All language subtitles for White.Collar.S03E10.en

PREVIOUSLY ON "WHITE COLLAR"...

TO OUR BEST
AND FINALSCORE.

WHAT IS IT?

Diana: PART OF THE ORIGINAL
GERMAN U-BOAT MANIFEST.

YOU STILL THINK
CAFFREY HAS THE ART?I DON'T KNOW.

AGENT KRAMER IS SORRY
HE CAN'T BE HERE IN PERSON,

BUT HE BRIEFED ME FULLY.HE DID?

CHRIS GATES.YOU'RE INTERPOL?

YEAH.
SO IT'S A PARTIAL LIST.

MOST OF WHAT WAS ON THE SUB
IS STILL UNACCOUNTED FOR.

THEY ONLY FOUND
ONE PAGE.

IF ANYONE TRIES TO SELL
ANYTHING THAT'S ON THAT LIST,

WE'RE GONNA NAIL 'EM.

YES, WE ARE.

[ CLINKS ]

DID YOU FIND THE SAFE?

THE MANIFEST WASN'T
IN THERE, MOZ. I'M SORRY.

IT'S OPEN SEASON ON KELLER.
SPOILS GO TO THE VICTOR.

Neal:
A $6-MILLION BOUNTY.

THAT'S ROUGHLY THE BLACK-MARKET
SALE PRICE OF THE DEGAS.

NO. THAT'S THE EXACTSALE PRICE
OF THE DEGAS.

IT'S ON THE LIST, MOZ!

YOU LIED TO ME?

WHEN THE DEGAS TURNS UP --
AND IT WILL --

THE FBI IS GONNA KNOW
THE TREASURE DIDN'T BURN,

AND WEARE
THE PRIME SUSPECTS.

[ FOG HORN BLOWS ]

[ NEIGHS ]

[ SIREN WAILS IN DISTANCE ]

[ CELL PHONE RINGS ]

[ BEEP ]

THE SPARROW DIES
AT MIDNIGHT.

THEN I'D HATE TO BE
THE SPARROW.

SERIOUSLY?

I WAS ABOUT TO EXPOSE THE LEADER
OF THE NORTH AMERICAN UNION.

NOPE.
YOU JUST THOUGHT YOU WERE.

THE N.A.U.
DOESN'T EXIST.

SAYS YOU.
YOU SET THIS UP?

I HAD TO TALK TO YOU
SOMEHOW.

ANOTHER PIECE
OF FICTION.

MUCH LIKE THE YARN
YOU SPUN

ABOUT NOT HAVING
THE FBI's ART MANIFEST.

YOU HAVE A RIGHT TO BE ANGRY.
I LIED TO YOU.

WHY?

I BROKE INTO PETER'S SAFE.

I HAD THE LIST IN MY HAND.

I WAS READY
TO TAKE THE TREASURE AND GO.

THEN WHY DIDN'T YOU?

PETER CAL--

I HAVE A LIFE HERE.

BUT WE HAD A DREAM.

WELL, DREAMS CHANGE.

I MEAN,
HAVE YOU EVER THOUGHT

WE MIGHT NOT LIKE
WHILING AWAY OUR DAYS

ON A MEDITERRANEAN ISLAND?

THEN WE SELL OUR ISLAND
AND COME BACK.

NO, YOUCAN COME BACK.
I CAN'T.

I RUN ON THIS,

AND NEW YORK
IS JUST A MEMORY FOR ME.

COME ON, NEAL.

THIS WAS THE ONE --

THE PERFECT LAST SCORE.

I KNEW YOU WERE
DRAGGING YOUR FEET.

YOU WENT BEHIND MY BACK
AND FENCED THE DEGAS.

I DID IT TO --

I DID IT
TO PROTECT US.

BY PUTTING A HIT
ON KELLER?

DOING SOMETHING
THAT RASH

IS EXACTLY WHAT WILL
GET US INTO TROUBLE.

MOST BLACK-MARKET PIECES
NEVER RESURFACE. YOU KNOW THAT.

BECAUSE THEY'RE NOT
ON A LIST

THAT PETER
IS ACTIVELY LOOKING FOR.

THE DEGAS IS.
IF PETER FINDS IT --

YEAH, I KNOW.

THEN IT PROVES
THAT THE TREASURE DIDN'T BURN,

AND THE TRAIL LEADS
STRAIGHT BACK TO US.

SO LET'S STOP THE BLEEDING.
WHO'S THE FENCE?

RUSTY.

RUSTY? SERIOUSLY?

ALL RIGHT, TALK TO HIM.

FIND OUT WHO
HE SOLD THE PAINTING TO.

WE'LL START THERE.

FINE.

TALK TO RUSTY, OKAY?

BUT THAT DOES LEAVE
ONE QUESTION.

DO YOU WANT TO STAY?

I'LL LET YOU KNOW.

[ ELEVATOR BELL DINGS ]

THE GREATEST WAY
TO LIVE HONORABLY

IS TO BE
WHAT WE PRETEND TO BE.

I'M PARAPHRASING,

BUT I DON'T THINK
OLD SOCRATES HERE WOULD MIND.

HE MIGHT.
CAN I HELP YOU?

YEAH.

YOU KNOW ANYTHING ABOUT
RENAISSANCE PORTRAIT MEDALS?

YOU SEEM TO KNOW
THAT I DO.

I HAVE A COLD CASE
ON A FIORENTINO

THAT WAS TAKEN FROM
THE SMITHSONIAN 8 YEARS AGO.

THE ONE I FOUND TURNED OUT TO BE
CHOCOLATE, WRAPPED IN FOIL.

YOU PROBABLY HEARD
THAT STORY.

SOUNDS
VAGUELY FAMILIAR.

I THOUGHT IT MIGHT.
[ CHUCKLES ]

I'M --
AGENT KRAMER,

HEAD OF THE BUREAU'S
D.C. ART CRIMES UNIT.

I'D SAY THIS MOMENT
WAS INEVITABLE, MR. CAFFREY,

GIVEN I AM WHO I AM,
AND YOU ARE WHO YOU ARE.

OH, GOOD.
YOU TWO HAVE MET.

OH,
NEAL AND I WERE, UH...

WELL, WHAT WERE WE
DOING HERE?

[ CHUCKLES ]

[ CHUCKLES ]
SHOOTING THE BREEZE.

YEAH.
YEAH, YOU COULD SAY THAT.

AGENT KRAMER WAS
MY MENTOR AT QUANTICO.

NOW I'M A JUST
A FRIEND.

SO YOU'RE THE ONE WHO TAUGHT
PETER EVERYTHING HE KNOWS.

WELL, I TAUGHT HIM
A FAIR AMOUNT.MM-HMM.

KEPT A FEW THINGS
FOR MYSELF.

OH, NOW,
YOU DIDN'T TELL ME THAT.

WHAT BRINGS D.C.
TO NEW YORK?

YOU TELL HIM?

[ SIGHS ] WHY DON'T WE TAKE THIS
INTO THE CONFERENCE ROOM?

