MAN 1 : Oh, my God.
MAN 2: That's great.
ALEX: Excuse me. Sorry.
Huh?
You telegra?h your marks.
ALEX: Four years in prison and you're stiII the best.
Show off.
Miss me, Alex? Never thought about it.
You have something that beIongs to me.
ActuaIIy...
...it beIongs to a guy named Joe Nelson. Come on, you're stiIl running that trick?
SmaII amusements to keep the day interesting.
Now, what do you want, Caffrey?
I need your expertise on this.
ALEX: The music box.
You're finaIly admitting you never had it?
You got cIoser than anyone else.
We got cIoser.
But that didn't work out.
Maybe it wiIl this time.
Sorry. I can't heIp you. I gave u? on that a Iong time ago.
Yeah? Then why do you stiIl carry this in your purse?
It's a piece from the box, right?
I know your mark, remember?
Don't fauIt me for nostalgia. I couIdn't bring myseIf to part with it.
I don't know anything more about the music box.
My number's in here.
In case.
Good to see you, Alex.
PETER: Shift change, boys and girIs.
What's happening? Nothing unusuaI.
Housekeepers and staff coming in and out.
Our insider trader do any insider trading?
Oh, he's been a Iittle too preoccupied to make any caIIs. Rewind the tape, Jones.
That doesn't Iook like Mrs. Gray.
LAUREN: Bought a nooner with a younger version.
Hey, how do you know he's paying for it? Maybe it's true Iove.
Seriously? A guy that oId with a girI that young?
Buying her with something. PETER: When was this?
Oh, 40 minutes ago.
[GUNSHOT]
PETER: Was that on tape? JONES: That was a gunshot.
Shots fired. Lauren, calI u? the ops center. Request immediate backup.
Move in. Lauren Cruz, Squad C-12.
Cred number 1 1 0.
PETER: FBI.
LAUREN: Clear. JONES: CIear.
PETER: I got a body. It's Gray.
[WOMAN SOBbING]
Let me see your hands.
PIERCE: He ran out that door right over there.
JONES: Got foot?rints going out the door.
keep your hands where I can see them.
Backup on the way? N.Y.P.D. should be here in a second.
Check the upstairs.
TeII N.Y.P.D. we're pursuing a maIe sus?ect, armed and dangerous.
Here.
AIl right.
Have a seat.
JONES: It's clear u?stairs.
TeII me your name? Pierce.
Pierce, can you teIl me what happened?
He was hiding in the room when we came inside.
Then the gun fired.
It happened so quickIy.
PETER: Then the man went out the door?
[POLlCE SIRENS WAILING]
AIl right. AlI right. I want you to escort her to the hospitaI with N.Y.P.D. for review.
Try to get a description of this guy.
Okay, peopIe. Let's round up the staff.
I wanna taIk to every single person who's been in this house today.
Jones...
...find me Caffrey.
PETER: Go ahead.
That's a dead body.
Yup.
This doesn't reaIIy faIl under my area of expertise, Peter.
Murder isn't an intelIectual pursuit. I'm not a dead guy kind of guy.
So l'm gonna go.
You got a lot of rules for a guy who doesn't pIay by them.
NEAL: Yeah. AIdys Christopher Gray.
Heard of him?
Yeah, stock trader.
Made a kiIIing in derivatives right before the crash.
He has quite the art colIection.
Maybe this is my area of ex?ertise.
We've been sitting on him for three weeks.
Today, he comes home with a woman, possibly an escort.
Somebody takes a shot at him.
By the time we get here, he's dead, the kilIer is gone.
NEAL: So, what am l doing here?
PETER: Something's off.
What's wrong with this picture? Where's the witness?
She's in shock. Had bruises alI over her.
Lauren traveIed with her to the hospitaI with N.Y.P.D.
NEAL: WaIk me through it, SherIock.
Yeah, aIl right. The witness says that the shooter was aIready inside.
NEAL: This the girI's purse?
PETER: She and Gray came in.
There was a struggIe. Shots were fired.
Gray ends u? here.
Now I-- Are you ?aying attention?
Yeah, yeah, l can muItitask.
PETER: AII right. So the witness was doubIed up over here in this corner.
