Original subtitles

[audio logo]

[whooshing]

[tense music]

[machine beeping]

WOMAN: Hey, guys.

This cave wasn't on the map stolen from the museum in Cairo.

We're here three weeks, Rachel,

and now you tell us this?

RACHEL: What difference does it make?

[non-english speech]

English, Kareem.

How do you know there are two maps?

Professor Abrams told me.

Well, now it makes sense.

Right.

Hey, guys.

I think I found something.

That's it.

That's it!

Gentle!

[non-english speech].

David, further that way.

Let's see how big it is.

That's it.

[groaning]

Be careful.

It's free.

Up to the side.

Ready?

Go.

[groaning continues]

[gasps]

Oh my god.

Oh my god.

Nice work, gentlemen.

MAN: [non-english speech]

[gunshots]

[woman screams]

No.

No, no, please.

Don't--

[gunshot]

[moans]

[gasps]

With these, the future can be told.

[grunting]

[gasps]

You bastard.

[whooshing]

[grunts]

No!

Let me go!

Please, help me!

No!

No!

Let me go!

[crying]

No.

[phone rings]

Hello?

MAN [ON PHONE]: Follow the instructions on the DVD.

If you deviate from any of the instructions,

you'll never see your daughter alive again.

No!

MAN [ON PHONE]: I want $2 million in 50s and 100s.

No configured serial bills, no new bills, no marked bills.

Do not involve the police or your daughter will die.

Stop it!

[groans]

Mommy, I'm scared.

MAN [ON PHONE]: You'll never see your daughter alive.

RUTH: I'm scared.

MAN [ON PHONE]: You'll never see your daughter alive.

[camera clicks]

[gunshots]

I'm sorry I was too late.

[phone beeps]

[grunting]

[glass shatters]

[grunting continues]

[screams]

[loud thud]

[sirens wailing]

[radio chatter]

MAN: Did you have to throw him out of the window, Shep?

I needed some air.

Could have made a call before you pulled a die hard.

Your phone was busy, Moore.

Maybe you should spring for an extra line.

Hey, you were a cop for 25 and change.

You know the routine.

The family hired me to find the girl, Parks,

after they lost faith in you.

Oh, yeah.

And you found her all right.

Look, Shep, I know you've had a rough day.

I know how you take it personal when things

don't go the way you planned.

So why don't you go home, have a couple of cool ones,

get it behind you, OK?

All right, Moore.

Hey, you know, Shepherd, we had

these guys as suspects in two other kidnap for ransom cases.

Does that surprise you? - No.

What surprises me, Parks, is that you

didn't connect these guys to the girl's kidnapper.

I did.

Hey, you know-- where are you going?

I'm not finished with you yet, pal.

You aren't, but I am.

I got a family to notify.

[radio chatter]

ANNOUNCER [ON INTERCOM]: Last boarding call for flight 137

service to Las Vegas.

All ticketed passengers on flight 137 to Las Vegas.

[chatter]

ANNOUNCER [ON SPEAKER]: Please do

not leave any unattended baggage in the airport lobby.

All unattended baggage should be immediately--

[tense music]

DIRK: I'm looking for a guy by the name of Zalman.

Zalman doesn't ring a bell?

You sure?

Came here like in the mid '40s.

He's a cutter.

Shalom, Rabbi.

Do you have a minute?

Of course.

How can I help you?

I'm in town from New York for a couple of days,

and I'm trying to locate a great uncle.

He immigrated to this area around 1947, '48.

He survived Auschwitz.

What's his surname?

Zalman with a Z.

Zalman?

No.

What kind of work did he do?

Jewelry business.

He was a cutter.

The only cutter I know of that age is Isaac Teller.

Isaac Teller.

[SINGING] Not too bad, not too good, just medium.

Ho, ho, ho.

OK.

Hello?

Isaac?

Hello? Isaac?

It's me.

I'm in here.

Where are you?

ISAAC: I'm here.

[chuckles]

We're going to be late for work.

Have you taken your meds?

ISAAC: Elizabeth, you're the best, but why do you have--

Just get dressed already.

We're going to be late.

Why are you such a nudge?

I've got three estates to look at this morning.

I'm going to need you to appraise a few stones for me.

Isaac, are you paying attention?

