- 4 hours ago
High Potential S02 - Episode 7
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00:00¡SuscrÃbete al canal!
00:30I'm not worried about your badge. I'm worried about you.
00:32I just heard some rumors you don't respond positively to authority.
00:36Sometimes I forget what it's like to have somebody looking out for me.
00:39See you tomorrow, Guillory.
00:39Hey, any news? We found Roman.
00:41I'm sending you a photo now.
00:42That's not Roman.
00:43Roman asked me to put eyes on you and Ava just to make sure you two were okay.
00:47I actually let myself believe that you didn't abandon us.
00:50I still believe that.
00:51Arthur, I want that backpack.
00:52So you think that whatever's in that bag will give you answers and not just more questions?
01:23Huh. That's weird.
01:25You see that?
01:26Hmm. It's not coming back.
01:29I'm going to go check it out.
01:30Knock on the door on the four knots back.
01:33Joke never gone no further than that.
01:36All clear so far.
01:38Match back down the stack.
01:41Puzzle and cuss.
01:43Look on the dust.
01:44Puzzle and cuss.
01:45Look on the dust.
01:49Puzzle and cuddling on the dust.
01:52We good?
01:53What's your 20?
01:57Puzzle and cuss.
02:00Puzzle and cuss.
02:01Lick on the dust.
02:02Like a muster and cuss.
02:05Puzzle and cuss.
02:07Lick on the dust.
02:08Hustle and cuss.
02:09Lick on the dust.
02:14Hey, we got a bar down.
02:16Hustle and cuss.
02:19Like a muster and cuss.
02:35¡Gracias!
02:50Morgan, hey, hey, are you and Ava okay?
02:53Yeah, we're good, what's up?
02:54I'm gonna ask you straight up.
02:56You have somebody following me again?
02:57What? No, what are you talking about?
02:59I don't know, I think someone's been on my tail the past few days.
03:02Maybe it's nothing.
03:03Arthur, if you feel like you might be in danger, you should call the police.
03:07No, I don't think that's a good idea.
03:08Roman wasn't too keen on the cops, remember?
03:10What does this have to do with Roman?
03:12That's what I'm trying to figure out here.
03:14I mean, were you able to learn anything about what was inside that backpack of his?
03:22No, not yet.
03:24All right, well look, maybe you should just hide the bag for now.
03:27Because whoever Roman's running from might not want what's inside that bag getting out, you hear me?
03:34Yeah, hey, I gotta go, okay?
03:36All right, well look, just be careful.
03:39All right, you and Ava, keep your head on the swivel.
03:42You too.
03:49Ava and I didn't glove up at home, is that gonna be a problem?
03:51Only if you think you two might be suspects in Roman's disappearance.
03:54I think you can count us out.
03:56And nothing in the bag looked familiar?
03:57Rang any bells?
03:58No.
03:59Also, Roman's not a huge fan of law enforcement, so if we could just keep this between us.
04:03We'll keep the circle small.
04:05Thank you.
04:10What's going on?
04:12Just revisiting an old case.
04:16Call came in, pretty high profile.
04:18I want these two on it.
04:20Go, I got this.
04:22Close the door.
04:32She only arrived here last week.
04:34Does she have a name?
04:35Young girl leaning on a windowsill.
04:37You guys are saying she a lot.
04:38We are talking about a painting, right?
04:40Painted by Rembrandt in 1645.
04:42Up until last night, she was here with our other Dutch masters.
04:45This intimate portrait captures the most fleeting moments of human expression.
04:50Sorry, I missed it.
04:51We'll need a list of museum employees, anyone with access.
04:54Of course.
04:55Then I should call the Fosters so they hear it from me.
04:57The Fosters?
04:58Linda and Greg Foster loaned us the Rembrandt.
05:00Any idea how much it's worth?
05:02Well, I believe they paid over 20 million at auction a few years ago.
05:07I'll get you that list.
05:08Thank you.
05:09Uh, we are major crimes, right?
05:12I'm not really seeing what's major about this.
