05x09 - The Return

[bunniefuu]

This jambalaya hits, Pop.

You have not lost your touch.

Tell me something I don't know.

- Pass me the hot sauce.
- [CHUCKLES]

Here.

Yeah, thanks.

So?

Look, I, uh... [CLEARS THROAT]

I've been thinking about Cora.

You know, I... I think...

I think it's time.

I think she's the one.

I... I've been looking
at rings, you know?

But, uh, I just haven't found
anything that I liked.

And, uh, I was wondering if...

Oh, son... son, you do not know

how long I've waited for this moment.

Hang on.

- Sit tight.
- Where are you going?

Hang on.

[MELLOW MUSIC PLAYING]

Pop, what you doing, man?

[SIGHS]

♪

Well, be right there.

Take a seat, son.

All right.

[CLEARS THROAT]

- What is this?
- Open it up and see.

Go ahead.

[SOFT DRAMATIC MUSIC]

Let me tell you about that ring, son.

I got that ring from your grandmother,

who got it from her own mother
when she got married,

all right, right before World w*r II.

That ring has been passed down

through three generations of Cannons.

Your mother wore that ring
for 36 wonderful years.

The night before she d*ed,
she took it off her finger.

She gave it to me,

and she said she wanted you to have it

when the time was right.

[CHUCKLES SOFTLY]

Here. She also left this for you.

♪

"Dear Raymond," uh...

[CHUCKLES]

"I hope someday you'll make a
young woman as happy as I was

"the day I got this ring.

Love, Mom."

Yeah.

Yes!

So tell me, when is
all of this happening, huh?

Soon, soon, soon. Like, I...

Soon? How soon? Tell me about the plan.

- Look, look, look.
- Tell me, tell me.

You got to keep this
a secret, all right?

You're like a bucket with a hole in it.

- You can't hold water.
- Of course.

All right. So look, this is, uh...

this is what I was thinking.

It's not schmaltz.

It's songwriting genius.

"Tequila Sunrise"?
"Peaceful Easy Feeling"?

It's white bread, man. Airport music.

Bob Dylan said there was
one song in the world

he wished he'd written.
You know what it was?

"Pretty Maids All in a Row."

Never heard of it.

Because you don't understand.

Eagles, sheesh.

[RAPID g*nf*re]

Call it in!

Hank to base. We're under att*ck.

They're sh**ting at us. Send help!

- [TIRES SCREECH]
- [CAR HORN HONKS]

[DRAMATIC MUSIC]

♪

[RAPID g*nf*re]

Johnny, it's too low.

It's too low!

- [GRUNTS]
- [TIRES SCREECH]

Go, go. Go out your door.

Hank, what's going on?

Do you copy?

Hank? Hank?

[TRUCK BEEPING]

♪

Hank Steen and Johnny Ledet,

two armed guards were last seen
transporting crates

from a storage facility in Connecticut

to the Woodberry Museum in Brooklyn.

About an hour ago, they were gunned down

in an ambush off
the I-95 exit in Harrison.

Interstate commerce makes this ours.

Anything on the sh**t?

Not yet, but they were
driving this Black Durango.

Guards were sh*t in the back
when they tried to run.

We figure our unsubs
jumped in the transport truck

- and took off.
- And what was it carrying?

Art. We don't know what kind yet,

but whatever it is must be valuable.

And whoever did this knew exactly when

the shipment was taking place
and also the route.

So this could be an inside job?

Hana, dig into these two guards,
and their financials.

See if there's anything to pursue.

Will do.

Brad May from Art Crimes
is saddling up to join us.

I'm meeting with the
storage facility in Norwalk.

Barnes, Nina, take the museum.

Hana, Ray, the crime scene.

Let's get it.

Hey, Brad. How's it going, man?

It's good. It's good to see you, Remy.

- Good to see you. You look good.
- Thank you.

You been doing some goat yoga or what?

[LAUGHS]

So what is this place?

