What are you thinking?
I'm thinking it was the accountant, in the Iaw office.
With the iIlegaI wire transfer.
Either that or CoIonel Mustard in the Iibrary.
We can pulI prints on the candIestick.
Let's grab his company's financiaI records from Iast year.
They're on fiIe.
You want me to do it?
We have cIerks for that. I got something better. I got you.
Okay.
Pbbt.
[SIGHS]
Pow.
Sticking around, huh?
LAUREN: Yeah.
Hey, is it true you once sent cham?agne to a surveiIlance van?
That's the rumor.
Been checking up on me? You were part of my thesis at Quantico.
RealIy? How did we do?
Ninety-four.
Not bad.
Find anything interesting?
Truth or rumor?
Is there a difference?
The counterfeit certificates were your onIy conviction.
But you're implicated in at least a dozen confidence schemes, frauds and forgeries.
Is that why you asked to be reassigned to the White ColIar Unit?
I wasn't gonna pass u? a chance to work with someone l've admired since coIIege.
PIay your cards right, we'lI make a case or two.
Oh, honey. I was taIking about Agent Burke.
He caught you twice, right?
Hey, maybe you can heIp me because I'm Iooking for some records.
Yeah. We got cIerks for that.
[CLEARS THROAT]
Peter? Yeah?
Yeah, your wife's here. She's not alone.
PETER: She Iook upset to you?
No, they Iook-- They both look u?set.
You know, a buddy of mine, he always kept a separate ceIl ?hone.
One for the wife, one for the girIfriend. It helps avoid this kind of crossover.
That's not my girIfriend, okay? I don't have a girlfriend.
It's El's friend, Dana. They've known each other since high schooI.
Hi, honey. We need to taIk.
Okay. Thanks, Jones. That'Il be alI.
Have a seat, honey.
So why is Dana here? Is she okay?
No, it's actuaIIy about her husband, John. Hot-wings guy.
Remember, he made those hot wings at the barbecue...
...the Cooper barbecue a while back? Right, him.
He was stationed overseas. He finished Iast month.
What's the problem? This morning...
...the FBl issued a warrant for his arrest.
AIl right, what's the Iast name?
MitcheII. MitcheII.
What happened? Some stoIen goId in a storage shed.
They think he brought it. Dana came to me for heIp.
She has no idea why he's a suspect. Think l do.
WeIl, what is it? It's gold artifacts from Iraq.
Got his prints aII over the pIace. Hair evidence.
EI, this doesn't look good.
Found that fiIe--
This can wait. ELlZABETH: No.
Neal, come in.
Now, NeaI, just because someone's accused of doing something...
...that doesn't mean that that person is guilty, right?
Define guiIty.
You think he's the best ?erson to ask?
Neal?
I sup?ose it's ?ossibIe.
See? That's what I thought.
This says "whereabouts unknown." Is he on the run?
He's at his brother's.
I didn't know the address.
If you're keeping information, that's aiding and abetting.
Okay. l think I grabbed the wrong fiIe.
I'm gonna get the right one. No, stay. My turn.
If we have your prints and hair on the scene and you're on the run, are you guiIty?
Oh, now he's the best person to ask?
I think your friend shouId turn himseIf in.
I compIeteIy agree with you.
That's why I toId Dana to telI him what to do. Turn himseIf in.
So he is turning himseIf in.
Yes. He's gonna be turning himself in to you.
[INAUDIBLE DlALOGUE]
Peter, thank you.
God, do I feel guiIty.
You think he did it?
Artifacts from the royal cemetery cry?ts of Ur in Egypt...
...1 000-year-old gold. A Iot of money is always a Iot of motive.
That's a shame. ApparentIy, he melted some of it down.
Hey.
DANA: I'm sorry. That's aIl right.
John. Peter.
I didn't do this. lt was set up.
Your prints were alI over the goId, John.
My ?rints?
I gotta go. Listen, ?lease.
Look, my Iawyer said I shouldn't say a word.
When I was overseas, a guy asked me to heIp him bring some goods to the States.
I said no.
John-- His name's Aimes. Patrick Aimes.
He's in the State Department.
Just look into it, ?lease.
I wilI.
Oh, my God.
[CHATTERlNG]
Excuse me.
That was surprise on MitcheIl's face when we toId him his prints were on the gold.
I noticed that. But that doesn't get him off the hook.
There's something eIse. What?
What's the statute of limitations on--? Just teIl me.
You can't meIt down gold without getting spIash blisters on your arms...
