Original subtitles

- I can't decide between Opalencia Script

or Gilded Staccato Sans.

- Hmm.

Venerable versus vogue.

What's the first feeling you want your guests

to have when they arrive?

- I don't know yet.

Sorry. I know I'm being super picky.

- Not at all.

You decide what you want.

I get it done. [phone rings]

Excuse me for a moment.

Rococo Impressions, we print your dreams.

- Foxtrot 3 Charlie, targeted action.

- Of course.

Let's start with first and last name.

- Confirming the target, Rakib Al-Harthy.

- Very good.

And do you have a date for the event?

- 48-hour window, starting at the end of this call.

- So a rush order. Not a problem.

Address for delivery?

- Target staying with his mistress

at the Traviata Hotel, Upper East Side.

- Got it.

And one last question. Any special requests?

- Make it loud.

- You will not be disappointed, sir.

So sorry about that.

Now, where were we?

[tense music]

♪ ♪

[car alarm chirps]

[car alarm chirps]

- Right this way, Mr. Al-Harthy.

♪ ♪

[people screaming, car alarm blaring]

- Echo Echo 4.

Receipt confirmation.

♪ ♪

[tense music]

♪ ♪

- [giggles]

- This is good, isn't it?

- Just good? I was aiming at unforgettable.

- You are.

- Oh.

- It was.

Is.

I mean you and me.

- Yeah.

No. You're right, we are good.

Just keep it simple.

World's complicated enough.

- Exactly.

Can't one thing be simple?

- You do realize that if anyone at work finds out,

that'll change?

Simple's out the window.

- Everything that happens between us stays in this room.

- And the kitchen that one time.

- And the kitchen that one time.

- And the shower. - And the shower.

- And the living room floor.

- Okay, the whole apartment. - Okay.

[giggles]

[siren wailing]

- You know, uh, t's asymmetric, this power dynamic.

- Huh? How so?

- Well, I can't just summon you to some clandestine meeting,

but you seem to have no problem doing it to me

whenever you want.

- Symmetry is overrated.

- Yeah, well, I bet you say that to all the guys.

What can I do for you?

- You're investigating yesterday's explosion,

Upper East Side.

- Yeah, yeah.

Three dead, multiple injured, SUV went up in flames.

- Mm-hmm, well, one of the deceased is Rakib Al-Harthy.

We've been tracking his arms dealing out of Oman.

- Okay. Well, thanks for the heads-up.

- There's a possibility this Al-Harthy hit

was carried out by an assassin named Felix Vincente.

- Based on what?

- Based on the profile of the target, for one,

the methodologies used.

We've been hunting Vincente for some time now.

We appreciate any information you might have or find

during the investigation.

- Is that a request or a demand?

- [laughs] Oh, Jubal.

Intelligence-sharing is part of our fusion cell.

- We're sharing now? Is that what we're doing?

- Yeah.

- Why does it feel like you're not telling me something?

What's up?

- This Vincente op is personal.

- Oh. To you?

- And Agent Goodman.

- In what way?

- That's as specific as I can get.

- Okay.

Well, I--I do have a lead, and I am willing

to share it with you, but this goes both ways.

Deal?

- Deal.

- Hello, mate.

How are we this morning?

- Good.

- Yeah? You sure?

Because you look like you slept on the couch again.

Has Katie still not let you back in the bedroom?

- Are you stalking me?

- [scoffs] No.

It's just the way you're walking.

You're stiff from your lumbar, right through to your C5.

I mean, I'm not a doctor, but I've certainly

slept on a lot of couches.

- I feel so seen.

Yeah, it's been a rough patch since I told her I work here.

And then all of this with my father and Vincente,

and I guess I can't focus on anything else.

- I'm sorry, mate.

- If I could just uncover the truth

about who my father was, I'm--

I'm sure things will get better with Katie.

- Yeah, no, I'm sure.

- Okay, your turn. What's going on with you?

- Me? No.

You know, not much.

- Not much.

- Just the man I was looking for.

I just had a very interesting chat with Jubal Valentine

over at 26 Fed.

- Oh, yeah? What about?

- Felix Vincente.

- He resurfaced?

- I had a hunch that he may be responsible

for yesterday's car bombing.

Turns out that I was right.

The FBI confirmed he crossed the Canadian border

under a new alias 18 hours before the assassination.

- 18 hours. That's cutting it close.