Hello?

Huh?

Of course, three estates.

Elizabeth, tonight, after we close the shop, how about you

and I go out for dinner, huh?

My treat, hmm?

[tense music]

Excuse me, are you Mr. Schachter?

And you are?

Vladimir Ukhov.

What can I do for you, Mr. Ukhov?

I need to have some jewelry appraised,

antique diamonds, some rare colors,

mostly large uncut stones.

I'm told there's a cutter who's in his 80s

who's supposed to be the best.

That could only be Isaac Teller.

Isaac Teller?

Yeah, he's a close friend.

Do you know how I can reach him?

He has a jewelry store across town with his niece Elizabeth.

You wouldn't have his address, would you?

Sure.

It's 137 West Broadway.

[camera clicks]

DIRK: Thank you, Mr. Schachter.

Not at all.

[clicking continues]

Where are we going?

What's going on?

You've hardly said a word to me tonight.

I've done some reflecting these last few days.

More reflecting than usual?

Elizabeth, years ago before your parents passed away,

I promised them I'd always take care of you.

You're the last of our family.

Don't start talking about dying.

I asked-- All right, shh, shh, dear.

Elizabeth, you've really become a very good cutter.

This is my legacy to you.

It's a diagram of a cut I designed

when I was in Auschwitz.

It's called the Tolkowsky modification.

Once you perfect it, it will make you a great cutter.

[tense music]

[camera clicks]

Ruth Mueller's rosary is tomorrow afternoon.

Do you feel like going?

For a child to die before a parent, a tragedy.

I'm just not up to it.

Please give the family my respects.

The

SHEPHERD: Family hired me to find the girl,

Parks, find the girl, Parks.

PARKS: And you found her all right.

[groaning]

SHEPHERD: I'm sorry I was too late.

Sorry I was too late.

Too late.

[whooshing]

[man groans]

[somber music]

The family won't accept the money, Shep.

I really appreciate it, monsignor, but I didn't earn it.

But you found Ruth.

You gave them a chance to bury her.

Then start a scholarship in her name, but I can't take it.

I understand.

Good to see you again, Shep.

Mrs. Mueller, I'm so sorry.

Thank you.

[phone rings]

DIRK: Listen, just pick up the niece

and bring her to the warehouse.

[doorbell rings]

Yes?

Good afternoon, sir.

I'm Vladimir Ukhov.

Moshe Schachter has given me the name of Isaac Teller.

Moshe Schachter?

Yes, come in, please.

Oh, thank you.

DIRK: Mr. Schachter tells me you're a great cutter.

I only do special jobs.

Most of the cutting is done by my niece Elizabeth.

The eyes, the hands, they are not what they once were.

You understand?

But you are available to consult?

Perhaps.

I have two stones consigned to me

for cutting, a white and a red.

A man could live 10 lifetimes without ever setting

eyes on stones like these.

Sometimes I feel I have lived that long.

Have you ever seen two stones each more than 500 carats

in the rough?

Whoa!

Never.

This I would like to see.

Where do you have them?

Close by and very secure.

[tense music]

[car approaching]

[tires squeal]

[screams]

[tires squealing]

[chuckles]

It's our lucky day.

[tires squealing]

[train honks]

[gunshots]

[tires squealing]

[cars honking]

Ha ha!

Good job, buddy.

He's gone.

[tires squealing]

[gunshots]

[sirens wailing]

[grunting]

Son of a bitch!

I'm going to kill you!

[gunshot]

SHEPHERD: Hey, lady, wait!

MAN: Police!

Lose the .45, pal.

Relax.

I'm the good guy.

Move away from the stiff.

Do it slow.

You on the ground, don't move!

Down!

Don't move!

[gunshots]

Now, he was the bad guy.

[chatter]

[phone ringing]

PARKS: Headquarters tells us that our man is a freelancer,

speaks four languages fluently, and has used 13 different names

that we know of.

As you can see by these photographs here,

he's also a master of disguises.

According to Interpol, our suspect murdered a team of five

archaeologists at an excavation site here in the Sinai desert--

[gunshots]

--for this, the Breastplate of Aaron.

The Breastplate of Aaron is one of Israel's most

sacred religious artifacts, and it may now be here in Spokane.

If we find our man, we may just find this artifact.

