0:25:15.800 --> 0:25:18.560
<v Speaker 1>cooperate and tell them what you know about the Soviet operations,

0:25:19.119 --> 0:25:19.959
<v Speaker 1>they will be lenient.

0:25:20.520 --> 0:25:24.320
<v Speaker 8>Martin always was the smartest of the Americans, but be

0:25:24.440 --> 0:25:29.040
<v Speaker 8>careful trusting him. Everyone in his spy world makes compromises

0:25:29.480 --> 0:25:33.800
<v Speaker 8>and betrayal is part of the game. Fortunately, I've got

0:25:33.840 --> 0:25:35.720
<v Speaker 8>something Martin and the Americans will want.

0:25:36.560 --> 0:25:37.000
<v Speaker 1>What's that?

0:25:37.720 --> 0:25:42.600
<v Speaker 8>Copies of the Pathfinder operations, including the most important top

0:25:42.640 --> 0:25:44.640
<v Speaker 8>secret mission I ever created.

0:25:45.359 --> 0:25:45.560
<v Speaker 4>Here.

0:25:46.280 --> 0:25:49.840
<v Speaker 8>Take these maps. They can stop the Soviets from igniting

0:25:49.880 --> 0:25:52.119
<v Speaker 8>this Cold War into a nuclear annihilation.

0:25:53.600 --> 0:25:54.520
<v Speaker 1>You keep them on you.

0:25:55.200 --> 0:25:58.639
<v Speaker 8>I recreated the maps in miniature for memory. That is

0:25:58.680 --> 0:26:01.439
<v Speaker 8>what I do with the synagogue. I've been working on

0:26:01.480 --> 0:26:04.840
<v Speaker 8>it over many months. It should have all the details

0:26:04.840 --> 0:26:07.440
<v Speaker 8>the Americans need to stop the Soviet operations.

0:26:08.040 --> 0:26:11.880
<v Speaker 1>Ha pooh. These maps are your ticket to freedom, Jean.

0:26:12.960 --> 0:26:16.040
<v Speaker 8>Please keep them safe for me so they won't be found.

0:26:16.640 --> 0:26:18.399
<v Speaker 1>I will make sure that these maps get into the

0:26:18.480 --> 0:26:20.240
<v Speaker 1>right hands and help clear your name.

0:26:20.680 --> 0:26:24.440
<v Speaker 8>I trust you will do the right thing. I still

0:26:24.480 --> 0:26:28.200
<v Speaker 8>can't believe you are here, my boy. Is this a

0:26:28.320 --> 0:26:29.920
<v Speaker 8>dream come true?

0:26:30.160 --> 0:26:33.119
<v Speaker 1>I have something for you as well, from a friend.

0:26:34.160 --> 0:26:34.720
<v Speaker 4>What is this?

0:26:35.680 --> 0:26:39.159
<v Speaker 1>It's a forged passport from Jivago. He was holding on

0:26:39.200 --> 0:26:41.280
<v Speaker 1>to it in the lining of his jacket all this time,

0:26:41.560 --> 0:26:42.600
<v Speaker 1>waiting to give it to you.

0:26:43.400 --> 0:26:47.280
<v Speaker 8>He always was a great forger, but a better friend.

0:26:47.760 --> 0:26:51.560
<v Speaker 8>Horrible taste than art, though we would spend hours arguing

0:26:51.600 --> 0:26:55.600
<v Speaker 8>over it. He loved the Moderness crap, but I knew

0:26:55.720 --> 0:26:58.880
<v Speaker 8>sending him that postcard was the best chance I had

0:26:58.880 --> 0:26:59.760
<v Speaker 8>at being found.

0:27:00.480 --> 0:27:02.560
<v Speaker 1>We got him out of East Berlin with his nephew.

0:27:03.200 --> 0:27:06.120
<v Speaker 1>They should be in America by now. You can argue

0:27:06.119 --> 0:27:08.840
<v Speaker 1>about Art again when you see him there. How wonderful.

0:27:11.640 --> 0:27:14.760
<v Speaker 2>I contacted Rebecca and Gustav. They said, there's a train

0:27:15.080 --> 0:27:17.840
<v Speaker 2>leaving for West Germany in thirty minutes, and she'll meet

0:27:17.840 --> 0:27:18.760
<v Speaker 2>you both at the station.

0:27:19.440 --> 0:27:20.120
<v Speaker 1>What about you.

0:27:20.680 --> 0:27:22.720
<v Speaker 2>I'll go back to the hotel with my brother to

0:27:22.800 --> 0:27:25.680
<v Speaker 2>keep up appearances. Check us out and say we're going

0:27:25.720 --> 0:27:28.320
<v Speaker 2>to stay with family instead. If we are being followed,

0:27:28.359 --> 0:27:30.959
<v Speaker 2>better to create the version. Then I'll meet you at

0:27:30.960 --> 0:27:33.920
<v Speaker 2>the station. Martin is already making arrangements.

