WEBVTT 00:00:03.690 --> 00:00:06.669 Welcome to Students Incorporated. I'm your host, 00:00:06.710 --> 00:00:09.810 Mr. Jason. Join me weekly as my team and I produce 00:00:09.810 --> 00:00:12.650 content that's informative, positive, fun, and 00:00:12.650 --> 00:00:15.310 uplifting. This podcast is created and produced 00:00:15.310 --> 00:00:17.210 with the help of students from the International 00:00:17.210 --> 00:00:20.910 Community School of Bangkok. Hey everyone, and 00:00:20.910 --> 00:00:23.170 welcome back to another exciting episode. Today 00:00:23.170 --> 00:00:25.910 we're diving into a topic that affects everything 00:00:25.910 --> 00:00:29.260 around us, the power of good design. From the 00:00:29.260 --> 00:00:31.640 products we use every day to the brands we love, 00:00:31.760 --> 00:00:34.740 design plays a crucial role in shaping our experiences. 00:00:35.259 --> 00:00:37.880 We'll be joined by our special guest, Mr. Tim 00:00:37.880 --> 00:00:40.500 Mills, to explore what makes design truly great 00:00:40.500 --> 00:00:43.340 and how it impacts everything from functionality 00:00:43.340 --> 00:00:46.600 to emotions. I'm also joined by co -hosts Mia 00:00:46.600 --> 00:00:49.439 and Frank. Then stick around as we jump back 00:00:49.439 --> 00:00:52.119 into the thrilling adventure of Legends of the 00:00:52.119 --> 00:00:54.960 Yucatan Part 5. We're in the middle of the story 00:00:54.960 --> 00:00:57.259 and it's getting intense and exciting for our 00:00:57.259 --> 00:00:59.840 heroes. But first, let's hear our quote of the 00:00:59.840 --> 00:01:02.500 day and get some headline news. Our quote of 00:01:02.500 --> 00:01:05.560 the day comes from Dieter Rams, a legendary German 00:01:05.560 --> 00:01:09.000 designer. He's quoted to have said, a good design 00:01:09.000 --> 00:01:12.260 is as little design as possible. The quote is 00:01:12.260 --> 00:01:15.000 all about keeping things simple, clean, and useful. 00:01:15.359 --> 00:01:18.000 He's basically saying that good design shouldn't 00:01:18.000 --> 00:01:20.739 be clouded with unnecessary things. It should 00:01:20.739 --> 00:01:23.400 be clear, straightforward, and actually makes 00:01:23.400 --> 00:01:26.799 life easier. Rahm's minimalist approach is all 00:01:26.799 --> 00:01:29.319 about cutting out the fluff and focusing on what 00:01:29.319 --> 00:01:31.920 really matters, making designs that are efficient, 00:01:32.120 --> 00:01:35.040 durable, and timeless. It's like saying less 00:01:35.040 --> 00:01:38.260 is more, but in a way that's thoughtful and intentional. 00:01:38.579 --> 00:01:41.480 And that's our quote of the day, now onto some 00:01:41.480 --> 00:01:44.920 headline news with Mia. Thank you for our quote 00:01:44.920 --> 00:01:46.920 of the day, Frank. For today's headline news, 00:01:47.099 --> 00:01:49.260 here are the top stories making waves in the 00:01:49.260 --> 00:01:52.140 design world. Number one, Milan Design Week sees 00:01:52.140 --> 00:01:54.500 fashion brands stealing the spotlight. At this 00:01:54.500 --> 00:01:57.200 year's Milan Design Week, renowned fashion houses 00:01:57.200 --> 00:02:00.560 such as Loewe, Louis Vuitton, and Dior have taken 00:02:00.560 --> 00:02:03.019 center stage, transforming historic locations 00:02:03.019 --> 00:02:05.780 into immersive exhibitions that blend fashion, 00:02:05.980 --> 00:02:08.759 design, and art. This trend highlights the growing 00:02:08.759 --> 00:02:11.139 synergy between the fashion and design industries 00:02:11.139 --> 00:02:14.639 as brands expand into home decor and create theatrical 00:02:14.639 --> 00:02:18.020 experiences for attendees. Number two, Interior 00:02:18.020 --> 00:02:20.979 Design Masters renewed for two more series. The 00:02:20.979 --> 00:02:24.080 popular BBC show Interior Design Masters, hosted 00:02:24.080 --> 00:02:27.000 by Alan Carr since 2021, has been renewed for 00:02:27.000 --> 00:02:29.400 two additional series following its fifth season. 00:02:29.599 --> 00:02:31.740 The upcoming sixth series is set to premiere 00:02:31.740 --> 00:02:35.120 on April 10th on BBC One. Producers are currently 00:02:35.120 --> 00:02:37.599 seeking 10 new aspiring designers to compete 00:02:37.599 --> 00:02:39.979 for the grand prize which this year includes 00:02:39.979 --> 00:02:42.319 a collaboration with john lewis for a new homer 00:02:42.319 --> 00:02:45.340 collection number three vintage design trends 00:02:45.340 --> 00:02:48.439 making a comeback in 2025 interior designers 00:02:48.439 --> 00:02:51.120 predict a resurgence of vintage aesthetics in 00:02:51.120 --> 00:02:54.500 2025 with trends such as gilded mirrors painted 00:02:54.500 --> 00:02:57.039 wood furniture and elaborate trimmings like tassels 00:02:57.039 --> 00:02:59.599 and fringes returning to the forefront additionally 00:02:59.599 --> 00:03:03.219 semis inspired colors bold floral patterns and 00:03:03.219 --> 00:03:05.990 art deco styles are being reimagined for modern 00:03:05.990 --> 00:03:08.409 interiors, blending nostalgia with contemporary 00:03:08.409 --> 00:03:11.009 design elements. And that ends our headline news 00:03:11.009 --> 00:03:24.030 for this episode. Thank you for the quote in 00:03:24.030 --> 00:03:26.289 the headline news. For this first segment, we'll 00:03:26.289 --> 00:03:28.509 be talking about something that affects everything 00:03:28.509 --> 00:03:31.030 from the products we use to the brands we love. 00:03:31.389 --> 00:03:34.780 Good design. Mia and Frank are joining me, and 00:03:34.780 --> 00:03:37.479 we do have a special guest as well. We'll introduce 00:03:37.479 --> 00:03:39.939 him in just a minute. Mia and Frank, how are 00:03:39.939 --> 00:03:42.139 you both doing? Thank you for asking. I'm doing 00:03:42.139 --> 00:03:44.120 really well, and I'm really excited about this 00:03:44.120 --> 00:03:46.500 topic. We know that design is everywhere, and 00:03:46.500 --> 00:03:48.520 I don't think people always realize just how 00:03:48.520 --> 00:03:50.800 much it shapes our lives. Same here. I'm doing 00:03:50.800 --> 00:03:53.240 really good, and I think we take good designs 00:03:53.240 --> 00:03:55.539 for granted until we come across something with 00:03:55.539 --> 00:03:58.169 bad design. And then it's all we can think about. 00:03:58.590 --> 00:04:01.270 Exactly. And to help us unpack the power of good 00:04:01.270 --> 00:04:03.810 design, we have a fantastic guest with us today, 00:04:03.889 --> 00:04:06.330 a friend of mine and a well -known local artist, 00:04:06.590 --> 00:04:09.710 Mr. Tim Mills, who knows a little something about 00:04:09.710 --> 00:04:12.509 good design. So thank you, Mr. Tim, for joining 00:04:12.509 --> 00:04:14.729 us. Thanks so much for having me. It's great 00:04:14.729 --> 00:04:17.870 to be here. I love this topic. I love speaking 00:04:17.870 --> 00:04:21.329 about design. And yeah, looking forward to this 00:04:21.329 --> 00:04:24.089 conversation. Okay, let's start with the big 00:04:24.089 --> 00:04:27.560 picture then. This question is for Mr. Tim. How 00:04:27.560 --> 00:04:30.500 would you describe the role of design in shaping 00:04:30.500 --> 00:04:33.060 how people interact with products and brands? 00:04:33.439 --> 00:04:36.100 Why is it so crucial for a product's success? 00:04:36.540 --> 00:04:41.180 That's a great question. Design, I think it's 00:04:41.180 --> 00:04:43.980 really a bridge, if you will, between people 00:04:43.980 --> 00:04:47.720 and the products that they create, the products 00:04:47.720 --> 00:04:50.620 they use. A well -designed product should be 00:04:50.620 --> 00:04:53.480 intuitive. You understand how to engage it, how 00:04:53.480 --> 00:04:56.089 to use it. functional, right? You understand 00:04:56.089 --> 00:05:01.250 how to use that tool. And then a bonus would 00:05:01.250 --> 00:05:04.889 be that it's aesthetically pleasing. When a product 00:05:04.889 --> 00:05:06.810 is designed well, you know, people don't even, 00:05:06.870 --> 00:05:09.149 they may not even think about how they're using 00:05:09.149 --> 00:05:13.009 it. It just works and they use it. But I think 00:05:13.009 --> 00:05:15.709 it really stands out, right? We see when they're, 00:05:15.709 --> 00:05:17.949 and we experience poor design. That's when you 00:05:17.949 --> 00:05:20.170 really notice it, right? You're frustrated. It's 00:05:20.170 --> 00:05:22.430 confusing. You don't know how to access something. 00:05:23.699 --> 00:05:26.079 And yeah, I mean, it could lead to thinking like 00:05:26.079 --> 00:05:27.720 this just doesn't work. I'm going to look at 00:05:27.720 --> 00:05:29.980 what else is out there, maybe switch to a competitor's 00:05:29.980 --> 00:05:33.300 brand. So good design, you know, it creates an 00:05:33.300 --> 00:05:35.939 emotional connection. There's a relationship 00:05:35.939 --> 00:05:39.560 that's being built with users and those who are 00:05:39.560 --> 00:05:42.639 creating these products. It's incredibly powerful 00:05:42.639 --> 00:05:45.259 for businesses to tap into that, to build a relationship 00:05:45.259 --> 00:05:47.790 with their clients. Yeah, I agree, because I've 00:05:47.790 --> 00:05:51.129 definitely stopped using specific apps or websites 00:05:51.129 --> 00:05:53.790 just because they were too confusing. And it 00:05:53.790 --> 00:05:55.850 makes me wonder, when you're designing everyday 00:05:55.850 --> 00:05:58.449 products, what are the key elements that you 00:05:58.449 --> 00:06:01.970 consider to ensure both functionality and aesthetics 00:06:01.970 --> 00:06:04.509 are balanced? So could you share an example, 00:06:04.610 --> 00:06:07.769 Mr. Tim? Sure, absolutely. You know, yeah, one 00:06:07.769 --> 00:06:10.470 key element is usability, right? I mean, it's 00:06:10.470 --> 00:06:15.480 absolutely essential. How easily can someone 00:06:15.480 --> 00:06:18.139 interact with the product without needing instructions 00:06:18.139 --> 00:06:20.860 even? Does it make sense? You know, perhaps you've 00:06:20.860 --> 00:06:25.160 worked on an app before from a particular company 00:06:25.160 --> 00:06:27.259 and then you switch to another app that they 00:06:27.259 --> 00:06:29.920 also create and you know some of the keystrokes, 00:06:29.920 --> 00:06:31.779 you know some of the hotkeys, you know the functions 00:06:31.779 --> 00:06:35.079 because they had that continuity of design. You 00:06:35.079 --> 00:06:37.879 know, another aspect within design is visual 00:06:37.879 --> 00:06:40.579 appeal, right? So is it something that we're 00:06:40.579 --> 00:06:43.360 drawn to? But it has to serve a purpose, right? 