...no matter how careful you are.
PETER: WeIl, MitcheII may be burn-free, but that doesn't make him innocent.
Maybe we shouId check out this Aimes guy.
AIready did.
He was working for the State Department...
...overseeing reconstruction of MosuI a few months back.
NEAL: Where is he now?
Working for a private security contractor here in New York.
Sounds like he's done welI for himseIf. I'm gonna go see how welI.
NEAL: AIl right.
AIMES: Every window...
...every room, every chiId gets that view every morning.
Mr. Aimes.
Am I interrupting?
Peter Burke, FBI.
If you don't mind waiting for me by the cars, we'II finish this in a minute.
If you don't mind, I have a few questions about some stoIen Iraqi artifacts.
AIMES: Oh, right.
I had read some important pieces were recently recovered.
That's right. We have a suspect in custody. WeIl, good.
I'm gIad to hear justice wiII prevaiI.
Given your ?ast ex?erience, you might have some insight...
...as to how a bunch of goId from MosuI finds its way...
...to a storage shed near Fort Monmouth.
Of course. CaII my office. We'II set u? a meeting.
Sure.
PETER: There was one other thing.
The suspect says you framed him.
Any idea why he might say that?
I wish I knew.
Is there something eIse, Agent Burke?
Nope. I got everything l need.
Jones, have every recovered artifact moved to our office ASAP.
I want to re-examine the evidence.
Where's Peter? I thought he caIled this meeting.
He's been ?oring over this with the Evidence Recovery Team...
...since he saw bIisters on Aimes' bodyguard.
Said something about a breakthrough.
Wow. l'm Iooking for clues.
You're looking for your next jail sentence. God.
Didn't you just join this unit? I didn't even have to go to ?rison first.
So if you were gonna frame somebody, how would you do it?
I've never framed anybody. OnIy been framed?
Yeah? What for? Counterfeiting stock certificates...
...about a dozen other confidence schemes, frauds and forgeries.
Hear you had a breakthrough. I got something. Notice the prints.
Very cIean. Maybe a IittIe too cIean?
They're aIl MitcheIl's? Yup.
Notice anything eIse?
They're aIl Ieft-handed.
Uh-huh.
That's improbable.
It's im?ossibIe.
What does it mean? I don't know.
NEAL: You think the prints were pIanted?
PETER: WeIl, it wouIdn't be hard, would it? Don't Iook at me.
It wouIdn't be that hard. Starts by getting a clean set of prints...
...and somebody got MitchelI's. But only his Ieft hand. Why onIy the left?
How was the gold found? Anonymous tip.
There's a red fIag. Mm. Could be.
Easy. Easy there, Tiger. ShouIdn't you be getting home to EIizabeth?
Dana's been with us for a few days.
Oh. How's that going?
She's been through a Iot.
Oh, no. This has gotta be rough on her. It's gotta be.
Look, l try to be a good person.
You have your moments. Yeah, just-- I don't--
Is it the crying? Yeah.
I can handIe everything eIse but women crying. That's alI.
I don't know what to do. l try to fix it. With you, I give you a sIug on the shouIder.
TotaIIy. And I teII you to cowboy up. But it's--
We got the ?rint theory. That might cheer her up.
Yeah, it couId be something if I can Iink it to Aimes or the bodyguard.
What? We've been here an hour.
But in that whoIe time, you've onIy touched these bottles with your right hand.
MitcheII had drinks with whoever Iifted the prints.
Can you ask him? MarshaIs are sitting on him.
I couId take the time to reach out...
...fiIe the pa?erwork, go through the usuaI channels--
Or you could just ask his wife-- Wife. Right now.
Hey, honey. Hey, honey.
Hey, Dana.
How you hoIding u??
It's hard, you know. It's the not knowing that's kiIIing me.
Any news?
WeIl, which do you want first?
The good news or the bad news?
There is bad news?
Not more than there has been.
He's stiII charged. It stiIl Iooks ?retty bad.
I'II go with the good news. There are some evidence anomaIies.
Someone may have planted his ?rints on the goId.
So you mean he reaIly was framed.
It's possibIe.
I'm curious.
Did he have drinks with anyone recentIy?
The prints are cris?.
Which wouId indicate a gIass or a bottle.
So it was ?robabIy for a beer.
[SOBS]
It's not okay, reaIly.
Yes, it is. This is the good-news part.
Can l talk to you for a second?
PETER: Yeah. Okay.
I'II be right back. Mm-hm.
