All language subtitles for White Collar - S03E10 - Countdown.en

NARRATOR: Previously on White Collar…

To our best and final score.

PETER: 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.

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 exact sale 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 we are 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, you can 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 eight 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.

PETER: 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.

PHILIP: 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.

PHILIP: 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 have 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.

(THEME MUSIC PLAYING)

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.

Lots of water-cooler talk
about Gotham City's finest cop and robber.

(CHUCKLING)

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 HEAVILY)

It hurts.

People can change.

Pete…

you asked me for my help.

If Neal is a suspect…

He is.

…then you have to treat him
like one.

(SIGHS)

PETER: Neal, we need your expertise.

-(FEEDBACK WHINES)
-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

-to part with it for, say, a 30% profit?
-(CELL PHONE RINGS)

This is an emergency.

Do you know how this works?

I'm a middleman.

I give you the name,
you cut me out the next time.

My entire job is dependent
on me not telling 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 it.

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't understand
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. One o'clock 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 one o'clock.

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 o'clock 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.

Forty-eight 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 good plan.

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.

MOZZIE: 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.

MOZZIE: Do 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.

PETER: 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…

May I?

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 seem to be about Neal.

You think he's changed?

I can't say 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 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, he made 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.

DIANA: He won't get out of the city
without us knowing.

NEAL: Peter.

He took my wife.