Lincoln amazingly picks up on her subtle verbal clue and notes that she seems less than enthused and she says she promised to take her dad to Castle Island today. Lincoln notes that breaking promises is "one of the many perks of the job," and then volunteers to go for her.
He'll have to sell Broyles on it though, and Broyles isn't buying: "Not to diminish Agent Farnsworth's assignment, but liaison duty is more of a formality -- part of our mutual co-operation agreement," he says. Nice to see that Broyles' appreciation of liaisons hasn't increased one iota since the very first episode, hey? Lee disagrees though, saying that coordinating with the other side could turn up new leads on Jones, because right now they have nothing to go on. Broyles says that Lincoln's more valuable here and then Lee says there's nothing going on today except for "grazing day," and I'm not sure his coworkers would appreciate Lincoln telling the boss that all they're doing today is taking a cow out to a field so she can eat some grass. Fortunately, after Broyles raises an eyebrow at "grazing day," Lincoln's got enough presence of mind to simply explain that Agent Dunham and the others are busy, while Astrid has family obligations. "I don't have anywhere to be. Frankly, I think I could use the time away," says Lincoln. Broyles just stares at him. The absence of any specific glare in his gaze is as good as a yes!
But we're heading over to the other side ourselves first, where we take in the upper floor of a parking garage. A woman exits the stairwell and is a little surprised to see the lot's deserted, so she speed-walks to her car. In her nervousness, she drops her keys. She bends down to pick them up and when she straightens up, there's a man standing there -- a ne'er-do-well, by the looks of him. "Hi," he says and she asks what he wants. Well, he wants to attack you or go after your purse or something. She fights him, bloodying his lip, but he knocks her to the ground. "That was a mistake," he says, showing her the knife that he's going to use to make it clear just what a mistake it was.
He gets on top of her, grabs her hair -- but then he's stopped by some shadowy figure behind him, backlit so we can't make out any of the features on his face. He grabs the mugger and lifts him effortlessly, feet dangling off the ground, and then throws him to the pavement. Close-up of the mugger's face, as death presumably closes in for the kill and then we're into the opening credits.