Now, I don't have to tell you he's armed and dangerous.

So watch your backs.

DIRK: Mr. Teller, please.

Oh!

May I?

Certainly.

Oh, these are the most magnificent stones

I've ever seen.

So, Mr. Teller, are you available to consult?

You have to ask?

What design do you have in mind?

DIRK: I want them cut into matching brilliance.

Five have been considered.

ISAAC: The king variation, the briolette, the trilliant,

the navette variation.

What is the fifth cut?

85 facets first designed by Marcel Tolkowsky

as a variation of his original brilliant.

And then in Auschwitz, you changed it, perfected it,

the Tolkowsky modification.

Who are you?

[groans]

Isaac?

Isaac, you here?

[tense music]

MAN: This is my legacy for you.

[grunting]

WOMAN: No!

As I told your buddies behind the mirror,

I don't know the girl.

[chuckles]

Let me get this straight, you see a girl gets snatched, you

chase the car, you take out two thugs, and that's your story,

Shepherd?

Well, not exactly, Parks.

What do you mean?

Well, I took out one thug and your buddies took out one thug.

[chuckles]

Oh boy, you just think you're real funny, don't you?

About as funny as your questions are stupid.

All right, both of you, knock it off.

- Hey, you guys. - Hey, wait.

What the hell are you doing in here?

Hey, do you mind if I take my client to breakfast because I'm

sure you haven't fed him yet?

Counselor, who the hell called you?

Heard on my police scanner.

Nice suit, Moore.

Makes you look taller.

Say, uh, where do you keep the batteries for that shirt, Eddie?

[chuckles]

You're a scream.

I'm finally taking a vacation.

Where are you going?

Paradise, baby, where they bury pigs in a volcano.

Now, Shep, hey, can you do me a favor?

Stay out of trouble.

Stop killing people.

Just till I get back.

I'll give it a shot.

You know, the press is going to be staking your place

out again after this one.

Yeah, you're right.

No parties.

[elevator dings]

Hey, Shep.

Hey, Alena.

Oh, um, Eddie told me about a no name woman

calling him about me being sweated in major crimes.

Any idea who that would be?

This, uh, this no name female, what

did she sound like, Counselor?

[blows raspberry]

Gypsy.

No, Gypsy-Ukrainian, if I had to guess.

Gypsy-Ukrainian?

Hmm.

Can't imagine who that would be.

[elevator dings]

Excuse me.

Don't be strangers, boys.

If I could fight, I would smack you.

You should have married her.

Been there, done that, Eddie.

Now, am I going to have a problem with my PI license

over this?

Shep, come on, I'll take care of it before I leave.

You're a good buddy and a good lawyer.

I know.

I'm the best.

Well, I wouldn't go that far.

[tense music]

Miss Teller?

I'm Lieutenant Moore with the Spokane PD.

This is Special Agent Parks with the FBI.

Where were you last night?

Can never find a cop when you need one.

About last night, you left the scene of a double homicide

and then waited 12 hours before coming in to report

your uncle Isaac missing.

Why the delay?

I left because I had no idea who was shooting at whom or why.

PARKS: So why wait 12 hours?

ELIZABETH: I was hoping my uncle might come home.

So?

What about my diamonds?

Well, we don't mean to be presumptuous.

Oh, go ahead, be presumptuous.

PARKS: Some investigators might suspect

that you set this whole thing up and it went down all wrong.

What about the guy in the van?

Did you question him?

You mean John Shepherd?

The man that saved your life.

And the answer is yes, we did.

OK then.

Excuse me.

Miss Teller, three years ago, you stabbed a man

that tried to rob your uncle.

And tried to rape me.

And you saw the verdict, justifiable homicide.

Are you suggesting that I set up the robbery too?

Look, I'm not missing, my uncle is missing.

So if you'll excuse me, I have to plan another crime.

She's dirty.

Why aren't you working, cutter?

Listen to me.

Whoever you are, I'm not going to do this anymore!

You want to play?

We'll play.

Look, I survived four years in Auschwitz.

You cannot threaten me!

Elizabeth?

What have you done with Elizabeth?

Cut the stones, old man, or I'll bring Elizabeth to you

one piece at a time.

ISAAC: This is my legacy to you.