- I agree.

So I'm pretty confident he has someone

on the ground helping him.

- Well, yeah, that certainly tracks.

I mean, CIA uses local logistics support.

Vincente would've picked that up during his training.

- So we find this logistics person,

we leverage him to find Vincente.

[knock at door]

- Hey, so I tracked down the designer bag

that was used in the bombing.

And lucky for us, it is as rare as it is garish.

There was only one purchased in New York City

in the last 48 hours.

She paid cash, so the store obviously didn't get

her name or credit card information.

And the footage is a little blurry,

so facial rec didn't catch anything.

- Sounds like a dead end.

- Yeah.

- Any other ideas?

- I have an asset who might be able to help.

- What? Since when do you have assets?

- Since I stopped calling them informants.

- Oh, funny.

Well, I'm glad we're rubbing off on you.

Does that mean I get to drive this time?

- Actually, I think I better handle this one solo.

[pop music playing]

♪ ♪

Still tinkering, huh?

- Oh!

Bill Goodman. How are you?

- Good. How are you, Carl? - Good, good, good.

Yeah, I'll never be done with her,

but she's stuck with me longer than any of my wives did,

that's for sure.

You want a beer? - No, thanks.

I'm actually here on official business.

- Oh?

- It's about Felix Vincente.

It's all right, Carl.

I found out about Operation Palomar,

what you and my dad did over there.

- I haven't heard that name in years.

- Yeah, we think Vincente pulled off a hit yesterday

in the middle of Manhattan.

- He's still alive? - Seems so.

Got a lead on one of his associates.

I know it's a long shot, but I'm hoping maybe

you can help me identify her. - I don't know.

I mean, I've been out of the game for so long,

I don't think I could recognize Vincente himself.

So you say she works with him?

- In a logistics capacity, procuring weapons,

fake IDs, things like that.

No?

Vincente was trained by my dad.

Figured maybe he was still using the same tactics.

- Could be. That was a long time ago.

I mean, maybe he changed up the way he works.

But, you know, for instance, we never used bombs for hits.

It was too loud.

It's unreliable.

- I didn't say anything about a bomb, did I?

- You know who you're talking to?

I watch the news.

Foreign arms dealer gets blown up in the middle of Manhattan,

you come here asking about Vincente.

Come on. - Right.

Of course.

- Well, now, it is a shame that your father

is not around anymore.

He would have been so proud of you for the work you're doing.

[gunshot]

[tense music]

♪ ♪

- Bill?

- I just--I got the feeling something was off.

And then he turned around, and--

I mean, he was gonna kill me.

- Okay.

Okay, it was him or you, mate.

- I think Carl was Vincente's middleman.

God, he might have been booking private hits for him

ever since Palomar shut down, including

the car bombing yesterday.

He knew. He knew why I was here.

He knew how close I was.

- He must have felt the walls closing in.

Bill, you didn't have a choice.

- It's my dad's partner.

And now I learned he spent decades

carrying out assassinations.

I mean, what if--

- Hey!

The partner you are assigned has precious little to do

with who you are in your core, yeah?

Which is lucky for you.

- Yeah.

- Now, Nikki's got a cleanup crew on the way,

which doesn't give us much time to search this place.

You think you can do that?

- Yeah. - You sure?

- Yeah.

- Okay.

All right.

[suspenseful music]

[camera shutter clicks] All right.

You never know.

♪ ♪

Anything?

- No.

Although he wouldn't be much of a spy

if we found out his darkest secrets in a 20-minute search.

- Come on.

We can't let the trail to Vincente end here.

♪ ♪

Ooh.

That's weird.

- What?

- This drawer's half the depth of the other ones.

- My dad had something just like that in his office.

[knock at door] - Come in.

- Olivia, you wanted to see me?

- Oh, hey, Nikki. Hey, come in.

Please have a seat.

You know what they conveniently leave out

of the Chief of Station job description is

the sheer tonnage of meetings.

Now, I know it's not as glamorous

as the day-to-day life of a field officer,

but they can be enlightening.

For instance, I sat down with the division heads,

and they were briefing me on all of the active operations.

And one of them was just so interesting to me.

There was a cleanup crew that was sent

to Carl Shannon's home address,

and it was authorized by you.

- Yes, it was.

- That's it?

- Special Agent Goodman approached him

with intelligence that would have uncovered his connection

to Felix Vincente.