05:14Well, theft of major artwork carries a penalty of up to 10 years before the DA tax on possession,
05:19conspiracy, breaking and entering.
05:20Why?
05:21For a dead body?
05:21No, I've just seen actual missing girls get less attention.
05:25Well, like it or not, every news outlet's gonna run with this story tonight.
05:27Captain's probably trying to keep this thing from blowing up in our faces.
05:30One guard said there was too much smoke for her to get a look at the thief.
05:33Second guard took a blow to the head, but I hear she'll be okay.
05:36So this is our point of entry?
05:37Yeah, an exit as far as we can tell.
05:39We had whatever this is sent over to the lab for testing.
05:42I'll put a rush on the results and see if we can get a log of visitors the past few
05:45weeks.
05:45Okay.
05:47So, the thief entered here, but the Rembrandt's all the way over there.
05:51Most thieves prefer not to bust through the wall like the Kool-Aid man.
05:54Okay, so, this person took the time to cut out the window, toss down a rope, slide down right here,
06:01and then just walks right by Vermeer, Caravaggio, Turner, Rubens, Delacroix, and Goya.
06:09Do you have any idea how much all of those are worth?
06:12I'm sure you're going to tell me.
06:13A lot more than the Rembrandt.
06:15If this heist was about money, the thief would have taken the most valuable piece he could.
06:23Our guy would have known that this Goya was the real jackpot.
06:28Maybe they didn't do their research.
06:29Every single detail of this thing was planned.
06:31I mean, look at the frame.
06:32That perfectly straight line down the inside seam.
06:35Removing this canvas took precision and time.
06:37Somebody wanted this painting for a reason.
06:40Whoever the thief was, they were not in it for the money.
06:42This was personal.
06:44They wanted her.
06:49Did you say 22 million?
06:51Yeah, but if Morgan's right, we need to find out more about the Rembrandt to figure out who might have
06:54taken it.
06:55And what their real motivation was.
07:08Excuse me.
07:09Is this major crimes?
07:10You must be Mr. Eastman.
07:12I'm Captain Wagner.
07:13We spoke on the phone.
07:14Of course.
07:15Please, call me Reese.
07:16Reese just flew in from Mexico City this morning to help us find our missing girl.
07:20Yeah, I had a lead on Carlos' La Mesa Herrida, but it didn't pan out.
07:24Uh, help us how?
07:25Well, I'm an art recovery specialist.
07:27I recover lost, missing, or stolen art.
07:30You cram all the info right there in the title, huh?
07:32That's helpful.
07:32And you are?
07:33Guillory works with us as a consultant.
07:35She does.
07:35And she really feels as though this painting has enough attention without flying someone in.
07:40Did the Foster send you?
07:41No, their insurance company did.
07:42If I can recover the Rembrandt safely, the insurance company can avoid cutting a rather large check.
07:48Oh, good.
07:48Good.
07:49What a relief.
07:50Okay, so this entire investigation is about saving an insurance company money.
07:55That's awesome.
07:55Right, guys?
07:56Just wanted to make sure you guys heard that.
07:58Go on.
07:58Morgan believes that the Foster's Rembrandt was targeted for a reason other than money.
08:03I mean, anything's possible, but in my experience, it's always about money.
08:08Mm.
08:09Wow.
08:09Not this time.
08:10I mean, thieves don't steal masterpieces.
08:12It's to hang on their wools, Miss Gary.
08:14Maybe this one did, Mr. Eastman.
08:18Morgan and Al will go see what the Foster's going to tell us about their painting.
08:21Great.
08:22Phil and Reese on the way.
08:26Shall we?
08:39The moment we saw her at auction, we knew we had to have her.
08:44I mean, honestly, we would have paid even more.
08:48Why do you think she's priceless?
08:51Greg and I started a hedge fund right out of college, and we worked 80 hours a week for decades.
08:57So by the time we even thought about kids, we couldn't imagine chasing a baby around here, making a mess.
09:02So we often thought of the girl in that painting as our daughter.
09:07Can you think of anyone who may have wanted to steal from you?