It's a freeport, one of
only two in the country,

basically a place where rich people

can store their art without
having to pay import taxes.

- What do you mean?
- There are no customs here,

just climate-controlled storage,



and a computerized inventory system.

A lot of major players
keep their collections here.

Agents Scott and May.
You in charge here?

Jim Bliss, chief of security.

So? What happened?

My worst nightmare.

I've got two dead guards

and a transport truck missing
full of a client's art,

plus my boss and a million other people

calling me left and right,
and I just got off the worst...

Whoa, whoa, whoa. Slow down. Slow down.

When's the last time
you heard from your guards?

They made a rest stop in Harrison

around 8:00 a.m. on their way
to the museum in Brooklyn.

- That's when this came in.
- Hank to base.

We're under att*ck.
They're sh**ting at us.

- [RAPID g*nf*re]
- Send help!

Two minutes later,
the GPS tracker on the truck

was disabled, and we have
no idea where it is now.

Do you know what was in it?

Of course.

Every piece of art we take in
is barcoded and photographed

for security.

Right in here.

They were transporting artifacts,

West African, from Nigeria.

Whoa.

How much is all this worth?

Some of these are worth millions.

Some of them I'm afraid
to put a price on,

maybe close to $500 million.

That's a big number.

That's exactly why this is all very bad.

If the media gets a hold of this,

it's gonna be a huge problem.

Who knew about the transport?

Just me, the guards, and Ezra Clark.

- Who's that?
- He's an art dealer.

He works for Dax Tilmon,

the man who owns the collection.

It was all going on loan for
a new exhibit at the Woodberry.

I know Dax.

He can be difficult to deal with.

You're telling me.

He's already called three times
in the last half hour.

He's furious about
his stuff going missing.

All right. I'll pay Dax a visit.

Brad, you stay here
and talk to all the employees.

Go through Dax's paperwork,
see if there's anything

that'll help identify our unsubs.

Thanks.

[POLICE RADIO CHATTER]

The vehicle was stolen
in Hackensack yesterday.

- Belongs to a Mark Everett.
- OK.

So shell casings are on their
way to Ballistics right now.

So far, we have no witnesses
and no surveillance.

Yeah, we don't find any fingerprints,

we're going to have
a big-ass nothing burger.

- Ray.
- Yeah?

Check this out.

Those two men that got sh*t,
they told me they both d*ed?

Yes, they did.

Oh, my God. That is awful.

We're sorry, Alicia.

We're trying to get
to the bottom of this, OK?

Can you tell us
what this exhibit's about?

Yes. Sorry, of course.

It's to highlight West African
historical artifacts,

specifically the Kingdom of Benin,

which is currently Nigeria.

The Woodberry was only able to do this

thanks to Dax Tilmon.

He agreed to offer
his collection for free.

Well, that's nice of him.

Any incentives?

We're naming the wing after him.

He's a very big donor,
and he's also on the board.

Where did Dax get his artwork from?

He bought it at an auction in England.

Don't worry. We did our due diligence.

We vetted all the works,
all the provenance papers.

They all checked out.

Who arranged for the art
to be transferred

from the freeport facility
to the museum?

Um, I don't know.

I mean, I got a call
from Dax's dealer, Ezra,

last night saying to expect
an arrival this morning.

All right, it's noon, guys.
Go ahead and take lunch.

- Let's do it.
- [INDISTINCT CHATTER]

[SOFT TENSE MUSIC]

This is so disappointing.

I mean, all I've ever wanted
my whole career

was to showcase my culture

so that people could see
it and experience it.

Thanks to Dax,
that was gonna be possible.

And do you ever have a problem

with a white guy like Dax
having ownership

to African historical artifacts?

I have worked very hard
to be in the position

that I'm in as a museum director.

I mean, there aren't many of us.

And I've made it my purpose to bring

our voices to the forefront
with us at the table.

Now, if Dax or any other collector

just so happens to be white, so be it.