MM.

ALL RIGHT.

TWO DAYS AGO, WE GOT A TIP

THAT A LONG-LOST MASTERPIECE
SURFACED IN NEW YORK.

YOU ALL KNOW
AGENT KRAMER FROM D.C.

Kramer: ONE OF OUR C.I.s
HEARD CHATTER

OF A BLACK-MARKET PAINTING
BEING SOLD HERE.

A DEGAS.

GOOD EYE, JONES.

THIS ONE'S CALLED "ENTRANCE
OF THE MASKED DANCERS."

IT WAS COMPL--

OH, NEAL, I'M SURE
YOU CAN TAKE IT FROM HERE.

OH,
COMPLETED IN 1884,

IT'S ONE OF DEGAS'
SEMINAL WORKS.

IT'S MORE COMPLEX THAN THE GAUZY
BALLERINAS HE'S FAMOUS FOR.

IT'S BELIEVED TO HAVE BEEN
TAKEN BY THE GERMANS IN '41

FROM THE TSARSKOYE SELO MUSEUM
IN SAINT PETERSBURG,

ALONG WITH A WHOLE LOT
OF OTHER ART.

IT HASN'T BEEN SEEN
SINCE.

WHAT DO YOU THINK,
NEAL?

ME?

I THINK RECOVERING
THIS MASTERPIECE

WOULD BE INCREDIBLE, SIR.

ME TOO.

SO WE'RE GONNA FIND IT.

HEY, MOZ,
DID YOU TALK TO RUSTY?

I LEFT WORD.
HE HASN'T RETURNED.

RELAX.
HE GOES UP TO THE POCONOS.

THE FBI KNOWS
ABOUT THE DEGAS.

OUR DEGAS?
WELL, AS MUCH
AS IT EVER WAS.

WE HAVE TO FIND RUSTY, MAKE SURE
HE KEEPS OUR NAMES OUT OF THIS.

OH, THE HYPOTHETICAL
BECOMES THE REALITY.

WELL,
HOW'S THIS FOR REALITY?

AGENT KRAMER IS IN TOWN
FROM D.C., LENDING PETER A HAND.

REALLY?

WHAT'S THE éMINENCE GRISE
OF THE ART CRIMES UNIT LIKE?

TAKE PETER,
ADD YEARS OF EXPERIENCE

AND LESS INCLINATION
TO CUT US SLACK.

MY BLOOD JUST RAN COLD.

SUPPOSEDLY HE HAS
AN ENCYCLOPEDIC KNOWLEDGE

OF THE IMPRESSIONISTS.

WELL, HE KNOWS ENOUGH
ABOUT OUR DEGAS

TO SCARE THE HELL
OUT OF ME.

PLEASE TELL ME HE DIDN'T BRING
HIS GIRL FRIDAY WITH HIM.

NO, WE CAUGHT A BREAK.
AGENT MATTHEWS ISN'T WITH HIM.

A BREAK, INDEED. I DON'T
KNOW HOW YOU WOULD HAVE
GOTTEN OUT OF THAT.

WELL, LET'S FOCUS
ON GETTING OUT OF THIS.

WE NEED TO STOP PETER
FROM FINDING THAT PAINTING.

WHAT DO YOU HAVE IN MIND?

LOCATE THE DEGAS
AND GET IT BACK.

WHY IS THERE A GIANT HOURGLASS
ON MY TABLE?

SOMEWHERE ALONG THE LINE, I
THINK YOUR MOTIVES GOT BLURRED.

KEEPING THE TREASURE HERE

WAS NEVER PART
OF THE LONG-TERM PLAN.

MOZ, THIS IS NOT --
48 HOURS.

IN THAT TIME, I WILL DO ANYTHING
YOU THINK WE NEED TO DO

IN ORDER TO LEAVE.

AND WHEN TIME RUNS OUT?

LOLANA AND I

ARE TAKING THE TREASURE
AND LEAVING...

REGARDLESS OF THE LIST,
THE DEGAS, OR THE FBI.

I HOPE
YOU'LL COME WITH US.

YOU'RE GIVING ME
AN ULTIMATUM.

YES, I AM.

STAY HERE WITH PETER
OR COME WITH ME.

CHOOSE A SIDE, NEAL.

Elizabeth: [ CHUCKLES ] YEAH,
THAT WAS AN INTERESTING ONE.

WE PULLED THE WIRE CON
ON A MOB BOSS.

ANOTHER AVERAGE DAY

IN THE NEW YORK
WHITE COLLAR OFFICE.

DON'T LAUGH.
IT'S NOT FAR OFF.MNH-MNH.

WHAT HAPPENED TO THE STOIC,
NO-NONSENSE PROBIE

WE CALLED
THE ARCHEOLOGIST?

THE ARCHEOLOGIST?

YEAH, HE'D NEVER STOP
DIGGING.

I'M STILL STOIC.

WELL, NEAL'S
LOOSENED YOU UP A LITTLE BIT.NOT TRUE.

I CAN SEE THAT.BUT IN A GOOD WAY.

HEY, OUR CLOSURE RATE
IS UNPRECEDENTED.

THEY KNOW
ABOUT YOU BOYS IN D.C.

LOT OF WATER-COOLER TALK

ABOUT GOTHAM CITY'S
FINEST COP AND ROBBER.

[ CHUCKLES ][ CHUCKLES ]

YOU TOOK THIS RIGHT HERE
IN THE KITCHEN.

YEAH. YEAH.
NEAL IS MY C.I., AND HE'S --

YEAH,
HE'S ALSO A FRIEND.

I'M -- I'M -- I'M GONNA GO
PUT A POT OF COFFEE ON,

AND I'LL LET
YOU GUYS TALK, OKAY?

YOU'RE AWFUL CLOSE TO THE GUY
YOU THINK STOLE THE DEGAS.

IT'S THAT OBVIOUS?

WELL, TODAY YOU HAD
A ROOMFUL OF PEOPLE

READY TO GO AFTER
THAT PAINTING,

AND YOU LOOKED
AT ONLY ONE MAN.

YOU THINK
HE STOLE THE TREASURE?

I HAVE MY SUSPICIONS.

THAT'S WHY YOU'RE HERE.

I NEED
AN OUTSIDE PERSPECTIVE.

HEY, BEFORE I MET YOU,

I HAD A C.I. WHO USED TO THROW
BATTING PRACTICE

FOR MY SON'S
LITTLE LEAGUE TEAM.

AND NOW?

[ CHUCKLES ] NOW I GET THE
OCCASIONAL E-MAIL FROM PRISON.

THESE ARE SHORT-TERM
RELATIONSHIPS, PETEY, AT BEST.

IT'S HARDWIRED
IN THEIR BRAINS.

YOU THINK ONCE A CON,
ALWAYS A CON?

I THINK RECIDIVISM RATES
PAINT A BLEAK PICTURE.

AND YOU HAVE TO PROTECT YOURSELF
WHEN THEY FALL.