It's a diagram of a cut I designed

when I was in Auschwitz.

It's called the Tolkowsky modification.

It will make you a great cutter.

MAN: [speaking german]

[tense music]

[exhales loudly]

[doorbell rings] - Come in.

Door's open.

I want my diamonds, Mr. Shepherd.

What diamonds?

The ones you stole in the park.

Stole?

From who?

From me.

OK, describe the diamonds.

They were rough, uncut.

I didn't get around to counting them.

SHEPHERD: Let me get this straight,

you're looking for diamonds that you can't describe

and you don't know how many of them

there are and you want me to believe they're yours?

ELIZABETH: Oh, you better believe they're mine.

And you better give them to me now.

OK, OK.

I won't kid any more.

Here.

Um, by the way, there's 13 of them, if you want to count them.

Thanks.

You're welcome.

Is there anything else I can do for you, Miss, um--

Liz Teller.

And yes, there is.

I've been told you're the best.

It's about a missing person.

Who's missing?

My uncle, Isaac Teller.

How long has he been gone?

Since last night.

Wait, last night?

How do you know he's really missing.

Maybe he's with his girlfriend having a wild--

ELIZABETH: He's over 80 years old

and he doesn't have a girlfriend.

I've checked with his friends.

No one's seen him.

Look, Miss Teller, when most people hire me to find someone,

it's because the cops have struck out

and I'm their last resort.

I just want you to find him.

How much?

Well, if I don't find him, nothing.

But if I do find him, 20,000 cash.

Mazal and bracha.

Excuse me?

Oh, it's an expression in the diamond

business meaning luck and blessing when

you make a deal on a handshake.

OK, deal.

Well, who was the last to see him?

I know he had a visitor.

How do you know that?

Because there were two glasses on his living room table.

SHEPHERD: Did you touch these?

Uh-uh.

Maybe you're in the wrong business.

Hmm.

What's that all about?

[doorbell rings]

What's the problem?

Hey, I'm sorry to bother you today, sir,

but I think you might have a problem with your fuse box.

OK, follow me.

Thank you.

SHEPHERD: Am I the only one?

No.

Actually, the whole building's down.

I've been working in the stinking basement

for the last two hours.

Ma'am.

There it is.

All righty.

Right to it.

[dramatic music]

[shrieks]

[grunting]

ELIZABETH: Shepherd!

[grunting continues]

Come on!

[grunting]

Yeah, come here!

[groaning]

[tense music]

ELIZABETH: This table wasn't broken when I was here.

Well, I'm sure your uncle didn't do that.

So someone came back here for the tea glass

with his print on it.

And it looks like he got a little bit

upset when he didn't find it.

Well, I have to assume your uncle was kidnapped.

ELIZABETH: Forget the assumption, he was kidnapped.

Who would do such a thing to such a sweet man?

This your uncle?

Yes.

SHEPHERD: Can I borrow it?

ELIZABETH: Mm-hmm.

SHEPHERD: Why him?

What's his background?

He was born in Poland, but he didn't get out before the Nazis.

Besides my parents who brought him here after the war,

no one else in the family survived the holocaust.

SHEPHERD: How did you get into the jewelry business?

ELIZABETH: Family, five generations.

Who trained you?

After my parents passed away, Isaac sent me to Antwerp

to train with the masters.

And so now I do all the cutting and he

does the important appraisals.

Would you like some tea?

Yeah, sure.

Why no ransom demand?

You tell me.

[zapping]

[groans]

Shepherd?

[groaning continues]

Shepherd!

[shrieks]

Don't say a word.

He'll be all right.

Shh.

Shepherd?

DIRK: Cut the stones, old man, or I'll bring Elizabeth to you

one piece at a time.

One piece at a time.

One piece at a time.

One piece at a time.

Whoa, what a place.

Who lives here?

My lawyer Eddie.

How'd you guys meet?

Ah, we met on a serial murder investigation.

Eddie had a female client that went missing,

and I was the lead investigator on the case.

I finally found the girl.

Well, what was left of her.

And soon after that, I retired from the force.

And then you became a PI?

Yeah.

Liz, don't answer the phone unless you hear my voice.

W-w-- wait a minute.

W-w-- wait a minute.

Wait a minute.

You're not leaving me here.