09:09No.
09:10You think this was personal?
09:12So why share her?
09:14I'm sorry, what?
09:16Hmm.
09:17Oh, just, you're talking about this painting like your daughter, and I've never put my daughter in a museum.
09:21I'm just wondering why you wouldn't keep it to yourself.
09:23Loaning out a masterpiece increases its visibility and its reputation.
09:27And its value.
09:28Spend some time in a museum, jacks up the price, you can sell it to the highest bidder.
09:31She's not for sale.
09:33Well, in my experience, thieves are two things.
09:35They're greedy and chatty.
09:37And these masterpieces, they don't fetch the same price on the black market as they do at an auction.
09:42So these thieves, they like to talk to people.
09:44They ask around.
09:45And all it'll take is one of these people to call me, and I can help negotiate the return of
09:50your lovely servant girl.
09:52Do you call her a servant girl?
09:55It's not a servant.
09:56Excuse me?
09:58She's leaning out the windowsill, looking for business.
10:01That's a working girl.
10:02Well, there's speculation that the subject was a courtesan, but widely believed that she was either a servant girl or...
10:07A servant girl with a gold braid? Come on.
10:09Look at the way she leans.
10:10It's domestic, not provocative.
10:12It's upsetting, is what it is, because she looks like a child, but she's working.
10:17She's contemplating life.
10:18Is this important to the investigation?
10:20No, it's not.
10:21What else can you tell us about the Rembrandt itself?
10:23The details about her providence are all in here.
10:34This girl in the windows traveled all over the world.
10:38Paris, London, Berlin.
10:40She's lived a much more exciting life than me.
10:42Except now she's probably rolled up in the back of somebody's van.
10:45Well, let's hope she got it all out of her system first.
10:50This is interesting.
10:51You got something?
10:52Maybe.
10:53Right after Rembrandt painted the young girl in 1645, he sold it.
10:58At that point, it sort of bounced around for a few hundred years.
11:0117th century Paris kind of skimmed this part until it was purchased by a Prussian nobleman who kept it until
11:07he died.
11:09And his family kept it until 1932 until Franz von Poppen dissolved the free state of Prussia.
11:14I thought you said this was interesting.
11:16Look, I'm trying to care about this case, okay?
11:18Which at the moment is really just saving the insurance company from having to pay money to a couple of
11:22people who seem to be doing just things.
11:24Where did she go next?
11:25To a Polish businessman in Krakow, and he hung it in his family home.
11:31Then it just kind of bounced around from collection to collection until little Greg and Linda paid a fortune for
11:37it.
11:38Why is any of this important?
11:39I don't know yet.
11:40Lab results came back on those slags we found on the museum floor.
11:44Tested positive for aluminum oxide.
11:45So I did some research.
11:47When aluminum combines with ferric oxide, it creates a thermite reaction, hot enough to melt glass.
11:52That would explain why we didn't find any glass shards under the skyline.
11:54It also came up in a report on another museum heist.
11:57Two years ago, a Matisse was stolen from the Kunsthalle Museum in Rotterdam, and aluminum oxide was found under the
12:02museum skylight.
12:03Which might mean this isn't our thieves' first rodeo.
12:05You and Daphne look for others.
12:07So far, we found 19 heists around the world with the same MO.
12:11Always a masterpiece stolen from a gallery, always worth 10 to 30 million in traces of aluminum oxide at every
12:16scene under a window or skylight, just like ours.
12:19Do you have any idea who it might be?
12:21Well, the internet seems to think so.
12:22Some call him Jean Baptiste.
12:24He's French?
12:25No, but the first painting he stole was.
12:28White Duck by Jean Baptiste Oudry.
12:30Stolen in Paris 12 years ago.
12:32Tell me somebody's got eyes on him.
12:34Only once.
12:36He tried to steal a Picasso in Madrid five years ago, but a guard shot him in the left shoulder,
12:40and he fled empty in.
12:41Okay, so why can't anybody find this guy?
12:43Because he might not exist.
12:44He could be a myth.
12:46What do you mean?