- Hey, Hana, what do you got?
- OK.

So the E-ZPass decal
on the Durango our unsubs

were driving went over
the George Washington Bridge

- at 6:30 a.m. this morning.
- That tracks.

They're probably going to
the freeport in Connecticut.

Ray and I are on our way
to Port Authority PD,

see if they have any surveillance.

All right. Keep me posted.

I'm on my way to Dax Tilmon's place,

the guy who owns the art.

Copy that. Let us know
if you need anything.

Will do.

See, I put my collection
at the freeport for a reason.

Supposedly, they're all about security.

But clearly, that's not the case.

And this has nothing to do with you

avoiding import taxes, right?

That's a part of it, of course.

It's not illegal, and I'm not stupid.

- I'm not saying you are.
- Look.

You've got to find out whoever
took this and get my art back.

The longer this goes on,
the worse it gets for me.

Ezra, get in here.

You are aware two men are dead, right?

- What?
- Hank Steen and Johnny Ledet,

the guards who were driving the truck?

I... I didn't know them.
Did they do this?

Have you had any disputes
with anyone lately?

Define dispute.

Pissing someone off so much

that they want to steal your art.

- No.
- Do you owe money?

I have all the money that I want.

OK, can you think of anybody
who would put this together

- to try to get your attention?
- How the hell should I know?

It's not my job to
figure it out, it's yours.

Hey, you speak to one
of my agents like that again,

I'll put my boot right up your ass.

[DOOR CLICKS]

Ezra, this is the FBI.

Ezra is my art dealer.

He's the one who's been
dealing with the museum

to get my collection up.

You arranged the shipment today?

I called the museum
and told them it was coming.

But all the details and security

were up to the people at the freeport.

The board's talking about

pushing the exhibit a year
or canceling altogether,

including the wing named in your honor.

Oh, God. This is a disaster.

Dax, it's not.

You have an insurance policy,
wall-to-wall... you're covered.

You're not losing any money here.

Ezra, I don't care about the insurance.

I want my art collection
up at the Woodberry

in my wing with my name on it.

[PHONE RINGING]

It's Ilana. We have to take this.

You can show yourselves out.

Hello.

You buy what Dax says

about not wanting the insurance money?

Definitely not.

What if he hired someone
to steal his art

so he could get the insurance payout?

I don't know about that.

Brad says that in the art world,

it's better that things
are shown in exhibits.

It increases the values by millions.

OK, so he throws a fit
and makes it seem like

it's about the wing,
when really it's about

- making more money.
- Exactly.

Greed, I understand,
but Ezra's a different story.

We need to look into this sad sack,

see if he checks out.

Adisa, what did you people do?

You k*lled two people?

- That is not a part of the plan.
- Plans change.

We had no other choice.

They weren't going to give it up easy.

No, this is not good, Adisa.

The FBI is after us now.

What will we do?

Continue with our mission.

Just, now, there's two less people

in this world keeping what is
rightfully ours away from us.

Oh, trust me, OK?

Now, let me show you what we got.

♪

Wow.

Adisa.

What is it?

- It's a replica.
- Huh?

It's not the real mask.

How were we supposed to know that?

It's the most important piece
in the entire collection

with the most cultural significance.

This is worthless.

It means nothing.

He screwed us.

We got a hit on facial rec
from the surveillance

on GW Bridge.

Our unsubs are Adisa Ojo
and Kingsley Sodiya.

They're Nigerian, and they've
been in the U.S. for a decade now.

Adisa was working
at a meat packing factory

in Nebraska before relocating to Newark.

He has no partner, no kids,
no current employment record.

It's pretty much the same for Kingsley.

We don't even have a last known on him.

Were we able to track their cell phones?

They don't have any that we can find.

Now, they both served
in the Nigerian m*llitary.

According to our legat in Abuja,

they served in the same platoon.

What do we have on Ezra Clark?