I KNOW.
MY CAREER'S AT RISK.

NO, I'M NOT TALKING
ABOUT YOUR JOB.

I'M TALKING ABOUT YOU.

WHEN THIS HAPPENS,

YOU'RE NOT SLAPPING CUFFS
ON A CRIMINAL.

YOU'RE TAKING DOWN
A FRIEND.

[ SIGHS ]

IT HURTS.

PEOPLE CAN CHANGE.

PETE...

YOU ASKED ME FOR MY HELP.

IF NEAL ISA SUSPECT...

HE IS.

...THEN YOU HAVE TO TREAT HIM
LIKE ONE.

[ SIGHS ]

Peter: NEAL,
WE NEED YOUR EXPERTISE.

[ FEEDBACK ]THAT'S WHAT I'M HERE FOR.

GREAT.

LET'S SAY
THAT YOU'RE IN POSSESSION

OF A MASTERPIECE
THAT DISAPPEARED 70 YEARS AGO.

LIKE A DEGAS?

EXACTLY.

YOU CAN IMAGINE THAT,
RIGHT, NEAL?

ENJOYING THE FANTASY
AS WE SPEAK, SIR.

TOO BAD IT CAN'T LAST.WHY NOT?

BECAUSE THE PAINTING'S HOT.
YOU HAVE TO GET RID OF IT.

OR THE FEDS
WILL TAKE ME DOWN?

EXACTLY.

[ CELL PHONE BUZZING ]

YOU NEED TO TAKE THAT?

NOPE.

[ BEEP ]

SO I'VE GOT A HOT DEGAS I NEED
TO MOVE BEFORE YOU TAKE ME DOWN.

QUESTION IS,
HOW DO YOU FENCE IT?

I DON'T. I'D HAVE SOMEONE
FENCE IT FOR ME.

WHY GO THROUGH
A MIDDLEMAN?

A DEGAS APPEARING
AFTER ALL THIS TIME

IS GOING TO BE GREETED WITH
A HEALTHY AMOUNT OF SKEPTICISM.

PEOPLE WILL ASSUME
IT'S A FORGERY.

YEAH,
THEY USUALLY ARE.

SO I'D NEED SOMEONE WITH
AN IMPECCABLE REPUTATION
TO MAKE THE SALE.

YOU WANT ME TO ASK AROUND?

ACTUALLY, KRAMER'S TEAM ALREADY
HAS TWO SUSPECTS IN MIND.

THOROUGH.

THIS IS GUS LELAND.

DEALS EXCLUSIVELY
IN FRENCH IMPRESSIONISTS,

RECENTLY
RETURNED TO NEW YORK.

I KNOW GUS.
HE ALWAYS HAS QUALITY WORK.

HE DEFINITELY
FITS THE BILL.

SECOND GUY
IS KNOWN AS RUSTY.

RENOWNED FOR AN IMPECCABLE EYE
AT SPOTTING FORGERIES.

YEAH, HE'S SUSPECTED OF
BROKERING THE BLACK-MARKET SALE

OF MATISSE'S
"LA PASTORALE" LAST YEAR.

YEAH.

AND IT'S ALSO RUMORED

HE RECENTLY SOLD
A HIGH-PRIORITY PAINTING HERE.

MM.
TELL ME, NEAL,

WHEN YOU FENCE
YOUR DEGAS,

WHO ARE YOU GONNA USE?

RUSTY'S GOT
THE LOCAL CONTACTS.

I'D GO WITH RUSTY.

THEN THAT'S
WHO WE'LL GO AFTER.

OKAY.
MY TEAM HAS GUS.

GOOD LUCK, GENTLEMEN.

ALL RIGHT,
I'LL CALL MOZZIE.

HE KEEPS TABS
ON GOTHAM'S BLACK-MARKET ELITE.

NO NEED. WE'VE HAD EYES
ON RUSTY FOR 24 HOURS.

WE KNOW
EXACTLY WHERE HE IS.

LET'S GO.

LET'S WALK.

DON'T WE NEED A CAR
TO PICK UP RUSTY?

I GOT A FEW IN PLACE.

NEED TO REACH OUT
AND TOUCH SOMEONE?

I FIND IT A HANDY TOOL

TO KEEP ABREAST
IN THIS FAST-PACED WORLD.

NO ONE EVER TALKS ANYMORE.
PUT THAT AWAY.

LET'S TALK.

OKAY.

TELL ME WHY
KRAMER'S REALLY HERE.

HE'S A FRIEND
AND HE'S A MENTOR.

HE'S A WATCHDOG.

IS THAT WHAT YOU THINK
A MENTOR IS?

LET'S SEE -- AS DEPICTED
IN HOMER'S "ODYSSEY,"

MENTOR WAS HALF-MAN,
HALF-GOD.

HE REPRESENTED THE UNION
OF PATH AND GOAL, IF I RECALL.

WISDOM PERSONIFIED.

THAT'S ONE
INTERPRETATION.

MENTOR ALSO GUIDED ODYSSEUS' SON
DURING THE TROJAN WAR.

YOU PLANNING
TO GO TO WAR, PETER?

OH, NOT YET.

BUT IF I HAVE TO,
KRAMER'S GOT MY BACK.

MUST BE NICE HAVING SOMEONE
WHO BELIEVES IN YOU.

I NEVER GAVE HIM
A REASON NOT TO.

[ Sneezing ]
RUSTY!

WHAT'S THIS ABOUT?

YOU ALREADY HAVE
A NEW PIECE TO SELL?

YOU ASKED TO MEET
IN PLAIN SIGHT.

COULD YOU PICK SOMEWHERE
MORE PUBLIC?

AND YOUR HAIR'S
LIKE A FREAKING FLARE.

THIS IS GENETICS.
THAT SHIRT IS A CHOICE.

WHY ARE WE HERE?

THIS IS ABOUT
THE LAST PIECE I SOLD.

WHERE IS IT?

QUESTIONING
MY PROFESSIONAL DISCRETION?

I'M INSULTED.RUSTY, I NEED IT BACK.

WELL, THAT'S A DIFFERENT
CONVERSATION.

I CAN TALK TO THE GUY,
SEE IF HE'D BE WILLING

[ CELL PHONE RINGS ]TO PART WITH IT FOR,
SAY, A 30% PROFIT?

THIS IS AN EMERGENCY.

DO YOU KNOW
HOW THIS WORKS?

I'M A MIDDLEMAN.

I GIVE YOU THE NAME,
YOU CUT MEOUT THE NEXT TIME.

MY ENTIRE JOB IS DEPENDENT

ON ME NOTTELLING YOU
THAT INFORMATION.

THE FBI IS LOOKING
FOR THAT PAINTING.

NOW YOU'RE TRYING TO SCARE ME
INTO HELPING YOU? SAD.

NOT SAD.

URGENT!
THE FEDS ARE HERE!

[ Laughing ]
REALLY, MOZZIE?

GOING WITH THE OLD, TIRED
"G-MEN ARE AFTER ME" BIT?

