1 00:00:01,479 --> 00:00:03,307 PREVIOUSLY ONWHITE COLLAR... 2 00:00:03,394 --> 00:00:05,048 ELLEN AGREED TO HELP ME LOOK INTO MY FATHER 3 00:00:05,135 --> 00:00:07,007 BEFORE SHE DISAPPEARS INTO WitSec AGAIN. 4 00:00:07,094 --> 00:00:08,225 IT'S NOW OR NEVER. 5 00:00:08,312 --> 00:00:10,401 WE FOUND A GUN WITH YOUR DAD'S PRINTS ON IT. 6 00:00:10,488 --> 00:00:11,924 HE KILLED A COP. 7 00:00:12,012 --> 00:00:13,230 HE CONFESSED. 8 00:00:13,317 --> 00:00:14,623 DID YOU BELIEVE HIM? 9 00:00:15,754 --> 00:00:17,539 ELLEN! 10 00:00:17,626 --> 00:00:18,844 THEY FOUND ME. 11 00:00:18,931 --> 00:00:20,846 WHO? TRUST SAM. 12 00:00:20,933 --> 00:00:23,110 TRUST SAM. 13 00:00:26,200 --> 00:00:28,463 Man: ...CHRIST OUR LORD. 14 00:00:28,550 --> 00:00:31,640 MAY HER SOUL AND THE SOULS OF ALL THE FAITHFUL DEPARTED, 15 00:00:31,727 --> 00:00:34,338 THROUGH THE MERCY OF GOD, REST IN PEACE. 16 00:00:34,425 --> 00:00:35,296 AMEN.Crowd: AMEN. 17 00:00:45,784 --> 00:00:48,483 [ SIGHS ] 18 00:00:48,570 --> 00:00:51,660 I'M SO SORRY. 19 00:01:02,975 --> 00:01:05,369 FIRST TIME I MET ELLEN, SHE SLAMMED THE DOOR IN MY FACE. 20 00:01:05,456 --> 00:01:06,892 [ CHUCKLES ] 21 00:01:06,979 --> 00:01:10,070 SHE WAS PROTECTING YOU. 22 00:01:10,157 --> 00:01:12,202 WE'LL FIGURE OUT WHO DID THIS, NEAL. 23 00:01:16,859 --> 00:01:19,122 THERE'S A MAN ELLEN WAS SUPPOSED TO MEET. 24 00:01:19,209 --> 00:01:20,645 HE MIGHT KNOW. 25 00:01:20,732 --> 00:01:22,691 HE'S AN UNDERCOVER COP. SHE USED TO WORK WITH HIM. 26 00:01:22,778 --> 00:01:24,171 WHAT DO YOU KNOW ABOUT HIM? 27 00:01:24,258 --> 00:01:25,911 ALL I GOT IS A NAME -- SAM. 28 00:01:25,998 --> 00:01:27,957 BUT CHANCES ARE WHOEVER HE WAS INVESTIGATING 29 00:01:28,044 --> 00:01:29,045 IS BEHIND THIS. 30 00:01:29,132 --> 00:01:30,916 NOT MUCH TO GO ON. 31 00:01:31,003 --> 00:01:33,310 MAYBE NOT. 32 00:01:33,397 --> 00:01:35,747 BUT I THINK HE'S HERE RIGHT NOW. 33 00:01:41,579 --> 00:01:44,365 HOW DO YOU WANT TO HANDLE THIS? 34 00:01:44,452 --> 00:01:45,670 SAM! 35 00:01:46,845 --> 00:01:47,933 THAT'S ONE WAY TO DO IT. 36 00:01:57,117 --> 00:01:58,466 I'LL GO AROUND. YEP. 37 00:02:18,268 --> 00:02:20,488 ELLEN'S FAVORITE FLOWER. 38 00:02:20,575 --> 00:02:22,229 PAYING RESPECT FROM AFAR. 39 00:02:22,316 --> 00:02:24,187 WOULDN'T YOU? [ SIGHS ] 40 00:02:24,274 --> 00:02:25,623 COMING IN TOWN FOR A SECRET MEETING 41 00:02:25,710 --> 00:02:27,147 TO FIND THE WOMAN I WAS SUPPOSED TO MEET IS... 42 00:02:29,279 --> 00:02:31,412 YEAH, I GUESS I'D BE EASILY SPOOKED. 43 00:02:31,499 --> 00:02:33,544 I NEED TO FIND HIM -- LET HIM KNOW WE'RE ON HIS SIDE. 44 00:02:33,631 --> 00:02:35,024 HOW DID ELLEN DO IT? 45 00:02:35,111 --> 00:02:36,808 SHE DIDN'T TELL ME. 46 00:02:36,895 --> 00:02:38,288 WELL, IF THIS WERE A NORMAL CASE, 47 00:02:38,375 --> 00:02:39,594 I'D START IN HER APARTMENT. 48 00:02:39,681 --> 00:02:41,291 GREAT. LET'S GO.NO, NO, NO. HOLD ON. HOLD ON. 49 00:02:41,378 --> 00:02:43,337 THE MARSHALS HAVE CONTROL OF THE CASE. 50 00:02:43,424 --> 00:02:44,903 IT'S ON COMPLETE LOCKDOWN. 51 00:02:44,990 --> 00:02:47,079 ALL RIGHT, WELL, THEY HAVE TO MAKE DIGITAL COPIES 52 00:02:47,167 --> 00:02:49,430 OF ALL OF HER PERSONAL EFFECTS FOR THE CRIME-SCENE REPORT. 53 00:02:49,517 --> 00:02:51,345 IF YOU CAN GET THAT, WE MIGHT HAVE A LEAD. 54 00:02:51,432 --> 00:02:52,955 IT WON'T BE EASY. I CAN'T PROMISE ANYTHING. 55 00:02:53,042 --> 00:02:54,391 PETER... 56 00:02:54,478 --> 00:02:57,481 SAM IS MY BEST SHOT AT FINDING OUT WHO KILLED ELLEN. 57 00:02:57,568 --> 00:02:58,656 I NEED TO FIND HIM. 58 00:03:09,101 --> 00:03:11,974 HOLDING A ONE-MAN IRISH WAKE? 59 00:03:12,061 --> 00:03:16,457 I FIGURED IT WAS APROPOS FOR A WOMAN OF ELLEN'S FORTITUDE. 60 00:03:16,544 --> 00:03:18,154 SHE WASN'T IRISH. WELL... 61 00:03:18,241 --> 00:03:20,809 SHE WAS A COP. CLOSE ENOUGH. 62 00:03:22,985 --> 00:03:25,074 WE NEED TO DO SOMETHING. 63 00:03:25,161 --> 00:03:28,556 PETER IS COORDINATING WITH THE MARSHALS. 64 00:03:28,643 --> 00:03:30,862 THE MARSHALS AREN'T GONNA SHARE WITH THE SUIT. 65 00:03:30,949 --> 00:03:32,647 THEY'RE NOTORIOUSLY PROTECTIVE. 66 00:03:32,734 --> 00:03:34,649 PROBABLY BECAUSE OF THEIR INVOLVEMENT WITH -- 67 00:03:34,736 --> 00:03:37,521 I'M NOT IN THE MOOD FOR CONSPIRACY THEORIES, MOZ. 68 00:03:37,608 --> 00:03:40,263 I WAS GONNA SAY PRISONER TRANSFER -- 69 00:03:40,350 --> 00:03:42,178 ALIEN PRISONER TRANSFER. 70 00:03:43,701 --> 00:03:46,487 WE DO THIS PETER'S WAY... 71 00:03:46,574 --> 00:03:48,489 FOR NOW. 72 00:03:48,576 --> 00:03:50,099 Jones: FIRST CASE BACK. 73 00:03:50,186 --> 00:03:51,883 HOW DOES IT FEEL? 74 00:03:51,970 --> 00:03:53,494 LIKE THE HIGHER-UPS ARE WATCHING 75 00:03:53,581 --> 00:03:54,973 AND WAITING FOR ME TO SCREW UP. 76 00:03:55,060 --> 00:03:56,323 OH. SOUNDS LIKE FUN. 77 00:03:56,410 --> 00:03:57,585 IT IS. 78 00:03:57,672 --> 00:03:59,848 SO WE NEED A CLEAN, OLD-FASHIONED WIN. 79 00:03:59,935 --> 00:04:01,328 THAT'S WHY CAFFREY'S NOT HERE? 80 00:04:01,415 --> 00:04:02,764 AH, HE'S GRIEVING. 81 00:04:02,851 --> 00:04:05,593 I WANT TO GIVE HIM TIME TO PROCESS IT. 82 00:04:05,680 --> 00:04:07,595 YOU THINK THAT'S A BAD IDEA? 83 00:04:07,682 --> 00:04:09,945 WELL, YOU KNOW, PERSONALLY, I'D KEEP HIM CLOSE -- 84 00:04:10,032 --> 00:04:11,076 KEEP AN EYE ON HIM. 85 00:04:11,163 --> 00:04:12,426 IDLE HANDS AND ALL THAT. 86 00:04:12,513 --> 00:04:15,255 I CAN KEEP AN EYE ON HIM WITH HIS ANKLET. 87 00:04:15,342 --> 00:04:17,518 LOOKS LIKE HE'S... 88 00:04:21,261 --> 00:04:22,740 ...RIGHT HERE. 89 00:04:22,827 --> 00:04:24,655 IDLE HANDS. I'LL GO CHECK ON THE VAN. 90 00:04:24,742 --> 00:04:25,961 THANKS, JONES. 91 00:04:27,876 --> 00:04:29,965 YOU'RE SUPPOSED TO BE TAKING SOME TIME OFF. 92 00:04:30,052 --> 00:04:31,140 COME ON, PETER. 93 00:04:31,227 --> 00:04:32,315 I NEED TO KEEP BUSY. 94 00:04:32,402 --> 00:04:34,099 BESIDES, I NEVER PASS UP A CHANCE 95 00:04:34,186 --> 00:04:35,753 TO GO INTO THE KESSMAN MUSEUM. 96 00:04:35,840 --> 00:04:37,364 THAT'S BECAUSE YOU'RE NOT ALLOWED IN 97 00:04:37,451 --> 00:04:38,582 WITHOUT AN FBI ESCORT. 98 00:04:38,669 --> 00:04:41,411 LISTEN, THEY'RE WATCHING ME ON THIS ONE. 99 00:04:41,498 --> 00:04:44,153 WE NEED TO DO THINGS STRICTLY BY THE BOOK. 100 00:04:44,240 --> 00:04:47,112 BY THE BOOK. I SWEAR. 101 00:04:47,199 --> 00:04:48,331 [ SIGHS ] 102 00:04:48,418 --> 00:04:51,465 ALL RIGHT, TAKE A LOOK AT THIS. 103 00:04:51,552 --> 00:04:54,119 AN AX-5000? 104 00:04:54,206 --> 00:04:55,904 IT'S A CUTTING-EDGE BLACK BOX 105 00:04:55,991 --> 00:04:58,733 DESIGNED TO CIRCUMVENT THE BEST SECURITY SYSTEMS OUT THERE. 106 00:04:58,820 --> 00:05:00,125 YOU SHOULDN'T HAVE, PETER. 107 00:05:00,212 --> 00:05:01,605 I DIDN'T. IT'S NOT A GIFT. 108 00:05:01,692 --> 00:05:04,129 GIVE IT BACK. IT'S WHY WE'RE HERE. 109 00:05:04,216 --> 00:05:06,567 A JANITOR FOUND THIS IN THE BASEMENT LAST NIGHT 110 00:05:06,654 --> 00:05:08,656 ATTACHED TO A JUNCTION BOX. 111 00:05:08,743 --> 00:05:11,572 IT'S SET TO SHUT OFF SECURITY TODAY AT 3:00 P.M. 112 00:05:11,659 --> 00:05:13,878 SO SOMEONE IN THE MUSEUM IS GONNA TRY TO MAKE OFF 113 00:05:13,965 --> 00:05:15,967 WITH A PRICELESS PIECE OF CONTEMPORARY ART. 114 00:05:16,054 --> 00:05:18,405 AND WE NEED TO FIGURE OUT WHO. 115 00:05:46,041 --> 00:05:48,173 Peter: ALL RIGHT, WE HAVE A MYSTERY THIEF 116 00:05:48,260 --> 00:05:50,393 AND AN UNKNOWN TARGET WITHIN THE MUSEUM. 