All language subtitles for White Collar - S04E05 - Honor Among Thieves.en

MAN: Previously on
White Collar…

Ellen agreed to help me
look into my father

before she disappears
into WITSEC again.

It's now or never.

We found a gun
with your dad's prints on it.

He killed a cop.

-He confessed.
-Did you believe him?

NEAL: Ellen!

They found me.

-Who?
-Trust Sam.

Trust Sam.

PRIEST:
…Christ our lord.

May her soul and the souls
of all the faithful departed,

through the mercy of God,
rest in peace.

-Amen.
-CROWD: Amen.

(SIGHS)

I'm so sorry.

First time I met Ellen,
she slammed the door in my face.

(CHUCKLES)

She was protecting you.

We'll figure out
who did this, Neal.

There's a man
Ellen was supposed to meet.

He might know.

He's an undercover cop.
She used to work with him.

PETER:
What do you know about him?

All I got is a name, Sam.

But chances are
whoever he was investigating

is behind this.

Not much to go on.

Maybe not.

But I think
he's here right now.

How do you want
to handle this?

Sam!

That's one way to do it.

-I'll go around.
-Yep.

(SUSPENSEFUL MUSIC PLAYING)

Ellen's favorite flower.

Paying respect from afar.

-Wouldn't you?
-(SIGHS)

Coming in town
for a secret meeting

to find the woman
I was supposed to meet is…

Yeah, I guess
I'd be easily spooked.

I need to find him,
let him know we're on his side.

-How did Ellen do it?
-She didn't tell me.

Well, if this were
a normal case,

I'd start in her apartment.

-Great. Let's go.
-No, no, no. Hold on. Hold on.

The marshals have control
of the case.

It's on complete lockdown.

All right, well they have
to make digital copies

of all of her personal effects
for the crime-scene report.

If you can get that,
we might have a lead.

It won't be easy.
I can't promise anything.

NEAL: Peter, Sam is my best shot
at finding out who killed Ellen.

I need to find him.

Holding a one-man Irish wake?

NEAL:
I figured it was apropos

for a woman
of Ellen's fortitude.

-She wasn't Irish.
-Well…

she was a cop.
Close enough.

(SIRENS WAILING)

We need to do something.

Peter is coordinating
with the marshals.

The marshals aren't gonna share
with the suit.

They're notoriously protective.

Probably because
of their involvement with…

I'm not in the mood
for conspiracy theories, Moz.

I was gonna say
prisoner transfer,

alien prisoner transfer.

We do this Peter's way…

for now.

JONES: First case back.
How does it feel?

Like the higher-ups are watching
and waiting for me to screw up.

Oh. Sounds like fun.

It is.

So we need a clean,
old-fashioned win.

That's why Caffrey's not here?

Ah, he's grieving.

I want to give him time
to process it.

You think that's a bad idea?

Well, you know, personally,
I'd keep him close,

keep an eye on him.

Idle hands and all that.

PETER: I can keep an eye on him
with his anklet.

Looks like he's…

-right here.
-Idle hands.

I'll go check on the van.

Thanks, Jones.

You're supposed to be taking
some time off.

NEAL: Come on, Peter.
I need to keep busy.

Besides,
I never pass up a chance

to go into the Kessman museum.

That's because
you're not allowed in

without an FBI escort.

Listen,
they're watching me on this one.

We need to do things
strictly by the book.

By the book.
I swear.

(SIGHS) All right,
take a look at this.

NEAL: An ax-5000?

It's a cutting-edge black box
designed to circumvent

the best security systems
out there.

You shouldn't have, Peter.

PETER:
I didn't. It's not a gift.

Give it back.
It's why we're here.

A janitor found this
in the basement last night

attached to a junction box.

It's set to shut off
security today at 3:00 P.M.

So someone in the museum
is gonna try to make off

with a priceless piece
of contemporary art.

And we need to figure out who.

(THEME MUSIC PLAYING)

PETER: All right,
we have a mystery thief

and an unknown target
within the museum.

What we do know
is that the thief thinks

the alarm will turn off
in 30 minutes.

Our best bet
is to identify him before that

and catch him in the act.

PETER: Neal, since you're here,
you and I will be on the floor

as museum patrons.

