All language subtitles for FBI.S08E02.1080p.WEB.h264-GRACE[EZTVx.to]

[ominous music]

* *

[knock at door]

- NYPD.
Open up.

Got word from our dispatch
your silent alarm tripped.

- No, I don't think so.
- Name?

- Whittock.
Gary Whittock.

I'm night security here.

Everything's fine, Officer.

- We still got to check
the premises.

- Whoa, whoa, wait. Hang on.
- On your knees. Now!

- This is a big mistake.

I--I work here!

I haven't done anything wrong.

- Not true.
You let us in.

Security.

* *

[zip tie squeaks]

*

[muffled gunshots]

- You're not going to be able
to get in there.

- Security system's down.
We're good to go.

[keypad beeps]

* *

[muffled gunshots]

* *

- Hmm.

Hmm.

- Don't get me wrong,
I do enjoy our games.

But why do I feel
that you've been coming here

for another reason?

- You have good stories.
I like to hear them.

That's all.

- You're thinking pawn to F4.
My knight will take it.

You'll recapture,
and your queen will be exposed.

- Oh, my God.

Maybe I should stop
coming to see you.

- Mm.
Now you're eyeing your bishop.

- Peter!
Let me play.

[phone buzzes]

Oh, no.

Yeah, duty calls.

Well, we've got a heist
at the Rushmond Gallery.

One dead.
- Don't tease me.

Come on, give me a peek.

- I can't do that.

You don't work
for the BAU anymore.

- Uh-huh,
retired is retired, hmm?

- Mm-hmm. Ooh.
- Come on.

One little look
won't hurt here.

- The alarm didn't trip.

On-duty guard was murdered,

and the thieves made out
with five paintings.

- All on loan
in a cultural exchange

from European allies.

- Which is why
it's in our jurisdiction.

- The guard's murder wasn't
part of their plan, you know.

- Well, I guess we'll see.
- Mm-hmm.

- Bye, Peter.
Have a good day.

Hey.

Are we inside already?
- Yeah.

- How are you holding up
since the funeral?

- Oof, how have I seemed?
- I know. I miss Dani too.

Look, I'm here to talk
if you want.

- Thanks, Maggie.

Probably better to just focus
on the day-to-day,

though, right?
- I hear you.

- I got this.
- All right.

- Morning.

Special Agents Scola and Bell.

You the owner?

- Walter Vasari, yes.

Gary Whittock had been working
here going on 13 years.

Kind man, loyal, father of two.

- I'm sorry for your loss.

- Looks like he was zip-tied
over there.

He must have got out of them
and made a run for them.

- He really cared
about this place.

Maybe too much.

- So what did they take?

- It's a fiasco.

This exhibit is a high-profile

international
cultural exchange.

Every painting in here
is essentially priceless.

Those were on loan
from France, Denmark, Ukraine.

And those were lent
by the Orsini family in Italy.

- Not only did they take out
the interior cameras,

they also demagnetized
the whole system.

- All right, what about
the backup to the cloud?

- They wiped those too.

- So they knew
exactly how to stay invisible.

- Got to be an inside job, no?
- Maybe.

- I could take offense to that.

- So are we thinking
they took Gary's key card

to get in here?
- No.

No, they'd need more than
a basic work badge to do that.

Only a few employees can access
this gallery after hours--

upper management.

- You upper management?

- I wouldn't benefit from this,
if that's what you're implying.

The lenders retain
legal ownership of the pieces,

and they all have
nail-to-nail policies in place

to cover for any eventuality.

- We're going to need
the name of every employee

who has access.

- Morning, folks.

So last night, thieves broke
into the Rushmond Gallery

and murdered this guy,
Gary Whittock.

He was the on-duty guard.

They made off
with five paintings

and seemed
to cover their tracks.

- Combined value
of the paintings

is worth an estimated
$31 million.

- Yeah,
but on the black market,

it'd only be worth
a fraction of that.

- All right, well, a fraction
of a big number is still big.

And it looks like they came in
with a shopping list,

which suggests they already had
a buyer lined up.

So how do we track down
our murderers?

- Well, the special exhibit
is protected

by a laminated glass door
to maintain

environmental conditions
for art preservation.

It can only be unlocked
with a designated key card.

- But the thieves wiped
the gallery security system.

- Except that this
key card reader stores

all data on an internal drive.

I was able to access the log

and see who swiped in
last night.