00:06:43.399 --> 00:06:46.699 It has to be in conjunction with that utilitarian 00:06:46.699 --> 00:06:49.420 aspect of it. I think, you know, of course, the 00:06:49.420 --> 00:06:52.939 iPhone is a wonderful example of this. Apple 00:06:52.939 --> 00:06:57.819 has spent many years, a lot of resources, mastering 00:06:57.819 --> 00:07:03.930 the balance between simplicity, beauty. functionality, 00:07:04.089 --> 00:07:07.649 usability, engagement of the user, the user experience, 00:07:07.850 --> 00:07:10.790 if you will. So from the way the phone feels 00:07:10.790 --> 00:07:13.230 in your hand, the way it's even it's beveled, 00:07:13.230 --> 00:07:15.910 right, to the way the interface works, every 00:07:15.910 --> 00:07:18.689 aspect of this device, every aspect of the iPhone 00:07:18.689 --> 00:07:23.529 is designed with intentional user experience 00:07:23.529 --> 00:07:26.939 in mind. Yeah, that makes a lot of sense. And 00:07:26.939 --> 00:07:30.560 so speaking of well -designed products, is there 00:07:30.560 --> 00:07:32.720 a simple product you love that has a brilliant 00:07:32.720 --> 00:07:38.079 design? Well, you may be familiar with the kitchen 00:07:38.079 --> 00:07:44.199 utensil company, OXO. They make a range of implements, 00:07:44.240 --> 00:07:48.279 a range of tools for use in and around the kitchen, 00:07:48.459 --> 00:07:52.279 you know, the culinary arts. There's one particular 00:07:52.279 --> 00:07:54.779 tool that comes to mind, the OXO, what they call 00:07:54.779 --> 00:07:57.680 the Good Grips Peeler. Now, interesting, there's 00:07:57.680 --> 00:08:01.620 a story behind this tool. The founder of OXO, 00:08:01.759 --> 00:08:05.100 his wife actually suffered from arthritis. I 00:08:05.100 --> 00:08:07.579 mean, just really painful arthritis. And so he 00:08:07.579 --> 00:08:11.139 was pushed by that fact of actually seeing her 00:08:11.139 --> 00:08:15.480 try to use a kitchen tool that was painful. I 00:08:15.480 --> 00:08:17.500 mean, you talk about frustration of user experience, 00:08:17.660 --> 00:08:19.540 but it was painful and it was hard for her to 00:08:19.540 --> 00:08:22.269 even... to cook, right? To prepare food. And 00:08:22.269 --> 00:08:25.069 so that pushed him as a designer to think about 00:08:25.069 --> 00:08:28.329 how they could make a better product. So the 00:08:28.329 --> 00:08:31.009 Oxo Good Grips Peeler, I mean, it's a basic tool, 00:08:31.170 --> 00:08:35.350 right? But the design is fantastic. And the story 00:08:35.350 --> 00:08:38.549 behind it really shows how it pushed the designers 00:08:38.549 --> 00:08:40.169 to think, how can this be better? How can this 00:08:40.169 --> 00:08:42.570 be different? The handles are ergonomic. It's 00:08:42.570 --> 00:08:45.009 larger, right? So it's more comfortable to use. 00:08:45.769 --> 00:08:48.450 The blade is actually positioned at this optimum 00:08:48.450 --> 00:08:52.789 angle for efficient peeling of vegetables. You 00:08:52.789 --> 00:08:55.169 know, it just shows, it's proof that even small 00:08:55.169 --> 00:08:58.509 improvements in design can make everyday tasks 00:08:58.509 --> 00:09:01.690 much easier. And so I just love the story behind 00:09:01.690 --> 00:09:05.370 what OXO has done. Hmm, the OXO Peeler. I like 00:09:05.370 --> 00:09:07.990 that. I can appreciate a well -designed kitchen 00:09:07.990 --> 00:09:10.850 tool. Okay, now on the flip side, is there a 00:09:10.850 --> 00:09:13.590 product you think could use some serious design 00:09:13.590 --> 00:09:17.029 improvements? Well, if you've ever, you know, 00:09:17.029 --> 00:09:20.169 if you've ever traveled, you're in a hotel room, 00:09:20.309 --> 00:09:22.970 you pick up the remote and you just you're like, 00:09:23.049 --> 00:09:24.850 oh, my goodness, like, how do I turn this TV 00:09:24.850 --> 00:09:28.309 on? Right. There are so many buttons and you 00:09:28.309 --> 00:09:31.049 don't know where to start. Half the time you're 00:09:31.049 --> 00:09:32.769 you're turning the volume up or you're switching 00:09:32.769 --> 00:09:35.090 channels when you didn't mean to. Right. Or someone 00:09:35.090 --> 00:09:37.750 else's house. We have this. So anyway, the TV 00:09:37.750 --> 00:09:40.470 remote is clunky object, but it doesn't have 00:09:40.470 --> 00:09:43.519 to be right there. There are companies that have 00:09:43.519 --> 00:09:47.519 taken that concept and they've refined it. So 00:09:47.519 --> 00:09:50.840 they've brought it down with user experience 00:09:50.840 --> 00:09:54.220 and interface and usability functionality in 00:09:54.220 --> 00:09:57.019 mind. They've simplified the experience, which 00:09:57.019 --> 00:09:59.559 actually makes it better. So good design in this 00:09:59.559 --> 00:10:02.440 case, pushing towards a better user experience. 00:10:02.820 --> 00:10:06.220 So some examples would be Roku, the Apple TV 00:10:06.220 --> 00:10:09.929 remote. Very basic. Some of the buttons, some 00:10:09.929 --> 00:10:12.929 of the aspects used for multiple parts of accessing. 00:10:13.269 --> 00:10:15.669 But those would be some examples. But that's 00:10:15.669 --> 00:10:18.769 one thing I think that needs some serious help, 00:10:18.850 --> 00:10:22.370 TV remotes. And actually, yeah, it's an inspiring 00:10:22.370 --> 00:10:24.789 way to better design, better remote design, right? 00:10:25.480 --> 00:10:28.299 Yeah, really true. And honestly, it's crazy how 00:10:28.299 --> 00:10:30.840 something as simple as a remote can be frustrating 00:10:30.840 --> 00:10:33.700 when the design isn't intuitive. So switching 00:10:33.700 --> 00:10:36.000 gears a little and my next discussion question 00:10:36.000 --> 00:10:39.080 is, how do you think design impacts a brand's 00:10:39.080 --> 00:10:41.639 identity? And how does it influence consumer 00:10:41.639 --> 00:10:44.960 perception or behavior? Okay, that's a great 00:10:44.960 --> 00:10:49.320 question, Mia. You know, design plays an enormous 00:10:49.320 --> 00:10:52.559 role, I mean, a massive role in branding. Think 00:10:52.559 --> 00:10:56.200 about some companies just that stand out. Nike, 00:10:56.440 --> 00:10:59.299 Starbucks, Apple, right? Like we've already talked 00:10:59.299 --> 00:11:03.100 about Apple computers, their designs and even 00:11:03.100 --> 00:11:05.799 their logo, their brands instantly recognizable, 00:11:05.919 --> 00:11:08.299 right? You see the swoosh on anything and you 00:11:08.299 --> 00:11:10.960 know, it's Nike. You don't even need to see the 00:11:10.960 --> 00:11:13.620 logo type. You see the swoosh and you know, or 00:11:13.620 --> 00:11:15.379 the Apple, right? You see the Apple and you know, 00:11:15.419 --> 00:11:17.700 you know. what that company is about, what it 00:11:17.700 --> 00:11:20.679 stands for. So their design, their brand, their 00:11:20.679 --> 00:11:23.139 story, their identity, instantly recognizable. 00:11:24.179 --> 00:11:26.860 Yeah, so it ranges from their logos to their 00:11:26.860 --> 00:11:29.679 packaging. I mean, you open an Apple product, 00:11:29.759 --> 00:11:32.600 the box is beautiful, right? You hate to throw 00:11:32.600 --> 00:11:35.460 it away, right? You save this box forever because 00:11:35.460 --> 00:11:38.879 there's such a clear... intentionality behind 00:11:38.879 --> 00:11:42.899 the why of how they design that box it's beautiful 00:11:42.899 --> 00:11:46.480 so yeah packaging delivery the way the stores 00:11:46.480 --> 00:11:48.519 are laid out right you walk through an Apple 00:11:48.519 --> 00:11:50.980 Store and there's a story to it it's an unfolding 00:11:50.980 --> 00:11:55.519 story great design so good design it helps like 00:11:55.519 --> 00:11:58.019 create trust creates a relationship creates loyalty 00:11:58.019 --> 00:12:01.409 brand loyalty between these brands and their 00:12:01.409 --> 00:12:03.909 customers. And, you know, what they want to do 00:12:03.909 --> 00:12:06.570 is create this lifelong relationship, right? 00:12:06.669 --> 00:12:09.210 Think about if you're an Apple person, think 00:12:09.210 --> 00:12:11.769 about all the Apple products they have available 00:12:11.769 --> 00:12:14.730 for you, right? They want to keep that story 00:12:14.730 --> 00:12:17.429 going, keep that relationship going. So consumers 00:12:17.429 --> 00:12:21.629 are drawn to brands that show and exhibit great 00:12:21.629 --> 00:12:24.870 design. They build that brand identity. They 00:12:24.870 --> 00:12:28.110 build that relationship. It's intentional. Their 00:12:28.110 --> 00:12:31.009 design choices are all woven in within that. 00:12:31.129 --> 00:12:32.730 So it's, yeah, it's pretty incredible how it 00:12:32.730 --> 00:12:35.370 comes together. Right. Yeah, definitely. Now 00:12:35.370 --> 00:12:38.129 I want to bring up a different topic, the topic 00:12:38.129 --> 00:12:41.529 of sustainability. With sustainability being 00:12:41.529 --> 00:12:44.269 a huge focus now, how do you see it influencing 00:12:44.269 --> 00:12:46.830 the product designs? And like, what are like 00:12:46.830 --> 00:12:50.409 some challenges does it bring? Yeah, that's great, 00:12:50.450 --> 00:12:52.909 Frank. That's a good aspect of this. Certainly 00:12:52.909 --> 00:12:57.360 a big part of it. You know, Sustainability, I 00:12:57.360 --> 00:12:58.840 guess we could even think of it as kind of a 00:12:58.840 --> 00:13:02.379 game changer in the realm of design. A lot of 00:13:02.379 --> 00:13:06.039 companies now are incorporating recycled or even 00:13:06.039 --> 00:13:09.460 upcycled materials, reducing packaging waste. 00:13:09.980 --> 00:13:13.059 They're creating products that last longer instead 00:13:13.059 --> 00:13:15.340 of being disposable. Even some companies offering 00:13:15.340 --> 00:13:19.580 the ability to repair, right? So parts that can 00:13:19.580 --> 00:13:22.960 be used to repair some overall products instead 00:13:22.960 --> 00:13:25.600 of just casting them aside, throwing them out. 00:13:26.059 --> 00:13:28.720 and buying something new. So we're seeing all 00:13:28.720 --> 00:13:30.679 that happen. I think there's a consumer push 00:13:30.679 --> 00:13:34.080 for that too, which is encouraging. But the challenge 00:13:34.080 --> 00:13:36.600 will always be, at least right now it is for 00:13:36.600 --> 00:13:39.700 sure, and may remain, that you have to balance 00:13:39.700 --> 00:13:44.860 sustainability with cost, usability. Sometimes 00:13:44.860 --> 00:13:47.720 the most eco -friendly materials aren't the most 00:13:47.720 --> 00:13:52.059 practical or affordable. So those are some considerations 00:13:52.059 --> 00:13:54.620 that designers have to make. And then, but... 00:13:55.000 --> 00:13:59.139 that also leads to just creative options, right? 00:13:59.220 --> 00:14:02.360 Looking for other materials that are more eco 00:14:02.360 --> 00:14:05.360 -friendly and available, right? So I think those 00:14:05.360 --> 00:14:08.039 problems within design, those problems can always 00:14:08.039 --> 00:14:10.620 lead to creative solutions. And that's when we 00:14:10.620 --> 00:14:13.700 find new and exciting ways forward. Yeah, I like 00:14:13.700 --> 00:14:16.240 this topic of sustainability and it reminded 00:14:16.240 --> 00:14:18.080 me of something I actually had to do this week. 00:14:18.539 --> 00:14:21.480 So I had to replace the ink in my inkjet printer. 00:14:21.820 --> 00:14:26.320 And years ago, we had to always buy new complete 00:14:26.320 --> 00:14:29.059 cartridges, right? Yes. And we change those out 00:14:29.059 --> 00:14:31.340 and we throw them away. There wasn't even a recycling 00:14:31.340 --> 00:14:35.860 type situation. So they came out with a new solution. 00:14:35.940 --> 00:14:39.460 Why not put refillable ink wells inside the printers 00:14:39.460 --> 00:14:43.500 themselves? So now you can buy ink bottles and 00:14:43.500 --> 00:14:46.759 refill it yourself. Which saves us a lot of money, 00:14:46.799 --> 00:14:49.360 consumers a lot of money, but also, even more 00:14:49.360 --> 00:14:51.259 importantly, saves the environment from throwing 00:14:51.259 --> 00:14:54.259 all this stuff out all the time. So just something 00:14:54.259 --> 00:14:56.639 simple like the inkjet printer, I feel like, 00:14:56.639 --> 00:15:00.379 is a great example of sustainable design. Okay, 00:15:00.519 --> 00:15:03.600 can you walk us through a design or creative 00:15:03.600 --> 00:15:06.460 project you're particularly proud of? And what 00:15:06.460 --> 00:15:10.200 was that process? What did it look like? Yeah, 00:15:10.200 --> 00:15:14.080 sure. Yeah, so okay, I'll take us back a number 00:15:14.080 --> 00:15:16.480 of years, number of decades, actually. So I'm 00:15:16.480 --> 00:15:19.679 a ceramic artist, visual artist, but primarily 00:15:19.679 --> 00:15:23.960 working in clay. So a lot of my past design experience 00:15:23.960 --> 00:15:27.299 has been in the realm of craft. So I'll take 00:15:27.299 --> 00:15:29.700 us all the way back to my senior year in college. 