[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] ic]