00:02Ah, how wonderful to see you again. We let ourselves in. I'm sure you don't mind. I wanted to see
00:11this new art studio of yours. I knew you had taste, but this is dedication.
00:20Oh, do forgive the formal where we were attending a soiree at the court's center. An exhibition opening. The late
00:33Albert Crisp's collection. Priceless, apparently. But should someone acquire them, I'm sure a price could be conceived in.
00:55That's why I'm here. I have a proposition, you see. An organization I represent is interested in expanding their collection.
01:05They are in need of someone in procurement. Someone hands-on. Someone, I believe, with your particular qualities.
01:17Ah, I am rambling on when I should be making a call. Mr. DeAngelis will fill you in and ensure
01:28that you have everything you need.
01:30He is at your disposal. Hmm?
01:36You know, I do not tolerate tardiness. If Los Santos is too distracting, I will send you elsewhere.
01:43Oh, and do be kind to Yong Nighi. His parents are dear clients of mine, and I promise to find
01:52their son some reputable work.
01:55Ta-ta!
02:00Hey, boss. We'll get to Ray in a sec. First business talk. The organization Faber represents they want the court
02:06center collection, especially their newly acquired bradier, La Denier de Boche.
02:11Uh-huh, that's right. Art heist, baby. Let's go.
02:14You know, in this city, you can't turn a corner without running into some guys robbing a bank, a casino,
02:19a freaking biochemical weapons lab, but this, this is a classier kind of crime.
02:24The court center. Never been hit before. State-of-the-art tech, secure storage, deadly lasers, your specialty, basically.
02:29And the painting's not on display yet, so we need to access the museum's vault.
02:33And this isn't a smash-and-grab. If they know the painting's gone, you get Globopole on the buyer's ass,
02:37and you get cents on the dollar.
02:39But you want the whole dollar, so I know what you're thinking.
02:41How do we steal a painting without them knowing that we stole it? Well, that, my friend, is why we
02:45need Ray.
02:49Yo.
02:50Okay, bad news is he isn't our graduate, so he's really annoying. The good news is crazy talented.
02:55Mine, like, in I-Find image search. You know, I-Find from ten years ago before it was just AI
02:59porn.
02:59They told me what you do. Cool. I'm, like, low-key non-compliant, too. Like, socially.
03:06Yeah, I feel like you're locked in, too, though.
03:08We're shutting the fuck up now. Bro, come on. Your ULSA classmates are driving hotbox deliveries and jerking off in
03:13their parents' pool house.
03:14And your new boss here is gonna make you a millionaire if you do a good job and stop saying
03:17things.
03:18Well, what about my-
03:18Well, what about nothing, okay? Make money, do coke, be normal.
03:21So, yeah, bottom line. We break into the court center, swap the genuine art with Ray's forgery, wipe the CCTV,
03:27talk nicely to any witnesses, and nobody's any the wiser.
03:29Then, I pass the real art to the guys in Europe, and they pass you a fat load of cash,
03:33and that's fat with a pH, baby.
03:35We are talking stacks with curves.
03:37Now, listen. You're gonna wanna head over there and scope the place out.
03:40I know you're used to some fancy prep equipment, so I got you this whiteboard, some fresh markers, and-
03:47Ah, it's Faber.
03:48I gotta go. I'll call you later, all right?
03:50Don't worry about Ray. Just throw a snack at him now and then, and he'll be fine.
03:53Okay, bye. Love ya.
03:55You are gonna kill it!
03:57Bye.
03:58Bye.
04:05Bye.
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