He's a British national
living in Brooklyn.

I checked with my office.

He has a case on him for forgery,

providing fake provenance papers

for a museum in Orlando.

Sounds like somebody who
could be capable of an art heist.

It's a long way from fraud
to k*lling folks.

Ezra could be working
with Adisa and Kingsley.

Maybe he hired them to hit the shipment.

Then he still gets a commission

from Dax for setting up the exhibit

and can fence the artifacts
and get paid twice.

You, me, and Barnes
will go scope him out.

Brad, head back to the museum

and confirm these
provenance papers are legit.

Ray, Nina, Adisa's last known.

Hopefully, he doesn't know
we're on to him.

[DRAMATIC MUSIC]

- [GRUNTS]
- Let go!

- I'll give you a bigger cut.
- Just open it.

No, please, please, just listen. Wait!

Are you crazy?

[SCREAMS]

[WHIMPERING]

Had your chance, bitch.

[DEVICE BEEPS, LOCK CLICKS]

[GROANING]

OK.

No! No!

♪

FBI!

Drop the w*apon.

♪

[CLATTERING, DOG BARKING]

sh*ts fired, 92 Polk, Brooklyn.

Black male subject
fleeing on foot, southbound,

armed and extremely dangerous.

He's gone.

So is he.

What the hell is that?

They severed his thumb
to get inside the safe.

Sick, right?

What was in here?

I don't know, but whatever it was,

they k*lled Ezra for it.

And they left cash?

[PHONE RINGING]

- Hey, Nina.
- Hey.

We're just leaving Adisa's apartment,

- and he's not there.
- I know.

They k*lled Ezra and took
something from his safe.

Kingsley's DOA,
and Adisa got away.

Look, it's not just them.

Remember the museum director,
Alicia?

She's in on it too.
She's an accomplice.

- What?
- [MESSAGE BLIPS]

I just sent you a photo
that we found on the fridge

in Adisa's apartment.

There's some women's clothes
in the bedroom too.

I think they're together, you know?

Like, together-together.

Tell Brad to keep eyes on Alicia.

I just called him.

When he got to the museum,
she was already gone.

Her phone is off. I alerted PD.

We're going to head
to her apartment in Hoboken.

OK, so work and home,
where else would Alicia go?

OK, her parents,
Steve and Emily Foreman,

are in Park Slope, 88 St. Johns.

- That's not far from here.
- We'll cover the parents.

Update us as soon
as you get to Alicia's.

Copy that.

Hi. Can I help you?

FBI. Agents Barnes and Scott.

Honey, it's the FBI.

We're looking for
Alicia Foreman's parents.

Do they live here?

Yeah. We are Alicia's parents.

She's adopted.

What's going on?

Three people dead?

Oh, this has to be some sort of mistake.

Alicia would never hurt anyone
or steal anything.

We don't think she's hurt anyone,

but this man has.

Do you know him?

That's Alicia's boyfriend, Adisa.

- Do you know where he is?
- No.

What about Alicia?
She's not at her apartment.

Oh, we haven't spoken to her
since we left

for our Sahara trip two weeks ago.

We flew back last night.

She hasn't answered
any of our calls yet.

Should we call Lisa?

- Who's Lisa?
- Our attorney.

Yeah, I think that's a good idea.

I'm sorry, Mr. Foreman.

I know you're scared,
but Alicia is in danger.

How did she meet Adisa?

We don't really know.

Alicia took a trip to Nigeria last year,

sort of a pilgrimage to connect
with her roots and her culture.

We completely encouraged it.

I mean, we've always
compensated for Alicia

not being raised in her own culture.

But when she got back,
she was different.

How so?

She started wearing Nigerian clothes

and speaking with an accent sometimes.

And then one day,
she showed up with Adisa.

He's Nigerian, and...

well, we could just tell he was
like a jolt of energy for her.

She said she was in love.

Was she struggling for money?

No. No.

She makes six figures at work.