At 1:41 a.m., the door was
unlocked by Teresa Almonte,

special exhibit director
at the Rushmond.

- OK.
What do we know about her?

- Teresa started
at the Rushmond

right out of grad school.

PhD in art history.

Had several essays published
in respected academic journals.

- Doesn't exactly scream
criminal mastermind.

- Well, three months ago,
she defaulted

on her student loans.

The DOE
Default Resolution Group

came knocking
demanding payment,

jacked up her interest rates.

Last week, the government
started garnishing her wages.

- So she followed her passion.

Next thing she knows,
she's bankrupt.

- That's the hat trick--
means, motive, and opportunity.

Let's bring her in.

- I can't believe
this is happening.

Is Gary really dead?

- Yeah, I'm afraid so.

- I was tutoring him
in art history.

Anything I gave him to read,
he just--

oh, God.

His poor kids.

- We're aware
of your financial situation.

- You think I had something
to do with this?

- Your key card was used
to open the special exhibit

last night.
- That's not right.

- Well, your wages
are being garnished.

Your back's
up against the wall.

Makes sense that you'd throw
these guys your key card.

In return, they give you
a cut of the money.

- No, no, no.
I have my key card right here.

I have it on me.

- No, Teresa, it doesn't
make a difference, OK?

They could have used it
last night

and given it back to you
this morning.

- No, listen, I went into debt

getting an advanced degree
because to do what I do,

you need one.

Now I earn $64,000 a year.

Between bills
and my student loans,

it's not enough to live on.

But the Rushmond Gallery
is my whole life.

I would never do anything

to jeopardize
my position there.

- What?

- I think I know who did this.

A few days ago,
I was walking the gallery,

and this guy was,
like, lingering,

just looking.

But on his way out,

he started flirting with me.

- So?

- Men don't generally flirt
with me, Agent Scola.

But he talked my ear off,
asking me all about my job

and the special exhibit
and the gallery.

His name was Cooper.

He said he liked my laugh.

We even swapped phone numbers.

But later,
when I tried to text him,

it just bounced back.

- Yeah.

You know about what time
Cooper stopped by the gallery?

- All right, folks.

So Teresa Almonte said
a suspicious man

came into the gallery
asking questions.

I know our thieves wiped

the security feed
from that night.

But can we pull any footage
from three days earlier?

- Yeah, we should have access.

- Yeah?
- Yeah. Here we go.

- All right, good news.

This is three days earlier,
right?

Let's scrub to midday.

She said it was
right after her lunch.

- OK.

[tense music]

- OK. Stop it there.
Let's watch.

* *

That guy's looking suspicious
to me, right?

- Yeah, he's aware
of the cameras.

Not giving us much
for facial rec.

- Yeah, and what is he doing
with his hand there?

Zoom in.

* *

- Looks like
he's scanning her key card.

He's making a dupe.

- Right. How do you do that?

- Well, it used to be
you needed an RFID reader.

But now there are apps
that can do it.

He kept Teresa talking.
She didn't even notice.

- Yeah, yeah, yeah.

OK, Mr. Suspect, you going
to show us your face?

Come on.
Look up here.

[computer beeping]

Yes! Here we go.
- That could be enough.

Hang on.

Got it.

Jasper Ray, a known art thief
with a record of burglaries,

trafficking in stolen goods,
and a penchant for sex workers.

- And he's about to add
a murder rap to that list.

Ping his phone.

- Not finding him
on any of the major providers.

- He's got an alias,
Cooper Motte.

- Still nothing.
- OK, every database in here.

Cooper Motte, Jasper Ray.

If either of those names have
popped up in the last 12 hours,

I want to hear about it.

- Got a hit.

Mr. Cooper Motte
just checked himself

into the penthouse suite
at the Ravel Hotel.

- The Ravel?
Feeling flush.

Let's grab him.

[knocks]

- FBI, open up.

- Just open it.

- Clear.
- Clear.

And check it out.

- Must have been
the key card he made.

- Yeah, but this is
a 9 millimeter.

That doesn't match
the caliber of the gun

that was used
to kill the guard.

- He could have had
another weapon.

- Wow.

That is a lot of cash.

You think they offloaded
the paintings already?

[lock clicks]
- Maggie.

[laughter]

- Then I was thinking
we order some room service

to, you know, rehydrate
before round two.

- FBI, Jasper Ray.
Hands where we can see them.

[women yelp]
Come on.