I have access to all
the museum cameras from here.

They had to make the uniform
out of polyester, didn't they?

PETER: And Diana will go under
as a docent.

Don't you think
it's more plausible

if you and Diana
were the patrons?

I mean, a happy couple
visiting the museum.

She thinks Warhol's cool.

You think, "A can of soup's
a can of soup."

JONES:
You want to be the docent.

Listen, if you guys think
that's best, I'm happy…

-We don't.
-You don't think I can do it.

No, I think you'll be great.

I mean, I'm sure you know

what year Rodin finished
Gates of Hell.

1917.

Trick question!
He never finished that piece.

Trick answer,
he died in 1917,

which means he was as done
as he would ever be.

What if we were both docents?

DIANA: The museum doesn't want
Neal Caffrey,

infamous art thief,

dressed as one of their
employees.

And suddenly I find myself
rooting for our mystery thief.

PETER: What do you think,

fake baby and a stroller
full of tools?

NEAL: She's wearing sandals.

It's not ideal footwear
for a robbery.

Too slappy?

What do you think
of this familiar piece?

NEAL: Whoever painted it
has raw talent.

The security here is top-notch.

Boiler-plate screws hold
each painting frame to the wall.

Even with the alarms off,

you wouldn't have time
to remove it,

and cutting it out drastically
reduces the value.

All right.

So how would you steal
something?

I'd spill my drink on it.

Museum staff would be forced
to move it

to the restoration room.

Much less security back there.

NEAL: Fewer eyes,
and if I timed it right,

they'd have already fixed it up
good as new.

You'd still need
to get it out.

I'd time the guards
and wait for an opening.

Mm.

All right,
so we're looking for a guy

carrying a big gulp
and checking his watch.

NEAL:
He'd have to be discreet.

Good guards are trained
to look for watch checkers.

Once I got the painting
out of the back,

it's a matter of hiding it
in something innocuous.

I might carry it
in a souvenir bag, or…

Am I boring you?

That woman over there,

it could be
a really good song…

NEAL:
Or she's timing the guards.

Good eye, Peter.

I don't see any drinks on her
or tools of any kind.

What if she doesn't need them?

The Chagall exhibit
starts next week.

The pieces are already here,
back in the storeroom,

where there's fewer
security measures.

That's what I'd target.

All right, I'm gonna
look over security footage

and see where she's been.

You can go join Diana.

NEAL:
Oh. You think she needs my help?

PETER: No, I just don't like
you walking around here

without a chaperone.

Wow, that is beautiful.

Can you give me a lengthy,
detailed history of this piece?

Well, this particular artist
wanted an excuse

to stare at naked women all day.

Now you're not even trying.

I don't need to try.
I won.

Any suspects yet?

9:00.

-Cute.
-Mm-hmm.

Damn, she made me.

What, she knows you're FBI?

-Nope.
-Then what are you…

(BRITISH ACCENT)
Absolutely stunning.

Ah…

it is stunning…

and challenging.

I like the sound of that.

It's an intriguing piece.

Her collapsing form,

the shadow dragging her down
as she slowly fades away,

it invokes a heartbreaking
sense of melancholy.

I disagree.

I find it bold,
yet still sensual.

-I'm Abigail.
-Diana.

Do you come here often?

To the museum, I mean.

I don't.

But I think I need to start.

Do we have eyes
on our suspect?

Yes, we do.
And she has eyes on Diana.

PETER: Is she getting
Diana's phone number?

Who would stop in the middle
of a museum robbery

to get a date?

-C…
-Don't say it.

Don't bother.

Excuse me?

You can stop working the docent.
You're not her type.

I think you got the wrong idea.

Oh. Oh, I'm sorry.

I thought I was talking
to Neal Caffrey.

And if you were?

I'd tell him I'm a fan…

and that it's sad to see him
in an anklet.

Look, I got caught,
served my time,

but it's still nice
to visit a museum,

reminisce about the old days.

You got out of the game.

What a loss.

All I can do is live vicariously
through others.

I'll see what I can do.

Keep an eye on her.
Let's see where she goes.

MAN: Copy that.

Flirting, giving kids a tour.