00:15:29.740 --> 00:15:33.100 And my senior thesis actually combined two areas 00:15:33.100 --> 00:15:37.440 that I'm passionate about, clay and percussion. 00:15:38.269 --> 00:15:41.389 So I actually spent my senior year designing 00:15:41.389 --> 00:15:44.629 and creating ceramic percussion instruments. 00:15:45.470 --> 00:15:48.669 I had to learn how to weld. So I had my professor 00:15:48.669 --> 00:15:51.029 teach me how to weld. I needed to weld tuning 00:15:51.029 --> 00:15:54.269 rings. I acquired a new skill in this process. 00:15:54.409 --> 00:15:56.990 Also learned how to do what's called a molly 00:15:56.990 --> 00:16:01.669 weave, so a tuning system for drums. Learned 00:16:01.669 --> 00:16:08.909 how to do that. Learned how to source. goat skin 00:16:08.909 --> 00:16:11.549 used for heads, for drum heads. They learned 00:16:11.549 --> 00:16:15.070 how to soak and stretch and apply drum heads 00:16:15.070 --> 00:16:18.570 to ceramic shells. There's a lot to consider, 00:16:18.669 --> 00:16:21.409 a lot to learn and implement in the design of 00:16:21.409 --> 00:16:25.090 these drums and in the exhibition itself. So 00:16:25.090 --> 00:16:26.990 thinking about kind of how the process rolled 00:16:26.990 --> 00:16:30.750 out and even kind of what it led to. So the intention 00:16:30.750 --> 00:16:35.580 behind the design of these objects And really, 00:16:35.740 --> 00:16:37.919 I mean, they were pieces of sculpture in a sense. 00:16:38.019 --> 00:16:41.500 So they were at the same time works of art and 00:16:41.500 --> 00:16:43.659 instruments to be played. I mean, there was a 00:16:43.659 --> 00:16:46.000 utilitarian aspect to them. There was an aesthetic 00:16:46.000 --> 00:16:49.340 value on the piece itself, right? The individual 00:16:49.340 --> 00:16:52.159 drums themselves, but then also a functionality, 00:16:52.340 --> 00:16:55.279 right? This is an instrument to be played, to 00:16:55.279 --> 00:16:58.840 make music with. So I guess the culmination of 00:16:58.840 --> 00:17:01.399 that year and that effort really came together 00:17:01.399 --> 00:17:05.569 on the opening night of the exhibition. The gallery 00:17:05.569 --> 00:17:09.690 space on campus was scheduled up full with other 00:17:09.690 --> 00:17:11.769 shows. And so I actually had to do my show in 00:17:11.769 --> 00:17:15.549 the city where I was studying and at a local 00:17:15.549 --> 00:17:17.549 bank of all places. And so they had this really 00:17:17.549 --> 00:17:20.769 nice, large, open atrium within the bank. And 00:17:20.769 --> 00:17:23.269 so my drums were on pedestals kind of throughout 00:17:23.269 --> 00:17:26.829 the bank and all my friends and people coming 00:17:26.829 --> 00:17:30.279 from the community. and showed up on opening 00:17:30.279 --> 00:17:32.759 night. And after a few words of introduction 00:17:32.759 --> 00:17:35.920 about the show and the concept behind the work, 00:17:35.980 --> 00:17:40.059 I encouraged everyone to grab a drum and try 00:17:40.059 --> 00:17:42.720 it out. And so it was really encouraging to me 00:17:42.720 --> 00:17:46.079 as an artist and as a musician. And also people, 00:17:46.160 --> 00:17:48.940 it loves to gather people to see that all across 00:17:48.940 --> 00:17:52.880 this bank in this city, little drum circles were 00:17:52.880 --> 00:17:54.779 breaking out. People were making music together, 00:17:54.880 --> 00:17:57.859 creating art together, a communal art project. 00:17:57.920 --> 00:18:01.359 So, yeah, I just think I love kind of seeing 00:18:01.359 --> 00:18:04.119 what came together. Through that year for me, 00:18:04.140 --> 00:18:06.380 the different things I learned, different aspects 00:18:06.380 --> 00:18:09.019 of design that went into the instruments themselves, 00:18:09.279 --> 00:18:12.259 the pieces themselves, but then also seeing what 00:18:12.259 --> 00:18:15.539 it led to. It was sort of this generative effort 00:18:15.539 --> 00:18:18.319 within the community to allow people to come 00:18:18.319 --> 00:18:21.420 together and to create music, to create art together. 00:18:21.700 --> 00:18:26.000 So it was fantastic. Good memory for me. And 00:18:26.000 --> 00:18:28.619 yes, thank you for sharing. So finally, looking 00:18:28.619 --> 00:18:31.680 towards the future, how do you see design evolving, 00:18:32.019 --> 00:18:35.420 especially with digital tools and AI, especially 00:18:35.420 --> 00:18:38.380 becoming more prevalent? Yeah, that's a great 00:18:38.380 --> 00:18:42.380 thing to think about. Just kind of looking at 00:18:42.380 --> 00:18:45.980 what is now and what's next and as we move. into 00:18:45.980 --> 00:18:48.079 the future i mean i'm encouraged i'm excited 00:18:48.079 --> 00:18:51.000 about possibilities you know i mean design is 00:18:51.000 --> 00:18:53.640 evolving rapidly right i mean ai is evolving 00:18:53.640 --> 00:18:56.779 rapidly we're still learning and just on the 00:18:56.779 --> 00:19:00.839 cusp of possibilities in fact i'll just say as 00:19:00.839 --> 00:19:03.140 a ceramic artist there are artists that are using 00:19:03.140 --> 00:19:07.680 3d printers to create works of art with clay 00:19:07.680 --> 00:19:10.859 you know as the medium so pretty fantastic so 00:19:10.859 --> 00:19:15.640 yeah Design's evolving at a rapid pace. AI, digital 00:19:15.640 --> 00:19:19.420 tools, all of that. So, you know, AI is a tool. 00:19:19.480 --> 00:19:22.559 I mean, it's helping designers test ideas, right? 00:19:22.640 --> 00:19:27.920 Be able to put something into a physical embodiment 00:19:27.920 --> 00:19:30.420 of an idea, to be able to test it and personalize 00:19:30.420 --> 00:19:33.680 user experiences, to really see, you know, talking 00:19:33.680 --> 00:19:35.759 about form and function, like to bring ideas 00:19:35.759 --> 00:19:40.170 into reality. You know, websites, apps, now we 00:19:40.170 --> 00:19:43.049 can, you know, adapt. We're seeing where, you 00:19:43.049 --> 00:19:45.970 know, within the user interface, apps can actually 00:19:45.970 --> 00:19:49.529 adjust their layouts based on devices, based 00:19:49.529 --> 00:19:52.829 on user behavior even, which is really fascinating, 00:19:52.970 --> 00:19:55.490 right? We think about sort of these apps and 00:19:55.490 --> 00:19:59.589 other tools being tailor -made for us and our 00:19:59.589 --> 00:20:02.950 user experience. 3D printing is, you know, to 00:20:02.950 --> 00:20:04.930 go back to that, as I mentioned just a second 00:20:04.930 --> 00:20:08.569 ago. It's making great strides, right? All these 00:20:08.569 --> 00:20:11.710 different materials that can be used to print. 00:20:11.829 --> 00:20:15.569 You've probably seen not just small 3D printed 00:20:15.569 --> 00:20:19.150 models, but also even in the architectural realm. 00:20:19.289 --> 00:20:21.930 I mean, concrete is being used, being printed 00:20:21.930 --> 00:20:24.769 in 3D printing. I like to think of the log cabin 00:20:24.769 --> 00:20:27.849 as kind of like the early 3D printer, laying 00:20:27.849 --> 00:20:30.369 logs on top of each other layer by layer. But 00:20:30.369 --> 00:20:33.509 now we're seeing concrete. And so, yeah, just 00:20:33.509 --> 00:20:35.250 fascinating things happening, right? It's an 00:20:35.250 --> 00:20:37.589 exciting time to be a designer, exciting time 00:20:37.589 --> 00:20:39.670 to be an artist, harnessing different tools, 00:20:39.829 --> 00:20:42.470 being inspired to create new things. So, yeah, 00:20:42.529 --> 00:20:44.829 the future of design, it's going to continue 00:20:44.829 --> 00:20:48.490 to be about personalization, adaptability, smarter 00:20:48.490 --> 00:20:50.549 user experiences. But I think we'll always, always 00:20:50.549 --> 00:20:54.950 be connected to us humans. And so it's going 00:20:54.950 --> 00:20:58.049 to be neat to see what happens in the next 10, 00:20:58.150 --> 00:21:02.180 20, 30 years. Talking about 3D. printing we did 00:21:02.180 --> 00:21:04.759 a new segment I think a few episodes ago about 00:21:04.759 --> 00:21:08.779 the SpaceX suits and how they were specifically 00:21:08.779 --> 00:21:12.140 redesigned from the old NASA clunky I forget 00:21:12.140 --> 00:21:15.019 how many pounds the old ones were but the helmets 00:21:15.019 --> 00:21:17.500 of the new SpaceX suits were actually 3D printed 00:21:17.500 --> 00:21:19.400 which was super fascinating that is fascinating 00:21:20.139 --> 00:21:22.099 Well, this has been a great conversation and 00:21:22.099 --> 00:21:24.019 I hope our listeners have learned a thing or 00:21:24.019 --> 00:21:26.579 two about the power of good design and about 00:21:26.579 --> 00:21:29.079 how much it influences our daily lives. From 00:21:29.079 --> 00:21:31.720 the phones we use, the chairs we sit on, and 00:21:31.720 --> 00:21:35.160 the kitchen utensils we put to use. Yeah, I agree. 00:21:35.259 --> 00:21:37.519 It really makes me appreciate all the little 00:21:37.519 --> 00:21:39.819 things that we use every day or like the things 00:21:39.819 --> 00:21:42.720 that make a product or brand work so well. And 00:21:42.720 --> 00:21:45.259 also the things that don't work so well. Overly 00:21:45.259 --> 00:21:49.579 complicated. Exactly. Mr. Tim, thank you so much 00:21:49.579 --> 00:21:52.299 for joining us today. Before we go, any final 00:21:52.299 --> 00:21:55.000 advice for students or aspiring designers out 00:21:55.000 --> 00:21:57.279 there? Yeah, I think for students, whatever the 00:21:57.279 --> 00:21:59.539 creative endeavor is, or for aspiring designers, 00:21:59.779 --> 00:22:03.339 designers out there, I think look for story. 00:22:03.640 --> 00:22:07.359 You know, we are human. We have a lived experience. 00:22:07.420 --> 00:22:09.799 And there is story out there, as I mentioned, 00:22:10.019 --> 00:22:13.990 the founder of OXO. Kind of seeing his wife struggle 00:22:13.990 --> 00:22:16.849 with, yeah, just something as simple as peeling 00:22:16.849 --> 00:22:19.769 vegetables, right? And it led him to think of 00:22:19.769 --> 00:22:23.230 how something could be better. So as you're designing, 00:22:23.470 --> 00:22:26.369 think about that. What is the story? What's the 00:22:26.369 --> 00:22:30.450 why behind this? And push yourself through that 00:22:30.450 --> 00:22:34.869 story. When you observe something that is poorly 00:22:34.869 --> 00:22:36.809 designed or you're frustrated or you're confused 00:22:36.809 --> 00:22:38.589 about something, ask yourself, how could this 00:22:38.589 --> 00:22:40.589 be better? And actually, maybe you're the one 00:22:40.589 --> 00:22:42.789 to set out to make it better, to change something. 