[suspenseful music]

* *

Jasper!
It's over.

We know that you broke
into that gallery.

We know that you killed
that guard.

- No, no, no.
That wasn't me.

I didn't kill him.
- OK. That's good.

We just want to talk to you.

- But you're not going
to believe me.

- We just want to hear
what happened.

- This wasn't my fault!
OK?

We didn't have any time
to plan.

They pushed us
to do it this week.

- Who did?
- No, you--

you have no idea
what these people

are capable of, all right?

- Then tell us.

We can help you.

- Stop.
Stop.

- No, it's OK.
- Stop. Don't come forward!

- Jasper.
- You can't help me!

No one can.

* *

- Hey, no!
Jasper!

[people screaming]

What the hell just happened?

Why would he jump
over some paintings?

- There's something else
going on here,

something bigger.

* *

- All right, people.

There's more to this robbery
than just stolen paintings,

and we need to figure out
what it is.

Now, unfortunately,
Jasper Ray, our only suspect,

elected to jump to his death
rather than rat out

the people who hired him.

- Ballistics confirm
Jasper's gun wasn't used

to kill Gary Whittock.

- Well, it sounds like
he had a partner.

This was definitely
a two-man job.

- OK, so Jasper's partner
is our best bet

to track down the buyer,
so how can we ID him?

- Hey, just got off the phone
with the art crimes team.

This is Cecil Lafont.

He was a high-line fence until
he started working for us.

They say if anybody knows
who Jasper's been

working with these days,
it'd be Lafont.

- All right.
Let's put that to the test.

- Oh, the interrogation room.

This venue meant
to frighten me?

[chuckles]

Could have just asked
if you needed help

on the nastiness
that went down at the Rushmond.

- An innocent guard was killed
during that robbery.

- Yeah, I heard.
It's a tragedy.

- Well, we know one of
the thieves was Jasper Ray,

but we actually think
it was his partner

who pulled the trigger.

- Jasper is small-time.

Yeah, he's good with tech,
but not a murderer.

- We were told
that you might know

who Jasper's been running with.

- Hmm. One thing at a time.

My cooperation agreement
has become a burden.

So this information,
if I have it,

will complete our arrangement.

And I would like a guarantee
that I have satisfied our deal.

- Why would we do that?

- Well, a source
may have told me

one of the Rushmond pieces
is already on the market.

[tense music]

- Who's trying to move it?

- Hmm, he doesn't meet
with strangers.

He's twitchy.
He's paranoid.

Believe me when I tell you,
you could never get close.

- But he would meet with you.

- [chuckles]

- [sighs]

- All right, this guy's
going to be here any second,

so let's go over
the details again.

This is Evan Hessel,
our second gallery thief

and Jasper Ray's
partner in crime.

- Hessel did a seven-year bid
for armed robbery

of a museum back in 2010.

He's known to be smart
but violent.

Right now, he is
our best chance at ID'ing

whoever is behind this heist.
- Right.

And our cooperator set up
this in-person meeting

with Evan Hessel under the
guise of a black-market sale.

- If Hessel's willing to sell
one of the Rushmond paintings,

he will know where
the others are stashed.

- Exactly.

Only question is,
do we have the right guy

playing our crooked buyer?

- Come on, now.
I was born for this.

Where's your buddy here?

He's already, what,
ten minutes late?

- He'll show.
He trusts me.

* *

- No sign of Evan Hessel yet.

* *

- Wait.
Is that him?

- Yep.
- We have eyes on the target.

He's about 15 seconds
away from you.

- Yep, copy that.

Remember,
we just need to confirm

Hessel is in possession of any
of the Rushmond paintings,

and then we follow him
to his stash house.

- Ah. Here he is.

Evan.

- This better be worth it.

- Am I in the habit
of wasting your time?

[chuckles] Sit.

This is my client,
Mr. Forsythe.

- So you a private equity guy?

- $765 million,
under management.

Looking to expand
my collection.

- Sotheby's not good enough?
- What can I say?

Cecil said that you came
into some pieces.

I was intrigued.

- What firm?

- Offshore Capital.

- Never heard of it.

[phone clicking]

- How are we looking here?
- He's on our site.

While he's browsing,
I'll backdoor

into his contacts,
pull his text conversations.

- Going for extra credit.
I like it.

*

- [chuckles]

Do you want
my college transcripts as well?

Is he serious here?

- Evan, please.