[ LAUGHS ]

RUSTY, STAY WHERE YOU ARE!
RUSTY!

DIANA, TELL BACKUP
TO COME AROUND TO BRYANT PARK.

Man:
HEY, LOOK OUT!

ALL RIGHT, I'LL TAKE LEFT,
YOU TAKE RIGHT?

PETER?

GO.

HEY!

Woman: SUCH A HURRY!

[ CELL PHONE BEEPS ]

[ INDISTINCT CONVERSATIONS ]

HEY.

WHY'D YOU BRING
THE SUIT?

LOOK, THE FBI
HAS BEEN MONITORING RUSTY.

PETER DIDN'T GIVE ME
A CHANCE TO WARN YOU.

DID YOU GET THE INFO?RUSTY DIDN'T
TELL ME ANYTHING.

ON THE UPSIDE, I'M ASSUMING
HE WON'T TELL THE FBI, EITHER.

ALL RIGHT, GOOD.
I'LL HEAD HIM OFF.

WHAT? NO!
LET HIM GO!

PETER IS GUNNING
FOR ME, MOZ.

IF I HELP HIM CATCH RUSTY,

MAYBE HE'LL EASE UP
ON HIS LEASH.

NOW GET OUT OF HERE
BEFORE HE SEES YOU.

HOLD ON.
RUSTY'S PHONE.

I DELETED
ANY REFERENCES TO US.

PERFECT.
THANK YOU, MOZ.

[ POLICE RADIO CHATTER ]

DIANA,
WHERE ARE MY GUYS?

THIS EXIT'S CLOSED.

[ CHUCKLES ]

RUSTY...

WE NEED TO TALK
ABOUT A MAN AND A DEGAS.

GOT TO LOVE
GOOD OLD-FASHIONED TEAMWORK.

[ SIREN WAILS ]

[ POLICE RADIO CHATTER ]

HE SCREAMED FOR HIS LAWYER
THE SECOND I PUT CUFFS ON HIM.

HE KNOWS TALKING WILL
KILL HIS REPUTATION.

WE NEED LEVERAGE.

YOU HAVE IT.
FOUND RUSTY'S PHONE.

HE MUST HAVE TOSSED IT.

HIS RECENT CALL LIST

SHOULD HELP US FIGURE OUT
WHERE HE GOT THE DEGAS.

WE'LL GET THIS
TO E.R.T.

MEET YOU BACK AT THE OFFICE.
WE'LL GO OVER DETAILS.

SOUNDS GOOD.

YOUR BOY IS VERY HELPFUL
FOR OUR LEAD SUSPECT.

SO IT SEEMS.

[ ELEVATOR BELL DINGS ]

Melissa: EXCUSE ME!
HOLD THE ELEVATOR PLEASE!

THANK YOU.

CHRIS. CHRIS GATES.

AGENT MATTHEWS.

PLEASE. YOU CAN CALL ME MELISSA
AFTER LAST TIME.

SORRY. MELISSA.
HOW ARE YOU?

I'M GOOD.
GOOD.

I DIDN'T KNOW THEY'D PULLED IN
INTERPOL FOR THIS.

WELL, HERE I AM.

ON YOUR WAY
TO SEE AGENT BURKE?

YES.

YES.WE'LL GO TOGETHER.

FAN...TASTIC.

[ ELEVATOR BELL DINGS ]

[ ELEVATOR BELL DINGS ]

I ASSUME YOU'RE HERE
ABOUT THE DEGAS?

I ONLY KNOW
WHAT KRAMER TELLS ME.

[ DINGS ]

CAN I TRUST YOU?WHAT'S WRONG?

MELISSA...

CAN I TRUST YOU?
TRY ME.

WHAT I AM ABOUT TO SAY...

DAMN IT.
YOU'RE NOT AUTHORIZED.

AUTHORIZED FOR WHAT?

IT DOESN'T MATTER.
THERE'S NO TIME.

THERE IS A MOLE
IN THE WHITE COLLAR DIVISION

HERE IN NEW YORK.

WHAT?

WE INTERCEPTED AN UNIDENTIFIED
TRANSMISSION FROM THIS OFFICE.

SOMEONE HERE IS TRYING TO MAKE
A PLAY FOR THE SUB'S STOLEN ART.

AND THEY'VE SENT INTERPOL IN
TO INVESTIGATE?

YES. I'M ON SPECIAL ASSIGNMENT.
NO ONE HERE CAN BE TRUSTED.

AS FAR AS THIS OFFICE
IS CONCERNED,

I'M A RECOVERY CONSULTANT
ON LOAN TO THE BUREAU.

BUT THE NIGHT
WE HAD DRINKS --

I WAS CARELESS, ALL RIGHT?
I LET MY COVER SLIP.

I'M SORRY I GOT YOU
MIXED UP IN THIS.

CHRIS --

CALL ME "NEAL."
PLEASE.

I DEFINITELY DON'T REGRET
THE DRINKS, THOUGH.

[ DINGS ]

AGENT MATTHEWS.
THANKS FOR MAKING THE TRIP.

OF COURSE.
THAT'S THE JOB.

I HAVE EVERYTHING
THAT AGENT KRAMER REQUESTED.

GREAT.
I SEE YOU'VE MET NEAL.

YEAH.
YES, NEAL AND I

HAD A VERY INTERESTING
CONVERSATION ON THE RIDE UP.

HE'S ALWAYS GOOD
FOR THAT.

YOU WERE RIGHT.

THE NUMBERS ON RUSTY'S CELL
GAVE US A LEAD.

GLAD I COULD HELP.

AGENT KRAMER'S IN
THE CONFERENCE ROOM. COME ON UP.

I OWE YOU ANOTHER MARTINI.

IT LOOKS LIKE RUSTY DELETED
SEVERAL NUMBERS FROM HIS PHONE

BEFORE NEAL FOUND IT.

UNFORTUNATELY, WE DON'T KNOW
WHO HE BOUGHT THE DEGAS FROM.

BUT IF WE FIND IT,
WE'LL HAVE LEVERAGE

TO MAKE HIM TELL US
WHERE HE GOT IT.

YEP.

THE GOOD NEWS IS, WE THINK
WE KNOW WHO HE SOLD IT TO.

THERE WERE SEVERAL CALLS
PLACED TO THIS MAN.

Diana:
THAT'S ELLIOTT RICHMOND.

HE'S A BLACK-MARKET
ARMS TRAFFICKER.

RUMOR IS HE MADE A FORTUNE
MOVING M240s.

A FORTUNE HE SPENDS
ON ART.

HE'S GOT A SOFT SPOT
FOR IMPRESSIONISTS.

ART IS CURRENCY
FOR GUYS LIKE THIS.

OVER THE PAST DECADE, A MAJORITY
OF BLACK-MARKET DEALERS

STOPPED TRADING IN CASH.

TOO EASY TO TRACE,
TOO UNWIELDY.