12:46I mean, it's impressive work, but the name Jean Baptiste comes up whenever there's a heist unsolved.
12:51You know, the thief got in and out without a trace, escaped to another masterpiece.
12:54Must be Jean Baptiste.
12:56But is he real?
12:57Maybe.
12:58It could be 10 different guys.
12:59Check this out.
13:00I searched public records.
13:02Someone sued claiming to be the Rembrandt's rightful owner.
13:04We have a name?
13:05Yeah, an Ari Weissman, but it looks like the records are sealed.
13:08Ari would be the first guy to take matters into his own hands when the court ruled against him.
13:12We got an address?
13:13Yeah.
13:13Looks like he's local.
13:15Captain, I could use a hand from Detectives Austin and Forrester for a bit.
13:19Is this about that cold case?
13:22It is.
13:25You heard the lieutenant?
13:28Can I help with anything?
13:30No, I'm good.
13:31I'll keep you posted.
13:34Why don't you guys go find out if this Ari Weissman responds to the name Jean Baptiste?
13:46We just wanted the painting back.
13:48How badly?
13:50Enough to sue, not steal.
13:53Sorry, you think that painting belonged to you?
13:56Not me.
13:56My grandma.
13:58My father bought that painting in 1932.
14:02I remember the day he hanged it up on the wall.
14:07Whenever we all got together, there was the girl smiling down to us.
14:13She felt like part of the family.
14:17Your father had a wonderful taste.
14:19It's a very special piece.
14:21One of my favorites.
14:22We lived in Krakow.
14:24My father, my mother, and my two brothers, Jacob and Samuel.
14:31I was the youngest.
14:35Huh.
14:37The only one in our family that survived.
14:42When the Nazis came, they took everything.
14:54I'm so sorry.
14:57We're still here.
15:01I'm guessing you searched the auction catalogs for years.
15:04I thought you'd never find it.
15:06And then one day there it was up for sale.
15:08The owners, they wanted to sell it to us.
15:12Huh?
15:13For 20 million dollars.
15:16We don't have 20 million dollars.
15:19The court said we couldn't prove it was stolen.
15:23Is that all?
15:29Actually, Ari, we have to ask, where were you last night?
15:33I was here with my grandma.
15:37I saw your name on the museum visitor logs.
15:39You were there a couple days ago?
15:42I wanted to take a photo to show to her.
15:45Have you traveled outside the country the last few years?
15:47No.
15:48No.
15:49But she keeps asking me to take her to Poland.
15:51She wants to visit the house where she grew up.
15:54She's not doing much traveling now.
15:56That painting was the closest she'll come to going home.
16:00Please.
16:03Thank you.
16:14Thanks for the assist, you guys.
16:16Once every item is tagged, photographed, and packaged for forensics...
16:20I'll get TID to get started on data extraction on the phone.
16:23Hopefully we uncover text messages, call logs.
16:25You want fiber analysis on the backpack?
16:27All of it.
16:27I want the works.
16:28This much activity, people are going to start asking questions.
16:31What are we saying if the captain asks what we're doing?
16:33Tell him to talk to me.
16:35And let's run this stack of photos through facial recognition.
16:38Okay?
16:45Okay, let's go over it one last time.
16:47Mom, I got it.
16:48Trust me.
16:48I do trust you.
16:49That's why I'm paying you a premium instead of hiring a babysitter.
16:52You've literally rejected every babysitter in California,
16:54and I wouldn't say you're paying me a premium.
16:56It is a perfectly reasonable wage based on current market conditions.
17:00Listen.
17:02Chloe's routine has changed since she's down a nap, so can you just indulge me?
17:05Nap time from one to three, classical music on low.
17:08For lunch, she gets half a grilled cheese and mushed up zucchini.
17:11After that, she can play with her blocks,
17:13and if she gets frustrated, then distract her with the singing giraffe.
17:16I want to be very clear about something.
17:17She's going to get frustrated, and she will throw those blocks.
17:21I'll be prepared.
17:22Okay.
17:22Perfect.