What did I do? [WHISPERS] I don't know. See, she's crying.
Yeah. l see that she's crying. Shh!
[WHISPERS] I need to know if John met someone for a drink.
Maybe he didn't teII her. She sus?ect him of cheating?
Now I'II Iet you talk. This is important.
Go upstairs.
Upstairs.
Thank you.
I'm sorry.
[IN NORMAL VOICE] No, it's okay.
Sometimes Peter doesn't realize that he's an FBI agent.
No, it wasn't Peter. It's....
John and l had a fight before aII this ha?pened...
...about a woman who took him for a drink.
John's not the cheating type.
What if he's not the guy that I think he is? What if he reaIIy did steaI that stuff?
I mean.... Look, you heard Peter, okay?
Evidence was pIanted.
Okay?
But who is this woman who took him out for a drink?
I don't know. She's a journaIist. She....
She was embedded with John's unit.
And she caIled about a month ago.
And she wanted to do a folIow-up story.
Something like "the life of a returning vet" kind of thing.
Wait. So they went for a beer?
Yeah. And I was mad at him...
...for not telIing me about it beforehand instead of after.
Yeah.
That night, John was more mad about his Yankee cap...
...than he was about the fact that I had accused him of cheating on me.
What happened to the cap?
I don't know. He left it at the bar. It never turned up.
The hat would expIain the hair fibers. Uh-huh.
You had EIizabeth taIk to her?
WeIl, I thought some femaIe intuition would be heIpfuI.
Dana started crying, didn't she?
I didn't even do anything. I had no idea what went wrong.
So who's this other woman?
This is Alisha Teagen. Segment producer.
She was a reporter embedded with MitcheIl's unit.
AIl right, so she invites MitcheIl out for a beer.
Let's say she takes that opportunity to Iift the prints off of the bottle.
She grabs the basebaII hat as an added bonus.
Toss in a IittIe DNA evidence to realIy lock the case.
Right. How do we connect her to Aimes? Do they know each other?
Other than the fact that they were in Iraq, there's nothing.
If Aimes stoIe the goId, he isn't gonna ship it himseIf.
He's gonna get someone else...
...so that his hands stay cIean in case they get interce?ted.
You know, press credentiaIs aren't a bad way to get by customs.
Let's go taIk to her.
PETER: l know, but CardinaIs had a basebaII team.
Wait here. I'II check in.
I'm here to see AIisha Teagen.
She's not in yet.
Agent Burke, FBI.
Sorry, sir. Would you care to wait upstairs? She shouId be in any minute.
Yeah, why don't I do that?
Be sure to Iet her know Agent Burke with the FBI is here to talk to her.
I'II be sure to do that. Thank you.
So, what's it Iike to be on camera? Oh, I'm not on camera.
RealIy? But your badge here says, "studio access."
I'm a ?ubIicist, actuaIIy.
Wow. How is it up there?
Cutthroat.
Looks Iike they just moved my meeting to 12:30.
Excuse me.
[CELL PHONE RINGS]
HeIIo? PETER: Hey.
Peter, where are you?
Upstairs, on my way to Alisha's office. Right here.
Thank you. You're welcome.
You Ieft me in the lobby.
WeIl, you looked busy.
Listen, AIisha's on her way in.
I want you to watch how she reacts...
...when the guard telIs her there's an FbI agent waiting for her.
No--
TEAGEN: Hi, Phil. Morning.
Miss Teagen.
There's an FbI agent here to see you.
Sorry? An FBl agent? Said his name was Burke.
Uh. TeIl him today's not a good day. He's aIready upstairs.
Did he say what he wanted? To Iet you know he's here.
Oh, thanks.
WOMAN: Hi, PhiI. Morning, Judy.
MAN: PhiI. Morning, Christian.
Hey, PhiI. Morning.
I ran out of hands.
My card's in my pocket if you just wanna grab that there.
Just get that for me? Don't worry about it.
AIl right, thanks, bud.
AIisha? Oh, there you go.
Thanks. Thanks.
[LINE RINGlNG]
NEAL: Leave a message.
Neal, I don't know what you're up to. But whatever it is, sto?.
Good morning.
Yeah.
TEAGEN: Hi, Kim. MAN 1 : There you go.
How you doing? Listen....
MAN 2: Watch your backs.
FEMALE ANCHOR: Hi.
I don't think l've seen you around here before.
Oh, I'm Gary.
The new sports anchor.
New sports anchor?
New guy brings the coffee, right?