INSTEAD OF CARRYING DUFFEL BAGS
WITH MILLIONS IN BANK NOTES --

IT'S EASIER TO TRADE
A SINGLE PIECE OF ART
WORTH THE SAME AMOUNT.

NEAL, RUMOR IS

YOU'VE HAD SOME EXPERIENCE
IN THIS PAYMENT PROCESS.

WELL,
DETAILS ARE SENSITIVE,

BUT THE THIEF IN MIND
ALLEGEDLY TRADED A MANET

FOR A BATCH
OF STOLEN IDENTITIES.

IT WAS
A TOUGH ASSIGNMENT.

ASSIGNMENT?

YEAH, THE WESLEY GODFREY COVER
WAS BLOWN.

WHAT'S OUR ANGLE
ON RICHMOND?

RICHMOND KEEPS A PENTHOUSE
AT 75 WALL.

HE DOESN'T OWN ANY OTHER
PROPERTY IN THE CITY,

AND HE LOVES TO LOOK
AT HIS ART,

SO IT'S A GOOD BET THIS IS
WHERE HE'S KEEPING THE DEGAS.

WE'VE ALREADY SET UP
A BUY WITH HIM.

MELISSA,
IF YOU'D BE SO KIND.

TWO YEARS AGO,
I RECOVERED THIS

WHILE WORKING A CASE
IN GERMANY.

WHOA!

THIS IS AN MP5K MODIFIED
TO SHOOT THROUGH A BRIEFCASE.

VERY RARE. CIVILIANS CAN'T
GET THEIR HANDS ON THEM.

Peter: WE'VE TOLD RICHMOND
THAT IF HE LIKES WHAT HE SEES,

I CAN GET HIM
A COUPLE HUNDRED.

THAT SHOULD BE ENOUGH
TO NEGOTIATE FOR A DEGAS.

YOU'RE GOING IN?I'M GONNA POSE AS THE SELLER,

AND DIANA WILL BE
MY BACKUP.

DIANA?

YOU HATE GUNS,
AND AS WE CAN ALL SEE, DIANA...

KIND OF LOVE 'EM.

SO I'M SITTING
THIS ONE OUT?

NOT EXACTLY.

YOU'LL BE IN THE VAN...

WITH ME.

HK MP5 IN A BRIEFCASE.

CLASSIC.

TRIGGER'S IN THE HANDLE.

IT'LL FIRE THROUGH THE BRIEFCASE
SHELL WHILE YOU'RE WALKING.

VERY NICE.
HOW MANY HAVE YOU GOT?

TWO GROSS, BUT THIS WILL
COST YOU. IT'S A RARE ITEM.

OH,
I UNDERSTAND THAT.

WHAT I DON'TUNDERSTAND
IS WHAT SHE'S DOING HERE.

SHE ASSISTS ME.

CAN'T THE LADY
SPEAK FOR HERSELF?

THE LADY
IS ALSO HIS MUSCLE.

[ LAUGHS ]

YOU'RE FUNNY.

LET'S TALK.

AGENT BERRIGAN
SEEMS IMPRESSIVE.

ALMOST AS IMPRESSIVE
AS PETER.

IF THERE'S ONE SURE THING
ABOUT PETER,

HE ACCOMPLISHES
WHAT HE PUTS HIS MIND TO.

IF HE'S GOT A TARGET, HE'LL KEEP
PURSUING TILL HE HITS IT...

DEAD-CENTER.

RICHMOND:
I'll tell you what --

YOU BRING ME A GROSS,
AND YOU'VE GOT YOURSELF A DEAL.

DONE. BUT I DON'T DO
CASH OR CHECK.

NEITHER DO I.

I HAVE GOT A RECENTLY ACQUIRED
AND VERY VALUABLE ITEM

THAT IS WORTHY
OF THESE GUNS --

FINANCIALLY SPEAKING,
OF COURSE.

Diana:
WHAT KIND OF ITEM?

[ STATIC ]WHAT HAPPENED?

MAYBE PETER
DOESN'T CONSIDER YOU

AS MUCH OF A PARTNER
AS YOU THINK.

TOMORROW. 1:00 SHARP.

YOU BRING THE GUNS.
I'LL BRING THE ITEM.

UNTIL TOMORROW.

MUST BE HARD TO DO YOUR JOB WHEN
YOU'RE KEPT OUT OF THE LOOP.

YOU SEEM TO KNOW SOMETHING
ABOUT THAT, HUH?

HEY.
HEY.

WHAT HAPPENED TODAY?

YOUR WATCH CUT OUT.
OH.

EQUIPMENT MALFUNCTIONS.
IT HAPPENS.

YOU KNOW THAT
BETTER THAN ANYONE.

SO YOU'RE NOT GONNA
TELL ME EVERYTHING, HUH?

I'M FOLLOWING MY LEADS.

IF YOU DON'T LIKE
WHERE THEY GO, TOO BAD.

THAT'S KRAMER TALKING.

HE'S THE DEVIL
ON YOUR SHOULDER.
NO.

HE'S REMINDING ME
WHY I'M HERE.

I'M HELPING
THIS INVESTIGATION.

DO YOU REMEMBER
WHAT YOU SAID TO ME

THE DAY I FIRST ACCUSED YOU
OF STEALING THE ART?

WHAT WAS IT, NEAL?

"PROVE IT."

BE CAREFUL
WHAT YOU WISH FOR.

THEN GOOD LUCK.

MELISSA.

YOU DROPPED SOMETHING.

I'LL GET IT.

OH.

GUESS KRAMER BROUGHT YOU IN
THE LOOP AFTER ALL, HUH?

THANKS.

YOU'RE WELCOME.

WHY, YES,
I DO OWN THESE VILLAS.

WHAT'S THAT? THE ISLAND?

YEAH.
I KIND OF OWN THAT, TOO.

SURE, I CAN SHOW YOU
CORAL REEF...

IN MY SUBMERSIBLE.[ CELL PHONE RINGS ]

[ BEEP ]

WE GOT A PROBLEM.

WE SHOULD MAYBE
COPYRIGHT THAT PHRASE.

PETER PUT IN AN OP ORDER
TO SEARCH RICHMOND'S HOME

TOMORROW AT 1:00.

We need to get there
before the Feds.

MEET AT MY PLACE TONIGHT.

[ HORNS HONKING ]

LOOKING SHARP, THERE,
MOZZIE.

KELLER...

QUELLE SURPRISE.

YOU'RE A HARD MAN
TO TRACK DOWN.

YOU SHOULD KNOW I ALWAYS
HAVE AN ESCAPE ROUTE.

FIVE PACES TO MY LEFT
IS THE "A" TRAIN.

TO MY RIGHT IS JERRY,

A NOBLE HOT-DOG VENDOR WHO WOULD
GLADLY RISK HIS LIFE FOR MINE.

LOOKS TO ME
THERE'S ONLY ONE MAJOR EXIT

YOU'RE CONCERNED WITH, GIVEN
THESE FANCY SHIRTS, HERE.

YOU ALMOST KILLED ME,
MOZZIE. HMM?