We sure this is our thief?

Where's she headed?

Let me see.

Why, you think she's on to us?

I'm not sure
what she's thinking.

(ALARM BLARING)

JONES:
The kid touched the art.

Where's Abigail?

JONES:
She's leaving the building.

This is Abigail Kincaid.

She's a personal shopper

for the wealthiest
of New York's wealthy.

NEAL: We think she's moved
from personal shopping

-to personal thieving.
-DIANA: It's smart angle.

She doesn't need a fence because
she already knows the buyers.

Sounds like you got a crush.

PETER: She's been linked
to a couple of art heists

in the past,
but nothing ever sticks.

We think
she usually works alone,

but today
she had an accomplice.

Looks like a hardened
criminal to me.

(CHUCKLES)
She paid him $20

to count to 20
and touch the art.

She sees Neal Caffrey,
art thief,

wonders if her heist
has gotten a little crowded.

-And she calls an audible.
-PETER: She's going to assume

either you found the black box
and disarmed it

or the authorities did.

Either way,
she'll need another way in.

DIANA:
Well, it looks like I'm it.

She's already sent me
a couple of text messages.

Diana, I want you
to set up a date with her.

I'll give Abigail a call now.

NEAL: Where you going?

We should listen
so we learn more about her.

Aw, she's nervous.

She plays with her hair
when she's nervous.

JONES: Ah, I hadn't noticed.

NEAL: That's because
she's rarely nervous.

PETER: All right,
let's give her some space.

Everybody, take five.

Neal, stick around.

WOMAN:
All right then, uh…

(INDISTINCT CHATTERING)

NEAL:
You got your bad-news face on.

I spoke with
the marshals earlier.

They're willing to cooperate
on a very limited basis.

Look, it's a start.

Well, go above their head,
Peter.

Submit an FD-125
to the unit chief.

Someone already did
their homework,

and I already tried that.

-We can't lose him.
-PETER: I know. Give me time.

I don't have time!

I knew it.
I brought you in too early.

You're right.

I'll get myself under control.

PETER: Come on, art,
help me out here.

(SIGHS)

All right,
all right, all right.

Yeah, let me know
if anything changes.

Another dead end
with the marshals?

PETER:
Yeah, the deadest so far.

This case is on
complete lockdown.

No one's willing
to stick their necks out.

Well, you tried.

That's what's important.

I'm not so sure.

You should see the look
in his eyes, El.

I'm not looking
to close this case.

I just want to find a way
to contact this Sam guy.

Neal's in a unique position.
He could reach out to him.

He may be the only person
that Sam could trust.

Well…

you'll figure it out.

You always do.

MOZZIE: The crime-scene report
is in a database

on the 22nd floor.

Now, somewhere in that file,

there has to be a way
to reach Sam.

Hopefully it can tell us
who killed Ellen and why.

The security is good.
I'm already looking

for the blueprints
for that building.

I can't go in there
with my anklet on.

I shouldn't even be this close.

But the suit's taken it off
many times before.

No, not this time.

ABIGAIL: You don't look like
you're out of the game.

You're a hard man to track down,
Neal Caffrey.

To what do we owe this honor?

I've got a proposition for you.

So what is it exactly
that you propose?

I prefer to talk alone.

I should really frisk her
for weapons before I go.

Try and I'll break
your little fingers.

She's clean.

Your friend
doesn't look like a fed.

He'll be happy
to hear that.

ABIGAIL: You didn't get out
of the game, did you?

-You switched sides.
-What makes you think that?

The alarm at the Kessman
goes off, and you're inside.

They'd still be questioning you,
and yet here you are.

If I was working with them,

why would I be here right now,
casing a score?

Because you're just like me.

You always want something.

Mm. And what do you want?

Pascal's Wistful Mobile.

NEAL: I'm familiar with it.
And impressed.

Because it's on a stand,

it doesn't have
the traditional museum security.

Unfortunately, I can't go back
into the museum.

But you can.

You want me to steal it.

In exchange,
I steal something for you.

That's the marshals' building,
isn't it?

It's a tricky one.

What's inside
that's so valuable?

A file on a woman named
Ellen Parker.

That wasn't so hard to admit,
was it?