Thanks, Gary. NEAL: Hey, no probIem.
What about Leonard?
Oh, you didn't hear. Yeah.
That's why the meeting got moved to 12:30.
I'II take care of it. Okay.
Don't say anything to Leonard.
Great work, champ. Hey.
PETER: AIisha Teagen.
Oh, you must be Agent Burke.
I hope this won't take Iong. I'm on deadIine.
PETER: Have a seat.
I'm curious about the piece that you did on Ca?tain Jonathan MitchelI.
Oh, MitcheIl. Of course.
PETER: What was your im?ression of him?
TEAGEN: He seemed like a good soIdier.
That it? To be honest, l didn't find him memorabIe.
Then why did you have a foIIow-up on him?
I was doing a series of segments on vets returning home.
How they're readjusting to Iife after the military.
PETER: How did he seem to you? He seemed to be doing fine.
Eager to get back home.
So you took Ca?tain MitcheIl out for a beer?
Yeah. He was one of severaI soldiers I was considering.
Mm.
When you say "considering," what exactIy do you mean by that?
TEAGEN: We wanted to get a sense of what they were going through.
If the reaIity Iived up to their expectations. Excuse me.
Did they change the code again?
WOMAN: Oh, here. Use mine.
[COPy MACHINE BUTTONS BEEP]
There you go. Thanks.
What exactIy are you investigating, Agent Burke?
Captain MitcheIl was arrested yesterday for the theft of lraqi antiquities.
Sorry to hear that.
So there was nothing particuIarly speciaI about MitcheIl?
No. In fact, l'm realIy sorry I couIdn't heIp you further.
Why the rush?
I toId you l'm on deadline.
Now, if you have no other questions, I'd Iike to get back to work.
Wait.
My card.
When you think of something eIse.
If l think of something else.
What was that about? You had me off my game.
You told me to watch her reaction. I did.
By breaking and entering? PhiI let me in.
Who's PhiI? The guy at the door--
You wanna know what I found? No.
She got rattled when she heard FBl.
She went to her desk and locked something in a top drawer.
Oh, God. I didn't steal it.
Photocopied it.
It's a pawnshop ticket. Bet l know what she was ?awning.
No, I didn't see this.
You didn't see this.
But l did see it.
MOZZIE: Hello? Hey, Moz, I got a favor to ask you.
5hat's up? Check out a pawnsho? ticket for me.
[CHATTERlNG ON TELEVISION]
How is she hoIding up? As good as can be expected.
Do you think we couId finish watching the movie?
Little girI time? Yeah.
Yeah. l'Il find something to do.
Good man. That's what I keep teIIing peopIe.
Have fun.
X marks the spot.
kate Ioves the cIassics.
Moz, it's me. MOZZIE: 'eah.
You nearby?
Did your suit put a tail on me?
What? No, Iook. I think I figured out the map.
It's a Bordeaux Iabel.
Bordeaux with an X. X marks the spot.
You know, Kate loves the classics.
Yes, she does.
I found a bit of treasure too.
On my way to show you.
Hurry u?. I waIk at a delicate pace.
[DOOR KNOCKING]
That was fast.
Yep. Coming.
Hey, Mo--
My man.
Expecting somebody? Not at alI.
Good. Come right on in.
Wow, unbeIievabIe.
Last time we had a drink, we made a breakthrough.
Hoping tonight, we can solve the whole damn case.
So Dana stiII at the house?
Yep.
Here's to freeing Captain John MitcheII so l can go back home.
I'II drink to that.
[DOOR KNOCKS]
I'II get that. It's probabIy June.
Photocopy of a ?awn ticket, but I got this coin.
What? Sorry, Mr. Haversham.
June isn't here at the moment. Oh, weIl, uh, too bad. Uh....
TeII her l Iook forward to our next round of drinks and Parcheesi.
Yep. PETER: Hang on a second.
MOZZIE: Oh, I'm sorry.
A?parentIy I'm interru?ting something. Yeah.
Who are you? I'm the neighbor.
Dante Haversham. Dante Haversham.
And you're dating June?
Courting. Courting.
What can I say? She Iikes a littIe cream in her coffee.
You realIy wanna keep this u?? No, I don't.
You're right. This is-- No. I know.
How about l just caIl you Mr. Haversham?
Come on in.
Thought you'd be talIer.
Me too.
WeIl, you're here.
Have a drink.
Oh, no. I don't drink.
WeIl, you do tonight.
Gin's good.
PETER: I don't get it.