YOU PUT A PRICE
ON MY HEAD.

WHICH MEANS ALL
I HAVE TO DO IS SCREAM

AND NEW YORK CLOSES IN
TO TAKE YOU DOWN.

YOU SCREAM,
I GUT YOU LIKE A CARP,

THEN HOP THE "A" TRAIN
FIVE PACES TO YOUR LEFT.

JERRY WOULD NEVER LET YOU
GET THAT FAR.

YOU'RE BOLD, MOZZIE,
I'LL GIVE YOU THAT.

YOU MAKE THE KIND
OF RUTHLESS CHOICES

THAT CAFFREY NEVER WOULD.

WHAT DO YOU WANT,
KELLER?

YOU KNOW WHAT I WANT.
I'M HERE AS A COURTESY...

WHICH MEANS
THIS IS YOUR LAST CHANCE

TO CUT ME IN
ON YOUR TREASURE.

EVEN IF I KNEW
WHAT YOU WERE TALKING ABOUT,

THE ANSWER WOULD
STILL BE NO.

YOU'RE SURE ABOUT THAT?

REMEMBER,
I DID ASK NICELY.

NOW I'M GONNA HAVE TO MAKE YOU
GIVE ME WHAT I WANT.

HOW?

WHY RUIN THE SURPRISE?

ENJOY.

[ BEEPING ]

YOU'D THINK THAT THING
HAD SPORTS SCORES ON IT.

I'M LOOKING
AT NEAL'S TRACKING DATA.

IS THAT WHAT YOU'VE BEEN DOING
FOR THE LAST HOUR?

I NEED TO KNOW
WHERE HE IS.

HONEY, IT'S ALMOST 10:00
ON A MONDAY.

I DON'T THINK
HE'S GOING ANYWHERE.

YEAH, I CAN'T BE TOO SURE...
NOT NOW.

ALL GOES WELL, WE'LL RECOVER
THE PAINTING TOMORROW.

THEN WHAT?

THEN I'LL KNOW THE TRUTH.

NEAL REALLY DID IT,
DIDN'T HE?

WHAT'S GOT YOU
SUDDENLY SO CONVINCED?

YOU.

THE LAST TIME
YOU OBSESSED THIS MUCH,

YOU CAUGHT HIM.

[ KNOCKING ON DOOR ]

HEY.

WE'VE GOT A PROBLEM.

YOU'RE RIGHT --
WE SHOULD COPYRIGHT THAT PHRASE.

KELLER'S BACK.

AND HE WANTS OUR TREASURE.

WHAT?

HE'S GOT THE ENTIRE
U.S. GOVERNMENT

AND HALF THE CRIMINAL
UNDERWORLD LOOKING FOR HIM.

EXACTLY,
AND IF HE'S STICKING AROUND,

IT MEANS HE'S PLANNING
TO DO SOMETHING BIG.

SO WE SHOULD SPLIT
BEFORE THAT HAPPENS.

NO,
WE WORRY ABOUT KELLER

AFTER OUR DEGAS PROBLEM
IS HANDLED.

I'M ALMOST DONE
WITH THE FORGERY.

48 HOURS, MOZ.
LET'S MAKE THEM COUNT.

YOU'VE ALREADY
GOT A PLAN.

WE'LL HAVE A 10-MINUTE WINDOW
DURING THE FBI RAID

TO SWAP THE PAINTING.

I'M SORRY.
I ASSUMED YOU HAD A GOODPLAN.

WITH PETER ON MY BACK,
THIS IS THE ONLY WAY.

OKAY, THEN. PROCEED.

ALL RIGHT, THIS IS THE LAYOUT
FOR RICHMOND'S APARTMENT.

HE'S THE PENTHOUSE,
43rd FLOOR,

ACCESSIBLE BY TWO ELEVATORS
AND THE FIRE STAIRS.

INSIDE, RICHMOND'S GOT
A PERSONAL ARSENAL,

SO WE HAVE TO
TREAD CAREFULLY.

TAKE HIM DOWN QUICKLY

SO HE DOESN'T HAVE A CHANCE
TO GRAB A WEAPON.

RICHMOND THINKS
WE'RE THERE TO DEAL.

DIANA,
YOU'LL RIDE UP WITH ME.

JONES, YOUR TEAM
HAS THE STAIRWELL.

WOW. 43 FLOORS.
LUCKY I DO CARDIO.

WHAT ARE YOU DOING
WITH CAFFREY?

I WANT TO KNOW WHERE HE IS
AT ALL TIMES,

SO HE'S COMING WITH ME.

IF PETER'S PLANNING ON TAKING
YOU UP TO RICHMOND'S,

HOW IS THIS GONNA WORK?HE WON'T BE TAKING ME UP.

THERE'S A HOLDING ROOM
RIGHT NEXT TO THE GUARD'S DESK.

I'LL MAKE SURE
PETER LOCKS ME IN THERE

BEFORE GOING UP
TO RICHMOND'S.

IT'S A CLEAR SHOT
FROM THERE TO THE ELEVATORS.

YOU'LL NEED PADDED SHOES.

AND YOUR
ELEVATOR-OVERRIDE BOX.
OKAY.

IT'LL BUY ME TIME
TO HIT RICHMOND

BEFORE PETER GETS THERE?

THAT'S ALL
IT'S GONNA BUY YOU.

THEY'LL BE
ON THE STAIRS.

YOU'LL NEED
ANOTHER WAY DOWN.

I KNOW.

UH, THERE IS
NO OTHER WAY DOWN.

I KNOW.

YOU'RE KEEPING NEAL CLOSE
WHILE YOU GO IN FOR THE DEGAS?

I WANT TO WATCH
HIS EXPRESSION

WHEN HE SEES THE PAINTING
IN MY HAND.

ANY CHANCE HE GOES
FOR THE PLACE TONIGHT?

NO, I'VE GOT A TEAM MONITORING
HIS TRACKING DATA.

THAT DOESN'T MEAN
HE'S NOT PLANNING SOMETHING.

I'M SURE HE IS.

HOW ARE WE GONNA GET
THE COPY OF THE DEGAS

AND ALL THE OTHER STUFF UP TO
RICHMOND'S IN THE FIRST PLACE?

YOU'RE GONNA DO IT.

HOW?

WE'RE GONNA NEED
A BAZOOKA.

OH.

Moz: YOU ARE LOOKING
AT AN AT4 RECOILLESS RIFLE.

MADE BY SAAB, FIELDED BY U.S.
AND SWEDISH FORCES.

VERY POPULAR IN AFGHANISTAN
LAST SUMMER.

HOW MANY DO YOU HAVE?

WE'LL GO WITH 200.

SHOULD I BE ASKING
HOW YOU GOT THEM?

LET'S JUST SAY
THEY FELL OFF A TRUCK.

HOW DO I KNOW NOTHING BROKE
FALLING OFF THAT TRUCK?

OH, CONSIDER THIS
A FLOOR MODEL.