Look, I'll only be gone for a little while, OK?

And don't open the door unless you know it's me.

[door closes]

MOORE: OK, now, that is Isaac Teller's fingerprint.

SHEPHERD: What about the other print?

See, that's where it gets interesting.

He's a chameleon, a man of many faces.

MOORE: Oh, that is not good.

It usually means there's a red flag in the system.

Are you sure about where you got this fingerprint?

Have I ever lied to you, Moore?

[chuckles]

Not in the last 24 hours.

[tense music]

ELIZABETH: I think the last person who spoke to Isaac

was Marshall Schachter.

Who is he?

He's a jeweler, a friend of Isaac's.

Sometimes they go in together on a stone,

shop it around, and split the profits.

Well, let's go see him.

[grunting]

[doorbell rings]

ELIZABETH: Mr. Schachter?

Mr. Schachter?

It's Liz Teller.

Hello?

[floor creaks]

[gasps]

Is he--

SHEPHERD: Yeah.

That's the guy from Isaac's basement.

Shepherd!

[grunting]

[gunshots]

[gasping]

Hebrew.

Ocean mesh pot.

PARKS: So what were you doing here?

I think Schachter was the last one to see Isaac Teller.

I wanted to ask him a few questions.

Did you know the guy that got his throat

slashed from ear to ear?

No.

You?

We're running him.

Speaking of which, you are running out of lives, Shep.

Yeah, but who's counting?

PARKS: Man, you look like a roadmap.

[radio chatter]

MOORE: His rental car contract comes back

Anthony Maylam of Brussels.

His prints, however, come back someone else.

Look, people, sitting in this room,

we've got about half the alphabet agencies.

So let me ask this question in a different way.

Who the heck is this Anthony Maylam?

Let's take it outside.

Yeah?

I know a little bit about this guy, but not much.

You kept this from me?

I mean, what the hell?

We're partners on a joint task force.

Partners?

Partners my ass.

This is my show, my task force.

You work for me.

Understand?

Who is he, Parks?

And what's he doing in Spokane?

[exhales sharply]

He's tracking the breastplate.

For?

Interpol.

Interpol doesn't work in the States.

That's what DC is trying to figure out.

[scoffs]

Well, is there anybody else working under the radar?

Not that I'm aware of.

Something tells me this isn't just

about the breastplate or somebody who likes to change

his face and kill people.

Or am I wrong, Agent Parks?

Be careful.

ELIZABETH: The guy at Marshall Schachter's,

he told you something before he died.

Yeah, but it didn't make sense.

What did he say?

Well, first he said Hebrew and then

something like ocean mesh pot.

Ocean mesh pot?

The words are choshen mishpat from the ancient Hebrew.

The literal translation into English

is breastplate of judgment.

SHEPHERD: Oh, from the Old Testament, book of Exodus.

That's right.

I'm very impressed. You know what?

I got an idea.

If you hold on a second, I have something very

interesting for you to look at.

Just hold on a second.

I've got just what I was looking for.

Now, it was worn first by the high priest

Aaron, older brother of Moses.

So it came to be known as Aaron's Breastplate.

After the death of Aaron, the breastplate

was passed down through the tribe

of priests, the Tribe of Levi.

OK, here it is.

Now, if you can see, each of the stones in the breastplate

represented one of the tribes of Israel.

The priest was to keep their interest in his heart

when making decisions on their behalf.

ISAAC: What do you think, Dr. Yosef?

Dr. Yosef!

What do you think?

Yeah.

Yeah, it's-- for the stones, they are typical of the time.

It's-- the lapis lazuli, the topaz, the turquoise is--

The Phoenician engravings, Dr. Yosef?

Hmm?

The Phoenician engraving!

The Phoenician engraving?

Yeah, they're consistent with the script

in the region at the time.

And the weave and color?

Definitely pre-Mosaic, Egyptian.

This is exactly as described in Exodus chapter 28.

It's-- my preliminary judgment, and it might be careless,

but, uh, Heschel, this breastplate is authentic.

What are those two stones in the high priest's

hands, Professor?

SHEPHERD: Uh, urim and thummim.

Now I'm impressed.

PROFESSOR ABRAMS: And the words translate into English

as light and perfection.