Mr. Forsythe's pedigree
is beyond reproach.

- Who's in your collection?
- What?

You want to know
how many original

Caltabiancos I have?

This is ridiculous.
I don't need this.

Cecil, call me later.

- Wait, wait.

I do have
an early 20th century piece

I could part with.

* *

- All right, he bought it.

- One? Come on.
But you said he had five.

- No, I heard he had five.

* *

- Four are already spoken for.

But I am willing to part
with the Friedland.

My price is 2 mil.
Gallery would charge 12.

- OK, Hessel just confirmed
he's still in possession

of the stolen paintings.

Maggie, OA, get ready to tail
this guy to his stash house.

* *

- We're on the board.

- 2 million's a deal, Stuart.

[chuckles] I'd take it.

- All right,
I'm going to need to see

the condition of the piece.

You got a photo so I can check
the extent of the damage?

- Money first, man.

- OK.

I'm not going to hand you
$2 million

out here on the street.

You know that.

* *

- Just show him
the photos, Evan.

Hmm?
His money is green.

* *

[glass shatters]
[indistinct shouting]

[suspenseful music]

* *

- Heading to the river!

- We'll double back!

* *

[both grunting]

- Evan Hessel,
you're under arrest.

Interstate transport
of stolen property,

that's ten years.

Theft of major artwork,
ten years.

Violation of the International
Cultural Treaty,

as judge's discretion.

But spoiler alert--
minimum ten years.

- We can place you
at the gallery.

And ballistics confirm
that the round

that killed Gary Whittock was,
in fact, from your gun.

That's murder
during the commission

of a federal felony.

We have you
dead to rights, Evan.

So really,
the only question is,

are you going to do
the smart thing

and tell us what's going on?

- Come on.

Who are your buyers?

- OK, why did you have to rob
the gallery this week?

What was the rush?
- I can't help you.

- OK, clearly,
you're in a tough position.

I mean, we know that Jasper
was afraid of your buyers.

That's why
he jumped off the roof

of a building earlier today.

Yeah.

We want to protect you, Evan.

But we can't do that unless
you tell us who they are.

- They sent me
a picture of my son.

- Your buyers did?
- Yeah.

Walking up to our apartment.
Eli's seven.

They knew his name.

They knew everything about me.
They made it clear.

Hit up the Rushmond this week,

or they'd hurt me, my family.

I didn't know what else to do.

No idea what they had
on Jasper,

but it was something.

We knew we had to work quick
and never look back.

- Did you meet
your buyers in person?

Could you ID a photo?
- No, we never met.

They cold-contacted us
over Signal.

No number, no name,
offered $75K each

in cash up front,
plus a shopping list.

Even told me I could keep
the Friedland for myself.

- What did you do
with the paintings?

Where are they now?

- We dropped them
at a storage unit.

The second half
of our cut was there.

That's all I know.
I swear.

[tense music]

- All right, talk to me
about this storage unit

in Little Haiti.
- Yeah, unit F938.

But the name on
the rental agreement's a fake.

We checked it
against every database

we can think of,
coming up empty.

- Yeah, they paid
for the unit in cash.

There's no way to ID the people
who commissioned the robbery.

- Which led to the murder
of Gary Whittock.

What about eyes on the unit?

- They have an older model
CCTV feed.

I'm piggybacking it now.

OK, I'm into the cloud backup.

Yeah, this is from
3:00 a.m. last night.

That is unit F938 on the left.

- Yeah, OK. There they there.

- Our two thieves,
Jasper Ray and Evan Hessel,

dressed up as NYPD.

- Explains how they got
into the gallery

without tripping the alarm.

- They drop the paintings,
pick up their payment.

- In and out,
less than three minutes.

- Scrub forward.
Maybe we're lucky enough

to catch our buyers
picking up the paintings.

* *

When was this?

- 18 minutes ago.

- I want eyes on every road

leading out of
that storage facility.

Send Maggie and OA
to that location now.

* *

- Jubal, we're outside
of the unit.

No sign of the buyers.

- Well, they must have
grabbed the paintings

and slipped through
a blind spot.

See if you can find any
evidence we can use to ID 'em.

- Open it.

* *

- It's them.
- What?

- They're all here.

- These buyers went through
a lot of trouble

to get these paintings,

and we know
they were just here.

- This doesn't make sense,
Maggie.

- What are we missing?

* *

- So you recovered
the missing paintings,

you prevented
an international fiasco,

and you solved a murder.