She said that they struggIed and then the guy went out the door.
I entered and then I--
I'm sorry. Am I boring you? One second.
It's a fake. What?
NEAL: The ink hasn't had time to fuIly dry.
This is high-end work. You can't get this on the street.
PETER: No, you can't.
Jones. JONES: Yeah?
PETER: Run indices on Pierce S?eIman.
And caII Lauren. I wanna see if we can get a real name off of Pierce. Her ID is a fake.
Copy that.
PETER: She used his shoe to make an impression.
She's not a witness, she's the shooter. JONES: Agent Burke.
No one eIse was in the room.
Nurses at the hospitaI took Pierce in for a private exam.
Left her alone to undress, she sIipped out the back. She's gone.
MAN: Thanks.
NEAL: You're late.
You're never late.
Rough morning. I had to take the subway in.
know how hard it is to rush when carrying this many bags?
Did Elizabeth kick you out? No.
Why the bags? You ask too many questions.
Lauren, are you Iooking up that stuff?
LAUREN: On it.
Jones, are you any cIoser to finding our missing girl?
We don't have much to go on.
Fake name, no match for the prints found. AIl we got is a ?urse.
We'II get that from ERT this afternoon. AIl right, stay on it.
I want a briefing as soon as it gets here.
JONES: Here we go.
Your options.
HoteI rooms? Peter, what did you do?
We're upgrading our wiring system.
Getting the whoIe HD surround sound put in.
EI took the dog and the car to her sister's, upstate.
Good news is...
...once this is alI in pIace, I can watch a game once the ?ower is back on.
How Iong wilI it be out? PETER: CoupIe days.
Hence the hoteI. LAUREN: Thompson HoteI.
You wanted a big TV. They have the biggest.
PETER: How much is this? Eight hundred and twenty-five...
...with our government discount. Next.
Ridiculous for you to stay in a hoteI. There's more than enough room at June's.
No, thanks. l'Il be fine.
This one has a pooI. l never had a pooI. Four hundred and twenty-five dolIars a night.
[JONES WHISTLES]
PETER: Let's go to the bottom of the ?iIe. Ah. Here we go.
That one? Fifty-nine bucks.
Book it. AIready did.
Isn't that the place where you ?ut Neal when he was first released?
They have an interesting no-heat ?oIicy. I don't need amenities.
Just give me a walI, a TV, a bed and l'm hap?y.
Are you serious? Yeah.
Peter, mi casa, su casa. Su casa is not even su casa.
Jones, what do we have? JONES: Okay.
These are the items from the woman's purse.
Name on the ID is Pierce SpeIman.
The card's a fake. No record of her prints.
We found the gun inside the fire?lace. Wi?ed of prints, seriaI number filed off.
Whoever she is, she's good.
That looks like a to-do list.
NEAL: "Verify pie, spike RN."
PETER: That's an odd Iist of activities.
It's a code.
Get this to the crypt anaIyst and then back to me.
I gotta go check into my hoteI.
No, no, no, moteI.
MoteI with an M.
[kNOCkING ON DOOR]
NEAL: Yep. I'm coming.
You're a bastard.
Evening, AIex.
I looked into you, Caffrey.
know your mark, right? Yeah.
You've turned fed?
I was forced fed.
That's funny, NeaI.
I know it's been a whiIe, but it's stilI my job to dig up confidentiaI information.
OccupationaI hazard?
Did you reaIly think I wouIdn't find out?
It was a smaIl hope.
Okay.
Every now and again they go after some Madoff-type guy and ask me how he did it.
Other than that, I barely communicate with them.
Then why the ankIet?
They don't Iike me much.
They use the anklet to track me remoteIy so they don't have to deaI with me in person.
Are you trying to set me up?
I'm trying to get something we both want.
What did you find, AIex?
PETER: HoteI with an M.
No TV.
[DOG BARkS]
Somebody Iose a dog?
[DOG BARkS]
[BARkING]
Why the sudden curiosity about the music box?
I couIdn't Iook for it in prison, but I'm out now.
And I was starting to miss you.
Nice try.
I tracked down the fence who gave me this.
He says there's been a sudden interest in the box.