0:27:34.160 --> 0:27:36.160
<v Speaker 1>All right, we'll head there now.

0:27:36.200 --> 0:27:38.560
<v Speaker 2>And I'm moved to the hotel. See you soon.

0:27:40.680 --> 0:27:41.680
<v Speaker 1>We should get going too.

0:27:42.280 --> 0:27:44.919
<v Speaker 8>Yes, we can slip out the beck and take the alley.

0:27:45.280 --> 0:27:47.080
<v Speaker 8>They'll come looking for me before long.

0:27:47.359 --> 0:27:55.520
<v Speaker 1>Then we better be quick. This way, Jed. But if

0:27:55.520 --> 0:27:57.680
<v Speaker 1>we head down this street we can stay more hidden. Yes,

0:27:57.720 --> 0:28:00.320
<v Speaker 1>but this street is faster. We're looking for a short

0:28:00.440 --> 0:28:03.320
<v Speaker 1>We should take another road altogether, down this alley.

0:28:03.280 --> 0:28:07.879
<v Speaker 8>Fernando Trdofka, the narrowest road in Brogue. It's only twenty

0:28:07.920 --> 0:28:10.040
<v Speaker 8>and she's quiet. We'll have to go one at a time.

0:28:10.440 --> 0:28:12.040
<v Speaker 1>Good thing. I've been on the road and not had

0:28:12.080 --> 0:28:13.159
<v Speaker 1>much time to eat lately.

0:28:14.440 --> 0:28:18.560
<v Speaker 8>You remember your geography, I had a good teacher and

0:28:18.720 --> 0:28:19.720
<v Speaker 8>your book business.

0:28:20.200 --> 0:28:20.639
<v Speaker 4>How is that?

0:28:21.600 --> 0:28:24.399
<v Speaker 8>I saw a copy at the cafe once. I was

0:28:24.440 --> 0:28:26.280
<v Speaker 8>only sad I could brag about it.

0:28:26.320 --> 0:28:30.600
<v Speaker 1>Do anyone? It's going well. Flosta is the real brains

0:28:30.640 --> 0:28:33.160
<v Speaker 1>behind the operation, and we're in the midst of expanding.

0:28:34.320 --> 0:28:36.399
<v Speaker 1>We love what we do, but we see an opportunity

0:28:36.400 --> 0:28:40.680
<v Speaker 1>for more and the family that's part of the plan too.

0:28:41.040 --> 0:28:43.600
<v Speaker 8>I'm so proud of the man you have become, my boy.

0:28:44.720 --> 0:28:46.880
<v Speaker 8>I'm just sorry I wasn't there to witness it.

0:28:47.440 --> 0:28:50.640
<v Speaker 1>Well, you're here now, but only if we make this train.

0:28:50.680 --> 0:28:52.480
<v Speaker 1>We should hurry.

0:28:55.320 --> 0:28:58.320
<v Speaker 8>I've got an old gene. My legs are moving as

0:28:58.360 --> 0:28:59.240
<v Speaker 8>fast as they can.

0:29:01.400 --> 0:29:03.920
<v Speaker 1>It's not much farther. Station's right there.

0:29:06.880 --> 0:29:12.280
<v Speaker 9>You go on ahead, I'll catch up. No, no, we

0:29:12.360 --> 0:29:18.400
<v Speaker 9>are doing this together. There's Vosta.

0:29:18.960 --> 0:29:19.760
<v Speaker 8>It's the police.

0:29:20.000 --> 0:29:22.160
<v Speaker 1>No, no, no, don't worry. That's her brother. He's just

0:29:22.200 --> 0:29:26.640
<v Speaker 1>dropping her off. We'll meet them on the platform. Go

0:29:26.800 --> 0:29:33.880
<v Speaker 1>the train's about to leave. Pardon me, excuse me, please me, please? Sorry?

0:29:34.760 --> 0:29:36.400
<v Speaker 1>There she is just two more cars.

0:29:37.400 --> 0:29:44.600
<v Speaker 9>Vosta here, Hell shun call the doctor.

0:29:46.600 --> 0:29:49.520
<v Speaker 1>Just wreath, We love the Everything's gonna be okay.

0:29:49.800 --> 0:29:53.560
<v Speaker 8>They can't find you here with me, they can't find

0:29:53.600 --> 0:29:54.080
<v Speaker 8>the maps.

0:29:54.160 --> 0:29:54.880
<v Speaker 1>I'm leaving you.

