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?
ELLEN!
THEY FOUND ME.
WHO? TRUST SAM.
Man: ...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.
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.
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.
PETER...
SAM IS MY BEST SHOT AT FINDING OUT WHO KILLED ELLEN.
I NEED TO FIND HIM.
HOLDING A ONE-MAN IRISH WAKE?
I FIGURED IT WAS APROPOS FOR A WOMAN OF ELLEN'S FORTITUDE.
SHE WASN'T IRISH. WELL...
SHE WAS A COP. CLOSE ENOUGH.
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.
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.
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.
AN AX-5000?
IT'S A CUTTING-EDGE BLACK BOX
DESIGNED TO CIRCUMVENT THE BEST SECURITY SYSTEMS OUT THERE.
YOU SHOULDN'T HAVE, 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.
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.
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?
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."
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?
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?
SHE'S WEARING SANDALS.
IT'S NOT IDEAL FOOTWEAR FOR A ROBBERY.
TOO SLAPPY?
WHAT DO YOU THINK OF THIS FAMILIAR PIECE?
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.
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.
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...
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.
OH. YOU THINK SHE NEEDS MY HELP?
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.
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 SOUNDS ]
THE KID TOUCHED THE ART.
WHERE'S ABIGAIL?
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.
THAT'S BECAUSE SHE'S RARELY NERVOUS.
ALL RIGHT, LET'S GIVE HER SOME SPACE.
EVERYBODY, TAKE FIVE.
NEAL, STICK AROUND.
[ INDISTINCT CONVERSATIONS ]
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. 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.
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?
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.
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.
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.
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."
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. 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.
[ CELL PHONE RINGS ]
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?
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 RéSUMé.
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.
THAT HAS AN ELEGANT SUBTLETY TO ITS NOXIOUS ODOR.
IS ALL THIS FOR THE PASCAL OR THE MARSHALS' OFFICE?
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.
WHAT DO YOU MEAN?
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.
[ KNOCK 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.
[ CHUCKLES ]
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.
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 P.A.: 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 BREAKS ]
GOD.
SHE GOT THE PASCAL!
SPREAD OUT! EVERYONE ON AN EXIT! YES, SIR.
LOCK THIS WHOLE PLACE DOWN!
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.
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.
[ KNOCK 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.
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 ]
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.
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.
ARE YOU SERIOUS?
I SAID I WOULDN'T TAKE THE OFFER.
THE PRICE IS TOO HIGH.
[ LAUGHS ]
FINE.
IT'S YOUR LOSS.
LET'S MOVE.
[ BEEP ]
[ Ringing ]
[ CELL PHONE RINGING ]
HELLO, NEAL.
ABIGAIL HAS THE PASCAL ON HER RIGHT NOW.
OH, YEAH? DO YOU KNOW WHERE SHE IS?
CORNER OF 53rd AND PARK.
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.
[ CELL PHONE BUZZES ]
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.
[ 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?
HE CALLED THE FBI THE MINUTE ABIGAIL WALKED AWAY.
HE KNEW WE'D ARREST HER... WITH BOTH ITEMS.
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.