00:22:42.910 --> 00:22:46.289 Going back to Apple's remote and just as a partying 00:22:46.289 --> 00:22:49.690 shot, you know, it's a wonderful little remote, 00:22:49.809 --> 00:22:52.269 but it's kind of tough when you have to enter 00:22:52.269 --> 00:22:54.589 your password and you're zooming around on the 00:22:54.589 --> 00:22:56.509 alphabet and kind of going back and forth. Could 00:22:56.509 --> 00:22:58.309 there be a different layout? Could there be something 00:22:58.309 --> 00:23:03.609 different? Anyway. keep your eyes open um find 00:23:03.609 --> 00:23:06.710 those points of awe and wonder look for the story 00:23:06.710 --> 00:23:09.710 and then maybe you're to help write some of the 00:23:09.710 --> 00:23:11.609 story too so just anyway a few parting thoughts 00:23:11.609 --> 00:23:14.750 for you i really like that thank you so much 00:23:14.750 --> 00:23:17.509 yes design with purpose and this could go out 00:23:17.509 --> 00:23:21.089 to all of the upcoming seniors at ics the idea 00:23:21.089 --> 00:23:23.930 of maybe using design in their capstone projects 00:23:23.930 --> 00:23:26.690 right And that ends our first segment. Stick 00:23:26.690 --> 00:23:29.150 around as we bring you our continuing adventure 00:23:29.150 --> 00:23:31.750 story titled Legends of the Yucatan right after 00:23:31.750 --> 00:23:40.390 this short PSA. Now for our PSA, we will be introducing 00:23:40.390 --> 00:23:43.450 and gearing you up for Songkran break. Songkran 00:23:43.450 --> 00:23:45.970 season is just around the corner. As you listen 00:23:45.970 --> 00:23:48.289 to this episode, don't forget to make plans to 00:23:48.289 --> 00:23:50.529 celebrate Songkran with your friends and family. 00:23:50.829 --> 00:23:53.609 Songkran is the Thai New Year's national holiday 00:23:53.609 --> 00:23:56.130 and one of Thailand's most famous festivals, 00:23:56.289 --> 00:23:58.549 which marks the beginning of the new traditional 00:23:58.549 --> 00:24:01.369 year. Water fights and the splashing of water 00:24:01.369 --> 00:24:04.430 is undeniably the most famous aspect of Songkran. 00:24:07.470 --> 00:24:11.009 Nam Dam Hua tradition. Rotnam Dam Hua is a tradition 00:24:11.009 --> 00:24:13.990 of pouring scented water on elderly family members' 00:24:14.250 --> 00:24:16.849 palms to receive blessings and pay respect to 00:24:16.849 --> 00:24:19.430 welcome the new year. So don't forget to go out 00:24:19.430 --> 00:24:34.220 and enjoy Songkran. And we are back with our 00:24:34.220 --> 00:24:36.380 second segment, and we will continue with part 00:24:36.380 --> 00:24:39.019 five of our story, Legends of the Yucatan. Part 00:24:39.019 --> 00:24:42.180 five is titled The Cenote. If you missed parts 00:24:42.180 --> 00:24:44.299 one through four, you can get caught up by listening 00:24:44.299 --> 00:24:47.859 to episodes 87 through 90. Legends of the Yucatan 00:24:47.859 --> 00:24:50.920 is a sequel to our season two story, The Secrets 00:24:50.920 --> 00:24:53.460 of El Dorado. We released last year during episodes 00:24:53.460 --> 00:24:57.599 55 through 64 in audio narration. It's also available 00:24:57.599 --> 00:25:00.779 in book form as a downloadable PDF from our website. 00:25:01.339 --> 00:25:04.519 or in paperback version on Amazon .com. Just 00:25:04.519 --> 00:25:07.059 visit studentsincorporated .com to find out more. 00:25:07.299 --> 00:25:10.079 Now, moving on, Camden will give us a quick recap 00:25:10.079 --> 00:25:18.160 before we jump into Part 5. Recapping Part 4, 00:25:18.240 --> 00:25:21.119 The Incident. The artifacts were stolen and the 00:25:21.119 --> 00:25:23.920 villains escaped. Some of our heroes visit Anthony, 00:25:24.079 --> 00:25:26.279 who's in the hospital with a concussion. The 00:25:26.279 --> 00:25:28.140 group's schedule has changed and they decide 00:25:28.140 --> 00:25:31.490 to take a trip to Chichen Itza instead. And without 00:25:31.490 --> 00:25:34.029 further ado, let's jump back into our story where 00:25:34.029 --> 00:25:36.089 we join our eclectic group of characters and 00:25:36.089 --> 00:25:43.769 their continuing adventure. After the group gets 00:25:43.769 --> 00:25:46.650 checked in at one of the local hotels, drops 00:25:46.650 --> 00:25:49.329 their overnight bags off and gets oriented to 00:25:49.329 --> 00:25:51.690 the schedule, they all meet in the lobby where 00:25:51.690 --> 00:25:53.650 Hawthorne gives the students a quick history 00:25:53.650 --> 00:25:56.670 lesson about where they are, Merida, Mexico. 00:25:57.339 --> 00:25:59.359 Hawthorne explains to his students as they wait 00:25:59.359 --> 00:26:02.079 for Tommy, who can sometimes be late. He says, 00:26:02.299 --> 00:26:04.859 the city of Merida is the provincial capital 00:26:04.859 --> 00:26:07.819 of the Yucatan Peninsula and its population is 00:26:07.819 --> 00:26:10.519 close to one million. It sits about a half hour 00:26:10.519 --> 00:26:13.160 drive inland from the coast. It's the financial 00:26:13.160 --> 00:26:15.619 and cultural center of the Yucatan and is known 00:26:15.619 --> 00:26:19.160 as one of the safest cities in Mexico. In fact, 00:26:19.160 --> 00:26:21.099 it's been ranked as one of the three best cities 00:26:21.099 --> 00:26:24.319 in Mexico on three different occasions. Hawthorne 00:26:24.319 --> 00:26:27.059 looks down at his watch and then continues. The 00:26:27.059 --> 00:26:29.200 city has a deep and rich history dating back 00:26:29.200 --> 00:26:31.859 to its founding by the Spanish conquistadors 00:26:31.859 --> 00:26:35.400 in the 1500s. The local Mayan population has 00:26:35.400 --> 00:26:37.960 remained resilient and strong despite the colonial 00:26:37.960 --> 00:26:40.799 influence and integration from Spain hundreds 00:26:40.799 --> 00:26:43.720 of years ago. Hawthorne then finishes with his 00:26:43.720 --> 00:26:46.440 last statement as he watches Tommy come down 00:26:46.440 --> 00:26:48.839 the narrow hotel staircase and make his way to 00:26:48.839 --> 00:26:51.500 the lobby. Needless to say, this city, its history, 00:26:51.599 --> 00:26:53.859 its location, and its close proximity to the 00:26:53.859 --> 00:26:56.579 heart of the Mayan culture and people is a deeply 00:26:56.579 --> 00:26:59.539 significant place. Prof. Tommies walks up to 00:26:59.539 --> 00:27:01.519 the group, who are now all standing there and 00:27:01.519 --> 00:27:04.460 look at him. He then says with a smile, Good 00:27:04.460 --> 00:27:06.839 morning, everyone. What I missed? Miranda, who 00:27:06.839 --> 00:27:09.119 was standing next to Professor Hawthorne, is 00:27:09.119 --> 00:27:11.440 the first to respond with a funny comment. Well, 00:27:11.500 --> 00:27:13.000 we thought about leaving, but then we thought, 00:27:13.119 --> 00:27:15.119 how would we find the best mid -morning brunch 00:27:15.119 --> 00:27:17.559 spot in all of Merida if you aren't with us? 00:27:17.980 --> 00:27:20.519 David laughs slightly and then adds, Well, I 00:27:20.519 --> 00:27:22.920 know a good spot, but Professor Tommy will need 00:27:22.920 --> 00:27:25.559 to be the final word since he usually knows all 00:27:25.559 --> 00:27:28.359 the best food spots in these towns. Tommy clicks 00:27:28.359 --> 00:27:31.200 his throat and then says, Alright everyone, sorry 00:27:31.200 --> 00:27:33.920 I'm late. I've got a bad habit of being on Mexico's 00:27:33.920 --> 00:27:36.420 time when I'm off campus. He then continues as 00:27:36.420 --> 00:27:38.619 you look at Hawthorne with a slight grin and 00:27:38.619 --> 00:27:41.559 says, Now that good professor here has given 00:27:41.559 --> 00:27:44.190 you all a free history lesson. I think it's time 00:27:44.190 --> 00:27:46.410 to show you the best place to get one of my favorite 00:27:46.410 --> 00:27:49.329 locals, Huevo Ranqueros. Or for those of you 00:27:49.329 --> 00:27:52.630 who want a lighter option, avocado toast or a 00:27:52.630 --> 00:27:55.069 small pastry with coffee. All right, let's go. 00:27:55.369 --> 00:27:57.769 And with that, the group loads up on the small 00:27:57.769 --> 00:28:06.289 touring bus. After enjoying a mid -morning brunch 00:28:06.289 --> 00:28:08.609 together at one of Prof Tommy's favorite cafes 00:28:08.609 --> 00:28:11.619 in Merida, The group are on a tour bus and heading 00:28:11.619 --> 00:28:13.779 toward the famous and ancient ruins of Chichen 00:28:13.779 --> 00:28:16.700 Itza. The bus ride from Merida to the sprawling 00:28:16.700 --> 00:28:19.240 site is about an hour and a half long. During 00:28:19.240 --> 00:28:21.640 the ride, the students surround Miranda and David 00:28:21.640 --> 00:28:24.119 and pepper them with a variety of questions about 00:28:24.119 --> 00:28:26.319 their personal journeys into their careers and 00:28:26.319 --> 00:28:28.839 everything in between. Professor Hawthorne and 00:28:28.839 --> 00:28:31.180 Prof. Tommy sat up close to the driver and were 00:28:31.180 --> 00:28:33.839 discussing the day's agenda. Ava and Lily were 00:28:33.839 --> 00:28:36.279 sitting together talking about life and the variety 00:28:36.279 --> 00:28:38.859 of things from the past year. As the bus arrives 00:28:38.859 --> 00:28:41.660 at Chichen Itza, as you would guess, the area 00:28:41.660 --> 00:28:44.660 is very populated with tourists. And, one of 00:28:44.660 --> 00:28:46.799 the first things to do as a tourist is to visit 00:28:46.799 --> 00:28:49.380 the Grand Museum of Chichen Itza. Then, after 00:28:49.380 --> 00:28:51.559 gaining knowledge about this ancient Mayan location, 00:28:51.900 --> 00:28:54.660 it is advised to go see some of the old structures 00:28:54.660 --> 00:28:57.660 such as the Great Step Pyramid, known as El Castillo, 00:28:57.819 --> 00:29:01.960 or the Temple of Kukulkan. There is also the 00:29:01.960 --> 00:29:04.299 Balcourt, Temple of the Warriors, and the Wall 00:29:04.299 --> 00:29:07.640 of Skulls, all popular among tourists. The tour 00:29:07.640 --> 00:29:10.359 bus parks and the group gets started with a visit 00:29:10.359 --> 00:29:17.960 to the Grand Museum together. After spending 00:29:17.960 --> 00:29:20.519 what seemed like an hour in the museum, Hawthorne 00:29:20.519 --> 00:29:22.619 and Prof Tommy rounded up the group and made 00:29:22.619 --> 00:29:25.220 their way toward the exit. As they were exiting 00:29:25.220 --> 00:29:27.660 the building, Hawthorne mumbled to Tommy, who 00:29:27.660 --> 00:29:29.960 was walking next to him, Well, I'm glad this 00:29:29.960 --> 00:29:32.660 museum visit was uneventful, unlike our last 00:29:32.660 --> 00:29:35.220 museum experience a few nights ago. Tommy looked 00:29:35.220 --> 00:29:38.000 at Hawthorne out of the corner of his eye and 00:29:38.000 --> 00:29:40.519 nodded his head in agreement and then said, Thanks 00:29:40.519 --> 00:29:43.200 for the reminder. I'm going to check on Anthony 00:29:43.200 --> 00:29:45.759 and see how he's doing. Hawthorne replied, good 00:29:45.759 --> 00:29:48.579 idea. The group gets back on the bus, which then 00:29:48.579 --> 00:29:50.980 takes them to another large parking area situated 00:29:50.980 --> 00:29:54.220 closer to El Castillo, the large and famous step 00:29:54.220 --> 00:29:57.119 pyramid. As the group gets off the bus and makes 00:29:57.119 --> 00:29:59.240 their way to the large open area surrounding 00:29:59.240 --> 00:30:02.299 the step pyramid, Hawthorne, wanting to take 00:30:02.299 --> 00:30:05.099 advantage of a teachable moment, motions for 00:30:05.099 --> 00:30:07.339 the group to gather around him and Prof. Tommy 00:30:07.339 --> 00:30:09.599 before letting the students wander around and 00:30:09.599 --> 00:30:12.740 explore. Hawthorne begins with describing the 00:30:12.740 --> 00:30:16.319 temple itself. The step pyramid is known by the 00:30:16.319 --> 00:30:20.759 name El Castillo or the Temple of Kukukan. Kuku 00:30:20.759 --> 00:30:23.859 Khan was a Mayan deity and was represented by 00:30:23.859 --> 00:30:26.700 a feathered serpent. Hawthorne continues, the 00:30:26.700 --> 00:30:29.339 temple's height and presence dominates the flat 00:30:29.339 --> 00:30:31.839 landscape around here and was one of the main 00:30:31.839 --> 00:30:35.240 structures in all of Chichen Itza. Prof. Tommy 00:30:35.240 --> 00:30:37.420 and I did some work here way back in the day, 00:30:37.420 --> 00:30:39.799 so it's fun to be back. Tommy jumps in with a 00:30:39.799 --> 00:30:42.599 few more details. The temple has four sides and 00:30:42.599 --> 00:30:45.980 each side has 91 steps. It used to be open to 00:30:45.980 --> 00:30:48.160 the public until a tourist was hurt climbing 00:30:48.160 --> 00:30:50.619 the thing. It's close to the public ever since. 