17:23Oh, wait.
17:24Mom, hold on a sec.
17:25Can this wait?
17:25I gotta go.
17:26I know, but I just wanted to know what the cops are doing with Dad's stuff from his bag.
17:30Did they find anything yet?
17:33These things take time.
17:34I know, but can't you push them to make it go faster?
17:37Can't you be patient, please?
17:39Listen, there's a reason I gave his stuff to them, okay?
17:41They're going to find something, and when they do, I'll let you know.
17:43I promise.
17:44Okay.
17:44All right.
17:45Thank you.
17:47Also, I'm pretty sure that singing giraffe is broken, so best of luck to you.
17:50Bye.
17:50Is it really?
17:51Love you.
17:51Mom!
17:54And what is your job at the museum?
17:57I'm a gallery attendant.
17:58I've been the assistant curator at the Harbaugh for almost 20 years.
18:01I just collect tickets in the paint shed.
18:03I don't know anything about that painting getting stolen.
18:05Did you notice anything out of the ordinary the past few weeks?
18:07Maybe a visitor lingering around?
18:09One sneezed on a Vermeer last week, so I showed him Coravaggio's Judith Beheading Hall of
18:14Fernese as a warning.
18:17Did you get that bruise on your face?
18:19Took a nap on the floor.
18:23Are you sure you haven't seen anything out of the ordinary?
18:25I noticed a guy hanging around the Rembrandt a few days ago.
18:28He looked familiar.
18:30Like, I've seen him a few times, but, I mean, we see a lot of faces.
18:33Do you remember anything specific about him?
18:35I remember thinking he looked like he went for a run.
18:37Oh.
18:42Yeah.
18:43That's him.
18:49Oh, come on.
18:50We have to consider Ari a suspect.
18:52He has means, motive, and his alibi wants the Rembrandt just as much as he does.
18:56Yeah, because the painting belongs to her.
18:57Am I right?
18:58I don't disagree, but...
19:00No, but nothing.
19:01Listen, the Weissmans are the victims here, not the suspects.
19:05Are you picturing Miriam Weissman rappelling through a skylight?
19:08Well, Ari's a gymnast.
19:09I can totally picture him doing it.
19:11Look, all the museum employees that we've talked to so far have alibis.
19:14Morgan, what are you doing?
19:16I am fixing our crime board and correcting the timeline to include the first time that the painting was stolen.
19:22In 1939.
19:24Well, why confine ourselves to solving crimes in the 21st century?
19:26If we find the young girl, we should be returning it to Miriam Weissman, not the Fosters.
19:32I better take this.
19:35Morgan, it's not that simple.
19:36I don't know what to tell you. There's got to be something we can do.
19:38Well, even if we had the jurisdiction to resolve a crime from 80 years ago, it's just not how the
19:42system works.
19:43I really wish there was more we could do.
20:05Who was that?
20:07Excuse me?
20:08Who was that?
20:10You said that thieves love to talk to people and sometimes those people call you.
20:14Was that people calling?
20:16A man called claims he knows where the painting is.
20:20He wants to meet with me to discuss.
20:23Where?
20:26You don't want to tell me because you're worried if the police get involved, they're going to ruin it?
20:29If we spook whoever this guy is, we may never recover the painting.
20:36Fine, then I'm coming with you.
20:38I can't show up with the cops.
20:40I don't see any cops, do you?
20:49Where is this guy?
20:51He's late.
20:53Why exactly is he calling you?
20:55Well, not to sound insufferable, but I'm the only person that does what I do.
20:59Sorry, you were trying to not sound insufferable?
21:02Well, from what I gather, you're the only person that does what you do, too.
21:05It's a little different, but sure.
21:08Well, I think we have some time to spare.
21:12See how this guy got in.
21:14Knock yourself out.
21:15Come on, you're coming with me.
21:18I need your insufferable talents on that roof.
21:27If I could just...
21:29Hello?
21:34Lieutenant, you got a second?
21:36Good news only.
21:38Well, TID's backed up.
21:39Hobson says cracking that Blackberry could take weeks.