We set up a trust fund for her.

No, she's never wanted for anything.

All right, so if this
isn't about money for Alicia,

- then what's her motive?
- I don't know.

But let's scope out their phones,

just in case she tries to reach out.

Yeah.

Still nothing on Adisa? What's this?

OK, so this is an article
that Alicia wrote

when she was a grad student
at NYU all about repatriation.

She made the news and got invited

to a bunch of conferences to
raise awareness, for the cause.

You really think that
repatriation is her motive?

I thought she wanted all this artwork up

on the walls of her museum
so people can see it.

Well, that's what she told us,

but what if the real is,

that she took matters
into her own hands?

She steals the artwork and returns it

to its rightful place.

Throughout history, people of color

have been told to wait for justice.

Maybe Alicia got tired of waiting.

I'm trying to understand her.

I don't think she set out
to k*ll anybody,

but stealing art and returning it

to its rightful owner,
that's kind of a baller move.

Heads up, guys.

The coroner sent over
a photo of a tattoo

they found on Kingsley's body,
and I sent you the file.

So we confirmed with
a professor at Columbia,

and this symbolizes the
national group Nigeria First,

and that organized in the '70s
during the Nigerian Civil w*r.

They led a m*ssacre against
the ethnic minority group, Igbo,

when they failed to secede from Nigeria.

And what's their objective now?

k*ll the Igbo people,

keep Nigeria from splitting into two.

Do we know who their leader is?

Bankole Udoji.

He fled Nigeria 30 years ago

but is still wanted by the
International Criminal Courts

for w*r crimes that he committed.

The last time he was seen
was 20 years ago in the UK,

and there is a red notice out on him.

Also, most of the Nigeria First members

are former Nigerian m*llitary.

How does Alicia fit into all this?

I don't know,
but there's something else going on here

besides a noble desire for repatriation.

Maybe they just radicalized her.

Or they want her art expertise

for whatever the hell they're doing.

And we still don't know
how these two lovers met,

Alicia and Adisa.

I might have something on that.

I spoke to Alicia's parents,

and she had a roommate at NYU,
Carlee King,

that she's apparently still close with.

I come bearing gifts.

You did good, Alicia.

Our ancestors will be proud.

♪

You and Alicia were roommates at NYU?

Yes.

How did Alicia and Adisa meet?

Her father introduced them.

Steve Foreman?

No, her biological father.

He reached out about a year ago

when he saw Alicia's name in the paper.

I think it was the announcement
for the Nigeria exhibit.

Alicia was hesitant at first,

but when she got back
from a trip to Lagos,

she met with him, and he showed her

her Nigerian birth certificate.

She was so thrilled.

A couple of weeks later,
he said there was

a nice Nigerian man
that she should meet,

and that was Adisa.

Did her parents know about
the biological father?

She wanted to tell them,
but she was nervous.

She said she didn't want
to hurt anyone's feelings.

You know this guy's name?

Manuel, um...

- Emmanuel Lasisi.
- OK.

- What can you tell us about him?
- He's a nice guy.

He's simple, working class.

He's Nigerian, and Alicia's blood.

She idolizes him.

- OK. Thank you.
- Thank you.

Alicia's been in touch
with her biological father,

a guy named Emmanuel Lasisi.

I'm going to mirror to your monitor.

He came to the States
in the '90s as a refugee.

Lives in Staten Island.

He works as a custodian
in the New York Public Schools.

I thought he looked familiar,
so I put his photo

next to Bankole Udoji's
of Nigeria First.

I ran it through some aging software,

and check this out.

Add 30 years and 30 pounds,

and we have ourselves a w*rlord.

He's Bankole Udoji?

But this man is responsible
for the m*ssacre

of 30,000 Nigerians during
the Nigerian Civil w*r.

And he's been hiding
right in our backyard

- this whole time.
- I'm gonna go see Isobel.

She might want to loop in
CIA and State on this.