00:30:50.819 --> 00:30:54.819 And since has been, I think, 2006. We're not 00:30:54.819 --> 00:30:57.819 allowed to climb the thing or go inside. That's 00:30:57.819 --> 00:31:00.279 unfortunate, but there are a lot of cool small 00:31:00.279 --> 00:31:04.380 rooms inside. He continues, Anyway, you can walk 00:31:04.380 --> 00:31:06.599 around the temple if you feel like it, and then 00:31:06.599 --> 00:31:09.180 go explore any of the other structures you see 00:31:09.180 --> 00:31:12.960 here. Just be mindful and obey the signs. Even 00:31:12.960 --> 00:31:15.000 though UNAM has a partnership with the local 00:31:15.000 --> 00:31:17.799 government officials, we're not allowed to take... 00:31:17.980 --> 00:31:20.079 students beyond the designated tourist areas 00:31:20.079 --> 00:31:23.720 without a pre -approved permit, which we didn't 00:31:23.720 --> 00:31:30.920 have time to get before we left. After about 00:31:30.920 --> 00:31:32.859 30 minutes or so of walking around different 00:31:32.859 --> 00:31:35.220 sections of the site, Miranda, who had been here 00:31:35.220 --> 00:31:37.740 before on numerous occasions, went and sat down 00:31:37.740 --> 00:31:40.279 next to Ava, who was relaxing under a shade tree. 00:31:40.559 --> 00:31:43.500 Miranda asks Ava, so our interview from the other 00:31:43.500 --> 00:31:45.960 day, when will that be published? Ava smiles 00:31:45.960 --> 00:31:48.619 and responds, well, the interview will be part 00:31:48.619 --> 00:31:50.660 of a larger set of stories, which one of the 00:31:50.660 --> 00:31:53.240 editors at Reuters will need to approve. But 00:31:53.240 --> 00:31:55.960 if I had to guess, I would say it'll be ready 00:31:55.960 --> 00:31:58.799 for release within a week, she continues. I'm 00:31:58.799 --> 00:32:00.819 still working on some other parts of it, though, 00:32:00.920 --> 00:32:03.779 so now they're waiting on me. Miranda then says, 00:32:03.940 --> 00:32:06.579 oh, I see. I've always admired journalists for 00:32:06.579 --> 00:32:08.640 their ability to tell a story and sometimes in 00:32:08.640 --> 00:32:10.980 real life as it's happening. Miranda then noticed 00:32:10.980 --> 00:32:13.500 Ava looking at her digital camera screen and 00:32:13.500 --> 00:32:16.319 asked, do you take that everywhere you go? Yeah, 00:32:16.400 --> 00:32:18.900 pretty much, Ava responds. Miranda then asks, 00:32:19.059 --> 00:32:20.920 did you have it at the museum the other night? 00:32:21.079 --> 00:32:24.759 As a matter of fact, I did, Ava answers. Ava 00:32:24.759 --> 00:32:26.619 could tell Miranda wanted to ask her another 00:32:26.619 --> 00:32:29.859 question and felt a little hesitant. So Ava jumped 00:32:29.859 --> 00:32:32.500 in and responded. And if you are wondering, I 00:32:32.500 --> 00:32:34.519 had my camera going during the incident at the 00:32:34.519 --> 00:32:37.140 museum. And the morning before we went to visit 00:32:37.140 --> 00:32:39.599 Mr. Garcia at the hospital, two investigators 00:32:39.599 --> 00:32:42.539 came up to you now and met with me about the 00:32:42.539 --> 00:32:45.319 photos I took. I turned over several images that 00:32:45.319 --> 00:32:48.519 hopefully will help them find the thieves. Ava 00:32:48.519 --> 00:32:51.359 pauses for a moment, then continues. I'm not 00:32:51.359 --> 00:32:53.460 sure why I'm telling you all this, but if I were 00:32:53.460 --> 00:32:55.650 in your shoes... I would want to know if the 00:32:55.650 --> 00:32:57.269 police and authorities were trying to get to 00:32:57.269 --> 00:32:59.029 the bottom of what happened at the museum the 00:32:59.029 --> 00:33:02.210 other night and find the two artifacts, not to 00:33:02.210 --> 00:33:03.990 mention the people they hurt in the process. 00:33:04.789 --> 00:33:06.769 Miranda sat nodding her head in agreement and 00:33:06.769 --> 00:33:08.789 then asked, Do you still have those images on 00:33:08.789 --> 00:33:11.089 your camera? If so, could I take a look at them? 00:33:11.170 --> 00:33:13.410 Maybe there's something or someone I would recognize 00:33:13.410 --> 00:33:16.549 from that night that could help. Yes, I do actually, 00:33:16.750 --> 00:33:19.369 Ava answers. Look here. Eva says this as she 00:33:19.369 --> 00:33:22.009 points to the small camera digital screen. You 00:33:22.009 --> 00:33:24.069 can cycle through the images by pushing this 00:33:24.069 --> 00:33:26.569 button here and go back by pushing this button 00:33:26.569 --> 00:33:29.650 here. Eva says this as she hands the camera to 00:33:29.650 --> 00:33:31.509 Miranda and then points to the button to use. 00:33:32.410 --> 00:33:35.329 Miranda sits quietly next to Eva and slowly cycles 00:33:35.329 --> 00:33:37.529 through the photos on the camera, studying each 00:33:37.529 --> 00:33:39.309 one as if she was trying to solve the mystery. 00:33:39.490 --> 00:33:42.509 She then says, hmm, wow, there are several hundred 00:33:42.509 --> 00:33:45.650 images on here. Miranda then stops for a moment 00:33:45.650 --> 00:33:48.049 and stares at the small screen, squints, and 00:33:48.049 --> 00:33:51.150 then says, Whoa, wait, you captured several images 00:33:51.150 --> 00:33:53.289 of the thieves. I know they are a bit blurry, 00:33:53.410 --> 00:33:55.809 but... At that moment, and as Miranda was mid 00:33:55.809 --> 00:33:57.869 -sentence with the camera close to her face, 00:33:58.390 --> 00:34:00.549 Professor Hawthorne and David walk up behind 00:34:00.549 --> 00:34:03.630 where Ava and Miranda are sitting. Hawthorne 00:34:03.630 --> 00:34:05.549 looks down and notices that Miranda is looking 00:34:05.549 --> 00:34:08.449 through Ava's photos and asks, So Ava, did you 00:34:08.449 --> 00:34:10.690 hear back from the investigators about your photos 00:34:10.690 --> 00:34:13.559 yet? Before Ava can answer, David jumps in and 00:34:13.559 --> 00:34:16.539 says, Wait, what? You have photos from the incident 00:34:16.539 --> 00:34:18.840 the other night? Do you mind if I take a look 00:34:18.840 --> 00:34:21.760 as well? Ava, feeling a little nervous now that 00:34:21.760 --> 00:34:24.880 David wants to see the photos and hoping her 00:34:24.880 --> 00:34:26.840 promise to Professor Tommy the other night is 00:34:26.840 --> 00:34:30.460 not getting broken, very reluctantly says, Okay. 00:34:31.280 --> 00:34:34.219 Ava says, Sure. And just to let you know, the 00:34:34.219 --> 00:34:36.340 lead investigators have all my photos and they 00:34:36.340 --> 00:34:38.679 told me that they'd be looking into it. David 00:34:38.679 --> 00:34:41.420 sits down next to Miranda and says, Do you mind 00:34:41.420 --> 00:34:43.880 if I look over your shoulder? And then he replies 00:34:43.880 --> 00:34:46.440 to Ava and says, I wouldn't bet on the investigators 00:34:46.440 --> 00:34:49.800 being able to piece it together. I mean, they 00:34:49.800 --> 00:34:52.280 are probably legit, but it's been my experience 00:34:52.280 --> 00:34:54.860 to not put much faith in the authorities being 00:34:54.860 --> 00:34:57.679 able to figure this out fast. Hawthorne then 00:34:57.679 --> 00:34:59.920 replies, With your background and experience, 00:35:00.139 --> 00:35:02.579 there are a few photos Ava captured that you 00:35:02.579 --> 00:35:05.019 may want to look at. Maybe you'll see something 00:35:05.019 --> 00:35:07.630 we missed. David looks intently at the digital 00:35:07.630 --> 00:35:10.269 camera screen as Miranda clicks forward on each 00:35:10.269 --> 00:35:14.070 photo slowly. He then says, stop. He then points 00:35:14.070 --> 00:35:16.510 to the screen and says, it looks like these three 00:35:16.510 --> 00:35:19.469 images were taken the moment after the flashbangs 00:35:19.469 --> 00:35:22.570 went off. Ava replies, yes, those were taken 00:35:22.570 --> 00:35:25.130 automatically, and the two people in the images 00:35:25.130 --> 00:35:27.690 seem to be the thieves, and maybe the ones who 00:35:27.690 --> 00:35:31.090 injured the museum staff and Mr. Garcia in the 00:35:31.090 --> 00:35:33.949 process. One of the images caught David's eye 00:35:33.949 --> 00:35:36.750 particularly. He then asked Miranda to try to 00:35:36.750 --> 00:35:38.889 zoom into what looked like the arm of one of 00:35:38.889 --> 00:35:42.750 the persons. He then said, There, look. Do you 00:35:42.750 --> 00:35:45.369 see it? There on the wrist of one of the persons 00:35:45.369 --> 00:35:49.429 is a small tattoo. And I know that tattoo. I've 00:35:49.429 --> 00:35:52.469 seen it before. The tattoo is a cross with two 00:35:52.469 --> 00:35:55.909 small dots over the top. The image was blurry, 00:35:56.010 --> 00:35:58.510 but when zoomed in on one of the forearms of 00:35:58.510 --> 00:36:00.960 the thief, There was a small gap between the 00:36:00.960 --> 00:36:03.320 glove and the sleeve of the hoodie, which revealed 00:36:03.320 --> 00:36:06.840 part of the thief's wrist. There, as plain as 00:36:06.840 --> 00:36:09.860 day, well, a little blurry though, was the tattoo. 00:36:10.199 --> 00:36:13.099 A cross with two dots over the top of the cross. 