Shannon drew his weapon.

Agent Goodman defended himself.

- Mm.

I suppose I can appreciate that.

What I can't fathom, however,

is why any operation is being run about Vincente

without my knowledge.

- Things were moving fast, Olivia.

- You've been told twice, Nikki.

Twice.

Anything about Vincente is run through me and only me.

- That might be a problem.

- How so?

- Our lead came from ASAC Jubal Valentine at FBI.

I made a deal to keep him in the loop.

- Then you need to break it.

Vincente cannot, under any circumstance,

be taken into official custody.

Nikki, this is in both of our interests.

Do you understand me?

[soft tense music]

♪ ♪

- What do we got?

- Not surprisingly, Carl had multiple passports.

Wallace Plum, Herbert Sanderson, Bartholomew Dunmore.

- Plum's the most interesting.

He vanished off the face of the Earth a few years ago.

- Investigated for wire fraud and money laundering.

Bank accounts in every shady jurisdiction I can think of,

and I can think of a lot. - So he didn't vanish.

It was one of the aliases Carl Shannon shut down.

- Yeah, well, whatever.

The point is, it's another dead end.

- Outgoing calls to six numbers, all prepaid burners.

- So could it be as a network,

one of the hit men he was handling?

- Hey, guys, come check this out.

So I actually think Carl was contacting one person

because each of the six cell numbers

came to one single location, which is a stationery shop

called Rococo Impressions,

owned by a woman named Logan Wood.

- Pull up the photo from the security footage,

the woman buying the fancy bag.

- Yeah.

- Yeah, put them side by side.

There it is. Yep.

It's gotta be her, right? - Yeah.

- All right, what do we do? Swoop her up, get her to flip?

- That's the play. I'll tell Olivia.

- No, wait, wait, wait.

I've got a better idea.

One that won't scare off Vincente.

[tense music]

- Yeah, but the cotton does look more elegant.

[phone chimes]

Oh, excuse me a moment.

♪ ♪

I'm sorry.

Bridal emergency.

Marcus will help you from here.

[phone buzzing]

[phone beeps]

- Let me guess. Not much?

- It's no big deal.

- Mm-hmm.

- What's mm-hmm supposed to mean?

- No, not much.

- Look, don't worry.

It's like a controlled burn.

You contain it, you monitor it,

and it clears out the dead brush.

- Yeah, it makes perfect sense.

I mean, when has a fire ever gotten out of hand?

- Would you be quiet while I'm surveilling?

[suspenseful music]

♪ ♪

- She's inside.

[phone buzzes]

[line trills]

[phone ringing]

- You have reached an unauthorized mailbox.

[double beep]

♪ ♪

- Thank you.

- Yeah, thanks.

- Here we go.

- Right on cue.

♪ ♪

- Gina, she's headed your way.

- Copy.

[gunshots]

[people screaming]

♪ ♪

- What--

- Get in the car. - Who the hell are you?

- Get in the car, now.

Vincente's trying to kill you. He won't miss twice.

Come on, let's go. - Let's go!

- Let's go. Come on.

Go, go, go. - Get down. Get down!

♪ ♪

- Oh, my God. Is she okay?

What's going on?

- Are you okay? - Yeah.

- Great. Nothing to see here, folks.

Just shooting an indie film. Sorry.

- Yeah, I just got--

- Oh.

Blood pack! - Sorry.

So how'd I do? - You were fantastic.

- Really? - Yeah.

- You don't think the hand thing was too much?

- I loved it. - You can tell me.

I can handle it. - Okay.

Don't anticipate it so much next time.

But you were good. That was good.

[rattling]

- Look, none of this makes any sense.

I just handle logistics.

- Logistics that blow people up in the middle of Manhattan.

- Carl called in the hits.

I've never even met Felix before.

Why would he be after me?

- You're a loose end, Logan.

And Vincente doesn't tolerate loose ends.

- Case in point, Carl Shannon was found earlier today,

shot dead in his garage.

You were next, Logan.

You're just lucky we were there to intervene.

- If you cooperate, help us find him, we can protect you.

If not, you're on your own with Vincente.

- I don't know where to find him.

We've only communicated online.

- How?

- We use a digital dead drop, a Proton account.

We go back and forth in the drafts folder

but never send them.

- Never sent, never intercepted.

[suspenseful music]

♪ ♪

- Sign in. Show us how it works.