117 00:05:50,480 --> 00:05:52,177 WHAT WE DO KNOW IS THAT THE THIEF THINKS 118 00:05:52,264 --> 00:05:54,005 THE ALARM WILL TURN OFF IN 30 MINUTES. 119 00:05:54,092 --> 00:05:55,833 OUR BEST BET IS TO IDENTIFY HIM BEFORE THAT AND CATCH HIM IN THE ACT. 120 00:05:55,920 --> 00:05:57,226 NEAL, SINCE YOU'RE HERE, 121 00:05:57,313 --> 00:06:00,098 YOU AND I WILL BE ON THE FLOOR AS MUSEUM PATRONS. 122 00:06:00,185 --> 00:06:03,754 I HAVE ACCESS TO ALL THE MUSEUM CAMERAS FROM HERE. 123 00:06:03,841 --> 00:06:06,670 THEY HAD TO MAKE THE UNIFORM OUT OF POLYESTER, DIDN'T THEY? 124 00:06:06,757 --> 00:06:09,847 AND DIANA WILL GO UNDER AS A DOCENT. 125 00:06:09,934 --> 00:06:11,806 DON'T YOU THINK IT'S MORE PLAUSIBLE 126 00:06:11,893 --> 00:06:13,851 IF YOU AND DIANA WERE THE PATRONS? 127 00:06:13,938 --> 00:06:15,549 I MEAN, A HAPPY COUPLE VISITING THE MUSEUM. 128 00:06:15,636 --> 00:06:16,854 SHE THINKS WARHOL'S COOL. 129 00:06:16,941 --> 00:06:18,943 YOU THINK, "A CAN OF SOUP'S A CAN OF SOUP." 130 00:06:19,030 --> 00:06:20,771 YOU WANT TO BE THE DOCENT. 131 00:06:20,858 --> 00:06:23,034 LISTEN, IF YOU GUYS THINK THAT'S BEST, I'M HAPPY -- 132 00:06:23,121 --> 00:06:24,645 WE DON'T. YOU DON'T THINK I CAN DO IT. 133 00:06:24,732 --> 00:06:25,950 NO, I THINK YOU'LL BE GREAT. 134 00:06:26,037 --> 00:06:27,256 I MEAN, I'M SURE YOU KNOW 135 00:06:27,343 --> 00:06:29,040 WHAT YEAR RODIN FINISHED "GATES OF HELL." 136 00:06:29,127 --> 00:06:30,738 1917. 137 00:06:30,825 --> 00:06:32,609 TRICK QUESTION! HE NEVER FINISHED THAT PIECE. 138 00:06:32,696 --> 00:06:34,394 TRICK ANSWER -- HE DIED IN 1917, 139 00:06:34,481 --> 00:06:36,526 WHICH MEANS HE WAS AS DONE AS HE WOULD EVER BE. 140 00:06:38,093 --> 00:06:40,661 WHAT IF WE WERE BOTH DOCENTS? 141 00:06:40,748 --> 00:06:42,140 THE MUSEUM DOESN'T WANT NEAL CAFFREY, INFAMOUS ART THIEF, 142 00:06:42,227 --> 00:06:43,664 DRESSED AS ONE OF THEIR EMPLOYEES. 143 00:06:43,751 --> 00:06:47,102 AND SUDDENLY I FIND MYSELF ROOTING FOR OUR MYSTERY THIEF. 144 00:06:49,583 --> 00:06:51,062 Peter: WHAT DO YOU THINK -- 145 00:06:51,149 --> 00:06:52,847 FAKE BABY AND A STROLLER FULL OF TOOLS? 146 00:06:52,934 --> 00:06:54,065 SHE'S WEARING SANDALS. 147 00:06:54,152 --> 00:06:55,763 IT'S NOT IDEAL FOOTWEAR FOR A ROBBERY. 148 00:06:55,850 --> 00:06:57,373 TOO SLAPPY? 149 00:06:57,460 --> 00:06:59,854 WHAT DO YOU THINK OF THIS FAMILIAR PIECE? 150 00:06:59,941 --> 00:07:02,030 WHOEVER PAINTED IT HAS RAW TALENT. 151 00:07:02,117 --> 00:07:06,164 THE SECURITY HERE IS TOP-NOTCH. 152 00:07:06,251 --> 00:07:08,906 BOILER-PLATE SCREWS HOLD EACH PAINTING FRAME TO THE WALL. 153 00:07:08,993 --> 00:07:10,255 EVEN WITH THE ALARMS OFF, 154 00:07:10,342 --> 00:07:12,301 YOU WOULDN'T HAVE TIME TO REMOVE IT, 155 00:07:12,388 --> 00:07:14,434 AND CUTTING IT OUT DRASTICALLY REDUCES THE VALUE. 156 00:07:14,521 --> 00:07:15,565 ALL RIGHT. 157 00:07:15,652 --> 00:07:17,045 SO HOW WOULD YOU STEAL SOMETHING? 158 00:07:20,527 --> 00:07:22,920 I'D SPILL MY DRINK ON IT. 159 00:07:23,007 --> 00:07:25,314 MUSEUM STAFF WOULD BE FORCED TO MOVE IT 160 00:07:25,401 --> 00:07:27,055 TO THE RESTORATION ROOM. 161 00:07:27,142 --> 00:07:28,578 MUCH LESS SECURITY BACK THERE. 162 00:07:28,665 --> 00:07:30,145 FEWER EYES, AND IF I TIMED IT RIGHT, 163 00:07:30,232 --> 00:07:31,886 THEY'D HAVE ALREADY FIXED IT UP GOOD AS NEW. 164 00:07:31,973 --> 00:07:33,322 YOU'D STILL NEED TO GET IT OUT. 165 00:07:33,409 --> 00:07:35,063 I'D TIME THE GUARDS AND WAIT FOR AN OPENING. 166 00:07:35,150 --> 00:07:36,760 MM. 167 00:07:36,847 --> 00:07:39,328 ALL RIGHT, SO WE'RE LOOKING FOR A GUY CARRYING A BIG GULP 168 00:07:39,415 --> 00:07:40,634 AND CHECKING HIS WATCH. 169 00:07:40,721 --> 00:07:42,331 HE'D HAVE TO BE DISCREET. 170 00:07:42,418 --> 00:07:46,117 GOOD GUARDS ARE TRAINED TO LOOK FOR WATCH CHECKERS. 171 00:07:46,204 --> 00:07:47,771 ONCE I GOT THE PAINTING OUT OF THE BACK, 172 00:07:47,858 --> 00:07:49,599 IT'S A MATTER OF HIDING IT IN SOMETHING INNOCUOUS. 173 00:07:49,686 --> 00:07:52,297 I MIGHT CARRY IT IN A SOUVENIR BAG, OR... 174 00:07:54,430 --> 00:07:56,867 AM I BORING YOU? 175 00:07:56,954 --> 00:07:58,434 THAT WOMAN OVER THERE -- 176 00:07:58,521 --> 00:08:02,046 IT COULD BE A REALLY GOOD SONG... 177 00:08:05,397 --> 00:08:08,096 OR SHE'S TIMING THE GUARDS. 178 00:08:08,183 --> 00:08:09,706 GOOD EYE, PETER. 179 00:08:09,793 --> 00:08:12,883 I DON'T SEE ANY DRINKS ON HER OR TOOLS OF ANY KIND. 180 00:08:12,970 --> 00:08:15,320 WHAT IF SHE DOESN'T NEED THEM? 181 00:08:15,407 --> 00:08:18,236 THE CHAGALL EXHIBIT STARTS NEXT WEEK. 182 00:08:18,323 --> 00:08:20,848 THE PIECES ARE ALREADY HERE -- BACK IN THE STOREROOM, 183 00:08:20,935 --> 00:08:22,763 WHERE THERE'S FEWER SECURITY MEASURES. 184 00:08:22,850 --> 00:08:24,199 THAT'S WHAT I'D TARGET. 185 00:08:24,286 --> 00:08:26,723 ALL RIGHT, I'M GONNA LOOK OVER SECURITY FOOTAGE 186 00:08:26,810 --> 00:08:28,159 AND SEE WHERE SHE'S BEEN. 187 00:08:28,246 --> 00:08:29,900 YOU CAN GO JOIN DIANA. 188 00:08:29,987 --> 00:08:31,859 OH. YOU THINK SHE NEEDS MY HELP? 189 00:08:31,946 --> 00:08:35,471 NO, I JUST DON'T LIKE YOU WALKING AROUND HERE WITHOUT A CHAPERONE. 190 00:08:41,303 --> 00:08:43,827 WOW, THAT IS BEAUTIFUL. 191 00:08:43,914 --> 00:08:47,309 CAN YOU GIVE ME A LENGTHY, DETAILED HISTORY OF THIS PIECE? 192 00:08:47,396 --> 00:08:49,398 WELL, THIS PARTICULAR ARTIST 193 00:08:49,485 --> 00:08:51,792 WANTED AN EXCUSE TO STARE AT NAKED WOMEN ALL DAY. 194 00:08:51,879 --> 00:08:53,315 NOW YOU'RE NOT EVEN TRYING. 195 00:08:53,402 --> 00:08:55,056 I DON'T NEED TO TRY. I WON. 196 00:08:55,143 --> 00:08:58,233 ANY SUSPECTS YET? 197 00:08:58,320 --> 00:09:00,104 9:00. 198 00:09:02,498 --> 00:09:03,630 CUTE. MM-HMM. 199 00:09:06,067 --> 00:09:07,808 DAMN, SHE MADE ME. 200 00:09:07,895 --> 00:09:09,113 WHAT, SHE KNOWS YOU'RE FBI? 201 00:09:09,200 --> 00:09:10,245 NOPE. 202 00:09:10,332 --> 00:09:11,681 Then what are you... 203 00:09:11,768 --> 00:09:13,814 [ British accent ] ABSOLUTELY STUNNING. 204 00:09:13,901 --> 00:09:15,380 AH... 205 00:09:15,467 --> 00:09:19,384 IT IS...STUNNING... AND CHALLENGING. 206 00:09:19,471 --> 00:09:21,169 I LIKE THE SOUND OF THAT. 207 00:09:21,256 --> 00:09:22,910 IT'S AN INTRIGUING PIECE. 208 00:09:22,997 --> 00:09:24,302 HER COLLAPSING FORM, 209 00:09:24,389 --> 00:09:27,479 THE SHADOW DRAGGING HER DOWN AS SHE SLOWLY FADES AWAY -- 210 00:09:27,567 --> 00:09:30,134 IT INVOKES A HEARTBREAKING SENSE OF MELANCHOLY. 211 00:09:30,221 --> 00:09:31,353 I DISAGREE. 212 00:09:31,440 --> 00:09:35,357 I FIND IT BOLD, YET STILL SENSUAL. 213 00:09:37,141 --> 00:09:38,839 I'M ABIGAIL. 214 00:09:38,926 --> 00:09:40,754 DIANA. 215 00:09:40,841 --> 00:09:43,234 DO YOU COME HERE OFTEN? 216 00:09:43,321 --> 00:09:45,019 TO THE MUSEUM, I MEAN. 217 00:09:45,106 --> 00:09:46,368 I DON'T. 218 00:09:46,455 --> 00:09:49,806 BUT I THINK I NEED TO START. 219 00:09:51,939 --> 00:09:54,463 DO WE HAVE EYES ON OUR SUSPECT? 220 00:09:54,550 --> 00:09:57,553 YES, WE DO. AND SHE HAS EYES ON DIANA. 221 00:09:57,640 --> 00:09:59,773 IS SHE GETTING DIANA'S PHONE NUMBER? 