Does he know who has it?
He stiII won't teIl me how he got this.
We have to find it before someone eIse does.
What's going on?
This isn't just about the box.
[kNOCkING ON DOOR]
You get a lot of Iate-night visitors. Probably my landIady.
Who is it? PETER: lt's Peter.
Who's Peter? He's just a friend.
He cannot know you're here about the box.
And we need a cover.
What are you doing?
Why eIse wouId I be here?
[NEAL CHUCKLES]
Just like oId times.
PETER: NeaI? NEAL: Coming.
You good? ALEX: Good.
What are you doing here? Oh, man, I'm so sorry for barging in, but I--
Oh, I'm reaIly sorry.
No, no, it's fine. She was just Ieaving. No, I'II go.
You a friend of NeaI's? You can say that, yes.
Peter Burke. How do you know each other?
I'm an FbI agent.
How's it going? FBI. lnteresting.
LoveIy to see you as always, Neal.
Hey, don't Ieave on account of me.
ALEX: Oh, no, no, no.
We're done.
Nice girI. Yeah.
She's an old friend. Ah.
You've got better-looking friends than l do.
What about kate?
NEAL: WeIl, you toId me to forget her.
PETER: And you Iistened to me?
NEAL: There's a first time for everything.
PETER: Oh, who you pIaying? Don't touch that.
What are you doing here? What happened?
MoteI. And it was occupied.
Oh, dog staying there? Yeah. What's with the dog?
Now you understand why I was forced to seek other accommodations.
Lucky for us.
Us? Yeah.
Su casa es mi casa, right?
Right?
Yes.
Right. Oh, I just got hungry.
Where's the remote?
This is gonna be reaIIy fun.
PETER: When asked, he quoted that he and the cow had been friends for years.
JUNE: No.
[PETER & JUNE CHUCkLE]
JUNE: The cow? Yes.
JUNE: But NeaI never does with me. PETER: No. l know. I know.
Morning. PETER: Morning.
Did you sIeep okay?
Oh, I couId get used to this.
You're in my chair. Oh, I didn't see your name on it.
You guys pIaying Scrabble?
Sort of.
We're trying to figure out what this means?
NEAL: RealIy?
I've seen a code once or twice in my Iife.
We were playing with shift ciphers. Yeah.
Glad you're having fun.
We shouId get him a banana or something.
I think so. Yes.
This is the actuaI Iist, isn't it?
You stoIe from Evidence. Borrowed, okay?
I made a copy for you guys.
It doesn't matter. I tried key words, anagrams...
...CharIemagne's cipher, Rohans, everything.
AIdys Gray.
You spelIed his name wrong.
AIdys is speIIed with a Y.
NEAL: What?
It's a shift code hidden in an anagram.
AIl right. There are five items on the Iist.
Shift the aIphabet 4-by-5 Ietters. A becomes E, B becomes F.
ReassembIe.
"CHECk PEW V" becomes "ALDYS GRAY."
It's a Iist of names.
A hit Iist.
The dead guy is fourth down.
Let's find out who's next.
Morning. Crypt anaIyst calIed. Shift code hidden in an anagram.
She caIIed you too? No.
But l need you to puII these names ASAP. Nice.
JONES: Hey, Peter. How was the hoteI last night?
Fine, Ioud. A bed's a bed, you know?
Peter stayed at my place. He couIdn't handIe the moteI.
I can handIe the motel. I just prefer tormenting you.
NEAL: Mm-hm.
Jones, do me a favor.
I want you to run ?rints on this.
See if we can find out who they beIong to.
keep it quiet? Yeah.
So the first two guys on the cracked-code Iist are EarI bauen, an oiI guy from Texas...
...and John EIga from L.A.
Both shut up quick when I sent Pierce's ?icture.
Swore never Iaid eyes on her.
They're married? LAUREN: Yup.
Third guy is Ben ThaIen. He's a real estate titan from New Jersey.
Two months ago, he claims he was shot during a hunting accident.
With a Seecamp .32 ACP. That's a good hunting weapon.
I'm guessing he never met Pierce either.
Right. Speaking of Pierce, we found a set of fingerprints that we think are hers.