21:41Too many phones, not enough text.
21:42Well, remind her of the parking ticket I got her mother out of in front of the Van Nuys courthouse.
21:47She owes me.
21:48You know the difference between good news and bad?
21:50I ran those photos in the backpack through facial recognition.
21:52No criminal record on the ones we could match.
21:55Parking tickets, traffic stops, nothing major.
21:56And the ones we couldn't match?
21:57Only one.
22:04All right.
22:04I'll take you from here.
22:18Did you know there's a German diaper derby competition?
22:21It's held annually in Bavaria.
22:23Contestants are judged on speed, efficiency, and the artistic flourish of the diaper application.
22:29I do well.
22:30Is Chloe napping or not?
22:31Yes.
22:32Which brings me to my next point.
22:34Since I'm helping you babysit and not being babysat, I'll give you 10% of my pay.
22:46Fine.
22:4820%.
22:48Steal.
22:49And I won't tell mom you're going through her clothes.
22:52How generous of you.
22:54I'm sorry.
23:00I'm sorry.
23:03I'm sorry.
23:11What if we promise not to touch anything?
23:14That works for me.
23:20Have you ever stolen anything?
23:22Nothing with a provenance.
23:24You?
23:24Yeah, I stole a classmate's trainers once in primary school.
23:28Does Scotland Yard know about this?
23:30No, you deserved it.
23:32He used to kick this kid, Gideon, in the shins with those shoes at recess.
23:37Did you wear them to school?
23:38No, I donated them to a thrift store right by the bus stop.
23:42That way he could see them every time he looked through the window.
23:44You monster.
23:48This glass is reflective.
23:50What do you mean?
23:50These skylights all have a one-way window film on them.
23:53The thief wouldn't be able to see in.
23:54It was a risky little game.
23:56Breaking glass, not knowing who's down there.
23:59Excuse me!
24:02We were just leaving.
24:03The guard saw you come up here.
24:05Are you Mr. Eastman?
24:07Yeah, why?
24:08One of my docents found this at the front.
24:11They didn't see who left it.
24:29So you go back to the crime scene on your own without a police escort?
24:33Detective Keredick, did you know about this?
24:35Know about what, sir?
24:35The museum director just called me and told me that your partner took Mr. Eastman on a tour of the
24:40crime scene.
24:41Duff right under the tape.
24:43Cut the seal.
24:44Are you trying to sabotage this investigation?
24:47You made it quite clear how you feel about this case.
24:49No, I'm not trying to sabotage anything, okay?
24:51I was trying to help.
24:52He was going anyway.
24:54Would you prefer I just let him go by himself?
24:55Neither of you should have been there in the first place.
24:57Okay, I understand that, and I'm sorry, but if we didn't, we wouldn't have gotten this.
25:01Whoever left this wants to meet at 1 p.m.
25:06That gives us less than two hours.
25:08Are Forrester and Osdell still with the lieutenant?
25:10You thinking our surveillance up?
25:11Yes, and we need to see the museum security cameras.
25:14Maybe we can get eyes on whoever dropped this off.
25:16Don't you think that Reese should take the lead on this, though?
25:18And why would we do that?
25:19Because I'm who they want to speak to.
25:21Great idea.
25:22I'll send Morgan with you, and you can tamper with more evidence.
25:24Hey, I'm sorry, okay?
25:25I'm sorry I went to a building without your permission first.
25:28I see now that that was a bad idea.
25:30Bad idea?
25:32How about reckless and insubordinate?
25:35I just said I'm sorry.
25:37I know that you don't like rules, but when you're in my precinct, I expect you to follow my command.
25:44You practice that in a mirror?
25:47Morgan, calm...
25:48Do not tell me to calm down.
25:52We need to grab someone from the SIS.
25:55The sooner that we get to the Ransom's location, the sooner that we can start surveillance.
25:58Okay, great.
25:59Reese and I will follow you.
26:00No.
26:01Detective Keredick and I can handle it from here.
26:04Our consultants have done enough.
26:06Are you kicking me off the case?