TEST IT OUT,
AND IF YOU LIKE IT,

WE CAN TALK
ABOUT THE OTHER 199.

OBVIOUSLY
I CAN'T TEST IT HERE.

OH, TAKE YOUR TIME.

YOU KNOW,
I'LL BE IN TOUCH.

ENJOY. ENJOY.

[ BEEP ]

OKAY.

THE ELEVATORS ARE MINE,
NEAL.

THE REST IS UP TO YOU.

Jones: TEAM ONE IN POSITION
ON THE STAIRS.

Diana: THANKS, JONES.
WE'RE MOVING IN.

I GOT IT.

WHAT ARE YOU PLANNING
TO DO WITH THIS?

ALWAYS BE PREPARED,
RIGHT?

RIGHT.

FBI. WE HAVE A WARRANT
TO SEARCH THE PENTHOUSE.

AGENT PETER BURKE.

I HAVE A HOSTILE WITNESS
ON MY HANDS.

DO YOU HAVE A STORAGE ROOM
OR AN OFFICE THAT I CAN BORROW

WHILE I'M CONDUCTING
MY BUSINESS UPSTAIRS?

YES, SIR. RIGHT OVER THERE.
I'LL SHOW YOU.

OH, COME ON, PETER.
YOU CANNOT LOCK ME IN HERE.

WATCH ME.

UNDER NO CIRCUMSTANCES
IS HE TO LEAVE.

HE HAS NO MEDICAL CONDITION,

HE'S HAD ENOUGH WATER,
AND HE'S BEEN TO THE BATHROOM.

IF HE CALLS YOU,
DON'T ANSWER.

IF HE REQUESTS ANYTHING,
DON'T ACQUIESCE.

AM I CLEAR? I AM THE ONLY PERSON
TO OPEN THAT DOOR.

I'LL BE BACK DOWN LATER.

EVERYTHING OKAY
WITH NEAL?

HE WON'T BE GOING
ANYWHERE.

[ ELEVATOR BELL DINGS ]

[ BEEP ]

NEAL:
You there, Moz?

NO NAMES, NEA--
OOPS.

Got it.

[ ELEVATOR DOORS CLOSE ]

[ DING ]

[ BEEP ]

[ ELEVATOR STOPS ]WHAT THE HELL?

WE'RE STUCK. JONES,
WE'VE GOT A DELAY. STAND BY.

CALL DOWN TO THE GUARDS.

WE NEED THIS ELEVATOR
MOVING IMMEDIATELY.

OPERATION FEDIBUSTER
IS IN PLAY.

ALL RIGHT.
TELL ME WHEN.

DIANA:
Yeah, we're stuck.

GUARD:
Are you sure?

What?
Are you kidding me?
Yes, we're sure.

Get this elevator moving.
Come on.

NOW!

YOU'LL
HAVE TO BE PATIENT.

THIS COULD
TAKE A SECOND.

Get this elevator moving.
Come on!

OPENING DOOR NOW.

NEAL, HURRY UP.

[ ELEVATOR BELL DINGS ]

[ SIGHS ]
THAT WAS CLOSE.

It got my pulse
going.

DIANA:
Get us up or get us down.

I don't care what you do, just
get us out of this elevator now.

GUARD:
You don't understand.

I'M REBOOTING THE SYSTEM, MA'AM.
IT TAKES TIME TO INITIALIZE.

GET IT DONE.

MOZ: Hey, you know where
he hid the painting?

Neal:
I HAVE AN IDEA.

FOUND IT.

HURRY, NEAL.
YOUR TIME IS RUNNING OUT.

[ ELEVATOR STARTS ]

FINALLY.

JONES, WE'RE ON OUR WAY.

JONES: Roger that.

NEAL, GET OUT OF THERE!

They've reached the penthouse.
Get out of there.

[ DOORBELL RINGS ]

[ DOORBELL RINGS ]

COMING!

COME ON IN.AFTER YOU.

YOU DIDN'T BRING
THE GUNS?

NO. WE BROUGHT
THIS WARRANT INSTEAD.

OHH.
PETER BURKE, FBI.

JONES, WE'RE CLEAR.

ELLIOTT RICHMOND,
YOU'RE UNDER ARREST

FOR ILLEGAL
ARMS TRAFFICKING.

NEAL, PETER AND DIANA
ARE WITH RICHMOND.

I'M GETTING OUT OF HERE.
GOOD LUCK.

SEE YOU
ON THE OTHER SIDE, MOZ.

[ HORN HONKS ]

NAILED THE LANDING.I NEED A DRINK.

[ ELEVATOR BELL DINGS ]

[ SIGHS ]

TOOK YOU A WHILE.
RUN INTO SOME PROBLEMS?

RICHMOND WENT DOWN
WITHOUT A FIGHT.

YOU FOUND IT.

DON'T JUMP
TO ANY CONCLUSIONS.

KRAMER STILL NEEDS
TO WEIGH IN.

ALL RIGHT.

ANY VERDICT YET?

THIS IS CONSISTENT
WITH THE PERIOD

WHERE HIS DARK PALETTE
GAVE WAY TO BOLD COLORS.

THE STROKES ANGLE
SLIGHTLY TO THE RIGHT.

Peter: SO IT'S REAL?

OHH.

THE SIGNATURE
IS DEAD ON.

DEGAS WAS LOSING HIS SIGHT
TOWARD THE END.

THERE'S A CRISPNESS --

NEAL,
STAY OUT OF THIS.

NO, NO, HE'S QUITE RIGHT.
BUT THE OIL IS THE REAL TELL.

TO MAKE A WORK
LOOK AUTHENTIC,

PIGMENTS ARE BOUND
WITH LINSEED OIL,

WHICH TAKES ROUGHLY
50 YEARS TO DRY.

WHEN THAT FINALLY HAPPENS,
THE OIL STARTS EVAPORATING,

CAUSING THE SURFACE
TO CRACK.

HOWEVER...

YEAH?

PLEASE.

THANK YOU.

YEAH.

THESE MICRO-CRACKS
ARE SLIGHTLY IMMATURE

FOR A WORK THAT'S SUPPOSED TO BE
OVER A HUNDRED YEARS OLD.

GOOD EYE, MR. CAFFREY.

LITTLE MORE TIME IN THE OVEN,
AND IT WOULD HAVE HAD ME FOOLED.

[ SIGHS ]

SO IT'S A FORGERY.

MM-HMM.

MM.

I'M SORRY, PETER.

I KNOW HOW MUCH
YOU WANTED THIS.

PETEY...

WE TOOK DOWN
AN ARMS DEALER

AND RECOVERED A NUMBER
OF MISSING PAINTINGS.

THIS IS STILL A WIN.

I THOUGHT FOR SURE
IT WAS THE REAL THING...

THAT THE TREASURE
WAS OUT THERE.

SEARCHING FOR THE TRUTH
IS WHAT MAKES YOU A GOOD AGENT.

YOU CAN'T ALWAYS BE RIGHT.