-I'm not interested.
-ABIGAIL: Yes, you are.

I can see it in your eyes.

Look,
this is important to you.

Let me…

help you…

so that you can help me.

I didn't think
I was your type.

You're not.

But hopefully you can satisfy
a different need.

The Pascal for the file.

I need to think about it.

Don't think too long.

PETER: Diana's date
with Abigail is tonight.

While there,
she'll float the idea

of a behind-the-scenes tour.

That gives Abigail
an opportunity

to access the back room.

And we control the situation
the entire time.

(CELLPHONE RINGING)

Is that Abigail again?

No, it's Christie.

Does she know about this?

I figured I'd wait
till afterwards to tell her.

That's usually my strategy.

Why is that not comforting?

PETER: Go ahead and take it.
That's all, everyone.

What are you thinking of?

I was just thinking about
what to do with Abigail.

I'm surprised
she's moving so quickly.

Well, if she has a buyer
lined up, why wait?

Explore every option,
see if a better one comes up.

Hard to imagine a better one
than having the docent

lead you right to your score.

She's not nervous this time.

Not happy, either.

Well, not our place to pry.

Why do I feel like
I've entered a crime scene?

Oh, sorry about the hats.

Art requires sacrifice,

and haberdasher's not
on my resume.

Here, try this on.

Okay, now hit the switch
on the band.

The headless con man.

How'd you do it?

Infrared L.E.D.S
imbedded in the hat,

invisible to the naked eye

and yet make your face
invisible to the digital one.

All right.

Oh, what about this?

Handle with care.

That's an olfactory
assault weapon

for distraction purposes.

A homemade stink bomb.

MOZZIE: That has an elegant
subtlety to its noxious odor.

Hmm. Is all this for the Pascal
or the marshals' office?

MOZZIE: Either.

But you'd be crazy
to turn down the lady's deal.

I can't steal something
right under Peter's nose.

Well, you've done it before.
And you can again.

Remember,
this is for the greater good.

The suit will understand
that eventually.

Well, it might not matter.

Abigail kept her date
with Diana.

It could be an angle.

Well, they think
she's going after

the collection in the back.

Only you know the true target.

If she decides to make a move
on the Pascal tonight,

they'll be blindsided.

She'll have the Pascal,
and I won't get the drive.

ABIGAIL: Personal shopping
is the worst.

And the people I work for
never know what they want.

They've got no taste.

But they've got money.

Two years ago,
I had this client

that bought a Litvak original
for $200,000.

I've never heard of Litvak.

I'm not surprised.

He was the homeless guy
outside my apartment.

-(LAUGHS)
-It's still

my client's favorite piece.

I'm starting to like her.

I'm adding fraud to the list
of charges against her.

You know,
you should come by again.

I'll show you behind-the-scenes
and everything.

What?

You're hiding something.

-That's never good.
-DIANA: What do you mean?

ABIGAIL: You told me about
taking up tai chi,

seeing The Book of Mormon,

-taking a pottery class.
-So?

Well, the stories
are all missing one thing,

the person you were with.

You're dating someone,
aren't you?

I am.

And yet
you're here with me.

I've been seeing someone
for a little while,

but lately…

we don't even talk
to each other anymore.

It's like we exist
next to each other.

Oh, this is awkward.

Probably just a story.

I should have
said something earlier,

but I was having
a nice time.

It's okay.
I'm sorry to hear that.

I mean, I am…

-but I'm not.
-(CHUCKLES)

Why don't we lighten
the mood a bit?

Tell me about that
behind-the-scenes tour.

Well, uh…

the Chagall exhibit for next
week's already at the museum.

Are you offering me
a sneak peek?

We could go right now.

Um… you know,
I'd love to, but…

I shouldn't tonight.

I hope it wasn't
what I said.

No, it wasn't. I promise.

How about tomorrow instead?

Sounds good.

Tomorrow it is.

Why not tonight?

If this is
about you and Elizabeth,

I don't want to
get involved.

Abigail.

Why tomorrow?

Maybe she wants the heat
to die down.

Or she could be waiting to see
if there's a better way in.

I suppose.

By the way, I want this case
to close soon.

Yeah.