♪ ♪

- So you have a way to flush out Vincente.

- Yeah, we have all the pieces.

We just need to put them in play.

- Okay, so let's hear it.

- Okay, well, first we need to contact Vincente

via the digital dead drop protocol.

[keyboard clacking]

Then we wait until Vincente confirms

receipt of the message.

- Vincente just responded.

We're a go.

- Now, since we can't send Vincente's

logistics woman in to meet him, we will need a cutout.

- Fortunately, he's never met her before,

so he doesn't know who to expect.

- Unfortunately, he has seen us.

So we're using Toni Napier for this op.

- She's been cleared? - Yeah, she has.

And once Toni's in place, the rest of the team

will set up at the location.

- We'll have FBI, SWAT standing by

and plainclothes agents spread throughout.

- No.

- What do you mean, no? - Oh, no FBI.

CIA only.

It's too sensitive.

- You can't be serious, Olivia.

Toni will be completely exposed.

- I suggest you keep an eye on her, then.

This is our mess to clean up.

I can always find another set of operatives,

if that's what you prefer.

- No!

I wanna bring Vincente in.

- Wonderful.

Someone who finally gets it.

All right. Well, thank you.

♪ ♪

- One last comms check. Bill?

- Still working, Colin.

- Nikki? - Oh, yeah, loud and clear.

- Toni, nod if you're good.

♪ ♪

- Hi.

- Hi, there.

- Are you Logan?

- Yes. Why?

- This is for you.

- Thank you. - Toni, don't open it.

[phone rings]

Toni.

No, no, no. Toni. Toni, don't.

Get--

- Hello?

- Place every electronic device in the backpack.

Phone, smartwatch.

Anything that can be tracked.

- Okay.

- Leave the bag under the bench.

Walk to the Church Avenue station

across the street and head to the F train platform.

- F train. Got it.

- Are we sure about this?

- Let it play out. Vincente's paranoid.

It makes sense he'd move her to a new location.

- Yeah, as soon as she goes down there,

it's gonna be a nightmare to follow her.

- Colin, this is a bad idea.

You guys, don't let Vincente see you.

It'll blow this whole thing up.

I'm gonna head to the end of the platform.

Gina? - All right.

I've got MTA's CCTV footage up now.

I see Toni.

Okay, she's headed down the stairs now.

- Go to the platform bound for Stillwell Avenue.

Now tell me when you're there.

- I'm here. Now what?

- Now you wait. [line beeps]

♪ ♪

- Toni.

Toni, he's got a sniper rifle on you right now.

You need to get out.

- Toni!

You need to--Toni!

No, no, no, no! Come on!

Come on. Go, go, go, go!

[tense music]

♪ ♪

- Where's Bill?

- Bill's on the train with Vincente and going after him.

- I'm coming with you. - No! You're not!

Bill, headed your way. - Copy that.

[engine turns over]

[tires squeal, engine revs]

♪ ♪

- Gina, what's the next station?

- The train runs express through Ditmas.

Next stop is 18th Avenue. - Copy that.

♪ ♪

Bill, come in.

Bill, come in!

- [gasps]

I'm in pursuit of Vincente.

18th Street Station.

- Move!

♪ ♪

- Headed into a factory at 2620 McDonald!

- Copy that. I'm almost there.

♪ ♪

- Bill. Don't do it.

Are you okay?

- Yeah, I'm good.

- Are you sure?

You made the right choice.

Listen, he's gonna spend the rest of his life

in a dark prison cell.

- No.

- What do you mean, no?

- We're not turning him in yet.

- Bill.

- I need to talk to him first.

He's the only link I have left to my dad.

- Bill, come on. You are obsessed.

- Oh, and you haven't been here?

I have to know.

I just--I need to know.

- Bill, you'll get your chance to talk to him

when we hand him over.

- That's not true, and you know it.

Look around. Where's our backup?

Why wasn't FBI allowed to help on this?

No, Olivia will have him killed before he can even say a word,

and I'm not letting that happen.

Not till I get what I need. - And what is that, Bill?

What do you actually need?

- Answers!

I just--I need answers.

If we turn him in, I'll never get them.

But I don't know how to do this.

- I do.

♪ ♪

- Are we good? - Yeah.

- And you're sure no one knows about this place?

- It's off-grid. Not even Nikki knows about it.

So we're safe here, but we don't have much time.