222 00:09:59,860 --> 00:10:02,079 WHO WOULD STOP IN THE MIDDLE OF A MUSEUM ROBBERY 223 00:10:02,166 --> 00:10:03,167 TO GET A DATE? 224 00:10:03,254 --> 00:10:04,604 C-- DON'T SAY IT. 225 00:10:12,176 --> 00:10:14,439 DON'T BOTHER. 226 00:10:14,526 --> 00:10:16,093 EXCUSE ME? 227 00:10:16,180 --> 00:10:19,401 YOU CAN STOP WORKING THE DOCENT. YOU'RE NOT HER TYPE. 228 00:10:19,488 --> 00:10:21,621 I THINK YOU GOT THE WRONG IDEA. 229 00:10:21,708 --> 00:10:22,970 OH. OH, I'M SORRY. 230 00:10:23,057 --> 00:10:25,450 I THOUGHT I WAS TALKING TO NEAL CAFFREY. 231 00:10:27,583 --> 00:10:29,324 AND IF YOU WERE? 232 00:10:29,411 --> 00:10:32,283 I'D TELL HIM I'M A FAN... 233 00:10:32,370 --> 00:10:34,634 AND THAT IT'S SAD TO SEE HIM IN AN ANKLET. 234 00:10:34,721 --> 00:10:36,723 LOOK, I GOT CAUGHT, SERVED MY TIME, 235 00:10:36,810 --> 00:10:38,812 BUT IT'S STILL NICE TO VISIT A MUSEUM, 236 00:10:38,899 --> 00:10:40,422 REMINISCE ABOUT THE OLD DAYS. 237 00:10:40,509 --> 00:10:42,293 YOU GOT OUT OF THE GAME. 238 00:10:42,380 --> 00:10:44,818 WHAT A LOSS. 239 00:10:44,905 --> 00:10:47,603 ALL I CAN DO IS LIVE VICARIOUSLY THROUGH OTHERS. 240 00:10:49,126 --> 00:10:51,259 I'LL SEE WHAT I CAN DO. 241 00:10:56,656 --> 00:10:59,180 KEEP AN EYE ON HER. LET'S SEE WHERE SHE GOES. 242 00:10:59,267 --> 00:11:00,616 MAN: Copy that. 243 00:11:03,663 --> 00:11:06,100 FLIRTING, GIVING KIDS A TOUR. 244 00:11:06,187 --> 00:11:08,276 WE SURE THIS IS OUR THIEF? 245 00:11:10,626 --> 00:11:11,845 WHERE'S SHE HEADED? 246 00:11:11,932 --> 00:11:13,934 LET ME SEE. 247 00:11:14,021 --> 00:11:15,413 WHY, YOU THINK SHE'S ON TO US? 248 00:11:15,500 --> 00:11:16,763 I'M NOT SURE WHAT SHE'S THINKING. 249 00:11:16,850 --> 00:11:18,242 [ ALARM SOUNDS ] 250 00:11:18,329 --> 00:11:20,636 THE KID TOUCHED THE ART. 251 00:11:20,723 --> 00:11:23,421 WHERE'S ABIGAIL? 252 00:11:23,508 --> 00:11:25,641 SHE'S LEAVING THE BUILDING. 253 00:11:25,728 --> 00:11:27,121 THIS IS ABIGAIL KINCAID. 254 00:11:27,208 --> 00:11:28,688 SHE'S A PERSONAL SHOPPER 255 00:11:28,775 --> 00:11:31,125 FOR THE WEALTHIEST OF NEW YORK'S WEALTHY. 256 00:11:31,212 --> 00:11:32,692 Neal: WE THINK SHE'S MOVED 257 00:11:32,779 --> 00:11:34,302 FROM PERSONAL SHOPPING TO PERSONAL THIEVING. 258 00:11:34,389 --> 00:11:35,912 Diana: IT'S SMART ANGLE. 259 00:11:35,999 --> 00:11:38,132 SHE DOESN'T NEED A FENCE BECAUSE SHE ALREADY KNOWS THE BUYERS. 260 00:11:38,219 --> 00:11:40,047 SOUNDS LIKE YOU GOT A CRUSH. 261 00:11:40,134 --> 00:11:41,788 Peter: SHE'S BEEN LINKED TO A COUPLE OF ART HEISTS IN THE PAST, 262 00:11:41,875 --> 00:11:42,963 BUT NOTHING EVER STICKS. 263 00:11:43,050 --> 00:11:45,095 WE THINK SHE USUALLY WORKS ALONE, 264 00:11:45,182 --> 00:11:47,010 BUT TODAY SHE HAD AN ACCOMPLICE. 265 00:11:49,186 --> 00:11:51,058 LOOKS LIKE A HARDENED CRIMINAL TO ME. 266 00:11:51,145 --> 00:11:53,451 [ CHUCKLES ] SHE PAID HIM $20 267 00:11:53,538 --> 00:11:54,844 TO COUNT TO 20 AND TOUCH THE ART. 268 00:11:54,931 --> 00:11:56,498 SHE SEES NEAL CAFFREY, ART THIEF, 269 00:11:56,585 --> 00:11:58,152 WONDERS IF HER HEIST HAS GOTTEN A LITTLE CROWDED. 270 00:11:58,239 --> 00:11:59,588 AND SHE CALLS AN AUDIBLE. 271 00:11:59,675 --> 00:12:01,285 Peter: SHE'S GOING TO ASSUME 272 00:12:01,372 --> 00:12:03,331 EITHER YOU FOUND THE BLACK BOX AND DISARMED IT 273 00:12:03,418 --> 00:12:04,506 OR THE AUTHORITIES DID. 274 00:12:04,593 --> 00:12:05,681 EITHER WAY, SHE'LL NEED ANOTHER WAY IN. 275 00:12:05,768 --> 00:12:07,030 Diana: WELL, IT LOOKS LIKE I'M IT. 276 00:12:07,117 --> 00:12:09,380 SHE'S ALREADY SENT ME A COUPLE OF TEXT MESSAGES. 277 00:12:09,467 --> 00:12:11,861 DIANA, I WANT YOU TO SET UP A DATE WITH HER. 278 00:12:11,948 --> 00:12:13,602 I'LL GIVE ABIGAIL A CALL NOW. 279 00:12:13,689 --> 00:12:15,735 Neal: WHERE YOU GOING? 280 00:12:15,822 --> 00:12:19,173 WE SHOULD LISTEN... SO WE LEARN MORE ABOUT HER. 281 00:12:24,352 --> 00:12:27,224 AW, SHE'S NERVOUS. 282 00:12:27,311 --> 00:12:30,010 SHE PLAYS WITH HER HAIR WHEN SHE'S NERVOUS. 283 00:12:30,097 --> 00:12:31,751 Jones: AH, I HADN'T NOTICED. 284 00:12:31,838 --> 00:12:33,361 THAT'S BECAUSE SHE'S RARELY NERVOUS. 285 00:12:33,448 --> 00:12:35,189 ALL RIGHT, LET'S GIVE HER SOME SPACE. 286 00:12:35,276 --> 00:12:36,320 EVERYBODY, TAKE FIVE. 287 00:12:36,407 --> 00:12:38,148 NEAL, STICK AROUND. 288 00:12:38,235 --> 00:12:40,107 [ INDISTINCT CONVERSATIONS ] 289 00:12:44,720 --> 00:12:46,853 YOU GOT YOUR BAD-NEWS FACE ON. 290 00:12:46,940 --> 00:12:49,377 I SPOKE WITH THE MARSHALS EARLIER. 291 00:12:49,464 --> 00:12:52,772 THEY'RE WILLING TO COOPERATE ON A VERY LIMITED BASIS. 292 00:12:52,859 --> 00:12:54,643 LOOK, IT'S A START. 293 00:12:54,730 --> 00:12:56,732 WELL, GO ABOVE THEIR HEAD, PETER. 294 00:12:56,819 --> 00:12:58,778 SUBMIT AN FD-125 TO THE UNIT CHIEF. 295 00:12:58,865 --> 00:13:00,388 SOMEONE ALREADY DID THEIR HOMEWORK, 296 00:13:00,475 --> 00:13:01,606 AND I ALREADY TRIED THAT. 297 00:13:01,693 --> 00:13:03,391 WE CAN'T LOSE HIM.I KNOW. GIVE ME TIME. 298 00:13:03,478 --> 00:13:04,609 I DON'T HAVE TIME! 299 00:13:08,178 --> 00:13:10,833 I KNEW IT. I BROUGHT YOU IN TOO EARLY. 300 00:13:10,920 --> 00:13:12,400 YOU'RE RIGHT. 301 00:13:12,487 --> 00:13:14,358 I'LL GET MYSELF UNDER CONTROL. 302 00:13:25,282 --> 00:13:28,503 COME ON, ART, HELP ME OUT HERE. 303 00:13:28,590 --> 00:13:30,244 [ SIGHS ] 304 00:13:30,331 --> 00:13:32,159 ALL RIGHT, ALL RIGHT, ALL RIGHT. 305 00:13:32,246 --> 00:13:34,335 YEAH, LET ME KNOW IF ANYTHING CHANGES. 306 00:13:34,422 --> 00:13:37,033 ANOTHER DEAD END WITH THE MARSHALS? 307 00:13:37,120 --> 00:13:38,426 YEAH, THE DEADEST SO FAR. 308 00:13:38,513 --> 00:13:40,297 THIS CASE IS ON COMPLETE LOCKDOWN. 309 00:13:40,384 --> 00:13:42,560 NO ONE'S WILLING TO STICK THEIR NECKS OUT. 310 00:13:42,647 --> 00:13:45,476 WELL, YOU TRIED. THAT'S WHAT'S IMPORTANT. 311 00:13:45,563 --> 00:13:46,782 I'M NOT SO SURE. 312 00:13:46,869 --> 00:13:48,479 YOU SHOULD SEE THE LOOK IN HIS EYES, EL. 313 00:13:48,566 --> 00:13:50,481 I'M NOT LOOKING TO CLOSE THIS CASE. 314 00:13:50,568 --> 00:13:53,136 I JUST WANT TO FIND A WAY TO CONTACT THIS SAM GUY. 315 00:13:53,223 --> 00:13:56,531 NEAL'S IN A UNIQUE POSITION. HE COULD REACH OUT TO HIM. 316 00:13:56,618 --> 00:13:59,273 HE MAY BE THE ONLY PERSON THAT SAM COULD TRUST. 317 00:13:59,360 --> 00:14:00,970 WELL... 318 00:14:01,057 --> 00:14:03,755 YOU'LL FIGURE IT OUT. YOU ALWAYS DO. 319 00:14:12,547 --> 00:14:15,855 THE CRIME-SCENE REPORT IS IN A DATABASE ON THE 22nd FLOOR. 320 00:14:15,942 --> 00:14:17,247 NOW, SOMEWHERE IN THAT FILE, 321 00:14:17,334 --> 00:14:18,901 THERE HAS TO BE A WAY TO REACH SAM. 322 00:14:18,988 --> 00:14:21,556 HOPEFULLY IT CAN TELL US WHO KILLED ELLEN AND WHY. 323 00:14:21,643 --> 00:14:23,253 THE SECURITY IS GOOD. 324 00:14:23,340 --> 00:14:25,038 I'M ALREADY LOOKING FOR THE BLUEPRINTS FOR THAT BUILDING. 325 00:14:25,125 --> 00:14:26,778 I CAN'T GO IN THERE WITH MY ANKLET ON. 326 00:14:26,866 --> 00:14:29,042 I SHOULDN'T EVEN BE THIS CLOSE. 327 00:14:29,129 --> 00:14:30,913 BUT THE SUIT'S TAKEN IT OFF MANY TIMES BEFORE. 328 00:14:31,000 --> 00:14:32,175 NO, NOT THIS TIME. 329 00:14:32,262 --> 00:14:35,091 YOU DON'T LOOK LIKE YOU'RE OUT OF THE GAME. 330 00:14:35,178 --> 00:14:38,486 YOU'RE A HARD MAN TO TRACK DOWN, NEAL CAFFREY. 