What?

The marshals aren't gonna give
us the information, are they?

(SIGHS)

It doesn't look like it.

(SIGHS)

We'll find another way
to get in contact with Sam.

There's always a way.

Yeah.

(KNOCKS ON DOOR)

I hope that's
a celebratory glass.

Nice place.

I thought a lot
about your offer.

But I'm not gonna take it.

Oh. You're staying out
of the game after all.

I am.
More importantly,

you should walk away
from the Pascal.

You won't
get away with it.

(SCOFFS)

Well, what about
Ellen Parker?

I'll find a way.

You don't need one.

You already broke in.

I've got
everything you want.

It's ready for you just as soon
as you get me the Pascal.

No.

I'm not gonna do it.

Oh.

That's a shame because right now
the marshals have no idea

that anyone broke in
and stole this information,

but I could
always call them.

And what?
File an eyewitness report?

(LAUGHS)

No, see, I don't have
to do a thing

because they'll
search that room

and they'll find
strands of your hair

under the data server.

And put that together with the
anklet outside the building,

I think you're going away
for a really long time.

You're blackmailing me?

Look, we both get
what we want, Neal.

You've got 24 hours.

I did my part.
Now you do yours.

To most people
who look at a mobile,

it's no more than a series
of objects that move.

To a few, though,
it may be poetry.

Alexander Calder,
he pioneered kinetic sculpture,

and Pascal pushed
the envelope even further.

(SIGHS)
And I wish I'd told Peter

everything
from the beginning.

You couldn't have
seen this coming.

She set you up well.

Probable cause, my anklet
putting me at the scene, DNA,

I'm not sure
I'd believe me.

It's a hole too deep
to climb out of.

The only other option
is to keep digging.

All right, well,
this is gonna be tricky.

Peter will expect me
to be standing

right next to him
the entire time.

And so you shall…
until…

we give him
something to chase.

All right. All right.
Well, when they see

that image in the monitor,
they'll pursue,

but they'll still be able
to track your movements.

Yeah? Let them try.

Nice, Moz.

Nice. All right,
that will buy me some time.

Next, I'll disassemble
the Pascal.

The real one
is exponentially larger.

Getting it out
is gonna be a problem.

We don't have time to plan
a rooftop escape.

And neither one of us
can carry it out.

(SIGHS)

Moz, grab that serving tray
from the coffee table.

All right.

Critics say modern art

is a series of arbitrary shapes
and colors,

trash…

that someone decided
to call art.

Yes, I'm well aware of
the plebeian opinion.

Let's prove them right.

(CAR HORN HONKING)

Hey, relax.
You look great.

I'm not trying to look great.
I'm trying to look the part.

-Diana, if you need…
-Look,

I know you overheard
my conversation with Abigail.

I was just playing a role.

The best cons come from
a place of truth.

This isn't the time,
Caffrey.

If you ever want to talk,
that's all I'm saying.

Ladies and gentlemen,
Abigail has arrived.

Wish me luck.

Luck.

All right. Excellent.

(SIGHS)

(CLEARS THROAT)

I checked your anklet
the other day.

Did you notice I was outside
the marshals' New York office?

That I did.

I didn't set foot
inside that building.

No, you don't have to set foot
inside a building to case it.

I'm not gonna break in,
Peter.

-But you were tempted.
-I was.

But I decided that…

your way is the best way.

Peter.

All right.

When she gains access
to the back room,

Diana will give her a window
to make the theft.

She makes her move,
we'll move in to arrest her.

Is that it?
Is there no security?

I'll be keeping my eye
on you.

Sounds good to me.

All right, get ready.

This is where
she should make her move.

Oh, she sure did.

What are you doing?

(LAUGHS) Sorry.

I just wasn't
expecting it.

I don't get it.

Are we watching a date
or a heist?

Peter, you need
to take a look at room 2.

Get agents in that room
right now!

And keep an eye
on Abigail!

(KEYS CLACKING)

(INDISTINCT CONVERSATIONS)

FBI. You two guys
head that way.

Mike, over this way.

Peter,
he's on the third floor now.

MAN: (ON PA) All security
to the third floor.

All security
to the third floor.

He's back on the first floor.