Now, the stones, the urim and thummim,

were kept in a pouch behind the breastplate.

Did they have a purpose?

On important matters, the high priest would remove the stones

and ask a question of God.

He would then roll the stones like dice.

One stone symbolized yes and the other no.

Now, from the way the stones came to rest or the way

they cast their light, the priest was able to determine

God's answers to his questions.

So that's how God spoke to them.

PROFESSOR ABRAMS: These were ancient peoples, superstitious.

They believed they had a covenant with God.

Now, if it proves to be Aaron's Breastplate,

it was stolen from the excavation at Sinai desert,

right?

Yeah.

Forgive me, but I must ask.

How the breastplate came into my possession, Dr. Yosef,

will come out in due time.

But you will have the honor of returning it to the Israel

Museum in Jerusalem.

Oh, thank you so much.

This is-- this is unbelievable.

We can go now.

[gunshot]

[sighs]

Good morning, Jim.

PARKS: Alena, you got a minute?

Yeah, sure.

Your friend Shepherd is ruining our investigation.

Yeah, well, he does that sometimes.

Yeah, well, if he keeps doing that,

he's going to find himself in a world of hurt.

I'm pretty sure Shep can take care of himself.

Well, I'm not too concerned with Shepherd.

I'm more concerned with the people that he gets close to.

There aren't that many.

But if he's such a big problem for you,

why don't you just pick up the phone and call him?

How long have you been on the task force?

Nine months.

Where is this going?

You like it here?

Want to keep working here?

Maybe move up?

Or do you want to go back to sex crimes and dope

at the end of your year?

You know, I--

I don't like being threatened.

Hey, I'm not threatening you.

Be smart, Alena.

Have a heart to heart with your boy.

Or?

He's a shit magnet.

Fill in the blanks.

Yeah, there are problems with both stones.

Are you stalling again, cutter?

There's a fracture in the non-cleavage

direction in the white and a cloud where

the star facet should be cut.

So what are you saying?

What I'm saying is that the faceting machine

has a broken tooth gear.

Look, if you want the stones cut,

you're going to have to get me a new head mechanism.

You better be sure about this.

OK, OK, Alena.

I'll see at 7:00 in the morning.

[soft music]

[exhales sharply]

[glass shatters]

What happened?

It slipped.

Did you cut yourself?

It's Isaac.

I'm so worried.

We'll find him.

I promise.

[radio chatter]

Hey.

Hi.

How's it going?

Ah, could be worse, Shep.

What's your excuse?

Fresh out of 'em.

Say, I want to thank you for calling Eddie for me.

Hey, what are friends for?

Uh, just coffee.

ALENA [ON SPEAKER]: We are friends, aren't we?

Look, Alena, you know I've been through two marriages

already, the last one just two years ago.

Don't worry, I didn't call you down here to make

you talk about our past.

Then why did you call me down here?

Parks is really bent out of shape about the way

you've been treating him.

[chuckles]

Is that a fact?

That's a fact.

And if you don't back off, he's going

to make your life miserable.

Oh, really?

Did he say how he's going to make my life more

miserable than it already is?

Don't take this lightly.

Do you know that he used to be liaison for counterintelligence

at Interpol?

So?

[exhales sharply]

As a favor to me, Shep, would you back off?

As a favor to you, I will.

[static noise]

Now, I'll tell you what I really called you down here for.

I overheard Parks talking to this guy,

and I heard the name Colonel Speerman.

Now, they think that this Isaac Teller, maybe he's

more than just a kidnap victim.

Hmm.

Anything else?

I'm pretty sure I overheard the word holocaust.

Holocaust?

ALENA: Yeah.

Holocaust.

Rabbi, is there anyone in your congregation who survived

the concentration camps?

Several.

What are you looking for?

Work details.

I think I know someone who might be able to help you.

I'll call her for you.

Her name is Mrs. Rosen.

Uh, one other thing, has there been

any strangers by here in the last few days

asking you questions?

As a matter of fact, a young man came by just yesterday

looking for his great uncle.

Did he mention his name?

He said the uncle's name was Zalman.

Zalman with a Z.

I never heard that name.

So he thanked me and left.

[tense music]

RABBI MENDEL: He said the uncle's name was Zalman.