Go check out Emmanuel's workplace.

Hana, Ray, alert SWAT and get
to his house in Staten Island.

If this son of a bitch
really is Bankole,

it's a hell of a catch.

[BANGING ON DOOR]

Mr. Lasisi?

It's FBI. We need to talk.

- Do it.
- Let's go.

[SUSPENSEFUL MUSIC]

♪

- Living room clear.
- South room clear.

He's not here.

The bedroom's clear.

[INDISTINCT CHATTER]

OK, this might be something.

[PHONE RINGING]

Barnes.

Bankole's not at his workplace.

He hasn't come in all week.

He's not here either.

Hana's working his computer right now,

so I'll let you know
when we find something.

Everything is in order.

Lawal is in Abuja, and he's
taken care of the arrangements

for our flight home tomorrow.

There's just one last thing, Alicia.

Lawal needs the provenance papers

to coordinate the artifact
shipment to Nigeria.

Can you get that for us?

What's the matter?

I'm scared.

I don't want to go back to the museum.

This was supposed to be
something that was very simple.

We were supposed to get the
objects, put them in the trunk,

and leave the next day.

Instead, people are dead.

Kingsley is gone,
and the FBI is after us.

[SOMBER MUSIC]

♪

I know this is hard for you.

But I have seen death
up close and personal.

During the w*r, when the Igbos raided

our village and k*lled your mother...

and Adisa's family, too...

they took you away from me, Alicia,

and put you in an orphanage.

I came back to find you,

but those white people
had taken you far away.

I was lucky to escape.

The k*lling was unfortunate, but...

what's done is done.

You fought for so long to bring back

what rightfully belongs to us,

to Nigeria.

And we are so close.

Don't give up now.

Be strong, and make us proud.

Once we return to the motherland,

we'll be heroes, and respect
will be at our feet...

all because of you, Alicia.

I'll get the provenance papers

and bring them to you in the morning.

That's my girl.

♪

You know what to do when
she brings the papers to us.

Adisa, we have been working
on this for over a year.

We cannot leave any loose ends.

Ah, did you lose focus?

- Did you fall for her?
- No.

I'll get it done.

Talk to me, Ray Ray.

Look, Hana cracked the VPN
on Bankole's computer.

She's slinging it to you now.

There's about a half a dozen
emails between him and the guy

that you see on your screen.

His name is Dima Abram.

He fronts as an art collector,

but he's actually a Russian arms
dealer with ties to the Kremlin.

There's a lot of back
and forth about selling art.

And as per the last email,

it looks like there is
a meetup tomorrow.

Yeah, "Location to come.

Bring the provenance papers or no deal."

Abrams needs the papers

so he can sell the art
later on, all right?

It was never about repatriation.

It was always about the money.

Well, there's more to it
than that.

We got a CIA thr*at
assessment on Nigeria.

They've got multiple sources
saying Bankole

is planning on returning home
and staging a coup.

And he's looking for weapons.

Abram could be his main supplier.

He's selling the art
for weapons, not money.

- That's what it looks like.
- Does Alicia know?

I doubt it.

This feels like a long play to me.

Bankole has been using her
from the jump,

all to get access to that art.

Remy, the wire on Alicia's
parents' phone just paid off.

She called them five minutes ago

saying she needs to see them
to tell them something.

She's coming by the house now.

You guys hear that?

- Yes.
- Yeah.

- Get a BOLO out on Abram.
- Done.

Barnes, with me. Let's hit it.

You're just gonna drop everything

and leave your life and us behind?

I need to do this.

It's everything
that I have fought for...

for my country, for my people,

who deserve what's rightfully theirs,

and for my... for my father.

What father?

Alicia, what are you talking about?

[SOMBER MUSIC]

I didn't want you to find out this way.

My biological father
reached out to me a year ago.

And he's everything that
I could imagine he would be.

I mean, he is kind. He's caring.

And he's for the cause, like me.