-What's going on?
-I don't know.

Jones,
any eyes on him?

JONES: Now all the cameras
are jammed.

(GLASS SHATTERS)

God.

She got the Pascal!

Spread out!
Everyone on an exit!

-Yes, sir.
-Lock this whole place down!

MAN: All right.
Move out on 42.

How the hell
did this happen?

You check the roof?

It's the weakest
security point on any museum.

-Somebody check the roof.
-MAN: Copy that.

She knew
we were watching her.

And while she had
the perfect alibi,

her accomplices took this
right from under our noses.

To pull this off,
she had to have an inside man.

PETER: From what I can tell,
there were at least

two accomplices.

L.E.D.S
to hide their faces.

And a video jammer
to black out the camera.

It doesn't explain
how they got the Pascal out.

Maybe it's still
in the museum,

behind a false wall or disguised
as a different piece of art.

Hiding in plain sight?
Maybe.

So, I finished interviewing
the museum staff.

Any suspects?

Not yet.
We'll keep digging.

But so far,
they're coming up clean.

Maybe
we should take a break,

just come back to it
with fresh eyes.

PETER: Ah, you can go.
I'm staying.

I'm missing something
in these videos.

There's something here.

All right.
See you tomorrow.

See ya.

Or there isn't something.

Neal.

Quite the air of melancholy
after a successful heist.

I want to get this done.

When's the exchange?

-Tomorrow morning.
-And the suit?

Probably still at the office
going over video.

(SIGHS)

I was standing
right next to him, Moz.

Peter made it so I could
come back to New York,

and in return,
I stabbed him in the back.

It's just
a piece of art, Neal.

Weighed against finding out
who killed Ellen?

You're right.

We'll make the drop,
and we'll put this behind us.

(KNOCKS ON DOOR)

Hey.

Is there an update
on the case or something?

-Can I come in?
-Please.

I'm gonna need
one of those.

What's wrong?

I've been undercover
a lot.

This has never happened
to me before.

This is about
you and Abigail.

You were right.
I did tell her the truth.

Only I didn't know
it was the truth

until I started
saying it.

Well, if you avoid
something long enough,

it has a tendency
to blindside you.

That's why I came here.

I figured you of all people
would understand.

More than you know.

It's been exciting,
you know?

Pretending to be single,
not feeling guilty

because it's part of the job.

Yeah, getting into character
and then discovering…

it's not really
a character anymore.

I feel like I'm running
in two different directions,

and once I stop…

I'm gonna have
to face reality.

Then never stop running.

I tried.
And the minute you do,

it's not just gonna
catch up to you,

it's gonna run you over.

What if you want to
stop running?

You have to
give something up.

Okay, thanks.

So our agents confirmed eyes
on Abigail.

She's at the hotel.
Been there all night.

And Neal?

Well,
let's take a look.

Well, he's still at home,
according to the anklet.

-DIANA: Hey.
-Hey.

-I got your text. What's up?
-Going through the video,

I've tracked where everyone was
throughout the heist.

Black denotes FBI agents.

JONES: Caffrey's green.

Not a lot of green
on there.

No, there's not.

Neal and I entered
at the same spot here.

I went one way,
and then Neal…

Disappears into thin air.

Agents went all sorts of
different directions,

and every agent shows up
on the video except Neal.

I don't get it.
Why would he do it?

Abigail I.D.'d him
at the museum.

The only thing I can think of is
that they're working together.

Yeah, but what does he get
out of it?

She couldn't get the Pascal
because of us.

He couldn't get the marshals'
crime-scene report

because of his anklet.

So you think
it's some kind of exchange.

All that talk about
giving something up,

and he was doing this
all along.

Hmm?

I was with Neal
an hour ago.

You were? Why?

Christie and I broke up.

I'm sorry to hear that.

Yeah, me too.

I confided in him.
I took his advice.

And now I look at this,
and I wonder

if he meant
a single damn word.

I'm tired of this.

I've covered for him.
I've fought for him.

I almost lost my job
because of him.

If Neal did this,
he's got to deliver the piece.

And when he does,
we will be there.

(HORN HONKS)

He's got the damn Pascal
on him.

He really did it.