Zalman with a Z. Zalman with a Z. Zalman with a Z. Zalman

with a Z.

[elevator dings]

[exhales sharply]

Come on, let's go.

Where have you been?

Tracking down leads.

Where are we going?

Another lead.

Mrs. Rosen, can you tell us about the diamond

cutters at Auschwitz.

Yes, there were several master cutters while I was there.

They-- they used to cut diamonds in the camp for Adolf Hitler.

Did you know any of the cutters?

They were segregated from the main population

and very heavily guarded.

Do you recognize this man?

ELIZABETH: It's my uncle, Isaac Teller.

That's Haim Zalman.

No, no, no, it's Isaac Teller.

No, my dear, t-- that's Haim Zalman, one of the cutters.

Oh.

Oh.

He had a beautiful wife, Rebecca,

two young boys and a daughter.

The SS forced the men to decide, either cut

diamonds or die with their families in the gas chamber.

The men cut diamonds.

The wives became whores of the SS

so that their children could live.

And then one day, Rebecca and the children

were taken to the center of the camp.

And with Haim watching, an SS soldier

on orders from Colonel Speerman murdered Haim's family

there in cold blood.

I never saw or heard of Haim Zalman again.

Please, excuse me.

Why didn't he tell me about this?

Your uncle probably wanted to start

a new life after Auschwitz.

I can't even imagine what he went through over there.

The Tolkowsky modification.

What?

It's a unique cut for large diamonds.

What would your uncle need to cut these stones?

ELIZABETH: Very sophisticated and expensive equipment.

Let's start checking out the stores.

Drop Heschel at the Davenport.

Tell him I'll meet him there.

Hello.

May I help you?

I need a head mechanism for a cutting machine.

A head mechanism?

Uh, let me check and see if we have any.

Here you are.

You're lucky.

It's the last one we have.

How much do I owe you?

It's expensive.

It's $3,400.

How did you want to pay for that?

Cash.

All right.

Well, take care of that.

Don't you want a receipt?

[whistles]

Where to, mister?

The Davenport Hotel.

Step on it.

You mean the Davenport on Broadway?

Just drive.

CAB DRIVER: You know, I've had people in my cab

from all over the world.

I'm pretty good with accents.

I bet I could tell where you are from.

Cat got your tongue?

Just drive.

PARKS: This just came in from Bureau headquarters.

This is Colonel Speerman, appointed

by Hitler to oversee the cutting of diamonds

to help finance the war.

The collection was known as the Reich Stones.

And the most spectacular of all of them is this 400 carat

blue diamond known as the F hrer Stone,

cut in a design called the Tolkowsky modification.

Where are these stones now?

Well, uh, a few of them hit the diamond

markets just after the war, but they

were cut into smaller stones.

And the others are held by private collectors who may

or may not know the histories.

So if Isaac Teller was kidnapped to cut

two large diamonds, then what?

Well, he's cutting the diamonds

for a man who has no intention of selling

these in a legit market.

It's either black market or he's keeping them for himself.

Either way, our man, whoever he is, is freelancing for that man

right there, Colonel Speerman.

Speerman isn't walking around with that face anymore, is he?

No way.

[doorbell chimes]

Hello.

SHOPKEEPER: Hello.

Excuse me, ma'am.

Has anyone come in recently asking

for these particular tools?

As a matter of fact, there was a young man

in here earlier who purchased a head mechanism

and paid cash for it.

Is that what he would need?

Yes.

Did you see which way he went?

He got into a yellow cab.

That's all I saw.

OK. Thank you.

Thanks.

Here, you drive.

I'm going to call the yellow cab company

and find out who picked this guy up.

[phone beeps]

[train honks]

[shrieks]

There he is.

Wait here.

How are you, Calvin?

Hey.

Do I know you?

You picked up a fare in front of the Spokane Jewelry Supply

Store maybe two hours ago?

Yeah, I remember that guy.

I was just trying to be nice and he

was looking at me with some crazy eyes

like I owed him money or something, except he

didn't care about the money.

Where'd you take him?

Now, you know professional courtesy will not allow

me to divulge that information.

Well, I tell you what, Calvin, why don't I

take you down to police headquarters

and you can divulge it there?

How about that?

Are you serious?

Calvin, I'm as serious as a heart attack.