Yet something's bothering you.

- The buyers knew everything
about this heist crew.

They leveraged them to rob
the gallery on their timetable.

They were meticulous,
motivated.

They were careful
every single step of the way.

They were even at the
storage unit before we were.

They could have
taken the paintings.

They didn't.

- How do you explain that?

- Behavioral anomaly.

- Well, either your meticulous
buyers made one big mistake...

- Or they let us find
the paintings on purpose.

- So what exactly
are we looking for?

- I'm not sure.

We know that there was
31 minutes between

when the buyers cut
the CCTV feed

and we arrived.

That is more than enough time
to take the paintings and go.

- Maybe they were being
extra cautious.

Kill the cameras,
come back later for the art.

- I don't think so.

Look, they cut
these four paintings

out of their frames,
but then, for some reason,

left this one intact.

- "The Knife Grinder,"
painted in 1912

by Ukrainian artist
Kazimir Malevich,

who founded
the Suprematism style.

- What's going on here?

- Looks like discoloration.

Yeah, the edges of the canvas
are more saturated.

Could have sustained damage
over the years.

- Can you pull up a photo of it
hanging in the gallery?

- Sure, hang on.

[tense music]

- No discoloration.

How's that possible?

- Do you see that this frame
is narrower than that one?

- You're right.

I mean, we're talking
only a fraction of an inch,

but those frames
aren't the same width.

- What if they used that
31 minutes to swap the frame?

- So the frames were switched.

- And then the new frames

exposed paint that had been
covered up for years,

so it never faded.

- OK, I need you to pull this
from evidence.

I want to check it out myself.

- We don't have it anymore.

- Why?

It was returned to the lender--
the Ukrainian consulate.

- The Ukrainian consulate?

- The buyers took
the painting on purpose,

swapped the frame
because they knew

we were going to return it.

- And these other four
were just decoys.

- What if they put
something in the frame?

- Like a Trojan horse.

- It could be
a surveillance device.

- That is a massive play,

smuggling something
into a foreign consulate

on U.S. soil.

- OK, we need to run this
up the ladder.

- Hey, this is Anna Vorpe,
counterintelligence officer

from OGA.

Special Agent Bell and Zidan.
- Pleasure.

- OGA--
Other Government Agency.

- Indeed.
- Isobel has sung your praises.

- Mm, how's my girl doing?

- Uh, she's getting better
every day.

- Good. She knows
how this game is played.

So I understand
that you're concerned

about some dusty old paintings.

And for some reason,
you need counterintelligence

to weigh in.
Did I get that right?

- Well, we suspect someone hid
a surveillance device

inside a painting's frame

to spy on
the Ukrainian consulate.

And we were wondering
if we didn't just stumble

over another
three-letter agency's op.

I know you don't speak
for all of them, but--

- No, I can actually.

And the answer is no.

If the U.S. wanted
to spy on the Ukrainians,

we wouldn't need
a painting to do it.

We'd have planted microphones
in the walls

when we renovated
their building

7 and 1/2 years ago.

But I admit
that the timing is concerning.

- Why is that?

- Well, there's a rumor
that, earlier this week,

the Ukrainians picked up
Egor Petrovich in the city.

- A rumor?
- A highly verified rumor.

They still have Petrovich
detained at their consulate.

- Sorry, are we talking about
the Russian warlord?

- Yeah, he's head
of the Strauss Group.

They're a well-funded,
private army

full of ruthless mercenaries

wanted by at least
a dozen countries.

- So you're saying
he's been here in New York.

- We had a special unit
hunting for him

on an ICC warrant,
but hand it to the Ukrainians.

They got to him first.
- Well, that makes sense.

He ordered a massacre
in a Ukrainian town

full of women and children.

- Yeah,
he's a real shoot first,

think later kind of monster.

- So if the Ukrainians
scooped him up,

they're going to want
to fly him home

to make him face charges
on their soil, right?

- So let's say there's no
listening device in the frame.

But what if there is
an explosive

and one of Petrovich's enemies
is trying to take him out?

* *

- All right, people, eyes up.

This is an Anna Vorpe with OGA.

She'll be running point
with us.

Now, listen, right now,

Egor Petrovich,
the Russian warlord

and head
of the notorious Strauss Group,

is being held captive
in the Ukrainian consulate.

And to make matters worse,

we believe an unknown
third party is planning

to assassinate him
on U.S. soil.