Peter, the team's ready.

(SIGHS)

PETER: And here comes Abigail.

The minute they make
the exchange,

we take them both down.

I'm glad to see
you're a man of your word.

I didn't really have
much choice, did I?

I gave you
a little incentive.

No. You blackmailed me.

-Blackmail?
-ABIGAIL: I did you a favor.

NEAL: You planted evidence.

Look, you could have ended up
in jail empty-handed.

Now we both get
what we want.

You're as good
as your reputation.

Here's everything you wanted
from the marshals' database.

I don't want it.

What?

Peter,
what do you want to do?

We've got him
delivering the Pascal.

-Let's see where this goes.
-ABIGAIL: Are you serious?

NEAL: I said I wouldn't take
the offer.

The price is too high.

(LAUGHS)

Fine.

It's your loss.

Let's move.

(BEEPS)

(RINGING)

(CELLPHONE RINGING)

Hello, Neal.

Abigail has the Pascal
on her right now.

Oh, yeah?
Do you know where she is?

-Corner of 53rd and park.
-(POLICE SIRENS WAILING)

FBI!
You're under arrest!

-That was fast.
-Drop the bag.

Turn around! Put your hands
behind your back!

When did you
figure it out?

After you left
the office.

You realized I wasn't
on the security footage?

Yep.

Blackmail?

She planted some of my hairs
at the marshals' office.

I'm guessing that stroll
around their building

wasn't a solitary one.

She set me up perfectly.

You wouldn't have
believed me.

You should have given me
the chance.

Am I going in the back
of one of those too?

We'll see.

DIANA: Look who's
not wearing cuffs.

The day's not done yet.

Are you gonna
interrogate her?

I don't have
the heart to.

After everything
I've gone through

the last couple of days…

I kind of like the idea of
"Diana the docent" living on,

at least to someone.

Someone going to jail?

Hey, I didn't say
it was a perfect idea.

So, I heard you didn't take
the flash drive.

Looks like you finally
gave something up.

I got tired of running.

(CELLPHONE VIBRATES)

Peter's ready for me.

It may be a while before I get
the chance to run again.

Good luck, Caffrey.

Thanks.

You were put
in a difficult situation.

I understand that.

But you made
the wrong decision.

I caused enough trouble
in your life lately.

I thought…

Well, I thought I could
protect you from it this time.

Lying to me
is never protecting me.

What about the marshals?

I spoke with them.

They are not happy
that someone broke

into one of
their most secure buildings.

Did they find my DNA?

They did.

But they're not pressing charges
against you…

in exchange for my keeping the
news about the break-in quiet.

-No egg on their face…
-No jail time for me.

(SIGHS)

Thank you.

This isn't a favor.
You didn't commit that crime.

And the crime
you did commit

led to the arrest of a thief
and the safe return of an item.

Even so,
if you hadn't called me

the second after
you walked away from her…

I would be
in jail right now,

and I wouldn't blame you
for putting me there.

I gave the drive back
to the marshals.

Good.

-Really?
-Look, I said

the price was
too high, and I meant it.

Your trust is
too important to me.

In case it's needed
against Abigail,

I made a copy
of the file.

-Due diligence and all.
-Peter…

If you find any information
that leads to Sam…

I will tell you.

I will tell you.

(SIGHS)

Thank you.

(SIGHS)

Wow, honey, first case back,
already closed.

(CHUCKLES)
Not bad, agent Burke.

Well, not the cleanest win,
but I'll take the victory.

Well, at least
Neal didn't shoot anyone.

There is that.

You have
your bad-news face on.

Does everyone know
I have this face?

(SIGHS)

Neal told me my trust
was more important to him

than the flash drive.

And I believed him.

I don't know where the…
where the face comes in.

I'm not sure I should.

What do you mean?

PETER: He called the FBI
the minute Abigail walked away.

He knew we'd arrest her,
with both items.

ELIZABETH: And he knew
that once you had Abigail,

the flash drive would go
to the evidence room…

Where I would have
access to it.

Do you think
this was one long con?

Honestly, I don't know.

But if there's anyone
who can find a way

to get everything he wants,

It's Neal.

(UPBEAT MUSIC PLAYING)