331 00:14:38,573 --> 00:14:41,141 TO WHAT DO WE OWE THIS HONOR? 332 00:14:41,228 --> 00:14:43,708 I'VE GOT A PROPOSITION FOR YOU. 333 00:14:55,155 --> 00:14:57,113 SO WHAT IS IT EXACTLY THAT YOU PROPOSE? 334 00:14:57,200 --> 00:14:59,289 I PREFER TO TALK ALONE. 335 00:14:59,376 --> 00:15:03,250 I SHOULD REALLY FRISK HER FOR WEAPONS BEFORE I GO. 336 00:15:03,337 --> 00:15:04,904 TRY AND I'LL BREAK YOUR LITTLE FINGERS. 337 00:15:04,991 --> 00:15:06,557 SHE'S CLEAN. 338 00:15:06,644 --> 00:15:08,690 YOUR FRIEND DOESN'T LOOK LIKE A FED. 339 00:15:08,777 --> 00:15:10,257 HE'LL BE HAPPY TO HEAR THAT. 340 00:15:10,344 --> 00:15:12,346 YOU DIDN'T GET OUT OF THE GAME, DID YOU? YOU SWITCHED SIDES. 341 00:15:12,433 --> 00:15:13,956 WHAT MAKES YOU THINK THAT? 342 00:15:14,043 --> 00:15:16,480 THE ALARM AT THE KESSMAN GOES OFF, AND YOU'RE INSIDE. 343 00:15:16,567 --> 00:15:19,701 THEY'D STILL BE QUESTIONING YOU, AND YET HERE YOU ARE. 344 00:15:19,788 --> 00:15:21,746 IF I WAS WORKING WITH THEM, 345 00:15:21,833 --> 00:15:24,662 WHY WOULD I BE HERE RIGHT NOW, CASING A SCORE? 346 00:15:24,749 --> 00:15:28,188 BECAUSE YOU'RE JUST LIKE ME. YOU ALWAYS WANT SOMETHING. 347 00:15:28,275 --> 00:15:30,712 MM. AND WHAT DO YOU WANT? 348 00:15:30,799 --> 00:15:33,236 PASCAL'S "WISTFUL MOBILE." 349 00:15:33,323 --> 00:15:36,152 I'M FAMILIAR WITH IT. AND IMPRESSED. 350 00:15:36,239 --> 00:15:38,154 BECAUSE IT'S ON A STAND, IT DOESN'T HAVE 351 00:15:38,241 --> 00:15:39,939 THE TRADITIONAL MUSEUM SECURITY. 352 00:15:40,026 --> 00:15:43,246 UNFORTUNATELY, I CAN'T GO BACK INTO THE MUSEUM. 353 00:15:43,333 --> 00:15:44,334 BUT YOUCAN. 354 00:15:44,421 --> 00:15:46,467 YOU WANT METO STEAL IT. 355 00:15:46,554 --> 00:15:49,557 IN EXCHANGE, I STEAL SOMETHING FOR YOU. 356 00:15:51,733 --> 00:15:56,172 THAT'S THE MARSHALS' BUILDING, ISN'T IT? 357 00:15:56,259 --> 00:15:57,957 IT'S A TRICKY ONE. 358 00:15:58,044 --> 00:16:00,742 WHAT'S INSIDE THAT'S SO VALUABLE? 359 00:16:02,744 --> 00:16:05,834 A FILE ON A WOMAN NAMED ELLEN PARKER. 360 00:16:05,921 --> 00:16:07,444 THAT WASN'T SO HARD TO ADMIT, WAS IT? 361 00:16:07,531 --> 00:16:09,229 I'M NOT INTERESTED.YES, YOU ARE. 362 00:16:09,316 --> 00:16:12,536 I CAN SEE IT IN YOUR EYES. 363 00:16:12,623 --> 00:16:15,017 LOOK, THIS IS IMPORTANT TO YOU. 364 00:16:15,104 --> 00:16:18,716 LET ME...HELP YOU... 365 00:16:18,803 --> 00:16:20,414 SO THAT YOU CAN HELP ME. 366 00:16:22,894 --> 00:16:24,635 I DIDN'T THINK I WAS YOUR TYPE. 367 00:16:24,722 --> 00:16:26,202 YOU'RE NOT. 368 00:16:26,289 --> 00:16:29,292 BUT HOPEFULLY YOU CAN SATISFY A DIFFERENT NEED. 369 00:16:29,379 --> 00:16:32,121 THE PASCAL FOR THE FILE. 370 00:16:33,993 --> 00:16:35,864 I NEED TO THINK ABOUT IT. 371 00:16:35,951 --> 00:16:37,779 DON'T THINK TOO LONG. 372 00:16:46,440 --> 00:16:49,095 Peter: DIANA'S DATE WITH ABIGAIL IS TONIGHT. 373 00:16:49,182 --> 00:16:51,271 WHILE THERE, SHE'LL FLOAT THE IDEA 374 00:16:51,358 --> 00:16:53,055 OF A BEHIND-THE-SCENES TOUR. 375 00:16:53,142 --> 00:16:54,709 THAT GIVES ABIGAIL AN OPPORTUNITY 376 00:16:54,796 --> 00:16:56,058 TO ACCESS THE BACK ROOM. 377 00:16:56,145 --> 00:16:58,582 AND WE CONTROL THE SITUATION THE ENTIRE TIME. 378 00:16:58,669 --> 00:16:59,844 [ CELL PHONE RINGS ] 379 00:16:59,931 --> 00:17:01,716 IS THAT ABIGAIL AGAIN? 380 00:17:01,803 --> 00:17:03,283 NO, IT'S CHRISTIE. 381 00:17:03,370 --> 00:17:05,067 DOES SHE KNOW ABOUT THIS? 382 00:17:05,154 --> 00:17:07,069 I FIGURED I'D WAIT TILL AFTERWARDS TO TELL HER. 383 00:17:07,156 --> 00:17:08,679 THAT'S USUALLY MY STRATEGY. 384 00:17:08,766 --> 00:17:10,203 WHY IS THAT NOT COMFORTING? 385 00:17:10,290 --> 00:17:13,249 GO AHEAD AND TAKE IT. THAT'S ALL, EVERYONE. 386 00:17:13,336 --> 00:17:15,773 WHAT ARE YOU THINKING OF? 387 00:17:15,860 --> 00:17:19,125 I WAS JUST THINKING ABOUT WHAT TO DO WITH ABIGAIL. 388 00:17:19,212 --> 00:17:21,910 I'M SURPRISED SHE'S MOVING SO QUICKLY. 389 00:17:21,997 --> 00:17:24,521 WELL, IF SHE HAS A BUYER LINED UP, WHY WAIT? 390 00:17:24,608 --> 00:17:27,785 EXPLORE EVERY OPTION, SEE IF A BETTER ONE COMES UP. 391 00:17:27,872 --> 00:17:29,222 HARD TO IMAGINE A BETTER ONE 392 00:17:29,309 --> 00:17:31,137 THAN HAVING THE DOCENT LEAD YOU RIGHT TO YOUR SCORE. 393 00:17:33,878 --> 00:17:36,055 SHE'S NOT NERVOUS THIS TIME. 394 00:17:36,142 --> 00:17:39,014 NOT HAPPY, EITHER. 395 00:17:39,101 --> 00:17:40,972 WELL, NOT OUR PLACE TO PRY. 396 00:17:53,855 --> 00:17:55,900 WHY DO I FEEL LIKE I'VE ENTERED A CRIME SCENE? 397 00:17:55,987 --> 00:17:57,467 OH, SORRY ABOUT THE HATS. 398 00:17:57,554 --> 00:17:58,947 ART REQUIRES SACRIFICE, 399 00:17:59,034 --> 00:18:01,123 AND HABERDASHER'S NOT ON MY RéSUMé. 400 00:18:01,210 --> 00:18:03,386 HERE, TRY THIS ON. 401 00:18:07,216 --> 00:18:10,872 OKAY, NOW HIT THE SWITCH ON THE BAND. 402 00:18:14,571 --> 00:18:16,138 THE HEADLESS CON MAN. 403 00:18:16,225 --> 00:18:18,271 HOW'D YOU DO IT? 404 00:18:18,358 --> 00:18:20,186 INFRARED L.E.D.s IMBEDDED IN THE HAT -- 405 00:18:20,273 --> 00:18:21,839 INVISIBLE TO THE NAKED EYE 406 00:18:21,926 --> 00:18:24,103 AND YET MAKE YOUR FACE INVISIBLE TO THE DIGITAL ONE. 407 00:18:24,190 --> 00:18:26,061 ALL RIGHT. 408 00:18:26,148 --> 00:18:28,150 OH, WHAT ABOUT THIS? 409 00:18:28,237 --> 00:18:29,760 HANDLE WITH CARE. 410 00:18:29,847 --> 00:18:32,850 THAT'S AN OLFACTORY ASSAULT WEAPON FOR DISTRACTION PURPOSES. 411 00:18:32,937 --> 00:18:34,461 A HOMEMADE STINK BOMB. 412 00:18:34,548 --> 00:18:37,681 THAT HAS AN ELEGANT SUBTLETY TO ITS NOXIOUS ODOR. 413 00:18:37,768 --> 00:18:39,901 IS ALL THIS FOR THE PASCAL OR THE MARSHALS' OFFICE? 414 00:18:39,988 --> 00:18:41,381 EITHER. 415 00:18:41,468 --> 00:18:44,035 BUT YOU'D BE CRAZY TO TURN DOWN THE LADY'S DEAL. 416 00:18:44,123 --> 00:18:46,647 I CAN'T STEAL SOMETHING RIGHT UNDER PETER'S NOSE. 417 00:18:46,734 --> 00:18:49,954 WELL, YOU'VE DONE IT BEFORE. AND YOU CAN AGAIN. 418 00:18:50,041 --> 00:18:52,740 REMEMBER, THIS IS FOR THE GREATER GOOD. 419 00:18:52,827 --> 00:18:55,351 THE SUIT WILL UNDERSTAND THAT EVENTUALLY. 420 00:18:55,438 --> 00:18:56,918 WELL, IT MIGHT NOT MATTER. 421 00:18:57,005 --> 00:18:58,572 ABIGAIL KEPT HER DATE WITH DIANA. 422 00:18:58,659 --> 00:18:59,660 IT COULD BE AN ANGLE. 423 00:18:59,747 --> 00:19:00,965 WELL, THEY THINK 424 00:19:01,052 --> 00:19:02,532 SHE'S GOING AFTER THE COLLECTION IN THE BACK. 425 00:19:02,619 --> 00:19:04,055 ONLY YOU KNOW THE TRUE TARGET. 426 00:19:04,143 --> 00:19:06,406 IF SHE DECIDES TO MAKE A MOVE ON THE PASCAL TONIGHT, 427 00:19:06,493 --> 00:19:07,711 THEY'LL BE BLINDSIDED. 428 00:19:07,798 --> 00:19:10,236 SHE'LL HAVE THE PASCAL, AND I WON'T GET THE DRIVE. 429 00:19:17,025 --> 00:19:19,462 Abigail: PERSONAL SHOPPING IS THE WORST. 430 00:19:19,549 --> 00:19:22,248 AND THE PEOPLE I WORK FOR NEVER KNOW WHAT THEY WANT. 431 00:19:22,335 --> 00:19:23,510 THEY'VE GOT NO TASTE. 432 00:19:23,597 --> 00:19:25,120 BUT THEY'VE GOT MONEY. 433 00:19:25,207 --> 00:19:27,688 TWO YEARS AGO, I HAD THIS CLIENT 434 00:19:27,775 --> 00:19:31,082 THAT BOUGHT A LITVAK ORIGINAL FOR $200,000. 435 00:19:31,170 --> 00:19:33,346 I'VE NEVER HEARD OF LITVAK. 436 00:19:33,433 --> 00:19:34,695 I'M NOT SURPRISED. 