That would be Ericka. Dan calls a tip out to Sam, telling him to swing and use the rhythm. Brian tells Ericka to try going two-handed instead of hand-over-hand. She yells at him to back off, and continues inchworming along.
In the cab, Cheyne tells Meghan they have to move on, which seems to be his standard method for dealing with disagreements. "I'm sorry if I was rude." "You were rude," she insists, which is not moving past it. She says they could have been nicer about it. "'Cause when we see them next, they're gonna hold a grudge against us because we left them high and dry and they're the kind of people that, like, get motivated by that stuff. They're gonna be on a mission to mess with you." Hey, there's plenty of room. He doesn't have an answer for that, either. They both kind of have a point; I don't agree with Meghan that they shouldn't have taken the cab, but on the other hand, I think Cheyne was a little high-handed about it, especially after accusing Flight Time of stalling. Even a "Sorry, guys, we gotta go" would have gone a long way.
But fortunately for my nerves, they've reached the theater and have to stop arguing about it. The clue box is right outside, and the question for this Road Block is, "Who can remain composed under pressure?" Not Meghan, obviously. Then we get our first look inside the spectacular theater, which Phil says is "the historic opera house where in 1787, Mozart premiered his legendary opera, Don Giovanni. In fact, if you've seen the movie Amadeus, you've seen this joint. There's even a dude on stage, in full costume, singing an aria to the empty house. Phil says that among the six hundred seats is a small number of even smaller mandolins, "a miniature version of the instrument played by Don Giovanni in the opera." Then they'll need to bring it up to Don Giovanni on the stage. "Yes!" the Don smiles into the camera, and then, in a completely different shot without his hat, theatrically holds out a clue, with all the energy and commitment of a perennial understudy.
He's singing again as Meghan and Cheyne walk into the auditorium from backstage, which I'm sure is intentional on the part of the producers; no better way to get slapped upside the head with the size of this vault than to have to look at it from center stage. In addition to a sizable main floor, there are five, count 'em, five tiers of balconies wrapping almost all the way around the auditorium in a full U. Meghan takes one of the four chairs that make up a waiting area at stage right. "It was one of the coolest things I've ever seen," Cheyne interviews later. He puts on his headlamp and heads upstairs, telling Meghan, "I'm gonna do downstairs last." Up he goes to box one, and it's immediately clear that this is not going to go quickly: however many boxes there are like this one, he's going to have to open the door to each one, walk in, and look under a measly two chairs. For four levels. He takes a moment to lean out and goof on the opera, and Meghan calls up to him to be "systematic." I wonder if she thinks "systematic" means "not wasting time fucking around."