We highIighted the areas where she touched.
NEAL: She's searching for something.
Her ?rints are over the drawers and paintings. Maybe looking for a safe.
You think she's robbing them?
Then why didn't she take his waIlet or any of the vaIuabIes in pIain sight?
This Iist is precise.
She's Iooking for something s?ecific. NEAL: Yeah, she's smart.
A?peaIs to their weakness to get in then takes what she needs.
But why shoot Thalen and kilI Gray?
Pierce had bruises on her back, right? LAUREN: Mm-hm.
She couldn't have done that to herseIf.
What? Do you think Gray walked in mid-theft?
Yeah. Preliminary tox screens on Gray reveaI a mild barbiturate in his system.
She ?robabIy drugged him and then went looking for what she's after.
Yeah. He woke u?. They struggled. She ?uIIed a gun.
She's not afraid to kiII if she has to.
Who's next on the Iist?
Last one's a IocaI.
Fifth and Iast and singIe.
Daniel Picah. He's a trust-fund baby. FamiIy left him a mess of money.
Wonder what he has that's so a?pealing? Whatever it is, couId get him kiIIed.
Is he taIking?
Yeah, you couId say that.
PETER: We shouId taIk to June about getting an eIevator.
NEAL: Didn't think you're staying that Iong.
DAN: Hey, FBI guys.
How's it going?
PETER: l'm Agent Peter burke. This is NeaI Caffrey.
Not Agent NeaI Caffrey?
ConsuItant.
What do you consuIt on?
Frauds, forgeries, cons.
DAN: Awesome hat trick. Can you teach me that?
You Iike that statue? Don't worry. lt's real.
[WHISPERING] He uses a Boaz Vaadia bust as a hat rack.
Do you know how much this bust is worth? DAN: I paid 450 for that.
I can't be here.
PETER: Mr. Picah. Hey, we're friends. CaII me Dan.
Okay. Dan, have you been in contact with any beautifuI women recently?
Sure. It's New york. I'm dating aII the time.
Why? What's going on? WeIl, have you been in touch with her?
No, but she's pretty. ShouId I be?
We think she might be after something you own.
Something rare.
I got tons of stuff. What do you think she wants?
We were ho?ing you couId telI us.
Maybe it's my sword.
It's a Go yoshihiro.
Japanese, 1 3th century.
Cost me $220,000, if you can beIieve that.
I love history.
Do you Iike history?
Silent ty?e. I get it.
Do you ever puII your weapon? Yeah.
You shoot anybody?
Shoot?
I've come cIose a few times.
Hey, we gotta move this along.
Are you not standing in the same space I am?
Peter, it couId be anything.
AIl of this is vaIuabIe and compIetely incoherent.
DAN: Wanna see the rest of the pIace?
[BOTH WHlSPERlNG] No, l realIy don't. But we have to.
Let's go, Moriarty.
[NORMAL VOlCE] Yeah, that wouId be great. DAN: Awesome.
I got four floors. Let's start at the to?.
Hey.
PETER: You want a beer?
Oh, we don't have any beer.
Oh, I got some.
I got us a whole case.
[PETER SIGHS]
You're sweating. Yeah.
This is a nice couch. I don't want-- Yeah, it's comfy.
MAN [ON TV]: We could get your shoes any time.
I'm reading here. I'm doing some research.
Yeah, so am I. I'm reading and researching and Iistening.
I'm muItitasking.
[TURNS DOWN VOLUME]
Wait. What are you doing? I--
No, no.
When I'm in my home, I Iisten to the game and l Iook at my case files.
Too bad we're not in your home. Yeah, the power is stiIl off.
So we'II have to hear it.
[TURNS UP VOLUME]
AIl right, I'm going downstairs.
Why? I'm going downstairs. I can't think.
It's too Ioud. lt's Iike-- AIl right.
The music box.
NEAL: Peter.
Go back to the house.
I toId you the power's out. l can't go back. Christopher Gray's house.
The FBI interrupted Pierce's search. She wasn't expecting that.
So whatever she was Iooking for is stiIl there.
Maybe we can figure out what Gray and Dan have in common if we go back...
...with Dan. With Dan.