0:29:58.320 --> 0:30:02.720
<v Speaker 8>There's no time get the maps to Martin. If they

0:30:02.760 --> 0:30:05.719
<v Speaker 8>find them on you, it will have all been for nothing.

0:30:08.040 --> 0:30:09.800
<v Speaker 8>Help me rid my wrongs, my boy.

0:30:11.840 --> 0:30:12.480
<v Speaker 4>I love you.

0:30:17.800 --> 0:30:20.480
<v Speaker 2>Oh no, jee, Jean, we have to go.

0:30:20.600 --> 0:30:23.040
<v Speaker 1>The train is leaving. I won't leave him.

0:30:23.080 --> 0:30:24.080
<v Speaker 5>He's gone, Gina.

0:30:24.120 --> 0:30:24.880
<v Speaker 2>I'm so sorry.

0:30:24.920 --> 0:30:29.360
<v Speaker 1>You have to go, Jean. You must go now. They're

0:30:29.400 --> 0:30:30.720
<v Speaker 1>coming and the train is going.

0:30:31.080 --> 0:30:33.160
<v Speaker 6>I'll make sure your father is taken care of, but

0:30:33.240 --> 0:30:35.120
<v Speaker 6>now you must take care of my sister.

0:30:35.720 --> 0:30:35.960
<v Speaker 1>Jean.

0:30:36.760 --> 0:30:37.360
<v Speaker 5>It's time.

0:30:41.960 --> 0:30:51.280
<v Speaker 1>He's lab all right, Let's go on, Harry, he's speaking up.

0:30:51.320 --> 0:30:55.600
<v Speaker 1>Speed here, take.

0:31:03.080 --> 0:31:06.480
<v Speaker 2>Oh je I'm so sorry.

0:31:07.160 --> 0:31:10.640
<v Speaker 5>Did you see who shot him?

0:31:10.720 --> 0:31:11.880
<v Speaker 1>That all happened so fast.

0:31:12.400 --> 0:31:14.040
<v Speaker 5>Someone must have been following you.

0:31:14.400 --> 0:31:16.960
<v Speaker 2>I thought they needed him. Why would they shoot him?

0:31:17.080 --> 0:31:19.800
<v Speaker 5>He was too valuable to let him leave alive. It

0:31:19.840 --> 0:31:22.920
<v Speaker 5>was a desperate move. They knew if we got him,

0:31:22.960 --> 0:31:26.680
<v Speaker 5>he could destroy all of their plans. And now we've got.

0:31:26.480 --> 0:31:32.640
<v Speaker 9>Nothing, no, not nothing. We've got his maps, and we're

0:31:32.680 --> 0:31:35.400
<v Speaker 9>going to use these maps to end this once.

0:31:35.200 --> 0:31:35.880
<v Speaker 3>And for all.

0:31:43.320 --> 0:31:47.640
<v Speaker 10>Phodor's Guide to Espionage is created by Lars Jacobson, written

0:31:47.680 --> 0:31:52.080
<v Speaker 10>by Lars Jacobson and Sabrina Jagulain, and directed by Sabrina Jagulin,

0:31:52.640 --> 0:31:56.600
<v Speaker 10>Produced by Lars Jacobson and Sabrina Jagulin, and executive produced

0:31:56.600 --> 0:32:01.160
<v Speaker 10>by Noel Brown or iHeartRadio. Fodor's Guide to Espionage stars

0:32:01.160 --> 0:32:05.440
<v Speaker 10>Ethan Korn as Eugene Fodor, Lelia Symington as Volosta Fodor,

0:32:05.800 --> 0:32:10.160
<v Speaker 10>and Jackie Emerson as Rebecca Ralston, with additional performances by

0:32:10.680 --> 0:32:15.920
<v Speaker 10>Chase Mullins, George Rivera, Matt Linton, Dylan McCollum, Gabe Greenspan,

0:32:16.200 --> 0:32:21.760
<v Speaker 10>Chris Cappel, Duncan Kaladine Dana Melanie, Alex Gombadi, Noam Thomaschoff,

0:32:21.960 --> 0:32:26.080
<v Speaker 10>Katrina Aaron and Simon Jagulain. Sound design and editing by

0:32:26.240 --> 0:32:30.760
<v Speaker 10>Chris Childs. Original theme song by Jack Blavelt and Chris Childs,

0:32:30.800 --> 0:32:35.520
<v Speaker 10>with additional scoring by Chris Childs. Sound engineering by Chris Seck.

0:32:36.160 --> 0:32:40.320
<v Speaker 10>Fodor's Guide to Espionage is an iHeartRadio production. For more

0:32:40.360 --> 0:32:45.120
<v Speaker 10>podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

0:32:45.120 --> 0:32:52.200
<v Speaker 10>wherever you get your podcasts.