437 00:19:34,782 --> 00:19:36,827 HE WAS THE HOMELESS GUY OUTSIDE MY APARTMENT. 438 00:19:36,914 --> 00:19:38,525 [ LAUGHS ] 439 00:19:38,612 --> 00:19:40,048 IT'S STILL MY CLIENT'S FAVORITE PIECE. 440 00:19:40,135 --> 00:19:42,181 I'M STARTING TO LIKE HER. 441 00:19:42,268 --> 00:19:45,009 I'M ADDING FRAUD TO THE LIST OF CHARGES AGAINST HER. 442 00:19:45,096 --> 00:19:47,360 YOU KNOW, YOU SHOULD COME BY AGAIN. 443 00:19:47,447 --> 00:19:49,188 I'LL SHOW YOU BEHIND THE SCENES AND EVERYTHING. 444 00:19:50,928 --> 00:19:52,626 WHAT? 445 00:19:52,713 --> 00:19:55,716 YOU'RE HIDING SOMETHING. 446 00:19:55,803 --> 00:19:56,760 THAT'S NEVER GOOD. 447 00:19:56,847 --> 00:19:58,066 WHAT DO YOU MEAN? 448 00:19:58,153 --> 00:20:01,069 YOU TOLD ME ABOUT TAKING UP TAI CHI, 449 00:20:01,156 --> 00:20:02,505 SEEING "THE BOOK OF MORMON," TAKING A POTTERY CLASS. 450 00:20:02,592 --> 00:20:04,072 SO? 451 00:20:04,159 --> 00:20:06,117 WELL, THE STORIES ARE ALL MISSING ONE THING -- 452 00:20:06,205 --> 00:20:08,511 THE PERSON YOU WERE WITH. 453 00:20:08,598 --> 00:20:13,386 YOU'RE DATING SOMEONE, AREN'T YOU? 454 00:20:13,473 --> 00:20:15,518 I AM. 455 00:20:15,605 --> 00:20:18,217 AND YET YOU'RE HERE WITH ME. 456 00:20:20,436 --> 00:20:22,438 I'VE BEEN SEEING SOMEONE FOR A LITTLE WHILE, 457 00:20:22,525 --> 00:20:24,397 BUT LATELY... 458 00:20:24,484 --> 00:20:26,268 WE DON'T EVEN TALK TO EACH OTHER ANYMORE. 459 00:20:26,355 --> 00:20:28,444 IT'S LIKE WE EXIST NEXT TO EACH OTHER. 460 00:20:28,531 --> 00:20:30,664 OH, THIS IS AWKWARD. 461 00:20:30,751 --> 00:20:32,579 PROBABLY JUST A STORY. 462 00:20:32,666 --> 00:20:34,711 I SHOULD HAVE SAID SOMETHING EARLIER, 463 00:20:34,798 --> 00:20:36,496 BUT I WAS HAVING A NICE TIME. 464 00:20:36,583 --> 00:20:39,847 IT'S OKAY. I'M SORRY TO HEAR THAT. 465 00:20:39,934 --> 00:20:42,632 I MEAN, I AM... 466 00:20:42,719 --> 00:20:43,938 BUT I'M NOT. 467 00:20:44,025 --> 00:20:45,722 [ CHUCKLES ] 468 00:20:45,809 --> 00:20:48,769 WHY DON'T WE LIGHTEN THE MOOD A BIT? 469 00:20:48,856 --> 00:20:52,120 TELL ME ABOUT THAT BEHIND-THE-SCENES TOUR. 470 00:20:52,207 --> 00:20:54,557 WELL, UH... 471 00:20:54,644 --> 00:20:57,386 THE CHAGALL EXHIBIT FOR NEXT WEEK'S ALREADY AT THE MUSEUM. 472 00:20:57,473 --> 00:21:00,520 ARE YOU OFFERING ME A SNEAK PEEK? 473 00:21:00,607 --> 00:21:03,262 WE COULD GO RIGHT NOW. 474 00:21:03,349 --> 00:21:07,875 UM...YOU KNOW, I'D LOVE TO, BUT... 475 00:21:07,962 --> 00:21:09,529 I SHOULDN'T TONIGHT. 476 00:21:09,616 --> 00:21:11,313 I HOPE IT WASN'T WHAT I SAID. 477 00:21:11,400 --> 00:21:14,142 NO, IT WASN'T. I PROMISE. 478 00:21:14,229 --> 00:21:15,970 HOW ABOUT TOMORROW INSTEAD? 479 00:21:16,057 --> 00:21:18,494 SOUNDS GOOD. 480 00:21:18,581 --> 00:21:20,540 TOMORROW IT IS. 481 00:21:27,242 --> 00:21:28,287 WHY NOT TONIGHT? 482 00:21:28,374 --> 00:21:30,419 IF THIS IS ABOUT YOU AND ELIZABETH, 483 00:21:30,506 --> 00:21:32,116 I DON'T WANT TO GET INVOLVED. 484 00:21:32,203 --> 00:21:33,988 ABIGAIL. 485 00:21:34,075 --> 00:21:35,772 WHY TOMORROW? 486 00:21:35,859 --> 00:21:38,079 MAYBE SHE WANTS THE HEAT TO DIE DOWN. 487 00:21:38,166 --> 00:21:40,951 OR SHE COULD BE WAITING TO SEE IF THERE'S A BETTER WAY IN. 488 00:21:41,038 --> 00:21:43,737 I SUPPOSE. 489 00:21:43,824 --> 00:21:46,566 BY THE WAY, I WANT THIS CASE TO CLOSE SOON. 490 00:21:46,653 --> 00:21:47,871 YEAH. 491 00:21:47,958 --> 00:21:50,396 WHAT? 492 00:21:50,483 --> 00:21:53,964 THE MARSHALS AREN'T GONNA GIVE US THE INFORMATION, ARE THEY? 493 00:21:54,051 --> 00:21:56,053 [ SIGHS ] 494 00:21:56,140 --> 00:21:57,751 IT DOESN'T LOOK LIKE IT. 495 00:21:59,753 --> 00:22:01,711 [ SIGHS ] 496 00:22:01,798 --> 00:22:04,279 WE'LL FIND ANOTHER WAY TO GET IN CONTACT WITH SAM. 497 00:22:04,366 --> 00:22:05,411 THERE'S ALWAYS A WAY. 498 00:22:05,498 --> 00:22:07,761 YEAH. 499 00:22:09,763 --> 00:22:12,592 [ KNOCK ON DOOR ] 500 00:22:18,206 --> 00:22:20,817 I HOPE THAT'S A CELEBRATORY GLASS. 501 00:22:22,993 --> 00:22:25,344 NICE PLACE. 502 00:22:25,431 --> 00:22:28,956 I THOUGHT A LOT ABOUT YOUR OFFER. 503 00:22:29,043 --> 00:22:31,350 BUT I'M NOT GONNA TAKE IT. 504 00:22:31,437 --> 00:22:33,177 OH. YOU'RE STAYING OUT OF THE GAME AFTER ALL. 505 00:22:33,264 --> 00:22:34,744 I AM. 506 00:22:34,831 --> 00:22:37,834 MORE IMPORTANTLY, YOU SHOULD WALK AWAY FROM THE PASCAL. 507 00:22:37,921 --> 00:22:39,662 YOU WON'T GET AWAY WITH IT. 508 00:22:39,749 --> 00:22:40,794 [ CHUCKLES ] 509 00:22:40,881 --> 00:22:43,057 WELL, WHAT ABOUT ELLEN PARKER? 510 00:22:43,144 --> 00:22:44,363 I'LL FIND A WAY. 511 00:22:44,450 --> 00:22:46,626 YOU DON'T NEED ONE. 512 00:22:53,328 --> 00:22:56,200 YOU ALREADY BROKE IN. 513 00:22:56,287 --> 00:22:58,464 I'VE GOT EVERYTHING YOU WANT. 514 00:22:58,551 --> 00:23:01,771 IT'S READY FOR YOU JUST AS SOON AS YOU GET ME THE PASCAL. 515 00:23:01,858 --> 00:23:03,382 NO. 516 00:23:03,469 --> 00:23:05,819 I'M NOT GONNA DO IT. 517 00:23:05,906 --> 00:23:07,864 OH. 518 00:23:07,951 --> 00:23:11,259 THAT'S A SHAME BECAUSE RIGHT NOW THE MARSHALS HAVE NO IDEA 519 00:23:11,346 --> 00:23:13,479 THAT ANYONE BROKE IN AND STOLE THIS INFORMATION, 520 00:23:13,566 --> 00:23:15,219 BUT I COULD ALWAYS CALL THEM. 521 00:23:15,306 --> 00:23:16,438 AND WHAT? 522 00:23:16,525 --> 00:23:18,527 FILE AN EYEWITNESS REPORT? 523 00:23:18,614 --> 00:23:20,181 [ LAUGHS ] 524 00:23:20,268 --> 00:23:22,575 NO, SEE, I DON'T HAVE TO DO A THING 525 00:23:22,662 --> 00:23:24,881 BECAUSE THEY'LL SEARCH THAT ROOM 526 00:23:24,968 --> 00:23:27,406 AND THEY'LL FIND STRANDS OF YOUR HAIR 527 00:23:27,493 --> 00:23:28,842 UNDER THE DATA SERVER. 528 00:23:33,499 --> 00:23:37,067 AND PUT THAT TOGETHER WITH THE ANKLET OUTSIDE THE BUILDING -- 529 00:23:37,154 --> 00:23:40,027 I THINK YOU'RE GOING AWAY FOR A REALLY LONG TIME. 530 00:23:40,114 --> 00:23:41,768 YOU'RE BLACKMAILING ME? 531 00:23:41,855 --> 00:23:46,294 LOOK, WE BOTH GET WHAT WE WANT, NEAL. 532 00:23:46,381 --> 00:23:49,515 YOU'VE GOT 24 HOURS. 533 00:23:49,602 --> 00:23:52,518 I DID MY PART. NOW YOU DO YOURS. 534 00:24:03,006 --> 00:24:05,008 TO MOST PEOPLE WHO LOOK AT A MOBILE, 535 00:24:05,095 --> 00:24:07,620 IT'S NO MORE THAN A SERIES OF OBJECTS THAT MOVE. 536 00:24:07,707 --> 00:24:09,839 TO A FEW, THOUGH, IT MAY BE POETRY. 537 00:24:09,926 --> 00:24:12,276 ALEXANDER CALDER -- HE PIONEERED KINETIC SCULPTURE, 538 00:24:12,363 --> 00:24:14,583 AND PASCAL PUSHED THE ENVELOPE EVEN FURTHER. 539 00:24:14,670 --> 00:24:17,586 [ SIGHS ] AND I WISH I'D TOLD PETER EVERYTHING FROM THE BEGINNING. 540 00:24:17,673 --> 00:24:19,109 YOU COULDN'T HAVE SEEN THIS COMING. SHE SET YOU UP WELL. 541 00:24:19,196 --> 00:24:20,328 PROBABLE CAUSE, 542 00:24:20,415 --> 00:24:22,504 MY ANKLET PUTTING ME AT THE SCENE, DNA -- 543 00:24:22,591 --> 00:24:24,201 I'M NOT SURE I'DBELIEVE ME. 544 00:24:24,288 --> 00:24:25,899 IT'S A HOLE TOO DEEP TO CLIMB OUT OF. 545 00:24:25,986 --> 00:24:27,814 THE ONLY OTHER OPTION IS TO KEEP DIGGING. 546 00:24:27,901 --> 00:24:29,642 ALL RIGHT, WELL, THIS IS GONNA BE TRICKY. 547 00:24:29,729 --> 00:24:31,557 PETER WILL EXPECT ME TO BE STANDING RIGHT NEXT TO HIM 548 00:24:31,644 --> 00:24:32,819 THE ENTIRE TIME. 549 00:24:32,906 --> 00:24:35,996 AND SO YOU SHALL... UNTIL... 