DAN: It's the FBl guys.
Hey, weIcome back.
PETER: Dan, we need your heIp with something. Mind coming with us?
Awesome. Of course.
Let me get my hat.
Let's go. Yeah, looks good.
DAN: Thank you.
DAN: So this is a crime scene?
PETER: Yeah.
DAN: That was where the body was.
Don't touch anything, right? I won't.
Just survey the scene.
Dan, Iook in every room.
It couId be anything you have. I'II Iet you know.
Hey, Neal, maybe you could teach me that hat trick some time.
Yeah, yeah, maybe.
He wants to Iearn your trick. AdorabIe. Don't, Peter.
PETER: No, it's adorabIe.
It's adorable. Go keep an eye on him.
DAN: So, what ha?pens if I don't find it? Where are we going next?
He's staIIing. He wants to hang out with you.
No. He wants to hang out with you.
NEAL: He saw-- Is that finger?rint dust?
Neal, did you see this?
Yeah. Okay. Yeah, Iet's go check another room.
Okay. You're hanging out with him. No.
This is your job. Rock, Paper, Scissors. I'm not gonna pIay.
Rock, Paper, Scissors.
This is it.
Did I do good? You did great.
Do you know what this is?
It's one of the emperor's five eIe?hants. There's five?
In 1421 , ambassadors from aIl over the worId came to China...
...to celebrate the inauguration of the Forbidden City.
Upon Ieaving, the Chinese Emperor, Zhu Di, gifted them each with a treasure.
They were subsequentIy stolen and reappeared in the United States in 1 901 .
They were broken u? and soId individuaIly.
This is imperial jade. Each statue on its own is reIatively vaIuabIe.
How much did you pay?
Eight hundred thousand, if you can beIieve it.
Yeah, combine one with the other, you just doubled your price.
Link them together and they're worth between 1 50 and 200 miIIion...
...fenced in the black market. To us, priceIess piece of our history.
HUGHES: Agents and NeaI...
...this is Daichi Yoshida of the Ja?anese Embassy.
[NEAL SPEAkING JAPANESE]
[NEAL & DAICHI SPEAKlNG JAPANESE]
You are the ambassador of awesome.
Don't encourage him.
We are not interested in the monetary value of the statues.
We'd Iike to bring them home.
The Japanese government has filed a cIaim...
...stating the statues were stoIen from them and iIlegaIIy imported to the U.S.
We're coo?erating in the efforts to restitute them to their proper ownership.
And we thank you, Mr. Picah, for turning over your piece.
DAN: See? I did good.
NEAL: You did good, Dan.
We can finish this discussion in my office.
It's very important that we recover the missing pieces of the set here.
We don't want an internationaI incident on our hands.
Can't recover any of these ?ieces untiI we find out where Pierce is.
What if we know who her next target is?
[kNOCkING ON DOOR]
Hey, Peter, you got a sec? Just going through Dan's phone Iogs again.
No contact with Pierce.
Lauren is stiIl going through his com?uter? Yeah.
Listen.
I got that other info you asked for.
Her name is Alexandra Hunter.
She's a high-end fence.
Deals mostIy in Eastern European antiquities.
OnIy been arrested once in France, but aII charges were mysteriousIy dropped.
Checked with a former buddy of mine in the DA's office.
Just to see if he'd heard of her.
AIl he'd say is she has powerfuI friends.
Anything else? No, thanks.
JONES: AIl right.
LAUREN: I got something.
I've been going through aII of Dan's onIine dating profiles.
JONES: This guy didn't pIay coIIege footbaII. Yeah, he's not a doctor either.
PETER: He changed his profiIe picture to include the hat.
It just gets more adorable.
LAUREN: Pierce thought so too. She's desperate for the jade eIephant...
...she winked at him Iast night.
Left her ?hone number.
Belongs to a prepaid.
So what? ShaIl we arrange a meet? Move in for an arrest?
No, our evidence is too circumstantial.
Hughes is concerned we don't have enough to hoId her.
And she'Il disa?pear with the jade for good, which wiIl not make the Japanese happy.
Which wiII not make Hughes ha?py.
I say we send Dan in for one heII of a date.
Daniel?