26:09I walked up on a roof!
26:11Oh, great.
26:11The Fosters are on their way up.
26:13They want an update.
26:14Talk to them.
26:15I'll be waiting downstairs.
26:16Just make it quick.
26:16What is going on?
26:19Morgan, what were you thinking?
26:21I get it!
26:26This is why I work alone.
26:32Do you drink alone?
26:34I prefer to have company.
26:36Great.
26:37Good luck!
26:46You believe that guy?
26:48Kicking me off the case so he can go follow a lead that we found?
26:51He knows how I work.
26:52I do my thing, and then cases get solved, right?
26:55What's wrong with that?
26:56Nothing's wrong with that, Reese.
26:57That's the answer to that question.
26:58You have every right to be upset.
27:00Yeah, I know I do, because he called me out like I'm a child.
27:03I have kids.
27:03I don't even talk to them like that.
27:07What?
27:09Boys, girls, mix.
27:11Mix, don't change the subject.
27:13I've got to get this out.
27:13And why are we still driving?
27:15Shouldn't we be eating and drinking by now?
27:17Hey, he's suggesting I'll go faster.
27:19Look at the kind of car you're driving.
27:21We just got passed by a Subaru.
27:22You should be ashamed of yourself.
27:29Where did you get this?
27:30Our consultants came across it.
27:31The good news is your painting doesn't appear to be damaged.
27:33What happens now?
27:35We're supposed to pay the ransom?
27:37That's not what I said, sir.
27:38The LAPD never pays ransom.
27:39We don't suggest that you do either.
27:41I don't believe this.
27:41Okay, so what do you suggest that we do?
27:43Are we just going to sit here and do nothing?
27:45Detective, we have been waiting by the phone,
27:47and we have heard nothing, and now this...
27:49Who sent you this?
27:51Do you have any leads?
27:52Anything?
27:53We're assembling a team to follow that lead
27:55and recover your painting.
27:56And how long does it take to assemble this team of yours?
27:59They're assembling in the war room right now,
28:01and I should be with them instead of here.
28:04Detective, we just want her back.
28:07I understand, sir.
28:08Let us handle the response.
28:09We'll get back to you when we find out more.
28:12Thank you for keeping us informed, Detective.
28:15Of course.
28:20Just a little bit more.
28:21Yes, sir.
28:22Thanks, bro.
28:25What's up?
28:26Hi, this is Ava Sinquera.
28:29Your boss, you want us to...
28:30Hello?
28:34Um...
28:35I just wanted to call you
28:36because there's something I didn't get an answer to
28:38at the diner.
28:39My mom flipped out.
28:41Well, how's your mom feel about you calling me?
28:43Oh, this call never happened.
28:45Actually, I should probably tell her
28:47so she won't grab me again.
28:49Yeah, well, it sounds like a wise move.
28:51Look, Ava, I'm in the middle of working right now, so...
28:53You said that I reminded you of my dad.
29:00What was he like?
29:05Hello?
29:09Look, I won't bother you again.
29:10I promise.
29:11I just...
29:14I'm sorry.
29:15Maybe this wasn't such a good idea.
29:16I'll just leave you alone.
29:17No, no.
29:18Just hold on a second.
29:21If you want to have a serious talk about your dad,
29:23then we have to do it the right way.
29:26I don't know.
29:27Maybe me, you, and your mom, we could...
29:30I don't know, find ourselves back at that diner
29:32at some point.
29:33How does that sound to you?
29:35Sure.
29:36Yeah.
29:37Listen, Ava, until that happens,
29:39you and I, we can't...
29:46Look, Roman didn't know we'd do things the easy way,
29:49but he always did things the right way.
29:52I mean, he had a lot to do with me getting my life together,
29:55and believe me,
29:56he saved my ass more than once.
30:02He's a stand-up guy, through and through.
30:07Well, look, Ava, I gotta get back to work here.
30:10Hey, Arthur.
30:11Yeah.
30:14Thank you.
30:16Of course, sweetheart.
30:34Everything all right, detective?