00:36:14.079 --> 00:36:17.260 David then says, I've seen this before from a 00:36:17.260 --> 00:36:19.780 few of my police and military friends back in 00:36:19.780 --> 00:36:23.300 Mexico City. Anyway, it's a popular tattoo that 00:36:23.300 --> 00:36:26.800 one particular gang uses. He then adds, I can't 00:36:26.800 --> 00:36:28.900 say that I'm surprised though. His gang is known 00:36:28.900 --> 00:36:31.219 to work with the cartels. Miranda then says, 00:36:31.400 --> 00:36:33.460 don't you think the investigators have seen this 00:36:33.460 --> 00:36:36.519 too and are working their contacts? Well, probably, 00:36:36.699 --> 00:36:39.719 but I wouldn't want to assume that. And the authorities 00:36:39.719 --> 00:36:41.980 are quite slow in these matters, so who knows 00:36:41.980 --> 00:36:44.300 what they know. Hawthorne jumps in and asks, 00:36:44.420 --> 00:36:47.840 besides the obvious answer of for money, why 00:36:47.840 --> 00:36:50.519 would the cartels support or initiate such a 00:36:50.519 --> 00:36:53.360 high stakes heist? At that moment, Tommy walks 00:36:53.360 --> 00:36:56.019 up to where the adults are sitting. Still in 00:36:56.019 --> 00:36:58.440 the shade of now crowded around Ava's camera 00:36:58.440 --> 00:37:01.219 and says, well, the students are all still out 00:37:01.219 --> 00:37:04.139 exploring. And what do we have here? He says 00:37:04.139 --> 00:37:07.440 that with the last bit with a slight smile. Hawthorne 00:37:07.440 --> 00:37:10.179 answers with a little sarcastic tone. We're playing 00:37:10.179 --> 00:37:12.860 detective here while we wait. At that moment, 00:37:12.960 --> 00:37:15.219 David feels his cell phone vibrate in his side 00:37:15.219 --> 00:37:17.860 pocket and hears it ding. He grabs his phone 00:37:17.860 --> 00:37:20.000 out of his pocket and turns it over to see the 00:37:20.000 --> 00:37:22.260 screen. He's holding his phone in a way that 00:37:22.260 --> 00:37:24.159 any of the others could see the screen if they 00:37:24.159 --> 00:37:26.980 wanted to. He looks down at the screen, which 00:37:26.980 --> 00:37:28.960 is a bit hard to see because of the bright sun. 00:37:29.159 --> 00:37:31.760 He squints to get a better look at what looks 00:37:31.760 --> 00:37:34.559 like an image that was just texted to him. He 00:37:34.559 --> 00:37:38.639 gasps. What? Wait, what is this? David's surprised 00:37:38.639 --> 00:37:40.840 reaction to what he was looking at on his phone 00:37:40.840 --> 00:37:43.519 made Miranda look over and then down at his phone, 00:37:43.599 --> 00:37:45.760 which she was holding by his side, and right 00:37:45.760 --> 00:37:48.750 next to where she was seated. Whoa, David! Miranda 00:37:48.750 --> 00:37:51.409 exclaimed, what is that? Who is that? Miranda's 00:37:51.409 --> 00:37:53.409 questions caught the attention of everyone there, 00:37:53.789 --> 00:37:56.369 Hawthorne, Tommy, and Ava. Someone through an 00:37:56.369 --> 00:37:58.670 anonymous number had just sent David a photo 00:37:58.670 --> 00:38:01.010 of a person kneeling down on the ground with 00:38:01.010 --> 00:38:04.030 two individuals standing behind him. The individuals 00:38:04.030 --> 00:38:06.730 were holding weapons and were masked. One of 00:38:06.730 --> 00:38:08.969 the masked individuals had their hand under the 00:38:08.969 --> 00:38:11.429 chin of the man kneeling on the ground and was 00:38:11.429 --> 00:38:13.730 forcibly holding his head up and pointing at 00:38:13.730 --> 00:38:16.670 the camera directly. The man who was on the ground 00:38:16.670 --> 00:38:19.230 was quite upset and his face showed both anger 00:38:19.230 --> 00:38:22.510 and fear. David recognized the man kneeling on 00:38:22.510 --> 00:38:24.869 the ground immediately and said, That's my younger 00:38:24.869 --> 00:38:28.429 brother. What? I don't understand. Moments later, 00:38:28.469 --> 00:38:30.690 a short text message followed the image that 00:38:30.690 --> 00:38:34.230 was sent and it read, Instructions to come. Follow 00:38:34.230 --> 00:38:36.090 exactly if you want to see your brother ever 00:38:36.090 --> 00:38:44.380 again. Maria motions to Renata and Carlos to 00:38:44.380 --> 00:38:47.199 load up in the car again. She says, grab your 00:38:47.199 --> 00:38:50.739 things and let's go. Renata asks as she and Carlos 00:38:50.739 --> 00:38:53.039 were packing their bags and getting back into 00:38:53.039 --> 00:38:55.920 the same car they had come in. So we're into 00:38:55.920 --> 00:38:59.119 kidnapping now? Maria then responds, just do 00:38:59.119 --> 00:39:01.460 as I say and we'll be fine. We need that final 00:39:01.460 --> 00:39:03.840 payout and this is the only way to get it. Plus, 00:39:03.880 --> 00:39:06.039 the cartels guys are in charge now and we're 00:39:06.039 --> 00:39:08.079 just along for the ride, at least until it's 00:39:08.079 --> 00:39:11.090 done. As the now two cars pull out of the small 00:39:11.090 --> 00:39:13.769 dirt turnoff next to the safe house, Carlos asks, 00:39:14.110 --> 00:39:16.329 So, what does our driver have to do with this? 00:39:16.550 --> 00:39:19.630 I mean, why is the cartel interested in him and 00:39:19.630 --> 00:39:23.349 why throw him in the trunk? Maria responds, You 00:39:23.349 --> 00:39:25.929 ask too many questions, nephew. Just go along 00:39:25.929 --> 00:39:28.050 with the plan and follow my lead, and hopefully 00:39:28.050 --> 00:39:31.150 this will be over by the end of today. And, if 00:39:31.150 --> 00:39:33.150 you need to know, our driver from last night, 00:39:33.329 --> 00:39:35.750 well, he's related to the guy who discovered 00:39:35.750 --> 00:39:38.590 the golden mask. So, if you're wondering, the 00:39:38.590 --> 00:39:41.250 cartel is hoping to make an exchange. Our driver 00:39:41.250 --> 00:39:43.269 for the location of where the golden mask was 00:39:43.269 --> 00:39:46.389 found. Maria then looks over at the new driver, 00:39:46.530 --> 00:39:48.949 one of the two cartel members who is now driving 00:39:48.949 --> 00:39:51.440 the car they're in. Their car is following the 00:39:51.440 --> 00:39:53.599 other cartel members who is driving an old pickup 00:39:53.599 --> 00:39:55.539 truck that looks like it's been hit with bullets 00:39:55.539 --> 00:39:58.960 on a number of occasions. Renanta then adds, 00:39:59.139 --> 00:40:02.079 So if we drove to Merida last night and this 00:40:02.079 --> 00:40:04.820 was the cartel's plan from the beginning, we 00:40:04.820 --> 00:40:08.300 must be heading towards Chichen Itza since that's 00:40:08.300 --> 00:40:11.099 the general location the mask was found. Maria 00:40:11.099 --> 00:40:13.519 glances over at the driver, hoping her niece 00:40:13.519 --> 00:40:15.559 and nephew's flurry of questions doesn't upset 00:40:15.559 --> 00:40:18.869 him. She then answers, Yes, Renata, you're a 00:40:18.869 --> 00:40:21.449 very observant. We've got about an hour and a 00:40:21.449 --> 00:40:23.909 half car ride, so let's keep our questions to 00:40:23.909 --> 00:40:32.469 a minimum, okay? Tommy looks at David with a 00:40:32.469 --> 00:40:35.670 very serious and concerned face and asks, David, 00:40:35.789 --> 00:40:38.210 what are you looking at? And tell me you're not 00:40:38.210 --> 00:40:40.909 mixed up in this whole thing. David answers, 00:40:41.269 --> 00:40:44.289 his voice tone changing, more deliberate, focused 00:40:44.289 --> 00:40:47.130 and angry. He says, This is my brother, and, 00:40:47.170 --> 00:40:48.969 well, I haven't spoken to him in, well, over 00:40:48.969 --> 00:40:51.829 three years. We had a falling out about some 00:40:51.829 --> 00:40:54.150 of the work he was involved in. I didn't agree 00:40:54.150 --> 00:40:57.110 with it, as it was a borderline criminal at that 00:40:57.110 --> 00:40:59.929 time. After our argument, he just disappeared. 00:41:00.190 --> 00:41:02.650 I had no idea what he was doing or where he went. 00:41:02.929 --> 00:41:05.349 Hawthorne then asked, so, in your opinion, is 00:41:05.349 --> 00:41:08.690 this real or just a ruse? I mean, this could 00:41:08.690 --> 00:41:11.730 just be a setup for something bigger. You and 00:41:11.730 --> 00:41:14.750 Miranda are quite popular now. What do they want, 00:41:14.909 --> 00:41:18.329 money? At that moment, another text message comes 00:41:18.329 --> 00:41:21.389 into David's phone. David looks down, reads silently, 00:41:21.570 --> 00:41:23.869 and then answers Professor Hawthorne's question. 00:41:24.289 --> 00:41:27.269 It's not a ruse. My brother's not capable of 00:41:27.269 --> 00:41:29.690 something this elaborate, at least not without 00:41:29.690 --> 00:41:32.389 help. He then reads the following text message 00:41:32.389 --> 00:41:35.739 out loud. It reads, Give us the exact location 00:41:35.739 --> 00:41:38.179 of the cenote or where you found the mask, and 00:41:38.179 --> 00:41:40.639 upon confirmation, we'll release your brother 00:41:40.639 --> 00:41:44.199 unharmed. No exceptions, no negotiations. You 00:41:44.199 --> 00:41:46.960 have one hour. If we see any federal or local 00:41:46.960 --> 00:41:49.679 police officers anywhere near the location, you 00:41:49.679 --> 00:41:53.119 tell us. Your brother disappears. Remember, we 00:41:53.119 --> 00:41:56.139 have eyes and ears everywhere. Tommy then says 00:41:56.139 --> 00:41:59.679 softly and quietly, well, the demands are quite 00:41:59.679 --> 00:42:02.670 clear and straightforward. I may know a guy at 00:42:02.670 --> 00:42:05.070 the police precinct by UNAM campus. We could 00:42:05.070 --> 00:42:07.929 trust with this information. Miranda, who has 00:42:07.929 --> 00:42:10.170 stayed quiet, now speaks up. There's no time, 00:42:10.250 --> 00:42:12.329 David. Why can't you just send the location of 00:42:12.329 --> 00:42:14.389 where you found the mask? I don't think anyone's 00:42:14.389 --> 00:42:17.050 life is worth losing over that information. David 00:42:17.050 --> 00:42:19.630 replies, there are only four of us who know the 00:42:19.630 --> 00:42:21.849 location, and I suppose I was the easiest to 00:42:21.849 --> 00:42:24.849 get to. The other three, one of whom is an American 00:42:24.849 --> 00:42:28.300 diver, a buddy of mine from the military. Well, 00:42:28.320 --> 00:42:30.619 he's back home in the U .S. right now, and the 00:42:30.619 --> 00:42:32.960 other two, they're both lower -level politicians 00:42:32.960 --> 00:42:35.380 that have nothing to gain by giving this information 00:42:35.380 --> 00:42:38.739 to the cartel. He continues, And you're right, 00:42:38.760 --> 00:42:41.280 Miranda. No one's life is worth losing over this 00:42:41.280 --> 00:42:44.320 information. Tommy looks at David and then says, 00:42:44.940 --> 00:42:47.460 You stated before that you and your dive partner 00:42:47.460 --> 00:42:50.320 discovered the golden mask near here. That part 00:42:50.320 --> 00:42:53.559 is public knowledge, right? Tommy goes on, Well, 00:42:53.599 --> 00:42:56.179 my guess is that the guy's on the other end of 00:42:56.179 --> 00:42:58.719 the text message. all the way here. They give 00:42:58.719 --> 00:43:01.960 you a one -hour time limit to respond. Hawthorne 00:43:01.960 --> 00:43:04.179 jumps in and says, I'd like to get these students 00:43:04.179 --> 00:43:06.719 out of here. I'm going to find Lily and have 00:43:06.719 --> 00:43:09.019 her accompany them back to the bus and then go 00:43:09.019 --> 00:43:11.800 back to the Grand Museum. They can rest there, 00:43:11.860 --> 00:43:14.400 grab some food, and wait while this gets sorted 00:43:14.400 --> 00:43:17.159 out. Professor Hawthorne's feeling of stress 00:43:17.159 --> 00:43:20.280 and anxiety was now starting to rise. The responsibility 00:43:20.280 --> 00:43:22.940 of keeping the students safe was solely on his 00:43:22.940 --> 00:43:25.280 shoulders, and he had thought the worst of the 00:43:25.280 --> 00:43:28.960 events were over. Ava responds to Hawthorne's 00:43:28.960 --> 00:43:31.820 comment. She says, If you don't mind, I'm going 00:43:31.820 --> 00:43:33.860 to stick around here and see what happens. And 00:43:33.860 --> 00:43:36.590 don't worry, I'll keep out of trouble. Hawthorne 00:43:36.590 --> 00:43:38.789 steps away from the group to go find Lily and 00:43:38.789 --> 00:43:40.949 the students in order to give them some instructions 00:43:40.949 --> 00:43:43.909 about the change in plans. He won't, however, 00:43:43.969 --> 00:43:47.210 tell them what all just transpired with David, 00:43:47.309 --> 00:43:49.610 the photo, the text message, and David's brother. 00:43:50.030 --> 00:43:52.150 The less he shares with the students, the better. 00:43:52.250 --> 00:43:54.429 He thinks the students will be better off hanging 00:43:54.429 --> 00:43:57.349 out at the Grand Museum compound with Lily for 00:43:57.349 --> 00:43:59.989 the time being. There are a lot of tourists and 00:43:59.989 --> 00:44:02.130 other officials there. It's a good public area 00:44:02.130 --> 00:44:10.139 and safe for the group. Maria looks back at Renata 00:44:10.139 --> 00:44:12.380 and Carlos as the car they're riding in pulls 00:44:12.380 --> 00:44:14.880 up to a gas pump and right behind the small pickup 00:44:14.880 --> 00:44:17.940 truck they were following. She then says, one 00:44:17.940 --> 00:44:19.860 of you needs to stay in the car while the other 00:44:19.860 --> 00:44:22.380 grabs us some water and snacks. There's not another 00:44:22.380 --> 00:44:24.739 shot between here and our destination, so let's 00:44:24.739 --> 00:44:27.079 stock up. We're only stopping for a few minutes 00:44:27.079 --> 00:44:29.739 so we can get back on the road. Renata looks 00:44:29.739 --> 00:44:33.079 at Carlos and says, I nominate you. Here's some 00:44:33.079 --> 00:44:36.619 pesos. You know what I like. Don't talk to anyone. 