550 00:24:36,083 --> 00:24:38,477 WE GIVE HIM SOMETHING TO CHASE. 551 00:24:41,262 --> 00:24:42,916 ALL RIGHT. ALL RIGHT. 552 00:24:43,003 --> 00:24:45,484 WELL, WHEN THEY SEE THAT IMAGE IN THE MONITOR, THEY'LL PURSUE, 553 00:24:45,571 --> 00:24:47,529 BUT THEY'LL STILL BE ABLE TO TRACK YOUR MOVEMENTS. 554 00:24:47,616 --> 00:24:49,836 YEAH? LET THEM TRY. 555 00:24:49,923 --> 00:24:51,794 NICE, MOZ. 556 00:24:51,881 --> 00:24:54,667 NICE. ALL RIGHT, THAT WILL BUY ME SOME TIME. 557 00:24:54,754 --> 00:24:57,017 NEXT, I'LL DISASSEMBLE THE PASCAL. 558 00:24:57,104 --> 00:24:59,106 THE REAL ONE IS EXPONENTIALLY LARGER. 559 00:24:59,193 --> 00:25:01,151 GETTING IT OUT IS GONNA BE A PROBLEM. 560 00:25:01,238 --> 00:25:03,632 WE DON'T HAVE TIME TO PLAN A ROOFTOP ESCAPE. 561 00:25:03,719 --> 00:25:05,678 AND NEITHER ONE OF US CAN CARRY IT OUT. 562 00:25:05,765 --> 00:25:06,766 [ SIGHS ] 563 00:25:12,641 --> 00:25:16,427 MOZ, GRAB THAT SERVING TRAY FROM THE COFFEE TABLE. 564 00:25:20,606 --> 00:25:23,173 ALL RIGHT. 565 00:25:23,260 --> 00:25:25,654 CRITICS SAY MODERN ART 566 00:25:25,741 --> 00:25:28,309 IS A SERIES OF ARBITRARY SHAPES AND COLORS -- 567 00:25:28,396 --> 00:25:31,138 TRASH... 568 00:25:31,225 --> 00:25:32,879 THAT SOMEONE DECIDED TO CALL ART. 569 00:25:32,966 --> 00:25:35,316 YES, I'M WELL AWARE OF THE PLEBEIAN OPINION. 570 00:25:42,410 --> 00:25:44,804 LET'S PROVE THEM RIGHT. 571 00:25:52,594 --> 00:25:54,465 HEY, RELAX. YOU LOOK GREAT. 572 00:25:54,553 --> 00:25:57,643 I'M NOT TRYING TO LOOK GREAT. I'M TRYING TO LOOK THE PART. 573 00:25:57,730 --> 00:26:00,167 DIANA, IF YOU NEED --- 574 00:26:00,254 --> 00:26:03,300 LOOK, I KNOW YOU OVERHEARD MY CONVERSATION WITH ABIGAIL. 575 00:26:03,387 --> 00:26:04,998 I WAS JUST PLAYING A ROLE. 576 00:26:05,085 --> 00:26:08,175 THE BEST CONS COME FROM A PLACE OF TRUTH. 577 00:26:08,262 --> 00:26:10,656 THIS ISN'T THE TIME, CAFFREY. 578 00:26:10,743 --> 00:26:14,007 IF YOU EVER WANT TO TALK -- THAT'S ALL I'M SAYING. 579 00:26:14,094 --> 00:26:17,184 LADIES AND GENTLEMEN, ABIGAIL HAS ARRIVED. 580 00:26:20,187 --> 00:26:21,144 WISH ME LUCK. 581 00:26:21,231 --> 00:26:23,277 LUCK. 582 00:26:36,769 --> 00:26:39,510 ALL RIGHT. EXCELLENT. 583 00:26:39,598 --> 00:26:41,164 [ SIGHS ] 584 00:26:41,251 --> 00:26:43,253 [ CLEARS THROAT ] 585 00:26:43,340 --> 00:26:45,386 I CHECKED YOUR ANKLET THE OTHER DAY. 586 00:26:45,473 --> 00:26:48,563 DID YOU NOTICE I WAS OUTSIDE THE MARSHALS' NEW YORK OFFICE? 587 00:26:48,650 --> 00:26:49,825 THAT I DID. 588 00:26:49,912 --> 00:26:52,045 I DIDN'T SET FOOT INSIDE THAT BUILDING. 589 00:26:52,132 --> 00:26:55,439 NO, YOU DON'T HAVE TO SET FOOT INSIDE A BUILDING TO CASE IT. 590 00:26:55,526 --> 00:26:57,441 I'M NOT GONNA BREAK IN, PETER. 591 00:26:57,528 --> 00:26:59,008 BUT YOU WERE TEMPTED. I WAS. 592 00:26:59,095 --> 00:27:02,185 BUT I DECIDED THAT... 593 00:27:02,272 --> 00:27:05,580 YOUR WAY IS THE BEST WAY. 594 00:27:05,667 --> 00:27:08,104 PETER... 595 00:27:08,191 --> 00:27:09,715 ALL RIGHT. 596 00:27:09,802 --> 00:27:11,673 WHEN SHE GAINS ACCESS TO THE BACK ROOM, 597 00:27:11,760 --> 00:27:14,545 DIANA WILL GIVE HER A WINDOW TO MAKE THE THEFT. 598 00:27:14,633 --> 00:27:16,809 SHE MAKES HER MOVE, WE'LL MOVE IN TO ARREST HER. 599 00:27:16,896 --> 00:27:19,028 IS THAT IT? IS THERE NO SECURITY? 600 00:27:19,115 --> 00:27:21,161 I'LL BE KEEPING MY EYE ON YOU. 601 00:27:21,248 --> 00:27:22,684 SOUNDS GOOD TO ME. 602 00:27:22,771 --> 00:27:23,946 ALL RIGHT, GET READY. 603 00:27:24,033 --> 00:27:25,905 THIS IS WHERE SHE SHOULD MAKE HER MOVE. 604 00:27:32,955 --> 00:27:35,088 OH, SHE SURE DID. 605 00:27:37,481 --> 00:27:39,048 WHAT ARE YOU DOING? 606 00:27:39,135 --> 00:27:41,616 [ LAUGHS ] SORRY. 607 00:27:41,703 --> 00:27:44,140 I JUST WASN'T EXPECTING IT. 608 00:27:49,145 --> 00:27:50,190 I DON'T GET IT. 609 00:27:50,277 --> 00:27:51,931 ARE WE WATCHING A DATE OR A HEIST? 610 00:27:52,018 --> 00:27:53,933 PETER, YOU NEED TO TAKE A LOOK AT ROOM 2. 611 00:27:56,805 --> 00:27:59,155 GET AGENTS IN THAT ROOM RIGHT NOW! 612 00:27:59,242 --> 00:28:01,288 AND KEEP AN EYE ON ABIGAIL! 613 00:28:01,375 --> 00:28:03,551 [ KEYS CLACKING ] 614 00:28:03,638 --> 00:28:04,987 [ INDISTINCT CONVERSATIONS ] 615 00:28:05,074 --> 00:28:07,381 FBI. YOU TWO GUYS HEAD THAT WAY. 616 00:28:07,468 --> 00:28:09,513 MIKE, OVER THIS WAY. 617 00:28:27,183 --> 00:28:29,925 PETER, HE'S ON THE THIRD FLOOR NOW. 618 00:28:39,630 --> 00:28:42,155 Man on P.A.: ALL SECURITY TO THE THIRD FLOOR. 619 00:28:42,242 --> 00:28:44,287 ALL SECURITY TO THE THIRD FLOOR. 620 00:28:48,901 --> 00:28:51,817 HE'S BACK ON THE FIRST FLOOR. 621 00:29:04,699 --> 00:29:06,745 WHAT'S GOING ON?I DON'T KNOW. 622 00:29:08,268 --> 00:29:10,139 JONES, ANY EYES ON HIM? 623 00:29:10,226 --> 00:29:12,098 JONES; Now all the cameras are jammed. 624 00:29:33,162 --> 00:29:34,250 [ GLASS BREAKS ] 625 00:29:34,337 --> 00:29:36,035 GOD. 626 00:29:42,084 --> 00:29:43,999 SHE GOT THE PASCAL! 627 00:29:44,086 --> 00:29:47,089 SPREAD OUT! EVERYONE ON AN EXIT!YES, SIR. 628 00:29:47,176 --> 00:29:49,048 LOCK THIS WHOLE PLACE DOWN! 629 00:29:49,135 --> 00:29:50,658 ALL RIGHT. MOVE OUT ON 42. 630 00:29:50,745 --> 00:29:53,748 HOW THE HELL DID THIS HAPPEN? 631 00:29:55,576 --> 00:29:57,230 YOU CHECK THE ROOF? 632 00:29:57,317 --> 00:30:00,711 IT'S THE WEAKEST SECURITY POINT ON ANY MUSEUM. 633 00:30:00,799 --> 00:30:02,583 SOMEBODY CHECK THE ROOF.Man: Copy that. 634 00:30:02,670 --> 00:30:04,628 SHE KNEW WE WERE WATCHING HER. 635 00:30:04,715 --> 00:30:07,196 AND WHILE SHE HAD THE PERFECT ALIBI, 636 00:30:07,283 --> 00:30:09,720 HER ACCOMPLICES TOOK THIS RIGHT FROM UNDER OUR NOSES. 637 00:30:09,808 --> 00:30:15,030 TO PULL THIS OFF, SHE HAD TO HAVE AN INSIDE MAN. 638 00:30:33,179 --> 00:30:34,920 Peter: FROM WHAT I CAN TELL, 639 00:30:35,007 --> 00:30:36,573 THERE WERE AT LEAST TWO ACCOMPLICES. 640 00:30:36,660 --> 00:30:38,880 L.E.D.s TO HIDE THEIR FACES. 641 00:30:38,967 --> 00:30:42,057 AND A VIDEO JAMMER TO BLACK OUT THE CAMERA. 642 00:30:42,144 --> 00:30:44,581 IT DOESN'T EXPLAIN HOW THEY GOT THE PASCAL OUT. 643 00:30:44,668 --> 00:30:46,714 MAYBE IT'S STILL IN THE MUSEUM -- 644 00:30:46,801 --> 00:30:49,935 BEHIND A FALSE WALL OR DISGUISED AS A DIFFERENT PIECE OF ART. 645 00:30:50,022 --> 00:30:52,067 HIDING IN PLAIN SIGHT? MAYBE. 646 00:30:52,154 --> 00:30:54,591 SO, I FINISHED INTERVIEWING THE MUSEUM STAFF. 647 00:30:54,678 --> 00:30:55,723 ANY SUSPECTS? 648 00:30:55,810 --> 00:30:57,159 NOT YET. WE'LL KEEP DIGGING. 649 00:30:57,246 --> 00:30:58,813 BUT SO FAR, THEY'RE COMING UP CLEAN. 650 00:30:58,900 --> 00:31:00,336 MAYBE WE SHOULD TAKE A BREAK -- 651 00:31:00,423 --> 00:31:02,164 JUST COME BACK TO IT WITH FRESH EYES. 652 00:31:02,251 --> 00:31:03,905 AH, YOU CAN GO. I'M STAYING. 653 00:31:03,992 --> 00:31:06,038 I'M MISSING SOMETHING IN THESE VIDEOS. 654 00:31:06,125 --> 00:31:07,430 THERE'S SOMETHING HERE. 655 00:31:07,517 --> 00:31:09,911 ALL RIGHT. SEE YOU TOMORROW. 656 00:31:09,998 --> 00:31:11,478 SEE YA. 657 00:31:25,796 --> 00:31:28,364 OR THERE ISN'TSOMETHING. 658 00:31:28,451 --> 00:31:30,627 NEAL. 659 00:31:30,714 --> 00:31:33,848 QUITE THE AIR OF MELANCHOLY AFTER A SUCCESSFUL HEIST. 