30:36Something on your mind?
30:40You know, I read somewhere,
30:42carrying around unexpressed frustrations
30:44is like carrying a heavy backpack.
30:46Every unspoken thought
30:48adds another stone to the load,
30:50making your journey much more difficult.
30:53She's confused, sir.
30:55Yeah, so am I.
30:57You're confused?
31:00Sir, is there something you want to tell me?
31:04I can't protect you
31:06if I don't know where you are.
31:09I have to be in a position to help
31:11if things go south.
31:13I need to know everything.
31:16And that's not because I don't trust her,
31:18but because I do.
31:24Still confused?
31:26No.
31:27Good.
31:28Because the same applies to you and everyone else.
31:32You understand?
31:34Yes, sir.
31:37Next time you lose your cool with her,
31:39I'd suggest you find a different approach.
31:41Oh, yeah? Why is that?
31:43Because if you don't,
31:43it's going to put me and you in a position
31:45where things will definitely go south.
32:04All clear.
32:06All clear.
32:13I'm just getting a little impatient.
32:15Don't worry.
32:15The ransomware will turn up soon enough.
32:17With you, detective.
32:19Impatient with me?
32:20Why?
32:21We're sitting here nice and quiet.
32:22Nothing but time for you to read me in.
32:25Read you in on what?
32:29Roman Sinchera.
32:34Oh, come on, Adam.
32:36You don't think I see things?
32:40What do you want to know?
32:46Oh, we don't have time for this.
32:48It'll blow our cover.
32:51Or spook our ransom-up.
32:53We're here for the painting,
32:54not some car thief.
32:56Leave it alone.
32:57He's committing a crime.
33:00I'll handle this.
33:02Detective!
33:03Hey!
33:04Hey, man, that's my car.
33:05What are you doing?
33:07Bro, get out of my car.
33:08Now!
33:10Whoa!
33:10LAPD, put the gun down.
33:12Now!
33:13At your feet.
33:14Let's go.
33:15Put that gun down now.
33:20Drop it.
33:21On the ground.
33:25Good.
33:26Keep your hands where I can see him, son.
33:30That's our guy.
33:31Let's go!
33:43Hey!
33:44Hey!
33:44Woo!
33:46Boo!
33:49Wait, so now you're still in the car.
33:50That's right.
33:51It's your lucky day.
34:09Detective?
34:10You took my car, sir.
34:11Yeah, couldn't wait.
34:12He was getting away.
34:21Well, I'm right behind you.
34:23What, you stole that car?
34:25No, sir.
34:26I commandeered a private vehicle in an emergency because you left me.
34:29I had no choice.
34:31I told you not to mess with that guy.
34:34He was committing a crime.
34:43Get out of the car, detective.
34:45Get out of that car, detective.
34:46You hear me?
34:52Yes, I hear you, sir.
34:58Pull over right now!
35:00Pull to the side of the road.
35:07You need some help?
35:10I got it handled.
35:18That was close.
35:20I'm well aware.
35:23I'm gonna make my move.
35:26What move?
35:26No move!
35:52¡SuscrÃbete al canal!
36:26¡SuscrÃbete al canal!
36:27¡SuscrÃbete al canal!
37:13¡SuscrÃbete al canal!
37:23¡SuscrÃbete al canal!
37:53¡SuscrÃbete al canal!
37:56¡SuscrÃbete al canal!
38:02¡SuscrÃbete al canal!
38:10¡SuscrÃbete al canal!
38:20¡SuscrÃbete al canal!
38:50¡SuscrÃbete al canal!
38:57¡SuscrÃbete al canal!
39:20¡SuscrÃbete al canal!
39:26¡SuscrÃbete al canal!
39:40¡SuscrÃbete al canal!
39:49¡SuscrÃbete al canal!
39:53¡SuscrÃbete al canal!
40:08¡SuscrÃbete al canal!
40:10¿Quién eres?
40:22¿Dónde está?
40:24Quiero ese piso de vuelta.
40:39¿Quién eres?
41:12¿Quién eres?
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