00:44:37.150 --> 00:44:40.949 Carlos replies back, fine, whatever. The only 00:44:40.949 --> 00:44:43.949 people here are tourists anyway. They don't know 00:44:43.949 --> 00:44:47.050 us and don't care. I'll be right back. After 00:44:47.050 --> 00:44:49.869 a few minutes, Maria feels a blank stare from 00:44:49.869 --> 00:44:52.349 the driver of their car glaring at her as if 00:44:52.349 --> 00:44:55.389 to say, come on, let's go. Maria looks over towards 00:44:55.389 --> 00:44:57.510 a small convenience store waiting for Carlos 00:44:57.510 --> 00:45:00.070 to exit with several water bottles and some snacks. 00:45:00.309 --> 00:45:03.250 She says under her breath, come on, come on. 00:45:03.800 --> 00:45:05.900 She then sees him emerge from the store and walk 00:45:05.900 --> 00:45:08.219 toward the car, smiling and humming. She shakes 00:45:08.219 --> 00:45:10.340 her head and says to Renata, who's been waiting 00:45:10.340 --> 00:45:12.599 in the car with her and the driver now, Jeepers, 00:45:12.699 --> 00:45:15.619 that kid lives in his own world. Renata laughs 00:45:15.619 --> 00:45:18.760 softly and then replies, I've been saying that 00:45:18.760 --> 00:45:22.099 for years, Aunt Maria. At that moment, Carlos 00:45:22.099 --> 00:45:24.760 opens the door and gets into the backseat and 00:45:24.760 --> 00:45:28.119 says, I think you'll like the snacks I got. Some 00:45:28.119 --> 00:45:31.530 of the stuff we can't get in Mexico City. They 00:45:31.530 --> 00:45:33.610 probably have it here because of all the tourists 00:45:33.610 --> 00:45:36.590 that come this way. Maria rolls her eyes and 00:45:36.590 --> 00:45:38.550 then looks at the driver and then says, Okay, 00:45:38.610 --> 00:45:41.670 we're ready. Sorry about that. She even turns 00:45:41.670 --> 00:45:44.110 around and says to Renata and Carlos in the backseat, 00:45:44.309 --> 00:45:47.329 We've got about 45 more minutes before we reach 00:45:47.329 --> 00:45:50.170 Chichen Itza. And give me a bag of those dried 00:45:50.170 --> 00:45:57.900 tamales and a water bottle. After about 15 minutes 00:45:57.900 --> 00:46:00.039 of getting the students back on the bus and telling 00:46:00.039 --> 00:46:02.559 the driver to take them back to the Grand Museum, 00:46:02.860 --> 00:46:05.960 the same museum they had spent an hour at earlier, 00:46:06.420 --> 00:46:08.960 Professor Hawthorne makes his way back to the 00:46:08.960 --> 00:46:11.519 others who are still sitting in some shade close 00:46:11.519 --> 00:46:14.800 to the main step pyramid. He walks up to the 00:46:14.800 --> 00:46:17.940 group and then asks, so what's the plan? Hawthorne 00:46:17.940 --> 00:46:21.039 waits for someone to answer. Everybody just sits 00:46:21.039 --> 00:46:23.599 there, not saying a word. David then breaks the 00:46:23.599 --> 00:46:26.019 awkward silence and says, We got into a small 00:46:26.019 --> 00:46:28.179 argument a few minutes ago and I think we've 00:46:28.179 --> 00:46:30.619 come to an agreement. My brother's life is far 00:46:30.619 --> 00:46:33.000 more important than keeping location the cenote 00:46:33.000 --> 00:46:35.539 confidential. I don't really care about that 00:46:35.539 --> 00:46:38.780 stupid gold mask. It means nothing to me. David 00:46:38.780 --> 00:46:41.880 continues as the others listen. Most people assume 00:46:41.880 --> 00:46:44.320 I discovered the mask at the bottom of the cenote 00:46:44.320 --> 00:46:47.119 when in fact I found it in a different location. 00:46:47.840 --> 00:46:49.960 I can tell by the looks on your faces that you 00:46:49.960 --> 00:46:52.679 are surprised, maybe even a bit angry at why 00:46:52.679 --> 00:46:54.559 I led everyone to think it was at the bottom 00:46:54.559 --> 00:46:58.739 of a deep secret cenote. Truth is, however, my 00:46:58.739 --> 00:47:01.500 dive partner and I did dive the cenote, but we 00:47:01.500 --> 00:47:03.969 found nothing. It wasn't until we had finished 00:47:03.969 --> 00:47:06.289 our dive and then were taking off our tanks and 00:47:06.289 --> 00:47:08.409 securing our gear that we made the discovery. 00:47:08.909 --> 00:47:11.429 Anyway, we can assume that the thieves who took 00:47:11.429 --> 00:47:13.570 the artifacts the other night during the gala 00:47:13.570 --> 00:47:16.869 event are working with the cartel. And I recognized 00:47:16.869 --> 00:47:18.909 a small tattoo on the wrist of one of the thieves 00:47:18.909 --> 00:47:22.269 from a photo that Ava has. Miranda looks at David 00:47:22.269 --> 00:47:24.530 with a very puzzled look on her face and then 00:47:24.530 --> 00:47:27.110 says, What? Really? Why would you keep that a 00:47:27.110 --> 00:47:30.389 secret? Tommy jumps in as well and says, Alright. 00:47:30.829 --> 00:47:32.710 I'm intrigued and you have my attention, David. 00:47:32.909 --> 00:47:35.429 I assume there's a good reason for this. David 00:47:35.429 --> 00:47:38.610 responds, Okay, here it is. The secret cenote 00:47:38.610 --> 00:47:41.690 is actually the cenote, which is located on the 00:47:41.690 --> 00:47:44.510 inside and at the base of this temple right here. 00:47:44.710 --> 00:47:47.250 This temple, Hawthorne says as he points to El 00:47:47.250 --> 00:47:49.949 Castillo, located a mere 50 meters from where 00:47:49.949 --> 00:47:52.230 they are huddled under a tree for shade. Yeah, 00:47:52.289 --> 00:47:55.300 that's correct. David responds, I know what you're 00:47:55.300 --> 00:47:57.320 going to say. You're going to say that it's common 00:47:57.320 --> 00:47:59.760 knowledge that there's a cenote located at the 00:47:59.760 --> 00:48:03.659 base and inside the temple. It's true. We explored 00:48:03.659 --> 00:48:06.039 it and found nothing. It wasn't until we were 00:48:06.039 --> 00:48:08.019 done and putting our gear away that we discovered 00:48:08.019 --> 00:48:10.820 a hidden small passageway off the main chamber 00:48:10.820 --> 00:48:14.099 next to the cenote. He continues. It was hidden 00:48:14.099 --> 00:48:16.780 and we found it by accident. One of my heavy 00:48:16.780 --> 00:48:19.420 oxygen tanks tumbled over and hit the wall behind 00:48:19.420 --> 00:48:22.320 it. As soon as this happened, a small hole opened 00:48:22.320 --> 00:48:24.980 up inside the wall, revealing a narrow corridor. 00:48:25.820 --> 00:48:28.739 Tommy is intently staring at David as he tells 00:48:28.739 --> 00:48:31.460 the group what happened and then says, So, only 00:48:31.460 --> 00:48:34.659 four people knows about this? Well, not really, 00:48:34.840 --> 00:48:37.900 David answers. Only my dive partner and I know 00:48:37.900 --> 00:48:40.380 about this. The other two guys with us had already 00:48:40.380 --> 00:48:43.219 exited the cenote chamber and were outside the 00:48:43.219 --> 00:48:46.199 pyramid when this happened. And, out of curiosity, 00:48:46.519 --> 00:48:48.519 my partner and I then broke some more of the 00:48:48.519 --> 00:48:50.719 wall opening. Enough so we could squeeze through 00:48:50.719 --> 00:48:53.639 it and check it out. David continues to explain 00:48:53.639 --> 00:48:56.099 what happened as the others were listening intently. 00:48:56.380 --> 00:48:58.340 We then squeezed through the small opening in 00:48:58.340 --> 00:49:00.840 the wall with our flashlights and slowly, in 00:49:00.840 --> 00:49:02.840 a crouching position, made our way through this 00:49:02.840 --> 00:49:05.219 small corridor, which led to a medium -sized 00:49:05.219 --> 00:49:07.780 interior chamber, which we could stand upright 00:49:07.780 --> 00:49:10.619 in. This is where we found the golden mass, just 00:49:10.619 --> 00:49:13.119 sitting there, resting against one of the walls 00:49:13.119 --> 00:49:15.840 inside the chamber. Tommy jumps in and interrupts 00:49:15.840 --> 00:49:19.070 David and says, Wait, what? Do you have any idea 00:49:19.070 --> 00:49:22.070 how groundbreaking this discovery is? Tommy looks 00:49:22.070 --> 00:49:24.449 over at Hawthorne and says, This is amazing. 00:49:25.190 --> 00:49:28.349 Hawthorne replies, Oh yeah, David, go on, please. 00:49:28.769 --> 00:49:31.429 David continues with somewhat of an anxious voice 00:49:31.429 --> 00:49:34.010 now, and I have to tell you that the mask was 00:49:34.010 --> 00:49:36.809 not the only thing in that hidden chamber. There 00:49:36.809 --> 00:49:39.530 were a lot more items in there, a stash of other 00:49:39.530 --> 00:49:41.849 artifacts that seemed sacred to this temple and 00:49:41.849 --> 00:49:45.440 place, and yes, much more gold. Other gems and 00:49:45.440 --> 00:49:47.960 stones and pottery, which I assume would be full 00:49:47.960 --> 00:49:50.719 of other important and valuable things. We were 00:49:50.719 --> 00:49:52.619 both shocked and amazed knowing that this was 00:49:52.619 --> 00:49:55.519 an undiscovered chamber beneath one of Yucatan's 00:49:55.519 --> 00:49:58.559 most visited tourist destinations. We thought, 00:49:58.619 --> 00:50:02.539 how could this still be hidden? David then finishes 00:50:02.539 --> 00:50:05.300 with his explanation. I was being pressured by 00:50:05.300 --> 00:50:07.619 the politicians and UNAM to bring back something 00:50:07.619 --> 00:50:09.920 of value from our cenote dive and exhibition. 00:50:10.829 --> 00:50:13.409 And the mask, which was located right inside 00:50:13.409 --> 00:50:15.730 the chamber, was easy to grab and carry out. 00:50:15.849 --> 00:50:18.610 I thought this would satisfy our sponsors in 00:50:18.610 --> 00:50:21.010 the college. I also led them to believe that 00:50:21.010 --> 00:50:22.989 we found the mask at the bottom of the deep cenote 00:50:22.989 --> 00:50:25.389 we were diving in. My dive partner and I did 00:50:25.389 --> 00:50:27.250 not want to reveal at the time that this hidden 00:50:27.250 --> 00:50:29.829 chamber existed. We knew it would be extorted 00:50:29.829 --> 00:50:32.829 by the politicians back in Mexico City. It's 00:50:32.829 --> 00:50:34.769 just too special and significant, especially 00:50:34.769 --> 00:50:37.409 to the indigenous people living here. Miranda 00:50:37.409 --> 00:51:08.539 then says, And maybe that's why her and David 00:51:08.539 --> 00:51:11.059 had connected so well together. They shared much 00:51:11.059 --> 00:51:14.179 of the same values. Miranda then said, so what's 00:51:14.179 --> 00:51:17.440 next then, your brother, for the location? David 00:51:17.440 --> 00:51:20.139 replies, yes, I'll give them the location of 00:51:20.139 --> 00:51:22.920 the cenote under the pyramid as to where we found 00:51:22.920 --> 00:51:25.440 the golden mask. This could buy us some time 00:51:25.440 --> 00:51:27.280 since they would have to figure out how to confirm 00:51:27.280 --> 00:51:29.679 it by hiring their own divers to investigate 00:51:29.679 --> 00:51:32.039 it while trying not to get caught by the park 00:51:32.039 --> 00:51:36.239 security guards. Also, David continues, my partner 00:51:36.239 --> 00:51:37.960 and I covered up the hole in the wall with the 00:51:37.960 --> 00:51:39.920 stones that have fallen so the entrance to the 00:51:39.920 --> 00:51:42.400 corridor is hidden once again. A person would 00:51:42.400 --> 00:51:44.300 have to know that it's there in order to discover 00:51:44.300 --> 00:51:47.619 it. Tommy then adds, yeah, park officials don't 00:51:47.619 --> 00:51:50.239 really go down in the pyramids anymore. Anyways, 00:51:50.500 --> 00:51:52.860 since it's been closed off to tourists years 00:51:52.860 --> 00:51:55.579 ago, it's just kind of a time capsule down there 00:51:55.579 --> 00:51:59.340 now. As Tommy is talking to the group, he's dialing 00:51:59.340 --> 00:52:02.000 Anthony on his phone who he had just talked to 00:52:02.000 --> 00:52:05.309 earlier. to see how he's doing. Tommy then says, 00:52:05.409 --> 00:52:07.869 I'm hoping for a miracle here, but I'm going 00:52:07.869 --> 00:52:09.849 to ask Anthony if he could make a call to the 00:52:09.849 --> 00:52:12.329 lead park ranger down here and see if we get 00:52:12.329 --> 00:52:14.429 a special permission to enter the pyramid. I 00:52:14.429 --> 00:52:17.909 mean, if what David is saying is true, which 00:52:17.909 --> 00:52:20.250 I believe him to be, then we need to get into 00:52:20.250 --> 00:52:22.750 that chamber and document as much as possible 00:52:22.750 --> 00:52:25.670 before we have to leave. It's an undisturbed 00:52:25.670 --> 00:52:28.650 treasure trove of valuable artifacts, history, 00:52:28.849 --> 00:52:31.480 and culture. Hawthorne looks over at Tommy with 00:52:31.480 --> 00:52:34.260 a smile and says, hmm, just like old times, buddy. 