- That would have major
geopolitical ramifications.

- The whole world wants
this monster dead or alive.

So let's be the team
that finally brings him in

once and for all.

- I'm on hold with
the Ukrainian consul general

just to give him a heads up.
- OK.

Our team is en route
to the consulate,

just in case.
- OK, great.

NSA, liaise with GCHQ.

DOJ, hey, wake up
our legal attaches

in London and Brussels.

See if they have
any intel as to who

could be behind this play,
yeah?

- That's a dice roll.

Strauss Group has mercs
in Nigeria, Sudan, Libya.

There's no shortage of enemies

who want to take this guy
off the board.

- Jubal, phone line
just went dead.

- What? Try them back?

- I can't get through.

- OK.
What's going on here, people?

- OK, boss, yeah, it looks like
there was a power outage.

Some kind of surge.

It's isolated, though.
It just hit one building.

- The Ukrainian consulate.
- Yeah.

- All right, talk to me.
What could do this?

- A low-yield, short-range,
custom-built EMP.

That must have been
what was hidden in that frame.

- Well, whatever it is,
it just blew out

every circuit in that building.

- Whoever's coming
to take out Petrovich,

it's happening now.

- Warn our field teams.

* *

[tires screeching]

* *

- Maggie.

FBI!
Don't move!

[gunfire]

- I've got eyes on Petrovich.

[gunfire]

[men speaking Russian]

[engine turns over]

[gunfire]

- [grunts]

- Let's go!

- [groaning]

- AK-47.

- [groaning]

- Where are they taking him?

- He's free now.

You'll never find him.

- Russian.
From the Strauss Group.

- This wasn't an assassination.

- No.
It was a rescue mission.

*

- Our two Russian mercs
just ripped Egor Petrovich

out of Ukrainian custody
in broad daylight.

Now, where the hell
did they go? Come on.

- It turns out the plates
on the van were stolen.

But we issued a BOLO based
on the van's description.

- These guys
did their homework.

Whatever route they're taking,

they're not showing up
on traffic cams.

- Yeah, well,
the Strauss Group is

well-funded and trained
in urban warfare.

We are not letting them
get away.

- Jubal, they've finished
processing the Russian

that Maggie wounded.
- OK, thank you.

Keep looking!
You coming?

- Why not?

- Sneaking a custom EMP
into a foreign consulate,

human smuggling
of a wanted Russian warlord,

attempted murder
on federal agents.

I'm not going to lie to you,
Andrei.

This is going to land
on you like a hammer.

Unless you talk to me.

How are you planning on getting
your friend out of the country?

- You're asking me
to kill my own brother.

- No, I'm asking you
to cooperate.

- You don't understand.

I did not free Petrovich
out of loyalty.

This man is nobody's friend.

He rules with money
and cruelty.

- Wait, so what does this have
to do with your brother?

- Mikhail is in Belarus.

Petrovich could
get to him easily.

It's his insurance policy.

He saw me fall today.

He knows you have me.

If I give up Petrovich now,
he will have Mikhail killed.

I cannot help you.

You cannot help me.

- What if I can guarantee
your brother's safety?

You cooperate with us,

and we will get him
out of Belarus.

- Who is she?

- Nobody.

[tense music]

* *

- OK, so listen up.

One of Petrovich's men
just revealed

they're moving their boss
to a private airfield

somewhere outside of the city.

Unfortunately, he was
never told the exact name.

- There are at least
a half dozen options.

- All right,
so let's narrow that down.

I want everyone on this.

We know they were driving
a black Sprinter van,

stolen plates.

We should be up on traffic cams
on every highway

heading out of the city.

- Hey, I think I got him.
- Yeah?

- Heading towards
the 59th Street Bridge.

- Yeah, yeah, yeah.

OK, so--so what is
in that direction?

- Liberty Airport in
Long Island is their best bet.

- That's got to be it.

- OK, sending our team
to head them off.

* *

- Maggie.

- Yep, I see it.

- Eyes on the van.

[tires squealing]

Well, they know
we're on their tail now.

- Scola, they're headed west.

[tires squealing]

South on Gaston.

* *

- We got him pinned in.

[gunfire]

- Moving west on Queens Plaza.

- Going east!
- Jubal!

Suspects are fleeing on foot.

We're in pursuit.

The van is clear.
Hey!

Keep this place locked down!

* *

- [grunting]

- Don't move!

It's not him.