660 00:31:33,935 --> 00:31:35,458 I WANT TO GET THIS DONE. 661 00:31:35,545 --> 00:31:36,895 WHEN'S THE EXCHANGE? 662 00:31:36,982 --> 00:31:38,287 TOMORROW MORNING. 663 00:31:38,374 --> 00:31:39,593 AND THE SUIT? 664 00:31:39,680 --> 00:31:42,204 PROBABLY STILL AT THE OFFICE GOING OVER VIDEO. 665 00:31:42,291 --> 00:31:44,163 [ SIGHS ] 666 00:31:44,250 --> 00:31:46,252 I WAS STANDING RIGHT NEXT TO HIM, MOZ. 667 00:31:46,339 --> 00:31:48,776 PETER MADE IT SO I COULD COME BACK TO NEW YORK, 668 00:31:48,863 --> 00:31:50,952 AND IN RETURN, I STABBED HIM IN THE BACK. 669 00:31:51,039 --> 00:31:53,607 IT'S JUST A PIECE OF ART, NEAL. 670 00:31:53,694 --> 00:31:56,958 WEIGHED AGAINST FINDING OUT WHO KILLED ELLEN? 671 00:31:57,045 --> 00:31:59,308 YOU'RE RIGHT. 672 00:31:59,395 --> 00:32:02,572 WE'LL MAKE THE DROP, AND WE'LL PUT THIS BEHIND US. 673 00:32:07,403 --> 00:32:08,622 [ KNOCK ON DOOR ] 674 00:32:11,103 --> 00:32:13,583 HEY. 675 00:32:13,670 --> 00:32:15,542 IS THERE AN UPDATE ON THE CASE OR SOMETHING? 676 00:32:15,629 --> 00:32:16,978 CAN I COME IN? 677 00:32:17,065 --> 00:32:18,588 PLEASE. 678 00:32:18,675 --> 00:32:22,027 I'M GONNA NEED ONE OF THOSE. 679 00:32:23,811 --> 00:32:26,683 WHAT'S WRONG? 680 00:32:26,770 --> 00:32:30,122 I'VE BEEN UNDERCOVER A LOT. 681 00:32:30,209 --> 00:32:32,385 THIS HAS NEVER HAPPENED TO ME BEFORE. 682 00:32:35,170 --> 00:32:37,651 THIS IS ABOUT YOU AND ABIGAIL. 683 00:32:39,609 --> 00:32:42,656 YOU WERE RIGHT. I DID TELL HER THE TRUTH. 684 00:32:45,180 --> 00:32:47,226 ONLY I DIDN'T KNOW IT WAS THE TRUTH 685 00:32:47,313 --> 00:32:49,010 UNTIL I STARTED SAYING IT. 686 00:32:49,097 --> 00:32:50,969 WELL, IF YOU AVOID SOMETHING LONG ENOUGH, 687 00:32:51,056 --> 00:32:52,579 IT HAS A TENDENCY TO BLINDSIDE YOU. 688 00:32:52,666 --> 00:32:54,102 THAT'S WHY I CAME HERE. 689 00:32:54,189 --> 00:32:56,626 I FIGURED YOU OF ALL PEOPLE WOULD UNDERSTAND. 690 00:32:56,713 --> 00:32:59,760 MORE THAN YOU KNOW. 691 00:33:02,284 --> 00:33:04,634 IT'S BEEN EXCITING, YOU KNOW? 692 00:33:04,721 --> 00:33:06,636 PRETENDING TO BE SINGLE, 693 00:33:06,723 --> 00:33:09,161 NOT FEELING GUILTY BECAUSE IT'S PART OF THE JOB. 694 00:33:09,248 --> 00:33:12,947 YEAH, GETTING INTO CHARACTER AND THEN DISCOVERING... 695 00:33:13,034 --> 00:33:15,819 IT'S NOT REALLY A CHARACTER ANYMORE. 696 00:33:15,906 --> 00:33:18,170 I FEEL LIKE I'M RUNNING IN TWO DIFFERENT DIRECTIONS, 697 00:33:18,257 --> 00:33:19,432 AND ONCE I STOP... 698 00:33:19,519 --> 00:33:22,261 I'M GONNA HAVE TO FACE REALITY. 699 00:33:22,348 --> 00:33:24,611 THEN NEVER STOP RUNNING. 700 00:33:24,698 --> 00:33:26,091 I TRIED. 701 00:33:26,178 --> 00:33:27,744 AND THE MINUTE YOU DO, 702 00:33:27,831 --> 00:33:30,834 IT'S NOT JUST GONNA CATCH UP TO YOU, IT'S GONNA RUN YOU OVER. 703 00:33:30,921 --> 00:33:32,967 WHAT IF YOU WANT TO STOP RUNNING? 704 00:33:36,449 --> 00:33:39,147 YOU HAVE TO GIVE SOMETHING UP. 705 00:33:45,458 --> 00:33:46,546 OKAY, THANKS. 706 00:33:46,633 --> 00:33:49,201 SO OUR AGENTS CONFIRMED EYES ON ABIGAIL. 707 00:33:49,288 --> 00:33:50,854 SHE'S AT THE HOTEL. BEEN THERE ALL NIGHT. 708 00:33:50,941 --> 00:33:52,073 AND NEAL? 709 00:33:52,160 --> 00:33:54,597 WELL, LET'S TAKE A LOOK. 710 00:33:54,684 --> 00:33:56,338 WELL, HE'S STILL AT HOME, ACCORDING TO THE ANKLET. 711 00:33:56,425 --> 00:33:57,339 Diana: HEY. 712 00:33:57,426 --> 00:33:58,514 HEY. 713 00:33:58,601 --> 00:34:00,299 I GOT YOUR TEXT. WHAT'S UP? 714 00:34:00,386 --> 00:34:01,778 GOING THROUGH THE VIDEO, 715 00:34:01,865 --> 00:34:03,650 I'VE TRACKED WHERE EVERYONE WAS THROUGHOUT THE HEIST. 716 00:34:03,737 --> 00:34:05,260 BLACK DENOTES FBI AGENTS. 717 00:34:05,347 --> 00:34:06,827 CAFFREY'S GREEN. 718 00:34:06,914 --> 00:34:08,437 NOT A LOT OF GREEN ON THERE. 719 00:34:08,524 --> 00:34:10,048 NO, THERE'S NOT. 720 00:34:10,135 --> 00:34:12,876 NEAL AND I ENTERED AT THE SAME SPOT HERE. 721 00:34:12,963 --> 00:34:14,965 I WENT ONE WAY, AND THEN NEAL... 722 00:34:15,053 --> 00:34:16,576 DISAPPEARS INTO THIN AIR. 723 00:34:16,663 --> 00:34:19,405 AGENTS WENT ALL SORTS OF DIFFERENT DIRECTIONS, 724 00:34:19,492 --> 00:34:22,886 AND EVERY AGENT SHOWS UP ON THE VIDEO EXCEPT NEAL. 725 00:34:22,973 --> 00:34:24,845 I DON'T GET IT. WHY WOULD HE DO IT? 726 00:34:24,932 --> 00:34:26,847 ABIGAIL I.D.'d HIM AT THE MUSEUM. 727 00:34:26,934 --> 00:34:29,154 THE ONLY THING I CAN THINK OF IS THAT THEY'RE WORKING TOGETHER. 728 00:34:29,241 --> 00:34:30,546 YEAH, BUT WHAT DOES HE GET OUT OF IT? 729 00:34:32,374 --> 00:34:35,116 SHE COULDN'T GET THE PASCAL BECAUSE OF US. 730 00:34:35,203 --> 00:34:37,988 HE COULDN'T GET THE MARSHALS' CRIME-SCENE REPORT 731 00:34:38,076 --> 00:34:39,512 BECAUSE OF HIS ANKLET. 732 00:34:39,599 --> 00:34:40,948 SO YOU THINK IT'S SOME KIND OF EXCHANGE. 733 00:34:41,035 --> 00:34:42,732 ALL THAT TALK ABOUT GIVING SOMETHING UP, 734 00:34:42,819 --> 00:34:44,082 AND HE WAS DOING THIS ALL ALONG. 735 00:34:44,169 --> 00:34:45,692 HMM? 736 00:34:45,779 --> 00:34:47,781 I WAS WITH NEAL AN HOUR AGO. 737 00:34:47,868 --> 00:34:49,696 YOU WERE? WHY? 738 00:34:49,783 --> 00:34:51,437 CHRISTIE AND I BROKE UP. 739 00:34:51,524 --> 00:34:52,829 I'M SORRY TO HEAR THAT. 740 00:34:52,916 --> 00:34:54,092 YEAH, ME TOO. 741 00:34:54,179 --> 00:34:57,617 I CONFIDED IN HIM. I TOOK HIS ADVICE. 742 00:34:57,704 --> 00:34:59,314 AND NOW I LOOK AT THIS, 743 00:34:59,401 --> 00:35:01,490 AND I WONDER IF HE MEANT A SINGLE DAMN WORD. 744 00:35:01,577 --> 00:35:03,101 I'M TIRED OF THIS. 745 00:35:03,188 --> 00:35:06,365 I'VE COVERED FOR HIM. I'VE FOUGHT FOR HIM. 746 00:35:06,452 --> 00:35:09,063 I ALMOST LOST MY JOB BECAUSE OF HIM. 747 00:35:09,150 --> 00:35:12,588 IF NEAL DID THIS... HE'S GOT TO DELIVER THE PIECE. 748 00:35:12,675 --> 00:35:15,113 AND WHEN HE DOES, WE WILL BE THERE. 749 00:35:16,897 --> 00:35:18,551 [ HORN HONKS ] 750 00:35:31,477 --> 00:35:33,783 HE'S GOT THE DAMN PASCAL ON HIM. 751 00:35:33,870 --> 00:35:35,176 HE REALLY DID IT. 752 00:35:35,263 --> 00:35:36,699 PETER, THE TEAM'S READY. 753 00:35:36,786 --> 00:35:37,874 [ SIGHS ] 754 00:35:37,961 --> 00:35:40,399 AND HERE COMES ABIGAIL. 755 00:35:40,486 --> 00:35:42,444 THE MINUTE THEY MAKE THE EXCHANGE, 756 00:35:42,531 --> 00:35:43,619 WE TAKE THEM BOTH DOWN. 757 00:35:55,283 --> 00:35:58,199 I'M GLAD TO SEE YOU'RE A MAN OF YOUR WORD. 758 00:35:58,286 --> 00:36:00,070 I DIDN'T REALLY HAVE MUCH CHOICE, DID I? 759 00:36:00,158 --> 00:36:01,594 I GAVE YOU A LITTLE INCENTIVE. 760 00:36:01,681 --> 00:36:04,292 NO. YOU BLACKMAILED ME. 761 00:36:04,379 --> 00:36:05,772 BLACKMAIL? 762 00:36:05,859 --> 00:36:07,252 Abigail: I DID YOU A FAVOR. 763 00:36:07,339 --> 00:36:08,731 YOU PLANTED EVIDENCE. 764 00:36:08,818 --> 00:36:11,343 LOOK, YOU COULD HAVE ENDED UP IN JAIL EMPTY-HANDED. 765 00:36:11,430 --> 00:36:13,258 NOW WE BOTH GET WHAT WE WANT. 766 00:36:21,527 --> 00:36:23,398 YOU'RE AS GOOD AS YOUR REPUTATION. 767 00:36:26,009 --> 00:36:28,142 HERE'S EVERYTHING YOU WANTED FROM THE MARSHALS' DATABASE. 768 00:36:30,100 --> 00:36:31,363 I DON'T WANT IT. 769 00:36:31,450 --> 00:36:32,929 WHAT? 770 00:36:33,016 --> 00:36:34,670 PETER, WHAT DO YOU WANT TO DO? 771 00:36:34,757 --> 00:36:36,716 WE'VE GOT HIM DELIVERING THE PASCAL. 