GirI Ieaves nothing but an empty bottIe behind.
Least she couId do was Ieave a fuII one.
Guys, l'm right here.
Fair enough. Fair enough.
Whoo. Man, Iook at that view.
Is this why you guys do it?
Is this what it's aIl about?
It's not about the stuff.
Moz.
It's about doing what we wanna do.
Who cares about 9 to 5's and 401 K's?
PIaying by the ruIes onIy makes borders...
...that just take away everything that's good about Iiving Iife.
Moz, Moz, you lived in a storage unit.
Yeah. But I Iived there, man.
I lived.
Long as I don't have to Iive under anyone eIse's time or dime...
...l'm a free man.
I can do whatever I want.
Like going to the pawnshop and getting that coin you have in your pocket?
Come on. Let's see it.
It's a heIl of a thing.
IsIamic dinar from the Abbasid dynasty.
Last seen in the museum in MosuI.
I reaIly shouIdn't even know about this.
AIisha's guiIty, isn't she?
Looks Iike it. Ahh.
I'm holding damning evidence and l can't do a damn thing with it.
Your ruIes, Tin Man, not mine.
Come on, Peter. Give me the coin.
I can see it now.
"FBl agent iIIegalIy obtains evidence. News at 1 1 ."
That's a heII of a story. Too bad she can't report it.
Maybe she can.
I want everything set up to go from the top.
Great story on the governor. Teagen.
Yeah? Got a story for you.
Guy wants to taIk about a cover-up in lraq involving a soIdier. He'II onIy talk to you.
Why me? Maybe he's a fan of your work.
Got a number? I'lI caIl. Got something better. He's here.
McQueen! Let's set up to get this guy on tape.
WOMAN: You know what? You're gonna have to prove that.
MAN: Yes, yes. TEAGEN: We rolIing?
Oh, hi. Hi.
AIisha Teagen. Good to meet you. I'm a huge fan.
Thank you. You Iook better in person.
WeIl, thank you. Okay, you're aIl miked up. NEAL: AII right.
TEAGEN: Let's get started. Your name? Oh, we'II get to that.
Just reIax. Take a dee? breath.
So why don't we...?
Why don't we start at the beginning? Okay. Yeah.
Once upon a time in Iraq, there were two peo?le.
One was greedy and a thief.
The other was pretty and op?ortunistic.
Together they found a great deaI of treasure.
[CHUCkLES]
This is something we shouId be discussing off-camera.
Wait, no. That's the prologue. I'm getting to the setup.
They smuggIed that treasure here, went off without a hitch.
But they needed a faIl guy.
Somebody to take the heat off them so they couId seIl the treasure without interference.
That faIl guy is a soIdier you know.
John MitchelI.
WeIl....
UnfortunateIy, your story is missing something very important. Proof.
NEAL: Oh, I got proof. Here.
Recognize this?
What this story is missing is an ending.
I'm not sure what happens to MitchelI.
The outcome of his Iife...
...it may as welI be decided on the toss of a coin.
You wanna calI it for me?
Turn off the cameras.
MAN: HoId the rolI.
I want immunity.
[CHUCkLES]
You're funny.
What you get de?ends on what you give me.
Aimes Iooted Saddam's museum.
He set the whoIe thing up.
AIl I did was help him transport it back to the States.
You were his muIe.
What was your cut?
WeIl, it doesn't matter. I haven't seen a dime.
Not even this reaIly oId dime?
Prosecution hasn't taken immunity off the tabIe.
I needed the money.
Oh, I bet. I looked at your portfoIio. You Iost a lot when the market crashed.
Yeah. l Iost enough.
Look, l stiIl had access to the goId.
So l took some of the smaIIer ?ieces and turned them over.
And when you got scared that you were Ieaving a pa?er trail...
...you set u? MitchelI as a faIl guy.
I didn't wanna set him up. Aimes did.
AIl you did was get the ?rints and the hat.
What l wanna know is why you meIted some of the pieces down.
He thought if we made it Iook Iike most of the goId was gone...
...you wouldn't spend much time searching for it, even after MitchelI was locked up.
Where's the gold now? I don't know.
He moved it on you? Yeah.
I swear, l don't know where it is.
Then you're gonna heIp us find it.
You're gonna teIl Aimes that the FBl has been poking around.
We've been taIking to him so he'II believe you.
He won't trust me.
He wiII if you teII him the case against MitchelI is falIing apart.
And that he needs to unIoad the goId immediately.
What if he gets spooked, hey, and wants to wait?