You Iook different in your ?rofiIe picture.
PIeasantIy surprised?
No.
NEAL: Stay. Stay just for one drink.
I promise you. lt's worth it.
Another Ketel One on the rocks, pIease. Thanks.
Who are you? I'm the guy who set you up.
The FBI was sitting on Christopher Gray's house because l tipped them off.
And why wouId you do a stupid thing Iike that?
NEAL: So l could get to these first.
You got DanieI Picah's.
How did you get to it so quickly?
Dan just needed a friend.
I take it you don't approve of my methods.
I think there are smarter ways of getting what you want.
WeIl, it's different for a man.
You shouId be grateful for that luxury.
I have to work with what I've got.
NEAL [OVER RADIO]: SIightly jaded perspective. Excuse the pun.
I don't think so.
I have a Iot to work with.
You do have something I want.
And how do you ?ropose we soIve that? Team up.
I got two, you got three.
Separate, we're worth about 2 milIion.
That's not bad.
Together, we're worth 200 miIIion.
Which, if you're bad at math, is significantly higher.
I prefer to work aIone.
Then enjoy your 2 milIion.
So you are good at math.
You underestimate me.
He's got her.
Okay, NeaI, close the deaI.
Miss me, Caffrey?
Who's that? NEAL: What are you doing here, AIex?
Caffrey's fence. She's gonna blow the deaI.
I don't see you for five years.
Within minutes of waltzing back into my Iife, l've got the FBI checking up on me?
This is another setup. No, it's not.
It stings when someone messes with your job.
FBI ran my prints. That's bad for my business.
It's not what you think, AIex.
Jones, you run interference with AIex.
Lauren, take the back exit. I'II take the side.
We can't Iose track of Pierce.
Not much of an escape route.
I'm good on my feet.
I want the jade. You're not going anywhere without me.
It's just like a man to think he knows everything.
HeIp!
PIease, he's attacking me!
HeIp, he's attacking me! Get your hands off her!
NEAL: Very cIever. I work with what I've got.
MAN 1 : Hey! NEAL: Hey, wait.
I think there's been a misunderstanding. She's crazy.
MAN 2: What's your probIem? FBI.
MAN 1 : What? PETER: Let him go. Let him go.
MAN 1 : He was attacking a woman. AIl right. l'Il take it from here.
NEAL: Thank you so much. Thank you. AIl right.
NEAL: AII right. PETER: Lauren, got NeaI.
Pierce disappeared into the crowd.
Did you see where she went?
No. I was a IittIe ?reoccu?ied with the guys cIosing in to kiII me.
Cutting a Iittle cIose there, huh?
We weren't expecting your girlfriend to show up.
I know about AIex.
PETER: She disa?peared again.
What the heII happened back there, Neal?
What was your fence doing waIking through the operation?
What were you doing puIling her prints?
What, l weIcome you into my home and you run a fiIe on my friend?
You can't trust me?
After everything.
You telI me.
I know you're Iooking for the music box.
Maybe you're looking to pawn the jade too.
You Iet Pierce waIk. PIaying your own angIe?
There were three of them, Peter. You shouIdn't have Iet her go.
You know what? You think what you wanna think.
I'II waIk from here.
Where are you going? Home.
Something you don't have right now.
If you don't trust me, check my ankIet. I wilI.
Do it.
You found another gun.
Good. HeIIo, Mr. Caffrey.
How did you find me?
Your friend let your Iast name sIip at the bar. l did a IittIe research.
Come in. Sit.
Shut the door behind you.
You always break into pIaces dressed like that?
Where are the pieces?
Gave them to a friend for safekeeping.
Take me to them.
Okay. Wait.
We won't be taking your tracking ankIet with us, Neal.
As soon as I cut this, an aIarm is triggered. Res?onse time is five minutes.
So let's be quick.
[kNOCkING ON DOOR]
JUNE: Neal?
NEAL: Okay.
You speak a word and she's dead.
PIERCE: Hi. Can I heIp you?
Oh, I'm sorry to interru?t.
I know you toId me you were going to wait here for NeaI to arrive.
But l heard the door sIam. Is everything aII right?
PIERCE: Sorry.
Long day.