- Got it. - Do you, Bill?

Because right now, Nikki, Olivia, the whole team

thinks we're still looking for Vincente.

So the longer this takes, the harder

this story is to believe.

And I am not looking forward to the repercussions.

- Hey.

I got it.

[dark music]

♪ ♪

You know who I am?

- Do you?

- Do not try me.

- You're Bob Goodman's son.

- So Carl told you before I killed him?

- You want to know about Palomar?

Is that it?

- I already know everything about Palomar.

- You know nothing.

- Kids turned into murderers by the CIA.

- By your father.

- Yeah.

- You think he protected your people, yeah?

On the battlefield, in uniform.

You have never seen a real fight.

My home, Georgia, was tearing itself apart.

Chechen jihadists fleeing Russia, hiding in the forest.

Moscow was ready to move in and would have done so

if we did not turn over the separatists.

My people let in the CIA to guide their hand,

to kill in the shadows.

- And he taught you to do it.

- Oh, I see, you, uh... [chuckles]

You want to know what kind of man your father was.

♪ ♪

I loved him.

As you did.

- Then why did you kill him?

- You spoke to Gorham.

- So you did kill him.

- Hmm.

- Answer me.

- Bill!

Hey.

♪ ♪

- What are you doing? - He's playing with you.

- Of course he is. He's been trained to.

- Whatever happened between him and your dad is over now,

but he will continue to use it to hurt you.

- I see.

You don't think I can make him talk.

I promise you, I will make him talk.

- Yes, Bill, but there's a line,

and once you cross it, there's no going back.

- I thought we operate in the gray.

- Mate, listen to me.

It's over.

Okay?

You don't wanna do what you need to do

to make a man like that talk.

Trust me.

- Okay.

- Okay?

- Yeah.

Sorry, man, I'm not thinking straight.

- It's okay.

- You're right.

I'll turn him in.

But not to CIA.

Bill, he'll be safer in FBI hands.

He murdered DEA contractors.

That's a slam dunk case for the DOJ.

They'll keep him safe until trial.

- I'll need to run it past Nikki.

- She'll have to tell Olivia.

Nah, it's better CIA doesn't know yet.

I'll make the call.

[suspenseful music]

♪ ♪

- Where is he?

Where is Vincente?

- He--he got away.

He escaped.

- How?

- I pursued him onto the subway and followed him

to another station, at which point

I was able to engage, but he got the upper hand.

- He got the upper hand?

- That's right.

We needed FBI backup.

But you shut that down.

- Yeah, we've been searching for him for hours, but--

- Agent Goodman, you possess a firearm, do you not?

- I do.

- Then why didn't you use it and shoot him?

- He was unarmed.

- So what?

- FBI doesn't shoot fleeing felons.

That would be murder.

That's not who I am.

- Oh, I see. I see.

So despite him getting the upper hand,

this assassin just decided to let you live?

Do I have that right?

♪ ♪

- I'm glad you're okay, Bill.

- Good job, mate.

See you tomorrow.

[pensive music]

♪ ♪

[knock at door]

[knock at door]

- Hey? - Hey.

- Are you gonna invite me in?

- Yeah. - Yeah?

Can I have a drink?

- Yeah, I just poured myself one.

Here, take this.

- Thank you.

You all right?

- No.

- Hmm. - No, I'm not.

This, you and me working together,

it's not working for me, I'm afraid.

- I figured.

- Just, you know, much as I'd like not to, I--

I care about you so much, and, um...

you know, that makes you a vulnerability, doesn't it?

One that I can't afford in this job.

- I agree.

- You do?

- Yes.

That's why I didn't push back when Nikki told me

I was being posted to London.

[soft solemn music]

I leave first thing in the morning.

Which means, um,

this is goodbye.

- Right.

At least I get to say goodbye this time, huh?

Goodbye, Toni.

- Yeah.

♪ ♪

- Oh, Reese.

What do you know about Bill Goodwin?

- The FBI agent? - Mm.

- He's a Boy Scout.

- I'm not so sure about that.

I want you to look into him for me.

Quietly, of course.

- Any reason?

- I just don't trust him.

I wanna see what he's up to.

Thank you.

[suspenseful music]

♪ ♪

- No one knows you're here.

Now, you're gonna tell me what I wanna know,

or you're never getting out of this room alive.

♪ ♪

[tense music]

♪ ♪

[wolf howls]