IN FACT, THE HARDEST THING
TO DO IS ADMIT YOU'RE WRONG,

LIKE I SEEMED TO BE
ABOUT NEAL.

YOU THINK HE'S CHANGED?

I CAN'T SAY IT WITH CONVICTION
THAT HE'S REFORMED YET...

BUT I CAN TELL YOU
HE WANTS TO BE HERE.

HMM.

[ INDISTINCT CONVERSATIONS ]

FIND
SOMETHING INTERESTING?

HI, CHRIS.

YOU WENT ALL OUT
FOR YOUR UNDERCOVER ASSIGNMENT.

REALLY SETTLED
INTO THE BUREAU.

THE TIE DRAWER'S
A NICE TOUCH.

MAINTAINING COVER
IS MY SPECIALTY.

OH, I KNOW.

AGENT JONES TOLD ME

HOW MUCH HE'S ENJOYED WORKING
WITH YOU ALL THIS TIME.

ALL RIGHT.
YOU CAUGHT ME.

I'M NOT
WHO I SAID I WAS.

NO. YOU'RE NEAL CAFFREY,
INFAMOUS CON MAN AND FORGER.

GUILTY AS CHARGED.

HOW LONG DID YOU THINK
YOU COULD KEEP THIS UP?

NOT LONG,
BUT I NEEDED TO BUY SOME TIME,

AND IT WAS
THE ONLY PLAY I HAD.

MELISSA,
WORKING WITH PETER

HAS BEEN ONE OF THE BEST THINGS
THAT'S EVER HAPPENED TO ME.

BUT HE STARTED CUTTING ME OUT.
YOU KNOW HOW THAT FEELS.

HE WASN'T TRUSTING ME.

IMAGINE THAT.

I NEEDED TO KNOW WHY
SO I COULD FIX IT.

I'M SORRY
I BROUGHT YOU INTO THIS.

OBVIOUSLY, I'LL HAVE TO TELL
KRAMER EVERYTHING.

OF COURSE.
WE'LL TELL HIM THE TRUTH.

THE WHOLE TRUTH.

IF I TELL HIM I TOLD YOU

ABOUT THE EXISTENCE OF THE
U-BOAT MANIFEST OVER MARTINIS,

MY CAREER IS OVER.

AND YOU KNOW THAT.

YOU REALLY ARE
NEAL CAFFREY.

WELCOME TO WHITE COLLAR.

IT WAS IMPRESSIVE
WATCHING YOU WORK.

LIKEWISE.

WHOEVER FORGED
THAT PAINTING

IS GONNA MAKE OUR WORK
A WHOLE LOT MORE INTERESTING.

WHY'S THAT?

BECAUSE IT'S THE BEST
I'VE EVER SEEN.

WE DID IT, MOZ.

THE FBI
IS OFF OUR TRAIL.

I'VE NEVER KNOWN YOU
TO PASS UP A GOOD BORDEAUX.

NOTICE ANYTHING?

[ SIGHS ] COME ON.

CAN WE PLEASE
ENJOY OUR VICTORY?

NEAL, I'VE BEEN
REALLY PATIENT.

BUT IT'S TIME FOR YOU
TO MAKE A CHOICE.

DO YOU WANT TO LEAVE
OR NOT?

NO.

THERE ARE THINGS ABOUT THIS LIFE
I'M NOT READY TO GIVE UP.

DO YOU EVEN KNOW
WHAT THIS LIFE IS ANYMORE?

I MEAN,
YOU'RE...ON A LEASH.

YOU'RE STILL IN PRISON.

YOU HAVE
STOCKHOLM SYNDROME.

I CAN ALWAYS
WALK OUT THAT DOOR, MOZ.

I CAN NEVER WALK BACK IN.

WELL, THEN,
YOU'VE MADE YOUR CHOICE.

I ALWAYS THOUGHT OURS
WOULD BE A HAPPY ENDING.

IF YOU WANT A HAPPY ENDING,
IT DEPENDS --

ON WHERE
YOU STOP THE STORY.

YEAH, ORSON WELLES.

I'LL SEE YOU AROUND, NEAL.

YOU'RE FOOLING YOURSELF

IF YOU THINK THIS IS
WHO YOU REALLY ARE.

HONEY, YOU'RE GONNA
DRIVE YOURSELF CRAZY.

PETER:
I'm missing something, El.

You've looked
as hard as you can.

There's nothing more
to find today.

BUT THERE WILL BE, AND WHEN
THE RIGHT EVIDENCE SURFACES...

[ SIGHS ]

...I'M AFRAID THIS WILL
ALL BLOW UP IN NEAL'S FACE.

WHATEVER MESS HE MADE,
HEMADE IT.

AND IF IT COMES OUT,

he's gonna have to
clean it up.

SO...WHAT?

SO COME HOME...

HAVE DINNER...

RELAX WITH A BOTTLE
OF YOUR FAVORITE BEER...

AND CONTINUE WORKING
ON THE CASE,

BECAUSE YOU ARE...

A WORKAHOLIC?

...PETER BURKE,
THE ARCHEOLOGIST.

THANKS, HONEY.
I'LL BE HOME SOON.

OKAY.

[ BEEP ]

[ RINGTONE PLAYING
"SHAVE AND A HAIRCUT" ]

[ BEEP ]

KELLER: Agent Burke.

WORKING LATE AGAIN.

YOU'RE PERSISTENT,
I'LL GIVE YOU THAT.

KELLER.Pardon the theatrics.

BUT UNDER
THE CIRCUMSTANCES,

WE CAN'T BE HAVING
THIS CONVERSATION IN PERSON.

I'M SURE YOU UNDERSTAND.

WHAT DO YOU WANT, KELLER?

I need your help.

MY HELP.

TURN YOURSELF IN.
I'LL SEE WHAT I CAN DO.

YEAH, I DON'T THINK
I CAN DO THAT, BURKE.

BUT I TELL YOU WHAT --

IF YOU HELP ME,
I CAN HELP YOU.

Our interests are
more mutual than you think.

AND YOU KNOW THIS HOW?

BECAUSE
I'VE SEEN THE TREASURE.

Yeah,
your boy Caffrey's got it.

AND YOU WANT IT.

I'M A SUCKER FOR THE GAME,
BURKE.

SO, YOU GONNA HELP ME
OR WHAT?

WHY WOULD I HELP YOU?

That's a good question.

HOW ABOUT YOU GO HOME

AND RELAX WITH A BOTTLE
OF YOUR FAVORITE BEER

AND THINK ABOUT IT?

YOU COULD USE
SOME ALONE TIME.

[ Dial tone ]

Diana:
[ Echoing ] BOSS.

NEIGHBORS SAW A BLACK VAN,
JERSEY PLATES.

SHE WAS ALIVE
WHEN THEY TOOK HER.

WE'RE ALL OVER
MAJOR TRANSPORTATION CENTERS.

HE WON'T GET OUT OF THE CITY
WITHOUT US KNOWING.

Neal: PETER.

HE TOOK MY WIFE.