772 00:36:36,803 --> 00:36:38,413 LET'S SEE WHERE THIS GOES. 773 00:36:38,500 --> 00:36:39,719 ARE YOU SERIOUS? 774 00:36:39,806 --> 00:36:40,589 I SAID I WOULDN'T TAKE THE OFFER. 775 00:36:40,676 --> 00:36:42,200 THE PRICE IS TOO HIGH. 776 00:36:42,287 --> 00:36:44,811 [ LAUGHS ] 777 00:36:44,898 --> 00:36:47,335 FINE. 778 00:36:47,422 --> 00:36:49,207 IT'S YOUR LOSS. 779 00:36:51,252 --> 00:36:53,994 LET'S MOVE. 780 00:36:55,952 --> 00:36:57,258 [ BEEP ] 781 00:36:57,345 --> 00:36:59,129 [ Ringing ] 782 00:36:59,217 --> 00:37:00,522 [ CELL PHONE RINGING ] 783 00:37:05,005 --> 00:37:07,486 HELLO, NEAL. 784 00:37:07,573 --> 00:37:09,705 ABIGAIL HAS THE PASCAL ON HER RIGHT NOW. 785 00:37:09,792 --> 00:37:12,317 OH, YEAH? DO YOU KNOW WHERE SHE IS? 786 00:37:12,404 --> 00:37:15,320 CORNER OF 53rd AND PARK. 787 00:37:15,407 --> 00:37:17,887 FBI! YOU'RE UNDER ARREST! 788 00:37:17,974 --> 00:37:19,106 THAT WAS FAST. 789 00:37:19,193 --> 00:37:20,412 DROP THE BAG! 790 00:37:20,499 --> 00:37:23,241 TURN AROUND! PUT YOUR HANDS BEHIND YOUR BACK! 791 00:37:29,377 --> 00:37:31,858 WHEN DID YOU FIGURE IT OUT? 792 00:37:31,945 --> 00:37:34,382 AFTER YOU LEFT THE OFFICE. 793 00:37:34,469 --> 00:37:36,863 YOU REALIZED I WASN'T ON THE SECURITY FOOTAGE? 794 00:37:36,950 --> 00:37:38,734 YEP. 795 00:37:38,821 --> 00:37:40,997 BLACKMAIL? 796 00:37:41,084 --> 00:37:44,392 SHE PLANTED SOME OF MY HAIRS AT THE MARSHALS' OFFICE. 797 00:37:44,479 --> 00:37:47,265 I'M GUESSING THAT STROLL AROUND THEIR BUILDING 798 00:37:47,352 --> 00:37:48,744 WASN'T A SOLITARY ONE. 799 00:37:48,831 --> 00:37:51,138 SHE SET ME UP PERFECTLY. 800 00:37:51,225 --> 00:37:54,272 YOU WOULDN'T HAVE BELIEVED ME. 801 00:37:54,359 --> 00:37:56,752 YOU SHOULD HAVE GIVEN ME THE CHANCE. 802 00:38:01,235 --> 00:38:03,716 AM I GOING IN THE BACK OF ONE OF THOSE, TOO? 803 00:38:07,546 --> 00:38:08,764 WE'LL SEE. 804 00:38:16,859 --> 00:38:19,035 Diana: LOOK WHO'S NOT WEARING CUFFS. 805 00:38:19,122 --> 00:38:21,777 THE DAY'S NOT DONE YET. 806 00:38:21,864 --> 00:38:24,519 ARE YOU GONNA INTERROGATE HER? 807 00:38:24,606 --> 00:38:26,565 I DON'T HAVE THE HEART TO. 808 00:38:26,652 --> 00:38:29,002 AFTER EVERYTHING I'VE GONE THROUGH 809 00:38:29,089 --> 00:38:30,917 THE LAST COUPLE OF DAYS... 810 00:38:31,004 --> 00:38:34,007 I KIND OF LIKE THE IDEA OF DIANA THE DOCENT LIVING ON, 811 00:38:34,094 --> 00:38:36,662 AT LEAST TO SOMEONE. 812 00:38:36,749 --> 00:38:38,925 SOMEONE GOING TO JAIL? 813 00:38:39,012 --> 00:38:40,579 HEY, I DIDN'T SAY IT WAS A PERFECT IDEA. 814 00:38:42,276 --> 00:38:44,409 SO, I HEARD YOU DIDN'T TAKE THE FLASH DRIVE. 815 00:38:46,672 --> 00:38:48,761 LOOKS LIKE YOU FINALLY GAVE SOMETHING UP. 816 00:38:50,545 --> 00:38:52,678 I GOT TIRED OF RUNNING. 817 00:38:52,765 --> 00:38:54,767 [ CELL PHONE BUZZES ] 818 00:38:57,247 --> 00:38:59,554 PETER'S READY FOR ME. 819 00:38:59,641 --> 00:39:01,730 IT MAY BE A WHILE BEFORE I GET THE CHANCE TO RUN AGAIN. 820 00:39:01,817 --> 00:39:04,167 GOOD LUCK, CAFFREY. 821 00:39:05,778 --> 00:39:06,953 THANKS. 822 00:39:14,787 --> 00:39:17,398 YOU WERE PUT IN A DIFFICULT SITUATION. 823 00:39:17,485 --> 00:39:18,921 I UNDERSTAND THAT. 824 00:39:19,008 --> 00:39:21,402 BUT YOU MADE THE WRONG DECISION. 825 00:39:21,489 --> 00:39:23,404 I CAUSED ENOUGH TROUBLE IN YOUR LIFE LATELY. 826 00:39:23,491 --> 00:39:24,927 I THOUGHT... 827 00:39:25,014 --> 00:39:26,973 WELL, I THOUGHT I COULD PROTECT YOU FROM IT THIS TIME. 828 00:39:27,060 --> 00:39:28,931 LYING TO ME IS NEVER PROTECTING ME. 829 00:39:31,934 --> 00:39:33,414 WHAT ABOUT THE MARSHALS? 830 00:39:33,501 --> 00:39:35,547 I SPOKE WITH THEM. 831 00:39:35,634 --> 00:39:37,853 THEY ARE NOT HAPPY 832 00:39:37,940 --> 00:39:40,247 THAT SOMEONE BROKE INTO ONE OF THEIR MOST SECURE BUILDINGS. 833 00:39:40,334 --> 00:39:41,727 DID THEY FIND MY DNA? 834 00:39:41,814 --> 00:39:42,815 THEY DID. 835 00:39:45,339 --> 00:39:47,863 BUT THEY'RE NOT PRESSING CHARGES AGAINST YOU... 836 00:39:47,950 --> 00:39:52,651 IN EXCHANGE FOR MY KEEPING THE NEWS ABOUT THE BREAK-IN QUIET. 837 00:39:52,738 --> 00:39:54,087 NO EGG ON THEIR FACE... 838 00:39:54,174 --> 00:39:55,175 NO JAIL TIME FOR ME. 839 00:39:57,264 --> 00:40:00,398 [ SIGHS ] 840 00:40:00,485 --> 00:40:02,225 THANK YOU. 841 00:40:02,312 --> 00:40:05,707 THIS ISN'T A FAVOR. YOU DIDN'T COMMIT THAT CRIME. 842 00:40:05,794 --> 00:40:07,970 AND THE CRIME YOU DIDCOMMIT 843 00:40:08,057 --> 00:40:11,365 LED TO THE ARREST OF A THIEF AND THE SAFE RETURN OF AN ITEM. 844 00:40:11,452 --> 00:40:13,236 EVEN SO, IF YOU HADN'T CALLED ME 845 00:40:13,323 --> 00:40:15,456 THE SECOND AFTER YOU WALKED AWAY FROM HER... 846 00:40:15,543 --> 00:40:16,718 I WOULD BE IN JAIL RIGHT NOW, 847 00:40:16,805 --> 00:40:18,198 AND I WOULDN'T BLAME YOU FOR PUTTING ME THERE. 848 00:40:23,203 --> 00:40:25,423 I GAVE THE DRIVE BACK TO THE MARSHALS. 849 00:40:29,252 --> 00:40:30,428 GOOD. 850 00:40:32,212 --> 00:40:33,779 REALLY? 851 00:40:33,866 --> 00:40:36,390 LOOK, I SAID THE PRICE WAS TOO HIGH, AND I MEANT IT. 852 00:40:36,477 --> 00:40:38,784 YOUR TRUST IS TOO IMPORTANT TO ME. 853 00:40:45,138 --> 00:40:47,880 IN CASE IT'S NEEDED AGAINST ABIGAIL, 854 00:40:47,967 --> 00:40:49,359 I MADE A COPY OF THE FILE. 855 00:40:49,447 --> 00:40:51,449 DUE DILIGENCE AND ALL.PETER... 856 00:40:53,929 --> 00:40:58,412 IF YOU FIND ANY INFORMATION THAT LEADS TO SAM... 857 00:40:58,499 --> 00:40:59,979 I WILL TELL YOU. 858 00:41:00,066 --> 00:41:01,589 I WILL TELL YOU. 859 00:41:01,676 --> 00:41:03,722 [ SIGHS ] 860 00:41:07,160 --> 00:41:09,249 THANK YOU. 861 00:41:17,257 --> 00:41:19,259 [ SIGHS ] 862 00:41:30,792 --> 00:41:33,969 WOW, HONEY, FIRST CASE BACK -- ALREADY CLOSED. 863 00:41:34,056 --> 00:41:36,406 [ CHUCKLES ] NOT BAD, AGENT BURKE. 864 00:41:36,494 --> 00:41:38,626 WELL, NOT THE CLEANEST WIN, BUT I'LL TAKE THE VICTORY. 865 00:41:38,713 --> 00:41:40,280 WELL, AT LEAST NEAL DIDN'T SHOOT ANYONE. 866 00:41:40,367 --> 00:41:42,412 THERE IS THAT. 867 00:41:42,500 --> 00:41:45,633 YOU HAVE YOUR BAD-NEWS FACE ON. 868 00:41:45,720 --> 00:41:49,158 DOES EVERYONE KNOW I HAVE THIS FACE? 869 00:41:49,245 --> 00:41:50,943 [ SIGHS ] 870 00:41:51,030 --> 00:41:54,424 NEAL TOLD ME MY TRUST WAS MORE IMPORTANT TO HIM 871 00:41:54,512 --> 00:41:56,078 THAN THE FLASH DRIVE. 872 00:41:56,165 --> 00:41:58,472 AND I BELIEVED HIM. 873 00:41:58,559 --> 00:42:01,257 I DON'T KNOW WHERE THE -- WHERE THE FACE COMES IN. 874 00:42:01,344 --> 00:42:03,042 I'M NOT SURE I SHOULD. 875 00:42:03,129 --> 00:42:04,522 WHAT DO YOU MEAN? 876 00:42:04,609 --> 00:42:08,047 HE CALLED THE FBI THE MINUTE ABIGAIL WALKED AWAY. 877 00:42:08,134 --> 00:42:11,398 HE KNEW WE'D ARREST HER... WITH BOTH ITEMS. 878 00:42:11,485 --> 00:42:14,706 AND HE KNEW THAT ONCE YOU HAD ABIGAIL, 879 00:42:14,793 --> 00:42:16,925 THE FLASH DRIVE WOULD GO TO THE EVIDENCE ROOM... 880 00:42:17,012 --> 00:42:18,492 WHERE I WOULD HAVE ACCESS TO IT. 881 00:42:20,886 --> 00:42:23,062 DO YOU THINK THIS WAS ONE LONG CON? 882 00:42:23,149 --> 00:42:25,499 HONESTLY, I DON'T KNOW. 883 00:42:27,283 --> 00:42:30,112 BUT IF THERE'S ANYONE WHO CAN FIND A WAY 884 00:42:30,199 --> 00:42:31,897 TO GET EVERYTHING HE WANTS, 885 00:42:31,984 --> 00:42:34,160 IT'S NEAL.