- I don't have him.

[camera shutter clicks]

- Hey, Maggie and OA
got the mercs.

Scola, you are on Petrovich.

Be careful. He is dangerous.

[both grunting]

- Petrovich!
It's over.

Show me your hands.
Hands!

[gunshot]

* *

Hey, Jubal, it's not him.

- That's not Petrovich either?

- No, that's Ronen Vovnoboy,

another one
of his private soldiers.

- Right, but Maggie saw
three men get into that van--

two mercs and Petrovich.

- Something's not adding up.

- How the hell did we lose him?

- I don't get it.
I'm looking at traffic cams.

The van never stops
after leaving the consulate.

There was no time
to drop him off anywhere.

- The van!

- Heads up!

Petrovich never got
out of the van.

He is still in there!

[gunshots in distance]

- OA?

- Yeah, I heard that.

Hey, take him.

* *

- An oxygen tank.

- We have two officers down.
Send ambo to our location.

- What the hell happened?

- Petrovich was hiding
in a false compartment.

- So they could smuggle him
into the airport.

- Jubal, we lost Petrovich.
- Hey!

Did you see someone?

Which way did they go?
- He ran that way.

- OK.
Wait with them?

- Let's move.

- Jubal, we think
that Petrovich came

into the food market.
We need to set up a perimeter.

- Yeah, I'm already on it.

- This is not good.

This place is packed
with civilians.

- Yeah, he did this on purpose.

The group kills civilians
as a tactic.

- We need to approach
with extreme caution.

- OK, I'll go around,
flank him from the other side.

- Let's move.

[tense music]

[crowd chatter]

* *

- OA, I think I see him
on the left.

[gunshot]
[screaming]

- Everybody down!

- Shots fired!
Shots fired!

Move, move, move!

[gunshot]

- Is this the only angle
we have?

- The market has
limited cameras.

- I want every view
you can find.

We need eyes at the market.

- Jubal, he won't care
how many people he kills.

- Send every resource we have!
All right?

All hands on deck.

- Jubal,
send all the medical you can.

- You need to get down!
- Move, move, move!

I've lost him.
- Stay down.

I can't see him.
[gunshot]

OA!

[gunfire]

- I don't have a shot.
- I don't either.

[gunshot]

- Move, move!

* *

- Guys, he's got a hostage.

- FBI.
Drop your weapon.

I said, drop your weapon!
- Or what?

- She's innocent.

Drop your weapon,
and we can talk.

- Give me helicopter
to Liberty Airport,

or I blow her brains
all over the place.

- All right, Jubal,
we need a sniper team

and a negotiator here.

- I don't know, Scola.
Just wait.

- I want charter jet!

You hear me?
Direct to Moscow!

You have ten minutes, or her
death will be on your soul!

* *

- Cover me.

- One step closer, she dies.

- Maggie, what are you doing?

- Back away!

- Maggie!
- Maggie!

- Back away!
Now!

Or I'll kill you!

- Then do it.

* *

Egor Petrovich,
you're under arrest.

* *

- How'd you know it was empty?

- He's a shoot first,
think later kind of monster.

He wasn't shooting.

* *

- Hey.
- Hey.

- I just wanted to say
it was great

riding with you, Valentine.

- Yeah, yeah.
You too.

- One more thing,
regarding Andrei Orlav's

brother in Belarus.

- Yeah.

- It's a big "no can do."

- OK, but we looked
into that guy's eyes.

We told him
we'd protect his brother.

- You're new to the SAC chair.

It's just how
the game is played.

I know it doesn't feel like it,
but that was a win.

- The way you read Petrovich

like a book was just brilliant.

- Flattering me, I see,

hoping I leave
my diagonal open.

Nice try.

- You have a gift, Maggie.

You are a natural profiler.

BAU would be lucky to have you,

and I would be very happy
to put in a word.

- I--no.

Well, yeah, thank you.

But that's not what I want.

I love where I am.
I love my team.

- Then what do you want?

- I think this past year
has made me feel off balance.

[soft dramatic music]

* *

I feel like
when I look around, I don't--

I don't really recognize
the world anymore.

So I guess I was hoping
that if I could get deeper

into the minds of the criminals
that we're hunting, then...

maybe I could make
sense of something.

[scoffs]

- I think
you're well on your way.

* *

However...

your chess strategy
still needs some work.

* *

- [sighs]

* *

[dramatic music]

* *

[wolf howls]