00:52:34.420 --> 00:52:37.940 I'm in. That's if Anthony can help make it happen 00:52:37.940 --> 00:52:40.820 in the next 45 minutes. Miranda then says, I 00:52:40.820 --> 00:52:43.679 just had an idea, David. She continues, in return 00:52:43.679 --> 00:52:45.440 for giving them the location where you found 00:52:45.440 --> 00:52:47.440 the mask, why don't you ask them to return the 00:52:47.440 --> 00:52:50.099 jade jar they stole as well? They already have 00:52:50.099 --> 00:52:52.300 a golden mask, which is worth far more than the 00:52:52.300 --> 00:52:54.900 jar. I wonder if they'd compromise. While Tommy 00:52:54.900 --> 00:52:56.599 is on the phone with Anthony, who's still in 00:52:56.599 --> 00:52:59.300 the hospital back in Mexico City, but doing better, 00:52:59.519 --> 00:53:01.659 David sends a text back to the number that sent 00:53:01.659 --> 00:53:03.480 him the photo of his brother, demanding that 00:53:03.480 --> 00:53:05.960 not only do they give him his brother back, but 00:53:05.960 --> 00:53:08.900 also the jade jar they took. Of course, he's 00:53:08.900 --> 00:53:11.630 assuming they have it on them. He then says to 00:53:11.630 --> 00:53:13.690 Miranda, I hope this works and doesn't backfire. 00:53:13.809 --> 00:53:16.269 The cartel can be quite cruel if they think you're 00:53:16.269 --> 00:53:18.789 changing the details of the agreement. I mean, 00:53:18.789 --> 00:53:22.590 their message did say no negotiation. At that 00:53:22.590 --> 00:53:24.889 moment, Tommy turns back around and faces the 00:53:24.889 --> 00:53:27.610 group again, having been on the phone for about 00:53:27.610 --> 00:53:30.610 five minutes and then says, okay, I've got good 00:53:30.610 --> 00:53:33.510 news. Anthony got hold of the lead park ranger 00:53:33.510 --> 00:53:36.170 here and got us permission to enter El Castillo 00:53:36.170 --> 00:53:39.920 accompanied by one of the on -site workers. Anyways, 00:53:40.119 --> 00:53:42.320 I guess the lead rangers felt sorry for what 00:53:42.320 --> 00:53:45.380 had happened to Anthony, and well, he was easily 00:53:45.380 --> 00:53:49.280 convinced we had got verbal permission. He continues, 00:53:49.599 --> 00:53:56.260 Hawthorne jumps in and says, does anyone have 00:53:56.260 --> 00:53:58.500 a flashlight on them? Well, besides your phone 00:53:58.500 --> 00:54:01.519 flashlight? None of them had a proper flashlight. 00:54:01.659 --> 00:54:04.360 However, they all had their phones, and Ava did 00:54:04.360 --> 00:54:07.739 have her camera as well. Eva, who had been quite 00:54:07.739 --> 00:54:09.840 silent listening to all the events unfolding, 00:54:10.119 --> 00:54:12.539 then says, Professor Tommy, I've got my camera 00:54:12.539 --> 00:54:14.619 with me and I can help take photos once we get 00:54:14.619 --> 00:54:17.340 inside. It could help since you're wanting to 00:54:17.340 --> 00:54:20.099 document what we find. Tommy responds to Eva. 00:54:20.699 --> 00:54:24.219 Good idea, Eva. This would be helpful. Oh look, 00:54:24.360 --> 00:54:26.460 there's the sight ranger now. Looks like he's 00:54:26.460 --> 00:54:28.599 motioning us to follow him around the back of 00:54:28.599 --> 00:54:31.820 the pyramid. Tommy then says in a somewhat sarcastic 00:54:31.820 --> 00:54:34.699 voice, I hope you're ready to walk up 91 steep 00:54:34.699 --> 00:54:37.210 steps to the top. We need to enter the structure 00:54:37.210 --> 00:54:40.110 from the top. And with that, Tommy, Hawthorne, 00:54:40.170 --> 00:54:42.789 Ava, David, and Miranda disappear around the 00:54:42.789 --> 00:54:45.250 backside of the pyramid, led by the young park 00:54:45.250 --> 00:54:47.949 ranger who looks to be not even 20 years old. 00:54:48.750 --> 00:54:50.889 Following the young park ranger who seemingly 00:54:50.889 --> 00:54:53.929 bound up the 91 stone steps to the top of the 00:54:53.929 --> 00:54:56.829 pyramid, rather quickly, Hawthorne and Tommy 00:54:56.829 --> 00:54:59.590 were the last to make it to the top of the temple 00:54:59.590 --> 00:55:01.929 structure where the others were already waiting. 00:55:02.460 --> 00:55:05.639 The pyramid structure stood 79 feet tall off 00:55:05.639 --> 00:55:08.900 the ground, or 24 meters. The temple which sits 00:55:08.900 --> 00:55:11.840 on top of the pyramid is 20 feet tall, or 6 meters. 00:55:12.320 --> 00:55:14.780 Altogether, the entire structure, pyramid, and 00:55:14.780 --> 00:55:18.300 temple have a height of around 98 feet, or 30 00:55:18.300 --> 00:55:21.260 meters. The temple is a square stone structure 00:55:21.260 --> 00:55:23.679 and would be the group's entry point into the 00:55:23.679 --> 00:55:26.400 pyramid. After catching their breath and wiping 00:55:26.400 --> 00:55:28.960 the sweat from their faces, The group of five 00:55:28.960 --> 00:55:31.139 looked to the young park ranger for some instructions. 00:55:31.619 --> 00:55:33.920 The young man didn't say anything. He just looked 00:55:33.920 --> 00:55:36.380 back at them. It was midday and the sun was quite 00:55:36.380 --> 00:55:38.519 hot, so the group was anxious to get into some 00:55:38.519 --> 00:55:41.519 shade. So Hawthorne asked, so can we enter the 00:55:41.519 --> 00:55:43.519 structure now? There was a long pause and then 00:55:43.519 --> 00:55:45.579 the young park ranger, not really wanted to do 00:55:45.579 --> 00:55:47.719 this in the first place, replied by telling the 00:55:47.719 --> 00:55:49.780 group that he was just going to go wait for them 00:55:49.780 --> 00:55:51.719 down at the bottom of the structure outside. 00:55:52.349 --> 00:55:54.289 and on the ground level just to make sure no 00:55:54.289 --> 00:55:56.250 other tourists attempted to climb the pyramid. 00:55:56.429 --> 00:55:58.710 He told the group that they could take as long 00:55:58.710 --> 00:56:00.949 as they want and just to come back out the way 00:56:00.949 --> 00:56:02.929 that they came and to make sure they are not 00:56:02.929 --> 00:56:04.869 in there too long because the quality of the 00:56:04.869 --> 00:56:13.260 air is not good for long exposure. After the 00:56:13.260 --> 00:56:15.380 young park ranger unlocked a small metal gate 00:56:15.380 --> 00:56:17.380 which would allow the group to enter the structure, 00:56:17.579 --> 00:56:20.280 he then started walking back down the 91 stone 00:56:20.280 --> 00:56:23.139 stairs toward the base of the pyramid. While 00:56:23.139 --> 00:56:25.000 standing at the top of the pyramid and as the 00:56:25.000 --> 00:56:27.380 group was getting ready to enter, David gets 00:56:27.380 --> 00:56:29.619 a text message from the cartel and it reads, 00:56:29.900 --> 00:56:32.539 We agree. We will exchange your brother and the 00:56:32.539 --> 00:56:36.489 J .H .R. for the location. No more changes. Instructions 00:56:36.489 --> 00:56:39.289 to follow. David reads the text message to the 00:56:39.289 --> 00:56:41.510 group and then says, Wait, they are sending another 00:56:41.510 --> 00:56:44.750 text. Just a moment. The next text message David 00:56:44.750 --> 00:56:47.550 receives then says, The J -jar will be dropped 00:56:47.550 --> 00:56:49.809 off at the Grand Museum's front reception desk 00:56:49.809 --> 00:56:52.849 at Chichen Itza as a sign of good faith once 00:56:52.849 --> 00:56:55.010 we have received the location of where you discovered 00:56:55.010 --> 00:56:57.710 the golden mass. Then, we will release your brother 00:56:57.710 --> 00:57:00.369 when we confirm the location you sent us is legitimate. 00:57:01.119 --> 00:57:03.860 No games, no authorities, or your brother disappears 00:57:03.860 --> 00:57:07.139 forever. David then says to the group, Okay, 00:57:07.239 --> 00:57:09.480 let's do this. I know the way and we don't have 00:57:09.480 --> 00:57:12.039 a lot of time. By this time, the young park ranger 00:57:12.039 --> 00:57:14.059 had made it to the bottom of the pyramid and 00:57:14.059 --> 00:57:16.400 was already resting on one of the benches under 00:57:16.400 --> 00:57:18.820 a tree some 30 yards away from the base of the 00:57:18.820 --> 00:57:21.039 structure, just sitting there and chilling out. 00:57:21.500 --> 00:57:23.699 As the group of five funneled into the stone 00:57:23.699 --> 00:57:26.579 temple structure at the top of the pyramid, some 00:57:26.579 --> 00:57:28.880 had feelings of worry and some had feelings of 00:57:28.880 --> 00:57:32.289 excitement. or a mix of both. Hawthorne was the 00:57:32.289 --> 00:57:35.510 last to enter. He stood in the small stone entranceway 00:57:35.510 --> 00:57:37.690 of the temple, looked back over his shoulder 00:57:37.690 --> 00:57:40.670 and toward the horizon and thought, wow, what 00:57:40.670 --> 00:57:43.989 a view. And what have we gotten ourselves into? 00:57:52.989 --> 00:57:55.829 And that ends part five. Stay tuned for next 00:57:55.829 --> 00:57:58.570 week as we bring you part six in our continuing 00:57:58.570 --> 00:58:13.610 story, Legends of the Yucatan. As we end this 00:58:13.610 --> 00:58:16.110 episode, let's not forget the power of good design 00:58:16.110 --> 00:58:19.250 and the good it brings to our world. Thanks again 00:58:19.250 --> 00:58:21.849 to Mr. Tim Mills for joining us and adding his 00:58:21.849 --> 00:58:24.889 insight. Also, keep up with our adventure story, 00:58:25.050 --> 00:58:27.250 Legends of the Yucatan, as we bring you part 00:58:27.250 --> 00:58:31.190 six next episode. And as always, this podcast 00:58:31.190 --> 00:58:33.710 would not be possible without the hard work and 00:58:33.710 --> 00:58:35.710 support of our international student production 00:58:35.710 --> 00:58:38.170 team. All music and sound effects are courtesy 00:58:38.170 --> 00:58:41.110 of Pixabay .com, a vibrant community of creatives 00:58:41.110 --> 00:58:43.849 sharing copyright -free images, videos, and music. 00:58:44.010 --> 00:58:46.769 And we are signing off until next time. We are 00:58:46.769 --> 00:58:49.670 Students Incorporated, because your voice matters.