You'II have to convince him that you found a private buyer.
A very rich, very discreet buyer.
So Aimes is wilIing to meet you at a private gaIIery Iater today?
A?parentIy, l'm a wealthy buyer.
And this is your car for the day.
[LAUGHS]
You're not kidding?
It's a Mercedes. NEAL: Oh, this isn't even an S-CIass.
I need to Iook Iike I can drop a few miIIion on antiquities.
This says, "Look what I kept in the divorce."
You can't make this work? What kind of a con man are you?
The Neal Caffrey I did my thesis on couId make this work.
Moz, wake u?. MOZZIE: Leave me aIone.
Come on. Come on, Moz. Come on.
Did you draw on my face? What? No.
Aimes is meeting with me today. Gotta go in as a serious high rolIer.
Need a car. I'II get my SIim Jim.
No. Can't steaI it.
Yeah. We "can't steal it."
Excuse me. CouId you ste? away from this car?
Thank you. Man: Whatever.
Yo, you need something? NEAL: Yeah.
Captain told you I was coming, right? Says FBI.
What you taIking about? Your Iimo was invoIved in a 41 8 Iast night.
I'm to bring it to the forensic motor ?ooI.
What's the pIate on that? XC7-32W.
We're cIeaning it now. Griggs, get this guy out of here.
I didn't get a calI about any of this. Beat it.
Is that our vehicIe?
Whoa. We've got gunshot residue.
Looks Iike she's been snowing back here.
How many of your guys touched this? We're a cIeaning company.
Oh, realIy? Okay. There's two ways we can do this.
One, I take this car back with me. No one gets asked any questions.
The second way, we assume whatever's in the back seat belongs to one of you.
Pssh. It's above my pay grade, paI.
Take it.
Griggs, give him a receipt.
Say no to drugs, chief. Yeah, whatever.
Oh, we got a high rolIer coming through.
I thought we gave him a Mercedes.
I guess he made it work.
God, that driver Iooks famiIiar.
Is he one of ours? That's Haversham. Good man.
ReIax. You're gonna be fine.
Yeah. You have no idea how dangerous Aimes can be.
It's just a game.
Never Iet them see you sweat, right?
AIisha...
...you Iook lovely.
TEAGEN: This is the gentIeman I was teIIing you about.
This is my business manager.
Charmed. Likewise.
Come in.
AIMES: Enjoy.
AIMES: How Iong have you been coIIecting antiquities?
Years.
I aIso admire the occasionaI reproduction.
So you're familiar with the PtoIemaic period, then?
I am. Shame the Greeks put an end to it.
Shame you didn't have a better history teacher.
Soter's reign over Egy?t ended after the death of CIeopatra...
...in the Roman conquest of 30 B.C., not the Greek...
...or so I've been toId.
WouId you Iike to see the actual ?ieces then?
I think I already have.
These aren't reproductions.
Good eye.
They've been here aII aIong?
I've always beIieved the best place to hide something is in pIain sight.
Is everything aII right?
Of course.
She's not hoIding it together.
Smile, AIisha. It's aImost over.
Yes, can we move this aIong?
Whoa, whoa, whoa, what's going on? Don't ?lay games with me.
You're with the FBI.
TechnicaIly, I'm just a consultant. She's with the FBl.
RegardIess, no need for a fifth wheel.
Aimes is on the run.
Jones, you take the front exit. Go.
Go. You two, go with him.
Looks Iike we have a standoff. No, we don't.
Shoot him. Then l'Il have you on murder too.
Go on.
PETER: You--
Hey! Hey, don't make me shoot you.
[OPERA MUSlC PLAYING OVER RADIO]
[GUNSHOTS]
Dro? the gun.
Jones, I need immediate backup.
This is not what I needed today.
[TlRES SCREECHING]
[CRASH]
I was never here.
JONES: FbI! Gun on the ground! Gun on the ground right now!
Hands on your head!
Nice bIuff.
I know you were bIuffing.
Because that's what I would've done.
I'II make sure the courts know that you heIped us out.
Looks Iike you can go home again.
Hi, baby.
[PETER CHUCkLES]
I'm reaIIy ?roud of you.
PETER: Oh, John's free because of you, EI.
Yeah, if you hadn't given me that ?ush. WeIl, it was more Iike a nudge.
Nudge? Maybe a IittIe Iove tap.
More Iike a left hook.
Oh, he must be realIy happy he's going home.
He's not the onIy one.
[ENGLISH - US - SDH]