♪

Do you know how hard
this has been on us...

raising you, knowing all you
ever wanted was your real family?

And we still gave you
everything we could.

I never meant to hurt you.

Did he ask you to steal
those antiquities?

I took them for me.

They belong to me,

not the museum, not Dax,
not Ezra... for me.

Did you...

k*ll anyone?

How can you view me in that light?

No... we're just scared, all right?

- That's all.
- Who is this man?

What's his name?

- [BANGING ON DOOR]
- FBI. Open the door.

- You told them I was here.
- Honey, no.

Mr. Foreman,
we don't want to have

to do this the hard way,
let us in.

[TENSE MUSIC]

♪

Turn around.

Hands behind your back.

Alicia Foreman, you're under arrest.

You have a right to remain silent.

Anything you say may be used
against you in a court of law.

You have a right to an attorney.

If you cannot afford an attorney,

one will be provided for you.

♪

These records are from
an orphanage in Nigeria.

These are your biological parents,

Adamma and Lenny.

They d*ed in a car accident
a week after you were born.

This is your real birth certificate.

The one Emmanuel showed you is fake.

[SOMBER MUSIC]

This can't be right.

He lied to you, Alicia.

Emanuel's not even his real name.

He's Bankole Udoji,

a general during the Nigerian Civil w*r.

He k*lled thousands of people

just because of the tribe
they came from.

He's nothing but a filthy w*r criminal.

My God.

This was never about
repatriation, Alicia.

He lied to you, and he used you

so he could gain access
to those artifacts.

His real plan was to sell them
for money and weapons

- to fund a coup in Nigeria.
- No. Please, stop.

Stop, please.

- Why don't we take a break?
- There's no time for that.

There's a meetup scheduled tomorrow

for Bankole to sell the art
to a Russian arms dealer.

- We need to know when and where.
- I don't know.

If he gets his hands on those weapons,

people will lose their lives...

Nigerian citizens, innocent families.

Do you want to be responsible for that?

This was never what I wanted.

I want my people to have what is ours,

to be the ones to dictate where it goes.

[SIGHS]

They make millions
off of our history.

And then they turn around
and call us worthless.

You were doing it the right way.

The paper you wrote took
the repatriation conversation

to another level,

but the minute you got in business

with Bankole and Adisa,

it was a whole different ball game.

These men are cold-blooded K*llers.

And if you tell us
where Bankole and Adisa are

and the exact location of the exchange,

we'll put in a word with
the district attorney's office.

That's right.

Alicia, you help us, you help yourself.

I-I don't know about a meetup.

They didn't tell me.

OK. So where are the artifacts?

[SIGHS]

They're in a warehouse in New Jersey.

I'm supposed to meet them
there at 8:00 a.m.

to give them the provenance papers,

but I don't have them.

We'll get them for you.

Call them on the burner,
tell them you have the papers,

and we'll leave them
at the warehouse as bait.

When Bankole and Adisa show up,

they'll lead us to the arms dealer,

and this can all be over.

I don't care about Emmanuel.

But Adisa?

He loves me, and I love him.

Come on, Alicia. Use your head.

You're smart.

Bankole introduced you to Adisa.

He says he loves you.
Can you really believe him?

He's already k*lled three people.

This is your chance, Alicia...

to put these men away.

Can you do that?

♪

Alicia?

You here, love?

Alicia?

[SUSPENSEFUL MUSIC]

♪

_

[PHONE RINGING]

Hello?

Adisa.

Alicia, what's going on? Where are you?

I'm not coming.

Why?

I think you know why.

I know who Emmanuel is.

We were going to tell you, I promise.

The plane is ready.

It's not too late.

Let me ask you something.

Do you love me?

[SOFT MUSIC]

Yes.

Then you understand
because I love you too.

Just go. Don't worry about me.

Glory will be at your feet.

♪

Here, um, come take a seat.

[TENSE MUSIC]

♪

Come to Papa.