I took him to the Davenport Hotel.

Hmm.

Davenport Hotel.

[smacks lips] Great.

Thanks a lot.

Mm-hmm.

[tense music]

ELIZABETH: Ugh, do you know what the chances are seeing

this guy coming and going?

We've been sitting here for hours.

[breathes sharply]

And he may not be even staying at the Davenport,

even if that's where the cabbie dropped him.

Patience, Liz.

ELIZABETH: Hey, that's the guy from--

Yeah, our repair man.

You're getting good at this.

ELIZABETH: And who is the old man?

SHEPHERD: My guess is someone from your uncle's past.

Let's go.

[phone beeps]

[phone dialing]

Moore, it's Shep.

We're following the suspect east on Riverside,

in a silver town car.

We're being followed.

Stop here.

Go to the warehouse.

If they follow you, you know what to do.

SHEPHERD: Go back to Eddie's and wait for me.

I'll follow the town car.

I said go back to Eddie's.

OK, OK.

[tense music]

[phone beeps]

[phone dialing]

SHEPHERD [ON MACHINE]: Hi, this is John Shepherd.

I'm not in. Leave a message.

[machine beeps]

Shep, I'm not at the apartment.

I tailed the town car.

Keep the change.

Where is Isaac Teller?

Or do I have to beat it out of you?

[laughs]

Oh, that's what I like about you,

that you're worried about Isaac when you should

be worried about yourself.

Should I take that as a threat?

No, your last will and testament.

[grunting]

[sirens wailing]

Drive.

[phone ringing]

ELIZABETH [ON MACHINE]: Shep, I'm not at the apartment.

I tailed the town car.

[glass shatters]

[train honks]

Shep, I'm not at the apartment.

[dial tone]

[coins clank]

[phone dialing]

[panting]

MOORE [ON MACHINE]: Lieutenant Moore, Spokane PD.

Moore, Shep.

Listen to this cell phone message and tape it.

I'm on it, partner.

[machine beeps]

ELIZABETH [ON MACHINE]: Shep, I'm not at the apartment.

I tailed the town car.

[glass shatters]

Isolate and identify the horn.

Enhance the voice.

Get some Air Guard choppers and all available units

into this area.

Have 'em work the alleys for a silver town

car or Shepherd's pickup truck.

PARKS: You got it.

OK, what about Liz's cell phone?

If it's still working, we can do a GPS trace on it, right?

Yes, we can.

Give me the Air Guard.

[train honks]

You don't recognize me, cutter.

Speerman?

SPEERMAN: We both made it out.

You changed your name, I changed mine,

but were still fellow refugees who survived the holocaust.

Amazing what some men will do to save themselves.

Well, well, well.

Finally one happy family.

We now have the bargaining chip.

Do you want him to cut the stones?

Don't do it, Isaac.

They're going to kill us anyway.

What do you think, old friend?

Never again.

[groaning]

This is for my family.

[groans, gasps]

ELIZABETH [ON MACHINE]: Shep, I'm not at the apartment.

I tailed the town car.

[glass shatters]

[train honks]

[grunting]

[shrieks]

[groans]

[timer beeping]

ISAAC: Get away from her.

Get away from her!

Mwah.

Mwah.

Looks like she didn't like it.

[exclaims]

[gunshots]

[moans]

[beeping continues]

ISAAC: Help us.

Please, help us.

ELIZABETH: Can't you just cut the wires?

No, can't do.

It's a continuous circuit.

If I try to disconnect it, well--

just don't move.

I have to get this bomb off of you.

ELIZABETH: Shep, behind you!

[exclaiming]

[grunting]

Boyfriend's pretty tough.

[grunting]

What took you so long?

[beeping continues]

ISAAC: Forget about me.

Free Elizabeth!

Hurry.

Please, hurry!

Go, Isaac.

SHEPHERD: Let's go!

Come on.

Come on.

Shizer!

[explosions]

[radio chatter]

Did you have to blow up the building?

No hard feelings, huh?

All's well that ends well, Parks.

Will you see that these get to the Israel

Museum in Jerusalem, Shep?

I sure will, Isaac, along with the breastplate.

How about a trip to Austria, partner?

You've got to be kidding.

[laughter]

Nope, I'm not kidding.

[music playing]