Neal's actualIy just getting out of the shower. But I wilI teIl him you stopped by.
That's fine.
Night. Night.
Tick tock.
Let's go.
[BEEPlNG]
Neal cut his ankIet.
JUNE: Oh, that's her.
HUGHES: AIl right. PuII every alias Caffrey has.
Hit the airports and the waterways.
We can't Iet him escape with the jade or the Japanese are gonna be very, very upset.
I don't think they ran together.
Neal knows better by now.
Peter, he set AIex up as a fence for the jade.
And he Iet Pierce escape tonight. Caffrey put every damn thing in pIace.
Peter...
...we both know he didn't run.
PulI NeaI's tracking information.
I wanna see everywhere he went this week.
LAUREN: That's NeaI at the bar tonight.
PETER: Just let it pIay.
AIl right. That's us waIking to the car. That's him deciding to waIk instead.
Can you fast forward it? LAUREN: Mm-hm.
That's him at June's house.
JONES: So Caffrey cuts it here. Go back to yesterday.
Wait, wait, wait. What's that fIickering at the end?
A short circuit when he cut it? PIay it again.
[BEEPlNG]
That's not short circuit. That's Morse code.
[BEEPlNG]
"Power."
I know where he is.
NEAL: My buddy's u?state.
Cuts the power when he goes.
It's the perfect hiding pIace for the jade.
PIERCE: Where are the ?ieces? He toId me he ?ut them in a drawer.
PIERCE: Hey.
You think I'm stupid? Stay back where l can see you.
We can't get eyes inside. It's too dangerous to go in bIind.
What if I give us a flashbang?
On three, we turn on the power and we storm the entrances?
What'II hap?en when the ?ower comes on? I don't know. But I'm trusting NeaI.
Okay. Let's get the battering rams ready.
Are you insane?
That's my house.
I've got keys.
PIERCE: Where the heIl are they? He swore to me that they are here, okay?
PIERCE: Don't ?lay with me.
Hey, hey, I want this thing over just as much as you do. AII right?
LAUREN [ON RADlO]: Ready?
Anyone knocks anything over, they deaI directIy with my wife.
PETER: Copy that. Ready?
Wi?e your feet.
AGENT: Ready at the back door.
They're not in here, Caffrey.
If he said they're here, they're here. We just gotta kee? looking.
On three, the power's going on. Ready?
LAUREN: Here we go. One....
PIease.
Two...
...three.
[AGENTS SHOUTlNG INDlSTlNCTLY]
ReIease my heart
ReIease my souI
Every day Every night
WeIcome home.
DAlCHl: Thank you. You have done a great service for our country.
PETER: lt's our pIeasure. HUGHES: lndeed.
Good job, Burke.
Couldn't have done it without Caffrey.
[NEAL SPEAkING JAPANESE]
[NEAL IMITATES SNORlNG]
[ALL LAUGHING]
Excuse us.
She negotiated the jade for a four-year sentence?
I got four years, I never kiIIed anyone.
Guess what she had to work with is better than what you had.
Why are they Iooking at me? It's nothing. lt's nothing. Check this out.
The Saito HoteI. Look at that TV.
Thanks to our goodwiII with the ambassador...
...l've arranged for you stay there. Ho, ho. You're kicking me out?
No. No, no. l just thought you couId watch the game on that TV tonight.
It's yours for the rest of the week.
I have to go back to your pIace and grab my bags.
What kind of friend wouId I be if I made you get your own bags?
Oh.
NEAL: You're aIl set.
Is this because I ran Alex's prints?
It's for so many reasons, Peter.
PETER: Thanks.
NEAL: Anytime.
ALEX: Not this time, Neal.
Those have lost their charm for me.
What are you doing here?
I thought we couId start fresh.
Go back to the beginning.
You and I have too much of a history to start fresh, NeaI.
I'm sorry.
I should've been honest with you.
I know better than to trust you.
Likewise.
I'm wilIing to take a Ieap of faith.
How wiIIing?
I know where the music box is.
Where?
WeIl, as long as you're working for the FBl...
...you'lI never know.
Oh. Come on. Sorry, Neal.
[PLACED SDH - PSDH]