That's him. That's Bankole.

Is this our guy?

That's him.

That's Dima Abram.

This is the meet. Go, go, go!

[SUSPENSEFUL MUSIC]

[SPEAKS RUSSIAN]

- FBI!
- FBI, don't move!

[g*nshots]

[GRUNTS]

Move, move, move, move!

[TIRES SCREECH]

- [g*nsh*t]
- [GRUNTS]

Adisa's down.

♪

- Get up.
- I'm on him.

I'm with you, Ray.

[DRAMATIC MUSIC]

Whoa!

Move!

[g*nshots]

[g*n CLICKING]

Hey, get out of here. Go!

[PANTING]

This guy's fast.

Ah!

[SCREAMS]

- Move!
- Stay back!

[WHIMPERING]

♪

Get any closer, and she dies.

I have kids, please.
I don't want to die.

- Nobody's dying today.
- Get back. Get back!

There's nowhere to go, Bankole.

Just let her go.

[TENSE MUSIC]

- Surrender.
- Never.

I am saving Nigeria.

I know what my people want,

and I know how to give it to them.

All you do is k*ll and divide

because people are of a different tribe.

No.

We are not two countries. We are one.

Nigeria is one.

The people are one. And I will unite us.

You don't unite people.

You... you are nothing.

You are weak, just like your country.

Let her go now.

♪

Go. Go. Get out of here.

- Turn around.
- [Kn*fe CLATTERS]

Put your hands behind your back.

- [GRUNTS]
- Hey! Hey!

- [g*nsh*t]
- [SCREAMS]

You good?

Subject down. We got Bankole.

- You OK?
- Yeah.

[HANDCUFFS CLICKING]

So what did you think about the omakase?

- Oh, it was good.
- Yeah?

I mean, there are a lot
of places closer than Tribeca.

But, yeah, I liked it.

I just wanted to get out
of Brooklyn, you know,

- switch it up a bit.
- Yeah.

You know where we are right now, right?

The East River.

[LAUGHS] No, but...

yes, the East River.

This is where we had our first kiss,

after our first date.

Oh, yeah. I guess it is.

- Yeah.
- [CHUCKLES]

I remember it was freezing cold...

- Oh, yes.
- And raining,

and you wouldn't let us go inside.

What are you doing?

Nothing, just neck problems.

All right. Are you OK?

I feel like you're
acting kind of nervous.

Uh... [LAUGHS]

I-I need to ask you a question.

Ray, are you breaking up with me?

Oh, girl, no. No.

I...

ever since I met you,

you've made my life better. [CHUCKLES]

And I stopped thinking about myself.

I started thinking about us more.

You're brilliant,

you're beautiful,

and you're an amazing mother.

And for all of those reasons,

I want to spend the rest
of my life with you.

Oh, my God.

Cora Elizabeth Love...

will you marry me?

- Yes.
- Yeah?

Absolutely, yes.

[LAUGHS]

[TENDER MUSIC]

♪

[LAUGHTER]

Guess who got it all on camera?

- Oh, my gosh.
- What?

- You knew about this?
- Yes.

Yeah, I'm the man of the house, Mom.

You know he had to ask
my permission first.

Oh, OK.

Congratulations, son.

Aww, thank you, Pops.

You know, it's a good thing
you said yes.

That could have been awkward.

Well, if I had known
you were gonna be here,

maybe I wouldn't have.

[LAUGHTER]

- Just to mess with you.
- OK.

- Can I have some?
- Maybe in 10 years.

I got you, big man... pocket.

- Oh, thanks.
- There we go.

Here's to my future daughter-in-law

and her amazing son.

Welcome to the family, guys.

- Thank you. Cheers.
- Cheers.

Mm.

Look at this view.

Oh, this is beautiful.

Oh, yeah.

You can see the bridge.

[LAUGHTER]

♪

[DRAMATIC MUSIC]

♪

[WOLF HOWLS]